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https://deadline.com/2020/08/tenet-international-box-office-preview-1203022539/
Yes, that is certainly far away. Going back to normal won't happen in 2021, that's for sure.
There is no way I would bother going to the cinema if that were the case here.
South Korea was expected to be one of the biggest overseas market for Tenet.
They could delay it another year and hope for the best. But we don’t know where we’ll be virus wise in a year. A cinema release still may not be viable. Which would mean waiting a year only for them to release it online anyway, because they’re not going to sit on it until 2022 (too much money involved).
So, the way I see it, now’s their chance to be ahead of the curve. If they do an online home release now then I reckon it’d do well. Sure, piracy would eat into some sales. But a normal cinema release just doesn’t seem to be an option for the forseeable. And I think if they released it over Christmas, where families are getting together and stuff, there’d be enough people buying it to reduce the impact of piracy. It’s a relatively competition free zone, too. No other blockbuster on Bond’s level has done it yet.
If they delay it another year, and still can’t release in the cinemas, and then have to release it online anyway, then by that point they’ll be up against more competition. Marvel or Star Wars or whoever might have given in and started doing it by then.
I think if they sit around waiting to make another billion they’ll be disappointed. It’s just not going to happen with this one imo. But if they strike while the iron is hot, they could make a decent profit off a home release.
I've got a feeling we're going to have a long wait for Bond 26. Don't think they'll have given it much thought, the priority for Eon and MGM is probably just getting NTTD out and in a way that they think will make most money in the current climate. Then there's the whole issue of recasting Bond as well, which I don't think they'll have done much beyond preliminary thinking about.
Me too. I’m okay with the longer gaps in general and I defended the decision to delay before, when we didn’t know how long this “new normal” (hate that) would last. But now it’s here for the forseeable, and they’re sitting on a finished film, and it’s been five years since SP. I’m praying they just bite the bullet and release it online. I’ve always said Bond should be a big, theatrical event, that should never bypass the cinema. But these are special circumstances. Time to make an exception imo.
Sadly though I’m not holding my breath. The studios seem reluctant to make the shift to home releases in general. They seem to be putting it off until the very last minute.
Plus it’s DC’s last and BB is very fond of him. I have a feeling they might see a streaming release as not big enough to mark the occasion. He came back to do one more and go out on a high. I reckon that means a CR/SF esque buzz. Difficult to do that without a cinema release.
I genuinely think the smart thing to do would be not to take the risk of delaying another year. Release it online in time for Christmas, get ahead of the competition. It’d basically be the only huge blockbuster out in any form, and I don’t think piracy would eat into their profits too much (think of families, older less technologically clued up people; not everyone is going to go out of their way to download it from a dodgy website) so long as they did it now, rather than later against a slew of other blockbusters. The longer they leave it, the riskier an online release will be.
But sadly, I think at this point we should start coming to terms with 2021 being a very real possibility. What’s weird is we could be looking at the longest gap between films, matching LTK-GE, yet it’s also one of the very few times in the series we’re getting a direct sequel. Strange times.
Again, this doesn't mean much: with the ongoing pandemic, most ticket sales have to be done online, so pre-sales were bound to be bigger than most movies pre-Covid. At my cinema at least, they aren't allowing any in-person ticket sales. So by deadline's reasoning, Tenet is beating Avengers: Endgame and Star Wars: The Force Awakens at my cinema.
I expect to do that for Tenet. Looking forward to it.
https://www.telegraph.co.uk/films/0/tenet-verdict-ground-christopher-nolans-great-gamble-working/
Full article:
By Ian Winwood 27 August 2020 • 12:00pm
Tenet: the only film that can save cinema
The arrival of Tenet in UK cinemas could almost be a movie in itself. Its trailer could have been narrated by the great American voiceover artist Don LaFontaine. Prospective customers would be told that “in a world of disease and panic, only one man can save domestic picture palaces from Plymouth to Perthshire” – pronounced “shyer”, obviously – “from total destruction. His name is Christopher. Edward. Nolan.”
Nolan’s latest film was released in Britain yesterday. Given its importance to the structural integrity of cinemas big and small, it may as well have been titled Tenet-pole. As well as much else, it offers something new for audiences inured to characters who can fly or affix themselves to skyscrapers. Now, for the first time ever, the movie itself is the superhero.
“If Tenet doesn’t pull in the business like they think it will, other big movies like Wonder Woman [1984], Black Widow and No Time To Die will all be pushed back to next year,” says Jonathan Lines, the staff coordinator at the not-for-profit Plaza Community Cinema in Liverpool. “If that happens, the industry will really be in a dire state.”
