The first trailer (months away), I'm sure, will lean heavily into Leo; he has to sell this thing. And while we've seen stills and his outfits, we know very little about what we're getting from him. Is it The Dude meets Three Days of the Condor? Is he funny? Grumpy? Angry at the world? Heartbroken? Determined to change the system? In love? A father on a mission? His charisma will (have to) drive the opening box office.

There is always the third possibility that the industry still considers DiCaprio as a B.O. draw.
I dont think the tepid performance of KotFM, a heavy 3,5hr project with a ballooned budget, would be able to change that perspective.

Quote from: RudyBlatnoyd on August 14, 2024, 01:31:55 PMTwo possibilities, as far as I can see:

1. There's some sort of spectacular high concept and/or series of big action set-pieces that got Warner Bros thinking this will set the box office alight

2. Zaslav greenlit PTA's ambitious and expensive but uncommercial project (the equivalent of something like Alexander Payne's Downsizing) because he wants Warner Bros to look like a juicy acquisition to potential buyers, even though no one really expects it to be a runaway hit

I'm leaning towards option 2...

Uncommercial? Maybe. But I'm dubious.

PTA obviously has no Nolanesque or Fincheresque track record.
But I have no doubt that if he's spending $140M+ (setting aside Leo's salary), he's doing it in a way that's artistic and very entertaining.

PTA has too much talent and pride to spend that kind of money on Greaser's Palace II or The Return of O.C. and Stiggs.

And PTA, who I'm sure has ambitions beyond this film, knows that box office success will make it far, far easier to achieve those ambitions than if he makes a megamillion dud.

Dear life, do not hope for immortality;
instead, make the most of what you can be.


The Graveyard By The Sea
Paul Valery; C. Day-Lewis, translator
1946.

The Battle of . . .


Poitiers , 1356


La Rochelle , 1375


Rosebecque , 1382

Illuminated illustrations of Froissart
&
Illuminations From The Froissart In The Bibliotheque Royale, Paris
London : William Smith, 1844
Photos by Scrooby




2
An earlier post explores the personal dimension of the title ("the dark night of the soul" : the endless wrestling with one's self).

3
Then there is the "coming to a head" air about the title : crossing paths. . . . e.g., Guy Haines : "Criss-cross."

Two possibilities, as far as I can see:

1. There's some sort of spectacular high concept and/or series of big action set-pieces that got Warner Bros thinking this will set the box office alight

2. Zaslav greenlit PTA's ambitious and expensive but uncommercial project (the equivalent of something like Alexander Payne's Downsizing) because he wants Warner Bros to look like a juicy acquisition to potential buyers, even though no one really expects it to be a runaway hit

I'm leaning towards option 2...

so it seems pta did rewrites for napoleon :
https://theplaylist.net/joaquin-phoenix-demanded-paul-thomas-anderson-rewrite-napoleon-script-before-production-20240814/?utm_source=dlvr.it&utm_medium=twitter

and we never heard about that before. so yeah, he seems to be a very discreet script doctor for A+ productions.

https://x.com/TheInSneider/status/1823752920271348047

sneider, who also broke the title, seems to have good sources on this one. and so it does seem the budget is at least 150m. who would have thought pta would ever get such a budget ? and for what kind of movie ? seems insane.

Quote from: WorldForgot on August 12, 2024, 02:59:41 PMwill have some Salo in it too

Line 14


Heures à l'usage de Rome
Paris : Par Philippe Pigouchet.
M.CCCC.iiii.vv.c.viiii.
Photo by Scrooby