Commenting on the Critics with Simon Columb...
Scott Mendelson writes for Forbes about the $50 “Mega Ticket” for World War Z…
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"But two days prior to its national release, Paramount is teaming with Regal Cinemas to offer a sneak preview of the film in five specific theaters for just $50 a ticket … you get the movie itself in 3D, a small popcorn, collectible 3D glasses, a poster, and a high definition digital download of the film once such a thing becomes available. Say what you will about spending $50 for a movie ticket for a movie that will be available nationwide two days later, there is something to be said about Paramount’s attempt to create the idea of seeing a movie early as a genuine high-value event."
Read the full article here.
In addition, earlier this week, Steven Spielberg and George Lucas predicted a Hollywood implosion too whereby:
“What you’re going to end up with is fewer theatres. Bigger theatres, with a lot of nice things. Going to the movies is going to cost you 50 bucks, maybe 100. Maybe 150.”
It seems they spoke too soon as a culture of pre-buying without an expectation of quality-of-product continues to dominate. I have written at length about not midnight “midnight screenings” and other incentives to make money without any control of quality - and Mendelson's article only highlights another attempt. But now, audiences are not only buying the ticket - they are buying the digital release before they have even decided whether they like the film or not. In this age of remakes and sequels, this is a part of the same blind-ticket-buying culture – except now the ticket is considerably more expensive. Sequels coast off their predecessor’s successes as audiences just want to see their favourite characters again and only a poster and release date are needed to sell the ticket – quality does not dictate financial success. No reviews were needed for The Hangover Part III (and Part II) and they won’t be necessary for Transformers 4– just ensuring the faces of the stars are plastered everywhere should do the trick. These $50 tickets will be sure to assist in gaining further sales – and as Mendelson points out – an established franchise surely has “rabid fans who would pay a premium to see the films before the majority of the country”. But the blind-buying needs to stop – and quality filmmaking needs to be upheld, with studios held accountable, otherwise the long-term loss will be irreversible when audiences simply assume all Hollywood blockbusters are “brainless”.
But, for arguments sake, let us assume the $50 tickets are a success – whereby for the next five years, all the blockbusters have this option, with exceptional success for the Marvel and DC films, where next? I have it mapped out – how about “pre-pre-release” tickets. $150 a pop includes a celebrity appearance from the lead actor in the film – e.g. Brad Pitt himself introducing World War Z. Not only will you see it first – but you’ll see it before the press too. In fact, PR companies can cancel all the 15-minutes interviews with the talent and replace them with the $150 ticket screenings appearances – ferrying the stars to different screenings. A 10-minute introduction before moving onto the next screening without questions or criticism. If Hollywood play their cards right, they can erase criticism completely as audiences only realise they’ve been duped after the screening … and after paying $150.
Satisfying, enlightening and profound films shape a culture and influence generations – and blockbusters reach such a wide audience they should be treated with more care. Hollywood, understandably a money-making enterprise, is attempting to create a business that doesn’t require quality. Ideally, films will make their money back, whatever the quality. Already, audiences are content in arguing the merits of a film that doesn’t attempt to work too hard (“if I was after a night off, where I could just switch off my brain and just enjoy the action, then yeah, it was a great film” or words to that effect). But it needs to stop, as already people argue the flaws with the filmmaking of today – and lowering expectations will only work to tarnish attitudes towards the medium as a whole. Film, cinema – and blockbusters – deserve better.
Simon Columb
Scott Mendelson writes for Forbes about the $50 “Mega Ticket” for World War Z…
.jpg)
Read the full article here.
In addition, earlier this week, Steven Spielberg and George Lucas predicted a Hollywood implosion too whereby:
“What you’re going to end up with is fewer theatres. Bigger theatres, with a lot of nice things. Going to the movies is going to cost you 50 bucks, maybe 100. Maybe 150.”
It seems they spoke too soon as a culture of pre-buying without an expectation of quality-of-product continues to dominate. I have written at length about not midnight “midnight screenings” and other incentives to make money without any control of quality - and Mendelson's article only highlights another attempt. But now, audiences are not only buying the ticket - they are buying the digital release before they have even decided whether they like the film or not. In this age of remakes and sequels, this is a part of the same blind-ticket-buying culture – except now the ticket is considerably more expensive. Sequels coast off their predecessor’s successes as audiences just want to see their favourite characters again and only a poster and release date are needed to sell the ticket – quality does not dictate financial success. No reviews were needed for The Hangover Part III (and Part II) and they won’t be necessary for Transformers 4– just ensuring the faces of the stars are plastered everywhere should do the trick. These $50 tickets will be sure to assist in gaining further sales – and as Mendelson points out – an established franchise surely has “rabid fans who would pay a premium to see the films before the majority of the country”. But the blind-buying needs to stop – and quality filmmaking needs to be upheld, with studios held accountable, otherwise the long-term loss will be irreversible when audiences simply assume all Hollywood blockbusters are “brainless”.
But, for arguments sake, let us assume the $50 tickets are a success – whereby for the next five years, all the blockbusters have this option, with exceptional success for the Marvel and DC films, where next? I have it mapped out – how about “pre-pre-release” tickets. $150 a pop includes a celebrity appearance from the lead actor in the film – e.g. Brad Pitt himself introducing World War Z. Not only will you see it first – but you’ll see it before the press too. In fact, PR companies can cancel all the 15-minutes interviews with the talent and replace them with the $150 ticket screenings appearances – ferrying the stars to different screenings. A 10-minute introduction before moving onto the next screening without questions or criticism. If Hollywood play their cards right, they can erase criticism completely as audiences only realise they’ve been duped after the screening … and after paying $150.
Satisfying, enlightening and profound films shape a culture and influence generations – and blockbusters reach such a wide audience they should be treated with more care. Hollywood, understandably a money-making enterprise, is attempting to create a business that doesn’t require quality. Ideally, films will make their money back, whatever the quality. Already, audiences are content in arguing the merits of a film that doesn’t attempt to work too hard (“if I was after a night off, where I could just switch off my brain and just enjoy the action, then yeah, it was a great film” or words to that effect). But it needs to stop, as already people argue the flaws with the filmmaking of today – and lowering expectations will only work to tarnish attitudes towards the medium as a whole. Film, cinema – and blockbusters – deserve better.
Simon Columb