It’s hard to think of it now, but there was a time when it looked like the Horror film genre had lost any and all credibility in Hollywood.  For much of the late 90’s and through the 2000’s, the horror genre was plagued by a number of mediocre films that were neither scary nor entertaining.  More telling, the complete disdain that the industry had for horror films could be seen in the way that the studios were simply just making films for a target audience, namely young adults 18-25, and no one else.  This led to the dreaded notion of PG-13 rated horror movies, that were far more reliant on jump scares rather than actual violence and gore.  And this wasn’t always the case with Hollywood horror.  There had been decades of noteworthy horror flicks that had left a major impact on the industry.  Starting from the Universal monster movies of the 30’s, all the way through B-movie horror of the 50’s and 60’s like George A. Romero’s Night of the Living Dead (1968), to the slasher movies of the 70’s and 80’s like John Carpenter’s Halloween (1978) and Friday the 13th (1980).  The genre even became so admired in Hollywood that it won the coveted Best Picture Oscar with Jonathan Demme’s The Silence of the Lambs (1991).  But, like most other genres, Horror saw a decline when studios tried to interfere too much in the direction of where the genre was headed.  Soon it became less important creating memorable monsters and spooky atmosphere and more about hitting those cheap scares, or trying to one up themselves in the over the top gore.  Mostly, the horror films of the 2000’s fell flat because they pretty much all look and felt the same.  Sure there were exceptions like The Blair Witch Project (1999), The Ring (2001), and Saw (2004), but even those were undermined by lackluster, play-it-safe sequels.  Towards the end of the decade, the consensus was that horror was just not as effective at being scary like it used to be.  But, that would change once someone came along and changed the industry standard.

In walks Jason Blum, and his newly formed production outlet, Blumhouse.  Blum, probably without intention, has become the most valuable name in the Horror genre today, and has brought back a bit of prestige to this long neglected genre.  Though there are a lot of factors that have led to Blumhouse’s success, none is more key than the business model that the company has set out to identify itself with.  The Blumhouse model simply involves producing films on a controlled small budget with complete creative freedom for the directors and releasing them wide through the studio system.  By doing this, Blumhouse is able to have an output that is artistically unique without carrying a whole lot of financial risks, making them easier to sell to the major studios as well as to theaters across the country.  Because of this, the cost to profit margin has been extremely beneficial to the production company, with each film grossing significantly more than what they cost to make.  And with the huge profit margin, they have been able to build a great deal of personal capital which has allowed them to grow their business and increase their output.  Today, Blumhouse is not only putting out quality horror films, but are venturing into genres of all kinds; comedy, romance, family, even Christian drama.  They even recently announced a joint production with Dreamworks Animation (tentatively titled Spooky Jack) which will be their first venture into cartoons.  They also have also delivered several documentaries and TV movies, mostly for HBO so far, which has shown that they are not just a one trick pony within the film industry.  Even with all the continued success, the stated business model still drives the output of the company.  They don’t spend more than they need to, and they are keenly interested in discovering new talent and giving them the tools they need to make a mark in Hollywood.  That’s the key to making a difference in Hollywood; showing a commitment to a working strategy.

It wasn’t an overnight change for Blumhouse and the industry as a whole, however.  Blumhouse was launched in the year 2000, but it didn’t see it’s first theatrical release for 6 years.  It wasn’t even the intention of the company to take a look at horror, but that changed when a little project named Paranormal Activity (2009) dropped into their lap.  The found footage style film was not a novelty at the time, since Blair Witch pioneered the technique nearly a decade earlier, but under the guidance of the Blumhouse model, this little haunted house flick would prove to have a significant impact on the industry.  The movie cost a paltry $15,000 to make, utilizing unknown at the time talent, a single location, and cheap digital cameras.  The movie’s stripped down, cheap look actually proved to be it’s biggest blessing because it made the movie stick out greatly among all the other “polished” horror movies.  The jump scares didn’t feel cheap because they appeared more natural through the limitations of the presentation, and the lack of CGI manipulation helped to give it that ever crucial element of authenticity.  In the end, Paranormal Activity actually became even more monumental than Blair Witch, because it cost less and made even more, which only emboldened it’s creators to trust their instincts going forward.  Hollywood soon took notice once they saw how much return Blumhouse got on it’s investment.  Naturally, the sequels followed, but the quality of the finished films didn’t matter as the business model continued to ensure positive dividends on their side.  They were certainly continuing to figure things out from a creative standpoint, but ensuring that they weren’t making any rising financial decisions early on really helped to set up the foundation that would carry them forward over the next decade.

Since Paranormal Activity, the continued focus of Blumhouse has been less on building their capital, which has been steadily flowing for them for years, but instead to procure and propel top tier talent to and from their company.  Their goal has been to convince the industry that they are an artist friendly outfit, and that directors, actors and producers will have more creative freedom under their tent than they would anywhere else.  This became especially beneficial for the horror genre as one of the first directors to make the jump over to Blumhouse was James Wan, the creator of the Saw franchise.  After leaving his series behind, Wan was ready to explore a different side of the genre with the more subdued and eerier project, Insidious (2010).  Insidious was a very antithetical style horror film compared to everything else at the time, because it was a quiet, low key film which used silence and atmosphere as more effective ways to build tension and chills for it’s audience.  It was also a movie that calls for a lot of patience on the viewers part, which is a risk, but one that pays off well if it works.  Thankfully it did, and James Wan was able to carve out a new trend in the horror genre that he otherwise wouldn’t have had if he shopped his idea anywhere other than to Blumhouse.  Since then, other directors have sought out Blumhouse as the place to get their unique ideas off the ground.  You wouldn’t have had horror flicks with a noir sensibility like Sinister (2012) nor another with political commentary like The Purge series had Blumhouse not embraced new concepts through their model.  The most interesting aspect of their artist friendly ideal is that they’ve attracted filmmakers who feel they have been compromised too much elsewhere.  You can say that Blumhouse has single-handedly resurrected the career of M. Night Shaymalan, with his recent hits like The Visit (2015) and Split (2017), and that’s only because it seems like he’s finally getting back to the movies that he wants to make again, with their support.  The financial model has helped Blumhouse to build significant capital, but in attracting the talent they have, they’ve ensured a treasured reputation amongst filmmakers that will greatly help them in years ahead.

