Press Releases Archive for June, 2011

NEW FRANCIS FORD COPPOLA FILM CONFIRMED FOR PANEL PRESENTATION AT 2011 COMIC-CON

Iconic filmmaker will make his first trip back to San Diego since 1991 Coppola will show portions of his upcoming film TWIXT and demonstrate the unique way he plans to present it. NEW YORK, NY (June 30, 2011) – Francis Ford Coppola will be presenting portions of his upcoming film TWIXT at a panel discussion…

Read the full article »

SOCIAL NETWORK BIG WINNER AT 12TH ANNUAL GOLDEN TRAILER AWARDS

GTA12 Jury Friends “The Social Network” With Three Wins AND “Best in Show” June 30, 2011 (Los Angeles, CA)—Last night,“The Social Network” came away from the 12th Annual Golden Trailer Awards with three wins in major categories and the coveted top honor, Best in Show. It is the first time a trailer has accomplished this…

Read the full article »

SUNDANCE INSTITUTE ANNOUNCES DOCUMENTARY FILMS TO RECEIVE $575,000 IN GRANTS

For Immediate Release June 30, 2011 Grants will Support 29 Documentary Projects, Filmmakers in 9 Countries Los Angeles, CA — Sundance Institute today announced the 29 feature-length documentary films selected to receive a total of $575,000 in Documentary Film Program (DFP) grants for the Spring 2011 round. The DFP received applications for grants from 650…

Read the full article »

WEINSTEIN COMPANY TO RELEASE MADONNA’S W.E. ON DECEMBER 9, 2011 IN NEW YORK AND L.A.

Love Story Stars Abbie Cornish, Andrea Riseborough, James D’Arcy And Oscar Isaac New York, NY, June 29, 2011 – The Weinstein Company (TWC) announced today that it will release Madonna’s “W.E.” on December 9, 2011 in New York and Los Angeles. The film will expand to additional markets in December, with wide release anticipated by…

Read the full article »

38th TELLURIDE FILM FESTIVAL ANNOUNCES 2011 GUEST DIRECTOR CAETANO VELOSO

Brazilian musician to curate special program of films for the four-day Festival June 28, 2011 – BERKELEY, CA – Telluride Film Festival (September 2-5, 2011), presented by National Film Preserve LTD., is proud to announce its 2011 Guest Director, Caetano Veloso. The beloved artist has been invited to select a series of films to present at…

Read the full article »

Ron Meyer Signs Thru 2015

Ron Meyer has signed a new contract to continue as President and Chief Operating Officer, Universal Studios. He will remain with the company at least through through 2015 and he will continue to report to Steve Burke.

Read the full article »

AFI-DISCOVERY CHANNEL SILVERDOCS DOCUMENTARY FESTIVAL ANNOUNCES AWARD WINNERS

FAMILY INSTINCT, OUR SCHOOL and GUANAPE SUR Receive Festival’s Prestigious Sterling Awards Additional Distinguished Awards Go to THE LOVING STORY and LIFE IN A DAY Competitive Grants Go To THE GREAT INVISIBLE, BLUESPACE and THE TILLMAN STORY INTERACTIVE EDITION Special Jury Mentions to THE BULLY PROJECT, WHEN THE DRUM IS BEATING Winners to receive $76,500…

Read the full article » 1 Comment »

4,891 SMURFS FANS SET NEW GUINNESS WORLD RECORD TITLE FOR LARGEST GATHERING OF PEOPLE DRESSED AS SMURFS WITHIN A 24-HOUR PERIOD IN MULTIPLE VENUES ON GLOBAL SMURFS DAY

CULVER CITY, Calif., June 25, 2011 – Today, in honor of Global Smurfs Day, Smurfs fans in 11 cities around the world set a new Guinness World Records title for the Largest Gathering of People Dressed as Smurfs within a 24-hour Period in Multiple Venues, it was announced today by Marc Weinstock, president, Worldwide Marketing…

Read the full article »

MIDNIGHT IN PARIS MARKS WOODY ALLEN’S HIGHEST GROSSING FILM IN NORTH AMERICA IN 25 YEARS

NEW YORK, NY (June 23, 2011) – Sony Pictures Classics announced today that MIDNIGHT IN PARIS has become Woody Allen’s highest grossing film in North America in 25 years. MIDNIGHT IN PARIS has grossed $23,330,859 to date. Sony Pictures Classics’ upcoming releases include BEATS, RHYMES & LIFE: THE TRAVELS OF A TRIBE CALLED QUEST; LIFE,…

Read the full article » 2 Comments »

PALADIN TAKES A “FALL”

NEW YORK, NY (June 21, 2011) — ONE FALL, a powerful story about a man who is both blessed and cursed with an unusual power, will be released by Paladin in August, it was announced by company president Mark Urman.  Veteran New York-based indie producers Dean Silvers and Marlen Hecht, who number among their credits…

