A common question asked of people who work in film in Minnesota is, “Why aren’t you in Hollywood?” if not, “When are you going to Hollywood?”
Answers to this question are probably similar to the ones theater artists give when asked why they haven’t moved to New York to make it on Broadway: I love Minnesota, they don’t do the kind of work I like to do there, it’s easier to make a living here, etc. But now we can add another rationale: Hollywood is dying or, at least, it’s shrinking, and the shrinkage may be permanent.
This may seem strange in a year when the income of Hollywood movies actually went up. But in my last year of listening to KCRW’s movie business podcast The Business I’ve been treated to episodes with titles like "Which Way, Studios?” and “Writers Face the New Hollywood Economy; Studio Shake-ups.”
The salaries of stars (except Will Smith) are collapsing, top-tier screenwriters are competing to write the new Barbie movie, DVD sales are shrinking fast, and the adult drama is becoming a thing of the past (except on cable). Steven Spielberg and Peter Jackson teamed up to do a Tintin movie and the studios said “No." Steven Soderberg and Brad Pitt teamed up with ace screenwriter Steve Zaillian to adapt a best selling novel, and the usually artist-friendly Sony dropped the film after investing $10 million. And on and on.
Hollywood’s 15-year love affair with independent and pseudo-independent film may also be coming to an end. Walt Disney shut down Miramax Films last week, leading some to question the future of other studios’ specialty divisions. The studio bidding wars at the Sundance Film Festival seem to be a thing of the past.
Even Hollywood production outside of Hollywood is facing hurdles. Remember back in the Nineties when movies like The Mighty Ducks and Grumpy Old Men were being made in Minnesota? Since then, other states and Canada have been stealing Minnesota-set films like Juno and Gran Torino with lucrative tax-break packages. But state legislatures have been questioning the benefits of such deals, and they may be soon facing the chopping block.
It’s not just the bad economy that’s leading to this scaling-back. Consolidation in the movie theater business means more screens devoted to fewer films. The proliferation of wide-screen TVs, DVRs, video-on-demand, Netflix, Hulu, iTunes, etc. means that audiences have unprecedented access to high-quality filmed entertainment in their homes, often for cheap or free.
To get people out of their houses, producers need to give them something that absolutely needs to be seen on a theater screen. Indeed, the “tent-pole” movie is prospering, from Avatar to Transformers to Sherlock Holmes. Not only will audiences flock to theaters for the spectacle, they will also pay for the sequels, the TV spin-off, the comic books, the action figures, the video games and seemingly endless ancillary products. These films are frequently less language-based as well, helping them in the immense non-English-speaking markets.
Some suggest that what we are evolving towards is a system in which there exists only two kinds of films: tent-pole blockbusters made by Hollywood and low-budget indie films made by… independent filmmakers. If this is true, what’s the point of moving to Los Angeles, the second-most expensive city in the country? If we can aggregate enough talent here, why can’t we be the kind of small, quick mammal that thrives darting between the legs of the Hollywood’s CGI dinosaurs? Maybe we’re exactly where we need to be…
Next: Truly Free Film and hybrid distribution – is indie film dying or finally coming into its own?
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Erin Denman performs in Hamlet playing at The People’s Center Theatre this month.
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Pangea_PanLab: HOT review of Teo Castellanos' "NE 2nd Avenue" in the Star Tribune: http://bit.ly/cWEgw7 tonight & tomorrow only #mnpl
JaneCF: Excited to see opening night of Hamlet at Cromulent Shakes! www.cromulentshakespeare.org. #mnpl
TCTheater: RT @jgulden: @TCTheater Wish I could get out and see some things but I will be on stage in BCT's Master Class all weekend! #mnpl
Comments
Movies and Theatre in MN Compared to L.A.
For most people here in MN I would say your answers to "Why" they aren't in L.A. fit.
However, there are always exceptions to this rule-like myself.
In fact-you'd have to rephrase your question to:
"Why aren't you in Hollywood, any more?"
See, I was in L.A. for eight years, doing the things actors do there to stay sane in between the auditions-working 3 jobs, trying to produce my own TV and film productions (with some mixed success) and performing in the thriving 99-seat and under theater scene there. I even managed to get a small recurring role on a soap for five years, and a job as an actor in a show at Universal Studios Theme Park for almost six years-so I had 2 paid acting gigs! Still the town was rough on me.
Yet, I would never have left except for one reason:
This is where my daughter lives with her mother-my ex wife. I didn't only want to see her twice a year-which is what being a struggling actor in L.A. means economically when it comes to traveling half-way across the country. So now I am here. Making the best of it. Learning the way things work here. And its different.
I have to tell you though-the answer you give of "They don't do the kind of work I like to do there" couldn't be more off base. There are many thriving 99 seat and under and even subscription Jungle level theatre companies doing wide ranges of work-focusing on all kinds of stage movement invoking Anne Bogart and Suzuki or View Points or inspired by Mummenschantz, reinterpretations of classics, original works, revivals, musicals, ensemble created pieces, improv, camp, minority works, so many I can't even begin to name that any one who gives that answer is simply ignorant of what they are saying and what goes on in L.A. theatre.
I was there for 8 years and I have lived here for over a year and I can say this without any hesitation:
There is a wider group of L.A. theatres doing different types of works than there are here in MN. and most of them are more open to new talent than theatre companies here.
The first theatre company I got involved with there Sacred Fools Theatre Company had an open-door sweat-equity policy. Meaning, anyone could audition for any show, and that to become a member you just come to a meeting, join a committee, no dues, help us out with builds and strikes, and you can become a full member of the company-and you will get onstage-maybe not in the mainstage or dark night shows, but definitely in the late night serial comedy show-(which at that point had been running for 3 years every Sat. night after the mainstage and would continue for another 5 years only to be replaced with the one going on now that has been running for almost 4 years) or in the story-telling show, or the once a month open stage shows or any number of other opportunities.
After my first meeting I was asked by the director of the mainstage show that had just started rehearsals asked me then and there to be in his show, which I happily accepted. Little did I know that that would be the start of a 3 year membership that would lead me to being in 3 mainstage shows, numerous appearances in the late night comedy show and other performances there as well as being House Manager and Facilities Manager and producing a show that would be selected to the Picollo/Spoleto Festival. I have seen nothing like that here in Minnesota-nothing like it at all. Thats just my experience, but I think I can say that without receiving too much criticism I hope.
I'm not saying L.A. is better-its just that its different. If you think we're where we need to be movie-wise here, then thats your opinion. However, I would say that personally, even with the variety of theatres here and the Fringe, I don't think MN is where it could be not only theatre-wise, but film and TV wise as well.
Thanks.
Matt Saxe
SAG/AGVA