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Lynda Obst’s New Book ‘Sleepless in Hollywood’ Asks: Is There Still Room for Movies in the Movie Business?

Lynda Obst's New Book 'Sleepless in Hollywood' Asks: Is There Still Room for Movies in the Movie Business?

With six mega-hundred-million-dollar-movies already making
belly flops into Hollywood’s summer movie pool, and the summer barely half
over, it seems like everybody is worrying about the Future of Movies.

Steven Spielberg and George Lucas speak of an” implosion.” (The image that fills my head is of one of
those evil Star Trek planets bursting apart and devouring itself.) They guess that the new model will divide
into 1) even more expensive tentpoles that play for a year in theaters at
astronomical ticket prices and 2) whatever else manages to get produced.

In her new book, “Sleepless in Hollywood,” Lynda Obst, the
producer of “Sleepless in Seattle” and 18 other movies, also uses the word
“implosion” but only on page 260 of a rambling 263 page attempt to come to
terms with what she calls “The New Abnormal.”

Hollywood has never been normal, she writes, but in the
middle of the last decade the Old Abnormal morphed into something new and ugly
– at least to producers. Starting somewhere
around 2008, she writes, “the studios have grown their slates into a diet of
pure tentpoles, with almost nothing in-between. We producers fight for the precious diminishing space you could
justifiably call the ‘in-between.’ So
the question is, with all these tentpoles, franchises, reboots and sequels, is
there still room for movies in the movie business?”

That question is never really answered in a book that is
mostly musings, but there is an instructive 53-page chapter on her own experience
at Paramount when the stable reign of Sherry Lansing and Jon Dolgen was falling
apart under the pressure of the New Abnormal.

Obst dates Hollywood’s New Abnormal to the falling sales of
DVDs. Peter Chernin, former head of Fox,
tells her that “The DVD business represented 50% of [a studio’s] profit.” The loss of the money DVD sales provided led
to Hollywood’s new emphasis on making more and more gargantuan films that would
play well in foreign countries. But she
also credits the 2007-2008 writers’ strike that allowed the studios to jettison
all those rich production deals with producers, directors and writers who would
no longer be needed.

To Obst, the new Hollywood may be “Tentpoles and Tadpoles,”
little extremely inexpensive films with microbudgets of $100,000 to $10 million
like “Arbitrage,” “The Best Exotic Marigold Hotel,” and “Beasts of the Southern
Wild” that may actually make some money.

But, as screenwriter
William Goldman famously wrote, “Nobody knows anything.” In Sunday’s Los Angeles Times, a front page
article proclaimed “B Movies doing A-List business.” Leading the pack were two of those mid-range
movies that Hollywood is not supposed to make any more, the female buddy
comedy, “The Heat” which cost $42 million and, so far, has brought in $118
million, and “This Is the End,” which cost $32 million and has earned $93
million.

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