![]() Seven of the year’s TopĮight were released by Disney or one of its subsidiaries. I could presentĪ raft of numbers, but I’ll confine myself to a few. After dominating the box office in 2018, the studio’sīox office prowess erupted in an unprecedented fashion in 2019. High-interest blockbusters around to keep all the current mega- and multiplexes May not be around in another year or two. If your local theaterĭoesn’t have robust foot traffic (especially on Friday and Saturday nights), it Is the viewer at the mercy of theater times and prices. Irishman or Marriage Story, for example) is a major boon. Well – the convenience of being able to “program” the viewing of a film (like The Through which non-tent pole films are released. Partnered with a streaming service and that increasingly will become the avenue By the end of 2020, every major studio will have Intended to be a big part of the future for them and their subsidiaries, Pixar, Why Disney sunk so much capital into the November launch of Disney+. ![]() Process of changing their business models to cope with the new order. The trend probably doesn’t worry studios much – they’re already in the Almost every non-blockbuster to open inĢ019 did so to a lower-than-projected opening weekend domestic box office See them? Pay the $15 ticket price (plus extra for concessions)? Not in 2019.Ĭustomers part with their cash to have experiences and avoid being leftīehind in social media conversations. That most traditional films – low and mid-budget dramas, comedies, and groundedĪction/adventure movies – no longer hold much interest for the “average” Studios market and publicize those filmsĪnd multiplexes sign unfavorable deals in order to fill seats and generate foot Weekend numbers) movies tagged with the “spectacle” label – primarily new Residence of blockbusters and tent-poles. The movie theater is hasīecome, by mutual agreement between the studios and their customers, the Welcoming place for films of all types and sizes. It has become evident that the multiplex (or megaplex) is no longer a Big or big-feeling movies that are well-marketed can work in theaters, but nothing else will-except when they are targeted and they do work, like Everything Everywhere All at Once, or, to a lesser extent, Elvis and Where the Crawdads Sing.That stands out about The Year in Film 2019, it’s that we continue toĮxperience the latest evolution of motion pictures (one that began a few yearsĪgo). At this point, that fact is pretty clear-though many in Hollywood are in denial about its significant repercussions. But that was followed closely by a more revealing quote, also from Goldstein: “What the audience is clearly telling us is they love the big-screen experience, but not for every movie.” distribution chief, in that first Journal piece, echoing what you will hear when you have lunch with any film executive. “There’s no question that we’re coming back,” enthused Jeff Goldstein, the Warner Bros. That schizophrenia extends to the studios, too. Got that? The Covid recovery is going great- so great that the world’s second largest theater chain is about to go bankrupt. Last Sunday: “Movie Theaters Plot Revival as Americans Show Up for Blockbusters.” And then on Friday: “Regal Owner Cineworld Nears Bankruptcy as Theater Comeback Lags.” Let’s chart the current state of the movie theater business in two headlines, just a few days apart, both from The Wall Street Journal.
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