Miramax
Miramax is actively rebuilding its theatrical slate around franchise sequels, legacy IP revivals, and spec acquisitions, while expanding its television footprint through high-profile streaming partnerships.
Each signal is one documented data point captured by our continuous pipeline: a trade-press mention, festival market activity, executive statement, or acquisition activity update. Higher signal volume means Miramax is generating more public market activity right now.
No more than now is there a need for more spooky family movies at the box office.
Miramax is currently in production on the sequel to The Beekeeper, which grossed more than $160 million worldwide, with Jason Statham returning and Timo Tjahjanto directing. The company recently released Derek Cianfrance-directed Roofman starring Channing Tatum, Kirsten Dunst, and Peter Dinklage, and scored an international gross of $130 million with Bridget Jones: Mad About the Boy. CEO Jonathan Glickman has optioned the rights to the 1962 song "Monster Mash" from Reservoir and Capizzi Music Co. to develop it as an animated musical feature, signaling a push into family-friendly, spooky-adjacent IP. The next installment in the Scary Movie franchise is set to premiere summer 2026, distributed globally by Paramount Pictures.
Over the past twelve months, Miramax has demonstrated a consistent pattern of acquiring spec scripts and legacy IP for franchise development. The company nabbed the hot spec Supermax by David Weil and David J. Rosen (with The Picture Company producing) and acquired London Ghost Tour. On the television side, Miramax acquired Glickman's Panoramic position in Zero Day with Robert De Niro and the Jenna Ortega-led Wednesday, and is behind the Emmy and Golden Globe-nominated The Gentleman at Netflix, which recently wrapped production on season two. Upcoming projects also include Colman Domingo's directorial debut Scandalous! and a remake of The Faculty.
Miramax does not maintain a public open-submission portal. The most direct access pathway runs through established literary agents and entertainment attorneys with existing relationships at the company. The 32 decision makers tracked in recent coverage suggest a sizable development infrastructure; query letters and unsolicited material are not standard practice here. Attaching a producer with a prior Miramax relationship, or packaging material with talent, meaningfully improves the odds of a read.
Acquired
London Ghost Tour
Miramax
Supermax
Supermax (spec)
Supermax (spec by David Weil & David J. Rosen)
Supermax (spec script)
Supermax (spec script by David Weil & David J. Rosen)
No more than now is there a need for more spooky family movies at the box office.
Aligns with industry trend of reviving legacy IP with original creators; reflects broader shift toward creator-friendly deal structures and equity in franchise partnerships
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Does Miramax accept unsolicited scripts?
Miramax does not maintain a public open-submission policy and unsolicited scripts are not standard practice. The company acquires material through established literary agents, entertainment attorneys, and producer relationships. Recent acquisitions such as the spec Supermax by David Weil and David J. Rosen came through the traditional agency marketplace. Writers without representation should focus on attaching a producer or agent with an existing Miramax relationship before approaching the company.
What budget range does Miramax target?
Miramax has not publicly disclosed specific budget parameters for acquisitions or productions. Recent activity spans a wide range, from spec script acquisitions at undisclosed prices to franchise productions such as The Beekeeper sequel and the next Scary Movie installment, which carries a global Paramount distribution deal. Budget discussions are handled deal-by-deal. Writers and producers should not assume a fixed ceiling or floor based on publicly available information.
Does Miramax acquire projects from film festivals?
No specific festival acquisition activity has been reported in recent Miramax coverage. The company's current pattern leans toward spec script purchases, legacy IP optioning (such as the 1962 song Monster Mash), and franchise sequels developed internally. That said, Miramax's broader mandate for filmmaker-friendly, creator-driven projects is consistent with the kind of talent-attached material that surfaces at major festivals. Festival positioning is not confirmed as a primary acquisition channel at this time.
How do I reach Miramax as a writer or producer?
The most reliable pathway is through a WGA-signatory literary agent or an entertainment attorney with an existing Miramax relationship. The company tracks 32 decision makers according to recent coverage, indicating a sizable development team. Packaging material with a director or name talent before submission meaningfully increases the likelihood of a read. Miramax CEO Jonathan Glickman has been publicly active in deal-making, but cold outreach to executives is not a standard or recommended approach.
What genres is Miramax focused on right now?
Current Miramax activity clusters around several distinct lanes: franchise action sequels (The Beekeeper sequel with Jason Statham), parody and comedy (the next Scary Movie installment, premiering summer 2026 via Paramount), spooky family animation (Monster Mash animated musical), prestige drama (Roofman, Colman Domingo's Scandalous!), and genre remakes (The Faculty). On television, the company is active in thriller and dark comedy through Zero Day and Wednesday. Spooky family content and franchise revival are the most explicitly stated current priorities.
Is Miramax currently active in acquisitions?
Yes. Miramax has logged 183 tracked records over the past twelve months according to recent activity data. Confirmed recent acquisitions include the spec script Supermax by David Weil and David J. Rosen (with The Picture Company producing) and London Ghost Tour. The company also optioned the rights to the 1962 song Monster Mash from Reservoir and Capizzi Music Co. for animated feature development. While no new deals have been logged in the most recent 30-day window, the overall twelve-month volume indicates sustained acquisition activity.
Profile compiled from publicly-available sources: trade press (Deadline, Variety, IndieWire, The Hollywood Reporter, Screen Daily), festival market reports (Cannes Marche, AFM, EFM, TIFF Industry), executive public statements, and acquisition announcements. Activity counters reflect signal volume from continuous pipeline indexing.
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