-
News & Updates
May 8, 2017
Photography Series: White Harmony in Valencia (City of Light)
Photography Series: White Harmony in Valencia (City of Light)
We are sharing this photography series beautifully executed by Joel Filipe, a creative director based in Madrid. His series is named: White Harmony, an exploration of photographs of the City of Arts and Sciences. An entertainment and architectural complex located in Valencia, Spain; it’s a beauty and known as one of the 12 Treasures of Spain. Joel does give a touch of white harmony through its core and foundation. Hope you will like it!
A photography series by Joel Filipe who is a creative director based in Madrid, Spain. You should definitely follow his Behance, there’s a great variety of different projects especially his last eight projects. Give it a look!
The City of Arts and Sciences is an entertainment-based cultural and architectural complex in the city of Valencia, Spain. It is the most important modern tourist destination in the city of Valencia and one of the 12 Treasures of Spain.
AoiroStudio
May 08, 2017
Source: Abduzeedo Photography
May 8, 2017
VR is telling deeper, more important stories
At the Tribeca Film Festival this year, filmmakers displayed a mastery of virtual reality with a series of emotional, meaningful stories. It’s an encouraging sign, considering previous efforts to produce coherent, non-game VR experiences have floundered, mostly due to the medium’s infancy and a …
Source: CW’s Flipboard Feed
May 7, 2017
Watch the 2017 MTV Movie & TV Awards: Live Stream Online
The MTV Movie & TV Awards are tonight, and they’re bound to be more exciting than ever. Not only is the ceremony returning to a live broadcast, but it’s also adding television categories for the first time in its 26-year history. Even better are the gender-blind categories, in which actors and actresses will face off for trophies. Nominees include “Game of Thrones,” “Atlanta,” “Get Out” and “Logan.”
The ceremony begins at 8pm ET and can be live streamed online via the MTV Live channel. You’ll need a cable subscription to be able to log in. Pre-show coverage will be free to stream on MTV.com beginning at 5pm ET and will include red carpet access, as well ass musical performances by Zara Larsson and Noah Cyrus.
Head to the MTV Movie & TV Awards official website for more on tonight’s ceremony.
Stay on top of the latest film and TV news! Sign up for our email newsletters here.
Source: IndieWire film
May 7, 2017
‘Guardians of the Galaxy 2’ Rules and ‘Gifted’ Crosses Over, But Summer Could Be Shaky
The first weekend of May has become the box-office Super Bowl: It’s the assured date for a major Marvel release guaranteed to capture a rabid audience. That sets some high standards for judging the “Guardians” sequel; its outcome, combined with a few other results, gives reason for some initial concerns for the summer ahead.
“Guardian of the Galaxy Vol. 2” hit its marks with a $145 million domestic opening weekend, and $428 million combined international total (many countries are already in their second week). It’s no record setter, but in context the result is strong.
Also of interest: Two strong niche audience entries — “How to Be a Latin Lover” (Lionsgate) and especially “Baahubali 2: The Conclusion” (Great India) — held very well. We’ll check in with them, as well as the increasingly successful “Gifted” from Fox Searchlight.
“Baahubali 2: The Conclusion”
The Top Ten
1. Guardians of the Galaxy Vol. 2 (Disney) NEW – Cinemascore: A; Metacritic: 67; Est. budget: $200 million
$145,049,000 in 4,347 theaters; PTA (per theater average): $33,368; Cumulative: $145,049,000
2. The Fate of the Furious (Universal) Week 4; Last weekend #1
$8,529,000 (-57%) in 3,595 theaters (-482); PTA: $2,372; Cumulative: $207,136,000
3. The Boss Baby (20th Century Fox) Week 6; Last weekend #4
$6,175,000 (-34%) in 3,284 theaters (-455); PTA: $1,880; Cumulative: $156,736,000
4. How to Be a Latin Lover (Lionsgate) Week 2; Last weekend #2
$5,250,000 (-57%) in 1,203 theaters (+85); PTA: $4,364; Cumulative: $20,653,000
5. Beauty and the Beast (Disney) Week 8; Last weekend #6
$4,943,000 (-28%) in 2,680 theaters (-475); PTA: $1,844; Cumulative: $487,595,000
6. The Circle (STX) Week 2; Last weekend #5
$4,020,000 (-55%) in 3,163 theaters (no change); PTA: $1,271; Cumulative: $15,715,000
7. Baahubali 2: The Conclusion (Great India) Week 3; Last weekend #3
$3,243,000 (-69%) in 400 theaters (-25); PTA: $7,757; Cumulative: $16,176,000
8. Gifted (Fox Searchlight) Week 5; Last weekend #9
$2,055,000 (-39%) in 1,874 theaters (-341); PTA: $1,097; Cumulative: $19,240,000
9. Going in Style (Warner Bros.) Week 5; Last weekend #7
$1,900,000 (-47%) in 2,033 theaters (-728); PTA: $935; Cumulative: $40,601,000
10. Smurfs: The Lost Village (Sony) Week 5; Last weekend #8
$1,820,000 (-49%) in 1,902 theaters (-652); PTA: $957; Cumulative: $40,751,000
The Takeaways
“Guardians” Is Very Strong, But Below Other May Marvels
The first weekend of May is a powerful one: It’s played home to each of the top eight Marvel opening weekends (in adjusted grosses); “Guardians of the Galaxy Vol. 2” places seventh. However, it’s about 40 percent ahead of the first “Guardians,” which was consigned to a riskier early-August date.
Why the lower numbers? While its characters have gained a tremendous amount of currency since the franchise’s debut, they’re still not “Avengers” level. Still, “Guardians 2” faced less competition than last April’s “Captain America: Civil War,” which had to contend with “The Jungle Book” among other holdovers.
So, this weekend’s top 10 fell 21 percent from last year, the lowest since 2014. With $191 million in 2015 for “Avengers: Age of Ultron,” it ushered in a massive summer. So while “Guardians Vol. 2” is laudable, it doesn’t necessarily augur a season of blockbuster blockbusters — especially after “The Fate of the Furious” fell far behind its predecessor.
If that pattern continues, we’ve got a problem. The wild cards remain whether original projects such as Christopher Nolan’s “Dunkirk” make up for any lag.
We’ll get an initial indication with next week’s debuts of “King Arthur: Legend of the Sword” (Warner Bros.) and Fox’s comedy “Snatched.” Their performances could set the tone for the summer.
“How To Be A Latin Lover”
screengrab Lionsgate/Pantelion
Big Drops for “Latin Lover” and “Baahubali 2” Mean Different Things
The surprising second and third place showings last weekend for Pantelion Films’ “How to Be a Latin Lover” and the Indian sequel “Baalubali 2” fell considerably this weekend. But with over $20 million for “Latin” and $16 million for “Baahubali,” results are stellar for both.
With its 57 percent drop, “Latin Lover” looks to top $30 million. That would be a third lower than comic Eugenio Derbez’s earlier Pantelion/Lionsgate entry, “Instructions Not Included.” Unlike “Lover,” that film was an all-Spanish language film without U.S. locations.
Though not a sequel, “Lover” seems to have played like one. Broadening into bilingual dialogue and a domestic setting didn’t broaden the appeal, while perhaps making it lose a bit of edge.
Still, the biggest challenge was the competition. “Instructions” opened Labor Day 2013, then expanded. This time, they faced a Marvel monster. Unlike some studios, Disney doesn’t provide ethnic breakdowns of attendance; still, based on normal patterns, Latinos likely made up around $15 million of ticket sales for “Guardians,” possibly more. So figure the take this time around on “Lover” to be very acceptable, if a bit less than the potential.
By contrast, “Baalubali 2” so exceeded its potential already what remains is just a bonus. Most Indian films (which these days means more than Bollywood; this film is not, as it was made in Telugu) see up to half of their domestic business on the first weekends, as loyal Indian-American audiences across the country jump to see them at the same time they open worldwide.
