WEBVTT - Daily Variety -- 'Hoppers' Tops the Box Office While 'The Bride' Gets Jilted

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<v Speaker 1>Welcome to Daily Variety, your daily dose of news and

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<v Speaker 1>analysis for entertainment industry insiders. It's Monday, March ninth, twenty

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<v Speaker 1>twenty six. I'm your host, Cynthia Littleton. I am co

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<v Speaker 1>editor in chief of Variety alongside Ramin Setuda. I'm in

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<v Speaker 1>La He's in New York, and Variety has reporters around

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<v Speaker 1>the world covering the business of entertainment. In today's episode,

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<v Speaker 1>in our box office segment, we'll hear from Variety's Brent

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<v Speaker 1>Lang on what the weekend brought for Pixar. The imprint

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<v Speaker 1>looks to have launched its first big original property since

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<v Speaker 1>Coco back in twenty seventeen. And then I go into

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<v Speaker 1>the wayback machine to look at a Daily Variety front

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<v Speaker 1>page from fifty years ago today March ninth, nineteen seventy six.

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<v Speaker 1>I'm always looking for the parallels to contemporary times, and

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<v Speaker 1>they are not hard to find. There was so much

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<v Speaker 1>cool stuff going on in that bicentennial year. Fans of

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<v Speaker 1>Jack Nicholson, Robert Altman, Linda Ronstadt and Ruth Engelhardt should

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<v Speaker 1>stay tuned. But before we get to all of that,

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<v Speaker 1>here are a few headlines just in this morning that

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<v Speaker 1>you need to Know. Paramount Skuidance president Jeff Shell is

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<v Speaker 1>facing a fifty million dollar lawsuit from a self styled

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<v Speaker 1>whistleblower who claims that Shell renegged on an agreement to

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<v Speaker 1>have Paramount produce a TV show with him. Plaintiff R. J.

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<v Speaker 1>Cipriani also claims he's owed for crisis pr services that

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<v Speaker 1>he offered to Shell, who left his job as CEO

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<v Speaker 1>of NBC Universal in twenty twenty three after admitting to

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<v Speaker 1>having an intimate relationship with a subordinate. Live Nation has

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<v Speaker 1>reached a settlement in its antitrust fight with the Department

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<v Speaker 1>of Justice. The Biden administration had been pressuring the concert

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<v Speaker 1>promotion and ticketing giant to split off its ticketmaster division

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<v Speaker 1>from the concert promotion arm. Live Nation has reportedly agreed

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<v Speaker 1>to make structural changes to its business and to pay

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<v Speaker 1>two hundred and eighty million in damages to various states. However,

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<v Speaker 1>my colleague jem Oswad reports that litigation goes on in

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<v Speaker 1>twenty seven states, including New York and California. AMC Network

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<v Speaker 1>has renewed The Audacity for season two one month before

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<v Speaker 1>the series premiere. The show stars Billy Magnuson and Simon

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<v Speaker 1>Helberg in a drama wrapped around the outsized personalities among

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<v Speaker 1>Silicon Valley tech leaders and hopefuls. The series will get

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<v Speaker 1>a sneak peek on Saturday at the south By Southwest

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<v Speaker 1>Festival in Austin, Texas. Good for You, Drew Threw Barrymore

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<v Speaker 1>Show has been renewed for two more seasons by CBS

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<v Speaker 1>season seven and eight. That's a feat for a syndicated

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<v Speaker 1>talk show in this daytime TV marketplace. All of these

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<v Speaker 1>stories and so much more can be found on Variety

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<v Speaker 1>dot com right now and now it's time for conversations

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<v Speaker 1>with Variety journalists about news and trends and show business.

