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The Business: News, Rumours, Analysis, and More

sdpfeiffy

By sdpfeiffy
in Everything Else Movies

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vibeology
vibeology

Matt's statement is crap because the "I have daughters" line is so very dismissive of women as a whole. It suggests sexual assault only matters because a father or a brother or a husband is impacted.

AshleyN
AshleyN

Meryl's statement: Also, I had heard this story about Haley Atwell and Emma Thompson before, but I didn't know that Harvey was the producer in question: In related news, I love Emma Thom

aradia22
aradia22

To me those aren't hugely different problems. Because a system is in place where someone like Wahlberg (or Robert Downey Jr. or whatever white male it is at the moment) has more bargaining power. And

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AimingforYoko

AimingforYoko

16 minutes ago, Irlandesa said:

Wow.  I'm surprised; especially since this was one of the rare mid-budget breakouts at the theaters.  Will cinema only be left for the boring blockbuster? 

I could see where it becomes blockbuster or arthouse for exhibition and streaming for the rest. 

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kiddo82

kiddo82

(edited)

Netflix acquires Knives Out 2 and 3 for pocket change.

I have a dumb question.  How does Netflix make any money?  I was listening to a podcast and they estimated that each Knives Out sequel would have to gross around 300 million to generate a profit.  For reference the original grossed about 311 million world wide so that number is doable in a traditional theatrical release format.  Netflix hasn't made their IP available for wide release in the past, however.  Just their awards contenders in select markets for a week or two to gain eligibility.  I just don't see how their model is sustainable via subscriptions alone.  At some point you're going to hit a wall.  Hulu, Apple TV, Amazon Prime, Peacock, Disney+, Paramount, etc are all either part of larger corporations or in the case of Hulu have been acquired by one.  And Amazon Studios does send some of their originals out for wide release anyway.  Warner Bros/HBO are not only also vertically integrated, but the Warner Brother movies are still available a la carte in the theaters or on VOD, PVOD, or via home media.  Ideally, I'm sure AT&T would love it if you had an HBO max subscription and saw Godzilla vs Kong in the theater, but they're getting your money even if you just see it in the theater or rent it on demand.  I don't see how Netflix doesn't start going the hybrid route or offering PVOD a la carte rentals as well.   

Edited by kiddo82
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Irlandesa

Irlandesa

9 hours ago, kiddo82 said:

I was listening to a podcast and they estimated that each Knives Out sequel would have to gross around 300 million to generate a profit.

Is this assuming each has a 200 million dollar budget? 

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kiddo82

kiddo82

19 hours ago, Irlandesa said:

Is this assuming each has a 200 million dollar budget? 

I re-listened and that's only assuming a 40 million dollar budget per movie.  They were adding in what the original cost plus the price of the acquisition.  And now that I think about it that math doesn't make sense.  40 million (and one would assume the sequels would demand a higher budget than the original) plus 225 million means that at 300 million you're not even breaking even factoring in the cost of marketing.  It should be noted that these guys aren't insiders.  They were pretty much just spitballing.  It was on the last epsiode of Movie Marathoners.

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caracas1914

caracas1914

(edited)

I understand that Disney+ plus uses the acquired  Indian app Hotstar so that 30 % of Disney's subscribers are from India.

That is the next big thing to see, how the international market pans out.   I do think Netflix still has a huge headstart advantage in how "international'  their model is, as  as far as content and variety of programming.

Where else can I can see a Finnish detective series and then switch to a South African  drama and peruse  the first season of a Spanish singing competition, while also having a South Korean situation comedy in my watchlist?  

It was obvious Netflix were not going to continue be the only game in town, but for example, getting this new deal where they get SONY movies , etc shows how they mix original programming while still trying to get synergy with new releases by traditional production companies.  

Without a doubt there will be financial fallout from all these new streamers coming out, but  I'm not surprised Disney grew as fast as they did with their huge  archive inventory and they have the big pockets, however I do think that the demise of Netflix predicted by some is premature.   They grew too fast & too large before others finally  responded.

 

Edited by caracas1914
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AimingforYoko

AimingforYoko

45 minutes ago, caracas1914 said:

I do think that the demise of Netflix predicted by some is premature.

Demise is far too strong a word. They might someday be eclipsed by Disney+, once all Disney's IPs have shows coming out in a continuous pipeline. The fact they're halfway to Netflix's subs in a year and a half is pretty damn impressive.

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caracas1914

caracas1914

24 minutes ago, AimingforYoko said:

Demise is far too strong a word. They might someday be eclipsed by Disney+, once all Disney's IPs have shows coming out in a continuous pipeline. The fact they're halfway to Netflix's subs in a year and a half is pretty damn impressive.

 

Like I said I'm not at all surprised Disney+ made a huge splash.  Will they surpass Netflix?  I think it depends if they can get deals in place like what they got in India, but again Netflix is trying to penetrate as much those same markets.

So Netflix projected  to have 205 million subscribers by April 1, and domestically in the US  it's  already increased their pricing as was expected,  while Disney+ practically gave it away to get new subscribers at least here in the States, which was a smart move, but  it will be interesting what happens going forward when they inevitably Disney has to raise prices.

