Tag Archives: Film Industry

Netflix and a “Less is More” Strategy

I know I’m not the only one who’s noticed how much content seems to be slipping away from Netflix as more and more companies take their metaphorical Matchbox cars and go home. And by “home,” I mean “create their own streaming service.”

Rani Molla, writing in Vox, goes into how Netflix is trying to do more with less content, including more subscribers and more awards.

The article itself covers a number of topics, including how –two years after I was reading about it– Netflix really has succeeded in getting more of its content to be homemade.

I mean, I understand they want to have some legitimacy, prestige, and a glowing reputation. I just want it to have over 10,000 titles. And, by gum, I want it to be an online streaming archive akin to the old Leonard Maltin Movie Guides. How about that, Turner Classic Movies (TCM)? How about you work on curating all that awesome content you do and just let Netflix distribute it. Change money as makes sense.

What’s that you say? TCM is part of Warner Brotheres which is part of AT&T and that’s doing it’s own streaming service so there’s no chance in Hell or Gotham that might idea of Netflix-as-distributor will come to pass?

Rats.

Once more unto the Trek breach…

I’m going to do one last post looking forward to this Thursday’s launch of Star Trek: Picard.

The first link is to an excellent article by David Itzkoff in the New York Times about the future of Star Trek. It covers similar ground as my last Crisis of Infinite Star Treks post, but, you know, it’s a journalistic feature article with first-person interviews vs. my Internet-based observations, so I think many of you will find it illuminating. I especially like how Itzkoff weaves exploring the corporate priorities with the personal passions in getting Picard made. Star Trek has always come about thanks to some zeal from its creators.

I would say in answer to the articles title question “Can ‘Star Trek’ Chart a Way Forward?,” that Trek is in a similar position as it was when they were getting ready to launch Deep Space Nine. They have an audience for Trek, some Trek fans are unconvinced, and they want to expand the franchise. Unlike DS9, I think there’s a much more palpable sense of excitement vs. the “Sure, I guess we’ll check it out” attitude of that series launch. Picard has gone from “who’s that bald guy in the lycra uniform that’s not Kirk?” back in 1987 to a Trek legend in his own right (and deservedly so I might subjectively add). So here’s one last look at teasers before the Internet verdicts come tumbling in.

McQuarrie on Making Things and Playing the Lottery

Moving on from trying to make hobbies conspicuously unproductive, there’s the notion on not waiting on one’s creative aspirations and making things.

I wrote a longer post a couple years ago about this need to do and complete creative works, in part referencing the column above. Time is finite for us mere mortals, so you need to figure out where to feed your creative side while life happens. Maybe it’s on the job, maybe it’s outside it. For many of us indie filmmakers who –surprise, surprise– don’t do filmmaking full-time (see life happening above), that’s quite a task.

One of the notions you’ll see in the links above is the idea to just go ahead and do it. Carpe that diem, even if it annoys Latin scholars that you just mangled that phrase. Mister Keating has your back. Alea iacta est and maybe this time it’s a natural 20.

So, on the one hand, it’s nice to see an industry professional mirror some of those sentiments, which is what Christopher McQuarrie did on Twitter back in October. Not being a Twitter power user, I only picked up on it when someone posted No Film School’s recap recently in a writer group.

Christopher McQuarrie

The main thrust of his tweet thread is that those asking him for where to find an agent, read their script, etc., are asking the wrong questions, because on one level, it’s about submitting to the status quo of “the lottery,” the often random way one finds success and builds a career in Hollywood.

That he notes he realized that he was asking the wrong question and after winning an academy award no less (surely winning the lottery), made me sit up and take notice. In fact, hearing some of the same notions from someone who is absolutely “in the system” and has “won the lottery” that I hear from indie folks encouraging each other was striking.

The whole thread is worth reading, but I wanted to highlight some parts. One is the overall implication that he has played –and won– the lottery, but all that gets you is the ability to play the lottery again. This squares entirely with repeated anecdotes I get from people that Hollywood is a very binary environment, where you can be a one or zero at any time as far as various people believe.

And another implication is that if you’re not making something, you never get to be a ‘one’ in anyone’s eyes. And sometimes that something is not seen hardly at all, or it is seen and judged lacking, yet you focus on the “execution and not the result.”

