Tag Archives: Filmmaking

Pedro Almodovar in the House with PARALLEL MOTHERS! @AFIFEST

Posted by Larry Gleeson

Director/Auteur Pedro Almodóvar waving to admirers at the AFI FEST 2021 Red Carpet Screening of his latest work, PARALLEL MOTHERS, TCL Chinese Theatre, Los Angeles, CA, Nov. 13, 2021. (Photo courtesy of AFI FEST)

 

Kudos to AFI FEST Programming Director Sarah Harris! Harris has delivered a plethora of the best in global cinema for this year’s festival and none bigger than Spanish auteur, Pedro Alamodovar’s  latest work, Parallel Mothers. Almodovar was at the historic Chinese Theatre for a Red Carpet Premiere yesterday, November 13th.

 

Sarah Harris, AFI FEST Programming Director welcomes the audience and introduces Director/Auteur Pedro Almodovar at the AFI FEST 2021 Red Carpet Screening of PARALLEL MOTHERS, TCL Chinese Theatre, Los Angeles, CA, Nov. 13, 2021. (Photo courtesy of AFI FEST)

 

Director/Auteur Pedro Almodóvar is all smiles after his introduction at the AFI FEST 2021 Red Carpet Screening of PARALLEL MOTHERS, TCL Chinese Theatre, Los Angeles, CA, Nov. 13, 2021. (Photo courtesy of AFI FEST)

Parallel Mothers stars Penelope Cruz with Melina Smit, Israel Elejalde, Aitana Sanchez-Gijon, Rossy de Palma, Julieta Serrano. The story follows two women Janis and Ana (both single mothers) from the moment they give birth to two daughters.

Janis is thrilled by her accidental pregnancy, seeing it as perhaps her last chance at motherhood, while the adolescent Ana is scared and traumatized by the ordeal. Both women find a lack of support raising their children and turn to each other for support.

What transpires between the two women is both intimate and deeply human and with a surgeon’s precision, Almodovar opens up the narrative and inserts a powerful message for all of humanity with recent (the last 85 years) Spanish history as the backdrop. A top pick for world cinema!

 

(L to R) Alonso Duralde and Director/Auteur Pedro Almodóvar in conversation at the AFI FEST 2021 Red Carpet Screening of PARALLEL MOTHERS, TCL Chinese Theatre, Los Angeles, CA, Nov. 13, 2021. (Photo courtesy of AFI FEST)

 

Following the screening, Almodóvar participated in a conversation with film critic Alonso Duralde about the 20+ years from the film’s genesis in 1998 to its present-day fruition. Almodovar spoke loudly and clearly for the need for more empathy and less denial and for more truth and less suppression as the poetic words of “history won’t keep its mouth shut,” were echoed around the theatre walls. Only at AFI FEST 2021.

 

Director/Auteur Pedro Almodóvar at the AFI FEST 2021 Red Carpet Screening of PARALLEL MOTHERS, TCL Chinese Theatre, Los Angeles, CA, Nov. 13, 2021. (Photo courtesy of AFI FEST)

 

Director/Auteur Pedro Almodóvar signing memorabilia at the AFI FEST 2021 Red Carpet Screening of PARALLEL MOTHERS, TCL Chinese Theatre, Los Angeles, CA, Nov. 13, 2021. (Photo courtesy of AFI FEST)

 

AFI FEST Programming Director Sarah Harris, right, stands by Director/Auteur Pedro Almodóvar at the AFI FEST 2021 Red Carpet Screening of PARALLEL MOTHERS, TCL Chinese Theatre, Los Angeles, CA, Nov. 13, 2021. (Photo courtesy of AFI FEST)

 

FELIX & PAUL STUDIOS AND TIME STUDIOS FILM FIRST-EVER 3D, 360o SCENES OUTSIDE THE INTERNATIONAL SPACE STATION FOR EMMY-NOMINATED SERIES, SPACE EXPLORERS: THE ISS EXPERIENCE

Millions of Viewers Will Soon Experience the Wonder of Floating in Space Outside the International Space Station

(NEW YORK, NY) August 27, 2021—Felix & Paul Studios, the EMMY-award winning creator of immersive entertainment experiences and the leading Space Media company, in partnership with NASA and TIME Studios, the EMMY-award winning television, film and immersive division of TIME, today announced the filming of the first-ever scenes in outer space captured in immersive 3D, 360°virtual reality format. Audiences will soon be able to experience what it is truly like to float in outer space by seeing everything completely around them, as if they were there in real life. The captured scenes have been made possible by Felix & Paul Studios’ customized virtual reality “Outer Space Camera”, attached to the Canadarm2 robotic arm which functioned as a “Space Crane” on the world’s first zero-gravity movie set.


These incredible, highly-immersive scenes will be included in episodes three and four of Space Explorers: The ISS Experience, an immersive series being produced by Felix & Paul Studios in association with TIME Studios. These forthcoming episodes will be available in 360° mobile format on 5G-enabled tablets and smartphones through leading telcos – including LGU+ (South Korea), KDDI (Japan), AIS (Taiwan), Orange (France) and Deutsche Telekom (Germany); at leading Big Screen venues, domes, planetariums, space visitor centers and science centers; in fully-immersive virtual reality on the Oculus Store for RIFT, Quest and Quest 2 devices; and as a main feature of the major, touring lifescale interactive exhibit, THE INFINITE, produced in partnership with PHI Studio.


“Today’s immersive cinematic capture of scenes in outer space is the culmination of close to three years of preparation. We are excited, honoured and truly humbled to have the opportunity to film in the most challenging environment known to humankind,” said Félix Lajeunesse, co-founder of Felix & Paul Studios and Director of Space Explorers: The ISS Experience. “Our mission since day one was to enable billions of people to experience what it is like to float in space and witness Planet Earth from above and we are pleased that this one-time dream will soon become reality in the final two episodes of our ISS Experience series.”


Less than 250 astronauts have ever conducted an extravehicular activity (EVA) – known as a “spacewalk” – and never before have audiences been able to experience what it is like to float in space as if they were astronauts themselves. The outer space scenes being captured in 3D will bring viewers “into the action” like never before and are being directed remotely by veteran directors Félix Lajeunesse and Paul Raphaël in both the Felix & Paul Studios facilities in Montreal and in the Canadian Space Agency facilities.


“Capturing the Earth in stereoscopic 3D, 360-degree format from space, outside the space station, has never been attempted until now,” said Jonathan Woods, Executive Producer of Space Explorers: The ISS Experience at TIME Studios and Emmy-winning producer of A Year in Space. “It’s beyond exciting and surreal to see this happening, knowing that the dream for this ambitious project started over five years ago in 2015.”


Felix & Paul Studios’ state-of-the-art Outer Space Camera is a customized Z-Cam V1 Pro camera consisting of nine 4K sensors allowing for a 3D, a 360-degree image at 8K resolution, and has been specially hardened by Nanoracks to withstand the harsh conditions of low atmosphere orbit, including vacuum, solar ultraviolet (UV) radiation, charged particle (ionizing) radiation, plasma, surface charging and arcing, temperature extremes, thermal cycling, and impacts from micrometeoroids and orbital debris (MMOD), and environment‐induced contamination from micrometeoroids and orbital debris (MMOD), and environment‐induced contamination.

The Outer Space Camera can store approximately 15 hours of 3D, 360-degree footage with custom lenses made to withstand extreme light and heat to minimize flare when directly exposed to the Sun (external temperatures ranging from -250° F to +250° F). About Space Explorers: The ISS Experience Space Explorers.

The ISS Experience is a four-part immersive series created in collaboration with the ISS U.S. National Laboratory, NASA, the Canadian Space Agency and other space agencies involved with the International Space Station and is filmed entirely on board and outside of the ISS using Felix & Paul Studios’ specialized 3D, 360-degree virtual reality ISS Camera and customized Outer Space Camera. Astronauts including Anne McClain, David Saint-Jacques, Christina Koch, Nick Hague, Jessica Meir, Andrew Morgan, Luca Parmitano and Victor Glover star as cast, film crew and narrators in this four-part immersive series, the largest production ever filmed in space.

The trailer for The ISS Experience is available here and stills are available here. Stills of the scenes filmed outside the International Space Station are available here. Behind the scenes footage is available at Time.com/Space.

About Felix & Paul Studios

Felix & Paul Studios is an EMMY® Award-winning creator of immersive entertainment experiences, creating unparalleled, highly engaging, presence-based experiences for the next generation of technology-enabled devices and venues. The studio’s catalogue of over thirty 3D, 360-degree experiences exhibits the “industry’s best” in the new medium of immersive storytelling, including:

  • Originals: The Space Explorers series, Traveling While Black, MIYUBI, the Nomads series, Strangerswith Patrick Watson.
  • Productions with notable franchises: Jurassic World, Cirque du Soleil, Fox Searchlight’s Wild and Isle of Dogs, and The Confessionals series with Just for Laughs starring Howie Mandel, Lilly Singh, Jud Apatow and Trevor Noah.
  • Collaborations with world-renowned leaders and performers: President Barack Obama and Michelle Obama, LeBron James, President Bill Clinton, Eminem, Wes Anderson, Brie Larson, Jeff Goldblum, Bill Murray and many others.

The studio’s content is available for distribution in a range of immersive formats including 360-degree mobile on 5G-enabled smartphones, tablets and headsets; 360-degree fulldome projection in domes and planetariums; fully-immersive VR on Facebook’s Oculus and other high-end virtual reality platforms; Giant Screen projection for science centers, space welcome centers and large-format cinemas; and the touring life-scale interactive exhibit, THE INFINITE, produced in partnership with PHI Studio. Felix & Paul Studios is the leading Space Media Company and the only media company recognized as an “Official Implementation Partner” by the ISS U.S. National Laboratory.


About TIME

StudiosFrom one of the most globally iconic brands, TIME Studios is an Emmy Award®-winning television, film and immersive studio focusing on the development, production and distribution of truth-based premium unscripted and scripted premium storytelling that moves the world. With technical innovation and a brand defining visual language that dates back 98 years, TIME Studios aims to impact communities and the world at large with ideas that forge true progress. Combining the industry’s leading creators with TIME, one of the most trusted brands that reaches an audience of over 100 million people globally, TIME Studios is uniquely positioned to bring massive audiences to the world’s most impactful stories. Recent projects include, Black Gold (Paramount+), Big Vape (Netflix), John Lewis: Good Trouble (CNN Films), Amazing Grace (Neon), Right to Offend (A&E), Ricky Powell: The Individualist (Showtime), Mass Effect: The Story of YouTube, Kid of the Year (Nickelodeon/CBS), TIME 100 (ABC) and the first scripted project for TIME Studios, Women of the Year (Amazon).

AMERICAN FILM MARKET® PIVOTS TO ONLINE EVENT FOR 2021

Los Angeles, CA – August 26, 2021 – The American Film Market® (AFM®) will move its 2021 edition entirely online, the Independent Film & Television Alliance® (IFTA®) announced today. AFM 2021 Online will be held Monday, November 1 to Friday, November 5 – shifting one day earlier than its original dates. Registration for the five-day online event is now open.

AFM 2021 Online will feature Industry Offices, Screenings, Conferences, Panels and Workshops, the Networking Pavilion, LocationEXPO, and more. Event updates will be announced regularly via email, social media, and the AFM Website.


“We wish we could welcome the global industry back to Santa Monica but travel regulations, increased concerns about coronavirus variants around the world, and government restrictions on the ground prevent us from moving forward,” said Michael Ryan, Chairperson, IFTA and Partner, GFM Films. “However, IFTA is thrilled to host the market the industry expects – where no one will be excluded and all of our stakeholders can immerse themselves for five days dedicated to deal making, discovery, education, and reconnecting.”

About the American Film Market®(AFM®)

The AFM is the most efficient film acquisition, development and networking event in the world. More than US$1 billion in production and distribution deals are closed every year — on both completed films and those in every stage of development and production. Over five days in November, 7,000+ professionals from 70+ countries access the entire global catalogue of available films and projects, attend world class conferences, and connect with decision makers. The AFM is produced by the Independent Film & Television Alliance®.

About the Independent Film & Television Alliance® (IFTA®)

IFTA is the global trade association for independent film and television production, finance, distribution, and sales companies. The organization represents the independent sector before governments and international bodies and provides significant entertainment industry services to independent companies from 22 countries.

