"New movies based on fresh ideas are fizzling at the box office."
Hollywood, as ephemeral as that ‘term’ is, can still produce a good movie. Making one that generates revenue is an all together different task. With all art, most of it is either ordinary or just plain bad. The difference with movies is it costs so damn much to produce them. So much at risk; financial loss, career ending decisions.
The technical requirements and talent to make a ‘studio quality’ movie are readily available to independent producers. Money? Not so much. What the studio brings to the game is distribution and marketing. The risk of promoting a $5 million movie could be three times the cost of production. Will original stories end up as ‘labors of love”? Try selling that to the executive producers who invest in a movie.
These are excerpts from an article in the Wall Street Journal:
“It’s really hard out there for an original movie,” director Christopher Landon said, urging everyone who liked the Universal Pictures release to “scream it from the rooftops” and on social media.
After years of gripes from average moviegoers and Hollywood insiders alike about the seemingly nonstop barrage of sequels, spin offs and adaptations of comic books and toys, the film industry placed more bets on original ideas. The results have been ugly.
At the CinemaCon industry convention in early April, theater owners said they welcome more original films, but only if they are backed by robust advertising campaigns. Building buzz for a new film in a media environment fractured between YouTube, TikTok, streaming and sports is tough, particularly when it is an unknown title.
“We’re opening films that have almost zero awareness,” said Bill Barstow, president of Main Street Theatres, a small Nebraska-based chain.
Many consumers are content to wait until an original motion picture is available to rent online a few weeks after its theatrical release or to stream on a service like Netflix in a few months.
The only films succeeding in the current environment are those with built-in audiences, like “A Minecraft Movie,” which was released in early April and has grossed more than $280 million domestically. And these days, even franchises can be far from a sure thing.
“Telling original stories and taking risks is the only path toward creating new global franchises,” Bill Damaschke, Warner Bros.’ head of animation, said at CinemaCon.
Full article here: https://tinyl.co/3Dui
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I'm glad Hollywood is cranking out original movies, Robert Franklin Godwin III! Audiences are showing up to watch them, but we can show up more. Life happens though, so sometimes people just can't get to the theaters. And short theater windows is one reason audiences aren't showing up as much.
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That's why I am part of Legion M, to crank out those original movies!
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I can't really think of a lot of original pictures from Hollywood these days.
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Traditional movie theaters are soon to be a thing of the past. People spend more time browsing their mobile devices than even watching a tv in their living room.
While disheartening, indies have a shot of producing content for less money and have more options to show their work.
As for making money...most don't. Part of the game.
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In my opinion, I think Hollywood has lost that essence and entertainment that it had few decades ago, not just decade, few years ago it was still a thing. But now Indie movies are far more meaningful and emotional than Hollywood movies.
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I think it also depends on what executives consider to be a success. I've heard of Legion M Raymond Zachariasse but haven't really looked into it. Now, I'm curious.
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I would love to go to the movie theatre more, but it's hard to beat the comfort of watching a movie in my own house, on my couch, at my own pace, and eating my own food lol (I'm also at the point where it's getting more and more difficult to follow a movie or show without turning subtitles on). That being said though I haven't heard of many original movies coming out of Hollywood in recent years, maybe it's due to lack of marketing unlike the pre-existing franchises or word-of-mouth, or maybe I'm just THAT out-of-touch lol. But I would 100% watch an original picture at a movie theatre if it appealed to me.
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I work in a cinema and there really isn't a lot of original films coming from Hollywood. It is probably too much of a risk when even the latest Marvel films aren't doing that well at the box office.
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David Melbourne Preach!
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The G20 film was a disaster! MineCraft is exploding at the box office Robert Franklin Godwin III because people are done with the DEI, Woke, China catering nonsense that has destroyed Hollywood. They have to get back to what folks want to see like the new Mission Impossible Film that is coming soon will be a multi billion dollar flick! Juss say ín M8t.
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Totally agree with you Amirreza Mahdiyan and the MineCraft film is showing the industry what can be done with little.
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The Minecraft movie was severely disjointed. I did not think the synergy of the cast was there. I felt the comedy fell flat. What the Minecraft movie has is a built-in audience. Kids love that IP and will drag their parents to the movie to see it. Additionally, they cast the right people, not for acting or collaboration, but for their ability to draw audiences. I went for two reasons: my seven-year-old and because Jack Black was in it. I do like the other actors in other features, but in this one, not so much. The casting for the little boy's sister was completely inappropriate. She seemed like a 12-year-old trying to fill the shoes of a young adult.
