Press Releases Archive for February, 2016

Bill Block Sets First Look Deal With Warner Bros

Billblock Media has closed a first-look production deal with Warner. Bros. Pictures.

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Doc Fest True/False 2015 Announces Full Programming

The 2016 True/False Film Festival  Runs March 3-6 Nation’s Premiere Documentary Festival Returns for 13th Year “My love for True/False runs deep – from the smart programming, passionate audiences, inspired buskers, and fabulous venues.”  – Laura Poitras “True/False is nirvana. When I went to True/False, I remembered what I sometimes forget: the unalloyed joy of…

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UCLA Sets Month-Long Jerry Bruckheimer Film Festival

[PR] LEGENDARY FILM PRODUCER JERRY BRUCKHEIMER TO BE HONORED BY THE UCLA SCHOOL OF THEATER, FILM AND TELEVISION  WITH A MONTH LONG FILM FESTIVAL THAT PAYS TRIBUTE TO HIS EXTRAORDINARY CAREER  The festival will celebrate Jerry Bruckheimer’s outstanding achievements in film offering panel discussions and screenings of beloved films such as  American Gigolo, Black Hawk…

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The Full BAFTAS 2015 List


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Oscar Adds 17 To Presenter List, Bringing Total To 41

Oscars® producers David Hill and Reginald Hudlin announced today a third slate of presenters for the 88th Oscars telecast.

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Russell Simmons Creates “All Def Movie Awards”

[PR] ALL DEF DIGITAL TO HOLD FIRST-EVER ALL DEF MOVIE AWARDS HOSTED BY TONY ROCK AT TCL CHINESE 6 THEATRES ON FEB 24 (February 10, 2016) — All Def Digital, the fastest growing video programming brand in hip hop and youth culture, is hosting the first-ever All Def Movie Awards just days before the Oscars, at the World Famous…

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Ira Sach’s Sundance Drama Little Men Goes To Magnolia

MAGNOLIA PICTURES TAKES U.S. RIGHTS TO IRA SACHS’ ‘LITTLE MEN’ STARRING GREG KINNEAR, JENNIFER EHLE, PAULINA GARCIA, AND SUNDANCE BREAKTHROUGHS THEO TAPLITZ AND MICHAEL BARBIERI Distrib takes Sachs’ New York-set sixth feature, one of the most acclaimed films of this year’s Sundance Film Festival New York, New York (February 11, 2016)  – Magnolia Pictures announced today that…

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[PR] BRAD FIEDEL’S DYSTOPIAN SCORE PART OF NICOLAS WINDING REFN PRESENTS SERIES OUT APRIL 8 ON MILAN RECORDS AUDIO: “Main Title” / Soundcloud + Pitchfork The score to The Terminator, composed by Brad Fiedel (Fright Night, True Lies), is as striking as the title character. Punctuated with erratic electronic jolts and rapid fire drums giving the…

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Academy Sets Oscar Lunch

OSCAR® NOMINEES TO BE HONORED AT ACADEMY LUNCHEON LOS ANGELES, CA —More than 150 Oscar® nominees will come together at noon on Monday, February 8, at the Beverly Hilton when the Academy of Motion Picture Arts and Sciences honors this year’s Oscar contenders at its annual Nominees Luncheon. Among the Lead Actor and Actress nominees,…

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Academy Governors Ball Will Salute “Art”

ACADEMY ANNOUNCES 2016 OSCARS® GOVERNORS BALL CREATIVE TEAM LOS ANGELES, CA – Academy governor Jeffrey Kurland, event producer Cheryl Cecchetto and master chef Wolfgang Puck will return to create this year’s Governors Ball, the Academy of Motion Picture Arts and Sciences’ official post-Oscar® celebration, which will immediately follow the 88th Oscars® ceremony on Sunday, February…

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The 20th ADG Awards

“The Martian” “Mad Max: Fury Road” and “The Revenant” Motion Picture Winners at the 20th Annual Art Directors Guild Excellence in Production Design Awards Celebrating “From Silver Screen to Every Screen” “Game of Thrones,” “House of Cards,” “American Horror Story”, “The Big Bang Theory” and “The Muppets” Win for Television Series Josh Brolin Presents David…

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Press Releases

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“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
James Gray

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
~ Producer Jeremy Thomas