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With ‘The Last Jedi,’ The ‘Star Wars’ Universe Keeps Feeding On Its Own Mythology

Back when George Lucas was that oddball car enthusiast and confederate of Francis Ford Coppola’s with two of the greatest and weirdest movies of the 1970s under his belt — “Thx 1138” and “American Graffiti” — he really wanted to make a movie out of “Flash Gordon.” But that didn’t work out, so he moved on to cranking out his own rollicking space opera.

Continue reading With ‘The Last Jedi,’ The ‘Star Wars’ Universe Keeps Feeding On Its Own Mythology at The Playlist.
See full article at The Playlist »

The Classic Influences of Star Wars

  • Cinelinx
Although Star Wars today has become much more than just a movie, there was a time when it was nothing more than a risky business proposition. This is a look at how classic film and cultural changes helped that original film blossom into the most popular and profitable film-based franchise in history.

Let me take you back to a time before midichlorians and Gungans. Before lightsabers and tie fighters. This is a time when Death Star could have referred to a Shuriken, and Skywalker was the nickname for future NBA Hall of famer David Thompson. It was 1973 and George Lucas began writing the script for what would become Star Wars, later Episode IV: A New Hope. At this time, Lucas had completed filming his second feature film, American Graffiti, which would become a hit. His first feature film was 1971’s Thx-1138, a dystopian sci-fi, and a flop in theaters. However,
See full article at Cinelinx »

Blade Runner Has Gotten Better With Age

  • Cinelinx
Blade Runner has aged like a fine wine, which is a rarity amongst effects-driven science fiction films. This is a look at several of the reasons why it has seemingly gotten better with age instead of worse.

Blade Runner is an odd case in the history of film. Here we have a movie that was widely misunderstood by both audiences and critics upon its release. It did marginal business in theaters, but ultimately failed to live up to the studio’s expectations. Critics dismissed it as mostly fluffy eye candy, and audiences wanted something more exciting. Despite these initial challenges, the film got a second chance.

Looking back at the same film today, the perspective has changed completely. Today, Blade Runner is widely considered a classic science fiction film. It has been elevated in status to quintessential viewing, and is featured on many critic’s best films lists. For today’s audiences,
See full article at Cinelinx »

‘Downsizing’ Review: Alexander Payne and Matt Damon’s Big-Thinking Social Satire Offers Uneven Charms — Venice

‘Downsizing’ Review: Alexander Payne and Matt Damon’s Big-Thinking Social Satire Offers Uneven Charms — Venice
With a sneaky comic tone swerving between earnest compassion and snarky derision, a middle-aged protagonist chewed up by ennui, and a colorful array of character actors populating a kitsch-Americana setting, “Downsizing” has all the hallmarks of an Alexander Payne film. And yet, his latest work plays just as much like a blown-up, fun home image of Mike Judge’s “Idiocracy,” as it too uses the conventions of science fiction to mount a caustic social satire. And like Judge’s 2006 dystopian comedy (which feels less and far fetched each passing day, as the meme goes), “Downsizing” is rife with witty visual touches and inspired comic premises but never quite comes together as fully successful whole.

The premise itself is a gem. In some not-so-far-off future, forward-thinking Norwegians have discovered a way shrink objects down to 1/12th scale and have embarked on a global campaign to convince us that it’s time to “get small.
See full article at Indiewire »

Abel Ferrara’s ‘Go Go Tales’: Art, Commerce, Beauty, and Exploitation

Looking back on this still-young century makes clear that 2007 was a major time for cinematic happenings — and, on the basis of this retrospective, one we’re not quite through with ten years on. One’s mind might quickly flash to a few big titles that will be represented, but it is the plurality of both festival and theatrical premieres that truly surprises: late works from old masters, debuts from filmmakers who’ve since become some of our most-respected artists, and mid-career turning points that didn’t necessarily announce themselves as such at the time. Join us as an assembled team, many of whom were coming of age that year, takes on their favorites.

