Lynda Obst is a Hollywood insider but not a fan of what she sees happening in Tinseltown. A former editor of The New York Times Magazine, she became a successful producer, with such films as “The Fisher King” and “Sleepless in Seattle” to her credit.
But at some point, Obst realized that she wasn’t in Kansas anymore — or suburban New York, where she grew up. She was finding it increasingly difficult to get her kind of films made. Hollywood execs, she claims, became less interested in movies with staying power than in films that open wide (in 3,000 or so theaters) and have big initial weekends. This take-the-money-and-run philosophy meant making films that attract teenage boys: They dominate the first weekend audience, which is why you’re as likely to find your favorite superhero on the silver screen as in a comic book.
In 1996, Obst wrote “Hello, He Lied,” about her experiences in the modern studio system. She’s followed that — a sequel, in movie speak — with the just published “Sleepless in Hollywood: Tales from the New Abnormal in the Movie Business” (Simon & Schuster).
Obst spoke to The Arty Semite about feeling “lost in translation” when she first arrived on the Left Coast, the changing landscape of the film business and dinner table arguments between the religious and secular branches of her family while she was growing up.
Curt Schleier: Let’s start with a chicken-or-egg question: What came first, older people not going to the movies, or the film business not making movies that interest the older crowd?