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He also brought along Warner Bros, even though the project had been initiated by Paramount. "He doesn't have a deal with Warner Bros, and it wasn't like he was obliged to make sure they were a part of it," Brad Grey said. When he met Nolan to hear the pitch for the script, complete with a potted explanation of relativity "which for a showbiz guy like me was a little hard to follow", Grey added the director said that he wanted Warner Bros to be a part of the deal, as an acknowledgment of the support they had given Nolan after a lone gunman walked into a packed theatre showing The Dark Knight Rises in 2012, killing 12 audience members and injuring 70 others. The studio had closed ranks around the film-maker, pulling him from a European press tour, withholding grosses, and donating money to a charity benefiting the victims. "He felt a real sense of loyalty because of what they had just been through," Grey said. "When he explained it to me I said yes on the spot."
The deal that Paramount and Warner Bros negotiated was anomalous to say the least. For the right to distribute Interstellar internationally, Warner Bros traded the rights for two of their franchises, Friday the 13th and South Park, plus "a to-be-determined A-list Warners property", while its subsidiary, Legendary, agreed to trade Batman v Superman: Dawn of Justice for a further piece of the pie. To say this disregards the reigning economic logic of modern Hollywood is not quite right it reverses the normal logic by which Hollywood operates. Franchises are the lifeblood of the studios. For Warner Bros to hand over the rights to two of its well-known properties, representing money in the bank, for the opportunity to take a spin on an original idea a film with no sequel potential and few merchandising opportunities, based on the dimly understood recesses of quantum physics speaks both to the value placed by the studios on Nolan, and also the extent to which he has become a franchise unto himself. Like Spielberg and James Cameron before him, Nolan is one of only a handful of film-makers who can walk into a studio with an idea and exit with $200m to make it. Nolan's movies have grossed more than $3.5bn worldwide, and his last four films have come in under budget. When Interstellar was finished, Nolan returned what he called a "substantial" amount of money to Paramount.
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No trailer for me.
The movie is good. Definitely a must see.
But it is not GREAT./OMG/AWESOME movie.
It is just really good.
quote:Exactly how I was feeling last night. I really enjoy serious movies, but having something a little more fun happen would really help Interstellar out, especially with as long as the movie is.
And while I really do love the "seriousness" of his movies (with genuinely great bits of humor sprinkled throughout his movies maybe more more than people realize), this was the first time I truly realized - or can finally accept/admit - that ultimately I need more fun/pop/Spielberg-type adventure in my blockbusters.
quote:I still recommend it in the IMAX. But just one time.
Good not Great?...so you're saying wait for netflix...?
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Exactly how I was feeling last night. I really enjoy serious movies, but having something a little more fun happen would really help Interstellar out, especially with as long as the movie is.
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The reason why TDK was so good was Joker's craziness intertwined with Nolan's somewhat sterile directing. It was a match made in heaven.