Movie and film remakes: What happened to all the brilliant writers? Fans of the theater, movies, plays, musicals and television shows have been watching amazing celebrities for years on one large screen or another enjoying the marvels that roll out from the writers, producers and stars from a multitude of original works. Today, the word “remake” has become quite popular in the entertainment field that many of the millions of viewers are having a hard time accepting.
In the day when a movie, film or musical was released with big name stars they were watched, enjoyed and either loved, liked or were thought to be tastefully done whether it was fitting to one’s own taste or not. Now all you hear over the air ways takes your breath away in wonder instead of awe. More and more classics and iconic action films are being remade in lieu of the writers creating something new that hasn’t been done before.
With all the new stars and celebrities that have made their way to the top it seems pitiful that they are being used as copycat models for past works. Those films and shows were hits, became famous and
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So many fans and viewers are just saying, stop to the remakes, get some original ideas and get the industry to grow as it did in the past instead of destroying classic stories that could be enjoyed by the younger generation and remembered by the older generations without modernizing the greatest shows that have appeared in theaters, television and stage for
When plays are made into film, or film into plays improvement s are made. Scenes are taken out, added and changed.
...s have been regaining ownership of theaters due to the reluctance of anyone filing suit against them, “new Hollywood it is just like the old days before divestiture only better” (Lewis, 2008, p. 406). In conclusion, the giant head of the studio system monster was cut off only for a bigger more powerful one of the new Hollywood to have grown back in its place. Ultimately, Hollywood studios remain more interested about making money, than making better films and “The independent producer does what a movie producer has always done: choose the right stories, directors and actors to produce quality films” (Lewis, 2008, p. 502).
...orcist” and look how many spin offs came from it. The spin off movies grew from the same idea, but had a little twist, just to give it a hint of originality, like “The Exorcism of Emily Rose.” While everyone’s minds are vastly different, we still get some of the same ideas. Despite the fact that Foster may have over emphasized the point he was making about originality, he proved his point.
Beginning the mid 1920s, Hollywood’s ostensibly all-powerful film studios controlled the American film industry, creating a period of film history now recognized as “Classical Hollywood”. Distinguished by a practical, workmanlike, “invisible” method of filmmaking- whose purpose was to demand as little attention to the camera as possible, Classical Hollywood cinema supported undeviating storylines (with the occasional flashback being an exception), an observance of a the three act structure, frontality, and visibly identified goals for the “hero” to work toward and well-defined conflict/story resolution, most commonly illustrated with the employment of the “happy ending”. Studios understood precisely what an audience desired, and accommodated their wants and needs, resulting in films that were generally all the same, starring similar (sometimes the same) actors, crafted in a similar manner. It became the principal style throughout the western world against which all other styles were judged. While there have been some deviations and experiments with the format in the past 50 plus ye...
... ed (BFI, 1990) we read … “contrary to all trendy journalism about the ‘New Hollywood’ and the imagined rise of artistic freedom in American films, the ‘New Hollywood’ remains as crass and commercial as the old…”
THX 1138, American Graffiti, Star Wars, The Empire Strikes Back…the list goes on and on. Although many have not heard of each of these films, everyone certainly has to know the man behind them. George Lucas has, in many cases, written, produced, and directed, not to mention edit, his own films. His vision was the driving force that imagined and created these movies. All have made back the cost of the film and most have received millions of dollars in profit.
Identify specific elements of a motion picture that film studios look for in a successful movie.
Hollywood has played a big part is our lives. Growing up we’ve seen numerous movies, some that scared us others that touch us, and those images stayed with us forever. So what happens when Hollywood takes a classic piece of literature such as Frankenstein and turns into a monster movie. It transforms the story so much that now some 50 years later, people think of Frankenstein as the monster instead of the monster’s creator. It became a classic monster movie and all the high values of the original were forever lost.
Hollywood has been remaking more classic films than ever before, and the trend is nothing new. Movie studios have been redoing movies since almost the beginning of the industry. In fact, some of our favorite films in recent years have been remakes of films produced years before. Here are five of the best remakes in recent years. 1.
With the loss of its centralized structure, the film industry produced filmmakers with radical new ideas. The unique nature of these films was a product of the loss of unified identity.
It is no doubt that Martin Scorsese has heavily influenced the emulating of American film making from European influences. He is a prime example of a ‘New Hollywood Cinema’ director, not only from his ethnicity and background, but from his sheer interest in this form
In Hollywood today, most films can be categorized according to the genre system. There are action films, horror flicks, Westerns, comedies and the likes. On a broader scope, films are often separated into two categories: Hollywood films, and independent or foreign ‘art house’ films. Yet, this outlook, albeit superficial, was how many viewed films. Celebrity-packed blockbusters filled with action and drama, with the use of seamless top-of-the-line digital editing and special effects were considered ‘Hollywood films’. Films where unconventional themes like existentialism or paranoia, often with excessive violence or sex or a combination of both, with obvious attempts to displace its audiences from the film were often attributed with the generic label of ‘foreign’ or ‘art house’ cinema.
Per usual, the summer months are just littered with sequels – with this year being no exception. From The Huntsman: Winter’s War and Alice Through the Looking Glass to Teenage Mutant Ninja Turtles 2: Out of the Shadows and Neighbors 2: Sorority Rising, you might also make the case that we – as movie lovers – are unjustly subjected to sequels for movies that no one actually asked for. More to the point, the release of a sequel like My Big Fat Greek Wedding 2, which came 14 years after its predecessor, or Finding Dory, coming 13 years after Finding Nemo, forces one to wonder if the original creativity well is completely dried up. As such, films of this nature truly make you to wonder if there is any successful film that is above receiving
“Entertainment has to come hand in hand with a little bit of medicine, some people go to the movies to be reminded that everything’s okay. I don’t make those kinds of movies. That, to me, is a lie. Everything’s not okay.” - David Fincher. David Fincher is the director that I am choosing to homage for a number of reasons. I personally find his movies to be some of the deepest, most well made, and beautiful films in recent memory. However it is Fincher’s take on story telling and filmmaking in general that causes me to admire his films so much. This quote exemplifies that, and is something that I whole-heartedly agree with. I am and have always been extremely opinionated and open about my views on the world and I believe that artists have a responsibility to do what they can with their art to help improve the culture that they are helping to create. In this paper I will try to outline exactly how Fincher creates the masterpieces that he does and what I can take from that and apply to my films.
First of all, I would like to go over my expectations of movies in the future: