1-20 of 25 items from 2016 « Prev | Next »
Robert Downey Jr. and True Detective creator Nic Pizzolatto will team up for a new drama heading to HBO. Downey Jr. will both star and executive produce the new series, marking the Iron Man actor's first television role in nearly 15 years.
According to Variety, like the first two seasons of True Detective, Pizzolatto will pen the series' script. While HBO didn't confirm the project nor provide specifics about the drama, sources tell Variety that the series could be connected to the Perry Mason reboot Downey Jr. has been trying to spearhead for years. »
Like a cat, “The Night Of” always keeps us guessing. We’re alternately drawn to and thrown off by the HBO drama’s unpredictable behavior, whether it’s the unfolding of the central murder case, Nasir Khan’s (Riz Ahmed) baffling conduct in jail or defense lawyer John Stone’s (John Turturro) struggles with eczema.
Therefore, it’s appropriate that one of nature’s most enigmatic creatures — a cat — has added to the show’s mystery. The orange and white kitty in question has no known name and belonged to murder victim Andrea Cornish (Sofia Black D’elia). After putting the cat up a few days at the local shelter, Stone eventually saved its life by taking the cat to his own home – but not before saying, “It’s a stay, not a pardon. He may be back.”
Read More: ‘The Night Of’ Producers Clear Up the Mystery of Stone’s Eczema
Since then, »
- Hanh Nguyen
If the outline of Darth Vader’s trademark helmet gives you chills down your spine, prepare yourself for the final moments of the newest trailer for “Rogue One: A Star Wars Story.”
The Gareth Edwards-directed feature — which takes place shortly before the events of “A New Hope” kick off — has made no bones about featuring the Star Wars universe’s biggest bad of all time, the inimitable Darth Vader, in at least a supporting role, and our latest look at the film comes complete with a hell of a tease as to his appearance. Stay till the end, folks, there’s a treat awaiting you during this trailer’s final seconds.
Read More: ‘Rogue One’ Trailer: 5 Things We Saw In Brand New (And Still Unreleased) Star Wars Celebration Footage
This trailer isn’t all about Vader, though, as it features plenty of fresh material — much of it rolled out »
- Kate Erbland
Weed dealers occupy a strange role in the lives of their clients. Of course, they’re the purveyor of a substance that’s illegal in many jurisdictions, but the relationship with their customers tends to be more like casual acquaintance than a firmly business oriented one. And then there’s the fact that the job tends to take […]
The post Get Stoned With The New Trailer For HBO’s Weed Comedy ‘High Maintenance’ appeared first on The Playlist. »
- Kevin Jagernauth
Eddie Murphy is returning to the silver screen for the first time in four years. His leading role in “Mr. Church” is his first since 2012’s “A Thousand Words,” with the actor joined by Britt Robertson and Natascha McElhone in Bruce Beresford’s drama based on screenwriter Susan McMartin’s own life. Watch its first trailer, which first premiered on Entertainment Weekly, below.
“Henry Joseph Church could have been anything he wanted,” Robertson narrates in the opening seconds. “He chose to cook.” McElhone plays Robertson’s single mother, who’s ill and not long for this world; from there we see the cook become a father figure to the girl over the course of several years beginning in 1970s Los Angeles.
Read More: First Clip + Poster for Eddie Murphy’s First Film »
- Michael Nordine
This morning the Toronto Film Festival announced its slate of 12 films that will be competing in this year’s Platform section. Included in the directors-focused competition is Fien Troch’s fourth feature film, “Home.”
The drama portrays the struggle between two generations: teenagers who explore a thin line between trust, friendship, and loyalty, and adults who seem alienated from their past younger selves. Both find it difficult to communicate and understand each other’s closed-off worlds, making their clash more brutal than expected. The story centers mostly around 17-year-old Kevin who starts an apprenticeship at his aunt’s store and moves in with her and her family. After meeting his cousin Sammy’s friend John, he discovers that John lives an unbearable situation with his mother and feels the urge to help out his new friend.
Read More: Tiff Announces Platform Titles, Including ‘Jackie,’ ‘Moonlight,’ ‘Daguerrotype’ and More
“Home” features »
- Liz Calvario
A24 has released more than its fair share of notable films during its brief existence so far. Just this year alone, they’ve released “The Lobster,” “Green Room” and “The Witch, all of which have been widely acclaimed. But their latest film “Moonlight” represents a first for the young studio. Writer/director/producer Barry Jenkins’ upcoming drama marks the company’s first in-studio production alongside Plan B Productions, with Brad Pitt onboard as executive producer. Check out the first trailer below.
Based on the play “In Moonlight Black Boys Look Blue” by Tarell Alvin McCraney, the film tells the life story of a young man named Chiron (Trevante Rhodes) via three defining chapters of his life. Set in the 1980’s Miami during the height of Reagan’s War on Drugs, “Moonlight” follows Chiron as he comes of age, falls in love and discovers his own sexuality, »
- Michael Nordine
According to Variety, the movie focuses on the rise and fall of Blanco, the drug lord known as “The Cocaine Godmother” who revolutionized the U.S. drug trade during the 1970s and 1980s and became the most powerful female cartel member of all time.
“I’ve been fascinated by the life of this corrupt and complicated woman for many years,” Lopez said. “The idea of teaming with HBO felt like the perfect fit for finally bringing Griselda’s story to life.”
Read More: Natalie Portman To Star In HBO Mystery Miniseries From Marta Kaufman
- Liz Calvario
“The Battle of the Bastards” represents a spectacular visual effects crescendo for “Game of Thrones” Season 6, bringing to a head the heated feud between Jon Snow (Kit Harrington) and his army of Wildlings, and the Boltons, led by nemesis Ramsay Bolton (Iwan Rheon).
Director Miguel Sapochni looked to Akira Kurosawa’s classic “Ran” “as an action and visual departure point,” said production VFX supervisor Joseph Bauer. “There were various other western and historic battle movies and other references that informed army formation and tactics. The body pile concept came from both Roman and Civil War accounts. Aesthetically, the feel for Bastards was to stay with Jon Snow and keep the viewer inside the action relentlessly.”
The task fell to Australia-based VFX studio, Iloura, which raised its photoreal game with 400 audacious shots featuring 3,000-strong armies, a hybrid of real and CG people as well as animals and massive crowd simulations, plus hundreds of body parts, »
- Bill Desowitz
Here’s your daily dose of an indie film, web series, TV pilot, what-have-you in progress — at the end of the week, you’ll have the chance to vote for your favorite.
In the meantime: Is this a project you’d want to see? Tell us in the comments.
Logline: Silly, heartfelt, super-short moments in the life of a bisexual guy who’s got way too many feels.
Though Netflix and others have brought TV online, most new shows still stick to the traditional half-hour format. Inspired by “High Maintenance,” we have created a form that is shaped for the internet. 30-90 second episodes, released daily for a month. The brevity influences the content: Instead of your standard narrative arc, you’re going to see moments of this character’s life at the same time as you’re living your own. Episodes are closer to blog posts than to short films. »
- Steve Greene
HBO has confirmed a debut date for “High Maintenance.” The comedy series will sick-off its six-episode inaugural season on September 16 at…
Continue reading on Women and Hollywood »
- Casey Cipriani
A movie starring two YouTubers will make its money back in iTunes sales, regardless of its quality. That may sound like a good thing, but it’s not if you’re an online content creator looking to transition into traditional Hollywood projects and shake your reputation as a one-trick pony. Speaking from the sixth VidCon, the annual convention for digital content creators and their fans, creator Jimmy Wong is uncertain about his and others’ crossover prospects.
“It’s really hard to transition YouTube stars into traditional acting roles,” says Wong, who rose to YouTube fame with his viral hit “Ching Chong! Asians in the Library Song” — a timely response to an ugly, racist video rant.
