Why is it in a time of great depression that most of the scripts I get for films made in and about Britain are so profoundly depressing?<\/p>\n
I realise that they are an accurate slice of these people’s lives, they reflect current life in the North and Midlands of England.<\/p>\n
But the audiences live those lives! they don\u2019t need to see them coming back at them from a big screen.<\/p>\n
In the 30\u2019s during the great depression the most successful films were ones that took people out of their depressing and hard real lives and gave them some hope.<\/p>\n
Maybe not even hope, maybe just a few hours escape.<\/p>\n
Busby Berkeley, the Gold Diggers series and Foot-light Parade, just sheer indulgence and fun.<\/p>\n
Producers, Directors, look around, the successful films in the UK are happy ones, Billy Elliott, The Full Monty, 4 Weddings, Bridget Jones.<\/p>\n
Are they art? who gives a damn!<\/p>\n
They entertain people and make money.<\/p>\n
Please send me a happy script\u2026<\/p>\n","protected":false},"excerpt":{"rendered":"
Why is it in a time of great depression that most of the scripts I get for films made in and about Britain are so profoundly depressing? I realise that they are an accurate slice of these people’s lives, they reflect current life in the North and Midlands of England. But the audiences live those … Continue reading “Happy Films”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[6],"tags":[],"class_list":["post-84","post","type-post","status-publish","format-standard","hentry","category-rant"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8PwMD-1m","_links":{"self":[{"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/posts\/84","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/comments?post=84"}],"version-history":[{"count":0,"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/posts\/84\/revisions"}],"wp:attachment":[{"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/media?parent=84"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/categories?post=84"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/tags?post=84"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}