Z
MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

The Massive DirecTV Campaign For Home Premiere

There is not a word about the program on the service’s website. And the only indication of its existence you will find on your DirecTV HD-equipped service is the above. $29.99 for Just Go With It… no mention of the early release… nothing special compared to the many other promoted pay-VOD offerings… and right next to the offer of “400 new releases & 6000 shows an movies.”

So you tell me… are the studios or DirecTV seriously expecting anyone to buy something that’s premium priced, but not even being sold?

Oh wait… ““We’re testing a price point and testing a window in the early days of this product, and we’ll see how it takes,” Chang, DirecTV’s head of content strategy and development, said today in an interview. “Down the road, if the window gets tweaked and changed, I think we all cross that bridge when we get to it.” (Blooomberg)

I guess it’s good that someone is pretending that the next step isn’t already planned for 45 days and $20, followed by 30 days and $15 when that fails.

3 Responses to “The Massive DirecTV Campaign For Home Premiere”

  1. Joe Leydon says:

    Actually, I have found that Comcast does next to nothing to alert people that indie movies that haven’t even opened yet in theaters can be viewed as VOD. I’m not comparing, say, Tiny Furniture or Heartless to Just Go With It in terms of audience appeal. But it does seem to me that, across the board, we’re still pretty much in the Jursassic period when it comes to VOD marketing.

  2. Blackcloud says:

    C’mon, Joe, no love for the Ordovician or Permian?

  3. Russell says:

    Yeah, Comcast does nothing to promote its OnDemand service really aside from flaunting the number of shows available by number. For instance, the movie Super with Ellen Page is available on VOD yet there’s no mention of it anywhere and it isn’t the easiest to find either. Is Super also available on DirectTV or is it Comcast-only?

Leave a Reply

The Hot Blog

Quote Unquotesee all »

“Chad Harbach spent ten years writing his novel. It was his avocation, for which he was paid nothing, with no guarantee he’d ever be paid anything, while he supported himself doing freelance work, for which I don’t think he ever made $30,000 a year. I sold his book for an advance that equated to $65,000 a year—before taxes and commission—for each of the years of work he’d put in. The law schools in this country churn out first-year associates at white-shoe firms that pay them $250,000 a year, when they’re twenty-five years of age, to sit at a desk doing meaningless bullshit to grease the wheels of the corporatocracy, and people get upset about an excellent author getting $65,000 a year? Give me a fucking break.”
~ Book Agent Chris Parris-Lamb On The State Of The Publishing Industry

INTERVIEWER
Do you think this anxiety of yours has something to do with being a woman? Do you have to work harder than a male writer, just to create work that isn’t dismissed as being “for women”? Is there a difference between male and female writing?

FERRANTE
I’ll answer with my own story. As a girl—twelve, thirteen years old—I was absolutely certain that a good book had to have a man as its hero, and that depressed me. That phase ended after a couple of years. At fifteen I began to write stories about brave girls who were in serious trouble. But the idea remained—indeed, it grew stronger—that the greatest narrators were men and that one had to learn to narrate like them. I devoured books at that age, and there’s no getting around it, my models were masculine. So even when I wrote stories about girls, I wanted to give the heroine a wealth of experiences, a freedom, a determination that I tried to imitate from the great novels written by men. I didn’t want to write like Madame de La Fayette or Jane Austen or the Brontës—at the time I knew very little about contemporary literature—but like Defoe or Fielding or Flaubert or Tolstoy or Dostoyevsky or even Hugo. While the models offered by women novelists were few and seemed to me for the most part thin, those of male novelists were numerous and almost always dazzling. That phase lasted a long time, until I was in my early twenties, and it left profound effects.
~ Elena Ferrante, Paris Review Art Of Fiction No. 228

Z Z