Press Releases Archive for October, 2014

The Academy Lists The 134 Docs Submitted For Oscar 2014; Shortlist Of 15 Comes In December

134 DOCUMENTARY FEATURES SUBMITTED FOR 2014 OSCAR® RACE LOS ANGELES, CA – One hundred thirty-four features have been submitted for consideration in the Documentary Feature category for the 87th Academy Awards®. The submitted features, listed in alphabetical order, are: “Afternoon of a Faun: Tanaquil Le Clercq” “Ai Weiwei: The Fake Case” “Algorithms” “Alive Inside” “All…

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Ridley Scott’s RSA Film and Wild Card Launch “Next Generation Marketing” For Global Audiences

RSA FILMS AND WILD CARD DEBUT JOINT MARKETING VENTURE: 3AM Supported by Ridley Scott’s RSA Films and Wild Card, New Creative Consultancy Offers Studios Next Generation Marketing LOS ANGELES, CA, Oct. 30, 2014 – Wild Card, an industry leader in theatrical advertising, and RSA Films, Ridley Scott’s award-winning commercial production company, have launched 3AM, a new venture geared towards the…

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NATO And MPAA Set “Zero Tolerance” For Google Glass And Other Wearable Recording Devices

Today, the Motion Picture Association of America and the National Association of Theatre Owners announced an update to their joint policy to prevent film theft in theaters.  The update was made to fully integrate wearable tech into the rules following a joint meeting of NATO and MPAA theatrical anti-piracy teams at ShowEast, the annual industry…

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The International Documentary Association Announces Nominees For 2014 IDA Documentary Awards

  Emerging Documentary Award, Pare Lorentz Award, Creative Recognition Award Winners Named LOS ANGELES, October 29, 2014–The International Documentary Association (IDA) announced nominations for the 2014 IDA Documentary Awards today. This 30th edition of the world’s most prestigious awards for nonfiction filmmaking will take place on Friday, December 5th at the Paramount Theatre at Paramount…

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GRATEFUL DEAD ANNOUNCE OFFICIAL DOCUMENTARY IN CELEBRATION OF 50TH ANNIVERSARY

Executive Producer Martin Scorsese And Director Amir Bar-Lev To Offer A Never Before Seen Look At One Of Rock ‘N’ Roll’s Most Fascinating And Enduring Bands  LOS ANGELES – The Grateful Dead are proud to announce their first official career-spanning documentary to coincide with the band’s 50th anniversary celebration. Award-winning documentary filmmaker Amir Bar-Lev (“Happy…

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BROADWAY’S SHUBERT ORGANIZATION ANNOUNCES A DEVELOPMENT/PRODUCTION AGREEMENT WITH PRODUCERS CRAIG ZADAN & NEIL MERON

 NEW YORK (October 23, 2014) — The Shubert Organization has signed a three-year development/production deal with producers Craig Zadan and Neil Meron, it was announced today by Shubert Chairman, Philip J. Smith, and Shubert President, Robert E. Wankel. Under the agreement, Shubert will partner with Zadan and Meron in the development/production of original plays and…

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Indiegogo Selected by Apple as Only Crowdfunding Platform Participating in Apple Pay Launch

Indiegogo announces the immediate integration of the new single touch iPhone payment system Apple Pay™. Indiegogo is the only online funding platform selected to join the launch of the transformative mobile payment technology. Apple Pay provides Indiegogo’s global customer base with a one-touch way to fund ideas that matter to them, wherever they are and…

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Oscar Shortlists 8 Doc Shorts

 The Academy of Motion Picture Arts and Sciences today announced that the field of Documentary Short Subject contenders for the 87th Academy Awards® has been narrowed to eight films, of which three to five will earn Oscar® nominations. Voters from the Academy’s Documentary Branch viewed this year’s 58 eligible entries and submitted their ballots to…

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Tribeca And Lionsgate To Launch “Tribeca Short List” Subscription VOD Service In 2015

