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October 20, 2017
Apply to Participate at SXSW: Final Deadlines for Film Submissions, Music Showcases & Podcast Stage
Be a part of one of the most diverse, collaborative, and inventive communities in the world! SXSW 2018 applications are closing soon for the SXSW Film Festival, SXSW Music Festival, and second annual SXSW Podcast Stage. More applications are set to close in early November including Interactive Innovation Awards and SXSW Accelerator Pitch Event. Learn how to participate in one of the many prestigious SXSW categories below listed in order of upcoming deadline.
Applications Closing Soon
Film Submissions
The SXSW Film Festival celebrates raw innovation and emerging talent from both behind and in front of the camera. Featuring provocative documentaries, comedies, genre standouts, and more, the festival has become known for the high caliber and diversity of films presented, and for its smart, enthusiastic audiences. Film submission categories include Feature Films, Short Film, Virtual Cinema, Texas High School Short Films, Title Sequences, and Music Videos.
Late Deadline: Friday, October 20, 2017
Texas High School/Title Sequence Final Deadline: Friday, December 15
Showcasing Artist Applications
SXSW Showcasing Artists benefit from career changing exposure and publicity provided by the amazing mix of influential participants who attend SXSW every year. Showcasing at SXSW means performing in one of the many venues located in famous downtown Austin for industry reps, media members, and thousands of fans and fellow musicians from all over the world.
Final Deadline: Friday, October 20, 2017
SXSW Podcast Stage
The second annual SXSW Podcast Stage will host up to 36 podcasts covering all facets of life. All genres are encouraged to apply including comedy, gaming, music, film, technology, science, news, and more. Broadcast your podcast from SXSW 2018 in front of a live audience.
Final Deadline: Sunday, October 22, 2017
More Open Applications
Interactive Innovation Awards
The Interactive Innovation Awards celebrate and honor the most exciting tech developments in the connected world. Innovators from across the digital industry have the opportunity to enter their exciting, new work in this competition – open to all projects, products, and developments launched or made in calendar year of 2017.
Final Deadline: Friday, November 10, 2017
SXSW Accelerator Pitch Event
The SXSW Accelerator Pitch Event showcases the most ambitious startup talents from around the world with the most creative, new ideas to change it. Startups, companies, and tech innovators alike can enter their product or service for the chance to pitch to a live audience and panel of expert judges in March.
Final Deadline: Friday, November 10, 2017
Join Us at SXSW 2018
Register to attend and book your hotel by Friday, October 20 at 11:59pm PT and save. Watch our Spotlight on SXSW 2018 video and get ready to help us write the next chapter of the SXSW Conference & Festivals during March 9-18, 2018.
Stay tuned for more 2018 application information coming soon for SXSW Release It and other participation opportunities. Explore the 2017 Awards categories to view the 2017 winners and learn more about each program.
Follow us on Twitter, Facebook, Instagram, and SXSW News for the latest announcements, recaps, and more.
Photo by Matt Winkelmeyer/Getty Images
The post Apply to Participate at SXSW: Final Deadlines for Film Submissions, Music Showcases & Podcast Stage appeared first on SXSW.
Source: SxSW Film
October 20, 2017
Bring Your Podcast to SXSW 2018: Final Deadline Sunday, October 22
Broadcast your podcast from SXSW 2018 in front of a live audience at the SXSW Podcast Stage. The application deadline has been extended through the weekend – apply before Sunday, October 22 to bring your podcast to SXSW.
Open to all badgeholders, the second annual SXSW Podcast Stage will host up to 36 podcasts covering all facets of life. All genres are encouraged to apply including comedy, gaming, music, film, technology, science, news, and more. There is no submission fee, and the stage, soundboard, mics, production, and staffing will all be free of charge.
Position your podcast in front of a new, diverse audience including some of the world’s top industry experts, influencers, creatives, professionals, and beyond. Apply before the final deadline on Sunday, October 22 at 11:59pm PT.
2017 SXSW “My Wife Hates Me” Podcast Recording – Photo by Mindy Tucker
The post Bring Your Podcast to SXSW 2018: Final Deadline Sunday, October 22 appeared first on SXSW.
