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October 20, 2019

‘Maleficent’ is Less Than Magnificent as Annual Box Office Performance Continues to Slide

While specialty titles spent this weekend breaking records, overall performance showed that the season’s weakness continues. The clearest sign comes from the disappointing start for “Maleficent: Mistress of Evil;” following “Gemini Man,” it’s the second very expensive domestic disappointment in as many weeks. Another sequel, “Zombieland; Double Tap” had a decent start, although as expected it was bested by the third weekend of “Joker.”

All told, it’s another weekend below the same period in 2018. With an estimated total of around $136 million, that’s 20% lower than last year, when “Halloween” opened to more than “Maleficent” and “Zombieland” combined. It also extends the annual shortfall to nearly $550 million and almost 6%, eliminating any real hope of box-office growth.

Michelle Pfeiffer is Queen Ingrith in Disney’s MALEFICENT: MISTRESS OF EVIL.

“Maleficent: Mistress of Evil”

Courtesy of Disney

Disney dominance is propelled by an assembly line that includes its live-action versions of animated and other kids classics. However, this sequel to “Maleficent” opened to less than half of the 2014 original; at a  $200 million production cost, it’s a weak start. The rest of the world took in $117 million, and its domestic ‘A’ Cinemascore suggests there is hope. Still, with the small slate of Disney products so critical to theaters, those that fall short take a toll on exhibitors.


Before Emma Stone won an Oscar and Jesse Eisenberg made “The Social Network,” they starred in the 2009 horror comedy “Zombieland.” And while it can be difficult to reboot a franchise a decade later, the principals returned. However, while the budget increased (from $23.6 million to $42 million), its opening weekend did not. Adjusted, the original opened to $29 million; “Double Tap” made a decent but unspectacular $26.7 million. Hopes now ride on its pre-Halloween playtime.



Warner Bros.

Second place fell to “Joker,” which already has reached nearly $250 million. For context, that is ahead of last fall’s smash hits “A Star Is Born” and “Bohemian Rhapsody,” and it has a shot of adding $75 million more to its domestic take. It is nearing $750 million worldwide, with an ultimate take of between $900 million and $1 billion in sight.

That’s without China, which won’t release the film. But with a budget of about $65 million — about 40% compared to “Mistress of Evil” — that’s a huge win for Warners.

“The Addams Family”


At a reported $40 million cost, “The Addams Family” is turning into a nice result for United Artists. Again, with Halloween set to boost it, $57 million in 10 days positions it for a possible $100 million total. Foreign might not be as bountiful, but this is a film that will have a strong post-theater appeal.

At less than a third of the cost of “Gemini Man,” it looks even better. Ang Lee’s disastrous film dropped close to 60% after a weak start. Will Smith thrived with “Aladdin,” but that wasn’t his ride. This is. Foreign is more than double so far, but it won’t be enough to save this from a significant loss.

Contrasting with the struggles for higher-budget entries, “Downton Abbey” is nearing $90 million and “Hustlers” passed $100 million. These will be nice profit makers for their companies, and their successes are why this this fall’s weekly losses aren’t worse.

The Top Ten

1. Maleficent: Mistress of Evil (Disney) NEW – Cinemascore: A; Metacritic: 43; Est. budget: $185 million

$36,000,000 in 3,790 theaters; PTA (per theater average): $9,499; Cumulative: $36,000,000

2. Joker (Warner Bros.) Week 3; Last weekend: #1

$29,205,000 (-48%) in 4,090 theaters (-284); PTA: $7,141; Cumulative: $247,229,000

3. Zombieland: Double Tap (Sony) NEW – Cinemascore: B+; Metacritic: 56; Est. budget: $48 million

$26,725,000 in 3,468 theaters; PTA: $7,706; Cumulative: $26,725,000

4. The Addams Family (United Artists) Week 2; Last weekend: #2

$16,057,000 (-47%) in 4,102 theaters (+95); PTA: $3,914; Cumulative: $56,816,000

5. Gemini Man (Paramount) Week 2; Last weekend: #3

$8,500,000 (-59%) in 3,642 theaters (no change); PTA: $2,334; Cumulative: $36,517,000

