-
News & Updates
September 18, 2017
Beautiful Retro Look Illustration by The Brave Union
Beautiful Retro Look Illustration by The Brave Union
The Brave Union founded by Kevin & Kristen Howdeshell is a husband and wife team based in Kansas City that began collaborating 10 years ago in college. Since then, they have taken on the freelance world and have created animated sequences mostly to help others tell their amazing stories in film. For this post we would love to feature some of their beautiful illustration work.
The love of telling stories, although with many varying methods, has never felt more important to their now grown-up hearts. With two kids of their own, the tradition of the bedtime story, although in reality can be a bit hectic, has become absolutely important to their nightly routine. It’s become a time of bonding, sharing, and affection.
As a team, they want to now focus on creating products geared for the family, and invite others who share this journey with them. They also have a great style and the illustration artworks feel like they were created in a time that has long passed with great usage of texture and that dirty look (for lack of better word) of the past.
Illustration
For more information make sure to check out
abduzeedo
Sep 18, 2017
Source: Abduzeedo Illustration
September 17, 2017
‘It’ Lives Again, ‘mother!’ Dies at Box Office
Stephen King’s mighty “It” is single-handedly reviving box office totals after a bleak late summer. It is rare for the second weekend of a hit film to provide the majority of the gross for the time period, but that’s what Warner Bros. achieved on the horror flick’s second weekend. While not as dominant as it was in its September record initial three days, $60 million represented barely more than a 50 per cent drop. Not bad.
With almost $219 million in the till so far and a strong hold, forget $300 million as an ultimate domestic total — $350 million now looks possible. “It” is already the third-biggest modern-day September release ever after only ten days. It will soar past “Rush Hour” by next weekend, and end up almost certain behind “Crocodile Dundee” (adjusted to current ticket prices, at about $410 million) as best for the month in the era of wide initial releases.
“mother!”
Why ‘mother!’ bombed
On the other hand, Darren Aronofsky’s “mother!” marked a challenge for Paramount, which knowingly took on a major risk. Its failure ($7.5 million in 2,368 theaters, F Cinemascore rating despite favorable reviews) will bring much second-guessing about the decision to go wide.
The reality: there was no route for success. When one makes a $30-million film starring Jennifer Lawrence that falls outside of mainstream audience expectations, strong festival play and reviews aren’t enough to propel it to awards. It has no expectations of appealing to most of the artistically conservative older audiences essential for quality films.
That means that the alternative, trying a platform release with a slow word-of-mouth build also carries its own risks. Those include higher expenses, even more attention to initial box office response, and heading deeper into a fall release schedule that will only get more competitive.
Let’s assume Paramount knew the difficulties involved. These likely included expectations of negative audience response. They also had to keep their eye on foreign play and try to open around the world before the negative domestic reaction hurt its chances (it grossed a soft $6 million in its first 16 mostly European foreign territories) and increase awareness in order to get attention for later home viewing options. And at $30-million plus marketing, the studio needs to protect those possibilities. A slow release with a likely even worse wider break could have done more damage.
Personal, non-mass audience films from top auteurs are tricky. Five years ago Paul Thomas Anderson’s “The Master” opened limited to about $150,000 per theater platform dates, then expanded two weeks later to lackluster wider results (about $16 million total eventually). Aronofsky himself saw failure with “The Fountain” which went wide initially in 2006, with only $3.8 million initially (in 1,472 theaters). He rebounded with Oscar contenders “The Wrestler” and “Black Swan.”
“It”
The state of the box office
This weekend’s Top Ten Total would have qualified before last week as the second-biggest September gross ever (just behind “Rush Hour” adjusted at $62 million). The 51 per cent drop — below average for most $100 million-plus openings and terrific for a horror film (the genre usually falls more than others) — was boosted by post-hurricane reopening Florida theaters, but even so it’s is terrific.
The recent surge has reduced 2017’s gross shortfall from last year to about five per cent. It still will be a steep uphill climb to equal last year (full weeks will need to average about $27 million each to accomplish that feat, but is down from the $30 million per week number needed before “It” arrived).
