Well it’s that time of year again TCM is ready to roll with its 8th TCM Classic Film Festival. Held over four days in the heart of Hollywood, the TCM Classic Film Festival is a place where movie lovers from around the world can gather to experience classic movies as they were meant to be experienced: on the big screen, in some of the world’s most iconic venues, with the people who made them. Moreover, the TCM Classic Film Festival strives to be a place where a community of movie fans of all ages can share their love of classic movies with each other, make new friends and see films as they are seldom seen today.
2017 PASSES ON SALE NOW
The ideal way to experience the TCM Classic Film Festival is with a Festival pass. There are four levels of passes: The Palace, The Classic, The Essential, and The Spotlight. Whichever pass you choose, you’re sure to have the classic cinema experience of a lifetime at the 2017 TCM Classic Film Festival.
For some helpful tips on how to more easily purchase your Festival passes click here.
Read the Festival pass Terms & Conditions by clicking here.
The Palace Pass is the perfect pass for those seeking a weekend filled with watching classic movies at three of the most iconic venues in Hollywood. It gives three-day(Friday-Sunday) access to all screenings at the historic TCL Chinese Theatre IMAX (does not include the Opening Night screening), the Egyptian Theatre and poolside at the historic Hollywood Roosevelt Hotel, Friday, April 7- Sunday, April 9, 2017. Note: This pass does not grant entry to the TCL Chinese 6 Theatres multiplex, Club TCM events or official parties and receptions. LEARN MORE
The Classic Pass opens the door to four days (Thursday-Sunday) of movie heaven – including access to film screenings, panels, Club TCM and official passholder receptions at all of the Festival venues (does not include admittance to the Opening Night screening at TCL Chinese Theatre IMAX or the Opening Night Red Carpet Gala Party). LEARN MORE
The Essential Pass is your chance to walk in the footsteps of Hollywood legends down the red carpet and into the TCL Chinese Theatre IMAX for the official Opening Night screening plus all the benefits of the Classic Pass and TCM Classic Film Festival collectibles. LEARN MORE
The Spotlight Pass is your entry to the glamorous Opening Night Gala Party following the official Opening Night screening. Plus you’ll enjoy priority entry into screenings throughout the Festival including exclusive “meet and greet” events with special guests in addition to all the benefits of the Essential Pass. LEARN MORE
Held over four days in the heart of Hollywood, the TCM Classic Film Festival is a place where movie lovers from around the world can gather to experience classic movies as they were meant to be experienced: on the big screen, in some of the world’s most iconic venues, with the people who made them. Moreover, the TCM Classic Film Festival strives to be a place where a community of movie fans of all ages can share their love of classic movies with each other, make new friends and see films as they are seldom seen today.
MAKE ‘EM LAUGH: COMEDY IN THE MOVIES
“A day without laughter is a day wasted,” said Charles Chaplin, and the staff at TCM concur. Join us for the 2017 TCM Classic Film Festival, exploring COMEDY IN THE MOVIES. From lowbrow to high, slapstick to sophisticated comedies of manners—as we experience a showcase of the greatest cinematic achievements of lone clowns, comedic duos and madcap ensembles. You’ll be glad you did!
A total of 13 AFI Conservatory alumni from the Class of 2016 have been recognized with nine College Television Award nominations — more than any other film school. Now in their 38th year, the 2017 College Television Awards will be held on Wednesday, May 24, 2017, at the Saban Media Center in North Hollywood, CA.
