April 19, 2024

With ‘Elysium,’ Sony Hopes to Break a String of Failures

Big-budget washouts like “R.I.P.D.,” “After Earth” and “White House Down” were promoted as imaginative and new. But critics mostly panned them, and audiences stayed away, apparently recognizing that the films’ plots and themes were simply reassembled parts from blockbusters past.

Now comes another film promising to take an imaginative detour from the familiar formula: “Elysium,” starring Matt Damon and Jodie Foster, from the director of “District 9,” Neill Blomkamp.

On its surface, at least, “Elysium” sounds awfully familiar: a world-in-ruins story, lavish computer-generated visual effects, robots and production and global marketing costs of more than $200 million.

But the film’s backers and stars vow that it is different. Really.

“Ours is not a film that goes down the middle,” said Sharlto Copley, who plays a maniacal South African assassin in “Elysium,” which arrives in theaters on Aug. 9. “When you do that, it weakens everything.”

“Our movie is a political statement,” Mr. Copley added. “It doesn’t shy away from controversial ideas. No studio person was saying, ‘Oh, people won’t understand that accent you’re doing, so you had better do half of that.’ Or if there was, we didn’t listen.”

Despite its surface similarities to the pack, “Elysium” indeed works hard to veer into more creative terrain, starting with the fact that it aims to make audiences think. “Elysium” comments on present-day socioeconomic inequality by spinning a futuristic tale about a squalid Earth and a glorious space habitat where the superrich have retreated.

There is no sex. There is no goofy sidekick. It will not be released in 3-D. It is rated R. And the screenplay leaves questions unanswered, like how Mr. Damon, as an injured factory worker on Earth, survives a brutal back-alley operation to affix an exoskeleton to his spine and head. Don’t expect to see the obligatory camera shot of a ruined New York City.

“There were certain factions on the movie pushing for those global shots,” said Simon Kinberg, who produced the film. (Yes, “Elysium” has only one fully credited producer; “White House Down,” by comparison, had six.) “Neill ignored them.”

Mr. Blomkamp, who also wrote the script, does tend to do exactly what he wants — a right that he earned, Mr. Kinberg contended, with his first feature film, “District 9.” That R-rated alien movie, made for about $30 million, took in about $211 million in 2009 and was nominated for four Academy Awards, including best picture.

“ ‘Elysium’ was definitely allowed to be as original and provocative as it is because of the success of ‘District 9,’ ” Mr. Kinberg said.

Mr. Blomkamp, 33, who declined to be interviewed for this article, may have also been able to execute his vision fully because of the involvement of Media Rights Capital, or MRC, a production and financing company that split the expense of “Elysium” with Sony Pictures Entertainment. MRC has a history of finding success through creative risk; it backed Universal’s “Ted” and Netflix’s “House of Cards,” which both met resistance from entrenched studio and network executives but ended up as home runs.

“The only way to be successful is to be original,” said Mordecai Wiczyk, MRC’s co-chairman. “Playing it safe is the fastest way to ruin.”

Sony has learned that the hard way this summer. While other studios have suffered bigger misfires — Disney’s “Lone Ranger” was the most expensive single dud, by far — Sony is the only movie company to have two big-budget films fail to connect. “After Earth,” starring Will Smith and his son, and “White House Down,” with Channing Tatum and Jamie Foxx in the lead roles, both fizzled at the box office.

Article source: http://www.nytimes.com/2013/07/31/business/media/with-elysium-sony-hopes-to-break-a-string-of-failures.html?partner=rss&emc=rss

It’s the Economy: What Nail Polish Sales Tell Us About the Economy

Our current problem is that much of the world has shifted rapidly from consuming way more than it could afford to consuming far less. The subsequent whiplash has left many people (and, in some cases, entire countries) broke, unemployed and deeply pessimistic about the future. And while we can measure stock prices and bond rates, the key factor that determines consumption and, therefore, the health of the economy, lies in our psychology. Economists believe that what we feel about the state of the economy is best revealed not through what we say in surveys but rather through what we buy and exactly how much of it. There’s a lot of data available, though none come with a prepackaged psychological narrative attached. So analysts do the best they can, combing through our national shopping lists hoping to uncover clues. Sometimes they find remarkably helpful information in very unlikely places.

They also uncover plenty of cute facts that mean little. Consider this: 2011 was a banner year for the sale of insanely expensive fine wines at auction. Someone at a Christie’s auction in Hong Kong, for example, bought 12 bottles of 1985 Romanee-Conti for a bit more than $150,000, or about $600 per sip. And the grand lesson this teaches us about the overall economy is . . . absolutely nothing. There’s some meaning in this anecdote about how the superrich — especially the newly superrich in China — are doing far better than the rest of us. But that can’t help us figure out if we’re headed for a double dip, a stagnant decade or a sudden rebound.

To figure out what our buying behavior says about the U.S. economy’s future, we have to understand what’s going on in the middle class, the 50-percenters. And to figure this out, my colleagues and I at NPR’s “Planet Money” went searching for as many shopping-based indicators as we could find, hoping some would unlock a hidden story about what Americans are feeling and where the country is headed.

The results were mixed, but we did uncover some ominous signs. Lipstick sales used to go up when the economy went down, perhaps because women were searching for a cheap pick-me-up or an edge in a job interview. For reasons nobody quite understands, the lipstick indicator doesn’t hold up anymore, though nail polish sales now seem to reflect the economy very clearly (albeit inversely). A rise in nail polish sales indicates that we’re searching for bargain luxuries as the economy craters — and sales of nail polish are way up right now. Women’s underwear sales are down, which historically suggests intense frugality and more rough times ahead.

But we were encouraged by the number of optimistic indicators we uncovered. There is good news in cemetery plot sales. They seem to have peaked a couple years ago when desperate families were unloading unused holes in the ground (though cremation numbers are rising). Sales of cardboard boxes, because everything from electronics to clothing is packaged in them, should also be a strong indicator of economic rejuvenation. (Current production — enough to paper over the entire state of Maryland — portends recovery.) Sales of men’s underwear, one of Alan Greenspan’s favorite metrics for predicting growth, are also up. Sales of cheap spirits, which soared during the worst of the recession (people need an affordable way to self-medicate), have now stabilized, meaning, at the very least, that people can now afford better liquor.

Of all the indicators we looked at, one of the most consistently accurate was Champagne sales. The amount of French Champagne that Americans consume has predicted — with nearly 90 percent accuracy — the average American income one year later. Apparently, when we pop a Champagne cork, we know that good times are ahead (see chart). Champagne sales hurtled upward twice in recent history — at the peak of the Internet bubble in 1999 and during the heyday of the housing bubble in 2007. These were both followed by slowdowns as fewer people found reason to celebrate.

There are so many indicators to choose from that you could glean just about anything regarding our economic future. In fact, the most telling indicator appears to be the sheer number of indicators themselves. Americans now have so many seductive things they can buy that there are ample consumer options no matter what we feel. Partly as a result, savings — known in economics as deferred consumption — have fallen steadily for more than 30 years, from a high of nearly 12 percent of income. It kissed zero before a tiny uptick in the past couple years.

The decline of the savings rate is particularly troubling because it is consistent through busts and booms. During the fast growth of the late 1990s and mid-2000s, and the dark times that followed, people have been choosing to spend more and save less than ever before. Paradoxically, this happened just as pensions have been disappearing and life spans have been increasing. It suggests that Americans are so caught up in every short-term enthusiasm or agony that they haven’t thought enough about long-term fiscal health.

When the dust clears from the current crisis in a year or two or 10, it will probably become obvious that the recent decades were a giddy consumption mirage fueled, in part, by free-flowing foreign debt. The world won’t lend the United States money for nothing forever (though, downgrade aside, nobody has told the world that yet), and the country can’t keep buying a lot more from everyone else than it is able to sell them. America will, most likely, need to find a more normal, sustainable level of consumption, and that’s exactly the problem. We don’t know what normal consumption looks like. Over much of the last few decades, we gave in to every shopping whim, with little thought to the future, except for those times we were so dispirited, we wouldn’t spend at all. What does a reasonable balance between consumption now and consumption deferred actually look like? That’s what we need to figure out.

Article source: http://feeds.nytimes.com/click.phdo?i=401675b9ccde4de77a5c4119ab9d3dc3