6. Abominable (Universal) Week 4; Last weekend: #4

$3,500,000 (-42%) in 2,647 theaters (-849); PTA: $1,322; Cumulative: $53,915,000

7. Downton Abbey (Focus) Week 5; Last weekend: #5

$3,080,000 (-37%) in 2,258 theaters (-761); PTA: $1,364; Cumulative: $88,612,000

8. Judy (Roadside Attractions) Week 4; Last weekend: #7

$2,056,000 (-36%) in 1,418 theaters (-209); PTA: $1,450; Cumulative: $19,018,000

9. Hustlers (STX) Week 6; Last weekend: #6

$2,050,000 (-47%) in 1575 theaters (-782); PTA: $1,302; Cumulative: $101,872,000

10. It: Chapter Two (Warner Bros.) Week; Last weekend: #8

$1,505,000 (-52%) in 1,528 theaters (-775); PTA: $985; Cumulative: $209,660,000



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Source: IndieWire film

October 20, 2019

James Gunn Takes on Coppola and Scorsese: You’re Geniuses, But You Don’t Get Marvel

It never ends. The anti-Marvel Cinematic Universe screeds from major auteurs continues to unravel, with Francis Ford Coppola recently responding to Martin Scorsese’s response to MCU films and their ilk, which “The Irishman” director labeled as “not cinema.” And now, “Guardians of the Galaxy” writer/director James Gunn, who’s currently filming Warner Brothers’ DC entry “The Suicide Squad” because apparently one of those movies wasn’t enough, has added tinder to the flames of the ongoing debate.

Gunn, who’s weathered his lion’s share of social media controversies over the years, including offensive tweets that led to him being fired by Disney, sounded off on Instagram Sunday afternoon in a lengthy post, embedded below.

“Many of our grandfathers thought all gangster movies were the same, often calling them ‘despicable,’” he wrote. “Some of our great grandfathers thought the same of westerns, and believed the films of John Ford, Sam Peckinpah, and Sergio Leone were all exactly the same. I remember a great uncle to whom I was raving about Star Wars. He responded by saying, ‘I saw that when it was called 2001, and, boy, was it boring!’ Superheroes are simply today’s gangsters/cowboys/outer space adventurers. Some superhero films are awful, some are beautiful. Like westerns and gangster movies (and before that, just MOVIES), not everyone will be able to appreciate them, even some geniuses. And that’s okay.”

The post comes in the wake of a rant from Francis Ford Coppola, who accepted a lifetime achievement award at the Lumière Festival in Lyon, defending Scorsese’s position.

“When Martin Scorsese says that the Marvel pictures are not cinema, he’s right because we expect to learn something from cinema, we expect to gain something, some enlightenment, some knowledge, some inspiration…I don’t know that anyone gets anything out of seeing the same movie over and over again,” the 80-year-old filmmaker said. “Martin was kind when he said it’s not cinema. He didn’t say it’s despicable, which I just say it is.”

James Gunn recently revealed the warm welcome he received from Warner Bros. after Disney axed him, saying, “I was basically offered whatever I wanted. I most wanted to do ‘Squad.’”



View this post on Instagram


Many of our grandfathers thought all gangster movies were the same, often calling them “despicable”. Some of our great grandfathers thought the same of westerns, and believed the films of John Ford, Sam Peckinpah, and Sergio Leone were all exactly the same. I remember a great uncle to whom I was raving about Star Wars. He responded by saying, “I saw that when it was called 2001, and, boy, was it boring!” Superheroes are simply today’s gangsters/cowboys/outer space adventurers. Some superhero films are awful, some are beautiful. Like westerns and gangster movies (and before that, just MOVIES), not everyone will be able to appreciate them, even some geniuses. And that’s okay. ❤

