Domestic exhibitors were once the s

Domestic exhibitors were once the sole distribution channel for films. This has changed dramatically. Films must increasingly cross cultural and language boundaries and appeal to the global market. Over 70 percent of U.S. studio revenues are now international (see Ex hi bit 7).Studios see this as the primary opportunity for growth. While domestic receipts increase on flat ticket sales, both ticket sales and dollar volume are rising rapidly internationally. From 2000 to 20 I 2, domestic receipts grew at an average of just 3 percent, while international growth averaged 13 percent annually. The studios are also changing their perspective on ticket prices in large population markets. In India, for example, attendees paid an average of just $0.50. However, Indian exhibitors sold 3.3 billion tickets in 2008. At current growth rates, the attendance volume increase each year in India alone equals the total current U.S. annual admissions.