Nolan has long been a champion of the cinematic experience and it is understood that he is keen to make sure Tenet doesn’t break the exit window by switching to streaming or video on demand. He also reportedly recently turned down a proposal that Tenet first air outside of the United States, in territories where theaters have already reopened, in order to support American theaters.
However, Emmerich’s statement implied that the position on an earlier international version could change; he said in his statement that “[Warner Bros is] not to treat Tenet as a traditional global version of the day and date, and our future marketing and distribution plans will reflect that ”. Tenet’s budget of over $ 200 million would normally require a rapid global rollout in each territory, combining event-wide marketing and an attempt to limit piracy.
The change in leadership follows growing complaints from non-U.S. Movie distributors and operators that their industries will be crippled by Hollywood’s focus on North American theaters as plans to reopen in the U.S. have been upset by the chaotic response to the pandemic. An anonymous UK executive told Variety that, given that Hollywood blockbusters can earn up to 70% of their revenue outside the US, “it feels like it’s been forgotten.” Tim Richards, CEO of multiplexing chain Vue International, said, “We cannot thrive again as an industry without a concerted effort on major releases.” Jocelyn Bouyssy, Managing Director of CGR Cinemas, France’s second largest multiplex chain, said: “It will be a disaster if Mulan and Tenet are delayed again… We don’t know how long we can hold out like this.”