Netflix
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Netflix Originals “Exclusively” Acquires The Square
When Netflix announced this past July that they wanted to expand their original programming beyond wildly successful TV serials to documentaries, I figured an Alex Gibney commission wasn’t far off. Instead, the Internet was met with the puzzling news earlier today that the streaming giant acquired the very much completed, newly edited, festival-circuit debutant The Square. “Original,” it seems, lends itself to a different definition when Netflix is doing the talking. Though The Square is currently making a self-financed, Oscar-qualifying theatrical run in New York and Los Angeles, Netflix said in a statement that they will exclusively “premiere” the documentary […]
by Sarah Salovaara on Nov 4, 2013 -
Liesl Copland on the “Analytic Black Holes” of Netflix, iTunes and Amazon
A filmmaker called me the other day, asking if I could think of some comps for his movie. You know, other movies whose marketplace performance would indicate that there is a paying audience for his demographically-similar picture. He named a title he really liked and said he was shocked to see via Box Office Mojo that it had done so poorly. Indeed, its reported box office was in the five figures. The very low five figures. “But that box-office figure is misleading,” I replied. “The film was bought by a company whose strategy is to release on VOD and digital […]
by Scott Macaulay on Sep 11, 2013 -
13 Takeaways from the 2013 Cannes Film Market
Earlier this week I posted “15 Lessons for Producers from the Cannes Film Festival and Market.” With the festival and market now firmly in the rear-view mirror, the consensus is that it was a solid one for the international sales community, without, perhaps that one giant locomotive title but with an appropriately modest number of films hitting their ask prices. Tastes were noted to have shifted, with buyers wanting “more Jennifer Lawrence and less Sylvester Stallone.” And on the pure indie level, I noticed, as I wrote in my piece on producers, a new crop of American independents have figured […]
by Scott Macaulay on May 31, 2013 -
What Does Xbox One Mean for Independent Filmmakers?
Right now the answer is not entirely clear. The Xbox One, which was unveiled in a presentation last week, represents Microsoft’s latest bid for domination of the living room through a single multipurpose device. It’s not a complete reinvention of the Xbox brand, but it integrates and advances several technologies Microsoft has been working on over the years. Microsoft’s accompanying efforts to expand away from hardcore gaming into other areas of entertainment such as streaming video make it a viable contender to the PS4, Apple TV, and other devices/platforms. Here’s the video of the device’s entire reveal. The discussion of […]
by Randy Astle on May 30, 2013 -
Opportunities for Indies?
Traditional broadcast and cable television is in free fall. More and more viewers are turning to alternative viewing options offered through “broadband” services facilitated by the Internet. Traditional TV programming, like editorial content in newspapers and magazines, is really an eyeball hook for the show’s advertising. And traditional TV viewing is suffering its biggest loses among its most coveted demographic groups – Generation Y (ages 13 to 32) and Gen X (ages 33 to 46). A recent report by GfK, a German research firm, paints a dismal picture of TV audience erosion. It found that among Gen Y folks, only […]
by David Rosen on Feb 22, 2013 -
Video Streaming & Indies
Now that the 2013 Sundance Film Festival is underway, it’s an opportunity to remind indie filmmakers that, sadly, their future is on the web and not in movie theatres. Park City screenings, parties and other get-togethers are great fun and a good chance to meet other makers and distributors. However, don’t expect to make a deal! This year Sundance will screen 119 feature-length films from 32 countries, including works from 51 first-time directors. These works were selected from 12,146 submissions, including 4,044 feature-length films and 8,102 shorts. One can only wonder if the odds for having one’s feature selected (2.9%) […]
by David Rosen on Jan 18, 2013 -
On-Demand Culture
In April 2012, comedian Mark Malkoff embarked on an extraordinary challenge when he set out to use his Netflix account to watch as many streaming movies as possible over the course of one month. Reasoning that he wanted to get the best value possible for his $7.99 monthly subscription, Malkoff pushed Netflix’s promise of a deep catalog of streaming movies to absurd lengths, managing to watch 252 movies — about eight titles per day — and bringing his cost per film to an impressively low three cents. The stunt helped to illustrate how easily and cheaply consumers can access and […]
by Chuck Tryon on Jan 17, 2013 -
The Berneys Return to Distribution with the Revived Picturehouse and a Netflix Deal
Distribution veterans Bob and Jeanne Berney are returning to the business of releasing movies with Picturehouse, reviving the distribution brand Bob Berney headed in the mid-’00s. Reports Michael Ciepley in the New York Times, the Berneys, along with a group of investors, have bought the Picturehouse name and logo from Warner Bros. and have signed a deal with Netflix, which will release the company’s films following their theatrical release. A first picture is already lined up: “a 3D action movie,” Metallica Through the Never, starring the band. From the New York Times: On Tuesday, Mr. Berney said he is seeking […]
by Scott Macaulay on Jan 15, 2013 -
Will Data Caps Kill Indie Film?
Do you watch movies downloaded via the Internet to your laptop, tablet, smartphone or even TV set? If so, have you received a love letter from your Internet Service Provider (ISP) informing you to either go on a digital data diet or plan to pay more to suck down more streaming 1s and 0s? If not, it will arrive shortly. The leading ISPs are changing the usage and pricing models they have long used, shifting the industry from one with “unlimited” plans to “limited” deals. The effort to impose data caps – sometimes called data throttling – may have significant, […]
by David Rosen on Jan 7, 2013 -
Transparency & Emerging Visions
An older filmmaker friend of mine recently told me about his first experience with Kickstarter. He hated it. It wasn’t that he didn’t get his money–his campaign was actually successful. No, It was something else. As he put it, it was “transparency.” He really didn’t like having to be so open about his needs, about the status of his project, about his desperation to raise money. Transparency can be uncomfortable for filmmakers–too much and you seem like you don’t know what you’re doing, too little and you don’t get the help you need. I guess it’s about finding the right […]
by Musa Syeed on Oct 9, 2012
