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By Ray Pride Pride@moviecitynews.com

Netflix Ted Sarandos’ Keynote On How He Would End Moviemaking (48’40”)

One Response to “Netflix Ted Sarandos’ Keynote On How He Would End Moviemaking (48’40”)”

  1. Anne DeAcetis says:

    The National Association of Theatre Owners (NATO) is incensed, but all Sarandos is doing is daring them to innovate like everyone else. Yes, Netflix wants to streams movies sooner. Why does it follow that this kills movies? I can order dinner from restaurants to be delivered to my house every day. But do I still go out to restaurants? Yes. Because the service is better, the atmosphere is more stimulating, the food is hotter/fresher, the experience is premiere. NATO can cry that doing away with theatrical windows would kill the cinema, but that’s only assuming the cinema stays exactly as it is now…notably, how it has been since the age of the dinosaurs when many other industries have since reinvented themselves many times over. Theatres can fight modernity or they can focus on improving the tragically lousy in-theatre movie experience–and innovate. It doesn’t seem that hard to me to offer something that Netflix could never rival through access alone. See my open letter to NATO CEO & President John Fithian on this subject here: http://bit.ly/1aw5p5z

Movie City Indie

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch