Home https://server7.kproxy.com/servlet/redirect.srv/sruj/smyrwpoii/p2/ Entertainment https://server7.kproxy.com/servlet/redirect.srv/sruj/smyrwpoii/p2/ Martin Scorsese defends his game on Marvel, hitting on a growing issue

Martin Scorsese defends his game on Marvel, hitting on a growing issue

Martin Scorsese publishes a new essay in the New York Times in which he addresses previous statements about Marvel movies that are not considered cinema – a statement that kicks off weeks of hot filming, a race on Twitter, and an Instagram caption. This is an absolute must read.

Here is just one of the very good quotes:

Unfortunately, the situation is that we now have two separate fields: there is worldwide audiovisual entertainment and there is cinema. They still overlap occasionally, but this is becoming less frequent. And I fear that the financial dominance of one is used to marginalize and even diminish the other.

Disney CEO Bob Iger ears must burn something fierce! Less of Disney's Scorsese scams and its monolithic presence resonate with cinephiles, which have for some time repudiated Disney's power. There's a good reason: Disney's dominance is both impressive and terrifying.

Besides, it's not entirely new. The studios in the 1

930s and 40s used their own theaters to control where their films played, ensuring that audiences would watch their films and not film in another studio. It was also considered unfair to customers and the whole system was dismantled in 1948.

Disney does not have its own theaters, but dominates the calendar year with blockbusters that people want to see. This makes it difficult for other studios to find a weekend for a smaller edition. 2020 may be a smaller lineup than the record-breaking 2019, but rival studios have to compete with Disney in 19 of the 52 weeks of the year. 2021 is even worse, with four Marvel films and the return of massive franchises Avatar 2 and a new Indiana Jones movie on the docks.

Scorsese is not the first director to call Disney. Quentin Tarantino broadcast his own grievances with the company in December 2015. His film, The Hateful Eight shows on fewer screens than he wanted because Disney wanted Star Wars: The Force Awakens [1945900] on as many screens as possible.

The essay of the New York Times also touches streaming as a problem, but the two are closely related. Flow is a substitute. In many ways, this is actually better for the industry, as the constant need for new films means that companies order more films all the time. They also turn what would have been theatrical releases into streaming exclusives. Disney is already doing it with its live-action remake of Lady and Trump . It started as a theatrical release, but made the title of a Disney + launch.

Both independent, more artistic films that Scorsese likes and ever considered to be theater releases are optimized through streaming services. According to Scorsese, this is a problem because every movie should be experienced as a theatrical release, not just Marvel films. He is not mistaken, but the remark comes when Netflix is ​​releasing his new movie, The Irishman at select theaters across the country, before it airs later this month.

Relying on both current and theatrical releases, it makes perfect business sense for a company like Disney. Funnel for riskier bets in streaming, where customers are constantly hungry for new content, and use theaters for large franchise games. Starting a streaming service is a big – and expensive – bet. Using blockbuster theatrical editions can be bad for cinema as an art form, which Scorsese emphasizes, but it has a very big business sense.

Seriously, go read the Scorsese essay by the New York Times .

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