Comics Creators

Box Office Mojo


They do face a challenge, I’d say not just in Asia, because their content is very anglo-centric at the moment. I read an article a year or so back that take-up in Spain for example had been very low as they weren’t too attracted by the full content. In Scandinavia where English fluency is much higher they were doing a lot better.

On the plus side of that, they have been working on it. They started creating their own originals in other languages and some co-productions too. Their subtitling options are also pretty good, I can get Stranger Things with Malay or both forms of Chinese script.

They have a long way to go in really providing the right content but as before, they are ahead of pretty much everyone else on their scale. The rivals here are comparatively small and also very new but it could be that if they aren’t able to give the specific local focus needed a lot of people could stick with them.


My reply would basically be everything Gar said, plus that you might be surprised. It so far has no cache here; iFlix handles most of it, and of the roughly 3+ billion people living in Asia, at least 2, maybe 2.5 billion will never be able to afford Netflix unless the company gets creative with pricing.


I don’t know how that’s going to work, culturally. It would take a crash, like the crisis that hit the studios in the 60’s and 70’s, to really change working methods and tactics again.

That’s not impossible, but evolution is more common than revolution.

And that’s their most important strategy right now. Content is king and Netlix spend most of what they earn by licensing content.

The reason I don’t see a lot of rivals appearing is because licensing content is easy money for those companies with big libraries of content. Just as TV and then home video were important, even vital, revenue streams for the studios so online streaming has rapidly become a lynchpin of their finances, and setting up rival equivalents is expensive and really more effort than it’s worth.

What’s happened in the past is take-overs and mergers. So Netflix may continue to commission new shows and films, or it may buy a studio. Or more than one in different parts of the world.


Not to brag or anything but I’ve seen an 86% return on my Netflix shares just over the past year or so.

(Unfortunately the rest of my portfolio is middling to disastrous…)

How much international growth is left for Netflix? China is a closed market. Japan just does not get online streaming in the same way as Western markets. Same with India, which is also hindered by economic realities for the bulk of the population. I suppose these things will play out quite well for them in the long term as the required technology becomes more widespread, affordable and reliable around the world. Still, that assumes there are no issues regarding bandwidth availability first and foremost.

I wouldn’t be at all surprised if the Netflix of 2027 had a tiered pricing structure, commercials and live broadcasts of sports/news, effectively turning it into a slightly better version of the networks it aimed to replace.


Maybe we can combine the Netflix discussion with the discussion I started in the DC comics thread about how the LCS is dying into “Robert’s thread about how all the ways you’re getting your entertainment is going away in 5 years”.


Fixed that for you.


Didn’t you know? Robert is actually just a mocap character being played by Andy Serkis.


Only Andy Serkis can save the LCS.


What if all this time Andy Serkis has been played by Meryl Streep?


He’s clearly John Cena. Anyone can see that.


Anyone can see that, I suppose, if they recognise John Cena. I still don’t really know who he is. He’s a cousin of Chris Evans, right? :confused:


Chris Evans wishes John Cena was his cousin.


Good long interview with Steven Soderbergh, but this part is relevant to the thread:

A bigger obstacle that, for a while at least, drove Soderbergh crazy: the way Hollywood makes and markets films now. Major studios, he says, spend too much money ineffectually marketing movies—millions of dollars that they expect to be repaid before anyone else involved, including the artists themselves, get their share. To the extent that Soderbergh ever retired from directing movies, it was because he found the conditions of making them simply too dumb to continue tolerating. But he is a problem solver, first and foremost, and with Logan Lucky he thinks he’s found his solution.

It’s simple, he says. You sell the foreign rights ahead of time in order to finance the cost of producing the film. Then you sell “everything except the movie showing up in a movie theater”—like HBO, Netflix, VOD, television rights, airplane replays—to pay for advertising and prints of the movie. And, voilà, independence. By doing it his way, Soderbergh and his creative partners get nearly half the box office money directly from the theaters.

We should talk about what you’re doing with the financing of Logan Lucky and why it’s so radical.

There’s no intermediary. The money is not passing through anybody’s hands. All these people who work for scale to make this film will literally be able to go online with a password and look at this account as the money is delivered from the theaters. So it’s complete transparency. The question is: Can we put a movie out in 3,000 theaters, and spend half of what a studio would spend to do it, and succeed?


It’ll be fascinating to see how it turns out, and whether anyone follows his example?


We all are, aren’t we? I mean, I am.


I’m not sure that it’s an entirely new idea. I remember the movie adaptation of A Bridge Too Far was financed in a similar way (according to Adventures in the Screen Trade by William Goldman).

It will be interesting to see if it works.



‘Detroit’ isn’t doing well, and people are suggesting that the great response the film got when it’s been screened convinced those involved in the movie that they had a major commercial hit.

Which it seems like they don’t. They do have a serious film about an important subject and they might win awards, but getting people to see such a serious, even downbeat, film, isn’t always easy.


Detroit definitely doesn’t feel like the type of movie you give a summer release too. Even a late summer release. A film about race and police brutality is a tough sell, in general, but I would have thought the best way to potentially sell it would be to release it late in the year in the hopes it garners enough awards buzz to get people interested in checking it out.


Yeah, I must have seen that trailer 5 times this summer but it never really occurred to me that they were making it a summer release. That’s really not a swell idea.