Hollywood's Endless Cycle of Destruction: Why New Landmarks Need to Get Their Due on the Big Screen
The art of destroying iconic landmarks in movies has become an overused trope. From the Eiffel Tower to the Statue of Liberty, it seems that whenever Hollywood needs a dramatic backdrop for its latest blockbuster, it reaches for the most recognizable and instantly recognizable structures around the world. But have filmmakers thought beyond the usual suspects?
In a recent study by insurance company MS Amlin, it was revealed that the Eiffel Tower has been destroyed in no fewer than nine films since 1925, including Reign of Fire, V for Vendetta, London Has Fallen, and even Tom & Jerry: The Fast and the Furry. Not to be outdone, the Golden Gate Bridge has been reduced to rubble a staggering thirteen times, with films like Superman, San Andreas, Terminator: Genisys, and Pacific Rim all contributing to its demise.
The Statue of Liberty takes the top spot on the list, having been targeted in an astonishing twenty-one films since 1925. From The Last War to Independence Day, this iconic symbol has become a go-to setting for filmmakers looking to create a sense of apocalyptic dread.
While some may argue that these classic landmarks have become synonymous with disaster and destruction, it's hard not to feel a sense of fatigue when seeing them reduced to rubble time and again. Where are the innovative films that think beyond the obvious?
It's time for Hollywood to get creative. Instead of relying on the same old landmarks, why not aim higher (or lower, depending on the context)? The Spam Museum in Austin, Minnesota, or the tiny statue of the urinating boy in Brussels could be the perfect setting for a unique and unforgettable cinematic experience.
The problem is that cinema has become stale, stuck in an endless cycle of familiar tropes and predictable plot twists. Filmmakers need to take risks, push boundaries, and think outside the box (or in this case, the iconic landmark).
Until then, we'll be left watching the same old destruction montages, feeling like we've seen it all before.
The art of destroying iconic landmarks in movies has become an overused trope. From the Eiffel Tower to the Statue of Liberty, it seems that whenever Hollywood needs a dramatic backdrop for its latest blockbuster, it reaches for the most recognizable and instantly recognizable structures around the world. But have filmmakers thought beyond the usual suspects?
In a recent study by insurance company MS Amlin, it was revealed that the Eiffel Tower has been destroyed in no fewer than nine films since 1925, including Reign of Fire, V for Vendetta, London Has Fallen, and even Tom & Jerry: The Fast and the Furry. Not to be outdone, the Golden Gate Bridge has been reduced to rubble a staggering thirteen times, with films like Superman, San Andreas, Terminator: Genisys, and Pacific Rim all contributing to its demise.
The Statue of Liberty takes the top spot on the list, having been targeted in an astonishing twenty-one films since 1925. From The Last War to Independence Day, this iconic symbol has become a go-to setting for filmmakers looking to create a sense of apocalyptic dread.
While some may argue that these classic landmarks have become synonymous with disaster and destruction, it's hard not to feel a sense of fatigue when seeing them reduced to rubble time and again. Where are the innovative films that think beyond the obvious?
It's time for Hollywood to get creative. Instead of relying on the same old landmarks, why not aim higher (or lower, depending on the context)? The Spam Museum in Austin, Minnesota, or the tiny statue of the urinating boy in Brussels could be the perfect setting for a unique and unforgettable cinematic experience.
The problem is that cinema has become stale, stuck in an endless cycle of familiar tropes and predictable plot twists. Filmmakers need to take risks, push boundaries, and think outside the box (or in this case, the iconic landmark).
Until then, we'll be left watching the same old destruction montages, feeling like we've seen it all before.