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But will there be enough cinemas left to sustain a global release of a 200m+ blockbuster, if they have to be closed until 2021, is the question. I honestly agree that with everything going on there should be a further delay until we are truly back to normal (which I suspect for US and UK and Europe could be early 21) but that's the counter (and why WB/Nolan are doing what they're doing). A prolonged closure of cinemas will cause some seismic changes in the industry - not to say they won't be there but less in number, many under different ownership (perhaps the studios or players like Amazon), existing brands like AMC, Odeon, Cineworld, Vue go under, some smaller independent ones also...there's gonna have to be a more radical rethinking of how to release an expensive film like this.
The real question should be asked: Now what for big budget films? The talks about a staggered release for Tenet is getting closer and closer to be irrelevant, as it is no longer a distant possibility that foreign markets could close down again. And the US box office is still in no capacity to reopen for the foreseeable future.
What can films like Tenet and NTTD do, now that it is starting to become clear that any release strategy (domestic only, foreign only, or staggered) is unlikely to be possible?
Well, if no release strategy is possible, then the logical outcome is that the films are never released. In the race between Covid-19 and bankruptcy, Covid-19 wins, the film companies go bankrupt, the films never get shown on big screens, and they instead become ‘assets’ to be caught up in legal arguments between the creditors over who gets the rights to release the films made by the bankrupt companies, and the legal arguments go on for years, and then very quietly late one night the films are dribbled onto a pay-to-view channel with no fanfare and that will be that. An utterly miserable scenario. But not legally impossible.
I do not think that will happen though.
I think they will release the films in the spring of 2021, and if there are only five screens left in the world that are available to show them then they will book those five screens.
They will lose millions. If they recoup twenty dollars on their budget cost of $250 million, well that’s ok, twenty dollars is still better than no dollars at all
Until we manage/eradicate the virus, NTTD will not be in theaters.
I think the studios will start seriously exploring business models to make first-run VOD work for these films - basically, make the whole value chain work without the theatrical window. It's not the film companies that are at edge of going bankrupt - they have other revenue streams like VOD, home ent, streaming services, sales to TV. But theaters have little else aside films and concessions - they could begin to diversify into offering VOD (like a lot of indie and arthouse players have) but that would mean giving up the exclusivity window which for them is the most fundamental issue of this entire thing.
Oh and in this case I'd also wager that the studios will begin to lobby Congress and other governments across the world to bail the sector out. The US cinema trade lobby is already working on a campaign but the studios are yet to join in.
Studios can afford, they *think* theaters could but not everyone agrees (hence the Tenet shenanigans and Disney/Fox actually staying with their less blockbustery releases in the autumn like Kingsman and Death on the Nile.). That's the whole point of this: clearly theaters don't think they can afford another half year delay
to reopenings https://variety.com/2020/film/news/tenet-delay-theater-owners-chief-coronavirus-1234711135/
I've been saying for a while that if November actually comes around with cinemas still closed then they'll start exploring that. Because by that point cinemas would have been closed for three quarters of a year...
One thing we DO know for certain, with all these delays in NTTD release schedule, Mr Fukunaga’s resignation is now very much in order.
One such solution might be to offer "VIP experiences" in the same capacity that we've been seeing for ticketed events in the past decade. Let's say it's $30 on average to rent a film for 48 hours, but that they have different tiers of rental options. Perhaps the top tier, the "VIP Experience" as it were, includes a pre-order for the eventual Blu-ray plus a signed poster (or some type of similar merchandise or other perks). They then charge a premium for that experience versus the standard rental. The amount of fans willing to pay that much might not be enough to guarantee the types of returns that a proper cinema release would have, but it's one solution to justify charging more for a VOD release and hoping to twist the odds in their favour.
I've joked to many friends in recent months that I would personally pay Barbara $50 to watch the film today. In all seriousness, I would probably pay $100 if it meant watching the film today, getting a copy of the Blu-ray (which I would be buying anyways), and a signed poster from ol' Danny boy.
