1
00:00:14,400 --> 00:00:17,000
Speaker 1: Welcome to Daily Variety, your daily dose of news and

2
00:00:17,040 --> 00:00:21,960
Speaker 1: analysis for entertainment industry insiders. It's Monday, October thirteenth, twenty

3
00:00:21,960 --> 00:00:25,800
Speaker 1: twenty five. I'm your host, Cynthia Littleton. I am co

4
00:00:25,960 --> 00:00:29,320
Speaker 1: editor in chief of Variety alongside Ramin Setuda. I'm in

5
00:00:29,480 --> 00:00:32,400
Speaker 1: la he's in New York, and Variety has reporters around

6
00:00:32,400 --> 00:00:35,680
Speaker 1: the world covering the business of entertainment. On today's episode,

7
00:00:35,680 --> 00:00:38,120
Speaker 1: we'll talk to Brent Lang for our box office segment.

8
00:00:38,640 --> 00:00:41,640
Speaker 1: It was a slow frame for Disney's tron Aries, and

9
00:00:41,680 --> 00:00:45,239
Speaker 1: there were disappointing openings to go around for Paramount's Roofman

10
00:00:45,440 --> 00:00:48,760
Speaker 1: and Lionsgates, Kiss of the Spider Woman. And then you'll

11
00:00:48,800 --> 00:00:52,440
Speaker 1: hear more from me and Variety's International editor Elsa Kislassi.

12
00:00:52,960 --> 00:00:56,320
Speaker 1: I'm working out of Cohn this week as Variety assembles

13
00:00:56,360 --> 00:00:59,520
Speaker 1: on the Coach Dessour to cover the annual MIPCOM content

14
00:00:59,600 --> 00:01:02,800
Speaker 1: market that's going on here this week. Today, on the

15
00:01:02,800 --> 00:01:05,720
Speaker 1: opening day of the market, Variety and Mipcom are once

16
00:01:05,800 --> 00:01:09,960
Speaker 1: again hosting our c Suite Conversations track at the Palais

17
00:01:10,000 --> 00:01:13,319
Speaker 1: de Festivals. I'm doing Q and AS with Media One

18
00:01:13,440 --> 00:01:18,480
Speaker 1: Pictures chief Elizabeth d'arvu Sony Pictures TV Chairman Keith LeGoy

19
00:01:18,880 --> 00:01:22,200
Speaker 1: and will cap the afternoon with the Variety Vanguard Award

20
00:01:22,240 --> 00:01:27,040
Speaker 1: presentation to Marco Bissetti, CEO of Banaje and a veteran

21
00:01:27,120 --> 00:01:30,400
Speaker 1: of the international TV scene. More to come on that

22
00:01:30,520 --> 00:01:33,840
Speaker 1: in tomorrow's episode, but before we get to our box

23
00:01:33,880 --> 00:01:37,160
Speaker 1: office analysis and more, here are a few headlines just

24
00:01:37,280 --> 00:01:40,800
Speaker 1: in this morning that you need to know. The auction

25
00:01:40,959 --> 00:01:45,440
Speaker 1: of Warner Brothers Discovery has begun. Bloomberg reports that Warner Bros.

26
00:01:45,480 --> 00:01:48,120
Speaker 1: Has rejected an offer of twenty dollars a share from

27
00:01:48,240 --> 00:01:52,360
Speaker 1: David Ellison's Paramount Skuiddance. This is going to force the

28
00:01:52,400 --> 00:01:55,400
Speaker 1: hand of any other bidder who's serious about jumping in

29
00:01:55,760 --> 00:01:59,800
Speaker 1: for the chance to buy Warner Brothers, HBO, CNN, and

30
00:01:59,880 --> 00:02:03,680
Speaker 1: X many more assets. Sean Penn delivered a heartfelt tribute

31
00:02:03,680 --> 00:02:07,240
Speaker 1: to Jack Nicholson during his visit to a classic film

32
00:02:07,280 --> 00:02:10,360
Speaker 1: festival going on about two hundred and seventy five miles

33
00:02:10,440 --> 00:02:13,960
Speaker 1: north of where I'm recording this in Cahn. At the

34
00:02:14,040 --> 00:02:18,280
Speaker 1: Lumier Classic Cinema Fest in Leon, France, Penn introduced the

35
00:02:18,360 --> 00:02:22,080
Speaker 1: opening night film, nineteen seventy five's One Flew over the

36
00:02:22,120 --> 00:02:26,679
Speaker 1: Cuckoo's Nest. Penn called the legendary actor a huge inspiration

37
00:02:26,919 --> 00:02:29,680
Speaker 1: and said that he served as nothing less than quote

38
00:02:29,680 --> 00:02:33,040
Speaker 1: an angel on my shoulder end quote when they worked

39
00:02:33,040 --> 00:02:37,280
Speaker 1: together on two films, nineteen ninety five's Crossing Guard and

40
00:02:37,400 --> 00:02:40,640
Speaker 1: two thousand and one's The Pledge. Penn also had a

41
00:02:40,639 --> 00:02:43,120
Speaker 1: lot more to say about the state of American movies.

