• Precursors: Mars Attacks! (1996)

    When E.T.s don't come in peace.

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  • Steve Spielberg's Recession-Era "Lincoln" Biopic: Brother, Can You Spare $50 Million?

    If you think this economy is causing problems for you, shed a tear for Steven Spielberg. As Kim Masters reports, DreamWorks, the film company that Spielberg co-founded in the '90s with Jeffrey Katzenberg and David Geffen, "sold itself to Paramount in 2006 for about $1.6 billion, but the relationship with Paramount chief Brad Grey quickly soured. When contracts allowed it, DreamWorks partner David Geffen stepped out and stepped down. Spielberg and CEO Stacey Snider also left, planning to raise their own money and distribute their films through Universal. That's the studio that Spielberg has always considered his home. (He kept his offices there even after his company sold itself to Paramount.)" At the time, nobody thought that Spielberg would either be begging for pennies or sweating to close a movie deal anytime soon. But then the bottom fell out of the economy, and DreamWorks started ceding to Paramount its right to participate in the production of some hotly anticipated projects that it had developed, treating them as so many sandbags that needed to be tossed over the side. Of course, Spielberg has never lacked for a full plate, but at the moment he's been focused on Lincoln, the planned biopic starring Liam Neeson and written by Tony Kushner. Part of the idea behind the movie was to have it ready for release this year, as part of the celebration of Abe's 200th birthday, and Spielberg was hoping to begin shooting in a few weeks. But he was also hoping that he'd be able to raise the money. When he and DreamWorks found that tough sledding, they asked Universal, which was expected to ultimately distribute Lincoln, to chip in with financing. When Universal proved cool to that, DreamWorks entered into tentative, secret talks with Disney, talks that became a lot less tentative when it turned out that they weren't all that secret. When Universal, which thought it had an exclusive offer from DreamWorks, found out about the Disney negotiations, the studio pitched a fit and, in what Masters calls "an embarrassment that stunned Hollywood", told the aging golden boy and his company to go screw, "pushing DreamWorks into a hasty distribution deal with Disney—a deal less favorable, in certain respects, than the one that had been contemplated at Universal."

    Lincoln is now in limbo, along with a few other DreamWorks projects (including Peter Jackson's The Lovely Bones) that the studio doesn't want to relinquish its rights to but can't afford to fund or buy outright. Spielberg is hoping that Paramount will foot the bill on Lincoln--Masters notes that the decision will be made by "Brad Grey—the man the DreamWorks team treated for a long time as a mortal enemy."

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  • Dreamworks SK...?

    The studio system is long dead, but for over 30 years, David Geffen has been proving that the old-time movie mogul is still a going concern.  One of the richest men in Hollywood history, Geffen is a true multimedia tycoon who's made money in film and music hand over fist and whose personal worth is estimated at close to $6 billion.  Indisputably one of the biggest power players in the industry, he's had a huge impact on almost every studio you can name:  Universal, Paramount, Disney, and the DreamWorks studio he founded with Steven Spielberg and Jeffrey Katzenberg.  But, having hit 65 -- the age at which most people look forward to a respectable retirement -- is Geffen ready to walk away from it all?

    Just weeks after engineering a break from Paramount -- which had recently purchased DreamWorks for over a billion and a half dollars -- Geffen continued to wheel and deal like a mogul of old.  He formed a new company with Spielberg and Stacey Snider, backed by money from one of the biggest players in the emergent Bollywood system, and then -- shockingly -- seemed to indicate that he was backing off from production, and perhaps leaving the entertainment industry altogether.  According to an article in the New York Times, even Spielberg is stunned at the possibility:  "I cannot imagine not having David in my professional life.  If that's true, I'm going to have to figure out what to do about it." 

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  • Trailer Review: The Princess and the Frog

    How can you keep Disney sincere after they’ve seen Shrek?

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  • Grey Takes Paramount From Red To Black

     

    Brad Grey is a TV guy.  (You know him, if for no other reason, because he is one of the men behind The Sopranos.)  TV guys are not supposed to know anything about movies. 

    And yet, Brad Grey is running one of the oldest and most respected movie studios in America -- Paramount Pictures, an outfit which, according to one of Grey's collegues, is "on our way to making money", quite an accomplishment in today's Hollywood -- and this weekend will see the release of Cloverfield, a huge gamble that Grey greenlighted at significant personal risk (and which is the product of J.J. Abrams, another TV guy).  

    In an interesting interview with the New York Times, Grey discusses his trial by fire as the head of Paramount, the management shuffles that accompanied his rise to the top, and his conception of Abrams as the Spielberg to his Lew Wasserman.  It's fascinating not only because of what Grey has to say -- a typical producer's mix of cautiousness and braggadocio, but without the guarded defensiveness that usually comes with habitiual ass-covering -- but because of the insight it has into the business of running a studio at a time when business is shakier than ever and very little gets produced at the top end without a guarantee of making money.  It's in light of situations like this that whether or not Cloverfield succeeds will mean a lot more than the failure of a single movie.

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