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<v Speaker 1>Brent Lang, Variety's executive editor, joins us to unpack what

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<v Speaker 1>went wrong for Warner Brothers The Bride and what went

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<v Speaker 1>right for Disney Pixar's Hopper. As Lang explains, The Bride

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<v Speaker 1>hails from director Maggie Jillen Hall and features stars Christian

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<v Speaker 1>Bale and Jesse Buckley, but it is turning out to

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<v Speaker 1>be a pretty epic misfire. Brent Lang, thank you so

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<v Speaker 1>much for joining me to talk about the box office.

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<v Speaker 2>Thanks for having me.

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<v Speaker 1>Well, it seemed like it was a good weekend for

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<v Speaker 1>furry creatures from Pixar, and not such a good weekend

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<v Speaker 1>for a reimagining from the great Maggie Jillen Hall pop

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<v Speaker 1>line Brent, what happened this weekend?

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<v Speaker 2>And I think it just really shows you that the

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<v Speaker 2>box office giveth and it taketh away. In the case

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<v Speaker 2>of Hoppers, you had a really great performance from the

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<v Speaker 2>Disney film, and I think there were some concerns that

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<v Speaker 2>it wouldn't do as well because it's been about a

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<v Speaker 2>decade since Pixar has had an original movie. Coco was

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<v Speaker 2>the last one that really took off. But actually Hoppers,

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<v Speaker 2>which had some great reviews. I think it was like

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<v Speaker 2>ninety six ninety seven percent fresh on Rotten Tomatoes, open

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<v Speaker 2>to forty six million in the US and Canada, and

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<v Speaker 2>then it went internationally at eighty eight million, and I

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<v Speaker 2>think some people within the industry privately are predicting that

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<v Speaker 2>it could make upwards of five hundred million dollars, which

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<v Speaker 2>would be a really fantastic result for Pixar and a

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<v Speaker 2>big shot in the arm because it means that this

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<v Speaker 2>is potentially another franchise. Pixar has had a lot of

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<v Speaker 2>success with sequels to things like Inside Out, and Toy

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<v Speaker 2>Story not as much success in launching original properties. But

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<v Speaker 2>then on the other end of the ledger, you had

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<v Speaker 2>The Bride, which is an unmitigated disaster. I would say

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<v Speaker 2>it's the year's first really big bomb. It cost about

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<v Speaker 2>ninety million dollars, It endured about two different rounds of reshoots,

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<v Speaker 2>and the film itself wasn't excoriated by critics, but it

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<v Speaker 2>was not. It didn't get the kind of reviews that

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<v Speaker 2>really got people in there. And it is very offbeat.

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<v Speaker 2>It's really a genre mashups. It's kind of a crime film,

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<v Speaker 2>it's kind of a horror film, it's kind of a comedy,

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<v Speaker 2>it is kind of a musical. It's kind of a

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<v Speaker 2>lot of different genres, and that's very hard to sell.

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<v Speaker 2>It's very hard to market something like that. And it

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<v Speaker 2>did have some big stars in Jesse Buckley and Christian

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<v Speaker 2>Bale and Maggie Jillenhall really impressed with her last film,

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<v Speaker 2>The Lost Daughter, but I think she just couldn't kind

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<v Speaker 2>of crack the code here. And this film made only

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<v Speaker 2>seven million dollars in the US and Canada, and I

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<v Speaker 2>think about thirteen million now going into the weekend. Warner

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<v Speaker 2>Brothers had predicted that the film was going to make

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<v Speaker 2>about sixteen million dollars domestic, sixteen to eighteen million dollars

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<v Speaker 2>and about forty million and change internationally. So their projections

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<v Speaker 2>were wildly off.

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<v Speaker 1>What do you think gave them the faith that it

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<v Speaker 1>would do so well internationally?

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<v Speaker 2>I think it maybe had to do with a sense

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<v Speaker 2>that Bail has a big international following, and maybe in

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<v Speaker 2>places like the Buckley is a bigger name. I think

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<v Speaker 2>that always seemed a little optimistic. I do think that

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<v Speaker 2>Warner Brothers kind of knew they had a bomb here

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<v Speaker 2>for a while. They moved this movie out of last year.

