{"id":27084,"date":"2019-01-26T10:26:49","date_gmt":"2019-01-26T16:26:49","guid":{"rendered":"http:\/\/www.bmovienation.com\/?p=27084"},"modified":"2019-01-26T10:26:51","modified_gmt":"2019-01-26T16:26:51","slug":"making-waves-in-theatrical-exhibition","status":"publish","type":"post","link":"http:\/\/www.bmovienation.com\/?p=27084","title":{"rendered":"Making Waves In Theatrical Exhibition"},"content":{"rendered":"\n
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Change…true\nchange usually occurs in some form of evolution or a lot of little\nrevolutions. I think in many ways the theatrical exhibition circuits\nare incapable of true change due to their size and financing\nstructure. Sustainable and meaningful change must, I feel, occur in\nthe ranks of the independent theaters and their owners. I believe\nthey possess the ability to truly instill a sense of innovation and\nexcellence that is so deeply needed within this industry.<\/p>\n\n\n\n

This\nweek something changed in our business, and not for the better. This\nweek the Academy of Motion Picture Arts and Science opened the door\nto Netflix with it’s nomination of Rima as best picture. \n<\/p>\n\n\n\n

Roma had a theatrical exclusive run of\nthree weeks. It debuted in the theaters on November 21st<\/sup>\nand was released on Netflix on December 14th<\/sup>. It made\n$2.8 million in total as it played in 147 theaters. Netflix managed\nto antagonize most circuits including indie friendly Alamo Draft\nhouse. Theatrically its release was a shambled mess. I personally\nthink all in all Netflix did a great movie a deep injustice.<\/p>\n\n\n\n

After Roma was nominated for Best\nPicture at the 91st Academy Awards, AMC Theatres and Regal Cinemas\nboth issued statements saying that Roma would not be part of the\nline-up at either chain’s annual Best Picture showcase. AMC said in\ntheir statement that this was due to them never receiving a license\nfrom Netflix to screen Roma in their theaters. Both theater chains\nhave refused to screen films from Netflix due to both chains having a\npolicy where films that screen in their theaters must have a 90-day\ntheatrical exclusivity window. \n<\/p>\n\n\n\n

Amazon, the competitor of Netflix takes\na totally different and in my view a highly intelligent approach. Its\nmovie Manchester by the Sea with a decent theatrical window earned \n$50 million in the U.S. before being launched on the Amazon Prime\nplatform. It was nominated for six Oscars, including Best Picture. It\nmade sure theaters had a respectable window and as a result received\nboth revenue and accolades. \n<\/p>\n\n\n\n

What the Academy did was allow a fox\ninto the hen house and I suspect there will be lingering damage as a\nresult of this nomination. I think the Academy cheapened itself, did\nan injustice to movie fans, and in the long run gave acknowledgment\nto a company whose intent is to erode the theatrical experience.<\/p>\n\n\n\n

It was also announced this week that\nRon Howard’s next movie will be backed by Netflix to the tune of $45\nmillion.<\/p>\n\n\n\n

I think the above give testament to the\nsimple fact that real and positive change in the theatrical\nmarketplace must come from the independent. The foundation is being\npoured for a real David and Goliath story. There are precedents in\nthe arts that show how simple actions and effort can instill great\nchange in an arts based industry.<\/p>\n\n\n\n

La Nouvelle Vague or\nthe French New Wave was a French film movement which emerged\nin the 1950s and 1960s. It created a real curiosity in America for\nmovies that did not originate out of the Hollywood machine. It gave\nrise to the art cinema house and exposed North American audiences to\na new form of moviemaking as as well as a new kind of movie\ndirector. Director like Truffaut, Chabrol, Resnais and Godard. It\nopened the minds of moviegoers to be appreciative of global movie\nmaking. This included works by Bergman, Kurosawa, Ozu, Weir and many\nmore. It was an exciting time of new ideas and new worlds. North\nAmerica , so often known as self involved by acknowledged rest of the\nworld. It lasted until the rise of the blockbuster, where America\nonce more started forgetting they made movies in other parts of the\nworld. What is really interesting was that a major force in bringing\nthese movies to North American audiences was cinematic rebel Roger\nCorman, who brought his marketing prowess earned with American\nInternational Pictures and New World in the promotion of great\ninternational cinema.<\/p>\n\n\n\n

After the punk movement began to wane\nin the United Kingdom, a new music arose lumped under the banner New\nWave. Bands like U2, Flock of Seagulls, Bananarama, Elvis Costell,\nBilly Idol, Thompson Twins and Depeche Mode rose out of the ashes of\nthe punk movement. They gained a following in the United Kingdom but\nnowhere else. It was a musical movement that looked like it was to\nbecome a regional curiosity.<\/p>\n\n\n\n

Small radio stations like KROQ on the\nWest Coast and WLIR in the New York market in a effort to define\nthemselves in market containing huge media interest began playing\nthese emerging artists.<\/p>\n\n\n\n

WLIR played the Frankie Goes to\nHollywood single “Relax” just six days after its U.K.\nrelease, six months before the record company released it in the\nUnited States much to the annoyance of the record label. In LA KROQ\nhelped launched the careers of bands like Suicidal Tendencies, The\nOffspring, The Red Hot Chili Peppers, Oingo Boingo, Sublime, No\nDoubt, Rage Against the Machine, Tool, Blink-182, System of a Down,\nBad Religion and Social Distortion. They prided themselves for\ntheir discovery of up-and-coming artists.<\/p>\n\n\n\n

These two waves, the French New Wave in\ncinema, and the New Wave movement in music are allegories that the\nexhibition business should look towards. It is time that the\nexhibition business started looking at alternative business models\nand alternative business practices in order to instill some much\nneeded excitement into this business.<\/p>\n\n\n\n

So to the independent theater owner,\nask yourself how can I change my business model to serve my community\nbetter, how can I lessen my reliance on the studios and how can I\ninject energy can change into an increasingly tired business. How can\nI create the new wave in the exhibition of motion pcitures. If you\nhave ideas I would love to discuss them with you.<\/p>\n\n\n\n

It is time to rise and to become\nshowmen (and show women) again. \n<\/p>\n

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