Stop the presses! The latest Sundance Film Festival contained few late-night, seven-figure sales for potentially commercial movies. Clearly, something disastrous has happened to the movie industry when major companies avoided making huge business decisions within the confines of a hectic and snowy 10-day window. At least, that’s the popular narrative that a slow Sundance market tends to invite, and it’s an industry perception as a whole. As consumer habits and delivery methods continue to evolve, and the culture undergoes radical shifts in the stories it tells, both the market and the movies are moving in a million directions at once.
See More:Sundance 2018: A Slow Marketplace For Commercial Movies is Good News for a Festival Overwhelmed By Hype
There are countless reasons why only a handful of big sales happened at Sundance this year. Netflix, which closed out the 2017 edition by spending a jarring $12.5 million on “Mudbound,” faces...
See More:Sundance 2018: A Slow Marketplace For Commercial Movies is Good News for a Festival Overwhelmed By Hype
There are countless reasons why only a handful of big sales happened at Sundance this year. Netflix, which closed out the 2017 edition by spending a jarring $12.5 million on “Mudbound,” faces...
- 1/27/2018
- by Eric Kohn
- Indiewire
‘The King’ Helmer Eugene Jarecki On How The Story Of Elvis Is The Story Of America – Sundance Studio
“Elvis like America was young once and beautifully flawed like anybody but Elvis had his majesty when he landed on the world stage just as America had her majesty,” said director Eugene Jarecki during his turn at Deadline’s Sundance Studio to speak on his documentary film, The King. “This is a movie very much about America. It’s a movie about the role that Elvis played in changes in the American story that have happened in the last hundred years. The way in which his life…...
- 1/26/2018
- Deadline
Busy as always, Steven Soderbergh currently has the limited series “Mosaic” airing on HBO, and is gearing up for the Berlin International Film Festival premiere of “Unsane” followed by its theatrical release this spring. But the filmmaker is also a producer on the Elvis Presley documentary “The King,” directed by Eugene Jarecki, which premiered at the Sundance Film Festival, and he swung through Park City and spent some time with Indiewire chatting up a whole variety of subjects.
Continue reading Steven Soderbergh Says He’s Done Directing Studio Movies, Praises Shooting On iPhones & Deals With Netflix at The Playlist.
Continue reading Steven Soderbergh Says He’s Done Directing Studio Movies, Praises Shooting On iPhones & Deals With Netflix at The Playlist.
- 1/26/2018
- by Kevin Jagernauth
- The Playlist
A year ago, Steven Soderbergh was putting the finishing touches on “Logan Lucky,” but had yet to reemerge publicly from his four-year filmmaking retirement. Now, with two seasons of “The Knick” behind him, he’s returned from the television arena with a whole new ethos about making movies. A few weeks before premiering his new thriller “Unsane” at the Berlin International Film Festival, he surfaced at Sundance, the festival that put him on the map 28 years ago with “sex, lies and videotape,” keeping a lower profile.
See More:Steven Soderbergh Is Worried About #MeToo Backlash, Fears Men Will ‘Stop Hiring Women’
As an executive producer on documentarian Eugene Jarecki’s “The King,” a complex look at the legacy of Elvis Presley and its reverberations in American culture, Soderbergh helped suss out a plan to release the movie with a slow theatrical rollout orchestrated by Oscilloscope Laboratories. Working with the boutique New...
See More:Steven Soderbergh Is Worried About #MeToo Backlash, Fears Men Will ‘Stop Hiring Women’
As an executive producer on documentarian Eugene Jarecki’s “The King,” a complex look at the legacy of Elvis Presley and its reverberations in American culture, Soderbergh helped suss out a plan to release the movie with a slow theatrical rollout orchestrated by Oscilloscope Laboratories. Working with the boutique New...
- 1/26/2018
- by Eric Kohn
- Indiewire
The 10-day-long Sundance Film Festival — the first major fest on every cinephile’s calendar — begins this afternoon in the Utah mountains. Last year’s slate produced current Oscar hopefuls “Call Me by Your Name,” “Get Out,” “Mudbound,” and “The Big Sick,” the latter being two of the biggest buys witnessed at the festival, garnering a respective $12.5 million from Netflix and $12 million from Amazon Studios.
Distributors are descending on Park City, Salt Lake City, and Sundance in search of their successors, hoping not to repeat last year’s blunder by Fox Searchlight, which paid $9.5 million for “Patti Cake$,” a film that reaped only $800,000 domestically.
Here’s our constantly-updated compendium of every 2018 Sundance acquisition.
Read More:Top 20 Acquisition Titles of the 2018 Sundance Film Festival Star Keira Knightley, Ethan Hawke, and More
Title: “Seeing Allred”
Buyer: Netflix
Section: U.S. Documentary Competition“I feel fortunate that ‘Seeing Allred’ captures my passion and battle for...
