Hollywood movies have to be about notions that are fresh

again to conserve film
There is a film-maker a small guy standing on stage, covered in Christmas tree lights and chained to
a megaphone. He rants about his family, his government, how we can not get his girlfriend to climax,
a novel he once read, the price of melons these times and his grandfather's nose hairs. Weird sounds
are made by him insults the audience and spits on them. Folks throw things and shout and
sometimes someone cries. Certainly, no one could spend to see this. Much less enable the into their
living room.
The point of art was never merely to make you feel good. Picture is intended to enlighten, to say all
the things that you just dared not utter
But the point of artwork was never merely to allow you to feel good. It was to confront you with
vomiting vision of your self, a shrieking and the monsters sitting with you. And you may be
enlightened. Confrontation is the title of the sport.
Apologies for the academics, but let us say the terms of the argument before we lose our pants.
Story, since time immemorial, is the means through which we give meaning to our being. As
screenwriting mandarin Robert Mckee stated in his book, Story, "story is not a flight from reality but
a car which carries us on our hunt for reality, our best effort to make sense out from the anarchy of
existence".
'Story is the means through which we give meaning to our existence. Picture, the best vehicle for it,
enables us to articulate desires and thoughts '
It's the difference between human and animal perceptions of world - a disorderly organization of a
frustratingly complex though deeply wonderful swirling morass of idea, perplexing emotions, or
essentially neutral barriers around which to fuck, combat and consume and dreams that are
troubling. They're the fictions that construct our world. So for narratives of the last 100 or so years
as the biggest, hottest, most obnoxious, greatest vehicle, we can ask what's exceptional to movie
that we are given by other opinions of storytelling simply cannot. Well, it is a shared experience; it is
a mouthpiece for short, sharp statements. And from this high ledge we can declare that movie allows
us to pronounce thoughts and desires; even periphery ones, as a culture. This really is when films
are at their apex and it's why we desire them.
Richard Nixon is the star. A film that articulated a basic truth -Watergate age: cynical power
prevails. Several months after the film premiered, Richard Nixon was pardoned by the dull folds of
Gerald Ford's just presidential face. The large curve that sprang from film of the 60s reached its side
that was far in the early eighties. The oft-mentioned golden age of New Hollywood had started when
movie execs lost the scheme and began throwing money at young, mentally ill, wild-eyed filmmakers
to make film that was shaky, wild-eyed.
Hollywood films of the 70s offered catharsis as well as an understanding of a changing world
There were pictures, like Easy Rider and The Graduate, that not only enabled people to understand a
changing world, but to maybe claw a measure of the experience of earnest catharsis out. Quite
simply, that audiences weren't alone. Films of the 70s did this, and they produced money. New
Hollywood continued on in this manner, until - ridden with VD and caked in gak residue - the young
weirdos ate themselves. Stayed high up their assholes, these film makers started making indulgent
pictures which lost an increasing number of money.
But it was not only the new-found method for success that the smash supplied that lobotomised
much of moviemaking. There was cash to be made and 'what is it possible to do to your country?'
turned in to 'what may I get for myself? ' The rise of Thatchers and small Reagans all around the
world didn't happen in a vacuum; a change that is fundamental was signified by it. The view of
society eroded and as communities weakened, so did the demand to speak about society and
consequently project thoughts to the film-going audience.
But at that time, Hollywood had found a brand new toy - the kind of Jaws and Star Wars had
established to the money guys they did not desire these , pretentious little pissants that were
boisterous, but could do things in a way that was new. A new way which intended motion figures,
vertical integration, a large return and - with the birth of high-concept - pictures which could be
about matters and not notions. Say, a movie about cars that discuss, immediately followed by a film
about airplanes that talk.
'As communities weakened and culture eroded, so did the need to speak about society and
consequently project thoughts to the filmgoing audience'
In a way, movies continued to pronounce the zeitgeist. Unfortunately, the zeitgeist wasn't about
conflict, but about gratification. Cash was trendy, cocaine was cool, Huey Lewis was trendy, killing
countless waves of brownish third world revolutionaries was cool, being a conservative was cool.
And therefore the extreme politicisation that had characterised so much of filmmaking that was
excellent had undergone a refreshing return to the John Wayne fashion of reactionary that was
healthful blandness. A fashion that, at the very least, told everyone in the theater that, finally, every
thing was going to be fine and that they were good folks.
In reality, the best film about our era was made 50 years ago; we live in a planet that makes all
young folks into The Graduate - greatly alone and afflicted with a combination of malaise and
confusion that was barbarous. And it's precisely that which film-makers should be talking about, not
these automobiles that change into robots. A movie that is good reaches out and touches you. And
spits on you a small, leaving a mark. But it is, myself assure you, a spot that is marvellous.
Don't get me wrong - some of they were amazing films. But a time travelling cyborg was never going
to discuss to the probably disgusting, deep and dim cloisters of the soul of anyone. And should youn't
value that, you should at least recognise that there are few films being produced about you. And
there should be. A pal of mine stated the last film about his era was Human Traffic. Don't say it was
not. It was.

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