Alex Garland ("28 Days Later" writer) blames Marvel for the declining profitability of movie sequels. He argues that audience saturation from endless franchise installments has made sequels less reliable box office hits, despite the continued popularity of reboots and prequels. This shift, he suggests, has ironically made it easier to get original films greenlit
Hollywood's Balancing Act: Sequels, Reboots, and the Risk of Original Storytelling. The film industry faces a challenge: maximize profits from familiar franchises (sequels, prequels, reboots) while simultaneously nurturing the creation of bold, original movies. Is the era of guaranteed blockbuster sequels over? The success of Marvel and other franchises, while lucrative, may have inadvertently shifted the landscape, making room for fresh narratives
28 Days Later" Directors on Hollywood Sequels: Is Originality Dying? Alex Garland and Danny Boyle, the creative minds behind the 2002 original film "28 Days Later," discuss the challenges of getting original movies made in today's Hollywood, dominated by sequels and franchises. Their insightful interview, conducted ahead of the film's theatrical release, explores the impact of the Marvel Cinematic Universe and the shifting landscape of movie production
Hollywood studios prioritize profitability, favoring sequels for their perceived financial security. This reliance on established franchises, while historically lucrative, is facing challenges as audiences show signs of sequel fatigue. The success of blockbusters like *Pirates of the Caribbean* and *Harry Potter* contrasts with recent underperformance of major sequels, suggesting a shift in audience demand towards original storytelling
However, Garland added, “I think sequels are seen as diminishing returns.”
Alex Garland on Sequel Saturation: Is Marvel to Blame for Hollywood's Original Movie Drought? While not criticizing Marvel directly, acclaimed writer Alex Garland suggests audience fatigue from superhero sequels may be hindering the creation of original films. He posits that the oversaturation of the market, particularly post-Marvel, has ironically created a renewed opportunity for unique storytelling in Hollywood
Sequels: Diminishing Returns in Hollywood? While franchises like Pirates of the Caribbean (2003), The Fast and the Furious (2001), and Harry Potter (2001) generated massive box office returns exceeding their originals, the era of guaranteed blockbuster sequels is over. Even Marvel's "Thunderbolts" and DC's "Shazam: Fury of the Gods" faced financial setbacks, highlighting the changing landscape of Hollywood profitability and the potential oversaturation of sequels
Marvel's Thunderbolts: A Box Office Flop Despite Critical Acclaim? The 36th Marvel sequel, despite earning $379 million and positive reviews, underperformed with a $371 million return against a massive $280 million budget ($180 million production, $100 million marketing). This highlights the diminishing returns of sequels in the post-Marvel era, according to industry experts
Box office disappointment: Shazam! Fury of the Gods, a DC sequel, underperformed, grossing only $134 million against a $125 million budget
Alex Garland suggests the post-Marvel era is fostering a more welcoming environment for original films, believing the market's saturation with sequels has shifted the landscape. He acknowledges this is his perspective, but hints that the industry's previous over-reliance on established franchises may have inadvertently opened doors for fresh, innovative storytelling
Danny Boyle challenges the notion that original films are easily made, countering a previous interview comment. He argues that securing funding for original movie projects remains a significant hurdle for filmmakers, unlike the perceived safety net of sequels and franchise films
Alex Garland, director of "Warfare" (2025) and "Civil War" (2024), links the rise of independent studios to a shift in major studio priorities, suggesting the oversaturation of sequels, particularly post-Marvel, has created an opportunity for original filmmaking
Alex Garland reveals how Marvel's dominance, while lucrative, has inadvertently paved the way for more original films. He credits independent studios like A24 and Neon with influencing Hollywood's renewed interest in unique, riskier projects, suggesting that even major studios are now more open to unconventional movie ideas. The shift follows a trend of diminishing returns on sequels, highlighting the evolving landscape of film financing and the search for the next big box office hit
The rise of sequels, particularly from studios like Marvel, has led to an industry-wide saturation. However, filmmakers like Christopher Nolan with "Oppenheimer" demonstrate that original cinematic storytelling continues to thrive and resonate with audiences, proving there's still demand for fresh, innovative movies
The 2023 "Barbenheimer" phenomenon, the simultaneous release of Greta Gerwig's *Barbie* ($1.4 billion box office) and Christopher Nolan's *Oppenheimer* ($975 million), highlights Hollywood's blockbuster potential. Even smaller releases like Ryan Coogler's *Sinners* ($361 million) demonstrated strong performance, contrasting with the recent struggles of major sequels
Boyle said Barbenhiemer and “Sinners” by Ryan Coogler were a “shot in the arm for cinema.”
He added: “I think that people do get encouraged by success.”
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