Exclusive: Venice Film Festival, Netflix and The Gotham Film & Media Institute are teaming up on a program of movies at iconic New York venue, the Paris Theater. Scroll down for program lineup in full.
Titled Venice Film Festival Presents: Next Generation, the four day event (April 20-23) will showcase films from the first ten years of La Biennale di Venezia’s Biennale College Cinema.
Screenings will be accompanied by in-depth discussions pairing new filmmakers with established directors, producers, and writers. The opening night will feature a screening of mystery-thriller Our Father, The Devil with remarks from Venice Director Alberto Barbera and Head of Programme Savina Neirotti. Indie Spirit winner Nikyatu Jusu, whose Sundance film Nanny was picked up by Amazon and Blumhouse, will serve as moderator for the opening night discussion with director Ellie Foumbi.
Biennale College Cinema is an incubator program for low-budget films by emerging filmmakers. Among...
Titled Venice Film Festival Presents: Next Generation, the four day event (April 20-23) will showcase films from the first ten years of La Biennale di Venezia’s Biennale College Cinema.
Screenings will be accompanied by in-depth discussions pairing new filmmakers with established directors, producers, and writers. The opening night will feature a screening of mystery-thriller Our Father, The Devil with remarks from Venice Director Alberto Barbera and Head of Programme Savina Neirotti. Indie Spirit winner Nikyatu Jusu, whose Sundance film Nanny was picked up by Amazon and Blumhouse, will serve as moderator for the opening night discussion with director Ellie Foumbi.
Biennale College Cinema is an incubator program for low-budget films by emerging filmmakers. Among...
- 3/30/2023
- by Andreas Wiseman
- Deadline Film + TV
You know what’s cool? A billion dollars. Theater stocks jumped when Amazon pledged to spend that amount on movies destined for the big screen last year. Now Apple reportedly plans to take a similar chunk of its multibillion-dollar content budget and allocate it to theatrical releases.
Netflix alone, still steadfast in its commitment to treating theatrical as a sop to throw at feisty actors or fussy awards-show rulemakers, risks losing out on high-level talent and top-tier cultural impact — as well as the financial rewards from a film that moves the needle on streaming.
Two years after “Godzilla vs. Kong” proved the multiplex wouldn’t go down without a fight, an old-fashioned wide release now signals seriousness in the streaming wars. Executives at the major Hollywood studios have all pointed to strong box office as contributing to streaming views.
Also Read:
Apple TV+ Has a Branding Problem – and ‘Ted Lasso...
Netflix alone, still steadfast in its commitment to treating theatrical as a sop to throw at feisty actors or fussy awards-show rulemakers, risks losing out on high-level talent and top-tier cultural impact — as well as the financial rewards from a film that moves the needle on streaming.
Two years after “Godzilla vs. Kong” proved the multiplex wouldn’t go down without a fight, an old-fashioned wide release now signals seriousness in the streaming wars. Executives at the major Hollywood studios have all pointed to strong box office as contributing to streaming views.
Also Read:
Apple TV+ Has a Branding Problem – and ‘Ted Lasso...
- 3/24/2023
- by Scott Mendelson
- The Wrap
Click here to read the full article.
Just when relations were improving between Netflix and theater owners, knives are being sharpened again.
The country’s biggest cinema circuits were blindsided on Oct. 18 when Netflix co-chief and chief content officer Ted Sarandos threw cold water on the significance of an unprecedented deal to play Rian Johnson’s Glass Onion: A Knives Out Mystery for one week over Thanksgiving before the sequel hits the streamer a month later.
“There are all kinds of debates all the time, back and forth. But there is no question internally that we make our movies for our members, and we really want them to see them on Netflix,” Sarandos said in an earnings call. “Most people watch movies at home.”
That sort of messaging doesn’t make theater owners happy as they continue to recover from the pandemic.
And Sarandos’ comments would seem to contradict what...
Just when relations were improving between Netflix and theater owners, knives are being sharpened again.
The country’s biggest cinema circuits were blindsided on Oct. 18 when Netflix co-chief and chief content officer Ted Sarandos threw cold water on the significance of an unprecedented deal to play Rian Johnson’s Glass Onion: A Knives Out Mystery for one week over Thanksgiving before the sequel hits the streamer a month later.
“There are all kinds of debates all the time, back and forth. But there is no question internally that we make our movies for our members, and we really want them to see them on Netflix,” Sarandos said in an earnings call. “Most people watch movies at home.”
That sort of messaging doesn’t make theater owners happy as they continue to recover from the pandemic.
And Sarandos’ comments would seem to contradict what...
- 10/21/2022
- by Pamela McClintock
- The Hollywood Reporter - Movie News
Netflix Appoints Hamish Moseley As Distribution Exec
London-based Hamish Moseley has been tapped as Director Of Distribution, theatrical, for Emea, reporting to Spencer Klein, Head of Distribution at the streamer. The distribution vet most recently helped establish Altitude’s distribution arm, acquiring titles including Oscar-winners Moonlight and Minari, and helped to get the UK theatrical supply chain back up and running after the pandemic with movies like Unhinged. He respected professional started out at Momentum Pictures working on titles including The Woman In Black and The King’s Speech. Netflix is expected to theatrically release around 30 features and docs in the Emea per year. Screen was first to report the hire.
