Media fragmentation is a pervasive topic in our industry. It crops up in several of this week’s Directors Series profiles, for instance, with such projects as viral spots, Web shorts, Internet events and targeted cable series bringing helmers into creative prominence. Fragmentation is also what prompted a two-year extension of the commercials contract for actors as the ad business and the actors’ unions plan to take that time via an independent study to figure out equitable compensation models in a brave new media world.
Yet while there’s constant corridor talk about new media and the splintering of audiences, rarely do I hear discussion in our corner of the biz about the ironically rampant antithesis of fragmentation: media ownership consolidation. It’s certainly being discussed in the entertainment sector. Earlier this month Hollywood producers and union representatives testified at a regional FCC hearing in Los Angeles, objecting to the relaxation of media ownership rules over the years, which they contend has resulted in the consolidation of power into far too few hands.
The impact compromises varied areas, perhaps most sadly journalism as evidenced on assorted fronts, a prime example being Tribune’s ownership of The Los Angeles Times, which has translated into significant staff cutbacks, prompting community leaders to protest, with some urging that Tribune divest itself of the newspaper.
However, most of what I hear and read from ad industry pundits regarding media ownership consolidation is centered on strategies, with savvy business moves by agency holding companies (acquiring additional shops, including media firms) and by the likes of Rupert Murdoch being lauded. In Murdoch’s case, there’s News Corp.’s high-profile acquisition of MySpace, adding to an empire that consists of assorted newspapers, the Fox stations spanning broadcast and cable and satellite holdings.
The most eloquent retort to such all encompassing ownership came from director Frank Capra in Mr. Smith Goes To Washington, which shows how a media mogul with power can influence opinion and the flow of information to the detriment of the public at large.
But perhaps I am the dinosaur, citing a 1939 movie. Next I’ll be babbling about the Sherman Antitrust Act, recalling when it actually meant something.
Nonetheless the potential for the abuse of power remains a relevant issue, particularly for those further down on the food chain. In our industry consider the slow payment problem that has compromised the financial health of production companies and other support services in recent years.
And the situation is worsening, the irony being that huge multinational corporations are asking small entrepreneurial shops to bankroll production for extended periods.
While fragmentation is a hot industry topic, so too should be what happens under the guise of consolidation.
Oscar Nominees Delve Into The Art Of Editing At ACE Session
You couldn’t miss Sean Baker at this past Sunday’s Oscar ceremony where he won for Best Picture, Directing, Original Screenplay and Editing on the strength of Anora. However, earlier that weekend he was in transit from the Cesar Awards in Paris and thus couldn’t attend the American Cinema Editors (ACE) 25th annual panel of Academy Award-nominated film editors held at the Regal LA Live Auditorium on Saturday (3/1) in Los Angeles. While the eventual Oscar winner in the editing category was missed by those who turned out for the ACE “Invisible Art, Visible Artists” session, three of Baker’s fellow nominees were on hand--Dávid Jancsó, HSE for The Brutalist; Nick Emerson for Conclave; and Myron Kerstein, ACE for Wicked. Additionally, Juliette Welfling, who couldn’t appear in person due to the Cesar Awards, was present via an earlier recorded video interview to discuss her work on Emilia Pérez. The interview was conducted by ACE president and editor Sabrina Plisco, ACE who also moderated the live panel discussion. Kerstein said that he was the beneficiary of brilliant and generous collaborators, citing, among others, director Jon M. Chu, cinematographer Alice Brooks, and visual effects supervisor Pablo Helman. The editor added it always helps to have stellar acting performances, noting that hearing Cynthia Erivo, for example, sing live was a revelation. Kerstein recalled meeting Chu some eight years ago on a “blind Skype date” and it was an instant “bromance”--which began on Crazy Rich Asians, and then continued on such projects as the streaming series Home Before Dark and the feature In The Heights. Kerstein observed that Chu is expert in providing collaborators with... Read More