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For the love of movies: The Past, Present, and Future of Cinema and what makes us fans (1 Viewer)

Winston T. Boogie

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The reason I am starting this thread is I do enjoy discussing cinema from various angles and I feel like these conversations get going in other threads about specific films and can end up derailing the thread for people looking just to talk about that specific film. This thread will be meant more as a place to have those freewheeling discussions about cinema, what we like and don't like, the general state of where it is, where it was, and where it is going and what makes us movie fans.

So, you can talk about whatever you like cinema related and we can go on tangents. Tell stories, talk about how moviemaking has changed, what is good or bad about it, what we miss, what we look forward to. What makes a film a great film to you?

There are no right or wrong answers just really how we feel about it. Obviously, I have had various discussions here about what has changed about the filmmaking landscape. Scorsese has made comments that have made waves about superhero films and what they are and I think people have a lot of different feelings about that.

I'd like to get all of these kinds of discussions cooking here and be able to tell stories, make comments, rave or rant about all things motion pictures.

We just had what I thought was a good year for films in 2021 and so I find this a perfect time to start this thread and get into all this stuff and have a place where we can ramble about what is happening and how we feel about it.

I think at this point motion pictures have been around for about 144 years and obviously there have been various changes and stages that the medium has gone through. We probably all have favorite periods or decades we love and probably a lot of that has to do with when we were born and what part of those 144 years we have experienced. I think anybody that has read anything that I have wrote on these message boards will know I am a big fan of the 1970s, which really begins in the 1960s and goes on well after 1979 as the period has been quite influential on all that came after it.

I think the big thing that the decade has imprinted on me is that I remain director-centric as a film fan. I still mostly look at who is directing a picture in my weighing if I want to see it. I think in this more recent period of filmmaking this has shrunk as a reason why most people go to see a film. I think there are several reasons for this happening but the big thing being that because so many of today's major releases are formula based pictures, this eliminates the need for a director that would be putting a personal stamp on, or attempting to highlight their own artistic vision when making a film. So, directing, as an art, is diminished in the current state of things.

There likely are only a small number of directors now that make any difference in terms of if a picture gets made. The same can be said for actors as in terms of actors that are a big box office draw the number is tiny. I found it really interesting recently when I heard that Don't Look Up was the biggest film of the year. This kind of shocked me and it features Leo DiCaprio who appears to be our last "movie star" whose presence in a picture means it will succeed even though it has nothing to do with a franchise.

This death of actors being a big draw also has diminished the art of acting. In the 1970s the way to get a picture made about whatever you wanted to make it about was to get an actor onboard that they felt was a big draw. Now with there being virtually only a few actors that are a draw, well, that is no longer an option to get a film made.

Only DiCaprio appears able to do this. They don't even have a list of a few people to go down anymore. It's not like the 1970s where they would go down the list - Redford, Newman, Hackman, Pacino, De Niro - until they had a guy to get the film made. Now it is basically Leo and if you can't get him, it is a no go. I mean unless you can get 6 or 10 contributors to an independent production or Netflix, Amazon, or Apple want the content.

The question then becomes though, if it is on one of those streaming services is it cinema? Or is it just TV? Basically, wouldn't cinema be what gets shown in a cinema?

 
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TravisR

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I am sure you heard The Movies that Made Me show with McKay and they identify Don't Look Up as the biggest film of the year, I think, based on the number of people that watched it. I guess it is the most streamed film in the history of Netflix. I am going here on Olsen and Dante saying this was the biggest film of 2021 because I have no idea how to gauge that.

McKay seemed thrilled with the success of his picture. So, I guess it was a success.

Box office numbers for 2021 obviously carry the Covid asterisk and are not "normal" due to the pandemic. I saw the joke on SNL about Spiderman being the cause for the spike in Covid cases.
I like most of McKay's movies (even the silly ones) so I'm rooting for him and his movies to succeed. I just I wish the movie had been in theaters so it had made a more lasting impact.
 

jcroy

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What draws you to see a film? How would you rank these things?

Director -Who is directing?

Actors - Who is in it?

Subject Matter - What is it about?

Budget - It cost so much to make I feel like I have to see it.

Reviews - Everyone seems to be raving about it.

Awards - It has been nominated or won awards.

Genre - I basically just like all films in this genre.

Book - Read the book so I want to see the film.

As I got older, I've found that these just about ALL of these listed a priori factors are largely irrelevant when it comes to (re)watching a movie.

The only way I can know whether I will like a particular movie, is to actually watch it.

I learned this the hard way, with my nominal preference for sci-fi type stuff. Unfortunately I have came across one too many lousy sci-fi movies and books, to the point I'm immediately skeptical of sci-fi stuff as a knee jerk reflex.
 

Winston T. Boogie

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I like most of McKay's movies (even the silly ones) so I'm rooting for him and his movies to succeed. I just I wish the movie had been in theaters so it had made a more lasting impact.

Did it not get any theatrical showings at all? I did watch it on Netflix and in 2021 I have been completely out of touch with what films are getting cinema showings and which are not.
 

Walter Kittel

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Re: What draws me to a film?

I am an adherent to the belief that the single biggest factor influencing a film's quality is the director. That isn't to say that unknown (at least to me) directors aren't capable but merely that a director with a good track record is much more likely to incentivize me to see their film, regardless of other aspects of the film.

When I was younger star power was a big draw, but I find that it holds less value for me these days. Many years ago, films from Charles Bronson, Jean-Claude Van Damme, and Clint Eastwood, to name a few, were automatic opening weekend viewings.

Genre still is a big factor in influencing my interest. I would rather see a marginal SF film vs. say a better reviewed romantic film, to give one example. SF, Fantasy, Survival stories, Crime, Noir (both classical and neo) and Westerns are all pretty big genres for me. I am not a huge horror fan (you probably won't ever see me in the October horror film challenge on HTF :) ) but I have kind of warmed to the genre over the past decade or so. I had really gotten burned out on the films in the Marvel and DC universes but that is another sub-genre for which I have developed renewed interest. (Second child hood in my advanced age? :) I have no idea why.)

Another category that used to be a big factor were awards. In past years I would always try to see as many of the Academy Award nominated films as possible. While I still think that most of those films are worth watching this is another category that has less sway on my decision making these days. (Maybe the sheer amount of awards out there has diluted the cachet of this category?)

Subject matter is inherently a very open category. Sort of ties into genre but I tend to enjoy films that have a time capsule effect; those in which a period recreation is part of the story. (Once Upon A Time In Hollywood is a good example.)

Time to get another cup of coffee

- Walter.
 

TravisR

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Did it not get any theatrical showings at all? I did watch it on Netflix and in 2021 I have been completely out of touch with what films are getting cinema showings and which are not.
It must have gotten the minimum screenings required to be eligible for the Oscars at independent theaters but it didn't get any kind of wide or even limited release.
 

jcroy

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Genre still is a big factor in influencing my interest. I would rather see a marginal SF film vs. say a better reviewed romantic film, to give one example.

Besides inertia, the big reason I still end up watching a lot of lousy sci-fi movies is that I got sick and tired of reading lousy sci-fi novels. In practice, it takes me a week (or longer) to finish reading a novel during evenings.

It is really disappointing to spend a week reading something which turned out to be mediocre or outright crap. Easier to just watch several mediocre/lousy sci-fi movies in the background at home during the evenings.
 

Walter Kittel

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Besides inertia, the big reason I still end up watching a lot of lousy sci-fi movies is that I got sick and tired of reading lousy sci-fi novels. In practice, it takes me a week (or longer) to finish reading a novel during evenings.

It is really disappointing to spend a week reading something which turned out to be mediocre or outright crap. Easier to just watch several mediocre/lousy sci-fi movies in the background at home during the evenings.

I used to devour SF / fantasy literature but slowed way down when my work required me to stare at a computer screen all day long. There is certainly plenty of marginal genre literature out there (Sturgeon's Law and all that.) Sort of like films and directors I try to lock in on authors whose previous works I've enjoyed to get a higher percentage of enjoyable reads.

