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So just days after dumping a pic with his one-time producing partner Steven Soderbergh, Sony Pictures Entertainment's Amy Pascal has done a deal with George Clooney and his other producing partner Grant Heslov. My question is: why? Pascal swore off making movies just for the masturbatory sake of winning Oscar nominations after Sony went through hell on All The King's Men and came up empty. "You need to look no further than Sony's track record with A-list talent like Adam Sandler and Will Smith to answer your question of why," a Sony exec tells me. 
"Amy, Michael, Matt and Doug will work closely with George and Grant to develop the kind of material we all believe makes sense for Sony and its multilabel distribution strategy. Sony has Columbia, Screen Gems and Classics allowing for different kinds of films for different audiences." Oh, puh-leeze. Clooney can't open a film as an actor unless he's in an ensemble. And as a writer and director and producer, he's not a moneymaker. (Looking at his films in development, I predict there's not a $20 million opening weekend among them at a time when the average marketing cost of studio fare is $30M-$50M.) Believe me, if he were generating decent grosses, Warner Bros would have wanted to hang onto him. So Warner's gain is Sony's loss.
CULVER CITY, Calif., June 30, 2009 – George Clooney and Grant Heslov’s Smokehouse Pictures are in final negotiations to sign an exclusive two-year theatrical development and production deal with Sony Pictures Entertainment, it was announced today by Amy Pascal, Co-Chairman of Sony Picture Entertainment and Chairman of the studio’s Motion Picture Group.
Commenting on the announcement, Clooney said, "Warner Bros. has been a great place to work and I've felt like part of a family for almost 20 years. So in moving on, I'm leaving a terrific company and a lot of dear friends. They're a class act. In looking ahead, I'm tremendously excited to be working at Sony Pictures, and we all feel like it's a perfect match for Smokehouse. Grant Heslov and I hope to deliver the kind of films that will make them proud."
“We admire and respect George and Grant as filmmakers and producers and we couldn’t be more excited to be in business with them and their talented team at Smokehouse Pictures,” said Pascal. “The broad range of quality projects they have championed and the compelling and sometimes provocative material they support says everything about their company and their creative aspirations. While we have been trimming production deals overall for the last few years, we see real value in opening our doors to producers with their critical and commercial track record and their artistic point of view, and we know they will be a fantastic addition to the Sony Pictures family.”
"My nine year relationship with Warner Bros. was extremely gratifying and now, George and I look forward to Smokehouse being a part of the Sony family,” Heslov said.
The Smokehouse Pictures team includes Senior Vice President of Development Nina Wolarsky, and creative executive Alex Meenehan. The company is currently in development on the following projects with Warner Bros:
THE CHALLENGE
Screenplay by Aaron Sorkin. An adaptation of Jonathan Mahler’s nonfiction book chronicling the historic Supreme Court case in which two lawyers sued the Bush administration on behalf of accused terrorist Salim Hamdan.
OUR BRAND IS CRISIS
A satirical comedy about American spin doctors competing in the same Presidential election in Bolivia. Based on the documentary by Rachel Boynton, with a script by Peter Straughan (MEN WHO STARE AT GOATS).
FARRAGUT NORTH
An adaptation of Beau Willimon’s critically acclaimed play, set during the Iowa primary of a presidential race.
ESCAPE FROM TEHRAN
The true story of how the CIA used a fake movie project to smuggle hostages out of 1979 Tehran. Chris Terrio is writing the screenplay.
THE TOURIST
A contemporary spy thriller about a spy who risks everything to reveal a conspiracy after he's accused of a murder he didn't commit. Based on the bestselling book by Olen Steinhauer. Tony Peckham is writing the screenplay.
THE INNOCENT MAN
Based on the bestselling nonfiction book by John Grisham, the true story of murder and injustice in a small town in Oklahoma. Adapted by David Gordon Green.
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I almost fell asleep reading these script concepts. No wonder Warners let George. In a personal level, George is warm, sweet guy. I just wish he’d decide to make films that more than three people would want to watch.
you have got to be kidding me?
THE CHALLENGE
Screenplay by Aaron Sorkin. An adaptation of Jonathan Mahler’s nonfiction book chronicling the historic Supreme Court case in which two lawyers sued the Bush administration on behalf of accused terrorist Salim Hamdan.
When will you left wing America haters learn? Is there no positive movie you can make about how this country has engaged with the troglodytes for the last 8 years. The troglodytes that would like to do nothing less than stone every gay person and put women back to slave status. I’m sure America is in the wrong though. We need a new John Wayne and Jimmy Stewart. Clooney makes me ashamed to be an American.
Are you serious? One Clooney hit pays for years of SmokeHouse’s development. Do the math.
Besides, Nikki, you shouldn’t be the only one making the big bucks…
I will tell you why
any films that clooney is in will eventually make billions, yes that is right billions, he is a classic icon
end of story
They look like great films that the ever dumbed-down American public won’t comprehend.
Maybe if he just produced and starred in comedies about reprehensible, permanently adolescent guys who fart, swear and act homophobic in their quest for nubile anorexic girls he’d make the studio piles of money.
Actually, a couple sound like they may have mild box-office potential (the Grisham adaptation, THE TOURIST, and ESCAPE FROM TEHRAN). All of them sound like they could be good little films, the kind the studios used to have as their bread and butter- back before grown-ups stopped going to the movies, and everything became infantalised. (Heck, there’s even a comic-book connection- one of the figures in the real life events ESCAPE FROM TEHRAN are based on was legendary cartoonist Jack Kirby, who basically created Marvel Comics!)
yeah, but he does tend to make and try to make good movies, if that’s worth anything to anyone. For getting so mad at something like Transformers, you think you would like this, or do you care more about a studio’s bottom line than they do? I don’t get why you point your evil eye at this, or do you just not like him?
Boy am I out of sync. Every one of these loglines describes a movie I would pay to see. Alas, not a tentpole in the bunch (sigh).
“BREAKING: CLOONEY TO LOSE MONEY FOR SONY, RATHER THAN WARNER BROS.”
I appreciate his intellect, it’s important to look smart on “Charlie Rose.” But when will Clooney make a movie that emotionally connects with an audience?
Nikki, you can’t have it both ways. Clooney makes good movies. Even if they don’t ignite the boxoffice, they’re most often thoughtful and well made. And isn’t it this boffo-BO-based bullshit why movies suck so bad nowadays? I can’t speculate on Amy Pascal’s motives, but I’m happy he’s got a home and I hope to see some of his slate hit the theaters in the near future. Anything’s better than the rehashed generic horror and action-figure based dog squeeze glutting the theaters now.
Guess the Warner dudes lost their man crush on Clooney.
Pascal usually seems so shrewd, but this Clooney deal does seem peculiar.
Looks like they’re angling for the international audience.
All the projects have the same flavor, i.e. political, intrigue, etc. Not likely any of them will be a female lead. It’ll probably be the same old suspects – Pitt, Damon, Hanks. Zzzzzzzz…..
Wasn’t the “CIA makes a movie to help hostages” story already made into a movie?? Or has this project been in development hell so long it just feels like it was already made…
And The Tourist sounds a lot like Clooney’s portion of Syriana.
What a boys’ club. I guess Smokehouse doesn’t think women can write.
Leatherheads. Need I say more?
I’ve come up with some more accurate log-lines for the films, based on Clooney’s box office performance…
THE CHALLENGE
The real challenge is to get anyone willing to pay to see this film. But there will be a lot of people having intricate conversations as they walk up and down hallways.
OUR BRAND IS CRISIS
But our product is failure.
FARRAGUT NORTH
But the box office is heading south.
ESCAPE FROM TEHRAN
And audiences will be escaping from the theatres. But the mystery will be if they’ll include the Canadian Embassy who made the operation possible.
THE TOURIST
If you liked The Bourne movies, you’ll love this, because it’s pretty much the exact same thing.
THE INNOCENT MAN
This film will be found guilty.
Wow, is Sony allergic to money? Those projects look like the next bombs in the adult thriller genre that is in the process of meltdown. All topped by Clooney, a magazine star who doesn’t move tickets.