I wouldn't bother unless someone already has this type of star power, is interested, and has a large IP to begin with. It would most certainly flop. The Super Mario Bros. movie was much more superior in regard to narrative structure and overall storytelling.
The original content issue is due to fear and audiences who suffer from cognitive dissonance. They express a desire for original content, yet they are willing to pay for films they profess to despise. This behavior is contradictory and confusing. When something is original, there is a complaint that it sucks because it doesn't mirror the things they say they hate. It's a Catch-22. Since the film industry is a business and the idea is to make money with this economy and societal factors, not everyone is into gambling. So they make what makes money despite the people who complain, "hey why are you making more of that?" Well, obviously because you are paying to see more of that while continuing to complain.
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Minecraft focuses on the 6-15 year olds who grew up with Minecraft Renae M Richardson
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Mark Deuce Definitely and so is the case with The Mario Brothers movie and Sonic, although I do believe Super Mario had a larger reach, being that people in my age group also grew up with this.
Fundamentally, the story is just better. in Mario. I attributed this to the notion that Minecraft offers a more expansive world, while Super Mario Brothers incorporates a pre-existing narrative. A princess is kidnapped and these cousins go on an adventure to rescue her. So it's not like one has to build a story; it already exists. Minecraft in and of itself is about the creator's experience, where they build their own world. At least that's my perspective.
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I totally agree with you Renae Richardson that Mario was a much better film, however, Hollywood has failed to give the audience what they want and when something like this Napoleon Dynamite/MineCraft film comes out the youngsters are literally going bonkers for this one.
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The numbers don't lie but the article misses the point. There are many original movies being produced and made that could be successful. but distributors are so risk-adverse than there is sometimes a disconnect between audiences and what they/we really want.
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Geoffroy Faugerolas Good in Hollywoodland has two distinct meanings.
1. Good means the movie made a profit: bigger profit, better movie; and,
2. Good means the writer, producer, director, and actors feel the movie is important and should be made, and it made money: more money, better movie.
Everything else is a pat on the back and what have you done lately.
The misdirect is being told to write from the heart, write what you know. Good practice but the approach has little to do with a movie being good, much less even being made.
If there is no compelling business opportunity, there is no movie. Write only what the audience will watch? Then you are likely a hack. Maybe even a well-paid one. Write what you love? Then you must hope for the best.
Don't blame the producer who is risk averse. They need to stay in business.
Don't blame the theatre owners. They need to sell tickets.
If you were not aware of the low odds of something you write getting on the big screen, rub your eyes and say hello to reality.
Writing is hard work, and luck is hard to come by.
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My question is... where? All I've seen are remakes of remakes, and redevelopment of classic or known IPs for the "modern audience". (Who don't seem to exist, thus the loss of millions in revenue. I'm looking at you 'Snow White'.) They keep trying to give people what they don't want in the name of political correctness.
Back in the day Hollywood took chances on original ideas, like Star Wars, Jaws, Nightmare on Elm Street. Who didn't care about politics or agendas. These were truly original visions for cinema and they made millions and created opportunities for sequels and spin-offs. The last really original film I saw was 'The Matrix'. It told a story and pushed your imagination.
Hollywood needs to step back, find the next generation of Speilberg, Lucas, and Wachowskis, and let them cook. I've seen fan made Mortal Kombat movie on a shoe string budget that put the actual sequel to shame. Take that guy on, give him a budget, and see what he can do. If they want to make money, they'll break the circle and give some of us new bloods a chance. Instead of beating people over the head with an agenda and chasing an audience that doesn't show up, Just my opinion.
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Babygirl - 20 budget, 64 box office
Anora - 6 budget, 60 box office
The Brutalist - 10 budget, 50 box office
Conclave - 20 budget, 115 box office
A Real Pain - 3 budget, 25 box office
The Substance - 18 budget, 80 box office
Novacaine, 18 budget, 33 box office
Companion - 10 budget, 37 box office
Flight Risk - 25 budget, 44 box office
Presence - 2 budget, 10 box office
One of Them Days - 14 budget, 51 box office
The Monkey - 10 budget, 69 box office
Sing Sing - 2 budget, 5 box office
that's a baker's dozen of completely original movies within the last year that all made money. sure, none of them went truly nuclear with their profits, but their is a very healthy market for original movies right now. even movies like Black Bag, Mickey 17, or Warfare which are basically break even original movies due to outsized marketing spends have been well received by audiences. at the top end studios want to spend on IP for those massive profit takes, but there's a whole low-mid level that is showing it can support itself and validate it's existence
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Great list. It shows that independent film can be financially feasible. A bit too long though. "Novacaine" and "Flight Risk" would've lost money at the box office even without taking marketing costs into account. Exhibitors have to take their cut too.
