Press Releases Archive for May, 2013

TELLURIDE FILM FESTIVAL ANNOUNCES DEAN TAVOULARIS AS 40th ANNIVERSARY FESTIVAL POSTER ARTIST

FOR IMMEDIATE RELEASE  May 30, 2013 BERKELEY, CA – The 40th Telluride Film Festival (August 29 – September 2, 2013), presented by National Film Preserve LTD., proudly announces Oscar-winning production designer Dean Tavoularis as its 2013 poster artist. Tavoularis will attend the 40th Telluride Film Festival over Labor Day weekend to present his poster design to…

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THE ACADEMY ANNOUNCES MUSEUM GIFT FROM BRETT RATNER

A $1 million gift from director Brett Ratner to the Academy Museum of Motion Pictures.

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SONY PICTURES CLASSICS ACQUIRES JIM JARMUSCH’S ONLY LOVERS LEFT ALIVE

FOR IMMEDIATE RELEASE                                                      NEW YORK (May 24, 2013) – Sony Pictures Classics announced today that they have acquired all North American rights to Jim Jarmusch’s ONLY LOVERS LEFT ALIVE, which…

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CINEDIGM ACQUIRES “VISITORS”

CINEDIGM ACQUIRES “VISITORS,” THE LANDMARK NEW FILM COLLABORATION BETWEEN DIRECTOR GODFREY REGGIO, COMPOSER PHILIP GLASS AND FILMMAKER JON KANE PRESENTED BY STEVEN SODERBERGH Cinedigm to Release Theatrically Following World Premiere Live Symphony Event at 2013 Toronto International Film Festival   LOS ANGELES, CA (May 22, 2013)– Cinedigm (NASDAQ: CIDM) has acquired all North American distribution rights…

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BLOOD TIES – Lionsgate Acquires U.S. Distribution Rights from Worldview Entertainment

Lionsgate has acquired U.S. distribution rights to BLOOD TIES from Worldview Entertainment.  The film premiered at the 2013 Cannes Festival and the studio will release through its sister company Roadside Attractions.  Directed by Guillaume Canet from a screenplay written by Canet and James Gray, the film is based on the screenplay “Les Liens du sang” by…

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ACADEMY ANNOUNCES ANIMATED FEATURE FILM RULE CHANGE

May 20, 2013 FOR IMMEDIATE RELEASE  BEVERLY HILLS, CA – The Board of Governors of the Academy of Motion Picture Arts and Sciences approved rules for the 86th Oscars®.  The most significant change affects the Animated Feature Film category. In this category, the new rule designates a maximum of two award recipients, one of whom…

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MUSIC BOX FILMS ACQUIRES 2013 CANNES COMPETITION TITLE ‘MICHAEL KOHLHAAS’ STARRING MADS MIKKELSEN

  Cannes, France… – May 17, 2013 – Chicago-based Music Box Films has acquired all US and Canadian rights to Arnaud des Pallières’ MICHAEL KOHLHAAS, starring Mads Mikkelsen and freely adapted from the 1811 Heinrich von Kleist novel, in advance of its first market screening. Films du Losange is handling international sales. As director Arnaud des Pallières describes it, his story…

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CASSIAN ELWES AND ROBERT OGDEN BARNUM FORM NEW FILM FINANCING AND PRODUCTION VENTURE e2b CAPITAL

FOR IMMEDIATE RELEASE  LOS ANGELES, CA (May 17, 2013) – It was announced today that independent film producers Cassian Elwes and Robert Ogden Barnum have launched e2b Capital, a new entertainment company for independent filmmakers and financiers seeking financing and global distribution expertise. Elwes and Barnum will serve as co-heads of the Los Angeles-based operation.  Backed by a growing group of…

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Philip Seymour Hoffman Set to Star In John Slattery’s “God’s Pocket”

Film Marks Slattery’s Feature Directorial Debut And Co-Stars Richard Jenkins, Christina Hendricks and John Turturro Park Pictures Features Will Produce In Partnership with Cooper’s Town Productions and Shoestring Pictures NEW YORK, NY – MAY 15, 2013 — Park Pictures Features announced today Academy Award®-winning actor, Philip Seymour Hoffman, is set to star in God’s Pocket, the upcoming film directorial debut from Emmy®-nominee John Slattery….

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WINNERS ANNOUNCED FOR 2013 STUDENT ACADEMY AWARDS®

BOB SAGET TO HOST AWARDS CEREMONY

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Oak Cliff Film Festival 2013 Announces Films, Events, and Sponsors

Opening night: Swanberg’s DRINKING BUDDIES; PUSSY RIOT

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IFP ANNOUNCES DOCUMENTARY LINE-UP FOR ITS ANNUAL INDEPENDENT FILMMAKER LABS

First Time Directors Selected for Highly Successful Year-long Mentorship New York, NY  (May 13, 2013) – The Independent Filmmaker Project (IFP) announced today the ten documentaries selected for the 2013 Independent Filmmaker Labs, IFP’s  annual year-long fellowship for first-time feature directors.  The key creative teams of the selected films, chosen from a national pool of 200…

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VIRGIN PRODUCED AND OVERBROOK ENTERTAINMENT JOIN FORCES ON NON-EXCLUSIVE PACT BEGINNING WITH “AFTER EARTH”

“At Virgin, we believe it’s important to give mankind a heightened awareness of the nature and vulnerability of our planet. “

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Kino Lorber and Adopt Films Pact on an Exclusive Distribution Deal

Agreement to distribute selected titles from Adopt Films on home media and digital platforms.

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Sundance Institute Selects 13 Projects for 2013 June Directors and Screenwriters Labs

For Immediate Release May 9, 2013 – Los Angeles, CA — Sundance Institute today announced the 13 projects selected for its annual June Directors and Screenwriters Labs, taking place at the Sundance Resort in Utah from May 27 through June 27. Under the leadership of Michelle Satter, Founding Director of the Institute’s Feature Film Program, and…

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The Walt Disney Company Reports Second Quarter Earnings for Fiscal 2013

“Our results reflect our successful strategy, the strength of our brands and the value of our high-quality creative content.”

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ACADEMY ANNOUNCES RULE CHANGE IN TWO CATEGORIES

The entire voting membership will automatically be eligible to vote in all 24 Oscar categories

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2013 STUDENT ACADEMY AWARDS FINALISTS ANNOUNCED

May 1, 2013 FOR IMMEDIATE RELEASEBEVERLY HILLS, CA – Thirty-eight students from 17 U.S. colleges and universities as well as nine students from foreign universities have been selected as finalists in the Academy of Motion Picture Arts and Sciences’ Student Academy Awards competition.  Winners will be brought to Los Angeles for a week of industry…

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Press Releases

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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