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October 8, 2017
Ridley Scott Wants the Next ‘Alien’ Movie to Focus on Artificial Intelligence Instead of the Xenomorph
Big things have small beginnings. They also have lots of sequels and prequels. Ridley Scott shows no signs of slowing down after “Prometheus” and “Alien: Covenant,” though he says that the next installment in his enduring science-fiction franchise will focus less on the xenomorph and more on artificial intelligence.
“I think the evolution of the Alien himself is nearly over, but what I was trying to do was transcend and move to another story, which would be taken over by A.I.s,” he tells Empire in a new podcast interview. “The world that the A.I. might create as a leader if he finds himself on a new planet. We have actually quite a big layout for the next one.”
One might reasonably conclude that this means David, the philosophical (and homicidal) android played by Michael Fassbender, will continue to anchor this new strain of the “Alien” mythos. Elsewhere in artificial intelligence, Scott just produced “Blade Runner 2049,” a sequel to the sci-fi classic he directed after “Alien.”
Source: IndieWire film
October 8, 2017
Ava DuVernay Opens Up About ‘A Wrinkle in Time’: ‘I Love It, but I Don’t Know How It’s Going to Be Received’
Ava DuVernay took a break from working on “A Wrinkle in Time” to speak at the New Yorker Festival last night, where she opened up about her doubts that audiences will be as into her adaptation of Madeleine L’Engle’s beloved science-fiction/fantasy novel as she is: “I love it, but I don’t know how it’s going to be received.”
“I feel something very deep in my gut when Oprah’s voice says, ‘There’s a darkness in the world and the only one who can stop it is…’ smash cut to a black girl,” she added. “I don’t know. I don’t know. I don’t know if people are going to feel that like I feel that.” Storm Reid plays Meg Murry, the heroine in question, and is joined by Reese Witherspoon, Mindy Kaling, Zach Galifianakis, Chris Pine, Gugu Mbatha-Raw, Michael Peña, and André Holland.
Part of DuVernay’s uncertainty arises from how different “A Wrinkle in Time” will be from most movies of its kind for the simple fact that its hero is a world-saving girl of color. “It’s not shied away from. It is front and center,” she said.
“She is hopping planets and flying and saving the freakin’ world. She’s saving the world. Saving the world from darkness, and in the film darkness is defined as the darkness within us. She’s saving us from ourselves. It’s deep.” The movie will be released by Disney next March.
Perhaps because they weren’t as high-profile, DuVernay didn’t have these doubts on her last two films. “With ‘The 13th,’ I was, ‘You know what. I don’t care. This is what I want to put out. If people get it, they get it. If they don’t, I’m onto the next.’” said DuVernay. “With ‘Selma,’ I was like, ‘You know what, I’m nervous…but I know that I believe in this. I know that this is a record, and it needs to be there. Some other people are going to get this.’ This, I don’t know.” Read her full comments here.
Source: IndieWire film
October 8, 2017
‘The Florida Project’ Scores at Specialty Box Office as ‘Victoria & Abdul’ Soars
Fresh off the New York Film Festival, Sean Baker’s acclaimed “The Florida Project” (A24) sprinted ahead of the over-crowded fall specialty pack, as some 35 titles launched in limited runs this weekend. Backed by some of the best reviews of the year, the Cannes pickup marks Baker’s breakout following succès d’estime “Tangerine.”
“Victoria & Abdul” (Focus) is setting the early pace for this awards season’s contenders, with Judi Dench showing yet again her strength as a draw.
Most other openings appealed to niche audiences, with several documentaries competing to get review attention that might position them for later awards consideration. While another NYFF title, Agnes Varda and J.R.’s “Faces, Places” (Cohen), nabbed the best reviews, none did more than modest business.
Opening
The Florida Project (A24) – Metacritic: 94; Festivals include: Cannes, Toronto, New York 2017
$152,622 in 4 theaters; PTA (per theater average): $38,156
Sean Baker’s sixth feature follows his critical success “Tangerine” two years ago with a stellar New York/Los Angeles debut that stands out among fall season releases so far. But the most impressive comparison is to a similar Southern and non-professional kids’ cast festival boosted title. Fox Searchlight’s “Beasts of the Southern Wild” in 2012 opened in four similar theaters to a slightly better $42,000 PTA on its way to a $12 million-plus total and four top Oscar nominations. It is far ahead of “Tangerine” ($15,000 PTA in four theaters its initial weekend).
Whether “Florida” will reach the same heights as “Beasts” is yet to be determined, but with even better reviews so far and with “Moonlight” distributor A24 strategizing for the long haul, Baker’s humane portrait of Orlando’s poverty row is off to a strong start, even if it’s not as strong as the “Moonlight” opening ($100,000 PTA). “Florida” was the best grosser at all of its theaters other than “Blade Runner 2049” (also with strong reviews but more premium pricing) where both played.
What comes next: An elevated national expansion starts this Friday.
“Dina”
Dina (The Orchard) – Metacritic: 78; Festivals include: Sundance, Seattle 2017
$8,035 in 1 theater; PTA: $8,035
The Sundance Documentary Grand Jury winner takes an unusual path — an actual theatrical opening, no Netflix, cable, PBS parallel dates — with its New York exclusive opening. Telling the story of a middle age women with Asperger’s and her similar fiancé as they ponder the intimate details of marriage, this sensitive portrait of a couple has received decent reviews to help it get attention outside the usual social issue or celebrity/creative world stories of non-fiction films. This is a decent initial response for a not overtly commercial documentary, which has its roots in “Best Boy,” the 1979 Oscar winner about an aging Down’s Syndrome man.
What comes next: Los Angeles and Philadelphia open this Friday, with an ambitious 150 or more dates planned ahead.
“Una”
Una (Swen) – Metacritic: 61; Festivals include: Toronto, Telluride 2016
$7,300 in 1 theater; PTA: $7,300
Rooney Mara looks up the older man (Ben Mendelsohn) she ran off with as a minor 15 years ago. She and her costar have garnered upbeat reviews since the drama’s festival premiere over a year ago. Its initial theatrical release in Manhattan showed modest interest.
What comes next: Los Angeles opens this Friday.
Chavela (Music Box) – Metacritic: 68; Festivals include: Berlin, Hot Docs, Seattle 2017
$20,500 in 5 theaters; PTA: $5,125; Cumulative: $24,553
This documentary about Chavela Vargas, the legendary performer of Mexican ranchera music and a Latin-American and LGBT icon, opened in New York, Los Angeles and the San Francisco Bay area to respectable results (New York began on Wednesday). She is not well-known to most art house customers, but this might find some interest ahead with non-traditional specialized audiences.
What comes next: San Diego and some Los Angeles expansion come this week, with more dates, including Texas and Florida Latino-oriented theaters, ahead.
“Faces, Places”
Faces, Places (Cohen) – Metacritic: 96; Festivals include: Cannes, Telluride, Toronto, New York 2017
$29,807 in 5 theaters; PTA: $5,961
French filmmaker icon Agnes Varda, at 89 the oldest active woman director and pending honorary Oscar recipient, made this documentary — likely her final film — with French artist JR (whose identity is unknown). At this point, it is the best reviewed film released this year. Its road movie/tone poem content make it a limited sell and more unconventional that most commercial documentaries, but this opening in New York and Los Angeles (including some suburban theaters in the latter city) is respectable. The gross is similar to how her 2010 “The Beaches of Agnes” opened. That film ended up with a decent for a niche title like this $239,000.
What comes next: This will expand to national art house dates in coming weeks.
