'Avengers: Endgame' surpassed James Cameron's 'Avatar' as the highest-grossing film of all time at $2.79b (vs. $2.78b for 'Avatar' - note: its total was enhanced due to a re-release).
'Black Widow' rocked the box office at an $80m debut weekend in the U.S. and scored the biggest gate since the pandemic struck. Opening in 4,160 screens it posted the largest box office since 'Star Wars: The Rise of Skywalker' in December 2019.
California, the Golden State, is losing its luster. More and more people and companies are moving out of CA and into other, more 'friendly', states. CA lost over 136,000 residents in 2020.
Disney has decided to transfer over 2,000 jobs to Florida. A new 'campus' near Orlando is now open and ready to receive the Californians. The plan to move these high-salaried jobs has been in the works since 2019.
Florida offers a great climate, a lower cost of living, a safer environment, no state income tax, to name several reasons for the move. Employees will have 18 months to make the move.
In a letter, Josh D'Amaro, Head of Disney Parks, Experiences, and Products stated, "In addition to Florida's business-friendly climate, the new campus gives us the opportunity to consider our team and be more collaborative from a creative and operational standpoint."
Disney employs over 203,000 worldwide of which over 60,000 are in Florida.
Ever wonder why there are no mosquitos at Disney World? Over 52 million people flock to Disney World Park each year - the Magic Kingdom alone had over 20 million visitors.
Disney World is huge. It is twice the size of Manhattan, at 25,000 acres. Currently, only half the land is used and one/third is preserved for conservation.
But no mosquitos! The trick, don't kill the adults but their eggs - it's a policy of prevention. Hence, there is no still water in the Park of any kind and all of the water and water features are kept flowing 24/7.
The Academy of Motion Picture Arts & Sciences invited 395 people to join its ranks in 2021.
According to the Academy, the '21 Class consists of 45% women, 39% under-represented ethnic communities, and 53% from 49 countries outside the U.S. Of the 395, 89 are former Oscar nominees - 25 of which were winners.
Membership selection is based upon professional qualifications with inclusion and equity remaining a priority.
The Academy had previously announced, "that in an effort to enable steady growth and support for all members" it was reducing yearly membership invitations. This year roughly half were invited vs 2020, which had 819 invitees.
To view the complete list of invitees go to the following.
F9 was total make-believe. To me, in a bad way. A Pontiac Fiero in outer space? Cars free-falling off 1,000 ft. cliffs and the drivers walk away? Dom and the familia have gone the superhero, total fantasy route.
Where, When, and How do You View the Latest Movie?
Not only can you not afford to sign up for every streaming platform but who would want to. Consumers are exasperated as new movie distribution is regularly established, re-scheduled, then reset again and again.
For the last 100 years, there was only one place to view new films, at the cinema. Now, the line between streaming and theatrical release is very blurred. The burden of figuring out where and when a movie will be available rests on the consumer. It's a problem that will only become more pronounced as the theatrical window shrinks to 45 days or less. And, as tentpoles more between subscription streaming and cinema screening.
When the COVID forced cinemas to close, the tradition of debuting movies there, went out the window (no pun intended). That left cinemas out in the cold and the studios quickly moved to other distribution channels. But with that change came great confusion for the viewer. Most moviegoers couldn't tell the difference between, nor cared, if the movie they were going to see was from Paramount, Disney, Sony, or DreamWorks - NOW they do!
Virtually, every major movie being released this summer is arriving in a different distribution channel. Paramount's "A Quiet Place Part II" is playing in cinemas for 45 days before moving to Paramount +. Warners' 'Space Jam: A New Legacy" and "The Suicide Squad" are debuting at cinemas at the same time as they are streaming on HBO Max at no extra cost to subscribers. Universal's "F9" and "The Forever Purge" are screening in cinemas for an unknown period before being offered on video-on-demand.
This is a problem and very confusing to consumers. Release schedules aren't even consistent by the studios. For example, Universal's "The Boss Baby 2" is launching in cinemas on the same day it bows on Peacock for free. Disney's "Cruella" was offered in cinemas or for rent on Disney + for $30, while its "Luca" is going straight to Disney + free.
