Disney exec says story is unimportant

Just to address this one point -- they don't care if these movies are forgotten, they are happy with them doing wham bam business opening weekend and then moving out of the way for the next POS they have all all sated and ready to go. Not one of them care to make a classic because who can predict a classic? Always remember, the movies we label as "classics" (and I'm talking modern) all have one thing in common -- all of them happened on accident and almost didn't happen at all.

The problem with such a design, as someone pointed out, is that it doesn't last for long-term. That's how most movies still make money after they're released on DVD and Blu-Ray. Seriously, the original Star Wars trilogy had a solid story and characters you could care about. It's able to continue to last as a source of revenue for Lucas and the studio because of it. Basically, they're sacrificing continuing revenue from future purchases that'd keep them plentiful for basically a "living check per check" type of system that could eventually lead to their downfall.
 
....inventors, including Thomas Alva Edison, worked on short-subject films as early as 1894, but it wasn't until 1895 that the first large-screen projector was created. On December 28 of that year, brothers Auguste and Louis Lumière held the first public film screening. At this point, it was the novelty of the motion picture, not the artistry, which impressed audiences. They were captivated by the "film" Workers Leaving the Lumière Factory, a short documentation of a crowd of people walking by the camera.

The First Fifty Years of American Cinema
 
"In the movie business, tent poles are sometimes widely released initial offerings in a string of releases and are expected by studios to turn a profit in a short period of time."

and

He is saying that in context that a Tentpole film is not meant to bring in a huge amount, just gain enough that they are winners in their own right.

Not sure how you're equating these two statements, but hey! it's Friday night. Next thing you know you'll be argumentum ad verecundiam-ing at me.

I wrote a business management thesis on Pixar and Disney.

There it is. :lol
 
the term, tent-pole programming is for a production expected to hold up (as is the function of a tent pole) and balance out the financial performance of a movie studio or television network. .

Thanks for that clarification.

So is he suggesting that "Spectacal" makes the money to pay for "Story"?
 
If I had one wish, it wouldn't be for world peace or a cancer cure or a gajillion dollars

As directed by Michael Bay, Cancer would destroy World Peace with a gazillion dollars worth of explosions and rolling camera inserts. Careful what you ask for, it could happen.
 
How is anything he's saying negative at all? We all understand there is more than one type of film, right?

Those tentpoles pay for the story-driven stuff, or at least make it easier to get a greenlight.

Maybe I've made fifteen amazing story-driven, character-driven films in a row and now I want to make a *gasp* MOVIE!!!!!
 
Yeah, I'm thinking this whole thing is about a marketing style.
The numbers of viewers are deminishing, so they need to dump a load of cash into marketing in order to drag as many people as possible back to the screen. It's only the huge films that generate enough income to pay for all that marketing.

"In a world"...."NO, there is no world!"
 
the diminishing viewers are due to over priced tickets and crap films. Throwing money at the problem only prolongs it, judgment day is inevitable.
 
Yeah, It's catch 22.

Value is created with novelty or Scarcity.

The bigger they go, the bigger they need to go next time. The Novelty wares off.
The more they produce the lower the value.

They are going in the wrong direction because they get paid a percentage.
 
Amazing how all the internet jockeys here have the answer.

I mean really guys move to Hollywood and save them.

You guys seem to think you've got all the answers.
 
How is anything he's saying negative at all? We all understand there is more than one type of film, right?

Those tentpoles pay for the story-driven stuff, or at least make it easier to get a greenlight.

Maybe I've made fifteen amazing story-driven, character-driven films in a row and now I want to make a *gasp* MOVIE!!!!!

That's a flaw in the whole idea. They take the money from the tentpoles and they spend it on more tentpoles and don't even give films with solid stories and characters to care about a chance. Why else do you think there are more sequels and spin-offs of pre-existing work than original stuff? Because when it comes to movies, it's a gamble. They're more concerned with making tentpoles that original stuff gets ignored more often than it should.
 
Consider the film market like the auto market.

As a company, do you want to consider manufacturing lower cost low quality cars that will sell because they are so cheap, people do not mind such as when it dies they can afford another. A Yugo or a better mid quality Fiero comes to mind.

Or do you as a manufacturer go for the high quality high value car that is going to last years and maintain value for years to come like a Lexus.

The cheaper made item is the tentpole item, can be made more in volume for price, does not have a long term value and the average consumer knows that it is not going to last. Yes, one of two cars might turn out to last on a long term, but in general they are meant to be short to mid term throw away investments. It is supportive as people will likely purchase, not because it is good, but the value or service culture of the organization set the bar on price versus quality low to equate enough value added to the consumer.

