Here, Turner simply sets out to answer the question "Is Hollywood all out of fresh ideas?"
Although this seems like a broad question and subject, it is easy to understand what Turner means by the question.
According to Turner, in recent years Hollywood has been a 'revolving door' of "franchises, remakes, reboots, sequels, prequels and adaptations". Presumably, then, Turner will use this as a basis to definitively answer the question. He does this by focusing on the following key areas -
- Trends; What is popular with audiences at the time?
- Remakes and reboots; What film can be brought back to life?
- Franchises, sequels and prequels; Because one film is not enough!
- Adaptations; Seeing your favourite characters brought to life on the big screen!
- Is there any originality left?; Surely there is some, right?
Before Turner can get to these points, however, he gives us a brief overview of Hollywood as the money-making machine we know and love.
He tells us that Hollywood is a "business, made up of profit-driven studios" who favour the art of money-making over the "art of film" which they 'care little' for.
Hollywood studios are seen to be careful with their money, with Turner saying that this results in a "cautious mentality that thrives on reputation". Turner also goes on to say that the public want "safe, escapist entertainment that is almost guaranteed to be popular and profitable"
This suggests that Hollywood carefully pick what films will be popular and profitable and will put more energy into fulfilling that film's potential. Furthermore, Turner says that "audience enjoy familiarity"; essentially an argument for the 're-hashing' of unoriginal ideas. If the audience's expectations are met with a well-known brand and easily recognisable conventions, then the film is almost guaranteed to be a success.
The top 20 films of 2012 are a perfect illustration of how outnumbered 'original' films are in comparison to remakes/reboots (three), franchises (nine), sequels/prequels (six, three of which are also included under the 'franchise' banner) and adaptations (two).
Only Brave and Ted rely solely on their own selling power to become a success, with Pixar and Seth MacFarlane able to sell the film to their pre-existing fanbase. The third 'original' film, Wreck-It Ralph, is a new concept, but does rely slightly on the use of pre-existing video game characters to make an appearance to boost the film's profile.
Turner points out that where audiences once flocked to see their favourite star in the cinema, the will now be guilty of "lapping up recycled ideas", and it has gotten to the point where Hollywood may begin "cannibalising itself' by remaking its own films every decade, something that has already shown signs of beginning with the release of Spiderman (2002) and The Amazing Spiderman (2012).
A 'trend' is something popular and profitable in Hollywood at a given time. It is something that has grown a fanbase and can easily be drawn out into other mediums to make money. Trends are not new phenomenons, with the 80's being dominated by futuristic sci-fi efforts such as Back to the Future, and 'slasher' horror films which led on in the 90's, such as Scream.
After the success of The Twilight Saga (an adaptation from a popular book, so not even an original film series in itself) many studios decided that the way to go was with vampires; this being through the bizarre 'Abraham Lincoln: Vampire Hunter', the unsuccessful 'Lesbian Vampire Killers', or even the Twilight parody 'Vampires Suck'.
However, the current trend in Hollywood is superheros, something that has at least some potential for variation. The differences between Marvel's traditional approach and DC's darker approach to comic book adaptations means that fans will always have something new to look forward to, despite having known of these characters and their stories for a long time.
Other trends include teen literature adaptations, such as Twilight, The Hunger Games and Harry Potter, as well as the technological trend of 3D, arguably made famous by James Cameron's Avatar.
Remakes and reboots are successful for many reasons, but the main one is due to the pre-existing fanbase that can be tapped into using a remake or a reboot. The filmakers will tell the audience that it is a way to 'retell the story and give a different outlook', but it is merely another way to make money. Franchises are particularly popular in getting the 'reboot' treatment, with both The Amazing Spiderman and The Dark Knight franchises themselves being reboots of earlier trilogies (with Spiderman's initial trilogy only ending in 2007). Turner describes this need for remakes and reboots as Hollywood "plundering its own back catalogue in earnest", suggesting an idea of desperation around the conglomerates within Hollywood.
Turner bluntly states that Hollywood has a "complete and utter dependence" on franchises, sequels and prequels, something backed up by the top 20 films of 2012, whose top ten is dominated by the three types of movie brand. It is no surprise, however, as the audience love familiarity, something franchises, sequels and prequels give them. They get to enjoy familiar "characters, narratives, stars and genres" that can be continuously brought back in many forms, something perfectly reflected in the new Marvel universe. Each hero has their own film franchise, such as Iron Man, but can also appear in 'crossovers' such as Avengers Assemble. This ensures that the studio will never run out of ideas and ways to market their familiar franchises, sequels or prequels.
