Cinemacon 2017 - What I Learned

Disney Played It Close To The Vest

Coming off its roughly $7b box office take of 2016, Disney played it very safe in previewing its 2017 roster of movies. It gave attending movie exhibitors at CinemaCon a very short, sneak-peek of its upcoming films that lasted only 12 minutes!

The major studios attend Cinemacon, the movie exhibition industry's annual back-slap, to showcase their upcoming, big-screen product with trailers, A-listers, and full-length previews - but not Disney.

This year, Disney's dog-and-pony was a recap of 2016, referencing its unrivaled box office performance and renewing its commitment to producing a few big blockbusters from its Marvel and LucanFilm offspring, coupled with product from its in-house animation arm and Pixar.

Disney's goal is, "To deliberately engage audiences with branded product from the greatest storytellers alive. We give audiences what they want", Dave Hollis, Disney Distribution Head, told the Cinemacon attendees.

Exhibition 'Biggies' - Is That The Way To Go?

Of the top 35 global movie theater chains only four are U.S. circuits. Boxoffice Magazine compiled the ranking and it was hands down dominated by China, with 19 of the top 35 spots.

For the U.S.:
 - Regal Entertainment Group, ranked 2nd in size globally with 7,310 screens (all located in the U.S.).
 - CineMark ranked 4th with 4,542 screens but unlike Regal has cinemas in not only 41 U.S. States but in 15 Latin American countries.
 - National Amusements earned the 26th slot with 924 screens.
 - Marcus Theaters at 29th with 875 screens.

And that was it for the U.S.. China's Wanda Group was 1st with 14,040 screens spread across China, Europe, and the U.S. Beijing New Film Association took the 35th slot with 655 screens. Now, one may think that this ranking by screen count is bad for the U.S. but it isn't, in fact, it bodes well for the U.S. Think about it.

The top four largest U.S. circuits represent only 13,651 screens out of a total U.S. screen count of about 42,000. Meaning that the smaller cinema circuits and independent theater operators are well represented and point to a robust and very diverse cinema exhibition industry.  This is good news for the U.S. moviegoer. Unlike China, where it's all about big chains screening big box office bruisers, U.S. exhibitors offer-up independent films, documentaries, art house fare, alternative content, film fest entries, retrospectives, and yes,the big bruisers. Go U.S. exhibitors.

New Tech for Cinemas

QSC's DPA-Q Amps come in 4 and 8 channels

CinemaCon's trade show and product demonstration suites showcased cinema sound. Power amplifiers were the big news. The 2 channel amp for cinema sound is going the way of the DVD player, replaced by multi-channel amps boasting 4, 8,24, and even 32 channels.  Cinemas are entering a new era in sound. Sound which cannot be replicated in the home.  Spurred on by the Dolby Atmos system the days of the 5.1  and 7.1 channel cinema sound systems will become extinct.

QSC Audio, now QSC Cinema, recently purchased Ultra Stereo Labs.  This is a prudent and wise move for QSC as it broadens its product line with a brand that is well known in the cinema industry for manufacturing excellent and useful products of high technical quality.

Also very noticable was the large number of seating manufacturers all pushing plush auto-recliners. Again, the idea is to make movie-going a unique sight and sound experience coupled with comfort food and seating. Retrofitting existing auditoriums with new comfy recliners lowers seat count but the trade-off in customer satisfaction is well worth it, as is the expense.

All the best,
Jim

Cannes 70th

I always look forward to the official poster the Cannes Festival puts out - they are, by far, the best graphics of any festival.

Celebrating its 70th year, the 2017 poster is a standout.  It is a 1959 photo of a dancing Claudia Cardinale against a stunning red backdrop with gold lettering and highlights. The poster makes a great statement and puts forth an image of a vibrant and modern event but one rooted in history.

The 12 day Festival will run from May 17-28.

The list of Award nominees has not yet been issued but the Cannes roster of films is usually a blend of the exotic and commercial spiced-up with the political and controversial. We look forward to selecting our favorite Cannes movie posters which has become a CMG annual to do.

In Cinemas and On-Demand

It is Monday morning.  I'm packing for the trip to Las Vegas to attend CinemaCon. This year will be most interesting as the battle for day-and-date movie releases is really starting to ramp-up.

Several of the majors, led by Universal (owned by Comcast) and Warner Bros. are pushing hard to shorten the exclusive theatrical release window that movie exhibitors now have. Their opening proposal was for cinemas to have exclusive screening rights for 7 days, after-which the movie would be made available via on-demand streaming for $50 - a portion of which would be shared with the exhibitors.  This option was DOA with the exhibitors and the other major studios thought the $50 fee was too high.

Next, Fox and Warner Bros. proposed making films available between 30 - 45 days after debut, but at a  $30 rental fee. At $30, the studios feel consumers wouldn't cringe at the price. Universal (which is the most aggressive of the studios) doesn't like the 30-45 day rule and wants the time to be, at most, 20 days.

For years, CMG has asserted that it was only a matter of time before movies would be made available day-and-date across all platforms so it should come as no surprise to exhibitors what the studios are proposing.  The studios are searching for ways to replace their lost DVD sales to internet streamers Netflix and Amazon - but this is a losing battle for them.  We are in the throngs of a massive change in the way consumers obtain their entertainment.  People want to be able to access content whenever they want, on whichever device they choose. Sitting home and watching a film for a one-time charge of $30 or $50 is not satisfying that need.

For their part, Lionsgate, Paramount, and Sony have been in discussion with the major U.S. cinema circuits on a new proposal. Disney, standing alone, has no interest in shortening the release window because their films tend to have long runs in cinemas and are of the size and scope that exhibit really well at cinemas with their large screens with big sound.

Under current Federal Anti-trust Law, the studios cannot negotiate (collude) together on a release window proposal.  They have to negotiate and reach agreement with each participating exhibitor.
So, no deal is imminent. Exhibitors are particularly concerned that movies are offered to consumers too early and at too low a price prodding them to stop visiting their local cinema.

Exhibitors are firm on one point. They want to be assured the studios agree to keep the release window for lesser films (non-blockbusters) at 90 days and that the current model of distribution be kept in place for between five to ten years.

Given the fact that at some point movies will be released day-and-date, and not be beat a dead horse, but exhibitors must, must have their movie presentations in top-order and use showmanship in connecting to the local community, selling concession, and promoting films. It's the only way they will survive.

All the best,
Jim

Cinema Stats For 2016

I know we are well into 2017 but a quick look-back to last year's box office performance is worth a glance.

The global box office reached $38.6b in 2016, with the U.S. and Canada's share totaling $11.4b. The number of screens rose 8% to 164,000 worldwide - due entirely to growth in Asia.

Admissions were 1.32b in the U.S. and represented 246m people who purchased a movie ticket. Frequent moviegoers (those that visit the cinema one or more times per month) accounted for 48% of ticket sales.  This group, coincidental, owns more electronic devices (smartphones, tablets, gaming consoles) than any other group.

The number of films released in the U.S. totalled 718, 579 of which were released by independent filmmakers. 3D films generated $1.6b representing 14% of the total box office. The average ticket price was $8.65 up 22 cents or 3% over 2015.  For a family of four the average price of admission was $34.60, which compares very favorably with other forms of group entertainment. For example, admission to a theme park would have averaged $233, a major league baseball game - $124, an NFL game - $372.

Demographically, Hispanics had the highest level of movie attendance as a group, purchasing 21% of all admissions while only 18% of the population. Women attended the movies more than men, with 52% of ticket sales. The 25-39 age group purchased the most tickets with 23% of all admissions.

For 2016, the top grossing 25 films accounted for, a huge, 52% of the total box office - with the top 5 films grossing 18% of the total.

In summary, 2016 was a static year for the U.S. cinema industry. Growth came exclusively from foreign markets, principally the Asia/Pacific region and Hollywood continues to base its survival on but a few blockbuster films. This trend will continue into the future and competition from home theater and mobile devices will intensify.

Data per the Motion Picture Association of America 

The SCOOP by Seymour Flix

FilmOn Gets Hammered By 9th Circuit Court

The 9th Circuit Court of Appeals unanimously rejected FilmOn's concept of streaming broadcast TV and movies over the internet free from paying for the content but charging a user subscription fee.

FilmOn argued that it should be allowed to stream broadcasted content free or for a nominal fee under an exception to the Copyright Act of 1976 - the 9th Court didn't buy it.

The three judge panel ruled that Congress did not envision that the exception to the statute would apply to internet-based distribution and reinstated a copyright claim against FilmOn overturning a lower court ruling.

The plaintiffs in the case: Fox, NBC, CBS, and Disney were very relieved.  The Court had deferred to the U.S. Copyright Office, which has consistently found that "internet-based services do not qualify as cable systems under the law".  Therefore, FilmOn can not distribute TV or movie content without permission from and full payment to the content owners.

FilmOn currently streams licensed content which it will not be able to do going forward.  This essentially puts FilmOn out of business. To counter, FilmOn issued a statement saying it would continue two similar cases one currently before the D.C. Court of Appeals and another before the 7th Circuit Court of Appeals. If losing in these cases, it intends to appeal to the Supreme Court.

CMG believes this is a losing battle for FilmOn as their actions essentially boarder on content piracy. It will lose in both the D.C. and 7th Circuit and if they do go to the Supreme Count the case will not be heard and the three Appeals Court rulings will stand.

Netflix's Quest for Day-and-Date Distribution with Theaters

Netflix CEO Reed Hastings

According to Reed Hastings, CEO of Netflix, "movie theaters haven't innovated beyond popcorn in the last 30 years." In an interview at the company headquarters in Gatos, CA. this past Tuesday, Hastings didn't mince words regarding the "cinema's need for a new distribution model that could do for movies what cable networks and online services have done for TV shows. Netflix wants to unleash films. It's about growing the movie business."

He pushed back on the idea that Netflix's goal is to bypass the theaters' exclusive release window for new movies and stated Netflix has struck a deal with iPic Entertainment, the small, exclusive dinner theater chain that will screen Netflix produced films day-and-date with their online release.

