The Berlin International Film Festival is presenting a special screening to commemorate the recently deceased actor John Hurt. Since the 1990s he had attended the Berlinale with regularity and starred in twelve films presented at the festival.
The British actor is considered one of the most brilliant performers of the stage and screen in the last 50 years. Early in his career he gained international acclaim as a character actor. His roles in Midnight Express (dir: Alan Parker, 1978) and The Elephant Man (dir: David Lynch, 1980), for which he garnered Oscar nominations, firmly established him at the top of the league in Hollywood. Younger audiences are acquainted with Hurt from his portrayal of Mr. Ollivander in the Harry Potter films. Currently moviegoers in Germany can see him in Jackie (dir: Pablo Larraín).
Berlinale entries with John Hurt that screened, for instance in the Competition include The Commissioner (dir: George Sluizer, 1998), V for Vendetta (dir: James McTeigue, out of competition in 2006), and Jayne Mansfield’s Car (dir: Billy Bob Thornton, 2012). John Nossiter’s Resident Alien (1991) and Owning Mahowny by Richard Kwietniowski (2003) were shown in the Panorama.
In memory of John Hurt, the Berlin International Film Festival will present An Englishman in New York by Richard Laxton. In 2009 Hurt received the Teddy Award for his outstanding performance in this film. It will screen in CinemaxX 6 at 6.00 pm on Friday, February 17.
Once again the Berlinale Goes Kiez special series is bringing the glamour of the festival to Berlin’s very diverse neighborhoods and the city of Potsdam. The Berlinale will screen at seven select arthouse cinemas known for participating in and contributing to cultural life in their respective neighborhoods.
In Neukölln a new cinema w o l f will be opening its doors for the first time with the Berlinale. And in the Wrangelkiez, one of Kreuzberg’s most upbeat neighborhoods, the Red Carpet will again be rolled out at the newly converted and enlarged EISZEIT cinema.
From February 11 to 17, 2017, a selection of films from the official Berlinale program will be shown in neighborhoods, ranging from Berlin-Weißensee to beyond the city limits in Potsdam-Babelsberg. Each evening one arthouse cinema will be turned into a festival venue.
Members of film teams have already announced their intention to present their works personally and discuss them with audiences after the screenings. At each neighborhood cinema a prominent film personality will serve as its patron.
The Berlinale Goes Kiez series will also begin with the official opening film of this year’s Berlinale. Django (Competition) by Etienne Comar will kick off the evening at the Bundesplatz-Kino in Wilmersdorf. Local moviegoers can expect a long and interesting evening, as shortly before midnight a film from the Berlinale Classics program will be presented as well: the digitally restored version of George A. Romero’s horror classic Night of the Living Dead.
For the first time NATIVe, the Berlinale special series on Indigenous cinema, has been invited to participate in Berlinale Goes Kiez. At the EISZEIT cinema in Kreuzberg, two films from Canada will represent this year’s special region of focus, the Artic.
At the w o l f in Neukölln, Berlinale Goes Kiez and Berlinale Talents will launch their first collaboration. In public talks titled “Local Heroes: Community Cinema Reloaded”, innovative international cinema operators will discuss with the audience ways to curate, finance, and involve the neighborhood in local movie theatres.
Festival Director Dieter Kosslick: “Our ‘local heroes’ are neighborhood cinemas in Berlin and Brandenburg that are open to topics important to the community and foster an on-going dialogue through the stories presented on their screens.”
Advance sales start on February 6, 2017; tickets will also be available at the respective cinemas.
Neighbourhood cinemas and programme
Saturday, February 11 at Bundesplatz-Kino, Wilmersdorf
6.00 pm Competition Django by Etienne Comar
9.00 pm Competition Teströl és lélekröl(On Body and Soul) by Ildikó Enyedi
11.45 pm Berlinale Classics Night of the Living Dead by George A. Romero
Sunday, February 12 at Toni & Tonino, Weißensee
3.30 pm Generation Kplus Die Häschenschule – Jagd nach dem Goldenen Ei (Rabbit School – Guardians of the Golden Egg) by Ute von Münchow-Pohl
6.30 pm Competition Wilde Maus (Wild Mouse) by Josef Hader
9.30 pm Perspektive Deutsches Kino Back for Good by Mia Spengler
Monday, February 13 at Odeon, Schöneberg
6.30 pm Berlinale Special Gala Le jeune Karl Marx (The Young Karl Marx) by Raoul Peck
9.30 pm Competition Una mujer fantástica (A Fantastic Woman) by Sebastián Lelio
Tuesday, February 14 at w o l f , Neukölln
4.30 pm Talents Go Kiez “Local Heroes: Community Cinema Reloaded”
Public talk (in English)
6.30 pm Panorama Special Tiger Girl by Jakob Lass
9.30 pm Forum Chemi bednieri ojakhi (My Happy Family) by Nana & Simon
Wednesday, February 15 at Thalia Programmkino, Potsdam-Babelsberg
6.30 pm Competition Toivon tuolla puolen (The Other Side of Hope) by Aki Kaurismäki
9.30 pm Competition Beuys by Andres Veiel
Thursday, February 16 at City Kino Wedding
in Centre Français de Berlin, Wedding
6.30 pm Forum Tiere (Animals) by Greg Zglinski
9.30 pm Berlinale Shorts Go Kiez Fishing Is Not Done On Tuesdays by Lukas Marxt, Marcel Odenbach Kometen (The Comet) by Victor Lindgren Everything by David OReilly Estás vendo coisas (You are seeing things) by Bárbara Wagner, Benjamin de Burca Os Humores Artificiais (The Artificial Humors) by Gabriel Abrantes
Friday, February 17 at EISZEIT cinema, Kreuzberg
6.30 pm Culinary Cinema Goes Kiez Theater of Life by Peter Svatek
After the screening menu at Markthalle Neun
9.00 pm NATIVe Goes Kiez Tungijuq by Félix Lajeunesse, Paul Raphaël Angry Inuk by Alethea Arnaquq-Baril
R100 one was a midnight favorite at the American Film Institute’s AFIFEST 2013. I ventured out with a Japanese exchange student/cohort. We were in stitches and the audience was rollicking. I went on to review the film initially at the Santa Barbara City College SBCC Film and Media Studies site before posting it here earlier this year. In addition, at a recent Art Cinema Seminar/Class led by Santa Barbara International Film Festival Program Director Michael Albright, R1oo, received noteworthy mention. This is a film I highly recommend from a nationally renowned and esteemed Japanese director, Hitosi Matsumoto. Please enjoy the excerpt from Austin360.com!
Editor’s note: This article was originally published September 26, 2013.
Drafthouse Films, the film distribution arm of the Alamo Drafthouse Cinema, has acquired of North American rights to Japanese director Hitoshi Matsumoto’s “R100,” a lunatic tale of male self-destruction. R100 premiered at Toronto International Film Festival’s Midnight Madness section and made its US premiere at Fantastic Fest last weekend. A VOD/Digital and theatrical release is planned for 2014.
It is not suprising that Drafthouse is picking this one up. Drafthouse and Fest founder Tim League introduced the completely gaga “R100” himself, nothing that it was the last film booked but that League, a huge Matsumoto fan, wasn’t going to let it get away. “If you don’t like this movie, you are (expletive) stupid,” League said…
“R100” (The title is itself a play on the Japanese movie ratings R-15 and R-18) is an almost early-Woody Allen-esque comedy (think “Without Feathers” era or “What’s Up, Tigher Lilly?”) about Takafumi Katayama (Nao Ohmori, the star of “Ichi The Killer” fame) whose life has gone a bit pear-shaped. His department store job is mindless, his father-in-law is helping Katayama raise his young son while his wife is in a coma in the hospital and things are just looking kind of rough for the guy (the color palette for much of the film is all browns, tans and neutrals, washed out and quite 70’s looking in spots).
