By Ray Pride Pride@moviecitynews.com

Paul Feig Goes After Digital Content From Female, LGBTQ and Creators of Color

PAUL FEIG GOES DIGITAL TO CONTINUE TO CHAMPION NEW VOICES FROM UNDERSERVED/UNTAPPED VOICES 

Feig launches digital content company Powderkeg to be run by Laura Fischer

Filmmaker Paul Feig is launching a new company to create digital content that champions new voices with a special commitment to female, LGBTQ, and filmmakers of color. “It has long been a goal of mine to create an outlet for new and little-heard voices, both in front of and behind the camera. Entertainment needs to be fully representative of our entire population, and I am thrilled to have this outlet to help empower and bring exposure to as many distinct and varied new voices as possible.” Laura Fischer, previously Head of Production and development at Yahoo, will serve as CEO of Powderkeg. Independent from Feigco’s film deal at Fox and television deal at Lionsgate, Powderkeg will be home to scripted and unscripted series, as well as incubator programs, and is funded by Superbrand LLC, the private entertainment industry investment company of Adam Bold, co-founder of Grandma’s House Entertainment. CAA helped orchestrate the deal for Powderkeg and will represent the new company.

“I met Laura during the development and production process on our Yahoo series Other Space and was impressed with her great taste and passion for finding narratives from vastly untapped creative minds, which has always been an important part of our Feigco mission,” says Feig. “I can’t think of anyone better to lead this new venture.”

Adds Fischer, “Paul has long championed the irrepressible power of women in comedy and his eye for talent is unparalleled. I’m excited to bring Paul’s commitment to empowering diverse voices and their unique brand of comedy to the digital space. Now is the perfect moment in time to explore the surprising, authentic, and hilarious stories that have yet to be told.”

Laura Fischer spent seven years at Disney where she built the television group’s first Digital Studio that garnered three Emmy nominations and one Emmy.

Paul Feig is a multi-talented creator, working successfully as a filmmaker, writer, producer, and author whose films (Spy, The Heat, Bridesmaids, Ghostbusters) have grossed over one billion dollars worldwide.  His production company, Feigco Entertainment, run by Jessie Henderson was created with one goal – creating edgy, commercial comedies and original tentpole films starring women (the first and only company of its kind).  Feig’s most recent film was the critically acclaimed reboot of Ghostbusters, starring Melissa McCarthy, Kristen Wiig, Kate McKinnon and Leslie Jones. The film, beloved by audiences worldwide, won the Favorite Movie Award at the 2017 Nickelodeon’s Kids’ Choice Awards. Up next, Feig has directed his first thriller, A Simple Favor, starring Anna Kendrick, Blake Lively and Henry Golding which comes out this Fall. Feigco is also producing the film Someone Great for Netflix, the TV show “Girls Code” for Freeform and executive producing “The Joel McHale Show with Joel McHale” for Netflix.

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch