Stardom as a Force of Nature

In the post-studio era, productive resources, once contained within the studio system, are now sourced externally. Once centred in major studio-owned facilities, production is now located in independent production companies operating as hubs in a flexible, evolving network of providers (Scott, 2006, pp. 47–49). Production, if financially supported by major producers and distributors, is subcontracted out to key personnel with a demonstrated track record—producers, directors, writers and stars. Once bound by a studio-fixed term contract, the star now operates as a freelance service provider on a project-by-project basis. This development, coupled with the development of a global market and the increase in the number of outlets, has vastly increased the scale of stellar earnings. Although precise figures are not available for reasons of confidentiality, particular stars can command very high levels of compensation, often through combining the role of producer-director and star. Mel Gibson is reported to have a net wealth of $430 million and despite being dogged by scandals can receive up to $25 million per film and $15 million for voice work in animated features. Scarlett Johansson has a reported wealth of $180 million and can receive $24 million per picture. This scale of remuneration, limited to “blockbusters” and franchise films, means that these stars, and others like them, have the financial independence to participate in low-cost independent “vanity” productions, creating a squeeze on employment opportunities available to up-and-coming actors.