Why Hollywood doesn't need the heartland
The Columnist, Jason Apuzzo, gives the reason.
"Perhaps you're getting the picture: there's decent money to be made being left-wing, so long as a film's budget is low. Among left-leaning films that underperformed this year, the chief culprits were "Jarhead" and Steven Spielberg's "Munich" - and really only because those films cost too much (both around $70 million).
So what's going on here? Hollywood has recently perfected a formula whereby low-budget, indie-looking films generate good reviews, controversy, and oceans of free publicity (a lot of it coming from the conservative media) due to a film's left-wing worldview. And all this free buzz gets translated into box office dollars.
The model Hollywood's following here is that of "Fahrenheit 9/11," Michael Moore's $6 million film from 2004 that generated $222 million in worldwide boxoffice. "Fahrenheit" opened a lot of eyes in Hollywood - but not about George Bush or Iraq. Those bulging eyeballs were staring at "Fahrenheit"'s grosses.
One company that's adopted "Fahrenheit"'s model is Participant Productions, founded by eBay's Jeff Skoll. Participant co-produced "Syriana," "Good Night, and Good Luck," "North Country," and soon will release the Al Gore documentary "An Inconvenient Truth" and Richard Linklater's adaptation of "Fast Food Nation." None of these films cost very much ("Good Night" cost only $6 million), and are easy films to sell to the sort of people who read The Huffington Post or The Daily Kos. Crazy as this may sound, this business model is increasingly making sense in Hollywood's competitive marketplace.
So here's the bad news: Hollywood doesn't need the Heartland anymore.
There's basically no pressure for Hollywood to change what it's doing, because there are plenty of Blue State audiences and DVD sales out there to make even something like the gender-bending "Transamerica" a hit, so long as the film doesn't cost too much.
I've heard conservatives tell me for years that 'market forces' will eventually force Hollywood to change, become more mainstream. The argument goes something like this: Hollywood's product will eventually become so toxic, so nakedly political, that there will eventually be a backlash' from the public - at which point things in Tinseltown will magically change for the better.
Guess what? It ain't happening. Hollywood simply doesn't need the Red States any more. Hollywood's more interested in how a film plays in Mexico or France these days than in Kansas. After all, Charles Krauthammer may hate "Syriana" - but the Germans and the Brits love it! So do the Spanish and the Italians. That's the global economy for you - Hollywood's now out-sourcing its audience." Read the rest here
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