Did the movie die? Long live the movie!
What kills the movie? No, not piracy, as some of our film sellers suggest. Computer games and social networks are the true enemies of the wide screen. We can not stretch the day. We can’t increase the number of days in a year. If modern kids hang up in networks or go through another quest, then when should they go to the movies? And it is unlikely that with age their habits will change.
Empty cinemas are killed not only by the inattention of the audience, but also by the predatory policy of the copyright holders, who take up to 90% of the proceeds from the distribution of films. That’s where the studio revenue growth comes from! As a result, cinemas are more and more like a strip bar, where the spectacle is just a way to earn money on a drink. On the other hand, the viewer has become more finicky and demanding. He does not like the ticketed seat in the hall. 3D glasses hurt my head. The sound is too loud. The chair creaks. Cola is too warm or cold. And a bucket of popcorn … well, I don’t like it! As a result, the viewer prefers to watch movies at home. By Blue Ray? Yeah, wait!
The Internet is a real killer of “good old cinema.” The emergence of online movie portals allows you to watch everything you want. And the increase in network bandwidth allows you to download movies in FullHD. No need drives, neither laser nor hard. Just plug the cable into a modern TV, and you’re in the cinema, at home.
What is not beauty? There is no such commercial idea that has not already been embodied in our world. Modestly starting as an online video rental store, Netflix is today a monopolist in the North American market for such services. In prime time, one third of all Internet traffic in the USA falls on this video portal. Third! It should be borne in mind that Netflix spends billions on licenses of giants such as Disney and Universal, providing services for a modest monthly fee. However, there is no such good idea that greed cannot kill.
Hollywood monsters are not enthusiastic about the fact that their “masterpieces” fail after failure, catching up only at the box office in Russia and China, and some video distributors out there row millions at their side. Using copyright laws, lobbied by them, the old studios increase their prices from year to year. As a result, Netflix increased licensing fees by seven times in just two years. However, the studios do not stop there. They simply refuse to give permission to show their films without explanation. Although they lie on the surface. Each studio is trying to build its own Netflix to capture this market.
And the market is huge. Today, in many countries, being constantly on the Internet is not a fantasy, but a reality. Tablets allow you to chat on Skype or watch movies wherever there is a connection. No cinemas needed. Just get connected. And Netflix is keeping track of the trend by adapting live streaming for mobile devices. And struggling with the studios with their own weapons – it is slowly becoming a studio. The main hobby of the new studio is series.
No ads and pauses, no time slicing in accordance with the broadcasting grid. “This is the Internet, baby!” Here you can shoot as the viewer wants it. And spread the once a week for half an hour, but all at once. The simplicity of the implementation of the latest latest technologies on the Internet allows us to hope that ultra-sharp 4K movies (4000 pixels horizontally) will appear online much earlier than on TV or on large screens. However, the improvement and cheapening of video glasses will make the white screen a relic of the past. But still, in any cinema, whether it is ordinary, home or mobile, the main thing is cinema.
And it will be sad if, in the presence of previously unimaginable, fantastic technology, we will see the wretched content of new films. Is there a recipe to enhance the prestige of a good movie? Of course. Firstly, when new studios show their films on independent Internet channels, there will be new gifted directors and nuggets actors. Secondly, modern computer technology for 3D modeling allows you to “on the knee” to make special effects worthy of “Star Wars”.
Thirdly, the free broadcast of any films for a monthly fee will clearly show which movie is really interesting to the viewer. By the way, the same torrent networks provide remarkable statistics on this issue. As a result, filmmaking will be governed by an honest online box office. But all this is possible provided that the former pillars of the film industry abandon their bloated income. Is it real?