News & Updates
May 7, 2017
The first weekend of May has become the box-office Super Bowl: It’s the assured date for a major Marvel release guaranteed to capture a rabid audience. That sets some high standards for judging the “Guardians” sequel; its outcome, combined with a few other results, gives reason for some initial concerns for the summer ahead.
“Guardian of the Galaxy Vol. 2” hit its marks with a $145 million domestic opening weekend, and $428 million combined international total (many countries are already in their second week). It’s no record setter, but in context the result is strong.
Also of interest: Two strong niche audience entries — “How to Be a Latin Lover” (Lionsgate) and especially “Baahubali 2: The Conclusion” (Great India) — held very well. We’ll check in with them, as well as the increasingly successful “Gifted” from Fox Searchlight.
The Top Ten
1. Guardians of the Galaxy Vol. 2 (Disney) NEW – Cinemascore: A; Metacritic: 67; Est. budget: $200 million
$145,049,000 in 4,347 theaters; PTA (per theater average): $33,368; Cumulative: $145,049,000
2. The Fate of the Furious (Universal) Week 4; Last weekend #1
$8,529,000 (-57%) in 3,595 theaters (-482); PTA: $2,372; Cumulative: $207,136,000
3. The Boss Baby (20th Century Fox) Week 6; Last weekend #4
$6,175,000 (-34%) in 3,284 theaters (-455); PTA: $1,880; Cumulative: $156,736,000
4. How to Be a Latin Lover (Lionsgate) Week 2; Last weekend #2
$5,250,000 (-57%) in 1,203 theaters (+85); PTA: $4,364; Cumulative: $20,653,000
5. Beauty and the Beast (Disney) Week 8; Last weekend #6
$4,943,000 (-28%) in 2,680 theaters (-475); PTA: $1,844; Cumulative: $487,595,000
6. The Circle (STX) Week 2; Last weekend #5
$4,020,000 (-55%) in 3,163 theaters (no change); PTA: $1,271; Cumulative: $15,715,000
7. Baahubali 2: The Conclusion (Great India) Week 3; Last weekend #3
$3,243,000 (-69%) in 400 theaters (-25); PTA: $7,757; Cumulative: $16,176,000
8. Gifted (Fox Searchlight) Week 5; Last weekend #9
$2,055,000 (-39%) in 1,874 theaters (-341); PTA: $1,097; Cumulative: $19,240,000
9. Going in Style (Warner Bros.) Week 5; Last weekend #7
$1,900,000 (-47%) in 2,033 theaters (-728); PTA: $935; Cumulative: $40,601,000
10. Smurfs: The Lost Village (Sony) Week 5; Last weekend #8
$1,820,000 (-49%) in 1,902 theaters (-652); PTA: $957; Cumulative: $40,751,000
“Guardians” Is Very Strong, But Below Other May Marvels
The first weekend of May is a powerful one: It’s played home to each of the top eight Marvel opening weekends (in adjusted grosses); “Guardians of the Galaxy Vol. 2” places seventh. However, it’s about 40 percent ahead of the first “Guardians,” which was consigned to a riskier early-August date.
Why the lower numbers? While its characters have gained a tremendous amount of currency since the franchise’s debut, they’re still not “Avengers” level. Still, “Guardians 2” faced less competition than last April’s “Captain America: Civil War,” which had to contend with “The Jungle Book” among other holdovers.
So, this weekend’s top 10 fell 21 percent from last year, the lowest since 2014. With $191 million in 2015 for “Avengers: Age of Ultron,” it ushered in a massive summer. So while “Guardians Vol. 2” is laudable, it doesn’t necessarily augur a season of blockbuster blockbusters — especially after “The Fate of the Furious” fell far behind its predecessor.
If that pattern continues, we’ve got a problem. The wild cards remain whether original projects such as Christopher Nolan’s “Dunkirk” make up for any lag.
We’ll get an initial indication with next week’s debuts of “King Arthur: Legend of the Sword” (Warner Bros.) and Fox’s comedy “Snatched.” Their performances could set the tone for the summer.
Big Drops for “Latin Lover” and “Baahubali 2” Mean Different Things
The surprising second and third place showings last weekend for Pantelion Films’ “How to Be a Latin Lover” and the Indian sequel “Baalubali 2” fell considerably this weekend. But with over $20 million for “Latin” and $16 million for “Baahubali,” results are stellar for both.
With its 57 percent drop, “Latin Lover” looks to top $30 million. That would be a third lower than comic Eugenio Derbez’s earlier Pantelion/Lionsgate entry, “Instructions Not Included.” Unlike “Lover,” that film was an all-Spanish language film without U.S. locations.
