YouTube of course is one of the most used and most important websites on the Internet. As will be displayed below there are many ways in which YouTube has already effected the film industry and many more ways in which it can and should in the future.
Self-Shooting and First Person
The image of an arm disappearing off-frame where it is holding the camera is not uncommon in digital photography and not unheard of on YouTube. Some films have been shot first person meaning the film was self-conscious and aware and the person filming is a character, like The Blair Witch Project, Cloverfield and Diary of the Dead.
With so many vlogging and freely adjusting the camera while rolling it is an image that the people are now used to, and will accept this kind of image, and it wouldn’t be surprising if it started getting incorporated into narrative features more often than it is.
Several films have already taken to creating footage to be used only for their viral marketing purposes – most recently and notably a “leak” of footage for Cloverfield 2. The buzz surrounding Paranormal Activity was also aided in part due to its trailer being on YouTube.
When original content was first created a few years ago solely for the purposes of promoting a film you knew that it was going to be, and it continues to be, a crucial part of marketing a film. Even if not creative no major release leaves either YouTube or Apple’s trailer site out of their promotional plans.
OK, so jump cuts are nothing new and have been a somewhat tolerated part of the language of film since the French New Wave but it is truly only through the fictional narratives created on YouTube, both crude and refined, that people have en masse truly accepted the fact that continuity is a contrivance which can be forsaken for effect, if necessary.
Even the music video, which planted this seed, never fully communicated this because very few have a coherent narrative. So it was really only when the everyman got on their home video camera or webcam and started to edit that the jump cut became not just acceptable but almost preferred.
Granted the jump cut isn’t predominant in feature films, however, films don’t feel the need to justify or feel timid about using them when they need to.
This is a concept original to video sites in their way. It takes the audio and visual associate with a song and presents an alternative to the remix and ultimately creates a new song. Yet the phrase mash-up was quickly re-appropriated to merely mean combining ideas and not so specific to music so it’s not inconceivable that the idea can be used to conjoin disparate ideas in one motion picture.
In a Hollywood littered with prequels, sequels, remakes and reboots it’s certainly within the realm of possibility.
Another popular YouTube trend is to recut a trailer with carefully chosen dialogue and different music to make it seem like it was created for another genre altogether. One of the most famous examples is Mary Poppins as a horror film.
Now while this is usually just film enthusiasts having fun again we are in an age where executives are looking to repackage, re-brand and recycle wherever possible and considering the studios own the depictions of these films they created on screen it is not out of the realm of possibility that they go with an idea they find online, pay off the viral editor and go off and turn The Shining into a family film.
A recent trend in which modern era movies are spoofed as trailers from the golden age splicing footage from those old films to make it seem like the older star appeared in the newer film. A for example: Indiana Jones cut as if it was a 1950s serial or Ghostbusters in the 1950s.
An even more literal interpretation of this concept of using a bygone star in a modern idea could be accomplished through motion capture or 3D animation and a deal with the estate. If that sounds a little crass keep in mind Gene Kelly has posthumously danced with a vacuum cleaner so sometimes money does outweigh legacy unfortunately.
Handheld imagery is already well accepted by modern audiences. However, the YouTube influence is that people will become so used to seeing wildly unsteady imagery that there will be less and less concern about stable images and Steadicam.
This could be a very bad thing in the case of Quantum of Solace the combination of handheld camera work, editing and rapidity of the fight render the action nearly incomprehensible.
The positive could be an added element of realism where a film would not feel the need to cut to a more stable image or a different angle and want to exploit the sense of realism the lack of cuts would create. Images don’t always have to be pretty so long as they are effective too many modern films fail in their hand holding on both accounts.
It’s kind of obvious but needs saying regardless: save for the rare loon, such as yours truly, people are rarely uploading digitized film projects on to YouTube. They typically are all native to video in one form or another. So proponents of the digital revolution in the late 90s were indeed correct only premature.
Video is getting better looking all the time and people are used to it and will accept it unquestionably. Being consistently bombarded by video that’s in a resolution less than ideal on the Internet has aided the transition.
There are no history books likely to be written about what was the first video that was considered to have gone viral and even YouTube with its statistics keeping would be hard-pressed to quantify many statistics anymore considering how widespread usage of the site has become.
However, it was recently was announced that Fred, a YouTube persona created by teenager Lucas Cruikshank was optioned to a feature film. Should it come to fruition it would be the first concept to go from YouTube to a feature film. A few instances exist of YouTube inspiring commercials but nothing like this.
This would likely be a litmus test for other YouTube sensations in the film world (the music world has already been notably affected with Justin Bieber’s career owing its existence to YouTube popularity) but more than likely a few better, if not as popular people might get deals because of this and it would obviously be the most direct influence of YouTube on cinema: content.
Recently, a Uruguayan filmmaker signed a deal on the strength of his YouTube Short.
Troye Sivan in X-Men Origins: Wolverine
YouTube has already notably played a part in the casting of a major Hollywood motion picture. Troye Sivan gained notoriety on YouTube mainly just by singing a cappella
and gaining attention including that of a casting agent. The agent got in contact with him and gauged his interest in acting and sent him out on a series of auditions. The first of which was for X-Men Origins: Wolverine
He landed the role, played Young Logan and the rest is history. It is not likely the last story of that kind which will occur.
Another popular motif on YouTube is that of the still picture montage. It is rarely a tag but is a very frequently used technique that could be effectively used in film because in an art form predicated on the moving image to stop the motion whether through a freeze frame or a still is a very powerful maneuver.
Recently, a very effective still picture montage was used at the end of The Hangover, which showed the audience the digital photos from their wild forgotten night.
This could be the way in which YouTube has the most potential to revolutionize conventional narrative cinema as we know it. Unless a user is uber-popular and they become a “content provider” you are limited to 10 minutes or less. Flow varies and structure is unheard of, however, that does not keep many videos from being quite entertaining and creative while not traditionally structured.
However, at this day and age what has traditional structure really gotten us anyway? At this point, in many cases, all structure does is facilitate unoriginal plotlines that are made in cookie-cutter forms. When something new and original comes along it typically at least bends if not breaks the rules of narrative form so it is not far-fetched to consider that the YouTube videomakers of today could be the cinematic mavericks of tomorrow.
Therefore I call upon the YouTube generation to continue shooting, editing and telling tales the way you want to tell them and the world will listen. If not now, soon.
These are just some of the small ways in which YouTube can affect films. Considering how slow the learning curve is in Hollywood the effect can still permute in the years to come and let us hope that it does. It may create fascinating if not always brilliant work. At this rate it is the only current forum that can be considered a vox populi. It is a movement in and of itself even if not self-conscious of it. For that reason alone the impact is likely to be felt because as studios seek to emulate the viral style they will think it was their idea in the first place but really it was ours and that would be the greatest victory of all.