Architects of Denial (Dada Films)
$50,082 in 11 theaters; PTA: $4,593; also available on Video of Demand
This documentary about past and present forces behind persecution of Armenians (recently a popular subject in films) earned a respectable response in mostly Los Angeles-area theaters (the base of most of the American descendants). It wasn’t just a first-night crowd as often happens with films with grass-roots support — Saturday increased 14 per cent. More impressively, the theatrical opening comes parallel to home availability options.
Also available on Video on Demand:
Walking Out (IFC/Sundance 2017) – $5,236 in 2 theaters
“Lucky”
Magnolia Pictures
Week Two
Lucky (Magnolia)
$(est.) 97,000 in 32 theaters (+27); PTA: $(est.) 3,031; Cumulative: $(est.) 148,000
Harry Dean Stanton’s final lead performance continues to be the draw as this story of a 90- year-old man facing his mortality expanded to top markets this week. The response is modest, but a strong Saturday uptick suggests positive response among audiences.
Mark Felt: The Man Who Brought Down the White House (Sony Pictures Classics)
$56,382 in 17 theaters (+12); PTA: $3.317; Cumulative: $105,477
Liam Neeson as Watergate’s Deep Throat expanded to top markets with negligible results similar to last weekend’s platform debut.
“Take Every Wave”
Take Every Wave: The Life of Laird Hamilton (IFC)
$28,063 in 12 theaters (+11); PTA: $2,339; Cumulative: $43,868
This documentary about the surfing legend expanded (though not yet to New York) with minor response from devotees to the sport.
Ongoing/expanding (Grosses over $50,000 in under 1,000 theaters + 1)
Victoria & Abdul (Focus) Week 3
$4,142,000 in 732 theaters (+655); Cumulative: $5,958,000
A rapid expansion for this biopic about Queen Victoria’s friendship with an Indian who dared to look her in the eye is soaring with Judi Dench the main draw. This placed #8 overall for the weekend despite its only 732-theater run. The result is particularly strong considering its mixed reviews (57 at Metacritic), a sure sign that Dench’s marquee value reigns supreme. This is the best third-week expansion for a limited release since “The Big Sick,” including a better showing than the recent Weinstein success “Wind River.” Expect with likely awards attention ahead for Dench and strong support from Focus for this to add much more to its total.
“Battle of the Sexes”
Melinda Sue Gordon/Twentieth Century Fox
Battle of the Sexes (20th Century Fox) Week 3
$2,400,000 in 1,822 theaters (+609); Cumulative: $7,678,000
Another significant widening for the retelling of the 70s tennis match between Billy Jean King and Bobby Riggs, with the result of drop of about 50 per cent for the PTA. This has had a respectable run so far, but looks to top out somewhere in the $12-million range. Of note is that despite playing in about 1,100 more theaters than “Victoria & Abdul,” also in its third weekend, it grossed $1.7 million less this weekend to place #10 overall.
Stronger (Roadside Attractions) Week 3
$256,120 in 335 theaters (-310); Cumulative: $3,748,000
A quick fade out for Jake Gyllenhaal’s acclaimed performance as a Boston Marathon bombing survivor, which despite strong support from Roadside Attractions and a multi-hundred theater break will not reach much more than $4 million.
Wind River (Weinstein) Week 10
$192,121 in 356 theaters (-536); Cumulative: $33,219,000
Still adding gross to its total late in the run, Taylor Sheridan’s contemporary Western set drama has been the strongest Weinstein Company performer this year, and is their only Oscar candidate still standing.
“Loving Vincent”
Loving Vincent (Good Deed) Week 3
$156,925 in 28 theaters (+24); Cumulative: $277,247
The very impressive results continue for this animated fantasy based on Van Gogh’s paintings. This is one of the most impressive niche releases of the year, and shows how targeting those who have an intense interest in an artist can lead to wide multi-city interest.
Brad’s Status (Annapurna) Week 4
$104,400 in 247 theaters (-206); Cumulative: $2,022,000
Mike White’s film with Ben Stiller as a high school senior’s dad traveling to colleges has collapsed with little interest for this Amazon-backed film.
Viceroy’s House (IFC) Week 6
$53,742 in 73 theaters (-32); Cumulative: $1,018,000
The other biopic about Britain and its Indian outpost late in its run has crossed the $1 million mark.
Also noted:
Dolores (PBS) – $41,635 in 27 theaters; Cumulative: $417,491
Columbus (Superlative) – $26,431 in 36 theaters; Cumulative: $892,778
The Big Sick (Lionsgate) – $20,000 in 34 theaters; Cumulative: $42,804,000; also available on Video on Demand
Rebel in the Rye (IFC) – $10,284 in 32 theaters; Cumulative: $355,904
Source: IndieWire film
October 7, 2017
How to Start a Podcast: Editing and Mixing
[If you missed part 1, check out How to Start a Podcast: Recording]<p>Podcasting is harder than it seems. You’d think you could just put a couple of …
Source: CW’s Flipboard Feed
October 6, 2017
SXSW Alumni Film Releases – October 2017
Discover some of the SXSW alumni films on release this month, such as ASSHOLES, DEALT, and LANE 1974. Continue on for a complete list with trailers and more info.
ASSHOLES
Narrative Feature, World Premiere, 2017
Website | Trailer
However gross you think this film is…double it. Then multiply that by 1000. Then go see it.
In Theaters October 6
DVD October 26
BABY DRIVER
Narrative Feature, World Premiere, 2017
Website | Trailer
The latest film from cult favorite Edgar Wright stars John Hamm, Kevin Spacey and rising star Ansel Elgort in a relentlessly gripping thriller with a killer soundtrack.
Now On Demand
Blu-ray/DVD October 10
BARRACUDA (screened at SXSW as LA BARRACUDA
Narrative Feature, World Premiere, 2017
Website | Trailer
Dark secrets and family trauma abound in this brooding Texas drama from Julia Halperin & Jason Cortlund.
In Theaters October 6
BILL NYE: SCIENCE GUY
Documentary Feature, World Premiere, 2017
Website | Trailer
One of America’s most beloved scientists takes us along for the ride on his journey to save the world.
In Theaters October 27
DEALT
Documentary Feature, World Premiere, 2017
Website | Trailer
The extraordinary story of one of the world’s greatest card magicians…who happens to be blind.
In Theaters October 20
I KNOW YOU FROM SOMEWHERE
Narrative Short, 2017
Website | Trailer
Andrew Fitzgerald’s film, now online, is a terrifying glimpse into the social media abyss. Enjoy!
Now Online
LANE 1974
Narrative Feature, World Premiere, 2017
Website | Trailer
It’s 1974. 13-year-old Lane lives on a beautiful Northern California commune, wild and free, until her mother, a rebel and iconoclast, alienates their small group from the security and safety of the community land. They begin moving from one unlikely situation to another, leaving normal life far behind. After a series of dangerous events, Lane must decide how to survive.
Now available on iTunes and On Demand
MAINELAND
Narrative Feature, World Premiere, 2017
Website | Trailer
Poignant and timely, Miao Wang’s follow up to Beijing Taxi is a nuanced portrait of a particular facet of the immigrant experience, as two Chinese teenagers grapple with life in the US educational system.
In Theaters October 4
M.F.A.
Narrative Feature, World Premiere, 2017
Website | Trailer
A brutal, uncompromisingly feminist update of the revenge thriller, feature a stunning lead performance from Francesca Eastwood.
In Theaters October 13
On Demand October 13
RAT FILM
Narrative Feature, 2017
Website | Trailer
Theo Anthony’s strange, visionary film maps out a bold new history of Baltimore using the humble rat as an exploratory vehicle.
In Theaters October 15
THE STRANGE ONES
Narrative Feature, World Premiere, 2017
Website
The long-awaited debut feature from Christopher Radcliff and Lauren Wolkstein is an enigmatic study of fraternal tension and the resonance of long-buried secrets.
