Weird Academy Awards Fact

 

Brennan with Gary Cooper in 'The Westerner"

Walter Brennan is the only actor ever to have won three Oscars within a five-year period. Best known for playing grumpy old-men characters, Brennan was a great actor who commanded the roles he played and had the ability of stealing a scene even when playing opposite A-list actors.

His career spanned over five decades and included acting in comedies to dramas. From classic oaters like Rio Bravo, and The Westerner, his gravelly voice was easily recognized, and he sometimes acted without has teeth (his were knocked out in a fight). He also had the ability to play different ages of characters - from old men to young types. 

Another first for Brennan is that he was the very first actor to receive a Best Supporting Actor Oscar, which he received in 1937 for his role in Come and Get It. His second Oscar was awarded in 1938 for his role in Kentucy, in which he played an old grouch (which he carried throughout his career). His third Oscar can in 1940 for his role in The Westerner opposite Gary Cooper, where he played a villainous Judge Roy Bean.

Now, back in the day, extras were allowed to vote for Oscar recipients, and Brennan (who worked as an extra and knew many of them) perhaps earned favorite son votes. However, over his long career he is universally regarded as of a one of Hollywood's greatest character actors. And he still remains the only actor to have won three Best Supporting Oscars.

Brennan played a staggering, 230 feature films or TV shows. Several of which were: To Have an have Not, Red River, Bad Day at Black Rock, Once Upon a Time in the West, and Support Your Local Sheriff.

Note: after receiving his third Oscar win, the Academy changed its voting rules and extras were no longer qualified to vote. 

By: Jim Lavorato, Entertainment Equipment Corp.

My 2024 Oscar Picks

 

It's always fun to guess which films will win at the Oscars and 2024 is going to be difficult. There were no really clear winners, and the selection was very limited...but here goes.

Best Picture - 'Oppenheimer'

Best Director - Chris Nolan - 'Oppenheimer'

Best Actor - Paul Giamatti - 'The Holdovers' (this is my real outlier)

Best Actress - Lily Gladstone - 'Killers of the Flower Moon'

Best Supporting Actor - Robert Downey Jr. - 'Oppenheimer'

Best Supporting Actress - America Ferrera - 'Barbie'

Best Animated Feature - 'Elemental'

Best Documentary - '20 Days in Mariupol'

Best Original Song - Scott George - 'A Song for My People' - 'Killers of the Flower Moon'

Visual Effects - 'Mission Impossible, Dead Reckoning #1'

Of course, there are always the films that were overlooked or snubbed for one reason or another,

those films were:

• Super Mario Bros.
• Guardians of the Galaxy Vol3
• Fast X
• Wonka
• Sound of Freedom

By: Jim Lavorato, Entertainment Equipment Corp.

Where Do You Get Your NEWS?

Most don't get their news from the so-called mainstream networks.

 I don't normally go off course and write about non-cinema topics, but I came across a review of cable and broadcast news shows' statistics which astounded me. These stats came from the latest issue of 'Broadcasting + Cable Multichannel News', a trade publication of the broadcast/cable TV industry.

The title of the article, 'News Insights, Fall 2023', detailed the total cable/broadcast news networks' viewership. To my surprise, this entire segment totaled only 9.81% of all linear TV network watch-time. 

The network rankings were as follows:

1. Fox News - 4.54%
2. MSNBC - 1.99%
3. CNN - 1.72%
4. Newsmax TV - 0.57%
5. CNBC - 0.38%
6. Fox Business - 0.33%
7. NewsNation - 0.22%
8. CSPAN - 0.06%

What this tells you is that people are not getting their news from broadcast or cable the majority of the time. They simply do not watch news programming or (which is most likely the case) get it from the internet. I can surely attest to this fact, as I do not watch any of the above listed shows. I fact, when I thought about it, I get most of my news from webinars, podcasts, or online sources, such as YouTube and Twitter.

The golden age of news programming is over, replaced by marginal news operations, which in many cases do not represent news or investigative reporting but a mirror of what the political parties decide what is newsworthy and what is not. 

By: Jim Lavorato, Entertainment Equipment Corp.

