Originality lies within the eye of the camera-holder

Dodge students and faculty discuss the opportunities for originality within the film industry and the vast array of mediums for new content. SAM ANDRUS, Photo Editor

As a 12-year-old discovering my love for film, I sat attentively watching “Gladiator,” nodding my head as Russell Crowe’s Maximus screamed, “Are you not entertained?” to the crowd after taking down a number of sword-wielding challengers. Maximus was a badass. But — spoiler alert — Maximus is dead. The only thing that can bring him back 20 years later? Money.

I couldn’t help but roll my eyes when I saw British film director Ridley Scott announce a sequel to “Gladiator.” At first, I brushed it off as another cash grab until a nagging fear settled in the pit of my stomach. It dawned on me that the majority of content coming to the big screen is a replica of something that’s been done already, and as a screenwriting major, I’m paying private school money to write original content.

However, after three provocative conversations, my nerves were settled, and I realized that original content remains out in the media landscape through many different forms. The fact of the matter is Hollywood no longer operates exclusively on big-screen debuts and red carpet roll-outs. Upon graduating, Dodge students will face a drastically-changed industry with content not only coming to the theaters but 6-inch iPhone screens as well. 

According to film studies professor Luci Marzola, the notion of originality has been in question since the beginning of Hollywood.

“Films that are based on nothing but the imagination of the screenwriter have always been a rarity,” Marzola said. “Even if we look at something like the year of 1939, ‘Gone With The Wind’ was based on a best selling novel. Anything that is franchisable will be franchised because as much as it is a creative industry, it’s still an industry and they are still interested in money.”

However, Marzola noted that just because something is a franchise or remake doesn’t mean there isn’t room for originality. 

“I think we’ve seen that within franchises that some have shown great originality and personality. I wouldn’t let that emphasis daunt students from doing something original,” Marzola said. “Some franchises allow for more flexibility and interpretation than others. Variations of quality have always existed. This new ‘Dune’ isn’t going to be like David Lynch’s 1984 ‘Dune.’” 

Echoing Marzola’s sentiments, Zayd Ezzeldine, a sophomore film production major, cited “Thor: Ragnarok” and the John Wick movies as franchises that have gotten progressively better with new original and creative routes. 

“I can’t say I was running to the theater to see (F9: The Fast Saga) but I do think there are some very solid releases coming out,” Ezzeldine said. “There’s stuff to appeal to everyone from mindless popcorn munchers to more experimental films.”

According to junior screenwriting major Zach Thompson, original content today is often found on streaming sites, since studios don’t want to take the risk on a theatrical release from newbie directors whose film content doesn’t have an established fan-base. Because of this, streaming is emerging as the dominant medium for aspiring filmmakers. 

“I think streaming will be a future vehicle in that sense, and (streaming services are) almost getting to the point where they’re studios in their own right,” Thompson said. “Yes, the big movies that are getting the big coverage are remakes — another Marvel one right out the presses — but I find that within the sheer amount that Hollywood produces, there’s always something original.”

While my childhood dreams of Hollywood were centered around lavish, black-tie movie releases, I’ve had to alter those dreams. But, maybe watching my original limited series around a laptop in sweatpants when my future career kicks off might not be so bad, and Ezzeldine agrees.

“I can see people putting their heart and soul into a movie and wanting people to see it on the big screen as opposed to eating pizza rolls on their laptop,” Ezzedline said. “But at the same time, all eyes are on streaming. You could have a couple thousand people see it in the theater or a couple million people see it on Netflix.” 

On the contrary, Thompson believes that seeing a film in theaters provides an irreplaceable experience.

“I remember freshman year coming out of the Folino Theater,” Thomspson said. “Everybody came out of the shown movie and talked about it. It’s such a vivid and happy memory I have in my mind. You can get that to a certain degree with friends sitting around a TV, but I don’t think it has the same wow factor. You can drive around the block really fast, but it’s not the same as an amusement park ride. There’s something more emphasized and grandiose about the theater.”

Despite whatever platforms await, Ezzeldine said that Chapman does a good job of preparing students for the industry by encouraging original content and avoiding pushing boundaries on student films. 

“I think Dodge students tell the stories they want to tell limited only by financial situation,” Ezzeldine said. “We’re not afraid to take creative leaps. We see musicals and comedies and really interesting concepts from people who push boundaries and tell stories that are important to them.”