Dan Lin, Chris Miller Say Theatrical Movies Have Higher Threshold Post-Covid – Produced By

Producers Dan Lino And Chris Miller talked about the return of the theatrical release market during a conversation at produced by conference. the LEGO movie Co-director Miller presented her producer Lynn with the inaugural Vance Van Patten Award for her entrepreneurial spirit. One of Miller’s questions to Lynn was: are the movies back, in the wake of the success of Top Gun: Maverick And Jurassic World Dominion,

“The market will not be as strong as it was pre-Covid, [but] I think it will be strong,” Lynn said. “Some movies that are big events, like jurassicto like top Gun, Would still justify a theatrical release. Unfortunately, that middle level, or your kids, my kids, it’s easy to watch it at home. ,

Lin clarified that the event movie threshold is not limited to big-budget studio films. He said that indie films like everywhere together Still can become theatrical programs. Miller said everything Everywhere There was an example of something like this that made people go to the theatre.

“you have to see [it] Because it’s not an experience you’ve experienced 20 times before,” Miller said. Miller said that movies with more formulas tend to make people think, “It’s something you want to watch on a streamer at home, it feels comfortable.”

Miller called his upcoming film with Phil Lord, cocaine bear, so tries to be unique, it is a must see. It is based on the true story of a bear who found bags of cocaine and became furious.

Miller said, “Its tone is unlike anything else, and so is rambling, a fun comedy with a rabid bear in the middle of it, and it feels like nothing.” “It’s the guiding principle of our thinking: is it going to be a dramatic experience, or not.”

Lin said that theaters still turn movies into “cultural moments” compared to streaming movies, which “come and go.” Miller notes that streaming movies is less ubiquitous outside of movie viewing platforms.

“They don’t spend their money on streamers promoting movies in the same way they push algorithms to you,” Miller said. “You don’t see it on Happy Meals and the ubiquitous bags of billboards and ruffles that tell you there are dinosaurs around. That’s why it doesn’t feel like it’s a cultural moment. Like movies everywhere together Not even on ruffles, but so unique, they create interest.”

Lin said streaming movies provide benefits for the theatrical industry. Lin said streaming services could be a new training ground for discussing the next generation of filmmakers, who might one day make theatrical films.

“Streaming has more volume,” Lin said. “It allows us to break into the next generation of writer and writer/director. Streamers are very open to diversity and inclusion, a very target audience that doesn’t have to make a $100 million opening weekend. ,

Miller also brought in a cost-plus model, in which streaming services pay more, but limit the long-term revenue share of talent. Lin agreed cost-plus is a problem for creators. Lin said it will be important to reward makers of quality content, or else you’ll lose them.

“One, you just have to have the material that allows you to break with buyers with a very innovative back-end model,” Lin said. “No. 2, we all have to come together. The Producers Guild, the Writers Guild, the Directors Guild, they don’t have jurisdiction, but they do have members. Agents will play a key role in this. That has to change. It’s quick. Won’t change. They’re not going to be happy with it.”

On a positive note, Lin said converting Netflix to ad sales could benefit from transparency in negotiations. Under its subscription model, Netflix is ​​able to hide ratings and demographics. If they’re selling ads, they can’t keep those secrets anymore.

“The buyers of those ads will want to know who’s watching that show,” Lin said. “If parts of this move to an ad-based experience, there will be more transparency. We may see deficit financing again. I can only have so many subscription services. What’s old is new.”

Miller agreed, “I think when you make something that becomes a huge megahit, you want everyone to get an award for that. It’s hard to know what a megahit is when they give you this. Won’t tell what a megahit is.”