“Producing [indie] movies has become more a hobby than a livelihood,” said one notable producer. “I’ve lost none of my passion for those movies, but reality — at least for the moment — has meant focusing on more commercial material and projects for television.”
That’s the word from higher up producers, as told to me for my latest Industry Beat column in Filmmaker Magazine.
While everyone likes to point fingers at the overspending and crazy amounts of cash that flooded the Indiewood film industry before the economic crash, let’s face it: Their spendthrift ways allowed for some bold work to be produced and filmmakers to experiment on a much larger canvas. Not so today.
As I write in the piece, “Consider the impact on the kinds of ambitious projects that inspire both talent and audiences: What would Paul Thomas Anderson’s ‘There Will Be Blood’ have looked like with half the money?”
How will the downsizing and risk aversion in the specialty sector effect the slate of prestige minded producers like Scott Rudin, Michael London, Steve Golin, etc?
It isn’t pretty.