1 00:00:09,200 --> 00:00:12,200 Speaker 1: Welcome to Daily Variety, your daily dose of news and 2 00:00:12,240 --> 00:00:17,000 Speaker 1: analysis for entertainment industry insiders. It's Monday, March ninth, twenty 3 00:00:17,040 --> 00:00:20,599 Speaker 1: twenty six. I'm your host, Cynthia Littleton. I am co 4 00:00:20,760 --> 00:00:24,360 Speaker 1: editor in chief of Variety alongside Ramin Setuda. I'm in 5 00:00:24,560 --> 00:00:27,880 Speaker 1: La He's in New York, and Variety has reporters around 6 00:00:27,920 --> 00:00:31,640 Speaker 1: the world covering the business of entertainment. In today's episode, 7 00:00:31,680 --> 00:00:34,520 Speaker 1: in our box office segment, we'll hear from Variety's Brent 8 00:00:34,600 --> 00:00:37,760 Speaker 1: Lang on what the weekend brought for Pixar. The imprint 9 00:00:37,800 --> 00:00:41,280 Speaker 1: looks to have launched its first big original property since 10 00:00:41,360 --> 00:00:45,000 Speaker 1: Coco back in twenty seventeen. And then I go into 11 00:00:45,040 --> 00:00:48,520 Speaker 1: the wayback machine to look at a Daily Variety front 12 00:00:48,560 --> 00:00:53,720 Speaker 1: page from fifty years ago today March ninth, nineteen seventy six. 13 00:00:54,000 --> 00:00:57,760 Speaker 1: I'm always looking for the parallels to contemporary times, and 14 00:00:57,800 --> 00:01:00,480 Speaker 1: they are not hard to find. There was so much 15 00:01:00,480 --> 00:01:04,160 Speaker 1: cool stuff going on in that bicentennial year. Fans of 16 00:01:04,280 --> 00:01:08,800 Speaker 1: Jack Nicholson, Robert Altman, Linda Ronstadt and Ruth Engelhardt should 17 00:01:08,840 --> 00:01:11,240 Speaker 1: stay tuned. But before we get to all of that, 18 00:01:11,600 --> 00:01:14,120 Speaker 1: here are a few headlines just in this morning that 19 00:01:14,200 --> 00:01:17,840 Speaker 1: you need to Know. Paramount Skuidance president Jeff Shell is 20 00:01:17,880 --> 00:01:21,600 Speaker 1: facing a fifty million dollar lawsuit from a self styled 21 00:01:21,640 --> 00:01:25,679 Speaker 1: whistleblower who claims that Shell renegged on an agreement to 22 00:01:25,760 --> 00:01:29,400 Speaker 1: have Paramount produce a TV show with him. Plaintiff R. J. 23 00:01:29,640 --> 00:01:33,880 Speaker 1: Cipriani also claims he's owed for crisis pr services that 24 00:01:33,959 --> 00:01:37,320 Speaker 1: he offered to Shell, who left his job as CEO 25 00:01:37,440 --> 00:01:41,200 Speaker 1: of NBC Universal in twenty twenty three after admitting to 26 00:01:41,240 --> 00:01:45,039 Speaker 1: having an intimate relationship with a subordinate. Live Nation has 27 00:01:45,080 --> 00:01:48,320 Speaker 1: reached a settlement in its antitrust fight with the Department 28 00:01:48,360 --> 00:01:52,080 Speaker 1: of Justice. The Biden administration had been pressuring the concert 29 00:01:52,160 --> 00:01:56,360 Speaker 1: promotion and ticketing giant to split off its ticketmaster division 30 00:01:56,400 --> 00:01:59,880 Speaker 1: from the concert promotion arm. Live Nation has reportedly agreed 31 00:01:59,920 --> 00:02:03,240 Speaker 1: to make structural changes to its business and to pay 32 00:02:03,360 --> 00:02:07,000 Speaker 1: two hundred and eighty million in damages to various states. However, 33 00:02:07,160 --> 00:02:10,800 Speaker 1: my colleague jem Oswad reports that litigation goes on in 34 00:02:10,919 --> 00:02:15,520 Speaker 1: twenty seven states, including New York and California. AMC Network 35 00:02:15,520 --> 00:02:19,320 Speaker 1: has renewed The Audacity for season two one month before 36 00:02:19,400 --> 00:02:23,320 Speaker 1: the series premiere. The show stars Billy Magnuson and Simon 37 00:02:23,400 --> 00:02:28,239 Speaker 1: Helberg in a drama wrapped around the outsized personalities among 38 00:02:28,360 --> 00:02:32,079 Speaker 1: Silicon Valley tech leaders and hopefuls. The series will get 39 00:02:32,120 --> 00:02:35,040 Speaker 1: a sneak peek on Saturday at the south By Southwest 40 00:02:35,080 --> 00:02:39,000 Speaker 1: Festival in Austin, Texas. Good for You, Drew Threw Barrymore 41 00:02:39,040 --> 00:02:42,519 Speaker 1: Show has been renewed for two more seasons by CBS 42 00:02:42,560 --> 00:02:46,200 Speaker 1: season seven and eight. That's a feat for a syndicated 43 00:02:46,280 --> 00:02:49,720 Speaker 1: talk show in this daytime TV marketplace. All of these 44 00:02:49,720 --> 00:02:52,600 Speaker 1: stories and so much more can be found on Variety 45 00:02:52,600 --> 00:03:00,760 Speaker 1: dot com right now and now it's time for conversations 46 00:03:00,800 --> 00:03:03,800 Speaker 1: with Variety journalists about news and trends and show business. 47 00:03:07,120 --> 00:03:11,600 Speaker 1: Brent Lang, Variety's executive editor, joins us to unpack what 48 00:03:11,760 --> 00:03:15,239 Speaker 1: went wrong for Warner Brothers The Bride and what went 49 00:03:15,360 --> 00:03:19,600 Speaker 1: right for Disney Pixar's Hopper. As Lang explains, The Bride 50 00:03:19,639 --> 00:03:23,280 Speaker 1: hails from director Maggie Jillen Hall and features stars Christian 51 00:03:23,360 --> 00:03:26,240 Speaker 1: Bale and Jesse Buckley, but it is turning out to 52 00:03:26,280 --> 00:03:29,280 Speaker 1: be a pretty epic misfire. Brent Lang, thank you so 53 00:03:29,360 --> 00:03:31,520 Speaker 1: much for joining me to talk about the box office. 54 00:03:31,560 --> 00:03:32,280 Speaker 2: Thanks for having me. 55 00:03:32,440 --> 00:03:35,560 Speaker 1: Well, it seemed like it was a good weekend for 56 00:03:35,800 --> 00:03:39,160 Speaker 1: furry creatures from Pixar, and not such a good weekend 57 00:03:39,280 --> 00:03:43,040 Speaker 1: for a reimagining from the great Maggie Jillen Hall pop 58 00:03:43,080 --> 00:03:44,720 Speaker 1: line Brent, what happened this weekend? 59 00:03:44,840 --> 00:03:46,880 Speaker 2: And I think it just really shows you that the 60 00:03:47,000 --> 00:03:50,360 Speaker 2: box office giveth and it taketh away. In the case 61 00:03:50,400 --> 00:03:54,680 Speaker 2: of Hoppers, you had a really great performance from the 62 00:03:54,680 --> 00:03:57,200 Speaker 2: Disney film, and I think there were some concerns that 63 00:03:57,240 --> 00:03:59,360 Speaker 2: it wouldn't do as well because it's been about a 64 00:03:59,440 --> 00:04:03,040 Speaker 2: decade since Pixar has had an original movie. Coco was 65 00:04:03,080 --> 00:04:06,840 Speaker 2: the last one that really took off. But actually Hoppers, 66 00:04:06,880 --> 00:04:09,680 Speaker 2: which had some great reviews. I think it was like 67 00:04:09,760 --> 00:04:13,120 Speaker 2: ninety six ninety seven percent fresh on Rotten Tomatoes, open 68 00:04:13,200 --> 00:04:16,479 Speaker 2: to forty six million in the US and Canada, and 69 00:04:16,520 --> 00:04:20,159 Speaker 2: then it went internationally at eighty eight million, and I 70 00:04:20,160 --> 00:04:23,919 Speaker 2: think some people within the industry privately are predicting that 71 00:04:23,960 --> 00:04:26,600 Speaker 2: it could make upwards of five hundred million dollars, which 72 00:04:26,600 --> 00:04:30,440 Speaker 2: would be a really fantastic result for Pixar and a 73 00:04:30,480 --> 00:04:32,400 Speaker 2: big shot in the arm because it means that this 74 00:04:32,520 --> 00:04:35,760 Speaker 2: is potentially another franchise. Pixar has had a lot of 75 00:04:35,800 --> 00:04:39,040 Speaker 2: success with sequels to things like Inside Out, and Toy 76 00:04:39,120 --> 00:04:42,560 Speaker 2: Story not as much success in launching original properties. But 77 00:04:42,720 --> 00:04:44,640 Speaker 2: then on the other end of the ledger, you had 78 00:04:44,640 --> 00:04:47,480 Speaker 2: The Bride, which is an unmitigated disaster. I would say 79 00:04:47,480 --> 00:04:50,960 Speaker 2: it's the year's first really big bomb. It cost about 80 00:04:51,040 --> 00:04:55,479 Speaker 2: ninety million dollars, It endured about two different rounds of reshoots, 81 00:04:55,680 --> 00:05:00,480 Speaker 2: and the film itself wasn't excoriated by critics, but it 82 00:05:00,560 --> 00:05:02,640 Speaker 2: was not. It didn't get the kind of reviews that 83 00:05:02,680 --> 00:05:05,280 Speaker 2: really got people in there. And it is very offbeat. 