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Weekend Thread | October 11 - 13

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2 minutes ago, TMP said:

I think one of my big issues with some of the posts on this site is that they’re unable to separate “movies as a product” from “movies as art”. I sincerely doubt Sean Baker made Anora for purely financial reasons, and he’s such a deeply humanist film-maker that I feel like his work is genuinely enriching to me as a viewer whenever I see something he cooks up. Just feels rather silly to say we should just stop making things that are culturally enriching because they’re not monetarily viable - and i’m a finance bro saying this lol

I mean yeah. Did The Florida Project make any money. Did Tangerine make money? Yet he still got to make another move that will be in theaters for anybody that is interested to see. Yeah that is not the majority of mainstream moviegoers. Who gives a shit. See what you want to see and don;t worry about the rest.

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Anora I've seen getting some good buzz with folks that aren't as into movies like us, plus Sean Baker's movies are usually so cheap it would be easier to make that money back. Here has been pushed heavily and could be the feel good drama that can serve as good counterprogramming, particularly with how dead November is gonna be until Glicked.

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A lot of these movies aren't actually greenlit by the major studios; they're produced by smaller outlets, shopped to film festivals, and acquired there. What it does mean is studios probably cheap out on acquisition deals and the producers have to accept making the film at a loss in the hopes it eventually improves their industry clout later on enough to get money for bigger budget movies (NTCs I suppose)

 

 

Edited by AniNate
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2 minutes ago, Cmasterclay said:

Oh, I mean, I obviously agree with you, but I don't think studios do. Anora making 25 mill back in 2019 vs 5 mill now is a huge difference to this even getting greenlit.

Said it better than I could. Like you can't tell me Saturday Night wouldn't have done like 65M or something in 2017. Now it'll only get to like 10M and be lost in Netflix queues with nobody watching it. And at some point, the math isn't going to math. Even if you want to make the argument these films only exist for digital or streaming, I don't think the value is the same as it was during the peak of VHS/DVD. And at some point, outside of A24/Neon (who knows if Searchlight or Focus will last?), who will release these movies?

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10 minutes ago, AMC Theaters Enjoyer said:

So far in terms of the Zaslav-De Luca-Abdy WB regime, we’ve had:

 

- Beetlejuice: a big hit.

- Joker: a monster bomb.

- Trap: an ok money maker

- The Watchers: a flop that flew under the radar.

 

Are Mickey 17 and the Lord Of the Rings anime gonna be the last of the previous regime’s movies to be released? I know Alto Knights (the first greenlight under the new regime) is set for March.

Technically they have Minecraft, a movie greenlit a decade ago, due next year. But the current Jason Momoa+Jack Black incarnation was greenlit under Discovery.

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As long as the Oscars exist, these movies will always exist. Focus is here, Searchlight is here, A24 is here, Neon is here. 

 

Also. I think Anora will do much more than 5M. Although I just don't know with these limited openings to expand Weeks later. I think at this point it needs to be 1 week to the next to go wide already.

 

I mean, I couldn't care less about The Apprentice and no one was going to see it but Saturday Night is something maybe that just appeal to a very old audience that doesn't go to the movies. It's a very niche concept and for old people. And they don't go to the movies. I mean, it doesn’t even seem to be likely to have any significant awards presence.

 

Gotta learn and keep moving. These movies will always exist because they're low budget, an awards try and will always be worth for that, since the loss will be very small once all revenues are counted.

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4 minutes ago, Eric the Clown said:

Said it better than I could. Like you can't tell me Saturday Night wouldn't have done like 65M or something in 2017.

 

Well, I'm gonna tell you it. Its reviews are good but not glowing, it doesn't have any big stars to promote it, and it doesn't have the corporate synergy it might've if Universal had produced/distributed it. The closest thing to a comparison to me is Young Adult, which did have a big star in the lead but still didn't break $20mil.

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I actually do think major things were working against both Saturday Night and Apprentice, but it's the fact that everything fails as always that gets to me. Like, Conclave has 15 million trailer views and is an incredibly accessible thriller. Back in the days of King's Speech making 120m domestic, it would have done at least like....50m. Now it won't even do 20.

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33 minutes ago, Cmasterclay said:

It's not sarcastic!!! I have intentionally not been negative for months and months but it's just too much to hide at this point. I am sick of watching everything I love and care about be wiped around. This world gets shittier and more filled with disgusting slop every day. I don't understand how people that love art, that love truth, that love empathy and humanity make it through these days. The world is becoming an unbearable place. Donald Trump is currently thriving in the polls as his supporters spread rumors about weather weapons and FEMA (he's going to win btw, just like I called on here in 2016). The Hollywood Reporter put out a story on "influences" being the new Hollywood. Podcasters are bigger movie stars than movie stars. I went to places like Capri and up the Willis Tower this summer and all anyone was doing was taking the same vapid pictures posing in the same way as suggested on Instagram. Everything sucks now. Dead ass serious.

You know what I just take solace in the fact that the people who vote him in again  are going to suffer just as much if not more than the rest of us no matter how much they tell themselves otherwise.  Let it happen. They are in for a rude awkening.

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