Netflix is Blowing Hollywood’s Mind

Reflections on Hollywood Studio fall out by Mitch Santell

Netflix as a company that has the strength, financial backing, and corporate culture to take down the current Hollywood Studio System as we know it! How do I know this? This is the 4th or 5th time that Hollywood has had to confront its own shortcomings.

Netflix can change game plans much faster than a regular studio. The most recent example of this was the new season of Arrested Development. Season 4 which had mixed reviews by fans and critics alike was literally re-mixed, re-edited by Mitchell Hurwitz the Executive Producer (Writer and sometimes Director of the show).

Arrested Development 2018
Jeffrey Tambor (L) with Arrested Development Exec Prod Mitchell Hurwitz (R)

Not only did Mitchell Hurwitz have the integrity to Re-Edit Season 4 on Netflix just days before the release of Season 5, even though Jeffrey Tambor was “accused” of “sexual misconduct,” Mr. Hurwitz did not punish Tambor or the series. 

According to the Associated Press:

LOS ANGELES — The creator and executive producer of “Arrested Development” acknowledges that some people will not like his decision to keep Jeffrey Tambor on the show after allegations of sexual misconduct surfaced last October.

“Good people will find this offensive,” explained Mitchell Hurwitz. “I, too, get worked up when I hear about Harvey Weinstein and other people who have taken advantage of people. But I also believe very strongly that we don’t want to live in a world where accusations ruin people’s lives. We have tried that as a human race and it doesn’t always, doesn’t work out great, you know? So accusations are very different than proof and, you know, we obviously are going to support people that haven’t done, that haven’t been proved guilty.”

Hurwitz said production was nearly wrapped on season five when news broke of the allegations made by Tambor’s former assistant and an actress on his other show, “Transparent.”

“Not only do I support him as a friend, but I’ve known him for 20 years. I’ve worked with him for 20 years and I’ve never seen any behavior like that described. I’ve never, even in private, he’s never been in any way inappropriate about, we don’t talk about women or objectify. It’s just not who he is, and he’s got a lot of things that I’d like to list, a lot of really bad qualities I’d like to list for you now, but nowhere in there, in my experience, is any kind of creep,” said Hurwitz.

The “Arrested Development” cast unanimously supported the 73-year-old actor at the Los Angeles premiere Thursday for the cult comedy’s new season. The event also marked one of the first public appearances for Tambor in recent months. Tambor posed for photos with his wife, Kasia Ostlun, but didn’t do interviews with the press.

“We are a family and it’s great to have everybody in the family here,” said co-star Will Arnett.

See more here: https://nydn.us/2GBRdhf

#hollywood #oldhollywood #netflix #bollywood #westhollywood #arresteddevelopment

A Founder’s Thoughts with D.J. Lewis: The Fall of Blockbuster! — D&A Anime Blog

Wow, it’s been five years since the once great video rental store giant went belly up. I’m talking about Blockbuster, one of the best video rental stores in North America (as well as across the world). Back when I was growing up in southeast Baltimore County (Baltimore, MD) my mother would take my brother and […]

via A Founder’s Thoughts with D.J. Lewis: The Fall of Blockbuster! — D&A Anime Blog

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Netflix Doesn’t Need Hollywood Anymore

Written by Mitch Santell

netflix

The shift started in 2013 with the premiere of House of Cards. Netflix, in my opinion, does not need Hollywood anymore nor does the company care what Hollywood thinks.

Some will say that Netflix is just producing big-budget Tell-Lie-Vision shows. My take? There is something much bigger happening. Think of Netflix as the Apple, Inc. of streaming. Why do I think that? Answer: Apple listens to its customers, and it would appear that Netflix is doing the same thing.

My experience of Netflix on a Mac or a PC is substantially better than my Apple TV not because Apple TV does not work, it is the interface. It is the fact that Netflix has incorporated their algorithm into everything that you watch on their service.

netflix buster
“Buster, He’s A Beautiful Boy!” 

Check out what I found:

Netflix vs. Cannes: Will the Company’s Original Content Succeed Without Hollywood Approval?

For those who haven’t browsed the Netflix catalog recently, the streaming service has taken a page from Hollywood studios and dived headlong into the production and distribution game. Its name is on titles with big stars like Adam Sandler and Will Smith — these stream alongside the company’s popular TV series like Stranger Things and Lost in Space.

It’s important for Hollywood studios to project an air of prestige around their more ambitious projects, and events like Cannes also provide gobs of free publicity. But the tussle between Cannes and Netflix arose from a recent change in the festival’s rules. A new regulation mandates that for a film to play in competition, it must have theatrical distribution in France.

That’s a tough one for Netflix, as French law stipulates there has to be at least a three-year gap between a film’s theatrical run and its debut in home entertainment such as streaming services. Almost needless to say, that’s a no-go for a company whose success relies on streaming content.