In a move to offer premium content to a growing online audience, Lionsgate (NYSE: LGF), a premier next generation global content leader, and Tribeca Enterprises, a diversified global media company which owns and operates the Tribeca Film Festival, have partnered to launch a subscription video-on-demand (SVOD) service, the two companies announced today. The service, called…

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Producer Barrie Osborne Turns To Kickstarter For “Environmental-Themed Family Drama”

Donors Contributing $1 Will Receive An On Screen Producer’s Credit – (Los Angeles, October 16, 2014) — Barrie M. Osborne, the Academy Award®-winning producer whose credits include some of the biggest blockbusters of all-time, among them The Lord of the Rings trilogy andThe Matrix, has turned to Kickstarter to help fund Talk Is Cheap, an important environmental-themed family drama for…

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Neil Patrick Harris Will Host Oscar 2015

Photo Credit: Eric Schwabel LOS ANGELES, CA – Award-winning star of stage and screen Neil Patrick Harris will host the 87th Oscars®, show producers Craig Zadan and Neil Meron announced today.  This will be Harris’ first time hosting the ceremony.   The show will air live on ABC on Oscar® Sunday, February 22, 2015. “We are…

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FSLC Makes Redford 42nd Annual Chaplin Award Winner

THE FILM SOCIETY OF LINCOLN CENTER ANNOUNCES ROBERT REDFORD AS RECIPIENT OF THE 42ND ANNUAL CHAPLIN AWARD; AWARD WILL BE PRESENTED APRIL 27, 2015 New York, NY (October 11, 2014) – The Film Society of Lincoln Center has announced that Robert Redford, Academy Award–winning director, actor, producer, environmentalist, and founder of the Sundance Film Festival and Institute,…

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83 Countries Submit For Best Foreign Language Oscar

A record 83 countries have submitted films for consideration in the Foreign Language Film category for the 87th Academy Awards®.  Kosovo, Malta, Mauritania and Panama are first-time entrants. The 2014 submissions are: Afghanistan, “A Few Cubic Meters of Love,” Jamshid Mahmoudi, director; Argentina, “Wild Tales,” Damián Szifrón, director; Australia, “Charlie’s Country,” Rolf de Heer, director;…

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A&E NETWORK FORMS NEW PARTNERSHIP WITH THE BROADCAST FILM CRITICS ASSOCIATION AND THE BROADCAST TELEVISION JOURNALISTS ASSOCIATION TO TELEVISE ‘THE CRITICS’ CHOICE MOVIE AWARDS’ AND ‘THE CRITICS’ CHOICE TELEVISION AWARDS’

20TH ANNUAL CRITICS’ CHOICE MOVIE AWARDS’ TO AIR JAN. 15 ON A&E New York, NY—October 7, 2014 — A&E Network has partnered with the Broadcast Film Critics Association (BFCA) and the Broadcast Television Journalists Association (BTJA) to become the exclusive home to the 2015 and 2016 “The Critics’ Choice Movie Awards” and “The Critics’ Choice Television…

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FOCUS FEATURES AND LAIKA PACT FOR DISTRIBUTION DEAL ON THREE NEW MOVIES

LAIKA and Focus Features, the two companies behind the hit animated feature The Boxtrolls, will continue their partnership on LAIKA’s next three projects. Focus CEO Peter Schlessel and LAIKA President and CEO Travis Knight made the announcement today. As with the three movies that the companies have partnered on previously, Focus will distribute the next three…

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RADiUS FALLS FOR ‘HEAVEN KNOWS WHAT’ AHEAD OF ITS NEW YORK FILM FESTIVAL DEBUT TOMORROW NIGHT

 DIRECTED BY THE SAFDIE BROTHERS, THE HIGHLY COVETED FILM WORLD PREMIERED AT THE VENICE FILM FESTIVAL FOLLOWED BY A TORONTO FILM FESTIVAL INVITATION New York, NY (October 1, 2014):  RADiUS proudly announced today that it has acquired US rights to HEAVEN KNOWS WHAT – ahead of tomorrow’s NEW YORK FILM FESTIVAL premiere – by celebrated filmmakers Josh…

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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