Jeff Steele's prediction is he won't be surprised to see Netflix producing its own original content. And here is why: In the United States, Netflix already represents more than 20 percent of downstream traffic during peak times.
Indie producers are on a relentless quest to find the elusive "final 20%" of their budgets. They've raised the equity, made the presales, maxed the gap, and still they come up 20% short. Even with a whopping 40% cash rebate! So why then are they still stumbling around trying to fill that final 20% of their budgets?! Because producers can't get out of their own way.
David Molner and David Bergstein are two of the smartest people in the business. Unfortunately, as has been proven many times over, the smartest guys in the room can make the worst decisions; and those decisions usually rely too much on smarts and not enough on judgement. The smarts recognized the potential for profits -- but the judgement knew the risk was too great.
Film Closings was featured this week in a Chicago Tribune article as well as in Screen juxtaposing what others in the state were saying and rallying for when it came to the IL film incentive. This post gives a broader understanding to our view on the credit climate overall. As well as a Pop Quiz.
If you are planning on shooting in Hungary in the near future (or preselling to Eastern Europe), then you may find great opportunity as well as great opportunity for concern in the "very grave situation" facing the region.
I have this theory that film financing follows real estate: as goes real estate, so goes film. This is nothing I can quantify with statistics; it's a gut feeling, solidified over time, observational, not empirical. And, hear me out, what's got me thinking we may be seeing more film investing is an increase in the sale of U.S. Treasury bonds.
With 20 producers credited, The Kids Are Alright is poised to be this year's annual Academy Award controversy over who gets the Oscar.