Especially when so few of these films are being developed in house. Mixed in, of course, is a healthy amount of films that did not fare so well - Triple 9, Snowden, Fifty Shades of Black, Rock the Kasbah, and Max Steel all are good examples of this - but therein lies the hit or miss nature of the indie film business.
OPEN ROADS FILMS MOVIE
Over the next couple years, some solid hits came out of Open Road, including Steven Soderbergh’s last film (until next month, of course), Side Effects, the Marlon Wayans spoof A Haunted House, the animated The Nut Job, the Oscar-nominated Nightcrawler, as well as Chef, the Haunted House sequel, Dope (which it won in auction at Sundance), Mother’s Day, and, of course, the 2016 Oscar winner for Best Picture, Spotlight, the first Open Road movie to win any Academy Awards, much less the Big One. Honestly, that’s not a bad average, especially for a company just getting itself off the ground. It led to a solid showing of over $136 million in total domestic grosses for just five movies. Three more movies would come along that year, the Dax Shepard flick Hit and Run, the sequel Silent Hill: Revelation 3D, and, biggest of all, the Jake Gyllenhaal-Michael Peña cop drama End of Watch. Not long after came Silent House, a low budget horror flick that also made money. The $25 million film did over $77 million worldwide for a nice win. A bigger splash was made in January of 2012, with the Liam Neeson wilderness thriller, The Grey, a movie it actually did help to finance. It hit the ground running in 2011 with the Jason Statham-Clive Owen-Robert De Niro thriller, Killer Elite, a movie that cost $70 million to make but, since Open Road only served as the distributor, wasn’t a bad way to get rolling with its $25 million domestic haul. This is the seventh year of Open Road’s existence. Having said that, when a company puts a film like that on its slate, it’s going to be expecting a better result than that, because otherwise, what’s the point? The whole idea is to put films into theaters that you think the audience is going to want to watch, and so when that audience doesn’t show up, there are still costs that aren’t really recouped. Since Open Road didn’t finance it, it isn’t on the hook for the enormous loss the movie incurred, and therefore, unlike its studio brethren, doesn’t have to eat such an enormous poop sandwich. It’s for that reason that, when Open Road puts a movie like The Promise in theaters, about the Armenian genocide that occurred a century ago, and sees it do just over $8 million, despite a $90 million price tag, there’s no immediate cause for panic. Or this week’s entry, Open Road, which also mostly doesn’t. While some of the distributors do finance their own wares - a Weinstein Company, for instance, or, before that, Miramax - there are plenty of others that don’t, like last week’s entry, Roadside Attractions, which mostly doesn’t. Open Road’s recent films include The Grey, End of Watch, A Haunted House, Stephenie Meyer‘s The Host and Steven Soderbergh‘s Side Effects.The indie world is a bit of a tricky place, in that one is never entirely sure where the money to finance the various movies comes from. We are very excited to be in business with Tom Ortenberg and his talented team.” “These films will bolster our theatrical lineup for years to come and further diversify our network’s rich slate of program offerings. “Open Road is an ideal partner because of its commercial, entertaining films that are a perfect fit for premium television,” said Kent Sevener and Gary Garfinkel, co-heads of content acquisition for Showtime.
PHOTOS: ‘Homeland’: Portraits of the Emmy-Winning Cast and CreatorsĪmong the network’s most successful brands is Homeland and the recently concluded Dexter. “We want to have more movies on Showtime in five years - just not necessarily first-run ones. We just think that those dollars are better spent against content that you can’t see anywhere else that we own and that brands us.”
OPEN ROADS FILMS TV
“We think movies are very, very important, but more and more as things happen in the film business, people are going to have access to the big feature films before the premium TV window,” Blank told The Hollywood Reporter in an interview earlier this year. The move comes several years after Showtime ended its major studio pacts in what CEO Matt Blank deemed a strategy to focus more on original series.
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