That’s what I liked about him going beyond the oft-repeated idea of “doing what you love” You have to execute and keep on executing until you there’s more people that find you to be a “one”

On the Wordplay site (where the “Never Wait” column comes from), they mention writing a script is like writing your own lottery ticket. But McQuarrie makes the point several times how making a film, making more than just a screenplay, is actually giving you more chances.

“And it’s infinitely harder to sell a screenplay than it is to sell one’s proven abilities.”

~Christopher McQuarrie

I love that he closes with the notion that the business isn’t something to be broken into so much as you are the business to be acquired, that the creative folks we might look up to like-as-not made their own luck, and many –if not all– of them failed spectacularly along the way.

So make the movie. Do the thing. Don’t wait.

Movie-watching Habits in an On-demand World

On the blogs I always make time for is Mark Evanier’s “News from ME.” Today, he wrote something that felt in line with Wednesday’s post about Scorsese and the film industry and, well, it fits me more than it doesn’t.

People are always writing to ask me my opinion of the latest blockbuster movie release. I’ll save you the trouble: I probably haven’t seen it and might not for some time. Sometimes, that’s because nothing I know about the film attracts me to it. Sometimes, I’m just busy and going to see a movie is one of the few things I can postpone for a long time and then experience.

Mark Evanier

A big reason for this is an aspect of modern movie-watching he expands on. If I want to watch a movie, there is rarely a need to see it right now except for the worry of spoilers. For example, we planned to see Avengers: Endgame shortly after it opened. However, Kenneth Branagh’s take on Murder on the Orient Express? It was a couple years before we checked that out.

With so many events and activities having little-to-no flexibility, this relatively newfound flexibility in film-watching has been welcome… even though I adore seeing a film in a theater (it is, after all, how I grew up and how I came to love movies so much). It also cuts down on how many new films get folded into my Favorite Film rankings.

And, perhaps most disturbingly, the movies I want to see aren’t always available because the content owners are getting more into curating their vaults of content. “On demand” is being more defined by companies rather than consumers. (I’m sure in some board room, an executive has railed against the existence of DVDs and the ability of people to own them).

In the meantime however, I am seeing a lot of films (and a whole lot more TV) on streaming services. And I’ve got a big backlog. I mean, I haven’t even finished Breaking Bad yet! So when I say “I haven’t seen [film],” know that there’s a queue.

Scorsese Follows up Regarding Marvel

Last month, I wrote about how accomplished filmmaker Martin Scorsese termed the many, many Marvel films as “not cinema.” His colleague Francis Ford Coppola joined in, going further in calling the films “despicable.”

Superhero fandom has not been kind. (Thankfully, some superhero actors keep on being superheroic, so there’s that).

Martin Scorsese

On Monday, Martin Scorsese wrote an opinion piece in the New York Times about the interview that kicked this all off — and where he was coming from in his comments.

I appreciate him taking the time to explain his viewpoint. He’s eloquent, passionate, and has an absolute love of film. If you’ve seen him in interviews and especially from some of his segments on Turner Classic Movies, this man loves cinema — all types of cinema — and I don’t think it’s at all controversial to opine that he’s contributed greatly to cinema through his films.

But while I agree with many of his observations, I don’t agree with the breadth of his conclusions.

Films are made more by committee these days. They are tested and –more likely than not– drained of anything that might be “controversial” as the studios continue to be risk averse in a way that really doesn’t avoid risk (see the box office disappointment of the latest Terminator film). Filmmakers who want to find a voice, tell a singular story, or otherwise be unexpected do find an uphill battle in the face of the studios near monolithic insistence on their vision. And I don’t doubt that the majority of filmmakers would love to make films for the sizable silver screen versus streaming.

But I feel Scorsese is conflating this studio stubbornness and corporate zeal to eliminate “art as risk” with its current method of promoting this blandness: superhero movies.

And there’s a lot of nuance in here, because he clearly understands and loves all sorts of movies. He identifies Hitchcock films as the thrill rides of his day, but I think he discounts the character, craft, and sheer enjoyment one finds in superhero movies. He’s entirely fine to say, as he does, that superhero movies are not to his taste — I just don’t think it’s fair to say superhero movies are in poor taste.

