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Netflix Is Forcing Hollywood into a Talent War

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Re: Netflix Is Forcing Hollywood into a Talent War

#11

Translation: Hollywood was underpaying producers relative to the value they generated. Netflix saw an opportunity and signed deals with producers more in line with the value they generated. Because of this competition, Hollywood is now paying producers more. Sounds like an unequivocal good thing for film and television. Talented producers get paid more. More money is being invested in films and shows. Obviously, film…

It's a great thing for the real creative leader types. I've wondered if this would happen in software. Of course we are amazingly well off by the standards of most fields. I still feel based on the value we give companies that there is room for compensation to greatly increase. In the movie and tv biz, I think everything is basically unionized for regular crew and actors, so they have basic decent pay. Is there any d…

With the low interest rates cheap capital is accessible to selected companies. The cheap capital is used to acquire monopoly position instead of just competing for talent.

I don't think the biggest problem is that software engineers are under-compensated. It's more like assets are overpriced, so we're not able to buy houses.

Re: Netflix Is Forcing Hollywood into a Talent War

#12
> “The increased volume at other places has worked in our favor,” says Casey Bloys, the head of programming at HBO.

I do hope this is the case but I'm not convinced. Netflix's approach atm seems very strongly geared towards the middlebrow, which is perhaps the area their algorithms perform best. It's probably not very economical for them to target someone like me when there's still droves of people watching network TV.

I'm not totally sold on the Deuce but it feels like far more of a prestige product than anything I've seen on Netflix. When someone signs with HBO, they know they're gonna be given the opportunity to develop with top notch people whilst retaining control within a proven system. Whereas Netflix seem to be exclusively focusing on throwing money at the problem. For example, Netflix have made several attempts at a cool 30-minute dramedy type deals, absolutely none of them come close to something like Insecure in overall quality. The most noteworthy one (Master of None) has some bizarrely stiff writing at points that would've been helped hugely if Ansari had been paired up with some experienced writers.

Netflix don't do themselves any favours with the notion that things will get lost in the pile. A director selling anything that hasn't a sizeable and obvious audience tends to get absolutely buried on their platform (e.g. Noah Baumbach's last film's only publicity seemed to be the references made to it following Dustin Hoffman's sexual harassment allegations)

Re: Netflix Is Forcing Hollywood into a Talent War

#13
post #8

Given the quality of big budget films like The Last Jedi and The Predator, I would say they have attacked the wrong target. Or maybe the battle has already been won.

The Last Jedi was pretty pretty good to me.

The production values were certainly great. It has some issues with pacing, theme consistency, certain plot elements, and characters.

Re: Netflix Is Forcing Hollywood into a Talent War

#14
post #9

Earlier quoted context omitted.

It’s funny, before the ads annoyed me. But now I’m wary of investing time into any shows because I’m afraid of all the extra time they waste with filler content like unnecessary drama or actors looking at each other’s faces, presumably to make it feel like you’re getting more minutes of content for your money. But I feel like it’s wasting my time. At least I have the option of fast forward, though more likely I’ll ju…

Because of this, I have stopped watching new series on Netflix, and instead use it to re-watch older classic movies and series. YMMV on if it's worth as much but it's enough for me, at least for now.

Netflix's classic movies selection is pretty terrible though, isn't it? I know I checked a couple of months back on the UK library for some noirs and I can't remember exactly but I think there may have only been 1 (Touch of Evil iirc)

Re: Netflix Is Forcing Hollywood into a Talent War

#15
post #8

Earlier quoted context omitted.

The Last Jedi was pretty pretty good to me.

The production values were certainly great. It has some issues with pacing, theme consistency, certain plot elements, and characters.

I can't believe we're still debating if this movie was good or not....

Re: Netflix Is Forcing Hollywood into a Talent War

#16

> “The increased volume at other places has worked in our favor,” says Casey Bloys, the head of programming at HBO. I do hope this is the case but I'm not convinced. Netflix's approach atm seems very strongly geared towards the middlebrow, which is perhaps the area their algorithms perform best. It's probably not very economical for them to target someone like me when there's still droves of people watching network T…

Maniac is a prestige show.

Re: Netflix Is Forcing Hollywood into a Talent War

#17
post #4

Most of these shows are junk. If you don't like comic books or dark murder based series you're not too happy with Netflix these days. It's going to be one big ABC now. What do you expect when you hire one person to churn out seven shows at once? Where's the creative risk taking? Shonda Rhimes? Ugh.

It’s funny, before the ads annoyed me. But now I’m wary of investing time into any shows because I’m afraid of all the extra time they waste with filler content like unnecessary drama or actors looking at each other’s faces, presumably to make it feel like you’re getting more minutes of content for your money. But I feel like it’s wasting my time. At least I have the option of fast forward, though more likely I’ll ju…

Netflix series are hardly the only ones guilty of this.

In my experience, Netflix series with only 8-10 episodes seem to have much less of this than the 22-23 episode seasons the networks churn out.

Re: Netflix Is Forcing Hollywood into a Talent War

#18

> “The increased volume at other places has worked in our favor,” says Casey Bloys, the head of programming at HBO. I do hope this is the case but I'm not convinced. Netflix's approach atm seems very strongly geared towards the middlebrow, which is perhaps the area their algorithms perform best. It's probably not very economical for them to target someone like me when there's still droves of people watching network T…

Maniac is a prestige show.

Maniac is a premium-mediocre show.

Re: Netflix Is Forcing Hollywood into a Talent War

#19

Earlier quoted context omitted.

It's a great thing for the real creative leader types. I've wondered if this would happen in software. Of course we are amazingly well off by the standards of most fields. I still feel based on the value we give companies that there is room for compensation to greatly increase. In the movie and tv biz, I think everything is basically unionized for regular crew and actors, so they have basic decent pay. Is there any d…

With the low interest rates cheap capital is accessible to selected companies. The cheap capital is used to acquire monopoly position instead of just competing for talent. I don't think the biggest problem is that software engineers are under-compensated. It's more like assets are overpriced, so we're not able to buy houses.

> It's more like assets are overpriced, so we're not able to buy houses.

Do you realise that you can buy assets, and houses, outside of California ? I promise you that it's really really easy to buy a house as a software engineer.

Re: Netflix Is Forcing Hollywood into a Talent War

#20
post #9

Earlier quoted context omitted.

Because of this, I have stopped watching new series on Netflix, and instead use it to re-watch older classic movies and series. YMMV on if it's worth as much but it's enough for me, at least for now.

Netflix's classic movies selection is pretty terrible though, isn't it? I know I checked a couple of months back on the UK library for some noirs and I can't remember exactly but I think there may have only been 1 (Touch of Evil iirc)

US content is much deeper than UK, most likely due to (a) operating for longer in that market and (b) better economics for going hunting for licencing rights for not-even-that-long long-tail content.

In case anyone hasn't seen it, here's an eye-opening post from someone at the British Film Institite, explaining the rediculous lengths they had to go to just to do a screening of Kathryn Bigelow's "Point Break"

https://www.bfi.org.uk/news-opinion/sight-sound-magazine/com...

(and the follow up when they eventually managed to get rights to show the movie)

https://www.bfi.org.uk/news-opinion/sight-sound-magazine/fea...

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