Amy smartly figures out Moneyball isn’t commercial enough, but then turns around and thinks Clooney will be??
I don’t know what to say about George Clooney. I’ve never met him. He’s a good actor. He is drawn to smart, interesting material. Some work. Some don’t. How that fits into a system that is expecting him to have the hits outweigh the misses, is clearly reflected in this move.
Not knowing Clooney, I wonder if, on some level it’s all gravy, as in, “I’m a multi-millionaire – fuck it.”
Kathrine Hepburn was considered box-office poison. Some of the biggest stars had periods when they could not get a top-level film gig (Sinatra, many others).
I was disappointed Clooney came out for this contract, that’s for sure. You’d think a guy like him who likes to PLAY complicated heroes would have a moral compass a bit more developed, but, like Tom Hanks, there was some convoluted “things are changing, this contract provides the chance to get back to work” explanation that skirted the issues of new media, and there’s no doubt in my mind, the high profile actors were the cherry on top for the “yes” vote.They brought that turd SPRINTING across the finish line, with 78% approval.
NOW, I’m told, content will be pushed to new media as quickly as the AMPTP can pull it off, and those terms will apply. I’m told, the AMPTP, in 2011 will consider those terms a “starting point” for negotiation, not, as the “yes” people are certain, “back to square one.”
It appears the networks and studios are all over the map as to monetizing the internet – no consensus.
And, the Supreme Court today turned down a request to review an appellate court decision giving Cablevision (4 million customers) the right to provide their OWN DVR service, meaning, with your remote, you can ask Cablevision, from IT’S own HUGE 24/7/365 recording servers, to RE-play that episode of “30 Rock” you MISSED the night before. Right now, DVR’s can only be programmed forward – PAST content is not available.
The appellate decision said Cablevision was within its rights to do this, and the Supreme Court today said they wouldn’t take the case.
Now, what that potentially means is: Cablevision, in sending an individual programming request, can fill the 1/2 hour, or hour, or whatever, with IT’S own sold advertising, and NOT pay ONE DIME back to the studios or networks.
Of course, one assumes networks and studios will simply withhold content from Cablevision, unless Cablevision cuts them in in a significant way on the resulting profit stream to Cablevision.
Or not.
As to the individual middle-class SAG actor? Residuals? Even over at Sagwatch, THE pro-”yes” site, their hardest hardcore regulars are being brought up short, and saying things like
“I’ve said this before,(bullshit) but perhaps we need to re-define residuals in a way we’ve never thought of – outside the box. Residuals were forward thinking in the 50’s, now they don’t work for the new business models and profit streams that are developing” says one Dr. Giggles today – one of THE pro-”yes” voices on Sagwatch.
Well, how about a gross percentage of WHOEVER MAKES THE MONEY? (distributor, producer – whoever). THAT’S “outside the box” and was continually dismissed by the “yes” leaders, when suggested by people like me MONTHS AND MONTHS ago, along with others. NOT WORTH FIGHTING FOR THEN DR. GIGGLES, WAS IT? NOW? You are SHIT out of luck, you fucking moron.
And now? Already, of course, we’re seeing the content providers going to war with the content deliverers (Cablevision, etc.)with round one, apparently going to the deliverers, minus Congressional intervention.
The Supreme Court just said to Cablevision: “go ahead, make content available that, after its FIRST viewing, movies, TV, will be of NO FURTHER PROFIT to the studios and networks.”
That’s the reality that can be extrapolated from the appelate decision.
My own core belief, from day fucking one, was, actors needed to man up and go to war to establish a NEW PARADIGM: one which said “all this ‘work for nothing to get it done,’ and ’scale plus ten,’ and ‘no more quotes,’ and ‘hey, we’re gonna take your residuals away’ BULLSHIT?”
Needed to be forcefully countered by a union – SAG – that said in no uncertain terms: “look, everything is changing, how fast, how much, when – all those questions and more? We can’t answer – and neither can you. But we will go to war for this: the ACTOR will no longer be considered a smaller, “workable part of the budget” as in “we worked for nothing or next to nothing,” or, “it’s ALL on the screen” or “we couldn’t get this made if the stars didn’t work for scale – hell EVERYBODY- all the actors did.”
