A lot of work goes into the making of a film.  A lot of money too.  And by the time it has reached the public, the hope is that audiences will not only enjoy what they see, but will want to see it again and again.  The life cycle of a movie is an interesting one to observe.  For the longest time the way a movie exists out in the world is that it first is experienced in a movie theater with a crowd of other people.  Then if the person in the audience felt a real connection with the film, then they may end up purchasing it, either as a physical copy or as a digital download online, after the film has ended it’s theatrical run.  The final stage for a movie afterwards is the licensing of the film to outlets likes television or streaming where the movie can be available to watch for the casual watcher to enjoy again or even discover for the first time.  There are even the movies that go full circle and end up getting theatrical releases again, for anniversaries or as part of a selection of titles for a festival presentation.  But it should be noted that only a select few films ever make it to this stage in their life cycle.  Sure, you would think that once a movie is made it should exist for all time.  But this sadly is not the case.  Film is a bit more finite than many of us realize and in a world that is dependent far more on digital media, we are actually seeing an acceleration of movies that fall through the cracks and are lost to time.  There are many reasons this happens, but one of the primary factors is the fact that film preservation is a costly and time consuming procedure, and the industry is just not as concerned about investing in the past.  But there is a lot of films from the past that are absolutely worth saving, even if they aren’t all classics.  It’s important because every film made, bad or good, is a record of cinematic history and that’s worth preserving.

The biggest problem that affects most films, particularly old ones, is the way that time deteriorates our physical media.  Film stock in particular is especially volatile and requires special attention.  This is especially true with older movies, some of which were filmed on highly flammable nitrate film stock.  It is said that up to 80% or more films from the silent movie era are completely lost, and of the 20% that do survive, they may be fragmented due to parts being damaged beyond repair.  That is the nature of cinematic history, that the industry wasn’t really thinking about long term preservation of their work, because it was all about getting the movies made and out into the theaters.  As we look at film preservation today, the best that we can do to recreate the way an old movie looked in it’s original state is to have a digital scan of the original camera negative, and sadly, this is the thing that ends up deteriorating first.  To compensate, the next best option is to work from a print (and the older the better).  A pristine film print is helpful, but it also is not the best quality source either, because the duplication process used to create a print from the camera negative results in a downgrade in the image, and the results are worse if you end up making a copy from something that is already a copy.  And then comes the clean-up in film restoration, which itself is time consuming and costly, which is why only the films that are deemed worthy of preservation manage to get saved.  Basically, what we know about our film history is formed around what has managed to survive all these years.  And there are several factors that can still come into play with regards to what survives.  Films have been lost forever due to fires, floods, willful destruction, and just plain old apathy.  It’s a truth about all art in general as well, as great works of literature, sculpture and illustration all have to endure the flow of time, which isn’t very forgiving to physical works.

But, certainly with the limitless ability to store data in a digital realm, works of art such as film should be able to last forever, and defy the ravages of time that have caused so many works to be lost.  Even here there are some worries.  One, even though data is not finite it still is not indestructible.  Movies that are preserved as a digital master must exist somewhere, and that somewhere is on servers computing for the digital space you are accessing the movie from.  At this point, you are dependent on that digital platform for keeping the film in their library, and this is not always a guarantee.  Streaming has changed the game quite a bit when it comes to gaining access to a movie.  In some ways, it has helped to increase exposure for a lot of movies that otherwise might have been forgotten, as streaming is dependent on having deep libraries of content to entice subscribers to join.  But, with the movie studios being far more protective of their IP, this also has led to a decrease of the flow of movies across platforms that used to define the streaming market.  When it was just Netflix, Amazon and Hulu, the studios would be paid handsomely for the license to air their movies, much like how it worked on airing for television.  This would help to give more movies a longer lifespan outside of theaters, especially if there were long-term agreements set up for airings before a movie’s initial release.  But, the consolidation of IP into each studios’ in house streaming service is having the effect of a lot of these pre-release agreements not materializing anymore, and from that point it is left up to the studios to decide what they want to do with their movies.  You might think that it benefits movies to have a secure home on a streaming platform, but that really isn’t the case as the studios are also neglectful of even their own movies.

One of the biggest problems with the consolidation of IP for the purpose of streaming is that it takes the ownership away from the consumer.  Without the licensing model being put in place, movies are locked away within the vaults of the studios more strictly, and they ultimately determine what we are going to see.  Take the example of Disney, and their Disney+ streaming service.  Sure, you have easy access to all the familiar films that we know from the studio, with the big pillars of Disney Animation, Pixar, Star Wars and Marvel being the brands easily browsed on the service.  But, sadly, Disney is putting the value in their marquee titles and not on the deeper reaches of their catalog.  One thing that especially feels underutilized on their service is the library of films they acquired from their merger with 20th Century Fox.  A whole studio’s worth of movies and television shows that spans nearly a century, and only a small handful of their classics are found on Disney+, like The Sound of Music (1965).  Sure the further integration of Hulu onto the Disney+ platform is helping to expand the roster of Fox films on the service a little, but there are still literally hundreds of movies that are out of the public view because Disney is not fully integrating the Fox library onto streaming.  The same kind of limited library access is also affecting the other studio streamers as well, with platforms like Max and Paramount+ being very selective about what is available to watch on their platform.  These streamers are also governed by algorithms that determine what should be pushed towards their audience attention, which could also lead to a decrease in exposure for some movies.  There certainly are some benefits to be sure for streaming, especially with studios beefing up their investment in new digital masters for all their titles on there, including new restorations.  But, even with the vastness of potential on digital platforms, some movies are going to be lost.

And then there’s also the more insidious action taken by the studios to remove movies and shows from their platforms entirely.  We saw not too long ago where studios like Warner Brothers and Disney were removing content from their platforms purely in order to collect a tax write-off.  That means that these movies, many of which were exclusive to the streamers, just cease to exist.  Tax write offs only work if the studio promises to never profit off their removed content ever again.  That means they will never reappear on the streaming platform, nor be available to purchase anywhere else.  And it’s not just small films or shows that are getting this treatment.  Disney removed their expensive TV spin-off of the movie Willow (1988) and if you missed it the first time you are out of luck as the show was yanked for a tax write off.  On Max, Warner Brothers pulled the Doug Liman directed pandemic movie Locked Down (2021) which starred Anne Hathaway and Chiwetel Ejiofor for the same purpose, and I’m sure none of those A-Listers would ever have thought that one of the films on their resume would just cease to exist.  It’s a disturbing trend that movies and shows can just so easily be thrown away and kept from viewing eyes.  It really upends the life cycle of a movie, which for many movies still allowed audiences a longer time to discover a film as it went from theaters to home entertainment.  Locked Down didn’t even get a full year.  But, some people still feel that their access to movies are safe if they bought them through a digital retailer.  That unfortunately was challenged during a recent merger between two Japanese anime streaming providers.  Crunchyroll and Funimation were the leading online retailers of anime content, and late last year, they began the move to merge into one single platform.  Unfortunately, it was decided by Crunchyroll that none of the previous catalog purchases on Funimation’s site would carry over in the merger.  That means that people who paid to buy a digital copy of the movies on the Funimation website would no longer have ownership of their movies.  Understandably, people were upset that their purchases were basically voided out so that Crunchyroll could generate their revenue purely through subscription.  While this is not a widespread case in the industry yet, it could still easily happen elsewhere.  Sadly, the streamers have too much say in what is considered ownership of a film.

