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April 23, 2018

This Is Us Cast Panel with Executive Producer Dan Fogelman at SXSW 2018 [Video]

“There is hope and optimism there…that there is a happy ending potentially for the show and for the world.” – Dan Fogelman

In the critically-acclaimed NBC drama, This Is Us, everyone has a family and every family has a story. The series chronicles the Pearson family across three decades: from Jack (Milo Ventimiglia) and Rebecca (Mandy Moore) as young parents in the 1980s to their 37-year-old kids Kevin (Justin Hartley), Kate (Chrissy Metz), and Randall (Sterling K. Brown) searching for love and fulfillment in the present day. In the This Is Us Cast Panel, creator and executive producer Dan Fogelman as well as cast members Ventimiglia, Moore, and Hartley take an inside look at the Emmy Award-winning drama.

“One of the greatest things about the experience we all have on this show is the conversation that gets started because of these very simple, attainable stories.” – Milo Ventimiglia

During the session moderated by Glamour‘s Jessica Radloff, she asked the panelists a series of questions related to fan encounters, in addition to sharing a funny story about her mother, who happens to be a huge This Is Us fan, and got the lucky opportunity to meet Hartley and Brown. Prior to the Featured Session, fans joined the cast and producers at the world premiere screening of the This Is Us season 2 finale episode as part of the SXSW Film Festival.

Before going to the audience for questions, Radloff posed on last question asking, “What have you guys learned on this journey and what has this show done for you as a person?” Fogelman thoughtfully responds with, “For me, I am one of those people who cannot get off CNN right now and watch everything that is going on in this country, just generally and globally how divided everybody is. I am constantly just going, what on earth is going on right now? How are we all collectively here regardless of what side of the line we sit on? And I look at the show, not just that it exists…the popularity of the show and the fact that people across all spectrums of life are attaching to this show that is open-hearted and optimistic, romantic, and inclusive; it gives me hope a little bit,” said Fogelman.

Watch the video above for the full This Is Us Featured Session. Browse more 2018 Keynotes, Featured Sessions, Red Carpets, and Q&A’s on our YouTube Channel.

Follow us on Facebook, Twitter, Instagram, and SXSW News for the latest SXSW coverage and 2019 updates.

This Is Us – Photo by Steve Rogers Photography/Getty Images

The post This Is Us Cast Panel with Executive Producer Dan Fogelman at SXSW 2018 [Video] appeared first on SXSW.

Source: SxSW Film

April 22, 2018

‘A Quiet Place’ Again Rules the Box Office and ‘Super Troopers 2’ Makes an Impressive Return

This weekend, it took just $22 million to be #1 at the box office. In its third weekend, “A Quiet Place” led a closely matched group in the top four spots, bringing in about 16 percent more business than the same time last year. And this was supposed to be a calm before the storm that is next weekend’s “Avengers: Age of Infinity.” No one wants to position a top film ahead of that juggernaut.

Instead, we saw three wider releases take a chance at reaching targeted audiences. “I Feel Pretty” with Amy Schumer did the best of the three with a little over $16 million, with “Super Troopers 2” close behind. “Traffik” lagged behind with under $4 million in close to 1,000 theaters.

Left to right: Emily Blunt and Millicent Simmonds in A QUIET PLACE, from Paramount Pictures.

“A Quiet Place”

Jonny Cournoyer

Of note for these individual titles:

“A Quiet Place” returned to #1. More significantly, and nearly unheard of for a wide-release horror film, it fell only 33 percent its third weekend. John Krasinski’s $17 million-budgeted film is already at $132 million; suddenly, $200 million seems possible. It’s grossed more than $20 million more than “Get Out” last year at this point in its run.

Jordan Peele’s phenomenal film opened to about two thirds as much, then held better (down 15 and 26 percent its second and third weekends). “A Quiet Place” should best the $176 million domestic gross for “Get Out.” With stronger foreign interest, a worldwide total of over $300 million is likely.



