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News & Updates
April 24, 2018
Creation and Connection: A Conversation with Keith Urban at SXSW 2018 [Video]
“It’s mystical and magical that you can create a song out of nowhere.” – Keith Urban
In this 2018 SXSW Featured Session, Creation and Connection: A Conversation with Keith Urban, Vice President of The GRAMMY Museum Scott Goldman facilitates a conversation with Australian country music star, Keith Urban, about the songwriting process, interesting moments in his career, and experiences from his childhood that informed his musical development.
Early in the conversation, when Urban is asked about early influences, rather than mention the usual suspects of rock and country history, he calls out the local gigging musicians that inspired him during the formative years of his music career, and speaks highly of the musicianship of this type of relatively “unknown” artist that can be found in every music hub. This moment in the conversation highlights Urban’s love of music as a live performance medium and informs his artistic process. Later in the dialogue, Urban speaks to this when he talks about how he was able to overcome the stuffy environment of the recording studio. Toward the end of the Featured Session, the conversation is opened up to include an extended Q&A with members of the audience about a broad range of topics.
“What I like about playing live is the ability to bring everyone together in agreement.”
Watch the video above for the full 2018 SXSW Featured Session Creation and Connection: A Conversation with Keith Urban, where country music star Keith Urban discusses his creative process and experiences the developmental stage of his career. Learn from a diverse group of thought leaders at SXSW – browse more 2018 Keynotes, Featured Sessions, Red Carpets, and Q&A’s on our YouTube Channel.
Follow us on Facebook, Twitter, Instagram, and SXSW News for the latest SXSW coverage, recaps, announcements, and stay tuned for information on SXSW 2018.
Keith Urban and Scott Goldman – Photo by Matt Winkelmeyer/Getty Images for SXSW
The post Creation and Connection: A Conversation with Keith Urban at SXSW 2018 [Video] appeared first on SXSW.
Source: SxSW Music
April 24, 2018
Register Now for me Convention 2018 in Stockholm from September 4-6
In 2017, SXSW in collaboration with Mercedes-Benz held the inaugural me Convention in Frankfurt – a three-day cross-cultural event uniting technology, design, and creative industries for a critical dialogue about the future. This year, me Convention moves the conversation to Sweden’s vibrant capital, Stockholm, from September 4-6, 2018 to showcase pioneers from all industries and reveal some of tomorrow’s most innovative technologies.
The unique and open platform of me Convention creates an intimate space for dynamic talks with top-tier speakers, inspiring keynotes, workshops, mentor meetings, and more. Join us to explore the 2018 themes — New Society, New Leadership, New Economies, New Creativity, and New Bionomics — plus an outstanding evening program including concerts, art exhibitions, Startup Cities Pitches, parties, and film screenings.
2017 speakers included astronaut Buzz Aldrin, artist A$AP Rocky, Sheryl Sandberg (Facebook), cyborg Neil Harbisson, Auma Obama (Sauti Kuu Foundation), monk Gelong Thubten, John Cohn (IBM), Amber Valletta (Master & Muse), and many more. As you get ready for Stockholm, experience all of the 2017 talks as well as the Mystery Talks series presented by me Convention during SXSW 2018. Stay tuned for 2018 me Convention programming announcements and updates throughout the season.
Register to join today’s makers and thought leaders for me Convention 2018. Badges are available now at Early Bird rates until June 22 at €329 ($402 USD). Students currently enrolled in college or university can follow this link to secure a special student discount.
SXSW is pleased to join Mercedes-Benz once again to host me Convention as an evolution of its mission to help creative people achieve their goals. Set your sights on Stockholm and secure your spot to #createthenew! Follow @meconvention on Instagram and Twitter, and sign up for me Convention newsletter.
The post Register Now for me Convention 2018 in Stockholm from September 4-6 appeared first on SXSW.
Source: SxSW Film
April 23, 2018
This Is Us Cast Panel with Executive Producer Dan Fogelman at SXSW 2018 [Video]
“There is hope and optimism there…that there is a happy ending potentially for the show and for the world.” – Dan Fogelman
In the critically-acclaimed NBC drama, This Is Us, everyone has a family and every family has a story. The series chronicles the Pearson family across three decades: from Jack (Milo Ventimiglia) and Rebecca (Mandy Moore) as young parents in the 1980s to their 37-year-old kids Kevin (Justin Hartley), Kate (Chrissy Metz), and Randall (Sterling K. Brown) searching for love and fulfillment in the present day. In the This Is Us Cast Panel, creator and executive producer Dan Fogelman as well as cast members Ventimiglia, Moore, and Hartley take an inside look at the Emmy Award-winning drama.
“One of the greatest things about the experience we all have on this show is the conversation that gets started because of these very simple, attainable stories.” – Milo Ventimiglia
During the session moderated by Glamour‘s Jessica Radloff, she asked the panelists a series of questions related to fan encounters, in addition to sharing a funny story about her mother, who happens to be a huge This Is Us fan, and got the lucky opportunity to meet Hartley and Brown. Prior to the Featured Session, fans joined the cast and producers at the world premiere screening of the This Is Us season 2 finale episode as part of the SXSW Film Festival.
Before going to the audience for questions, Radloff posed on last question asking, “What have you guys learned on this journey and what has this show done for you as a person?” Fogelman thoughtfully responds with, “For me, I am one of those people who cannot get off CNN right now and watch everything that is going on in this country, just generally and globally how divided everybody is. I am constantly just going, what on earth is going on right now? How are we all collectively here regardless of what side of the line we sit on? And I look at the show, not just that it exists…the popularity of the show and the fact that people across all spectrums of life are attaching to this show that is open-hearted and optimistic, romantic, and inclusive; it gives me hope a little bit,” said Fogelman.
Watch the video above for the full This Is Us Featured Session. Browse more 2018 Keynotes, Featured Sessions, Red Carpets, and Q&A’s on our YouTube Channel.
Follow us on Facebook, Twitter, Instagram, and SXSW News for the latest SXSW coverage and 2019 updates.
This Is Us – Photo by Steve Rogers Photography/Getty Images
The post This Is Us Cast Panel with Executive Producer Dan Fogelman at SXSW 2018 [Video] appeared first on SXSW.
Source: SxSW Film
April 23, 2018
Editorial Design: Centro Cultural Jardín Japonés
Editorial Design: Centro Cultural Jardín Japonés
Let’s kick it off with a beautiful branding & editorial design by Angello Torres who is a graphic designer from Buenos Aires, Argentina. Ver Para Oír / Jardín Japonés translated to See To Hear / Japanese Garden and I simply love this project. The mixture of the culture, colours and you just gotta love that font Avant Garde who has been my go-to font for years. Check it out, this project is beautifully shown in execution and presentation.
Seeing To hear is a festival carried out within the cultural framework offered by the Japanese Garden, in which the senses of sight and hearing merge crossing each other generating new forms of perception, carried out from different sound activities and visuals. “hear colors, perceive sounds and observe silence”
More Links
- Learn more about Angello Torres
Editorial Design & Branding
AoiroStudio
Apr 23, 2018
Source: Abduzeedo Editorial Design
April 22, 2018
‘A Quiet Place’ Again Rules the Box Office and ‘Super Troopers 2’ Makes an Impressive Return
This weekend, it took just $22 million to be #1 at the box office. In its third weekend, “A Quiet Place” led a closely matched group in the top four spots, bringing in about 16 percent more business than the same time last year. And this was supposed to be a calm before the storm that is next weekend’s “Avengers: Age of Infinity.” No one wants to position a top film ahead of that juggernaut.
Instead, we saw three wider releases take a chance at reaching targeted audiences. “I Feel Pretty” with Amy Schumer did the best of the three with a little over $16 million, with “Super Troopers 2” close behind. “Traffik” lagged behind with under $4 million in close to 1,000 theaters.
“A Quiet Place”
Jonny Cournoyer
Of note for these individual titles:
“A Quiet Place” returned to #1. More significantly, and nearly unheard of for a wide-release horror film, it fell only 33 percent its third weekend. John Krasinski’s $17 million-budgeted film is already at $132 million; suddenly, $200 million seems possible. It’s grossed more than $20 million more than “Get Out” last year at this point in its run.