“Here in America there is no difference between a man and his economic fate. A man is made by his assets, income, position and prospects. The economic mask coincides completely with a man’s inner character. Everyone
See full article at The Film Stage »

Bringing Star Wars to the Screen: Episode IV – A New Hope

Star Wars: Episode IV – A New Hope, 1977.

Directed by George Lucas.

Starring Mark Hamill, Harrison Ford, Carrie Fisher, Peter Cushing and Alec Guinness.

Synopsis:

A long time ago, in a galaxy far, far away… young farm boy Luke Skywalker becomes embroiled in a civil war between the heroic Rebellion and evil Galactic Empire. Setting off from his home-world, Luke must rescue a captured princess and learn the ways of the Force from Jedi Master Obi-Wan Kenobi if he is to aid the Rebellion in destroying the Empire’s ultimate weapon, the Death Star.

During the production of his debut movie Thx-1138 (1971), young director George Lucas had expressed considerable interested in adapting the adventures of Flash Gordon for the big screen but, after being unable to acquire the rights to the character, Lucas soon set about developing his own space adventure reminiscent of the science-fiction movie serials he had watched as a child.
See full article at Flickeringmyth »

Why Rian Johnson is Great for Star Wars

  • Cinelinx
For some, Rian Johnson is the director of the acclaimed hit Looper, which proved he was ready for the big league budget of Star Wars directing. But for others, Rian Johnson is one of the keepers of classic cinema, both in taste and style. Like Lucas before him, Johnson is an old school filmmaker working in a contemporary blockbuster setting. Rian Johnson is a perfect fit for Star Wars, and I’ll detail why in great, painful lengths. Rian Johnson is exactly what Star Wars needs right now.

On October 30th, 2012 Disney announced they were acquiring Lucasfilm for $4.05 billion and that there would be new Star Wars films every two to three years (that’s since changed). Just barely a month before, Rian Johnson’s film Looper was released wide in September to wide critical acclaim and instantly embraced by fans as a modern sci-fi classic. The first question in
See full article at Cinelinx »

Recommended New Books on Filmmaking: Princess Leia, Alfred Hitchcock, Going Rogue, and More

The world of film-related books has been dominated by Star Wars for the last two years, and that’s not a bad thing. With insightful authors like Pablo Hidalgo and gorgeous efforts like Star Wars: Galactic Maps, there has never been a better time to be force-crazed. This month is no exception, but you’ll also find new releases about Hitchcock, the Marx Brothers, and even two involving X-Files prequels. Let’s start with a book that took on new relevance just weeks after its release.

The Princess Diarist by Carrie Fisher (Blue Rider Press)

Carrie Fisher’s The Princess Diarist, a hilarious and touching look at her life as Star Wars icon Princess Leia, was a must-read even before the sudden, shocking passing of its author in December. It is even more poignant now. While the book earned pre-release buzz over its revelation of an on-set affair with Harrison Ford,
See full article at The Film Stage »

Ann Brebner, Casting Director for George Lucas, Dies at 93

Ann Brebner, a San Francisco-area casting director who worked for George Lucas and got one of the first looks at his script for Star Wars, has died. She was 93.

Brebner died Friday at her home in San Rafael, Calif., the Marin Independent Journal reported.

A native of New Zealand, she and her husband, the late actor John Brebner, launched the Bay Area's first professional casting agency in 1960.

She cast actors for such Lucas films as Thx 1138 (1971), his first feature, and American Graffiti (1973), and the first dramatic reading of his screenplay for 1977's Star...
See full article at The Hollywood Reporter - Movie News »

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Hitler was a big fan of Fritz Lang’s great science fiction film Metropolis. In what year does the film take place?

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Lang fled Germany in 1934 after Hitler’s rise.

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Charlton Heston blows up the world in Beneath The Planet of the Apes.
See full article at Trailers from Hell »

Berlinale sets sci-fi retrospective for 2017

Berlinale sets sci-fi retrospective for 2017
George LucasThx 1138, Byron Haskin’s The War Of The Worlds and 1918 silent film A Trip To Mars among 27 features set to screen.

The Berlin Film Festival’s annual retrospective will be devoted to science fiction films at the 67th edition of the festival unfolding Feb 9-19 in 2017.

