NEWS: Chris Gore's Footage Fetishes: Why On the Lot Failed

CULTURE: Chris Gore's Footage Fetishes: Why On the Lot Failed

There is more interest now in the film business than at any time in history. Back in the day, round about the mid-1970s, your average person didn’t have much interest in movies other than seeing them. At that time, box office reports were something seen only in the trades. And you’d be hard-pressed to find anyone who could name a filmmaker.

But that was then.

Now, my mom who lives in the Midwest can name the number one film at the box office each week. With the internet, there are more outlets covering movies now than there are movies made in any given year. There’s almost an obsession on the part of average moviegoers to learn everything about film’s that peak their interest. DVDs seem to be required to include a “making-of” documentary. Television is filled with coverage of movies from interviews to on the set visits to peaks into the process of moviemaking itself through shows like Project Greenlight, IFC’s Film School and even HBO’s Entourage. All this must have led TV super-producer Mark Burnett and his associate Steven Spielberg to believe that the public would embrace a show that is basically “American Idol for Filmmakers.” Unfortunately, they were wrong. Not about the interest on the part of the public, but by the approach to the subject.

If you are one of the few folks still watching FOX’s reality show On the Lot, then we should talk. Both of us. The ratings for the show have been abysmal from the start, even though the premiere episode aired just after the final episode of American Idol, a show I am proud to say I have only seen glimpses of in promos. (I am used to the fact that my personal taste rarely aligns with the general public’s.) The ratings for On the Lot have dropped by half nearly each week, and they even cut the schedule from twice weekly airings to only once a week on Tuesday evenings. I’m guessing the only reason it’s still on is because Mr. Spielberg, the most financially successful filmmaker of all time, is involved.

So, why am I still watching this terrible show? I am burdened with a lifelong film obsession and I relish every peak into the process provided by shows like Greenlight and Film School, both of which I highly recommend on DVD. I believe that the show began with good intentions – to reveal the drama of a movie competition as filmmakers “go for their dream” in a contest where America votes. I remember first hearing about On the Lot and being excited about the possibilities, to the point where I was actually recommending certain talented filmmaking pals submit applications. I am so glad none of my friends took my advice, I’d feel so guilty. The show is not just a ratings disaster, plenty of great programming receives awful Nielsons, it’s just plain torture to watch each week. So rather than continue viewing in pain, I feel compelled to tell you why On the Lot failed.

Reality TV super-producer Mark Burnett, the lucky contestants from the Fox's reality TV series On the Lot and director Steven Spielberg, who has yet to make an appearance on the show.

The Dream
There’s something about watching underdogs go for their dream that is instantly relate-able. We feel their pain and want them to triumph against the odds. The individual singers on American Idol seem to generate armies of fans rooting on for their success. Sadly, no one seems to care about filmmakers. Somehow, the dream of those pursuing a career as a filmmaker is just not widely relate-able as those of a kid who wants to sing on stage. Or, perhaps the producers have not shown us enough about each contestant to make us care.

The Host
Many who have seen the show always seem to complain about the host, Adrianna Costa, who was a replacement at the last minute. Having done a job that was similar on show on IFC, I can tell you that it’s not a lot of fun. You’re there to play traffic cop, and lead the audience to the next bit. Adrianna Costa is fine to me. She’s most likely being overproduced before she appears live to read teleprompter, after she’s read it 50 times before that, and after having done rehearsal after rehearsal which puts the minds of producers at ease, but can make the host seem stiff. Let her loosen up.

The Films
Well, they’re very good, for the most part, especially compared to most of the content uploaded to YouTube. But let’s see each director making those movies. That’s the fun part, witnessing the struggle to get it made, which is how shows that tackled similar material became popular – by exposing the process.


Film and television producer/director Garry Marshall and actress/writer Carrie Fisher make up two-thirds of the panel of judges each week.

The Judges
The panel of judges is, well, for the most part, out of touch. Carrie Fisher prefaces nearly every statement by saying “I think you’re very talented,” then proceeds to explain why she didn’t get it. It’s like watching a John Waters movie with your mom who then fails to understand why Divine eating poodle poop is an important scene. While Carrie may be loopy, Garry Marshall seems to still be living in the 70s with his views on women. He’s referred to female directors as “girls” and is simply condescending in his remarks when he says words to the effect, “That was a good movie… for a girl.” I think grampa forgot to take his medicine. There is a glimmer of intelligence when it comes to comments made by the weekly guest director. The judges who have dispensed all the best advice have been the revolving directors chair which has included Brett Ratner, D.J. Caruso, Michael Bay and most recently, Wes Craven. Each of them seem to be mentoring when they provide notes on each film. Why not a panel of three directors?

The Drama… or Lack of it…
The show is clearly modeled after American Idol by showing this fake drama created solely by the host informing contestants one by one whether they are “safe.” Then, a few “unsafe” filmmakers must stand and wait for the entire show to learn if they will stay or go. Ugh. It’s so embarrassing to watch, I actually feel awful for the filmmakers.

Ultimately, FOX was probably not the best home for this show. Bravo or Sundance Channel or IFC would probably have take the concept of a film competition show and made it much more intelligent given that they're less dependent upon ratings. It’s too late to retool the show on FOX, but it’s not too late for another network to create an imitator. Though, TV is not really in the business of replicating failure.

Anyway, if you happen to have missed On the Lot, every episode is available for download on the official site… if you care.

Gore gone.

Chris_Gore admits being addicted to reality TV, but is in slow recovery.

Hmmm... now I'm glad I forgot to tune in.

The profs @ my film school were goading us into submitting for this show, but once we dug around about it, found it wasn't our cup of tea. For one, anything you produce for the show automatically belongs to them, and the film you initially submit with yr app to be considered, you can't submit it to any festivals for a year...and finally, imho, I find the idea of turning the craft that I love and dedicate my life to into a fucking popularity contest/game show to be abhorrent...one should work hard and earn the right instead of jumping thru flaming hoops to win it.

yea.. watching it seemed like a peek back into those really boring classes where you would screen and screen things for hours at a time, only there is no one making wise ass comments in the corner.. lame

Heh, damn straight. Thats exactly how I feel about anything that has to do with the music industry, creation of a "supergroup" or any of those american idol bullshit shows.

It never ceases to amaze me how willing the music industry is to whore out total shit to try to rake in money. Its an insult to art and artists everywhere.

I don't necessarily disagree with any of that, but to be honest, this whole business and any pathways to success/getting a film made are so idiosyncratic and vary so wildly from person to person that I wouldn't really say it's any more of a game show or popularity contest than many of the 'normal' routes in the industry.

On the other hand, the reason I personally wouldn't have submitted when I was a film student and the reason the show held little appeal to me was that they were obviously searching for a very specific type of film and filmmaker. You didn't have to look much further than their selection of judges in the first episode (Carrie Fischer, Gary Marshall, Brett Ratner) to see that a subtle Ozu-esque living room drama or a mystical meets spiritual sci-fi epic in the Tarovsky vein weren't going to make it far.

oh christ, Ozu

Tarkovsky, however...

I'm sorry, but I could not take Tokyo Story