August 5, 2018

Boots Riley Says ‘Sorry to Bother You’ Isn’t Playing Abroad Because Distributors Think ‘Black’ Movies Don’t Perform Well

“Sorry to Bother You” has had a strong showing at the domestic box office, earning nearly $15 million in its first month of release despite never playing in more than 1,050 theaters. In spite of that, Boots Riley’s out-there directorial debut — which stars Lakeith Stanfield and Tessa Thompson and premiered at Sundance earlier this year — has yet to play in theaters abroad. Riley thinks he knows why: There’s a stigma against “black” movies, which distributors don’t believe will perform well internationally.

“Even tho we’r outperforming a gang of other movies, distributors r claiming ‘Black movies’ dont do well internationally and r treating it as such,” he tweeted. “There’r films that bombed here, that theyr distributing. Let em know wsup.” The film follows a black telemarketer (Stanfield) who adopts a white-sounding voice during calls in order to be more successful; it only gets stranger from there, veering into sci-fi surrealism as it explores race relations and other far-flung subjects.

Meanwhile, “Black Panther” — which some might likewise pigeonhole as a “black” movie — is among the most successful films of the year, earning more than $1.3 billion worldwide.

re: the international distribution of #SorryToBotherYou :

Even tho we’r outperforming a gang of other movies, distributors r claiming “Black movies” dont do well internationally and r treating it as such. There’r films that bombed here, that theyr distributing. Let em know wsup

— Boots Riley (@BootsRiley) August 4, 2018

Source: IndieWire film

August 5, 2018

Kurt Russell Defends James Gunn: ‘I Think We’re Getting a Little Too Sensitive’

After the entire main cast of “Guardians of the Galaxy” signed a letter in support of James Gunn, who was fired from the franchise by Disney after offensive tweets from years past resurfaced, Kurt Russell has added his voice to the chorus. Russell, who had a supporting role in “Guardians of the Galaxy Vol. 2,” said last night that he thinks “we’re getting a little too sensitive” and that he hopes Gunn is forgiven.

“It’s sad. But it’s a part of our fabric now and I get it,” Russell told Variety. “But I do think we’re getting a little too sensitive on maybe some of the wrong people.”

“You have to realize that when you are in that world as a comedian, a writer, whatever you’re always stretching the boundaries and trying to find something which lead him to something that the world loves, which is ‘Guardians of the Galaxy,’” Russell added. “He has a wonderful heart and a wonderful mind. I hope he is forgiven.”

“Guardians” star Dave Bautista was among the first to go on the record in support of Gunn, even before he and his fellow cast mates wrote their letter; in addition, Selma Blair has quit Twitter in solidarity with the filmmaker and a petition was launched calling on Disney to rehire him. In spite of that, it was reported earlier this week that Gunn’s ouster is likely permanent.

Source: IndieWire film

August 3, 2018

How to find your TRUE narrative

Source: Visual Storytelling

August 3, 2018

Understanding the Opacity Blend Modes in Adobe Premiere Pro

Opacity blend modes are among the most mysterious features in Adobe Premiere Pro CC. So, what do they actually do, and why are they in those groups?
Source: CW’s Flipboard Feed

August 1, 2018

Guide to Submitting a Virtual Cinema Project

Virtual reality, augmented reality, and mixed reality technologies are finding new ways to enhance our ability to perceive the world that surrounds us, and in many instances they are redefining how we experience the world. The projects presented at the Virtual Cinema emphasize storytelling, ingenuity and also showcase how other industries are embracing this new medium.

The SXSW Film Early Submission Deadline is on August 23. Before you submit to the SXSW Film Festival, be sure to take a look at our guidelines below to ensure your Virtual Cinema project is eligible for SXSW and check out the Film Submissions page for deadlines and fees.

Virtual Cinema Submission Guidelines

• SXSW requires that all VR/MR/AR projects submit a link to a 360 version of your project, or a 2D playthrough, at the time of submission.

• You may also include a link to a downloadable build of your project.

• If you change your submission’s link or any of your login information prior to March 2019 without contacting SXSW, your project may become ineligible for consideration.

• If your project HAS NOT screened in Austin, Texas you are eligible to submit to SXSW. For more information about premiere status and eligibility click here.

• Your project must have been completed in 2017, 2018 or be on track for completion in early 2019.

• For specific questions about submitting to Virtual Cinema, look no further than our Film Submissions FAQ. Still have questions? Don’t hesitate to email filmfest@sxsw.com.

• Once you have submitted, you will receive a confirmation email from SXSW within 48 hours. This email will confirm that your film has been submitted correctly. If you do not receive this email within 48 hours, you should follow up by email (filmfest@sxsw.com) to ensure your film has been submitted properly and is under consideration.

• All applicants will be informed of the status of their project no later than Friday, February 8, 2019.

Submit Your Virtual Cinema Project

Join Us in March 2019

We are open for business! Registration and housing are now available for SXSW 2019. A Film Badge gets you primary access to all SXSW Film events including world premieres, roundtables, workshops, and parties. Film registrants also have primary access to Convergence events including the Comedy Festival and nine unique conference tracks, as well as secondary access to most Interactive and Music events.

Follow us on Facebook, Twitter, Instagram, and SXSW News for the latest SXSW coverage.

See you in March!

Virtual Cinema – Photo by Steven Snow

The post Guide to Submitting a Virtual Cinema Project appeared first on SXSW.

Source: SxSW Film

July 29, 2018

‘Mission: Impossible: Fallout’ Didn’t Break Any Records — and That’s OK

With $61.5 million, “Mission: Impossible – Fallout”  easily took top position this weekend. The sixth entry in the “Mission: Impossible” series performed on a level consistent with past efforts; adjusted to 2018 ticket prices, it ranks fifth of the five titles released wide initially, slightly below “Rogue Nation.” (“Ghost Protocol” had an IMAX-only initial release).

This is repeat of the successful “Oceans 8” a few weeks ago, when unadjusted opening grosses put it ahead of earlier “Oceans” films. It was a distraction to the real story of a female reboot performing well. Similarly, the opening number here doesn’t need the claim of best in series to be called a hit.

Whatever its relative placement among the “Mission” films (or its lead Tom Cruise – adjusted #7 among his films over his long career), it’s a reasonable start. And its $92 million international initial result (with most of the rest of the world yet to open) suggests this could be a $600 million+ worldwide performer on par with “Rogue Nation.”

That’s vital for Paramount, which backed the $178 million production, by far the most important in its limited stable. And also for Cruise, who remains vital and a major draw for these films even if his star is fading otherwise (see: “American Made” and “The Mummy”).

What remains to be seen is whether this — the best reviewed in the series, ranking near the top of any studio release this year in terms of critical response — will have the same strong 3.5 multiple as “Rogue Nation.”

That would get this to $210 million, which is about James Bond series did last time out. “Spectre” grossed $213 million adjusted; though bigger worldwide, “Mission” looks about the same in domestic returns, with somewhat lower budgets and a less iconic reputation. The A Cinemascore is the best in franchise history, suggesting strong word of mouth.

“Teen Titans Go! To the Movies”

The second new wide release was the animated “Teen Titans Go! To the Movies.” This low-budget animated title, which originated on the Cartoon Network, had a routine $10.5 million start, with a long life ahead past its theatrical play.

Total grosses for the weekend came in around $155 million, up from $144 million last year. Sequels and franchise titles comprised about 84 percent of the total, down from last weekend’s possible record of 88 percent. Year to date is up just over eight percent, a drop from the 10 percent improvement when the month began.

Universal

The case for sequels took a hit with drops for last week’s top two entries. “Mamma Mia! Here We Go Again” dropped 57 percent; the original only fell 36 percent, and held its declines to under 40 percent for its first nine weeks on the way to a more than five-times multiple. This time around, it looks to end up just under three times (around $100 million). Several large territories remain to open, so $250 million additional worldwide should put this medium-budget film into profit, but not enough to suggest more “Mamma Mia” ahead.

Denzel Washington’s surprisingly strong “The Equalizer 2” apears badly hurt by the male-audience dominated “Fallout.” Its 61 percent drop is far more than the 45 percent seen for the 2014 original, and suggests it will gross around $90 million. Most of the world has yet to open, but this will need to have at least an equal gross overseas to break even.