I truly believe, if screen and TV and now, new media acting is going to survive as a viable profession, we need to redefine our place in the equation – and that place needs to be one of PARTNERSHIP, as in WE GET PAID. SMALL FILM? You can’t PAY a decent wage, P&H, and residuals? SORRY – no SAG actors. Internet project? You can’t do the same? Sorry, no SAG actors. Movies, TV? The ACTORS are right up there at the TOP of your priorities, in terms of your budgeting.
The NEW “NEW” had better become “ACTORS GET PAID, get P&H AND GET RESIDUALS.” Period. No exceptions.
The projects that can’t hack that formula? Sorry. Next!
Do we want to value ourselves so that, we, such an INTEGRAL part of the process are NEVER de-prioritized in terms of budget, salary, P&H, residuals – OR – do we want to let SAG die on the vine, as it is currently doing?
Watch and see and mark my words. He was NOT my favorite politician, I was too young to be fully aware of him, and he stood for some God-awful crap in his day, but he’s starting to be looked at in a whole new light by historians – even liberal ones – and, in the words of Barry Goldwater:
“Extremism in the defense of liberty is no vice. Moderation in the pursuit of justice is no virtue.”
SAG? You better get your shit together.
Nevertheless, The Smokehouse remains across the street from Warners.
Geez, Matt, did your meds wear off? Seriously, you got your ass kicked. Learn how to lose with grace. The vast majority of your guild felt that the New Media numbers weren’t worth going to war over now, during a horrible recession, and that they’d rather wait a few years when they could point to real numbers. Not that complicated, babe.
Seriously, ditch the bitterness. Time to move on.
How this stiff ever gets movies made is laugh. He’s a creative dud, but boy can he play the politics of Hollywood. What a hack.
You hit the nail on the head. Clooney as an A-list superstar is Hollywood’s biggest fraud. He can’t open a picture (drama, rom/com, or action), and his politics have completely clouded his artistic judgement. If he had any integrity, he’d quit acting and just produce and direct vanity pics (though he’s not really good behind the camera, either). But he likes being on the cover of GQ and Italian villas, so he keeps forcing over-priced pseudo-art on an uninterested public. Hopefully, this indicates the studios are FINALLY wising up to his failure. Not only does this emperor have no clothes, but they’re the most expensive non-existent threads in the history of the biz.
Clooney’s concepts really suck, I was bored reading them. This is so disappointing…
Why is a bad thing to try to make GOOD, INTERESTING, SMART films? That is what George Clooney is trying to do. Who cares if they don’t make $100 million at the box office? That’s what the tent-poles are for.
It’s almost impossible to get smart movies greenlit in this town nowadays. And the ones that do get made are unsupported, unmarketed, then slapped into 4 theaters for a week (gee, I wonder why they don’t make money?).
Thank God someone with power like Clooney is still trying to make good films. I wish there were more like him out there.
Here’s a Mad Libs Clooney Project:
Based on the acclaimed (novel/NYT article/documentary/life rights) about a (spy/hostage/terrorist/campaign manager) who was (prosecuted/persecuted/found out) during the (Iraq War/Iranian Revolution/Boar War), the film has a screenplay by (writer who was hot ten years ago and now has an expensive divorce to pay for) and will be directed by (Clooney/Heslov/Potsie) and executive produced by Jerry Weintraub.
I’ll take Will Smith’s stuff over this dull crap any day.
I like George Clooney. His films may not be hits…..after all, they are directed at adults, and I’m an adult. Even his misses (except for Leatherheads) are more interesting than the crap playing now. Unfortunately, the bottom line has become the holy grail. In the old studio days, they made movies they knew wouldn’t make money, but they wanted to make them because they felt they were important and had something to say. I miss that.
I’ll take Clooney over Transformers every time!