No wonder the guy feels the need to contact a dominatrix service and gets more than he bargained for. To wit: he never knows exactly when the doms (called “Queens,” each with a special, uh, talent) are going to show up to beat or humiliate him. At first, things seem to go fine. Then the wheels start to come off and things start to get very, very strange.
Matsumoto masterfully switches tones, almost from scene to scene. There are quiet, tender scenes that could hail from an earnest indie movie. There is old school silent movie boffo comedy. There are a couple of solid runs at the fourth wall. As League noted in his introduction, Matsumoto takes his time to set up a joke, but the payoffs are tremendous. And it features the best use of the “Ode to Joy” since “Raising Arizona.”
The one and only Martin Scorsese visited the AFI Campus recently to discuss making his spiritual epic SILENCE (an AFI AWARDS 2016 Official Selection), the master filmmaker’s decades-long labor of love that explores apostasy and crises of faith in 17th-century Japan. The film features Andrew Garfield and Adam Driver as Jesuit missionaries dispatched to Japan to locate a fellow priest gone rogue, played by Liam Neeson.
“Obviously, these themes and ideas and concepts are very much the foundation of my life. The formation began, in a way, at a very early age, so I’ve never really lost interest in that or the urge to keep searching,” Scorsese told AFI Conservatory Fellows, referencing his religious films THE LAST TEMPTATION OF CHRIST (1988) and KUNDUN (1997). SILENCE is based on Shūsaku Endō’s 1966 novel of the same name. “Reading the book… The whole idea of this apostasy, why did it seem like a victory rather than a defeat?” Scorsese said, explaining one of the film’s central questions.
Watch a clip below in which Scorsese discusses how he was forced to re-think how to film a particular scene in SILENCE.
Scorsese also discussed the future of cinema with Fellows. “I do feel that cinema, for the first hundred years, has been within this proscenium…but that doesn’t mean it has to stay that way,” he said. “You have this unlimited technology; you can do anything. I’m the product of a certain place in time. You’re younger, it’s very different, and it’s up to you to reinvent it and use any form you want… The one thing that keeps you human is your story, and it has to be from a personal vision. It has to come from a personal truth that is different from making a product.”
Los Angeles – The winners of the Directors Guild of America Outstanding Directorial Achievement Awards for 2016 were announced during the 69th Annual DGA Awards at the Beverly Hilton in Beverly Hills. Damien Chazelle won the DGA’s Award for Outstanding Directorial Achievement in Feature Film for La La Land.
Actor Jane Lynch hosted the ceremony before an audience of more than 1,200 guests. Presenters included (in alphabetical order): Amy Adams, Michael Apted, Casey Affleck, Paris Barclay, Martha Coolidge, Laverne Cox, Billy Crudup, Michael Fassbender, America Ferrera, Cuba Gooding Jr., Ryan Gosling, Taylor Hackford, Tony Hale, Alex R. Hibbert, Gale Anne Hurd, Alejandro G. Iñárritu, Nicole Kidman, Christine Lahti, Helen Mirren, Mandy Moore, Kevin Nealon, Christopher Nolan, Sarah Paulson, Gene Reynolds, Trevante Rhodes, Ashton Sanders, John Singleton, Emma Stone, Milo Ventimiglia, and Kerry Washington.
Click the links below to view specific categories:
Once again an illustrious International Jury will decide who will receive the Golden and Silver Bears at the Berlinale 2017. Eighteen films are vying in this year’s Competition for the Golden and the Silver Bears. The winners will be announced at the Berlinale Palast on February 18.
Director and screenwriter Paul Verhoeven will serve as Jury President. The other members of the International Jury are producer Dora Bouchoucha Fourati (Tunisia), artist Olafur Eliasson (Denmark), actress Maggie Gyllenhaal (USA), actress Julia Jentsch (Germany), actor and director Diego Luna (Mexico), and director and screenwriter Wang Quan’an (People’s Republic of China).
Paul Verhoeven, Jury President, Director, Screenwriter (The Netherlands)
The Dutch director and screenwriter Paul Verhoeven began his directing career in 1969 with the successful Dutch television series Floris. After his feature film debut Business is Business in 1971, came the erotic thriller Turkish Delight in 1973, a big hit in the Netherlands that also garnered a nomination for Best Foreign Language Film at the 1974 Academy Awards. Following his international breakthrough Soldier of Orange (1977) and The Fourth Man (1983), Paul Verhoeven moved to Hollywood to focus on an evolution of style in his work. Large productions featuring lots of action and special effects, like RoboCop (1987), and especially Total Recall (1990), were big box-office hits that revolutionised the science fiction film genre while maintaining credibility as auteur films. The provocative, erotic thriller Basic Instinct (1992), which was nominated for two Academy Awards, saw Paul Verhoeven return to themes prevalent in his Dutch works. In 1997 and 2000, he once again focused on science fiction with Starship Troopers and Hollow Man. After nearly 20 years in Hollywood, Paul Verhoeven returned to the Netherlands in 2006 to film Black Book (2006). Starting in 2007, he moved his attention to writing. In 2016 he returned to the screen with Elle, which not only won the Golden Globe for Best Motion Picture in the category Foreign Language, but also earned Isabelle Huppert the Golden Globe for Best Actress in a Motion Picture – Drama.
Dora Bouchoucha Fourati, Producer (Tunisia)
Tunisian producer Dora Bouchoucha Fourati is something of an institution in the film world. The English literature graduate started off as a teacher and translator of screenplays. In 1992, she launched the Carthage Film Festival “Projects’ Workshop” to assist Arabs and Africans in developing their scripts and the follow-up initiative “Takmil” to support post-production in 2014. In 1995, she founded her own production company Nomadis Images. The many fiction and documentary features, and short films she has produced and co-produced include: Raja Amari’s multiple award-winning Satin Rouge (2002), Barakat! (dir: Djamila Sahraoui, Berlinale Forum 2006), Raja Amari’s Buried Secrets (2009) and Foreign Body (Berlinale Forum 2017). She produced all of Mohamed Ben Attia’s short films and his full-length debut Hedi, which screened in the Berlinale Competition in 2016 and won the Best First Feature Award and Silver Bear for Best Actor (Majd Mastoura). Dora Bouchoucha also founded the screenwriting workshop SUD ECRITURE for Arab and African scripts in 1997 which has launched many award winning films to date. She was festival director of the Carthage Film Festival in 2008, 2010, and 2014. She was appointed president of the Fonds Sud Cinéma of the CNC in 2010; and president of the follow-up institution, Aide aux Cinemas du Monde, in 2014.
Olafur Eliasson, Artist (Iceland)
Born in Denmark of Icelandic parentage, Olafur Eliasson quickly garnered international attention after completing the Royal Danish Academy of Fine Arts. He participated in the Berlin Biennale in 1998 and the Venice Biennale in 2003, and his piece “The weather project”, which was installed in the Turbine Hall of the Tate Modern, attracted over two million visitors. Today, with his sculptures, installations, paintings, photographs and films that often focus on physical phenomena in nature as well as climate change, he has become one of the world’s most important contemporary artists. Eliasson, who founded his studio in Berlin in 1995, has received countless awards. Besides being involved in art, he is the founder of a global sustainable energy project and social business called Little Sun, as well as the international architectural firm Studio Other Spaces. His latest artworks include a number of installations at the Palace of Versailles in 2016.
Maggie Gyllenhaal, Actress (USA)
Celebrated American actress Maggie Gyllenhaal is one of the outstanding talents of her generation. After studying literature at Columbia University in New York and acting at the Royal Academy of Dramatic Art in London, she became known for her roles in Donnie Darko (dir: Richard Kelly, 2001) and in Spike Jonze’s Berlinale Competition entry Adaptation (2002). Her big breakthrough came when she played the lead in the film Secretary (dir: Steven Shainberg, 2002). For it she received her first Golden Globe nomination and won several awards, including an IFP/Gotham Award for Breakthrough Performance. She went on to star in, e.g., Mike Newell’s Mona Lisa Smile (2003), Marc Forster’s Stranger than Fiction (2006), Oliver Stone’s World Trade Center (2006), Christopher Nolan’s The Dark Knight (2008), Sam Mendes’s Away We Go (2009), and Roland Emmerich’s White House Down (2013). For her role in Scott Cooper’s Crazy Heart (2009) she was nominated for an Oscar. In 2014 she headlined the British TV series The Honourable Woman, for which she garnered a Golden Globe Award and an Emmy nomination. Gyllenhaal, who in recent years has performed on Broadway, is currently cast to star in The Deuce, a new HBO series that she is also producing.
Julia Jentsch, Actress (Germany)
After finishing her studies at the Ernst Busch Academy of Dramatic Arts, Julia Jentsch, who was born in Berlin, began her career on the stage. In 2002 “Theater heute” magazine rated her the best female debut of the year. Her breakthrough on the screen was in The Edukators (2004, dir: Hans Weingartner) and in Sophie Scholl – The Final Days (Berlinale Competition 2005), for which she won not only the Berlinale’s Silver Bear, but also both the German and European Film Awards. The film itself, which was directed by Marc Rothemund, was nominated for the Oscar for Best Foreign Language Film. Since then Julia Jentsch has starred in a number of works, including 33 Scenes from Life by Polish director Małgorzata Szumowska, Hannah Arendt by Margarethe von Trotta, and I Served the King of England by Jiří Menzel. With Effie Briest (Berlinale Special 2009, dir: Hermine Huntgeburth) and 24 Weeks (Berlinale Competition 2016; dir: Anne Zohra Berrached), Jentsch was again invited to the Berlinale. Most recently she performed in front of the camera in Hans-Christian Schmid’s mini-series Das Verschwinden, which will be released in 2017.
Diego Luna, Actor, Director (Mexico)
Diego Luna’s breakthrough role came with Alfonso Cuarón’s Y tu mamá también, for which he shared the Marcello Mastroianni Award with Gael García Bernal at the Venice Film Festival in 2001. His feature film acting credits include Frida (dir. Julie Taymor, 2002), The Terminal (dir: Steven Spielberg, 2004), Rudo y Cursi (dir: Carlos Cuarón, 2008), Milk (dir: Gus van Sant, Berlinale Panorama 2009), Contraband (dir: Baltasar Kormákur, 2012) and Rogue One: A Star Wars Story (dir: Gareth Edwards, 2016). Next fall he will star in Flatliners (dir: Niels Arden Oplev). Luna’s directorial debut, titled Abel, premiered at the film festival in Cannes in 2010. This was followed by César Chávez (Berlinale Special 2014) and Mr. Pig, which premiered at the Sundance Film Festival in 2016. He and Bernal co-founded “Ambulante” in 2005, a charity organization dedicated, among other things, to promoting documentary film. Luna is also a member of the board of the Washington Office on Latin America.
Wang Quan’an, Director, Screenwriter (People’s Republic of China)
The director and screenwriter trained first as an actor before he turned to filmmaking. After studying at the Beijing Film Academy, Wang Quan’an, who was born in Yan’an in Shaanxi province, presented his debut film Lunar Eclipse in 1999. It screened in the Berlinale’s Forum section in 2002 after making various award-winning appearances at festivals around the world. He was selected with Tuya’s Marriage for the Competition in 2007 and, as the third Chinese filmmaker in the festival’s history, won the Golden Bear. Three years later, Apart Together was chosen as the Berlinale’s opening film and went on to win the Silver Bear for Best Script, which Wang co-wrote with Jin Na. He returned to the Berlinale Competition in 2012 with White Deer Plain, an adaptation of the historical novel of the same name, where his director of photography, Lutz Reitemeier, won the Silver Bear for Outstanding Artistic Contribution.
CAMBRIDGE, MA (February 3rd, 2017) – The Hasty Pudding Theatricals, the oldest theatrical organization in the United States, welcomed producer and Golden Globe nominated actor, RYAN REYNOLDS, to Harvard University where he received his Man of the Year award.
The Hasty Pudding Theatricals’ Man and Woman of the Year Awards are presented annually to performers who have made lasting and impressive contributions to the world of entertainment. The Man of the Year award was established in 1963. Its past recipients include, among others, Clint Eastwood, Tom Hanks, Robert De Niro, Harrison Ford, Justin Timberlake, Robert Downey Jr, Chris Pratt and most recently, Joseph Gordon-Levitt, who was the 50th Man of the Year.
The Man of the Year festivities, presented by RELATED, started early in the day, when Mr. Reynolds was given a tour of Farkas Hall, followed by a private seminar with the members of the Hasty Pudding Theatricals. In the evening, Mr. Reynolds was given the Pudding’s traditional roast and was then made to earn his Pudding Pot as punishment for not finishing college degree. Some of the tasks, which Mr. Reynolds had to perform, were acting out a “traditional” Canadian wedding, complete with lap dance, and auditioning for a role in Deadpool 2, which tested his ability to hurl Deadpool-esque insults at beloved figures, like Tom Brady and former Woman of the Year, Meryl Streep.
A press conference followed the presentation, which was the second to be live-streamed free and to the public via the Hasty Pudding’s Facebook (www.facebook.com/thehastypudding), as it happened. To close out the festivities, the Hasty Pudding Theatricals members gave the Opening Night performance of their 169th production, Casino Evil.
TO PURCHASE TICKETS to the Hasty Pudding Theatricals’ 169th production, Casino Evil, contact the HPT Box Office at 617-495-5205 or order online www.hastypudding.org
The show will be performed at Harvard University’s historic Farkas Hall, located at 12 Holyoke Street, from February 3rd until March 5th. The company then travels to New York to perform at The Kaye Playhouse at Hunter College on March 10th and 11th (call 212-772-4448 for tickets), followed by performances on March 15th-17th at Hamilton City Hall in Bermuda.
ABOUT THE HASTY PUDDING INSTITUTE OF 1770
The Hasty Pudding Institute of 1770’s philanthropic mission is to provide educational and developmental support in all aspects of the performing arts for the underprivileged, to encourage satire and comedy, and to cultivate young talent around the world. The Institute is comprises the Hasty Pudding Club (the oldest social club in the United States), the Hasty Pudding Theatricals (the third oldest theater group in the world, after the Comédie-Française and the Oberammergau Passion Players) and the Harvard Krokodiloes (the foremost collegiate a cappella group in the United States). Over the last two centuries, it has grown into a premiere performing arts organization, a patron of the arts and comedy, and an advocate for satire and discourse as tools for change worldwide.
If you could see what the film industry has in store for the next 3-5 years, would you dare…
2017 Nostradamus Report
Despite increased competition for audience attention in general and cinema screens in particular, the number of feature films produced in Europe and the US continues to grow. It is not expected to shrink significantly in the next 3-5 years. Among the reasons are new tax incentives and increasing investment from new platform media companies, but also the impact of real democratization of production technologies and to some degree of funding.