Though not a sequel, “Lover” seems to have played like one. Broadening into bilingual dialogue and a domestic setting didn’t broaden the appeal, while perhaps making it lose a bit of edge.
Still, the biggest challenge was the competition. “Instructions” opened Labor Day 2013, then expanded. This time, they faced a Marvel monster. Unlike some studios, Disney doesn’t provide ethnic breakdowns of attendance; still, based on normal patterns, Latinos likely made up around $15 million of ticket sales for “Guardians,” possibly more. So figure the take this time around on “Lover” to be very acceptable, if a bit less than the potential.
By contrast, “Baalubali 2” so exceeded its potential already what remains is just a bonus. Most Indian films (which these days means more than Bollywood; this film is not, as it was made in Telugu) see up to half of their domestic business on the first weekends, as loyal Indian-American audiences across the country jump to see them at the same time they open worldwide.
So a 69 percent drop (accelerated by the loss of IMAX theaters) isn’t anything strange, and the performance remains extraordinary. There are around 3 million Indian-Americans in the U.S. alone. This will end up around $20 million, which means roughly 2 million tickets will be sold, presumably mostly to that group. Exclude infants, the infirm, and the elderly, and that means perhaps two thirds of that group will see the film in theaters.
As a point of comparison: Imagine a film that held similar appeal for the total population of North America. That would be more than 200 million tickets sold, or a domestic gross approaching or exceeding $2 billion — more than double “Star Wars: The Force Awakens.”
“Gifted” Keeps Giving
With two decades of success and three Oscar Best Picture winners, Fox Searchlight has always had the capacity to adapt to change. They were among the first companies to go beyond the standard two-city platforms for some of their releases, and haven’t been afraid to act like a more of crossover company while largely sticking to films that qualify as specialized in the broadest definition.
“Gifted” is their biggest success since their awards-enhanced run with “Brooklyn” over a year ago, and second biggest over the past two years. It may be the biggest specialized film of the year — if indeed, it can be called specialized. (Otherwise, the title goes to “The Zookeeper’s Wife” from Focus, which also went wider but was in the multi-hundred theater range from the start.)
What “Gifted” has accomplished is a result of smart decisions that show the value of key strategic moves.
Unlike most Searchlight releases, “Gifted” had no festival play. With mildly favorable reviews at best, it would have been vulnerable to an average upscale New York/Los Angeles platform opening.
Instead, its initial week had 56 theaters across multiple metropolitan areas, with an emphasis on suburbs and broader audiences. That made it sort of a preview week to boost word of mouth. The result showed interest in these wider-audience theaters as well as the usual Searchlight suspects.
Then they rapidly expanded to 1,146 screens the second week. That was the second smart choice. This placed it against the opening of “The Fate of the Furious” as well as Easter weekend. The counterprogramming worked, and the film placed at #6 position — high for its $3.1 million gross.
That sparked word of mouth, which now sustained a fifth week in the Top 10 (it actually went up a slot this week, though the gross fell). At over $19 million, it has a serious shot at $30 million, a decent figure for a film without high-end marketing costs and a likely healthy afterlife in other venues.
Is it a specialized film? Perhaps not. But it needed special handling and it got it.
The two family-oriented films (“The Boss Baby” and “Beauty and the Beast”) fared best against the Marvel onslaught, dropping 34 and 28 percent respectively. The second weekend of “The Circle” (STX) at 55 percent confirmed its DOA status.
“Going in Style” (Warner Bros.) saw its biggest tumble, down 47 percent. With 12 percent of the “Guardians” business coming from those over 50, that’s a big chunk of the potential audience that disappeared.
Source: IndieWire film
May 7, 2017
Now that “Guardians of the Galaxy Vol. 2” is in theaters and dominating the box office in much the same manner as its predecessor, James Gunn is feeling thankful. The writer/director took to Facebook to share his gratitude for all the “heartbroken misfits” who, like him, take joy and comfort in pop culture.
“When I was young I felt utterly alone, at times to the point of suicidal thoughts. I never felt like I belonged, had an incredibly difficult time connecting to other people and, despite having love around me, I had an impossible time experiencing it, or taking it in,” he writes.
“But I found my respite in popular entertainment – Marvel comics, science fiction and horror films, the music of The Sex Pistols, The Replacements, and Queen,” Gunn continues. “Suddenly I could see past the bland suburbs where I lived into a more magical world, a world more aligned with what I imagined.