Nothing makes sense any longer in trying to decipher this distribution maze. Consumers are not ready to spend all of the time and money to do a picture-by-picture analysis on where and when something is available. People are also confused regarding when new films are debuting.
The good news for consumers is there is so much choice of content, bad news is that you have no idea of how to find your choice. Marketing is the only means of making it simple for people to find an upcoming feature. The promotion of a new theatrical release must be repetitive and state the fact that it's playing "only in theaters".
Many consumers find it very hard to justify spending extra money to see one movie at home when they already pay a monthly subscription fee. This, topped with the mental exercise of remembering where new movies are playing is too much onus to place on the 'paying public'.
Jim Lavorato
We don't want to get over-excited, as cinemas are just getting back to some form of normalcy, but the streaming war is raging and that can only be good for the movie exhibitors ... here's why!
In addition to Amazon (which also manages Amazon Prime), there is Netflix (the most significant streamer), Hulu, HBOMax, Disney+, Apple+, Paramount+, VerizonWB, and over 50 other entertainment streamers from National Geographic to Acorn. At the moment, all of these competitors have made streaming very affordable entertainment, several offer subscription rates of only $4.95 per month.
What's at stake for all of the streamers is eyeballs. 70% of all viewed in-home content was through a streaming service - millennials streamed 60% of that content. The DVD industry is all but dead as the streamers allow subscribers to hold purchased content in their 'lockers'.
The Battle for the Viewership
The current score on subscribers is as follows:
Netflix - 210m, Amazon Prive - 175m, Disney+ - 104m, HBOMax - 85m, Hulu - 41m, Paramount+ - 36m, Apple+ - 34m. This doesn't take into consideration the large Chinese streamers like TenCent and iQlyi and at least 50 more worldwide some with subscription bases as low as 100,000.
Content is king. For example, for Amazon, snapping up MGM - which has more than 4,000 movies and 17,000 TV shows in its catalog - is an easy and relatively cheap way to supercharge its Prime service with a slew of well-known titles. Which include franchises such as The Pink Panther, Rocky, and the Bond films.
Amazon's purchase of MGM came right after AT&T announced its decision to spin off WarnerMedia and combine it with Discovery Network.
Why This Is Good For Movie Theaters
The streamers know that they need to keep their subscription prices low, at least into the foreseeable future, to remain competitive. To counter the low subscription price, several - Hulu, Paramount+, Discovery+ - are now including paid advertisements with their content streaming. So, we're back to the old game that the cable companies played. Charge a low monthly fee to start, then introduce ads, then raise the monthly fees as the situation permits. The problem is: that scenario doesn't work when consumers would need to purchase 4 or more streaming channels to get the content they desire. This can get very expensive when you consider that the household needs WiFi to get the streaming service delivered and may still want cable for broadcast TV content.
Current Cost of Streamed Content
Netflix $9/mo, $13/mo. HD
Amazon Price $9/mo. or included w/Prime $119/yr.
Apple TV+ $5/mo.
Hulu $6/mo. (ads), $12/mo. (w/o ads)
Paramount+ $6/mo. (ads), $10/mo. (w/o ads)
Disney+ $6/mo.
HBOMax $15/mo.
Everyone knows that the very top of the content barrel will be the Hollywood-produced tentpole films, and these will be exhibited in cinemas with an exclusive 45-day window (for the most part). If consumers want the very best in content they will have to go to the movies, or wait and view it on ??? If you don't have a subscription to Amazon Prime you're not going to see the latest James Bond film. The streamers will horde their content and stream it only on their channel.
This scenario provides cinemas an opportunity - as they, and they alone, will be able to exhibit content from all producers.
U.S. cinemas are opened. The studios are finally releasing quality content and this summer will be a killer box office. The public is ready to get back to "the movies". There is a lot of pent-up demand, and the folks want to get out and return to some level of normalcy.
The COVID was hard on the movie industry, particularly exhibition, as cinemas were closed for months on end. Getting back is great but there are some changes that have taken place. The biggest one being the 'adjustment' in the theatrical release window.
