In this world of sooo many choices - branding is everything. If you build a brand based upon a well-conceived business model - be it a cinema or high-tech company - success is assured.
Each year a listing of the 100 most valuable global brands is compiled and a value is determined for each of those brands. Only one entertainment related company, Disney Studios at #23, made the cut; however, the tech giants, who are now entering the entertainment arena, dominated the listings.
The list is compiled by AdAge, BrandZ, Bloomberg Research, and Kantor Assoc. The accompanying chart details the top 25 global brands, for the remaining 75 search: 2014 BrandZ Top 100.
Cinemas Need To Be Social - having your cinema equipped with WiFi is really a must! Why? Because it provides an excellent service for the moviegoer and sales and marketing opportunities for exhibitors.
Linger Longer
With access to the internet and a place to relax, moviegoers will linger in the cinema after the movie and it provides the exhibitor an added opportunity to sell concession items.
Access to In-cinema Admission & Concession Promotions and Specials
Encourage patrons to access the cinema's website or blog for information on special concession deals and promotions you are having that day or week. Also discuss upcoming movies and movie schedules. People often forget about doing this before attending the cinema so having in-cinema internet access to your sites is a big plus and keeps your cinema 'social'.
Provides a 'Hot Spot' for non-Smartphone Users
This includes me. Yes, I have a pay-as-you-go phone with no full-time internet access, same goes for my iPad. My cellphone cost runs about $10/month but I can access the web if there is WiFi available. Now I know some of you may think I am out-of-touch but believe me there are many who think and behave as I do. So, having a 'hot spot' in the cinema is great for us cellular deficient types.
Non-moviegoers' Destination
If your cinema is set up with a, lets call it, cafe or a place where people can sit and enjoy a cup of joe or other libation than there is no reason why your cinema can't be used as the 'third spot'. The third spot concept was devised by Starbucks and it represents the 'place' between work and home. Free WiFi access and decent concession offerings will bring customers into the cinema who are not moviegoers, but want a nice spot to sit and browse the net, text, and relax.
Going forward more and more information will be given and received via WiFi - from content streaming and video gaming to point-of-sale payments and wireless music. Having your cinema WiFi equipped is a must for your customers, as well as, your employees. Use it and take advantage of it.
'Godzilla' gobbled up the box office on its release last week. Grossing a huge global opening of over $196 million, it crushed all comers and competition. The Japanese kaiju epic monster tale (which hasn't opened in China as yet) placed Warner Bros. firmly in the top spot as this year box office leader - a sequel is already in the works.
Godzilla first emerged from the ocean depths in 1954 and went on to 'star' in numerous Toho Studio films which included Godzilla rivals Mothra, Rodan, and Ghidorah. There was even a baby Godzilla, Minilla. An amphibious reptilian creature, Godzilla is a metaphor of the nuclear age's destructive consequences and has an 'atomic breath' - a radioactive heat ray that spews from its mouth.
Could Godzilla Really Exist
Baby Godzilla
In this month's issue of Popular Mechanics, an article deals with just that - whether or not a real Godzilla could exist. Here are the findings:
At 350 feet high (over 30 stories) Godzilla would weigh in at over 164,000 tons. Have a heart that would weigh 100 tons pumping 530,000 gallons of blood through its humongous body. Needless to say, Godzilla would have to have very large and very strong bones. At 20 times greater than the force on T-Rex's bones, Godzilla's leg bones would need to be twice as strong as some titanium alloys.
No actual animal could take the pressure of being so massive, but this is Godzilla - who has radioactive breath and destroys entire cities. He/she, Godzilla is gender neutral, even has a star on the Hollywood Walk of Fame.
"When you wake up in the morning and you turn around and your ass falls off", retorted Sly Stallone on his view of retirement, but it is also an appropriate analogy to the Cannes Film Fest - as its ass has fallen off.
Statham, Ford, Stallone, & Gibson yuck it up in Cannes
Touted as the world's biggest and best film festival, France's renown gala is showing signs of losing its, once, unchallenged hold on contemporary cinema. Critics scrounge the ranks of the entrants for, this the 67th festival, in the hopes of finding quality selections to judge. The digital age has not been kind to Cannes, nor has the shift in the public's desire for films they now gravitate to - as the high-impact, special effects driven films that are now the blockbuster bruisers of today's cinema do not gel with the demure sophistication that Cannes tries to portray.
This year's festival may be pivotal, as attending cinema aficionados and industry hoi polloi streamed into the Cote d'Azur and got an even heavier dose of turmoil that has become the norm at Cannes. Food and accommodation prices so sky-high that even well-heeled celebs give a second glance a bills - with comments about gouging, poor service, and inferior libations commonplace. This year's headaches were compounded by worker strikes at French airports and taxis services. "There's always something, some protest or strike, during Cannes, but this year it's really extreme. It's affecting everyone", stated Claire Stewart, Director of the London Film Festival.
All abroad in Cannes on a Soviet Tank
Cannes is burdened with chaotic logistics that need addressing but, more importantly, its focus is out of sync with moviegoers worldwide. Selections are made by the festival's current director, Thierry Fremaux, who has been roundly criticized for his lack of creativity and in protecting certain directors at the exclusion of others, namely younger and female film makers. For example, of the 19 directors in contention for the grand Palme d'Ore prize, 13 have already been nominated at least once before. Critics contend that the competition has become a 'cozy club' where the chosen few are never rejected. So, like Cannes itself, the selections foster a tarnishing reputation that needs a re-work.
Cannes, like all film festivals, should be about promoting and pushing the art of film-making, not about awarding old story-lined films we have all seen before ad nauseam. It's called a 'festival' because its purpose is to celebrate, appreciate, and award new films that push the envelope not re-seal it.