“Sometimes these works were simply escapist fantasies that distracted me from the difficulties of my internal life. But other times, in the strongest moments – maybe through the words of Alice Cooper or Freddie Mercury, through Cronenberg films, or even in Chewbacca’s growl, I experienced something deeper – the realization that I wasn’t completely alone. Someone out there was as weird and strange and whacked out as I was.”
All of this is in response to the success of “Guardians,” which the filmmaker says can be distracting to the point of making him lose sight of what really matters. It’s in that spirit that he’s taken the time to thank fans, including a message of solidarity apropos of his film: “We are Groot.” Read the full post here.
Why I make movies (in gratitude) https://t.co/Z4NCgaZYTV
— James Gunn (@JamesGunn) May 6, 2017
Source: IndieWire film
May 7, 2017
A weak arthouse market was brightened by “The Lovers,” a high-concept A24 release targeted at the usual older specialty demo. Azazel Jacobs, an indie veteran without a breakout film to his credit, returned to the feature world from HBO (“Doll and Em”) with “The Lovers” (A24). Its initial results put it atop the results for the weekend which saw several disappointments.
Several top specialized distributors optimistically counter-programmed against Marvel’s May juggernaut “Guardians of the Galaxy Vol. 2,” hoping to fill the vacuum with no other wide releases to grab attention. That strategy can can launch a film like “Belle,” “Ida,” and “Far from the Madding Crowd” toward a big push in the early summer period including Memorial Day weekend.
Even if “The Lovers” never approaches that level, it is positioned to get further attention ahead of numerous new releases this coming weekend.
Also opening strong with the best revival/restoration numbers in some time was Russian director Andrei Tarkovsky’s “Stalker” (Janus) which grossed an estimated $20,000 in a single Manhattan theater.
The Lovers (A24) – Metacritic: 71; Festivals include: Tribeca, Montclair 2017
$70,410 in 4 theaters; PTA (per theater average): $17,603
Azazel Jacobs’ first film since “Terri” (2009) is the biggest opener of his career. As a long-married couple, Debra Winger shines in a comeback role opposite playwright-actor Tracy Letts (“Christine”). They each delay telling each other about their affairs and plans for divorce but reignite their sexual romance, shocking their their visiting adult son.
This comedy/drama was boosted by a strong Los Angeles Times review which helped to overcome a New York Times pan. A24 easily got strong theater placement for this older audience movie which looks to come close to the results of IFC’s similar two-hander “45 Years” late in 2015. That film, which later was elevated by Charlotte Rampling’s Best Actress nod, opened to $65,000 in three theaters over Christmas weekend. “The Lovers” is a bit shy of that for its debut. (“45 Years” ran the awards lift to over $4 million.)
A24’s second in-house production after “Moonlight,” “The Lovers” is the most likely to thrive of the week’s new releases. The substantial Saturday uptick from Friday suggests it is initially reaching its target older audience. A24 will give this off-brand title strong support.
What comes next: The next wave of big cities starts this Friday, with a steady expansion throughout May.
The Dinner (The Orchard) – Metacritic: 58; Festivals include: Berlin, Tribeca 2017
$755,348 in 509 theaters; PTA: $1,496
Weak results greeted the cross-country release of this upscale ensemble drama about two couples having a tense dinner about the fate of their two troubled sons. Anticipating mixed reviews, The Orchard wisely chose not to take the platform route and went wider from the start, also recognizing that “The Dinner” is the second Richard Gere film in the market (after “Norman: The Moderate Rise and Tragic Fall of a New York Fixer”) and the second he’s done with Oren Moverman (“Time Out of Mind”). This marked a big jump for The Orchard, which scored well last year with “Hunt for the Wider People,” with the largest break to date, more than 200 theaters more than any of their earlier films.
What comes next: Little sign that this will merit wider expansion.
Risk (Neon) – Metacritic: 71; Festivals include: Cannes 2016, Art of the Real 2017
$75,179 in 35 theaters; PTA: $2,211
One of the most talked about documentary releases of the year opened to modest results despite elevated attention.
Laura Poitras hit box office and Oscar gold with her Edward Snowden as-it-happened “Citizenfour” in late 2014. That film opened quite well in a conventional five theater platform release after a New York Film Festival launch, with a PTA of $25,000. That then went to 37 its second weekend, with a PTA over $5,000 on its way to a $2.8 million for Radius/Weinstein.
Julian Assange, like Snowden a whistleblower/cybertheft figure, marks a more controversial but less fresh subject than Snowden: Alex Gibney’s “We Steal Secrets” previously portraying him in 2013. That opened to $28,000 in four theaters and only totaled $166,000 for Focus World.
