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February 4, 2018
Jordan Peele Quit Acting Because He Was Offered the Role of S—t in ‘The Emoji Movie’
The one downside to Jordan Peele being so successful as a filmmaker is that he says he’s done with acting. The “Get Out” writer/director, who received three Academy Award nominations for his debut feature, won a different prize last night: best first-time director at the DGA Awards. While accepting this honor, Peele revealed what went into his decision: “‘The Emoji Movie’ actually helped me quit acting. I was offered the role of Poop,” he explained.
“This is true. I would not make this up,” he continued. Peele’s response to the offer was to say “that’s fucked up” before deciding to sleep on it for a night. He called his manager the following day to ask how much he was being offered for his emoji-related services, but by then it was too late: “[My manager said], ‘They’ve already given it to Sir Patrick Stewart.’ I was like, ‘Fuck this.’”
“The Emoji Movie” was one of the most widely reviled films of last year, whereas “Get Out” was one of the most highly praised — which is to say, it’s doubtful that Peele regrets his decision.
Source: IndieWire film
February 4, 2018
‘Jumanji’ Returns to the Top of the Box Office on Super Bowl Weekend
“Jumanji: Welcome to the Jungle” returned to #1, in large part because there’s so little else of interest in release.
The lag continues to be a problem with new releases. Films released in 2018 comprise only about 43 percent of business this weekend; compared to 2017 films a year ago, they totaled 60 percent.
That’s anemic. This week’s sole new film was Lionsgate’s “Winchester” (from partner CBS Films), which managed third place. This horror film with the gimmick of Helen Mirren in the lead did about as expected, with a little over $9 million. That’s only about a third of the most recent horror entry “Insidious: The Last Key” (Universal), which opened to almost $30 million.
“Winchester,” which CBS acquired for $3.5 million, increased 14 percent Saturday from initial day and a half totals. That’s rare for a genre title, and might suggest Mirren got the attention of older audiences, who frequent theaters much more on that day than Friday.
“Jumanji: Welcome to the Jungle”
“Jumanji: Welcome to the Jungle” returned to the the top spot it has now held for four of its seven weeks. It is the first film to be #1 at this point of its run since “Frozen,” which also jumped in and out of the position. It fell 31 percent, an above average hold and remarkably the biggest drop since it opened. It now is at $352 million domestic, with a real chance of reaching $400 million.
That would get it close to making the top 10 all-time Sony titles. To put it into immediate perspective, it is already Sony’s biggest film this century outside the “Spider-Man” franchise (and bigger than any of its James Bond titles) in terms of domestic appeal.
“Maze Runner: The Death Curse,” despite its mediocre domestic showing (including a 58 percent fall its second week), likely is not the last in the franchise. Why? Because it will take in more than $200 million worldwide, with about 80 percent coming from foreign.
“The Greatest Showman”
Fox also has, once again, the best-holding film. “The Greatest Showman” is still in fourth place, off 18 percent. It looks headed for an eventual domestic total of $170 million-$175 million, with a somewhat bigger haul oversees. Not bad for what was initially projected as a vanity project for Hugh Jackman, financed to reward him for his loyal service to the “X-Men” series.
“Hostiles” (Entertainment Studios), the western with Christian Bale, has done better than expected, but now looks likely to end up around $30 million after a significant marketing push.
Oscar nominees in various categories, all 2017 initial releases, grossed around $25 million. That’s about the same as last year, but with one difference: “Hidden Figures” and “La La Land,” both wide releases with major non-specialized appeal, made up about two thirds of the total then.
