The biggest players at the Sundance Film Festival are Hollywood outsiders. Amazon and Netflix, with their deep pockets and big ambitions, have picked up several films and have driven up the bidding for others. Backed by the might of their massive audiences, superior technology, and business models unfettered by the typical constraints of Hollywood, these tech giants provide a new hope for independent filmmakers.
Amazon’s bought five independent films so far, including the well-receivedManchester by the Sea for a reported $10 million. Netflix, meanwhile, has picked up streaming rights for three films, including Tallulah starring Ellen Page, and announced it will produce a slate of indie features. And the film festival isn’t over until the end of this week.
This isn’t the first year Netflix and Amazon have attended Sundance. But their presence looms larger than ever over the festival and the film industry. As major studios have been slower to pick up films, the two tech titans have aggressively offered top dollar, rattling the nerves of those at established studios.
And yet for filmmakers, their interest offers a new kind of opportunity. At the most basic level, the big budgets offer filmmakers a chance to repay investors. More importantly, Netflix and Amazon provide access to a much wider potential audience while promoting a diverse range of stories and ginning up excitement for independent films in general. But as Netflix and Amazon try to change the industry, they must reckon with what filmmakers ultimately want.
And what’s good for artists isn’t always what’s good for Amazon and Netflix.
A New Arthouse Circuit
Independent filmmakers have always struggled to find funding and an audience. But in the past 10 years, the number of indie filmmakers has grown substantially as the cost of making films has dwindled, making competition for distribution even more cutthroat. “It’s becoming more and more difficult to get independent films distributed whether that’s in traditional movie theaters or even on cable, ”says Tom Nunan, a founder and partner of Bull’s Eye Entertainment and a lecturer at UCLA’s school of theater, film, and television.
In recent years, however, Netflix and Amazon have come onto the scene with platforms that command tens of millions of viewers—and perhaps just as importantly, seemingly unlimited bandwidth. After all, streaming video isn’t limited by the number of available movie screens or TV time slots.
As both tech companies amassed their inventories of self-produced content, they also started acquiring independent films, ranging from the big Sundance acquisitions this year to smaller buys that end up on their services through distributors. “The idea that the streaming services can be our new arthouse circuit is just nothing short of lifesaving for these artistic storytellers,” Nunan says.
“The best thing is that because of Netflix and Amazon and all of these places, everyone can see these movies all over the world,” says Rob Burnett, the writer and director of The Fundamentals of Caring, to which Netflix acquired the streaming rights ahead of Sundance. “All of these movies that may not get theatrical releases, or may get minimal theatrical releases, they can now be seen.”
Netflix and Amazon not only offer built-in audiences, but those audiences can experiment more easily. While most moviegoers may not want to “risk” an entire evening stuck in a theater watching, say, an independent documentary about concrete changing color, Nunan says, tuning in at home on Netflix or Amazon demands virtually no investment. The film is already paid for, and can be turned off at any time.
Amazon says it has seen “good demand” for independent films. “If you don’t live right in a city, it may not be convenient to see some of these very interesting independent films,” says Roy Price, head of Amazon Studios. “But once you take that constraint out of the system, we’ve observed there are categories that tend to thrive when they have greater availability. It’s been a good few years for independent films and documentaries.”
The tech giants also have more leeway to experiment. Their subscription-based models mean they don’t need every film to be a blockbuster. A single movie or show on Netflix and Amazon needn’t appeal to everyone; the key for both platforms is making sure they offer enough of everything to attract anyone.
Renowned filmmaker Spike Lee, for example, was able to get his film Chi-Raqmade by Amazon after being turned down by the major studios. “It’s a great option for filmmakers because now you have another place to go to. I knew going in that it would be a very long shot for a major studio to do Chi-Raq. Thank god Amazon [did],” Lee says. “The more options there are, the more options there are for anybody, including young filmmakers.”
Written by Julia Greenberg of Wired