Archives for Netflix

Inventing the New Reality

Rube Goldbergin’ some Sanitizer

Last week, I looked at all of the ways I think the film industry is going to be impacted by this crisis, and how we won’t be going back to normal. I promised a Part Two that would be more positive, but remember that I did post positive thoughts just a week earlier. If you are looking for a list of clear solutions, quit reading now. I don’t have them, and I don’t think anyone else does, either. Instead, here’s some thoughts on how we should approach this new reality – a mindset we might bring to the situation – in the form of some slogans we would do well to remember. These are mainly written towards arthouse/indie filmmakers, but I think they apply to branded content folks (my other audience) as well.

It’s not til the Tide Goes Out that You See Who’s Swimming Naked
Often attributed to Warren Buffet, I think this slogan applies pretty well to the film business right now (all business?). While a lot of the damage from the crisis is unique – so many people losing jobs at once, no one can gather or work together, etc. – there’s also a fair amount of things that always sucked about the film business, but this crisis just laid them bare, to where we can’t deny their reality any longer. Guess what? Festivals – other than the top 5-6 – never helped sell films. As Marj Safinia said in a group conference call I was on recently – that was a false security blanket that has now been removed. The indie film world, and docs in particular, were never a sustainable career-path.  Arthouse distribution and exhibition was always a shitty business. A lot of this was a house of cards. It sucks to have a band-aid ripped off fast, but the pain ends quicker. I know this sounds pessimistic, but it’s not – now that we’ve been forced to collectively realize that few of us have our pants on below those Zoom screens, we can also start to build something based less on fiction and more on the reality we now know we live in.
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Sundance and BrandStorytelling quick takes.

Park City in January. Again. This was my 21st year attending Sundance/Slamdance, so I was old enough to drink…damn that Dry-January though! And for the past several years, I’ve also been attending Brand Storytelling, up in Deer Valley, which has become a must-attend event for those who dabble in anything to do with brands and content. Many in the industry complain about attending Sundance each year, or express joy when they can skip it, but I consider it a privilege to be so lucky as to be able to work in an industry that allows me to attend, even if it can be ridiculous at times. Anyway, here’s my quick takeaway’s (QuiTa’s in Quibi speak) from Park City 2020 (no film reviews here, as I didn’t see enough films to comment):

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Curation Needed

What did you watch over the Holidays/New Year?

I spent the Holidays and New Year taking some time off from work, and almost completely off my phone/social media, and used the time to watch a lot of movies and read even more books. Just before I left the online world behind (save streaming), I wrote my predictions for 2020, but I left off one because I doubted it would come true. That prediction was, without editing:

We may finally get some help in finding what we want to watch – We’ve reached information/content overload when it comes time to find something to watch on SVOD, AVOD or our millions of other options, including in theaters. Not only can I no longer remember what films I need to see, I can’t even remember which services host my favorite shows any longer. Way back in 2012, I started a company called Flicklist, with Ted Hope, that hoped to solve this problem (we failed, long story). We weren’t the first – Letterboxd and GoWatchIt launched in 2011 – and many similar services have launched over the years (iGems.TV and ReelGood, among the better ones). None have really been successful, or even solved all of the problems around discovery and remembrance of films – but just this month (ed: Dec, 2019), JustWatch acquired GoWatchIt, and reports are that the combined company will keep improving its services. I can’t predict whether they will finally build the universal film/show search engine we need, but I do hope that someone will finally build what we need in 2020. 

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Ten Predictions for Indie/Arthouse Film

Last week, I ran my predictions for branded content, both here and in a guest post for Brand Storytelling. This week, I’ve got my predictions and wishes for indie/arthouse films in 2020. I say wishes, not just predictions, because as you’ll see below, some of these are clearly more about what I wish, or hope, will happen than what I predict with any certainty. Not that I hope all of my predictions come true either – in fact, I hope I am wrong about the more pessimistic predictions. I’ve been writing predictions for the film world since 2006, and while I haven’t kept a running total, I’ll admit that some of them have been dead-wrong, while more than a few have been pretty accurate, if sometimes off by a year. So I freely admit in advance that I might be wildly wrong. At any rate, here goes:

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Ten Predictions (Hopes) for Branded Content in 2020

I’ve been writing top-ten prediction lists for film and media since 2006 – yes, back when my predictions included the final end of VHS (!) and what Google buying Youtube (Oct. 2006) would mean for indies. Last year’s predictions included Netflix buying a theater (pretty much), more brand studios (yes, again), and that Amazon would buy MoviePass and merge it with Prime (nope). Ok, sometimes I strike out, but my list is as much a wish-list as a prediction, so without further ado, here’s my inaugural Top Ten Predictions (and Hopes) for Branded Content in 2020.
This full article is running on the BrandStorytelling Newsletter as a Guest Post – read the full post there. Here’s prediction number one:

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Some Facts from the Streaming Wars

Via StreamingObserver

A few tidbits from the streaming wars, just this week:

  • It is now estimated that the major streamers – Netflix, Apple+, Disney+, Hulu, Amazon Prime, HBO Max – will spend more than $30 Billion on content in 2020. This doesn’t even include Peacock, CBS All Access or the numerous other platforms. 
  • And in the fight for eyeballs to watch that content, they’re pouring billions into advertising, making up for the decline in advertising from other sectors (see below);
  • But less of that money is going into films, as more of it goes into episodic (tv) shows, originals and licensing of major library titles. Netflix’s film library has now dropped 40% since 2014, according to StreamingObserver. in 2014, Netflix had around 6,500 movies, and now it’s got 3,849. 
  • Yet even with that drop, Netflix dominated the “indie” Gotham Awards – winning more than half the awards given this week.
  • One could lament this fact, but let’s face it – one of those awards was for When They See Us, by Ava DuVernay (who was also honored), and while Netflix and other SVODs may be lessening their support for indie film overall, they are leading the way with diversity. This is no small matter. 
  • And let’s face it – Netflix is also a data company. If there was a compelling case for investing in buying more films – especially indie/arthouse films – they would be doing it. The data is showing them that too few people watch these films. The StreamingObserver article above makes it seem like film is losing out due to original content spend, but it’s losing out because that’s what people want.
  • Meanwhile, 3853 feature films were submitted to Sundance this year. Yes, that’s 4 more than Netflix offers. Let that sink in for awhile.
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Surviving Sundance Notification Time

Short newsletter this week due to the US Holiday. It’s that time of year again – when filmmakers and their colleagues pretend to enjoy Turkey over Thanksgiving while waiting for the notification from Sundance on whether they are accepted or rejected. Literally every film person I know is waiting to hear. Some heard already – mainly no’s but a few yes’s, but most people tend to hear over Thanksgiving weekend if they were accepted, and just after if not. 

This year, I am somehow attached to about ten projects stuck in this limbo – from a mix of clients to personal projects, both indie films and branded content, and let me tell you – the wait sucks. There’s no getting around it. Even filmmakers who won’t truly have a good cut until February, 2020 (after Sundance) or later usually submitted anyway just in case (I don’t like this strategy, but it’s common). And while they’ve called everyone they know and tried to position their films with sales agents or whoever, it basically comes down to the taste of a small group of programmers, and you don’t have much control over that process.

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It’s time for Branded Content to Break the Rules

I wrote another guest post this week for BrandStorytelling – check out the full article there, but here’s a teaser:

As more brands move into long form branded content – meaning feature length documentary or narrative films around 90 minutes – brands increasingly have the same plan – to premiere at Sundance or another top festival and then “get onto Netflix”. These are worthy goals to be sure, and I’ve sold multiple brand client films to Netflix and other distributors. But this is just one strategy for distribution, and I keep hoping more brands will wake up to the reality that maybe they don’t need to follow “the rules” and go down this path to distribute their films. Perhaps it could be better to break the rules of the old-school film world and forge their own paths.

This might seem counterintuitive, but if part of the goal of premiering at Sundance/SXSW and then landing on Netflix is to show prestige and break through the noise, you might be picking the most crowded path of all.

Read the Full Post here. And in case you’re wondering – yes, this applies to indie filmmakers as well, but brands are better capitalized to take control of their distribution. And no, I’m not saying you shouldn’t keep in mind the realities of the marketplace, or best practices, but I am saying that a lot of those aren’t working anymore, and we can explore new models, especially if you are a brand with a loyal following and marketing know-how.

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“It’s a Disgrace” or Netflix vs. Theaters, again.

The Irishman Newspaper at the Belsasco, photo: me.

The Irishman opened this past Friday, and I finally saw it this week at the Belasco Theater. This is not a review, but it was great, and not just because it’s a Scorsese film with a great cast (Joe Pesci in particular), but because I saw it on Broadway, in a storied theater, that was a much more pleasant experience than seeing it at AMC, Regal or any other big chain theater. I mean, heck, there were only 2 pre-show trailers, no ads and it cost less than most movies in NYC. And Netflix added great touches, like phone booths in the lower lobby that played clips from the film, actual print newspapers with Hoffa headlines and funny fake ads, and some gag props on the bar that referenced key scenes in the movie (no spoilers here). A great experience all around.

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The Upcoming Crisis in Arthouse/Indie Film

From Vulture – a classic that Disney isn’t removing

More from the best of times, worst of times files. Three articles hit this week that obliquely touch on what I think is a big crisis facing the indie film sector – in the middle of a golden age for content – and the need for us to build more mechanisms to support indie and arthouse narrative films.