84 00:05:05,440 --> 00:05:08,920 Speaker 2: It's really a genre mashups. It's kind of a crime film, 85 00:05:09,000 --> 00:05:11,480 Speaker 2: it's kind of a horror film, it's kind of a comedy, 86 00:05:11,480 --> 00:05:13,279 Speaker 2: it is kind of a musical. It's kind of a 87 00:05:13,320 --> 00:05:16,320 Speaker 2: lot of different genres, and that's very hard to sell. 88 00:05:16,360 --> 00:05:18,800 Speaker 2: It's very hard to market something like that. And it 89 00:05:18,839 --> 00:05:22,239 Speaker 2: did have some big stars in Jesse Buckley and Christian 90 00:05:22,279 --> 00:05:25,839 Speaker 2: Bale and Maggie Jillenhall really impressed with her last film, 91 00:05:26,000 --> 00:05:29,200 Speaker 2: The Lost Daughter, but I think she just couldn't kind 92 00:05:29,240 --> 00:05:31,560 Speaker 2: of crack the code here. And this film made only 93 00:05:31,640 --> 00:05:34,040 Speaker 2: seven million dollars in the US and Canada, and I 94 00:05:34,040 --> 00:05:36,799 Speaker 2: think about thirteen million now going into the weekend. Warner 95 00:05:36,839 --> 00:05:38,800 Speaker 2: Brothers had predicted that the film was going to make 96 00:05:38,839 --> 00:05:43,279 Speaker 2: about sixteen million dollars domestic, sixteen to eighteen million dollars 97 00:05:43,600 --> 00:05:48,080 Speaker 2: and about forty million and change internationally. So their projections 98 00:05:48,120 --> 00:05:49,200 Speaker 2: were wildly off. 99 00:05:49,320 --> 00:05:51,159 Speaker 1: What do you think gave them the faith that it 100 00:05:51,160 --> 00:05:52,680 Speaker 1: would do so well internationally? 101 00:05:52,880 --> 00:05:54,799 Speaker 2: I think it maybe had to do with a sense 102 00:05:54,839 --> 00:05:59,240 Speaker 2: that Bail has a big international following, and maybe in 103 00:05:59,279 --> 00:06:02,479 Speaker 2: places like the Buckley is a bigger name. I think 104 00:06:02,640 --> 00:06:05,200 Speaker 2: that always seemed a little optimistic. I do think that 105 00:06:05,279 --> 00:06:07,520 Speaker 2: Warner Brothers kind of knew they had a bomb here 106 00:06:07,680 --> 00:06:10,800 Speaker 2: for a while. They moved this movie out of last year. 107 00:06:10,839 --> 00:06:12,720 Speaker 2: It was supposed to originally open in the fall, and 108 00:06:12,760 --> 00:06:14,720 Speaker 2: they moved it into March. It had a kind of 109 00:06:14,760 --> 00:06:16,000 Speaker 2: a stink on it for a while. 110 00:06:16,120 --> 00:06:19,400 Speaker 1: Warner Brothers was humble in their statement and noting that 111 00:06:19,480 --> 00:06:22,839 Speaker 1: they have had an incredible success of number one openings. 112 00:06:23,160 --> 00:06:24,719 Speaker 1: This is not that weekend. 113 00:06:24,880 --> 00:06:27,839 Speaker 2: I always think about something that Sony's Tom Rothman said, 114 00:06:27,880 --> 00:06:30,480 Speaker 2: which is I'm paraphrasing, but basically that you should be 115 00:06:30,600 --> 00:06:35,760 Speaker 2: creatively bold but financially conservative. And I think there really 116 00:06:35,920 --> 00:06:39,320 Speaker 2: was no reason for this film to cost ninety million dollars. 