Discussion in 'Community' started by epic
, Sep 15, 2020.
@Darth Punk Maybe not in the era of COVID, but in normal times, yes.
Netflix is absolutely a Hollywood studio.
It's a Los Gatos-based tech company
Their studio is based in Beverly Hills. And all their shows are produced there.
Okay but this isn't a Netflix production right? This was not made by Netflix.
Don't really want to get into a semantics argument when it really doesn't even address the main point of the concerns about this particular film. But suffice it to say that even if Netflix was one of the Hollywood majors (which it decidedly is not, or has ever been), this particular movie would still be an external acquisition rather than any kind of in-house production. Its values, then, are more reflective of the French film industry than they could possibly be of the Hollywood majors (which, again, Netflix isn't or has ever been).
Edit - Vivec beat me to it. This is at heart a French movie and Netflix only owns the rights to distribute in certain territories.
You're right, I don't know anything about Netflix. I only worked there.
Nobody said that. Not a single person made an even remotely similar claim.
Kind of. Initially it was whether Netflix was a Hollywood studio or not, then it got shifted to it not being a major Hollywood studio.
I didn't say that. If anything, the fact you were employed by them might actually prevent you from looking at the situation with a more detached perspective.
Companies like Netflix, Amazon and Apple have never been considered Hollywood majors; if anything, they have definitely challenged the status quo in Hollywood and disrupted the traditional business model of the Hollywood majors - Disney, WB, Sony, Paramount and Universal.
So the streaming companies without any connections to the Hollywood majors have, if anything, been unwelcome disruptors in the entertainment landscape that was dominated for decades by the majors.
And Cuties is probably a prime example of the kind of risk that none of the Hollywood majors would have touched with a 10-foot pole, because they have more experience with movies that tick off the religious right in this country.
ITT Tina mansplains Hollywood to Rae.
Netflix gets the most nominations from the Emmys now regularly. It is absolutely an ingrained part of Hollywood so much that it shifted everything to streaming. My point about working at Netflix is that I was a Hollywood person. So were all the people I worked with. I never encountered a single tech person or tech culture aspect. It was pure Hollywood like every other Hollywood job I had.
No one in Hollywood thinks of Netflix as some tech company. It's not a freaking startup. You have no idea what you're talking about.
No one in Hollywood thinks of Netflix as not being a disruptor, either.
That's not what you said. You said it was a tech company, not a Hollywood company. That hasn't been true for about 15 years. You are simply moving the goal posts. Just admit you were wrong.
You didn't even understand the gist of what I was saying, as your replies clearly show.
That whole aspect of the discussion got brought up in regards to whether or not Netflix and this movie reflected the way Hollywood traditionally has addressed related issues.
And the point is, no, Netflix definitely didn't get to this situation because it operates the way Hollywood studios have operated for decades.
It ultimately matters very little what anyone's definition of "Hollywood studio" even is on this particular issue. Netflix made a rookie mistake when it comes to handling the publicity of a French-made movie. It certainly didn't decide it wanted to make this movie, only that it wanted streaming rights for the US market.
What I said was just an honest and unbiased opinion about what separates the Hollywood majors, where the hierarchies and decision-making processes still reflect decades of company culture, with the kind of decisions that are more likely to be made by the new streaming companies which have no ties to the (traditional) Hollywood studios.
On that part, I don't think there is any doubt that new streamers, which don't exist merely as an extension of Hollywood studios, have a different set of values and priorities: no Hollywood studio would have financed an expensive project like the last couple of movies by Martin Scorsese, because financially they don't make any sense to an old-fashioned studio to make - but they make plenty of sense for Netflix or Apple to finance.
Rae, I have a lot of respect for you but I believe people should be free to voice their thoughts about Netflix without anyone here taking a personal offense over it.
My comments reflect my take on Netflix, they are obviously not meant to offend you in any way, shape or form. Peace.
It's not a rookie mistake. Netflix is not new. And they have tons of experts with experience at other Hollywood studios.
And yes Hollywood studios all bid to try to get Scorcese's projects. What are you talking about? Lots of studios would have loved to pay for The Irishman not necessarily for the money, but for the prestige and awards.
Martin Scorcese, young prodigy who just needed a break from a daring new startup called Netflix, yes. You've probably never heard of them. They're not really part of Hollywood.
This **** is going to go on for days now.
Nah I am probably going to give in to what all the smart people have done and just put Tina on ignore. My IQ will go up several points when I do.
Edit: Done. And now my IQ is 100!
Are there any cab drivers here? I’d like to know if Uber is a taxi company, or a tech company that distribute people from one place to another?
OK, see, maybe you don't know all the facts?
Why Martin Scorsese Made ‘The Irishman’ for Netflix
In a new piece on The Irishman over at Variety, details of how Scorsese’s critically acclaimed three-and-a-half-hour epic drama landed at Netflix have been revealed. The film—which is based on the book I Heard You Paint Houses and charts a hitman’s life and career over a 40-year span—was originally set up at Paramount Pictures, where Scorsese previously made The Wolf of Wall Street. But in 2017, with Robert De Niro, Al Pacino, and Joe Pesci all attached to star, Paramount and co-financier STX began to feel uncomfortable about the film’s financial investment.
Look, I wrote about film professionally for many years and even though I'm not doing that right now, I still follow the trade journals pretty closely. So yeah, I do know a thing or two about this...
And again, it's not something you should be taking personally, people should be able to voice their opinions and use their professional experience when it is appropriate in talking about the arts, the entertainment industry, etc.
Nothing that I have said about Netflix reflects any less respect towards you, personally, in fact I didn't even remember you had a previous financial relationship with them until you reminded everyone.
Elvis has left the building. You’re on ignore.
Anyway, I have debated whether to watch this movie just to have an opinion on it. But it kind of feels like that would be a win for Netflix since their stunt would have worked.
Maybe just think of it as the prequel to Showgirls, and don’t bother