Source: SxSW Film
October 19, 2017
25 Years of SXSW Film Festival – Gareth Edwards
To commemorate the 25th edition of the SXSW Film Festival, we will spotlight careers launched, artists discovered, powerful performances, and more from our alumni. This week’s featured artist is director and writer Gareth Edwards.
Edward’s directorial film debut, Monsters, world premiered at the 2010 SXSW Film Festival. Monsters won many accolades, garnering six nominations and three wins, including Best Director for Edwards at the British Independent Film Awards. Edwards was also nominated for a BAFTA award for Outstanding Debut by a British Director. The film was listed as one of the top ten independent films of 2010 by the National Board of Review and placed third on Moviefone’s Top 10 Sci-Fi Movies that same year. In anticipation of Edward’s second feature, the 2014 reboot of Godzilla for Warner Brothers, he presented a 60th anniversary screening of the 1954 original at SXSW. Audience members were treated to an exclusive first look of the remake.
As director of the exhilarating Rogue One: A Star Wars Story, a chapter in the Star Wars Anthology series, Edwards returned to SXSW as a 2017 Film Keynote Speaker, where he discussed his career and his desire to join the rebel alliance after his first experience watching Star Wars. Rogue One was the second highest-grossing film of 2016 and went on to receive two Oscar nominations for sound mixing and visual effects.
We are excited to share his #SXSWFilm25 story with you.
“You can divide my life in two, before SXSW and after SXSW. It scares me to think how different my career would be if my first film hadn’t been premiered at the festival. I can pretty much trace all my success since then back to that moment… But please don’t tell them this or they’ll sue me for a share of my Hollywood residuals.”
Stay tuned to SXSW News each week for more 25th edition stories.
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, October 20 and save before prices go up in November. Make your hotel reservations through SXSW Housing & Travel for the best available rates. We hope to see you in March!
Follow us on Facebook, Twitter, Instagram, and SXSW News for the latest SXSW coverage, announcements, application tips, and updates.
2017 Film Festival Keynote, Gareth Edwards – Photo by Alexa Gonzalez Wagner
The post 25 Years of SXSW Film Festival – Gareth Edwards appeared first on SXSW.
Source: SxSW Film
October 19, 2017
New for 2018: The SXSW Wellness Expo
For the first time, SXSW is hosting an exhibition focused on fueling your mind, body, and soul. The SXSW Wellness Expo will complement the Health & Wellness track at the SXSW Conference while offering SXSW attendees and Guest Pass holders the opportunity to check out the latest innovative products and services in this expanding industry.
In recent years, the Health & Wellness industry has experienced large growth and increased interest. According to the Global Wellness Institute, the Global Wellness industry totaled $3.7 billion in 2015. We’re bringing this industry to the heart of SXSW 2018 with the SXSW Wellness Expo, which spans two days at Palmer Events Center on March 10-11.
This exhibition will not only feature numerous companies within the wellness landscape, but will also feature the SXSW Wellness Expo Stage and other areas with programming that includes, workshops, demos, fitness classes, speakers, readings, relaxation activities, and more.
Exhibit at the SXSW Wellness Expo
We’re looking for businesses and organizations to participate in the SXSW Wellness Expo. If you have a company that falls within the Health & Wellness industry and focuses on herbs and supplements, athleisure, fitness, CBD products, clean eating, natural beauty products, specialty diets, mental and physical exercise, beauty and spa equipment, wellness retreats, or something else, contact us to be a part of this brand new exhibition.
Apply for an Underwritten Space
Interested in participating in the SXSW Wellness Expo? We’ve reserved a few 10’x10′ spaces as well as some 30-minute, hands-on demos for nonprofits and others looking to share their passion with attendees interested in the world of wellness. If you’re a non-corporate organization, an educator, or an early-stage startup company, you can apply for an underwritten space.
Photo by Amanda Stronza
The post New for 2018: The SXSW Wellness Expo appeared first on SXSW.
