All Things:NETFLIX

jerseydevil said:
?The Flash,? ?Arrow? Could Leave Netflix When Deal Expires; CW May Launch Own Service
http://collider.com/arrow-the-flash-netflix-cw-streaming/

Catch up while you can...
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Not according to The Wall Street Journal:

If Netflix and the CW do not come to terms on a new agreement that does not mean the current shows from the network will disappear from the streaming service anytime soon. Under the terms of the 2011 pact, Netflix has rights to those shows for many years, even after their initial run on the network has ended.
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Netflix Says It Will Shut Down Users Who Connect Via Proxy Or VPN

Some members use proxies or “unblockers” to access titles available outside their territory. To address this, we employ the same or similar measures other firms do. This technology continues to evolve and we are evolving with it. That means in coming weeks, those using proxies and unblockers will only be able to access the service in the country where they currently are. We are confident this change won’t impact members not using proxies.
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Is there a financial reason why Netflix has a problem with this, I wonder?
 
It's big news up in Canada because the US content is 1000% better than what we have to pay for every month.
 
adgy-san said:
But how is that hitting their bottom line? People have to pay for the subscription already, right?

Unless they're being pressured from studios?
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I would think pressure from studios to pay licensing fees for the destination country. Also to prevent any legal issues in broadcasting from a country they are not supposed to broadcasting to?
 
Orange Is The New Black Sets A Season 4 Premiere Date

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skulllead said:
I would think pressure from studios to pay licensing fees for the destination country. Also to prevent any legal issues in broadcasting from a country they are not supposed to broadcasting to?
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No doubt. Unless they do this, they're not only subject to potential lawsuits but may not get content in the future, which would be a death sentence.
 
adgy-san said:
Yeah, you read anything about any of these yet?They all sound like they've got some potential.
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Nah, but that one with Thomas Jane looks like one that I would have thought would have had at least a one week theatrical run in some obscure theater. Maybe it did. Look, they are all gonna be direct-to-dvd quality entries as far as budget goes...hopefully they have a little meat on the bones, because I think Blumhouse at least tries to give value for the money.
 
A little surprised to see that Phil Joanou directed one of these. That's a name I haven't even thought about in a long time, but I thought Three O'Clock High, Rattle and Hum, and State of Grace were all very solid, and I was surprised to see how relatively sparse the work has been since. On his IMDB bio page, there's a lengthy and intriguing quote from him about working on Veil. Excerpts:

We made the movie for 4 million dollars in twenty-five days. The way Jason Blum's business model works is that everyone works for scale - me, the actors, everyone - and some of the above the line people get a little bit of backend if it makes some money. You don't get a cent beyond that 4 million, but there's no interference.
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Cool!

I don't know what's going to happen with ours, but I don't really care. I'm over whether you get 3,000 screens or Netflix, I'm just happy I got to make the movie I wanted to make.
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Every promise Blumhouse has made to me they've upheld, and I've had a great experience and have been really surprised by how well it has come out. You have to understand, Three O'Clock High (1987) was 5 million in 1986, so this is the cheapest movie I've done. Actually, I did Entropy (1999) for 3 million, so that one was really tight, but that was just crazy. That's on my site now if you want to see it.
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I haven't finished reading them all, but there seem to be multiple interesting quotes from him on that bio page, for the curious like me.
 
Doubts Cast On Netflix Claim It Can Block Programming Regionally

But tech journalists and analysts have speculated that Fullager’s announcement might be an attempt to placate rights holders as Netflix strives towards making all of its content available across all of its catalogues – and that the use of VPNs will continue because it is too difficult to stop.

In early January – less than a fortnight before Fullager’s blog post was published – Netflix’s chief product officer, Neil Hunt, told the CES conference in Las Vegas that, though the company used “industry standard technologies” to limit the use of VPNs, it was restricted in how effectively it was able to target them.

“Since the goal of the proxy guys is to hide the source, it’s not obvious how to make that work well,” he said.

“It’s likely to always be a cat-and-mouse game. [We] continue to rely on blacklists of VPN exit points maintained by companies that make it their job. Once [VPN providers] are on the blacklist, it’s trivial for them to move to a new IP address and evade.”
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LetTigerIn said:
A little surprised to see that Phil Joanou directed one of these. That's a name I haven't even thought about in a long time, but I thought Three O'Clock High, Rattle and Hum, and State of Grace were all very solid, and I was surprised to see how relatively sparse the work has been since. On his IMDB bio page, there's a lengthy and intriguing quote from him about working on Veil. Excerpts:



Cool!





I haven't finished reading them all, but there seem to be multiple interesting quotes from him on that bio page, for the curious like me.
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Yeah, their business model is weird too. Something like Universal has first pass at distribution, but it's like Blumhouse is a sort of independent player peddling their wares door to door. Ever since Universal passed on Joe Carnahan's Stretch, Blumhouse has been forgoing the theater route more often. Netflix is doling out BILLIONS for original content, if the stories are to be believed, so I think you are going to see a LOT more of this with what used to be lower ended semi independent flicks. And it's not necessarily a bad thing. For f's sake, that Sandler flick is a RIDICULOUS success. So take that multiplexes.
 
jerseydevil said:
Yeah, their business model is weird too. Something like Universal has first pass at distribution, but it's like Blumhouse is a sort of independent player peddling their wares door to door. Ever since Universal passed on Joe Carnahan's Stretch, Blumhouse has been forgoing the theater route more often. Netflix is doling out BILLIONS for original content, if the stories are to be believed, so I think you are going to see a LOT more of this with what used to be lower ended semi independent flicks. And it's not necessarily a bad thing. For f's sake, that Sandler flick is a RIDICULOUS success. So take that multiplexes.
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Yup, the times, they are a-changin'… fast! I suppose that straight-to-Netflix is sort of replacing straight-to-video somewhat, but, thanks to Netflix's track record with original content, minus much of the stigma attached to straight-to-video.

Joanou addresses some of the basic economics of that Blumhouse distribution model further on in his quote about The Veil:

The deal with Universal is that they'll decide what kind of release you get when it's all done, and unfortunately it costs a minimum of $25 million to market a movie theatrically. So as soon as you decide something's going theatrical as opposed to just VOD it goes from being a $4 million risk to, rounding up, a $30 million risk. Since you only get half that money, the movie has to gross a minimum of $60 million to break even. So they start thinking, "At 4 million we're guaranteed a profit, why would we risk it?"
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