The sidebar – Future Imperfect. Science · Fiction · Film” - will screen a total of 27 international features, including classics, cult films and largely unknown productions from countries including Japan as well as central and European Europe.

Describing science fiction films as one of the most “visually stunning and spectacular genres in the history of film”, the festival said the event would focus on two themes: ‘the society of the future’ and ‘the strange and the other’.

“The possible worlds on earth or in space open up a vast scope for re-defining questions of collective visions and fears. So as a mirror for society’s public debates, science fiction
See full article at ScreenDaily »

The Devil Within Her (1975) Coming to Blu-ray from Scorpion Releasing

  • DailyDead
Donald Pleasence, Joan Collins, and Caroline Munro co-star in The Devil Within Her, aka Sharon's Baby and I Don't Want to Be Born, a 1975 horror film featuring a violent baby that is coming to Blu-ray from Scorpion Releasing.

Blu-ray.com reports that the folks at Scorpion Releasing are hard at work on a fresh 2K restoration of The Devil Within Her, and while an exact release date has yet to be revealed, the Blu-ray is expected to come out in early 2017.

We'll keep Daily Dead readers updated on special features announcements and release details. In the meantime, we have the official synopsis, trailer, and poster for the Peter Sasdy film:

Synopsis (via Blu-ray.com): "Hollywood legend Joan Collins teams up with cult stars Donald Pleasence and Caroline Munro in this terrifying tale of a demonic baby!

Lucy (Collins, Dynasty, Land Of The Pharoahs) is a former dancer, having moved
See full article at DailyDead »

Directors Who Damaged Their Careers Part 3 – The Surprising One

Graeme Robertson continues his series looking at directors who damaged their careers; next up is George Lucas

This entry may raise a few eyebrows among readers, with some of you possibly saying “but George Lucas is a successful director” or “George Lucas created Star Wars, how did he damage his career?”

The answer can be summed up in two words: Prequel Trilogy.

These three films did near irreversible damage to the reputation of George Lucas and it did more damage to the reputation of the Star Wars franchise than most would like to admit, but let me take you back to the beginning so you can understand why I feel this way.

In the 1970s George Lucas was a film school graduate who was rapidly rising up the ranks in Hollywood.

He had made his mark with his often overlooked dystopian debut (don’t you love alliteration) Thx 1138 (1971), and
See full article at Flickeringmyth »

Horror Highlights: The Texas Chainsaw Massacre 2 Screening, Dementia 13, Cod: Infinite Warfare, Torchwood

To celebrate the 30th Anniversary of Texas Chainsaw Massacre 2, a screening of the film will occur at this year's Popcorn Frights Film Festival on Friday, July 8th. Also in today's Horror Highlights: info on the digital restoration of Roger Corman and Francis Ford Coppola's Dementia 13, and Call of Duty: Infinite Warfare and Torchwood #1 San Diego Comic Con 2016 details.

The Texas Chainsaw Massacre 2 30th Anniversary Screening Details: "The Texas Chainsaw Massacre 2: 30th Anniversary Screening.

This Friday Night. July 8th at 11pm. Presented by Popcorn Frights Film Festival.

Giveaways by Scream Factory and Neca.

O Cinema Wynwood: 90 Nw 29th St, Miami, Fl 33127.

The Texas Chainsaw Massacre 2 will be preceded by Aj Briones’acclaimed short-film “Smiling Man”.

The Buzz Is Back!!! Over ten years after making the original Texas Chainsaw Massacre, Tobe Hooper returns to his deranged family of reclusive cannibals for another round of chainsaw chases and non-stop screaming.
See full article at DailyDead »

13 Fun Facts About Gattaca

I was watching Gattaca again recently and realized that the Andrew Niccol sci-fi masterpiece deserved its own Fun Facts list. This is one of my favorite movies, and if you haven’t seen it, you’re missing out on something special. This was the first film that Niccol made and for a first-time film project, he completely nailed it. He made a spectacular film, and even with the six films he’s made since, Gattaca is still his best.

A lot of the information here comes from Imdb, and I've included some of my own commentary as well as videos for you to watch. Here are 13 Fun Facts about Gattaca that you may not have known:

Ethan Hawke and Uma Thurman started dating during the filming of the movie. They eventually got married, but later divorced in 2005.There was a marketing campaign for the film when it was first released
See full article at GeekTyrant »

Love Is Illegal for Kristen Stewart and Nicholas Hoult in Dystopian 'Equals' Trailer

The first official trailer for "Equals" is here, and with it are the inevitable comments that Kristen Stewart was the perfect choice to play a character with no emotion. Give Bella a break already!

Displays of feeling, like love, are not allowed in the world of "Equals," which makes life tough for the characters played by Stewart and Nicholas Hoult.

The two-minute trailer is set in a futuristic world of pure white austerity. Any emotions are supposed to be reported, but someone apparently committed suicide ("our first jumper in a while"), which certainly hints to strong feelings on their part. Hoult and Stewart begin to gaze longingly at each other and almost touch hands, leading to more (and more dangerous) physical contact.

Yes, you can find versions of this story in past films like "Thx 1138," "The Island," "Equilibrium," "The Giver," and maybe even "Gattaca," but this one has its own take,
See full article at Moviefone »

Qumra: James Schamus Discusses the Filmmaking Process in Extensive Master Class and Interview

In the Qumra Master Class 2016 where James Schamus and Richard Peña, former long-time head of Lincoln Film Society in NYC, carried on an informal and open-ended discussion, James gave a personal view of himself before going into the professional ins and outs of his film production and distribution life.

I was surprised to hear that James, who seems like a quintessential New Yorker, is not a native New Yorker but is an Angeleno and attended Hollywood High in Los Angeles.

When I spoke with him afterward, he said that he actually was from North Hollywood but had attended Jd Melton at Hollywood High. On looking the school up for this article, I was even more pleasantly surprised to see that their branding is serendipitously, “Home of the Sheiks”.

James grew up in L.A. in the 70s and Hollywood High was equivalent to Jodie Foster’s school in “Taxi Driver” only it was in L.A. It was a working class and poor school where only half of the student body took the SATs (College qualifying exams), and he was definitely the nerd in the herd. He would spend his Friday nights watching a little known TV show on the local Channel 13 moderated by the L.A. Times critic Charles Champlin. The show was of silent films and there he saw “Birth of a Nation” and the German Expressionist movies among others. Later he wrote his PhD dissertation Carl Theodor Dreyer's ‘Gertrud’: The Moving Word, and it was published by the University of Washington Press. He moved to New York to write it after completing his Bachelors, Masters and PhD studies at Uc Berkeley.

He said he does not remember much about his high school days, but recently as he was unpacking some old boxes, he came across his high school yearbook.

You know how people signed with little paragraphs? One of these said ‘Thanks for persuading me to skip school with you and going on the 93 bus to see movies’ and it was signed ‘Frank’. I had no idea who Frank was but as I tried to remember, I recalled skipping school to go to L.A.’s only film festival which was new and called ‘Filmex’.

(Editor’s note: Filmex was the creation of ‘The two Garys’, Gary Essert and Gary Abrahams, both of whom died of Aids during the Aids epidemic. Gary Essert was a UCLA Film School student in the 60s where he started Filmex with marathon screenings in the Quonset hut which was the film school. The two Garys are both vividly remembered today by the American Cinematheque crews and others of us from L.A. because the Cinematheque was their creation.)

It was at Filmex that I saw a film made by a film student from USC. It was a sci-fi film and there was a Q&A afterward. The film was called ‘Thx-1138’ and it was by George Lucas. Then I remembered! Frank was Frank Darabont! And we were now sharing the same agent, so I gave him a call and yes, he went to Hollywood High too.

James combines his acclaimed filmmaking career with other roles within the industry: he is a revered film historian and academic. He is also a multi award-winning screenwriter, director and leading U.S. indie producer, best known for his long creative collaboration with Taiwanese director Ang Lee. He has worked with Lee on nine films, including “Crouching Tiger, Hidden Dragon” (2000), which won four Academy Awards, including Best Foreign Language Film and Best Cinematography, and remains the highest-grossing non-English-language film in the U.S. He was the screenwriter for Lee's “The Ice Storm”, for which he won the award for Best Screenplay at the Festival de Cannes in 1997 and co-wrote “Eat Drink Man Woman” (1994), the first of Lee’s films to achieve both critical and commercial success.

As producers, Schamus and Ted Hope (today head of production at Amazon) co-founded the U.S. low- to no-budget production company Good Machine in the early 1990s.

It was macho to brag about how we made films with no money. ‘I made my movie for $5,000.’ ‘Well, I made mine for $4,000.’

Ted also loves lists and he made a list of all the short films made in the past 10 years by filmmakers who had yet to make feature films. We got the VHS tapes and one of the films we saw was by Ang Lee when he was studying at Nyu. It was called “Fine Line” and was Chazz Palminteri’s first film.

“Fine Line” was about an Italian guy on the run from the mob. It takes place in New York’s Little Italy and Chinatown. Ang Lee had an agent and we called him. He said Ang Lee was working on three great films before hanging up on us…

To hear James tell this story, watch him speaking here with Richard Peña.

What was cut out of the above online story was that at the time of “Pushing Hands”

Ang had no idea we had just contacted his agent and he also thought we would steal all his money. He was 38 years old, an unemployed stay-at-home parent with a working wife and two kids living in a little apartment in New York. In his spare time he had become a great cook. He came in and pitched a comedy for one hour. It was awful. We were such no-money producers; our office was upstairs from a strip club and the music would blast into our offices starting at 2:00 every day. With this pounding beat, he pitched the worst pitch we ever heard. But there was a $5,000 fee for us. I then said that though his pitch was poor he had actually described the entire movie in his head to us scene by scene. He was not trying to sell the film.

So we made the film and then made his second film “Wedding Banquet” which shared a first prize in Berlin. The third film was “Eat Drink Man Woman” from an original idea with a Taiwanese writer, very TV in the open-endedness of all the characters feeling the push and pull of letting it happen. But in this was a Hollywood 40s style screwball comedy that could be imposed.

Again, when James and I spoke together, I challenged him on the claim that “Dim Lake” was Chazz’s first film because my own partner in life and business, Peter Belsito, claims to have produced Chazz’s first film, “Home Free All” at which time Chazz took Peter aside and said, 'I am not just a dumb guinea hoodlum, I am a real actor destined for better roles. I can act serious.' So James and I checked IMDb to see and sure enough, “Dim Lake” was his first film and “Home Free All” was his second, but it was Chazz’ first feature film. We then looked at the rest of his 68 film credits and in every single one, he is playing the Italian.

Doing this with James gave me a momentary feel of his love for research.

“For my first time writing with Ang I needed to research food in Taiwan for ‘Pushing Hands’, the position and placement of food, families and food….The script would be translated from English to Chinese, but Ang was not satisfied with it. I was having trouble tapping into the mentality of the Chinese family so I took all the characters’ names and changed them to Jewish names and rewrote the script totally as a Jewish family. Then I changed the names back to their Chinese names. Ang read the script and said ‘This is really Chinese!’ And so I got ‘the cross-cultural idea’ -- not really…I still don’t get that.

The first day in Taiwan we were shooting the film in a fast food restaurant and I as I watched the rushes, one of the character’s name was Rachel and I realized I had forgotten to change the name back. I asked if we needed to reshoot, but at that time it was a fad to change Chinese names to Anglo names and no one thought it was out of place, and so it stayed.

The most difficult part of the film was shooting the opening title sequence of the father cooking a meal. It went over schedule because it had to be perfect. We used the food so many times it was held together by glue by the end.

Preparing a shot list is very important for Ang and he constantly reduces the list and his vision jells as he does this. By his third film, the process was very internalized. Next he had to communicate it. The plan is always the result of the overall idea. That’s why his style always changes.

As he shoots, the relationship with the editor is very close. He has a long-time relationship with his editor Tim Squyres.

The “Wedding Banquet” was the first film edited on Avid. Before “Wedding Banquet”, four minutes was the full length of films edited on Avid which is now ancient technology.

Tim cuts several versions and talks them through with Ang. They have spent more time in the dark together than most married people. Ang is in the editing room from the beginning to the end. Tim talks very directly, like he might say Ang should have spent more time on a scene or should have shot a scene from a different angle. I used to watch Ang’s face tense up as he listened to Tim’s criticism and often they would fight, but they have spent 25+ years together.

On the transnational global reach of “Crouching Tiger, Hidden Dragon”:

Critics said it was not an authentic chop-socky movie. But the Hong Kong chop-socky genre itself was a regional hybrid. The origins of chop-socky were from Shanghai and Singapore. It was not so “Cantonese” as critics claimed. Bruce Lee himself was U.S. based. So the transnational aspect was already there.

From 2002 to 2014 Schamus was CEO of Focus Features, the motion picture production, financing and worldwide distribution company whose films during his tenure included Wes Anderson's “Moonrise Kingdom” (2012), Michel Gondry's Eternal Sunshine of the Spotless Mind (2004), Roman Polanski's “The Pianist “ (2002), Henry Selick's “Coraline” (2009) and Sofia Coppola’s “Lost in Translation” (2003).

On actors:

Character is secondary to the action. You only have action and words in a script. Working with good actors, you need images.

Actors are at such high risk, they are very vulnerable. They need respect. Sometimes they act out.

On casting and directors:

During the casting process, the director must direct the actor, set the tone for the part. Most of the film’s directing can be done during the casting process.

On storyboarding:

Ride with the Devil” was the first film Ang Lee storyboarded. He also storyboarded “Life of Pi”. Storyboarding could take the life out of a movie.

On production design:

It takes lots of research. It includes the worldview of the film and everything ties in to that. It first starts with costumes. Research is not done only by the department but by everyone.

On film distribution and Focus:

Where is distribution now for specialized films? Focus was everything, attached to the studio system as its specialized film division, Focus’ model was not Fox Searchlght’s which is locked into the domestic U.S. market. Seachlight bought global rights and produced by way of its international TV deals. Focus didn’t have that. It had to presell theatrical rights to independent distributors worldwide. Driven primarily by the international marketplace, it could not be driven by U.S. Its primary focus for production was London. It was all international but also driven by flagship releases in the U.S.

In 2014, Schamus turned his hand to directing with the short documentary “That Film About Money” (2014).

Paul Allen of Microsoft started Vulcan with a commitment to shorts. I did a doc with a crew of people I had never worked with before. And it was about people like Paul.

In 2016 James made his feature directorial debut with an adaptation of Philip Roth's “Indignation”. It had its world premiere at the Sundance Film Festival in January 2016 and screened at this year’s Berlin International Film Festival in the Panorama section.

Schamus is also Professor of Professional Practice at Columbia University’s School of the Arts, where he teaches film history and theory.

On Doha’s newest foray into Hollywood:

Doha-based beIN Media Group’s acquiring Miramax could be a great deal depending on the price paid.

Much of the 600-plus films in the Miramax library is probably locked into licensing deals already around the globe, but depending on when those deals are up for renewal and what other rights can be exploited, if the price point was right, it’s a great way to get into the game because they are sitting on top of so much intellectual property.

Just integrating into the deal structures and understanding the economics, from the end point where the money is coming from to the rights holder, is a good idea.

Miramax, under the leadership of Zanne Devine, has also co-acquired with Roadside Attractions, the 2016 Sundance premiering feature, “Southside with You”, the narrative feature of Barak Obama and Michelle’s first date. That will bring beIN into the Roadside Attraction/ Lionsgate sphere of distribution and international sales.

On Hollywood interest in territories like China, India and the Middle East:

The less successful pattern is to find a Hollywood producer who flies in on his private jet and give him hundreds of millions (ed: Stx?) to make movies. This is a very different version, this is owning intellectual property - it’s a good first step.