At just under 40 percent decreases, the two biggest hits on the list fell the least of all titles. “Incredibles 2” continues its drive to $600 million, while “Jurassic Park: Fallen Kingdom” is just under $400 million. Combined, they will score over $1 billion worldwide, with “Jurassic” ahead by over $200 million. Both evidence, of course, for continued reliance on franchise and sequels.

The Top Ten

1. Mission: Impossible – Fallout (Paramount) NEW – Cinemascore: A; Metacritic: 86; Est. budget: $180 million

$61,500,000 in 4,386 theaters; PTA (per theater average): $14,022; Cumulative: $61,500,000

2. Mamma Mia! Here We Go Again (Universal) Week 2; Last weekend #2

$15,000,000 (-57%) in 3,514 theaters (+197); PTA: $4,269; Cumulative: $70,426,000

3. The Equalizer 2 (Sony) Week 2; Last weekend #1

$14,000,000 (-61%) in 3,388 theaters (no change); PTA: $4,132; Cumulative: $64,231,000

4. Hotel Transylvania 3: Summer Vacation (Sony) Week 3; Last weekend #3

$12,305,000 (-48%) in 4,005 theaters (-262); PTA: $; Cumulative: $

5. Teen Titans Go! To the Movies (Warner Bros.) NEW – Cinemascore: B-; Metacritic: 70; Est. budget: $10 million

$10,510,000 in 3,188 theaters; PTA: $3,297; Cumulative: $10,510,000

6. Ant-Man and the Wasp (Disney) Week 4; Last weekend #4

$8,400,000 (-49%) in 3,013 theaters (765); PTA: $2,788; Cumulative: $183,124,000

7. The Incredibles 2 (Disney) Week 7; Last weekend #5

$7,157,000 (-40%) in 2,616 theaters (-548); PTA: $2,736; Cumulative: $572,781,000

8. Jurassic World: Fallen Kingdom (Universal) Week 6; Last weekend #7

$6,775,000 (-%) in 2,685 theaters (-696); PTA: $2,523; Cumulative: $397,556,000

9. Skyscraper (Lionsgate) Week 3; Last weekend #6

$5,400,000 (-52%) in 2,773 theaters (-1,049); PTA: $1,947; Cumulative: $59,153,000

10. The First Purge (Universal) Week 4; Last weekend #8

$2,230,000 (-56%) in 1,400 theaters (-931); PTA: $1,593; Cumulative: $65,486,000

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Source: IndieWire film

July 29, 2018

Lynda Carter, the Original Wonder Woman, Tweets Support of Les Moonves: ‘I Believe Him’

Les Moonves has been accused of sexual misconduct by six women who shared their stories in an extensive New Yorker article, but not everyone believes the accusations. Lynda Carter, who played Wonder Woman on the TV series of the same name from 1975–79, tweeted her support of the CBS President and CEO: “Les Moonves is a close friend. I’ve known him for 40 years,” she wrote. “He is a kind, decent and honorable man. I believe him and I believe in him.”

Among Moonves’ accusers is actress Illeana Douglas, who claims that he forcibly kissed her and held her down during pre-production of a TV pilot in 1997; “it has stayed with me the rest of my life, that terror,” she told Ronan Farrow. “What happened to me was a sexual assault, and then I was fired for not participating,” Douglas added.

Carter isn’t the only one who’s come to Moonves’ defense, as Sharon Osbourne is also skeptical of the allegations (“interesting timing, seems like an attempt to discredit Leslie before a major court case. I hope people don’t rush to judgement,” she tweeted) and his wife Julie Chen wrote in a statement, “I fully support my husband and stand behind him and his statement.”

In response to Farrow’s article, Moonves released a statement of his own:

“Throughout my time at CBS, we have promoted a culture of respect and opportunity for all employees, and have consistently found success elevating women to top executive positions across our company. I recognize that there were times decades ago when I may have made some women uncomfortable by making advances. Those were mistakes, and I regret them immensely. But I always understood and respected—and abided by the principle—that ‘no’ means ‘no,’ and I have never misused my position to harm or hinder anyone’s career. This is a time when we all are appropriately focused on how we help improve our society, and we at CBS are committed to being part of the solution.”

CBS is investigating the claims against him.

Les Moonves is a close friend. I’ve known him for 40 years. He is a kind, decent and honorable man. I believe him and I believe in him.

— Lynda Carter (@RealLyndaCarter) July 28, 2018

Source: IndieWire film