<sub id="77plr"><listing id="77plr"><menuitem id="77plr"></menuitem></listing></sub>

          <address id="77plr"><listing id="77plr"><meter id="77plr"></meter></listing></address>

            <address id="77plr"></address>
            <dfn id="77plr"><listing id="77plr"><menuitem id="77plr"></menuitem></listing></dfn>

                      <form id="77plr"></form>
                        You will be redirected back to your article in seconds

                        Netflix Film Chief Scott Stuber Says Streamer Planning to Release More Audience Numbers

                        Netflix is closer to getting into the numbers game than it’s ever been.

                        Scott Stuber, the head of original films at Netflix, says the behemoth streaming company — which has famously kept its viewership and box office data hidden from public display — is working on a comprehensive system of making audience metrics for its films more transparent.

                        While in a conversation with Variety editor-in-chief Claudia Eller at Variety‘s Innovate Summit presented by PWC in Los Angeles on Thursday, Stuber explained that Netflix is “building towards” releasing more viewership data.

                        “You’ll see more numbers from us, more transparency, more articulation of what’s working and not,” Stuber says. “Because we recognize it’s important, sometimes to the creative community. It’s important to the press. It’s important to everything. So we were definitely headed in that direction as a company.”

                        Other Netflix executives — including content chief Ted Sarandos and CEO Reed Hastings — have also said this year that the company is aiming for more transparency with its audience. But on Thursday, Stuber spoke with more detail about the nature of Netflix’s thinking regarding the specific challenges it faces in this arena.

                        Stuber stresses that since Netflix’s original film operation is still very much in its infancy, the company is working through how best to deliver audience data in a precise and thorough way. He notes that Netflix has been releasing top 10 lists for its U.K. and Mexico markets, and has been releasing select numbers when some films, like “Bird Box” and “Murder Mystery,” hit certain milestones.

                        But the company’s strategy to release some movies theatrically before they debut on streaming, he says, presents a different kind of hurdle.

                        In a hypothetical scenario, he says, what if Netflix releases a movie that is projected to open at $15 million, but only opens to $9 million?

                        “If that asset is perceived as a failure and then four weeks later or five weeks later I put it into an ecosystem where 50 million people watch it, it’s a giant hit for me,” he says. “But now my consumer has been told by you [in the press] that is a failure when that’s not the full business story.”

                        “We’re not hiding anything,” he adds. “I just want it to be articulated correctly to protect the filmmaker and protect the movie because [box office is] not the whole business for us.”

                        In a follow-up interview with Variety after his panel at the summit, Stuber says the goal is to be able to release audience data with enough detail to provide the entertainment media proper context for their meaning.

                        “I just need us to get good at it, so we can be precise,” he says. “Consistency is what you guys want.”

                        There are, he says, some internal metrics that are unique to streaming platforms that don’t translate to traditional media.

                        “Like, I know how many people signed up to watch ‘The Irishman,'” he says.

                        But ultimately, he says, the math is very similar to the TV and film business. “How much did it cost? Did enough people watch it?” he says. “If I make something for $40 million, then X amount of accounts have to watch it. So they better watch.”

                        And at some point, Netflix will be more comfortable sharing what the “X” stands for.

                        More Film

                        • Robert De Niro, Martin Scorsese and

                          Film News Roundup: Leonardo DiCaprio Presenting Robert De Niro SAG Life Achievement Award

                          In today’s film news roundup, Leonardo DiCaprio will present Robert De Niro with his SAG Life Achievement Award, the Oliver Sacks documentary finds a home and UCLA’s School of Theater, Film and Television gets a new dean. AWARD PRESENTATION Leonardo DiCaprio has been selected to present Robert De Niro the SAG Life Achievement Award  at [...]

                        • KARNAWAL

                          ‘Karnawal,’ ‘Restless,’ ‘Summer White,’ ‘Firsts’ Win Big at Ventana Sur

                          BUENOS AIRES  — With Ventana Sur now firing on multiple cylinders, featuring pix-in post or project competitions for not only art films but also genre pics and animation – two sectors embraced by young creators in Latin America – “Karnawal,” “Restless,” “Summer White” and  “Firsts” proved big winners among Ventana Sur’s arthouse and animation competitions, [...]

                        • (center) George MacKay as Schofield in

                          From "1917" to "Jojo Rabbit," Composers of Some of the Year's Top Scores Talk Shop

                          “1917,” Thomas Newman The 20-year collaboration of director Sam Mendes and composer Thomas Newman has encompassed midlife crisis (“American Beauty”), crime in the Depression (“Road to Perdition”), the Gulf War (“Jarhead”), marriage in the 1950s (“Revolutionary Road”) and two James Bond adventures (“Skyfall,” “Spectre”). Now they’ve tackled World War I, with “1917,” but Mendes’ much-talked-about [...]

                        • Billy Magnussen Aladdin

                          'Aladdin' Spinoff With Billy Magnussen's Character in the Works for Disney Plus

                          Disney is developing a spinoff of its live-action “Aladdin” with Billy Magnussen reprising his Prince Anders character. The unnamed project is in early development for the studio’s recently launched Disney Plus streaming service. Disney has hired Jordan Dunn and Michael Kvamme to write a script centered on the haughty Prince Anders, one of Princess Jasmine’s [...]

                        • ROAD TRIP – In Disney and

                          Disney Boasts a Bevy of Hopefuls for Oscar's Original Song Race

                          When the Academy announces its shortlist for song nominations on Dec. 16, you can be certain that at least one Disney song will be on it and probably more. Disney songs have been nominated 33 times in the past 30 years, winning 12 of the gold statuettes. This year, the studio has at least four [...]

                        • Innovative Scores Elevated the Year's Documentaries

                          Innovative Scores Elevated the Year's Documentaries

                          It’s next to impossible for a documentary score to be Oscar-nominated alongside the dozens of fictional narratives entered each year. But it did happen, just once: In 1975, composer Gerald Fried was nominated for his music for “Birds Do It, Bees Do It,” a documentary on the mating habits of animals. Fried, now 91, perhaps [...]

                        • Ron Leibman, Jessica Walter'Mary Stuart' Play

                          Ron Leibman, Tony-Winning Actor Known for 'Angels in America' and 'Friends,' Dies at 82

                          Ron Leibman, an Emmy-winning actor who garnered a Tony for his work in Broadway’s “Angels in America” and played the father of Jennifer Aniston’s Rachel Green on “Friends,” died on Friday. He was 82. Robert Attermann, CEO of Abrams Artists Agency, confirmed the news to Variety. No further details were immediately available. Leibman, a native [...]

                        More From Our Brands

                        Access exclusive content

                        成 人 网 站 视频免费