George isn’t a star no matter how much his publicist babbles otherwise. Just another shining example of Hollywood trying to ram someone down the audience’s throats. George can’t act and he doesn’t even look good anymore thank to his out of control boozing and whoring. Thanks Nikki for posting the projects that he has in development. Further proof that the guy is out of touch. They all sound about as appealing as a colonoscopy.
dear enough is enough,
Jimmy Stewart had just won an Academy Award but gave it all up and forced his way into hugely dangerous combat missions over Nazi Germany. When that guy talked about going to war (which was rare) he really had put his life and career where his mouth is and earned total respect.
John Wayne on the other hand, what a classic “do as I say not what I do” Republican in the Bush mold. He was a war-mongering asshole who didn’t join up to fight the true axis of evil because he was worried about losing momentum in his acting career. Never use John Wayne as an example of a model American – he was a coward and a hypocrite.
As a liberal I happily say that this country needs more Republicans like Jimmy Stewart – and less like you; the the John Wayne type who think that any, like Clooney, who happen to not blindly follow Bush, are America “haters”.
Hey, I like George Clooney. Some of his movies have been quite compelling and very, very good.
But… he cannot carry it on his own. He makes an ensemble cast work well, and he workes well in an ensemble cast. There is NO shame in that. In fact, it is QUITE refreshing!
His message films I enjoy, but they will never make a LOT of money to justify a studio putting out $30 – $50 million. But if he can make a film for under $20 million, he will be very bankable with Sony.
We’ll just have to see what happens.
Good luck George!
Gee, when I read the press release, it’s pretty clear to me those projects are still in development “WITH WARNER BROS.” They are not part of Clooney’s deal with Sony.
whatever, haters – although mr big is being overly optimistic about ‘billions’ i kind of agree – this dude’s movies will run and run – watch ‘michael clayton’ again – that shit will become a cast iron classic in a few years, and clooney is the key. it’s easy to hate but the guy should have gotten an oscar for that performace – awesome. seriously. i’d rather watch him that any of the current crop of ‘leading men’ – because the guy is just that, a man rather than a kid – hell, i liked star trek but jesus, that ship was like a kindergarten version of the real thing.
Woody Allen can’t open a picture either, but most of his films have something to say, and make good use of time and characters. About the same can be said for Clooney. He’s solid, and his films usually have something worth remembering. Not everyone is a hit, but then most big hits are shallow and mindless.
How this stiff ever gets movies made is laugh. He’s a creative dud, but boy can he play the politics of Hollywood. What a hack.
—————————————–
Totally agree. The only movies of his that have made any money or been entertaining have been the Oceans movies. And we all know that wasn’t because of him. Clooney is just an older more sophisticated Ben Affleck. But they’re still the same pompous, blowhard who thinks they’re the smartest ones in the room. All Clooney production company does is make vanity projects for Clooney. Right there is the problem. The Good German anyone? Leatherheads? Rumor Has It? Confessions of A Dangerous Mind? Nuff said. He did next to none pr/press for Burn After Reading which was smart. You can only take Clooney is small, very small dosages.
Dixon Steele
Seriously man, READ the post. I have ZERO bitterness. What’s done is done. What’s interesting to me is WHAT’S HAPPENING NOW. Did you READ THE POST? Do you literally understand what it says and what it means? It’s not about “winning” – it’s about the changes that are taking place and HOW the actor is being factored into them. Again, same old shit: SUBSTANCE? – doesn’t matter – “you LOST, you LOSER, stop bitching.” Ha – ha!”
READ the post. READ the general consensus from LAWYERS on the “sunset clause.” You can look at “numbers” till the fucking moon turns green dipshit, if there’s no force of law in the sunset clause (there’s not – PLEASE understand that before you dismiss it)then the suits will use it in ANY WAY THAT SUITS THEIR PURPOSE. Do you understand that? Seriously, answer that question: do you understand the sunset clause MEANS nothing because it FORCES the AMPTP BY LAW to DO NOTHING?
So, are you saying you’ll strike in 2011, if the “numbers” look bad?
Guess what? the “numbers” are gonna “look” TERRIBLE.
I got news for you you useless sack of shit – you won’t strike – EVER. And you KNOW it! Just admit it!
This is JUST the beginning melon-head. The news is gonna go straight into the shitter from here for the SAG actor – you watch. And YOU can say, “with pride” – “I voted for that!”
