Netflix ersetzt Kino, Videothek, Fernsehen, Filmfestivals, Cannes, Wettbewerbe und Oscars

Steven Spielberg beim „Hollywood Reporter“ aktuell zum Thema Netflix:


Thierry Fremaux, Festival-Direktor des Cannes Film Festivals, in einem Interview mit „Variety“ über die dort anscheinend driftende Netflix-Regel und über andere aktuelle Gadgets wie VR, selfies, Genderismus:

Die zentrale Passage darin:

„But Cannes aspires to welcome all sources of contemporary creativity, and today Amazon and Netflix — and tomorrow perhaps Apple — represent something important. Especially because they work with brilliant filmmakers, some of whom are among Cannes’s returning auteurs. These new partners of the film sector have a very strong economic footprint. We will eventually come up with a good agreement. Because in order for a film to become part of history, it must go through theaters, box office, the critics, the passion of cinephiles, awards campaigns, books, directories, filmographies. The collective discussion in cafes, in theaters, on the radio. All this is part of a tradition on which the history of film is based. Last year, in France, the films from Noah Baumbach and Bong Joon-ho sadly didn’t really exist. They got lost in the algorithms of Netflix. These films don’t belong to the psyche of film lovers. It’s unfortunate because they are beautiful films. But eventually we will understand that the history of cinema and the history of the internet is not the same thing.
That said, Netflix is welcome at Cannes, outside of the competition or Un Certain Regard. We had a recent meeting in Paris. The dialogue continues and I’m sure it will be fruitful. They are very eager to return to Cannes and we’re very eager to welcome them.“

Steven Soderbergh zu Netflix während Sundance im Januar 2018:

Seine pragmatische Haltung im Zitat:

“Getting upset about Netflix to me is like getting upset about the weather,” he said. “It’s just something that’s happening and we have to decide what we feel about it. They’re not going anywhere anytime soon. For as many instances as you can say, ‘Oh, they’re being destructive or cannabalistic in this space,’ they are absolutely providing eyeballs for filmmakers in another space that just wouldn’t exist, period. I don’t see any benefit on partisanship within this arena of storytelling and trying to reach an audience. You don’t make these things to be seen in a closet.”


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