What some may think doesn't work in a movie may work for others. Hence the subjective nature of movies.
Anybody analyzing a movie with enough cynicism can pick out flaws. Even with the masterpieces. And anybody protecting a movie with enough love can find defensive points.
this can't be stressed enough.
One must be fearless and tenacious when pursuing their dreams. If you don't, regret will be your reward.
Is it sad that this thread has pretty much talked me out of seeing Inception in the theater?
Dude, go. Seriously. Whatever your eventual opinion on the movie -- and having seen it twice, I'm still firmly in the "masterpiece" camp -- it's a genuine "see it in theatres" experience.
Even as a screenwriting lesson, it's worth the entry price. It's a masterclass on how to take an "internal" concept and maximize it into something suitable for the big screen, and the last half is, in my opinion, extraordinary. Every single step is deliberate, and it makes for some of the tightest writing you'll ever see.
Oh, it's definitely a lesson...for better or for worse.
Now, for a real masterpiece that is so amazing, it's impossible to have a 50 page thread debating its faults and shortcomings because it is written to near perfection, go see TOY STORY 3.
Total Lifetime Grosses</B> Domestic:$197,603,13153.5%+ Foreign: $171,500,000 46.5%= Worldwide:$369,103,131
No matter what your opinion of the film is these are encouraging numbers. This movie is now officially profitable.
I could really care less how much money the film makes, but anyone who thinks the equation <INCEPTION / Original Concept> + <INCEPTION / Box Office Hit> = Good News For Original Ideas In Hollywood is sorely mistaken. (Especially when people equate "Successful Original Idea" with "oh, boy, the spec market should be heating up again in light of this!")
The only reason INCEPTION was made was because Warner Bros. needed to keep Christopher Nolan happy. That's a fact, people.
Had the script been written by Joe Q. Screenwriter and sent out into the market like any other spec, it never would have been picked up. Because any reader worth his or her salt would realize its a weak story with a ton of narrative problems. This last point is obviously up for vigorous debate for those of you who loved the film, but I'm just callin' 'em as I see 'em.
In the end, the success of the INCEPTION will mean nothing for we writers still struggling to get our work noticed, though it has seemed to give some false hope....
I could really care less how much money the film makes, but anyone who thinks the equation <INCEPTION / Original Concept> + <INCEPTION / Box Office Hit> = Good News For Original Ideas In Hollywood is sorely mistaken. (Especially when people equate "Successful Original Idea" with "oh, boy, the spec market should be heating up again in light of this!")
That's sadly the truth.
ANY film that makes money, original concept or not, will get a sequel. Period. No need to scour the spec market in hopes of something people will enjoy. Give them a sequel and the masses will drink their Kool-Aid (Flavor Aid, excuse me) all the way to the theater based solely on their love of the original. No need to even make sure the script is good. It's guaranteed profit.
In other words, we have a much better chance of seeing Inception 2 before anything original.
I can't argue with that from a business standpoint, but as a consumer, I think the product is seldom as satisfactory as it should be.
I could really care less how much money the film makes, but anyone who thinks the equation <INCEPTION / Original Concept> + <INCEPTION / Box Office Hit> = Good News For Original Ideas In Hollywood is sorely mistaken. (Especially when people equate "Successful Original Idea" with "oh, boy, the spec market should be heating up again in light of this!")
The only reason INCEPTION was made was because Warner Bros. needed to keep Christopher Nolan happy. That's a fact, people.
Had the script been written by Joe Q. Screenwriter and sent out into the market like any other spec, it never would have been picked up. Because any reader worth his or her salt would realize its a weak story with a ton of narrative problems. This last point is obviously up for vigorous debate for those of you who loved the film, but I'm just callin' 'em as I see 'em.
In the end, the success of the INCEPTION will mean nothing for we writers still struggling to get our work noticed, though it has seemed to give some false hope....
TOTALLY agree with the bolded/underlined above. Since I started writing a decade ago, I've been unable to watch a film WITHOUT wondering, "if I wrote that and submitted to a rep/prodco/contest, etc -- what would be the outcome?" And after a quick beat of thought -- the answer is PASS at least 80% of the time.
However, I disagree with the notion that this will do NOTHING for original content. Hollywood is just high school disguised as a business. Anything that is currently considered "profitable" or "hot" creates a trickle down effect and anything else that includes ANY of that film's elements will be viewed in a more positive light -- even the basic source of the material (pre-existing, original, etc.)
And even if you don't believe it will definitely help, it sure as hell won't HURT. But when some film based off of a graphic novel/comic/novel/true story/article, etc, etc is a hit -- that DEFINITELY is a blow to all struggling writers, because it perpetuates the already rampant belief in H-wood that they don't need new blood.
A film like inception makes that H-wood exec think at some point "is the next Nolan out there somewhere?" When it's not original, they just think "is the next graphic novel/true story/comic book/novel/article out there somewhere?" As a writer, which question do you want them asking themselves?
"U don' know me, muddafugga..." - Al Pacino, Carlito's Way
I don't care what it does for the spec. market because I don't write for the spec. market, I write for directors/producers I collaborate with and/or myself, and attempt to get my work produced guerilla style. Sorta like Chris Nolan did way back when with FOLLOWING and MEMENTO.
I care what this does to the decision making process of studio execs, because I'd rather see more original films like this get huge budgets thrown at them than more sequels and remakes. There's already one positive outcome of this: after BATMAN 3, Chris Nolan can continue to make whatever the hell he wants. Had this failed, that might not have been the case. This is encouraging as an audience member, not as an opportunistic writer.
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