One topic that has always fascinated me is the theatrical to home release timeline – that is, the journey that a film takes from its premier to being bought on Blu-ray at your local store (or, you know, Amazon). While there are certainly reasons that the current timeline exists as it does, I would also argue that the haste at which it now moves might ultimately prove to be a detriment for theater owners (and anyone who wants their movie seen on the big screen). So, without further ado, let’s get into it!
Home Release History
As I covered a similar topic back in my article on the importance of physical media, I won’t go into too much detail here. That said, a bit of context never hurt anyone.
For much of their history, films were unable to be seen outside of the dedicated cinemas which dominated the landscape. They were shot, released (staying in rotation sometimes for years if they were successful), and then disappeared. Sure, some mega-hits eventually received re-releases back to the screen, but those were few and far in-between and certainly not a reliable way of making sure you were able to see something. Basically, its theatrical release was your one shot and you’d better not miss it.
Still, as time and technology progressed, studios eventually saw the value in offering ways for the general public to continue to re-view and re-purchase existing films. Whether this was through airings on TV stations or home media (Laserdisc, VHS, and the like), there was a renaissance in the ability of people to re-experience the movies they loved. That said, it often took a year or two before even new releases found their way to the home marketplace and still longer before showing up on television. Suffice to say, if you had any interest in seeing a film remotely close to its initial release, the theater was still your best and only option.
It’s a Revolution, I Suppose
For as much of a change to the status quo as the previous advancements were, they were dwarfed by what came next. With the rise-to-prominence of premium cable channels (led by HBO) and the advent of DVD, the length of time it took for a movie to leave theaters and enter the home market was greatly reduced. For their part, premium cable channels built their model on being able to show relatively new and high profile films to their viewers with regularity. This still often took longer than the actual home release but was a good-sight faster than waiting for them to hit regular cable channels.
As for DVD, whether as a marketing choice or as a consequence of manufacturing techniques, the time it took for a film to be released to the public for ownership was nearly cut in half. If released early enough, a movie that was in cinemas could be purchased by the end of that same year. While still a substantial amount of time, it was near lightning-speed when compared to previous wait times. When likewise combined with the rise to power of the large rental chains (Blockbuster and their ilk) that had been occurring since the late ’80s, the ability of the public to see films in a timely manner after their theatrical runs had greatly increased.
Welcome to the New Age
And finally, we reach today – an era in which the timeline for the life of a film is both faster paced and more reliable than ever. While things vary from studio to studio, the following is a general rundown of the basic release structure today (as of 2020):
- Day Zero: The Film is released in theaters.
- Day Thirty (average): The Film Leaves theaters.
- Day One Hundred and Twenty: The Film may be Available to Rent On-Demand and Purchase Digitally.
- Day One Hundred and Thirty: The Film may be available to Purchase physically.
- Day One Hundred and Eighty: The Film may begin to appear on Premium Cable channels.
- Day Two Hundred and Seventy: The Film may begin appearing on Streaming Services.
- Day Seven Hundred and Twenty (Two Years): The Film may begin appearing on Basic Cable.
Now, while these numbers are all very simplistic, and there is no doubt a great deal of overlap between the dates of Premium Cable and Streaming releases, they paint a pretty clear picture of how modern audiences interact with new movies that get a theatrical release. With the exception of mega-hits like Avengers: Endgame or Star Wars, few films stay in theaters longer than a month – and some can be there for much, much shorter periods of time. While especially compared to cinema’s early history of years-long releases, this might seem like a relatively narrow window to see a film, it doesn’t carry near the weight it once did.
Breaking down the Breakdown
If someone manages to miss the aforementioned theatrical window, you’ll notice that they won’t have to wait all that long (3-4 months maximum) for their next available chance to see the movie. Digital releases and On-Demand rentals begin around the same time and both give people the opportunity to see a new film from the comfort of their own home – while having the added benefit to the studio of not needing to manufacture a physical item. This is soon followed up the physical media release, for those who prefer that medium.
