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COST OF CODA
THEATRICAL STILL STRONGEST…
…DISTRIBUTORS MUST “FIND BALANCE”
HOME ENT “TOUGH FOR INDIES”
“WHAT ARE DTV CONSUMERS WATCHING NOW?”
THE DOCTOR WILL SEE YOU NOW
THE HOST WITH THE MOST
TRIGGER HAPPY
LAYING THE FOUNDATIONS
VINNIE RETURNS
SONIC TAKES THE EXPRESS
DRAGONS RISING
STEP BACK IN TIME
QUOTE OF THE WEEK
AT THE MOVIES
TWEET OF THE WEEK
TRAILERS OF THE WEEK
What price a Best Picture Oscar? As pundits and film writers look to estimate the cost of Apple’s victory in this year’s Academy Awards with Coda, totting up how much the tech giant paid to acquire, market and then push for recognition at the ceremony, one critic argued that whatever the cost, it was worth it for the profile. After beating off the challenge of Netflix, which many thought would be the first of the streamers to win arguably the most important gong of them all, Apple was basking in its Oscar glory this week. With box office or home entertainment success, especially in physical terms, it’s always been easier to work out a direct correlation between awards success and actual financial success. But the nature of the subscription vod business means who really knows? For even as Variety reported a 25 per cent uptick in new members signing up following the Academy’s announcement, as well as a 300 per cent rise in viewing figures for Coda week-on-week, the magazine noted: “Of course, the numbers about Coda’s performance on Apple TV Plus, provided by a source close to the tech company, don’t reveal all that much. Apple has never disclosed how many subscribers it has for Apple TV Plus, so it’s unclear what the 25 per cent increase in new viewers signals in terms of real numbers. Apple also hasn’t provided granular data on time spent streaming its content.” And similarly, of those new sign-ups, many may just take the free trial then ditch it. But, in terms of headline-grabbing events at the ceremony, Will Smith and Chris Rock aside, this was the biggest news of the night and certainly the item that could herald a major sea-change…
Some interesting news from the boffins at Ampere Analysis (look, it’s not often we get to use that word), who have been assessing the figures in the US for different release strategies and windowing ideas. And, according to the research organisation, the key revenue driver for a film is still its theatrical performance, despite the increasing vogue for premium VOD (PVOD) and what it calls a duplex strategy – subscription VOD (SVOD) and theatrical. The report assessed the three models and looked at how titles released under them in 2021 – 61 films in all – compared with pre-pandemic expectations. The figures suggested that while initially at least, all performances were in line with each other, theatrical is still offering the most in terms of net revenues, contributing the most to PVOD and SVOD titles too. Ampere Analysis analyst Peter Ingram said: “New hybrid strategies proved viable in 2021 in a depressed theatrical market, but with cinemas keen to have studios return to pre-pandemic normality after two years of reduced revenues, it will be important for distributors and exhibitors to find a balance that suits both of their interests. Unless agreements can be reached with cinemas to allow hybrid strategies beyond 2022, studios will need to assess whether they can meet revenue expectations from VOD alone with no, or very limited, theatrical support.”
And as Ingram added: “If studios wish to pursue divergent release strategies in 2022 and beyond, they must evaluate the risks entailed with a VOD-only debut window, both in terms of the immediate impact on any given release, and of the longer effect on the health of the theatrical market, which our research has shown remains the strongest proposition to support film releases in meeting target expectations.”
Meanwhile, wither the independents as the market shifts towards hybrid models? There’s no slowing down in terms of the amount of releases coming to cinemas, while independent distributors and labels are still experimenting with the best way to bring titles to market. One thing is clear though: the industry, from theatrical through to home ent, is going to have to do more to help the Indies get their product in front of eyes, in cinemas and in stores, if there’s to be an independent distribution sector any more. Distributors are increasingly nimble and agile when it comes to getting bums own seats or discs through the till, but are finding it harder and harder to get the space fighting against the all-dominant majors and blockbuster fare. Since its inception, the UK video industry has helped turn lesser films and non-blockbuster titles into bona fide hits and even helped in their theatrical success. But DTV titles are, we hear, finding it increasingly hard to get shelf space in the same way they’re struggling for screens at multiplexes.
