It wasnРІР‚в„ўt based on a comic book, and getting the money to make it had been so difficult he considered turning to HBO.

It was a serious drama with no sequel potential. Of course, this isnРІР‚в„ўt a herald of the death of cinema, but rather, as Thompson writes, РІР‚СљSpielberg and Lucas were basically calling attention to the end of the movie business in which they grew up.РІР‚Сњ Spielberg, as powerful a director as there is in Hollywood, struggled to get Lincoln made.

Nineteen were based on some other property, eight were sequels, four were comic-book franchises, two were remakes, two were prequels, and seven were originals. Compare this to the top 26 films of 2012: It was a РІР‚Сљfour quadrant movieРІР‚Сњ, a film that is equally appealing to young, old, male or female, the kind that studios constantly chase after. It was based on an original story and it stayed on screen for more than a year in America. was the biggest box office success of its year. This is the type of distribution most cinema owners fear: it renders them obsolete.Р”Р„ bit of comparison. Josh WhedonРІР‚в„ўs In Your Eyes is an example of a film that bypassed traditional distribution structures and went to VOD on the very same day it was premiered at the Tribeca film festival. Some films are made available on VOD before they are screened in cinemas, or bypass cinemas altogether.Р”В¬lose to a quarter of the 2012 Sundance releases were made available concurrent with or before their theatrical openings on VOD outlets РІР‚вЂњ cable iTunes, Hulu or filmmakersРІР‚в„ў own websites. Now, thereРІР‚в„ўs a rush to get everything to Video on Demand as quickly as possible.

Then it would be sold and rented on DVDs, then showed on pay cable, and then made available on broadcast television all over the world. It used to be that movies played in cinemas, then the film was made available after three or four months at a premium cost by Video on Demand (VOD). The whole distribution system has changed too. Studios benefitted economically but according to Thompson, many filmmakers РІР‚Сљtry to sock away a 35mm print of their films for safe-keeping as digital formats demand constant, expensive upgrading to the latest systemРІР‚Сњ. Screen conversions from 35mm to digital expanded globally from 16,000 in 2009 to 36,000 in 2010 and by 2012 the changeover was complete. As a result, in 2012 Sundance logged more than 4,000 feature submissions: the problem becomes one of finding screens for all these films. On one hand, this permits all kinds of additional special effects which can potentially make them very expensive on the other hand, more personal dramas that donРІР‚в„ўt require much post-production can now be made on a micro-budget. What becomes clear from ThompsonРІР‚в„ўs book is that the whole system has changed, at least as it pertains to the РІР‚СљglobalРІР‚Сњ film industry of the United States. The seeds of the industryРІР‚в„ўs destruction were present in 2012РІР‚Сњ. РІР‚СљIf recordР”Р‡oreign box office is added to total it would have been a $35 billion year.РІР‚Сњ But she goes on to show that РІР‚Сљdespite appearances, the movie business isnРІР‚в„ўt thriving. РІР‚СљIn 2012 US domestic movie box-office delivered a record-breaking $11 billion, up 8.4% on the previous years,РІР‚Сњ Thompson writes. all tanked at the box office and the whole cinematic apparatus, the paradigm of production, distribution, exhibition and the technological, economic and political structures that underpinned it, have indeed changed. White House Down, After Earth, The Lone Ranger, Turbo and R.I.P.D. This may not seem to be happening, but Anne Thompson shows us in her interesting and illuminating new book, The $11 Billion Year, that the prediction has already come true. The failure at the box office of РІР‚СљtentpolesРІР‚Сњ, mega-budget movies that are designed with potential sequels in mind and anchor a studioРІР‚в„ўs release schedule, РІР‚Сљare going to go crashing to the ground, and thatРІР‚в„ўs going to change the paradigm,РІР‚Сњ he said. In June 2013, at a University of Southern California event with George Lucas, Steven Spielberg predicted an implosion of the film industry. Worth a prayer, anyhow РІР‚В¦ EPA/Ian Langsdon

After earth movie earnings