Press Releases Archive for October, 2017

Joint. Joint Venture: MGM and Annapurna Pact Joint Deal For U. S. Distribution; Bond In Play?

METRO-GOLDWYN-MAYER AND ANNAPURNA PICTURES FORM JOINT VENTURE TO DISTRIBUTE FILMS THEATRICALLY IN THE U.S. MGM Returns to Domestic Theatrical Distribution LOS ANGELES (October, 31 2017) – Metro-Goldwyn-Mayer (MGM) and Annapurna Pictures (Annapurna) have formed a new joint venture for theatrical distribution in the U.S., it was announced today by Gary Barber, Chairman and Chief Executive Officer, Metro-Goldwyn-Mayer…

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Board Of Governors Drops Another Oscar On Alejandro G. Iñárritu

THE ACADEMY’S BOARD OF GOVERNORS AWARDS AN OSCAR TO ALEJANDRO G. IÑÁRRITU’S “CARNE Y ARENA”  VIRTUAL REALITY INSTALLATION LOS ANGELES, CA – The Board of Governors of the Academy of Motion Picture Arts and Sciences voted Wednesday (October 25) to present a Special Award – an Oscar statuette – to director Alejandro G. Iñárritu’s virtual reality installation, “CARNE y ARENA (Virtually Present,…

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Bold Films Extends $50 Million Finance Pact with Comerica Bank

[pr] Three Year Agreement Will Fund Future Film and TV Slate Los Angeles, Calif., Oct. 24, 2017 – Bold Films renews and increases its revolving line of credit with Comerica Bank, a $50 million dollar debt facility that extends for three years. The deal provides financing for the independent studio to produce four to six…

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Critics’ Choice Lifetime Achievement Award to Errol Morris

[pr] DOCUMENTARY FILMMAKER ERROL MORRIS TO RECEIVE THE LIFETIME ACHIEVEMENT AWARD AT THE CRITICS’ CHOICE DOCUMENTARY AWARDS The Broadcast Film Critics Association (BFCA) and the Broadcast Television Journalists Association (BTJA) have announced Oscar-winning documentary filmmaker Errol Morris as the recipient of the Critics’ Choice Lifetime Achievement Award. Morris will receive his award at the second annual Critics’…

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Get Out Tops Gotham Awards Noms With Four

 New York, NY (October 19, 2017) – The Independent Filmmaker Project (IFP), the nation’s premier member organization of independent storytellers, announced today the nominees for the 27th Annual IFP Gotham Awards. For 2017, ten competitive awards will be presented to independent features and series. In addition to the competitive awards, Gotham Award Tributes will be given…

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SAG-AFTRA Statement on Safety of Women in the Entertainment and Media Industry

“We commend the courage and candor of every woman who has spoken out about the disgraceful, aggressive and inappropriate behavior they experienced with prominent industry employers. We support their right to speak out and we lift up their voices so that their truths can be fully heard. Everyone has the right to work in an…

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Academy Names Nicholl Fellowships In Screenwriting

ACADEMY REVEALS WINNING NICHOLL SCREENWRITERS Scripts to be performed at live read in November LOS ANGELES, CA – Four individuals and one writing team have been selected as winners of the 2017 Academy Nicholl Fellowships in Screenwriting competition.  The fellows will each receive a $35,000 prize, the first installment of which will be distributed at…

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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