MiraMax’s Post-Weinstein Revival: Reboots, Remakes, and a New Vision

by

It wouldn’t be “Scary Movie” without the Wayans brothers.

About a year ago, when Jonathan Glickman assumed leadership at Miramax, the studio was finding it tough to revitalize its franchise. Glickman understood that a key element for a successful reintroduction was the participation of Marlon Wayans, Shawn Wayans, and Keenen Ivory Wayans, the trio who infused those beloved comedies with their rebellious humor.

Glickman emphasizes the importance of maintaining some link to the initial property. He explains that this connection provides credibility, preventing the project from appearing as if it’s solely motivated by financial gain.

However, securing the involvement of the Wayans brothers wasn’t straightforward. Initially, they felt that Harvey and Bob Weinstein, the aggressive and unscrupulous co-founders of Miramax, had offered them an unfair deal for the first film in the series, released in 2000, and subsequently took credit for their idea. By the time the third, fourth, and fifth “Scary Movie” films were released, the Wayans brothers were no longer part of the project.

Marlon Wayans expressed that the situation with the Weinsteins and “Scary Movie” was extremely unpleasant. He joked that he could make a movie about it because of how poorly they managed the business. In hindsight, he suggested that they should have taken legal action against them.

Prior to Glickman’s arrival at Miramax, the studio was working on an independent “Scary Movie” remake apart from the Wayans brothers, although they did request Marlon Wayans for a brief appearance. However, he declined the offer. In his own words, “The only way I’d be involved is if my family and I are the ones delivering it, as this project is our creation.

On his side, Glickman wasn’t satisfied with the original script, feeling it was missing the desired taste. He sought a meeting with the Wayans family to listen to their ideas about the franchise’s future direction. Leaving the discussion resolved, he decided to strike a deal. To make the proposition more appealing, he consented to grant the brothers a larger share of the films’ equity.

Glickman explains, “It’s crucial for them to understand that by putting their emotions and creativity into developing this franchise, there will be benefits. The goal is to have everyone working together, pulling in the same direction.

Reuniting the Wayans family with Miramax is a key aspect of the more compassionate, artist-centric strategy that Glickman is employing to modernize Miramax for the contemporary era. During our meeting at CinemaCon – an event where film studios and cinema executives gather in Las Vegas every year – we were having lunch at Peter Luger’s, a replica of the famous New York steakhouse located in Sin City. “It seems almost blasphemous for this not to be in Brooklyn,” Glickman remarks as we settle down.

Over a casual meal, Glickman presents his plan for the revitalization of Miramax. This strategy includes funding fresh films and series, as well as resurrecting classic titles from Miramax’s library of 700 Oscar-winning and genre movies that have been gathering dust for decades. He’s been successfully persuading the artists who originally worked on these projects to revisit and revamp their iconic creations. Currently, Miramax is working on TV adaptations of “Cop Land,” with its director James Mangold involved, as well as “Shall We Dance,” where Jennifer Lopez serves as the series producer. Additionally, a sequel to “The Faculty” is being produced by Robert Rodriguez, who also directed the original film. In many instances, bringing creative talent back on board necessitated healing past rifts and resolving conflicts that arose during Miramax’s difficult Weinstein era.

It’s beneficial that the friendly Glickman, often referred to as a ‘mensch’, stands in stark contrast to the explosive Weinsteins. Whereas he flourishes through cooperation, they reveled in conflict.

According to director Derek Cianfrance, who is working on ‘Roofman’ for Miramax, Jon has an undeniable passion for cinema. His infectious excitement and insightful questions help clarify the vision of the film. Instead of dictating, he skillfully guides the process.

As a kid, Glickman developed a passion for movies at a drive-in theater in Wichita, Kansas. It was there that he watched films like “Jaws,” “Alien,” and other timeless classics. For him, movies were deeply ingrained in his family’s fabric, serving as an integral part of their culture.

Dan Glickman, his father, served as a congressman prior to taking roles as secretary of agriculture and head of the Motion Picture Association of America. His mother, Rhoda Yura, was active in arts organizations. Unlike venturing into politics like his father, Glickman chose a path towards Hollywood. As a student at the University of Southern California’s School of Cinematic Arts, Glickman stood out with his extensive film knowledge and strong work ethic. Notable peers included Al Gough and Miles Millar, successful screenwriters who have collaborated with Glickman on the Netflix show “Wednesday.

Gough states that he’s consistently been like a powerful natural phenomenon,” said he, “someone who has always seemed to be ahead of the curve.

Millar acknowledges that he has long identified as a movie enthusiast, but Glickman’s work truly challenged him. Speaking fondly of editing Glickman’s student film about a struggling young man whose credit cards come to life, Millar notes, “John always had an intensity about him. It’s captivating and encourages creativity.

After attending a talk by Joe Roth at USC, Glickman’s eagerness was evident as he pursued the producer in an elevator, requesting an internship at Caravan Productions. This persistence paid off, leading to him securing his initial job assignment.

According to Glickman, John August, the screenwriter, who was once his classmate, had a firsthand account of the incident. He shared with Glickman that it was the craziest or most bizarre thing he’d ever experienced.

After that, Glickman ascended the ladder, eventually assuming the role of president of production at Caravan, before transitioning to Spyglass Entertainment – known for productions like “27 Dresses” and “Shanghai Noon.” In 2010, when Spyglass’ heads, Roger Birnbaum and Gary Barber, assumed control over Metro-Goldwyn-Mayer, they recruited Glickman to help the studio recover from bankruptcy. He played a significant role in restoring its financial health, in part by adopting a similar strategy he was using at Miramax, which involved revisiting the studio’s library of older movies and identifying those that could be modernized. This approach resulted in hits such as an animated adaptation of “The Addams Family” and “Creed,” Ryan Coogler’s successful remake of the “Rocky” franchise. “I learned that a catalog is truly valuable only when it is consistently updated,” he reflects.