Huh?
Delays caused by a global pandemic. => Director needs to be fired.
How does that even begin to make sense?
I don't think that they even think about ways of getting money from a few Bond-nerds.
We are not important concerning the release of the movie.
You reckon it's taking 3-4+ months for the bigger studios to come up with a way of exploiting fans?
It won't be cheap to hire Craig to write so many signatures. He is a notorious grouch when it comes to this stuff.
Your suggestions for the VIP experience are baffling. What's VIP about pre-ordering a blu-ray? If I got that offered to me as a VIP I would spit in their face.
Resignations at MGM are VERY much in order. And you can throw Fukanaga in the mix too.
Why though? You wrote, "One thing we DO know for certain, with all these delays in NTTD release schedule, Mr Fukunaga’s resignation is now very much in order."
Again I ask, how are you making any sense here? What does he have to do with a global pandemic?
On top of that: why fire the director of a completed film?
This is hilarious. Fair play.
1) the delay from Feb 2020 to April 2020 and
2) the hiring of friend Dan Romer, which wasted months and necessitated the last-minute and very expensive hiring of Hans Zimmer.
Mr Fukunaga’s career is very much over now, and the only question remains will he be stood down from the production.
Make no mistake - Universal paid through the nose for Zimmer, and stand to lose potentially hundreds of millions on NTTD itself simply because of Fukunaga’s push to delay. No one individual has cost a studio more money, and Universal will be expecting heads to roll at Eon for this disaster - the only question is when will Eon pull the trigger on Mr Fukunaga. Inside word is Universal already furious at their “investment”.
My suggestions were merely examples of adding perks to a VOD release to entice fans to spend more money. Do I expect Daniel Craig to actually do something like that? No. It was just a hypothetical example (which, I might add, should have been painfully obvious as I never claimed to be an expert). How about $40 to rent the film and a free digital copy of the score, or is that also a "baffling" example?
I wouldn't think so. Considering it was $25 to $30 (depending on provider and region) to rent Scoob! when that went to VOD then I wouldn't object to spending an extra $10 on No Time To Die if it meant they'd also give me the score that I was going to purchase anyways. Different perks could easily be sold at different price tiers.
The terminology of "VIP Experience" was taken solely from Live Nation/Ticketmaster and the types of things they sell to the fans who are willing to spend extra money. Call it whatever you want. It doesn't need to feel or imply feeling important. More so just the tiered pricing system. Sometimes it is indeed as trivial as a free t-shirt and some drink vouchers. You personally might not be into the idea of spending extra money for such trivial perks, but there are fans out there who probably would. The fans who look at it as "I get a better seat at the event and a t-shirt that I was going to buy anyways" (which is where the guaranteed physical copy comes into play - yes, those really are the types of things offered as VIP perks via Live Nation). Something tangible. In the case of film - a Blu-ray. The easiest, most obvious thing they could throw in for a bit of extra cash up front. I've seen some genuine head scratching things offered as the VIP Experience through Live Nation over the years, but it works for them.
Just an idea.
As far as the timeline it's taking for them to decide how to exploit fans, well that is up for debate. I'm sure the studios who immediately pushed their films into next year are holding out hope for theatrical releases, but I'm willing to take an educated guess that they've also got Plan B on the back of their minds.
If those delays were for the sake of delivering a stronger film, I'm sure no reasonable person can object to that. Also, whatever the thing with Romer, if it didn't work out, it didn't work out. If people need to be fired over something like that, not a lot of folks would still be working in the entertainment business. Fukunaga could not have predicted that it wouldn't work with Romer.
Why would his career be over? He's the director of the upcoming Bond film. He's in a pretty good place, I'd say. So why would his career be over? I'm burning with curiosity here.
And "stood down from the production"? Uh... I'm not sure you realise this but the film is--stay with me here--finished. You're basically saying, "fire the architect" when the house has been built and the family's moved in already. Not sure where you're coming from, again.
