评论
打印
Warner has arranged a digital-only release for "Scoob!", which was due in theatres on May 15th. Paramount has sold "The Lovebirds" to Netflix.
华纳公司已经安排发行数字版《史酷比狗》，该片本应于5月15日在影院上映。派拉蒙影业将《爱情鸟》卖给了网飞。
Even Disney, which does better at the box office than any other studio, has decided to put "Artemis Fowl" on its Disney+ streaming service, skipping the cinema.
就连票房收入超过其他任何电影公司的迪士尼也决定跳过电影院，让《阿特米斯的奇幻历险》登陆其Disney+流媒体服务。
These decisions were all provoked by the pandemic.
这些决定都是由疫情导致的。
But studios were already under pressure to provide content for the streaming services launched by their parent companies.
但电影公司已经承受着为母公司推出的流媒体服务提供内容的压力。
When Netflix is commissioning hits and putting them online immediately, Disney cannot serve up a diet of months-old films.
当网飞公司委托制作热门影片并立即将其放到网上时，迪士尼公司无法提供大量数月前的老电影。
Hence features like its remake of "Robin Hood", which in the past might have got an outing at the cinema, are going straight to Disney+.
因此，像翻拍的《罗宾汉》这样的电影，在过去可能会在影院上映，现在却直接在Disney+上映。
This year's Oscars will admit streaming-only films, in what the Academy insists is a covid-induced one-off.
今年的奥斯卡奖将允许仅在流媒体上映的电影参加，奥斯卡坚称这是由新冠病毒引起的一次性事件。
But last year's best-picture nominations included two Netflix films— "The Irishman" and "Marriage Story"—that had minimal theatre runs.
但去年的最佳影片提名包括两部网飞电影——《爱尔兰人》和《婚姻故事》——没几家电影院上映了这两部电影。
It isn't yet time for the credits to roll for the cinema. This year's biggest titles, from James Bond to Wonder Woman, have been postponed rather than put online.
现在还不是播放电影演职员表的时候。今年最热门的电影，如《007》和《神奇女侠》，都被延期上映，而非选择线上上映。
Universal itself has delayed the latest in its "Fast and Furious" series until next April.
环球影业已经将《速度与激情》系列的最新一部推迟到明年4月上映。
Given that previous "Furious" films have taken as much as $1.2bn at the worldwide box office, it cannot afford to miss a theatre run.
鉴于之前的《速度与激情8》在全球收获了12亿美元的票房，公司不能错过院线上映的机会。
But increasingly, cinematic releases make sense only for the biggest blockbusters.
但越来越多的电影发行只对最热门的大片才有意义。
Studios have realised that betting heavily on a few expensive "tentpoles" brings in more money than placing lots of smaller stakes.
电影公司已经意识到，在一些昂贵的大片上下重注比大量的小赌注能带来更多的钱。
Blockbusters' marketing costs are proportionally lower than those of middling movies,
大片的营销成本比一般的电影要低，
and shelling out for globally famous stars makes it easier to sell a film internationally.
花钱请全球知名的明星出演电影更容易打开国际市场。
With cinema attendance in decline in America, titles must sparkle to be one of the few that people bother going to see.
随着美国影院上座率下降，这些一定会成为人们不厌其烦去观看的为数不多的电影之一。
And so ever-greater rewards are accruing to the biggest hits.
因此，最受欢迎的电影正获得越来越高的回报。
Last year the five highest-grossing films took a quarter of the domestic box-office, nearly double the top five's share in 2000.
去年票房收入最高的五部电影占据了国内票房的四分之一，几乎是2000年电影前5名份额的两倍。
Critics complain that the emphasis on "event movies" is making studios tediously conservative about what they green-light.
评论家抱怨说，对“事件电影”的重视使得电影公司对他们所批准的电影过于保守。
All of America's ten most successful films last year were part of a series, like "Avengers: Endgame", or remakes, like "The Lion King".
去年美国最成功的10部电影都是像《复仇者联盟4：终局之战》这样的系列电影，或者像《狮子王》那样的翻拍电影。
That was the case for only two of the top ten in 2000. And what Hollywood produces, the rest of the world watches:
在2000年的前十部中，只有两部是这样的情况。由好莱坞制作的电影，全世界都在观看：
last year's global top ten was almost identical to America's. In truth, studios won't stop making lower-budget features;
去年的全球十大电影几乎就是美国的电影前十名。事实上，电影公司不会停止制作低成本的电影；
apart from anything else, they need to try out new actors and new ideas (it wasn't always obvious that comic-book adaptations would be money-spinners).
不论怎样，他们还需要尝试新的演员和新的想法（由漫画改编的电影并不总是能赚大钱）。
But increasingly, the tiddlers will go straight to streaming.
但越来越多的用户将直接使用流媒体。
All this is only a continuation of television's century-long siphoning of content away from the cinema.
长达一个世纪以来，电视机从电影院吸走了各种类型的内容，而现在的这一切都只是它的延续。
Movie theatres were once the home of all types of video. From the 1950s TV nabbed news, cartoons and serials, leaving cinemas with only feature films.
电影院曾经是所有类型视频的聚集地。从20世纪50年代开始，电视上充斥着新闻、卡通片和连续剧，而影院里只有故事片。
Now streaming is sucking up many of those too, so that the theatre is a place to visit just for event movies.
现在流媒体也吸走了很多这样的类型，所以影院是一个只看事件电影的地方。
Something is being lost: an evening at home with Netflix isn't quite the same as a night at the Ocala, reflects Mr Watzke.
有些东西正在消失：在家里和Netflix共度的一个晚上和在Ocala度过一晚是不一样的，Watzke先生反思道。
People may enjoy a film just as much on TV. But "if they see it at the drive-in, it's a memory."
人们在电视上看电影或许也会很享受。但是“如果他们在汽车影院观看，那就是一种记忆。”
译文由可可原创，仅供学习交流使用，未经许可请勿转载。
