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News & Updates
May 27, 2018
Box Office Breakouts ‘RBG’ and ‘First Reformed’ Hold Strong
Yet another fashion designer documentary, “The Gospel According to Andre” (Magnolia), stood out among new specialized releases. While Memorial Day Weekend will occasionally launch a major platform release like Terence Malick’s “The Tree of Life” a few years ago, this year’s holiday weekend maintained the norm.
Nonetheless specialized audiences are still searching out top films like Magnolia’s Top Ten $5-million breakout “RBG,” about the octogenarian Supreme Court justice, which continues to thrive at over 400 theaters. Paul Schrader’s “First Reformed” (A24) found more interest in its second weekend in a top city expansion as it goes full steam ahead.
Hawke in “First Reformed”
A24
Opening
The Gospel According to Andre (Magnolia) – Metacritic: 68; Festivals include: Toronto 2017, Palm Springs 2018
$(est.) 45,000 in 4 theaters; PTA (per theater average): $(est.) 11,250
Without hard numbers from Magnolia, it seems the four-theater, two-city opening for this latest fashion world documentary about the iconic Andre Leon Talley had a decent initial foray. New York performed particularly well in theaters close to runways.
What comes next: This starts its national expansion this Friday.
“How to Talk to Girls at Parties”
How to Talk to Girls at Parties (A24) – Metacritic: 47; Festivals include: Cannes 2017, San Francisco 2018
$13,179 in 2 theaters; PTA: $6,590
John Cameron Mitchell (“Hedwig and the Angry Inch,” “Rabbit Hole”) returns to comedy with this aliens-in-London musical. A year after its Cannes debut, it opened in New York and Los Angeles to better results than most other of the week’s releases, but still far below his earlier efforts.
What comes next: Expect A24 to push this to top cities though it looks like it has limited prospects.
Mary Shelley (IFC) – Metacritic: 49; Festivals include: Toronto 2017, Tribeca 2018
$12,016 in 2 theaters; PTA: $6,008
In one of the more interesting recent career trajectories, Saudi Arabia’s pioneer director Haifaa al-Mansour followed up her “Wadjda” with this British-made biopic about the author of “Frankenstein.” With Elle Fanning in the lead, this opened exclusive dates in New York and Los Angeles to little response.
What comes next: Seven more cities come aboard this Friday.
Who Are We Now (FilmRise) – Metacritic: 83; Festivals include: Toronto 2017, South by Southwest 2018
$5,800 in 1 theater; PTA: $5,800
Julianne Nicholson and Emma Roberts costar as an ex-con trying to reunite with her daughter and the crusading lawyer at her side. With strong reviews continuing the acclaim this received at its festival showings, this opened at the Village East in Manhattan to modest results.
What comes next: Los Angeles is next this Friday.
The Misandrists (Cartilage) – Metacritic: 55; Festivals include: Berlin 2017
$3,000 in 1 theater; PTA: $3,000
Veteran indie director Bruce LaBruce’s latest opened exclusively in Manhattan to minor results
What comes next: Landmark’s Los Angeles Nuart opens this Friday.
Week Two
First Reformed (A24)
$282,507 in 29 theaters (+25); PTA: $9,742; Cumulative: $425,469
Paul Schrader’s crisis of faith drama starring Ethan Hawke continues to resonate with specialized audiences as it expands to new cities in its second week, propelled by the best reviews of the year so far. Its numbers in wider release compare favorably to recent limited openers (“Disobedience,” “The Death of Stalin” among them). “Disobedience” had nearly double an opening weekend per theater average, but only grossed about the same its second weekend in similar theaters. This serious, provocative film could find a significant arthouse audience ahead.
“Pope Francis – A Man of HIs Word”
Focus Features
Pope Francis: A Man of His Word (Focus)
$290,000 in 385 theaters (+39); PTA: $748; Cumulative: $1,195,000
The pontiff’s popularity has not translated into tickets sold as Wim Wenders’ documentary falls from its mediocre initial reaction.
On Chesil Beach (Bleecker Street)
$91,132 in 25 theaters (+21); PTA: $3,505; Cumulative: $146,079
Saorise Ronan as half of a newlywed early 1960s English couple heads this adaptation of Ian McEwan’s novel. The result early on is not getting the response as “Atonement” from the same author.
2001: A Space Odyssey (Warner Brothers) (reissue)
$66,000 in 4 theaters (no change); PTA: $16,500; Cumulative: $387,000
Not as sensational as its first weekend, but the 70mm revival of Kubrick’s classic still soars above most reissues.
“RBG”
Ongoing/expanding (grosses over $50,000)
RBG (Magnolia) Week 4
$1,120,000 in 415 theaters (+40); Cumulative: $5,637,000
Ruth Ginsberg’s star continues to shine as the documentary on the Supreme Court justice returns to the Top Ten (it ended up #12 last weekend). This shocking success now looks like it will easily better the strong results Magnolia saw from “I Am Not Your Negro” (over $7 million) despite not having an award-parallel release.
Disobedience (Bleecker Street) Week 5
$368,554 in 224 theaters (-23); Cumulative: $2,527,000
Chilean Sebastian Lelio’s English-language debut has now grossed more than his Oscar Foreign Language winner “A Fantastic Woman” by about $500,000. Once again focusing on strong female characters outside societal norms, his London-set romance with Rachel Weisz and Rachel McAdams should end up around $3.5 million.
Isle of Dogs (Fox Searchlight) Week 10
$196,000 in 162 theaters (-126); Cumulative: $31,145,000
Wes Anderson’s latest animated film keeps adding to its year’s best so far specialized total.
The Rider (Sony Pictures Classics) Week 7
$184,578 in 107 theaters (+17); Cumulative: $1,371,378
The grosses remain modest, but at least the per theater average remains consistent.
Beast (Roadside Attractions) Week 3
$175,120 in 93 theaters (+62); Cumulative: $407,195
This British remote island thriller tripled its theaters to minor impact.
“The Seagull”
Sony Pictures Classics
The Seagull (Sony Pictures Classics) Week 3
$116,605 in 29 theaters (+16); Cumulative: $216,981
This heavyweight ensemble cast Chekhov play adaptation, also starring Ronan, is getting minor sampling as it expands to more top big-city locations.
Let the Sunshine In (IFC) Week 5; also streaming
$104,263 in 69 theaters (+20); Cumulative: $540,506
Claire Denis’ midlife French romantic story continues to do respectable business considering its same time home-viewing availability.
Also noted:
The Death of Stalin (IFC) – $38,742 in 38 theaters; Cumulative: $7,880,000
Always at the Carlyle (Good Deed) – $15,562 in 13 theaters; Cumulative: $52,317
Finding Your Feet (Roadside Attractions) – $12,200 in 20 theaters; Cumulative: $1,396,000
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Source: IndieWire film
May 27, 2018
Christopher Nolan Calls Stanley Kubrick the Greatest Filmmaker in the History of Film
As you may have noticed over the last few months, Christopher Nolan is pretty into “2001: A Space Odyssey.” He presented an unrestored 70mm print of Stanley Kubrick’s sci-fi benchmark at Cannes ahead of its recent theatrical release, and more recently appeared on the Treatment podcast to discuss his love of the film itself and film in general, describing celluloid and the photochemical process as “the best analogy for the way the eye sees that’s been invented.”
“There’s a depth to the color, there’s a superiority to the resolution, there’s a depth to the blacks, the contrasts, everything. I mean, there are all kinds of things that digital technology can’t duplicate,” Nolan adds.
“It can do its own version and all that, and there are a lot of filmmakers who respond really well to that and really enjoy that version of imaging, but it’s different. And so when you start looking at film history, and you start looking at ‘2001’ and the experience that I was able to have watching it on an early re-release, to be able to give audiences today that same analog experience, I think it’s very important.”
He also refers to Kubrick as the greatest filmmaker in the history of film. Listen to his full conversation with Elvis Mitchell below.
Source: IndieWire film
May 27, 2018
Harvey Weinstein’s Courtroom Sketches Make Him Look Like a Monster, Which May Have Been the Point
Harvey Weinstein had what’s likely to be his first of many days in court on Friday, and reactions have been expectedly unsympathetic. Asia Argento and Rose McGowan were gleeful, Ashley Judd called it “a watershed event,” and Paz de la Huerta — who, like the other three women, is among Weinstein’s many, many accusers — “couldn’t stop crying.” If her sketches are any indication, it would appear that courtroom artist Jane Rosenberg doesn’t feel too bad for the disgraced former mogul either.
As seen below, Rosenberg — who also created a famous likeness of Patriots quarterback Tom Brady during the “Deflategate” scandal — emphasized Weinstein’s rotund frame and made his facial features borderline monstrous. Weinstein spoke only one word during his 10-minute arraignment — “Yes” — which he was handcuffed for the duration of. He agreed to pay $1 million in bail and left shortly thereafter.
“Mr. Weinstein will enter a plea of not guilty,” said his attorney, Benjamin Brafman, to reporters assembled outside the courtroom. “We intend to move very quickly to dismiss these charges.” Weinstein’s next court date is set for July 30.
Jane Rosenberg, courtroom artist extraordinaire, came through with an unforgiving sketch of Harvey Weinstein today. Swipe through this post for more of her iconic sketches https://t.co/uHoMCv5obo pic.twitter.com/7KL0tujncS
— New York Magazine (@NYMag) May 25, 2018
Source: IndieWire film
May 27, 2018
The Lens Compression Myth: What’s Really Happening to Your Images When You Switch Focal Length
Lens compression is when your lens “compresses” the background of an image. Well, no. That’s a myth.
Many of you might be familiar with the concept of “lens compression,” a phenomenon that makes the size of background elements within a frame appear larger than they actually are, but some of you might not agree on what is causing said distortion, though it’s often said that what makes elements appear larger or smaller depends on which lens you shoot with. However, Lee Morris of Fstoppers tackles this hotly debated topic in the video below, suggesting that the “compression” of telephoto images has less to do with focal length and more to do with camera distance. Check it out below:
Contrary to what you might’ve learned, lens compression isn’t really a thing. Telephoto lenses don’t “compress” images. This phenomenon everything to do with the distance between your camera and your subject, or to use another word, your perspective.
