Home Entertainment sales aren't figured into the theatrical box office grosses. They're tracked separately, separate marketing budgets, separate departments at the studios, etc.
"Jaws is the Citizen Kane of movies."
blocked: logan2, Diamonds3, Hamilton22
Cameron Mackintosh talks about Taylor Swift's audition for the movie here. He seems to have nothing but nice things to say about her. Maybe she will do a movie with him one day. I think Ellen in 'Miss Saigon' would be a great role for her to play.
"Yes, yes - Taylor Swift! Wonderful - she was wonderful. A really sweet girl. Actually, I think she may have come in a couple of times, now that I think about it. She was hard-working and did wonderfully in the role. Again, as with all things like that, in the end - as always with that show - the chemistry of the trio is the most important thing to get. You can't cast any of them individually. In the end, the chemistry with Sam [Barks], Amanda [Seyfried] and Eddie [Redmayne] turned out to be the right chemistry for us and for the movie we were making.
They all worked out just exceptionally. But, to answer your question, though: yes, Taylor was a real trouper for putting herself through the whole process and doing as wonderfully as she did, along with a lot of other famous people. I have a lot of respect for her - for them all."
Well, with all due (albeit marginal) seriousness, it's a shame when we have such high expectations for these things: LES MIZ, HAIRSPRAY, PRODUCERS, SWEENEY, PHANTOM, CHORUS LINE — I mean we're talking material that *should* be goldenly bulletproof. And yet somehow we always wind up disappointed because it's just too... hmm... Hollywood.
I'll admit, I'm not a big fan of LES MIZ. But I went to see it because of the cast, and I left thinking, "Okay, if Cecil B. DeMille had directed it, it probably would have looked a lot like this." It was *big* and *huge* and... well, somewhat empty.
Pity. I thnk I'll stick to the cinema of the imagination from now on.
"I mean we're talking material that *should* be goldenly bulletproof. And yet somehow we always wind up disappointed because it's just too... hmm... Hollywood."
Id say the disappointment is because many fans of shows basically just want the stage version that they love, on film, ideally with their favourite cast members.
Perhaps, but I think the larger problem is that these producers and directors simply dont trust the material. It has to be "improved". And as a result, we get things like CHORUS LINE, in which the whole concept of the play is tossed out so we can focus on Zach. That's like rewriting CABARET and making it a show about the Emcee.
Or, God help us, it has to beA LOT BIGGER. Not just a lot, but A LOT. Case in point: NINE. Lovely show with a great score... and blown out of all proportion on the screen. Or even more heinously, HELLO DOLLY, which was absurdly overdone.
It's just sad, because these pathetic film adaptations are part of what creates what America Outside of New York thinks of Broadway and the products it creates.