The Top 10
1. Jumanji: Welcome to the Jungle (Sony) Week 7 – Last weekend #2
$11,000,000 (-31%) in 3,553 theaters (-201); PTA (per theater average): $3,282; Cumulative: $353,642,000
2. Maze Runner: The Death Cure (20th Century Fox) Week 2 – Last weekend #1
$10,200,000 (-58%) in 3,793 theaters (+6); PTA: $2,689; Cumulative: $39,760,000
3. Winchester (Lionsgate) NEW – Cinemascore: B-; Metacritic: 30; Est. budget: $3.5 million (acquisition cost)
$9,250,000 in 2,408 theaters; PTA: $3,730; Cumulative: $9,250,000
4. The Greatest Showman (20th Century Fox) Week 7 – Last weekend #4
$7,800,000 (-18%) in 2,588 theaters (-75); PTA: $3,014; Cumulative: $137,475,000
5. Hostiles (Entertainment Studios) Week 7 – Last weekend #3
$5,523,000 (-45%) in 2,934 theaters (+118); PTA: $1,882; Cumulative: $21,237,000
6. The Post (20th Century Fox) Week – Last weekend #5
$5,200,000 (-43%) in theaters (-178); PTA: $2,112; Cumulative: $67,185,000
7. 12 Strong (Warner Bros.) Week 7 – Last weekend #6
$4,710,000 (-46%) in 2,462 theaters (-178); PTA: $1,614; Cumulative: $37,304,000
8. Den of Thieves (STX) Week 3 – Last weekend #7
$4,670,000 (-46%) in 2,112 theaters (-320); PTA: $; Cumulative: $
9. The Shape of Water (Fox Searchlight) Week 10 – Last weekend #8
$ (-$) in 2,341 theaters (+487); PTA: $2,211; Cumulative: $44,580,000
10. Paddington (Warner Bros.) Week 3 – Last weekend #9
$3,110,000 (-45%) in 2,388 theaters (-404); PTA: $1,302; Cumulative: $36,314,000
Source: IndieWire film
February 4, 2018
Terry Crews Implies He’s Being Pressured to Drop His Sexual Assault Lawsuit if He Wants to Avoid Problems on ‘The Expendables 4’
Terry Crews has starred in all three “Expendable” movies without incident, but it appears he isn’t having such an easy time with “The Expendables 4.” The actor — who’s suing William Morris Endeavor after allegedly being sexually assaulted by agent Adam Venit — took to Twitter this morning to imply that he’s being pressured to drop his lawsuit — or else.
“Management got a call last week from Avi Lerner producer of EXPENDABLES 4 saying I could avoid any ‘problems’ on the sequel if I dropped my case against @WME,” he wrote. “Guess who’s Sly’s agent? ADAM VENIT.” One can only speculate as to what sort of “problems” are being implied here, though it certainly appears as though the powers that be would like Crews to drop his lawsuit lest his time on the upcoming movie be made more difficult in some vague, potentially nefarious way.
The “Sly” in this case is, of course, Sylvester Stallone, who’s been the face of the “Expendables” franchise since its inception. He’s starred in all three movies thus far, and directed the first installment as well.
Management got a call last week from Avi Lerner producer of EXPENDABLES 4 saying I could avoid any “problems” on the sequel if I dropped my case against @WME.
Guess who’s Sly’s agent?
ADAM VENIT— terrycrews (@terrycrews) February 3, 2018
Source: IndieWire film
February 4, 2018
‘A Fantastic Woman’ Opens Well as Oscar-Nominated Titles Thrive at Specialty Box Office
“Darkest Hour,” “The Shape of Water,” “Three Billboard Outside Ebbing, Missouri” and “Lady Bird” have now each grossed over $40 million. That places them at or above “The Big Sick,” which for months was the year’s top specialized film release. After their initial boost post nominations, all dropped this weekend; that’s normal. But several have more life in them yet.
Super Bowl Weekend, and the lack of new titles doing much business, helped create both screen space and audience attention, but most of their performance comes from the films’ own strengths.
Among new titles, Best Foreign Language Film contender “A Fantastic Woman” scored as the best limited opener of the year so far. It opened the same day as Netflix debuted Hungarian “On Body and Soul,” nominated in the same category. It skipped theatrical play and, unlike their contenders “Mudbound” and “Icarus” in other categories, Netflix is not running “for your consideration” ads.
Opening
A Fantastic Woman (Sony Pictures Classics) – Metacritic: 89; Festivals include: Berlin, Telluride, Toronto 2017
$70,978 in 5 theaters; PTA (per theater average): $14,196
After a one-week qualifying run in November, this Chilean Oscar nominee returned to five theaters in New York and Los Angeles to encouraging initial results. This drama about a transgender woman dealing with her partner’s sudden death opened with a little more than the best weekend for SPC’s “Toni Erdmann” just over a year ago. The numbers fell short of rival “The Square” (PTA $18,500 last fall) and last year’s winner “The Salesman” ($24,000), both in fewer theaters. Of note: This did not play in New York’s recently closed Lincoln Plaza Theater, usually the top grosser for similar films, and also didn’t benefit from opening-day newspaper reviews
What comes next: This should be available for viewing in the Top 10 markets by Oscar weekend.
