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News & Updates
April 15, 2018
Dwayne Johnson’s ‘Rampage’ Beats Out Horror Competition at Weekend Box Office
The box office continues to decline. And Dwayne Johnson is a major star. He took thriller “Rampage” (Warner Bros.) to a narrow win over John Krasinski’s sleeper hit “A Quiet Place” (Paramount) as both films grossed over $30 million. That’s the second time two films have reached that level for a weekend in 2018 — compared to four by this time last year.
The numbers dropped about 15 per cent against a 2017 weekend when “The Fate of the Furious” opened to $98 million, accounting for nearly 60 percent of the tickets sold. Still, several titles are making strong showings, and exhibitors are looking forward to some blockbusters ahead to overcome the two percent box office dip to date, including Disney/Marvel’s “Avengers: Infinity Wars” which is anticipated to open at $150 million or more.
Dwayne Johnson toplines $120-million “Rampage,” a video game adaptation about a primatologist joined by a mutant gorilla to confront a civilization-threatening invasion. Targeted abroad, the movie has already scored triple the domestic take internationally (less Germany and Japan so far).
With global marketing costs the film has some way to go before heading into profit. From a domestic standpoint, the gross is middling. It comes after Johnson’s “Jumanji: Welcome to the Jungle” to over $400 million domestic. And the similar “San Andreas” three years ago opened to (adjusted) $58 million.
Still, initial positive response (including a decent 20 per cent Saturday increase) could push this over $100 million, bucking a string of disappointments. A decent domestic haul might make the difference between profit and loss for the film, even if it ends up closer to a fifth of the world wide take.
“A Quiet Place”
Jonny Cournoyer
Holdovers
One film that has no worries about making lots of money is “A Quiet Place.” Its fall of 35 per cent would be good for most second weekends. For a horror film, any hold better than 50 per cent is excellent.
The ten-day haul of just under $100 million suggests its domestic total will hit $160 million or more. It could end up with a majority domestic take, but international, with $51 million in so far, has yet to see openings in China and France. But this sleeper hit would be a big success even if it never opened foreign.
2018 Universal Studios.
“A Quiet Place” held remarkably well considering it faced competition from — and likely stole opening gross from– “Truth or Dare,” a similar genre title from horror film masters Blumhouse Productions. Their latest micro-budget title opened to $19 million, which falls below their four most recent entries (including “Get Out” and “Split”), but isn’t bad for a less-heralded non-sequel.
Two openers broke nationally, but neither made the Top Ten. Jon Hamm as an kidnap negotiator in the Mideast in “Beirut” (Bleecker Street) managed only a little over $2 million in five days (Wednesday opening) in 755 theaters. And an Irish animated film, “Sgt. Stubbs: An American Hero” (Fun Academy) managed an impressive A Cinemascore. The gross hasn’t been officially reported, but looks to amount to around $1.1 million in 1,633 theaters — that’s a miserable less than $700 per theater.
“Ready Player One”
“Ready Player One” (Warner Bros.) took a sizable 54 percent third weekend drop. Steven Spielberg’s latest is looking at over $140 million domestic, with the total worldwide number somewhere around $550 million. Not a monster hit at its expense (a reputed $145 million) but primed for a little profit along with a reinforcement of the director’s mainstream credentials.
“Blockers” (Universal) fell 50 per cent on its second weekend. The SXSW-debuted teen raunch comedy had a shot at sleeper success, but with mixed response its domestic total should end up a little over $50 million.
“Black Panther” (Disney), despite losing another fifth or so of its theaters, kept its drop to under 40 per cent. It’s on track to hit about $700 million domestic. “Isle of Dogs” (Fox Searchlight) placed #7 as it tripled its theaters to 1,939 with a modest ten per cent increase of its gross.
“Rampage”
The Top Ten
1. Rampage (Warner Bros.) NEW – Cinemascore: A-; Metacritic: 45; Est. budget: $120 million
$34,500,000 in 4,101 theaters; PTA (per theater average): $8,413; Cumulative: $34,500,000
2. A Quiet Place (Paramount) Week 2; Last weekend #1
$32,600,000 (-35%) in 3,589 theaters (+81); PTA: $; Cumulative: $99,636,000
3. Truth or Dare (Universal) NEW – Cinemascore: B-; Metacritic: 37; Est. budget: $3.5 million
$19,080,000 in 3,029 theaters; PTA: $6,399; Cumulative: $19,080,000
4. Ready Player One (Warner Bros.) Week 3 ; Last weekend #2
$11,205,000 (-54%) in 3,661 theaters (-573); PTA: $3,061; Cumulative: $114,608,000
5. Blockers (Universal) Week 2 ; Last weekend #3
$10,295,000 (-50%) in 3,418 theaters (+39); PTA: $3,012; Cumulative: $36,928,000
6. Black Panther (Disney) Week 9 ; Last weekend #4
$5,342,000 (-39%) in 2,180 theaters (-567); PTA: $2,450; Cumulative: $673,798,000
7. Isle of Dogs (Fox Searchlight) Week 4 ; Last weekend #10
$5,000,000 (+10%) in 1,939 theaters (+1,385); PTA: $2,579; Cumulative: $18,451,000
8. I Can Only Imagine (Roadside Attractions) Week 5; Last weekend #7
$3,837,000 (-51%) in 2,563 theaters (-331); PTA: $1,503; Cumulative: $74,988,000
9. Acrimony (Lionsgate) Week 3 ; Last weekend #6
$3,700,000 (-56%) in 1,332 theaters (-674); PTA: $2,778; Cumulative: $37,875,000
10. Chappaquiddick (Entertainment Studios) Week 2; Last weekend #5
$3.025,000 (-47%) in 1,645 theaters (+85); PTA: $1,839; Cumulative: $11,006,000
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Source: IndieWire film
April 15, 2018
Vittorio Taviani, Palme d’Or and Golden Bear Winner, Dies at 88
Vittorio Taviani, who along with his brother Paolo formed one of the world’s premier filmmaking duos, has died at age 88. His daughter confirmed the Palme d’Or, Golden Bear, and Golden Lion winner’s passing after a long illness. Beloved in their native Italy for decades and celebrated at film festivals the world over, the Taviani Brothers directed such arthouse classics as “Pedro Padrone” (which won them the Palme in 1977) and “Caesar Must Die” (which took home the top prize from Berlin six years ago).
The two directed more than 20 films over the last 50 years, with “The Night of the Shooting Stars” winning particular acclaim at home; it was also awarded the Grand Prix at Cannes. In a statement, Italian president Sergio Mattarella called Taviani “a beloved protagonist of Italian cinema and culture” and said that the entire country is in mourning.
Born in the town fo San Miniato in 1929, Taviani most recently directed “Wondrous Boccaccio” with his brother, their follow-up to “Caesar Must Die.” The duo received a Golden Lion for Lifetime Achievement from the Venice Film Festival in 1986.
Source: IndieWire film
April 15, 2018
Indie Box Office: Women-Directed Movies Kick Ass, Lead by ‘Grace Jones: Bloodfight and Bami’
Art houses got an infusion of fresh blood this weekend, as a wide range of films did business in limited release. Three new films directed by women showed interest, led by the strong showing of the documentary “Grace Jones: Bloodfight and Bami” (Kino Lorber), and two landed among the highest Metascores of the year: “The Rider” (Sony Pictures Classics) and “Zama” (Strand.)
A wider release for bigger-budget and more mainstream “Beirut,” even with decent reviews, didn’t fare as well. And two high profile festival films, tennis biopic “Borg Vs. McEnroe” (A24) and Win Wenders’ “Submergence” (Goldwyn) joined the Sundance premiere “Come Sunday” (Netflix) for token theater dates while pulling eyeballs in home venues.
Among the established hits, “Isle of Dogs” (Fox Searchlight) reached its widest point yet, while “The Death of Stalin” is still adding gross in its later stages.
Opening
Grace Jones: Bloodfight and Bami (Kino Lorber)- Metacritic: 75; Festivals include: Toronto 2017
$60,442 in 3 theaters; PTA: $20,147
Theatrical releases about well-known creative figures have often done better than expected business, but this sky-high result led the weekend’s limited openings. This documentary about the iconic performer delivered at New York locations that do not usually perform at this level (Lincoln Center, Metrograph, and BAM Rose). The numbers on Saturday showed a good increase from opening day, suggesting some depth to the interest beyond core fans.
What comes next: Los Angeles and Boston open this Friday, with grosses like these certain to attract significant further interest.
Chloe Zhao’s “The Rider”
The Rider (Sony Pictures Classics) – Metacritic: 92; Festivals include: Cannes, Telluride, Toronto, New York 2017, Sundance 2018
$45,268 in 3 theaters; PTA (per theater average): $15,089
After scoring among the year’s best raves from a lineup of top festivals, Chloe Zhao’s second feature opened in three top New York/Los Angeles theaters to decent results. It’s not a conventional coastal city specialized film. Using non-actors, it recreates the life of a young rodeo rider after an accident changes his life goals.