So a 69 percent drop (accelerated by the loss of IMAX theaters) isn’t anything strange, and the performance remains extraordinary. There are around 3 million Indian-Americans in the U.S. alone. This will end up around $20 million, which means roughly 2 million tickets will be sold, presumably mostly to that group. Exclude infants, the infirm, and the elderly, and that means perhaps two thirds of that group will see the film in theaters.
As a point of comparison: Imagine a film that held similar appeal for the total population of North America. That would be more than 200 million tickets sold, or a domestic gross approaching or exceeding $2 billion — more than double “Star Wars: The Force Awakens.”
“Gifted”
“Gifted” Keeps Giving
With two decades of success and three Oscar Best Picture winners, Fox Searchlight has always had the capacity to adapt to change. They were among the first companies to go beyond the standard two-city platforms for some of their releases, and haven’t been afraid to act like a more of crossover company while largely sticking to films that qualify as specialized in the broadest definition.
“Gifted” is their biggest success since their awards-enhanced run with “Brooklyn” over a year ago, and second biggest over the past two years. It may be the biggest specialized film of the year — if indeed, it can be called specialized. (Otherwise, the title goes to “The Zookeeper’s Wife” from Focus, which also went wider but was in the multi-hundred theater range from the start.)
What “Gifted” has accomplished is a result of smart decisions that show the value of key strategic moves.
Unlike most Searchlight releases, “Gifted” had no festival play. With mildly favorable reviews at best, it would have been vulnerable to an average upscale New York/Los Angeles platform opening.
Instead, its initial week had 56 theaters across multiple metropolitan areas, with an emphasis on suburbs and broader audiences. That made it sort of a preview week to boost word of mouth. The result showed interest in these wider-audience theaters as well as the usual Searchlight suspects.
Then they rapidly expanded to 1,146 screens the second week. That was the second smart choice. This placed it against the opening of “The Fate of the Furious” as well as Easter weekend. The counterprogramming worked, and the film placed at #6 position — high for its $3.1 million gross.
That sparked word of mouth, which now sustained a fifth week in the Top 10 (it actually went up a slot this week, though the gross fell). At over $19 million, it has a serious shot at $30 million, a decent figure for a film without high-end marketing costs and a likely healthy afterlife in other venues.
Is it a specialized film? Perhaps not. But it needed special handling and it got it.
Holdovers
The two family-oriented films (“The Boss Baby” and “Beauty and the Beast”) fared best against the Marvel onslaught, dropping 34 and 28 percent respectively. The second weekend of “The Circle” (STX) at 55 percent confirmed its DOA status.
“Going in Style” (Warner Bros.) saw its biggest tumble, down 47 percent. With 12 percent of the “Guardians” business coming from those over 50, that’s a big chunk of the potential audience that disappeared.
Source: IndieWire film
May 7, 2017
This Skier and His ‘Poor Man’s Drone’ Captured Some Amazing Aerial Shots
No money for a drone? No worries!
Drones have made aerial cinematography possible for low-budget filmmakers, but even though they can be budget-friendly for some, sometimes they are just too expensive for others. If you’re in the “I’ll never be able to afford a drone” category, pro skier Nicolas Viugnier has a solution for you. Using the $54 AER GoPro accessory, Viugnier managed to capture some amazing aerial shots of him doing his thing on the slopes simply by tossing the rig in the air.
If Viugnier seems familiar to you, you might recognize him from an article we posted last year about his poor-man’s bullet-time technique, which was just him swinging a GoPro around on a string. Genius and beautiful! For his latest video, though, Viugnier uses his “poor man’s drone.” He plopped his GoPro into the AER and used its aerodynamic design, as well as the momentum build from skiing down mountains to gracefully toss it into the air. And the shots are surprisingly steady and captured some great footage.
Source: NoFilmSchool
May 7, 2017
James Gunn Shares a Message of Gratitude with ‘Guardians’ Fans: ‘We Are All Groot’
Now that “Guardians of the Galaxy Vol. 2” is in theaters and dominating the box office in much the same manner as its predecessor, James Gunn is feeling thankful. The writer/director took to Facebook to share his gratitude for all the “heartbroken misfits” who, like him, take joy and comfort in pop culture.
READ MORE: ‘Guardians of the Galaxy Vol. 2’ Review: A Fun Space Opera That You’ve Seen Before
“When I was young I felt utterly alone, at times to the point of suicidal thoughts. I never felt like I belonged, had an incredibly difficult time connecting to other people and, despite having love around me, I had an impossible time experiencing it, or taking it in,” he writes.
“But I found my respite in popular entertainment – Marvel comics, science fiction and horror films, the music of The Sex Pistols, The Replacements, and Queen,” Gunn continues. “Suddenly I could see past the bland suburbs where I lived into a more magical world, a world more aligned with what I imagined.
“Sometimes these works were simply escapist fantasies that distracted me from the difficulties of my internal life. But other times, in the strongest moments – maybe through the words of Alice Cooper or Freddie Mercury, through Cronenberg films, or even in Chewbacca’s growl, I experienced something deeper – the realization that I wasn’t completely alone. Someone out there was as weird and strange and whacked out as I was.”
READ MORE: ‘Guardians of the Galaxy Vol. 2’: How James Gunn Made His ‘Empire Strikes Back’
All of this is in response to the success of “Guardians,” which the filmmaker says can be distracting to the point of making him lose sight of what really matters. It’s in that spirit that he’s taken the time to thank fans, including a message of solidarity apropos of his film: “We are Groot.” Read the full post here.
Why I make movies (in gratitude) https://t.co/Z4NCgaZYTV
— James Gunn (@JamesGunn) May 6, 2017
Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
Source: IndieWire film
May 7, 2017
A24’s ‘The Lovers’ Woos Arthouse Box Office
A weak arthouse market was brightened by “The Lovers,” a high-concept A24 release targeted at the usual older specialty demo. Azazel Jacobs, an indie veteran without a breakout film to his credit, returned to the feature world from HBO (“Doll and Em”) with “The Lovers” (A24). Its initial results put it atop the results for the weekend which saw several disappointments.
READ MORE: A24 After ‘Moonlight’: Why They’re Finally Ready To Conquer the Older Arthouse Crowd
Several top specialized distributors optimistically counter-programmed against Marvel’s May juggernaut “Guardians of the Galaxy Vol. 2,” hoping to fill the vacuum with no other wide releases to grab attention. That strategy can can launch a film like “Belle,” “Ida,” and “Far from the Madding Crowd” toward a big push in the early summer period including Memorial Day weekend.
Even if “The Lovers” never approaches that level, it is positioned to get further attention ahead of numerous new releases this coming weekend.
“Stalker”
Film Society/Criterion
Also opening strong with the best revival/restoration numbers in some time was Russian director Andrei Tarkovsky’s “Stalker” (Janus) which grossed an estimated $20,000 in a single Manhattan theater.
Opening
The Lovers (A24) – Metacritic: 71; Festivals include: Tribeca, Montclair 2017
$70,410 in 4 theaters; PTA (per theater average): $17,603
Azazel Jacobs’ first film since “Terri” (2009) is the biggest opener of his career. As a long-married couple, Debra Winger shines in a comeback role opposite playwright-actor Tracy Letts (“Christine”). They each delay telling each other about their affairs and plans for divorce but reignite their sexual romance, shocking their their visiting adult son.
This comedy/drama was boosted by a strong Los Angeles Times review which helped to overcome a New York Times pan. A24 easily got strong theater placement for this older audience movie which looks to come close to the results of IFC’s similar two-hander “45 Years” late in 2015. That film, which later was elevated by Charlotte Rampling’s Best Actress nod, opened to $65,000 in three theaters over Christmas weekend. “The Lovers” is a bit shy of that for its debut. (“45 Years” ran the awards lift to over $4 million.)
A24’s second in-house production after “Moonlight,” “The Lovers” is the most likely to thrive of the week’s new releases. The substantial Saturday uptick from Friday suggests it is initially reaching its target older audience. A24 will give this off-brand title strong support.
What comes next: The next wave of big cities starts this Friday, with a steady expansion throughout May.
