Attend platform will allow filmmakers to connect directly to cinemas

Jeremy Kay reports on Screen Daily that Former top exhibition sector lobbyists unveil digital marketplace to boost theatrical supply.

“The Attend platform will champion mid-range films that have largely disappeared from cinemas, as well as international films seeking release in North America, and films that typically receive limited theatrical release and could reach broader audiences through data-driven theatre selection, scheduling and marketing.”

Some features:

  • Filmmakers will be able to upload details and materials of their films directly
  • Exhibitors will be able to search the database
  • The platform will recommend films to exhibitors based on the preferences of their theatres and audiences
  • The platform will facilitate the logistics of projecting films in cinemas.

The Attend platform is being developed by The Fithian Group of John Fithian, Jackie Brenneman and Patrick Corcoran.

Dozens of filmmakers support the concept, including Ted Hope and Steven Soderbergh.

Read an in-depth interview with The Fithian Group for more.

My take: this solves the “supply to theatres” issue, by cutting out distributors. I’d love to see some Canadian cinemas join — not that I have anything against Canadian distributors — it’s just that Canadian filmmakers have historically been shut out of Canadian cinemas by American distributors. How ironic that this American initiative might solve that for us.

Kling is redefining CGI, with Grading up next

Tim Simmons from Theoretically Media just released a new look at Kling AI’s new 1.5 model:

In it he relates what’s new:

1080p Professional Mode: Kling 1.5 now generates videos at 1080p resolution when using Professional Mode. While it costs more credits, the output quality is significantly better and sets a new standard for AI video generation.

Motion Brush: Kling has introduced Motion Brush, a long-awaited tool in the AI video generation space. Currently, it’s only supported in the 1.0 model but will be available in 1.5 soon. Stay tuned!

End Frames: End frames have been introduced in the 1.0 model and are coming soon to the 1.5 model, allowing for smoother transitions and more control over your videos.

Using Negative Prompts: Improve your outputs by adding negative prompts to filter out undesired elements. Copy and paste the following negative prompts into your settings:

ARTIFACTS, SLOW, UGLY, BLURRY, DEFORMED, MULTIPLE LIMBS, CARTOON, ANIME, PIXELATED, STATIC, FOG, FLAT, UNCLEAR, DISTORTED, ERROR, STILL, LOW RESOLUTION, OVERSATURATED, GRAIN, BLUR, MORPHING, WARPING”

Of particular note is the emotion it’s able to generate.

Plus, Tim signals that Kling is about to add a full-featured Video Editor. Stay tuned indeed!

My take: of course, some will lament these advances. Yes, tasks that workers once spent their lives performing are now accomplished immediately. Looking at you, Medieval scribe, hot metal typesetter, telephone exchange operator. More job transformation is sure to come. We are well into the Digital Age and its promise is bearing increasingly wondrous fruit.

New Generated Video pipeline?

A couple of very recent videos point to a potential new Generated Video, or GV, pipeline.

The first is “Create Cinematic Ai Videos with Kling Ai! – Ultra Realistic Results” by Seattle’s Yutao Han, aka Tao Prompts.

The second is “How-To Create Uncensored Images Of Anyone (Free)” by Lisbon’s Igor Pogany, aka The AI Advantage.

Imagine combining both into a new GV pipeline:

  1. Train custom character models
  2. Create key frames utilizing these custom models
  3. Animate clips with these key frames
  4. Upscale these clips
  5. Edit together.

My take: a lot of people will immediately claim this is heresy, and threatens the very foundations of cinema as we’ve come to know it over the last one hundred years. And they would be right. And yet, time marches on. I believe some variation of this is the future of ultra-low budget production. Very soon the quality will surpass the shoddy CGI that many multi-million dollar Hollywood productions have been foisting on us lately.

Reality check: LTX Studio mid-2024

You’ve seen the Sora samples. The Dream Machine videos. How does LTX Studio, touted as “the future of storytelling, transforming imagination into reality,” stand up?

Haydn Rushworth posted this review:

“There are whole bunch of things it does not do, but I love where it’s going and where I hope it’s going to go…. It’s brilliant for keeping track of all of the shots that you really do need to keep track of. It’s brilliant for scene wide settings and project wide settings, something I’ve been craving, and it’s really, really good at that. It’s great for casting. It’s brilliant for allowing you to then kind of just drop those characters in. I love the generative tools that will allow you to erase bits that you don’t need in your starting shot and to add other bits that you need that will help you tidy up the shot…. My two big gripes and I don’t think these are bugs that they’re going to fix, this is just fundamental features that it needs to be in there. One of them is every shot is slow motion…. Secondly, breaking the fourth wall. It drives me out of my mind!”

Note that LTX Studio can do lots of things:

  • Pitch Decks
  • Storyboards
  • Animatics
  • Videos

Check out the video at the bottom of the corporate webpage.

Here’s a peek at actually using LTX Studio by Riley Brown:

My take: In addition to Haydn’s slo mo and fourth wall gripes, I would add these requirements as well: movement and expression control including blinking and lip-sync. Mid-2024, one has to use each of the many AI tools for what it does best and then bring all the bits together in post. As an early proponent of Machinima (using video games to make movies,) I’m watching this space with interest. My conclusion: advances are being made but we’re nowhere near lucid dreaming.

How do you finance a low-budget movie in Canada?

Case studies detailing how low-budget movies are financed in Canada are almost non-existent. But I found one!

Courtesy of LA’s The Film Collaborative, Rob Vroom details how he financed 2022’s $2.5M “You Can Live Forever,” a quirky tale of forbidden love. The seminal takeaway:

We secure a pre-license TV deal that then triggers a top-up fund and the provincial and federal tax credits.

The summary states:

“To fund Canadian narrative feature You Can Live Forever, Rob Vroom was able to utilize some of the same backers and funders he had used with previous films. They secured a pre-license TV deal that triggered Canadian federal top-up funding and Canadian tax credits. Canadian funding most of the time requires distribution to be in place beforehand, and although the film was Sarah Watts’ and Mark Slutsky’s first feature, Canadian distributor Mongrel Media stepped up and came on early.”

Robert explains:

“I proposed a CAD $2.5 million Canadian budget. I was able to raise that money through Telefilm Canada—through SODEC—which is our Quebec provincial equivalent to Telefilm, via a pre-license deal with CBC and a top-up fund through the CMF (Canadian Media Fund). If you can secure a pre-license fee of at least 5% of your budget, then CMF will top up another 15% of your budget, which for us was huge. And then of course tax credits.”

This table is very revealling:

equity / grant / TV licence / tax credit amount
SODEC CAD $750,000
Telefilm CAD $550,000
CBC Films CAD $125,000
CMF CAD $373,500
Provincial Tax Credits CAD $402,000
Federal Tax Credits CAD $80,000
COVID Support Fund CAD $195,000
Producer Investment CAD $15,000

To summarize how to finance a low-budget feature film in Canada:

  1. Get Telefilm Canada funding.
  2. Get a Canadian Distributor (see below.)
  3. Get a TV license to trigger CMF funds.
  4. Make the movie and apply for Canadian federal and provincial tax credits.

My take: Some might wait until their festival release and the hoped-for bidding war, but I think it’s a great idea to get a Canadian distributor on board as soon as possible. They can help you secure:

  • A direct pitch to a foreign streamer doing business in Canada that as of September 2024 must contribute 5% of Canadian revenue to CanCon (and they can choose to direct invest 2% of that 5%.) See http://www.informediation.com/blog/2024/06/19/is-the-digital-ecosystem-starting-to-look-a-lot-like-tv/ The Big Three are Netflix, Prime Video and Disney+. (CAVCO insists you approach these through a Canadian distributor to qualify for Tax Credits!)
  • A Canadian TV deal. They’ll get you in the room to pitch to CBC (includes GEM,) Bell Media (includes CraveTV,) and Rogers. This will then trigger Canada Media Fund funds.
  • An Educational TV deal: Knowledge Network in BC and TVO in Ontario.
  • Airlines for in-flight entertainment.
  • US and International distribution deals.
  • A one-week screening in Toronto to qualify for the Toronto Film Critics Association’s $50K Rogers Best Canadian Film Award, perhaps the biggest film cash prize in Canada. See https://torontofilmcritics.com/awards/signature-award-2-2/ (Hey Rogers, why did you reduce this prize by half, from $100,000? Are you goading someone else to offer more? Netflix and Prime, I’m looking at you!)

Telefilm funds Lim’s “The Bryce Lee Story” for $500K

Local Victoria, BC, filmmaker Arnold Lim has just secured $500,000 from Telefilm Canada towards the funding of his second feature film “The Bryce Lee Story“.

Arnold is in Paris currently, preparing as Photography Manager for the Paris Olympics — his fifth! He graciously replied to my questions by email.

Q: Congratulations, Arnold! What’s the log line for “The Bryce Lee Story”?
A: The Bryce Lee Story is the story of a young Asian boy named Bryce Lee, who lies about being related to Bruce Lee in order to fit in at school.

Q: What’s your budget and how much has Telefilm committed?
A: We are aiming for a $1.5-million budget, which will be my first low budget film as a Director after working predominantly in micro-budget filmmaking and Telefilm has committed $500,000 to our project.

Q: Where in the world and when are you filming?
A: I love Vancouver Island and feel my home island is vastly underrepresented on film despite literarily being one of the best places on earth. We plan to shoot most of the film in Greater Victoria and Chemainus. My goal is to shoot here for every film if possible.

Q: What’s the biggest issue you face right now?
A: The biggest challenge is funding! Always funding, but equal to that my biggest issue is probably going to be casting. Finding Asian actors in Canada, especially young Asian actors is very challenging for a lot of reasons: from there not being many opportunities for them to begin with, so there aren’t a ton of opportunities to gain on-set experience and grow as an actor; to the performing arts not necessarily being a focus for some Asian parents as an activity for their children. There are of course exceptions but largely casting is always one of my biggest fears going into any film I make that has an Asian lead.

Q: Are there any locations or props in the script that you know are going to be difficult to find?
A: I am going to be looking for working versions of some 90’s cameras so props and production design are going to be a major challenge because our film is set in the late 90’s ish — but I am also excited by the proposition, and grinding those challenges out with a group of dedicated and like-minded artists is something I am excited about.

Q: Are there any cameo roles and do you have folks in mind?
A: I do have at least one in mind. But I can’t say who it is quite yet. 😉 Sorry!

Q: How does going to the Olympics as Photography Manager impact your time?
A: I am very privileged to have the opportunity to be a part of the Olympic experience, but it is always a time of hyper focus for me because it is such a challenging job. In my opinion the amount of time and energy and love and artistry and passion and gruelling grind necessary is akin to making a feature film and I love the challenge of it, but it is a marathon and takes a lot of time and energy and pulls me away from my family. I really miss my wife and children when I am away.

Q: Is there anything else you’d like to add?
A: I can’t thank Telefilm enough for the opportunity to make a second feature film, but I am also extremely proud of and grateful to the amazing artists on Vancouver Island and in B.C. who work in and support independent film. I have this opportunity because of amazing people like the producer Lynne Lee and many, many other cast and crew, especially on Vancouver Island, who have chosen to work with me and share their passion and artistry even when the prospects of making money are low and the challenges are high. I can’t thank them all enough.

My take: What can’t Arnold do? Next week I’ll look a ways to raise $1M — if you have ideas, let’s hear them!

Sex in Cinema in 2024

Stephen Follows claims in Why is sex in movies declining? that “Comparing each year to the baseline of 2000, we can see a steady decline in the amount of sex in feature films. By 2023, it had fallen by almost 40% from the start of the century.”

He says the reasons for this could be:

  1. There are fewer sexual scenes overall.
  2. There are more movies without any scenes of a sexual nature, particularly in action and thriller genres.
  3. Producers and filmmakers might be more sensitive to how sexual content could be perceived or potentially lead to controversy.
  4. Explicit sex scenes could result in more restrictive age ratings or censorship, thereby reducing a film’s international box office potential.
  5. There might be less demand for sexual content in wide-release films on family-friendly streaming platforms.
  6. There could be a rejection of outdated stereotypes as seen through a predominantly male gaze.
  7. The availability of more adult content elsewhere.

However, Jillian Angelini claims on Pop SugarSex Scenes Are So Back — and Better.

She says, “Now, explicit films such as “Poor Things,” “Love Lies Bleeding,” and “The Idea of You” are sending a clear message: Hollywood is hornier than ever.

She concludes:

Sex scenes are back, but not like they were before. Instead, they’re transforming to reflect desires for more respectful and authentic intimacy. This era suggests a promising shift towards more inclusive cinema where on-screen intimacy can feel empowering and enlightening for all.”

My take: People who know me know I love romance in movies. Conversely, I abhor violence. Make love, not war!

The “Netflix Tax” is very near

The CRTC has announced that streamers doing business in Canada will help pay for CanCon by contributing 5% of their revenues starting September 2024.

“The CRTC is requiring online streaming services making more than $25 million to contribute 5% of their Canadian revenues to support the Canadian broadcasting system.”

The 5% contributions from online streaming services will go to:

  • 2% to the Canada Media Fund and/or direct expenditures towards certified Canadian content;
  • 1.5% to the Independent Local News Fund;
  • 0.5% to the Black Screen Office Fund, the Canadian Independent Screen Fund for BPOC creators, and/or the Broadcasting Accessibility Fund;
  • 0.5% to the Certified Independent Production Funds supporting OLMC producers and producers from diverse communities; and
  • 0.5% to the Indigenous Screen Office Fund.

The 5% contributions from audio streaming services will go to:

  • 2% to FACTOR and Musicaction;
  • 1.5% to a new temporary fund supporting local news production by commercial radio stations outside of the designated markets;
  • 0.5% to the Canadian Starmaker Fund and Fonds RadioStar;
  • 0.5% to the Community Radio Fund of Canada;
  • 0.35% to direct expenditures targeting the development of Canadian and Indigenous content and/or a variety of selected funds; and
  • 0.15% to the Indigenous Music Office and a new fund to support Indigenous music.

The CRTC feels this decision balances the playing field in Canada:

“For decades, traditional Canadian television and radio services have financially supported the creation of content made by and for Canadians, and have showcased that content on their services. Meanwhile, online streaming services, which have been operating in Canada for well over a decade, have not been required to contribute in similar ways. In the Commission’s view, online undertakings that benefit from their place in the Canadian broadcasting system by generating significant revenues and drawing significant Canadian audiences should contribute to the system.”

There is a silver lining. Streamers can count their Canadian projects as 2% of their 5%. “Online streaming services will have some flexibility to direct parts of their contributions to support Canadian television content directly.”

My take: This 5% is not actually a tax that will be added to consumers’ bills. However, I’m almost positive streamers will raise their prices by at least 5%, so perhaps it’s a corporate levy, and not a consumer tax. Just get ready to pay more.

Our Bleak Future?

Policy Horizons Canada has just released a report that identifies 35 potential global events, ranking them in terms of impact and likelihood, called Disruptions on the Horizon 2024.

Number one? “People cannot tell what is true and what is not.”

Number two? “Billionaires run the world.”

The timeframe? Three to five years. Yikes!

Policy Horizons is “the Government of Canada’s centre of excellence in foresight.” They “identify and explore potential disruptions to enable the creation of robust and resilient policies.”

About People cannot tell what is true and what is not they speculate:

“The information ecosystem is flooded with human- and Artificial Intelligence (AI)-generated content. Mis- and disinformation make it almost impossible to know what is fake or real. It is much harder to know what or who to trust. More powerful generative AI tools, declining trust in traditional knowledge sources, and algorithms designed for emotional engagement rather than factual reporting could increase distrust and social fragmentation. More people may live in separate realities shaped by their personalized media and information ecosystems. These realities could become hotbeds of disinformation, be characterized by incompatible and competing narratives, and form the basis of fault lines in society. Research and the creation of scientific evidence could become increasingly difficult. Public decision making could be compromised as institutions struggle to effectively communicate key messaging on education, public health, research, and government information.”

About Billionaires run the world they surmise:

Extremely wealthy people use their platforms, firms, foundations, and investments to shape public policy—imposing their individual values and beliefs and bypassing democratic governance principles. As the extremely wealthy increasingly influence public opinion and public policy to secure their own interests, the future of democracy and global governance could be at risk. More billionaires could leverage their control over strategic technologies and enormous wealth concentration to enter arenas formerly reserved for states, such as space exploration and diplomacy. As their power grows, billionaires could gain warfare capabilities and control over natural resources and strategic assets. Some might co-opt national foreign policy or take unilateral diplomatic or military action, destabilizing international relations. This may introduce new uncertainties for governance structures, as private individuals do not have the same decision-making constraints as diplomats, politicians, and military professionals.”

In six to eight years, they wonder if Artificial Intelligence runs wild:

AI develops rapidly and its usage becomes pervasive. Society cannot keep up, and people do not widely understand where and how it is being used. Market and geopolitical competition could drive rapid AI development while potentially incentivizing risky corner-cutting behavior and lack of transparency. This rapid development and spread of AI could outpace regulatory efforts to prevent its misuse, leading to many unforeseen challenges. The data used to train generative AI models may infringe on privacy and intellectual property rights, with information collected, stored, and used without adequate regulatory frameworks. Existing inequalities may amplify as AI perpetuates biases in its training data. Social cohesion may erode as a flood of undetectable AI-generated content manipulates and divides populations, fueling values-based clashes. Access to essential services may also become uncertain as AI exploits vulnerabilities in critical infrastructure, putting many basic needs at risk. As an energy- and water-intensive technology, AI could also put pressure on supplies of vital resources, while accelerating climate change.”

The report organizes the 35 potential disruptions into these five categories:

Society

  1. Ageing population has no support: Living circumstances for many elderly people become unbearable as the population ages, and labour and market conditions worsen.
  2. Artificial intelligence runs wild: AI develops rapidly and its usage becomes pervasive. Society cannot keep up, and people do not widely understand where and how it is being used.
  3. Basic needs go unmet: Mounting environmental crises, weak economic growth, and unstable global and local value chains make it difficult for people in Canada to meet their basic human needs, such as housing, water, food, energy, healthcare, and financial security.
  4. Downward social mobility is the norm: People cannot enter the housing market and face increasingly insecure work arrangements. Many Canadians find themselves in lower socio-economic conditions than their parents.
  5. Food is scarce: A large segment of the Canadian population faces food insecurity as population growth, unpredictable crop yields, disrupted trade, and agricultural monopolies lead to volatile availability and increased food pricing.
  6. Men are in crisis: Boys and men face unprecedented levels of educational dropout, unemployment, and loneliness as traditional gender roles are challenged.
  7. People cannot tell what is true and what is not: The information ecosystem is flooded with human- and AI-generated content. Mis/disinformation make it almost impossible to know what is fake or real. It is much harder to know what or who to trust.
  8. Values-based clashes divide society: Canada is divided by unsurmountable conflicts over values, identity, and culture. Clashes, at times violent, erupt regularly on issues such as immigration, climate change, Indigenous rights, and 2SLGBTQIA+ rights.

Economy

  1. Biodata is widely monetized: Business models rely on collecting individuals’ biological data, including fingerprints, iris scans, facial images, health information, and DNA. The data is traded or sold, and used for profiling, marketing, and targeted data collection.
  2. Energy is inaccessible and unreliable: The transition from fossil fuels to renewables is more geopolitically complex than anticipated, leading to uneven adoption around the globe. Many people in Canada face energy uncertainty in terms of availability, reliability, and cost.
  3. Homemade bioweapons go viral: A trend emerges whereby individuals can easily create cheap but powerful bioweapons with readily available technology and minimal infrastructure.
  4. Household debt reaches a tipping point: Unsustainable levels of spending and debt combined with high interest rates drastically limit people’s ability to spend, lease, or borrow. People file for bankruptcy, sell their assets, and exit the home ownership market.
  5. Immigrants do not choose Canada: Canada loses the global competition for highly skilled and upwardly mobile immigrants. Amid affordability problems, housing shortages, and a lack of healthcare, Canada ceases to be a sought-after destination.
  6. Infrastructure and property are uninsurable: The impacts and frequency of climate-related disasters cause underwriters to increase rates and impose strict conditions in certain areas, preventing people from insuring their properties and getting mortgages. Entire areas are no longer serviced by the insurance industry.
  7. Large economies face public debt crises: Large economies default on their loans and pull back on their international commitments and spending in healthcare, education, and other public services.
  8. People cannot afford to live on their own: Canadians commonly live with extended family, other families, or many other people, as the housing crisis persists and multigenerational living is more widely accepted.
  9. Space is commercialized and underregulated: The rapid expansion of space activity increases the number of state and private actors, while geopolitical competition blocks the development of a comprehensive legislative framework for regulating economic, scientific, and military activity in space.
  10. The North experiences an economic boom: Climate change opens the Arctic trade routes and economic activity expands in Canada’s Northern territories.
  11. Vital natural resources are scarce: The demand for vital natural resources such as water, sand, and critical minerals outpaces supply. Access to resources is either limited by a dwindling finite supply or controlled by a few suppliers.

Environment

  1. Biodiversity is lost and ecosystems collapse: There is an irreversible loss of biodiversity and a collapse of ecosystems due to habitat destruction, overexploitation, pollution, and climate change.
  2. Emergency response is overwhelmed: Extreme weather events such as fires, floods, tornados, and hurricanes are frequent and severe. The world is in a perpetual state of emergency, and unable to respond adequately and sustainably.
  3. Geoengineering takes off: Technologies designed to reduce the Earth’s temperature and the effects of climate change, such as carbon removal and solar geoengineering (reflecting sunlight away from the Earth) are widely deployed.
  4. Healthy environments are a human right: People assert their right to live in a healthy environment and hold institutions accountable.
  5. Many Canadian regions become uninhabitable: Many Canadians relocate due to worsening climate change impacts, as extreme weather conditions such as wildfires, flooding, low air quality, and intolerable heat become the norm.

Health

  1. Antibiotics no longer work: Antimicrobial resistance (AMR) has reached critical levels. AMR is the leading cause of death globally, and food systems are disrupted as it is more expensive for producers to ensure animal or plant health.
  2. Healthcare systems collapse: The healthcare system breaks down and cannot respond to the daily needs of Canadians, much less to crises.
  3. Mental health is in crisis: Mental health deteriorates to crisis levels as Canadians grapple with multiple crises like those related to climate change and the cost of living. Meanwhile, people feel increasingly isolated from one another as societal divisions exacerbate loneliness.

Politics/Geopolitics

  1. Billionaires run the world: Extremely wealthy people shape public policy through their platforms, firms, foundations, and investments—imposing their individual values and beliefs, and bypassing democratic governance principles.
  2. Canadian national unity unravels: The sense of shared identity and common purpose that has underpinned Canadian unity is eroding dramatically. Separatist movements operate in some provinces and territories. People feel disconnected from Canada, its culture, values, climate goals, and economic priorities.
  3. Civil war erupts in the United States: U.S. ideological divisions, democratic erosion, and domestic unrest escalate, plunging the country into civil war.
  4. Cyberattacks disable critical infrastructure: Interruptions to essential services such as the Internet, electricity, transportation, water, and food supply systems are common due to regular cyberattacks, disrupting everyday life.
  5. Democratic systems break down: Authoritarian regimes vastly outnumber democracies and the struggle between the two ideologies is messy in many countries. Some authoritarian countries experience regular pro-democracy protests, while in many democratic countries, duly elected officials pass legislation that dismantles key democratic institutions.
  6. Indigenous peoples govern unceded territory: Indigenous peoples are formally involved in the governance of unceded territories across Canada, including in densely populated areas.
  7. International alliances are in constant flux: Geopolitical lines are redrawn often and quickly around technology, values, and economic interests. Alliances form and break on an ad-hoc basis, based on preferences and beliefs rather than fixed factors such as historical trade relations or geographical proximity.
  8. World war breaks out: Tensions between the world’s powers escalate as new rivalries, alliances, and blocs emerge. Diminishing trust, the assertion of values, acts of interference, the battle for technological superiority, and the fight over natural resources and supply chains propel great powers into a world war, forcing other countries to pick sides.

They conclude with this truly scary thought: What if these disruptions occur at the same time, creating a perfect storm and a unique set of combined circumstances for Canada to face?

Read the full report here.

My take: this is a fascinating, albeit potentially bleak, peek into the future that can be used by both documentarists and fiction screenwriters to outline their next films.

Gaming twice as lucrative as movies

Matt Grobar reports on Deadline that LaKeith Stanfield is Circling ‘El Paso, Elsewhere’ Video Game Adaptation.

He writes:

“Academy Award nominee LaKeith Stanfield (The Book of Clarence) is in talks to star in and produce a feature adaptation of the hit neo-noir video game El Paso, Elsewhere, Deadline has learned. The film will center on James Savage (Stanfield), who while recovering from a toxic relationship, confronts both his inner demons and enigmatic ex-girlfriend, Janet, before she executes a world-ending ritual. James navigates her reality-bending universe of ethereal monsters while facing the truth of his own addictions and skewed sense of self-worth, learning that the only route to love is through healing.”

The Numbers ranks All Time Worldwide Box Office for Based on Game Movies and crowns 2023’s The Super Mario Bros. Movie the king with over $1.3 Billion.

Video game movie adaptation crosses over two entertainment segments: gaming and movies. Guess what. Gaming is twice as lucrative.

According to PwC, “Total gaming revenue is expected to rise from US$227 billion in 2023 to US$312 billion in 2027, representing a 7.9% CAGR (compound annual growth rate.)” Meanwhile, “Global Movies and Entertainment Market size is poised to grow from USD 104.49 billion in 2023 to USD 182.23 Billion by 2031, at a CAGR of 7.2%,” according to SkyQuest.

My take: Apparently it was over 40 years ago when gaming first bested films and music: “In 1982, the arcade video game industry reached its peak, generating $8 billion in quarters, surpassing the annual gross revenue of both pop music ($4 billion) and Hollywood films ($3 billion) combined.” Now, gaming is by far the winner. btw, Minecraft (the movie) is coming in April 2025.