The 90-day exclusive theatrical release window died. A victim of the pandemic. The new window is now 45-days. The virus allowed the studios the opportunity to play with various release models. From day-and-date with streaming to direct to streaming. Exhibitors had no leverage over the release changes as they were shuttered.
Cinemas defended the 90-day exclusivity but the reality is that movies make over 70% of their gate within the first three weeks of release. So, the 45-day window shouldn't cause any panic for exhibs.
Post-pandemic the cinema industry will be as vibrant and vital as ever. I believe people will appreciate the cinema experience more than ever, having lost it for almost two years. Hollywood is set to go and there is an inventory of blockbusters for release.
Look for an outstanding summer and a great holiday season - the cinema is BACK!
Harvey Weinstein is currently serving a 23-year sentence for sexual assault in a prison near Buffalo, NY. - he is appealing that sentence.
In the meantime, he and his attorneys have been trying to evade his extradition to Los Angeles to face trial for 11 counts of rape and sexual assault - those charges carry a maximum sentence of 140 years if convicted.
Although he has stalled the extradition request by California, it now appears eminent that Weinstein will be traveling to LA within 30 days unless Governor Andrew Cuomo of NY (himself accused of sexually assaulting 9 women) intervenes.
Harvey stated that he was "eager to defend himself against these spurious charges". COVID issues will most likely cause his trial in LA to meet with long delays.
Weinstein was born in NYC in 1952. His misdeeds and criminal activities aside, he is considered to be one of the most influential film producers of recent times. Miramax, his production company was responsible for films such as: The Crying Game, Pulp Fiction, Clerks, The English Patient, Good Will Hunting, and Shakespeare in Love.
You don't have to be too astute to figure out that the Oscars have been in a free-fall for the last decade. Becoming a political show, having a problem getting someone, anyone, to host, all the noise about diversity and inclusion, a changing of the guard to a very woke and weak administration, and a steady decline in Hollywood's grip on filmed entertainment - have all blended into a toxic mixture for the Academy and Oscars.
Last week's Academy Awards Show was irrelevant, unentertaining, and unglamorous. The red carpet served as a metaphor for the blood-letting that we witnessed. It was filled with people we didn't know and movies we didn't watch. Only 9.9 million watched the event, a 60% decrease from last year's show which was at the previous low. The Oscars peaked in 1998 at viewership of 57 million.
After 93 years one would think that the Academy could get it right! The Awards show should be movie fan-focused. The "inclusion" should be Hollywood embracing and thanking not only themselves but the folks that go to the local cinema to be entertained, to live in fantasy for several hours, to view and adore their idols. Yet, the Oscars languish in a state of disconnect. One in which the winner of the Best Actor Award (Anthony Hopkins) wasn't present to accept - either in person or via video stream.
After the obvious acknowledgment that the Awards were a debacle, the Academy blamed the pandemic for the lousy Show and poor viewership numbers. One would think it should be the opposite. With people being sequestered in their homes there was a huge captive audience for the Oscar show.
Perhaps the Academy has finally got the message that they are on the wrong path. It has to get back to making the Awards show a gala, festive, and above all entertaining event. I'm not holding my breath.
The Academy Awards are passe' and have been in free-fall for at last 10+ years. The Oscars have no relevance to the average person nor to moviegoers - only 1.9 million in the 18-49 age group viewed this year's Show - which portends things to come.
If you were casting for a biopic on the whole sorted Weinstein saga you couldn't get a better portrayer for the Weinstein role than Harvey himself.
Look at Harvey. If there were anyone that fit the role of a sexual predator it's this guy.
"I'm Losing Teeth. Four So Far!"
Harvey's extradition to LA continues to be delayed. On April 12th Weinstein's attorney requested postponement due to "his client's scheduled critical health procedures, to treat his failing vision and save his teeth." Norman Effman, Weinstein's lead attorney, told the judge, "he is almost totally blind and in need of surgery and shots. He's also has major dental issues. He's already lost four teeth at this point". Arguing that leaving New York, where he is serving a 23 year sentence for rape and sexual assault charges, would be an undo hardship on Harvey.
Los Angeles filed sexual charges against Weinstein on January 6, 2020. He is accused of rape and sexual assault in a number of separate incidents. If convicted on all counts the penalty would be over 140 years.
