1-20 of 110 items from 2016 « Prev | Next »
Prior to joining Voltage she was a producer with Michael De Luca where she was an exec producer on “Dracula Untold” and co-executive produced Frank Darabont’s TNT series “Mob City.” Most recently, she executive produced the SyFy miniseries “Childhood’s End.”
Phillips is also exec producing the recently announced Focus feature “On the Brinks,” based on the best-selling memoir of the same name.
“We are incredibly excited to have Alissa work with us, her studio experience and multi layered production experience will be a great compliment to our existing team.” said Voltage topper Nicolaus Chartier.
Voltage produced “Dallas Buyers Club, »
- Dave McNary
Voltage Pictures has entered into an exclusive arrangement with producer Alissa Phillips, who worked alongside Michael De Luca on the Oscar-nominated movie Moneyball (as co-producer) and the $217M-plus-grossing movie Dracula Untold (as Ep). Phillips will be producing feature films, TV series and mini series with Voltage and will work alongside the current Voltage Production team Craig Flores, Partner and President of Voltage Productions; Zev Foreman President of… »
4A Games, Ukrainian developer behind both Metro: 2033 and Metro: Last Light, is quietly toiling away on two secret, as-yet-unannounced projects.
Following the closure of publisher Thq some years ago, doubt was cast over the studio’s immediate future. But rest assured, 4A Games is alive and well, and the dev recently took to Facebook (via VG247) to post a status report revealing that, after persevering through testing times that included a studio move to Malta, it’s ready to come out of its self-imposed hiatus.
Hello everyone, yes we are alive! So thank you for putting up with us during a slight hiatus. Yes 2 years is a bit long but we have lots of exciting times ahead and wanted to bring you up to date since the last news that we were in Malta.
The burning question that you are all going to be asking (and have been asking) is: »
- Michael Briers
Phillips will work alongside the Voltage production team of partner and president of Voltage Productions Craig Flores, Voltage Pictures president of production Zev Foreman, and senior vice-president Dom Rustam.
“We are incredibly excited to have Alissa work with us. Her studio experience and multi layered production experience will be a great compliment to our existing team,” said Chartier (pictured).
“I’m delighted to join the Voltage team,” said Philips. “I’ve admired Nicolas’ award-winning work from afar for some time and »
- email@example.com (Jeremy Kay)
The story follows two decorated detectives who uncover a terrifying extortion ring of serial killers that operates within the secret underbelly of New York. Morel will direct from a script by "Bone Tomahawk" writer S. Craig Zahler.
The project was previously setup at Sony Pictures with Michael De Luca producing and, at one time, had Michael Mann in talks to direct and do a script polish. That didn't come together and now Lotus Entertainment has picked it up after the property went into turnaround.
Source: Variety »
- Garth Franklin
Zahler set up the project at Sony in 2011 with Michael De Luca on board to produce. The project went into turnaround with Lotus Entertainment now on board to finance and handle worldwide sales.
Morel’s directing credits include 2008’s “Taken,” starring Liam Neeson, Sean Penn’s thriller “The Gunman” and French-language thriller “District 13.” He shot the heist film “Overdrive,” starring Scott Eastwood and Ana de Armas, in France earlier this year.
Lotus is a financing-production-distribution company with credits on Tom Hanks’ “A Hologram for a King, »
- Dave McNary
The sequel to “Fifty Shades of Grey” has been filming in Nice, France where on Thursday night a truck armed with explosives killed 80 people after plowing through a crowded Bastille Day celebration.
According to sources, the “Fifty Shades Darker” cast and crew are safe and accounted for. The film, starring Dakota Johnson and Jamie Dornan, had been shooting on the French Riviera the past few weeks.
It’s unknown if production will be suspended this weekend. Sources say the erotic drama shot scenes Thursday in the region but wrapped production before the attack.
A rep for Universal Pictures could not be reached for comment.
Officials are describing Thursday’s rampage as an act of terrorism. It marks France’s deadliest attack since Isis hit Paris last year.
