EXCLUSIVE: Jason Bateman and his Aggregate Films production banner have teamed with Up All Night executive producer DJ Nash for Then Came Elvis, a single-camera comedy that has sold to NBC. This marks the first TV project for Aggregate Films, which was launched in January with two-year first-look deals at Universal Pictures and Universal TV. Set in the 1980s and loosely based on Nash’s life, Then Came Elvis is about a family that finally comes together when the parents divorce. Told through voice-over from the adult son’s perspective, the series examines how, at 13, the son would have changed just about everything that was happening, but as an adult looking back, he wouldn’t change a thing. Nash will executive produce with Bateman and Aggregate president, Jim Garavente. Universal TV, where both Aggregate and Nash are under deals, will produce.
Will Arnett and Jason Bateman’s advertising and digital production company DumbDumb is behind the online talk show for Denny’s restaurants as well as campaigns for Orbit and Old Navy. They will produce up to six short-form comedy videos for TBS.com featuring sponsor integration and DumbDumb’s star power (Sarah Silverman, Amy Poehler, Will Forte and Kristen Bell have appeared in ads in the past) to push the video virally via Facebook, Twitter and YouTube among other platforms.
EXCLUSIVE: Universal Pictures and Universal Television have made a two-year first-look producing deal with Aggregate Films, the production company formed by Jason Bateman. As an actor, Bateman has been around long enough to remember that the bungalow on the Universal lot that will be his headquarters is the same one where he did his homework while working on the series Silver Spoons. Bateman, who got his second wind as an actor on the sitcom Arrested Development (a movie’s in the works), has starred in such Universal releases as The Change Up, Couples Retreat, State of Play, The Break Up and The Kingdom. He also recently starred in the hit New Line comedy Horrible Bosses.
SATURDAY PM/SUNDAY AM, 7TH UPDATE: Another strong day for Twentieth Century Fox’s prequel Rise Of The Planet Of The Apeswhich scored a $19.4M Saturday (small -2% drop from Friday’s $19.7M), indicating word of mouth was good about these CGI animals and Andy Serkis. With an estimated $14.9M Sunday that makes for a 3-day weekend of $54M, lots more than the $35M which Hollywood expected. No doubt about it: origins story movies are working this summer if they’re done as well as this and X-Men: First Class which was another prequel on a Fox franchise. Nice win for former News Corp No. 2-turned-showbiz producer Peter Chernin and his film lieutenant Dylan Clark on Chernin Entertainment’s first film release. The pair said in a statement Sunday: “We’re thrilled to launch Chernin Entertainment with a film that so positively resonated with audiences. We’re proud of the artistic achievement as it is a testament to a smart script, great direction by Rupert Wyatt, stellar actor performances, the amazing visual effects created by the WETA team, and the passion and dedication of the entire crew and our partners at Twentieth Century Fox.” The other major studio new release, Universal’s The Change-Up, surprisingly ticked up (+4%) from Friday for $5.2M Saturday but that’s still a very disappointing $13.5M weekend. This truly isn’t Ryan Reynolds’ summer of stardom after the collapse of Green Lantern here and abroad. Stars are supposed to open movies to at least $20M. Overall moviegoing this weekend looks like $170M, which is up +30% from last year.
Here’s the Top 10:
1. Rise Of The Planet Of The Apes (Fox) NEW [3,648 Theaters]
Friday $19.7M, Saturday $19.4M, Weekend $54M
It’s not just surprising but kinda shocking that Time magazine declared this “2011′s Best Film So Far” and that even fanboy websites declared that “whatever expectations you’re likely to have going in, there’s a good chance this movie will surpass them”. Directed by Rupert Wyatt and written by Rick Jaffa & Amanda Silver, Rise Of The Planet Of The Apes seemed too schlocky a project for Peter Chernin to waste his time producing. Or so Hollywood thought. Its CinemaScore was an ‘A-’ and exit polls showed males making up 54% of the audience which was 59% at or over age 25. Why all the fuss over the prequel to such a dated franchise? Because Fox PR claims this is the first live-action film in the history of movies to star, and be told from the point of view of, a sentient animal — a character with human-like qualities, who can strategize, organize and ultimately lead a revolution, and with whom audiences are supposed to experience a real emotional bond. (But my commenters counter: What about Babe etc?) Fox execs point out that the studio wasn’t going to do the guys in ape suits thing again. So the film was impossible to make until James Cameron’s Avatar and Peter Jackson’s WETA Digital progressed performance capture technology to the point of the most realistic CGI ever. Given that, the claimed $93M pricetag co-financed by Fox, Dune Entertainment, and Ingenious seems absurdly modest.
Every single monkey, baboon, and ape in the movie is a product of this performance capture techonology. That earned raves from PETA and for Wyatt a Proggy Award given to animal-friendly companies, people and products. (PETA also showed up at the Ape‘ premiere in LA with signs reading, “Real Apes Love CGI,” and “Thank you, Fox for not using real Apes.”) The buzz this weekend is that Andy Serkis does an award-worthy job as the main chimp Caesar who leads the rebellion. But I don’t know why the trailers I saw mistakenly focused on James Franco who isn’t why moviegoers flocked to opening weekend. Fox was hoping for North American box office in the low-ball $30sM, so $54M is fantastic. “Phenomenal opening validating a sensational marketing effort led by Oren Aviv and Tony Sella,” a Fox exec gushed to me. Then again, tracking has been good for males and fans of the original movies, although softer for females. The fact is that the studio had a lot of ground to make up with this movie because fanboys hated the Tim Burton version from a decade ago. But this origins story scored 82% positive reviews on RottenTomatoes.
Marketing with a company called Mekanism was primarily focused online with the intent to create a global viral phenomenon and spark millions of Internet conversations about the film. There was the strategic use of digital influencers, creative content, and social media platforms to create widespread engagement for over 14 million viral video views and hundreds of millions of earned media impressions. “We’ve created excitement, driven credible word of mouth, and ensured that butts will be in seats to watch Apes Rise on opening weekend,” A Fox exec told me before Friday. WETA Digital hosted a livestream event on Facebook from WETA’s headquarters in New Zealand and gave viewers an exclusive behind-the-scenes look at the work on the film. The livestream event was live on Facebook’s official fan page for Avatar as well. A free online digital comic book prequel to the movie debuted prior to release from comic series writer Daryl Gregory and artists Damian Couceiro and Tony Parker to set the stage for the movie. There was a new free 5-page digital comic book story weekly since mid-July until the final 10-page conclusion on August 3rd.
2. The Smurfs - 3D (Sony) Week 2 [3,395 Theaters]
Friday $6M, Saturday $8.2M, Weekend $21M (-41%), Cume $76.2M
It’s embarrassing for me just to be writing about The Smurfs. But after just 10 days of release, the film has generated $128.9M worldwide with an overseas cume to date of $52.7M. One of the big surprises of Summer 2011, last weekend’s exceptionally strong debut in North America was followed by enormous strength in several key countries including Mexico, Brazil, Venezuela, Belgium, France and Germany, among others. This worldwide number is especially impressive when you consider the film has only debuted in about 3 dozen territories. In North America this weekend, The Smurfs saw big mid-week sales that led box office from Monday through Thursday. Strong ticket sales continued into the weekend and went up +37% on Saturday.
3. Cowboys & Aliens (DreamWorks/Universal) Week 2 [3,754 Theaters]
Friday $4.7M, Saturday $6.4M, Weekend $15.7M (-57%), Cume $67.3M
Not an embarrassing drop, but it didn’t have far to fall either. The big question is whether Cowboys & Aliens can make up the deficit overseas where Daniel Craig is a bigger star but also Westerns don’t do well traditionally. For an astute dissection of what went wrong, read this pre-release post by Deadline’s Mike Fleming, Can ‘Cowboys & Aliens’ Lasso Youth?. He answers the questions about why this well-pedigreed pic, despite the godfathering presence of Steven Spielberg and Imagine’s Ron Howard and Brian Grazer and direction by Jon Favreau, went into the tank. He details the tortured development history involving more than a dozen writers over 14 years. He analyzes the problems of a confused mash-up of two genres that usually don’t cross paths. And he reveals that with a cash break participation pool in the 35% range and no 3D conversion to justify higher ticket prices this movie may have been doomed from the start.
4. The Change-Up (Universal) NEW [2,913 Theaters]
Friday $4.7M, Saturday $5M, Weekend $13.5M
Universal started out the summer very high on this raunchy R-rated comedy with a $52M budget (Relativity was a financing partner) especially because The Change-Up was from the director of Wedding Crashers and the writers of The Hangover. Still it was surprising that David Dobkin would waste his time on such a tired body-switching premise, but this film won’t have the enormous playability or multiples of this summer’s other raunchy R-rated laughers. CinemaScore was a ‘B’ with an audience that was 59% Female vs. 41% male and 50% at or older than age 30 vs. 50% under
30. All along tracking had been strongest with females, with younger females demonstrating the strongest interest. “It’s disappointing. We’re kind of confounded by it,” a Uni exec told me Friday night. “This movie played like the best R-rated comedies we have.” But reviews hammered this pic and trailers looked lame. Marketing was sub-par as if red-band online trailers, one that opened the campaign and one that closed it, would put people in seats. Maybe audiences were tired after so many of Summer 2011′s R-rated comedies.
The TV campaign began early with a spot on the finale for The Family Guy in late May, followed by a run on the NBA Finals in early June and then cable, cable, and more cable channels as well as the TV talk shows. The supposedly “likeable” pairing of Ryan Reynolds and Jason Bateman was a key strategy in publicity, and they did many of their promotional appearances together. Universal fanned out with an extensive word-of-mouth campaign and 350 screenings across the country. But none of it worked.
5. Captain America - 3D (Marvel/Disney/Paramount) Week 3 [3,620 Theaters]
Friday $3.7M, Saturday $5.5M, Weekend $13M, Cume $143.1M
6. Harry Potter/Hallows Pt 2 – 3D (Warner Bros) Week 4 [3,175 Theaters]
Friday $3.3M, Saturday $5.1M, Weekend $12.1M, Cume $342.8M
7. Crazy, Stupid, Love (Warner Bros) Week 2 [3,020 Theaters]
Friday $3.7M, Saturday $4.9M, Weekend $12.1M (-37%), Cume $42.1M
8. Friends With Benefits (Sony) Week 3 [2,398 Theaters]
Friday $1.4M, Saturday $1.9M, Weekend $4.7M, Cume $48.5M
9. Horrible Bosses (New Line/Warner Bros) Week 5 [2,025 Theaters]
Friday $1.3M, Saturday $1.9M, Weekend $4.6M, Cume $105.1M
10. Transformers 3 – 3D (Paramount) Week 6 [1,854 Theaters]
Friday $850K, Saturday $1.3M, Weekend $3M, Cume $344.1M
Universal Pictures is thinking outside the box in trying to raise awareness for its David Dobkin-directed body-switching comedy The Change-Up, which opens Friday against Rise of the Planet of the Apes. The Change-Up has been tracking a bit softly, and the studio today sent a promo that highlights the chemistry and appeal of the film’s stars, Jason Bateman and Ryan Reynolds. The studio has done something else that caught my eye: Similar to when Lionsgate sold $6 tickets to The Lincoln Lawyer through Groupon, Universal is offering $6 tickets to the movie through DailyCandy Deals, the Comcast-owned online daily newsletter that offers discounts from jewelry to restaurants. Here’s the offer as it was sent to me through an email from movie site Fandango: “As a Fandango fan, you’re invited to score a special deal from our friends at DailyCandy Los Angeles. Round up the gals this weekend and ogle Ryan Reynolds and Jason Bateman in The Change-Up for just $6 (up to a $14 value). Even more swoon-worthy: DailyCandy will send new Deals at 40-70% off straight to your inbox, along with insider info on Los Angeles restaurants, spas, boutiques, and more.”
When Deadline broke news last month that Warner Bros has paid $2 million to acquire the David Dobkin spec script Arthur & Lancelot in a bidding war that involved Universal and Fox, insiders said the project would be fast-tracked. …
Universal Pictures has released a Red Band trailer for the raunchy body-switching comedy The Change-Up, where Ryan Reynolds and Jason Bateman switch identities and have to deal with the ramifications. Scripted by The Hangover scribes Jon Lucas and Scott Moore and directed by Wedding Crashers helmer David Dobkin, the film …
Leslie Mann has signed on to play the lead female role in Universal’s The Change-Up opposite Ryan Reynolds and Jason Bateman.
In between rounds as House doctor, Olivia Wilde is spending more and more time on the big screen. She has signed to join Ryan Reynolds and Jason Bateman in The Change Up, the David Dobkin-directed Universal Pictures comedy. Bateman plays a married man who switches bodies with slacker best friend (Reynolds). Wilde will play the married guy’s law firm co-worker, who’s an impetus for the body switch. The comedy, written by The Hangover scribes Jon Lucas and Scott Moore, films this fall. Neal Moritz is producer. Wilde will next be seen in the Paul Haggis-directed The Next Three Days opposite Russell Crowe,
Luke Y Thompson is covering the Con for Deadline:
PAUL is a road-trip comedy written by (and starring) Nick Frost and Simon Pegg, who are treated like absolute royalty by fans here. (Proof that what plays well at Comic-Con doesn’t always make it huge elsewhere; see also: “Filion, Nathan”). But PAUL is a perfect Comic-Con movie, because it actually begins at Comic-Con, as our lead duo take a road trip from San Diego to Area 51, where they pick up an escaping alien called Paul.