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February 9, 2018

Hacking Health and Our Bodies – 2018 SXSW Programming Trends

Each year, different trends emerge from SXSW programming and act as identifiers for where we’re at and where we’re headed. From the 12 significant trends identified by the SXSW Programming Team for the 2018 event, Hacking Health and Our Bodies highlights a new era of healthcare allowing us to better understand our bodies and drive innovation for the next generation. Learn more about this trend and related-SXSW sessions below that we think will spark conversation this March.

Hacking Health and Our Bodies Trend

A medicine revolution is in action creating the foundation for a fundamental shift in healthcare from reactive to predictive. The increasing integration of technology with our bodies keeps us aware of our daily and future health and helps us have a deeper understanding of the matter we are made of. From hacking our own genome to building medicines that are as unique as our DNA, we are gaining a better and personalized insight to the human body allowing us to heal ourselves faster from the inside out.

During the session Body Computing, Security & Human Safety, Michael Chertoff, Dr. Leslie Saxon, and Beau Woods dive into a critical discussion of the future of patient care, safety, and security as technology becomes part of our health and the human body. Learn how social media can be used to reduce drug development timelines, costs, and accelerate access to new treatment options in the session Disrupting Drug Development through Crowdsourcing led by Larry Saltzman and Kent Thoelke.

With new ways to capture and understand health information, modern initiatives are sharing their findings with those that matter most: people. Discover the Empowering People to Own Their Health Data session as Scott Jung, Scarlet Shore, Robert Califf, and Bray Patrick-Lake explore how to bridge the gap between clinical research and clinical care and empower people to understand and manage their health. Inside Genomics: Your Future, Your Fate session will discuss the power of genomics and how deploying wide-spread genetic testing could benefit our future selves, personalize healthcare, and impact the next generation.

Find out more about how today’s medical-experts are changing the way we look at the future of health and our bodies. Add these sessions to your 2018 SXSW Schedule. Stay tuned for more programming announcements through March.

Hacking Health and Our Bodies Session Highlights

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Join Us for SXSW 2018

The SXSW Conference includes 24 programming tracks divided amongst Interactive, Film, Music, and Convergence. Each March, some of the world’s most creative minds come together in Austin, Texas to discover, learn, network, brainstorm and collaborate.

Explore new opportunities during 10 days of sessions, screenings, showcases, exhibitions, networking, and beyond from March 9-18 at SXSW 2018 – register to attend today!

SXSW registrants get access to SXSW hotels at the lowest rates available by making reservations through SXSW Housing & Travel. Visit our availability page and then book your stay today to save.

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

2017 Health Track session with Julia Boorstin and Tyler Haney – Teaser Photo by Tyler Draker

The post Hacking Health and Our Bodies – 2018 SXSW Programming Trends appeared first on SXSW.

Source: SxSW Film

February 8, 2018

25 Years of SXSW Film Festival – David Gordon Green

To commemorate the 25th edition of the SXSW Film Festival, we continue our weekly alumni spotlight on careers launched, artists discovered, powerful performances, and more with filmmaker David Gordon Green.

Green is a very prolific filmmaker, active as director and producer in feature films, episodics, and commercials. He’s directed numerous films that screened at SXSW including Prince Avalanche (2013), Joe (U.S. Premiere, 2014), and Manglehorn (U.S. Premiere, 2015). Green has also executive produced a number of other SXSW films like Nature Calls (2012), See Girl Run (2012) Person to Person (2014) Hot Sugar’s Cold World (2015), and Donald Cried (2016). In 2016, SXSW presented the world premiere of the series Vice Principals, where Green served as an executive producer and director. The series won the SXSW Audience Award for Episodics. One of Green’s next films is the 2018 SXSW Narrative Spotlight selection The Legacy of a Whitetail Deer Hunter (executive producer).

We are happy to share his #SXSWFilm25 story with you.

“SXSW is a balance of tradition and innovation. With diverse programing, it has all the comfort of the beloved theatrical experience but with challenging films and conversations that continue to enlighten long after the credits have rolled. It’s the perfect intersection for the film lovers and the filmmakers.”

Join Us For SXSW 2018

Grab your Film Badge today for primary access to all SXSW Film events including world premieres, roundtables, workshops, and parties. Register to attend by Friday, February 9 and save. Book your hotel through SXSW Housing & Travel for the best available rates.

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

See you in March!

