Netflix’s Shifting Demands Reshape Filmmaking, Say Damon and Affleck
A new approach too content creation driven by at-home viewing habits is impacting how movies are made, according to industry veterans Matt Damon and Ben Affleck. Teh duo discussed the evolving landscape of filmmaking during a recent appearance on The Joe Rogan experience, while promoting their new Netflix film, The Rip.
The conversation centered on the growing influence of distracted viewers – those engaging with their phones while watching content – and how this is prompting changes in narrative structure and pacing. Damon highlighted the distinct experiences of watching a film in a theater versus at home,noting the communal aspect of cinema. “I went to see one Battle After another on IMAX – there’s nothing like that feeling,” he recalled. “You’re in with a bunch of strangers, but people in your community and you’re having this experience together. Its more like going to church – you show up at an appointed time. It doesn’t wait for you.”
In contrast, the home viewing experience is fragmented. “You’re watching in a room, the lights are on, other things are going on, the kids are running around, the dogs are running around,” Damon explained. “it’s just a very different level of attention that you’re willing, or able, to give to it.”
This shift in attention spans is directly influencing Netflix’s filmmaking strategies. Traditionally, action movies followed a pattern of building to a climactic finale, with the largest set piece reserved for the third act.However, Damon revealed that Netflix now prioritizes immediate engagement. “Now, [netflix is] like, ‘Can we get a big one in the first five minutes?’ We want people to stay tuned in. And it wouldn’t be terrible if you reiterated the plot three or four times in the dialog as people are on their phones while they’re watching.”
Damon expressed concern that thes demands could compromise storytelling. “It’s going to really start to infringe on how we’re telling these stories,” he stated.
Affleck offered a counterpoint, citing the success of Adolescence, a film that defied these conventions. “But then you look at Adolescence and it didn’t do any of that shit and it was fucking great,” he said. While acknowledging this exception,Damon conceded that it “feels more like the exception,” adding,”I hope it’s not.” Affleck emphasized that the film’s success demonstrates that captivating storytelling doesn’t require constant stimulation. “It demonstrates that you don’t need to do any of that shit to get people [to watch],” he said.
Despite these concerns,affleck doesn’t foresee streaming posing an “existential threat” to cinema. He noted that the entertainment landscape is constantly evolving, comparing the rise of television to the current shift towards streaming. “Things shift. As television came along, there was less theater-going and that’s still going to happen. And people are still going to go to the movies as it feels like a cool thing to do. ‘I’m going to go see The Odyssey. I guarantee you in a theater, no matter what.”
In a move that challenges Netflix’s standard business model, Damon and Affleck, through their production company Artists Equity, negotiated a deal for The Rip that includes bonuses for the crew based on the film’s performance. This represents a departure from the typical upfront fee structure and aims to reward the entire team for a successful project.
The evolving dynamics between filmmakers and streaming giants signal a pivotal moment in the industry, as creators navigate the challenges of capturing and maintaining audience attention in an increasingly distracted world.
