There is I think another factor to consider when evaluating films nowadays. Many of the films made today are geared for an international audience. Two-thirds of the revenues generated are from this audience.
If we have storylines that at script-stage feel too U.S.-centric, especially with big action or science-fiction movies, we try to come up with solutions that will make the movie feel more global.
- Tomas Jegeus, Co-President of 20th Century Fox International Theatric (http://entertainment.inquirer.net/16...seas-audiences
So, Hollywood can justify making a film up close to $200 million, because they know that the amount needed to coup revenue - $600 million, two-thirds of it will come from overseas.
Here is another quote that I think reflects on what I have seen in the last decade or so.
The rise of the videogame along with the ability of special effects artists to realize wholly imaginary worlds has made the story world one of the three or four crucial elements in a blockbuster film. As little as a decade ago, Hollywood didnít care about story world, because it slows down narrative drive. Special effects were designed primarily to heighten heroic action.
But videogames showed Hollywood the power that comes from having viewers immerse themselves and explore a world in all its facets. And thereís no medium that can do that better than the big screen film medium.
Many screenwriters believe that this aspect of the film is the responsibility of the director and the special effects artists. Wrong. A good story world is written into the script, and it is intimately organic to the story. Thatís why you must make sure that every visual element contributes to the story. In other words every element should have story meaning embedded within it.
- John Truby (http://www.writersstore.com/5-keys-t...r-blockbuster/