Press Releases Archive for August, 2011

Nick Ray’s WE CAN’T GO HOME AGAIN Goes To Oscilloscope

NEW YORK (August 31,2011) – Oscilloscope Laboratories announced today that it has acquired North American distribution rights to Nicholas Ray’s WE CAN’T GO HOME AGAIN, the director’s pioneering last film, for release in honor of the centenary of his birth. A pristine new restoration and reconstruction of the film will make its world premiere at the upcoming…

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PHASE 4 FILMS ACQUIRES U.S. AND CANADIAN RIGHTS TO JAMES WESTBY’S RID OF ME

SUBMARINE TO PARTNER ON A FALL THEATRICAL RELEASE FOR IMMEDIATE RELEASE Los Angeles, CA (August 31, 2011) – Berry Meyerowitz, President & CEO of Phase 4 Films, announced today that the company has acquired all U.S. and Canadian rights to director James Westby’s black comedy RID OF ME.  Phase 4 will partner with Submarine on…

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‘Suing The Devil’ is #2 Indie Film at Box Office – Faith-Based Movie Seeks to Expose the Devil’s Greatest Lie

LOS ANGELES, Aug. 30, 2011 — Suing the Devil, the highly-acclaimed film that opened in select theaters nationwide on August 26, 2011 had the second highest-grossing average of any independent film in the nation. The film, which won 5-Dove Seal from the Dove Foundation, hit theaters in in cities across the nation, including Dallas, Houston, Evansville,…

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CRAZY HORSE, FREDERICK WISEMAN’S LATEST, TO OPEN THEATRICALLY ON JANUARY 18, 2012 AFTER PLAYING IN VENICE, TORONTO AND NEW YORK FILM FESTIVALS

CRAZY HORSE, FREDERICK WISEMAN’S LATEST, TO OPEN THEATRICALLY ON JANUARY 18, 2012 AFTER PLAYING IN VENICE, TORONTO AND NEW YORK FILM FESTIVALS Zipporah Films and mTuckman media dance again on documentary about famous Parisian cabaret club New York, NY (August 28, 2010) – Zipporah Films announced today that it will once again work with Michael Tuckman…

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Bumble Ward Named Executive Vice President of Publicity in Twentieth Century Fox’s Domestic Theatrical Marketing

LOS ANGELES (August 29, 2011) — Bumble Ward has been named Executive Vice President of Publicity in Twentieth Century Fox’s Domestic Theatrical Marketing Department, it was announced today by Oren Aviv, the studio’s President of Domestic Theatrical Marketing and Chief Marketing Officer, and Tony Sella, President, Domestic Theatrical Marketing and Chief Creative Officer. Ward will…

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AMERICAN FILM INSTITUTE ANNOUNCES PEDRO ALMODÓVAR AS GUEST ARTISTIC DIRECTOR OF AFI FEST

2011 Marks 25th Edition of AFI FEST LOS ANGELES, CA, August 29, 2011 – American Film Institute (AFI) announced today that internationally acclaimed filmmaker Pedro Almodóvar will serve as its Guest Artistic Director at AFI FEST 2011 presented by Audi. AFI FEST — celebrating its 25th year in 2011 — will take place November 3…

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London Film Festival 2011 Opener

London –24 August: The 55th BFI London Film Festival, in partnership with American Express, is proud to announce that this year‟s Festival will open on Wednesday 12 October with the European premiere of 360, directed by Fernando Meirelles (City of God, The Constant Gardener, Blindness) and with an original screenplay from the acclaimed writer Peter…

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ABC BANS COMMERCIAL SPOT FOR THE WEINSTEIN COMPANY’S COMEDY OUR IDIOT BROTHER

Network Refuses To Air Spot, Prompting Studio To Cut New Red Band Trailer For Film In Advance Of August 26 Opening New York, NY, August 25, 2011 – The Weinstein Company (TWC) announced today that ABC has refused to broadcast the commercial spot for its new comedy OUR IDIOT BROTHER,  unless TWC makes specified cuts.  The…

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Seattle Cinerama Film Festival Announced

Rare, Classic Films to Screen at Seattle Cinerama Theater SEATTLE, Aug. 25, 2011 –  Film buffs will be treated to 15 classic widescreen movies during the Cinerama Film Festival, including extremely rare 70mm prints from studio vaults and the archives of The Academy of Motion Picture Arts and Sciences. The festival opens Sept. 30 at…

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THE FILM SOCIETY OF LINCOLN CENTER announces SPECIAL SCREENINGS

THE FILM SOCIETY OF LINCOLN CENTER announces U.S. Premiere of the HBO Documentary PARADISE LOST 3: PURGATORY with never-before seen NEW Ending Special Sneak Preview of Oliver Stone’s The Untold History of the United States PLUS many more special anniversary screenings, documentary presentations and events announced to take place at 2011 NEW YORK FILM FESTIVAL…

