2021 WB Slate Debuting on HBO Max and in Theaters at same time

[Steve Guttag]

So now fast-forward to 2021, why do the exhibitors have to absorb all the costs associated with gear that has DCI grade security while HBO Max does not?

Jay, if you can find an answer to that, please find an answer as to why any reissue (e.g. The Polar Express) should require KDMs since anyone can run them in HD with a disc or dupe.

[Mitchell Dvoskin]

You know the ending of the Paramount Consent Decrees works both ways so there is a way to ensure theatres have an exclusive window. It is the same way it was done at various points in the past:

In 1924, Marcus Loew had trouble obtaining enough films to support its growing chain of theatres, so he purchased Metro Pictures, Goldwyn Pictures, and Louis B. Mayer Pictures and merged them together. Loews theatres wholly owned MGM until 1952.

For the same reason, in 1929, the Keith-Albee-Orpheum theatre chained was merged with Radio Pictures to form Radio-Keith-Orpheum. RKO was a major studio and theatre chain until the 1950's.

In the 1960, the NYC theatre chain Cinema 5 created Cinema 5 Distributing. It wasn't a studio, but a distributor of independent film such as Monty Python & The Holy Grail and Man Who Fell To Earth, ensuring a steady supply of movies for their theatres.

In 1979, United Artist Theatres (long seperated from the United Artist production company), started financing motion pictures in return for guaranteed exclusive play dates in there theatres. The movie Sunburn is an example of this.

The one thing that ALL the studios agree on has been killing off the theatrical exclusive window. The only reason it still exists is because of the money it brought in before pandemic. Yes, the business will slowly bounce back after the pandemic ends, but I suspect it will be quite a while before any picture obtains pre-pandemic grosses.

While getting into production is not a viable option for small independent theatre owners, I suppose they could group together to form film producing cooperatives. However, this is an option for the big players. AMC's parent company the Wanda Group already owns a film production company.

Just my 2 cents.

[Martin Brooks]

I used to believe that the economics of having few or no theaters wouldn't work for the studios economically and that they were committing suicide. But in recent years, North American box-office has been about $11 billion and only about half of that gets back to the studios. Disney Plus alone has 60 million subscribers (although I think that's worldwide) generating $5.76b annually. So unfortunately, I think theaters are doomed and AMC wasn't in great shape even before the pandemic. The problem will come when movies are perceived as nothing more than "straight to video" instead of cultural events that people must see. I also think that the streaming services will have tremendous turnover. Consumers will watch their favorites and then switch to another service. I predict within five years, there will be consolidation of the streaming services.

[Frank McLaughlin]

I would also think if the studios went non-exclusive with theaters then there would be no need for any minimum playtime. If legs exist: hold; if not: on to something else. Small towns could see the return of split schedules and also split week.

[Martin McCaffery]

As much as I would like, and probably need, split screen and week, I don't see the studios giving up a piece of control they already have. Unless they are going to shift the whole industry to the non-theatrical model.

[Mike Blakesley]

The problem will come when movies are perceived as nothing more than "straight to video" instead of cultural events that people must see.

Yes. A major movie is an EVENT. Having just another "program" pop up on your login screen on Netflix does not an "EVENT" make. That's why they need us. We are still the engine that pulls the train when it comes to screen entertainment EVENTS. TV shows are a dime a dozen.

[Frank McLaughlin]

The point I am trying to make is: if the studios are shifting to a broad exhibition base (and don't forget the streamers are exhibitors and they pay significantly less for the product than the theaters) then the playing field as far as the terms go should be leveled.