So is this a candidate for most gory trailer ever, joining a rogues’ gallery that off the top of our heads includes the likes of Machete Kills (see one of those here) and the latest Evil Dead (see that red-band one here)? Eli Roth certainly has put his stamp on Aftershock, which he stars in/produced/co-wrote with helmer Nicolas Lopez and leaves no blood unsplattered in a story about what happens after a major earthquake hits Chile — spoiler alert: nothing good happens. Audiences seem to love this stuff. Dimension Films and Radius-TWC open it May 10 so we’ll see.
What can I say, I have always gotten a kick out of Eli Roth. Even though I’ve only really seen him onscreen bashing Nazi brains with a baseball bat in Inglourious Basterds. I don’t have the aversion that my colleague Nikki Finke does for what she calls Roth’s “torture porn” offerings, because I never had the stomach to watch Cabin Fever or the two Hostel films. In the first place I grew up in an era of the original Night Of The Living Dead and Halloween, when it was enough to stalk promiscuous kids without harvesting their organs for profit. Regardless, Roth killed it at Toronto last week; before he even premiered the film he starred in and produced, Aftershock, he made a $2 million deal against gross and a guaranteed wide release for that film and another, Clown, about a dad who subs for a missing clown at his kid’s birthday party, can’t shed the clown white and slowly becomes a homicidal maniac. He’ll make a lot of money, as he always seems to, particularly because Aftershock only cost $2 million to make. But even more interesting is Roth’s grand plan to turn his flair for scare into a real empire.
DEADLINE: You made arguably the biggest deal at Toronto. Why did you sell it before it premiered? ROTH: Anytime you make a movie the goal is a wide theatrical release, with the right distributor. Now that Lionsgate and Summit merged, there’s an opportunity for Dimension to make a move and become the horror powerhouse they were in the 90s and Bob told me, I want you to do what Robert Rodriguez and Quentin Tarantino did with us. Well, I’d made the Thanksgiving trailer for Grindhouse, and I developed the Stephen King novel Cell but I’d never done a movie with Dimension. On Cabin Fever, I offered it to Bob and then had to rush to sell it to Lionsgate before they found out Bob passed. When I first wrote Hostel, Bob said no, and when Screen Gems freaked and said they wouldn’t release it, I showed Bob the cut again. He said it was too violent, that he wouldn’t feel good putting it out into the world. Then it opened at $20 million and did $80 million on a $3 million negative cost. Those were the days when you could sell a lot of DVDs and we just hit the jackpot. Bob and Harvey apologized.
DEADLINE: Only in horror do you gross 25 times your budget. ROTH: Even Hostel 2, which is Nikki’s favorite movie, I bought my parents a house with that one. We should all fail so well. Read More »
While the sales volume was certainly high, the numbers weren’t. It’s like reading about the record per screen average that Paul Thomas Anderson’s The Master turned in last weekend on five theaters. All I keep thinking is, even though it grossed $729,745 in its opening weekend, the film needs serious legs if its going to recoup the $35 million that Annapurna’s Megan Ellison paid to finance it.
Coming in to Toronto, two things were very clear. The most promising films came in with distributors that bought in early in the process, a trend which will continue to grow as agencies package more of these films, seeded by high net worth individuals and receptive to locking in distributors at script or sizzle reel stage.
That took some of the best titles off the table, but it still felt like the abundance of new distributors and star-cast acquisition titles would result in some spirited auctions, the kind that make people overpay. … Read More »
EXCLUSIVE: We are getting close on the first significant distribution deal on the ground here for a film playing at Toronto. I’m told that Bob Weinstein’s Dimension Films is near a deal to acquire Aftershock, which is screening here, and Clown, which will start production soon. These are two Eli Roth-produced genre films. Roth stars in Aftershock, his first big lead role since he brained Nazis as the Jew Bear in Inglourious Basterds. I’ve heard that the minimum guarantee commitment is upwards of $2 million for each film, plus a guarantee of a wide theatrical release.