Another possibility: anticipation. People are so looking forward to
seeing The Three Musketeers, they want to savor every single frame and
don't want their cinematic bliss lessened by having already seen the
trailer. Like when you're really looking forward to a CD download so
much you don't even listen to the 30 second samples.
> Are DVR usage patters useful tools in gauging a film's potential
> success? Or is Hollywood over-thinking things here, succumbing to the
> sweet, succulent temptation of "statistical analysis" so romanticized
> in the recent "Moneyball?"
I'd like to see someone actually track this, instead of guessing at it.
It would seem to me that if someone skips an ad for a movie, then
they're not really interested in going to see it (or stream it or
whatever), just as they skip over ads for certain prescription drugs
and other things they don't need or want.
I wonder why somebody thought we needed yet another version of The
Three Musketeers.
All of them can record what you watch to as fine a degree as they
want. However that doesn't mean they do. Most just aggregate all of
the data together so they know X number of boxes watched show Y but
they have no idea that you turned off Rubber after 15 minutes but may
have watched all of the latest episode of Jersey Shore. Eventually
they may use that info to control what advertising you see but not
yet.
> I wonder why somebody thought we needed yet another version of The
> Three Musketeers.
Décolletage maybe?
TBerk
He was the fourth one, right?
--
------
columbiaclosings.com
What's not in Columbia anymore..
There was a rumored remake of Gone with the Wind, Sergio Leone's
followup to Once Upon a Time in America, iirc. File under: too good
to be true, but we can contemplate the sheer awesomeness of what might
have been.
I grovel at its mere contemplation. What was that other famously big
film that collapsed under the sheer weight of its ambition? Oh yeah,
Alejandro Jodorowsky's DUNE...
Because you're an idiot? You mean with worldwide box office, DVD, and
TV rights they won't get a return on their investment? Really?
You sound like some pig ignorant weasel sitting in his underpants and
whining on Usenet.
As if that's going to be as good as Michael Mann's "Steel Magnolias"
remake for the Lifetime Network.
Not much if it's a piece of boring garbage. Even aiming it at people
like you.
Cats rule!
> What do you think? Will "The Three Musketeers" be the laughably
> preposterous, haphazardly thrown-together, giant festering ball of
> vaguely warmed-over garbage that it's trailer suggests?
>
> Are DVR usage patters useful tools in gauging a film's potential
> success? Or is Hollywood over-thinking things here, succumbing to the
> sweet, succulent temptation of "statistical analysis" so romanticized
> in the recent "Moneyball?"
>
It's the execution, stupid.
Plenty of indie flicks do relatively well without blockbuster fx. Plenty of
movies with ... familiar ... stories can do well if visuals or other
compensating factors (e.g., music in a musical, fx in scifi, stunts in
action flix, landscapes panoramas in road trips, concept / world-building in
sf, twists and turns and teamwork in a caper flick, etc.). Plenty of star
vehicles do well with charismatic actors.
And films with a well-told tale with decent marketing and release timing can
do well.
-- Ken from Chicago
As ever, you don't know what the fuck you are talking about.
> With FOOTLOOSE and THE THING this weekend and 3 MUSKETEERS the next,
> it's interesting to contemplate what *does* invite a remake. E.g.,
> will we ever see (or want) a redo of GONE WITH THE WIND, STAR WARS,
> SOUND OF MUSIC, or E.T.? Sure, ultimately remakes happen for profit.
> But, for that, it's not clear to me what qualities catch the eye. (I
> mean... FOOTLOOSE?)
We ought top make a distinction between a specific remake of a movie and
a movie based on a story that has been made into a movie before. I'm
assuming that Footloose is the former and Three Musketeers is the
latter, unless they are actually using the script of one of the earlier
versions.
If The Thing adheres to the original Campbell story it won't be a
remake.
The idea of a remake that identifies itself as a remake is fairly new.
In the heyday of the studio system it was common to recycle old scripts
and present them as new movies. Lots of musicals, in particular, were
based on earlier non-musical films. And I recall that the Esther
Williams movie Neptune's Daughter was a remake of an old black and white
movie from the 30s. Can't think of the title; what sticks in my mind was
that there was one swimming scene in the old movie that was replaced by
a song in the new one.
My wife's too young to remember the original "The Thing From Another
World" with James Arness.
Thumper
It stopped with VHS.
Oh, really. . . .a somewhat humbling if not compromised perspective
from the point of Friedrich Wilhelm Nietzsche, that very few are
inherently endowed with a distinctiveness of such succinct caliber to
definitively create virtuosity. At what level and interplay from
established forms prior, as well as not, in the case of celluloid,
whether by direct allusions consequent to formulaic stories adopted
from prior ages. Relatively, then, is juxtaposed by present
incarnations for which means to claim as value coincident to ascribe
to individual worth, in measures given by acceptance of artistic
devotion modernity connotes, regardless of how obtained withal and
integral to truthfulness or faithful from prior accord embellished
within the story. Tradition, as such, is not within the underpinning
of bastilles of liberal democracy, in its least common fractious
appeal to denominators of pocketed insularity over a wider state of
alienation and special interests, as for what this age would offer to
presuppose worth in value entails by a baser invocation. Within
industrial treatment of sluices controlling effluent served for
entertainment, need is not one to carry a baggage and onus of implicit
responsibilities greater than a insipid affront characterizing no
small share of art as presently staged.
The so-called Golden Age of Hollywood from the 1970s may be unique in
individualistic retaliation as expressive forms seep past a censorship
exercised by a tighter reign in the perceived threat of communism.
Whereas now with borders tentatively opened but lacking in reflection
from tired exhaustion without discrete ties to artistic integrity,
perhaps the course is one closer in time to having run itself thin.
In a purely reasonable sense, of course, the mindful always kept the
real story closer to hand in its printed form, invariably in
preference and honor to defer when in need of inspiration instilled
with weightier offerings.
She never watches television?