The Raygun spoke to experienced industry stalwart Jon Sadler, currently consulting on marketing for Indies and more at his own Magus Marketing, about the threats that smaller distributors take and, using his experience across both sides of the divide, how the nature of the business has changed. He said: “I’ve seen so many changes during my time in the industry and some formats and models will, inevitably, find themselves snared on the banks of the river along the way, and there’s nothing that can stop that happening. Like water, content finds the path of least resistance but, thankfully, its flow continues. Rental video, LaserDiscs, now even DVD to some extent - as it’s withdrawn from supermarket shelves – are all examples of this. When does the industry at large show a benevolence towards ailing models and formats? And should it even try to? Or are market forces just too inevitable? The market is becoming highly polarised. Blockbusters and franchise event movies are the norm now whereas once they were limited to the James Bond series and a few scattered trilogies. Theatrical is a very tough playground now for indies, but so is the home entertainment market, and that is where it’s really hurting independents. And you could argue that’s ok. If that is what the consumer wants.”
Magus Marketing’s Jon Sadler continued: “Going back 10-15 years, the home ent market was awash with pretty ropey DTV titles and a lot of indie filmmakers and distributors made decent amounts of money, but you could argue that the consumer was often the one left short-changed. i was a buyer myself, back in pre-DVD times, so I understand that no retailer wants to risk buying in stock they can’t shift, but as the grocers clear the way to shift alternative SKUs where does that leave the indies? Like any meritocracy it forces the producers to make something pretty special to survive, and there are plenty of cash-rich streamers who will snap up festival goodies, and that’s great for those particular filmmakers - up to a point at least. But what of the indie DTV distributors? Again, there are goodies coming out at this level also, but shelf space is so key whilst, at the same time, so endangered. Theatrical is an uphill struggle and you risk getting lost on a digital transactional platform, and heck, people are used to getting films free as part of their basic subscription. And then there’s the need for marketing spend - something that good distribution used to mean you didn’t need to depend on. I’m not sure what the answer is other than adapting to the market. Many film scripts are flipping to becoming limited series now, in the hope that’s an easier sell. Genre films can get a lot of fan-driven support at festivals, it’s all about building some hype. For as long as I can remember there’s been a counter-culture in film, from the theatrical B-movies of old, to the direct to video rental schlockers of the 80s and the DTV zombie war crossovers of the mid-noughties - what are those consumers watching now? Perhaps we will find a new cycle for low budget films again, but in the meantime you’ve got to try and stay afloat and back quality where you can find it.”
One of the most talked about TV series of 2022, certainly on domestic television and certainly a surprise hit, is This Is Going To Hurt, a comedy drama based on real-life NHS staffer Adam Kay's candid tales of life as a junior doctor working ridiculous hours within the system. The word of mouth the programme boasts is impeccable, with a real buzz around it based on star Ben Wishaw’s turn as the struggling medic and its smooth transition from laugh out loud moments, notably when Wishaw breaks the fourth wall, to rather gorier and grimmer scenes and storylines. And Monday April 4 sees the series coming to home entertainment formats courtesy of BBC Studios. But don’t just take our word for it. Here’s the Empire five-star review of the programme, which noted: “Mixing tragedy and comedy to stunningly powerful effect, former doctor Adam Kay turns his own experiences into the stuff of TV gold while showing us the stark reality of a routinely under-funded, over-stretched NHS.”
Meanwhile, TV specialist Acorn continues to bring its horror strand of titles under the Shudder brand to market, capitalising on the growing popularity of the subscription vod service by giving physical releases to some of its bigger exclusives. Latest is Superhost which is a suitably timely look at the world of travel vloggers and the passion of renting holiday homes, as the company’s Helen Squire outlined: “Monday sees our latest Shudder shocker in the shape of Superhost releasing on Blu-ray, DVD and digital. The “when Air BnB goes wrong” plot strikes us as a movie calling out to be made and it doesn’t disappoint. Gracie Gillam’s manic performance is suitably entertaining as the superhost in question. Don’t forget to like and survive!