Lionsgate
Two new releases had more normal numbers for September (i.e., under $15 million — last year three wide new films grossed just $8 million to $9.5 million). The action thriller “American Assassin” (CBS Films/Lionsgate), starring recent “Spider-Man” villain Michael Keaton, did a credible $14.8 million. That’s second only to “It” among new releases over the last four weeks. The gross is similar to Lionsgate’s first “John Wick” three years ago, which went on with good word of mouth to do well enough (particularly internationally) to justify a sequel. Indie Michael Cuesta (“12 and Holding”), who in recent years has been a major creative part of “Homeland,” with this film is trying to recreate a more sophisticated than usual action film.
“Wind River”
Holdovers
Overall the rest of the holdovers in the Top Ten held better than usual with less competition from Hurricane Irma and the NFL, not to mention wide openers, which only grossed $23 million.
Of note is “Wind River” (Weinstein), which at $29 million has surpassed last year’s Oscar-contender “Hell or High Water,” also written by Taylor Sheridan, who added directing this time around. “Wind River” did boast a much wider and expensive release, and should make it to at least $35 million.
“It”
The Top Ten
1. It (Warner Bros.) Week 2; Last weekend #1
$60,000,000 (-51%) in 4,148 theaters (+45); PTA (per theater average): $14,465; Cumulative: $218,711,000
2. American Assassin (Lionsgate) NEW – Cinemascore: B+; Metacritic: 46; Est. budget: $33 million
$14,800,000 in 3,154 theaters; PTA: $4,692; Cumulative: $14,800,000
3. mother! (Paramount) NEW – Cinemascore: F; Metacritic: 75; Est. budget: $30 million
$7,500,0003,167 in 2,368 theaters; PTA: $; Cumulative: $7,500,000
4. Home Again (Open Road) Week 2; Last weekend #
$5,334,000 (-38%) in 3,036 theaters (+96); PTA: $1,757; Cumulative: $17,135,000
5. Hitman’s Bodyguard (Lionsgate) Week 5; Last weekend #
$3,550,000 (-26%) in 3,272 theaters (-50); PTA: $1,085; Cumulative: $70,357,000
6. Annabelle: Creation (Warner Bros.) Week 6; Last weekend #
$2,600,000 (-35%) in 2,117 theaters (-886); PTA: $1,228; Cumulative: $99,900,000
7. Wind River (Weinstein) Week 7; Last weekend #
$2,554,000 (-18%) in 2,619 theaters (-271); PTA: $975; Cumulative: $29,122,000
8. Leap! (Weinstein) Week 4; Last weekend #
$2,118,000 (-13%) in 2,416 theaters (-275); PTA: $877; Cumulative: $18,660,000
9. Spider-Man: Homecoming (Sony) Week 11; Last weekend #
$1,875,000 (-7%) in 1,436 theaters (-221); PTA: $1,306; Cumulative: $330,262,000
10. Dunkirk (Warner Bros.) Week 9; Last weekend #
$1,305,000 (-30%) in 1,478 theaters (-632); PTA: $883; Cumulative: $185,142,000
Source: IndieWire film
September 17, 2017
The Navy will soon use Xbox controllers to operate its attack submarines
The Virginia-class attack submarines are the Navy’s newest and most advanced weapon platforms. They are sophisticated, high-tech wonders with all the latest technology, including Xbox controllers.
The post The Navy will soon use Xbox controllers to operate its attack submarines appeared first on Digital Trends.
Source: Digital Trends VR
September 17, 2017
Cinera, the world’s first cinema VR headset, smashes Kickstarter goal
Cinera is looking to seriously upgrade your home theater system with its virtual reality headset. The VR headset is currently raising money through Kickstarter and is the world’s first immersive personal cinema.
The post Cinera, the world’s first cinema VR headset, smashes Kickstarter goal appeared first on Digital Trends.
Source: Digital Trends VR
September 17, 2017
‘Manhunt’ Trailer: John Woo Returns With His Latest Action Thriller — Watch
After working on historical epics for more than a decade, John Woo has returned to the present day with “Manhunt.” The “Hard Boiled,” “Face/Off” and “The Killer” director’s latest just screened in Toronto, where the conspiracy thriller earned favorable reviews. Watch the trailer below.
