Most Wanted
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Ishtar
(May, 1987)
The Seven-Per-Cent Solution (OOP)
(Ross, 1976)
The Devils
(Russell, 1974)
The Pirates of Penzance
(Papp/Leach, 1983)
The Fortune
(Nichols, 1975)
-30-
(Webb, 1959)
Betrayal
(Jones, 1983)
Play It As It Lays
(Perry, 1972)
The Outfit
(Flynn, 1973)
Alex in Wonderland
(Mazursky, 1969)
The Legend of Lylah Clare
(Aldrich, 1968)
In The Cool of the Day
(Stevens, 1963)
That Cold Day in the Park
(Altman, 1969)
Thumb Trippin'
(Masters, 1972)
Midas Run
(Kjellin, 1969)
At Long Last Love
(Bogdanovich, 1973)
Brewster McCloud
(Altman, 1972)
Outcast of the Islands
(Reed, 1951)

Reader Submissions

1930's-1950's
The Moon's Our Home
(Seiter, 1936)
Sh! The Octopus
(McGann, 1937)
The Mating Season
(Leisen, 1951)
Bad for Each Other
(Rapper, 1953)
The Phenix City Story
(Karlson, 1955)
Run of the Arrow
(Fuller, 1956)
House of Secrets
(Green, 1956)
Saint Joan
(Preminger, 1957)
Macabre
(Castle, 1958)
The Fiend Who Walked the West
(G. Douglas, 1958
Five Gates to Hell
(Clavell, 1959)
1960's
Key Witness
(Karlson, 1960)
Summer and Smoke
(Glenville, 1961)
The Chapman Report
(Cukor,1962)
Bachelor Flat
(Tashlin, 1962) [on Hulu]
The L Shaped Room
(Forbes, 1963)
The Chalk Garden
(Neame, 1964)
A Thousand Clowns
(Coe, 1965)
You're a Big Boy Now
(Coppola, 1966)
The Whisperers
(Forbes, 1967)
Dark of the Sun
(Cardiff, 1968)
Skidoo
(Preminger, 1968)
Last Summer
(Perry, 1969)
The Comic
(C. Reiner, 1969)
1970-1974
The Revolutionary
(Williams, 1970)
The Landlord
(Ashby, 1970)
Diary of a Mad Housewife
(Perry, 1970)
Tropic of Cancer
(Strick, 1970)
I Never Sang for My Father
(Cates, 1970)
Sometimes a Great Notion
(Newman, 1971)
Marriage of a Young Stockbroker
(Turman, 1971)
The Music Lovers
(Russell, 1971)
Drive, He Said
(Nicholson, 1971)
The Steagle
(Sylbert, 1971)
The Last Movie
(Hopper, 1971)
Made For Each Other
(Bean, 1971)
The Day the Clown Cried
(Lewis, 1972)
Hickey & Boggs (OOP)
(Culp, 1972)
The Carey Treatment
(Edwards, 1972)
Pete 'n' Tillie
(Ritt, 1972)
Slither
(Zieff, 1973)
Man on a Swing
(Perry, 1974)
Open Season
(Collinson, 1974)
The Tamarind Seed
(Edwards, 1974)
Law and Disorder
(Passer, 1974)
Homebodies
(Yust, 1974)
Stardust
(Apted, 1974)
Celine and Julie Go Boating
(Rivette, 1974)
1975-1979
Rafferty and the Gold Dust Twins
(Richards, 1975
At Long Last Love
(Bogdanovich, 1975)
Hearts of the West
(Zieff, 1975)
Welcome to L.A.
(Rudolph, 1976)
W.C. Fields and Me
(Hiller, 1976)
Citizens Band
(Demme, 1977)
Twilight's Last Gleaming
(Aldrich, 1977)
Looking for Mr. Goodbar
(Brooks, 1977)
Girlfriends
(Weill, 1978)
Movie Movie
(Donen, 1978)
The Medusa Touch
(Gold, 1978)
American Hot Wax
(Mutrux, 1978)
Hot Stuff
(DeLuise, 1979)
Scavenger Hunt
(Schultz , 1979)
Players
(Harvey, 1979)
Rich Kids
(Young, 1979)
Nightwing
(Hiller, 1979)
Screams of a Winter's Night
(Wilson, 1979
When You Comin' Back Red Ryder?
(Katselas, 1979
1980's
Resurrection
(Petrie, 1980)
The Awakening
(Newell, 1980)
Simon
(Brickman, 1980)
God's Angry Man
(Herzog, 1980)
Fast-Walking
(Harris, 1982)
Twice Upon a Time
(Korty & Swenson, 1983)
Trouble in Mind
(Rudolph, 1985)
When the Wind Blows
(Murikami, 1986)
Housekeeping
(Forsyth, 1987)
The Glass Menagerie
(Newman, 1987)
Patty Hearst
(Schrader, 1988)
Drowning by Numbers
(Greenaway, 1988)
Haunted Summer
(Passer, 1988)
The Decline of Western Civilization Part II: The Metal Years
(Spheeris, 1988)
1990's
Old Times
(Curtis, 1991)
Prospero's Books
(Greenaway, 1991)
City of Hope
(Sayles, 1991)
The Baby of Macon
(Greenaway, 1993)
King of the Hill
(Soderbergh, 1993)
Dadetown
(Hexter, 1995)
SubUrbia
(Linklater, 1997)

Turnaround Chill

A noted filmmaker who read this morning's link to Patrick Goldstein's story that named Paramount's Brad Weston as the guy who passed on Twilight two years ago when it was being developed by MTV Films has a word of caution. Or lament, rather. Here's how he put it:

"When Goldstein ran that story, it increased the level of paranoia in the studios and now people aren't as likely to put projects into turnaround, which is what saves or releases some projects and results in their being made into films at other studios," he said.

"Without turnaround we're all going to miss out on a lot of great movies because stalled projects are now more likely to just sit there and collect dust. It's going to increase this chilling effect."

"Let's say I have a property that's owned by a studio and it's not working out," he said. "In this situation a studio exec saying to me 'fine, I'll put it into turnaround and let you have it, take it across the street to Warner Bros. and God speed' is usually an act of benevolence. It saves a project from death.

"Now with this Weston thing, a lot more studio execs and going to say 'sure, I let you take it elsewhere and then two years from now I'll read about how I'm the asshole who let a big hit go to some other studio? Fuck it, I'm going to hang onto it. I'd rather have the project die here than have it go elsewhere than have an article turn up down the road that'll make me look stupid.'

"Fear of failure has always been a greater force in this town than dreams of success," he coincluded. "This is a town based on fear, and now that fear, that paranoia, has just been increased."

Posted by Jeffrey Wells on November 20, 2008 at 3:09 PM

comment #1

Mark G. Author Profile Page says ...

Nah, it happens all the time... Universal passed on Star Wars, Columbia passed on E.T., 20th Century Fox sold half of Titanic to Paramount at a bargain etc. etc....

Posted by Mark G. Author Profile Page at November 20, 2008 3:52 PM

comment #2

Zimmergirl Author Profile Page says ...

But hey, Patrick Goldstein got some traffic out of it. So there's that.

Posted by Zimmergirl Author Profile Page at November 20, 2008 4:44 PM

comment #3

buckzollo Author Profile Page says ...

Maybe they will make best efforts to get it right the first time. Come on, they are the STUDIOS after all. Accountability is suddenly a bad thing? Remember the only rule: If someone else wants it, then, we really want it!

Posted by buckzollo Author Profile Page at November 20, 2008 5:31 PM

comment #4

SJRubinstein Author Profile Page says ...

You know who else passed on "E.T.?" M&M's. Didn't think it was worth a million dollars in product placement. Hershey's had been on the ropes for a bit, but one guy gambled on dropping that million to put Reese's Pieces in the film - his ass firmly on the line - and it fucking saved the company, even though Reese's was an acquisition and they hardliners still were pissed that it didn't have the Hershey name in it. In the neverending Mars vs. Hershey's war, this still gets under the skin of Mars marketing vets.

Posted by SJRubinstein Author Profile Page at November 20, 2008 6:34 PM

comment #5

Don Murphy Author Profile Page says ...

Jeff
Your "noted filmmaker" has no idea what they are talking about. NONE. Turnaround happens automatically according to contract. If no progress is made in 90 days, it is triggered.

In addition, if you know how to read, you can see that Twilight didn't go INTO turnaround. They started over after Paramount didn't choose to renew the rights, at least as per Goldstein who is not reliable.

So your source doesn't have a fucking clue but is still giving interviews. Fucking great.

Posted by Don Murphy Author Profile Page at November 20, 2008 10:35 PM

comment #6

Edward Havens Author Profile Page says ...

"Nah, it happens all the time... Universal passed on Star Wars, Columbia passed on E.T., 20th Century Fox sold half of Titanic to Paramount at a bargain etc. etc...."

Of course, you're talking about movies from ten to thirty years ago. And even then, Frank Price has taken so much shit over the years for being the asshole who passed on E.T. at Columbia, and that pass hurt him during his dealings with Spielberg when Price landed at Universal a few years later.

Posted by Edward Havens Author Profile Page at November 21, 2008 12:33 AM

comment #7

Studly Semite Author Profile Page says ...

Yeah I 2nd Don Murphy's response. Who is your source? A 25 year old assistant? Every writing deal I ever made had a turnaround clause. It's standard. My last project I got the rights back after a certain amount of years and they paid me six figures. Unless you're lawyer is a total 'tard, there is always a provision for what-if-it-gets-killed on a literary property.

Posted by Studly Semite Author Profile Page at November 21, 2008 1:10 AM

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