It is known that the term of popular cinema is an expression that gives information about the economy of cinema industry including production and marketing processes. Turkish cinema industry living the “renaissance” of it after the bright days of 1960’s has got a forthcoming dilemma standing upon it referring the choice of developing its own tradition or localizing comedy blockbusters of Hollywood, Bollywood and Far East popular cinema. Localization as a general tool of the 1940’s to 1970’s transformed from Egyptian Melodramas to Hollywood originated comedy localizations in the 2000’s. Comedy movie localizations of 2000’s were mostly about the theme of films. The heroes of the films were chosen from Turkish social life and most of the items in the sceneries were localized in order to fit with the cultural references of Turkish audience. This was a general formula promoted by the major distributors dominating nearly eighty percent of local theatres. Mainstream heroes and serial movies of them were the main items of the New Turkish Film Industry. In this work, the way that the distribution companies choose to satisfy the Turkish consumers’ needs for cinema was examined from the economic perspective that effects the production of the content and the viewing opportunity of the audience.