Also in stores on Monday Trigger Point, another highly acclaimed 2022 television outing, this one offering up the dream team of Line Of Duty’s Jed Mercurio and Vicky McClure, with Dazzler releasing the title following on its acclaimed transmission, as outlined by the company’s Paul Holland, who said: “As soon as we had a whisper that Jed Mercurio and Vicky McClure were working together it was a project that we wanted to be involved with. When we knew the story we know it had to be must see TV. One of the most dramatic and electrifying series in recent times has become ITV's fourth best rated drama in the past seven years reaching more than 8.2 million viewers. The series will launch on DVD and Blu-ray on Monday, followed by the EST on April 18. It’s just one of a number of TV drama releases from Dazzler this month with A Discovery Of Witches, Hope Street and the forthcoming ITV series The Thief, His Wife and The Canoe all to be released.”
Over at curated streaming service MUBI, the company has announced a major initiative to do its bit to preserve film heritage, working with film restoration and preservation experts at the Martin Scorsese-founded Film Foundation to bring a dozen classic slices of world cinema to its service in the coming weeks and months. A trio, including the excellent Brazilian favelas drama Pixote (a one-time Palace Classics VHS hit in the early days of the arthouse market), are up now, with more to follow throughout 2022. Scorsese himself said: “I’m thrilled that these films, restored through The Film Foundation’s World Cinema Project, will be streaming on MUBI. For over three decades, The Film Foundation has worked to preserve, restore, and make available films from every era, genre, and region – over 925 to date. MUBI is an ideal partner for The Film Foundation as they share the same mission: to make films accessible to viewers around the world and to educate about cinema's artistic, cultural, and historical significance. I look forward to sharing these beautiful restorations with MUBI’s vast and appreciative audience.”
Forthcoming title news and fledgling distribution operation Saints & Savages has announced a new title to add to its roster of films made by founders, writer and director Savvas D Michael and producer John Pavlakos. The film, helmed by the former and marshalled to the screen by the latter, is The Bezonians. The north London gangster thriller stars Vinnie Jones in a typically tough role. The title is due on Blu-ray, DVD and digital on May 2 and Pavlakos said: “"We're very proud of The Bezonians, which has won and number of awards around the world. Vinnie Jones is a master of the genre and we were delighted to have him on board for the film. I believe it's our best work to date and we can't wait for audiences to see it!"
With Sonic The Hedgehog 2 arrive in cinemas this week, good to see the hedgehog was out and about to tie in with the theatrical bow. The video game character turned up at Paddington Station as part of his launch plans this week, with a giant stand at the station highlighting the film’s release and a tie-in with the Heathrow Express “sonic-speed” train service to the airport hub. You can see the resultant publicity over here. https://www.heyuguys.com/sonic-the-hedgehog-boards-the-heathrow-express/
It’s been a quiet time for fantasy fans since their favourite ever show, the record-breaking swords and sorcery series Game Of Thrones, disappeared in a hail of fire and ice and Windwalkers a few years ago, with sales of the series across multiple formats and SKUs only continuing as new fans discovered the show. But George RR Martin fans can rest easy as, finally, one of the multiple offshoots from Game Of Thrones has been confirmed as arriving on screens this summer. The HBO-produced House Of The Dragon, essentially a prequel to the blockbuster series, following the House Targaryen and starring Paddy Considine and Matt Smith, will land on Sky and Now on August 22. It will air in the old-fashioned way – weekly instalments – with each available at the same time as the episode drops in the US. If it follows the same route as Game Of Thrones, this will mean a digital release as the series ends, followed by physical media further down the line, possibly into 2023. Zai Bennett, Managing Director of Content, Sky UK, said: “House of the Dragon is one of the most highly anticipated shows of the year and it showcases Sky’s commitment to providing exciting, world-class content for our customers. If you loved Game of Thrones or are a first timer to the world of Westeros, this is going to be a must watch. Roll on Monday August 22.”