42
00:02:43,800 --> 00:02:46,360
Speaker 1: All of these stories and so much more can be

43
00:02:46,440 --> 00:02:48,400
Speaker 1: found on Variety dot com.

44
00:02:48,639 --> 00:02:49,480
Speaker 2: Right now.

45
00:02:53,919 --> 00:02:57,120
Speaker 1: Now we turn to conversations with Friday journalists about news

46
00:02:57,160 --> 00:03:03,079
Speaker 1: and trends in show business. If it's Monday, we're talking

47
00:03:03,160 --> 00:03:07,120
Speaker 1: box office, this time with Brent Lang, Variety's executive editor.

48
00:03:07,600 --> 00:03:11,200
Speaker 1: It was tough sledding this past weekend as tron Aries,

49
00:03:11,639 --> 00:03:14,440
Speaker 1: Roof Man and Kiss of the Spider Woman all open

50
00:03:14,520 --> 00:03:17,880
Speaker 1: to disappointing numbers. Brent Lang, thank you for joining me today.

51
00:03:18,280 --> 00:03:20,160
Speaker 2: Thank you for having me, Brent.

52
00:03:20,720 --> 00:03:23,320
Speaker 1: Disney had a big opening at the box office this weekend.

53
00:03:23,600 --> 00:03:27,560
Speaker 1: Tron Aries, the latest installment in this franchise that they

54
00:03:27,560 --> 00:03:30,640
Speaker 1: have been trying to really revive for more than a decade.

55
00:03:30,680 --> 00:03:35,120
Speaker 1: Now pretty underwhelming opening. What do you think went on

56
00:03:35,200 --> 00:03:37,280
Speaker 1: this weekend at the box office? With drawn aries.

57
00:03:37,960 --> 00:03:41,840
Speaker 2: Well, I think this was an example of an idea

58
00:03:41,960 --> 00:03:44,880
Speaker 2: that nobody was kind of asking for. This is a

59
00:03:44,920 --> 00:03:47,520
Speaker 2: franchise that's in its fourth decade. It's always been more

60
00:03:47,520 --> 00:03:50,920
Speaker 2: of a cult favorite than a commercial juggernaut. The first

61
00:03:50,960 --> 00:03:53,720
Speaker 2: film didn't do that well when it opened in the

62
00:03:53,800 --> 00:03:56,400
Speaker 2: nineteen eighties, but it kind of developed a following on

63
00:03:56,560 --> 00:04:00,800
Speaker 2: home entertainment. And then they tried again with tron Legacy

64
00:04:01,360 --> 00:04:05,800
Speaker 2: a little over ten years ago, and that movie made

65
00:04:05,800 --> 00:04:07,920
Speaker 2: about four hundred million, and that was considered to be

66
00:04:07,960 --> 00:04:11,160
Speaker 2: something of a disappointment. And then this tron Ares has

67
00:04:11,200 --> 00:04:14,280
Speaker 2: been in development health for a long time. They finally

68
00:04:14,320 --> 00:04:16,640
Speaker 2: got it off the ground, but it cost one hundred

69
00:04:16,640 --> 00:04:19,839
Speaker 2: and eighty million dollars and it opened domestically to thirty

70
00:04:19,839 --> 00:04:22,760
Speaker 2: three point five million dollars and a little over sixty

71
00:04:22,800 --> 00:04:27,120
Speaker 2: million dollars globally, which is a pretty terrible result. Frankly, so,

72
00:04:27,160 --> 00:04:29,960
Speaker 2: I think what they wanted to do was to put

73
00:04:29,960 --> 00:04:32,960
Speaker 2: a little more steam into this series. Part of the

74
00:04:32,960 --> 00:04:35,200
Speaker 2: reason is they have a theme park ride, and while

75
00:04:35,279 --> 00:04:39,159
Speaker 2: Disney World needing a ride that appeals to younger men,

76
00:04:39,560 --> 00:04:43,280
Speaker 2: and their rights to the Marvel characters are tied up

77
00:04:43,400 --> 00:04:47,560
Speaker 2: in other licensing agreements that pre date Disney's purchase of Marvel.

