Christopher McQuarrie e Brad Bird discutono su Twitter delle difficoltà del dare vita a un blockbuster

Edge of Tomorrow, il film di Doug Liman con Tom Cruise ispirato alla light novel All You Need Is Kill di Hiroshi Sakurazaka, ha avuto un'ottima accoglienza critica e un esito commerciale non stratosferico, ma sufficiente a "garantire" (il virgolettato è d'obbligo) un sequel.

Liman, nel corso dell'ultima edizione del Comic-Con, si è limitato a dire a proposito che “Stiamo lavorando alla sceneggiatura. Abbiamo una storia che amo veramente”.

Nelle ore scorse Brad Bird, acclamato regista di Gli Incredibili 1 e 2 e di Mission: Impossible - Protocollo Fantasma ha avuto modo di spiegare perché, secondo lui, la pellicola non ha funzionato benissimo al botteghino. Nella discussione, a un certo punto, è intervenuto anche il suo collega Christopher McQuarrie che di Edge of Tomorrow è stato sceneggiatore (per opi subentrare a Bird proprio alla regia degli ultimi due Mission: Impossible).

Ne è nata un'interessante chiacchierata sulle difficoltà esistenti in materia di creazione di tentpole, arricchita anche dalle risposte date agli interrogativi posti dai follower dei due registi.

Trovate tutto qua sotto (per tradurre i Tweet vi invitiamo a impiegare l'apposita opzione proposta dal social network).

GREAT movie, but the audience (who asks for originality in films) failed to show up for it. If it had been released as “LIVE, DIE, REPEAT” it might’ve been the hit it should’ve been. Sadly, it was called EDGE OF TOMORROW... a terrible & bland title for a really entertaining film. https://t.co/kkla7R0fnR

— Brad Bird (@BradBirdA113) 27 agosto 2018

To be clear, EDGE OF TOMORROW was a hit, but given production and advertising costs, it didn’t show the kind of profit that would encourage other studios to start gambling on originals again.
But they ARE planning a sequel...

— Brad Bird (@BradBirdA113) 27 agosto 2018

Agreed, but I absolutely LOATHE the term “untested”, which is a relatively recent way the film industry has come to refer to original content. Unlike the word “original” which is positive, “untested” sounds risky, potentially dangerous. STAR WARS was “untested” once. https://t.co/DNYJ3Ip11w

— Brad Bird (@BradBirdA113) 27 agosto 2018

All true. The business of making & showing movies has suffered. Everything from the disappearance of curtains, the arrival of tv ads, high ticket prices, multiplexes over movie palaces, etc, a million tiny paper cuts that amount to a lot of lost blood. Vast subject. Much to fix. https://t.co/rYVQl4qqWh

— Brad Bird (@BradBirdA113) 27 agosto 2018

To be clear, EDGE OF TOMORROW was a hit, but given production and advertising costs, it didn’t show the kind of profit that would encourage other studios to start gambling on originals again.
But they ARE planning a sequel...

— Brad Bird (@BradBirdA113) 27 agosto 2018

why do studio people just sound like baby boomers hating millennials and refusing to change?

— Felicity (@Felicitykate) 27 agosto 2018

Pure and simple: Studios are reactive, not active, organisms. They are desperate to understand millennials who are staying away from cinemas in droves. The natural inclination is to assume the issue lies in what kind of movies are made and they way they are made.

— Christopher McQuarrie (@chrismcquarrie) 27 agosto 2018

I believe the issue is in how movies are WATCHED. We’re dealing with a generation that has a different emotional connection to act of going to the cinema. Content is not something to be consumed when and where someone else says.

— Christopher McQuarrie (@chrismcquarrie) 27 agosto 2018

Ask anyone under 21 why they go to the movies and many will say they go when they HAVE TO. When the movie is an event they want to be part of. That is an incredibly hard product to produce. Business MUST grow yet the audience is shrinking. The rest is math.

— Christopher McQuarrie (@chrismcquarrie) 27 agosto 2018