In America it is estimated that there will be an astonishing 25 million homes equipped with 3D TV screens by 2018. In a world where everything is on demand, I think that’s what makes movies special: Exactly because it’s harder is why it’s a more significant leisure choice.
It’s really hard to have both enormous volume and significant cultural impact. It’s not what the market was even two years ago. 5. Film Industry Network™ © 2020. – New York Women in Film & Television (NYWIFT) has announced honorees for the 20 anniversary of its Designing Women Awards, co-presented by Variety, on Tuesday, June 11 the first time at the prestigious Directors Guild of America Theater. Pressing issues facing the film industry in the next five years include the TV and film worlds converging on the same digital platforms, traditional funding models needing to evolve, and the challenges of achieving gender equality starting from today’s dismal statistics, according to the 2018 Nostradamus report, an annual future-facing study presented by the Goteborg Film Festival with support from Lindholmen Science Park. When you have a movie that’s as entertaining, well-made, and well-received as “Booksmart” not doing the business it should have [the teen comedy underperformed at the box office despite critics’ raves], it really makes you realize that the typical Darwinian fight to survive is completely lopsided now.
This is where a profit can be made.
A USC Annenberg Inclusion Initiative report released in the fall put it simply: Inclusion in Hollywood continues to proceed at “a very slow pace” and inconsistently. This Article is related to: Film and tagged Streaming, VFX. Up until the last two years or so, you – and many in the film industry – might have thought that CGI would be replacing practical effects in the special effects arena. The measure of success in this realm is straightforward: Studios should aim to make movies with casts and crews that better reflect society. Not overnight, but ignoring them and not finding solutions to make things work for the best, would be tragic. In the same way that social media approximates the experience of being in a community, I think the way we now watch these things — whether on our flat screens or laptops or phones — is also an approximation of what the original foundations of this medium always were.
All rights reserved. If you go see “Avengers” in the theater, it better be great, but if you’re just watching stuff at home, it doesn’t matter so much. That’s crazy! We’re not sure that the two-hour, closed-ended film is going to be the dominant narrative moving forward for this next generation. I challenge anyone to build a company around narratives and stories that are totally driven by the people they’ve historically been driven by, and expect to deliver better for their investors than a company who has a more representative portrayal of the world in which we live.
All Rights Reserved. ‘Independent Cinema’ is dead they argued. All I hear is how terrible the challenges facing independent filmmakers are. 3. Big studios are gobbling each other up as smaller movies struggle and even name-brand titles tank at the box office. – Roadside Attractions has acquired North American rights with Screen Media to Academy Award nominee William Nicholson’s emotionally powerful family drama “Hope Gap,” starring Academy Award nominee Annette Bening, Golden Globe winner Bill Nighy, and BAFTA winner Josh O’Connor. Sign up for our Email Newsletters here.
You’ve got so many options for viewing content that there has to be a need for you to leave your home. When it comes to original movies that stand on their own, “1917” director Sam Mendes suggested after his Golden Globe win that the onus is on filmmakers to make cultural moments that need to be seen in a theater — think explosions that need to be heard on surround sound and gorgeous cinematography that just can’t be done justice on a TV. Some of the most recent titles using practical effects include Star Wars: The Force Awakens, and Mad Max: Fury Road, and perhaps surprisingly much of the 2010 film Inception. If they watch half of my horror movie, I’m glad they watched half as opposed to not watching any of it! 8.
There a niches, and smaller audiences that want a different kind of content too. PR companies, distributors, actors, caterers, hotels, travel companies and so on will feel the knock-on effect. Opening Night on Monday, June 17 features the New York Premiere of “Adam,” a highly anticipated comedy from Emmy-nominated director Rhys Ernst that follows an awkward high schooler, Adam, who spends the summer of 2006 in New York City with his cool older sister, who is highly engaged in the queer activist scene. I do think [independent] movies will be distributed with limited theatrical or no theatrical at all. I’m a studio guy, and I love studio movies, but it’s harder to get a studio to invest in new voices because the stakes are higher. It’s going to bring to the top some very interesting creative talent who would not have had the opportunity to work in the system of old. I encourage female filmmakers to reach for bigger movies. Based on Nicholson’s acclaimed Tony Award-nominated play “The Retreat From Moscow,” the intimate, intense, and loving story of “Hope Gap” charts the life of a woman, shocked to learn her husband is leaving her for another after 29 years of marriage, and the ensuing emotional fallout the dissolution has on their only grown son, until she ultimately regains her footing, and discovers a new, powerful voice. We just have to find it.”, Cinemas have an important place in the “experience economy” but “cinemas cannot be responsible for the first run of all releases. What I wanted for that movie was for students and kids to see it, and they eventually saw it on TV, but they didn’t come to the movie theater to see “Whiplash.” The people who paid to see “Whiplash” were like me: too old. Few people know more filmmakers and screenwriters than Elliot Grove. Because Netflix are brilliant at colonizing the world, but they don’t have the marketing real estate in terms of being able to shape the national conversation.”. Add to the mix online platforms like Netflix and Amazon Prime and you have an entirely new distribution outlet. It’s an environment that led HBO to pick up TIFF breakout “Bad Education” for nearly $20 million and NBC paying $100 million per year for five years to stock its Peacock service with “The Office.”.
There is a privilege embedded in [a theatrical release] because I’ve had it, I’ve seen it and I know what it is: It’s a lot of ego. The notion that the Oscars should be limited to films that get an exclusive theatrical window is, to me, limiting the number of films that can be considered based on their artistic merit. On top of that, rapid currency fluctuations have played havoc with film producers’ cash flow forecasts. I grew up watching “Ghostbusters” and “Gremlins” and “Indiana Jones.” If I had grown up watching YouTube, I don’t know if I would like movies. Breaking Film Industry News — Awards, Acquisitions, Festival Buzz, Grants, and More, ‘Chicago 7’ Vs. the World: How Aaron Sorkin’s Awards-Friendly Epic Jolted a Strange Awards Season, NYFF Director Eugene Hernandez Explains the Rollercoaster Ride to Programming a Film Festival Without Theaters, How the Academy’s Inclusion Rules Speak to the Challenges Faced by the Film Industry, Introducing ‘Deep Dive’: Damon Lindelof and His Team Go Behind the Scenes of ‘Watchmen’, ‘Succession’: How Editing Helps Every Dinner Scene Come to Life — Deep Dive, Becoming Hooded Justice: The ‘Watchmen’ Craft Team Analyzes the Emotional, Pivotal Scene – Deep Dive, 39 Must-See New Movies to See This Fall Season, The Best Movies Eligible for the 2021 Oscars Right Now, Jessie Buckley Won’t Explain ‘Ending Things,’ but She Will Reveal What Terrified Her Most, Costume Designer Michele Clapton (“Game of Thrones,” “The Crown”), Hair Stylist Shunika Terry (“Atlanta,” “House of Cards,” “First Wives Club” “Shaft”), Makeup Artist Riccie Johnson (makeup artist for “60 Minutes” entire 50-year run). Designing Women celebrates the alchemy of design, character, and story by honoring distinguished costume designers, makeup artists and hair stylists in moving image media, and is attended by designers, actors, producers, directors, writers, and fashion industry leaders. Otherwise, as the famous saying goes, it can take minutes to ruin a reputation which has taken a lifetime to build. I thought, “Oh, it’ll absolutely be a huge attractor for a young, diverse, relevant audience that we’re not servicing regularly.” And in fact, it was.
There should be no instance where anyone working in film is being treated badly or bullied and feels that they can't do anything about it. I don’t feel particularly optimistic about the traditional theatrical experience, especially for independent films. Netflix is already thinking about how it can mirror blockbuster theatrical paydays by offering bonuses for films that win awards or pull in a large number of viewers, a move that could help set the standard for how talent is compensated in this new era. Are you satisfied with the way things are right now? But a lot of the innovation and daring crazy ideas come from the small to medium-sized cinema operators — the Alamo Drafthouse, the iPics, the Everyman Cinemas, Bio Rio in Stockholm. 4 Big Problems the Film Industry Needs to Fix Immediately — CinemaCon 2017.
Why not come to the Raindance Film Festival? Is it supposed to be on television or the movie theater?
People are scared to come forward, don't know how to deal with these problems or are too afraid to stand up to abusive practices. Inspired by the 80s ball scene in New York City, this electrifying documentary celebrates the personal and political stories behind the thriving Northern Vogue ball scene in Manchester, UK. You look at comedy especially, and it’s been pretty tough going at the box office for the last couple years. For a long time, people have been saying the business is changing, but that’s undeniable now. People actually like this stuff that the studios stopped giving them, and the streamers picked up the slack. That social aspect of sharing a movie with friends and strangers and family, that’s such a strong part of our tradition. NYTimes.com no longer supports Internet Explorer 9 or earlier. While these milestones mark success for powerhouses Disney and Netflix, dig beneath the surface and you’ll find plenty of questions about what they mean for the future health of the film industry.
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