I’ve recently been trading long emails with a friend about the economics of Hollywood. It’s a somewhat-timely issue to the tech industry, and I’ve enjoyed thinking through what might be going on:
1. The internet offers products competitive to Hollywood: there’s loads of non-Hollywood content on the web that people enjoy. More entertaining stuff finds its way to the internet every day, and as content distributors (e.g. Amazon, Netflix, YouTube) start producing content, seeking to improve their economics, they’ll be more “premium, Hollywood-like” content.
2. Labor supply is changing too; some of the people who would have gone to work in Hollywood earlier are instead choosing to work on the internet.
3. Until streaming becomes a substantial revenue source for studios, they’ll continue fighting everything that seems like to interfere with box-office receipts or DVD sales – including the internet. Parallels to Hollywood’s initial opposition to VCR sales abound. Yet Hollywood can’t rival the distribution offered by the internet, especially with its current cost structure, and piracy is most common in places where content isn’t legally available. Studios cannot build their own networks of theaters and DVD sellers that rival the internet’s reach and would do well to embrace internet distribution.
4. Wider distribution means more popularity, more of a role in the “cultural consciousness,” and more merchandise sales. Moving forward, it’ll not just be the Twilights that have merchandising machines; more films and shows are turning toward merchandise as a revenue stream (e.g. Mad Men’s collaboration with Banana Republic.) A film industry that embraces distribution as a pathway to revenue is a film industry that’s likely to embrace the internet.
5. Box office revenues have been falling, but they still matter because they seem to be the best-available indication of a movie’s future cash streams. (For how much longer will the bragging rights of box-office receipts matter? When can we start using Facebook newsfeed data to predict box office takes?) Yet without revenues to securitize and sell off upfront or better control of production and marketing costs, studios will make bets that appear to be safe. In practical terms, this means more sequels and cookie-cutter plots.
6. Competition from the internet should improve the movie-going product. Theaters will have to offer a more differentiated experience than simply a big screen, surround sound, and comfortable chairs (you can have all that and more in your home.) I expect we’ll see “super-premium” theaters in big urban areas and theaters selling alcohol in many more areas.
7. Despite the downward price pressure from Moore’s Law and componetized software, movie-making technology is becoming more expensive. Call me techno-optimistic, but this seems unsustainable.
8. One interpretation of Kickstarter’s rise in the indie movie world is that it provides a proxy for market demand. A Kickstarter project’s success can be used to assess movie-product/market fit. It is also true that Kickstarter — and “the internet” more broadly — increases the chance an indie movie will be discovered; as grocery stores move to upper floors, movie marketing will matter less.
9. As other forms of media have moved online, they’ve gotten more participatory. Participatory projects succeed when: 1) the bigger project can be parceled into smaller, lower-cost pieces; and 2) there’s a large pool of potential workers available. Figuring out how to break apart movie production while controlling or lowering video-production costs will open up new forms of “movie media.”
10. The economics of Hollywood movie production seem sufficiently unattractive to support current production costs, but today’s studios aren’t being wholly irrational either. (Put differently: it would still be difficult to produce J. Edgar, even if you started from a Silicon Valley garage; put differently still: movie production isn’t yet garage ready.) Yet Hollywood, the high-cost and high-quality producer, has begun hitting diminishing returns, and there’s an opening for “a new type of movie” that starts out looking inferior but, over time, is able to win through relentless increases in efficiency.