Barnack

If Streep would have made (produced and everything) a movie about her personnal experience of when she was a stripper with a big name director like Sodenbergh, yes she would have got an Oscar nomination no doubt.

Not sure how relevant media revenue is for a metric about this. Media revenue includes advertising but also things like circulation revenues for newspapers and magazines. (Specially for Warner that will not sell ads on HBO) or with their giant content library. But yes Disney is bigger than Warner from many metric point of views TWX Time Warner Inc 87.51 -0.99 -1.12% 16.64 68.13B 1.82 29,318.00 3,914.00 8,407.00 FOXA Twenty-First Cent... 28.03 -0.52 -1.82% 17.27 51.35B 1.26 28,500.00 3,270.00 7,044.00 DIS Walt Disney Co 103.17 -1.58 -1.51% 18.16 159.24B 1.49 55,137.00 9,366.00 16,733.00 CMCSA Comcast Corporation 36.86 -0.39 -1.05% 17.39 172.28B 1.69 80,403.00 9,045.00 26,732.00 CBS CBS Corporation 56.41 +0.46 0.82% 16.39 22.57B 1.29 13,166.00 1,602.00 3,095.00 VIAB Viacom, Inc. 24.54 -0.18 -0.73% 6.78 10.14B 3.24 12,488.00 1,471.00 2,885.00 LGF Lions Gate Entert... 26.09 120.39 4.01B 3,201.50 14.50 135.50 Walt disney is worth more than the double of WB at the stock market and have revenue almost twice has big and an ebitda twice as big. Maybe not in the media side, but ESPN is

It is really a big package, Heyman was able to get a 100 million Gravity movie greenlight, must be a joke to sell a 100m Tarantino/DiCaprio one.

It could, they could change the name of kubo and the two strings to something with Link in it and re-release it and that would be close to a awesome Zelda movie.

If DiCaprio is attach, chance of a massive flop are not that high, even at that price.

Yep and not sure about stupid, selling studio old school history/prestige sound like a good move if you are trying to get Tarantino to joint you. I am sure all 5 studios talked to him about some form of 35mm/others film release possibilities also.

Apparently it is a 3 way race between Sony, Warner and Paramount. With the 5 studios did some pitch to the project: http://deadline.com/2017/11/quentin-tarantino-movie-bidding-david-heyman-producer-margot-robbie-tom-cruise-brad-pitt-leonaro-dicaprio-1202208169/ http://variety.com/2017/film/news/quentin-tarantino-film-bidding-manson-1202614085/ As for the studios, all the majors are in (Fox has been least aggressive, perhaps with all that is going on over there). Agressive seduction game is apparently going on: with Warners engaging in some splashy wooing in hopes of landing the film. When Tarantino arrived at the studio’s Burbank lot, he found the circular entrance in front of the administration building adorned with cars from the late 1960s. The Warner Bros. logo circa 1969 was on the marquee outside the studio, and the executive conference room was outfitted with vintage furniture from the era and mock posters for the movie. Much of Tarantino’s film unfolds in August of 1969, a time when Manson’s commune of followers murdered actress Sharon Tate and four of her friends. The financial terms scared away many suitors, leaving Warner Bros., Sony and Paramount as the final bidders. It is strange than financial would have scared people but not Tom Rothman....

My audience in me screening also laughed for most of is runtime quite a bit, same with the Martian.

Fandango want to sell the most ticket and the choice is to create the most buzz I would imagine (the news is never about the movie not selling as much as movie X), I imagine they always take the most spectacular possible movie they can pick with smaller pre-sales, for the movie they are promoting. Wonder Woman did only 100m OW, but did over 400m domestic, so it could be the biggest movie that sound the most impressive for the general audience.

I said that it was clear that something special was going on (not necessarily 90m obviously), before it's wide release it was tracking to go above 50m: http://www.phillymag.com/ticket/2015/01/14/bradley-cooper-kevin-hart-expected-rule-box-office-weekend/ The movie was tracking to have the biggest opening weekend in january history, it showed clear sign of something special going on, now that was a movie with no precedant, R-rated january opening weekend like that never happened before, JL is quite different, it is arguably a more common release to track, with a good pool of giant blockbuster opening around that time and similar giant superheroes movie to compare it too. Like I said, it could shift is demography a lot for the trackers to miss it, but that is not the type of movie (sequel of a very successful one, a popular genre with many recent comparable) and has a target audience that do not tend to be missed by tracker. In the list of movie that surprised a lot their tracking, do we find many direct sequel (without large period between release) ?

Sniper did before it<s wide release, it's 4 theater PTA performance made it quite obvious something special was going on. Sequel of recent movie in general tend to be more previsible (their comparable for tracker), specially with the target audience of JL , no ? It would be surprising for tracker to miss a movie like that by a lot. An audience shift (say family heavy) could do it I suppose.

