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Weekend Numbers THG: 123, BH6 20.1, IS 15.1 pg 205

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Baumer, I feel you're taking the meaning of "cash grab" a bit too literally. It's more about churning out sequels and dilulating a brand for the sake of profit and how that hurts from a creative standpoint.

 

Studios really don't care about creativity. They care about money. Creativity is left up to the directors, writers etc. That's why they always interfere when they think a project won't have a draw.

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Making a movie because you know it will make money is not a "cash grab."

 

Making a movie for the purpose of churning out money without regard to the actual quality or artistic value of the content is a "cash grab."

 

 

Splitting a long winding book like Deathly Hallows into two movies was not a cash grab.

 

Splitting far shorter books like Mockingjay and Breaking Dawn with front halves that could easily be covered in about an hour into two movies were cash grabs.

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Studios really don't care about creativity. They care about money. Creativity is left up to the directors, writers etc. That's why they always interfere when they think a project won't have a draw.

 

That's a cynical viewpoint. Go ask Ben Affleck or Christopher Nolan about Jeff Robinov's view on greenlighting a project. The guy is a filmmaker's executive.

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Maybe cash grab can be defined as the point where the creative reason for making a movie is less of a factor than a business reason. So TS3 might be borderline but TS4 is a cash grab.

 

Every Pixar film is a cash grab too.

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Also, Angels and Demons partly collapsed on domestic "buyer's remorse" about the first film. Domestic audiences showed up out of the goodwill of DVC the book, and were roundly disappointed by the film. Does nobody remember the complaints that the film was dull, that Tom Hanks seemed to be on the verge of falling asleep, and so on?

Still, I'm very excited for Inferno's run in 2016. Even with a supposedly mixed reception from DVC, Angels and Demons still made 485M WW. That is huge for an adult thriller (people say Gone Girl making 325M as an adult thriller is a huge deal, but they fail to see in perspective). A&D made 352M OS back in 2009 (and it had a 2.9 multi in the US, which is pretty good). I'm really curious to see what Inferno will do in with the expanding markets and 7 years of inflation.

Edited by James
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That's a cynical viewpoint. Go ask Ben Affleck or Christopher Nolan about Jeff Robinov's view on greenlighting a project. The guy is a filmmaker's executive.

 

Sure there are exceptions. For every Jeff Robinov there are 2 Tom Rothmans.

Edited by ECSTASY
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That's a cynical viewpoint. Go ask Ben Affleck or Christopher Nolan about Jeff Robinov's view on greenlighting a project. The guy is a filmmaker's executive.

 

I just wish his views on DC comics were the same. Apparently it was his because of him that something like Green Lantern ended up as a "studio made film" for example (a movie made by a committee), and because of that, ended up becoming the mess we got.

Edited by Pokearcher
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Making a movie because you know it will make money is not a "cash grab."

 

Making a movie for the purpose of churning out money without regard to the actual quality or artistic value of the content is a "cash grab."

 

 

Splitting a long winding book like Deathly Hallows into two movies was not a cash grab.

 

Splitting far shorter books like Mockingjay and Breaking Dawn with front halves that could easily be covered in about an hour into two movies were cash grabs.

 

I think you should add "the hobbit" at your list :D

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I'm just going to say im really impressed with Gone Girl's run, it's stayed in the top 5 for nearly 2 months straight despite an entourage of releases. With a strong awards run it could still be in for another 20m or so.

Very happy that Fincher has a solid hit.

Edited by The Panda
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I think you should add "the hobbit" at your list :D

 

The Hobbit is a case where basically Peter Jackson came to the studio and said he wanted to film as much as he wanted to tell the story he wanted and it might end up being multiple films and the executives at WB were like "ok."

 

It was a director-driven passion project rather than the studio top-down decisionmaking of the other movies.

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