But yeah, certainly easier to watch a two hour film (regardless of quality) vs. spending a longer period of time to read a novel that ultimately disappoints.

- Walter.
 

jayembee

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What draws you to see a film? How would you rank these things?

Director -Who is directing?

Actors - Who is in it?

Subject Matter - What is it about?

Budget - It cost so much to make I feel like I have to see it.

Reviews - Everyone seems to be raving about it.

Awards - It has been nominated or won awards.

Genre - I basically just like all films in this genre.

Book - Read the book so I want to see the film.

In descending order of priority...

Director: I'm more likely to watch a film (or not watch a film) based on who the director is than any other factor.

Genre: I'm more partial to certain genres, like SF, Westerns, and Crime Films than others. And I'm more likely to give a movie a shot because they are in these genres even if the movie looks questionable in other respects. It's not a guarantee, though. Some genres are turn offs. I don't want to watch the kind of horror film that I refer to as "torture porn", though something like A Quiet Place is something that I will try. And I like sharp, witty comedies, like those of the Coen Bros., but stay away from the "a bunch of guys go on a road trip to get wasted" type.

Reviews: I don't give something a try because it gets a lot of good reviews, but sometimes I'll see something I'm on the fence about because a reviewer might have something to say about the film that piques my interest. So, reviews count more to me for what they say about a film, rather than a thumbs up or down.

Actors: It depends. There are some actors I really like, and the presence of one in a film might kick it up a notch in my desire to see it. Generally speaking, though, in these cases, I'm more interested to see the specific actor's performance than the movie in general.

Subject matter: Has a greater affect on my desire to not see something than to see something. Some subjects I just have no interest in, period. Two examples of movies I have no desire to see despite having other positive qualities are The Social Network and House of Gucci.

Book: Is a plus if it's a book I really like, and I want to see how it translates into film. Maybe a plus if it's based on a book I've wanted to read and haven't gotten around to yet. If it's based on a book I haven't heard of, it doesn't have any effect on whether I'd want to see the film or not.

Awards: Has zero impact.

Budget: Has zero impact. I've never quite gotten why that means anything to anyone. A $15 ticket at the local cinema is a $15 cost, regardless of whether the movie's budget is $20M or $200M. The only people who should care about the budget of a film are the studio execs, shareholders, and investors.
 

Winston T. Boogie

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Re: What draws me to a film?

I am an adherent to the belief that the single biggest factor influencing a film's quality is the director. That isn't to say that unknown (at least to me) directors aren't capable but merely that a director with a good track record is much more likely to incentivize me to see their film, regardless of other aspects of the film.

When I was younger star power was a big draw, but I find that it holds less value for me these days. Many years ago, films from Charles Bronson, Jean-Claude Van Damme, and Clint Eastwood, to name a few, were automatic opening weekend viewings.

Genre still is a big factor in influencing my interest. I would rather see a marginal SF film vs. say a better reviewed romantic film, to give one example. SF, Fantasy, Survival stories, Crime, Noir (both classical and neo) and Westerns are all pretty big genres for me. I am not a huge horror fan (you probably won't ever see me in the October horror film challenge on HTF :) ) but I have kind of warmed to the genre over the past decade or so. I had really gotten burned out on the films in the Marvel and DC universes but that is another sub-genre for which I have developed renewed interest. (Second child hood in my advanced age? :) I have no idea why.)

Another category that used to be a big factor were awards. In past years I would always try to see as many of the Academy Award nominated films as possible. While I still think that most of those films are worth watching this is another category that has less sway on my decision making these days. (Maybe the sheer amount of awards out there has diluted the cachet of this category?)

Subject matter is inherently a very open category. Sort of ties into genre but I tend to enjoy films that have a time capsule effect; those in which a period recreation is part of the story. (Once Upon A Time In Hollywood is a good example.)

Time to get another cup of coffee

- Walter.

I pretty much follow this pattern:

Director - I follow a variety of directors and will watch every picture they make, regardless what it is about.

