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Twitter Effect, Toronto Preview, Hardwicke, Singer Choose Branded Projects, Moore Trailer

Twitter Effect, Toronto Preview, Hardwicke, Singer Choose Branded Projects, Moore Trailer

Thompson on Hollywood

Hollywood execs are coming to the uncomfortable realization that the Twitter Effect will inexorably change their business. No more tricking audiences into buying one weekend on a bad movie, they’re realizing. Now movies may actually have to be good. The horror! Michael Sragow lays out the ways that Twittering on a Friday has changed the movie landscape.

Director Catherine Hardwicke, who parted ways with Summit over the Twilight sequel, is in demand: she’s taking on yet another familiar global fable: Little Red Riding Hood. For Appian Way and Warners, reports Variety:

Hardwicke has several other development projects on simmer around town, including “Hamlet” at Overture and “If I Stay” at Summit, plus “21 Jump Street” and “Maximum Ride” at Sony.

With Superman off his dance card, Bryan Singer is trying to figure out his next moves. Assuming Battlestar Gallactica is next, will he remake John Boorman’s great King Arthur movie, Excalibur, or return to X-Men?

By the way, Stephen Cooper, the high-priced turnaround guru who’s been brought in to save MGM from its crushing debt burdens, did perform the near impossible: he brought Enron back to life.

Former Deadwood star John Hawkes is joining Lost.

Universal Music has acquired international rights to 38 albums recorded by Frank Sinatra. What will they do with them? And much as I adore Sinatra’s singing, who under 50 remembers him, anyway?

Here’s a Toronto International Film Festival preview from the Toronto Star.

Speaking of Toronto, Michael Moore talks to THR about his latest provocative doc, Capitalism: a Love Story

Here’s the trailer:

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Colin Boyd

I wonder if Hardwicke will bring to a what we earlier heard would be a “gothic” Little Red Riding Hood. I don’t doubt that she can focus a movie on a strong female character – as she did in ‘Thirteen’ – but I haven’t seen enough in her work to make me sure she’s Option A.

On the other hand, they can load the commercials down with the phrase “From the director of ‘Twilight’…”

Anne Thompson

I see the twitter effect as real-time, genuine, authentic feedback–a speeding up of the already viral word-of-mouth that used to take a few days, weeks or months to spread, now takes hours. It’s a good thing if it means the studios have to make better movies.

Craig Kennedy

This assumes that the early-adopting Twitter crowd can actually discern good from bad. I’m not convinced and I worry execs won’t seek refuge in quality but instead pander to twits.


@Deaf, I could even image the celebs with large Twitter followings to shill for the studios. It’s a sad time that our movie audiences have zero attention span and would follow a 140 character “review” rather than think for themselves or take the advice of some of the “better” options available.

Deaf Indian Muslim Anarchist

I won’t be surprised if Hollywood studios pay Twitter to create bots to generate GOOD BUZZ for a certain film.

For instance, for every 10 (real) people who will say that this movie SUCKS, maybe a studio will have 30 bots that will say the movie is GREAT. that way, Twitter can make $$ while ignoring the spammers and bots.

Alan Green

re: ‘the twitter effect’ — in with the internet, out with the status quo. i couldn’t be happier. it may be a bit sad that thousands of tons of printed newspapers and magazines go unread (or unprinted) these days but digital media can’t be a bad thing.

the good news is, with digital movie production/distribution, costs will go way down. the industry will adapt and re-emerge healthy as ever. we’re just going through growing pains right now.

i wish i had been a part of hollywood in the golden era of the 40s-60s or the cocaine era of the 70s-80s when just having a big movie star in your picture would keep it playing for months. (yes, months. remember those days?) but i missed the boat. i’ll have to make do with the new much more level playing field of the digital era.

here’s to good storytelling… no matter where it plays or how it was shot or whether there’s any name actors or whether it was made by some guys with a digicam or a major studio.

as for tricking the audience into seeing a lousy movie by using a multi-million dollar ad campaign — shame on you!

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