New York-based Simon Pulman of Pryor Cashman has posted on Linkedin about what it’s going to be like in the aftermath of the actors’ strike, assuming the union and the employers can reach an agreement. He hints at the post-strike opportunities awaiting us from 2024 to 2026 and the attributes required to be able to take advantage of the situation for your organisation.
“… if I know one thing about the immediate post-strike period, it is this: it’s going to be a mess. Tons of movies are behind with post. Stars will be heavily booked for promo. Scheduling will be a nightmare. We’re going to have complex negotiations around stop dates and release. Chaos. The good kind of chaos, but chaos nonetheless.”
None of this is rocket science, but it’s thought-provoking, and provocative, and not a bad way to start the week / end the month / contemplate where you’re going to find yourself post-strike while taking your foot off the accelerator for Hallowe’en.
- Nimbleness – “I think there could be real opportunities for productions that can be nimble and flexible. Take advantage of what I presume will be a pent up desire to get back on set, while being able to work around the madness. It could even be an opportunity for indies that can produce on short turnaround to fill any content gap that may emerge.”
- Smart Money – “I think there could be opportunities for smart and risk-tolerant financiers. I have to imagine there will be a need for bridge loans for Q1 and Q2 productions for various reasons (including the fact that nobody could negotiate an actor deal for six months, IAs aside). Likewise, we may see some equity-backed projects with actors keen to get back to work.”
- New & Younger Talent – “If I know something else about 2024 and 2025, it’s this: actors will be backed up and double booked. Hopefully that will lead to bigger opportunities for younger talent (let’s give Kaitlyn Dever the lead in a big movie, God knows she’s earned it). But also, hopefully some more newcomers – both on the film and TV side (and in TV, hopefully we will move past the fear-led dependence on movie stars, and the headaches that brings). Directors too – let’s start building that next generation of directing stars. If you can’t get your “safe” first choice, take a risk on someone young and talented. And if they fail, let them try again.”
- Audience Pleasers & Real Movies – “We are in an AWFUL time. In the world. In the business. Just terrible. Let’s use these strikes as a reset button and give people (non-franchise) movies that will entertain them. Where is today’s SHAWSHANK REDEMPTION? MEAN GIRLS? GOOD WILL HUNTING? FORREST GUMP? DIE HARD? WEDDING CRASHERS? FIELD OF DREAMS? DEAD POETS SOCIETY? BEVERLY HILLS COP? BACK TO THE FUTURE? THE USUAL SUSPECTS? LEGALLY BLONDE? SPEED? GROUNDHOG DAY? THE FUGITIVE? Big, broad theatrical movies for adults that aren’t superhero led or three hour depression fests. Back to basics as to what Hollywood is supposed to be.”
Main image ℅ Airworthy Tours on Youtube