Mega-Monsters Are Back

Classic movie monsters such as Godzilla, Gamera and King Kong are back and generating both movie admissions and TV/streaming media viewership. 

The sci-fi monsters originating from the 1950s Japanese cinema are back in a big way as they decimate humanity with huge destructive powers. Today's audiences are still being thrilled by these monsters which through the use of today's special effects are more real than ever before. 

Shows like Monarch: Legacy of Monsters and series like Skull Island and Gamera Rebirth are very popular on streaming media. 

Sci-fi author Richard Newby thinks, "These monsters have such a lasting impact because that they are born out of tragedy and a fear of the future. The current shape of the world requires a lot of contemplation - these monsters work really well as metaphors."

Many of the current monsters have a brand, they are known throughout the world from their classic Japanese origins in films from the 1950s and 60s. Termed Kaiju, which is the term given to the subgenre of sci-fi films specific to giant monsters - Godzilla, Mothra, and Rodan are tattooed into the history of cult-classic film characters. Not to mention, King Kong, which started in the 1930s and has been remade more times than any other movie character. 

These classic monsters are now being introduced to a new audience which are seeking thrills and escapism as their grandparents and parents did decades ago. For example, Netflix has secured the rights to the Japanese produced animated series Gamera Rebirth, which resurrects the fire-breathing prehistoric amphibian first seen in 1965 in the black and white film Gamera, the Giant Monster. And Pluto TV launched a 24-hour Godzilla channel (with 27 original Godzilla movies).

Godzilla remains the preeminent fan favorite. The recent film, Godzilla Minus One, set an opening U.S. box office record for a live-action Japanese release at $11 million. 

Look for Godzilla vs. Kong: The New Empire, at your local cinema which has a scheduled March release.

By: Jim Lavorato, Entertainment Equipment Corp.

Real War Games & Sci-fi Writers

 

For years, governments have hired sci-fi writers to prognosticate military and defense scenarios. For example, last year the U.K. Ministry of Defense contracted sci-fi writers Peter Singer and August Cole to compose eight stories about possible national threats that could emerge over the next 20 years. 

In France, the 'Red Team', a group of futuristic writers were hired to propose imaginary conflict situations for the French military.

Good sci-fi writing is based upon comprehensive and deep research and then draws possible scenarios on the ways to resolve future potential problems. For example, what would occur should China invade Taiwan over the next 10 years based upon the technologies that are now being developed for future military use?

The past has shown that unanticipated threats can turn into reality, and sci-fi writers often do predict the future particularly when it deals with military/defense strategies. 

Recently, Antonio Tajani, Italy's Foreign Minister proposed the formation of a combined EU army as an expansion of NATO ability to defend Europe - from internal and external threats. This idea had been previously called for by French President Macron and former German President Merkel and was spawned by sci-fi contractors. An EU army would ease dependence on the U.S. military, bolster NATO's status globally, and be a deterrence regarding internal strife and terrorism. 

There is no doubt that defense and military capabilities are at the top of all developed and most developing counties long-term agendas - and we can be sure that sci-fi writers have had their input duly noted in any strategic planning that takes place. 

By: Jim Lavorato, President, Entertainment Equipment Corp.

2023 - A Quick Recap

 

The 2023 box office totaled out at $9bn with two films, 'Barbie' and 'Oppenheimer' accounting for 10% of that total. I would look for 'Oppenheimer' to win big at the award shows.

The global box office finalized at a whopping 30.5% increase over 2022, and although still below pre-COVID levels 2023 was a significant improvement over the prior year.

For the first time in 7 years, Disney was dethroned as the top box office generator and was replaced by Universal - which released 24 features and earned $1.94bn of the $9bn North American box office total.

Universal's big winners included: 'Mario Bros.', 'Fast X', 'Five Nights at Freddy's', ' The Exorcist', and 'Knock at the Cabin' - and, of course 'Oppenheimer'. 

By: Jim Lavorato, Entertainment Equipment Corp.

Where Are the Blockbusters?

 If you are a movie theater owner, Hollywood is a major disappoint this Christmas and you will have to resort to other content to earn some bank at the box-office.

Many independent cinema operators are screening old Christmas movies to make up for the shortfall in first run films and are getting solid box-office gate. 