- Variety Staff
“The Gates,” published in 2011, centers on an 11-year-old protagonist and his dachshund who are trick-or-treating a full three days before Halloween. They encounter the gates to Hell, thanks to a break in the space-time continuum.
De Luca’s credits include “Fifty Shades of Grey,” and he will also producing the second and third installments of the Universal franchise. He has produced three best picture nominees in “Moneyball,” “The Social Network” and “Captain Phillips.” He will produce through his Michael De Luca Productions. De Luca Productions exec Lucy Kitada will be an executive producer. »
- Dave McNary
The middle grade science fiction novel trilogy follows an 11-year-old boy named Samuel Johnson and an outcast demon, who together must stop hell on Earth after escaped energy from the Hadron Collider pokes a hole in the proverbial time-space continuum.
Source: Deadline »
- Garth Franklin
Exclusive: Amblin has set Blaise Hemingway to adapt the John Connolly novel The Gates, and brought on Michael De Luca to produce the potential franchise through his Michael De Luca Productions banner. The Gates is the first of a middle grade science fiction novel trilogy that Amblin acquired last fall. The first installment follows an 11-year-old boy named Samuel Johnson and an outcast demon, who together must stop hell on Earth after escaped energy from the Hadron… »
At 63, Tony Kaye is plotting another comeback. Although he’s always been an award-winning director of commercials and music videos, his feature career is a study in scorched earth. His last feature was five years ago; before that, he shot “Black Water Transit,” which was never finished. And then there’s his debut, a masterpiece riddled with production woes called “American History X.”
That track record leads to perceptions that it’s impossible to take Kaye seriously — but that would be a mistake.
Studios may view him as a flustered and frustrating eccentric, but Kaye remains a rare breed — an outlaw artist working through one hurdle after another, beaten but not broken, and always ready to rise again. While virtually every American studio movie reflects some kind of compromise, truly unfiltered creative visions are rare. At a time when we could use more committed independents, we don’t hear from Kaye nearly enough.
That’s about to change, and while his characteristic brashness is still evident, he said he’s learned a bit of restraint. “We’ve all got demons inside of us,” he explained in a recent phone interview. “I’ve gotten rid of mine — or got them under control.”
His chosen vehicle to showcase that rehabilitation is “Stranger Than the Wheel,” Kaye’s first feature-length project since 2011’s “Detachment.” Last fall, Kaye announced on Facebook that Shia Labeouf would star in the self-financed film.
He’s wanted to make this movie for decades. In the early ’90s, Kaye was a popular director of commercials and music videos (he won a Grammy for Soul Asylum’s “Runaway Train” video). But his goal was to make movies. “Stranger Than the Wheel” was one of three scripts he considered for his debut (another one was written by a newcomer named M. Night Shyamalan; the third was “American History X”).
Written by Joe Vinciguerra, “Stranger Than the Wheel” is the story of a young man who struggles to reconnect with his estranged father. “It’s a kind of serial drama about isolation, alienation, and alcoholism,” Kaye said recently, clearly relating — even if he hadn’t lost his father in recent years, Kaye would identify with the character’s alienated state.
In April, Kaye announced the departure of his lead via email, with the subject line “Shia Labeouf Qu!T.” (“Tony and I rolled around and wrestled an idea together,” Labeouf explained by email. “We shot a test. But in the end, we are not making a film together.”) Now the film will star Evan Ross (“The Hunger Games”). Kaye has been shooting test footage, and plans to begin production later this summer, with the stated (if unlikely) goal of finishing the picture in time for the fall festival circuit.
Or, all of this could be a preamble for more of the same. Eighteen years ago, “American History X” was also gearing up for a fall showcase — the Toronto International Film Festival offered it a prime slot — when Kaye flew across the country to meet with festival CEO and director Piers Handling. Claiming New Line Cinema had made changes to the film without his permission, Kaye asked Handling to refuse the studio’s version and show his cut instead.
