1/11
@franklinleonard
A tale of two movies:
Similar deal structures. Similar budgets.
One made $45M from 3300 screens, post pandemic, and won the weekend.
The other made $41M from 3600 screens pre-pandemic, and placed second.
And yet this is the coverage.
2/11
@franklinleonard
I actually think it’s really important to emphasize here that this isn’t about a single reporter, in this case @brooksbarnesNYT (though he’s catching the hell for it.) He didn’t write the first article and can’t be held accountable for it, though the New York Times certainly can be.
3/11
@franklinleonard
The point, since it’s Twitter and it needs to be made directly, is that the narrative and media context in which these two movies exist is DEEPLY biased, which redounds aggressively to the ways in which similar films and filmmakers will be valued in the future.
4/11
@franklinleonard
Some of y’all are the absolute worst. This isn’t about Quentin Tarantino either. I actually think Once Upon A Time in Hollywood is his most emotionally satisfying work.
5/11
@LucaGuadagnegro
i would also argue that a post-pandemic success of this level is even more impressive… yet these publications would never allude to that
6/11
@franklinleonard
7/11
@Siggyv
41 million up against Lion King live action is pretty impressive tho for Once upon a time in Hollywood
8/11
@franklinleonard
So is $46M up against Minecraft, on 10% fewer theaters than OUATIH.
9/11
@NikMollov
Sinners a great movie but with limited international appeal. QT Brad Pitt Leo huge intl draws. OUTIH got almost 400 mill worldwide, sinners will be lucky to break 250, maybe even 200
10/11
@franklinleonard
Tell me more @NikMollov. Why do you believe it has “limited international appeal”?
11/11
@m95kl
black entertainment: "struggle"
white entertainment: "success"
It's been that way for so long now this isnt business talk its R'ism, we have the raw data now to show that people gravitate towards great stories!
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