World Premiere of Joe – Photo by Michael Buckner/Getty Images for SXSW

The post 25 Years of SXSW Film Festival – David Gordon Green appeared first on SXSW.

Source: SxSW Film

February 8, 2018

10 Stages of Post-Production, from Data Storage to Deliverables

Editing can be a complex process, but this video and flowchart might help you get a better grasp on the whole thing.<p>If you’re interested in getting …
Source: CW’s Flipboard Feed

February 6, 2018

How to Eliminate Echoes When Recording Sound in a Big Empty Room

If you’re recording audio in a reverberant room, echoes are going to become a huge problem. Here’s how to get rid of them.So, you’re planning to …
Source: CW’s Flipboard Feed

February 5, 2018

Military Voices Initiative: Honoring Veterans and Their Families

Our Military Voices Initiative provides a platform for veterans, service members, and military families to share their stories. In doing so we honor their voices, amplify their experiences, and let them know that we—as a nation—are listening.

Are you a veteran? Would you like to honor a veteran in your life with a StoryCorps interview? Here’s how:

In 2018, StoryCorps will partner with local public media stations in three cities to record stories of veterans and their families. Reservations for these dates will be available 30 days in advance of the recording dates listed.

Follow us on Facebook and Twitter for updates on when and how to register to record your story, and prepare for your interview with this collection of suggested questions to ask your conversation partner.

Location Partner Dates Appointments
Del Rio, TX Texas Public Radio/KPAC February 4, 2018 Book Now
San Antonio, TX Texas Public Radio February 6 – 16, 2018 Book Now
Colorado Springs, CO KRCC April 30 – May 11, 2018 Coming Soon
Omaha, NE  KIOS June 4 – 15, 2018 Coming Soon

Not in a city that we’re visiting?

Make plans to visit our StoryBooth locations in Chicago and Atlanta, where you can designate your interview to be added to the Military Voices collection in the StoryCorps Archive. Here are some great questions to ask an interview partner who has served in the military.

You can record anywhere with the StoryCorps App. Veterans and their loved ones can tag their interviews with the keyword “Military Voices”.

Conversations from our Military Voices Initiative, which was launched by StoryCorps in 2012, feature first-person stories from veterans of the wars in Iraq and Afghanistan, among others. Listen for announcements about special broadcasts this spring on NPR’s Weekend Edition.

Support for Military Voices Initiative is provided by The Corporation for Public Broadcasting

Source: SNPR Story Corps

February 4, 2018

Jordan Peele Quit Acting Because He Was Offered the Role of S—t in ‘The Emoji Movie’

The one downside to Jordan Peele being so successful as a filmmaker is that he says he’s done with acting. The “Get Out” writer/director, who received three Academy Award nominations for his debut feature, won a different prize last night: best first-time director at the DGA Awards. While accepting this honor, Peele revealed what went into his decision: “‘The Emoji Movie’ actually helped me quit acting. I was offered the role of Poop,” he explained.

“This is true. I would not make this up,” he continued. Peele’s response to the offer was to say “that’s fucked up” before deciding to sleep on it for a night. He called his manager the following day to ask how much he was being offered for his emoji-related services, but by then it was too late: “[My manager said], ‘They’ve already given it to Sir Patrick Stewart.’ I was like, ‘Fuck this.’”

“The Emoji Movie” was one of the most widely reviled films of last year, whereas “Get Out” was one of the most highly praised — which is to say, it’s doubtful that Peele regrets his decision.

Source: IndieWire film

February 4, 2018

‘Jumanji’ Returns to the Top of the Box Office on Super Bowl Weekend

Jumanji: Welcome to the Jungle” returned to #1, in large part because there’s so little else of interest in release.

The lag continues to be a problem with new releases. Films released in 2018 comprise only about 43 percent of business this weekend; compared to 2017 films a year ago, they totaled 60 percent.

That’s anemic. This week’s sole new film was Lionsgate’s “Winchester” (from partner CBS Films), which managed third place. This horror film with the gimmick of Helen Mirren in the lead did about as expected, with a little over $9 million. That’s only about a third of the most recent horror entry “Insidious: The Last Key” (Universal), which opened to almost $30 million.

“Winchester,” which CBS acquired for $3.5 million, increased 14 percent Saturday from initial day and a half totals. That’s rare for a genre title, and might suggest Mirren got the attention of older audiences, who frequent theaters much more on that day than Friday.


