Press Releases Archive for June, 2015


  AUDIENCE AWARD WINNERS INCLUDE ME AND EARL AND THE DYING GIRL, HARRY & SNOWMAN and PINK BOY   ANIMATED FEATURE SHAUN THE SHEEP THE MOVIE RUNNER UP AUDIENCE AWARD WINNER   Nantucket, MA (June 28, 2015) – The 20th Anniversary Nantucket Film Festival (NFF) today announced the winners of the prestigious Showtime Tony Cox Screenplay…

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Academy Invites 233 New Members

The Academy of Motion Picture Arts and Sciences is extending invitations to join the organization to 322 artists and executives who have distinguished themselves by their contributions to theatrical motion pictures.  Those who accept the invitations will be the only additions to the Academy’s membership in 2015. “It’s gratifying to acknowledge the extraordinary range of…

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FSLC Salutes “Richard Lester: The Running Jumping Pop Cinema Iconoclast”

THE FILM SOCIETY OF LINCOLN CENTER ANNOUNCES RICHARD LESTER: THE RUNNING JUMPING POP CINEMA ICONOCLAST  (AUGUST 7-13) Lineup includes classics A Hard Day’s Night, A Funny Thing Happened on the Way to the Forum, Petulia, Robin and Marian, the U.S. Premiere of The Return of the Musketeers, and many more on 35mm New York, NY…

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Principal photography has begun on Todd Solondz’s WIENER-DOG, Annapurna Pictures announced today. Solondz wrote and directs the film, which stars Julie Delpy, Greta Gerwig, Kieran Culkin, Danny DeVito, Brie Larson, Ellen Burstyn, Zosia Mamet and Tracy Letts. Megan Ellison is producing through her Annapurna Pictures alongside Christine Vachon of Killer Films. David Distenfeld is the…

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Los Angeles City Council Approves Academy Museum Design

  CONSTRUCTION SCHEDULED TO BEGIN THIS SUMMER   LOS ANGELES, CA – The Academy of Motion Picture Arts and Sciences announced today that the Los Angeles City Council, in a unanimous vote, approved plans for the Academy Museum of Motion Pictures. Construction will begin this summer, and ceremonial groundbreaking festivities will occur this fall. “I…

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Small Number Of Academy Changes Most Add Oscar Slots; Marketing Changes Again Afoot

The Academy’s Board of Governors approved Oscars rules and campaign regulations for the 88th Academy Awards® at their most recent Board meeting (Tuesday night, 6/23). In the Best Picture category, to qualify as a producer nominee for a nominated picture, the producer must have been determined eligible for a Producers Guild of America (PGA) award…

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Includes An Evening with Apatow and Lena Dunham; FREE Freaks and Geeks marathon; a complete showcase of the films he’s directed, selected films he’s produced, and two from Hal Ashby that have influenced him On July 14 the series concludes with the World Premiere of Apatow’s latest film from Universal Pictures, Trainwreck, which will screen…

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AWARD-WINNING DOCUMENTARY EXPOSES CHINESE COMPANY’S PLAN TO TURN  5,000 YEAR-OLD ARCHEOLOGICAL SITE IN AFGHANISTAN INTO COPPER MINE, DESTROYING PRICELESS BUDDHIST RELICS   JUNE 23 2015 (Chicago) — Acclaimed Chicago not-for-profit documentary collective Kartemquin Films announced today that they will make director Brent E. Huffman’s film Saving Mes Aynak available for free to the people of…

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Best Feature goes to WHAT HAPPENED, MISS SIMONE? Best Short goes to A CONVERSATION WITH MY BLACK SON Festival Convenes Global Filmmakers With U.S. and International Leaders FOR IMMEDIATE RELEASE, Washington, DC, June 22, 2015 — AFI DOCS announced today its Audience Award winners, concluding the five-day festival in the Washington, DC area. This year’s…

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The 22nd Chicago Underground Film Festival Wraps With Record Attendance, Jury Awards Announced

(Logan Square, June 17, 2015) – The Chicago Underground Film Festival, presented by Jameson Irish Whiskey with additional support from Lagunitas Brewing Company, Tribeca Flashpoint Academy and SAG-AFTRA, concluded its 22nd edition with another year of increased attendance. More than 2,000 cinephiles converged on the Logan Theatre for the five-day event, which drew an unprecedented…