Cohen Media Acquires Picks Up Israeli Oscar Submission
Cohen Media Group has acquired North American rights to Let It Be Morning, Israel’s submission to the 2022 Oscars. The Eran Kolirin-directed drama is a gently satirical tale of a man...
London-based Hamish Moseley has been tapped as Director Of Distribution, theatrical, for Emea, reporting to Spencer Klein, Head of Distribution at the streamer. The distribution vet most recently helped establish Altitude’s distribution arm, acquiring titles including Oscar-winners Moonlight and Minari, and helped to get the UK theatrical supply chain back up and running after the pandemic with movies like Unhinged. He respected professional started out at Momentum Pictures working on titles including The Woman In Black and The King’s Speech. Netflix is expected to theatrically release around 30 features and docs in the Emea per year. Screen was first to report the hire.
Cohen Media Acquires Picks Up Israeli Oscar Submission
Cohen Media Group has acquired North American rights to Let It Be Morning, Israel’s submission to the 2022 Oscars. The Eran Kolirin-directed drama is a gently satirical tale of a man...
- 11/4/2021
- by Anuj Radia
- Deadline Film + TV
Netflix and movie theaters are finally playing nice — and all it took was a global pandemic to turn these antagonists into friends.
The streaming service’s upcoming zombie thriller, the Zack Snyder-directed “Army of the Dead,” will play exclusively in cinemas starting on May 14 for one week prior to its Netflix release on May 21.
Notably, Cinemark, one of the country’s biggest theater chains, has agreed to screen the movie. It is booked at 200 Cinemark locations, making “Army of the Dead” the first Netflix film to score a wide release at a major theater chain. The movie will play at roughly 600 theaters in total, including iPic, Landmark, Alamo Drafthouse, Harkins and Cinépolis. Other major circuits, specifically AMC and Regal, will not be offering the film.
Without AMC and Regal screens, “Army of the Dead” will have a much smaller footprint than recent hits like “Godzilla vs. Kong” and Bob Odenkirk’s “Nobody.
The streaming service’s upcoming zombie thriller, the Zack Snyder-directed “Army of the Dead,” will play exclusively in cinemas starting on May 14 for one week prior to its Netflix release on May 21.
Notably, Cinemark, one of the country’s biggest theater chains, has agreed to screen the movie. It is booked at 200 Cinemark locations, making “Army of the Dead” the first Netflix film to score a wide release at a major theater chain. The movie will play at roughly 600 theaters in total, including iPic, Landmark, Alamo Drafthouse, Harkins and Cinépolis. Other major circuits, specifically AMC and Regal, will not be offering the film.
Without AMC and Regal screens, “Army of the Dead” will have a much smaller footprint than recent hits like “Godzilla vs. Kong” and Bob Odenkirk’s “Nobody.
- 5/4/2021
- by Rebecca Rubin
- Variety Film + TV
Already, we may have a clue as to Netflix Oscar strategy for 2021: The streaming giant has hired two theatrical veterans to bolster its theatrical distribution staff.
Justin Dipietro, previously head of theatrical distribution at New York-based IFC, is relocating to Los Angeles next month to become director of theatrical sales. Like his Netflix counterpart in New York, Lori Bandazian, he will report to director of distribution Spencer Klein.
Also joining Netflix is David Schwartz, one of the best-known names in repertory programming. After spending 33 years at New York’s Museum of the Moving Image, he left his role as chief curator last November and the museum celebrated his legacy with a special program in January. Now he’s joining Netflix as manager of theatrical programming and will oversee the Netflix-operated Paris Theater.
In addition to managing the presentation of the company’s films, he will be charged with special...
Justin Dipietro, previously head of theatrical distribution at New York-based IFC, is relocating to Los Angeles next month to become director of theatrical sales. Like his Netflix counterpart in New York, Lori Bandazian, he will report to director of distribution Spencer Klein.
Also joining Netflix is David Schwartz, one of the best-known names in repertory programming. After spending 33 years at New York’s Museum of the Moving Image, he left his role as chief curator last November and the museum celebrated his legacy with a special program in January. Now he’s joining Netflix as manager of theatrical programming and will oversee the Netflix-operated Paris Theater.
In addition to managing the presentation of the company’s films, he will be charged with special...
- 2/22/2020
- by Tom Brueggemann
- Indiewire
Thanks to Netflix, Manhattan still has The Paris. The 571-seat theater, and the borough’s last single-screen outlet, is now under a long-term lease from owner Sheldon Solow. A November 25 Netflix press release announced that it planned to “use the theater for special events, screenings, and theatrical releases of its films.”
Sounds simple enough, but things rarely are for the distribution disruptor. While it’s expected that The Paris will host its annual lineup of titles seeking film honors, the Netflix brand is very broad. Next year’s standouts might include the “Rebecca” remake with Lily James and Armie Hammer, Dee Rees’ “The Last Thing He Wanted” with Anne Hathaway and Ben Affleck, or Ryan Murphy’s remake of “The Boys in the Band.” The Paris also could play Michael Bay’s upcoming “6 Underground” starring Ryan Reynolds, or the Taylor Swift documentary “Miss Americana,” which opens the Sundance Film Festival next month.
Sounds simple enough, but things rarely are for the distribution disruptor. While it’s expected that The Paris will host its annual lineup of titles seeking film honors, the Netflix brand is very broad. Next year’s standouts might include the “Rebecca” remake with Lily James and Armie Hammer, Dee Rees’ “The Last Thing He Wanted” with Anne Hathaway and Ben Affleck, or Ryan Murphy’s remake of “The Boys in the Band.” The Paris also could play Michael Bay’s upcoming “6 Underground” starring Ryan Reynolds, or the Taylor Swift documentary “Miss Americana,” which opens the Sundance Film Festival next month.
- 12/6/2019
- by Tom Brueggemann
- Indiewire
Updated at 12:15Am Pt with reactions and detail. In The Irishman, mobbed-up characters in need of protection talk about needing “bodies” – shorthand slang for bodyguards – to watch their backs.
Plenty of bodies patrolled Friday’s after-party for director Martin Scorsese’s Netflix release, which had a high-energy world premiere at the New York Film Festival. The inner sanctum at Tavern on the Green, the festival’s annual party venue in Central Park, held cast members including Al Pacino, Robert De Niro and Bobby Cannavale. Entrances were so tightly controlled that even legit VIPs were on the outside looking in and people in the room were holding their phones up to get snapshots of whoever was a few feet in front of them. The crush was such that Netflix content chief Ted Sarandos, upon managing to wriggle free, looked back and joked to Noah Baumbach, “I’d better watch my wallet!”
Leonardo DiCaprio, also looking for a way out of the crush, pulled girlfriend Camila Morrone behind him through the restaurant’s kitchen toward a back exit, entourage in tow. Earlier in the evening, DiCaprio, whose re-teaming with Scorsese, Killers of the Flower Moon, is due to start production soon, let out a “whoop” when his frequent collaborator was introduced at Alice Tully Hall. He even made like a fan and snapped a photo of the director with his phone.
The Irishman, a historic film occasion for several reasons, had a way of turning even jaded industry types and New York City mandarins into ebullient fans. While some naysayers could be heard quailing about the 209-minute running time and contemplative (read: borderline ponderous) tone, the prevailing reaction was that of a warm welcome to a major artistic achievement. As my Deadline colleague Pete Hammond wrote Friday, the film has landed on the Oscar map in a big way after its first day in the public eye, and the party’s energy reflected it. The crowd – studded with notables like Spike Lee, John Turturro, Kirsten Dunst, Jeff Garlin and Maggie Gyllenhaal – kept things going until the wee hours.
Spencer Klein, director of theatrical distribution at Netflix, said he was already having fruitful conversations with exhibitors as Netflix sets about booking the November 1 theatrical release. Because it will hit the streaming service on November 27 (about three times faster than typical studio releases), larger circuits like AMC and Regal won’t play it. Still Klein said even if it racks up fewer than 3,000 runs, it has been well-received and has generated a good number of bookings.
John Vanco, Gm of New York’s IFC Center, is one exhibitor who will play The Irishman, as well as Netflix’s Marriage Story. “I’m not sure about the running time, but we’ll have it on multiple screens,” he said. “Once people see the reaction to it tonight and start reading about it, the reviews and publicity will draw people.”
Previously: Scorsese began his introduction of The Irishman at its world premiere Friday night by noting that his previous narrative film to premiere at the New York Film Festival was Mean Streets in 1973.
“It’s extraordinary to have come full circle,” he said. Later, while introducing the cast, he said, “Everybody’s here from Mean Streets, it’s amazing!” Scorsese noted the long gestational period for the film. “Finally found the people who would back it, and that was Netflix,” he said.
Strikingly, no direct mention was made of the fact that a streaming feature was opening the festival — something still unheard of in Cannes and controversial elsewhere.
Earlier Friday, the film drew upbeat initial reactions from the press at pre-premiere screenings, which started drawing lines at dawn (Los Angeles screenings have been held in tandem with the festival). While embargoes kept a lid on full reviews, critics described an absorbing and deeply felt epic, filled with trademark Scorsese touches. Anticipation has built for a decade for the adaptation of I Heard You Paint Houses, Charles Brandt’s book about a hitman linked to (but never criminally charged in) the death of Teamsters boss Jimmy Hoffa.
The film reunites Scorsese with Robert De Niro and Joe Pesci for the first time since Casino in 1995. Al Pacino, who plays Hoffa, is making his debut in a Scorsese production.
Eric Kohn, chief critic and executive editor at Deadline sister site IndieWire, tweeted that the film resembles “a greatest hits album from a master of the medium. Yes, that’s a positive.” K. Austin Collins of Vanity Fair declared The Irishman “good. I laughed a lot.” He added that its sensibility is distinct from that of GoodFellas, a film that is an obvious comparison given the parallel involvement of Scorsese, De Niro and Pesci. “This is ultimately a movie about the mortality of everyone in it,” he wrote.
Building on a banner 2018, when films like Roma and The Ballad of Buster Scruggs put it at the center of the Oscar conversation, Netflix is committing significant resources to redefining the film release model. In a press conference Friday for The Irishman, Scorsese called the production “an interesting hybrid” that challenged the creative team to discover “how you balance between what a film is and what is viewed at home and in a theater or both. We’re in an extraordinary time of change.”...
Plenty of bodies patrolled Friday’s after-party for director Martin Scorsese’s Netflix release, which had a high-energy world premiere at the New York Film Festival. The inner sanctum at Tavern on the Green, the festival’s annual party venue in Central Park, held cast members including Al Pacino, Robert De Niro and Bobby Cannavale. Entrances were so tightly controlled that even legit VIPs were on the outside looking in and people in the room were holding their phones up to get snapshots of whoever was a few feet in front of them. The crush was such that Netflix content chief Ted Sarandos, upon managing to wriggle free, looked back and joked to Noah Baumbach, “I’d better watch my wallet!”
Leonardo DiCaprio, also looking for a way out of the crush, pulled girlfriend Camila Morrone behind him through the restaurant’s kitchen toward a back exit, entourage in tow. Earlier in the evening, DiCaprio, whose re-teaming with Scorsese, Killers of the Flower Moon, is due to start production soon, let out a “whoop” when his frequent collaborator was introduced at Alice Tully Hall. He even made like a fan and snapped a photo of the director with his phone.
The Irishman, a historic film occasion for several reasons, had a way of turning even jaded industry types and New York City mandarins into ebullient fans. While some naysayers could be heard quailing about the 209-minute running time and contemplative (read: borderline ponderous) tone, the prevailing reaction was that of a warm welcome to a major artistic achievement. As my Deadline colleague Pete Hammond wrote Friday, the film has landed on the Oscar map in a big way after its first day in the public eye, and the party’s energy reflected it. The crowd – studded with notables like Spike Lee, John Turturro, Kirsten Dunst, Jeff Garlin and Maggie Gyllenhaal – kept things going until the wee hours.
Spencer Klein, director of theatrical distribution at Netflix, said he was already having fruitful conversations with exhibitors as Netflix sets about booking the November 1 theatrical release. Because it will hit the streaming service on November 27 (about three times faster than typical studio releases), larger circuits like AMC and Regal won’t play it. Still Klein said even if it racks up fewer than 3,000 runs, it has been well-received and has generated a good number of bookings.
John Vanco, Gm of New York’s IFC Center, is one exhibitor who will play The Irishman, as well as Netflix’s Marriage Story. “I’m not sure about the running time, but we’ll have it on multiple screens,” he said. “Once people see the reaction to it tonight and start reading about it, the reviews and publicity will draw people.”
Previously: Scorsese began his introduction of The Irishman at its world premiere Friday night by noting that his previous narrative film to premiere at the New York Film Festival was Mean Streets in 1973.
“It’s extraordinary to have come full circle,” he said. Later, while introducing the cast, he said, “Everybody’s here from Mean Streets, it’s amazing!” Scorsese noted the long gestational period for the film. “Finally found the people who would back it, and that was Netflix,” he said.
Strikingly, no direct mention was made of the fact that a streaming feature was opening the festival — something still unheard of in Cannes and controversial elsewhere.
Earlier Friday, the film drew upbeat initial reactions from the press at pre-premiere screenings, which started drawing lines at dawn (Los Angeles screenings have been held in tandem with the festival). While embargoes kept a lid on full reviews, critics described an absorbing and deeply felt epic, filled with trademark Scorsese touches. Anticipation has built for a decade for the adaptation of I Heard You Paint Houses, Charles Brandt’s book about a hitman linked to (but never criminally charged in) the death of Teamsters boss Jimmy Hoffa.
The film reunites Scorsese with Robert De Niro and Joe Pesci for the first time since Casino in 1995. Al Pacino, who plays Hoffa, is making his debut in a Scorsese production.
Eric Kohn, chief critic and executive editor at Deadline sister site IndieWire, tweeted that the film resembles “a greatest hits album from a master of the medium. Yes, that’s a positive.” K. Austin Collins of Vanity Fair declared The Irishman “good. I laughed a lot.” He added that its sensibility is distinct from that of GoodFellas, a film that is an obvious comparison given the parallel involvement of Scorsese, De Niro and Pesci. “This is ultimately a movie about the mortality of everyone in it,” he wrote.
Building on a banner 2018, when films like Roma and The Ballad of Buster Scruggs put it at the center of the Oscar conversation, Netflix is committing significant resources to redefining the film release model. In a press conference Friday for The Irishman, Scorsese called the production “an interesting hybrid” that challenged the creative team to discover “how you balance between what a film is and what is viewed at home and in a theater or both. We’re in an extraordinary time of change.”...
- 9/28/2019
- by Dade Hayes and Joe Utichi
- Deadline Film + TV
In its most ambitious ever theatrical rollout plan for one of its original productions, Netflix will give The Irishman a 27-day theatrical window before the film makes its streaming service bow November 27. Netflix will launch on November 1 in Los Angeles and New York the epic crime drama that reunites director Martin Scorsese and Robert De Niro for the first time in 24 years, in the Steven Zaillian-scripted adaptation of the Charles Brandt novel about the disappearance of former Teamsters leader Jimmy Hoffa. The film will add screens in the U.S. and expand to UK theaters on November 8.
While the screen counts aren’t set yet, the film will be in theaters in most major U.S. cities by the time it begins streaming on Netflix the day before Thanksgiving. Netflix will promote The Irishman with heavy P&a and endeavor to hold and even expand its movie screen presence...
While the screen counts aren’t set yet, the film will be in theaters in most major U.S. cities by the time it begins streaming on Netflix the day before Thanksgiving. Netflix will promote The Irishman with heavy P&a and endeavor to hold and even expand its movie screen presence...
- 8/27/2019
- by Mike Fleming Jr
- Deadline Film + TV
Comedy might be dead at the box office, but it’s perfectly alive on Netflix.
The streamer via its comedy Twitter handle announced today that the Friday-Sunday viewership for its Jennifer Aniston-Adam Sandler movie Murder Mystery was watched by 30.87M accounts, making it the biggest opening weekend for a Netflix film. That breaks out into 13.37M in the U.S./Canada and 17.5M accounts abroad.
The movie written by James Vanderbilt and directed by Kyle Newacheck dropped on June 14. Murder Mystery follows a A New York cop and his wife who while on a European vacation, get framed and are on the run for the death of an elderly billionaire. Murder Mystery reps Aniton and Sandler’s second movie together after 2011’s Just Go With It which grossed $214.9M worldwide ($103M domestic) off an $80M production cost.
The streamer via its comedy Twitter handle announced today that the Friday-Sunday viewership for its Jennifer Aniston-Adam Sandler movie Murder Mystery was watched by 30.87M accounts, making it the biggest opening weekend for a Netflix film. That breaks out into 13.37M in the U.S./Canada and 17.5M accounts abroad.
The movie written by James Vanderbilt and directed by Kyle Newacheck dropped on June 14. Murder Mystery follows a A New York cop and his wife who while on a European vacation, get framed and are on the run for the death of an elderly billionaire. Murder Mystery reps Aniton and Sandler’s second movie together after 2011’s Just Go With It which grossed $214.9M worldwide ($103M domestic) off an $80M production cost.
- 6/18/2019
- by Anthony D'Alessandro
- Deadline Film + TV
The filmmakers, artists, entrepreneurs and pioneers on TheWrap’s 2019 Innovators List aren’t content with just telling groundbreaking stories or establishing successful ventures: They’re setting out to build empires and change the world.
Jordan Peele didn’t just direct a second feature that could rival “Get Out.” He had to prove he could do it all as a director, producer, activist and actor. Anna Serner didn’t just set an aggressive benchmark to achieve 50/50 gender parity, she created a system that ensured the rest of the industry was on board. For Matt Sacks, the 28-year-old head of Luminary, the goal wasn’t just to build a great podcast network but to build the next Netflix.
The individuals on this year’s list come from a variety of backgrounds and each have their own goals, but they all share an ambition to do something great and then surpass already lofty expectations.
Jordan Peele didn’t just direct a second feature that could rival “Get Out.” He had to prove he could do it all as a director, producer, activist and actor. Anna Serner didn’t just set an aggressive benchmark to achieve 50/50 gender parity, she created a system that ensured the rest of the industry was on board. For Matt Sacks, the 28-year-old head of Luminary, the goal wasn’t just to build a great podcast network but to build the next Netflix.
The individuals on this year’s list come from a variety of backgrounds and each have their own goals, but they all share an ambition to do something great and then surpass already lofty expectations.
- 6/5/2019
- by Sean Burch, Brian Welk, Jon Levine, Trey Williams and Tim Baysinger
- The Wrap
Executive has served in range of distribution, exhibition roles.
Spencer Klein has joined Netflix where he will serve as director of distribution heading into an awards season that includes the streamer’s potentially heavyweight contender The Irishman from Martin Scorsese.
Klein will report to head of Netflix film Scott Stuber and will oversee the streaming giant’s theatrical distribution and plan film release strategies.
He arrives following the sudden death in January of Andy Gruenberg, who oversaw the theatrical plan for best international film Oscar winner Roma. Even though Netflix releases roughly 30 films a year theatrically – campaigns range from one...
Spencer Klein has joined Netflix where he will serve as director of distribution heading into an awards season that includes the streamer’s potentially heavyweight contender The Irishman from Martin Scorsese.
Klein will report to head of Netflix film Scott Stuber and will oversee the streaming giant’s theatrical distribution and plan film release strategies.
He arrives following the sudden death in January of Andy Gruenberg, who oversaw the theatrical plan for best international film Oscar winner Roma. Even though Netflix releases roughly 30 films a year theatrically – campaigns range from one...
- 6/4/2019
- by Jeremy Kay
- ScreenDaily
Netflix has hired former Fox executive Spencer Klein to serve as the streaming giant’s director of distribution on Tuesday.
Klein was former Fox distribution head Chris Aronson’s No. 2 at the studio before Disney began laying off employees following its $71.3 billion acquisition of Fox’s film and TV assets.
Klein, who will oversee Netflix’s distribution as it attempts to operate more like a full-fledged Hollywood studio, will report directly to Netflix’s head of film Scott Stuber.
Also Read: Netflix Hires Film Production Executive Kira Goldberg From Fox
In addition to Klein, the streamer has retained theatrical distribution veteran Lori Bandazian from Lionsgate as a New York-based consultant and the company extended the role of former Warner Bros. distribution chief Dan Fellman, who joined last year to help with, among other things, Netflix’s release of its Oscar-winning film “Roma.”
Netflix has consistently been criticized for its release...
Klein was former Fox distribution head Chris Aronson’s No. 2 at the studio before Disney began laying off employees following its $71.3 billion acquisition of Fox’s film and TV assets.
Klein, who will oversee Netflix’s distribution as it attempts to operate more like a full-fledged Hollywood studio, will report directly to Netflix’s head of film Scott Stuber.
Also Read: Netflix Hires Film Production Executive Kira Goldberg From Fox
In addition to Klein, the streamer has retained theatrical distribution veteran Lori Bandazian from Lionsgate as a New York-based consultant and the company extended the role of former Warner Bros. distribution chief Dan Fellman, who joined last year to help with, among other things, Netflix’s release of its Oscar-winning film “Roma.”
Netflix has consistently been criticized for its release...
- 6/4/2019
- by Trey Williams
- The Wrap
Exclusive: Netflix has hired 20th Century Fox distribution vet Spencer Klein as their Director of Theatrical Distribution. Klein will report to Netflix Film boss Scott Stuber.
One of the first big assignments here for Klein is overseeing the theatrical rollout of Netflix’s upcoming awards season slate which includes such titles as Martin Scorsese’s The Irishman and Steven Soderbergh’s The Laundromat among many other titles. It has long been reported that the Scorsese team wants a wide theatrical release for The Irishman, and Klein is the type of guy who can sit down with big exhibition and have these types of talks as Netflix looks to capitalize the profile of their slate both in theaters and on streaming. Former Warner Bros. distribution czar Dan Fellman will continue to consult for Netflix. Klein steps in for the late Andy Gruenberg, who passed away suddenly in January after masterminding the...
One of the first big assignments here for Klein is overseeing the theatrical rollout of Netflix’s upcoming awards season slate which includes such titles as Martin Scorsese’s The Irishman and Steven Soderbergh’s The Laundromat among many other titles. It has long been reported that the Scorsese team wants a wide theatrical release for The Irishman, and Klein is the type of guy who can sit down with big exhibition and have these types of talks as Netflix looks to capitalize the profile of their slate both in theaters and on streaming. Former Warner Bros. distribution czar Dan Fellman will continue to consult for Netflix. Klein steps in for the late Andy Gruenberg, who passed away suddenly in January after masterminding the...
- 6/4/2019
- by Anthony D'Alessandro
- Deadline Film + TV
In a move that bolsters its theatrical distribution division, Netflix has hired Spencer Klein as director of distribution. The executive, who was Chris Aronson’s No. 2 at Fox, will oversee the company's efforts to release movies in theaters and become a full-fledged studio. He will report to Scott Stuber, head of Netflix Film.
The streaming giant also has brought on theatrical distribution veteran Lori Bandazian from Lionsgate as a New York-based consultant and extended the role of former Warner Bros. distribution chief Dan Fellman, who was enlisted last year to work on Roma's release, among other titles....
The streaming giant also has brought on theatrical distribution veteran Lori Bandazian from Lionsgate as a New York-based consultant and extended the role of former Warner Bros. distribution chief Dan Fellman, who was enlisted last year to work on Roma's release, among other titles....
In a move that bolsters its theatrical distribution division, Netflix has hired Spencer Klein as director of distribution. The executive, who was Chris Aronson’s No. 2 at Fox, will oversee the company's efforts to release movies in theaters and become a full-fledged studio. He will report to Scott Stuber, head of Netflix Film.
The streaming giant also has brought on theatrical distribution veteran Lori Bandazian from Lionsgate as a New York-based consultant and extended the role of former Warner Bros. distribution chief Dan Fellman, who was enlisted last year to work on Roma's release, among other titles....
The streaming giant also has brought on theatrical distribution veteran Lori Bandazian from Lionsgate as a New York-based consultant and extended the role of former Warner Bros. distribution chief Dan Fellman, who was enlisted last year to work on Roma's release, among other titles....
Updated: Esteemed Fox Domestic Distribution president Chris Aronson is leaving the studio as the Disney-Fox merger comes to fruition, Deadline has confirmed. The news comes as the new combined conglomerate cuts employees at the Svp, Evp and president levels, with Fox being hit first.
We also received word that Aronson’s No. 2 Spencer Klein, Evp, General Sales Manager, also was let go. Both executives were given 60 days notice.