The film website Screen Daily last week agreed, saying that “it’s fair to say that not just UK exhibitors [cinemas] but also rival distributors are rooting for Warner Bros to succeed with Christopher Nolan’s spy thriller.”
Leaving aside the notion that describing Tenet as a “spy thriller” is akin to calling Citizen Kane a story about the newspaper business, Nolan is one of the few filmmakers whose name alone can draw people to the big screen. His last three films – Dunkirk, Interstellar and The Dark Knight Rises – have combined for a worldwide gross of more than $2 billion (£1.5 billion).
Such is Nolan’s power, in fact, that he’s been able to persuade Warner Bros to release a picture that they were reportedly minded to push back until next year. Tenet cost more than $200 million (£150 million), and can now be seen in 70 countries. But it ain’t going cheap. In order to show the film in the UK, cinemas are required to hand over 60 per cent of its box office. By comparison, a number of distributors of classic films have reduced their cut to 20 per cent.
“[Nolan] not only wants to preserve the big-screen experience (understandable) but he also wants to be seen as the savior of cinemas (risky),” the film journalist Akhil Arora writes. “But in going for a staggered release” – Tenet will be unveiled gradually in America from next month – “[he] is going to end up spoiling the film for some (not good) or push them towards piracy (worse).”
Since re-opening last month, cinemas have been caught in a terrible double-bind. While new films have opened since July – the deliciously unpleasant Unhinged and the grimly moving Clemency, to name two – there is, as yet, not enough fresh stock to fill the nation’s screens. I’ve been to the pictures more than a dozen times in the past seven weeks, but only half of my visits were to see films on first-release. At no point has the audience reached double figures.
The UK box office for the second week of August was just 6 per cent of the total for the same period in 2019. As well as this, there are fissures between cinemas themselves. In Liverpool, the award-winning Plaza has launched a change.org campaign with 20 other independent outlets, in the hope of receiving a share of the subsidies that Jonathan Lines believes to disproportionately favour the larger arthouse venues.
“We’re being forgotten at the back here,” he says. “Our area was quite under-privileged, and still is in parts, and our mission was to make sure that everyone in it gets the chance to see a [mainstream] film.” At the Plaza, an adult can see a brand new movie for less than a fiver. “We’ve made it our business to keep our prices as low as possible while still being able to remain open,” he says.
“Cinema is a customer business, and for a number of months there were no customers,” says Phil Clapp, the chief executive of the UK Cinema Association, a body that represents 90 per vent of British exhibitors. “With the release of Tenet, we’re probably up to about 600 sites that have re-opened, which is about two-thirds of UK cinemas – so I think there is reason for optimism.
“We need to work to encourage people to go back to the cinema,” he says. “Hopefully those who do go back will have such a good time that they’ll tell others.”
Will Christopher Nolan's gamble blow up in his face? CREDIT: Warner Bros. Entertainment In pursuit of this story, yesterday I risked – checks notes – probable death by attending an afternoon screening of Tenet at the IMAX in Waterloo. I paid £25 to be a part of a gathering brought together by the sight of John David Washington and Elizabeth Debicki, projected in 70mm stock, on a screen the size of a Zeppelin hangar. We all queued patiently, wore masks in the lobby and sanitised our hands. We behaved responsibly because we want this to work.
“I think the way the cinema has handled this, in terms of social distancing and getting people to exit row-by-row, has been really good,” says Max, from Ludlow, in row P, seat 23. Sitting beside him is Courtney, from Bristol, who says the experience “has reminded me what a great social thing going to the cinema is. I’m 100 per cent happy that I came.”
As a music journalist, movies are not my usual beat. In all my years on the grift, I’ve interviewed just two actors – Jack Black and Jared Leto – both of whom play in successful bands. I’ve never been on a film set, and I’ve never attended a premiere. Each time I go to the pictures, I do so as a proud member of the British public.
But I do go a lot. Last year I went to the cinema 127 times. In 2020, I’d racked up two dozen visits by the time the curtain fell in March. I don’t always care what I see; for me, the experience is as important as the film. I’ll pay to see terrible movies – 365 Days, Bad Boys For Life – as readily as I’ll invest in Cold War, Knives Out, Sometimes Always Never or Parasite.
So desperate was I to get back in the swim that I went to see Black Water: Abyss at the Genesis Cinema, in Bethnal Green, the very day the projectors whirred into life once more. A ropey-dopey creature feature about a croc that lives in a cave, so magical was the experience that I emerged blinking into the East London night believing I’d seen a film to rival Psycho.
Others feel the same. “The feedback we’ve received from people who have gone back to the cinema after lockdown has been overwhelmingly positive,” says Phil Clapp. “Completely unprompted, a number of people have said that it’s like being a kid again. They’d almost forgotten that big-screen experience. So although we do have all the safeguards, we also haven’t forgotten the fact that it’s supposed to be an enjoyable leisure experience.”
As the weekend approaches, the British film industry is holding its breath, as it waits for the figures that will reveal whether or not the public has flocked to Tenet in numbers sufficient to forestall foreclosure. Yesterday it was reported by Deadline that advance ticket sales in the UK and Australia were outpacing those for Dunkirk and Interstellar – good news, even if the metric is far from prophetic.
Christopher Nolan refused to allow Tenet to be delayed to 2021, or moved to streaming services CREDIT: Reuters But even in a field contested by Marvel and DC superheroes, and a well-groomed Englishman who takes his drinks shaken (not stirred), Nolan’s film was destined to be the Cinematic Event of the Year. There is something gratifying, and quietly terrifying, that a film as berserk as this has become the capstone for commercial renewal. As Kenneth Branagh devoured scenery in front of me, standing 100 feet tall, I marvelled at my own ability to (more or less) hold tight to the plot. I strained sinews in order to maintain my attention. A minute away from my seat would have invited a hundred questions, of which “why is the action now running backwards?” is only one.
Prior to lockdown, the British public went to see an average of just under three films a year. In an age of facemasks and elbow-bumps, that number will not rise. Impressive and demanding as it may be, it has been reported that Tenet will need to earn $500 million (£380 million) before it breaks even. Between Friday and Sunday, the film will be shown 67 times at the Vue in Sheffield, a figure not uncommon in the largest cinemas. It’ll need every single screening.
“The sense of shared purpose and shared endeavor is even more acute now,” Phil Clapp says, “over the coming weeks and months, because we need to get the industry back to the success that it was seeing before lockdown.
“2018 and 2019 were the two biggest years for cinema attendances in the UK for the past 50 years. I’m hoping that while that success has been knocked sideways by lockdown, it hasn’t been fundamentally damaged.”
“In my opinion, I don’t think Tenet is the savior of cinema,” Jonathan Lines cautions. “I think it’s the first step back in a long road to recovery. But without Christopher Nolan, the independent industry and the mainstream industry would fail this year. I have no doubt about that.”
There will, of course, be people who don’t care about Tenet. There’ll be people who don’t care about any of the other big-ticket movies nominally on the docket for the rest of the year. But when we speak about culture and tradition, we would do well to remember the widespread and accessible delights of cinema. And so if anyone asks me what I’m up to this weekend, I’ll tell them: I’m off to the pictures.
https://variety.com/2020/film/box-office/the-kings-man-release-date-delayed-1234750966/
We definitely should as one was seemingly ready to go before the delay, the question is when. Honestly surprised it's not with Tenet...in this case perhaps September time
Well no one knows outside of the company, because it depends how much cash they are sitting on, and they don’t have to tell us that.
If they are sitting on a lot of cash then they can stay solvent for years.
If they are sitting on a tiny amount of cash then they might go bust within days
It‘s not with Tenet for the obvious reason that they are totally unsure about the November release.
Will the worldwide cinematic marketplace be a suitable environment in which to release a $200 million movie, come November?
Now that The King's Man has abandoned 2020 entirely, the next big budget film that NTTD's trailer could be attached to is Wonder Woman 1984 (September 30th in Europe; October 2nd in the USA).
Adding Candyman, Death on the Nile and Black Widow, there are only 4 major releases left before NTTD hits theaters.
Apart from Tenet, there is zero big films coming out until WW84 in North America.
Edit: The final trailer for SP came out on October 2nd 2015, which would coincide with the release of WW84 this year.
So maybe that's the movie the next NTTD trailer will be attached to, assuming the November release date holds.
I’m wondering this myself. They’ve apparently spent 250 million on it, and that’s not even taking into account marketing. I know EON probably rake it in from DVD sales, TV deals, etc, but still, that’s a lot of money. Can they really delay for more than another year? Won’t they need to see some sort of return on investment?
There’s also where that money has come from. Bond relies on having a good relationship with a lot of product placement brands. Surely they’ll want it out soon, since they’ve put up for it?
I don’t work in the industry like some people on here, but in my uninformed opinion, I don’t think they’ll be able to delay it til 2022. It’ll be out by the end of next year. Just a question of whether that’s at the cinema or not.
It’d be great if someone more informed than me could chime in on this though because as I said, I don’t really know what I’m on about.
Also it seems Tom Cruise is doing his part too!.....[url="[youtube]
I love TC. I don't care what anyone says.