As a seasoned movie critic with over three decades of immersion in the silver screen world, I must say that the current state of the film business in the United States is akin to a rollercoaster ride – thrilling, unpredictable, and often leaving you hanging on for dear life.
Is it currently possible for the movie industry in the U.S. to be financially viable? Industry experts suggest that this could indeed be the case under certain circumstances.
2021 saw the Creative Investors’ Conference during the San Sebastian Film Festival commence with a discussion gauging the state of the American investment market.
According to Scott Shooman, head of film at AMC Networks which includes IFC Films, RLJE Films, and the streaming service Shudder, anything that seems like a shared or community-based experience is currently successful in the US. He explained that the specialty market, traditionally less receptive to genre films, has become more welcoming due to audiences being more open and younger.
Shooman emphasized that while big-name studios are struggling and claim the industry is collapsing, independent distributors such as A24, Neon, and Magnolia Pictures are enjoying record-breaking weekends in 2024. This success is largely attributed to the genre film sector, which has been a popular focus for our business in recent times.
Shooman posits that the recent surge in various film genres is bringing about an American transformation reminiscent of the ’70s, as depicted in Peter Biskind’s influential book “Easy Riders, Raging Bulls.” He suggests that contemporary filmmakers are experimenting with diverse genres and subject matters to remain culturally relevant and challenge societal norms. Essentially, there seems to be a significant shift in the narratives being told by American storytellers today.
As a keen observer, I find it fascinating how Shooman strategically tailors content to resonate with American viewers. Interestingly, Jonathan Kier, co-president of Upgrade Productions, shares my enthusiasm and is aiming for more. His current mission lies in capturing the attention of specific bustling markets such as Germany, Japan, and Latin America.
We’re exploring what strategies might succeed in these regions, as they are crucial for funding. The U.S. market, however, poses challenges due to numerous distribution channels and options. In the context of our business, the U.S. sector holds less significance than before, as there’s no longer a strong assumption that films will generate sales. It’s important to note that success is not guaranteed.
According to Shooman, imperfectly executed films face a harder time in theaters, especially in the U.S. market. However, when it comes to dramas, there’s a growing emphasis on quality.
Producer Jennifer Fox states that unlike genre films, it’s in dramas where casting plays the most critical role: “To start off, there needs to be a certain level of talent. While well-known names might help kick things off, they may not necessarily be the casting choices that will make your film truly stand out.
I collaborated on ‘Michael Clayton’ before Tilda Swinton had achieved her current stardom. The studio initially sought a well-known actor, but with George [Clooney] already on board, we were able to cast Tilda instead. If a movie star had been cast in that role, the film might not have turned out as it did. In the long run, what’s effective isn’t always what’s needed to initiate the process.
Fox went on to concur that it is a tricky time for filmmakers in the U.S. emphasising that her biggest challenge — as with many of her fellow producers at the moment — is to keep getting budgets lower and lower. “Locations are hard in America, there are rules we need to follow to meet the requirements of unions… It makes it incredibly challenging to make American independent movies.”
The executives acknowledge that these domestic production challenges have sparked an increase in American movies being filmed overseas, particularly in European nations such as Hungary, with “The Brutalist” period epic being one example shot there by Brady Corbet.
As a passionate cinephile, I was fortunate enough to attend the conference where Christine Vachon, one of the producers, shared insights about what made Anton Corbjin’s dream project come alive. It turned out to be a perfect blend of factors: finding an exceptional location like Budapest that offered extraordinary subsidies, assembling a cast who wholeheartedly believed in the film and agreed to work within our budget constraints, and being incredibly creative in ensuring the story seamlessly spanned different periods. It was these elements that convinced numerous entities to invest in our movie.
The film benefited significantly from subsidies, making it a great bargain at an incredibly low price. However, the process of its creation was extremely challenging as I witnessed firsthand through Brady’s struggles. He has been quite candid about how grueling it was. Perhaps a more fitting title for this panel could be: ‘Can It Survive?’ or ‘Is Its Creation Sustainable?’
To Shooman, running a movie business can sometimes feel challenging, yet it’s capable of thriving. “It’s never easy when you’re an independent player. I remain hopeful. The marketplace always offers opportunities. We’ll focus on specific countries to support our business, but film has always been adaptable. There’s always something evolving in our industry. There may be fluctuations, but we’ll keep moving forward.
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2024-09-24 14:17