THB #93: The Batman (no spoilers)
| March 6, 2022
Netflix Lays Off At Least 10 At Tudum Fan Site
Ryan Faughner, Los Angeles Times: “Netflix, which has been the envy of the entertainment business for several years, saw its stock fall 35% after the company said it lost 200,000 subscribers in the most recent quarter and, worse, projected it would lose an additional 2 million in the current one. Between competition and password sharing, there’s plenty of blame to go around for Netflix’s woes. A bigger concern, though, dragged down the share prices of Netflix’s rivals too: What if the market for subscription streaming just isn’t as big as people thought?”
-30-
May 1, 2022
"Netflix, the great disrupter whose algorithms and direct-to-consumer platform have forced powerful media incumbents to rethink their economic models, now seems to need a big strategy change itself. It got me thinking about the simple idea that my film and TV production company Blumhouse is built on: If you give artists a lot of creative freedom and a little money upfront but a big stake in the movie’s or TV show’s commercial success, more often than not the result will be both commercial (the filmmakers are incentivized to make films that will resonate with audiences) and artistically interesting (creative freedom!). This approach has yielded movies as varied as Get Out (made for $4.5 million, with worldwide box office receipts of more than $250 million), Whiplash (made for $3.3 million, winner of three Academy Awards), The Invisible Man (made for $7 million, earned more than $140 million) and Paranormal Activity (made for $15,000, grossed more than $190 million).From the beginning, the most important strategy I used to persuade artists to work with me was to make radically transparent deals: We usually paid the artists (“participants” in Hollywood lingo) the absolute minimum allowable by union contracts upfront, with the promise of healthy bonuses based on actual box office results—instead of the opaque 'percentage points' that artists are usually offered. Anyone can see box office results immediately, so creators don’t quarrel with the payouts. In fact, when it comes time for an artist to collect a bonus based on box office receipts, I email a video clip of myself dropping the check off at FedEx to the recipient."
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DP/30 Audio: Bombshell, Jay Roach
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DP/30 Audio: The Last Black Man in San Francisco, Jonathan Majors
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DP/30 Audio: The Mustang, Laure de Clermont-Tonnerre
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