In the spring of the not-so-long-ago year of 2005, the weekend box-office winners offered a healthy variety of cinematic choices.
There was a U.N.-set thriller ("The Interpreter"), a "Star Wars" prequel, ("Revenge of the Sith"), an interracial comedy ("Guess Who") a comic-book-derived style piece ("Sin City") an epic adventure ("Sahara"), a slasher flick ("The Amityville Horror") and an adaptation of a beloved book ("The Hitchhiker's Guide to the Galaxy"), to name just a few.
In the 12 weekends of that year's spring, there were 11 different weekend winners. (Only one movie, "Sith," was a repeat champion.) They were hardly all good films, let alone great ones. But most were pretty different from one another.
Cut to 2012, and the story is vastly different. The spring season that comes to an end this week yielded a lot less diversity in its weekend winners, not least because there were a lot fewer weekend winners to begin with. Just six, to be precise, with many of the weekends occupied by repeat champions ("The Avengers," "The Hunger Games," "Think Like A Man" and, after this weekend, "Madagascar 3").
That may seem like simply one more data point for box-office enthusiasts to noodle over. But the data also offer evidence of a growing trend: the uber-hit, that is, the movies that go beyond modest success to dominate the multiplex, often leaving other contenders far behind.
There have always been such films, of course. But their ranks are growing, while many of the other big bets are indeed lagging.
Or, to put it a different way, when it comes to box office, it's increasingly a world of the 1% and the 99%.
Take a look at the last few months. On the one hand, this has already been an achievement-filled year at the box office. In March, "The Hunger Games" had the biggest spring opening-weekend ever. In May, "The Avengers" turned in the biggest opening weekend, period, becoming the first movie ever to cross the $200- million threshold in its first three days. Expect sums almost if not in fact equally as strong when "The Dark Knight Rises" hits theaters next month.
Yet the number of big-bet disappointments is also rising. Tick off the recent ones: "Battleship." "Dark Shadows." "John Carter." "Rock of Ages." Films with big budgets and expectations -- career-defining ones, for some of the executives associated with them -- that can barely eke out $75 million or $80 million domestically. Heavily marketed new films that get whipped by movies that were released a week or two earlier.
On a snowy day last week in Park City, Utah, about 10 activists outfitted in costumes such as the Statue of Liberty and a Boston Patriot materialized in the parking lot of a Wells Fargo outside the city's Old Town. The Sundance Film Festival was taking place, and there was no better place for Occupy-style activists to deliver their message to the 1%.
The flash mob burst into a waiting area on the bank's ground-floor offices and began chanting "Pay your taxes, Wells Fargo" and "We are the 99%," marching in a small circle before reading a list of Occupy tenets.
The scene went on for about five minutes as employees and customers looked on. Then a branch manager came out of his office and asked them to leave. They agreed, and the protest moved to the corner of a busy intersection where snow was driving pretty hard. A policeman used tape to cordon off an area, keeping a stoic face as one of the protesters tried to give him a quick primer on the prison-industrial complex.
The protesters started up the chants again. Cars passed by — some drivers honking in solidarity, others waving their middle fingers.
"We feel that way about you too," activist Justin Kramer yelled back when given the bird. Then he turned to a reporter and said, "That doesn't seem like a good way to go about it. At Marmot [a clothing and equipment store on the city's Main Street] they put out a sign that said, 'Hey Occupy people, we're hiring.' His voice took on a rueful tone. "It's nice when they at least try to be creative."
Though filled with glitz and celebrity, the Sundance Film Festival, which wraps Sunday, has been a minor bed of activism over the past 10 days. In addition to the protests — several others were held on Main Street during the festival — director Jonathan Demme came to the Slamdance Film Festival (held in Park City concurrent with Sundance) and screened a short he shot at the Occupy Wall Street protests in October.
The effect of these events was to create an unusual contrast: inside the city's high-end restaurants, fine food and wine were being consumed by some of the entertainment world's richest and most influential people. On streets and screens, however, were persistent reminders of the economically disadvantaged, a juxtaposition we explore in this Times story. (Other films included the documentary "Detropia" and the corporate-tax investigation "We're Not Broke," the latter of which some of the Wells Fargo protesters were affiliated with.)
The activists explained why Sundance was an ideal forum for their message. “What were trying to do is reach the 1%, and there’s no better place to do that in Park City during Sundance,” said Kramer, 28, a Salt Lake City resident who has been active in the local Occupy movement.
The protesters said they had chosen Wells Fargo, they said, because of the low taxes the company paid, and generally thought Park City was a good choice because of the concentration of high-end brands “There are so many corporate sponsors here during the film festival,” said Kira Elliott, 29, an activist from Chicago. “We’d be crazy to be anywhere else.”
Demme's short, "Hyptnotic Fierce Drum Circle," was shot Oct. 15, and the title sums it up well: It captures dozens of percussionists — black, white, asian, male, female, young, old — plus people playing horns, whistles, guitars and cymbals. Without a conductor, they somehow improvise a melodic cacophony.
In an interview the day after the screening, Demme, who lives in New York, said initially intended to go check out the Occupy Wall Street protest for about an hour. "I was obliged to go down there," he recalled. "I've been complaining for years about the lack of a protest generation."
He stayed for an hour and then another, and then another, and then when he started to leave, a march started coming his way, so he stayed longer.
After his first visit, he and collaborator Shane Bissett, 25, returned a dozen times and shot footage at Zucotti Park and of other Occupy-related activities. They estimate they've collected more than 40 hours of footage, including some one-one-one interviews with individual protesters.
Their primary interest has been putting footage on the Internet, Demme said. "The premise is that if more people know what Occupy was really about — how positive it is — more poeple would join. So we've been supporting that as outsiders."
But they are also intending to go back and shoot more footage focusing on the stories of individual protesters. Ultimately, Demme said, they may cut together a couple of hours into a longer film (though he's also busy now trying to get two long-gestating projects, the animated "Zeitoun" and the adaptation of the Stephen King novel "11/22/63"). "People of my generation, the hippie generation," he said, "have been waiting for this."
You can check out another of Demme's Occupy shorts below: