August 3, 2017

Discover What’s Next: Spotlight on SXSW 2018 Video

Dive into our spotlight video on SXSW 2018 and begin gearing up for another memorable SXSW next March 9-18 in Austin, Texas – registration and housing are now open.

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 on the way.

Browse our first SXSW Conference announcement of the season including Keynotes Academy Award-winning writer and director Barry Jenkins (Moonlight, Medicine for Melancholy), psychotherapist and best-selling author Esther Perel, and technology entrepreneur and quantum computing expert whurley, plus Featured Speakers.

Learn how you can apply to participate in one of the many prestigious SXSW categories – Film Submissions, Showcase Applications, Interactive Innovation Awards, SXSW Accelerator Pitch Event, and more. Then help shape the March event during PanelPicker Community Voting from Monday, August 7 – Friday, August 25.

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 select SXSW Conference programming tracks and festivals that most interest you to discover which badge fits your needs.

Register before Friday, September 8 for the biggest savings of the season and book your hotel to get the best available housing rates and selections. Hint: Early birds catch the best SXSW rates and hotel locations – great downtown accommodations are still available for all SXSW dates.

Sign up for SXSW Event Updates and follow us on Twitter, Facebook, and Instagram to stay up-to-date on the latest SXSW happenings.

Register Now

Teaser photo by Phil Nacionales

The post Discover What’s Next: Spotlight on SXSW 2018 Video appeared first on SXSW.

Source: SxSW Film

August 3, 2017

How to Break into UX Design: Tips from Design Instructor Beth Koloski

For many aspiring UX designers, Beth Koloski has been the teacher and mentor that’s helped them turn their professional dreams into realities. She …
Source: CW’s Flipboard Feed

July 30, 2017

‘Dunkirk’ is Still #1 and ‘Girls Trip’ Holds, but the Top 10 Plummets

“Dunkirk” and “Girls Trip” held well their second weekends, taking first and third place in the top 10, but the full list totaled $138 million — down 29 percent from the same weekend last year. And while a second weekend at #1 is great news for Christopher Nolan’s war film, at $28 million it’s the lowest #1 of the summer — and below any #1 for last summer as well.

The top spot was there for the taking for “The Emoji Movie,” Sony Animation’s latest offering (at $50 million in budget, economical). But with audiences reacting like critics (its 10 Metacritic score near record bad), the attempt to bring phone emojis to life did have one rare achievement for a new animated film: It fell Saturday from Friday, down 14 percent.

Jonathan Prime/Focus Features

Had “Atomic Blonde” performed somewhat better than half as well as the similar female action hero “Lucy” on exactly the same date in 2014, it also could have taken #1. But it fell short at $18.5 million and only #4. At $30 million and potential worldwide interest, it could be OK — but not good enough to help rescue wilting results at U.S. theaters.

“Dunkirk” did the minimum it needed to stay on track for at least a $175 million domestic total. Worldwide, it is at $234 million with some big territories waiting to open and some stronger holds elsewhere. Still, among Nolan’s films and also compared to other war films, the 44 percent drop is not stellar, even if it is better than most second weeks for top openers.

Michele K. Short

It also pales when compared to “Girls Trip.” Its 36 percent fall is better than “Bad Moms” last year in its second weekend (and $6 million higher in gross). Earning $100 million now seems certain, with a real chance of topping the $113 million “Moms” surprised with last year. “Trip” cost $19 million to make.

“Baby Driver” (Sony) is also holding very well, now at $92 million and also guaranteed a $100 million total. And “Wonder Woman” (Warner Bros.) is down a tiny 23 percent to stay in the Top 10. It should hit $400 million by next weekend or right after.

 

The Top Ten

1. Dunkirk (Warner Bros.) – Week 2; Last weekend #1

$28,130,000 (-44%) in 3,748 theaters (+28); PTA (per theater average): $7,505; Cumulative: $02,836.000

2. The Emoji Movie (Sony) NEW – Cinemascore: B; Metacritic: 10; Est. budget: $50 million

$25,650,000 in 4,075 theaters; PTA: $6,294; Cumulative: $28,650,000

3. Girls Trip (Universal) – Week 2; Last weekend #2

$20,086,000 (-36%) in 2,648 theaters (+57); PTA: $7,585; Cumulative: $65,525,000

4. Atomic Blonde (Focus) NEW – Cinemascore: B+; Metacritic: 63; Est. budget: $30 million

$18,554,000 in 3,304 theaters; PTA: $5,616; Cumulative: $18,554,000

5. Spider-Man: Homecoming (Sony) – Week 4; Last weekend #3

$13,450,000 (-39%) in 3,625 theaters (-505); PTA: $3,710; Cumulative: $278,357,000

6. War for the Planet of the Apes (20th Century Fox) – Week 3; Last weekend #4

$10,375,000 (-50%) in 3,374 theaters (-726); PTA: $3,075; Cumulative: $118,688,000

7. Despicable Me 3 (Universal) – Week 5; Last weekend #6

$7,726,000 (-41%) in 3,030 theaters (-495); PTA: $2,550; Cumulative: $230,426,000

