I think what modern filmmakers keep forgetting (especially disney affiliated productions) is that actors used to have a much...
I think what modern filmmakers keep forgetting (especially disney affiliated productions) is that actors used to have a much more hands on and involved part. they weren’t just reading lines handed to them in a dark alley ten minutes before filming. they suggested script revisions and could improvise lines on the spot bc they knew their characters.
if mark hamill says “that’s not my luke skywalker” that’s a problem. if temuera morrison had insight into boba fett’s character the producers shouldn’t have just told him to deal with the script he was given. if seb stan was concerned about the lack of closure in the steve bucky relationship that’s an issue! the insane levels of secrecy and treating actors like the only thing they are good for is regurgitating lines is so detrimental to modern film/television
Something to bear in mind is that this isn’t our first turn on this particular merry-go-round.
Back in the early days of Hollywood, when vertically integrated monopolies were the norm and studios, distributors and theatre chains were all owned by the same parent companies, actors were basically treated like cattle, locked into exploitative multi-film contracts, routinely kept in the dark and lied to, and – apart from a handful of the very largest stars – had very little creative input. This would remain the case until a series of massive antitrust lawsuits in the 1930s and 1940s forced the studio monopolies to break up.
Now we’re seeing a shift back toward all film production being controlled by a tiny handful of companies, employing abusive booking practices to push the theatre chains around and exercise de facto control over theatre booking decisions in spite of technically being unaffiliated – and we’re also seeing a shift back toward how actors were treated under the old studio monopolies.
Like, this isn’t just a problem with the cultural zeitgeist. It’s not just a matter of people forgetting how to make good films. There are concrete economic incentives that lead to this sort of behaviour – and just like the first time around, it’s probably not going to get solved any way other than at legislative gunpoint.