A few years ago, Richard Linklater expressed frustration with Netflix, primarily regarding the distribution and visibility of his rotoscope gem “Apollo 10½.” He felt the film “didn’t get out there” as widely as it might have in a theatrical or more traditional release, which limited public awareness.
Fast forward to today, and with three of his last four movies having been distributed by the streaming giant, Linklater seems okay with Netflix’s reported attempt to acquire Warner Bros?
In an interview with Vulture, Linklater didn’t rail against corporate consolidation or the death of theatrical distribution. Instead, he sounded… calm. Maybe too calm for some.
“It’s pretty fascinating how fast the business morphs and changes and consolidates,” Linklater said, striking a tone that suggests inevitability rather than alarm.
More importantly, he notes that his last two films with Netflix — “Hit Man” and “Nouvelle Vague” — were positive experiences, adding that the streamer is “great to work with” and praising CEO Ted Sarandos directly: “Ted’s a good guy. I trust him on this Warner Bros. acquisition in a way.”
That’s the line that will likely raise eyebrows.
For many filmmakers, the idea of Netflix owning a legacy studio like Warner Bros. represents the final death nail of theatrical cinema. Linklater, however, doesn’t seem inclined to fight that battle. “The industry’s got to go where the industry goes,” he says.
When pressed on whether Sarandos might be “the Antichrist and enemy of all theatrical distribution,” Linklater laughs it off. He points out that Netflix acquired “Nouvelle Vague” and that he’s had direct conversations with them about the system. “They love movies,” he insists, adding that Netflix will “deliver them to where the public wants them.”
If Netflix buying Warner Bros. happens, Linklater is prepared to accept it as just the industry evolving: “I’m not as worked up as some people,” he admits.
Whether that trust is warranted remains to be seen.
Cory Finley, a talented filmmaker, has directed three films so far: "Thoroughbreds" (2017), "Bad Education” (2020), and "Landscape with Invisible Hand.”