8. Valerian and the City of a Thousand Planets (STX) – Week 2; Last weekend #5

$6,800,000 (-60%) in 3,553 theaters (no change); PTA: $1,914; Cumulative: $30,626,000

9. Baby Driver (Sony) – Week 5; Last weekend #7

$4,050,000 (-33%) in 1,961 theaters (-542); PTA: $2,065; Cumulative: $92,046,0003,540,0

10. Wonder Woman (Warner Bros.) – Week 9; Last weekend #9

$3,540,000 (-23%) in 1,651 theaters (-320); PTA: $2,144; Cumulative: $395,444,000

Source: IndieWire film

July 30, 2017

TriCaster 8000 Automation

Source: CW’s Flipboard Feed

July 30, 2017

‘The Princess Diaries 3’ Might Happen ‘As a Tribute’ to Garry Marshall, Says Author Meg Cabot

Before she was Rachel Getting Married or Fantine, Anne Hathaway was Mia Thermopolis, Princess of Genovia. According to the author who wrote the books the two “Princess Diaries” books are based on, a return to that fictional kingdom may be the next chapter.

Meg Cabot, who’s written 14 books in the young-adult series, mentions the idea of making a third movie “kind of as a tribute” to director Garry Marshall, who passed away last year. “So, who knows? [It] could happen, as we say,” she tells Entertainment Weekly.

Cabot is “not allowed to say” what a new film might be about, however. “I would love to sit and talk about [it], but I can’t. I’m not allowed. But it’s really more following the movie than the books, so if she — the last version I read, she definitely did not find out that she has a biracial younger sister … which I personally would’ve thought was hilarious, but that was not the direction they were going.”

2001’s “The Princess Diaries” was followed three years later by “The Princess Diaries 2: Royal Engagement,” and the two films are credited with launching Hathaway’s career. Read Cabot’s full interview here.

Source: IndieWire film

July 30, 2017

Angelina Jolie Says the ‘First They Killed My Father’ Audition Game Was Just ‘A Pretend Exercise in Improvisation’

A strange, disturbing story recently circulated about Angelina Jolie’s upcoming drama “First They Killed My Father”: As part of the audition process, children from “orphanages, circuses and slum schools” were made to play a game that involved placing money in front of the kids and asking what they needed it for.

It was part of a Vanity Fair profile on the actress, director, and activist. But Jolie now refutes that detail in a statement provided to the Huffington Post.

“Every measure was taken to ensure the safety, comfort and well-being of the children on the film starting from the auditions through production to the present,” wrote Jolie, who most recently directed “By the Sea.” According to the Vanity Fair cover story in which the story first appeared, “the director would pretend to catch the child” who had just taken the money, “and the child would have to come up with a lie.” Many who read this were outraged.

“I am upset that a pretend exercise in an improvisation, from an actual scene in the film, has been written about as if it was a real scenario,” Jolie added. “The suggestion that real money was taken from a child during an audition is false and upsetting. I would be outraged myself if this had happened.”

“First They Killed My Father” is slated for a Netflix release.

Source: IndieWire film

July 30, 2017

‘Detroit’ Tops Limited Openers, Along With ‘Inconvenient Sequel’ and ‘Menashe’

It’s a strong group of limited releases for a July weekend: Kathryn Bigelow’s “Detroit,” “An Inconvenient Sequel: Truth to Power,” and the Yiddish-language “Menashe” all performed well, as did Sony Pictures Classics’ “Bigsby Bear.”

Opening

Detroit (Annapurna) – Metacritic: 86

$365,455 in 20 theaters; PTA (per theater average): $18,273

Kathryn Bigelow’s first film since “Zero Dark Thirty” is the first released by Megan Ellison’s production company through its own distributor. With reviews nearly as strong as “Zero” and “The Hurt Locker” but shifting to the home front in this recounting of the Detroit riots exactly 50 years ago, this opened in 10 markets ahead of its wide release this Friday. This is a tough subject, however well received, and Annapurna and its team has a challenge opening this outside of the festival/awards season and finding a wide swath of African-American and other upscale audiences.

Figures at the four core New York/Los Angeles theaters that normally play platform runs came in with a per-theater average of around $30,000, though that’s far below “Zero” and somewhat less than the summer time release of “Locker.” What is notable initially is that two of its three best grosses were Detroit theaters that otherwise would never be part of a limited opening, and that these and similar African-American oriented locations had decent Saturday increases over Friday. (Taking out the Thursday preview showings, Saturday was a credible 28 percent over Friday).

This remains a risky release, more so without the awards-environment trappings to propel it. Next weekend will tell the real story of its potential.

What comes next: Around 2,800 theaters will show this starting Friday.

Courtesy of Sundance

An Inconvenient Sequel: Truth to Power (Paramount) – Metacritic: 67; Festivals include: Sundance, Cannes 2017

$130,000 in 4 theaters; PTA: $32,500

Davis Guggenheim’s “An Inconvenient Truth” in 2006 opened also in four theaters, to an adjusted initial PTA of around $95,000. The sequel, again with Al Gore placing the climate crisis front and center, had diminished returns, but strong enough to be way ahead of nearly all documentaries this year. Paramount along with Participant Media again are giving this the full weight of their support, which will be seen even more as it heads toward nationwide expansion this Friday.

