OTT Comment: That Will Be Salt On Wound Moment
To get right to the point, many exhibitors and distributors believe that the theatre market is being killed by early OTT releases of movies that occur less than four weeks before their scheduled theatrical release. What then would happen if a producer like dil Raju, whose film "Thank You," flopped horribly? Will it not be salt in the wound for him if he waits a long time before trying to sell the movie to OTT?
Well, rather than concentrating on the plot of movies and creating content that is worth seeing, many producers—who also happen to be distributors and exhibitors—are suddenly lamenting how early OTT release is hurting the theatre sector. But it doesn't appear to be the case. A film like PellisandaD wasn't distributed on OTTs until a year after its theatrical debut, but it failed to perform well. Despite dil Raju's announcement that f3 would be available on streaming services in just two months, the movie didn't receive massive box office returns.
In all honesty, a movie will continue to be seen if its contents are enjoyable. After being exposed to international movies through OTTs following the epidemic, audiences' mindsets have evolved, thus writers' and directors' (including heroes' and producers') mindsets ought to follow suit. The audience would only visit movie theatres if the material was worthwhile for the $100–$200 ticket price. No one will go to the theatres if you scare them with a distant OTT release date.
Well, rather than concentrating on the plot of movies and creating content that is worth seeing, many producers—who also happen to be distributors and exhibitors—are suddenly lamenting how early OTT release is hurting the theatre sector. But it doesn't appear to be the case. A film like PellisandaD wasn't distributed on OTTs until a year after its theatrical debut, but it failed to perform well. Despite dil Raju's announcement that f3 would be available on streaming services in just two months, the movie didn't receive massive box office returns.
In all honesty, a movie will continue to be seen if its contents are enjoyable. After being exposed to international movies through OTTs following the epidemic, audiences' mindsets have evolved, thus writers' and directors' (including heroes' and producers') mindsets ought to follow suit. The audience would only visit movie theatres if the material was worthwhile for the $100–$200 ticket price. No one will go to the theatres if you scare them with a distant OTT release date.