Source: SxSW Film
October 18, 2017
Major Video and Audio Updates to Adobe Creative Cloud Available Now
Just last month, Adobe revealed a number of updates to the Creative Cloud. Now at Adobe MAX, Adobe has released those updates and more with the next …
Source: CW’s Flipboard Feed
October 18, 2017
The Road Trip of a Lifetime: Announcing The 2018 MobileBooth Tour
We’re hitting the road again! In 2018, the StoryCorps MobileBooth — our recording studio housed within a converted Airstream trailer — will travel almost 5,000 miles across the United States, visiting ten cities along the way. Our crew of facilitators will stop in each location for a month at a time, recording the conversations of each community and preserving them in the StoryCorps archive in the American Folklife Center at the Library of Congress.
We’re excited to be working with the public radio stations in each of our tour stops to bring StoryCorps to their communities. Reservations, which are free and available to the public, are announced before our arrival in each city.
January 5 – February 2: Austin, TX in partnership with KUT
February 8 – March 9: Oklahoma City, OK in partnership with KOSU
March 15 – April 13: Portales, NM in partnership with KENW
April 19 – May 18: Fort Collins, CO in partnership with KUNC
May 24 – June 22: Jackson, WY in partnership with WyPubMedia
June 28 – July 27: Bismarck, ND in partnership with Prairie Public
August 2 – September 2: Kansas City, KS/MO in partnership with KCUR
September 9 – October 7: Charleston, WV in partnership with WV Public Media
October 14 – November 11: Athens, GA in partnership with WUGA
November 18 – December 21: Jacksonville, FL in partnership with WJCT
The StoryCorps Mobile Tour has travelled the United States since 2005, capturing the voices of people across the country and bringing the StoryCorps interview experience to those who might not be able to visit one of our permanent StoryBooths in Chicago, San Francisco, or Atlanta. At each stop along the way, we work with station partners, cultural institutions, and community-based organizations to engage with local communities and preserve their stories.
Source: SNPR Story Corps
October 15, 2017
‘Happy Death Day’ Smells Sweet at Weekend Box Office
Horror flick “Happy Death Day” (Universal) easily topped the weekend. The latest production from prolific horror supplier Blumhouse ranked below their early year openers “Get Out” and “Split,” but $26.5 million for a movie with a $5-million production budget marks an instant success.
While some of the Blumhouse aura has been overshadowed by the massive success of Warner Bros.’ Stephen King juggernaut “It,” that shouldn’t take away producer Jason Blum’s mastery at consistently packaging original low-budget smash hits.
“Happy Death Day” is a bit lower-profile than other recent Blum house efforts, but it still landed some respectable mainstream reviews. That’s a big change from how the genre has been treated in recent years.
The film was positioned well in two ways. Mid-October is often a prime pre-Halloween date for horror entries. Lionsgate claimed the weekend before October 31 for “Jigsaw,” so Blumhouse went with the earlier weekend — without any competition from Halloween parties. Also the timing allowed the trailer for “Happy” to play in front of some 30 million ticket buyers for “It.” This marks a mid-level Blumhouse success. Both “Ouija” and its sequel last October opened smaller.
“Happy” led the way for a slight boost in grosses over a year ago. With prime-time TV baseball games with teams from the three largest markets and only one wide opening, that’s not a bad result. Last year saw “The Accountant” open to a bit less, along with a $12-million grossing Kevin Hart comedy concert film.
Courtesy of STXfilms
“The Foreigner” (STX), the other wide opener, showed that after decades of success Jackie Chan still can draw a middling audience. Worldwide, the film has already passed $100 million. It had a strong Cinemascore (A-), which might account for its Saturday increase. (That’s rare for second-day mass market openers; “Happy Death Day” was down 19 per cent.) Asian-American audiences remain under-represented among commercial films, and STX reports they were well-represented in the 59 per cent male audience.
“Blade Runner 2049”
Warner Bros.
Holdovers
All eyes were on the second weekend of the disappointing “Blade Runner 2049” (Warner Bros.). Its drop was 54 per cent, good enough for second place at $15.1 million. The problem is it fell from a lower number than hoped for last weekend. That is a marked improvement over the 62 and 70 per cent respective drops for summer’s “War for the Planet of the Apes” and “Alien: Covenant” and suggests a longer shelf life for Denis Villeneuve’s acclaimed film. Having reached $60 million at this point, its chances of hitting $100 million domestic are much improved.
Expectations are everything. Take the director’s recent “Arrival” (which topped out at $100.5 million domestic off a budget of $47 million): the sci-fi drama opened on a date that allowed it to have a boost over Thanksgiving, then sustain a longer run that included Christmas dates. That movie reached about $44 million after ten days, dropping 49 per cent on weekend two. But that was strong enough to boost its chances for leading Oscar nominations, which is still possible for the “Blade Runner” sequel.
“It”
“It” only fell 39 per cent, which is incredible. Now at $315 million, figure it to add another $20 million or so before it’s done. Only one film had a major drop, with the second weekend of “My Little Pony: The Movie” (Lionsgate) falling 55 per cent, which is high for an animated film. The second weekend falloff for the disappointing “The Mountain Between Us” (20th Century Fox) was more modest at 46 per cent.
Wider niche films continue to hover in the vicinity of the Top Ten. “Victoria & Abdul” (Focus) held with a small 25 per cent drop, while still not up to 1,000 theaters. “Marshall” (Open Road) and “Professor Marston and the Wonder Woman” (Annapurna) in 821 and 1,229 theaters respectively, were #11 and #14. The former, about the early days of Civil Rights pioneer Thurgood Marshall, made a promising debut. However, “Professor Marston” was a complete dud despite upbeat reviews.
Top Ten Box Office Chart
1. Happy Death Day (Universal) NEW – Cinemascore: B; Metacritic: 57; Est. budget: $5 million
$26,500,000 in 3,149 theaters; PTA (per theater average): $8,415; Cumulative: $26,500,000
2. Blade Runner 2049 (Warner Bros.) Week 2 – Last weekend #1
$15,100,000 (-54%) in 4,058 theaters (no change); PTA: $3,721; Cumulative: $60,578,000
3. The Foreigner (STX) NEW – Cinemascore: A-; Metacritic: 57; Est. budget: $35 million
$12,840,000 in 2,515 theaters; PTA: $5,105; Cumulative: $12,840,000
4. It (Warner Bros.) Week 6 – Last weekend #3
$6,050,000 (-39%) in 3,176 theaters (-429); PTA: $1,905; Cumulative: $314,930,000
5. The Mountain Between Us (20th Century Fox) Week 2 – Last weekend #2
$5,650,000 (-46%) in 3,259 theaters (+171); PTA: $1,734; Cumulative: $20,503,000
6. American Made (Universal) Week 3 – Last weekend #6
$5,423,000 (-36%) in 3,098 theaters (+171); PTA: $1,750; Cumulative: $40,153,000
7. Kingsman: The Golden Circle (20th Century Fox) Week 4 – Last weekend #5
$5,315,000 (-39%) in 2,982 theaters (-506); PTA: $1,782; Cumulative: $89,652,000
8. The LEGO Ninjago Movie (Warner Bros.) Week – Last weekend #7
$4,315,000 (-38%) in 3,053 theaters (-558); PTA: $1,413; Cumulative: $51,578,000
9. My Little Pony: The Movie (Lionsgate) Week 2 – Last weekend #4
$4,000,000 (-55%) in 2,528 theaters (no change); PTA: $1,582; Cumulative: $15,513,000
10. Victoria & Abdul (Focus) Week 4 – Last weekend #8
$3,115,000 (-25%) in 900 theaters (-168); PTA: $3,461; Cumulative: $11,342,000
Source: IndieWire film
October 15, 2017
Björk Writes About Being Sexually Harassed by an Unnamed Filmmaker: ‘I Was Framed as the Difficult One’
Björk wrote a Facebook post about being sexually harassed by an unnamed Danish director, saying “it was extremely clear to me when i walked into the actresses profession that my humiliation and role as a lesser sexually harassed being was the norm and set in stone with the director and a staff of dozens who enabled it and encouraged it.”
Björk has few acting credits to her name, with most notable being Danish auteur Lars von Trier’s “Dancer in the Dark,” for which she won Best Actress at the Cannes Film Festival in 2000.
“i became aware of that it is a universal thing that a director can touch and harass his actresses at will and the institution of film allows it,” she wrote. “when i turned the director down repeatedly he sulked and punished me and created for his team an impressive net of illusion where i was framed as the difficult one.”
Björk says she “walked away from it” in part because she had no ambitions as an actor — a sentiment shared by Sarah Polley in a New York Times essay yesterday — and recovered from the experience after a year.
“i am worried though that other actresses working with the same man did not,” she adds. “the director was fully aware of this game and i am sure of that the film he made after was based on his experiences with me . because i was the first one that stood up to him and didn’t let him get away with it.”
Still, she does include the somewhat hopeful note that “in my opinion he had a more fair and meaningful relationship with his actresses after my confrontation so there is hope.” Read her full comments below.
Source: IndieWire film
October 15, 2017
‘Marshall’ Origin Myth Leads Weak Biopics at Specialty Box Office
Noah Baumbach’s “The Meyerowitz Stories (New and Selected),” which debuted in competition in Cannes and scored fresh acclaim at the New York Film Festival, is a day-and-date Netflix release, so no numbers are reported. It’s likely that the family comedy starring Adam Sandler, Ben Stiller and Dustin Hoffman, who all did substantial press, played well enough at high-end theaters in New York and L.A. to take a bite out of its competitors.
“Marshall”
Barry Wetcher
Other openers continued the string of movies about real people that are dominating the specialized release schedule. A wide opening for “Marshall” (Open Road) with a particular emphasis on African-American audiences showed some life and a chance for possible word of mouth, but Fox Searchlight’s A.A. Milne film “Goodbye Christopher Robin” made little impact, and “Professor Marston and the Wonder Woman,” from new distributor Annapurna, despite some strong reviews, totally failed to justify its over 1,000-theater break.
On the more limited front, Ai Weiwei’s refugee camp documentary “Human Flow” (Amazon) showed impressive numbers in its first two cities. Another documentary, “Tom of Finland” (Kino Lorber) also had a strong exclusive New York debut.
Both “Victoria & Abdul” (Focus) and “Loving Vincent” (Good Deed) lead the way among more slowly expanding specialized films amid a group of otherwise lackluster titles.
“Goodbye Christopher Robin”
Opening
Goodbye Christopher Robin (Fox Searchlight) – Metacritic: 51; Festivals include: Hamptons 2017
$55,800 in 9 theaters; PTA (per theater average): $6,200
The latest biopic about an English writer (a curious subgenre these days) was doomed by not only having a familiar feel to other recent films but also mediocre reviews below several other high-end specialized releases. How A.A. Milne created Winnie the Pooh didn’t have the interest of “Finding Neverland” and other past biopics. This opened in five cities, beyond just the typical New York and Los Angeles. The earlier U.K. wider release has grossed over $2 million.
What comes next: The expansion starts this Friday.
Marshall (Open Road) – Metacritic: 66; Festivals include: San Diego, Chicago 2017
$3,039,000 in 821 theaters; PTA: $3,702
This independent project backed by a Chinese investor and directed by veteran Reginald Hudlin (“House Party,” “Boomerang”) focuses on the early career of Supreme Court Justice Thurgood Marshall (Chadwick Boseman). The courtroom drama opened semi-wide to reach its core audience. Media attention centered on rising star Boseman who portrayed the iconic Jackie Robinson in “42” as well as James Brown and is coming up in Marvel’s “Black Panther.” “42” scored an initial per theater total nearly triple this effort despite playing on over 3,000 screens. Still, “Marshall” managed some serious sampling and a second day increase. Whether it has a multi-week life will be better determined next weekend.
What comes next: Expect some ongoing push to sustain a further life for this.
Professor Marston and the Wonder Woman (Annapurna) – Metacritic: 68; Festivals include: Toronto, London 2017
$737,000 in 1,229 theaters; PTA: $600
From indie veteran director Angela Robinson (“D.E.B.S.” and extensive premium cable work), this story about the man who created Wonder Woman is nascent distributor Annapurna’s latest pickup. The hoped-for interest tied into the recent D.C. Comics smash failed to materialize despite some good reviews including raves in both the New York and Los Angeles Times.
What comes next: This will struggle to even hold many of its initial theaters.