Movie theaters are getting 75-125 admissions for 'A Christmas Story', 'Nightmare Before Christmas', and 'Home Alone 1 and 2' on weekday nights vs. 20 or so admissions for current Hollywood movies. It proves that moviegoers want to view the old films on the big screen once again.

There are no blockbusters this Christmas. Disney lost its groove by embracing wokism and political correctness. TV isn't doing any better as late-night talk shows have completely lost their audience and don't address any current social issues in comic fashion for fear of hurting anyone feelings. 

The Biden Administration's many problems and incompetence are not addressing these, and other issues and they should be. Then there is the ancillary issue of concert ticketing. Two bills were introduced in congress last week which are intended to curb excesses in the ticketing market. The "Fans First Act" is intended to curb illegal ticket sites and make the process more transparent. Will this work, NO!

Streaming and a slew of podcasters and individuals with their own online channels have upended the media conglomerates as consumers turn away from mainstream entertainment. Look for new alliances and mergers and shared content between the major entertainment companies, as they try to stymie the current trend away from big media and entertainment. 

As for independent movie operators, they will need to go their own way in 2024. What works for your cinema and what your patrons demand is very different then the past. And don't count on Hollywood to fill the box-office void and fill seats. 

By: Jim Lavorato

What the 2024 Movie Box-office Will Be?

What will the 2024 box-office be?

Both Hollywood and movie theater owners expect a lackluster $8 billion film gate next year. Due principally to this year's protracted script writers and film actors labor strikes - which curtailed production of on-going projects. This pushed a number of blockbuster potentials into 2025. 

For this year the box-office should end up at around $8.9 billion, or about $1 billion higher than is anticipated for 2024, which has a very lean release schedule. A number of 'big' films were rescheduled and will now be released in 2025. These include: 'Mission Impossible', 'Captain America', 'Snow White', and 'Spider Man'. 'Blade', and 'Dirty Dancing' were also shuffled into '25. 

Per-covid, the box-office was humming along at an $11 billion annual clip. However, since 2000 consumers have gotten much more selective given the vast quantity of entertainment content now available to them. But they will come out for quality films that suit their tastes, look at 'Oppenheimer' and 'Sound of Freedom'.

I don't expect 2024 to be that catastrophic. As films like, 'Dead Pool', the Bob Marley biopic 'One Love', 'Inside Out 2', 'Despicable Me 4', 'Furiosa', 'Karate Kid' and others should fair pretty well. Also, films, such as 'Back to Black' the Amy Winehouse biopic and 'Wolf Man' will fill in the gaps.

By: Jim Lavorato, CMG Author

2023's Most Searched For Movies

 

Most Google searched film in 2023 - Barbie

With 2023 quickly drawing to a close, I thought it would be interesting to see which films garnered the most Google searches* during the year. It appears The Hollywood Reporter had the same idea. Anyway, here's the list:

#1 Barbie - the most searched movie for 2023. 

#2 Oppenheimer - a close runner-up to Barbie

#3 Jawan - a Bollywood production, this film received tens of millions of searches in India alone.

#4 Sound of Freedom - a political thriller and 2023's biggest box-office sleeper grossing over $215 million. 

#5 John Wick: Chapter 4 - searches galore for the 4th Wick installment.

#6 Avatar: Way of the Water - technically a 2022 release the film screened in late December, but continued to get searched throughout January 2023, as fans flocked to the 3D version.

#7 Everything Everywhere All at Once - this quirky indie film won multiple Oscars and was heavily searched pre and post release.

* Per Google Trends which also tracks user searches on YouTube.

By: Jim Lavorato, CGM Author - sponsored by Entertainment Equipment Corp.

'Wonka' Kills It at the Box Office

 This holiday gift to movie theaters is 'Wonka'. Based upon the characters in Roald Dahl's 1964 novel 'Charlie and the Chocolate Factory', 'Wonka' is a musical that hit the ground running at the box-office - raking in over $151 million in its first three days.

The co-star of the movie, Calah Lane, is only 14 and in her debut movie role kills it. Along, with Timothee Chalamet, who plays Willie Wonka, Lane credits him for helping her on set and, she admits, learned a lot from her co-star. 