The Expendables' geezers took Cannes by storm and were the hit of the gala
The Croisette is the main drag in Cannes and as two tanks rolled in all traffic came to a complete halt. Atop the tanks were the stars of the film 'The Expendables 3' which was being promoted during the festival and kind of poked a stick in the eye of the festival itself. The tank stunt contributed to the estimated $2 million for the film's promotion at the festival, which featured all of the big name leads, in addition to Stallone - Arnold Schwarzenegger, Jason Statham, Dolph Lundgren, as well as, new cast members: Harrison Ford, Mel Gibson, Kelsey Grammar and Antonio Banderas. "We are the childrenof arthritis," said Stallone, "We are young forever."
Last week, as you've probably seen, Miley Cyrus went all out at the iconic G.A.Y. club in London, and during her performance mounted a giant, blow-up penis and pelted-out her hit song 'Wrecking Ball'.
This is 'shock' entertainment and Miley is a master at it.
If you want a ton of media buzz and promo hype, Miley's your girl, as she routinely looks in her rear-view mirror at the likes of Gaga, Perry, Beyonce, and Rhyanna. Miley says, "it's all in fun" and it sure looks like she's having the time of her life, but so are her fans. Which begs the question: 'Is the cinema keeping up with what societyexpects in entertainment or is it stuck in a world of fantasy superheros and special effects which is becoming kiddishand tiresome? Is 'shock' entertainment the new mantra or is Miley just an anomaly.
Yes, we all know that Hanna Montana is dead - Miley shed her skin long ago - but the urge and the demand for 'shock' appears to be getting greater as audiences lust for more. Miley, is just reflecting society's push to the racier and more provocative, as our attention spans get shorter and shorter to a point where only the abnormal gets our notice - what was outrage is now the norm.
Miley playing with a penis, Gaga and Perry puking up paint - is this just a jab in the eye or is it feeding our need for excess and does the cinema follow down this path? It use to be that celebs got publicity by getting busted for drug possession, shop-lifting, DUI, and then going to court and rehab (or not). Now its all about calculated 'shock' performances. What's worse? Ride the penis, puke on-stage but staying sober - I'm Ok with it.
At CMG we love polls, especially movie polls. Valid or not they arouse because you want to know
how 'others' view the same or differ from your take. I came across two recent polls about movies that I thought would be fun to share.
The first is a poll on what people thought were the top 26 (one for each letter of the alphabet) cult-films of all time. Now we all have our favorite cults but see how they match up to what others think.
A Clockwork Orange - 1971
Blue Velvet - 1986 Caligula - 1979 Dirty Dancing - 1987 El Topo - 1970 Friday the 13th - 1980 Godzilla - 1954 Harold and Maude - 1971 Indecent Proposal - 1993 Jacob's Ladder - 1990 Koyaanisqatsi - 1982 Life of Brian - 1979 Mad Max - 1979 Night of the Living Dead - 1968 One Million Years B.C. - 1966 Pee-wee;s Big Adventure - 1985 Quadrophenia - 1979 Raising Arizona - 1987 Scarface - 1983 The Rocky Horror Picture Show - 1975 Universal Soldier - 1992 Valley of the Dolls - 1967 Withnail & I - 1987 Xanadu - 1980 Yellow Submarine - 1968 Zero Effect - 1998
Some of these I've never heard of, others I wouldn't have guessed made 'cult status', like 'Universal Soldier'. Many others, I feel were left out. For example, I would have chosen 'Blade Runner' over 'Blue Velvet', or 'Caddyshack' over 'Caligula'.
The next poll was compiled by the American Film Institute and it lists the 100 greatest movie "quotes". I will only list the top 25 here:
1. Stars Wars - 1977 "May the Force be with you."
2. Gone With the Wind - 1939 "Frankly, my dear, I don't give a damn."
3. Forrest Gump - 1984 "Mama always said life was like a box of chocolates. You never know what you're gonna get next."
4. The Shining - 1980 "Here's Johnny."
5. Apocalypse Now - 1979 "I love the smell of napalm in the morning."
6. Terminator 2- 1991 "Hasta la vista, baby."
7. Dr. Strangelove - 1964 "Gentlemen, you can't fight in here! This is the war room!."
8. The Sixth Sense - 1999 "I see dead people."
9. Jerry Maquire - 1996 "There's the Money?"
'stinking badges'
10. Sunset Blvd. - 1950 "I am big. It's the picture that got small."
11. Casablanca - 1942 "Louis, I think this is the beginning of a beautiful friendship."
12. Some Like It Hot - 1959 " Well, nobody's perfect."
13. Casablanca - 1942 "Play it Sam. Play 'As Time Goes By'."
14. Titanic - 1997 "I'm the king of the world."
15. Caddyshack - 1980 "Cinderella story. Outta nowhere. A former greenskeeper, now about to become the Masters Champion. It looks like a mirac... It's in the hole. It's in the hole. It's in the hole."
16. Rocky - 1976 "Yo, Adrian."
17. King Kong - 1933 "Oh, no, it wasn't the airplanes. It was Beauty killed the Beast."
18. Casablanca - 1942 "Round up the usual suspects." 19. Sons of the Desert - 1933 "Well, here's another nice mess you've gotten me into!"
20. Psycho - 1960 "A boy's best friend is his mother."
21. In the Heat of the Night - 1967 "They call me, Mr. Tibbs!"
22. Moonstruck - 1987 "Snap out of it."
23. Mommie Dearest - 1981 "No wire hangers, ever."
24. The Treasure of the Sierra Madre - 1948 "Badges. We ain't got no badges. We don't need no badges. I don't have to show you any stinking badges."
25. On Golden Pond - 1981 "Listen to me, mister. You're my knight in shining armor. Don't you forget it. You're going to get back on that horse, and I'm going to be right behind you, holding on tight, and away we're gonna..."
Breaking the $3 billion mark would set a new box office record and the next Star Wars installment may be the movie to do it.
Currently, Avatar holds the record at $2.8 billion and to eclipse that number will require a huge blockbuster bruiser. Stars Wars: Episode VII is now in the works. The cast has been set (with the original three: Hamill, Ford, and Fisher confirmed, as well as, Chewbacca, R2D2 and C3PO, and even an appearance by the late Alec Guinness as Obi-Wan Kenobi - through the miracle of digital restructuring) and filming locations, for the most part, have been determined. So, will a mix of the old and new be the magic that grosses a $3 billion gate for Disney?
