If I asked you to ballpark the percentage of Hollywood movies that are based on original scripts developed internally by the major studios and streamers, you’d probably guess, what… half? Thirty percent? Twenty? How about 10 percent. One movie producer put together some pretty interesting and alarming stats about what's getting made these days by the 9 major studios and streaming services. Details and charts here: ⬇ ⬇ https://lnkd.in/gDRa-Mh8
Thomas Kingston
5mo
Is anyone really surprised by this? Very unlikely to change.
Adam Carr
5mo
That’s good news if you your trying to sell a screenplay. You send it right to the producer and by pass the studios buracracy.
Jonas Barnes
5mo
When I started in the early 2000's there were 2 spec script announcements a day. Now there are two a quarter!!! The reliance on IP has grown and why not? It works!!! Honestly surprised its as high as 10% Now, outside the "Hollywood System" there are tons of Original concepts, but they get no love. Mostly because they are made by foriegn sales companies and bankers who don't care if the movie is actually marketable or not.
The 10% Problem has a bigger problem and only getting bigger for the last 25 years - it's almost entirely money-based. You can always see it in the Top 20 Box Office, check out the difference between 1999 vs. last year. 1999: 10 Original Films in the Top 20 3 Sequels 1 Prequel 2 Adaptations 1 Reboot 1 TV adaptation 1 Cartoon Adaptation 1 Book Adaptation (Technically, a short story) VS. 2023: 2 Original Films (Elemental/Sound of Freedom) 2 Adaptation of Toys/Brands 2 Video Game Adaptations 9 Sequels 2 Reboots 1 Biopic/Book Adaptation 1 Concert Film 1 Prequel It's genuinely a lack of creativity, but also the big studios aren't giving a balanced diet and especially ruining their consumer base by not offering "middle-class movies" which A24 and Neon have taken the reins of and started winning awards, hearts and minds.
Almost 15 years ago I had one of the finance VPs from the Fox film group sit me down and walk me through a film P&L forecast (which was literally dizzying in its complexity) but the conclusion was obvious - money is what matters and formulaic films (especially sequels) limit risk and maximize upside - the end.
Cedar Boschan
5mo
Based on copyright infringement/trade secrets misappropriation/implied contract cases that cross my desk, this does not surprise me at all. And those are often included in the 10%! But it caused me to study the fact that most of the hits are from the outside. Also, based on my experience doing audits of studios, and living in LA, these are not places that engender creativity. Everybody I meet pretty much hates their job and are just biding their time there.
Simon Pulman
5mo
I’m surprised it’s that high tbh.
Brandon Smith
5mo
Personally, it doesn't bother me all that much. We produce and distribute independents (theatrical primarily) so it simply makes space for us. We were able to go right up with the big boys and present our newest feature at a regional event jsut as they did. I feel like it is opening the door for us to walk in.
Nicholas Yanes
5mo
What is the historical trend on this? Is 10 percent historically low?
Digital Marketing and Business Leader.
5moWhen large corporations took ownership of the Hollywood studios it was only a matter of time before they brought more rigorous business evaluation to filmmaking operations. That has led to this inevitable landscape, repeatedly re-inforced by the likes of this summer with Deadpool and Inside Out sequels producing record numbers, or Barbie last summer. In past days, it was the script readers who were hesitant to give positive evaluations to scripts for fear they'd be attached to the project's outcomes. Now it's the entire development chain. Who's going to risk their reputation and career championing an original project when the business analysts are showing the risk-adjusted ROIs all favor another MCU film or another adaptation of a New York Times bestseller? Thankfully, streaming platforms have opened up such opportunities, though largely in series formats, to the creative talent that was formerly clustered in the theatrical film sector.