The nominees and projects from the AFI Class of 2016 are:
DOLLAR KING Trevor Smith (AFI Class of 2016), Producer
Comedy (Nominee) David Brent (AFI Class of 2016), Writer
Writing for Comedy (Nominee)
LOCKDOWN Daisygreen Stenhouse (AFI Class of 2016), Writer
Writing for Drama (Nominee)
LOST CHOCOLATE: A SKATEBOARD STORY Andrew Pollins (AFI Class of 2016), Director Jane Hollon (AFI Class of 2016), Producer Caleb Heller (AFI Class of 2016), Cinematographer
NO WAY BACK Michael Kongshaug (AFI Class of 2016), Director/Writer Eileen Shim (AFI Class of 2016), Writer
Writing for Drama (Nominee)
THE OTHER SIDE Daniel Abatan (AFI Class of 2016), Director
Directing for Drama (Nominee)
THE PLUMBER Andrew Pollins (AFI Class of 2016), Director Yoni Klein (AFI Class of 2016), Cinematographer
SNOWPLOW Joshua Valle (AFI Class of 2016), Producer
Drama (Nominee) Mia Niebruegge (AFI Class of 2016), Director/Writer Christopher Greenslate (AFI Class of 2016), Writer
Writing for Drama (Nominee)
This year the TCM Classic Film Festival celebrates Robert Osborne by dedicating the Festival in his honor. There will be special programming on Thursday, April 6: TCM will host “REMEMBERING ROBERT,” a panel featuring TCM staff members, and actress Diane Baker, who will be on hand to share their stories about Robert. All passholders and pass levels are invited to attend. All screenings on Thursday will feature a tribute video to Robert before every film. TCM staff members and friends will share memories and stories about Robert Osborne, celebrating his life and love of classic films. All passholders and pass levels are invited to attend.
THURSDAY, APRIL 6
12:30PM-2:00PM – Remembering Robert
Chinese Multiplex House 1
TCM staff members and friends will share memories and stories about Robert Osborne, celebrating his life and love of classic films. All passholders and pass levels are invited to attend.
A haunting tale of love and reconciliation begins in a small town in Germany in the immediate aftermath of World War I when a young woman mourning the death of her fiancé encounters a mysterious Frenchman laying flowers on her beloved’s grave.
Set in Germany and France in the immediate aftermath of the First World War, (1914-1918), FRANTZrecalls the mourning period that follows great national tragedies as seen through the eyes of the war’s “lost generation”: Anna (21 year-old Paula Beer in a breakthrough performance), a bereft young German woman whose fiancé, Frantz, was killed during trench warfare, and Adrien (Pierre Niney), a French veteran of the war who shows up mysteriously in her town, placing flowers on Frantz’s grave. Adrien’s presence is met with resistance by the small community still reeling from Germany’s defeat, yet Anna gradually gets closer to the handsome and melancholy young man, as she learns of his deep friendship with Frantz, conjured up in evocative flashbacks.
What follows is a surprising exploration of how Ozon’s characters’ wrestle with their conflicting feelings – survivor’s guilt, anger at one’s losses, the overriding desire for happiness despite everything that has come before, and the longing for sexual, romantic and familial attachments. Ozon drew his inspiration from Ernst Lubitsch’s 1932 drama Broken Lullaby, with stunning visual references to painter Caspar David Friedrich.
“Intellectually stimulating and emotionally satisfying.”
– Jonathan Romney, Screen Daily
“Astonishingly beautiful and inquisitive. it’s impossible to deny the sheer narrative sophistication. Elevated by a quartet of stunning performances”
– Eric Kohn, IndieWire
“A richly imagined and superbly assembled period piece.”
LOS ANGELES (Jan. 29, 2017) —The Screen Actors Guild Awards® presented its coveted Actor® statuettes for the outstanding motion picture and primetime television performances of 2016 at the 23rd Annual Screen Actors Guild Awards® held Sunday, Jan. 29 at the Los Angeles Shrine Exposition Center. In a ceremony attended by film and television’s leading actors, the 23rd Annual SAG Awards® was simulcast live coast-to-coast by TNT and TBS at 8 p.m. (ET). A primetime encore presentation immediately followed on TNT. In addition, TBS and TNT subscribers were able to watch the SAG Awards live through the networks’ websites and mobile apps.