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<v Speaker 2>It was supposed to originally open in the fall, and

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<v Speaker 2>they moved it into March. It had a kind of

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<v Speaker 2>a stink on it for a while.

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<v Speaker 1>Warner Brothers was humble in their statement and noting that

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<v Speaker 1>they have had an incredible success of number one openings.

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<v Speaker 1>This is not that weekend.

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<v Speaker 2>I always think about something that Sony's Tom Rothman said,

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<v Speaker 2>which is I'm paraphrasing, but basically that you should be

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<v Speaker 2>creatively bold but financially conservative. And I think there really

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<v Speaker 2>was no reason for this film to cost ninety million dollars.

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<v Speaker 2>I'm assuming everybody kind of got their full faire here,

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<v Speaker 2>and you really need to get creative talent on a

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<v Speaker 2>movie this risky, to kind of buy in a little

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<v Speaker 2>bit more and maybe defer more of their salary. And

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<v Speaker 2>I also just feel that, I mean, to be quite honest,

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<v Speaker 2>I thought this was one of the worst major studio

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<v Speaker 2>movie I've ever seen. It is a complete mess. It's

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<v Speaker 2>kind of an astonishing disaster in my opinion, just purely

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<v Speaker 2>looking at the timing of it.

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<v Speaker 1>Given that Guillermo del Toro has really triumphed in a

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<v Speaker 1>creative sense, it maybe didn't have the kind of impact

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<v Speaker 1>that a big theatrical release would have for Frankenstein on Netflix,

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<v Speaker 1>but nonetheless, especially in the creative community, it was seen

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<v Speaker 1>as a as a high water mark for him, and

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<v Speaker 1>I think that anything that perhaps wasn't just flat out

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<v Speaker 1>farce and a real spoof that would not cost nearly

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<v Speaker 1>ninety million dollars is going to pay by comparisons.

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<v Speaker 2>I think they knew what they had on their hands,

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<v Speaker 2>and I think they moved the film frankly to have

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<v Speaker 2>a better twenty twenty five. You know that's smart. Studios

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<v Speaker 2>do this all the time.

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<v Speaker 1>Let's talk about hoppers I'm sure you hear it from

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<v Speaker 1>producers a lot too, like there is a concern at

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<v Speaker 1>what point do we run out of things to remake,

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<v Speaker 1>so something wholly original that the little furry creatures were

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<v Speaker 1>awfully adorable, and also the kind of things that you

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<v Speaker 1>can see plush toys selling. So if this really takes

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<v Speaker 1>root for Disney, the potential in merchandising and even off

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<v Speaker 1>screen profit potential is huge. I'm sure they are quite

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<v Speaker 1>excited to see this open decently. I guess by Pixar standard,

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<v Speaker 1>it's not off the charts, but for holy original property

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<v Speaker 1>in this day and age, it's They're pretty encouraged.

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<v Speaker 2>You would say, oh, I think this is a pretty

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<v Speaker 2>pretty good result for them. It's not Zotopia two numbers,

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<v Speaker 2>but this is showing support for this brand. Also, the

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<v Speaker 2>thing about family films is they tend to stick around.

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<v Speaker 2>They have really good multiples, so despite the fact they

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<v Speaker 2>don't always open as large, they really can have great,

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<v Speaker 2>strong second and third weekends. And I feel like the

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<v Speaker 2>word of mouth here is going to help. And I

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<v Speaker 2>think just as you said, like, if this could be

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<v Speaker 2>another franchise for Pixar, that would be extremely important because

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<v Speaker 2>there's only so many times you can kind of go

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<v Speaker 2>back to the well with your franchises. So I think

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<v Speaker 2>they are feeling very confident, and I think they were concerned.

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<v Speaker 2>I think when we did a story on Josh Tomorrow,

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<v Speaker 2>I talked to some people at the studio and privately

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<v Speaker 2>they were saying, you know, Hoppers is great, but it's

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<v Speaker 2>a risk. Original films are a risk. So I think

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<v Speaker 2>they are breathing a huge cyber relief right now.

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<v Speaker 1>It really is stark when you point out that the

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<v Speaker 1>last wholly original property was Coco in twenty seventeen. That's

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<v Speaker 1>almost ten years ago. Just to button up this weekend

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<v Speaker 1>to your point about the box office giveth and take

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<v Speaker 1>it away, it was definitely taketh away time for Scream

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<v Speaker 1>seven had a great opening led last week, but it

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<v Speaker 1>was a steep drop of seventy four percent, as Rebecca

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<v Speaker 1>Rubin reported. But nonetheless, I think it did its job

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<v Speaker 1>in opening weekend and probably got people watching the other

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<v Speaker 1>previous six where they could.

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<v Speaker 2>Yes, absolutely think it coasts about half of what the

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<v Speaker 2>Bride cost. And our films traditionally are very front loaded.

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<v Speaker 2>They're the opposite of family films. They really make a

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<v Speaker 2>disproportionate amount of their money on opening weekend. That'll be

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<v Speaker 2>a very profitable film for Paramount, And unsurprisingly, they're apparently

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<v Speaker 2>already developing a Scream eight, so they're okay.

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<v Speaker 1>With the drop. Let me close out, Brent by asking you,

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<v Speaker 1>what are you looking forward to coming to the multiplexes.

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<v Speaker 1>I will volunteer that I went to see Elvis Presley

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<v Speaker 1>in concert last night thoroughly enjoyed it. Total kudos to

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<v Speaker 1>Baz Luhrman. I saw a whole bunch of trailers. The

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<v Speaker 1>trailer for The Odyssey, by far was the one that

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<v Speaker 1>was like, Okay, Bookmark, we're making a date. What about you?

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<v Speaker 2>I mean, I totally agree with you. I think The

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<v Speaker 2>Odyssey looks like the reason you go to the movies,

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<v Speaker 2>the other film that it can plug. I was able

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<v Speaker 2>to see Project Hail Mary, and I think people are

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<v Speaker 2>going to really dig that. It's a very fun film,

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<v Speaker 2>a little bit long, but a really great central performance

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<v Speaker 2>by Ryan Gosling, and it's just sort of demands to

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<v Speaker 2>be seen on.

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<v Speaker 1>A big screen. That sounds good. Brent, Thank you so much.

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<v Speaker 2>It's always fun to talk to you.

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<v Speaker 1>Thanks And now we're stepping into the wayback machine for

0:11:07.120 --> 0:11:09.880
<v Speaker 1>the fun of turning back the clock fifty years to

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<v Speaker 1>see what was going on in our business on March ninth,

0:11:13.000 --> 0:11:17.319
<v Speaker 1>nineteen seventy six. What's the point of Variety being an amazing,

0:11:17.559 --> 0:11:22.400
<v Speaker 1>irreplicable and encyclopedic chronicle of entertainment and media if you

0:11:22.520 --> 0:11:25.200
<v Speaker 1>never take the time to dive back into the past

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<v Speaker 1>to look at how it informs the future. In this

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<v Speaker 1>Vintage Variety segment, we'll also look at a few things

0:11:32.040 --> 0:11:36.679
<v Speaker 1>that never did happen, but we're definitely being considered and attempted.

