When I grew up, science fiction and action thrillers were always my favorite. Star Trek series of movies and follow-up films, such as 2001 (which has a sequel to 2010), Aliens (who had several sequelers) and Predator (who also had several sequelers) fascinated me, and they still do. Nowadays, Ive had the pleasure of watching the X-Men series and the Fast and Furious series of movies, so this current age of blockbuster movies, increasingly dependent on prequels, sequels and remakes (for a good article or two on this topic , Google percent of movies that follow-up) fascinates me because of the following question. That is, how can sequels, prequels and remakes continue to generate fairly new content that the audience continues to pay to see? I think the explanations are several, including advances in special effects (after all, how can Godzilla be revised so many times without improving special effects). However, Im starting to notice new content generators, especially relevant to prequels and sequels. Mostly, the two content generators have really taken my attention, time travel and alternative outlook points, which I would like to give some examples of.
In terms of time travel, I will focus on two movie followers, Terminator: Genisys and X-Men: Future Past Days (warning: some spoils are included in this section). In the previous movie (only the trailer is currently available), the events in the previous movies in the Terminator series have changed the current timeline, so now a new future (ie plot content) has been created. In the X-Men movie, Wolverines awareness has changed earlier so that his former self has become aware of future events. When the movie concludes, his actions in the past have changed the future (sounds familiar) so that characters killed in earlier films (eg Jean Gray aka Phoenix and Cyclops) now live again! (after all timeline has been changed, now new content can be generated). If the resurrection of dead characters does not validate time travel as an excellent magic eraser (so that new content can be generated), I do not know what would!
As for alternative viewpoints, look no further than the Fast and Furious series. After looking at Tokyo Drift, I was a little disappointed that He died, and at that time I only licked the events in this movie as a closed thread. This means that nothing else would grow from this node of history. Oh, how wrong I was, because at the end of Fast and Furious 6, an alternative point of view for the audience was revealed! His killer, whom we did not know in Tokyo Drift, was none other than Jason Statham, who drove the audiences expectation of an explosive thriller for the sequel Fast and Furious 7. In other words, the viewpoint is hidden from us in Tokyo Drift and was just revealed to us in Fast and Furious 6, gave the content of the sequel.
I do not think anyone can argue that creativity is highly rated in Hollywood anymore, because more of each years highest recording movies are now sequel or prequel than ever before. However, I know that all wells, no matter how productive, must stop drying in the end, and all we can do is try spelling this for as long as possible (or until we find new wells). In this case, time travel and alternative views may help Hollywood wells from getting too dry. In addition, I doubt that this will change at any time, from the point of view of investors (where is the funding for movies?), Well-known series of movies and their sequelers, represents a fairly safe return on investment with a much lower risk than an entirely original production . So next time you look at a sequel, especially one that is part of a successful series of movies, look at loose ends that have not tied up (for example, we did not know who killed Han in Tokyo Drift). Who knows? You may only notice that one of the bad guys in a movie like Captain America: Winter Soldier, such as Frank Grillos character, burned badly but did not actually kill!