Charles Dickens’ 160 year-old “best of times/worst of times” conundrum from “Tale of Two Cities” beautifully sums up the state of filmmaking in this young century. Seemingly around every corner there’s a new disruptive technology changing, and often complicating, either production or distribution.
Suffice to say, one person’s disruption is another person’s breakthrough. And this year’s Oscar nominations provide a multitude of examples of how this dichotomy plays out across the filmmaking landscape.
Streaming: Godsend or the Devil’s Handmaiden?
From the point of view of film exhibitors, Netflix and its fellow streamers are the avowed disruptive enemy of everyone selling tickets, and more importantly, profit-packed soft drinks, popcorn and candy bars. But from the point of view of filmmakers (and TV producers) in virtually every corner of the globe, the streamers are pouring tens of billions of dollars into productions and transforming formerly dormant film industries into hives of activity,...
Suffice to say, one person’s disruption is another person’s breakthrough. And this year’s Oscar nominations provide a multitude of examples of how this dichotomy plays out across the filmmaking landscape.
Streaming: Godsend or the Devil’s Handmaiden?
From the point of view of film exhibitors, Netflix and its fellow streamers are the avowed disruptive enemy of everyone selling tickets, and more importantly, profit-packed soft drinks, popcorn and candy bars. But from the point of view of filmmakers (and TV producers) in virtually every corner of the globe, the streamers are pouring tens of billions of dollars into productions and transforming formerly dormant film industries into hives of activity,...
- 2/1/2020
- by Steven Gaydos
- Variety Film + TV
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