“I don’t want to give the wrong impression,” Zoradi emphasized, “the 74-day exclusive window is an important one, especially for big blockbusters.”
Zoradi emphasized his, along with COO Sean Gamble’s studio experience: “We feel comfortable in that world, know the key players and what it’s like to be in their shoes. We’re unique there.”
“We negotiate window and release dates in a business setting as opposed to press settings because we think these are private negotiations,” said Zoradi in an obvious reference to AMC boss Adam Aron’sto Universal’s Donna Langley over the studio’s proposed experimenting with theatrical PVOD releases, in which he exclaimed that his chain wouldn’t book the studio’s upcoming movie.
“We believe the exclusive window is important to the theatrical experience, and are careful about undue change to that,” said Zoradi. For the most part, exhibition isn’t bothered when studios take titles with less commercial potential, and make them available in the home on their streaming services or PVOD. However, it’s the theatrical-day-and-date and PVOD release of an event film that rubs theater owners the wrong way, andfor them was an event opportunity that should have remained in theaters, not in the home.
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