“The Dinner”
The Dinner (The Orchard) – Metacritic: 58; Festivals include: Berlin, Tribeca 2017
$755,348 in 509 theaters; PTA: $1,496
Weak results greeted the cross-country release of this upscale ensemble drama about two couples having a tense dinner about the fate of their two troubled sons. Anticipating mixed reviews, The Orchard wisely chose not to take the platform route and went wider from the start, also recognizing that “The Dinner” is the second Richard Gere film in the market (after “Norman: The Moderate Rise and Tragic Fall of a New York Fixer”) and the second he’s done with Oren Moverman (“Time Out of Mind”). This marked a big jump for The Orchard, which scored well last year with “Hunt for the Wider People,” with the largest break to date, more than 200 theaters more than any of their earlier films.
What comes next: Little sign that this will merit wider expansion.
“Risk”
Risk (Neon) – Metacritic: 71; Festivals include: Cannes 2016, Art of the Real 2017
$75,179 in 35 theaters; PTA: $2,211
One of the most talked about documentary releases of the year opened to modest results despite elevated attention.
Laura Poitras hit box office and Oscar gold with her Edward Snowden as-it-happened “Citizenfour” in late 2014. That film opened quite well in a conventional five theater platform release after a New York Film Festival launch, with a PTA of $25,000. That then went to 37 its second weekend, with a PTA over $5,000 on its way to a $2.8 million for Radius/Weinstein.
Julian Assange, like Snowden a whistleblower/cybertheft figure, marks a more controversial but less fresh subject than Snowden: Alex Gibney’s “We Steal Secrets” previously portraying him in 2013. That opened to $28,000 in four theaters and only totaled $166,000 for Focus World.
“Risk” received plenty of attention as it evolved from its Cannes premiere last year to considerable reshaping as intervening events led Poitras to revisit her subject. This helped Neon (with its second release after “Colossal” a month ago) gain media coverage. But strong reviews were less rapturous than for “Citizenfour.”
What comes next: Neon plans a steady expansion over the next few weeks before Showtime airs the film this summer.
Liev Schreiber as Chuck Wepner in a still from “Chuck.”
Tribeca
Chuck (IFC) – Metacritic: 67; Festivals include: Venice, Toronto 2016, Tribeca 2017
$40,416 in 4 theaters; PTA: $10,104
“Chuck” with Liev Schreiber in the title role — giving some weekend showings a boost with Q & A sessions — showed a modest debut at four key New York/Los Angeles theaters. But it came with a significant 110 per cent Saturday jump that could be a sign of the film gaining some initial traction.
Boxing films have had such a rebound at least in production that now title changes are in order. IFC premiered “Chuck” at film festivals last September as “The Bleeder” (as working class boxer and “Rocky” prototype Chuck Wepner was known) but later changed the title when Miles Teller drama “Bleed for This” also appeared.
Liev Schreiber plays the fighter who knocked down Muhammed Ali in their 1975 championship bout but failed to sustain a career. He may have influenced Stallone’s iconic character Rocky. IFC bought spots on cable sports programs as part of their marketing.
What comes next: Top 25 markets this Friday, top 100 by end of the month.
“3 Generations”
3 Generations (Weinstein) – Metacritic: 48; Festivals include: Cannes 2015
$20,118 in 6 theaters; PTA: $3,353
While Weinstein successfully appealed their initial R rating, that marketing win didn’t translate into box office interest, as this long-delayed transgender family drama, produced in 2014, has been plagued with mixed to negative reviews since its 2015 Cannes debut. Elle Fanning as a teenage boy seeking parental permission to transition costars with Naomi Watts and Susan Sarandon. Despite major marketing and initial theater placement, the film failed to gain much traction. Saturday at least had a decent 56 per cent jump.
What comes next: The expansion starts this Friday.
Like Crazy (Strand) – Metacritic: 67; Festivals include: Cannes, Mill Valley, Chicago 2016
$(est.) 6,000 in 2 theaters; PTA: $(est.) 3,000
Italian comedy/dramas used to be a mainstay of American art houses, but in recent years few films at all have seen much domestic action. This one directed by Paolo Virzi is set in an Italian asylum and features two contrasting female patients. Strand scored dates at Manhattan’s subtitle-friendly Lincoln Plaza and IFC Center, with minor results.
What comes next: Los Angeles follows on Friday.
“A Woman’s Life”
A Woman’s Life (Kino Lorber) – Metacritic: 74; Festivals include: Venice, Toronto 2016
$11,513 in 2 theaters; PTA: $5,742
Stephane Brize (“Measure of a Man”) has been gaining stature among French directors and getting steady release in U.S. theaters. His latest, based on novelist Guy de Mauppasant’s 19th-century story of a wealthy woman’s affair, also opened at two Manhattan locations to favorable reviews and middling business.
What comes next: It opens in Los Angeles next week.
Mr. Chibbs (Abramorama) – Festivals include: Montclair 2017
$3,640 in 1 theater; PTA: $3,640; Cumulative: $7,520
The afterlife of NBA star Kenny Anderson and his tough times adapting post-retirement are chronicled in this documentary which opened in two New York theaters to a five-day gross that comes from only at 60-seat theater at the IFC Center.
What comes next: This will see niche dates ahead particularly in areas associated with its subject.
Julian Schnabel: A Private Portrait (Cohen) – Metacritic: 40; Festivals include: Tribeca 2017
$(est.) 4,500 in 3 theaters; PTA: $(est.) 1,500
Painter Julian Schnabel has made movies, appeared in them and now is the subject of a documentary solely about him. It opened in New York and Los Angeles to minimal results with mostly negatives reviews.
What comes next: This doesn’t look to hold much more than minor interest.
“Stalker”
Stalker (Janus) (reissue)
$19,785 in 1 theater; PTA: $19,785
Andrei Tarkovsky’s 1979 Italian-made masterpiece gets reissue treatment with an initial strong result at New York’s Film Society of Lincoln Center.
What comes next: This strong gross should get this reissue attention beyond the normal revival circuit.
Also on Video on Demand:
Burden (Magnolia/Tribeca 16) – $(est.) 3,000(est. in 2 theaters
Take Care (The Orchard/Tribeca 17) – $(est.) 2,800 in 2 theaters
International releases:
This Is Not What I Expected (Well Go USA/China) – $140,000 in 36(est.) theaters
Love Off the Cuff (Asia Releasing/China) – $(est.) 140,000 in 47 theaters
Week Two
“Obit”
Obit. (Kino Lorber)
$13,386 in 3 theaters (+1); PTA: $(est.) 4,666; Cumulative: $54,386
Los Angeles added theaters for this documentary about the death notices section of the New York Times, with a strong local review making it a modest success.
Bang! The Bert Berns Story (Abramorama)
$4,830 in 2 theaters (+1); PTA: $2,415; Cumulative: $16,297
Los Angeles added to the initial New York date for some sampling for this documentary about an important but lesser known 1960s rock figure.
Ongoing/expanding (grosses over $50,000 in under 1,000 theaters)
“The Lost City of Z”
Aidan Monaghan
The Lost City of Z (Bleecker Street) Week 4
$1,062,000 in 815 theaters (-51); Cumulative: $6,644,000
Pulling ahead of Bleecker’s “Captain Fantastic,” this adventure tale in partnership with Amazon will soon top all of Bleecker Street’s releases other than their break out “Eye in the Sky.”
The Zookeeper’s Wife (Fox Searchlight) Week 6
$539,715 in 655 theaters (-342); Cumulative: $15,808,000
Holding on after an accelerated wider run, this won’t quite reach last spring’s top specialized release “Eye in the Sky” (over $19 million) but has led 2017’s limited releases to date. (Fox Searchlight’s wider crossover hit “The Gift” continues to expand its margin ahead of this).
“Norman: The Moderate Rise and Tragic Fall of a New York Fixer”
Norman: The Moderate Rise and Tragic Fall of a New York Fixer (Sony Pictures Classics) Week 4
$481,467 in 125 theaters (+78); Cumulative: $1,095,000
Continuing to show decent response as it expands, and more impressive against the much wider opening in many of the same theaters for star Richard Gere‘s “The Dinner,” this continues on a pace to be SPC’s biggest-grossing release in a year — it needs to hit $3.3 million.
