Tag Archive for: Disney

Congratulations to DEGANZ member Sir Peter Jackson on his documentary series The Beatles: Get Back winning big at the 2022 Creative Arts Emmys.

The Disney+ production collected all five awards from its five nominations – Outstanding Documentary or Non Fiction Series, Outstanding Picture Editing (editor Jabez Olssen), Outstanding Directing, Outstanding Sound Mixing, and Outstanding Sound Editing.

Get Back takes audiences on an exclusive look into the dynamics of the iconic music group in their final year as a band. It features nearly 8 hours of fantastically restored never-before-seen or heard footage and audio completed by Park Road Post Production in Wellington. Peter, the only person in 50 years granted access to the film archives, directed the epic documentary to showcase the camaraderie and musical ingenuity that still defines the band’s legacy to this day. It’s a must-see for any fans of the band!

Glowing reviews have poured in for The Beatles: Get Back, the new docuseries from director Peter Jackson (DEGANZ). Described by some reviewers as a documentary epic, Get Back clocks in at almost eight hours in length. Yet, it’s been described as an “addictive” and “immersive” experience.

Jackson has assembled this three-part documentary entirely from never-before-seen footage of the Beatles from 1969, restored at Park Road Post Production and supported by the New Zealand Screen Production Grant.

The Beatles: Get Back streams exclusively on Disney+.

Go back fifteen years and it was pretty easy to figure out what success was for screen content. For the small screen it was the Nielsen ratings. For the big screen it was the box office. The show that knocked it out of the ratings park or the film that pulled significant box office clearly indicated it had found a lot of eyeballs. These measures only account though in essence for popularity.

What about the Māori news or information programme on a Sunday morning that Māori loved? Or the arthouse feature that had its world premiere at the A-list festival in Berlin and then did well at the A and B-list festival circuit but only did $250k at the NZ box office. This content reached its intended audiences, but they were niche not broad.

We all recognised this, though. Figure out your audience, broad or niche, and target your content at them. Even for niche audiences, you could still learn whether or not you were successful.

Nowadays, however, in a fragmented market, it’s not so easy to identify what success really is.

A series intended for Free-to-Air that doesn’t rate could find a much bigger audience when it’s moved to On-Demand. A film that does average box office in New Zealand could end up selling or being licensed to a global streamer and potentially be seen by millions more people than was ever thought possible.

The old indicators still work, but it’s simplistic to use them as the only measures of success, especially when popularity is the only yardstick being championed.

The digital world of content distribution has changed the paradigm and complicated how to measure real success, especially when those who control the means of distribution. Netflix, for example, rarely reveal what the very accurate data they alone have access to indicates about audience specifics.

To define a new measurement for screen content success, New Zealand company Parrot Analytics developed a 360 measurement system to take into account multiple points of digital activity around the world. This system is used by, amongst others, TVNZ, CBS, Disney, Sky, and WarnerMedia. Without the data from the content platforms available, this would seem a very valuable service. Perhaps something NZ On Air might want to consider to support their funding decisions if they don’t already utilise it.

But film sits in a very difficult position amongst this digital measurement system. The shared theatrical experience is considered first and foremost for film, unless you are making a telefeature. Filmmakers want their films to go on the big screen before they find their way to the small. Look at the ructions Warner Bros. created when they decided to send their entire 2021 slate straight to HBO Max at the same time as the theatrical release.

Even with the NZFC playing in the series drama space, NZ film is very much its raison d’etre. But the audience for New Zealand film just isn’t there like it used to be. The writing was on the wall before COVID arrived.

NZ film has had a tropical vacation in theatres while Hollywood has been on hold due to COVID, but winter is coming with the onslaught of backed up blockbusters about to hit us.

Amongst all the other changes needed at NZFC right now, defining success for NZ film is another thing that needs to go on the agenda. A paradigm shift in thinking is required because we can’t rely solely on box office numbers any more. Even more so because film is both art and business. There has to be room for both.

 

Tui Ruwhiu
Executive Director

The world of film continues to be shaken up both at home and abroad. The only thing that’s clear is that streaming is here to stay and picking up steam.

Disney is just undertaking an entire reorganisation of its business to put streaming front and centre with content leading the way. The Mulan experiment as a Premium Video On Demand (PVOD) release possibly helped decide their future direction. Even with the need to subscribe to Disney+ just to get the ability to pay the premium price, punters made Mulan the fifth most-streamed SVOD title in the US in September, as tracked by measurement company Park7 Data.

Disney’s move follows WarnerMedia’s refocusing on content after the tepid response to the launch of HBO Max. Over at NBCUniversal, they too have reorganised along with the introduction of their streaming service Peacock.

So where does that leave the theatrical exhibitors?

Just two months ago, the world biggest theatrical exhibitor AMC and NBCUniversal paved the way for PVOD to become a Hollywood fixture when they overcame a bitter windowing disagreement to do a deal. Showing how quickly the old model is now becoming defunct primarily due to COVID, attendance numbers are nearly 85% down on what remains of AMC’s just under 500 theatres still open in America. Even worse, AMC predicts it will run out of cash to operate by the end of the year.

The second largest theatrical distributor on the planet, Britain’s Cineworld, has just announced it will shutter nearly 700 theatres in the UK and the US, threatening nearly 45,000 jobs. It doesn’t know when it will reopen them.

All of this comes amidst the moving feast of tentpole film releases. Christopher Nolan managed to convince Warners to put Tenet into theatres this year, but Cate Shortland’s Black Widow, Denis Villeneuve’s Dune, Cary Joji Fukunaga’s Bond film No Time to Die and Christopher McQuarie’s Mission Impossible 7 are just some of the films pushed back to 2021. All this does is put more pressure on the exhibitors.

Theatres are crying out for tentpole films to help generate revenue, even with social distancing measures in place. They just can’t get them. The situation is so dire directors James Cameron, Clint Eastwood and Steve McQueen amongst others signed a letter to the US Government that said without additional support, 69% of small and mid-sized cinemas in the US would likely go bankrupt or close.

In New Zealand however, NZ films are having a bit of a dream run with no tent poles and not a lot else to compete against.

DEGNZ member director Sam Kelly’s Savage hit a million dollars at the box office, David White’s This Town has done just over $700k. Paul Murphy’s Low Down Dirty Criminals is still in theatres at Week 7. In the old normal it would likely be gone by now, pushed aside by new releases.

Meanwhile, the New Zealand Film Commission just extended for a further six months its COVID-19 Policy regarding its Terms of Trade. This means for films up to $2.5 million, you no longer need to have both a distributor and a sales agent. You only need one or the other. Or, in a major change, a recognised VOD platform can replace the sales agent or distributor.

Frankly, I believe the mandatory need to have any of them for films up to $2.5 million is an old and broken model. If you have a good script and package and they believe in the project, then a sales agent, distributor or platform will come in.

And if they don’t and you make a good film, you will just as likely find them when the film’s ready to show. The supposed financial commitment they make through a Minimum Guarantee (MG) can sometimes be a sham anyway, so why have it as a mandatory requirement for the finance plan? If you have a finished film and more than one sales agent or distributor wants it, it puts you in a stronger negotiating position.

Guaranteed distribution on the public broadcaster’s OnDemand service would deliver the potential for eyeballs with marketing the key to getting people to watch, guaranteeing a viewing avenue for the NZ public.

Theatrical exhibition then becomes the nice-to-have, not the must-have, while still offering the box office revenue opportunity. Window the theatrical first as is still being done and you protect the box office from pillaging by the OnDemand.

Over the Tasman, Screen Australia has already done away with the need for Australasian distribution. A positive amongst the carnage that’s been wrought there in film and television. The big ‘If’ there is whether or not the streamers will pick up the slack as the Australian Government hopes they will. Not levying streamers to produce local content in the expectation that they will take Aussie content anyway is a bet Australian production companies don’t like the odds of.

Meanwhile, here we sit, basking in the glow of the setting sun of the old film industry, hoping like hell that the Golden Age of television is going to save us.

We shall see.

 

Tui Ruwhiu
Executive Director

When Bob Iger of Disney speaks about the future of film, it’s worth listening.

Why?

Because amongst the hundreds of companies that sit under the Disney umbrella are 20th Century Fox, Lucas Film, Marvel, and Pixar. Brands number in the thousands and include through whole or partial ownership indie darling Fox Searchlight, streamer Hulu, and networks ABC, ESPN, FX, National Geographic and A & E.

Of course Disney doesn’t own everything. There are other conglomerates out there, the likes of Amazon, Apple, Comcast, and TimeWarner who are shaping the screen content world we are in now. But Iger demands everyone’s attention.

So this month at Disney’s third quarter earnings announcement when Iger essentially declared that big movies belong in theatres, and everything else will go to its streamers Hulu and the soon-to-launch-globally Disney+, everyone sat up.

Reporting on this, Journalists Dana Harris and Chris Lindahl in Indiewire wrote that “The very, very top films with awards potential will see generous theatrical offers and bidding wars that price out all but the deepest pockets. The highest-quality films with no clear awards play will also see strong offers and bidding wars, but from streamers, and considerably less generous offers from independent theatrical distributors. For everyone else, it looks like a struggle — although they could also benefit from the streamers’ ongoing arms race to acquire the content mass necessary to achieve market dominance.”

So where does that leave us in New Zealand with our 10 or so narrative and documentary features a year? Blissfully unaware some say.

A recent article in The Hollywood Reporter gives some indication that even the top names in film can see the writing on the wall. Directors including Martin Scorsese and Christopher Nolan amongst others were behind the Ultra High Definition Alliance’s announced introduction of a “Filmmaker Mode” TV setting. Director Ryan Coogler essentially admitted the fate of film by saying, “I care deeply about how cinema is experienced at home because that’s where it lives the longest. That’s where cinema is watched and re-watched and experienced by families. By allowing the artists in the tent to help consult and give feedback to the electronics companies on Filmmaker Mode, we can collectively help make the consumer’s experience even more like it is in the cinema.”

Of course the name directors will still get their films into theatres—witness the Netflix launch of Scorsese’s The Irishman, Alfonso Cuaron’s Roma, and Amazon’s commitment to theatrical release for the auteur directors it backs. But for the rest of us? We might have to get used to premieres in Filmmaker Mode unless you can get your films into festivals.

Once streamers Netflix, Disney+, Apple TV+, Amazon Prime and WarnerMedia are in full swing here, perhaps NZFC might even relax its demand that you have to have NZ theatrical release to get production funding.

 

Tui Ruwhiu
Executive Director