Written by Frehiwote Negash
The old adage ‘There is no such thing as bad publicity’ couldn’t be truer for Sony Pictures when it comes to ‘The Interview’. From the debilitating cyber-attacks on Sony to internet outages in North Korea, the tit for tat is baffling when you remember this stems from a comedy film that would be otherwise forgotten in matter of weeks. The hype surrounding the release of ‘The Interview’ reached a tipping point last week when Sony announced it was removing the film from wide release but not before major theatre chains banded together to state that they weren’t going to screen it citing security reasons (Tassi, 2014). Their decision on the matter is a curious one as they have effectively censored themselves; something that hasn’t happened since the implementation of the Hays Code in1934. The film was supposed to be released Christmas Day on 3000 screens across the U.S. The refusal of major chains to screen the film forced Sony to pursue other forms of distribution in an effort to recoup the $44 million spent on the film (CBC, 2014). Online platforms such as Google Play and YouTube offered consumers the option to rent or buy the film. ‘The Interview’ is also available via Microsoft’s Xbox and Sony’s PlayStation Video platforms. For consumers who wanted a big screen experience, 331 independent theatres across the U.S screened the film on Christmas Day (Eadiccio, 2014).
The on-going political maelstrom and initial fascination might be enough to get a significant audience to watch the film on non-traditional platforms. The proof is in the numbers as ‘The Interview’ made a $1million on Christmas alone with a limited release (CBC, 2014). This satirical comedy isn’t the next Citizen Kane but a more potent argument has emerged for seeing the movie. The relative success of release has less to do with artistic freedom and more to do with freedom of expression. Once hackers invoked the memory of September 11th, moviegoers came out in droves to see it. While the controversy brought people to the theatres that would otherwise never see the movie, it is also a testing ground for digital film distribution.
One of the issues that could plague this form of distribution is online piracy. The illegal practice is not limited to content distributed on digital platforms as films are uploaded online within hours of their release. Consider that moviegoers pay $17 a ticket plus concessions which can cost more than the price of admission for a product that isn’t nearly the same quality as what cable channels and streaming services are doing. American networks like HBO, Showcase and AMC create their own content and maintain a high level of quality. Streaming sites like Netflix are also creating their own programming and content. Not only do they have a large viewership that subscribes and pays for the service, it is affordable and offered in the comforts of your home or on your smartphone (Tassi, 2014). While Sony hasn’t yet released sales figure, the movie leads sales on YouTube and Google Play; an encouraging sign for digital distribution. For the consumer, the question boils down to what is important: the convenience of your home or the movie experience.
Works Cited
CBC.” The Interview grosses more than $1M US in limited release.” CBC. Accessed December 28, 2014, http://www.cbc.ca/news/arts/the-interview-grosses-more-than-1m-us-in-limited-release-1.2884272
Eadicicco,Lisa. ” Microsoft:: Here’s Why We Decided To Release ‘The Interview’” Businesss Insider. Accessed December 28, 2014,http://www.businessinsider.com/microsoft-release-the-interview-on-xbox-video-2014-12#ixzz3N8mUQgxy
Tassi, Paul.” What ‘The Interview’ Accidentally Taught Us About Digital Film Distribution.” Forbes. Accessed December 28, 2014, http://www.forbes.com/sites/insertcoin/2014/12/27/what-the-interview-accidentally-taught-us-about-digital-film-distribution/