9 Movies You Should Be Ashamed To Be Afraid Of
I suggested to the audience that the best way we as women could overcome these inequities was by focusing on the excellence of our work — and by taking on big stories and using digital technology to deliver big results. My co-panelists Rachael McLean of JuntoBox Films (an innovative film company co-founded by Forest Whitaker), Sarah Penna of Big Frame, and Jesse Draper of Valley Girl outlined how they were working toward these goals. We agreed that we needed many more women entrepreneurs and entertainment creators to make these efforts stick. In the film world, this means insisting that women be given the opportunity to write, direct, and act in the major movie properties that have the potential to achieve the greatest box office success. The excuse that Hollywood executives give that women-led movies don’t make good business sense is pure nonsense. Research studies show that the chief determinant in the box office success of a movie is not the gender of the director or lead actor — but the size of the budget and the breadth of the film’s release. Therefore, when a woman is given a significant budget and a tent-pole property to direct, she has as great a chance of success as a man given a similar-level project. Examples of such profitable female-directed tent-pole movies include Catherine Hardwicke’s Twilight ($392 million worldwide box office, launched a $3.34 billion franchise); Jennifer Yuh Nelson’s Kung Fu Panda 2 ($665 million worldwide); and Phyllida Lloyd’s’s Mamma Mia! ($609 million worldwide on a budget of $52 million). Recent female-starring successes include Alice in Wonderland ($1.02 billion worldwide) and The Hunger Games ($691 million worldwide on a budget of $78 million). Women are also the leads in five of the 10 highest-grossing domestic films of all time , adjusted for inflation: Gone With the Wind (the highest-grossing film of all time, with $1.64 billion in domestic box office), The Sound of Music ($1.16 billion domestic), Titanic ($1.1 billion domestic), Snow White and the Seven Dwarfs ($889 million domestic), and The Exorcist ($902 million domestic). One could also argue that women play a major role in the success of other top-ten grossing films like Dr. Zhivago and The Ten Commandments, with their significant and strong female roles. But how do we empower more women to direct, write, or star in such blockbuster movies? Further, how do we enable more women to found the next big media company, or come up with the next great tech innovation?
Hero Worship: Don’t Ruin Movies for Yourself
Over analytical fandom is just a symptom of a larger epidemic. While Ive expressed time and again how I love shared universes and the like, seeing Paul Giamatti talk about the Rhinos role in The Amazing Spider-Man 3 and 4 (!) when were just over a year removed from Amazing Spider-Man 1 is just a little bit grating. Thats not a slight on Giamatti, either, as interviews are typically conducted in a fashion to try and land scoops about these big new franchises. Being a good interviewee, Giamatti answered as best he could. The larger issue is: were we better off knowing nothing about movies until we saw the trailer? Its hard to imagine, but there was a time, not all that long ago, that fans only became aware of certain movies when its trailer played before another flick they were seeing months before hand. Of course, movie marketing has shifted drastically with the dawn of the Internet Age and then again with the birth of YouTube and again with the onset of social media. But with those changes has come a higher level of fan expectation; we expect to know more not just about the finished product, but about every leg of its development. A few decades ago, the only way to be in the know the way most fans are today was to follow the industry trades. Now, you can get the must miniscule casting rumors about these movies from nearly any entertainment site, despite the beats they typically cover. These movies transcend geek culture at this point, so its no longer just the fan base thats clamoring for info, its the audience at large.
But those scenes of blackouts and people staring through your window are still scary. S 5. It (1990) It doesn’t matter how cheesy the rest of the movie is. It really doesn’t. All you need is the introduction to the monster. Watch the first forty-five seconds of this clip and it won’t make a difference how many fake spiders they wave around in the finale. You’re still (shamefacedly) scared. And you’ll never go to the circus again. 4. Tremors (1990) I’m not saying it scares you all the time. I’m just willing to bet that, after watching this movie, you spent a little time looking over the plan of your house and wondering if you could hop from one piece of furniture to the next without the graboids getting you. Ha!