Former Warner Bros executive Jeff Robinov is said to be talking to a number of investors to finance a new production company that could be set up most likely at Sony Pictures, and if a deal can’t be made there possibly 20th Century Fox. Despite rumors and reports swirling about done deals with the likes of China’s Huayi Brothers Media, we’re hearing that nothing has been set in stone in his quest to raise $100 million in funds. There are many moving parts, we’ve been told, and talks with numerous other investors are ongoing, and any combination of investors is possible. One rumored financier that is out at the moment is Ukrainian-born billionaire Len Blavatnik, who had been in talks to provide the bulk of an investment for the new shingle. The crisis in Ukraine might have played a part in the cooling off of those talks.
How Sony Pictures Answered Critics Going Into Thursday Investor Meeting With Cuts, Jeff Robinov Courtship, Blue Anchor Co-Fi
Oscar season is in full swing and is dominating attention, but the most important discussions taking place in town are being done with bankers in back rooms as heavyweight producers and co-financiers move around and will dramatically shape the future of studio event film slates for years to come. The players in the drama still to formalize landing places are Jeff Robinov and Graham King, Jerry Bruckheimer, John LaViolette and Joseph M. Singer’s Blue Anchor Entertainment. This after Thomas Tull’s Legendary Pictures left Warner Bros for Universal, and was replaced by Brett Ratner, James Packer and Steve Mnuchin’s RatPac Dune, which will co-finance the slates of Warner Bros going forward. Two of the next big moves seem to squarely involve Sony Pictures, whose heads Michael Lynton and Amy Pascal head into investor meetings on the Sony lot in Culver City on Thursday with some pending alliances that will greatly reshape their operations.
The above players will be dealing in billions of dollars of production financing. RatPac Dune’s Ratner, Packer and Mnuchin fell into a right-place-at-the-right time windfall just as its Warner Bros deal commenced, and got kissed into Gravity as its first film. That put the venture off to a flying start as the film crossed the $500 million worldwide gross mark. I hear that Tull and Legendary might well get that deal underway in high style by co-financing Universal’s surefire blockbuster Jurassic World, though studio insiders said I’m getting ahead of myself because there is not yet a shooting script to show Legendary. While the RatPac Dune deal covers Warner Bros’ full slate, Tull gets to cherry-pick the films Legendary will co-finance, and the deal calls for a big Universal commitment on films that Legendary generates. This deal was papered by Uni president Jimmy Horowitz and chased aggressively by NBC Universal CEO Steve Burke as well as Donna Langley.
Catch up with the best of Deadline’s Top Film stories you may have missed this week:
OSCARS: ‘Foxcatcher’ Becomes Latest Film To Drop Out Of This Year’s Race
By Pete Hammond – Scratch off another potential Oscar contender. Sony Pictures Classics has announced the planned December release of the Bennett Miller-directed drama Foxcatcher has been moved out of this year’s awards race and into 2014 so filmmakers “can have more time to finish the film”.
Tom Sherak Named As LA Film Czar By Mayor
By Dominic Patten – The former AMPAS President today was appointed to the new LA Film Czar post by Mayor Eric Garcetti. The announcement of Tom Sherak‘s immediate appointment to the $1 a year position comes close to the 100 day deadline Garcetti gave himself to find someone to lead the effort to halt runaway production and work with the industry soon after being sworn into office in late June.
Tom Sherak Q&A: Cancer Battle And $1 Salary Not Stopping New L.A. Film Czar’s Latest Quest
By Pete Hammond – Former Academy of Motion Picture Arts and Sciences President Tom Sherak has been named to the new post of LA Film Czar by Mayor Eric Garcetti. Sherak will be paid only $1 a year (“an infinity compared to what the Academy paid,” he laughed about his previous nonpaying gig) in the post designed to bring a halt to runaway production and put it back in Los Angeles, capital of the film world.
‘Cloudy With Meatballs 2′ Beefs Up For $35M And Easy #1, ‘Rush’ Slows To Small $10.6M, ‘Baggage Claim’ Gets Lost With $9.2M, And ‘Don Jon’ Can’t Seduce Past $8.8M Weekend
By Nikki Finke – A total of 4 major releases this weekend amounted to a soft domestic box office with total moviegoing slightly below last year’s.
2ND UPDATE: WARNER BROS SHAKE-UP – Jeff Robinov Quitting Movie Studio After No New Contract Offered And Kevin Tsujihara’s War Of Silence; Sue Kroll, Dan Fellman, And Greg Silverman May Become Triumvirate
FRIDAY 5 AM, 2ND UPDATE: I’ve learned that Jeff Robinov’s attorney Skip Brittenham officially notified Warner Bros on Thursday that it is in breach of the movie mogul’s contract, and he wants to negotiate his exit.
THURSDAY 6 PM UPDATED THROUGHOUT… EXCLUSIVE 2:45 PM: The destabilization of once rock-solid Warner Bros continues. I’ve learned that Jeff Robinov has decided to leave as Warner Brothers Pictures Group President after months of waiting in vain for Time Warner Jeff Bewkes and Warner Bros Chairman Kevin Tsujihara to offer him a new contract when his expires in December. Robinov is on vacation in New Mexico and this week enlisted both his attorney Skip Brittenham and his friend and former Warner Bros chairman Bob Daly to negotiate his exit. Robinov’s frustration follows Bewkes and Tsujihara placing him inside the ‘cone of silence’ in recent weeks ever since the home entertainment chief was appointed as the new Warner Bros CEO and soon to be chairman. No phone calls of congratulations came from Bewkes or Tsujihara to Robinov after last weekend’s record-setting global successful opening of Man Of Steel or any of the studio’s Summer 2013 big worldwide releases, The Great Gatsby and The Hangover Part III.
[EXCLUSIVE below: Ben Affleck and Baz Luhrmann reflect on their relationships with Robinov while Christopher Nolan's is detailed.]
Witnesses tell me that on the LA to NY plane trip to the Superman premiere June 10th, Tsujihara sat for the five hours not saying a word to Robinov who was sitting opposite him. This cruel behavior was in full view of not only Robinov’s execs but also of the Man Of Steel filmmakers like Christopher Nolan whom Robinov had brought to the studio. I’m told that at the Red Carpet gala at Lincoln Center’s Alice Tully Hall, which should have been his triumph, Robinov left demoralized after just 15 minutes. This, after he and Tsujihara used to be close friends who went on family vacations together. “I’m constantly being marginalized. My job is shrinking day-to-day,” Robinov confided to a pal the other day. “Kevin is starting to push me out by both the things he’s doing and the responsibilities he’s assuming. It’ll end up with everyone reporting to him. The result is that people at the studio are wondering how they can benefit from this or how they can not get hurt by this. Sitting around is not something I can do, or, by the end of the year, the studio will be in a massive mess.”
I’ve learned that the structure being contemplated for Warner Bros Pictures is not for any one person to replace Robinov, who was a rarity in recent Hollywood in that he did both the business and creative top job at a studio. Instead, his Warner Bros Pictures executives Sue Kroll, President of Worldwide Marketing; Dan Fellman, President of Domestic Distribution; and Greg Silverman, President of Production, would run the studio as a triumvirate under Tsujihara who will take over the business side even though he has no such movie experience.
It was Warner Bros Pictures’ turn for studio slate presentations at the CinemaCon convention in Las Vegas Tuesday and President of the Warner Bros Pictures Group Jeff Robinov unveiled the studio’s packed summer lineup with its familiar mix of comedy, horror, superheroes, monsters, and sequels. Robinov looked to the future and thanked all the studio’s partners: New Line, Legendary, Village Roadshow, Alcon, and MGM (on the Hobbit trilogy). He also thanked his new boss Kevin Tsujihara who won the job of Chief Executive Officer replacing Barry Meyer. ”All of us share his vision and this will be an exciting time under his leadership,” Robinov said. Distribution head Dan Fellman initiated a bunch of baseball analogies after the success of Legendary Pictures/Warner Bros’ Jackie Robinson biopic 42 last weekend. It followed a string of 5 straight box office disappointments for Warner Bros and occasional other partners (like New Line). ”Consistency has always been a hallmark of Warner Bros Pictures. But even the most consistent player can hit a few fouls,” Fellman told exhibitors. Fellman emphasized that Warner Bros is the only studio to score $1 billion box office gross domestically 12 years in a row. And International Distrib topper Veronika Kwan Vandenberg pointed out that the studio in 2012 grossed over $4 billion worldwide thanks to hits like The Dark Knight Rises and The Hobbit: An Unexpected Journey. Add to that the 85th Oscar-winning Best Picture success of Argo. Plus, this year Warners Bros is celebrating the 90th anniversary of its founding by the Brothers Warner in 1923.
The season starts out May 10th with the 3D drama from Baz Luhrmann, The Great Gatsby, originally intended for the 2012 awards season but held for Summer 2013 instead. Luhrmann is still tweaking the movie which will open the Cannes Film Festival on May 15th, but sent along a pre-taped introduction – complete with music underscoring to the film’s trailer. Footage was shown at last year’s CinemaCon but this was much different and in 3D. No question it looks like another visual triumph for the director of Moulin Rouge and Romeo And Juliet which starred his Gatsby lead Leonardo Di Caprio. Luhrmann said he was inspired to use 3D when he saw a 3D screening of the Alfred Hitchcock 1950s drama Dial M For Murder (also released by Warners). Even though he said the most special effect in this movie is the acting.
Director Todd Phillips publicly chided Luhrmann before introducing The Hangover Part III trailer. “It would be nice if Baz showed up. There are a lot of directors backstage. We showed up,” he said. Phillips then fed the exhibitors’ egos by saying that comedies should be seen in theaters where everyone can laugh together. Warner’s is now referring to his sleeper smash as the Hangover Trilogy.
Next was Zack Snyder, director of Man Of Steel, who turned up with the world premiere of the film’s new trailer which will play before Oblivion starting on Friday. “There’s no competition between superheroes obviously. But if there were, he would win,” said the unabashed fan of the comic book hero. “I am sorry to even have to say this now but we shot the movie on film and anamorphic. We wanted to give your cinemas a big giant movie movie.” He also acknowledged producer Christopher Nolan’s help during their first meeting in steering him in the right direction on the film. Nolan and his co-producers Emma Thomas and Chuck Roven were in the audience but oddly not introduced to the crowd. The trailer played well and Nolan seemed pleased with the reaction when I saw him afterwards.
UPDATED SHOCKER! Kevin Tsujihara To Become Warner Bros CEO; Bruce Rosenblum And Jeff Robinov Didn’t Find Out Until Late Last Week; “I’m Disappointed; Who Wouldn’t Be?” Rosenblum States; “Excellent Choice,” Robinov Says
2ND UPDATE (includes Robinov statement): Hollywood is stunned. Time Warner Chairman/CEO Jeff Bewkes just destabilized Warner Bros in a big way with today’s shockingly unexpected announcement that Kevin Tsujihara will take over Warner Bros on March 1st. I actually heard this two weeks ago from a source – and I didn’t believe it. That’s not a knock on Tsujihara’s ability. But no way Bewkes could ignore the fact that Bruce Rosenblum‘s Warner Bros Television Group accounts for 50% of overall Warner Bros revenues.* But Bewkes did. “Obviously, I’m disappointed; who wouldn’t be?” said Rosenblum, the TV president who was actively campaigning for the post, in a surprisingly candid statement. ”Warner Bros is a unique and special place and I know it will be in good hands with Kevin at the helm. I continue to be proud of our accomplishments and I have the most respect and admiration for our amazing team at the studio – a team that is thriving in an ever-transforming business.” Warner Bros Film Group topper Jeff Robinov at first remained silent and his office told Deadline it was “highly unlikely” he would have a statement. Now, one has been released – and it’s studiedly upbeat: “I am truly happy and proud of Kevin. We are both good friends and colleagues and I think he’s an excellent choice for the job. The Company will be in great shape under his leadership,” said Robinov. In fact, insiders tell me that Bewkes further humiliated Rosenblum and Robinov by not telling them about the choice of Tsujihara. I understand the duo had to hear about it at the last minute late last week from outgoing Barry Meyer.
[*Time Warner doesn't break out Warner Bros in its financial statements so that statistic may include Turner which doesn't report to Bruce. Warner Bros results are included in the 'Film And TV Entertainment' unit. It accounted for 40% of Time Warner revenues in the first 9 months of last year - $8.3B out of $20.6B - but just 17% of operating profit - $676M out of $3.9B. While Time Warner doesn't break out numbers for Warner Bros Television, it has revenues for "Theatrical Product" and "Television Product." Theatrical product accounted for $4B in the first 9 months ($1.4B from film rentals, $1.3B from home video and electronic delivery, $1.1B from TV licensing, and $127M from consumer products and other). Television product came to $3.4B ($2.6B from TV licensing, $617M from home video and electronic delivery, and $208M from consumer products and other).]
Here’s what Bewkes and Meyer said about their decision in a joint statement: “Given the talent, depth and strength of the Warner Bros’ leadership, selecting our next CEO was not a decision that could be made hastily or lightly. But we both agreed that Kevin is the right person to lead Warner Bros. and to build on its proud heritage as the world’s most storied content producer… In 2005, Kevin was appointed to head the then newly formed Home Entertainment Group, which he has skillfully led through a difficult transition and which remains number one in the industry by every measure. Just as importantly, he is a leading voice in creating and deploying new digital models to ensure that we remain market leaders. We’ve both been very impressed with Kevin’s strategic understanding and intuitive grasp of the evolution of the consumer’s interaction with our television shows, films and video games, and his ability to visualize how our products will be enjoyed in the future.” Warner Bros Home Entertainment’s division covers home video as well as the company’s wide ranging videogame properties and investments, digital distribution, anti-piracy, and emerging technology operations
Few thought Robinov was seriously in the running for the top job since he’d only taken over as film studio president in Spring 2011 from outgoing Alan Horn (now heading up Walt Disney Studios after Bewkes unceremoniously kicked him to the curb). But conventional wisdom was that Rosenblum, who took over the TV group in 2005 the same year that Tsujihara took over Home Entertainment, had a near lock on the job – especially if Bewkes decided not to go outside. And an appointment of Rosenblum would have continued Meyer’s TV leadership at Warner Bros and therefore not been questioned. Sounds to me like Meyer betrayed Rosenblum. Of course, Rosenblum still has an alternative power platform as Chairman of the Board of the Academy Of Television Arts & Sciences since November 2011. Robinov, meanwhile, has kept and is keeping his head down, immersed in developing powerhouse franchises like The Hobbit and perhaps Man Of Steel to replace Harry Potter and the most recent Batman trilogy.
Undoubtedly, Tsujihara’s new appointment will spark debate inside and outside Hollywood over whether Home Entertainment is most important to the future of Big Media. And whether content or platform/delivery should dominate. Of course, Bewkes could have (and in my opinion, should have) done nothing for several more years, and simply allowed his Warner Bros troika to coexist as equals. Now Bewkes, especially given the harshly crude way he handled this announcement, is risking the loss of two superlative executives. Keep tuned.
