Here are snippets of the actual article. You should still read the article, it's pretty funny.
|The distribution arm sets whatever fees it wants. If they want to charge themselves eleventy quintillion dollars for distribution, they totally can. Then, even if the film earns billions of dollars in box office receipts, they’re still technically in debt (to themselves) and thus haven’t turned a profit. |
|The first weekend of a movie’s release, the profit is split heavily in the studio’s favor, typically around an 80/20 split. The second weekend, it may change to a 70/30 scale, and so on. So why do the theaters take these awful deals? Because if they don’t, the studio is under no obligation to lease their films to that theater, so they can just totally bounce if they want to. |
|Marketing departments just plain don’t give a #. For example, one critic’s review of Live Free or Die Hard got shortened from “hysterically overproduced and surprisingly entertaining” to “hysterically… entertaining.” Sometimes they’ll even take the blurb from parts of the review where the critic was referring to a different movie entirely or the genre as a whole. Another fun trick Hollywood likes to use is trying to woo critics with free screenings, food, set visits, and other goodies. The people who take the bait are called quote ******. |
|Nowadays, the very act of creating something gives you copyright, whether you register it or not, but back then, you had to specifically register the copyright for the works you wanted protected, and you had to label it in a very certain way afterward. A George Washington University copyright expert found Steamboat Willie to be not properly copyrighted and therefore being public domain and published a paper saying so. It was at this point that Disney took notice of the issue and actually threatened to sue him for “slander of title.” |
Controlling Consumer Choice
|You see, film studios aren’t the biggest fans of things like Netflix, Redbox, or Hulu. You know, those things that allow you to pick and choose what you want to watch when you want to watch it for a reasonable, affordable price. The reason is that it eats into their sales of DVDs and pay-per-view rentals, for which they get a much higher cut of the profit. As DVD sales drop, movie studios panic. So, instead of adapting their business model to a format that consumers obviously prefer, they’d rather try to turn back the clock and take away the distribution methods people love and enjoy. |
|Turns out, some of those crazy people who constantly crop up and say Hollywood producers ripped off their scripts aren’t so crazy. In fact, it turns out that it’s a dirty little secret of Hollywood’s that stealing scripts is almost commonplace. Example: Buchwald was already a successful humor writer and satirist, even winning himself a Pulitzer for his work. he pitched Paramount an idea for a movie about an African prince who moves to America to find a bride. He suggested Eddie Murphy as a lead actor. Paramount took the pitch, but then had trouble getting it off the ground. The rights returned to Buchwald and he pitched it to Warner Bros. Warner Bros. killed the project. Turns out, there was a similar film going into production at Paramount. It was a movie about an African prince who moves to America to find a bride. It starred Eddie Murphy, who was also given writing credit. That movie was Coming To America. |
wow.. just wow that just wrong if it's all true....
That's Hollywood, babe. To be fair, this criticism only sheds light on the business side of film (marketing, funding, exhibition, distro, etc.). But those people who are savvy in the production side of film (cinematography, lighting, art direction, wardrobe, etc.), know that film can be quite an amazing collaboration that is creatively fulfilling as much as it is financially lucrative.