In a theater, movies are still given a kind of protected space. Lights are off, phones are away, and the audience largely commits to watching. At home, Damon noted, attention is divided. People are watching with lights on, kids moving around, phones in hand. That difference, he argued, has begun to shape not just viewing habits but the movies themselves.
Damon insisted that this approach isn’t actually required for success. He pointed to Adolescence, a dark and restrained film that avoids constant stimulation and still holds attention. The movie relies on silence, long shots, and emotional weight rather than immediate spectacle. For Damon, it demonstrated that audiences will engage when the film is strong, without the shortcuts.
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Streaming platforms, he noted, initially helped counter that trend by absorbing risk and allowing smaller or more experimental projects to be made. At the same time, data-driven feedback now have heavy influence on creative choices. Filmmakers are given detailed information about when streaming audiences tend to tune out, leading to odd film structures designed to re-grab attention.
Movies are not disappearing, Damon said, and the theatrical experience irrelevant isn't irrelevant. Filmmaking is adjusting to new economic and cultural conditions. Some stories will always demand the focus and scale of a theater. Others may find their audience at home. The challenge, as Damon explains it, is continuing to make films that reward attention, wherever that attention is given.
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