Jordan Peele’s phenomenal film opened to about two thirds as much, then held better (down 15 and 26 percent its second and third weekends). “A Quiet Place” should best the $176 million domestic gross for “Get Out.” With stronger foreign interest, a worldwide total of over $300 million is likely.
“Rampage”
“Rampage” proved the opening appeal of superstar Dwayne Johnson. Its second-weekend, 41 percent fall is the best for any of his films in the last six years, except for the holiday-boosted “Jumanji: Welcome to the Jungle.” That’s good news for the big-budget title (just over $100 million), which is doing much better overseas. Led by China, and with Japan, Germany, and France still to open, it could end up somewhere between $450 million-$500 million, about 20 percent of that domestic. Johnson’s involvement boosted this above other recent high-end action films; even without a spectacular opening, it shows what the human element of a proven star can do to enhance an otherwise by-the-numbers release.
“I Feel Pretty” gets credit for grossing more than predictions, which were closer to $10 million. After “Blockers,” this is the second R-rated, female-centered comedy in recent weeks. The more-expensive “Pretty” ($32 million) will need a strong hold to get into profit. That’s possible, based on its appeal to women and as “Avengers”counterprogramming; it could end up with a strong multiple and earn more than $50 million, but it will need foreign results. “Game Night” opened close to the same gross and is nearing $70 million, four times opening weekend.
“Super Troopers 2”
“Super Troopers 2” is a sequel to the 2000 cult success from the Broken Lizard comedy troupe. The first film opened wide to $9.8 million adjusted, ultimately reaching $29 million; this bested that number at $14.7 million, thanks to longtime male fans. (Ticket sales were 75 percent ages 25-49, and 64 percent male). On-the-ground, multi-city marketing by Broken Lizard also helped the film double initial expectations. At a $13 million budget, this looks like a winning bet for Fox Searchlight and its second (after “Isle of Dogs” also gets there) over-$30 million performer this year. That’s great timing for a unit primed to survive in the new Disney environment post-merger.
“Traffik” with Omar Epps and Paula Patton as a vacationing couple fighting off bikers made $3.875 million on a $4 million production budget. Still, it was the sole opener to rise Saturday from Friday and Lionsgate can make sure this has a post-theatrical afterlife.
“Ready Player One”
Other decent holds were seen by “Ready Player One,” “Blockers,” and of course “Black Panther.” The first two fell about 35 percent, while “Panther” in its 10th weekend dropped only 20 percent.
Spielberg’s pricey video-world film is up to $126 million, with $150 domestic possible — more than three times its opening. It did more than 75 percent of its business outside North America, and should end up a very good $600 million or so worldwide. “Panther” will be affected by the new Marvel film, but still looks on track to reach $700 million domestic (it’s now $681 million). The next question: Will “Avengers: Age of Infinity” be its equal?