With strong opening numbers, this could break out in the heartland. Saturday showed a healthy 43 per cent increase from Friday. SPC has a history of taking films like this and nurturing them to get maximum results. Consider this a work in progress.
What comes next: Chicago, San Francisco, and Washington begin the expansion this week.
“Beirut”
Beirut (Bleecker Street) – Metacritic: 70; Festivals include: Sundance 2018
$1,656,000 in 755 theaters; PTA: $2,193; Cumulative: $2,028,000
This well-reviewed Middle East kidnap drama, which debuted at Sundance, has a strong pedigree: director Brad Anderson (“Transsiberian,” “The Machinist”), writer Tony Gilroy (“Michael Clayton”) and star Jon Hamm. Bleecker Street set this for a Wednesday nationwide rather than limited release, in part to rouse word of mouth going into the weekend.
The result was mediocre, falling short of the Top Ten and positioning the film for unlikely further expansion. It could top out under $4 million. Jon Hamm continues to suffer the fate of many top television stars who find it tricky to establish themselves as movie leads.
What comes next: This should hold its dates for at least another week, but doesn’t look to have much heft beyond.
“Zama”
Zama (Strand) – Metacritic: 90; Festivals include: Venice, Toronto, New York 2017
$23,788 in 2 theaters; PTA: $11,894
Argentine Lucretia Martel boasts credible openings for two of her earlier films (“The Holy Girl” and “The Headless Woman”), but those were a decade or more ago in better times for subtitled fare. Her most recent effort is set in colonial South America as a loyal Spanish official anxiously awaits a transfer from his remote post. Manohla Dargis’ prominent New York Times rave Friday helped launch this at two Manhattan theaters to more than respectable results for a high-end arthouse foreign language title these days.
What comes next: This will be shown nationwide in a combination of festival, repertory, and regular theatrical engagements. Los Angeles and other top markets see this on April 27.
Hitler’s Hollywood (Kino Lorber) – Metacritic: 73; Festivals include: Telluride 2017
$10,177 in 1 theaters; PTA: $10,177; Cumulative: $10,177
This survey of studio escapist moviemaking in Nazi Germany opened at New York’s Film Forum on Wednesday with a decent initial result. (The above estimate is for the five days, not the weekend.)
What comes next: Most cities are not yet set, with repertory houses the most likely venues.
Also streaming:
Submergence (Goldwyn/Toronto 2017) – $(est.) 3,000 in 10 theaters
Borg Vs. McEnroe (A24/Toronto 2017) – $(est.) 48,000 in 44 theaters
“You Were Never Really Here”
Alison Cohen Rosa | Amazon Studios
Week Two
You Were Never Really Here (Amazon)
$343,282 in 51 theaters (+48); PTA: $6,358; Cumulative: $511,115
Lynne Ramsey’s strong study of a troubled man who rescues girls from sex slavers (starring Joaquin Phoenix) had a reasonable quick expansion to major cities. This not easy-sell title is boosted by continued strong reviews. Further expansion will indicate how deep the interest is.
“Lean on Pete”
A24
Lean on Pete (A24)
$79,021 in 18 theaters (+14); PTA: $4,390; Cumulative: $141,437
Acclaimed British director Andrew Haigh’s first American set film expanded to other top cities this weekend to more modest results than his recent “45 Years.” The story of a working-class teen finding purpose in life when he rescues a quarter horse continues to get strong reviews, which combined with A24’s support should guarantee a further expansion.
“Isle of Dogs”
Fox Searchlight Pictures
Ongoing/expanding (grosses over $50,000)
Isle of Dogs (Fox Searchlight) Week 4
$5,000,000 in 1,939 theaters (+1,345); Cumulative: $18,451,000
Only Wes Anderson’s earlier animated “The Fantastic Mr. Fox” has ever played as many theaters among his films. That grossed an adjusted $8.4 million in over 2,000 theaters playing Thanksgiving weekend (an elevated time for this kind of film). It also played earlier in its run, while “Isle” had already in staggered expansions already grossed over $13 million before this weekend. This looks to get to over $30 million, which would be about half of the take for his most recent success “The Grand Budapest Hotel.”
“The Death of Stalin”
Nicola Dove
Death of Stalin (IFC) Week 6
$474,692 in 325 theaters (-223); Cumulative: $6,313,000
Kremlin intrigue decades ago continues to stand out above most other recent specialized releases. This has done most of its business, but its likely ultimate take of $8 million is more than credible for tough-sell political-historic satire.