Distributors are descending on Park City, Salt Lake City, and Sundance in search of their successors, hoping not to repeat last year’s blunder by Fox Searchlight, which paid $9.5 million for “Patti Cake$,” a film that reaped only $800,000 domestically.
Here’s our constantly-updated compendium of every 2018 Sundance acquisition.
Read More:Top 20 Acquisition Titles of the 2018 Sundance Film Festival Star Keira Knightley, Ethan Hawke, and More
Title: “Seeing Allred”
Buyer: Netflix
Section: U.S. Documentary Competition“I feel fortunate that ‘Seeing Allred’ captures my passion and battle for...
- 1/18/2018
- by Jenna Marotta
- Indiewire
Early version premiered in official selection in Cannes last summer.
Source: Oscilloscope
In a preemptive acquisition, Oscilloscope has picked up North American theatrical rights to Eugene Jarecki’s The King ahead of its Sundance premiere on January 25.
Executive Producer Steven Soderbergh will join Jarecki in Park City to discuss the Us-Germany-France co-production, which the distributor will release this year after an early version premiered in official selection in Cannes last summer.
Forty-one years after the death of Elvis Presley, The King sees Jarecki take the entertainer’s 1963 Rolls-Royce on a musical road trip across America, from Memphis to New York to Las Vegas.
Alec Baldwin, Rosanne Cash, Chuck D, Emmylou Harris, Ethan Hawke, Van Jones, Mike Myers, and Dan Rather, are among featured celebrities.
“We are thrilled to be working with Oscilloscope,” Jarecki said. “This is a time for real soul-searching in America. We’ve got to change the national conversation from the noise of the Trump news...
Source: Oscilloscope
In a preemptive acquisition, Oscilloscope has picked up North American theatrical rights to Eugene Jarecki’s The King ahead of its Sundance premiere on January 25.
Executive Producer Steven Soderbergh will join Jarecki in Park City to discuss the Us-Germany-France co-production, which the distributor will release this year after an early version premiered in official selection in Cannes last summer.
Forty-one years after the death of Elvis Presley, The King sees Jarecki take the entertainer’s 1963 Rolls-Royce on a musical road trip across America, from Memphis to New York to Las Vegas.
Alec Baldwin, Rosanne Cash, Chuck D, Emmylou Harris, Ethan Hawke, Van Jones, Mike Myers, and Dan Rather, are among featured celebrities.
“We are thrilled to be working with Oscilloscope,” Jarecki said. “This is a time for real soul-searching in America. We’ve got to change the national conversation from the noise of the Trump news...
- 1/17/2018
- by Jeremy Kay
- ScreenDaily
Susan Bernecker, mother of stuntman John Bernecker, who died last July during a high-fall accident on the set of “The Walking Dead,” is calling out the unsafe set conditions in Hollywood that led to her son’s death. “People are afraid to speak out because they’re afraid they’ll never work again or that they’ll be looked down upon,” said Bernecker in an interview with Deadline. Comparing the culture of silence around safety issues to the “open secret” of sexual misconduct, she said: “If you take out the word ‘sex’ and put in ‘safety,’ it’s the same thing.”
Read More:‘The Walking Dead’ Stuntman Dies From Head Injury After On Set Accident
Worse, she added, is that stunt women are doubly affected: “Stunt women have told me about being put in sexual harassment positions to get a job. I had two girls tell me about that in the last year.
Read More:‘The Walking Dead’ Stuntman Dies From Head Injury After On Set Accident
Worse, she added, is that stunt women are doubly affected: “Stunt women have told me about being put in sexual harassment positions to get a job. I had two girls tell me about that in the last year.
- 1/9/2018
- by Jude Dry
- Indiewire
Music makes such a huge difference when it comes to enjoying TV’s top shows, on a level that goes well beyond a theme song. Great composers create an aural language that’s as tangible and essential as the actors or sets on screen, aided by music supervisors who discover undiscovered tracks as well as essential classic gems —without which the show’s most powerful moments would have no impact.
Even the Television Academy agrees: For this first time, this year the Emmy Awards handed out a prize for outstanding music supervision. Susan Jacobs won the award for the “Big Little Lies” episode “You Get What You Need.”
There were so many shows that changed the way music was used on television this year — whether it was Tom Petty’s “American Girl” becoming a shout of protest, an obscure Elvis Presley cover becoming one of our favorite tunes of the year,...
Even the Television Academy agrees: For this first time, this year the Emmy Awards handed out a prize for outstanding music supervision. Susan Jacobs won the award for the “Big Little Lies” episode “You Get What You Need.”
There were so many shows that changed the way music was used on television this year — whether it was Tom Petty’s “American Girl” becoming a shout of protest, an obscure Elvis Presley cover becoming one of our favorite tunes of the year,...
- 12/27/2017
- by Hanh Nguyen, Steve Greene and Liz Shannon Miller
- Indiewire
According to the Korean Film Council (Kofic), this is the highest box office South Korea achieved among the first half in years.
Yoo Hae-jin and Hyun Bin in Confidential Assignment (2017) (Source: Hancinema.net)
The report stated that there were 97.29 million admissions, which resulted in a all-time high ticket sales of Usd 704.5 million. The number of viewers increased by 2.66 million for a growth of 2.8% from the same time last year, whilst the box office grew 3.4% with an increase of Usd 23.3 million. However, local films only took 41.62 million admissions, witnessed a decrease of 2.2 million (down 5%).
In comparison to last year, domestic films held a 42.8% market share, which was 3.5% less. On the other hand, foreign movies attracted 55.6 million viewers, increased by 4.86 million (up 9.6%) from first half of 2016. Us titles accounted for 48.8% of admissions, while European took 2% and Chinese took 0.2%. Meanwhile, Japanese films’ share surprisingly jumped 86% to take 5.2% of market share, mainly thanks to...
Yoo Hae-jin and Hyun Bin in Confidential Assignment (2017) (Source: Hancinema.net)
The report stated that there were 97.29 million admissions, which resulted in a all-time high ticket sales of Usd 704.5 million. The number of viewers increased by 2.66 million for a growth of 2.8% from the same time last year, whilst the box office grew 3.4% with an increase of Usd 23.3 million. However, local films only took 41.62 million admissions, witnessed a decrease of 2.2 million (down 5%).
In comparison to last year, domestic films held a 42.8% market share, which was 3.5% less. On the other hand, foreign movies attracted 55.6 million viewers, increased by 4.86 million (up 9.6%) from first half of 2016. Us titles accounted for 48.8% of admissions, while European took 2% and Chinese took 0.2%. Meanwhile, Japanese films’ share surprisingly jumped 86% to take 5.2% of market share, mainly thanks to...
- 8/5/2017
- by Quynh Nguyen
- AsianMoviePulse
The London Korean Film Festival (Lkff) continues its countdown to the main festival in October with the European Premiere of one of the year’s most anticipated Korean films, Jang Hoon’s A Taxi Driver. As part of the teaser screenings for the 2017 edition, the film will be shown at Picturehouse Central on Monday, August 14, less than two weeks after its international release. A follow-up screening is scheduled for Arts Picturehouse Cambridge on Monday, August 21.
Song Kang-ho in A Taxi Driver (2017) (Source: Lkff 2017)
Starring Song Kang-ho (The Age of Shadows, The Host) in the titular role, the film is based on true events and is set during the volatile incidents of 1980, a year after South Korea’s authoritarian president’s assassination and the subsequent military coup d’état.
Man-seob, a taxi driver struggling to raise his daughter on his meager earnings, agrees to take a German journalist (Thomas Kretschmann, Avengers: Age of Ultron...
Song Kang-ho in A Taxi Driver (2017) (Source: Lkff 2017)
Starring Song Kang-ho (The Age of Shadows, The Host) in the titular role, the film is based on true events and is set during the volatile incidents of 1980, a year after South Korea’s authoritarian president’s assassination and the subsequent military coup d’état.
Man-seob, a taxi driver struggling to raise his daughter on his meager earnings, agrees to take a German journalist (Thomas Kretschmann, Avengers: Age of Ultron...
- 7/25/2017
- by Arnav Sinha
- AsianMoviePulse
The London Korean Film Festival (Lkff) continues the countdown to its 12th edition, scheduled for autumn 2017, with the UK premiere of Lee Soo-youn’s psychological thriller Bluebeard on the 10th of July.
Cho Jin-woong in Bluebeard (Source: London Korean Film Festival)
Bluebeard upholds the rich tradition of gripping thrillers from Korean cinema, while offering a new perspective on narratives featuring psychopaths, with a progressively unreliable narrator.
Trailer
The film features Cho Jin-woong as the neurotic doctor Seung-hoon, who suspects that his patient (Shin Goo) and the patient’s son (Kim Dae-myung), living downstairs in a butcher shop, are involved in a string of unsolved murders in the city. A trail of gruesome hints keeps the truth just out of reach as the director uses the claustrophobic environs of the city and the increasing paranoia of the doctor to crank up the tension, reaching a shocking finale.
Cho Jin-woong and Kim...
Cho Jin-woong in Bluebeard (Source: London Korean Film Festival)
Bluebeard upholds the rich tradition of gripping thrillers from Korean cinema, while offering a new perspective on narratives featuring psychopaths, with a progressively unreliable narrator.
