Wyclef Jean’s Childhood In Haiti To Be Captured In Netflix Animated Feature

EXCLUSIVE: Netflix will make a CG-animated feature film inspired by the childhood of Haitian singer and The Fugees co-founder Wyclef Jean. Greg Silverman’s upstart production company Stampede is partnering with the three-time Grammy Award-winning…

EXCLUSIVE: Netflix will make a CG-animated feature film inspired by the childhood of Haitian singer and The Fugees co-founder Wyclef Jean. Greg Silverman’s upstart production company Stampede is partnering with the three-time Grammy Award-winning musician to produce the film. Script will be written by Justin Marks, whose credits include The Jungle Book, its sequel, and Top Gun: Maverick. It will be informed by Jean's childhood in Haiti, where he lived until his family…

‘Dance Dance Revolution’ Movie In The Works At Stampede; Ups Cara Fano To Director Of Development

Stampede, Greg Silverman’s Stampede announced the promotion of Cara Fano to Director of Development, Film & TV. Under her supervision, the company is set to produce a movie based on popular video game, Dance Dance Revolution. The project will explo…

Stampede, Greg Silverman's Stampede announced the promotion of Cara Fano to Director of Development, Film & TV. Under her supervision, the company is set to produce a movie based on popular video game, Dance Dance Revolution. The project will explore a world on the brink of destruction where the only hope is to unite through the universal language of dance. Stampede will partner with producers J. Todd Harris and Marc Marcum of Branded Entertainment, and IP owner Konami…

Greg Silverman’s Stampede Taps Lisa Zambri As Head Of Film

Stampede, the indie media company formed by former Warner Bros president Greg Silverman, has brought on producer and executive Lisa Zambri as the new head of film. In this post, Zambri will oversee all film projects at the company and work to bolster S…

Stampede, the indie media company formed by former Warner Bros president Greg Silverman, has brought on producer and executive Lisa Zambri as the new head of film. In this post, Zambri will oversee all film projects at the company and work to bolster Stampede’s slate, which includes recently announced projects such as James Riley's fantasy series Revenge Of Magic, Kevin Wignall's crash thriller When We Were Lost, and a film adaptation of Devastation Class. Before landing…

Greg Silverman’s Stampede Books Upcoming Sci-Fi Novel ‘Devastation Class’ By Glen Zipper & Elaine Mongeon

EXCLUSIVE: Stampede Ventures, the indie media company formed by former Warner Bros president Greg Silverman, continues to scoop up book deals for its growing slate. It has just acquired movie rights to Devastation Class, an unpublished sci-fi novel co-…

EXCLUSIVE: Stampede Ventures, the indie media company formed by former Warner Bros president Greg Silverman, continues to scoop up book deals for its growing slate. It has just acquired movie rights to Devastation Class, an unpublished sci-fi novel co-written by filmmakers Glen Zipper and Elaine Mongeon. The novel follows an unlikely group of young cadets forced to mutiny aboard a revolutionary starship to save themselves from an annihilation force of invading aliens…

Survival Drama ‘When We Were Lost’ in Development With Greg Silverman

Teen survival drama “When We Were Lost” is in development with former Warner Bros. Pictures president Greg Silverman through his Stampede media company. Stampede has optioned the film rights to the novel by British author Kevin Wignall. The…

Teen survival drama “When We Were Lost” is in development with former Warner Bros. Pictures president Greg Silverman through his Stampede media company. Stampede has optioned the film rights to the novel by British author Kevin Wignall. The story centers on 19 teenagers who survive a plane crash bound for Costa Rica and combines elements […]

Stampede Taps JP Sarni As WW Content Acquisitions Head; Snaps Up Novels ‘Revenge Of Magic’ & ‘Star-Crossed’

EXCLUSIVE: Greg Silverman’s Stampede has hired JP Sarni as Head of Worldwide Content Acquisitions, a role in which he’ll negotiate deals and oversee the development of all IP for the film & TV production label, working closely with the …

EXCLUSIVE: Greg Silverman’s Stampede has hired JP Sarni as Head of Worldwide Content Acquisitions, a role in which he’ll negotiate deals and oversee the development of all IP for the film & TV production label, working closely with the former Warner Bros. Pictures president who serves as the company’s CEO, Co-Chairman and founder. Sarni was previously the Head of Development at Laurence Fishburne's Cinema Gypsy Productions, in which he served as an executive on ABC’s Black…

Veteran Warner Bros Executive Veronika Kwan Vandenberg Steps Down After 30 Years

Veteran Warner Bros. Pictures executive Veronika Kwan Vandenberg is stepping down as president of international distribution, the studio announced Monday.
She’ll transition to an advisory role before leaving the lot at the end of the year. Her su…

Veteran Warner Bros. Pictures executive Veronika Kwan Vandenberg is stepping down as president of international distribution, the studio announced Monday.

She’ll transition to an advisory role before leaving the lot at the end of the year. Her successor is Tom Moller, who currently serves as EVP in international.

Kwan Vandenberg’s move continues an old-guard exodus like that of former marketing honcho Sue Kroll and, before her, Greg Silverman.

Several leadership changes have come with news of her departure. They are as follows, according to a memo sent to studio employees obtained by TheWrap:

Jim Wuthrich has been named President, Warner Bros. Worldwide Home Entertainment and Games, with full oversight of those businesses. Jim will report to Ron Sanders and work closely with Blair Rich who oversees home entertainment marketing of new theatrical releases.

Jessica Schell, Executive Vice President and General Manager, Film, for Home Entertainment will continue to report to Jim Wuthrich and jointly report to Wuthrich and Rich on the slate.

David Haddad, President, Warner Bros. Interactive Entertainment, will continue to run the videogame division reporting to Wuthrich. 

More to come. Read the announcement:

Veronika Kwan Vandenberg, President, International Distribution and Growth Initiatives, Warner Bros. Pictures, will transition from that role to serve as Special Advisor to Ron Sanders, President, Worldwide Theatrical Distribution and Home Entertainment, Warner Bros. Kwan Vandenberg plans to leave the Studio by year’s end.

“Veronika has led our international film distribution division since 2000, and Warner Bros. could not have had a better representative in the global marketplace,” said Toby Emmerich, Chairman, Warner Bros. Pictures Group. “She’s highly regarded, well-liked and recognized as a great partner by filmmakers, exhibitors and her peers. Her deep knowledge of the business, the international markets and her longstanding relationships have helped us achieve great results. As a China specialist, Veronika was tremendously helpful in shaping our theatrical vision in that complex market. We thank her for everything she’s done for the Studio and look forward to working with her through this transition.”

