Download Film Blockbuster ~UPD~

The term began to appear in the American press in the early 1940s,[1] referring to the blockbuster bombs, aerial munitions capable of destroying a whole block of buildings.[2] Its first known use in reference to films was in May 1943, when advertisements in Variety[3] and Motion Picture Herald described the RKO film, Bombardier, as "The block-buster of all action-thrill-service shows!" Another trade advertisement in 1944 boasted that the war documentary, With the Marines at Tarawa, "hits the heart like a two ton blockbuster."

Several theories have been put forward for the origin of the term in a film context. One explanation pertains to the practice of "block booking" whereby a studio would sell a package of films to theaters, rather than permitting them to select which films they wanted to exhibit. However, this practice was outlawed in 1948 before the term became common parlance; while pre-1948 high-grossing big-budget spectacles may be retroactively labelled "blockbusters," this is not how they were known at the time. Another explanation is that trade publications would often advertise the popularity of a film by including illustrations showing long queues often extending around the block, but in reality the term was never used in this way. The term was actually first coined by publicists who drew on readers' familiarity with the blockbuster bombs, drawing an analogy with the bomb's huge impact. The trade press subsequently appropriated the term as short-hand for a film's commercial potential. Throughout 1943 and 1944 the term was applied to films such as Bataan, No Time for Love and Brazil.[4]

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The term fell out of usage in the aftermath of World War II but was revived in 1948 by Variety in an article about big budget films. By the early 1950s the term had become standardised within the film industry and the trade press to denote a film that was large in spectacle, scale and cost, that would go on to achieve a high gross. In December 1950 the Daily Mirror predicted that Samson and Delilah would be "a box office block buster", and in November 1951 Variety described Quo Vadis as "a b.o. blockbuster [...] right up there with Birth of a Nation and Gone With the Wind for boxoffice performance [...] a super-spectacle in all its meaning".[4]

According to Stephen Prince, Akira Kurosawa's 1954 film Seven Samurai had a "racing, powerful narrative engine, breathtaking pacing, and sense-assaulting visual style" (what he calls a "kinesthetic cinema" approach to "action filmmaking and exciting visual design") that was "the clearest precursor" and became "the model for" the "visceral" Hollywood blockbuster "brand of moviemaking" that emerged in the 1970s. According to Prince, Kurosawa became "a mentor figure" to a generation of emerging American filmmakers who went on to develop the Hollywood blockbuster format in the 1970s, such as Steven Spielberg, George Lucas, Martin Scorsese and Francis Ford Coppola.[5]

In 1975, the usage of "blockbuster" for films coalesced around Steven Spielberg's Jaws. It was perceived as a new cultural phenomenon: fast-paced, exciting entertainment, inspiring interest and conversation beyond the theatre (which would later be called "buzz"), and repeated viewings.[6] The film is regarded as the first film of the "blockbuster era", and founded the blockbuster film genre.[7] Two years later, Star Wars expanded on the success of Jaws, setting box office records and enjoying a theatrical run that lasted more than a year.[8] After the success of Jaws and Star Wars, many Hollywood producers attempted to create similar "event" films with wide commercial appeal, and film companies began green-lighting increasingly large-budget films, and relying extensively on massive advertising blitzes leading up to their theatrical release. These two films were the prototypes for the "summer blockbuster" trend,[9] in which major film studios and distributors planned their annual marketing strategy around a big release by July 4.[10]

The next fifteen years saw a number of high-quality blockbusters released including the likes of Alien (1979) and its sequel, Aliens (1986), the first three Indiana Jones films (1981, 1984 and 1989), E.T. the Extra-Terrestrial (1982), Ghostbusters (1984), Beverly Hills Cop (1984), the Back to the Future trilogy (1985, 1989 and 1990), Top Gun (1986), Die Hard (1988), Batman (1989) and its sequel Batman Returns (1992), and The Hunt for Red October (1990).[11]