You ARE aware, that Fukunaga was brought in rather late in the game, aren't you? If we're going to start pointing fingers, let's do so at the suits, who had to sort their rights issues out first. Or at the people hiring and / or firing Boyle. Then still, why would anyone be fired in this particular case? If it hadn't been for COVID-19, the film would've been released now. It would be utterly insane to blame someone who took his time to deliver what may end up a great Bond film (rather than rush something unwatchable into theatres) for ending up trapped in a global pandemic. No-one knew this would happen.
Yeah sure. "Inside word".
Look, I don't know what the man did to hurt your delicate feelings, but obviously you've got issues with Fukunaga for whatever reason. I'm sure you'd have been a lot happier if some hack had just whipped out another TMWTGG in 2016. Then what? The poor bugger tasked with getting number 26 out in time, might have been caught in the COVID-19 turmoil, and he'd be tasting your wrath right now.
I'm sensing a lot of impatience, the toddler version of it, another sad case of craving product no matter what the quality, incapable of coping with the fact that our perfect(ly spoiled) lives are now facing a temporary setback, looking for easy targets and barfing up the silliest arguments to build a case.
When are people going to figure it out? When are these know-it-alls going to get it in their skulls? You can get angry at whomever, fire the whole bunch, throw a lot of but-if's out there, burn up with impatience, behave as a disgustingly spoiled consumer, pretend that NTTD can just as easily be syphoned off to Internet streaming services or whatever, but the fact remains that
1) we're not calling the shots (though some here seem to think they are);
2) EON / Universal / ... isn't listening to us and never will;
3) NTTD will come when it comes but it probably won't be this year;
4) absolutely no-one in this entire production has anything to do with Corona.
We're in the midst of a pandemic and people are crying over a film that will come, just not now. This is pathetic.
Fukunaga’s career is very much over. The media reports merely scratch the surface of his onset behaviour. The fights with crew and cast, the excessive gaming, placing bets, and most significantly I’m told the poor judgement calls - the gravest of which was the call to push release back by two months, which ended with the trainwreck we’re all living through now. A LOT of money got burned on this - worst of all, Universal’s money. Execs are feeling they bought a dud with Bond, and they will want their pound of flesh - most likely Wilson, but everyone in the know knows that Babs, Craig and chiefly Fukunaga are to blame for the dire predicament the property finds itself in. Wilson is just an easy target due to his age. Consensus is that Fukunaga is now under pressure to resign. Have his name removed from the film. It’s all political.
Why are you so quick to defend Mr Fukunaga and Eon? We as fans owe them nothing. Too many of us act as though we have Stockholm Syndrome - captive to the whims of Eon. If “Dan” wants three years off, we apparently owe it to him as fans to sit there idly, and then pony up the cash when he deigns to grace us with his presence. No longer. Word from those who know confirm that Eon doesn’t give a **** about fans - it’s all about winning Oscars. Any observer can see that - look at their output this decade.
I would most certainly prefer if something of the quality of TMWTGG was released in 2016. Or even 2017, or 2018, or 2019. And I suspect most fans would too.
We are looking at the death of this franchise not due to lack of interest from audiences, but due to mismanagement and contempt from Eon. Universal is seething, according to my sources, and Fukunaga’s resignation is now very much in order, if not imminent.
Universal gave Eon carte blanche, and Eon let the bleeding go unchecked - the finances are what Universal is out for blood over, but we can also see morale has gone since the days of Cubby. Eon offers no loyalty, so receives none. Why they hired Fukunaga knowing full well his history is still a mystery - but one they were happy to overlook pre-Covid. “You will never have lunch in this town again” very much the edict from on high, according to inside word.
Mr Fukunaga now has two high profile behind the scenes fiascos to his name - but this is the most costly, and money talks. We can expect Mr Fukunaga to stand down from this project. Many voices within Universal are calling for his resignation, and for Bond to go to a different studio. They will be happy to see the back of Eon. They see no future in a franchise that offers at best two movies per decade. New audiences are not coming on board.
