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Meryl Streep as Mary Tyrone in Long Day’s Journey Into Night

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  • Etchie
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    #151837

    Tony Kushner suggested on his tribute last night @ Monte Cristo Award Gala that Meryl must now portray Mary Tyrone in Long Day’s Journey Into Night.

    http://www.theday.com/article/20140421/ENT12/140429919/1070/OP03 

    Should it be in a play or a film as Katharine Hepburn did in 1962 directed by Sidney Lumet? 

    No stopping the baity proposals or projects for Meryl !!!

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    vinny
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    #151839

    I’m going to say it should be a play. lets go for EGOT

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    Words Count
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    #151840

    Something tells me that the Tony people will not default to her for a win.

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    Etchie
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    #151841

    Reading the Wikipedia page http://en.wikipedia.org/wiki/Long_Day%27s_Journey_into_Night

    this appears like a good vehicle with Michael Douglas (who was at the Monte Cristo Award Gala) as James Tyrone, Sr.

    Kate Hepburn won a Cannes Best Actress and an Oscar nomination for the role of Mary Tyrone.

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    Milo Kunis
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    #151842

    Jessica Lange is supposedly doing the play in New York once she is done with that American Horror Story deal.

    Meryl, take a seat.

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    Logan
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    #151843

    This was possibly Hepburn’s best performance (and one of Lumet’s better films).

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    Etchie
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    #151844

    Jessica Lange is supposedly doing the play in New York once she is done with that American Horror Story deal.

    Meryl, take a seat.

    Meryl can have the film version say in 2016 or 2017.  It is so close to August: Osage County.

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    Logan
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    #151845

    —I don’t know if it would be green-lighted. Maybe it could go on HBO or PBS, but after Osage County, with another big name attached (Roberts), which lost money, and there already being a major film version of this material, I don’t see why anyone would back this.

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    Etchie
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    #151846

    —I don’t know if it would be green-lighted. Maybe it could go on HBO or PBS, but after Osage County, with another big name attached (Roberts), which lost money, and there already being a major film version of this material, I don’t see why anyone would back this.

    How do you know A:OC lost money?  A:OC grossed more than Philomena and Blue Jasmine in Domestic US-Canada.  And there’s Creative Accounting in Hollywood.  It is likewise still earning and being rediscovered in DVD-BluRay.

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    Logan
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    #151847

    Budget was something like 20 million + add campaign/marketing which can add tens of millions. Worldwide it grossed some 70 million/split that in half and it might be able to break even by selling TV rights and anything extra, but that would be lucky.

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    seabel
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    #151848

    Please, Glenn Close, Jessica Lange, Kathleen Turner, Sigourney Weaver, Dianne Wiest….

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    Logan
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    #151849

    A lot of those actresses are the ones consistently mentioned as being the most major victims of Streepesy (aka the disease that has made people in Hollywood think that Streep is the only 60+ actress allowed to star in films), but all of them are still working, just in different areas.

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    Etchie
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    #151850

    Lower than expectations may be more appropriate.  Saying A:OC lost money would be premature & dubious.

    The only foreign promo-marketing trip made by Meryl for A:OC was in Paris so they could have conserve some costs.

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    seabel
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    #151851

    A lot of those actresses are the ones consistently mentioned as being the most major victims of Streepesy (aka the disease that has made people in Hollywood think that Streep is the only 60+ actress allowed to star in films), but all of them are still working, just in different areas.

    LMAO, no, it’s all about Streep getting all the good roles.

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    Scottferguson
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    #151852

    I know AOC lost money because I can do simple math.

    AOC had a publicly admitted budget of around $25 million. It is said that key participants (Streep, Roberts, Wells, Clooney, Letts) took far less than normal in exchange for 1st dollar deals – that is, the more a film grosses, the more they make, right from the start. Based on normal % of first dollar and the number of participants, that could easily mean the pre-marketing budget was $30 million, if the (often lower than reality) figure was right in the first place.

    So we start from around $30 million.

    Marketing in the US – for a multiple-week wide release film, initial weeks high cost limited run, a very expensive Oscar campaign (TV ads, targeted member industry ads, screenings, receptions, 1st class/private jet talent travel) had to come to a mimumum of $25 million more, at the low end.

    So we are at $55 million bottom line expense.

    The film grossed $37 million in the US. My experience in the business and what TWC gets, particularly for a film where they are pleading for late week holdovers, is that they will get about 45 % of this. That comes to about $26 million recouped. So they are now at a loss of $29 million.

    They sold the film to territories around the world. They only get more money if, after release expenses are added, those companies show a profit. It is unlikely that this happened. My guess – very rough, but again, based on experience – is at a high end, they sold the film for at most $10 million, since this did not seem up front like a commercial international film.

    So we are now down to a loss of $19 million.

    Based on a $37 million domestic gross – what a film grosses is used as a factor in determining cable sales (not a big issue here, since TWC mainly shows up on Netflix streaming) and DVD sales (not such a big factor these days, with this film likely to be a minor seller), they might get, to be extremely generous, after costs deducted another $7 million back.

    So – at the most generous of accounting – it might be a loss of $12 million. Because of “creative accounting” it will end up on their books as more than $20 million.

    Had TWC known going in that this would only gross $37 million domestic, it would never have been made. The calculations likely projected $75 million+ minimum.

    As for Philomena and Blue Jasmine – apples and oranges. Both films grossed around $100 million worldwide, much more than the mid-70s of AOC. Both cost a half to a third of what AOC did to make. Both had considerably smaller marketing budgets (BJ much lower – including Oscar campaign, maybe $10 million, possibly lower). My guess is TWC, because of their high spending on Philomena, will lose a small amount of money on the film. SPC made money on BJ. The producers of both films likely made a decent profit. 

    To add: I didn’t even include distribution costs. Every theater that plays a movie in digital format has to have a unique (because of security) card made up for it. Unlike prints, they can’t be reused. Each one costs around $1200. Based on its widest break and adding likely additional theaters along the way, that means another $4 million in costs entirely for TWC to pay and set off against earnings. And they have to pay for delivery of these (not as expensive as prints, but 10s or thousands or more dollars).

    So my loss figures above – which didn’t include this – are too low. 

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