A fine rant. Movie marketers receive the harshest words:
The rise of marketers has also brought on an obsession with demographics. As anyone in Hollywood will tell you, the American filmgoing populace is divided two ways: by gender and by age. Gender is self-explanatory (usually); the over-under dividing line for age is 25. Naturally, every studio chief dreams of finding a movie like Avatar that reaches all four “quadrants” of the audience: male and female, young and not. But if it can be made for the right price, a two- or even one-quadrant film can be a viable business proposition.
In Hollywood, though, not all quadrants are created equal. If you, for instance, have a vagina, you’re pretty much out of luck, because women, in studio thinking, are considered a niche audience that, except when Sandra Bullock reads a script or Nicholas Sparks writes a novel, generally isn’t worth taking the time to figure out. And if you were born before 1985… well, it is my sad duty to inform you that in the eyes of Hollywood, you are one of what the kids on the Internet call “the olds.” I know—you thought you were one of the kids on the Internet. Not to the studios, which have realized that the closer you get to (or the farther you get from) your thirtieth birthday, the more likely you are to develop things like taste and discernment, which render you such an exhausting proposition in terms of selling a movie that, well, you might as well have a vagina.
And, of course, you, yes you, aren’t without blame:
Which brings us to the embarrassing part. Blaming the studios for everything lets another culprit off too easily: us. We can complain until we’re hoarse that Hollywood abandoned us by ceasing to make the kinds of movies we want to see, but it’s just as true that we abandoned Hollywood. Studios make movies for people who go to the movies, and the fact is, we don’t go anymore—and by we, I mean the complaining class, of which, if you’ve read this far, you are absolutely a member. We stay home, and we do it for countless reasons: A trip to the multiplex means paying for parking, a babysitter, and overpriced unhealthy food in order to be trapped in a room with people who refuse to pay for a babysitter, as well as psychos, talkers, line repeaters, texters, cell-phone users, and bedbugs. We can see the movie later, and “later” is pretty soon—on a customized home-theater system or, forget that, just a nice big wide-screen TV, via Netflix, or Amazon streaming, or on-demand, or iPad. The urgency of seeing movies the way they’re presumably intended to be seen has given way to the primacy of privacy and the security of knowing that there’s really almost no risk of missing a movie you want to see and never having another opportunity to see it. Put simply, we’d rather stay home, and movies are made for people who’d rather go out.