Related Stories<\/h3>\n
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‘The Creator’ Review: John David Washington Bonds With All-Powerful AI Child In Gareth Edward’s Remarkable Sci Fi Action Adventure That Paints A Future All Too Possible<\/h3>\n
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Movie Release Date Calendar For 2023<\/h3>\n
In a weekend crowded with two other wide releases — Paramount\/Spin Master’s Paw Patrol: The Mighty Movie<\/em> and Lionsgate’s Saw X —<\/em> and movies’ profiles significantly dimmed by the lack of actors’ promotions during the SAG-AFTRA strike, the $80 million New Regency-financed The Creator<\/em> né True Love <\/em>is hoping to break through. While box office projections in the high teens, which is the same as Paw Patrol 2, <\/em>it’s a rock-paper-scissors battle between the titles. <\/p>\n How is that? They’ve both had the loudest campaign in recent weeks. Disney has amped up and pivoted its campaign for 20th Century Studios The Creator <\/em>after an exciting response out of press screenings. The Creator <\/em>isn’t some fall asleep, sci-fi movie at 2 hours and 13 minutes ala Regency’s Ad Astra <\/em>back in 2019, rather an action-filled fast clip with the ambience of an Oliver Stone sci-fi movie in its West vs. East war and prescient topic of AI. Quite frankly, even though My Big Fat Greek Wedding 3 <\/em>weighs in at 92 minutes, that movie feels like a slog next to the rock ’em sock ’em robots of The Creator. <\/em><\/p>\n If Disney can get The Creator <\/em>to bust past $20M, that would be internally a celebrated win at the studio. Overseas is also a vital component here on the thinking man’s sci-fi movie, the genre typically seeing 60% of its global gross from overseas (i.e. such movies as Gravity, The Martian, <\/em>etc). Duly note that while there was the perception that Regency lost its shirt on the gritty $70M-budgeted Viking thriller, The Northman, <\/em>back in 2022 ($12.2M domestic opening, $34.2M domestic final and $69.6M WW), we’ve learned through many sources that film actually approached breakeven, thanks to overindexing on PVOD. New Regency has always prided itself throughout its history on gambling on ambitious filmmakers. Sometimes they hit in the 3x Oscar winning, half-billion plus grossing success of The Revenant, <\/em>and sometimes that strategy doesn’t work, i.e. David O. Russell’s pandemic priced absurdist period comedy, Amsterdam, <\/em>which opened to $6.4M, bottomed out at $14.9M domestic, just over $31M WW off a $80M budget that yielded a $108M-plus loss. <\/p>\n Tracking is bullish on Lionsgate’s Saw X <\/em>this weekend at a $20M start, but gosh, we’d be damned if that movie does well. It just hasn’t been everywhere and loud in its marketing as Paw Patrol 2 <\/em>and The Creator <\/em>with Lionsgate known to be very frugal in their marketing spend: Tracking totally missed last weekend’s Lionsgate title, Expendables 4 <\/em>which they put at $15M-$17M with the movie opening in No. 2 to $8M. Ouch. Last minute reviews for Saw X <\/em>put the movie at 83% fresh on Rotten Tomatoes, and the only hope that resides is that Latino and Hispanic moviegoers might show up en masse for the movie. Heading into the weekend, The Creator <\/em>and Paw Patrol 2 <\/em>have the best presales with over $1M apiece. <\/p>\n Still with a movie that The Guardian<\/em>‘s Peter Bradshaw calls “intriguing, stimulating, exhilarating,” and with the ongoing SAG-AFTRA strike, why keep The Creator <\/em>on this weekend? First of all, the movie was originally set to launch on Oct. 6, but at Cinemacon, Disney announced it was moving the title up a week to get access to Imax screens. Also, at this point in the fall, there’s typically a riveting sci-fi movie delivered to audiences, i.e. 2013’s Gravity <\/em>($55.7M opening) and Regency\/20th’s The Martian <\/em>($54.3M). Also given the sublime sci-fi aesthetic of The Creator, <\/em>it could prove to notch key below-the-lines slots in the Oscar race. That’s why Disney and Regency stuck to this date. <\/p>\n The Creator <\/em>began to come together just before the pandemic. Edwards, who had already zoned in on monsters and spaceships in his love of sci-fi in his other pics, had robots on his mind. He received an invite to head to Vietnam from Kong: Skull Island <\/em>filmmaker Jordan Vogt-Roberts to soak in the filmmaking scene there. Coming away from the visit, Edwards fused the two concepts of robots warring and notions of Apocalypse Now <\/em>in his head. The filmmaker told Deadline, “I had engaging visuals of robots fighting in rice paddies.” <\/p>\n The Creator <\/em>follows the aftermath of a nuclear war in the U.S., which the country has blamed on AI robots. Washington plays spy mercenary, Joshua, who is searching for his wife in the East who’s been missing for five years and believed dead following an attack on the Asian village. She was pregnant at the time. Joshua is also protecting a robotic child during the pic, believed to be the lynchpin in the robots’ war on humans. Edwards co-wrote the movie with his Rogue One: A Star Wars Story <\/em>scribe, Chris Weitz.<\/p>\n Edwards invested in hiring concept artists for a 60 image lookbook. He was getting courted to do another movie, but a sudden side trip to New Regency execs had him emoting what he really wanted to make: The Creator. <\/em><\/p>\n “Michael Schaefer had been courting me for a year or two, saying that I’d have creative freedom,” Edwards tells us. <\/p>\n “I didn’t tell my agents (about the meeting), it was very low key with Yariv (Milchan) and Michael. I laid out the visuals and talked through the story,” the filmmaker told us.<\/p>\n Part of Edwards’ plan and the financier’s buy-in required shooting all over Southeast Asia, instead of relying on green screen. The conceit was to lens great real-world footage, then drop or paint in VFX thereafter with ILM. <\/p>\n Watch our interview with Edwards here:<\/p>\n<\/p>\n At CinemaCon back in April, Disney dropped the first trailer for exhibitors in the room, marketing’s aim to show off the provocative idea of humanity vs. AI and the beauty of the sci-fi backdrop. The official trailer dropped two months ago earned 33M views. Some of those in tracking opined to Deadline that the first go-round of the marketing was too abstract, and for a movie with a burgeoning, though still relatively fresh star in John David Washington, needed a bit more kick. <\/p>\n So, Disney delivered the zhuzh with a second trailer that connected more with the character relationships including Washington’s character’s romance with Gemma Chan as well as the pic’s paternal storyline. <\/p>\n “The creative team, including director Gareth Edwards, is brilliant and we really tried to tease the film’s emotional story while bringing to life its epic, futuristic backdrop through our marketing,” Walt Disney Studios President of Marketing & Chief Brand Officer Asad Ayaz tells Deadline.<\/p>\n Disney, which teams with New Regency on marketing the latter’s movies, also leaned into the urge for moviegoers to see this movie in the most premium experience as possible, i.e. Imax, ScreenX, etc. The shift saw the second trailer jump up to over 39M global views. <\/p>\n But then in the ongoing intrigue of freaky smiling people (Smile) <\/em>and dancing M3GAN robots making public spectacle of themselves at sporting events, Disney started releasing models dressed as AI robots into the stands of NFL and MLB games, the first during the Sept 10 Sofi Stadium game between LA Chargers and the Miami Dolphins. No one could tell if these ‘robots’ were fake or real as they stood on the sidelines and occupied paid seats in the stands. The physical stunt caught attention with organic videos of the robot models doing over 5M views on TikTok. <\/p>\n Disney played into more robot and the whole AI of it all with Edwards conversing with an Ameca robot who tried to spoil plot points about The Creator<\/em> (see below).<\/p>\n Social media metrics company RelishMix says The Creator <\/em>counts a social media universe of 132M across TikTok, X, Instagram, Facebook and YouTube views. Among the positive chatter, RelishMix says “There’s a rally behind director Gareth Edwards — citing his movies Godzilla<\/em> and Rogue One<\/em> — plus keying-in on the film’s trailer visuals with its high anticipated score by Hans Zimmer, not to mention its concept. ‘Finally, something new and different,’ says one observer.”<\/p>\n Added Ayaz, “Leveraging the core concept of humanity versus technology was essential to introducing fans to this story across all marketing platforms.”<\/p>\n![](\"https:\/\/deadline.com\/wp-content\/uploads\/2023\/05\/V1-0012_frm_pull.011.jpg\")
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