A post shared by James Gunn (@jamesgunn) on Oct 20, 2019 at 11:51am PDT

Source: IndieWire film

October 20, 2019

John Lithgow on Suiting Up to Play Roger Ailes in ‘Bombshell’: ‘We Decided He Really Needed Man Boobs’

Jay Roach’s late-breaking awards-season hopeful “Bombshell” (December 20) boasts several feats of makeup and wardrobe mastery, from Charlize Theron’s Megyn Kelly to John Lithgow’s disgraced, late Fox News CEO Roger Ailes — jowls, bulbous nose, corpulence and all. During a recent Q&A for the film in New York moderated by journalist Lynn Hirschberg, Lithgow was joined by co-stars Theron and Nicole Kidman, who plays TV news personality Gretchen Carlson, as well as director Roach and screenwriter Charles Randolph, to discuss the making of the film.

The makeup team is led by Kazuhiro Tsuji, who won an Academy Award in 2018 for transforming Gary Oldman into Winston Churchill and also turned Eddie Murphy into “Norbit” in 2007. Lithgow himself played Winston Churchill on Netflix’s “The Crown,” but without any makeup, hairstyling, or wardrobe needed to abet his transformation.

“This is the greatest irony, that [Kazu] made Gary Oldman as Winston Churchill with all these extraordinary prosthetic devices, and as Winston Churchill [in “The Crown”], I didn’t have any prosthesis at all. I looked much more like Winston Churchill than I realized,” Lithgow said.

Regarding suiting up to play Roger Ailes, whose empire foundered in 2016 when Gretchen Carlson filed a sexual harassment lawsuit against the Fox chairman, Lithgow said, “I was effortlessly in character as soon as I put all that stuff on. [Costume designer] Colleen Atwood, she was my co-conspirator. We spent hours and hours getting that big fat body right. If you look very closely, halfway through the shooting we decided that he really needed man boobs. We said, it depends on his mood, in some scenes he has man boobs and in some scenes he doesn’t.”

Lithgow joked that he now uses the fat suit for pajamas, while Kidman added that Lithgow’s metamorphosis was so convincing and creepy. “Every time we saw him, it was like, he was after us,” she said.

“I was very skeptical,” Lithgow said of donning the six-piece fat suit. “I said, let’s give it an entire day. And I was just astonished by it. That prosthesis, there are six pieces put together: two jowls, one huge double chin, a different nose, and two fat earlobes, and it blends so completely with my own face … I would wrinkle my face and the wrinkles in the prosthetic would cohere with the wrinkles on my face. I don’t know how they do this magic.”

Tsuji is likely to earn another Oscar nomination for makeup for “Bombshell,” with Theron also expected to earn one for Best Actress.

Additional reporting by Eric Kohn.



Source: IndieWire film

October 20, 2019

‘Jojo Rabbit’ and ‘The Lighthouse’ Lead an Unprecedented Specialized Box Office Bounty

Never in the recent specialized film era has a non-holiday weekend achieved such exciting box office. Arriving after last weekend’s sensational record-breaking opening of Neon’s “Parasite” (which expanded well) are strong debuts for both Taika Waititi’s “Jojo Rabbit” (Fox Searchlight) and Robert Eggers’ “The Lighthouse” (A24). And top awards contenders “Pain and Glory” (Sony Pictures Classics) and “Judy” (Roadside Attractions) continue steady as they go.

In the same crowded four week period in 2018, only “Free Solo” went on to specialized success (“Beautiful Boy” started strong with a $70,000 PTA before a tepid expansion). Why are things so much better this year? The films themselves are a factor, but the earliest awards calendar season ever has forced smart distributors to recalibrate. Getting started now allows for gradual growth heading toward maximum attention over the Thanksgiving holiday. Also, opening early allows the option of home-viewing availabilities around the time of the Oscar nominations.

