Participant, Zodiac Pictures and Tyler Perry’s Peachtree & Vine Productions have teamed up to produce “Frank & Louis,” starring Laurence Fishburne and Clifton Collins Jr.
Directed by Petra Volpe, the film follows a man serving a life sentence who takes an in-prison job caring for aging and infirm prisoners suffering from memory loss diseases. As the project’s official logline explains, “What starts as a self-serving mission for parole turns into a deep emotional and transformative relationship, offering a glimmer of redemption in an otherwise unforgiving place.”
Participant, whose company mission is dedicated to entertainment that stands at the intersection of art and activism, is producing the film with Zodiac Pictures’ Reto Schaerli and Lukas Hobi, and Perry and Tim Palen of Peachtree & Vine Productions. Cora Olson is co-producer on the project, with Participant chairman Jeff Skoll and Anikah McLaren as executive producers. McLaren, Elizabeth Haggard and Connor DeSha will oversee the project for Participant.
Directed by Petra Volpe, the film follows a man serving a life sentence who takes an in-prison job caring for aging and infirm prisoners suffering from memory loss diseases. As the project’s official logline explains, “What starts as a self-serving mission for parole turns into a deep emotional and transformative relationship, offering a glimmer of redemption in an otherwise unforgiving place.”
Participant, whose company mission is dedicated to entertainment that stands at the intersection of art and activism, is producing the film with Zodiac Pictures’ Reto Schaerli and Lukas Hobi, and Perry and Tim Palen of Peachtree & Vine Productions. Cora Olson is co-producer on the project, with Participant chairman Jeff Skoll and Anikah McLaren as executive producers. McLaren, Elizabeth Haggard and Connor DeSha will oversee the project for Participant.
- 5/24/2022
- by Angelique Jackson
- Variety Film + TV
Jockey represents something special for Clifton Collins, Jr. The 51-year-old actor got his start with many years of bit parts, including a lot of “numbered” characters early on. He paid his dues, enjoyed something of a breakout in 1997’s One Eight Seven, and then for quite a number of additional years after that became a […]
The post Blu-ray/DVD Column: Jockey, Stoker Hills, Ema, Miss Willoughby and the Haunted Bookshop, The Long Night appeared first on Shockya.com.
The post Blu-ray/DVD Column: Jockey, Stoker Hills, Ema, Miss Willoughby and the Haunted Bookshop, The Long Night appeared first on Shockya.com.
- 4/22/2022
- by Brent Simon
- ShockYa
Samuel L. Jackson has well over 150 acting credits to his name, from major franchises such as the Marvel Cinematic Universe and “Star Wars” to family blockbusters such as “The Incredibles” and a handful of Quentin Tarantino movies. Many of Jackson’s most famous roles have come courtesy of Tarantino, including “Pulp Fiction,” “Django Unchained,” “Jackie Brown,” and “The Hateful Eight.” But only one Tarantino movie appears on Jackson’s personal list of five favorite Samuel L. Jackson movies.
During a visit this week to Stephen Colbert’s “Late Show,” Jackson provided the five Samuel L. Jackson movies he loves most: Renny Harlin’s “The Long Kiss Goodnight” (1996), Joel Schumacher’s “A Time To Kill” (1996), Quentin Tarantino’s “Jackie Brown” (1997), François Girard’s “The Red Violin” (1998), and Kevin Reynolds’ “One Eight Seven” (1997). Interestingly enough, all of Jackson’s favorite Jackson movies were released in the 1990s. Some might expect “Pulp Fiction” to be a favorite,...
During a visit this week to Stephen Colbert’s “Late Show,” Jackson provided the five Samuel L. Jackson movies he loves most: Renny Harlin’s “The Long Kiss Goodnight” (1996), Joel Schumacher’s “A Time To Kill” (1996), Quentin Tarantino’s “Jackie Brown” (1997), François Girard’s “The Red Violin” (1998), and Kevin Reynolds’ “One Eight Seven” (1997). Interestingly enough, all of Jackson’s favorite Jackson movies were released in the 1990s. Some might expect “Pulp Fiction” to be a favorite,...
- 6/10/2021
- by Zack Sharf
- Indiewire
No disrespect to the star-studded ensemble of the Marvel Cinematic Universe, but Quentin Tarantino’s acting troupe is stronger for Samuel L. Jackson. Reflecting on his career while accepting the Legend of Cinema Award at the 2020 Scad Savannah Film Festival (via Entertainment Weekly), Jackson shared that his cast members from Tarantino’s “The Hateful Eight” make up the closest film bond of his career. That’s saying something considering Jackson is also a fixture of the McU and George Lucas’ “Star Wars” prequels, plus dozens of other films.
“The haters from ‘Hateful Eight,’ we have a chain where we still text each other every week to say where are you, what are you doing, or we’re commenting on the political situation. That’s the strongest cinematic connection I’ve ever had.”
Jackson starred as Major Marquis Warren in “The Hateful Eight” opposite Kurt Russell, Jennifer Jason Leigh, Bruce Dern,...
“The haters from ‘Hateful Eight,’ we have a chain where we still text each other every week to say where are you, what are you doing, or we’re commenting on the political situation. That’s the strongest cinematic connection I’ve ever had.”
Jackson starred as Major Marquis Warren in “The Hateful Eight” opposite Kurt Russell, Jennifer Jason Leigh, Bruce Dern,...
- 11/4/2020
- by Zack Sharf
- Indiewire
Exclusive: Cliff “Method Man” Smith has added two high-profile features to his resume. The rapper-turned-actor recently wrapped Tim Kirkby’s forthcoming action-thriller Waldo and is set for the Ricky Staub-directed Concrete Cowboys starring Idris Elba and Caleb McLaughlin.