Subject Matter - If a film is about a topic that interests me I will see it. So, Ridley Scott is making a Napoleon film...this hits on both director and subject matter that interests me so I am very excited to see it

Genre - I separated this from subject matter because we all have genres we love. Film Noir is more a genre deal than subject matter deal. I love noir, so I search out noir films. Plus I do think there are people now that basically just want to see the pictures that fall into the genre category they are in to. They don't much care about who is directing, who is in it, what it is about specifically, just that it is a horror film, for example.

Reviews - When a film is getting a lot of attention, good or bad, sometimes that draws me to see the film. I just become so curious about why people are saying whatever they are saying that I then feel I have to go see it for myself.

Actors - I do love watching some actors work. So, if Brendan Gleeson is in something, I will check it out. It falls further down for me because I basically feel like if it is a good story, a good script, in the hands of a good director, it probably won't matter who the actors are. Sure, there are actors I might prefer but they are at the mercy of the story, script, and director. If you are failing in these areas it really becomes a more difficult job for the actor to make a difference. Nic Cage might be an exception to this because he works in so many different types of films and ones that can be good or terrible, he seems to always bring something interesting to the table.

Book - When I have read the book, I am always curious to see how they brought it to the screen. So, if I read the book, unless it looks like a total car crash, I will see the film.
 
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jayembee

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Besides inertia, the big reason I still end up watching a lot of lousy sci-fi movies is that I got sick and tired of reading lousy sci-fi novels. In practice, it takes me a week (or longer) to finish reading a novel during evenings.

It is really disappointing to spend a week reading something which turned out to be mediocre or outright crap. Easier to just watch several mediocre/lousy sci-fi movies in the background at home during the evenings.

I grew up devouring SF books. Got tired of it for a while, as everything seemed to be all the same. Bowed out for a while, but I've got back into it in the last 10 years or so. I still look at lists of "What's Coming Out Next Month" and ignore anything that seems same-old-same-old. There are some authors that are automatic buys for me, like Kim Stanley Robinson or Neal Stephenson.

On the other hand, though I've been a long time reader of comics for most of my life, I find little of interest being published these days. I think that's why I enjoy superhero movies and TV shows, as they give me the comics fix that comics aren't giving me.
 

Winston T. Boogie

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Awards: Has zero impact.

Budget: Has zero impact. I've never quite gotten why that means anything to anyone. A $15 ticket at the local cinema is a $15 cost, regardless of whether the movie's budget is $20M or $200M. The only people who should care about the budget of a film are the studio execs, shareholders, and investors.

Yes, I have never watched a picture because it won an award nor due to the budget. I throw budget on the list because they promote the budget of big pictures all the time now. So, I assume that if a picture has a big budget, that matters to some of the audience. Maybe as in, if I am spending $20.00 for this ticket I am getting my money's worth because they spent $200 million to make this thing.

To me big budgets and awards can often be a negative in terms of quality of the picture. Big budget films tend to be the most formulated and stripped of anything that may in any way confuse, upset, or offend. Basically they are blanded out to within an inch of their lives in most cases. So, typically for me, big budget means lower quality film made by committee looking to avoid risk and appeal to the most people to make a buck.

Not often, although it happens, will a filmmaker be granted a huge budget now and not have the film come with a set of instructions on how it should made.

Awards also can cut either way. Sometimes "award seeking" films also are formulated specifically to push the buttons and allow people the ability to pat themselves on the back for giving an award to a "socially important" film. So, everyone can say "Look, we make meaningful pictures!"

There have been a lot of awards handed out to crappy films.
 

Winston T. Boogie

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As I got older, I've found that these just about ALL of these listed a priori factors are largely irrelevant when it comes to (re)watching a movie.

The only way I can know whether I will like a particular movie, is to actually watch it.

I learned this the hard way, with my nominal preference for sci-fi type stuff. Unfortunately I have came across one too many lousy sci-fi movies and books, to the point I'm immediately skeptical of sci-fi stuff as a knee jerk reflex.

