During the course of its tumultuous first two seasons, Project Greenlight has taught us many things — that the Internet is not, perhaps, the pullulating womb of cinematic genius we’d hoped; that the same goes for the world of insurance sales; and that it’s rarely a good idea to act like a jerk when there’s a camera in your face. But in order to prove its hypothesis — that the world is teeming with talent in need of a chance — Project Greenlight is going to have to try a different course of treatment. Here’s EW’s prescription to save the show…
CHOOSE DIRECTORS FROM A MORE EXPERIENCED POOL. It’s one thing to give a tenderfoot a shot — quite another to tenderly shoot yourself in the foot. Finally, a use for all those film-school grads lying around the house!
CHOOSE CREW FROM A LESS SEASONED POOL. So far, mismatched levels of crew-to-director experience have created a power vacuum. For optimal results, director and crew should have marinated for equal amounts of time.
MAKE JEFF BALIS PICK A TEAM. AND GET HIM SOME ASSERTIVENESS TRAINING. It’s not like we don’t see his side, but as producer, it’s Balis’ job to stick by the director. Which means (a) he better learn how to get his way; and (b) he can’t be cocreator Chris Moore’s best pal anymore. Hey, that’s just the way it is. No more tattling.
FIRE EVERYBODY ELSE. That would be an introduction to studio filmmaking. Director making changes without studio approval? Fire him! Or fire the writer. You don’t need a reason!