"We believe we have a very good defense on all of the California charges and believe it will result in an acquittal" said Effman.
Judge Kenneth Case said that even if he ordered extradition, Weinstein has the right of appeal. So, he granted the request to postpone until April 20 the filing of papers opposing the extradition.
In a separate request, filed on April 6th, Weinstein asked the New York Court of Appeals to throw-out his conviction and grant him a new trial, stating that the Judge in his first case made several errors that denied him an impartial jury. We await the Appeal Court's decision on whether to hear the appeal or not.
And so, the saga continues.
$48.5 million gross for 'Godzilla vs. Kong" was a pandemic record for a 5 day opening. This represented about half of what would be a 'normal' debut gate but represented a clear indicatioon that the cinema will return. Globally, the film raked in $285 million.
This bodes well for summer releases such as: "F9" (the Fast & Furious sequel), "Top Gun - Maverick", "Crulla", to name several summer tentpoles, The summer admission's ramp-up is tailor-made for viewing in the theatrical way - as bigger is always better for movie viewing.
Last Monday, Harvey Weinstein filed an appeal of his New York State conviction on sexual assault and rape charges, arguing that the judge made numerous errors that "resulted in a rigged trial".
Weinstein, 69, was convicted in February 2020 with two counts of 3rd degree rape and one count of 1st degree assault. He is serving a 23 years sentence with his earliest parole being 2039.
He is also awaiting extradition to Los Angeles to face an additional 11 counts that carry a potential sentence of 140 years.
It should be noted that New York State Governor Andres Cuomo, also being investigated on sexual misconduct has retained Weinstein's legal council.
Background
The movie industry took a direct and profound hit from the pandemic. The business model is now deeply challenged and must undergo a complete revamp to meet the demands of the digital world. The role movie theaters will play post-pandemic remains unclear.
There are two truths we know for sure:
1. More people are viewing movies at home, and
2. Studios and other content streamers are quickly developing their own direct-to-consumer digital-based services.
Studios derive about one-half their revenue from theatrical releases. If there is a diminished cinema release window it could force changes in the way content deals are struck. However, streaming may not be the best place to be for the studios in terms of profit. Premium video-on-demand (PVoD), where first-run movies are streamed directly to consumers has had mixed results and a full 68% of consumers express a desire to watch movies in theaters. So, clearly it will not be simple nor advantageous for the studios to shift to a full streaming model.
'The theatrical window is in fact an anchor to finance production'
Currently, box office sales account for 46% of total studio sales - which is not something the studios want to disrupt. On average, studios share 45% of box office revenue with the theaters. Further, most movies make 75% of their total box office gross within 17 days of their theatrical release.
Traditionally, the 'windowing' system ensured that each release platform was protected by a set release timeframe, for example, cinemas had a 90 day exclusive. Furthermore, the theatrical window's performance determined, in many cases, how revenue from subsequent windows was negotiated. Therefore, if more movies skip theaters in favor of digital platform release, down-stream revenues are sacrificed.
This scenario places studios in a pickle. Reach more people through streaming but in doing so undermine cinemas' big revenue generation. These facts must be considered in light of front-end financing of productions, existing distribution agreements, and licensing terms. The theatrical window is in fact an anchor to finance production.
Premium Video on Demand (PVoD)
As it now stands, studios either lose money by delaying theatrical releases or stream first-run movies directly to consumers. Only 18% of U.S. consumers have attended a theatrical screening since the pandemic began placing huge financial pressure on the studios and cinemas. Therefore, PVoD emerged as a viable alternative, but posed a treat to the traditional windowing system.
Revenue per window or revenue per user? Typically, digital platforms generate much more data regarding viewer' engagement than cinemas. Viewer tastes and interests, demographics, and location are several. Although only the largest studios manage streaming platforms the need for original 'blockbuster' content is evident. The trick for the studios is to measure how different types of content perform on different distribution channels.
Some movies are well-suited to long theatrical releases while others merit shorter cinema exclusivity and some none at all. The challenge for studios is to understand which distribution channel is appropriate for which type of content and marketing it to the 'right' audience.
