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#3481 | |
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Hmm. After reflection, I find myself returning to this review by the NYTimes.
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#3482 | ||
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At some point you have to quit defending the injection of politics into film.
Perhaps not the one's you work on but the idea as a whole.
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#3483 | ||
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For Rogue One, no one was given back end and no one was paid more than $500,000 dollars for their role. Now, if you're Mark Wahlberg or The Rock or Robert Downey, Jr or Tom Cruise, sure, they're getting Producer Credits and back end. But Daisy Ridley or John Boyega? Highly doubtful. Quote:
Also, the other thing to keep in mind is that while Disney's terms for Domestic Exhibitors is pretty tough, Disney still only receives 65% of the Domestic Box Office and after 4 weeks, that number usually favors the Exhibitor even more (I haven't seen any terms but after 4 weeks, that percentage is reduced in favor of the Exhibitor). After 4 weeks, TLJ earned $580 million domestically, $377 million of which goes to Disney and the remaining $203 (plus concessions) is shared by the movie theater chains. Throw in marketing and a little "Studio Accounting" and it's easy to see why very few actors receive Revenue Participation. |
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#3484 | |
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Both films had excellent casting, direction, dialog, set pieces, VFX and cinematography. While TFA was a Beat-for-Beat remake of A New Hope, The Last Jedi went off the rails and basically destroyed the Star Wars Galaxy canon. If everyone can access The Force, why didn't Tarkin or Krennic or Mon Mothma use The Force? Why were Baze Malbus and Chirrut Inwe "Guaridans of the Whills" if everyone can use The Force? Why was an entire moon dedicated to the Jedi (Jedha) if everyone has access to The Force? Between RJ changing the rules of The Force and his dopey "Holdo Maneuver", not to mention Finn, Poe and Rose's useless side mission, the wasted characters of Snoke and Captain Phasma, the entire movie is just a gigantic "**** You" to the original trilogy. |
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#3485 | ||
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#3486 | ||
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CP says it's good, so, I stand corrected...
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#3487 |
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He was making a joke...
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#3488 |
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#3489 | ||
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Kennedy clearly impressed on her director what she wanted.
No, she didn't write a script. She just had all the money, 6 of 8 writers being RABID FEMINISTS, and a "vision" of what was wanted. ![]() Outside of that he was free to create his own vision... ![]()
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#3490 |
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It's a dumb argument because the most interesting character in the movie is Kylo Ren and his relationships with his father figures.
Rey is just a construct for the audience to experience the movie through.
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#3491 | |||
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Rey clearly is the "everyman" of the new trilogy. What did she do in TLJ that made you want her to succeed? What happened in that film that made you feel sorry for her? What happened in TLJ that changed your opinion of her? Exactly...
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#3492 | ||
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Here is why TLJ SUCKED - EVERYONE wanted the answer to two questions:
1) What has Luke been up to? 2) Why is Rey such a badass? TLJ said "I don't care what you want, **** you, I'm giving you something else." Why are people shocked at the response?...
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#3493 |
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Speak for yourself...
*shrug*
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#3494 | |
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![]() No ****ing way. |
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#3495 | |||
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It's not horrid writing - it's not even writing. It's a message funneled down to the director by Feminist in King Kennedy. This is why I want to ****ing slap people when they throw shade at Kevin Feige. He's a dick. He is. HE IS. But he has a clear vision and it will not deviate. He's the last bastion holding off the SJW nonsense. His money holds the midas touch and once he's gone it's over. It's done. It's all SJW after he leaves...
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