*Sourced from AFM Press release

AFI DOCS 2021 Award Winners

Posted by Larry Gleeson

Audience Award for Best Feature Goes to

STORM LAKE

Audience Award for Best Short Goes to SHELTER

Short Film Grand Jury Prize Goes to RED TAXI

Among the Participants in 19th Annual Festival of Documentary Film:

Senator Amy Klobuchar, Morgan Neville, Garrett Bradley, Dawn Porter

FOR IMMEDIATE RELEASE

JUNE 28, 2021, WASHINGTON, DC — The American Film Institute (AFI) has announced the AFI DOCS 2021 Award Winners, concluding the six-day festival, with screenings presented online and in-person at the AFI Silver Theatre and Cultural Center. The festival’s Audience Award for Best Feature went to STORM LAKE, directed by Jerry Risius and Beth Levison. The Audience Award for Best Short went toSHELTER, directed by Smriti Mundhra.

This year’s voting jury for the competitive Short Films slate was comprised of Mike Attie, award-winning filmmaker and professor of film at the University of the Arts in Philadelphia; Greta Hagen-Richardson, Director of Programming at the Hot Springs Documentary Film Festival and Lead Features Programmer at the New Orleans Film Festival; and Yvonne Ashley Kouadjo, Associate Producer for The New York Times’ award-winning short documentary series Op-Docs.

The Grand Jury Prize for Short Films went to RED TAXI, directed byAnonymous. The jury said of RED TAXI: “For its creative and accessible approach to telling a story from the perspective of those living and working in a moment of political upheaval, we award the Shorts Grand Jury Prize to RED TAXI. The courage of the anonymous filmmaker struck us for their commitment to depicting the nuances of reality on the ground.” The Shorts Grand Jury Prize at AFI DOCS is a qualifying award for Academy Award® eligibility.

The jury also awarded the Special Jury Prize to two films: THE COMMUNION OF MY COUSIN ANDREA, directed by BrandánCerviño Abeledo, saying,

“For its ability to tell a reflexive story with levity and tenderness, we award a Special Jury Prize to THE COMMUNION OF MY COUSIN ANDREA”; and S P A C E S (M E Z E R Y), directed by Nora Štrbová, saying, “For its intelligent use of multi-dimensional media in telling a fraught, emotional story, we award a Special Jury Prize to S P A C E S (M E Z E R Y).”

The 19th edition of AFI DOCS presented a diverse slate of 78 films from 23 countries, shedding light on overlooked stories from the past, honoring champions of change and giving us glimpses into the everyday lives of subjects close to home and around the world. This year, 52% of AFI DOCS films were directed by women, 40% by BIPOC directors and 18% by LGBTQ directors.

Among the festival participants were filmmakers and notables including Minnesota Senator Amy Klobuchar; Academy Award®winners Morgan Neville, Sean Fine, Andrea Nix Fine and Mark Ronson; Academy Award®-nominated filmmakers Julie Cohen, Betsy West and Steve James; Pulitzer Prize-winning journalist Art Cullen; award-winning filmmaker Dawn Porter; Emmy® Award winner Chris Nee; CNN political contributor and host Van Jones; author and The New Yorker contributor Jelani Cobb; filmmaker and actor Sonja Sohn; musician and filmmaker Ahmir “Questlove” Thompson; Smithsonian National Museum of African American History and Culture Curator Dwandalyn Reece; President of the African American Film Critics Association Gil Robertson; Georgetown University Professor Dr. Janet Mann; rapper KYLE; and son of late comedian and activist Dick Gregory Christian Gregory.

The festival’s panels and discussions provided filmmakers, film subjects and audiences the opportunity to delve deeper into the films with conversations led by some of the nation’s top journalists, including: NBC News Correspondent Morgan Radford; NBC News’ Meet the Press Moderator and NBC News Political Director Chuck Todd; NBC News Correspondent Anne Thompson; MSNBC Correspondent Trymaine Lee; Variety’s Film Awards Editor Clayton Davis; Axios Justice and Race Reporter Russell Contreras; Senior Segment Producer of WGN Morning News and WGN’s Entertainment Producer Tyra Martin; entertainment journalist & TV producer KJ Matthews; CQ Roll Call Deputy Editor Jason Dick andHealth Care Editor Rebecca Adams; and The Washington Post’s Managing Editor for Diversity and Inclusion Krissah Thompson, Chief Film Critic Ann Hornaday, Global Opinions writer Jason Rezaian, National Security Editor Peter Finn, Religion Reporter Michelle Boorstein, and Host and Editor of Food Video Mary Beth Albright.

This year’s inaugural DOCS Talks programming included the World Premiere of Netflix’s and Higher Ground’s WE THE PEOPLE, as well as “History Is Out of the Closet: Excavating Queer Stories for the Screen,” a live stream conversation celebrating LGBTQ+ pride. The AFI DOCS Industry Forum explored building accessibility practices into all steps of the production process, demystifying investigative documentaries, the making of the hit series PHILLY D.A., how documentaries shape conversations on racial violence, a behind-the-scenes look at the Hindsight Project films and new collaborations between public media and indie filmmakers. This year’s Industry Forum programming also included closed captioning and American Sign Language (ASL) interpretation. The AFI DOCS Industry Forum is supported by the Corporation for Public Broadcasting and the National Endowment for the Arts.

RED TAXI

DIR: Anonymous. As protests in Hong Kong escalate, taxi drivers experience a city in upheaval driving the streets day and night. Anonymously filmed by locals.

SHORT FILM SPECIAL JURY PRIZE

THE COMMUNION OF MY COUSIN ANDREA

DIR: Brandán Cerviño Abeledo. Andrea’s First Communion ceremony lacks glamour. For Andrea, things without sparkles are meaningless.

SHORT FILM SPECIAL JURY PRIZE

S P A C E S (M E Z E R Y)

DIR: Nora Štrbová. A multi-textured animated exploration of memory as a container of identity, based on the personal story of the filmmaker and her brother who was diagnosed with a brain tumor.

This year’s Premium Sponsor is Apple Original Films. The Corporation for Public Broadcasting (CPB) returns as Official Sponsor of the festival. NBC News’ Meet the Press with Chuck Todd and The Washington Post return this year as Primary Media Partners. Variety and The Hollywood Reporter are this year’s Official Media Partners. The Wrap is an Affiliate Media Partner.Screen Sponsors include SHOWTIME® Documentary Films, Netflix, WarnerMedia and HBO Documentary Films. Participant, National Geographic, and Eventive serve as Major Sponsors. This year’s Contributing Sponsors are ESPN, the National Endowment for the Arts and the DC Office of Cable Television, Film, Music, and Entertainment (OCTFME). Supporting Sponsors include the Maryland Film Office, Greater Silver Spring Chamber of Commerce and Rev. The Embassy of Denmark in Washington, DC, and the Farhang Foundation are this year’s Cultural Sponsors. Generous individual support comes from Stephanie and Hunter Hunt.