24 Frames (Janus) – Metacritic: 80; Festivals include: Cannes, London 2017
$8,610 in 1 theater; PTA: $8,610
Iranian master Abbas Kiarostami’s final effort, a rigorous but contemplative tone poem of 24 separate images in natural settings, opened at New York’s Film Society of Lincoln Center on limited seats. With strong reviews, this cinephile appealing title did a respectable initial gross.
What comes next: Niche big city bookings should follow.
Before We Vanish (Super) – Metacritic: 65; Festivals include: Cannes, New York 2017
$8,142 in 2 theaters; PTA: $4,071
Veteran Japanese genre director Kiyoshi Kurosawa returns with a science-fiction alien story, with mixed results in two New York/Los Angeles dates.
What comes next: Apart from upcoming theaters, this should find interest via streaming ahead.
Week Two
Have a Nice Day (Strand) 1-18
$_est.) 13,000 in 4 theaters (+3); PTA: $(est.) 3,250; Cumulative: $(est.) 31,000
This Chinese animated title, a politically tinged expose of business world corruption, added three theaters including Los Angeles with results somewhat below its strong initial New York exclusive.
“The Post”
Ongoing/expanding (Grosses over $50,000)
The Post (20th Century Fox) Week 7
$5,200,000 in 2,462 theaters (-178); Cumulative: $67,185,000
Steven Spielberg’s Pentagon Papers retelling will soon overtake “Bridge of Spies” as the top grossing of his three most recent films. It also is the top Tom Hanks and Meryl Streep performer among their last three and four releases, respectively. It dropped 43 percent, more than other contenders, with an ultimate domestic take a little over $80 million likely.
“The Shape of Water”
The Shape of Water (Fox Searchlight) Week 10
$4,300,000 in 2,341 theaters (+487); Cumulative: $44,580,000
Guillermo del Toro’s DGA win adds to its Oscar frontrunner status, and the grosses keep rolling in. The theater count puts this as the highest for Searchlight since “Black Swan” seven years ago. This continues on a pace to approach $60 million by Oscar night a month from now.
Three Billboards Outside Ebbing, Missouri (Fox Searchlight) Week 13
$3,050,000 in 1,726 theaters (+269); Cumulative: $41,814,000
Also adding screens, this longer-playing film (which heads to streaming February 13) continues its strong performance with its widest release yet.
I, Tonya (A24) Week 9
$2,556,000 in 1,450 theaters (+490); Cumulative: $22,640,000
With its widest position yet, the Tonya Harding story barely missed the Top 10 and looks like it should continue to perform well leading up to the Oscars.
Darkest Hour (Focus) Week 11
$2,420,000 in 1,456 theaters (+486); Cumulative: $48,843,000
Joe Wright’s latest, with Gary Oldman cruising to his first Oscar, continues its position as top grosser among the specialized-company contenders (a position that will be challenged by “The Shape of Water”) with more runs added to boost its total.
“Phantom Thread”
Photo : Laurie Sparham / Focus Features
Phantom Thread (Focus) Week 6
$2,140,000 in 1,186 theaters (+165); Cumulative: $14,174,000
Paul Thomas Anderson’s latest fell a bit more than most of the wide-playing contenders while adding theaters. But by next weekend, it will have out grossed both “Inherent Vice” and “The Master,” his two most recent titles.
Lady Bird (A24) Week 14
$1,360,000 in 1,109 theaters (-63); Cumulative: $43,733,000
Now in its fourth month, Greta Gerwig’s breakout comedy still is finding sustained interest.
Call Me By Your Name (Sony Pictures Classics) Week 11
$1,001,000 in 581 theaters (-284); Cumulative: $12,941,000
After shedding most of the low-grossing theaters, the per-theater average rose for those remaining. That gives this multi-category Oscar nominee a chance to sustain a continued run.
The Insult
The Insult (Cohen) Week 4
$118,995 in 36 theaters (+10); Cumulative: $237,370
As a subtitled film opens wider, a PTA of over $3,000 is above average these days. This Lebanese courtroom drama’s Oscar nomination is a strong asset, but it also seems to be getting decent word of mouth to boost it.
Mary and the Witch’s Hour (GKids) Week 3
$57,002 in 30 theaters (-47); Cumulative: $1,896,000
The remaining runs for this Japanese animated film are holding well. Most of this film’s gross came from a one-day Fathom event at hundreds of theaters.
Film Stars Don’t Die in Liverpool (Sony Pictures Classics) Week 5
$54,407 in 34 theaters (+15); Cumulative: $314,635
New openings for this story of Gloria Grahame’s late-in-life affair remain spotty. Annette Bening fell short of a hoped-for Best Actress nomination, taking the steam out of this.
The Disaster Artist (A24) Week 10
$50,714 in 65 theaters (-19); Cumulative: $21,000,000
James Franco’s lack of an Oscar nomination leaves his film topping out at a decent $21 million, with little gross left to add.
Also noted:
The Florida Project (A24) – $47,190 in 38 theaters; Cumulative: $5,734,000; also streaming
In the Fade (Magnolia) – $(est.) 45,000 in 31 theaters; Cumulative: $(est.) 204,000
Faces Places (Cohen) – $11,776 in 21 theaters; Cumulative: $771,000
The Breadwinner (GKids) – $11,077 in 15 theaters; Cumulative: $: $271,037
Source: IndieWire film
February 4, 2018
Jessica Chastain Lays Into Quentin Tarantino Over Uma Thurman Incident: ‘When Did This Become Normalized Entertainment?’
Jessica Chastain isn’t happy with Quentin Tarantino. After yesterday’s Uma Thurman interview in the New York Times, in which she both accused Harvey Weinstein of sexual assault and blamed Tarantino for serious injuries she sustained while filming “Kill Bill,” Chastain took to Twitter to chastise the director for his actions.
“I keep imagining Tarantino spitting in Uma’s face and strangling her with a chain for KILL BILL. How many images of women in media do we celebrate that showcase abuse? When did this become normalized ‘entertainment’?” she wrote.
“When violence against women is used as a plot device to make the characters stronger then we have a problem. It is not empowering to be beaten and raped, yet so many films make it their ‘pheonix’ moment for women. We don’t need abuse in order to be powerful. We already are.”
Thurman alleges that Tarantino persuaded her to film a scene in a stunt car she wasn’t qualified to drive, resulting in a serious crash (of which there’s footage in the original NYT article).
I keep imagining Tarantino spitting in Uma’s face and strangling her with a chain for KILL BILL. How many images of women in media do we celebrate that showcase abuse? When did this become normalized ‘entertainment’?
— Jessica Chastain (@jes_chastain) February 4, 2018
Directors inserting themselves into a scene depicting abuse is crossing a boundary. How can an actor feel safe when your director is strangling you?
— Jessica Chastain (@jes_chastain) February 4, 2018
Source: IndieWire film
February 4, 2018
The 9 Most Common Crashes in Premiere Pro, and How to Fix Them
It’s 11pm at night. I’m banging my head against my battered and weary keyboard. My deadline was 5 hours ago… “Why, oh why won’t you Export?!”<p>We’ve …
Source: CW’s Flipboard Feed
February 2, 2018
We Heart SX: Capital One at SXSW
Capital One at SXSW is looking forward to Banking’s Big Moment this year. Jana Etheridge, Chief of Staff for Capital One’s Financial Services Division provides insight to the value of collaborating with SXSW and their goals for this year’s festival.
How is your brand directly relevant to the SXSW Conference and Festivals (Interactive, Film, and Music)? If not directly relevant, what do you view your contribution to be?
This is our fourth year as a Super Sponsor at SXSW, and there’s a reason we keep coming back. At its core, SXSW remains a hub for the brightest minds in innovation across industries. It continues to grow and evolve, and so does Capital One.
A few years ago, it became clear to us that the future of banking would be different. To win in banking we needed to master things like digital channels, machine learning and real-time analytics. But we also needed to invest and invent, like the leading technology companies in those fields. This meant committing to developing our own software, attracting top tech talent and reimagining our operating model.
