Чудо-женщина: 1984 (Wonder Woman 1984)

[Dracula5]

Златокрылая прикольно смотрится, а вот с Гепардой беда, если там реально такой дизайн (пускай и с поправкой).

[DandyAndy]

Total Film

 

[ATTACH]600263[/ATTACH]

[Танцор34]

Немного сказали

[DandyAndy]

Iron Studios

Wonder Woman Deluxe Art Scale 1/10

 

[ATTACH]600600[/ATTACH][ATTACH]600601[/ATTACH][ATTACH]600602[/ATTACH]

[ATTACH]600603[/ATTACH][ATTACH]600604[/ATTACH][ATTACH]600605[/ATTACH]

[DandyAndy]

84 дня (если не перенесут)

 

[ATTACH]600752[/ATTACH]

[DandyAndy]

[ATTACH]600787[/ATTACH][ATTACH]600788[/ATTACH]

 

84 дня (если не перенесут)

Из официальных аккаунтов удалили все посты о том, что осталось 84 дня

[Simon_S]

Новый живой постер вышел:

Ссылка

[DandyAndy]

Билборд в Лос-Анджелесе

[ATTACH]600790[/ATTACH]

 

[ATTACH]600791[/ATTACH]

 

 

[Танцор34]

Этак эпилепсию словить можно

[Andrewx]

А мне нравится. Костюм конечно сильно броский, но крутой все равно.

[DandyAndy]

Фигурки от Hot Toys на выставке в Токио

 

[ATTACH]600828[/ATTACH][ATTACH]600829[/ATTACH][ATTACH]600830[/ATTACH]

[ATTACH]600831[/ATTACH][ATTACH]600832[/ATTACH][ATTACH]600833[/ATTACH]

[Ghenika]

"Боги Египта" какие-то

[All-That-Yazz]

а это она в костюме от того чувака из человека паука?

[DandyAndy]

Новый постер на здании WB

 

[ATTACH]600850[/ATTACH][ATTACH]600851[/ATTACH][ATTACH]600852[/ATTACH]

[DandyAndy]

Новые кадры

 

[ATTACH]601104[/ATTACH]

[ATTACH]601105[/ATTACH]

[DandyAndy]

Warner Bros Debates Whether ‘Wonder Woman 1984’ Should Skip Theaters for Streaming

 

 

With movie theaters closed across the globe for an indefinite period of time, Warner Bros. is discussing whether to take its upcoming DC Comics tentpole “Wonder Woman 1984” directly to streaming and bypass theaters altogether, two knowledgeable individuals told TheWrap.

 

The discussions are still preliminary and have remained close to Warner Pictures Group Chairman Toby Emmerich and his top advisers, according to one individual with knowledge of the conversation. Even director Patty Jenkins and executive producer Charles Roven have not been brought into the talks.

 

According to the Warner insiders, the preference is still to release the movie theatrically — but executives are considering a streaming alternative, probably as a direct-to-consumer offering rather than as part of Warner’s soon-to-launch subscription service HBO Max. The concern, the insiders said, is that there is no known date for movie theaters to reopen and there may be a shortage of favorable dates once theaters do come back online for the many films that have been postponed.

 

Roven and Jenkins would like to see the movie hit theaters in August, one insider said, but with so much uncertainty, Warner executives wonder if that is a realistic possibility amid a pandemic that has upended Hollywood and threatens to have long-term repercussions for the industry.

 

Still, the insider said there are not yet financial models that would allow the studio to compare the outcome of two distribution systems for a film with a budget that multiple other insiders told TheWrap is just short of $200 million. (The studio would not confirm the budget.)

 

Warner President of Domestic Distribution Jeff Goldstein told TheWrap that there have not been any streaming discussions. “We’re looking to release the movie theatrically, that’s our plan,” he said. An individual close to the film confirmed that Jenkins has had no discussions with the studio about a streaming option.

 

Roven also dismissed the idea of a streaming-only release. “It’s ludicrous if you consider how big a movie this is,” he said in an interview. “Everybody recognizes that, as interesting as streaming might be, if you want a huge, global worldwide box office, you’ve got to release it in a movie theater.”

 

Indeed, analysts like Lightshed’s Rich Greenfield have questioned whether video on demand could generate the the kind of revenue — and profits — that studios typically see from the theatrical release of blockbusters like a “Wonder Woman” sequel. Patty Jenkins’ 2017 original grossed $822 million based on a budget between $120 million and $150 million.

 

The discussion at Warner to consider streaming follows Universal’s decision last week to distribute “Trolls World Tour” directly on over-the-top platforms for a 48-hour rental fee of $19.99. That decision came amid the spread of coronavirus panic but while most U.S. theaters were still open and was initially intended as a day-and-date release timed with its opening in theaters. In the days since that decision, theater chains across the country have closed for an indefinite period because of the public health risk.

 

The Universal move has already raised questions about the ability of theater chains to maintain the sanctity of traditional home-release windows in the face of rising streaming powerhouses. Universal is also planning early VOD releases for three films that were in theaters when they closed, “The Hunt,” The Invisible Man” and “Emma.” A number of others have followed suit for films just in theaters, including Warner’s “Birds of Prey” and “The Way Back,” Sony’s “Bloodshot,” Disney’s “Onward” and Lionsgate’s “I Still Believe.”

 

But “Wonder Woman” is another order of magnitude given that 2017’s “Wonder Woman” was the highest-grossing film by a solo female director, and was the 10th highest-grossing film of that year.

 

Based on the success of the first film, as well as the other recent solo endeavors in the DC Universe, “Wonder Woman 1984” was expected to be a big summer blockbuster and the hope was that it would hit $1 billion in global revenue. By comparison, “Aquaman” took in $1.15 billion based on $160 million budget, and “Shazam!” earned $366 million on a $100 million budget.

 

But the math of a VOD-only release could be challenging. If the film skips theatrical release, Warner Bros. would have to hit tens of millions of streaming purchases to make the move financially worthwhile. A recent analysis by Greenfield showed that a billion-dollar-grossing film normally produce $375 million in profit, but traditional VOD could not generate that type of revenue or profit. According to Greenfield, replacing theatrical gross profit would require 16-21 million downloaded units sold for a $1 billion movie, assuming a charge of $30-$40 per film rental.

 

He noted that the most profitable PPV event in U.S. history was the Mayweather-Pacquaio fight in 2015, which grossed $400 million from 4.4 million buys, charged at $90 per buy. It’s hard to imagine moviegoers even paying $30-$40 for a new release every month, so home video wouldn’t even come close to the fight’s revenue.

 

“Wonder Woman” has developed into an incredibly successful franchise for Warner, and catapulted Gadot to international stardom, not to mention a symbol of feminine heroism. Set during the late height of Cold War tensions, the sequel sees Diana Prince (Gal Gadot) come into conflict with the Soviet Union and encountering a new enemy, the villain Cheetah (Kristen Wiig). The film brings back Jenkins as director and co-write along with Chris Pine as Steve Trevor. Pedro Pascal has also been cast in the film.

 

The individual with knowledge of the studio said that Warner had also considered sending last year’s DC Comics film “Joker” to streaming platforms rather than theaters after an initial public outcry against the violent themes of Todd Phillips film. That went on to gross $1 billion worldwide and earned Oscars for lead actor Joaquin Phoenix and Hildur Gudnadottir’s score.

 

Roven said a decision about moving “Wonder Woman 1984” would wait as long as possible. “There may come a time we have to make that decision. But why not stay here as long as we can and hope for the best?” he asked. “I don’t think it would be prudent to make a move until take all factors have been taken into consideration.”

 

[MaximumCoool]

The individual with knowledge of the studio said that Warner had also considered sending last year’s DC Comics film “Joker” to streaming platforms rather than theaters after an initial public outcry against the violent themes of Todd Phillips film.

Тупые сжв и американ пресса, хорошо что Ворнерам хватило ума этого не делать.

[DandyAndy]

Увидев заголовок, решил бы, что это wgtc. И главное, тут же сами опровергают эту чушь словами Голдштейна и Ровена.

[DandyAndy]

Warner Bros. Confirms ‘Wonder Woman 1984’ Will Go to Theaters, Not Streaming

Despite reports that “Wonder Woman 1984” could bypass the big screen and head straight to streaming, Warner Bros. has confirmed to IndieWire that director Patty Jenkins’ DC tentpole will indeed get a full theatrical run.

[Jdalker]

С ума сошли со скуки? Сами вбросили, там же написали опровержение по сути. Идиотизм.

 

Ворнеры если надо будет кино на год перенесут, это просто факт.

[DandyAndy]

[ATTACH]599750[/ATTACH]

[ATTACH]601142[/ATTACH]

[gearswik]

вероятно, фильм вышел плохим, поэтому и пошли разговоры про стриминг

 

p.s. зря переносили на лето 2020

[Allez Y Done]

Конечно на киноэкраны Хочется увидеть няшечку Гадот на большом экране в этом году.

[DandyAndy]

Скотт Мендельсон рассуждает о возможной новой дате выхода

No, Wonder Woman 1984 is not (as of now) skipping theaters and going straight to streaming. Warner Bros. denied it, and (all due respect) even the article that spurred the chatter yesterday was full of on-the-record denials. The Warner Bros. superhero sequel is going to inspire a lot of chatter for the near future because it’s the biggest summer flick that hasn’t moved its release date yet. The film is slated for June 5, three years to the weekend that the first Wonder Woman opened. And unlike Black Widow, F9 and Minions: The Rise of Gru, it’s thus far sticking put. But in all likelihood, Wonder Woman 1984 will eventually get delayed. It’s just a question of when and to where.

 

This isn’t Trolls: World Tour (which is debuting on VOD next month), a sequel to a “fine” animated flick that earned $346 million worldwide back in late 2016. The DreamWorks animated musical was in danger of being one of those “folks were only curious the first time” and “adults showed up last time, but this time it’s just for kids” animated sequels. Wonder Woman was a much-loved blockbuster that earned rave reviews, superb word of mouth and became what is still the leggiest $100 million-plus opener ($412.5 million from a $103.5 million launch) ever. Since its success was partially rooted in A) its quality and B) marquee characters (Gal Gadot’s Wonder Woman and Chris Pine’s Steve Trevor), audiences absolutely will show up.

 

There’s no precedent yet for a movie to debut on streaming and earn anywhere near the $821 million global cume that Wonder Woman earned in theaters. Even, for example, Return of Jafar earned “just” $300 million in VHS sales and rentals way back in 1994. Wonder Woman 1984 could end up with less here and abroad compared to Wonder Woman (again, maybe curiosity was a factor three years ago), but even a downturn comparable to Fantastic Beasts: The Crimes of Grindelwald (from $814 million in 2016 to $659 million in 2018, but just $155 million domestic) would still be far more than what might be generated in a VOD/streaming launch. The theatrical window remains ridiculously valuable for the kind of movie for which audiences still show up.

 

Wonder Woman 1984 was initially slated for December of 2019, then moved to early November of last year and then pushed to June of this year. That made sense on paper, especially after Star Wars: The Rise of Skywalker moved from May of 2019 to December of 2019. The early June slot positioned Wonder Woman 1984 to again rule the domestic summer box office, and I’m guessing WB didn’t want to deal with both Star Wars IX and Frozen II (along with, for better or worse, Terminator: Dark Fate and Charlie’s Angels) all chomping at the “strong, empowered female action hero” pie. In retrospect, maybe the DC Films flick should have stayed put, but Wonder Woman 1984’s delay helped Joker leg out to $1.074 billion.

 

The movie was mostly finished in time to release last November or December. They don’t have the same unfortunate circumstance as Universal, which had to push Minions 2 because the coronavirus impacted Illumination’s French studios and thus prevented vital post-production work. Moreover, with just one trailer released back in December and a handful of posters dropped online (and, in some cases, into the real world), Warner Bros. hasn’t spent much on marketing the Patty Jenkins-directed tentpole. I’m sure the ideal scenario is that the coronavirus miraculously goes away by Memorial Day, leaving Warner Bros. with two weeks to flood the marketplace with advertising and offer Wonder Woman 1984 as the first “post-crisis” (sorry) biggie. But let’s presume that doesn’t happen, so when should WW84 open?

 

The obvious answer is that Wonder Woman 1984 is a 1600 lbs gorilla, and thus can sit wherever the hell it wants. I’d imagine opening it would be huge no matter when it opened, even Labor Day or the weekend after Thanksgiving (where, ironically, WB scored big with Tom Cruise’s The Last Samurai in 2003). That being said, presuming that WB doesn’t make the June date and doesn’t want to either A) drop it in early August like Guardians of the Galaxy and Suicide Squad or B) try to turn a famously poor weekend into a potential tentpole launching pad (like they did with It and Gravity), there is one ideal option. They can open Wonder Woman 1984 just before Christmas, on December 18, 2020.

 

First, all due respect, Denis Villeneuve’s big-budget adaptation of Frank Herbert’s Dune is as questionable a “big” Christmas release as we’ve seen (in terms of being the appointed “year-end fantasy offering”) since The Lord of the Rings: The Fellowship of the Ring started that unofficial trend back in 2001. It may be a leggy holiday hit, or it may be the second coming of Blade Runner 2049, with rave reviews but little interest outside of Film Twitter, although $242 million worldwide would have been okay for an R-rated, 2.5-hour, star-free and action-lite sci-fi drama had the film not cost $155 million. Nonetheless, if Warner Bros. wants to end the year on a surefire smash hit, then Wonder Woman 1984 is the best option.

 

James Wan’s Aquaman became the leggiest live-action superhero movie since The Mask in December of 2018, earning $335 million from a $72 million domestic cume as it earned a ridiculous $298 million in China on the way to $1.148 billion worldwide. While Wonder Woman 1984 may not pull identical numbers, comparable legs, especially if it’s good, wouldn’t shock me. Christmas movies, unless they are Star Wars episodes (Force Awakens was an exception) tend to be leggy as hell. The first two Hobbit prequels earned 3.5x their respective Fri-Sun debuts (Battle of the Five Armies opened on a Wednesday in 2014), while even Rogue One earned 3.5x its $155 million launch in 2016 and Tron: Legacy earned 3.9x its $44 million launch in 2010.

 

Oh, and its only real competition would be Steven Spielberg’s West Side Story. As nice as it might be to presume that a light will switch and society will return to normal, folks who have suffered undue financial hardship as a result of this quarantine might not have the funds to race out to a first-run movie theater right away, but a December release date would give moviegoers time to readjust. I don’t know for sure what WB will do with the Gal Gadot/Chris Pine sequel, and an early August launch has its value too. However, presuming we’re not in act two of The Stand, a movie like Wonder Woman 1984, could be an absolute monster as the official year-end fantasy action tentpole.

[smile49]

Ну вообще да, декабрь - идеальная возможность для них не сильно потерять в итоговых