The American Film Industry is dead. Spiritually and artistically it has been dead for over thirty years.

It is a combination of many factors. Many who were talented in front and behind the camera destroyed themselves from within. They were corrupted by success and excess. The major factors were drugs and alcohol. These agents fueled their madness, depravity and hubris. Their cinematic powers forever lost.

A true artist’s life is one of staying the course and maintaining the faith. There are many pretenders to the throne who are weak and gutless. There are also many who were once great, but a combination of cyphers, sycophantic whores, drugs and alcohol did them in.

This is why many directors, producers and actors cannot produce great works. It’s not that they won’t produce great works, It’s because they can’t. It is spiritually impossible for them to do so. Although not unique to Hollywood, it certainly is germane.

Most movies are vanity productions of highly insecure and modestly talented actors. Actors who do not know how to use their power and influence wisely. This is because most actors are exceedingly narcistic and egotistical. It’s all about giving a performance for the awards season. The overall quality of the movie means nothing to them. They give safe, politically correct performances. There is no danger, courage or intensity.

This view also applies to directors. American directors for the most part have no unique vision. They turn out movies that speak loudly to the fact that “anybody could have directed this”. Nothing special. And those with talent do not truly respect their gift. They aspire to be the equivalent of European auteur directors, whose films for the most part were pretentious nonsense. And the best of these European auteurs were not the equal or superior of the B directors of American Cinema from the 1940’s to mid 1960’s.

Hollywood is a culture awash in pestilential corruption. Where morality is corrupted on a daily basis. A profligate industry where hundreds of millions of dollars are spent to lock up rights to books that will never be made into movies. Locking up the rights to many of these books is also a form of censorship. This insures that the ideas and information contained in the books are never fully realized. That’s why most books are superior to their screen adaptation. It is also a culture that rejects those who have true artistic talent and power. Talent and power that would change the dynamics of cinema.

The movies that are being made are not artistic landmarks. They mean nothing. They do not reflect what life looks like in America. They do not advance the culture. They are pretentious garbage made for mindless peasants. Rot for the stupid. Hollywood movies for the most part are no longer part of the national conversation. They have lost their luster. Their art. Their power, ambition. Their guts. Their magic.

And the movies that are well crafted are empty. Corporate blandness. Lots of pretty scenes that lack heart and soul. Pseudo pretentious nonsense. It is an art form that has been cheapened for the sake of satisfying the teen market and the corporate bottom line.

Through one’s own knowledge of Hollywood, and the many books that have been written and those that are about to come online, it is understood that Hollywood is done.

The business model of Hollywood is broken. All of this is about to change. We are in the beginning stages of a paradigm shift in American Cinema. Dozens of new movie studios will come online over the next fifteen years. Their financial model will dictate that most of their films will cost between five and thirty million dollars.

The combined net present value of the new studios will be between 70-80% of market share. The new studios will have dominance over Hollywood.

The vast majority of the new studios will be located in non-union states and outside of America. Those that will be located in union states and right to work states will be given tax credits on production costs from between 25 to 60%. This will generate 10,000 plus film industry jobs and 15,000 associated jobs per state. This will in turn generate 3 billion plus in tax revenues per state.

The days of California being the center of cinema in America will soon come to an end. Centers of cinema will be spread out all across America. Those who desire to have a career in the movie industry will not have to go to California anymore. They will stay in their home states because their home state film industry will be more powerful than California.

This cinematic landscape is where the new American movie studios, India, China, England, Japan, South Korea, Hong Kong, Germany, France, Brazil, Canada and other foreign entities will fight it out for market share, world dominance and artistic supremacy. Although they are the second largest producer of movies in the world, Nigeria has to devote more money and improve the quality of their productions before they can be considered an elite player in the world of cinema.  

In this new cinematic landscape, India and China will be major players. The Indian Film Industry is the largest in the world. It is expanding rapidly. Once they expand into the U.S. economy via their own studios in America, they could easily dominate market share. To be a dominant player on the American scene they will have to produce a large number of movies that deal with American subjects. Also, they must write, direct, and produce serious Indian Cinema, as opposed to the nonsensical Bollywood song and dance that predominates their market. China will challenge via their sheer force of ambition. They have the talent, the money and the will to challenge for world domination.   

The same argument is also made regarding African Americans. They will form their own movie studios. To date they have been a total failure in that regard. Like most people, American Blacks have looked to Hollywood to have their movies made. Not only have they dealt with the shortsightedness of executives, but also the historical racism of the Hollywood culture. The Hollywood culture is a classic representation of liberal racism. It is subtle, patronizing and condescending. Their racism also produces bad cinema. When one reviews civil rights movies, whites are always the central characters who righted wrongs. People from all racial groups were involved in the fight for racial equality. The African Americans who had the vision, intelligence and guts to fight the Jim Crow laws, other forms of institutional racism and the violence from the Klan and others were always relegated to supporting actor status. Yet they were the ones who were the leaders in the fight for equality. This is bad cinema because it does not enlighten the culture as to the truths of history. It has also been the fault of African Americans because they did not have the self respect, ambition or the guts to form their own movie studios and tell their own stories. With the new Studios that are about to come online, this will change.

As with the other new studios that are to come online, the new black studios will not deal exclusively with black subjects. Animation, science fiction, stories from around the world that speak to the human condition will all be explored. Also, many of the new studios will have African Americans in positions of power who will decide which movies are to be made and how they should be made. Asians, Latinos and Women will also be owners of their own independent studios. These new studios will bring about a shift in the balance of power and influence over American culture.

This paradigm shift is being aided and abetted by the spectacular technological era that we are now in. There is much secret technological knowledge that is known by the elite Computer Graphics Imaging professionals around the world. When introduced, it will have many far reaching applications within national economies.

Technology has given us the rise of artificial movie sets, worlds and actors who are extras. Complete digital casts are on their way. We are not talking about augmenting actors. We are talking about replacing all live actors.

Multiple generations have grown up with computer and electronic games.  The video game industry generates over 23 billion dollars annually. The movie industry generates 10 billion. As proven with the Call of Duty series and other video games on the market, the public has a strong appetite for virtual works. This will increase with the newer generations of computer graphic imaging. The public has no qualms about going to movies where all the actors and sets are digital. They will not know or care if the actor is computer generated.

From a studio standpoint, there are too many advantages. Most of the trade unions will be gone. There will be no use for them since everything will take place within the computer. With artificial actors, there are no entourages, star perks, drugs and hiring of ten screenwriters to make the actor look good.

If halography can be used to teleport teachers into rural areas of the third world, and robots are used to perform complex surgery by those who are thousands of miles away, you cannot say that the profession of a live actor is more valuable than a classroom being taught via halography or a lifesaving surgery being performed via computer programmed robots.

Although there will be strong Orwellian overtones, it can’t be stopped. The future is here. Those in positions of power in the world of cinema have no idea what is to come. No idea!