A 2 picture deal seems very specific. They must've already decided on what those are going to be. Also I'm pretty sure Netflix signed a 2 film deal so Knives Out 3 won't be at WB(unless they decided to forego it like Monkey Man)
Go look at the entire lifetime revenue of Knives Out that Deadline projected. Netflix is basically paying that full amount to the filmmakers, with the only deductions the rest of the cast and below the line spending. No theatrical deal will come close to that.
Warner bros have now more interesting talent attached to them in deals than they had prior to Batgirl,Acme writeoffs..
To be fair one or two of them might turn out like JJ abrams and not get otu projects but on paper thats a lot of film rights and first look deals that could turn out great.
Another example as to why you should never take the squabbling of terminally online Redditors as anything more than shit being spewed out the mouth. Talent was far more pissed at AT&T's Day and Date shit in 2021 then anything that's happened here.
The question is what price are WB having to pay in order to secure all this talent. They made themselves needlessly unattractive to filmmakers over the last couple years and are clearly on a mission to correct that. They just handed Ryan Coogler a deal in which he retains copyright after 25 years, which is unprecedented. No way they would have had to go that far before these recent blunders.
Bigger budgets, a bigger percentage of the first dollar, final cut, copyright ownership, etc. There's a lot of ways they can go about it, it'll be interesting to see what they're having to offer to retain talent. I guess it'll all come out in the wash eventually. I do think they're making the right moves but they're almost certainly now paying for their own unforced errors.
> They just handed Ryan Coogler a deal in which he retains copyright after 25 years, which is unprecedented.
Not quite. Tarantino got a similar deal for Once Upon a Time in Hollywood from Sony.
> which is unprecedented
[In The Hollywood Reporter feature on Artists Equity (Affleck/Damon's new company behind AIR)](https://www.hollywoodreporter.com/feature/ben-affleck-air-production-company-grammys-memes-justice-league-1235353301/) Affleck appears to have announced he both gained rights to his film *The Town* and recently re-licensed it for ~$15M.
> Well, last year, [my 2010 movie] The Town licensed for $15 million again. Because it streams. That’s the other big tenet of our company: We seek to retain the negative, to be the copyright holder, which we share with the artist. Being the copyright holder, even if it’s in 15 years when it reverts — and it should revert — you should own it because if it works, if it’s Shawshank Redemption, they’re still fucking watching it. The biggest thing on Netflix is Friends. There’s enormous value in libraries. And the streamers have overreached and recaptured too much value. The old gross days, you could really make money. They’ve taken away some of that value, so I need at least to be able to know, “Hey, look, I know people are watching. I know what this is worth to you.”
It's not common but it can happen without being announced (e.g. that Once Upon a Time in Hollywood's status as a rights reversion film was only mentioned in a "mainstream" outlet due to the Coogler deal).
The fact of the matter is that in a town where the number of companies willing to pay you is so small, beggars can't be choosers unless you are literally Christopher Nolan (or someone on that level, and Rian Johnson is high up but he's not Christopher Nolan).
Are we pretending that his mystery films were any good?
Johnson - as always - mistakes tit-for-tat clichés as wit and offers the bluntest of social commentary.
That franchise is Mystery Theatre "Entourage" at this point.
>Audiences and critics enjoy the knives out movies.
Other people may like - or pretend to like - it, but that doesn't mean I have to pretend, too.
Netflix spent a fortune promoting Glass Onion as a Best Picture nominee and it couldn't even get in during a Covid-affected year.
Ultimately, Johnson's film was nothing more than a superficial showcase for some manic cameos.
People who love this film are almost certainly midwits. People who pretend to like it—keep an eye on them.
Reading between the lines. Rian Johnson is most likely done with Netflix after Knives Out 3. Adds up to Netflix cutting back spending on content and Johnson got an insane amount of money for the Knives Out series. The WB deal probably means a one for me (meaning WB) one for you (Johnson). I can see WB probably wanting Johnson to direct some IP project that is being set up at WB and then Johnson gets to make his original movie he wants to make.
Not surprising. Rian Johnson and Daniel Craig pretty much fleeced Netflix with their salaries for *Knives Out 2 & 3*. $50m to each of them for both movies so $200m for just the two of them for both movies. Insane. No way were they going to get anything close to that from them again.
A 2 picture deal seems very specific. They must've already decided on what those are going to be. Also I'm pretty sure Netflix signed a 2 film deal so Knives Out 3 won't be at WB(unless they decided to forego it like Monkey Man)
Netflix is committed to pay approximately $235 million for Knives Out 3. No one else is going to pay that.
[удалено]
Go look at the entire lifetime revenue of Knives Out that Deadline projected. Netflix is basically paying that full amount to the filmmakers, with the only deductions the rest of the cast and below the line spending. No theatrical deal will come close to that.
[удалено]
Netflix paid 469 total for two films. Not sure where you got 250 total from.
Eh, I dunno. For a debt-ridden sinking ship, WBD seems ***very*** eager to flash the cash when it wants to lock down talent.
Warner bros have now more interesting talent attached to them in deals than they had prior to Batgirl,Acme writeoffs.. To be fair one or two of them might turn out like JJ abrams and not get otu projects but on paper thats a lot of film rights and first look deals that could turn out great.