With the growth of the cinema in China, Russia, and other countries the once unattainable may now be a possibility and a $3 billion gate may be reached. Besides being a great movie, it must be coupled with massive hype - which Disney has already started. VII will have record promotion and media hype that will build to a crescendo as it nears its release date. But to reach $3 billion will take more than a great global opening, it will take 'staying power', the movie will have to play in cinemas for weeks with fans going back for second and third viewings - it has to be that good!
Not only the actors (old and new cast members) but the visual effects must be spectacular and the sound immersive. It must also set the stage and trail-blaze for installments VIII and IX which are already on the drawing board.
I think $3 billion is very attainable for Star Wars-VII and don't forget that an Avatar Two, which is also in the works, could easily break the record as well.
Taking one or more of their largest existing auditoriums and giving it a name, such as 'CinePlus' or 'X-treme Cinema', and than up-charging for a ticket to that auditorium is nothing more than a scam - and the moviegoer knows it!
Disdain for admission gouging is viral on the web
This, the latest ploy by some movie exhibitors to extract more admission dollars from their patrons, is a very dangerous and long-term admission killer. I can't tell you how many emails CMG has gotten over the last year or so regarding moviegoers disdain and utter disgust regarding this scheme on the part of exhibitors.
To me, this admission scam (lets call it what it is) is a perfect example of the very thing movie exhibitors should not be doing, particularly when people have so many other options for entertainment and, perhaps more importantly, as we enter the realm of d-and-d movie distribution via the internet and on-demand viewing. Screening a film on a large screen with large sound is exactly how exhibitors are going to retain their patrons as we move forward - it's not by gouging them at the box office.
A scam and consumers know it !
Consumers aren't stupid. They want value for their entertainment dollar when they go to the cinema - or-else they will view that content in another format, most likely in their living rooms. Unfortunately, it seems, many exhibitors just don't get it!
First film to go d-and-d / in cinemas and via on-demand
Cinemas will have to cope with global day-and-date movie distribution - it's inevitable. Day-and-date release of first-run movies on a global basis is getting closer to reality. Being pushed hard for by Netflix and other content streamers, who are now producing their own high-quality content. From Microsoft to the Hollywood studios the cinema industry is poised to make billions on what day-and-date distribution will bring to say nothing of the added benefit of being a piracy-killer.
How cinemas will cope with the loss of their current window of distribution exclusivity of first-run films is arguable. Those cinemas that embrace the change with expanded content alternatives, with new marketing and promotion, with outreach to local community, and in their presentation capabilities (which can not be replicated in consumers' living rooms) will prosper. This assumes that cinemas have prepared and are able to present movies with the best on-screen image and sound possible. In addition to being clean, patron-friendly, and have innovative, quality and priced-right concessions.
In a recent speech, Kevin Spacey - no stranger to the d-and-d concept - discussed his view on the subject, saying that "the simultaneous release of films at cinemas and on-demand would benefit both distribution formats and greatly assist in the battle against piracy." The way movie distribution will evolve is that release will be at cinemas, on DVD, and on-demand via content streamers to TVs, Smartphones, and tablets. "People say, if you open a movie online at the same time as in cinemas, no one is going to go to the cinemas. That's just not true. People love to go out and have a shared experience, they always will."
CMG has always believed, and stated so in this blog, that movie distribution across all media formats at the same time and worldwide will happen. That the amounts of money involved are just too great for the studios to ignore, that internet based companies would be producing content to do just that, and the desire to suppress piracy, would all join in to effect this change. It is coming. Cinemas - don't be left with your pants down, start preparing NOW!
Jim
Please read the next CMG post which gives a perfect example of how movie exhibitors are harming themselves and others in the industry.
Dealflicks, an LA-based company, is trying to build a discount ticketing service for cinemas. Called the Priceline of movie ticketing, Dealflicks' scheme is to partner with cinemas to offer discounts of up to 60% off regular movie admissions and concessions during those times when cinemas are mostly empty (like weekday afternoons).
Now, it's no surprise to anyone in the industry, that the utilization rate at cinemas is low. In fact, a utilization rate of 20% (meaning a seat is filled 20% of the time) would be considered pretty good for the average cinema. What Dealflicks is trying to accomplish is to raise a given cinema's utilization.
Similar to hotels and airlines, cinemas have low attendance during off-peak (non-weekend) times. What Dealflicks is pitching is that they will market those 'empty seats' to patrons at a discount from the regular admission price and take a percentage of sold tickets. Dealflicks lets the cinema owner select which movie showtimes they wish to discount, at what price, and when. There is no negotiation involved. Customers buy the tickets through Dealflicks' website or iPhone app and collects a 10%-20% fee for each ticket they sell.
Since its launch in 2012, Dealflicks has contracted about 2,000 screens - not a stellar success; however, they keep trying. They added concession purchases to the shop list but I would think most cinemas would be hard-pressed to give away 20% of their concession sales. And that's my problem with the Dealflicks' business model.
- Most moviegoers want to go to the cinema when it's convenient for them (movie-going is very discretionary). Normally those times are evenings and weekends (Thursday night to Sunday night). A discount on admission, even if up to 60% (representing say $5-6) isn't that much of an incentive.
- Most cinemas, particularly multiplexes, experience low utilization because they have so many seats. Yes, they need those seats for the first weekend release of blockbusters but alas most of the time those seats are empty.
- Another reason a cinema has so many seats is because they receive, what is known is the industry, as 'house money'. House money is essentially a kick-back of admission dollars by the studios to assist a cinema in covering it's overhead, if the gross for a movie reaches a specific benchmark. And guess what house-money is based upon - ah, number of seats. That is why you see cinema seats 5 feet from the screen, the exhibitor wants to cram as many seats as possible into each auditorium so as to maximized house-money contributions.
- Cinemas can do what Dealflicks is offering by themselves - and most already do. Many, if not most, cinemas have discounted matinees and off-hour admission discounts. They could raise these if they chose.
- No cinema, under no circumstance, should ever give away concession profits - this makes no sense.
CMG's take on Dealflicks: It's a non-starter for any cinema with even a modicum of showmanship or marketing skill. And if they don't have these skills they should attend a training seminar from Cinema Training Central - www.cinema-training.com .
Going to the movies alone is a wonderful thing - think about it:
I can choose any movie I want and no one can judge my choice.
I get both armrests.
I can walk out if the movie sucks and not give a f***.
I can order the concession, I like, the way I like it.
I can sit where I want - really up close.
I can laugh or cry when and how I please - no shame.
I don't have to share my junk food.
I can watch the trailers and movie in peace, without external commentary or partner annoyance.
I can choose the showtime and film and sometimes have the auditorium to myself - a private screening.
I love going to the movies alone - it's solo entertainment at its best! Hey, even the ticket says 'Admit One'
Oh, and while we're at it, how can you tell if a movie is going to suck? It's all about exploding helicopters. That's right, according to a tried and true theory, the more exploding helicopters in the movie's trailer the higher the level of suckiness. See the chart - charts are always right!
Last month I wrote that Akira Kurosawa was the best film-maker/director the movie industry has ever had. When researching for that post I came across an article by Christy Khosahaba of the LA Times that spoke to the 'best living' film directors and which of their movies "propelled them to prominence".
I felt it might be of interest for you as well.
Steven Spielberg - although 'The Sugarland Express' (1974) did get Hollywood's attention, it was 'Jaws', a year later, that put Spielberg into the real limelight. 'Jaws' was the first film to break the $100 million box office and grossed over $470 million globally - a huge sum in 1976. Plagued by production problems and delays the film was dubbed 'Flaws' by crew members - but the final cut was an unmatched suspense thriller.
James Cameron - his third film was the charm - 'The Terminator' (1984). Once an assistant to B-movie King, Roger Corman, 'The Terminator' catapulted Cameron into becoming the maker of two of the highest grossing film ever, 'Titanic' (1997) with a $2.1 billion global gross, and 'Avatar' (2004) with a total gate of $2.6 billion.
Martin Scorsese - was always a great movie lover. After attending film school in NYC he, like Cameron, worked for Roger Corman where he directed the Corman produced "Boxcar Bertha' - now a cult-classic. Scorsese was to develop the gritty, character strong style of movie-making that we have come to love and which has been copied by many in the film industry. His breakout film was 'Mean Streets' (1973), followed by 'Raging Bull' (1980), 'Good Fellas' (1990), and 'Gangs of New York' (2002).
Quentin Tarantino - when asked if he attend film school, Tarantino's response was "I went to films instead". Tarantino prefers to write and direct his films. His fame came with the Sundance Festival winner 'Reservior Dogs' (1992). Two years later he came back with 'Pulp Fiction' (1994) which cemented his reputation and won him Best Picture and Best Screenplay Oscars.
Kathryn Bigelow - artist turned film-maker. Bigelow (noted for her high-impact films like 'Blue Steel' (1990) and 'Point Break' (1991) she made her real mark with the award-winning 'Hurt Locker' (2009) followed by Oscar winner 'Zero Dark Thirity' (2012).
Peter Jackson - his first film, 'Bad Taste' (1987) a comedy about flesh-eating aliens, took over four years to make. On a whim, it was entered into the Cannes Festival, and surprise - it won several awards. His breakout film however came seven years later. 'Heavenly Creatures' (1994) was a semi-docu based upon a famous New Zealand matricide case. This film grabbed Hollywood's attention and gave Jackson a green light to direct the mega-trilogy 'Lord of the Rings'.
Christopher Nolan - credited with turning the art house flick to the multiplex blockbuster, Nolan's first feature, 'Following' (1998) was a small budget noir thriller but it was enough to elevate his status as an up and coming director. His next film was the breakout feature for Nolan, the 2001 film 'Momento' which gave him two Oscar nominations.
Eastwood in 'Unforgiven'
Clint Eastwood - from spaghetti western cowboy to Oscar winner, Eastwood has had a long and very successful film career. His first film, as director, was the 1988 biopic on jazz musician Charlie 'The Bird' Parker, who was played in the film by a young Forest Whitaker. This film gained Eastwood respect as a director. He followed up with the great western 'Unforgiven' (1992) which won Best Picture and Best Director Oscars. Other, highly regarded Eastwood films include 'Bridges of Madison County' (1995) and 'Million Dollar Baby' (2004) to name several.
Francis Ford Coppola - after winning an Oscar for Best Screenplay for 'Patton' (1970), Coppola got the nod to helm the making of the Mario Puzo novel 'The Godfather' - the rest is cinematic history. Considered by many as the best film of all time, the Godfather trilogy of films simply has no equivalent.
Woody Allen - starting out in stand-up and television joke writing, Allen's breakout came with the romantic comedy 'Annie Hall' (1977) which he wrote, directed, and starred in. This film won four Oscars which Allen never showed up to receive.
To my mind, a couple of other directors that should be on the list are: George Lucas, Ridley Scott, Mel Gibson, and Oliver Stone.
Many, many moons ago, I expounded upon the time when the business models of high tech and Hollywood would clash, that time has arrived. The best current example is Microsoft's new foray into the original entertainment content arena with their 'Xbox Originals'.
Paraded this week and led by Nancy Tellum, Head of MS's Xbox Entertainment Studios, was MS's strategy in the highly volatile and competitive digital content business. What Microsoft (like all of the other original content providers) has to figure out is what mix of shows to offer, who their core audience is, how much to charge, if advertising is viable, and what are, in MS's case, the interactive features to be offered. The MS team has been hard at work developing a slate of content and has decided to use the shotgun approach. Offered will be a blend of unscripted reality shows, documentaries, dramas, comedies, sports, and live show-castings.
MS's core audience is gamers, generally males 18 to 34 though women make up a large portion as well- this audience must be expanded and that is why the programming is so varied. The audience is potentially huge. Over 85 million Xbox gaming consoles have been sold globally and 48 million of those are connected to Xbox Live, providing MS a significant baked-in user base.
