Launching with the opening night world premiere of Marc Turtletaub’s “Jules,” a crowdpleaser sales title starring Ben Kingsley, the 26th annual Sonoma International Film Festival (March 22-26) drew its highest audience attendance to date. The wine country film festival combined a robust film slate programmed by newly appointed artistic director Carl Spence (working with Executive Director Ginny Krieger), from upcoming specialty fare like Paul Schrader’s “The Master Gardener,” starring Joel Edgerton and Sigourney Weaver, and Searchlight’s period biopic “Chevalier,” starring Kelvin Harrison Jr., with a smattering of yummy wine and food events with top chefs, from Martin Yan’s Shaking Beef with Three Onions to Joanne Weir’s herb-covered goat cheese tarte.
The five-day festival curated by Spence along with senior programmers Amanda Salazar and Ken Jacobson, showcased 110 films, including seven films making their US premieres as well as films acclaimed on the festival circuit. Thirty-two countries...
The five-day festival curated by Spence along with senior programmers Amanda Salazar and Ken Jacobson, showcased 110 films, including seven films making their US premieres as well as films acclaimed on the festival circuit. Thirty-two countries...
- 3/26/2023
- by Anne Thompson
- Indiewire
More than 100 content creators are urging former Vice President Joe Biden to move on a series of measures to boost copyright protection and enforcement if he is elected president.
CreativeFuture, the industry group, sent a letter to Biden last week, urging him to pursue legislation that includes creating a small claims court for copyright holders, and another to create felony penalties for streaming piracy as they are for other forms of infringement.
“Of particular significance is that small businesses comprise a large portion of the creative economy – in film and television, 87% of our businesses have fewer than 10 employees,” the letter, signed by CreativeFuture CEO Ruth Vitale, stated. (Read it here). “Yet the pandemic has impacted the creative industries as much as, and in many cases even more than, other job-creating businesses. The pandemic has largely shuttered film and television production. It has closed live music venues, from stadiums to local clubs.
CreativeFuture, the industry group, sent a letter to Biden last week, urging him to pursue legislation that includes creating a small claims court for copyright holders, and another to create felony penalties for streaming piracy as they are for other forms of infringement.
“Of particular significance is that small businesses comprise a large portion of the creative economy – in film and television, 87% of our businesses have fewer than 10 employees,” the letter, signed by CreativeFuture CEO Ruth Vitale, stated. (Read it here). “Yet the pandemic has impacted the creative industries as much as, and in many cases even more than, other job-creating businesses. The pandemic has largely shuttered film and television production. It has closed live music venues, from stadiums to local clubs.
- 10/12/2020
- by Ted Johnson
- Deadline Film + TV
A group of lawmakers are pressing Google to make one of YouTube’s signature anti-piracy features available to a greater number of creators of copyrighted content.
Earlier this month, a dozen Capitol Hill lawmakers led by Sen. Thom Tillis (R-tn) sent a letter to Google CEO Sundar Pichai and YouTube CEO Susan Wojcicki asking them if they have considered making its Content ID more widely available, and whether they would also publish the criteria they consider for eligibility to use the service.
YouTube’s Content ID is used by movie studios, record labels and rights collection societies as a way to automatically spot infringing content, but indie companies, like Millennium Media, have been denied access to the anti-piracy tool.
Content ID works using a database of digital “fingerprints” of major copyrighted works that are then compared to a user’s uploads. Copyright holders are notified when an upload contains their works,...
Earlier this month, a dozen Capitol Hill lawmakers led by Sen. Thom Tillis (R-tn) sent a letter to Google CEO Sundar Pichai and YouTube CEO Susan Wojcicki asking them if they have considered making its Content ID more widely available, and whether they would also publish the criteria they consider for eligibility to use the service.
YouTube’s Content ID is used by movie studios, record labels and rights collection societies as a way to automatically spot infringing content, but indie companies, like Millennium Media, have been denied access to the anti-piracy tool.
Content ID works using a database of digital “fingerprints” of major copyrighted works that are then compared to a user’s uploads. Copyright holders are notified when an upload contains their works,...
- 2/28/2020
- by Ted Johnson
- Deadline Film + TV
U.S. Rep. Linda Sanchez, the California Democrat, compared the state of the entertainment industry in the era of digital piracy to the Wild West on Thursday, adding that as it currently stands, “there is no sheriff.”
Veteran producer Gale Anne Hurd, whose credits include the “Terminator” franchise and TV’s “The Walking Dead,” added that she often seen no profits from her past film projects. “I mean, literally,” she said on a panel about the future of the the creative economy at TheWrap’s Power Women Breakfast in Washington, D.C.,
Ruth Vitale, the CEO of CreativeFuture, cited a Global Innovation Policy Center study that the U.S. loses $29 billion annual to piracy.
Also Read: VidAngel Ordered to Pay Hollywood Studios $62.4 Million in Piracy Case
“Let’s take ‘Moonlight,'” Vitale said. “Everyone knows ‘Moonlight.’ It won the Academy Award two years ago. It did $65 million at the box...
Veteran producer Gale Anne Hurd, whose credits include the “Terminator” franchise and TV’s “The Walking Dead,” added that she often seen no profits from her past film projects. “I mean, literally,” she said on a panel about the future of the the creative economy at TheWrap’s Power Women Breakfast in Washington, D.C.,
Ruth Vitale, the CEO of CreativeFuture, cited a Global Innovation Policy Center study that the U.S. loses $29 billion annual to piracy.
Also Read: VidAngel Ordered to Pay Hollywood Studios $62.4 Million in Piracy Case
“Let’s take ‘Moonlight,'” Vitale said. “Everyone knows ‘Moonlight.’ It won the Academy Award two years ago. It did $65 million at the box...
- 7/11/2019
- by Lindsey Ellefson
- The Wrap
It’s a turbulent time in the entertainment business. TheGrill conference this year reflected that turbulence in an intense day of conversation and debate — in the anxiety expressed by independent producers and digital entrepreneurs and from the sense of uncertainty from corporate leaders on the main stage.
As a result, I learned a lot of things. And as expected, Ryan Kavanaugh mixed it up.
Let’s start there. Kavanaugh is a polarizing figure in Hollywood, to be sure. Some admire him for having built an independent studio in a tough economic climate and for his ability to constantly raise new rounds of capital. Others accuse him of spinning wild tales and taking his past investors for a ride. I suspect that the truth lies somewhere in the middle. Kavanaugh seems to chronically invite controversy, but he also undeniably brings a brash optimism, new ideas, as well as fresh capital to...
As a result, I learned a lot of things. And as expected, Ryan Kavanaugh mixed it up.
Let’s start there. Kavanaugh is a polarizing figure in Hollywood, to be sure. Some admire him for having built an independent studio in a tough economic climate and for his ability to constantly raise new rounds of capital. Others accuse him of spinning wild tales and taking his past investors for a ride. I suspect that the truth lies somewhere in the middle. Kavanaugh seems to chronically invite controversy, but he also undeniably brings a brash optimism, new ideas, as well as fresh capital to...
- 6/9/2019
- by Sharon Waxman
- The Wrap
Anyone can get their hands on intellectual property and negotiate deals, but to be a “real” producer in today’s industry you have to do more than just be a broker, the professionals at TheGrill’s producers roundtable said.
“There are producers who put together deals, but they’re pure brokers. They get the producer title because they own the IP, but they’re not going to do the development for it or they’re not going to do physical production,” Nina Yang Bongiovi, the producer of films like “Sorry to Bother You,” “Dope” and “Fruitvale Station,” said Wednesday at TheGrill. “Today, to be a real producer, you have to have a skill set to be able to rise, to be able to package these deals, and talent knows that.”
Bongiovi led the producers roundtable, presented by Delta Airlines, that included industry veterans like producer Ashok Amritraj, Gersh’s Jay Cohen,...
“There are producers who put together deals, but they’re pure brokers. They get the producer title because they own the IP, but they’re not going to do the development for it or they’re not going to do physical production,” Nina Yang Bongiovi, the producer of films like “Sorry to Bother You,” “Dope” and “Fruitvale Station,” said Wednesday at TheGrill. “Today, to be a real producer, you have to have a skill set to be able to rise, to be able to package these deals, and talent knows that.”
Bongiovi led the producers roundtable, presented by Delta Airlines, that included industry veterans like producer Ashok Amritraj, Gersh’s Jay Cohen,...
- 6/5/2019
- by Brian Welk
- The Wrap
CreativeFuture Applauds the President for Signing the Music Modernization Act
CreativeFuture is a nonprofit coalition of more than 540 companies and organizations and more than 190,000 individuals — from film, television, music, to book publishing, photography, and other creative industries. They are mobilizing members to speak up about the value of creativity, the importance of copyright in protecting creativity, and the massive harm caused by the global theft of creative works. Millions of creatives and thousands of businesses around the world depend on copyright to bring all of us countless moments of inspiration, learning, and joy.
This past month has some good news: the long-awaited Music Modernization Act of 2018 (S. 2334) was signed into law by President Donald Trump marking a significant win for musicians and creatives across the country. This support shows the importance of strong copyright legislation for creatives who depend on copyright to make a living.
Ruth Vitale
CreativeFuture CEO Ruth Vitale said,...
CreativeFuture is a nonprofit coalition of more than 540 companies and organizations and more than 190,000 individuals — from film, television, music, to book publishing, photography, and other creative industries. They are mobilizing members to speak up about the value of creativity, the importance of copyright in protecting creativity, and the massive harm caused by the global theft of creative works. Millions of creatives and thousands of businesses around the world depend on copyright to bring all of us countless moments of inspiration, learning, and joy.
This past month has some good news: the long-awaited Music Modernization Act of 2018 (S. 2334) was signed into law by President Donald Trump marking a significant win for musicians and creatives across the country. This support shows the importance of strong copyright legislation for creatives who depend on copyright to make a living.
Ruth Vitale
CreativeFuture CEO Ruth Vitale said,...
- 10/25/2018
- by Sydney Levine
- Sydney's Buzz
Washington — CreativeFuture and the Independent Film & Television Alliance are pressing congressional leaders to get Google to testify in the same way that Facebook’s Mark Zuckerberg went before House and Senate hearings in April.
In letters to the Senate and House judiciary and commerce committees, CreativeFuture CEO Ruth Vitale, Ifta CEO Jean Prewitt, and more than 80 industry creative professionals seized on congressional concern over sex trafficking and election interference to urge them to also call in Google.
“In recent hearings in both the House and the Senate, Facebook’s CEO, Mark Zuckerberg, characterized Silicon Valley’s failure to take an appropriately broad view of its responsibility as a ‘big mistake,'” they wrote. “But whether the lack of responsibility was a ‘mistake’ or something else, the failure of Facebook, Google, and others to take responsibility is rooted in decades-old government policies, including legal immunities and safe harbors, that treat...
In letters to the Senate and House judiciary and commerce committees, CreativeFuture CEO Ruth Vitale, Ifta CEO Jean Prewitt, and more than 80 industry creative professionals seized on congressional concern over sex trafficking and election interference to urge them to also call in Google.
“In recent hearings in both the House and the Senate, Facebook’s CEO, Mark Zuckerberg, characterized Silicon Valley’s failure to take an appropriately broad view of its responsibility as a ‘big mistake,'” they wrote. “But whether the lack of responsibility was a ‘mistake’ or something else, the failure of Facebook, Google, and others to take responsibility is rooted in decades-old government policies, including legal immunities and safe harbors, that treat...