Trailer
The film features Cho Jin-woong as the neurotic doctor Seung-hoon, who suspects that his patient (Shin Goo) and the patient’s son (Kim Dae-myung), living downstairs in a butcher shop, are involved in a string of unsolved murders in the city. A trail of gruesome hints keeps the truth just out of reach as the director uses the claustrophobic environs of the city and the increasing paranoia of the doctor to crank up the tension, reaching a shocking finale.
Cho Jin-woong and Kim...
- 6/20/2017
- by Arnav Sinha
- AsianMoviePulse
Coming in the midst of an unprecedented political scandal and benefitting from a prime Lunar New Year holiday release date, prosecutor drama The King aims to be the first Korean hit of the year. A glossily entertaining saga with big stars, timely corruption themes and a boatload of Scorsese references, this fourth film from director Han Jae-rim aims for greatness until a finale that ultimately buckles under the weight of its own political ambitions. Returning for his first film role since A Frozen Flower in 2008, Cho In-sung plays Tae-soo, a handsome country lad who rises to the top of his school ecosystem by way of his fists until he realizes that those with the brains will eventually end up with the real power. Tae-soo...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 1/26/2017
- Screen Anarchy
The world of Korean cinema saw one of it’s strongest recent years in 2016. Some of the most influential and renowned directors made a comeback with exceptionally strong work; this list includes: Park Chan-wook with his film, “The Handmaiden,” and the very popular Kim Jee-woon, who came out with “The Age of Shadows.” Hollywood was also a major proponent in the overall strength in the 2016 Korean box office results. Films like, “The Age of Shadows,” and “The Wailing,” both had strong backing from Hollywood, which boosted their national, and international, excitement.
The list of upcoming 2017 films looks just as strong:
“Battleship Island”
One of the first to look out for, and potentially may be one of the biggest blockbusters in 2017, is the star-studded “Battleship Island.” “Battleship Island” casts, Hwang Jung-min, Song Joong-ki, So Ji-sub, and Kim Soo-an, and is directed by Ryoo Seung-wan. Ryoo is known for his 2015 film,...
The list of upcoming 2017 films looks just as strong:
“Battleship Island”
One of the first to look out for, and potentially may be one of the biggest blockbusters in 2017, is the star-studded “Battleship Island.” “Battleship Island” casts, Hwang Jung-min, Song Joong-ki, So Ji-sub, and Kim Soo-an, and is directed by Ryoo Seung-wan. Ryoo is known for his 2015 film,...
- 1/11/2017
- by Lydia Spanier
- AsianMoviePulse
Is there perhaps a touch of The Wolf Of Wall Street in Han Jae-rim's upcoming tale of power and political corruption, The King? Korean cinema has been diving deep into tales of corruption of late, perhaps mirroring the general political dissatisfaction of the nation these days, and the latest from the director of The Face Reader looks to be a very promising entry. Born in a poor family, Tae-su learns that the power is the most important thing in life and decides to become a prosecutor, the biggest symbol of power in the 90’s. After entering the most prestigious law school, experiencing democratic resistance in Korea, Tae-su finally reaches his goal of becoming a prosecutor but his life is no better than a salary man....
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 1/4/2017
- Screen Anarchy
The King is the fourth directorial outing of Han Jae-rim who previously helmed the hit period drama The Face Reader (2013), with Song Kang-ho. The film follows Tae-su, a prosecutor who turns to colleague and gang connections to get ahead and wield power.
The film is already one of the most anticipated titles of 2017, due to its epic cast.
Jo In-sung, who pulled off one of the meatiest roles of his career in A Dirty Carnival (2006) and hasn’t been seen on the big screen since Yoo Ha’s A Frozen Flower (2008), plays Tae-su, while Jung Woo-sung, who previously appeared in the noir crime-thriller Asura directed by Kim Sung-soo and featuring Hwang Jung-min, plays Tae-su’s senior.
Plot
Born in a poor family, Tae-su (played by Jo In-sung) learns that the power is the most important thing in life and decides to become a prosecutor, the biggest symbol of power in the 90’s.
The film is already one of the most anticipated titles of 2017, due to its epic cast.
Jo In-sung, who pulled off one of the meatiest roles of his career in A Dirty Carnival (2006) and hasn’t been seen on the big screen since Yoo Ha’s A Frozen Flower (2008), plays Tae-su, while Jung Woo-sung, who previously appeared in the noir crime-thriller Asura directed by Kim Sung-soo and featuring Hwang Jung-min, plays Tae-su’s senior.
Plot
Born in a poor family, Tae-su (played by Jo In-sung) learns that the power is the most important thing in life and decides to become a prosecutor, the biggest symbol of power in the 90’s.
- 12/6/2016
- by Lady J.
- AsianMoviePulse
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