Quick Reminder – Logline Showdown Deadline is Thursday, August 24th! Have a script and want to see how the concept measures up against real-world competition? Enter Logline Showdown and battle it out with four other contestants!
What: Logline Showdown (feature scripts only)
Send: title, genre, logline
Deadline: Thursday, August 24th, 9:59pm Pacific Time
Where: Carsonreeves3@gmail.com
A lot of you are probably looking at the box office this weekend, seeing Barbie take the crown once again, twiddling your fingers together mischievously, and whispering to yourself, “Yessssss. Yesssssssss. Take that, Carson. How wrong you turned out to be.”
And to you I say, “Okay, Barbie, let’s go party!” For the love of Sugar Baby Ken, I’m all for Barbie’s success. I want people seeing movies at the movie theater. I support every soldier fighting that war, even if that soldier would prefer that women and men live on opposite sides of the planet. I’m KIDDING! (But not really)
What I’m more invested in, at the moment, is The Last Voyage of the Demeter entering the box office ring. I hear you chirping from the peanut gallery. “Last Voyage of the Demeter? What the heck is that??” The Last Voyage of the Demeter is a cool little concept about a ship that inadvertently finds out that it’s transporting Dracula’s coffin. And when Dracula gets out, all hell breaks loose.
It’s a perfect setup for a spec script. You’ve got this contained ship in the middle of the sea. Nowhere to hide. It’s the 19th century, so no one to call either. And then you’ve got that strange attractor we were talking about on Friday, with Dracula himself being on the ship.
What’s crazy about this movie is that the spec has been kicking around for almost 15 years (it was a big spec sale way back in the day from Bragi Schut). And now, after all that time, it’s finally been made (by the director of the cool little movie gem, “Troll Hunter”). As someone who understands more and more every day just how difficult it is to get movies made, I can’t help but celebrate this accomplishment.
A lot of you have probably looked at the post title and thought, “Has Carson lost his mind?” Answer: Maaayyyyyybe. “This movie barely made six million bucks this weekend. That’s about as fail as failure gets.” Let me explain something to you: If you write a spec script AND IT GETS A WIDE THEATRICAL RELEASE, you have won. You have won the godd****ed screenwriting lottery.
Do you have any idea how hard it is to get a theatrical release for a movie? The amount of competition that goes into obtaining just one of those coveted slots? Especially today, when there are less theatrical releases than ever. Throw an original spec into the mix and the odds get even worse. Studios do not like releasing original material. It’s too much of a gamble.
So why didn’t Last Voyage do better? I think whenever you have a horror movie that traverses too far off the beaten path, it’s trickier getting horror fans interested. Ironically, the thing that sets this horror movie apart – the fact that it’s on a boat in the 1800s – is probably why people didn’t show up.
People can relate to scary people in masks in haunted houses (Insidious). They can relate to freaky dolls (M3GAN). But it’s harder to relate to something that you could never, yourself, experience. When’s the last time you were on a creaky old ship having to escape a monster?
Of course, nobody here has been on a spaceship with a face-hugging alien following them through the corridors and that movie, “Alien,” did all right. There’s a big difference between these two films though. Alien was a masterpiece. Masterpieces trump any and all box office logic. They’re so good that people go out and tell others about the film which means everyone goes to see it.
The large majority of movies are not masterpieces. So they can’t depend on that advantage. I think the setup may have been a mite too unfamiliar when it came down to it. And while vampires are cool, it’s unclear if Dracula is cool to the young crowd. Even as the OG vampire, there’s something a little dated about Mr. Dracula. It’s too bad people feel that way because the movie actually looks atmospheric and good!
The Last Voyage of the Demeter is a serendipitous title when you think about it because it’s one of the last holdover specs from the days when you could still sell spec scripts. It made me wonder, what now? Now that they can no longer pull from that well, what will they pull from?
We’re reaching that point where the studios don’t have archives to plunder anymore. Demeter was one of the last spec sales that everyone agreed should be a movie.
Does that mean it’s Barbie and Marvel sequels for the rest of our lives? Maybe. But maybe not! Shall we talk about the pink elephant in the room? No Barbie sequel announced?? Does anybody find that strange?
Usually, when you’re a studio and you have a director you love in your fold, you make a deal immediately to get their next movie. It’s why directors like Christopher Nolan stayed at Warner Brothers for so long before the weird Tenet-Covid soap opera.
But Greta Gerwig did not sign up for a Barbie sequel with Warner Brothers. Or any movie with them. Which you would think, if WB liked the film, they would’ve done. Keep in mind, this all would’ve been before the movie became an unexpected super-hit. Before a movie is released, there’s always a lot of doubts, always a lot of second-guessing. As crazy as it sounds, maybe the people at Warner Brothers didn’t like the film. And now they’re regretting the heck out of their “wait and see” strategy.
Because instead of Barbie 2, Gerwig has signed a giant deal with Netflix to spearhead a Chronicles of Narnia franchise. Franchises can take up to 7-10 years of a director’s life. Which leaves the future of Barbie in total disarray. Would Gerwig try to sneak in a Barbie movie between Narnia movies? I’m not sure that’s going to happen. Which puts Warner Brothers in the awkward position of trying to find another director INSTEAD of re-hiring the director who just became the highest-grossing female director ever. How do they plan to spin that?
Another side note in this odd real life story is that Barbie being a feminist screed puts it squarely in the liberal storytelling aisle. Whereas Chronicles of Narnia is basically a retelling of the Bible. It seems like an odd choice, particularly because if Gerwig were to attempt to re-interpret Narnia to divert it away from its conservative roots, she would surely receive a ton of backlash from the Narnia audience.
It’s all rather confusing, weird, and slightly salacious.
Getting back to Last Voyage, what’s crazy is that this is a concept I would still tell a screenwriter to write RIGHT NOW. It still has all the ingredients for a great spec. Maybe that’s why the spec script and the feature film have never had a harmonious relationship. What’s good for one isn’t always good for the other. And to further confuse things, Last Voyage would probably make a perfect streaming movie, while Chronicles of Narnia feels like a theatrical release.
Does anything in Hollywood make sense?