The Content
To be made available on Xbox 360, Xbox One, Windows 8 PC, and Windows 8 Phone, the shows will also offer unique interactive capabilities making each a one-of-a-kind entertainment experience. The new shows, starting this June, will feature the following:
'Halo' - a series based upon the huge Halo game franchise. This series is being produced and directed by Steven Spielberg.
'Every Street United' - an unscripted series of eight 30 minute episodes and a one-hour finale. It centers on the global search for soccer's most gifted and undiscovered street stars scouted for in eight countries.
'Bonnaroo' - the three day Tennessee music and art festival which will be live-cast. MS will be the exclusive broadcaster and interactive features will allow viewers to toggle between two live stages, choose camera angles, and Skype with band members.
'Humans' - a one-hour, eight episode drama about a parallel world where the latest must-have is a 'Synth', an advanced robotic servant. But purchasing a refurbished Synth will spell trouble.
The roster goes on: 'Signal to Noise', 'Atari:Game Over', 'Deadlands', 'Extraordinary Believers', 'Fearless', 'Gun Machine', 'JASH', a comedy variety show, and 'Winterworld' a sci-fi thriller.
What's The End Game?
For tech firms like MS, Netflix, Google, Amazon etc. and for traditional Hollywood media it's a win/win. Lots more production in an ever expanding arena with ever more content hungry viewers with a fear-of-missing-out mentality.
For cinemas, the trail is before you. Having now converted to d-cinema (and having done so in the right way) the potential for offering your customers a wide variety of content, exclusive of movies, is like never before. There is no reason why every cinema operator should not be contacting MS and inquiring how they can offer the Bannarro festival on their big screen with big sound via a hook-up of an Xbox to their d-cinema projector. Again, this is a win/win. MS would, I believe, look kindly to expanding its audience and include cinemas in that mix. The opportunity is there - cinemas just have to recognize it and act upon it. That is how cinemas will prosper in the future.
Coined by Betsy Sharkey of the LA Times, popcorn movies are those films "whose primary mission is to entertain. That's it. No thinking, tear-jerking, reflecting required. They must have a popcorn soul."
What than are the requirements that make an unforgettable popcorn film and not just another run-on-the-mill popper. The perfect popcorn movie must first be a big box office bruiser. It must have the muscle to meet our high-impact expectations. It must also have:
- Bigger than life characters, be they superheros, sci-fi monsters, or horror makers. One way or another, good or bad, the characters must arose emotions. The heroes, to be super, must have foes that are as complex and compelling as they are. Baddies that stay with you days after you view them. Think swimming shortly after viewing 'Jaws'.
- Special effects must be off-the-chain. The big screen demands big visuals and big sound. The effects should Wow! They should visually take you there and experience what you could never in real life.
- A great Popcorn movie should make you want more. Make you demand a sequel or more. You can't get enough. A film that is touted to be a Popcorn flick better not disappoint. If advertised as a bruiser it better deliver.
So, happy Popcorn movie viewing. This summer's roster will hopefully provide a number of 'popcorn poppers' - look for them and enjoy the fantasy and mindlessness of this 'must see' genre.
Movieclips Does The Fandango
Doing the Fandango
Fandango - a lively, over-the-top Spanish duo dance in triple time or, the name of the largest cinema online ticketing service in the U.S. Fandango, which is owned by NBC/Universal, inked a deal last week to acquire Movieclips, the operator of movie-oriented YouTube channels. The importance of this transaction is that Fandango sees its future, at least a big part of it, in offering more diverse web-based services.
Operated by Zefr Inc., Movieclips manages 25 YouTube channels which offer film clips, trailers, and original video productions. It has more than 7 million subscribers and averages 200 million viewers per month! Started in 2009, Movieclips partnered with the Hollywood studios to pay them for distribution of short clips and trailers from popular movies. "This is a tremendous opportunity for everyone in building the ultimate destination for moviegoers and fans alike", Rich Radden of Zefr told CMG. To which Paul Yanover, President of Fandango added, "Movieclips will further our service to fans, enhancing the Fandango experience with new video content. This deal will provide consumers an even better way to explore and share their passion for movies."
The is a good strategic move for Fandango as it expands on their movie ticket selling business which serves over 23,000 cinema screens. Financial details of the acquisition were not disclosed.
A new movie entitled, 'Blonde', based on the life of Marilyn Monroe finally got the green light. To star Jessica Chastain as Monroe, the film will be based upon the Joyce Oates' novel of the same name.
The project, which has been in the works since 2010 and was originally to star Naomi Watts, never got off the ground. To now be directed by Andrew Dominik, who described the project as "a really sprawling, emotional nightmare fairy-tale type movie, about an abandoned orphan who gets lost in thewoods", the film is to depict Norma Jean as child to Monroe as superstar.
Oates' 700 page novel was published in 2000 and is a fictional bio but it does accurately deal with many of Monroe's famous relationships - from JFK to Joe D. It will be quite the screenplay and edit job to get the full thrust of 'Blonde' on screen and do Monroe justice in dealing with her inner demons. Jessica Chastain, a natural red-head, has received two Oscar nominations for best supporting actor for her roles in 'The Help' and 'Zero Dark Thirty'.
'Blonde' is to start shooting in August and is being produced by Brad Pitt's Plan B Productions.
Barbie Makes Big Screen Debut
Old Barbie
55 year old Barbie (she doesn't look a day over 20) will make her movie debut in a live-action comedy. Rumor has it that the film will depict Barbie in many of her most popular 'looks' (of which she has over 150) from princess-to-president-to-mermaid and on and on. Which of the 'looks' will be used for the movie is currently under wraps by Sony and Mattel (Barbie's owner).
New Barbie
Columbia Pictures' (a subsidiary of Sony Pictures) President, Hannah Minghella stated that the Barbie movie concept was "unexpected, clever, and truly funny". This will be the second team-up between Sony and Mattel, the first being the agreement to make a movie based upon the 'Masters of theUniverse' characters: 'He-Man' and 'Skeletor' The 'Masters' project is now in development.
