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How will the movie industry survive the next 10 years?
I asked two dozen actors, directors, and studio heads to tell you about the worries they've been telling each other in private.
nytimes.com/interactive/20…
I asked two dozen actors, directors, and studio heads to tell you about the worries they've been telling each other in private.
nytimes.com/interactive/20…
I've been reporting this out for the last two and a half months and every one of the conversations was fascinating and a real eye-opener.
Happily, we'll be rolling out a lot of those talks as separate Q&As over the coming days, so there will be a lot to dig into here.
Happily, we'll be rolling out a lot of those talks as separate Q&As over the coming days, so there will be a lot to dig into here.
In 10 years, will anything come out in theaters besides big blockbusters and small genre films? J.J. Abrams is wondering, especially after BOOKSMART underperformed: nytimes.com/interactive/20… 
After directing four Marvel movies, including this year’s world-beating AVENGERS: ENDGAME, Joe and Anthony Russo will next make CHERRY, a character drama starring Tom Holland. Should be an easy sell, right?
“When you talk about making character movies like ‘Cherry,’ even we are finding that is becoming increasingly difficult as the months pass — not as the *years* pass, as the *months* pass,” Joe Russo told me. nytimes.com/interactive/20…
“It is a tough market, even for us coming off ‘Endgame,’ to make a darker, character-driven movie. It’s not what the market was even two years ago.”
In 10 years, would Jason Blum still put a film like his Oscar winner WHIPLASH in theaters? Well... nytimes.com/interactive/20…
Ava DuVernay spells it out as clearly as it can be spelled: nytimes.com/interactive/20…
I asked Jessica Chastain if she thinks a theatrical release should still be necessary to qualify for the Oscars. “I don’t,” she replied. nytimes.com/interactive/20…
Kumail Nanjiani told me a striking story about young people and the movies: nytimes.com/interactive/20…
This is something I talked about with the Russo Bros: “With this audience, when they binge-watch a season of Stranger Things, that is training them to expect a greater payoff from their commitment than they might get from something that’s two hours.”
In addition to the main article, we’re rolling out separate Q&As with many of our participants. Today, you can read about how Jason Blum is forecasting the future. “This is the biggest shift in the history of Hollywood,” he told me: nytimes.com/2019/06/20/mov…
You don’t just want to read a few quotes from Ava DuVernay on the future of film... you want to read a whole interview! Luckily, we’ve got you covered with this Q&A, where she issues a wake-up call to people clinging to old systems: nytimes.com/2019/06/20/mov…
And we’ve got a Q&A with Octavia Spencer in this opening batch, too! Lots more will pop up over the coming days. Forgive me all the tweets about it. nytimes.com/2019/06/20/mov…
My interview with Kumail Nanjiani about the future of movies is up! We talked about Netflix, live-tweeting, and the Sonic the Hedgehog movie: nytimes.com/2019/06/21/mov…
Kumail on some of the shifting ways we engage with movies now: nytimes.com/2019/06/21/mov…
My interview with Lena Waithe is up, too. She talks about Universal picking up her “very black, very risky” film QUEEN & SLIM: “I really do believe if I had written that movie five years ago, maybe A24 would have released it on a couple screens.” nytimes.com/2019/06/21/mov…
Lena Waithe calls out a few of the black movie stars who could be doing more to finance black-led indies: nytimes.com/2019/06/21/mov…
“A lot of bad black movies get good reviews because white critics are afraid to pan them,” Lena Waithe said. “I love what Chris Rock had to say, that black people haven’t overcome until we’re allowed to fail.” nytimes.com/2019/06/21/mov…
My Q&A with JJ Abrams about the future of the movie industry is up now: nytimes.com/2019/06/22/mov…
Years ago, JJ Abrams had an epiphany about hiring diverse casts and filmmakers when he went to the Emmys and saw a sea of white faces everywhere. “It felt wrong,” he told me. nytimes.com/2019/06/22/mov…
JJ Abrams was nitpicked for OVERLORD’s black lead: “We were told that there were no black men in the military division we were telling our story about — yet this is a movie about zombies in World War II. There were no zombies in World War II either!” nytimes.com/2019/06/22/mov…
Initially talked to @jes_chastain about the future of movies but then it just turned into us discussing @LeslyeHeadland nytimes.com/2019/06/22/mov…
My Q&A with Jon M. Chu is up, and what encourages him about the future of movies is that young directors of color have less baggage than he did: “That heavy weight of feeling so out of place that you develop self-hatred, I think they see beyond that now” nytimes.com/2019/06/22/mov…
Gonna tweet some interesting outtakes from the interviews today...
Here’s @jehorowitz on why streamers like Disney+ may be a bigger boon for indie filmmakers than you’d think
But Jordan also flagged a new streaming-era conundrum: To get an indie made, you often have to raise the budget by selling off foreign rights. Doing so might dissuade a streamer from eventually picking it up, since they typically want worldwide rights.
I spoke to Amazon’s Jennifer Salke after I talked to Jordan and I asked her about that point. She confirmed it’s a consideration when acquiring indies, though there’s wiggle room if they really, really love the movie
My conversation with Barry Jenkins about the future of film is up! “You can make an album for $5,000 and it can have the same quality as Frank Ocean’s ‘Blonde,’ but it just takes so much damn money to make a film.” nytimes.com/2019/06/24/mov…
And my Q&A with the Russo Bros on streaming vs theatrical is up: “A season of Killing Eve is eight hours of narrative with characters I love to watch, and compared to a two-hour movie, I’m getting real value for my money there,” Joe Russo told me. nytimes.com/2019/06/24/mov…
Anthony Russo says the US theatrical marketplace is about to resemble the international one, where only unique local sensations can break out amidst blockbusters: nytimes.com/2019/06/24/mov…