“Warner Bros. has been my second home and family for almost 30 years. I’ve had the great fortune to work with so many talented, creative and visionary people and I shall miss them all,” said Kwan Vandenberg. “I’m so proud of everything we’ve accomplished over the years and I’m particularly proud of the great team we have in place. I want to thank Toby and Kevin (Tsujihara, Chairman and CEO) for their support, and I look forward to working with Ron. I have spent many years traveling for the job, so I am especially looking forward to spending time with my family and taking some time for myself, and I am excited about what this new chapter in life will bring.”

“As I used to say at CinemaCon, a bientot, auf wiedersehen, xie xie, arigato, gracias mis amigos.”

In her most recent position, Kwan Vandenberg had oversight of the Studio’s international theatrical distribution activities, including local productions and a special focus on theatrical strategy in China. In her role focusing on film distribution in China, Kwan Vandenberg worked closely with Gillian Zhao, Warner Bros.’ Executive Vice President and Managing Director for China, and together they negotiated Warner Bros.’ first film investment partnership with Wanda and Tencent.

Prior to her current post, Kwan Vandenberg served as President, Worldwide Distribution, Warner Bros. Pictures, where she was instrumental in helping realign the international and domestic distribution divisions and setting the release dates to fully maximize the global revenue-generating potential of Warner Bros.’ theatrical releases. She also served as President of International Distribution for 15 years, overseeing all international sales and distribution matters, cultivating and growing relationships with exhibitors, film makers, partners, producers, peers and colleagues, representing the company on the MPA International Theatrical committee.

Throughout her tenure with Warner Bros., Kwan Vandenberg oversaw the distribution of over 350 titles (including local-language titles), amassing over $40 billon in box office receipts. The Studio has been a market leader, ranking #1 or #2 12 of the last 17 years, including five years over $3 billion at the international box office. During this period, she oversaw the release of 30 films that grossed over $500 million, including 15 over $600 million. Kwan Vandenberg was involved in managing the Studio’s most successful film series, including the eight Harry Potter films (with last film in the series becoming the Studio’s highest international grossing-film at $960 million), “Fantastic Beasts,” Christopher Nolan’s “The Dark Knight” trilogy, Peter Jackson’s “The Hobbit” trilogy, “The Matrix” trilogy, the Sherlock Holmes films, the New Line horror universe (including “The Conjuring,” “Annabelle” and “IT,” which has become the highest-grossing horror film of all-time), the “Hangover” films, with “Hangover 2” becoming the highest-grossing R rated comedy internationally, and the DC superhero universe. Kwan Vandenberg also oversaw all of Clint Eastwood’s films, including “Gran Torino,” ($119 million internationally), the companion pieces “Flags of Our Fathers” and “Letters from Iwo Jima,” and “American Sniper” ($197 million internationally). Additionally, she worked closely with Ben Affleck in bringing his directorial hits “The Town” and Academy Award Best Picture winner “Argo” to international audiences.

Kwan Vandenberg’s accomplishments also include shepherding the first film ever to release simultaneously in every major country at the same hour around the world (“The Matrix Revolutions” in 2003 which went on to gross $460 million and became the then-highest R rated movie of all time).

Kwan Vandenberg joined Warner Bros in 1990 and rose through the ranks to become one of the youngest presidents at the studio in 2000. Prior to Warner Bros., she worked in international marketing for Lorimar Film Entertainment and at the German American Chamber of Commerce.

Kwan Vandenberg grew up living in six countries in Europe, the Middle East and Asia before moving to the United States, and speaks fluent German in addition to her knowledge of French and Cantonese.

Related stories from TheWrap:

'Six Billion Dollar Man': Director Damián Szifron Exits Warner Bros Remake

Warner Bros Sets 'Sherlock Holmes 3' for Christmas 2020

Candice McDonough Named SVP of Theatrical Communications at Warner Bros

Warner Bros Leadership Shake-Up: Toby Emmerich to Run Studio, Sue Kroll Steps Down

In a significant studio shakeup under the shadow of a looming merger, Warner Bros. on Tuesday promoted Toby Emmerich to chairman of the motion picture group, with veteran marketing-distribution head Sue Kroll stepping aside to a production deal.

Emmerich will now effectively lead the major studio, allowing Warner Bros. Chairman and CEO Kevin Tsujihara to step back from day-to-day management.

Meanwhile, Kroll will transition into a three-year producing deal starting in April with her duties running distribution and marketing handed to two other veteran Warner Bros. executives.

Also Read: How ‘Justice League’ Became a ‘Frankenstein’ (Exclusive)

Blair Rich becomes president of worldwide marketing, reporting to Emmerich. Ron Sanders, previously head of home entertainment, becomes president of worldwide distribution, reporting to both Emmerich and Tsujihara.

The shakeup happens as telecom giant AT&T attempts to complete its $85 billion acquisition of studio parent Time Warner. But that merger has been thrown into question by a lawsuit filed by the Department of Justice under antitrust provisions. A trial is expected in March.

Kroll will stay on to oversee awards campaigns and the release of Steven Spielberg’s “Ready Player One,” which comes out on March 30. Kroll will take on producing duties on two high profile films, Bradley Cooper’s “A Star is Born” and a long-in-the-works adaptation of Jonathan Lethem’s novel “Motherless Brooklyn.”

Also Read: The ‘Justice League’ That Might Have Been: We’ve Seen the Script (Exclusive)

Sue Kroll

The move is the biggest shakeup at the studio since a triumvirate structure was put in place in 2015, with Emmerich, Kroll and Greg Silverman put in charge of the studio. Silverman left in December 2016.

Kroll is one of the most experienced executives in Hollywood, having been at Warner Bros for more than 20 years. Rich has been her deputy and is seen as a rising talent at the studio.

Tsujihara has another year on his contract, and his future at the studio is likely dependent on whether the merger with AT&T happens. Time Warner CEO Jeff Bewkes is expected to step down when and if that occurs.

Regardless, Tsujihara will step back from day to day operations of running the studio in favor of Emmerich, whose sleeper hit “It” was one of the most profitable movies of last year, taking in $700 million worldwide on a $35 million budget.

Also Read: Warner Bros CEO Kevin Tsujihara MIA at CinemaCon Presentation

“We need to constantly adapt our operations to stay ahead of [these] changes, while preserving our creative excellence,” Tsujihara said in a statement. “Bringing together film and home entertainment marketing and distribution will allow us to strategically manage film titles through their entire lifecycle. We’ll be better able to respond to consumer demand, while still creating unique theatrical and home entertainment experiences, and provide increased benefits to our filmmaking, exhibition and retail partners.”

Emmerich said, “I’m humbled and honored to have this opportunity to help continue Warner Bros. Pictures’ legacy of creativity, innovation and excellence. We will remain focused on being the first choice for the world’s best filmmakers, whether they’re making their first film or their 34th. “

In interviews for his bombshell book, “Fire and Fury,” author Michael Wolff has cited White House advisers as saying the AT&T merger with Time Warner is “never going to happen.”

But others have said that AT&T CEO Randall Stephenson recently went out of his way to praise President Trump’s tax bill, citing the creation of thousands of jobs for his company. Some observers have suggested that this was an olive branch intended to facilitate a settlement with the Department of Justice.

Warner Bros. came in second for film studio market share in 2017, thanks to the success of “Wonder Woman” and New Line’s sleeper horror hit “It.”

Related stories from TheWrap:

DC Films Shakeup: Warner Bros Promotes Walter Hamada to Production Head of Unit

AT&T, Time Warner Extend Merger Agreement – Again

Warner Bros. Crosses $2 Billion at Domestic Box Office for First Time Since 2009

In a significant studio shakeup under the shadow of a looming merger, Warner Bros. on Tuesday promoted Toby Emmerich to chairman of the motion picture group, with veteran marketing-distribution head Sue Kroll stepping aside to a production deal.

Emmerich will now effectively lead the major studio, allowing Warner Bros. Chairman and CEO Kevin Tsujihara to step back from day-to-day management.

Meanwhile, Kroll will transition into a three-year producing deal starting in April with her duties running distribution and marketing handed to two other veteran Warner Bros. executives.

Blair Rich becomes president of worldwide marketing, reporting to Emmerich. Ron Sanders, previously head of home entertainment, becomes president of worldwide distribution, reporting to both Emmerich and Tsujihara.

The shakeup happens as telecom giant AT&T attempts to complete its $85 billion acquisition of studio parent Time Warner. But that merger has been thrown into question by a lawsuit filed by the Department of Justice under antitrust provisions. A trial is expected in March.

Kroll will stay on to oversee awards campaigns and the release of Steven Spielberg’s “Ready Player One,” which comes out on March 30. Kroll will take on producing duties on two high profile films, Bradley Cooper’s “A Star is Born” and a long-in-the-works adaptation of Jonathan Lethem’s novel “Motherless Brooklyn.”

Sue Kroll

The move is the biggest shakeup at the studio since a triumvirate structure was put in place in 2015, with Emmerich, Kroll and Greg Silverman put in charge of the studio. Silverman left in December 2016.

Kroll is one of the most experienced executives in Hollywood, having been at Warner Bros for more than 20 years. Rich has been her deputy and is seen as a rising talent at the studio.

Tsujihara has another year on his contract, and his future at the studio is likely dependent on whether the merger with AT&T happens. Time Warner CEO Jeff Bewkes is expected to step down when and if that occurs.

Regardless, Tsujihara will step back from day to day operations of running the studio in favor of Emmerich, whose sleeper hit “It” was one of the most profitable movies of last year, taking in $700 million worldwide on a $35 million budget.

“We need to constantly adapt our operations to stay ahead of [these] changes, while preserving our creative excellence,” Tsujihara said in a statement. “Bringing together film and home entertainment marketing and distribution will allow us to strategically manage film titles through their entire lifecycle. We’ll be better able to respond to consumer demand, while still creating unique theatrical and home entertainment experiences, and provide increased benefits to our filmmaking, exhibition and retail partners.”

Emmerich said, “I’m humbled and honored to have this opportunity to help continue Warner Bros. Pictures’ legacy of creativity, innovation and excellence. We will remain focused on being the first choice for the world’s best filmmakers, whether they’re making their first film or their 34th. “

In interviews for his bombshell book, “Fire and Fury,” author Michael Wolff has cited White House advisers as saying the AT&T merger with Time Warner is “never going to happen.”

But others have said that AT&T CEO Randall Stephenson recently went out of his way to praise President Trump’s tax bill, citing the creation of thousands of jobs for his company. Some observers have suggested that this was an olive branch intended to facilitate a settlement with the Department of Justice.

Warner Bros. came in second for film studio market share in 2017, thanks to the success of “Wonder Woman” and New Line’s sleeper horror hit “It.”

Related stories from TheWrap:

DC Films Shakeup: Warner Bros Promotes Walter Hamada to Production Head of Unit

AT&T, Time Warner Extend Merger Agreement – Again

Warner Bros. Crosses $2 Billion at Domestic Box Office for First Time Since 2009

Seth Rogen To Play Walter Cronkite In ‘Newsflash;’ David Gordon Green-Helmed Pic On CBS JFK Assassination Coverage

EXCLUSIVE: Seth Rogen is attached to play iconic CBS newsman Walter Cronkite in Newsflash, a Ben Jacoby-scripted drama that Stronger director David Gordon Green will direct next year. The film takes place on November 22, 1963, the day President John F Kennedy was assassinated in Texas. It was that day that television network news came of age, and Cronkite became the most trusted TV newsman voice of America, even if he wasn’t first to announce the president had died (NBC…

EXCLUSIVE: Seth Rogen is attached to play iconic CBS newsman Walter Cronkite in Newsflash, a Ben Jacoby-scripted drama that Stronger director David Gordon Green will direct next year. The film takes place on November 22, 1963, the day President John F Kennedy was assassinated in Texas. It was that day that television network news came of age, and Cronkite became the most trusted TV newsman voice of America, even if he wasn’t first to announce the president had died (NBC…

How ‘Justice League’ Became a ‘Frankenstein’

“Justice League” had a lot of enemies: a looming corporate merger, a family tragedy, an internal clash between light and dark. But its greatest enemy was time.

Few people are happy with the finished project, which one insider called “a Frankenstein” made of the assembled parts favored by rotating executives and directors. But several people who spoke to TheWrap said the decision to keep the film’s Nov. 17 release date was a mistake — one as as plain as Superman’s face.

Specifically, the weird, computer-generated look of his face — just one byproduct of the film’s rushed schedule.  Here, according to insiders, is the story of how “Justice League” just ran out of time.