Perhaps the thing that is especially noteworthy about Blumhouse’s intent on attracting new artists into their fold is that it’s also opened the door for voices within the horror genre that we’ve never been able to see before.  This was very evident with the production of comedian Jordan Peele’s directorial debut, Get Out (2017).  Not only did the movie manage to become a hit with horror fans, but critics and industry insiders took notice as well, mainly because of the film’s content.  Unlike most other horror films, this was a movie that tackled it’s subject with a clear intention to provoke discussion and take very clear shots; in this case, with the very touchy issue of race relations in America.  Peele used the horror genre as a clever mirror held up to society, and framed the tropes of the genre in a way to make the cutting commentary even more insightful.  More than anything else, this opened up a very crucial door for the genre as a whole because it introduced a distinctly African American voice into a genre that has largely ignored it.  It’s surprising that it has taken this long for a horror movie from a black perspective to have been made, or at the very least become mainstream.  African-American audiences are some of the most reliable consumers of the horror genre, so it seems like a no-brainer that there should be one made that speaks with their own voice, tackling issues important to their community.  Hollywood took notice of this breakthrough and honored the movie with several Oscar nominations, including a Best Picture nod.  Peele won the Oscar for his original screenplay, a first for a black writer, and for the first time since Silence of the Lambs, horror had been recognized by the industry as prestige entertainment.  The most positive aspect of Get Out’s success is that it has convinced places like Blumhouse to look into other disenfranchised communities to find new voices to add to their every diversifying body of work.  Blumhouse, maybe unintentionally, might have broken the glass ceiling that has kept the horror genre a predominantly white, male centric world and shown that it can indeed be a genre that can carry a million voices within it.

But, when your business model involves taking creative risks rather than financial risks, an open production company like Blumhouse still needs to be moved in the right direction before it can fully make a significant change happen.  Jason Blum recently put himself into hot water recently with a not very well thought out statement that he would like to “make a female centric horror movie,” but there just aren’t enough women directors in horror right now to make that happen.  This rightfully sparked outrage from female critics and horror movie aficionados alike, who felt that Blum showed a very narrow-minded outlook on the relationship between women and the genre at large.  He’s not opposed to the idea of more female-centric horror movies, but his words showed how little effort he’s put into changing that situation.  First of all, he clearly hasn’t been looking hard enough, as there are plenty of aspiring and budding female filmmakers who are huge fans of the horror genre.  Secondly, you don’t have to look just for women who work exclusively in the horror genre; there are filmmakers out there who would gladly make the jump into horror if it allowed them to bring their own unique voice into the genre.  Apparently, Jason Blum did make the attempt to court director Jennifer Kent, who made the cult horror hit The Babadook (2014), over to Blumhouse, but she refused and this seemed to convince him that women directors were just not interested to a great extent in horror.  He thankfully went back on his statement and reassured that he’ll try harder to bring a female voice into Blumhouse’s future output.  But this is something that’s indicative of an overall problem with the genre, which has sadly objectified women throughout the course of it’s history.  Women are not opposed to horror as a genre, but they have clearly lacked control over their own representation in the genre and it’s more important than ever that they be given that opportunity.  With the kind of clout that Blumhouse has right now, they can make that change happen, but they also need to realize that they need to look harder than they already do.

Despite their recent hiccups, the overall direction that Blumhouse has moved Hollywood in is a positive one.  Not only have they opened the door for more diversity in the creative talent behind their movies, but the industry is taking strong notice of their successful financial model.  More and more film companies are seeing that more modest budgets for movies with unique character is the best way to generate profit in the long run.  Also, allowing artists creative freedom helps to manage the high costs of the movies because actors and directors are more likely to take a smaller salary if they are allowed to do whatever they want instead of asking for 7 or 8 figure paydays for movies that they know full well are going to be garbage and are just using their name recognition to boost box office numbers.   Blumhouse has already made a name for themselves as a likely place for actors who want to make their first directorial effort, like the already mentioned Jordan Peele as well as Joel Edgerton with his horror thriller The Gift (2015).  Their model has already clearly had an influence on their nearest competing rival, the Michael Bay created Platinum Dunes production company.  Platinum Dunes spent much of it’s early years following the already uninspired horror film formula of the mid-2000’s, largely being responsible for critically panned remakes of horror classics like The Texas Chainsaw Massacre (2003), Amityville Horror (2005), Friday the 13th (2009) and A Nightmare on Elm Street (2010).  But, thanks to the Blumhouse influence, who they co-produced The Purge (2013) with, they have changed their focus to reflect the new direction that horror has been moving towards.  Their recent hit, A Quiet Place (2018) reflects that, with a modest budgeted production built on atmosphere and crafted as a pet project from an already established star, John Krasinski; written, directed, and starring him and his real life wife, Emily Blunt.  Whether or not Krasinski would have made his movie there or somewhere else, it’s clear that Platinum Dunes wouldn’t have taken on the risk had they not seen Blumhouse’s success with like-minded films before.  As a result, you can see the way that more and more of the industry is seeing the benefits of Blumhouse’s model as a way of maximizing their output with all the future movies they have in production currently.

So, where does that leave Blumhouse in the future.  It’s clear that even though they have certainly become synonymous with the horror genre, they don’t intend on relying just on that alone.  They are already venturing out into other genres and while at the same time continuing to leave their mark with horror movies.  Their more long term goal is to make their business model the ideal for all Hollywood, especially when it comes to finding new talent.  They already have reinvigorated the careers of already established directors, like James Wan and M. Night Shaymalan, and have propelled the likely all star filmmakers of tomorrow too.  They are responsible for discovering director Damien Chazelle with his debut film Whiplash (2014) which was one of Blumhouse’s first non-horror theatrical releases and their first Best Picture nominee.  Chazelle of course went on to become the youngest Best Director winner in history, so you can see just how well a launching off point Blumhouse can be for fresh new talent.    But most horror film fans are grateful to Blumhouse for bringing the genre back to it’s basics.  Relying less on visual effects and more on atmosphere, Blumhouse horror seems much more in line with the roots of the genre, which always were more effective when dealing with the constraints of a modest budget.  That’s not to say that Blumhouse is making horror feel old-fashioned, but rather using the idea of not spoiling a good idea with too much film-making.  They are also revolutionizing the genre with fresh concepts never seen in the genre before like pointed social commentary directly from the minds of oppressed minority groups.  It’s also telling just how much trust they’ve earned within the industry when they are being trusted with carrying established genres into the next decade like Halloween and Spawn.  Both as a creative factory and as a role model for the industry at large, Blumhouse has managed to accomplish a lot over the last decade and it looks like their success will continue for many years to come.  More than anything else, they are beloved by horror fans around the world for helping to bring prestige back into the genre and show that these are films that are much more than scary movies, but worthwhile and provocative entertainment just like with any other genre.

Hollywood doesn’t like surprises, unless they are the kind that benefits them exclusively.  External things like controversies, disasters, and all sorts of calamities can throw the industry in a state of turmoil, but even smaller factors tend to put the business in a state of worry.  The obvious thing that Hollywood deals with is being able to forecast the state of the industry, and this is often much harder to do than anyone thinks.  That’s why surprises are not always a great thing for Hollywood, because it disrupts the careful order that many in the industry desperately want to manage.  Every year, all the production companies and studios would like to believe that they will make more this year than in the year prior, and because movies take a long time to develop, sometimes over several years, their hope is that the industry doesn’t fall into a major upheaval that sabotages their best laid plans.  You can have any major catastrophe be a part of that disruption, like an industry wide financial collapse or worldwide events like wars and natural disasters causing a cut in revenue, and sometimes Hollywood would rather deal with those situations; they have insurance after all.  But, it’s the other situations that cause a disruption that Hollywood dreads every now and then, and this is usually the sudden emergence of a trend.  Predicting how trends develop is often impossible, and usually when one happens, it will benefit those closest to it, but also affect the ones left behind in a negative way.  Sometimes those are disruptions that need to happen in order to help the industry evolve, but make no mistake, revolutions never happen without mayhem in it’s wake.  And the most strongly identifiable kinds of disruptions that we find in Hollywood are the ones in the form of game-changing movies that suddenly become successful.

It’s hard to identify a game-changing movie without also looking at the context of the times of the release.  Often, we identify these movies long after the fact in retrospect; as sort of a ground zero for where the changes in the industry sprouted from.  For a movie to have been a game-changer, it first had to be made with the intent of not following the standard expectations of the industry, whether it’s in the story-telling or the technique of filming.  Then it has to be released at a time where it’s impact is felt immediately, finding it’s audience and gaining the attention of the industry.  Many films break the rules of Hollywood, but they often go unnoticed upon their initial release.  A game-changing film breaks the rules and overcomes the odds towards success regardless.  And their success suddenly creates a demand for more just like it, which causes the industry to rethink it’s strategies.  This is the disruption that Hollywood tends to dread, because with the pipeline of movies that takes many years to push through, the sudden shift suddenly throws the timing off of all these other projects.  What seemed like a sure thing only a year ago can suddenly feel old-fashioned or insignificant just as quickly.  For the game-changing film, it’s an experience that it likely never thought it would have.  Filmmakers know that they have something unique on their hands, but they can never know if their movie is about to blow up and change the world.  Their movie satisfies a craving on the part of the audience, as they are looking for something out of the ordinary but are quite sure what it is.  But once they find it, it all becomes a perfect storm that leaves ripples across the film-making landscape.

One of the most notable examples of this to have come out in the last 20 years was a little movie called The Matrix (1999).  No one would have guessed that this sci-fi vehicle for star Keanu Reeves would end up influencing almost all of cinema heading into the new millennium.  Almost none of the typical Hollywood rules applied to this movie.  It had a grungy, techno-punk atmosphere to it; it was philosophical;  it took place in an online world, which was still very much in it’s infancy at the time; and it had some really bizarre visual effects that no one had even seen nor attempted before.  Also, it came out in early April, normally a quiet point at the box office each year.  And yet, audiences ate the movie up and it was proclaimed an instant classic.  It even fared well against expected blockbusters that year like Star Wars: The Phantom Menace and completely wiped the floor with Will Smith’s Wild Wild West, despite him being the biggest movie star at the time.  But, even though it’s impact was felt immediately at the box office, we wouldn’t understand it’s true affect on the industry for many more years.  The real big change that The Matrix had was changing the way that movies looked.  Look at all the movies released in the 1990’s and the 2000’s; there was a dramatic shift between then, and you could easily point to The Matrix as the movie that made the industry turn.  The big difference is that movies in the 2000’s had a more decidedly digital look to them.  The Matrix, while not shot digitally, still managed to convey the slickness of a digital world, and that in turn caught the eye of Hollywood and led them towards investing more fully in digital technologies for their productions and in the cinemas, all to capitalize on that more Matrix look.  It could be said that The Matrix marks the beginning of the Digital Age in Hollywood.  Matrix’s groundbreaking techniques like bullet-time and 360 pans also permeated the industry, maybe not as extensive as the visual look of the movie, but nevertheless proved influential.  It’s one thing for a movie to become an instant hit at the box office, but when the actual structural look of movies in general begins to change, that’s when you know that a single movie has left a tremendous impact.

The best way to identify movies that leave an impact on the industry like The Matrix is to take an aspect of movie technology or storytelling and trace it all the way back to it’s roots.  We owe standard film editing to D.W. Griffith’s The Birth of a Nation (1915) and sound to Al Jolson’s The Jazz Singer (1927).  And while some techniques may have started in lesser known films, we owe blockbusters like The Wizard of Oz for popularizing color photography and Fox’s The Robe (1953) for widescreen and helping to make them standards for the industry as a whole.  Game-changing films can also jump start a media empire, like what Walt Disney did with Snow White and the Seven Dwarfs (1937), the first ever feature length animated film.  Cultural movements can also find their focal point in a movie that hits a cord at just the right moment, like what Dennis Hopper’s Easy Rider (1969) managed to do for the counter-culture of the 60’s and 70’s.  Essentially, these movies started turning points that continue to manifest in Hollywood today.  Sometimes it takes just that special film to help Hollywood see the necessity of a new technology or to embrace a new way of thinking.  But at the same time, you could never have said beforehand that these were going to be the movies that would do it either.  Often these movies were created in a bubble where the filmmakers decided to ignore Hollywood and their rules and venture forth because they were following their gut feelings.  Now, this is not always a guarantee of success, and most risk-taking movies do tend to fail and be forgotten.  But, when these movies do happen, then the risks suddenly become  worth it.

