^great poster by the way
I’ve been very negative about escapist entertainment lately. My primary problem with escapist entertainment is its schlocky and passionless nature and how effectively it demoralizes audiences with poorly-defined conceptions of humanity and morality and weak intellectual value. This is very much not that kind of escapism.
Granted that it’s a live action cartoon and is a major cash-in, there are fewer of its kind better than this. I think it certainly surpasses all of its predecessors quite easily—it never falls flat in its action sequences like they do, nor are the dramatic notes excessive or humorous moments too obnoxious. This is just flat-out sophistication in blockbuster entertainment. I expect no less from Whedon at his weakest, and this is surely much more than that. He brings immense wit and heart to what it seems should be soulless. People contrasting this with the Transformers movies are right inasmuch as Whedon is the perfect anti-Bay kind of filmmaker. His images are fluid and gorgeous and coherent, with rough-and-tumble explosive action melding perfectly with run-and-gun moments. One particular spot where they pull a deft, very Whedonish tracking shot from character to character across the New York skies and rooftops was just riveting. You can see the careful touch he employed in Firefly getting used to utter perfection here, both in his use of ensemble and the subtlety and clarity with which he moves his narrative forward. And his writing absolutely takes advantage of every Avenger’s best characteristics. Where characters like Black Widow, the Hulk and Nick Fury seem profoundly empty in their various past appearances, they absolutely shine here. The Hulk especially was a sight to behold—it’s hard to imagine a better use of the character. Whedon finally hit just the right notes with a character that seemed doomed to mediocrity.
And surely one of the greatest things the movie accomplishes is combining all of these characters and movie plotlines that we’ve been following for, what, like four years now? in such an organic and wonderful way. By the time the Avengers are, ahem, assembled, every preceding movie seems to have led perfectly to this one, and the characters are so extensively developed in their respective movies that time can be spent developing their relationships to one another right away. And that is done so extremely well.
As far as capturing comic books on film goes—just the very idea of translation from comic to screen—I think this is the best effort yet, for sure. I really felt the same way I felt when I read The Ultimates or Marvels. This feels like a comic book on screen, the perfect cinematic embodiment of the form. Obviously that’s not to say it’s superior ultimately to The Dark Knight or X-Men 2 or other pretty awesome adaptations—though it might be, that thought is certainly rumbling in my mind, but that may just be the high from the experience—but in terms of sheer adaptation this is the first complete triumph. Pure, silly, heartwarming, exciting fun. Whedon is one of few modern Hollywood filmmakers I feel can powerfully change the vocabulary of the form.
This dopey gal has the funny idea that movie piracy is what makes movies so bad.
This is the kind of insipid, status quo-perpetuating nonsense that allows things like the current privacy-violating legislation in Washington and heinous money-grubbing hacks in Hollywood and elsewhere to thrive.
After discussing a meme-inspired convention/conference thing where the merit of memes as intellectual property is apparently discussed with complete seriousness, Katie Notopolous says,
I worked at major movie studios for years, and I know exactly the consequences of movie piracy. I was around for several rounds of massive layoffs at studios where thousands of jobs were eliminated. There is a direct and real effect on a large American industry. While Tom Cruise or the president of the studio doesn’t see a dent in his paycheck, you might see the entire accounting department outsourcedto trim overhead.
What Miss Notopolous is forgetting is that the sensibilities with which modern movie-making is done has existed since its inception; make movies cheaply, focusing budget on spectacle and marketing instead of substance, and then watch the dough roll in. It’s not new that Hollywood produces bad movies. Regardless of the effect piracy has had on employment of the “little guys” in LA or NYC, the root of the problem is the very idea of profit over substance. And this seems to be the case in any way you can look at it.
Hollywood produces a film for y dollars. Typically a film is considered to have been a feasible investment if it makes back 1.5y, in other words the studio’s initial investment plus half that. This is a worst case scenario, mind you. They desire much more—as much as possible, obviously.
A project’s potential to meet these standards is the only criteria that is taken into account when a project is developed in the current studio system. Characteristics like plot, character, setting, theme, craft, the talent involved (director, screenwriter, performers, etc.), are taken into consideration only in respect to their ability to be sold. No matter what producers, execs, etc. say about the magic of the movies at their self-congratulatory award shows or benefits or whatever, they will not make a movie if it will not make them money.
Certain standards that have proved to be economically viable are the quickest to be picked up for production—obviously, a sure thing is more likely to be made than something more risky or different. And in most cases, risky or different projects that do get picked up belong to individuals who have already made studios a lot of money.* So genre movies, movies that will star major actors, movies with plots that are not too difficult to follow, movies that will win awards at the aforementioned political back-patting award shows (really, really long commercials, basically), movies based on already-existing material that will sell to built-in audiences and that have books/TV shows/other movies/etc. to act as extreme hype-building, free advertising, etc. get picked up more often than original ideas. That last one—the one about previously existing materials—is where we get the rampant remake/reboot/sequel/prequel/adaptation problem. Not piracy, as Notopolous hilariously suggests.
