by Ben Fritz
branding, 53
DC Comics versus, 42, 67, 170
executive roles at, 43–46, 65–67, 175–76
first film production by, 63–69
first slate deals with, 58–63
flops, 180
franchise success formula, xx, 39–40, 73–74
franchise vision of, 44–45, 53–60
Marvel World pitch for, 54–55
merger with Disney, 70–73, 159
merger with Toy Biz, 44–45
Netflix success of, 102–3
offices, 56, 73
rights, 40–47, 50–52, 62–63, 75–82
Spider-Man rights, 42-47, 50-52, 75-82
Sony and, 39–40, 42–47, 50–52, 75–82, 234
stock value, 50, 66, 69, 70
talent earnings, 51, 64–65, 72
The Master, 119
Me and Earl and the Dying Girl, 187, 188
Men in Black franchise, 26, 30, 94, 211
merchandising
branding importance and, 182–83
Breaking Bad, 135
classic versus film, 44, 47, 50–51
conglomerates, 236
Iron Man, 63, 68–69
lawsuit, 50–52
Marvel-Toy Biz merger, 44–45
Spider-Man, 42, 47, 50–51, 77
theme-park, 152, 155, 158
mergers
Disney-Lucasfilm, 161, 164
Disney-Marvel, 70–73, 159
Disney-Miramax, 148
Marvel-Toy Biz, 44–45
Me Too, 244–45
Metro-Goldwyn-Mayer (MGM), xiii, 25, 41, 47
micro-budget films, 216, 222
mid-budget films
comeback of, xxiv, 106–10, 122, 187–90, 200, 221–30
decline of, xvi–xviii, 3–4, 21–29, 83–88, 112–16, 153–57
Disney history with, 146–52
Disney phasing out, 153–57, 163
distribution outsource for, 103–5, 222–23, 227–30
financing originals and, 116–20, 198
golden age of, xiv, xix, 18
Netflix talent strategy and, 106–10
profit of franchise versus, xix–xx, 112–16, 120, 153–54, 163
as “star vehicles,” 84–85, 88
studio executive defectors for, 215–16, 221–30
studio system’s future role in, 222–23, 227–30
Minghella, Hannah, 28, 30
Miramax, 148, 153–56
Moore, Michael, 155
Mosko, Steve, 125–27, 131–33, 136–40
Mozart in the Jungle, 192
Mr. and Mrs. Smith, 177–78
N
National Treasure, 151, 155
Neighbors, 38
The Neon Demon, 198–99
Netflix
Amazon Studios versus, 195, 196–97
audience analytics, 102–3, 106–7
binge-watching, 129–30
Disney deal cancellation of, 246
DVDs, 21, 103
expansion of original film business and, 250–52
independent films saved by, 189–90
original programming strategy, 102–6, 109
streaming rights, 130
studio system disruption by, 103–5, 107–10
success overview, 101–3
talent strategy with, 106–10
New Line Cinema, 61–62
The Nightmare Before Christmas, 147–48
Nolan, Christopher, 166, 169, 175, 237
Norton, Ed, 69
O
Okja, 109–10
1000 A.E., 94–95
originality. See also mid-budget films
Amazon’s mission for, 190, 191–92, 194–97, 200
Annapurna’s contribution to, 116–20, 122
corporate support of, 187–90, 200
executives defecting for, 221–30
franchise versus, xviii–xxi, xxiv–xxv, 23, 122, 146, 155, 187–90
Netflix strategy for, 102–6, 109
studio system’s future role in, 222–23, 227–30
television’s lead on, xviii–xix, 23, 102–3, 191–92
Overbrook Entertainment, 89–90, 92, 95–96
P
Paramount Pictures
China’s investment in, 203, 213–14
downturn of, 221–22, 232
Marvel’s first slate and, 60
writers’ room attempt by, 182–84
Paranormal Activity, 216
Pascal, Amy
background of, 6–10
Belgrad and, 34, 38, 83, 224–25
Ellison and, 117, 120
as independent producer, 82, 235
investor pressure for, xvi–xviii, 3–4
Lynton and, xvii–xviii, 14–19, 27–28, 31, 35–36, 75
Marvel collaboration with, 82, 236
mid-budget profit and, 112–16
Mosko and, 125–26, 131–32, 136–40
post-Sony and, 250
Sony decline and, xvi–xviii, 3–4, 9, 24–29, 33–35, 75–76, 79–82
Sony departure of, 35–36, 82
Sony early years of, 6–10
Sony franchise efforts of, xvi–xviii, 30–33, 37–40, 86, 234
Sony hack of, 33–36, 243
Sony successes and, 15–19, 48, 87–88, 112–13
Sony television branch and, 125–26
Spider-Man making by, 48, 51, 82, 234
Spider-Man reboot by, 26, 32, 37–38, 75–82, 234
Spider-Man rights and, 42–47, 50–52, 79–82
Steve Jobs and, 111–13, 115–16, 120–24
talent importance to, 6–8, 87–88, 90, 91
talent loyalty decline and, 97, 98
television age viewed by, 130, 131
television efforts by, 136–38
Passengers, 212, 233
Paul Blart: Mall Cop, 93, 224
Perelman, Ron, 42, 44
Perlmutter, Ike
business acumen, 43–44, 53–55, 65, 73
Disney-Marvel merger and, 70–73
on Iron Man, 68–69
Marvel backing by, 43–46
Marvel production pitch to, 55–60
personal frustrations with, 65–66, 72–73
Spider-Man rights and, 43–46, 50–52, 79–80, 82
Peters, Jon, 5
Pirates of the Caribbean franchise, 148–50, 155, 157, 211
Pitt, Brad, 108–9, 122, 179–80
Pixar, 71, 152–53, 157
Pixels, 98
Plan B Entertainment, 122
The Post, 235
Pratt, Chris, 96, 212
Price, Roy, 191–92, 193–95, 197, 245
price discrimination, 104
producers. See also financial backing; independent producers
Lego creativity of, 166, 171–74
rise of, 67, 165–68
writers as, 167, 178–81
X-Men creativity of, 174–76, 178–81
profit
bankruptcy and, 25, 42–44
China’s box office and, 204
Disney’s formula for, 143–46, 161–64
greenlight projections of, 31–32
home entertainment, 17, 21–22
mid-budget versus franchise, xix–xx, 112–16, 120, 153–54, 163
Netflix model of, 107
Spider-Man, 76, 77, 82, 113
studio model of, 103–4, 112–16
television versus film, 127–28, 134–36
Q
Queen of Katwe, 116, 163
R
Raimi, Sam, 37, 40, 48, 76
Rain Man, xix
rating advisory, 149–50
reboots
Batman, 67
defined, 76
Fantastic Four, 180
Ghostbusters, 31, 32, 233
Godzilla, 170–71
Indiana Jones, 164
The Karate Kid, 211
Spider-Man, 26, 32, 37–40, 75–82, 234
Superman, 7
4
Red Dawn, 210–11
Redbox, 21
Refn, Nicolas Winding, 198–99
revenue. See also box-office revenue
home entertainment, 21–22, 152, 154
studio model of, 103–4, 112–16
talent earnings and, 17–18, 86, 92
television versus film, 127–28, 134–36
Rideback Ranch, 185
The Ridiculous 6, 106, 108
rights
character portrayal, 171–72
Disney animation, 143–44
home entertainment, 41–42, 45, 104
Hulk, 62
Iron Man, 61–62
James Bond, 25, 47
Marvel, 40–47, 50–52, 62–63, 75–82
merchandising, 44, 47, 50–51
royalties and, 50–52
Spider-Man, 40–47, 50–52, 75–82
television streaming, 130
Thor, 62–63
X-Men, 42–43, 175
Rogen, Seth, 244
Rogue One, 161, 234
Ropell, Jason, 195
Rosenblum, Bruce, 139
Ross, Rich, 158–59, 160
Roth, Joe, 10, 13
Rothman, Tom, 28, 36, 105, 115, 225, 233, 249
Rudin, Scott, 7, 120–22, 123–24
Ruffalo, Mark, 69
S
Salke, Jennifer, 253
Sandler, Adam, 88, 90–94, 96–98, 106–8
Sarandos, Ted
background of, 101
Netflix originality strategy of, 102, 103–6
Netflix talent strategy of, 106–10
Schlessel, Peter, 40, 41
Scott, Ridley, 136
Seed, Mark, 27
sexism, 8
Shanghai Film Studios, 207
Shanghai Media Group (SMG), 201–2
Shaye, Bob, 62
Sherlock Holmes, 170
Showtime, 129, 136
Shyamalan, M. Night, 95, 96
Singer, Bryan, 175
The Sinister Six, 81
Six Degrees of Separation, 89
Skyfall, 25
SMG. See Shanghai Media Group
Smith, Will, 88–90, 91–92, 94–97, 109
Snapchat, 29, 231
Sony Pictures
Annapurna backing of, 117, 120–22
Belgrad’s role at, 34, 38, 83, 223–26
Breaking Bad, 133–36
China’s investment in, 201–4
Da Vinci Code series of, 86–87