Finding Your Feet (Roadside Attractions) Week 3
$309,740 in 277 theaters (+220); Cumulative: $590,939
This middle-age British romance moves to wider markets. The results are mediocre at best, with only a little more than a $1,000 average per theater gross.
The Leisure Seeker (Sony Pictures Classics) Week 6
$276,289 in 276 theaters (-77); Cumulative: $2,350,000
Helen Mirren and Donald Sutherland’s East Coast road trip continues to do some business with older audiences. It will only do a small fraction of the business as Mirren’s recent specialized breakouts “Eye in the Sky” and “Woman in Gold.”
Also noted:
Final Portrait (Sony Pictures Classics) – $38,808 in 32 theaters; Cumulative: $200,265
Back to Burgundy (Music Box) – $21,690 in 18 theaters; Cumulative: $135,263
Itzhak (Greenwich) – $ in 6 theaters; Cumulative: $
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Source: IndieWire film
April 15, 2018
Claire Denis Reveals Why ‘High Life,’ Her Sci-Fi Thriller Starring Robert Pattinson, Isn’t at Cannes
In addition to being one of our most gifted filmmakers, Claire Denis is also among the most outspoken. The French auteur’s name was conspicuously absent from the Cannes Film Festival lineup earlier this week, as many expected “High Life,” her sci-fi film starring Robert Pattinson, to premiere on the Croisette.
She’s asked about that in an interview with the Irish Times, but not before taking issue with being referred to as a “female director” by her interviewer. “When you say ‘female director’ I already want to stop this conversation!” Denis says. “Female director? I feel like I am an animal. I am a female director like this is a female bird. No, I am a director — good or bad I don’t know. But I am a woman.”
As for “High Life,” it appears as though it simply wasn’t ready in time for the festival.
“I made my way,” Denis says of her plight. “I made my films and I am a woman. Nobody raped me for making a film. The problem with this story is that people are victims when somebody has the power over them. But I was not really in that position. I had always a freedom. I was not obliged to go to a hotel room with somebody to get a film produced. I should have, maybe. To get a bigger film. Harvey Weinstein never asked me. I made my life differently. I don’t want to comment on this story of female film-making. Oh, all those f’s.”
As for Cannes, Denis seems unbothered by the fact that none of her movies have premiered in Competition since “Chocolat” 30 years ago. “I take what I am given,” she says. “I am always considering maybe my films are not good enough. Maybe they are boring. Maybe there is something Cannes doesn’t like. I never asked them, by the way. I don’t care.” Read her full interview here.
Source: IndieWire film
April 14, 2018
How Adobe Is Integrating Other Disciplines into Each of Its Programs
If we had to sum up Adobe’s approach to the future of its post-production video tools in a single word it would be “integration.”
Adobe has added a ton of interesting and powerful features to its collection of post-production applications, but the individual tweaks are not as exciting as its large-scale approach to the future of those applications. From Premiere Pro to Audition, you’ll be able to accomplish multiple tasks within a single program, like color grading or auto-ducking right inside of Premiere Pro. So, instead of having to move your work from Premiere Pro to Audition or SpeedGrade to get your audio or color grade to where you want it to be, Adobe has included those powerful tools right inside of Premiere Pro. (In fact, Adobe has simply combined Premiere Pro and SpeedGrade into one program.)
The new tools and workflows that Adobe has added to Premiere Pro are designed specifically to be robust but also approachable, meaning that it’ll appeal to users of all experience levels.
Source: NoFilmSchool
April 14, 2018
Avid Gives Media Composer a Live Timeline (and Other Sweet Features, Too)
Media Composer gets a few new features, including a live timeline.
Avid has taken a step closer to modernity in terms of design and function with its latest rollout of features for Media Composer. With its new “live timeline,” users can hit play on a clip and go and do other tasks while the playhead keeps playing. The software can now handle 4 real-time UHD streams up to 8K, high-res titling, as well as group updating, which means users can add a camera to a multi-cam group even after the group has been made.
The updated version of Media Composer is set to be released later this year.
No Film School’s complete coverage of NAB 2018 is brought to you by Adorama, My RØDE Reel, and Blackmagic Design.
Source: NoFilmSchool
April 14, 2018
CoreMelt Reveals Its Impressive New Planar Tracking Paint Tool for Final Cut Pro X
PaintX lets Final Cut Pro X users paint all over their footage and lets the planar tracking tool do the rest.
CoreMelt gave us a sneak peek at its new planar tracking software at NAB. Called PaintX, this tool uses Mocha’s powerful planar tracking engine to allow users to add effects to their footage without having to keyframe it. If you’re familiar with CoreMelt products, you might be thinking, “Oh yeah, you’re thinking of TrackX.” No, TrackX allows users to add text and graphics to footage, but PaintX actually allows them to basically draw effects right onto the frame with familiar brush, color, and blending tools and then just sit back and have the planar tracking technology take care of tracking the camera movements. No keyframing required.
There’s no word on release date or price for PaintX, though it is said to be around the same price as other comparable CoreMelt products (so, $99?), but it will be offered as a stand-alone piece of software, as well as a plugin on Final Cut Pro X.
Source: NoFilmSchool
April 14, 2018
Meet Magic Carpet Pro and Genie II, Syrp’s New Slider and Motion Control Device
Syrp unveiled its new slider, as well as a revamped Genie motion control head, which adds panning and tilting.
We were able to get up close and personal with Syrp’s new Magic Carpet Pro slider and Genie II motion control device at NAB.
The Magic Carpet Pro is extendable, can handle up to 50 lbs., has a quick-release system, and has a hidden flywheel built directly on the carriage, which can be switched on and off. This feature makes slow camera movements with heavy cameras a breeze. The 2′ short track costs $989, the 3′ medium track costs $1099, and the long track kit, which comes with 2′ short and 3′ medium tracks is $1469.
Complete reconfiguring its popular motion control device, Syrp has added a pan/tilt module and a linear module to Genie II. It can handle a 15 lb. payload, has removable batteries, an integrated joystick that allows you to complete camera moves by hand, and has a max speed of 3.2 feet (1 meter) in 6 seconds, which is about 4x faster than its predecessor. The linear module costs $899, the pan/tilt module costs $1599, and both together cost $2498.
Source: NoFilmSchool
April 14, 2018
Book Suggestion: The Snowball
Book Suggestion: The Snowball
I love reading biographies because I love to know how individuals can break the status quo and go from ordinary to becoming truly extraordinary. A few weeks ago I finished reading one that has become my favorite, at least until I find a new one. However this one has many invaluable lessons for life. I am talking about the book title The Snowball: Warren Buffett and the Business of Life written by Alice Schroeder.
Snowball is not a new book, it was published almost 10 years ago in October 2009, so it misses a lot of the new things that have happened in the world, but the lessons of business still work today. For me the biggest one is about simplicity. His principles and rules of investing are quite simple: Find a successful business that can endure the test of time, managed by people that love what they are doing and the most important thing, at a reasonable price.
It seems simple right? Of course if you find a great business managed by amazing people it has to be successful, but if the price is not right the whole formula fails. He calls it the margin of safety and that is what made him one of the richest men in the world.
The money part is interesting because it made me admire him even more. He still lives a simple life, lives in the same house in Omaha and doesn’t have any ostentatious habits, at least that is what the book portrays. However, I’ve watched several videos and documentaries that attest that.
I won’t keep telling more about the book but I highly encourage you to read it. Being a designer I can say that this book was way more inspiring and useful for me than most of the design books I’ve ever read.
abduzeedo
Apr 14, 2018
Source: Abduzeedo Books
April 13, 2018
Danchi Dreams Photographic Series by Cody Ellingham
Danchi Dreams Photographic Series by Cody Ellingham
Just to keep going from our Friday Feature, let’s take a closer look at this photographic series by Cody Ellingham, a photographer and art direction based in Tokyo, Japan. He released this photographic series entitled: Danchi Dreams and you just gotta love the atmosphere! Tokyo is such a busy city but it gets pretty quiet at night and almost horror-like. I love how Cody used this tone for his series and away from the usual locations that we see all the time. Check it out and make sure to follow him on Instagram.
DANCHI DREAMS will launch on May 12 at a former factory turned into a gallery in the Tokyo district of Koto. It is the work of Cody Ellingham, now a Tokyo-based photographer who found fame in 2017 with his DERIVE series of futuristic Tokyo cityscapes.
More Links
- Learn more about Cody Ellingham
- Follow the work of Cody Ellingham on Instagram
Photography
The hour has struck 5pm, a short melody rings out over the loudspeaker with an eerie echo. The dream of DANCHI. . . . . #DANCHI #CBJE #CodyEllingham #団地 #wtns #newtopographics #noicemag #subjectivelyobjective #phroommagazine #broadmag #lekkerzine #paperjournalmag #ifyouleave #verybusymag #thisaintartschool #rentalmag #somewheremagazine #collecmag
AoiroStudio
Apr 13, 2018
Source: Abduzeedo Photography