That’s why so many cinema fans out there are feeling more impassioned to put their money towards physical media.  When you own a physical copy of a film, it is yours to watch forever.  But sadly, with streaming still dominating the minds of studio executives at the moment, it is leading to a decline of the once prosperous home video market.  Disney earlier this year completely shuttered their own in-house physical media distribution wing and are now outsourcing their future releases to Sony instead.  We’ll still see some Disney movies released on physical media, but it may be determined solely on what they deem worthy.  In truth, far fewer movies are going to be released on physical media in the future; a privilege given to just a chosen few.  Other small movies may just only be lucky to get a special release from a third party publisher like Shout Factory or Criterion, but only if they somehow maintain exposure in the public eye.  Like so many works of art throughout the years a lot of movies may not survive this new world of home entertainment.  The studios iron grip on what gets put onto their platforms coupled with the decline of physical media production as well as the threat of streamers not honoring the ownership of past purchases all creates a great worry that we are going to see an acceleration of lost media in our lifetimes.  And that creates a lot of anxiety for cinephiles who worry that a huge chunk of our cinematic history could fade into oblivion.  Cinema may be only a bit more than a century old as an artform, but it has also become a crucial part of our heritage as a global community.  We let a big chunk of it fade into obscurity, or worse get deleted from the world based on the whims of the studios, we lose a bit of ourselves in the process.

So, what can be done.  We as individual collectors certainly can’t save every film; we don’t have the shelf space nor the money to make that happen.  What I have found to be a good way of preserving what we can of film history is to diversify our personal collections.  I for one make an effort to have all of my movies in both physical and digital form.  Most physical movies on the market from first parties do include a redemption code for a digital copy of the movie.  While not all of the studios allow you to redeem from all digital retailers (Paramount and Lionsgate are notorious for this), the codes are good pretty much anywhere digital movies are sold.  What I recommend is setting up an account with Movies Anywhere.  On this particular service, they do allow you to purchase off of their platform, but they are also valuable as a service that links your account with them to most of the other digital retailers.  By redeeming your code through them, your digital copy will be available to watch on iTunes, Fandango at Home (formerly VUDU), Google Play and Amazon.  Having accounts synced up like this ensures that your movie will be available to watch across multiple platforms, and that will help to safeguard your access to that movie in case one of those retailers decides to cut the film out of their library.  Back-ups are the key to helping keep a movie available to watch.  Physical media is the preferred format to watch a film, since you’re movie is being sourced locally from the disc itself and not through the internet.  But, physical media does deteriorate over time, so upgrading to better formats are ideal if it’s affordable and available.  I’ve gone through multiple purchases of the same films many times, from DVD to Blu-ray to 4K UHD, but if you only need that one time purchase, make sure to take good care of your films.  Safeguarding your movies in their original packaging is ideal, and make sure you avoid scratches and environmental dangers like extreme heat when the movie is outside of it’s package.  Downloading your movies and storing them in multiple Hard Drive back-ups can also ensure you have a movie preserved.  You may not help every movie survive, but if enough diligent collectors take the right steps, collectively we may all be able to safeguard enough movies to help most of them survive long term into the future.

I think a lot about how so much of our collective understanding about our culture is based what has managed to survive through the centuries.  I remember in my college English literature classes a lecture about the different tragedies that led to the destruction of key written works that gave a clearer picture of the times that they were written.  Think about what was lost in the fire that destroyed the Library of Alexandria, or the art that was sacked and mishandled during conflicts like the Crusades or the Mongol Invasions, or the Cotton Library Fire that destroyed many medieval manuscripts.  As my English professor made clear, out of all this historical chaos, it’s a miracle that something as ancient as Beowulf managed to survive into modern times and helps us to understand the role of literature of in the times of the Vikings.  The same goes for monuments such as the Pyramids of Giza, or the Parthenon in Athens.  What we know of our history comes from what has survived all these centuries.  We can only piece together from fragments in order to create an understanding of the whole.  While cinema is still a young art, it is nevertheless prone to the same destructive forces of time like the rest of what mankind has created.  Time has already taken it’s toll on some of our cinema history.  And the increasingly short-sighted moves made by studios to give them more control over what we are allowed to see is making it increasingly possible that we are going to lose a lot more.  We can do something about it.  Hold the studios accountable whenever they deem your purchases voided.  Make demands on what movies you want to see preserved.  Do what you can to diversify your library, especially when it comes to physical media.  An analog collection of movies may be prone to the ravages of time, but it also ensures that you have ownership of that movie, and it can’t be taken away by a studio.  Movies should have long lifespans after they are released, because not everyone gets to see a movie the first time around and there are many cases where it took years for a film to truly achieve classic status with it’s audience.  Movies ranging from It’s a Wonderful Life (1946) to The Iron Giant (1999) only became classics because they were given the chance to be discovered in other other mediums over a long period of time.  Now the are no longer cult hits, but rather mainstream masterpieces, and the current climate of short term success in the overcrowded streaming market would not let that happen.  The hope is that there are enough passionate movie lovers out there who will not allow for movies they love to fade away.  We owe it to ourselves to try all we can to help keep the movies immortal and last for generations to come.

In the annals of Disney Animation, and for all animation for that matter, no other film looms as large as The Lion King (1994).  The movie has become a global phenomenon that continues to be as widely popular now as it was when it first released 30 years ago.  In addition to conquering the box office, it has gone on to spawn numerous other properties that themselves become enormous hits on their own, such as tv spin-offs and an award winning Broadway show.  Even a “live action” remake from 2019 would go on to gross over a billion dollars on it’s own.  It seems like everything that this movie touches turns to gold, and it has been one of the primary engines of Disney’s success over the last quarter of a century.  But it may surprise you that Disney only viewed this movie as a major success after it was released in theaters.  Before that, it was viewed as the studio’s “B-Picture.”  The Lion King was developed in the middle of Disney Animation’s Renaissance period; a time when the studio was ramping up again in success after a long period of failure in the post-Walt Disney years.  The Little Mermaid (1989) is credited for kickstarting this new era and bringing Disney back to their former glory, and that success continued to build with Beauty and the Beast (1991) and Aladdin (1992) soon after.  At this time, it seemed like the Disney formula of action adventure mixed with fairy tale magic was what was helping them win back audiences.  The Lion King on the other hand was a bit of an odd fit, so it progressed along under the radar of the Disney brass.  But to the surprise of everyone, the little “B-Picture” would be the movie that would transform the studio forever, both in good ways and in bad ways.  But how did this unexpected hit manage to take it’s place in the Circle of Life at Disney Animation.