This does two things for Netflix: first, they enjoy their day-and-date movie release and second, those films can now qualify for Academy and other awards' consideration.  So, their tie-in with iPic is a win-win for Netflix.  iPic, for their part, is pissed-off at the major studios and large cinema circuits because they say they are shut-out of screening the openings of first-run movies, particularly block-busters, because of collusion between the studios and large chains (CMG has previously reported on this non-compete practice and it is true).

CMG believes, and has stated for years, that eventually all content will be available on a day-and-date release basis. Netflix's deal with iPic is just the beginning.0


Best,
Seymour Flix

Fandango's FanShop: A Bit Too Late

As it looses its grip on the movie ticketing service, Fandango is searching for new ways to keep its game. Facing competition from both the major theater chains (which now boast their own sophisticated on-line ticketing and concession services) and from upstarts like Atom Ticketing and others, Fandango is scrambling. One way Fandango believes it can make up for lost ticket sales is to market movie related products such as T-shirts, posters, and other paraphernalia through a newly launched e-commerce site called the FanShop.

The problem with FanShop, is that it is going against giants in the e-commerce space, notably Amazon and Walmart, which both sell film-based swag of all sorts. CMG believes that although Fandango intends to differentiate FanShop from others in the retail space, by offering unique products and services, it is a losing endeavor.

Fandango has been trying to bolster it ticket sales business by transforming itself into a hipper, edgier entity catering to a younger consumer. Last year it purchased Rotten Tomatoes, the movie rating service, Flixster, a social media and ad site for "all things movie", and Movieclip, the YouTube movie channel.  These are all nice on-line sites but are a bit yesterday. Rotten Tomatoes has been around since ever, Flixster has uber-competition, and Movieclip, well, join the crowd.

FanShop's core products will be apparel and collectibles (no great shakes) but it will also be marketing special celebrity meet-and greets and movie premiere events. Now, these services would place FanShop in a unique space - but these specialized services must be executed precisely and efficiently. Geared for the rabid fan who is willing to spend the requisite bucks for a personal meet with their favorite celeb or for those movie fans wanting to attend a debut screening - there is a new, and developing market for these services. But, is there enough demand to turn these services into big-dollar generators?

CMG believes Fandango has no choice but to expand is services to the moviegoer/consumer but it is in a long-term losing battle. It's on-line ticketing business is being hammered, movie apparel and collectibles are everywhere, entertainment-based social media sites are ubiquitous, and all moviegoers are instant film critics to their friends, family, and acquaintances.

Just saying,
Jim


 

The SCOOP by Seymour Flix

Death of the DVR

Unless a cave-dweller, you're aware that the old, trusty, hard-wired to your TV,  DVR has been on a steady death-march.  Now, its demise has become official.

The DVR/DVD era is coming to an end

A recent survey reports that 64% of American households use Netflix, Amazon Prime, Hulu or other network streaming service from which to receive their in-home entertainment. Only 53% reported having and using a DVR. The decline and extinction of the DVR is inevitable. More and more media will be stored, shared, and accessed from the cloud, with streaming services dominating the home entertainment space.

The survey, conducted by the Leichman Reserarh Group, surveyed consumers 18 and older. A full 54% of them reported that they are Netflix subscribers of which 23% stream Netflix daily. 10% more reported they also subscribe to another or additional streaming service.

The era of the DVR is closing. Purchasing a DVD will go the way of the music CD. Yes, they will be available but not of primary importance for movie viewing as they once were.



Avatar Release Postponed



'Avatar's' sequel has been postponed to 2019. 'Avatar 2', the highly anticipated follow-up to the highest grossing movie of all time, will miss its scheduled December 2018 release, so says its creator James Cameron.

To be the second in a series of four new films, Cameron says, "what people have to understand is that this is a cadence of releases. So, we're not making 'Avatar 2', we're making Avatar 2,3,4 and 5. It's an epic undertaking that will consume the next eight years of my life."

'Avatar' grossed $2.8 billion and won 3 Oscars in 2010.


SXSW - Just Another Film Fest

SXSW (South by SouthWest for those of you asleep at the culture wheel), is the Austin, TX film fest that opened on Friday and runs through March 19th.

I'm not sure if even the most rabid movie fans need another, so called, 'great film festival'. There appears to be a race going on between film fests and award shows as to which will number the most - and the more there are the less relevant each becomes.

According to Janet Pierson, head of SXSW, "We specifically try to stay away from stuff that's too broad. We want the filmmakers view."  To that end, SXSW includes not only big screen but made for TV content as well.  Documentaries also play a big part of SXSW's 8 day agenda.

Let's face it. There is just too much content being produced. most of which is marquee or TV guide fodder. 99% of what will debut at SXSW will never see the light of a movie or TV screen.

Running 8 full days demands a lot of content and makes one wonder how good this stuff really is? Besides the filmmakers themselves and their friends, family, and acquaintances, plus the budding want-a-be filmmakers with their FF&A who actually shows up at these festivals.

Best, Seymour

McQueen's 'Bullitt' Mustang Found

Can you believe it! The 1968 Mustang GT  Steve McQueen drove in 'Bullitt' has been found, or has it?

