"I think for the last fifteen, twenty years or so, Hollywood has underestimated the appeal of the Western. I think there is still a huge market"
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Corbin is doing something actors rarely get credit for: diagnosing an industry trendline in plain language, from the vantage point of someone who’s actually lived inside the genre’s machinery. When he says Hollywood has "underestimated the appeal", he’s not pining for a dusty past so much as calling out a recurring studio blind spot: confusing fashion with demand. Westerns cycle out of prestige and back in again, not because audiences suddenly discover horses, but because the form reliably delivers what franchise IP often can’t - clean stakes, legible moral conflict, and a landscape big enough to hold national anxiety.
The subtext is economic as much as aesthetic. "Huge market" reads like a gentle rebuke to greenlight culture, where executives chase global four-quadrant certainty and treat Westerns as niche, politically risky, or too region-coded to travel. Corbin is implying the opposite: the "market" is hiding in plain sight, spread across older viewers who never stopped watching, younger viewers who found the genre through prestige TV (and games), and international audiences drawn to Americana as myth.
The timing matters. Over the past two decades, Westerns haven’t vanished; they’ve been rationed. We get periodic "revivals" packaged as awards bait or revisionist exercises, as if the genre needs to apologize for existing. Corbin’s pitch is simpler and sharper: the Western still works when you stop treating it like a museum piece and start treating it like a product people actually want.
The subtext is economic as much as aesthetic. "Huge market" reads like a gentle rebuke to greenlight culture, where executives chase global four-quadrant certainty and treat Westerns as niche, politically risky, or too region-coded to travel. Corbin is implying the opposite: the "market" is hiding in plain sight, spread across older viewers who never stopped watching, younger viewers who found the genre through prestige TV (and games), and international audiences drawn to Americana as myth.
The timing matters. Over the past two decades, Westerns haven’t vanished; they’ve been rationed. We get periodic "revivals" packaged as awards bait or revisionist exercises, as if the genre needs to apologize for existing. Corbin’s pitch is simpler and sharper: the Western still works when you stop treating it like a museum piece and start treating it like a product people actually want.
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| Topic | Movie |
|---|---|
| Source | Help us find the source |
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