True story: When Smith was trapped on the
Fresh Prince of Bel-Air set in the early ’90s, dreaming of starring in movies instead of selling Alfonso Ribeiro’s jokes, Smith and his manager, James Lassiter, studied a list of the top 10 grossing films ever. Here’s what
Smith told Time Magazine in 2007: “We looked at (the list) and said, O.K., what are the patterns? We realized that 10 out of 10 had special effects. Nine out of 10 had special effects with creatures. Eight out of 10 had special effects with creatures and a love story.”
Pretty shrewd. Smith established himself as bankable with 1994’s
Bad Boys, then went right after that top-10 list, starring in 1996’s
Independence Day and
Men in Black one year later. Those two films grossed nearly $1.4
billion worldwide. Will Smith was right. In a perfect world, Smith would have used that success to create the career that we would have wanted him to have. You know, a little like how DiCaprio does it: go make a big-ass movie in which you get to be a movie star (
Blood Diamond), then an action movie (
Body of Lies), then an artsy one (
Revolutionary Road), then a weird one (
Shutter Island), then a super-ambitious one (
Inception), and the whole time, you’re stretching yourself as an actor, working with talented directors and keeping your fans on their toes.
Will Smith had no interest in “stretching himself,” just printing money. After those alien movies, he spent the next 12 years running the Hollywood equivalent of Dean Smith’s “Four Corners” offense. He made an “action hero who gets framed and has to spend most of the movie sprinting” choice (
Enemy of the State), another wacky science fiction choice (the excruciating
Wild Wild West), a sappy period choice (
Legend of Bagger Vance, also excruciating), then a calculated “I had to get in incredible shape for this biopic” choice (
Ali, which should have been great but never got there, although I blame Michael Mann more than Smith). That was followed by
Men in Black II and everything else above.
In that 2007
Time Magazine feature, he freely admitted to studying box office patterns much like Theo Epstein studies XFIP and BABIP, saying that he and Lassiter got together every Monday morning to look at “what happened last weekend, and what are the things that happened the last 10, 20, 30 weekends.”