The Bullitt jumper car being restored

Disappearing shortly after filming and despite McQueen's efforts to locate and purchase it, the car hasn't been seen since.

Now, two auto restorers say that they found the car in a scrapyard in Baja, CA. and towed it to their bodyshop in Mexicali, Mexico where they have begun restoration.  After running the VIN number, Ralph Garcia, Jr. one of the owners, discovered it was the famous missing 'Bullitt' Mustang. The authenticity of the car was further verified by Ford expert evaluator Kevin Marti.

Marti told CMG that there were two identical cars used in the filming of 'Bullitt'. A "hero" car that was used for casual driving, and a "jumper" car that was used for the dramatic chase scenes, some of which involved airborne launches. "This is the jumper", Marti says, "based on documents obtained from the film, and the alterations that were made to the car's suspension system. The "hero" car is in the possession of an anonymous U.S. owner."

Ken Gross, noted car historian, values the Mustang at over $1 million but Garcia says it is not for sale, and is headed for a complete restoration. Marti said, "What Garcia has done to the car has already diminished its value. When I first spoke to him, I advised not to do anything before the car was evaluated, but that advice was not taken. It is worth more to true car aficionados in its raw, unrestored state."

So, the missing 'Bullitt' Mustang GT has been found, now it's time to start looking for James Dean's Porsche 550 Spyder.

Child's Play : A Kiddy Cinema

Auditorium with front play area

Cinemas have tried lots of ploys to lure moviegoers, the latest being premium dine-in theaters. Now, a new concept is making a play for enticing audiences (young ones) with the Kiddy cinema.

Called Cinepolis Junior, after the Mexican Cinepolis theater chain that is championing it,  the concept is to devote auditoriums exclusively to children.  The seats are brightly colored and the concession is an array of children's snacks.  Bean bag seating is available as well.

But wait. Cinepolis goes further - the auditoriums are outfitted with slides, rubber ball pens, and teeteers. The play areas are open 15 minutes prior to and after showtime but "house lights are left on for the entire show so restless children can roam and play."  Is this an unbelievably horrible idea or what!

Bean Bag seating anyone?

Now, I know, as well as you, that cinemas are looking for any marketing ploy to increase admissions but the kiddy cinema completely spits in the face of what going to the movies is all about.  But, perhaps we should have anticipated this. The dine-in theater concept, which has been fully and successfully vetted by the Alamo Drafthouse movie chain, appears to work for some moviegoers. Alamo, where full-out dining is allowed but cellphone texting and talking during the film is prohibited. So, it's ok for the patron next to you to be dining on fried chicken with biscuits and gravy but texting gets you ban from the theater. What's up with that, Alamo?

Cinepolis, betting a lot on the Kiddy concept

Dining aside, jungle gyms in cinema auditoriums are pushing the envelope into the crazy zone. Children are chaotic. They need guidance, not a free-for-all environment. What works for children very well in the back-yard or play park is not appropriate for a cinema - where the movie is central.  I pity the kids who go to enjoy the film only to be completely distracted by others playing in the aisles.

Cinepolis is putting lots of  money behind the 'kiddy cinema' concept. In addition to Junior screens in Mexico it is opening Juniors in Los Angeles and San Diego on March 18th. Let's see how they do.  

Catering The Academy Awards

Wolfgang Puck moved to California from Austria in 1975 and began his journey through the restaurant industry.  He earned fame from the food he created at Spago and Hotel Bel-Air and moved on from there.  His food-based empire now includes over 20 restaurants, 80 Wolfgang Puck Express franchises, and a line of up-scale retail food products.  He is also the official caterer for the Academy Awards Ball.

Puck at work

Puck, who has a star on the Hollywood Walk of Fame, says, "The Academy Awards is the premiere event in Los Angeles. If we don't do a great job, then people won't come to our restaurants." This year Puck's inspired menu included: Moroccan spiced Wagyu short ribs, Parmesan funnel cakes, taro shrimp tacos, lava cakes, caramel cappuccino Oscar lollipops, and lobster corn dogs. Truffles were used lavishly this year. There was gold-dusted truffled popcorn, truffled chicken pot pie and mac-cheese with black truffles. "There was a lot of comfort food. The guests like that" says, Puck.

In addition to the Academy guests, Puck feeds all of the Academy workers, including: security staff, waiters, and musicians - a total of over 3,000 people. This required: 30 gallons of cocktail sauce, 350 lbs. of smoked salmon, 250 lbs. of Parmesan cheese, 3,600 eggs, 6,000 brioche buns, 30 lbs of edible gold dust, 1,400 bottles of champagne and 2,000 bottles of wine.

The Wolfgang Puck brand is well-known across all age groups and demographics and he has no plan to end his relationship as caterer to the Stars.

Our best to Wolfgang,
Jim

Studios 'Back' LA Olympics for 2024

Rome is out. Only Paris and LA remain.

Los Angeles and Paris are the two remaining cities in contention for the 2024 Summer Olympic Games, and the major Hollywood studios are lobbying hard, behind the scenes, to see that LA gets the nod.