- 6/14/2018
- by Ted Johnson
- Variety Film + TV
Watch FTC, FCC Officials Debate Apple, Data Encryption at TheWrap’s Power Women Breakfast DC (Video)
Federal officials debated the controversy over Apple and data encryption at TheWrap’s Power Women Breakfast on Thursday. Commissioner Julie Brill of the Federal Trade Commission, commissioner Jessica Rosenworcel of the Federal Communications Commission, CreativeFuture CEO Ruth Vitale and Karen Appleton, a senior vice president of Box, gathered in Washington to discuss the need for improved data encryption and cyber security, as well as the ever-evolving development of technology and content across new platforms. TheWrap’s CEO and Editor-in-Chief Sharon Waxman started the conversation with the ongoing debate between the FBI and Apple to unlock the phone of the San Bernardino shooter.
- 3/12/2016
- by Beatrice Verhoeven
- The Wrap
TheWrap’s Power Women Breakfast series expands to Washington D.C with feature speakers, Senator Amy Klobuchar of Minnesota; Maureen Dowd, columnist for The New York Times; Elisabeth Bumiller, Washington Bureau Chief of The New York Times; Adrienne Elrod, Director of Strategic Communications and Surrogates for the Hillary for America Campaign; Commissioner Julie Brill of the Federal Trade Commission and Commissioner Jessica Rosenworcel of the Federal Communications Commission. The March 10th breakfast is hosted by TheWrap’s CEO and Editor-in-Chief, Sharon Waxman; Svp of Industry Alliances of Box, Founder of Box.org, Karen Appleton; CEO of CreativeFuture, Ruth Vitale; CEO...
- 3/9/2016
- by Haley Davis
- The Wrap
Continuing their support for women directors, Horizon Award co-founding producers Cassian Elwes, Lynette Howell Taylor, and Christine Vachon, announced the winners of the second annual Horizon Award. Academy Award nominee Chloë Sevigny will bestow up-and-coming filmmakers Macarena Gaona, Juliette Gosselin, Shanice Malakai Johnson, and Florence Pelletier with the Horizon Award at a reception in Park City, Utah, with creative talent, producers, entertainment executives and media in attendance to celebrate these rising women directors and their achievements in independent filmmaking.
The Horizon Award ceremony and reception will take place on Sunday, January 24th, 2016 at 6:30 pm at the WireImage Portrait Studio at Village at the Lift (825 Main Street, Park City), co-hosted by Jeff Vespa.
The Horizon Award is an annual award that seeks to identify and mentor talented, up-and-coming female directors – the primary goal being to support women directors early enough in their development to help them overcome the hurdles in advancing their learning curve and careers.
In addition to the Horizon Award, the four winners will receive grants from the Adrienne Shelly Foundation. The Foundation supports the artistic achievements of female filmmakers through a series of grants that reflect Adrienne Shelly’s dedication to the art of filmmaking and her own successful transition from actress to filmmaker.
This year’s winners are:
Horizon Award First Place
Juliette Gosselin (University of Quebec in Montreal) & Florence Pelletier (Concordia University, Montreal)
Co-directors of "Mes Anges à Tête Noire"
Horizon Award Runners-Up
Macarena (Macqui) Gaona (New York University) Director of "Channel 999 and Channel 1000"
Shanice Malakai Johnson (Scottsdale Community College) Director of "End to the Suffering"
On making the announcement, Cassian Elwes said: “I’m so excited to announce the winners of the second annual Horizon Award. This year’s overwhelming number of submissions and caliber of work made it very hard indeed to pick just one winner – the jury identified one grand prize winner, and two runners-up. Additionally, we have added new partners to our already formidable team – proving that not only is the move towards gender equality in the zeitgeist, but that there are very real advocates amongst our peers. After the recent summit for systemic change (hosted by Sundance and Women in Film), I am more convinced than ever that we can make a difference and that history is on our side. I remain steadfastly committed to the idea that, one day soon, women will have exactly the same opportunities as men to direct movies.”
Franklin Leonard, Founder and CEO of The Black List and one of the award’s original advocates added: “We are passionate supporters of this award that recognizes fresh voices and perspectives in storytelling. This effort mirrors our own effort – the Black List's 500 Feminist Films project, created by our Director of Community, Kate Hagen. We look forward to mentoring the winners in the year to come.”
The jury was comprised of 38 influential directors, producers, and executives from the filmmaking community who viewed 483 short film submissions from over 200 colleges and universities world-wide, including the U.S., Canada, England, Australia, India, China, South Africa, Scotland, France, Mexico, Portugal, Columbia, Brazil, Russia, Serbia, the Ukraine, and more. This year, submissions increased by over one hundred from last year, with additional countries and universities participating. Submissions were received from Nyu, USC, UCLA, Chapman, Emerson, Penn State, Loyola Marymount, University of Wisconsin, University of Washington, Syracuse, Tcu, Ryerson (Toronto), Oxford, University of Sydney, University of Melbourne, University of Delhi, and more.
Now in its second year, the Horizon Award provides an all-expense-paid trip for the winning female college students to the Sundance Film Festival, where they will have the opportunity to present their films to some of the industry’s most influential names. The winners receive mentorship, festival access, and important introductions by Elwes, Howell, and Vachon to agents, producers, executives, festival staff, and other influencers throughout the Sundance Film Festival.
The Horizon Award was founded by producer, Cassian Elwes ("Margin Call," "All is Lost," "Dallas Buyers Club"), and Michelle Satter, Founding Director, Sundance Institute’s Feature Film Program, in response to a Sundance Institute and Women In Film Los Angeles study that revealed that only 4.2% of the top 100 films each year from 2002-2013 were directed by women. Elwes partnered with Howell ("Captain Fantastic," "Mississippi Grind," "Big Eyes," "The Place Beyond the Pines:), and Vachon ( "Goat," "Carol," "Boys Don’t Cry," "One Hour Photo," "Far From Heaven"), to create the award as an opportunity for young female directors to have mentorship and networking opportunities in conjunction with Sundance, the home of American Independent film.
You can see links for more info on the study:
Phase I and II
Phase III
Sponsors and Partners for the 2016 Horizon Award are: The Black List, CreativeFuture, The Creative Mind Group, Done To Your Taste Catering, FilmLA, Indiegogo, Mprm Communications, the Adrienne Shelly Foundation, Sundance Institute, Twitter, Verge, Vimeo, WireImage, Adina Design, and Women in Film. This impressive group has come together to support an award that they hope will continue to identify, nurture, and launch the careers of future female directors for years to come.
Full List of Jurors:
Stephanie Allain Producer ("Dear White People," "Hustle & Flow")
Dori Begley Magnolia Pictures (Svp, Acquisitions)
Amy Berg Director ("Janis: Little Girl Blue," "Deliver Us From Evil," "Prophet’s Prey")
Arianna Bocco IFC Films (Svp, Acquisitions & Co-Productions)
Robbie Brenner The Firm (Partner, President of Film)
Susan Carter Hall Painter
Amal ElWardi Zeal Media Company (Producer)
Cassian Elwes Producer ("Margin Call," "All is Lost," "Dallas Buyers Club")
Janet Grillo Director ("Jack of the Red Hearts," "Fly Away")
Poppy Hanks Macro Venture (Svp, Development & Production)
Catherine Hardwicke Director ("Miss You Already," "Red Riding Hood," "Twilight")
Lynette Howell Taylor Producer ("Captain Fantastic," "Mississippi Grind," "Big Eyes")
Liza Johnson Director ("Elvis & Nixon," "Return," "Hateship Loveship," "In the Air")
Eda Kowan Lionsgate (Svp, Acquisitions & Co-Productions)
Gina Kwon Amazon Studios (Executive, Comedy)
Helen Lee-Kim Good Universe (Partner, Head of International)
Laura Lewis CAA (Agent, Film Finance)
Alix Madigan Broad Green Pictures (Head, Creative)
Marianna Palka Actress/Director ("I’m the Same,""Always Worthy," "Good Dick")
Bruna Papandrea Pacific Standard (Producer/Partner)
Keri Putnam Sundance Institute (Executive Director)
Dee Rees Director ("Bessie," “Empire”)
Laura Rister Untitled Entertainment (Head of Production)
Rena Ronson UTA (Partner)
Michelle Satter Sundance Institute (Director, Feature Film Program)
Cathy Schulman Stx Entertainment (President & Chief Content Officer)
Lauren Selig Shake and Bake Productions (Executive Producer)
Mary Jane Skalski Producer ("The Visitor," "Mysterious Skin," "The Station Agent")
Lara Thompson E1 Entertainment (Svp, Worldwide Acquisitions)
Christine Vachon Producer ("Goat," "Carol," "Boys Don’t Cry")
Ruth Vitale CreativeFuture (CEO)
Angie Wang Director ("Cardinal X")
Hanna Weg Producer ("Septembers of Shiraz")
Tanya Wexler Director ("Hysteria," "Finding North," "Ball in the House")
Joanne Wiles ICM (Partner/Agent, Motion Picture Talent)
Pam Williams Pam Williams Productions ("Lee Daniels’ The Butler," "Fail Safe")
Lisa Wilson The Solution Entertainment (Co-Founder/Partner)
So Yong Kim Director ("Love Song," "For Ellen," "In Between Days")...
The Horizon Award ceremony and reception will take place on Sunday, January 24th, 2016 at 6:30 pm at the WireImage Portrait Studio at Village at the Lift (825 Main Street, Park City), co-hosted by Jeff Vespa.
The Horizon Award is an annual award that seeks to identify and mentor talented, up-and-coming female directors – the primary goal being to support women directors early enough in their development to help them overcome the hurdles in advancing their learning curve and careers.
In addition to the Horizon Award, the four winners will receive grants from the Adrienne Shelly Foundation. The Foundation supports the artistic achievements of female filmmakers through a series of grants that reflect Adrienne Shelly’s dedication to the art of filmmaking and her own successful transition from actress to filmmaker.
This year’s winners are:
Horizon Award First Place
Juliette Gosselin (University of Quebec in Montreal) & Florence Pelletier (Concordia University, Montreal)
Co-directors of "Mes Anges à Tête Noire"
Horizon Award Runners-Up
Macarena (Macqui) Gaona (New York University) Director of "Channel 999 and Channel 1000"
Shanice Malakai Johnson (Scottsdale Community College) Director of "End to the Suffering"
On making the announcement, Cassian Elwes said: “I’m so excited to announce the winners of the second annual Horizon Award. This year’s overwhelming number of submissions and caliber of work made it very hard indeed to pick just one winner – the jury identified one grand prize winner, and two runners-up. Additionally, we have added new partners to our already formidable team – proving that not only is the move towards gender equality in the zeitgeist, but that there are very real advocates amongst our peers. After the recent summit for systemic change (hosted by Sundance and Women in Film), I am more convinced than ever that we can make a difference and that history is on our side. I remain steadfastly committed to the idea that, one day soon, women will have exactly the same opportunities as men to direct movies.”
Franklin Leonard, Founder and CEO of The Black List and one of the award’s original advocates added: “We are passionate supporters of this award that recognizes fresh voices and perspectives in storytelling. This effort mirrors our own effort – the Black List's 500 Feminist Films project, created by our Director of Community, Kate Hagen. We look forward to mentoring the winners in the year to come.”
