Kohn’s Corner is a weekly column about the challenges and opportunities of sustaining American film culture.
After years of blockbuster production driven by prefabricated superhero fandom, the summer of Barbenheimer is an unexpected delight. “Barbie” and “Oppenheimer” show the potential for festival-anointed auteurs to worm their way into popular culture with smart and innovative projects. With “Barbie” already crossing half a billion dollars at the global box office and “Oppenheimer” at a formidable $300 million, the joint success of these very different movies seems to be telling Hollywood… something.
The most obvious takeaway from Barbenheimer: Audiences want originality and invention, not endless sequels and variations on what came before. OK, let’s assume most studio bosses grasp this fundamental point. There’s more to it that. These films speak to a broader set of values and opportunities for studios to consider as they develop more movies that fickle audiences will consider worth their time.
As the business takes a forced pause, perhaps there’s just enough time to incubate some good ideas for how to proceed once the strikes get sorted.
The directors of “Barbie” and “Oppenheimer” both benefited from the festival circuit early in their careers, but today the film festival model is more unstable than ever. It shouldn’t be: Studios need it just as much as others on the sidelines.
“Following”©Zeitgeist Films/Courtesy Everett Collection
Nolan’s 1998 “Following” was a hidden gem at Slamdance that displayes his precise brand of enigmatic storytelling, while Gerwig was the toast of SXSW after her 2007 breakout performance in “Hannah Takes the Stairs” and her co-directing debut “Nights and Weekends” the following year.
Anyone who saw these early projects could discern these directors’ singular perspectives, but — especially in Gerwig’s case — it took years for the studios to support their visions. Executives at the highest levels of Hollywood must take a closer look at how a well-programmed festival lineup can provide them with a sense of the directors worth their time. Don’t wait for the agents to figure it out for you.
2. Support visionary filmmakers early.
Nolan went from “Following” to “Memento” before his first studio gig, “Insomnia.” By the time he was figuring out how to make Batman work with his aesthetic, he knew how to approach the commercial demands of the system with his own creative impulses.
Ditto for “Barbie”: Gerwig graduated from the midsized arena of A24 production “Lady Bird” to the Paramount-produced “Little Women” adaptation before juggling the ginormous demands of “Barbie.”
That’s not a combination that studios can do on autopilot. It requires filmmakers who grasp the particular demands of creating work on this scale and the sooner studios invest in that talent, the sooner they can learn the ropes.
3. Ideas first, brands second.
“Barbie” is brand marketing on a massive scale and a shrewd takedown of the patriarchy. “Oppenheimer” is a gripping look at the constant threat of nuclear war. Both are driven by big ideas, but neither treat IP as an end unto itself. Audiences want to engage their brains; even escapist fantasies need an intellectual foundation to hold viewers’ interest.
4. Lean into the density of the market.
Barbenheimer might seem like a singular phenomena, but it doesn’t have to be. Audiences are not a monolithic concept. Although a number of moviegoers who couldn’t get into sold-out “Barbie” screenings saw “Oppenheimer,” these movies succeeded because not all moviegoers think alike. Another Barbenheimer could be hiding in plain sight.
Studios often steer clear of competition, but it might make more sense to consider what real competition looks like. If audiences have only one major option opening on any given weekend and it doesn’t square with their needs, they’re more inclined to stay home. Lean into the density of the market and take more risks by opening at busy times.
5. Don’t try duplicate success.
Mattel has plans for “Barbie” sequels as well as “Barney” and “Polly Pocket.” At this rate, I wouldn’t be surprised if “UNO: The Movie” comes next.
We’ve been down this dicey route before with the Marvel Cinematic Universe. The constant sequels and world-building paid off in a major way early on, but Disney now has to deal with fatigue of its own making. The constant churn alienated the same viewers initially excited by the earlier work. Rather than attempting to replicate a formula, studios should consider why that formula can’t be replicated. (Because… Original filmmakers fostered by the festival circuit learned to navigate the system on their own terms.)
Figure out what they want to make and let them make it well. Nolan has been the rare director with this luxury for years; now, Gerwig will join him. Let’s hope they get even more company. The business will only thrive when the artists do, too.
