@Scott: Is it just me, or is there a distinct lack of comments on "state of the industry" articles that aren't talking about how shitty studio movies are?

I'm going to post something in a more general way about this probably next week, but it can't all be happy talk if anyone is serious about working in the movie business. It's a business. It has up and downs, in and outs. As a screenwriter, you can choose to avoid learning about any of that stuff - I know of some professional screenwriter who at least claim they avoid that type of info including Richard Lagravenese. But for the most part, a screenwriter has to pay attention to what's going on. And right now is an especially important time to keep track of things. Sometimes things you learn will have a direct impact on the story you choose to write.

I post articles that I figure are relevant to the movie business and the work of a professional screenwriter. I try to balance that out with insight into the actual practice of writing along with some inspiration from time to time. Because just doing the news can get discouraging. And in fact, there is always a chance a writer can sell a spec script. Always.

So a long comment not saying much of anything, Nate. But I refuse to just do happy talk. That would be a disservice to those GITS readers who are serious about becoming screenwriters.

I. Hm. Agreed on all counts. Absolutely.

I was--perhaps ineffectively--attempting to point out that, recently, when you've posted articles that are talking about how scared studios are of original material, or the shift towards pre-marketed films or brands, or how there are a million sequels coming out this year, that those articles end up with 10 comments. Mostly ranting against the seemingly constant deluge of movies involving zombies/robots/apocalypses of any kind/Michael Bay.

But when there are these types of articles, pointing out a potential upswing in original content, or the hint of a change in the way studios are thinking, or something that doesnt involve complaining about vampires....*crickets.*

Just seemed interesting.

It's interesting to note, Scott, that in the comments section under the article, readers were complaining they were tired of the same old-same old coming out of the studios. One reader even commented that he/she longed for better writers in Hollywood.

Just realized the comment I posted sounded like a continuation of the discussion you were having with Nate Winslow. Believe it or not, it wasn't. I should actually read the thread before I post something next time!

@sean1: I don't think people grasp how remarkable it is that so many movies that appeal to adults have done so well, not only critically, but also financially. Again to make the point, last year's Best Picture (The Hurt Locker) made like $17M B.O., yet we've got dramas like The King's Speech, The Fighter, The Social Network, True Grit, and Black Swan that are way into profit, all of them over $85M B.O. domestic.

THAT IS A GOOD SIGN!!! Perhaps a blip, yes, but still no one is talking about movies that appeal primarily to adults as a non-starter anymore.

But there's a ton of negativity among a certain portion of movie fans based upon what they perceive to be regurgitated CGI 3-D pap the studios keep producing, so it may take a while for that crowd to open their eyes and see some hopeful signs even in a year when Hwood is distributing 27 sequels.

@Nate: I completely misread your original comment. Long day, brain mushy. Yes, I do find it ironic.

@Scott--No apologies necessary. I know how that feels.

RE: the adult dramas this year excelling financially, I think the even more amazing fact--and the thing that probably means more to the studio execs--is that they're all AT LEAST doubling their take overseas!! Ok, sure. Harry Potter/Transformers/big tentpoles always do more business overseas because they're big huge visual stories. Black Swan? True Grit? The Social Network? They're not event movies. They're dialogue and story-driven dramas that rely on characters and story, which is rarely something that translates into x2 or x3 multipliers in the BO overseas.

Especially, as the article you posted notes, with the upsurge in international B.O., you have to think that smart studio execs are noticing that somehow, not only are these adult-oriented dramas playing exceptionally well at home, somehow they're translating with foreign audiences.

The Social Network, True Grit, The King's Speech and Black Swan are all passed (or will pass after this weekend, in the case of True Grit) the 200 million dollar mark world-wide. WHAT?! When was the last time that happened?? And The Social Network is the most expensive of that bunch at around 40 million. Black Swan and The King's Speech are both under 20 million. TEN TIMES THEIR BUDGET. If I'm a studio executive, I'm drooling.