The jury was comprised of 38 influential directors, producers, and executives from the filmmaking community who viewed 483 short film submissions from over 200 colleges and universities world-wide, including the U.S., Canada, England, Australia, India, China, South Africa, Scotland, France, Mexico, Portugal, Columbia, Brazil, Russia, Serbia, the Ukraine, and more. This year, submissions increased by over one hundred from last year, with additional countries and universities participating. Submissions were received from Nyu, USC, UCLA, Chapman, Emerson, Penn State, Loyola Marymount, University of Wisconsin, University of Washington, Syracuse, Tcu, Ryerson (Toronto), Oxford, University of Sydney, University of Melbourne, University of Delhi, and more.
Now in its second year, the Horizon Award provides an all-expense-paid trip for the winning female college students to the Sundance Film Festival, where they will have the opportunity to present their films to some of the industry’s most influential names. The winners receive mentorship, festival access, and important introductions by Elwes, Howell, and Vachon to agents, producers, executives, festival staff, and other influencers throughout the Sundance Film Festival.
The Horizon Award was founded by producer, Cassian Elwes ("Margin Call," "All is Lost," "Dallas Buyers Club"), and Michelle Satter, Founding Director, Sundance Institute’s Feature Film Program, in response to a Sundance Institute and Women In Film Los Angeles study that revealed that only 4.2% of the top 100 films each year from 2002-2013 were directed by women. Elwes partnered with Howell ("Captain Fantastic," "Mississippi Grind," "Big Eyes," "The Place Beyond the Pines:), and Vachon ( "Goat," "Carol," "Boys Don’t Cry," "One Hour Photo," "Far From Heaven"), to create the award as an opportunity for young female directors to have mentorship and networking opportunities in conjunction with Sundance, the home of American Independent film.
You can see links for more info on the study:
Phase I and II
Phase III
Sponsors and Partners for the 2016 Horizon Award are: The Black List, CreativeFuture, The Creative Mind Group, Done To Your Taste Catering, FilmLA, Indiegogo, Mprm Communications, the Adrienne Shelly Foundation, Sundance Institute, Twitter, Verge, Vimeo, WireImage, Adina Design, and Women in Film. This impressive group has come together to support an award that they hope will continue to identify, nurture, and launch the careers of future female directors for years to come.
Full List of Jurors:
Stephanie Allain Producer ("Dear White People," "Hustle & Flow")
Dori Begley Magnolia Pictures (Svp, Acquisitions)
Amy Berg Director ("Janis: Little Girl Blue," "Deliver Us From Evil," "Prophet’s Prey")
Arianna Bocco IFC Films (Svp, Acquisitions & Co-Productions)
Robbie Brenner The Firm (Partner, President of Film)
Susan Carter Hall Painter
Amal ElWardi Zeal Media Company (Producer)
Cassian Elwes Producer ("Margin Call," "All is Lost," "Dallas Buyers Club")
Janet Grillo Director ("Jack of the Red Hearts," "Fly Away")
Poppy Hanks Macro Venture (Svp, Development & Production)
Catherine Hardwicke Director ("Miss You Already," "Red Riding Hood," "Twilight")
Lynette Howell Taylor Producer ("Captain Fantastic," "Mississippi Grind," "Big Eyes")
Liza Johnson Director ("Elvis & Nixon," "Return," "Hateship Loveship," "In the Air")
Eda Kowan Lionsgate (Svp, Acquisitions & Co-Productions)
Gina Kwon Amazon Studios (Executive, Comedy)
Helen Lee-Kim Good Universe (Partner, Head of International)
Laura Lewis CAA (Agent, Film Finance)
Alix Madigan Broad Green Pictures (Head, Creative)
Marianna Palka Actress/Director ("I’m the Same,""Always Worthy," "Good Dick")
Bruna Papandrea Pacific Standard (Producer/Partner)
Keri Putnam Sundance Institute (Executive Director)
Dee Rees Director ("Bessie," “Empire”)
Laura Rister Untitled Entertainment (Head of Production)
Rena Ronson UTA (Partner)
Michelle Satter Sundance Institute (Director, Feature Film Program)
Cathy Schulman Stx Entertainment (President & Chief Content Officer)
Lauren Selig Shake and Bake Productions (Executive Producer)
Mary Jane Skalski Producer ("The Visitor," "Mysterious Skin," "The Station Agent")
Lara Thompson E1 Entertainment (Svp, Worldwide Acquisitions)
Christine Vachon Producer ("Goat," "Carol," "Boys Don’t Cry")
Ruth Vitale CreativeFuture (CEO)
Angie Wang Director ("Cardinal X")
Hanna Weg Producer ("Septembers of Shiraz")
Tanya Wexler Director ("Hysteria," "Finding North," "Ball in the House")
Joanne Wiles ICM (Partner/Agent, Motion Picture Talent)
Pam Williams Pam Williams Productions ("Lee Daniels’ The Butler," "Fail Safe")
Lisa Wilson The Solution Entertainment (Co-Founder/Partner)
So Yong Kim Director ("Love Song," "For Ellen," "In Between Days")...
- 1/22/2016
- by Sydney Levine
- Sydney's Buzz
The genre theatrical imprint of Shout! Factory will open the film in select cinemas across top Us markets and on VOD on September 4.
Fran Kranz, Pedro Pascal, Emma Fitzpatrick, Yvette Yates
with Joel Murray and Joey Kern star in the Slamdance 2015 selection about of an office worker who learns a rival colleague is a vampire.
Brian James O’Connell directed from a screenplay by comedy pairing Dr. God and Ryan Mitts.
Fortress Features’ Brett Forbes and Patrick Rizzotti produced in association with Brandon Evans of Maybe This Year Productions, Colleen Hard, and Justin Ware.
Shout! Factory has brought on Ruth Vitale of The Film Collective and Mj Peckos of Dada Films to handle the theatrical launch and Meyer Shwarzstein of Brainstorm Media for VOD roll-out.
Shout! Factory founders Richard Foos, Bob Emmer and Garson Foos made the announcement on Wednesday.
Fran Kranz, Pedro Pascal, Emma Fitzpatrick, Yvette Yates
with Joel Murray and Joey Kern star in the Slamdance 2015 selection about of an office worker who learns a rival colleague is a vampire.
Brian James O’Connell directed from a screenplay by comedy pairing Dr. God and Ryan Mitts.
Fortress Features’ Brett Forbes and Patrick Rizzotti produced in association with Brandon Evans of Maybe This Year Productions, Colleen Hard, and Justin Ware.
Shout! Factory has brought on Ruth Vitale of The Film Collective and Mj Peckos of Dada Films to handle the theatrical launch and Meyer Shwarzstein of Brainstorm Media for VOD roll-out.
Shout! Factory founders Richard Foos, Bob Emmer and Garson Foos made the announcement on Wednesday.
- 7/1/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
A soul-sucking job turns into a blood-draining nightmare when a vampire uses macabre motivation on his employees in Scream Factory's Bloodsucking Bastards, which has now been set for a September 4th release in select theaters and VOD.
Press Release: "Los Angeles, CA – (July 1, 2015) – Scream Factory™ Films, a genre theatrical imprint of Shout! Factory, announced today that action-packed horror-comedy Bloodsucking Bastards will open in select cinemas across top U.S. markets and on VOD September 4, 2015. The announcement was made by Shout! Factory’s founders Richard Foos, Bob Emmer, and Garson Foos.
Directed by Brian James O’Connell and penned by the popular comedy troupe Dr. God and Ryan Mitts, Bloodsucking Bastards recently made its world premiere as the opening night film at the Slamdance Film Festival 2015 and has since played at numerous film festivals to press acclaim and great audience enthusiasm. The film boasts an all-star cast including Fran Kranz (Cabin...
Press Release: "Los Angeles, CA – (July 1, 2015) – Scream Factory™ Films, a genre theatrical imprint of Shout! Factory, announced today that action-packed horror-comedy Bloodsucking Bastards will open in select cinemas across top U.S. markets and on VOD September 4, 2015. The announcement was made by Shout! Factory’s founders Richard Foos, Bob Emmer, and Garson Foos.
Directed by Brian James O’Connell and penned by the popular comedy troupe Dr. God and Ryan Mitts, Bloodsucking Bastards recently made its world premiere as the opening night film at the Slamdance Film Festival 2015 and has since played at numerous film festivals to press acclaim and great audience enthusiasm. The film boasts an all-star cast including Fran Kranz (Cabin...
- 7/1/2015
- by Derek Anderson
- DailyDead
One of the most exciting recent developments in entertainment has been the rise of the YouTube Star – emerging artists who are creating their own content, determining how and when it is distributed to their audience, and being compensated for their work.
That makes YouTube stars great messengers to encourage youth to use their creative talents, get them thinking about the relationship between creative ownership and their own careers, and communicate that a career in the creative industries is a viable option.
Recently, CreativeFuture launched the Contribute to Creativity VidCon Video Contest. Working with Maker Studios, they are giving aspiring artists the opportunity to submit short videos to win a trip to VidCon. Top YouTube stars the Fung Bros, Michael Gallagher, Steve-o & Sam Macaroni, and Taryn Southern have partnered with them calling for entries in their own unique voices and videos.
CreativeFuture’s basic tenet is that creativity has value and that the next generation of artists should have the chance to showcase their talent and be compensated for their work.
The judges panel is formed by creative industry veterans and rising stars, including Ruth Vitale (CreativeFuture’s CEO), Tobin Armbrust ("Begin Again," "Rush," "The Way Back"); Alec Berg ("Seinfeld," "Curb Your Enthusiam," "Silicon Valley");Marty Bowen ("Twilight" Saga, "The Fault in Our Stars," "Maze Runner"); Arturo Castro ("Broad City"); Wyck Godfrey ("Twilight" Saga, "The Fault in Our Stars," "Maze Runner");Kasi Lemmons ("Silence of the Lambs," "Candyman," "Eve’s Bayou"); Franklin Leonard ("The Black List");Rena Ronson (United Talent Agency); Kurt Sutter ("Sons of Anarchy," "Bastard Executioner"); and Ryan Turek (Blumhouse Productions).
The contest runs from June 8 to June 23. The Grand Prize Winner will receive a $1000 cash prize and an all-expense paid trip with a guest to attend VidCon 2015 in Anaheim, California, in July.
That makes YouTube stars great messengers to encourage youth to use their creative talents, get them thinking about the relationship between creative ownership and their own careers, and communicate that a career in the creative industries is a viable option.
Recently, CreativeFuture launched the Contribute to Creativity VidCon Video Contest. Working with Maker Studios, they are giving aspiring artists the opportunity to submit short videos to win a trip to VidCon. Top YouTube stars the Fung Bros, Michael Gallagher, Steve-o & Sam Macaroni, and Taryn Southern have partnered with them calling for entries in their own unique voices and videos.
CreativeFuture’s basic tenet is that creativity has value and that the next generation of artists should have the chance to showcase their talent and be compensated for their work.
The judges panel is formed by creative industry veterans and rising stars, including Ruth Vitale (CreativeFuture’s CEO), Tobin Armbrust ("Begin Again," "Rush," "The Way Back"); Alec Berg ("Seinfeld," "Curb Your Enthusiam," "Silicon Valley");Marty Bowen ("Twilight" Saga, "The Fault in Our Stars," "Maze Runner"); Arturo Castro ("Broad City"); Wyck Godfrey ("Twilight" Saga, "The Fault in Our Stars," "Maze Runner");Kasi Lemmons ("Silence of the Lambs," "Candyman," "Eve’s Bayou"); Franklin Leonard ("The Black List");Rena Ronson (United Talent Agency); Kurt Sutter ("Sons of Anarchy," "Bastard Executioner"); and Ryan Turek (Blumhouse Productions).