Fukunaga was basically forced to remain on - “You will never eat lunch in this town again”. Though inside word is that feelers were put out to Sam Mendes and Martin Campbell to bring the film in the can, but both were either unwilling or unable. Michael Apted’s name was even floated - a sign of how desperate they were - but I don’t know how far those discussions went.
Romer was a costly debacle and can be pinned squarely on Mr Fukunaga.
@DarthDimi Check the location in his profile. No wonder he likes firing people. ;-)
You are not wrong to feel this way - do not let the more indoctrinated Bond “fans” make you feel petty. Most fans are fans of the films - we want to watch and enjoy them, and have been more than patient.
Too many fans like the above strike me more as brainless cheerleaders for the Bond brand. Frankly, if you’re willing to wait five years to see a Bond film on the big screen, you’re not a Bond movie fan - you’re a Bond cheerleader. Try to develop some self respect. Demand better from Eon. Though chances are they won’t be around after this debacle.
If your concern extends to Universal shareholders rather than loyal fans, it’s time for some self reflection.
If you’re just an Eon fan then, well, lucky you. You have Film Stars Don’t Die in Liverpool, The Rhythm Section and Nancy to enjoy.
When some people have said that they're perfectly happy to wait until early / mid / late next year or even 2022 to watch the film, that's fair enough but I feel I was sometimes made to feel bad (particularly from people like DaltonCraig007) when I said (early on during this pandemic) that I just wanted the film to come out as soon as possible. Especially sad / ironic since the film was almost out before it was pushed back so many months and now there's no certainty anymore regarding it's release (or indeed any cinematic release of any film now).
Other film companies (or sometimes individual directors, or production members or actors) announced the delay of films online - such as John Krasinski for A Quiet Place Part II - were quite apologetic and directed explicitly towards the fans and tried to soften the blow in some way.
With EON's announcement regarding NTTD's delay, the fact that it was so blunt, impersonal and business like in its wording just made the delay feel to me like even more of a gut punch than it already was. No words of comfort or apologies, it just completely and violently swept the rug from under me.
"MGM, Universal and Bond producers, Michael G. Wilson and Barbara Broccoli, announced today that after careful consideration and thorough evaluation of the global theatrical marketplace, the release of NO TIME TO DIE will be postponed until November 2020. The film will be released in the U.K. on November 12, 2020 with worldwide release dates to follow including the US launch on November 25, 2020."
Another perfectly reasonable reaction. I was shocked when I read the release announcing the delay of Halloween Kills and they used the word “heartbroken”. They obviously care.
The message we get from Eon amounts to, “You have to wait another 9 months before you give us your money. Try not to die before then. In the meantime watch this clip from Diamonds Are Forever on our Twitter account, and buy a limited edition Octopussy silk dressing gown for $1800.”
If Eon cared, we’d know. We’d also get more than two movies per decade.
Please note that Halloween Kills is another Universal movie. This would indicate the cold blooded approach to the fanbase is 100% Eon. None of us should be afraid to condemn their management, criticise their films, or demand better.
The claim they were “thrillled” to delay NTTD was the first slap in the face. The dire livestream was the second. That teaser poster was the third. How much is enough before fans give up? I already feel I’m most of the way there.
This is incorrect. Romer didn't even get as far as scoring sessions. The only work he did was a few suites, which the filmmakers felt didn't suit the film and decided to let him go right then, which allowed time for a replacement. Part of the reason Zimmer was hired was because he's very reliable at cooking up scores on a short schedule, and it especially helped bringing in other collaborators like Johnny Marr.
You keep saying that Fukunaga should stand down from this film. Again I ask, why would he do that? The film is finished. What would be the point? Are you saying he should "Alan Smithee" this film, or not engage in any promotional campains henceforth? How could "standing down" from this film make any difference at all at this point? Should EON release this film without a directing's credit? I have asked you before and you seem unable to answer. Since the film is made, completed, finished, "in the can", how does "standing down" make any difference at this point? Enlighten us, please.
