February 5, 2025 • 28 mins
We rank the major movie studios based on who has the most mojo right now.
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SHOW NOTES
Get visuals, links and show notes from this episode at speakinghuman.com or at MOMApodcast.com.
#Movies #Marketing #Podcast #Holidays #trivia #BoxOffice #Retrospect #Cinema #Theaters #SpeakingHuman #Opinions #Reviews #MOMA #SpeakingHuman
Become a supporter of this podcast: https://www.spreaker.com/podcast/moma-movies-marketing--3296937/support.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:02):
In a world where movies rely on marketing more than
ever to connect with audiences, one podcast aims to make
sense of it all. This is movies and marketing. Next
Saturday Nights, where're sending you back to the future?
Speaker 2 (00:21):
Go ahead, make my day? How about now you're crazy
Dutch bastard. What we've got here is failure Milgate. Take
them of around where a freshole of pow for we
might as well with them. I am an f B
I agent, So Patrick, I have two trivia questions for
(00:47):
you today.
Speaker 1 (00:48):
One for the fact that like you were gonna originally
get one, and another one as punishment.
Speaker 2 (00:53):
Yeah, just for spite.
Speaker 1 (00:54):
Okay, all right, so here we go.
Speaker 2 (00:56):
The first, you know, a softball, A multiple choicer, though
not easy?
Speaker 1 (01:01):
All right?
Speaker 2 (01:02):
Number one? What movie studio has the most Academy Awards
for Best Picture? A Paramount, B, Colombia, C, Warner Brothers
or D Universal.
Speaker 1 (01:19):
For Academy I'd probably say Warner Brothers.
Speaker 2 (01:21):
Maybe Warner Brothers is a good guess. The Warner Brothers
is wrong, is it?
Speaker 1 (01:26):
Paramount?
Speaker 2 (01:27):
Paramount is a very good guess. Paramount is wrong? Is it.
Speaker 1 (01:34):
Colombia?
Speaker 2 (01:35):
It is Colombia? Third times the chun so Colombia has
the most whipped twelve, Paramount has eleven, Universal has ten,
Warner Brothers has nine. Colombia won twelve times. Most of
them came between nineteen fifty and nineteen sixty nine. Last
time they won way back in nineteen eighty eight for
(01:57):
The Last Emperor.
Speaker 1 (01:59):
That's a long time go Disney.
Speaker 2 (02:01):
You know, just Disney, not twentieth Century Fox which they
now own, or Searchlight, you know, which they now own.
Never won Best Picture. You would think they'd have one,
would you, though?
Speaker 1 (02:12):
What could even classify as a Disney movie that would
be Best Picture? Like, do you have anything on the
top of your head? Snow White? Aladdin? Maybe?
Speaker 2 (02:21):
I just think of all the you know, classics they
released over the years. There's got to be something Bambi,
you know, something like that. Yeah, Avengers, the Avengers.
Speaker 1 (02:31):
Yeah, we should also mention even though we're not. And
you did mention Disney and you said Avengers. You also
have Marvel Studios, which technically is a part of Disney,
but they also are kind of their own thing, so
like you know, it does say Marvel Studios even though
it's like a subsidiary of Disney. I mean, they had
(02:52):
the collective gross of their films being seventeen billion, I
think they should get an honorable mention.
Speaker 2 (02:59):
Yeah, growing out there, all right, Trivia question number two.
This is a higher level of difficulty. No multiple choice here.
This is going to rely on your brain and your
brain alone.
Speaker 1 (03:10):
Okay.
Speaker 2 (03:12):
Warner Brothers has been around for over one hundred years.
They started in nineteen twenty three, according to the Warner
Brothers website. Approximately how many movies have they made in
that time?
Speaker 1 (03:25):
Oh uh yeah.
Speaker 2 (03:28):
Take a stab at it, you know, just over one
hundred years. How many movies do you think they've.
Speaker 1 (03:32):
Made, Let's say two thousand.
Speaker 2 (03:35):
I mean you're in range. I guess they've made seven thousand.
Speaker 1 (03:41):
Whoa, yeah, seven thousand movies.
Speaker 2 (03:43):
Seven thousand movies, I mean one hundred years.
Speaker 1 (03:45):
Yeah, that makes sense. I didn't really do the math.
That is a lot of movies.
Speaker 2 (03:50):
I think they used to crank them out too, you know.
Speaker 1 (03:53):
Yeah, I mean Warner Brothers has a big catalog, it
really does. So it makes sense. Doesn't make any sense
to me, be honest with you, but it makes sense.
Speaker 2 (04:01):
They I mean, there's just been a lot of movies
that have been made by a lot of studios we're
going to get into that a little bit here today.
Speaker 1 (04:09):
So today we're talking about movie studios, right, Chad.
Speaker 2 (04:13):
Stu Stu's studio, As the song goes.
Speaker 1 (04:16):
Movie studios are crucial because they are what finance and
produce and distribute films, and they really shape the entertainment industry. Right.
They control intellectual property, and they manage talent, and they
decide which projects get made, and they influence the types
of stories that are told and how they reach audiences.
You know, there's just there's so much to movie studios,
(04:39):
but there's really only a handful, maybe a couple handfuls
of major studios today.
Speaker 2 (04:46):
Yeah, these are known as the Big Five, so the
Big five or the major film production companies that dominate
the industry. Known for their extensive production and distribution capabilities,
these studios not only create film content, but also control
significant global distribution networks, influencing both domestic and international markets.
(05:10):
They include right now, Walt Disney Pictures, Warner Brothers Pictures,
Paramount Pictures, Universal Pictures, and Columbia Pictures, which is owned
by Sony. They were bought a few decades back.
Speaker 1 (05:24):
I think a lot of pictures, they're all pictures.
Speaker 2 (05:27):
You don't hear a lot of people calling movies pictures.
Now we're in the studios.
Speaker 1 (05:31):
Yeah, now we're studios.
Speaker 2 (05:33):
There was once the Big Seven, but MGM faded a
little bit and they were bought by Amazon.
Speaker 1 (05:39):
Metro goldwynd Meyer. MGM now called Amazon. MGM Studios still
owns James Bond.
Speaker 2 (05:47):
They claimed to fame. And then there used to be
twentieth Century Fox in there, but they were bought out
by Disney.
Speaker 1 (05:55):
Yeah, and then the other major players Sony Pictures, lions Gate,
A twenty four, Blumhouse, Neon, and Legendary Entertainment. If we're
gonna have honorable mentions on that list, it would probably
be Netflix, right. And then you've got Apple Studios and
they have produced award winning films like Coda and Greyhound.
(06:16):
Then you have the search Light, you got Focus Features,
You've got Stx Entertainment, and then you've got the old
mighty Mirrormax.