The City of Angels has hosted the Summer Games twice before - in 1932 and 1984 - and both the city's politicians and the studio honchos want a sequel.

Casey Wasserman, Chairman of the LA Olympic Committee, told CMG, " Hollywood is a dream factory and creator of stories that entertain people worldwide. The linking of the Games and Hollywood is a dream come true."  Disney, NBC/Universal, Warner Brothers, and Fox have all thrown their considerable political and financial weight behind the movement to get LA approved. Termed 'LA 2024' the movement strives to connect Hollywood and the Olympics in a powerful engagement that would be unequaled by any other hosting contender, i.e. Paris.

The LA City Council has already approved a series of guarantees required under the International Olympic Committee's bid process, including a guarantee to cover cost overruns.  The LA 2024 Committee and the City's mayor and Council believe that the hundreds of millions that would come to the City in the form of tourism and related revenue would more than offset the cost to host the Games.

If selected (and there is a very good chance it will be) the Games would be held from July 19 - August 4, 2024 at venues throughout the City.

Cinema BUZZ by Seymour Flix

The Best Awards Show

SMASH Global Pre-Oscar Gala

Ah, entertainment awards season. It's getting to a saturation point and it's hard to keep up with all of the festivities (if you like that sort of thing).  The Emmys, Grammys, Academy, Golden Globes, SAG, Critics Choice, People's Choice, and on and on and on.


Starting in November (with the noms for the Emmys) and ending in June it's one black-tie affair after another. But the Show that stands-out against all others is the MMA (Mixed Martial Arts) SMASH Global Pre-Oscar Gala, which was celebrated last Sunday. Now this is a party! This bash is the only one that provides attendees with a four-course meal and top-shelf, all-you-can swill, drinks. It also features a fight ring in the middle of the ballroom where MMA contestants battle it out between meal courses.

This was the first year for SMASH and the big winner was Steven Seagal for his many years of producing, directing, and starring in action-films  Seagal is a seventh-degree Aikido black belt and is also a voting member of the Academy of Motion Picture Arts and Sciences.  When asked which movie he voted for best picture he said, "I've seen all of this year's nominees and I like 'Hacksaw Ridge' quite a bit, but I thought it was a bad year for films. I didn't like much." Seagal, who is currently in Thailand making a movie, has dual citizenship (he was granted Russian citizenship several years ago). "I think that we need to be friends. I think Russia and America should be brothers, but I am an American and always will be."

A large part of the proceeds from SMASH (which will be an annual event) went to the non-profit charity 'For Veterans, By Veterans'. 

SMASH founder, Steve Orosco, told CMG, "MMA matches are viewed by a wide demographic. It includes everyone from hedge-fund managers and doctors to people who wear Tap Out t-shirts and drink Bud. At some point MMA will overtake professional boxing in popularity."

Cheap Streep

Karl Lagerfeld, the iconic clothing fashion designer and current head of Chanel says, "Meryl Streep is cheap, very cheap."

The kerfuffle started when Streep contacted Chanel and told them she was interested in wearing a gray silk gown she had seen in Lagerfeld's most recent couture collection to the Oscars. The $105,000 dress was ordered and custom-made to Streep's size. However, right after hearing that the dress was ready for fitting Streep notified Lagerfeld (by messenger) that she wanted to be paid to wear the dress.

"Chanel", Lagerfeld told Streep, "has a policy of not paying celebrities to wear its clothes. He further stated,  "We gift the dress but she wanted us to pay for her to wear it. We give them dresses, we make the dress, but we don't pay. She can keep the dress because of the size. It's couture. It's perfect. She's very cheap." 

For her part, Streep stated, "He lied and Women's Wear Daily printed the lie"  Hmmmmm, fake news Meryl?  Doesn't that make you mad?  Problem I have is why would Lagerfeld make up such a story. I'll be looking for the gray dress tonight.

Just saying,
Seymour

Spectacles: The Next Thing For Short-Films

Snap, Inc. (parent of SnapChat) refers to itself as a "camera company",  its goal, "to reinvent the camera." To this end, Snap is launching video-enabled sunglasses, called Spectacles, available in the U.S. starting this Monday.

The glasses cost $130 and are designed to capture and upload 10-second videos to SnapChat.  The videos are in a circular format vs. the normal rectangle dimensions of camera pictures.  Spectacles have been previously sold in selected cities via SnapChat vending machines and at a pop-up store in Manhattan.  The limited introduction was to gauge consumer demand and afford a proof of concept.

Starting Monday, the glasses can be purchased at www.Spectacles.com in either black, teal, or coral.  The pop-up store has now been closed but the bright yellow vending machines will continue to appear in "surprising locations throughout the country."

SnapChat has about 70 million daily users so even if just a small portion opt to purchase Spectacles it would equate to major, new revenue for Snap.  Thus far, wearable web-based devices have not been very successful with consumers - i.e. the recent withdrawal of Google Glass from the marketplace. but Snap thinks they have a winner with Spectacles.

Spectacles connect directly to the SnapChat app on smartphones via Bluetooth or WiFi and capture the short videos with a 115-degree field-of-view.  The glasses charge-up in the included case and are good for one-full day of Snapping.

