Entertainment

Filmmakers who aren’t afraid to work outside the studio system get big rewards – deadline

The rise of streamer content has created anxiety about talent and its personnel due to models that require permanent ownership of the project. The product starts on a streaming site and never leaves, so there is no possibility of a backend plunge.See the creator and cast of Squid game To find out what that means: Netflix’s $ 1 billion asset, the embarrassingly small payday of the artist who made it, and little chance of making up for the shortfall next season.

While some of Hollywood’s top deal makers and lawyers are trying to create fair reward formulas, one growing way to turn the changing sand upwards is for artists and their agents to gamble on their own and There is a tendency to enter the market with completely fleshed out projects. With a script, a director, and a star. The result was a successful auction, sometimes with the best payday of the career.

The biggest examples these days were two sales Knife out The sequel to Rian Johnson. The CAA-mediated auction ends with Netflix paying about $ 450 million for two movies, and it is rumored that Johnson and star Daniel Craig will be paid $ 100 million. .. This was one of the biggest deals in Hollywood for a photo property like never before.

George Miller / Deadline
Read the digital version of Deadline Cannes/ 2022 Disruptor Magazine Here..

Will Smith’s stirrer, directed by Antoine Hook, has made a similar deal with a big payday. release, Flower Moon KillerAn F1 race film directed by Martin Scorsese, starring Leonardo DiCaprio and Robert De Niro, and starring Brad Pitt. Top Gun: MaverickDirector Joseph Kosinski. There are many examples of varying degrees. Also, studios and streamers aren’t resentful of premium prices as well. They see it as an acceptable cost to add high quality star-led projects to the slate that don’t need to be developed from scratch.

CAA Media Finance Sell ​​these in large quantities, Rogue Sutherland When Benjamin Kramer Participants say that by gaining more creative control and better interests in the future of these properties, it has become a viable way to make a movie.They and their team from the sequel This is a spinal tap To Hood, A drama from the peasant rebellion era directed by Paul Greengrass starring Benedict Cumberbatch. There are almost three other dozens they sell here.The first two major deals are from streamers and were acquired by Netflix. Pain HustlerA drama directed by David Yates with Emily Blunt, and an Apple original film directed by Christos Nikou. Fingernails, Starring Jessie Buckley and Riz Ahmed. Their efforts are aimed at a vibrant Cannes market, with theater deals planned as the business recovers after the pandemic. The co-head of CAAMediaFinance is, of course, bullish.

“Until now, there was no more money in the market,” says Sutherland. “People understand the benefits and risks associated with creating content. There are so many buyers out there, so after that, and that’s good, you’re home for it. Will be found in more favorable conditions and in a better way. “

Kramer said: “Creating and licensing your own films is a way out of the studio’s whimsical and schedule-dependent cycle. Entrepreneurial filmmakers and producers are worth keeping control. In the right project (the project that starts the franchise), its value is exponential.



Filmmakers who aren’t afraid to work outside the studio system get big rewards – deadline

Source link Filmmakers who aren’t afraid to work outside the studio system get big rewards – deadline

Related Articles

Back to top button