>>215Example:
There's this boy who isn't really cool but he's got that one friend who isn't really cool as well. Actually his friend doesn't mean shit he's just there for the introduction, because they do something outside, probably in the nature. Then the boys (disrupted) family-conditions are introduced and shortly after he bumps into something weird/special/supernatural (what the movie is about). Anyways by that time the boy has probably already met his sidekickchick that is a pretty cool girl and she is really weird but interesting at the same time. She's not interested in him at all but always ends up in those sticky situations with the boy, so they get closer to eachother because they get twisted into this shared goal of doing something in order to prevent the big bad. In the end they either defeat the big bad and the boy nearly dies so the girl realizes she is into him or it turns out there was actually a different one the actual big bad endboss. In that case it's likely he takes the girl hostage and the boy saves her.
This pattern with small adjustments is 90% of what comes out of hollywood. And then there are some higher quality movies like Tarantino stuff, but those are the exception.
Of course anime has it's phases and trends as well, where like the majority produces f.e. isekai-animes, but the probability of some weird ass mangaka coming up with something refreshing is way higher, because he doesn't give that much of a fuck about the financial perspective when producing his piece of art, unlike hollywood that - like already mentioned - needs to be on the safe side with their concepts and productions.
(2/3)