Here are some papers examining the issue through surveys: http://www.mtm.uni-koeln.de/team-loebbecke-publications-conf... http://people.cs.uct.ac.za/~aarnab/drm/papers/survey.pdf http://www.nclnet.org/images/PDF/ncl_dvdsurvey_report_040620... http://www.mirlabs.org/iasl/volume_1/IASL_Vol_1_Paper_12.pdf http://beta.orionshoulders.com/Resources/articles/26_22273_I... (last one only for statistical masochists)
And if some distributors want exclusivity - they can get it. They can agree that the publisher will sell that content only through their channel. What does it have to do with requiring DRM? Same thing can happen with a DRM free release.
No it can't, what are you smoking? Are you going to put up money to buy territorial rights for content which the publisher is going to give away DRM-free? Of course not, there's a high risk that you'd never recoup your investment. Territorial markets matter a lot, because those block sales represent the production's best hope of breaking even. All those markets are different, which is why distributors exist in the first place; they know their local markets better than any individual studio or producer can, and they have the cash flow to write a check based on the budget and the quality of the cast attached to the project.
This is how most commercial movies get financed: a large chunk of the budget is ponied up in advance by the international distributors. In turn, they have some control over the release window (which varies by country for all but the most giant projects, because every country is different with different holiday weekends etc. which are more important to consumers than all but the very biggest movie releases), and they impose touch contractual requirements on the studios. This is a completely different market from Netflix. When Netflix licenses something, they (in most cases) already know how it performed and can negotiate the cost of the license based on that date. International distributors are taking much larger financial risks at a much earlier stage of the business cycle. They're like VCs, not simple retailers.
I don't mean to be rude, but you're making these breezy and uninformed statements about a ~$35 billion industry that's been running for over a century and is one of the most competitive and meritocratic sectors of the economy. You keep saying how stupid the people at the studios are, and yet you obviously don't know the first thing about how the industry functions.