Disappointed Tom Hanks
Or why we miss the movie theater.
Tom Hank’s latest film, the WWII Navy drama, Greyhound, was recently released. But it didn’t play in theaters, instead premiering on AppleTV+. And by some accounts, he was not happy about it. Or more aptly, it’s “an absolute heartbreak”.
Due to the ongoing pandemic, studios were forced into several hard choices. They could either push their film releases until a later date, possibly even next year. Release it for rental at an elevated price — closer to a movie ticket price — as Trolls World Tour had done, to reasonable success. Or as a third option, drop (or dump, depending on your view of OTT services) onto a streaming service.
A vertical company like Disney, uses films from a previously scheduled theatrical release, instead premiering on their newly minted streaming service, seeing it as a way to boost, and boast, of new content and a relief point for possibly weak performing films (But a highly visible film like Mulan, is not changing its theatrical release plans). Studios with no direct streaming platform, like Sony, producer of Greyhound, only have the option to sell the rights. Which is exactly what they did with Apple.
In a recent interview with the Guardian newspaper, Hanks made several quips about Apple that gave the implication of being disgruntled at the idea of his film being relegated to a streaming service (and also one with little track record at that.) Some quips were aimed at Apple’s PR requests that he take interview measures that fit more with muted cleanliness of the Apple aesthetic.
But I think most of the umbrage had more to do with his heavy disappointment in the film not being released in theaters rather than any qualms with a particular streaming service. (Also this is a situation where casual jovial jokes did not translate well through in text, as his Hankian wit and tone are better served in-person, or on audio or video.)
But while his quips were trying to make light of the situation, they are born of his frustration and disappointment of this moment. In context of other issues steaming from the pandemic, it is not of great importance. But each person has had effects on their lives and their work created by sudden change of daily life. Those feelings are as real and relatable, especially when you work tirelessly for something and your final expectations are completely subverted.
Where Hank’s dismay steams from is twofold. Tom Hanks doesn’t do streaming. At least when he is starring in a film. He is a rare and dying bread of movie star, along with the likes of Tom Cruise and Brad Pitt, that only release films theatrically. He may do TV as a producer (or small acting role), but his movies only hit the big screen. I don’t think this is an ego trip as much as a rare ability to have the leverage to bring whatever story he wants to, epic or intimate, to the cineplex.
The second, more important reason, that plays off the first, is that he love cinema. He loves making his moves for the big screen. It’s what he knows, what he loves, and what he can do that fewer and fewer actors can do.
Add on that this movie was a passion project for Hanks, which he also wrote the screenplay for, and you can begin to understand the disappointment. He made this movie with the intention of dramatic, cinematic visuals that propel the story to be felt and experienced (Even as it’s reported that Greyhound had the best opening day numbers for AppleTV+ so far, I doubt that changes his perspective).
I’ve watched the movie and without the full-screen theater viewing it isn’t able to reach it’s intended connection with the audience. It’s a decent film, but a very specific type of film, that leans heavy into its scale and spectacle, that benefits from the immersive experience of the theater.
And while modern day home theater tech have seen massive gains over the past decade, there still is, and probably always will be, a disproportionate experience gap between viewing a film in the theater versus watching it at home, no matter how good your home setup is.
And this is something that I think about a lot. I love the boon in TV and streaming services, as there is a seemingly endless number of shows and films to watch at home, on my schedule. But there are certain stories that are made and intended for the wide screen, booming sound, and connective embrace of a room full of strangers.
It’s palpable and real. And I miss it. Both during the pandemic and during this slow long walk toward everything being part of a streaming catalogue — Netflix has released sixty films so far this year!
While I enjoy the new paradigm of distribution and take full advantage of it, openly happy that one of my subscriptions now includes a new Tom Hanks film, I do take pause at the hollowing away of the theater experience. Both as a creator, hoping to have my work shown there someday, and as an audience member, who loves everything about the experience.
We are in uncharted territory, with everyone feeling the effects of the accelerated changing landscape in all aspects of our lives. It is making us question all aspects of our lives pre-pandemic, and contemplating what they will look like on the other end. And while many things will change, I’m confident that the Apple overlords, Netflix overlords, or any other overlords (looking at you Rona) will be able to overcome the feeling of going to the movies.