Here’s the synopsis, courtesy of TIFF: “Du Qiu (Zhang Hanyu) is a successful international lawyer from China who has long been working for Tenjin, a powerful Japanese pharmaceutical company. On the very night he announces his break with the company — at its lavish 65th-anniversary party — he is assaulted in his home, knocked unconscious, and wakes the next morning with a knife in his hand and a murdered employee of Tenjin in his bed. Pursued by authorities, including a police captain who begins to suspect his innocence (Masaharu Fukuyama), Du begins a desperate campaign to learn who framed him and why. The answers will involve corruption, cruelty, and a pair of seemingly invincible female assassins.”
The film has yet to receive stateside distribution. Woo most recently directed his two-part epic “The Crossing” and 2010’s “Reign of Assassins.”
Source: IndieWire film
September 17, 2017
TIFF 2017 Awards: ‘Three Billboards Outside Ebbing, Missouri’ Wins the Coveted People’s Choice Award
This year’s edition of the Toronto International Film Festival has come to a close, and the winner of the Grolsch People’s Choice Award has been named: Martin McDonagh’s “Three Billboards Outside, Ebbing Missouri.” Hundreds of movies once again screened at TIFF over the last 10 days, but only one could take home the coveted prize, which is often seen as an Oscar bellwether — previous winners include “La La Land,” “12 Years a Slave,” and “The King’s Speech.”
Craig Gillespie’s “I, Tonya” was the runner-up, Luca Guadagnino’s “Call Me by Your Name” the second runner-up.” Agnès Varda and JR’s “Faces Places” won the People’s Choice Documentary Award, with runner-up going to Morgan Spurlock’s “Super Size Me 2: Holy Chicken!” Joseph Kahn’s rap-battle drama took the People’s Choice Midnight Madness Award, meanwhile, and Craig Zahler’s Vince Vaughn–starring “Brawl in Cell Block 99” came in second place.
Other honorees include Robin Aubert’s “Les Affamés” (Best Canadian Feature Film), Sadaf Foroughi “Ava” (Prize of the International Federation of Film Critics (FIPRESCI) for the Discovery programme), and Warwick Thornton’s “Sweet Country” (Toronto Platform Prize). The full list may be found here.
Source: IndieWire film
September 17, 2017
Ben Stiller’s ‘Brad’s Status’ Leads Off Fall Specialty Film Season
Amazon Studios, which is releasing about a film a month, led the fall season specialized release barrage with Mike White college comedy “Brad’s Status,” starring Ben Stiller. Annapurna’s second release scored $25,000 per theater in two cities for a credible start.
“Brad’s Status” was one of four Toronto International Film Festival 2017 titles released while the festival is wrapping up (compared to only one last year). The others include Darren Aronofsky’s “mother!” (Paramount), which flopped in wide release with $7.5 million and a rare F Cinemascore (they poll mass-audience theaters and the scores don’t reflect all reactions). Frederick Wiseman’s library documentary “Ex Libris” (Zipporah) got a decent result in its exclusive New York run, and Angelina Jolie’s “First They Killed My Father” debuted on Netflix along with a smattering of theatrical dates (grosses hidden per usual).
Opening
Brad’s Status (Annapurna) – Metacritic: 70; Festivals include: Toronto 2017
$100,179 in 4 theaters; PTA (per theater average): $25,045
Mike White’s third screenplay of the year (after “Beatriz at Dinner” and “The Emoji Movie”) is his second outing as director (he debuted with 2007’s “Year of the Dog”). This time Amazon oversees the release, partnering with neophyte distributor Annapurna for the first time. (Amazon is starting to distribute its own slate.)
Following a favorable Toronto debut, the Ben Stiller vehicle got ahead of a crowded fall field with decent results in four prime New York/Los Angeles locations. The gross is the best in five weekends (early August debuts of “Ingrid Goes West” and “Good Time” were better–neither impressed when they went wide). And “Brad’s Status” comes a month earlier than last fall’s initial $20,000-plus platform PTA release of eventual Best Picture Oscar-winner “Moonlight.”