decline of, xvi–xviii, 3–4, 9, 24–29, 33–35, 75–82, 231–32
executive changes at, 5–6, 28, 36, 139–40, 225, 231
franchise efforts by, xvi–xviii, 30–33, 37–40, 86, 233–35
hack, ix–xi, xxi–xxiii, 33–36, 81, 137–38
independent film division of, 188, 189
Lynton’s departure from, 51, 231
Lynton’s early years with, 10–15
Marvel and, 39–40, 42–47, 50–52, 75–82, 234
Mosko’s role at, 125–27, 132–33, 136–40
Pascal’s departure from, 35–36, 82
Pascal’s early years with, 6–10
recovery after Lynton and Pascal, 249
revenue and talent earnings, 17–18, 86, 92
Spider-Man making by, 48–49, 51, 234
Spider-Man reboot by, 26, 32, 37–40, 75–78, 234
Spider-Man rights of, 42–47, 50–52, 75–82
Starz channel of, 101–2
Steve Jobs, 111–13, 115–16, 120–24
studio lot, xiii–xiv
success in film, 10, 15–19, 25, 47–52, 87–93, 112–13
success in television, 133–36, 139–40
talent decline with, 93–99
talent focus of, 6–8, 88–93
television failure, 136–37
television network, 133
television politics, 125–27, 131–33, 136–40
television revenue, 128
Spacey, Kevin, 102
Spider-Man, 39, 76
Spider-Man 2, 39, 76
Spider-Man 3, 39, 75–76
Spider-Man franchise
The Amazing Spider-Man, 26, 38, 75–78, 212
The Amazing Spider-Man 2, 38, 75, 77–78, 79, 113, 201–2
The Amazing Spider-Man 3, 75–76, 81
box-office revenue of, 26, 49, 51, 202
China’s interest in, 201–2
fan petition for, 75
history, 40–47
Marvel rights to, 42-47, 50-52, 75-82
merchandising, 42, 47, 50–51, 77
profits, 76, 77, 82, 113
Sony’s making of, 48–49, 51, 82, 234
Sony’s reboot of, 26, 32, 37–40, 75–78, 234
Sony’s rights to, 42–47, 50–52, 75–82
spinoffs, 77, 81
talent, 48, 51, 76, 81
Spider-Man: Homecoming, 82, 234
Spiegel, Evan, 29
Spielberg, Steven, 156, 166, 216, 223, 235
spinoffs. See cinematic universes
“star vehicles,” 84–85, 88
Star Wars franchise, 161, 234
stars. See talent
Starz, 101–2
Steve Jobs, 111–13, 115–16, 120–24
streaming, future of, 239–41. See also Amazon Studios; Netflix
Streep, Meryl, 235
Stringer, Howard, 9, 14, 15, 133
studio executives
Amazon’s mission and, 194–97
backseat film editing by, 62, 65
binge-watching by, 130
defecting to independent producers, 215–16, 221–30
director’s role and, 166–67
Disney turnover, 13, 150–53, 158–59, 160
earnings of, 17, 35
franchise era organization of, 67, 159–60, 161–62
Marvel’s creativity and, 43–46, 65–67, 175–76
producer’s role and, 67, 165–68, 221–22
Sony turnover, 5–6, 28, 36, 139–40, 225
television versus film, 125–27, 131–33, 136–38
studio system
broadcast networks in, 133
conglomerate ownership of, xx, 236
end of, xv, 87, 231–33, 239, 245–46
future mid-budget role of, 222–23, 227–30
Netflix disruption of, 103–5, 107–10
revenue and profit model, 103–4, 112–16
Suicide Squad, 74
Sundance Film Festival, 187–90
Superbad, 32
superhero movies. See DC Comics; Marvel
Superman franchise, 74, 169, 175, 205
T
talent
A-list decline, 83–88, 93–99
A-list golden days, 87, 88–93
audience loyalty decline, 83–88, 93–99
audience loyalty success, 88–93, 106–7
B-list/newcomer over A-list, 48, 76, 169–70
casting challenges, 61, 64–65, 76, 115, 117–18, 131, 170
China’s stars, 212
difficult, 51, 69, 89, 93–94
earnings, 17–18, 51, 64–65, 72, 85–87, 92, 108–9
financial backing from, 122
gifts and perks, 69, 92–93
Netflix strategy with, 106–10
Sony’s focus on, 6–8, 88–93
television move by, 131
technology
3D, 208–10
audience analysis, 102, 218
distribution, 152, 154
golden age of television and, 128–31
