There was a problem with the initial TMNT film designs: Instead of looking like muscular teens, they were scrawny and malnourished. “They looked like they were on Ozempic,” Paramount Pictures and Nickelodeon CEO Brian Robbins jokes.
Pictures and Nickelodeon, on the idea of adding some adolescent anarchy into their animated reboot of “Teenage Mutant Ninja Turtles.” But there was a problem with the initial designs for the film’s four reptile heroes: Instead of looking like muscular teens, these Turtles were scrawny and malnourished, barely strong enough to wield nunchucks or hurl a throwing star. “They looked like they were on Ozempic,” Robbins jokes.
“I’ve been on all sides of it,” he says. “I’m a guy who went to my mailbox and got residuals. I know how important that is to actors and writers. There has to be a way forward, and hopefully we’ll find it soon. Strikes have happened before, but this one is taking place at a difficult time.” “Yeah, they had a great run in the early aughts, and then there was a seismic shift, and there was a lot of drama corporately at Viacom, and it just created a downward spiral,” he says.
Robbins’ family relocated to Los Angeles when he was 14 so his father, an actor, could land better jobs. Growing up, he’d run lines with his dad before auditions. Eventually, Robbins decided to try out for things himself. He landed guest spots on “Knight Rider” and “Growing Pains” and was a finalist for “Risky Business” and “War Games” before landing his breakthrough role as a rebellious prodigy on “Head of the Class.” “It was amazing,” Robbins says.
“The second I got back to my office, I turned to my assistant and said, ‘The good news is we’re making a movie. The bad news is I have to act like I know what I’m doing,’” Robbins says. “It proved I could be entrepreneurial,” Robbins says. It also left him wanting to move more aggressively into the emerging medium. So he came up with the idea for AwesomenessTV, a startup targeting tween YouTube users. “He saw where the audience was going before most people did,” says UTA chief Jeremy Zimmer, Robbins’ former agent.
So that’s why CBS viewers were treated to an appearance by “Top Gun: Maverick” star Tom Cruise on an AFC Championship Game broadcast or audiences on MTV were offered a marathon of “Scream” movies in the lead-up to the latest sequel’s release. When we meet in July at “CBS Mornings,” Robbins isn’t there to be interviewed by Gayle King. He’s observing how the program is handling “Mission: Impossible” week, which has seen cast members stop by to enthuse about making the latest installment.
Because Robbins had been an early advocate of YouTube, creating AwesomenessTV to make content for the platform, many assumed that he had sold Shari Redstone on a vision of dismantling the studio’s theatrical slate and sending everything to its streaming service. But the opposite is true — “Smile,” for instance, was supposed to debut on Paramount+, but after viewing a rough cut of the film, Robbins opted to release it theatrically.
It’s a glittering summer morning, and over breakfast Robbins and three of his most trusted Paramount colleagues are giving me a guided tour of all the reasons the movie business is so hazardous. The group includes Marc Weinstock, president of global marketing and distribution, as well as Michael Ireland and Daria Cercek, the co-heads of the motion picture group. The topic is why it’s so punishingly hard to make a movie these days. “You have tomovies to happen,” Robbins says.
“China is a different marketplace,” says Weinstock. “You can’t count on it for a big number anymore, so everyone needs to reevaluate their budgets.” Paramount’s leaders want to invest in a new generation of talent. They’re developing “The Saint,” a remake of the Roger Moore spy series that will star “Bridgerton’s” Regé-Jean Page. And for the “Gladiator” sequel, the studio is teaming veteran actor Denzel Washington with the 27-year-old Paul Mescal, recently Oscar nominated for his work in the indie “Aftersun.
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