EXCLUSIVE: It’s the end of a modern Hollywood era, the quiet finish to one of the most long-term, big-time, noisy, up and down, and ultimately dysfunctional relationships between a film producer and a movie studio. I have learned that Joel …
I hoped there would be fistfights. Or at least a chair thrown or two. “I tried but no one wanted to rumble,” Jeffrey Katzenberg told me later. Instead, Jeff Robinov, Tom Rothman, Rob Moore, Stacey Snider, Harvey Weinstein, Rob Friedman, and Katzenberg demonstrated remarkable restraint as they talked, joked, and mused about the Oscars process today. Everyone was ribbing everyone, and a few zingers landed as well. There were so many studio bigwigs at the first day of Deadline Hollywood’s two-day ‘The Contenders’ event (which continues Sunday at 10 AM with still more moguls) that it became a running joke. Deadline Awards Columnist Pete Hammond opened up the 2 PM ‘Moguls Panel’ by saying, “This kind of event has never been held before. You realize that, if a bomb dropped in here, Amy Pascal would own Hollywood.” (The Sony Pictures chairman couldn’t attend.) The other studio chiefs came from hither and yon to attend ‘The Contenders’, and the packed crowd was obviously appreciative. ”Just sayin’ it doesn’t get any better than that. So rare in these times to have as august a group come together and discuss,” one of the attendees emailed me afterwards. That’s why our venue, the Landmark Theatre, pulled out all the stops, even reupholstering the seats in anticipation of the Academy Of Motion Picture Arts & Sciences voters and select Hollywood Guild members who’d sit in them. More details about ‘The Contenders’ in coming days. Next week we’ll be posting the unedited video of the ‘Mogul’s Panel’ which was moderated by Hammond and Deadline Film editor/NY Editor Mike Fleming. Here’s some of the studio chiefs’ 1 1/2-hour-long discussion:
DEADLINE: “This is one of the most wide open Academy Awards seasons. Does that make you more likely to launch an aggressive campaign?”
TOM ROTHMAN, Chairman/CEO Fox Filmed Entertainment: “Yeah, we have a lot of pictures between the studio and Fox Searchlight. But I am a contrarian about this. I think the whole notion of a race and spending is hugely exaggerated. I think voters know what they want to vote for once they’ve seen the movies. Our job is to get them to see the movies. To advance positions for them to think about. Ultimately the Academy is gong to decide. And I think in contrast to what is often said, ultimately I think it comes down to the movies. As it should.”
DEADLINE: “Can an aggressive Oscar” campaign hurt?”
ROTHMAN: “Well, I don’t know, I guess there’s some truth to it. I suppose it depends on what you mean by campaign. Academy Award winners sometimes gain a momentum because of a particular performance, and sometimes for length of career and all the work that has been done. Look recently at Paul Newman. You might not say [1986's The Color Of Money] was his best performance. But he won for his great body of nominations and work. I don’t really think, being on the stump so to speak, when in the privacy of the voting booth which is their living room that it necessarily makes a difference.”
JEFF ROBINOV, PRESIDENT OF WARNER BROS: “I’d say Mr. Weinstein proves him wrong every year.”
HARVEY WEINSTEIN, CO-CHAIRMAN THE WEINSTEIN COMPANY: “That is the only thing that counts, so Tom and I agree more than you think.”
ROTHMAN: “You have just witnessed an historic moment.”
WEINSTEIN: “I’ve said this a thousand times. The most important job is getting voters to see the movie. If they don’t see the movie, they won’t vote.”
DEADLINE: “But it’s not as good to see these movies on a small screen via screeners.”
ROTHMAN: “It’s hard to get them to see movies on the big screen. Planet Of The Apes is not as good on a small screen. Also the other thing I think is time. It’s hard because of the crush of films that all come in at the end. Voters try to be responsible, but sometimes they’re seeing multiple movies [in one day]. I agree with Harvey completely on the need to see films in the theater as they were intended.”
KATZENBERG: “We could end up with a horse against an ape this year.”
DEADLINE: “Isn’t that especially true of 3D films?”
