I think they should have Tom Hardy’s Venom fight Topher Grace’s Venom.
Into the Venomverse animated movie
V3: Venom Versus Venom
AVC: And Venom/Carnage
Sorry everyone, I’m not sure how we’re going to fit a Venomverse movie around the schedule for my proposed Hardyverse movie featuring Venom, Bane, Bronson, and Mad Max.
Carnage, Riot And Phage.
We might need a better acronym though.
If James Keziah Delaney, Hat, and Coat are not in it, I guarantee the movie will be absolute garbage.
I don’t watch TV, but it looks like his name is too long.
I read that the deal with Sony was for five movies — Civil War, Homecoming, Infinity War, Avengers 4, and Spider-Man 2 (Far From Home).
Yeah… here’s one of the articles: https://www.gamesradar.com/spider-man-will-get-at-least-four-more-mcu-appearances-including-avengers-4/
J.J. Abrams Seeking Record-Shattering Overall Megadeal
Several major Hollywood studios are courting J.J. Abrams, who is looking to land a lucrative megadeal with a big media company, a number of Hollywood insiders told Variety.
People familiar with the matter say Abrams’ ambitions are vast and that the prolific producer, writer, and director behind “Alias” and “Star Wars: The Force Awakens” is on the hunt for the kind of super nova-sized deal that would encompass films, television series, digital content, music, games, consumer products, and theme park opportunities.
He is insisting on a certain number of “put pictures,” an industry term for a specific number of guaranteed slots on a studio’s slate of movies. It’s the kind of mega-deal reserved for Abrams’ mentor and friend Steven Spielberg.
Abrams is eager to set a new high-water mark for the value of the deal, with some speculating he hopes for a pact worth half-a-billion dollars or more. The talks are being shepherded by CAA president Richard Lovett, Abrams’ agent, and attorneys Alan Wertheimer and Jim Jackoway of Jackoway Tyerman Wertheimer Austen Mandelbaum Morris & Klein, one of the insiders said.
While his business is currently split between Paramount Pictures and Warner Bros. Television, Abrams’ team is seeking to consolidate under one company and earn a considerable payday in the process, the insiders said.
It’s possible a digital player is in the mix to win Abrams, a streaming giant like Netflix or tech company like Apple. Companies like Netflix have been lavishing creators like Ryan Murphy and Shonda Rhimes with nine-figure paydays to boost subscriptions and stack their library shelves with original content. The issue in that scenario is they don’t have theme park operations or consumer products divisions, areas where Abrams is eager to make his imprint.
Disney, one party wages, is in the pole position since the company has a strong foothold with Abrams thanks to his work in the “Star Wars” universe as a writer, executive producer, and director. He’s currently working on “Star Wars: Episode IX,” which has been billed as a course correction at Lucasfilm after spinoff films like “Solo” failed to meet the label’s high commercial expectations. He enjoys a close relationship with Iger.
Universal also has an ace up its sleeve thanks to its long relationship with Spielberg (Universal owns a minority stake in Spielberg’s Amblin Partners), whose own career trajectory serves as a blueprint for Abrams, a person familiar with the latter’s thinking said. There is the possibility that the two A-listers could collaborate on projects, something that might appeal to Abrams. However, one source noted that while Abrams adores Spielberg, he also feels competitive with him and may not favor having his deal at the same studio.
Abrams’ deal with Warner Bros. TV, which he originally signed in 2006, is up in May of next year. The expiration of his Paramount movie agreement expires in March of 2020. Conversations with the suitors are happening at this early stage partly because of the complexity of the deal, insiders added.
Abrams has been more prolific and culturally resonant in his TV efforts, like the cult hit “Lost,” Jennifer Garner’s “Alias,” and, currently, HBO’s “Westworld” and Hulu’s Stephen King-based series “Castle Rock.”
Abrams reps at CAA and Jackoway Tyerman Wertheimer Austen Mandelbaum Morris & Klein had no immediate comment on the ongoing question of a new deal.
And to think that they let him go off and make two films for Disney. What a disappointment.
This year, Netflix has the rights to Roma, Alfonso Cuarón’s achingly personal new epic, which is being touted for huge success during awards season. In the coming months, the company will also release the latest film from the Coen brothers ( The Ballad of Buster Scruggs ) and a sci-fi thriller starring Sandra Bullock ( Bird Box ). With those debuts, the studio’s rules are changing, signaling a potential détente between Netflix and theater exhibitors going forward. Roma will open in two theaters on November 21, gradually expand to more screens over the next few weeks, and finally hit Netflix on December 14.
I’m really surprised by how successful it’s been. It’s already in profit.
We don’t know for sure what it cost, but unless it’s secretly a $200m film it’s definitely going to return a very good profit by the time it’s finished in cinemas, and then at home too.
AFM: The Horror Genre Emerges as Indie Industry’s Unlikely Savior
It’s a scary time for independent film.
Business models that endured for a generation have been hacked and slashed, leaving the floors of the American Film Market bloody with the remains of once-great movie companies. The butchering of the home-video market has been particularly brutal, leaving many in the industry wondering if AFM could survive the attack or if the world’s largest film market would inevitably be reduced to a half-dead, shuffling zombie version of its former self. Ironic, then, that horror films would emerge as the market’s, and the indie industry’s, unlikely savior.