In the late 1980’s, right before Ariel and friends would make their first splash on the big screen, the top brass at Disney Animation were brainstorming their next move at the studio.  Beauty and the Beast and Aladdin were no-brainers of course, fitting with the fairy tale background that had worked for Disney in the past.  But Animation chief Jeffrey Katzenberg was interested in exploring an animated feature that was set in Africa.  This idea interested his colleagues, Roy Disney and Peter Schneider, and together they sought out ideas from the filmmakers at their studio.  Director George Scribner, who was just coming off of the minor success of their latest film, Oliver & Company (1988), managed to pitch a story idea that appealed to the executives called King of the Jungle.  The story revolved around a coming of age tale of a lion cub named Simba who is separated from his pride, raised by a family of baboons and does battle with an evil band of hyenas before eventually reuniting with his pride and becoming their king.  Katzenberg referred to it as “Bambi in Africa” as some of the coming-of-age elements were similar to the Walt era classic.  Scribner would refine the story more throughout the years after, adding in more Arthurian and Shakespearean elements to Simba’s story that gave it more gravitas.  But, unlike the other films being developed at Disney at the time, King of the Jungle was not intended to be a musical fairy tale.  It was very grounded in nature, treating the African setting as something more akin to a nature documentary.  After a year into development, the Disney team hired Roger Allers to assist Scribner with direction, hoping to give the story more focus as Allers had did as the Head of Story on Beauty and the Beast.  Allers would bring in his own of story artists, including Brenda Chapman and Chris Sanders, both of whom were rising stars at the studio.  The team worked on the story for a good 2 years, all the while Disney Animation was growing by leaps and bounds.  All of this new change at the studio would have a profound effect on the development of the film, and for a time, it was not moving the movie in the right direction.

Under George Scribner’s guidance, the story lacked an emotional core, and the executives at Disney were growing nervous.  Amidst the success of their mega hit animated musicals, King of the Jungle’s non-musical approach was just not working anymore.  There was worry that the movie would soon be scrapped completely, which prompted a lot of the top talent at Disney Animation to jump ship and join a more sure-fire project that was in development at the same time; an animated musical about the Native American icon, Pocahontas.  For most of the animators, Pocahontas was going to be the next Disney classic, while King of the Jungle was going to be the studio’s “B-Picture;” a minor film tossed through the production line like so many forgotten films of the post-Walt era.  To change the fate of the film, Roger Allers and his team decided to pitch a version of the story that was friendlier to musical numbers.  This did not sit well with George Scribner, who soon left the project entirely.  The movie had lost it’s original director, but was on track to becoming something better.  The title was changed to The Lion King, which was welcome because King of the Jungle made no sense for a movie where there is no jungle.  Producer Don Hahn, an enormously successful talent at the studio who helped to shepherd Beauty and the Beast to it’s success was brought on board to guide this new direction for the The Lion King, and soon after animator Rob Minkoff was promoted to director to take Scribner’s place.  For the team that stayed with The Lion King, being on board this “B-Picture” became something of a badge of honor.  They were now the underdogs, and just like with most underdog stories the ability to overcome the odds stacked against them helped to drive their belief that they could make something really special.

The story definitely became more Shakespearean in tone over time, becoming less like Bambi and more like Hamlet.  Simba would be betrayed by his uncle Scar, witness the murder of his father Mufasa, and live in exile until he reached adulthood where he would challenge his usurping uncle for the throne.  The direction of the movie would also visually take inspiration from great Hollywood epics from filmmakers like David Lean and Cecil B. DeMille, helping it to feel grander and more in line with the true vastness of the open Serengeti where the movie is set.  Producer Don Hahn stated that there were three pillars in particular that define the movie above all else and helped to make it the masterpiece that we all know; three sequences in fact.  One is the opening scene that introduces us to the world of this story; second is the wildebeest stampede scene that the story pivots on; and the third is the most magical scene in the movie where Simba confronts his father’s spirit, speaking to him from the great beyond.  Each of these moments are what sets the movie apart from all the other Disney films, and each was groundbreaking in their own right.  The wildebeest stampede for example took the still primitive tool of CGI animation to the next level, creating an epic scale sequence that would’ve been impossible to pull off only a few years before.  It was a bold sequence to pull of visually, but it also needed to land with the audience emotionally.  Simba’s father, Mufasa, the great Lion King, is murdered by his treacherous brother Scar and young Simba is given his first brush with death.  The sequence recalls a similar scene with Bambi after he loses his mother; but this time, Disney chose to not shy away from confronting death.  Bambi’s mom is killed off screen and we never see her again.  In The Lion King, Simba finds Mufasa’s lifeless body and grieves over it.  It’s an emotional sequence, beautifully animated, that was key towards helping The Lion King feel more momentous than the average Disney animated flick.

The next big factor in The Lion King’s success of course was the music.  No other Disney film sounded like Lion King, with it’s sweeping score infused with authentic African melodies and instrumentation.  Hans Zimmer, an acclaimed composer of note in Hollywood, was brought on board to score his first animated feature.  His work was a welcome departure from the work of Alan Menken, who had successfully scored most of the Disney Renaissance movies.  Menken’s work is brilliant, but his melodies would have been out of place in this African set story; plus he was already deep into working on Aladdin and Pocahontas during that time, making him unavailable.  Zimmer was a much better match, given that he had been working African influence into a number of his film scores before Lion King, including one particularly influential film called The Power of One (1992).  On that film, Zimmer collaborated with a South African musician named Lebo M who he wanted to work with again on Lion King.  Lebo M would prove instrumental in helping to shape the authentic African sound of the score; helping to find the right collection of musicians and instruments, as well as coaching the choirs whose voices would become key parts of the overall score.  Lebo even can be heard in the film itself as the very first voice we hear, with his iconic “Naaaaaaah” sung over a rising sun in the opening shot.  The songs would also need to be special as well.  Lyricist Tim Rice was brought on board at Disney to help complete the song score for Aladdin after the tragic passing of Howard Ashman.  He then moved over to working on The Lion King, and he proposed the bold idea of getting Elton John to write the melodies for the songs in the film.  No one believed that a pop star of Elton’s stature would want to work on a Disney animated musical, but to everyone’s surprise, he said yes.  In total, Elton John  and Tim Rice wrote five original songs for the film; the upbeat “I Just Can’t Wait to Be King,” the traditional villain song “Be Prepared,” the silly comical song, “Hakuna Matata,” and the pop friendly love ballad “Can You Feel the Love Tonight” among them.  But, if there was one song that mattered more than the others, it was the one that opens the movie, “Circle of Life.”  One of the pillars that the movie rested on, there has never been a grander opening number found in any animated film before or since.  It was the perfect tone setter, a magnificent showpiece for this ambitious epic, and it probably stands second to “When You Wish Upon a Star” in the pantheon of monumental Disney tunes.