“Human Flow”
Human Flow (Amazon) – Metacritic: 78; Festivals include: Venice, Telluride, Hamptons 2017
$47,000 in 3 theaters; PTA: $15,667
Chinese artist Ai Weiwei directed this documentary with stories about refugees all over the world. It is one of the best-positioned non-fiction fall entries, with top festival presentation, strong reviews and significant media publicity centering on the artist (whose tricky position in his native China itself was the focus of an earlier documentary). This opened in New York (including the new Landmark 57th Street theater, a strong performance at this location) and Washington, D.C..
What comes next: 15 additional cities open next week including Los Angeles.
“Tom of Finland”
Kino Lorber
Tom of Finland (Kino Lorber) – Metacritic: 51; Festivals include: Tribeca, Seattle 2017
$13,000 in 1 theater; PTA: $13,000
A strong initial result for this documentary about the legendary leather artist (which curiously is Finland’s Foreign Language Oscar submission) in its initial Manhattan downtown run. Yet again, a doc about a creative figure of note scores ahead of what many non-fiction films manage
What comes next: Los Angeles and San Francisco add on this Friday.
“Breathe”
Breathe (Bleecker Street) – Metacritic: 47; Festivals include: Toronto, London, Hamptons 2017
$26,254 in 4 theaters; PTA: $6,563
Actor Andy Serkis directed this drama about a polio-stricken man (Andrew Garfield) who with support from his wife (Claire Foy) and friends opts to live at home and not curtail his life over being sequestered in a hospital ward. Bleecker Street got four top New York/Los Angeles theaters to open this, but unsupportive reviews took their toll, with the result a mediocre initial gross.
What comes next: This will expand weekly with a wider national release set for Nov. 3.
American Satan (Sumerian) – Festivals include: Oceanside 2017
$132,000 in 55 theaters; PTA: $2,400
A Friday the 13th release about a rock group entangled in a horror plot is directed by John Avildsen’s son Ash and others associated with Rob Zombie. The horror flick played at a range of big-circuit general audience theaters nationwide with mixed results.
What comes next: Not likely to sustain any significant theatrical toehold.
“The Departure”
The Departure (Matson) – Metacritic: 79; Festivals include: Hot Docs, Tribeca 2017
$5,684 in 1 theater; PTA: $5,684
A rather unusual Buddhist priest who specializes in counseling suicidal people at the expense of his own health is the focus of this documentary, which received strong reviews in its New York debut. The result is reasonable given the sensitivity of the subject.
What comes next: Los Angeles and Seattle open this Friday.
Also available on Video on Demand:
Wasted: The Story of Food Waste (Super) – $15,552 in 11 theaters
78/52 (IFC/Sundance 2017) – $4,081 in 1 theater
“The Florida Project”
Week Two
The Florida Project (A24)
$401,141 in 33 theaters (+29); PTA: $12,156; Cumulative: $623,949
Sean Baker’s acclaimed drama came up with the best second weekend for any limited A24 film this year. The figure, for a film positioned to follow last year’s awards trajectory of the distributor’s “Moonlight,” is about half as good as that successful release. That’s a positive initial result, as is the 36 per cent increase Saturday from Friday.
“Faces Places”
Faces Places (Cohen)
$46,159 in 25 theaters (+20); PTA: $1,846; Cumulative: $96,282
Agnes Varda and French artist JR’s acclaimed road trip documentary quickly added Los Angeles and other top market theaters. The grosses aren’t up to the Cannes prize-winner’s rave reviews, but it could still see some continued appeal, particularly as later awards factor in.
Chavela (Music Box)
$19,778 in 14 theaters (+10); PTA: $1,413; Cumulative: $61,162
This documentary about the iconic Latina chanteuse expanded, including theaters outside the usual art house world, with modest results.
Dina (The Orchard)
$12,775 in 4 theaters (+3); PTA: $3,194; Cumulative: $19,777
The Sundance Documentary Jury prize winner about a couple who are both on the Autism spectrum learning to live together expanded to Los Angeles, with a continued modest response.
“Victoria & Abdul”
Ongoing/expanding (Grosses over $50,000)
Victoria & Abdul (Focus) Week 4
$3,115,000 in 900 theaters (+168); Cumulative: $11,342,000
Still expanding (more slowly than several other post-festival releases) and already with a bigger total than “Battle of the Sexes” which went wider, “Victoria & Abdul” is holding decently so far. Focus has done a good job of positioning Dame Judi Dench for later awards. In its fourth week the Queen Victoria biopic just edged the opening weekend for “Marshall” in about as many theaters.