 

About AFI DOCS

AFI DOCS is the American Film Institute’s annual documentary festival historically held in Washington, DC.  Presenting the year’s best documentaries, AFI DOCS is the only festival in the U.S. dedicated to screenings and events that connect audiences, filmmakers and policy leaders in the heart of our nation’s government. The AFI DOCS advisory board includes Ken Burns, Davis Guggenheim, Chris Hegedus, Werner Herzog, Rory Kennedy, Barbara Kopple, Spike Lee, Errol Morris, Stanley Nelson and Frederick Wiseman. Now in its 19th year, the festival will be held June 22-27, 2021. Visit DOCS.AFI.com and connect onTwitter.com/AFIDOCSFacebook.com/AFIDOCSYouTube.com/AFIand Instagram.com/AmericanFilmInstitute.

 

About the American Film Institute (AFI)
Established in 1967, the American Film Institute is the nation’s nonprofit organization dedicated to educating and inspiring artists and audiences through initiatives that champion the past, present and future of the moving image. AFI’s pioneering programs include filmmaker training at the AFI Conservatory; year-round exhibition at the AFI Silver Theatre and Cultural Center and at AFI Festivals across the nation; workshops aimed at increasing diversity in the storytelling community; honoring today’s masters through the AFI Life Achievement Award and AFI AWARDS; and scholarly efforts such as the AFI Catalog of Feature Films that uphold film history for future generations. Read about all of these programs and more at AFI.com and follow us on social media at Facebook.com/AmericanFilmInstituteYouTube.com/AFITwitter.com/AmericanFilmand Instagram.com/AmericanFilmInstitute.

 

About the Corporation for Public Broadcasting

The Corporation for Public Broadcasting (CPB), a private, nonprofit corporation created by Congress in 1967, is the steward of the federal government’s investment in public broadcasting. It helps support the operations of more than 1,500 locally managed and operated public television and radio stations nationwide. CPB is also the largest single source of funding for research, technology and program development for public radio, television and related online services. For more information, visit www.cpb.org and follow us on Twitter @CPBmedia, Facebook and LinkedIn, and subscribefor email updates.

About The Washington Post and Washington Post Press Freedom Partnership

The Washington Post is an award-winning news leader whose mission is to connect, inform and enlighten local, national and global readers with trustworthy reporting, in-depth analysis and engaging opinions. It combines world-class journalism with the latest technology and tools so readers can interact with The Post anytime, anywhere.

 

The Press Freedom Partnership is a public service initiative from The Washington Post to promote press freedom and raise awareness of the rights of journalists who are in pursuit of the truth. Learn more at www.wapo.st/pressfreedom

About Meet the Press with Chuck Todd

Meet the Press with Chuck Todd is where newsmakers come to make news — setting the political agenda and spotlighting the impact Washington decision-making has on Americans across the country. It is the #1 most-watched Sunday public affairs show for the 2019-2020 season, reaching more than three million viewers every Sunday and millions more through social, digital and on-demand platforms. Meet the Press brings its authority and influencer interviews to MSNBC with MTP Daily weekdays at 1 p.m. ET, to the ongoing weekly podcast, The Chuck ToddCast, and to Meet the Press Reports, a 30-minute program on NBC News NOW and Peacock, focusing on a single topic explored through the Meet the Press lens. It’s the longest-running show in television history, recently expanding its brand to also include a political short-documentary film festival in collaboration with the American Film Institute. Chuck Todd is the political director of NBC News and the moderator of Meet the Press; John Reiss is the executive producer.

CONTACT:

Elizabeth Ward, AFI DOCS PR, elizabeth@prcollaborative.com

American Film Institute: Stacy Adamski, 323.856.7759,SAdamski@AFI.com

THE AMERICAN FILM INSTITUTE ANNOUNCES SPONSORS FOR AFI DOCS 2021

THE AMERICAN FILM INSTITUTE ANNOUNCES
SPONSORS FOR AFI DOCS 2021

Support Comes From Wide Range of Art and Cultural Institutions, Media Partners and Corporations

Apple Original Films Joins AFI DOCS as a Premium Sponsor

FOR IMMEDIATE RELEASE, June 18, 2021, WASHINGTON, DC — The American Film Institute (AFI) has announced the sponsors for AFI DOCS 2021. Support for the festival comes from both local organizations based in the DC-metro area and major corporations across the nation. The 19th edition of AFI DOCS will run June 22–27, with films available to view on DOCS.AFI.com as well as in-person screenings at the AFI Silver Theatre and Cultural Center in Silver Spring, MD.

“AFI DOCS reaches a nationwide audience with the support of our sponsors,” said Sarah Harris, AFI Festivals Director of Programming. “It is their generosity that amplifies the voices of today’s most vital storytellers, and we thank them on behalf of all who find inspiration in the arts.” 

In addition to supporting AFI DOCS film programming and events, sponsors provide services and exclusive experiences to filmmakers and audiences throughout the festival. Sponsor participation includes sponsoring specific film screenings, panels and events as well as national and local promotion of the festival.  

This year, AFI is proud to have Apple Original Films support AFI DOCS for the first time as a Premium Sponsor. Top festival sponsors will give audiences sneak peeks at exclusive upcoming trailers and content on the festival’s streaming platform and in the AFI DOCS Festival Hub. Media partners will also provide DOCS audiences with access to their digital issues during the week of the festival via a virtual newsstand.

The Corporation for Public Broadcasting (CPB) returns as Official Sponsor of the festival. CPB is Official Sponsor of the AFI DOCS Industry Forum and the Spotlight on the Hindsight Project, a special selection of short filmsthat chronicle the experiences of BIPOC communities in the American South and U.S. Territories during the unprecedented events of 2020.  

NBC News’ Meet the Press with Chuck Todd and The Washington Post return this year as Primary Media Partners. Meet the Press and The Washington Post, in conjunction with the Washington Post Press Freedom Partnership, will provide moderators for a number of films in this year’s festival. Highlights include Meet the Press Moderator and NBC Political Director Chuck Todd moderating LFG and NBC News Correspondent Morgan Radford moderating the discussion following the Opening Night World Premiere of NAOMI OSAKA. In addition to supporting post-screening discussions, Washington Post Live, The Post’s live journalism platform, will host a conversation with ROADRUNNER: A FILM ABOUT ANTHONY BOURDAIN filmmaker Morgan Neville. Post Managing Editor for Diversity and Inclusion Krissah Thompson will also moderate the World Premiere of WE THE PEOPLE in the inaugural DOCS Talks program.

Variety and The Hollywood Reporter are this year’s Official Media Partners. This year, Variety sponsors the Charles Guggenheim Symposium, which will feature a conversation between the 2021 Guggenheim honoree Dawn Porter and Variety’s Clayton Davis, and The Hollywood Reporter will be a media partner for the screening of SUMMER OF SOUL (…OR WHEN THE REVOLUTION COULD NOT BE TELEVISED). 

The Wrap joins AFI DOCS as an Affiliate Media Partner this year and is a media partner for the screening of TOM PETTY: SOMEWHERE YOU FEEL FREE.

Screen Sponsors are SHOWTIME® Documentary Films, Netflix, WarnerMedia and HBO Documentary Films. SHOWTIME® Documentary Films will once again host a networking event for filmmakers and industry, adjusted to be virtual instead of the in-person event they have hosted in the past. SHOWTIME® willalso send a special, customized gift to the festival filmmakers as they celebrate AFI DOCS from home.

Participant returns as a Major Sponsor, along with new sponsors National Geographic and Eventive. 

This year’s Contributing Sponsors are ESPN, the National Endowment for the Arts and the DC Office of Cable Television, Film, Music, and Entertainment (OCTFME). 

Supporting Sponsors include the Maryland Film Office, Greater Silver Spring Chamber of Commerce and Rev. 

The Embassy of Denmark in Washington, DC, and the Farhang Foundation are this year’s Cultural Sponsors. 

Generous individual support comes from Stephanie and Hunter Hunt.

About AFI DOCS 

AFI DOCS is the American Film Institute’s annual documentary festival historically held in Washington, DC.  Presenting the year’s best documentaries, AFI DOCS is the only festival in the U.S. dedicated to screenings and events that connect audiences, filmmakers and policy leaders in the heart of our nation’s government. The AFI DOCS advisory board includes Ken Burns, Davis Guggenheim, Chris Hegedus, Werner Herzog, Rory Kennedy, Barbara Kopple, Spike Lee, Errol Morris, Stanley Nelson and Frederick Wiseman. Now in its 19th year, the festival will be held June 22-27, 2021. Visit DOCS.AFI.comand connect on Twitter.com/AFIDOCS,Facebook.com/AFIDOCSYouTube.com/AFI andInstagram.com/AmericanFilmInstitute

About the American Film Institute (AFI)
Established in 1967, the American Film Institute is the nation’s nonprofit organization dedicated to educating and inspiring artists and audiences through initiatives that champion the past, present and future of the moving image. AFI’s pioneering programs include filmmaker training at the AFI Conservatory; year-round exhibition at the AFI Silver Theatre and Cultural Center and at AFI Festivals across the nation; workshops aimed at increasing diversity in the storytelling community; honoring today’s masters through the AFI Life Achievement Award and AFI AWARDS; and scholarly efforts such as the AFI Catalog of Feature Films that uphold film history for future generations. Read about all of these programs and more at AFI.com and follow us on social media atFacebook.com/AmericanFilmInstitute,YouTube.com/AFI, Twitter.com/AmericanFilm andInstagram.com/AmericanFilmInstitute.

About the Corporation for Public Broadcasting  

The Corporation for Public Broadcasting (CPB), a private, nonprofit corporation created by Congress in 1967, is the steward of the federal government’s investment in public broadcasting. It helps support the operations of more than 1,500 locally managed and operated public television and radio stations nationwide. CPB is also the largest single source of funding for research, technology and program development for public radio, television and related online services. For more information, visit www.cpb.org and follow us on Twitter @CPBmedia,Facebook and LinkedIn, and subscribe for email updates. 

About The Washington Post and Washington Post Press Freedom Partnership  

The Washington Post is an award-winning news leader whose mission is to connect, inform and enlighten local, national and global readers with trustworthy reporting, in-depth analysis and engaging opinions. It combines world-class journalism with the latest technology and tools so readers can interact with The Post anytime, anywhere.  

The Press Freedom Partnership is a public service initiative from The Washington Post to promote press freedom and raise awareness of the rights of journalists who are in pursuit of the truth. Learn more at www.wapo.st/pressfreedom

About Meet the Press with Chuck Todd 

Meet the Press with Chuck Todd is where newsmakers come to make news — setting the political agenda and spotlighting the impact Washington decision-making has on Americans across the country. It is the #1 most-watched Sunday public affairs show for the 2019-2020 season, reaching more than three million viewers every Sunday and millions more through social, digital and on-demand platforms. Meet the Press brings its authority and influencer interviews to MSNBC with MTP Daily weekdays at 1 p.m. ET, to the ongoing weekly podcast, The Chuck ToddCast, and to Meet the Press Reports, a 30-minute program on NBC News NOW and Peacock, focusing on a single topic explored through the Meet the Press lens. It’s the longest-running show in television history, recently expanding its brand to also include a political short-documentary film festival in collaboration with the American Film Institute. Chuck Todd is the political director of NBC News and the moderator of Meet the Press; John Reiss is the executive producer. 

CONTACT: 

Elizabeth Ward, AFI DOCS PR,elizabeth@prcollaborative.com 

American Film Institute: Stacy Adamski, 323.856.7759,SAdamski@AFI.com

The AFI Interview: AFI Alumnus Charlie McDowell on THE DISCOVERY

Posted by Larry Gleeson

By

Director/writer Charlie McDowell (AFI Class of 2006) and writer Justin Lader (AFI Class of 2008) pair up once again for THE DISCOVERY, their followup to 2014’s THE ONE I LOVE. The film is another high-concept, relationship-based mystery, this time revolving around questions of faith and the afterlife. It stars Rooney Mara, Jason Segel, Robert Redford, Riley Keough and Jesse Plemons. AFI caught up with McDowell following the the 2017 Sundance Film Festival, where THE DISCOVERY world-premiered.

THE DISCOVERY arrives on Netflix March 31.

MAL_8208 B&WAFI: Tell us about your new film starring Jason Segel and Rooney Mara, THE DISCOVERY, the follow-up to your previous film THE ONE I LOVE.

