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OSCARS: Which Visual Effects Contenders Can Fight ‘Gravity’s Pull?

Thomas J. McLean is an AwardsLine contributor.

Gravity Oscars vfxExpect Gravity to be as powerful and inevitable a force in the visual-effects category at this year’s Oscars as, well, gravity. Offering more than just snazzy visuals — about 95% of what’s on screen is digital — Gravity’s visual-effects supervisor Tim Webber fulfilled many artists’ dreams by working from the start with director Alfonso Cuaron and cinematographer Emmanuel Lubezki to completely embed the effects into the storytelling and filmmaking process.

The space drama also has some serious cachet as a more artistic use of effects — a quality Academy voters have AwardsLinerewarded recently with trophies for Life of Pi, Hugo and The Curious Case of Benjamin Button. With Gravity offering a seemingly irresistible complete package, it looks as if the other nine Academy short-list contenders will just have to aspire to impress the effects branch enough at the Jan. 9 bake-off to score one of five Oscar nominations on Jan. 16.

In addition to Gravity, the short list includes Elysium, The Hobbit: The Desolation of Smaug, Iron Man 3, The Lone Ranger, Oblivion, Star Trek Into Darkness, Thor: The Dark World, Pacific Rim and World War Z. The most obvious question about the list is: How did the year’s highest-profile boxoffice dud, The Lone Ranger, make the cut and Man of Steel did not? Read More »

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Fleming Q&As American Cinema-theque Honoree Jerry Bruckheimer On 40 Years Of Hits, And A Paramount Pictures Future

Mike Fleming

Jerry Bruckheimer Interview Candid ExclusiveEXCLUSIVE: Tonight, the 27th American Cinematheque Award honors Hollywood’s longest-running and most commercially successful producer in Jerry Bruckheimer. Over the past 40 years, Bruckheimer has been the most consistent generator of films that filled theaters, moved popcorn and displayed more onscreen explosions than anyone else. First with late partner Don Simpson and then as a solo act, Bruckheimer’s films have earned estimated worldwide revenues of $16 billion in ticket sales, video and recording revenues, and he once had 10 TV series on networks in a single season, a record that still stands. Bruckheimer has something to prove as he moves from Disney to Paramount in the wake of the disappointing returns on The Lone Ranger. Bruckheimer doesn’t relish looking back as he starts a new chapter in a storied career that will include more installments of franchises Pirates Of The Caribbean, National Treasure, Bad Boys, Beverly Hills Cop and Top Gun. But he invited Deadline to his spacious Santa Monica headquarters recently to spend an afternoon reflecting on how far the son of a Detroit suit salesman has come.

DEADLINE: Your long run as Disney’s signature event film producer ends with your return to Paramount, a place where you and late former partner Don Simpson made some of the seminal hits of the 1980s. Disney moved toward a branded supplier program built around Marvel, Star Wars, DreamWorks, Pixar and away from proven producers. That is emblematic of the business now as studio producer deals fall by the wayside. You raised $20 million a couple years ago through Barclays Bank for development, and had a line on over $300 million, positioning you to be in step with hybrid producer/financiers with co-fi coin. Why did you instead opt for a throwback first-look Paramount deal?
tgBRUCKHEIMER: I like the camaraderie and collaboration of developing at a studio. Brad Grey I’ve worked with in the past and enjoy. I developed Top Gun 2 with Tony Scott, Paramount executives and David Ellison, and had a good experience with them. They are aggressive about material, and how they market, advertise and distribute their films.

DEADLINE: Most producers who can are raising their own money, as studios make fewer films and downgrade traditional first-look producing deals. You had the money in place and no producer has your long track record of hits if you wanted to raise more. Why didn’t you go that route?
BRUCKHEIMER: Because you spend your time finding millions, setting up time-consuming meetings with bankers, accountants and lawyers. It sucks the energy out of you and you are not spending your time making movies. For me, it was like trying on a suit and not liking the fit. I’d rather spend my time sitting in a room with a writer or a director, working out the beats of a story, or sitting with a designer to figure out how to make this set as cool as possible. A lot of people are good at running around raising money, and I’m not saying it’s something that isn’t in my future if I have to do it. I’d just much rather work at the creative end of the business.