Their Finest (STX) Week 5
$420,000 in 323 theaters (-7); Cumulative: $2,450,000
This London World War II story starring Gemma Arterton is holding steady with nearly the same theater count. If STX can hold theaters, this still might see a good chunk of gross ahead.
Colossal (Neon) Week 5
$200,200 in 242 theaters (-84); Cumulative: $2,501,000
In week five, Anne Hathaway’s indie genre flick continues to decline more quickly than expected, with a PTA now under $1,000.
A Quiet Passion (Music Box) Week 4
$156,554 in 79 theaters (+34); Cumulative: $488,488
In a promising sign for Terence Davies’ Emily Dickinson biopic, despite a significant addition of theaters the PTA stayed close to $2,000 (it was a little over last weekend). That suggests both room for more expansion as well as a chance of holding in at those already playing.
“Your Name”
Your Name. (FUNimation) Week 5
$(est.) 85,000 in theaters (-55); Cumulative: $(est.) 4,650,000
Quietly this Japanese animated worldwide smash has managed a very strong domestic take outside the usual distributors.
Also noted:
Citizen Jane: Battle for the City (IFC) – $44,000 in 20 theaters; Cumulative: $132,252; also available on Video on Demand
Chasing Trane: The John Coltrane Documentary (Abramorama) – $27,715 in 15 theaters; Cumulative: $150,762
Tommy’s Honour (Roadside Attractions) – $18,825 in 35 theaters; Cumulative: $533,355
Frantz (Music Box) – $13,064 in 20 theaters; Cumulative: $838,623
Stay on top of the latest out of Cannes! Sign up for our festival email newsletter here.
Source: IndieWire film
May 7, 2017
The Bus From ‘Captain Fantastic’ Is for Sale — and Ready to Take You to Burning Man
If action figures and posters aren’t your kind of movie memorabilia, perhaps this will be more to your liking: the bus from “Captain Fantastic,” which is for sale on Craigslist. Viggo Mortensen isn’t included in the transaction, unfortunately, but for the low, low price of just $6,000 you can get the vehicle being alluringly advertised as “1993 Bluebird bus, Built for the movie ‘Captain Fantastic.’ Still has set dressing props in it.”
READ MORE: Why Viggo Mortensen Deserves to Win the Oscar for Best Actor — Consider This
Among the other accoutrements: “2 A/C units mounted on roof” and the ability to “build out like you want it.” The fuel is diesel, the title is clean and the transmission is automatic. If you feel like turning your family into a survivalist clan out in the wilderness, there’s really no other option.
READ MORE: ‘Captain Fantastic’ Review: Viggo Mortensen Turns a Hokey Premise Into Something Magical
The last line of the listing may also be the most tantalizing: “Burning man, Bus, cross country ready.” Interested parties should head to Craigslist, where all dreams come true.
Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here
Source: IndieWire film
May 6, 2017
Remembering a victorious year for the Vive, and the turning point ahead
HTC has been at the forefront of virtual reality development ever since releasing its first Vive prototypes. 12 months on from launching its first VR headset, how does it feel the past year has gone?
The post Remembering a victorious year for the Vive, and the turning point ahead appeared first on Digital Trends.
Source: Digital Trends VR
May 6, 2017
Watch: 10 Ways to Create Different Moods with Lighting
With the right approach, you can immediately alter the mood of a scene from happy to horrifying simply by changing the lighting.
Lighting is a powerful tool. It not only makes images look more cinematic and beautiful, but it also elicits emotions in audiences depending on its design. In this intriguing video from The Lighting Channel, we get to see how drastically a mood can change simply by changing the placement of a light or adding a colored gel. Check it out below:
These lighting setups, though they’re extremely popular, can be a little difficult to get right. It’s important to know what kind of lights and modifiers to use to, say, soften the look of a subject to get that angelic look, or create dramatic shadows to turn that same subject into a machete-wielding maniac for your horror film.
Luckily, The Lighting Channel has provided an explanation on how they achieved each look in the video’s description:
Source: NoFilmSchool