'Hollywood, The Sequel,' Episode 4: Hollywoods Loss Is Hollywoods Gain with Jason Reed

The Frame
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Automatic TRANSCRIPT

The movie's been in the works for a decade, and it was supposed to arrive in theaters in late March because of the pandemic, however Moulana release date was pushed to July twenty four, then it was postponed again to August, twenty first, and at the same time, Warner Brothers moved its big summer movie Christopher Nolan's tenant from late July to August twelfth, and now even those August release date seem questionable as some of the handful of theaters that had reopened were told to close again I'd spoken with Jason read after Milan's first. First postponement and I got back in touch with him. After the second time, there's a lot of conflicting emotions on one hand spent many years of intense effort trying to put this one project together, and you know that there are literally hundreds of people who gave their blood sweat and tears to make this movie and every time you push or every time you don't have complete information for them, it's it's disappointing that they're not going to be able to share that with the audience or with their friends and their family. But at the same time I think we have a very special movie. I think that it's particularly designed for the theatrical experience, which I still think is an incredibly valuable experience for people to have, and we WANNA WE WANNA put it out win. The biggest audience is going to see it in the way that it was designed to be watched. Now obviously, going forward over time where people will see it streaming where people will watch it on their computers, and their TV's in their wristwatches than we'll ever see in a movie theater, but I think that there is in general. There's a real deep value for that first window and I think for this movie. It would be a shame that. If we put it out in a in a place where people didn't feel confident, going to the movie theaters or where those theatres weren't open, so. Obviously every day is a new set of information and changing changing metrics every day and it's. Unsettling on every level, but we have great partners at the Walt Disney Company. They have a huge amount of intelligence coming into their operation because. Of the parks and because of the global footprint of the company, so if anybody knows what's going on, it's it's them and I feel confident together. We'll make the right decisions about how to get the movie out in the best possible way, but that assumes of course that there will still be theaters that are open. I mean AMC entertainment. World's biggest chain has been doing on bankruptcy. They push back their opening. CINNA WORLD, which owns regal pushback. They're opening. cinemark also rescheduled. They're reopening so I. Think there's a legitimate question as to if and when Mulan is ready of its August. If it's September its next spring. Like the whole theatrical landscape may look radically different than it does right now. I think it's one of the reasons why it's important that the big studios have shown a commitment to providing material for that first window and defending it, although all of the models are changing, I think at the core. Theater chains are of viable operation, their important cultural touchdown in even though there's going to be is at six months worth of continued disruption in their cash flow situation. I'm confident that those companies will come back. They'll rebound and. I think that there is a real commitment from the industry to give them the product that they need to survive. Ultimately I think the fact that they are slowing down and that they're being very thoughtful about their opening strategy as opposed to rushing to open to try to get the balance sheets in a different place is is a positive sign. It's not a short term positive sign, but I think in the long term they're building. They're building trust with their audience in there I think that's really important that we don't want to rush out. Get theaters open to quickly put too many people in there and then have a backlash. Maybe see. The health of employees impacted the health of movie. Goers impacted I. think that you know okay. There's a short term. Gain some revenue, but I think in long term. We have as an industry relationship with the people that go to the movies, and we go to the movies and our families movies, and we all love to do it. I think that we have to make sure that we're doing it in the way that safe for the employees and say for the for the audience goers in that will be the key to long-term long-term stability in that sector with the. The very notable exception of qube streaming services have become a lot more powerful during this time. Are you starting to think that creative decisions are going to start to be driven by the algorithms that streaming services have that? There are lessons being learned in real time right now? That could really affect creative decisions going forward that are largely tied to how streaming is working, and what audiences are tuning into. Yeah I think there's I think that it's inevitable that anytime. You have a new data set and new performance metrics. Financiers and filmmakers will want to adjust their approach. To that model, so you approach network television differently than you approach cable television than you push the storytelling in streaming feature, films and I think that. All filmmakers that work across those mediums know that there are different ways that you. That you engage with the audience depending on the business model that you're using to tell your story, and that will be true as more and more people become familiar with streaming and as more and more people. Including the execs inside these companies learn how to read that data. That's coming back. On one hand that terrifies me because I've seen testing data, misused or misunderstood and used in in a way that doesn't enhance the commercial value or the artistic. the artistic value of show. But? I think that there there is some value to understanding how your audience's engaging and I was thought. The value of test screening was to be in the room. With an audience more so than the numbers that were generated but sitting in a room and feeling if the joke worked feeling if there was the tension. If you sat down in the middle of the room, particularly to comedy, you just knew whether it was working or not, and you could tell okay. We're stepping on that joke. Where leading the tension out of this dramatic scene too quickly and I loved all of that. You don't have that experience anymore. Because you're doing it digitally. You can still

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