“灵魂之夏”到“地下天鹅绒”：电影如何利用彩带的纪录片需求
‘Summer of Soul’ to ‘The Velvet Underground’: How Cinetic Is Capitalizing on Streamers’ Documentary Demand
几年前，约翰·斯洛斯（John Sloss）担心主要的人才机构已经弄清楚了他的秘密酱汁的配方。电影媒体创始人将自己确立为某种Auteur的商业助理，帮助找到了理查德·林克莱特（Richard Linklater）的“少年时代”和李·丹尼尔斯（Lee Daniels）的“珍贵”的买家和支持者。现在，像CAA和Endeavor这样的公司正在进入竞争，使独立小牛的生活更加困难。“这些机构试图通过垄断所有脚本化项目的销售来使我们失业，” Sloss说。 “一旦他们把一位演员放在电影中，他们就会说，除非我们能出售这部电影，否则我们不会把他们放在这部电影中。我们无法与之竞争。 Sloss开始整理更多的非小说类电影和系列，例如热门歌曲《 Soumm of Soul》和即将推出的托德·海恩斯（Todd Haynes）指导的“ The Velvet Underground”，同时利用了流媒体服务对纪录片的渴望。同时，他多元化，扩大公司的管理业务（客户包括Linklater和David Gordon Green），并转向Nat Geo和《纽约时报》等人的咨询。流媒体战争是HBO Max和Paramount Plus Netflix等挑战兽医等服务。他认为，这是一个时刻，当需要吸引订户的需要导致创造者的淘金热和破坏分销策略。例如，“ Soul of Soul of Soul”在圣丹斯（Sundance）首次亮相之后从Hulu和Searchlight获得了1200万美元的销售。我的职业生涯。” Sloss说。 “令人难以置信的泡沫是多么的。一旦您意识到Netflix内容预算为180亿美元，您就会意识到没有足够的大片可以拿走所有这些钱。因此，您需要复制完整的R上一代中存在的讲故事的安格。这对像我这样的人很好。”但是仍然有令人担忧的迹象。在过去，顶尖人才通过将有利可图的后端付款纳入与票房表演有关的合同中获得了重大收获。流媒体争夺演算，斯嘉丽·约翰逊（Scarlett Johansson）最近针对迪斯尼（Disney）提起诉讼，因为它决定将“黑寡妇”按要求造成这些举动造成的不稳定的迹象。Sloss希望看到人才获得与订户收益或收视率相关的人才激励措施，但这意味着像Netflix这样的公司将不得不提供他们不愿分享的数据。时间，但没有什么能像更多的竞争那样增加压力。” Sloss说。“如果我们不团结起来，并弄清楚从他们的工作中受益的这些平台如何奖励这些创作者，那么人才可能会在短期内遭受损失。”
A few years ago, John Sloss worried that the major talent agencies had figured out the formula for his secret sauce. The Cinetic Media founder established himself as the business consigliere for a certain kind of auteur, helping to find buyers and backers for Richard Linklater’s “Boyhood” and Lee Daniels’ “Precious.” Now companies like CAA and Endeavor were entering the fray, making life more difficult for the indie maverick.
“The agencies tried to put us out of business by monopolizing the sale of all the scripted projects,” Sloss says. “As soon as they’d put an actor in a movie, they’d say we’re not going to put them in this unless we can sell the film. We couldn’t compete with that.”
So Cinetic mixed up its business model. Sloss began putting together more nonfiction films and series such as the hit “Summer of Soul” and the upcoming Todd Haynes-directed “The Velvet Underground” while capitalizing on streaming services’ thirst for documentaries. At the same time, he diversified, expanding the company’s management business (clients include Linklater and David Gordon Green) and moving into consulting for the likes of Nat Geo and The New York Times.
Now, with fall festival season kicking off, Sloss and his team hope to profit from the streaming wars as services such as HBO Max and Paramount Plus challenge vets like Netflix. It’s a time, he believes, when the need to attract subscribers is resulting in a gold rush for creators and disrupting distribution strategies. “Summer of Soul,” for instance, scored a $12 million sale from Hulu and Searchlight after it debuted at Sundance.
“For the next five years or at least until the consolidation and competition ends, I think it’s going to be the healthiest time in my professional life,” says Sloss. “It’s incredible how frothy things are. Once you realize the Netflix content budget is $18 billion, you realize there are not enough blockbusters to take all that money. So you’ll need to replicate the full range of storytelling that existed in a previous generation. That’s good for someone like me.”
But there are still worrying signs. In the old days, top talent reaped the rewards for a big hit by putting lucrative backend payments into contracts that were tied to box office performance. Streaming scrambles that calculus, with Scarlett Johansson’s recent lawsuit against Disney over its decision to put “Black Widow” on demand a sign of the instability these moves are causing. Sloss would like to see talent get incentives that are tied to subscriber gains or viewership, but that means that companies like Netflix will have to offer up data they’ve been loath to share.
“They’ve been pressured to do that for a long time, but nothing adds to the pressure like more competition,” says Sloss. “Talent may suffer in the short term if we don’t get our act together and figure out how these platforms, which are benefiting from their work, can reward these creators.”
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发表于 2022-7-5 05:13:57
发表于 2022-12-20 07:07:06