On the content front, the studios are now competing against tech and telecom giants. These corporations that don't need their media operations to turn a profit because their main revenue drivers are elsewhere. This kind of deep-pocket competition put studios in a very precarious position regarding purchasing content, selling it, or producing it.
Advertisement: 4mperformance.com
Not Apples-to-Apples
Measuring box office admissions vs. streaming or PVoD revenues is not an apple-to-apple comparison. When the pandemic lifts, the role of cinemas will have changed. When consumers feel safe in a cinema there may very well be a strong rebound in cinema attendance.
I believe studios will continue to deliver 'big cinema' content but how theaters adapt and demonstrate moviegoer value against a growing at-home market will determine their fate.
COVOD 19 hit the movie industry hard but with it came the opportunity to revamp old traditions and prepare for new ones. Streaming has become a necessity and the movie industry must recognize this and forge forward as the future is fast approaching.
The movies have always adapted to 'BIG' changes and the COVID impact will be no different.
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| The Movies Depict Our History |
One of the issues this year is that the Oscars will not have any 'major' contenders. The studios mouth-balled their tent-poles, including such films as 'Dune' and 'West Side Story'.
The Awards will be dominated by 'small-fry' films which are great for the small screen but not so for the silver. Up until the pandemic, all filmmakers assumed their works would be viewed on the big screen. The Best Picture prize was relegated to epic productions or fantastic stories with great acting and directing.
Now the new mantra is films that make the audience 'feel like its inside the film'. Much of the streamed content is 'modified to fit' the home screen and highly censored for a more 'family friendly' audience. Let's face it, a movie seen at home is not the same as seeing it on a big screen at a cinema - too much detail is lost.
Moviegoing is NOT Going AWAY!
I've written before about how the movie industry survived TV and radio in the 1950s, the home video boom of the '80s, and 'pay-per-view' of the '90s and beyond. The pandemic will be no different.
In 1953, Walt Disney commented, "The movie industry requires constant adaptation and adventures in showmanship. We like to enjoy ourselves in crowds, at sports arenas, at picnics, fairs, and carnivals, at concerts, and in the theatre. People are always going to demand and enjoy movies in the theatre. Movies will survive."
Well said Walt. I couldn't agree more!
There may be hope for the Cannes film festival attendees and the movie industry in general as the date of the festival has now been set for early July.
This will be the first major film festival that will be 'live'. After a year of virtual film fests, the prospect of celebrating great filmmaking sounds fantastic. Most festival attendees, be they distributors, filmmakers, actors, agents, producers, and buyers believe that even if the pandemic is not over by July, with the vaccines the lockdowns and group restrictions will be behind us.
This news of a July festival is very positive for the film buyers. The normal (live) May festival was not in the cards. With the whole film industry in turmoil, a bit of normalcy at the biggest film market in the world is great.
The July reschedule is reassuring because it's a delay that's not too long and therefore won't impact the commercial life of films but long enough not to disrupt the whole endeavor. To most, the date change was a huge relief.
There are many distributors with movies waiting to be released once cinemas reopen fully. They have to clear up their slate of overdue releases. The ideal game plan for a distributor is to use Cannes as a launchpad for new films to either streamers or cinemas.
Will the Biden/Harris Administration be a good friend to the cinema industry? Many in H'wood believe this will be the case.
George Clooney and Cher raised over $14m for Biden
Both Joe Biden and Kamala Harris are long-time supporters of the film industry and the H'wood elite were huge backers and, more importantly, big donors to Biden's election.
The Dems spent over $4.6b on the Presidential election - a record, and twice as much as the previous election cycle. And, a good portion of those contributions coming from Hollywood, Silicon Valley, and Wall Street. However, of this triad of large givers only H'wood has taken a major hit due to the pandemic.
Biden is well aware of H'wood's suffering and the great cultural contribution it makes, as well as, the significant employment numbers it carries - 2.1 million direct jobs nationwide. Both of these facts will not go unrewarded by the Biden Administration.
H'wood has traditionally enjoyed a close relationship with Democratic administrations but I think the Biden White House will be less huggy-feelly and more pragmatic given the impact of the pandemic and the current significant divide between Republicans and Democrats. Biden will be an ally to the industry.