DEADLINE: In your first stop at Paramount, you made films like Top Gun and Beverly Hills Cop, and you are drafting new versions of each almost 30 years later. Studios all over are rebooting and sequelizing old stuff. Why is it so hard to create new franchises today?
bevBRUCKHEIMER: It’s always been hard to launch a franchise. You have to hit the mother lode on the first one, then figure out how to create longevity for each of the main characters. That’s not easy. We got very fortunate with Beverly Hills Cop because Eddie was just the greatest new comic that I’d seen. He’d made only a few movies previously and I could see he had the ability to capture the imagination of the audience. 48 Hours and Trading Places made that clear. But they thought we were nuts to have him carry a lead in a movie.

BRUCKHEIMER: Because in both pictures he was a co-star.

DEADLINE: Didn’t Paramount prefer Sylvester Stallone for the Axel Foley role anyway?
BRUCKHEIMER: Originally. Here’s what happened. We went to Paramount and said, we want Eddie for this. They had the script, they loved it, they wanted to make the movie. They also had a pay or play commitment with Stallone, and they didn’t just want to pay him. So they wanted him for this movie. We said, we love Sly, but we created this script for Eddie. Even though Eddie didn’t know that we’d developed it for him. But we said, fine, you sign the checks, we’ll do what you want. We met with Sly and he said, I write my own stuff. We said OK, go ahead with your own thing. And when the project came in it had gotten way too expensive. He had written in car chases and everything. Barry Diller said, wait a minute, we’re not spending that kind of money on this movie. So he turned to us and asked who we would put in this movie if Sly couldn’t do it? We said, Eddie Murphy, but we didn’t say we’d originally given it to the studio for Eddie. Barry said, great, go make the movie! And he gave Sly his script back with all the things he wrote and Sly went off and used that to make Cobra, which was the direction he had taken Beverly Hills Cop. We went off and made it with Eddie. They still thought we were crazy because this was the first time an African-American had carried a studio movie. I think, ever. We were told we were nuts to spend that kind of money on Eddie, alone.

DEADLINE: Take movies like Pacific Rim, World War Z or The Lone Ranger this past summer. Each were franchise plays, but at $200 million or more, the high costs made it like shooting at a narrow moving target and hard to turn profit. The old way was to make films like Beverly Hills Cop for low price and if they build natural momentum, hello sequel.
BRUCKHEIMER: Beverly Hills Cop wasn’t expensive at all. It’s just so hard to make a successful movie to begin with, and to figure out which can be sustained. A lot of movies I’ve done, like The Lone Ranger, could have been franchises. But the audience didn’t brace itself for what might happen next with the characters. That is just how it has always happened. The difference is that now, everything is just a lot more expensive. Back then, Top Gun cost $14 million and Beverly Hills Cop was $8 million.

DEADLINE: Why didn’t The Lone Ranger catch on with audiences?
longrBRUCKHEIMER: I don’t really know. I can’t definitively tell you why Pirates Of The Caribbean worked so well. Nobody wants to make a picture that doesn’t make its money back, especially us. I loved the movie and enjoyed making it. You make the best movie you can, you put it out and then you find out. They did a good job marketing the movie, so I can’t say anything about that. It’s just one of those films that fell between the cracks. It certainly wasn’t helped by the negative press before the movie even got made. There were a lot of discussions about a lot of things that the audience shouldn’t care about, and maybe that turned them off.

DEADLINE: The average person or a journalist like me might say, $200 million or more is too much to spend on a picture. What doesn’t the lay person understand when they make statements like that?
BRUCKHEIMER: The part that gets me is, the audience only pays between $6 and $10 bucks, and they don’t pay any more when a film costs $200 million. It shouldn’t concern them. All they should care about is, did I love it? Do I want to go see it again? Will I tell my friends to go see it? That’s all that should be important to an audience. The media feeds into the cost of the movie, rather than, is it entertaining? Have the filmmakers used every nickel they spent to best advantage, where I can see it on the screen and it gave me a better experience? That’s what’s important, the moviegoer experience. And it is also important that someone like me looks at movies done by others that are so well done, so exciting, with such big endings that I say, ‘Jeez, how do we compete with that?’ And the way you compete is to be more inventive in finding concepts, actors and directors who’ll give the audience a real thrill ride. Read More »

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Bob Iger Says ‘Lone Ranger’ Not Responsible For Break With Jerry Bruckheimer: Video

By | Monday September 23, 2013 @ 4:40pm PDT

The producer “will probably end up making more films for us” including a fifth Pirates Of The Caribbean, the Disney CEO told CNBC’s Jim Cramer today. And last week’s decision to let their first-look deal expire next year was not tied to the fact that Disney might write down as much as $190M from losses tied to The Lone Ranger, which Jerry Bruckheimer produced. “We both have changed over the years,” Bob Iger says. “Jerry decided to spread his wings. … Our needs have changed a bit in terms of our live-action movie business.” In the end, “Jerry provided great value for us.” Iger hit more familiar themes in the interview including his optimism for ESPN and Disney theme parks and the “unlikely” possibility that he’ll make another deal as big as the ones for Marvel and Lucasfilm.

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Deadline’s 10 Best Film Stories Of The Week

By | Sunday August 11, 2013 @ 2:03pm PDT

Related: Deadline’s 10 Best TV Stories Of The Week

The fallout from the box office flop of The Lone Ranger continues for Disney with a big expected write down in the offering while stars Johnny Depp and Armie Hammer complain that it was the critics that killed the film. That, along with Steven Spielberg departing the director’s chair on American Sniper and investor Daniel Loeb retreating from his demand that Sony sell off its entertainment assets, make up some of the top film stories that Deadline ran the past week. Take a read here:

Hollywood Blues: ‘Smurfs 2′ Bombs Here And Blah Overseas; Denzel-Mark’s ’2 Guns’ Wins Weekend, ‘Wolverine’ Holds For #2

By Nikki Finke – SUNDAY AM, 7TH UPDATEThis is yet another weekend that confounded and confused Hollywood as domestic numbers are coming in lower than projected and only international grosses are saving Summer 2013.

Disney Expects To Write Down As Much As $190M For ‘Lone Ranger’

By David Lieberman - CFO Jay Rasulo just told analysts that the company is “disappointed” in the film’s performance and likely will take a charge of anywhere from $160M … Read More »

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Johnny Depp, Armie Hammer Blast Critics Over ‘Lone Ranger’ Bomb: They “Slit The Jugular” Of Our Film

By | Tuesday August 6, 2013 @ 3:30pm PDT

Lone Ranger stars Johnny Depp and Armie Hammer waited until they hit the UK press circuit to explain why the expensive Disney tent pole flopped big time at the summer box office. “This is the deal with American critics,” said Armie Hammer speaking to Yahoo UK/Ireland. “They’ve been gunning for our movie since it was shut down the first time. I think that’s probably when most of the critics wrote their initial reviews.” Hammer minced the fewest words of all the Lone Ranger gang throwing jabs at film critics he said “[jumped] on the bandwagon” and “[tried] to slit the jugular of our film.”

Depp toed the same company line, blaming an imaginary American film critics vendetta for why the Gore Verbinski-directed, Jerry Bruckheimer-produced Western reimagining failed over the 4th of July weekend and cost Disney an estimated $190M loss just a year after its $200M John Carter write-down. “I think the reviews were written when they heard Gore [Verbinski] and Jerry [Bruckheimer] and I were going to do The Lone Ranger,” said Depp. “To round it out as a big group, the American press, the journalists or whatever – yeah, I think the reviews were written 7, 8 months probably before we ever released the film.”