Source: NoFilmSchool
May 26, 2018
If You’re Going to Crash Your Drone, Here Are 10 Reasons Why It’s Going to Happen
Other than safety, the most important aspect of flying a drone is actually keeping the thing in the air.
Crashing a drone is inevitable. Even the most seasoned drone pilots are occasionally forced to watch their precious darlings fall from the sky—the key word being occasionally, because professionals and experienced pilots don’t only know how to fly a drone, but they know how not to fly a drone. In this video, Tony Northrup goes over ten of the most common reasons behind drones crashes and explains what you can do to avoid making the fatal mistakes that may lead to one. Check it out below:
Source: NoFilmSchool
May 26, 2018
‘John Wick 3’: Keanu Reeves Behind the Scenes
Production has begun on the latest “John Wick” movie, and Keanu is back to work.
Source: IndieWire film
May 26, 2018
After 35 Years, We Finally Get to See the Score of THX’s Terrifying ‘Deep Note’
It’s the most awesome, powerful, and terrifying audio trademark in the film industry, and now we get to see how it was written.
Back in 1982, Dr. James “Andy” Moorer wrote a little diddy for Lucasfilm that would join the ranks of the Wilhelm Scream as one of the most iconic sounds in movie history. “Deep Note” served as the audio trademark for THX-certified movie theaters, as well as home video and video games, but you most likely know it as that frightening and uncomfortably powerful sound that played over a simple metallic THX logo before movies.
And now, to celebrate its 35th anniversary, THX has finally made its score public, you know, so we can all know the musical language that scared the bejeezus out of us as kids innocently sitting down to watch our favorite movie. They shared this image on Twitter yesterday:
Source: NoFilmSchool
May 26, 2018
Emilia Clarke Says Ron Howard ‘Saved’ ‘Solo: A Star Wars Story’
Other than Phil Lord and Chris Miller, everyone involved with “Solo: A Star Wars Story” seems pretty happy that Ron Howard ended up directing the film. That includes Emilia Clarke, who says the Oscar-winning filmmaker “saved” the production in her Vanity Fair cover story: “All hail to Kathy [Kennedy] for hiring Ron.”
She also includes what may be a subtle dig at her former directors: “I struggled with Qi’ra quite a lot,” Clarke says of her character. “I was like: ‘Y’all need to stop telling me that she’s ‘film noir,’ because that ain’t a note.’” One might reasonably assume that the “y’all” in question are Lord and Miller.
“When it comes to that amount of money, you’re almost waiting for that to happen,” Clarke adds of what went down. “Money fucks us all up, doesn’t it? There’s so much pressure. Han Solo is a really beloved character. This is a really important movie for the franchise as a whole. It’s a shit ton of money. A shit ton of people. A shit ton of expectations.”
In addition to the eighth and final season of “Game of Thrones,” Clarke will next be seen in “Above Suspicion.”
Source: IndieWire film
May 26, 2018
Just Because Your Location Is Meh Doesn’t Mean Your B-Roll Has to Be
How do you shoot inspiring b-roll when everything you see around you isn’t?
We’ve all been in a situation where we have to shoot some b-roll in a certain location but that damn location is boring AF. I’m talking boring architecture, boring landscaping, boring backgrounds. Maybe it’s a location your client chose and it’s balls. Maybe it’s a location in your hometown that you’ve seen a hundred billion times. Maybe you’re looking through your window and are nauseated by how mundane and dull the world is 30-feet outside your door. If you related with any of those scenarios, you might want to take a look at this video by Peter McKinnon. In it, he challenges himself (and you) to find an “uninteresting” place to shoot some b-roll that captures its beauty and uniqueness, an exercise that will surely test your eye for light and composition, as well a push your creativity beyond its limits.
Source: NoFilmSchool
May 26, 2018
This Is What a Shot List for a Darren Aronofsky Film Would Look Like
How do you illustrate the emotional drama that goes on in the human mind? Just as Darren Aronofsky.
As one of the most cerebral filmmakers of our time, Darren Aronofsky explores the deepest and darkest corners of the human experience, from the agony of drug addiction to the terror of mental illness. He has lent his incredible writing abilities to films like Pi, Requiem for a Dream, The Fountain, and Mother! to put these difficult issues center stage, but his ability to masterfully construct controversial narratives isn’t the only thing that makes his storytelling so brilliant. In this video essay from StudioBinder, learn how Aronofsky uses abstract visuals to communicate complex ideas and imbue his viewers with, at least a sense of, the intense emotions that they’re witnessing on screen.
The video examines several very important cinematic techniques that Aronofsky uses in his work, all of which serve to inform the viewer not only of how the characters on screen are feeling or thinking but also how the viewers themselves should be feeling or thinking. Let’s take a look at a couple of them:
Source: NoFilmSchool