Tentpoles are names such because they provide a basic foundation of income. The average output product will provide a solid enough foundation of profit to allow other nicer projects to go ahead. The high quality projects have a bit of risk to them based on the higher cost of production and R&D. BUT... Many industries shy away from such because they do not want to take such risk. In the film industry, this is a HUGE issue, most studios do not want to take such risk and consider such a mentality to be too risky, better to turn out a mediocre product that one knows will in general always produce profits on average.

Brad Bird discusses such a mentality here:
Brad Bird Says Passion and Taking Risks Are Keys to Pixar's Success | FirstShowing.net

Eisners mentality was throw enough out there, somethings got to stick. Even of it is successful, drop such a franchise to move onto the next to keep the production volumes up. Dream Works in the past has looked to films that key in on op culture to easily make up a fun story line that has little substance. Sometime one will be better than others like Shrek, but most of the time you get films that for the moment look good and bring in crowds but are quickly forgotten. Don't get me wrong, Dream Works does make some good films, but in the beginning, they churned out more for the quick profit than to create a long term franchise.

Disney in the beginning did not want to do such. they built an animation studio that was beyond any other industry studio had ever dreamed of doing and Disney created magic on the big screen. Pixar did the same thing although even they had lost a bit of vision of product over profit when the Cars franchise marketing pushed for another film due to the money to be made in secondary product marketing for Cars II. Read the 2007 Disney annual report Page 31-32 on year round merchandising opportunities and you will get an idea why there was such a push for another Cars film.

Or to equate in in terms of operations management...

Some companies survives on the tentpole mentality. In production management operations, an ISO 1400 management mentality is to document how you do everything, but not how to change or improve your product. You will produce a decent to good product because you know exactly how it is produced generally. But you can turn out bad products because the end result is not the concern, its the production of the product that is the issue. You turn your production into a science of knowing exactly what you produce and how you produce it. That is basically the Hollywood machine.

Sigma Six shows how you can create a top quality product because you document every step and look at how to improve each individual point of production. ISO looks at the science of how one churns out products, Sigma Six looks into every detail how to continually improve the product. Its a bit riskier, there is more associated cost with such introspection, but in the end your end value to the consumer is increased. As an added benefit, your production cost drops down with creating a quality internal organization. Basically, this is what you are looking at with Pixar.

Just to note, I LOVE Pixars management and corporate organizational culture. I wish all companies would run on such principles. Not every company can do so due to resources and quality of personnel, But their corporate identity is what I dream every organization to inspire to be like. If you want to really get an idea of how Pixar grew to what is is, read "To Infinity and Beyond" to get an idea of what Pixar has done in operations management to create their success.
 
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I hope Lasseter strings this guy up by the nads (even though he's probably outranked by him).

Can't agree he deserves punishment for accuracy. Seems like his remarks were pretty much a selfevident truism...

And that is why most of those generic Hollywood films are going to be forgotten in five years, while those that have solid stories and characters you care about are going to continue to have a strong viewership years later.

But in the meantime they've provided the studio's bottom line and put food on the tables of thousands of employees and their families. I know Jet's already said it but NOBODY KNOWS whether they're making a classic or not, at the time, really trooly. There were people working on Emmerich's '2012' who honestly believed it was going to be a breakthrough; the film to give disaster movies artistic credibility. Conversely a lot of the people working on Blade Runner were not exactly happy about the experience.

Even if the script is great on a read-through it may have nothing to do with the final film. The original script from which the Scott/Crowe Robin Hood evolved was a fun thing called "Nottingham", where the sherriff was a misunderstood good guy. It was good enough to cause a bidding war...but that wasn't the film which got made.

On the other hand you CAN say 'if we put this director, this star and these budgets for marketing, special effects and explosions in it, it will be a smash', and be right most of the time.

You guys seem to think you've got all the answers.

But Mic! I'm some random guy on the Internet who's never worked in the field and has almost zero life experience. How could I possibly be wrong?!
 
But in the meantime they've provided the studio's bottom line and put food on the tables of thousands of employees and their families.
Why can't you do both? People are pretty damn likely to go out to a movie in which there is a good story. It doesn't take any extra effort to adapt a good script than a bad one.

I know Jet's already said it but NOBODY KNOWS whether they're making a classic or not, at the time, really trooly. There were people working on Emmerich's '2012' who honestly believed it was going to be a breakthrough; the film to give disaster movies artistic credibility.
Most of the time that isnt true. With most of the great movies in history, people pretty much knew that they had something special on thier hands when they read the script, and in other cases knew they were making a turd when working on a bad movie.

Even if the script is great on a read-through it may have nothing to do with the final film. The original script from which the Scott/Crowe Robin Hood evolved was a fun thing called "Nottingham", where the sherriff was a misunderstood good guy. It was good enough to cause a bidding war...but that wasn't the film which got made.
Thats exactly the problem. Studios are relying on these "tentpole" films so much that even when a quality story comes along it is screwed around with just to be made into a more marketable film. That we are being deprived of potentially great movies because Hollywood admittedly is not interested in telling a good story anymore.
Basically it takes a mentality of "who cares if it sucks as long as it sells".

