Michael Cieply: The New Hollywood–Elites, The Audience And A Wall Of Indifference
deadline.comIn morose moments, and I’ll admit to having a few, I sometimes stare at a framed illustration on my work desk. Entitled “HOLLYWOOD 1988,” it is a whimsical map of the motion picture business as it existed back then.
The concept and a lot of the sight gags were mine; but Nancy Ohanion was the artist who made it work for the Calendar section of the Los Angeles Times. (You can find her signature hidden just above The Cave of Studio Accounting.) Pretty much everything was in there.
Vacations at Las Hadas. The Sea of Red Ink. Puttnam Falls. The Desert of Development. The Sunshine of Eternal Optimism. X-rated pirates.
You name it. But what held the gimmick together was the notion of a geographic divide—marked by the River of Bankability—that separated the major studios and their allies, on the one side, from the Independent Movie Companies, dozens of them, and some renegade producers on the other.
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