Oscar Swag Bag Doesn't Disappoint

Each year CMG delves into the freebies that the Oscar nominees will receive in their goody-bag. This year's bag is valued at over $250,000 and completely over-shadows the paltry $32,000 bag Adele and Beyonce received for the Grammys.


However, word has it, that not all the giftees are enthralled by their booty as the IRS says tax must be paid on the value of the swag - which in many cases, given the high incomes of the recipients, is over $100,000. So, the loot is culled by the Oscar hopefuls, keeping only the most precious and valuable and the rest given to charity. OMG I'm teary over the generosity of the glitterati.

This year's bounty includes such items as: CPR lessons, apples that don't turn brown when cut, a golden crayon, and lots of expensive get-aways.  I should note that the Oscar swag bags are completely unaffiliated with the Academy of Motion Picture Arts and Sciences.

2017's bags are entitled, "Everyone Wins" and are delivered to the recipients the week prior to the Oscar ceremonies. Some of the more expensive items included:

- 15 day walking tour of Japan - $54,000
- 10 day, all expenses paid trip to Israel - $55,000
- 3 night stay at Lost Coast Ranch, CA for 10 guests - $40,000.
- 5 night stay at Koloa Landing, Poipu, Hawaii - $6,500.
- 1 week stay at the Golden Door Spa, CA - $8,800
- 3 night stay at the Grand Hotel Excelsior Vittoria, Sorrento, Italy - $5,400
- 3 night stay at the Grand Hotel Tremezzo, Lake Como, Italy - $5,700

Some off-beat stuff:
- Joseph Toilet Paper - $275
- Personalized M&Ms - $300
- Vampire Breast Lift - $1,900 (search me?)
- Park Clinic Plastic Surgery - $5,500

Best Gift, in my opinion:
- 10,000 meal donation to an animal shelter or rescue of choice - $6,300

Oscars: Still Not Diverse Enough or #OscarsSoAgeist

Forget about race, gender, and sexual preference - to reach true diversity the Academy Awards have to think about longevity!

A new study, conducted by the University of Southern California's Annenberg School of Communication and Journalism and the Humana Health Insurance Company, has revealed that age is not being fully addressed in reaching true Oscar diversity and age discrimination is taking place in Hollywood on a massive scale.

The study found that less than 12% of the 1,256 speaking characters in the last 25 best picture nominees were 60 years or older. Additionally, of the 100 highest grossing films of 2015, only 11% included characters aged 59 or older. Stacy Smith, co-author of the study told CMG, "We often talk about diversity by including the usual suspects of race, gender, sex preference, and disabilities but age is left completely out."

Note: In the U.S., people over 60 account for 19% of the population and generated 14% of 2016's cinema admissions.

Perhaps, more importantly, the study found that Hollywood is demeaning towards seniors, often depicting them as doddering, physically challenged, or feeble-minded. Best picture nominees between 2014-16 included only one leading role to anyone over 60 - that being Michael Keaton in 'Birdman'. This year, only Denzel Washington, who is 60, played a leading role in 'Fences'.

Well, as far as CMG is concerned - if this ain't bigotry, what is? Old folks unite. Where is the justice? It is high-time we put a stop to Hollywood's discriminatory practice of the willfully shunning and exclusion of geezers. There is no diversity without seniors getting their fair (and honestly-won) share of Oscars.  This lack of human decency must stop. The Academy must give fogies their due. And, don't forget, golden-agers come in any color, sexual persuasion, or gender - so it's a diversity two-fer.

Make Hollywood Great Again!

In a related topic, noted film-maker James Cameron recently stated that, "there is definitely a bias at the Academy against blockbusters in favor of dramas that make no money." True statement? Of course. For example, in 2016 of the 25 highest grossing movies only two were none blockbuster type films - 'Hidden Figures' and 'La La Land' which ranked 23th and 24th respectively.

At the box office, it's all about 'Star Wars' and 'Finding Dory'  but at the Oscars it's 'Manchester By The Sea' and 'La La Land'. There is a real disconnect between what moviegoers pay to view and what the Academy deems worthy of awarding.

Correcting this disparity calls for a CMG solution. That being, every Oscar nominated film must generate a minimum amount of commercial success for it to be considered for an award. Now, I wait to get all of the emails and twits from the cinema purists who are going to argue that this would be unfair because all that you would get for nominees would be high-impact franchises, animated kid-flix, comedies, fantasy, and super-hero films. What, no boring, over-scripted, over-hyped bladder films. No old, tired-themed dramas and message films with the same casts receiving their obligatory nominations year-after-year. The Oscars need a shake-up, a renewal, a reset to a modern era to make Hollywood great again.

Movie-goers don't care about coming-of-age tear-jerkers or personal struggle message films - they have that everyday in their own lives. What they seek is escape from that 'real world' into a world of fantasy and fun, for a few precious hours.

So, why are all of these mediocre 'nothing films' produced?  Well, the industry needs, what I term "marquee fodder". Both Hollywood and cinema exhibitors need a constant flow of product and these, mostly low budget, films fit the bill. The Academy goes along with the scheme because it's in their best interest to do so. The big-budget box office bruisers generate the vast majority of ticket sales but receive no accolades while low-budget dramas, that number in the many, but viewed by the few are heaped with kudos. That's the way it is and it needs to be changed.

