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Martin Scorsese Courts Apple and Netflix to Rescue Costly DiCaprio Film
- Thread starter OrangeAtlas
- Start date
They threw away 120+m on The Get Down and that flopped horribly.
I'm sure The Irishman more than delivered on expectations.
He doesn't really have a choice if he wants to continue to make films with these budgets.
I have no idea why Scorsese wants $200m for this. I've read the book and it makes no sense for the budget to be so high, not to mention he made Silence for 50m fairly recently (which he will have called favours in for / gone as low as possible since it was his dream project, but still).
I could see Netflix again being tempted here. Leo is one of the more bankable stars in the business and there is no doubt that this one will get awards attention.
That being said, a budget above 200 million is ridiculous for most films. Like somebody else mentioned, OUATIH was 100 million and looked immaculate with an all star cast.
That being said, a budget above 200 million is ridiculous for most films. Like somebody else mentioned, OUATIH was 100 million and looked immaculate with an all star cast.
If I remember correctly, Netflix spent around 50 millions to get movies like Annihilation or The Cloverfield Paradox. Seems like they'd need to shell out over 4 times that sum for this movie. Seems extreme.
This reminds me of when Akira Kurosawa had to get funding from Russia and other western sources for some of this later movies. One flop and the Japanese studios told him to eff off basically. I really hope that a cherished director like Scorsese can get the funding he needs. After he's gone we'll regret it otherwise.
seems like a fit for netflix. dunno how their films do generally but at this point there are so many films with big holiwood budgets that are netflix produced that it makes me stick with them. and i sometimes dont even watch those movies (bright, war machine for example)
Heh that's the exact moment which got me thinking too, but I must say that the CGI version does look a lot better than what they originally shot.
It's very hard to gauge Netflix productions on how "well" it does for them financially, as Box Office doesn't exist with Netflix. Netflix doesn't get money for an X amount of streams of a movie, the only income they get from a movie is people subscribing to Netflix for the movie/staying subscribed because of the movie, which is impossible to gauge because of the sheer amount of content Netflix releases. Who's to say that Jack who was a new subscriber did so to watch The Irishman or if he subscribed because his favourite tv show finally got on Netflix and The Irishman was a nice little extra?
If you look at the BO numbers on Wikipedia or a tracking website it shows $8 million dollars, which seems dire for a movie that cost >$150 million, but that number is only counting the very limited cinema release and not the online viewership.
What I suspect with Netflix though (which is all a guess, because Netflix is notoriously secretive with their numbers and business practices) is that they only have allocated a certain amount of funds for high profile films from high profile directors (Roma, The Irishman, Buster Scruggs, Marriage Story) and they probably have allocated most of that already for the next few years + they just threw a lot of money at some shitty film with The Rock, Gal Gadot and Ryan Reynolds.
Same, the book always felt like an early Fincher movie to me. Why not make this for 50 and make 3 more films on the same scale. Jumping into the Marvel range with a story like this is super strange and unnecessary (just like the Irish Man)
It would have cost more to fly to England to shoot that style of the house. It makes sense to just comp it. If it's just one shot.
I'm assuming that Scorsese's team got some sort of metric numbers from the Irishman to justify asking for this budget
And The Irishman dominated views when it launched, driving a ton of traffic to Netflix. I'd assume that budget was calculated based on how well The Irishman did. If anyone deserves a 200 million dollar budget, it's Scorsese.
Some of that is just ridiculous. I have a hard time believing doing some of that in real life couldn't save money.
I hope he manages to get funding !
It's sad that once you use the streaming services funding, your movie is done for on the market... no theater take it, zero promotion, no award, nothing...
It's sad that once you use the streaming services funding, your movie is done for on the market... no theater take it, zero promotion, no award, nothing...
Sadly the movie has not seen a bluray release yet here... if it did i would have happily pitched in... i want the physical version of that movie :(
In big Hollywood film productions, time on set is the most expensive part of the shoot. You have a large crew that needs to be paid every day they are on set. You need to make sure the takes are consistent. The more shit you have on set the more likely something goes askew. So the work between setups can take more time. Which can mean longer days and/or more days. That becomes expensive really fast. So building all of those sets to that detail would cost more when the whole production is considered.
17 million viewers in 5 days:
Netflix's 'The Irishman' was completed by only 18% of US viewers who watched it on the first day, but that's on par with some other Netflix releases
About 3.9 million viewers watched Martin Scorsese's "The Irishman" on its first day on Netflix, and 17.1 million people watched it over the first five days.
www.businessinsider.com
I imagine those numbers went up significantly after the oscar buzz.
As for this film I'm torn. Premise sounds great/grim, the talent is there, and it's obviously in someone's interest to occasionally take a bath on prestige film, but $200 million for a historical crime drama is an *absurd* use of budget. It would be like Nintendo spending $100 million on Bayonetta 3.
Fincher is pretty similar with respect to budget issues. Zodiac had just as much CG and compositing as in that Wolf of Wall Street clip. Scorsese probably wins his budget battles more than Fincher though, whose projects often go sideways and never take off.
Gonna take a big budget to transform the entire cast into native americans
That was kind of a different situation. Kurosawa spent 5 years pursuing Hollywood projects that all fell apart under strenuous circumstances and seriously messed him up mentally (especially Tora! Tora! Tora!), followed by calling on friends to help him get finance for a cheap Japanese language project that domestically bombed both critically and commercially and made him feel guilty as fuck, to the point of attempted suicide. Coupled with the in-flux Japanese film industry, everyone was extremely nervous about working with him until the Soviets bankrolled his next film, and then Lucas and Coppola helped him finance Kagemusha.
lmao at the idea that the budget is ballooning because of "Scorsese's overreliance on CGI." that's hilarious.
A big part of it increasing is probably due to the covid production delays. Paying to have people in a holding pattern, to tear down and store sets/props that you just spent a ton of money making and building and putting up. Stuff adds up.
A big part of it increasing is probably due to the covid production delays. Paying to have people in a holding pattern, to tear down and store sets/props that you just spent a ton of money making and building and putting up. Stuff adds up.
Readers and development departments. Their job is literally just to read a bunch of books (and other media) and condense it while offering their opinion on whether it'd make a good movie.
At that point he's just looking for convenience I imagine.
I would sacrifice 10 Cloverfiels Paradox's for 1 Scorsese film
...netflix didn't produce Annihilation. it distributed it digitally in some regions, that's it. same with cloverfield paradox. both movies were budgeted and produced by Paramount, and then netflix bought the distribution rights.
distribution =/= production.
Didn't say they produced them. They bought the finished movie which skipped theatres in most or all countries.
It's a very different situation, but when we look back on Kurosawa we remember a master, and the thought of having less Kurosawa without that funding is an awful one. Directors like Scorsese will hopefully get funding they need.
Also wasn't the failure of Dodes'ka-den and the subsequent failure of his studio (plus suicide attempt) the main reason why Japanese studios didn't want to gamble on big Kurosawa projects any longer, hence his need to look overseas? It's been a while since I read those books on him, I admit.