The third pillar that mattered to the film is the climatic moment where Simba must confront his past and take his place as king; a responsibility he had been running away from.  The message becomes clear to him after he sees the image of his father reaching out to him from the heavens.  If there is one sequence that defines the movie above all else, it’s this moment.  The image of Mufasa silhouetted in the sky by storm clouds, creating this heavenly visage, is a work of pure art that stands among the best at Disney; especially in the Renaissance era.  Apart from the stunning animation, it also mattered who got to speak for the character of Mufasa, because he demanded a voice of authority.  Luckily, Disney was able to cast the iconic voice of James Earl Jones in the part.  No stranger to voice over roles, Jones brings such a dignified presence to the character Mufasa; very much embodying the identity of a Lion King.  To bounce off of the power of James Earl Jones’ powerful voice, Disney perfectly cast actor Jeremy Irons in the scheming, slimy role of the villainous Scar, who provided the perfect counter to Jones’ performance.  A duo of teen heartthrobs from different eras, Matthew Broderick and Jonathan Taylor Thomas, were cast in the role of Simba at different ages in his life, and both managed to give Simba the right amount of boyish charm while at the same time giving him the right amount of emotional pathos in the heavier moments of the movie.  Thomas’ performance in the death scene of Mufasa really feels authentically heartbreaking, and Broderick likewise gives a powerful turn during the pivotal conversation with Mufasa’s spirit.  The rest of the cast is also filled with perfectly matched voices.  Broadway vets Nathan Lane and Ernie Sabella were auditioning for roles as wisecracking hyenas, but the filmmakers realized they worked so well as a team that they instead got cast as Simba’s comical sidekicks, Timon the Meercat and Pumbaa the Warthog, both of which they were perfectly matched for.  And for the key role of the wise baboon shaman Rafiki, Disney cast legendary TV and stage actor Robert Guillaume, who really helped to ground the film with a dignified African sensibility.

Visually, musically and vocally, The Lion King had everything going for it by the end of it’s production.  Even the Disney execs were realizing that their “B-Picture” may be more special than they first thought.  But there were still some uncertain factors still in play.  One, the 1994 Northridge Earthquake that struck the Los Angeles area disrupted the workflow of the animation studio, so a lot of the animators had to bring their work home in order to get the movie done on time.  An eleventh hour change was also made to the “Can You Feel the Love Tonight” sequence after Elton John became upset that his love song was being sung by the characters Timon and Pumbaa, butchering what he had intended for the lovely ballad.  But probably what was most disruptive to the closing days of Lion King’s production was the simultaneous implosion of the Disney corporate level team.  CEO Michael Eisner had lost his right hand man, CFO Frank Wells, in a tragic helicopter crash, and had slighted Jeffrey Katzenberg who was seeking to fill that spot at the Disney company, making him the next in the line of succession at the company.  Eisner and Katzenberg’s relationship, which had always been contentious before, became un-reparable after that and just days before The Lion King was to premiere in the Summer, Katzenberg parted ways with Disney, leaving a major vacancy at Disney Animation.  Though the behind the scenes drama didn’t affect The Lion King at the box office too much, it did spell the beginning of the end of this monumental era known as the Disney Renaissance.  Despite all that, The Lion King not only started strong after it’s premiere on June 24, 1994, it would go on to break every record in the books that year for an animated feature.  By the end of it’s run, it was the then 3rd all time top grossing movie domestically at that time, right behind Jurassic Park (1993) and E.T. The Extra-Terrestrial (1982).  It would also collect two Academy Awards that year; Hans Zimmer for his score (his first) and one to Elton John and Tim Rice for the song  “Can You Feel the Love Tonight.”  But the legacy of The Lion King wouldn’t stop there.  A couple years later, Disney tasked Avant Garde stage director Julie Taymor with adapting Lion King for Broadway.  The result was another smash hit that won the Tony for Best New Musical and continues to be performed on the Great White Way to this day, over 25 years later.

The success of The Lion King would still be a double edged sword for Disney despite all the great fortune it has brought them.  In a way it became too popular, raising the bar too high for Disney to match or even surpass in the years after.  It’s ironic that the movie that the top Disney talent thought was going to be the superior film, Pocahontas, ended up underperforming the following year in 1995.  To critics and audiences, Pocahontas just didn’t wow them in the same way that The Lion King did.  There would be a steady decline of Disney Animation in the years after Lion King, with some modest hits here and there like Mulan (1998) and Lilo and Stitch (2002).  Disney Animation would go through some drastic changes during this time as well, with Pixar Animation pushing the industry towards computer animation and also more competing animation studios outside of the Disney company also making their moves, including Jeffrey Katzenberg’s newly formed Dreamworks Animation.  The Lion King really was the crest of a wave that helped to revitalize a dying artform at Disney Animation and then inevitably also lead to it’s downfall again.  Even still, the film remains an all time classic and one of Disney’s crowning achievements.  It also proved to be a great launchpad for a rising crop of talent at the studio.  Rob Minkoff would later find success as a live action filmmaker, working on the blockbuster Stuart Little films for Sony.  Chris Sanders would become a successful animation director in his own right, making a big splash with Lilo and Sitich before heading over to Dreamworks where he would create hits like How to Train Your Dragon (2010), The Croods (2013) and the upcoming The Wild Robot (2024).  Brenda Chapman would make her way over to Pixar and create the first ever fairy tale adventure over there with Brave (2012).  That’s an incredible legacy for a team that were considered the underdogs at one time at Disney.  The Lion King has so many iconic moments that still have the power to amaze even 30 years later.  It’s not surprising that this was one of the films Disney selected for special IMAX presentations in the past, as the canvas for the film genuinely earns that enormous screen.  Eventually Disney Animation would find it’s footing again post-Renaissance with hits like Frozen (2013) and Zootopia (2016), as they always seem to do after down periods, but The Lion King still remains a high water mark for Disney.  Whether it’s the catchy songs, the unforgettable characters, the compelling story, or the majestic animation, there’s something for everyone in this movie that makes it special.  And the behind the scenes story of the movie defying the odds to become a reality is itself an inspirational tale.  As they say, “Hakuna Matata means no worries” and that belief in being true to yourself has helped this lion continue to roar all these years later.

It’s hard to think of what the theatrical experience was like 10, 20, or more years ago.  The theater experience has been an ever evolving thing with the times, with multiple changes made by the theater chains done in order to boost the amount of people coming through their doors.  But one thing is for sure, this century old industry has never had a easy road to success.  It takes a lot to get people to leave the comforts of their home and pay money to sit in a dark room with a bunch of strangers.  To make that happen, movie theaters need to be special places and not just a place to see a movie.  That’s why so many movie theaters today are trying very hard to make their venues more than just a theater.  With the increasing standard of lounge style seating in every theater and in some places interactive features like the 4DX experience with motion seats and in theater effects, movie theaters are making the effort to lure audiences back after several years of struggle.  When the competition is the living room, people need to be reminded that movie theaters offer a far better experience that immerses you better into the movies.  But, not every movie theater can change so quickly with the times, and that has led to a bit of a contraction within the industry.  Thankfully, the movie theater industry is not dead yet, but they have been barely hanging on after it’s near Armageddon during the Covid-19 pandemic.  And hopes of a huge bounce back post-pandemic have largely faded due to a variety of factors, but mostly the lack of event worthy films in the market.  There certainly have been some incredibly successful films in this post-pandemic era, but they have been coming few and far between compared to how they performed in the last decade.  It seems increasingly like the box office may never in fact reach the same highs of the 2010’s ever again, as the future looks increasingly less favorable to the theater business.  But, is that something that Hollywood wants to see happen?

To understand the state of the movie theater industry, we have to examine what is ailing it.  First of all, the under-performance of movies at the box office.  Box office is a tricky barometer for gauging a movie’s success, because it’s the most immediate information we get about how a movie is performing.  Movie studios pay very close attention to the box office receipts, because it’s a definable number that they can gauge their economic outlook on, which is helpful for getting the attention of investors.  But because box office numbers are public record, this can be a double edged sword as a movie’s failure can also be a visible thing.  Unfortunately, too much has been made about these immediate box office numbers as a defining factor in a movie’s success.  There are many cases where movies became bigger hits outside of their initial runs in theaters like The Big Lebowski (1998), Fight Club (1999) and The Iron Giant (1999) due to success in home video.  Sometimes it’s not about how well a movie opens, but rather about how long it’s remembered that helps to separate the successes from the failures.  Sadly, Hollywood over time put too much value in theatrical performances, especially in how movies do in their opening weekend, and it unfortunately leads to many films getting abandoned before they actually have a chance to build momentum.  It was definitely a true thing for movies before the pandemic, but the economic bind that the market disruption has put the studios through has made this reality even worse.  Unless a movie delivers on expectations, some of which may be unrealistic, the studios are likely to abandon it and leave movie theaters hanging with a movie that has to perform all on it’s own.  You see this now even with big movies; a less than stellar opening weekend, and the marketing for that film immediately dries up.  There isn’t even enough time to wait and see if word of mouth can help turn the fortunes of a movie around.  Studios are more willing to throw in the towel opening weekend and focus on what’s next than giving a movie a chance. and it increasingly gives movie theaters a hard time as more and more movies are shuffled through.

Of course the changes in the streaming market have changed the dynamic.  A lot of the movies that once used to give audiences a variety of choices at the movie theater have since moved to streaming, leaving the theaters with far fewer choices as a result.  The mid-ranged budget movies like comedies and action thrillers no longer are believed to be competitive with the likes of mega franchises like the MCU.  So, these movies have gone over to streaming instead, mainly because they don’t have to feel the pressure of showing strong box office numbers once they release.  Twenty years ago, comedic movies were seen as some of the strongest performers at the box office.  Even bad comedies like Adam Sandler’s Jack and Jill (2011) were still capable of pulling over $100 million at the box office.  Now, those kinds of broad comedies are absent at the box office.  Sandler himself even abandoned theaters all together, as his Happy Madison production company now makes everything exclusively for Netflix.  It’s crazy to think that in the last five years the only Adam Sandler film released in theaters was the Safdie Brothers’ Uncut Gems (2019).  But this is where Netflix and other streamers have made a huge difference in the variety of movies that make it to the big screen.  Now, movie theaters can only depend on big studio tent-poles to bring audiences in, as well as small, low risk independents to fill in the rest.  The middle range that helped to give movie theaters an extra boost is all but dried up.  No more $50 million movies capable of grossing $200 million.  For most tent-poles now, $200 million has now become the minimum needed to turn a profit, and some movies now even require more.  With the bar for profitability now so high, it’s easy to see why more studios are opting for the streaming option, because if no one watches their movie, they won’t get that stigma of a public box office failure attached to their film.

The current problems for the film industry stem from these long in the making disruptions, but a lot of the problems they face are also self inflicted wounds that could’ve easily been prevented.  For one thing, the lagging box office of this Summer in particular is very much attributable to the needlessly prolonged strikes that occurred last year.  In the end, the studios ultimately acquiesced to the demands of the unions, showing that they could’ve easily reached a deal early on, but chose to string things out in the hopes that they could make the unions cave, which they didn’t.  So, Hollywood has no one else to blame for a work stoppage that went 6 months longer than it had to, and we are only now a year later beginning to feel the cost of that blunder.  The Summer 2024 movie season has not been on fire thus far.  So far, we’ve seen two movies perform well under expectations (Fall Guy and Furiosa) and another that is meeting expectations but not exceeding them (Kingdom of the Planet of the Apes).  Some worry that this is a sign that the Summer season will be one of the worst ever, which is going to put pressure on a movie theater industry that is still reeling from the pandemic.  We’ve already seen a record low Memorial Day weekend, and given the lack of overall films due to the gap made by the strikes, there’s few films on the horizon that look to reverse the trend.  Also the lack of restraint on the way movies are budgeted is making it near impossible for for the theatrical market to pull it’s wait in showing that it can turn a profit for these movies, so many are trying to compensate by raising the prices of a ticket.  But, raising ticket prices is having it’s own negative effect on the movies, as cash strapped customers are more willing to stay home than spend a whole bunch of money on a movie.  It’s this combination of ticket inflation and the underwhelming product coming out of the studios that has led to this perfect storm of problems plaguing both the studios and the movie theater business, though it’s especially harder on the theaters.

The thing is, there are movies that still are managing to drive business to the movie theaters.  Since the re-opening of the theaters post-pandemic, we’ve seen record shattering runs for movies like Spider-Man: No Way Home (2021), Avatar: The Way of Water (2022), and Top Gun: Maverick (2022).  Even this year, movies like Dune: Part Two (2024) and Godzilla x Kong: The New Empire (2024) have managed to demonstrate strong box office holds over multiple weeks.  It’s just that Hollywood is looking at all these examples of success, and not absorbing the lessons.  The thing that all of these movies had in common was that they were events.  They were the kinds of movies that demanded the attention of the audience, and were clearly movies that were meant to be experienced and not just watched.  Unfortunately, there’s no organic way to manifest a larger than life movie event that will generate the kind of box office that these movies did.  The Barbenheimer phenomenon was the biggest story in movies last year precisely because it was so unexpected.  The movies Barbie (2023) and Oppenheimer (2023) were expected to do well, but not to the tune of over $2 billion dollars collectively at the box office.  Movie theaters very much needed that Barbenheimer effect, but it’s something that could only have manifested in that particular moment, so it’s not something that can be conjured on demand.  But what Hollywood can do is to try to make movies that that are distinct from one another.  When the studios try to play things safe, all their movies will tend to just look the same, and audiences will eventually grow tired of that.  It’s something that is especially plaguing the super hero franchises at the moment.  The problem though is that Hollywood takes it’s time to adjust course and try new things.  Sequels and prequels are more likely to get the greenlight before any new intellectual property is ever gambled with by the industry.  And given that the examples I gave of the movies that performed spectacularly well in the last couple years were also franchise movies, the chances of anything new coming out of Hollywood anytime soon seem pretty remote.  But, the fact is that Hollywood has the capability of bringing audiences out to the theaters if they focus on the appeal of these movies and making them worthy of the big screen.  What ultimately draws audiences out of their living rooms is knowing that a theater gives them something more.

There are many ways to make the movie theaters more of a destination to be sure.  Going back to the early days of cinema, the medium of film was a place to experiment with many different techniques.  The introductions of sound and color made movies a whole lot more special, and when televisions started to challenge the superiority of the movie theaters in terms of exhibition, a new type of experience called widescreen began to emerge.  There were also gimmicks that didn’t quite take off as well as people hoped, like 3D and Smell-O-Vision, but these two had the effect of making going to the movies more than just “going to the movies.” There were also mad wizards like William Castle who went so far as to install buzzers into the theater seats to make his horror movies that much more electrifying for his audiences.  One wishes that kind of showmanship extended out into movies today.  In some places, you do see movie theaters that do cater to more to their audiences than just screening a movie.  There’s the Alamo Drafthouse style of Dine-In theaters that give you restaurant service within a theater setting that goes well above just popcorn and soda.  Also, one thing that has been consistently growing in success in the theatrical market in the last few years has been IMAX.  The company that produces the film stock has seen their business grow at a time when the rest of Hollywood has been either stagnant or shrunken.  More audiences are interested in seeing movies in premium formats rather than the standard presentation.  It was a big reason why movies like Oppenheimer and Dune: Part Two were able to be as successful as they were is because the IMAX format was essential to the experience, and audiences were willing to pay the premium ticket price to see these movies in the most ideal way possible.  They were also movies shot specifically for the format, meaning you are not truly seeing the true version of the movie unless you were watching it in IMAX.  True, IMAX is not ideal for every kind of movie, but what is ideal is for more movies that are made with the intent of utilizing their place on a big screen.

One other big thing that Hollywood should consider is to expand the exclusivity window for their films in theaters.  One of the unfortunate outcomes of the pandemic on the theater industry is that the theater chains gave up ground to the studios to allow for movies to go to digital platform earlier than they did before.  Before the pandemic, movie theaters had a 90 day window of exclusivity that allowed them to generate as much revenue as possible from a theatrical run before the movie would be available to buy digitally on places like iTunes or Vudu.  With theaters closed during Covid, the studios began demanding that the chains loosen that restrictive window to allow them the freedom bank off of these movies without having to wait three months.  The exclusive window was cut in half and has remained that way ever since, even with things large back to normal.  This change also allowed studios to begin a day and date style of release in both theaters and on streaming.  Unfortunately for both the theaters and the studios, this has caused a change in audience behavior that has caused movies in general to make less money in the long run.  People are no longer running out to see a movie when they know that it will be streaming within a matter of weeks.  This is especially true for family films, as parents are finding that it’s much less expensive for them to wait for the movie to appear on streaming than to spend tons of money on tickets and snacks from concessions.  The studios need to realize that there is no economic advantage to closing that exclusivity window tighter.  What is fascinating to see is that the movies that actually perform the best on streaming platforms are the ones that had full theatrical runs.  Disney’s Moana (2016) has consistently been present in the top ten streaming charts every single week, making it the most streamed film ever, even eight years after it first appeared in theaters, where it also did well.  It seems that movie theaters are still the ideal way for a movie to have it’s first good impression and that streaming is better used for the residual success that a movie experiences in the years after.  The big flaw of streaming is that the algorithms that they run on are geared to the viewers tastes, and for a movie to be seen on the platform it has to come with some built in awareness on the part of the viewer.  Otherwise it just becomes yet another thumbnail that we scroll past.

A lot of people are trying to assess what is going on with movies in theaters, but I don’t think anyone has the answer to how to fix it.  Even I don’t know, and my suggestions are just based on a handful of historic examples.  But, the sad truth is that movie theaters may never recover to where they were before.  We may be in for a period of decline that ultimately will lead to a significantly reduced theater market.  That doesn’t mean that it will go extinct.  There will always be a demand for the theatrical experience; it’s just that this kind of group of movie fans will have to be catered to with fewer options.  It saddens me when I see any movie theater closing, but it’s something that we are probably going to see much more of in the coming years.  Demand is not meeting up with the supply, so a contraction is inevitable.  But those theaters that do survive will be all the more cherished.  I worry most for those small town, mom and pop movie theaters as they are sometimes the only outlet for rural communities to have that cinematic experience, especially the ones that program an art house selection of movies.  But, the movie theater industry did face one of the worst shocks to it’s system during the Covid-19 pandemic and most movie theaters are still here, which is a hopeful sign.  Now Hollywood just needs to figure it’s own self out and actually see the value in making the kinds of movies that drive people to the cinema.  Not everything needs to be an IMAX sized event, but we do need a reminder that any type of movie is better seen on a bigger screen.  Whether it takes gimmicks like 3D, exclusive merchandise like custom popcorn buckets, or viral marketing like AMC’s Nicole Kidman ad, there are many ways to get people to come back to the movies. There’s also the great sense of community that comes from laughing and cheering with a room full of strangers during a great cinematic experience.  Streaming offers a lot of nice things, but it can’t replace the aura of a theatrical experience.  In this regard, the Nicole Kidman ad says it all: it makes movies better.

