Whether it’s an independent company or a major studio, development has always been an important part of the filmmaking process. Scripts are submitted, internal press is generated, creative discussions occur, and deals are made. The balance between commercial and artistic interests is then discussed throughout the pre-production and production process. Finally, the finished product appears.
Yes, many artists dislike the idea of their work being a product, but when looking at the equation of art and business in balance, certain concerns must be addressed. Of course, the bigger the budget, the worse things get. The more money is at stake, the less sophisticated the final product is likely to be.
There are other considerations as well. Until the 21st century, screen time was even more limited. Even original cable programming, which began in the 1980s, was in limited supply, and both cable and network programming were time-constrained by time zones and advertising. For fear of limiting the number of showings per day or waning audience interest, films usually last no more than two hours and 20 minutes.That’s why James Cameron’s ending had to truncate the end of his epic abyss So much so that I don’t even know what it means.
The era of bloated blockbusters
![Commentary: Hollywood needs to bring back development technology 2 Ezra Miller in The Flash (2023)](https://wealthofgeeks.com/wp-content/uploads/2024/12/IMG_5174-e1704259359739.jpeg)
Times have certainly changed. Currently, the average blockbuster is his two to three hours, and many streaming shows have full-length episodes. Between the rise of the franchise mentality, the streaming boom, and the pandemic upending the standard Hollywood business model, the development process has been disrupted. The concept of “development hell,” where a movie or show script languishes in creative purgatory for years, has become less of an issue in recent years due to a variety of factors such as changing talent packages, revised scripts, and changing trends. Ta.Well, I have some wishes some of it gatekeeper will be back To offset the luxuries of the streaming era.
The flip side of this problem is that too much development can be bad. The interconnectedness of superhero films and “universe” series films means that many needs must be met.Movies like his recent DCEU movies flashtook a long time to develop, but too many cooks in the kitchen often lead to overdevelopment. What you get then is a property that’s too good to be true, has too many subplots, is unfocused, tries too hard to pander to different demographics, and never really finds its footing.in the case of flash, The film fell victim to a change in leadership at Warner Bros., which ultimately led to the studio instigating a redo of the DCEU. It was a no-win scenario.
You can underwrite the movie, you can overwrite the movie, but here’s the problem. The system has lost its sweet spot.
Hollywood seems to have lost sight of what the development process means. At the beginning of the streaming era, companies like Netflix greenlit many projects that would have been left in purgatory in more restrictive times. This has led to many movies with too long running times and shows with too many episodes, but for many filmmakers and showrunners, it’s a refreshing and creative time to reap the benefits of this new Wild West. There was also. Some movies and shows had more leeway, allowing for varied runtimes unencumbered by ad slots, giving them a chance to take creative risks and find an audience. In some cases, it was a boon for talented creators. But others also needed restraint.
Streaming issues
![Commentary: Hollywood needs to bring back development technology 3 Ahsoka](https://wealthofgeeks.com/wp-content/uploads/2024/01/Ahsoka.jpg)
![Commentary: Hollywood needs to bring back development technology 3 Ahsoka](https://wealthofgeeks.com/wp-content/uploads/2024/01/Ahsoka.jpg)
This has something to do with the binge-watching era. The streamer put several new shows into the queue every week, giving viewers countless options. There seemed to be something for everyone. Sure, much of what viewers got back then was useful to them, but very little of it stuck in our collective cultural consciousness. It also created the idea that there’s always something new, especially in the first year of the pandemic. But for the over-the-top binge drinkers, a new and ridiculous tagline has emerged: “You need to see something new.” As if new content is the only thing of value. (How many years of shows are now available to watch online?)
Pandemic ratings also had a dark side. Desperate to make up for lost box office revenue due to people sheltering in place, companies like HBO Max and Disney+ have released new movies on their platforms to shore up their subscriber bases. This short-sighted solution angered some stars, especially those who expected a bigger share of the back end. Top talent are also savvy businessmen and want a fair share of profits.
Streamers have had to face the reality that in trying to attract as many subscribers as possible, they often end up spending more money than they can afford. The show’s cancellation disappointed many viewers, who learned there would be no next season after binge-watching the new show. The necessary SAG-AFTRA strike also put a damper on those prospects, as studios and streamers avoided paying hefty balances on assets and thus escaped runaway production. Now, ad-based subscription services have been launched, effectively turning the streaming ecosystem into a new form of cable television. Ironically, many viewers are cutting the cable cord and turning to streaming to avoid ads and have more options. Now they feel cheated.
Suzanne Daniels is a professor at UCLA and has more than 30 years of programming experience, including the former global head of original content at YouTube and as president of MTV Networks, Lifetime, and The WB. In the editorial of deadline last septemberShe discusses how the development process in this new era of streaming has become extremely money-oriented, resulting in an increasingly hostile attitude toward creatives and an increased reliance on algorithms to sniff out potential hits. accurately pointed out. She encourages more support for writers with fresh vision and encourages them to take more risks. Cookie-cutter methods no longer work.
Less is better
![suit](https://wealthofgeeks.com/wp-content/uploads/2022/03/Suits-1.jpg)
![suit](https://wealthofgeeks.com/wp-content/uploads/2022/03/Suits-1.jpg)
Speaking of algorithms, there are companies such as: Avail is beta testing new development software. Seriously. They call it a “Submission Summary Tool” and this is part of their pitch. “Avail’s coverage product summarizes scripts and books of any length and outputs detailed, hallucinatory summaries, character breakdowns, and tone ratings within minutes. Additionally, users can You can chat with them and unlock further insights in real-time.”
Reading that pitch itself feels like a hallucination.
Art always requires the human touch. For Hollywood, there needs to be a proper human balance between art and commerce, rather than getting caught up in chasing trends and algorithms or compensating for poor business decisions. L.A. suits aren’t exactly the creative type, but every once in a while a suit does shine. And oddly enough, executives stepping back and giving certain creatives more freedom didn’t really work. Meanwhile, the executives made a 180 effort to save the tail.
Herein lies the ultimate argument for balanced development: the cliché that quality is more important than quantity. Indeed, nearly all of last year’s most streamed movies were blockbusters, but they didn’t lead to huge box office receipts. Spending your hard-earned money in theaters is another thing. It’s another thing to catch it on a streamer you pay a monthly fee for.
Last year’s most streamed TV show was suit, This series ended in 2019. (Interestingly, the sequel inspired by this revival is called: Suit: Los Angeles.) The takeaway from this success is, why is new content alone considered a large number to enhance streaming time? If you create a durable product that people keep coming back to, is it comparable? , it’s worth more than that.
If the way to line your audience’s wallets is to cater to their needs, then note that people now crave more variety, interesting stories, and something that stands out from the crowd. would be wise. Sure, blockbuster franchises always find a way to cash in, but even that paradigm feels unstable. And, dare I say it, simply handing over a lot of cash to the creators guarantees a great product. See how Apple TV’s recent 200 Million Dollar Spy thriller turned out. argyle It was a huge box office failure worldwide.
It’s time to restore balance to the development and production process and think from a more enlightened perspective. And something creative. The right balance benefits everyone.