Calah Lane, debuts in 'Wonka'

Having a chocolatier on set, who made all the confections each day for the filming, made for a lot of chocolate consumption for Calah during the film. 

Look for Calah in future films she is a great talent: sings, acts, and dances.

Anya Taylor-Joy Will Be Movie A-lister

 At 27, Anya Taylor-Joy began her acting career just 10 years ago and has already amassed a Golden Globe, Screen Actors Guild, and the Cannes Trophe'e Choppard Awards. To that add, nominations for a BAFTA Film Actor Award and an Emmy.

Joy in "The Queen's Gambit"

A dual U.S. and British citizen, I first saw her acting ability on a Netflix series, "The Queens Gambit", where she portrayed a girl/woman who works her way up the competitive world of chess to become the world champ. She is not only talented but has a unique 'look'.

In a big switch from her prior roles, Anya will be co-staring in the film: Furiosa: A Mad Max Saga", a prequel to the 2015 blockbuster, "Mad Max Fury Road", which starred Charlize Theron as Furiosa.

Taylor-Joy as Furiosa 

Thus far, Anya's career has been nothing short of spectacular and all under the radar of the Hollwood glitterati. She has made it a point to take on complex, and unusual, female roles. To her credit, she has turned down many roles which she felt were not appropriate for her. "Whenever I've gotten offers for girlfriend roles, I've sent them back. Being like, "Eh?" "Why?".  

Set to hit cinemas on May 24, 2024, "Furiosa: A Mad Max Saga" will be a very different look at Anya Taylor-Joy, and I predict she'll kill-it.

Look for her to become one of the biggest stars, in not only films, but mass entertainment worldwide.

By: Jim Lavorato, Entertainment Equipment Corp. 

Netflix Goes Retail

In the works for some time, Netflix will soon be debuting its first two retail locations. Where or of what size these outlets will be has not yet been announced. All that is known is that the 'centers' will serve food and drink, sell merch, and feature "immersive" activities based on Netflix hit shows and films, like "Squid Game".

Netflix Pop-up featuring 'Stranger Things' show.

 This is a good marketing tactic by Netflix. The outlets are essentially vehicles to bolster the brand and cement fan engagement.

Netflix has been deliberate in this effort. To date, they have launched over 40 pop-up sites to test market the concept. Called "Netflix Bites", besides concession, these sites offered fans of various original shows the ability to compete in games. For example, in the Squid Challenge, over a 70-minute timeframe, participants were presented with six challenges to solve. Tickets started at $39. Also offered were exclusive merch based upon original shows and films.

Pop up 'Netflix Bites'

These trial stores were very successful and fulfilled the goal of supporting the Netflix brand.

In a final note, as of October 1st, Netflix officially ended its DVD mailing business, which it ran for over 25 years. As a final gesture to customers, those that had DVD were allowed to keep them.

By: Jim Lavorato, Entertainment Equipment Corp.

Want Less Sex in Movies, says GenZ'ers

 A poll, conducted by UCLA found that Americans between the ages of 12-24 want to see less sex on screen at movie theaters, in streaming content, and on TV shows. 

51% polled said they would like to see less sex, while 48% said, "sex isn't needed" for most movies and TV shows. 44% felt sex and romance were overused, with most saying they would never go on an on-line date. Even more revealing was that 56% preferred to watch original stories vs. adaptions, remakes, and sequels.

Other finding from the study:

• Racial stereotypes were intensely disliked.
• Surprise, GenZ'ers believe social media is "authentic" with TikTok considered the most authentic platform. Even though TikTok delivered more disinformation than any other platform.
• Favorite stories were those "where people beat the odds" and "people with lives like their own".

According to Psychology Today, GenZ'ers are having much less sex than prior generations and with fewer partners. It's a good and bad situation. Gratuitous sex is probably not necessary to the plot of many films and TV shows. To my mind, if the sexual content is relevant to the story being told than find, if not, then it should be excluded. How graphic the sex scenes are is to the film maker and again does it fit the narrative.

By: Jim Lavorato, Entertainment Equipment Corporation, EECcinema.com

Is the Movie Intermission Back?

Like everything, the cinema moves in cycles. Genre's change, themes come and go, moviemaking evolves, as does viewership. One of the traditions of viewing entertainment is the intermission.

It's a good thing, bring it back.

Intermissions or commercial breaks are commonplace in live theater, operas, sporting events, even concerts, but the tradition of intermission at cinemas has faded over time. 

In the 1950's going to the movies was to see a double feature. Two movies screened back-to-back. With an intermission between features. But the movies back then were only 90-120 minutes. Those that were longer, had an intermission. 

Today, many movies hit the three-hour mark - some even hit and exceed the 200-minute mark. This makes for a very uncomfortable audience, to the extent that it may preclude them from going to the cinema and waiting to view (stream) the film at home where they can pause or stop the presentation as they wish.

Now, some cinemas are experimenting with bring back the intermission and it seems to be a win-win for the exhibitor and the moviegoer. 

Vue Cinemas, a UK theater chain, brough back the intermission recently for the screening of 'Killers of the Flower Moon' (which is 206 minutes long). The intermission is 15 minutes long which provides patrons the opportunity to stretch their legs, use the restroom, and purchase concession. 

Tim Richards, Vue CEO

"Our recent analysis shows that customers would like to see the return of intermissions, with 74% positive feedback. There aren't many events left where you're sitting in one spot for several hours", says Tim Richards, Vue's chief executive. 

This move, I believe, is necessary given the overlong runtimes of more and more films. The Batman, Avatar: The Way of Water, and Oppenheimer come to mind - which all hit the three-hour mark.

Directors of these films, and they are hitting the silver screen with more frequency, defend the long runtimes as required to 'tell' the story...and they're right. Most of the highest grossing films in history fall between the two- and three-hour range (Titanic, Gone With the Wind, Ben-Hur, Godfather II) Now, even superhero franchises routinely hit the 140–150-minute mark.

So, it's not surprising that audiences want the intermission brought back. This 'tradition' is more considerate to the cinemagoer and might very well lure consumers back to enjoying the 'cinema experience'.

According to Tim Richards, "The issue wasn't long films but how cinemas can make the experience better. We had many people write us and say they attended 'The Killers of the Flower Moon' only because we had an intermission." 

Intermissions at cinema presentations isn't new, it's about cinemas offering another customer-friendly element to enhance their movie going experience - and, it appears, a large number enjoy having a break during long duration films. 

Martin Scorsese

I note, with great dismay, that as of Friday, 10/27 Paramount and Apple Original Films have formally informed cinemas that they are required to screen 'Flower Moon' in its entirety without intermissions. Scorsese, stating that having an intermission, "violates" the film's creative vision. C'mon Marty that's BS, you're bigger than that.

When you go to a great Broadway show the intermission doesn't distract from its artistic vision or value. In fact, it may enhance the enjoyment as the audience is more relaxed and anticipates the next part of the 'experience'. 

By: Jim Lavorato, Entertainment Equipment Corp.

 

Where is Entertainment Evolving?

 It is now evident that going forward, most entertainment will be streamed. Consumers are already choosing streaming over broadcast and cable TV. Yet, only one company, Netflix, is generating any big dollars from streaming. Why?

  

Only Netflix counts. Cinemas can and will get alternative content 

Netflix has a unique niche. With over 400 million paying monthly subscribers worldwide, it generates huge cash flow which it has wisely placed on high-quality content produced around the globe. So how can other entertainment companies follow suit? It will be very difficult!

It will take massive investment over a long period of time and producing great series, movies, and 'live' programming that people want to view day after day. Or linkup with an existing streamer and scale your content (brand) with great programming and receive a share of the revenues of all of the streamer's service revenues.

This is similar to the movie distributor/exhibitor relationship. Keep in mind that Netflix's current share of at-home viewing time is less than 10% - meaning many people are online and viewing other stuff (YouTube, X, Rumble, Meta, et.al.). 

This scenario goes for the cinema industry as well. More and more, movie theater content will be streamed And, more and more, will be non-film. Concerts, sporting events, live entertainment will take on more and more screen time.

Jim Lavorato, Entertainment Equipment Corp.  EECcinema.com 

The 2023 Holiday Box office May Be a No-show

 The October box office was a bust! Was it not for Taylor Swift with a little help from Scorsese's 'Flower Moon', there would have been empty movie theaters. 

No blockbusters this year...but

Which begs the question. Will the '23 holiday movie season be a no-show. There already exists big-time angst on the part of exhibitors. The SAG strike is the obvious culprit for exhibitors' woes, but through October the box office totaled $7.5 billion, which is 22% above last year's performance - projections are for a $9 billion year total. Not bad considering the impact of the strike.

There appears to be no films on the holiday roster that would be potential tentpoles, but there are some bright spots. "The Marvels" will release next month as will "The Ballad of Songbirds and Snakes" ("The Hunger Games" prequel). Family-friendly, Turkey Day releases also include: "Trolls Band Together" and the musical, "Wish". 

December 1st, debuts Beyonce's, Taylor Swift cloned, concert, "Renaissance". It appears that these concert films may start a trend, and their low production costs make good bank for the performer and cinemas.

Other content that could bring in additional box office are "Aquaman and the Lost Kingdom", "Wonka", and "The Color Purple".  

I think the holiday box office will be OK, not a disaster but not stellar. 

Jim Lavorato, Entertainment Equipment Corp.

Swifties - Best News for Movie Exhibitors

 It costs hundreds and hundreds of dollars to attend a Taylor Swift concert, yet only $20 to see it at a movie theater. 

Scene from Eras Tours movie which is over 3 hours long.

Taylor Swift's 'Eras Tours' concert movie amassed $39 million in its debut opening day. How much can it gross worldwide? I think $400 million at least. 

Both exhibitors and Swift are encouraging fans to use their cell phones during the presentation - a switch from normal cinema etiquette rules.

And it is all working. Both Cinema Score and Rotten Tomatoes gave 'Eras Tours' very rare A+ and 100% viewers' rating approvals respectively. 

Swift composes her own songs which tell the story of her life.

The good news is that Swift decided to go directly to movie theaters for distribution and bypass the studios. Making her take of the gross greater and the exhibitors, as well. This is a first time this has been accomplished for a wide release movie and a sign of things to come.

Beyonce' is working on a concert movie to be released in December and plans to use the same distribution format.

This is great news for exhibitors and will boost their revenue streams and their concession sales. Exhibitors need to seize this opportunity and turn these concert movies into events, with major promotions, tail-gate parties, dress-up contests, merch sales, CD sales, etc. etc.

There is a close bond between Swift and her fan base (over 100 million). Many that attended the movie stood, sang, and danced. Cinemas have what live shows do not. Better seats, more immersive sound, a great 'view' of the entertainers, in a safe and controlled environment. 

The face that could change the exhibition industry.

Turning cinemas into mini-concert venues and all that can be added on to the event bodes very well for cinema operators. 

Swift has been recording for over 20 years and has built her fan base slowly and methodically. She has lived her life in public via social media. She has learned that being yourself vs. having stardom overtake you is the best way to go in the entertainment industry. 

By Jim Lavorato, Entertainment Equipment EECcinema.com

Content Streamers UNITE...It Had to Happen

 In the wake of the Writers' and Actors' union strikes why wouldn't one think that the content streaming providers would gather and form their own alliance...and this is just what they did.

This past Monday, a new trade group was formed, the Streaming Innovation Alliance (SNA) which bring together the likes of: Netflix, Disney, Warner Bros., Paramount, Discovery+, MotorTrend+, Peacock, Pluto TV, Telemundo, BET+, and more. 

Prime movers of the SIA

The SNA mission is to promote their interests to politicians and government entities (Washington speak for lobbing group) and marks the first time competing streaming providers have banded together. SNA will advocate for federal and state policies that builds on a very strong pro-consumer market for streaming content.

In a recent Neilsen poll, content streaming has overtaken broadcast and cable programming in viewership, and it continues to grab market share. Also on the SIA agenda is the issue of Net Neutrality, which the Biden Administration has recently brought back as a topic to be investigated by the FCC. 

According to a statement issued by the SNA, "streaming provides great value, vast programming choices, and unprecedented options for consumers. We will be working to ensure that federal and state policy propels this incredible innovation forward - and doesn't undermine the value and diversity consumers are enjoying today."

