Netflix Film Chief Dan Lin Says the Streamer Has Moved On From Directors Who Demand Theatrical Releases

Netflix has spent years trying to redefine how audiences watch movies, and according to film chairman Dan Lin, the company has fully embraced a reality that some filmmakers simply won’t get on board with.

In a recent interview with The New York Times, Lin made it clear that Netflix isn’t interested in changing its core strategy to accommodate directors who insist on traditional theatrical releases before their movies hit streaming.

“There is a group of filmmakers who still want theatrical. Those are filmmakers that we’ve accepted we just won’t work with.”

It’s a straightforward stance that highlights the ongoing divide between filmmakers who see theaters as an essential part of the moviegoing experience and a streaming giant that continues to prioritize its direct-to-consumer model.

The one notable exception is Narnia: The Magician’s Nephew, which is being directed by Greta Gerwig. The upcoming fantasy film is set for a wide theatrical release before arriving on Netflix, a rare move for the company and one that appears to be unique rather than the beginning of a larger shift in strategy.

Lin explained that his role at Netflix differs greatly from that of a traditional studio executive because of the massive volume of projects the streamer produces.

Rather than shaping the slate around his personal tastes, he’s focused on creating a consistent filmmaking environment.

“Because I have such a huge slate, my job is very different from other studio chairmen’s jobs. I can’t impose my taste on the slate. But I can impose a way of making movies.

“I can impose a way of how we want to work with filmmakers. I think people on the outside are pretty clear on what I’m going for: making someone’s favorite movie in a specific genre, focusing on variety and quality and making Netflix the best place for filmmakers to work.”

Part of that vision involves expanding Netflix’s lineup of crowd-pleasing mid-budget films.

Lin specifically pointed to comedies, romantic comedies, and book adaptations as areas he wants the streamer to invest in more heavily.

One project he highlighted was People We Meet on Vacation, the adaptation of Emily Henry’s popular novel.

Starring Tom Blyth and Emily Bader, the film delivered a solid debut with more than 17 million views during its opening weekend. Netflix clearly sees potential in Bader as well, as she’s already lined up for two additional projects with the streamer.

While Netflix remains committed to streaming-first releases, it has occasionally experimented with theatrical runs.

The animated hit KPop Demon Hunters recently became the company’s first film to claim the No. 1 spot at the domestic box office during its brief two-day theatrical launch, earning more than $19 million before heading to the platform. A Halloween re-release is also planned.

Even with that success, Netflix co-CEO Ted Sarandos recently reiterated that the company isn’t changing course, saying: “There’s no change in the strategy”

That comment suggests Netflix still views theatrical releases as promotional events rather than a fundamental part of its business model.

At the same time, Netflix continues to test creative release windows when it makes sense.

One of the most interesting examples is David Fincher’s upcoming sequel to Once Upon a Time in Hollywood, which is scheduled for a two-week IMAX run over Thanksgiving before debuting on Netflix on December 23. The approach echoes the release strategy used for Rian Johnson’sWake Up Dead Man.

The debate over theatrical releases isn’t likely to disappear anytime soon.

Many filmmakers continue to argue that movies are meant to be experienced on the biggest screen possible, while Netflix remains focused on reaching its audience where it already lives… at home.

There’s also a larger question hanging over the company’s future. If Netflix wants to continue charging premium subscription prices, some movie fans believe the service needs to keep attracting filmmakers who see cinema as an art form worthy of a theatrical showcase.

As competition from cheaper and free streaming platforms grows, the pressure to deliver must-watch films only becomes greater.

For now, though, Lin’s message is clear. If a director considers a theatrical release non-negotiable, Netflix is perfectly comfortable letting them take their movie somewhere else.

Source: Deadline