The Dark Knight

Despite the assembled might of Batman, Superman, Wonder Woman, Cyborg, Aquaman, and The Flash, “Justice League” had Warner Bros.’ worst opening for a DC Comics-based in years. It’s easy to forget now, but the disappointment of “Justice League” began with success.

Also Read: Let’s Try to Piece Together What Zack Snyder’s Version of ‘Justice League’ Was Like

When Christopher Nolan completed his celebrated “Dark Knight” trilogy, a hyperreal re-imagining of Batman, Warner Bros. hoped he would turn next to rebooting Superman.

Burt Nolan opted out, instead supporting Zach Snyder to direct the Superman reboot “Man of Steel.” Like the Snyders, Nolan and his wife, producer Emma Thomas, made films together. They were about the same age. They got along.

Snyder seemed like a good fit. He had directed the comics adaptations “Watchmen” and the surprise hit “300,” the latter of which was inspired by the work of Frank Miller, who reinvented Batman with the 1980s stories “Year One” and “The Dark Knight Returns.”

Snyder appears to have enjoyed as much freedom in his vision of the DC Universe as Nolan had enjoyed with his Batman films. He answered to Greg Silverman, the Warner Bros. executive who guided hits like “The Dark Knight,” “The Hangover” and “300.” In 2013, Silverman was named Warner Bros. president, reporting directly to Warner Bros. CEO Kevin Tsujihara.

An individual with deep knowledge of the studio said Silverman didn’t read offer notes on Snyder’s scripts. Another described Silverman’s attitude as “remarkably laissez faire.”

Also Read: ‘Justice League’ Do-Over? Petition for a Zack Snyder Cut Hits 100,000 Signatures

These qualities might have been praised if Snyder’s films were universally loved: Executives are usually criticized for meddling too much, not too little. No one complained that Nolan had too much freedom on “The Dark Knight.”

Silverman declined to comment.

Man of Steel

Snyder’s nihilistic tone may have made sense for Batman, a vigilante driven by grim determination. But many fans found it jarring for Superman, a character known for hope and optimism. When Superman broke an enemy’s neck at the end of 2013’s “Man of Steel,” many purists felt that Snyder had misunderstood the hero entirely, believing he would never stoop to the level of his evil adversaries.

The sequel, 2016’s “Batman v Superman,” was even darker. One insider called it “the darkest of the dark of the dark.” What could be darker than Superman killing? How about Superman dying? “Batman v Superman” ended with him in the grave.

“Batman v Superman” had scored the second-highest opening of 2016, behind only “Captain America: Civil War.” But the buzz was bad: After its $166 million opening weekend, second weekend totals dropped 69 percent to $51 million. Soon after, “Suicide Squad” disappointed with another grim, dystopian vision of the DC Universe.

“This just goes to show you how much the brand has eroded since ‘Batman v Superman.’ That was supposed to be the precursor to something even more momentous, but that never ended up happening because of how badly ‘BvS’ performed. The word of mouth has just been toxic,” said Jeff Bock, Senior Box Office Analyst at Exhibitor Relations.

Also Read: ‘Aquaman:’ Director James Wan Says His Film Won’t Copy the ‘Justice League’ Take on Atlantis

After the disappointment of “Batman v Superman,” the individual with deep knowledge of Warner Bros. said studio executives repeatedly went to Silverman to suggest removing Snyder from “Justice League.” The individual said DC President Jon Berg was sent to the set for the better part of a year to oversee the production out of budget concerns.

Warner Bros. declined comment for this story.

The insider said Silverman was “quite harsh on Zach” when “Batman v Superman” underwhelmed audiences. But he didn’t fire him: Removing a director is a major distraction on any film, and it would be a sign of serious trouble on a tentpole designed to support a larger universe.

“They were already in deep prep on ‘Justice League’ and it would have cost a fortune. There’s stickiness to a director because there’s so much cost to unstick him,” the insider said. “Warners is a studio that almost to a fault always wants to project strength.”

Asked who ultimately decided to keep Snyder on, the insider said: “It wasn’t Greg’s decision. This was all happening on a Tsujihara level.”

In December, Silverman stepped down stepped down as president of Warner Bros. Pictures, and was replaced by Toby Emmerich.

Light v. Dark

This is the part comic-book fans probably might not care about, but it’s crucial: In October of 2016, Warner Bros. announced plans to merge with AT&T, and the companies began sizing up each other’s assets and liabilities.

Moving the date of a tentpole film like “Justice League” could have projected weakness. A hit would project strength. And Warner Bros. expected a hit.

The studio had become vocal about wanting “Justice League” to have a light tone, like the one director Joss Whedon had struck for rival Disney’s Marvel Universe blockbuster superhero team-up “The Avengers.” Whedon was enlisted, with Snyder’s blessing, to help add some levity and fun to the script for “Justice League.”

In the spring, while Snyder and Warner Bros. were engaged in a push-pull over the right amount of light and darkness in “Justice League,” true tragedy struck.

Zack and Deborah Snyder’s daughter died by suicide.

At first, an insider said, the director’s plan was that “work was gonna be kind of a refuge.”

But then it wasn’t. Snyder was under added pressure because Warner Bros. was embracing “the lighter, different, more confectionary ideas of Joss,” the insider said. “It stopped being a good situation on any level.”

And so in May, Snyder left “Justice League” to focus on his family, and, eventually, a more personal project, the film “Last Photograph,” with Warners’ support.

And Whedon took over the project.

But time was running out.

The Merger and the Mustache

Soon after Snyder left “Justice League,” Warner Bros. got another sign that its movies didn’t have to be bleak: Patty Jenkin’s “Wonder Woman” shook off Snyder’s violent, monochromatic vision of the DC Universe with a fun, uplifting lead character, winning critical praise and performing above expectations at the box office.

Whedon had to choose between continuing Snyder’s vision or lightening up “Justice League” as much as he could.

Or at least, as much as he could by Nov. 17.

Scheduling was intense: “Superman” actor Henry Cavill, on loan from shooting “Mission: Impossible 6” for Paramount, was not allowed to shave a mustache he had grown for that film, so “Justice League” was forced to remove it digitally. Fans would later complain that his face looked weird.

One executive told TheWrap Tsujihara and Emmerich “wanted to preserve their bonuses they would be paid before the merger,” and were worried that “if they pushed the movie, then their bonuses would have been pushed to the following year and they might not still be at the studio.”

Another knowledgable insider said that at the highest levels of Warner Bros., bonuses are awarded “for making good decisions.” If delaying a film is the right decision, an executive could be rewarded for it.

