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Post by Vits on Jan 11, 2020 9:24:05 GMT
Academy isn't taking well to Netflix not giving its films theatrical releases. Where did you read that?
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Post by hi224 on Jan 11, 2020 14:50:03 GMT
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Post by Vits on Jan 11, 2020 22:22:07 GMT
I read it. It talks about Spielberg's thoughts against Netflix competing for awards and a few others who support it. That's it. It doesn't say anything about how the Academy feels about it.
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Post by hi224 on Jan 12, 2020 0:51:44 GMT
I read it. It talks about Spielberg's thoughts against Netflix competing for awards and a few others who support it. That's it. It doesn't say anything about how the Academy feels about it. its pretty clear based upon these last few years academy takes massive exception to netflix not giving theatrical releases.
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Post by hi224 on Jan 13, 2020 22:01:17 GMT
its pretty clear based upon these last few years academy takes massive exception to netflix not giving theatrical releases. So why are they nominating Netflix films then? nominations are easy, until they win best picture, my opinion won't change.
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Post by hi224 on Jan 15, 2020 1:45:10 GMT
nominations are easy, until they win best picture, my opinion won't change. If they took exception, they wouldn't even factor them in for nomination consideration. Nominating boring Netflix films is undermining those films that were made directly for theatrical release and needed to be given priority. Netflix films shouldn't even be on the radar for Oscars, unless they play by the same rules as theatrical release. Aside from being a foreign Film, the fact Roma released on Netflix was a definite factor against the movies chances and likely another reason Green Book took best picture.
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Post by joekiddlouischama on Jan 17, 2020 5:22:05 GMT
The difference is that the Netflix model is inorganic. Some of its movies may stay a little longer than originally planned in certain urban markets, but the theatrical schedule is extremely limited, prematurely abbreviated, and used as a sort of gimmick to induce more subscribers (and potentially greater subscription fees). Conversely, with traditional releases, they play out organically and enjoy the potential for much longer theatrical runs—and thus longer periods of time before they can become available on DVD or through subscription services. As a result, the theater business and nature of the cinematic experience enjoy some protection, protection that is now being seriously undermined. Basically, we are talking about a dangerous form of consolidation here, where the premier streaming service for movies has now entered the production business. Worse, Netflix seemed to somehow exert special leverage with the Hollywood Foreign Press Association (i.e. the Golden Globes), only enhancing its business model by monopolizing much of the season's critical acclaim. What will be curious is to see how the Academy responds. These films are just not being represented through the appropriate channels for theatrical exhibition. I was just reading an article about Netfilx not wanting to release box office data for The Irishman and that they are not that interested in what their films make at the cinema box office. ffs, films that are made to initially screen theatrically, are focused on what box office takings and averages\medians are. This is what cinema is also all about. Giving the film very limited release, I would have had to have driven over an hour to get to see The Irishman, and those that have Netfilx and if interested in the film, why would they even bother spending the price of ticket, that could be what the price, or even more, of their entire monthly subscription to Netflix is? They will wait for what they have already subscribed for.
I say put the same rules on Netflix films as theatrical releases, if they want to screen in the cinema and vie for prestigious film awards. They can wait the same period, which I think is around 90days, before made for home viewing, or they can plug themselves for t.v. Emmys or GG tv movies, not motion pictures.
... definitely; Netflix's release model is a matter of manipulation, one that could lead to a dangerous form of unraveling.
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Post by joekiddlouischama on Jan 20, 2020 8:07:33 GMT
Here is another issue with the Netflix model: theaters will bring back some of the Best Picture nominees for January-February re-releases. And since 2017, more and more theaters have been holding Oscar movie festivals in the week leading up to Oscar Sunday, where they screen the Best Picture nominees (along with the nominated shorts) multiple times. A viewer can purchase individual tickets or a pass for something like $35 and attend as many showings as one likes. I have bought such a pass in each of the last three years, and I plan to do so again. (In 2017, one theater in my city held such a festival; in 2018, the total was up to two, and it increased to three in 2019.)
But the Best Picture nominees produced and distributed by Netflix are not part of these festivals or the re-releases that precede them. Thus if one missed The Irishman and Marriage Story in their abbreviated and extremely limited original runs, one cannot see them now in the weeks or days leading up to Oscar Sunday. (And the same was true of Roma last year, at least outside of big cities.) And if one wants to see them again in the theater, one cannot do so. However, one will be able to view Parasite or any of the other Best Picture nominees, even those that came out months ago and have long since been available via DVD.
This re-release/festival pattern is engaging (theaters are often full) and allows viewers to see—in the theater—nominees that they may have originally skipped or missed. (That, for instance, was how I saw Get Out two years ago and Black Panther last year after I did not bother with them during their initial runs. Both turned out to be worth seeing on one level or another, especially Get Out, which I enjoyed and found "good," even if neither was actually Best Picture-worthy and only received the nomination as a token of its commercial clout and perhaps as a tokenistic way to ward off "Oscars So White" criticism.) But if you previously missed The Irishman or Marriage Story in the theater, you are out of luck—you will have to turn to the streaming service, which is specifically undermining theaters in this way. Fortunately, I saw The Irishman once (in November) and Marriage Story twice (in December), but I would have liked to have seen The Irishman a second time in order to assess it again, and I never did see Roma from last year. The Netflix model is again just too much of a self-serving gimmick that threatens the theatrical movie industry. That industry found a way to act compatibly with the rise of VHS/DVD, but Netflix is not really "playing ball," and the industry is catering to it nonetheless.
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Post by moviebuffbrad on Jan 20, 2020 19:24:49 GMT
I think Ed Wood kinda said everything there is to say on the subject of incompetent filmmakers making so bad it's good movies, and stuff like this and The Disaster Artist basically just retread that movie.
I did love Wesley Snipes, though.
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