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David Poland

By David Poland poland@moviecitynews.com

Summit Summed Up

38 films in 5 years, when all is said and done.

9 films with a domestic gross over $50 million (that’s including the final Twilight in the count).

You can literally count their years in Twilights.

Year One: 5 films, none grossing as much as $25m… and then, Twilight
Year Two: 8 films, 2 grossing over $20 million, Knowing almost gets to $80 million… and then Twilight 2… and a Best Picture Oscar for one of its commercial failures, The Hurt Locker.
Year Three: 6 films… 2 earners over $20 million domestic… Red becomes biggest non-Twi hit with $90 million …and a Twilight in the middle.
Year Four: 6 films … 2 nice grossers against budget… 2 big 3D bombs and a Beaver… and then, a Twilight
Year Five : We’re one film into what would have been the company’s second 8-film-and-a-Twilight year. Look for the last film – aside from potential sequels – to carry a Summit logo to be, of course, Twilight.

Twilight was a great call. Red, Source Code, and Letters to Juliet were good wins for the studio. $35 million for 50/50 is worth a big smile and a hat tip.

That’s about that.

There are others who got their $300 million and did less with it.

Lionsgate, by the way, has had two $100m movies in their entire history… neither of which they made… one of which they didn’t even acquire. They’ve released 19 straight films since The Expendables without a $60m domestic grosser. They’ve released 57 movies since Summit released their first. They’ve had ten $50 million domestic grossers in that period – 4 from Tyler Perry, 3 for r-rated horror. But they have basically gotten out of the hard-R horror business since Saw 3D in October 2010. Good timing… for Paramount.

Six of their twelve films in 2011 grossed under $1.5m domestic and another grossed $3 million. The one modest non-Perry success was The Lincoln Lawyer, flopping with Conan, Hussein, Bane, and that abs kid from Twilight (to be fair, ABduction will make a little money thanks to foreign… which were pre-sold).

Everybody should be happy with this deal… except Lionsgate shareholders, who will pay for it soon enough.

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9 Responses to “Summit Summed Up”

  1. Gus says:

    David, can you explain a few things that seem nonsensical to me about this?

    1. How does a studio make 5 films, which will gross in total about $3B, and then sell the whole thing for $300M?

    2. How/why does Lionsgate make its way out of R-rated horror when anyone with eyes can see that’s a major source of their past success?

    I assume there are simple answers for both of these but I don’t understand them in a plain-sense way.

  2. EthanG says:

    Lionsgate getting out of horror is pretty baffling, but they decided they wanted to go in a Latino/urban direction, probably due to the success of Tyler Perry. 7 of their 12 films last year could be categorized as such, and even “Conan” and “The Devil’s Double” felt as if they had an ethnic flair.

    As for Summit…it’s sad to see another mid-major be absorbed so soon after FilmDistrict gave up its distribution.

  3. Paul D/Stella says:

    Is Lionsgate going to abandon horror or just focus on direct-to-DVD titles like Hostel III? Seems like they are still very active in that market.

  4. EthanG says:

    They do have horror on the schedule this year, with ANOTHER Texas Chainsaw Massacre reboot and a possession chiller…along with the more upscale Joss Whedon flick “Cabin in the Woods.”

    It seems to me like Lionsgate was already shooting big this year with “Hunger Games,” “Expendables 2,” and “What to Expect When You’re Expecting.” If they merge with Summit we could see the first top-6 year by non-major studio since 2004 when Dreamworks was still self-distributing.

  5. Paul D/Stella says:

    Oh that’s right Texas Chainsaw 3D. And that possession movie is from Raimi isn’t it? Used to be called Dibbuk Box or something like that.

  6. movielocke says:

    so is Ender’s Game the only Summit film on the horizon with the potential to be a 100 million grosser post twilight?

  7. cadavra says:

    No, I think RED 2 could get up there…if they even make it now.

  8. Greg says:

    Hostel 3 was a Stage 6/Sony release, not Lionsgate.

  9. palmtree says:

    Reads like an obituary for an untimely death…

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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.

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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