How film producers became the new expendables: 'There's a lot of panic and confusion'
, after making the first eight movies of the Universal franchise . And in perhaps the most glaring sign of the times,gatekeeper Simon Kinberg — whose Fox film producing deal was one of the richest in Hollywood — isn't staying on after Disney's acquisition of Fox .
Perhaps seeing the writing on the wall, talent agencies are discouraging high-end producers from renewing their traditional studio deals so they can have multiple buyers competing for intellectual property and land progress-to-production contracts, largely absent at the major studios. After all, Disney is down to making one or two original movies a year, while Netflix is churning out 40-plus.
The tenuous plight of the producer has been intensifying for some time, since the height of the profession back in 2003, when DVD sales were strong and the seismic quake of the 2007-08 Writers Guild strike hadn't yet cleared the stables. As studios grappled with ways to cut costs during the strike, they extricated themselves from their pricey producer relationships, all in the name of efficiency. That trend was exacerbated by the downsizing of the studios' average annual film output.
"The reality now is that Disney and Warners try to focus exclusively on franchises. That's half the slate," notes a production exec. "Then there are the remakes. And then, in Warners' case, a Christopher Nolan movie. Who needs producers for that?"
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