Note this wasn’t a scenario like Will Smith and Bad Boys for Life: Lively wasn’t a producer on Rhythm Section with a voice. Then, in post-production, I understand that Morano, Lively, and Eon all clashed on what the final product should be, with the latter’s vision winning out. But I’m told by multiple sources that didn’t spike the production cost, as insurance covered that gap. Not a female Bond film, even though Paramount won the rights in a competitive bid.Īs we know, Lively injured her knuckle during production in December 2017, forcing filming to shut down for six months. I also understand there was a miscommunication between Eon and Paramount in regards to what Rhythm Section actually was: Rhythm Section was always pitched as a slow burn, noirish Euro thriller by Eon. Given the problems in pre-production, fixes couldn’t be made to the script no matter how much talent boarded this movie in Eon, Lively, and Emmy-winning indie filmmaker Reed Morano. Critics have pointed out that the biggest blunder with Rhythm Section is its hackneyed screenplay, and I hear that Mark Burnell’s script, adapted from his own novel, always had problems. I hear that suddenly, Eon was dealing with China partners, and given the Byzantine form of financing in the PRC, that’s when funding slowed down. While Rhythm Section was initially set-up by former IM Global boss Stuart Ford, given his friendship with the Eon producers, pre-production financing went off the rails when Donald Tang took over IM Global, and Ford left in August 2017. “We are obviously disappointed with the box office, but proud of Reed and our movie and the overwhelmingly positive reaction to Blake’s performance,” said the Eon producers. In sum, Broccoli and Wilson, two producers known for steering big budget 007 action movies, were thrust into indie finance hell, I hear.īroccoli and Wilson weren’t available for full comment on this story, but provided the following statement to Deadline over the weekend: Paramount doesn’t have Germany or China, the latter market, by the way, I hear is without a distributor, with rights being shopped after former Tang Media and IM Global owner Donald Tang defaulted on rights.īut if you want to know what went wrong with Rhythm Section, you have to go back to the beginning. If the movie gets distribution in material territories, the P&A versus TV revenue lowers the loss to $25M-$30M. If Rhythm Section doesn’t get a theatrical release in offshore territories, than its lucrative international television deals won’t kick in. Currently, I hear that the overseas launch for Rhythm Section is up in the air, with the studio pondering a direct to video title for Rhythm Section abroad after the dismal stateside results. With Paramount shelling out $31M for most of the world on this $50M production (before P&A), sources tell me this morning that the Melrose lot is apt to lose between $30M-$40M. 'Dungeons & Dragons: Honor Among Thieves' Fires Up SXSW Opening Night
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