The Hot Blog Archive for July, 2008

Bat Haiku

You know, I love it when a commenter has a stroke of genius… or in some cases, just a stroke.
But seriously, folks…
The idea of the BAT HAIKU came up and, heck, why not give it a try?
Nolan up to Bat
So much more than a comic
But a comic still

The Joker is cool
Makes The Batman just a mouse
Dent’s teeth feel the breeze

Your turn…
And yes, there will be a prize. (We’ll figure out what it is in time.)

59 Comments »

More Great News For Paramount

They landed Brett Ratner… WOOO HOOO!
Take a breath….
Ratner has good taste. He can make $100 million look like the most beautiful $75 million you’ve ever seen on screen.
So what is Paramount getting itself into?
Well, the relationship seems mostly about Beverly Hills Cop IV, being written by the geniuses who “wrote” Wanted… I seem to remember a few words somewhere in that crapfest… and soon to be directed by Ratner, who will surely have the very hottest ethnic women in Hollywood in the backround of every scene of Axel Foley walking around Beverly Hills.
The biggest question about the “first look deal” is whether Ratner can deliver his first “tentpole” that’s not a 3rd X-Men or a Rush Hour film to gross over $210 milion worldwide.
Even though the last Beverly Hills Cop was 14 years ago – have you notcied that Par is now acting like MGM and teh Walking TE Corpse Of New Line, desperately trying to revive any former hit? – it is a sequel. So there is no point in comparing it to Ratner’s originals, none of which has grossed as much as $125m worldwide. But Red Dragon, at $209m ww, seems fair to worry about. And the fact that Rush Hour 3 grossed less than either of its predesessors domestically and about the same as the first film worldwide (27% off of RH2) is also a cause of concern.
A decade into his career as a director, there is no indication that Ratner is a better bet on a project than, say, Dennis Dugan or Brian Robbins. Goiod luck all around.
1 – X – Men: The Last Stand – $459.3 – 2006
2 – Rush Hour 2 – $347.3 – 2001
3 – Rush Hour 3 – $255.0 – 2007
4 – Rush Hour – $244.4 – 1998
5 – Red Dragon – $209.2 – 2002
6 – The Family Man – $124.7 – 2000
7 – After the Sunset – $61.3 – 2004
8 – Money Talks – $48.4 – 1997

353 Comments »

Selling A Paramount Turnaround

The Variety headline reads, “Paramount films fuel Viacom – (sub-head) Revenues up 21% to $3.9 billion last quarter
How does one take the trade seriously when they don’t offer the real facts, but the spin as a headline?
The real deal from the Paramount/Viacom press release….
Was Paramount the cause of the increase in overall revenues (not net, which is down)? Philippe Dauman leads with something else – “The advantages of our growing multiple revenue streams were evident in the quarter, as we delivered double-digit growth in both our affiliate and ancillary revenues, led by the top-selling Rock Band music
video game.”
Then, he gets into the movies.
And what are the actual numbers of the movie side?
In terms of box office, the studio had about $863 million in domestic gross box office dollars compared to $536m in the same quarter last year

6 Comments »

Matson Is All Thumbs

matsonebert.jpg
The cartoon…

9 Comments »

Hot Button – Circles Of Lies

Oy… this is what I get for watching The View.
The ladies spent 5 minutes discussing how the Western Wall prayer that was taken out of the wall and published in Israel was, according to the paper that published the presumably private document, Ma’ariv, pre-approved for publication by Obama even before the note was stuck in the wall. The claim from an unnamed Ma’ariv editor was legitimized by publication in The Jerusalem Post as part of a story about a potential legal probe and boycott of Ma’ariv for publishing the note.
The Wall Street Journal pushed the story further by publishing a series of web attacks on Obama without bothering to do what they do best… report news.
“Maariv’s response: “Obama’s note was published in Maariv and other international publications following his authorization to make the content of the note public. Obama submitted a copy of the note to media outlets when he left his hotel in Jerusalem. Moreover, since he is not Jewish, there is no violation of privacy as there would be for a Jewish person who places a note in the wall.”
Problem is… the story was a lie.

The rest…

13 Comments »

The Swing Vote Campaign That You Should Have Seen



13 Comments »

BYOEarthquake

If an earthquake hits Hollywood in late July, does anyone actually feel it?

27 Comments »

Hot Button – Batting Around Titanic Numbers

Is it anything less than a dereliction of duty, whether it be Horn’s choice or his editors’ choice, to not even mention the worldwide box office success of Titanic, which really is what makes the box office landmark the equal of what

80 Comments »

El Mummy Tres Sucks And Sucks Hard

Just when you thought it might be safe to go back to a Rob Cohen movie

104 Comments »

P-n-P Blog Factory

I was planning on holding an update on The Pete-n-Pat Blog Show for a while. After all, we

7 Comments »

BYOB – Manic Monday

42 Comments »

Hot Button Review – Tropic Thunder

Tropic Thunder strikes me as the ultimate example of Stars Gone Wild. Let

36 Comments »

W


50 Comments »

Sunday Estimates by Klady

sundayest072708.jpg

33 Comments »

Worth 1000's Renaissance Star Wars Contest

jabba.jpg
Jabba the VIII
Other entries…

5 Comments »

The Hot Blog

Quote Unquotesee all »

Tsangari: With my next film, White Knuckles, it comes with a budget — it’s going to be a huge new world for me. As always when I enter into a new thing, don’t you wonder how it’s going to be and how much of yourself you are going to have to sacrifice? The ballet of all of this. I’m already imaging the choreography — not of the camera, but the choreography of actually bringing it to life. It is as fascinating as the shooting itself. I find the producing as exciting as the directing. The one informs the other. There is this producer-director hat that I constantly wear. I’ve been thinking about these early auteurs, like Howard Hawks and John Ford and Preston Sturges—all of these guys basically were hired by the studio, and I doubt they had final cut, and somehow they had films that now we can say they had their signatures.  There are different ways of being creative within the parameters and limitations of production. The only thing you cannot negotiate is stupidity.
Filmmaker: And unfortunately, there is an abundance of that in the world.
Tsangari: This is the only big risk: stupidity. Everything else is completely worked out in the end.
~ Chevalier‘s Rachel Athina Tsangari

“The middle-range movies that I was doing have largely either stopped being made, or they’ve moved to television, now that television is a go-to medium for directors who can’t get work in theatricals, because there are so few theatricals being made. But also with the new miniseries concept, you can tell a long story in detail without having to cram it all into 90 minutes. You don’t have to cut the characters and take out the secondary people. You can actually put them all on a big canvas. And it is a big canvas, because people have bigger screens now, so there’s no aesthetic difference between the way you shoot a movie and the way you shoot a TV show.

“Which is all for the good. But what’s happened in the interim is that theatrical movies being a spectacle business are now either giant blockbuster movies that run three hours—even superhero movies run three hours, they used to run like 58 minutes!—and the others, which are dysfunctional family independent movies or the slob comedy or the kiddie movie, and those are all low-budget. So the middle ground of movies that were about things, they’re just gone. Or else they’re on HBO. Like the Bryan Cranston LBJ movie, which years ago would’ve been made for theaters.

“You’ve got people like Paul Schrader and Walter Hill who can’t get their movies theatrically distributed because there’s no market for it. So they end up going to VOD, and VOD is a model from which no one makes any money, because most of the time, as soon as they get on the site, they’re pirated. So the whole model of the system right now is completely broken. And whether or not anybody’s going to try to fix, or if it even can be fixed, I don’t know. But it’s certainly not the same business that I got into in the ’70s.”
~ Joe Dante

Z Weekend Report