In Waldo, Smith will appear opposite Mel Gibson and Charlie Hunnam. The feature based on Howard Michael Gould’s novel Last Looks follows a disgraced Lapd detective (Hunnam), who’s spent the past three years living off the grid. He’s reluctantly pulled back into his old life by a former lover in order to solve the murder of an eccentric celebrity’s wife. Smith will play a rapper who is being investigated by Waldo (Hunnam). The film was adapted by Gould and also stars Morena Baccarin, Dominic Monaghan, Eiza Gonzalez, Clancy Brown, Lucy Fry and Jacob Scipio.
Deadline exclusively reported the announcement of Concrete Cowboys which is inspired by the real-life Fletcher Street Stables,...
In Waldo, Smith will appear opposite Mel Gibson and Charlie Hunnam. The feature based on Howard Michael Gould’s novel Last Looks follows a disgraced Lapd detective (Hunnam), who’s spent the past three years living off the grid. He’s reluctantly pulled back into his old life by a former lover in order to solve the murder of an eccentric celebrity’s wife. Smith will play a rapper who is being investigated by Waldo (Hunnam). The film was adapted by Gould and also stars Morena Baccarin, Dominic Monaghan, Eiza Gonzalez, Clancy Brown, Lucy Fry and Jacob Scipio.
Deadline exclusively reported the announcement of Concrete Cowboys which is inspired by the real-life Fletcher Street Stables,...
- 8/23/2019
- by Dino-Ray Ramos
- Deadline Film + TV
Warning: The following post contains spoilers for Orange Is the New Black's final season.
When Orange Is the New Black introduced the Immigration and Customs Enforcement detention centers at the end of season six, viewers didn't know what to expect. But in the third episode of season seven, we meet Karla Córdova, one of the most compelling characters in the entire series, and one whose heartbreaking story is the same as what many immigrants endure in real life. Actress Karina Arroyave plays Karla, a widow and mother to two young boys who's detained at PolyCon's Ice center for illegal immigration. After her husband passed away, she worked at a law office where she learned the ins and outs of the legal system. She isn't a lawyer herself, but Karla knows enough to have her trial pushed back as she does more research. Karla's story is gut-wrenching - from...
When Orange Is the New Black introduced the Immigration and Customs Enforcement detention centers at the end of season six, viewers didn't know what to expect. But in the third episode of season seven, we meet Karla Córdova, one of the most compelling characters in the entire series, and one whose heartbreaking story is the same as what many immigrants endure in real life. Actress Karina Arroyave plays Karla, a widow and mother to two young boys who's detained at PolyCon's Ice center for illegal immigration. After her husband passed away, she worked at a law office where she learned the ins and outs of the legal system. She isn't a lawyer herself, but Karla knows enough to have her trial pushed back as she does more research. Karla's story is gut-wrenching - from...
- 8/2/2019
- by Perri Konecky
- Popsugar.com
In capturing a young, mid-’90s era Samuel L. Jackson for “Captain Marvel,” the team at Lola VFX started by watching his classics of that time: “Jurassic Park,” “Die Hard: With a Vengeance,” and most notably, “Pulp Fiction.”
Even though Quentin Tarantino’s film came out in 1994, just a year before when “Captain Marvel” is set, the de-aged Nick Fury is not based on Jackson’s look as Jules Winnfield, and there’s a good reason why.
“We had to throw out ‘Pulp Fiction’ almost immediately just because of the facial hair,” Trent Claus, the visual effects supervisor at Lola told TheWrap. “It blocked so much of the reference that we needed, it wasn’t very useful.”
Also Read: Jimmy Kimmel Mashes Up 'Captain Marvel' and 'Pulp Fiction' and It's Great (Video)
In de-aging Jackson for “Captain Marvel,” the VFX team did away with a body...
Even though Quentin Tarantino’s film came out in 1994, just a year before when “Captain Marvel” is set, the de-aged Nick Fury is not based on Jackson’s look as Jules Winnfield, and there’s a good reason why.
“We had to throw out ‘Pulp Fiction’ almost immediately just because of the facial hair,” Trent Claus, the visual effects supervisor at Lola told TheWrap. “It blocked so much of the reference that we needed, it wasn’t very useful.”
Also Read: Jimmy Kimmel Mashes Up 'Captain Marvel' and 'Pulp Fiction' and It's Great (Video)
In de-aging Jackson for “Captain Marvel,” the VFX team did away with a body...
- 3/19/2019
- by Brian Welk
- The Wrap
Samuel L. Jackson, who is 70 years old, was made to look 25 years younger as Nick Fury for the ’90s throwback movie “Captain Marvel.” And though the studio has previously de-aged Michael Douglas (“Ant-Man” films), Kurt Russell (“Guardians of the Galaxy Vol. 2”) and Robert Downey Jr. (“Captain America: Civil War”), the work on Jackson is the first time Marvel has done this for a co-lead actor for an entire movie.
De-aging is a meticulous, time-intensive process. Part of that process involves filming a body double that the visual effects artist can use as a reference. In making the leap between a handful to now hundreds of shots, Marvel tasked the company Lola Visual Effects to make some tests to see what Jackson could look like without the aid of a double. The payoff was enormous.
“That process works if you’ve got five, eight, maybe 10 shots. But in a movie...
De-aging is a meticulous, time-intensive process. Part of that process involves filming a body double that the visual effects artist can use as a reference. In making the leap between a handful to now hundreds of shots, Marvel tasked the company Lola Visual Effects to make some tests to see what Jackson could look like without the aid of a double. The payoff was enormous.
“That process works if you’ve got five, eight, maybe 10 shots. But in a movie...
- 3/18/2019
- by Brian Welk
- The Wrap
Ericson Core to helm thriller; Christian Mercuri’s Capstone Group, Oceanside Media fully finance.
Damien Chazelle’s screenplay The Claim has found its director – Ericson Core, whose credits include the Point Break reboot and Disney sports drama Invincible.
Scott Clayton of Oceanside Media and Route One Entertainment’s Russell Levine are producing The Claim, and Christian Mercuri’s financing, production and sales company Capstone Group will fully finance with Oceanside Media.
Casting is underway ahead of an anticipated start later this year on the story of a single father with a criminal past who races to find his kidnapped daughter while another couple claim the child is theirs.
Oceanside optioned the rights to the Black List thriller. Jay Stern and Chip Diggins are also producers on the project. Mercuri serves as executive producer alongside David Haring and Chris Lytton. Route One’s Sophia Dilley will co-produce.
Prior to features, Core was a cinematographer on such films as [link...
Damien Chazelle’s screenplay The Claim has found its director – Ericson Core, whose credits include the Point Break reboot and Disney sports drama Invincible.
Scott Clayton of Oceanside Media and Route One Entertainment’s Russell Levine are producing The Claim, and Christian Mercuri’s financing, production and sales company Capstone Group will fully finance with Oceanside Media.
Casting is underway ahead of an anticipated start later this year on the story of a single father with a criminal past who races to find his kidnapped daughter while another couple claim the child is theirs.
Oceanside optioned the rights to the Black List thriller. Jay Stern and Chip Diggins are also producers on the project. Mercuri serves as executive producer alongside David Haring and Chris Lytton. Route One’s Sophia Dilley will co-produce.
Prior to features, Core was a cinematographer on such films as [link...
- 8/2/2017
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
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Warner Bros has struggled with its blockbusters of late. But back in summer 1997 - Batman & Robin's year - it faced not dissimilar problems.
Earlier this year it was revealed that Warner Bros, following a string of costly movies that hadn’t hit box office gold (Pan, Jupiter Ascending, The Man From U.N.C.L.E., In The Heart Of The Sea), was restructuring its blockbuster movie business. Fewer films, fewer risks, more franchises, and more centering around movie universes seems to be the new approach, and the appointment of a new corporate team to oversee the Harry Potter franchise last week was one part of that.
In some ways, it marks the end of an era. Whilst it retains its relationships with key directing talent (Ben Affleck, Clint Eastwood, Christopher Nolan for instance), Warner Bros was, for the bulk of the 1990s in particular, the studio that the others were trying to mimic. It worked with the same stars and filmmakers time and time again, and under then-chiefs Terry Semel and Robert Daly, relationships with key talent were paramount.
Furthermore, the studio knew to leave that talent to do its job, and was also ahead of the pack in developing franchises that it could rely on to give it a string of hits.
However, whilst Warner Bros is having troubles now, its way of doing business was first seriously challenged by the failure of its slate in the summer of 1997. Once again, it seemed to have a line up to cherish, that others were envious of. But as film by film failed to click, every facet of Warner Bros’ blockbuster strategy suddenly came under scrutiny, and would ultimately fairly dramatically change. Just two summers later, the studio released The Matrix, and blockbuster cinema changed again.
But come the start of summer 1997? These are the movies that Warner Bros had lined up, and this is what happened…
February - National Lampoon’s Vegas Vacation
Things actually had got off to a decent enough start for the studio earlier in the year, so it's worth kicking off there. It brought Chevy Chase and Beverly D’Angelo back together, for the fourth National Lampoon movie, and the first since 1989’s National Lampoon’s Christmas Vacation. Interestingly, it dropped the National Lampoon moniker in the Us, and instead released the eventual movie as Vegas Vacation. It was a belated sequel, back when belated sequels weren’t that big a thing.
The film was quickly pulled apart by reviewers, but it still just about clawed a profit. The production budget of $25m was eclipsed by the Us gross of $36m, and the movie would do comfortable business on video/DVD. Not a massive hit, then, but hardly a project that had a sense of foreboding about it.
Yet the problems were not far away.
May – Father's Day
Warner Bros had a mix of movies released in the Us in March and April 1997, including modest Wesley Snipes-headlined thriller Murder At 1600, and family flick Shiloh. But it launched its summer season with Father’s Day, an expensive packaged comedy from director Ivan Reitman, starring Robin Williams and Billy Crystal. It had hit written all over it.
Father’s Day was one of the movies packaged by the CAA agency, and its then-head, Mike Ovitz (listed regularly by Premiere magazine in the 1990s as one of the most powerful men in Hollywood, if not the most powerful man). That he brought together the stars, the director and the project, gave a studio a price tag, and the studio duly paid it. Given Warner Bros’ devotion to star talent (Mel Gibson, then one of the biggest movie stars in the world, and a major Warner Bros talent, was persuaded to film a cameo), it was a natural home for the film. It quickly did the deal. few questions asked.
That package, and CAA’s fees for putting it together, brought the budget for a fairly straightforward comedy to a then-staggering $85m. The problem, though, was that the film simply wasn’t very good. It’s one of those projects that looks great on paper, less great when exposed on a great big screen. Warner Bros has snapped it up, without - it seems - even properly reading the script.
Premiere magazine quoted a Warner Bros insider back in November 1997 as saying “when [CAA] calls and says ‘we have a package, Father’s Day, with Williams and Crystal and Reitman, we say ‘great’”, adding “we don’t scrutinise the production. When we saw the movie, it took the wind out of us. We kept reshooting and enhancing, but you can’t fix something that’s bad”.
And it was bad.
The movie would prove to be the first big misfire of the summer, grossing just $35m in the Us, and not adding a fat lot more elsewhere in the world. Warner Bros’ first film of the summer was a certified flop. More would soon follow.
May - Addicted To Love
A more modestly priced project was Addicted To Love, a romantic comedy starring Meg Ryan and Matthew Broderick. Just over a year later, Warner Bros would hit big when Meg Ryan reunited with Tom Hanks for Nora Ephron’s You’ve Got Mail. But here? The film was a modest success, at best.
Directed by Griffin Dunne (making his directorial debut), and put together in partnership with Miramax, Addicted To Love was based around the Robert Palmer song of the same name. But whilst it was sold as a romcom, the muddled final cut was actually a fair bit darker. There was an underlying nastiness to some moments in the film, and when the final box office was tallied, it came in lower than the usual returns for pictures from Ryan or Broderick. Counter-programming it against the release of The Lost World: Jurassic Park didn’t massively help in this instance either, especially as the Jurassic Park sequel would smash opening weekend records.
Addicted To Love ended up with $34.6m at the Us box office. It would eke out a small profit.
June - Batman & Robin
And this is when the alarm bells started to ring very, very loudly. Summer 1997 was supposed to be about a trio of sure-fire hit sequels: Batman 4, Jurassic Park 2 and Speed 2. Only one of those would ultimately bring home the box office bacon, the others being destroyed by critics, and ultimately leaving far more empty seats than anticipated in multiplexes.
Batman & Robin, it’s easy to forget, came off the back of 1995’s Joel Schumacher-steered Batman reboot, Batman Forever that year's biggest movie). It had one of the fastest-growing stars in the world in the Batsuit (George Clooney), and the McDonald’s deals were signed even before the script was typed up. You don’t need us to tell you that you could tell, something of a theme already in Warner Bros' summer of '97.
That said, Batman & Robin still gave Warner Bros a big opening, but in the infancy of the internet as we know it, poisonous word of mouth was already beginning to spread. The film’s negative cost Warner Bros up to $140m, before marketing and distribution costs, and it opened in the Us to a hardly-sniffy $42m of business (although that was down from previous Batman movies).
But that word of mouth still accelerated its departure from cinemas. It was then very rare for a film to make over 40% of its Us gross in its first weekend. But that’s just what Batman & Robin did, taking $107.3m in America, part of a worldwide total of $238.2m. This was the worst return for a Batman movie to date, and Warner Bros had to swiftly put the brakes on plans to get Batman Triumphant moving.
It would be eight years until Batman returned to the big screen, in Christopher Nolan’s Batman Begins. Warner Bros would undergo big changes in the intervening period.
As for the immediate aftermath of Batman & Robin? Warner Bros co-chief Robert Daly would note at the end of '97 that “we’d have been better off with more action in the picture. The movie had to service too many characters”, adding that “the next Batman we do, in three years – and we have a deal with George Clooney to do it – will have one villain”.
Fortunately, Warner Bros’ one solid hit of the summer was just around the corner…
July - Contact
And breathe out.
Warner Bros bet heavily again on expensive talent here, with Robert Zemeckis bringing his adaptation of Carl Sagan’s Contact to the studio for his first film post-Forrest Gump. Warner Bros duly footed the $90m bill (back when that was still seen as a lot of money for a movie), a good chunk of which went to Jodie Foster. It invested heavily in special effects, and gave Zemeckis licence to make the film that he wanted.
The studio was rewarded with the most intelligent and arguably the best blockbuster of the summer. I’ve looked back at Contact in a lot more detail here, and it remains a fascinating film that’s stood the test of time (and arguably influenced Christopher Nolan’s more recent Interstellar).
Reviews were strong, it looked terrific, and the initial box office was good.
But then the problem hit. For whilst Contact was a solid hit for Warner Bros, it wasn’t a massively profitable one. Had Father’s Day and Batman & Robin shouldered the box office load there were supposed to, it perhaps wouldn’t have been a problem. But when they failed to take off, the pressure shifted to Contact.
The movie would gross $100.9m in the Us, and add another $70m overseas (this being an era were international box office rarely had the importance it has today). But once Warner Bros had paid its bills, there wasn’t a fat lot over for itself. Fortunately, the film still sells on disc and on-demand. Yet it wasn’t to be the massive hit the studio needed back in 1997.
July - One Eight Seven
From director Kevin Reynolds, the man who helmed Robin Hood: Prince Of Thieves and Waterworld, came modestly-priced drama 187, starring Samuel L Jackson (in a strong performance). Warner Bros wouldn’t have had massive box office expectations for the film (although it can't have been unaware that the inspirational teacher sub-genre was always worth a few quid), and it shared production duties on the $20m movie with Mel Gibson’s Icon Productions. But still, it would have had its eye on a modest success. What it got in return was red ink.
The film’s not a bad one, and certainly worth seeking out. But poor reviews gave the film an uphill struggle from the off – smaller productions arriving mid-summer really needed critics on their side, as they arguably still do – and it opened to just $2.2m of business (the less edgy, Michelle Pfeiffer-headlined school drama Dangerous Minds had been a surprise hit not two years before).
By the time its run was done, 187 hadn’t even come close to covering its production costs, with just under $6m banked.
Warner Bros’ summer slate was running out of films. But at least it had one of its most reliable movie stars around the corner…
August - Conspiracy Theory
What could go wrong? Mel Gibson and Julia Roberts were two of the biggest movie stars in the world in 1997, at a time when movie stars still equated to box office gold. Director Richard Donner, one of Warner Bros’ favourite directors, had delivered the Lethal Weapons, Maverick, Superman, The Goonies and more for the studio. Put them altogether, with Patrick Stewart (coming to wider public consciousness at the time off the back of his Star Trek: The Next Generation work) as a villain, and it should have been a big hit.
Conspiracy Theory proved to be one of the more ambitious summer blockbusters of the era. It lacks a good first act, which would be really useful in actually setting up more of what’s going on. But Gibson played an edgy cab driver who believes in deep government conspiracies, and finds himself getting closer to the truth than those around him sometimes give him credit for.
Warner Bros was probably expecting another Lethal Weapon with the reunion of Gibson (who had to be persuaded to take Conspiracy Theory on) and Donner (it’s pretty much what it got with the hugely enjoyable Maverick a few years’ earlier), but instead it got a darker drama, with an uneasy central character that didn’t exactly play to the summer box office crowd.
The bigger problem, though, was that the film never quite worked as well as you might hope. Yet star power did have advantages. While no juggernaut, the film did decent business, grossing $137m worldwide off the back of an $80m budget ($40m of which was spent on the salaries for the talent before a single roll of film was loaded into a camera). That said, in the Us it knocked a genuine smash hit, Air Force One, off the top spot. Mind you in hindsight, that was probably the film that the studio wished it had made (the cockpit set of Warner Bros' own Executive Decision was repurposed for Air Force One, fact fans).
Still: Warner Bros did get Lethal Weapon 4 off Gibson and Donner a year later…
August - Free Willy 3: The Rescue
Yeah.
Warner Bros opened its third Free Willy film on the same day as Conspiracy Theory (can you imagine a studio opening two big films on the same day now), but it was clear that this was a franchise long past its best days (and its best days hardly bring back the fondest of memories).
Still, Free Willy movies were relatively modest in cost to put together, and Warner Bros presumably felt this was a simple cashpoint project. But in a year when lots of family movies did less business than expected (Disney’s Hercules, Fox’s Home Alone 3, Disney’s Mr Magoo), Free Willy 3 barely troubled the box office. It took in just over $3m in total, and Willy would not be seen on the inside of a cinema again.
August - Steel
Not much was expected from Steel, a superhero movie headlined by Shaquille O’Neal. Which was fortunate, because not much was had.
It had a mid-August release date in the Us, at a point when a mid-August release date was more of a dumping ground than anything else. And even though the budget was set at a relatively low $16m, the film – and it’s an overused time – pretty much bombed. It took $1.7m at the Us box office, and given that its appeal hinged on a major American sports star whose fame hardly transcended the globe, its international takings did not save it (it went straight to video in many territories).
It was a miserable end to what, for warner bros, had been a thoroughly miserable summer.
So what did hit big in summer 1997?
Summer 1997 was infamous for big films failing to take off in the way that had been expected – Hercules, Speed 2, and the aforementioned Warner Bros movies – but there were several bright spots. The big winner would be Barry Sonnenfeld’s light and sprightly sci-fi comedy Men In Black, starring Will Smith and Tommy Lee Jones. Star power too helped score big hits for Harrison Ford (Air Force One), Julia Roberts (My Best Friend’s Wedding) and John Travolta (Face/Off).
This was also the summer that Nicolas Cage cemented his action movie credentials with Face/Off and Con Air. Crucially, though, the star movies that hit were the ones that veered on the side of 'good'. For the first of many years, the internet was blamed for this.
Oh, and later in the year, incidentally, Titanic would redefine just what constituted a box office hit...
What came next for Warner Bros?
In the rest of 1997, Warner Bros had a mix of projects that again enjoyed mixed fortunes. The standout was Curtis Hanson’s stunning adaptation of L.A. Confidential, that also proved to be a surprise box office success. The Devil’s Advocate didn’t do too badly either.
However, two of the studio’s key filmmakers failed to really deliver come the end of 1997. Clint Eastwood’s Midnight In The Garden Of Good And Evil failed to ignite (although many felt he was always on a hiding to nothing in trying to adapt that for the screen), and Kevin Costner’s The Postman would prove arguably the most expensive box office disappointment of the year. No wonder the studio rushed Lethal Weapon 4 into production for summer 1998. Oh, and it had The Avengers underway too (not that one), that would prove to be a 1998 disappointment.
The studio would eventually take action. The Daly-Semel management team, that had reigned for 15 years, would break up at the end of 1999, as its traditional way of doing business became less successful. The pair had already future projects that were director driven to an extent (Eyes Wide Shut), and it would still invest in movies with stars (Wild Wild West). But the immediate plan of action following the disappointment of summer 1997 – to get Batman 5 and Superman Lives made – would falter. It wouldn’t be until 1999’s The Matrix (a film that Daly and Semel struggled to get) and – crucially – 2001’s Harry Potter And The Philosopher’s Stone that the studio would really get its swagger back...
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Movies Feature Simon Brew Warner Bros 16 Jun 2016 - 05:19 Conspiracy Theory Father's Day Addicted To Love Contact National Lampoon’s Vegas Vacation One Eight Seven Steel Batman & Robin Free Willy 3: The Rescue...
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Warner Bros has struggled with its blockbusters of late. But back in summer 1997 - Batman & Robin's year - it faced not dissimilar problems.
Earlier this year it was revealed that Warner Bros, following a string of costly movies that hadn’t hit box office gold (Pan, Jupiter Ascending, The Man From U.N.C.L.E., In The Heart Of The Sea), was restructuring its blockbuster movie business. Fewer films, fewer risks, more franchises, and more centering around movie universes seems to be the new approach, and the appointment of a new corporate team to oversee the Harry Potter franchise last week was one part of that.
In some ways, it marks the end of an era. Whilst it retains its relationships with key directing talent (Ben Affleck, Clint Eastwood, Christopher Nolan for instance), Warner Bros was, for the bulk of the 1990s in particular, the studio that the others were trying to mimic. It worked with the same stars and filmmakers time and time again, and under then-chiefs Terry Semel and Robert Daly, relationships with key talent were paramount.
Furthermore, the studio knew to leave that talent to do its job, and was also ahead of the pack in developing franchises that it could rely on to give it a string of hits.
However, whilst Warner Bros is having troubles now, its way of doing business was first seriously challenged by the failure of its slate in the summer of 1997. Once again, it seemed to have a line up to cherish, that others were envious of. But as film by film failed to click, every facet of Warner Bros’ blockbuster strategy suddenly came under scrutiny, and would ultimately fairly dramatically change. Just two summers later, the studio released The Matrix, and blockbuster cinema changed again.
But come the start of summer 1997? These are the movies that Warner Bros had lined up, and this is what happened…
February - National Lampoon’s Vegas Vacation
Things actually had got off to a decent enough start for the studio earlier in the year, so it's worth kicking off there. It brought Chevy Chase and Beverly D’Angelo back together, for the fourth National Lampoon movie, and the first since 1989’s National Lampoon’s Christmas Vacation. Interestingly, it dropped the National Lampoon moniker in the Us, and instead released the eventual movie as Vegas Vacation. It was a belated sequel, back when belated sequels weren’t that big a thing.
The film was quickly pulled apart by reviewers, but it still just about clawed a profit. The production budget of $25m was eclipsed by the Us gross of $36m, and the movie would do comfortable business on video/DVD. Not a massive hit, then, but hardly a project that had a sense of foreboding about it.
Yet the problems were not far away.
May – Father's Day
Warner Bros had a mix of movies released in the Us in March and April 1997, including modest Wesley Snipes-headlined thriller Murder At 1600, and family flick Shiloh. But it launched its summer season with Father’s Day, an expensive packaged comedy from director Ivan Reitman, starring Robin Williams and Billy Crystal. It had hit written all over it.
Father’s Day was one of the movies packaged by the CAA agency, and its then-head, Mike Ovitz (listed regularly by Premiere magazine in the 1990s as one of the most powerful men in Hollywood, if not the most powerful man). That he brought together the stars, the director and the project, gave a studio a price tag, and the studio duly paid it. Given Warner Bros’ devotion to star talent (Mel Gibson, then one of the biggest movie stars in the world, and a major Warner Bros talent, was persuaded to film a cameo), it was a natural home for the film. It quickly did the deal. few questions asked.
That package, and CAA’s fees for putting it together, brought the budget for a fairly straightforward comedy to a then-staggering $85m. The problem, though, was that the film simply wasn’t very good. It’s one of those projects that looks great on paper, less great when exposed on a great big screen. Warner Bros has snapped it up, without - it seems - even properly reading the script.
Premiere magazine quoted a Warner Bros insider back in November 1997 as saying “when [CAA] calls and says ‘we have a package, Father’s Day, with Williams and Crystal and Reitman, we say ‘great’”, adding “we don’t scrutinise the production. When we saw the movie, it took the wind out of us. We kept reshooting and enhancing, but you can’t fix something that’s bad”.
And it was bad.
The movie would prove to be the first big misfire of the summer, grossing just $35m in the Us, and not adding a fat lot more elsewhere in the world. Warner Bros’ first film of the summer was a certified flop. More would soon follow.
May - Addicted To Love
A more modestly priced project was Addicted To Love, a romantic comedy starring Meg Ryan and Matthew Broderick. Just over a year later, Warner Bros would hit big when Meg Ryan reunited with Tom Hanks for Nora Ephron’s You’ve Got Mail. But here? The film was a modest success, at best.
Directed by Griffin Dunne (making his directorial debut), and put together in partnership with Miramax, Addicted To Love was based around the Robert Palmer song of the same name. But whilst it was sold as a romcom, the muddled final cut was actually a fair bit darker. There was an underlying nastiness to some moments in the film, and when the final box office was tallied, it came in lower than the usual returns for pictures from Ryan or Broderick. Counter-programming it against the release of The Lost World: Jurassic Park didn’t massively help in this instance either, especially as the Jurassic Park sequel would smash opening weekend records.
Addicted To Love ended up with $34.6m at the Us box office. It would eke out a small profit.
June - Batman & Robin
And this is when the alarm bells started to ring very, very loudly. Summer 1997 was supposed to be about a trio of sure-fire hit sequels: Batman 4, Jurassic Park 2 and Speed 2. Only one of those would ultimately bring home the box office bacon, the others being destroyed by critics, and ultimately leaving far more empty seats than anticipated in multiplexes.
Batman & Robin, it’s easy to forget, came off the back of 1995’s Joel Schumacher-steered Batman reboot, Batman Forever that year's biggest movie). It had one of the fastest-growing stars in the world in the Batsuit (George Clooney), and the McDonald’s deals were signed even before the script was typed up. You don’t need us to tell you that you could tell, something of a theme already in Warner Bros' summer of '97.
That said, Batman & Robin still gave Warner Bros a big opening, but in the infancy of the internet as we know it, poisonous word of mouth was already beginning to spread. The film’s negative cost Warner Bros up to $140m, before marketing and distribution costs, and it opened in the Us to a hardly-sniffy $42m of business (although that was down from previous Batman movies).
But that word of mouth still accelerated its departure from cinemas. It was then very rare for a film to make over 40% of its Us gross in its first weekend. But that’s just what Batman & Robin did, taking $107.3m in America, part of a worldwide total of $238.2m. This was the worst return for a Batman movie to date, and Warner Bros had to swiftly put the brakes on plans to get Batman Triumphant moving.
It would be eight years until Batman returned to the big screen, in Christopher Nolan’s Batman Begins. Warner Bros would undergo big changes in the intervening period.
As for the immediate aftermath of Batman & Robin? Warner Bros co-chief Robert Daly would note at the end of '97 that “we’d have been better off with more action in the picture. The movie had to service too many characters”, adding that “the next Batman we do, in three years – and we have a deal with George Clooney to do it – will have one villain”.
Fortunately, Warner Bros’ one solid hit of the summer was just around the corner…
July - Contact
And breathe out.
Warner Bros bet heavily again on expensive talent here, with Robert Zemeckis bringing his adaptation of Carl Sagan’s Contact to the studio for his first film post-Forrest Gump. Warner Bros duly footed the $90m bill (back when that was still seen as a lot of money for a movie), a good chunk of which went to Jodie Foster. It invested heavily in special effects, and gave Zemeckis licence to make the film that he wanted.
The studio was rewarded with the most intelligent and arguably the best blockbuster of the summer. I’ve looked back at Contact in a lot more detail here, and it remains a fascinating film that’s stood the test of time (and arguably influenced Christopher Nolan’s more recent Interstellar).