The stunt man is often looked at as the most thankless job in the movie business.  To perform a stunt on film involves a person literally putting their health and safety on the line to make an action beat feel authentic, and yet we don’t know the names of those who perform the stunt and we hardly ever see their faces.  And yet their work may end up being the most impressive thing that we see in any given movie.  Some of the greatest moments ever put on film are due to the work that these men and women do, and they are completely invisible.  At the same time, the stunt teams know that their job is to mainly make the movie stars look better.  The reason stunt teams exist at all is because movie studios will not risk endangering their actors, unless the actors do want to get more involved, which then will add more to the budget due to the insurance costs.  But there is little doubt that stunt work is an invaluable part of the making of a movie and more and more today we are seeing audiences becoming more appreciative of the work that these invisible men and women do.  After many years of tiresome CGI enhanced mayhem being overused by the industry, there is starting to become a growing appreciation for actual physical stunt work once again.  And this is due to the fact that people who have come up through the stunt departments in movies are now making their own movies and revolutionizing the action movie genre once again.  In the past couple decades, we’ve seen people like Michael Bay and Gore Verbinski become the leading action filmmakers, but these guys rose up into the director’s chair through visual effects and camera departments, making their action movies more visually oriented.  Today, the most celebrated action movies are the ones directed by former stunt performers like David Leitch and Chad Stahelski, who have brought action movies back to it’s grounded roots.  And as a result, the last few years have been something of a golden age for stunts in cinema.

Stunt work is a profession as old as the movies themselves, and even further back than that.  Stage craft as far back as the days of Shakespeare required performers who were skilled in combat and capable of feigning a realistic fight in front of an audience for the purpose of the drama.  That profession continued on and evolved as theater performances became grander spectacles over the years, incorporating elements that we still see today as part of the movie making business like wire work and acrobatics.  Once cinema arrived on the scene, performers who had trained their skills on the stage were necessary for making the illusion of life on screen feel authentic.  The first verified stunts captured on film were the of course in what is recognized as the first action movie, The Great Train Robbery (1903).  As primitive as the art of film still was in the dawn of the 20th century, The Great Train Robbery still had it’s actors acting out fights on real moving locomotives, which even today is something that requires a lot of risk taking.  That groundbreaking work of cinema paved the way for many more spectacles to come.  The silent era of film is one full of some death defying stunt work that honestly could never happen the same way today due to the fact that much of it was un-regulated at the time.  In those days, the actors themselves were required to do the stunts themselves because that was just the nature of filmmaking at the time, and some of their stunts involved falling from very high places or having something very heavy fall on their heads.  As movie stars emerged, it was recognized that these actors perhaps needed someone skilled to take their place for the more dangerous stunts.  And out of that, the stunt profession was born in Hollywood.  Movies from the great silent movie auteurs like D.W. Griffith and Cecil B. DeMille would certainly not have made as much of an impact had there not been a dedicated stunt team there to make those battle scenes feel as brutal as they possibly could be.

But the silent era also showed us a different way that stunts could be performed in film, and that was in the service of comedy.  If anything, the stunts of the silent era that still astound audiences to this day are the ones found in comedic silent films, particularly those of Harold Lloyd and Buster Keaton.  Charlie Chaplain had the occasional impressively choreographed stunt in his movies, but his comedic genius was more present in the small bits that he performed to perfection.  Lloyd and Keaton on the other hand went very big with their comedic stunts, often to the point where you feel they were tempting death in order to get the perfect shot.  Harold Lloyd’s most celebrated film, Safety Last (1923) involved the comedian hanging off of the side of a skyscraper, with the most famous image of the film being his clinging onto life by the hands of a clock face.  That moment was made possible before there was ever such a thing as rear projection or green screen, so to get the shot just right, Lloyd and his crew built a façade wall on the roof of an actual skyscraper.  Though he really wasn’t hanging right off the edge of a building, he was still very high up to get the real street scene below into the shot, so the stunt was still a huge risk to take.  In Buster Keaton’s movies, the gags were so elaborate and dangerous that there are several instances where if his timing was off by mere seconds, he would truly be dead.  The famous wall collapse in Steamboat Bill Jr. (1928) is a great example of this, as Buster had to hit his mark perfectly or else he wouldn’t have been in the safe zone as the needle point poking through the window hole in the side of a whole building coming crashing down.  And there’s of course The General (1926) where Keaton is working with full size moving trains as his props, which could’ve spelled disaster if one mistimed stunt led to a derailment.  But as much as these comedians nearly killed themselves for the sake of comedy, the hard work still paid off, and you can see the inspiration they had on comedies thereafter, with stunt work playing crucially into the comedy of films like It’s a Mad, Mad, Mad, Mad World (1963), The Naked Gun (1988) and so many more.

As the movies got bigger in the mid century, so did the stunts required to make the movie scenes feel more epic.  Two genres in particular began to advance the art of stunt work in this period; Westerns and Biblical epics.  For a lot of these movies, the ability to ride a horse (and more specifically to fall off one) became an essential skill for stunt performers.  This even led to an invention specifically made to help stunt actors, which was the L stirrup, which allowed horse riders to fall off a horse without getting their foot caught in the stirrup.  A lot of other inventions were created to also help enhance the stunt work performed on film, including air bags for falls from high places, air rams that were used to catapult performers into the air, and when censorship standards for on screen violence began to lessen, the introduction of squibs made gun shots all the more realistic on screen.  With the stunts becoming more complicated in these mid-century movies, the duty of a stunt coordinator became all the more important.  The stunt coordinator in many ways is a director of a film within a film, as their responsibility is to make sure the stunts are performed perfectly in conjunction with everything else on screen.  One of the most valuable stunt coordinators of this era was a man named Yakima Canutt.  Yakima was one of the most skilled horsemen in Hollywood in it’s early days, famous for having the first horse transfer ever put on film, which is to jump from one galloping horse to another.  Naturally, he was the go to guy for staging some of the most complex horse riding stunts in the movies, mostly in Westerns.  But his crowning achievement as a stunt coordinator can be found in the biblical epic Ben-Hur (1959), where he was the coordinator and second unit director of the legendary chariot race scene.  The chariot race in that movie is a monumental piece of filmmaking that still is unmatched over sixty years later and it’s due to the instinctive skills of a veteran stuntman who knew exactly what was required to work with horses in a big action sequence.