Read the full article »

JOHN STEINBECK’S THE LOG FROM THE SEA OF CORTEZ TO GRACE THE BIG SCREEN

JUNE 21, 2011 — New York, NY – Robert Kanter announced today that he has acquired the exclusive world-wide documentary film rights to Nobel Prize recipient and celebrated author John Steinbeck’s non-fiction work, The Log from the Sea of Cortez. Through his production shingle, Sardine Boat Pictures, Kanter will recreate and film the six-week voyage Steinbeck…

Read the full article » 1 Comment »

WOODY ALLEN ANNOUNCES FULL CAST FOR HIS LATEST FILM, “THE BOP DECAMERON”

For Immediate Release New York (June 20, 2011) – Woody Allen announced today the full cast for “The Bop Decameron,” his latest film in pre-production. Starring, in alphabetical order, are: Woody Allen, Alec Baldwin, Roberto Benigni, Penélope Cruz, Judy Davis, Jesse Eisenberg, Greta Gerwig and Ellen Page. Co-stars include Antonio Albanese, Fabio Armiliata, Alessandra Mastronardi,…

Read the full article »

SAG and AFTRA Convene Formal Discussions to Create One Union

Silver Spring, Maryland (June 19, 2011) — Screen Actors Guild and the American Federation of Television and Radio Artists convened this weekend for the first, formal face-to-face discussions between the AFTRA New Union Committee and the SAG Merger Task Force at the National Labor College in Silver Spring, Maryland. The two groups, comprised of members…

Read the full article »

Academy Invites 178 To Membership

June 17, 2011 FOR IMMEDIATE RELEASE Beverly Hills, CA – The Academy of Motion Picture Arts and Sciences is extending invitations to join the organization to 178 artists and executives who have distinguished themselves by their contributions to theatrical motion pictures.  Those who accept the invitation will be the only additions in 2011 to the…

Read the full article »

WARNER BROS. AND RYAN REYNOLDS JOIN FORCES TO HONOR MILITARY DADS

FOR IMMEDIATE RELEASE “Green Lantern” Star Flies by Miramar to Kick Off Father’s Day Weekend with Advance Screening Burbank, CA, June 16, 2011 – Ryan Reynolds, the star of Warner Bros. Pictures’ epic action adventure “Green Lantern,” made a special appearance at Marine Corps Air Station Miramar today to herald the opening of the new…

Read the full article »

SPC Seduced By Cronenberg’s DANGEROUS METHOD

NEW YORK (June 16, 2011) – Sony Pictures Classics announced today that they have acquired U.S. rights to David Cronenberg’s A DANGEROUS METHOD from UK-based Hanway Films. The film, produced by Jeremy Thomas (THE LAST EMPEROR, SEXY BEAST), stars Viggo Mortenson, Keira Knightley, Michael Fassbender, and Vincent Cassel.  The film is currently in postproduction. Cronenberg…

Read the full article »

Relativity to Release Haywire: Studio Dates Soderbergh Thriller on 1/20/12

(Beverly Hills, CA) June 15, 2011 – Relativity Media announced today that it has retained North American rights to theatrically market and distribute its action-thriller Haywire, directed by Oscar winner Steven Soderbergh (Traffic). The film is set for a January 20, 2012 wide release. Mixed martial arts (MMA) superstar Gina Carano (American Gladiators) makes her feature…

Read the full article »

ACADEMY BUILDS SURPRISE INTO BEST PICTURE RULES

FOR IMMEDIATE RELEASE Beverly Hills, CA – The governors of the Academy of Motion Picture Arts and Sciences voted on Tuesday (6/14) to add a new twist to the 2011 Best Picture competition, and a new element of surprise to its annual nominations announcement.  The Board voted to institute a system that will now produce…

Read the full article » 3 Comments »

2011 AUSTIN FILM FESTIVAL TO HONOR JOHN LASSETER WITH EXTRAORDINARY CONTRIBUTION TO FILMMAKING AWARD

CHIEF CREATIVE OFFICER OF WALT DISNEY AND PIXAR ANIMATION STUDIOS JOINS DISTINGUISHED SCREENWRITER AWARDEE CAROLINE THOMPSON AND “BONES” CREATOR HART HANSON, OUTSTANDING TELEVISION WRITER AWARDEE AUSTIN, TX (June 14, 2011) – The Austin Film Festival (AFF) is proud to announce that this year’s recipient of the 2011 Extraordinary Contribution to Filmmaking Award will be John Lasseter, Chief Creative Officer, Walt Disney and Pixar Animation…

Read the full article »

Entertainment One Announces Acquisition and U.S. Theatrical Release of “THE FAMILY TREE”

FOR IMMEDIATE RELEASE Film starring Hope Davis, Dermot Mulroney, Brittany Robertson and Chi McBride to open in New York City and Los Angeles on August 26 New York – June 14, 2011 – Entertainment One has acquired North American rights to THE FAMILY TREE, a hilarious, touching and offbeat comedy which explores the frailties and complexities of the…

Read the full article »

Press Releases

Quote Unquotesee all »

This is probably going to sound petty, but Martin Scorsese insisting that critics see his film in theaters even though it’s going straight to Netflix and then not screening it in most American cities was a watershed moment for me in this theatrical versus streaming debate.