Reviews were strong, it looked terrific, and the initial box office was good.
But then the problem hit. For whilst Contact was a solid hit for Warner Bros, it wasn’t a massively profitable one. Had Father’s Day and Batman & Robin shouldered the box office load there were supposed to, it perhaps wouldn’t have been a problem. But when they failed to take off, the pressure shifted to Contact.
The movie would gross $100.9m in the Us, and add another $70m overseas (this being an era were international box office rarely had the importance it has today). But once Warner Bros had paid its bills, there wasn’t a fat lot over for itself. Fortunately, the film still sells on disc and on-demand. Yet it wasn’t to be the massive hit the studio needed back in 1997.
July - One Eight Seven
From director Kevin Reynolds, the man who helmed Robin Hood: Prince Of Thieves and Waterworld, came modestly-priced drama 187, starring Samuel L Jackson (in a strong performance). Warner Bros wouldn’t have had massive box office expectations for the film (although it can't have been unaware that the inspirational teacher sub-genre was always worth a few quid), and it shared production duties on the $20m movie with Mel Gibson’s Icon Productions. But still, it would have had its eye on a modest success. What it got in return was red ink.
The film’s not a bad one, and certainly worth seeking out. But poor reviews gave the film an uphill struggle from the off – smaller productions arriving mid-summer really needed critics on their side, as they arguably still do – and it opened to just $2.2m of business (the less edgy, Michelle Pfeiffer-headlined school drama Dangerous Minds had been a surprise hit not two years before).
By the time its run was done, 187 hadn’t even come close to covering its production costs, with just under $6m banked.
Warner Bros’ summer slate was running out of films. But at least it had one of its most reliable movie stars around the corner…
August - Conspiracy Theory
What could go wrong? Mel Gibson and Julia Roberts were two of the biggest movie stars in the world in 1997, at a time when movie stars still equated to box office gold. Director Richard Donner, one of Warner Bros’ favourite directors, had delivered the Lethal Weapons, Maverick, Superman, The Goonies and more for the studio. Put them altogether, with Patrick Stewart (coming to wider public consciousness at the time off the back of his Star Trek: The Next Generation work) as a villain, and it should have been a big hit.
Conspiracy Theory proved to be one of the more ambitious summer blockbusters of the era. It lacks a good first act, which would be really useful in actually setting up more of what’s going on. But Gibson played an edgy cab driver who believes in deep government conspiracies, and finds himself getting closer to the truth than those around him sometimes give him credit for.
Warner Bros was probably expecting another Lethal Weapon with the reunion of Gibson (who had to be persuaded to take Conspiracy Theory on) and Donner (it’s pretty much what it got with the hugely enjoyable Maverick a few years’ earlier), but instead it got a darker drama, with an uneasy central character that didn’t exactly play to the summer box office crowd.
The bigger problem, though, was that the film never quite worked as well as you might hope. Yet star power did have advantages. While no juggernaut, the film did decent business, grossing $137m worldwide off the back of an $80m budget ($40m of which was spent on the salaries for the talent before a single roll of film was loaded into a camera). That said, in the Us it knocked a genuine smash hit, Air Force One, off the top spot. Mind you in hindsight, that was probably the film that the studio wished it had made (the cockpit set of Warner Bros' own Executive Decision was repurposed for Air Force One, fact fans).
Still: Warner Bros did get Lethal Weapon 4 off Gibson and Donner a year later…
August - Free Willy 3: The Rescue
Yeah.
Warner Bros opened its third Free Willy film on the same day as Conspiracy Theory (can you imagine a studio opening two big films on the same day now), but it was clear that this was a franchise long past its best days (and its best days hardly bring back the fondest of memories).
Still, Free Willy movies were relatively modest in cost to put together, and Warner Bros presumably felt this was a simple cashpoint project. But in a year when lots of family movies did less business than expected (Disney’s Hercules, Fox’s Home Alone 3, Disney’s Mr Magoo), Free Willy 3 barely troubled the box office. It took in just over $3m in total, and Willy would not be seen on the inside of a cinema again.
August - Steel
Not much was expected from Steel, a superhero movie headlined by Shaquille O’Neal. Which was fortunate, because not much was had.
It had a mid-August release date in the Us, at a point when a mid-August release date was more of a dumping ground than anything else. And even though the budget was set at a relatively low $16m, the film – and it’s an overused time – pretty much bombed. It took $1.7m at the Us box office, and given that its appeal hinged on a major American sports star whose fame hardly transcended the globe, its international takings did not save it (it went straight to video in many territories).
It was a miserable end to what, for warner bros, had been a thoroughly miserable summer.
So what did hit big in summer 1997?
Summer 1997 was infamous for big films failing to take off in the way that had been expected – Hercules, Speed 2, and the aforementioned Warner Bros movies – but there were several bright spots. The big winner would be Barry Sonnenfeld’s light and sprightly sci-fi comedy Men In Black, starring Will Smith and Tommy Lee Jones. Star power too helped score big hits for Harrison Ford (Air Force One), Julia Roberts (My Best Friend’s Wedding) and John Travolta (Face/Off).
This was also the summer that Nicolas Cage cemented his action movie credentials with Face/Off and Con Air. Crucially, though, the star movies that hit were the ones that veered on the side of 'good'. For the first of many years, the internet was blamed for this.
Oh, and later in the year, incidentally, Titanic would redefine just what constituted a box office hit...
What came next for Warner Bros?
In the rest of 1997, Warner Bros had a mix of projects that again enjoyed mixed fortunes. The standout was Curtis Hanson’s stunning adaptation of L.A. Confidential, that also proved to be a surprise box office success. The Devil’s Advocate didn’t do too badly either.
