{"id":94862,"date":"2017-09-26T06:00:02","date_gmt":"2017-09-26T11:00:02","guid":{"rendered":"https:\/\/www.premiumbeat.com\/blog\/?p=94862"},"modified":"2017-09-26T07:45:17","modified_gmt":"2017-09-26T12:45:17","slug":"will-hollywood-recover-poor-performing-summer","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/will-hollywood-recover-poor-performing-summer\/","title":{"rendered":"How Can Filmmakers Adapt to Hollywood’s Slump?"},"content":{"rendered":"

Hollywood is adapting to decreasing profits by embracing new media outlets and production models. What\u00a0should filmmakers do to adapt?<\/strong><\/h2>\n

Cover image via Shutterstock<\/a>.<\/em><\/p>\n

The film industry\u00a0has just recorded\u00a0its worst performance at the box office<\/strong> in more than a decade, selling 400,000,000 fewer\u00a0tickets than the previous year<\/strong>. While studios and publications are finding many avenues to blame for this summer\u2019s poor performance, it seems to simply be a case of changing consumer behavior<\/strong>.<\/p>\n

The ways we watch movies have completely changed \u2014 from the smallest indie film to biggest Hollywood blockbuster. For\u00a0filmmakers, observing and adapting to this ever-changing model is the key to a long and sustainable career<\/strong> in the industry.<\/p>\n

\"How
\n<\/a>Image via Shutterstock<\/a>.<\/em><\/p>\n

Is Rotten Tomatoes to Blame? <\/strong><\/h3>\n

When there\u2019s a new film coming out, many of us\u00a0immediately go to Rotten Tomatoes<\/a> and check the film’s latest score. A recent New York Times<\/em> article<\/a>\u00a0reports\u00a0that Rotten Tomatoes was to blame for the poor performance this summer. While consumers, myself included, and movie-goers do have greater\u00a0access to reviews and information<\/strong> than ever before, it doesn\u2019t seem to correlate as much as anticipated.<\/p>\n

For example, while the film Detroit<\/a><\/em> received excellent reviews, it still performed poorly in the box office. In contrast,\u00a0The Emoji Movie<\/a><\/em> was reviewed poorly but still performed well at the box office. Even though Rotten Tomatoes most likely does have a strong influence on consumer behavior<\/strong>, it doesn\u2019t seem to be the main motivating factor.<\/p>\n

\"How
\n<\/a>Image via New York Times.<\/em><\/p>\n

From the NYT article:<\/p>\n

Studio executives’ complaints about Rotten Tomatoes include the way its Tomatometer hacks off critical nuance, the site\u2019s seemingly loose definition of who qualifies as a critic and the spread of Tomatometer scores across the web. Last year, scores started appearing on Fandango, the online movie ticket-selling site, leading to grousing that a rotten score next to the purchase button was the same as posting this message: You are an idiot if you pay to see this movie.<\/p><\/blockquote>\n

Are Movie-Goers Bored with Reboots and Sequels?<\/strong><\/h3>\n

Journalists have also been placing\u00a0the blame with\u00a0crowds growing tired of reboots and sequels<\/strong>. I must admit that I\u2019ve grown tired of them too. However, once you dive deeper into the statistics, this still doesn\u2019t reveal the\u00a0truth. Guardians of the Galaxy V. 2<\/em><\/a> performed very well, and Stephen King\u2019s IT<\/em> has just had the best opening for a horror film<\/a>, ever. Both of these films were either sequels or reboots<\/strong>.<\/p>\n

With all of this in mind, one must wonder\u00a0why is there such a steady decline in theater attendance<\/strong>. It seems that the answer may just be as simple as changing consumer viewing habits<\/strong>.<\/p>\n

\"How
\n<\/a>Image via Shutterstock<\/a>.<\/em><\/p>\n

What\u2019s Changed? <\/strong><\/h3>\n

Recently, there have been talks about Apple potentially buying the rights for the James Bond film franchise<\/a>. This piece of news, I feel, is the key to understanding just how consumer viewing habits are going to continue shifting. Looking at Apple\u2019s track record, it’s hard to believe that if Apple purchased\u00a0the rights to the franchise, they would send their first produced film to theaters<\/strong>. It would most likely be an online release<\/strong>. A new James Bond film straight to streaming could be the catalyst in a huge paradigm shift<\/strong>.<\/p>\n

A recent article from The Atlantic<\/em><\/a> dives more into Hollywood’s poor summer performance<\/strong>. Interestingly, ticket sales for movies have been steadily declining\u00a0for years.<\/p>\n

2000 – 2017 U.S. Movie Ticket Sales<\/strong><\/h4>\n

\"How
\n<\/a>Image via The Atlantic.<\/em><\/p>\n

Netflix and online video seem to be the main reason for Hollywood\u2019s summer of decline<\/strong>. Consumers now have more options than ever before. They can watch movies at their own leisure in the comfort of their own homes, which is nothing new. However, what is new are the vast catalogs of content<\/strong> consumers have at their fingertips.<\/p>\n