The contest runs from June 8 to June 23. The Grand Prize Winner will receive a $1000 cash prize and an all-expense paid trip with a guest to attend VidCon 2015 in Anaheim, California, in July.
- 6/10/2015
- by Sydney Levine
- Sydney's Buzz
TheWrap’s Power Women breakfast was trending on Twitter in San Francisco on Friday. The lively conversation among more than 100 top women in technology and entertainment focused on piracy, protecting content and the perils of too much sharing in the digital age. Comedian Chelsea Handler faced off with leading Silicon Valley journalist Kara Swisher, who insisted that consumers are demanding full access to content with all the tools technology can provide, and that content creators need to adapt to technological change. Also Read: Chelsea Handler, Kara Swisher Join San Francisco's Power Women (Photos) Ruth Vitale, the CEO of CreativeFuture, noted that there are.
- 5/8/2015
- by Sharon Waxman
- The Wrap
Chelsea Handler is the featured speaker at TheWrap’s 1st Power Women Breakfast in San Francisco. Handler joins Kara Swisher, co-ceo and co-owner of Revere Digital, Ruth Vitale, Executive Director of CreativeFuture, Karen Appleton, Svp Global Alliances at Box, and editor-in-chief Sharon Waxman for a discussion on “The Future of Entertainment In a Tech-Driven World.” See all the social media highlights around #PowerWomen here...
- 5/8/2015
- by Lia Haberman
- The Wrap
Olivia Munn will be a featured speaker at the first Power Women Breakfast in San Francisco, TheWrap was proud to announce on Thursday. The “Mortdecai” star is one of the fastest-rising actresses in Hollywood, an avid investor in technology and a published author. Munn will also be joined at the event on Friday, May 8, by speakers Kara Swisher, co-ceo and co-owner of Revere Digital and Ruth Vitale, Executive Director of CreativeFuture. The breakfast will be hosted by TheWrap’s CEO and Editor-in-Chief, Sharon Waxman, and Senior Vice President of Industry Alliances of Box and Founder of Box.org, Karen Appleton.
- 4/9/2015
- by Debbie Emery
- The Wrap
TheWrap is proud to announce its first Power Women Breakfast in San Francisco with featured speaker Olivia Munn, one of the fastest-rising actresses in Hollywood, an avid investor in technology and best-selling author. Munn will also be joined by speakers Kara Swisher, co-ceo and co-owner of Revere Digital and Ruth Vitale, Executive Director of CreativeFuture. The breakfast on May 8 will be hosted by TheWrap’s CEO and Editor-in-Chief, Sharon Waxman, and Senior Vice President of Industry Alliances of Box and Founder of Box.org, Karen Appleton. TheWrap is expanding its successful Power Women Breakfast franchise in 2015 to two new cities,...
- 4/9/2015
- by Wrap Staff
- The Wrap
Park City, Utah – The inaugural Horizon Award was presented to Syracuse University student Verónica Ortiz-Calderón for her film Y Ya No Te Gustas (And You Don’t Like Yourself Anymore) at a reception last night co-hosted by CreativeFuture and the Sundance House Presented by Hp.
The film premiered at the reception and can be viewed online at: http://vimeo.com/114736882.
The award and a $10,000 check were presented to Ortiz-Calderón by Sharon Waxman, CEO and Editor in Chief of The Wrap, along with CreativeFuture Executive Director Ruth Vitale and the Horizon Award founders – producers Cassian Elwes, Lynette Howell, and Christine Vachon.
The Horizon Award was created to celebrate and provide mentorship opportunities for talented, up-and-coming female filmmakers. In addition to a $10,000 scholarship, the prize included a paid trip to the Sundance Film Festival and the opportunity to meet and be mentored by Howell (The Place Beyond the Pines, Blue Velvet, Half Nelson), Vachon (Boys Don’t Cry, One Hour Photo, Far From Heaven), and Elwes (All is Lost, Dallas Buyers Club, Margin Call) while at the festival.
Waxman has called the Horizon Award, and what it stands for, “a cause that I believe in.” The winning short, which was selected from more than 400 submissions, will premier at the reception.
The 2015 Horizon Award’s corporate and organizational co-sponsors include The Black List, The Creative Mind Group, CreativeFuture, Indiegogo, The Sundance Institute, Twitter, Vimeo, and Women in Film.
The idea for the award came following the release of a 2012 Women in Film study, which showed that women comprised only 9% of directors among the top 250 domestic grossing movies worldwide.
“That statistic is terrible, and we are trying to figure out how to do something about it,” said award co-sponsor and producer Christine Vachon.
“We hope to help level the playing field for women in the film business and help foster the talents of young, female directors,” said award co-sponsor and producer Lynette Howell.
“One of the goals of this award,” says Elwes, “is to identify young, female directors early enough in their careers so that we can help them overcome the hurdles that they will surely face.”...
The film premiered at the reception and can be viewed online at: http://vimeo.com/114736882.
The award and a $10,000 check were presented to Ortiz-Calderón by Sharon Waxman, CEO and Editor in Chief of The Wrap, along with CreativeFuture Executive Director Ruth Vitale and the Horizon Award founders – producers Cassian Elwes, Lynette Howell, and Christine Vachon.
The Horizon Award was created to celebrate and provide mentorship opportunities for talented, up-and-coming female filmmakers. In addition to a $10,000 scholarship, the prize included a paid trip to the Sundance Film Festival and the opportunity to meet and be mentored by Howell (The Place Beyond the Pines, Blue Velvet, Half Nelson), Vachon (Boys Don’t Cry, One Hour Photo, Far From Heaven), and Elwes (All is Lost, Dallas Buyers Club, Margin Call) while at the festival.
Waxman has called the Horizon Award, and what it stands for, “a cause that I believe in.” The winning short, which was selected from more than 400 submissions, will premier at the reception.
The 2015 Horizon Award’s corporate and organizational co-sponsors include The Black List, The Creative Mind Group, CreativeFuture, Indiegogo, The Sundance Institute, Twitter, Vimeo, and Women in Film.
The idea for the award came following the release of a 2012 Women in Film study, which showed that women comprised only 9% of directors among the top 250 domestic grossing movies worldwide.
“That statistic is terrible, and we are trying to figure out how to do something about it,” said award co-sponsor and producer Christine Vachon.
“We hope to help level the playing field for women in the film business and help foster the talents of young, female directors,” said award co-sponsor and producer Lynette Howell.
“One of the goals of this award,” says Elwes, “is to identify young, female directors early enough in their careers so that we can help them overcome the hurdles that they will surely face.”...
- 1/29/2015
- by Erin Grover
- Sydney's Buzz
Ruth Vitale has been an innovator and leader in the world of independent film production and distribution for more than thirty years. Her seemingly countless list of accomplishments includes Founder and Co-President of Paramount Classics and President of Fine Line Features.
Vitale currently serves as the Executive Director of CreativeFuture, which mobilizes the international creative community to speak out about the value of creativity and the issue of digital theft of creative works.
In this recent Sundance interview, Vitale shares her passion for the work of CreativeFuture and its significance for the international creative community.
Following her interview, you can watch CreativeFuture's new animated video trailer about the impact of piracy that premiered at Sundance this year.
Watch Ruth Vitale talk about CreativeFuture’s mission:
Watch CreativeFuture’s new animated video trailer highlighting the impact of piracy in 100 seconds:
More About CreativeFuture
CreativeFuture promotes the value of creativity in today’s digital age. We embrace expanded audience access to content in ways that reward creativity and hard work. We are united in opposition to for-profit theft of creative works, which jeopardizes the rights of all creative individuals, puts jobs at risk, and undermines new business models and distribution platforms. Our mission is to empower the creative community to speak with one collective and powerful voice – advancing a positive, dynamic vision of a digital future that better serves audiences and artists alike.
Learn more at www.creativefuture.org...
Vitale currently serves as the Executive Director of CreativeFuture, which mobilizes the international creative community to speak out about the value of creativity and the issue of digital theft of creative works.
In this recent Sundance interview, Vitale shares her passion for the work of CreativeFuture and its significance for the international creative community.
Following her interview, you can watch CreativeFuture's new animated video trailer about the impact of piracy that premiered at Sundance this year.
Watch Ruth Vitale talk about CreativeFuture’s mission:
Watch CreativeFuture’s new animated video trailer highlighting the impact of piracy in 100 seconds:
More About CreativeFuture
CreativeFuture promotes the value of creativity in today’s digital age. We embrace expanded audience access to content in ways that reward creativity and hard work. We are united in opposition to for-profit theft of creative works, which jeopardizes the rights of all creative individuals, puts jobs at risk, and undermines new business models and distribution platforms. Our mission is to empower the creative community to speak with one collective and powerful voice – advancing a positive, dynamic vision of a digital future that better serves audiences and artists alike.
Learn more at www.creativefuture.org...
- 1/27/2015
- by Erin Grover
- Sydney's Buzz
CreativeFuture and Hp are partnering at the 2015 Sundance Film Festival on a series of panels and workshops at The Sundance House Presented by Hp, reflecting a shared commitment to technology that empowers artists to bring groundbreaking storytelling to audiences.
CreativeFuture is also presenting the inaugural Horizon Award, along with co-sponsors The Black List, The Creative Mind Group, Indiegogo, The Sundance Institute, Twitter, Vimeo, and Women in Film. The Horizon Award was created by producers Cassian Elwes, Lynette Howell, and Christine Vachon to recognize and provide mentorship to talented, up-and-coming female filmmakers.
The Sundance House Presented by Hp (also known as the Kimball Arts Center) is located at 638 Park Avenue in Park City (corner of Main and Heber).
Saturday, January 24
10:30 Am – Noon Mt
Panel: Creativity Matters: A Discussion on the Cultural, Ethical, and Economic Implications of Creativity (part of official Sundance program)
Description: From film and television, to books and music, to software and video games, the digital revolution has transformed nearly every aspect of how audiences and fans access creative works. Panelists will discuss the cultural and economic value of creativity, how individual creatives can protect their work at all stages in the creative process, and how the creative community must unite and advocate for the fundamental rights of creators to be compensated for their work.
Panelists: Cassian Elwes, Producer (Margin Call, Dallas Buyers Club, All is Lost); David Ginsberg, Cto, Sundance Institute; Jim Zafarana, VP and General Manager, Commercial Solutions, Hp; and Ruth Vitale, Executive Director, CreativeFuture – moderated by Josh Dickey, Entertainment Editor, Mashable.
Sunday, January 25
10:30 Am – Noon Mt
Panel: Sundance Then and Now – The Changing Nature of Being a Filmmaker in the Digital Age(part of official Sundance program)
Description: How have technological advancements in filmmaking and distribution and changes in how films are marketed to audiences impacted the creative process? Sundance veterans and newcomers will share personal experiences spanning several decades and discuss how filmmakers can embrace this new reality while continuing to push the boundaries of independent film.
Panelists: Nikole Beckwith, Writer/Director (Stockholm, Pennsylvania); Chloe Zhao, Writer/Director (Songs My Brothers Taught Me); Paul Federbush, International Director, Feature Film Program, Sundance Institute; and Ruth Vitale, Executive Director, CreativeFuture – moderated by Franklin Leonard, Founder, The Black List.
Sunday, January 25
2:00 Pm – 3:30 Pm Mt
Artist Workshop: Pitching and Marketing the Independent Film
Description: This how-to guide for filmmakers on pitching and publicizing projects will feature examples of well-packaged pitches and publicity strategies from throughout the pre-production, festival circuit, and release stages. The workshop will be presented by Mark Pogachefsky, Co-founder and President of Mprm Communications, and Adam Krentzman, former CAA Agent and current Director of Community Outreach at CreativeFuture.