The Top Ten
1. A Quiet Place (Paramount) Week 3; Last weekend #2
$22,000,000 (-33%) in 3,808 theaters (+219); PTA (per theater average): $5,777; Cumulative: $132,359,000
2. Rampage (Warner Bros.) Week 2; Last weekend #1
$21,000,000 (-41%) in 4,115 theaters (+14); PTA: $5,103; Cumulative: $66,600,000
3. I Feel Pretty (STX) NEW – Cinemascore: B+; Metacritic: 47; Est. budget: $32 million
$16,220,000 in 3,440 theaters; PTA: $4,715; Cumulative: $16,220,000
4. Super Troopers 2 (20th Century Fox) NEW – Cinemascore: B+; Metacritic: 41; Est. budget: $13 million
$14,700,000 in 2,038 theaters; PTA: $7,213; Cumulative: $14,700,000
5. Truth or Dare (Universal) Week 2; Last weekend #3
$7,910,000 (-58%) in 3,068 theaters (+39); PTA: $2,578; Cumulative: $30,287,000
6. Ready Player One (Warner Bros.) Week 4; Last weekend #4
$7,500,000 (-35%) in 3,028 theaters (-453); PTA: $2,338; Cumulative: $126,181,000
7. Blockers (Universal) Week 3; Last weekend #5
$6,985,000 (-35%) in 3,134 theaters (-284); PTA: $2,229; Cumulative: $48,254,000
8. Black Panther (Disney) Week 10; Last weekend #6
$4,642,000 (-20%) in 1,930 theaters (-250); PTA: $2,405; Cumulative: $681,084,000
9. Traffik (Lionsgate) NEW – Cinemascore: NA; Metacritic: 39; Est. budget: $4 million
$3,875,000 in 1,046 theaters; PTA: $3,705; Cumulative: $3,875,000
10. Isle of Dogs (Fox Searchlight) Week 5; Last weekend #7
$3,400,000 (-38%) in 1,947 theaters (+8); PTA: $1,746; Cumulative: $24,360,000
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Source: IndieWire film
April 22, 2018
Dwayne Johnson Won’t Take You to Prom, but He Will Rent Out an Entire Theater So You Can See ‘Rampage’ — Watch
A high-school student asked Dwayne Johnson to prom, and you’ll never guess what happened next: He said no! It’s okay, though, because the only reason he politely declined was because he’ll be filming “Jungle Cruise” when the end-of-year dance takes place. In lieu of wearing a tux and getting one Katie Kelzenberg a corsage, The Rock was kind enough to rent out an entire theater so that she and her friends could see “Rampage” — and he announced it over the school’s intercom system. Watch below.
Kelzenberg invited Johnson to prom via a clever tweet, which prompted an Instagram response from the eight-time WWE Champion. “I was so impressed by this young lady’s charm and confidence to even ask me (ladies always get shy in front of me) that I had to do something special,” he writes. “I decided to rent out an entire theater (capacity 232 seats) in her town so Katie and her closest 232 friends and family can enjoy a special screening of RAMPAGE.”
“I also taped a special morning message surprising Katie and her high school that will play across the school’s intercom system… literally…RIGHT NOW, Katie should be turning red hearing me surprise her in front of her entire school,” Johnson continues. It’s true:
@TheRock PROM?! pic.twitter.com/VyHhrpVQYe
— katie k (@katiekelzenberg) April 15, 2018
Source: IndieWire film
April 22, 2018
Cinematographer Bradford Young Calls for ‘Cultural Shift’ to Combat Industry Bias
The message was clear at Saturday’s American Society of Cinematographers meeting about “changing the face of the industry” to include more minorities and women in cinematography in Hollywood. Engage in collective action from the top down and bottom up, and, if necessary, shame producers and executives into changing their stereotypical hiring practices.
“I’m not interested in legislating change — I’m interested in shifting the culture,” said Bradford Young, only the second Oscar-nominated black cinematographer in the history of the Academy Awards (“Arrival”). “We have to make the cinema we want.”
Young, who has successfully navigated between indies (“Where Is Kyra?”), franchises (“Solo: A Star Wars Story”), and streaming (Ava DuVernay’s upcoming “Central Park Five” series on Netflix), advised minority cinematographers and camera operators to make choices that allow them the freedom to express ethnicity through their craft. “First and foremost it’s not about making vertical moves but about making horizontal moves,” he told IndieWire. “Cinematographers should connect to projects where they can see themselves and the community that they identify with in the film.”
“Solo: A Star Wars Story”
screen shot
Young stressed that his career has been “a reflection of that push back against the sort of pervasive white supremacist culture in our art form. I’ve had the opportunity to work on projects that didn’t seem to have a clear bridge between the community that I identify with and the material on screen. But I still brought my community to the project as a prerequisite. My career is about my cultural acumen, more so than my technical acumen.
“We’re in a time where we can be unapologetic about who we are. So if we’re black, queer, trans, Chicano, European-American, Southeast Asian, we should know that what we can bring to the table is important. And it is something that should be embedded in the films that we make.”