Frankenstein  

The final version of “Justice League,” a compromise between Snyder’s vision and Whedon’s, left few people completely satisfied. (TheWrap’s Phil Owen recently studied the finished film to guess how much of the final vision belonged to each director.)

“I think Warner Bros. biggest misstep was not pushing the release of ‘Justice League’ when Snyder had to step aside,” the executive told TheWrap.

More than 100,000 fans agreed, by signing a petition calling on Warners to release Snyder’s version of the film.

But audiences weren’t wild about Snyder’s last pure Snyder film, either. For now, his rein over DC movies is over.

Matt Reeves is currently writing and steering “The Batman,” Jenkins recently closed a deal to return on the “Wonder Woman” sequel, to be set during the Cold War, and “Shazam” is under the guidance of “Lights Out” filmmaker David F. Sandberg.

Who can lead Warner Bros. out of the dark waters?

Aquaman, the studio hopes. The film, directed by James Wan, is due for release next December.

“Justice League” had a lot of enemies: a looming corporate merger, a family tragedy, an internal clash between light and dark. But its greatest enemy was time.

Few people are happy with the finished project, which one insider called “a Frankenstein” made of the assembled parts favored by rotating executives and directors. But several people who spoke to TheWrap said the decision to keep the film’s Nov. 17 release date was a mistake — one as as plain as Superman’s face.

Specifically, the weird, computer-generated look of his face — just one byproduct of the film’s rushed schedule.  Here, according to insiders, is the story of how “Justice League” just ran out of time.

The Dark Knight

Despite the assembled might of Batman, Superman, Wonder Woman, Cyborg, Aquaman, and The Flash, “Justice League” had Warner Bros.’ worst opening for a DC Comics-based in years. It’s easy to forget now, but the disappointment of “Justice League” began with success.

When Christopher Nolan completed his celebrated “Dark Knight” trilogy, a hyperreal re-imagining of Batman, Warner Bros. hoped he would turn next to rebooting Superman.

Burt Nolan opted out, instead supporting Zach Snyder to direct the Superman reboot “Man of Steel.” Like the Snyders, Nolan and his wife, producer Emma Thomas, made films together. They were about the same age. They got along.

Snyder seemed like a good fit. He had directed the comics adaptations “Watchmen” and the surprise hit “300,” the latter of which was inspired by the work of Frank Miller, who reinvented Batman with the 1980s stories “Year One” and “The Dark Knight Returns.”

Snyder appears to have enjoyed as much freedom in his vision of the DC Universe as Nolan had enjoyed with his Batman films. He answered to Greg Silverman, the Warner Bros. executive who guided hits like “The Dark Knight,” “The Hangover” and “300.” In 2013, Silverman was named Warner Bros. president, reporting directly to Warner Bros. CEO Kevin Tsujihara.

An individual with deep knowledge of the studio said Silverman didn’t read offer notes on Snyder’s scripts. Another described Silverman’s attitude as “remarkably laissez faire.”

These qualities might have been praised if Snyder’s films were universally loved: Executives are usually criticized for meddling too much, not too little. No one complained that Nolan had too much freedom on “The Dark Knight.”

Silverman declined to comment.

Man of Steel

Snyder’s nihilistic tone may have made sense for Batman, a vigilante driven by grim determination. But many fans found it jarring for Superman, a character known for hope and optimism. When Superman broke an enemy’s neck at the end of 2013’s “Man of Steel,” many purists felt that Snyder had misunderstood the hero entirely, believing he would never stoop to the level of his evil adversaries.

The sequel, 2016’s “Batman v Superman,” was even darker. One insider called it “the darkest of the dark of the dark.” What could be darker than Superman killing? How about Superman dying? “Batman v Superman” ended with him in the grave.

“Batman v Superman” had scored the second-highest opening of 2016, behind only “Captain America: Civil War.” But the buzz was bad: After its $166 million opening weekend, second weekend totals dropped 69 percent to $51 million. Soon after, “Suicide Squad” disappointed with another grim, dystopian vision of the DC Universe.

“This just goes to show you how much the brand has eroded since ‘Batman v Superman.’ That was supposed to be the precursor to something even more momentous, but that never ended up happening because of how badly ‘BvS’ performed. The word of mouth has just been toxic,” said Jeff Bock, Senior Box Office Analyst at Exhibitor Relations.

After the disappointment of “Batman v Superman,” the individual with deep knowledge of Warner Bros. said studio executives repeatedly went to Silverman to suggest removing Snyder from “Justice League.” The individual said DC President Jon Berg was sent to the set for the better part of a year to oversee the production out of budget concerns.

Warner Bros. declined comment for this story.

The insider said Silverman was “quite harsh on Zach” when “Batman v Superman” underwhelmed audiences. But he didn’t fire him: Removing a director is a major distraction on any film, and it would be a sign of serious trouble on a tentpole designed to support a larger universe.

“They were already in deep prep on ‘Justice League’ and it would have cost a fortune. There’s stickiness to a director because there’s so much cost to unstick him,” the insider said. “Warners is a studio that almost to a fault always wants to project strength.”

Asked who ultimately decided to keep Snyder on, the insider said: “It wasn’t Greg’s decision. This was all happening on a Tsujihara level.”

In December, Silverman stepped down stepped down as president of Warner Bros. Pictures, and was replaced by Toby Emmerich.

Light v. Dark

This is the part comic-book fans probably might not care about, but it’s crucial: In October of 2016, Warner Bros. announced plans to merge with AT&T, and the companies began sizing up each other’s assets and liabilities.

Moving the date of a tentpole film like “Justice League” could have projected weakness. A hit would project strength. And Warner Bros. expected a hit.

The studio had become vocal about wanting “Justice League” to have a light tone, like the one director Joss Whedon had struck for rival Disney’s Marvel Universe blockbuster superhero team-up “The Avengers.” Whedon was enlisted, with Snyder’s blessing, to help add some levity and fun to the script for “Justice League.”

In the spring, while Snyder and Warner Bros. were engaged in a push-pull over the right amount of light and darkness in “Justice League,” true tragedy struck.

Zack and Deborah Snyder’s daughter died by suicide.

At first, an insider said, the director’s plan was that “work was gonna be kind of a refuge.”

But then it wasn’t. Snyder was under added pressure because Warner Bros. was embracing “the lighter, different, more confectionary ideas of Joss,” the insider said. “It stopped being a good situation on any level.”

And so in May, Snyder left “Justice League” to focus on his family, and, eventually, a more personal project, the film “Last Photograph,” with Warners’ support.

And Whedon took over the project.

But time was running out.

The Merger and the Mustache

Soon after Snyder left “Justice League,” Warner Bros. got another sign that its movies didn’t have to be bleak: Patty Jenkin’s “Wonder Woman” shook off Snyder’s violent, monochromatic vision of the DC Universe with a fun, uplifting lead character, winning critical praise and performing above expectations at the box office.

Whedon had to choose between continuing Snyder’s vision or lightening up “Justice League” as much as he could.

Or at least, as much as he could by Nov. 17.

Scheduling was intense: “Superman” actor Henry Cavill, on loan from shooting “Mission: Impossible 6” for Paramount, was not allowed to shave a mustache he had grown for that film, so “Justice League” was forced to remove it digitally. Fans would later complain that his face looked weird.

One executive told TheWrap Tsujihara and Emmerich “wanted to preserve their bonuses they would be paid before the merger,” and were worried that “if they pushed the movie, then their bonuses would have been pushed to the following year and they might not still be at the studio.”

Another knowledgable insider said that at the highest levels of Warner Bros., bonuses are awarded “for making good decisions.” If delaying a film is the right decision, an executive could be rewarded for it.

Frankenstein  

The final version of “Justice League,” a compromise between Snyder’s vision and Whedon’s, left few people completely satisfied. (TheWrap’s Phil Owen recently studied the finished film to guess how much of the final vision belonged to each director.)

“I think Warner Bros. biggest misstep was not pushing the release of ‘Justice League’ when Snyder had to step aside,” the executive told TheWrap.

More than 100,000 fans agreed, by signing a petition calling on Warners to release Snyder’s version of the film.

But audiences weren’t wild about Snyder’s last pure Snyder film, either. For now, his rein over DC movies is over.

Matt Reeves is currently writing and steering “The Batman,” Jenkins recently closed a deal to return on the “Wonder Woman” sequel, to be set during the Cold War, and “Shazam” is under the guidance of “Lights Out” filmmaker David F. Sandberg.

Who can lead Warner Bros. out of the dark waters?

Aquaman, the studio hopes. The film, directed by James Wan, is due for release next December.

8 Potential Brad Grey Replacements at Paramount Pictures (Photos)

With Brad Grey’s future at Paramount up in the air, here are 8 replacements for the CEO/Chairman position

Jeff Robinev

The hard-charging movie exec made a splashy deal with Singapore’s Fosun International for his label Studio 8. While a planned 24 films have not come to fruition, Robinov is decisive — and largely speculated to be in the running for Michael Lynton’s chairman job at Sony.

Jim Gianopulos

The former Fox Film chief is perhaps the hottest free agent in town. His years of experience and position as Hollywood elder statesman makes him a prime target to run a studio — and he reportedly already has a job offer from the Dalian Wanda Group top head their new mega-studio WQS.

Janice Min

It’s a very far left-field choice, but the word around town is that Min is gunning for a Hollywood job now that she’s stepping down as Co-President of The Hollywood Report-Billboard. While she has little-to-no experience with filmed entertainment, she certainly has the taste, the proximity to executives of this caliber and certainly knows how to spend cash on premium content.

John Landgraf

Sure, it’s television, but Landgraf has made a stunning success out of Fox cable property FX. Couple that with his scholarly knowledge of storytelling and his preachy, must-see lectures on the content bubble, and he’s a safe bet to run a successful ship and innovate at the same time.

Greg Silverman

Silverman by no stretch of the imagination left Warner Bros. in a cloud of triumph, but the studio’s troubled DC Comics division can hardly be blamed solely on the longtime movie executive. Silverman has experience in both development and overseeing global production, and has seen great success on film franchises without spandex and capes — like the raunchy “Hangover” series.

Bryan Burk

Another interesting possibility is Burk, producing partner to J.J. Abrams. Their Bad Robot label has become of vital importance to the studio, as the pair have a hand in everything from “Mission: Impossible” to “Star Trek” tentpoles, and will be developing a film-a-year movie universe in Abrams’ original “Cloverfield” series.

Peter Liguori

The former Tribune honcho is seeking a Hollywood job, multiple insiders have previously told TheWrap and could be an easy fit for Grey’s empty chair.

Andrew Gumpert

Gumpert is a well-liked and effective executive who just joined Paramount in November after leaving Sony. He might not have the lay of the land yet, but Gumpert is more than capable of such a high-ranking job.

Related stories from TheWrap:

Brad Grey in Talks to Step Aside as Paramount CEO (Exclusive)

Brad Grey Is Not Losing His Job, Tom Dooley and Shari Redstone Say

Brad Grey Renews as Paramount Chairman Through 2020

With Brad Grey’s future at Paramount up in the air, here are 8 replacements for the CEO/Chairman position

Jeff Robinev

The hard-charging movie exec made a splashy deal with Singapore’s Fosun International for his label Studio 8. While a planned 24 films have not come to fruition, Robinov is decisive — and largely speculated to be in the running for Michael Lynton’s chairman job at Sony.

Jim Gianopulos

The former Fox Film chief is perhaps the hottest free agent in town. His years of experience and position as Hollywood elder statesman makes him a prime target to run a studio — and he reportedly already has a job offer from the Dalian Wanda Group top head their new mega-studio WQS.

Janice Min

It’s a very far left-field choice, but the word around town is that Min is gunning for a Hollywood job now that she’s stepping down as Co-President of The Hollywood Report-Billboard. While she has little-to-no experience with filmed entertainment, she certainly has the taste, the proximity to executives of this caliber and certainly knows how to spend cash on premium content.

John Landgraf

Sure, it’s television, but Landgraf has made a stunning success out of Fox cable property FX. Couple that with his scholarly knowledge of storytelling and his preachy, must-see lectures on the content bubble, and he’s a safe bet to run a successful ship and innovate at the same time.

Greg Silverman

Silverman by no stretch of the imagination left Warner Bros. in a cloud of triumph, but the studio’s troubled DC Comics division can hardly be blamed solely on the longtime movie executive. Silverman has experience in both development and overseeing global production, and has seen great success on film franchises without spandex and capes — like the raunchy “Hangover” series.

Bryan Burk

Another interesting possibility is Burk, producing partner to J.J. Abrams. Their Bad Robot label has become of vital importance to the studio, as the pair have a hand in everything from “Mission: Impossible” to “Star Trek” tentpoles, and will be developing a film-a-year movie universe in Abrams’ original “Cloverfield” series.