The statement went on the say that streaming services bring relevant stories and options to historically underserved communities, and any policies that drags down streaming would turn back the clock on this vital progress. 

To prove their point, SIA released results of the Neilsen poll which found that 70% of registered voters view streaming services "favorably" or "very favorably", with results even higher among young voters.

By: Jim Lavorato, Entertainment Equipment Corp. EECcinema.com

 

Generational Oscars Are a Rarity

 There are only two families that can claim having three generations of Oscar winners: the Hustons and the Coppolas.

The Hustons were the first with three generations of Oscar winners: John (father of Angelica), Angelica (daughter of John and granddaughter of Walter), and Walter (John's father). 

John and Walter both won Oscars for the same movie, "The Treasure of the Sierra Madre". John won it for Best Director and Walter for Best Supporting Actor. Angelica won her Oscar for Best Supporting Actress in "Prizzi's Honor" - which was also directed by her father, John.

John with daughter Angelica

Walter Houston (left) with Humphrey Bogart and Tim Holt

                 in " The Treasure of the Sierra Madre"

The Coppolas were the second family to win Oscars in three generations. Sofia won Best Original Screenplay for "Lost in Translation". Her grandfather, Carmine and her father, Francis both won Oscars for "Godfather II". Carmine of Best Original Score and Francis for Best Original Screenplay.

The Coppola extended family, however, has won many more Oscars.

Francis's sister, Talia Shire has been nominated for two Oscars. His nephew, Nicolas Cage, won a Best Actor Oscar for "Leaving Las Vegas" And, Talia's son, Jason Schwartzman is being nominated this year for his role is "Asteroid City". 

Nick Cage, Francis, Sofia, and Mrs. Coppola

Sofia, her Aunt -Talia Shire, Francis and Mrs. Coppola

Getting the Most Out of Your Cinema - Incremental Sales

 Cinemas have been attempting to increase revenues from incremental sources (referred to as alternative content) for years. Trying, ever so hard, to leverage their venues so as not to be solely dependent on movie admissions - to create income opportunities, fill the void created by poor theatrical releases, and to expand their market reach. 

Fathom Events is the most acclaimed of the 'alternative' providers. Their 'Met Series' (Metropolitan Opera from Lincoln Center NYC) and 'Big Screen Classics' are two of their best. And there is a new Oscar 'Best Film' nominations playlist. Although revenue generation is likely to be moderate from any 'alternative' it does demonstrate a cinema's willingness and need to screen non-film content. 

Cinemas can be described as, weekend businesses, so during the midweek 'alternatives' may draw admissions, filling otherwise empty seats and potentially contributing to the venue's revenue stream. 

Having said that, the massive gorilla in the room of 'Alt-content' is sports programming and concerts, (as will be witnessed by the huge box-office that the upcoming Taylor Swift "ERAS Concert" will generate).

The challenge for securing sports programming has always been obtaining screening rights. Currently, the sands regarding sports programming rights seems to be slowing shifting in favor of cinemas. There are caveats, however.  Rights to screening NFL or NCAA games may preclude exhibitors from screening high-value weekend movies - taking up their time slots. 

Additionally, sporting event screenings may well require tailored advertisements, which are not optional for exhibitors to run. In regard to concerts, only the biggest entertainers, like Swift, would are able to draw enough viewers to their 'theater concerts' to make the process 'work' for cinemas.

Many cinemas, both independents and large circuits have reduced admissions for midweek screenings - bring in moviegoers who don't want to or can't afford regular weekend admission cost. Other revenue enhancement schemes include advanced seating and concession purchase, loyalty programs, and an expanded menu. These, although not great income generators do add incrementally to profits.

Whatever the case, cinemas must strive to 'serve-up' a varied menu of product to keep people wanting to frequent their theater. 

By: Jim Lavorato, Entertainment Equipment Corp EECcinema.com

 

Hollywood Actors and Writers Using AI Technology

 In my post of September 9th, entitled "No End in Sight -The Hollywood Strike", I stated that regarding the AI issue between the striking writers and actors against the studios and streamers, "You cannot stop technology. You can only work with it and maybe find the benefit to your advantage."

It appears that some prominent actors have done just that and are embracing AI technology so as to stay ahead of curve. 

