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MattW

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About MattW

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  1. First thing that came to mind was this dog's animation would be great in a Homeward Bound remake.
  2. It'll have a good thanksgiving week compared to normal weeks but do they really expect it to be unusually backloaded compared to other pre-thanksgiving releases? Last year the grinch dropped 20% from the weekend before to the weekend after thanksgiving. That would be a phenomenal result for F2 imo. I expect a much harsher drop, closer to hunger games than grinch.
  3. I hadn't noticed until your post. Cheers.
  4. ~40m in new openers, 70m for holdovers, 110m total. Next weekend 60m holdovers, 130-150 for Frozen and another 25-30 for the other two, $215-240m total. Biggest pre-thanksgiving weekends: 2009: $258m 2011: $222m 2012: $250m 2013: $226m
  5. I enjoyed it quite a bit (aside from some of the dialogue being too on the nose). Worth rewatching at home.
  6. I wrote down 775 earlier this year but from reading the thread so far that seems low.
  7. Up to now i was thinking joker is rivaling bohemian rhapsody for how impressive the os run is, but after this week's hold i think joker is clearly more impressive. Here comes 700+ without China
  8. Is there is any movie star that is as important as strong IP? ROTHMAN Yeah, I think there are lots of movie stars. It's one of the great myths propagated out there that movie stars don't matter. I would say movie stars in the right role with the right property matter more than ever before. So you would trade the Spider-Man property for every Leo DiCaprio movie for the rest of his career? ALL (Laughter.) ROTHMAN I'd love to have both. EMMERICH Who is he negotiating with? ROTHMAN Well, I can tell you this. The event nature of having Leo and Brad [Pitt] and Margot [Robbie] in [Sony's] Once Upon a Time in Hollywood was essential. You had to make a great movie … but that movie was not based on any IP at all. That is a pure original. Came out of the imagination and the headspace of one individual. Because even Disney will run out of animated movies to remake. And we have to be careful not to narrow our audience, not to think that there isn't room for originality. I think there is. In the pursuit of that, movie stars are tremendously valuable. EMMERICH The thing that we all sit around talking about is "theatricality." IP and movie stars are two huge ingredients. You have to have one or the other. It's even better if you have both.
  9. You recently said that if Netflix spends $60 million on a movie, to be successful it should be watched by 30 million accounts. That's the first time I have heard you talk about the success metric for a Netflix film. Does that formula apply across the board? STUBER No. Each film, like for all of us, the P&Ls are different. Having been on both sides — the theatrical business and now streaming — there is so much out there for the consumer that we are fighting for time. The assumption is that it's easier [at Netflix] because I don't [have box office pressure]. But we have our own tracking. We have our own anxiety. We have our own opening weekend. That was a rough estimate, but different things take different marketing aspects. So what do you look at on Monday morning after a big film debuts on the service? STUBER We value over a month, basically. We look at 28 days and because we can see where things are opportunistic, we can market toward it. We can market in the second and third weeks as well. We greenlight off of X money and how much we are going to spend. And we hope that this many people watch in that 28 days. And that's our success rate metric. Take a film like The Irishman. That's been gestating for a long time, it was at several different studios, and you took it on for about $150 million. It's three and a half hours long. What is the success metric for that film? STUBER There are a lot of variables. When I took the job [in 2017], I was building a new studio. We have no IP, we have no library, we can't remake things. We don't have the great cache that Alan has over there. So you have to say, what is your opportunity? And your opportunity is filmmakers. For us to get Marty [Scorsese] at Netflix was a big thing. It was a big win. So that was one thing. And then the economics. We have enough subscribers that we think the movie can deliver on. Thankfully he over-delivered. Jim, you are smiling. You gave that film up. GIANOPULOS Yeah. Well, before my time, but nevertheless. It was very ambitious for a studio to take on a project like that. There is a different perception of the economics. For us, at that level, for a period drama — or for anyone, I would submit — it was ambitious. And it was perhaps too ambitious. EMMERICH That's where the consumer wins. I don't think any of the studios could make that movie at that cost at that length and come out alive. GIANOPULOS Right. EMMERICH But it works for Netflix for the reason that Scott said. As people who have spent your careers in the theatrical movie business, doesn't it bum you out that you can't make The Irishman? LANGLEY You know, it actually doesn't. It would bum me out if no one made the movie. HORN That's right. LANGLEY That's what's really exciting about our entire ecosystem right now, even though it is giving us the headaches and sleepless nights. It's never been a better time for filmmakers and storytelling and for things to find their way into the world that were getting squeezed over the last five or six years or even longer. EMMERICH The only difference for us, and maybe for the average consumer — I'll bet everyone at this table wants to see The Irishman in a theater. LANGLEY Yeah. EMMERICH And it will be available, to some extent. Or we'll get invited to Scott's house. STUBER You're all invited. (Laughs.)
  10. Not sure where else to post this roundtable https://www.hollywoodreporter.com/features/hollywood-reporter-executive-roundtable-7-major-studio-chiefs-1250718 Interesting throughout.
  11. Mojo says 574.1 but the numbers says 570.3 Not sure who to believe
  12. Star wars is huge in my area, endgame is the only non-SW movie that looked like this. The cinemark has 8 shows listed for Thurs night, 5 have already sold out, 2 are near sold out (only first row seats left). The local chain has 6 shows listed, 2 are near sold out, and the other 4 are about halfway sold. All told about 75% of the seats currently offered for opening night at these two theaters are sold. (I don't have any actual comps bc I'm lazy. Sorry.)
  13. This may have already been noted, I don't read every post here, but I just noticed that Cinemark has a note on their theater pages that they will not be having discounted Tuesdays between 12/20 and 1/2: https://cinemark.com/southern-california/cinemark-north-hollywood
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