Probably means they voted in the 2016 election too then.
I don’t like how they gave the dead big googly eyes.
Having seen it, Coco is one of the best blockbusters of the year. Maybe the best. It deserves to be number one.
However, the below link is true. This Frozen short is truly dismal and at more than 20(!!) minutes long isn’t really like a little appetizer. My kid actually asked me if we walked into the wrong theatre by mistake.
I guess in Mexico (where Coco has been open for some time) they removed the Frozen short after the public loudly complained. Maybe they will in other markets as well?
Coco isn’t out here until next year, so the short is in front of a re-release of Frozen.
Christel, her parents and I saw Thor yesterday afternoon and I’d say the theater was about 90-95% full.
The Justice League movie has made $480 million in 10 days and all I’ve heard is what a big failure it is.
Yeah, I think its perception as a bomb and failure is a bit overblown. Honestly, with all the production problems it had, it was no surprise it wouldn’t be as big as the other DC films.
The point has been made before that WB needed this movie to earn insane amounts (reports put it close to a billion) to make a profit. So it’s easy to paint it as a financial failure, especially with the BvS comparison.
It’s also easy to point to how much money it’s made and say it’s a shitload of cash. People are seeing the movie - it’s not like it has sunk without trace.
Putting both sides together the argument comes back to WB not handling the financial side of the movie smartly, and putting so much cash into it that only the most fantastic performance would enable it to be a money-maker.
But to be honest, I think the vast majority of viewers don’t care about this kind of financial discussion, and it’s not what they’re talking about when they criticise the film and call it a failure. They’re talking about how well it worked as a film, on an artistic level. Which is of course subjective.
I guess people like to discuss the hard box-office figures because it’s an objective metric, but even then there are lots of ways to look at it.
If I spend $500 million and make $240 million it’s a bit of a disaster.
Can you imagine if 5 or 6 years ago someone had suggested a 3rd Thor solo movie would make more than a justice league movie…just crazy.
WB screwed the pooch so hard here it is frightening.
That’s the big question for the “What should Warners do?” When you still have a lot of people see and like a movie even though it cost too much, then the idea Warners needs to completely change what its doing doesn’t entirely follow. They needed to spend less money on it which probably also means that they needed to be much more thoughtful up front before having to spend so much at the end to get the movie into shape for release.
This wasn’t a movie that fell into development hell. Instead it fell into post-produciton hell. Seemed like they were willing to lose money by the end just to save face and get the movie released at any cost. Possibly it will save them in the long run by not throwing a big wrench in future movie plans. They have at least managed to keep the DC universe going.
I think WB’s problems with this predate even Man of Steel. Superman Returns had to absorb over a decade worth of starts and stops. It sounds like they just don’t have a refined process for green lighting and producing films within a budget that will allow them to make a profit without being one of the highest grossing movies in history.
In fairness they seemed to have that with Wonder Woman. Zach Snyder movies are just really expensive.
Which is true. Some of the issues with Justice League were out of their hands with Snyder’s private problems but they did initially plan it as part 1 of 2 and keep shifting, there was meant to be a Man of Steel 2 and that was put on hold. They more than likely threw tens of millions on the fire with shifting plans. Most of the budget of Superman Returns was down to indecision and redrawn plans, not the film itself.
One thing I think most would agree is they rushed into playing catchup with Marvel and it most likely wasn’t necessary. It’ll almost certainly turn out (definitely considering budget spent) their most successful film will be Wonder Woman, allowed to tell a solo story without much more than a nod to the wider universe.
I’m not going to quote the whole article, this thread is about the money, and if nothing else, the money has dictated the current response as much as it did the (lack of) response before;
John Lasseter’s “Missteps”: How Much Did Disney Execs Know and When?
In his 2014 book Creativity, Inc., Ed Catmull, president of Walt Disney Animation and Pixar Animation Studios, revealed his management of Pixar includes a process called “Notes Day,” in which all employees are afforded the opportunity to offer “notes” to their leaders on how to improve the company, its culture and its creative output. What Catmull did not explain in the book is that some Pixar employees had used Notes Day to express mounting concern over the behavior of the company’s co-founder and chief creative officer, John Lasseter.
So when Lasseter, 60, notified colleagues Nov. 21 that he would be taking a six-month “sabbatical” from his role as Disney’s top animation executive because of “missteps” that have left colleagues feeling “disrespected and uncomfortable,” several company insiders say they were not surprised. As he was building Pixar into a pioneer of computer imagery and creativity — and then returning a foundering Disney to its former glory — Lasseter had developed a reputation for relentless borderline bullying conduct and for crossing lines into employees’ personal space in the workplace.
Now Lasseter, perhaps the most important figure in feature animation since Walt himself, has left the empire he helped build in a precarious position. There is the short-term question of who will take the creative reins in his absence — and the larger issue of who might succeed him permanently should he not return. The answers could impact the legacy that Disney CEO Bob Iger leaves behind when he himself steps down in 2019.
Now, in Lasseter’s absence, the speculation is that a member of Pixar’s storied “brain trust,” the animation directors who meet regularly to review one another’s work, will be asked to step forward. The most frequently heard name is Pete Docter, the two-time Oscar-winning director of Up and Inside Out. But some are eyeing Andrew Stanton, who won Oscars for Finding Nemo and Wall-E, or Brad Bird, who won Oscars for Ratatouille and The Incredibles (though Bird might have his hands full directing Incredibles 2, opening June 15).
Stanton and Bird have spent time away from Pixar to direct live-action films, which may give the advantage to Docter. Says a source: “You need someone who is all in, dedicated to doing animation. That is Pete.”
The company also could choose a female talent. Of Pixar’s 19 feature releases, only one, Brave, had a female director, though Brenda Chapman was replaced by Mark Andrews during production, and they shared the directing credit on the Oscar winner. Rashida Jones, a writer on Toy Story 4 who then left the project, has said the studio fosters “a culture where women and people of color do not have an equal creative voice.” The likeliest female candidate is Darla Anderson, producer of Toy Story 3, Cars and Coco.
Iger probably will be the one to decide whether Lasseter can return. “The key to all this is Bob Iger’s legacy,” suggests a source. “Everything is about preserving his legacy, and if Lasseter’s behavior threatens to tarnish that, they will throw John to the wolves.”
As part of his remake of Disney, Iger’s first big coup was acquiring Pixar in 2006 for $7.4 billion. Since then, the company, co-founded by the late Steve Jobs, has turned out a string of hits, from Cars to the current Coco, that have grossed more than $8 billion worldwide. At the center of it all was Lasseter, whose public image was that of a genial, Hawaiian shirt-wearing family man who brought his own obsessions with toys and cars to the screen. When he took over Disney Animation, he led a renaissance with such hits as Frozen, Zootopia and Moana.
“The impact of John’s stepping aside can’t be overestimated,” says Dan Sarto, co-founder and publisher of Animation World Network. “That said, he has also developed and helped foster a tremendously deep and talented group of artists that should be able to step up and fill the void to a big degree. We will soon see if that’s the case.”
Looks like Ragnarok has a good shot at $900 billion, which is just spectacular.
Incredibly spectacular, it would make a single film worth more than Citibank.