Like so many others, all of the DC movies coming up have so far been delayed except for THE SUICIDE SQUAD, and as a fan, it’s particularly frustrating because not only do we seem to have to wait longer between DC movies, anyway, but Wonder Woman 1984 had already seen its release delayed at least once… maybe twice. I want to know how people feel about the notion that Hollywood and the already small and shrinking number of major studios responsible for most of what we watch arguably spend twice as much on casts and on crews twice the size they need to be and, thus, make these productions more vulnerable in crises like these than they might otherwise be. Pretty much all of the decision-making is centralized in Los Angeles, California, where most have to live for at least a little while just to get into the industry. Because it’s become so cost and space prohibitive to film in Los Angeles, these productions are literally globetrotting to find the most physically and financially favorable places to shoot. If you’re dragging a team the size of a small army around the globe, then there’s no way you could keep filming under the present circumstances. And yet, not only have much smaller productions succeeded wildly in recent years, but since as far back as 2003’s BATMAN: DEAD END, we’ve even seen fan films more or less pull off the same kinds of visuals and production value as Hollywood for and with a fraction of the cost and overall production size.
I’m sorry for being so long-winded and understand if you think I’m being unreasonable or naive, etc., but having made a video about this topic a while back for my web-site at http://www.jdmoores.com, I firmly believe that for many reasons, the extent to which this pandemic has hit the film and entertainment industry and delayed productions, in particular, did not have to be this big or long-lasting. I’ve written original material and even been published and won awards, so I respect copyright law and the rights of creators, etc. That said, most fan films don’t come close to being threats to legally produced offerings, and as far as I know, they’re never made with the intention of personal profit and denial of credit to the creators and owners. Though perhaps easier said than done, a standing deal between studios and the most talented and skilled “fan filmmakers” out there - one similar to the negative pick-up deal Warner Brothers gave the Salkinds to produce SUPERMAN: THE MOVIE (1978) - could not only fill gaps such as this one, but also offer studios valuable content virtually cost-free while at the same time helping fan film cast and crews get the sort of valuable career exposure that even the best of original films rarely afford.