Quote:
Originally posted by PR3SSUR3
The money involved in these Hollywood films is so vast, that fatcat producers dare not make a single mistake in the crafting or marketing of their latest baby to their target audience.
This means big Hollywood films are mechanical, formulaic and glossy but with empty hearts (some might say, mirroring the target audiences themselves...).
As an example of how cash registers mean creative censorship, consider how test audiences can dictate the outcomes of filmed stories - it is wonderful but rare when a director will win the fight to keep his original darker vision intact in the face of idealistic souls who want the leave the cinema unchallenged (the producer will always side where the money is, unless he takes a gamble with successes like Seven).
This argument is based upon a typical big budget/A-list production.
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Them being mechanical, formulaic, glossy, and heartless is a generalization, not all of them are like that, but I assume that you didn't mean ALL of them, blah blah blah, so I'll move on.
Not all darker endings to movies are good. This isn't a big budget A-list production, but the best example I can think of is Clerks. There is no way the movie would've been as good if they'd have left on the ending where Dante dies. Point being, there are times, not always, but they do exist, where the darker isn't ALWAYS better. Also, a good amount of the time, the darkness is just for sake of darkness, not because that's the better direction to go, and that's just as bad as idealism for idealism's sake.