THB #93: The Batman (no spoilers)
| March 6, 2022
“We talked about that in January. It’s our belief — that I think is not unfounded — that actors’ speeches tend to be more dramatic than producers’ speeches. And so we thought it might be fun to mix it up, especially if people didn’t know that was coming. So that was always part of the plan. And then when the nominations came out and there was even the possibility that Chadwick could win posthumously, our feeling was if he were to win and his widow were to speak on his behalf, there would be nowhere to go after that. So we stuck with it. I said if there was even the sliver of a chance that he would win and that his widow would speak, then we were operating under the fact that was the end of the show. So it wasn’t like we assumed it would, but if there was even a possibility that it would happen, then you have to account for that. That would have been such a shattering moment, that to come back after that would have been just impossible.”
Soderbergh On Searching For An Ending
-30-
May 1, 2022
"Netflix, the great disrupter whose algorithms and direct-to-consumer platform have forced powerful media incumbents to rethink their economic models, now seems to need a big strategy change itself. It got me thinking about the simple idea that my film and TV production company Blumhouse is built on: If you give artists a lot of creative freedom and a little money upfront but a big stake in the movie’s or TV show’s commercial success, more often than not the result will be both commercial (the filmmakers are incentivized to make films that will resonate with audiences) and artistically interesting (creative freedom!). This approach has yielded movies as varied as Get Out (made for $4.5 million, with worldwide box office receipts of more than $250 million), Whiplash (made for $3.3 million, winner of three Academy Awards), The Invisible Man (made for $7 million, earned more than $140 million) and Paranormal Activity (made for $15,000, grossed more than $190 million).From the beginning, the most important strategy I used to persuade artists to work with me was to make radically transparent deals: We usually paid the artists (“participants” in Hollywood lingo) the absolute minimum allowable by union contracts upfront, with the promise of healthy bonuses based on actual box office results—instead of the opaque 'percentage points' that artists are usually offered. Anyone can see box office results immediately, so creators don’t quarrel with the payouts. In fact, when it comes time for an artist to collect a bonus based on box office receipts, I email a video clip of myself dropping the check off at FedEx to the recipient."
Jason Blum Sees Room For "Scrappier" Netflix
| April 30, 2022
"As a critic Gavin was entertaining, wry, questioning, sensitive, perceptive"
Critic-Filmmaker Gavin Millar Was 84; Films Include Cream In My Coffee, Dreamchild
April 29, 2022
| January 24, 2022
DP/30 Audio: Bombshell, Jay Roach
| December 13, 2019
DP/30 Audio: The Last Black Man in San Francisco, Jonathan Majors
| December 4, 2019
DP/30 Audio: The Mustang, Laure de Clermont-Tonnerre
| December 4, 2019
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