Richard Linklater’s Movie ‘Hit Man,’ with Glen Powell, Sells to Netflix for $20M 

Director Richard Linklater is photographed on the red carpet for the film "Hit Man" during the Toronto International Film Festival, in Toronto, Monday, Sept. 11, 2023. (The Canadian Press via AP)
Director Richard Linklater is photographed on the red carpet for the film "Hit Man" during the Toronto International Film Festival, in Toronto, Monday, Sept. 11, 2023. (The Canadian Press via AP)
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Richard Linklater’s Movie ‘Hit Man,’ with Glen Powell, Sells to Netflix for $20M 

Director Richard Linklater is photographed on the red carpet for the film "Hit Man" during the Toronto International Film Festival, in Toronto, Monday, Sept. 11, 2023. (The Canadian Press via AP)
Director Richard Linklater is photographed on the red carpet for the film "Hit Man" during the Toronto International Film Festival, in Toronto, Monday, Sept. 11, 2023. (The Canadian Press via AP)

The Toronto International Film Festival may be over but it’s biggest sale has just gone through. Netflix has acquired Richard Linklater’s “Hit Man,” starring Glen Powell, for $20 million.

“Hit Man,” which Linklater and Powell co-wrote, stars the “Top Gun: Maverick” actor as a New Orleans psychology professor who also works undercover posing as a hit man for the police in sting operations to catch would-be murders. The film, a comic, existential riff on the hit-man genre, was one of the breakout hits of TIFF, which concluded Sunday.

Netflix didn’t announce release plans yet for “Hit Man,” which also played at the Venice Film Festival. The film, which co-stars Adria Arjona as a wife who wants her husband dead, is loosely based on a true story detailed in a Skip Hollandsworth-written Texas Monthly article from 2001 about faux-hit-man Gary Johnson.

In an interview in Toronto, Linklater, the veteran independent filmmaker of “Boyhood” said he and Powell elected to make the film before selling it to a distributor to avoid some of the pitfalls of modern Hollywood.

“It used to be the head of a studio would sit down with you, talk, maybe say, ‘I think you’ve got the movie in you. Let’s do it.’ Now, they don’t even want to hear from you. You’re up against algorithms and marketing in advance,” said Linklater. “So it was kind of great to go: ‘Let’s just make the movie and bet on ourselves.’”

That bet has paid off in a fall-festival movie market that’s been disrupted by the ongoing SAG-AFTRA and WGA strikes. It’s been speculated that, with pipelines potentially drying up, studios and streamers might be more eager to pick up finished films.

But the “Hit Man” sale is the largest yet of the season. Netflix, which also distributed Linklater’s previous movie, “Apollo 10 1/2,” earlier acquired Anna Kendrick’s directorial debut, “Woman of the Hour,” following its premiere in Toronto.



Demand for Japanese Content Booms Post 'Shogun'

The critical and commercial success of TV's 'Shogun' has helped spark a new wave of Japanese content being developed for global consumption. Michael Tran / AFP/File
The critical and commercial success of TV's 'Shogun' has helped spark a new wave of Japanese content being developed for global consumption. Michael Tran / AFP/File
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Demand for Japanese Content Booms Post 'Shogun'

The critical and commercial success of TV's 'Shogun' has helped spark a new wave of Japanese content being developed for global consumption. Michael Tran / AFP/File
The critical and commercial success of TV's 'Shogun' has helped spark a new wave of Japanese content being developed for global consumption. Michael Tran / AFP/File

But "Shogun", based on the 1975 novel by Australian-British writer James Clavell, broke the mould when the period drama series -- mostly in Japanese and hailed for its authenticity -- won 18 Emmy awards in September.
Other recent Japanese works have also become worldwide hits.
Franco-US-Japanese show "Drops of God", based on a manga of the same name, won best drama series at the International Emmy Awards in November.
Netflix's 2023 adaptation of the manga superhit "One Piece" -- starring Mexican actor Inaki Godoy as the lead -- was hailed by viewers and critics alike and will return for a second season.
More adaptations of major manga and anime hits are in the works, including the superhero adventures of "My Hero Academia" and the ninja escapades of "Naruto".
"Demand from Western markets is clearly increasing," said Kaori Ikeda, managing director at TIFFCOM, the content trade fair affiliated with the Tokyo International Film Festival.
But Japanese companies lack "know-how" when it comes to things like negotiating rights, she told AFP.
So TIFFCOM has organized Tokyo Story Market, a space to facilitate networking and meetings between international producers and Japanese publishers.
'Whitewashing'
Foreign studios are also getting better at avoiding some of the pitfalls of the past, such as the 2017 film version of the manga "Ghost in the Shell" starring Scarlett Johansson.
Critics accused the movie, whose main actors except Takeshi Kitano were all non-Japanese, of "whitewashing".
Similarly, the 2017 supernatural thriller "Death Note" was panned for veering too far from the original manga.
"Manga authors are highly respected and fan communities are very vigilant," said Klaus Zimmermann, producer of "Drops of God".
His adaptation takes some liberties, such as starring a French actor as one of the main characters, but Zimmermann insists it was developed in collaboration with the authors of the original manga.
"It was about finding the spirit of the manga so as not to distort it," he told AFP.
Yuki Takamatsu, a rights negotiator at the manga's publishing house Kodansha, said the process of adapting "Drops of God" was "amazing".
"Everyone was open to tackling those challenges together... At every step, everyone was understanding about how we should do it," he said.
Past failures were in part down to publishers struggling to communicate their wishes to foreign producers, who in turn lacked a proper understanding of manga and anime, Takamatsu said.
"Back just 15, 20 years ago, most of the enquiries we received from those big studios were like, hey, I know 'Dragon Ball', do you have 'Dragon Ball' IP?" Takamatsu told AFP.
"But nowadays, especially since Covid, the producers in their 30s, 40s, they watch anime together with their kids on Netflix or Amazon" and then reach out, he said.
Japanese TV goes global
Japanese broadcasters have also become "better and better (at) presenting and marketing their content" abroad, said Makito Sugiyama, executive director at the Broadcast Program Export Association of Japan (BEAJ).
This includes their participation at global events such as MIPCOM in Cannes, an annual trade show for the television industry, Sugiyama said.
Japanese broadcasters have long had success selling show concepts abroad, like the one for "America's Funniest Home Videos", known in Britain as "You've Been Framed".
Now, some Japanese dramas are also finding a wider echo abroad.
Nippon TV's original drama "Mother" became a hit thanks in part to its Turkish remake, and has been broadcast in around 50 countries.
Western viewers have overcome their initial reluctance to watch series with Asian actors, believes Masaru Akiyama, chief executive of the BEAJ.
"They have got used to it, they don't care anymore. They want to see, they want to feel the stories."
"Shogun" was "a game changer for Japan," he added, and Ikeda agrees.
"That a samurai story with such attention to historical detail can become mainstream entertainment is proof of the potential" of Japanese content, she said.