Barnack

When craft service look like this: And when work during shooting set is less than half the days in a year, it can.

I am sure you cannot eat a steak or anything complex, but the notion of crabbing stuff has you go is not a crazy employer demand for that type of jobs, where the benefit of having people always ready and near is vast but also the nature of the job will have many natural break occurring at the same time (a bit like a long security guard shift). You read stuff like that: https://deadline.com/2018/02/hollywood-safety-drowsy-driving-long-work-hours-crew-1202275319/ And regardless of the work condition during the work, just the actual length of it by itself seem to be an large issue, going back to longer shoot (from pre production to actual shoot), could do some good for everyone involved, relying less on timing, better quality, better working condition, etc...

Crew size and production type I feel are different here, possible that on mega production waiting will be a large part of the day, making easy to eat has you want without a dedicated lunch break. And the impact of stopping-restarting being different has thing scale (a bit the same for boat or manufacturing).

Exclusive must be about theatrical, not AMC

Ar you saying the fact they could easily clean up their debt if they wanted (but considering how cheap debt is they even prefer buying back stock instead at the moment) point to the opposite of being cash rich ?

Reading wikipedia, it seem to be a completely empty token title now with the president having seized power, is that true ?

How much would it cost them to agree with their demands and that represent what % of their expected margin ? Without talking for reverberating consequence for employee not covered it can be indirectly lifted.

One force of Netflix, they can turn international production (a la squid game) and documentary into success story more than others I think.

I doubt Netflix of all companies has big issue getting their hands on cash https://www.macrotrends.net/stocks/charts/NFLX/netflix/cash-on-hand https://www.macrotrends.net/stocks/charts/CMCSA/comcast/cash-on-hand https://www.macrotrends.net/stocks/charts/VIAC/viacomcbs/cash-on-hand https://www.macrotrends.net/stocks/charts/SONY/sony/cash-on-hand https://www.macrotrends.net/stocks/charts/DIS/disney/cash-on-hand https://www.macrotrends.net/stocks/charts/T/at-t/cash-on-hand https://www.macrotrends.net/stocks/charts/LGF.A/lions-gate-entertainment/cash-on-hand Last quarter up: Netflix: 7.7 billion At&t: 11.89 billion Liongates: 0.25billion Viacom: 5.4b Comcast: 12.3b Disney: 16b Sony: 19.5B They even started stockbuy back, I think: https://ycharts.com/companies/NFLX/stock_buyback https://www.fool.com/investing/2021/04/25/netflixs-5-billion-buyback-plan-doesnt-make-any-se/ Which should be a sign of having a lot of cash in hands

No Verified Audience Reviews for Fauci.

The stop and restart for this kind of giant boat can be a big deal with how high the cost are, making this: https://en.wikipedia.org/wiki/French_hours#:~:text="French hours" is a term,to steal moments to eat. And the nature of the work that tend to generated natural many short break for everyone that make possible to eat without official break for it, somewhat popular and natural. I could imagine many shoot cost (price for renting cameras, location and so on) being daily fix and not hours fixed creating a large incentive to very long days with short break and turn around, combined that crew are paid a lot and usually does not work 50 week a year (or they would make an actual fortune for those who do) possible for those things to be common to happen.

The genre can make it seen for many has a near irrelevant home watch too, would be curious to see the rating of people that have seen a movie like It first weekend in a filled crowd versus at home.

I thought it would do really well with $60M, ending up with 55m. All in the leg now.

Feel it is more that she half went into early retirement, took a break, it is not like Salt 2 failed (or any other action movie she got able to sell)

And if 8-14 year's old were obsess with Golden eye 007 on the N64 they are now 32-38 (I could imagine that in part why Pierce name is getting traction). Has for spy work it is such in change with technological advancement and the explosion of state surveillance: https://thehill.com/policy/national-security/575384-cia-admits-to-losing-dozens-of-informants-around-the-world-nyt A bit like jet fighter, if you do not set your spy movie in the past, it could be hard to make it about spying.

Personally I have no idea how something like monthly subscriber is transferred among all production and so on, either internally or to the up to date big talents, nor how much get considered the old TV side vs motion picture for platform that offer both.

I think it is always moving a bit it changed quite bit from 2004-2009 era and say 2010-2014, I am certain it changed again during 2015-2019 window and again in 2020-2021. One big major trend you see on most studio is a large shift from home ent to TV revenues for the movie segment, has they tend to have Ott SVOD has TV and that has been a major change.

To be fair to Johansson and Shortland here, it was good in large part because of the execution-directing-actor work, it must have not been obvious at all at the script level and could indeed have failed.

That sound like a lot specially, apparently the partner agreed to spend 150m in joint marketing campaign and a 50:1 ratio between marketing spending vs money is not particularly high. On Skyfall they got $3M cash from Heineken for the product placement and $1M from Omega while getting in the 50M in ads from those. The budget (production and marketing) we see around in the Deadline of the world tend to be after the different rebate would it be tax credit or product placement taken into account. Getting Spectre at $250M was with the rebates from product placement and tax incentives. It is not only product that pay Bond, some of the long list of country-cities tend to up the tax credit if they showcase what they want in the Bond movies

very similar to Spectre 5.25m

Was not following much, is the best preview for the franchise by a good amount bad ? Is it because they were 16:00 pm previews ?

