The founder and CEO of Vue Entertainment, Europe’s largest private cinema operator, has written an open letter criticizing IMAX’s controversial deal with Netflix to screen Greta Gerwig’s new film The Chronicles of Narnia exclusively on Netflix screens for two weeks.
The deal, first announced in January, led to reports of significant dissatisfaction from within the exhibition industry, but the letter from Tim Richards, shared exclusively with Variety, marks the first time the deal has been formally voiced.
In his letter, Richards argued that viewers and the industry itself would “lose out” from the deal, warning that Imax CEO Richard Gelfond’s claims that he was trying to secure further exclusivity deals would be even more damaging.
“We risk undermining the very ecosystem that makes theatrical success possible,” he said, noting that Gerwig’s “Barbie” was able to achieve incredible box office success without releasing on Imax (which he also claimed is “no longer” the most technologically advanced premium large format).
Richards also referred to the “nuclear option” that Gelfond offered to ensure the preservation of The Chronicles of Narnia. This is understood to be a way to legally force theaters to show The Chronicles of Narnia on IMAX screens.
“The industry should not try to convince audiences that there is only one way to enjoy great movies,” he concluded.
Read the full letter from Tim Richards below.
IMAX is proudly touting its deal to screen Greta Gerwig’s long-awaited first feature film since Barbie, The Chronicles of Narnia, but despite being a Netflix film released under an unusual “2+2” model, it played in IMAX theaters for just two weeks before being released to Netflix subscribers at home for a dark two weeks.
As a result, The Chronicles of Narnia will no longer be available on 99% of movie theater screens around the world. The production will only play on IMAX screens owned by operators willing to break established theatrical release windows. Those who have chosen to respect established theatrical release windows have been threatened by IMAX with a “nuclear option” if they do not show their films.
What’s the result? IMAX and Netflix may benefit in the short term, but the industry and audiences around the world will lose out. Millions of families who would like to see The Chronicles of Narnia in theaters will be needlessly deprived of that opportunity.
All other premium large formats (PLFs) that consistently outperform IMAX screens, such as Dolby Cinema and Cinemark’s XD screens, will also no longer be able to show The Chronicles of Narnia.
Not only has IMAX agreed to this restrictive model, it appears they are encouraging other filmmakers to follow suit. In doing so, we risk undermining the very ecosystem that makes theater successful.
IMAX is one of many PLF options available to audiences around the world. It’s less than 1% of the world’s screens, so it’s not particularly important to a movie’s release or success. Even though Barbie was not released in IMAX, it grossed $1.5 billion at the box office, as evidenced by its theatrical release around the world for several months. Greta Gerwig says: “In my heart of hearts, I want the audience to see my movie in Dolby Vision with a (Dolby) Atmos mix, because to me, that’s the way I feel the most… Oh! That’s my movie!”
In recent years, projection technology and sound technology have evolved dramatically. New HDR projectors from Dolby, Christie and Barco all deliver market-leading images, and Dolby Atmos with 64 channels of immersive sound continues to be the industry benchmark and filmmakers’ first choice when it comes to audio.
Although IMAX has a strong product offering, it is no longer the technology leader it once was and only has a minority share of the global PLF box office market share. By working with the studios who are our true partners and focusing on what matters most: providing the best experience for our customers, the industry can and should coexist. The industry shouldn’t try to convince audiences that there’s only one way to enjoy great movies.
Tim Richards
Founder and CEO of Vue Entertainment and former Chairman of the British Film Institute