To give an example using the rough equivalent of the “superhero” film of his time growing up: imagine if Studios not only favored Westerns, but they insisted on franchises of Westerns and any new idea was met with, “But can it be a Western?” I can’t imagine Scorsese would enjoy this state of affairs any more than the state of affairs with superhero films — and he’d probably say some of the same things.

And you know what? He’d be right that the studios are too dismissive of anything done for art’s sake. He’d be right that many a Western is weighed down with hoary tropes and is more of a thrill ride that a film that engages you on all levels, but he would not be right that westerns are second-class films as a genre or type by virtue of being Westerns. Amid the slickly produced, forgettable ones, there’s early classics like “Stagecoach” and more meditative affairs like “High Noon,” character-driven action like “Winchester ’73,” and operatic takes like “Once Upon a Time in the West.”

Likewise, he’s missing all the character and nuance that you find in films like “Captain America: Winter Soldier” and “Black Panther.” Action sequences don’t take away from the tale of a man who dedicated his life to serve finding the institution he served has been betrayed from within. CGI armored rhinos don’t negate the nuance of a son coming to terms with things his father never told him as he tries to find a way to lead his people. I get that superhero films are thrill rides –the comics they’re based on have fight scenes and action sequences more often than not– but just like the Hitchcock films and Westerns of old, they’re not uniformly disposable trifles.

I suspect it’s hard not to conflate studio attitudes with superhero films because Scorsese is such a phenomenal, singular filmmaker. The studios are playing their superhero-franchise-over-everything-else card and that’s an impediment to precisely what Scorsese longs to do, (and what he’s done very well doing). He wants to make art. He understands that it’s show business, but he’s knows there’s art in the show and he’s presented with a bunch of drudges who feel showing art is bad.

And I bet if he was able to make all the films he pleased, he’d still be sad on behalf of the next generation of filmmakers.

For anyone who dreams of making movies or who is just starting out, the situation at this moment is brutal and inhospitable to art. And the act of simply writing those words fills me with terrible sadness.

~Martin Scorsese

Like I said above, this guy loves art. Think of his appearance as Van Gogh in Dreams: he’s a painter who wants you to paint. He implores you to paint for the sheer joy of painting. I think he’s just forgetting there’s other paintings that are artful, even when they’re paintings the studios are trying to mass produce.

“ars gratia artis” indeed.

I’m so looking forward to The Irishman, but I’m also looking forward to several superhero films. There will be art in both I’m sure (and I still find myself coming back to Kareem Abdul-Jabbar’s piece in response to Scorsese).

Everyone take it down a notch and enjoy some movies already.

Coppola Channels Daffy Duck, Finds MCU “Despicable”

Francis Ford Coppola has joined his colleague Martin Scorsese in dismissing superhero films in general and Marvel in particular, calling them “despicable.”

Rosy Cordero covers it in Entertainment Weekly and David Crow has a nice contextual take over at Den of Geek.

Sigh. Much like Bugs Bunny, superhero films might not be considered “high art,” but they’re not going away anytime soon. Besides which, Kareem Abdul-Jabbar already covered this: he’s not wrong, but he’s not right.

Toxic fans and risk-averse studios seem much better targets for umbrage — and finding ways to fund the types of films Coppola and Scorsese make without relying on the hell-bent-for-content motivation Netflix has? That just might be more worthwhile.

“Comic Book Movies” and “High Art”

Just last month I was musing about how, even in the face of “nerddom’s” ascension in all aspects of pop culture, people still feel the need to belittle or otherwise distance themselves and their work from science fiction as if the genre itself was wildly radioactive.

Now, in the face of a more meditative and gritty look at the origins of Joker –with more than a few homages to Martin Scorsese’s films– Scorsese himself felt the need to denigrate the Marvel film juggernaut as not “cinema.”

Now, on the one hand, that assertion is silly. It’s like saying a hamburger isn’t food because its preparation and presumed nutritional value isn’t on par with the fare from a three-star Michelin restaurant (and yes, you won’t surprise me if you produce examples of people asserting just that).

On the other hand, the aspirations behind films (and food) can vary greatly. “The Remains of the Day” is going for something different than “Sorority Babes in the Slimeball Bowl-o-rama” — and anyone insisting “they’re the same” because “they’re both feature films” can and should be summarily mocked.