Jesus Christ…
Example number 4,578 for Dixon Steele 9and others). Can’t wait for those “numbers” folks
————————————
Darren Burrows:
Tue Jun 30, 2009 7:00 pm
AT&T finished running their new fiber-optic lines through my neighborhood about four months ago so I switched over to their U-verse from TW cable. The way the AT&T tech explained it to me this is how my house is set up. With my single settop box I can DVR anything from my TV or any computer or laptop anywhere and watch playback on any set in the house. With the exception of actual “live” TV I can also fast forward, pause and replay through any show that I’m am watching. When I asked the AT&T tech how that was possible he expained to me that I’m really not “DVR’ing” anything. AT&T has all of the programing made available to them by the various stations, channels, distributors, what have you, pre-air date/time. They download it all to their remote server and play it back for me. The tech also said when I DVR something I’m really not recording anything. I’m just reserving a playback of programing of a certain time period. Basically, it’s all already coming to me over my high speed Internet line, so … If CBS is already coming to my TV set via the Internet, is it even broadcast television anymore? And how long before they call it what it is “Internet Content” and start paying even those residuals as such?… How long before we are negotiating our top of the show/weekly/daily rates on an individual basis because the SAG Television contracts are obsolete?…
@Independent Observer
Absolutely brilliant. Nothing about Clooney’s work is “smart” or “grown-up”; its staid, boring, repetitive and self-gratifying. Its not art, its an oversized ego let loose. Sure his work is directed at “adults” – old, pseudo-intellectual Miltons who think they’re smart because they got in the Camary and went down to the local exurb cineplex to take in the latest Clooney pic. (Cue old men googling “Miltons”)
And Christ is he a lousy actor. He employs the same tick-and-smirk delivery style in every single part he plays (except for “O Brother”, where he tried to break with his schtick to laughable results).
Some very valid points here including Mulhern’s, so Dixon quit your whining.
Clooney has been forced to think ahead of the game, however, it was not in the best interest of his fellow actors, specifically with regards to the SAG vote. His move to Sony is shocking to me, too. One has to wonder if WB kindly “let him go” or if he decided to make the switch on account of the trends in technology, in which Sony is ahead of the game. We all knew these changes were coming. The studios just forced it into effect quicker than we imagined, but then, what was SAG doing two years ago when the studios publicly announced that they were ending the residuals structure? And why didn’t SAG sit down early at the negotiating table when people like Clooney urged them to? You see, this is a multi-faceted problem in which every person is pretty much scrambling to take care of only themselves. And those who are more unified in taking care of one another are slowly finding out it’s all in vain. I am a SAG actress with 10 years under my belt, and though not vested yet, without unification from my union, it wouldn’t have mattered anyways. If we have turn-coat members of all walks who don’t think my future is worth having, why should I put more credibility into my union? George may have endorsed this vote, but thousands of assholes signed it into effect. All my vested friends will have nothing to collect in the next 10, 15, and 20 years. It’s gone. And I think people like George saw it coming long ago, especially after AFTRA’s near-bankruptcy from the 2000 stock market. I am not at all justifying his push for a “yes” vote on that shit sandwich of a contract, but then, people like him and Hanks know exactly what’s going on and they decided to line their own pockets before the piggy bank plunked out it’s last quarter.
I am inclined to think that his move to Sony was to get a bigger piece of the pie in terms of technology, especially if Warner’s isn’t fairing so well financially. If I remember correctly, they let go of a lot of employees this year. If it seems the studio is starting to crumble, why stay?? Only time will tell if it was a smart move or a very foolish one. He has unfortunately made some doozies of decisions in the last year or two … the skank he pretended was his “girlfriend”, going financial core at WGA over a writing credit on “Leatherheads”, his endorsement over the SAG contract. But he still has FAN value and they’re not abandoning him. His movie choices are solid and smart – they’re just not big box office draws. But the box office may soon be a thing of the past anyways. I think that Sony is definitely more international, and George, whether or not he’s a box office draw, definitely makes more of a killing (especially internationally) from DVD sales and rentals …. so he’s not awash as some of you seem to think. My fear of it all is akin to what’s happening with Michael Jackson’s money. Sony has some major puppet strings attached to their stars and their fortunes. Granted, Jackson was in the music industry, but the larger the giant the larger it’s teeth. I happen to think Warner’s was a little more family-like. I shudder to think what would happen to George and his career if Sony just decided they were done with him. But again, this use ‘em and lose ‘em mentality amongst the studios is ever-growing and I think it’s every man for himself now.
