This is just one of several similar stories in the last week or so that have asked why the movie received a vote of no confidence from Paramount, which did handle domestic release but gave Netflix international distribution rights. It all seems to boil down to the idea that a non-franchise sci-fi film featuring a largely female cast that made people think was just too much for the studio.
Great feature interview here with Rachel McAdams about her career and the movie in particular, just the kind of thing that should have been released well before the movie came out.
Kyle Chandler and Jesse Plemons talk together about acting, competitiveness and more.
There’s not a whole lot original that’s said, but MediaPost has another general write-up of how good the movie’s marketing campaign was at getting people excited, particularly demographics that aren’t usually targeted by the studios.
Disney is taking the message of the film’s success – that it’s important to inspire kids who don’t have a lot of that going on – and putting it into action by donating to STEM programs. The $1 million may be a rounding error on the company’s spreadsheets, but we’ll go with “at least they’re doing something.”
Director Duncan Jones spoke with fellow filmmaker Rian Johnson about the experience he had working with Netflix, which he makes clear has both upsides (creative freedom) and downsides (zero insights into who’s actually watching the movie).
Costars Paul Rudd and Justin Theroux are interviewed jointly about working together for the first time in a while as well as how it was getting involved with Jones’ production and story. There’s also this interview where they talk about how the characters they play are based on Hawkeye and Trapper John from the original Robert Altman MASH.
I’ve noticed Netflix has been running a few promoted posts on Twitter using short, commercial-length videos.
Blade Runner 2049
To the surprise of no one, director Denis Villeneuve didn’t want to include Harrison Ford in any of the film’s marketing, preferring to keep his return to the series secret. That…wound up not being so much the case.
More for writer/director/star Heather Graham here on how hard it was to get financing for the movie because of a number of factors, including that she was a woman and few wanted to “take a chance.”
The Cloverfield Paradox
The New York Times gets around to writing the same article everyone else has recently, about how it’s weird this new situation where “Ehh, give it to Netflix” is a viable option for some studios looking to offload “difficult” films.
You can watch the first 10 minutes of the movie online (legally) now.
Many of the same issues I identified as needing to be overcome by Fox in selling the movie are also mentioned in this MediaPost article, which focuses on the partnership between the studio and vodka brand Stoli.
The movie’s screenwriters Virgil Williams and Dee Rees talk here about finding the right tone in one of the key scenes between the lead characters.
Chris Thilk is a freelance writer and content strategist who lives in the Chicago suburbs.