However, two of the studio’s key filmmakers failed to really deliver come the end of 1997. Clint Eastwood’s Midnight In The Garden Of Good And Evil failed to ignite (although many felt he was always on a hiding to nothing in trying to adapt that for the screen), and Kevin Costner’s The Postman would prove arguably the most expensive box office disappointment of the year. No wonder the studio rushed Lethal Weapon 4 into production for summer 1998. Oh, and it had The Avengers underway too (not that one), that would prove to be a 1998 disappointment.
The studio would eventually take action. The Daly-Semel management team, that had reigned for 15 years, would break up at the end of 1999, as its traditional way of doing business became less successful. The pair had already future projects that were director driven to an extent (Eyes Wide Shut), and it would still invest in movies with stars (Wild Wild West). But the immediate plan of action following the disappointment of summer 1997 – to get Batman 5 and Superman Lives made – would falter. It wouldn’t be until 1999’s The Matrix (a film that Daly and Semel struggled to get) and – crucially – 2001’s Harry Potter And The Philosopher’s Stone that the studio would really get its swagger back...
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Movies Feature Simon Brew Warner Bros 16 Jun 2016 - 05:19 Conspiracy Theory Father's Day Addicted To Love Contact National Lampoon’s Vegas Vacation One Eight Seven Steel Batman & Robin Free Willy 3: The Rescue...
- 6/13/2016
- Den of Geek
Starz is reaching out to Latino, African American and other audiences with a pair of new networks and other shifts in its programming, the company said Monday. Encore Black, which is replacing Starz’s Encore Drama, will air a combination of commercial-free movies, comedy specials and TV series such as “What’s Happening!!” “Diff’rent Strokes” and “227.” Also read: Earnings: Starz Hits 22M Subscribers, But Profits Slip The network will launch next month with special programming revolving around “Snakes on a Plane” star Samuel L. Jackson, whose films “Unbreakable,” “Losing Isaiah,” “Freedomland” and “One Eight Seven” will be aired. Starz’s Spanish-language network Encore Espanol,...
- 11/11/2013
- by Tim Kenneally
- The Wrap
Starz has made changes to its Encore pack of channels citing the nation’s evolving demographics and focusing on groups who over-index in viewing within the premium pay TV category. That translates to shuffling some of the eight Encore-branded channels to target baby boomers, Black and Latino audiences and the company acquiring older TV series to serve them, something rarely done on premium cable which is traditionally built on movies and original series. Starz also is launching a horror block on Encore Suspense. Beginning December 2, 2013, Encore Drama will be replaced by Encore Black, a channel catering to the African-American community, traditionally over-indexed on premium channel viewership. The channel’s programming lineup will include Martin Lawrence’s 1st Amendment Stand Up and off-network series What’s Happening!!, Diff’rent Strokes, 227, and Amen. The December launch will spotlight actor Samuel L. Jackson with films such as Unbreakable, Losing Isaiah, Freedomland and One Eight Seven.
- 11/11/2013
- by NELLIE ANDREEVA
- Deadline TV
Exclusive: Resolution just signed Clifton Collins, Jr., in all areas. I’ve been watching this guy since he went mano a mano with Samuel Jackson in the Kevin Reynolds-directed One Eight Seven and his turn as murderer Perry Smith in Capote. He most recently co-starred in Pacific Rim and shot the Wally Pfister-directed Transcendence for Warner Bros and then back to back Terrence Malick projects Knight Of Cups and another that doesn’t yet have a title. Collins, who had been repped by Apa, is managed by Industry Entertainment and attorney David Krintzman.
- 11/6/2013
- by MIKE FLEMING JR
- Deadline
Odd List Ryan Lambie Simon Brew 7 Nov 2013 - 07:02
Our journey through the half-remembered, underappreciated films of the 1990s continues. Here, we look to 1997...
Dominated by the box office behemoth that was James Cameron's Titanic, 1997 was a year of high drama and outlandish special effects. The Lost World: Jurassic Park brought with it a new batch of genetically revived dinosaurs, George Lucas dug his original Star Wars trilogy out of the cupboard and added new (controversial) computer-generated sequences, while Nicolas Cage and John Travolta did impressions of one another and fired guns in John Woo's delirious action movie, Face/Off.
It was a varied year for movies, for sure, particularly by 21st century standards; it's difficult to imagine a British feel-good comedy about amateur male strippers (The Full Monty) getting into the year's 10 highest grossing films these days. But among all those winners, there had to be some...
Our journey through the half-remembered, underappreciated films of the 1990s continues. Here, we look to 1997...
Dominated by the box office behemoth that was James Cameron's Titanic, 1997 was a year of high drama and outlandish special effects. The Lost World: Jurassic Park brought with it a new batch of genetically revived dinosaurs, George Lucas dug his original Star Wars trilogy out of the cupboard and added new (controversial) computer-generated sequences, while Nicolas Cage and John Travolta did impressions of one another and fired guns in John Woo's delirious action movie, Face/Off.
It was a varied year for movies, for sure, particularly by 21st century standards; it's difficult to imagine a British feel-good comedy about amateur male strippers (The Full Monty) getting into the year's 10 highest grossing films these days. But among all those winners, there had to be some...
- 11/6/2013
- by ryanlambie
- Den of Geek
Method Man, a member of the platinum-selling rap group Wu-Tang Clan, has appeared in many movies, including "One Eight Seven", "Cop Land," "How High" and "Meet the Spartans." And just like other actors, he too has not been paying his taxes. The rapper, whose real name is Clifford Smith, surrendered to Staten Island officials this morning to face felony tax-evasion charges. He was seen covering his face with a book as he was led out of a police precinct on his way to his arraignment. Officials allege Smith didn't file New York State Income Tax Returns from 2004 through 2007, failing to pay $32,799 in personal income tax during that time. As a result, he faces a charge of repeated failure to file personal income and earnings tax, a felony punishable by up to four years in prison if convicted. He also faces a misdemeanor charge of failure to pay tax. Method Man...
- 10/6/2009
- WorstPreviews.com
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