Brian Cox has expressed concerns about the current state of cinema, attributing part of the issue to the dominance of the Marvel and DC Universes.
The esteemed actor, known for his recent acclaimed role in HBO’s Succession, shared his views during a panel at the Edinburgh International Film Festival on Saturday.
When discussing the recent acclaim of popular TV shows, Cox used the latest MCU film Deadpool & Wolverine as an example of what he described as cinematic “party time.”
“What’s happening is that television is now performing the role that cinema used to,” Cox told the audience, commenting on television’s creativity. “I believe cinema is in a very bad place.
It seems to have lost its way due to the grandiosity of Marvel, DC, and similar franchises. I think it’s starting to implode. The essence of cinema is getting lost.”
He elaborated on his critique by discussing actors Ryan Reynolds and Hugh Jackman from Deadpool & Wolverine.
Cox observed that while these films generate substantial revenue and keep audiences entertained, they often lead to diluted artistic content.
“Films are making a lot of money that makes everyone happy, but in terms of the artistic work, it becomes diluted. You end up seeing the same old things… I’ve been involved in such projects myself.”
Cox reflected on his role as William Stryker Jr. in X2: X-Men United, where he played a military scientist who persuades Logan to become Wolverine. He humorously admitted that he sometimes “forgets” his role in creating Wolverine.
“Deadpool meets Wolverine, who I created, but I’ve forgotten. Actually,” he quipped, “When those films are on, there’s always a bit of me [as Stryker], and they never pay me any money.”
Cox criticized the current trend of some actors engaging in these projects for their commercial success. “It’s just become a party time for certain actors. Hugh Jackman can do more, Ryan Reynolds can do more, but they follow this path because it’s profitable. You can’t fault them for that.”
He noted that television is surpassing cinema in quality with remarkable series like Jesse Armstrong’s Succession and Netflix’s Ripley, featuring Andrew Scott.
“There are so many shows, and you get the honor of telling a story over time.” Cox reminisced about the films of his youth, such as On the Waterfront, which inspired him to become an actor, but lamented that such films are less prevalent today.
Reflecting on his childhood in Dundee, where he visited 21 theaters between the ages of six and eight, Cox contrasted the filmmaking of his era with the current casting process.
“Today, every young actor or actress has to create their own self-tapes. They do this without meeting anyone, and sometimes they never even get a response. They spend days on self-tapes that go unnoticed.”
Cox criticized the current system, which he believes lacks the personal rapport that used to exist between casting directors and actors. “Young actors are left in limbo, and it’s quite frankly disgusting because it hampers their potential.”
Cox described the current system as “terrible” and expressed a desire to return to more personal interactions in the industry. “Art is about relationships,” he said.
The panel Cox participated in was moderated by Rowan Woods, director of the Edinburgh TV Festival, and included panelists Alex Walton of WME, producer Afolabi Kuti, ventriloquist-turned-director Nina Conti, and director Daniel Reisinger, who spoke on Friday.
The discussion focused on how individuals from live performance and television can successfully transition into filmmaking.
Cox also revealed that he is working on his own directorial debut, which he described as “a love letter to Scotland.” He expressed admiration for directors like Mark Mylod, who worked on Succession, but noted that effective directing requires letting go of control.
“When you’re juggling so many tasks and someone asks, ‘What do you want her to wear? This or that?’ I don’t care. Whatever she’s wearing is fine. That’s the essence of allowing people to do their jobs.”
He emphasized that directors should not interfere with the work of production designers or makeup artists. “They are there for a reason, to contribute their skills. There’s too much control in filmmaking today. Control stifles art because art is about flow and movement, not control.”
