Marvel’s The Avengers raking in a $200M+ opening weekend leaves little room to tell Hollywood that they are doing it wrong. The 40-year old blockbuster model continues to pay for the movie business. In the early days, the cinema experience was not far removed from attending a Broadway show: dressing up and cozying into ornate movie palaces staffed by ushers and orchestras. To expand the experience, multiplexes cropped up everywhere. To augment the experience further, Hollywood learned to tentpole a film, merchandise it and open theme park rides. The cinema experience is larger than life.
While all of that may work for three or four titles, hundreds of motion pictures barely scrape by each year. The internet and a proliferation of choice in the new millennium continues to threaten the sustainability of the movie business. The entertainment industry as a whole keeps falling behind the times. They still depend on Nielsen‘s myopic ratings and surveys to make strategic market decisions. They collect little to no data on their viewers to leverage repeat conversions. They build no intimate relationships with their customers and create few opportunities outside the theater to communitize their content. They embrace an antiquated scarcity model by rolling content out onto different platforms across rigid windows weeks and months apart, thereby eliciting content access demand and piracy. Merchandise still sits on retail shelves or on random websites online, far from the experience of seeing the movie itself. Without update, these practices may be fatal. While box office may be up (due largely to increased ticket prices and 3D or IMAX premiums), attendance is down – even more painful when considering population growth.
All of these issues could be solved by incorporating a thicker web layer into and consolidating the filmgoing experience under one roof – literally and figuratively. By converging merchandise, community and content into a digital or real world platform, Hollywood could make all facets of their business more accessible and leverage entire catalogs toward a more scalable, niche-friendly or cost-effective practice. Loved the movie you just saw? The theaters should make it as easy as possible to leave the theater and impulse buy a plush or action figure of your favorite character. Imagine if you could buy merchandise from and connect with other fans on a movie’s page in Netflix? Organize public screenings or petition for a sequel with the masses online? The community layer would add to the consumer experience and give filmmakers a platform to understand how people engage with their work.
I love the movies. I love the theater. I want the industry to succeed. These issues are reparable. If the industry can recruit key talent from the web tech sector, surrender a century’s worth of logic around brick and mortar business practices, build relationships with consumers online and put storytelling first, there may be a glimmer of stability and hope for film professionals and moviegoers alike. We’ve got work to do. There’s plenty of stories to tell and opportunities to make a living by producing great content.