Yes, I think any of the items on my list will not be a guarantee we will actually like the film, I was more going for what draws us to go see a film in the first place.

I agree with Walter that a director is often the best, if not always perfect, indicator on the potential quality of a picture. Meaning, sure if it is a Chris Nolan film, as an example, it already has bought some goodwill on my part because I know he is going to work like hell to deliver a high quality film.

This is the same for pretty much all the filmmakers people will list as "best/favorite" directors.

So, for me it is a good reason for me to put a picture in my "To watch" list.

I also feel like subject matter and genre are really good indicators that I may potentially like something. Again, certainly no guarantee but I am more likely to stick with a film if it is about something I am interested in or is working in a genre that I like.
 

jayembee

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Sometimes a writer or a cinematographer will spark my interest in a film.

Barring other factors, current writers that will pique my interest include Aaron Sorkin, Robert Towne, John Ridley

Cinematographers would include Christopher Doyle, Roger Deakins, Russell Boyd
 

Winston T. Boogie

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Sometimes a writer or a cinematographer will spark my interest in a film.

Barring other factors, current writers that will pique my interest include Aaron Sorkin, Robert Towne, John Ridley

Cinematographers would include Christopher Doyle, Roger Deakins, Russell Boyd

Yes, I will watch something just because Deakins shot it. His next picture is Empire of Light, directed by Sam Mendes. It is about a cinema on the English coast in the 1980s is the rumor. Sounds perfect for Deakins. Plus Deakins has done amazing work in Sam's pictures so, I expect perfection, of course.

No pressure, Roger.
 

ChrisOC

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This death of actors being a big draw also has diminished the art of acting. In the 1970s the way to get a picture made about whatever you wanted to make it about was to get an actor onboard that they felt was a big draw. Now with there being virtually only a few actors that are a draw, well, that is no longer an option to get a film made.
I disagree. That may be a problem in the executive suites at the big studios, but there are a lot of independent movies being made, with and without well-known actors. And ironically, some of those "indies" are owned by the big studios. Indie success doesn't look like big budget success, and it doesn't depend on stars.

Most often, the actors whose presence draws my interest in a film are character actors like Paul Giamotti, Sam Rockwell, Paricia Clarkson, Viola Davis, and others who disappear into their characters even when their faces are recognizable. There's nothing diminished in their art.

I think the art of cinema is alive and well, on low and high budgets alike.
 

Mike_Nepo

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Entertainment. I believe this word has different meanings for us when we choose to watch or grade a movie, regardless of how we heard about it. I'm pretty sure nowadays we have the benefit of watching the trailer to see if it even elicits our interest, despite the word of mouth through social networks.

Funny thing is, a while back, Awards pushed me to watch a movie that was not on my radar. Unfortunately, this also backfired for me when I blind-bought a movie because it won Best Picture (yeah, I'm looking at you "Life is Beautiful").

At this stage in my life, I can tell based on a trailer which movies tickle my fancy, and which ones don't. Case in point: I don't like movies that have a lot of heavy dialog, like "Reservoir Dogs", or "In Bruges", because, after a while, I start toning the dialog out.

What I've also noticed, when I look at my movie collection, is that I actually break it down into various mini-collections. There's the DC and Marvel Universe. There's the Chris Nolan section; the samurai/Kurosawa/chanbara section; the War section, even Musicals. There's the young fantasy sequel section (Pirates/Harry Potter/LOTR); the Disney animation section; the drama/classics section; even the wife's romantic section, etc. Being a cinephile, it helps me categorize what type of person I am when it comes to movie-watching. What's most interesting is that my collection is one I pride myself as being quite eclectic, because they all represent who I am. Yes, I'll even dabble in anime in keeping up with my kids' tastes.

As for the discussion of box draws, I have yet to see Tom Cruise appear in anything direct-to-streaming, but I do take note of any films that Tom Hanks chooses. So far, Hanks has appeared in Finch, News of the World and Greyhound; all of which I found well done.
 

