C-11 passes; future unclear

The CBC reports that Bill C-11, the Online Streaming Act, was passed and received royal assent on Thursday, April 27, 2023Controversial bill to regulate online streaming becomes law.

“The bill makes changes to Canada’s Broadcasting Act. The legislation requires streaming services, such as Netflix and Spotify, to pay to support Canadian media content like music and TV shows. It also requires the platforms to promote Canadian content. Specifically, the bill says ‘online undertakings shall clearly promote and recommend Canadian programming, in both official languages as well as in Indigenous languages.’ The changes give the Canadian Radio-television and Telecommunications Commission (CRTC), Canada’s broadcast regulator, broad powers over digital media companies, including the ability to impose financial penalties for violations of the act. The government says the legislation is necessary to impose the same regulations and requirements in place for traditional broadcasters on online media platforms. Right now, broadcasters are required to spend at least 30 per cent of their revenue on supporting Canadian content.”

The bill doesn’t prescribe how the CRTC should direct undertakings to do this: “But the government is expected to clarify many areas of uncertainty through a policy directive to the CRTC. A Senate amendment that the House of Commons accepted requires the CRTC to hold public consultations on how it will use its new regulatory powers.”

Michael Geist, a law professor at the University of Ottawa, is an outspoken skeptic of the legislation. He speculates that:

“The legislation will head to its next phase including a policy direction consultation that will seek to clean up at least some of the uncertainty in the bill (that Bill C-11 was subject to so much scrutiny yet still leaves so much unanswered is hard to explain), followed by years of CRTC hearings and appeals. Sometime in the future – best guess would be 2025 or 2026 – digital creators will have been forced to make multiple trips to Gatineau to urge a hands-off regulatory approach and the industry will find that the bill generates far less than it expected. Further, those modest benefits will be accompanied by revised Canadian content policies that will leave some doubting whether the trade-off was worth it.”

My take: I worry about the concentration of administrative power in an unelected government-appointed board. And the unintended consequences! For instance, will smaller streamers just forgo Canada if this will increase their operating expenses? Will the definition of Canadian content change so much that the domestic television industry is threatened? Will the government be able to censor Canadian UGC? Cannot predict now.

Vancouver offers alternative to film set generators

CBC British Columbia reports that Vancouver installs electricity ‘kiosks’ to draw film crews away from diesel generators.

“In an effort to lessen the film industry’s dependence on loud, diesel-burning generators, Vancouver has installed several “clean energy kiosks” to provide electricity to crews working on productions near the waterfront. The city said in a statement Thursday that it had installed three of the kiosks in the False Creek area, where it said crews use more than 200 generators for power every year. The new kiosks will instead allow film sets to plug in and draw energy from the city’s power grid. The statement said council’s goal is to eventually have a citywide network of kiosks so crews can access electricity at the popular citywide filming spots by 2030.”

This City of Vancouver initiative dates back to at least 2021. Make that 2019.

Daily Hive‘s Kenneth Chan has way more coverage.

My take: this is a great idea! By the way, those power cables are heavy! Did that job for one day only.

Streamers shift focus from market share to profit

Dominik Dorosz posted a new video on FilmStack claiming YOU Lost the Streaming Wars.

He reviews the chronology of online streaming:

  • Mid-2010’s: Netflix‘s golden age
  • 2019: the launch of the streaming wars with Disney+ and Apple TV+
  • 2022: price hikes and content cancellations on all platforms

He posits that:

“The real loser of this war is us, the consumer. The over-saturation of services, the splitting of catalogues, and the constant price hikes are just a few of the problems we’ve experienced and, with Netflix’s latest password restrictions, we are now starting to see the worst of it all, as all streaming platforms are shifting their focus from market share to profit.”

His evidence is compelling and he concludes with a strategy to combat rising streaming costs:

“The best option (and it’s a problem streaming services are trying to tackle) is rotating subscriptions. Most people don’t need to have access to every service for all 12 months of the year. What you can do instead is wait until you have a decent backlog of things to watch on one platform and then subscribe to it to catch up. While catching up on this backlog, your backlogs on other services will grow and you can rotate to another afterwards.”

My take: Brilliant analysis! I love the Rotating Subscriptions strategy to lower your subscription costs.

Can a leaner Netflix still rule the world?

Mia Galuppo reports in The Hollywood Reporter that the Exit of Netflix’s Lisa Nishimura Marks the End of an Era for the Streamer.

She writes:

“Nishimura’s 15 years at the company have spanned the streaming boom, Oscar wins and multiple restructuring efforts. Noted one industry veteran that has long worked with Nishimura, ‘It’s a signal that the most thoughtful, taste-driven era is being driven out.’

Meanwhile, Scott Mendelson at The Wrap reports that Rival Executives Weigh In on Netflix’s Movie Strategy: ‘They’re Suffering in the World They Created’.

He begins: “Netflix shocked the industry last week with the news that two respected film executives, Lisa Nishimura and Ian Bricke, were leaving the company in an apparent nod toward austerity.”

For reference, this sort of thing has happened many times at Netflix. For instance, Kim Masters of THR dished on the streamer’s corporate culture one year ago: Netflix’s Big Wake-Up Call: The Power Clash Behind the Crash.

My take: In Lisa’s case, it’s always sad to see a member of underrepresented groups fired from a position of power. I wonder where each of these two well-connected executives will land, and how the mediascape will shift.

Exploring No-Budget Indie Feature Film Making

In a long article on Esquire, Max Cea says Welcome to the No-Budget Era.

In an era of superheroes and much hand-wringing, he posits that:

“Film’s unlikely hope? A quirky, brilliant wave of directors who are churning out microbudget features that are pushing what’s possible with minuscule funding.”

What about streamers saving the day? He quotes Riel Roch-Decter, co-founder of an indie production company:

“From a producing perspective, if you’re trying to pitch a project to the four or five streaming platforms who actually are able to pay for things, they want what the algorithm is telling them they want. That means more true crime, more Emily in Paris, and not anything that challenges.”

Max digs deep into the DIY filmmaking ethos: can’t get invited to the cool party? Host your own!

He profiles Kentucker Audley, his excellent indie film review site NoBudge and their bi-monthly live screening series in Brooklyn, New York.

And then he explores the unintended potential consequences of making unique, funny, thoughtful indie films:

“At the moment, the ability to make a $50,000 feature that rivals the quality of something made for $5 million is an exciting democratization, but it’s easy to imagine how that advancement might be exploited. ‘The second you tell people who finance movies that they’re paying five million dollars for something they could be paying fifty grand for, we’re just going to continue to erode at the idea that anyone could ever make a living doing this,’ says Free Time director Ryan Martin Brown.”

Max concludes with a hope:

“The sense I get, though, is that the solution — if there is one — will involve theaters. There’s been a lot of hand-wringing over the past decade that streaming has killed the theatrical business for everything other than Marvel movies. Programmers, distributors, and independent studios though, say that that’s not totally true. Evenings like the one I witnessed with The Civil Dead or at NoBudge screenings were doing well, too. In other words: Events. “People really enjoy when there’s a live component,” says Future of Film Is Female Executive Director and longtime programmer Caryn Coleman. ‘I like showing short films before features because you get their whole audience to come in.'”

My take: same as it ever was, to reference the Talking Heads. People need to discover they like the taste of indie film to stoke their appetite and then crave a diet of non-Hollywood film. However, the bottom line is the bottom line. Show business is a business and budgets need to be minimal if a film can only gain exposure. I believe the rule of thumb in old Hollywood was that only one in ten films made money and needed to cover the losses of the other nine. Looking at you, A24 and other indie distributors!

Help define CanCon by March 31, 2023

Telefilm Canada invites the industry to participate in the Canada Media Fund’s newly launched national #CanConDef survey focused on the Canadian audiovisual sector’s views on how the current definition of “Canadian content” could evolve and contribute to the conversation following the passage of Bill C-11, the Online Streaming Act.

The 10-15-minute survey is open to all individuals who work in or aspire to work in Canada’s audiovisual production and broadcasting sectors. It’s designed to be widely accessible, regardless of role, level of experience, or knowledge regarding Canadian content policy.

The survey will close on March 31, 2023. Click HERE to fill out the survey.

My take: please fill out this survey as it has the potential to shake up the film and TV scene in Canada for decades to come. Just ask all the Canadian Music Icons who owe their careers to MAPL, also known as CanCon, established in 1971, over 50 years ago. It’s a long survey so have a drink nearby.

How the most-awarded film in history did it

Hilton Dresden tallies in The Hollywood Reporter 2023’s Oscar Wins By Film: ‘EEAAO’ Leads With 7 Statues.

They write:

“As expected, Daniels Kwan and Scheinert’s Everything Everywhere All At Once has come out on top at 2023’s Oscars ceremony, with the most wins of anything nominated. The A24 multiverse dramedy, only the second feature film from the directing duo, took home seven awards: best picture, director, lead actress for Michelle Yeoh, original screenplay, editing, supporting actor for Ke Huy Quan and supporting actress for Jamie Lee Curtis.”

Alex Stedman analyzes on IGN How Everything Everywhere All At Once Went From Intriguing Indie to Awards Juggernaut.

She plots out this timeline:

  • Dec. 14, 2021: Trailer Debuts and Picks Up Steam
  • March 11, 2022: Everything Everywhere All At Once Opens SXSW to Rave Reviews
  • March 25, 2022: Everything Everywhere Opens in Limited Theaters
  • April 16, 2022: A24 Doubles the Theater Count, Continues to Expand, and Cashes in
  • Jan. 24, 2023: Everything Everywhere Scores 11 Oscar Nominations and Begins Awards Sweeps

To date, the film has made almost $108M worldwide on a budget of $25M.

Guy Lodge explains in The Guardian how ‘A24 finds the zeitgeist and sets the trend’: how a small indie producer came to dominate the Oscars.

He writes:

“With 11 nominations, Everything Everywhere All at Once leads the Oscar field; A24, likewise, is the leader among studios, having also secured nominations in various categories for its films Aftersun, The Whale, Causeway, Close and Marcel the Shell With Shoes On. And this kingmaker status has been achieved with surprisingly few concessions to the mainstream.”

He traces the company’s 10-year history and quotes filmmaker Lulu Wang as saying:

‘A24’s brand is intertwined with the identities of the artists that it works with, and [is] known for championing unique voices. At the same time, they just have a really incredible ability to identify the zeitgeist before everybody else has. They set the trend…. The world has changed. Our industry has changed. And who is saving cinema? We have to draw people to theatres. And we don’t want the tentpoles to be the only things on offer. If A24 are able to continue getting independent films made, and protecting the voices that make those independent films, I don’t care if it has to come with a mug.’

My take: Great work, A24! This is evidence the tide has turned and more interesting films are in vogue once again. I guess we’ll know for sure in 12 months.

Physical media continues to make a comeback

Natalie Stechyson reports on CBC News about When everything is digital, why we long for media we can hold in our hands.

Her claim:

“After years of digitizing everything, people are rediscovering the value of physical assets. DVDs, vinyl records and film cameras are all experiencing a renaissance. Even cassette tapes are making a comeback.”

She interviews owner Tom Ivison of Classic Video in Kingston, Ontario, who rents more than 50,000 DVDs and Blu-rays.

She outlines growing interest in vinyl records, CDs and cassette tapes.

She quotes Richard Lachman, associate professor in the RTA School of Media at Toronto Metropolitan University:

“‘More people are spending a lot more time consuming media at home. And they’re building rooms, or are collecting in some way. And DVDs are physical objects. They look nice in a room. The physicality of it is part of the joy you’re getting from the fandom.'”

My take: True, not everything is available to stream. But frankly I can’t remember the last time I watched something on physical media. Oh, it was an obscure British crime drama on DVD from the library last year! I think physical media is very much a secondary market and can’t be a viable means of distribution again; it’s merch. The value for collectors should not be underestimated, though.

More on ad-supported movie distribution

Brian Welk, reports on IndieWire, about Inside the Strange and Prickly World of Ad-Supported Indie Film Distribution.

He writes:

AVOD (advertising-based video on demand) streamers often license unknown or obscure movies in bulk from distributors like FilmRise, Gravitas Ventures, Shout! Factory, Cinedigm, and… Homestead Entertainment, a tiny distributor in Laguna Beach, California that specializes in working with filmmakers to access non-exclusive AVOD deals on dozens of services.”

He adds:

“Also in the game are self-service film aggregators. FilmHub cofounder Alan s’Escragnolle said his company has distributed more than 17,000 movies since January 2020, supplying as much as 15 percent of Tubi’s 50,000-film library. He said FilmHub works with upward of 100 services and claimed distributors have started leaning on them to reach more niche or international streamers.”

Note that at pennies per view, millions of streams are required to make serious money.

My take: this is empowering. It kinda hearkens back to the Roger Corman days when cheaply-made “B” movies connected with their audiences and launched the careers of many directors and actors. The key is to start with the audience, reverse-engineer a riveting story for them and then make the film reasonably. And to stomach ads… gulp!

FilmRise knows what you want to watch

Scott Roxborough reports in The Hollywood Reporter how FilmRise Built an Indie, Free Streaming Network From Unearthing Under-the-Radar Titles.

FilmRise is a New York City film and television studio and streaming network launched by Danny Fisher, Jack Fisher, and Alan Klingenstein ten years ago.

As quoted in the article, Fisher specializes in discovering existing content viewers still yearn to watch:

“‘If I could identify and measure the viewer demand to see content, irrespective of what the industry thinks the demand is, I could find that disconnect between demand and market evaluation…. It really comes down to our algorithms. We’ve found a way to measure audience demand and see where demand for a piece of content is much higher than what that content is being valued for in the market.'”

FilmRise, and companies like it, are fuelling SVOD (Subscription Video on Demand,) AVOD (Advertising Video on Demand,) ASVOD (Ad-Supported Video on Demand) and FAST (Free Ad-Supported Streaming Television) digital media outlets.

This company is on the ball! Not only are they internationalizing their content for the rest of the world, they’re also repackaging shorter web content into more standard half-hour TV length shows.

My take: Wow! Anyone who’s picked up The Kids in the Hall is all right by me!