00:00Lo que se ha visto en casa, es que la gente está viendo en la sala, la gente está en la luz, la gente está en la luz, la gente está en la mano, la niños están en la luz, la gente está en la luz, lo que es, ¿sí?
00:07¿No lo que sea? Es un muy diferente nivel de atención que se pueden o que sea, o que sea, que se ha dado.
00:14Y eso también ha un efecto, y también se ha un efecto, o es que se ha un efecto en cómo se hace un tema.
00:20Por ejemplo, Netflix, la manera de hacer un action movie que aprendimos fue que se ha tres set pieces, uno en el primer act, uno en el segundo, uno en el tercero, y uno en el tercero.
00:32Y la gran parte de los explosiones, y la gran parte de los que se han gastado en el tercero, y la gran parte de los que se han gastado en el tercero.
00:37Y ahora, ¿sí?
00:41¿Can we get a gran parte de los primeros cinco minutos?
00:43Porque lo que queremos, para que las personas quedan en acción y no te gustó un poco si reiteró la plot cien o cuatro veces en el diálogo porque los son los ios en su phones mientras están viendo, ¿sí?
00:56¿Y lo que me hubies�?
00:57Oh, no.
00:57Y entonces, es realmente va a empezar a infringe de cómo estamos telling el sobre.
01:02Pero luego de finalizar.
01:03Pero lo que ya no trabajó, es que no lo hagan.
01:04No lo he dejo.
01:05Y.
01:05Y es igual que lo hagan.
01:05¿Sabes lo que yo creo?
01:06Y es muy divertido.
01:07Es un gran tipo.
01:08Es un gran tipo.
01:10como un hombre que se acusó de murder y es como...
01:15y hay long shots en el de la cabeza,
01:18se entiende en el carro y no se dice nada.
01:20Creo que hay esas ideas...
01:23Yo creo que es más como la excepción.
01:25Es más que la excepción.
01:27Es más que la excepción.
01:30Mi feeling es que es demostrar que no necesito hacer eso.
01:34Y lo que me parece.
01:36Y creo que, sí,
01:38en el principio de la primera cinco minutos.
01:41Es un truco.
01:43Es un truco.
01:44Me voy a grabar,
01:45y me voy a invertir.
01:46Es como los movimientos que empiezan con el hero
01:48de la clave.
01:49Y ahora voy a flashback al principio
01:51y contarles cómo se ha llegado allí.
01:53Me siento que...
01:56Me siento que...
01:57Me siento que...
01:58Cuando yo era un niño,
01:59me siento que...
02:00Cuando yo era un niño,
02:01me siento que...
02:02Me siento que...
02:03Me siento que...
02:04Me siento que...
02:05Me siento que...
02:06Si...
02:24Existential threat.
02:24Everything that comes along is going to destroy everything.
02:27Instead of like, what history suggests is that there's like marginal encroachments, things shift.
02:32Yep, as television came along, there was less theater going.
02:35And that's still going to happen.
02:36And people are still going to go to the movies because of what you said.
02:38Like, it feels like a cool thing to do.
02:40I'm going to go see The Odyssey, I guarantee you, in a theater, you know, no matter what.
02:45Viewer of them, you could argue that's because I have more choice or whatever it is.
02:49It's hard to fight supply and demand.
02:51That's the trick, right?
02:52If people want to watch a bunch of stuff at home because they invested in TVs and cost us money, they will.
02:58So, okay.
02:59But the upside of that is, like, I can try to do something, hopefully, that's like, that actually doesn't need to, you know, have the most urgency to get you to come to the theater with your family.
03:10That's a little more experimental or risk-taking or whatever in that way.
03:13Well, you got to adapt.
03:14I mean, there's no way you're going to change people's viewing habits now.
03:17I mean, what percentage of Netflix is actually watched on phones?
03:21It's got to be pretty high, which is insane.
03:24Yeah.
03:24Even watching on a laptop, for me, it's kind of, like, kind of sucks, you know?
03:28Yeah, it sucks.
03:29Yeah.
03:29That's a joke that I like to make with every director I work with.
03:33Like, when they're really puzzling over a shot or really grinding out something, I go, you know, it's not going to look as good on the phone.
03:38It's just everyone gets angry when they say that.
03:43It's just waving it out of their fucking sails, you know?
03:44No, that's going to look great this fucking big, but keep fucking around and lighting that.
03:48We'll all see.
03:48It is weird, though, the concern for the algorithm, like, making sure that people watch.
03:53Like, look, we've got data that shows within the first five minutes when this happens, they tune out.
03:57So, like, my buddy Tony Hinchcliffe, you know, he's got Kill Tony, and now it's on Netflix, and so they're giving him notes now, and they can give him, like, but they're not telling him what to do, but they're saying, like, this is when people are tuning out.
04:08And so, let's, you know, just so you have that data, now decide how you want to edit things.
04:13It's like, ugh.
04:14Yeah.
04:14Slippery slope.
04:15It moved towards more IP.
04:17Right.
04:17Because it was hard to get people to come to the movies.
04:18Everyone got scared and thought, well, there has to be a sequel or a superhero movie to justify being a fear.
04:24And so, an interesting little movie, kind of in the 90s when we kind of came onto the scene, you know, there were a lot of really good independent movies that were being made.
04:31There was, you know, it was a really great time to be making movies.
04:35People were, they were making daring movies, and then everyone just got way more conservative because it's huge.
04:42Like, the business is so different theatrically and streaming because to put out a movie theatrically, you have to put so much more money behind it to publicize.
04:51Like, you're trying to get everybody.
04:53You're basically spending about what the budget was to make it to advertise it.
04:55And you get 50% of the theatrical.
04:58Yeah, because you split it with the movie house, right, through the exhibit.
05:00So, a $25 million movie to break even, you've got to make $100 million.
05:03And you've got to get everybody to not only know about the movie, but to show up, like, that Friday night.
05:09Like, that specific time, you know, for that specific movie.
05:12And so, and to cut through all the noise that people are contending with.
05:17So, that just becomes about risk.
05:18And nobody wants to take the risk, so they don't want to make something new because it's such an investment and we're going to lose our fucking money.
05:23And the streamers have stepped into that.
05:25And, like, you know, you don't have to have a star.
05:27You could try something more interesting or it didn't have to be a superhero movie, whatever it was.
05:32And also, I think it's like, you know, frankly, like, people my age, like, it's, first of all, it's expensive, right?
05:38You take your whole family, it's $100.
05:40You're on a streaming service, $20 a month, you can watch all you want.
05:43So, you can't be cavalier about, like, you're just going to price it however the fuck you want and expect everyone to, like, be indifferent to that.
05:49And then, you know, also, you know, the idea of, like, for me, you know, there's a lot of stuff.
05:55I make that decision.
05:56Like, do I want to see The Odyssey on a big screen?
05:59Fucking definitely.
05:59I went to a theater to just watch the trailer for that movie.
06:02And, you know, at one battle after another, I wanted to go see in the theater.
06:05But there's movies with people that I really like and respect where, yeah, and I got a good system and shit, but I'm like, look, I'll watch it and I might get tired or I won't pause it and take a piss or the kids, you know, whatever it is.
06:15That's conducive to my lifestyle, you know, and so I even see a few.
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