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Richard Buzzell The marketing skills and resources are now and always have been the strength of the major studios. Theatre owners want films that are aggressively advertised and smartly marketed. Each film is a brand building exercise. Until independent producers can affordably hire effective marketing/brand building companies the profitability of low budget movies will remain high risk investments.
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Movies are definitely all about marketing. Without the $18m that Neon spent marketing "Anora" it likely would've grossed closer to the $2.3m that "Red Rocket" took in.
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There is always, "word of mouth,' to consider. Little Miss Sunshine was an original movie made for $8m that made $101m at the box office and won an academy award.
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Richard Buzzell Red Rocket and Zola are two independent films that studios would never ever produce. That said, they had a human touch that is not a mass appeal approach. It is more personal and both stories of people on society's margins have a ring of truth. Sean Baker's films (add Florida Project and Anora) and Janicza Bravo's Zola are examples of personal artistic expressions unhampered by studio executives (save for budgetary concerns). If they can squeeze out a profit, that is encouraging news about current movie audiences.
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Lori Jones Love me some Toni Collette
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Lori Jones Yes, word of mouth which is in today's world, social media. As I quoted from the article in the start of this post:
“It’s really hard out there for an original movie,” director Christopher Landon said, urging everyone who liked the Universal Pictures release to “scream it from the rooftops” and on social media."
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To your point, I have looked up movies and series based on social media recommends but found that most don't interest me. WTS, I think that 'new movies based on fresh ideas that are fizzling at the box office,' reflect the general mood of the film audience. What does society need right now? Is the theme and character's journey intriging, relatable, or inspiring? I hope executive producer and directors continue to take a risk on original screenplays because you never know....check out how many sleeper hit movies have been made. Here are just a few. https://movieweb.com/sleeper-hit-movies/
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Lori Jones Great list of films. I've seen all of them multiple times. The only sad part is after 56 years only ten could be listed. There are others for sure, as you mentioned earlier with Little Miss Sunshine. But successful independent movies have been few and far between, making them a financial risk few are willing to take.
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Figers crossed for all of us screenwriters. :)
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The best marketing for a film is the film itself. If a film really makes an impact it will get exposure.
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Try partnering with product brands seen in your film. BEN, Brand-In Entertainment, and Hollywood Branded will find brands to match your script content/genre. Sometimes the partners provide some money but more importantly, they will advertise the film in their media plan and ad campaigns. Don't make a blatant ad within your film but incorporate it with the script and/or subtly feature it in the composition of the camera framing.
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Richard Buzzell Hoping a movie will generate word of mouth exposure is the highest risk approach possible and likely ensures a box office (or any other channel) failure. Each movie is a brand, AKA the 'Product'. The brand must be 'Promoted' using a marketing program and advertising. These two must be in advance of the theatre (or streaming channel) premiere; in other words, 'Placement'. The ticket price or streaming subscription must be affordable to the audience so they will allocate some of their disposable income to that entertainment, AKA, 'Price'. The four 'P's, Product, Promotion, Placement and Price are the basics of marketing. Movies without an appropriate budget allocation for marketing are doomed to failure.
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Douglas Ross Product placement is a very real thing. Done subtley it can support the arc of either the story or character, or both! A bit of history: "Even with their new name, T-shirts primarily remained as undershirts until the 50s. But when Marlon Brando wore a white T-shirt in A Streetcar Named Desire, markets exploded with a demand for his look. The style was officially in for good."
As such, brands are eager to promote their products and generate demand. Tootsie pops for Kojak, Omega watches and Aston Martins for James Bond. Opportunities abound.
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Pat Alexander We were discussing Hollywood films, not independent. Your list may included original stories that are good but they were not Hollywood films.
I still stand by my statement, the current lineup of recent films that have been in theaters have been remakes, reboots, and re-imagines of other films.
When Jaws came out, there was nothing like it. When Start Wars came out, Sci-Fi had never been given a Hollywood budget. Jason/Freddie, horror movies broke out of the old monster molds. Fridays, an original comedy. The Notebook, original love story.
To my point - The Crow (remake), Superman/Batman (reboots), Little Mermaid/Snow White (re-imagined), Barbie/Mario (established IP). Most movies today are not original. They take established brands, lore, IPs, make questionable changes, then shoot a film.