Exclusive: Megan Brophy Young, Matt Haberman and Chase Lehner have been promoted to Vice President of Talent at the leading PR firm Narrative.
Lehner will work out of the company’s Los Angeles office, with Brophy Young and Haberman continuing to co-lead the company’s New York City outpost, as Brophy Young splits her time between Texas and New York.
Young has spent more than a decade curating an impressive client roster including prominent actors, athletes, musicians, thought leaders and industry innovators. Beginning her career in-house at AMC Networks, she developed a passion for talent representation and transitioned to personal publicity in 2012. In 2017, Brophy took her expertise to Nashville where she immersed herself in the country music industry, working at Big Machine Label Group before landing at Narrative in 2018, closely after its inception. To date, she’s been the driving force for campaigns for the likes of Lily Allen, Lucy Boynton,...
Lehner will work out of the company’s Los Angeles office, with Brophy Young and Haberman continuing to co-lead the company’s New York City outpost, as Brophy Young splits her time between Texas and New York.
Young has spent more than a decade curating an impressive client roster including prominent actors, athletes, musicians, thought leaders and industry innovators. Beginning her career in-house at AMC Networks, she developed a passion for talent representation and transitioned to personal publicity in 2012. In 2017, Brophy took her expertise to Nashville where she immersed herself in the country music industry, working at Big Machine Label Group before landing at Narrative in 2018, closely after its inception. To date, she’s been the driving force for campaigns for the likes of Lily Allen, Lucy Boynton,...
- 5/9/2024
- by Matt Grobar
- Deadline Film + TV
Exclusive: Hot on the heels of an Academy Award nomination for his starring turn in Netflix’s civil rights drama Rustin, Colman Domingo has been appointed to the Board of Directors of The Gotham Film & Media Institute.
As the newest member, he will work with The Gotham on their mission to celebrate and nurture independent film and media creators by providing career-building resources, access to industry influencers, and pathways to wider recognition.
Domingo joins a board that includes Focus Features Vice Chairman Jason Cassidy and multi-hyphenate Riley Keough, whose additions were announced in November. Other members include Nancy Abraham, Anthony Bregman, Jeb Brody, Gerry Byrne, Alina Cho, Dan Crown, Mark D’Arcy (Director Emeritus), Amy Emmerich, Philipp Engelhorn, Kai Falkenberg, James Janowitz, Franklin Leonard, Stephanie March, Soledad O’Brien, Dee Poku, Hanna Rodriguez-Farrar, John Schmidt, Lisa Taback, Teddy Schwarzman, Drew Wilson, and Celia Winchester.
“As long-time admirers of Colman’s brilliant...
As the newest member, he will work with The Gotham on their mission to celebrate and nurture independent film and media creators by providing career-building resources, access to industry influencers, and pathways to wider recognition.
Domingo joins a board that includes Focus Features Vice Chairman Jason Cassidy and multi-hyphenate Riley Keough, whose additions were announced in November. Other members include Nancy Abraham, Anthony Bregman, Jeb Brody, Gerry Byrne, Alina Cho, Dan Crown, Mark D’Arcy (Director Emeritus), Amy Emmerich, Philipp Engelhorn, Kai Falkenberg, James Janowitz, Franklin Leonard, Stephanie March, Soledad O’Brien, Dee Poku, Hanna Rodriguez-Farrar, John Schmidt, Lisa Taback, Teddy Schwarzman, Drew Wilson, and Celia Winchester.
“As long-time admirers of Colman’s brilliant...
- 1/29/2024
- by Matt Grobar
- Deadline Film + TV
The Gotham Film & Media Institute announced that Focus Features Vice Chairman Jason Cassidy and actor, producer, and director Riley Keough will join the organization’s Board of Directors. The newest Board members will help advance The Gotham’s mission of celebrating and nurturing independent film and media creators.
“We are so excited to add Jason, one of the most respected and innovative film executives, and Riley, an extraordinarily talented actress and critically acclaimed filmmaker, to The Gotham’s already incredible Board of Directors,” said Jeffrey Sharp, Executive Director of The Gotham Film & Media Institute. “With their genuine passion for championing independent creatives, we are confident that the organization will amplify its positive impact on the media industry through their expertise and perspectives.”
Jason and Riley will join The Gotham’s existing board members including, Nancy Abraham, Anthony Bregman, Jeb Brody, Gerry Byrne, Alina Cho, Dan Crown, Mark D’Arcy (Director Emeritus), Amy Emmerich,...
“We are so excited to add Jason, one of the most respected and innovative film executives, and Riley, an extraordinarily talented actress and critically acclaimed filmmaker, to The Gotham’s already incredible Board of Directors,” said Jeffrey Sharp, Executive Director of The Gotham Film & Media Institute. “With their genuine passion for championing independent creatives, we are confident that the organization will amplify its positive impact on the media industry through their expertise and perspectives.”
Jason and Riley will join The Gotham’s existing board members including, Nancy Abraham, Anthony Bregman, Jeb Brody, Gerry Byrne, Alina Cho, Dan Crown, Mark D’Arcy (Director Emeritus), Amy Emmerich,...
- 11/10/2023
- by Valerie Complex
- Deadline Film + TV
Terra Potts has decided to exit her role as executive vp of worldwide marketing at Warner Bros. Pictures after a 13-year stint at the studio.
Potts, who is one of the few African American women to ascend to a senior executive-level position at a major Hollywood studio, led global campaigns for films including Baz Luhrmann’s Oscar-nominated Elvis, Olivia Wilde’s Don’t Worry Darling and, more recently, Evil Dead Rise. She also was in charge of DC Studio’s highly anticipated 2023 summer tentpole The Flash.
Pott was promoted to executive vp after serving as serving as senior vp of multicultural marketing and publicity. In the key role, she helped target a more diverse and broader audience. Films she worked on in that capacity included Creed, Jackie Robinson biopic 42, Judas and the Black Messiah and The Curse of La Llorona and box office sensation Crazy Rich Asians.
Her innovative strategies...
Potts, who is one of the few African American women to ascend to a senior executive-level position at a major Hollywood studio, led global campaigns for films including Baz Luhrmann’s Oscar-nominated Elvis, Olivia Wilde’s Don’t Worry Darling and, more recently, Evil Dead Rise. She also was in charge of DC Studio’s highly anticipated 2023 summer tentpole The Flash.
Pott was promoted to executive vp after serving as serving as senior vp of multicultural marketing and publicity. In the key role, she helped target a more diverse and broader audience. Films she worked on in that capacity included Creed, Jackie Robinson biopic 42, Judas and the Black Messiah and The Curse of La Llorona and box office sensation Crazy Rich Asians.
Her innovative strategies...
- 5/30/2023
- by Pamela McClintock
- The Hollywood Reporter - Movie News
Filmmakers and executives, creatives of music, theater and art remembered Tom Luddy as friend and mentor, tastemaker and cultural force who deployed an astonishingly vast network to nurture talent and bring people and projects together over decades.
The co-founder of the Telluride Film Festival passed away in February.
“I am thinking of getting a tattoo of you on my arm,” said Irish director Mark Cousins at tribute event at the Paris Theatre over the weekend. “Here is Hitchcock on my arm, and here is and Kira Muratova. Maybe you would fit between the two?” He added, “For the rest of my life, I will see partly through your eyes. I miss you and I love you.”
“Tom Luddy was a constant presence. The sun around which so many of us have revolved,” said Ken Burns. The two met when Burns screened Huey Long at Telluride in 1985. “For the next 35-plus years,...
The co-founder of the Telluride Film Festival passed away in February.
“I am thinking of getting a tattoo of you on my arm,” said Irish director Mark Cousins at tribute event at the Paris Theatre over the weekend. “Here is Hitchcock on my arm, and here is and Kira Muratova. Maybe you would fit between the two?” He added, “For the rest of my life, I will see partly through your eyes. I miss you and I love you.”
“Tom Luddy was a constant presence. The sun around which so many of us have revolved,” said Ken Burns. The two met when Burns screened Huey Long at Telluride in 1985. “For the next 35-plus years,...
- 4/17/2023
- by Jill Goldsmith
- Deadline Film + TV
On the way into the Governors’ Ball, Darren Aronofsky happily accepted congrats for two Oscar wins for “The Whale,” for comeback kid Best Actor Brendan Fraser and his makeup transformation. “All Quiet on the Western Front” star Felix Kammerer was ecstatic about the German film’s four wins, even if Germany and his home country Austria couldn’t celebrate a Best Picture trophy. (Netflix came tantalizingly close.) And the A24 team, led by co-founder David Fenkel, were beaming, even if true to form they refused to pose for a celebratory group photo.
Finally, the night marked a changing of the guard. Yes, A24 had scored Oscars before, even taking Best Picture (“Moonlight”). But “Everything Everywhere All at Once” dominated Oscar season, finally winning seven out of 11 possible Oscars, the most wins for a Best Picture winner since Searchlight’s “Slumdog Millionaire” took home eight. (The last film to win seven...
Finally, the night marked a changing of the guard. Yes, A24 had scored Oscars before, even taking Best Picture (“Moonlight”). But “Everything Everywhere All at Once” dominated Oscar season, finally winning seven out of 11 possible Oscars, the most wins for a Best Picture winner since Searchlight’s “Slumdog Millionaire” took home eight. (The last film to win seven...
- 3/13/2023
- by Anne Thompson
- Indiewire
With the 2022 Gotham Week Conference and Expo just a few days away, The Gotham Film & Media Institute has announced four new members to its Board of Directors. Joining the organization are actor Jonathan Majors, actor Stephanie March, entrepreneur and women’s advocate Dee Poku, and entertainment strategic marketing and PR executive Lisa Taback. “We are thrilled that these four brilliant media and entertainment veterans are bringing their unique perspectives and expertise to The Gotham’s board,” Jeffrey Sharp, Executive Director of The Gotham Film & Media Institute, said in a press release. “As we find […]
The post The Gotham Film & Media Institute Appoints Four New Members to Board of Directors first appeared on Filmmaker Magazine.
The post The Gotham Film & Media Institute Appoints Four New Members to Board of Directors first appeared on Filmmaker Magazine.
- 9/16/2022
- by Filmmaker Staff
- Filmmaker Magazine - Blog
Click here to read the full article.
The Gotham Film & Media Institute has added four high-profile figures to its board of directors, The Hollywood Reporter has learned exclusively.
The group behind the Gotham Awards has added actors Jonathan Majors and Stephanie March, entertainment marketing and PR executive Lisa Taback and entrepreneur and women’s advocate Dee Poku to its board.
The new additions join existing board members Nancy Abraham, Anthony Bregman, Jeb Brody, Gerry Byrne, Alina Cho, Dan Crown, Mark D’Arcy (director emeritus), Amy Emmerich, Philipp Engelhorn, Kai Falkenberg, James Janowitz, Franklin Leonard, Soledad O’Brien, Hanna Rodriguez-Farrar, John Schmidt, Teddy Schwarzman, Drew Wilson and Celia Winchester.
“We are thrilled that these four brilliant media and entertainment veterans are bringing their unique perspectives and expertise to The Gotham’s board,” Gotham executive director Jeffrey Sharp said in a statement. “As we find new and innovative ways to advance our mission and expand our impact,...
The Gotham Film & Media Institute has added four high-profile figures to its board of directors, The Hollywood Reporter has learned exclusively.
The group behind the Gotham Awards has added actors Jonathan Majors and Stephanie March, entertainment marketing and PR executive Lisa Taback and entrepreneur and women’s advocate Dee Poku to its board.
The new additions join existing board members Nancy Abraham, Anthony Bregman, Jeb Brody, Gerry Byrne, Alina Cho, Dan Crown, Mark D’Arcy (director emeritus), Amy Emmerich, Philipp Engelhorn, Kai Falkenberg, James Janowitz, Franklin Leonard, Soledad O’Brien, Hanna Rodriguez-Farrar, John Schmidt, Teddy Schwarzman, Drew Wilson and Celia Winchester.
“We are thrilled that these four brilliant media and entertainment veterans are bringing their unique perspectives and expertise to The Gotham’s board,” Gotham executive director Jeffrey Sharp said in a statement. “As we find new and innovative ways to advance our mission and expand our impact,...
- 9/16/2022
- by Hilary Lewis
- The Hollywood Reporter - Movie News
Warner Bros. Pictures Group has reorganized its marketing team such that they will now take the lead on the marketing of all HBO Max Original Films. Additionally, the studio has named three individuals to executive vice president in a restructuring of its executive team.
Both Terra Potts and Susannah Scott have been promoted to EVP of worldwide marketing, and the reorganization will also include a third executive to be named later. All three execs will report to Josh Goldstine, who will lead the unit and handle marketing for any movies made for streaming service HBO Max.
The three teams led by each executive will handle a slate of films either exclusive to theaters or intended for streaming, including those coming from the Warner Bros., New Line Cinema, Warner Animation Group and DC Films labels.
The Warner Bros. Pictures Group team will work closely with the HBO Max team in growing subscriber numbers and engagement,...
Both Terra Potts and Susannah Scott have been promoted to EVP of worldwide marketing, and the reorganization will also include a third executive to be named later. All three execs will report to Josh Goldstine, who will lead the unit and handle marketing for any movies made for streaming service HBO Max.
The three teams led by each executive will handle a slate of films either exclusive to theaters or intended for streaming, including those coming from the Warner Bros., New Line Cinema, Warner Animation Group and DC Films labels.
The Warner Bros. Pictures Group team will work closely with the HBO Max team in growing subscriber numbers and engagement,...
- 8/17/2021
- by Brian Welk
- The Wrap
Warner Bros. Pictures Group has reorganized its worldwide marketing team, Variety has learned exclusively. The Josh Goldstine-led unit will also take the marketing lead on all films the studio will make for streamer HBO Max.
Under the new structure, three integrated global teams will be created across an assigned slate of films, both those made for theaters and projects exclusive to streaming. Titles will come from the picture group’s labels including Warner Bros., New Line Cinema, Warner Animation Group, and DC Films.
The shuffle brings the promotion of Terra Potts and Susannah Scott, both named executive vice president of worldwide marketing, and a yet-to-be-named third leader. All three will report to Goldstine.
“We have incredible subject matter expertise at our studio, in departments like publicity, creative advertising, and digital. More than ever, the nature of this business is interdisciplinary and this structure allows for collaboration,” said Goldstine. “Terra and Susannah are strategic,...
Under the new structure, three integrated global teams will be created across an assigned slate of films, both those made for theaters and projects exclusive to streaming. Titles will come from the picture group’s labels including Warner Bros., New Line Cinema, Warner Animation Group, and DC Films.
The shuffle brings the promotion of Terra Potts and Susannah Scott, both named executive vice president of worldwide marketing, and a yet-to-be-named third leader. All three will report to Goldstine.
“We have incredible subject matter expertise at our studio, in departments like publicity, creative advertising, and digital. More than ever, the nature of this business is interdisciplinary and this structure allows for collaboration,” said Goldstine. “Terra and Susannah are strategic,...
- 8/17/2021
- by Matt Donnelly
- Variety Film + TV
Jameela Jamil is celebrating the one-year anniversary of “I Weigh,” the podcast offshoot of her activist mental health organization of the same name.
Guests have included Billy Porter, Demi Lovato, Beanie Feldstein and Diane Guerrero, as well as doctors and experts in various fields. During Reese Witherspoon’s emotional interview, the Oscar winner teared up while discussing mental health. “Reese cried on my podcast,” Jamil tells me during a break from filming the second season of “Legendary,” the HBO Max voguing competition show. “It was such an extraordinary moment for her. To have someone like Reese, who is such a shining powerhouse and inspiration, still talk about the fact that she’s still not treated like enough, she’s still not allowed to feel like she’s doing enough, like she’s worthy of the respect that she has fully worked for, it’s just the humanity that people expose...
Guests have included Billy Porter, Demi Lovato, Beanie Feldstein and Diane Guerrero, as well as doctors and experts in various fields. During Reese Witherspoon’s emotional interview, the Oscar winner teared up while discussing mental health. “Reese cried on my podcast,” Jamil tells me during a break from filming the second season of “Legendary,” the HBO Max voguing competition show. “It was such an extraordinary moment for her. To have someone like Reese, who is such a shining powerhouse and inspiration, still talk about the fact that she’s still not treated like enough, she’s still not allowed to feel like she’s doing enough, like she’s worthy of the respect that she has fully worked for, it’s just the humanity that people expose...
- 3/31/2021
- by Marc Malkin
- Variety Film + TV
With nominations now announced, voters are curious — and skeptical — about how this year’s Zoomsday scenario will play out. The face-to-face encounters that enlivened awards seasons in the past always produced unexpected heroes or heavies by now, but will virtual sessions resonate as effectively?
Consider the unexpected stars of past seasons: Michel Hazanavicius was neither understandable nor pronounceable in 2011 when he arrived to pitch The Artist, but the French director charmed the town to win Best Picture. In 1997, Hollywood thought Roberto Benigno was a pizza parlor until his lively presence persuaded voters that “life is beautiful.”
