They may still buy or launch their own cinemas to showcase and monetise their original output, but discussions on IMAX screenings seem closer
|That's quite a line-up!!! See the site for screening dates|
NB: some of these contain swearing. Any BBFC age rating is listed, but many are pre-release (use trailers and descriptions as a guide). Do bear in mind that UK ratings are routinely much higher then in BeNeLux. Synopses from BIFS.
Any guest speaker/s in red.
This is just a perfect story - as students you'll toil over 2mins of material for a clear beneficial purpose. The guys (? haven't gender checked) behind a short which remakes bits of the original Carpenter slasher archetype would expect less benefit than a student - and almost certainly incurred greater expense.
Check out their story (and maybe cogitate on the weird Gus Van Sant Psycho shot-by-shot remake...)
|The MoviePass homepage.|
Surge pricing is a dynamic, time-based strategy that apps like Uber use when a large amount of customers are requesting rides in the app but there aren't enough drivers to taxi them around....
Now this will extend to MoviePass, so on opening weekends or at particularly busy late-night showings of popular movies, monthly subscribers should expect to pay a bit more above their locked-in $9.95/month subscription price.
For IMAX and 3D movies, users will be given the option to pay an added fee for the premium screenings, ranging from $2-$6 according to Lowe.
The MoviePass news comes after AMC just yesterday revealed its own movie subscription service, which will let customers watch three movies per week for $19.95 a month -- including IMAX and RealD 3D showings.
From a business point of view, cinemas are only partly about films. "When we bought [Odeon]," Guy Hands of private equity group Terra Firma famously said, "the management team really believed they were part of the film business. I had the difficult job of explaining to them that they were in the popcorn-selling business." (Oliver Thring, Guardian 2012)
I'm struggling to see the logic behind this, there's no obvious loss of revenue and no apparent request for a licensing fee, just a blanket cease and desist legal order to fan fests that are huge promos for the Potter franchise.
Harry rotters: Warner Bros cracks down on Potter fan festivals in US https://www.theguardian.com/film/2018/jun/16/harry-potter-warner-bros-wizard-fan-festivals?CMP=Share_AndroidApp_Blogger
What a waste of a decent director...
It's been confirmed today that Danny Boyle is directing the next Bond, to be distributed outside the US (MGM) by Universal (a change from Sony), but it's thought he'll wrap the Curtis-penned comedy first.
As High Grant has declared he'll never consider another rom-com role, wanting only serious parts, it won't be a new entry in the $billion Grant/Curtis partnership (and surely the involvement of those 2 would have seen BJBaby do much better). Still not seeing any detail on this, but Boyle and Curtis are already prime marketing factors before cast or any possible IP are considered.
James Bond: Danny Boyle and Daniel Craig confirmed for 007's 25th outing
My early childhood was spent in the era of spectrum scarcity; in the UK the broadcast signal could only fit 3 TV channels until 1984 when C4 came along, with its legal duty to provide alternative content to BBC1, BBC2, and ITV.
As a result, my generation grew up with exposure to cinema spanning the form's history - from 1910s Laurel and Hardy to 1950s Akira Kurosawa, all in B+W of course. Video rental stores started springing up around the same time as C4 launched, and the swift decline of TV as a source of film education kicked in. Satellite and cable would bring multi-channel TV, often of dire tabloidised quality, such as Topless Darts On Ice and the News Bunny, both on L!ve TV, launched by the Mirror tabloid newspaper group. There's a great book on that...
It also brought Sky Movies and the focus on the current, modern hits.
Chances are you have had limited exposure to movies outwith a fairly narrow time frame, excepting a few ongoing blockbuster franchises like Star Wars.
So this Guardian series, in which different writers argue for a decade as being THE best in cinema, is a rather handy way of finding a few gems to look up on Netflix or equivalent on some quiet evening...
From Seven to The Matrix – why the 1990s is my favourite film decade https://www.theguardian.com/film/2018/apr/06/my-favourite-film-decade-1990s-seven-being-john-malkovich?CMP=Share_AndroidApp_Blogger
Reflecting a long established trend across other media industries, a seemingly defunct media technology has plateaued after a massive, seemingly terminal decline, and is now riding again even though it will never reach previous levels again.
Just as vinyl (and even cassettes) have seen big growth spikes, and the car underpinned radio's future as a mass medium, so too is there growth in the 35mm film market - the slow, expensive format that digitisation and the DSLR has all but wiped out. Kodak, the monopolist film supplier went bust ... but offshoots are back in business offering classic film reel formats for a growing, if niche, market.
Likewise the UK's Ilford, a brand most in the 35+ age bracket will recall as a B+W film specialist, is doing a roaring trade in photography stock.
A crowdfunded new 35mm camera has just hit the market, a big moment in underpinning this retro resurgence.
Back to the darkroom: young fans reject digital to revive classic film camera https://www.theguardian.com/uk-news/2018/jan/28/does-reflex-slr-camera-herald-35mm-film-renaissance?CMP=Share_AndroidApp_Blogger
|More widely seen through Facebook, but in 5 days 125k views (link)|
Right at the end of this article there's speculation that Harry Potter could dwarf even this, the first $1bn TV series with a $1bn deal just for the rights alone, not the production cost!
The role of IP and franchises couldn't be any clearer - it remains absolutely the dominant model, with TV spin-offs now clearly a key part of this high stakes media game, as exemplified by the Marvel Cinematic Universe being closely tied to multiple TV series, which even get their own Avengers/Justice League type variants.
Amazon's $1bn bet on Lord of the Rings shows scale of its TV ambition https://www.theguardian.com/media/2017/nov/21/amazon-lord-of-the-rings-tv-netflix-disney-apple?CMP=Share_AndroidApp_Blogger
3D TV has been and gone, an expensive fad that revealed simply that people don't feel comfortable sat with 3D glasses at home.
4K TV is the latest home cinema leap (VR being the other big trend), and it seems the UK is a trailblazer in 4K penetration, expected to reach 50%+ of UK households by just 2021.
Convergence is a key factor - it's as much games consoles, the updated current PS4 and Xbox One consoles both offer 4K output and incorporate new Blu-ray models for movies too:
The home cinema market is in the midst of a revolution: according to analysis firm IHS Markit, by the end of 2017, 3.7m UK households will own a 4K TV, rising to 12m by 2021. This would account for almost half of all TV-owning households in the UK, yet the first Xbox One was designed only for full high definition – screens with a resolution of 1920x1080 pixels.
Xbox One X review: a perfect pitch to a demanding demographic https://www.theguardian.com/technology/2017/nov/19/xbox-one-x-upgrade-console-video-games-gadget?CMP=Share_AndroidApp_Blogger
Another megamerger is cleared in June 2018 and boosts the hopes of NBCU owner to trump Disney's bid for Fox...
AT&T $85.4bn takeover of Time Warner approved by judge in blow to Trump
The story continues! Comcast are launching a new bid, all cash as Murdoch rejected it on the basis of complications with shares (and possible monopoly issues). Disney's inexorable rise not confirmed yet... Comcast prepares to top Disney’s $52bn bid for 21st Century Fox
Further update - the Comcast (NBCU owner, with Universal having a 9% share of the US market v a combined Fox/Disney 45% on latest figures) counterbid had been rejected by Lachlan Murdoch, but I'd suspect shareholders are likely to demand Disney improves it's bid, and try to spark a bidding war. The Murdochs can see a chance for continuing power through the 'merger' as they would become the single biggest Disney shareholders, so it could be quite a battle.
And Comcast is proceeding with its counterbid for Sky, which Murdoch(s!) has already bid for (the remaining 61% of shares).
Comcast are offering CASH NOT SHARES, so the Murdochs would be incredibly wealthy but stripped of most of their media empire...
An update from my earlier blog... The Disney deal had been announced, subject to FCC (US government media regulator) agreeing, so it is now the big 5 with Disney's new dominance almost certain to spark off another merger to compete.
The business or economics term for this is consolidation. Media academics don't view this process as benign, neutral, not an issue. Chomsky and Herrman's propoganda model includes 'concentration of ownership' in its 'five filters', ways in which radical or counter-hegemonic content are removed from mainstream mass media.
This Disney giant isn't going to be producing politically driven fare like This is England (or even '71 ... or how's about She's a Chinese?!).
Economist Anita Elberse's book Blockbusters is looking more and more like the industry bible.
Rupert Murdoch set to sell off 21st Century Fox assets to Disney
I'd read last week about rumours of ole Rupe (Murdoch, the 'Dirty Digger' and inspiration for the Bind villain in Tomorrow Never Dies) selling up his Fox film and TV studios to Disney.
Now I see fresh reports are exciting stock markets over Comcast getting involved - the owner of NBC-Universal.
Is an already narrow range of dominant companies about to shrink further?
Comcast reportedly targeting 21st Century Fox for acquisition https://www.theguardian.com/media/2017/nov/16/comcast-reportedly-courting-21st-century-fox?CMP=Share_AndroidApp_Blogger
Remarkable - just a day or so later I stumbled on news of Warner being involved in a mega-merger, the focus this time on TV, with AT&T bringing it's dominant DirecTV satellite provider to the home of HBO, CNN and more. If eventually allowed after legal appeal, I wonder if Warners will follow Disney in removing their content from the likes of Netflix in favour of their own subscription channel (which they could offer in a bundle to existing subscribers)?
Tricky one to put into a short post title...