Production of the Barbie film is scheduled to begin by year's end.
Never one to mince words, in a surprise statement during a presentation at the Beijing International Film Festival, Oliver Stone told the stunned audience that China needs to confront its past regarding Mao Zedong and the realities of what occurred during the Cultural Revolution. "This is necessary if China's cinema is to be taken seriously" Stone told the attendees.
Stone's comments caused a real problem for the attending guests when he began to discuss the failure of Chinese film makers to confront the true legacy of the Chinese Communist Party and China's revered founding father, Mao. "Mao has been lionized in dozens and dozens of Chinese films, but never criticized", said Stone, "it's about time to make a realistic movie about Mao and the Cultural Revolution. We need to see the history. These things happened, they affected everyone in this room."
Stone's pronouncements, which were received with much controversy by the Chinese press, are not foreign to his outspoken reputation. The Cultural Revolution was a social-political movement set in motion by Mao. It's goal was to re-introduce and re-invigorate the Communist doctrine into Chinese society. It also gave Mao the opportunity to reassess his power after the dismal failure of The Great Leap Forward which effectively paralyzed China politically and was an enormous economic disaster.
Started in 1966, the Cultural Revolution caused widespread turmoil, concluding a mass purge of many middle-class Chinese (estimates put the death toll at over 30 million). The Revolution officially ended in 1976 after Mao's death. By 1980, the policies of Mao's Revolution had been entirely reversed and capitalist based economic policies were instituted.
"We're talking about the essential essence of this nation, of how it was built, this whole century, you've not dealt with it", Stone told the audience.
4K Resolution Buzz
Talk about 4K resolution is everywhere, with products for the consumer, commercial, and cinema markets. So what is really involved in the deployment and from who, where, and when will the demand for 4k come.
What are the biggest challenges in delivering relevant 4k content? Producing 4k content is expensive whether for cinemas or TV. The equipment necessary to produce the 4k image is expensive, so there is a scarcity of this equipment and the expertise to use it. At the exhibition end, most of the digital cinema projectors and servers can not reproduce 4k images without costly upgrades. Additionally, the technology does not support the resolution in its native format. Instead, software systems using various compression methods and scaling techniques are utilized which effectively diminish the benefits of the 4k image.
4k has a way to go, be it for the consumer, commercial, or cinema markets. Technical hurdles, cost, and adoption by end users all need to be addressed so I don't see Hollywood jumping on the 4k bandwagon in a big way for the foreseeable future. These realities, coupled with the fact that 8k resolution has been introduced really puts a damper on 4k.
One film that has become a very closely guarded secret in Hollywood is the new Star Wars EpisodeVII.
It now appears that portions of the new movie will be shot in Abu Dhabi - as photos of a film set being built in the dunes near the resort of Qasr Al Sarat are similar to Tatooine, the desert-like home of Luke Skywalker. Tunisia was used as the setting in the earlier Star Wars films, but the current political situation there is not favorable for film making, so it appears that Abu Dhabi got the nod.
Since Disney Studios announced their plans for three additional episodes of the space saga to be made, there has been questions as to where the first installment would be filmed and who would be cast in the leading roles. It has been pretty much determined that the original trio of actors: Carrie Fisher (Princess Leia), Harrison Ford (Han Solo), and Mark Hamill (Luke Skywalker) will appear in the new film. Their appearances will be a huge plus for stalwart fans and regular moviegoers alike. To date, the only character that Disney has officially confirmed to return is the robot R2-D2.
Recent photo: Hamill, Fisher, and Ford
With a $200+ million budget Episode VII should be quite the movie experience, but fans are very put-off. Star Wars' fan website, theforce.net, has expressed displeasure with Disney's very secret approach to details regarding the new film. It is known that the film's director, J.J Abrams, was given full access to George Lucas's personal notes detailing what he envisioned for Episodes VII, VIII, and IX of the saga. Lucas always planned for nine films, so his notes are invaluable and Abrams and his team have had several Q and A sessions with Lucas regarding his storyline. Lucas had previously stated that, "Only two of the main characters will appear in all nine films, and they are the robots, R2-D2 and C-3PO. In effect, the whole story is told through their eyes".
Star Wars Episode VII is due to be released in December 2015.
China Film Group (CFG), the government run agency that overseas China's film industry, has signed a multi-million deal with Legendary Pictures to fund two fantasy films based upon the epic video games - World of Warcraft and Seventh Son. CFG is the only authorized importer of foreign films into China and this will be the first time the agency will be funding Hollywood made productions from scratch. The scheduled release date for Seventh Son is February 2016 with Warcraft to follow in March.
Following the purchase, last year, of the AMC Theatre Group (the U.S.'s second largest theatre circuit) by the Wanda Group, a Chinese-based development company, the deal with Legendary Pictures indicates that the Chinese are very serious about building a robust and vibrant cinema industry to compete with Hollywood - both in terms of production and distribution. "The partnership with Legendary is a new attempt in this progress. I believe our collaboration will become an effective stepfor both parties in terms of resource integration and market expansion", stated La Peikang, Chairman of CFG.
With China predicted to overtake the U.S. as the world's biggest box office generator by 2020, China sees the movie industry as a means to spread its culture and values throughout the globe. The current annual quota of foreign films allowed distribution in China is only 34. The CFG has indicated that the quota will be increased to 44 films, prompted by the Legendary deal. China limits foreign film releases (principally U.S. films) to bolster the box office of homegrown movies. However, this strategy isn't working so well as the Hollywood blockbusters dramatically outperform the big budget Chinese productions. So, the strategy now is - if you can't beat them, join them - thus the co-production of Hollywood movies for distribution in and outside of China.
I say, all the best. More quality production and more competition the better the end result of what we will be viewing on the big screen.
Cinephile - a person with a passionate interest in cinema, movie theory, and film criticism.
Are Group's like the ICS any longer relevant?