2020 saw Glickman depart from MGM and establish his independent production company, Panoramic. While he didn’t actively seek a new studio position, the proposition from Miramax proved irresistible.

Glickman expresses that this job is tailor-made for him, as he’s deeply passionate about film history and feels that Miramax’s collection outperforms its size. This role lets him satisfy his creative desires while also tapping into his entrepreneurial spirit.

Nevertheless, the position of studio chief has never been more challenging. During the 1990s and the early 2000s, Miramax added an artistic flair to mainstream films, producing critically acclaimed blockbusters such as “Pulp Fiction,” “Shakespeare in Love,” and “Good Will Hunting.” Many of these movies would find it tough to be produced today; they’re too unconventional, too intellectual, and too focused on emotion and humanity at a time when the film industry is heavily invested in superhero films.

Despite understanding the financial necessity of creating these stories, Glickman remains committed to original content. Ideally, Miramax would produce around five to eight films each year, with over half being unique, original pieces. If a movie doesn’t belong to an established franchise, the aim is to maintain budgets between $30 million and $50 million. This range aims to balance risk.

Occasionally, I might propose a trade where they forgo some initial pay, instead receiving a larger portion of the profits if things go well. This way, they become more vested in the outcome, and it helps us keep our expenses down.

Glickman thinks that choosing a suitable star connected to a specific genre is crucial for drawing audiences. To achieve this, he’s supporting “4 Kids Walk Into a Bank,” an action-thriller with Liam Neeson, known for his work in such films, as well as “Scandalous!”, a romantic drama featuring Sydney Sweeney who gained popularity from the rom-com “Anyone but You.” Colman Domingo, fresh from the Oscar-nominated movie “Sing Sing,” will debut as director in the tale of Sammy Davis Jr.’s love affair with Kim Novak. According to Glickman, people are looking for an enjoyable spin on something they’re familiar with.

Glickman continues to be excited about expanding the studio’s franchise portfolio. The film “The Beekeeper,” a revenge thriller starring Jason Statham, was a hit at the box office, earning over $160 million worldwide. A follow-up is being planned with Statham suggesting big plans for furthering the series, while also working on other projects with the studio. He expresses that he’s already bursting with ideas for new projects.

Not all tales are suitable for the theater. As a result, some films originally intended for the big screen are now being reimagined as streaming or television shows and limited series. To achieve this, Miramax is producing shows or limited series from movies like “Gangs of New York,” “Chocolat,” and “The English Patient,” which were both financially and critically successful when they debuted over two decades ago. They are also working on a show based on the more recent hit, “The Holdovers,” a boarding school drama that garnered an Oscar when it was released in 2023. Glickman is hopeful that Alexander Payne, the film’s director, will be involved in this project.

In some instances, Glickman acts contrary to expectations by creating programming based on films that underperformed at the box office. Surprisingly, he thinks these flops still have a regional charm, such as “The Shipping News,” a slow-paced 2001 drama set in Newfoundland. This potentially unsuccessful movie could be reborn as a Canadian television series.

Despite Harvey Weinstein and his brother no longer being involved in Miramax since 2005 when they parted ways with Disney, the studio remains linked to them due to history. After their departure, ownership of Miramax has been passed around multiple times. In 2010, Disney sold it to Filmyard Holdings, an investment group, who later auctioned it off to BeIN Media Group, a Qatari entertainment company. Viacom became a part owner in 2019. However, the ownership of Miramax could potentially change again as Paramount Global (formerly Viacom) seeks regulatory approval for its planned merger with Skydance Media.

Glickman handles the subject matter tactfully, initially complimenting BeIN Media for its backing and for inspiring Miramax to consider itself not just a domestic label but a global contender by linking it with a broader array of international talent. In contrast, he notes that Skydance Media, an investor in franchises like “Mission: Impossible,” understands the worth of a vast movie library within Paramount Global.

Glickman points out that there would be numerous chances for Skydance to take control, as they share a similar vision of the intellectual property (IP) world. This perspective is essentially the cornerstone of their business, and he has strong connections within the company.

Independent of who is presently in charge of Miramax, it was Harvey Weinstein who transformed the studio into a formidable force within the independent film industry. A substantial number of allegations involving sexual misconduct and harassment by numerous women can be traced back to his tenure at the company. Following Weinstein’s downfall in 2017, there were discussions about changing Miramax’s name. They conducted polls to determine if consumers were deterred by its connection to the disgraced executive, yet it was discovered that those viewers could differentiate between the company and its founder.

Glickman acknowledges that there’s historical significance there, but we don’t encounter any issues related to business transactions or collaborations on a daily basis due to it,” Glickman explains. “Moreover, the brand is still synonymous with the excellent movies produced there, symbolizing high-quality storytelling.

Glickman expresses a desire for Miramax to persist in venturing into creative risks, while ensuring these artistic endeavors are financially cautious. Despite his efforts to rejuvenate the films and series that once made Miramax a powerhouse in the independent film scene, he appears more enthusiastic about creating fresh narratives.

Instead of simply reproducing a library, it’s essential to restock it too,” he explains. “This involves taking different paths from others. It’s this approach that often results in major successes.”

“Rather than rebuilding a library, you need to add fresh content to it as well,” he notes. “To do so means sometimes going against the flow of what others are doing. This unconventional strategy can lead to significant breakthroughs.

Read More

2025-04-23 19:48