“Risk” received plenty of attention as it evolved from its Cannes premiere last year to considerable reshaping as intervening events led Poitras to revisit her subject. This helped Neon (with its second release after “Colossal” a month ago) gain media coverage. But strong reviews were less rapturous than for “Citizenfour.”
What comes next: Neon plans a steady expansion over the next few weeks before Showtime airs the film this summer.
Chuck (IFC) – Metacritic: 67; Festivals include: Venice, Toronto 2016, Tribeca 2017
$40,416 in 4 theaters; PTA: $10,104
“Chuck” with Liev Schreiber in the title role — giving some weekend showings a boost with Q & A sessions — showed a modest debut at four key New York/Los Angeles theaters. But it came with a significant 110 per cent Saturday jump that could be a sign of the film gaining some initial traction.
Boxing films have had such a rebound at least in production that now title changes are in order. IFC premiered “Chuck” at film festivals last September as “The Bleeder” (as working class boxer and “Rocky” prototype Chuck Wepner was known) but later changed the title when Miles Teller drama “Bleed for This” also appeared.
Liev Schreiber plays the fighter who knocked down Muhammed Ali in their 1975 championship bout but failed to sustain a career. He may have influenced Stallone’s iconic character Rocky. IFC bought spots on cable sports programs as part of their marketing.
What comes next: Top 25 markets this Friday, top 100 by end of the month.
3 Generations (Weinstein) – Metacritic: 48; Festivals include: Cannes 2015
$20,118 in 6 theaters; PTA: $3,353
While Weinstein successfully appealed their initial R rating, that marketing win didn’t translate into box office interest, as this long-delayed transgender family drama, produced in 2014, has been plagued with mixed to negative reviews since its 2015 Cannes debut. Elle Fanning as a teenage boy seeking parental permission to transition costars with Naomi Watts and Susan Sarandon. Despite major marketing and initial theater placement, the film failed to gain much traction. Saturday at least had a decent 56 per cent jump.
What comes next: The expansion starts this Friday.
Like Crazy (Strand) – Metacritic: 67; Festivals include: Cannes, Mill Valley, Chicago 2016
$(est.) 6,000 in 2 theaters; PTA: $(est.) 3,000
Italian comedy/dramas used to be a mainstay of American art houses, but in recent years few films at all have seen much domestic action. This one directed by Paolo Virzi is set in an Italian asylum and features two contrasting female patients. Strand scored dates at Manhattan’s subtitle-friendly Lincoln Plaza and IFC Center, with minor results.
What comes next: Los Angeles follows on Friday.
A Woman’s Life (Kino Lorber) – Metacritic: 74; Festivals include: Venice, Toronto 2016
$11,513 in 2 theaters; PTA: $5,742
Stephane Brize (“Measure of a Man”) has been gaining stature among French directors and getting steady release in U.S. theaters. His latest, based on novelist Guy de Mauppasant’s 19th-century story of a wealthy woman’s affair, also opened at two Manhattan locations to favorable reviews and middling business.
What comes next: It opens in Los Angeles next week.
Mr. Chibbs (Abramorama) – Festivals include: Montclair 2017
$3,640 in 1 theater; PTA: $3,640; Cumulative: $7,520
The afterlife of NBA star Kenny Anderson and his tough times adapting post-retirement are chronicled in this documentary which opened in two New York theaters to a five-day gross that comes from only at 60-seat theater at the IFC Center.
What comes next: This will see niche dates ahead particularly in areas associated with its subject.
Julian Schnabel: A Private Portrait (Cohen) – Metacritic: 40; Festivals include: Tribeca 2017
$(est.) 4,500 in 3 theaters; PTA: $(est.) 1,500
Painter Julian Schnabel has made movies, appeared in them and now is the subject of a documentary solely about him. It opened in New York and Los Angeles to minimal results with mostly negatives reviews.
What comes next: This doesn’t look to hold much more than minor interest.
Stalker (Janus) (reissue)
$19,785 in 1 theater; PTA: $19,785
Andrei Tarkovsky’s 1979 Italian-made masterpiece gets reissue treatment with an initial strong result at New York’s Film Society of Lincoln Center.
What comes next: This strong gross should get this reissue attention beyond the normal revival circuit.
Also on Video on Demand:
Burden (Magnolia/Tribeca 16) – $(est.) 3,000(est. in 2 theaters
Take Care (The Orchard/Tribeca 17) – $(est.) 2,800 in 2 theaters
This Is Not What I Expected (Well Go USA/China) – $140,000 in 36(est.) theaters
Love Off the Cuff (Asia Releasing/China) – $(est.) 140,000 in 47 theaters
Obit. (Kino Lorber)
$13,386 in 3 theaters (+1); PTA: $(est.) 4,666; Cumulative: $54,386
Los Angeles added theaters for this documentary about the death notices section of the New York Times, with a strong local review making it a modest success.
Bang! The Bert Berns Story (Abramorama)
$4,830 in 2 theaters (+1); PTA: $2,415; Cumulative: $16,297
Los Angeles added to the initial New York date for some sampling for this documentary about an important but lesser known 1960s rock figure.
Ongoing/expanding (grosses over $50,000 in under 1,000 theaters)
The Lost City of Z (Bleecker Street) Week 4
$1,062,000 in 815 theaters (-51); Cumulative: $6,644,000
Pulling ahead of Bleecker’s “Captain Fantastic,” this adventure tale in partnership with Amazon will soon top all of Bleecker Street’s releases other than their break out “Eye in the Sky.”
The Zookeeper’s Wife (Fox Searchlight) Week 6
$539,715 in 655 theaters (-342); Cumulative: $15,808,000
Holding on after an accelerated wider run, this won’t quite reach last spring’s top specialized release “Eye in the Sky” (over $19 million) but has led 2017’s limited releases to date. (Fox Searchlight’s wider crossover hit “The Gift” continues to expand its margin ahead of this).
Norman: The Moderate Rise and Tragic Fall of a New York Fixer (Sony Pictures Classics) Week 4
$481,467 in 125 theaters (+78); Cumulative: $1,095,000
Continuing to show decent response as it expands, and more impressive against the much wider opening in many of the same theaters for star Richard Gere‘s “The Dinner,” this continues on a pace to be SPC’s biggest-grossing release in a year — it needs to hit $3.3 million.
Their Finest (STX) Week 5
$420,000 in 323 theaters (-7); Cumulative: $2,450,000
This London World War II story starring Gemma Arterton is holding steady with nearly the same theater count. If STX can hold theaters, this still might see a good chunk of gross ahead.
Colossal (Neon) Week 5
$200,200 in 242 theaters (-84); Cumulative: $2,501,000
In week five, Anne Hathaway’s indie genre flick continues to decline more quickly than expected, with a PTA now under $1,000.
A Quiet Passion (Music Box) Week 4
$156,554 in 79 theaters (+34); Cumulative: $488,488
In a promising sign for Terence Davies’ Emily Dickinson biopic, despite a significant addition of theaters the PTA stayed close to $2,000 (it was a little over last weekend). That suggests both room for more expansion as well as a chance of holding in at those already playing.
Your Name. (FUNimation) Week 5
$(est.) 85,000 in theaters (-55); Cumulative: $(est.) 4,650,000
Quietly this Japanese animated worldwide smash has managed a very strong domestic take outside the usual distributors.
Citizen Jane: Battle for the City (IFC) – $44,000 in 20 theaters; Cumulative: $132,252; also available on Video on Demand
Chasing Trane: The John Coltrane Documentary (Abramorama) – $27,715 in 15 theaters; Cumulative: $150,762
Tommy’s Honour (Roadside Attractions) – $18,825 in 35 theaters; Cumulative: $533,355
Frantz (Music Box) – $13,064 in 20 theaters; Cumulative: $838,623
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Source: IndieWire film
May 7, 2017
If action figures and posters aren’t your kind of movie memorabilia, perhaps this will be more to your liking: the bus from “Captain Fantastic,” which is for sale on Craigslist. Viggo Mortensen isn’t included in the transaction, unfortunately, but for the low, low price of just $6,000 you can get the vehicle being alluringly advertised as “1993 Bluebird bus, Built for the movie ‘Captain Fantastic.’ Still has set dressing props in it.”
Among the other accoutrements: “2 A/C units mounted on roof” and the ability to “build out like you want it.” The fuel is diesel, the title is clean and the transmission is automatic. If you feel like turning your family into a survivalist clan out in the wilderness, there’s really no other option.
The last line of the listing may also be the most tantalizing: “Burning man, Bus, cross country ready.” Interested parties should head to Craigslist, where all dreams come true.
Source: IndieWire film
May 5, 2017
For young adults, choosing which college to attend is an important decision. The major and college a student chooses has an impact on what kind of career path they will have. Some colleges are focused on engineering while others are notorious for throwing the best parties. Does the type of school a person attends influence their earnings?
Students also have to figure out what interests them most. Students also have to consider if the degree they are working towards is worth their hard work. Ultimately, most young adults go to college in order to pursue a career and improve their economic situation. Students want to go to college to eventually get a job which will increase their standard of living.
