DotCommunist
So many particulars. So many questions.
He's always hated film versions of his work. See his chapter in 'Mythmakers and Lawbreakers: Anarchist Writers on Fiction'
I can't blame him, they've all been shit.He's always hated film versions of his work. See his chapter in 'Mythmakers and Lawbreakers: Anarchist Writers on Fiction'
I was referring to him talking about how Hollywood keeps using sixty year old superheroes like Batman and Superman. I mean, Captain America, wtf? Why can't they invent their own contemporary superheroes?He's always hated film versions of his work. See his chapter in 'Mythmakers and Lawbreakers: Anarchist Writers on Fiction'
archetypes *knowing nod* its all about that. Why do we still love doctor who? I like moore and have met him in the shop when buying beer and he's an affable chap. Thing is you run out of ways to subvert the original ideas imo. Look at Supe vs Bat. Unmitigated wank based on the shittest re-imaginings of characters who once stood for decency in an unironic way. I like comic book 'what if?' sorts of thing but the film stuff has grown bland. And in DC's case, shit from start to finish.I was referring to him talking about how Hollywood keeps using sixty year old superheroes like Batman and Superman. I mean, Captain America, wtf? Why can't they invent their own contemporary superheroes?
Because the whole point of modern Hollywood is to base their projects on something which has name recognition. Looking at this year's box office though, there may be signs that audiences are getting tired of this. The Marvel films are still doing well, but a lot of the other blockbusters which were reboots/remakes/sequels tanked or they underperformed.I was referring to him talking about how Hollywood keeps using sixty year old superheroes like Batman and Superman. I mean, Captain America, wtf? Why can't they invent their own contemporary superheroes?
They still all have the branding of known franchises, in this case X-Men, DC and Marvel.They're also plumbing the depths with characters most people don't know - Deadpool, Suicide Squad, Dr Strange etc
the lack of Who this year has been most distressing to me. Bastards. Get back to work.I don't love Dr Who. I'm a grown up.
Doctor Strange is a golden age stalwart. One of their finest creations. Could be a great film, although it probably won't be.They're also plumbing the depths with characters most people don't know - Deadpool, Suicide Squad, Dr Strange etc
They're talking rubbish tho, aren't they? Sure, there have been a few that have done very well (return wise), but how many more have lost money. After a very good year, they'll still only just leave their production companies with a slight profit, most likely.There've been a few articles recently that low to mid-budget horror films and thrillers like The Shallows, The Witch, Lights Out, Green Room and Don't Breathe were the big winners of the year. They cost far less to make, they don't have to make a billion at the box office each but all together these films made a ton of money in 2016.
It's not if you do the maths. Suicide Squat may have made a lot of money, but due to high production and promotion costs, it will just about break even. The Witch cost $3 million to make and it made $40 million at the box office. In 2016 many expensive blockbusters which were considered sure bets like Independence Day 2, Ghostbusters, Alice Through the Looking Glass and The Huntsman flopped or underperformed. Many of these low budget genre films recouped their budget many times. You add these up and altogether they make serious money. A low budget film doesn't have to be that successful to break even and it is moderately successful it's a winner but when an Independence Day 2 flops, it can damage a studio.They're talking rubbish tho, aren't they? Sure, there have been a few that have done very well (return wise), but how many more have lost money. After a very good year, they'll still only just leave their production companies with a slight profit, most likely.
I read your post but you don't seem to understand what I said. This is about early trends which are possible indicators, not the revolution that is saving Hollywood right now. That would be impossible after one or two years, because Hollywod is still betting on large blockbusters. The point is that with so many of these huge films tanking, maybe Hollywood should change their strategy and make fewer hugely expensive films and more small ones and then let's see what happens. And that will take a few years, because films which are in production now won't come out till in two or three years. Nobody is claiming that all low budget films are huge hits, but even when they are not, they can still break even or make a small profit. And if they totally flop it's just a few millions lost rather than hundreds of millions. There aren't these huge numbers of smaller studio films ignored by the article which are losing money, because not that many get made, most of the money gets funnelled into blockbusters.You could at least read my post before replying. The above articles ignore the small budget films that make losses. And the vast majority of the ones that do make money don't make enough to cover the costs of a single big budget flop. The Shallows, for example, has officially made $60m profit so far (although those figures tend to exclude promo costs, which can even wipe out the headline figure), but that will be wiped out by the losses on the Angry Birds Movie.
Come on, journalists never find a ‘new thing’ to hype because they have little to write about, do they?
Yes, relatively small films have done well this year compared to the blockbusters, but even that wont change anything. (or very little, anyway). The profits fo those smaller films just aren’t big enough to significantly change things. I probably exaggerated The Shallows’ profit margin before, as the $80m it took includes the theatres cut as well as the studios. So, once that and advertising are taken into account, there isn’t much left over. Definitely less than the berated Suicide Squad. And yes, blockbusters can obviously lose a hell of a lot more, but this isn’t new, Waterworld came out twenty years ago. Its failure didn’t really make much difference, did it? I doubt very much that this latest round of failures will make much difference either. Maybe it will make the studios think a bit more about what a blockbuster should be, and a shift away from superheroes, but that'll be about it.
I didn 't sday it was 'corrupt' stop making things up. I said it sexes stories up, and it does.I realise that when it comes to journalism, cynicisism is the default mode here, but there always is plenty to write about when it comes to film journalism. Obviously you aren't following much of it. It shouldn't come as a total surprise that I do and let me assure you that there is no rational reason for it to be corrupt, it's not politics. But with this post you have shown that you don't have clue about very basics of film finance and accounting in general.
The rate of return is very handy, and very well publicised, but the bottom line is the bottom line. The rate of return is brilliant for allowing the filmmakers a bigger budget next time, because it shows they can deliver. But that isn't what the company stockholders really care about.And a low budget thriller, which got far less advertising and played in fewer theatres than a blockbuster, doesn't need to perform the same as Suicide Squat. A film's profitability gets measured by how many times a film doubles it's expenses. Suicide Squat hasn't at all, it will merely break even. So far The Shallows has made more than three times of what it cost to make and to advertise, which makes it a far more profitable film.
But SS made its money back, as did the awful Spiderman v Batman. They did badly, but they didn't come close to bankrupting a studio.As to Waterworld, it eventually broke even and it wasn't even that much of a flop though it was a laughing stock. There always have been flops. There haven't been any summers like this one where more than half of the blockbusters have flopped or underperformed.
Oh no, I made a dumb mistake which means everything I say must be wrong! i note you couldn't deny how you changed your figures, or that you changed what I said about the press.Spiderman v Batman ?
I'm actually doubting you can read a sentence while simultaneously engaging your brain after that last post. You are making completely ignorant statements about the finances of an industry I work in. Pointless !
Anyway, aside from all that....I've been watching (I'm sure Reno will appreciate this) Braindead - not the Peter Jackson film, a yankee series.
Mary Elizabeth Winstead, the lass from 10 Cloverfield Lane, stars as a Senator's assistant (and sister) in (something very like) today's Congress - Trump & Clinton are squaring off in the background. As well as a partisan, gridlocked, government, she also has to deal with an invasion of bugs from outer space, who crawl into people's brains and either turn them into radical (of either left or right, it doesn't matter), or make their heads explode. While its message of 'gee, we should all be centrists who just work together to sort shit out' is patent liberal nonsense, it's very well done, sharp and fast paced, with enough 'wtf' to make it a very entertaining 43 minutes. It's just finished in the US, and well worth catching up with.
They're also plumbing the depths with characters most people don't know - Deadpool, Suicide Squad, Dr Strange etc
The six-part drama series reimagines several stories of the Aboriginal Dreamtime in a modern, superheroic context, and reflects on racism, asylum seekers and border protection.[2] Its central story revolves around two estranged Gumbaynggirr brothers who are forced together to fight for their own survival when one of them is passed the mantle of the "Cleverman". Creatures from the Dreaming also feature in the series' real world dystopian landscape.[3]