In Theaters October 20
SYLVIO
Narrative Feature, World Premiere, 2017
Website | Trailer
Just an everyday tale of a small town gorilla in the midst of an existential crisis
In Theaters October 12
TRAGEDY GIRLS
Narrative Feature, World Premiere, 2017
Website | Trailer
Social media-induced ennui, and millennial aggression collide in this fearless, genre-flipping thrill ride that pulls no punches.
In Theaters October 20
UNREST
Documentary Feature, 2017
Website | Trailer
A deeply personal, startlingly raw, urgent investigation of the grossly misunderstood phenomenon of Chronic Fatigue Syndrome
On Demand October 10
WALKING OUT
Narrative Feature, World Premiere, 2017
Website | Trailer
A father/son bonding trip turns into a frost-bitten fight for survival in this rugged thriller, starring Matt Bomer and Josh Wiggins.
In Theaters October 6
THE WORK
Narrative Feature, World Premiere, 2017
Website | Trailer
A powerful examination of rehabilitation and masculine fragility that’s as compassionate is it is confrontational and emotionally hardcore. A truly unmissable film.
In Theaters October 20
The post SXSW Alumni Film Releases – October 2017 appeared first on SXSW.
Source: SxSW Film
October 6, 2017
Bring Your Podcast to SXSW 2018: Apply By Friday, October 20
Broadcast your podcast from SXSW 2018 in front of a live audience at the SXSW Podcast Stage. Applications are open now through Friday, October 20.
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 deadline on Friday, October 20 at 11:59pm PT.
2017 SXSW “My Wife Hates Me” Podcast Recording – Photo by Mindy Tucker
The post Bring Your Podcast to SXSW 2018: Apply By Friday, October 20 appeared first on SXSW.
Source: SxSW Film
October 4, 2017
Filmmaker In Focus: Whiskey Fist and Hot Dog Hands [Video]
Whiskey Fist and Hot Dog Hands screened in the 2017 SXSW Film Festival shorts program. While these titles are intrigue enough, take a closer look with our Q&A with the directors below. Be sure to take a few minutes to watch these quirky shorts, your day is bound to be more interesting if you do!
Whiskey Fist
Gillian Wallace Horvat is a Los Angeles-based filmmaker, writer, and film programmer. Her short Kiss Kiss Fingerbang won the Grand Jury Prize in the Midnighters category at the 2015 SXSW Film Festival. She also lends her voice talents to Hot Dog Hands.
Whiskey Fist from Gillian W Horvat on Vimeo.
Q: Tell us a little about your film?
GH: Whiskey Fist is a short film that uses absurd and vulgar comedy to probe the sensitive social sphincter holding back a much-needed dialogue on the obstacles to empathy between genders. It’s set in the world of “branding”, where our protagonist, Justin, is an intern. Young Justin seems in certain danger of assimilating his misogynistic environment and becoming a douchebag. But one night a mysterious blonde impregnates him with a bottle of high-end whiskey – magical realism ensues.
Q: What motivated you to tell this story?
GH: I can neither confirm nor deny that my assault on the advertising space was inspired by a contest held by an alcohol company that offered emerging filmmakers the chance to tell their stories by asking them to create a 7 page pitch that the company would own in perpetuity for no compensation. It sounded like a great opportunity, but I decided to make my own film instead.
Q: What do you want the audience to take away from this film?
GH: The only way to ensure equality between men and women is for both sexes to see one another as peers. Part of that is understanding biology, and the ethics and responsibilities that are concomitant. The majority of politicians at the state and federal level are still men. I feel in my heart that if they made the effort to empathize with the reality of female bodies they would make the right decisions about allowing women access to health care, supporting maternity leave, and legislating wage parity.
Hot Dog Hands
Matt Reynolds grew up just north of San Francisco. His animations have screened internationally at numerous film festivals. His short, Bottom Feeders, premiered at SXSW in 2015. In 2016, he received his MFA in Experimental Animation from CalArts. Reynolds also designed and animated our 2017 film festival bumpers.