A 55m release in that context is the theatrical release cost (digital print tax, marketing and so on), it is a nebulous cost because at least in the domestic market the theatrical release marketing campaign serve also to put the movie on the map for all the yet to come window has well. Some movie domestic release can go in the $80m, historically China release in comparison are much much cheaper, when Transformer 4 spent $7 million on their it was a big deal. Same has above, the cost of releasing the movie in China reduced from the gross the studio get from it's box office, give you the net theatrical return, China release cost tend to be around 3% of the box office. Yes, that the share of the ticket sales that theatrical chain give back to the studio Exactly, studio have release campaign and cost for each individual markets, in the past city billboard, newspaper, tv, radio ads and so on in that market and now social media ads campaign that target people, and because over place and time it does change a lot market to market, some theater chain-theater do more local ads themselve in some market than other and so on That it, negative net theatrical was for a while very common in many market (including domestic). No theatrical net does not look at any other cost than the theatrical return - the cost of releasing the movie, people gross point, movie production cost are not taken into account. Yes, giant studio and they tended to have deal to have almost full coverage, in some market they will use local distributor all the time or in some they will pre-sales some movies to them (like Liongates will do for all the non domestic-uk market). Universal has an Universal france release-marketing department, a Universal Uk release-marketing department, and during the greenlight process of a movie, they will get the movie script-cast proposal and so on and will give estimate on how it would do in theirs market, what the release campaign would look like and can give point on how well they feel different option for element of the story or cast would play here. I imagine has time goes on, marketing get less and less different has Internet is destroying quite fast cultural difference (a bit like rural, urban and different region difference diminished quite a bit nationally with national tv) Correct. In China Sony expected to do a box office of 42.75 millions They expected revenues from that of 10.69 millions Expense expected-planned: Marketing: 1.89 million Print: Nill (only market like that, I imagine so much of it came in existence in an already digital world) You can consult: https://wikileaks.org/sony/docs/03_03/MKTGFIN/Kathy Binder/FY16 MRP - by film.pdf you will see Bond, the will smith December movie, Pixel, Ricki and the flash, etc... Take Hotel Transylvania 2 for a small blockbuster or really big non blockbuster. 250 million Internal box office expected of that they expected 98m to come to them (39.2%) and 38.5 million in marketing leaving them 59.5 million or 23.8% of the gross all the sudden their 25% net from China stop looking has if it is a bad deal and to dismiss that market BO, it has an above average return for them.

Seem to have the very same issue has the first trailers, look like it is a battle in the editing room, generic has it come, even the dialogue they gave a code name to a secret agent to try to hide the true identity to the world.... really ! Characters presented has flawless, without friction to work out between them, director that has to prove that he direct a good movie and if I am not wrong still feel like BingBing was filmed with a different crew all in a different country.

Yes but it is not particularly due to the different theatrical return structure, but how much more post theatrical revenues a movie that make over 200 dbo will have than one that do well in China. a 200m DBO movies with a 53% return, will give you back 106m in the domestic market and with a 55m release, you will net 51m. In China your 200m movie will return you only 50 million and with your 6 million release you will net 44m, it is not that different, China theatrical return is a little bit above world average for medium performer and worst only for the big performer. There is a THR roundtable with studio runners (the one release just before Force Awaken release I think), that the studio guy try to explain to the journalist that the public and even media view of the China deal is quite off the mark, that if every country in the world would offer the same deal, they would consider saying yes. That true, but it is not the type of info only the CEO of company knows, a lot of people working in distribution-production will. And like stated above, a lot of insider information got leaked. In it we can see the retention rate, margin expected for many title, I extracted for a blockbuster (James Bond-Specter expectation), a smaller movie (5th wave) and the total year studio slate average, that looked like this: James Bond Retention rate Profit margin Japan 49% 16% South Korea 47% 31% Germany 45% 35% Austria 45% 38% Australia 44% 34% UK 44% 35% Switzerland 44% 36% Belgium 43% 35% Spain 43% 13% Russia 42% 25% Brazil 41% 13% Italy 41% 16% Netherlands 41% 36% France 39% 30% Mexico 38% 15% China 25% 21% Average 42% 30% 5th wave Retention rate Profit margin UK 31% -1% Russia 43% 12% France 39% 8% Germany 43% 6% Australia 37% 14% South Korea 48% 2% Mexico 35% 5% Brazil 41% 5% Spain 46% 5% Italy 41% -1% Japan 45% 19% Belgium 42% 16% Netherlands 38% 11% Switzerland 42% 20% Austria 38% 10% Average 39% 7% For a smaller movie that 21% would look really good, it would be the best market return rate, would it release there. Total slate: Total Retention rate Profit margin UK 40% 23% Germany 44% 22% Australia 41% 22% France 39% 19% Spain 44% 13% Russia 42% 22% Japan 47% 15% Brazil 40% 13% Italy 41% 11% South Korea 47% 19% Mexico 37% 13% Switzerland 42% 29% Netherlands 40% 28% China 25% 21% Belgium 43% 26% Austria 42% 27% Average 40% 20% In China you have less control on the release (will you even be able to), but if you get a release you have little risk and virtually all net return in domestic you will spend from 20m for a very small movie to 80m to a giant one, have better return only if it is a giant success, the vast difference is that for any $ at the dom box office it often mean that you would net $2 over the rest of the movie life.