Horror has always been at the bloody core of AFM — from the high-end respectability of Blumhouse franchises like The Purge and Creep to the $50,000 digital quickies with gory posters and pun-tastic titles targeting the straight-to-VOD market. But while AFM’s other mainstays have weakened — action films can be a tough theatrical play, star-driven dramas can no longer count on global TV sales — horror has gone from strength to strength. The genre has found a market at every budget level and with every demographic. Studio-released chillers — A Quiet Place ($339 million) and The Nun ($364 million) — are delivering nine-digit returns worldwide.
The rising horror tide has been a boon for producers and sales companies across the spectrum. “Things have really begun to change. We’ve seen distributors going from revenue sharing to paying real minimum guarantees for films. We’re seeing proper theatrical releases for films that would have been straight-to-VOD just a few years ago,” says Miguel Govea, managing director at U.K.-based production and sales outfit Alief, which recently inked a pair of domestic deals for Venezuelan supernatural chiller The Whistler and Brazilian demon drama Our Evil with U.S. indie distributors Uncork’d and Dark Star Pictures.
"In the past three to four years, we’ve seen a real resurgence in theatrical distribution [for horror films] from new companies that really know their target audience," says Govea. "There’s a real appetite for horror films that aren’t typical ghost stories or slasher stories but have a strong character arc or are heavily art-directed or have some kind of a twist."
For art house or foreign language horror, Govea notes, the route to market is old school. To attract attention and generate sales, producers and sales agents rely on strong critical reception and word-of-mouth from a reputable festival with a good genre reputation — such as Fantastic Fest in Austin, Sitges in Spain and the Midnight Madness sections of Cannes and Toronto. Buyers then do a traditional rollout, usually involving a small theatrical release followed by video-on-demand and even physical home entertainment. “The Blu-ray business is booming again for certain kinds of horror,” says Govea. "Fans are willing to pay money to own these movies."
"There’s a consistently strong horror market among digital users," says Gregory Hatanaka, president of Cinema Epoch, whose AFM catalog includes Nun , a shameless ripoff of New Line’s The Nun . “If you make a horror film that looks decent and the first five minutes are visually strong, you’re going to tap into that market no matter what you do. The question is, what do you make it for and what’s the profit? But these days with digital, you can make a good-looking horror for about $50,000, and it’ll look strikingly good.”
But Julian Richards, of U.K.-based horror specialists Jinga, notes as well that digital platforms are “slightly more conservative” than the old home-video market and exclude much of the hard-core horror so beloved by the genre’s die-hard fan base. “There is the danger that the digitalization of horror will be its undoing,” Richards says. "To really make a difference with horror these days, you need something that is going to do theatrical business. You don’t need stars, you don’t need a big budget. But you do need to get it into theaters."
Having a hook is key for theatrical play and helps explain the current fad for art house horror. Films like Hereditary , Mandy , Suspiria and The Babadook can be crossover titles, attracting audiences that normally wouldn’t be caught dead in a slasher movie.
But as with all indie filmmaking, the key with horror is getting the numbers right. “When filmmakers come to me and say, ‘I’m making a horror movie for $1 to $2 million,’ I tell them, ‘I hope you realize you’re going to lose 70 percent of that,’” says Richards. "If you want to make money, you can only really spend about $300,000. The rest has to be tax relief and soft money. Otherwise, you’re in trouble."
The Official Charts Company is moving with the times, and has finally launched an Official Film Chart in the UK this week, which brings together sales from digital downlads across the likes of Amazon and iTunes alongside physical media such as DVD, Blu-ray and 4K UHD. The results are already quite eye-opening, and we’ll make it our business to keep an eye on the weekly updates from now on. They’re set to be published every Wednesday, and will deliver a weekly Top 40.
Here’s the home release Top ten in 2018 so far, via Yahoo UK:
- The Greatest Showman
- Star Wars: The Last Jedi
- Avengers: Infinity War
- Paddington 2
- Peter Rabbit
- Jumanji: Welcome to the Jungle
- Thor: Ragnarok
- Black Panther
- Deadpool 2
- Kingsman: The Golden Circle
According to Boxofficemojo the production budget was $52 million.
Last year, executives from the tech and content teams hotly debated whether to renew “GLOW,” a show about professional women wrestlers in the 1980s whose co-executive producer is Jenji Kohan, creator of “Orange Is The New Black,” a flagship Netflix show. The tech side argued the show should be canceled because of lackluster viewership, people familiar with the situation said. The Hollywood side felt it was worth continuing the show, given the importance of Ms. Kohan to Netflix and the critical acclaim GLOW had received.
“There were serious conversations from the tech side pressuring the Hollywood side not to renew it for a second season,” said one participant in a heated discussion over the show. GLOW ultimately survived.
Ms. Kohan didn’t respond to requests for comment made through her representative. A person close to her said she expressed dissatisfaction with Netflix’s initial marketing plan, which executives said was based on internal data to attract viewers. She felt it catered to males when the show was really geared to women, the person said.