With the vast amount of movie and TV content being produced each year, and internet access to all of it - everyone has become a cinephile. With access to more content than anyone could have imagined just a few years ago, becoming a cinephile is now simple. But, on the flip-side to this all access pass, is the need for time to consume this huge array of entertainment. "The vast majority of the world's books, films, TV, and art you will never see", says Linda Holmes, media consultant and author, and she is right!
Easy access but not enough time to digest it all. This comes to the topic of FOMO (fear-of-missing-out) which is now rampant not only in regards to cinephilia but for our quest for information in general.
FOMO refers to the anxiety and inadequacy humans feel when using social media. This concept isn't specific to the information age but the proliferation of social media, which has caused people, on a global scale, to feel they are missing out on something other than what they are doing - like reading this blog - to the point that they are constantly checking their phone say during a party, rather than enjoying the party.
To be honest, the only solution for cinephiles is to admit that they can't become a cinephile in the 'old' meaning of the term - thus the cinephile is dead. People must come to grips with the fact that they are not going to be able to watch every movie, to accept that much of what they miss will be great, and to admit that this is Ok - that , however incomplete their knowledge, they still love the cinema.
Perhaps it isn't that cinephilia is dead, it has just become irrelevant. There is now no difference between a cinephile and the average media consumer. Once a member of an elite group, technology and social media have granted everyone admission to the cinephile club, and maybe this is as it should be.
Smartainment or smartaining is the production of entertainment content thatis also educational or informative. This term can most definitely be applied to the content available from the National Geographic Society's Cinema Program, which offers an alternative to regular big-screen movies.
To find out more about their Cinema Program CMG spoke with Howard Owens,Nat Geo's President.
CMG: Howard, how would you assess Nat Geo's Cinema Program?
Owens: It speaks to National Geographic's premise that cinemas are a place for upscale, aspirational and smart, fearless programming. That is the audience we are trying to reach, both adults and children.
Howard Owens, Pres. Nat Geo
CMG: There was some question that having a cinema program would represent a move away from the traditions of the Society. Do you believe the success of the cinema program have quelled critics?
Owens: Yes, in fact it has done the opposite of what critics predicted. We have enhanced the Society's brand with new life and made it a contemporary brand. National Geographic tries to bring out the inner explorer in everyone in an entertaining and enlightening way. With the cinema program we are embracing the Society's core values of exploration, endurance, and mind over matter. We don't do programming about the lowest common denominator or that talk down to our audience. We want to elevate the conversation with programming that we're part of. This holds true for our TV channel as well.
CMG: You use the term 'smartainment' to describe Nat Geo's brand of programming, what does that mean to you?
Great photo from Nat Geo
Owens: It is programming that entertains but also informs and educates, and the success of our cinema program affirms that people want more engaging, highly entertaining but smart, aspirational content that's not afraid to be fun and fearless. So, we're looking to expand that in unique and different ways. We learn more about the digital content space everyday and we are really trying to use all aspects to keep our audiences more engaged in our shows and to allow an opportunity for advertisers to have a more intimate relationship with our audiences and not just run ads, however clever.
Hollywood appears to be using cartoons to educate and moralize on social issues - as it has become routine for animated films to be 'message' driven and it seems that this tactic is proving very popular with moviegoers. For example, the recent and very successful, 'Mr. Peabody & Sherman' (DreamWorks), about a dog that adopts a child and travels back in time, encountering historic (real-life) people and their problems. Or for the upcoming, 'Rio 2' (Fox) in which a blue parrot and his pals battle extinction will debut with a PR campaign in conjunction with the U.S. Forest Service - to encourage children to spend more time outdoors and connect with nature. Studio sponsored, public-service announcements are planned with a view to educating young children on appreciating nature and animals and instilling a sense of environmental stewardship. The U.S Forest Service estimates that over 245 million Americans live within 100 miles of a national forest or grassland - and 88% of children say they enjoy being in the outdoors.
Later this year, DreamWorks will be releasing 'Home', which depicts the relocation of people to reservation land in Arizona - the comparison between Native Americans and the arrival of white settlers is central to the film's message of environmentalism and multi-cultural themes.
But this is more than Hollywood's attempt to send youngsters moral messages - it's about great business opportunity as well. The audience for animated movies is much broader than for action/superhero movies and since the mega box office success of eco-friendly films such as 'Avatar' and 'Wall-E', Hollywood sat up and noticed that addressing social issues was not a bad way to go. According to Dominic Patten of Deadline Hollywood, "This has been true for animated films for some time. They are not for kids anymore - parents and children only make up 50% of the box office, the rest of the audience is adults 24-68. It's a wide, multinational demographic." Which is way these movies make so much money. 'Frozen' not only made over $1 billion at the box office globally, but its soundtrack was number 1 for weeks on the top-hits chart.
From Hollywood's perspective, this is all good, really good. It's not about getting on a soap-box rant but highlighting issues that people know are important and impact the whole world. And telling these stories through cartoon characters really seems to connect with moviegoers.
"It has to do with recognizing the power of the moving image in the 21st Century", Barbara Boyle, Assoc. Dean of UCLA's School of Theatre, Film & Television told CMG."Animators have been including social responsibility in their films for many years, now they are getting to be more important. Animators can do anything. They're not limited. It's a true art form. You can have animals speak. You have no boundaries to reality. If you are learning about human or social issues it doesn't matter if it's a rabbit talking to you."
I agree. People want to have their social and environmental concerns confirmed through films - and the animated ones can do it better and much easier to a much broader audience.
In a stunning statement, Kevin Feige, President of Disney/Marvel told Bloomberg Businessweek that "It's like looking through the Hubble telescope. You go, "What's happening back there? I can sort of see it." Our plans for films reaching well into the next decade, at least to 2028."
Disney/Marvel Plan on Big Future
This is great news for the cinema industry, as Marvel Studios has had great box office success since opening its doors, just six years ago. Its debut movie was 'Iron Man' and its latest blockbuster, 'The Avengers', was the third biggest grosser of all time with a $1.5billion global box office take. Thus far, Marvel has put out 9 films, including the current 'Captain America:The Winter Soldier' and three more films are ready for release: 'Guardians of the Galaxy', 'The Avengers:Age of Ultron'. and 'Ant Man'.