0:11:36.920 --> 0:11:39.360
<v Speaker 1>The stories of the movies and TV shows that got

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<v Speaker 1>away are also one of the many things that only

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<v Speaker 1>the Variety Archives can bring you. So here we go, Tuesday,

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<v Speaker 1>March ninth, nineteen seventy six. Our Banner story is about

0:11:50.440 --> 0:11:54.200
<v Speaker 1>a legal fight between New York City theater owners over

0:11:54.360 --> 0:11:58.840
<v Speaker 1>exclusive bookings of movies. The Walter Reed Organization filed suit

0:11:58.920 --> 0:12:03.319
<v Speaker 1>against rival exhibit Are Cinema five and Warner Brothers over

0:12:03.400 --> 0:12:07.199
<v Speaker 1>what Walter Reid claimed was Warner brothers decision to renege

0:12:07.240 --> 0:12:10.800
<v Speaker 1>on a deal to exclusively license the re release of

0:12:10.920 --> 0:12:15.720
<v Speaker 1>mel Brooks's Blazing Saddles to Reid's theater on thirty fourth Street.

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<v Speaker 1>The suit claims that, under pressure, Warner Brothers decided to

0:12:19.520 --> 0:12:22.680
<v Speaker 1>give it to Cinema Five's theater on fifty seventh Street.

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<v Speaker 1>All of this activity over films playing in a handful

0:12:26.080 --> 0:12:28.679
<v Speaker 1>of New York theaters, it just goes to show the

0:12:28.679 --> 0:12:32.520
<v Speaker 1>primacy and the importance of the exhibition window. In this time,

0:12:33.000 --> 0:12:35.800
<v Speaker 1>it was really the only window for a few years

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<v Speaker 1>until a movie would make it to broadcast television. The

0:12:39.040 --> 0:12:42.880
<v Speaker 1>Walter Reed organization in its lawsuit also noted that Warner

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<v Speaker 1>Brothers was putting onerous terms on exhibitors for the revenue

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<v Speaker 1>split on its buzzy Al Pacino drama Dog Day Afternoon.

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<v Speaker 1>Our box office coverage a few pages later in this

0:12:54.120 --> 0:12:58.000
<v Speaker 1>issue demonstrates just how many movie theaters there used to

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<v Speaker 1>be in New York City boards of eighty by this

0:13:01.800 --> 0:13:04.520
<v Speaker 1>story's count. The other page one story that is a

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<v Speaker 1>sign of the times is an effort to modernize theater listings.

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<v Speaker 1>A company called Theater Information Systems was desperately trying to

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<v Speaker 1>sign up studios to pay for its telephone service that

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<v Speaker 1>would inform callers in the LA area where they can

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<v Speaker 1>find specific movies. The phone number was area code two

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<v Speaker 1>one three t h EA. Tr Live operators would guide

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<v Speaker 1>callers to the closest movie theater to their location for

0:13:34.920 --> 0:13:39.360
<v Speaker 1>specific titles. We note that Theater Information Systems founder Alan

0:13:39.480 --> 0:13:43.240
<v Speaker 1>Mostow had been working for four years just to convince

0:13:43.360 --> 0:13:46.160
<v Speaker 1>enough distributors to sign up just to do a test.

0:13:46.400 --> 0:13:50.080
<v Speaker 1>On this day, Variety reported that American International Pictures had

0:13:50.120 --> 0:13:53.600
<v Speaker 1>agreed to do so for its latest release, The Devil

0:13:53.640 --> 0:13:56.720
<v Speaker 1>Within Her. As we turned to page two, there's a

0:13:56.800 --> 0:13:59.440
<v Speaker 1>ton of action going on in Army Archards just for

0:13:59.520 --> 0:14:03.200
<v Speaker 1>Variety Cold Michael Douglas and Jack Nicholson are just coming

0:14:03.240 --> 0:14:07.200
<v Speaker 1>off a grueling international press tour for One Flew over

0:14:07.240 --> 0:14:10.160
<v Speaker 1>the Cuckoo's Nest, a movie that is destined to sweep

0:14:10.200 --> 0:14:12.840
<v Speaker 1>the Oscars in a couple of weeks. Nicholson talked to

0:14:12.960 --> 0:14:16.200
<v Speaker 1>Army about the wild press conferences in Europe, and he

0:14:16.320 --> 0:14:19.680
<v Speaker 1>noted that the Italian reporters were the most lively. Here's

0:14:19.720 --> 0:14:23.480
<v Speaker 1>a quote that you can absolutely hear Nicholson delivering. But

0:14:23.600 --> 0:14:28.080
<v Speaker 1>I'm a genius at encountering the Marxist dialectic. Nicholson told

0:14:28.280 --> 0:14:31.200
<v Speaker 1>Army his next effort was going to be to direct

0:14:31.280 --> 0:14:37.200
<v Speaker 1>a Western called Moontrop for UAMGM. That movie never happened.

