I think the opportunity for us is, if people aren’t coming to theaters, we need to find out why. I don’t think you’re going to see any slate-long deals anymore like what Warner did with HBO Max, but until we get our business back we have to make some tough decisions. A lot of the decisions are going to be made on a picture-by-picture basis. A year and a half pandemic has changed consumer habits. We’re asking people, we’re exhorting people, to come out of their homes. And what we’re seeing now and we’ve been hearing this week, both publicly and privately, is that just about every content provider is back to saying that some form of an exclusive, flexible theatrical window is good for the business.Ĭhris Aronson, Paramount: I think we have some underlying issues that need to be addressed. You said something that was really important, which is that we saw a lot of experimentation at that time. Mark Zoradi, Cinemark: Thank you, Patty, for all you’ve done. I’m going to fight right by your side to keep my films in the theatrical experience and I’m excited for us to bring back the theatrical industry on the other side of this. The streaming industry has proven that it wasn’t true that adults didn’t want to go see dramas, and that people didn’t want to go see documentaries. I’d say 80% of the time I go into the theaters, the volume is at a 6 or a 5. Quality of the screens has gone way down. You can have six theaters in town, even in Los Angeles, and they’re all playing the same three movies. In my view, the theatrical industry was always booming and can always be booming if it has diverse content, appeals to all age groups and is a wonderful experience.Īnd in my lifetime, I have watched diversity of content plummet. The truth is, I have thought there was a big misunderstanding of the theatrical industry going on for a long time. It has been very easy for a lot of people to use the pandemic as an argument pro-something that some of the industry was already trying to do, which is day-and-date. Patty Jenkins: I think this is such an interesting period of time because this pandemic struck right when we were at a moment when we were debating this issue anyway. Ryan Faughnder: How can the theatrical business come back as the studios are experimenting with all these different business models with streaming and premium video-on-demand? Here are some highlights from the conversation, edited for length and clarity. and Canada, which is outstanding for a mainstream movie. Ryan Reynolds’ “Free Guy” fell a mere 29% week-to-week in the U.S. Universal Pictures’ “Candyman” reboot, directed by Nia DaCosta, opened with a better-than-expected $22 million domestically. But as I write this, some movies that aren’t available for streaming are showing signs of life at theaters. She also didn’t spare theaters themselves, which in her view often fail to live up to the romanticized version of the theatrical experience that CinemaCon promotes.īox office has a long way to go in its recovery. She implored studios to stop ceding genres like adult dramas to streaming services. But Jenkins’ message for Hollywood was a broader appeal for studios and theaters to bring massive audiences back to cinemas.
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