As usual, I welcome feedback to this column: eric@indiewire.com
After years of blockbuster production driven by prefabricated superhero fandom, the summer of Barbenheimer is an unexpected delight. “Barbie” and “Oppenheimer” show the potential for festival-anointed auteurs to worm their way into popular culture with smart and innovative projects. With “Barbie” already crossing half a billion dollars at the global box office and “Oppenheimer” at a formidable $300 million, the joint success of these very different movies seems to be telling Hollywood… something.
The most obvious takeaway from Barbenheimer: Audiences want originality and invention, not endless sequels and variations on what came before. OK, let’s assume most studio bosses grasp this fundamental point. There’s more to it that. These films speak to a broader set of values and opportunities for studios to consider as they develop more movies that fickle audiences will consider worth their time.
As the business takes a forced pause, perhaps there’s just enough time to incubate some good ideas for how to proceed once the strikes get sorted.
- Treat film festival curation as foundation for discovery.
The directors of “Barbie” and “Oppenheimer” both benefited from the festival circuit early in their careers, but today the film festival model is more unstable than ever. It shouldn’t be: Studios need it just as much as others on the sidelines.
“Following”©Zeitgeist Films/Courtesy Everett Collection
Nolan’s 1998 “Following” was a hidden gem at Slamdance that displayes his precise brand of enigmatic storytelling, while Gerwig was the toast of SXSW after her 2007 breakout performance in “Hannah Takes the Stairs” and her co-directing debut “Nights and Weekends” the following year.
Anyone who saw these early projects could discern these directors’ singular perspectives, but — especially in Gerwig’s case — it took years for the studios to support their visions. Executives at the highest levels of Hollywood must take a closer look at how a well-programmed festival lineup can provide them with a sense of the directors worth their time. Don’t wait for the agents to figure it out for you.
2. Support visionary filmmakers early.
Nolan went from “Following” to “Memento” before his first studio gig, “Insomnia.” By the time he was figuring out how to make Batman work with his aesthetic, he knew how to approach the commercial demands of the system with his own creative impulses.
Ditto for “Barbie”: Gerwig graduated from the midsized arena of A24 production “Lady Bird” to the Paramount-produced “Little Women” adaptation before juggling the ginormous demands of “Barbie.”
That’s not a combination that studios can do on autopilot. It requires filmmakers who grasp the particular demands of creating work on this scale and the sooner studios invest in that talent, the sooner they can learn the ropes.
3. Ideas first, brands second.
“Barbie” is brand marketing on a massive scale and a shrewd takedown of the patriarchy. “Oppenheimer” is a gripping look at the constant threat of nuclear war. Both are driven by big ideas, but neither treat IP as an end unto itself. Audiences want to engage their brains; even escapist fantasies need an intellectual foundation to hold viewers’ interest.
4. Lean into the density of the market.
Barbenheimer might seem like a singular phenomena, but it doesn’t have to be. Audiences are not a monolithic concept. Although a number of moviegoers who couldn’t get into sold-out “Barbie” screenings saw “Oppenheimer,” these movies succeeded because not all moviegoers think alike. Another Barbenheimer could be hiding in plain sight.
Studios often steer clear of competition, but it might make more sense to consider what real competition looks like. If audiences have only one major option opening on any given weekend and it doesn’t square with their needs, they’re more inclined to stay home. Lean into the density of the market and take more risks by opening at busy times.
5. Don’t try duplicate success.
Mattel has plans for “Barbie” sequels as well as “Barney” and “Polly Pocket.” At this rate, I wouldn’t be surprised if “UNO: The Movie” comes next.
We’ve been down this dicey route before with the Marvel Cinematic Universe. The constant sequels and world-building paid off in a major way early on, but Disney now has to deal with fatigue of its own making. The constant churn alienated the same viewers initially excited by the earlier work. Rather than attempting to replicate a formula, studios should consider why that formula can’t be replicated. (Because… Original filmmakers fostered by the festival circuit learned to navigate the system on their own terms.)
Figure out what they want to make and let them make it well. Nolan has been the rare director with this luxury for years; now, Gerwig will join him. Let’s hope they get even more company. The business will only thrive when the artists do, too.
As usual, I welcome feedback to this column: eric@indiewire.com