{"id":1035,"date":"2024-12-09T21:18:14","date_gmt":"2024-12-09T21:18:14","guid":{"rendered":"https:\/\/filmfreeway.com\/articles\/?p=1035"},"modified":"2024-12-09T21:18:15","modified_gmt":"2024-12-09T21:18:15","slug":"how-streaming-is-impacting-the-film-industry","status":"publish","type":"post","link":"https:\/\/filmfreeway.com\/articles\/how-streaming-is-impacting-the-film-industry\/","title":{"rendered":"The Filmmaker\u2019s Modern Dilemma: To Stream or Not to Stream"},"content":{"rendered":"\n

Thirty years ago, direct-to-video distribution was an insult. Theatrical release was king, and sending your project straight to home video was the industry\u2019s way of hinting its commercial viability was questionable at best. Today, streaming films directly into people\u2019s homes is not only a valid distribution method, but one that creators must consider when it comes to finding their audience.\u00a0<\/p>\n\n\n\n

Earlier this year, director Zack Snyder said that more people probably saw his 2023 movie<\/mark><\/a> \u201cRebel Moon\u2014Part One: A Child of Fire\u201d on Netflix than \u201cBarbie\u201d in theaters. But even if we count up hours viewed, has someone sitting on their couch made the same investment as someone who drove to the movie theater? While we can\u2019t compare imprecise data between subscription-based streamers and theatrical ticket sales, for filmmakers, considerations around profit potential and how streaming affects both audience reach and creative decisions are now an undeniable part of the picture. One platform is not inherently better than the other; rather, there are costs and benefits to both. <\/p>\n\n\n\n

Even with plenty of services floating around, Netflix is still at the top<\/mark><\/a>, followed by Prime Video and Disney+. Whether these services can continue to provide a steady output of films and television shows to keep viewers hooked remains to be seen; but for the time being, it\u2019s fair to say their sizable holds on audiences are here to stay. But what does that audience mean, and how does it work for a filmmaker? <\/p>\n\n\n\n

Streaming\u2019s vast sea of films and TV shows means it\u2019s difficult to have a breakout hit. While there may be a bit of marketing on your film\u2019s behalf (a trailer, perhaps a press junket), you\u2019re mostly reliant on social media buzz and the algorithm propping up your feature. For an established filmmaker looking for an audience, this may be a fair trade-off. Richard Linklater felt so when Netflix purchased his movie \u201cHit Man\u201d out of the Toronto International Film Festival in 2023; the film had a limited release in theaters before a streaming premiere.\u00a0<\/p>\n\n\n\n

Linklater told IndieWire<\/mark><\/a> that studios who solely do theatrical distribution were less interested in a sexy, funny movie for adults than established IP: \u201cThe times bend against whatever originality we have; [originality] scares them\u2026. To me, that\u2019s what\u2019s changed, that they\u2019ve really figured out what they don\u2019t do, and that\u2019s the world we knew. It\u2019s a reduced world, for sure. You need that middle to step up, but right now, it\u2019s Netflix, and the streamers are in that space.\u201d<\/p>\n\n\n\n

For Linklater, a five-time Oscar-nominated director whose filmography includes such hits as \u201cDazed and Confused\u201d (1993), \u201cSchool of Rock\u201d (2003), and \u201cBoyhood\u201d (2014), putting his latest feature on Netflix isn\u2019t the end of his theatrical release road, but another step in his career. There\u2019s not a scenario in which the performance of \u201cHit Man\u201d causes Linklater to vanish into obscurity. There will be more Linklater movies because he\u2019s an established name with successful films to his credit. And with his clout and the film\u2019s success at TIFF, he stayed free from the common obligation to re-edit it for the \u201cgrab them from the jump\u201d structure that\u2019s become typical of streaming features.<\/p>\n\n\n\n

The on- and offscreen streaming formula<\/strong><\/h4>\n\n\n\n

Streaming can and does dictate the shape of a project. Unlike in a theater, viewers can click away or go and do something else, so grabbing them early on is crucial. \u201cRocketman\u201d director Dexter Fletcher discovered this when making the action-comedy \u201cGhosted\u201d for Apple TV+. Talking to the \u201cA Trip to the Movies\u201d podcast, Fletcher explained he had to cut the movie\u2019s original opening because of Apple\u2019s data findings. If \u201csomething doesn\u2019t happen in the first 30 seconds,\u201d said Fletcher, \u201cpeople will just turn [it] off.\u201d This helps explain why so many streaming features start in medias res, or in the middle of the plot, taking viewers to an exciting part of the story before circling back to explain how they got there.<\/p>\n\n\n\n

\"Ghosted
Chris Evans and Ana de Armas in \u201cGhosted\u201d Courtesy Apple TV+.<\/figcaption><\/figure>\n\n\n\n

But streamers have more muscle and money right now. Katie Goodson-Thomas, the head of international production and development for Searchlight Pictures in the U.K., told a BFI London Film Festival audience<\/mark><\/a> that even though Searchlight is a subsidiary of the Disney powerhouse, they\u2019re frequently getting outbid by streamers like Netflix, Prime Video, and Apple TV+. As a filmmaker, if your project falls outside of the IP-friendly domains of major studios, your options may not be between streamers and theatrical, but between streamers and nothing. Filmmaking is always about compromises, and changing the ideal distribution method of your film to get people\u2019s attention may be one you have to make in today\u2019s entertainment landscape.<\/p>\n\n\n\n

The upside to theatrical<\/strong><\/h4>\n\n\n\n

Let\u2019s say you do have a clear choice between theatrical and streaming. Your movie just premiered at a major film festival, you\u2019re a young talent, and you\u2019re approached by both a streamer and by an indie studio like Neon or A24 that can provide theatrical release. Knowing that streaming is, in some ways, guaranteed to make your film more accessible (at least for subscribers to that distributor), whereas theatrical means you\u2019ll have to compete against bigger movies and audiences who now prefer franchise fare<\/mark><\/a> if they do<\/em> go to a theater, do you opt for the indie studios?<\/p>\n\n\n\n

Director Lulu Wang was faced with this exact choice for her 2019 Sundance hit \u201cThe Farewell.\u201d An undisclosed streaming company offered Wang roughly $15 million at the festival, but the writer-director ultimately chose to go with the $6\u20137 million deal from A24. Wang told Vulture<\/mark><\/a> she asked her mother for advice, because the streaming deal meant she could buy her a house. Wang said that her mother replied, \u201cWhy would you buy me a freaking house? I already have a house. The film is your baby, and you have to give it to the place that is not necessarily the wealthiest, but will give it the most love and joy and bring it into the world in the right way.\u201d\u00a0<\/p>\n\n\n\n

For a newer filmmaker like Wang, there\u2019s an intangible quality to entering the theatrical space and making a splash. Though Wang hasn\u2019t spurned streamers (her follow-up project was 2024\u2019s limited series \u201cExpats\u201d for Prime Video), sending a film to streaming may mean you have less influence in the long run.\u00a0<\/p>\n\n\n\n

Take another early career filmmaker\u2019s experience: Max Barbakow\u2019s second feature \u201cPalm Springs\u201d sold to Neon and Hulu for $17.5 million<\/mark><\/a> in early 2020, but because the pandemic nixed a theatrical run, it only arrived on Hulu. His follow-up feature, \u201cBrothers,\u201d arrived on Prime Video in October 2024 with little fanfare<\/mark><\/a>.<\/p>\n\n\n\n

\"Palm
\u201cPalm Springs\u201d Credit: Jessica Perez\/Hulu<\/figcaption><\/figure>\n\n\n\n

On the one hand, both Wang and Barbakow are still working, and they\u2019re not running from streaming. But it\u2019s also easy to see the streaming market as its own kind of worst enemy, where few things can catch on because the market is too saturated. Anything streaming has to compete not only with everything else on that streaming service, but everything else on every other streaming service viewers may have, what they can rent at home, and the other entertainment devices they have available. Compare that to theatrical, and your only real competition is what else is in theaters at that moment.\u00a0<\/p>\n\n\n\n

As a filmmaker, you need to be cognizant of your long-term goals and the risks of each platform. Streaming may offer a big payday upfront, but that doesn\u2019t necessarily mean more opportunity. The action-fantasy \u201cDamsel,\u201d starring Millie Bobby Brown, was Netflix\u2019s biggest film<\/mark><\/a> of the first half of 2024, but that hasn\u2019t translated to a major follow-up project for its director, Juan Carlos Fresnadillo.\u00a0<\/p>\n\n\n\n

On the flip side, there\u2019s the argument that if you\u2019re not working within the bounds of a franchise right now, your film may not have a chance to be a theatrical hit regardless. Clint Eastwood\u2019s latest (and possibly final) film, \u201cJuror #2,\u201d is an old-fashioned courtroom drama; but the studio behind it, Warner Bros., didn\u2019t feel like it was worth the effort for a wide theatrical release because it\u2019s a movie made for adults rather than younger viewers who flock to franchise pictures. There\u2019s reluctance to back this kind of movie because there\u2019s no franchise or merchandising potential. Sadly, there will be no \u201cJuror #2\u201d lunchboxes and action figures.<\/p>\n\n\n\n

There are, of course, exceptions: Osgood Perkins\u2019 \u201cLonglegs\u201d made $126 million worldwide off a budget of $10 million\u2014but keep in mind that Perkins\u2019 first two movies, \u201cThe Blackcoat\u2019s Daughter\u201d (2015) and \u201cI Am the Pretty Thing That Lives in the House\u201d (2016), both went straight to VOD and Netflix, respectively; his third film, \u201cGretel & Hansel (2020), did get a limited release, however. You need to get a leg up somewhere, and if you have an original feature, then maybe streaming is the best chance to make it a hit, or at the very least, get it into the world and make further inroads into the industry.<\/p>\n\n\n\n

The answer about what to do is going to be different for every filmmaker. Weigh the offers with the understanding that no follow-up project is guaranteed and every new film will present its own struggles no matter how well you\u2019re able to pave the path.<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

A dive into what creators must consider when it comes to finding their audience. <\/p>\n","protected":false},"author":75,"featured_media":1038,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[45],"tags":[],"class_list":["post-1035","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles"],"acf":[],"yoast_head":"\nThe Filmmaker\u2019s Modern Dilemma: To Stream or Not to Stream - FilmFreeway<\/title>\n<meta name=\"description\" content=\"What filmmakers need to consider when weighing theatrical versus streaming distribution offers.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/filmfreeway.com\/articles\/how-streaming-is-impacting-the-film-industry\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Filmmaker\u2019s Modern Dilemma: To Stream or Not to Stream - 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