Uncategorized – Page 76

April 1, 2018

Breakout ‘Isle of Dogs’ Dominates Feast or Famine Specialty Box Office

Wes Anderson’s “Isle of Dogs” (Fox Searchlight) showed crossover strength as it widened on its second weekend to more major markets. And “Death of Stalin” (IFC) continues strong on the arthouse circuit.

Both added a much-needed boost to the anemic specialty market. Only three holdovers after their third week grossed over $50,000, including the final dates for Oscar-winner “The Shape of Water.” This marks the lowest numbers in years, and exposes the feast-or-famine nature of the current specialized box office.

The widest new opener, Roadside Attraction’s British senior romance “Finding Your Feet,” drew a mixed response in multiple initial cities.

Of the three new U.S. indies arriving with past festival branding, only Gemini (Neon) has a chance at real theatrical legs; “Love After Love” (IFC) is already streaming, and “Outside In” (The Orchard) hits SVOD on April 3 before Netflix availability on June 1. The theatrical business is shifting: only a handful of top titles can make a strong impact, leaving home-viewing alternatives the logical choice for most films.

Celia Imrie and Imelda Staunton in “Finding Your Feet”

Courtesy of Roadside Attractions

Opening

Finding Your Feet (Roadside Attractions) – Metacritic: 54; Festivals include: Palm Springs 2018

$61,295 in 14 theaters; PTA (per theater average): $4,378

Aimed at older audiences currently attracted to “The Leisure Seeker,” this British comedy focuses an older woman (Imelda Staunton) thrown out of her comfort zone after discovering her husband in the middle of an affair. Her free-wheeling sister (Celia Imrie) tries to loosen her up at a dance class. With a familiar cast including Timothy Spall, Roadside released this in several markets (Florida cities, Phoenix and Los Angeles) to find a receptive older audience. Initial results were modest; it remains to be seen if word of mouth will kick in.

What comes next: This has a planned expansion to around 500 theaters by April 13.

Gemini (Neon) – Metacritic: 74; Festivals include: South by Southwest 2017

$34,184 in 4 theaters; PTA: $8,546

The Los Angeles show business murder mystery opens a year after its South by Southwest premiere in two cities to decent reviews and average business. Boosted by Zoe Kravitz and rising young actress Lola Kirke, and backed by Neon in its first release after their major success with “I, Tonya,” this will see a national break and a chance to reach younger audiences.

What comes next: This expands quickly to the rest of the 20 largest markets this week.

“Gemini”

Love After Love (IFC) – Metacritic: 84; Festivals include: Tribeca 2017, Palm Springs 2018; also streaming

$11,216 in 1 theater; PTA: $11,216

This feature debut starring Andie McDowell and her family dealing with the aftermath of her husband’s death opened at the IFC Center in New York to a very respectable initial reaction, given its concurrent day-and-date streaming availability.

What comes next: Los Angeles opens this Friday, with some other theaters also complementing the streaming ahead.

Outside In (The Orchard) – Metacritic: 76; Festivals include: Toronto 2017, South by Southwest 2018

$(est.) 10,000 in 7 theaters; PTA: $1,429

Lynn Shelton (“Landline”) returns to the Northwest with her first drama, about a man returning to society after an unfair prison sentence. He’s in love with the one time teacher (Edie Falco) who worked to get him out. Despite upbeat reviews, audiences showed little interest in its initial big city theater dates.

What comes next: Streaming starts on Tuesday.

The Gardener (Gravitas Ventures)

$6,500 in 1 theater; PTA: $6,500

This documentary about a brilliant horticultural achievement at a Quebec estate opened in one New York theater, with a majority of its gross on Friday.

What comes next: Niche non-fiction films about creative cultures can have some niche appeal, so this could find interest elsewhere.

The Great Silence (Film Movement) (reissue)

$7,639 in 1 theater; PTA: $7,639

Sergio Corbucci was a significant force in Italian Westerns in the late 1960s. One of the key efforts outside of the master Sergio Leone, this variation on “The Grapes of Wrath” set in 19th century Utah has farmers thrown off their land banding together to fight terrorizing bounty hunters. A cast including Jean-Louis Trintignant and Klaus Kinski and a classic Ennio Morricone score add to its iconic status. A prominent New York Times review and other press attention boosted its initial response.

What comes next: This will get showings at key other city theaters that focus on top revivals.

“Isle of Dogs”

Fox Searchlight Pictures

Week Two

Isle of Dogs (Fox Searchlight)

$2,810,000 in 165 theaters (+138); PTA: $17,030; Cumulative: $5,917,000

Wes Anderson’s second animated film is the biggest specialized success of the year, performing at the level of a year-end Oscar contender. Three waves of expansion will take the movie nationwide on over 1,500 dates by April 13. It’s already notching top grosses at many high-end general audience theaters that are also playing “Ready Player One.” This ongoing interest should hold as it expands further. Anderson’s earlier animated “The Fantastic Mr. Fox” went wide its third weekend with (adjusted) $8.4 million in over 2,000 theaters on its way to $25 million. Searchlight is giving “Isle of Dogs” a somewhat slower roll out, but it should reach that high level for any films released in the first four months of the year in the specialized market.

The Final Portrait (Sony Pictures Classics)

$33,237 in 9 theaters (+6); PTA: $3,693; Cumulative: $70,867

Stanley Tucci’s latest directorial effort stars Geoffrey Rush as the Swiss artist Alberto Giacometti dealing with self-doubts late in his esteemed career. It continues in its second weekend to see minor response.

“Ismael’s Ghosts”

Magnolia

Ismael’s Ghosts (Magnolia)

$(est.) 8,500 in 2 theaters (no change); PTA: $(est.) 4,250; Cumulative: $(est). 37,000

Arnaud Despleschin’s ensemble French drama continues at its two Manhattan locations. It fell a bit more than half from its decent initial numbers. Los Angeles adds on this Friday.

Back to Burgundy (Music Box)

$36,180 in theaters (+13); PTA: $2,010; Cumulative: $57,721

Veteran French director Cedric Klapisch’s latest (set in wine country amid family turmoil) expanded in its second week to large cities with modest results similar to most recent subtitled films.

“The Death of Stalin”

Photo by Nicola Dove, courtesy of IFC Films

Ongoing/expanding (Grosses over $50,000)

The Death of Stalin (IFC) Week 4

$1,454,000 in 487 theaters (+386)); Cumulative: $3,918,000

Broadening quickly, Armando Iannucci’s comedy of Soviet insider intrigue continues its decent expansion. It has already outpaced his earlier “In the Loop” which in 2009 didn’t reach $3 million. It will shortly pass “45 Years” as IFC’s biggest performer since “Boyhood.”

The Leisure Seeker (Sony Pictures Classics) Week 9

$248,622 in 155 theaters (+38); Cumulative: $1,082,000

This Helen Mirren/Donald Sutherland senior road trip movie is chugging along at a steady if modest rate, now over $1 million.

The Shape of Water (Fox Searchlight) Week 18; also streaming

$(est.) 80,000 in 98 theaters (-149); Cumulative: $63,484,000

The near complete totals show the Best Picture winner will end up with an additional $6 million after its wins, with substantially more from [unreported] streaming revenues that started about the same time.

“Flower”

Full Metal Mullet LLC

Also noted:

Flower (The Orchard) – $48,072 in 102theaters; Cumulative: $278,096

Foxtrot (Sony Pictures Classics) – $47,346 in 35 theaters; Cumulative: $342,004

A Fantastic Woman (Sony Pictures Classics) – $46,349 in theaters; Cumulative: $1,804,000

Journey’s End (Good Deed) – $46,200 in theaters; Cumulative: $85,100

Call Me By Your Name (Sony Pictures Classics) – $45,276 in 31 theaters; Cumulative: $: $17,974,000; also streaming

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Source: IndieWire film

April 1, 2018

Eddie Redmayne Spoke at Stephen Hawking’s Funeral

Stephen Hawking was officially laid to rest yesterday. Among the hundreds of mourners who paid their respects in Cambridge, England was Eddie Redmayne, who won an Academy Award for portraying Hawking in the 2014 biopic “The Theory of Everything.” The actor gave a reading from Ecclesiastes 3.1-11 during the ceremony.

Here’s the passage he read from in its entirety:

“For everything there is a season, and a time for every matter under heaven:
a time to be born, and a time to die;
a time to plant, and a time to pluck up what is planted;
a time to kill, and a time to heal;
a time to break down, and a time to build up;
a time to weep, and a time to laugh;
a time to mourn, and a time to dance;
a time to throw away stones, and a time to gather stones together;
a time to embrace, and a time to refrain from embracing;
a time to seek, and a time to lose;
a time to keep, and a time to throw away;
a time to tear, and a time to sew;
a time to keep silence, and a time to speak;
a time to love, and a time to hate;
a time for war, and a time for peace.”

Hawking died at age 76 on March 14. Redmayne released a statement at the time saying that “we have lost a truly beautiful mind, an astonishing scientist and the funniest man I have ever had the pleasure to meet. My love and thoughts are with his extraordinary family.”

Source: IndieWire film

April 1, 2018

Cuba Gooding Jr. Recalls His ’10 Years in the Wilderness’ — and Turning Down ‘Ray’ and ‘The Last King of Scotland’

Few actors have had a career trajectory quite like that of Cuba Gooding, Jr. Twenty years after winning an Oscar for his role in “Jerry Maguire,” the actor has mounted a comeback of sorts after what he describes as “10 years in the wilderness” marked by forgettable straight-to-DVD projects. Now he’s done a far-reaching interview with the Guardian to discuss how he always wanted to be an actor “who does all the parts” — and how that may have harmed his career as much as it helped it.

After admitting that he’s starred in “some real clunkers,” Gooding, Jr. is asked whether he made them for the money. “Not for me,” he says. “For me, it was always about protecting the sanctity of that golden statue… Because I felt I needed to show people that I can do more, I can do better.”

That mindset dates back to his breakthrough role: “I remember when I did ‘Boyz N the Hood,’ everybody was like, ‘Yeah, but can he do comedy?’ Then I won for ‘Jerry Maguire’ and they’re, ‘Yeah, but can he do drama?’”

The years between those two films, which were highlighted by performances in “Outbreak” and “A Few Good Men,” represented a shift for him: “Now [I’ve] moved away from the title ‘black actor’ and now I’m just an entertainer.” They also made him not want to repeat himself, which seems to be why he turned down “Ray,” “Hotel Rwanda,” and “The Last King of Scotland.” “I was offered Idi Amin in ‘The Last King of Scotland,’” he recalls. “And I said to myself, ‘I can’t do that. He’s a bad guy!’”

Gooding, Jr. has that on his mind when discussing the likes of Ryan Coogler and Barry Jenkins. “It will be interesting to see if they get put in the same box, like they did with the Singletons and Spike Lees, or if they’re accepted as just filmmakers who have their ways to tell a story.” Read his full interview here.

Source: IndieWire film

April 1, 2018

What Can Guillermo del Toro Teach Us About Worldbuilding?

Filmmakers are not only storytellers but world builders.

There is a reason why a map of Middle Earth exists, and it’s not just because fans of The Lord of the Rings love merch. It’s because author J.R.R. Tolkien (and later, director Peter Jackson) managed to create a world that felt so real that its topography could be mapped. (In fact, it was many times by Tolkien himself.) This is what’s known as “worldbuilding,” the process of creating, or building, an entire narrative world, and it’s a crucial skill for filmmakers to have in their arsenal.

Sareesh Sudhakaran of wolfcrow suggests that nobody builds worlds quite like Guillermo del Toro and in this video essay, he not only explores the worlds del Toro has spent his entire career building but explores the techniques he used to build them in hopes that you can employ them your own work as well. Check it out below:

Source: NoFilmSchool

April 1, 2018

Meet GoPro’s New $200 HERO, a HERO6 Without All the Bells and Whistles

The new GoPro HERO costs half as much as its big brother the HERO6, but it also doesn’t pack as big of a punch.

Back in September, GoPro released the sixth addition to their HERO series, the HERO6, whose key features, like 4K at 60fps, 1080p at 260fps, better dynamic range, and a new processor, made it a force to be reckoned with in the action cam market. However, GoPro has set its sights on more casual users and hobbyists with the brand new HERO, a budget-friendly alternative to the company’s high-end models.

This thing looks like a HERO6 or HERO5, just without all of the internal bells and whistles that come with them, like 4K video, slow-motion options, Protune, exposure control, or a 3.5mm audio input to name a few. The HERO may be a pared-down version of its predecessors, but it still comes with features like 1080p60 video, 2″ touch display, video stabilization, voice control, and more.

Take a look at the launch video below:

Source: NoFilmSchool

March 31, 2018

Balancing Realism and Fantasy: What’s the Key to the Success of Disney’s ‘Snow White’?

How did Walt Disney manage to turn his first animated feature into one of North America’s top ten highest-grossing films of all time?

Animated films have become a mainstay of the film industry, with titles like Despicable Me 3 and Coco not only grossing nearly $2 billion dollars worldwide but receiving accolades at the Academy Awards and Golden Globes. But it wasn’t always this way. In the early days of animation (the 1910s to the late-1920s), feature-length films weren’t considered to be the major theatrical events that they are today, that is, until Walt Disney released his first feature under Walt Disney Productions in 1937, Snow White and the Seven Dwarves.

The film became a rousing success, earning almost $8 million at the international box office after its initial run. It not only received an honorary Oscar at the 11th annual Academy Awards but it impressed legendary Soviet filmmaker Sergei Eisenstein so much that he, according to Roger Ebert, called it the greatest film ever made.

Source: NoFilmSchool

March 31, 2018

How NextVR and the NBA are bringing VR from the sidelines to center court

In just three years, NextVR and the NBA have worked together to help push virtual reality to new heights. We went behind the scenes to find out what’s in the magic hat.

The post How NextVR and the NBA are bringing VR from the sidelines to center court appeared first on Digital Trends.

Source: Digital Trends VR

March 31, 2018

Watch: 4 Different Kinds of Light and How to Use Them in Your Cinematography

How can you use light to bring out the most dynamic features of your subject?

For cinematographers, light has many purposes. Of course, its primary role is to illuminate a subject so that it may be properly exposed by a camera, but it can also be used to capture a subject’s most dynamic, beautiful, and unique qualities, including its texture, color, and shape. In this video, National Geographic photographer Frans Lanting goes over several different kinds of light and how you can take advantage of each one to highlight unique qualities of your subject. Check it out below:

Source: NoFilmSchool

March 30, 2018

Snapchat hides a million Easter eggs on the Snap Map in a geocaching game

Think you’re too old for an Easter egg hunt? A million virtual eggs might change your mind. Snapchat wants users to compete with friends — and all of Snapchat — in a virtual Easter egg hunt on the Snap Map.

The post Snapchat hides a million Easter eggs on the Snap Map in a geocaching game appeared first on Digital Trends.

Source: Digital Trends VR

March 30, 2018

Exploring the Harbin Grand Theatre in Heilongjiang, China

I have learned to appreciate a lot more architecture ever since I started taken myself more seriously with photography. You become just more aware of what’s around you, especially when you travel or even plan your architectural escape. This is where I feel there is a beautiful connection with the work of Andrés Gallardo Albajar, a photographer based in Tallinn, Estonia. We are following his journey into the Harbin Grand Theatre located in the province of the People’s Republic of China, more precisely in the North East part. You just gotta love how Andrés went all in with these lines. Let us enjoy this stunning design by Mad Architects.