And by the way, yes, Ben is one of those Mankiewiczes, sharing a Hollywood lineage that includes Frank Mankiewicz, Tom Mankiewicz, Herman Mankiewicz, and Joseph L. Mankiewicz. But he's definitely carved out a notable career in the industry all on his own, and at the 2013 TCM Classic Film Festival we got to sit down with Ben Mankiewicz and discuss working at TCM, why he doesn’t like “Some Like It Hot,” and his thoughts on last year’s Sight and Sound poll.
It’s by far the most satisfying part of this endeavor. In the first year [of the TCM Classic Film Festival], we saw what appeared to be a much younger audience... In the last couple of years, we commissioned some extensively expensive research on who our viewers are really, much more than normal TV research, we went deeply in-depth, and two-thirds, 66% of all of our viewers are under 49… I think that it confirmed what we’re seeing. It’s enormously satisfying because what that means is that most of our viewers did not see these movies when they came out. So their connection to them, their love of them, the significant place these movies hold in their heart developed some other way… It also means that this isn’t going to go away, that that connection will continue.
With developments in technology and moving towards the future, what’s your opinion on having more types of screens on which to watch films? Is it a good thing or a bad thing?
I think in general it’s a good thing. Obviously, progress is confusing… There are things about it that are disturbing and obviously, movies meant to be seen in a big theater and panoramic screen and seeing it on your computer and on your iPad is not ideal. But it’s better than not seeing it, especially with the movies I admire most, which are chatty. I think it’s good.
I think that the sort of digital filmmaking and the sort of world of filmmaking has opened up --I think that you can produce a pretty good movie fairly inexpensively... Getting it distributed is an issue, but the fact that now you can send it to people’s iPads makes distribution easier. Basically, I think that has helped us. It’s turned on a whole generational of young filmmakers to our movies because as much as they have aspirations to follow in Steven Spielberg’s footsteps, they can’t produce those kinds of movies, but they can produce movies with great stories and character and using the camera to tell their story. They can produce movies in the mold of Howard Hawks and John Ford and Preston Sturges and if they hit it big, then they can get paid… I just mean that if you have thirty thousand dollars, fifty thousand dollars, a hundred thousand dollars, you’re not going to blow up the Death Star in that movie.
You actually have to have a great structure, great story. You can’t rely on a big, massive, special effects. “Transformers” comes to mind...
I use “Transformers” all of the time. They’re unwatchable. It’s so freaking loud. I know I sound like my Dad, but I’m not knocking new movies. I think there are some great ones, really good ones, but that’s not one of them.
“Guilty pleasure” would be the wrong term for the movie I’ll say. I only say that because it has J. Lo in it. “Out of Sight” was almost the best feeling I ever had when I saw a movie. I saw it in Miami. I had just moved to Miami to work on a new show we were starting up there and I just came out of that movie thinking I’ve got to go to a movie every day, like this is too good a feeling. That’s my kind of movie. Likable bad guys, those are my kind of characters and Jennifer Lopez was great. You know, it’s a Soderbergh movie and she wasn’t J. Lo yet. I love that film and it’s where you realize that oh man, this is George Clooney, that he made the right call, that he can succeed post-"E.R.," like this guy is going to be a big movie star. “Out of Sight” is a phenomenal film. I’ve seen it like 40 times.