So what is it? A hit? A flop? Something somewhere in the middle? At a mere $55 million in weekend box office, Warner Brothers (and those litigious hangers-on FOX) must be circling the spin wagons and preparing to pour on the positive publicity. Twenty years ago, making more than half of the notorious blockbuster number of 100 in one three day period would be almost inconceivable. Today, it’s a drop in a deep, debt ridden bucket. While the amount of money something makes is never a clear sign of aesthetic or critical accomplishment, Hollywood measures meaning in dollars and cents – and the sheep-like media, incapable of solid independent thought, publish said spreadsheet summarizations with schaudenfraude delight.
So what exactly does a $55 million take mean for the long-in-gestation adaptation? Clearly, when compared to the $100 million of Iron Man, or the $300 million of The Dark Knight, we are waltzing through middling motion picture territory. The revamp of The Incredible Hulk did about $55 million its opening weekend, as did the female niche effort Sex and the City: The Movie. Claiming that a similarly small and specialized fanbase should be ashamed for only half a hundred is ridiculous. Besides, Watchmen is nearly three hours (including previews and trailers) and walked into theaters with an incredibly hard “R” attached to its availability. Making $55 million with the local pre-teen crowd packing Cineplexes is one thing. Doing it with the 17 and up crowd deserves some kind of special consideration.
That won’t stop those who hate the film from filling their greenback ducts with bile and spewing a kind of planned propaganda about the movie’s destined destruction. Others will toss their hands in the air and wonder what more a filmmaker has to do to draw an audience. There will be revisions, considerations for Thursday Midnight screenings and IMAX attendance, but one thing’s for sure – the $55 million figure will become the benchmark of 2009, a number ready to be shot down by X-Men Origins: Wolverine, Star Trek, Terminator: Salvation, and Public Enemies. Still, one can try and gauge the impact this opening will have on the talent involved, taking into consideration more than the amount of cash that fills the coffers. Let’s begin with:
For Warners, it was all win/win initially. They had the director they wanted (hot off the phenomenal triumph of 300), the screenplay they needed (wonky, but totally workable), a cast they could bank on (no big names = no big salaries), and a pre-publicity buzz that made marketers drool with anticipation. With both messagesboards and viral campaigns loaded for bear, there was no way a Watchmen movie would fail. FOX must have thought so too, since they jumped in during post-production to claim their piece of the potential pie in court. Now, no matter what happens, Warners has wondered over into lose/lose terrain. If Watchmen doesn’t make $200 million, it will be seen as a failure – especially when it comes to profit sharing time. And if by some chance it surpasses all expectations and makes much, much more, the numerous hands reaching out for a cut will be painful to any earnings margin.
The Graphic Novel by Alan Moore and Dave Gibbons
Of all the questionable outcomes, the impact on Watchmen as a literary entity remains the most complex. Surely, the semi-success of any film adaptation will draw readers anew to the original graphic novel, and those not put off by the format will find a work of incredibly dense and discerning wonder. Moore’s prose is plaintive and philosophical, wrapping up many intriguing ideas inside a seemingly simple story of revenge. Of course, the Cold War setting will seem dated, and the notion of Nixon as a three term President could put many off their measured morning in America coffee, yet there’s much more here than parallel histories and wistful “what ifs”.
Still, there is a drawback to such attention and that’s the dreaded “s” word – scrutiny. There will be some who come to Watchmen and wonder why the book is so beloved. Others will see Moore as a miserly old coot who happily cashes the checks his works incur while cursing the various mediums making said money. Some will take his adaptation complaints to heart and boycott anything but the written word – and that’s too bad. The film version of Watchmen is an exciting and rather special epic. While commerciality is perhaps the bane of Mr. Moore’s creative existence, it’s also not the final defining factor of anything’s worth. If it was, his cult would be laughable, not legitimate.
David Hayter and Alex Tse
For Hayter and Tse, the ultimate realization of a Watchmen movie means much more to both of them than any bottom line balance sheet. The former has been down this road before (he worked on both X-Men films and The Scorpion King) while the latter is experiencing the first brushes with popcorn fame. In fact, Tse is already hard at work adapting Ray Bradbury’s The Illustrated Man for future Snyder consideration. Since they were given the task of remaining faithful to the graphic novel, and will be seen as doing same (one missing squid aside), there’s no real downside to their contribution. Even if the film went on to severely underperform, they won’t be pegged as the problem. Indeed, for many involved in the production, Moore and Gibbons will be given more grief than those charged with accurately bringing their vision to life.
For his part, Snyder has already won. Even if the eventual returns don’t cover the cost of production, the man behind Dawn of the Dead and 300 set out to make the best. Most believable Watchmen movie he could, and given the outcome, he did just that. Sure, you can argue over how he truncated the tale, and how successful something like The Tales of the Black Freighter will be both outside and included in the final DVD cut, but he bested noted imaginative individuals like Terry Gilliam, Paul Greengrass, and Darren Aronofsky, and there’s something to be said for actually filming the “unfilmable”. Any primping on his part will be seen as studio swagger and the resulting returns on home video will guarantee at least a few more dream projects before the fiscal reality of a less than Dark Knight return sinks in.
Jeffery Dean Morgan/Patrick Wilson/Jackie Earle Haley
Of the many names associated with the Watchmen movie, only three truly stand out. We can’t consider Malin Akerman or Matthew Goode because many thought of them as miscast, and with Billy Crudup disguised under a buff blue CG persona, his career clout is also limited. But there’s no denying the continued interest in Jeffery Dean Morgan (the Comedian), Patrick Wilson (Dan Drieberg/Nite Owl II) and especially Jackie Earle Haley (as the reactionary Rorschach). All three men should see their profile in Tinsel Town amplified significantly. All three give award worthy performances in a genre effort that rarely gets such a mention (Heck, SE&L is still shilling for Haley as a Heath Ledger like lock come Oscar time) and they provide the emotional core to the complex narrative. With only Wilson currently capable of walking the fine line between mainstream commerciality (Lakeview Terrace) and indie edge (Hard Candy), here’s betting the others find their phones ringing relatively soon.
Oddly enough, this is a dead subject – at least from the purists’ initial position. Aside from the aforementioned side projects and an expanded DVD/Blu-ray run come five to seven months from now, Watchmen just does not lend itself to a sequel or series. Snyder approached it as a self-contained work, and the ending offered currently closes things off nicely. Still, Moore did allow for some continuation leeway when he ended on the discovery of Rorschach’s journal, and you know a cash flush studio – if there is a way to make another Watchmen movie and not totally alienate or piss off the predisposed demographic, they will do it. Here’s betting that multiple digital reconfigurations and special editions will be the most this movie sees of a supposed continuation.