Every film was simply a gut feeling
As I like to say, when you know, you know. This article really made me consider factors of filmmaking outside of the actual filmmaking process of shooting and directing a film. It bought to light the importance the business side of it plays in creating a great film.
A streaming release changes that calculus. For a movie that debuts online, filmmakers are generally paid generously upfront without a chance to benefit financially if their movie is a big hit. Many Hollywood power players wonder how this work-for-hire model may influence quality. Without a chance to share in box office revenues, filmmakers are no longer partnered with distributors and therefore have less riding on how commercially successful their movie is.
These are factors that really affect whether or not a film will be great. Filmmakers take pride in their films, not only because of the art, but the success it can lead to. By removing this factor by paying so much up front, I am curious on whether or not the movie suffered greatly aesthetically.
This increase in volume and distribution has led to debate among people in the industry. On the one hand, there are more opportunities than ever for new filmmakers and ambitious projects which may never have been given a chance in Hollywood’s old system. On the other, some industry professionals and cinema lovers are worried. Oscar-winning director Martin Scorsese recently wrote in Harpers of his concern that cinema as art is being devalued as movies are lumped together with television series and unscripted shows and offered as “content” on streaming platforms.
The Netflix and Disney ratings above are not surprising. I think there's room for both the Netflix's and the Disney's. I really like this comparison because maybe this is the middle. For the filmmakers and the creatives who are good and enjoy making the streaming content, there is plenty of opportunity and platforms to distribute that type of content, Also, for the filmmakers who want to create legendary films that people will remember decades from now, there are still platforms and opportunities for them.
Many Hollywood insiders worry about the pressure studios are putting on themselves to maintain quality amid the huge jump in production.
As a creative, it's hard to imagine compromising my quality of work for a faster production schedule. There has to be a middle that we can come to where we can give audiences films in a period of time that doesn't require filmmakers to fully compromise the quality of that film.
Netflix is Hollywood’s clear leader in new movie production, churning out in 2020 more films than weeks in the year.
This is impressive. I'm a Netflix subscriber and I watch movies on the platform all of the time. I agree that there is never a shortage of new content. Thinking of this from a filmmaking perspective, it's mindblowing that Netflix is able to produce so much content in such a short period of time. I know with YouTube and TikTok that it's definitely important to produce content frequently or as much as possible. However, there's a huge difference between putting out 10 minute YouTube videos and 90 minute full length movies every week.
In movies aimed at men and boys, she said, “there is the goal, the thing the hero is trying to accomplish.” Then, she continued, “there’s the relationship, usually with a woman, child, friend or father. Usually at the end the hero realizes the relationship is more important than the accomplishment.” But in most movies geared toward women, she realized, the relationship is the accomplishment.
This was interesting. Both focused on relationships but presented in different ways. I would like to do more research if there was a movie that focused on relationships as the accomplishment that was geared toward men, and how well that movie did.
“I think the thing that they’re getting out of it is that the ‘happy ending,’ the one that is most memorable and might make people go back to see the film a second time, might not be about winning. It might be about not winning, about finding something deeper that means more than victory.”
More than just relationships, a factor to be considered in a great film is the journey after the accomplishment. Instead of just focusing on takeaways for the audience, but think of a deep takeaway for the characters.
“Audiences don’t care about an accomplishment unless it’s shared with someone else. What makes an audience happy is not the moment of victory but the moment afterwards when the winners shares that victory with someone they love.” So she mentally rewound the concluding scenes of these “accomplishment” films. Ms. Grey leaps into the arms of Patrick Swayze at the end of “Dirty Dancing,” and after that she reconciles with her father. Jaden Smith performs that impossible kick at the end of “The Karate Kid,” but afterward makes peace with his opponent and shares the moment with his mother and trainer. Colin Firth conquers his stammer at the end of “The King’s Speech,” and then shares his victory with his wife, daughters and the crowds cheering outside the palace.
Again, this is further confirmation of the importance in focusing on the relationship aspects in a film. As a filmmaker, I now know that highlighting and creating scenes that enhance the relationship is critical.
Positive movies do not necessarily have happy endings; their characters’ personal relationships trump personal achievements; and male and female viewers differ in how they define a character’s accomplishments.
This was enlightening. My reasoning for choosing to dive into my chosen topic of the factors that make a movie great and successful is to find gems like this to help me in my own filmmaking journey. This reminds me of a Bonnie and Clyde type of movie. Regardless of the ending, I (and the audience) put value on them making it out together or dying together as a couple. It really wasn't about what situation they ended up in, it just mattered that they made it out together.
Doran is confirming that in her research. It's about the relationships among the characters more than the ending. Another example would be the Notebook. I was told I needed to watch that movie because it was a classic. In all honesty, it was terrible that they both died at the end. Not a happy ending at all. However, it's considered such a great movie because of the undying love and bond that the two shared.
“movie is only art if it ends badly, and that you’ll only win an Academy Award if you write or direct a movie about misery or play someone miserable,”
This is definitely true. I still think this is a mindset hard to change in media, film or tv. Just how the news reports mostly bad news because that is what people tune into. or how reality shows require drama and fights to get higher ratings. It is no different in film or tv. Audiences and film critics, or so I thought until I read this article, find drama and misery more meaningful and worthy of high acclaim than movies that promote a positive message.
positive-psychology movement, she began rewatching films through the lens of what Dr. Seligman identifies as the five essential elements of well-being: positive emotions, engagement, relationships, meaning and accomplishment.
The fact that she uses psychology to improve the movie experience for audiences is genius. Our audiences are people so obviously, it's important to know how people's minds work in order to really tap into what they need to see. However, as a creative, I didn't look at it from this point of view. Even when I consider how my mind works, all the elements listed are important.
‘What can I write that a financier wants to make?’ Not, ‘What can I write that fills me with joy?’ ”
This is the part of the film industry that isn't talked about much. When As a filmmaker myself, I am always focused on the creative aspect of what I am filming and how to get an audience to connect to a story or scene I'm passionate about through images and videos. The fact that my creativity would be compromised because of money is a hard truth that isn't talked about much but is a real issue in the industry.