An excerpt from my script review for Red One which will be available 12/02/24:
1.) Marketability of the Idea
For some reason, after the cat waking us up and me putting him downstairs, I couldn’t get back to sleep at 0430 this morning.
The main reason, which is stupid, was trying to remember all the titles of Netflix movies with “red” in them.
I remembered Red Notice, but for some reason I thought there were more.
It confused me, as some of the reviews argued that putting The Rock in Red One will upset some audience members because they’ll just assume it’s a straight to Netflix movie.
More here.
(I particularly like that comment about the guy not trusting his kids with his mother-in-law.)
You want your title to be relevant to the story and original. Red One works in context, but like others, I confused it with other projects initially.
Speaking of The Rock…
It’s important to follow news about certain actors and/or not write any role for someone specific.
One of my earlier scripts (that will never see the light of day) was a western story starring two bounty hunting brothers to be played by The Rock and Vin Diesel.
This was around the time of Fast 2…maybe…but imagine how that would have worked if produced!
(Best scenario is stuck in preproduction, doomed to have Reals eventually review it in a “What could have been” segment.)
Why do I bring this up?
It’s reported that one of the reason for this film’s bloated budget was due to Mr. Johnson being a bit of a prima donna on set, causing both confusion and delay, as Sir Topham Hatt liked to say.
More here.
(Damn, I feel like Reals with all these info links!)
The point being, this project is a big budget action film. It’s already going to be expensive.
Why paint yourself, and potentially a producer, into a corner by writing a role for a specific actor that only bloats that budget further?
Make characters memorable, yet generic enough that your buyers can pick from a selection of talented actors.
How did this do though?
Still a bit shy of the total cost…
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