117 00:06:39,360 --> 00:06:42,600 Speaker 2: I'm assuming everybody kind of got their full faire here, 118 00:06:42,800 --> 00:06:46,719 Speaker 2: and you really need to get creative talent on a 119 00:06:46,760 --> 00:06:50,720 Speaker 2: movie this risky, to kind of buy in a little 120 00:06:50,720 --> 00:06:53,400 Speaker 2: bit more and maybe defer more of their salary. And 121 00:06:53,600 --> 00:06:57,080 Speaker 2: I also just feel that, I mean, to be quite honest, 122 00:06:57,480 --> 00:06:59,800 Speaker 2: I thought this was one of the worst major studio 123 00:06:59,800 --> 00:07:03,040 Speaker 2: movie I've ever seen. It is a complete mess. It's 124 00:07:03,120 --> 00:07:06,920 Speaker 2: kind of an astonishing disaster in my opinion, just purely 125 00:07:06,960 --> 00:07:08,360 Speaker 2: looking at the timing of it. 126 00:07:08,520 --> 00:07:13,200 Speaker 1: Given that Guillermo del Toro has really triumphed in a 127 00:07:13,280 --> 00:07:16,160 Speaker 1: creative sense, it maybe didn't have the kind of impact 128 00:07:16,280 --> 00:07:20,240 Speaker 1: that a big theatrical release would have for Frankenstein on Netflix, 129 00:07:20,280 --> 00:07:23,200 Speaker 1: but nonetheless, especially in the creative community, it was seen 130 00:07:23,280 --> 00:07:26,080 Speaker 1: as a as a high water mark for him, and 131 00:07:26,160 --> 00:07:29,120 Speaker 1: I think that anything that perhaps wasn't just flat out 132 00:07:29,240 --> 00:07:32,160 Speaker 1: farce and a real spoof that would not cost nearly 133 00:07:32,240 --> 00:07:36,240 Speaker 1: ninety million dollars is going to pay by comparisons. 134 00:07:35,560 --> 00:07:37,520 Speaker 2: I think they knew what they had on their hands, 135 00:07:37,560 --> 00:07:40,040 Speaker 2: and I think they moved the film frankly to have 136 00:07:40,080 --> 00:07:43,239 Speaker 2: a better twenty twenty five. You know that's smart. Studios 137 00:07:43,240 --> 00:07:43,920 Speaker 2: do this all the time. 138 00:07:44,000 --> 00:07:46,800 Speaker 1: Let's talk about hoppers I'm sure you hear it from 139 00:07:46,800 --> 00:07:49,520 Speaker 1: producers a lot too, like there is a concern at 140 00:07:49,520 --> 00:07:52,640 Speaker 1: what point do we run out of things to remake, 141 00:07:52,760 --> 00:07:57,200 Speaker 1: so something wholly original that the little furry creatures were 142 00:07:57,360 --> 00:07:59,880 Speaker 1: awfully adorable, and also the kind of things that you 143 00:07:59,880 --> 00:08:03,840 Speaker 1: can see plush toys selling. So if this really takes 144 00:08:03,920 --> 00:08:07,520 Speaker 1: root for Disney, the potential in merchandising and even off 145 00:08:07,560 --> 00:08:10,960 Speaker 1: screen profit potential is huge. I'm sure they are quite 146 00:08:11,000 --> 00:08:14,200 Speaker 1: excited to see this open decently. I guess by Pixar standard, 147 00:08:14,280 --> 00:08:17,280 Speaker 1: it's not off the charts, but for holy original property 148 00:08:17,360 --> 00:08:19,720 Speaker 1: in this day and age, it's They're pretty encouraged. 149 00:08:19,800 --> 00:08:21,560 Speaker 2: You would say, oh, I think this is a pretty 150 00:08:21,680 --> 00:08:24,560 Speaker 2: pretty good result for them. It's not Zotopia two numbers, 151 00:08:24,600 --> 00:08:28,960 Speaker 2: but this is showing support for this brand. Also, the 152 00:08:28,960 --> 00:08:32,080 Speaker 2: thing about family films is they tend to stick around. 153 00:08:32,160 --> 00:08:35,240 Speaker 2: They have really good multiples, so despite the fact they 154 00:08:35,240 --> 00:08:38,839 Speaker 2: don't always open as large, they really can have great, 155 00:08:38,920 --> 00:08:41,960 Speaker 2: strong second and third weekends. And I feel like the 156 00:08:42,440 --> 00:08:44,400 Speaker 2: word of mouth here is going to help. And I 157 00:08:44,520 --> 00:08:46,960 Speaker 2: think just as you said, like, if this could be 158 00:08:47,000 --> 00:08:50,480 Speaker 2: another franchise for Pixar, that would be extremely important because 159 00:08:50,720 --> 00:08:52,640 Speaker 2: there's only so many times you can kind of go 160 00:08:52,720 --> 00:08:56,320 Speaker 2: back to the well with your franchises. So I think 161 00:08:56,360 --> 00:08:59,800 Speaker 2: they are feeling very confident, and I think they were concerned. 