Shockingly, it’s not all that much longer before movies then make their way to (depending on their deals) premium cable channels or exclusive streaming services (think Disney+). While this still requires an expenditure of money on the part of the viewer, these are likely services already being paid for and not an exclusive purchase to see the film. Sometime later, the films eventually find their way into the broader streaming service world of sites like Netfilx and Hulu. While also not a ‘new’ expenditure of funds for most people, these services have yet an even broader reach amongst the public.
Finally, for those inclined to wait until the bitter end, and who don’t mind commercials and edited content, films typically make their way onto basic cable around two years from their initial releases. While certainly one of the less-optimal ways to view a film (see the aforementioned reasons as well as aspect alterations and compression), this is effectively a no-cost way for cable customers to see a film.
And this matters… why?
After reading this, you might well be asking yourself why this shift in the underlying theatrical to home release timeline matters. Well, while its certainly true that it allows more people a greater chance to see a film than at any time in history, it also means that fewer and fewer people (as a percentage) see a film in theaters as compared to all other methods. [Note: I’m merely talking over the first three years, as of course, this would be true of all films at any point given enough time on the home marketplace.] It also likely leads to a disincentivization of going to the theater to see a film at all.
You see, back when people knew that going to the cinema and seeing a film on the big screen might be their one chance to experience it, there was a strong motivator to push them towards the action of doing so. In the modern world, such motivation is severely undercut by the ability to quickly and easily watch the same media mere months after it leaves theaters (and, in many cases, for less money). While availability is always preferred over scarcity, this line of thinking has perhaps gone too far in convincing people that a theatrical experience is unnecessary.
And THAT matters why?
Though I plan on eventually tackling the topic of what makes seeing a movie on the big screen so special for the viewer in a later article, for now, I will merely focus on why this matters to the theater itself. The answer should be obvious: the theater makes no money from any viewing that happens outside of their walls. Streaming, Physical Media, Cable, VOD – none of these have any positive impact on the bottom line a theater sees from a film. Coupled with the already high percentages taken by many studios during the early weeks of release, it isn’t hard to see the financial strain that now comes with operating a modern movie theater. You are no longer just competing against television, video games, books, sex, concerts, and music – you are competing against your own product, just months down the line.
While there are doubtless many of you who will raise your fists and ask why we should care about the financial well-being of movie theaters, you can’t deny that they play a crucial role in the current cinematic experience. From the hype and excitement of a nation-wide release to the trill of sitting in a darkened room with a screen the size of a house – seeing a movie in theaters, with others, can be an amazing experience. Removing incentives to take part in this age-old tradition only limits your options to do so in the future – I’ve watched as local theaters that I have long frequented have been shuttered, thus further reducing the choices available and adding an extra layer of inconvenience to going to the movies (what with the added travel time to the next-closest theater).
Conclusion
While there are inarguably many benefits to be had from having easier and more expedient access to modern films, the modern theatrical to home release timeline is also having a negative effect on the industry that created it. Fewer and fewer people now feel the urgency to make the trip to see films on the big screen and, as a result, ever greater numbers of theaters find themselves facing dire straits financially. Given enough time, this eventually results in closing business and an even more limited selection for the general public – thus further reducing the incentives to making the effort to go out to see a movie.
I’ve seen this story play out in my own life: friends and family that are genuinely interested in an upcoming or recently released film deciding, “Eh, I’ll just wait for it to come out on HBO. It’s only a few months anyway.” In this case, not only did the studio lose a sale, so too did the theater. Sure, the film will retain its eventual viewer (certainly a boon for the filmmaker who wants as many eyes on his work as possible), but decisions like this only serve to build upon their own failures – as fewer people go to the cinema for movies, the studios determine that the theatrical experience is a less and less valuable part of the puzzle. While I am all for people being able to easily watch and own media they love, I don’t think it needs to come at the expense of an inherent part of the medium itself. The theatrical experience, for all its ups and downs, is a special part of cinematic history – past and present.
I only hope it’s a part of its future.
Chris