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“If you wanted to be in business with Guillermo, you had to make that film.”ĭel Toro shrunk the budget to $85 million and circulated it again. “He was so dedicated to making a second movie,” said a source close to the production.
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And what did he want to do? That sequel to “Hellboy.”
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The story would have ended right there and then if it weren’t for one thing: “Pan’s Labyrinth.”ĭel Toro’s passion project began building buzz in mid-2006, and execs started jockeying for his next project. “It was not an immediate battle to get it,” Del Toro said. None of the other studios were quick to bite, though. Columbia, after more meetings, eventually let the title go, thinking that any sequel would only enhance the value of the original “Hellboy.” Since Columbia was uninterested, Roth asked permission to let Gordon take the project elsewhere.
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That set in motion a series of moves: Revolution owned the title but had to formally check whether the studio wanted to exercise its right to make a sequel. Not wanting to give up on “Hellboy 2,” Gordon urged Revolution chief Joe Roth to pry the title out of Columbia’s hands. So Del Toro busied himself with other projects, flirting with “Halo” at Universal and “Killing on Carnival Row” at New Line. Even-steven.ĭel Toro wanted to do a sequel but Columbia, which had a say in any follow-up under the terms of Revolution’s Sony pact, wasn’t interested. It cost around $60 million and made around $60 million. Just more than two years later, “Hellboy,” starring Ron Perlman as the demon, hit screens. With the project stuck in development hell, Del Toro hopped on New Line’s “Blade 2.”Ī week after that action horror movie opened to $32.5 million in March 2002, Revolution greenlighted “Hellboy.” Executives were reluctant to make the film without a star, pushing such actors as Bruce Willis and Vin Diesel on the filmmakers. Why does he have to be red? Does he need to have a tail? Can we call him something other than Hellboy?Īlthough they managed to set up the project at Sony-based Revolution Studios, the project continued to face an uphill battle. When Gordon and Dark Horse publisher Mike Richardson began shopping Del Toro’s first “Hellboy” screenplay in 1998, they met with plenty of resistance. Then-fledgling Spanish filmmaker Del Toro expressed interest in an adaptation, which had Gordon attached as a producer.īut while the comic influenced the lighting in Del Toro’s American debut “Mimic,” that movie don’t set the box office on fire.
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While the occasional TV series (“Buffy the Vampire Slayer,” “Scrubs”) has jumped from one network to another, film studios virtually never let a franchise go to a competitor.Ĭreated by artist Mike Mignola, “Hellboy” was first published in 1993 by Dark Horse Comics and quickly gained attention in Hollywood. The movie, which Universal opens Friday, is the only franchise in recent memory that began at one studio - in this case Columbia - that ended up at another, for which credit goes to the perseverance of filmmaker Guillermo del Toro and producer Larry Gordon. REUTERS/Egon Endrenyi/Universal Studios/Handout
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Actor Ron Perlman is shown in this undated publicity photo released to Reuters Apin a scene from Universal Studios upcoming film "Hellboy II: The Golden Army".