CM: With Justin Lader, who’s my writing partner, we started with a sort of big universal question: “What if the afterlife was scientifically proven and what would that mean for the world?” How would people react in today’s society or in a heightened society in the near future? We came back to the universal question, which is “Where do we go when we die?” We’re programmed at a young age to think about it, even in cartoons, when a character dies, the character floats to heaven or hell, and these ideas are obviously in religion. These interest everyone from the beginning of time. For us, it’s really interesting to propose a question of “What if it was guaranteed we went somewhere, and we knew if we went somewhere?” That was the first basic question and then we came up with this idea shortly after, well, “Is death ‘death’ anymore because you’re continuing your life somewhere else? Are suicide and murder the same thing as we know them to be?” That’s how we started and we used that as the backdrop to this world that we’re exploring but, really, it’s about our main characters in this world, and it becomes mostly focused on a love story between a man and a woman and a father story as well.

AFI: Talk about your writing process with Justin Lader. Did you guys meet at AFI? He wrote THE ONE I LOVE.

CM: He [graduated] two years after me, but I had a best friend in the Producing program and basically I was looking to team up with a writer for a movie idea, and he said that Justin was such a talented writer. He put us in contact, and I read a script that Justin had written his second year and really loved it, and we ended up developing that script for a couple years and tried to make it. We had a cast and financing and then the financing fell through and that’s what got us to jump into making THE ONE I LOVE for very little money. What brought us together was this other script called “Fighting Jacob” that Justin had written his second year.

AFI: Can you talk about your collaboration with Netflix, and at what point they stepped in to acquire and distribute THE DISCOVERY?

CM: Netflix had really been interested in the idea and loved the script early on, and we had been in talks with them, and they really liked how the cast ended up shaping up so, while we were filming our first week, they called and said they want to acquire this as a worldwide film and have it be a Netflix Original.

It’s such an interesting time in independent film, and there are pros and cons to this new digital era and the way we do movies. I really am mixed about it because I am a traditional thinker in that I make a film with the idea that it’s going to be seen on a big screen, but with this film in particular, to me the partnership really made sense because I wanted this to be something that a lot of people could see. If you release traditionally in the theater with an independent distributor, it will go to 50 cities and very few people will see it, so the idea that 90 million users in 160 countries felt right for the film. We wanted it to be this global idea … because I think people will view it differently depending on your makeup and who you are as a person. It’s definitely a movie I hope people will watch more than once. It’s a movie that, if you see it a second time, it’s a very different viewing, and you pick up on a lot of different things and maybe your view changes. It’s meditative in that way, and it felt like with Netflix, you could watch the film, then you could watch it again two minutes later or you could wait a week and then you can tell your friends about it. The idea that people could view the film that way was exciting.

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AFI: You’ve had great success at Sundance with THE ONE I LOVE and now THE DISCOVERY. The festival is typically a great launching pad for American indies looking to break out. How was your experience different this time around?

CM: It was a very different experience this time compared to THE ONE I LOVE. No one knew what that film was. It very under the radar, it premiered on a Tuesday night, after the first weekend. And THE DISCOVERY premiered at the Eccles on a Friday night, opening weekend, and we had Redford in the film. People knew about our film, and there was an expectation for it. Again, there are pros and cons to all of that. People were excited to see the movie and it was sold out. To play the Eccles was such an honor but also there was something I liked about THE ONE I LOVE, having no expectations and letting the movie be its own thing. We had a really strong audience reaction, almost everyone stayed for the Q&As. Everyone wanted to bring their own ideas to the film, which is the reason we made it.

AFI: You took an improvisatory approach to writing THE ONE I LOVE. How about with THE DISCOVERY?

CM: Justin and I developed THE ONE I LOVE together and because it was such a quick situation, Justin was scripting pages throughout the process of filming. While I was focused on shooting he was scripting pages for the next day. It’s an odd way to make a film, but we had worked off of this 50-page outline that had every scene detailed but there was no dialogue. It wasn’t a traditional script in terms of dialogue.

With THE ONE I LOVE, all the twists and turns weren’t improvised. We had a very clear understanding of the story and how it unfolded. We were loose with the dialogue. But with THE DISCOVERY, because it was done in a more traditional way and we actually had more days to do it, we always wanted it to be something that had less improv, where we could focus on the page at the beginning, and then let the actors play loose with the dialogue because we’re not so crazy about saying words exactly as they’re written. We like a naturalistic feel.

AFI: You’ve also directed an episode of Netflix original series DEAR WHITE PEOPLE, based on the film by Justin Simien. What can we expect to see?

CM: Each episode is through a different point of view and the directors bring their own vision to it. Obviously, there’s the umbrella of the show you have to stay in, but [Justin] wanted to give free range to the directors to play and do their own thing. I thought that was such an interesting way to come onto an existing show and do my own thing as well. Especially with the state of our country right now, he’s exploring some really interesting ideas, even more so than when his film came out [in 2014]. It’s even more relevant now.

The AFI FEST Interview: Director Mike Ott on CALIFORNIA DREAMS

Posted by Larry Gleeson

Mike Ott is a four-time AFI FEST alumnus with his feature films LITTLEROCK (AFI FEST 2010), PEARBLOSSOM HWY (AFI FEST 2012) and ACTOR MARTINEZ (AFI FEST 2016), and the short film LANCASTER, CA (AFI FEST 2015). We caught up with Ott to talk about his latest feature, CALIFORNIA DREAMS, which just had its world premiere at the 2017 Berlin Critics’ Week and will have its North American premiere at SXSW in March. (Watch a clip below.)

screen-shot-2017-03-03-at-4-46-49-pmIn the film, Ott presents five unique individuals in pursuit of a big life change. Through auditions set up in small towns across Southern California, the film shows genuine characters with big Hollywood aspirations who, for various reasons, have never had the opportunity to pursue their dreams.

AFI: What made you want to take a documentary approach to this quintessential story of making it big in Hollywood?

MO: The more films I make, the more my work leans toward incorporating documentary into fiction. The purely fictional story of making it in Hollywood has been done so many times and much better than I could ever do it. And not to say that docs on Hollywood haven’t been done to death too, but the approach we took with this film somehow gave us a bit of a strange, fresh look into a story that’s been told before. At least, that’s my hope.

AFI: This film centers around Cory Zacharia, who has been a staple of your films since LITTLEROCK. What is it about Cory that keeps bringing you back to him as both a character and subject?

