Warner Bros., After Shake-Up and Shaky Summer, Digs In

Summer was brutal at Warner Bros., and not just because the thermometer hit 105 degrees on its sun-scorched lot here last week.

Eight films, starting with “Godzilla” in mid-May, took in barely more at the worldwide box office than a single “Harry Potter” sequel did in 2011. That year, “Harry Potter and the Deathly Hallows Part 2” had $1.34 billion in global ticket sales, backed up by typical Warner hits, including “The Hangover Part II” and “Horrible Bosses.” To date, the studio, often a front-runner, ranks third in domestic ticket sales, as misses like “Jersey Boys” and “Blended” failed to charm audiences.

A July attempt by 21st Century Fox to take over Warner Bros.’ parent, Time Warner, while ultimately thwarted, further threw the studio for a loop. Stable, steady Warner was suddenly in an unaccustomed position of public vulnerability.

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Its prospects for the fall are wobbly. “This Is Where I Leave You,” an ensemble dramedy about death and family foibles that opened to an estimated $11.9 million in ticket sales over the weekend, does not remotely resemble the muscular fare that made Warner “the biggest movie producer and distributor in the world,” as Jeffrey L. Bewkes, Time Warner’s chief executive, recently described the studio.

Seen from the outside, the message seems clear: Twenty months into a shake-up that put Kevin Tsujihara in the chief executive seat at Warner, Hollywood’s film powerhouse — it was No. 1 at the domestic box office in five of the last 10 years — has yet to find its footing.

As competitors like Disney, Paramount and Universal rally ever more tightly around known brands or trim release schedules, Warner is proudly pursuing an expansion plan that cuts in the opposite direction.

Along with a renewed push to mine its DC Comics library, the studio is relying on a broad mix of what its own executives characterize as somewhat old-fashioned storytelling — including “The Judge,” a retro melodrama starring Robert Downey Jr., and Paul Thomas Anderson’s quirky, semi-comic detective thriller, “Inherent Vice,” a possible Oscar candidate with a debut on Oct. 4 at the New York Film Festival.

Even expected companywide layoffs will not get in the way, said Greg Silverman, Warner’s production president. Film and TV production units, he said, would escape the brunt of reductions expected to fall heavily at the studio in coming weeks.

“If we could find a few more movies to make, we would,” he said. “The challenge is finding movies that are worth making.” Echoing a doctrine that Mr. Tsujihara described in the spring, Mr. Silverman added, “If other studios are going to make less movies while we’re making more, that’s a real advantage.”

Mr. Silverman spoke on Thursday in a joint interview on the Warner lot with Sue Kroll, president of worldwide marketing and international distribution, and Toby Emmerich, president of Warner’s New Line Cinema unit. They have been tasked with working as a team, an unconventional setup in a business that tends toward one clear leader in its film units. They are also charged with moving Warner past the departure last year of Jeff Robinov, a colorful film executive whose tastes and talent relationships shaped the last decade.

Mr. Emmerich, Ms. Kroll and Mr. Silverman — along with Dan Fellman, Warner’s domestic distribution president — report to Mr. Tsujihara. And Mr. Tsujihara is ultimately responsible for deciding which films are made or distributed, after scripts have been chewed over for months in green-light sessions that make every movie a group enterprise.

For the record, Mr. Tsujihara, whose background is in the home video division, says his movie operation has its footing. “As we look at Warner Bros. and our position in the marketplace, we’re on track for our sixth year of more than $4 billion in global ticket sales,” he said in a phone call. “Nobody else has come close to that track record.” He added, “Given our distribution and marketing power, we feel very good about the future of the movie business.”

Even so, Ms. Kroll acknowledged that the studio was “spending a lot of time right now talking about the summer,” referring to an internal assessment of creative and marketing choices that led to a slump not just for Warner but the film industry at large.

She said that it was too soon to panic over a Hollywood slump, though industry ticket sales over the summer fell 15 percent compared with a year earlier. Warner’s fortunes, she added, may reverse with coming pictures. The studio is counting on “The Hobbit: The Battle of the Five Armies,” “Horrible Bosses 2,” and the horror film “Annabelle,” all from Mr. Emmerich’s New Line unit, to salvage the year.

(Those releases are flanked by Clint Eastwood’s “American Sniper,” another possible Oscar contender, and “The Good Lie,” which pairs Reese Witherspoon with a group of Sudanese refugees in a film aimed at religious audiences, according to Andrew Kosove, whose Alcon Entertainment backed it.)

Known for his personal friendship with Mr. Tsujihara, Mr. Emmerich said he was expanding New Line’s contribution to as many as eight films annually, up from four or five in recent years. On some of those, he has become closely entwined with Mr. Silverman’s separate operation, for instance by taking over a remake of “National Lampoon’s Vacation” — which had belonged to Warner, not New Line — and working in tandem with an executive from Mr. Silverman’s Warner team.

Collegiality is never easy for ambitious movie executives. But Mr. Silverman, Mr. Emmerich and Ms. Kroll insist that they are not in competition for a top spot that was eliminated with Mr. Robinov’s exit.

“The town can talk about how it’s unconventional,” Ms. Kroll said, dismissing Hollywood whispers that a “bake-off” was inevitable. “Everybody should just stop talking about it.” She added, “I have never felt that we were ever competing.”

Sitting together, the three sharply different executives displayed an easy rapport. Mr. Emmerich, 51, was self-assured but relatively quiet. The affable Mr. Silverman, 42, stepped carefully, as if still getting used to his role. Ms. Kroll, 52, while quite deferential to Mr. Silverman, was the one who ultimately wrestled with the difficult questions.

For Mr. Silverman, who long served as Mr. Robinov’s chief lieutenant, one challenge involves protecting the studio’s filmmaker relationships from incursions, including any by his former boss. Mr. Robinov is moving to Sony with a Chinese-financed production deal, and no contractual restrictions on his ability to raid the Warner talent pool. (Mr. Robinov declined to be interviewed.)

Boding well for Warner is an unconventional arrangement for Christopher Nolan’s coming “Interstellar.” The science fiction thriller came up through Paramount, which will handle domestic distribution when it is released on Nov. 7. But Warner and Legendary Entertainment share half the film, and Warner has international distribution rights, under a deal that let Mr. Nolan work, under Paramount’s supervision, with the Warner team he used on the “Dark Knight” series.

Perhaps the bigger challenge for all three film executives lies in the need to find a new round of prominent, big-budget franchise films.

Three Harry Potter spinoffs are planned, and “Superman v. Batman: Dawn of Justice,” set for release in 2016, pits two of Warner’s superheroes against each other for the first time.

Warner found surprise success in February with “The Lego Movie,” which had about $468 million in global ticket sales. But Mr. Robinov oversaw much of the production before leaving. Still, Mr. Silverman has been quick to follow up with “Ninjago,” a Lego-related film set for 2016, and “The Lego Movie 2” the year after.

Before either of those films arrives in theaters, Warner’s movie team plans to fill the pipeline with updated perennials like “Tarzan” and “Pan,” about Peter Pan. Directed by Joe Wright, who is known for sophisticated dramas like “Anna Karenina” and “Atonement,” “Pan,” set for next July, is supposed to take viewers where Peter Pan films from Disney, Universal and Sony never went.

Even its Hook, played by Garrett Hedlund, is more intriguing — in theory, at least, as the film has not yet been screened for executives — than almost anything in Warner’s recent summer. “We think of him like a Han Solo,” Ms. Kroll said.