Grass is greener on the other side theory

Bollywood films do well all over the world - except America!

When I mention my ‘grass is greener on the other side’ theory to other filmmakers they usually squint their eyes and cock their heads as if they fail to see the connection. They might not consciously understand it, but I assure them on the subconscious level they more than likely abide by it. Mainly, this theory grows from the idea that there is a human tendency or habit to covet that which we do not possess, or treasure those things that are farthest from our grasp. Of course, this is a tendency, not a law. Thus, the general discussion that follows should be taken with a grain of salt.

The general audience, for the most part, likes to see that which it does not participate in or that which ‘is on the other side’ of their own personality or life – usually something fantastic (remember the root word: fantasy). An American independent filmmaker’s audience can be very definitive: the upper-middle class in America. They live rich and full lives of entertainment and wellness: they are ‘well-off’. You can see what I’m getting at. According to the theory, they desire in their subconscious minds those films that do not imitate their life, but show them what ‘is on the other side’, specifically bleak films. Of course, people detest seeing themselves as ‘well-off’. Rather, especially true in America, they want to be considered the ‘underdog’ or underachiever, living a difficult life of strife and sorrow, poverty and neglect, self-pity and hopelessness. So most of these film goers, or the filmmakers themselves, would argue that they are not ‘well-off’, thus seemingly negating the theory. In actuality, their arguments support the theory in full. They have taken on a self-perceived notion that they are the opposite of what they really are; in essence, they are living their life in the grass which is greener on the other side.

Leaving relativism aside, we can view the cross section of this audience in a very plain and objective manner. First of all, they live in America, a modernized nation full of wealth and security that fulfills the most basic needs of human existence. When was the last time one of these people in the audience had to latrine in the wilderness, go hungry for days on end, or homeless in a thunderstorm. There might be exceptions, but for the most part, those that live in America have enough food and social service to be more than satisfied. In addition, those in our first world sample audience have gained some education, secondary and/or post-secondary, if not higher. This is not only an expensive measure in our society separating in stark contrast socio-economic status and upward mobility, but in addition, allows for this sample to become more of a thought provocative group. In this way, we see that in general, this sample can be labeled ‘well off’. They are usually thirsty for films that are realistic and gritty, if not outright ‘bleak’.

In order to better define the theory, we can look to global cinema by comparing two of the largest film production countries, America and India. American filmmaking, without much argument, uses a large amount of resources and theory in order to bring ‘realism’ to the screen. Independent filmmakers love to use the ‘documentary’ camera approach, going handheld for hours at a time to provide this sensation of reality. Big budget Hollywood productions dig deep into their pockets forking out money for art direction, set construction, and production design geared, for the most part, to create reality. Here in America, if the helicopter goes down and the pilot is killed, we want to see it. In contrast, Indian filmmaking uses very little money to re-create reality, shooting mostly on location in a setting that is available to them. When watching a fight scene in a Bollywood film, Western audiences would be struck dumbfounded by how unreal the choreography is. Fists do not land (LET ME REPEAT - FISTS DO NOT LAND) and people that are struck one time by a kick, fall instantly dead. In addition, almost all Indian films are musicals whereby the protagonist dreams, sings and dances to find resolution to the conflict in the story. This is Bollywood! Why do billions worldwide love it? Well, when you are living hand to mouth, life is dealing you blow after blow, the real world is coming down on you, then you would want to escape and let your mind wander in something fantastic.

In essence, by theory, the American moviegoers are living a fantastic life, and enjoy viewing realistic cinema. The Indian audience is living in a hard existence, and enjoys watching fantastic cinema. Of course as stated before, there are smaller subgroups within each country that fall in a different category. Nonetheless, in order to watch a film at the theatre in America, one would pay eight to nine dollars. This is a hefty price, usually leaving those that are homeless or impoverished out. Yet in India, the price for viewing a film at the theatre is relatively cheap, allowing even beggars and the homeless in to watch the film. I believe the price in each country is set for the target audience: in America, middle class and above; in India, middle class and below.

Thus, when I tell people that Independent filmmakers know themselves and their audience, I am saying that they comprehend that ‘well-off’ audience members want to watch that which they do not see in their day to day life; suffering, malaise, and challenges. If they were making a movie for general release in America, they would choose to go another route, hoping to appeal to the massive middle-class, by showing them an ‘up-ending’ story. Americans, no matter their education or ability to value poverty, live in a fantasy world when compared to third world countries. This fantasy world is exactly what third world audiences would love to watch and dream of. In this way, filmmakers are trying to exploit the human nature that they subconsciously understand: that is, people believe the grass is greener on the other side and want to see it or better yet, live it.

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