What comes next: Expect an accelerated weekly expansion ahead, aided by a relatively wide open field. The story of a dad reexamining his life as he takes his son on a colleges tour should be accessible to a wide audience.
“Ex-Libris”
Ex-Libris: New York Public Library (Zipporah) – Metacritic: 90; Festivals include: Venice, Toronto 2017
$11,175 in 1 theater; PTA: $11,175; Cumulative: $16,557
Veteran 87-year-old documentary master Frederick Wiseman’s latest three-hour plus effort (his first after winning the honorary Oscar) opened at Manhattan’s Film Forum on Wednesday. The initial gross (backed by the best reviews for any documentary this year) were strong considering the running time and subject. While Wiseman’s previous film, “In Jackson Heights” (2015) did somewhat better in a similar placement, this is a stellar number.
What comes next: Los Angeles and Washington open next in advance of other big city dates.
The Force (Kino Lorber) – Festivals include: Sundance, San Francisco, Seattle 2017
$19,500 in 4 theaters; PTA: $4,750
This Sundance award-winner (U.S. feature documentary directing) about the Oakland Police Department opened in several Bay area theaters this week. Though the initial results were bigger on Friday (with local tie-ins), the result is respectable for a serious issue documentary, particularly without prior New York/Los Angeles reviews.
What comes next: New York and Los Angeles open this Friday.
“May It Last: A Portrait of the Avett Brothers”
Oscilloscope
“May It Last: A Portrait of the Avett Brothers” (Oscilloscope)
$10,500 in 8 theaters; PTA: $1,313; Cumulative: $681,589
This documentary on the folk rock band was directed by Judd Apatow, with most of its gross coming from single night showings last Tuesday. A handful held through the weekend.
What comes next: The next step likely will be later home viewing opportunities.
Manolo: The Boy Who Made Shoes for Lizards (Music Box) – Metacritic: 50
$7,440 in 3 theaters; PTA: $2,480
Documentaries about fashion icons often resonate with urban arthouse audiences, but this one about iconic shoe designer Manolo Blahnik (not helped by mixed reviews) had limited initial response in New York and Los Angeles dates.
What comes next: Chicago and San Francisco are among the initial expanded cities this week as the film heads into wider release.
Week Two
Rebel in the Rye (IFC)
$101,118 in 49 theaters (+45); PTA: $2,064; Cumulative: $154,326
The aggressive expansion of this biopic about J.D. Salinger did modest business, although Saturday increases suggested some interest from older audiences still affected by classic “The Catcher in the Rye.”
The Unknown Girl (IFC)
$32,043 in 16 theaters (+14); PTA: $2,003; Cumulative: $52,725
The Dardennes Brothers latest release from Belgium expanded to top cities on its second weekend at a level under what their always domestic released titles usually do, even if better than many similar titles.
Trophy (The Orchard)
$2,742 in 2 theaters (+1); PTA: $1,371; Cumulative: $7,470
Los Angeles joined New York for this documentary about the complicated world of trophy hunting. This completes its Oscar qualifying run, a major aim of its theatrical release ahead of its future CNN showing.
Ongoing/expanding (Grosses over $50,000 in under 1,000 screens)
The Big Sick (Lionsgate) Week 13
$342,000 in 338 theaters (-197); Cumulative: $42,511,000
The year’s specialty hit, at the end of its third month in release, is still adding gross on the eve of its home availability date (September 19 for DVDs) and ranks best among films under 1,000 theaters.
“Viceroy’s House”
Screenshot/Pathe
The Viceroy’s House (IFC) Week 3
$229,372 in 112 theaters (+71); Cumulative: $481,611
This latest British and Empire-related historical exercise (India at the time of independence) expanded more broadly to some success. Its timing before the rush of recent festival related new titles is helping its chances.
Tulip Fever (Weinstein) Week 3
$112,072 in 247 theaters (-525); Cumulative: $2,235,000
Justin Chatwin’s troubled Netherlands-set costume drama winds down quickly with a low-end result despite its initial multi-hundred theater release.
“Dolores”
Dolores (PBS) Week 3 5-83
$68,120 in 18 theaters (+13); Cumulative: $151,227
This future PBS California Farm Workers’ organizer documentary continues its respectable run (and positioning for awards) with new dates. Chicago and cities closer to its Central California setting are next this week.
