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#41 | |
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Join Date: May 2005
Posts: 3,589
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#42 | |
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Join Date: Jul 2010
Location: Alphaville
Posts: 721
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#43 |
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Join Date: Sep 2009
Location: Los Angeles
Posts: 1,192
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![]() If they're pitching for those budgets, then smaller, 'lesser,' younger writers won't be getting those jobs.
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#44 |
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Join Date: Jul 2010
Location: Alphaville
Posts: 721
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![]() That's exactly what I thought. They are also turning their scripts into comic books. It's tough out there for rich, successful writers too. Boo hoo hoo.
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#45 |
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Join Date: May 2005
Location: studio city
Posts: 5,940
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![]() Do those guys know how to make movies on budgets like that?
The problem Fox Home Vid is having is that their inhouse movies is that they are creeping up towards $10m on stuff like the Dr. DOLITTLE sequels... and those are pretty basic films. I can blow up submarines on a $3m budget - with a better cast. You have to be able to control number of locations and number of speaking roles so that you can spend the money on stuff that counts. I have a DVD sequel project at Sony, and the reason why the producer was interested is that I know how to get the most bang for the budget. Fox Home Vid is hiring "name writers" who are slumming (probably need the work) - but whose experience is in bigger budgets. Last year when I was doing endless meetings on that 80s remake thing, everybody said the sweet-spot for horror remakes was $15m, with $19m for 3D - which probably translates to that $20m budget range. The horror remakes make between $50-60m domestic... But those horror remakes are from the studios (and LionsGate) so they aren't good examples of the studios failing. - Bill |
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#46 |
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Join Date: Jul 2010
Location: Alphaville
Posts: 721
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![]() Equilibrium, which Wimmer directed, must have been no more than $20 million. Ultraviolet probably had a bigger budget than Equilibrium. It seemed Fergus was more grounded in directing lower budgets. Children of Men was pennies compared to Iron Man.
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#47 |
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Join Date: Sep 2009
Location: Los Angeles
Posts: 1,192
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![]() Bill, I think it'll take the studios a lot of time before they realize those name writers don't get it. Meanwhile, they're just blinded by the big-time name they're able to hire for their middle-budget film. I get it -- if I'm in an internal meeting and the other execs want to know how my Doolittle sequel is going, I'm gonna be pretty happy to tell them I've got Gary Ross writing it, whether or not the draft turns out any good.
It's the same reason dopey producers spend a year going to actors & actresses they'll never be able to pay for, in the blind hope they'll 'fall in love' with the material, and in the end we'll go with Keith David anyway. |
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