Exclusive: Netflix has enlisted Yon Motskin (Encounters) to direct an untitled documentary feature on Connecticut native Nathan Carman, a young man who, after a fishing trip with his mother Linda off the coast of New England, survives a week on a life raft while she is lost at sea.
As highlighted in the doc, the sensational incident renews interest in the unsolved murder of Carman’s wealthy grandfather years earlier, spurring a media frenzy, a war over a vast family fortune, multiple investigations and ultimately federal charges against Carman for murder on the high seas. He died by suicide last summer while awaiting trial in connection to the death of his mother.
With unprecedented access to family, friends and investigators, the film currently in production is a nautical thriller that explores intimate human mysteries about family, greed, perception, mental health and the unpredictable mind of an enigmatic young man.
Motskin is producing alongside Mary-Jane Mitchell.
As highlighted in the doc, the sensational incident renews interest in the unsolved murder of Carman’s wealthy grandfather years earlier, spurring a media frenzy, a war over a vast family fortune, multiple investigations and ultimately federal charges against Carman for murder on the high seas. He died by suicide last summer while awaiting trial in connection to the death of his mother.
With unprecedented access to family, friends and investigators, the film currently in production is a nautical thriller that explores intimate human mysteries about family, greed, perception, mental health and the unpredictable mind of an enigmatic young man.
Motskin is producing alongside Mary-Jane Mitchell.
- 2/2/2024
- by Matt Grobar
- Deadline Film + TV
Exclusive: Network Entertainment has signed with ICM Partners for global representation, the agency tells Deadline.
Led by founder and CEO Derik Murray, president & COO Paul Gertz, and SVP & executive producer Brian Gersh, Network is a boutique production company that develops, finances and produces documentary programming for big-screen audiences, TV networks and streamers. Its focus is on projects that celebrate iconic personalities and their legacies, and others honing in on cultural topics within the areas of music, film, comedy, sports, politics and business.
Recently, the company partnered with MRC Non-Fiction and director Questlove on an upcoming documentary centered on groundbreaking musician Sly Stone. On that project, Oscar and Emmy winner Common serves as EP.
“We are truly blessed to be working with an A-list roster of partners and collaborators on our current projects and upcoming slate,” Gersh said, “and are excited about joining forces with ICM to usher in this next phase of Network’s evolution.
Led by founder and CEO Derik Murray, president & COO Paul Gertz, and SVP & executive producer Brian Gersh, Network is a boutique production company that develops, finances and produces documentary programming for big-screen audiences, TV networks and streamers. Its focus is on projects that celebrate iconic personalities and their legacies, and others honing in on cultural topics within the areas of music, film, comedy, sports, politics and business.
Recently, the company partnered with MRC Non-Fiction and director Questlove on an upcoming documentary centered on groundbreaking musician Sly Stone. On that project, Oscar and Emmy winner Common serves as EP.
“We are truly blessed to be working with an A-list roster of partners and collaborators on our current projects and upcoming slate,” Gersh said, “and are excited about joining forces with ICM to usher in this next phase of Network’s evolution.
- 3/17/2021
- by Matt Grobar
- Deadline Film + TV
Talent agency CAA has signed Soul Machines, an artificial intelligence company that creates hyper-real-looking digital avatars. CAA will represent Soul Machines in all areas, initially focusing on guiding the development and launch of its Digital Celebrity Project..
The San Francisco and New Zealand-headquartered company predominantly harnesses its tech for business aims, ranging from service and support to product sales. One of its most recent creations is ‘Ella’ (which stands for ‘Electronic Life-Like Assistant’) -- an avatar that will be stationed in the lobby of the New Zealand police’s national headquarters to assist the concierge team and talk to visitors about police services.
The company also recently created an avatar for singer will.i.am -- as featured in Robert Downey Jr.’s YouTube Premium series, The Age of A.I. -- and has also worked with companies like Google, Sony, Ibm, Procter & Gamble, and The Royal Bank of Scotland on digital marketing initiatives.
The San Francisco and New Zealand-headquartered company predominantly harnesses its tech for business aims, ranging from service and support to product sales. One of its most recent creations is ‘Ella’ (which stands for ‘Electronic Life-Like Assistant’) -- an avatar that will be stationed in the lobby of the New Zealand police’s national headquarters to assist the concierge team and talk to visitors about police services.
The company also recently created an avatar for singer will.i.am -- as featured in Robert Downey Jr.’s YouTube Premium series, The Age of A.I. -- and has also worked with companies like Google, Sony, Ibm, Procter & Gamble, and The Royal Bank of Scotland on digital marketing initiatives.
- 3/30/2020
- by Geoff Weiss
- Tubefilter.com
Exclusive: Robert Downey Jr, and Team Downey, his production company with wife Susan Downey, has just moved to Wme, which will rep them in all areas.
Downey Jr had been repped by CAA, and thus ends one of the most lucrative and prolific decade-long runs any actor has had with an agency in recent memory. That covers the period when Downey Jr. blew away all comers to win the role of Iron Man, becoming the signature player in an unprecedented decade of success for Marvel Studios. It also created a situation where the actor was making in the vicinity of $50 million-$70 million each time he donned the metal suit in numerous spinoffs and Avengers films, a run that ended in Avengers: Endgame, the highest grossing film of all time. At the same time, he headlined the billion dollar-grossing Sherlock Holmes franchise and got an Oscar nomination for 2009’s Tropic Thunder.
Downey Jr had been repped by CAA, and thus ends one of the most lucrative and prolific decade-long runs any actor has had with an agency in recent memory. That covers the period when Downey Jr. blew away all comers to win the role of Iron Man, becoming the signature player in an unprecedented decade of success for Marvel Studios. It also created a situation where the actor was making in the vicinity of $50 million-$70 million each time he donned the metal suit in numerous spinoffs and Avengers films, a run that ended in Avengers: Endgame, the highest grossing film of all time. At the same time, he headlined the billion dollar-grossing Sherlock Holmes franchise and got an Oscar nomination for 2009’s Tropic Thunder.
- 2/5/2020
- by Mike Fleming Jr
- Deadline Film + TV
Donald Glover was blown away. “This is the coolest thing I have ever done,” he could be heard muttering into a hot mic after he had put the Millennium Falcon into hyperdrive for the first time on the set of “Solo: A Star Wars Story.”
What impressed Glover so much was that the scene wasn’t filmed in front of a green screen, as is typically the case with movies that rely heavily on visual effects. Instead, Lucasfilm’s Industrial Light & Magic unit had built an elaborate setup of five 4K laser projectors around the Falcon’s cockpit, which displayed the iconic hyperdrive animation in real time. The setup not only allowed Glover and his fellow actors to perform in less of a vacuum, but the projectors were also used as the sole source of lighting — resulting in stunning reflections of the flashing blue lights in the actors’ eyes.
The...
What impressed Glover so much was that the scene wasn’t filmed in front of a green screen, as is typically the case with movies that rely heavily on visual effects. Instead, Lucasfilm’s Industrial Light & Magic unit had built an elaborate setup of five 4K laser projectors around the Falcon’s cockpit, which displayed the iconic hyperdrive animation in real time. The setup not only allowed Glover and his fellow actors to perform in less of a vacuum, but the projectors were also used as the sole source of lighting — resulting in stunning reflections of the flashing blue lights in the actors’ eyes.
The...
- 5/15/2019
- by Janko Roettgers
- Variety Film + TV
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