Peter Liguori

The former Tribune honcho is seeking a Hollywood job, multiple insiders have previously told TheWrap and could be an easy fit for Grey’s empty chair.

Andrew Gumpert

Gumpert is a well-liked and effective executive who just joined Paramount in November after leaving Sony. He might not have the lay of the land yet, but Gumpert is more than capable of such a high-ranking job.

Related stories from TheWrap:

Brad Grey in Talks to Step Aside as Paramount CEO (Exclusive)

Brad Grey Is Not Losing His Job, Tom Dooley and Shari Redstone Say

Brad Grey Renews as Paramount Chairman Through 2020

Warner Bros Shuffle: Ailing Studio Needs a DC Superhero in Toby Emmerich, Say Insiders

Warner Bros. CEO Kevin Tsujihara’s decision to replace motion picture president Greg Silverman with executive Toby Emmerich is an overdue response to an increasingly urgent creative crisis at the studio, multiple insiders told TheWrap.

In the shadow of a pending merger with his corporate owners and AT&T, Tsujihara named New Line President Emmerich — with whom he’ll share greenlight power — to the top job on Wednesday, three years after Silverman stepped into the role.

It began to look like Silverman’s days were numbered in May, when Tsujihara removed him as supervisor of the DC Comics film slate. The Warner Bros. property’s success is vital to the studio, said two individuals close to the lot in Burbank.

Also Read: Inside the Fight for ‘Suicide Squad’: Director Pressured to Lighten Dark Vision

The decision came after March’s “Batman v. Superman” — Zach Snyder’s DC superhero mashup with Ben Affleck and Henry Cavill — grossed a below-expectation $330 million at the domestic box office on a reported $250 million budget.

Warner Bros said executives were not available to comment Wednesday.

Tsujihara created a standalone unit for the DC Films banner and appointed WB movie executive Jon Berg to run it alongside DC Comics Chief Creative Officer Geoff Johns, who Tsujihara promoted to vice president under division president Diane Nelson.

“It’s no secret the studio wanted better critical reception on the DC properties,” another person close to Warner Bros said.

Also Read: Michael Shannon Admits He Fell Asleep While Watching ‘Batman v Superman’

The insider specifically referred to the August under-performer “Suicide Squad,” a David Ayer film that featured an all-villain cast. It rated 27 percent fresh on Rotten Tomatoes, was panned by many fans, and fetched $325 million in the U.S. on a $175 million budget. The studio heads and director had a knock-down, drag-out struggle over its content.

TheWrap wrote extensively about the fight for “Suicide Squad,” which saw stars like Will Smith, Margot Robbie and Viola Davis participate in reshoots. Tsujihara and Silverman effectively locked Ayer out of his own editing room in attempts to deliver a lighter, commercial hit.

It wasn’t all bad news for Silverman — he’s credited with delivering a hit franchise based on the Lego toys, that started with ‘The Lego Movie” in 2014. Silverman brought that home for a $60 million budget to a nearly $260 million box office return, led by the voice of  a pre-“Jurassic World” Chris Pratt. Upcoming spinoffs include “The Lego Batman Movie” starring Will Arnett, and a film based on the Lego Ninjago toys.

The onus now falls on the well-liked Emmerich to stabilize DC projects like Jason Momoa’s upcoming “Aquaman” and a standalone Batman film to be directed by Affleck. DC Films are dated through 2020. Warner Bros. also has the just-launched Harry Potter-universe extension “Fantastic Beasts and Where to Find Them.”

Also Read: Warner Bros. to Acquire Machinima

After Silverman’s first year in control, Warner Bros. slid from first to third in studio marketshare, with 14.4 percent, sliding again the following year with 13.9 percent. The studio bounced back this year thanks to its superhero stable and currently sits in second place with 17.8 percent, though it’s well behind leader Disney’s 24.2 percent — despite having more than twice as many releases.

In financial decline for three consecutive years, Warner Bros.’ struggles have had an impact on parent Time Warner Inc.’s bottom line even as its cable networks have thrived.

Warner Bros. has earned in $9.2 billion in revenue and $1.2 billion in profit over the first nine months, slightly better $1.1 billion in profit it earned on $9.7 billion revenue in the same period a year before. However, the studio’s profit margin remains low — and hasn’t been higher than 11 percent in the last three full years.

Also Read: Big Studios Consider the Unthinkable: Home Viewing of Movies Two Weeks After They Hit Theaters

By way of comparison, Disney’s studio entertainment division had profit margins of 27 percent and 21 percent in fiscal 2015 and 2014, respectively.

The studio’s best bet of 2016 was the Maria Bello horror thriller “Lights Out,” which made $149 million worldwide on a $5 million budget. Emmerich shepherded the New Line release.

Throughout his New Line tenure, Emmerich has produced mid-range budget monster hits like “Sex and the City” ($415 million worldwide), “Horrible Bosses” ($118 million worldwide) and “We’re The Millers” ($209 million).

Related stories from TheWrap:

David Ayer to Direct All-Female Margot Robbie DC Movie ‘Gotham City Sirens’

How All 47 Broadcast Dramas Rank by TV Ratings (Photos)

25 Highest Rated Broadcast TV Shows of 2015-2016 Season (Photos)

‘Supergirl’ Joins ‘Arrow,’ ‘The Flash’ for DC Crossover: 5 Things to Expect

Warner Bros. CEO Kevin Tsujihara’s decision to replace motion picture president Greg Silverman with executive Toby Emmerich is an overdue response to an increasingly urgent creative crisis at the studio, multiple insiders told TheWrap.

In the shadow of a pending merger with his corporate owners and AT&T, Tsujihara named New Line President Emmerich — with whom he’ll share greenlight power — to the top job on Wednesday, three years after Silverman stepped into the role.

It began to look like Silverman’s days were numbered in May, when Tsujihara removed him as supervisor of the DC Comics film slate. The Warner Bros. property’s success is vital to the studio, said two individuals close to the lot in Burbank.

The decision came after March’s “Batman v. Superman” — Zach Snyder’s DC superhero mashup with Ben Affleck and Henry Cavill — grossed a below-expectation $330 million at the domestic box office on a reported $250 million budget.

Warner Bros said executives were not available to comment Wednesday.

Tsujihara created a standalone unit for the DC Films banner and appointed WB movie executive Jon Berg to run it alongside DC Comics Chief Creative Officer Geoff Johns, who Tsujihara promoted to vice president under division president Diane Nelson.

