"Most of what gets made now, you laugh your way through, go home and forget you've seen it"
About this Quote
A working actor’s complaint rarely lands with this much sting. Berenger isn’t wagging a finger at comedy; he’s indicting a culture of disposable entertainment, the kind engineered to be pleasant in the moment and chemically absent the next day. “You laugh your way through” sounds generous until you feel the trapdoor under it: laughter as anesthesia, not release. The sentence moves like a bad night at the movies - smooth, frictionless, and then gone.
The intent is partly professional, partly moral. As someone who came up in an era when studio pictures still gambled on adult drama and star vehicles with bite, Berenger is mourning the middle tier: films made for grownups that didn’t need capes, multiverses, or algorithm-proof fan service. “Most of what gets made now” is carefully phrased. He’s not claiming nothing good exists; he’s saying the dominant incentives reward bland competence and punish anything that might linger, provoke, or demand a second look.
The subtext is about risk and memory. We’re drowning in content that functions like fast food: engineered for immediate satisfaction, optimized for broad appeal, and forgettable by design. Even the rhythm of the line does the critique. It’s one continuous conveyor belt - laugh, leave, erase - a miniature assembly line of consumption.
Culturally, it’s also a warning about attention. If art can’t compete with the scroll, it starts imitating it: shorter emotional arcs, softer edges, fewer scenes that make you sit in discomfort. Berenger’s real fear isn’t that movies aren’t fun. It’s that they’re not leaving a mark.
The intent is partly professional, partly moral. As someone who came up in an era when studio pictures still gambled on adult drama and star vehicles with bite, Berenger is mourning the middle tier: films made for grownups that didn’t need capes, multiverses, or algorithm-proof fan service. “Most of what gets made now” is carefully phrased. He’s not claiming nothing good exists; he’s saying the dominant incentives reward bland competence and punish anything that might linger, provoke, or demand a second look.
The subtext is about risk and memory. We’re drowning in content that functions like fast food: engineered for immediate satisfaction, optimized for broad appeal, and forgettable by design. Even the rhythm of the line does the critique. It’s one continuous conveyor belt - laugh, leave, erase - a miniature assembly line of consumption.
Culturally, it’s also a warning about attention. If art can’t compete with the scroll, it starts imitating it: shorter emotional arcs, softer edges, fewer scenes that make you sit in discomfort. Berenger’s real fear isn’t that movies aren’t fun. It’s that they’re not leaving a mark.
Quote Details
| Topic | Movie |
|---|---|
| Source | Help us find the source |
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