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In 2024, Hollywood Should Focus On The American Market.

“Think globally, act locally” is an effective and poignant quote often used by environmentalists in the American market to encourage change by starting at home.

You can’t save the world if your affairs aren’t in order at home. From a business perspective, this is advice that Hollywood should heed going into 2024. Starting in 2012, focus on the international market from Hollywood has been so intense, they’ve forgotten about their target audience at home and looking at this situation objectively, it has killed American cinema.

International Hyperfocus Is Detrimental To Domestic Returns

Akira Kurosawa is arguably the greatest and most influential filmmakers in history. He is a legend among legends. Stanley Kubrick held the director in such high esteem, a simple letter of admiration from the Japanese icon overwhelmed him to the point where he didn’t know how to respond.¬†

Akira Kurosawa Didn’t Build His Legacy Chasing The Foreign Market. He Built It Off Of Beautiful Storytelling.

Kurosawa did not earn his reputation and his unrivaled reverence from some of the best filmmakers in history by worrying about audiences outside of Japan. When he made¬†The Hidden Fortress¬†in 1958, he didn’t ponder on whether or not it would be well received by the foreign market. He focused on great camera work and beautiful storytelling.¬†

The movie’s impact on American cinema became bigger than anyone could have imagined though, when a young man named George Lucas watched the film. The film had such an impact on the young man, that he often cites it as the key inspiration for¬†Star Wars.¬†

Godzilla -1 is crushing blockbusters at the theaters both internationally and here in the United States. It is a fun film that gained traction through word of mouth. It wasn’t supposed to have a long theatrical run. Fun filmmaking and good storytelling won out again.

There is a pattern forming here.

When the director of The Marvels admonished audiences and called them every buzzword insult in the book for not going to her movie, patrons didn’t submit to her tirade and flock to see her film. They just walked past her and gave their hard earned money to a Japanese monster flick that seems to have been worth every penny.

China and the Middle East dictate how American studios make their films. These markets are placated because they are a golden goose that has the potential to earn extra money for the studios. If American audiences tell the studios what they’d like to see, or what they found wrong with a movie; the studios chalk it up to fan entitlement.¬†

Marketing In China For “Black Panther” Had Chadwick Boseman’s Face Hidden Behind His Mask.

“Fan entitlement” is a fancy way for a company to tell us that they don’t care what we think. In all actuality, shouldn’t paying customers get what they want or expect? Movie tickets are almost twenty dollars where I live. On average that means I am paying ten dollars an hour for entertainment.

Am I not entitled to a good experience? The “fan entitlement” slander is a bizarre tactic. If i am not entitled to some semblance of enjoyment after handing you my money, then why am I giving you my money in the first place?

This has been going on for years and has alienated the American audience. It needs to stop. Especially when abhorrent double standards come into play.

Disney will villainize domestic movie goers but will turn their back on their own principles and acquiesce to China’s unapologetically racist demands to alter the posters of their movies to minimize the presence of African American characters.¬†

I can’t even imagine the response that an analyst would get from Walt Disney if he was told to alter his films to meet the requirements of a communist government.

This Strategy Has Killed The Classic American Comedy.

By pivoting towards foreign market and abandoning the wants and needs of their domestic audience, Hollywood has inadvertently killed an entire genre of film. Comedic films haven’t been funny or well received in years.

This is because comedy isn’t a universal thing. American comedy might not land well overseas, and since Hollywood has sold their soul for foreign money, this puts comedy on the chopping block. We get movies that are labeled as comedy, like the 2016 reboot of Ghostbusters¬†but, they are comedy in name only.

The comedy we get now is bland, homogenized, inauthentic, unoffensive sludge processed through a corporate sanitation plant and spoon fed to us. We don’t laugh willingly anymore. We are told to laugh. If you don’t laugh, then the problem isn’t the quality of the film. The problem is you. According to a recent interview between Andrew Garfield and Rachel Zegler; if you don’t like something about a film, then it is up to them to educate you.

With American Comedy Not Translating Well To Foreign Markets, It seems Unlikely That We Would See Classic Movies Like “Tommy Boy” get made in today’s Hollywood.

With an entire genre relegated to the NetherRealm, this puts Hollywood in a pickle. Something needs to be put out, so what does 2024 have in store for us theatrically?

  • Mean Girls (2024)¬†
  • Madame Web
  • Dune: Part 2
  • Kung-Fu Panda 4
  • Ghostbusters: Frozen Empire
  • Godzilla x Kong: The New Empire
  • Twisters (I swear to God, it sounds like I’m making this up, but yes. Twister is getting a sequel.)
  • Furiosa: A Mad Max Saga
  • Inside Out 2
  • Kingdom Of The Planet Of The Apes
  • Despicable Me 4
  • Beetlejuice 2

The list goes on, and of course there is some original content sprinkled here and there throughout the year, but 2024’s release schedule is largely dominated by sequels, remakes and recognizable IPs.

American cinema has become so creatively bankrupt, and reliant on recognizable IPs to the detriment of good storytelling and creative writing, that we have found a way to scrape beyond the bottom of the barrel and one of the best things these unoriginal drones could come up with was a sequel to Twister that I can all but guarantee that nobody asked for.

Robert Zemeckis has had the script for a sequel to Who Framed Roger Rabbit finished and ready to go for years. He wants to do it, American audiences would flock to the theaters to see it.

Yet, the movie inexplicably sits in his office collecting dust in development hell while the best things these brilliant executives have to offer us are Kung-Fu Panda 4 and a sequel to a movie about tornadoes.

The Studios Should Use This Year To Course Correct.

2023 was so bad,¬†Vanity Fair¬†refers to it as “The Year That Broke Hollywood.” Looking at 2024, it doesn’t look like it will get much better. What the studios should do, is come out of their ivory towers and go on an apology tour of sorts. They have taken the American audience for granted. We have walked away but with some work, Holly wood can court us and get us to give them a second chance.

It’s very easy for them to do. Do what Walt Disney, George Lucas and Alfred Hitchcock did. Dare to take risks. Dream big. Invest on a vision, don’t play it safe with brand recognition.

Give us something to actually look forward to. Let us experience great storytelling and brilliant camera shots. Just give us a reason to root for you.

If Hollywood can spend the next year winning us back and getting us to look forward to 2025, the American audience will happily flock back to the theaters. You won’t have to even worry about the foreign market at that point. If the storytelling is good enough, they won’t be too far behind.

What do you think, GNN Fans? Sound off in the comments below and let your voices be heard!

Thank You for reading! When I am not writing I enjoy spending time with my wife Barbara, my three year old daughter Frances, and my loyal hound Marbles.  For more hot takes, follow me here and on our brand new YouTube channel.  You can also check out more of my content on my author’s page.

Stay Geeky Everybody!

 

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