JEFFREY KATZENBERG, CEO DREAMWORKS ANIMATIONS: “Yeah, just to sort of cut to the chase on this, we spend 4 years and $150 million on trying to make an exceptional experience in the movie theater. And use tools one of which is 3D. So we settle for the fact that many many many people will never see it this way.”
DEADLINE: “Is it best to release an Oscar contender earlier in the year and get out early like The Hurt Locker did in June?”
ROB FRIEDMAN, CO-CHAIRMAN/CEO SUMMIT ENTERTAINMENT: “I think what everybody’s saying is it’s vital to get the movies seen. In this case having the film out in June gave more time to build critical and audience response.”
DEADLINE: “How did The Hurt Locker manage to compete since its revenue cycle was over by the time big Avatar came out?”
FRIEDMAN: “By the way, I did offer Tom [Rothman] and Jim [Gianopulos] the offer to trade revenue streams.”
ROTHMAN: “We thought about it.”
FRIEDMAN: “Actually we had not completed our revenue cycle. It was not out on DVD yet. It performed massively in those revenue environments. We knew that any kind of Middle East/Iraq film was challenging at best. It found its level theatrically, but was enormous in the home market.”
DEADLINE: “Tom, would you have been happy to forget awards for Avatar as long as could count the money?’
ROTHMAN: “I guess the technical answer to that would be fuck, yes. [BIG LAUGH] Yes, we were disappointed to lose. I think Robbie and I found ourselves waiting for our cars by the heater that night, and I congratulated him mightily. But I made my career being honest, and if I said I wasn’t brutally disappointed it would be an understatement. I think it is a common problem that happens. David and Goliath is a very good narrative. It is easy to root for the little guy. I understand that emotionally. Fox Searchlight’s Slumdog Millionaire was small and won. The Academy giveth, and the Academy taketh away. We had a good year with Fox Searchlight’s Black Swan and Best Actress last time. Those things happen. I do think, if I can get on my bully pulpit for a few seconds, that sometimes I think the craftsmanship and artistry in what is thought of as commercial cinema is not always given its proper place. Hurt Locker was ultimately thought the better film that year, that I understand. But when you look down categories, sometimes I think that other crafts get swept along. I was surprised and I would also say disappointed that the hard-working creative folks on Avatar were not recognized.”
DEADLINE: “Which other of your films were unfairly overlooked over the years?”
ROBINOV: “I think the quality of Harry Potter films has been somewhat discounted. Especially the last one. It feels like the type of movie that traditionally would receive some Oscar attention. Also Inception was a very bold movie, yet it was not rewarded for risk-taking, I do think there is some bias against Hollywood and the resources that it has. Nice when a movie like Titanic actually gets what it deserves.”
EXCLUSIVE: With history’s most successful movie franchise coming to an end with the Friday release of Harry Potter And The Deathly Hallows Part 2, it’s a good time to ask: How much loot was conjured up en masse? And the answer is startling. You can find about $21 billion by adding up gross sales the series has generated since 1998 from films, videos, video games, licensed merchandise, and books. (See detailed breakdown below.) Time Warner has already seen an estimated $1 billion in profit from the films and its work as custodian of a global entertainment brand. The tally should continue to grow, probably by a lot, with the release tomorrow of Warner Bros’ Harry Potter And The Deathly Hallows – Part 2 — although Hollywood accounting has a way of making profits vanish. (Here‘s how the black magic worked for Harry Potter And The Order Of The Phoenix in a studio accounting statement obtained by Deadline’s Mike Fleming. Though the film grossed $938.2 million worldwide, the document conveys that the film is still $167+ million in the red)
Things have turned out so well that it’s easy to forget what a huge risk Warner seemed to be taking more than a decade ago when it bought the Potter rights. The studio didn’t know how the series would end. And J.K. Rowling, who wrote the series, was a wild card. Many wondered whether U.S. audiences would warm to the all-British movie cast that Rowling required. “The casting of the kids was the biggest place where it could have gone wrong,” Warner Bros Pictures Group President Jeff Robinov tells me. Some Warner executives also chafed at Rowling’s demands that there be no Potter-related fast food offerings and that Warner show restraint in product licensing. “I can only say now to all the parents out there, if the action figures are horrible, just tell the kids that I said don’t buy them. Sorry, Warners,” Rowling told a 60 Minutes interview.