Speaker 2 (06:26):
Yeah, in the nineties, Mira Max was a big one.
So what we're gonna do today is taking into account
like all those you just mentioned and everything else out
in the universe, of which there are probably hundreds. If
you account for all the studios releasing films. What we're
gonna do is we're gonna share our top three movie
studios of twenty twenty five. We each made a list.
(06:49):
We don't know what the other person has on their list,
so we're gonna talk about it. We're gonna compare the list.
We're gonna see what they are. No criteria, you know,
it was kind of up to the individual how you
wanted to shape your list, what the criteria was for,
how you decided what your top studios were. Let's hash
that out a little bit here, Patrick, I used a
(07:11):
trio of alliterative factors to determine mine. I love that,
and they are as follows, biz buzz and brand, you know,
biz recent box office buzz, the movies that people are
talking about, who's making them. And brand, you know, who
has become a consistent, identifiable source of a certain type
(07:36):
or quality of movie. So those are kind of my
three factors I was weighing when I was putting this together.
That was how I was determining who's got the mojo
right now?
Speaker 1 (07:45):
I like it. I like it. Let me try to
match that a little bit, all right, Okay, I can
kind of match. It's not quite alliterative. I'll do quality,
creativity and cash.
Speaker 2 (07:57):
Yeah, that's that's solid.
Speaker 1 (07:59):
Yes, alliterative, but it's not because quality is a cute right.
But anyway, but the good they have a good ring
to it, and I think that's a common thread through mine,
so it will work with yours. So yours is buzz
brand and biz biz.
Speaker 2 (08:13):
I think we're on the same same page here. Do
you want to kick it off with your number three?
We'll go we'll do a three two one and we'll
go back and forth.
Speaker 1 (08:21):
Okay, so number three on my list would probably be
Netflix Studios. Oh, the streamer, the streamer. I know, it's
not a traditional studio, it's like we think of it.
But Netflix. When it comes to quality, Netflix movies have
gotten to the point where, just like a lot of
streaming services, you're like, that could be a theatrical movie.
(08:43):
It can compete with the movies that are in the theaters.
Case in point, what was the movie with uh over
the Holidays?
Speaker 2 (08:50):
Carry on?
Speaker 1 (08:50):
Carry on? Yeah, that could have been in a movie theater.
I think one of the things Netflix has going for
them is that they have a lot of filmmakers out
there that are doing things through the Netflix studios that
is very creative and then for cash Netflix, if you
look at them. As of January of twenty twenty five,
Netflix's net worth was three hundred and sixty six billion dollars,
(09:14):
seventy eight percent up from the previous year. Now, I'm
not saying that they don't struggle with subscribers from time
to time, and they talk about that, but they have
deep pockets to make good productions, so the cash flow
is there.
Speaker 2 (09:28):
This is a this is an interesting pick to me. No,
I don't mean that in a derogatory way. The stuff,
the amount of stuff like Netflix has produced or they've
like you know, purchased some things, Like the amount of
stuff they like put out there definitely like deserves the pick.
One piece that's missing is like I wish there was
(09:49):
more theatrical and kind of like staying power where people
I feel like people are talking about their movies for
a weekend and then it's kind of like poof.
Speaker 1 (09:57):
Unlike other movie studio in the streaming world, when Netflix
releases something on Netflix, it doesn't make it over to
any other streaming platform. Mmm, they don't have that. Yeah,
you know what I mean, Like the syndicated as they
used to call it, you know, when you'd syndicate that
property over to another channel or another network, And so
that I think works against them a little bit.
Speaker 2 (10:19):
Yeah, you know, now I think about it, I'm like,
maybe they're onto something also in the sense that the
Netflix model is tapping into something where a movie doesn't
just exist in a moment it's released, you know what
I mean. Maybe it's that's not even the purpose. It's
like here it is, and then now it exists for
all future time, where it can just kind of keep
bouncing up in the water, you know what I mean?
Speaker 1 (10:41):
Yeah, right, all right.
Speaker 2 (10:43):
To bear us back on track, my number three is Neon.
Speaker 1 (10:47):
Mmmm.
Speaker 2 (10:48):
Okay, not just giving this to Neon because they helped
me win the Summer Draft with Long Legs, which is
a big hit for my team, but that's part of it.
So since twenty twenty when Neon won Best Picture with Parasite,
I feel like they've been kind of on a roll.
They've really been on the upswing. Twenty twenty four was
(11:09):
a big year for them, so they had Long Legs.
Long Legs, which was the company's biggest hit of all time,
made seventy four million in the US, one hundred and
twenty six million worldwide a movie. I think they just
kind of expertly marketed, built up a lot of buzz
and anticipation and mystery, and again helped me win that
summer movie Draft, which is great. But they also had
(11:29):
a couple other movies. They had Immaculate and Cuckoo, which
were a couple like decent size horror hits. And then
they have this movie Anora, which is kind of this
critically beloved film which could get them another Best Picture win.
It's kind of in the conversation there that's, you know,
kind of business and buzz for them. You could slightly
knock them a little bit for brand in the fact
(11:51):
that they don't have that kind of well established Blumhouse
or a twenty four brand. Necessarily, they make bold risk
taking in films, but I don't know if people associate like, oh,
it's a Neon movie. I don't know if they have
that yet. I don't know if people know what a
Neon film is or have that association. So I think
the brand could be a little strong, but they're definitely
(12:13):
building up something and they have coming in twenty twenty five,
The Monkey, based on a Stephen kingbook from the writer
and director of Long Legs. So look out for the monkey.
Speaker 1 (12:25):
Yeah, yeah, no, I that's a good pick. Parasite was
a great movie. And this is what I think happens
a lot of times with these smaller movie studios is
that they get something that really resonates with audiences and
they win some awards and suddenly gain momentum. And I
think that's what you're seeing with Neon some of these
(12:46):
other ones, which you know we may or may not mention.
I mean, honestly, good pick, and I love the name Neon.
So my second pick, it's going to be a cheat,
a little bit of a cheat.
Speaker 2 (12:56):
I mean, sorry, your list, do what you want.
Speaker 1 (12:57):
So I'm gonna just like double up on this and say,
Blumhouse A twenty four, is this gonna step on your toes?
Did you do what you feel? I could go with
it all right, So I really like, I mean, these
two studios are just doing some really great movies. Now.
The reason why I kind of doubled up is because
Blumhouse makes a certain kind of movie. I think A
(13:18):
twenty four has a little bit of a broader sort
of storytelling approach. Blumhouse they specialize in horror, films. You've
got stuff like Get Out, the Black Phone, Sinister Split,
The Invisible Man, The Purge, the whole revamp of the
Halloween franchise. They just do a really good job on
the horror side. So they've got the quality there, creativity,
(13:41):
they're all very original stories. A lot of them are
original other than maybe Halloween. So really good stuff happening there.