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Netflix vs. Theaters…again

via Variety

Owen Gleiberman penned an “upper decker” of a review/slam of Scorsese’s The Irishman and Netflix’s release strategy this week in Variety when he wrote “Netflix, You Have a Problem: ‘The Irishman’ Is Too Good,” arguing that the film demanded a longer theatrical release before it hits streaming.

His entire argument can be summed up by his last paragraph:

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Perception vs. Reality & Other Sub-Genre news for Sept.26.2019

This week, the NYT reported that Female Artists made little progress in Museums, based on research from ArtNet. The study showed that while the perception is one of growing gender equity in the art world, the reality is that just 11% of museum acquisitions were of female artists in the last decade. And women artists make up just 2% of the global auction market.

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Netflix’s “Ad-Free” Experience and the Future of Branded Content?

Erick Opeka got a few laughs on LinkedIn when he posted this comment recently:

I’ve long argued that Netflix is going about brands and content in the wrong way- product placement like this, or these gigantic ads for Lavazza Coffee on Comedians in Cars Getting Coffee are actually more intrusive and gross than regular advertising. Heck, on the new season of Comedians… Seinfeld takes us on a five minute gushing tribute to Porsche that is longer than any commercial.

Aside from the few times when it makes legitimate sense to show a product for nostalgic reasons (and some of the Stranger Things tie-ins fall into this category), Netflix should move away from product placement and embrace smarter branded content. With nearly every brand you can think of making films these days, and all of them needing distribution, it’s a great opportunity for Netflix to get good content, lower its bills and bring in a new revenue stream without ruining the consumer experience.

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Diversifying the Cultural Conversation

NYT Op-Ed Page

Elizabeth Méndez Berry (a director at the Nathan Cummings Foundation) and Chi-hui Yang (a program officer at the Ford Foundation) wrote a great Op-Ed for the NYT on July 5th about the need for more diversity among critics, cultural writers, editors (and assigning editors) in the arts and cultural sphere. The entire piece is required reading, but these two paragraphs sum it up for me:

This matters because culture is a battleground where some narratives win and others lose. Whether we believe someone should be locked in a cage or not is shaped by the stories we absorb about one another, and whether they’re disrupted or not. At a time when inequality and white supremacy are soaring, collective opinion is born at monuments, museums, screens and stages — well before it’s confirmed at the ballot box.

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What does it mean when NYC loses Kanopy?

Big news in the educational streaming market this week – I may be the first person to ever type those words!- as the New York City Public Libraries Drop Kanopy’s “Free” Movie-Streaming Service. The NYPL, Queens and Brooklyn Public libraries all dropped the service (they are actually distinct library systems) citing costs. Now while many readers may not even know what the heck the educational streaming market is, I think this is bigger news – and worse news – than it seems.

Up until now, if you had a library card from these or many other public libraries, you could watch movies for “free” by just using your library card to access Kanopy, which has become one of the biggest streaming libraries for film in the educational marketplace. I scare quote the “free” part because Kanopy reportedly charges libraries about $2 per view (with a view being at least 30 seconds of watching), which adds up. In fact, these three libraries said the cost got too high for them to renew their contracts and would invest more into ebooks and audio books. Mind you, that’s what public libraries pay. Educational libraries, like a University or College, pay even more, with some quoting $150-300 once more than 3 people watch the film. For a good run-down of the educational market, Kanopy and how this all works, read this Film Quarterly article.

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Getting inspiration from a teen filmmaker, and more news you can use for June

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Entrepreneurial Producing, in memory of Steve Golin; Facebook & Blockchain & Film and More

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Ten Trends to Embrace in Branded Content and other Sub-Genre news for April 25

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Towards a New Public Media, and more Sub-Genre news for April 3

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The Skoll Report on Impact Entertainment and other Sub-Genre News for March 7

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Academy Thoughts – North Face Tuxedos and Acceptance Speeches, and other Sub-Genre news

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Pre-Sundance 2019 Sub-Genre News – what I’ll be talking about at the Dance

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Sub-Genre News, Predictions for 2019 and more news you might use

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Quibi: The future (death) of online video and more Sub-Genre news for Dec 14, 2018

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With Apple’s new free content, what’s the future gonna look like?

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The Crisis in Indie Film History Viewing (and Preservation)

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Sandra Schulberg gets a Gotham and other Sub-Genre News for Sept 21

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News Fri the 13th Edition: HBO vs Netflix and more

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Artificially Intelligent: musings on AI, Voice, DA’s and Film

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Cannes, Patagonia Sues Trump, and other news

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