I like to imagine Reynolds was pissed partly because it was inconveniencing a lot of other people. Realistically, Reynolds probably had the ability to say he wanted to be shot out with a stand-in and leave on time. The crew and such doesn’t have that same option.

Cavill had stated he was unhappy with the showrunner’s choices before he even announced his plans to leave. It does seem that there were differences.

I didn’t really know where her career had gone post-American Idol (probably because I’m not really the audience for contemporary Christian music, but I remember enjoying her and her personality while she was on AI. I was definitely Team ManDIVA during her run. 

I wasn’t expecting her to throw in a Dead Poet’s Society reference, but here we are. Was Robert Sean Leonard not available to join in?

I think there’s some valid question of who is making the decision and the reason some are pushing for contracts to explicitly state AI won’t be use.

Again, the part that you seem to be missing: Coppola is the one that has decided it’s about profit.

Cleese seems to have a habit of announcing projects that don’t really go anywhere.

When a break seems genuine, it’s fun. She was clearly trying not to break and she seemed so genuinely taken in the moment. It’s like the first Debbie Downer sketch where it was clear that Rachel Dratch really didn’t want to be laughing. All subsequent ones were less funny.

Me coming here and assuming Brian Cox must have a direct connection to the film or must have been in the film. Nope. Okay.

I believe Jared Harris commented on the no Russian accents in Chernobyl (which I think was a good move) and he (or possibly Stellan Skarsgard) pointed out that since they’re all theoretically speaking Russian, why would they have an accent? 

A hard-R arthouse movie that is heavy on sexual content is not going to make the same amount of money as a crowd pleaser with a PG-13 rating. You’re very much twisting this to be “You just want more IP.” No, I’d love more specialty box office films. But I’m also realistic in recognizing that Coppola’s film is not…

You don’t have to care about my point, but your comment is inaccurate. The terms of the P&A were widely reported right along with the articles where the studio reps were concerned. They explicitly highlighted the concern that Coppola wanted to recoup first and wanted a $140 million spend.

Part one lived and died in the unnerving confession captured in the final minutes. For a brief moment (that Netflix’s Making a Murderer immediately milked), it seemed like true crime could be some sort of conduit for justice.

Yet people give that much money (and much more) to completely unknown directors for whatever latest blockbuster is releasing all the time.

Art for arts sake is great.

I think you’re misconstruing profit with a complete loss. Coppola is insisting on $140 million spend on marketing. If Coppola was willing to say no marketing budget, just put it out into the world, great! But Coppola wants to make his money back at this point. I get why studios don’t want to foot the bill for…

There were some fairly questionable tactics used by the producers in obtaining interviews for the documentary. I think the bigger problem with that is that when you have three or four genuine ethical issues with what they did, those who are accused of wrong doing have the opportunity to say “well, they did really…

I enjoyed it, but if a story ever felt like it needed to be a full movie, it was this one.

Oppenheimer was allegedly budgeted at $100 million total with most of the payout to the actors and Nolan coming on the back end. Coppola is requesting $140 million ad spend up front in addition to wanting a back end deal. That makes the road to profitability fairly hard for a movie that is allegedly heavy on sex and…

So the reason P&A is being brought up is because Coppola has explicitly stated that the distributor has to commit to at least $140 million in P&A spend globally. Contextually, there was a reason that was what was being discussed.