Destroyer (2018)

[prkchopexpress]

Originally Posted by Shingster

Why? You think there was ever a chance of there being a sequel? This film was made on such a small budget that it ultimately doesn't matter to the careers of anyone involved.

I guess there's no possible reason to ever want a movie to be successful unless it's for a sequel, right?

the idea of a solid and interesting, competently made movie making money and leading to more work from the director is just beyond comprehension.

[Shingster]

Well, you're not benefiting from it in any way you know, not for a film like Destroyer anyway. Hollywood will continue to focus on blockbusters and interesting filmmakers will continue to make interesting films, but the 70s when interesting genre films were coming out month in month out are loooooooooong gone. Streaming and home video is the new wheelhouse for films like Destroyer to make their money, and if you think Karyn Kusama's gonna have any problems moving forward then I have a newsflash for you: Her last two films were Jennifer's Body and Aeon Flux. If anything she makes more interesting films the less money she has to work with.

[Frank TJ Mackey]

I really enjoyed this. This should have gotten a wider release and made some decent money.

It's dark, but a really good crime drama/thriller.

[CelluloidPal]

Originally Posted by Shingster

Well, you're not benefiting from it in any way you know, not for a film like Destroyer anyway. Hollywood will continue to focus on blockbusters and interesting filmmakers will continue to make interesting films, but the 70s when interesting genre films were coming out month in month out are loooooooooong gone. Streaming and home video is the new wheelhouse for films like Destroyer to make their money, and if you think Karyn Kusama's gonna have any problems moving forward then I have a newsflash for you: Her last two films were Jennifer's Body and Aeon Flux. If anything she makes more interesting films the less money she has to work with.

Actually, her last film was The Invitation, which garnered massive acclaim as did Destroyer. She'll be just fine.
Destroyer's problem seems to be a botched release strategy by Annapurna.

[-JKR-]

Originally Posted by prkchopexpress

I guess there's no possible reason to ever want a movie to be successful unless it's for a sequel, right?

the idea of a solid and interesting, competently made movie making money and leading to more work from the director is just beyond comprehension.

Thank the new age for that, when movie websites became franchise/nerd websites.

What people don't get is that if a movie such as "Destroyer" flops, the studio take it as a sign to not release movies such as "Destroyer" in theaters anymore.

Which leads to movie theaters becoming "franchise houses only"... we're almost at that point , already.

Sad that people don't care about movies such as this in theaters anymore.

[cheez avenger]

Originally Posted by Shingster

Well, you're not benefiting from it in any way you know, not for a film like Destroyer anyway. Hollywood will continue to focus on blockbusters and interesting filmmakers will continue to make interesting films, but the 70s when interesting genre films were coming out month in month out are loooooooooong gone. Streaming and home video is the new wheelhouse for films like Destroyer to make their money, and if you think Karyn Kusama's gonna have any problems moving forward then I have a newsflash for you: Her last two films were Jennifer's Body and Aeon Flux. If anything she makes more interesting films the less money she has to work with.

She's an auteur and I believe she has final cut on her films going forward after The Invitation.

[Shingster]

Bloody hell, can't believe I forgot about The Invitation! I assume with demanding final cut going forwards she won't be playing around with the kinda budget she had for Aeon Flux though!

[Cremildo]

Annapurna Lost $7 Million on Destroyer.

[Underworld54]

Originally Posted by Cremildo

Annapurna Lost $7 Million on Destroyer.

That's because they're awful at distribution and no one saw it. I sure would have loved to see it.

[Aclea]

Annapurna's ongoing problem is they're committed to making and releasing the kind of films there just isn't a market for anymore (or at least not at the prices they cost to make and market), leaving them both out of pocket and the target of people who angrily blame them when the films they like inevitably flop even though without their support many of the films wouldn't even exist or get to US theaters. As the Indiewire article notes:

Over the last several years, Annapurna has become synonymous for giving auteur filmmakers the budget necessary for crafting their visions. For this reason, the studio has been largely championed by moviegoers and the film press. The company produced films such as Paul Thomas Anderson’s “The Master,” Spike Jonze’s “Her,” and David O. Russell’s “American Hustle,” among others.

“If you’re going to do what Annapurna wants to do, you have to hit every time,” Exhibitor Relations box office analysis Jeff Bock told Variety. “It’s wonderful to be a patron of the arts, and there is a foothold for these adult dramas in the market, but you can’t ever miss.”