I completely respect when a filmmaker insists that their movie is meant to be seen in the theater, but the thing is, you got to actually make it possible to see it in the theater. Some movies may be too small for that, and that’s totally OK.

When your movie is largely financed by a streaming service and is going to appear on that streaming service instantly, I don’t really see the point of pretending that it’s a theatrical film. It just seems like we are needlessly indulging some kind of personal fantasy.

I don’t think that making a feature film length production that is going to go straight to a video platform is some sort of “step down.“ I really don’t. Theatrical exhibition as we know it is dying off anyway, for a variety of reasons.

I should clarify myself because this thread is already being misconstrued — I’m talking about how the movie is screened in advance. If it’s going straight to Netflix, why the ritual of demanding people see it in the theater?

There used to be a category that everyone recognized called “TV movie” or “made for television movie” and even though a lot of filmmakers considered that déclassé, it seems to me that probably 90% of feature films fit that description now.

Atlantis has mostly sunk into the ocean, only a few tower spires remain above the waterline, and I’m increasingly at peace with that, because it seems to be what the industry and much of the audience wants. We live in an age of convenience and information control.

Only a very elite group of filmmakers is still allowed to make movies “for theaters“ and actually have them seen and judged that way on a wide scale. Even platform releasing seems to be somewhat endangered. It can’t be fought. It has to be accepted.

9. Addendum: I’ve been informed that it wasn’t Scorsese who requested that the Bob Dylan documentary only be screened for critics in theaters, but a Netflix representative indicated the opposite to me, so I just don’t know what to believe.

It’s actually OK if your film is not eligible for an Oscar — we have a thing called the Emmys. A lot of this anxiety is just a holdover from the days when television was considered culturally inferior to theatrical feature films. Everybody needs to just get over it.

In another 10 to 20 years they’re probably going to merge the Emmys in the Oscars into one program anyway, maybe they’ll call it the Contentys.

“One of the fun things about seeing the new Quentin Tarantino film three months early in Cannes (did I mention this?) is that I know exactly why it’s going to make some people furious, and thus I have time to steel myself for the takes.

Back in July 2017, when it was revealed that Tarantino’s next project was connected to the Manson Family murders, it was condemned in some quarters as an insulting and exploitative stunt. We usually require at least a fig-leaf of compassion for the victims in true-crime adaptations, and even Tarantino partisans like myself – I don’t think he’s made a bad film yet – found ourselves wondering how he might square his more outré stylistic impulses with the depiction of a real mass murder in which five people and one unborn child lost their lives.

After all, it’s one thing to slice off with gusto a fictional policeman’s ear; it’s quite another to linger over the gory details of a massacre that took place within living memory, and which still carries a dread historical significance.

In her essay The White Album, Joan Didion wrote: “Many people I know in Los Angeles believe that the Sixties ended abruptly on August 9, 1969, ended at the exact moment when word of the murders on Cielo Drive traveled like brushfire through the community, and in a sense this is true.”

Early in Once Upon a Time in Hollywood, as Leonardo DiCaprio and Brad Pitt’s characters drive up the hill towards Leo’s bachelor pad, the camera cranes up gently to reveal a street sign: Cielo Drive. Tarantino understands how charged that name is; he can hear the Molotov cocktails clinking as he shoulders the crate.

As you may have read in the reviews from Cannes, much of the film is taken up with following DiCaprio and Pitt’s characters – a fading TV actor and his long-serving stunt double – as they amusingly go about their lives in Los Angeles, while Margot Robbie’s Sharon Tate is a relatively minor presence. But the spectre of the murders is just over the horizon, and when the night of the 9th finally arrives, you feel the mood in the cinema shift.

No spoilers whatsoever about what transpires on screen. But in the audience, as it became clear how Tarantino was going to handle this extraordinarily loaded moment, the room soured and split, like a pan of cream left too long on the hob. I craned in, amazed, but felt the person beside me recoil in either dismay or disgust.

Two weeks on, I’m convinced that the scene is the boldest and most graphically violent of Tarantino’s career – I had to shield my eyes at one point, found myself involuntarily groaning “oh no” at another – and a dead cert for the most controversial. People will be outraged by it, and with good reason. But in a strange and brilliant way, it takes Didion’s death-of-the-Sixties observation and pushes it through a hellfire-hot catharsis.

Hollywood summoned up this horror, the film seems to be saying, and now it’s Hollywood’s turn to exorcise it. I can’t wait until the release in August, when we can finally talk about why.

~ Robbie Collin