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Sharif Garmon
When I speak of moviegoers, I mean people who get out of the house and into a theater as often as they can; or people with kids, who back up rare trips to the movies with lots of recent DVDs and films ordered on demand. I do not mean the cinephiles, the solitary and obsessed, who have given up on movie houses and on movies as our national theater (as Pauline Kael called it) and plant themselves at home in front of flat screens and computers, where they look at old films or small new films from the four corners of the globe, blogging and exchanging disks with their friends. They are extraordinary, some of them, and their blogs and websites generate an exfoliating mass of knowledge and opinion, a thickening density of inquiries and claims, outraged and dulcet tweets. Yet it is unlikely that they can do much to build a theatrical audience for the movies they love. And directors still need a sizable audience if they are to make their next picture about something more than a few people talking on the street.
People who know how these movies are made told me that the film-makers could not have held those shots any longer, because audiences would have noticed that they were digital fakes. That point (if true) should tell you that something is seriously wrong. If you cannot sustain shots at the dramatic crux of your movie, why make violent spectacle at all? It turns out that fake-looking digital film-making can actually disable spectacle when it is supposed to be set in the real world. Increasingly, the solution has been to create more and more digitized cities, houses, castles, planets. Big films have lost touch with the photographed physical reality that provided so much greater enchantment than fantasy.
The glory of modernism was that it yoked together candor and spiritual yearning with radical experiments in form. But in making such changes, filmmakers were hardly abandoning the audience. Reassurance may have ended, but emotion did not. The many alterations in the old stable syntax still honored the contract with us. The ignorant, suffering, morally vacant Jake LaMotta in Raging Bull was as great a protagonist as Julie Marsden. The morose Nashville was as trenchant a group portrait and national snapshot as the hopeful Stagecoach. However elliptical or harsh or astringent, emotion in modernist movies was a strong presence, not an absence.
I'm an Indian guy used to watch Hollywood since I was little. I got married recently and my wife ( who's also Indian) started watching Hollywood movies with me. She only watched Bollywood movies before. What are some of the must watch Hollywood movies/ TV shows. I have shown her Terminator, Predator and Lord of the Rings, and she liked all of them. She found Interstellar boring. She liked stranger things the most. What would you recommend?
My friends and I were having this discussion over the weekend: I always assume that all dialogue in major movies is dubbed afterward. They said maybe some scenes, like action sequences were dubbed. What's the actual use of dubbing in major Hollywood movies?
The cinema of the United States, consisting mainly of major film studios (also known metonymously as Hollywood) along with some independent films, has had a large effect on the global film industry since the early 20th century. The dominant style of American cinema is classical Hollywood cinema, which developed from 1910 to 1962 and is still typical of most films made there to this day. While Frenchmen Auguste and Louis Lumière are generally credited with the birth of modern cinema,[5] American cinema soon came to be a dominant force in the emerging industry. With more than 600 English-language films released on average every year As of 2017[update], it produced the fourth-largest number of films of any national cinema, after India, Japan, and China.[6] While the national cinemas of the United Kingdom, Canada, Australia, and New Zealand also produce films in the same language, they are not part of the Hollywood system. Because of this, Hollywood has also been considered a transnational cinema,[7] and has produced multiple language versions of some titles, often in Spanish or French. Contemporary Hollywood often outsources production to the United Kingdom, Canada, Australia, and New Zealand. The major film studios of Hollywood are the primary source of the most commercially successful and most ticket-selling movies in the world.[8][9]
Many of Hollywood's highest-grossing movies have generated more box-office revenue and ticket sales outside the United States than films made elsewhere. The United States is a leading pioneer in motion picture engineering and technology.
Classical Hollywood cinema, or the Golden Age of Hollywood, is defined as a technical and narrative style characteristic of American cinema from 1913 to 1962, during which thousands of movies were issued from the Hollywood studios. The Classical style began to emerge in 1913, was accelerated in 1917 after the U.S. entered World War I, and finally solidified when the film The Jazz Singer was released in 1927, ending the silent film era and increasing box-office profits for film industry by introducing sound to feature films.
