Writer/director Alejandro González Iñárritu’s filmography is filled with complex, emotion-heavy cinematic masterpieces. He is responsible for presenting the world of film with tales like 21 Grams, Nine Lives, Babel, and Biutiful. His 2014 film Birdman or (The Unexpected Virtue Of Ignorance) earned him three Oscars for Best Original Screenplay, Best Director, and Best Motion Picture. He would once again win the Oscar for Best Director a year later for his visionary epic The Revenant.
Recently, while serving as jury president of the Cannes Film Festival in France, Iñárritu sat down with The New York Times to discuss the current state of film in regards to streaming services and movie cinemas. The filmmaker made it clear that while he sees the importance in defending the cinema experience, he notes that companies like Netflix are not to blame. When he was asked what he thought of more people watching movies on a service versus theaters, he responded:
“That’s a real problem. How many of the films we are lucky enough to have the privilege to see here in Cannes will make it to the world, accessible to Joe Smith in Arkansas? These great stories can empower him to grow in every sense, but when will they be available, and how?
Some of the films will only get to you through streaming services, but I think the big problem is that when it comes to the way films are being produced, distributed and exhibited, the system is homogenized. It leaves almost no space for other kinds of films in the world. The easy way out has been to blame Netflix — they have been the scapegoat. But my point is that there’s nothing wrong with Netflix. Netflix is capitalizing on the lack of diversity in cinemas and putting it on TV.”
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Instead, Iñárritu places the blame on Hollywood and cinemas themselves for focusing only on mega-blockbuster epics and not creating a diverse selection of films at theaters. He continues:
“That’s the point. Few studios are making that kind of middle-budget, interesting, multicultural film, so the distributors are not getting those films anymore, and the exhibitors will not show those films that get them maybe three percent of the money that the big tentpoles and franchise movies give them.
When I started [nearly] 20 years ago with Amores Perros, there was still a healthy market where middle-budget international films were bought and sold in different territories, and there were specialized companies that were interested in promoting that culture, like Paramount Vantage. That’s gone. And it’s because everyone is saying ‘how do we get more money, and how do we get it faster?'”
Iñárritu made it clear that he supports Netflix and its abilities to open doors for up-and-coming filmmakers as well as providing audiences with diverse, original stories, but that it should not eliminate the theater experience.
“I love virtual reality, I love that you can watch a short film in your home. But that technology should not cancel film. There has always been a fear that TV would cancel film, or radio would cancel film. That never happened before, but now it is actually happening, and it’s very scary…
I have really been advocating to find a middle point where exhibitors can bring those experiences to their theaters without losing money, and Netflix can make events of some of their films where, a month and a half later, they go to TV. That would be fair. That would give me the choice if I want to experience theatrical or watch on my phone. Just give me that choice. Cinemas are the womb of what we are, so if we kill that womb, we will all be dead very soon.”
Iñárritu’s feelings toward a balance between cinema and streaming service is exactly where I land. I am a staunch defender of Netflix, Hulu, and all the streaming services that exist. Because of them, many storytellers now have the opportunity to create their projects and audiences have the chance to experience stories that would not be available at their local theater. Their existence makes my gig as well as all the writers here at LRM a bit easier.
On the other hand, I personally love being in a movie theater. While I’m aware of the complaints some have (crowded, expensive, rude behaviors), those experiences have been the minority in my lifetime of attending cinematic adventures. For me, some films are meant to be experienced on the big screen. You can tout your 80″ Smart television with state-of-the-art surround system all you want. It doesn’t compare to those gigantic screens and enormous speakers that dominate the modern cinemaplex.
With that said, it would be nice for theaters to feature more diverse forms of art, and not just the mega-million films and mainstream popcorn flicks. As much as I loved every second of Avengers: Endgame at my local theater, I would also enjoy seeing a Cannes or Sundance pick on the same big screen in small towns and communities. Here’s hoping we can have a balance.
What do you think of Alejandro González Iñárritu’s stance? Leave your comments below.
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Source: New York Times.
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