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Disney blinds familiarity, conquers the world – CinemaCon



From "The Avengers" to "Solo to Christopher Robin" there is not a single original idea – and that's just one reason why Disney is still ready to win.

While Disney is the undisputed king of the big studios, Tuesday morning's CinemaCon presentations – including its own – showed why it's also positioned at a level beyond its competitors.

During the presentation of the industry Before Disney, the CEO of National Association of Theater Owners, John Fithian, and the new MPAA CEO and Chairman Charles Rivkin, there were many similar comments: The industry is not fighting. Spectators want an experience that can be theatrical, and Netflix can not.

  John Fithian, President and CEO of the National Association of Theater Owners, discusses diversity at the CinemaCon 2018, the official congress of the National Association of Theater Owners, in current films, at Caesars Palace, in Las Vegas2018 CinemaCon - State of the Industry , Las Vegas, USA - April 24, 2018

John Fithian, President and CEO of the National Association of Theater Owners

Chris Pizzello / Invision / AP / REX / Shutterstock

And Fithian has a particular focus on the Hot Button Theme Diversity: "We also applaud large and small content creators and distributors – for significant steps to achieve greater diversity and positive representation on the big screen," he said. "Our customers are demanding that, and we are optimistic that someday 2017 and 2018 will be seen as a turning point on this front."

Of course, all studios are working to address these familiar issues. Disney, however, looks like it could not be beat for years to come.

Big Screens = BIG Movies

While each studio produces Tentpole and would-be blockbuster, it's all Disney. "Avengers: Infinity War," "Solo: A Star Wars Story," "Ant-Man and the Wasp," "The Incredibles 2," "Christopher Robin," "Wreck-It Ralph Breaks the Internet," "The Nutcracker and the four realms, "Mary Poppins Returns" – each one is a franchise or a spin-off. Where they lose originality points, they make the difference with full-blown production spectacles with beloved characters and many old-fashioned elements such as song and dance Disney's "Sweet Spot" fits in very well with what the cinema is uniquely positioned for.

It's also worth noting what Disney did not consider in his presentation, "Magic Camp," based on an original story by Steve Martin, directed by Mark Waters, was once dated April 2018, has since been moved and was nowhere to be found at CinemaCon, and there was no mention of Fox until the end of 2018. Outside the obvious candidate – hello, Marvel reunion! – It's hard to imagine exactly how the Fox pipelines will fit into this finely tuned machine. (The studio's own presentation is on Thursday.)

  Dave HollisThe Walt Disney Studios Presentation, CinemaCon, Las Vegas, USA - April 24, 2018

Dave Hollis at the Walt Disney Studios presentation, CinemaCon

Rob Latour / REX / Shutterstock

BIG Movies = Global Domination

While the domestic fund is currently flat, both Fithian and Rivkin welcomed the continued growth of overseas markets including Saudi Arabia (the Fithian said, could reach $ 1) billions "in a few years") and China. "China will be the largest film market in the world in a short time," Rivkin said at a press conference after the presentations.

A global industry also means global films that can be a tricky needle for some (see: "The Great Wall"). However, Disney has a trailblazer advantage: it has been selling its IP to the world for decades. And the sheer volume of his productions often overcomes language barriers even before the subtitles begin.

Global Dominance = Diversity

Newly installed Disney Sales Manager Cathleen Taff – the rare woman in student distribution – I could not help but be happy to show pictures of Evangeline Lilly as Wasp new buddy of Paul Rudd's Ant-Man. "I can not tell you how excited we are to have another female superhero," she said.

Beyond that, Taff said nothing about diversity. She did it instead in her studio films. From Donald Glover in "Solo: A Star Wars Story," Holly Hunter's ass kick mom in "The Incredibles 2," Mackenzie Foy, Jayden Fowora Knight, and Misty Copeland in "The Nutcracker and the Four Empires" and the cast of the "Aladdin" and "The Lion King" of next year, there are several representations of race and gender in the largest franchises in the world.

Perhaps the biggest highlight of the presentation was not film footage, but a special animated clip, created in the style of "Wreck-It Ralph", in which "new princess" Vanellope meets her Disney queens and challenges her on the rescue, the Reason why Snow White is always wide-eyed and amazed (she is blind without her glasses) and the path to true happiness (hoodies and leggings). "I never thought I could wear one of them," sighs Ariel. "What do you call that … a T-shirt?"

Does not make Disney a hero (do you remember the absolute non-event of the "gay moment" in "Beauty and the Beast" last year?), But it makes you smart (he). And, even wiser, not to worry about pointing that out.

Finally, Disney has shown an impressive show with low production costs: while it certainly could have assured Will Smith's collaboration to promote "Aladdin," or Aden Erhenrich, "Solo," Horn, Taff, and Outgoing Sales President Dave Hollis decided to do it alone. No talent means significant cost savings – and no actors shaking their feet awkwardly as they wonder what to say next.


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