78
00:04:47,880 --> 00:04:50,920
Speaker 2: So Tron has become a stopgap in one of their

79
00:04:50,920 --> 00:04:53,320
Speaker 2: major theme parks. So I think they were trying to

80
00:04:53,320 --> 00:04:56,240
Speaker 2: figure out a way to extend this series that has

81
00:04:56,720 --> 00:04:59,920
Speaker 2: charitably reached its natural conclusion in like nineteen eighty.

82
00:05:00,480 --> 00:05:03,120
Speaker 1: We keep talking about this, but it does seem like

83
00:05:03,560 --> 00:05:07,400
Speaker 1: the glow of quote ip, which is a phrase I

84
00:05:07,440 --> 00:05:09,960
Speaker 1: can't believe we all kind of wound up adopting just

85
00:05:10,000 --> 00:05:12,400
Speaker 1: like content, which I know we fought for a long time.

86
00:05:12,760 --> 00:05:16,720
Speaker 1: But in the idea that there's a Tron baseline out there,

87
00:05:17,200 --> 00:05:20,960
Speaker 1: just the banking on Tron the name itself to bring

88
00:05:21,000 --> 00:05:23,560
Speaker 1: a certain level of person to the box office, and

89
00:05:23,600 --> 00:05:26,920
Speaker 1: this result is showing that bankability just isn't there. Or

90
00:05:26,960 --> 00:05:30,240
Speaker 1: do you think this is a Tron specific problem.

91
00:05:30,640 --> 00:05:32,920
Speaker 2: I think it's a little bit of both. I do

92
00:05:33,000 --> 00:05:35,760
Speaker 2: think there's a couple of things at play here, some

93
00:05:35,800 --> 00:05:38,520
Speaker 2: of which is, if you look at what's happened in

94
00:05:38,560 --> 00:05:43,160
Speaker 2: Hollywood over the last fifteen twenty years or so, the

95
00:05:43,680 --> 00:05:49,200
Speaker 2: studio system kind of trained consumers to expect certain things

96
00:05:49,320 --> 00:05:53,080
Speaker 2: from theatrical releases, and not that long ago they had

97
00:05:53,120 --> 00:05:56,840
Speaker 2: a true slate style where they had a couple of

98
00:05:56,839 --> 00:06:00,960
Speaker 2: tent pole movies, a couple of sequels, some are properties,

99
00:06:01,000 --> 00:06:04,919
Speaker 2: some rom com some dramas, different types of genres for

100
00:06:05,000 --> 00:06:09,039
Speaker 2: different types of audiences, and it was more of a

101
00:06:09,120 --> 00:06:12,640
Speaker 2: volume game. And what ended up happening is they decided

102
00:06:12,680 --> 00:06:15,240
Speaker 2: to move from like, you know, a few over twenty

103
00:06:15,279 --> 00:06:19,280
Speaker 2: movies a year thirty in the nineties to more like

104
00:06:19,440 --> 00:06:23,279
Speaker 2: twelve or fourteen, and those twelve or fourteen cost a

105
00:06:23,320 --> 00:06:25,520
Speaker 2: lot more money. But they were supposed to be based

106
00:06:25,560 --> 00:06:29,240
Speaker 2: on recognizable IP, but you know, there's a limit on

107
00:06:29,400 --> 00:06:32,359
Speaker 2: like what is actually recognizable IP. And the thing that

108
00:06:32,400 --> 00:06:36,480
Speaker 2: I think the studios have started to realize is that

109
00:06:36,839 --> 00:06:40,080
Speaker 2: a lot of their signature franchises are starting to get

110
00:06:40,080 --> 00:06:42,719
Speaker 2: a little lawn in the tooth and they need to

111
00:06:42,720 --> 00:06:45,320
Speaker 2: replace them. But they've kind of gotten people out of

112
00:06:45,360 --> 00:06:50,440
Speaker 2: the habit of expecting original stories at the multiplexes. So

113
00:06:50,480 --> 00:06:53,680
Speaker 2: it's kind of a difficult conundrum that they're dealing with

114
00:06:53,760 --> 00:06:57,599
Speaker 2: right now. Where I think studio executives are not known

115
00:06:57,839 --> 00:07:02,120
Speaker 2: for taking like huge creative swings, and I think it's

116
00:07:02,200 --> 00:07:04,440
Speaker 2: easier for them to say, well, we made this one

117
00:07:04,520 --> 00:07:09,800
Speaker 2: hundred and eighty million dollars sequel to this franchise. They're

118
00:07:09,840 --> 00:07:11,840
Speaker 2: not going to probably lose their job for that, but

119
00:07:11,960 --> 00:07:14,760
Speaker 2: to say, like, you know, we we spent one hundred

120
00:07:14,800 --> 00:07:18,080
Speaker 2: and thirty million dollars on this original property, while you

121
00:07:18,160 --> 00:07:21,920
Speaker 2: could lose your job for that, and if you look

122
00:07:21,920 --> 00:07:26,080
Speaker 2: at what's happening with one battle after another, that's kind

123
00:07:26,080 --> 00:07:28,760
Speaker 2: of a you know, that's the other side of things

124
00:07:28,800 --> 00:07:32,760
Speaker 2: where Warner Brothers under Mike de Luca and Pam Abdy

125
00:07:32,960 --> 00:07:37,000
Speaker 2: really did take a pretty bold swing giving one hundred

126
00:07:37,040 --> 00:07:39,760
Speaker 2: and thirty million dollars to Paul Thomas Anderson for this

127
00:07:39,760 --> 00:07:42,160
Speaker 2: this film because Leonardo DiCaprio was in it and it

128
00:07:42,240 --> 00:07:45,000
Speaker 2: got amazing reviews, and you know, it's going to have

129
00:07:45,040 --> 00:07:47,240
Speaker 2: trouble making two hundred million dollars, so it's going to

130
00:07:47,320 --> 00:07:49,160
Speaker 2: lose tens of millions of dollars. So I think it

131
00:07:49,280 --> 00:07:53,520
Speaker 2: just shows just how difficult it is to to do

132
00:07:53,560 --> 00:07:56,760
Speaker 2: something that's bold and innovative right now. I think they've

133
00:07:56,800 --> 00:07:59,880
Speaker 2: got to figure out a way to get budgets under control.

134
00:08:00,640 --> 00:08:05,640
Speaker 2: It really is going to prevent them from from finding

135
00:08:05,680 --> 00:08:09,000
Speaker 2: news stories that keep people engaged in this medium. After

136
00:08:09,040 --> 00:08:11,520
Speaker 2: a while, people do get tired of the overly familiar.

137
00:08:11,680 --> 00:08:14,000
Speaker 1: Well, I'm sorry to say that there was other pain

138
00:08:14,160 --> 00:08:18,679
Speaker 1: spread around the box offices. It really was a lackluster weekend, Yeah.

139
00:08:18,520 --> 00:08:20,200
Speaker 2: It really was. There weren't a lot of things that

140
00:08:20,320 --> 00:08:22,240
Speaker 2: seemed to connect this weekend.

141
00:08:22,280 --> 00:08:26,280
Speaker 1: From reading our box office story, Paramount was probably also

142
00:08:26,400 --> 00:08:30,600
Speaker 1: underwhelmed with the opening for Channing Tatum's roof Man, a

143
00:08:30,640 --> 00:08:33,000
Speaker 1: movie that also got a lot of good reviews, a

144
00:08:33,000 --> 00:08:35,760
Speaker 1: lot of word of mouth, especially coming out of festivals.

145
00:08:36,240 --> 00:08:38,920
Speaker 1: Channing Tatum, the Star was on our cover with a

146
00:08:38,960 --> 00:08:42,679
Speaker 1: fantastic story. To their credit, this one is a very

147
00:08:42,720 --> 00:08:46,160
Speaker 1: original concept and just did not connect with enough people

148
00:08:46,160 --> 00:08:47,880
Speaker 1: out there to give it a solid opening.

149
00:08:48,320 --> 00:08:50,760
Speaker 2: It made about eight million dollars. Now, I will say

150
00:08:50,840 --> 00:08:55,040
Speaker 2: Paramount and Merrimax, which developed the film, are relatively protected

151
00:08:55,160 --> 00:08:58,840
Speaker 2: because it only costs nineteen million to make, so it's

152
00:08:58,880 --> 00:09:02,480
Speaker 2: not going to be a huge financial loser. I love

153
00:09:02,559 --> 00:09:05,920
Speaker 2: this movie. I think it's really fun. It's it's the

154
00:09:06,040 --> 00:09:08,600
Speaker 2: kind of movie that needs kind of word of mouth

155
00:09:08,720 --> 00:09:12,160
Speaker 2: to build an audience. It may have gone too wide

156
00:09:12,200 --> 00:09:15,640
Speaker 2: too soon. I think the problem was they couldn't quite

157
00:09:15,640 --> 00:09:19,079
Speaker 2: figure out what their core demographic was for this movie.

158
00:09:19,120 --> 00:09:21,440
Speaker 2: They couldn't figure out was it you know, was it

159
00:09:21,480 --> 00:09:24,640
Speaker 2: older women? Was it older men? And I think that

160
00:09:24,760 --> 00:09:29,000
Speaker 2: the marketing was a little muddled. The title is also

161
00:09:29,760 --> 00:09:31,640
Speaker 2: it's a kind of a perplexing title.

162
00:09:31,960 --> 00:09:35,280
Speaker 1: Do you any signs that could benefit from word of mouth?

163
00:09:35,320 --> 00:09:38,560
Speaker 2: You're probably were looking at a fairly small money loser.

164
00:09:39,200 --> 00:09:43,920
Speaker 2: But it's yet another one of these adult skewing dramas

165
00:09:43,960 --> 00:09:47,040
Speaker 2: that have struggled this fall in a more limited way.

166
00:09:47,080 --> 00:09:49,800
Speaker 2: I think this was released on about thirteen hundred screens.

167
00:09:49,840 --> 00:09:52,560
Speaker 2: But Kiss of a Spider Woman with Jennifer Lopez, which

168
00:09:52,640 --> 00:09:57,439
Speaker 2: got okay reviews, not as good as Roofman, that really collapsed.

169
00:09:57,640 --> 00:10:01,160
Speaker 2: It made less than a million dollar. That's a pretty

170
00:10:01,240 --> 00:10:04,000
Speaker 2: terrible result for a movie like that, and that movie

171
00:10:04,040 --> 00:10:07,880
Speaker 2: costs thirty four million dollars, so that's a bigger risk.

172
00:10:08,000 --> 00:10:11,480
Speaker 2: And again it just shows you know, these are supposed

173
00:10:11,480 --> 00:10:15,440
Speaker 2: to be big draws. These are names. Everybody knows who

174
00:10:15,520 --> 00:10:18,040
Speaker 2: Chanting Tatum is, everybody knows what Jennifer lopezz, everybody knows

175
00:10:18,040 --> 00:10:21,560
Speaker 2: who Leadon DiCaprio is. And these people aren't able to

176
00:10:21,559 --> 00:10:24,959
Speaker 2: get people into theaters. So it's just a difficult time

177
00:10:25,040 --> 00:10:28,199
Speaker 2: right now to figure out how to build an audience

178
00:10:28,480 --> 00:10:31,520
Speaker 2: how to cut through the noise and where to reach

179
00:10:31,600 --> 00:10:31,960
Speaker 2: them to.

180
00:10:32,280 --> 00:10:35,120
Speaker 1: There's an analyst in the story that says box office

181
00:10:35,160 --> 00:10:39,560
Speaker 1: momentum can shift really quickly. That's also something that sure

182
00:10:39,600 --> 00:10:43,480
Speaker 1: seems a symptom of our constant communication culture, where we're

183
00:10:43,520 --> 00:10:47,720
Speaker 1: constantly getting stimulus and information fed to us on our phones.

184
00:10:48,160 --> 00:10:52,760
Speaker 2: A cultural conversation just shifts so dramatically and in terms

185
00:10:52,840 --> 00:10:56,760
Speaker 2: of momentum. I think that there is something about in

186
00:10:56,800 --> 00:11:01,640
Speaker 2: theater advertising being very effective. Like if you look at Weapons,

187
00:11:02,120 --> 00:11:05,079
Speaker 2: Weapons did very well. There was a lot of marketing

188
00:11:05,120 --> 00:11:07,480
Speaker 2: material tied to it. I think that's why the next

189
00:11:07,520 --> 00:11:11,200
Speaker 2: Conjuring movie actually exceeded expectations, because I'm sure that a

190
00:11:11,200 --> 00:11:13,520
Speaker 2: lot of people who went to see Weapons, who were

191
00:11:13,559 --> 00:11:17,719
Speaker 2: the same core audience for the Conjuring saw spots for

192
00:11:17,760 --> 00:11:20,360
Speaker 2: it and decided to see that film. I mean, I

193
00:11:20,360 --> 00:11:23,679
Speaker 2: have no you know, empirical data to back that up,

194
00:11:23,720 --> 00:11:27,120
Speaker 2: but there is a sense that going to the movies

195
00:11:27,200 --> 00:11:29,720
Speaker 2: is the best advertisement for going to see more movies.