Once a movie meets these (read: weak) standards (which producers are perfectly willing to alter to their sporadic specifications if need be in the midst of a complicated production process which they otherwise have no part in) the actual talents involved are given millions of dollars with which they can make the schlockiest product possible so long as they do it on or under budget, on time and then subsequently sell that movie as obnoxiously as possible.
This brings me to the most troubling fact in the article in question. In the midst of all the defense of the little guys in the studio system and appeals to handing our money away to these trashy movies studios produce, Notopolous points out this little gem:
Inception had a $100M marketing budget
I shudder at this fact. Alright, obviously this isn’t anything new or really surprising. Most major Hollywood releases have crazy marketing budgets. But in the same article that we are being asked to be empathetic and honest and give these people our hard-earned money, we’re told that a film that already had a $160M production budget had a marketing budget that consisted of another $100M? How are we supposed to view Hollywood and its scumbag executives as anything more than just that, utter scumbags, with knowledge like this? And hey, I like Inception. I like it a lot. I think, despite Christopher Nolan being something of a slimy, Hollywood-spokesman kind of character (in my humble opinion), that he’s made some really great films and I greatly look forward to his next Batman movie. Like, greatly. Like, nerdgasm times a million greatly. But that so much money goes toward something as despicable as marketing** kills me, it soundly eliminates any potential sympathy there could have possibly been in my mind for Hollywood and its Randian cretins.
So an idea is picked up for its salability, marketed with attention toward that salability, distributed on a mass scale so as to pull as much cash from as many audiences as possible (and allegedly even the $9-13 we have to spend on tickets isn’t enough for them most of the time), audiences see it, much money is made…but not enough. Even though most of these major releases—the ones that cost the most money to make—make money (break even and then some), they are not making enough money. Piracy is keeping money from them that they need so desperately that they lay off poor accountants and whoever else, because not enough people wanted to spend money on their excellent movies? On what planet does such an argument make sense?
These movies appeal literally to the lowest-common-denominator, they have little to no substance, and even when they do, it’s a rare sight. That they are lower-than-crap productions is not the fault of piracy—audience members who go to movies for entertainment (and possibly even for substance!) see crap and become demoralized with the fact that for decades they’ve been spending enough money on a cheap dinner for the family on excessively-priced movie tickets for the worst kind of movies. Notopolous provides this gem:
First, several studios shuttered their arthouse imprints like Picturehouse and Warner Independent in the past few years. So no more “good” movies that don’t make huge profits.
Implying it is the responsibility of the independent filmmaker to produce movies of value. That, if studios choose not to distribute independently produced content, good movies are not released. What is this nonsense? Why should it be up to independent filmmakers to produce quality? And let’s be honest. The “independent” fare that Hollywood tends to pick up is still picked up based on its ability to be easily marketed. It has that “indie feel!” It has that popular actor going slightly out of his comfort zone! It’s controversial and people will pay to be able to talk about it! It’s never a question of substance—in the studio system, monetary potential precedes substance always.
Piracy is a result of people sick of repetition and studios constantly taking advantage of a perceived stupidity in the masses. Perhaps the masses when, I dunno, massed, can be stupid. Transformers always sells. But studios appeal to aspects of humanity that can be easily manipulated into blind consumption and empty acceptance of low quality. People who are starting to realize that and who have the ability are now refusing to spend their hard-earned money on garbage. And personally, even if it’s not garbage, if I know my money is going to go to the perpetuation of this system, this means of production, I can’t help but feel guilty for supporting it. But I do. Tomorrow I’ll finally be seeing The Avengers, because I love comic books, I love Joss Whedon, I love the cast and characters. But I hate the empty ideology and overt twisted attitude that surely went into much of its conception, production and distribution. And that’s something you and I are giving our money to every time we pay for a movie ticket.
*For example, king of the ass-kissers Chris Nolan making a pair of extremely successful Batman movies and then getting the opportunity to make odd, cerebral movies in between successive Batman movies, one of which (Inception, which Notopolous discusses in her article) was made on a budget nearly on par with the budget of his second Batman movie, which seems like a triumph for creative filmmaking when in fact it’s just a result of a Batman movie (a franchise with the benefit of both built-in, decades-old marketing and the employment of two of the franchise’s most popular villains, one of which played by a beloved actor who died far too young just before the film’s release) making back a little over five times its original budget and therefore giving Nolan himself a little leaway in terms of creative control. That the “one for them, one for me” aspect of Hollywood filmmaking is thought of as some sort of fair trade or righteous artistic endeavor by the majority of people, including film fans, is insane to me. That a talented mind (and the extremely talented crew that he or she works with) spends millions of dollars on a gamble so that he may or may not get to make the kinds of movies he wants to make is extraordinarily sad to me. Another example of a filmmaker who got to make what he wanted is James Cameron, a self-made millionaire with enough money from his franchises to be able to make whatever movies he wants (and tellingly enough even he chooses to play it safe and make the movies that’ll multiply his excessive riches).
**That’s for another day. Don’t get me started on marketing.