Monday, January 26
2:00 Pm – 3:30 Pm Mt
Conversation: The Making of I Smile Back
Description: A conversation with Adam Salky, director of I Smile Back, which was selected for the 2015 U.S. Dramatic Competition. Salky (Dare, 2009 Sundance Grand Jury Prize nominee) will be joined by co-writers Amy Koppelman and Paige Dylan and producer Michael Harrop.
7:00 Pm – 9:00 Pm Mt
Presentation of the Horizon Award
Description: Reception to present the inaugural Horizon Award, which recognizes talented, up-and-coming female filmmakers. The award and a $10,000 check will be presented to the winning filmmaker by Sharon Waxman, CEO and Editor in Chief of The Wrap, along with CreativeFuture Executive Director Ruth Vitale and the Horizon Award founders – producers Cassian Elwes, Lynette Howell, and Christine Vachon. The Horizon Award is sponsored by The Black List, The Creative Mind Group, CreativeFuture, Indiegogo, The Sundance Institute, Twitter, Vimeo, and Women in Film. The winning short, selected from more than 400 submissions, will premier at the reception.
About CreativeFuture
CreativeFuture is a coalition made up of more than 350 companies and organizations – encompassing film, television, music, and book publishing – that promotes the value of creativity, expanded digital access to legitimate content, and the fundamental right of creators to determine how their works are distributed. For more information, visit www.CreativeFuture.org.
About Hp
Hp creates new possibilities for technology to have a meaningful impact on people, businesses, governments and society. With the broadest technology portfolio spanning printing, personal systems, software, services and It infrastructure, Hp delivers solutions for customers' most complex challenges in every region of the world. More information about Hp is available at http://www.hp.com.
CreativeFuture is also presenting the inaugural Horizon Award, along with co-sponsors The Black List, The Creative Mind Group, Indiegogo, The Sundance Institute, Twitter, Vimeo, and Women in Film. The Horizon Award was created by producers Cassian Elwes, Lynette Howell, and Christine Vachon to recognize and provide mentorship to talented, up-and-coming female filmmakers.
The Sundance House Presented by Hp (also known as the Kimball Arts Center) is located at 638 Park Avenue in Park City (corner of Main and Heber).
Saturday, January 24
10:30 Am – Noon Mt
Panel: Creativity Matters: A Discussion on the Cultural, Ethical, and Economic Implications of Creativity (part of official Sundance program)
Description: From film and television, to books and music, to software and video games, the digital revolution has transformed nearly every aspect of how audiences and fans access creative works. Panelists will discuss the cultural and economic value of creativity, how individual creatives can protect their work at all stages in the creative process, and how the creative community must unite and advocate for the fundamental rights of creators to be compensated for their work.
Panelists: Cassian Elwes, Producer (Margin Call, Dallas Buyers Club, All is Lost); David Ginsberg, Cto, Sundance Institute; Jim Zafarana, VP and General Manager, Commercial Solutions, Hp; and Ruth Vitale, Executive Director, CreativeFuture – moderated by Josh Dickey, Entertainment Editor, Mashable.
Sunday, January 25
10:30 Am – Noon Mt
Panel: Sundance Then and Now – The Changing Nature of Being a Filmmaker in the Digital Age(part of official Sundance program)
Description: How have technological advancements in filmmaking and distribution and changes in how films are marketed to audiences impacted the creative process? Sundance veterans and newcomers will share personal experiences spanning several decades and discuss how filmmakers can embrace this new reality while continuing to push the boundaries of independent film.
Panelists: Nikole Beckwith, Writer/Director (Stockholm, Pennsylvania); Chloe Zhao, Writer/Director (Songs My Brothers Taught Me); Paul Federbush, International Director, Feature Film Program, Sundance Institute; and Ruth Vitale, Executive Director, CreativeFuture – moderated by Franklin Leonard, Founder, The Black List.
Sunday, January 25
2:00 Pm – 3:30 Pm Mt
Artist Workshop: Pitching and Marketing the Independent Film
Description: This how-to guide for filmmakers on pitching and publicizing projects will feature examples of well-packaged pitches and publicity strategies from throughout the pre-production, festival circuit, and release stages. The workshop will be presented by Mark Pogachefsky, Co-founder and President of Mprm Communications, and Adam Krentzman, former CAA Agent and current Director of Community Outreach at CreativeFuture.
Monday, January 26
2:00 Pm – 3:30 Pm Mt
Conversation: The Making of I Smile Back
Description: A conversation with Adam Salky, director of I Smile Back, which was selected for the 2015 U.S. Dramatic Competition. Salky (Dare, 2009 Sundance Grand Jury Prize nominee) will be joined by co-writers Amy Koppelman and Paige Dylan and producer Michael Harrop.
7:00 Pm – 9:00 Pm Mt
Presentation of the Horizon Award
Description: Reception to present the inaugural Horizon Award, which recognizes talented, up-and-coming female filmmakers. The award and a $10,000 check will be presented to the winning filmmaker by Sharon Waxman, CEO and Editor in Chief of The Wrap, along with CreativeFuture Executive Director Ruth Vitale and the Horizon Award founders – producers Cassian Elwes, Lynette Howell, and Christine Vachon. The Horizon Award is sponsored by The Black List, The Creative Mind Group, CreativeFuture, Indiegogo, The Sundance Institute, Twitter, Vimeo, and Women in Film. The winning short, selected from more than 400 submissions, will premier at the reception.
About CreativeFuture
CreativeFuture is a coalition made up of more than 350 companies and organizations – encompassing film, television, music, and book publishing – that promotes the value of creativity, expanded digital access to legitimate content, and the fundamental right of creators to determine how their works are distributed. For more information, visit www.CreativeFuture.org.
About Hp
Hp creates new possibilities for technology to have a meaningful impact on people, businesses, governments and society. With the broadest technology portfolio spanning printing, personal systems, software, services and It infrastructure, Hp delivers solutions for customers' most complex challenges in every region of the world. More information about Hp is available at http://www.hp.com.
- 1/21/2015
- by Erin Grover
- Sydney's Buzz
Tribeca Film has acquired North American rights to Gerard Johnson’s Hyena following its recent screening in Toronto. In separate deals, Amplify and Starz Digital Media take Champs and Dada Films will release All You Need Is Love.
The thriller opened this year’s Edinburgh International Film Festival and Tribeca plans a theatrical 2015 launch after brokering the deal with Independent Film Sales.
Johnson directed from his screenplay about a corrupt police officer in London who must adapt to an influx of Albanian organised crime. Peter Ferdinando stars.
Film4 and the BFI present Hyena, a Number 9 Films Production in association with Riggins Productions Limited and Lipsync. Stephen Woolley, Joanna Laurie and Elizabeth Karlsen are the producers.
The thriller can access funding through the BFI’s Us Distribution Fund, the pilot scheme that helps UK films premiering at Toronto attract theatrical distribution and reach wider audiences in the Us.
Amplify and Starz Digital Media have jointly acquired North American...
The thriller opened this year’s Edinburgh International Film Festival and Tribeca plans a theatrical 2015 launch after brokering the deal with Independent Film Sales.
Johnson directed from his screenplay about a corrupt police officer in London who must adapt to an influx of Albanian organised crime. Peter Ferdinando stars.
Film4 and the BFI present Hyena, a Number 9 Films Production in association with Riggins Productions Limited and Lipsync. Stephen Woolley, Joanna Laurie and Elizabeth Karlsen are the producers.
The thriller can access funding through the BFI’s Us Distribution Fund, the pilot scheme that helps UK films premiering at Toronto attract theatrical distribution and reach wider audiences in the Us.
Amplify and Starz Digital Media have jointly acquired North American...
- 9/15/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Last month, Tim League and Ruth Vitale, founder of and CEO of Alamo Drafthouse Cinema and the Executive Director of CreativeFuture respectively, released an op-ed they jointly penned. In this post that appeared on Indiewire, they argued strongly that piracy is a danger to indie film. It's a post that's very impassioned. It's also lite on articulating a definitive link between piracy and independent film. No one can debate that piracy is inherently good or benign. While there are still no definitive studies that have demonstrated the impact illegal downloading has on box office numbers, what happened to Expendables 3 rightfully put the fear into any studio, distributor and...
- 8/6/2014
- by Charles Judson
- ShadowAndAct
It was a friendly studios vs. the indies sparring match at the future of digital entertainment panel moderated by Deadline's Pete Hammond at the American Pavilion at Cannes Saturday. Everyone wants to fight piracy. It's just a question of how to go about it. Beat them, or join them? Ruth Vitale, executive director of the film industry's non-profit CreativeFuture initiative, sounded the anti-piracy gong, continuing to sing the plaint of content creators that piracy costs money for filmmakers. Elevated Sales' Cassian Elwes ("Margin Call," "Dallas Buyers Club") agreed with her, as did Fox's own anti-piracy czar, Elizabeth Valentina (VP of content protection litigation). But Tim League, CEO and cofounder of the Alamo Drafthouse theater chain, which just opened its 20th location and is distributing films as well, is willing to experiment with luring audiences in the digital realm, and Bill Bromiley president of Haim Saban's week-old, well-funded Saban Films,...
- 5/18/2014
- by Anne Thompson
- Thompson on Hollywood
Creative America is now CreativeFuture, and independent film veteran Ruth Vitale has been named the rebranded coalition’s executive director. The retooled venture promotes the value of creativity in the digital age, but also fights the thievery that naturally comes along with certain technological advancements. “CreativeFuture’s mission is to educate and mobilize the creative community to speak up about the value of creativity in the digital age,” Vitale said in a statement. “Digital technologies present extraordinary opportunities for artists and audiences alike. Our industry embraces these technological advances – leading to innovations in storytelling that were once unimaginable and to expanded online access.
- 2/18/2014
- by Tony Maglio
- The Wrap
Ruth Vitale, the long time acquisitions executive whom I met in the early days of video when she was an acquisitions executive at Vestron and I was the same with H. Ross Perot's Inovision.
Vitale served for seven years as co-president of Paramount Pictures’ specialty film label Paramount Classics (which subsequently became Paramount Vantage), leaving in 2005. She then worked as president of the now defunct producer-distributor First Look Pictures until 2007. Vitale has recently been heading the Film Collective, a consultancy firm that works with filmmakers, financiers and production companies on strategic planning for their movies.
She is now heading Creative America, an anti-piracy initiative backed by the motion picture and television businesses and Hollywood’s labor unions.
Sources indicated that Vitale will join the two-year-old venture in the fall with a mandate to build awareness of the negative impact of piracy.
The Creative America organization launched in July, 2011, as a nonprofit coalition aimed at fighting theft of copyrighted content with backing from the Motion Picture Assn. of America, Warner Bros., Viacom, Sony Pictures, 20th Century Fox, Walt Disney Co., Viacom, CBS, NBCUniversal, SAG-aftra, the DGA and Iatse.
The group came together largely to galvanize grassroots support for the federal Protect IP and Stop Online Piracy Act, but it proved to be no match for an unprecedented campaign propelled by Silicon Valley against the legislation, which included millions of emails from Internet users to Capitol Hill and an Internet blackout on sites like Wikipedia. Early last year, that effective viral protest quashed the legislative effort that was also fueled by free-speech concerns and general public distaste for government interference.