162 00:09:00,160 --> 00:09:02,520 Speaker 2: I think when we did a story on Josh Tomorrow, 163 00:09:02,600 --> 00:09:05,120 Speaker 2: I talked to some people at the studio and privately 164 00:09:05,160 --> 00:09:07,800 Speaker 2: they were saying, you know, Hoppers is great, but it's 165 00:09:07,840 --> 00:09:10,440 Speaker 2: a risk. Original films are a risk. So I think 166 00:09:10,440 --> 00:09:12,480 Speaker 2: they are breathing a huge cyber relief right now. 167 00:09:12,600 --> 00:09:14,520 Speaker 1: It really is stark when you point out that the 168 00:09:14,600 --> 00:09:18,000 Speaker 1: last wholly original property was Coco in twenty seventeen. That's 169 00:09:18,000 --> 00:09:21,120 Speaker 1: almost ten years ago. Just to button up this weekend 170 00:09:21,840 --> 00:09:24,920 Speaker 1: to your point about the box office giveth and take 171 00:09:24,960 --> 00:09:28,439 Speaker 1: it away, it was definitely taketh away time for Scream 172 00:09:28,600 --> 00:09:32,560 Speaker 1: seven had a great opening led last week, but it 173 00:09:32,679 --> 00:09:35,959 Speaker 1: was a steep drop of seventy four percent, as Rebecca 174 00:09:36,000 --> 00:09:39,640 Speaker 1: Rubin reported. But nonetheless, I think it did its job 175 00:09:39,720 --> 00:09:44,000 Speaker 1: in opening weekend and probably got people watching the other 176 00:09:44,080 --> 00:09:45,559 Speaker 1: previous six where they could. 177 00:09:45,760 --> 00:09:48,000 Speaker 2: Yes, absolutely think it coasts about half of what the 178 00:09:48,000 --> 00:09:52,360 Speaker 2: Bride cost. And our films traditionally are very front loaded. 179 00:09:52,400 --> 00:09:55,560 Speaker 2: They're the opposite of family films. They really make a 180 00:09:55,640 --> 00:09:59,240 Speaker 2: disproportionate amount of their money on opening weekend. That'll be 181 00:09:59,280 --> 00:10:03,079 Speaker 2: a very profitable film for Paramount, And unsurprisingly, they're apparently 182 00:10:03,120 --> 00:10:06,319 Speaker 2: already developing a Scream eight, so they're okay. 183 00:10:06,080 --> 00:10:09,120 Speaker 1: With the drop. Let me close out, Brent by asking you, 184 00:10:09,160 --> 00:10:12,959 Speaker 1: what are you looking forward to coming to the multiplexes. 185 00:10:13,240 --> 00:10:16,080 Speaker 1: I will volunteer that I went to see Elvis Presley 186 00:10:16,120 --> 00:10:19,600 Speaker 1: in concert last night thoroughly enjoyed it. Total kudos to 187 00:10:19,640 --> 00:10:22,080 Speaker 1: Baz Luhrman. I saw a whole bunch of trailers. The 188 00:10:22,080 --> 00:10:24,320 Speaker 1: trailer for The Odyssey, by far was the one that 189 00:10:24,440 --> 00:10:27,560 Speaker 1: was like, Okay, Bookmark, we're making a date. What about you? 190 00:10:27,760 --> 00:10:29,520 Speaker 2: I mean, I totally agree with you. I think The 191 00:10:29,559 --> 00:10:32,760 Speaker 2: Odyssey looks like the reason you go to the movies, 192 00:10:33,120 --> 00:10:36,080 Speaker 2: the other film that it can plug. I was able 193 00:10:36,120 --> 00:10:39,000 Speaker 2: to see Project Hail Mary, and I think people are 194 00:10:39,000 --> 00:10:42,280 Speaker 2: going to really dig that. It's a very fun film, 195 00:10:42,360 --> 00:10:45,120 Speaker 2: a little bit long, but a really great central performance 196 00:10:45,160 --> 00:10:47,960 Speaker 2: by Ryan Gosling, and it's just sort of demands to 197 00:10:47,960 --> 00:10:48,440 Speaker 2: be seen on. 198 00:10:48,440 --> 00:10:51,200 Speaker 1: A big screen. That sounds good. Brent, Thank you so much. 199 00:10:51,280 --> 00:10:52,520 Speaker 2: It's always fun to talk to you. 200 00:10:52,640 --> 00:11:07,040 Speaker 1: Thanks And now we're stepping into the wayback