The cinema industry as one of the most severely impacted and remains so. Let's see what the Biden Admin. can do to get the industry moving and get moviegoers back into theaters.
AT&T should not be in the movie business! Nor should Comcast. The streamers have their place but Netflix and Amazon should become cinema owners via the purchase of one of the top seven circuits exclusive of any Chinese properties.
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| 36 Years For A Remake |
AT&T has no compassion for the cinema as an art form or, for that matter, entertainment medium. With a $150+billion debt load their only concern is making money - as much and as fast as they can. So, one of their solutions is to have the entire Warner Bros. legacy of films and all new content streamed through HBO day-and-date with cinemas.
As Denis Villeneuve, Director of the upcoming 'Dune' stated, "AT&T is using prominent images from our movie to promote their streaming service. They have hijacked one of the most respectable and important studios in film history. They have absolutely no love for cinema, nor for the audience."
Villeneuve couldn't be more right! Filmmaking is a collaboration, relying on a team of artists and skilled trades people coupled with visionary producers, writers, and distributors. Streamers are funding providers and producers for the cinema industry but they cannot sustain the cinema industry. Viewing a film at home is not and will never be the equivalent of viewing a film at a cinema. Many films require the scope and scale of a cinema to impart their emotional impact.
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| Original cast photo |
AT&T's decision means 'Dune" won't have the opportunity to perform financially in order to be viable and piracy will ultimately win out. In a recent interview, AT&T's head, John Stankey stated, "the streaming horse left the barn." Yes, John and it went right to the meathouse.
With the pandemic now in its 2nd wave it was thought that 'Dune's' release would be postponed for a year. The plan was that 'Dune' would open at cinemas in October 2021, after the vaccinations were well advanced - but that scenario was tanked with the AT&T/Warners decision to have 'Dune's' tandem release: cinemas and streaming.
According to Villeneuve, "Dune is by far the best movie I've ever made. My team and I devoted more than three years to make it a unique big screen experience. Our movie's image and sound were meticulously designed to be seen in theaters."
Cinema, on the silver screen is more than a business, it is an art form and one of a few left that can be enjoyed as a collective experience we share with others. The artistic community should be up-in-arms regarding what is happening to 'their' industry.
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| Director & Cast |
It is my strong belief that the cinema will return and not because the movie industry needs it, but because people need the cinema. Companies in the film business, be they film-makers, streamers, or large telecom entities must take on the responsibility, respect, and regard to protect this vital cultural medium. The revenue and profits generated by movies for these mega-companies, be it AT&T, Comcast, Sony, Disney, etc. is a negligible piece of their overall financial profile. But it is a legacy of our culture and history.
The aftershocks of COVID 19 may prove to be worse than the initial attack. Understanding the pandemic is not only a question of science but of business as well.
The impact of the virus on 97 year-old media and entertainment giant Disney Co. was divestating and their transition to a digital-first strategy just as transformative.
Last week, Disney announced a major restructuring, as it drastically reduced its focus from theme parks, cruises, movies, and cable TV to Disney +, its streaming service. In a statement, Bob Chapek, Disney's new CEO, said "Given the incredible success of Disney+ and our plans to accelerate our direct-to-consumer business, we are strategically re-positioning our company."
Disney+, launched last year, has been a huge success with over 60 million subscribers. On the flip-side, COVID 19 destroyed Disney's cruise, theme park, cable TV, live-sports, cinema, and retail businesses - losing $4.7billion in second quarter.
A Very Bold & Quick Pivot
For a company of its size and culture, Disney's pivot to digital was astounding. Pre-pandemic, Disney held the top-spot in global entertainment so deciding to reinvent itself around a digital strategy is very telling and points to management's belief that the virus's impact will be longer and deeper than once thought. Making the 'wait-it-out' option a non-starter.
The shifting to digital is not specific to companies like Disney. Re-positioning your business model and brand to accommodate access to customers in a more economical and direct way is vital.
Studios Run To Push Tentpoles Into 2021 and Beyond
As the months have rolled-by we have seen one after another blockbuster kicked down the road - as again and again the studios re-scheduled release dates. Setting of a domino effect the rescheduling has caused havoc.
