Meagre turnout for West Side Story shows that these days, the way to cash in on intellectual property is via sequels and reboots
was a sequel rather than a remake: the film-makers made a point of assuring viewers that they were seeing the same Michael Myers and Laurie Strode as the ones who attacked each other 40 years earlier. A similar principle applies to Nia DaCosta’s, which came out this year, and David Blue Garcia’s Texas Chainsaw Massacre, which is coming out next year. Meanwhile the director of the 2018 Halloween, David Gordon Green, is reportedly working on a new version of The Exorcist.
Technology may be significant here: it’s tricky to sell a remake when the original, often superior, rendering of the same plot can be streamed at the touch of a button. What’s more important, though, is the industry’s realisation that it’s not intellectual property that counts, but emotional property.
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