During the later part of the century, the profession of stunt work began to evolve again, stepping away from swords and sandals and heading more into the streets of modern society.  Stunt driving began to come into it’s own as vehicles became more streamlined and powerful on the road.  The most impressive stunts captured on film no longer were the kind that could be done on horseback but rather with horse power.  The Steve McQueen action thriller Bullitt (1968) revolutionized stunt driving with an extended chase scene in the middle of the movie, with real cars driving through the hilly streets of San Francisco.  The scene would go on to inspire many like it in movies like The French Connection (1971) and Vanishing Point (1971).  But that was not the only revolution in stunt work that was going on at the time.  In many ways, 1970’s was the first time where stunt performers were beginning to become appreciated and recognized by the average viewer.  Some former stunt men would go on to become movie stars themselves like Burt Reynolds.  But what really began to take hold in the 70’s was the influence of martial arts in movie stunts.  Audiences began to be wowed by more than one actor throwing punches at another; now they wanted to see high kicks, somersaults, and back flips added into the mix.  The martial arts master turned movie star that defined this shift in stunt work the most was Bruce Lee.  Lee, like many other stunt performers, was a trainer for movie stars for years before breaking out into starring in his own movies.  His life was tragically cut short right as his most famous film, Enter the Dragon (1973), was in theaters, but his legacy still remains strong to this day.  The Hong Kong based film industry that Lee rose out of itself would go on to revolutionize action films over the later part of the 20th Century, producing a impressive array of action film stars who were capable of performing their own stunts, like Jackie Chan, Chow Yun-Fat, and Michelle Yeoh.  In many ways, the Hong Kong action movie industry harkened cinema back to the early days where the spectacle of death defying action was the draw for the audiences, seeing just how far the performers could push themselves.

It should be noted though that despite there being a healthy amount of performers out there ready to use their skills to make stunts look all the more spectacular on screen, as well as plenty safety precautions put in place to safe guard if something goes wrong, the risk factor still results in some unfortunate events.  There are many instances of actors and stunt performers who have been killed on set when a stunt goes horribly wrong.  There are many instances where the death of a stunt performer or an actor can cast a pallor over the movie.  Brandon Lee tragically follow his father Bruce Lee to an early grave after a prop gun discharged a loaded round into his chest during the making of The Crow (1993).  Actor Vic Morrow also met a grisly fate when a helicopter fell right on top of him during the making of a battle scene in Twilight Zone: The Movie (1983).  And these are the names we know; sadly too few people will ever know the names of the stunt performers who gave their lives for film.  There is also the residual impact of stunt performers who survive but are forever crippled by the experience of a stunt gone wrong.  A recent documentary spotlights one such person whose life was forever turned upside down after a catastrophic on set accident.  David Holmes: The Boy Who Lived (2023) tells the story of the stunt double for actor Daniel Radcliffe on the Harry Potter movies who was crippled by such an accident.  Because Daniel Radcliffe and David Holmes worked side by side for so many years on the Potter franchise, they developed a special connection, and the accident deeply affected Daniel, who spear-headed the making of this documentary as a way of drawing attention to David’s story and why it’s important to help out the stunt workers when their lives are forever changed.  David Holmes story is tragic but also inspirational, because of how he’s been able to bounce back and go on living, but he’s lucky to have people like Daniel Radcliffe in his corner who can provide him with the support he needs.  Too often stunt performers are unable to get the health coverage that they need in order to continue performing stunts for a living, and in some cases on smaller budgeted movies, they can also be dangerously exploited.  As we learned from the tragic shooting on the set of the Western Rust, which took the life of cinematographer Halyna Hutchins, movie sets can still be dangerous places to be, even for seasoned professionals.

The positive thing is that in recent years, the work of stunt professionals has become far more appreciated by audiences.  It’s probably a response to the tiresome overuse of CGI in action movies that people want to see gritty, unfiltered in camera action again on the big screen.  And that’s why so many of the biggest action movies today are the ones directed by people who have emerged from the stunt departments of Hollywood.  One of the film franchises that has particularly led the way here is the John Wick series.  Star Keanu Reeves worked for years with his stunt double on the Matrix movies, Chad Stahelski, as well as the stunt coordinator David Leitch, on this passion project that was fully centered around stunts rather than visual effects.  The experiment worked and it has spawned a whole new generation of stunt heavy film in it’s wake.  This also coincides with the work of another movie actor who likes to do his own stunts, Tom Cruise, who has made stunts a center point for his Mission: Impossible franchise, as well as the blockbuster sequel Top Gun: Maverick (2022).  In the last couple of years, you’ve seen a bit of a return to the basics of stunt performance on film, but what is different this time is that the stunt teams are having more of a say in the creative process.  These guys want to show off their skills, and part of the thrill of watching movies in the Mission: Impossible or John Wick franchises is just seeing how creative these stunts can be.  And it’s a showcase built upon years of knowledge about the art of cinema dating back to the silent era.  When you see Tom Cruise climbing on the outside of the Burj Khalifa in Mission Impossible: Ghost Protocol (2011), it’s not all that far removed from Harold Lloyd clinging to that clock in Safety Last; the only difference is the size of the building.  But there is a trust and an appreciation there on those Mission: Impossible sets between the stunt performers and the filming crew that makes all the difference.  Hollywood is no longer taking their stunt teams for granted and we are seeing audiences really taking notice of the astounding work that stunt performers are doing too.

It’s fun seeing the promotional tour of David Leitch’s newest film The Fall Guy (2024), which has involved actor Ryan Gosling bringing along his team of stunt doubles to every talk show and movie premiere appearance along the way.  It’s a very deliberate attempt to give the stunt performers their due with a movie that’s clearly a love letter to the profession.  But across the whole industry, there is a growing consensus that the stunt profession has been undervalued for far too long.  There has been a growing call for the Academy to add a category at the Oscars for stunts, which to many is a no brainer and it’s a wonder why it’s taken this long for the Academy to even acknowledge the profession.  Given the longevity and essential nature of stunts in movie history, it’s long overdue for the profession to be recognized by the highest honor in Hollywood.  But, some elitists in the movie industry still see stunt work as the hallmark of more low brow entertainment, and it’s something that they want to resist recognizing at the Oscars.  There may be a case where a critically panned movie might receive an Oscar nomination solely because of their stunts, but there are a lot of great movies that use stunts brilliantly as well, and it’s a shame that the stunt performers on those films don’t get their due recognition.  Wouldn’t the chariot race in Ben-Hur have been worthy of an Oscar?  Or the car chase in Bullitt?  Movies like John Wick and Mission: Impossible are showing us that there is an art to stunt work that is as impressive and integral to a movie as any other element of filmmaking.  We won’t be getting a Best Stunts Oscar next year, but I feel like it’s closer to becoming a reality than it has ever been.  And it will be long overdue.  At the very least now stunt performers are finally getting recognized as more than just a fall guy meant to be faceless and there to make the movie star look better.  They are now being seen as some of the hardest working people in the film industry.  It’s also helping to get them the attention they need to receive the care from the industry that is essential for helping them heal from the wounds of their profession.  Whether they are getting blown up, blown out, tumbled around, or tossed from a high place, these brave men and women are the reason why movies feel as magical as they do.