And then they've got the cash. All their movies have
grossed almost six billion dollars. Then you've got A twenty
four on the other side, you know, to give you
a sense of the types of movies that they produce
(14:04):
everything everywhere, all at once, which they just want a
bunch of awards for that last year. They've got Moonlight,
and they've got Maxine, They've got Hereditary, and there's some horror,
there's some drama, there's some thrillers, there's some mysteries. And
then they're valued at three point five billion dollars as
of like June of twenty twenty four. So Blumhouse A
(14:27):
twenty four are two of the what I'm gonna call
tag team of my second pick. What do you think
of that?
Speaker 2 (14:33):
I mean, you can't argue with either one of those
I think I would hone in on the for both
of them, the creative piece of that. I think they're
both studios that filmmakers want to work with and who
bring movies with like interesting ideas to the screen, like repeatedly,
time after time. These are movies that like attract audiences,
(14:54):
partially because like you know, Glumhouse and like horror movies
and like maybe that's an underserved audience people aren't getting
enough of them. But also, you know this these interesting
ideas and like innovative filmmakers and things like that, where
you're bringing these ideas to the screen that are just
attracting audiences, you know, things they're not getting from the
bigger films that are coming out.
Speaker 1 (15:13):
Yeah, and you hear me say this all the time,
you know, when you and I talk about movies, is
like I may not even love an entire movie, or
I may not like you know, how it ended, but
I love the concept. If a movie has a great concept,
I could come away going that was pretty cool. I
really like that. Generally Blumhouse in A twenty four, most
(15:34):
of the movies that I've seen so far there, I'm like,
that was pretty good.
Speaker 2 (15:37):
They got it, they got something going on so form
my number two different side of the spectrum, all biz.
On this one, I went with dizz doing the biz.
I went with Disney. You know, impossible not to call
them out for me. They just killed it on the
business front. In twenty twenty four, case in Point, Inside
Out Too number one Movie of the year, Deadpull, Wolverine
(16:00):
number two Movie of the Year, Mowana Too number four
Movie of the year. They also had Mufasa Kingdom of
the Planet of the Apes with twentieth Century Fox Alien Romulus.
Even there, some of their re releases did pretty well.
They had The Phantom Menace made thirteen million dollars, The
Nightmare Before Christmas made six million dollars. These movies, you know,
that came out twenty thirty years ago and people are
(16:23):
still you know, going back to to the tune of
millions of dollars just shows you Disney is just one
of the strongest brands in the world. One could argue
far more fragmented than it was. There's a lot more
branches to this tree than when it was just this
family friendly brand. But I mean, all around, pretty strong,
(16:43):
very well known, and it still has that family entertainment
you know, at its core. See Inside Out, to see Mowana,
to see Moufasa. I mean, that's still kind of the
Disney brand in a nutshell. And when you have the
whole world indoctrinating kids to your studio from the time
they are born, that helps. When your logo comes up
(17:04):
at the beginning of a movie and kids cheer, you
can't really argue about the brand strength. And they're twenty
twenty five lineup heavy on the superheroes. They got the
new Captain America, a new Fantastic four Live actually, Lelo
and Stitch, a Tron sequel for you, Patrick, Tron Aris,
Zootopia two, and a new Avatar movie. Just tough to
(17:27):
keep them out of something like this for me. So
Disney my number two.
Speaker 1 (17:31):
I agree with you. I mean, it is impossible to ignore.
And we've talked about this. You know, they've become the
powerhouse between owning Marvel and Pixar and Box. It owns
everything Star Wars, Star Wars. I mean, I'm pretty sure
it owns the mortgage on my house. I don't know
it owns this podcast podcast. It is weird. Though I'm
(17:54):
not saying anything negative here about Disney because I don't
want to be he Alter shot dead in the street.
But it is weird though, no really like think about
you know, years ago, there was a movie called John Carter.
You remember this, Yeah, I don't remember the whole premise
of the movie, but I do remember this. The marketing
for that movie pitched it as Disney's John Carter, and
(18:18):
that movie wasn't really like anything Disney did back then,
and it was a flop. It was a total flop.
We talked about the fact that they should never have
called it Disney's John Carter because the Disney name just
was not synonymous with anything other than animated, family friendly movies.
And this movie wasn't necessarily like, it wasn't not family friendly,
(18:42):
but they were trying to go for something else. It
didn't work because people couldn't perceive it as such. That's
twenty twelve, and how far it's come to this point
where now they have all of these other properties that
you would never have a decade or more ago, thought
oh yeah, oh my god, could you imagine, like, you know,
(19:06):
I mean, an R rated where they're saying the F
word and they're saying, you know, I mean, it's just
like not even something that would have been in the
vocabulary back then, right, Yeah, so I think it's a
great pick. All right, my number one on this list,
my top pick. I'm going back to the to the
streaming well, and here it is Apple Studios. As soon
(19:26):
as they decided they were going to go in and
make their own content, they went for it. They went
after it. We mentioned Greyhound and Coda as award winning movies,
but they just continuously put out great content. And I
know we're talking mostly about movies, but it does seem
like they have a better quality control structure on their
(19:48):
streaming shows versus the movies in terms of the output.
Let me run down a list of shows which I
think from a studio perspective hit the mark for me.
I mean Severance. Everybody talks about that right now. But
you know, you've got The Morning Show, which was great,
people liked for All Mankind. You've got Foundation and Invasion
which were pretty good. Not everybody knows about those, but
(20:10):
a lot of people have been talking about that, Slow Horses,
you know, Silo, which is fantastic. There's a lot of
on the sci fi edge, so some of that appeals
to me. So that's one of the reasons probably why
I picked it. There's some really good stories being told there,
and I think that that's probably what I would react
to more than anything. And then you have the cash.
(20:32):
I mean, obviously, Apple's net worth January three point four
to six trillion dollars trillion, not billion trillion, so it
makes it the most valuable company. I don't know how
they divvy up their money for their studios, but their
movie studios has you know, a well to sort of
pull from.
Speaker 2 (20:52):
Wow, so this is a big one, you know. Do
I like that Apple has, you know, given people like
Martin Score, say, like tons of money to make a
three hour movie. Yeah, I do. I think it's great.
I think it's great that they just throw so much
money at people to make movies, and we have this
(21:12):
endless will of money. Let's just make something big. Let's
get people in here to check out the platform and
hopefully watch the other things. You know, it's not necessarily
all about riding on one movie. The one thing I
love that they're you know, putting money in and giving
talented people, you know, keeping them working. I just same
thing with Netflix. I'm like, do they actually care about movies?
