Mike Cameron: Hi! This is Mike from the substream.com and I’ve got something on my chest and know that is not my two dinacomasty main breast. Tomorrow marks to release the movie called Let me In which is a remake of the super popular Swedish underground vampire relative hit that the right one in which itself which is a remake of a book from a couple of years early and I got a American remake let me in a typical weeks ago and there is a more in-depth review of it elsewhere on the site in substream.com but as for as I say for now for these purpose that I want to talk about that is a really, really good movie. It just unlike the original has no real reason to this. it covers almost all of the exact scene traumatic ground of the original Swedish film on the book of the both base on some things are different and the story becomes in the American film much more to the story of the Blaze now the hero of the story in the way that it wasn’t necessarily in the Swedish film and that theorically easier for audiences of American audiences to deal with. Of course the big difference, the difference of matters is that in the American version they’re speaking in American and they’re not speak in Swedish and they are not in Sweden whatever foreign country that is there in America where American is one of watch American stories told by Americans and speaking with the American and that theory is kind of warn out by the numbers. Because in the 60’s if you look at domestic box office foreign films contribute 10% yearly of the domestic box office and that number held relatively study all the way through the 80’s until you get until now when it’s down to literally three quarters of one percent of the domestic box office is contributed by people going to see foreign film.
Why is that are Americans and Canadians getting dumber or they getting more scenes to fold it and we use to be. That necessarily either I say but it’s down to a bigger issue which is that as the amount of money that movies can theorically make grows to be in the billions and film makers and film distributers that people that make and import the films in American and becoming more and more scared of spending money on making untested intellectual material. Here is some old numbers, 1990 the top 10 grossing domestic box office film, nine of those ten films or pieces of original IP, either the original scripts like the one for Home Alone or adaptation of material that was from another media like the film version of the cartoon script Deep Tracy. Every year since 2000, more than 50% of the top ten grossing films per year we’re remakes, sequels, reimagining or adaptation of other previous existing films. In 2007, three of the top ten grossing domestic box office films we’re pieces of the original IP and if you get more strict without the definition of what original IP is and say that it can’t be an adaptation of something that was a cartoon or a superhero from the comic script. In 2007, zero of the top ten grossing with domestic box office film per pieces that truly original IP, so we’re either all getting dumber collectively somehow where maybe we expose with the radiation poisoning that nobody is been able to understand or the people is going to making decision about what movies to make and what movies to distribute are making the as usual base on risk factors that are making it look like we’re getting dumber.
They remake films like the Swedish film that the right one in because they assume that no one is going to see this small Swedish porn film because it’s firm and not in English and if they remake it for an American audience they’re remaking a better IP, have been electoral property that’s already been tested and they’re not making some random script that some guy wrote out of his brain and the fit of creativity and then push the crops of table and it’s blogger and to much to see her in bed in theory that’s born out by the number. But for the people that like original stories this is really, really bad news, they’re be less or in films and less original IP films around for us to watch but also this is the real actual great tragedy of the remake of the Let Me In of the remake adaptation, sequel, prequel trends that happened in the past three years is that really talented film makers are spending there times making films like Let Me In, the films that are very beautiful, very whelming and well acted and squeeze it to look at and full of dread and actors that are completely redundant because there is copies or remakes or different American version. A film that’s already exist that you can go watch, that you can go find that are really, really good. Go watch all of the girl with the dragon tattoo film was before the remake of that shows up next year. Go watch foreign films, they’re great just they’re speak different language it doesn’t mean that they’re scary. You might have to read but it’s okay, I know you know how.