The reason Hollywood becomes weary of these types of movies is because they are often hard to sustain in the long run.  Not every movie has a legacy that lasts over 20 years.  Even The Matrix couldn’t repeat it’s own success, as their creators, the Wachowskis, would learn once they released their underwhelming sequels a mere four years later.   Perhaps the rarest exception would be the movie that launched the era of the blockbuster, Star Wars (1977).  The fist movie, which has since been re-dubbed A New Hope, was an undeniable game-changer when it first premiered, creating a whole industry wide flourish of big budget science fiction and fantasy in it’s wake and also revolutionized everything from visual effects to marketing within the industry in the years since.  But, even more remarkable is that the brand has remained impenetrable even 40 years later, remaining resilient to this day.  It’s even survived the backlash against the receptions to some of it’s chapters and continues to be a juggernaut at the box office.  With that itself, Star Wars has proven influential for other studio fixtures in terms with how they market their brands.  You could say that the entire nostalgia heavy mixture that we find in Hollywood today is because of the example of Star Wars and how well it has retained it’s relevancy for so many years.  With toy products, commercial tie-ins, and even theme park experiences, you can see the Star Wars example taking hold throughout the industry.  It’s primarily how brands like Jurassic Park, Transformers, Teenage Mutant Ninja Turtles, and Harry Potter have maintained their relevance for far longer than they were expected, or should have lasted.  But, with a long lasting resilience like Star Wars, the industry might mistakenly believe they have found a safe level ground to coast the flow of the industry on, and that is not really the case.  Star Wars is an exception to the rule, as most game-changers are, and believing that they are reliable is a mistake that could turn costly in the long run.

Hollywood is a high stakes industry where money flow matters greatly.  Because of this, Hollywood needs reassurances, and that becomes a problem when your project works outside of the accepted margin.  So, the best way to be prepared in Hollywood is to thoroughly examine the landscape of the industry often and see if there are any patterns emerging that can benefit the industry as a whole.  Perhaps the thing that is having the most significant effect on the industry right now is how the demographic shift in viewership is changing.  For most of it’s history, Hollywood has focused mainly on gaining viewership in suburban Middle America, where they were most likely to find the most reliable, weekly visitors to the local movie theaters.  Because of this, the movies that have come out for so many years have often reflected the make-up of that body of population; mainly white, working class suburbanites.  But, as audiences have grown more culturally savvy, and internet connectivity has made on demand viewership more possible, such as through Netflix, there is far less of a need to make movies that target specifically the average Middle American movie-goer.  Now, we are seeing a huge rise in global cinema and that has changed the look of movie audience demographic significantly.  We are now seeing the mainstreaming of stories about the struggles of oppressed minorities, and it is changing the attitudes of the industry significantly.  You look at just the last two years, with Wonder Woman (2017) and Black Panther (2018), two genre specific movies that transcended their pedigree to finally give a cinematic identity to groups that are often largely marginalized in both society and in the movies (namely women and black people).  This has opened the door for even more cultural diversity, as other groups like homosexuals have recently enjoyed more mainstream exposure through hits like Call Me by Your Name (2017) and Love, Simon (2018).  And right now, we are witnessing a revolution in Asian representation with Crazy Rich Asians (2018) becoming a hit with audiences of all kinds.  At this moment, the trend in Hollywood is to no longer ignore marginalized groups and recognize that their stories are just as capable of making lots of money as any other.

But, Hollywood must also understand that these movies must be freely allowed to either soar and fall on their own.  Movements don’t flourish when the system they are fighting against is also the ones pulling the strings.  A good case in point is the largely failed attempts by other studios to follow in Marvel Studio’s footprints with creating cinematic universes of their own.  The reason most of them have failed is because too many of them have put the cart before the horse and expected the trend to do most of the work for them.  One example is the laughably mismanaged Dark Universe that was supposed to take all of Universal Studios famous movie monsters and combine them all in a Marvel style shared universe.  The Dark Universe was ended barely out of the gate with the catastrophic performance of The Mummy (2017), which even Tom Cruise’s star power couldn’t save.  And the large reason for that was the fact that Universal played it’s hand too strong.  It was so obvious that this was a marketing ploy that it robbed the actual movie of any real impact.  And it didn’t help that The Mummy was a lazy mess as well; built solely to promote future installments and nothing else.  It shows the failure of Hollywood trying to have control over something that is best left to flourish on it’s own.  The same goes for trying to reach certain parts of the audience.  People today know when they are being pandered to and it’s often enough to make them react negatively to a film when it becomes so apparent.  That was the mistake the female led Ghostbusters (2016) made.  The studio, Sony, made such a big deal that their movie was going to be this feminist breakthrough film, but in the end all it did was stir up a backlash that only negatively impacted it’s female cast and ended up setting things back for a female voice in the industry with it’s also lackluster performance, something that was thankfully remedied somewhat with Wonder Woman the following year.  For a trend to take hold, trust needs to be put in the hands of outsiders who know what they are doing.  You can’t manufacture a revolution; it just happens naturally thanks to circumstance and excellent timing.

Hollywood may not always be ready for these game-changing films, but they are essential for the survival of the industry.  We wouldn’t have had the progress in the art of film-making had some of these films had not come along and popularized changes necessary for the industry.  Though the movies themselves may no longer be culturally relevant (especially in the case of Birth of a Nation), we can’t deny their importance for what they brought to the medium.  Where would we be now had sound, color, widescreen, and digital technology had taken longer to reach the industry.  Each advancement builds on the other and the evolution of Hollywood is built on the foundation of these once thought to be outliers.  But, Hollywood likes to be in charge of it’s own destiny, and that often makes it hard to accept these changes at first.  Disruptions in the industry does cost a lot of capital for those left behind and you can see many companies throughout Hollywood’s history rise and fall depending on how well they respond to a new order, leading to some often major layoffs in the process.  It’s a painful process, but essential for the future.  And Hollywood might be in a better position to have a less hands on presence in the development stages of their productions.  Why do you think so many filmmakers are flocking to Netflix right now?  Because Netflix’s platform relies less heavily on focus grouping a film to make it play better in Middle America.  This has opened up the flood gates for more diverse voices, which we have recently seen are an untapped market that is ready to explode.  I’m excited by the fact that the game changers of today are people who have often been ignored in the past, and that because of movies like Black Panther and Crazy Rich Asians we are about to see a Hollywood that is going to be less homogenized and far more world savvy than ever before.  Changing the game in Hollywood also allows for more opportunities for to try new things in Hollywood, which has always left long lasting impacts on the industry.  We may not know which movies may make that difference, but when they arrive, it rekindles what we love best about film in general and renews confidence in the art of film-making once again.

I think that a lot of people outside of the industry don’t quite realize the enormous risks that are undertaken when making a movie.  And I don’t just mean financial wise, even though that is a significant factor in most cases, but in storytelling as well.  When setting out to make a movie, one has to consider first and foremost, is this something people will want to watch?  Movies are not meant to indulge the artistic tastes of their creators, and those who think that they are will find themselves in a significant financial quagmire.  Movies are first and foremost entertainment, with the intention of finding an audience that will justify the costs of making it and hopefully generate a profit in order to move forward another project afterwards.  We are only lucky to have this very commercial enterprise also be capable of creating art in the process.  Now, when the stakes are lower when it comes to storytelling, then so is the financial risks.  Small movies have small costs so that they can make the most of a smaller audience.  But, with Hollywood, the stakes are significantly higher because of the industry they have built up over the years investing in epic scale productions.  There is big money to be made in big films, but the industry also has the greater risk of having to manage the greater risks that come along with that.  Thus, we get a heavier reliance on tent-pole films, because of the way that they can rely on a built in audience to help reduce the risk of not getting enough back in box office returns.  But, every so often, game-changing movies shake up the established order of Hollywood and those sure-things are not so reliable anymore.  This has been the case with movies like The Matrix (1999), The Lord of the Rings trilogy, and The Dark Knight (2008), which not only broke new ground in Hollywood, but also raised the bar for what the industry would have to follow in the years ahead.  And in this rapidly evolving business, the industry finds itself having to live up to expectations that are no longer within their control.

Audience expectations have become a very problematic thing in recent years for the film industry, as social media and online chatting have made it almost impossible to gain a consensus on anything in the pop culture.  Traditional film criticism from media sources has sadly lost most of it’s pull on the industry, as anyone with a Twitter account or a YouTube channel with enough followers can suddenly become a film critic.  In many ways, it’s nice to see something like film criticism become so democratized, but the sheer volume of voices out there has made conversations around movies in general a little bit chaotic and in some areas, hostile.  In response, Hollywood has tried to cherry-pick whatever fan response best makes them look the best, but when opinions become so diverse and divided, favoritism often breeds contempt.  And this has made the film industry more susceptible to backlashes from general audiences.  As voices online have grown louder, so have their demands on the industry.  Now, making some demands on Hollywood from the online world has been a good thing, as most of the #MeToo movement has demonstrated, but that’s in the case where vocal outrage is justified.  Other cases, like when a film studio decides to move in a different direction with one of their intellectual properties, or when a movie makes a bold cinematic choice that contradicts what it’s set out to do before, tend to fall more in the inconsequential to petty reasons to show outrage online.  And yet, Hollywood is increasingly finding themselves walking more and more into a minefield of online criticism that often comes their way regardless of what their movies ended up doing.  And this is leaving a very problematic effect on how movies are made now and what kind of movies get made.

One of the most recent examples of Hollywood facing such a backlash from it’s audience is with the reactions that resulted after the release of Star Wars: The Last Jedi (2017).  When one takes a look at the movie by itself, it has all the hallmarks of a typical entry from the franchise.  But, the movie also took risks as well, particularly when it came to the plot.  It didn’t extend the lore of the Star Wars cinematic universe, it completely dropped plot elements that were teased in the previous film, and it fundamentally changed the status of the world it’s created going forward.  Now the movie still did very well at the box office, and many people (including myself) were satisfied by what we saw.  But, a significant portion of the audience were not happy with the results, and they made their dissatisfaction known.  One critic went as far as to create a petition to strike The Last Jedi from the official Star Wars canon, deeming it unworthy to even exist.  And that was not the most severe reaction either, as some people even tried to scapegoat their frustration on certain players involved in the movie, as the horrible racist comments made towards actress Kelly Marie Tran (who played Rose in the movie) showed in a very extreme way.  But what is interesting is the fact that most of these complaints were made by people who proclaim themselves as fans.  The reason for The Last Jedi to be singled out for such a reaction is peculiar because it is by no means the worst thing we’ve seen from the Star Wars franchise (these guys must have clearly forgotten about the prequels).  What’s changed is the fact that our world today is so wrapped up in responding both positively and negatively to pop culture, and as a result, things like Star Wars are now held up to a higher and some would say an unrealistic standard that it must apply to.

The fandom around such things like Star Wars has become more and more ingrained in the pop culture and much of it now actually shapes the lives of the people who makes up it’s audience.  Star Wars, throughout it’s 40 year history, has grown beyond just a cinematic experience.  People devote their lives to the fandom of Star Wars in some pretty extreme ways.  For the longest time, the original trilogy was all that fans had to base their love of the movies on, and then creator George Lucas expanded upon the lore with his prequel trilogy, and then eventually the sale to Disney really opened the floodgates for this cinematic universe.  Now, George Lucas’ previous attempts to tell the story his way ended up causing fans to react negatively to his movies, because they felt that it tampered with the thing that they fell in love with in the first place.  Though it was a severe backlash, it was still not something that fans just had to learn to deal with.  Lucas was the creator of this world, and despite fan’s dissatisfaction with the movies, they knew there was nothing to be done because it wasn’t their story.  This is why The Force Awakens (2015) was given so much leeway, because fans overlooked any flaws it may have has as long as it felt like the Star Wars of old again.  Force Awakens also renewed fan interest in the lore of the universe, which would end up backfiring in time once Last Jedi premiered.  J.J. Abrams established new mysteries to get fans interested, like who Rey’s parents were and who this Snoke guy really is, which were immediately dropped once Rian Johnson took over in the director’s chair.  The result feels far more of a personal betrayal than before for Star Wars fans, because of how extra invested they’ve become in the years since the prequels.  Just go on YouTube and see all the many fan theory videos that started after The Force Awakens, and how so many of these same fans are now The Last Jedi’s most vocal critics.  Many of them mistakenly look at the movie as wasting their devotion and dismissing their opinions, when in reality, The Last Jedi is actually trying to challenge their perceptions and think about the lore of this universe in a different, more unexpected way.

That has become the biggest challenge for all filmmakers that are trying to great mass appeal entertainment in Hollywood today.  All audiences are more culturally aware than they were decades ago, and most of them are going to carry their own pre-conceived notions of what to expect going in to the movie.  For some of these high stakes properties, it’s come to the point where you have to make a movie that’s better than the one that the audience member has thought of for themselves.  And this falls into two forms; people who are familiar with the source material on which the movie is based on, or people who are well versed in the universe that has been created thus far.  Any cinematic adaptation based on a literary source often has to be subject to this.  You’ve all heard the common phrase, “The Book Was Better,” which indicates that the movie did not live up to what they imagined in their minds as they read the original book.  Film plays by a whole different set of rules than the written word, and what plays well on the page may not work as well on the screen.  Time is condensed, characters are excised, and whole plot threads are ignored because a movie needs to contain a story in a short, two hour amount of time.  Some movies have exceptionally managed to do this, sometimes by changing so much that it becomes it’s own unique thing, like Stanley Kubrick’s The Shining (1980).  But, you’ll find even the most dedicated critic who holds it against a movie because it didn’t fit their own imagination.  That’s something that affects franchises that are still writing their own lore as they go along, like Star Wars, more dramatically, because people with such a strong feeling towards this universe are imaginative themselves and will come up with their own takes on how they would tell the story.  And when fandom becomes so intense as that surrounding Star Wars, people become more defensive about their own vision for the universe and more upset when the rules change so much regarding the direction the story is headed.

One interesting phenomenon that has occurred in this era of heightened pop culture is the rise of fan fiction and fan made films.  In many ways, this is a far more positive outlet for the disgruntled fan than shouting outrage online.  For some people, it’s a way to show their devotion as a fan while at the same time “fixing” their perceived problems with what Hollywood did wrong.  Fan fiction can be self indulgent, but interesting new ways to look at the fictional worlds that they are revisiting can spark more interesting story-lines that deepen the worlds as well.  Fan films are also a great way to express something about a franchise that some people believe has lost it’s way.  Some can be amateurish, but others are done with such love and care that they even gain the notice of Hollywood.  One online demo reel made showing an actress in a Wonder Woman costume fighting in a World War II setting helped convince Warner Brothers to use that as a basis for the time period of their well-received big screen adaptation of the famed super heroine.  Fans even go as far to re-cut films to their own liking, using their own editing tools at home.  One story came out recently that actor Topher Grace dealt with the frustration of playing notorious Ku Klux Klan Grand Wizard, David Duke, for Spike Lee’s BlackkKlansman (2018) by taking the 9 hours of Peter Jackson’s Hobbit trilogy and editing it into a tighter 2 hour run time, all on his own.  That’s certainly one way to occupy yourself, but it’s indicative of a lot of people who can create the version of a story they want now that the tools are more easily available to them.  No one can profit from such things, obviously, but it is interesting to hear how different ways of watching a movie can change your reaction to it.  Even things like alternative cuts or canons are interesting to look at.  Star Wars has one called the Machete Order, which goes in the order of Episodes 4, 5, 2, 3, and 6 (Phantom Menace is wiped from existence in this canon) which does change up the story quite a bit).  Even in frustration, some creativity can still flourish, and is not altogether worth dismissing.

The question remains, however, if Hollywood should listen to all this and take it seriously.  The one thing that should be noted is that the internet magnifies everything, so taking into consideration all the grievances made online by fans should be taken with a degree of caution.  Still, fan input is integral, and it matters to have a pulse on how the world is responding to the work you put out.  The only thing that matters is that it be constructive criticism.  Lashing out in a hateful way towards a member in the cast for example is the wrong way to express frustration, and honestly anyone who does that should honestly take more of a look at themselves than what they thought about a simple movie.  The last thing that I would want to see Hollywood do, though, is take fewer risks.  I think that’s what I appreciated about The Last Jedi; it broke new ground and unshackled itself from traditions of the past.  I guess the reason this caused such a backlash in the Star Wars fandom is because the series doesn’t have the footing yet to deviate from it’s established lore.  Even as it begins to open up to exciting and endless possibilities, Star Wars is still a brand with it’s own singular identity and because of that, fans expect more out of it that feels true to what they’ve always seen it as.  One place where I feel the company has managed to perfectly balance delivering on expectations and then subverting them is at Marvel Studios.  The comic book giant has decades worth of lore to draw from, and yet the movies take chances that you wouldn’t expect.  Sometimes with specific story-lines from the comics, like Civil War (2016), they use just the basic premise and little else.  I think that it’s because they’ve remained true to the spirit of the characters, and turned them into the focus of their Cinematic Universe, allowing for fans to be more forgiving of the plot lines that are dismissed.  By stating up front that this is their mission with the movies, they’ve found that gentle balance, and it allows them to take liberties that make sense in the long run, like Thanos’ motivations in Infinity War (2018) or the dissolution of S.H.I.E.L.D. in Captain America: The Winter Soldier (2014).  The Last Jedi seemed to be pushing for a similar dramatic change for Star Wars, but the fan base just wasn’t ready to make that jump again.

With the coming years ahead, as social media continues to drive up anticipation and disappointment to fever pitch levels, Hollywood is going to find it a little more difficult to manage.  I would say the most positive thing to come out of The Last Jedi’s contentious reaction is that it made us more aware of the positives and negatives of thinking about these movies too much.  I do think healthy speculation about what we’ll see in an upcoming movie is something worthwhile; I honestly have done it myself many times here on this blog.  But, we all must understand the fact that not all of us get to make these movies, and the ones who hold the responsibility are often put into a very hard position.  There are times when I had wished that a movie had been done much better, and I sometimes hold some things to an impossibly high standard.  It’s probably why I’m extra critical of some of the Disney remakes that have been made recently, because I hold the originals in such esteem.  But, I try to keep my reactions civil and not try to lash out at the people involved in an unreasonable way.  The only times where I show real disdain is if a movie was made for cynical reasons, like either to make money and nothing else or if it’s purely there to push a problematic agenda that cares little for the entertainment value.  The Last Jedi found itself in the precarious position of having to fulfill the promise of more adventures in this cinematic universe while also laying out new paths for the future, and part of the Star Wars community was not happy with it.  At times, I think that the people who made the film were expecting this backlash and tried their best to prepare for it.  Snoke actor Andy Serkis, for instance, was seen in the publicity circuit one time wearing a sticker that said, “Your Snoke Theory Sucks.”  It is hard to please everyone, and we’ll probably see more divisive movies in the future that face a similar high profile backlash, warranted or not.  It’s the price of having more voices heard in the discussion around movies.  Everyone brings their own baggage with them into a film, and one hopes that any movie inspires more creative thinking and criticism, instead of just vile anger.  After all, the message of the movie is that our strength is best used not to destroy the things we hate, but to protect the things that we love.

