Barnack

Is comeback narrative was always more about quality of output not box office related. Mud was also a nice hit for a movie like that. Magic Mike was a flatout hit.

That is downplaying it a lot, it was a 3/4 year madness between 2011 and 2014 of just all good projects getting released from him with many great one: 74 Interstellar Nov 5, 2014 Cooper / Cooper 8.4 75 The Wolf of Wall Street Dec 25, 2013 Mark Hanna / Mark Hanna 6.8 84 Dallas Buyers Club Nov 1, 2013 Ron Woodroof / Ron Woodroof 8.2 76 Mud Apr 26, 2013 Mud / Mud 8.2 45 The Paperboy Oct 5, 2012 Ward Jansen 5.8 62 Killer Joe Jul 27, 2012 Killer Joe Cooper 6.6 72 Magic Mike Jun 29, 2012 Dallas / Dallas 6.0 75 Bernie Apr 27, 2012 Danny Buck Davidson / Danny Buck 7.2 63 The Lincoln Lawyer Mar 18, 2011 Mickey Haller 7.4 That is a hell of a run (Linklater, Soderbergh Friedkin, Lee daniels, Nichols, Scorese, Vallé, Nolan that a really impressive run of directors), and you add True Detective in television in that mix.

Conference of studio executive in 1998 (during Titanic run) reflecting on the year 1997 and trying to predict direction. Didn't change that much since then (movie star are no guarantee anymore to open a movie and so on was already talked about and for a while, raising marketing cost, etc...), everyone was opening a specialty division to compete with Weinstein around that time. Sony Classic: 1992 Fox searchlight: 1994 Paramount vintage: 1998 Focus Feature: 2002 (universal) Warner Independent Pictures : 2003 They talk a lot quite a bit about Titanic and how it raised the bar to unrealistic level. They are already talking about the die of the mid range movie between the Harvey and the blockbuster and so on.... It is an interesting conference to listen to.

If I remember correctly you are right, it was WB that told him they would finance is Braveheart project if he would do an other LW, but Gibson didn't want to do LW4 at the time and did find financing elsewhere.

Exactly, he has 11 movie credit on imdb in 2015/2016/2017, and first kill look like a return, that give an idea on is last 11 movie after Red 2 and Sin City 2.

It is and hard choice imo, Detroit did feel like he could have work in August and if you go all-in award season (late platform, wide release once the award talk hopefully caught on) you will be hurt if your movie get no award traction and will be lost in the mass of award season movie competing around the same time for the same award audience. It is a big bet that is better to use on movie that either: really need award attention to have any chance, have really high chance to get award attention, have above the line talent/producer that ask for it. War dogs/WarRoom/The gift/Straight Outta Compton did well enough in the last few year's in August, with less competition in that adult drama genre usually it can be easier to get some attention. The Gift and War Dogs are 2 example of movie that probably did more in august that they would have trying to compete in the award season.

That is a strange think to say for someone that "released" 3 movie in 2015, 4 in 2016 and will have 3 movie this year, including one that was released 2 weeks ago. Poor Willis.

It could still be, but if it happen they will change the wide release date to a december/january one, some movie move a lot and relatively close to the release date Live by Night last year, the Big Short the year before got is award December release announced in late september because of how surprisingly well the movie was playing in test screening.

Cutting on the budget to a 150m (if that is true) instead of a 236m - tax credit for the previous in entry sound like it was a good idea considering the performance and the movie not having a direct sequel anyway, better off cash milking the last entry it will not have as much consequence anyway. But maybe a bigger and more impressive/spectacular set piece for that war instead of a would have helped that movie leg (and the trailers) quite a bit.

Apparently there is a couple of tv shows that did that (like Mrs Robot) so I guess they tend to look when they here the strange sound at the end of the teaser (you hear it when it become silent that there is a noise in the signal)

They do some from time to time, they are also a production company: http://www.imdb.com/company/co0026545/

That run: 2007 I Am Legend (screenplay) - 585 million 2006 The Da Vinci Code (screenplay) -758 million 2005 Cinderella Man (screenplay) - 108 million 2004 I, Robot (screenplay) - 347 million 2001 A Beautiful Mind (written by) -313.5 million Will buy you a lot of good will

Liz Taylor ?, Audrey Hepburn would be to other possible candidate I imagine? Elizabeth Taylor was a child star starting with an head start, but still, between the age of 17 and 30 she had 10 movie in the annual top 10 box office, 4 oscar best leading role nomination including one win. Hepburn had also a really strong start.

Tatum did generate a lot of is credibility via is own production company/producer side and is ambitious Magic Mike franchise, getting involved in the production of Logan Lucky for an good example of that. Has for Reynold he is an great voice actor imo (The voice is an impressive performance) and seem perfectly cast for a movie like this.

The book was Le Second Souffle, a second wind in English. The book title is probably a reference that becoming together was a second wind for both men . The movie was Intouchales (The intouchables in english) If I understand correctly the movie title it was because the rich guy is kind of untouchable (no feeling below the neck) and the poor seen as dangerous characther that become is friend was untouchable because you should not get close to people like that. The Upside is simply reusing directly the Second Wind original title of the book imo.

I think over Baywatch (18.5m) would be a big success for this. Lot of similar movie, including at least one very good one with some star power's didn't do it (Fist Fight 12.2m, Nice Guys 11.2, let's be cops 17.3, RIPD 12.7, Cop Out 18.2 and well Baywatch), Chips even went under 10m. The last non-IP movie to achieve 20m for Liongates was the excellent 156 million budget Deepwater Horizon, before that one it was Now You See Me in 2013 with an really impressive 29m. Has for embargo, it is still really early imo, there is 2 full weekend of release cycle to go one before that one and for comedy OW the trailer being funny is really the major factor.

It is just a teaser not a trailer, the trailer come out august 8.

There is some famous case of false advertising trial against movie marketing, like the Drive movie trailer that you can look at as a reference: http://publicdocs.courts.mi.gov:81/opinions/final/coa/20131015_c309989_98_309989.opn.pdf#search="Sarah Deming" Apparently something like a movie trailer is not protected by the first amendment and fall under a commercial speech and can be sued if it misleading like an ad for an other product under many state, for example in Michigan it was under that law: http://www.legislature.mi.gov/(S(gjzlgbq3aukhaj2kwqqzjfrm))/mileg.aspx?page=getObject&objectName=mcl-445-903 445.903 Unfair, unconscionable, or deceptive methods, acts, or practices in conduct of trade or commerce; rules; applicability of subsection (1)(hh). Now I would imagine that the best reviewed movie of the year is in quote and from someone opinion they are citing ? Or shown as a distributor statement ?

I imagine you are talking about trying to track social media sentiment and volume about the movie ? It is not perfect but they have technology (a lot was developed from stock trading bot, that buy/short/sell stock depending on social media, parking lot surveillance camera and other metric available automatically) that try to distinguish when someone mention Apple in a tweet, is it about the fruit or the company, and thousands and other words with many meanings. They use the context of the tweet (if it is a re tweet or anything like that), the person previous tweet the other word used in it anything related to clown, Stephen King, movies, etc.... But a lot of the tracking is still old school, asking a bunch of people directly in theater all around the country I think.

From I understood Sunday number were very weak or was that an overstatement if regular sunday-monday drop gave fine monday number instead of weak ones ?

Does those drop are related to more people watching Game of Throne in a pirated version Monday than Sunday ?

That is mostly the point that I'm not sure it would have done really well today (obviously if you have a different movie in mind that would be the looking like nothing else in 2017, then we are talking about a different movie), but today selling it on that white house scene (or any other VFX) would not be easy, it would need to be much more impressive than Gravity. It would compete with the MCU/Star Wars/Valerian/Avatar type of output today, The Martian number would have been a great performance for it now (#8 domestic/#10 worldwide, around half or less the success it had back then). And other movie that would have a really hard time today would be Mission Impossible 1 (the franchise now is so much more light/comedy/action/surrounded around giant set piece than that first entry)

That was less than a 10 year's relationship with no sense of loyalty (Allen needed no one to do is movie, they were fully auto-financed by is production company), and Sony was purely a distributor only for theatrical/some tv and only on the domestic market and not involved at all in the production or financing of is movies. Anything is possible, but Tarantino quitting Weinstein (before Weinstein close shop ?) why ? It would make sense if it is toward a netflix/amazon with a different distribution model but tarantino is of the last one you would expect to do this, except if he goes to do mini-series, than yes that would not be too surprising.

And I disagree (depending by what you mean by people), me and I would assume most people that follow embargo release date didn't assume anything by Wonder Woman embargo date, because as we both know it mean little to nothing when it come to WB blockbuster, they always do this independently of the movie quality (you seem to agree with me, we probably agree with each others). I also agree that we need to wait for the final embargo date, that the temps one is not the best indicator.

Twister maybe say San Andreas good, #20 domestic / #15 World wide, but I doubt close to how big it was at the time (#2 domestic and #2 worldwide, top 100 all time adjusted) Not idea for ID4, but still probably not close to what it did, that movie sold is first domestic TV run around 90million that alone paid it's entire production budget, the movie was the second biggest of all time unadjusted worldwide, just below Jurassic Park..... It is not the tomato law that would have made it hard, it is the original IP that need to compete with the 350m+ budget spectacle that franchise movie can afford to spent because of the certain success.