Useful examples here of how Indie movies lacking the star power to gain theatrical distribution, so restricted to straight-to-DVD (or just VOD in some cases) release ... until a then unknown cast member becomes a star. Then these cinematic horrors (as far as the newly shiny star and their agents/lawyers are concerned) find themselves plastered all over posters and trailers for (sometimes) a much belated cinema run or at least the DVD cover or VOD artwork.
There are several big names listed in this article, but there are many who aren't keen to recall their cinematic debut. For a certain Johnny Depp it was getting eviscerated in the original Elm Street. A certain rom-com flop veteran and star of 1000s of gossip mag covers, whose hair seems to be her greatest talent, made her bow in the fantastically silly slasher Leprechaun... (name revealed in tags when I get round to it!)
Brie Larson’s Basmati Blues and other lost movies A-listers wish had stayed buried https://www.theguardian.com/film/shortcuts/2017/nov/15/brie-larsons-basmati-blues-and-other-lost-movies-a-listers-wish-had-stayed-buried?CMP=Share_AndroidApp_Blogger
Incredible greed and arrogance from the big six behemoth, which probably means most non-multiplex cinemas simply can't show The Last Jedi. Disney are demanding 65% of ticket revenue AND the movie must play in the biggest hall for five weeks ... or they'll demand 70%!
It's not the first time Disney have messed cinemas around - they had to back down from a reduced cinema release window for Alice in Wonderland.
This is what happens with concentration of ownership (one of Chomsky and Herrman's five filters in their propaganda model by the way), which is why anti-trust laws once forced Hollywood to split up its vertically integrated studios (before deregulation commenced under Reagan in 1980).
Disney ends blackout of LA Times after boycott from media outlets
2018 update: Netflix puts content above costs but is the policy sustainable?
I've written a few times that Apple's entry into the subscription TV streaming market is inevitable ... and here it comes, with an annual $1bn budget for 10+ new series and some incredibly high profile industry names signed up
Apple has Netflix and Amazon in sight as it hires British TV executive
More niche than Netflix: nine specialist streaming services you should try https://www.theguardian.com/tv-and-radio/shortcuts/2017/oct/23/more-niche-than-netflix-nine-specialist-streaming-services-you-should-try?CMP=Share_AndroidApp_Blogger
To paraphrase Tony the Tiger, purveyor of dodgily sugary breakfast fare, they're GGGGRRRREEAT! Netflix that is, according to an Oscar-tipped director who couldn't get her movie picked up by any of the studios for distribution but found Netflix willing to overpay (her words!) $12.5m for the rights.
This is a great quote which gets to the heart of the notion of the disruption (a business term denoting the impact on traditional business practices of the ongoing processes of digitisation):
“Netflix are representative of what Hollywood used to be,” she continues. “[Hollywood] used to take risks, it used to be about discovery and now it’s about profit, it’s about foreign sales value, so I think Netflix are disrupters and maybe they will shake up the system and get the studios back to making original interesting things. Back to discovering new actors and not just hiring the same three actors over and over again.”
Meet the new hotshots of American film-making https://www.theguardian.com/film/2017/oct/22/meet-the-new-hotshots-of-american-film-making-director-dee-rees-mudbound-eliza-hittman?CMP=Share_AndroidApp_Blogger
From an interesting read on the vultures flying over the bloated corpse of toxic brand The Weinstein Company, a worthless brand with a highly valuable back catalogue (including remake/franchise rights) and upcoming slate of likely hits such as Paddington 2, comes this observation on the breakdown of film revenues;
Analysts estimate that the lifetime value of a film can be as much as double what it makes at the box office. For example, The King’s Speech made just over $400m globally in cinemas but has probably amassed about $1bn once its post-multiplex takings are included. About 25% of the $1bn is from the ever-shrinking DVD market, maybe 15% to 20% from pay-TV broadcasters for premiere rights and 10% (and growing) from services such as Netflix, Amazon and Apple, according to Ampere Analysis.
Rich pickings: how Hollywood rivals will profit from Weinstein's downfall https://www.theguardian.com/film/2017/oct/20/hollywood-rivals-circle-weinstein-film-studios-cinema-gems?CMP=Share_AndroidApp_Blogger
Of his experience with Allen, Storaro said, “We decided to enter the digital world together, and I have to say that from the beginning we found ourselves very comfortable.”
In fact, digital had added benefits for the director, in that he could monitor the film in a way previously not possible. (Storaro quipped, “In Apocalypse Now we were waiting for two weeks to see dailies. They were were weeklies, not dailies.”) Today, he shoots with a high dynamic range monitor on set and uses ACES color techto make sure that his directors are seeing an accurate picture.
Storaro insists that he didn’t change his approach or his lighting setup for digital work. “Of course,” he notes, “I selected a camera that was close to my personality, with the level of performance in quality and color shade and close to the one that I loved for almost 20 years,” which was the Arriflex 535B.