Film Directors Are the New IP

It seemsl ike that for the last 20-ish years, and maybe forever, Hollywood operated under the assumption that IP is King.

That was how you got big-name actors aboard, how you lured in the massive audiences, and how you made the most money.

But what if I told you IP was not just books, remakes, and properties. What if I told you that recently, IP had become... people.

It's kinda like Soylent Green.

Anyway, this summer and way back to last year, we saw a shift in why people went to the movies. You see, I was there opening weekend for the new Ryan Coogler movie, and then the New PTA movie. And this summer we saw it with Spielberg, Nolan, and now Zach Cregger. Earlier this year, people were going to see the new Emerald Fennell movie.

We still have a Gerwig movie at the top of next year.

Directors have become IP.

Let's dive in.

- YouTubewww.youtube.com

When the Auteur Beats the IP Engine

This is awesome for Hollywood. It's a beckoning call to get viewers to engage with movies theatrically and the people who make them. There has never been a better time to be an auteur with an idea; people are coming to see them.

Imagine how much money the next Curry Barker movie is going to make.

Want more proof than just a feeling?

Look no further than the recent box office receipts.

Christopher Nolan’s The Odyssey took over the cultural landscape and became the event film of the summer. Everyone went to see it, many of them in 70MM IMAX.

The trend isn't isolated to Nolan. Steven Spielberg’s sci-fi event Disclosure Day was sold almost entirely on his name, legacy, and direct return to original sci-fi.

As I said above, Ryan Coogler’s original supernatural thriller Sinners proved that when a filmmaker builds an original vision, audiences will follow them anywhere.

We're seeing trailers for a Shyamalan movie, and we know what that brings.

With name recognition like this and movies being sold on actors, it kind of feelsl like the '90s again.

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The Zach Cregger Effect

Weapons put Cregger on the map, as audiences followed from Barbarian, and he picked up a lot of the mainstream. Now, Cregger got his hands on Resident Evil, an IP that was lying around, with no one sure of its real value.

Enter a director coming off a massive hit, bringing more value for the franchise reboot.

Cregger’s vision (and name) blew past tracking estimates of $40–50M, to $60M domestic. And exit polling revealed that 37% of the audience bought a ticket specifically for Zach Cregger.

I was there. The audience cheered when his name popped up.

The thing is, people want to be taken somewhere when they pay good money to see a movie, and they are putting their trust in the people behind them to deliver.

What This Means for Filmmakers

Studios want to find the next person they can brand and sell. If you're making an indie, showcase your voice and aim for commercial appeal.

You want audiences to recognize who you are and your personal spin on what you bring to the table.

If you are building a career today, your voice is your most valuable asset.

Learn how to wield it and really spend time making your projects connect.

Now, go get back to making something.