The anticipation for the ‘Companion‘ script was quite modest. Penned by Drew Hancock, a screenwriter who had worked on shows like ‘Suburgatory’ and ‘My Dead Ex’, both of which were canceled, and had been providing unaccredited revisions for Netflix young adult movies and pilot episodes that never materialized, the script was submitted to BoulderLight Pictures in Burbank. This script, which could have ended up at the bottom of a development pile or gone unread forever, as it was unsolicited and without any guarantee from a studio or producer.
Initially, Hancock didn’t think his unusual blend of genres – a mix of adorable, satirical, and sci-fi slasher-thriller – in the script called “Companion” would ever be turned into a film. Instead, he hoped it would serve as a calling card to secure other projects. As he puts it, “I was at a point in my career where I wasn’t getting the jobs I desired. ‘Companion’ emerged from that frustration. It was essentially a writing sample, a way of saying, ‘If this gets made, fantastic. If not, I hope, at least, it shows the kind of movies I aspire to create.’
The adult-rated robot romance film titled “Companion” made its debut in theaters last Friday, boasting a remarkable 94% positive rating on the Tomatometer. This unexpected hit, which miraculously sailed through production despite long odds within just 24 hours of landing at BoulderLight’s office, is now being distributed by Warner Bros. for screenings on IMAX. The film garnered $9.5 million domestically and an additional $5.5 million internationally over the weekend, effectively recovering its production cost in a single swift move.
“Companion” marks Hancock’s first feature-length directorial endeavor, though he never envisioned himself directing this movie initially. The film boasts a prestigious background, with co-production by Roy Lee (the mastermind behind the box office juggernauts like “It,” “Godzilla,” and the “LEGO Movie” series) and Zach Cregger, who is known for his role as writer-director of the 2022 surprise horror hit “Barbarian.” However, none of these elements would have come together without BoulderLight Pictures, a rising star similar to Blumhouse 2.0, as it specializes in producing genre films with unproven talent on minimal budgets that yield impressive returns. The company was co-founded and is led by dynamic duo JD Lifshitz, aged 32, and Raphael Margules, aged 33, both hailing from New York.
19-year-old filmmakers Lifshitz and Margules, who made a name for themselves producing microbudget horror films, took a chance on “Barbarian”, a plot-twist-heavy, Tarantino-inspired horror-thriller that was rejected by every studio in Hollywood. They managed to get it released through Disney, and when the film, which cost $4.5 million to produce independently, went on to stun the industry with its critical acclaim and a worldwide gross of $45.3 million, both Lifshitz, Margules, and director Cregger gained significant recognition. Almost instantly, Cregger transformed from a refugee in a sketch-comedy troupe into a forward-thinking final cut director whose name is now mentioned alongside Jordan Peele and Ari Aster. In 2023, BoulderLight Pictures, the production company responsible for “Barbarian”, signed a multiyear first-look deal with Warner Bros. subsidiary New Line Cinema. According to Richard Brener, president and chief creative officer of New Line, finding such a film wasn’t a coincidence. He states that with their keen eye for talent and understanding of the industry, it was clear they would be able to discover more films that were fresh yet also aware of what had worked in the past and what might work in the future.
At the Sundance Film Festival, Margules and Lifshitz expressed their mission: creating enjoyable films that would have captivated their 12-year-old selves, all for a reasonable cost. This involves supporting innovative filmmakers with daring ideas, defying the risk-averse nature prevalent in contemporary Hollywood. They explained that this approach is often guided by instinct, and may sometimes lead to disagreements with industry leaders. As Margules put it, “We don’t chase what’s popular; we create it.” Lifshitz added, “Our goal is to produce unique, trend-setting content rather than following trends. We are constantly fighting against homogenization and mediocrity, as they are the main threats to the movie industry.
Recently, BoulderLight Productions is experiencing a surge of success. Following the October release of the factual serial-killer drama “Woman of the Hour,” co-produced by Lifshitz and Margules for Netflix, where Anna Kendrick made her directorial debut, the comedy “Friendship” produced by Tim Robinson and Paul Rudd has been picked up for distribution by A24 (for a substantial amount, with plans to release it this year). This marks another first in feature-directing for TV veteran Andrew DeYoung. Additionally, “Weapons,” set to hit theaters next January, is another intricate, genre-bending horror film similar to Paul Thomas Anderson’s “Magnolia,” and has received exceptional feedback from test audiences, hinting at a potential blockbuster for Warner Bros.
These films share a common trait: they follow a “negative pickup” structure, similar to Blumhouse Productions. Like Blumhouse, they provide sub-brand directors with ample creative freedom and produce horror movies on a tight budget. Once completed, these films are sold to studios for a fixed price, with the net profits being split. It’s worth noting that in 2019, Jason Blum, a renowned figure in Hollywood horror, endorsed BoulderLight Pictures’ co-chieftains on Twitter. He referred to them as potential successors to Blumhouse Productions.