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Sundance Institute Adds Five New Trustees

Fred Dust  |  Philipp Engelhorn  |  Caterina Fake  |  Gigi Pritzker  |  Alejandro Ramírez Magaña New Trustees Bring Experience in Creative Design, Social Innovation, Philanthropy,  Technology, Culture, Producing, Financing and Film Exhibition Los Angeles, CA — Sundance Institute today announced five new members of the Institute’s Board of Trustees: Fred Dust, Philipp Engelhorn, Caterina Fake,…

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James Wan Hires Michael Clear to Head Production Company Atomic Monster

James Wan today announced the hiring of Michael Clear to head his Atomic Monster production company.  Clear will oversee day-to-day operations reporting directly to Wan. “Michael is a great addition to the Atomic Monster team,” said Wan.  “Michael is a savvy decision-maker and a dynamic executive.  He and I have a similar taste in films…

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 LOS ANGELES, CA JUNE 16, 2015– Veteran animator Eric Goldberg joins USC School of Cinematic Arts’ John C. Hench Division of Animation and Digital Arts. Goldberg will teach classes on the fundamentals of character animation beginning in the fall of 2015, it was announced by Tom Sito, Chair of SCA’s John C. Hench Division of…

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LOS ANGELES, CALIFORNIA — (June 15, 2015) — MadRiver Pictures announced today thatMark Romanek (NEVER LET ME GO) is in final negotiations to direct NORCO. MadRiver Pictures will finance and produce the actioner, which is based off a script written by Adair Cole (SAN PATRICIOS). Producers are Marc Butan and Mason Novick (JUNO, RICKI AND…

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Moviegoers can purchase tickets for DOPE using digital currency Bitcoin exclusively through NEW YORK (June 15, 2015) – For the upcoming nationwide release of the highly anticipated comedy DOPE, Open Road Films has partnered with, and the leading international payment platform GoCoin to accept Bitcoin as payment when purchasing movie tickets at participating…

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  And the Golden Space Needle Audience Awards Are… “The Dark Horse” wins Best Film & Best Actor (Cliff Curtis) Alfonso Gomez-Rejon of “Me and Earl and the Dying Girl” wins Best Director “Romeo is Bleeding” wins Best Documentary; Nina Hoss (“Phoenix”) wins Best Actress “Liza, The Fox-Fairy,” “The Great Alone,” and “Chatty Catties” Win…

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Lost Jules Feiffer Script Set For Production

Bugeater Films and director Dan Mirvish announced today that they have acquired the rights to Pultizer/Oscar/Obie winner Jules Feiffer’s screenplay “Bernard and Huey” and are launching a Kickstarter campaign to generate early support for the film.  Mirvish is attached to direct, and is producing with Mike S. Ryan and Dana Altman.  “Bernard and Huey” is…

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NYFF To Open With Zemeckis 3D Philippe Petit Picture

THE FILM SOCIETY OF LINCOLN CENTER ANNOUNCED TODAY THE WORLD PREMIERE OF ROBERT ZEMECKIS’S THE WALK AS THE OPENING NIGHT SELECTION OF THE 53rd NEW YORK FILM FESTIVAL      New York, NY (June 4, 2015) – The Film Society of Lincoln Center announced today that Robert Zemeckis’s The Walk will make its World Premiere…

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Wes Anderson Awarded Chevalier Of The French Order Of Arts And Letters

AWARD-WINNING DIRECTOR WES ANDERSON TO BE AWARDED CHEVALIER OF THE FRENCH ORDER OF ARTS AND LETTERS NEW YORK, June 03, 2015 — Wes Anderson, award-winning screenwriter and director, will be awarded Chevalier of the French Order of Arts and Lettersby Cultural Counselor of the French Embassy Bénédicte de Montlaur on June 9in New York. Anderson…

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Santa Barbara Film Festival Announces 2016 Dates, Ticket Sale Date

31ST ANNUAL SANTA BARBARA INTERNATIONAL FILM FESTIVAL TO RUN FEBRUARY 3 – FEBRUARY 13, 2016   Discount passes and ticket packages go on sale July 27th Santa Barbara, CA – The Santa Barbara International Film Festival has announced dates for its 31st year. The festival will kick off on Wednesday, February 3rd, and will run…

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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