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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?

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How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

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These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch