Through our passion for movies and the belief in co-creation, internally and together with local leading operator’s partnership – we made it a mission to provide the ultimate content offering tailored for each market’s unique needs and deliver superior user experience that will be cherished by movie lovers universally. Instead of adopting major international players’ one ‘offer-fits-all’ strategy, we at CATCHPLAY with years of experience and passion for content, believes and embraces the importance of individual market’s unique needs and preference of content. In 2015, CATCHPLAY established AsiaPlay Incorporated with the ambition to become Asia’s largest movie content service provider. Today, CATCHPLAY Media Holdings Group owns two distinct companies – CATCHPLAY Incorporated, and AsiaPlay Incorporated – with involvement from production, distribution, linear movie channel operation and both content aggregation and platform operation for digital entertainment services. This was followed by expanded partnerships with Telkomsel, Indosat and First Media, and in Singapore, collaboration with the market’s leading telecommunication operator, StarHub. In June 2016, the service platform launched in Indonesia, collaborating with market leaders IndiHome, Telkom Indonesia. In March 2016, the CATCHPLAY+ service platform made its pilot launch in Taiwan in partnerships with major telecommunication operators and device manufacturers. In addition to content aggregation, in 2015, CATCHPLAY established AsiaPlay Incorporated with the ambition of becoming the leading premium content service provider for movie lovers in Asia. Today, we are the largest provider for premium movie content in Taiwan, aggregating content from Hollywood studios including Disney, Warner Bros., NBC Universal and Paramount in addition to having a wide selection of international independent films and leading local productions for distribution on major operators’ digital platforms. Today, CATCHPLAY continues to look into investment and co-production opportunities internationally and in Asia targeting particularly Chinese-speaking territories and South East Asia following our recent expansion footprints.ĬATCHPLAY started placing significant emphasis on the development of digital movie content years before the others did in Taiwan. In the same year, CATCHPLAY also provided financing and local production support to director Martin Scorsese’s passion project Silence, making it the first international production filmed entirely in Taiwan. CATCHPLAY and partners also control exclusive distribution rights to these films in Taiwan, China, Hong Kong and Macau, with The Revenant generating outstanding box office results from these territories in 2016. In early 2015, we closed a partnership deal to invest in New Regency’s three enthralling titles, namely The Revenant, Assassin’s Creed and Splinter Cell, marking the first investment of a Taiwanese company in major Hollywood productions. Both investments generated considerable box office performance in Taiwan and China respectively. In the same year, we invested in the locally produced film, Paradise in Service and co-produced 20 Once Again with CJ Entertainment for the Chinese market. Even so, it's a worthy ending that encourages audience discussion regarding the perils of scientific experimentation, genetic experiments, and the ethics surrounding how far is too far for innovation.In 2014, in addition to distributing the movies CATCHPLAY loves, we embarked in earnest co-production and investment projects, venturing into content creation. As it has been another decade since the movie's release, it's very unlikely at this stage that Natali will return to continue Splice, so the open-ending will have to suffice. The reason why the sequel didn't happen was likely because the director either didn't want to make another movie at all, or because he wasn't keen on any ideas that surfaced regarding a sequel enough to put his name behind it, even if he allowed the material to be passed onto another director.
Because of his experience with Cube and its sequels, he seemed to put his foot down on the same logic being applicable to Splice. Natali's Cubereleased in 1997, over ten years before Splice.
Simply because I want to protect that merchandise, as it were. Here’s what I will say: after Cube, which did have two sequels, of which I had no involvement whatsoever, I would not allow a second film to be made without my involvement. However, in his interview, he was cryptic in adding reasons for why he might never pursue it: According to Natali, it was " not his intention whatsoever" to set up the ending as a sequel to Splice.
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