With Destroyer the only other major bidder was Amazon, and from their track record it's doubtful they could have wrung any more out of it at the box office - even with stronger openings, Wonder Wheel and Don't Worry, He Won't Get Far on Foot made less than Destroyer

[Shingster]

I'm surprised that If Beale Street Could Talk lost them $8-$10mill at $14mill domestic gross compared to a small profit in Sorry to Bother You at $17mill gross. I would've expected both films to be comparable in budget, although visually Beale Street looked A LOT more polished.

Either way it's really ****ing sad to see Beale Street as a release just fizzle out and not gain the kind of attention Moonlight did, because it was just as good a film.

Destroyer should have been a Netflix film, so they weren't interested in it like Amazon? That's another surprise.

[Aclea]

Netflix may have been an early bidder unless the producers wanted a proper theatrical run but according to the trades it ended up a two horse race.

It's worth noting that absolutely none of the film's foreign distributors could get a result out of it either - the best OS territory was the United Arab Emirates with just over $253,000 while in several others it got nowhere near six figures. Even French audiences didn't bite. The film simply has inbuilt audience resistance like so many of their films. Good job Megan Ellison's dad is a billionaire so she can keep backing interesting box office no hopers.

With Sorry, Annapurna had worldwide rights, so presumably made their profit via foreign distribution deals.

[Leonidas King]

Originally Posted by Underworld54

That's because they're awful at distribution and no one saw it. I sure would have loved to see it.

This. The markerting for it was terrible even after Nicole got nominated at the GG they didn’t even try to push the film.

[Flyers99]

Originally Posted by Underworld54

That's because they're awful at distribution and no one saw it. I sure would have loved to see it.

Saw the trailers numerous times between November/December & was really excited to see it. Naturally, my theater never got it

[Aclea]

Originally Posted by Leonidas_King

This. The markerting for it was terrible even after Nicole got nominated at the GG they didn’t even try to push the film.

So explain how in every country it opened, with different campaigns and wider releases, the film bombed. In many countries the film only played for a week, but Annapurna kept it in US theaters for nearly three months.

[Shingster]

Originally Posted by Aclea

Netflix may have been an early bidder unless the producers wanted a proper theatrical run but according to the trades it ended up a two horse race.

I wonder if they wanted a longish theatrical run to help Kidman's chances at the Oscars?

[Aclea]

Possibly: or it may have been in Kidman's contract - its pretty common for a big star to ask for an Oscar campaign in return for a pay cut.

[Gacivory]

I know everyone keeps saying there’s no more audience out there for smaller movies, but I like to believe there is an audience. Especially Destroyer for $9 million. I feel like this should have been a summer or August release of counter programming. Then dumping it into theaters around Christmas with little to know promotion(LA based and saw very little promotion) did this movie more harm than good. It felt like they didn’t care about it.

[Aclea]

They probably wouldn't have put it in a prime Oscar consideration release date if they didn't care about it, nor dig deep to outbid Amazon for it. But with low budget indies - especially female-led ones - it's hard to get the mainstream media to give you much coverage. Indie distribution is a real constant uphill battle against indifference from the media, theater chains and audiences alike.

There's an audience for a limited number of smaller movies, but it's fickle. Even a feelgood critical favorite like Stan and Ollie couldn't find a US audience or any awards traction (the reviled Holmes and Watson made six times as much Stateside), and that's a much more audience friendly proposition than a downer like Destroyer. On the Basis of Sex and They Shall Not Grow Old were the closest things to breakouts in December.

[Gacivory]

Originally Posted by Aclea

They probably wouldn't have put it in a prime Oscar consideration release date if they didn't care about it, nor dig deep to outbid Amazon for it. But with low budget indies - especially female-led ones - it's hard to get the mainstream media to give you much coverage. Indie distribution is a real constant uphill battle against indifference from the media, theater chains and audiences alike.

There's an audience for a limited number of smaller movies, but it's fickle. Even a feelgood critical favorite like Stan and Ollie couldn't find a US audience or any awards traction (the reviled Holmes and Watson made six times as much Stateside), and that's a much more audience friendly proposition than a downer like Destroyer. On the Basis of Sex and They Shall Not Grow Old were the closest things to breakouts in December.

I get that, but I still think releasing Destroyer along with Vice and the expansion of Beale Street on Christmas Day, did more harm for them than good.