Movies

Inside the rise of the conservative movie industry behind ‘Reagan,’ ‘Am I Racist?’

BBG News

In a significant understatement, one could say that “Am I Racist?” wasn’t exactly aimed at gaining Hollywood’s approval. This documentary, created by The Daily Wire and hosted by conservative commentator Matt Walsh, adopts a satirical approach similar to Borat, scrutinizing progressive notions of systemic racism and diversity training programs with humor. When it premiered in over 1,500 theaters in September, many mainstream critics chose to overlook it entirely, while traditional media outlets provided scant coverage.

Despite a highly charged political climate marked by deep divisions, the film “Am I Racist?” resonated with audiences. While some on the left found it objectionable and humorless, it still ranked among the top five films at the box office in 2024 and grossed over $12 million, making it the most successful documentary of that year.

The picture’s success wasn’t just a fluke; it was part of a growing trend. In recent years, filmmakers targeting conservative audiences have been discovering innovative methods to circumvent Hollywood and reach viewers they believe have been neglected by mainstream media. Angel Studios’ “Sound of Freedom,” a faith-based thriller focusing on sex trafficking in Colombia, made it to the top 10 at the U.S. box office in 2023, earning $250 million globally and cementing itself as one of the most successful independent films ever made.

In the past year, the biopic about President Reagan titled “Reagan” unexpectedly garnered $30 million at the box office, which is almost twice as much as “The Apprentice,” a harsh drama chronicling Donald Trump’s rise. Despite numerous pre-release promotions and festival showings, “The Apprentice” struggled to attract a significant audience. Interestingly, another film focusing on Trump, “Vindicating Trump” by Dinesh D’Souza, also underperformed, earning only $1.3 million, hinting that the public might be experiencing Trump fatigue.

As a movie producer working on “Reagan,” I find the triumph of films like ours serving as a siren call to the typically left-leaning film industry. It’s puzzling, in my opinion, to deliberately exclude half the nation from our creative endeavors – it just doesn’t add up. In an email interview with The Times, I expressed this sentiment: “Why intentionally alienate half the country? It makes no sense.”

Are we crafting movies for ourselves or for our audience?

In recent years, The Daily Wire has made a name for itself as one of the most aggressive contenders within this field. Established in 2015 by conservative commentator Ben Shapiro and producer Jeremy Boreing, the company ventured into movie production in 2021 with “Run Hide Fight,” a gripping school-shooting thriller. The film garnered an audience primarily through its exclusive streaming platform, Daily Wire+.

After that, the Daily Wire has launched projects such as “What Is a Woman?”, a documentary questioning progressive perspectives on transgender identity, and “Lady Ballers”, a satirical comedy revolving around sports and gender. Their upcoming fantasy series, “The Pendragon Cycle”, indicates their desire to explore new realms, with an emphasis on grand storytelling instead of political themes.

As Donald Trump prepares for his second term as president, there seems to be a change in the cultural and political climate, leaning towards content that caters to conservative audiences. Meanwhile, established studios and streaming platforms are considering strategies to cater to this right-leaning demographic or at least not antagonize them. Notably, political speeches were noticeably absent during the recent Golden Globes awards ceremony, despite Trump’s upcoming return to office.

In a recent conversation, The Times met with Ben Shapiro, who serves as co-CEO at The Daily Wire and is also known for directing films like “Lady Ballers” and “The Pendragon Cycle.” They discussed his insights on the future of conservative cinema and potential reactions from Hollywood. The interview has been streamlined and adjusted for better understanding.

Despite being mostly overlooked by conventional media, “Am I Racist?” emerged as the top-grossing documentary of 2024. What factors might have contributed to its extraordinary success?

It would have been great to receive some feedback. To clarify, the Daily Wire has an impressive ability to target a niche market, one that hasn’t been sufficiently served by traditional media outlets. We invested heavily in marketing and utilized our own promotional platforms, which are valued at significantly more. We excel in engaging with our specific online audience. It’s true that conservatives often find themselves lacking content that reflects their views. Typically, if there is a political documentary, it’s likely to come from the opposing side.

We would appreciate your feedback. In essence, the Daily Wire possesses a powerful marketing tool for an underrepresented audience. We’ve spent millions on advertising and utilized our own promotional resources, which are worth much more. Our expertise lies in communicating effectively with our specific online audience. It’s a fact that conservatives often struggle to find content that aligns with their views. Usually, if there is a political documentary, it’s likely produced by the opposing side.

People are cheering us on too. They observe us tackling powers that seem to be opposing half the nation on their own ground, not merely publishing it on our streaming service, but premiering it in cinemas as well. Many were surprised by “Am I Racist?” and were pleased someone was addressing such a topic. What’s more, the movie turned out to be quite good. Matt Walsh is an immensely talented individual. A decade ago, the left had numerous comedians capable of that kind of work, but their success made them complacent. Over time, those skills weakened, creating a significant space for someone like Matt to excel.

Initially, when The Daily Wire chose to delve into the entertainment industry, what was the primary motivation for this strategic move? In what way did movies align with your mission in your perspective?

Ben Shapiro and I joined forces during a movie project, and cultivating culture was inherent to our aspirations for The Daily Wire from the start. However, we lacked a detailed blueprint. As products of the Andrew Breitbart school of thought that posits politics is influenced by culture, we were all based in L.A. At that point, I was managing Friends of Abe, a clandestine network of approximately 2,800 conservative figures in Hollywood. In 2020, it became clear that we had already established many essential elements such as production expertise, sophisticated marketing, and a streaming platform for our podcasts. What remained untouched was the creation of movies.

From a philosophical perspective, I’ve often noted that Barack Obama might not have won the 2008 election as a Democrat if he supported gay marriage, and by 2012, he might not have been reelected if he opposed it. This significant change in societal values wasn’t brought about politically – it was cultural, primarily due to the popularity of “Will & Grace.” Culture often determines the boundaries [Overton window] for political discourse, and we’ve always aimed to contribute positively to culture rather than just criticize it.

In some of your works, such as “The Pendragon Cycle,” it may not immediately seem that they involve politics. However, could you clarify how politics is integrated into the broader perspective you’ve established for your creative endeavors?

Politically minded, yet not primarily driven by politics. We wear our viewpoints on our sleeves. “Lady Ballers” is a humorous take with a strong opinion, as I was the writer and producer. However, productions such as “Terror on the Prairie,” “Shut In,” or “The Pendragon Cycle,” which include our most ambitious project to date – they are significant for their omissions rather than inclusions. They aren’t defined by their values but rather by what they choose not to express.

To create content that resonates with our conservative audience, it’s important to avoid producing material that contradicts their philosophical beliefs. However, it’s also crucial to remember that these viewers aren’t solely driven by philosophy when choosing entertainment. They prefer content that doesn’t defy their values in unexpected ways, especially near the end of a storyline. Ultimately, our goal is to provide them with enjoyable and engaging content.

For quite some time, faith-themed films have been popular among traditional viewers. However, The Daily Wire is creating its unique space. What criteria do you employ when choosing tales to narrate, and what elements make a story appear suitable for your identity and audience?

The core belief at Daily Wire is that we avoid being overly skeptical or pessimistic in our actions. When we do slip up and act cynically, it often comes back to haunt us – which I, as a believer, interpret as a divine reminder of my decision not to be cynical. In the realm of entertainment, our aim is not to create films that people merely say they want to watch; instead, we strive to produce movies that audiences genuinely desire. We don’t approach our entertainment as charity work. Rather than asking you if you’d like a particular movie for someone else, we ask what kind of film you truly wish to experience. If it’s a project we ourselves would enjoy watching, that’s usually the deciding factor in choosing a production.

What is your perspective on how the scenery might shift for conservative movies if Trump were to be re-elected as president? Will established movie studios and streaming platforms intensify their efforts to court this audience segment?

It appears to me that businesses like the Daily Wire could find immense potential at this juncture, as our audience seems to have a renewed sense of hope – a feeling they haven’t experienced in a while about the country’s future. Unlike many conservative media outlets, the Daily Wire has maintained an optimistic stance, emphasizing not just the fight against the left, but also the creation of a new future. While most organizations combatting the left often lean towards pessimism, and future-building is typically associated with the left, the Daily Wire effectively balances both aspects. The next phase is for us to pen its story.

As a movie enthusiast, I’m optimistic that major Hollywood studios will strive to regain the audience they’ve lost. Here’s hoping! You see, the greatest triumph for The Daily Wire wouldn’t be emulating Disney; it would be inspiring Disney to return to its roots. If Disney could once again cater to a diverse audience rather than just a specific group, that would be an achievement of epic proportions – not just for the industry, but for our shared values and businesses. By competing for their patronage, they’d be forced to up their game, and we’ve shown them how it’s done.

It seems to me that things are bound to shift, both in terms of our business and our approach. I’m not intending to collaborate with Matt Walsh on another anti-woke documentary. Woke culture still exists, but it appears to be struggling. In my opinion, the interest won’t persist as strongly in 24 months. Instead, we need to continuously assess the changing landscape and identify the most promising opportunities that cater to our audience’s preferences and generate content they truly enjoy.

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2025-01-19 14:31

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