I didn’t know that writer blockitis was catching, but it must be, because just like my buddy and fellow columnist John Ostrander, I seem to be suffering from the same ailment today.
Signs and symptoms include sluggishness, an inability to form ideas, a lack of imagination, a desire to smash the computer, great interest in infomercials, and reading the Sunday New York Times.
Oh. Wait. Here’s something.
It’s an article by Brooke Barnes in the Arts & Leisure section, and it’s called “Save My Blockbuster!” Considering all the words and thoughts that have gone into discussing Man Of Steel by the columnists (including me) here at ComicMix since its opening on June 14, as well as the other comics, science fiction, and pop culture cinematic adventures that have already hit the screen (Iron Man 3, Star Trek: Into Darkness, World War Z) or are still to come (The Lone Ranger, Pacific Rim, R.I.P.D., The Wolverine, Percy Jackson: Sea Of Monsters, Elysium, and The Mortal Instruments: City Of Bones) this summer of 2013 – all involved studios praying that their production will be The Blockbuster of the season – Mr. (or is it Ms?) Barnes’s article is not only interesting, but also relevant.
But just when did the summer become the season of the adventure/science fiction/fantasy/comics/pop culture Blockbuster?
The summer of 1975. Jaws.
In 1973, Richard D. Zanuck and David Brown were producers at Universal. David Brown’s wife was Helen Gurley Brown, editor of Cosmopolitan. He found a pre-publication copy Peter Benchley’s Jaws in the fiction department of the magazine. Cosmo’s book editor had written a detailed synopsis of the plot, which concluded with the comment “might make a good movie.” Zanuck and Brown both read the book overnight, decided that it was “the most exciting thing they had ever read,” and purchased the movie rights They hired the still chancy Steven Spielberg, although the 26 year-old director was starting to make a name for himself for directing Joan Crawford in the pilot of Night Gallery (“Eyes”), defining “road rage” in his adaptation of Richard Matheson’s Duel for an ABC Movie Of The Week – I clearly remember watching Duel perched on the arm of a sofa in my dorm’s packed-to-the-walls common room, every single one of us with eyes glued to the small 19” television set – and The Sugarland Express, his first theatrical film.
Jaws hit the movie screens of America in 1975. It became the archetype of the summer movie for Hollywood. It had a wide national release (“saturation booking”) and massive media buys, i.e., lots and lots and lots of television, radio, and magazine advertising. It made money, and now every studio wanted a Jaws. According to Lester D. Friedman’s book on Spielberg, Jaws “defined the Hollywood hit as a marketable commodity and cultural phenomenon.” Before Jaws, summer was the seasonal dumping ground for Hollywood studios, the home of films they were sorry they made. After Jaws, summer became “the prime season for the release of the…biggest box-office contenders, [studios’s] intended blockbusters.”
1975 was, let’s see, how many years ago?
38.
This summer Hollywood will have released, as the New York Times relates, “13 movies costing $100 million and up (sometimes way up), 44 percent more than in the same period last year. And because these pictures need to attract the global audience possible” to see any kind of profit, “they are increasingly manufactured by committees who tug this way and pull that way: marketing needs this, international distribution need that” and “the all-too-common result is a Frankenfilm” – I love that description! – “a lumbering behemoth composed of misfit parts.”
To test this assertion, Brooks Barnes conceived a movie titled “Red, White, & Blood” with the tagline “The only thing faster than her car was his heart.” The opening of the pitch reads “Think Fast & Furious meets Nicholas Sparks meets Die Hard.” He (she?) then presented it to a producer, a marketer, a studio executive, a researcher, a global marketer, and a writer.
This is what they said:
The Producer: “We need hotter weapons. Huge, big battle weapons – maybe an end-of-the-world device.
The Marketer: “There needs to be a wisecracking set of man candy here, and those actors are shirtless at least once in a TV campaign.”
The Studio Executive: “I’m a huge believer in a good tragic ending – it worked for Titanic.”
The Researcher: “If you try to appeal to everyone, you will end up appealing to no one.”
The Global Marketer: “Just be smarter then making a nationality or a culture the bad guys.”
The Writer: “Consider adding time-traveling aliens, or if that’s unrealistic, a regular alien and a time-traveling human.”
Jaws is a great movie. I have seen it at least a hundred times.
But it was a Trojan horse.
TUESDAY MORNING: Emily S. Whitten
TUESDAY AFTERNOON: Partly Cloudy, with a Chance of Davis