“Jumanji: Welcome to the Jungle”

“Jumanji: Welcome to the Jungle” returned to the the top spot it has now held for four of its seven weeks. It is the first film to be #1 at this point of its run since “Frozen,” which also jumped in and out of the position. It fell 31 percent, an above average hold and remarkably the biggest drop since it opened. It now is at $352 million domestic, with a real chance of reaching $400 million.

That would get it close to making the top 10 all-time Sony titles. To put it into immediate perspective, it is already Sony’s biggest film this century outside the “Spider-Man” franchise (and bigger than any of its James Bond titles) in terms of domestic appeal.

“Maze Runner: The Death Curse,” despite its mediocre domestic showing (including a 58 percent fall its second week), likely is not the last in the franchise. Why? Because it will take in more than $200 million worldwide, with about 80 percent coming from foreign.

“The Greatest Showman”

Fox also has, once again, the best-holding film. “The Greatest Showman” is still in fourth place, off 18 percent. It looks headed for an eventual domestic total of $170 million-$175 million, with a somewhat bigger haul oversees. Not bad for what was initially projected as a vanity project for Hugh Jackman, financed to reward him for his loyal service to the “X-Men” series.

“Hostiles” (Entertainment Studios), the western with Christian Bale, has done better than expected, but now looks likely to end up around $30 million after a significant marketing push.

Oscar nominees in various categories, all 2017 initial releases, grossed around $25 million. That’s about the same as last year, but with one difference: “Hidden Figures” and “La La Land,” both wide releases with major non-specialized appeal, made up about two thirds of the total then.

The Top 10

1. Jumanji: Welcome to the Jungle (Sony) Week 7 – Last weekend #2

$11,000,000 (-31%) in 3,553 theaters (-201); PTA (per theater average): $3,282; Cumulative: $353,642,000

2. Maze Runner: The Death Cure (20th Century Fox) Week 2 – Last weekend #1

$10,200,000 (-58%) in 3,793 theaters (+6); PTA: $2,689; Cumulative: $39,760,000

3. Winchester (Lionsgate) NEW – Cinemascore: B-; Metacritic: 30; Est. budget: $3.5 million (acquisition cost)

$9,250,000 in 2,408 theaters; PTA: $3,730; Cumulative: $9,250,000

4. The Greatest Showman (20th Century Fox) Week 7 – Last weekend #4

$7,800,000 (-18%) in 2,588 theaters (-75); PTA: $3,014; Cumulative: $137,475,000

5. Hostiles (Entertainment Studios) Week 7 – Last weekend #3

$5,523,000 (-45%) in 2,934 theaters (+118); PTA: $1,882; Cumulative: $21,237,000

6. The Post (20th Century Fox) Week – Last weekend #5

$5,200,000 (-43%) in theaters (-178); PTA: $2,112; Cumulative: $67,185,000

7. 12 Strong (Warner Bros.) Week 7 – Last weekend #6

$4,710,000 (-46%) in 2,462 theaters (-178); PTA: $1,614; Cumulative: $37,304,000

8. Den of Thieves (STX) Week 3 – Last weekend #7

$4,670,000 (-46%) in 2,112 theaters (-320); PTA: $; Cumulative: $

9. The Shape of Water (Fox Searchlight) Week 10 – Last weekend #8

$ (-$) in 2,341 theaters (+487); PTA: $2,211; Cumulative: $44,580,000

10. Paddington (Warner Bros.) Week 3 – Last weekend #9

$3,110,000 (-45%) in 2,388 theaters (-404); PTA: $1,302; Cumulative: $36,314,000

Source: IndieWire film

February 4, 2018

Terry Crews Implies He’s Being Pressured to Drop His Sexual Assault Lawsuit if He Wants to Avoid Problems on ‘The Expendables 4’

Terry Crews has starred in all three “Expendable” movies without incident, but it appears he isn’t having such an easy time with “The Expendables 4.” The actor — who’s suing William Morris Endeavor after allegedly being sexually assaulted by agent Adam Venit — took to Twitter this morning to imply that he’s being pressured to drop his lawsuit — or else.

“Management got a call last week from Avi Lerner producer of EXPENDABLES 4 saying I could avoid any ‘problems’ on the sequel if I dropped my case against @WME,” he wrote. “Guess who’s Sly’s agent? ADAM VENIT.” One can only speculate as to what sort of “problems” are being implied here, though it certainly appears as though the powers that be would like Crews to drop his lawsuit lest his time on the upcoming movie be made more difficult in some vague, potentially nefarious way.

