Netflix changed the movie game when it revolutionized the distribution and viewing of new, big-budget, original films. The streamer has seen a variety of successes with their exclusive films. Some have been able to screen in theaters for a limited time and earned a hefty bit of change before hitting the app, like Rian Johnson’s Glass Onion: A Knives Out Mystery. They have been able to get filmmakers like Martin Scorsese for a gangster epic like The Irishman. However, with the recent strikes, Netflix will have to shuffle its schedule much like other studios have.
Scott Stuber, the head of Netflix, spoke with Collider when he revealed that the sequel to Red Notice, which features the A-list trio of Ryan Reynolds, Dwayne Johnson, and Gal Gadot, had been delayed. Stuber cites the crowded schedule of superstar Dwayne Johnson as a hurdle for the sequel’s production, “I think Dwayne [Johnson] probably has the most complex because Moana got pushed because of the strike, so that’s probably the big one that we’ve got to work around. They were already going, and now, obviously, we assumed they’d be done, and now I don’t think they’ve started. I think they have to start, so it’ll be tricky. Aspirationally, I’d like to aim for the end of next year to start, like the fall of ‘24, but I gotta make sure that everybody’s ready.”
It was also previously reported that the initial plan for the franchise was to film sequels 2 and 3 back-to-back after the first became the biggest movie in Netflix history. In regards to the sequels’ status, Stuber reveals, “We’ve got one that we’re working on, so we’re gonna get that script relatively soon. The key to that is to try to make it– You know, Rawson [Marshall Thurber] did a really good job of kind of misdirecting in that movie, right? So now you’ve established personality in a heist, so now it’s like, ‘How do we get that plot right? How do we get that storytelling right?’ So, you know, I wanna make sure that we’re hitting the highest bar possible when we’re making these things. We have three of the biggest global stars in the world, so yes, you know, we want it back, but we want to get it right. So much right now coming out of the strike is just like, ‘Get the draft grind up. Let’s go, let’s go, let’s go.’ So we’re just trying to make sure we’re good partners to the creatives and the producers to get their stuff turned around as quick as possible.”