“He was eccentric, opinionated, and had a very strong sense of what he wanted to do,” Handling recalled, noting that Kaye brought a small digital camera with him to their meeting and recorded the whole conversation. Handling talked to the studio about showing Kaye’s version, but instead, the company pulled the movie from the lineup.
While artistic temperaments are often part of the filmmaker package, Kaye is a breed apart. He’s the kind of Hollywood aberrant whom the corporate-overlord studio system has all but bred out of existence. “Tony doesn’t play that game,” Handling said. “He always wants to do things on his own terms.”
That’s an especially dicey proposition in 2016, an age in which every facet of the entertainment industry is deathly allergic to risk. Anyone concerned about the bottom line would be wary of Kaye’s track record when it comes to managing a responsible production.
During production on “American History X,” Kaye went to war with his star, Edward Norton, declaring him unfit for the part. (He later received his second Oscar nomination.) Kaye hired a priest, a rabbi and a Buddhist monk to join a meeting with New Line executive Michael De Luca. Editing was a protracted process and, after Kaye completed a cut the studio liked, he demanded eight more weeks to radically reimagine the film.
When New Line refused, Kaye began trashing the movie; he threatened to remove his credit and replace it with “Humpty Dumpty.” (That has since become the title of an unfinished documentary about the production that Kaye hopes to release.) Then came the Toronto showdown.
When it was all over, Kaye had earned the outright ire of New Line, the DGA, and the Alliance of Motion Picture & Television Producers; everyone else was confounded. After that, things didn’t get easier. While he won a lifetime achievement award for his advertising work in early 2001, that fall, Marlon Brando hired Kaye to direct a series of acting workshops. The filmmaker showed up dressed as Osama bin Laden, shortly after 9/11, infuriating everyone involved.
A year later, he confessed his major regret in an article for The Guardian. “I thought I was upholding the old movie industry traditions of strutting around, picking fights with the studio and being the fly in everyone’s ointment,” he wrote. “I had passion — you have to give me that. But I was, it has to be said, a spectacular pain in the ass.” These days, he describes his previous setbacks as the result of “desire for self alone.”
Whatever his current emotional state may be, his existing filmography speaks on its own terms. If there’s an overarching theme to Kaye’s work, it’s his ability to deliver achingly real portraits of America’s fractured communities.
Kaye’s antics make it almost too easy to dismiss his filmmaking outright — as this writer did initially, with “Detachment.” The vulgar tale of a disgruntled public high school instructor (Adrien Brody) struck me as a shrill riff on “Half Nelson.” At Kaye’s urging, I took a second look, and found that “Detachment” is more than theatrics surrounding student-teacher relationships: it’s a tender investigation into what it means to feel utterly helpless while battling institutional dysfunction.
But nothing in Kaye’s filmography demonstrates his vision more cohesively than “Lake of Fire,” the haunting black-and-white encapsulation of abortion debate in America that Kaye spent decades assembling. From its visceral imagery of abortion operations to the angry protestors, the film conveys an operatic vision of anger and frustration rendered in expressionistic terms.
Kaye realizes it’s his most coherent achievement to date. “I don’t know how I made that movie,” he said.
“There are some people who don’t really fit into the Hollywood structure,” said Handling. “Tony’s one of those guys. He’s a renegade, an outsider — not unlike Orson Welles.” And like Welles, Kaye’s sensibility extends beyond the fits of ambitious projects, some more polished than others. The man is indistinguishable from his movies.
Kaye has remained an accomplished commercial artist. The money he makes on ads enable him to self-finance his films. He also recently completed work for the virtual reality company Jaunt on a six-part series, “Pure McCartney,” which features McCartney at home discussing his relationship to five different songs. Kaye spoke emphatically about the possibilities of the new technology. “It’s this incredible process of carrying the viewer into a solitary experience,” he said.
Kaye described his current inspirations as ranging from Jackson Pollock to David Lean, whose “Lawrence of Arabia” epitomizes the kind of sprawling drama Kaye hopes to create. “I’ll get there,” he said, and hopes to do it with “Stranger Than the Wheel.”
His new star is thrilled at the prospect. “I’m generally just excited about anything Tony Kaye does,” said Ross, who has already been shooting footage for the project around Los Angeles. “I don’t think I’ve worked with a director like him who can just put incredible things together.”
Kaye shared his vision with IndieWire via multiple emails, showcasing photos of ink-blotted pages filled with fractured images from his planning sessions for the film: a raggedy school bus, some kind of giraffe-bird mashup, an impressionistic sketch of his leading man, the quixotically named Faunce Bartleby.
“I think I am real,” he wrote at one point. At another, he noted that he planned to turn “Stranger Than the Wheel” into a musical — “a dramuzical epic,” as he wrote in an email. At times, he sounded off about his resistance to industry standards, noting his frustration over a recent big studio film he attended with his kids. “These perpetrators of pollution people should not be allowed to work!” he wrote.
Will Kaye succeed in bringing his visions to the world? If not, it won’t be for lack of trying. While he has struggled with a stutter over the years, the impediment was barely discernible in recent conversations. Kaye has no trouble formulating the case for his latest efforts.
“I’ve got something marvelous here,” Kaye said of his new project. “Don’t worry: I want it to be a hit.”
Related storiesTony Kaye Returns With 'Stranger Than The Wheel' Starring Shia Labeouf'American History X' Director Tony Kaye Says He's Still In Director's JailDaily Reads: Going Deep on Mark Wahlberg, How Pop Culture's White Supremacists Validate Lone-Wolf Racism, and More »
- Eric Kohn
Months ago there was word that a Battlestar Galactica film was starting development over at Universal and now Deadline is reporting that movement on the project is finally picking up again. Francis Lawrence, director of The Hunger Games: Catching Fire and both parts of Mockingjay, is being courted to direct while Westworld’s Lisa Joy is writing the script.
Lawrence will direct Red Sparrow, starring Jennifer Lawrence, next and then move onto Battlestar Galactica while Joy writes the script. Bluegrass Films and Michael De Luca Productions will produce the film. Bluegrass has produced Battleship and more recently Free State of Jones and Central Intelligence while producer Michael de Luca has produced Fifty Shades of Grey and its upcoming sequels.
Battlestar Galactica is the story of humanity on the verge of extinction after an attack by the Cylons, a race of machines. The remnants of humanity struggle to find the mythological planet Earth, »
- Ricky Church
After languishing in development since 2009, Universal Pictures' Battlestar Galactica movie is finally moving forward in the right direction. We reported last month that the studio has brought on Michael De Luca, Scott Stuber and Dylan Clark to produce this sci-fi reboot, but now even more progress is being made. Today we have word that HBO's Westworld co-creator Lisa Joy has signed on to write the screenplay, with Francis Lawrence (The Hunger Games: Mockingjay) circling the project as a director.
This new report from Deadline doesn't reveal if Francis Lawrence is in negotiations, or if he's just interested in taking on this coveted directorial gig. Much like the original 1978 TV series, and the critically-acclaimed 2003 TV reboot, this project will follow the longstanding battle between humans and the Cylons, although no specific plot details were given. We reported back in 2014 that this project will be a full reboot that is more »
The popular property has already had two separate TV shows with the most recent appearing on Syfy. The series follows a crew of the aged Galactica as it accompanies a small civilian fleet who are in search of the planet Earth after their world is destroyed by an alien force known as the Cylons.
With the most recent TV series garnering critical acclaim, Universal has been trying to get a feature film version off the ground for quite some time. Bluegrass Films’ Scott Stuber and Dylan Clark will produce alongside Michael De Luca through his Michael De Luca Productions.
