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Leshem took Collet-Serra in to meet De Luca, who asked him, “Why do you want to make this picture?” Serra replied, “Because I don’t know how to make it. The genre director-for-hire was respected, but not exactly a hot property. Getting the studio to go with Jaume Collet-Serra (“Non-Stop”) took some persuading. READ MORE: How ‘Gravity’ Inspired This Summer’s Crazy Shark Movie Intuitively you go, ‘That would be cool to see on the big screen.’ When the shark jumps out to eat the surfer, even though you’re giving up a moment in the film, people are watching that on their phones, and you want to see that in a theater. “So the idea was to convert those young women and Blake fans to say, ‘I have to go to the movie theater to see this movie.’ So we fed out small pieces of the film that would look cool on your screen.
“We knew that’s where they were: online,” said Harris. “A big part of our process is finding a full-formed human,” said Harris.Īnd Sony marketing was willing to chase Lively’s fans into the digital space. For me, it all goes back to my daughter, who loved ‘Gossip Girl.’ Blake Lively is smart and intuitive and understands her brand and what she can do and can’t, and is willing to go for it when she’s acting - really go for it.” While she’s gorgeous and athletic, the filmmakers needed her to be a strong actress. She tests well with women 25-35 and boasts over 11 million fans on Instagram. Going in, they figured the core audience for the movie was teenage girls and Blake Lively fans. “We’re seeking audiences looking for quality, wherever it comes, and entertainment, wherever it comes, rather than being force-fed.” “There’s a business model that does seem to be in the midst of breaking right now, ” said Harris. “You’ve got to earn you’ve got to eat what you kill.” “You’re not getting handed anything,” said Leshem.
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They aren’t affiliated with a studio, so they are free to work where the enthusiasm is highest. We’re working with writers, getting good scripts, trying to put packages together before finding either a studio home for them or a financier.” Some of the stuff will be at studios some of it will be homegrown. Harris is convinced “that the world is not just about franchises, and that, if you develop quality material and put it together, it can get made. Should the studios really be focused on making more of those $30 million titles? Yes. We’re living in an environment where people are taking huge risks on ridiculous sums of money that we’ve watched not pay off, time and time again, so when you come up with a movie that’s fresh, and people made an effort to make it and, all of a sudden, it does pretty well, you wonder if the middle is really going out of this business or not. “It’s focusing on filling the hole that nobody else is trying to fill,” said Leshem. When Tom Rothman came in as studio chief, he quickly greenlit the movie to star Blake Lively (“The Age of Adaline”), and changed the title to “The Shallows.” They were shooting by October 2015, for a June 2016 release. That script (then called “In The Deep”) became the subject of a lively bidding war, and the producers sold it to Harris’ old New Line colleague Michael De Luca at Sony in October 2014. She’s stranded on a rock with a bleeding wound, accompanied by a seagull (think Wilson the soccer ball in “Castaway”), and must figure out how to outwit the shark and get back to the beach. The movie pits a smart medical student surfing on a remote Mexican beach against a lethal shark that won’t leave her alone.
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