A Swell of Films
While this swell of cinema in theory allows a wider range of voices to be heard, in practice it makes it very difficult even for excellent work – of which there is arguably a lot – to find an audience, as there is no equivalent surge of innovation in distribution and audience relations. It also means that bad or irrelevant work has almost no chance to be seen. While it seems clear that public funds should be redirected from the latter categories either towards more deserving feature projects, or towards the production of excellent film content in other formats or for other platforms, this is currently not politically possible. A change like that might also exacerbate the already difficult career paths especially of directors in a marketplace where films by unknowns are very difficult to fund or sell.
On the next 3-5 years, all exhibitors will need to focus on the customer experience to stay competitive, but this can look very different depending on their type. On the one hand, we are seeing the emergence of a technologically oriented cinema optimized for experiencing blockbuster fare. On the other hand, we are seeing a focus on human interactions and live performance – so called “live cinema” – as a rapidly developing segment of the exhibition sector, helping audiences both new and old to build relationships with institutions and curators. These ostensibly very different styles of exhibition have in common that they are immersive, allowing the viewers to place themselves socially or physically inside the story, or to engage with its themes together. The social aspect is also at the heart of the growing market for film festivals aimed at general audiences.
Specializing The Screening Experience
Another approach to eventizing movies is just to make the cinemas a lot nicer, with better chairs, better concessions, food and alcohol, increasing cinema’s appeal to, for instance, grownups on dates. This strategy is working well both in mainstream and arthouse environments. At the extreme end are the dedicated luxury cinemas, offering experiences like butler service, Tempur mattresses, or massages.
While the future looks bright for movie theatres big and small, the sheer number of feature premieres means a theatrical window is not feasible even for all quality films – not even on the festival circuit. There is certainly room in the VOD marketplace for both strong curation and dedicated film libraries, but among the pieces missing from the distribution puzzle are still business models for social or distributed digital premieres.
A complete digital transformation of the small screen landscape seems inevitable and will probably happen relatively fast since audiences neither understand nor much care about business models or back-end technologies. As we discussed last year, the end result will probably look something like TV has for the past few decades, with consumers paying one or a few separate bills to services aggregating OTT content. Viewers are, however, likely to be allowed to pick their packaged channels more selectively than before.
The Uncovered Financial Stream
The revenue streams will of course be radically different from the current models. Mergers and acquisitions are likely to continue as the biggest players scramble to establish dominance throughout the value chain. In the US, studios and networks are eyeing a future after affiliate fees and syndication fees, and considering whether owning the viewer relationship directly could provide a similar amount of revenue. Similarly, it seems feasible that a major technology company could purchase a major studio. If antitrust regulation is relaxed under the Trump administration, as net neutrality rules almost certainly will be, the media landscape is regardless likely to consolidate dramatically during the next four years. Changes in the US entertainment industry have global ripple effects. It is also likely that the cultural importance of US content specifically will diminish in the long term, a tendency that could be accelerated by isolationist policies.
VR on the Verge
In the next 3-5 years, the fundamental grammar of VR storytelling will finally be developed, and the real leaps will happen once the production tools are more widely available. Some standardisation will help focus a splintered marketplace. Investment in “VR cinemas” today should be viewed as tests – exhibitors preparing for a coming generation of the technology that may not be easily available in homes. In the short run we are also likely to see a brief exclusive “theatrical” window for VR.
The third annual Santa Barbara International Film Festival (SBIFF) Variety Artisans Awards celebrates those essential to the filmmaking process and who have exhibited the most exciting and innovative work of the year in their respective fields. The Tribute evening will take place on Monday, February 6th, at the Lobero Theatre and will be moderated by Variety’s Sr. VP Awards Editor, Tim Gray.
The Variety Artisans Award will be presented to the following 2017 Oscar nominees:
Alessandro Bertolazzi for Makeup and Hair for the Warner Brothers film “Suicide Squad,” directed by David Ayer. This marks Alessandro’s first Academy Award nomination. His previous credits include “Skyfall, “Biutiful,” and “Babel.”
