Hollywood Writers and Actors on strike together for first time in 63 years

Katie Kilkenny and Winston Cho report in The Hollywood Reporter that Actors and Writers Make History With Bid to Reshape Industry in Hollywood’s High-Stakes Strike.

They lead with:

“On July 13, SAG-AFTRA, led by president Fran Drescher, called the union’s first strike against film and television companies in 43 years. Combined with Hollywood writers ongoing strike, the work stoppage — applying to 160,000 members, from actors to singers to dancers — marks the first simultaneous strike by the two unions since 1960, in a sign of an industry in tumult.”

In a redefined industry that now embraces streaming, the issues are pay, residuals, benefits and — AI.

“During the 2023 round of negotiations, the union has been seeking to codify consent and compensation terms for performers when their work is ingested into AI technology, and create guardrails around potential uses. The AMPTP said it offered a ‘groundbreaking AI proposal which protects performers’ digital likenesses, including a requirement for performer’s consent for the creation and use of digital replicas or for digital alterations of a performance.’ Duncan Crabtree-Ireland, SAG-AFTRA’s chief negotiator and national executive director, on July 13 denounced the proposal for only paying background performers for one day of work in exchange for the rights to their digital likeness ‘for the rest of eternity with no compensation.’ He added, ‘If you think that’s a groundbreaking proposal, I suggest you think again.'”

USC history professor Steve Ross, who studies entertainment labour, says this time there’s an “existential threat to writers and potentially to actors. This is no longer just about improving your wages and your benefits. This is about keeping your job in the future.

My take: Workers of the world, unite!

Theatrical windows to close?

Last month’s lockdown may have forever challenged the sacrosanct theatrical film exhibition 90-day window.

The film that led the charge? Trolls: World Tour!

Scott Mendelson writes in Forbes that Universal is reporting that Trolls: World Tour has earned around $100 million in the first three weeks of domestic “premium VOD” or PVOD (which costs $20 for 48 hours.)

After further analysis, he concludes:

“I think that the coronavirus-related closures and unease will hasten an inevitable process whereby movie theaters become the place where only the biggest would-be mega-budget blockbusters (or genre-specific tentpole releases) play on the big screen while almost everything else goes to VOD, DVD and/or streaming.”

Indie Wire quotes the WSJ that Universal Studios CEO Jeff Shell says: “As soon as theaters reopen, we expect to release movies on both formats.”

In protest, the AP reports that AMC (the world’s largest theatre chain) counters:

“Going forward, AMC will not license any Universal movies in any of our 1,000 theatres globally on these terms. Accordingly, we want to be absolutely clear, so that there is no ambiguity of any kind. AMC believes that with this proposed action to go to the home and theatres simultaneously, Universal is breaking the business model and dealings between our two companies.”

Stay tuned.

My take: in the current environment, this is inevitable. How else can the audience see new movies? However, as things relax, will the traditional window prevail? The studios may be quite content to continue releasing on PVOD, especially if a sizable chunk of viewers prefer to stay in the comfort of their homes and avoid sticky theatres. If the DOJ rescinds the Paramount Consent Degrees, I wonder how long it will be before theatre chains either buy studios or go into production for themselves?

Drive-in makes a comeback in Texas

Jim Amos reports in Forbes about a Texas cinema chain and its quest to reinvent itself by reviving a blast from the past: the drive-in.

“[Last] weekend, Lone Star state-based EVO Entertainment debuted its drive-in concept at its multiplex in Schertz, Texas, providing movie fans an out-of-the-home outlet to watch recent Hollywood blockbusters. To say the first weekend was a success was an understatement as every show of ‘Spider-Man Homecoming’ since it opened on Friday has been sold out. In fact, every ticket through Tuesday has been sold and the theater is planning on adding additional showtimes later this week.”

“As to how it works from a technical aspect, the exterior wall of the theater was painted with high-gain white paint for increased visibility and sound is transmitted directly to each vehicle through AM/FM radios. Indoor rest rooms are available with sanitary and social distancing measures in place. Films begin at dusk and end in time to meet the local area’s 10 p.m. curfew restriction.”

UPDATE: they’ve been shut down, after their one and only weekend!

“Due to new shelter-in-place restrictions, we have been ordered by the City of Schertz to halt operation of the EVO Drive-In Experience.”

My take: gosh darn! Just when it looked like someone had come up with a safe way to watch movies out of your house by recreating a COVID-safe drive-in!

China Closes Cinemas, the Sequel

The Hollywood Reporter reports that China Shuts Down All Cinemas, Again.

Only two weeks ago it appeared China was gradually reopening some of its thousands of cinemas while maintaining strict physical distancing, among other health measures:

“‘To lower the risk of infection, cinemas should strictly implement epidemic prevention measures, and audiences are required to have their body temperature tested and present their health codes at entrance and wear masks during the show time,’ Yin Xin, spokeswoman for the Shanghai municipal government, told the state-backed news service Xinhua. Theaters also will be required to leave an empty seat between patrons in every direction.

According to THR:

“The phased reopening of China’s vast network of 70,000 movie screens had promised a rare bright spot on the global distribution map, given that cinemas are shuttered in virtually every other major market around the globe, including North America, Europe, Japan and elsewhere. Beijing’s decision to reclose — or stay closed — was met with dismay by stakeholders throughout the Chinese industry.”

My take: hmm, okay, which is it? Either the authorities predict the pandemic is coming back, or patrons simply continued to stay home out of fear. Or it might be that having an empty cinema seat between everyone just doesn’t seem like much fun — might as well just stay home on the couch.