(21:34):
I don't know the answer to that, but it's a question.
It's an interesting pick, and you're looking at things from
a very different perspective than I am. I guess I
think of that as TV and I put that in
like a separate box. But maybe it's not. And for them,
maybe it's all one you know again, so it's probably
all one thing.
Speaker 1 (21:51):
Yeah, I'm putting it into one thing. You said it
was my list, I could do it, yeah, and you.
Speaker 2 (21:58):
Can and you can't. For my number one, I went
with a company, a studio who I know loves movies.
You already mentioned it's A twenty four. I still think,
you know, when we're talking about brand and buzz, A
twenty four dominates the markets. They're the cool kids in
(22:19):
school right now. They're what Mira Max once was. You
just see the name and know you're getting something interesting,
something of quality, with kind of talent behind it. It's
a name that kind of means something or tells you something.
What's butts in the seats, even if it is a
kind of a small indie scale. But they had a
string of buzzed about hits in twenty twenty four. Civil
(22:42):
War was the company's second biggest movie of all time,
after Everything Everywhere, all at once, which you mentioned. Civil
awarded sixty eight million domestic and one hundred and six
million worldwide, so it shows they're kind of leveling up
slowly becoming a bigger player in the field. But they
also had hair tick Maxine, Baby Girl, Love Lies Bleeding.
(23:05):
We live in time. These are other like moderate pretty
good indie movie hits in a time where this kind
of middle movie no longer really exists. You know, these
movies that are making twenty thirty forty million dollars and
making money off that. There's not a lot of those anymore.
And they've got the Brutalists right now, which is in
(23:25):
awards contention. You know, this is another one that could
be up for Best Picture, and you get one of
those more buzz something else fueling the brand people know you,
people start watching that because they hear, oh, this must
be good. You know this one something upcoming movie of note,
Death of a Unicorn. Let me give you the synopsis
of this one. Patrick a father Paul Rudd, and daughter
(23:50):
Jenna Ortega accidentally hit and kill a unicorn well en
route to a weekend retreat where his billionaire boss seeks
to exploit the creature's miraculous curative properties. Also note about
about A twenty four They sell merch on their site.
They've got like a baby girl T shirt, They've got
movie chocolate, They've got a monthly subscription service that you
(24:14):
can sign up for. Membership gets you a ticket to
every A twenty four movie that comes out, plus a
zion on your doorstep, a gift on your birthday. So
they got awards, they got money, they got merch. Talented
people want to work with them, and I think their
logo is really cool too. So yeah, yeah, they've got
it all going for me right now. So that was
my clear number one.
Speaker 1 (24:36):
Yeah, speaking of the merch side, I bought something directly
from their merch store.
Speaker 2 (24:41):
No did you recently or a while ago?
Speaker 1 (24:43):
So for uh Christmas, I got my son the Everything
Everywhere all at once Blu ray box set. They had
like this really cool limited edition box set which had
like liner notes from the movie and stuff. It was
really cool. From the merch store. I was like, it's
weird because it's one of those things you don't normally
go directly to the source. Yeah for stuff like that,
(25:05):
you know, And I ended up getting it directly from
the movie student. I thought this is kind of weird.
When I bought it, I thought it was weird, and
I was like, this is coming from the movie studio,
but packaged really nicely. So they did a good job.
Speaker 2 (25:16):
And I mean, and it's cool that they have this
very individual, defined stuff that they make for their movies,
you know, that you can buy. You know, they're feeding
their fans. I will mention I did have one honor
ball that I did. I was an almost on which
I was close. I thought about, which was Universal because
Universal just they just had Oppenheimer last year, which was
(25:39):
a huge movie, and they've got Wicked this year, and
then they also had Twisters and Despicable Me for in
the Wild Robot, so that's pretty good run. So I
was close to throwing them in the mix.
Speaker 1 (25:49):
All right, So last little bit of our episode today,
most anticipated movie. So looking at the release calendar, Shad,
what movie are you most excited for in twenty twenty five.
Speaker 2 (26:02):
I think this flows nicely as we talk about the studios.
You know who's gonna have the juice in the year ahead.
As I looked through the list, I saw a lot
of movies I know you'll be interested in. Patrick the Minecraft.
Speaker 1 (26:14):
Movie, Yeah, yep, that's gonna be.
Speaker 2 (26:16):
Passion of the Christ Resurrection.
Speaker 1 (26:19):
Oh is that a sequel? Yeah? I didn't know they
were making that.
Speaker 2 (26:24):
I didn't either, So when I was looking at it,
what I came down to, I came down to a
few where I was like, oh man, these look pretty good.
One of them Mission Impossible, The Final Reckoning from Paramount Pictures. Okay,
I ended up really liking the Last one Dead Reckoning.
I really enjoyed that more than I thought I would.
Speaker 1 (26:44):
Yeah.
Speaker 2 (26:45):
Twenty eight years later from Sony Pictures. Big fan of
this franchise, The Running Man, also from Paramount Pictures. I'm
not usually into remakes, but I don't know. This one
kind of intrigues me because it's from Edgar Wright, who
made like Scott Pilgrim and Sean of the Dead, and
then the movie I think it's potentially titled for now,
(27:05):
The Battle of Backton Cross from Warner Brothers. This is
the new Paul Thomas Anderson movie, The Guy behind Boogie Knights,
and it's got Leonardo DiCaprio in it.
Speaker 1 (27:16):
I know you love some Leonardo DiCaprio.
Speaker 2 (27:18):
I mean I'll take some. I'll take a little DiCaprio
more interested in Paul Thomas Anderson, what he kind of
puts together with those choices on the table. I think
it kind of came down to me. And this is
a surprise to myself too. I was like, I think
my top two are mission impossible in the Running Man. Here,
I'm most intrigued by the Running Man. I think I'm
gonna take that. I'm like, just really interested in what
(27:40):
that's gonna be.
Speaker 1 (27:42):
When does that do out?
Speaker 2 (27:43):
You know, November seventh, so we got a while for
that one.
Speaker 1 (27:47):
I will say I've said this before, twenty eight years later.
I am super psyched about this movie. I don't know
if it's gonna be as good as I want it
to be. The expectations might be too high, but I'm
hoping Sony Picture brings it. So those are good picks.
I'm interested to see the Running Man. I didn't know
that was even coming out, So Running Man sounds good.
Speaker 2 (28:07):
What about the other Man? Superman?
Speaker 1 (28:09):
I'm more interested to see what everyone will freak out
about the dog. Yeah they're upset about the dog. It's ridiculous.
But yeah, well we'll see. We have a whole year
full of movies left to give.