Honored with individual awards were Denzel Washington, Emma Stone, Mahershala Ali and Viola Davis for performances in motion pictures, and Bryan Cranston, Sarah Paulson, John Lithgow, Claire Foy, William H. Macy and Julia Louis-Dreyfus for performances in television. The Screen Actors Guild Awards originated awards for the outstanding performances by a motion picture cast and by television drama and comedy ensembles. The Actor® for a motion picture cast performance went this year to “Hidden Figures,” while the Actors® for television drama and comedy ensemble performances went this year to “Stranger Things” and “Orange is the New Black.”
Dolly Parton presented Lily Tomlin with the 53nd Life Achievement Award, following a filmed salute to the actor, comedian, writer, producer and all-round entertainment maverick. Carteris introduced a filmed “In Memoriam” tribute to the SAG-AFTRA members lost during 2016, an honor roll that sadly included three past presidents of our union: Ken Howard, Patty Duke and William Schallert; as well as two beloved Life Achievement Award recipients: Mary Tyler Moore and Debbie Reynolds.
The 23rd Annual Screen Actors Guild Awards presented by SAG-AFTRAwith Screen Actors Guild Awards®, LLC was produced by Avalon Harbor Productions. For more information about the SAG Awards, SAG-AFTRA, TNT and TBS, visit sagawards.org/about,
The complete list of recipients for the 23rd Annual Screen Actors Guild Awards®follows:
Outstanding Performance by a Male Actor in a Leading Role
DENZEL WASHINGTON / Troy Maxson – “FENCES” (Paramount Pictures)
Outstanding Performance by a Female Actor in a Leading Role
EMMA STONE / Mia – “LA LA LAND” (Lionsgate)
Outstanding Performance by a Male Actor in a Supporting Role
MAHERSHALA ALI / Juan – “MOONLIGHT” (A24)
Outstanding Performance by a Female Actor in a Supporting Role
VIOLA DAVIS / Rose Maxson – “FENCES” (Paramount Pictures)
Outstanding Performance by a Cast in a Motion Picture
HIDDEN FIGURES (20th Century Fox)
MAHERSHALA ALI / Col. Jim Johnson
KEVIN COSTNER / Al Harrison
KIRSTEN DUNST / Vivian Mitchell
TARAJI P. HENSON / Katherine G. Johnson
ALDIS HODGE / Levi Jackson
JANELLE MONÁE / Mary Jackson
JIM PARSONS / Paul Stafford
GLEN POWELL / John Glenn
OCTAVIA SPENCER / Dorothy Vaughan
Outstanding Performance by a Male Actor in a Television Movie or Limited Series
BRYAN CRANSTON / President Lyndon B. Johnson – “ALL THE WAY” (HBO)
Outstanding Performance by a Female Actor in a Television Movie or Limited Series
SARAH PAULSON / Marcia Clark – “THE PEOPLE V. O.J. SIMPSON: AMERICAN CRIME STORY” (FX Networks)
Outstanding Performance by a Male Actor in a Drama Series
JOHN LITHGOW / Winston Churchill – “THE CROWN” (Netflix)
Outstanding Performance by a Female Actor in a Drama Series
CLAIRE FOY / Queen Elizabeth II – “THE CROWN” (Netflix)
Outstanding Performance by a Male Actor in a Comedy Series
WILLIAM H. MACY / Frank Gallagher – “SHAMELESS” (Showtime)
Outstanding Performance by a Female Actor in a Comedy Series
JULIA LOUIS-DREYFUS / President Selina Meyer – “VEEP” (HBO)
Outstanding Performance by an Ensemble in a Drama Series
STRANGER THINGS (Netflix)
MILLIE BOBBY BROWN / Eleven
CARA BUONO / Karen Wheeler
