Kevin Goetz specializes in the field of focus groups that evaluate movies before they are released. Goetz tells dozens of stories of movies whose endings were changed based on audience feedback. For example, in the original ending of Fatal Attraction Glenn Close committed suicide. But the focus group audience who watched the movie wanted Glenn Close “punished” for her actions. So, a new ending was shot. If you get the Director’s Cut version of Fatal Attraction you’ll see both endings.
I was also fascinated to find out the original movie focus groups came about because of George Gallup, the pollster. He approached the movie studios and offered his services.
“In The Big Broadcast of 1938, a new comedic actor named Bob Hope was featured in several early scenes that didn’t play well to the test audiences. Moviegoers were unfamiliar with his style of humor and didn’t find it particular funny. But, in one of the film’s later scenes, the audience roared with laughter at his antics. So Paramount, recognizing that audience might need a different introduction to his brand of humor, reordered the scenes to put his big laugh scene before the others. At the next test screening, moviegoers found Hope to be funny all the way through.” (p. 30)
Kevin Goetz ran dozens of focus groups that provided key information to improving films. At a time when Batman, Indiana Jones, and Die Hard dominated the movie screens, a movie like Driving Miss Daisy looked like a loser. But test audiences loved it. When Driving Miss Daisy was released, Roger Ebert wrote, “After so many movies in which shallow and violent people deny their humanity and ours, what a lesson to see a film that looks into the heart.” Driving Miss Daisy won the Oscar for Best Picture of 1989 and Jessica Tandy won Best Actress at 80 years of age! Her career began in the 1930s. And the movie took in $145 million!
If you love movies, Audience-ology provides plenty of insights and stories and surprises about films, directors, and actors. Terrific book! GRADE: A
Table of Contents:
Foreword Chris Meledandri ix
Introduction 1
1 Finding My “And” 9
2 Locked Doors, Severed Heads, and the Early History of Test Screenings 25
3 The Lights in Minneapolis 39
4 The Girl in the Black Cocktail Dress 63
5 Know Thy Audience 93
6 From Straight-to-DVD to Five F*cking Sequels 119
7 Scores Settle Scores 137
8 When Bad Things Happen to Good Movies 155
9 It’s Like Seeing Your Lover Naked for the First Time 167
10 Spock, Laddie, and Lessons in Managing Highly Emotional Individuals 179
Conclusion 207
Acknowledgments 211
Notes 214
Film Index 215
Name Index 220
Looks like a fun read, George.
Patti, AUDIENCE-OLOGY takes the reader behind the scenes to show how movies get made…and changed.
This really does look interesting, and it’s not even terribly long. I hate to admit it, but I don’t remember exactly how Glenn Close dies at the end of FATAL ATTRACTION, but I think she was shot by Michael Douglas’s wife. It’s been sitting unwatched in my DVR for ages. Maybe it’s time to watch it again.
Michael, when I taught MARKETING, I used the example of the focus group reaction to FATAL ATTRACTION to show how Hollywood operates. One of my students–who had never seen FATAL ATTRACTION–watched the movie with her boyfriend that weekend. After the MARKETING class, she came up to my desk and said, “Dr. Kelley, my boyfriend said he would never cheat on me after watching FATAL ATTRACTION!”
“At least, not with Glenn Close.”
Todd, good point.
I have read a lot of books on movies and my impression is that focus groups seldom get it right. Causing directors to have to fight for their films. Martin Scorsese has always hated focus groups. Focus groups hated Pulp Fiction for one. They thought it too confusing. Luckily no changes were made.
Steve, I believe Woody Allen refuses to submit his films to focus groups.
Sounds like a book I would like too. In general, I don’t believe in changing movies based on focus groups, but therer are clearly exceptions that work.
Jeff, I was surprised to learn how many movies were “modified” after the results of the focus groups weighed in.
I’ve read a good chunk of books on movie making and my impression is that most directors hate focus groups even more than previews (which many filmmakers, including even Stanley Kubrick, have actually valued). I imagine they have their usefulness for disposable “product” but I think they are poison for any well crafted, let alone thoughtful, movie. I also can’t think of them without being reminded of that episode of THE LARRY SANDERS SHOW…
Nonetheless this looks like an interesting read.
Byron, I’m always interested in the way things work. Kevin Goetz shows how Hollywood works right now and when he pulls back the curtain, the reader sees the operation in action. I recommend AUDIENCE-OLOGY to anyone who loves movies.
I’ve been in a few focus groups, but don’t remember what films we saw and judged. Only once or twice did someone actually ask specific questions, mostly it was just a question sheet
Maggie, same here. I’ve been on some focus groups and question sheets were common.
I hate the idea of focus groups and submitting a work for them to judge!