What comes next: The 2006 initial effort got to over $30 million adjusted, one of the top documentaries ever along with two Oscar wins (including Best Song). This won’t have the same response, but it still should have a presence above most similar films ahead.

Menashe (A24) Metacritic: 81; Festivals include: Sundance, Berlin, New Directors/New Films 2017

$61,409 in 3 theaters; PTA: $20,470

One of the top grosses for a subtitled film in recent months, here it’s an American independent film in Yiddish and shot in Brooklyn. A custody battle dictated by orthodox religious norms is the story here, and though the audience initially looks niche, strong reviews and A24’s backing could propel this to higher results.

What comes next: National expansion starts Friday.

Brigsby Bear (Sony Pictures Classics) – Metacritic: 68; Festivals include: Sundance, Cannes, Seattle 2017

$45,060 in 3 theaters; PTA: $15,020

A 20-something man obsessed by a TV show from his youth and his re-entry into the world is the story for this Sundance-premiere film, which received favorable though not rave reviews in its prime theater openings in New York and Los Angeles. It will need word of mouth to sustain these runs, though it could be one of those specialized films that works better as it expands beyond coast cities.

What comes next: SPC will get this out to any possible theater that might be right for this.

 

Rumble: The Indians Who Rocked the World (Kino Lorber) – Metacritic: 74; Festivals include: Sundance, Hot Docs, Seattle 2017

$10,500 in 2 theaters; PTA: $5,250

One of two rock-related documentaries to open this week, this one focuses on the surprisingly strong presence of Native Americans (both from the U.S. and Canada) including Jimi Hendrix and Robbie Robertson.

What comes next: Dates in at least 40 markets are planned around the country ahead.

 

Turn It Around: The Story of East Bay Punk (Abramorama) – Metacritic: 65

$6,480 in 1 theater; PTA: $6,480

This Green Day-produced documentary about the niche San Francisco area punk scene played very limited shows at New York’s IFC Center, which makes this number stand out above the raw numbers.

What comes next: Similar event showings around the country begin this week.

 

Also available on Video on Demand:

Person to Person (Magnolia/Sundance 17) – $(est.) 18,000 in 3 theaters

Week Two

Landline (Magnolia)

$140,000 in 38 theaters (+34); PTA: $3,684; Cumulative: $140,000

The impact of an affair on a 1990s New York City family is the center of this Amazon-acquired Sundance film, which quickly expanded to adequate results in top markets.

The Midwife (Music Box)

$78,896 in 27 theaters (+24); PTA: $2,992; Cumulative: $112,571

Catherine Deneuve’s co-lead role in this French drama is propelling this to a credible showing for a subtitle film these days in its second weekend.

Ongoing/expanding (grosses over $50,000 in under 1,000 theaters)

A Ghost Story (A24) Week 4

$382,128 in 329 theaters (+286); Cumulative: $941,347

A major jump for David Lowery’s return to indie films with two big stars in Casey Affleck and Rooney Mara. Despite its pedigree and good reviews, this appears limited to niche interest.

Maudie (Sony Pictures Classics) Week 16

$350,934 in 228 theaters (-5); Cumulative: $4,670,000

U.S. gross nears $2 million for this Canadian/Irish co-production with Sally Hawkins as an oddball artist in a remote village.

Lady Macbeth (Roadside Attractions) Week 3

$179,307 in 104 theaters (+64); Cumulative: $467,273

A mediocre expansion for this drama of aristocratic 19th-century adultery.

The Little Hours (Gunpowder & Sky) Week 5

$125,334 in 96 theaters (-18); Cumulative: $1,201,000

The nuns continue their mixed-result run, with a drop from their gross last weekend.

The Beguiled (Focus) Week 6

$(est.) 100,000 in 144 theaters (-187); Cumulative: $(est.) 10,429,000

Sofia Coppola’s Southern Gothic remake is winding down, with  $11 million looking like its total.

Lost in Paris (Oscilloscope) Week 7

$57,000 in 41 theaters (-2); Cumulative: $329,348

Canadians out of their elements and the comic effects continue steady play in niche theaters.

The Hero (The Orchard) Week 8

$68,091 in 85 theaters (-106); Cumulative: $3,855,000

Also late in its run, Sam Elliott’s lead role as an actor facing mortality will end up at a credible $4 million.

Beatriz at Dinner (Roadside Attractions) Week 8

$59,840 in 68 theaters (-48); Cumulative: $6,833,000

Miguel Artesta’s cutting-edge drama with Salma Hayek and John Lithgow keeps playing after two months and nearly $7 million total.

Also noted:

Paris Can Wait (Sony Pictures Classics) – $32,613 in 44 theaters; Cumulative: $5,524,000

The Women’s Balcony (Menemsha) – $31,545 in 19 theaters; Cumulative: $1,032,000

City of Ghosts (IFC) – $14,520 in 19 theaters; Cumulative: $104,263

The B-Side (Neon) –  $7,270 in 7 theaters; Cumulative: $129,670

Source: IndieWire film