Many in the business wil fondly remember industry stalwart Mike Seaman from his time at VDC; some with longer memories will remember him form his rime at Imperial/VPD, a martial arts and kung fu specialist from north west London that was a key fixrture in the VHS rental days. Few will remember Seaman’s past BEFORE that, when he was in late 1970s and early 1980s mod revival band The Step. Well, get ready for a revival. Because still hip label Acid Jazz has dusted down some of the band’s early recordings for its reissue print with the resultant vinyl LP due in stores in May. As the label said: “This collection on Acid Jazz subsidiary Countdown Records includes studio sessions, demos and live recordings, giving a taste of what the band was about during their brief career. A great addition for Mod and Mod Revival collector and enthusiasts.” `you can pre-order a copy here https://acidjazz.bigcartel.com/product/the-step-london-soul-you-want-it-you-got-it-pre-order and Seaman told The Raygun: “I’m delighted and proud that there are folks out there who remember us. The Step was a good band and we are looking to get a few more shows under our belt - while our fan base is still alive.”
QUOTE OF THE WEEK
“The idea that browsing is the main event hints at a basic difference between the new Kim’s Video project and the original idea of a video store. In the VHS heyday, the home viewing experience was the point. You would stop at the store after you picked up a pizza. Or you would throw a coat over pyjamas and make a quick trip to get a video. You might spend some time, maybe longer than you expected, scanning the shelves, unsure what to settle on. But for most people, the store was not the goal; hanging out at home was.
“At Alamo, the rental operation is intended to be an experience, part of the larger one of moviegoing. And as most stores have disappeared — with the exception of a smattering of big, respected ones like Movie Madness in Portland, Ore., and Scarecrow Video in Seattle — that may become a more common way for video stores to be understood by modern audiences, especially younger generations who never visited the stores in person.”
New York Times feature on a new lease of life for legendary NY video store brand Kim’s Video, set to reopen with its original stock in an Alamo Drafthouse cinema…
Full article here.
AT THE MOVIES
Big news from actor turned producer Daniel Kaluuya whose production outfit 59% Productions has teamed up with DMC Film, Film4 and others to announce a feature that will air on Netflix next year. The film, The Kitchen, is a sci-fi outing set in 2044, in a world where the divide between rich and poor is wider than ever. It will star Kane Robinson alongside newcomers and fist time director Kibwe Tavares. Kaluuya said: “ In 2011, I was in my barbershop and there was a guy boasting about smash and grabs -- kids doing million-pound heists in a minute, getting paid £200 to do it. I saw the potential to unlock a unique story door to the inequality, fatherhood, class, joy, resilience, courage, defiance and care of London. Now, nearly a decade later, Kibwe Tavares, Daniel Emmerson and I are about to start production, immersing ourselves in a dystopian London that interrogates what 'care' means, at home and as a society and the dangers in our future if we stay indifferent to everything around us. I feel blessed and honoured that my first co-writing film credit is with this inspiring group of creatives, and with the support of Film4 and Netflix. All of us are excited to watch Kibwe’s incredible, cinematic, electric vision come to life, and to create a moment that audiences want to take with them.”
And a fond farewell to Bruce Willis, TV hopeful, turned 90s mousetrap movie megastar thanks to Die Hard and others, and, latterly, a DTV hero to rank among the biggest names in video shelf history, including Nic Cage, who this week announced he is stepping back from films. His recent output has been as prolific as Prince’s during his heyday, but he is effectively retiring due to aphasia, a condition which makes speech and movement difficult and is often experienced after strokes. A statement said: “To Bruce’s amazing supporters, as a family we wanted to share that our beloved Bruce has been experiencing some health issues and has recently been diagnosed with aphasia, which is impacting his cognitive abilities. As a result of this and with much consideration, Bruce is stepping away from the career that has meant so much to him. This is a really challenging time for our family, and we are so appreciative of your continued love, compassion and support,” the family’s statement continues. "We are moving through this as a strong family unit, and wanted to bring his fans in because we know how much he means to you, as you do to him. As Bruce always says, ‘Live it up’ and together we plan to do just that."
TWEET OF THE WEEK
Follow us on www.twitter.com/theraygun…
TRAILERS OF THE WEEK
Cruise Control headline alert…
Buzz around this…
Clip from forthcoming Amazon title…
More Minion mayhem…
Noe limits…
Due on Shudder…
THE OBLIGATORY GDPR BIT
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