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JEB BRODY JOINING FOCUS FEATURES AS PRESIDENT OF PRODUCTION

FOR IMMEDIATE RELEASE LOS ANGELES, August 24, 2011 – Jeb Brody is joining Focus Features as the worldwide film company’s president of production. Focus CEO James Schamus and president Andrew Karpen, to whom Mr. Brody will report, made the announcement today. Mr. Brody, who begins work next month, will be stepping into the production presidency…

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MAYOR BLOOMBERG ANNOUNCES A RECORD 23 PRIMETIME TELEVISION SERIES NOW BEING FILMED IN THE FIVE BOROUGHS

FOR IMMEDIATE RELEASE PR- 304-11 August 22, 2011 MAYOR BLOOMBERG ANNOUNCES A RECORD 23 PRIMETIME TELEVISION SERIES NOW BEING FILMED IN THE FIVE BOROUGHS – ADDING TO THE 100,000 JOBS SUPPORTED BY NEW YORK CITY’S ENTERTAINMENT INDUSTRY Industry Now Supports 4,000 Local Businesses and Contributes $5 Billion to the Local Economy Mayor Michael R. Bloomberg…

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Chicago Int’l Names First 25 Selections For 47th Edition

Every year, we search the globe for the new, the unconventional and the bold, and we bring it to you. This is but just a sample of the riches you will find in October, from award-winning films from some of the world’s most important festivals to World and North American premieres. By ordering your passes…

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Marilyn Monroe to appear on 2012 Billy Wilder stamp as part of the “Great Film Directors’ Forever stamps set

Hi, I wanted to give you a head’s up that director Bill Wilder will be immortalized on a stamp in 2012 as part of our “Great Film Directors” commemorative Forever stamps set. The Great Film Directors stamps are being issued as Forever stamps. Forever stamps are always equal in value to the current First-Class Mail…

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JOE BERLINGER AND BRUCE SINOFSKY IN COURT TODAY TO WITNESS THE CONCLUSION OF THEIR HBO DOCUMENTARY PARADISE LOST

JONESBORO, ARKANSAS., Aug. 19, 2011 – Critically acclaimed HBO documentary “Paradise Lost” filmmakers Joe Berlinger and Bruce Sinofsky were in court today to witness the stunning conclusion in which, after 18 years in prison, Jason Baldwin, Damien Echols and Jessie Misskelly, known as the West Memphis 3, were set free. The award-winning HBO documentary series…

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JOE BERLINGER AND BRUCE SINOFSKY IN COURT TODAY TO WITNESS THE CONCLUSION OF THEIR HBO DOCUMENTARY PARADISE LOST

For Immediate Release JOE BERLINGER AND BRUCE SINOFSKY IN COURT TODAY TO WITNESS THE CONCLUSION OF THEIR HBO DOCUMENTARY PARADISE LOST ——– Filmmakers To Change Ending As Decision Is Handed Down ——– Jason Baldwin, Damien Echols And Jessie Misskelly Set Free ——– Paradise Lost 3: Purgatory Set To Air On HBO Jan. 2012 ——– JONSEBORO,…

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ALCON ENTERTAINMENT PARTNERING WITH RIDLEY SCOTT TO DIRECT AND PRODUCE NEW ‘BLADE RUNNER’ FOLLOW UP

BUD YORKIN AND CYNTHIA SIKES YORKIN ALSO TO PRODUCE LOS ANGELES, CA, AUGUST 18, 2011—Three-time Oscar-nominated director Ridley Scott is set to helm a follow up to his own ground-breaking 1982 science fiction classic “Blade Runner” for Warner Bros-based financing and production company Alcon Entertainment (“The Blind Side,” “The Book of Eli”). Alcon co-founders and…

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FIRST RUN ACQUIRES U.S. RIGHTS TO AWARD-WINNING FILMMAKER CARL COLBY’S THE MAN NOBODY KNEW

New York, NY (August 17, 2011) – First Run Features announced today that the company has acquired all U.S. rights to award-winning filmmaker Carl Colby’s riveting documentary THE MAN NOBODY KNEW: IN SEARCH OF MY FATHER, CIA SPYMASTER WILLIAM COLBY, which takes a look at the rise and fall of legendary CIA operative William Colby, one…

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THE FILM SOCIETY OF LINCOLN CENTER announces NYFF’s Main Slate of 27 Features

THE FILM SOCIETY OF LINCOLN CENTER announces Alexander Payne’s THE DESCENDANTS as Closing Night Gala Selection NEW YORK, August 17, 2011 —The Film Society of Lincoln Center announced today that Alexander Payne’s THE DESCENDANTS will be the Closing Night Gala selection for the 49th New York Film Festival (September 30-October 16). NYFF’s main slate of…

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THE WHALE to Premiere in Whaling Territory

FOR IMMEDIATE RELEASE New York, August 16, 2011 – In a surprising turn in the global fight over the killing of whales, normally fought at sea or in political conference rooms, THE WHALE, a new Ryan Reynolds-narrated documentary about the friendship between humans and a wild orca, will have its world premiere in one of the…

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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