![]() ![]() ![]() Subsequent efforts by the Hollywood studios to import such fare onto their conventional slates failed dismally.īut a new school of creatives today is applying some of these live action concepts to another trendy medium - the podcast. Their gripping dramas on Playhouse 90 and rival showcases represented a fresh genre more akin to theater than film, and they were scoring hot ratings as well as awards. Audiences were responding to a new genre of live action TV suspense directed by young talents like John Frankenheimer, Arthur Penn and Franklin Schaffner. The podcast genre, for example, sometimes proves more current or accessible.ĭuring the 1950s and early 1960s directors unexpectedly concluded that conventional film or TV drama had become anachronistic. In some cases, therefore, they apparently change their minds about how to tell their story. There was strategy amid the chaos.įilmmakers today often have no idea whether their work may be headed for theaters or streamerville, or what windows may await them. Filmmakers themselves were schooled in aiming their films (and budgets) at specific demos. In an earlier era, prospective filmgoers could study reviews and festival coverage or scan magazines before buying tickets. Had I misread the promotion for Vengeance, or had the filmmakers switched mediums mid-production? At least, the podcast seemed to be the principal protagonist. Half way into a new movie this week I realized that I’d mistakenly bought a ticket to a podcast, not a film. ![]()
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