Virtually everybody agrees now that Rowling was right to keep the franchise faithful to her vision. And Warner was right to embrace that vision down to small details in licensed merchandise. “We had a guideline that was perhaps frustrating to our colleagues in Consumer Products but has held well for us as a company which was to look to create artifacts, not souvenirs,” DC Entertainment President Diane Nelson tells me. She oversaw the Potter franchise from the beginning. Marketing plans also adapted as fans became older and the Potter saga grew darker. “We held on to fans as they aged in a way that’s never been seen before,” Nelson says to me.
Here’s how all of the Potter business decisions have turned out so far:
Movies. The first seven films accounted for nearly $6.4 billion in ticket sales, with 68% of the total coming from overseas, according to Box Office Mojo. The only other franchise that comes close is James Bond: Its 23 films beat Potter if ticket prices are adjusted for inflation.
Home Video. Consumers have spent nearly $3.9 billion globally — with 44% of that coming from the U.S. — to buy 302 million videos of the first six Potter films, Warner says. IHS Screen Digest says that Warner probably collected about $1.5 billion just from domestic video sales, which would more than cover the studio’s estimated $1.4 billion production budget for all eight films.
When President Barack Obama arrived at the Sony Pictures lot in April for a Democratic National Committee fundraiser, most studio employees left early and traffic was tricky. Tonight, it’s the First Lady’s turn. Michelle Obama will attend a fundraiser …
FX Nabs Rights To ‘Hangover Part II’
In a move that seems to be about commerce as much as comedy, Warner Bros has started the process on a third installment of The Hangover. Though my sources say there are no deals and that the players involved won’t really get cracking on it for months, it seems likely that Craig Mazin will be writing the three-quel. Reports are surfacing based on an interview he did to promote the film; others involved have hinted at the third pic as well. While Mazin doesn’t have a deal, after Warner Bros and Legendary Pictures just announced that the comedy crossed the $200 million worldwide mark and became the fastest comedy to surpass that number, developing the third film seems inevitable. The picture also blew past the Memorial Day weekend record for an R rated film.
Warner Bros hasn’t announced it’s going for three, and the timing of this film actually took longer than the last one: The Hangover Part II was commissioned before the original picture opened, because test audiences responded so well that Warner Bros knew it had a big hit. Now, there are hurdles to overcome. Warner Bros threatened to scrap The Hangover Part II because of salary disputes with stars Zach Galifianakis, Bradley Cooper and Ed Helms. Those guys were paid less than $1 million collectively to star in the first blockbuster, but luckily for the cast, they had no options for a sequel. Their reps smartly dug their heels in, and the trio each got around $5 million against 4% of gross, which ought to mean pretty good backend paydays for The Wolf Pack.
EXCLUSIVE: The twists and turns on the Warner Bros adaptation of anime artist Katsuhiro Otomo’s graphic novel Akira continue. Director Albert Hughes is exiting the movie, I’m told. Insiders say that it is an amicable creative differences parting of the ways. Warner Bros will try to put him on another movie right away (Hughes and his brother Allen directed the hit The Book of Eli, and WB topper Jeff Robinov is their former agent and is very close with them). Hughes is coming to Hollywood next week to take meetings with his WME reps and look at scripts, hoping to find his next movie at Warner Bros.
As for Akira, the intention of the studio is to keep the picture on a fast track, which means they will find a director quickly. The studio has been wrestling with the approach on the film for the past year.
