There’s an increase in co-production too especially between countries. Monster Family is originally in German I believe, hardly anyone knows all the Despicable Me, Sing and other Illuminations films are made in France.
Plus there’s no reason why they couldn’t work out a deal to issue subscribers a free pass into the cinema. Considering how much it’s pirated I think they’d still stand to get a large audience.
I imagine HBO’s problem with the idea comes at it from the opposite perspective - they don’t want people to be paying a single fee to cinemas to see it, when HBO could be snaring them into a full subscription directly.
Well yeah but there is the same argument for catchment in terms of subscribing to see the rest of the series after the first screening. Then as far as the last episode goes it’s the last episode, I can’t see many subscribing just for that one episode who haven’t subscribed at the begining of the final series.
Yeah, who knows. I presume HBO have done their research on this and feel that the exclusivity is worth more to them than the exposure, given their business model.
Yeah but that’s where my model doesn’t really impact that. Like with the BBC in DW and Sherlock you just choose selected special episodes.
Say it’s a $10 ticket you could pay to go out and watch episodes 1 and 6 (I think they are only doing 6) and get a fraction of the story with no context in between, or sign up to HBO for less to actually follow it. It can’t really replace it in that scenario, it’s just a fun extra for the biggest fans.
Without knowing how much HBO would get from the cinema ticket cost, whether they would attract viewers beyond their core existing audience better through cinema screenings or through keeping it HBO-only, and how much money they’re likely to make from snaring new subscribers (assuming people don’t cancel their subscription immediately, then the benefit to HBO goes way beyond the initial subscription payment), it’s difficult to judge.
Plus there are all sorts of less tangible benefits and drawbacks (the extra exposure of cinema screenings versus the perceived exclusivity of it being HBO-only).
I don’t really have a strong opinion one way or the other - I can see the arguments on both sides - but given HBO’s stated position on it, it seems like they’ve weighed all that and decided against it.
This is why all large producers of content should discuss things with Millarworld, first. Don’t they know how smart we are?!
They’d get roughly half the gross ticket price, it’s a pretty standard formula (and I used to collate the numbers to send to the BFI years ago).
No and I understand and maybe I am missing something but the world is full of accepted wisdom until someone suggests otherwise (like US comics could only be monthly). Disney were insistent for 15 years after home video launched they would never release their animated films, then they went so far the other way they embraced direct to video sequels.
I’m far from the font of all knowledge but from what I do know if it’s reserved only for that kind of special event it’s really hard to financially lose.
(Just to clarify too I am not for a second suggesting running a series in the cinema, that’ll never work, nobody has the time or the money. Just big pop culture moments like a 50th anniversary special (as with Doctor Who) or series finale of something that already has a huge audience and buzz.)
I’m the same, I find it very difficult to see anything negative enough to find serious fault. I struggle to see past it being anything more than a decision based on the brand itself and how they want it viewed, or maybe even it’s simply them being stubborn in light of Netflix’ growth and they are refusing to evolve.
Record labels did the same when digital came around and it damaged them extensively.
Christ, it really is just Lost World 2: We went even bigger this time.
I used to work for a computer company that lauded that it sold boring grey boxes cheap and they expanded incredibly quickly doing that to become world leader. They stuck to it too long after Apple started using funky designs and realised the market demanded they do it too (and it doesn’t really cost much more, pay one designer a big salary but the manufacturing cost is much the same).
I imagine the problem in these sorts of situations are shareholders too. Shareholders aren’t known for embracing change
Something to add to the HBO discussion:
There’s a streaming service in this region called iFlix (no points for originality there) and their model to expand has been to bundle with ISPs and telecom providers. Basically half the population that use the biggest provider get it free for a year.
That looks like it’s worth a look.
Yeah, I would have assumed it would be more likely to stream than go to cinemas. If Gattaca came out today, it would probably not do much of a theater run either.
I think a lot of the somewhat stranger or more intellectual films from the 90’s never would make it to theaters today, either.
It looks like more of the same but i did quite enjoy the first one, so I’ll probably check this out.
‘Gattaca’ is a pretty straightforward movie. It had a hot young cast and a simple idea that was easy to explain to an audience. It looked good, it sounded good, it delivered clearly and emotionally, for the audience.
I think ‘Gattaca’ would get a theatrical release globally and would do well.
Where Netflix and others are stepping in is with less mainstream (Annihilation) and, frankly, sometimes broken films (Mute), plus mainstream movies from people fed up with the studio development process (Bright).