RelatedSeveral Top Execs Laid Off After Disney-Fox Merger: Deadline’s Complete Coverage
“I am extremely grateful for my time at Twentieth Century Fox under the leadership of Tom, Jim, and Stacey. It has been an honor and a privilege to lead the domestic distribution team, which I consider to be the gold standard in the business,” Aronson said in a statement. “While I am disappointed not to continue, I look forward to starting a new chapter in this business during this exciting time of change.
We also received word that Aronson’s No. 2 Spencer Klein, Evp, General Sales Manager, also was let go. Both executives were given 60 days notice.
RelatedSeveral Top Execs Laid Off After Disney-Fox Merger: Deadline’s Complete Coverage
“I am extremely grateful for my time at Twentieth Century Fox under the leadership of Tom, Jim, and Stacey. It has been an honor and a privilege to lead the domestic distribution team, which I consider to be the gold standard in the business,” Aronson said in a statement. “While I am disappointed not to continue, I look forward to starting a new chapter in this business during this exciting time of change.
- 3/21/2019
- by Anthony D'Alessandro
- Deadline Film + TV
Alright, so according to a new report from Soaps.com,we're about to see Bill plot out a new, big scandal. If this scandal works, it could definitely put him back in the driver's seat at Spencer Publications. This is why Bill is going to needs some very specialized help to pull it off. That's where this new guy Ken will come into play. It's being reported by both Soaps.com and TVinsider.com that Bill is going to hire a tech wiz guy named Ken to hack into the Spencer Publications computer files in an effort to retrieve the incriminating recording that Liam has of Bill confessing to setting the Spectra building on fire. Obviously, if Bill can get his hands on it, Liam would have nothing to continue blackmailing Bill with. That would set the stage for Bill to return and take back his company. The big question...
- 10/12/2017
- by Andre Braddox
- OnTheFlix
Before Gunner Stone, there was just Speidi — and Heidi Montag and Spencer Pratt enjoyed some of their last moments as a duo by channeling The Lion King.
Recently, The Hills alums shared a video of themselves enjoying time together shortly before their son’s Oct. 1 arrival, snapping photos on top of a beachside hill while “The Circle of Life” from the 1994 animated hit provided the background music.
“So full of love and joy in these last moments of my pregnancy!” Montag, 31, wrote alongside the Disney-inspired post. “Thank you @moliverallen @thebere for capturing this magical time of life!
Recently, The Hills alums shared a video of themselves enjoying time together shortly before their son’s Oct. 1 arrival, snapping photos on top of a beachside hill while “The Circle of Life” from the 1994 animated hit provided the background music.
“So full of love and joy in these last moments of my pregnancy!” Montag, 31, wrote alongside the Disney-inspired post. “Thank you @moliverallen @thebere for capturing this magical time of life!
- 10/10/2017
- by Jen Juneau
- PEOPLE.com
Princess Diana’s tragic death in a Paris car crash on August 31, 1997 shocked the world. It would become one of the biggest news events of the 20th century – and the only time People has ever featured a photo-only cover with no headline. Here is that cover story in its entirety.
To her ex-husband, Prince Charles – as well as the rest of the world – the death of Diana, Princess of Wales, was an unimaginable shock. On Sept. 1, the day after Diana, 36, and her companion Dodi Al Fayed, 42, died in a cataclysmic car crash in Paris, the distraught Charles walked the hills surrounding Balmoral,...
To her ex-husband, Prince Charles – as well as the rest of the world – the death of Diana, Princess of Wales, was an unimaginable shock. On Sept. 1, the day after Diana, 36, and her companion Dodi Al Fayed, 42, died in a cataclysmic car crash in Paris, the distraught Charles walked the hills surrounding Balmoral,...
- 8/31/2017
- by People Staff
- PEOPLE.com
As most years go, 2016 was another rollercoaster at the cinema. There were some high highs and some loooooooooooooooooow lows. (The Divergent Series: Allegiant, the installment that basically killed that franchise.) Some of our favorite actors experienced those same ups and downs in their career, so below, we present 11 actors who starred in very bad and very good movies in the same year.
Watch: Golden Globes 2017 Nominations Revealed: 'This Is Us,' 'La La Land,' 'Moonlight' and More
1. Octavia Spencer
Summit Entertainment
Speaking of the once-promising Y.A. franchise-turned-possible made-for-tv movie (maybe?), no cast member experienced a bigger pendulum swing than Spencer, who was always underserved in those Divergent movies anyway. Thankfully, the year ended with an awards-worthy turn in Hidden Figures. Spencer already got the Golden Globe and SAG nominations.
2. Amy Adams
Warner Bros. Pictures
Has there ever been a more thankless role for a five-time Academy Award nominee than that of Lois...
Watch: Golden Globes 2017 Nominations Revealed: 'This Is Us,' 'La La Land,' 'Moonlight' and More
1. Octavia Spencer
Summit Entertainment
Speaking of the once-promising Y.A. franchise-turned-possible made-for-tv movie (maybe?), no cast member experienced a bigger pendulum swing than Spencer, who was always underserved in those Divergent movies anyway. Thankfully, the year ended with an awards-worthy turn in Hidden Figures. Spencer already got the Golden Globe and SAG nominations.
