Some films seemed to acknowledge the influence of the Hollywood factory, like Charlie Chaplin’s “Modern Times” (1936). In this film, the protagonist, known as the Little Tramp, works in an efficient factory that showcases a new “feeding machine” designed to serve workers and increase productivity. However, when the boss tests the machine on the Tramp, it malfunctions and leads to chaos. Shortly after, the Tramp experiences a breakdown, his movements become frantic, and he is literally sucked into the dehumanizing machinery.
Although certain stars maintained their independence within the industry, particularly those with astute agents, the majority of performers were tightly controlled by the studios. By the early 1930s, the option contract emerged as the most overt method of exerting control over famous actors. These contracts typically lasted for seven years and not only allowed studios to shape and refine the stars’ public personas, but also gave them exclusive rights to the actors’ services. Studios had the power to terminate, renew, loan out, or even sue unruly actors.
Bette Davis, who signed with Warner Bros. in 1931, spoke of her lack of agency within the studio system. She expressed frustration with her roles and stated that her only recourse was to refuse, which led the company to suspend her without pay. Despite winning her first Best Actress Oscar in 1936, Davis still did not have a provision for star billing in her contract two years later. Although her fame and salary increased, her power remained limited. Her third contract with Warner Bros. required her to perform whenever and wherever the producer demanded.
Directors and writers also faced struggles for control and independence within the studios. Studios often claimed perpetual ownership over the ideas of hired writers. The terms of labor varied across different studios. David O. Selznick, the independent producer behind “Gone With the Wind,” explained that at M.G.M., directors were solely responsible for directing actors according to the script. However, at Warner Bros., directors were seen as mere cogs in the machine, given the script just days before production.
The tension between art and industry in Hollywood’s history often resulted in the metaphor of “cogs in the machine” being used to describe the old studio system. Despite its brilliance, the system took a toll on its people. The instances of sexual exploitation and racial discrimination were extreme examples of how the system could devour its own. In 1931, Selznick wrote in his resignation letter to Paramount, “The system that turns these people into automatons is obviously what is wrong.”
Selznick’s despair brings to mind a memorable scene from “Blade Runner.” Set in a futuristic Los Angeles, the film features Deckard, a tough detective hunting rogue replicants, synthetic humans created for slave labor. In one scene, Deckard visits the Tyrell Corporation, which manufactures replicants, and speaks with its enigmatic founder. The founder emphasizes their focus on commerce and uses the motto “more human than human,” resembling an old studio boss.
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