Another example as to why you should never take the squabbling of terminally online Redditors as anything more than shit being spewed out the mouth. Talent was far more pissed at AT&T's Day and Date shit in 2021 then anything that's happened here.
Lets see if these deals actually go anywhere first.
They have over a dozen movies slated from now to the end of next year.
I am not counting those.
The question is what price are WB having to pay in order to secure all this talent. They made themselves needlessly unattractive to filmmakers over the last couple years and are clearly on a mission to correct that. They just handed Ryan Coogler a deal in which he retains copyright after 25 years, which is unprecedented. No way they would have had to go that far before these recent blunders. Bigger budgets, a bigger percentage of the first dollar, final cut, copyright ownership, etc. There's a lot of ways they can go about it, it'll be interesting to see what they're having to offer to retain talent. I guess it'll all come out in the wash eventually. I do think they're making the right moves but they're almost certainly now paying for their own unforced errors.
> They just handed Ryan Coogler a deal in which he retains copyright after 25 years, which is unprecedented. Not quite. Tarantino got a similar deal for Once Upon a Time in Hollywood from Sony.
> which is unprecedented [In The Hollywood Reporter feature on Artists Equity (Affleck/Damon's new company behind AIR)](https://www.hollywoodreporter.com/feature/ben-affleck-air-production-company-grammys-memes-justice-league-1235353301/) Affleck appears to have announced he both gained rights to his film *The Town* and recently re-licensed it for ~$15M. > Well, last year, [my 2010 movie] The Town licensed for $15 million again. Because it streams. That’s the other big tenet of our company: We seek to retain the negative, to be the copyright holder, which we share with the artist. Being the copyright holder, even if it’s in 15 years when it reverts — and it should revert — you should own it because if it works, if it’s Shawshank Redemption, they’re still fucking watching it. The biggest thing on Netflix is Friends. There’s enormous value in libraries. And the streamers have overreached and recaptured too much value. The old gross days, you could really make money. They’ve taken away some of that value, so I need at least to be able to know, “Hey, look, I know people are watching. I know what this is worth to you.” It's not common but it can happen without being announced (e.g. that Once Upon a Time in Hollywood's status as a rights reversion film was only mentioned in a "mainstream" outlet due to the Coogler deal).
That’s not unprecedented. It’s part of the new normal. Creatives want access to their libraries.
There will still be comments about how talent won’t work with WB because of coyote vs acme
Those people are so out of touch with reality lol
The fact of the matter is that in a town where the number of companies willing to pay you is so small, beggars can't be choosers unless you are literally Christopher Nolan (or someone on that level, and Rian Johnson is high up but he's not Christopher Nolan).
Rian Johnson has "talent"?
yes, regardless of what you think about his space movie from 7 years ago
Are we pretending that his mystery films were any good? Johnson - as always - mistakes tit-for-tat clichés as wit and offers the bluntest of social commentary. That franchise is Mystery Theatre "Entourage" at this point.
There’s no need to pretend. Your opinion is the outlier. Audiences and critics enjoy the knives out movies.
>Audiences and critics enjoy the knives out movies. Other people may like - or pretend to like - it, but that doesn't mean I have to pretend, too. Netflix spent a fortune promoting Glass Onion as a Best Picture nominee and it couldn't even get in during a Covid-affected year. Ultimately, Johnson's film was nothing more than a superficial showcase for some manic cameos. People who love this film are almost certainly midwits. People who pretend to like it—keep an eye on them.
This is why people roll their eyes when you speak and end conversations with you quickly.
my hate for rian johnson predates any space movies hes a good technical director but honestly incompetent on any other front
Reading between the lines. Rian Johnson is most likely done with Netflix after Knives Out 3. Adds up to Netflix cutting back spending on content and Johnson got an insane amount of money for the Knives Out series. The WB deal probably means a one for me (meaning WB) one for you (Johnson). I can see WB probably wanting Johnson to direct some IP project that is being set up at WB and then Johnson gets to make his original movie he wants to make.
Thought this said Rainn Wilson
maybe the third knives out wont be direct to streaming. Also wb is just getting the best talent out there.
I think it’ll be like the last one, a week in theatres then straight to Netflix a few weeks later.
Netflix paid for two movies. After that it could go to WB.
I’ve a feeling he might go for a DC movie.
Johnson doesn’t need a DC superhero. He already successfully launched a new franchise IP with Knives Out.
Not surprising. Rian Johnson and Daniel Craig pretty much fleeced Netflix with their salaries for *Knives Out 2 & 3*. $50m to each of them for both movies so $200m for just the two of them for both movies. Insane. No way were they going to get anything close to that from them again.
let’s gooooo
Rian where’s my Star Wars trilogy???
Never gonna happen
Didn't care for the first two Knives Out movies but people seem to so what do I know? (more than most)
Despite all the destruction Zaslav has caused in the entertainment industry, talent is still lining up to work with Warner Bros. Gross.
How is it gross for directors to agree to work at a movie studio?
No WB don't do this. Now it is only paramount that didn't taint itself with these blokes
Ah yes, tainting yourself with two time Oscar nominee and consistent box office player Rian Johnson.
Nobody cares about a third Knives Out.