Amazon is betting big money — O’Neil estimates about $2 million — on the Emmy and Oscar races. In December, as part of the studio’s marketing campaign, Damon and Bezos hosted a party under a big tent at Bezos’s Beverly Hills mansion, stocked for the occasion with the best scotch, plenty of shrimp and lots of stars.
Bezos spoke to Anne Thompson of the independent-film website IndieWire, who reports, “[Bezos] wants to build a brand that means taste and class, and the person he leans on for advice is pal Harvey Weinstein.” Weinstein is the legendary Hollywood mogul whose films have earned more than 300 Oscar nominations. The Hollywood Reporter notes that not since Weinstein’s 1999 battle for Shakespeare in Love against Steven Spielberg’s Saving Private Ryan has there been a dramatic, bragging-rights Oscar contest like Amazon’s Manchester vs. Netflix’s 13th, a hot Oscar contender in the documentary category, which would be Netflix’s fourth Oscar nomination.
“Amazon is following the same strategy HBO pursued at the Emmys back when it was the New Media Kid in Town,” O’Neil explains. “In the 1980s, HBO craved the approval of its peers and so campaigned aggressively to win Emmys. … Now, HBO is The Establishment and it’s facing hungry new foes like Amazon.”
To O’Neil’s point, HBO, which dominated the Oscars and Emmys for two decades, didn’t make the Oscar documentary semifinalist list of 15 contenders this year. Netflix, with 13th, and Amazon, which acquired the U.S. rights to Gleason, did. Clearly, back in 2000, Price guessed right about the future of internet entertainment.
In 2008, Amazon’s digital video sales generated revenues comparable to that of a neighborhood Blockbuster store. How on Earth did Roy Price turn this modest digital store into a rocket ship to Emmy and Oscar acclaim?
It helps that he is Hollywood royalty. Price’s mom, Katherine Crawford, was an actress who appeared on the 1970s Seattle-set show Here Come the Brides. His dad, Frank Price, ran Columbia and Universal studios, and his namesake maternal grandpa, Roy Huggins, created and produced breakthrough TV shows like The Fugitive, The Rockford Files and Maverick.
Perpetually clad in jeans and a black leather jacket, Price can swim with Hollywood sharks, speak their upbeat lingo and still talk digital business jargon with the nerdiest of nerds. His parents tried to steer him away from too much show biz, but after graduating from exclusive East Coast schools (Phillips Academy Andover and Harvard University), he went to USC’s Gould School of Law, worked as an assistant for an agent who grew up to run Hollywood’s top talent agency, CAA, and went into the family business.
He is irreverent, puckish and infinitely bolder than most Hollywood execs, who live in fear of making a mistake and getting fired. Price takes entertainment seriously — he actually rewrote the story of Bosch, Amazon’s adaptation of the Michael Connelly crime novels, but he isn’t self-important. The Disney film The Barefoot Executive, about a chimpanzee that’s adept at picking TV hits, is one of his favorites.
“That is an awesome, awesome movie,” says Price, who loves monkeying with Hollywood tradition. “You’re not going to find the most interesting new show on TV by being easily put off by risk. You have to be sort of bold. In today’s competitive environment, the conservative path is the riskiest path.”
Price doesn’t seem to need a chimp to pick hits. Like his forebears, he is a maverick with an analytical streak. His grandpa’s show, The Fugitive, which became a $387 million movie, broke all the rules of its day. “Every network passed on The Fugitive at least once,” he says. “You couldn’t have a guy wanted for murder as your protagonist! The whole concept was offensive! But it was a huge hit, and the offbeat protagonist has become very popular.”
Offbeat protagonists are the foundation of Price’s empire: trans dads, madcap maestros, Nazis running half of America in Philip K. Dick’s The Man in the High Castle, and a Vietnam-era writer who sells out his talent in Woody Allen’s Crisis in Six Scenes. As with The Fugitive, he notes, “Every studio passed on Transparent.”
Price also doesn’t fret about industry headlines, which note that shows by Netflix, FX, HBO and Hulu often get more viewers than Amazon. Though he’s in competition with traditional studios for viewers in theaters, on TV and on devices, he’s in a different position because Amazon’s business model is unique. He needs to grow viewership, but he doesn’t make money from ads whose prices are based on viewership ratings, which (natch!) Amazon won’t disclose.
Instead, he must grow membership in Amazon Prime, a service that costs Amazon customers $99 a year (or $10.99 a month), for which they get free two-day shipping on products purchased through Amazon and streaming of all the Amazon shows they can watch. Analysts say Price drove much of Amazon’s 53 percent growth in Prime membership in 2015 to an estimated 54 million (it’s now over 60 million). Prime members effectively subsidize all the shows Price is busy creating, whether or not they watch anything.
“Their strong belief is the more time you spend in the Amazon ecosystem, the more money you spend with Amazon,” media analyst Richard Greenfield told The Los Angeles Times last year. “The key for Amazon is how do they get you to spend more time in that ecosystem — and it’s with having a deep catalog of movies, TV and music.”