CinemaPor that the rights to The Holder Massacre are in court dispute? From five to eight studios and platforms are interested in acquiring rights by the franchise, including Netflix and A24Por Writing

A dispute for the rights of the franchise The electric saw massacre It promises to shake the news in the coming weeks. The judicial war attracted the interest of big names in Hollywood. At least five to eight studios and platforms are involved, including Netflix, A24 and Universal, the latter through the filmmaker’s producer Monkeypaw’s producer Monkeypaw Jordan Peele (Run!).

Among interested creators, names like Oz Perkins (Longlegs), Bryan Bertino (The Strangers, 2008), by Neon, and Roy Lee (The Blair Witch, 2016, It: The Thing, 2017) have already presented proposals. Glen Powell (All less you) is also involved in a television project with A24, although it should not act. Taylor Sheridan (Yellowstone), born in Texas, showed interest in acting as a producer, reinforcing the regional appeal of the work. Understand the reasons for the dispute:

Why the rights of The electric saw massacre Are they in court dispute?

The franchise The electric saw massacre It is at the center of a judicial dispute for two main reasons: a history of poorly resolved contracts and the growing trade value of the brand. The original film, released in 1974 and directed by Tobe Hooper in partnership with the screenwriter Kim Henkelit was a box office hit, made with just $ 140,000, raised more than $ 30 million. However, the profits were poorly distributed, and the creators, especially Henkelthey claim they were financially harmed.

Since then, Henkel He spent decades trying to recover rights over the work. Supported by a Copyright Law from the United States that allows the reversal of rights to authors after 35 years, it has been using this device to claim control over the original movie and characters like iconic Leatherface.

Today, Henkel leads the producer Exurbia Films, alongside Pat Cassidy and Ian Henkel. The company is responsible for negotiating franchise rights and is at the center of conversations with large studios interested in reliving the brand. The agency Vervewhich has represented rights since 2017, conducts negotiations.

The impasse, however, is not limited to licensing. The dispute also involves questions about creative control, canonicality and profit division of future productions. At stake are the direction of the franchise and its commercial potential, which can currently yield hundreds of millions of dollars, especially in the face of the industry’s new appetite for terror classic reboots.

Source:Deadline

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