Why do they still let him make movies, when they continue to be so hugely critically reviled?
He's such an Indian-American stereotype too. His mother wanted him to become a doctor but he wanted to go to film school. His compromise was to qualify for medical school but not actually go. That way, she could woggle her head when talking to her aunties and claim her son could be a doctor anytime he wanted to, but chose something else.
He gives good head.
He must be a Scientologist to still be able to direct his shit movies.
His Amex commercial was arrogant and snotty
Because his movies make money.
Because there are 1.5 billion red dots in the world.
He has photos of studio execs with children.
At this point I'd have to say that R7 has the right answer. Nothing else makes sense.
His movies are reviled by the public too.
At least he made one good movie, and two that were ok. That's still better than a lot of the people that put out movies.
Is This the Moment Where It Started Going Wrong for M. Night Shyamalan?
Ten years ago, M. Night Shyamalan was on top of the world, touted as “the next Spielberg” by Newsweek and fresh off a string of successes including the Oscar-nominated smash The Sixth Sense, the Bruce Willis superhero origin story Unbreakable, and the alien thriller Signs, which would be Mel Gibson’s last studio hit. But things have changed: The filmmaker who could once open a movie on his moniker alone has a new film coming out today, the sci-fi story After Earth, where his name doesn’t appear in the key marketing materials at all. It’s only the latest setback for Shyamalan, whose career woes have been compounded by giddy press reports chronicling his fall from grace, including a memorable round of media attention in 2010 when audiences supposedly booed his title card in the trailer for the horror film Devil, which Shyamalan produced. Where did it all go wrong?
Cinematic historians trying to pinpoint the place where Shyamalan's hubris outgrew his ouevre would be well advised to hit up YouTube; there, they'll find a weird, misbegotten 2004 Sci-Fi channel pseudo-documentary titled The Buried Secret of M. Night Shyamalan that hints at the problems to come. Built to lead up to the heavily hyped release of Shyamalan's film The Village, this bizarre special follows documentarian Nathaniel Kahn as he begins to profile Shyamalan for what’s ostensibly an authorized puff piece ... at least until Kahn begins poking around into the director’s shrouded personal history, at which point Shyamalan appears to pull out of the proceedings in anger. Before Buried Secret aired, Shyamalan had been planting stories in the press that he was unhappy with the movie, which promised to reveal a secret that the filmmaker preferred to keep hidden; it didn’t take long before the media figured out that the entire thing was a publicity stunt. Kahn and Shyamalan were in cahoots, carefully crafting an “unauthorized documentary” that was actually a burnishing of the Shyamalan brand
It’s a fascinating look into how Shyamalan wants to be perceived. Shyamalan’s actual backstory is pretty interesting — born in Pondicherry, India, before moving to a suburb of Philadelphia, Manoj Shyamalan was a movie-obsessed kid who’d grow up to be one of the youngest Best Director nominees ever — but Shyamalan can’t help but embellish those humble beginnings. Throughout Buried Secret, it’s implied that some sort of childhood accident left him with a connection to the supernatural; his best-known characters, it seems, are just avatars for the possibly superheroic Shyamalan. At one point, Kahn ventures to Shyamalan’s supposed alma mater — Ravenhill Academy for Gifted Children, which doesn’t actually exist — where school administrators remember little Night as a bright boy who never came late to class and never had to call home with a fever. “You know,” replies Kahn, “in his second movie, Unbreakable, the character has never been sick.” It’s a breathtaking bit of braggadocio, both for how it posits Shyamalan as an invulnerable god like Bruce Willis in Unbreakable and for how it wipes away the two smaller movies (Wide Awake and Praying With Anger) that Shyamalan had made without fanfare before The Sixth Sense.
In this version of his life, everyone is in awe of him. Throughout the doc, fans and friends of Shyamalan (most of whom are played by actors) speak of the filmmaker in the sort of hushed, reverent tones that suggest the whispery register inhabited by Shyamalan's own characters. Kahn comes calling on a childhood friend of Shyamalan's who bashfully admits, "I stopped trying to get in touch with him because I started getting nervous. I thought maybe I was starting to achieve stalker status." With shaky hands, an old woman hands Kahn a copy of Shyamalan's childhood films as though she were entrusting him with the Pelican Brief. When Kahn drives by the front gate of Shyamalan's mansion, he finds starstruck groupies loitering outside. "Everyone knows ... M. Night's connected
Hollywood is a slow moving machine. The fact that he is responsible for one hit years ago and is a name director is still enough.
If they're still convinced Nicole kidman puts buts in seats, why not this guy?
He made one good, successful movie ("The Sixth Sense"), one criminally under-rated movie ("Unbreakable"), one that was very successful but only 2/3rds of a great movie ("Signs"), and it's all been pretty much downhill since then.
"The Last Airbender" was awful, and "The Happening" was laughable...
M. Night Shyamalan is a one-hit wonder who keeps cranking out shit.
[quote]If they're still convinced Nicole kidman puts buts in seats, why not this guy?
I have a feeling Kidman doesn't publicly attacks studios who fund the films she's in, like M. Night did with Disney.
[quote]A book published next month sees the director launch a brutal and direct attack on the Disney studio that produced all his mainstream films.
The all-out critique of Disney has astonished industry insiders in Hollywood, where arguments between directors and studios are commonplace but rarely aired in public. Not so for Shyamalan's industrial-sized fallout with Disney. Early drafts of the book circulating in Hollywood are leaving many stunned at how strongly the director has turned on his old studio.
The book attacks colleagues and mentors at the company where he forged his hugely successful career. At its core is Shyamalan's feeling that Disney was not giving him enough artistic backing on his latest project, a supernatural thriller called Lady in the Water. Though Disney was keen to fund the film, Shyamalan felt it did not trust him enough as a director.
Please - even "I see dead people" was a crappy film.
I loved "Signs". There, I said it.
Will and Jaden Smith's sci-fi adventure After Earth wound up in third place this weekend with a very disappointing $27 million. That's in between last year's notorious sci-fi bombs John Carter ($30.2 million) and Battleship ($25.5 million). It's also half of MIB 3 ($54.6 million) and The Karate Kid ($55.7 million), which were the last two movies from Will and Jaden, respectively.
As is the case with many bombs, the explanation for After Earth's poor start is quite simple: the movie just didn't look all that appealing. While director M. Night Shyamalan's name was hidden in the marketing, he does have to take some of the blame for the movie's bland, paint-by-numbers appearance. Also, while Will Smith is clearly a major star, his presence didn't help much because his role here as a stoic, incapacitated soldier was devoid of the charisma and energy that audiences expect from him.
The audience was 51 percent male and 60 percent were 25 years of age or older. They gave the movie a "B" CinemaScore, which suggests middling word-of-mouth that should keep the movie from holding on well. Add in the fact that Man of Steel is on the immediate horizon, and it's unlikely that After Earth winds up with more than $70 million or so.
After Earth debuts in most overseas next weekend, and Sony is hoping that Will Smith's international drawing power will help make up for the limp domestic debut. Over $200 million should be doable, though that still puts After Earth firmly in the John Carter/Battleship realm.
[quote] Ravenhill Academy for Gifted Children,[/quote]
That's interesting...Ravenhill Academy, which closed in 1977, was all-girls school run by the nuns of the Order of the Assumption in Germantown in Philadelphia. They let boys go there through Montessori (about 2nd grade), then it was all girls 'til graduation.
That's pretty easily discovered, even if you didn't go there (as I did).
I knew a guy whose daddy was a CEO. He was made a CEO and three times he managed to kill companies he was managing, always with associated scandal, and yet somehow managed to get still a FOURTH gig. When he ruined that company, it was finally over. Unfortunately, by then he was rich and no longer had to work. It really is a question of becoming one of a certain class, and opportunities will come your way even when you are a fuckup.
Look at the careers of George W. Bush and Rihanna, they continued long past their due date.
Oh look, you're making fun of his non-anglo name. That's so clever! Oh you, you and your mild racism are the living end!
His haunted elevator movie "Devil" a few years ago, was a minor comeback. It got good reviews (for him, actually I don't think it was Rotten Tomatoes fresh) and made a small profit. It was supposed to be the first in a trilogy about horror in urban settings, but the other two movies haven't been made yet.
Perhaps he was personally chosen by Will Smith as the one director that would be totally under the actor's control. Were there Scieno reps on the set like on Cruise's movies? Likewise was M. Night required to go through at least 4 hours of initial auditing at Scieno Center?
Wasn't one of his movies "inspired" (ahem) by a Margaret Haddixx book?
It is the first real flop of the year, although Hangover 3 did not meet expectations.
I wondered about that too, R27. After THE SIXTH SENSE he had complete creative control for his next few films and now he's reduced to being a hack for hire.
THE HAPPENING (his first rated R movie!!) was one of the dumbest films of the last few years. Laughably bad.