“Rampage” proved the opening appeal of superstar Dwayne Johnson. Its second-weekend, 41 percent fall is the best for any of his films in the last six years, except for the holiday-boosted “Jumanji: Welcome to the Jungle.” That’s good news for the big-budget title (just over $100 million), which is doing much better overseas. Led by China, and with Japan, Germany, and France still to open, it could end up somewhere between $450 million-$500 million, about 20 percent of that domestic. Johnson’s involvement boosted this above other recent high-end action films; even without a spectacular opening, it shows what the human element of a proven star can do to enhance an otherwise by-the-numbers release.

“I Feel Pretty” gets credit for grossing more than predictions, which were closer to $10 million. After “Blockers,” this is the second R-rated, female-centered comedy in recent weeks. The more-expensive “Pretty” ($32 million) will need a strong hold to get into profit. That’s possible, based on its appeal to women and as “Avengers”counterprogramming; it could end up with a strong multiple and earn more than $50 million, but it will need foreign results. “Game Night” opened close to the same gross and is nearing $70 million, four times opening weekend.

Super Troopers 2 trailer

“Super Troopers 2”

“Super Troopers 2” is a sequel to the 2000 cult success from the Broken Lizard comedy troupe. The first film opened wide to $9.8 million adjusted, ultimately reaching $29 million; this bested that number at $14.7 million, thanks to longtime male fans. (Ticket sales were 75 percent ages 25-49, and 64 percent male). On-the-ground, multi-city marketing by Broken Lizard also helped the film double initial expectations. At a $13 million budget, this looks like a winning bet for Fox Searchlight and its second (after “Isle of Dogs” also gets there) over-$30 million performer this year. That’s great timing for a unit primed to survive in the new Disney environment post-merger.

“Traffik” with Omar Epps and Paula Patton as a vacationing couple fighting off bikers made $3.875 million on a $4 million production budget. Still, it was the sole opener to rise Saturday from Friday and Lionsgate can make sure this has a post-theatrical afterlife.

“Ready Player One”

Other decent holds were seen by “Ready Player One,” “Blockers,” and of course “Black Panther.” The first two fell about 35 percent, while “Panther” in its 10th weekend dropped only 20 percent.

Spielberg’s pricey video-world film is up to $126 million, with $150 domestic possible — more than three times its opening. It did more than 75 percent of its business outside North America, and should end up a very good $600 million or so worldwide. “Panther” will be affected by the new Marvel film, but still looks on track to reach $700 million domestic (it’s now $681 million). The next question: Will “Avengers: Age of Infinity” be its equal?

The Top Ten

1. A Quiet Place (Paramount) Week 3; Last weekend #2

$22,000,000 (-33%) in 3,808 theaters (+219); PTA (per theater average): $5,777; Cumulative: $132,359,000

2. Rampage (Warner Bros.) Week 2; Last weekend #1

$21,000,000 (-41%) in 4,115 theaters (+14); PTA: $5,103; Cumulative: $66,600,000

3. I Feel Pretty (STX) NEW – Cinemascore: B+; Metacritic: 47; Est. budget: $32 million

$16,220,000 in 3,440 theaters; PTA: $4,715; Cumulative: $16,220,000

4. Super Troopers 2 (20th Century Fox) NEW – Cinemascore: B+; Metacritic: 41; Est. budget: $13 million

$14,700,000 in 2,038 theaters; PTA: $7,213; Cumulative: $14,700,000

5. Truth or Dare (Universal) Week 2; Last weekend #3

$7,910,000 (-58%) in 3,068 theaters (+39); PTA: $2,578; Cumulative: $30,287,000

6. Ready Player One (Warner Bros.) Week 4; Last weekend #4

$7,500,000 (-35%) in 3,028 theaters (-453); PTA: $2,338; Cumulative: $126,181,000

7. Blockers (Universal) Week 3; Last weekend #5

$6,985,000 (-35%) in 3,134 theaters (-284); PTA: $2,229; Cumulative: $48,254,000

8. Black Panther (Disney) Week 10; Last weekend #6

$4,642,000 (-20%) in 1,930 theaters (-250); PTA: $2,405; Cumulative: $681,084,000