In terms of Young’s challenging “Star Wars” experience, in which directors Chris Miller and Phil Lord were replaced last summer by Ron Howard, necessitating reshoots by the cinematographer, he described it as a moment of clarity. “To me, it did not seem like a natural fit so I had to figure that out,” Young said. “I felt like it was an interesting opportunity to express myself in a particular way. I wanted ‘Star Wars’ to feel like ‘Arrival.’ I’m interested in planting my imprint. I’m part of a [black] community and I have to answer to that. I didn’t disrespect myself or the community.”
“Arrival”
Paramount
Another highlight of the Netflix-sponsored event, organized by the ASC Vision Committee, was a keynote by USC’s Dr. Stacy Smith (founder of the Annenberg Inclusion Initiative). In addition to engaging with companies to change hiring practices for cinematographers, she encouraged the bottom up approach of hiring more women and ethnic diversity within the ranks behind the camera. “We need a new paradigm to ensure qualified and available talent from all backgrounds,” she said. “There will be better product as a result of diversity and inclusion.”
HBO’s Natasha Foster-Owens (West Coast director of production) touted the fact they have rotating cinematographers who are women and women of color on “Insecure” and “Camping.” Also, the HBO Access program offers fellowships in writing and directing to filmmakers from diverse backgrounds.
Cinematographer John Simmons, ASC Vision Committee co-chair, added that studio mandates and tax incentives for minority hiring are positive steps, but more needs to be done individually to diversify camera crews. “We need to ensure that cinematographers reflect the world we live in,” he said. “Diversity is being asked to the party; inclusion is being asked to dance.”
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Source: IndieWire film
April 22, 2018
NASA Scientists Think ‘Gravity’ Is the Worst, Most Inaccurate Space Movie Ever Made
“Gravity” earned critical acclaim, a slew of awards, and more than $700 million at the box office, which is to say that Alfonso Cuarón’s sci-fi drama was fairly successful. One subset of moviegoers wasn’t impressed, however: NASA scientists. In a BBC video in which the women helping us conquer the final frontier list the best and worst movies set in space, “Gravity” is repeatedly cited as the most inaccurate of them all.
Others to earn ire due to scientific inaccuracies are “Mission to Mars,” “Armageddon,” and “Red Planet”; “Planet of the Apes,” and “Spaceballs” receive (dis)honorable mentions as well. Alas, “Gravity” stands above all the others for being utterly divorced from reality. Everything that could go wrong went terribly, terribly wrong, and that’s not exactly the feeling we want everybody to have about this industry,” one scientist says.
It’s not all negative, however. “Interstellar,” “Hidden Figures,” “The Martian,” and especially “Apollo 13” receive praise.
Other issues with “Gravity,” which won Cuarón the Academy Award for Best Director: “how Sandra Bullock could move between orbits with almost really no issue” and the fact that, “when she gets out of her spacesuit, she’s in cute little underwear. Where’s the diaper?” Where, indeed.
Source: IndieWire film
April 22, 2018
John Carpenter Will Compose the Score for the New ‘Halloween,’ Jason Blum Confirms
Just because John Carpenter isn’t directing the newest “Halloween” movie doesn’t mean he won’t be involved. Producer Jason Blum has confirmed that Carpenter, who composed the music for the original 1978 slasher in addition to co-writing and directing it, will return to the franchise with a simple tweet.
Carpenter has composed the music for many of his own films: “Dark Star,” “Escape From New York,” “They Live,” “The Fog,” “Christine,” and so on and so forth. This new “Halloween,” which is being directed by David Gordon Green, will be his first film score since 2001’s “Ghosts of Mars.” It’s also the first “Halloween” movie in nearly a decade, following Rob Zombie’s 2007 remake and its 2009 sequel.
Green, whose all-over-the-place career has seen him direct everything from “George Washington” and “Joe” to “Pineapple Express” and “Stronger,” also co-wrote the screenplay with Danny McBride and Jeff Fradley. Jamie Lee Curtis will return as Laurie Strode in the film, which is being released on October 19.
Confirm!
— Jason Blum (@jason_blum) April 19, 2018
Source: IndieWire film
April 21, 2018
Watch: Learn How to Duplicate Objects with This Simple Cloning Trick in Premiere Pro
You can create this impressive cloning effect right inside of Adobe Premiere Pro.<p>Visual effects are a great way to add some flair and a little …
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