The Big Picture: The New Logic of Money and Power in Hollywood
Edward Jay Epstein
in the course of the heyday of the studio process spanning the Nineteen Thirties, ‘40s, and ‘50s, almost all of the American movie industry’s cash, strength, and status got here from a unmarried job: promoting tickets on the field place of work. this present day, the motion picture enterprise is simply a small, hugely noticeable outpost in a media universe managed by means of six corporations–Sony, Time Warner, NBC common, Viacom, Disney, and NewsCorporation. those conglomerates view motion pictures as a part of an enormous, synergistic, vertically built-in money-making undefined.
In The colossal Picture, acclaimed author Edward Jay Epstein supplies an unheard of, sweeping, and punctiliously pleasing account of the true magic in the back of moviemaking: how the studios make their cash. Epstein exhibits how, in Hollywood, the single artwork that issues is the paintings of the deal: significant movies flip large earnings, now not from the flicks themselves yet via myriad different companies, similar to video-game spin-offs, fast-food tie-ins, soundtracks, or even theme-park rides.
The studios may well compete with each other for stars, exposure, box-office
receipts, and Oscars; their company mom and dad, notwithstanding, make fortunes
from cooperation (and collusion) with each other in much less glamorous markets, akin to cable, domestic video, and pay-TV.
But cash is simply a part of the Hollywood tale; the social and political milieus–power, status, and status–tell the remaining. along amazing monetary revelations, the massive photograph is full of eye-opening actual Hollywood insider tales. We find out how the promise of loose cowboy boots for a manufacturer behind schedule an enormous movie’s capturing time table; why stars by no means practice their very own stunts, regardless of what the grocery store tabloids declare; how videos deliberately form political sensibilities, either in the United States and out of the country; and why fifteen-year-olds dictate the type of low-grade fare that has flooded monitors around the state.
Epstein additionally deals incisive profiles of the pioneers, together with Louis B. Mayer, who helped construct Hollywood, and introduces us to the visionaries–Walt Disney, Akio Morita, Rupert Murdoch, Steve Ross, Sumner Redstone, David Sarnoff–power agents who, by means of dint of innovation and deception, created and keep an eye on the media that mould our lives. while you're attracted to Hollywood at the present time and the complicated and interesting method it has advanced to be able to continue to exist, you haven’t obvious the large photo until eventually you’ve learn The giant Picture.
factor in the US. in line with Egil Krogh, who then served as a Nixon strategist on household concerns, Nixon and his legal professional common, John Mitchell, believed that the administration’s “war” on medications will be helped if drug clients have been portrayed in videos and tv now not as mere “victims of dependancy” yet as “an necessary a part of the city crime problem.” rather than portraying drug abusers as in simple terms self-destructive—as they looked to be, for instance, in Otto Preminger’s guy with the Golden Arm.
effortless Riders, p. 265. featured “action figures”: Dean Devlin, interview through writer, 1998. “simple characters in exciting”: Sumner Redstone, interview by way of writer, 2000. “confrontation” among reliable and evil: Tracie Rozhon, “Toy dealers want for only a little bit of Evil,” ny instances, December 24, 2003, enterprise part, p. 1. “totally approximately solid and evil”: Jeff Sakson quoted in ibid. Epilogue: The as soon as and destiny Hollywood “Walking at dawn”: Quoted in Thomas Schatz, The Genius of the System:.
those accounts could be within the thousands and thousands of bucks. Then there are the postproduction charges of modifying, postsynchronizing sound, blending many of the tracks, colour balancing, and unfavourable slicing. while the movie is eventually prepared for unencumber, funds should be paid to laboratories to make prints for American and international distribution. the typical rate for a unmarried print is set $1,500 (before rebates). So for a big movie like Spider-Man 2, which required 4 thousand prints in 2004, the price of.
Be indistinguishable from Ethan Hunt, the acrobatic hero he performed, through the declare that he, and never a stunt double, had performed the unfastened falls, fireplace walks, bike leaps, and different perilous stunts that Hunt did within the motion picture. This again tale was once keynoted in a exposure brief, venture brilliant, proven on MTV and different cable channels owned by means of Paramount’s company mother or father. Made within the variety of a documentary during which the team and solid of challenge very unlikely are interviewed, it has the director, John.
Of the status their particular Sunday leisure sections can confer on video clips. they could, as a Sony advertising government famous, “not basically identify video clips as occasions, yet manhattan and L.A. is the place the celebrities and administrators live.” For these purposes, studios are usually obliged, occasionally in contractual shape, to put advertisements in, and domesticate goodwill with, those newspapers. As D day ways, the studio’s advertising division does no matter what it could possibly to extra elevate viewers knowledge. Such measures.