For as much as $20,000, Worldwide Motion Picture Group compares the story structure and genre of a script with those of released movies, looking for clues to box-office success.
I don’t see what those screenwriters in the story are crying about. If you’re writing screenplays in Hollywood, you’re beholden to money automatically. Your creative decisions are irrevocably guided and constrained by that gravity. That some unmitigated creative bits manage to leak through is not a position of strength to uphold in this context. This script analysis service isn’t an existential threat to their craft—they are their own threat for playing the game, if anything. So unless you want to go to kickstarter or come up with money some other way and/or have the courage to see that your vision remains uncompromised, then just stop talking and earn your money and have your career and pay your bills. Simple as that. (Or you could somehow socially engineer audiences’ tastes toward truer creativity, but that’s the ludicrously more difficult option.)
That said, I don’t think I’ll ever understand why anyone wants to consistently engage in these manufactured, doctored, statistically-analyzed, by-the-numbers-and-committees experiences as opposed to engaging in arguably more meaningful things, like actual artistic dialogues with the souls of individuals taking unseen risks trying to translate and express the swirling elements that constitute their inner reality.
Nah, I guess people would rather watch a Netflix original creatively guided and colored by endless data analysis of viewing habits. And then they internalize—constructing metaphors and building their inner lives in part around these products. I don’t much care to imagine what the end game of that looks like.
In Hollywood, more often than not, they’re making more kind of traditional films, stories that are understood by people. And the entire story is understood. And they become worried if even for one small moment something happens that is not understood by everyone. But what’s so fantastic is to get down into areas where things are abstract and where things are felt, or understood in an intuitive way that, you can’t, you know, put a microphone to somebody at the theatre and say ‘Did you understand that?’ but they come out with a strange, fantastic feeling and they can carry that, and it opens some little door or something that’s magical and that’s the power that film has.
One of my favorite human beings.
Who needs Oscar when you got David?
Vanity Fair will print an article by correspondent Maureen Orth in the Oct. edition detailing a secret, Scientology-led wife-auditioning process for Tom Cruise prior to his marriage with Katie Holmes. Allegedly, at the center of it was a candidate wife, an actress who got caught up in and mangled by the Scientology machine.
Seriously, reading some of the details from that preview, I just kept imagining like a David Lynch movie made real. Who knows how strong the evidence or testimony is for this article, but I’m not giving Scientology any benefits of the doubt. I will cherish the day Anonymous or whomever finally eradicates that cancer from the Earth.
I suppose I should follow up with what I posted earlier today. Apparently, The Academy is now welcoming Adm. Gen. Aladeen (above) on the red carpet Sunday. Previously, it had reservations, and it was reported that Cohen wasn’t going to be allowed to show up as the character. Looks like they can’t resist the ratings potential, heh.
I don’t really have a problem with this. Sometimes I think people take the Oscars too seriously. The show’s already a huge ad for movies.
A brief commentary from a scientist and prolific IMDb comments author on the 2005 film Stealth, providing insight into the US military and Hollywood in regards to narrative.
The scope and potential of capital-N narrative may be greater than we tend to consciously give it credit for in day-to-day life. But there are those whose business it is to study and consider this stuff very carefully—in academics, Hollywood and in governments around the world.
Life imitating art imitating life imitating art… or something.
Hollywood got a taste of the occupy movement recently when—get this—occupy protesters in New York descended on a fake Zuccotti Park—the former protest haven—that was constructed by the Law and Order: SVU production for filming of a future episode. Sense of humor much? While there, some protesters criticized the terrible production values, like the “drone-ish” protest posters that were to be used during filming, claiming that they were too “fonty” and didn’t reflect the improvisational, guerilla stylings of the real thing. Haha.