Hot Dog Hands from Matt Reynolds on Vimeo.
Q: Tell us a little about your film?
MR: This was a bonkers idea for a cartoon about a woman who can’t stop growing fingers.
Q: What motivated you to tell this story?
MR: I think the most fun film projects are those that start from an absurd premise, and here I was trying to connect a woman growing fingers to an underground community of retired postal workers.
Q: What do you want the audience to take away from this film?
MR: Your weirder ideas are the better ones.
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. 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.
The post Filmmaker In Focus: Whiskey Fist and Hot Dog Hands [Video] appeared first on SXSW.
Source: SxSW Film
October 4, 2017
How to apply the “Dominating Attribute” visual principle
Profile
- Client: Swedish bank and one-click payment system Klarna.
- Agency: Nord DDB and directed by The Perlorian Brothers.
- Platform: Instagram.
- Backstory: As part of a larger campaign that started last year, and in support of Klarna’s new Website launch, Nord DDB repurposed this video clip on Instagram last month, and created a viral sensation (31k views, and 300 comments).
Why does it work?
- Brand attribute: The clip works because it takes one dominating feature and taking it to the extreme to demo the key value benefit of the product. In this case, how smooth payments can be using the service – and blow it up to the extreme by using a swimming “mermaid” Afghan dog. The same principle was successfully used in the famed Blendtec’s Will it Blend YouTube campaign.
- Emotion: The target emotion is a sheer surprise, coupled with pet always-high likability factor.
- Repurposing: Great illustration of how to recycle content from a longer commercial that was syndicated on TV to Instagram.
- Trigger caption: The Instagram caption is: When you’re swimming into the weekend like… #noworries is a great example of how to prime your audience to respond. And indeed, their audience completed the story in their heads with a ton of interpretative comments.
- Business objective: Speaking about the customer’s “Road of Trials,” this clip demonstrates how you can stage wow moments for your audience, at the top funnel to drive positive brand awareness leveraging Instagram.
- Relevancy to VSI Framework: Transform your meta-story into a mini visual story that matches your buyer’s stage in the journey and platform culture (Story Making > Story Visualizing > Story Telling in our framework). Klarna’s meta-story commitment to SMOOTH payments is effectively visualized to trigger emotional resonance and then story-told leveraging Instagram’s visual grammar.
Looking for a custom Visual Storytelling
workshop around your product?
Schedule a conversation
Source: Visual Storytelling
October 3, 2017
Final Call for SouthBites Trailer Park Applications
Hey, food trucks! The application deadline for SouthBites Trailer Park is fast approaching! If you want to bring your food truck and its fantastic fare to SXSW 2018, then you must apply by the deadline, October 15.
The SouthBites Trailer Park is always a hit with SXSW attendees. Last year, thousands of hungry conference- and festival-goers headed to the Trailer Park daily where 14 food trucks offered up a collection of cuisine that included tacos, fried chicken and waffles, lobster, empanadas, tamales, noodles, and more.
This year, the Trailer Park will expand to feature live performances by official Showcasing Artists at the first ever SouthBites Trailer Park Stage.
So don’t miss your chance to share your delicious food with thousands of attendees while being a part of SXSW 2018! To learn more about this opportunity and be considered for a spot on the lot, fill out the SouthBites Vendor Application Form.
Photo by Merrick Ales
The post Final Call for SouthBites Trailer Park Applications appeared first on SXSW.
Source: SxSW Film
October 2, 2017
Social media terms ‘jargon-busted’ for teens
<b>A set of jargon-busting guides that teach children about their rights on social media sites has been published.</b><p>Children’s Commissioner Anne Longfield said Facebook, Instagram, Snapchat, WhatsApp and YouTube had “not done enough” to clarify their policies.<p>She simplified the websites’ terms and …
Source: CW’s Flipboard Feed