A quintessential holiday morsel:

‘Tis the season to be jolly
Fa la la la la … la la la la

And there must be no shortage of jolliness for big-name film studios as we enter the last days of the year—2007 has been one of the most lucrative in film history. But after the holiday parties end, and the final box-office spreadsheets have been tucked under the pillow (or thrown on the fire), the time comes for rebirth and renewal. After all, the target demographic will be looking for something new, and the critics certainly weren’t impressed with much of this year’s fare. Perhaps everyone can be happy in 2008, as the medium returns to its glory days of content-rich, engaging filmmaking.

Alright, you people aren’t buyin’ it.

Because 2007 was a mishmash of novel achievement (the near-photorealistic Beowulf) and dismal failure (the critically-skewered Lucky You), the new year has a lot on its shoulders. Not every film can be a hit, of course, but studio executives—along with advertisers, marketers and public relations firms—hold in their hands the ability to alter and shape the cinematic landscape. The following list of resolutions would do two things: keep money in the pockets of studio execs and simultaneously give moviegoers what they want. I’m no market analyst, but I firmly believe that these short-term changes would bring long-term benefits.

See the complete list of resolutions after the jump. And please feel free to add your own suggestions.

1. Resolve to find use for more fresh faces

As we’ve seen from Diablo Cody’s Juno script—not to mention the subsequent advertising onslaught and Golden Globe nomination—taking a chance on a newcomer can be very rewarding for a studio. Keep doing it. The only people capable of ameliorating cinema as an art form and a business are the men and women with new ideas, who see the world through different eyes.

2. Resolve to better promote film veterans

When Werner Herzog’s Rescue Dawn opened, I had heard virtually nothing of the film except a review from Roger Ebert. Octogenarian Sidney Lumet, long-time director and five-time Oscar nominee, released Before the Devil Knows You’re Dead three months ago; it never left the fringe theaters here in Seattle. Why? Both of these films received critical praise, and both Herzog and Lumet have many classics under their belts. Meanwhile, Ridley Scott and Mike Nichols get wide releases, magazine spreads and Christmas openings.

3. Resolve to release films more widely

I understand the risk involved. It costs money to distribute a film, and return on investment is key. In the past, someone living in a smaller town may have simply jumped in the ol’ pickup truck every weekend and headed down to the local theater to see whatever happened to be playing. And that arrangement likely worked well for everyone at the time—the movie studio wouldn’t have to spend any money marketing a movie in a town where it wouldn’t be shown, and the local would probably never hear of the movie anyway. But the wonders of the Internet have allowed marketing of some of the smallest films to be ubiquitous. Some teenager living in Pocatello, Idaho was inundated with adverts and trailers for Adrienne Shelly’s Waitress this year, but he/she wasn’t able to see the movie until it released on DVD. The point here is a simple one: the marketing and advertising money is already being spent. Why not allow those people on the fringe to become part of the equation?

4. Resolve to explore more deeply the potential of film on the Internet

Speaking of the Internet, way to go with all that great stuff you’ve been doing: we can watch the first minutes of blockbuster film months before their release, interact in new and innovative ways with movie websites—hell, I can tell an automated Samuel L. Jackson to call my friends with the click of a button! The last few years have represented milestones in online film marketing; Now, let’s kick it up a few notches. Give me better access to movie-related media on my mobile device; take a page from the recent iTunes—20th Century Fox deal and give me the means to efficiently watch movies at a lower price; and find more ways to make the actors, writers and directors part of the dialogue with online forums, chat rooms and Q&As. The possibilities are endless.

5. Resolve to promote directors and writers as if they were actors

Last time I checked—or put more honestly, every time I’ve checked—writers and directors had more to do with the creation of a film than any actor did. Yet I constantly hear people expounding on why they won’t see a film because they don’t like a certain actor in it. Conversely, I talk to people who see every movie starring this guy or that girl and are often let down. This is because, however aesthetically or emotionally important, actors don’t usually make or break a movie. Let’s not totally discount actors altogether, mind you—every so often, there is a role tailor-made (or seemingly so) for one person—a role that grabs us, shakes us, and even changes us in ways sound and projected light seem unable to attain. In this rare instance, an actor can be the one positive variable in a messy, convoluted story. The vast majority of films, however, would only change slightly with different actors, but would change dramatically with a different writer or director. But these weavers of cinematic fabric often sit on the back burner while over-glorified actors receive all the buzz. It may be that we as humans simply exalt those we see on screen as emotionally connected to our lives and experiences, but this is surely perpetuated by the media. This year, try to reach beyond the film junkies to touch people in the mainstream: give directors and screenwriters the press they deserve.

6. Resolve to pay writers more money

If you’ve followed the news lately or turned on your TV set to find reruns and reality shows, you know about the writers’ strike. One of the primary issues is lack of adequate payment for Internet content. As referenced in resolution number four, online media is growing exponentially and isn’t likely to taper off. It seems pretty obvious that the writers of this content deserve a fair wage for an increasingly lucrative outlet.

7. Resolve to make movie trailers a more genuine reflection of the film

This isn’t going to happen anytime soon, but I’ll take this opportunity to rant a bit. Movie trailers are lies. The vast majority are sensationalized caricatures highlighting the few exciting or funny moments in a film. The good ones still tend to give far too much information about a film, displaying everything from rising action to catharsis in two minutes. Either way, I feel deceived and upset after forking over that ten dollars.

These are some of the main movie-related topics I feel need addressing in 2008. How do you feel? What do you think studio execs should change in the new year?