9. Traffik (Lionsgate) NEW – Cinemascore: NA; Metacritic: 39; Est. budget: $4 million

$3,875,000 in 1,046 theaters; PTA: $3,705; Cumulative: $3,875,000

10. Isle of Dogs (Fox Searchlight) Week 5; Last weekend #7

$3,400,000 (-38%) in 1,947 theaters (+8); PTA: $1,746; Cumulative: $24,360,000

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Source: IndieWire film

April 22, 2018

Dwayne Johnson Won’t Take You to Prom, but He Will Rent Out an Entire Theater So You Can See ‘Rampage’ — Watch

A high-school student asked Dwayne Johnson to prom, and you’ll never guess what happened next: He said no! It’s okay, though, because the only reason he politely declined was because he’ll be filming “Jungle Cruise” when the end-of-year dance takes place. In lieu of wearing a tux and getting one Katie Kelzenberg a corsage, The Rock was kind enough to rent out an entire theater so that she and her friends could see “Rampage” — and he announced it over the school’s intercom system. Watch below.

Kelzenberg invited Johnson to prom via a clever tweet, which prompted an Instagram response from the eight-time WWE Champion. “I was so impressed by this young lady’s charm and confidence to even ask me (ladies always get shy in front of me) that I had to do something special,” he writes. “I decided to rent out an entire theater (capacity 232 seats) in her town so Katie and her closest 232 friends and family can enjoy a special screening of RAMPAGE.”

“I also taped a special morning message surprising Katie and her high school that will play across the school’s intercom system… literally…RIGHT NOW, Katie should be turning red hearing me surprise her in front of her entire school,” Johnson continues. It’s true:

Instagram Photo

Source: IndieWire film

April 22, 2018

Cinematographer Bradford Young Calls for ‘Cultural Shift’ to Combat Industry Bias

The message was clear at Saturday’s American Society of Cinematographers meeting about “changing the face of the industry” to include more minorities and women in cinematography in Hollywood. Engage in collective action from the top down and bottom up, and, if necessary, shame producers and executives into changing their stereotypical hiring practices.

“I’m not interested in legislating change — I’m interested in shifting the culture,” said Bradford Young, only the second Oscar-nominated black cinematographer in the history of the Academy Awards (“Arrival”). “We have to make the cinema we want.”

Read More: ‘Solo: A Star Wars Story’: Different Directors Meant the Same Vision for Cinematographer Bradford Young

Young, who has successfully navigated between indies (“Where Is Kyra?”), franchises (“Solo: A Star Wars Story”), and streaming (Ava DuVernay’s upcoming “Central Park Five” series on Netflix), advised minority cinematographers and camera operators to make choices that allow them the freedom to express ethnicity through their craft. “First and foremost it’s not about making vertical moves but about making horizontal moves,” he told IndieWire. “Cinematographers should connect to projects where they can see themselves and the community that they identify with in the film.”

"Solo: A Star Wars Story"

“Solo: A Star Wars Story”

screen shot

Young stressed that his career has been “a reflection of that push back against the sort of pervasive white supremacist culture in our art form. I’ve had the opportunity to work on projects that didn’t seem to have a clear bridge between the community that I identify with and the material on screen. But I still brought my community to the project as a prerequisite. My career is about my cultural acumen, more so than my technical acumen.

“We’re in a time where we can be unapologetic about who we are. So if we’re black, queer, trans, Chicano, European-American, Southeast Asian, we should know that what we can bring to the table is important. And it is something that should be embedded in the films that we make.”

In terms of Young’s challenging “Star Wars” experience, in which directors Chris Miller and Phil Lord were replaced last summer by Ron Howard, necessitating reshoots by the cinematographer, he described it as a moment of clarity. “To me, it did not seem like a natural fit so I had to figure that out,” Young said. “I felt like it was an interesting opportunity to express myself in a particular way. I wanted ‘Star Wars’ to feel like ‘Arrival.’ I’m interested in planting my imprint. I’m part of a [black] community and I have to answer to that. I didn’t disrespect myself or the community.”

Arrival Amy Adams



Another highlight of the Netflix-sponsored event, organized by the ASC Vision Committee, was a keynote by USC’s Dr. Stacy Smith (founder of the Annenberg Inclusion Initiative). In addition to engaging with companies to change hiring practices for cinematographers, she encouraged the bottom up approach of hiring more women and ethnic diversity within the ranks behind the camera. “We need a new paradigm to ensure qualified and available talent from all backgrounds,” she said. “There will be better product as a result of diversity and inclusion.”

HBO’s Natasha Foster-Owens (West Coast director of production) touted the fact they have rotating cinematographers who are women and women of color on “Insecure” and “Camping.” Also, the HBO Access program offers fellowships in writing and directing to filmmakers from diverse backgrounds.

Cinematographer John Simmons, ASC Vision Committee co-chair, added that studio mandates and tax incentives for minority hiring are positive steps, but more needs to be done individually to diversify camera crews. “We need to ensure that cinematographers reflect the world we live in,” he said. “Diversity is being asked to the party; inclusion is being asked to dance.”

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Source: IndieWire film

April 22, 2018

NASA Scientists Think ‘Gravity’ Is the Worst, Most Inaccurate Space Movie Ever Made

Gravity” earned critical acclaim, a slew of awards, and more than $700 million at the box office, which is to say that Alfonso Cuarón’s sci-fi drama was fairly successful. One subset of moviegoers wasn’t impressed, however: NASA scientists. In a BBC video in which the women helping us conquer the final frontier list the best and worst movies set in space, “Gravity” is repeatedly cited as the most inaccurate of them all.

Others to earn ire due to scientific inaccuracies are “Mission to Mars,” “Armageddon,” and “Red Planet”; “Planet of the Apes,” and “Spaceballs” receive (dis)honorable mentions as well. Alas, “Gravity” stands above all the others for being utterly divorced from reality. Everything that could go wrong went terribly, terribly wrong, and that’s not exactly the feeling we want everybody to have about this industry,” one scientist says.

It’s not all negative, however. “Interstellar,” “Hidden Figures,” “The Martian,” and especially “Apollo 13” receive praise.

Other issues with “Gravity,” which won Cuarón the Academy Award for Best Director: “how Sandra Bullock could move between orbits with almost really no issue” and the fact that, “when she gets out of her spacesuit, she’s in cute little underwear. Where’s the diaper?” Where, indeed.

Source: IndieWire film

April 22, 2018

John Carpenter Will Compose the Score for the New ‘Halloween,’ Jason Blum Confirms

Just because John Carpenter isn’t directing the newest “Halloween” movie doesn’t mean he won’t be involved. Producer Jason Blum has confirmed that Carpenter, who composed the music for the original 1978 slasher in addition to co-writing and directing it, will return to the franchise with a simple tweet.

Carpenter has composed the music for many of his own films: “Dark Star,” “Escape From New York,” “They Live,” “The Fog,” “Christine,” and so on and so forth. This new “Halloween,” which is being directed by David Gordon Green, will be his first film score since 2001’s “Ghosts of Mars.” It’s also the first “Halloween” movie in nearly a decade, following Rob Zombie’s 2007 remake and its 2009 sequel.

Green, whose all-over-the-place career has seen him direct everything from “George Washington” and “Joe” to “Pineapple Express” and “Stronger,” also co-wrote the screenplay with Danny McBride and Jeff Fradley. Jamie Lee Curtis will return as Laurie Strode in the film, which is being released on October 19.

Source: IndieWire film

April 21, 2018

Watch: Learn How to Duplicate Objects with This Simple Cloning Trick in Premiere Pro

You can create this impressive cloning effect right inside of Adobe Premiere Pro.<p>Visual effects are a great way to add some flair and a little …
Source: CW’s Flipboard Feed

April 15, 2018

‘A Quiet Place’: John Krasinski Reveals the Tricks Behind the Lantern Scene, Which Really Did Start a Fire — Watch

What little noise there is in “A Quiet Place” is all the more effective for its scarcity. One of the film’s tensest scenes comes early on, when the family of four led by John Krasinski and Emily Blunt’s characters are playing Monopoly and a lantern gets knocked over. Now Krasinski, who also directed the near-silent thriller, has broken down said scene for the delight of everyone watching at home. Watch below.

“Because it’s a movie about a family that needs to remain quiet, this is such a perfect atmosphere and one of the best scenes to tell the rules of how to remain quiet, what happens if you don’t,” Krasinski says in the video.

“We knew that sound would not only be a main character, but the character. It’s actually the thing that frames the entire movie together, but more than that, it became about adhering to rules — what sounds, literally, that the audience hears are too dangerous, which ones aren’t. It’s impossible to live silently, and we knew that, so we wanted to bring the audience through this idea of living as quietly as possible.”

“This is that old theory of loading a gun at the beginning of a scene to build tension,” he says, a reference to Chekhov’s gun. “This lantern will obviously become a huge part of the scene in that it is the first major noise you hear.”

Source: IndieWire film

April 15, 2018

Dwayne Johnson’s ‘Rampage’ Beats Out Horror Competition at Weekend Box Office

The box office continues to decline. And Dwayne Johnson is a major star. He took thriller “Rampage” (Warner Bros.) to a narrow win over John Krasinski’s sleeper hit “A Quiet Place” (Paramount) as both films grossed over $30 million. That’s the second time two films have reached that level for a weekend in 2018 — compared to four by this time last year.

The numbers dropped about 15 per cent against a 2017 weekend when “The Fate of the Furious” opened to $98 million, accounting for nearly 60 percent of the tickets sold. Still, several titles are making strong showings, and exhibitors are looking forward to some blockbusters ahead to overcome the two percent box office dip to date, including Disney/Marvel’s “Avengers: Infinity Wars” which is anticipated to open at $150 million or more.

Dwayne Johnson toplines $120-million “Rampage,” a video game adaptation about a primatologist joined by a mutant gorilla to confront a civilization-threatening invasion. Targeted abroad, the movie has already scored triple the domestic take internationally (less Germany and Japan so far).

With global marketing costs the film has some way to go before heading into profit. From a domestic standpoint, the gross is middling. It comes after Johnson’s “Jumanji: Welcome to the Jungle” to over $400 million domestic. And the similar “San Andreas” three years ago opened to (adjusted) $58 million.

Still, initial positive response (including a decent 20 per cent Saturday increase) could push this over $100 million, bucking a string of disappointments. A decent domestic haul might make the difference between profit and loss for the film, even if it ends up closer to a fifth of the world wide take.

Left to right: Emily Blunt and John Krasinski in A QUIET PLACE from Paramount Pictures.

“A Quiet Place”

Jonny Cournoyer


One film that has no worries about making lots of money is “A Quiet Place.” Its fall of 35 per cent would be good for most second weekends. For a horror film, any hold better than 50 per cent is excellent.

The ten-day haul of just under $100 million suggests its domestic total will hit $160 million or more. It could end up with a majority domestic take, but international, with $51 million in so far, has yet to see openings in China and France. But this sleeper hit would be a big success even if it never opened foreign.

2018 Universal Studios.

“A Quiet Place” held remarkably well considering it faced competition from — and likely stole opening gross from– “Truth or Dare,”  a similar genre title from horror film masters Blumhouse Productions. Their latest micro-budget title opened to $19 million, which falls below their four most recent entries (including “Get Out” and “Split”), but isn’t bad for a less-heralded non-sequel.

Two openers broke nationally, but neither made the Top Ten. Jon Hamm as an kidnap negotiator in the Mideast in “Beirut” (Bleecker Street) managed only a little over $2 million in five days (Wednesday opening) in 755 theaters. And an Irish animated film, “Sgt. Stubbs: An American Hero” (Fun Academy) managed an impressive A Cinemascore. The gross hasn’t been officially reported, but looks to amount to around $1.1 million in 1,633 theaters — that’s a miserable less than $700 per theater.