Martin Scorsese has warned that cinema as an art form is "being systematically devalued, sidelined, demeaned, and reduced" to "content" and called blockbusters' overemphasis on box-office returns "repulsive".[96][97] Quentin Tarantino opined that the 2020s were one of the "worst" eras "in Hollywood history" on a podcast interview.[98][99] During a masterclass at the 2023 Sarajevo Film Festival, Charlie Kaufman criticized mainstream blockbusters, stating that "[a]t this point, the only thing that makes money is garbage" and encouraged industry professionals to "make movies outside of the studio system as much as possible".[100][101] James Gray noted in an interview with Deadline, "When you make movies that only make a ton of money and only one kind of movie, you begin to get a large segment of the population out of the habit of going to the movies", which causes viewership to decrease, though clarified that he has "no problem with a comic book movie". As a solution to the lack of "investment in the broad-based engagement with the product", he suggests that studios "be willing to lose money for a couple of years on art film divisions, and in the end they will be happier."[102]
Hollywood producers generally seek to comply with the Chinese government's censorship requirements in a bid to access the country's restricted and lucrative cinema market,[112] with the second-largest box office in the world as of 2016. This includes prioritizing sympathetic portrayals of Chinese characters in movies, such as changing the villains in Red Dawn from Chinese to North Koreans.[112] Due to many topics forbidden in China, such as Dalai Lama and Winnie-the-Pooh being involved in the South Park's episode "Band in China", South Park was entirely banned in China after the episode's broadcast.[113] The 2018 film Christopher Robin, the new Winnie-the-Pooh movie, was denied a Chinese release.[113]
With globalization, movie production has been clustered in Hollywood for several reasons: the United States has the largest single home market in dollar terms, entertaining and highly visible Hollywood movies have global appeal, and the role of English as a universal language contributes to compensating for higher fixed costs of production.
Hollywood has moved more deeply into Chinese markets, although influenced by China's censorship. Films made in China are censored, strictly avoiding themes like "ghosts, violence, murder, horror, and demons." Such plot elements risk being cut. Hollywood has had to make "approved" films, corresponding to official Chinese standards, but with aesthetic standards sacrificed to box office profits. Even Chinese audiences found it boring to wait for the release of great American movies dubbed in their native language.[126]
American cinema has often reflected and propagated negative stereotypes towards foreign nationals and ethnic minorities.[134] For example, Russians and Russian Americans are usually portrayed as brutal mobsters, ruthless agents and villains.[135][136][137] According to Russian American professor Nina L. Khrushcheva, "You can't even turn the TV on and go to the movies without reference to Russians as horrible."[138] Italians and Italian Americans are usually associated with organized crime and the American Mafia.[139][140][141] Hispanic and Latino Americans are largely depicted as sexualized figures such as the Latino macho or the Latina vixen, gang members, (illegal) immigrants, or entertainers.[142] However, representation in Hollywood has improved in recent years, gaining traction in the 1990s, and no longer emphasizes oppression, exploitation, or resistance as primary themes. According to Charles Ramírez Berg, third wave films "do not accentuate Chicano oppression or resistance; ethnicity in these films exists as one fact of several that shape characters' lives and stamps their personalities."[143] Filmmakers like Edward James Olmos and Robert Rodriguez were able to represent the Hispanic and Latino American experience like none had on screen before, and actors like Hilary Swank, Jordana Brewster, Jessica Alba, Camilla Belle, Al Madrigal, Alexis Bledel, Alexa PenaVega, Ana de Armas, and Rachel Zegler have become successful. In the last decade, minority filmmakers like Chris Weitz, Alfonso Gomez-Rejon, and Patricia Riggen have been given applier[spelling?] narratives. Films that portray Hispanic and Latino Americans include La Bamba (1987), Selena (1997), The Mask of Zorro (1998), Goal II (2007), Overboard (2018), Father of the Bride (2022), and Josefina López's Real Women Have Curves, originally a play which premiered in 1990 and was later released as a film in 2002.[143]
This is FRESH AIR. I'm Dave Davies. My guest today, Ed Zwick, would probably be the best dinner guest you've ever had if you could get him. He's been making television and movies in Hollywood for decades, and he has countless stories about how movies get made, from getting studio backing to casting scouting locations, staying on schedule, keeping the studio happy and especially dealing with actors, including some of the biggest stars in the business - Brad Pitt, Julia Roberts, Denzel Washington, Anne Hathaway, Tom Cruise and Leonardo DiCaprio, to name a few. And since we can't all have him to dinner, Zwick has compiled some of his best stories in a book. There are stories of actors showing their brilliance and dedication and sometimes being extraordinarily difficult to deal with.
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