Also,
And this is what it narrows down to. None of the above is about the actual film; it's about getting your candy often and good. It's about being spoonfed promotional material; but not just that, it also has to be up to your standards. The livestream wasn't good enough, the teaser poster was a letdown. Allow me to rephrase that rhetorical question: "How much is enough before consumers are happy?" Because fans want a good movie; consumers, however, want "stuff".
I understand that it's "nice" when a franchise keeps giving in all sorts of ways; when it tries to sooth our nerves and also get that next installment ready on time. However, as has been explained countless times before on this forum, that's just not how it works. Unless you're Disney, or unless your movies cost about 15 million a piece, you don't Saltzmann films out like it's nobody's business, not anymore. These Bond films cost money, time, money, more time and a lot of back-and-forths before the investors greenlight something. I agree that five years (now six maybe) really is a long time; after all, SP needed only three. Stuff got complicated and they had a lot of domestic issues to sort out. I'm not saying that as an apology but merely as an observation. The fact is, however, that they truly do not owe us anything. And if Bond is really that important to you, you're no doubt happy to be sitting on 24 excellent films already. Any new addition is a lovely bonus, but we're past the point where these people, who have been entertaining us for over half a century now, owe us anything.
I wonder, hypothetically speaking, what would happen if they decide that James Bond isn't going to enter the third decade of the 21st century, nor that anyone besides EON can take him there. Obviously that's not going to happen, but just as a wild thought experiment, let's see what would happen then. Will we say thank you for over two dozen movies and six decades of fun? Or will we get the pitchforks out and chase Barbara Broccoli and Michael G. Wilson down untill they yield? I know what I, to whom James Bond matters just as much and has since I was 6 I might add, will do. I'll say thank you, indeed, sit down, grab my copy of Casino Royale, start reading and enjoy it.
I also agree that those constant "distribution rights" battles and such are an annoyance. If fingers are to be pointed at anyone, it should be at Harry Saltzmann. What? "Blasphemy?" "Too Soon?" "Hashtag Harry Matters?" Have I crossed a line? If he hadn't sold off to the suits, we could've been at number 30 right now. But I'm not sitting here, arms folded, thinking of ways to dig up the poor man's corpse and curse the hell out of it. Things happened in the higher eshelons of EON, things that aren't our business, and it hasn't stopped them from producing awesome Bond movies. So I'm not unhappy.
It's not about frequency for me, but about quality. I mean, I hope you're not too big a fan of Avatar, because boy, Cameron has already taken half a generation to get from what was then the biggest hit ever to its inevitable sequel(s). Is he to "stand down" too?
As for Fukunaga, you say things got ugly. Could be. I wasn't there. But I'm not naive either. Superman The Movie? Star Wars? The Shining? ... It wouldn't be the first time that producers and directors, or directors and actors or whomever have caustic fueds; yet the resulting movie might be epic. The Salkinds fired Donner; that turned out a bad move, as history is quite unkind to them and fans wanted the Donner cut of the next movie more than anything. Personally, I prefer someone who has delivered quality more than once before, like Fukunaga, to "enforce" his vision, rather than a weak drone just executing corporate orders. But again, I'm more interested in quality--and I'm not saying that's always what we get--than quantity. I'd rather have that one really great Bond film than ten so-and-so generic spy flicks. And sometimes, the road to success is uneven and full of obstacles. But honestly, that shouldn't be our concern.
Yes, in time they'll be "taking our money". That is, we will pay the ticket price and the price of a BR disc or whatever. But in essence, we'll be paying for the finished film. We aren't paying for the production process, except with our patience. And as far as I can tell, between two films, they don't owe us a thing. Updates, teasers, stills, ... can be good appetizers, but they're just "foreplay". The final film is what matters.
But that's just me. ;)