Adaptations are not just from books. Popular comics, TV shows, fairytales and even video games are all things that Hollywood target when they are "on the look out for more profitable properties to adapt". Book adaptations, however, tend to be the most successful, as their loyal fanbase will flock to see how their favourite stories play out on the big screen. The top 20 of 2012 featured The Hunger Games, The Twilight Saga and The Hobbit; three books that were aimed at teens and under, which were given a 'darker' edge to widen their appeal. The Life of Pi also featured in the top 20, showing us that even adult books can be a success with existing and new fans.
Finally, Turner asks "Is there anything original left?" As mentioned above, Turner says that Brave and Ted "emerge as the winners of the box office for films not based on existing properties". We are told it is "not all doom and gloom", which is true, as many unique films are hugely successful. The box office is not the only way to determine a film's success, either; Argo offered "more in the way of originality" and despite failing to "compete with less unique but infinitely more Hollywood fare" it was a huge success at the Oscars.
Overall, Turner gives a balanced outlook on Hollywood as a machine. He says that it seems "Hollywood is happy to give audiences more of the same", and it is easy to agree with this. Playing it 'safe' makes them money, and Turner continues "we (the audience) are happy to take what they give us".
He ends on quite a liberating note, telling us to "take a chance" when we are next at the cinema, not allowing Hollywood to "devour itself and churn out the same old stuff". Clearly, we can gage that Turner feels like Hollywood will favour 'playing it safe' over originality and the 'art of film', but only until the audience challenges this. Hollywood will make what we want to see, so if we "want to see more originality in cinema" we should find and watch a film that "needs your (the audience) box office business".
Pete Turner concludes by enthusiastically by saying: "savour something new, unique and that you have not seen before!"
Therefore, in answer to the question he posed himself, we can decipher that Hollywood aren't out of ideas, they merely rely on what is safe and what will make them the most money.
Remakes and reboots are successful for many reasons, but the main one is due to the pre-existing fanbase that can be tapped into using a remake or a reboot. The filmakers will tell the audience that it is a way to 'retell the story and give a different outlook', but it is merely another way to make money. Franchises are particularly popular in getting the 'reboot' treatment, with both The Amazing Spiderman and The Dark Knight franchises themselves being reboots of earlier trilogies (with Spiderman's initial trilogy only ending in 2007). Turner describes this need for remakes and reboots as Hollywood "plundering its own back catalogue in earnest", suggesting an idea of desperation around the conglomerates within Hollywood.
Turner bluntly states that Hollywood has a "complete and utter dependence" on franchises, sequels and prequels, something backed up by the top 20 films of 2012, whose top ten is dominated by the three types of movie brand. It is no surprise, however, as the audience love familiarity, something franchises, sequels and prequels give them. They get to enjoy familiar "characters, narratives, stars and genres" that can be continuously brought back in many forms, something perfectly reflected in the new Marvel universe. Each hero has their own film franchise, such as Iron Man, but can also appear in 'crossovers' such as Avengers Assemble. This ensures that the studio will never run out of ideas and ways to market their familiar franchises, sequels or prequels.
Adaptations are not just from books. Popular comics, TV shows, fairytales and even video games are all things that Hollywood target when they are "on the look out for more profitable properties to adapt". Book adaptations, however, tend to be the most successful, as their loyal fanbase will flock to see how their favourite stories play out on the big screen. The top 20 of 2012 featured The Hunger Games, The Twilight Saga and The Hobbit; three books that were aimed at teens and under, which were given a 'darker' edge to widen their appeal. The Life of Pi also featured in the top 20, showing us that even adult books can be a success with existing and new fans.
Finally, Turner asks "Is there anything original left?" As mentioned above, Turner says that Brave and Ted "emerge as the winners of the box office for films not based on existing properties". We are told it is "not all doom and gloom", which is true, as many unique films are hugely successful. The box office is not the only way to determine a film's success, either; Argo offered "more in the way of originality" and despite failing to "compete with less unique but infinitely more Hollywood fare" it was a huge success at the Oscars.
Overall, Turner gives a balanced outlook on Hollywood as a machine. He says that it seems "Hollywood is happy to give audiences more of the same", and it is easy to agree with this. Playing it 'safe' makes them money, and Turner continues "we (the audience) are happy to take what they give us".
He ends on quite a liberating note, telling us to "take a chance" when we are next at the cinema, not allowing Hollywood to "devour itself and churn out the same old stuff". Clearly, we can gage that Turner feels like Hollywood will favour 'playing it safe' over originality and the 'art of film', but only until the audience challenges this. Hollywood will make what we want to see, so if we "want to see more originality in cinema" we should find and watch a film that "needs your (the audience) box office business".
Pete Turner concludes by enthusiastically by saying: "savour something new, unique and that you have not seen before!"
Therefore, in answer to the question he posed himself, we can decipher that Hollywood aren't out of ideas, they merely rely on what is safe and what will make them the most money.
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