The last 8 minutes or so seem to be a case of “producers knowing better” — lotsa grue effects and sturm und drang that Blatty didn’t really intend — and which belong in a different movie altogether [lovely demonic voiceovers by Mrs. Scott, Colleen Dewhurst notwithstanding].

The body of the film was subtle, creepy, and not an attempt to out-gross-out the original, but rather to get under the skin.

Apparently the studios thought it would be better with some levitations, mutilations, and so on. The stuff added [at least it sure seems added] might be okay as the climax to an effectsy picture — but Blatty was trying to make a supernatural drama, not a “stick-em-in-the-eye” picture.

It’s too bad that this happens, whenever it happens. Studios seem unable to trust their source material, can’t seem to trust the directors, writers, etc. that they’ve engaged — it’s infuriating.

The last 8 minutes or so seem to be a case of “producers knowing better” — lotsa grue effects and sturm und drang that Blatty didn’t really intend — and which belong in a different movie altogether [lovely demonic voiceovers by Mrs. Scott, Colleen Dewhurst notwithstanding].

The body of the film was subtle, creepy, and not an attempt to out-gross-out the original, but rather to get under the skin.

Apparently the studios thought it would be better with some levitations, mutilations, and so on. The stuff added [at least it sure seems added] might be okay as the climax to an effectsy picture — but Blatty was trying to make a supernatural drama, not a “stick-em-in-the-eye” picture.

It’s too bad that this happens, whenever it happens. Studios seem unable to trust their source material, can’t seem to trust the directors, writers, etc. that they’ve engaged — it’s infuriating.

Oh, and if you want further proof that poll testing to create a product doesn’t always work, check out the Hillary Clinton campaign.

Oh, and if you want further proof that poll testing to create a product doesn’t always work, check out the Hillary Clinton campaign.

I think exectuvies changing stuff goes beyond the rating. Yes, they want to make sure that the movie is as adolescent-friendly as possible, but to do that thet have to, apart from changing the rating, insert humour and lots of CGI and flashy stuff like that. If these are the rules they follow, then executives must think The Dark Knight is gonna be a total failure…

Oh well, I’ll still watch Hancock. It might not be as good as many of us would want it to be, but I can’t be *that* bad either, can it?

I think exectuvies changing stuff goes beyond the rating. Yes, they want to make sure that the movie is as adolescent-friendly as possible, but to do that thet have to, apart from changing the rating, insert humour and lots of CGI and flashy stuff like that. If these are the rules they follow, then executives must think The Dark Knight is gonna be a total failure…

Oh well, I’ll still watch Hancock. It might not be as good as many of us would want it to be, but I can’t be *that* bad either, can it?

Sucks, but that’s the bottom line.

@ Cole, good call on The TV Set. It was simultaneously funny and depressing.

Sucks, but that’s the bottom line.

@ Cole, good call on The TV Set. It was simultaneously funny and depressing.

“Does the brother have to commit suicide? It’s so depressing.”

Plus, Sigourney Weaver is awesome as the elitist, ratings-obsessed, television executive prick who demands changes around every corner.

I think the real problem just comes from having too many voices in the mix at the blueprint phase. Audiences are pretty savvy about tone, and it’s very difficult for any writer to match another’s tone and pacing. That, and it seems like studios have audiences waiting in the wings for testing but don’t have a Logic Nazi on hand to tell them when their shit doesn’t make any sense at all.

“Does the brother have to commit suicide? It’s so depressing.”

Plus, Sigourney Weaver is awesome as the elitist, ratings-obsessed, television executive prick who demands changes around every corner.

I think the real problem just comes from having too many voices in the mix at the blueprint phase. Audiences are pretty savvy about tone, and it’s very difficult for any writer to match another’s tone and pacing. That, and it seems like studios have audiences waiting in the wings for testing but don’t have a Logic Nazi on hand to tell them when their shit doesn’t make any sense at all.

As for the question… studio/producer meddling killed the Halloween series. It started with Halloween: The Curse of Michael Meyers (or Halloween: 666 as it was first known). It had the potential to be a decent enough movie (it’s not Shakespeare, it’s a horror flick). Some of the rejected screenplays were quite good. But then Dimension/Weinstein/Disney/ gets involved, and the movie takes a tremendous crap. Same goes for the next several entries.

Then again, pretty much every Dimension/Weinstein film has had studio/producer tampering and has really come out as garbage.

As for the question… studio/producer meddling killed the Halloween series. It started with Halloween: The Curse of Michael Meyers (or Halloween: 666 as it was first known). It had the potential to be a decent enough movie (it’s not Shakespeare, it’s a horror flick). Some of the rejected screenplays were quite good. But then Dimension/Weinstein/Disney/ gets involved, and the movie takes a tremendous crap. Same goes for the next several entries.

Then again, pretty much every Dimension/Weinstein film has had studio/producer tampering and has really come out as garbage.