A few weeks ago HBO and then CBS announced that they would launch stand-alone online services in U.S. in 2015. Before that, Netflix had made known that it would start producing features, crushing theatrical release windows once and for all, after it had contributed to the change of the patterns of attention and the way TV series are made by releasing its House of Cards episodes all at once, as a 13-hour movie. ‘Now the real shakeout begins’, wrote Ted Hope in Hollywood Reporter. ‘We are witnessing the march from once lucrative legacy practices built around titles to a new focus on community.’ Michael Wolff, writing also in the Hollywood Reporter, disagrees: ‘Streaming services from the two networks don’t signal television’s capitulation to Netflix and the web; it’s actually the opposite, as the medium expands yet again to gobble up more revenue.’ And in that sense, he says,...
- 11/5/2014
- by Christina Kallas
- Hope for Film
By Beanie Barnes
Data is a funny thing. It can, at once, confirm and discredit the exact same theory. For example, if a $500m film makes $100m at the box office on its opening weekend, it could mean that the film is a) a bust or b) gaining momentum. Such was the case with Avatar. By the end of 2009, several people were calling the film a “flop,” but by mid-2010, it was obvious that, of all the words to describe Avatar, “flop” was not one of them. And although the film has been hailed as a marketing and technological success, if it had failed, it very likely would have been called it a marketing and technological bomb (with marketing heads rolling at the studio).
Misreading data is prevalent in film. It isn’t so much that we misread the tea leaves, so much as it is that, rather than reading...
Data is a funny thing. It can, at once, confirm and discredit the exact same theory. For example, if a $500m film makes $100m at the box office on its opening weekend, it could mean that the film is a) a bust or b) gaining momentum. Such was the case with Avatar. By the end of 2009, several people were calling the film a “flop,” but by mid-2010, it was obvious that, of all the words to describe Avatar, “flop” was not one of them. And although the film has been hailed as a marketing and technological success, if it had failed, it very likely would have been called it a marketing and technological bomb (with marketing heads rolling at the studio).
Misreading data is prevalent in film. It isn’t so much that we misread the tea leaves, so much as it is that, rather than reading...
- 6/27/2014
- by Ted Hope
- Hope for Film
A creative advisor, panelist and filmmaker who premiered every single one of her films at the festival from her 1991 short film Angry to 2010′s Please Give with Walking and Talking (Sundance ’96), Lovely & Amazing (Sundance ’01) Friends with Money (Sundance ’06) in between, Nicole Holofcener might as well Park City give her the key to the city as she pretty much owns Main Street. But it may be up to Fox Searchlight to ultimately decide whether they want to unspoil at this fest.
Gist: This focuses on Eva (Julia Louis-Dreyfus) who finds the strength to put her divorce behind her when she meets the strong-willed Marianne (Catherine Keener). As a result, Eva starts dating a new man (James Gandolfini) only to discover that he’s Marianne’s ex-husband.
Production Co./Producers: Likely Story’s Anthony Bregman.
Prediction: Premieres section
U.S. Distributor : Fox Searchlight
prev next...
Gist: This focuses on Eva (Julia Louis-Dreyfus) who finds the strength to put her divorce behind her when she meets the strong-willed Marianne (Catherine Keener). As a result, Eva starts dating a new man (James Gandolfini) only to discover that he’s Marianne’s ex-husband.
Production Co./Producers: Likely Story’s Anthony Bregman.
Prediction: Premieres section
U.S. Distributor : Fox Searchlight
prev next...
- 11/22/2012
- by Eric Lavallee
- IONCINEMA.com
Over the past two decades, Aspen Shortsfest has hosted an astonishing roster of now-famous filmmakers. For the 20th Annual Aspen Shortsfest, which began April 10 and ends on the 15th, Indiewire spoke to festival artistic director Laura Thielen and program director George Eldred about the delight of discovering diamonds in the rough. Looking back to the festival’s early years, who were some of the filmmakers that stood out? Thielen: This morning I went through some of the old catalogues and saw that in 1992, the festival showed about 20 films in two programs. And one of the filmmakers in that list was Nicole Holofcener with a five-minute short called “Angry.” In 1993, we had “Season of the Lifterbees,” a 29-minute film by Eugene Jarecki. Also that year was the first time we showed a short by Trey Parker. In 1994, we had a short called “Ice Cream” by Louis Ck. You see these filmmakers...
- 4/13/2012
- by Kim Adelman
- Indiewire
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