machine for 201 00:11:07,120 --> 00:11:09,880 Speaker 1: the fun of turning back the clock fifty years to 202 00:11:09,920 --> 00:11:12,880 Speaker 1: see what was going on in our business on March ninth, 203 00:11:13,000 --> 00:11:17,319 Speaker 1: nineteen seventy six. What's the point of Variety being an amazing, 204 00:11:17,559 --> 00:11:22,400 Speaker 1: irreplicable and encyclopedic chronicle of entertainment and media if you 205 00:11:22,520 --> 00:11:25,200 Speaker 1: never take the time to dive back into the past 206 00:11:25,600 --> 00:11:28,400 Speaker 1: to look at how it informs the future. In this 207 00:11:28,559 --> 00:11:31,840 Speaker 1: Vintage Variety segment, we'll also look at a few things 208 00:11:32,040 --> 00:11:36,679 Speaker 1: that never did happen, but we're definitely being considered and attempted. 209 00:11:36,920 --> 00:11:39,360 Speaker 1: The stories of the movies and TV shows that got 210 00:11:39,400 --> 00:11:42,480 Speaker 1: away are also one of the many things that only 211 00:11:42,559 --> 00:11:46,199 Speaker 1: the Variety Archives can bring you. So here we go, Tuesday, 212 00:11:46,280 --> 00:11:50,400 Speaker 1: March ninth, nineteen seventy six. Our Banner story is about 213 00:11:50,440 --> 00:11:54,200 Speaker 1: a legal fight between New York City theater owners over 214 00:11:54,360 --> 00:11:58,840 Speaker 1: exclusive bookings of movies. The Walter Reed Organization filed suit 215 00:11:58,920 --> 00:12:03,319 Speaker 1: against rival exhibit Are Cinema five and Warner Brothers over 216 00:12:03,400 --> 00:12:07,199 Speaker 1: what Walter Reid claimed was Warner brothers decision to renege 217 00:12:07,240 --> 00:12:10,800 Speaker 1: on a deal to exclusively license the re release of 218 00:12:10,920 --> 00:12:15,720 Speaker 1: mel Brooks's Blazing Saddles to Reid's theater on thirty fourth Street. 219 00:12:15,960 --> 00:12:19,520 Speaker 1: The suit claims that, under pressure, Warner Brothers decided to 220 00:12:19,520 --> 00:12:22,680 Speaker 1: give it to Cinema Five's theater on fifty seventh Street. 221 00:12:22,800 --> 00:12:26,000 Speaker 1: All of this activity over films playing in a handful 222 00:12:26,080 --> 00:12:28,679 Speaker 1: of New York theaters, it just goes to show the 223 00:12:28,679 --> 00:12:32,520 Speaker 1: primacy and the importance of the exhibition window. In this time, 224 00:12:33,000 --> 00:12:35,800 Speaker 1: it was really the only window for a few years 225 00:12:35,960 --> 00:12:39,000 Speaker 1: until a movie would make it to broadcast television. The 226 00:12:39,040 --> 00:12:42,880 Speaker 1: Walter Reed organization in its lawsuit also noted that Warner 227 00:12:42,920 --> 00:12:47,240 Speaker 1: Brothers was putting onerous terms on exhibitors for the revenue 228 00:12:47,280 --> 00:12:51,080 Speaker 1: split on its buzzy Al Pacino drama Dog Day Afternoon. 229 00:12:51,200 --> 00:12:53,960 Speaker 1: Our box office coverage a few pages later in this 230 00:12:54,120 --> 00:12:58,000 Speaker 1: issue demonstrates just how many movie theaters there used to 231 00:12:58,040 --> 00:13:01,640 Speaker 1: be in New York City boards of eighty by this 232 00:13:01,800 --> 00:13:04,520 Speaker 1: story's count. The other page one story that is a 233 00:13:04,559 --> 00:13:08,559 Speaker 1: sign of the times is an effort to modernize theater listings. 