John Kuriyan, MBA’s Post

The Battle Between Cinemas and OTT Platforms: A Hard Lesson for Producers. In recent years, cinema has faced a significant shift in the entertainment landscape. The rise of OTT platforms brought tempting offers to filmmakers and producers, leading many to pivot their focus toward these new avenues. The allure of quick returns and global reach seemed irresistible at the time. But now, as the dust settles, it's clear that this decision has had unintended consequences. The audiences have become accustomed to the convenience of watching new releases from the comfort of their homes. OTT platforms have succeeded in creating a new kind of entertainment addiction—one that competes directly with the traditional cinema experience. The challenge for theaters has grown immensely, as the battle for audience attention has shifted from simply getting people to choose a film to getting them out of their homes. While OTT platforms have their undeniable strengths, the magic of the big screen and the communal experience of watching a film in a theater is irreplaceable. As producers and creators, it’s crucial to recognize that cinema and OTT platforms don’t have to be in opposition. Instead, we must find a balance that allows both to coexist, ensuring that the unique value of cinema is preserved for future generations. It's time for the industry to re-evaluate its strategies and reignite the charm of theaters. Let's bring people back to the movies, where the magic truly happens. #CINEMA #OTT #FILMINDUSTRY #PRODUCERS #FILMMAKERS #CINEMABUSINESS #CINECONOMICS.

Thriving in the Shadows of Giants: A Fresh Strategy for Independent Cinemas, Chapter 1: the Challenges Faced by Each

Are cinemas still relevant in this time and age where: - Home theatres almost match cinemas in screen size (just sit closer to your 75 inch OLED TV) and surround sound - The picture quality is not really discernably sharper for most audiences - the human eye can only process that many pixels and frame rate - There is really no place like home! Why travel and spend money to do something you can almost replicate? To me, there is ONE reason that makes the cinema irreplaceable. And it is quite possibly the only reason compelling enough to keep cinemas around. It is the same reason movies are created - Escapism. You go to a cinema to maximise the escapism experience of the movie. Serious movie buffs know what I mean. You watch a movie to be entertained by going into the world the characters are in. Immerse and feel what is happening. Simply put - to not be in the life you are currently in for the next 90 mins or so. The cinema offers that! A complete "time" (everything else has to wait) and space (mind and physical) getaway. No delivery person with your latest online shopping spree knocking on your door. Or the kettle whistle going off. Or your kid coming to you with a series of questions. 100% escapism. How's that for a value proposition? Do you agree? Who guessed popcorns? #retail #cinema #movies #physicalretailisnotdead https://lnkd.in/gVtJY5dF

🎥 The casual moviegoer is vanishing, and it's reshaping Hollywood. A decade ago, we’d stroll into a theater on a whim, discover hidden gems, and leave surprised. Today, shorter theatrical windows and at-home streaming have made casual moviegoing rare, and it’s hurting the industry. Theaters are adapting with: 🍿 Immersive Experiences – Events like Alamo Drafthouse’s interactive movie parties. ✨ Loyalty Programs – AMC A-List encourages exploration and repeat visits. The answer isn’t just more blockbusters but creating reasons to make theaters must-visit cultural spaces. Do you still go to the movies casually, or does it take something special to get you there? 📰 Article: https://lnkd.in/guW2JiQR #FilmIndustry #Hollywood #MovieTheaters #Cinema

In earth-shattering entertainment news, the studio Sony Pictures bought the Austin-based cinema chain Alamo Drafthouse. Studios could not own movie theaters due to anti-trust competition until the 1948 Paramount Decree sunset in 2020. The rule was established after a few studios bought theaters on the verge of bankruptcy because of the Spanish Flu. What's old is new again in the post-pandemic era. The one major studio without a streaming service buying a theater chain is an interesting development. (Their movies usually go to Netflix, 4-5 months after theatrical.) The theatrical exhibition industry needs this, and I am hopeful for Alamo's future and the chain's creative business model, which leans into experiences.

In my latest blog post, I explore the reasons why people nowadays prefer streaming services and home cinema setups over going to the #movie #theater. Changes in technology, cost, and the communal experience of watching films have all contributed to this preference shift. https://lnkd.in/emBCP9fT

AMC Theatres is on a rocky road to recovery. The theater chain first lost billions of dollars in revenue in 2020 after the Covid pandemic forced the company to close down thousands of its theaters for months, resulting in multiple layoffs. Just as the company got back on its feet after the pandemic, it suffered another major blow. In 2023, Hollywood faced two massive monthslong strikes from industry writers and actors, which further drained AMC’s pockets as multiple film productions came to a screeching halt. Even after both strikes ended late last year, AMC is still picking up the pieces of the damage and hoping major film releases will help recover its financial losses. But despite the success of those recent film releases, AMC still faced a decline in attendance. In the U.S., movie theater attendance shrunk by almost 9% year-over-year during the quarter. More:

MARTIN GROVE'S HOLLYWOOD REPORT FOR 2/25/24: You know things are bad when the weekend's #1 movie grosses $13.5M and that passes for good business.   In today's new world of yo-yo film distribution -- nothing for theatres one or two weekends and then a tentpole opens -- it's feast or famine at the boxoffice. This post-strikes system works for the studios, who no longer are throwing big marketing money at non-tentpoles. A brief theatrical run is now quickly followed by streaming where profits are possible. Unfortunately, this system will ultimately put the studios' "exhibitor partners" out of business.   Next weekend, however, should be a shot in the boxoffice arm for exhibitors with WB/Legendary's DUNE: PART TWO opening to what Hollywood handicappers expect to be $65-80M at about 4,000 theatres.   It's tracking best now with over-25 men (17 points over norm) and next best with under-25 men (8 points over norm). Rotten Tomatoes critics are cheering at 97% and audience scores aren't available yet.   Meanwhile, back at the quiet multiplexes: There still were some popcorn sales thanks to Paramount/Plan B Entertainment's BOB MARLEY: ONE LOVE, which held well in the top spot in weekend two with $13.5M (-52.9%) at 3,597 theatres ($3,753), per Comscore. It's done $71.2M domestic and $120M worldwide. It reportedly cost $70M.   Sony/Crunchyroll's R rated DEMON SLAYER: KIMETSU NO YAIBA -- TO THE HASHIRA TRAINING opened #2 to $11.6M at 1,949 theatres ($5,939). It's actually two TV episodes strung together to make a feature.  Going into the weekend, DEMON was tracking best with under-25 men (one point over norm) and was tracking below norm with all other demos. Rotten Tomatoes critics are an okay 78% and audiences are happy at 83%.   Lionsgate/Kingdom Story's PG faith based drama ORDINARY ANGELS opened third to $6.5M at 3,020 theatres ($2,152). Going into the weekend it was tracking below norm with all demos. It's a hit on Rotten Tomatoes with critics at 80% and audiences applauding at 99%, as is often true of faith based films.   Sony/Marvel's superhero fizzle MADAME WEB, starring Dakota Johnson, slid two slots to fourth place in weekend two with $6M (-60.9%) at 4,013 theatres ($1,495). It's done $35.4M domestic and reportedly cost $80M to produce.   Focus Features/Working Title's R rated action comedy thriller DRIVE-AWAY DOLLS, from director Ethan Coen (co-director with Joel Coen of NO COUNTRY FOR OLD MEN), opened DOA in eighth place to $2.4M at 2,280 theatres ($1,053). It reportedly was a $20M acquisition by Focus.   Comscore puts this weekend's overall marketplace at $59.6M, down 26.6% from the prior weekend and down 37% vs. this time last year. Comscore's year to date tally has 2024 at $864.14, down 18% from $1.06B in 2023.   #movies #boxoffice #martingrove #bobmarley #duneparttwo      

Thriving in the Shadows of Giants: A Fresh Strategy for Independent Cinemas, Chapter 2: Revolutionizing Indie Cinema: The Proposed Platform Blueprint https://lnkd.in/erqFh-4c

Q: Why is it unusual for movie studios to own movie theaters? Sony Pictures Entertainment acquired the eclectic dine-in theater chain Alamo Drafthouse Cinema, an unusual example of a studio owner buying a theater chain. But why isn’t it more common? We asked reporter Robbie Whelan. A: “For starters, from the late 1940s until 2020, most big movie studios were prohibited under federal law from owning theater chains. A law from Hollywood’s Golden Age was meant to reduce the control that the original major studios like Warner Bros., 20th Century Fox and Paramount Pictures maintained over the industry by owning both the means of production and distribution of movies. That law didn’t apply to Sony, a relatively new entrant in the world of film distribution. These days, however, there’s a simpler explanation for why studios haven’t shown much interest in owning theaters: Theatrical exhibition is a business in decline. Most theaters were shut down during the pandemic, when the anti-consolidation law was overturned, and most big media companies pivoted hard over the last five years to the direct-to-consumer model, investing billions in building their own streaming services, which have since majorly eaten into the profits of theaters. Sony, which is sometimes referred to as an ‘arms dealer’ of content that is then distributed by other companies, has mostly resisted the trend of investing in streaming, preferring instead to license its content to established streaming services like Netflix. Buying Alamo makes a bit more sense for Sony compared to others, because Sony doesn’t own one of the major streaming platforms that might cannibalize the sales of tickets to its movies at the box office.”