Columbus (Superlative) Week 7
$89,146 in 62 theaters (+26); Cumulative: $637,103
The impressive showing for this acclaimed mid-America set interaction between two seemingly different people continues with new dates (particularly in Indiana towns not normally known for specialized interest). This looks likely to go over $1 million with limited marketing expense.
Menashe (A24) Week 8
$87,210 in 90 theaters (-27); Cumulative: $1,576,000
Though subtitled, this American independent film (set in New York’s Orthodox Jewish community) is performing better than most English language art house-centered releases, with a gross of $2 million possible.
Ingrid Goes West (Neon) Week 6
$81,650 in 100 theaters (-100); Cumulative: $2,907,000
This social media turmoil drama, another recent release out of Sundance, will pass $3 million soon. But its aggressive release (at its height just under 700 theaters) suggests an expectation of more.
The Trip to Spain (IFC) Week 6; also available on Video on Demand
$76,338 in 103 theaters (-29); Cumulative: $923,086
This parallel to VOD showing third road trip in Europe led by Steve Coogan is doing less than its predecessors, but still is a decent bonus to its home viewing revenues.
Beach Rats (Neon) Week 4
$72,700 in 67 theaters (+33); Cumulative: $320,778
Minor results continue for another younger character (and audience) aimed Sundance title that is struggling to get attention.
Also noted:
Maudie (Sony Pictures Classics) – $38,870 in 63 theaters; Cumulative: $6,081,000
Good Time (A24) – $29,495 in 29 theaters; Cumulative: $1,933,000
California Typewriter (Gravitas Ventures) – $22,201 in 18 theaters; Cumulative: $128,919
Polina (Oscilloscope) – $30,000 in 30 theaters; Cumulative: $117,908
Get the latest Box Office news! Sign up for our Box Office newsletter here.
Source: IndieWire film
September 17, 2017
Darren Aronofsky Wanted Joaquin Phoenix to Star in His Batman Movie, Which Was Too Dark to Get Made
With everyone who’s actually seen “mother!” — which, as reflected by its “F” CinemaScore, wasn’t too many people — arguing what Darren Aronofsky’s new movie is actually about, the writer/director himself is reflecting on the film he never got to make. Aronofsky was in talks to direct a new “Batman” movie before the role eventually went to Christopher Nolan, and now he’s revealed who he wanted to play the Caped Crusader: Joaquin Phoenix.
“I always wanted Joaquin Phoenix for Batman,” he said to Yahoo! Movies. “It’s funny, I think we were just sort of out of time with our idea. I understood that [with] comics, that there’s room for all different types of titles, but I think Hollywood at that time was still kind of in the Golden Age of comics, and they were still just doing the classic titles in classic ways.”
Aronofsky conceived of an R-rated take on the superhero that he’s described as “Travis Bickle meets ‘The French Connection,’” which was too dark for Warner Brothers; an executive said he “wanted to do a Batman he could take his kids to,” which ended up being Nolan’s “Batman Begins.” Read his full interview here.
Source: IndieWire film
September 17, 2017
me Convention Day Three: Ryan Gellert, Sasha Samochina, Smart Startup Pitch Finale & More [Live Stream]
It’s the final day of the inaugural me Convention – a partner event hosted by SXSW and Mercedes Benz in Frankfurt, Germany. This weekend has brought together people across a wide set of disciplines to engage in a dialogue about the future over five themes: new leadership, new creativity, new velocity, new urbanism and new realities. The event features over 150 speakers across three days of workshops, expert talks, and inspiring keynotes, plus a curated evening program featuring live concerts and rising culinary and art talents in Frankfurt.
After an exciting Saturday lineup filled with numerous motivating talks including Hans Ulrich Obrist, Hartmut Esslinger, and Gelong Thubten, it’s time for the final day of me Convention. Explore programming highlights below and follow the festivities with our live stream and social media coverage. Go behind the scenes of me Convention on Instagram and Twitter.