234 00:13:09,000 --> 00:13:13,360 Speaker 1: A company called Theater Information Systems was desperately trying to 235 00:13:13,400 --> 00:13:16,720 Speaker 1: sign up studios to pay for its telephone service that 236 00:13:16,760 --> 00:13:20,160 Speaker 1: would inform callers in the LA area where they can 237 00:13:20,240 --> 00:13:24,120 Speaker 1: find specific movies. The phone number was area code two 238 00:13:24,200 --> 00:13:31,280 Speaker 1: one three t h EA. Tr Live operators would guide 239 00:13:31,400 --> 00:13:34,800 Speaker 1: callers to the closest movie theater to their location for 240 00:13:34,920 --> 00:13:39,360 Speaker 1: specific titles. We note that Theater Information Systems founder Alan 241 00:13:39,480 --> 00:13:43,240 Speaker 1: Mostow had been working for four years just to convince 242 00:13:43,360 --> 00:13:46,160 Speaker 1: enough distributors to sign up just to do a test. 243 00:13:46,400 --> 00:13:50,080 Speaker 1: On this day, Variety reported that American International Pictures had 244 00:13:50,120 --> 00:13:53,600 Speaker 1: agreed to do so for its latest release, The Devil 245 00:13:53,640 --> 00:13:56,720 Speaker 1: Within Her. As we turned to page two, there's a 246 00:13:56,800 --> 00:13:59,440 Speaker 1: ton of action going on in Army Archards just for 247 00:13:59,520 --> 00:14:03,200 Speaker 1: Variety Cold Michael Douglas and Jack Nicholson are just coming 248 00:14:03,240 --> 00:14:07,200 Speaker 1: off a grueling international press tour for One Flew over 249 00:14:07,240 --> 00:14:10,160 Speaker 1: the Cuckoo's Nest, a movie that is destined to sweep 250 00:14:10,200 --> 00:14:12,840 Speaker 1: the Oscars in a couple of weeks. Nicholson talked to 251 00:14:12,960 --> 00:14:16,200 Speaker 1: Army about the wild press conferences in Europe, and he 252 00:14:16,320 --> 00:14:19,680 Speaker 1: noted that the Italian reporters were the most lively. Here's 253 00:14:19,720 --> 00:14:23,480 Speaker 1: a quote that you can absolutely hear Nicholson delivering. But 254 00:14:23,600 --> 00:14:28,080 Speaker 1: I'm a genius at encountering the Marxist dialectic. Nicholson told 255 00:14:28,280 --> 00:14:31,200 Speaker 1: Army his next effort was going to be to direct 256 00:14:31,280 --> 00:14:37,200 Speaker 1: a Western called Moontrop for UAMGM. That movie never happened. 257 00:14:37,720 --> 00:14:41,000 Speaker 1: A few grafts. Below, Robert Altman is talking to Army 258 00:14:41,040 --> 00:14:44,960 Speaker 1: about coming off the Rush that was Nashville, his landmark, 259 00:14:45,000 --> 00:14:49,480 Speaker 1: critically beloved movie that really cemented his reputation. Altman tells 260 00:14:49,600 --> 00:14:53,440 Speaker 1: Army that his next priorities include directing an adaptation of 261 00:14:53,560 --> 00:14:57,960 Speaker 1: Kurt Vonnegut's novel Breakfast of Champions and an adaptation of 262 00:14:58,000 --> 00:15:01,680 Speaker 1: the great El doctor O novel Time. Neither movie came 263 00:15:01,720 --> 00:15:04,600 Speaker 1: to fruition with Altman, But you know who did bring 264 00:15:04,720 --> 00:15:08,240 Speaker 1: Ragtime to the screen to great acclaim in nineteen eighty one, 265 00:15:08,520 --> 00:15:12,000 Speaker 1: director Milos Foreman. That's who. And he just happened to 266 00:15:12,080 --> 00:15:15,360 Speaker 1: direct One Flew Over the Cuckoo's Nest. You can't make 267 00:15:15,400 --> 00:15:18,160 Speaker 1: this stuff up, folks. Some fun other tidbits from the 268 00:15:18,200 --> 00:15:21,320 Speaker 1: rest of the issue. Ruth Engelhardt has been promoted to 269 00:15:21,440 --> 00:15:25,280 Speaker 1: full agent at William Morris Agency. If you know, you know, 270 00:15:26,000 --> 00:15:29,560 Speaker 1: Ruth wrote the book on TV packaging, Doing there All 271 00:15:29,640 --> 00:15:32,200 Speaker 1: for the Home. No less of a motley crew than 272 00:15:32,320 --> 00:15:36,360 Speaker 1: Burt Bacharack, Pat Boone and Clint Eastwood will take part 273 00:15:36,440 --> 00:15:41,280 Speaker 1: in the seventh annual Le Club International Pro Celebrity Tennis 274 00:15:41,280 --> 00:15:45,360 Speaker 1: Classic benefit for the Motion Picture Television Fund Home in 275 00:15:45,520 --> 00:15:48,920 Speaker 1: Fort Lauderdale, Florida, from March twenty fifth through twenty eighth. 276 00:15:49,080 --> 00:15:52,480 Speaker 1: Can you imagine stars of that caliber doing that today. 