Related: Disney Expects To Write Down As Much As $190M For ‘Lone Ranger’ Read More »

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Disney Expects To Write Down As Much As $190M For ‘Lone Ranger’

By | Tuesday August 6, 2013 @ 2:11pm PDT

CFO Jay Rasulo just told analysts that the company is “disappointed” in the film’s performance and likely will take a charge of anywhere from $160M to $190M next quarter. The company isn’t ready to be more specific because the film is only open in 40% of its markets; it hits Japan in September. But CEO Bob Iger says he hasn’t lost faith in making expensive tentpole films, even though “there has been a lot said about the risk…and we certainly can attest to that given what happened to The Lone Ranger.” He says that overall Disney had “an excellent summer” especially with Iron Man 3, which should end up being Marvel’s top performing film after The Avengers. Tentpoles provide the company with a way to “rise above the din and competition.” He says it’s still important to make good films, not just big ones. “If there are more tentpole films being made, then there’s more risk in the marketplace. But we’ve known about that risk for quite some time.” And he’s confident in the ability of Disney, Marvel, Pixar and Lucasfilms to break through — on the screen, games, publishing and Disney’s theme parks. With its different studio brands, “there’s substantial potential not only to increase sales, but to increase royalties.”

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Disney, Sky To Stage Live UK TV Ad To Stump For ‘The Lone Ranger’

By | Wednesday July 17, 2013 @ 10:25am PDT

Can this stunt help goose The Lone Ranger‘s lackluster box office? Disney and Britain’s Sky are partnering to film a live 3-minute TV ad for the movie featuring stars Johnny Depp and Armie Hammer at the July 21 UK premiere. The spot will be broadcast exclusively across 11 Sky channels starting at 5:56 PM that day. Calling it a “film industry first” the partners said Depp and Hammer will be interviewed by Sky Movies’ Alex Zane for the live promo. Fans are being asked to submit questions via Twitter to @skymovies using the hashtag #lonerangerpremiere by 12:00 on July 18. The Lone Ranger opened Stateside on July 3 earning about $49M over the 5-day 4th of July holiday. As of July 14, it had taken $119M worldwide in 34 territories. It hits the UK on August 9.

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Analysts Project Big Disney ‘Lone Ranger’ Loss, But Investors Take Dismal Opening In Stride

By | Monday July 8, 2013 @ 11:19am PDT

Disney‘s stock price is up 1% in mid-day trading — even as the Street begins to speculate how much the studio will have to write down on the updated Western starring Armie Hammer and Johnny Depp. The Lone Ranger only generated $48.9M in domestic box office sales — putting it on a trajectory that’s far too low to cover its $250M estimated production cost plus additional marketing expenses. The film “could be pacing for a $190M write-off,” Lazard Capital’s Barton Crockett says. That is far higher than the $113M loss he had anticipated, and would slice 3 cents a share from his estimated earnings for Disney in the quarter that ends in September. B. Riley’s David Miller figures the write-down will be closer to $100M for what he calls “a massive disappointment relative to the film’s net negative cost.” He expects Disney will announce the actual write-down over the next two weeks. Yet he and other Disney analysts say that they can look past the box office blemish. Credit Suisse’s Michael Senno today forecast a roughly $100M write-down for Lone Ranger, even as he reiterated his “outperform” recommendation for Disney shares and raised his target Read More »

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July 4th Global Weekend: ‘Despicable Me 2′ Giant $293.2M and #1, ‘Lone Ranger’ Dismal $73.2M For Depp, ‘Let Me Explain’ $17.3M

