Latest news with #KevinGoetz
Telegraph
2 days ago
- Entertainment
- Telegraph
‘Don't kill the dog': The man who saves Hollywood films from disaster
The end of Fatal Attraction would have been very different without Kevin Goetz. The original climax to the 1987 thriller had Glenn Close's bunny boiler, Alex, die by suicide after the end of her affair with Dan, played by Michael Douglas. He was blamed for her death, and the last thing viewers saw was his wife, Anne Archer's Beth, rushing to try and clear his name. Anybody who has watched Fatal Attraction will know that its frenzied ending actually sees Beth kill Alex, in an act of apparently-deserved retribution. It became a box office smash. Goetz had an unheralded role in making the change and, ultimately, creating one of Hollywood's most famous endings. He was running a focus group watching an early cut of Adrian Lyne's film who did not like the conclusion; one member said they wanted someone to 'kill the b---h'. Goetz reported this to the filmmakers, who shot the alternative ending despite Close's objections (she would later say that it made 'a character I loved into a murdering psychopath'). The final version went down in history. Over more than three decades, Goetz has made a career of taking the thoughts of 300-or-so ordinary people who have seen a work-in-progress film to advise on how to make films better. 'Part of my job is navigating what I think the audience is trying to say, what they are saying, and distilling that specificity to the film-makers so they actually have something to do in the editing room,' he says. 'You've got a bunch of people using audience feedback to make informed decisions. Not 'I think': who gives a f--- what you think? You care what the audience thinks.' The founder and chief executive of Screen Engine/ASI has worked on upwards of 5,000 films, from blockbusters such as Titanic, Barbie and F1 to smaller fare, like Jordan Peele's Get Out. The Los Angeles Times once dubbed him the 'doctor of audience-ology' in 2005 and the nickname has stuck. Most films released in cinemas and on streaming services go through a testing process. A panel of people who might be disposed to like it is recruited – in a similar fashion to those assembled by political opinion pollsters – and their general and specific feedback is sought. The question of whether they would 'definitely' or 'probably' recommend a film to a loved one is key. Goetz collates this data and helps studios and filmmakers try and interpret it so that they can make the film more appealing. Often that can mean reducing the running time, clarifying confusing elements, removing dud jokes and excising offensive material. Over the years, test screenings helped make Jaws scarier, made Molly Ringwald end up with Andrew McCarthy and not Jon Cryer in Pretty in Pink, and ensured Loki was kept alive at the end of Thor: The Dark World – for which Tom Hiddleston is, presumably, very grateful. 'I could get something, with the help of the audience, from a C or a C-minus to a B-plus or even an A-minus. Can you imagine that? That's huge growth, huge. And it's the difference between, potentially, hundreds of million dollars,' says Goetz. 'Remember, it's not show-art, it is show-business. I truly believe that every movie, made and marketed for the right price, should make money. Now that's a big bold statement, not said lightly. But the problem is most people don't understand what they have at the outset so they pay way too much, budget-wise, for the movie, and as a result of that, they fail.' Something can be salvaged from even the biggest stinkers. Producers of zombie-flick World War Z 'reshot a third of the movie' after a negative screening, while in 2020's Sonic the Hedgehog 'the whole lead character was recrafted'. Goetz fondly recalls Gore Verbinski's Mousehunt, which he says was 'originally an adult dark comedy that turned into a family movie – and it was a success. There are ways to do it, but it's harder than hell to do it'. While Goetz says that most filmmakers get on board with the testing process, there are some notable exceptions. Christopher Nolan, for instance, does not subject himself to the views of mere mortals (though those who watched Tenet may wish he did). 'Picasso never audience-tested his paintings,' Ang Lee, the Oscar-winning Life of Pi director, once told Goetz. 'I love Ang Lee. Ang Lee is one of my favourite filmmakers,' Goetz tells me. 'He's an artist, what can I tell you? But guess what? So am I. I would say I am no less of an artist and I contribute no less than…' At this stage he breaks off to point at a large trophy behind him; it is American Cinematheque's 'power of cinema' award, which honours those who have helped advance the relevance of film. 'I got that award in 2023 – it's one of the highest awards in Hollywood, as you know – for my contributions to the motion picture business. I didn't get it because I'm a number cruncher.' As if to underline the point, he has a publicist send me the seven minute-long video of tributes that was played when he was garlanded with the honour. 'We are absolutely nothing without you and your incredible talent,' beams Charlize Theron. Margot Robbie says: 'You are so good at what you do and it has been such a gift to have your expertise and support on so many of our films… it is truly mindblowing how many films you have had a positive influence on.' Tom Cruise and Dwayne 'The Rock' Johnson call him a friend. 'I'm only saying this, not to be self-aggrandising, but so you will understand my relationship with these people,' says Goetz. A fast talker who is liable to go off on tangents, he is clearly not overly burdened by self-doubt. Much of the 63-year-old's success can be attributed to his bedside manner, which allows him to tell even the haughtiest auteurs things they do not want to hear. He illustrates the issue he often has by asking me to imagine me being the pushy parent of a child. 'Liam, I need to tell you that your seven-year-old daughter, she's just not as attractive as you think she is. She's never gonna make it as a model. I know you want her to be in commercials, but she's a little chunky, she's got crooked teeth, she's got freckles, and it doesn't work,' he says, deadly earnest. 'I have to say those things, and these are their children. These are their babies, right?' Ultimately, the power of numbers in his focus groups makes most filmmakers listen to him. 'If someone honks at you on the highway, they're an a--hole. But if seven people honk at you, you're the a--hole. At the end of the day, they're saying 'You d––'.' His constructive attitude, combined with his discretion, makes him a trusted partner for many of the world's biggest stars and explains why so many were queuing up to sing his praises at the American Cinematheque awards. Goetz says that a couple of filmmakers have fallen out with him, but refuses to name names. He is full of praise, however, for Ron Howard ('it doesn't get better than Ron in the screening process. He's a great partner and treats you like one') and Peele ('he's a very hot filmmaker who really respects the process and he's had great success'). He leverages the close relationships he strikes with them into interviews for the podcast he hosts, Don't Kill the Messenger, and he has written a pair of books about the business (2021's Audience-ology and the forthcoming How to Score in Hollywood). Growing up in Brooklyn, New York, Goetz aspired to act, sing and dance, and was a fixture in TV adverts and stage plays before he got an acting degree from Rutgers University in New Jersey. He also spent a couple of years as a Domino's pizza delivery boy. He moved to Los Angeles to pursue his acting career and took a part-time job with National Research Group, a consulting outfit. It started out as a 'survival job', where he moderated test screening focus groups, but it gradually became his primary interest. Decades on and he is still as enthused by it as ever. One iron-clad rule has emerged from years of test screenings that filmmakers would do well to heed at all times: do not mistreat a dog. A scene was added to Back to the Future so that it was clear that Doc Brown's dog, Einstein, did not get hurt when he was sent through time. 'You never want to hurt a dog,' Goetz says. 'Anchorman has a story about the dog that they needed to reshoot to show that the dog was OK, and it helped a lot. In The War of the Roses, one of them was eating and the implication was he barbecued the dog and the audience was… they had to shoot an insert shot of the dog sitting there to show that he was just f---ing with her.' Needless to say, Goetz is a dog person and lives in Beverly Hills with his husband, Neil, and their labradoodle, Kasha. In recent years, Hollywood has been accused of playing it safe, with a conveyor belt of sequels, prequels, remakes and reimaginings released, to the detriment of more original ideas. 'There is a tremendous amount of risk aversion. The reason is the stakes are so high,' Goetz says. 'The audiences seem to want the same, but different. They don't want a rehashing, but they want something that feels familiar but is different, like [Ryan Coogler's] Sinners. People have seen vampire stories, but not one like this. And I think then they'll also go to a Jurassic Park.' But Hollywood needs to remember that the audience is never wrong. 'The audience has final cut. An audience can never be wrong, because it's just an opinion,' he says. With thousands of screenings under his belt, watching films at various stages in the production process, it would be easy for Goetz to stop enjoying seeing them for fun: who would want a hot dog after spending all day seeing how the sausages are made? But he says he loves sharing films he enjoys with his husband and friends. There is, however, one part of the cinema world that he cannot bear. 'People often ask if I eat popcorn. And the answer is, no, very rarely,' he says with a smile. 'I smell popcorn every night of my life!'
Los Angeles Times
13-05-2025
- Entertainment
- Los Angeles Times
Hollywood's all-important summer box office has never been less predictable
Summer movie season is here, which means another season chock full of sequels, 're-imagined' classics and, yes, a smattering of risky originals. If you already believe that Hollywood is out of ideas, you won't find much contradictory evidence at the local multiplex in the coming months. As much as audiences say they crave originality, how they actually spend their money tells a different tale, with 2024's full-year top 10 completely dominated by existing intellectual property. So studios are sticking with what has worked before. Will it work again? Some studio executives anticipate that the summer box office — which runs from the first weekend in May through Labor Day — will generate close to $3.75 billion in domestic ticket sales. That would be up slightly from last year, but still down significantly from pre-pandemic levels. Others anticipate a total of $3.5 billion, which would mark a decline from a year ago. Executives say that the lineup is strong on paper, though uncertainty abounds and August is lacking in compelling titles. Despite the challenges, the summer months remain an important gut check for the film industry, producing around 40% of the annual totals in the U.S. and Canada. The last time summer movies tallied $4 billion in revenue — once a typical haul — was two years ago, the year of 'Barbenheimer,' and that was a unique post-COVID 19 pandemic phenomenon. Kevin Goetz, founder and chief executive of entertainment data and research firm Screen Engine/ASI, predicts a 'solid' summer, though he doesn't expect the industry to get back to 2019 levels. 'I don't think we ever get to that place again where we say, 'Oh, we're back,'' Goetz said. 'We're certainly in full-on recovery mode. But in the course of this last five years, audiences have shifted and changed.' That said, there's still room for surprises. Box-office performance has become increasingly difficult to predict for the studio 'tent pole' releases, film executives say. Distribution chiefs do their best to forecast opening weekend results based on data from audience-tracking firms, which help studios see whether their marketing efforts are working and gives them a chance to change course. But those models aren't picking up what's causing certain movies to overperform these days — the late-breaking viral buzz and last-minute marketing decisions that drive young people to the theaters with a fear of missing out, or FOMO. That's what happened with Warner Bros.' 'A Minecraft Movie,' one of the year's biggest surprise hits. Goetz said that's a function of the nature of audience tracking. It's not broken, he argues. It's misunderstood. 'Tracking was invented not a parlor game but as a way to measure the efficacy of your advertising flight,' Goetz said. 'It is not meant to predict a finite number.' After a quiet Mother's Day weekend, theaters are hoping a series of highly anticipated movies gets the momentum back on track. Thanks to the performance of 'Minecraft' and Ryan Coogler's breakout hit 'Sinners,' box office so far this year is up 16%, according to Comscore. Warner Bros.' next effort, the horror reboot 'Final Destination Bloodlines' is shaping up to do impressive business this weekend 14 years after the last one. Rival studio execs say it could open with $40 million in sales. The studio also has its DC Studios strategy on the line this year with the release of James Gunn's 'Superman,' a character that has sometimes proved difficult to make compelling on the big screen. Walt Disney Co. has a big franchise-filled summer ahead, with some major gambles on the schedule. The Burbank giant officially kicked off the season with 'Thunderbolts*,' a middling performer for Marvel Studios commercially, though the studio can take heart that reviews were strong and audiences enjoyed it. The improvement in quality contributed to a solid second weekend for 'Thunderbolts*,' which declined 55% to top the domestic charts with $33.1 million, a pretty good hold for a superhero movie these days. The upcoming live-action 'Lilo & Stitch' is expected to win a busy Memorial Day weekend, likely easily beating Paramount's expensive 'Mission: Impossible — The Final Reckoning,' which debuts at the same time. The original 'Lilo' is one of Disney's few non-Pixar animated films of the 2000s with a lasting cultural footprint (I'm not counting the cult of 'The Emperor's New Groove,' though I see you, fellow millennials). It's way too soon to know what Pixar's 'Elio' will do at theaters. The last time Pixar put out an original movie was 2023's 'Elemental,' which opened to weak numbers but recovered enough to eventually collect $496 million worldwide. 'The Fantastic Four: First Steps' is Marvel's mega-swing of the year. Kevin Feige is attempting to succeed at a task no one has yet accomplished: making a good 'Fantastic Four' movie. Universal Pictures will have one of the biggest releases of the year with 'Jurassic World Rebirth,' yet another installment in its killer dino franchise. Hopes are high for 'How to Train Your Dragon,' the company's attempt to follow Disney with a faithful live-action version of the popular Dreamworks Animation property (which has its own themed land at Universal's soon-to-open Epic Universe park in Orlando). Besides 'Mission: Impossible,' Paramount has two revivals on offer: 'Smurfs' and 'The Naked Gun,' a rare pure comedy from a major studio, which could be an advantage. Sony is counting on 'Karate Kid: Legends,' as well as returning horror titles '28 Years Later' and 'I Know What You Did Last Summer,' to fuel its finances. As for spinoffs, Lionsgate has 'Ballerina,' a 'John Wick' offshoot featuring Ana de Armas' character. Apple's film unit is bucking the I.P. trend with the big-budget 'F1,' a racing drama starring Brad Pitt, which will be a serious test of the iPhone maker's big-screen ambitions. It's a wild card that analysts are hoping plays more like a burnt-rubber version of 'Top Gun: Maverick' (from the same director, Joseph Kosinski) and less like Apple's other cinematic outings. With originals like 'Elio' and 'F1' especially, quality is key, as is the strength of the brands behind them: Pixar and Formula 1 racing. 'Even though those movies present more of an original idea, they still have marketable elements that are compelling to lean into,' Goetz said. President Trump's movie tariffs idea threw Hollywood into chaos, but there are some in the industry who are trying to make the most of the moment. This week, Trump's Hollywood 'ambassadors' Jon Voight and Sylvester Stallone joined the film and TV business unions and trade groups to call for tax provisions that they say will help make it more affordable to shoot in the U.S., The Times' Samantha Masunaga reported. In a letter to the White House, which was obtained by The Times, the groups said they support Trump's proposal to create a new 15% corporate tax rate for domestic manufacturing activities that would use a provision from the old Section 199 of the federal tax code as a model. The letter also asks Trump to extend Section 181 of the federal tax code and increase the caps on tax-deductible qualified film and TV production expenditures, as well as reinstating the ability to carry back losses, which the groups say would give production companies more financial stability. These are modest ideas compared with Trump's proposal for 100% tariffs on foreign-made movies and Gov. Gavin Newsom's demand for a $7.5-billion federal incentive. As a reminder though, California's problem isn't just that productions have moved to Canada, Britain and Hungary. Other states are taking business as well. Late last week, New York Gov. Kathy Hochul signed the state's budget, which increased the cap for its film tax credit to $800 million a year, up from $700 million. That would top Newsom's proposed increase, which would raise California's incentive program to $750 million. Listen: New music from Swedish goths Ghost. Read: The best of the Chicago pope memes.