\"How
\n<\/a>Image and data via The Numbers<\/a>.<\/em><\/p>\n

Hollywood’s best chance, not just at survival but at thriving, is to embrace this change in consumer behavior<\/strong>. We, as filmmakers,\u00a0must also not just adapt to change but embrace it. Much like the change in consumer behavior for Hollywood, the world of\u00a0independent filmmaking is undergoing massive shifts. Throughout my experience, I’ve noticed three traits a filmmaker needs<\/strong> to succeed in the ever-changing environment (and market) of independent filmmaking.<\/p>\n

\n

What Can I Do As A Filmmaker to Change with the Market?<\/h3>\n

1. Networking Is Now Just Marketing<\/h4>\n

The concept of networking is nothing new. However, the ways in which we network are shifting. I assert\u00a0that nothing will ever replace face-to-face networking. That’s the golden standard. There will always be something more trustworthy and reliable about meeting someone, working on set, and producing great projects together<\/strong>. However, many tools have surfaced in the last ten years to make networking more meaningful \u2014 and to expand your reach outside of your own network. The line between networking and marketing yourself as a filmmaker is more blurred than ever before.<\/p>\n

An active online presence is essential to finding success as a content creator. Creating and maintaining an active online presence<\/strong> now is more than just putting up a website. Being active on multiple social platforms is essential. Take Instagram<\/a> for example. Yes, nearly everyone has an account, but how actively are you using Instagram as a tool to promote yourself<\/strong> and network with like-minded filmmakers?<\/p>\n

\"How
\n<\/a>Image via Shutterstock<\/a>.<\/em><\/p>\n

I never took Instagram seriously as a platform for networking. However, once agencies began to contact me after they saw my profile, I knew I needed to pay more attention to it. Aside from posting pictures from productions you\u2019ve worked on, use it as a tool to hone your craft<\/strong> by taking and posting more photos of things you like. Relay your unique style and vision.<\/p>\n

Another way to network online is to list your equipment on services like Sharegrid<\/a>. It’s a great way to meet and network with other filmmakers. Like\u00a0networking, marketing is now also key<\/strong> to establishing a\u00a0larger reach.<\/p>\n

2. Owning Equipment Is\u00a0Important<\/strong><\/h4>\n

Own your equipment. The days of a DP or cinematographer owning zero equipment are\u00a0nearly gone. I understand that this is a topic of hot debate. However you can’t argue that DPs are expected now more than ever to bring equipment to the table<\/strong>. This isn’t true 100 percent of time, but the expectation\u00a0is increasing. That equipment may include anything from a camera body to lenses to gimbals.<\/p>\n

In today\u2019s market, providing value to a production<\/strong> will help you to obtain more work. Yes, many great Hollywood DPs don\u2019t own a single piece of equipment. However, we\u2019re not those DPs. The market was drastically different when they were coming up through the ranks. While we\u2019re striving to establish ourselves as\u00a0filmmakers<\/strong>, there are things we need to do to provide added value to a production.<\/p>\n

\"How
\n<\/a>Image via Shutterstock<\/a>.<\/em><\/p>\n

If you\u2019re serious about filmmaking and expanding your career as a cinematographer, purchasing quality equipment<\/strong> should be a much easier pill to swallow. I recently met with a production company, and the executive producer said, “I can usually tell where a DP is in their career by the type of camera they own.” That hit like a ton of bricks. Yes, it may not be 100 percent true, but there is still a lot of truth in that statement.<\/p>\n

Don\u2019t just own any equipment \u2014 own quality equipment<\/strong>. Have gear that you can rent to the production. Own equipment that you can rent out even if they’re not hiring you as a crew member. By going this route, not only will you gain more clients, but you\u2019ll also bring in\u00a0more revenue<\/strong> by investing in assets.<\/p>\n

3. Make More Passion Projects<\/strong><\/h4>\n

Passion projects essentially boil down to creating a quality piece of work that shows off your creativity and filmmaking vision<\/strong>. It doesn\u2019t have to be a $30,000 short film. It can simply be a commercial you\u2019re doing that you love and wish to put a little more effort, time, and resources into.<\/p>\n

Now it’s easier than ever to post your content<\/strong> for the world to see. Passion projects are the easiest way to get your content and vision as a filmmaker out to the masses. If you network well and own your own equipment, creating passion projects<\/strong> become much easier and more affordable.<\/p>\n

\"How
\n<\/a>Image via Shutterstock<\/a>.<\/em><\/p>\n

One of my own passion projects is still what gets me a lot of work. Yes, passion projects are hard to make time for. However, they can define careers. Taking time out of your busy schedule to hone and invest in your own creativity<\/strong> can be one of the best approaches\u00a0you can teach yourself as a filmmaker. Instead of limiting yourself to\u00a0only working on corporate, commercial, or other people’s features, create your own features, shorts, or art pieces. Help yourself grow as a creative, and don\u2019t expect other people to do it for you.<\/p>\n

Times are changing for creative\u00a0filmmakers \u2014 and even for Hollywood. Anticipating these changes and being at their forefront is what will ensure a long and stable career.<\/p>\n","protected":false},"excerpt":{"rendered":"

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