Whatever the reasons, it is working. After a grim specialized year with most early festival finds falling short of expectations, a bounty has arrived. Each of these unique films garnered an initial strong reaction–with no future guarantees– but so far these five titles have scored big.


Jojo Rabbit (Fox Searchlight) – Metacritic: 54; Festivals include: Toronto 2019

$350,000 in 5 theaters; PTA: $70,000

First “Joker,” then “Jojo Rabbit” rode festival premieres and prizes amid mixed critical reaction to enthusiastic audiences. “Joker” was an immediate global box-office success, while Waititi’s black comedy about a German boy’s friendship with an imaginary Adolf Hitler opened in only five theaters. But so far, very good.

Even though “Jojo” faced a more crowded marketplace than last weekend’s opener “Parasite,” with fewer available seats, “Jojo Rabbit” still packed a major punch at its locations. The movie topped “The Lighthouse” at New York’s Lincoln Square and The Landmark in Los Angeles (the latter also has “Parasite” in its second week), and placed best at Manhattan’s commercial Union Square. At the Arclight Hollywood, “Jojo” was beaten out by “The Lighthouse,” which benefited from multiple appearances from Robert Pattinson.

One major development is the two-day showing at the Alamo Drafthouse in Brooklyn, which placed second among all theaters. Theaters in Brooklyn have rarely opened platform dates, and never before with these numbers. Expect to see more of this for select films.

“Jojo” marks a much-needed return to form for Fox Searchlight, looking to perform under demanding new owner Disney. “Jojo” scoring big will shore up Searchlight’s willingness to take risks.

What comes next: Eight new markets, raising the theater count to as many as 60, open this week ahead of much wider play ahead.

Willem Dafor, Robert PattinsonThe LighthouseA24

“The Lighthouse”


The Lighthouse (A24) – Metacritic: 82; Festivals include: Cannes, Toronto 2019

$419,764 in 8 theaters; PTA: $52,471

The robust opening for Eggers’ black-and-white, narrow-aspect-ratio, period-piece two-hander shows the strength of the market. Strong reviews for the challenging art film (backed by New Regency) and stars Pattinson and Willem Dafoe boosted box office, but “The Lighthouse” is not a mass-appeal picture.

The total is even more impressive because the movie played beyond the normal core New York/Los Angeles theaters, including four theaters in three other cities.

The PTA for the four New York/Los Angeles theaters will be around $75,000 (above “Jojo Rabbit,” which played in five). The numbers in other top crossover theaters in other markets were more than respectable: a Boston AMC theater was best at around $40,000.

What comes next: This expands quickly to around 500 theaters this Friday.

The Cave (National Geographic) – Metacritic: 84; Festivals include: Busan 2019

$22,100 in theaters; PTA: $11,050

A year ago National Geographic opened “Free Solo” in October to a stunning over $100,000 PTA, wider success, and an eventual Oscar. This year, they have this documentary about an underground hospital in Syria, from the director of nominated “Last Men in Aleppo.” It’s a  tough subject, which makes its gross (bolstered by strong initial reviews) even more impressive.

What comes next: This begins a multi-week expansion this Friday.

By the Grace of God (Music Box) – Metacritic: 78; Festivals include: Berlin, Mill Valley, Hamptons 2019

$8,188 in 2 theaters; PTA: $4,094

Francois Ozon shares with Pedro Almodovar the distinction of a European director who not only shoots nearly all his films in his home country in his native language, but then lands a stateside release. But his last U.S. hit was “8 Women” in 2002 (adjusted gross: $5 million).

What comes next: Music Box will ride Ozon’s name to more interest in select arthouses.

Greener Grass (IFC) – Metacritic: 68; Festivals include: Sundance, South by Southwest 2019; also on Video on Demand

$14.143 in 2 theaters; PTA: $7,056

This Sundance comedy about competing soccer moms opened exclusive in New York and Los Angeles parallel to iTunes and other platforms. Given that context, this is a decent gross.