Speaker 2 (28:23):
We're just getting started. We're just getting warmed up.
Speaker 1 (28:26):
Oh all right, al okay, Well that's it for this
episode of Movies and Marketing. Until next time, let's fade
to black.
Speaker 2 (28:36):
I'll be back. He's coming side.
In a world where movies rely on marketing more than
ever to connect with audiences, one podcast aims to make
sense of it all. This is movies and marketing. Next
Saturday Nights, where're sending you back to the future?
Speaker 2 (00:21):
Go ahead, make my day? How about now you're crazy
Dutch bastard. What we've got here is failure Milgate. Take
them of around where a freshole of pow for we
might as well with them. I am an f B
I agent, So Patrick, I have two trivia questions for
(00:47):
you today.
Speaker 1 (00:48):
One for the fact that like you were gonna originally
get one, and another one as punishment.
Speaker 2 (00:53):
Yeah, just for spite.
Speaker 1 (00:54):
Okay, all right, so here we go.
Speaker 2 (00:56):
The first, you know, a softball, A multiple choicer, though
not easy?
Speaker 1 (01:01):
All right?
Speaker 2 (01:02):
Number one? What movie studio has the most Academy Awards
for Best Picture? A Paramount, B, Colombia, C, Warner Brothers
or D Universal.
Speaker 1 (01:19):
For Academy I'd probably say Warner Brothers.
Speaker 2 (01:21):
Maybe Warner Brothers is a good guess. The Warner Brothers
is wrong, is it?
Speaker 1 (01:26):
Paramount?
Speaker 2 (01:27):
Paramount is a very good guess. Paramount is wrong? Is it.
Speaker 1 (01:34):
Colombia?
Speaker 2 (01:35):
It is Colombia? Third times the chun so Colombia has
the most whipped twelve, Paramount has eleven, Universal has ten,
Warner Brothers has nine. Colombia won twelve times. Most of
them came between nineteen fifty and nineteen sixty nine. Last
time they won way back in nineteen eighty eight for
(01:57):
The Last Emperor.
Speaker 1 (01:59):
That's a long time go Disney.
Speaker 2 (02:01):
You know, just Disney, not twentieth Century Fox which they
now own, or Searchlight, you know, which they now own.
Never won Best Picture. You would think they'd have one,
would you, though?
Speaker 1 (02:12):
What could even classify as a Disney movie that would
be Best Picture? Like, do you have anything on the
top of your head? Snow White? Aladdin? Maybe?
Speaker 2 (02:21):
I just think of all the you know, classics they
released over the years. There's got to be something Bambi,
you know, something like that. Yeah, Avengers, the Avengers.
Speaker 1 (02:31):
Yeah, we should also mention even though we're not. And
you did mention Disney and you said Avengers. You also
have Marvel Studios, which technically is a part of Disney,
but they also are kind of their own thing, so
like you know, it does say Marvel Studios even though
it's like a subsidiary of Disney. I mean, they had
(02:52):
the collective gross of their films being seventeen billion, I
think they should get an honorable mention.
Speaker 2 (02:59):
Yeah, growing out there, all right, Trivia question number two.
This is a higher level of difficulty. No multiple choice here.
This is going to rely on your brain and your
brain alone.
Speaker 1 (03:10):
Okay.
Speaker 2 (03:12):
Warner Brothers has been around for over one hundred years.
They started in nineteen twenty three, according to the Warner
Brothers website. Approximately how many movies have they made in
that time?
Speaker 1 (03:25):
Oh uh yeah.
Speaker 2 (03:28):
Take a stab at it, you know, just over one
hundred years. How many movies do you think they've.
Speaker 1 (03:32):
Made, Let's say two thousand.
Speaker 2 (03:35):
I mean you're in range. I guess they've made seven thousand.
Speaker 1 (03:41):
Whoa, yeah, seven thousand movies.
Speaker 2 (03:43):
Seven thousand movies, I mean one hundred years.
Speaker 1 (03:45):
Yeah, that makes sense. I didn't really do the math.
That is a lot of movies.
Speaker 2 (03:50):
I think they used to crank them out too, you know.
Speaker 1 (03:53):
Yeah, I mean Warner Brothers has a big catalog, it
really does. So it makes sense. Doesn't make any sense
to me, be honest with you, but it makes sense.
Speaker 2 (04:01):
They I mean, there's just been a lot of movies
that have been made by a lot of studios we're
going to get into that a little bit here today.
Speaker 1 (04:09):
So today we're talking about movie studios, right, Chad.
Speaker 2 (04:13):
Stu Stu's studio, As the song goes.
Speaker 1 (04:16):
Movie studios are crucial because they are what finance and
produce and distribute films, and they really shape the entertainment industry. Right.
They control intellectual property, and they manage talent, and they
decide which projects get made, and they influence the types
of stories that are told and how they reach audiences.
You know, there's just there's so much to movie studios,
(04:39):
but there's really only a handful, maybe a couple handfuls
of major studios today.
Speaker 2 (04:46):
Yeah, these are known as the Big Five, so the
Big five or the major film production companies that dominate
the industry. Known for their extensive production and distribution capabilities,
these studios not only create film content, but also control
significant global distribution networks, influencing both domestic and international markets.
(05:10):
They include right now, Walt Disney Pictures, Warner Brothers Pictures,
Paramount Pictures, Universal Pictures, and Columbia Pictures, which is owned
by Sony. They were bought a few decades back.
Speaker 1 (05:24):
I think a lot of pictures, they're all pictures.
Speaker 2 (05:27):
You don't hear a lot of people calling movies pictures.
Now we're in the studios.
Speaker 1 (05:31):
Yeah, now we're studios.
Speaker 2 (05:33):
There was once the Big Seven, but MGM faded a
little bit and they were bought by Amazon.
Speaker 1 (05:39):
Metro goldwynd Meyer. MGM now called Amazon. MGM Studios still
owns James Bond.
Speaker 2 (05:47):
They claimed to fame. And then there used to be
twentieth Century Fox in there, but they were bought out
by Disney.
Speaker 1 (05:55):
Yeah, and then the other major players Sony Pictures, lions Gate,
A twenty four, Blumhouse, Neon, and Legendary Entertainment. If we're
gonna have honorable mentions on that list, it would probably
be Netflix, right. And then you've got Apple Studios and
they have produced award winning films like Coda and Greyhound.
(06:16):
Then you have the search Light, you got Focus Features,
You've got Stx Entertainment, and then you've got the old
mighty Mirrormax.
Speaker 2 (06:26):
Yeah, in the nineties, Mira Max was a big one.
So what we're gonna do today is taking into account
like all those you just mentioned and everything else out
in the universe, of which there are probably hundreds. If
you account for all the studios releasing films. What we're
gonna do is we're gonna share our top three movie
studios of twenty twenty five. We each made a list.
