Movie Musicals following Dreamgirls success? — Page 5

Re the Producers... It's odd because I saw the theatrical trailer a number of times before other movies and the audience alwayss eemed to LOVE the trailer--laugh at ever (IMHO lame) line, etc. Just odd it sunk so very fast when anyone who saw response to the trailers I think would think at least some of that audience would go before they read the bad reviews

No, I'm saying that any one of these hypothetical people with such intimate friendships with the man could easily pick up the phone and resolve this discussion in about ten minutes time.

So what do you think the chances are of that happening?

>> I live and work in this place called Hollywood.

LOL -- where every waiter has a screenplay and every delivery boy is a producer. So? I'm still waiting to be impressed.

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So what do you think the chances are of that happening?

Someone - other than you, that is - would have to claim to have intimate knowledge of Sondheim which no one - other than you - on this thread has, so I'm gonna say pretty slim.

How about you give him a ring and remind him of that conversation you had and ask him? Maybe you won't even have to remind him. Maybe he'll have instant recollection just from the sound of your voice!

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Unlike *some* folk around here, I'm not claiming that kind of intimate relationship.

But who? That's what I'm trying to figure out. Who in this thread has claimed to have that kind of relationship? Just point me to the post, because I can't find it. Thanks.

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>> Exactly where in my post did I even imply that? When selling anything, there is often a lengthy contract negotiation. However, when one is purchasing rights, it's usually all or nothing. A studio isn't going to buy the rights to half a play, and they certainly aren't going to allow the original author to retain creative control.

Your original post left the implication sitting there. Go back and read it.

I responded by saying that the only way a studio is going to get that kind of wholesale access to someone's work is by paying through the nose for it. Someone of Sondheim's stature, either in or out of the theatre community, isnt gong to just reliquish control without getting a good chunk of change for it, if indeed he ever would in the first place. Once more: this is the third film of his work where he provides both lyrics and music. The first two were disasters. Now think: if you were someone like him, would you just hand over control like that to what is arguably your masterpiece? Or are you going to make sure you retain just enough control that they cant mess with it *too much*? Even if he's working behind the scenes with Burton, I have every reason to believe that he's doing what he can to make sure *his* work arrives as intact as possible.

And I'm not seeing a whole lot to dispute that beyond some vague statements, both on these boards and in the PR work that's being done on the film.

But once more: if they've started shooting, then that suggests that the music has been pretty well wrapped up, at least those numbers involving the principals. We had one person here who claimed to have been in the chorus for those recordings and that "God That's Good" was still in the film. Was he really in the ensemble or just saying that for some kind of reflective fame? Frankly, I dont know, just as I get a little gun-shy when someone claims to have read the shooting script. Maybe those things *are* available somewhere on the Net, but the bottom line is simple: before throwing yet another rumout out there, we might want to consider five simple words: Put up or shut up. I base my observations about what I know about Sondheim as well as what I know about the TV and movie industry. And maybe Im wrong in my guesswork about this project -- and if so, fine. I was wrong. No big deal in the grand scheme of things.

But every time some "insider" starts to throw out yet another rumour, I'm going to call him on it.

>> Who in this thread has claimed to have that kind of relationship?

No one in this thread. But look elsewhere and you'll find them, the ones who claim to have gotten this or that and know him well. Frankly, I'm surprised they havent come forward to offer to resolve this discussion. I guess they're too busy, huh.

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Wow. This is a really interesting thread if only to gain insight on the process (purchasing/selling rights) of adapting a well known property for another medium (in this case a stage piece for cinema).

The real interesting thing is seeing how this movie really turns out in about a year from now and referring back to this thread.

I'd say it's less about the slinging match and more about a giant chip on someone's shoulder.

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