By MCN Editor editor@moviecitynews.com

Alan Horn has been named Chairman of The Walt Disney Studios

BURBANK, Calif. – May 31, 2012 — Bob Iger, Chairman and CEO of The Walt Disney Company, announced today that Alan Horn has been named Chairman of The Walt Disney Studios effective June 11. Horn will oversee worldwide operations for The Walt Disney Studios including production, distribution and marketing for live-action and animated films from Disney, Pixar and Marvel, as well as marketing and distribution for DreamWorks Studios films released under the Touchstone Pictures banner. Disney’s music and theatrical divisions will also report to Horn.

Horn has been a prominent figure in the film and television industry overseeing creative executive teams responsible for some of the world’s most successful entertainment properties including the Harry Potter film franchise and the hit television series “Seinfeld” among others.

“Alan not only has an incredible wealth of knowledge and experience in the business, he has a true appreciation of movie making as both an art and a business,” said Iger. “He’s earned the respect of the industry for driving tremendous, sustained creative and financial success, and is also known and admired for his impeccable taste and integrity. He brings all of this to his new role leading our studio group, and I truly look forward to working with him.”

“I’m incredibly excited about joining The Walt Disney Company, one of the most iconic and beloved entertainment companies in the world,” said Horn. “I love the motion picture business and look forward to making a contribution as part of Bob Iger’s team working closely with the dedicated and talented group at the studio.”

Horn was most recently President and COO of Warner Bros. Entertainment where he had oversight of the Studios’ theatrical and home entertainment operations, including the Warner Bros. Pictures Group, Warner Premiere (direct-to-platform production), Warner Bros. Theatrical Ventures (live stage) and Warner Home Video. During his 12 year tenure, Warner Bros. Studios was the global box office leader seven times.

Among the numerous critically acclaimed films and box office hits released during his tenure are all eight films in the Harry Potter series, The Dark Knight, Charlie and the Chocolate Factory, Happy Feet, Sherlock Holmes, The Departed, Batman Begins, Million Dollar Baby, the second and third Matrix films and the Ocean’s Eleven trilogy. Horn is also an executive producer of The Hobbit: An Unexpected Journey.

Before joining Warner Bros., Horn co-founded Castle Rock Entertainment where he served as Chairman and Chief Executive Officer. He oversaw the creation of many critically acclaimed and beloved films including Best Picture Oscar nominees A Few Good Men, The Shawshank Redemption and The Green Mile as well as When Harry Met Sally, City Slickers, In the Line of Fire and the most successful show in television history, “Seinfeld.” Horn has also served as President and Chief Operating Officer of Twentieth Century Fox Film Corporation and was Chairman and CEO of Embassy Communications.

He is a member of the Academy of Motion Picture Arts and Sciences, the Academy of Television Arts and Sciences, the American Film Institute and the Museum of Broadcasting. He serves on the Board of Directors of the American Film Institute; as a Vice Chairman of the Natural Resources Defense Council (NRDC); is a co-founder of the Environmental Media Association (EMA); on the Board of Trustees for the Autry National Center in Los Angeles; and on the board of Harvard-Westlake School.

Horn received his MBA from Harvard Business School and served as a captain in the U.S. Air Force.

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch