Matthew McConaughey, Alamo’s Tim League join forces for new movie

Two of Austin’s movie men have a new project together.

Tim League’s distribution company, Neon, and Vice have bought the U.S. rights to “Beach Bum,” a film to be written and directed by Harmony Korine (“Spring Breakers”) and starring Matthew McConaughey. The movie is scheduled to begin production this fall for a 2018 release, Deadline reports.

Matthew McConaughey introduces his new film “Gold” at the Austin premiere at the Alamo South Lamar on Jan. 12, 2017. Contributed by Rick Kern

League, founder of the Alamo Drafthouse, will be an executive producer on the film, described as “an irreverent comedy that follows the misadventures of Moondog (McConaughey), a rebellious and lovable rogue who lives life large.” Sounds about right for Austin’s spirit animal.

 

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Tim League isn’t worried about streaming services, and 4 other things we learned from his clapback at Netflix

 

Alamo Drafthouse co-founder and CEO Tim League is no stranger to making strong statements about the movie theater industry. League has famously used the written word to advocate for gender-neutral restrooms in at least one of his Alamo theaters and to decry AMC Theatres’ brief flirtation with allowing texting during movies.

Tim League is the founder of Alamo Drafthouse. The Austin-based chain is expanding via franchisees. (Photo by Annie Ray.)

And now, on the heels of a Q&A session with Netflix CEO Reed Hastings last week where Hastings declared that distribution in the movie business hadn’t innovated in the last 30 years (“Well, the popcorn tastes better, but that’s about it”), League is taking another stand to defend the “business of cinema” in an editorial for IndieWire.

More: Mueller’s new Alamo Drafthouse location will have family focus

Here are five things we learned from League’s editorial:

  1. Netflix’s business model doesn’t concern League one bit.
    “It seems like every other interview I give asks me about the “threat” of Netflix. I’ll be blunt. Netflix doesn’t concern me, and I think it is obvious after last week that the cinema industry is of no concern to Netflix either. We are in very different businesses…Netflix is in the business of growing a global customer base by being the best value proposition subscription content platform…But here’s my business: Cinema.”
  2. But he still respects Netflix’s ability to innovate.
    “They are doing a great job. Their portal is stable, intuitive, cheap and delivers plenty of great, new content every month. They also provide a fantastic financial opportunity for both emerging and veteran storytellers. I stand in awe of the audience they have built and the wealth they have amassed in such a short time.”
  3. He doesn’t think films should be viewed on phones, but rather, in a theater, where they belong.
    “Our best and most talented, passionate filmmakers vehemently do not want their films to be viewed first and foremost on a phone, on the train to work, while checking email, while chopping vegetables for the evening meal, on mute with subtitles while rocking a baby to sleep, or while dozing off before bed…Great filmmakers create content to share their fully realized creations in a cinema with full, rich sound; bright, crisp picture and a respectful audience whose full attention is on the screen.”
  4. He does think that Netflix should follow the example of other streaming services who distribute films in theaters, like Amazon Studios did with “Manchester by the Sea”:
    “When courting filmmakers young and old to create content for their platform, I wish Netflix would consider the relationship with cinemas built by Amazon, Hulu, HBO, Showtime and Epix…They believe in the promotional partnership that successful theatrical engagements can give to word of mouth, awards consideration, brand loyalty and ultimately maximized financial returns.”
  5. Finally, he does believe in innovation in movie theaters, but not at the expense of the movies themselves.
    “I will acknowledge some underlying truth to Reed Hastings’ words. We do, as an industry, need to invest in innovation. Cinema’s primary threat today is not Netflix; it is ourselves. We must continue to maintain high exhibition standards, invest in new sound and picture technology, improve the digital experience for our guests, develop innovative ways to delight our guests and ensure that we live up to our one job – make going to the cinema an amazing experience.”

Read the full interview here.

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Alamo Drafthouse CEO responds to texting in theaters

Update, 4/15: AMC Theatres tweeted on Friday that the company would not be allowing texting at its locations after all.

Earlier: AMC Entertainment’s CEO Adam Aron, who has headed the company for about four months, said this week that he may allow texting in movie theaters as part of an effort to attract younger audiences.

Alamo Drafthouse Cinema is part of the Lamar Union development on south Lamar Blvd. Tuesday, May 12, 2015. (Stephen Spillman for AMERICAN-STATESMAN)
Alamo Drafthouse Cinema is part of the Lamar Union development on south Lamar Blvd. May 12, 2015. (Stephen Spillman for AMERICAN-STATESMAN)

“When you tell a 22-year-old to turn off the phone, don’t ruin the movie, they hear please cut off your left arm above the elbow,” Aron said in an interview with Variety magazine.

But today, Alamo Drafthouse founder and CEO Tim League issued a news release stating the he disagrees with Aron.

“Innovation in this direction could seriously hurt our industry,” League wrote.

See below to read League’s full statement.

First off, I’d like to say that I am very excited for Adam Aron to be taking the helm at AMC.  I am a fan of the Starwood Hotel and Resort brand and the customer experience that his former company consistently delivers.  Bringing that leadership focus to our industry will undoubtedly yield positive results and drive healthy, innovative competition.

That said, I disagree with his statements on texting in a movie theater. Innovation in this direction could seriously hurt our industry.

My first objection stems from cinema’s relationship with directors and producers, the content creators.  Auteurs focus for years to complete their films.  We as exhibitors rely completely on these creators for our content and have an unwritten obligation to present their films in the best possible way: on a big screen with big sound and a bright picture in a silent, dark room.   You can only be immersed in a story if you are focused on it.  If while watching a film you are intermittently checking your email, posting on social media, chatting with friends, etc., there is no way you are fully engaged in the story on screen.  I find that to be disrespectful to the creators, those who make the very existence of cinema possible.  

My second objection stems from the generalization of millennial behavior. 

“When you tell a 22-year-old to turn off the phone, don’t ruin the movie, they hear please cut off your left arm above the elbow. You can’t tell a 22-year-old to turn off their cellphone. That’s not how they live their life.”   – Adam Aron, quoted in Variety

22-year-olds aren’t alone; heavy cell phone use is far more widespread.  Today, 68% of U.S. adults have a smartphone, a staggering increase from 35% just five years ago.   

I spend a great deal of my life on my phone, too.  I check news, social media and email obsessively.  If there is the slightest of lulls in my day, a 20 second pause in an elevator, for example, I impulsively break out my phone and check something.  I always carry an external battery because I can’t make it through the day on the standard power.  I am not alone. According to some reports, the average American checks their phone over 100 times a day. 

This isn’t just a millennial behavior, it is a global attention span epidemic.  

Regardless of your age, turning off your phone and focusing on a good movie is much-needed therapy.  This time of focus in a darkened room is core to the experience of cinema.  Only with this focus can you lose yourself completely in the story and really fall into the magic spell of the movies. 

Plenty has already been written about glowing screens and unchecked chatter driving people from the cinema experience, so I won’t belabor that point further.  And I’m fine with “second screen” experimentation with regards to alternative content, gaming, interactive screenings, etc.  

But when it comes to our core business, creating a special environment for our customers to experience new stories for the first time, there is absolutely no place for the distraction of a lit phone screen.  

At the Alamo Drafthouse we are actively engaged in trying to make sure cinema remains a compelling destination for young people, and I agree this should be a focus for the whole industry.  I just don’t believe that this line of experimentation is the right tactic. A firm policy against talking and texting in the cinema is about respect: for the filmmakers and fellow cinephiles of all ages. 

Outside of this issue, however, I look forward to being challenged and inspired by what innovations and enhancements Adam Aron brings to the cinema experience.