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Just saying the obvious, but this is a golden age for people who love old movies. When I was young there were revival theaters, and I still miss those, but today with the frame by frame restorations of so many older movies the experience is really beyond anything we could have imagined back then—except for the audience. Although there are some revivals of classic movies in theaters today, including this series, when I go the audiences are almost always small.


When I was a kid Tom Hatten introduced in a wonderful way classic movies on KTLA channel 5 in LA. It was from him I first heard about three-strip Technicolor sometime around 1976 for a showing of The Secret Life of Walter Mitty. His enthusiasm for the color made me really look at it and see that even on TV it looked different than color movies made more recently. He also gave appreciation for the talents in front of and behind the camera that made the movies special. I guess Turner Classic Movies does something like this today, but since I don't have TCM I don't see their intros. I wish HBOmax would hire someone to do something like what Tom Hatten used to do to introduce their old movies.

 

Winston T. Boogie

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I disagree. That may be a problem in the executive suites at the big studios, but there are a lot of independent movies being made, with and without well-known actors. And ironically, some of those "indies" are owned by the big studios. Indie success doesn't look like big budget success, and it doesn't depend on stars.

Most often, the actors whose presence draws my interest in a film are character actors like Paul Giamotti, Sam Rockwell, Paricia Clarkson, Viola Davis, and others who disappear into their characters even when their faces are recognizable. There's nothing diminished in their art.

I think the art of cinema is alive and well, on low and high budgets alike.

Hi, Chris. So, I think I can clarify what I mean when I am speaking about acting and movie stars. I don't mean there is no good acting now or that I prefer a movie star in a role more than a less well known or unknown actor. Not at all.

I don't at all mean the work of the actors themselves is diminished. What I mean is the opportunity to do the kind of acting you are talking about is diminished because far, far fewer films require it or ask for it than in the past.

Actors in the large budget pictures of today are not asked to do that kind of acting. In large budget pictures of the past they were. In films like Jungle Cruise, or Shang-Chi (not picking on them just an example and I have seen them both) don't require nor ask for great acting. They ask the actors to do a lot of smarm, wise cracks, and dumb jokes. With the occasional troubled look thrown in. It's not that I am saying these people can't act, they just are not asked to do much beyond those things. Which is fine. Dwayne Johnson has a very likable onscreen presence. His charisma comes through in front of the camera and he is easy to root for in a picture like Jungle Cruise...but in terms of acting, what he is doing is not any kind of heavy lifting.

Yes, there are independent pictures that do have great parts that require acting and losing yourself in the role but it is no easy task to get financing for an independent film. For every one you see probably at least 30 never get made. Even the well-known directors have a list of projects they could not get off the ground.

It's why I love Ridley Scott, he still is allowed to make all kinds of non-franchise pictures that provide parts for actors where they get a chance to really do the kind of acting you mention. I love that Paul Thomas Anderson, a personal favorite director, took two non-actors and featured them in his latest picture.

What I was talking about is that actors that were considered stars had the pull to get any kind of film made as a big studio picture with all the budget and support the picture needed to get it in front of audiences.

Films like Ordinary People, The Verdict, Network, Dog Day Afternoon, One Flew Over the Cuckoo's Nest, All The President's Men, Raging Bull, Marathon Man...these were films that were studio pictures that had budget and backing, talented directors, and were vehicles for "stars" that wanted these great parts. If you attached a star, which at the time included a list of actors, Redford, Newman, Nicholson, Hoffman, Hackman, De Niro, Beatty, they could go down a list, studios would back any film about anything. Those guys were "stars" but they could act. Big time. No offense to Dwayne Johnson or Chris Pratt but they are not that kind of actor but, as I said, nor are they asked to be.

Now, to use Paul Schrader and Oscar Isaac as an example, they made an independent film called The Card Counter. Huge struggle to make it, to finish it, the backers did not like the finished product, they wanted a gambling movie, not what Schrader delivered. However, it is a great film with excellent acting and Isaac said he would prefer to do this kind of picture for the rest of his career over making Star Wars films. Why? Because he gets a big juicy part he really can lose himself in rather than making wise cracks in a big budget film.

