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This weekend, 'Wonka' starring Timothée Chalamet, really hit it out of the park. With an impressive $39 million debut in the U.S. and a global total of $151.4 million, it's clear that there's still a lot of magic left in legacy intellectual properties (IPs). However, while the success of legacy IP spin offs like 'Wonka' is heartening, it also brings an important consideration to the forefront. As much as we value these time-tested stories, there's a growing need to balance them with the development of new, original IPs. As we look ahead, I still believe the biggest challenge for studios is to find those hit stories that connect with consumers in an era that is over saturated with content. Much easier said than done. https://lnkd.in/eFiZZfgu #wonka #movienews #entertainmentindustry #streaming #filmmaking

The movie theater as we know it, is a dying entertainment venue. Online movie streaming services are destroying the traditional in-person movie theater experience. People can save money and watch movies from the convenience of their home instead of trekking to a local movie theater. 🎬 CNN news network reported that Regal Cinemas, the world's second largest movie theater operator, "suffered a combined loss of more than $3.3 billion over 2020 and 2021, and has so far shuttered 51 of its Regal theaters in the United States." Regal Cinemas losses aren't all the result of online movie streaming competition, but such competition is a major contributor to their catastrophic financial losses. Music CDs killed vinyl records and cassette tapes; online audio download and streaming services killed music CDs. Are we witnessing the slow retail torture, assassination, and extinctions of the in-person movie theater venue? What's the next evolution in how major movies will be presented to consumers? How will the major movie studios best monetize on producing and delivering their movies to the public? How can movie theaters pivot to survive going forward? What are your thoughts on this business case? Regards Rev. Michael Robinson, M.S. Adjunct Professor, Leadership and Organizational Management Fox School of Business at Temple University #moviemaking #movietheater #movies #movievenue #AMCTheatres #regalcinemas #business #casestudy

Your guide to new shows and films to stream in Australia from 1 to 7 January in Australia:

Much wisdom to be found here. As a small cinema owner/operator in a post-strike, post-pandemic world, I can attest to the fact that we need every decent movie with BO potential out there! https://lnkd.in/gU-Fgsku

An interesting business model that was a staple of the past is crashing under long simmering issues. The classic movie theaters (and especially the big chains sitting on huge footprints - AMC Theatres, Regal Cinemas, Cinemark and others) do not control their content, are bounded by long-standing agreements regarding payouts, are being pulled apart at the edges by streaming services releasing directly to the consumer (and getting a hold of new movies far faster than they used to). There is a strong consumer base that is wholly dependent upon the release of X! Theater chains viability will be defined by their ability to take advantage of their physical structure effectively & flexibly during times of weak movie production. Will be (and is) a very interesting industry to watch. #strategy #leadership https://lnkd.in/erHd953d

All theses schemes. Free movies? Even at $20 a ticket movies are still the cheapest form of entertainment outside your living room. How about offering great films, great stories and a great experience you can’t get at home. Indie film can provide theaters the content they need, that people want to see, without bowing down to the Streamers whose only real objective is putting all theaters out of business. We make the movies people want to see. We always have. When the Studios, then the Streamers don’t have the guts to make anything original, indie steps in and saves the day. They are made by and for the audience the Streamers/Studios don’t understand. And with each new generation, new voices will emerge. Something the ones who hold the purse strings can’t create. Because they don’t create, they copy. A new time is coming for film. People want it. People need it. And only indie can provide it. And if we can’t find the money, we’ll find another way to do it. Here’s to the next wave. Indie Film Will Out. #indiefilmaking #indiefilms #horrormovies #supportindiefilm #invest #PsychWard #IndieFilmWillout

I read this article and wondered, why? Increasing costs, which consumers will inevitably have to bear, doesn't tackle the root issue. It makes me question whether Ster-Kinekor or Nu Metro have ever approached Disney, Netflix, or Amazon Prime about a collaboration to screen their movies in cinemas. Or is this just another thing destined to fade into obscurity? https://lnkd.in/dj7BDGjQ #CinemaCollab #StreamingOnTheBigScreen #MovieIndustryInnovations #ConsumerCosts #FilmDistribution #BigScreenExperience #NetflixInCinemas #DigitalMeetsTheatre #FutureOfCinemas #EntertainmentEconomics

"I'll wait for streaming" is only part of the issue. While movie studios remain hoisted by their on-demand petard, they're also doing audiences no favours when it comes to trust. With The Fall Guy heading for a (very fast) home release, it's accompanied by 20 minutes of additional footage. An extended cut. It wasn't long ago that Zack Snyder released Rebel Moon for Netflix, before turning around and saying that a director's cut is coming - the implication, of course, to have audiences watch the movie again to see the new content. But will they? Why would audiences pay now when the "director's cut" or "extended edition" or "uncut version" is just around the corner? In wanting a comeback of those big pre-COVID bucks, this two-bites-of-the-cherry tactic is only going to train filmgoers not to return, but to restrain. Obviously, director's cuts are not new. What cinephile hasn't got 28 different versions of Blade Runner in their collection, or stand by the Assembly Cut of Alien 3? But to get that hype train rolling while the original release of the movie that you're asking people to pay to see is still screening? You're only telling on yourself. Movie studios: don't act surprised if "I'll wait for the extended cut" becomes the new "I'll wait for streaming". 

From Blooomberg: More to the point, it isn’t Sundance’s fault that people are going to fewer movies in theaters. A growing share of the population would rather watch a movie at home, save for the occasional blockbuster. This trend started years ago and accelerated during the pandemic. They have more ways to entertain themselves than ever before — and more to watch at home. Major movie studios released fewer movies in theaters last year than they did five years ago, according to Luminate . Meanwhile, the number of movies released on streaming has nearly tripled over that span. (Let’s not even talk about the boom in #TV shows.) Sundance does play a vital role in the business of independent #film, and its organizers know they must find a balance between art and commerce. Sundance has become a destination not just for aspiring filmmakers, but for financiers, advertisers, studio executives and #tech companies. Amazon, Adobe and TikTok are just a few of the companies hosting events this year. Financiers and producers bring dozens of movies to Park City every year hoping to secure distribution deals that cover their cost of production. In 2006, Fox Searchlight plopped down more than $10 million for Little Miss Sunshine, a delightful family comedy that grossed more than $100 million at the box office. That may have been the peak of the independent market, as almost every major studio had a specialty division back then, including Warner Bros. Entertainment, #Paramount and Sony Pictures Entertainment. Film financing contracted during the global recession and was then transformed by the force that has distorted everything in #Hollywood: streaming. Netflix, Amazon and Apple have spent more than $200 million buying movies at the festival in recent years, including both Academy Award winners and films you’ve already forgotten about. Few of the traditional distributors could compete with those heavyweights, which inflated the expectations of most producers and sellers. But this boom was short-lived. The streaming services now want titles that appeal to as many people as possible, and that isn’t @Sundance’s specialty. #Streaming services will buy a title or two — as Netflix did with Fair Play last year — but their presence on the festival circuit is diminished. The more optimistic among us will note that the market for independent film is cyclical; while box-office sales are below the pre-pandemic level, but they are increasing Apple and Amazon may not be the most active buyers at festivals, but they are releasing movies like Saltburn and Napoleon in theaters. New players, be it Roku Inc. or some rich dude from Texas, will always want to be in the film business.

These AMC-distributed concert/documentary movies seem to be a win win for the exhibitors, cinema and of course AMC. Content is key as well as distribution. #AMC #renaissance #beyonce #concertfilm #entertainment #presale #content #distribution #marketawareness #documentary