JOE CHREST / Ted Wheeler
NATALIA DYER / Nancy Wheeler
DAVID HARBOUR / Jim Hopper
CHARLIE HEATON / Jonathan Byers
JOE KEERY / Steve Harrington
GATEN MATARAZZO / Dustin Henderson
CALEB McLAUGHLIN / Lucas Sinclair
MATTHEW MODINE / Dr. Martin Brenner
ROB MORGAN / Officer Powell
JOHN PAUL REYNOLDS / Officer Callahan
WINONA RYDER / Joyce Byers
NOAH SCHNAPP / Will Byers
MARK STEGER / The Monster
FINN WOLFHARD / Mike Wheeler
Outstanding Performance by an Ensemble in a Comedy Series
ORANGE IS THE NEW BLACK (Netflix)
UZO ADUBA / Suzanne “Crazy Eyes” Warren
ALAN AISENBERG / Baxter “Gerber” Bayley
DANIELLE BROOKS / Tasha “Taystee” Jefferson
BLAIR BROWN / Judy King
JACKIE CRUZ / Marisol “Flaca” Gonzales
LEA DeLARIA / Big Boo
BETH DOVER / Linda Ferguson
KIMIKO GLENN / Brook Soso
ANNIE GOLDEN / Norma Romano
LAURA GOMEZ / Blanca Flores
DIANE GUERRERO / Maritza Ramos
MICHAEL J. HARNEY / Sam Healy
BRAD WILLIAM HENKE / Desi Piscatella
VICKY JEUDY / Janae Watson
JULIE LAKE / Angie Rice
SELENIS LEYVA / Gloria Mendoza
NATASHA LYONNE / Nicky Nichols
TARYN MANNING / Tiffany “Pennsatucky” Doggett
JAMES McMENAMIN / Charlie “Donuts” Coates
ADRIENNE C. MOORE / Cindy “Black Cindy” Hayes
KATE MULGREW / Galina “Red” Reznikov
EMMA MYLES / Leanne Taylor
MATT PETERS / Joel Luschek
LORI PETTY / Lolly Whitehill
JESSICA PIMENTEL / Maria Ruiz
DASCHA POLANCO / Dayanara “Daya” Diaz
LAURA PREPON / Alex Vause
JOLENE PURDY / Stephanie Hapakuka
ELIZABETH RODRIGUEZ / Aleida Diaz
NICK SANDOW / Joe Caputo
ABIGAIL SAVAGE / Gina Murphy
TAYLOR SCHILLING / Piper Chapman
CONSTANCE SHULMAN / Erica “Yoga” Jones
DALE SOULES / Frieda Berlin
YAEL STONE / Lorna Morello
LIN TUCCI / Anita DeMarco
SAMIRA WILEY / Poussey Washington
Outstanding Action Performance by a Stunt Ensemble in a Motion Picture
“HACKSAW RIDGE” (Lionsgate)
Outstanding Action Performance by a Stunt Ensemble in a Comedy or Drama Series
“GAME OF THRONES” (HBO)
LIFE ACHIEVEMENT AWARD
53rd Annual SAG Life Achievement Award
About the 23rd Annual Screen Actors Guild Awards®
One of the awards season’s premier events, the SAG Awards® annually celebrates the outstanding motion picture and television performances from the previous calendar year. Of the top industry honors presented to actors, only the SAG Awards are selected entirely by performers’ peers in SAG-AFTRA, which this year number 121,546. The SAG Awards was the first televised awards show to acknowledge the work of union members and the first to present awards to motion picture casts and television ensembles. For more information about the SAG Awards®, SAG-AFTRA, TNT and TBS, visit sagawards.org/about.
Chris Daniels talks to the people behind brand films such as BMW’s The Escape and Samsung’s Fighting Chance and identifies the secret sauce that engaged viewers and persuaded them to watch.
BMW’s 5 Series Sedan looks gleaming and gorgeous in the automaker’s new brand film, The Escape, but by the end of the action-packed 11 minutes the vehicle has been dented, cracked and shot at. As the film’s co-creative director Bruce Bildsten tells PRWeek, “We went out of our way to avoid any shots that looked like a car commercial. We made sure the car got pretty banged up and dirty.”