96% of the movies that came out last year were remakes, reminaginings, sequels, or other interpretations of an already existing franchise. And yes, that is a real number.
 
Why can't you do both?

Industry people have commented that everyone has the idea there's this tidal wave of great scripts sloshing around Hollywood going begging, but that this is entirely untrue. Do I believe it? Looking at the lineup at my local cinema, yes, yes I do. :lol

Most of the time that isnt true. With most of the great movies in history, people pretty much knew that they had something special on thier hands when they read the script, and in other cases knew they were making a turd when working on a bad movie.

Of course when you're making Attack of the Killer Tomatoes, you know you're not making Lawrence of Arabia. But do you know just how many movies succeed or fail in the editing room?

Thats exactly the problem.

That's part of the problem. So, not only do you first have to find a great script, but you also have to navigate the studio system in such a way that you get a director and a cast which won't result in that great script being rewritten out of all recognition. AND you have to obtain a budget which will allow it to be made with decent production values. Only that is completely antithetical to the director/cast bit.

Basically it takes a mentality of "who cares if it sucks as long as it sells".

But it does sell. The script for Robin Hood cost something like $7 million, once the dust settled, by the way. It's easy to see why they they have an incentive not to bother with spending much on story if they can avoid it, and we'll all go see their ****ty product anyway.

So...just who is really to blame?
 
Industry people have commented that everyone has the idea there's this tidal wave of great scripts sloshing around Hollywood going begging, but that this is entirely untrue. Do I believe it? Looking at the lineup at my local cinema, yes, yes I do. :lol
You just named one yourself. Nottingham. A brilliant script that was mangled beyond all recognition because of studio meddling.
Also, its worth to point out that industry people aren't exactly the best ones to judge how many good scripts there are.


Of course when you're making Attack of the Killer Tomatoes, you know you're not making Lawrence of Arabia. But do you know just how many movies succeed or fail in the editing room?
Yes. In fact Star Wars was nearly a disaster that was only saved by a great second edit by Lucas' wife. But I also know that while poor editing can ruin a great film, great editing cannot save a really bad one.


That's part of the problem. So, not only do you first have to find a great script, but you also have to navigate the studio system in such a way that you get a director and a cast which won't result in that great script being rewritten out of all recognition. AND you have to obtain a budget which will allow it to be made with decent production values. Only that is completely antithetical to the director/cast bit.
If the industry and those in it actually cared about making a quality product, you wouldnt have to navigate the system so carefully in the first place.

But it does sell. The script for Robin Hood cost something like $7 million, once the dust settled, by the way. It's easy to see why they they have an incentive not to bother with spending much on story if they can avoid it, and we'll all go see their ****ty product anyway.

So...just who is really to blame?
Well when you're right, you're right. Nothing pisses me off more than people who complain about a film, but then go see it anyway, becuase they don't realize that the studios that made the movie win, just enouraging them to make more like it.

However one thing for sure is that while terrible movies can make good money, great movies make even more money. That should be incentive enough.
 
The cheaper made item is the tentpole item,...

Where did you get your definition of "tentpole film?
I'm getting different meanings depending on where I go for answers. Understanding what he means by the word "tentpole" is key to understanding his tactics.

("A tentpole film is one where you can seed the desire to see the film to everyone..
It's the only kind of film you can spend $100 million marketing," .. visual spectacle brought people in droves. Visual spectacle, he said, drives attendance.")

Disney exec: Studios should lean on tentpoles - Entertainment News, Inside Production, Media - Variety


Sooooo, I'm thinking you need to spend big bucks to make visual spectacle type films.

.
 
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As I noted earlier:

"In broadcast programming and from motion picture industry the term, tent-pole programming is for a production expected to hold up (as is the function of a tent pole) and balance out the financial performance of a movie studio or television network. In the movie business, tent poles are sometimes widely released initial offerings in a string of releases and are expected by studios to turn a profit in a short period of time."

Along with the Brad Bird interview in which he discussed the issue as well:

"Everyone in Hollywood says they wish they could do it like Pixar, but they really don't. There's no secret at Pixar, but there is a belief in letting people pursue something with passion and take chances, and most of Hollywood, really, doesn't like that. It's too scary. Some studio executives will say they love obsessive creators who take risks, but really most of them would rather play it safe. Projects cost a lot of money and people would rather follow patterns they know and make things safe and accessible. Hollywood wants there to be a math formula for making hit films. To make something really great and different and interesting means taking risks and following these ideas in your head."
 
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