An ingratiating and professorial Guillermo del Toro helped voters discover a structure in the inscrutable Shape of Water in 2017. And, surprisingly, the haunting non-presence of Roman Polanski in 1993 stirred voter support and a standing ovation for The Piano.
And then, of course, there’s always Tom Hanks, who promised to improve his diction after...
Consider the unexpected stars of past seasons: Michel Hazanavicius was neither understandable nor pronounceable in 2011 when he arrived to pitch The Artist, but the French director charmed the town to win Best Picture. In 1997, Hollywood thought Roberto Benigno was a pizza parlor until his lively presence persuaded voters that “life is beautiful.”
An ingratiating and professorial Guillermo del Toro helped voters discover a structure in the inscrutable Shape of Water in 2017. And, surprisingly, the haunting non-presence of Roman Polanski in 1993 stirred voter support and a standing ovation for The Piano.
And then, of course, there’s always Tom Hanks, who promised to improve his diction after...
- 3/18/2021
- by Peter Bart
- Deadline Film + TV
Ok, get out your playbooks and follow along: FX and Hulu are separate Disney-owned entities. FX produces original shows for Hulu under the “FX on Hulu” banner. But those shows, which don’t actually air on FX, will be credited by the Television Academy as FX entries at the Emmys.
National Geographic and Disney Plus are separate Disney-owned entities. Nat Geo produces original shows for Disney Plus under a National Geographic vertical. And those shows, which don’t actually air on Nat Geo, will be credited by the Television Academy as Disney Plus entries at the Emmys.
HBO Max and HBO are both WarnerMedia properties that will be campaigning for Emmys separately. HBO Max and TNT/TBS/TruTV are all WarnerMedia properties that share the same Emmy campaign team.
Independently produced series that run on YouTube are eligible for Emmys, and might be competing against YouTube Originals that are developed...
National Geographic and Disney Plus are separate Disney-owned entities. Nat Geo produces original shows for Disney Plus under a National Geographic vertical. And those shows, which don’t actually air on Nat Geo, will be credited by the Television Academy as Disney Plus entries at the Emmys.
HBO Max and HBO are both WarnerMedia properties that will be campaigning for Emmys separately. HBO Max and TNT/TBS/TruTV are all WarnerMedia properties that share the same Emmy campaign team.
Independently produced series that run on YouTube are eligible for Emmys, and might be competing against YouTube Originals that are developed...
- 6/11/2020
- by Michael Schneider
- Variety Film + TV
Julie Fontaine, vice president of public relations in Netflix’s film department, is stepping down after nearly three years on the job, an individual with knowledge of the matter told TheWrap.
The reason for Fontaine’s departure has not been made public. She joined Netflix in June 2017, and will remain with the company until the end of the month.
At Netflix, Fontaine worked with Scott Stuber, head of motion pictures, Lisa Nishimura, head of indies and documentaries, Tendo Nagenda, vice president of film, and the company’s vice president of awards and talent relations, Lisa Taback.
Also Read: '13 Reasons Why' Final Season Trailer: Is Clay Finally Ready to Let His Secrets Out? (Video)
“She is a true cinephile and her indelible fingerprints can be found on the publicity campaigns for the Academy Award-winning ‘Roma,’ Best Picture nominees ‘Marriage Story’ and ‘The Irishman,’ ‘Bird Box, ‘Extraction,’ ‘Murder Mystery’ and everything in between,...
The reason for Fontaine’s departure has not been made public. She joined Netflix in June 2017, and will remain with the company until the end of the month.
At Netflix, Fontaine worked with Scott Stuber, head of motion pictures, Lisa Nishimura, head of indies and documentaries, Tendo Nagenda, vice president of film, and the company’s vice president of awards and talent relations, Lisa Taback.
Also Read: '13 Reasons Why' Final Season Trailer: Is Clay Finally Ready to Let His Secrets Out? (Video)
“She is a true cinephile and her indelible fingerprints can be found on the publicity campaigns for the Academy Award-winning ‘Roma,’ Best Picture nominees ‘Marriage Story’ and ‘The Irishman,’ ‘Bird Box, ‘Extraction,’ ‘Murder Mystery’ and everything in between,...