(06:49):
We don't know what the other person has on their list,
so we're gonna talk about it. We're gonna compare the list.
We're gonna see what they are. No criteria, you know,
it was kind of up to the individual how you
wanted to shape your list, what the criteria was for,
how you decided what your top studios were. Let's hash
that out a little bit here, Patrick, I used a
(07:11):
trio of alliterative factors to determine mine. I love that,
and they are as follows, biz buzz and brand, you know,
biz recent box office buzz, the movies that people are
talking about, who's making them. And brand, you know, who
has become a consistent, identifiable source of a certain type
(07:36):
or quality of movie. So those are kind of my
three factors I was weighing when I was putting this together.
That was how I was determining who's got the mojo
right now?
Speaker 1 (07:45):
I like it. I like it. Let me try to
match that a little bit, all right, Okay, I can
kind of match. It's not quite alliterative. I'll do quality,
creativity and cash.
Speaker 2 (07:57):
Yeah, that's that's solid.
Speaker 1 (07:59):
Yes, alliterative, but it's not because quality is a cute right.
But anyway, but the good they have a good ring
to it, and I think that's a common thread through mine,
so it will work with yours. So yours is buzz
brand and biz biz.
Speaker 2 (08:13):
I think we're on the same same page here. Do
you want to kick it off with your number three?
We'll go we'll do a three two one and we'll
go back and forth.
Speaker 1 (08:21):
Okay, so number three on my list would probably be
Netflix Studios. Oh, the streamer, the streamer. I know, it's
not a traditional studio, it's like we think of it.
But Netflix. When it comes to quality, Netflix movies have
gotten to the point where, just like a lot of
streaming services, you're like, that could be a theatrical movie.
(08:43):
It can compete with the movies that are in the theaters.
Case in point, what was the movie with uh over
the Holidays?
Speaker 2 (08:50):
Carry on?
Speaker 1 (08:50):
Carry on? Yeah, that could have been in a movie theater.
I think one of the things Netflix has going for
them is that they have a lot of filmmakers out
there that are doing things through the Netflix studios that
is very creative and then for cash Netflix, if you
look at them. As of January of twenty twenty five,
Netflix's net worth was three hundred and sixty six billion dollars,
(09:14):
seventy eight percent up from the previous year. Now, I'm
not saying that they don't struggle with subscribers from time
to time, and they talk about that, but they have
deep pockets to make good productions, so the cash flow
is there.
Speaker 2 (09:28):
This is a this is an interesting pick to me. No,
I don't mean that in a derogatory way. The stuff,
the amount of stuff like Netflix has produced or they've
like you know, purchased some things, Like the amount of
stuff they like put out there definitely like deserves the pick.
One piece that's missing is like I wish there was
(09:49):
more theatrical and kind of like staying power where people
I feel like people are talking about their movies for
a weekend and then it's kind of like poof.
Speaker 1 (09:57):
Unlike other movie studio in the streaming world, when Netflix
releases something on Netflix, it doesn't make it over to
any other streaming platform. Mmm, they don't have that. Yeah,
you know what I mean, Like the syndicated as they
used to call it, you know, when you'd syndicate that
property over to another channel or another network, And so
that I think works against them a little bit.
Speaker 2 (10:19):
Yeah, you know, now I think about it, I'm like,
maybe they're onto something also in the sense that the
Netflix model is tapping into something where a movie doesn't
just exist in a moment it's released, you know what
I mean. Maybe it's that's not even the purpose. It's
like here it is, and then now it exists for
all future time, where it can just kind of keep
bouncing up in the water, you know what I mean?
Speaker 1 (10:41):
Yeah, right, all right.
Speaker 2 (10:43):
To bear us back on track, my number three is Neon.
Speaker 1 (10:47):
Mmmm.
Speaker 2 (10:48):
Okay, not just giving this to Neon because they helped
me win the Summer Draft with Long Legs, which is
a big hit for my team, but that's part of it.
So since twenty twenty when Neon won Best Picture with Parasite,
I feel like they've been kind of on a roll.
They've really been on the upswing. Twenty twenty four was
(11:09):
a big year for them, so they had Long Legs.
Long Legs, which was the company's biggest hit of all time,
made seventy four million in the US, one hundred and
twenty six million worldwide a movie. I think they just
kind of expertly marketed, built up a lot of buzz
and anticipation and mystery, and again helped me win that
summer movie Draft, which is great. But they also had
(11:29):
a couple other movies. They had Immaculate and Cuckoo, which
were a couple like decent size horror hits. And then
they have this movie Anora, which is kind of this
critically beloved film which could get them another Best Picture win.
It's kind of in the conversation there that's, you know,
kind of business and buzz for them. You could slightly
knock them a little bit for brand in the fact
(11:51):
that they don't have that kind of well established Blumhouse
or a twenty four brand. Necessarily, they make bold risk
taking in films, but I don't know if people associate like, oh,
it's a Neon movie. I don't know if they have
that yet. I don't know if people know what a
Neon film is or have that association. So I think
the brand could be a little strong, but they're definitely
(12:13):
building up something and they have coming in twenty twenty five,
The Monkey, based on a Stephen kingbook from the writer
and director of Long Legs. So look out for the monkey.
Speaker 1 (12:25):
Yeah, yeah, no, I that's a good pick. Parasite was
a great movie. And this is what I think happens
a lot of times with these smaller movie studios is
that they get something that really resonates with audiences and
they win some awards and suddenly gain momentum. And I
think that's what you're seeing with Neon some of these
(12:46):
other ones, which you know we may or may not mention.
I mean, honestly, good pick, and I love the name Neon.
So my second pick, it's going to be a cheat,
a little bit of a cheat.
Speaker 2 (12:56):
I mean, sorry, your list, do what you want.
Speaker 1 (12:57):
So I'm gonna just like double up on this and say,
Blumhouse A twenty four, is this gonna step on your toes?
Did you do what you feel? I could go with
it all right, So I really like, I mean, these
two studios are just doing some really great movies. Now.
The reason why I kind of doubled up is because
Blumhouse makes a certain kind of movie. I think A
(13:18):
twenty four has a little bit of a broader sort
of storytelling approach. Blumhouse they specialize in horror, films. You've
got stuff like Get Out, the Black Phone, Sinister Split,
The Invisible Man, The Purge, the whole revamp of the
Halloween franchise. They just do a really good job on
the horror side. So they've got the quality there, creativity,
(13:41):
they're all very original stories. A lot of them are
original other than maybe Halloween. So really good stuff happening there.
