![]() ![]() And it’s remained resistant to embracing theaters. “The Apples of the world and maybe even the Netflixes of the world are seeing: It doesn’t have to be every movie and it doesn’t have to completely flip our business model upside down.”Īmazon notched the first best-picture nomination for a streaming service back in 2017 with “Manchester by the Sea,” and Apple won last year with “CODA.” But Netflix, the streaming pioneer, has long been the most dominant platform. Amazon is going to pick and choose the ones that make sense,” says Wilson. This plan won’t work on every single film. If it was a dud, it would have been more likely to go straight to streaming. It can also mean sinking millions in advertising into an often already expensive movie that audiences, with more competition for their attention than ever, might not flock to. A theatrical run can give a film the patina of something worth making an effort to see, and differentiating it from the infinite sea of content. But it’s got to be out there.”īeing “out there” has its risks, of course. You don’t know where that inspiration is going to land when you throw it out there. “Because a young person actually going to see a film in the theater, that person, who knows, five or 10 years later could be a wonderful novelist, painter, musician, composer, filmmaker, whatever. “Maybe these new companies might say: Let’s invest in the future of the new generations for creativity,” says Scorsese. Paramount is distributing “Killers of the Flower Moon” while Sony is handling “Napoleon.” Scorsese, one of the most passionate defenders of the big-screen experience, recently said he hope companies like Apple not only release films in theaters but build cinemas, too. Later this year, Apple will release wide in theaters two anticipated epics: Martin Scorsese’s “Killers of the Flower Moon” and Ridley Scott’s “Napoleon.” They’ll have help. “We have been arguing this for years,” says Fithian. As subscription numbers slowed, the signal from Wall Street shifted to: Grow your streaming platforms but make money, too. But Wall Street craved subscription growth from streaming services, and studios eagerly chased the reward - rising stock prices - until the bottom fell out last year. It should be noted that many made much the same argument well before the pandemic. Movie review: Ezra Miller speeds back to the future in 'The Flash,' fueled by calories and cameos “It should function as free advertising to create this halo effect which in turn creates more viewers on the service,” says Affleck, who directed and co-stars in “Air.” “If that’s the case, I think the business will really expand and go back to a broader theatrical model.” When “Air” does arrive on Prime Video, the studio and its filmmakers expect an even better showing than if they hadn’t launched in theaters. And in its first two weeks, “Air” has been a hit.Īfter a strong five-day debut of $20.2 million - especially good for an adult-skewing drama - “Air” dipped only 47% in its second weekend. “Air,” about Nike’s pursuit of a shoe deal with Michael Jordan, went over so well with early audiences that Amazon, despite acquiring the film for its Prime Video streaming service, wanted to launch it in theaters. “It wasn’t what we expected when we first made the deal.” “They said, ‘What do you guys think about a theatrical release?’” Damon says. NEW YORK (AP) - After Ben Affleck and Matt Damon test screened their Nike drama “Air,” the film executives at Amazon Studios threw them a curveball. ![]()
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