Red Letter Media

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Favorite recurring character? (Select 4)

  • Jack / AIDSMobdy

    Votes: 257 24.0%

  • Josh / the Wizard

    Votes: 77 7.2%

  • Colin (Canadian #1)

    Votes: 460 42.9%

  • Jim (Canadian #2)

    Votes: 230 21.4%

  • Tim

    Votes: 386 36.0%

  • Len Kabasinski

    Votes: 208 19.4%

  • Freddie Williams

    Votes: 274 25.5%

  • Patton Oswalt

    Votes: 27 2.5%

  • Macaulay Culkin

    Votes: 541 50.4%

  • Max Landis

    Votes: 64 6.0%
  • Total voters
    1,073
nosemouth said:
Kennedy's contributions amounted to standing in the vicinity of the men who made all the great movies she was a "producer" on. Notice how terrible she is when she's on her own.
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I don't think that's entirely fair. She's not a diversity hire, she's been on hundreds of productions, she clearly has some talent to justify her salary to the board and shareholders, else she would not be there as a member of the executive management.

She wouldn't have gotten placed on anything if Spielberg and everyone else didn't see something in her. Maybe she's amazing at middle management and production, and now stumbles in a world where the focus is bean counting. At the end of the day, her main role is marketing and being the face of Disney's expositions, which she does absolutely fine in.
 
Bush King said:
she clearly has some talent to justify her salary to the board and shareholders, else she would not be there as a member of the executive management.
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That coffee was delivered in a punctual and timely manner.

Bush King said:
She wouldn't have gotten placed on anything if Spielberg and everyone else didn't see something in her.
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I'm going to have to search for those anecdotes where Spielberg, Lucas et al stared in bafflement as she uttered absolute bullshit during meetings.

Maybe she was good at organizing matters that didn't require any creativity or people skills. She kept an eye on the dollars and cents, reminded people of deadlines, something like that, I don't know. I hear that Lucas put her forward to head Lucasfilm when Disney bought it, and that she didn't bat an eyelid when Disney rejected all his outlines. Maybe he thought it'd be business as usual, with him as the de facto boss, and Kennedy would be his inside person doing her usual whatever-she-did. Then maybe, as the brand new head of the studio, she got a taste for power and a whiff of her own farts. She could make a string of wildly successful, beloved movies. She'd seen how Spielberg and Lucas had done it for years, after all, and if these old white men could do it, why, it'd be child's play for a smart, ladder-climbing womxn like herself, right?

Right?
 
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Newman's Lovechild said:
That coffee was delivered in a punctual and timely manner.



I'm going to have to search for those anecdotes where Spielberg, Lucas et al stared in bafflement as she uttered absolute bullshit during meetings.

Maybe she was good at organizing matters that didn't require any creativity or people skills. She kept an eye on the dollars and cents, reminded people of deadlines, something like that, I dunno. I hear that Lucas put her forward to head Lucasfilm when Disney bought it, and that she didn't bat an eyelid when Disney rejected all his outlines. Maybe he thought it'd be business as usual, with him as the de facto boss, and Kennedy would be his inside person doing her usual whatever-she-did. Then maybe, as the brand new head of the studio, she got a taste for power and a whiff of her own farts. She could make a string of wildly successful, beloved movies. She'd seen how Spielberg and Lucas had done it for years, after all, and if these old white men could do it, why, it'd be child's play for a smart, ladder-climbing womxn like herself, right?

Right?
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Behind every man is a woman who deeply resents him for being successful and accomplished.

There is not a doubt in my mind that Kennedy thought she was the genius behind Spielberg and Lucas and that if they'd just step out of the way her greatness would finally be allowed to shine.
 
There are two types of producers in film. You have the creative producers who find or come up with a good idea or good script, and gather the best possible crew and cast and shepherd the project to budgeting and completion. And then you have the "line producer" types who are wizards at coordination and planning and are great at knowing when to squeeze the money out of the studio or investors to get the director what they want, and when and how to tell the director they're just going to have to use 10 extras instead of 100. Kennedy was apparently the latter, extremely good at marshalling the resources and budget to get Lucas, Spielberg, etc to deliver the goods, but not exactly a creative type. My understanding is she was kind of the Roy Disney to their Walt: she was about the money and the scheduling, they were the dreamers. She needed a Walt in Lucasfilm and didn't have one, and now her ass is showing.
 
Newman's Lovechild said:
That coffee was delivered in a punctual and timely manner.



I'm going to have to search for those anecdotes where Spielberg, Lucas et al stared in bafflement as she uttered absolute bullshit during meetings.

Maybe she was good at organizing matters that didn't require any creativity or people skills. She kept an eye on the dollars and cents, reminded people of deadlines, something like that, I don't know. I hear that Lucas put her forward to head Lucasfilm when Disney bought it, and that she didn't bat an eyelid when Disney rejected all his outlines. Maybe he thought it'd be business as usual, with him as the de facto boss, and Kennedy would be his inside person doing her usual whatever-she-did. Then maybe, as the brand new head of the studio, she got a taste for power and a whiff of her own farts. She could make a string of wildly successful, beloved movies. She'd seen how Spielberg and Lucas had done it for years, after all, and if these old white men could do it, why, it'd be child's play for a smart, ladder-climbing womxn like herself, right?

Right?
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Stab You in the Back said:
Behind every man is a woman who deeply resents him for being successful and accomplished.

There is not a doubt in my mind that Kennedy thought she was the genius behind Spielberg and Lucas and that if they'd just step out of the way her greatness would finally be allowed to shine.
Click to expand...

alright fine said:
There are two types of producers in film. You have the creative producers who find or come up with a good idea or good script, and gather the best possible crew and cast and shepherd the project to budgeting and completion. And then you have the "line producer" types who are wizards at coordination and planning and are great at knowing when to squeeze the money out of the studio or investors to get the director what they want, and when and how to tell the director they're just going to have to use 10 extras instead of 100. Kennedy was apparently the latter, extremely good at marshalling the resources and budget to get Lucas, Spielberg, etc to deliver the goods, but not exactly a creative type. My understanding is she was kind of the Roy Disney to their Walt: she was about the money and the scheduling, they were the dreamers. She needed a Walt in Lucasfilm and didn't have one, and now her ass is showing.
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Spielberg created a company with Kennedy in 1981. You don't create a film company with someone if they are no talent idiots. Yes, she started as a note-taker and a coffee-getter, that does not mean she has no talent. A lot of people in producing roles start there. The whole point of the job is to figure out how well you can manage basic responsibilities while giving you access to privileged middle and executive management meetings.

In many ways, Kennedy was the genius behind Spielberg. You don't get to be a creative genius without a bean counter. There has to be someone behind you holding you back otherwise you spend five years and millions in capital perfecting something that needs to be out the door. Kennedy is the one who can get the confidence of investors and reel in Spielberg or, if need be, advocate for him and explain why they need an extra fifty million and why it will mean a larger revenue in the end.
 
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The only good thing to come out of all of these reboots of Star Wars, Star Trek, Cape Shit, Song of the South, and whatever are the Red Letter Media videos. Worth every penny.

Strange Wilderness said:
How many Golden Corral gift cards do you think it cost to buy Rich Evans off?
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Considering how many people do Cameo shit, probably the same as someone like Kevin O'Leary, a 50$ pay off to humiliate himself for your benefit.
 
I like that they've basically given up on everything that is star wars to the point where they can kind of appreciate it again, like rich said, if you forget about everything star wars, stop giving a shit, stop thinking, and just watch what happens in front of you

You know, kind of like a ride at a theme park

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Flexo said:
Ok, moving our discussion over here where it's more fitting, which video game movie would you rather have RLM tackle and in what format of their shows?
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Board game rather than video game, but I'd lurve to see a Re:View of Clue. Even do a bit about the different endings, which varied by theatre.

If we must stick to video games, Super Mario Bros., probably also a Re:View, though BotW Spotlight might do. C'mon, it's got Bob Hoskins, John Leguizamo, and Dennis Hopper! How could it go wrong?!
 
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