Quentin Tarantino Reveals His Big Problem with Marvel

And honestly, Tarantino is not wrong. Even when Marvel Studios began as an ambitious gamble in the 2000s, and superhero movies were still the rage at Sony and 20th Century Fox, there was remained a variety of other genres being produced by the Hollywood machine. General audiences were still going to movie theaters every week—not just once in a blue moon for “events.” Millions of folks would turn out monthly for a new comedy, a new action movie not simultaneously intended for eight-year-olds, a new chiller. Adult dramas could still do big business as seen with Brokeback Mountain grossing nearly $200 million worldwide, or The Departed inching closer to $300 million. Romantic comedies were a booming industry unto themselves.

What’s striking about the 2010s is most of these “middle-budget” genres didn’t expire because of a handful of notorious flops like the musicals or Westerns in the 1960s… Hollywood just averted resources all in the name of cultivating larger and larger box office cumes from blockbusters, and all with larger emphases on audience-predictability by way of built-in affection for intellectual properties and “shared universes.” The studios have become Marvelized in trying to build their own big events that act as endless advertisements for the next several films in the pipeline.

There are exceptions, of course, including Tarantino’s last picture Once Upon a Time… in Hollywood, which was made for $100 million by Spidey’s Hollywood home at Sony Pictures. And that QT joint grossed $378 million worldwide. However, the film was made because it was a Tarantino movie. The young gun is now one of the old legends (perhaps one of the last?) whom audiences turn up for just based on name recognition. Just imagine any studio investing $100 million in an adult-oriented period piece from a younger filmmaker.

Admittedly, Marvel is not the only harbinger of change in the industry. Tastes shift and how people consume media has certainly changed with the advent of streaming services like Netflix and Disney+. However, rather than try to counteract those trends, studios have opted to lean into them by relying on “eventizing” their releases into mammoth blockbusters—creating the perception that theaters are only for the big spectacle.

It’s perhaps a chicken or the egg question, then, in guessing who influenced whom between studios and audiences. Either way, audiences have been conditioned to only be excited to go to the theater for formulaic crowdpleasers with big special effects. They’ve been incentivized to only be excited for… Marvel movies (or similar content that chases the Marvel formula).

Tarantino also tweaked this irony by arguing that while the stars of Marvel movies become famous celebrities, they are arguably not movie stars in the classic sense.