On moviegoing in the Gulf:

The next step is to build a cinema culture that makes movie-going a practice in the region far more than it is now - movie exhibition and movie-going as a power lever.

On TV in the Middle East:

My intuition says new media, television in particular, is going to be a space that is very dynamic once it breaks open, here in the Gulf or elsewhere.

During this week at Qumra, James is also mentoring 10 filmmakers working on five Dfi-backed projects: Mohamed Al Ibrahim’s “Bull Shark”; Hamida Issa’s “To The Ends Of The Earth”; Sherif Elbendary’s “Ali, The Goat And Ibrahim”; Mohanad Hayal’s “Haifa Street” aka “Death Street”; and Karim Moussaoui’s “Till The Swallows Return”.

Elia Suleiman, the Artistic Advisor to Doha Film Institute, recalls how he and James “grew up together” in New York as long-time friends. James introduced him to the Chilean master filmmaker Raul Ruiz. While at Good Machine, Schamus helped him with his short film. He helped edit the script and was his guardian angel helping with his first contract. They even had a code for “urgent”. When Elia was in Jerusalem and James in London, they used the code whenever Elia was overwhelmed by the paperwork needed. James would answer within 15 minutes. Now James has come full circle on his own, from being one of the most important producers of the decade to directing his own film.

When asked by Qumra what was most important, he said “first time filmmakers are the most important”. And he has always been able to spot the most talented of emerging filmmakers.
See full article at Sydney's Buzz »

James Schamus: Gulf can learn from China's box-office boom

  • ScreenDaily
James Schamus: Gulf can learn from China's box-office boom
James Schamus delivers masterclass in Doha, touching on the need to build a movie-going culture in the Gulf and how Crouching Tiger, Hidden Dragon established the modern international blockbuster.

James Schamus said the Gulf region could learn from China’s theatrical growth, during his masterclass at the Doha Film Institute’s Qumra festival on Saturday.

The American producer, writer, distribution executive and director was asked about last week’s deal for Doha-based beIN Media Group to acquire Miramax and said it “could be a great deal” depending on the price paid.

He noted that much of the 600-plus films in the Miramax library would be locked into licensing deals already around the globe, but depending on when those deals are up for renewal and what other rights can be exploited, “if the price point was right, it’s a great way to get into the game because you are sitting on top of so much intellectual property
See full article at ScreenDaily »

Schamus at Qumra: Gulf can learn from China's box-office boom

  • ScreenDaily
Schamus at Qumra: Gulf can learn from China's box-office boom
James Schamus delivers masterclass in Doha, touching on the need to build a movie-going culture in the Gulf and how Crouching Tiger, Hidden Dragon established the modern international blockbuster.

James Schamus said the Gulf region could learn from China’s theatrical growth, during his masterclass at the Doha Film Institute’s Qumra festival on Saturday.

The American producer, writer, distribution executive and director was asked about last week’s deal for Doha-based beIN Media Group to acquire Miramax and said it “could be a great deal” depending on the price paid.

He noted that much of the 600-plus films in the Miramax library would be locked into licensing deals already around the globe, but depending on when those deals are up for renewal and what other rights can be exploited, “if the price point was right, it’s a great way to get into the game because you are sitting on top of so much intellectual property
See full article at ScreenDaily »

Trailer: Sex Finds A Way In The Future Dystopia of Equals

A future-set love story in a world where emotions have been eradicated, Nicolas Hoult and Kristen Stewart participate in the long tradition of this idea in the history of pop literature, and cinema, from the big dumb action of The Island and Equilibrium, to George Lucas' cooler ideological Thx-1138, the flower-powered Logan's Run, ll the way back to George Orwell's seminal novel Nineteen Eighty-Four. It is good happenstance that Ridley Scott, who famously re-purposed the iconography of Orwell for Apple Inc. as a TV advertisement to launch their Macintosh computer, acts as the producer on Equals, a handsome looking indie from director Drake Doremus.I dug the film quite a bit when I caught it at Tiff last year. Maybe it is the sound track, but...

[Read the whole post on twitchfilm.com...]
See full article at Screen Anarchy »
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