As a long-time admirer of Brian Cox‘s illustrious career spanning both stage and screen, I find his recent remarks at the Edinburgh International Film Festival panel particularly insightful. His perspective, steeped in decades of experience, offers a unique and compelling viewpoint on the current state of cinema.
Brian Cox thinks cinema is “in a very bad way,” with the Marvel and DC Universes partly to blame.
On Saturday, the renowned actor, fresh off his critically praised performance in HBO’s hit series “Succession”, participated in a panel discussion at the Edinburgh International Film Festival. When questioned about the recent triumphs of widely-watched TV programs, Cox pointed to the latest Marvel Cinematic Universe film featuring Deadpool and Wolverine as an outstanding demonstration of cinematic “fun times”.
“Cox stated to the crowd that television has taken over what cinema once did. He believes that cinema is struggling due to factors such as the dominance of Marvel, DC, and similar franchises, which have overshadowed its original grandeur. He suggests that cinema might be on the verge of collapse, as it’s starting to lose its direction.”
He talked about Ryan Reynolds and Hugh Jackman from Deadpool and Wolverine movies, mentioning that while they’re earning a lot of money, making everyone content, the quality of work can become watered down later on. Essentially, it’s like repeating the same thing over again, as I myself have been involved in such projects.
Cox starred as William Stryker Jr. in X2: X-Men United (a military scientist who persuades Hugh Jackman’s Logan to become Wolverine), and admittedly said he “forgets” about the fact he “created” Wolverine. “Deadpool meets the guy… Wolverine, who I created, but I’ve forgotten. Actually,” he jokes, “When those films are on, there’s always a bit of me [as Stryker] and they never pay me any money.”
“Cox stated, ‘It seems like some actors are now using this as an opportunity to perform such actions.’ He mentioned Hugh Jackman and Ryan Reynolds, who have the potential for more, but he explained, ‘They follow that path because it’s profitable at the box office. They earn a lot of money. It’s hard to criticize it.'”
Television is gaining ground, he added, with remarkable series such as Jesse Armstrong’s “Succession” and Netflix’s “Ripley,” featuring Andrew Scott. “There are numerous shows to choose from,” he said, “and you get the privilege of narrating the story over an extended duration.”
The actor cited films from his youth, like “On the Waterfront”, as influential in shaping the actor he is today, though some of that impact has been diminished.
Cox shared a quick anecdote about his childhood in Dundee, Scotland, a city that boasted no less than 21 theaters. “From the ages of six to eight, I managed to visit every single one of them,” he recounted. He then drew a comparison between the film industry during his time and the tough casting procedures for actors today.
As a seasoned actor who has been in the industry for over two decades, I have witnessed the transformation of casting processes from personal interactions to self-tapes, and I must say, it’s disheartening. It used to be that actors and casting directors had a rapport, where we could gauge our performance and receive valuable feedback during auditions.
“It’s a terrible, terrible system. I wish it stopped. I wish we could get back to the individual relationship and that’s what art is about. It’s about relationships.”
As a gamer, I attended an engaging discussion moderated by Rowan Woods, the director of the Edinburgh TV festival. This panel featured industry experts like Alex Walton from WME, producer Afolabi Kuti, ventriloquist-turned-director Nina Conti, and Daniel Reisinger, who made headlines with The Hollywood Reporter last Friday. The focus of our conversation was navigating the transition from live performance or television into filmmaking.
Cox said he has a lot of respect for directors, such as Mark Mylod, who worked on Succession. But being a good director requires the relinquishing of control, Cox added. “When you’re thinking about 50 million things, and someone says, ‘What do you want for her to wear? This or this?’ I don’t give a shit. Whatever she’s wearing. It’s fine, you know? That’s the thing about allowing people to do their job.”
“When working with a production designer or makeup artist, it’s best to let them do their job. They are there to contribute to the project and utilize their unique skills. I believe there is often too much interference, as control can stifle creativity, and art should be about fluidity and movement.”
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2024-08-17 20:54