Okay, before this thread this is what I knew about Tish, zip, zero, nada.
I now know that Tish is a heavily armed, black, bi-sexual, truck driving woman who likes going to the clubs.
I don't think I learned this much about Tom in six months let alone one post. - Boldido
I'm begining to like Tish more and more, that's what I know. - cable guy
"We were forced to build America, and if forced to, we will tear it down." Huey P. Newton
One For The Money is getting TORN APART....I'm guessing Heigl knew that and is why she's basically begging to be back on Greys Anatomy so she can get a steady paycheck again
and I like that book series too.....shame
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It cost 90 million to make and has now grossed $185 million and its still in the fairly early stages of release worldwide having only come out in a some countries two weeks ago.
And depending on how the Oscars go since the film is up for best picture, Fincher is up for best director, and Rooney Mara is up for best actress, it might get a bump over the next month. It could top $225 million which would be a tremendous gross for such a hard R film.
The Girl with the Dragon Tattoo isn't up for Best Picture, and Fincher isn't up for directing.
- The Artist – Thomas Langmann
- The Descendants – Jim Burke, Jim Taylor and Alexander Payne
- Extremely Loud and Incredibly Close – Scott Rudin
- The Help – Brunson Green, Chris Columbus and Michael Barnathan
- Hugo – Graham King and Martin Scorsese
- Midnight in Paris – Letty Aronson and Stephen Tenenbaum
- Moneyball – Michael De Luca, Rachel Horowitz, and Brad Pitt
- The Tree of Life – Dede Gardner, Sarah Green, Grant Hill and Bill Pohlad
- War Horse – Steven Spielberg and Kathleen Kennedy
- Woody Allen – Midnight in Paris
- Michel Hazanavicius – The Artist
- Terrence Malick – The Tree of Life
- Alexander Payne – The Descendants
- Martin Scorsese – Hugo
The Punisher: I’m going to cauterize your rectum, sealing it shut, so when you turn those delicious Pink Pants™ Fruit Pies into waste products the bilirubin in your feces will leach into your bloodstream and you’ll die screaming! And I’ll watch while having sex with this grateful prostitute!
Trussed-Up Hooker: Blueberry are my favorite!
In other words, what StoneGold said.
Check out my travel site, Geekations.com
In any event, a cursory look at James Ellroy's imd entry shows that even if you combined all films based on his novels into one franchise, they would not give much competition to Pirates of the Carribean (a theme park based franchise), Lord of the Rings (from a children's novel the Hobbitt), Star Wars (Flash Gordon serials derived, etc.). Black Dahlia did not come close to L.A. Confidential.
Rampart (written by)
2009 Sunfax Territory (short) (novel)
2008 Street Kings (screenplay / story)
2006 The Black Dahlia (novel)
2003 L.A. Confidential (TV movie) (novel)
2003 L.A. Sheriff's Homicide (TV movie)
2002 Dark Blue (story)
2002 Stay Clean (short) (novel "Killer on the Road")
1998 Brown's Requiem (novel "Brown's Requiem")
1997 L.A. Confidential (novel "L.A. Confidential")
1993 Fallen Angels (TV series)
– Since I Don't Have You (1993) (story)
1988 Cop (novel "Blood on the Moon")
First Blood/Rambo: one source novel, three original stories (intended as a single entry, not a series)
Death Wish: one novel, four sequels (author's sequel ignored)
Shaft appeared in roughly six novels, but only the first two novels adapted them.
--------------Considering how silly and childish the 1970's and 1980's films grew, that they did it more soberly than the Woody Allen version comes as a surprise.
The same production company, so I consider that just a carrying forward of momentum of a previous adaptation. This stands in contrast to the recent Conan film (2011 with Jason Mamoa) which came from a different production company than the 1980's films.
I blame the filmmakers more often than some other people do. People seem to blame the property to protect themselves.
Stephen King film adaptations generally have moderate budgets, as usual for horror films. However, how many of them have grossed $100 million domestically?
I will have to check the box office returns on Grisham adaptations. How long have the TV shows based on his books tended to last?
Puzo adaptations outside of the Godfather have done so-so. Remember the Sicilian with Christopher Lambert? Come to think of it, even the 1990's rerelease of the Godfather did moderate business compared to the 1997 Star Wars rerelease-which tends to support my position, since Star Wars derives from Flash Gordon serials.
Peter Benchley-as in Jaws? The Jaws series presents a legendary example of the degeneration that occurs with sequels to stories that do not leave much room for further stories or varations. Remember Jaws: the Revenge?
How many Elmore Leonard adaptations have grossed $100 million domestically? Also, the Karen Sisquo TV show that spun off of Out of Sight only lasted a few episodes.
Tolkein started his work with the Hobbitt, which received reviews as a children's book.
Incidentally, part of why I composed this thread, why I thought in terms of franchises (emphasis added):
"Now more than ever Hollywood studios need franchises--films that can generate multiple sequels, TV shows and lots and lots of merchandise. Franchises also make the job of marketing movies much easier, because audiences already know the characters and, if the franchise is successful, are emotionally invested in what happens to them."
Whether Gone Baby Gone or Shooter will end up as stillborn franchises remains unclear at this point.
Adult thriller franchises are a poor vehicle for generating large-scale sales of toys, costumes, decorative bed sheets, [etc.]
Bill Mesce wrote this in “Overkill: The Rise and Fall of Thriller. Google Books has a preview online.
Stonegold, an update on
Grisham: The Firm TV show just ended
Elmore Leonard: the domestic gross of Get Shorty came to just 72 million
Out of Sight just grossed domestically 37.3 million dollars on a 48 milion dollar budget
On page 210 of Bill Mesce's book, he listed various adult thrillers. The only one to gross over $100 million? The Road to Perdition.
The Road to Perdition adapted a comic book.*
*By Max Allan Collins, who of course predicted in 1987 that the then upcoming Batman film would turn out an embarrassment if it did not follow the TV show approach of Adam West (by which I mean the Dozier show, not Super Powers: The Galactic Guardians).
Die Hard 1 and 2 are based on novels....4 is based on an article "Farewell To Arms", basically talking about cyber terrorism and cyber security
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[QUOTE=StoneGold;14292524]Fallacy here being that the only sign of success are sequels. Also, that because you can make a list, that makes something true.
Because whole messes of novels from Grisham, Chrichton, Ellroy, Leonard, Tolkein, Clancy, Flemming, QUOTE]
Reminds of this quote from the New York Times.......
Novels Haunted By Actors' Faces
Martin Arnold. New York Times. (Late Edition (East Coast)). New York, N.Y.: May 20, 1999. pg. E.3
Lecter, in all his evilness, has become almost a cult figure, and to his fans the idea of anyone but Mr. Hopkins playing him is unthinkable if not laughable. Such actor-character identification is not uncommon. To many James Bond movie addicts there was only Sean Connery. Nonetheless, all the post-Connery Bond movies succeeded, probably because Bond, unlike Lecter and Renko and Smiley is a cartoon character.
(Of course, the author may have made a mistake. I have similarly seen people refer to Zorro as a "comic book character", when Zorro started in prose.)
I remember Flight of the Intruder was made fun of because it's effects looked like bad models with explosions.
Now we have digitally created effects that look even more fake.
Updating with further information from Mesce's book:
Mesce provided info on Get Shorty, Heat, Devil in a Blue Dress, LA Confidential, Out of Sight, Talented Mr. Ripley, Insomnia, Three Kings, and Road to Perdition. He noted that these films show the problem with adult thriller films. Namely, even modestly budget large studio films have budgets about $40 million (the budgets ranged from $30 to $80 million for these films) but the highest grossing of those films, in terms of domestic box office, came out at $101 million.; five of them had domestic grosses of about $60 to $72 million in range
Mesce notes that most adult thrillers have a domestic box office gross of less than $90 million, which simply does not suffice to cover marketing costs, studio/exhibitor split, and profit participation. He also notes that adult thrillers tend to earn at a slower rate.
As an illustrative example, Mesce noted that Master and Commander had a bigger budget than Pirates of the Carribean, but the latter film did three times the box office of the former, both domestically and in other countries.
Mesce noted that a disappointment such as the 2003 Hulk had wordwide box office figures twice that of Mystic River, while the combined worldwide gross of the combined figures for About Schmidt, Adaptation, The Hours and Punch-Drunk Love amounted to less than that of The Hulk, but the combined budgets of these films came to $100 million.
This post discusses The Girl With the Dragon Tatoo. This author has noted that he hoped that The Lincoln Lawyer would launch a film franchise, but in fact a TV series may follow, but not announced theatrical sequels.
I had considered including Dune, but that film received a PG-13, and traditionally space adventure novels had a reputation as children's literature. John Carter may fall into the same situation.
I posted the story to show that they used to make Austin Powers toys, parents complained, and one does not see Austin Powers merchandise in Wal-Mart, etc. now about ten years after the last Austin Powers film came out. I have to wonder if another Austin Powers film comes out if it will have much of a toyline push. (Incidentally, the Austin Powers films never received R-ratings, but the lewd content caused protests.)
Those R-rated examples you noted mostly came out during the 1980's. The last Rambo film in 2008 did not have much of a toy line push. Also, some of the franchises you named transitioned to the PG-13 rating.
I will also note
One reason I started this thread has to do with Max Allan Collins once observing that he felt it odd that most of the people at DC felt uncomfortable wit his approach.
In Amazing Heroes#119
"[On [presumably] the Christopher Reeve Superman films] The Superman movies have all, as far as Iï¿½m concerned fallen to a degree into the Batman TV show approach-maybe not quite as broadï¿½..And I think they did that because because thereï¿½s no other way you can play it. It just doesnï¿½t work. I mean, look at that costume".
More from Amazing Heroes#119: ï¿½one of the basic problems that Denny had with my Batman approach is that I bring a lot of humor to itï¿½ï¿½And again I donï¿½t see how any intelligent writer can approach a story about people in long underwear and capes without either removing their brain or putting their tongue in their cheek to a degreeï¿½ï¿½.
Collins pointed out that these properties derive from children's literature, and it astounded him that people overlooked this aspect. I would guess that Collins and Mesce would treat stories about elves as children's literature.
I get that itï¿½s supposed to be parodying James Bond movies, but if truth be told, itï¿½s not all that far off from the average crappy Roger Moore Bond outing (sure, thereï¿½s the goofy superhero costume and flying contraption ï¿½ but is that any more tacky than Moonraker?)
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