MCN Blogs
David Poland

By David Poland

Sex & The City… As Dead As SJP Wants It To Be

The never reliable Daily Mail (UK) published some story about Sarah Jessica & The Girls giving up on any future Sex & The City films. The source… “Grazia.”
Simple math. The film, however hideous, grossed about $250 million worldwide.
SJP is the only member of this group that may ever see a seven-figure offer again… or in recent years.
So… it’s simple. If she wants S&TC 3 to happen, it will. If not, not.
To make it happen, she’ll need to do the film for the same – or maybe less – than the first feature. The budget will have to fit a projected $150 million worldwide gross. And if she is willing to do it for that, it will happen.
By the way, no SJP-starring film, other than Sex, has ever grossed as much as that $150m. It would still be a big movie for her too.
Pay $1 million per for the other three women, scale and back-end for SJP… below the line of $30 million… and voila, you have a movie.
And you know what? With less ego and less money, there is some chance that they will find the spirit of the series again.
One problem perhaps worth mentioning… if they wait too long or not long enough, the whole thing will dry up. In 20 years, they can do a revival with the four women watching 20something women do what 20something women are doing then. Or they can do S&TC3 in 2014, at the latest.
Part of the problem is that these actresses are already a little (okay…maybe more than a little) stuck in between young and old. I would probably take a leap in time that doesn’t match reality, and give Charlotte and Miranda teens or at least pre-teens as Carrie gives birth at 45. Endless sexual ennui just isn’t very attractive in women of that age… even for women of that age… at least at the movies.

Be Sociable, Share!

3 Responses to “Sex & The City… As Dead As SJP Wants It To Be”

  1. D says:

    Why don’t they do what aging action stars, or their producers, always seem to do nowadays: hook them up with a younger sidekick to hedge their bets (“Live Free or Die Hard” is a recent example). Add one or two younger women to the mix, with Carrie and company taking the new girls under their wing and giving them all kinds of fun advice, some of which might work out and some of which will lead to disastrous hijinks. Then, if the new girls catch on… there’s your FOURTH movie.

  2. Chucky in Jersey says:

    Making the government of Abu Dhabi angry is one thing. Pissing off the target audience is another.
    Here’s a sequel to a hit movie based on a long-running TV show, fueled by corporate synergy, boosted with breathless hype, promoted with product tie-ins, released with a hard sell at inflated prices … and its total gross in the USA is under $100 million. Put those elements together and the product is the most blatant example of a Rip-Off Summer.
    Time Warner and Village Roadshow are gonna look long and hard at the post-mortem. No more sequels for this overhyped franchise. Make movies that grown-ups can relate to, just don’t bury them in the arthouse.

  3. CaptainZahn says:

    Sex and the City 2 had some good things in it. The ideas about creating your own rules in a relationship and doing what works for you were pretty bold and challenging for a Hollywood movie, and I liked the scene between Miranda and Charlotte at the bar in Abu Dhabi.
    Everything else was incredibly lazy.

The Hot Blog

Quote Unquotesee all »

It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon