I just read the first and second parts of this and something from the first jumped out: And the seeds were planted by the “blockbuster mentality” that has gripped our industry. Because of this homerun thinking, every studio has increasingly been out to have the biggest weekend opening and the biggest first week gross and the earliest $100 million total. The thing is, I left L.A. about two months ago and just started traveling east in little hops, spending two or three weeks here and there, eventually landing in the "other" LA (Louisiana) where I'll be for about three months before heading back west. One thing that became increasingly clear as I traveled through "real America" is just how much this focus on box office stats and profits is driving a wedge between Hollywood and the average American viewer, who doesn't give a damn about a studio's track record, who opened what big, or what the marketing strategy is. There's a line from a old Smiths song, Panic, where Morrissey begs for someone to hang the DJ because the songs they play, "Say nothing to me about my life." I'm seeing this as the biggest flaw in the studio system today. The movies being churned out say nothing about the way people really live. There's an awful shortage of truth in what's on the screen these days. This really hit home when I was leaving a Wal-Mart in Rockport, TX, and passed a stand of DVDs for sale and was amazed at how over-the-top and ridiculous all the movies seemed when contrasted with what was around me. I had spent enough time with real people and their real concerns at that point to feel almost insulted by the grab you by the throat, super cop, super spy, super lover, world on fire, so intense you want to vomit, we're all going to hell in a hand basket unless... kinda mentality that has become the Hollywood movie. Even in most comedies characters exhibit a cliched and desperate over-the-topness, as if pushing something to its limit is a substitute for truth. The story lines were such pure fantasy, I would have felt stupid bringing one of these movies home for the evening, embarrassed really. When a surprise hit does come along -- like the Hangover or Bridesmaids -- I think it's because people can seem some glimmer of truth in the story; the characters remind them of themselves or people they know. Not too long ago, people could talk about movies because they reminded them of life. My grandmother would recite entire scenes from her favorite films and say, "Isn't that just how it is?" and people would respond, "Ain't that the truth!" Well, she and I saw We Bought a Zoo Sunday night and I was surprised to find out it was the first time this former movie lover (she was such an early adopter of the VCR, the remote was actually connected to the machine with a cord!) had not seen a movie in ten years. After we saw it, the best we could come up with was, "Not bad. The little girl was cute." Bottom line -- even that story, which wasn't terrible by any means, felt predictable and canned and didn't resonate in the way that things that are deeply reflective of life do.

I guess the sum of that soap box is something I've been suspecting for about a year now. Movies used to be more interesting than real life. They were like real life plus. Now they are far second to real life. They're what you do when they're is absolutely nothing else better to do. When you've watched all the reality TV you can stand, have gone out and partied, did your shopping, spent time with your family, exhausted your Facebook feed and it's raining so you can't take the boat/Jeep/dog/jet ski out. Then you find something at the local theater to see. I hate feeling this way because I've invested so much time and energy in screenwriting, but outside of L.A. and the film community, that's pretty much the vibe I'm picking up on -- a shift from movies as premium entertainment to a last choice, nothing else is going on kinda thing.

For the past two years I've been reading everything I can not only about the craft but also the business. "Bring the magic, but think like a producer. Write/think BIG, but consider the tax incentives. Unique but familiar. Give us the journey but not the formulaic." I bring this up not to be negative, but to point out that it can (and has) be(en) done. There are some amazing screenplays/films that create the Magic and meet the needs of nervous studios and their shareholders. I hate to sound all Tao-ish, but maybe it is all about the balance. Thanks for posting this, Scott. While I love to be the creative, bringer-of-Magic writer, I know understanding--not alienating--the "suit" will only help my career.

The founder of a studio responsible for such cynical fare as the Transformers movies, the Kung Fu Panda movies and Shrek 4 is in no position, imho, to pontificate about the quality of the modern film industry and its creations.

Annika makes good points about an audience's need to relate to a movie. While we want to see something magical, to be transported out of our reality, we really do want to find something of ourselves when we get there. I haven't seen We Bought a Zoo, but my friend (who didn't like it) told me to plot. I most was eager to find out what the catalyst was, how does this family get to the point where they are buying a zoo? It really does matter, because at the end of the day the concept isn't relatable. I mean, who can relate to the idea of buying a zoo to help repair a family? I think that's where the concept fails, and the film overall made worse by a too-on-the-nose title.

Meant to say: It really *doesn't* matter, because at the end of the day the concept isn’t relatable.