Column: How Cinema Has Changed; Why No One Gives A Fuck About True Art Anymore
Entertainment is a forever changing industry, we all know that. 100 years ago, the silent era was rising, and now we’re are so dependable and so suggestive that the correct form of storytelling doesn’t apply to an appreciation anymore.
Maybe Martin Scorsese was right that true films doesn’t work anymore, but then again… The Irishman wasn’t that good either. He’s a skilled director and provided an ensemble of cinema that has defined our cinematic history. Then he bashes around on Marvel movies like they’re responsible for the comic-books film today. Yes, after 23 films, you could feel a sense that it will never end. Same should be with the James Bond -movies that have achieved the same quality, but over 50 years instead.
More now than ever has it been a dignifying solution to be continuously entertained. Constant looking at our screens whether the device it may take. And it continues to grow. Mass hysteria is on the rising. With so many streaming-services provided for the audience at the reach of their hand, the television will be dead. The original programming in a couple of years will die out, and the world might then look like Mad Max: Fury Road (2015).
The solution is maybe not giving everything at once. Piracy has been a global thing for a time now, just like streaming illegal all your favourite content. Although, this time, you pay a shitload of cash to bring to the production companies that continually produce these movies. Even the quality of films has decreased immensely in the last years. It’s safe to say the panic surrounding the #Metoo campaign was a vigilantly a part of it. It changed the industry; it changed the world. People are even more scared of each other now than before, because of laws and rules. Of guidelines. It was necessary to happen, but the quality in storytelling shouldn’t be lower because you involve and acknowledge other ethnicities. It should work in the story as well. It should have a purpose. Not just put it there, to be political-correct or provide something that you might think will work. It doesn’t work that way, it shouldn’t work that way. But those with power ignores that.
The team behind Home Alone (1990) fought with the studio to make their movie. Ghostbusters (1984) was in a legal dispute over the name, which later became a big brand with merchandise and franchise. Instead of glorious original stories that ain’t adapted or based on anything, cause as you know…with the right mind, everything could be a subject to be adapted for a story, Hollywood and large independent studios have been thrown in a limbo where they seem to not pivot direction on how to make what they’re supposed to do. As much as we don’t need an outlandish set of sequels and remakes after each other, producers seem to not have a taste for the right stuff yet. They’ve been limbo for an almost a decade now, and it’s beneath them now. It’s probably too late to even reconsidering that the industry in Hollywood will change this problem. We’re about to enter an era where we can’t redeem ourselves from the smart devices because of it too much a daily part of our life. It doesn’t justify that the internet should be used for all purposes.
One thing to bear in mind is that Hollywood’s studios and distributor all over the world don’t have much of movies that take place in the present. Often there is a period pictures or a future that we could foresee it; the inevitable doom that was all over our head. Most movies take place in a different time or world because the real world has been hanging itself and films are an escape from the real world. Which is precisely is what it probably is for most people, but what do we do, dear reader, when both the reality and the fictitious world doesn’t add up? Where do we conjure ourselves for a better approach? There’s a lot of options, but the right one is to make movies that matter. That the director and crew work hard to tell. That they fight, maybe, with the studio if necessary. But as it might be, the studios have now because of services for streaming entertainment online. A fair game, an opportunity to use whenever it fits, perhaps. But then, the social interaction with families and friends is then set to be distance as genres don’t mix with each other.
The result because more intriguing and despair, a reality where social media kills our brains and eat us up from insThe Lord of the Rings: The Return of the King ide. Don’t worry, it’s already too late to make that not to happen. As streaming-service has been proven to be an acclaimed and profitable future, unfortunate, this is a problem that doesn’t go away. The exclusivity of entertainment that one seeks in cinema is now disregarded as pointless. The thrill is gone. And yet, Avengers: Endgame (2019) succeeded to cross double-up billion, almost three at the box-office. Marvel’s Iron Man (2008) was a risk-taker. Marvel was bankrupt and sold most of their right to beloved characters and had Iron Man. When they risked on producing Iron Man, it definitely changed the approach of cinematic storytelling. Just like when Christopher Nolan brought in IMAX into the arena and set a higher standard, by using it multiple times throughout his movies. Risk-takers, besides felonies and desperate and stupid producers, don’t give it in on what it takes. Don’t you miss when directors finish a movie right before the premiere? Like Peter Jackson’s The Lord of the Rings: The Return of the King (2003). He bodily cared about enough to sacrifice his spare time to make one of the best achievements in cinema history.
We need a new set of minds that reflect the world in the best possible way, honestly and creatively. Because you have got a story to tell, not because of money. The directors born from the 1970s and younger controls the world now for the next generation. Even though, this generation that is going to break it will never understand what real film means. They’ll never guess what Orson Welles did with Citizen Kane (1941) because the best time in Hollywood for them will be the silent era for us. We’re losing the classic interaction with cinema, but what can we do about it? Is it like with the climate, it’s already too late? We should regulate this before it gives us headaches and migraine, the damage is already done. Let’s not give in for a disaster, right?