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Read what you wrote. The Numbers undermine your Argument & your Conclusion. <INSIDE>.

Posted by: Captain Obvious (a.k.a RotoHockey2013MainPort) on Aug 19, 01:08 in response to Moviesnob's post its affecting every indie. You should read what I wrote,...

1. Information indicates that Metrodome & Alchemy failed principally for other reasons:

In the fall 2015, the company acquired distribution network ANconnect and Anderson Digital, which serviced massive outputs deals for home entertainment. As one insider put it, “They basically bought the farm on the DVD business.”

As that deal began to impact Alchemy’s cash flow, the company’s owners fired CEO Bill Lee and replaced him with co-presidents Kelly Summers and Scott Guthrie. They focused resources on rescuing their suffocating DVD business; that priority shift meant the company’s theatrical ambitions received the short end of the stick.

The timing was especially bad in light of Alchemy’s aggressive approach to buying films on the festival circuit. The company spent $1 million on “The Lobster,” outbidding more established buyers, and $3 million on rising British genre director Ben Wheatley’s “Free Fire,” which stars Brie Larson and Cillian Murphy. Deals like those initially gave Alchemy the sheen of a rich new kid on the block; now, in the face of a liquidity crisis, they created the perception of a poorly run business.

http://www.indiewire.com/2016/02/how-the-dvd-business-is-destroying-alchemy-21984/

Jason Wood, director of film at Manchester's HOME, suggests that Metrodome’s demise is illustrative of how hard it can be to get strong support for arthouse films from the majority of the independent UK exhibition sector.

“Unless you are an independent chain with your own distribution arm, it can be a closed shop for other distributors,” he tells us. “If an integrated company opens one of its own films in one of its own cinemas [for example, a Curzon Artificial Eye title in a Curzon theatre] it can keep it on even if the opening weekend is weak. Metrodome, and other companies like it, won't have the same option.”

That’s assuming that the film makes it to your local cinemas at all. “It’s hard to see these films if you live in an area of poor cinema access, where only the top ten Hollywood films screen,” notes Gardner, and she’s not just talking about small towns and rural areas. Even in a great metropolis like London, which dictates much of the release schedule, access to the type of films Metrodome would distribute is limited.

Wood is quick to point out that it would be foolhardy to immediately equate the collapse of Metrodome to the overall decline in foreign-language and indie film box-office. “Metrodome have had successful titles in recent years but it could be that a number of more recent acquisitions were costly and didn't perform to expectations,” he suggests. “Mia Hansen-Løve's Eden is a strong example of this.”

Wood is also of the mind that reports of the death of cinema have been greatly exaggerated. “The success of a cinema like HOME and compatriots such as The Watershed in Bristol show there is a strong appetite,” he says. “Look at the recent success of Rams and Embrace of the Serpent to name but two. Things always look worse in the summer, traditionally a tough time for independent companies and independent film.”

http://www.theskinny.co.uk/film/opinion/what-metrodomes-demise-means-for-the-uk-film-scene

2. Worldwide Box Office (BOM) for 2015 was some 3.0 BILLION higher in 2015 than 2014, largely due to the TOP 5 Films pulling in 7.6 BILLION (2015) vs. 4.3 BILLION (2014).

3. Netflix Revenue rose to 6.78 BILLION (2015) up from 5.50 BILLION (2014) up from 2.16 BILLION (2010).

http://www.statista.com/statistics/272545/annual-revenue-of-netflix/

4. Amazon Revenue rose dramatically, mostly due to its Cloud Services Business.

5. Many Indie Firms have adapted nicely.

6. Access to Cinemas has changed.

7. Integrated companies have demonstrated success.

8. 2015 Worldwide Box Office combined with Netflix Revenue was UP more than +4.0 BILLION over 2014.

9. Decline in Revenue for Indie Films & Foreign Language Films may be attributed more to Cinema Access & Changing Consumer Preferences (Blockbuster Movies).

10. Charles Darwin - Survival of the Fittest.

Lobo, we've quit Stranger Things after episode 4 Moviesnob Aug 18, 12:06

doh! sorry to hear it wasn't for you. both movies you're rewatching are great for nostalgia though. {nm} lobogotti Aug 18, 13:47

i should have {nm} slipping jimmy Aug 18, 18:31

The Get Down is well worth it, however slipping jimmy Aug 18, 18:32

problem is i dont have netflix, so I only can see their shows if I know someone from production {nm} Moviesnob Aug 18, 18:40

interesting. I don't know many people that don't have it. any reason? {nm} lobogotti Aug 18, 19:28

1) I prefer to own (i have about 8k movies on various formats) 2) its complicated but I believe Netflix is bad for the industry Moviesnob Aug 18, 21:51

YEAH, Disney has been Rocked Big-Time ever since Netflix showed up. Captain Obvious Aug 18, 22:02

I wrote this about Netflix a little over a year ago which helps explain what I'm saying. If you try being polite, we can discuss further Moviesnob Aug 18, 22:26

Please identify which industry companies have suffered catastrophic losses due solely to the Netflix arrival. {nm} Captain Obvious Aug 18, 22:46

its affecting every indie. You should read what I wrote, it will give you a greater understanding than the question you're asking. Moviesnob Aug 18, 23:00