“It’s no secret the studio wanted better critical reception on the DC properties,” another person close to Warner Bros said.

The insider specifically referred to the August under-performer “Suicide Squad,” a David Ayer film that featured an all-villain cast. It rated 27 percent fresh on Rotten Tomatoes, was panned by many fans, and fetched $325 million in the U.S. on a $175 million budget. The studio heads and director had a knock-down, drag-out struggle over its content.

TheWrap wrote extensively about the fight for “Suicide Squad,” which saw stars like Will Smith, Margot Robbie and Viola Davis participate in reshoots. Tsujihara and Silverman effectively locked Ayer out of his own editing room in attempts to deliver a lighter, commercial hit.

It wasn’t all bad news for Silverman — he’s credited with delivering a hit franchise based on the Lego toys, that started with ‘The Lego Movie” in 2014. Silverman brought that home for a $60 million budget to a nearly $260 million box office return, led by the voice of  a pre-“Jurassic World” Chris Pratt. Upcoming spinoffs include “The Lego Batman Movie” starring Will Arnett, and a film based on the Lego Ninjago toys.

The onus now falls on the well-liked Emmerich to stabilize DC projects like Jason Momoa’s upcoming “Aquaman” and a standalone Batman film to be directed by Affleck. DC Films are dated through 2020. Warner Bros. also has the just-launched Harry Potter-universe extension “Fantastic Beasts and Where to Find Them.”

After Silverman’s first year in control, Warner Bros. slid from first to third in studio marketshare, with 14.4 percent, sliding again the following year with 13.9 percent. The studio bounced back this year thanks to its superhero stable and currently sits in second place with 17.8 percent, though it’s well behind leader Disney’s 24.2 percent — despite having more than twice as many releases.

In financial decline for three consecutive years, Warner Bros.’ struggles have had an impact on parent Time Warner Inc.’s bottom line even as its cable networks have thrived.

Warner Bros. has earned in $9.2 billion in revenue and $1.2 billion in profit over the first nine months, slightly better $1.1 billion in profit it earned on $9.7 billion revenue in the same period a year before. However, the studio’s profit margin remains low — and hasn’t been higher than 11 percent in the last three full years.

By way of comparison, Disney’s studio entertainment division had profit margins of 27 percent and 21 percent in fiscal 2015 and 2014, respectively.

The studio’s best bet of 2016 was the Maria Bello horror thriller “Lights Out,” which made $149 million worldwide on a $5 million budget. Emmerich shepherded the New Line release.

Throughout his New Line tenure, Emmerich has produced mid-range budget monster hits like “Sex and the City” ($415 million worldwide), “Horrible Bosses” ($118 million worldwide) and “We’re The Millers” ($209 million).

Related stories from TheWrap:

David Ayer to Direct All-Female Margot Robbie DC Movie 'Gotham City Sirens'

How All 47 Broadcast Dramas Rank by TV Ratings (Photos)

25 Highest Rated Broadcast TV Shows of 2015-2016 Season (Photos)

'Supergirl' Joins 'Arrow,' 'The Flash' for DC Crossover: 5 Things to Expect

Warner Bros Shakeup: Studio’s Releases On Greg Silverman & Toby Emmerich

Here are the verbatim press releases issued by Warner Bros Pictures today regarding the exit of Greg Silverman as President of Creative Development and Worldwide Production and Toby Emmerich’s ascension to President and Chief Content Officer at Warner Bros. Pictures Group:
GREG SILVERMAN TO LAUNCH MULTI-FACETED ENTREPRENEURIAL VENTURE AT WARNER BROS.
Will Segue from Executive Role at Warner Bros. Pictures at Start of 2017
Widely respected film industry veteran Greg…

Here are the verbatim press releases issued by Warner Bros Pictures today regarding the exit of Greg Silverman as President of Creative Development and Worldwide Production and Toby Emmerich’s ascension to President and Chief Content Officer at Warner Bros. Pictures Group: GREG SILVERMAN TO LAUNCH MULTI-FACETED ENTREPRENEURIAL VENTURE AT WARNER BROS. Will Segue from Executive Role at Warner Bros. Pictures at Start of 2017 Widely respected film industry veteran Greg…

Warner Bros Shakeup: Greg Silverman Steps Down, Toby Emmerich Takes Top Production Post

BREAKING: In a major pre-holiday shakeup at Warner Bros, Greg Silverman is stepping down from his post as President of Creative Development and Worldwide Production. Stepping up to the top production post is Toby Emmerich, who already steered production at New Line from his position as President and COO. He will become Chief Content Officer for Warner Bros and oversee the films generated by both divisions.
Silverman immediately will form a new venture, a fund-based…

BREAKING: In a major pre-holiday shakeup at Warner Bros, Greg Silverman is stepping down from his post as President of Creative Development and Worldwide Production. Stepping up to the top production post is Toby Emmerich, who already steered production at New Line from his position as President and COO. He will become Chief Content Officer for Warner Bros and oversee the films generated by both divisions. Silverman immediately will form a new venture, a fund-based…

‘Suicide Squad’: Warner Bros. Executive Says Film Was a Success Due to Diverse Cast

The film has grossed over $745 million worldwide.

Suicide Squad” has grossed over $745 million worldwide, making it the eighth highest-grossing film of 2016. While the David Ayer-directed film received generally negative reviews from critics, many dedicated fans defended the action-packed film and stood behind it in support.

Now the film has become one of Warner Bros. most successful movies of this year and the studio’s President of Creative Development and Worldwide Production Greg Silverman says it’s all thanks to the movie’s diverse cast.

“The more movies that we make that are more diverse, have a more worldview voice behind them, are more successful,” Silverman said at Variety’s Inclusion Summit.

READ MORE: ’Suicide Squad’: Jared Leto Wanted Film to Be Rated R

Stating that the first project where they really pushed diversity was “Suicide Squad,” he added that it’s one of the studio’s most profitable films of the year due to having Hispanic leads, multiple African-American leads and strong women in the cast.

“Having that diversity made us play worldwide, to all ages and all different kinds of people,” he continued. “That’s what we want, as many people buying tickets and getting moved by our content.” 

READ MORE: ‘Suicide Squad’: We Debate What Went Wrong With the Maligned DC Property

“Suicide Squad” will be released on Blu-Ray and DVD on December 13, with an extended cut to feature additional scenes of Jared Leto as the Joker with Margot Robbie’s Harley Quinn.

Check out his comments in the video below.

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