Does anyone here know what a “screenplay movie” is?
A “screenplay movie” is a movie that actually resonates because of the screenplay.
Most of the movies at the top of the box office in the IP era are *not* screenplay movies. They’re Hollywood movies.
They’re designed to sell tickets and merchandise. Their impact is based more on the filmmaking – the big set pieces, the flashy production value, the huge star power – than anything that’s written on the page.
It’s not that writing these movies is easy. Far from it. Hollywood movies have their own set of challenges brought on by managing multiple points-of-view (the studio, the director, the actors, 20 different producers), many of which conflict.
Imagine receiving a note from the lead actor to make their character funnier then an hour later receiving a note from the head producer to make the lead character more serious. That kind of conflicting feedback is not uncommon.
But the bulk of Hollywood movies are about laying out a clear three-act structure and managing exposition so that the audience can clearly follow what’s going on. You are solving issues that are more technical than artistic, which is why these movies are less rewarding to work on and less rewarding to watch.
“Screenplay movies” put more thought into the characters, take more risks inside the plot, have more to say through their themes, and generally make you think and feel a lot more. They are designed to connect with you rather than whack you across the head.
Here is a list of the top 10 movies at the global box office in 2023:
1) Super Mario Bros — $1.36B
2) Barbie — $1.34B
3) GotGVol3 — $845M
4) Oppenheimer — $777M
5) Fast X — $705M
6) Across The SpiderVerse — $688M
7) The Little Mermaid — $568M
8) Mission Impossible7 — $552M
9) Ant-Man3 — $476M
10) Elemental — $468.6M
Surprisingly, five of them are screenplay movies and five of them are Hollywood movies. I say “surprisingly” because, usually, the top 10 is dominated by Hollywood movies. Do you know which ones are the screenplay movies? I’ll give you a second to make your picks.
The Hollywood movies on the list are…
Super Mario Brothers
Fast X
The Little Mermaid
Mission Impossible 7
Ant-Man 3
The screenplay movies are…
Barbie
Guardians of the Galaxy 3
Oppenheimer
Across The Spider-verse
Elemental
I know a lot of people loved Super Mario Brothers but let’s be real. It’s positioned as a product above all else. I wouldn’t be surprised if AI is writing all the Fast & Furious scripts at this point, the writing has become so insignificant. Did anybody even write The Little Mermaid? Aren’t they just using the same script as last time? Mission Impossible 7 isn’t as bad as Fast X in the writing department. But that franchise clearly prioritizes stunts over everything else. And then Ant-Man 3 is part of the Marvel machine. They probably have a studio exec leaning over a poor screenwriter’s shoulder saying, ‘yes,’ ‘no,’ ‘yes,’ ‘no,’ ‘rewrite that part,’ after every sentence.
With the screenplay movies, we’ve got Elemental, which I’m guessing is a screenplay movie because Disney puts a lot of thought into their screenplays for their original films, a valuable lesson they learned from Pixar. I haven’t seen Spider-verse but everybody tells me it’s got a great screenplay. I almost put Oppenheimer on the Hollywood list because Nolan prioritizes directing over writing. He’s more about his vision than getting the screenplay right. But he cares so much about these characters, and characters are the most important screenplay ingredient of all, that I decided to give him the benefit of the doubt. James Gunn has always been a screenplay-first guy. And you can tell he wants to move people with Guardians of the Galaxy. He doesn’t just want spectacle.
And then you have Barbie.
Barbie is an anomaly. It is a screenplay movie in a Hollywood movie body. Which is why, even though I didn’t agree with its message, I commend the writers for what they accomplished. Cause what they accomplished is amazing. They made a billion-dollar movie that actually makes you think, that actually gets people talking.
I told you, when I went on my recent family reunion, everybody in my family had an opinion about Barbie. That’s so rare these days. But it’s because the movie is a “screenplay first” concept that it’s resonating. It’s trying to say something rather than trying to draw audiences in. It just happened to be a product that everyone wanted to see. Which is how they used to make movies. They’d make gambles like this.
And for those of you who are saying, “Carson… blah blah blah… it’s Barbie. It’s international IP. Everyone was going to see this no matter what.” I don’t agree with that. I think if they went with the Hollywood version of this, it would’ve looked flat. It would’ve looked uninteresting. It would’ve still made money. But it would not have come anywhere close to 1.3 billion.
“Barbie” should be encouraging to every screenwriter out there. It shows you that when a good writer has a strong vision, they’re better at this than all the studio heads combined. The artist is the only one in the equation who wants to take risks. The studio and the producers hate risks. Which is why the movies they spearhead feel so average. They never hit you on an emotional level.
Here is this latest weekend’s Top 10 along with their categorization…
1) Gran Turismo – 17.3 mil/17.3 mil – Hollywood
2) Barbie – 17.1 mil/594 mil – Screenplay
3) Blue Beetle – 13 mil/46 mil – Hollywood
4) Oppenheimer – 9 mil/300 mil – Screenplay
5) Teenage Mutant Ninja Turtles: Mutant Mayhem – 6 mil/98 mil – Hollywood
6) Meg 2: The Trench – 5 mil/74 mil – Hollywood
7) Strays – 4 mil/16 mil – Hollywood
8) Retribution – 3.3 mil/3.3 mil – Hollywood
9) The Hill – 2.5 mil/2.5 mil – Screenplay
10) Haunted Mansion – 2 mil/62 mil – Hollywood
I was rooting for Gran Turismo and happy for its first-place finish. Even though it’s a subdued winner, it should get director Neil Blomkamp another directing project. Whether that’s a good or a bad thing, we’ll find out. But a part of me still roots for him, at least until we get District 10. The movie just couldn’t overcome its benchwarmers status. The cast (Orlando Bloom?) makes you think that someone at Netflix made a mistake and accidentally put the movie in theaters instead of on the service.
Poor Blue Beetle. These DC movies can’t overcome their association with the former era of DC. Who wants to see a superhero movie that they know has no future? But even if that wasn’t the case, the CGI on this Blue Beetle guy screamed “cheese factor 700 thousand.” It just didn’t work. It was an ill-conceived superhero project from the outset.
The movie I was most intrigued by on this list was Strays. Not because I wanted to see it. But because it’s a physical manifestation of how confused Hollywood is right now. It used to be that if you pitched a movie like this in a room, the response would be: “A movie with real dogs that’s raunchy and R-rated? So you can’t bring kids, cause it’s too raunchy. And you can’t bring in adults because adults don’t want to see a movie about dogs on an adventure. Who’s going to show up to this movie???” The pitch would die before the writers could ask if the studio preferred two brads or three on their drafts.
But, these days, nobody knows what’s going to do well or not so they throw stuff at the wall. On some level, I admire it. It’s a bold move. But, in the end, it turned out the old school thought process was correct. This concept actively discourages both ends of the audience spectrum from seeing the film.
I’m just glad that, after looking the box office up and down this week that screenwriting still matters! I don’t know why I thought it didn’t matter at the top of the box office. I guess I assumed that the top 10 movies were always going to be machines that placed screenwriting at the bottom of the priority list. But it’s clear from Barbie’s success (as well as some of these other giant films) that if you want to really connect with audiences, giving screenwriters a concept and “getting the f**k out of the way,” a la Michael Jordan circa 1989 in Cleveland, is the best way to go. :)