What comes next: While it continues to show on VOD, this also will get select additional theater play.

Cyrano, My Love (Roadside Attractions) – Metacritic: 61

$7,107 in 3 theaters; PTA: $2,389

This French film, with a comic twist on the story behind the writing of “Cyrano de Bergerac,” opened in New York and Los Angeles to minor response after a previous release in French Canada adding $300,000 to the total.

What comes next: Expect some additional big city play.

Jay and Silent Bob Reboot (Saban) – Metacritic: 46

$93,520 in theaters; PTA: $93,520; Cumulative: $1,105,000

After Fathom event weekday showings that took in just over $1 million, Kevin Smith’s most recent revival of two perennial characters launched a multi-month series of in-person film events featuring the director and costar Jason Mewes. With ticket prices several times higher than normal movie admission, the first showing took place on Saturday with two impressive shows at an Asbury Park, New Jersey theater. Fathom numbers reveal what is becoming more common: event presentations of films that no longer make sense for conventional release can get attention in theaters, particularly if they have a pre-sold brand.

What comes next: Expect to see more positive results from this across the country.

The Captain (WellGo USA)

$(est.) 350,000 in 47 theaters; PTA: $(est.) 7,447

Among the many Chinese imports that land a U.S. limited release, this massive China hit (on the far side of $300 million in about three weeks) could interest a wider audience.  Directed by Hong Kong master Andrew Lau, whose “Infernal Affairs” turned into Scorsese’s “The Departed,” the movie about a pilot who guides his jet to safety with a shattered windshield compares to “Sully.” It opened decently at theaters nationwide.

What comes next: Likely to remain at mainly theaters catering to fans of Chinese films.


Week Two

Parasite (Neon)

$1,241,000 in 33 theaters (+30); PTA: $37,616; Cumulative: $

10 days into its release, this rave-reviewed South Korean film has already topped all 2019 foreign-language releases. The over $37,000 PTA is behind only “Crouching Tiger, Hidden Dragon,” for all-time best second weekend subtitled PTA. Ang Lee’s film adjusted in 1999 took in an average $58,000 in 31 theaters on its way to an over $200 million gross.

Rarefied territory indeed. For a second weekend performance, the stratosphere would be “The Grand Budapest Hotel” ($62,000 PTA in 66 theaters, a level hard to imagine). But for a South Korean movie? Unbelievable.

Last weekend’s $128,000 three theater PTA was amplified by festival momentum, lots of promotions and less competition, a high number of screens and plenty of seats. Finally, “Parasite” is performing at each stage as though it were an English-language specialized success, and one of the biggest of the year.

Among many strong grosses is the “Parasite” performance at top chain theaters such as AMC theaters in San Francisco and Burbank. AMC Times Square looks to do $40,000 or more, competing with Landmark and other specialized theaters for high-end results. “Parasite” is already– without the normal boost of awards–crossing over to the mainstream.

Ongoing/expanding (Grosses over $50,000)

Judy (Roadside Attractions) – Week 4

$2,056,000 in 1,418 theaters (-209); Cumulative: $19,018,000

Another top-ten placement and continued healthy results for Renée Zellweger’s bravura portrayal of Judy Garland. This will hit $20 million in a week, and could easily top $25 million before many other Oscar contenders open.

“Pain & Glory”

Sony PIctures Classics

Pain and Glory (Sony Pictures Classics) – Week 3

$463,532 in 67 theaters (+44); Cumulative: $1,130,373

Pedro Almodovar’s latest continues to show strength as it expands. Its gross is close to successful “Amour,” when it played at 64 theaters– and that came with the boost of multiple top Oscar nominations. This is looking very healthy as it expands.

The Peanut Butter Factory (Roadside Attractions) – Week 11

$225,950 in 248 theaters (-56); Cumulative: $19,879,000

Heading to an impressive $20 million total, this box-office sleeper could wind up ahead of the top fall players.

Linda Ronstadt: The Sound of My Voice (Greenwich Entertainment) – Week 7

$188,253 in 147 theaters (-21); Cumulative: $3,501,000

The per theater average actually increased as this documentary continues its push to the $4 million mark seen by this year’s top non-fiction films.

Where’s My Roy Cohn? (Sony Pictures Classics) – Week 5

$96,513 in 66 theaters (+9); Cumulative: $493,746

This documentary continues steady at a modest level, with likely continued growth with more theaters ahead.

Lucy in the Sky (Fox Searchlight) – Week 3

$58,000 in 231 theaters (+33); Cumulative: $272,095

Though it has been a fiasco, this astronaut romance film still added more theaters. The per theater average was $251, with the ultimate gross looking to reach little more than $300,000.

Also noted:

Official Secrets (IFC) – $27,336 in 34 theaters; Cumulative: $1,922,000

Monos (Neon) – $20,688 in 40 theaters: Cumulative: $367,496

First Love (WellGo USA) – $15,880 in 34 theaters; Cumulative: $195,548

Miles Davis: Birth of the Cool (Abramorama) – $14,923 in 18 theaters; Cumulatie: $555,631

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Source: IndieWire film

October 20, 2019

‘Tremors’ Trailer: Jayro Bustamante Returns With Drama Centered on Gay Man Caught Between Faith and Family

Guatemalan writer-director Jayro Bustamante broke out with the 2015 drama “Ixcanul,” set on an active volcano. Here he returns with “Tremors” (the English translation of “Temblores”), equally volcanic in its emotional insight about an affluent, religious family torn asunder after patriarch Pablo (Juan Pablo Olyslager) reveals that he’s been in a relationship with another man. Below, check out the first trailer.

Here’s the rest of the synopsis of the film, which is being distributed by Film Movement in the U.S. on November 29:

“What follows is a tale of passionate romance, immense inner conflict, and devastating tragedy. Separated from his wife, his children, and his life of Evangelical tradition, Pablo initially finds a sense of freedom. But how long can he sustain this new and exciting life when he’s fired from his job and his religious creed begins to take over again? Filled with gorgeous and breathtaking cinematography, Olyslager leads a brilliant cast in this Berlinale standout from prominent award-winning auteur Jayro Bustamante that is sure to shake you to your core by its final frames.”

“Tremors” first premiered at the Berlin International Film Festival earlier in 2019 and will be making its New York premiere at NewFest, New York’s annual LGBTQ film festival, later this month.

In a rave review out of the Berlinale, IndieWire critic David Ehrlich wrote of “Tremors”: “There are any number of movies about gay men trying to liberate themselves from the long shadow of heteronormative oppression — a regrettably, enduringly relevant premise — but few have been told with the extraordinary nuance or compassion of Jayro Bustamante’s ‘Tremors.’ The Guatemalan drama begins where a previous iteration of this drama might have left off. Rather than argue for the hero’s basic humanity (which the film’s contemporary liberal audiences wouldn’t dare to dispute, and its devoutly retrograde antagonists wouldn’t deign to accept), Bustamante moves the goalposts forward by reframing the stakes. There’s never any doubt that Pablo has the right to be with the man he loves, the question is whether the happiness that would bring is worth the hurt that would come with it. And it’s a question that only Pablo can answer for himself.”


Source: IndieWire film

October 18, 2019

13 Films That Changed the Way We Make Movies

The films of the great DP Gordon “Prince of Darkness” Willis and director Terrance Malick are among this baker’s dozen list of cinema’s most influential contributions. Did your favorite movie make the cut?

The best compliment we can give these movies is that we wish we made them.

Movies like Frances Ford Coppola’s The Godfather, Part II and Terrance Malick’s perfect Days of Heaven earned their deserved places on the New York Film Festival’s list of 13 films honoring the 100th anniversary of the American Society of Cinematographers, reports IndieWire.

New York Film Festival programmers Kent Jones and Dan Sullivan are celebrating the milestone with a 13-film retrospective, as the 2019 festival sets out to highlight the works of legendary DPs as Gordon Willis, Gregg Toland, James Wong Howe, and Robby Müller. The movies serve as a history exhibit as well, honoring the craft at 24 fps.

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Source: NoFilmSchool

October 18, 2019

'Peanut Butter Falcon' DP Explains Why a 2-Camera Setup Is Your Best Friend

Afraid to shoot with more than one camera? Let The Peanut Butter Falcon DP Nigel Bluck put your mind at ease.

Making a film is difficult when you’re shooting with just one camera, so it stands to reason — at least for some — that shooting with more than one makes things that much more so.

In fact, I’d argue that the somewhat inaccurate belief that multicam setups make shoots more challenging, rather than budgetary restrictions, is the prime reason burgeoning filmmakers avoid them. So, to help demystify the process and, hopefully, assuage your fears of intimidating multicam shoots, here’s a video from Indy Mogul in which Ted Sim talks with DP Nigel Bluck about the cinematographic approach he took on The Peanut Butter Falcon, from how he (barely) lit certain scenes to the incredible benefits of shooting with two cameras.

Let’s take a look at the various pieces of advice Bluck dispenses in the video.

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Source: NoFilmSchool

October 18, 2019

Netflix Just Killed Alexander Payne's New Movie a Day Before Shooting

Alexander Payne’s new Netflix movie has halted production one day before cameras were set to roll. Here’s why.

Less than 24 hours before it was to shoot, Alexander Payne’s new film at Netflix has halted production, Collider and Deadline reported Friday. The movie was set to star Mads Mikkelsen. It was a father-daughter road trip movie. Mikkelsen would play a Danish journalist who takes a road trip with his teenage daughter across the U.S. as he writes a story for a newspaper.

With so many terrible things going on in Hollywood, it would be safe to assume that some sort of sordid controversy stopped the movie from going forward. Thankfully, that was not the case. Deadline, in its usual snark, reports:

“I’ve heard that the subject of the film, journalist Karl Ove Knausgard, was left with an “out” and had a change of heart about having his story turned into a feature. Attempts were made to pull the film back on track, to no avail. The rights to the movie fell apart and now Netflix has nothing. I can only assume Knausgard saw Downsizing and thought, “Noooooooooope.” (SIGH.)

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Source: NoFilmSchool

October 18, 2019

You Can Now Stay and Write At Stephen King's House

Stephen King’s home is being converted into a writer’s retreat for people working to finish their passion projects. How can you get inside?

There’s something magical about being where you know the greats have been. Writing in the place where the people that inspired you once wrote. Now, you can travel to Bangor, Maine, and sit inside Stephen King’s (haunted) house — and write!

The Bangor City Council unanimously approved Friday a request by King and his wife to rezone their home as a non-profit. This would allow them to house an archive of King’s work and up to five writers at a time. So, basically there is a Stephen King Museum you can live and write in.

By appointment only, obviously.

“The King Family has been wonderful to the City of Bangor over time and have donated literally millions of dollars to various causes in the community,” one of the city councilors, Ben Sprague, told Rolling Stone. “Preserving his legacy here in Bangor is important for this community.”

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Source: NoFilmSchool

October 18, 2019

Is a New 16" MacBook Pro Coming Soon?

Does the image hidden in macOS Catalina Beta confirm a New 16″ MacBook Pro?

Though Apple has yet to confirm, rumors have been swirling for some time about the development of a 16″ MacBook Pro. However, the company might’ve just inadvertently given us not just a clue to its existence but also a sneak peek at the laptop itself.

According to MacGeneration, there are files hidden within macOS Catalina beta with thumbnail images of an Apple laptop titled “MacBookPro16,1”. The laptop in the images themselves appears to be larger with thinner bezels, and appear to come in both Space Gray and Silver models, just like others in Apple’s MacBook Pro line.

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Source: NoFilmSchool