![]() Indeed, this is how the director himself likes to view the assembling of the film, stating during an interview, “there was an intimacy between Tom, Emily and myself that didn’t make this film that much different from, say, Swingers. This may have contributed to the film’s poor box-office in the US since ‘All You Need is Kill’ held a wider fan-base in parts of Europe and across Asia, places in which the film was able to regain much of the losses made at the American box-office.Įdge of Tomorrow could be viewed as a big-budget ‘indie’ film. Unlike many similar contemporary Hollywood action films now being adapted from comic books or novels of counter-culture, ( Jack Reacher (2012), Guardians of the Galaxy (2014), Watchmen (2009)) the pre-established audience gained by readers of ‘All You Need is Kill’ in the US would have been extremely small, if not almost non-existent. (3) Also important to note is the fact that Edge of Tomorrow was adapted from the original Japanese novel ‘All You Need is Kill’, written by Hiroshi Sakurazaka, a novel that was largely unknown inside the US. The film made $100m at the US box office, meaning a roughly estimated loss of around $78m. Although Edge of Tomorrow was able to make its money back to the sound of a small profit overseas, its domestic US gross was unpredictably underwhelming for a film with such high marketing potential. The film stars the easily recognizable names of Emily Blunt and Tom Cruise. In 2014, Liman directed Edge of Tomorrow, an old fashioned stand-alone action movie with a huge budget of $178m. Revenge of the Sith (2005), Pirates of the Caribbean: Dead Man’s Chest (2006), Spider-Man 3 (2007), The Dark Knight (2008), Toy Story 3 (2010), Harry Potter and the Deathly Hallows Part 2 (2011), Marvel’s The Avengers (2012), The Hunger Games: Catching Fire (2013), Jurassic World (2015). ![]() As a result, more than 20 movies … have been made or were scheduled for production by 2019.” (Fields, 2015, p.11) Since 2005, all but two of the highest grossing films each year have either been returning franchises from the past, or movie sequels e.g. This success meant Marvel could green-light more movies. “When Marvel Studios began making movies based on its comics … the studio made $6.1 billion for its first eight films. Production companies such as Marvel now base their entire marketing and production schedules on building cinematic universes in which no single film stands by itself as an original, one-off property. Brought into the 21 st century by Sam Raimi’s Spider-Man (2002), and made more certain in 2008 by Iron Man, a new taste for franchised and universe-building cinema was beginning to emerge the most important financial aspect within the creation of telling screen stories is increasingly its potential to create bigger and more profitable sequels. However, around the mid and early 00s, large budget action films were beginning to change. Thus far, Liman had been running a more than successful career path through creating original film properties, particularly with regard to the action genre. (1) A few years later, Liman would begin to dip his toes into the action genre, directing the first Jason Bourne movie in 2002, The Bourne Identity a few years later, going on to direct yet another original action flick, Mr. The film cost just $200,000 to make, and saw a domestic US box office return of $4.6m, a fairly successful amount for such a small-scale production. ![]() ![]() Doug Liman’s first big break onto the Hollywood directing scene was the low-budget comedy, Swingers (1996).
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