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Hollywood studios are increasingly not showing their movies to critics before the official release. “The media world is changing, and the people they want to reach are the kids who are looking at MySpace.com and exchanging instant messages about pictures aimed at them. Conventional critics don’t matter.”
The fashion industry doesn’t try to control its creativity the way that the music and film industries do. “The fashion world recognizes that creativity cannot be bridled and controlled and that obsessive quests to do so will only diminish its vitality. Other content industries would do well to heed this wisdom.”
Blockbuster films are getting more expensive and accounting for less of Hollywood’s box office take…is Hollywood’s emphasis on big movies nearing its end? I’ve always thought it was dumb that the movie industry put so many of its eggs in so few baskets. (ps. Chris Anderson’s Long Tail book is available for preorder on Amazon.)
Matt calculates the cost of a la carte television, i.e. ordering TV shows from iTunes. His yearly cable bill is $648 but the cost of watching all hs favorite shows from iTunes would be $800. I bet the networks love this math, especially since it cuts the cable companies out of the loop. But in an a la carte-only world, how would you discover shows in the first place?
The delicate marketing of Brokeback Mountain. In Manhattan for example, analysis of the city’s various social microclimates was used to select the opening theaters to de-emphasize the art-house aspect of the film. (via dj)
Edward Jay Epstein examines where it all went wrong for Blockbuster Video. Blockbuster had an opportunity to have rental pricing for DVDs like they did with video, but they turned the deal down and the studios priced DVDs for retail instead and have been minting money with that scheme ever since.
What business are movie theaters in? The fast-food business, the advertising business, or the movie exhibition business? All three, but they take the movie exhibition business the least seriously.
Charlize Theron, Halle Berry, and the Post-Oscar Career Suicide Syndrome.
King Kong gets a slow start at the box office. This is kind of amazing to me…except for the length, Kong is almost a perfect movie for audiences to go see in the theater.
The Carpetbagger is a NY Times weblog written by David Carr that covers awards season in Hollywood.
Gelf Magazine says “a new study uses shoddy stats to hold the movie industry responsible for society’s poor health choice”. “But even if we disregard the fact that people don’t necessarily take their public-health cues from films like Scary Movie and Rambo: First Blood Part II, the study has serious flaws that undermine even its tenuous claim on our attention”.
Edward Jay Epstein on why Pixar should make nice with Disney again. Bottom line: Disney owns the sequel rights to all of Pixar’s films and Pixar can’t afford to do battle against Toy Story 3 or The Incredibles 2 in future summers.
With attendance up in September, the movie studios are beginning to admit that, gosh, maybe crappy movies are to blame for this summer’s poor box office performance.
When estimating losses due to piracy in the media, movie studios are fond of using the full purchase price of the pirated DVD or movie ticket. So if I download a copy of Bewitched off of the internet, Sony (and associated companies, the theater, distributors, etc.) feels like they’ve lost $10.50[1], even if I had no plans to ever see the movie in the theatre.
So why is it when Sony defrauds their customers by fabricating movie reviews to promote the theatrical releases of some of their films, they’re only refunding $5 of the total ticket price for those that actually saw those films? Why not the full price? Or better yet, how about a refund for transportation costs, the price of any concessions purchased, estimated loss of wages for time spent watching the film, and compensation for any emotional trauma suffered as a result of thinking the movie was going to be great when it in fact sucked? That sounds about fair.
[1] Well, $10.50 if you live in Manhattan. If you live in rural Wisconsin, you’re only cheating Sony out of $8.00 or so. Well, until the movie comes out on pay-per-view and it costs $3.95. But then when the DVD comes out, Sony’s loss will shoot back to $26.99. Twelve months after the DVD release, when Bewitched is available in a value two-pack with Anchorman, Sony will only be losing $6. Whew, must be hard to keep all those losses straight.
How the DVD is changing Hollywood and the movie business. “Most important, the new DVD audience is so diverse that companies can target niche markets and still sell millions of disks. Because specialized markets are more predictable, the risk of failure is much lower, and so small-to-mid-budget movies can be very profitable indeed.”
Another in Edward Jay Epstein’s series on the business of Hollywood. This one’s about the secret industry reports done by the MPAA that reveal hard-to-come-by statistics about how much Hollywood is making from which businesses.
Another take on why movie theater revenues are declining. The ads suck, the movies suck, ringing cell phones suck, and you can watch your Netflix at home on your widescreen TV. Again, no mention of piracy.
Here’s a list of reasons that Hollywood is in trouble, with nary a mention of the piracy bogeyman. “These trends do not appear reversible in the short run. It is not just that this year’s movies mostly stink.”
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