- 5/22/2020
- by Ross A. Lincoln
- The Wrap
Veteran Hollywood communications executive Julie Fontaine is exiting her post at Netflix, insiders told Variety.
Fontaine joined the streamer in 2017 as vice president of film publicity, where she worked closely with a group of executives including motion picture head Scott Stuber, indie film and documentary head Lisa Nishimura, vice president Tendo Nagenda, and awards and talent relations VP Lisa Taback.
Fontaine is expected to remain at the company through the end of May. A reason for departure was not immediately clear, and the executive had no immediate comment on the matter.
“She is a true cinephile and her indelible fingerprints can be found on the publicity campaigns for the Academy Award winning ‘Roma,’ Best Picture nominees ‘Marriage Story’ and ‘The Irishman,’ ‘Bird Box,’ ‘Extraction,’ ‘Murder Mystery’ and everything in between,” Stuber said when asked for comment. “We wish her continued success and thank her for her many contributions over the past three years.
Fontaine joined the streamer in 2017 as vice president of film publicity, where she worked closely with a group of executives including motion picture head Scott Stuber, indie film and documentary head Lisa Nishimura, vice president Tendo Nagenda, and awards and talent relations VP Lisa Taback.
Fontaine is expected to remain at the company through the end of May. A reason for departure was not immediately clear, and the executive had no immediate comment on the matter.
“She is a true cinephile and her indelible fingerprints can be found on the publicity campaigns for the Academy Award winning ‘Roma,’ Best Picture nominees ‘Marriage Story’ and ‘The Irishman,’ ‘Bird Box,’ ‘Extraction,’ ‘Murder Mystery’ and everything in between,” Stuber said when asked for comment. “We wish her continued success and thank her for her many contributions over the past three years.
- 5/22/2020
- by Matt Donnelly
- Variety Film + TV
“Joker,” an R-rated blockbuster, topped the list of Oscar nominations on Monday, becoming the rare comic book film to resonate with awards voters. The best picture contender earned a leading 11 nominations, but the story of the morning will be the lack of diversity among the leading nominees and the exclusion of female filmmakers.
“Joker” will vie for top honors at the 92nd Academy Awards with “Once Upon a Time in Hollywood,” “The Irishman,” and “1917,” all of which earned 10 nominations. There are nine best picture contenders in total — a group that also includes “Ford v Ferrari,” “Jojo Rabbit,” “Little Women,” “Marriage Story” and “Parasite.”
In the major categories, it was a list of mostly white nominees, one that will likely inspire outrage, frustration, and pushback. Only one person of color, Cynthia Erivo for “Harriet,” was nominated in the acting categories. Female directors such as Greta Gerwig (“Little Women”), Kasi Lemmons...
“Joker” will vie for top honors at the 92nd Academy Awards with “Once Upon a Time in Hollywood,” “The Irishman,” and “1917,” all of which earned 10 nominations. There are nine best picture contenders in total — a group that also includes “Ford v Ferrari,” “Jojo Rabbit,” “Little Women,” “Marriage Story” and “Parasite.”
In the major categories, it was a list of mostly white nominees, one that will likely inspire outrage, frustration, and pushback. Only one person of color, Cynthia Erivo for “Harriet,” was nominated in the acting categories. Female directors such as Greta Gerwig (“Little Women”), Kasi Lemmons...
- 1/13/2020
- by Brent Lang
- Variety Film + TV
“I miss my invisibility.” That’s what a first-time Academy voter told me last week, reacting to the daily fusillades of screeners, invitations and assorted swag, plus the prodding phone calls, that now accompany Oscar membership.
I found his complaint amusing: When I became a new voter years ago it was akin to joining a secret society. All I received was a ballot and a terse Academy welcoming note. Today’s new members find themselves instant targets of extravagantly sophisticated marketing campaigns – the proverbial fish in a barrel. The attention has become surreal.
Membership in the Academy is an honor (mine dates back five decades). Further, the process of voting imposes a worthy discipline; it prompts members to see the movies (preferably in theaters) and to ponder their artistry. An example: I avoided seeing Joker until voting time; it represents brilliant filmmaking and I’m grateful for the prod.
I found his complaint amusing: When I became a new voter years ago it was akin to joining a secret society. All I received was a ballot and a terse Academy welcoming note. Today’s new members find themselves instant targets of extravagantly sophisticated marketing campaigns – the proverbial fish in a barrel. The attention has become surreal.