Nothing against the big budget films it is just they really don't need great actors, many just want someone that looks good in the costume.

No offense to Dustin Hoffman but if he were a young man acting today, they would not be asking him to be in superhero pictures except as a side character or villain. He would not have the great career he had in today's market. It's just not a great period for great parts.

I saw lots of excellent films this past year with good acting, but all independent films, all likely were difficult to get off the ground and all probably were lucky to get made. As we go forward, they probably get even harder to make.

And probably not many people saw most of them. That's what I mean by diminished, not the actor's work, the opportunity to do that kind of work that the actors of the past got to revel in.
 
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jayembee

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When I was a kid Tom Hatten introduced in a wonderful way classic movies on KTLA channel 5 in LA.

In Boston, during the 70s, we had a weekend "late night" movie slot, where I got to see a lot of films from the 40s-50s. It was introduced by Frank Avruch, who had just come off a 15-or-so-year stint as Boston's Bozo the Clown. :D
 

JohnRice

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I pretty much follow this pattern:

Director - I follow a variety of directors and will watch every picture they make, regardless what it is about.

Subject Matter - If a film is about a topic that interests me I will see it. So, Ridley Scott is making a Napoleon film...this hits on both director and subject matter that interests me so I am very exited to see it

Genre - I separated this from subject matter because we all have genres we love. Film Noir is more a genre deal than subject matter deal. I love noir, so I search out noir films. Plus I do think there are people now that basically just want to see the pictures that fall into the genre category they are in to. They don't much care about who is directing, who is in it, what it is about specifically, just that it is a horror film, for example.

Reviews - When a film is getting a lot of attention, good or bad, sometimes that draws me to see the film. I just become so curious about why people are saying whatever they are saying that I then feel I have to go see it for myself.

Actors - I do love watching some actors work. So, if Brendan Gleeson is in something, I will check it out. It falls further down for me because I basically feel like if it is a good story, a good script, in the hands of a good director, it probably won't matter who the actors are. Sure, there are actors I might prefer but they are at the mercy of the story, script, and director. If you are failing in these areas it really becomes a more difficult job for the actor to make a difference. Nic Cage might be an exception to this because he works in so many different types of films and ones that can be good or terrible, he seems to always bring something interesting to the table.

Book - When I have read the book, I am always curious to see how they brought it to the screen. So, if I read the book, unless it looks like a total car crash, I will see the film.
Of these things, for me it's all of them and it's none of them.

I was just thinking through some of my favorite movies from the last couple of years. Promising Young Woman was directed by Emerald Fennell. Who it Emerald Fennell? I have no idea. Carey Mulligan is definitely an actor I appreciate, but that won't drive me to see a movie on it's own. Emma was directed by Autum de Wilde. I'd never heard of Autumn De Wilde. Again, Anya Taylor-Joy is an actor I've appreciated. Pig was directed and co-written by Michael Sarnoski. Never heard of him. Nic Cage, I am NOT one of the many who has written him off. In fact, the last handful of years he's been more bankable than almost any other actor.

There are certain directors who will attract my attention. Spielberg is not and has never been one of them. I don't avoid or seek him out. He's an exceptional craftsman, but that doesn't do a lot for me. In general I prefer ambitious and creative, even if it's flawed, over finely crafted. So, if I have two choices, something by Nicholas Winding Refn (flawed but artistic) and Spielberg (finely crafted but ordinary) I'll take the Refn most of the time. Then you have the truly rare beast who excels at both. That would be Denis Villeneuve.

You never know where you'll find something special. The live action Cinderella is exceptional in my opinion. It's still Disney, but elevated. I chalk a lot of that up to Kenneth Branagh, and the cast I suspect is largely due to his involvement. Hidden among all the Nic Cage drek of several years is the weird little gem Drive Angry. Directed by Patrick Lussier. Again, who? From what I can tell, the rest of his directing lineup is a bunch of cheap horror crap. But that one movie is a blast.
 

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