Universal’s vice president »
- Justin Kroll
Director Francis Lawrence is circling the “Battlestar Galactica” movie, TheWrap has learned, although he is not yet attached to the project. Having directed the last three “Hunger Games” installments, bringing futuristic television series to the big screen is right up his alley. Lisa Joy, of HBO’s “Westworld” will write the script to what’s being described as a reimagining of the 1978 television series created by Glen Larson. Also Read: 'Battlestar Galactica' Reboot Names Michael De Luca, Scott Stuber as Producers Bryan Singer was at one time attached to direct the Universal movie, but he has since dropped out. »
- Meriah Doty
Exclusive: The long awaited big screen transfer of the Glen Larson 1978 TV series is moving forward at Universal. Lisa Joy, who scripted and is exec producer on HBO’s series Westworld, is writing the script. Francis Lawrence is circling the movie to direct. Bluegrass Films partners Scott Stuber and Dylan Clark are producing with Michael De Luca through his Michael De Luca Productions. Bluegrass is currently awaiting release on The Free State of Jones and Central Intelligen… »
Boundaries Pictures Inc.
May 02/16 - Jun 02/16
Dn (Canada) Productions Inc
Exec. Producer(s): Brendan Ferguson
Jun 30/16 - Aug 30/16
Further Adventures Of Max & Banks 2 & 3
Gramercy Film Productions
Feb 16/16 - Jul 06/16
Hot Street Productions Ltd
Exec. Producer(s): Alex Tkach
Producer: Chris Brough
Co-Producer: Ralph Zondag
May 23/16 - Jun 10/16
Forlorn Hope Productions Inc.
Exec. Producer(s): Ben Silverman
Producer: Matthew Cervi
May 16/16 - Jun 08/16
Max 2: White House Hero
Max 2 Productions Canada
Line Producer: Kelley Sims
Jun 13/16 - Jul 13/16
Status Productions Inc.
- Michael Stevens
Exclusive: The Canadian distributor has added one of the most sought-after projects from the Cannes Marché to its slate.
Under The Silver Lake is based on an original screenplay by Mitchell and described as a modern noir crime thriller set in Los Angeles.
“I was absolutely blown away by the Under The Silver Lake script,” said D Films senior vice-president of acquisitions and business development Michael Robson. “David Robert Mitchell is an exciting, original film-maker and I can’t wait to see what he has next for us.”
Robson brokered the deal with Noémie Devide of Insiders.
D Films has been assembling a dynamic slate that »
- firstname.lastname@example.org (Jeremy Kay)
After suffering at the hands of Christian Grey for the Fifty Shades franchise, Dakota Johnson may be seeking out something lighter for pastures new.
It’s not clear if she’ll be getting it for her just-announced project, but Under The Silver Lake is shaping up to be a juicy prospect, with not a blindfold or rubber attachment in sight. She’ll co-star with Andrew Garfield in what’s being described as an La-based “modern noir crime thriller”.
You can bet there’ll be a fair amount of sinister developments afoot, bolstered by enough rising young talent to fill a sleazy nightclub. Michael De Luca, Lucy Kitada, Chris Bender, Jake Weiner and Adele Romanski are on production duties. Cameras roll in the Summer. »
- Steve Palace
Occupying a spot between the actress’ ongoing commitment to the lucrative Fifty Shades franchise, The Hollywood Reporter brings word from Cannes that Dakota Johnson has closed a deal to star opposite Andrew Garfield in Under the Silver Lake, a “modern-day-noir crime thriller” hailing from David Robert Mitchell.
In case you weren’t aware, that’s the filmmaker behind last year’s horrific sleeper hit It Follows, not to mention The Myth of the American Sleepover. For Mitchell’s latest, the celebrated writer-director is working from his own script, shipping Garfield off to the bright lights of La in a journey that is being kept largely under wraps for now.
What we do know is that A24 has snapped up domestic rights for Under the Silver Lake, eyeing a production start in the City of Angels at some point during the summer. Michael De Luca – reuniting with Andrew Garfield following his »
- Michael Briers
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