Read More: Diversity is Thriving on YouTube and Four More Reasons to Be Excited for VidCon 2016
Wong is a filmmaker at RocketJump, a digital movie studio and YouTube channel that also hosts original content on its website. »
- Jude Dry
The demand for original television programming is sky-rocketing and doesn’t appear to be coming down any time soon. From the explosion of subscription services like Netflix and Hulu, to websites and brands looking to step into the original content game, to the continued expansion of scripted and unscripted programming on dozens of cable channels, outlets are desperately looking for original content that can stand-out in the abundance of programming now available to consumers.
Out of this demand has emerged a new way for creatives to break into TV: the Dyi pilot. Instead of writing a spec and trying to break into TV the old fashion way, content creators are following the path independent filmmakers and shooting low budget pilots that serve as proofs of concept for a hungry TV industry hoping to find the next “High Maintenance.”
Read More: SeriesFest – There’s a Diy Way to Break into TV »
- Chris O'Falt and Sarah Colvin
This weekend marks the season finales of Game of Thrones, Silicon Valley, and Veep, but HBO wants you to know there’s nothing to worry about — they’ve got tons of other great programming coming up on the horizon. We began this week with a new trailer for Westworld, followed by the first promos for Sarah Jessica Parker’s Divorce and Issa […]
The post ‘High Maintenance’ Teaser: The Hit Web Series Comes to HBO appeared first on /Film. »
- Angie Han
If you exclude stuff from Amazon or Netflix or Hulu (which might only be available via online streaming, but are otherwise very traditional TV shows), we still haven’t really had a true breakout web series, a show that debuts on a YouTube or a Vimeo and makes a real pop-culture impact. “Broad City” might be […]
The post Watch The First Trailer For HBO Weed-Dealing Comedy ‘High Maintenance’ appeared first on The Playlist. »
- Oliver Lyttelton
Last week, Vimeo CEO Kerry Trainor announced he was stepping down as the leader of the streaming service. The move comes at a time when the company has grown tremendously — going from 40 to 200 employees and increasing their revenue five-fold during Trainor’s four years at the helm — but has yet to find a concrete way to transition their platform to being a place where customers come to buy content.
In many ways, Vimeo’s situation reflects the same predicaments faced by indie filmmakers: It’s never been easier to generate and share high quality content that will find an audience online, but without advertising, how can independent content creators monetize their work?
Read More: Is There a Market for Shorts That Debut at Film Festivals?
Founded in 2004, Vimeo developed a core following of filmmakers by being ad-free and the first high quality HD streaming player on the internet. With the rise of Dslr cameras, independent filmmakers needed a home for their new HD content and the streaming service was the logical choice.
The brand loyalty filmmakers have for Vimeo has only grown over the years, with yearly plus and pro subscriptions ($60 and $200) — which allow the uploading and sharing of large sized HD files — being an essential tool for virtually all independent content creators. In fact, the large percentage of the revenue growth that has come during Trainor’s tenure came from adding close to 500,000 new creators willing to pay these fees.
Not surprisingly, Vimeo also became the preferred destination for filmmakers to share their short films and an audience for their unique content quickly developed. In response to increased traffic and a dearth of content, Vimeo added curation in the form of “Staff Picks,” which highlights the best of Vimeo and regularly brings 50,000 to 200,000 viewers to the type of quality short film found at a film festival.
It’s easy to see why Vimeo’s parent company Iac saw so much potential in Vimeo and invested money in their growth under Trainor — paying subscribers were generating a distinct “Staff Pick” brand of content and there was a huge audience looking to watch it. The next step was for Trainor’s team to take this very healthy ecosystem and find a path for their content creators to sell films to their dedicated audience, which would generate a new source of revenue for creatives and Vimeo.
The first big step would be the creation of Vimeo On Demand, a self-distribution VOD platform that offered an extremely attractive 90/10 split (industry standard is closer to the 70/30 split offered by iTunes, where Apple take 30% of the VOD profits and returns 70% to the content owners). The platform seemed like a perfect fit with so many Vimeo filmmakers graduating to features and with the perceived benefits of self-distribution in the age of social media, crowdfunding and dwindling theatrical distribution, filmmakers could sell their features directly to their fans.
Read More: Watch – Vimeo’s 10,000th Staff Pick Introduces a Mind-Blowing Hologram Experience
The next step was to develop original content to feed the on Demand channel and eventually build a library that could become a stand alone subscription service, similar to Hulu or Netflix. Smartly, the company looked toward their own community for the first high profile project and backed “High Maintenance,” a web series about a Brooklyn pot dealer who makes home deliveries, which had already developed critical acclaim and an audience while on the Vimeo platform.
The experiment was clear: Could Vimeo, by putting money toward production and marketing of “High Maintenance,” get their viewers to pay for a show they previously watched on Vimeo for free. Then once they developed enough original programming like “High Maintenance,” could they transition their users into paying a monthly subscription fee to watch a whole slate of originals?
Although numbers were never released, by all accounts the “High Maintenance” experiment worked — the show developed a passionate following — and appeared to be a strong first step toward organically building off their brand. What Trainor and his team could not anticipate was the seeds they were planting would be quickly washed away by a tsunami of original streamable content coming from other Svod services. Netflix and Amazon were suddenly willing to spend billions on a slate of original programming, while HBO and Showtime spun off stand alone streaming services. With much of this content targeting a younger cord cutting audience and featuring edgy series, festival indies and documentary films; Vimeo’s little web series was just a blip on the radar. And then, its potential on the platform was short-lived. HBO snapped up the program, which will air on its network this fall, leaving Vimeo without its most promising new show.
None of this to say that Vimeo is in trouble. Trainor leaves a company having built upon their already strong fundamentals: 280 million monthly users, 710,000 paying subscribers, and over 36,000 titles in the Vimeo On Demand library (a number that will grow to 50,000 with the acquisition of Vhx). But with a company that believes strongly that their brand was built on being ad-free, the challenge remains: Can it create a path for independents to sell the cool shit they make?
Iac CEO Joey Levin, who will be temporarily taking the reigns at Vimeo while they search for Trainor’s successor, has indicated unequivocally that the answer to that question is yes. “On programming, we don’t intend to get into the multibillion dollar war on content,” he wrote in his letter to shareholders in May. “Instead, we’re giving our creators the tools to circumvent a legacy ecosystem that’s been built to award too much power and profit to the distribution, and not enough to the creation. The marketplace we’ve created is small today, but growing.”
Of course, this is music to the independent content creators’ ears. Vimeo will continue to invest in them and the potential for them to make money on the platform. In the age of Svod giants and multi-billion dollar battle for content, the question becomes this: How is Levin going to organically transition Vimeo from a service creators rely upon to a market they can use to reliably generate revenue? Many filmmakers will be waiting for the answer.
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Related storiesWatch: Amandla Stenberg Releases Short Film 'Blue Girls Burn Fast'Watch: This Dutch Animated Short Film Delivers a Touching Experience You'll Never ForgetAttention, Filmmakers: Submissions for Brooklyn Web Fest Are Now Open! »
- Chris O'Falt
“The Holdouts,” a new web series raising money on Kickstarter, is an ode to what some have called vanishing New York. It’s the story of “a blue collar guy who just wants to get day-wasted for three dollars,” but every gin joint he used to haunt has turned into a Starbucks or a Duane Reade or a Bank of America. Created by Dan Menke and Stephen Girasuolo, Menke wrote the script specifically with stars Kevin Corrigan (“Goodfellas,” “The Departed”) and Jayce Bartok (“The Cake Eaters”) in mind.
“Kevin and I for a while had been sending each other the Jeremiah’s Vanishing New York thing, bitching at four in the morning about something closing,” Menke said, speaking from his rent-controlled Williamsburg studio. “Being a native New Yorker as he is, the underlying theme of people being priced out and the struggle to try to stay here was definitely something Kevin connected with.” For years after meeting Corrigan, Menke wrote possible projects. “I would periodically get up the nerve to send them to him,” the writer said, “and he liked this one.”