Using data provided by the Wall Street Journal and PayScale, let’s explore salary growth by looking at degree programs, college type, and region. This dataset surveys 1.2 million people over a year with only a bachelor’s degree. It measures the earnings at the beginning of their career and 10 years after they graduated.
Choosing what to major can help determine the salary and amount of career growth that is expected. If you’re trying to decide if a specific degree is worth it, it’s important to consider not just the starting median salary but also the amount of salary growth associated with a degree. Engineering and business degrees not only have high starting median salaries, but also strong salary growth. Salary growth determines an individual’s mid-career median salaries. On the other hand, bachelor’s degrees related to health have strong starting salaries but weak salary growth from starting to mid-career. Degrees related to education have the lowest starting salary and slow salary growth. Something to consider with careers in education is the amount of time off educators have. This could account for such low annual salaries.
Different types of schools also have different median salaries. Liberal arts, party, and state schools have similar starting median salaries. However, liberal arts schools have higher median salary growth from starting to mid-career compared to party and state schools. Ivy League schools are prestigious for a reason and give students the best start and the strongest salary growth into mid-career. Ivy League and engineering schools have similar starting salaries but by mid-career, the median salary of Ivy League school graduates are on average $16,282.89 more than engineering school graduates.
Graduates from schools in California and the Northeast tend to have higher salary growth than schools in Western, Southern, and Midwestern regions. California and the Northeastern states also have higher costs of living. This could explain the higher salaries in these states.
Choosing which college to attend and what degree to pursue has an impact on the potential salary of a student. This is an important decision to make and should be considered carefully. Something important to consider is that although different degrees and school have varying salary growth, by mid-career all degrees and schools have salaries that are greater than the median salary in the US.
Source: Visual News
May 5, 2017
Next up in our Filmmaker In Focus Series are two Texas directors that reside in Austin, Bob Byington and Parker Smith. Byington is a SXSW Film alum many times over, his films, Olympia (1998), Registered Sex Offender (2008), Somebody Up There Likes Me (2012) and 7 Chinese Brothers (2015) have all premiered at our festival. Ramblin’
Freak marks Parker’s directorial debut. Find out more about these films below:
Q: Tell us a little about your film?
A: “It’s a comedy about babies that don’t age.”
Q: What motivated you to tell this story?
A: “Commitment issues.”
Q:Tell us a random fact?
A: “I premiered a film at SXSW in 2008 called Registered Sex Offender.”
Q: Tell us a little about your film?
A:“This is a movie about cats, minivans, muscles and family. I was tired of being a filmmaker without any films so I decided to buy a camera and document myself driving around the country with my cat. When the camera came in the mail I found a tape inside from the previous owner: Gregg Valentino, the man with the world’s biggest biceps. So instead of wandering around aimlessly, we took off to New York from Texas to meet him.”
Q: What motivated you to tell this story?
A: “The moment I realized whose camera I had purchased, the film’s focus did a complete 180. What was originally a movie about running away from problems became the story of facing them head on.”
Q:Tell us a random fact?
A: “I’m a three-time film school dropout who’s been selling tacos in Austin for the last two and a half years.”
Explore More Content From SXSW 2017
Get inspired by a multitude of diverse visionaries at SXSW – browse more 2017 Keynotes, Featured Sessions, Red Carpets, and Q&A’s on our YouTube Channel.
The post Filmmaker In Focus Series: Texas Filmmakers Part Three appeared first on SXSW.
Source: SxSW Film
May 5, 2017
If you’re not familiar with them yet, gifographics, or infogifs, are the upgraded version of the infographic. Infographs have long been the visual content standard used by marketers and content creators alike, but the gifographic adds a little bit more to the classic graphic visual.
Gifographics are perfect for mobile displays and produce a more interactive and engaging experience than the traditional infographic. Like the name suggests, gifographics are infographics with the moving parts of a GIF. Similar to infographs, they present viewers with a wide range of information in a minimal amount of space but with the inclusion of animated components. This addition leads to greater engagement with viewers, making it an extremely effective form of visual content.
Take a look at these beautiful examples of gifographics we’ve rounded up below to see why they’ve become so popular:
1. The Cost Of Being The Ultimate Harry Potter Fan by MoneySuperMarket
This is a perfect example of how gifographics can be more engaging.There is a great deal of information provided without being cluttered and the subtle animations of the various aspects on this infogif is enough to catch the eye without being overwhelming.
2. How To Build A Human by Eleanor Lutz
The continuous animation of the spiral is striking and helps to make the process more understandable. The GIF essentially speaks for itself and is a perfect visual representation of the information provided.
3. How To Win The Content Marketing Game by kapost and Salesforce
This gifographic incorporates animated parts to produce an 8-bit “game” feel, tying together the title and the visual design. This makes the infogif more compelling and playful while still being able to express the important information provided.
4. How Google Works by Quicksprout
The animated details perfectly bring to life the visual representations of the information on this gifographic to help readers understand all of the data. This type of GIF use is an excellent example of using images and animations to speak for the material.
5. Virtual Reality: A Fresh Perspective For Marketers by Column Five
This gifographic uses animation to call attention to important aspects of the content. The subtle GIF details make it refreshing and lively without detracting from the ample amount of information presented.
6. How To Perform CPR by Carrington
This example uses a step-by-step GIF to explain a process in a small amount of space. Rather than creating a long visual like traditional infographs, the sections are condensed into one frame with each stage of the technique scrolled through on a loop.
This is another excellent example of using animation to tie the visual to the title of the content. The images are playful and illustrate the advice in a way that a cursory readthrough of the infogif would be enough to understand the recommendations given.
8. Three Different Ways To Breathe by Eleanor Lutz
Another beautiful example by Eleanor Lutz, this gifographic utilizes animation to demonstrate the information presented. The GIFs in this particular example show how animation can be used to help explain a concept that can be otherwise difficult to describe with static images and data.
9. How Social Signals Impact Search Engine Rankings by Quicksprout
The simple animations featured on this infogif prove that sometimes less is more. This example is not inundated with lots of moving parts, but the sections that are are enough to draw attention to the meaningful bits of information.
10. Infographics vs. Gifograhics by SEO Expert Page
If you’re trying to decide what type of visual content would work best for you, this gifographic breaks down the pros and cons of infographics and gifographics. They cleverly leave the images pertaining to infographs static and animate the images referring to gifographs. This is a good example of how the two types of visual content can be merged.
11. The Author Rank Building Machine by Vertical Measures
This is another example of how a well animated infogif can enhance the information and style and design of a visual. As viewers move through this gifographic, the images and animations build upon each other further highlighting the theme of the visual.
12. The Future Of Infographics by Column Five
The moving parts in this particular gifographic demonstrates the information being presented in the visual. The static components explain the material while the animated elements provide the visual example of the material.
13. The Science Of Successful Content by Kantar
This particular infogif utilizes the animated elements to make the visual more engaging and interesting. The GIFs are subtle but stimulating enough to make the visual content and accompanying information stand out.
14. Innovative Animations by Wyzowl
If you’re looking to get better interaction with your audience, animation is the way to go. This infogif breaks down various animation methods into easy to understand sections with animated images to illustrate the different methods being described. The use of GIFs in this example perfectly spotlight how animation can work to enhance visual content.
15. 7 Influencer Marketing Insights You Need To Know Today by gifographics.co
The GIFs in this example make the visual content more visually stimulating and wacky in a way that captivates viewers. The use of the same colors in every animation ties everything together to produce a theme and prevent the visual from being too cluttered and overwhelming.
16. The Growth Hacking Model by Evolve!
The very subtle animated aspects of this infogif is a prime example of how even simple animations can make a difference to visual content. There are no complicated moving parts in this example but the slight changes in the images are enough to lead the viewers on a journey through the information.
17. How Wind Turbines Work by Save On Energy
This example makes use of animation to illustrate how a wind turbine works and the benefits of wind farming. The GIFs provide the perfect visual representation and explanation of that various components of a wind turbine to make the information easier to understand.
18. Are You Slacking Off? by Column Five
Each of the moving components of this example provide visual representations of the data being presented. With a lot of facts being administered in a small amount of space, the animations help to break up the numbers and create a more interesting atmosphere.
Source: Visual News
May 5, 2017
Facebook has turned its back on efforts to develop in-house virtual reality content with the closure of Oculus Story Studio, marking a shift in …
Source: CW’s Flipboard Feed
May 4, 2017
This article originally appeared on Column Five.
Content marketing is not about talking about yourself; it’s about creating content that delivers true value to your audience—the content they need and want. No matter who your audience is, I can guarantee that what they need and want is information that helps them learn, grow, and improve in some way.
When your brand provides that information, you’re providing an education—and that is a truly valuable service.
“Education” through content marketing can take many forms: practical (how-tos and tutorials), theoretical (deep dives into specific subjects), or brand-specific (product information and features). Most importantly, it delivers useful information in the right context, at the right time.
Unfortunately, over the last decade, we’ve seen too many marketers focus on what they want to say instead of what their audience wants to learn. This is a huge mistake; if you want to succeed in content marketing, focusing on education is crucial. It’s also not that hard. Here are five ways to create education-based content that delivers great value to your audience.
1) PROVE THAT YOU FEEL THEIR PAIN
People want help from those who know what they’re going through, who can help them navigate those issues. Therefore, the best way to make yourself attractive to a customer is to help solve their problems via content.
An added benefit: Creating this type of content not only shows your audience that you care about educating them but proves that you can educate them, positioning your brand as a helpful resource.
How do you get familiar with your clients’ pain points? Ask. Email them. Call them. Take them out to lunch, dinner, or drinks.
Whichever way you do it, use this information to fuel your content.
We’ve created audience personas with the information we’ve gleaned from our conversations with clients, which we reference during every brainstorm. This helps us ensure that each idea addresses as specific pain point. (Here’s how to make your own personas if you haven’t done it already.)
2) LET THEM LEARN FROM YOUR MISTAKES
In addition to wanting help from people who understand their problems, your customers want to know that you have personally overcome their struggles (or personally know how to solve them).
Customers respect industry leaders who can speak authoritatively on the issues they face. Yes, “thought leadership” is a term that gets tossed around a lot, and so it has been cheapened, but the original idea behind it is to showcase your experience, share the lessons you’ve learned, and prove that you know your stuff.
Seth Godin has said, “The lessons we remember are the lessons we learn the hard way.” Even if you don’t think you are the expert, you probably still know more than your customers and thus are in a good position to educate them.
On that note, if you feel like an impostor because someone has 10 more years of experience than you do, here’s the good news: Everyone deals with this syndrome—myself included. (Here’s a great piece to help you overcome impostor syndrome.)
3) HELP THEM GET TO KNOW YOU
Showcasing your unique point of view is truly the only way to stand out from your competitors. No one has had the same set of experiences and life lessons you’ve had, and this is truly your best value prop.
Sure, there’s a company with more website visitors than you have. Sure, they may have more e-books than you do. And, sure, they may have more speaking gigs than you do. But what they don’t have is your exact experience or perspective. They don’t have your same personality, values, client service style, or goals.
Don’t try to be Tim Ferriss, Seth Godin, or Tony Robbins. Learn from them, but forge your own path.
The more you can showcase who you are through content and educate your audience through interaction with your brand, the more your audience will forge a more unique, personal connection with you.
This content will also attract people who have similar perspectives or philosophies, which means that audience is more likely to convert (as opposed to other methods, such as paid search or radio advertising, which reaches broader audiences).
At Column Five, we produce informative content for our clients, but we also create content to showcase our company’s values and personal passions (e.g., our People for Periods interactive infographic to help destigmatize menstruation).
4) TEACH THEM A PRACTICAL SKILL
Thought leadership is important, but sometimes brands get a little too esoteric, musing in long blog posts or philosophizing on a podcast. That knowledge is valuable, but if it isn’t immediately applicable to your audience’s life, it can take a backseat.
Instead, try repackaging that knowledge into smaller, shareable content your audience can put to use. Even a small tidbit via a tweet can help. Seek to educate through tutorials, how-to guides, hacks, and tips, but remember that practicality is key for this type of content.
You can also use this type of helpful microcontent to promote your larger pieces. For example, we created this infographic on how to optimize your blog for publishing to help promo an e-book on content distribution.
5) LEARN TOGETHER
You are an expert in your industry. You know your stuff. But you’re also eager to expand your knowledge to give your audience the best information possible at all times. Demonstrating that you are also an active student teaches your audience that you aren’t just resting on your laurels. It helps them learn new things, too.
To help educate ourselves and our audience, we conduct Q&As with industry leaders we think are doing great work and are successful in their own lanes. For example, a few members of our team were so enamored of PopSugar’s Snapchat stories, we interviewed them to find out everything about their production process and provide a few tips to our readers.
REMEMBER: VALUE COMES FIRST
Expanding your reach, exploring new ideas, and fostering a learning community through content can only help your brand, as long as you’re focused on providing value. Remember the wise words of Zig Ziglar: “You can have everything in life you want if you will just help enough other people get what they want.”
To learn more about creating better content, check out our team’s top tips to make you a better content marketer and take a look at our best fixes for your biggest content marketing problems. Of course, if you need help with your content efforts, we’re always happy to chat.
Source: Visual News
May 4, 2017
Another NAB is in the books. We recap the biggest gear and software announcements and check out the new toys.
Source: CW’s Flipboard Feed