"It's only in relatively recent years that Hollywood became the playground of multinational corporations which regard movies and TV shows as a minor irritant to their overall activity"
About this Quote
Hollywood used to sell dreams; Bart’s jab is that it now mostly sells quarterly stability. The sting in “playground” is deliberate: it flips the old myth of studios as swashbuckling creative empires into an image of executives treating entertainment like a casual diversion. Then he twists the knife with “minor irritant,” a phrase that’s almost comically insulting to anyone who believes films and television are the main event. In Bart’s worldview, stories aren’t the product anymore; they’re the byproduct of conglomerate logic.
The intent is less nostalgia than diagnosis. Bart is naming a power shift: when studios became units inside multinational portfolios, movies stopped being the center of gravity and became one more line item competing with theme parks, telecom infrastructure, streaming platforms, hardware, and global licensing. That structure changes what gets made and how risk is defined. The subtext: “creative decisions” are increasingly financial decisions wearing a creative costume. A film that might have been justified as art, prestige, or cultural impact gets judged instead by whether it moves subscriptions, protects IP, avoids controversy in key markets, or feeds an ecosystem of spinoffs.
Context matters because Bart isn’t an outsider throwing stones; as an editor and longtime industry observer, he’s speaking from inside the trade’s memory. His phrasing captures a particular modern frustration: Hollywood still performs romance about auteurs and originality, but the real script meeting happens in the boardroom, where entertainment is valuable chiefly when it’s predictable, scalable, and defensible. That’s why the line lands: it’s not anti-Hollywood, it’s anti-corporate indifference masquerading as stewardship.
The intent is less nostalgia than diagnosis. Bart is naming a power shift: when studios became units inside multinational portfolios, movies stopped being the center of gravity and became one more line item competing with theme parks, telecom infrastructure, streaming platforms, hardware, and global licensing. That structure changes what gets made and how risk is defined. The subtext: “creative decisions” are increasingly financial decisions wearing a creative costume. A film that might have been justified as art, prestige, or cultural impact gets judged instead by whether it moves subscriptions, protects IP, avoids controversy in key markets, or feeds an ecosystem of spinoffs.
Context matters because Bart isn’t an outsider throwing stones; as an editor and longtime industry observer, he’s speaking from inside the trade’s memory. His phrasing captures a particular modern frustration: Hollywood still performs romance about auteurs and originality, but the real script meeting happens in the boardroom, where entertainment is valuable chiefly when it’s predictable, scalable, and defensible. That’s why the line lands: it’s not anti-Hollywood, it’s anti-corporate indifference masquerading as stewardship.
Quote Details
| Topic | Movie |
|---|
More Quotes by Peter
Add to List