Menke met Bartok when the actor appeared on his monthly variety show hosted by New York’s filthiest marionette, The Arty Need Show. Originally, the show was about two down and out actors — with a running gag that Corrigan would always get recognized for his role in “Goodfellas,” while Bartok got mistaken as someone’s cousin’s ex. “With the added backdrop of gentrification, the project has deepened exponentially,” said Bartok. “It gives it that meaning, that edge, that wow, this is relevant.”
Read More: Mary Stuart Masterson Wants to Open a Movie Studio in Upstate NY
Though he may be less recognizable than Corrigan, Bartok cut his teeth with bit parts in classics like “The Fisher King,” and “School Ties.” More recently, he has written and produced two features; “The Cake Eaters,” with Kristin Stewart and Bruce Dern, which won best feature at The Stony Brook Film Festival in 2008, and “Fall to Rise,” starring Daphne Rubin-Vega.
The gentrification subject is particularly relevant to Bartok, whose artist mother moved him to Soho when he was eleven. “We moved to Soho when it was bodegas and art galleries, that kind of ‘After Hours’ Martin Scorsese Soho, and over 20 years I watched it become this kind of Euro mall.” Bartok was a Soho holdout until five years ago, when he moved to the Fort Greene neighborhood in Brooklyn. “You couldn’t leave the house on weekends,” he said. “There was no neighborhood anymore.”
The series has a bit of an “Odd Couple” feel, with Bartok playing the naïve newbie and Corrigan schooling his character on the real New York. The team is hoping the five-minute episodes will gain momentum like the hit web series “High Maintenance,” and get picked up for television.
Why are such accomplished film and television actors turning to web content? According to Bartok, “these days, just business wise, when you have major movie stars doing pilot after pilot, and you’re competing with Tony winners for one episode of ‘Elementary,’ you’re like wow, this is it, it truly is an actor’s life.”
It almost sounds as tough as say, holding out on a New York apartment.
“The Holdouts” is produced by Savin Rock Entertainment. Help get it made by contributing on Kickstarter.
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- Judith Dry
HBO has announced its slate of upcoming fall TV shows, which excitingly includes the oft-delayed sci-fi theme park series Westworld, based on Michael Crichton’s 1973 film of the same name. Earlier in 2016, HBO halted production of the series, confusing viewers as to when exactly they would be able to see it air. There’s no specific date nailed down for it just yet, but at least we know it’s coming at some point in 2016.
The series will star Anthony Hopkins, Ed Harris, Evan Rachel Wood and James Marsden as denizens of a western theme park where human-like androids begin to exhibit eerie artificial intelligence outside of their intended parameters. HBO also confirmed that the first season will consist of ten episodes.
- Mitchel Broussard
The remake of 70s sci-fi classic Westworld – which was criticized after extras claimed they were asked to sign a consent form that said they agreed to participate in “graphic sexual situations” – will air this fall, HBO has revealed.
Related: High Maintenance: the internet’s best web TV series is back
Continue reading »
- Guardian staff
Ordinarily, a channel announcing the rough time of year when a show will debut wouldn't be worthy of much note. In the case of HBO and Westworld — which will debut at some point in the fall, along with new Sarah Jessica Parker comedy Divorce (created by Catastrophe's Sharon Horgan), Issa Rae comedy Insecure, and a TV version of web comedy High Maintenance — it's a different story. HBO has been through a lot of turmoil the last few years, especially on the drama side of things where it's been so dominant for so long. Game of Thrones is a world-beater, but it likely only has a couple of more seasons to go. Meanwhile, The Leftovers never really caught on (despite being TV's best drama) and will end after its (still-unscheduled) third season, Vinyl was a disappointment in terms of ratings and reviews and fired its original showrunner, True Detective seems unlikely to ever return, »
- Alan Sepinwall
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