277 00:15:52,720 --> 00:15:56,160 Speaker 1: Linda Ronstadt did two benefits at the Troubadour this month 278 00:15:56,240 --> 00:15:59,760 Speaker 1: in support of a state proposition to put more restrictions 279 00:15:59,760 --> 00:16:04,080 Speaker 1: around the development of nuclear power in California. The proposition 280 00:16:04,200 --> 00:16:08,320 Speaker 1: did not pass, but undoubtedly Linda put on great shows. 281 00:16:08,400 --> 00:16:12,400 Speaker 1: Looking into the classifieds of this issue, Disneyland was recruiting 282 00:16:12,440 --> 00:16:15,200 Speaker 1: sound and lighting pros to work on various events at 283 00:16:15,200 --> 00:16:18,320 Speaker 1: the park, and the Whiskey Nightclub on Sunset Boulevard was 284 00:16:18,400 --> 00:16:21,520 Speaker 1: hiring waitresses from one to three pm on this day. 285 00:16:21,640 --> 00:16:25,280 Speaker 1: This was advertised in a tiny little box ad on 286 00:16:25,280 --> 00:16:28,560 Speaker 1: one of the back pages. They really counted on people 287 00:16:28,600 --> 00:16:31,800 Speaker 1: reading Variety cover to cover and early in the morning 288 00:16:31,880 --> 00:16:34,920 Speaker 1: back then, thanks for joining me for a vintage Variety 289 00:16:34,960 --> 00:16:42,840 Speaker 1: trek through the wayback machine. As we close out today's episode, 290 00:16:43,080 --> 00:16:45,720 Speaker 1: here's a few things we're watching for. It's gonna be 291 00:16:45,760 --> 00:16:49,920 Speaker 1: a big week. South by Southwest begins on Thursday, March twelfth. 292 00:16:50,240 --> 00:16:54,520 Speaker 1: The Oscars arrive at Long Last on Sunday, March fifteenth. 293 00:16:54,800 --> 00:16:57,480 Speaker 1: We'll have feet on the ground at both events and 294 00:16:57,680 --> 00:17:01,040 Speaker 1: much more to come. Elana Glazer's launching a stand up tour. 295 00:17:01,560 --> 00:17:05,040 Speaker 1: She'll play twenty seven dates, starting May six and Vancouver 296 00:17:05,359 --> 00:17:08,919 Speaker 1: and ending August nineteenth in Portland, Maine. She has some 297 00:17:09,119 --> 00:17:12,360 Speaker 1: UK and European dates scattered in between. If you need 298 00:17:12,400 --> 00:17:15,760 Speaker 1: a little more Plinko in your life, Samsung tv plus 299 00:17:15,800 --> 00:17:19,280 Speaker 1: has you covered. Samsung tv Plus is launching a streaming 300 00:17:19,359 --> 00:17:23,399 Speaker 1: channel featuring episodes of The Prices right from Bob Barker's 301 00:17:23,480 --> 00:17:26,920 Speaker 1: proud thirty five year run as host. Come on down 302 00:17:27,119 --> 00:17:29,520 Speaker 1: and don't forget to spay or newt your pet. We 303 00:17:29,640 --> 00:17:33,040 Speaker 1: love to hear from our listeners, so please send thoughts, scripes, 304 00:17:33,080 --> 00:17:36,879 Speaker 1: and other feedback about Daily Variety to podcasts at Variety 305 00:17:36,960 --> 00:17:40,720 Speaker 1: dot com. Before we go, congrats to River Gallo. They 306 00:17:40,760 --> 00:17:44,000 Speaker 1: are a writer, actor and creator who has just signed 307 00:17:44,000 --> 00:17:47,800 Speaker 1: a first look deal with Fox Entertainment Studios for scripted 308 00:17:47,880 --> 00:17:51,639 Speaker 1: TV and movie projects. Gallo is behind the twenty twenty 309 00:17:51,640 --> 00:17:55,919 Speaker 1: four Sundance Film Festival entry, pony Boy, and other projects. 310 00:17:56,040 --> 00:17:59,240 Speaker 1: Thanks for listening. This episode was written and reported by 311 00:17:59,280 --> 00:18:03,080 Speaker 1: me Cynthia Lyttleton, with contributions from Brent Lang and the 312 00:18:03,160 --> 00:18:08,280 Speaker 1: Variety editorial staff of nineteen seventy six stick Snick's hick Picks. 313 00:18:08,400 --> 00:18:11,000 Speaker 1: Please leave us a review at the podcast platform of 314 00:18:11,040 --> 00:18:14,240 Speaker 1: your choice, and please tune in tomorrow for another episode 315 00:18:14,280 --> 00:18:15,160 Speaker 1: of Daily Variety.