Vitale served for seven years as co-president of Paramount Pictures’ specialty film label Paramount Classics (which subsequently became Paramount Vantage), leaving in 2005. She then worked as president of the now defunct producer-distributor First Look Pictures until 2007. Vitale has recently been heading the Film Collective, a consultancy firm that works with filmmakers, financiers and production companies on strategic planning for their movies.
She is now heading Creative America, an anti-piracy initiative backed by the motion picture and television businesses and Hollywood’s labor unions.
Sources indicated that Vitale will join the two-year-old venture in the fall with a mandate to build awareness of the negative impact of piracy.
The Creative America organization launched in July, 2011, as a nonprofit coalition aimed at fighting theft of copyrighted content with backing from the Motion Picture Assn. of America, Warner Bros., Viacom, Sony Pictures, 20th Century Fox, Walt Disney Co., Viacom, CBS, NBCUniversal, SAG-aftra, the DGA and Iatse.
The group came together largely to galvanize grassroots support for the federal Protect IP and Stop Online Piracy Act, but it proved to be no match for an unprecedented campaign propelled by Silicon Valley against the legislation, which included millions of emails from Internet users to Capitol Hill and an Internet blackout on sites like Wikipedia. Early last year, that effective viral protest quashed the legislative effort that was also fueled by free-speech concerns and general public distaste for government interference.
- 9/6/2013
- by Sydney Levine
- Sydney's Buzz
Brainstorm Media has acquired Todd Solondz’s Dark Horse and plans to distribute the film theatrically. Brainstorm, the Beverly Hills-based sales agent and distributor headed by president Meyer Shwarzstein that specializes in aggregating indie films for video-on-demand and new media, has put together a team to handle the movie’s June 8 release in New York, followed by openings in additional cities. It will mark Brainstorm’s entry into theatrical distribution. The company has enlisted Ruth Vitale, who runs the consultancy The Film Collective; Vitagraph Films president David Shultz and head of marketing, publicity and digital strategy Margot Gerber; Barbara
read more...
read more...
- 5/2/2012
- by Gregg Kilday
- The Hollywood Reporter - Movie News
Today I begin again to highlight the new U.S. distributors, this time with Indomina whose many recent pickups are detailed below. They look like horror, supernatural fantasy and Asian. I did not hear more than that from them about their vision or mission. Outcast directed by Colim McCarthy New Los Angeles and Dominican Republic-based distributor Indomina Releasing is a division of the Indomina Group and was launched in 2008 by Singh Mann and Vicini, an asset manager based in the Dominican Republic. Ruth Vitale was involved in its inception. They have picked up all North American rights to French horror…...
- 12/8/2010
- Sydney's Buzz
Writer/director Michael Bartlett has sent over some new concept art and info on the whereabouts of Timeless, his post-apocalyptic time travel thriller that's had us chomping at the bit for half a year already.
Word is that the script (our review here) has been around all the top sales agents in Hollywood (which Bartlett attributes to the "legendary exec," Ruth Vitale). In order to pitch a more 'commercial' project the vision had to be expanded - hence the new artwork. Word is that all the work was worth it though as Timeless is being described by a lot of studios and sales agents as "Looper meets Source Code."
Bartlett goes on to explain how, in many ways, he is facing the same problems that Rian Johnson was two years ago with "Looper." He had a great script, but because Joseph Gordon-Levitt was not that well known, he had to...
Word is that the script (our review here) has been around all the top sales agents in Hollywood (which Bartlett attributes to the "legendary exec," Ruth Vitale). In order to pitch a more 'commercial' project the vision had to be expanded - hence the new artwork. Word is that all the work was worth it though as Timeless is being described by a lot of studios and sales agents as "Looper meets Source Code."
Bartlett goes on to explain how, in many ways, he is facing the same problems that Rian Johnson was two years ago with "Looper." He had a great script, but because Joseph Gordon-Levitt was not that well known, he had to...
- 8/17/2010
- QuietEarth.us
Filmmaker Michael Bartlett (The Zombies Diaries) just dropped us a line to clue us in on the status of one of his upcoming projects, Timeless, which we've been covering a lot around here. Sadly, there's a bit of delay on the horizon.
"The script has been around all the top sales agents in Hollywood, thanks to the legendary exec Ruth Vitale, who backed the project back in April 2010," Barlett tells us. "In order to make the project more 'commercial' to their investors, the vision had to be tweaked slightly, hence the new artwork. It is being described by a lot of the studios and sales agents as 'Looper meets Source Code'."
Bartlett continues, "In many ways, I am facing the same problems now that Rian Johnson was facing two years ago with his own time travel film, 'Looper'. He had a great script, but because his lead...
"The script has been around all the top sales agents in Hollywood, thanks to the legendary exec Ruth Vitale, who backed the project back in April 2010," Barlett tells us. "In order to make the project more 'commercial' to their investors, the vision had to be tweaked slightly, hence the new artwork. It is being described by a lot of the studios and sales agents as 'Looper meets Source Code'."
Bartlett continues, "In many ways, I am facing the same problems now that Rian Johnson was facing two years ago with his own time travel film, 'Looper'. He had a great script, but because his lead...
- 8/16/2010
- by Uncle Creepy
- DreadCentral.com
I'm a huge fan of The Door in the Floor (2004) starring this year's best actor Oscar winner Jeff Bridges. It was directed by Tod "Kip" Williams, who landed his second film by persuading author John Irving to sell him the rights to A Widow for One Year for a dollar, and then wrote a script that Bridges fell in love with, even though he didn't care for Williams' first film. That was The Adventures of Sebastian Cole, which cost a mere $350,000 and starred a then-unknown Adrien Grenier as a teenager dealing with his transsexual step-father. (Oddly, when Paramount Classics' David Dinerstein and Ruth Vitale walked out of the first Sundance screening of The Blair Witch Project in January 1999 because they had to attend ...
- 3/27/2010
- Thompson on Hollywood
MGM Domestic Television Distribution has optioned Factory Publishing's "The Many Worlds of Jonas Moore" with an eye toward developing the online graphic novel as a possible TV series.
"Jonas" -- written, produced and directed by Howard Webster -- is set in a time where the British Empire has never ended and America is just one of thousands of virtual worlds hosted on a vast global game network. When Jonas Moore (Colin Salmon), a character created by the network's founder, becomes self-aware, he is tagged by the network as a virus and goes on the run. He begins spreading his knowledge of the games to the other characters, which precipitates a revolution and fight for freedom against the murderously addicted real-world gamers.
MGM is understood to be considering all potential distribution avenues, including broadcast, cable, syndication and international.
"Jonas" is "an exciting digital graphic novel that's creating quite a sensation abroad," MGM worldwide TV executive vp Chris Ottinger said. "We see this as a great concept that will make an exciting series for worldwide audiences."
"Jonas" was nominated for a Mobile and Internet TV Award at Mipcom 2007 and was an honoree at this year's Webby Awards. Ruth Vitale of the Film Collective brought the project to MGM and is attached as an executive producer.
"Jonas" -- written, produced and directed by Howard Webster -- is set in a time where the British Empire has never ended and America is just one of thousands of virtual worlds hosted on a vast global game network. When Jonas Moore (Colin Salmon), a character created by the network's founder, becomes self-aware, he is tagged by the network as a virus and goes on the run. He begins spreading his knowledge of the games to the other characters, which precipitates a revolution and fight for freedom against the murderously addicted real-world gamers.
MGM is understood to be considering all potential distribution avenues, including broadcast, cable, syndication and international.
"Jonas" is "an exciting digital graphic novel that's creating quite a sensation abroad," MGM worldwide TV executive vp Chris Ottinger said. "We see this as a great concept that will make an exciting series for worldwide audiences."
"Jonas" was nominated for a Mobile and Internet TV Award at Mipcom 2007 and was an honoree at this year's Webby Awards. Ruth Vitale of the Film Collective brought the project to MGM and is attached as an executive producer.
- 8/19/2008
- by By Kimberly Nordyke
- The Hollywood Reporter - Movie News
What some have described as Britain's first black superhero could be making its way to television. MGM Domestic Television Distribution said it has bought an option to develop the digital graphic novel "The Many Worlds of Jonas Moore" for television audiences around the world, including the United States. "'The Many Worlds of Jonas Moore' is an exciting digital graphic novel that's creating quite a sensation abroad," said Chris Ottinger, executive vice president of worldwide television for MGM in a release. "We see this as a great concept that will make an exciting series for worldwide audiences." "Jonas Moore" in its current form has been produced by Factory Publishing, and was written, produced and directed by Howard Webster. He will work with Ruth Vitale of The Film Collective ...
- 8/19/2008
- GeekNation.com
NEW YORK -- Ruth Vitale is leaving her post as president of First Look Studios, effective April 30. Her departure marks the first earthquake at the indie studio since First Look Pictures CEO Henry Winterstern's abrupt departure March 5.
"(First Look founding investor) Prentice Capital has been nothing but wonderful," Vitale said in an interview Wednesday. She will oversee the April 13 wide release of the animated Cartoon Network series adaptation "Aqua Teen Hunger Force Colon Movie Film for Theaters" and consult on First Look theatrical releases, including Paris je t'aime, through year's end.
Vitale said she has no other plans after her departure but described her resignation as a "mutual decision." First Look was close to finalizing a deal for what would have been this year's first South by Southwest Film Festival theatrical film acquisition, David Mackenzie's British drama Hallam Foe, before it fell through.
"It saddens me, but moving on is the best for everyone in light of First Look's decision to conduct its theatrical business on a smaller scale," Vitale said. "I leave behind a strong team and take pride in the projects that I helped bring to First Look."
The move caught some at the company by surprise, even though there was uncertainty and a lack of clarity about the company's direction in the wake of Winterstern's departure.
"(First Look founding investor) Prentice Capital has been nothing but wonderful," Vitale said in an interview Wednesday. She will oversee the April 13 wide release of the animated Cartoon Network series adaptation "Aqua Teen Hunger Force Colon Movie Film for Theaters" and consult on First Look theatrical releases, including Paris je t'aime, through year's end.
Vitale said she has no other plans after her departure but described her resignation as a "mutual decision." First Look was close to finalizing a deal for what would have been this year's first South by Southwest Film Festival theatrical film acquisition, David Mackenzie's British drama Hallam Foe, before it fell through.
"It saddens me, but moving on is the best for everyone in light of First Look's decision to conduct its theatrical business on a smaller scale," Vitale said. "I leave behind a strong team and take pride in the projects that I helped bring to First Look."
The move caught some at the company by surprise, even though there was uncertainty and a lack of clarity about the company's direction in the wake of Winterstern's departure.
- 3/15/2007
- The Hollywood Reporter - Movie News
The chaotic, snow-filled Sundance Film Festival has long been a test of endurance for members of the film industry, but this year many said it also will be a true test of their acquisition skills. No crowd-pleasing Little Miss Sunshine is expected.
There are fewer big stars among the large number of serious indie dramas on the Sundance slate. And after a year when a glut of indie films underperformed at the boxoffice, buyers are approaching the festival warily.
The two films with the biggest buzz, David Wain's Ten Commandments satire The Ten and James C. Strouse's family drama Grace Is Gone, also are two of the biggest question marks. Will the star-filled cast of "Ten" -- which includes Winona Ryder, Paul Rudd, Jessica Alba and Adam Brody -- create a bidding war, or will its episodic structure and Wain's offbeat sensibility (he directed Wet Hot American Summer) limit its appeal? Will John Cusack's performance in Gone prove winning enough to overcome the sad story of a father faced with telling his kids their mom died in the Iraq War?