SXSW has allowed us to showcase our digital creativity, product innovation and exceptional customer-focused outputs in an incredible way, while connecting us with diverse perspectives and an amazing talent pool. I am so excited to share what we have in store for attendees this year at the Capital One House!
Jana Etheridge, Chief of Staff for Capital One’s Financial Services Division
When approaching SXSW, what conference track or festival are you targeting as your main focus and why?
The SXSW Interactive Festival is always on the verge of the next big tech breakthrough. We love that because Capital One isn’t your traditional bank. We’re fixated on tech innovation, data-driven solutions and diverse thinking to change the way people engage with their money. And we’re laser-focused on doing the right thing for our customers, associates and the world around us.people
How do you as a company hope to connect with SXSW registrants and attendees? (activation details, social media, etc.)
FFor the third year in a row, we’re transforming Antone’s Nightclub into the Capital One House from March 9 – 12. Antone’s is an awesome venue because it helped Austin claim its billing as the “Live Music Capital of the World.” Here, we’re hosting talks on a variety of topics (from our very own associates!), ranging from AI and Channeling Vulnerability, to Elevating Blacks in Tech and Learning UX from Board Game Design. Plus we’ll be taking attendees through our activations in fun, interactive ways. Overall, we want to spark discussion and allow attendees to exchange ideas.
At night, folks will hear from incredible (to be announced) musicians, including local Austinites!
Beyond attending, we’re hiring! If you’re interested in learning more, join us for brunch March 11. You’ll have a chance to mingle with a select group of industry influencers, hear from our own associates and learn more about why Capital One is a great place to work.
What values or messages does your company wish to promote that brought you to a cohesive partnership with SXSW?
SXSW brings together people from all walks of life — techies, musicians, filmmakers, culture leaders and more — to connect and learn from one another. We’re honored to take part in such a diverse and thought-provoking event. Capital One is still a founder-led company, and it wasn’t long ago that we were a startup. We still carry that startup mentality with us: we’re not afraid to seek out new experiences and try bold things. We see the beauty in testing, retesting and then testing again. And we’re pushing the limits of technology to bring humanity and transparency to our products and services to meet our customers’ deepest needs.
Photo by Sara Marjorie Strick
Sponsored Content and Photo of Jana Etheridge Provided by Capital One
The post We Heart SX: Capital One at SXSW appeared first on SXSW.
Source: SxSW Film
February 1, 2018
25 Years of SXSW Film Festival – Lauren Wolkstein
To commemorate the 25th edition of the SXSW Film Festival, we continue our weekly alumni spotlight on careers launched, artists discovered, powerful performances, and more with filmmaker Lauren Wolkstein.
Wolkstein has had numerous short films play at the SXSW Film Festival including her jury award-winning narrative short Cigarette Candy (2010), The Strange Ones (2011, co-directed by Christopher Radcliff), and Jonathan’s Chest (2014, producer/editor). At SXSW 2016, Wolkstein and four other directors created collective:unconscious, a unique anthology of short films based on their dreams. Wolkstein directed Beemus and It’ll End in Tears for the anthology. In 2017, Wolkstein and Radcliff re-teamed to premiere their debut feature, an adaptation of their 2011 short, The Strange Ones. The film played in Narrative Feature Competition and earned a Special Jury Recognition for Best Breakthrough Performance for James-Freedson Jackson. The Strange Ones is available to watch digitally.
We are excited to share her #SXSWFilm25 story with you:
“I honestly don’t know where I would be right now without SXSW; it has shaped my career into what it is today. SXSW programmed my Columbia MFA thesis film Cigarette Candy, which won the Narrative Jury Award for Best Short Film in 2010. This moment changed everything for me and it was the first time people started seriously taking notice of me as a filmmaker.
Since then, SXSW has been an unwavering champion of my work – from short films to SXSW bumpers to omnibus features to my first feature film, The Strange Ones, that premiered at SXSW this past year. Janet Pierson, Claudette Godfrey, Jarod Neece, and everyone at SXSW are tireless champions of emerging artists and love discovering new talent. They have created an incredibly holistic space for an inspiring community of independent filmmakers to collaborate and celebrate the spirit of exceptional visual storytelling year after year. I have met all of my favorite collaborators and friends at SXSW. Not to mention, I met our soon-to-be baby daddy at my first SXSW. Imagine the SXSW onesies we’re going to purchase. TMI? Spring in Austin – It’s my favorite time of the year.”
Join Us For SXSW 2018
Grab your Film Badge today for primary access to all SXSW Film events including world premieres, roundtables, workshops, and parties. Register to attend by Friday, February 9 and save. Book your hotel through SXSW Housing & Travel for the best available rates.
Follow us on Facebook, Twitter, Instagram, and SXSW News for the latest SXSW coverage, announcements, and updates.
See you in March!
The Strange Ones Photo by – Sean Kennedy
The post 25 Years of SXSW Film Festival – Lauren Wolkstein appeared first on SXSW.
Source: SxSW Film
February 1, 2018
Convergence is Everywhere – 2018 SXSW Programming Trends
Each year, different trends emerge from SXSW programming and act as identifiers for where we’re at and where we’re headed. From the 12 significant trends identified by the SXSW Programming Team for the 2018 event, Convergence is Everywhere emphasizes how we can achieve new levels of creative collaboration if we are willing to see past conventional boundaries and explore different industries and ways of thinking. Get to know this trend and related-SXSW sessions below that we think will dominate discussions this March.
Convergence is Everywhere Trend
As people, our ability to adapt is what allows us to advance and thrive. Actively challenging our own ideals yields personal growth, and integrating outside perspectives prompts collaboration and the potential for innovation. There’s a new world of possibility beyond the limits of how we define ourselves, joined by a new wave of thought-leaders coming forth to drive the future of creativity.
Learn from Amber Thomas of Polygraph, as well as Liz Manashil and Jess Feselier in the session, More Than Numbers: Data Analysis for Storytellers, as they bridge the gap between art and business and discuss how storytellers can revolutionize their audience reach with data analytics. Attend The Emotional Life of Your Autonomous Car, led by Pamela Pavliscak of Change Sciences, to explore the blurring line between human and machine.
Embracing disruptive technological trends is imperative to sustaining an environment that values flexibility over rigidity. Hear from Evernote’s Anirban Kundu on the potential of artificial intelligence in the session Sci-Fi to Reality: Evolution of AI in the Workplace and learn about the changing relationship between performance and tech in the session Breaking the 4th Wall: Drone Swarms in Art, led by Verity Studios AG speakers Philippe Labouchere, Léa Pereyre, and others.
Discover how today’s thought-leaders are uniting industries from all over the world and add these sessions to your 2018 SXSW Schedule. Stay tuned for more programming announcements through March.
Convergence is Everywhere Session Highlights
- More Than Numbers: Data Analysis for Storytellers
- The Emotional Life of Your Autonomous Car
- Sci-Fi to Reality: Evolution of AI in the Workplace
- Branded Cities: Can We Avoid an Urban Dystopia?
- Breaking the 4th Wall: Drone Swarms in Art
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Join Us for SXSW 2018
The SXSW Conference includes 24 programming tracks divided amongst Interactive, Film, Music, and Convergence. Each March, some of the world’s most creative minds come together in Austin, Texas to discover, learn, network, brainstorm and collaborate.
Explore new opportunities during 10 days of sessions, screenings, showcases, exhibitions, networking, and beyond from March 9-18 at SXSW 2018. Save big when you register to attend before Friday, February 9.
SXSW registrants get access to SXSW hotels at the lowest rates available by making reservations through SXSW Housing & Travel. Visit our availability page and then book your stay today to save.
Follow us on Facebook, Twitter, Instagram, and SXSW News for the latest SXSW coverage, announcements, and updates.
Teaser Photo by David Zacek
The post Convergence is Everywhere – 2018 SXSW Programming Trends appeared first on SXSW.
Source: SxSW Film
February 1, 2018
Discover What’s Next: Register to Attend SXSW 2018
Get ready for another memorable SXSW next March 9-18 in Austin, Texas! Register to attend by Friday, February 9 and save. Explore highlights from recent programming announcements from the Film Festival, Music Festival, and Conference below, watch our Spotlight Video above, and learn how to customize your SXSW Schedule.
SXSW Conference & Festivals celebrate the convergence of the interactive, film, and music industries during 10 days of sessions, screenings, showcases, exhibitions, parties, art installations, and networking.