0:14:37.720 --> 0:14:41.000
<v Speaker 1>A few grafts. Below, Robert Altman is talking to Army

0:14:41.040 --> 0:14:44.960
<v Speaker 1>about coming off the Rush that was Nashville, his landmark,

0:14:45.000 --> 0:14:49.480
<v Speaker 1>critically beloved movie that really cemented his reputation. Altman tells

0:14:49.600 --> 0:14:53.440
<v Speaker 1>Army that his next priorities include directing an adaptation of

0:14:53.560 --> 0:14:57.960
<v Speaker 1>Kurt Vonnegut's novel Breakfast of Champions and an adaptation of

0:14:58.000 --> 0:15:01.680
<v Speaker 1>the great El doctor O novel Time. Neither movie came

0:15:01.720 --> 0:15:04.600
<v Speaker 1>to fruition with Altman, But you know who did bring

0:15:04.720 --> 0:15:08.240
<v Speaker 1>Ragtime to the screen to great acclaim in nineteen eighty one,

0:15:08.520 --> 0:15:12.000
<v Speaker 1>director Milos Foreman. That's who. And he just happened to

0:15:12.080 --> 0:15:15.360
<v Speaker 1>direct One Flew Over the Cuckoo's Nest. You can't make

0:15:15.400 --> 0:15:18.160
<v Speaker 1>this stuff up, folks. Some fun other tidbits from the

0:15:18.200 --> 0:15:21.320
<v Speaker 1>rest of the issue. Ruth Engelhardt has been promoted to

0:15:21.440 --> 0:15:25.280
<v Speaker 1>full agent at William Morris Agency. If you know, you know,

0:15:26.000 --> 0:15:29.560
<v Speaker 1>Ruth wrote the book on TV packaging, Doing there All

0:15:29.640 --> 0:15:32.200
<v Speaker 1>for the Home. No less of a motley crew than

0:15:32.320 --> 0:15:36.360
<v Speaker 1>Burt Bacharack, Pat Boone and Clint Eastwood will take part

0:15:36.440 --> 0:15:41.280
<v Speaker 1>in the seventh annual Le Club International Pro Celebrity Tennis

0:15:41.280 --> 0:15:45.360
<v Speaker 1>Classic benefit for the Motion Picture Television Fund Home in

0:15:45.520 --> 0:15:48.920
<v Speaker 1>Fort Lauderdale, Florida, from March twenty fifth through twenty eighth.

0:15:49.080 --> 0:15:52.480
<v Speaker 1>Can you imagine stars of that caliber doing that today.

0:15:52.720 --> 0:15:56.160
<v Speaker 1>Linda Ronstadt did two benefits at the Troubadour this month

0:15:56.240 --> 0:15:59.760
<v Speaker 1>in support of a state proposition to put more restrictions

0:15:59.760 --> 0:16:04.080
<v Speaker 1>around the development of nuclear power in California. The proposition

0:16:04.200 --> 0:16:08.320
<v Speaker 1>did not pass, but undoubtedly Linda put on great shows.

0:16:08.400 --> 0:16:12.400
<v Speaker 1>Looking into the classifieds of this issue, Disneyland was recruiting

0:16:12.440 --> 0:16:15.200
<v Speaker 1>sound and lighting pros to work on various events at

0:16:15.200 --> 0:16:18.320
<v Speaker 1>the park, and the Whiskey Nightclub on Sunset Boulevard was

0:16:18.400 --> 0:16:21.520
<v Speaker 1>hiring waitresses from one to three pm on this day.