Day Three: Streaming Schedule
11:00am – 12:00pm (GMT+2)
Ryan Gellert, Celine Semaan, and Amber Valletta –
Closing the Loop: Fashion and the Circular Economy
Creating clothing through a circular economy has been a goal for many years – but how close are we? How are new manufacturing technologies and processes changing the game and getting us closer to a closed loop system? What can consumers do to drive change? Hear from Ryan Gellert, General Manager – EMEA for Patagonia, Celine Semaan, Founder and CEO of Slow Factory, and Amber Valletta, fashion icon and Founder of Master & Muse. Watch here »
12:00pm – 12:45pm (GMT+2)
Sasha Samochina – The Science of Today is the Art of Tomorrow
From a personal tour of one of the world’s most captivating natural history museums, to the icy moons of Saturn, art helps enhance the story that science cannot tell on its own. Sasha Samochina, Multimedia Specialist at NASA Jet Propulsion Laboratory, will discuss new immersive storytelling tools that allow you to travel to previously unexplored worlds and spaces. Watch here »
2:00pm – 3:05pm (GMT+2)
Smart Urban Pioneers Idea Contest Finals
Expect an intense competition and event: the three category winners of the smart startup contest will meet for a final pitch. All the buzz and excitement is more than worth it: the winners can expect a prize of €5,000 EUR, €10,000 EUR or €20,000 EUR respectively, plus a year’s worth of valuable expert advice as part of the Smart Urban Pioneers support program for the top project.
Watch here »
More Programming Highlights
Alissia Iljaitsch – Why Design Thinking Won’t Save Us
Co-Founder and Digital Innovation Strategist of IQ Gemini, Alissia Iljaitsch will share recent case studies from her work in the VR, AR, AI, and Connected Car space and present how companies can create cultural movements around learning and sharing that result in innovation outputs unique to each organizational culture.
A$AP Rocky – Forging Creative Paths in Entrepreneurship & the Arts
A$AP Rocky is a cultural beacon that continues to move past the status quo and lead the pack by continuing to evolve, innovate and disrupt the industry. The closing keynote, he will give us a look into his creative mind and share how he views the convergence of industries influencing his entrepreneurial endeavors, revitalizing legacy brands, and creating amazing work that continues to push boundaries.
Kei Shimada – Hacking the Brain: Utilizing Emotions for Deeper Human Insight
Global Director of Innovation and Business Development of Dentsu, Kei Shimada will share real life examples of how brands are utilizing neuroscience to gain deeper consumer insight and how it is used by clients in their communication with consumers.
Passionate about the future of creativity and leadership? Follow me Convention on Instagram and Twitter to continue the dialogue. Stay tuned for our recap of the 2017 me Convention in Frankfurt coming soon. Also check out the me Convention playlist on the Mercedes-Benz YouTube Channel as videos of many of the talks will be posted there in the coming weeks.
Thanks for joining us in Frankfurt! Ready for SXSW in March? Register to attend and get ready to explore what’s next in the worlds of film, culture, music, and technology during the 2018 SXSW Conference & Festivals from March 9-18 in Austin, TX.
2017 me Convention speaker, Auma Obama – Photo by Markus Nass
The post me Convention Day Three: Ryan Gellert, Sasha Samochina, Smart Startup Pitch Finale & More [Live Stream] appeared first on SXSW.
Source: SxSW Film
September 17, 2017
How to Avoid Some of the Most Common Mistakes in Composition
If you want to capture better images you have to understand good composition.
“My camera is such a piece of shit.” That’s what I told myself after spending an entire day shooting less than thrilling images for a class. I’d go home, offload my media, and gasp in horror at just how amateurish it all looked. “That’s f**king it. I’m buying a new camera.” But the problem wasn’t with my camera; it was with my ability to compose dynamic and beautiful images that told stories. This is an issue many filmmakers struggle with all throughout their careers but in this video, photographer Evan 5ps shows us how to correct some of the most common compositional mistakes, as well as how to completely avoid them altogether.
The mistakes Evan mentions in the video are supremely important for every filmmaker to know and understand because they form the foundation of aesthetics. So, let’s talk about some of the core compositional concepts that these errors affect.
Source: NoFilmSchool