MO: I remember one of my professors in grad school talking about casting and he said something to the degree of, “Casting is like if you had to spend all evening at a party watching someone. Who’s the person at the party you’d want to listen to talk, or watch interact with others, or eat a sandwich, etc.?” For me, it’s Cory. He has such unique and earnest reactions to his experiences in the world. It’s just something I find so refreshing when the rest of actors (and most of humanity) are trying to be complicated and ironic. It’s nice to explore ideas with someone who has no sense of sarcasm or irony; only pure love and joy for life, along with a point of view that is sometimes so foreign. The truth is, Cory is still such an enigma to me. Every film I’ve made was in some way to get to understand him more and how his mind works. I don’t know if I’ll ever quite figure him out, but making these films has been a big part of the journey for me.

AFI: How did you find your other subjects for CALIFORNIA DREAMS, as they all have such varied and interesting stories?

MO: I had read an article years ago about famous people and what their favorite film was and I saw that Trump’s favorite film was CITIZEN KANE, and I remember thinking how fitting that was. For some reason, it got me thinking about the link between who you are as a person and what kind of art you’re attracted to and what that says about your secret (or not-so-secret) self.

We put up flyers at local dive bars and grocery stores in my hometown and posted on non-casting websites to find people to audition, and the audition was for the person to come in and do a monologue of their choice from one of their favorite films. After each monologue, I’d interview them about the reading and try to find out how the monologue, or the film or the character they picked, related to their life.

But we didn’t want a bunch of out-of-work actors to come in and audition. We wanted to find genuine characters who didn’t live in Hollywood but who had always wanted the opportunity to be part of it.

AFI: This film is exploring some ideas set forth in your previous films, specifically the struggle with the American dream in small town U.S.A. What is it about that landscape and community that keeps bringing you back to tell these stories?

MO: Maybe because I grew up in a pretty small town and these little struggles we have in life are the ones that I find speak to the human condition in such an illuminating way — small things like wanting to go on a first date, move out of your parents house or even just leave the state on vacation for the first time ever. Those are the moments I like to explore and they remind me of what Richard Linklater said about DAZED AND CONFUSED: “Maybe the stakes in the film seem pretty low, but when it’s your life, they’re actually very high.” These are the same kind of characters I want to be surrounded by in my real life. I want to hang out with the weird kid from Bakersfield who works at Arby’s and who can’t make it to Hollywood or who can’t find love but has always dreamed of it, not the cool dude from Encino who’s mildly famous and hanging out at Soho House. That’s why AMERICAN MOVIE is one of my favorite films — and also why we have Mark Borchardt do a cameo in the movie as an homage to the film that inspired pretty much everything I make — outsiders who can’t or won’t ever quite fit into the mainstream.

AFI: This is your sixth film and you have been lucky enough to screen your work at festivals all over the world. How have you been able to master navigating the film festival world? Do you have any advice for other filmmakers who are having their first festival experiences?

MO: I’ve been very lucky in that regard, but a lot of that came from my experience with my first film ANALOG DAYS. While traveling with that film, I was worried that I had to make a certain kind of film next, and found myself trying to think about ideas that I wasn’t that attracted to but thought were “right thing to do for my career.” But the more I traveled with ANALOG DAYS and met filmmakers from all over the world, I found the people I looked up to or connected with weren’t the people with latest hit like NAPOLEON DYNAMITE-type hit film, but instead were the artists who were purely following their interests and making weird shit that no one else could make but them. And that was a very important moment for me, to learn that it’s okay to follow your interests and to be okay with the fact that your interests aren’t always going to be what’s most popular. And that’s why I ended up making almost four films in a row with Cory. I was like, this is who I want to see in films, this is who I find interesting, and if you want to watch it then great, and if not, then that’s fine too.

My advice for filmmakers having their first festival experience is to just enjoy the moment; getting to show your film to an audience is such an amazing experience. Unfortunately I think a lot of people go to festivals with other agendas thinking they have to network, and end up talking about themselves incessantly or walking around pitching themselves and their projects like some robot. Personally that makes my skin crawl, but to each his own. I’d say if you’re really interested in meeting people and making meaningful connections, you shouldn’t talk about films at all (especially your own). That’s how you know you’ve made a real friend on that festival circuit — when you can talk about anything and everything but film.

(Source: afi.com)

 

Bill Paxton: Filmmaking always my dream (2005)

Posted by Larry Gleeson

Veteran Hollywood Actor Bill Paxton has passed away at the age of 61 following “complications from surgery,” in a statement released by a family representative.

Paxton was nominated four times for the Golden Globe as an actor in 1999, 2007, 2008 and 2010. He was also nominated for a Primetime Emmy in 2012

In 2003, he won The Academy of Science Fiction, Fantasy & Horror Films, USA Filmmaker’s Showcase Award. The award notes are as follows:

“Bill Paxton is one of the most respected actors working today. Following a long string of successful performances, Bill has stepped behind the camera and proven his skill as a director. His directorial debut, Frailty (2001), showed a keen sense of style and a powerful grasp of storytelling which puts him in the ranks of top directors working today. We feel compelled to acknowledge this masterful work.”

Also included is a clip of Mr. Paxton expressing his admiration and respect for master filmmaker and actor icon, Clint Eastwood.

Actor Bill Paxton tells Larry King that being a filmmaker was always his dream.

 

Thank you for some very memorable roles in films such as Nightcrawler, Twister, True Lies, Terminator, Titanic, Aliens, Predator 2 and Weird Science.

Rest in peace Bill Paxton.

89th Oscars Scientific & Technical Awards for 2016-17

Posted by Larry Gleeson

Beverly Wilshire Hotel
Saturday, February 11, 2017
Hosts: John Cho and Leslie Mann

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Hosts Leslie Mann, left, and John Cho

Winners

TECHNICAL ACHIEVEMENT AWARDS (ACADEMY CERTIFICATES)

To Thomson Grass Valley for the design and engineering of the pioneering Viper FilmStream digital camera system.

The Viper camera enabled frame-based logarithmic encoding, which provided uncompressed camera output suitable for importing into existing digital intermediate workflows.

To Larry Gritz for the design, implementation and dissemination of Open Shading Language (OSL).

OSL is a highly optimized runtime architecture and language for programmable shading and texturing that has become a de facto industry standard. It enables artists at all levels of technical proficiency to create physically plausible materials for efficient production rendering.

To Carl Ludwig, Eugene Troubetzkoy and Maurice van Swaaij for the pioneering development of the CGI Studio renderer at Blue Sky Studios.

CGI Studio’s groundbreakingray-tracing and adaptive sampling techniques, coupled with streamlined artist controls, demonstrated the feasibility of ray-traced rendering for feature film production.

To Brian Whited for the design and development of the Meander drawing system at Walt Disney Animation Studios.

Meander’s innovative curve-rendering method faithfully captures the artist’s intent, resulting in a significant improvement in creative communication throughout the production pipeline.

To Mark Rappaport for the concept, design and development, to Scott Oshita for the motion analysis and CAD design, to Jeff Cruts for the development of the faux-hair finish techniques, and to Todd Minobe for the character articulation and drive-train mechanisms, of the Creature Effects Animatronic Horse Puppet.

The Animatronic Horse Puppet provides increased actor safety, close integration with live action, and improved realism for filmmakers.

To Glenn Sanders and Howard Stark for the design and engineering of the Zaxcom Digital Wireless Microphone System.

The Zaxcom system has advanced the state of wireless microphone technology by creating a fully digital modulation system with a rich feature set, which includes local recording capability within the belt pack and a wireless control scheme providing real-time transmitter control and time-code distribution.

To David Thomas, Lawrence E. Fisher and David Bundy for the design, development and engineering of the Lectrosonics Digital Hybrid Wireless Microphone System.

The Lectrosonics system has advanced the state of wireless microphone technology by means of an innovative digital predictive algorithm to realize full fidelity audio transmission over a conventional analog FM radio link, by reducing transmitter size, and by increasing power efficiency. 

To Parag Havaldar for the development of expression-based facial performance-capture technology at Sony Pictures Imageworks.

This pioneering system enabled large-scale use of animation rig-based facial performance-capture for motion pictures, combining solutions for tracking, stabilization, solving and animator-controllable curve editing.

To Nicholas Apostoloff and Geoff Wedig for the design and development of animation rig-based facial performance-capture systems at ImageMovers Digital and Digital Domain.

These systems evolved through independent, then combined, efforts at two different studios, resulting in an artist-controllable, editable, scalable solution for the high-fidelity transfer of facial performances to convincing digital characters.

To Kiran Bhat, Michael Koperwas, Brian Cantwell and Paige Warner for the design and development of the ILM facial performance-capture solving system.

This system enables high-fidelity facial performance transfer from actors to digital characters in large-scale productions while retaining full artistic control, and integrates stable rig-based solving and the resolution of secondary detail in a controllable pipeline.


SCIENTIFIC AND ENGINEERING AWARDS (ACADEMY PLAQUES)

To ARRI for the pioneering design and engineering of the Super 35 format Alexa digital camera system.

With an intuitive design and appealing image reproduction, achieved through close collaboration with filmmakers, ARRI’s Alexa cameras were among the first digital cameras widely adopted by cinematographers.

To RED Digital Cinema for the pioneering design and evolution of the RED Epic digital cinema cameras with upgradeable full-frame image sensors.

RED’s revolutionary design and innovative manufacturing process have helped facilitate the wide adoption of digital image capture in the motion picture industry.

To Sony for the development of the F65 CineAlta camera with its pioneering high-resolution imaging sensor, excellent dynamic range, and full 4K output.

Sony’s unique photosite orientation and true RAW recording deliver exceptional image quality.

To Panavision and Sony for the conception and development of the groundbreaking Genesis digital motion picture camera.

Using a familiar form factor and accessories, the design features of the Genesis allowed it to become one of the first digital cameras to be adopted by cinematographers.

To Marcos Fajardo for the creative vision and original implementation of the Arnold Renderer, and to Christopher Kulla, Alan King, Thiago Ize and Clifford Stein for their highly optimized geometry engine and novel ray-tracing algorithms which unify the rendering of curves, surfaces, volumetrics and subsurface scattering as developed at Sony Pictures Imageworks and Solid Angle SL.

Arnold’s scalable and memory-efficient single-pass architecture for path tracing, its authors’ publication of the underlying techniques, and its broad industry acceptance were instrumental in leading a widespread adoption of fully ray-traced rendering for motion pictures.

To Vladimir Koylazov for the original concept, design and implementation of V-Ray from Chaos Group.

V-Ray’s efficient production-ready approach to ray-tracing and global illumination, its support for a wide variety of workflows, and its broad industry acceptance were instrumental in the widespread adoption of fully ray-traced rendering for motion pictures.

To Luca Fascione, J.P. Lewis and Iain Matthews for the design, engineering, and development of the FACETS facial performance capture and solving system at Weta Digital.

FACETS was one of the first reliable systems to demonstrate accurate facial tracking from an actor-mounted camera, combined with rig-based solving, in large-scale productions. This system enables animators to bring the nuance of the original live performances to a new level of fidelity for animated characters.

To Steven Rosenbluth, Joshua Barratt, Robert Nolty and Archie Te for the engineering and development of the Concept Overdrive motion control system.

This user-friendly hardware and software system creates and controls complex interactions of real and virtual motion in hard real-time, while safely adapting to the needs of on-set filmmakers.

 

(Source: oscars.org)

Netflix Takes Over Distribution for Martin Scorsese’s ‘The Irishman’

Posted by Larry Gleeson

By Rachel Lutack

The world of film distribution is truly changing with the news that the streaming service Netflix will be taking worldwide rights to Martin Scorceses’s gangster film The Irishman. Typically a studio big-hitter, the Scorsese-Robert De Niro $100 million re-team was under the umbrella of Paramount Picture – the company has an overall feature deal with the director running through 2019. Indiewire reports that the studio was not prepared to take the huge risk that this film would require, however.

The Irishman will star De Niro as Frank “The Irishman” Sheeran, a hitman for the mob who was rumored to be involved in the death of Jimmy Hoffa. The screenplay was adapted by Steve Zaillian from Charles Brandt’s book I Heard You Paint Houses. Part of the risk of Scorsese’s film (aside from the $100 million budget) is that he plans to use special effects to turn De Niro back into a 30-year-old man. Al Pacino may also be going through the treatment for the film, although his involvement is still in negotiations.

Paramount was originally handling North American distribution with STX Entertainment with taking over foreign rights after a $50 million deal at Cannes last year. Despite the great ambition of the project, Scorsese is known for turning out massive numbers at the box office, with The Wolf of Wall Street bringing in $392 million globally.

Now that Netflix has taken over, that will likely mean STX is out as well. The newly minted distributors plan to release the film in 2019, with a limited theatrical release prior to that for an Oscar push. When all is said and done, the freedom of a platform like Netflix may be just what Scorsese needs to make his vision a reality.

(Source: mxdwn.com)