SXSW is the premier destination for thousands of creatives from a vast and diverse range of industries to discover what’s next. From compelling conversations with industry heavy weights and forging new connections, to buzz-worthy film screenings and fresh new sounds at showcases, SXSW fosters creative and professional growth.
This March, get ready for the perfect mix of learning, discovery, innovative visions, personal points of view, new friends, a serious amount of tacos, and beyond. This is only a sampling of the multitude of unexpected adventures to come next March… with many exciting programming announcements still on the way.
Latest Programming Announcements
For the SXSW Conference, philanthropist Melinda Gates joins the lineup as a Convergence Keynote with previously announced Keynotes Lyor Cohen, Sadiq Khan, Darren Aronofsky, Ta-Nehisi Coates, Barry Jenkins, Esther Perel, and whurley.
In addition, the newest round of Featured Speakers includes Oscar-winning director, writer, and producer Spike Lee; Apple’s Senior Vice President of Internet Software and Services Eddy Cue; award-winning actress, writer, and director Lena Dunham; actor and writer Ethan Hawke; Star Wars VIII: The Last Jedi director Rian Johnson; activist and technologist Chelsea Manning; executive editor of Recode Kara Swisher; Westworld cast members Evan Rachel Wood, James Marsden, and Jeffrey Wright; YouTube CEO Susan Wojcicki; and many more.
Building on an impressive Conference lineup, these speakers represent many of the developing trends expected to come out of SXSW 2018. Explore our 12 top trends for SXSW 2018 through the lens of tech and culture.
The SXSW Film Festival rolled out the red carpet with the announcement of the 2018 Features Lineup and Opening Night Film A Quiet Place. The full lineup will include 132 Features, 44 films from first-time filmmakers, 86 World Premieres, 11 North American Premieres, and 5 U.S. Premieres. Additional titles will continue to be announced up until March. Take a look back at the past 25 Years of the SXSW Film Festival with weekly spotlights on careers launched, artists discovered, powerful performances, and more from featured alumni.
Dive into the latest round-up of Showcasing Artists announcements including Sub-Pop indie-rockers Bully, XXL Freshman Class alumni OG Maco, Polyvinyl garage-rock band White Reaper, The Strokes’ Albert Hammond Jr., and funky soul singer Davie, as well as Mentor Sessions with Tiana Lewis (Pandora), Tom Mullen (Atlantic Records), Samantha Steele (Triple 8 Management) and many more. Listen to weekly SXSWfm’s specialty shows highlighting 2018 Showcasing Artists and tune into SXSW News for weekly announcements now through March.
Browse through all confirmed programming for the 2018 SXSW Conference & Festivals on the online SXSW Schedule and begin building your personal schedule. Check out the Schedule Help page for further information on logging in, filtering events, and adding events to your schedule.
Download the SXSW GO mobile app to sync your online schedule with your mobile device, so your info will always be up-to-date. Plus, get schedule recommendations based on favorited events, networking contacts, and more.
For more in-depth coverage of SXSW, explore the latest issue of SXSWorld® magazine in its new online format.
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Begin Your SXSW Adventure
It’s never too early to begin planning your SXSW adventure! With expanded access to events for all registrants, attendees will receive primary access to programming associated with their badge type but now also enjoy secondary entry to most other SXSW events. Take the Tracks Quiz to discover which badge fits your needs. The Platinum Badge remains the key to primary access to all of SXSW.
Register and book your hotel today! SXSW registrants get access to SXSW hotels at the lowest rates available by making reservations through SXSW Housing & Travel. Visit our availability page and then book your stay today to save. If you are attending as a group (10+), contact us for more information on special savings.
SXSW is also offering an exclusive “Buy One Badge, Get One Free” discount for students now through Thursday, March 1. If you are a currently enrolled high school or college student, fill out the application for you and a fellow student today.
Sign up for SXSW Event Updates and follow us on Twitter, Facebook, and Instagram to stay up-to-date on the latest SXSW happenings.
Teaser photos courtesy Apple Music / 2017 SXSW Conference panel, Shake Up the Industry by Entertaining with Empathy – Teaser Photo by Ann Alva Wieding
The post Discover What’s Next: Register to Attend SXSW 2018 appeared first on SXSW.
Source: SxSW Film