I think...yeah, I think you might have cracked the Netflix code here. The films they produced in house feel like they are algorithmic approximations of what other studios do. This feels like an approximation of blockbusters. Maestro feels like an approximation of an awards film. There is no "why" behind them. They just...exist.
Meanwhile, films like Hit Man or May December feel like they have a reason for existing.
Will Smith had a why behind his reverse engineering of blockbusters. He wanted to be a movie star and therefore had to create films to get people to leave their homes and buy tickets. Netflix just has to get them to click.
You’re going the lord’s work, Sonny.
I think...yeah, I think you might have cracked the Netflix code here. The films they produced in house feel like they are algorithmic approximations of what other studios do. This feels like an approximation of blockbusters. Maestro feels like an approximation of an awards film. There is no "why" behind them. They just...exist.
Meanwhile, films like Hit Man or May December feel like they have a reason for existing.
Will Smith had a why behind his reverse engineering of blockbusters. He wanted to be a movie star and therefore had to create films to get people to leave their homes and buy tickets. Netflix just has to get them to click.