Just saying,
Jim

Internet Providers and H'wood at Odds on Piracy

You Maybe Able to Hide Now

The major internet service providers (ISPs) are ending their participation in the four year-old Copyright Alert System, whereby consumers received a 'copyright alert' when viewing peer-to-peer pirated content.

Started in 2013 the policy was viewed as a major way to fight movie and TV show piracy. How the system worked was that any user who received six alerts would suffer legal penalties, which included the slowing-down of their internet content delivery - this penalty being administered by the various ISPs.

The Motion Picture Association of America (MPAA) cited lax enforcement of  penalties by the ISPs as to why the system was being shut-down. In a statement issued by the MPAA it stated, "an estimated 981 million movies and TV shows were downloaded in the U.S. in 2016 using P2P piracy. The provisions under the Digital Copyright Act are not being enforced by the ISPs, particularly against repeat violators."  So, after four years of extensive consumer education and engagement the Copyright Alert System will cease to exist.

The flaw in the Alert System that it is based upon an erroneous premise - that consumers were unaware that they were pirating content and once informed would stop, but the opposite is true.
The use of content piracy has grown, not lessened, and not only for P2P  content, but even more so with online streaming.

Now that they are full-on competitors in the content game, the ISPs have no interest in helping the Hollywood studios fight piracy. In fact, the more content that is pirated the more the ISPs make. There is no incentive for them in curtailing consumers use of the internet service they provide.

European Union vs. Movie-makers - Who Will Win

Another leak in the Eurodike

For years the cinema industry, led by the Hollywood studios, and the European Union have fought over the issue of a single digital market.  In a nutshell, the issue is that the European Union wants digital content licensed in one E.U. country be available to all E.U. countries.

 Problem: content providers want the ability to license their property on a country-by-country basis. Why? Because it would be very difficult to obtain financing for any project where negotiating distribution rights (particularly with regards to replay of content throughout Europe) would be eliminated.  Additionally, there is the problem of consumers viewing movies and TV shows in a non-production country before it is viewed in the originating country that financed the project.

"At stake is the future ability to finance production, marketing and distribution in Europe by co-production deals and/or pre-selling future distribution rights", says Benoit Ginisty, of the Federation of Film Producers Association of Europe. What is at issue here is the control of intellectual property rights. If the E.U. has its way copyright and IP rights of films and TV shows are rendered void.

The E.U. Council of Ministers is made up of representatives from all 28 member states and the Council makes decisions based not on unanimous vote but by a qualified majority vote. So, although France and Germany have stated their opposition to the E.U. proposal it may still be voted in.

What the opponents to the E.U. proposal want is a re-do, a "fundamental course correction" says Ginisty, "as the proposal on the table is unworkable."

CMG agrees with the content providers.  They should have the right to strike distribution deals in any country they choose.

CMG's Oscar Picks

Just a quick post on CMG's favorite selections for an Oscar win. This in no way is what I feel were the best films but those that I believe will win the awards.

Best Picture: La La Land
Best Actor: Casey Affleck - Manchester By The Sea
Best Actress: Emma Stone - La La Land
Best Supporting Actor: Maharshala Ali - Moonlight
Best Supporting Actress: Viola Davis - Fences
Best Director: Damien Chazelle - La La Land

Cinema Mucho Gusto 10 Years After

CMG turns 11

Now in its 11th year, I'm happy to say that CMG has grown in global viewership and now experiences over 7500 individual views per month! For a blog that has never been promoted or advertised this is a giant feat in the realm of social media.

Not only has viewership grown but it is very diverse. For example, in January CMG experienced 7728 views and although dominated by U.S. viewers, there were hundreds more in many other countries. January's top 10 viewing countries were: U.S., France, Germany, Greece, Ukraine, United Kingdom, Russia, Canada, Indonesia, and Portugal.

CMG has endeavored to be direct and honest in its reporting and has made an effort to backup its satirical commentary and opinions with true facts (in most cases with quotes from the original source). This is why, I believe, viewership continues to grow on a worldwide basis.

I want CMG to be edgy and humorous while relevant - in other words, entertaining. That has been the goal from the outset and that will be the mantra going forward.

My sincere thanks and I will continue to provide you with the best, most relevant, most witty commentary on the cinema and entertainment industry.

Warm regards,
Jim

Disney's $100 million 'Poaching' Payout

Last week the Disney Co. agreed to pay $100 million to settle claims that it colluded with other studios to not hire each others workers - so called, 'no-poaching pacts'.

Disney was the last defendant in a class-action lawsuit alleging several studios conspired to suppress wages through an 'agreement' to not recruit each others workers. Comcast Corp's Dream Works Animation previously paid out $50 million, while Sony Pictures and Blue Sky Studios each paid $19 million.

High-rollers Order-up $15,000 Dinners:

A bit 'stuffy' for me

In another Disney story, and one which may help pay for that $100 million lawsuit, a new restaurant in Disneyland called 21 Royal will serve you up dinner for a cool $15,000.  Now, that is enough for a family of four to eat pretty well for a year but that is what it will take to dine in insane lavishness in what Disney-folk call, "a night of pure Magic".

So, what does one get for $15,000 at 21 Royal. First, the restaurant is located in the opulent, and secret, apartment that Walt Disney constructed for himself in the middle of the Disneyland park. You can dine alone or with up to 11 other guests.

The whole experience is 5-6 hours long and starts with a cocktail reception with fine wines, liquors, and hors d'oeuvres with (if you wish) a Disney historian to explain the history of Walt and his famous living quarters.  After the reception you and your guests will be served a seven course, made-to-order gourmet meal based upon your tastes and food preferences. It's then off to the balcony and look-out over the Park and a fireworks display.

Hmmm..... for $15k I could come up with a magical experience lots better for myself... but that's me.

Just saying,
Jim

2017 Academy Awards

This year, two things struck me as I reviewed the nominations for the Oscars. The first was that 'La La Land' got 14 nominations. Although I haven't seen the film, as yet, a number of people have asked if I did and when I queried them all stated they felt the film was "Ok" or "Pretty Good" . I got no "Wows", or "Greats", or "Best Movie I've Seen".  Which indicates that perhaps 'La La Land' was the best out of a number of so-so films.

With 14 nominations it tied the record with 'All About Eve' (1959 and 'Titanic' (1997). If it wins 12 Oscars it will beat the most Oscars received by a film. That record, of 11 wins, is held by three films: 'Ben Hur' (1959), 'Titanic' (1997), and 'Lord of the Rings: Return of the King' (2003).

The second thing that hit me in reviewing this year's nominations was that this was the first time that an internet streamer had a movie nominated for Best Picture. Amazon's 'Manchester by the Sea' scored six Oscar noms, one being Best Pic. This is historic in that the movie was not produced by a Hollywood production company.  Amazon Studios, like Netflix, has shoved its way into the ranks of Hollywood's elite and has become a formidable player in the movie industry.

Amazon paid an incredible $10m for the distribution rights to  'Manchester by the Sea' at last year's Sundance Film Festival and that decision has paid off big.

Best of luck to both 'La La Land' and Amazon's 'Manchester by the Sea'.  The Academy Awards are being held on February 26th.

Best,
Jim

Hollywood Not Well Liked By Consumers

H'wood is Losing Its Glitz and Customers

In a related topic to my recent post. 'Shut-Up Hollywood', I wanted to impart the fact that U.S. consumers are not loving Hollywood right now.  In addition to the political rants coming from Tinsel-town glitterati (which are a turn-off for most moviegoers) a recent survey taken by Irdeto, a provider of digital security, reported that 39% of U.S. consumers don't care that studios lose money from content piracy, even though they know it is illegal!

32% surveyed stated that they watch pirated movie content on a regular basis even though they are fully aware that it is detrimental to studios financially and lessens their ability to invest in new content.

This survey underscores the need for Hollywood to continue to educate consumers on the negative impact of piracy but which is hard to accomplish given the political and social rants that spew from the glitterati on a daily basis.  I believe consumers, and more importantly moviegoers, do not distinguish between the actors and the studios.  The studios and their owners (Comcast, Viacom, Sony, Disney) need to step-up and dial-down the political and social rants especially at broadcasted award events.

The Irdeto survey also found that consumers are interested in pirating movies, live sports, and music recordings - in that order.  Obviously piracy will exist with or without the rants of the Hollywood elites but it sure doesn't help the situation and it directly impacts admissions to the cinema - perhaps a survey to measure this trend is needed.

Dark Vador Burger

Movie food promotions have been around since ever. Logo-laden soda cups, popcorn tubs, toy give-aways have been common place for decades, but as of late edible movie tie-ins have gone extreme.

A Harry Potter themed restaurant in NYC has a Hobbit Breakfast on its menu, as well as, Deadpool cocktails, and a James Bond ice-pops.  The crazy continues with  Potter pasta dishes and 'Dark Lord' smoothies.  A cafe in Singapore serves up flaming 'Goblets of Fire' drinks.

A French fast-food chain, called Quick, serves up Dark Vador Burgers, which are a double patty cheeseburger with a black bun. Quick also offers up Jedi Burgers with mozzarella cubes. Additionally, cans of ectoplasm (green slim) as seen in 'Ghostbusters' are available. Ecto-drinks can be had for the equivalent of $160 per can - and are available on Amazon.

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Also available, but only at McDonald's in China, is the Naughty Green Pork Burger, named after the 'Angry Birds Movie'. This movie inspired delight features a green bun, pork patty, egg, lettuce, and jalapeno sauce.

Not to be outdone, Denny's offers a 'Lord of the Rings' Hobbit Hole breakfast which consists of a fried egg-filed cheddar bun with extra melted cheese, bacon, and hash browns. They also have One Ring burgers and Elven Woodland Pies.

So. forget about the logo cup - go out and feast on food inspired by your favorite movie. Movie themed foods are available at more and more restaurants and the variety is endless.