Press Releases Archive for February, 2018

Rotten Tomatoes Gets New Editor-in-Chief

[pr] ROTTEN TOMATOES NAMES JOEL MEARES AS NEW EDITOR-IN-CHIEF Los Angeles, CA (February 27, 2018) – Rotten Tomatoes, entertainment fans’ go-to destination for movie and TV show reviews and information, today announced that it has named Joel Meares as Editor-in-Chief. In his role, Meares will oversee editorial content and expansion as Rotten Tomatoes continues to build a multi-platform…

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Nanette Fabray Was 97

SAG-AFTRA Mourns the Passing of Nanette Fabray SAG-AFTRA mourns the passing of performer Nanette Fabray, who died Feb. 22 at the age of 97. The multi-talented Fabray, who joined the union in 1937, was the 1986 recipient of the Screen Actors Guild Life Achievement Award, the union’s highest honor. Fabray began her acting career at…

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True/False Film Fest Extends Sustainability Program

HY-VEE NAMED OFFICIAL SUSTAINABILITY SPONSOR OF TRUE/FALSE 2018 COLUMBIA, MO – Hy-Vee and True/False have joined forces to grow the film festival’s sustainability program, now in its third year. Hy-Vee’s values align with those of Columbia’s home-grown festival. “We continue to find ways to shrink our carbon footprint and generate awareness for best practices like…

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True/False Partners With “Brown Girls Doc Mafia”

Columbia, Missouri – True/False Film Fest is proud to host more than 30 members of the Brown Girls Doc Mafia collective in a new partnership to bring an infusion of women filmmakers of color to the festival space. Formed in 2015 by Iyabo Boyd, the Brown Girls Doc Mafia (BGDM) is a collective of filmmakers…

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CENTROPOLIS ENTERTAINMENT AND VOLTAGE PICTURES SET TO PRODUCE ROLAND EMMERICH’S HISTORICAL EPIC MAYA LORD

Berlin (February 14, 2018) Centropolis Entertainment and Voltage Pictures are set to produce the thrilling historical epic feature film Maya Lord from visionary filmmaker and box-office powerhouse Roland Emmerich (Independence Day, The Day After Tomorrow), it was announced today by Centroplis. Angela Workman (The Zookeeper’s Wife) has written the script to be directed by Emmerich. Voltage is also handling international sales for…

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SAG-AFTRA Releases Code of Conduct on Sexual Harassment and Launches “Four Pillars of Change” Program

[pr] SAG-AFTRA today released a Code of Conduct on Sexual Harassment as part of a broader program to protect its members and to confront harassment and advance equity in the workplace. Leading with a Call to Action to its 160,000 members and the entertainment, music and media industries, the Code defines sexual harassment and details what constitutes…

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Jóhann Jóhannsson

February 10, 2018 – Jóhann Jóhannsson, Academy Award nominated and Golden Globe winning Icelandic composer musician and producer, passed away in Berlin on Friday, February 9, 2018. The cause of death is unknown. He was 48. His death was confirmed by his manager. Known for his compositions that often blended electronics with classical orchestrations, Jóhannsson had…

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Janus Films Restores, Releases Oliver Assayas’ “Lost” 1990s Masterpiece

Janus Films presents the first-ever US theatrical release of award-winning French director Olivier Assayas’ COLD WATER (1994). The film received a stunning 4k restoration and will roll-out in theaters throughout the US beginning April 2018, following the March 9 premiere with the Austin Film Society (AFS). The film, which focuses on star-crossed adolescents in 1970s France, launched…

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True/False Film Fests Sets 2018 Slate

Columbia, Missouri – True/False Film Fest is proud to announce its 2018 slate of 40 new feature films that expand the boundaries of nonfiction and invite audiences to be challenged, inspired, and entertained. These films were selected from roughly 1,300 submissions plus hundreds more scouted at festivals around the world. The festival seeks to highlight work…

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CONDÉ NAST ENTERTAINMENT ACQUIRES ACADEMY-AWARD® NOMINATED DOCUMENTARY SHORT “KNIFE SKILLS” FOR THE NEW YORKER’S ONLINE PROPERTIES

  The Film Will Appear as Part of The New Yorker’s “Screening Room” Series Highlighting Short Films and the Stories behind Them   NEW YORK — February 6, 2018 — Condé Nast Entertainment (CNE) has acquired the Oscar® Nominated short documentary, “Knife Skills,” for The New Yorker’s online properties. Directed by Academy Award®-winning director, Thomas Lennon (“The Blood of Yingzhou District”), “Knife…

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Sundance Sale: Lionsgate And Roadside Take Juliet, Naked Romcom

LIONSGATE AND ROADSIDE ATTRACTIONS ACQUIRE U.S. RIGHTS TO ACCLAIMED ROMANTIC COMEDY “JULIET, NAKED” FROM DIRECTOR JESSE PERETZ To Be Released In Theaters By Roadside Attractions this Summer   Stars Rose Byrne, Ethan Hawke and Chris O’Dowd Based on Nick Hornby’s Novel SANTA MONICA and LOS ANGELES, CA, February 2, 2018 — Global content leader Lionsgate (NYSE: LGF.A,…

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Press Releases

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch