Friday, July 21, 2017
Wednesday, July 19, 2017
From a great site for students of.film comes news of a true iconoclast further blurring the pro/am line with his own smartphone movie.
Soderbergh is an awkward so and so but an unquestioned auteur and 80s Indie pioneer, like Alex Cox bringing something of a punk attitude to 80s film a decade after the upstart Indie outsiders had become Hollywood insiders (Spielberg, Lucas, Scorsese, Coppola).
Sunday, July 16, 2017
I'll add to this in time; first up a $5m novel rights example with Scorsese and DiCaprio attached - screenplay adaptation could cost the same again depending on how many writers are contracted to draft it:
Rights to Flower Moon – as it’s known to industry insiders – were snapped up by Imperative last year for a reported $5 million, and a script has reportedly been drafted by veteran Oscar-winning scribe Eric Roth of Forrest Gump and The Curious Case of Benjamin Button fame.
Wednesday, July 12, 2017
Tuesday, June 27, 2017
Friday, June 16, 2017
Thursday, June 01, 2017
Saturday, May 20, 2017
The music industry is dominated by the old, with back catalogue sales underpinning revenues, though with a similar tentpole strategy in place for a handful of global stars, as Elberse details in her book Blockbusters, analysing the distribution muscle thrown behind Lady Gaga, Jay-Z and other titan acts.
David Bowie has dominated vinyl sales this year, and accounts for a good proportion of other revenues too - the music industry is fuelled by monetising nostalgia.
The Secret Cinema organisation in Britain, putting on screenings of past hits in locations with a thematic link to that film, have squeezed millions in extra box office from many back catalogue flicks, while a black and white Mad Max Fury Road release, or Lord of the Rings re-read with a few extra minutes of tedium added, or just re-release to pop a multi-billion barrier (Avatar) ... the re-release has a place in the film industry's playbook.
There's always the film club and arthouse circuit, with CinemaTheque in Luxembourg an example, Woody Allen re-runs rarely being off the agenda in a typical month, or the summer outdoor screenings of everything from The Force Awakens to Rebel Without a Cause (picks for the 2016 Luxembourg season, the free event paid for through Orange sponsorship).
Retrofitting 3D is a long established practice, a software process of making a film not shot in 3D into this format at a cost of around $10m. Restoration has been a considerable element of arthouse and film festival fare - I've enjoyed watching a newly restored cut of a 50s Poe adaptation at the Bradford National Media Museum (1 strand of the BFI's work), and a new extended cut of Metropolis, weaving in newly discovered and repaired footage, at the Ilkley Film Festival.
The 4K restorations that Maurice, a Merchant and Ivory drama about a gay male love affair starring a young Hugh Grant, is an early example of could become a significant element of the multiplex mix, not just the arthouse circuit, a useful strand of counter-programming or even a means of building hype for a new franchise release by a limited release of an older, pre-reboot, franchise entry (picking up lots of cheap publicity along the way).
Both the 3D retrofits and 4K restorations are notable examples of the impact of digitisation.
Maurice at 30: the gay period drama the world wasn't ready for https://www.theguardian.com/film/2017/may/19/maurice-film-period-drama-merchant-ivory?CMP=Share_AndroidApp_Blogger
Thursday, May 18, 2017
Claire Jones (Sightseers [+]), and Robin Gutch ('71 [+]) are producing for the UK’s Warp Films with the backing of the UK’s Catalyst Global Media and Screen Yorkshire. Altitude Film Sales is handling international sales and is currently representing the film at the American Film Market. Dyson and Nyman said of the project, “Over half a million people have seen the play and now we are beyond excited to be bringing the film version of Ghost Stories to life." [CinEuropa.org article Nov 2016]THIS POST IN BRIEF:
- Warp announced a new film in Feb 2016, already picked up by 'big 7' Lionsgate for UK distribution, with Altitude handling international sales
- Pre-selling rights at the pre-production stage is common for Indies (legendary social realist auteurs Ken Loach + Mike Leigh have done this throughout their careers). German rights were also pre-sold to Tele München/Concorde after a pitch at the Berlin European Film Market in feb 2016
- This is an adaptation of an internationally successful play, bringing some comparisons with Woman in Black (but note the IP is limited compared to Les Mis)
- Warp's reputation for allowing creatives to retain control, not the accountants, saw Nyman reject interest from Hollywood studios (who immediately suggested star-based changes!)
- Martin Freeman's casting led most reports; star of the $3bn Hobbit franchise this suggests a more ambitious/commercial approach from Warp ...
- ...BUT he's no A-lister (the IP and CGI sold the Hobbit, not a UK TV star!), and its no coincidence that as of May 2017 the UK remains the only territory with a distributor
- Warp's online efforts at building interest and an audience through the pre-/production/post- stages has been typically lax ...
- ... BUT co-director/writer Andy Nyman has exemplified the ability of cast and crew to use social media to promote a production (eg the 5 crew badges Twitter draw)
- ... AND Altitude have been very active
- Lionsgate UK, however, have yet to properly launch; their website contains only a coming soon message!
PRODUCTION ANNOUNCED AT A FAN FEST...
Okay, so its not the 80,000 packed into the Dallas Cowboys football stadium just to see a teaser trailer (1 strand of the epic Avatar campaign, arranged through ComicCon, the world's leading fan forum for such announcements), but Ghost Stories is following a smart path of pre-/production promotion, launching a 'concept teaser trailer' at FrightFest:
|Horror blog FlickeringMyth reports the announcement, complete with 'concept teaser trailer'|
|ScreenDaily (US) announce the production, Feb 2016|
|So much for the auteur theory! Empire (UK) also led on Freeman's involvement|
Casting Martin Freeman seems a real coup for Warp - after all, he was the lead in the tentpole Hobbit franchise (combined budgets $675m, box office $2.9bn). However, IP was the key marketing factor there, and he cannot be considered an A-List star any more than Lord of the Rings star Andy Serkis can 'open a film' by himself. Freeman's presence does help with marketing though, and gaining distribution, but the lack of progress there is significant. Hollywood conglomerate Lionsgate picking the film up for distribution is a coup, as one of what many now argue should be called the big seven to reflect their considerable global success in recent years (expanding the traditional big six of Disney, Warner Bros, Fox, Universal, Sony, Paramount).
Wednesday, May 17, 2017
Sunday, May 14, 2017
Saturday, May 13, 2017
Saturday, April 08, 2017
Thursday, March 09, 2017
Monday, March 06, 2017
Thursday, February 23, 2017
Thursday, February 16, 2017
Tragically, there will be only ten minutes of this cinematic feast, delivered through TV, as part of the Comic Relief telethon that Curtis helped create. One can only hope for a fourth Bridget Jones movie to ease the pain.
Thanks to Richard for alerting me to this televisual splendour, a nice example of convergence, with the TV/film divide fading - About a Boy being another Working Title example.
LA itself has become a meme since its release; as this article notes, comparisons have been made between the Grant character and Canadian PM Trudeau this week.
A notoriously polarising film, Love Actually’s cultural currency has grown in the 14 years since it was released. The film has been repeatedly unpicked, spoofed and deconstructed; four foreign language films – in Japanese, Hindi, Polish and Dutch – have also been inspired by the movie.
The showdown between Hugh Grant’s upstanding UK prime minister and the boorish, lecherous US president – reportedly based on a Bill Clinton/George W Bush hybrid – has been a touchstone of political discourse ever since. Even this week, Canadian premier Justin Trudeau found himself compared to Grant, following his meeting with US President Donald Trump....
Sunday, February 12, 2017
An overview of Lionsgate's evolving strategy, although I don't share the author's confidence that a reversion to lower budget (current hit and Oscar favourite La La Land cost $30m), arthouse Oscar bait is an intentional shift, rather the ending of two huge YA franchises based on book series that came to firm endings.
Their 2017 slate includes a new book adaptation, My Little Pony and Power Rangers, not to mention a Saw reboot, so they're clearly not done with what Elberse describes as the blockbuster strategy yet, let alone the all-prevailing franchise model.
La La Land's success heralds return to Lionsgate's small-scale roots https://www.theguardian.com/film/2017/feb/11/la-la-land-lionsgate-film-studio?CMP=Share_AndroidApp_Blogger
Saturday, February 04, 2017
Wednesday, February 01, 2017
The success is also noteworthy for the 2 decade gap between franchise entries, something only Star Wars (19 years after Jedi) can claim.
Return trip: T2 Trainspotting shoots up UK box-office chart https://www.theguardian.com/film/2017/jan/31/uk-box-office-film-t2-trainspotting-sing-la-la-land-split-hacksaw-ridge?CMP=Share_AndroidApp_Blogger
Friday, January 27, 2017
Sunday, January 22, 2017
New figures show a big increase in the UK market share of Indie cinemas, up from 17% in 2015 to 23% in 2016, and nearer 34% if Indies bought up by chains like Picturehouse are added.
I've blogged on the rise of boutique, small-scale arthouse cinemas such as that launched last year in Ilkley (and the longer established CinemaTheque here, in a country where the Utopolis chain dominates), but also the rise and rise of event cinema, from live screencasts of opera, theatre and orchestra to director Q+A's.
Now we're seeing weddings in cinemas, films paused so the audience can taste the same wine or chocolates as the characters on screen ... a lot of innovation in the fightback against home cinema and the emergent streaming giants.
Wine, weddings and ballet: new role for indie cinemas at heart of high streets https://www.theguardian.com/film/2017/jan/22/indie-cinema-at-high-streets-heart-brighton-blackpool?CMP=Share_AndroidApp_Blogger
Thursday, January 19, 2017
Wednesday, January 04, 2017
A Chinese production company invested $50m of the staggering $180m budget - standard fare for Big Six Hollywood fantasy, sci-fi and action franchise flicks but more than twice the previous highest budget French production, the $78m Asterix.
To put that into perspective, the UK's consistently most successful production company, WT, have never since exceeded the $100m of war action movie Green Zone, a Matt Damon vehicle.
Having watched the trailer, it strikes me as Blade Runner meets Avatar - though director Lux Besson's 20 year-old Hollywood sci-fi hit The Fifth Dimension is another apt comparison. Where that movie starred Bruce Willis in his global box office pomp, it's much less certain that lead Cara Delevingne can carry the marketing. Her presence didn't help Suicide Squad's relatively disappointing box office.
Sci-fi and superheroes in 2017: can Luke Skywalker save us from Hollywood's bleak year ahead?
Friday, December 09, 2016
For the star to truly shine, the character actor must be standing somewhere nearby. Occasionally the two categories overlap, though it almost never happens with British actors in Hollywood; only the silver-spooners, such as Benedict Cumberbatch, Tom Hiddleston, Eddie Redmayne and Hugh Grant, graduate to above-the-title billing. The likes of Tom Hardy, Fassbender and Daniel Day-Lewis (memorably described by the comedian Adam Riches as “the greatest actor never to have appeared in anyone’s favourite films”) are character actors who just happen to have achieved stardom.
Michael Sheen, Passengers and why Hollywood's hottest leads need a quirky Brit https://www.theguardian.com/film/2016/dec/07/passengers-michael-sheen-chris-pratt-hollywood-british-actors?CMP=Share_AndroidApp_Blogger
Sunday, December 04, 2016
On a recent visit to a Curzon cinema in London I sat (lay, really) on a steeply pitched chair that had been upholstered in red fur. Outside in the lobby, the snacks for sale included prosecco-laced ice lollies and popcorn flavoured with specific French cheeses; I chose a wedge of iced sponge cake that was on display under a cloche. Inside the screening room, I wasn’t the only one clacking tableware while we waited for the feature – Woody Allen’s Café Society – to start.
A pre-film advert played, promoting the Curzon’s app. Audiences were advised that, next time, they could simply stay at home and use their phones to stream selected newly released films direct to their TVs. Café Society had a 1930s setting, a jazz soundtrack, Allen’s usual Windsor font in the credits. But the preamble to it had been powerfully, pungently modern, illustrating the lavishing-up of many cinemas and the spread of home-streaming services, developments that have come to characterise movie‑watching in 2016.
As Allen’s film played I lay on the near-horizontal, watching it down my nose and trying not to fall asleep during the slow bits like an old man in front of the snooker – asking myself how we’d got here. To cinema seats resembling pool loungers. To phones that with the right software could call up hundreds of thousands of feature films. Just under a third of the UK population now streams films and this year sales of digitally streamed or downloaded movies outstripped sales of DVDs for the first time.
Full stream ahead? The brave new world of cinemagoing.
Wednesday, November 30, 2016
“The BFI’s job is to champion the future success of film in the UK and this plan is designed to do that – we want to back the brave, the new and the experimental.
“Our aim is to find, educate and support the very best talent, give them the skills, tools and creative freedom needed to tell their stories, and make sure as many people as possible can enjoy and be inspired by those stories on the big screen, the small screen and even the screen in their pocket.”