Metaphysic AI, a new company, says it can provide public figures the ability to control their digital image and voice. The company stated that celebrities such as Anne Hathaway, Tom Hanks, and Paris Hilton are using Metaphysic Pro, to scan their likeness which contain the characteristics that make up the individual and store them in a database. The allows users to keep control of the traits required to train an AI model on their likeness and voice. 

The large and very prestigious Hollywood talent agency, Creative Artists Agency, which represents Hathaway and Hanks, would not comment on the issue but it is known that CAA and Metaphysic AI inked a deal in January to develop generative AI tools and services, including photorealistic digital avatars for their clients. 

Owning the dataset that creates a performer's replica is crucial in fighting illegal deepfakes, or AI powered copycat videos and imagery used to create a false impression. It can also help ensure that actors are compensated for using their image and voice.

"Nobody has any right to how their voice sounds or their face looks. You don't have any property in that", says Tom Graham, CEO of Metaphysic AI. "So, if someone creates an unauthorized deepfake based on a bunch of pictures, they can put that online and you can't claim that infringes your IP - which means that you can't very effectively get that taken down."

Metaphysic co-founders Kevin Ume' & Thomas Graham

Metaphysic AI, headquartered in London, is the custodian of the user's data and not the owner. It is a platform that stores the data essential to train AI models. 

What this prevents is the puppetmastering of your presence or create a version of you saying or doing something you didn't do.

By: Jim Lavorato, Entertainment Equipment Corp.

"I'm Terrified of Global Warming" says Spielberg...Really?

Spielberg's 357 ft. Superyacht

Steven Spielberg champions the evils of global warming yet when it comes to fossil fuels... well, he has no qualms about using them.

His pleasure craft is a $250 million superyacht, which guzzles a mind-boggling 700 liters of diesel fuel per hour. The ship boasts two swimming pools, a movie theater, and a helicopter landing pad. 

"I'm terrified of global warming. It's a reality. It's not a political a trick" says Spielberg. Hmmm, in addition to his yacht, he owns a Gulfstream G650 private jet which logged over 17,000 miles last year, at a fuel cost of over $116,000. 

The talk doesn't seem to match the walk. If you want to fancy yourself as a proponent of reducing fossil fuel consumption and believe in the global warming scenario, and tout it - than don't live a lifestyle that consumes tons and tons of carbon-based energy. 

By Jim Lavorato, Entertainment Equipment Corp. eeccinema.com

MoviePass: What's the Definition of Insanity?

 Oh No! Not Again! It's MoviePass, the get cinema admissions on the cheap scheme.

Once failed and bankrupt in 2019 the remnants of MoviePass were acquired by Spikes, a company made up of the original MoviePass management team, in 2021. Spikes, somehow, convinced Animoca Brands, a Hong Kong based gaming software and investment company and others, to pony-up the funds necessary to regurgitate MoviePass.

Under the original scheme, MoviePass subscribers paid $9.95/month for the ability to attend one movie per day. Under the new scheme, launched on September 1st, a subscriber can choose various levels of participation. For $10/month up to 3 movies could be attended per month. For $40/month up to 30 admissions. The new scheme is complicated, as credits are awarded for each participation level. All 3D films are excluded and where you live, for example in NYC or Southern California, you'll pay more. No information as to what MoviePass pays the cinemas for each admission has been provided. 

MoviePass states that over 4,000 theaters are participating in their 'new' program, namely, the large cinema circuits - AMC, Regal, and Cinemark. Although no data is available on how many subscribers signed up, it appears that moviegoers received its launch with a big yawn. 

It's deja vu all over again.

The MoviePass premise to success is that as more people subscribe and attend more movies, concessions will increase at participating cinemas, ergo, the cinemas will 'share' their increased concession profits with MoviePass. The problem, for MoviePass, is that many, if not most, cinemas already have their own version of MoviePass - called customer participation programs. And there are streaming services where you can pay and view premium movies at home.

I predicted back in 2019 that MoviePass would fail as a viable concept and it's going to fail again. Repeating the same thing over again, with a few new twists, does not indicate a road to success.

By: Jim Lavorato, Entertainment Equipment Corp. eeccinema.com