BREAKING: Henry Cavill Lands Superman; Macho British Actor To Play American Icon; Past Contender For Batman & James Bond
EXCLUSIVE: Warner Bros and Legendary Pictures have found their new Man of Steel. Deadline had been hearing for the past weeks that British actor Henry Cavill was the frontrunner for the much coveted Clark Kent/Superman role in this much anticipated reboot. But as of last week, Warner Bros film chief Jeff Robinov hadn’t seen Cavill’s or the other screentests and made his decision in recent days. Repped by CAA, Cavill, known for his portrayal of Charles Brandon on Showtime’s The Tudors, just wrapped production on The Cold Light of Day and stars in the upcoming Immortals opening this fall. Directed by Tarsem Singh, Caville in Immortals plays the he-man Greek warrior Theseus who battles mythological gods including Poseidon, Zeus, Minotaur, and Herecles. Given that set up, Warner Bros clearly has chosen a more macho leading man for Superman than the previous Brandon Routh or even Christopher Reeve. ”He’s got an amazing quality. He doesn’t look too much like Reeve and Routh but he’s big and strong and he has a very modern feel to him,” a Warner Bros exec just told us. “We’re really going to try and make Superman as contemporary as possible.” And just like it did with Christian Bale in the Batman reboot, the studio has gone with a British actor. In fact, Cavill also auditioned for the Batman role but lost out to Bale in 2005. He also was a contender for James Bond but was deemed too young and lost out to Daniel Craig. Clearly, Cavill is a franchise waiting to happen. He also has a past with Superman. Before Bryan Singer came on to direct Superman Returns and cast Brandon Routh, Cavill had been one of the frontrunner choices for directers Brett Ratner and McG when they were going to helm the picture. That Superman was younger, and this time, the intention was to cast an actor near 30. Cavill, who will be 28 this year, was born in the Channel Islands and his film credits include The Count Of Monte Cristo.
The new film from Warner Bros and Legendary Pictures is being produced by Christopher Nolan (It’s A Bird! It’s A Plane! It’s Chris Nolan! He’ll Mentor Superman 3.0) and directed by Zack Snyder, who made this statement: “In the pantheon of superheroes, Superman is the most recognized and revered character of all time, and I am honored to be a part of his return to the big screen. I also join Warner Bros., Legendary and the producers in saying how excited we are about the casting of Henry. He is the perfect choice to don the cape and S shield.” Warner Bros, Nolan, and Snyder cast a “wide net” to find the next Man of Steel. Last November, insiders told Deadline that the studio was open to creating a star as it rebooted the Superman franchise: specifically, that the actor would either be a discovery or on TV but likely someone who isn’t well known yet. And he’d be in the age range of 28-to-32. The studio considered hundreds of young actors before making a decision just like Sony Pictures did before choosing Andrew Garfield. There was buzz on actors like Armie Hammer, the strapping 6’5″ actor from The Social Network who was eyed to play Batman in a Justice League movie that Mad Max helmer George Miller was poised to direct, and True Blood’s Joe Manganiello, who claimed during a recent movie junket that he’d been considered, and Ian Somerhalder of The Vampire Diaries.
While the Batman films have been populated by established stars Michael Keaton, Val Kilmer, George Clooney, and now Christian Bale, Superman has always lent itself to discoveries. Christopher Reeve was a find in the Salkind franchise, as was Brandon Routh in the Bryan Singer-directed Superman Returns. (Before Routh got the job, Matt Bomer was eyed seriously by almost-directors McG and Brett Ratner.) Even on the small screen, the original Superman TV series star George Reeves and Smallville’s Tom Welling and Lois & Clark‘s Dean Cain were discoveries. The lone exception we can recall was the time that Tim Burton tried to put together a Superman film with Nicolas Cage, an effort that failed because the budget became so high. And then Josh Hartnett was courted during the Ratner version (that got scrapped when Singer took over), but Hartnett didn’t take the role, even though he stood to potentially make $100 million for three pictures if all had been made. Trust us, the new guy is going to get hired on the cheap.