“Ready Player One”

“Ready Player One” (Warner Bros.) took a sizable 54 percent third weekend drop. Steven Spielberg’s latest is looking at over $140 million domestic, with the total worldwide number somewhere around $550 million. Not a monster hit at its expense (a reputed $145 million) but primed for a little profit along with a reinforcement of the director’s mainstream credentials.

“Blockers” (Universal) fell 50 per cent on its second weekend. The SXSW-debuted teen raunch comedy had a shot at sleeper success, but with mixed response its domestic total should end up a little over $50 million.

“Black Panther” (Disney), despite losing another fifth or so of its theaters, kept its drop to under 40 per cent. It’s on track to hit about $700 million domestic. “Isle of Dogs” (Fox Searchlight) placed #7 as it tripled its theaters to 1,939 with a modest ten per cent increase of its gross.


The Top Ten

1. Rampage (Warner Bros.) NEW – Cinemascore: A-; Metacritic: 45; Est. budget: $120 million

$34,500,000 in 4,101 theaters; PTA (per theater average): $8,413; Cumulative: $34,500,000

2. A Quiet Place (Paramount) Week 2; Last weekend #1

$32,600,000 (-35%) in 3,589 theaters (+81); PTA: $; Cumulative: $99,636,000

3. Truth or Dare (Universal) NEW – Cinemascore: B-; Metacritic: 37; Est. budget: $3.5 million

$19,080,000 in 3,029 theaters; PTA: $6,399; Cumulative: $19,080,000

4. Ready Player One (Warner Bros.) Week 3 ; Last weekend #2

$11,205,000 (-54%) in 3,661 theaters (-573); PTA: $3,061; Cumulative: $114,608,000

5. Blockers (Universal) Week 2 ; Last weekend #3

$10,295,000 (-50%) in 3,418 theaters (+39); PTA: $3,012; Cumulative: $36,928,000

6. Black Panther (Disney) Week 9 ; Last weekend #4

$5,342,000 (-39%) in 2,180 theaters (-567); PTA: $2,450; Cumulative: $673,798,000

7. Isle of Dogs (Fox Searchlight) Week 4 ; Last weekend #10

$5,000,000 (+10%) in 1,939 theaters (+1,385); PTA: $2,579; Cumulative: $18,451,000

8. I Can Only Imagine (Roadside Attractions) Week 5; Last weekend #7

$3,837,000 (-51%) in 2,563 theaters (-331); PTA: $1,503; Cumulative: $74,988,000

9. Acrimony (Lionsgate) Week 3 ; Last weekend #6

$3,700,000 (-56%) in 1,332 theaters (-674); PTA: $2,778; Cumulative: $37,875,000

10. Chappaquiddick (Entertainment Studios) Week 2; Last weekend #5

$3.025,000 (-47%) in  1,645 theaters (+85); PTA: $1,839; Cumulative: $11,006,000

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Source: IndieWire film

April 15, 2018

Vittorio Taviani, Palme d’Or and Golden Bear Winner, Dies at 88

Vittorio Taviani, who along with his brother Paolo formed one of the world’s premier filmmaking duos, has died at age 88. His daughter confirmed the Palme d’Or, Golden Bear, and Golden Lion winner’s passing after a long illness. Beloved in their native Italy for decades and celebrated at film festivals the world over, the Taviani Brothers directed such arthouse classics as “Pedro Padrone” (which won them the Palme in 1977) and “Caesar Must Die” (which took home the top prize from Berlin six years ago).

The two directed more than 20 films over the last 50 years, with “The Night of the Shooting Stars” winning particular acclaim at home; it was also awarded the Grand Prix at Cannes. In a statement, Italian president Sergio Mattarella called Taviani “a beloved protagonist of Italian cinema and culture” and said that the entire country is in mourning.

Born in the town fo San Miniato in 1929, Taviani most recently directed “Wondrous Boccaccio” with his brother, their follow-up to “Caesar Must Die.” The duo received a Golden Lion for Lifetime Achievement from the Venice Film Festival in 1986.

Source: IndieWire film