Norm has been in seemingly most of Sandler's comedy movies, even the really shitty ones like "Grown Ups". He's not that picky when it comes to movie roles (not that he has much of a choice-dude apparently has a gambling addiction)strummer said:Norm MacDonald was going to be one of the "Ridiculous Six". Almost would have been worth it to make that film to see Norm get work.
Gary said:Norm has been in seemingly most of Sandler's comedy movies, even the really shitty ones like "Grown Ups". He's not that picky when it comes to movie roles (not that he has much of a choice-dude apparently has a gambling addiction)strummer said:Norm MacDonald was going to be one of the "Ridiculous Six". Almost would have been worth it to make that film to see Norm get work.
Gary said:https://www.youtube.com/watch?v=kMVGScC0vDA&feature=player_embedded
This looks like a parody.
Laz said:Fuck. That concept seems like it would be an interesting one to watch unfold, too.
Be more focussed and ruthless in directing our resources to businesses that will sustain the long term health of SPE - networks, broadcast TV shows, new movie franchises, digital distibution By the same token, stop or reduce support for areas that have no more value (Sandler movies, DVD)
There is a general "blah-ness" to the films we produce. Althought we manage to produce an innovative film once in awhile, Social Network, Moneyball, The Girl with the Dragon Tattoo, we continue to be saddled with the mundane, formulaic Adam Sandler films. Let's raise the bar a little on the films we produce, and inspire employees that they are working on the next Social Network. That said, there's a strange dichotomy of encouraging us to be fiscally responsible, but then upper management allows certain talent and filmmakers to bleed us dry with their outlandish requests for private jets, wardrobe and grooming stylists - and are surprised when they are asked to work more than 5 hours to promote their film.
In TV and Theatrical, I hope management looks closely at the money spent on development and term deals to ensure efficiency. There are a lot of term deal personnel as well as creative personnel, yet we only release a dozen or so Columbia Pictures a year, for example. And will we still be paying for Adam Sandler? Why?
It is commenable that SPE understands/supports the importance of risk-taking, particularly in how the we pick films to greenlight. However, the studio needs to change deal structure that has been in place with Happy Madison, as this arrangement has disproportionately benefitted Adam Sandler and his team, relative to SPE.