And then they've got the cash. All their movies have
grossed almost six billion dollars. Then you've got A twenty
four on the other side, you know, to give you
a sense of the types of movies that they produce
(14:04):
everything everywhere, all at once, which they just want a
bunch of awards for that last year. They've got Moonlight,
and they've got Maxine, They've got Hereditary, and there's some horror,
there's some drama, there's some thrillers, there's some mysteries. And
then they're valued at three point five billion dollars as
of like June of twenty twenty four. So Blumhouse A
(14:27):
twenty four are two of the what I'm gonna call
tag team of my second pick. What do you think
of that?
Speaker 2 (14:33):
I mean, you can't argue with either one of those
I think I would hone in on the for both
of them, the creative piece of that. I think they're
both studios that filmmakers want to work with and who
bring movies with like interesting ideas to the screen, like repeatedly,
time after time. These are movies that like attract audiences,
(14:54):
partially because like you know, Glumhouse and like horror movies
and like maybe that's an underserved audience people aren't getting
enough of them. But also, you know this these interesting
ideas and like innovative filmmakers and things like that, where
you're bringing these ideas to the screen that are just
attracting audiences, you know, things they're not getting from the
bigger films that are coming out.
Speaker 1 (15:13):
Yeah, and you hear me say this all the time,
you know, when you and I talk about movies, is
like I may not even love an entire movie, or
I may not like you know, how it ended, but
I love the concept. If a movie has a great concept,
I could come away going that was pretty cool. I
really like that. Generally Blumhouse in A twenty four, most
(15:34):
of the movies that I've seen so far there, I'm like,
that was pretty good.
Speaker 2 (15:37):
They got it, they got something going on so form
my number two different side of the spectrum, all biz.
On this one, I went with dizz doing the biz.
I went with Disney. You know, impossible not to call
them out for me. They just killed it on the
business front. In twenty twenty four, case in Point, Inside
Out Too number one Movie of the year, Deadpull, Wolverine
(16:00):
number two Movie of the Year, Mowana Too number four
Movie of the year. They also had Mufasa Kingdom of
the Planet of the Apes with twentieth Century Fox Alien Romulus.
Even there, some of their re releases did pretty well.
They had The Phantom Menace made thirteen million dollars, The
Nightmare Before Christmas made six million dollars. These movies, you know,
that came out twenty thirty years ago and people are
(16:23):
still you know, going back to to the tune of
millions of dollars just shows you Disney is just one
of the strongest brands in the world. One could argue
far more fragmented than it was. There's a lot more
branches to this tree than when it was just this
family friendly brand. But I mean, all around, pretty strong,
(16:43):
very well known, and it still has that family entertainment
you know, at its core. See Inside Out, to see Mowana,
to see Moufasa. I mean, that's still kind of the
Disney brand in a nutshell. And when you have the
whole world indoctrinating kids to your studio from the time
they are born, that helps. When your logo comes up
(17:04):
at the beginning of a movie and kids cheer, you
can't really argue about the brand strength. And they're twenty
twenty five lineup heavy on the superheroes. They got the
new Captain America, a new Fantastic four Live actually, Lelo
and Stitch, a Tron sequel for you, Patrick, Tron Aris,
Zootopia two, and a new Avatar movie. Just tough to
(17:27):
keep them out of something like this for me. So
Disney my number two.
Speaker 1 (17:31):
I agree with you. I mean, it is impossible to ignore.
And we've talked about this. You know, they've become the
powerhouse between owning Marvel and Pixar and Box. It owns
everything Star Wars, Star Wars. I mean, I'm pretty sure
it owns the mortgage on my house. I don't know
it owns this podcast podcast. It is weird. Though I'm
(17:54):
not saying anything negative here about Disney because I don't
want to be he Alter shot dead in the street.
But it is weird though, no really like think about
you know, years ago, there was a movie called John Carter.
You remember this, Yeah, I don't remember the whole premise
of the movie, but I do remember this. The marketing
for that movie pitched it as Disney's John Carter, and
(18:18):
that movie wasn't really like anything Disney did back then,
and it was a flop. It was a total flop.
We talked about the fact that they should never have
called it Disney's John Carter because the Disney name just
was not synonymous with anything other than animated, family friendly movies.
And this movie wasn't necessarily like, it wasn't not family friendly,
(18:42):
but they were trying to go for something else. It
didn't work because people couldn't perceive it as such. That's
twenty twelve, and how far it's come to this point
where now they have all of these other properties that
you would never have a decade or more ago, thought
oh yeah, oh my god, could you imagine, like, you know,
(19:06):
I mean, an R rated where they're saying the F
word and they're saying, you know, I mean, it's just
like not even something that would have been in the
vocabulary back then, right, Yeah, so I think it's a
great pick. All right, my number one on this list,
my top pick. I'm going back to the to the
streaming well, and here it is Apple Studios. As soon
(19:26):
as they decided they were going to go in and
make their own content, they went for it. They went
after it. We mentioned Greyhound and Coda as award winning movies,
but they just continuously put out great content. And I
know we're talking mostly about movies, but it does seem
like they have a better quality control structure on their
(19:48):
streaming shows versus the movies in terms of the output.
Let me run down a list of shows which I
think from a studio perspective hit the mark for me.
I mean Severance. Everybody talks about that right now. But
you know, you've got The Morning Show, which was great,
people liked for All Mankind. You've got Foundation and Invasion
which were pretty good. Not everybody knows about those, but
(20:10):
a lot of people have been talking about that, Slow Horses,
you know, Silo, which is fantastic. There's a lot of
on the sci fi edge, so some of that appeals
to me. So that's one of the reasons probably why
I picked it. There's some really good stories being told there,
and I think that that's probably what I would react
to more than anything. And then you have the cash.
(20:32):
I mean, obviously, Apple's net worth January three point four
to six trillion dollars trillion, not billion trillion, so it
makes it the most valuable company. I don't know how
they divvy up their money for their studios, but their
movie studios has you know, a well to sort of
pull from.
Speaker 2 (20:52):
Wow, so this is a big one, you know. Do
I like that Apple has, you know, given people like
Martin Score, say, like tons of money to make a
three hour movie. Yeah, I do. I think it's great.
I think it's great that they just throw so much
money at people to make movies, and we have this
(21:12):
endless will of money. Let's just make something big. Let's
get people in here to check out the platform and
hopefully watch the other things. You know, it's not necessarily
all about riding on one movie. The one thing I
love that they're you know, putting money in and giving
talented people, you know, keeping them working. I just same
thing with Netflix. I'm like, do they actually care about movies?
(21:34):
I don't know the answer to that, but it's a question.
It's an interesting pick, and you're looking at things from
a very different perspective than I am. I guess I
think of that as TV and I put that in
like a separate box. But maybe it's not. And for them,
maybe it's all one you know again, so it's probably
all one thing.