The genuine growth is in the international market, and that's anybody's guess how that will look 3-5 years from now.  

Can anyone crack the China Market with the Governments' tightly controlled social media policy?   

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Guest

Guest

On 4/13/2021 at 2:09 PM, caracas1914 said:

Like I said I'm not at all surprised Disney+ made a huge splash.  Will they surpass Netflix?  I think it depends if they can get deals in place like what they got in India, but again Netflix is trying to penetrate as much those same markets.

Internationally, Disney is launching Disney+ Star as the international equivalent to Disney+ and Hulu which is going to help them to compete with Netflix globally. They also just had their first price increase so it will be interesting to see what their subscriber numbers will be by the end of this year. 

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Peace 47

Peace 47

(edited)

Variety article on the potential WarnerMedia and Discovery combo

Quote

Multiple sources said the deal under discussion was a joint venture that would merge AT&T’s media assets — primarily the collection of networks and the storied Warner Bros. studio — with Discovery’s collection of domestic and international cable channels, anchored by Discovery, TLC, Animal Planet and OWN as well as lifestyle juggernauts Food Network and HGTV.

I don’t know what to make of this.  I guess it’s yet another sign that getting a streaming edge rules all else since the article references the focus on HBO Max and Discovery Plus.

Edited by Peace 47
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Guest

Guest

3 hours ago, Trini said:

When it comes to Barbie I think they should stick with animation. (It doesn't sound like this film is animated.) There have been various Barbie films in development for years; lets see if this actually gets made.

I can’t see any scenario where this is a good movie as long as it is for kids and with Mattel is involved. If they change the style substantially it will feel disingenuous and if they stick true to Barbie it will be regressive and superficial. Barbie just doesn’t work as a real person.

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Trini

Trini

On 7/9/2021 at 8:37 PM, Dani said:

Barbie just doesn’t work as a real person.

This is probably the biggest problem with adapting this character. She's literally everyone and everything. By design. Of course, you could pick one thing, but the point of her is that she does and is everything. Maybe they can go back to her roots as a fashion model, but what kind of story can they make out of that?

Other films based off toys have been centered on characters/settings that are a lot more specific, and/or have at least some bare bones backstory.

Another issue: does Mattel really want to have Barbie attached to a specific actress?

I'm not saying that this can't be done, but closest thing to a toy property that is both very broad and very specific that they made a successful film out of was Lego, but that was animated.

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Spartan Girl

Spartan Girl

34 minutes ago, TheGreenKnight said:

I think a PIXAR Barbie spin-off film using the character as she was in the Toy Story films (played by Jodi Benson) is the only Barbie film I'd be interested in. I'd rather that than a Buzz Lightyear movie, really.

I’m down for the Buzz Lightyear movie, but this would be a great idea!

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proserpina65

proserpina65

On 6/5/2021 at 9:50 PM, AimingforYoko said:

Master and Commander prequel in the works at 20th Century.

So, fantasy casting?

I'm going to have to think on this one.  I loved the first book.  I also loved the movie and was disappointed it didn't do that well at the box office.  Too bad Russell Crowe hasn't been able to play a young Russell Crowe for a couple of decades now.  (It better not be Timothee Chalamet, ugh.)

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starri

starri

16 hours ago, xaxat said:

Scarlett Johansson sues Disney over ‘Black Widow’ digital release

It was kind of inevitable that some director or actor who had compensation tied to box office would sue over simultaneous streaming.

Good for her.  This de Havilland v Warner Bros for the 21st century.  If creatives don't make some effort to stop them, this will just encourage the studios to use streaming as an attempt to screw them over.

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xaxat

xaxat

Amanda Knox is a US citizen who was falsely convicted by Italian authorities for a murder she had nothing to do with. The creative team behind Stillwater claims that the movie is based on her experience. 

But in a fascinating Twitter thread, Knox explains how their interpretation of the story differs from her actual experience and what it is like to have strangers shape the public perception of who you are.

 

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Ambrosefolly

Ambrosefolly

(edited)

So I am coming around to the idea that Quentin Tarantino is a sociopath. Aside from helping his mom with the IRS, he has refused to give his her any money because she  insulted his dream when he was a child. It isn't cool to make fun of your kid's dream, but her slight defense, he wasn't doing his school work while in class. Also his father, a failed actor, left the both of them when he was a baby and she was in her late teens. Maybe she is a pigheaded as her son and never admitted she was wrong, but it seems rather cold to treat seems that did house and feed him, allowed him to participate in theatre after he was caught shoplifting and let him watch R rated movies when he wasn't of age. I am little shock that he is the successful director that he is, because a lot of people that have picky relationships with their parents eventually come to realization that parents are imperfect and human.  He seemed to have failed "Basic Human." Even Michael Jackson said he forgave his father when he would have every right not. I am not going into much detail, but QT's relationship with his mother was nothing compared to my mom and grandma, but my mother made sure that she was looked after until she died. 

So we had that little confession, on top of how he treated other women, like how maintained his relationship with Weinsten after the way he went after his former girlfriend Mira Sorvino or Uma Thurman getting into a serious car crash while filming Kill Bill because he insisted. I am really glad I never watched a Tarantino movie. 

I am not saying that he should be giving her fancy houses or cars, but really nothing?

https://www.yahoo.com/lifestyle/quentin-tarantino-talked-refusing-financially-204744902.html

Edited by Ambrosefolly
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kiddo82

kiddo82

(edited)

All this talk about day and date streaming and theatrical windows and box office numbers and what does any of it really mean in the time of COVID has me thinking, have we been conditioned to not have FOMO (fear of missing out) anymore?  I was with a group of friends last weekend and the topic of Jungle Cruise came up.  With the exception of myself (I saw it in the theater), everyone else just shrugged and said they'd wait for it for "free" with their D+ subscriptions.  It wasn't their decisions that got me thinking (it's their money after all), but it was the indifference with which they were all like "I'll just wait it out."  No one was torn.  And this is a movie that I think in normal times they all would have been interested in checking out.  You got the Rock and Emily Blunt in a well reviewed, fun, Pirates of the Caribbean-like, summer popcorn movie.  And it's the type of movie that maybe none of us needed to see opening night, but you find yourself wandering into a theater for it a few weeks into its run after good word of mouth.  I myself didn't need to see Cruella or Raya when they came out in theaters/with premiere access and I could easily wait it out to see them "for free."  (In the normal times I'm sure I would have A-listed both of them).  I still haven't gotten around to watching The Suicide Squad yet and I've technically already paid for it with my HBO max subscription.  My point is, just like my friends with Jungle Cruise, I don't feel the need to hurry because although I've heard good to great things about all these movies, I just don't feel like I'm missing out on the conversation.  The "gotta have it now" urgency isn't there.  It's also apparent on these forums.  As of my posting this, Free Guy, the number one movie in the US over the weekend has five (FIVE!!!) posts.  And only one of them was posted after the movie came out.  And I understand the hesitancy to go back into a crowded movie theater, I do.  It took me a very long time to go back and I still don't feel 100% comfortable.  But it would be one thing if I was hearing from a lot of people "I'd love to see that, I just don't feel safe right now."  But from my very anecdotal observations, it's more a lack of urgency.  And in the long run that could be even harder to overcome than making people feel safe again. 

Edited by kiddo82
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Anduin

Anduin

I live in a fairly safe zone, and just checked upcoming releases. There are four or five movies I want to see this year. What's odd, there isn't normally much interesting released between June when the last of the tentpoles stop, and December when there are a few more. I suppose all the studios have pushed them as far back as possible without two coming out at the same time.

Of course, while I don't have any streaming service, I have too much time on my hands. A few good cinema outings will be really nice. Unless we're dinged again.

So there are at least three variables there. Interest, availability, safety. I'd say interest relies on the other two. When leaving the house can be dangerous, it's easier to wait it out.

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Raja

Raja

On 8/16/2021 at 4:35 PM, kiddo82 said:

All this talk about day and date streaming and theatrical windows and box office numbers and what does any of it really mean in the time of COVID has me thinking, have we been conditioned to not have FOMO (fear of missing out) anymore?  I was with a group of friends last weekend and the topic of Jungle Cruise came up.  With the exception of myself (I saw it in the theater), everyone else just shrugged and said they'd wait for it for "free" with their D+ subscriptions.  It wasn't their decisions that got me thinking (it's their money after all), but it was the indifference with which they were all like "I'll just wait it out."  No one was torn.  And this is a movie that I think in normal times they all would have been interested in checking out.  You got the Rock and Emily Blunt in a well reviewed, fun, Pirates of the Caribbean-like, summer popcorn movie.  And it's the type of movie that maybe none of us needed to see opening night, but you find yourself wandering into a theater for it a few weeks into its run after good word of mouth.  I myself didn't need to see Cruella or Raya when they came out in theaters/with premiere access and I could easily wait it out to see them "for free."  (In the normal times I'm sure I would have A-listed both of them).  I still haven't gotten around to watching The Suicide Squad yet and I've technically already paid for it with my HBO max subscription.  My point is, just like my friends with Jungle Cruise, I don't feel the need to hurry because although I've heard good to great things about all these movies, I just don't feel like I'm missing out on the conversation.  The "gotta have it now" urgency isn't there.  It's also apparent on these forums.  As of my posting this, Free Guy, the number one movie in the US over the weekend has five (FIVE!!!) posts.  And only one of them was posted after the movie came out.  And I understand the hesitancy to go back into a crowded movie theater, I do.  It took me a very long time to go back and I still don't feel 100% comfortable.  But it would be one thing if I was hearing from a lot of people "I'd love to see that, I just don't feel safe right now."  But from my very anecdotal observations, it's more a lack of urgency.  And in the long run that could be even harder to overcome than making people feel safe again. 

There is a  review podcast that I listen to and a question they always pose is if a movie can be spoiled. Outside of the MCU  releases  coming up and The Suicide Squad is that really in question for those films being released?

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