"Movies this year seem a little darker, and in the indie world that's saying a lot," First Look Pictures president Ruth Vitale said. Festival director Geoff Gilmore agreed that might affect the marketplace. "People might be suffering a fatigue with films that are serious," he said.
One film that's both dark and high concept is Mitchell Lichtenstein's CAA-repped Teeth. It centers on a Christian high school girl who discovers, when her boyfriend gets too aggressive, that she is anatomically unique. There are rumors that the film might sell before its first screening, though few, if any, have seen the picture.
"Besides 'Teeth' and 'The Ten, ' the majority of the films are character-driven pieces," said one buyer, who concurred with many that the strength of this year's lineup will depend on how well executed the films are. "We have to wait and see them play in front of an audience before we make any decisions."
"Ten" executive producer Danny Fisher, the CEO of City Lights Media Group, which is making its first big Sundance splash, is aware of such concerns. "Everyone in the industry has read the script and says it was execution dependent and the movie is better than the script," he said.
Gone's first-time director Strouse can almost expect to find himself at the center of the Sundance storm; he already has taken meetings with every top studio specialty division. "It's a modest film made for a modest budget, and the only downside is if expectations build to a level where it disappoints," he said.
There are fewer big stars among the large number of serious indie dramas on the Sundance slate. And after a year when a glut of indie films underperformed at the boxoffice, buyers are approaching the festival warily.
The two films with the biggest buzz, David Wain's Ten Commandments satire The Ten and James C. Strouse's family drama Grace Is Gone, also are two of the biggest question marks. Will the star-filled cast of "Ten" -- which includes Winona Ryder, Paul Rudd, Jessica Alba and Adam Brody -- create a bidding war, or will its episodic structure and Wain's offbeat sensibility (he directed Wet Hot American Summer) limit its appeal? Will John Cusack's performance in Gone prove winning enough to overcome the sad story of a father faced with telling his kids their mom died in the Iraq War?
"Movies this year seem a little darker, and in the indie world that's saying a lot," First Look Pictures president Ruth Vitale said. Festival director Geoff Gilmore agreed that might affect the marketplace. "People might be suffering a fatigue with films that are serious," he said.
One film that's both dark and high concept is Mitchell Lichtenstein's CAA-repped Teeth. It centers on a Christian high school girl who discovers, when her boyfriend gets too aggressive, that she is anatomically unique. There are rumors that the film might sell before its first screening, though few, if any, have seen the picture.
"Besides 'Teeth' and 'The Ten, ' the majority of the films are character-driven pieces," said one buyer, who concurred with many that the strength of this year's lineup will depend on how well executed the films are. "We have to wait and see them play in front of an audience before we make any decisions."
"Ten" executive producer Danny Fisher, the CEO of City Lights Media Group, which is making its first big Sundance splash, is aware of such concerns. "Everyone in the industry has read the script and says it was execution dependent and the movie is better than the script," he said.
Gone's first-time director Strouse can almost expect to find himself at the center of the Sundance storm; he already has taken meetings with every top studio specialty division. "It's a modest film made for a modest budget, and the only downside is if expectations build to a level where it disappoints," he said.
- 1/18/2007
- The Hollywood Reporter - Movie News
Gail Berman stepped down Wednesday as the president of Paramount Pictures, the first step in chairman and CEO Brad Grey's restructuring of the studio into four distinct labels.
Co-president of production Allison Shearmur also will leave the studio, effective immediately, Grey said.
Without a studio president, under the new Paramount structure each of Grey's motion picture group executives now reports directly to him.
The four labels are DreamWorks, headed by co-chairman Stacey Snider, who already reports to Grey; MTV Films/Nickelodeon Movies, led by president Scott Aversano; Paramount Pictures, run by president of production Brad Weston; and Paramount Vantage, headed by president John Lesher.
DreamWorks will supply eight pictures a year for the studio. MTV/Nick and Paramount will deliver four each, while Lesher already has 10 modestly budgeted pictures scheduled for release in 2007.
In making the changes, Grey is hoping to clarify and reorganize a studio that many industry insiders found chaotic and internally fractious, with executives vying for position. Grey is simplifying things by awarding Weston sole responsibility for running production, a job he had shared with Shearmur.
"The new structure provides a real clarity to our system," Grey said in a telephone interview. "The label strategy not only allows us to target our development more effectively but to use the assets we've been building during the turnaround in the best way for the slate, the staff and the community we deal with every day."
With Berman and Shearmur's departures, a studio that had boasted many female executives during Sherry Lansing's tenure is now run by men. Grey replaced MTV Films' Julia Pfister with Aversano in August and Paramount Classics' Ruth Vitale with Lesher in November 2005.
Berman was the only female executive ever to hold the top posts at both a major film studio and television network. She was president of entertainment at the Fox Broadcasting Co. for five years, then joined Paramount in May 2005 at Grey's behest. With expertise primarily as a TV series producer and network programmer, Berman experienced a rocky transition as she moved into the motion picture arena.
Co-president of production Allison Shearmur also will leave the studio, effective immediately, Grey said.
Without a studio president, under the new Paramount structure each of Grey's motion picture group executives now reports directly to him.
The four labels are DreamWorks, headed by co-chairman Stacey Snider, who already reports to Grey; MTV Films/Nickelodeon Movies, led by president Scott Aversano; Paramount Pictures, run by president of production Brad Weston; and Paramount Vantage, headed by president John Lesher.
DreamWorks will supply eight pictures a year for the studio. MTV/Nick and Paramount will deliver four each, while Lesher already has 10 modestly budgeted pictures scheduled for release in 2007.
In making the changes, Grey is hoping to clarify and reorganize a studio that many industry insiders found chaotic and internally fractious, with executives vying for position. Grey is simplifying things by awarding Weston sole responsibility for running production, a job he had shared with Shearmur.
"The new structure provides a real clarity to our system," Grey said in a telephone interview. "The label strategy not only allows us to target our development more effectively but to use the assets we've been building during the turnaround in the best way for the slate, the staff and the community we deal with every day."
With Berman and Shearmur's departures, a studio that had boasted many female executives during Sherry Lansing's tenure is now run by men. Grey replaced MTV Films' Julia Pfister with Aversano in August and Paramount Classics' Ruth Vitale with Lesher in November 2005.
Berman was the only female executive ever to hold the top posts at both a major film studio and television network. She was president of entertainment at the Fox Broadcasting Co. for five years, then joined Paramount in May 2005 at Grey's behest. With expertise primarily as a TV series producer and network programmer, Berman experienced a rocky transition as she moved into the motion picture arena.
- 1/11/2007
- The Hollywood Reporter - Movie News
NEW YORK -- In its first major appointments since Paramount Classics veteran Ruth Vitale became president of First Look Pictures in December, parent company First Look Studios named Richard Shore its senior vp business and legal affairs and Brooke Ford senior vp of marketing for First Look Pictures. Shore will be responsible for the corporate strategy and direction of FLS and head all business and legal matters for production, marketing and distribution of FLP, participating in acquisitions and productions. He reports to FLS CEO Henry Winterstern.
First Look Studios has tapped former Paramount Classics co-president Ruth Vitale to head its First Look Pictures division, the company said Thursday. As president, she will report to First Look Studios CEO Henry Winterstern and will oversee a projected slate of eight to 10 films a year, working closely with First Look International and its U.S. video and DVD distribution arm, First Look Home Entertainment. "Ruth adds an infusion of energy, experience," Winterstern said. "She's been able to see so many different aspects of this industry, and she really adds that credibility and knowledge to what we believe is a growing vision."...
- 12/15/2005
- The Hollywood Reporter - Movie News
Endeavor agent John Lesher is finalizing negotiations to join Paramount Pictures as head of its still-to-be-renamed specialty division, sources close to the negotiation confirmed Wednesday. Lesher helped to package two current projects, Alejandro Inarritu's Babel, starring Brad Pitt, and Martin Scorsese's The Departed, starring Leonardo DiCaprio and Matt Damon, a Plan B production at Warner Bros. Lesher's list of rising A-list directors includes Fernando Meirelles, David O. Russell, Walter Salles, Paul Thomas Anderson and Bennett Miller. Hollywood had been wondering when Grey would announce the replacement for recently departed Paramount Classics co-presidents Ruth Vitale and David Dinerstein.
- 11/2/2005
- The Hollywood Reporter - Movie News
Endeavor agent John Lesher is finalizing negotiations to join Paramount Pictures as head of its still-to-be-renamed specialty division, sources close to the negotiation confirmed Wednesday. Lesher helped to package two current projects, Alejandro Inarritu's Babel, starring Brad Pitt, and Martin Scorsese's The Departed, starring Leonardo DiCaprio and Matt Damon, a Plan B production at Warner Bros. Lesher's list of rising A-list directors includes Fernando Meirelles, David O. Russell, Walter Salles, Paul Thomas Anderson and Bennett Miller. Hollywood had been wondering when Grey would announce the replacement for recently departed Paramount Classics co-presidents Ruth Vitale and David Dinerstein.
- 11/2/2005
- The Hollywood Reporter - Movie News
Paramount Classics co-presidents Ruth Vitale and David Dinerstein were fired Thursday by Paramount Pictures chairman Brad Grey, bringing an end to the months of uncertainty hanging over the two heads of the specialty films division. No successor was named, though within the tightknit indie film community attention focused on Tom Ortenberg, president of Lions Gate Releasing, as the likely candidate. Paramount offered no comment on the executives' dismissal. And both Paramount and Ortenberg declined comment on the status of any talks between them. Ever since Tom Freston was named co-president and co-chief operating officer of Viacom, Paramount's parent company, in June 2004 and announced his intention of shaking up Paramount's film units, the future of Vitale and Dinerstein has been in doubt. When Grey replaced Sherry Lansing as Paramount chairman in March and began installing his own executive team, speculation increased that he would replace the two executives. Late Wednesday, Grey called Vitale and told her he wanted to meet with her and Dinerstein in his office Thursday morning, where he delivered the final word.
- 10/7/2005
- The Hollywood Reporter - Movie News
Paramount Classics co-presidents Ruth Vitale and David Dinerstein were fired Thursday by Paramount Pictures chairman Brad Grey, bringing an end to the months of uncertainty hanging over the two heads of the specialty films division. No successor was named, though within the tightknit indie film community attention focused on Tom Ortenberg, president of Lions Gate Releasing, as the likely candidate. Paramount offered no comment on the executives' dismissal. And both Paramount and Ortenberg declined comment on the status of any talks between them. Ever since Tom Freston was named co-president and co-chief operating officer of Viacom, Paramount's parent company, in June 2004 and announced his intention of shaking up Paramount's film units, the future of Vitale and Dinerstein has been in doubt. When Grey replaced Sherry Lansing as Paramount chairman in March and began installing his own executive team, speculation increased that he would replace the two executives. Late Wednesday, Grey called Vitale and told her he wanted to meet with her and Dinerstein in his office Thursday morning, where he delivered the final word.
- 10/7/2005
- The Hollywood Reporter - Movie News
TORONTO -- Fox Searchlight nabbed Thank You for Smoking in the Toronto International Film Festival opening weekend's most contested play, while Sony Pictures Classics finally clinched a deal for Tommy Lee Jones' film The Three Burials of Melquiades Estrada, which is playing here and has been looking for a buyer since it premiered in May at the Festival de Cannes. The most heated bidding war was fought over rookie filmmaker Jason Reitman's black comedy Smoking, starring Aaron Eckhart as an irascible tobacco lobbyist. Paramount Classics co-presidents Ruth Vitale and David Dinerstein thought they had closed a verbal agreement on a $6 million deal for most of the world Saturday night at the Windsor Arms Hotel, but Dinerstein received a call in the wee hours from neophyte indie producer David Sacks, who told him that the filmmakers were taking the deal to another studio.
- 9/12/2005
- The Hollywood Reporter - Movie News
Sydney Pollack and Irwin Winkler will take part in the panels scheduled for the 2005 Tribeca Film Festival's Tribeca Talks Series. Pollack, whose The Interpreter opens the fest, will discuss his career, and Winkler will tackle film and politics with U.S. News & World Report editor-in-chief Mort Zuckerman. The Working Breakfast Series is a new addition to the festival and will offer insight into the business side of movies. New Line/HBO's Bob Berney, Sony Picture Classics' Tom Bernard, HBO's Keri Putnam and Paramount's Ruth Vitale will discuss the marketing of a midsize film, and Cinetic's John Sloss, CAA's Bart Walker and Focus Features' Glen Basner headline a panel titled Making the Sale. UTA's Jeremy Barber, WMA's Cassian Elwes and Gersh's Arianna Bocco headline a panel discussing the role of the agent. The Tribeca Film Festival runs April 19-May 1.
- 3/29/2005
- The Hollywood Reporter - Movie News
Paramount Classics is acquiring distribution rights to the documentary Fade to Black, a portrait of hip-hop star Jay-Z. The deal, which sources said is nearly finalized, will see the film roll out Nov. 5 and could also mark a change in direction for Paramount Pictures' specialty film arm. The Paramount Classics label, headed by co-presidents David Dinerstein and Ruth Vitale, has concentrated in the past on acquiring art house fare, with an emphasis on foreign-language features. Fade should appeal to a potentially wider demographic as it focuses on the rise of hip-hop star Shawn Carter, better known as Jay-Z. The docu, directed by Pat Paulson and Michael John Warren, focuses specifically on Jay-Z's November concert that earned a street rep as a once-in-a-lifetime event. The film also takes a look at the recording process of Jay-Z's Black Album, which the rapper has said is his last musical outing, as well as looking at the star's background.
- 10/6/2004
- The Hollywood Reporter - Movie News
Paramount Classics has snapped up distribution rights from Filmax International to Brad Anderson's Sundance Film Festival selection The Machinist, starring Christian Bale. The speciality division has aquired rights to the pic in North America, the United Kingdom, South Africa, Latin America, Australia and New Zealand. It is planning a late-2004 release. The film, which also recently screened at the Berlin International Film Festival, stars Bale as factory machinist Trevor Reznik, who has not slept in a year. His lack of sleep has led to a deterioration in his physical and mental health, and he struggles to come to terms with his breakdown. Jennifer Jason Leigh, Michael Ironside, Aitana Sanchez Gijon and John Sharian also star in the Julio Fernandez-produced film. "We are extremely proud to be working with Brad, a director of incredible vision," Paramount Classics co-presidents Ruth Vitale and David Dinerstein said. "His film is powerfully unique and evocative. Bale's work is equally impressive." Bale notably lost 65 lbs. for the part. Filmax president Carlos Fernandez and Filmax senior vp sales and co-productions Antonia Nava served as executive producers. The rights deal was negotiated by John Sloss with Endeavor.
- 2/26/2004
- The Hollywood Reporter - Movie News
MADRID -- After its strong performance at Sundance and Berlin, Brad Anderson's Spanish production The Machinist has found U.S. distribution via Paramount Classics, the company announced Thursday. Paramount, which bought North American rights for the film as well as rights for the United Kingdom, South Africa, Latin America, Australia and New Zealand, plans a late 2004 release. Produced by Julio Fernandez's Filmax International, the film stars Christian Bale and is the latest installment of the thriller, horror, sci fi production label Fantastic Factory. "We are extremely proud to be working with Brad, a director of incredible vision," said Paramount Classics co-presidents Ruth Vitale and David Dinerstein in a statement. "His film is powerfully unique and evocative. Bale's work is equally impressive. We believe this will be a performance to be reckoned with come awards season." Upcoming productions from Filmax International to be presented at this year's AFM include the ghost story, Fragile, the new film by Jaume Balaguero; Bloodline, a horror film directed by Nacho Cerda; and the ambitious new animation feature film Donkey.Xote, in which the donkey Rucio tells the "true" story of Don Quixote.
- 2/26/2004
- The Hollywood Reporter - Movie News
Paramount Classics is starting off the new year with two new hires: Susan Wrubel as vp acquisitions and co-productions and Gretchen Stresemann as director of marketing. Both executives, who have assumed their posts, report to Par Classics co-presidents Ruth Vitale and David Dinerstein. Wrubel handles the day-to-day responsibilities of acquisitions and co-productions. She joins the Paramount Pictures specialty division from the Global Film Initiative, a nonprofit film organization dedicated to fostering film and filmmakers from the developing world. While there, she was responsible for film acquisitions for the foundation's Global Lens film series.
LONDON -- Paramount Classics acquired multiterritory distribution rights Thursday to Patrice Leconte's L'Homme Du Train (The Man on the Train) in a deal with the French-based arm of sales operation Pathe International. The deal, struck during the Venice International Film Festival, where the film screened to great acclaim Tuesday, sees the specialty film division of Paramount Pictures secure distribution rights to Leconte's film for North America, Latin America, Australia, New Zealand and South Africa. Paramount Classics co-president Ruth Vitale finalized the acquisition for an undisclosed sum with Pathe International sales director Pascal Diot on the Lido. Train, written by Claude Klotz (The Hairdresser's Husband), stars Jean Rochefort and French rock 'n' roll icon Johnny Hallyday.
SANTA BARBARA, Calif. -- Anything but grave until its emotional finale, director Paul Weiland's "For Roseanna" is a lighthearted farce about a man who goes to absurd lengths to fulfill his wife's dying wish.
The upcoming Fine Line Features release, whose title was changed last week from "Roseanna's Grave", was warmly received Thursday by the opening-night audience at the 12th annual Santa Barbara International Film Festival, with co-producer Paul Trijbits in attendance. Starring Jean Reno and Mercedes Ruehl, "For Roseanna" is an English-language hybrid -- the characters are Italian, many of the actors are not. Commercial prospects are modest at best.
Written by veteran TV writer and producer Saul Turteltaub, the comedy is set in an Italian village with a nearly full graveyard. Only three plots remain, and it is the desire of Roseanna (Ruehl) to be buried beside her daughter, who died many years before.
Her husband Marcello (Reno) is a big, energetic trattoria proprietor who monitors the progress of other mortally ill locals in the hospital. His single-mindedness is both endearing and mildly off-putting.
Resigned to her fate but still very much alive, Roseanna tries to set up Marcello with her younger sister Cecilia (Polly Walker), so he won't be alone after she's gone. Although he's not immune to Cecilia's attractiveness, Marcello does not take this wish seriously.
Cecilia, however, is ardently pursued by Antonio (Mark Frankel), the nephew of a bitter former lover of Roseanna. His uncle (Luigi Diberti) just happens to own vacant land next to the cemetery but refuses to sell it to the church because of his seriously broken heart and jealousy of Marcello.
Enter a recently freed convict (Trevor Peacock) who left a small fortune with the village banker Roberto Della Casa) 20 years earlier. The latter spent most of the loot on a young mistress in Rome and fears for his life. A mishap one night results in the banker's death, with Marcello hiding the corpse in a freezer to delay his burial.
More bodies are hidden, and the long-simmering problems with Diberti's character lead to a shouting match in church. The finale involves another elaborate, crowd-pleasing ruse.
Ruehl is strong and elegantly earthy, and Reno can be quite amusing with his facial expressions. The supporting cast is first-rate, with Walker ("Emma") making the most of her role.
Filmed in wide screen, the film revels in the beautiful countryside and the power of love and faithfulness.
FOR ROSEANNA
Fine Line Features
in association with Spelling Films
Director Paul Weiland
Writer Saul Turteltaub
Producers Paul Trijbits,
Alison Owen, Dario Poloni
Executive producers Ruth Vitale,
Mark Ordesky, Jonathan Weisgal, Miles Donnelly
Director of photography Henry Braham
Editor Martin Walsh
Production designer Rod McLean
Music Trevor Jones
Costume designer Annie Hardinge
Casting Nina Gold
Color/stereo
Cast:
Marcello Jean Reno
Roseanna Mercedes Ruehl
Cecilia Polly Walker
Antonio Mark Frankel
Father Bramilla Giuseppe Cederna
Dr. Benvenuto Renato Scarpa
Running time -- 99 minutes
MPAA rating: PG-13...
The upcoming Fine Line Features release, whose title was changed last week from "Roseanna's Grave", was warmly received Thursday by the opening-night audience at the 12th annual Santa Barbara International Film Festival, with co-producer Paul Trijbits in attendance. Starring Jean Reno and Mercedes Ruehl, "For Roseanna" is an English-language hybrid -- the characters are Italian, many of the actors are not. Commercial prospects are modest at best.
Written by veteran TV writer and producer Saul Turteltaub, the comedy is set in an Italian village with a nearly full graveyard. Only three plots remain, and it is the desire of Roseanna (Ruehl) to be buried beside her daughter, who died many years before.
Her husband Marcello (Reno) is a big, energetic trattoria proprietor who monitors the progress of other mortally ill locals in the hospital. His single-mindedness is both endearing and mildly off-putting.
Resigned to her fate but still very much alive, Roseanna tries to set up Marcello with her younger sister Cecilia (Polly Walker), so he won't be alone after she's gone. Although he's not immune to Cecilia's attractiveness, Marcello does not take this wish seriously.
Cecilia, however, is ardently pursued by Antonio (Mark Frankel), the nephew of a bitter former lover of Roseanna. His uncle (Luigi Diberti) just happens to own vacant land next to the cemetery but refuses to sell it to the church because of his seriously broken heart and jealousy of Marcello.
Enter a recently freed convict (Trevor Peacock) who left a small fortune with the village banker Roberto Della Casa) 20 years earlier. The latter spent most of the loot on a young mistress in Rome and fears for his life. A mishap one night results in the banker's death, with Marcello hiding the corpse in a freezer to delay his burial.
More bodies are hidden, and the long-simmering problems with Diberti's character lead to a shouting match in church. The finale involves another elaborate, crowd-pleasing ruse.
Ruehl is strong and elegantly earthy, and Reno can be quite amusing with his facial expressions. The supporting cast is first-rate, with Walker ("Emma") making the most of her role.
Filmed in wide screen, the film revels in the beautiful countryside and the power of love and faithfulness.
FOR ROSEANNA
Fine Line Features
in association with Spelling Films
Director Paul Weiland
Writer Saul Turteltaub
Producers Paul Trijbits,
Alison Owen, Dario Poloni
Executive producers Ruth Vitale,
Mark Ordesky, Jonathan Weisgal, Miles Donnelly
Director of photography Henry Braham
Editor Martin Walsh
Production designer Rod McLean
Music Trevor Jones
Costume designer Annie Hardinge
Casting Nina Gold
Color/stereo
Cast:
Marcello Jean Reno
Roseanna Mercedes Ruehl
Cecilia Polly Walker
Antonio Mark Frankel
Father Bramilla Giuseppe Cederna
Dr. Benvenuto Renato Scarpa
Running time -- 99 minutes
MPAA rating: PG-13...
- 3/10/1997
- The Hollywood Reporter - Movie News
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