Battle of the Sexes (Fox Searchlight) Week 4
$1,375,000 in 1,394 theaters (-498); Cumulative: $10,389,000
Fox Searchlight pushed this 1970s Billie Jean King tennis match story fairly wide, hoping for strong audience appeal. They got this to $10 million–plus, with a few million more possible. But it never quite clicked as hoped.
“Loving Vincent”
Loving Vincent (Good Deed) Week 4
$319,008 in 54 theaters (+26); Cumulative: $738,160
Excellent results continue for this animated expansion of Van Gogh’s art. This has been an impressive performance, even more so from a first-time distributor.
Mark Felt: The Man Who Brought Down the White House (Sony Pictures Classics) Week 3
$123,607 in 89 theaters (+72); Cumulative: $257,019
Another true life, untold story behind a public figure film that is failing to find an audience, despite the presence of Liam Neeson and SPC supporting it.
“Stronger”
Stronger (Roadside Attractions) Week 4
$115,035 in 174 theaters (-161); Cumulative: $4,039,000
The total is higher than most fall releases so far, but it came with an initial multi-hundred run. The hoped for positive word of mouth never transpired.
Lucky (Magnolia) Week 3
$(est.) 115,000 in 55 theaters (+21); Cumulative: $(est.) 362,000
The great Harry Dean Stanton’s last lead performance continues to bring in niche audiences as it expands wider.
Wind River (Weinstein) Week 11
$106,806 in 194 theaters (-164); Cumulative: $33,455,000
What will perhaps be the final Harvey Weinstein release provided positive results.
Also noted:
Take Every Wave: The Life of Laird Hamilton (IFC) – $34,462 in 24 theaters; Cumulative: $91,072
The Big Sick (Lionsgate) – $27,500 in 64 theaters; Cumulative: $42,862,000
Dolores (PBS) – $26,460 in 33 theaters; Cumulative: $486,152
Columbus (Superlative) – $25,370 in 30 theaters; Cumulative: $942,500
Brad’s Status (Annapurna) – $23,000 in 39 theaters; Cumulative: $2,112,000
Columbus (Superlative) – $25,370 in 30 theaters; Cumulative: $942,500
The Viceroy’s House (IFC) – $21,886 in 39 theaters; Cumulative: $1,072,000
Source: IndieWire film
October 15, 2017
Rose McGowan Slams Lisa Bloom: ‘Did You Think of How It Would Affect Victims to See You Champion a Rapist?’
Rose McGowan has written an open letter of sorts to Lisa Bloom, holding nothing back as she addresses the well-known attorney who served as an advisor to Harvey Weinstein before resigning from that position last weekend. Calling Bloom a “cancer” whose “very name makes my stomach clench with a stressed tightness that takes my breath away,” the actress reveals that she was recently saddled with a $24,000 bill from her own lawyer because he had to deal with Bloom and her counsel Charles Harder.
“Did you think of how it would affect victims to see you champion a rapist? How it felt to those you once ‘fought for,’ for them to know that you used them. You remember them right?” writes McGowan. Bloom most often works on the other side of such cases — as does her mother Gloria Allred, who publicly rebuked her daughter for working with Weinstein.
“This is the lie you rode in on, Lisa Bloom,” the actress and activist continues. “You are done. We see you for who and what you are. You are a snake that sold out other women who are purer than you can ever hope to be.”
McGowan also reveals that, the night before the initial New York Times story about Weinstein was published, she was “being pushed hard to settle. I was offered one million dollars. No way. I then drove it to 6 million. I was warring with thoughts about being able to take care of my aunt, Mom and family vs my integrity.” Ultimately she opted not to take the money because she “will not be sold. Never again.” She also says that she never signed a nondisclosure agreement (NDA).
“When I was 23 I was hurt by the Swine,” McGowan says. “I have had a 350 lbs monster stuck to me for twenty years. Guess what, Lisa? Now he’s all yours. It’s your obituary his name will be in, not mine.” Read her full letter here.
Source: IndieWire film