Eventually, the focus on creating blockbusters grew so intense that a backlash occurred, with some critics and film-makers decrying the prevalence of a "blockbuster mentality",[14] lamenting the death of the author-driven, "more artistic" small-scale films of the New Hollywood era. This view is taken, for example, by film journalist Peter Biskind, who wrote that all studios wanted was another Jaws, and as production costs rose, they were less willing to take risks, and therefore based blockbusters on the "lowest common denominators" of the mass market.[15] In his 2006 book The Long Tail, Chris Anderson talks about blockbuster films, stating that a society that is hit-driven, and makes way and room for only those films that are expected to be a hit, is in fact a limited society.[16] In 1998, writer David Foster Wallace posited that films are subject to an inverse cost and quality law.[17]

5) If they say yes right away, I will get the 'green light' to start pre-production, which is the time before filming where the production team and director do all the necessary prep work: casting, finding and booking locations, finding crew, making/buying costumes, building sets. Casting usually comes first, because any further financing and crew acquisitions will depend on which big famous person we convince to sign on.

Once in a blue moon, a studio will demand a "true" unknown for a lead role in a blockbuster film. This is more common in indie film, but occasionally happens for a big project. The most recent memory I have of one of these is from the new Star Wars trilogy. A worldwide search was conducted for the roles of Rey and Finn. HOWEVER - although thousands of people who are unrepresented self-submitted and sent in tapes, a casting director was simultaneously following their usual hierarchy and going to agents looking for someone, and it's worth noting that both Daisy Ridley and John Boyega were already represented and had some small professional and indie roles under their belts. I generally mistrust studios when they ask for a "true" unknown - they don't usually want someone who is completely new, they want a skilled, proven actor who is a new face to THEM and to the wider industry. Keep that in mind and keep a healthy skepticism when seeing these open calls.

- If you email your resume to a random person who's connected to the project but isn't in casting, I can guarantee they'll just roll their eyes and delete it and maybe block your email for good measure.

- If you DM someone involved with the project on social media, they either won't see it, or they'll delete/block there too.

- If you put a video on TikTok saying how perfect you are for a role, or film a self tape unsolicited and put it online and ask people to tag creators in it, you'll likely be laughed at.

I am producing a student short this summer, and it takes place in the late 90's. I was wondering if anyone could point me in the direction to see if we can use blockbuster. I've spoken to a few copyright lawyers the ones I can get to call me back, and they said since it is out of business we should be ok but they aren't sure. Does anyone know where I can go or who can talk to and find out for sure?

Very few lawyers will agree in this area. It's basically a 'maybe' situation because it depends on what you intend to USE their image for. Even if it's still an active company and still in use a trademark (which it is), that does not mean that you always have to get permission from them to use it. So much depends on how you use it. If it's just a casual reference like 'we are going to blockbuster', and you don't paint them in a bad light - then this would most certainly be fair use under my understanding of fair use. However, it's a whole other ballgame if your movie takes place entirely within a blockbuster store or uses their branding and trademarks as a central part of the movie.

Directed by Steven Spielberg, then just 26 years old, "Jaws" surfaced in the summer of 1975. John Williams' theme (the most famous two notes in Hollywood history), and those teeth, scared families out of the water and into movie theaters, becoming the blueprint for the modern blockbuster.

"I was a kid when 'Jaws' came out," said Slate film critic Dana Stevens. "But I remember that in prime time every night there would be, you know, these scary trailers for 'Jaws' on TV. And so, by the time it opened in the summer of '75, people were hyped."

Thirty-five years after "Jaws," "Avatar" redefined the blockbuster. So far, James Cameron's 3-D science fiction film has earned $3 billion at the box office. It's Hollywood's biggest moneymaker ever.

"The truth is, the blockbuster is a concept, an idea, a strategy that Hollywood has been using for quite a few decades before 1975, when 'Jaws' was released," said Charles Acland, who chronicles this cinematic business model in his book, "American Blockbuster." 17dc91bb1f