The screen goes dark

For those who haven’t browsed the Netflix catalog recently, the streaming service has taken a page from Hollywood studios and dived headlong into the production and distribution game. Its name is on titles with big stars like Adam Sandler and Will Smith — these stream alongside the company’s popular TV series like Stranger Things and Lost in Space.

It’s important for Hollywood studios to project an air of prestige around their more ambitious projects, and events like Cannes also provide gobs of free publicity. But the tussle between Cannes and Netflix arose from a recent change in the festival’s rules. A new regulation mandates that for a film to play in competition, it must have theatrical distribution in France.

That’s a tough one for Netflix, as French law stipulates there has to be at least a three-year gap between a film’s theatrical run and its debut in home entertainment such as streaming services. Almost needless to say, that’s a no-go for a company whose success relies on streaming content.

In reaction to the festival’s new rule, Netflix withdrew the five titles it planned to unveil at Cannes. Since then, the two sides have had few positive words for each other.

Read more here: http://bit.ly/2IKjmrf

netflix yes

Living room vs. movie theater

The dispute benefits neither party. It makes the festival look reactionary and old-fashioned in a film and entertainment world that’s rapidly changing. And Netflix appears to be playing the role of intolerant Silicon Valley disruptor — our way is the future, and if you’re not on board, forget you.

In its movie-making efforts, Netflix has fewer allies. That’s no surprise, given its insistence on debuting its feature films in theaters and on the streaming site simultaneously (its big-budget fantasy action movie Bright was to open in a grand total of two cinemas in the U.S.).

Read more here: http://bit.ly/2IKjmrf

Yes, I said yes! Netflix is onto something big and we all know it.

netflix more
Shall we binge watch a series?

If the miss the old days of going to a Movie Theater, here is a little reminder.

Hollywood Shift ~ Streaming Economy

Commentary by Mitch Santell

From 1913 until 2013 the traditional Hollywood system ruled the industry. Now, the old studio system was gone by 1960, but there were definite lines between the film studios, the film executives, the distributors and the marketing companies.

The technology is there, access to the market it more natural and there is a lot of talent you can call upon if you have VISION and FOCUS.

Everyone is now getting into the content creation business. It is getting more and more confusing as to who the leading content creators will be in the future.

It is not just that Netflix along with Amazon Prime, HBO, Lifetime and others are creating their original content, it is that these technology companies know how to use SEO, Algorithms, and the big elephant in the room; Streaming.

100 Million Prime
Amazon is creating original content and then STREAMING IT!

According to NICK BILTON:

When Netflix started creating its own content, in 2013, it shook the industry. The scariest part for entertainment executives wasn’t simply that Netflix was shooting and bankrolling TV and film projects, essentially rendering irrelevant the line between the two. (Indeed, what’s a movie without a theater? Or a show that comes available in a set of a dozen episodes?) The real threat was that Netflix was doing it all with the power of computing. Soon after House of Cards’ remarkable debut, the late David Carr presciently noted in the Times, “The spooky part . . . ? Executives at the company knew it would be a hit before anyone shouted ‘action.’ Big bets are now being informed by Big Data.”

When I first read the above paragraph it blew my mind but then Nick Bilton hit on an even more significant issue:

Hollywood executives may invoke their unique skills, but engineers are unlikely to see things quite that way. We generally assume that artificial intelligence poses a risk to lower-skilled jobs, such as trucking or driving cabs. But the reality is that the creative class will not be unharmed by software and artificial intelligence. Researchers at M.I.T.’s Computer Science and Artificial Intelligence Laboratory are looking at ways to teach computers how to corral information so as to perceive occurrences before they even happen. At present, this application anticipates events that will move markets, or monitors security cameras to help emergency responders before something tragic occurs.

The most prominent bombshell was this prediction:

Kim Libreri, who spent years in the film industry working on special effects for films such as The Matrix and Star Wars, predicts that by 2022 graphics will be so advanced that they will be “indistinguishable from reality.” In some respects, that is already on the verge of happening. If you watched Rogue One, you will have noticed that Peter Cushing appeared as one of the main actors in the film, which was shot last year in London. Cushing, who died in 1994, was (mostly) rendered in C.G.I. The same was true for Princess Leia, played by the late Carrie Fisher, who has a cameo at the end. The C.G.I.-enhanced version of herself hasn’t aged a day since 1977. “While stars used to be able to make a movie, now they can hurt it,” one Hollywood producer lamented to me. His outlook resembled Moritz’s: “The movie star, like everything else in Hollywood, is dying.”

Read more here: http://bit.ly/2J8n6zm

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#netflix #hbo #apple #google #wired #paramount #warnerbrothers #metoo