Molly Smith and Trent Luckinbill discuss Others Unknown with Christopher McQuarrie, their Apple TV series Havana Nocturne & status of Sicario 3.
The Big Picture If you haven’t checked out Reptile on Netflix, make it your next watch. The crime thriller stars Oscar-winner Benicio del Toro and marks the actor’s first-ever screenwriter credit alongside writer-director Grant Singer, and claimed the #1 spot on Netflix’s top ten for three weeks running. Inspired by filmmakers like David Fincher, Singer’s feature debut keeps viewers guessing to the end with an impressive roster including Justin Timberlake, Alicia Silverstone, and Michael Pitt.
truth in a case where nothing is as it seems, and by doing so dismantles the illusions in his own life. Honestly, the only thing that's shifted for us in the last couple of years is a lot more television. We're developing a lot more television, a lot more series, only because the demand for that is a lot higher. The nice thing is, we're producers at heart, so the distribution landscape, even though it looks drastically different than when we started the company, it's really just about trying to figure out where your product lives.
SMITH: I agree. Sicario is hard to beat because we just had such a special experience, and the A-team, as Trent said, on that movie. I would say if you haven't seen, and probably just because it didn't work commercially, so I feel like less people actually got to discover this movie, Only the Brave sticks with us, too, as one of the movies that we're most proud of.
SMITH: Good question. Trent, what do you think? I mean, we've had some good ones get away just for whatever reason – the distribution landscape wasn't there at the right time for them. But we kind of keep our slate small. I mean, we've been really lucky in that most of the things we develop or try to go into, we've been lucky enough to make. We've certainly got some legacy projects, meaning some of our early slate that we're still going on.
LUCKINBILL: Yeah, that's the hard part of this business, exactly right, is finding it and getting ahead of it. We scour from a book perspective; if we can find books that are new or things that have not yet been made, we'll start there. We will continually sort of network with our former directors, former writers, actors and find out what they're interested in, what they're passionate about.
LUCKINBILL: It's great. It is our first experience sort of on this level with a movie of this size. I think we've sold a couple of movies after the fact, but they were on the smaller side. So for us to kind of be on a major release pattern for them, I think this really exceeded our expectations. We were super proud. Clearly, their audience around the world really, really responded to it in a way that I don't think we anticipated.
Yeah. The other thing I found is when a movie enters the top 10 at Netflix, a lot of people, including myself, look at the top 10, “What is everyone else watching?” And when you have a movie that's the number one movie, and it has Benicio’s picture, or Justin, or whatever it is, a lot of people are going to push play because it's the number one movie.What have the last few weeks been like? Because this is your first time with Netflix having success.
SMITH: Right when we met him. You could tell from the minute you met Grant. Just being the student of film the way he is, and what he studied and what he, at the time, brought to his visual style in music video directing. But also, our very first meeting, he kind of laid out his vision for how he wanted to approach the storytelling. It's one thing to read it on the page, it's another thing to kind of let the director walk you through how they'd like to execute it.
LUCKINBILL: It's a really good point, really good point. Yeah, because it doesn't tip the hand at all. LUCKINBILL: We kind of went in contemplating this as really closer to the five, but anywhere from three to five. I think it just kind of depends on how much you tell the story, how quickly you want to tell the story, or how much you want to slow it down. There's just so much room to grow. Obviously, I think this covers nearly 17 years, 18 years, I think, is what we're contemplating, so this one was always envisioned as a little bit more of a long-running series.
SMITH: Well, I think the story has to earn that. Like you said, it has to be a story that is worthy of that. Like, you're talking about Killers of the Flower Moon and a filmmaker like Marty Scorsese, who we could all watch for as many hours as he wants us to watch. I don't think every movie can sustain that. I think there are certain movies that the pacing is very important to it.
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