The “Sly” in this case is, of course, Sylvester Stallone, who’s been the face of the “Expendables” franchise since its inception. He’s starred in all three movies thus far, and directed the first installment as well.

Source: IndieWire film

February 4, 2018

‘A Fantastic Woman’ Opens Well as Oscar-Nominated Titles Thrive at Specialty Box Office

“Darkest Hour,” “The Shape of Water,” “Three Billboard Outside Ebbing, Missouri” and “Lady Bird” have now each grossed over $40 million. That places them at or above “The Big Sick,” which for months was the year’s top specialized film release. After their initial boost post nominations, all dropped this weekend; that’s normal. But several have more life in them yet.

Super Bowl Weekend, and the lack of new titles doing much business, helped create both screen space and audience attention, but most of their performance comes from the films’ own strengths.

Among new titles, Best Foreign Language Film contender “A Fantastic Woman” scored as the best limited opener of the year so far. It opened the same day as Netflix debuted Hungarian “On Body and Soul,” nominated in the same category. It skipped theatrical play and, unlike their contenders “Mudbound” and “Icarus” in other categories, Netflix is not running “for your consideration” ads.


A Fantastic Woman (Sony Pictures Classics) – Metacritic: 89; Festivals include: Berlin, Telluride, Toronto 2017

$70,978 in 5 theaters; PTA (per theater average): $14,196

After a one-week qualifying run in November, this Chilean Oscar nominee returned to five theaters in New York and Los Angeles to encouraging initial results. This drama about a transgender woman dealing with her partner’s sudden death opened with a little more than the best weekend for SPC’s “Toni Erdmann” just over a year ago. The numbers fell short of rival “The Square” (PTA $18,500 last fall) and last year’s winner “The Salesman” ($24,000), both in fewer theaters. Of note: This did not play in New York’s recently closed Lincoln Plaza Theater, usually the top grosser for similar films, and also didn’t benefit from opening-day newspaper reviews

What comes next: This should be available for viewing in the Top 10 markets by Oscar weekend.

Abbas Kiarostami 24 Frames

24 Frames

24 Frames (Janus) – Metacritic: 80; Festivals include: Cannes, London 2017

$8,610 in 1 theater; PTA: $8,610

Iranian master Abbas Kiarostami’s final effort, a rigorous but contemplative tone poem of 24 separate images in natural settings, opened at New York’s Film Society of Lincoln Center on limited seats. With strong reviews, this cinephile appealing title did a respectable initial gross.

What comes next: Niche big city bookings should follow.

Before We Vanish (Super) – Metacritic: 65; Festivals include: Cannes, New York 2017

$8,142 in 2 theaters; PTA: $4,071

Veteran Japanese genre director Kiyoshi Kurosawa returns with a science-fiction alien story, with mixed results in two New York/Los Angeles dates.

What comes next: Apart from upcoming theaters, this should find interest via streaming ahead.

Week Two

Have a Nice Day (Strand)    1-18

$_est.) 13,000 in 4 theaters (+3); PTA: $(est.) 3,250; Cumulative: $(est.) 31,000

This Chinese animated title, a politically tinged expose of business world corruption, added three theaters including Los Angeles with results somewhat below its strong initial New York exclusive.

“The Post”

Ongoing/expanding (Grosses over $50,000)

The Post (20th Century Fox) Week 7

$5,200,000 in 2,462 theaters (-178); Cumulative: $67,185,000

Steven Spielberg’s Pentagon Papers retelling will soon overtake “Bridge of Spies” as the top grossing of his three most recent films. It also is the top Tom Hanks and Meryl Streep performer among their last three and four releases, respectively. It dropped 43 percent, more than other contenders, with an ultimate domestic take a little over $80 million likely.

“The Shape of Water”

The Shape of Water (Fox Searchlight) Week 10

$4,300,000 in 2,341 theaters (+487); Cumulative: $44,580,000

Guillermo del Toro’s DGA win adds to its Oscar frontrunner status, and the grosses keep rolling in. The theater count puts this as the highest for Searchlight since “Black Swan” seven years ago. This continues on a pace to approach $60 million by Oscar night a month from now.

Three Billboards Outside Ebbing, Missouri (Fox Searchlight) Week 13

$3,050,000 in 1,726 theaters (+269); Cumulative: $41,814,000

Also adding screens, this longer-playing film (which heads to streaming February 13) continues its strong performance with its widest release yet.

I, Tonya (A24) Week 9

$2,556,000 in 1,450 theaters (+490); Cumulative: $22,640,000

With its widest position yet, the Tonya Harding story barely missed the Top 10 and looks like it should continue to perform well leading up to the Oscars.

Darkest Hour (Focus) Week 11

$2,420,000 in 1,456 theaters (+486); Cumulative: $48,843,000

Joe Wright’s latest, with Gary Oldman cruising to his first Oscar, continues its position as top grosser among the specialized-company contenders (a position that will be challenged by “The Shape of Water”) with more runs added to boost its total.

"Phantom Thread"

“Phantom Thread”

Photo : Laurie Sparham / Focus Features

Phantom Thread (Focus) Week 6

$2,140,000 in 1,186 theaters (+165); Cumulative: $14,174,000

Paul Thomas Anderson’s latest fell a bit more than most of the wide-playing contenders while adding theaters. But by next weekend, it will have out grossed both “Inherent Vice” and “The Master,” his two most recent titles.

Lady Bird (A24) Week 14

$1,360,000 in 1,109 theaters (-63); Cumulative: $43,733,000

Now in its fourth month, Greta Gerwig’s breakout comedy still is finding sustained interest.

Call Me By Your Name (Sony Pictures Classics) Week 11

$1,001,000 in 581 theaters (-284); Cumulative: $12,941,000

After shedding most of the low-grossing theaters, the per-theater average rose for those remaining. That gives this multi-category Oscar nominee a chance to sustain a continued run.

The Insult

The Insult (Cohen) Week 4

$118,995 in 36 theaters (+10); Cumulative: $237,370

As a subtitled film opens wider, a PTA of over $3,000 is above average these days. This Lebanese courtroom drama’s Oscar nomination is a strong asset, but it also seems to be getting decent word of mouth to boost it.

Mary and the Witch’s Hour (GKids) Week 3

$57,002 in 30 theaters (-47); Cumulative: $1,896,000

The remaining runs for this Japanese animated film are holding well. Most of this film’s gross came from a one-day Fathom event at hundreds of theaters.

Film Stars Don’t Die in Liverpool (Sony Pictures Classics) Week 5

$54,407 in 34 theaters (+15); Cumulative: $314,635

New openings for this story of Gloria Grahame’s late-in-life affair remain spotty. Annette Bening fell short of a hoped-for Best Actress nomination, taking the steam out of this.

The Disaster Artist (A24) Week 10

$50,714 in 65 theaters (-19); Cumulative: $21,000,000

James Franco’s lack of an Oscar nomination leaves his film topping out at a decent $21 million, with little gross left to add.

Also noted:

The Florida Project (A24) – $47,190 in 38 theaters; Cumulative: $5,734,000; also streaming

In the Fade (Magnolia) – $(est.) 45,000 in 31 theaters; Cumulative: $(est.) 204,000

Faces Places (Cohen)  – $11,776 in 21 theaters; Cumulative: $771,000

The Breadwinner (GKids) – $11,077 in 15 theaters; Cumulative: $: $271,037

Source: IndieWire film

February 4, 2018

Jessica Chastain Lays Into Quentin Tarantino Over Uma Thurman Incident: ‘When Did This Become Normalized Entertainment?’

Jessica Chastain isn’t happy with Quentin Tarantino. After yesterday’s Uma Thurman interview in the New York Times, in which she both accused Harvey Weinstein of sexual assault and blamed Tarantino for serious injuries she sustained while filming “Kill Bill,” Chastain took to Twitter to chastise the director for his actions.

“I keep imagining Tarantino spitting in Uma’s face and strangling her with a chain for KILL BILL. How many images of women in media do we celebrate that showcase abuse? When did this become normalized ‘entertainment’?” she wrote.

“When violence against women is used as a plot device to make the characters stronger then we have a problem. It is not empowering to be beaten and raped, yet so many films make it their ‘pheonix’ moment for women. We don’t need abuse in order to be powerful. We already are.”

Thurman alleges that Tarantino persuaded her to film a scene in a stunt car she wasn’t qualified to drive, resulting in a serious crash (of which there’s footage in the original NYT article).

Source: IndieWire film