Could you imagine not topping the 100m OW (with great internal legs/picked up with word of mouth reviews that was WW)

Feel like it will change a little bit, now the movie will pretty much always be in the category the distributor decide (in the case of big director I imagine that will mean them), the globe voters need a 66% votes to change a distributor decision, making it a bit harder for them to optimize their category for star powers and what not. We should less often see pissed off director like Ridley Scott with the Martian or David O Russel with American Hustle getting the reputed kiss of death of a comedy placement without being clearly one (or a musical). Under the news rules: La La Land 20th Century Women Deadpool Florence Foster Jenkins Sing Street Not bad (maybe they have the musical a bit easy, but nowaday pure musical genre is almost death...) at all for the 4 movies I have seen, I have not seen 20th century woman but at least imdb has it has comedy-drama. This year with 3 billboard going drama (that the kind of one they would have maybe changed in comedy in the past), it seem it will be a good year again for the division.

If the actual review embargo will drop Wednesday morning at 12:50 a.m. PST First showing for regular audience in majors market start in the latest : http://www.allocine.fr/seance/film-126527/toutes/ Wednesday 12:30 am PST, the embargo lift after regular paying audience will be in theater watching it in France and I imagine after South Korean would be out of them, less than 40 hours before domestic audience will watch it. I tend to see extremely late embargo when it is released after regular paying audience started to see the movie (it become just hard to keep it after that, few in those market will respect it) For sure, but I am not sure the universe is the metric here, the possible impact of reviews on the franchise is, DCEU has proven to be extremely resistant to bad reviews and to open like crazy even with 3x% type of reception, Universal dark universe could have used them.

That not the point the person tried to made. The person was doubting that it was WB decision to block reviews (WB could simply put the embargo time at that time if that it is what they wanted the reviews to come out), but RT themselves. Someone pointed out, WB own 30% and it is an important movie for them, while Universal own 70% of them and didn't do it for a more important movie (that needed reviews a bit more than a sequel with hardcore fans that went to see the previous entry with terrible reviews anyway tend to do) WB are blocking reviews yes, with an extremely late review embargo.

I guy on the Joe Rogan podcast that knew someone that worked for studios to study what human love at a deep level (evolutionary level) and described the result, it pretty much described the San Andreas movie word for word. At 44:00

Maybe that page will get more traffic than usual: http://www.metacritic.com/movie/justice-league If it become common and if the embargo lift and the RT lift become large, I imagine a site/twitter account/something trying to estimate the RT site will come up.

RT did the same for a Bad mom Christmas (an STX release), so I am not sure it is really what is going on. Seem to me a tactic by RT to brings views to their platform and maybe something to please studios in generals, Bad Mom doing it and Daddy Home 2 not doing it result seem to sustain the theory most had that it had 0 effect on Bad Moms (the kind of title the least susceptible to be influenced by RT too).

Rumors are more into Django budget territory (80-90m) https://fastlane.louisianaeconomicdevelopment.com/Film/FilmSearchDetails.aspx?ProjNum=COZMLilOLt0a61ZZC4TSUA%3d%3d Estimated Total Budget: $86,500,000 I am pretty sure WB would give conditionnal final cut + creative control (do not need to respect their notes) to someone like Tarantino if Dicaprio is involved and if they like is script. I am not sure how much Silence was financed by Paramount, they just bought US release territory rights but it was decades logn process for Scorsese of building a large group of partner to finance it: http://www.imdb.com/title/tt0490215/companycredits?ref_=tt_ql_dt_5 Production Companies Cappa Defina Productions CatchPlay Emmett/Furla/Oasis Films (EFO Films) Fábrica de Cine IM Global SharpSword Films Sikelia Productions Verdi Productions (in association with) Waypoint Entertainment With like 35 different distributor, Paramount being US/Canada only Very different than mother! that only had 2 logo at the start of the movie, Paramount and Aronofosky, we rarely see that outside Disney now a day. http://www.imdb.com/title/tt5109784/companycredits Production Companies Protozoa Pictures (that the director company)

But that would also be true for Fox and Paramount, just trying to figure what would be the logic of WB not being interested in a Tarantino movie or why Fox but not them.

Twitter probably was (and twitter is an english country phenomenom), but comscore I thought they were worldwide (they have global market metric and office in country around the world). https://www.comscore.com/esl/About-comScore/office-locations/

In a studio movie that is an important distinction I would imagine, they mean is comeback with the studios, I thought before reading that article that edge of Darkness was a WB movie, but apparently not it was like one of those they had to distribute with a long term deal with is producer. So it have been a really long time he did anything in the studio system.

Would that not be true for every domestic distributor ? I am not sure why Warner Brother would not have met with Tarantino.

Those number do look kind of suspicious to me, but lot of wonder woman talk would have occured after the movie openned too, no ? And twitter would have been a larger % of Wonder Woman talk than Spider-Man talk I would imagine. Homecoming had 2 factor to have more talk respective to is box office than a movie like Wonder Woman to take into account, bigger international presence and very active online target audience. In most market Homecoming openned quite above wonder woman.

The way it is said: Tarantino just completed a round of pitch meetings last week set by WME from five studios (not including family-friendly Disney) with worldwide distribution seeking to back his untitled Manson Family Project, Make it sound like the MPAA studio except Disney, Liongates also do not have worldwide distribution.