In the works is a movie based on the Doctor Strange character, as well as, more installments of Thor, Captain America, and Iron Man. But Feige isn't satisfied with that, he says, "Marvel has identified more than 8,000 characters in their comic-book back catalog that could be featured in stand-along movies." To prove it, Feige has a large illustration on his office wall which depicts planned movies going out to 2028.
Many More Superheros Planned
In a recent meeting with Marvel/Disney execs Feige laid out his plans for new characters being introduced in next year's 'Avengers:Age of Ultron' that could feature in their own movies. The front runners are 'Quicksilver' and 'Scarlet Witch' who will both debut in the 'Age of Ultron'.
The high-impact, superhero movies are currently driving the cinema box office so why not keep them coming. The more the better for the industry and cinema owners in particular.
Forget the Oscars, Cannes, Sundance, Emmys, and all the other media mega-shows and festivals - thebest in 'show' is CinemaCon. If you really want to get into the Hollywood scene - rub elbows and slap backs with the stars and tinsel-town honchos - then going to CinemaCon should be on your agenda.
The least hyped of the movie industry's annual gatherings, CinemaCon (the Las Vegas Convention and Trade Show) is attended by roughly 3,000 theatre owners, studio execs, and cinema and concession equipment manufacturers and distributors - not to mention lots of movie stars. However, unlike all the rest of the shows, CinemaCon is laid-back and stress-free, particularly for the H'wood stars who show up to hawk their latest films, chit-chat, and be themselves.
The year's roster included Clint Eastwood, Johnny Depp, Camerion Diaz, Dwayne Johnson, Kevin Costner, Mark Wahlberg, Drew Barrymore, Mila Kunis, Channing Tatum etc. etc., as well as, the heads of all of the major studios. As Hollywood get-togethers go, it's an odd mix of work and play for all attendees.
The purpose of CinemaCon is to give cinema owners and others (who rely upon the cinema industry) a sense of what will be forthcoming in the months ahead and what films will draw in the largest audiences. Additionally, new equipment is exhibited and demo'ed and attendees are not bashful in giving their opinion to the studios or manufacturers.
Highlights of this year's Show for me:
JBL's New Speaker Lineup
New JBL 9320 Surround
Two new surround speakers, the SCS12 and the 9320 can be used both on wall or ceiling to take advantage of the Dolby Atmos Sound System. JBL also intro'd two new stage speaker systems, the 3252N for smaller auditoriums and the 5742 for large cinemas.
Media Motion's 4D and 5D Cinema Experience
Seating for Media Motion 4D Experience
Forget about D-Block or other current motion seats, Media Motion showed-off the ultimate in interactive cinema. The 5D system has seats that move up/down, tilt lift/right, forward/back, have seat vibration, leg and neck ticklers, air blast, water sprays, scent sprays, and seat and back pokers.
I 'rode' the 4D/5D seats to a clip of a motorcycle (you are the driver) being chased by bad guys. The experience is, well, simulating and very interactive. Whether you would want to be this interactive during a 2-3 hour feature film is unlikely, but for some the extra admission would be worth it.
Media Motion sells the seats in blocks of 24, 48, or 96. All aboard!
NEC's NC1100L Laser Cinema Projector
The NC1100L is a compact D-Cinema Projector with laser lighting vs. xenon. The demo presentation I witnessed however presented a dim on-screen image. There just wasn't enough light and the image was dark. The benefits are that the laser light lasts for 20,000 hours and the projector is sold as being "maintenance free". Which isn't true as software and firmware upgrades will be required. No pricing as yet been announced. For dealers/distributors it's a non-starter.
Life of Brian - 1979
The Rocky Horror Picture Show - 1975
19. Sons of the Desert - 1933 "Well, here's another nice mess you've gotten me into!"
Last month I wrote that Akira Kurosawa was the best film-maker/director the movie industry has ever had. When researching for that post I came across an article by Christy Khosahaba of the LA Times that spoke to the 'best living' film directors and which of their movies "propelled them to prominence".
Quentin Tarantino - when asked if he attend film school, Tarantino's response was "I went to films instead". Tarantino prefers to write and direct his films. His fame came with the Sundance Festival winner 'Reservior Dogs' (1992). Two years later he came back with 'Pulp Fiction' (1994) which cemented his reputation and won him Best Picture and Best Screenplay Oscars.
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One film that has become a very closely guarded secret in Hollywood is the new Star Wars Episode VII.
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China Film Group (CFG), the government run agency that overseas China's film industry, has signed a multi-million deal with Legendary Pictures to fund two fantasy films based upon the epic video games - World of Warcraft and Seventh Son. CFG is the only authorized importer of foreign films into China and this will be the first time the agency will be funding Hollywood made productions from scratch. The scheduled release date for Seventh Son is February 2016 with Warcraft to follow in March..jpg)
Smartainment or smartaining is the production of entertainment content that is also educational or informative. This term can most definitely be applied to the content available from the National Geographic Society's Cinema Program, which offers an alternative to regular big-screen movies..jpg)
From Hollywood's perspective, this is all good, really good. It's not about getting on a soap-box rant but highlighting issues that people know are important and impact the whole world. And telling these stories through cartoon characters really seems to connect with moviegoers.
Forget the Oscars, Cannes, Sundance, Emmys, and all the other media mega-shows and festivals - the best in 'show' is CinemaCon. If you really want to get into the Hollywood scene - rub elbows and slap backs with the stars and tinsel-town honchos - then going to CinemaCon should be on your agenda.
The NC1100L is a compact D-Cinema Projector with laser lighting vs. xenon. The demo presentation I witnessed however presented a dim on-screen image. There just wasn't enough light and the image was dark. The benefits are that the laser light lasts for 20,000 hours and the projector is sold as being "maintenance free". Which isn't true as software and firmware upgrades will be required. No pricing as yet been announced. For dealers/distributors it's a non-starter.