Speaker 1 (21:51):
Yeah, I'm putting it into one thing. You said it
was my list, I could do it, yeah, and you.
Speaker 2 (21:58):
Can and you can't. For my number one, I went
with a company, a studio who I know loves movies.
You already mentioned it's A twenty four. I still think,
you know, when we're talking about brand and buzz, A
twenty four dominates the markets. They're the cool kids in
(22:19):
school right now. They're what Mira Max once was. You
just see the name and know you're getting something interesting,
something of quality, with kind of talent behind it. It's
a name that kind of means something or tells you something.
What's butts in the seats, even if it is a
kind of a small indie scale. But they had a
string of buzzed about hits in twenty twenty four. Civil
(22:42):
War was the company's second biggest movie of all time,
after Everything Everywhere, all at once, which you mentioned. Civil
awarded sixty eight million domestic and one hundred and six
million worldwide, so it shows they're kind of leveling up
slowly becoming a bigger player in the field. But they
also had hair tick Maxine, Baby Girl, Love Lies Bleeding.
(23:05):
We live in time. These are other like moderate pretty
good indie movie hits in a time where this kind
of middle movie no longer really exists. You know, these
movies that are making twenty thirty forty million dollars and
making money off that. There's not a lot of those anymore.
And they've got the Brutalists right now, which is in
(23:25):
awards contention. You know, this is another one that could
be up for Best Picture, and you get one of
those more buzz something else fueling the brand people know you,
people start watching that because they hear, oh, this must
be good. You know this one something upcoming movie of note,
Death of a Unicorn. Let me give you the synopsis
of this one. Patrick a father Paul Rudd, and daughter
(23:50):
Jenna Ortega accidentally hit and kill a unicorn well en
route to a weekend retreat where his billionaire boss seeks
to exploit the creature's miraculous curative properties. Also note about
about A twenty four They sell merch on their site.
They've got like a baby girl T shirt, They've got
movie chocolate, They've got a monthly subscription service that you
(24:14):
can sign up for. Membership gets you a ticket to
every A twenty four movie that comes out, plus a
zion on your doorstep, a gift on your birthday. So
they got awards, they got money, they got merch. Talented
people want to work with them, and I think their
logo is really cool too. So yeah, yeah, they've got
it all going for me right now. So that was
my clear number one.
Speaker 1 (24:36):
Yeah, speaking of the merch side, I bought something directly
from their merch store.
Speaker 2 (24:41):
No did you recently or a while ago?
Speaker 1 (24:43):
So for uh Christmas, I got my son the Everything
Everywhere all at once Blu ray box set. They had
like this really cool limited edition box set which had
like liner notes from the movie and stuff. It was
really cool. From the merch store. I was like, it's
weird because it's one of those things you don't normally
go directly to the source. Yeah for stuff like that,
(25:05):
you know, And I ended up getting it directly from
the movie student. I thought this is kind of weird.
When I bought it, I thought it was weird, and
I was like, this is coming from the movie studio,
but packaged really nicely. So they did a good job.
Speaker 2 (25:16):
And I mean, and it's cool that they have this
very individual, defined stuff that they make for their movies,
you know, that you can buy. You know, they're feeding
their fans. I will mention I did have one honor
ball that I did. I was an almost on which
I was close. I thought about, which was Universal because
Universal just they just had Oppenheimer last year, which was
(25:39):
a huge movie, and they've got Wicked this year, and
then they also had Twisters and Despicable Me for in
the Wild Robot, so that's pretty good run. So I
was close to throwing them in the mix.
Speaker 1 (25:49):
All right, So last little bit of our episode today,
most anticipated movie. So looking at the release calendar, Shad,
what movie are you most excited for in twenty twenty five.
Speaker 2 (26:02):
I think this flows nicely as we talk about the studios.
You know who's gonna have the juice in the year ahead.
As I looked through the list, I saw a lot
of movies I know you'll be interested in. Patrick the Minecraft.
Speaker 1 (26:14):
Movie, Yeah, yep, that's gonna be.
Speaker 2 (26:16):
Passion of the Christ Resurrection.
Speaker 1 (26:19):
Oh is that a sequel? Yeah? I didn't know they
were making that.
Speaker 2 (26:24):
I didn't either, So when I was looking at it,
what I came down to, I came down to a
few where I was like, oh man, these look pretty good.
One of them Mission Impossible, The Final Reckoning from Paramount Pictures. Okay,
I ended up really liking the Last one Dead Reckoning.
I really enjoyed that more than I thought I would.
Speaker 1 (26:44):
Yeah.
Speaker 2 (26:45):
Twenty eight years later from Sony Pictures. Big fan of
this franchise, The Running Man, also from Paramount Pictures. I'm
not usually into remakes, but I don't know. This one
kind of intrigues me because it's from Edgar Wright, who
made like Scott Pilgrim and Sean of the Dead, and
then the movie I think it's potentially titled for now,
(27:05):
The Battle of Backton Cross from Warner Brothers. This is
the new Paul Thomas Anderson movie, The Guy behind Boogie Knights,
and it's got Leonardo DiCaprio in it.
Speaker 1 (27:16):
I know you love some Leonardo DiCaprio.
Speaker 2 (27:18):
I mean I'll take some. I'll take a little DiCaprio
more interested in Paul Thomas Anderson, what he kind of
puts together with those choices on the table. I think
it kind of came down to me. And this is
a surprise to myself too. I was like, I think
my top two are mission impossible in the Running Man. Here,
I'm most intrigued by the Running Man. I think I'm
gonna take that. I'm like, just really interested in what
(27:40):
that's gonna be.
Speaker 1 (27:42):
When does that do out?
Speaker 2 (27:43):
You know, November seventh, so we got a while for
that one.
Speaker 1 (27:47):
I will say I've said this before, twenty eight years later.
I am super psyched about this movie. I don't know
if it's gonna be as good as I want it
to be. The expectations might be too high, but I'm
hoping Sony Picture brings it. So those are good picks.
I'm interested to see the Running Man. I didn't know
that was even coming out, So Running Man sounds good.
Speaker 2 (28:07):
What about the other Man? Superman?
Speaker 1 (28:09):
I'm more interested to see what everyone will freak out
about the dog. Yeah they're upset about the dog. It's ridiculous.
But yeah, well we'll see. We have a whole year
full of movies left to give.
Speaker 2 (28:23):
We're just getting started. We're just getting warmed up.
Speaker 1 (28:26):
Oh all right, al okay, Well that's it for this
episode of Movies and Marketing. Until next time, let's fade
to black.
Speaker 2 (28:36):
I'll be back. He's coming side.
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