Kevin Feige

Reshoots Are Often Expected and Planned For

Marvel head Kevin Feige explained to Badass Digest in June 2012 why reshoots are important:

“Additional photography is invaluable. Sometimes it’s to fix something that’s not working, but most of the time on our movies it’s two-fold: sometimes a better or more exciting idea will come along, or more often something will come out of the movie – because it’s too long or the movie is stronger without a particular beat or scene or shot, and you need connective tissue.”

Most big-budget studio films and smart producers build reshoots into their initial budget. It’s all part of the plan. Marvel Studios budgets two weeks of reshoots into all of their film productions, Feige explained:

“We’ve done some movies that have three days of reshoots, some that have fifteen days, twenty days if not more. Sometimes we know what we need by that point and sometimes we’re wrangling them anyway. There’s a shot in Thor: The Dark World we call the Three Continent shot. It’s one shot, with three different actors in it, that was done on three different continents.”

andrew stanton, finding dory

Reshooting a Movie 4 or 5 Times: The Secret to Pixar’s Sucess

Every filmmaker at Pixar will tell you that they make and remake their film over the five-year development process, often massively retooling the story late in the process. Pixar films like Toy Story and Ratatouille were almost completely “reshot” late into the development process. Here is a quote from Finding Nemo/WALL-E director Andrew Stanton (from July 2011) telling me why the iterative process of making a Pixar movie is the secret to the company’s success:

“You can put it all up in drawing form that you’re not going to keep, in the grand scheme of things it’s a cheap way to make something. You draw it, you put your own voice on it, you cut it, and you don’t like it, and you do it again. You do it every 6 months over 3 to 4 years. Every time you do that, that’s the equivalent of a reshoot, so I’ve been taught how to make a movie with 4 reshoots built in every time. And you wonder why our movies are good? It’s not because we’re smarter, it’s not because we’re better, it’s because we are in a system that recognizes that you don’t go, ‘Oh my god, okay, I’m going to paint this, but I can only touch the brush once and I’m only going to make one stroke. That stroke’s asked, and we’re done; we’re not making this painting.’ I get to try it, play it, don’t like that, play it again, no, play it again, record it — most creative processes allow for somebody to go off into their shack, their studio, their recording booth, and try stuff until they figure it out and find it.”

I think we can all agree that most Pixar movies turn out to be special, remarkable contributions to cinema. Stanton made his live-action debut with John Carter, a film which was heavily criticized in the media for having to undergo extensive reshoots. Here he talks about the inherent problem of the live-action filmmaking process.

“It is such an expensive way to make something creative. People freak, and they want to hold it all in. They want to say, ‘Can you be really smart and think about it some more and plan some more? Just do it once. Or maybe twice.’ Most places now aren’t even letting you think about it; they’re like, ‘Just do it! Maybe you’ll luck out.’ We planned the bejesus out of it here. …  I tried to be as smart as I could and raise the bar as high as I could with the script before we went shooting knowing I wasn’t going to get these same iterations, then tried to be as smart as I could about doing the reshoots. It’s still less than what I’m used to.”

And with a studio like Pixar, you have most of the same talent in-house to get to work on changes. But the live-action reshoot process is expensive because of scheduling and logistics.

“It’s such a gypsy culture,” Stanton explains. “You don’t get to keep the same people. They’re not in that building; you can’t grab them on a Thursday and go, ‘What if we do this?’ All your actors are gone off. It’s a real conundrum, and believe me, … there’s huge room for improvement. It’s a gnarly problem; I get it.”


Sure, Reshoots Can Make a Movie Worse

Just because reshoots aren’t necessarily a bad thing doesn’t mean they are a good thing. I would argue that massive reshoots are financially and artistically irresponsible, especially if they are the result of things that could have been fixed or worked on during development of the project.

And yes, there have been a good number of films that went through extensive reshoots and are universally considered to be bad, and some that are considered worse off because of the meddling. For example, the original ending for I Am Legend tested badly with audiences and the studio went back and filmed an ending that film journalist Charlie Jane says “undermines the entire message of the film but includes a big explosion” rather than an ending that is more like the one seen in the book.

titanic behind the scenes

Not All “Disasters” Are Disasters

You have to understand that the filmmaking process is a complicated one, and many films that were deemed possible disasters during production have turned out to be critical and box office successes. Here is an excerpt from a 1997 article from the New York Times:

 The likelihood that ”Titanic,” the costliest film ever made, will delay its opening, previously set for the July 4 weekend, is sending ripples across Hollywood and turning the summer season into turmoil. … Rumors had been proliferating for more than a week about the problems facing ”Titanic,” which had been set to open on July 2, the start of one of the biggest moviegoing weekends of the year. Daily Variety began running a ”Titanic Watch.” At issue was the completion of the special effects for the film, for which a five-story copy of the ill-fated luxury liner had been built and as many as 1,000 extras and a crew of more than 800 — which is probably a record number — had been working virtually around the clock.

As you know, despite going 22 days over budget, Titanic ended up becoming one of the highest grossing films of all time.

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