One of the biggest surprises of 2010 was "Despicable Me," an original story that earned $540 million at the global box office, an enormous validation for storytelling that is not derivative. (Universal Pictures )
When negative Twitter commentary seemingly torpedoed the Sacha Baron Cohen film "Bruno" in July 2009, movie executives started talking in solemn tones about the ability of social networking to sway attendance. The era of using marketing to trick consumers into seeing bad movies was drawing to a close.
It was mostly lip service.
But as the year turns, there are signs the studios mean it this time. Audiences seem to be fleeing to quality — and the people who make movies are paying attention.
As Hollywood plowed into 2010, there was plenty of clinging to the tried and true: humdrum remakes like "The Wolfman" and "The A-Team"; star vehicles like "Killers" with Ashton Kutcher and "The Tourist" with Angelina Jolie;
"The Social Network," starring Justin Timberlake, left, and Jesse Eisenberg, has so far delivered $192 million, a stellar result for a highbrow drama. ( Columbia Pictures )
and shoddy sequels like "Sex and the City 2."
All arrived at theaters with marketing thunder intended to fill multiplexes on opening weekend, no matter the quality of the film.
But the audience pushed back.
One by one, these expensive yet middle-of-the-road pictures delivered disappointing results or flat-out flopped. Meanwhile, gambles on original concepts paid off.
"Inception," a complicated thriller about dream invaders, racked up more than $825 million in global ticket sales. "The Social Network" has so far delivered $192 million, a stellar result for a highbrow drama.
As a result, studios are finally and fully conceding that moviegoers, armed with Facebook and other networking tools and concerned about escalating ticket prices, are holding them to higher standards. The product has to be good.
Cynical cinema buffs will laugh: Isn't Hollywood always blathering on about quality yet churning out dross?
Perhaps. And there are always exceptions — how else to account for "Clash of the Titans," which sold a strong $319 million at the global box office in April despite messy 3-D effects?
Still, the message that the year sent about quality and originality is real enough that studios are tweaking their operating strategies. Sony is attaching untried, original directors to upcoming films — remakes though they may be. Disney has signed David Fincher ("The Social Network") and Guillermo del Toro ("Pan's Labyrinth") to its projects.
The need is obvious: North American attendance for 2010 is expected to drop about 4 percent, to 1.28 billion, according to Hollywood.com, which compiles box-office statistics. Revenue is projected to fall less than 1 percent, to $10.5 billion. It has been propped up by a 5 percent increase in the average ticket price, to $7.85, thanks to 3-D technology.
Sony Pictures Entertainment, the studio behind "The Social Network," is trying to bet more heavily on new directors with quirkier sensibilities.
To reboot its "Spider-Man" franchise, for instance, Sony hired Marc Webb, whose only previous film was the indie comedy "(500) Days of Summer."
The studio has also entrusted a big- screen version of TV's "21 Jump Street" to Phil Lord and Chris Miller, a pair whose only previous film was the animated "Cloudy With a Chance of Meatballs."
"We think the future is about filmmakers with original voices," said Amy Pascal, Sony's co-chairwoman. "Original is good, and good is commercial."
At Walt Disney Studios, which has traditionally not worried much about directorial artistry (at least in its live-action films), a new executive team has been busy attaching A-list filmmakers to broad blockbusters.
Fincher, who directed the breakout movie about Facebook, is working on an adaptation of "20,000 Leagues Under the Sea." Del Toro is developing a new movie around the concept of Disneyland's Haunted Mansion ride.
The model for Disney is Tim Burton's arty adaptation of "Alice in Wonderland," which sold $1.02 billion in tickets in the spring to become the year's No. 2 release. (The critical darling "Toy Story 3" was an inch ahead, with $1.06 billion; "Harry Potter and the Deathly Hallows: Part 1," which is still playing, is third, with $831 million.)
"In years past," said Sean Bailey, Disney's president for production, "most live-action films seemed like they had to be either one thing or the other: commercial or quality. The industry had little expectation of a film being both. Our view is the opposite."
The future for 20th Century Fox is largely about James Cameron, who has agreed to direct two "Avatar" sequels. But Fox is also encouraging producers to find more original material (perhaps talking-animal pictures, like the studio's money-losing "Marmaduke," have been exhausted).
Fox, which remained profitable in 2010 but suffered a string of major disappointments (including the expensive "Gulliver's Travels," which sold an anemic $6.3 million over its first weekend), is also trying to be more creative with its marketing.
One of the biggest surprises of 2010 was "Despicable Me," the animated movie about a criminal mastermind who has a life-changing encounter with three orphaned girls. An original story and made by Illumination Entertainment for Universal Pictures, it sold $540 million at the global box office, an enormous validation for storytelling that is not derivative.
"I believe there is a long-term danger to moviegoing if familiarity becomes too pervasive in the films we make," said Illumination founder Chris Meladandri. "The industry has a responsibility to its audience and to itself to make films that allow people to have a sense of discovery in the cinema."