“In fact, to prepare for the final shot we had a stuntman jump off a ladder onto the hood because it wasn’t dented enough,” Bildsten recalls. “And the client was there saying, ‘Go for it!’”
The Escape arrives 15 years after The Hire, the first BMW film that raced to more than 100 million views back before high-speed Internet was widespread. The success was fueled by a great story, word of mouth, and earned media impressions. Many experts consider the action film (starring movie actor Clive Owen, who reprised his role for the latest iteration) a seminal moment for brand film as a viral content play.
Although it has taken time for more brands to experiment with the media, industry watchers note advertisers of all categories have gotten into the filmmaking business. Some, such as Nike and Chipotle Mexican Grill, have commissioned animated shorts; others, including Prada-owned fashion house Miu Miu and Häagen-Dazs, have done documentaries; and the likes of BMW and H&M have opted for cinematic fiction.
Its growing popularity is also reflected in the hundreds of entries to PRWeek and Campaign’s inaugural Brand Film Festival last year.
Experts attribute its rise to several factors, paramount among them being the democratization of content and the fact consumers are choosing what to watch and how to watch it.
Since its launch in late October last year, The Escape has been watched on YouTube more than 5.1 million times. Bildsten reunited with former Fallon colleagues David Carter and Brian DiLorenzo and created Geisel Productions to produce it. They worked on the first film for BMW USA while they were all at ad agency Fallon and hope to make more brand films under Geisel.
“The lesson we learned from BMW was that we could integrate the car into the story, but it could never be heavy handed,” he explains. “That’s the mistake often made with brand films. They’re selling; they turn the viewer off; and no one seeks it out.”
Experts agree a brand film is no longer a film if it’s selling (that’s just an extended ad), or telling a story strictly about the company (that’s an infomercial). They say it follows a different set of parameters and best practices that seem counter to almost everything else they do in marcomms.
Understand your brand first
Spectrecom Films & Spectrecom Studios in London, with corporate clients including American Express, Skittles, and Guinness, has increasingly been approached by newer brands looking to put themselves on the map, says Christiaan Harden, client services director.
However, he says companies can’t look to a film for helping define their brand; it has to instead evangelize and emote what your brand is about. “You can’t do that if you don’t have a good understanding of your own brand,” says Harden. “We’ve had to say to some clients, in particular for new brands, ‘Don’t even think of allocating a budget until you know who you are yourself.’”
A clear understanding of your brand also keeps you focused on the storytelling that would resonate and engage on an emotional level with your particular target, he adds.
“Sometimes a client already has an idea that may be imaginative and slightly different, but it is not communicated with the brand in mind – it’s just an idea for its own sake,” says Harden. “That’s why the branding stage and understanding your audience is so important.”
Also understand – audiences aren’t clamoring for your film.
“There are very few brands people genuinely care about. You could probably count them on the fingers of one hand,” says Matthew Gidley, SVP, MD, experiential and live events group, Momentum Worldwide and an award-winning writer who has worked on films for brands including Nokia and Meridien Hotels.
“You should assume nobody wants to see your brand film other than the client, a handful of your colleagues, and perhaps some close members of your family,” says Gidley. “It’s the number one golden rule and as an industry it’s the first rule we choose to ignore: Never be boring, and don’t kid yourself you’re being interesting.”
Choose your collaborators
Brands can work with production companies, ad agencies, and PR firms, which have boosted their production capabilities with hires of former executive producers in TV and film.
A field producer for Rachel Ray and The Martha Stewart Show before joining Weber Shandwick in 2011, Ian Cohen is now the firm’s global executive producer and president, content creation and innovation. He oversees over 100 employees globally, from directors and editors to photographers and animators.
Collaborating with a PR agency in helping to identify and craft a story for film offers distinct advantages, Cohen says.
“The advantage of coming at it from the PR angle is we ask ‘what type of film can we create that would get into the news cycle?’, because non-paid media is what we’re really after,” he says. “When we do a film and someone does an online search of the client, we want them to find coverage of the film – because it will be embedded in the coverage.”
“That unpaid media becomes the film’s rocket fuel. It signals this is something you can’t miss,” he adds.
As an example, he points to the 90-second mini-documentary Weber produced for Fisher-Price called “Wishes for baby,” which features new moms in hospitals around the world sharing their wishes for their babies. The footage – shot in the early hours of New Year’s Day 2016 – has been viewed on YouTube more than 1.8 million times and was picked up by the likes of USA Today.
Regardless of your collaborators, remember films are written by writers, not copywriters, says Gidley.
“The most sacred object in this whole enterprise is the script, and you’d better make sure whoever wrote it is a voracious reader of everything from history to politics to fiction to poetry to metaphysics – because they’re going to have to apply the rules of rhetoric to a subject that may not on the face of it be terrifically exciting (a brand),” he points out. “I once won an award for a brand film about a hotel chain, and the spark of inspiration came to me whilst reading a passage in a Jane Austen novel that reminded me of something I had once seen in a PBS documentary about the history of the Spanish guitar.”
“That’s what writers do. They find connections and turn them into ideas that move people,” Gidley notes.
He also notes that many of his most-awarded films were written while he was a planner at a large events agency. As a result, he advises clients make an effort to know who’s who in their agency roster and actively identify the people they want thinking and writing about their brand. “I have a chip on my shoulder, but I’ll say it anyway – the best people probably aren’t inside the ad agency,” notes Gidley.
Think about distribution upfront
Before joining Ketchum Sports & Entertainment in October, Michelle Carney was at Tribeca Enterprises where she produced films for clients, including a series of small business documentaries for American Express, an Olympics feature for United Airlines, and numerous projects for Dick’s Sporting Goods. Now she leads Ketchum’s branded film, video, and VR/AR offering Ketchum Films.
“A film can live forever and have multiple phases within its distribution window,” Carney points out. “It is imperative to think about distribution as you’re conceiving the idea for the film, whether it’s a documentary, narrative, or short. You want to make sure distribution aligns with those important times in a brand calendar.”
She also says while most brands look to an earned media strategy for their film using owned channels, they should also consider seeking a distribution deal with the likes of Amazon or Netflix. She says having a top-shelf director on a brand film gives it instant credibility.
Carney cites the short documentary Fighting Chance that Ketchum produced for Samsung leading up to the Rio 2016 Olympics, directed by Oscar-winner Morgan Neville (20 Feet from Stardom).
Samsung’s film highlights the reality that of the one million athletes who train for the Olympics, only 1% qualify.
“If you have a great film, a platform is going to want to distribute it. They’re probably not going to pay a premium for it, but you never know when you have people like Morgan and Ron Howard making brand content,” says Carney. “That changes the game. Also, remember the distribution landscape changes every day and is constantly evolving.”
Cohen agrees as much attention should be paid to distribution as creative. “Often a piece of content is made and then handed off to distribution, but that’s the wrong approach,” he says. “The distribution team, whether for paid or earned media, needs to be engaged in the brand story upfront, because I’ve seen where they’ve said, ‘Hey, if we move this soundbite up or engage this particular cast of characters, we’ll get picked up by these different media trades.’”
“That is what you’re after: you’re not paying for 10,000 views and getting 10,000 views. You’re guaranteeing yourself 10,000 views [with paid distribution] and hoping for 100,000 more through earned media,” summarizes Cohen.
Go here to learn more about PRWeek and Campaign’s Brand Film Festival New York, or to submit your film for consideration for their second annual gala screening.
The deadline for submissions, which are open to work from the Americas and Asia-Pacific, is February 6.