Sometimes studio interference is exactly what a movie needs.
, learned the hard way what happens when you let Harvey Weinstein get final cut on your movie.
And it’s entirely possible that, had Searchlight taken a stronger hand in the development and production of, the movie would have lost the uniqueness that is its greatest asset—that studio interference would have made the movie not bad, necessarily, but bland.
The tweaks the screenplay have given J.M. Barrie’s time-tested story are pretty shrewd: focusing on Wendy, not Peter, giving her greater agency, and exploring what happens to children who “fail” at the everlasting-youth mission of Neverland. There’s even a terrific twist involving Captain Hook that surprised and delighted me.
Some input from a smart development team, for example, might have pushed Zeitlin to think hard about what this movie has to offer clever children, what it has to offer open-minded adults, and whether there’s enough there for either audience. The movie is grim and unsparing at times in ways that, I suspect, will upset and anger kids who might otherwise spark to the movie’s sense of adventure.
The infrastructure and experience a studio offers can give an ambitious filmmaker the chance to broaden their palette, to work with new collaborators, to embrace the challenge of work they’ve never dreamed ofin a process reportedly full of benevolent, was the casting of the children of Neverland. Wendy and her brothers are white, while Peter and his closest confidantes are black. It’s not just that those black children are ancillary to the story of these white kids they bring to Neverland.
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