Why Reshoots Don't Mean a Film Will Fail — SkimNews
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- "The Social Reckoning" reshoots in Vancouver were minimal — two to three days of pickup shots, including reshooting one scene with Mikey Madison to clarify a time-jumping section, per Sony Chairman Tom Rothman, despite film Twitter reading them as a sign of doom ahead of a potential Venice debut
- Leaked reports on Luca Guadagnino's "Artificial" at Amazon — over budget, extensive reshoots, and a darker tonal shift — surfaced alongside a reported $50 billion Amazon-OpenAI partnership, with Jeff Bezos refusing to distribute the film the column argues was dumped for 'pennies on the dollar'
- The column contrasts coverage of Sam Levinson's "Euphoria" Season 2 production troubles (portrayed as "plagued" by delays and 15-17 hour days) with Martin Scorsese's "Boardwalk Empire" pilot — same level of on-set chaos, but the latter celebrated as masterful adaptation
- Three of last awards season's biggest films — "Sinners," "Marty Supreme," and "One Battle After Another" — earned a combined 38 Oscar nominations despite notoriously troubled shoots, including Marty Supreme going so over budget the bond company intervened
- Steven Soderbergh's interactive app "Production 02074" walks readers through the troubled "Jaws" production to demonstrate how Steven Spielberg used framing, staging, and editing to problem-solve on set, reframing on-set adaptation as the mark of good directing
- The column argues that leaked production details are being weaponized through incomplete reporting and "bad faith Oscar campaigning" on social media to back preconceived narratives about a film's quality or a filmmaker's character
Why it matters: The "reshoots equal disaster" framing shapes pre-release reception of awards contenders before audiences see a frame of footage, and the Amazon-OpenAI context around "Artificial" — including a reported $50 billion strategic partnership — suggests commercial rivalries rather than creative merit may be driving the negative leaks studios now have to overcome.
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