196
00:11:29,760 --> 00:11:33,440
Speaker 2: And what's happened this fall is more recently, you haven't

197
00:11:33,520 --> 00:11:37,480
Speaker 2: seen that consistency of one film feeding into the opening

198
00:11:37,520 --> 00:11:38,480
Speaker 2: of another film.

199
00:11:39,040 --> 00:11:41,640
Speaker 1: You hear that at our events and in reporting the

200
00:11:41,760 --> 00:11:45,920
Speaker 1: distribution execs or high fiving rivals. When somebody has a

201
00:11:46,000 --> 00:11:49,120
Speaker 1: hit that brings people to the theaters, that gets the all

202
00:11:49,160 --> 00:11:53,600
Speaker 1: important sampling of those trailers. Well, you know, there's always

203
00:11:53,640 --> 00:11:56,480
Speaker 1: next weekend and there are some big heavy hitters to

204
00:11:56,559 --> 00:12:00,600
Speaker 1: come around Thanksgiving and Christmas, and we will cover all

205
00:12:00,640 --> 00:12:03,360
Speaker 1: of it as always. Thanks to you and Rebecca Ruin

206
00:12:03,480 --> 00:12:06,599
Speaker 1: for being are stalwarts at the turnstiles.

207
00:12:07,240 --> 00:12:08,079
Speaker 2: Thanks for having me.

208
00:12:12,440 --> 00:12:16,600
Speaker 1: Now I'm joined by Elsa Kaslasi, Variety's international editor, to

209
00:12:16,720 --> 00:12:19,880
Speaker 1: talk about what's making waves by the seaside in Cohn

210
00:12:20,120 --> 00:12:24,680
Speaker 1: as Mipcom gets underway. Elsa Kaslasi coming to us from

211
00:12:24,679 --> 00:12:27,160
Speaker 1: a hotel room and can just like I'm at at

212
00:12:27,240 --> 00:12:29,199
Speaker 1: in a hotel room and can. It's so good to

213
00:12:29,240 --> 00:12:29,560
Speaker 1: see you.

214
00:12:30,320 --> 00:12:32,840
Speaker 3: Yes, it's great to be back at Newcom. And the

215
00:12:32,880 --> 00:12:35,000
Speaker 3: sun is shining. It's always a plus.

216
00:12:35,559 --> 00:12:38,440
Speaker 1: It's the reason they call it the Coast of Blue.

217
00:12:38,480 --> 00:12:42,320
Speaker 1: It is gorgeous here and you know, the mood is upbeat.

218
00:12:42,559 --> 00:12:47,200
Speaker 1: It's day one of Mipcom. Making the rounds on Sunday

219
00:12:47,320 --> 00:12:50,199
Speaker 1: talking to people, you know, having that high how are

220
00:12:50,240 --> 00:12:53,400
Speaker 1: you running into people at the registration and on the

221
00:12:53,480 --> 00:12:56,319
Speaker 1: sidewalks I think people are excited to be here and

222
00:12:56,480 --> 00:12:59,640
Speaker 1: network and I lost count of the number of people

223
00:12:59,720 --> 00:13:03,360
Speaker 1: asking me what's going on in the United States with

224
00:13:03,480 --> 00:13:07,120
Speaker 1: the Hollywood studios, particularly, a lot of interest in what's

225
00:13:07,120 --> 00:13:11,000
Speaker 1: going on with Warner Brothers Discovery right now, the sale process,

226
00:13:11,040 --> 00:13:14,360
Speaker 1: no surprise, what did you pick up in your travels

227
00:13:14,720 --> 00:13:15,920
Speaker 1: last night, Elsa.

228
00:13:16,480 --> 00:13:18,959
Speaker 3: Everyone is interested in what's going on in the US,

229
00:13:19,080 --> 00:13:21,000
Speaker 3: even in Europe because, as you know, a lot of

230
00:13:21,040 --> 00:13:26,160
Speaker 3: European companies they want to acquire US companies, so they're

231
00:13:26,200 --> 00:13:29,600
Speaker 3: on the lookout for what's on the market and what

232
00:13:29,760 --> 00:13:34,040
Speaker 3: consolidation is happening in the US. As we know, there

233
00:13:34,080 --> 00:13:36,760
Speaker 3: is a lot of consolidation happening also in Europe, so

234
00:13:37,160 --> 00:13:39,120
Speaker 3: I think that's a big thing. I would say like