Jess Gonchor, for Production Design in the Universal Pictures film “Hail, Caesar!” directed by Joel and Ethan Coen. Gonchor was previously nominated for an Academy Award for his work on “True Grit” which was nominated for a total of 10 Academy Awards. Gonchor has worked with the Coen Brothers on each of their films since “No Country For Old Men”.
Justin Hurwitz, for original score in the Lionsgate musical “La La Land” directed by Damien Chazelle. Justin received both the Golden Globe and Critic’s Choice Award for Best Original Score for the film. He is a first time Oscar nominee this year.
Justin Hurwitz, Benj Pasek & Justin Paul for Original Song City of Stars in the Lionsgate musical “La La Land”. The song received both the Golden Globe and Critic’s Choice Award for Best Original Song this year.
James Laxton for Cinematographer in A24’s “Moonlight” directed by Barry Jenkins. James won the Los Angeles Film Critics, New York Film Critics, and San Francisco Film Critics award for Best Cinematography for his work on the film.
Robert Legato for Visual Effects in the Disney live-action film “The Jungle Book,” directed by Jon Favreau. Legato has won two Academy Awards (and has been nominated a total of four times) for his work on “Titanic” and “Hugo.”
Alan Murray for Sound Editing in the Warner Brothers film “Sully,” directed by Clint Eastwood. He has been nominated for eight Academy Awards and won for his work on Eastwood’s films, “American Sniper” and “Letters from Iwo Jima.”
Kevin O’Connell for Sound Mixing in the Lionsgate Film “Hacksaw Ridge” directed by Mel Gibson. This is his 21st Academy Award nomination for films that include “Top Gun” and “Transformers.”
Joe Walker for Editor in the Paramount Film “Arrival” directed Denis Villeneuve for which he is nominated for an Oscar®. He was nominated for an Academy Award for his work on “12 Years A Slave”. “Arrival” marks his second collaboration with Villeneuve following last year’s critically-acclaimed “Sicario.” He is currently working with Villeneuve on the upcoming “Bladerunner.”
Mary Zophres for Costume Designer in the Lionsgate film “La La Land” directed by Damien Chazelle. She was nominated for an Academy Award for her work in the Coen Brother’s Film “True Grit”. In 2016, Mary received the Key West Film Festival’s Career Achievement Award for costume design.
LOS ANGELES, CA – Actors John Cho and Leslie Mann will host the Academy of Motion Picture Arts and Sciences’ Scientific and Technical Awards Presentation on Saturday, February 11, at the Beverly Wilshire in Beverly Hills. They will present 18 awards to 34 individual recipients, as well as five organizations, during the evening.
“We’re so excited to have John and Leslie join us as hosts for this year’s Scientific and Technical Awards,” said Academy President Cheryl Boone Isaacs. “It’s one of our favorite, and most talked about, events each Oscar® season, and John and Leslie’s humor and refreshing take on the honorees will be a perfect addition to a night where we celebrate our colleagues’ groundbreaking scientific and technical achievements.”
Cho most recently starred in the summer blockbuster “Star Trek Beyond.” His other credits include “Grandma,” “Star Trek Into Darkness,” “Harold & Kumar Go to White Castle” and “American Pie.” He also appeared in the 1999 Best Picture Oscar winner “American Beauty.”
Mann can currently be seen starring alongside Robert De Niro in Taylor Hackford’s “The Comedian.” Her feature film credits include “How to Be Single,” “The Other Woman,” “This Is 40” and “Knocked Up,” as well as the animated features “Rio 2” and the Oscar-nominated “ParaNorman.”
Portions of the Scientific and Technical Awards Presentation will be included in the Oscar telecast.
The 89th Oscars® will be held on Sunday, February 26, 2017, at the Dolby Theatre® at Hollywood & Highland Center® in Hollywood, and will be televised live on the ABC Television Network at 7 p.m. ET/4 p.m. PT. The Oscars also will be televised live in more than 225 countries and territories worldwide.