Is Taylor Swift About to Hit Movie Studios With a $100 Million Wrecking Ball?

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A blockbuster performance for “The Eras Tour” movie could inspire more movies to be distributed by theaters without studios

Taylor Swift teams with AMC for an unconventional blockbuster
Taylor Swift teams with AMC for an unconventional blockbuster

Earlier this year, as Taylor Swift was launching her $1 billion-dollar-grossing The Eras tour, she dropped into Hollywood for a spell. She met with a number of major studios to see if she might be able to drum up interest in distributing an Eras concert film. However, in the end, she chose to distribute sans a conventional studio partner.

This month, Hollywood is learning just what happens when you disappoint Taylor Swift. The concert film she ended up producing and distributing herself through an independent deal with the theater chain AMC is on track to open as the biggest hit in the history of October releases.


One response to “Is Taylor Swift About to Hit Movie Studios With a $100 Million Wrecking Ball?”

  1. Greg Anderson Avatar
    Greg Anderson

    “Why would Tom Cruise or Jordan Peele risk their own money on an untraditional distribution play when the studios are more than happy to pay the bills for them?” Well, because routinely, the revenue retained by the studio distributors is in excess of the costs associated with distribution. This is the studio distribution business model. And they seem to be doing more or less fine. So… the reasons for an A-list actor or director / producer to distribute directly would be more control, more creative input / freedom, and more money from release.

    Also, the notion that a $150 million Christopher Nolan would “require” $150 million to market is preposterous. Anyone thinking that Mr. Nolan is not an identifiable brand at this point has not been following his work or career. Little need exists at this point to “sell” a Nolan film, even when it is a dense, slower-paced (though arguably still excellent) historical drama.

    The Eras Tour film and its distribution will demonstrate what is now possible. A “crack in the dam,” if you will. A flood of self-distributed, direct-to-cinemas releases will not ensue immediately. But historically, such cracks lead to drips, which lead to trickles, and on to flows. Add in a social climate where corporate conglomerates are seen more as out-of-touch overlords more focused on earnings per share than audience demand, and were I still at one of the studios, I would be stressing that the dam crack needs patching before a new paradigm washes in.

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