SUNDAY NOON, 13TH UPDATE: As predicted fireworks blazed at the Fourth Of July box office which headed to $229M domestic through Sunday (+16% from last year) and a new 3-day weekend record for the holiday. But there was only bad news for Disney’s #2 too-expensive The Lone Ranger (3,904 theaters) which opened disastrously Wednesday, remained weak on Thursday, did only $10.6M Friday, and flatlined for $10.7M Saturday. That’s a very disappointing 5-day holiday of $48.9M max. The two-quadrant Western won’t cover its high $215M-$250M cost despite this holiday’s 4x multiple. The Johnny Depp-Armie Hammer starrer’s domestic cume is way below Disney’s initial lowball projection of $65M and the 3rd big-budget bomb of Summer 2013. (Two Sony pics – White House Down and After Earth- also were expensive bombs.) As Deadline was first to report, the studio in August 2011 shut down Lone Ranger for six months after the budget ballooned out of control. Too bad Disney didn’t just scrap the pic altogether. Depp’s worldwide popularity may, repeat may, help overseas where oaters usually don’t excel.Lone Ranger opened day and date in 30% of the foreign landscape but only 4 big markets: Italy and Russia (released July 2) and Australia and Korea (July 4). It made $24.3M internationally for a global cume of $73.2M through Sunday. Ouch!

Far different result for the #1 movie, Illumination Entertainment’s and Universal’s Despicable Me 2 (3,957 theaters) which only cost a very reasonable $76M. It  is the #1 film in the world this weekend, opening atop the U.S. and Canadian box office with a record-breaking estimated gross of $142.1M. The 3D toon posted the biggest 5-day opening for an animated film and the top 3-day animated opening in July (earning $82.5M). Internationally, its gross widened to 6,849 dates in 45 territories to total $151.1M. The combined global cume is $293.2M. This marks Universal’s second biggest international opening weekend ever behind Fast & Furious 6 ($161M). Day after day pic kept overperforming in North America for the 5-day holiday. (“We stood here watching Rentrak and wondering, ‘Could it be?’” a Uni exec tells me.) The new worldwide cumulative easily passed $200M Saturday on its way to $300M through Sunday. Not only is DM2 performing well ahead of the original film globally but also on par with such toon franchise megahits as Toy Story 3, Ice Age 4, Madagascar 3 and Shrek 4.  And the sequel’s opening is among the top animated openings of all time in every market. Pic has 18 more territories to open over the next few months.

Kevin Hart’s concert pic Let Me Explain (876 theaters) from Lionsgate’s Summit Entertainment made $3.7M Friday and the studio projects $17.4M for the 5-day holiday. It’s yet another surprisingly strong debut from the standup comedian’s rabid and rapidly growing fanbase in the cheapest film and smallest theater count of the Fourth Of July field from major studios. Studio harnessed Hart’s social media network to plug the pic.

More analysis below. Here’s the Top Ten estimates:

1. Despicable Me 2 (Universal) NEW [Runs 3,957]
Wednesday $35.0M, Thursday $24.5M, Friday $30.5M, Saturday $29.6M
3-Day Weekend $82.5M, Domestic Cume $142.1M
International Cume $151.1M, Worldwide Total $293.1M

2. The Lone Ranger (Disney) NEW [Runs 3,904]
Wednesday $9.6M, Thursday $9.8M, Friday $10.6M, Saturday $10.7M
3-Day Weekend $29.4M, Domestic Cume $48.9M
International Cume $24.3M, Worldwide Total $73.2M
Read More »

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Deadline Awards Watch With Pete Hammond, Episode 33

By | Wednesday July 3, 2013 @ 4:49pm PDT
Pete Hammond

Listen to (and share) episode 33 of our audio podcast Deadline Awards Watch With Pete Hammond. Deadline’s awards columnist talks with host David Bloom about whether one of Hawk Koch’s last initiatives, making the Motion Picture Academy membership more diverse, may have the most long-term impact; weekend events honoring bygone stars Dolores Hart and Annette Funicello; and the big movie debuts for the long holiday weekend, including The Lone Ranger, Despicable Me 2 and The Way, Way Back.

Deadline Awards Watch, Episode 33 (MP3 format)
Deadline Awards Watch, Episode 33 (MP4a format) Read More »

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Produced By Conference: Jerry Bruckheimer Says ‘Top Gun’ Sequel Still In Play, ‘Lone Ranger’ Sequel Not Set Yet

By | Sunday June 9, 2013 @ 4:42pm PDT

Top Gun 2 is still aiming for lift off, said Jerry Bruckheimer today. “For 30 years we’ve been trying to make a sequel and we’re not going to stop. We still want to do it with Tom [Cruise] and Paramount are still interested in making it,” the producer said Sunday at the Produced By conference. “What Tom tells me is that no matter where he goes in the world, people refer to him as Maverick,” added Bruckheimer of Tom Cruise who starred as the rebel fighter jet pilot in the original 1986 movie. “It’s something he is excited about so as long as he keeps his enthusiasm hopefully we’ll get it made,” Bruckheimer said about the sequel and its star. Bruckheimer noted that the death of original Top Gun director Tony Scott last August did put a pause on the project.

In a wide-ranging discussion with Deadline’s Pete Hammond at the PGA event, the Pirates Of The Caribbean franchise and this summer’s Lone Ranger producer also revealed that star Johnny Depp often travels with his Captain Jack Sparrow costume and visits children’s hospitals unannounced. “He knows he is a very fortunate person and he wants to give back,” Bruckheimer said. Praising the actor and others, Bruckheimer said the success of his films over the decades, both with partner Don Simpson and on his own, is “always about the talent… our company worships talent.” Read More »

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Disney CFO Says ‘Iron Man 3′ Sales Could Hit $1.2B But Won’t Match ‘The Avengers’

By | Thursday May 30, 2013 @ 10:15am PDT

Most execs like to raise expectations when they address investors. But Disney CFO Jay Rasulo did just the opposite when he opened his appearance today at the Nomura U.S. Media & Telecom Summit. After seeing some analysts’ rosy forecasts for the current quarter, he says that “maybe I wasn’t clear” in earlier presentations about the challenges the entertainment giant faces in the quarter that ends in June. Although the company is “thrilled with the outcome” of Iron Man 3, which could end up with $1.3B in worldwide box office sales, last year it had The Avengers, which generated $1.5B. In addition it will have a lot of marketing expenses for The Lone Ranger, “a film we’re very excited about.” But since the film will be released July 3, the revenues won’t be booked until the fiscal Q4. All told, the studio’s operating income could be down $150M vs last year. In addition, ESPN will defer some revenues. And Disney’s theme parks could be down $65M with one fewer Easter holiday week falling in fiscal Q3. Disney shares, which had been up in early trading today, are now down about 1%.

Related: Paramount Nabs $190M From Disney For ‘Iron Man 3′ + ‘Avengers’

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Hot Trailer: ‘The Lone Ranger’

By | Tuesday May 21, 2013 @ 10:40am PDT

Looks like Disney wasn’t quite done dropping trailers for the Disney tentpole starring Johnny Depp and Armie Hammer. The Lone Ranger bows July 3.

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Wall Street Analyst’s Studio-By-Studio Summer 2013 Movie Predictions

By | Friday May 3, 2013 @ 12:16pm PDT

UPDATE (ADDS DETAIL): After Earth, The Lone Ranger, R.I.P.D., and World War Z are among the “most notable candidates” to join the ranks of “several high-profile failures” from the major studios that Cowen and Co’s Doug Creutz predicts this morning. He worries Summer 2013 has “the most crowded release slate in recent memory” and could produce at least eight underperformers. Creutz has been making these domestic predictions for five of the past seven years. Here are his latest studio-by-studio prognostications:

Disney is at risk, Creutz says. He agrees Iron Man 3 will be a hit and projects domestic box office of $350M, and Pixar’s Monsters University should do well to the tune of $250M, but if The Lone Ranger bombs it could “sustain the perception that Disney’s film studio has some serious problems away from the Marvel-Pixar axis.” He expects Lone Ranger to generate $120M domestically but says it’s “a strong contender for an early write-down.” Westerns typically don’t play well overseas, he notes, recalling how even Will Smith’s star power couldn’t save 1999′s Wild, Wild West.