2. Amy Adams
Warner Bros. Pictures
Has there ever been a more thankless role for a five-time Academy Award nominee than that of Lois...
- 12/19/2016
- Entertainment Tonight
Princess Diana's tragic death in a Paris car crash on August 31, 1997 shocked the world. It would become one of the biggest news events of the 20th century - and the only time People has ever featured a photo-only cover with no headline. Here is that cover story in its entirety.To her ex-husband, Prince Charles - as well as the rest of the world - the death of Diana, Princess of Wales, was an unimaginable shock. On Sept. 1, the day after Diana, 36, and her companion Dodi Al Fayed, 42, died in a cataclysmic car crash in Paris, the distraught Charles walked the hills surrounding Balmoral,...
- 8/31/2016
- by PEOPLE Staff
- PEOPLE.com
As reported in September, Nickelodeon is looking to revive its cancelled animated series. In a Variety exclusive, Brian Steinberg reports the cable channel is developing Hey Arnold! as a TV movie. Reportedly, the revival will address questions left unanswered when the original series ended, including those surrounding the fate of old football head's parents.
The original Hey Arnold! series features the voices of: Francesca Smith, Jamil Walker Smith, Dan Castellaneta, Justin Shenkarow, Christopher Walberg, Sam Gifaldi, Anndi McAfee, Craig Bartlett, Olivia Hack, Tress MacNeille, Lane Toran, Kath Soucie, Spencer Klein, and Phillip Van Dyke.
Read More…...
The original Hey Arnold! series features the voices of: Francesca Smith, Jamil Walker Smith, Dan Castellaneta, Justin Shenkarow, Christopher Walberg, Sam Gifaldi, Anndi McAfee, Craig Bartlett, Olivia Hack, Tress MacNeille, Lane Toran, Kath Soucie, Spencer Klein, and Phillip Van Dyke.
Read More…...
- 11/23/2015
- by TVSeriesFinale.com
- TVSeriesFinale.com
The Other Woman has beaten Captain America: The Winter Soldier at the Us box office.
The Cameron Diaz comedy brings the Marvel sequel's three-week run at the top of the chart to an end after taking $24.7m during its opening weekend.
Fox's senior vice president of domestic distribution Spencer Klein said: "The combination of the three actresses and a fun movie really struck a chord."
Captain America: The Winter Soldier dropped to second place, taking $16.04m on its fourth weekend.
The Chris Evans film's domestic total now stands at an impressive $224.9 million and becomes the top-grossing April release of all time in North America.
Heaven is for Real took $13.8m in third place, dropping 38.7% from last weekend. The religious film's domestic total now stands at over $50 million.
Rio 2 slipped to fourth place with $13.65m, while Paul Walker's second to last film before Fast & Furious 7, Brick Mansions, opened with $9.6m.
The Cameron Diaz comedy brings the Marvel sequel's three-week run at the top of the chart to an end after taking $24.7m during its opening weekend.
Fox's senior vice president of domestic distribution Spencer Klein said: "The combination of the three actresses and a fun movie really struck a chord."
Captain America: The Winter Soldier dropped to second place, taking $16.04m on its fourth weekend.
The Chris Evans film's domestic total now stands at an impressive $224.9 million and becomes the top-grossing April release of all time in North America.
Heaven is for Real took $13.8m in third place, dropping 38.7% from last weekend. The religious film's domestic total now stands at over $50 million.
Rio 2 slipped to fourth place with $13.65m, while Paul Walker's second to last film before Fast & Furious 7, Brick Mansions, opened with $9.6m.
- 4/27/2014
- Digital Spy
NEW YORK -- The Weinstein Co. has promoted Spencer Klein from vp sales Eastern division to senior vp and general sales manager of domestic distribution.
Klein will oversee domestic sales for the Weinstein Co.'s genre arm Dimension Films and expand his work in exhibitor settlement deals and services. He will continue reporting to chairman of domestic distribution Steve Bunnell in the company's New York office.
In his new post, Klein will work with Bunnell to determine ideal release dates and plans for his slate's rollout. He will continue his work on research screenings.
"Spencer has shown a remarkable aptitude for planning, research and industry analysis and plays an extremely integral role in our domestic distribution department," Bunnell said.
Klein joined the Weinstein Co. when the company launched in October 2005. Before that, he was a film buyer at Loews Cineplex Entertainment for six years and held distribution positions at New Line Cinema and New Yorker Films.
Klein will oversee domestic sales for the Weinstein Co.'s genre arm Dimension Films and expand his work in exhibitor settlement deals and services. He will continue reporting to chairman of domestic distribution Steve Bunnell in the company's New York office.
In his new post, Klein will work with Bunnell to determine ideal release dates and plans for his slate's rollout. He will continue his work on research screenings.
"Spencer has shown a remarkable aptitude for planning, research and industry analysis and plays an extremely integral role in our domestic distribution department," Bunnell said.
Klein joined the Weinstein Co. when the company launched in October 2005. Before that, he was a film buyer at Loews Cineplex Entertainment for six years and held distribution positions at New Line Cinema and New Yorker Films.
- 12/7/2006
- The Hollywood Reporter - Movie News
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