All In   |  July 26, 2013

Is the future of film on television?

How have Netflix and Hulu changed the game? Chris Hayes talks with documentary filmmakers Tia Lessin and Carl Deal, New York magazine film critic David Edelstein, and Chris Harnick.

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This content comes from Closed Captioning that was broadcast along with this program.

>>> say is it has worked well for us.

>>> what you're going to end up with is fewer theaters, bigger theaters, with a lot of nice things. going to the movies is going to cost you 50 buck, maybe $100, maybe 150.

>> like broadway costs today.

>> like broadway or going to a football game .

>> i think eventually the lincolns are going to go away and they're going to be on television.

>> just heard from two legendary filmmakers, george lucas and steph steven spielberg . the two predicted a shift from the movie theater to the living room and it is already happening. back at the table filmmakers thia and carl. and david edelsten. joining us to talk about the changing television, " huff post editor," chris, i'm fascinated about the way netflix is reorienting tv and the fact that people i know , young creative people, are talking about making tv shows , like, what i think 15 years ago, people, everybody had a screen play that they had in their drawer and a movie they wanted to make and people now all have an hbo pilot and want to make the next "sopranos."

>> basically netflix is what hbo did 20 years ago and giving people what they want that they can't get on broadcast tv .

>> they got all these emmys. they are now a place where it seems to me, i mean, there seems like -- they have 14 emmy nominations, and it seems to me like there's money and resources there. we're talking about how you can't get a certain kind of film made in hollywood and something like "orange is the new black" or "house of cards" which i'm really loving, those are getting made.

>> you look at "arrested development," one of their hottest properties was a canceled fox tv show they were able to revive because there were some high fan demand.

>> so it's about creating products that have kind of intensity of fan desire as opposed to breadth, right? it's like blockbusters are a million miles wide, in hd, they want to get stuff that's an inch wide and a million miles deep.

>> the hope, the theory is to create niche markets . the problem is you have to budget it accordingly so you can get away with appealing to some of the people all of the time.

>> for folks like yourself who are filmmakers but who had a tv distribution deal originally for the nfilm you're making now, is this exciting to you there are going to be all these new platforms that could show your film?

>> for the kind of films that we make which are documentaries, which we welcome anything, you want to get as many on it as you can. we think there's no better experience for certain films that sitting in a theater and having a collective experience. i mean, there's a community experience of sharing the emotional experience of a movie with strangers, but for a film like ours, they don't generally have extended runs so when you have the opportunity to be on netflix, on --

>> that experience, that collective experience of going to a movie theater , is that going to economist in 20 years? i tend to think george lucas is right about that.

>> i hope, no, no, no, no. i think with digital distribution and, you know, if theaters can -- if they can build smaller theaters and not go for the palaces, i think maybe you can figure out a way to do it. i do not know how.

>> you look at all the social chatter around the shows like "house of cards" and "orange is the new black." it's going to be word of mouth .

>> that's a great point. people are having a collective experience of watching now. right now, there are people on the twitter feed using the hash tag talking about our conversation.

>> alone in their rooms.

>> it's not the physical body heat that other presences that matter.

>> there's a huge difference. i mean, i've been going to a lot of film festivals as i'm sure you have, and there's nothing to compare with this group, this full house of people responding maybe talking to the filmmakers, and now every city, every big, small city , will have a film festival . i just got back from nantucket. i mean, granted it's not who you're appealing to there, but it's people like chris matthews . but, you know, the fact is you have these intense audiences that is part of this collective public experience. and there is a difference between -- look, television is bringing much more exciting things than movies right now but there is nothing to match the excitement of seeing something with your fellow man and woman.

>> do you feel that way, tia?

>> absolutely. no, i mean, we were so moved with our last which was nominated for an academy award .

>> about new orleans.

>> about katrina survivors. we went to 300 theaters across the can untcountry and many personally and we were moved by the response. we hope that experience stays. we think it will. if you market the films well.

>> are we going to see a rush of other entrants into the netflix place? a more proliferation of channels creating original programming?

>> i think so. you look at the networks. abc is doing their content everywhere, and broadcast networks are just kind of lagging behind in this. netflix is giving people what they want when they want it. other people are going to hop onboard.

>> the thing that's exciting to me is the idea you get a full spectrum of creative endeavors that might be able to both get funding and kind of right size the funding to the audience so people can make all kinds of different things. a 40-minute documentary, a 22-minute sitcoms. and they don't all have to clear some huge bar and we can all be enriched by more stuff to watch. chris of " huff post tv," david elestein. that is the "all in" for this evening. rachel maddow is off tonight. that means i'll say something i've never said before in my life and never thought i would say.

stay tuned for "lockup raw: inmates gone wild."