The analyst also forecasts that Paramount is “likely to have a one-up-one-down summer” with Star Trek Into Darkness probably making $250M and World War Z nowhere near that. He predicts just $85M for World War Z, which “had a troubled production” forcing a delay from the original December 2012 release date. It’s also up against Man Of Steel, and he says ”buzz has been elusive for the film, as we think … Read More »

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CinemaCon: Disney’s Vegas Act Includes Johnny Depp And ‘Lone Ranger’ Footage

Pete Hammond

Alan Horn today made his CinemaCon debut in his new capacity as Chairman of Walt Disney Studios hosting a long three hour presentation that was a slide show highlighting the studio’s entire slate for the next two years. It included Johnny Depp and a first look at 20 minutes of new footage plus a trailer premiere from Disney’s expensive summer western The Lone RangerFor Marvel, Horn said Robert Downey Jr really delivers in the May 3 release of Iron Man 3 – but not about the ticketing dispute which Deadline scooped between Disney and some some theater chains like AMC. Horn also hyped the November 8th release of the sequel Thor: The Dark World, plugged Captain America: The Winter Soldier (April 2014), and mentioned future offerings Guardians Of The Galaxy, Antman and the sequel The Avengers 2. For Pixar, he gushed about their success rate and quoted from Pixar chief John Lasseter: “Quality is the best business play. I always give him credit for that phrase.” Pixar’s Monsters Inc sequel Monsters University was shown in its entirety with director Don Scanlon telling exhibitors, ”You are one of the very first audiences to see it.” Judging from the reaction during the screening, they seemed to like it. Horn intro’ed toons like Pixar’s The Read More »

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Hot Trailer: ‘The Lone Ranger’

By | Wednesday April 17, 2013 @ 2:23pm PDT

Disney dropped its final trailer for The Lone Ranger during its just-wrapped presentation for exhibitors at CinemaCon in Las Vegas. It’s the most expansive look yet at the Western action pic starring Armie Hammer and Johnny Depp, directed by Gore Verbinski and produced by Jerry Bruckheimer. Next up: its July 3 opening.

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Hot International Trailer: ‘The Lone Ranger’

By | Wednesday March 13, 2013 @ 2:54pm PDT

It’s clear even from this Japanese-subtitled, English-language version that producer Jerry Bruckheimer and director Gore Verbinski have endeavored to deliver a rousing popcorn movie with Armie Hammer as the title character and Johnny Depp as his spirit warrior partner Tonto. Whether they succeeded or not, we’ll find out when The Lone Ranger opens July 3rd in the U.S.

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Super Bowl Spot: ‘The Lone Ranger’

By | Sunday February 3, 2013 @ 3:31pm PST

Here’s Disney’s game spot for The Lone Ranger. At 90 seconds, this one reveals quite a bit more than we’ve seen previously:

Related: Super Bowl XLVII To Air 6 Studio Film Ads

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Super Bowl Sneak: ‘Lone Ranger’ Ad

By | Tuesday January 29, 2013 @ 9:04am PST

Here’s a teaser for a new 90-second The Lone Ranger ad that Disney has made to run during Sunday’s Super Bowl pregame show on CBS. It’s part of the studio’s push set for this weekend that includes tentpoles Oz The Great And Powerful and Iron Man 3.

Related: Super Bowl XLVII To Air 6 Studio Film Ads

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