So Matt, while I agree with you whole-heartedly, did any of us stand a chance given the AFTRA wolves in sheeps’ clothing and did our union not need a major overhaul anyways, given the amount of numbskulled members in it that don’t even open up their envelopes to vote??
This is definitely the time to start becoming your own producer on things and looking out for yourselves. Because, sadly, no one else is ultimately looking out for you and I am beginning to doubt that SAG was ever looking out for me. Not with some much divisiveness, it wasn’t. It’s the stars, naturally, who are reaping the most from it, but chances are the turnover of star talent at the studios is going to go into warp speed. The fickle industry has just become more fickle. I mean, come on … William Morris and Endeavor. Who would have “thunk” it 10 years ago?
I hope, as a fan of George’s, that this is not spelling the end of his career. But if he made the decision entirely on his own, that’s his business. The right studio can make all the difference. Just ask Gloria Stewart.
Smokehouse doesn’t seem to hire women screenwriters. What is the deal? I thought George and Grant were more evolved than that. I guess they are like everyone else in Hollywood.
Clooney’s career is over; it was official when he got his Oscar in the Gold Watch category.
Of course, maybe Sony will just string him along, keeping him busy playing villain roles in Spider-Man 5 and Hancock 3 while his agitprop films slowly die.
Next time, Nikki Finke, try to hide the fact you can’t stand George Clooney for whatever reason (Did he deny you an interview ?) a little better. Your hate towards him becomes quite boring and so obvious…
Yeah, I gotta say…either bash the tentpole-makers or bash the folks making smart movies, but not both. Most of the Clooney-haters on this blog were trashing Transformers last week. Maybe Clooney’s movies skew political, maybe they’re a litte overly issue-oriented for some people’s taste, but thank God a handful of people and a studio or two are still willing to produce cinema that doesn’t rely on hourlong explosions and gigantic alien robots.
Clooney sucks !!!!!!!!!!!! his movies are un-watchable.
Ellen is going to be so sad now that George will be gone.
“Thank christ I don’t live next door to Ellen anymore”.
You guys are a joke. Clooney has no box office appeal. He’s can’t open a movie, without a strong ensemble. Warners was smart, Sony is lame. Clooney is not a star.
As well, when did Sony become a studio that makes movies for under 20 million. NOT. Seven Pounds, went from this awesome script, very small, type of movie, to a 90 million dollar flop.
His movies are like watching old people eat…..
I liked the concepts on that whole list of movies. And I love Sorkin dialogue. I wouldn’t watch them all in a row, because there is some overlap. Clooney does do best in ensembles, but why on earth would that be a negative?
Even as a huge Clooney fan I couldn’t say I was that surprised by this move. Warners wanted to keep Clooney but offered him a lower deal seeing as Smoke House hasn’t actually made a single film for the studio yet.
Sony saw that Clooney was potentially ‘on the table’ so they made a bigger offer to try and make themselves look relevant in attracting talent. Who do Sony have of note on the lot except for Will Smith (admittedly the biggest player in town), Sandler and Original Films?
I suspect that Clooney may be similar to a drunken purchase from QVC for Sony. Excited at the time but when it actually turns up you don’t know what to do with it or where to put it.
If Warners couldn’t convince Clooney to star in some ‘broad audience’ fare what chance do Sony have? The first script puchase that Smoke House make at Sony will be fascinating. If it’s some tired rom-com nonsense then you know that Clooney is at least considering doing something with ‘broad reach’.
If not, it’s business as usual and Clooney will have a hit…with one of the projects he set up at Warners.
“They look like great films that the ever dumbed-down American public won’t comprehend.” – nyguy
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I am so tired of Hollywood blaming their failures on a mythical dimwitted audience. If nobody wants to see a movie about “the historic Supreme Court case in which two lawyers sued the Bush administration on behalf of accused terrorist Salim Hamdan,” it isn’t because they’re dumb, it’s because they aren’t in a coma. And don’t want to pay good money to be put in one.
Thanks for telling it like it is. “The last movie star” my ass. I’ve been saying for years that the only thing Clooney can open is a bottle of vodka. His last 4 money-making movies have co-starred Brad Pitt. His last 3 movies without Pitt – The Good German, Michael Clayton and Leatherheads – made a grand total of $135 million WORLDWIDE. Yet the movies cost somewhere around $120 million to make and marketing probably, especially with that hardcore Michael Clayton Oscar push, probably cost somewhere in the $80 million range. So you’re looking at $200 million in expenses and $135 million in grosses. Call me crazy, but ditching the guy sounded like a good move for Warner Brothers and underscores the stupidity of the Columbia/Sony deal. Clooney is the male Jennifer Aniston – can’t open a movie on their own, yet for some reason they keep getting cast in movies or getting funding to make their next bomb.
HelenofPeel is exactly correct; Clooney is a good bet on any movie he can deliver for $20 million or less. For films like that, his compensation should be in the one to two million dollar range, which is still an insane amount of money.
Past that, he should make five or ten million as part of the cast for something like the Ocean films. Past that…well, nothing. That’s what his track record justifies.
“Woody Allen can’t open a picture either, but most of his films have something to say, and make good use of time and characters.”
Again, that’s exactly right. Assuming Clooney is willing to make movies for the sorts of budgets that Allen works with these days, he is a good bet. And I expect he will get a lot of movies made as long as he is realistic about that fact.
Escape from Teheran is going to be a hit.
http://www.wired.com/wired/archive/15.05/feat_cia.html
Your eyes just have to roll when you read those loglines. I mean really can you blame WB for letting this guy go?
God, something about Clooney really chaps my damn ass. Hope I get to work with the guy one day.
am I in the twighlight zone? GC a magazine star? Are you mistaking him for The Tabloid King, Brad Pitt? No other A lister is on as many tabloid covers as Brad Pitt aka the most overrated actor.
These comments are pathetic. Who are these people? Can you please go back to the IMDB Message Boards?
@Max Larson and @truthbetold :
Ha, ha. So true about Clooney and female screenwriters. And female leads, etc. He’s no different than the other bloated boring old sexist turds. Clooney got away with it because he looked good, but now he looks old. It was a perfect match at WB. Keep driving your biggest most powerful demographic away from the theaters and the tv screens, boys. How’s that strategy been workin’ for the bottom line!
@ enough is enough:
Ignorant assholes like YOU make me ashamed to be American. Douchebag.
@ johnny Marshall
My sentiments exactly.
Luzid you really raised the dialogue level with
“Ignorant assholes like YOU make me ashamed to be American. Douchebag.”
Hollywood is so out of touch with where liberty has come from and meant to millions of people around the world. The hate and blame the US thing would be funny if it wasn’t so pathetic and sad. But hey have another meeting at the coffee house and talk about who the US is going to oppress and torture today and then get back in our SUV and drive to your McMansion. I wouldn’t mind some lefty movies if there were also well done movies reflecting positive views about the US. How about a movie about the fall of communism in eastern europe. Not a big enough topic? Maybe another movie about Che or the original Chairman Mao would be more your taste.
@ enough is enough:
Keep lying to yourself about why we’re hated, if it helps you sleep at night.
The rest of the world knows the truth you hide from.
Wow GC sure evoles passion. While he does make “smart adult” films, many lose $$$ and rightly so. But he is a creative guy – if he can break out of costly thriller budgets (ala $58M Moneyball eg) and adult pix like an In The Bedroom say, then he could provide that prestige factor while also making Sony $ ir it hits $50M gross + awards buzz instead of COSTING $50M w/ fake marketing twitter.
Perhaps his films would do better if someone else starred in them.
phil dale duckie, Sevens Pounds budget was $55 million, not $90 Million.Now, if it was $90 million, it still wouldn’t have been a flop, seeing as it worldwide gross was $168 million.