What Movies…How, and Why
Let’s start with “Indies”.
There’s a lot of them, this year.
Lots of good ones, too. Many more…than ever before…may be nominated for Oscars.
Better Independent Films, then, influence the standard of American movies, altogether.
If American movie quality improves, then, tastes rise. That means higher quality films will be continued to be made.
The “bar” will be raised, significantly, which will effect on Hollywood Studio decisions, and blockbuster fare.
It’s not only good for right now, but this will have an effect on what will be made in the future.
Michelle Williams, "Wendy And Lucy"
As far as acting goes…That’s wonderful news.
Because it means more creative roles, more types of roles.
When you are an actor who is truly passionate about the art of acting, the roles in “indies” are the better ones to play. The fulfilling kinds of roles.
Various parts to be able to play; more depth, more complexity in each. More authentic acting.
That’s right: more roles. Variation for each actor. (Because what actor really wants to play the same thing again and again?)
It also means there will be more parts for variable types.
Film: Frozen River
The actors that have a tough time finding auditions, because of their “inherent type”, should not be as limited, when movies become more creative. The truly dramatic, instead of melodramatic, widens the field.
Independent movies have always been different than studio fare, simply because they enable artistic vision. They are fueled by someone’s creative vision. Often, they are more unique, more literate. Resulting in a deeper experience for the audience.
Independent movies are aptly named: they have less decision-makers, from above, telling them “no”. It’s a different tact, different mindset, different goal, when something is made to please the masses, or, mainly, for ticket sales. Art and depth have a hard time surviving, when made by committee.
Could mean a real evolution.
Benecio Del Toro
A solid one.
This great movie trend can’t just go poof-in-the-night.
If you were worried, here’s your virtual valium…there’s something in the mix, that is here to stay.
Because there is a basis for all this, that isn’t going away.
No matter what happens in the economy. No matter what, period.
It’s our lovely internet.
And our internet, is us.
Before now, so much of a film success depended on it’s marketing. In spades. Both for major studio product, and for Independents.
Until now, movies were “pushed”. Success was hoisted onto the public, by advertising.
The current economy has ended all that spending, for movie marketing. At the same time, the internet expanded, wildly, especially with sharing/spreading opinion, by the audience. In other words, the old way was radically diminished, as the new way was expanding.
The people, on the internet, now, have more voice and more influence, on determining what will be a success, as far as movies go.
The internet has become a major “influencer”, a determinant; substantiating public opinion into a position of being a more “major player”. A power-position, that isn’t going anywhere.
Ticket sales.
Also been affected by the economy. In a bad economy, “ticket sales” carry more weight, as messengers.
When people cut back on their entertainment spending, they cut back on how many movies they see. The ones that they do see, are chosen, specifically. The preferred choice. Aligned with taste level.
Buying tickets really makes a point, in times like this.
Quoting “New Indies Make Splash?”, from Variety (Dade Hayes):
“The general economic climate is becoming refreshing,” says Oscilloscope’s Fenkel. “Buying a nomination is going to be harder. A company like ours has the resources to be patient and cultivate grassroots support for films that really deserve attention.”
Yari agrees, citing the discernment of the adult audience as a parallel shift that plays to these newer campaigners’ advantage.
The ultimate year of reckoning for the American indie and specialty sector has turned into a rare kudos opportunity for the survivors….”People are being more disciplined in their spending,” notes David Fenkel, a ThinkFilm vet who heads marketing at Oscilloscope, which is pushing “Wendy and Lucy.” “The quality of films in the race has risen as a result.”
Focus, Miramax, Fox Searchlight and Sony Pictures Classics — are “taking a lesson from ‘No Country for Old Men’ and ‘There Will Be Blood,’ ” argues Bob Yari, whose shingle has “Nothing but the Truth” and “What Doesn’t Kill You.” Last year’s campaigns for those pics “were successful, but they used up a lot of resources. What you’re seeing is a big pullback by studios and that’s left a lot of room for the independents.”
Overture, IFC, Samuel Goldwyn, Yari Releasing, Oscilloscope, Summit and Bleiberg Entertainment have a cluster of pics aiming to compete in major categories. Win or lose, they are bringing a sense of freshness to a process that had become machinelike in its predictability.
“We hold back a little bit,” Yari says of the indie hopefuls. “If the buzz organically starts building, then you have a validation. We don’t have the luxury of saying, ‘We love it, and we’re going to force it through.’ “
Best,
:Dana
