Ryan Lambie Sep 14, 2016
In 1984, David Lynch made Dune - a case study for how difficult it can be to jump from small films to major blockbusters...
It's the age old tug-of-war between art and commerce: movie studios want products they can sell, but they don't want them to look like something off a production line. They want movies that look and feel different, but not so different that audiences are too bewildered to buy a cinema ticket. In interviews, studio bosses and producers often talk about a filmmaker's "unique vision", and they often sound sincere while doing so. Yet the reality of spending huge sums on mainstream movies generally means that studios will often wind up feeling nervous when the cold reality of that vision becomes apparent.
To cite but one example, look at the fate of Josh Trank and his 2015 Fantastic Four movie. Trank was a young filmmaker who'd just come off Chronicle,...
In 1984, David Lynch made Dune - a case study for how difficult it can be to jump from small films to major blockbusters...
It's the age old tug-of-war between art and commerce: movie studios want products they can sell, but they don't want them to look like something off a production line. They want movies that look and feel different, but not so different that audiences are too bewildered to buy a cinema ticket. In interviews, studio bosses and producers often talk about a filmmaker's "unique vision", and they often sound sincere while doing so. Yet the reality of spending huge sums on mainstream movies generally means that studios will often wind up feeling nervous when the cold reality of that vision becomes apparent.
To cite but one example, look at the fate of Josh Trank and his 2015 Fantastic Four movie. Trank was a young filmmaker who'd just come off Chronicle,...
- 9/13/2016
- Den of Geek
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