For the longest time, the entire cinematic world made it’s way through Hollywood.  That dream factory in the American southland was where all the money came from as well as being the focal point from which all pop culture stemmed from.  And the main reason why Hollywood grew to have this special place in our cultural development is because for the longest time, America was the undisputed leading market for all things in the world.  Because of America’s unique connection to the birth and development as film as an art-form, it’s no surprise that Hollywood’s output was specifically geared to appeal to a broad but specific American demographic.  Sure, there were budding film markets that grew up internationally during this same time, some with influential filmmakers of their own who would leave their own valuable mark on the industry as well, but to be a big deal of the world of film, you still had to play by Hollywood’s rules, and those were dictated by the demands of the American market.  But, in the last few decades, there has been a shift that has dramatically altered the way Hollywood does business.  As more and more nations have pulled themselves into developing and even prosperous economies, their film industries have grown alongside them, and Hollywood has taken notice.  Right now, film studios are thinking less about how a movie will perform domestically, and are instead focusing more on the international grosses.  And that is having an effect on what kinds of movies are getting made today.  The money is now no longer going towards movies that will play well just for the American market, but for the entire world.  And that includes your easy to translate fare, like the Transformers movie, the Fast and the Furious movies, and most anything that animated.  But. what is interesting right now is the ever increasing influence of one nation in particular, that not only is rising as a film market but is even challenging the American market as the largest in the world, which is greatly changing not only is changing Hollywood’s focus but is even shifting the way it does business as well; the ancient country of China.

China, for the longest time, was an almost zero factor market for Hollywood.  From the rise of Communism through the Cultural Revolution, China was a closed off nation that accepted nothing from the outside world; including movies.  Until Nixon opened up diplomatic relations in the 1970’s, China was a country that probably knew nothing about Hollywood, nor had seen all the advances that cinema had made in all that time.  But, in the years since, they’ve made great progress in establishing their own mark on the film industry.  For the longest time, the center-point for Chinese film-making was in Hong Kong, the one time British colony that was untouched by Communism.  From Hong Kong, the world was introduced to a whole new genre that was distinctively grown out of Chinese culture; the martial arts film.  And from these movies, we were introduced to the first Chinese movie star in Bruce Lee, who managed to achieve international fame even before China began to open itself to the rest of the world.  Martial Arts cinema did help to put Hong Kong on the map as a hub for film-making, and that in turn helped to develop a new class of Chinese filmmakers.  Names like John Woo and Zhang Yimou began to make an impact not only in their homeland, but worldwide as well.  And it wasn’t just Hong Kong that took notice of their talents, but Hollywood as well.  Woo eventually made his way stateside where he took his distinctive style that he honed on films like A Better Tomorrow (1986) and Hard Boiled (1992) and helped to redefine the American action thriller with Face/Off (1996) and Mission Impossible 2 (2000).  And though he began outside of China in the small but important Taiwan film industry, Ang Lee quickly became known for his mastery of multiple franchises, which became a skill that managed to make him the first Asian filmmaker to win an Oscar for direction.  And he too also brought a uniquely Chinese flavor to his films, best illustrated in his sumptuous martial arts epic, Crouching Tiger, Hidden Dragon (2000).

To put it in short terms, China not only made up for many missed years separated from the world of cinema due to their isolation, but they did so in a spectacular fashion, quickly leaving their mark.  But now, they are having an impact on cinema in a different way.  After opening up special capitalist districts within the traditionally Communist nation, the nation quickly became a booming trade market, which has seen their national wealth balloon to unprecedented levels.  Because of this, more than 2/3 of the over 1 billion people in China have moved out of poverty and into the middle class.  As a result, more Chinese citizens have the income available now to do a variety of activities, including going to the movies on a regular basis.  And this been where business has really boomed for the Chinese film industry.  Over a thousand new movie theaters have opened up across China in just the last couple years alone.  Though they still haven’t caught up to the total number of screens here in North America. they are closing that gap fast, because there are far more Chinese out there than Americans, and the demand for more screens is high.  For a long time, imported American films were the top draw for Chinese theaters, and still are (except Star Wars for some reason), but China’s own film industry has seen a boom in their box office returns as well.  When you look at each year’s top grossing worldwide releases, you’ll see a growing number of Chinese productions like Wolf Warrior (2015) or Operation Red Sea (2018) appearing on the list, grossing in the range of $500 million each.  And these films don’t even reach American cinemas at all, which shows you just how much money right now can be made in China alone at the box office.  And because of this, American studios are taking notice and rethinking their strategy for which films to make.  The regular American film-goer no longer has the maximum influence over the market; now it is shared with the Chinese, and an amalgam of all other film markets worldwide.

That worldwide gross number is now a bigger chunk of the pie than the domestic grosses, and that has greatly influenced which films are given the bigger percentage of attention in Hollywood.  We’ve seen in particular a steady decrease in things like romantic comedies, westerns, and period epics being made by Hollywood, because these movies tend to be expensive and don’t translate very well over in places like China.  But the things that do translate well overseas are big, loud action films, which rely less on witty dialogue and intricate plots.  Disney has excelled with Marvel films, as well as their many animated properties, and one only has to look at the fact that the country is now home to two Disney theme parks to see how well their brand has connected with the Chinese.  Other studios are finding their footing in different ways.  Paramount has connected with their Transformers films, with many of the recent chapters in the series intentionally setting their stories in China.  Warner Brothers has even gone further by investing in movies that really are motivated solely by the international market.  Guillermo del Toro’s Pacific Rim (2013) was disappointing at the domestic box office, despite critical praise, but it did extremely well in Asia, with China accounting for nearly $100 million extra in grosses alone, and that sole reason is why it received a sequel earlier this spring.  Another surprise was the film Warcraft (2016), based on the popular online multiplayer game.  By all accounts, the movie would’ve been considered a costly flop based on the domestic gross alone, and yet, it made a profit because of how well it did oversees, especially in China.  Despite what critics may think of these movies, the rising influence of a new class of paying customers out of China and elsewhere are dictating the projects getting greenlit by the choices they make at the box office.

What’s even more interesting, however, about Chinese rising influence on Hollywood is not just their increased profile as a film market, but also the fact that they are having an even more prominent presence right in the heart of Hollywood itself.  Many emerging billionaires coming out of China right now are not only investing more heavily in film-making, but they’re going as far as to purchase several little studios in Hollywood itself, making movies for American audiences in addition to their own.  This has recently manifested in the arrival of cross-cultural movies targeted to appeal to both countries.  One of the clearest examples of this is the recent release of The Meg (2018), a big budget monster movie where a team of scientists from all over the world cross paths with the giant prehistoric shark, Megalodon.  Though there’s nothing remarkable about the premise, it is interesting to note how much of the casting of the movie is reflective of the studio’s interest in appealing to both American and Chinese audiences alike, having British action icon Jason Statham and Chinese actress Li Bingbing sharing top billing, and with near equal amounts of the movie’s dialogue spoken in English and Mandarin.  What this shows is that China is looking not just for their own homegrown filmmakers and actors to do well over seas, but they’re even seeking out American talent to participate in their own distinctly Chinese films.  This has led to some confusion here in America, especially when it was revealed that all-American actor Matt Damon was going to appear in a movie called The Great Wall (2017).  Some cried foul and said that it was an egregious example of white-washing a Chinese movie, but in reality Damon’s role was specifically tailored by Chinese director Zhang Yimou to be filled by someone of European decent, as part of a larger ensemble that was dominated by native Chinese actors.  Unbeknownst to many, this was not white-washing, but a sea change in who was starting to call the shots in Hollywood, and the fact that A-listers from Hollywood like Damon and Statham were not just linked to domestic productions anymore really showed how much that change has already affected the business.

But dramatic shifts in the way that Hollywood conducts business is not without risks.  And considering the volatility of the Chinese economy, with it’s rapid growth beginning to show stresses and signs of potential collapses in some sectors, the ramifications for some chaotic downfalls spreading into Hollywood as well also increases, especially with more and more smaller studios being bought up by Chinese conglomerates and new billionaires.  In some cases, you have production companies either being started up or bought out by wealthy investors who know no one thing about how the film industry works, and yet are putting up a ton of money just to get their name into show business.  In these cases we see the most extreme cases of boom and bust from these Chinese investments.  This late August slate of new releases in particular represents the growing presence of Chinese money in Hollywood.  Would you have expected films like A-X-L, Kin, and The Happytime Murders to all have been Chinese productions.  Not a single one looks distinctively geared for an Asian audience, and yet each was co-financed by a Chinese production company.  Ironically, they are being beaten at the box office by a completely American production called Crazy Rich Asians (2018).  And it’s that lack of focus in knowing how to produce broader appealing movies that is the drawback to the increased investments coming from China.  One of the more troubling examples has been the case of Global Road Entertainment.  Once called Open Road Films (which produced the Oscar winner Spotlight), Global Road reformatted under the new management of Tang Media Partners, which is conglomerate run by Chinese-American billionaire Donald Tang.  Tang’s inexperience with running a film studio quickly became apparent as costly flops like Show Dogs, Hotel Artemis, and the fore-mentioned A-X-L have all lost the company money in very quick succession and the short-lived company is now in financial straights.   It’s not the case with all Chinese investments in Hollywood, but it certainly marks a cautionary sign of how quickly things can go awry once a new influx of money floods into the business.

In a lot of cases, Hollywood is going to end up compromising a lot of things in order to work with the new Chinese economy.  In most ways, an improved alliance is a good thing.  Increased cultural exchange is going to help both China and America live in better harmony, as well as benefit each other financially.  But, there are aspects that Hollywood is going to have to come to terms with the more they of the global giant in their community.  One is the fact that a large part of their investment is coming from a nation with not the greatest human rights track record.  The Communist nation’s lack of freedoms for things that liberal Hollywood holds dear, like free expression and human rights, are going to make many future agreements a little tumultuous.  Some very anti-Chinese government pet causes of Hollywood celebrities in the past, like a “free Tibet”, may sadly have to be compromised as China becomes increasingly in charge of where the money goes in the business.  I think that’s why you see some avenues of Hollywood remaining cautious through all of these changes, and that’s leading to a whole new face in the industry itself.  I wouldn’t be surprised if Disney and Fox’s merger was in some way motivated by some of this, as neither company wants to face a hostile takeover by an international conglomerate and feel that they are better suited pooling their resources together to stay independent as a distinctly Hollywood institution.  It’s hard to say, but the clear indication is that by becoming the fastest growing film market in the world as well as one of the wealthiest, China’s impact on Hollywood and Cinema in general will be felt for many years to come, and in many cases, will be a permanent change.  And to face this sea change, Hollywood has to adjust alongside it, otherwise China’s red wave of influence will leave much of it washed out and buried.

It’s hard to say if a greater Chinese influence on cinema is going to be a plus or a negative for the industry just yet.  On the one hand, Chinese filmmakers and actors are gaining much more notoriety than before, and more and more Chinese people are seeing the benefits of a vibrant film culture in their lives as many of them are increasingly going to the movies each week.  Hollywood is no longer undervaluing the Asian audiences either, and are far more willing to invest in movies that have a distinct Asian perspective to them.  The cross pollination between cultures is also a positive outcome, as the once isolated nation grows more comfortable with seeing America as a partner rather than a threat, and vice versa.   At the same time, China’s volatility also runs the risk of creating a more chaotic state in the film industry, as many start-ups from enthusiastic but inexperienced investors can’t sustain for very long in Hollywood, and that in turn creates a lot of uncertainty for the industry in general.  Despite the costs, it’s a trend that can’t be avoided.  We are going to be seeing a lot more co-productions with China in the years ahead, with multi-national movies like The Great Wall and The Meg becoming more and more common.  And Open Road Entertainment’s quick downfall is not an indication of all Chinese investments going sour.  There’s companies like the Huayi Brothers, who have found success with a diverse slate of releases both big and small, including movies just for Chinese audiences and American audiences, like Journey to the West and the Bad Moms series.  American companies are even looking to target China’s market specifically, with Horror film producer Jason Blum announcing a new slate of films through his Blumhouse Pictures specifically made for Chinese audiences.  And it’s not just China alone that Hollywood wants to focus on, but other emerging economies like India and Latin America as well, though their vibrant film industries have been around far longer than China’s.  It’s the fact that China’s growing industry is so fresh and unexplored and yet insanely wealthy at the moment that has made the whole film industry take notice all of a sudden.  China is a serious player in the game right now, one that may even eclipse that of Hollywood’s home base of America in the years to come, and it will be interesting to see what becomes of this industry down the road as a result.