Kareem Abdul-Jabbar wrote a piece in the Hollywood Reporter that tackles just this dichotomy tackling the elephant in the room that is the notion of “high art.” It’s well worth a read.

Master of Suspense Masterclass

Well, technically, it’s a 96-minute press conference moderated by film historian, author, and critic Richard Schickel. However, it really is a bit of a masterclass as Alfred Hitchcock, quite confident in what he does and doesn’t do, gives pronouncements about how he goes about things.

Note that you may want to watch Family Plot, his last film, before watching this as that’s the reason for the press conference. You may also find that he’s rather old school and private in his answers, compared to what you might expect from a modern talk show. That should in no way distract some great nuggets of wisdom as to how he approaches filmmaking as a craft. I especially appreciated his observation on keeping the audience engaged and, above all, not confused.

Also, a pro-tip from the comments. If you play the video at 1.5 times speed (under the settings menu in YouTube), you’ll finish faster and Hitchcock will, frankly, not sound like the spokesman for the Slow Talkers of America (which he clearly isn’t, what with being British and all).

Arguing for the Golden Goose, Comics Edition

One trend I continue to follow is the decline of “mid-tier” creative works, whether they be “mid-budget” movies or “middle tier” novels.

I touched on this just over two years ago when I was looking at the film Warcraft in particular and film budgets in general. At the time, I also noted how the erosion of the mid-budget movie and how a similar trend seemed to occur with “mid-list” authors.

Now, superhero movies in general are not likely to be modestly budgeted these days: they’re too tempting to be used as tentpoles by the studios. The Marvel Cinematic Universe has brought in over $7 billion. Disney’s not about to abandon using them as tentpoles.

But what about the the medium where these superhero stories first appeared: comics?

Now, going into the whole state of the comics industry, what the direct market is, and so on, is more than I can cover briefly or authoritatively. Suffice to say, fears regarding a dire fate of the comic industry have been around for a couple years, the direct market business model seems to be poised to change, and, well, stats back up the thought that the market is struggling (even with bright spots).

So all that made the article I read about Marvel comics editors advocating for different tactics recently at SXSW all the more interesting.

Parts of their argument is that comics –even if they aren’t as all-fired profitable as their big screen offspring– serve an important function as idea incubators. In a sense, they’re narrative R&D projects. Certainly, good periodic comic books and graphic novels aren’t the cheapest things to produce — many an indie creator colleague has made me aware of that. But they are a darn sight cheaper than bankrolling a $120 million tentpole movie. And in fact, just about all the tentpole movies owe some of their “genetic material” from the comic form.

Another way they could be thought of is as the “narrative farm teams” for some of the bigger budgeted stories. And, of course, I’m thinking of that mainly for the business folks to better reconcile the numbers. The creativity and storytelling on display in so many comics is not “minor league,” but bean counters usually don’t care if a comic book was emotionally impactful, just how many units it sold. So whatever keeps the presses rolling.

Where Have All the Film Rights Gone?

Continuing on the topic of producing films from Monday’s post on film budgets, what do you do when you –miracle of miracles– finish the film?

Well, you want to get it distributed, of course!

And, just as I want more than theoretical notions and generalizations for distribution, I want to know who likes to acquire what — and as much of their terms and conditions can be shared.

So over at the site Dear Producer, Liz Manashil and Rebecca Green surveyed a host of distributors and compiled their responses.

The resulting list breaks down not only the types of films dozens of distribution companies acquire, but what festivals they typically attend, what their standard term lengths are, and so on.

If you’re like me, you’ve probably heard the sage advice of knowing your distribution plan before you make your film dozens of time. Well, it’s great to be reminded of that, but then there’s the whole problem of knowing –even within a given market– who the best buyers might be.

Yes, I’ll absolutely research the heck out of the individual companies before approach them, but I find this list is a great way to get some companies to keep in mind (or exclude) from the get-go. I hope that’s the case for many of you as well.

By the way, if you’re already in the mode of learning more about distribution for your indie project, Avril Speaks has a great article about lessons she learned about what to look out for when making your distribution deal.

Reminder: If you’re a fellow filmmaker that wants to chat about this or other fun, wonky producer stuff, I’ll be at the VIP Film and TV Summit in April. I’d love to compare notes.