When the Bond sequel was moved to 2021 that triggered 'Wonder Woman' to move to Christmas and caused 'Batman' to be bumped into 2022! After the poor gate for 'Tenet' the studios really became gun-shy. There is also the looming problem with production - there isn't any going on! To play it safe and have some marquee headliners for 2011/22 the studios are playing it safe and holding tentpoles in reserve.
At the moment there seems to be reluctance on the part of moviegoers to 'go to the movies'. One because of the virus and two, there are no great movies to watch. Both the U.S. and Europe, as well as, Asia face the same dilemma. When these movies will appear on screen is anybody's guess.
When the cinema returns to normal is anybody's guess. However, finding the perfect release date for a $150m film is not in the cards at the moment, as the pandemic isn't going to just disappear on Jan. 1st.
For movie theaters the release delays has literally killed their enthusiasm as the welcome mat for patrons have been removed time-after-time. Without tentpoles to screen and without the NYC, LA, and San Fran markets closed it is unlikely the studios will premier a blockbuster before Christmas.
There is only so much cinemas (particularly independents) can take before they cave under financial strain with no product to screen, and those are the ones that can open.
The British government has authorized "lifeline funding" for independent cinema of $1.9b. "This is the first wave of emergency funding to help dozens of independent cinemas across the country, preserving their unique character and history for future generations," stated Oliver Dowden, U.K. Culture Secretary.
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| Independents Across England to Receive Emergency Funding |
The same assistance is occurring throughout Europe, via the European Union's Culture Recovery Fund. The same should be happening in the U.S. and it's NOT! Funding for independent cinemas should be specific as these represent lifelines not only for the cinemas but for the hundreds of small communities across the country.
The National Assoc. of Theater Owners (NATO), the Directors Guild of America, the Motion Picture Assoc. of America, and over 70 film directors and producers signed a letter that was sent to Congressional leaders in the House and Senate to redirect unallocated funds from the CARES Act to assist independent movie exhibitors.
The virus visited a devastating blow to cinemas. 93% of U.S. movie theaters reported operating losses in the first half of 2020. It is estimated that if the status quo continues 70% of small and mid-sized movie theaters will go bankrupt or close permanently. This represents thousands of lost jobs for primarily young workers.
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| Many cinemas are still 'dark' because of the virus |
We need to take a page out of the British cultural playbook. "The U.K.'s cinemas are a key part of our culture - they provide many jobs and entertain the nation", says British Chancellor of the Exchequer, Rishi Sunak.
The movie industry is a child of America and we must preserve this art form at all costs. It is a huge part of our culture and it must remain so. We all need to step-up and support the independent cinema.
The Academy herd has done it again. Put restraints on the art of movie making. One would think that anyone really interested in this medium would be up-in-arms over the conditions being placed on movies to be considered 'award contenders'. Directors, actors, screenwriters, novelists, producers, the cadre of 'artists' that make a movie a movie should be outraged.
For 20+ years I have been foretelling the demise of the Academy Awards. It was easy to see that the Academy was becoming more and more irrelevant to moviegoers and moviemakers alike. Each year the awards ceremony had become worse in terms of entertainment quality and viewership. In the past several years the show wasn't MC'd as the Academy couldn't muster a 'name' to host the event.
Now, the coup de gras, The Academy has voted to place quotas on race, gender, and sexual preference for those films to be selected for an award. This runs counter to some in the movie industry that are pushing for gender neutrality, ie, there would be no more Best Actress award just Best Actors - this makes sense.
To set quotas makes little sense and further erodes the relevance of the Oscar. If the Academy pushes through with their social divisions there will be no need for an Oscar night because no one with any sense would be in attendance.
Oliver Stone, in a recent interview, stated that the Academy's move for quotas in moviemaking would "never work and be detrimental to the industry. No director would work under these conditions."
Judging artists by the color of their skin, their sexual preference, gender, etc. is degrading and racist. No one can put a quota on art. This is equivalent to telling a painter what type of person to put in her painting. One thing is sure. That my decades old prediction regarding the Academy is coming true.