235
00:13:39,200 --> 00:13:42,080
Speaker 3: this year, the big focus at BPCOM, I think is

236
00:13:42,120 --> 00:13:45,080
Speaker 3: going to be on the Creator economy because you too

237
00:13:45,120 --> 00:13:48,000
Speaker 3: be celebrating its twenty year anniversaries this year and they're

238
00:13:48,320 --> 00:13:51,559
Speaker 3: having a presence at MIPCOM for the first time. And

239
00:13:51,640 --> 00:13:54,880
Speaker 3: I attended the panels this morning. The auditorium was completely

240
00:13:54,920 --> 00:14:00,360
Speaker 3: packed and people listen to the conversation between Peterrupina from

241
00:14:00,760 --> 00:14:05,160
Speaker 3: YouTube EMA and an executive from BBC studios who talked

242
00:14:05,160 --> 00:14:07,880
Speaker 3: about their partnership, and I think we're going to see

243
00:14:07,880 --> 00:14:12,200
Speaker 3: more and more partnerships between blue chip legacy medias you

244
00:14:12,200 --> 00:14:16,640
Speaker 3: know like BBC and platforms like YouTube. Later on we'll

245
00:14:16,679 --> 00:14:21,120
Speaker 3: talk to Benijco Marco Bassetti, who's going to also talk

246
00:14:21,160 --> 00:14:24,760
Speaker 3: about looking at the creator economy because they need that

247
00:14:24,880 --> 00:14:28,080
Speaker 3: kind of segment of the population, like the demo.

248
00:14:28,560 --> 00:14:32,280
Speaker 1: I will miss no opportunity to point out YouTube's twenty

249
00:14:32,360 --> 00:14:36,000
Speaker 1: year push really began back in March when we had

250
00:14:36,040 --> 00:14:38,680
Speaker 1: CEO Neil Mohan on the cover, and I'm not surprised

251
00:14:38,720 --> 00:14:42,800
Speaker 1: that panel was super packed. More people are watching YouTube

252
00:14:42,880 --> 00:14:46,440
Speaker 1: as TV versus even on their phones or on their

253
00:14:46,840 --> 00:14:50,720
Speaker 1: laptops anymore, and so that it perfectly tracks that they

254
00:14:50,760 --> 00:14:54,160
Speaker 1: are here because they are television. But of course they

255
00:14:54,200 --> 00:14:57,720
Speaker 1: have elevated now the creators, like the Mister Beasts, to

256
00:14:57,880 --> 00:15:02,360
Speaker 1: this much more professional level, and it is fascinating to

257
00:15:02,400 --> 00:15:05,480
Speaker 1: watch those kind of those two community, the professional TV

258
00:15:05,600 --> 00:15:07,920
Speaker 1: and the creator. There's been a wide gulf, but they

259
00:15:07,960 --> 00:15:11,680
Speaker 1: are getting closer and closer together. Of course, this event

260
00:15:11,760 --> 00:15:14,760
Speaker 1: has just started, so we are just taking the very

261
00:15:15,160 --> 00:15:18,400
Speaker 1: earliest sort of first impressions. But I think it's going

262
00:15:18,480 --> 00:15:21,040
Speaker 1: to be busy. As we're recording this, were a couple

263
00:15:21,080 --> 00:15:24,720
Speaker 1: of hours away from our C suite conversations. We are

264
00:15:24,800 --> 00:15:28,360
Speaker 1: so excited to have this high quality time slot at

265
00:15:28,400 --> 00:15:31,840
Speaker 1: MIPCOM to use a TV metaphor for what we hope

266
00:15:31,840 --> 00:15:36,200
Speaker 1: will be three really great substantive business conversations. Elsa, I'm

267
00:15:36,240 --> 00:15:38,400
Speaker 1: excited for you to join me on stage.

268
00:15:38,720 --> 00:15:41,720
Speaker 3: As we were talking, Banni Jay announced that they were

269
00:15:41,800 --> 00:15:46,240
Speaker 3: buying the Dutch creator outfit, So I think that's really interesting.

270
00:15:46,400 --> 00:15:49,120
Speaker 1: We're about to sit down with the CEO of Banajay

271
00:15:49,240 --> 00:15:53,400
Speaker 1: and they've just announced an acquisition. This is both modern

272
00:15:53,480 --> 00:15:57,160
Speaker 1: journalism and the life of being at one of these markets.