Over the past dozen years, I’ve spearheaded an impressive 24 movies, and the BoulderLight executive team and I are buzzing with unyielding determination. We often finish each other’s thoughts and draw from a vast well of knowledge spanning not just cinema but also the intricate economic dynamics that underpin classic films. Due to our youthful vigor and proven track record, Lifshitz and I see ourselves as architects of transformation – a blend of fiscal prudence and bold creative risks in an industry that’s seen its fair share of stagnation. As Margules puts it, we aspire not just to be independent producers, but to create a 21st-century entertainment studio – a hybrid entity akin to Blumhouse or Castle Rock, capable of churning out as many as ten films annually during its prime in the mid-’90s.
Despite their relentless determination, BoulderLight’s team members Lifshitz and Margules were dismissed from Woman of the Hour following conflicts with Stuart Ford, the CEO of its funding company, AGC Studios. Although they still received producing fees and credits, they were prohibited from the set and excluded during post-production discussions. As one source explained, “They’re extremely assertive individuals.” However, they’ve managed to anger a lot of people. It seems that their rapid success has made them overconfident, leading them to boss around people who are senior to them, which is causing friction and discontent.” (Kendrick and AGC declined to comment on this matter for this article. In a subsequent interview, when asked to address the accusations – which were not previously reported – Margules and Lifshitz chose not to comment. Their publicist, Heidi Lopata, stated that the producers left due to creative disagreements.)
According to Brener, Margules and Lifshitz’s assertive and daring attitudes are reminiscent of the old-fashioned Hollywood style, characterized by individuals who acted on intuition rather than statistics, and were driven by passion for filmmaking instead of financial gain. “To put it simply,” Brener explains, “they are definitely bold and impulsive, and they rely heavily on their instincts. They’re essentially old-school producers in today’s world, who won’t accept ‘no’ as an answer. They’ll keep pushing that massive rock uphill, so to speak.
According to Brener’s account, the BoulderLight team maintains an unwavering level of enthusiasm when they meet with high-ranking executives such as Mike De Luca, Pam Abdy from Warner Bros. Motion Picture Group, or David Zaslav, the CEO of Warner Bros. Discovery’s parent company. Brener describes them as a relentless force, “like a whirlwind,” and he notes that they maintain their authentic selves regardless of who they are interacting with. This dedication to their producer roles, according to him, sets them apart, embodying the traditional producer role in a way that is distinctive and unique.
The guide, or companion, offers an accessible introduction to the functioning of BoulderLight. In 2014, BoulderLight was considering another project with Hancock, but that idea didn’t materialize. This happened just before Lifshitz and Margules earned their first producer credit for the low-budget horror film, “Contracted,” in 2013. In the year 2022, summer found Hancock refining his script about a robot companion who becomes overly affectionate towards her owner and turns homicidal at a picturesque lakeside estate upon gaining self-awareness. This was around the time “Barbarian” was preparing for its theater release. Remarkably, Hancock sent this “Companion” script to Lifshitz without knowing that BoulderLight was seeking another film for Cregger to direct. Impressed, Lifshitz read it in one night and called the next day to discuss a deal. According to Hancock, it’s rare for executives to complete reading a script so quickly. However, within 24 hours of this, Roy Lee at Vertigo Entertainment showed interest in the script. A week later, they sent it to Zach, who also appreciated it. Within a week of finishing the script, Hancock had a full team of producers backing him up, which is highly unusual!
During that summer, Cregger and Hancock jointly embarked on a serious development phase. However, following the electrifying screening of Barbarian at Los Angeles’s Beyond Fest in August 2022, industry professionals started recognizing Cregger as a powerful new talent in filmmaking. The BoulderLight executives decided to channel his enthusiasm into the creation of an ambitious script for the sequel, which later became Weapons. Interestingly, Cregger suggested that Hancock should direct Companion , despite having no experience in feature-length direction. As Lifshitz puts it, “It was apparent, from the beginning, that his unique voice extended beyond the script to encompass his vision for this project.
This information caught Hancock off guard. “I vividly recall receiving the call and being taken aback by it,” he shares. “There was no scenario in which I thought I’d be directing this film. Unbeknownst to me, Zach approached BoulderLight and Vertigo, and managed to secure their approval for me.
I wonder if Lifshitz and Margules find it simpler to secure studio approval for their upcoming films due to their string of high-profile projects. Lifshitz admits that pre-selling titles based on BoulderLight’s history of success has become a smoother process, but then he shares anecdotes about the financial challenges faced by directors like Jordan Peele, Steven Spielberg, and Francis Ford Coppola as they sought approval for projects such as Get Out, Raiders of the Lost Ark, E.T., and the Godfather movies. According to Lifshitz, when you’re creating innovative content that aims to spark cultural change rather than imitate it, executives often have reasons to say “no.” Margules then chimes in to complete his thought.
As a film aficionado, I can’t help but feel that things should start getting a tad simpler from here on out. Yet, as I’ve come to learn in this industry, if it were straightforward, it wouldn’t be Hollywood!
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2025-02-04 00:54