In the current edition of John Nolte‘s Hollywood Playbook, this item caught my eye: Deadline‘s Mike Fleming Jr. and Variety‘s Peter Bart discuss the state of movies and whether or not films are dealing with a brain drain as talented writers and producers head over to television in the hopes of grabbing their own piece of this new Golden Age.
Bart thinks it is all cyclical. Fleming is edging towards despair.
Fleming: Because those series and 10 more like them are better than anything I see on a movie screen. For the 25 years I’ve covered it, film has always been the sexiest, most prestigious part of the business. … But now, it feels like the ecosystem has been damaged. The creative vision on the big films comes from executives who give creativity-stifling one-step screenwriter deals, with emphasis on reaching four quadrant audiences. Producers have been marginalized. Should the authorship of a picture belong to the studio exec? By contrast, some of the best series are generated by feature writers who couldn’t get hired after studios turned away from smart mid-budget dramas in favor of no-budget genre and high-priced tent poles. I remember Tony Gilroy telling me a couple years ago that movies like his superb Michael Clayton would go extinct, but there should be no funeral because all those writers who made them were flocking to TV and wait and see what happens. Man, was he right. Will the next generation growing up in this creative blight be inspired by mediocrity to dream about having the authority to reboot The Hangover?
First off, “Michael Clayton” sucked. And I don’t think the idea of a “Hangover” reboot will wait for another generation. In five years, “The Hangover” will return with the characters as dads, or something. Read the rest of this entry »