273
00:15:56,960 --> 00:15:59,400
Speaker 1: As we said, it would be busy. Thank you for

274
00:15:59,440 --> 00:16:06,760
Speaker 1: adding that bullet and Elsa. And as we close out

275
00:16:06,760 --> 00:16:10,080
Speaker 1: today's episode, we have to pay tribute to Diane Keaton,

276
00:16:10,640 --> 00:16:14,240
Speaker 1: the incredible actor and director who died October eleventh at

277
00:16:14,280 --> 00:16:17,920
Speaker 1: age seventy nine. She had a one of a kind career.

278
00:16:19,280 --> 00:16:22,440
Speaker 1: My colleague Owen Gliberman paid tribute to Keaton in a

279
00:16:22,520 --> 00:16:28,000
Speaker 1: beautiful appreciation post. He cited her quote incandescent comic charm

280
00:16:28,160 --> 00:16:31,960
Speaker 1: end quote and her versatility as an actor who sought

281
00:16:32,080 --> 00:16:36,440
Speaker 1: characters who were quote the embodiments of complicated feminine power

282
00:16:36,600 --> 00:16:40,880
Speaker 1: end quote. My colleague Michael Schneider remembered a different side

283
00:16:40,920 --> 00:16:43,840
Speaker 1: of Diane Keaton in a great story that only he

284
00:16:43,880 --> 00:16:47,200
Speaker 1: could write. Keaton worked hard in the last decades of

285
00:16:47,240 --> 00:16:50,880
Speaker 1: her life as a conservationist, trying to preserve the history

286
00:16:50,920 --> 00:16:55,080
Speaker 1: of Los Angeles that included a long but ultimately unsuccessful

287
00:16:55,120 --> 00:16:59,920
Speaker 1: fight to save the famed Ambassador Hotel. Michael Schneider noted

288
00:17:00,040 --> 00:17:03,280
Speaker 1: booster of Los Angeles that he is was also involved

289
00:17:03,280 --> 00:17:06,320
Speaker 1: in that effort. He found a great quote that Keaton

290
00:17:06,359 --> 00:17:09,879
Speaker 1: delivered at a rally in two thousand and six. It

291
00:17:09,960 --> 00:17:13,560
Speaker 1: really seems to capture the free wheeling Diane Keaton. She

292
00:17:13,680 --> 00:17:17,000
Speaker 1: compared the loss of the hotel to quote losing a lover.

293
00:17:17,359 --> 00:17:20,399
Speaker 1: She described looking at the site where the Ambassador stood

294
00:17:20,400 --> 00:17:23,080
Speaker 1: for the first time after it was knocked down, and

295
00:17:23,160 --> 00:17:27,600
Speaker 1: she said, quote, I felt the loneliness of her last stand.

296
00:17:28,119 --> 00:17:31,679
Speaker 1: I heard an echo, an echo, maybe it was the

297
00:17:31,720 --> 00:17:35,480
Speaker 1: echo of the Ambassador calling me. It was almost as

298
00:17:35,520 --> 00:17:39,840
Speaker 1: if she was saying to me. She was saying goodbye, Diane,

299
00:17:40,080 --> 00:17:43,320
Speaker 1: Keep me in your heart and next time, try harder.

300
00:17:43,640 --> 00:17:44,720
Speaker 2: End quote.

301
00:17:45,200 --> 00:17:49,720
Speaker 1: Diane Keaton was a grandame in Annie Hall's clothes. May

302
00:17:49,800 --> 00:17:53,680
Speaker 1: she rest in peace before we go. Congrats to Alison Rawlings,

303
00:17:54,000 --> 00:17:57,159
Speaker 1: the NBC Universal and dreamworksalum has been named head of

304
00:17:57,200 --> 00:18:01,880
Speaker 1: Publicity and Communications for Fex. It's a big move across

305
00:18:01,880 --> 00:18:04,960
Speaker 1: the valley floor for Rawlings after spending a decade on

306
00:18:05,000 --> 00:18:08,760
Speaker 1: the Universal lot. Thanks for listening. This episode was written

307
00:18:08,760 --> 00:18:12,440
Speaker 1: and reported by me Cynthia Littleton, with contributions from Brent

308
00:18:12,520 --> 00:18:17,200
Speaker 1: Lang and Elsa CASSLOSSI Stick Snick's Hick Pigs. Please leave

309
00:18:17,280 --> 00:18:19,800
Speaker 1: us a review at the podcast platform of your choice,

310
00:18:20,080 --> 00:18:22,960
Speaker 1: and please tune in tomorrow for another episode of Daily

311
00:18:23,040 --> 00:18:24,600
Speaker 1: Variety Au Revoir