0:16:21.640 --> 0:16:25.280
<v Speaker 1>This was advertised in a tiny little box ad on

0:16:25.280 --> 0:16:28.560
<v Speaker 1>one of the back pages. They really counted on people

0:16:28.600 --> 0:16:31.800
<v Speaker 1>reading Variety cover to cover and early in the morning

0:16:31.880 --> 0:16:34.920
<v Speaker 1>back then, thanks for joining me for a vintage Variety

0:16:34.960 --> 0:16:42.840
<v Speaker 1>trek through the wayback machine. As we close out today's episode,

0:16:43.080 --> 0:16:45.720
<v Speaker 1>here's a few things we're watching for. It's gonna be

0:16:45.760 --> 0:16:49.920
<v Speaker 1>a big week. South by Southwest begins on Thursday, March twelfth.

0:16:50.240 --> 0:16:54.520
<v Speaker 1>The Oscars arrive at Long Last on Sunday, March fifteenth.

0:16:54.800 --> 0:16:57.480
<v Speaker 1>We'll have feet on the ground at both events and

0:16:57.680 --> 0:17:01.040
<v Speaker 1>much more to come. Elana Glazer's launching a stand up tour.

0:17:01.560 --> 0:17:05.040
<v Speaker 1>She'll play twenty seven dates, starting May six and Vancouver

0:17:05.359 --> 0:17:08.919
<v Speaker 1>and ending August nineteenth in Portland, Maine. She has some

0:17:09.119 --> 0:17:12.360
<v Speaker 1>UK and European dates scattered in between. If you need

0:17:12.400 --> 0:17:15.760
<v Speaker 1>a little more Plinko in your life, Samsung tv plus

0:17:15.800 --> 0:17:19.280
<v Speaker 1>has you covered. Samsung tv Plus is launching a streaming

0:17:19.359 --> 0:17:23.399
<v Speaker 1>channel featuring episodes of The Prices right from Bob Barker's

0:17:23.480 --> 0:17:26.920
<v Speaker 1>proud thirty five year run as host. Come on down

0:17:27.119 --> 0:17:29.520
<v Speaker 1>and don't forget to spay or newt your pet. We

0:17:29.640 --> 0:17:33.040
<v Speaker 1>love to hear from our listeners, so please send thoughts, scripes,

0:17:33.080 --> 0:17:36.879
<v Speaker 1>and other feedback about Daily Variety to podcasts at Variety

0:17:36.960 --> 0:17:40.720
<v Speaker 1>dot com. Before we go, congrats to River Gallo. They

0:17:40.760 --> 0:17:44.000
<v Speaker 1>are a writer, actor and creator who has just signed

0:17:44.000 --> 0:17:47.800
<v Speaker 1>a first look deal with Fox Entertainment Studios for scripted

0:17:47.880 --> 0:17:51.639
<v Speaker 1>TV and movie projects. Gallo is behind the twenty twenty

0:17:51.640 --> 0:17:55.919
<v Speaker 1>four Sundance Film Festival entry, pony Boy, and other projects.

0:17:56.040 --> 0:17:59.240
<v Speaker 1>Thanks for listening. This episode was written and reported by

0:17:59.280 --> 0:18:03.080
<v Speaker 1>me Cynthia Lyttleton, with contributions from Brent Lang and the

0:18:03.160 --> 0:18:08.280
<v Speaker 1>Variety editorial staff of nineteen seventy six stick Snick's hick Picks.

0:18:08.400 --> 0:18:11.000
<v Speaker 1>Please leave us a review at the podcast platform of

0:18:11.040 --> 0:18:14.240
<v Speaker 1>your choice, and please tune in tomorrow for another episode

0:18:14.280 --> 0:18:15.160
<v Speaker 1>of Daily Variety.