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Inside Hollywood's blockbuster assembly line

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Red, White and Blood seemed destined for box office success. It had car chases, terrorist attacks, and political romance — all the ingredients needed to whip up the kind of high-octane blockbuster that movie studios have become so dependent upon. The only problem is that Red, White and Blood wasn't a real movie; it was a fake pitch from the New York Times.

Working in consultation with veteran screenwriter Jordan Roberts, the Times built Red, White and Blood in the formulaic image of so many other summertime blockbusters ("Fast & Furious meets Nicholas Sparks meets Die Hard"), before presenting the pitch to a host of Hollywood decision makers. Marketers, researchers, executives — all weighed in with input and critiques on how to turn the film into a global cash cow. Their feedback, published Friday, offers a fascinating, if sobering glimpse into the inner workings of Hollywood's blockbuster assembly line, and the myriad interests that fuel it.