Spike filmography incredible. Idk if there’s a real miss. Even widely-panned Miracle at St. Anna is actually pretty great. And of course then there’s the masterpiece that is Chi-Raq, which you fucking idiots pounced on...one of the boldest and most inventive movies of my lifetime

guy is just a god at moviemaking. A privilege to watch him do his thing unrestrained on at least a decent budget in a time where the practice of a blank check director is essentially dead. Same w/ Scorsese last yr (he got a lot more $ but that’s another topic for another day).

these big films (instead of a 10-hr show for half the $) aren’t actually profitable for Netflix. Goal w/ them is to establish Hollywood legitimacy to attract talent (if Roma won, idk if D5B or Irishman even get made...certainly not as freely). But I’m thankful for the window.

like even Da 5 Bloods $45M budget (which is only 1/5 of Irishman)....they can make 2 seasons (i.e. 20 hours) of something like 13 Reasons Why for that...in a battle that’s all about having the most in-demand content, not the best. Disney+ spent “only” $100M on Mandalorian.

basically...streaming as carte blanche route for directors won’t be a thing in 3 yrs. Legitimacy has been established (Netflix is obsessed with winning BP, so maybe they’ll be more liberal with movies for a few yrs). But it gave us some great movies the studios don’t make anymore

in 5 years the only things will be giant IP blockbusters, scrappy indies -already on life support even with stars attatched, even more so given coronavirus complications- reliant on film nerds (a small group), and “prestige series” (disgusting, “peak TV” the biggest lie).

talent will flood to series’ (already started obv, more so w/ actors than w/ directors, but it’s happening) cuz that’s where the only sizable-budgeted creative freedom will be. They’ll give u $30M and let you do ur thing if u give them 10 hours of stuff, but not for a 2-hr movie.

happening even if theatrical wasn’t in Rona crisis (and don’t get me wrong, nobody should be going to movies this summer. Not ppl’s fault). Mid-big/big budget non-IP films are dead. Even director’s stuff last yr like FvF, AdAstra, Lil Women, OUATIH, 1917...not getting made now.

will be great films...indie financing been reliant on risky awards plays and critical darling hopes leading to streaming $ for yrs...but those big-ish mainstream yet relatively uncompromised movies have no future. Even OUATIH, name director + huge stars...no profit for Sony.

not tryna hype Tenet or be a NoBro...be responsible, plz...but I legitimately think it’ll be the last film from an o.g. script to get a $200M budget, regardless of how good it is/how well it does. Going to be an artifact film, in terms of both Rona history and Hollywood model.

dweebs mocked Ford v Ferrari (which was great, and seemed like a hit but wasn’t actually profitable) as some passionless dad movie......but you fuckers will be begging for a dad movie like that in 3 years, I guarantee. Great picture. Deserved the BP nom it got. End of an era.

...added to by Disney buying Fox (terrible, still feel like we didn’t get angry enough, one could argue Keith Smith is a domestic terrorist). Ferrari/Ad Astra, $90M original films...which I’ll admit Disney gave real campaigns to...both inherited from merger. Don’t get made now.

...like, Disney made an entire szn of Mandalorian which (legally) was subscription-only and became a phenomenon with huge merchandising for what it cost to make just one of those films. I don’t blame the companies tbh. They’re reacting to ppl’s habits. Don’t blame ppl either.

just how things are now. They said Netflix would kill theatrical long ago. It didn’t, but the big five’s reaction to Netflix seems to have done so. Not mad, don’t put it in the paper that I was mad. Once Rona is actually over (i.e. vaccine) there will be options for film geeks.

looking like ppl not in major city (where almost all art house screens are) or who can’t get to one conveniently and affordability, aren’t gonna have options. 5-8 event films (likely 75% Disney) w/ ballooned prices monopolizing what local cinemas show. Matinees cut, $30 tix.

Lucas too quick to envision and poke Netflix (not what killed theatrical, and we’ve seen over the last five yrs that the two can thrive simultaneously). He didn’t get into every conglomerate hoarding they own as hours. But I’m on his wave with theatrical. It’ll be like Broadway.

5-8 wide theatrical releases. Only the biggest of IP. Studios strike deals with w/e nat’l and local chains survive. Sold as events (who didn’t wanna see Endgame w/ crowd?), occupy every screen other than art house spots/non-profits (frequented by >1% moviegoers). No matinees.

I’ve worked at, booked schedules, and bartered with distributors at a family-ownwed, two-location “chain” in Mass & NH. The non big-3 chains aren’t in-bed w/ studios, don’t make shit off tickets, like ~$2 each in greater Boston area. Don’t let AMC and Regal...

who both saw $3.5B+ in ‘19 rev and are lender-friendly and own most their buildings outside of mall complexes, drive this conversation. A cinema that doesn’t have parent at their back with that capital can’t be close to tredding H2O at 30% capacity w/ masks not spending $20 food

ur independent multiplex or local-chain has no path to profitability. They are entirely reliant on selling 80%+ capacity for movies on Friday and Saturday nights when ppl are jovial and spending $. The big three-hour stretches those nights make up 80%+ of income for whole week.

theaters should be shut down until vaccine. Opening in 2 weeks with half-aas safety restrictions (which, c’mon, not gonna be forced) make it impossible for a smaller ones. Worried small exhibitors will feel obligated then quickly realize they’re losing more $ than by being closed