The model today is that as much as 70 percent of the financing of the picture would come from overseas. Now we’re beginning to run out of suckers, because there are not that many people overseas who are willing to put up more than half the money for a movie.
Analyses of the movie marketplace points to an interesting phenomenon: High-profile movies are continuing to do well year-to-year in the U.S. and overseas – this past summer, for example, the top 10 movies registered at the same level as in ’04.
It’s only in relatively recent years that Hollywood became the playground of multinational corporations which regard movies and TV shows as a minor irritant to their overall activity.
I wasn’t hanging around the movie theaters in New York where I grew up, a Manhattan brat.
The biggest danger of Hollywood becoming a purely corporate town resides in the creative process.
Historically, filmmakers always fall in love with every frame, but now that even neophytes are given final cut, this love affair carries with it serious economic implications.
Though gay lifestyles have certainly moved into the open, there’s little evidence that society has become more open in its basic attitudes or that entertainers should feel cozy in emerging from the velvet underground.
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