Membership in the Academy is an honor (mine dates back five decades). Further, the process of voting imposes a worthy discipline; it prompts members to see the movies (preferably in theaters) and to ponder their artistry. An example: I avoided seeing Joker until voting time; it represents brilliant filmmaking and I’m grateful for the prod.
- 12/12/2019
- by Peter Bart
- Deadline Film + TV
We know the 90-member Hollywood Foreign Press — an old, white, and hopelessly coddled bunch — are idiosyncratic at best. The Golden Globes voters lean mainstream with their nominations, love to welcome their favorite celebs at the Beverly Hilton, and provide extra slots to play with in the Comedy or Musical categories. That’s why they always throw a few curves, like Cate Blanchett for Best Comedy Actress for long-forgotten “Where’d You Go Bernadette?,” one of several surprises from this morning’s nominations.
And distributors can seek advantages by pushing films into categories they are more likely to win, slotting dramedy “Marriage Story,” musical “Judy” and comedy “Uncut Gems” into drama while leaving room in the comedy/musical categories for “Jojo Rabbit,” “Rocketman,” and “Once Upon a Time in Hollywood.”
Last year, Queen bio-musical “Bohemian Rhapsody” took home Globes for Best Motion Picture Drama and Drama Actor (which repeated at the...
And distributors can seek advantages by pushing films into categories they are more likely to win, slotting dramedy “Marriage Story,” musical “Judy” and comedy “Uncut Gems” into drama while leaving room in the comedy/musical categories for “Jojo Rabbit,” “Rocketman,” and “Once Upon a Time in Hollywood.”
Last year, Queen bio-musical “Bohemian Rhapsody” took home Globes for Best Motion Picture Drama and Drama Actor (which repeated at the...
- 12/9/2019
- by Anne Thompson
- Thompson on Hollywood
We know the 90-member Hollywood Foreign Press — an old, white, and hopelessly coddled bunch — are idiosyncratic at best. The Golden Globes voters lean mainstream with their nominations, love to welcome their favorite celebs at the Beverly Hilton, and provide extra slots to play with in the Comedy or Musical categories. That’s why they always throw a few curves, like Cate Blanchett for Best Comedy Actress for long-forgotten “Where’d You Go Bernadette?,” one of several surprises from this morning’s nominations.
And distributors can seek advantages by pushing films into categories they are more likely to win, slotting dramedy “Marriage Story” and musical “Judy” into drama while leaving room in the comedy/musical categories for “Jojo Rabbit,” “Rocketman,” and “Once Upon a Time in Hollywood.”
Last year, Queen bio-musical “Bohemian Rhapsody” took home Globes for Best Motion Picture Drama and Drama Actor (which repeated at the Oscars), while “Green Book...
And distributors can seek advantages by pushing films into categories they are more likely to win, slotting dramedy “Marriage Story” and musical “Judy” into drama while leaving room in the comedy/musical categories for “Jojo Rabbit,” “Rocketman,” and “Once Upon a Time in Hollywood.”
Last year, Queen bio-musical “Bohemian Rhapsody” took home Globes for Best Motion Picture Drama and Drama Actor (which repeated at the Oscars), while “Green Book...
- 12/9/2019
- by Anne Thompson
- Indiewire
More films from streaming services are in the awards race this year than ever, prompting some handwringing among awards season voters — most notably AMPAS board governor Steven Spielberg — about whether Svod films with limited theatrical runs are leading to the demise of theaters and deserving of the same consideration as traditional releases.
Netflix’s “The Irishman,” “Marriage Story,” “Dolemite Is My Name” and “The Two Popes,” which hit select theaters for several weeks before they’re streamed, are garnering serious attention in several Golden Globes categories. Amazon is shortening the windows of two releases (“The Report” and “The Aeronauts”) to just two weeks alongside its hopefuls with conventional windows (“Honey Boy” and “Les Miserables”). And newcomer Apple Plus is throwing its hat in the ring for the first time with “Hala” and “The Elephant Queen,” both of which have limited theatrical runs. On Wednesday, Apple scrapped a planned gala screening of “The Banker,...
Netflix’s “The Irishman,” “Marriage Story,” “Dolemite Is My Name” and “The Two Popes,” which hit select theaters for several weeks before they’re streamed, are garnering serious attention in several Golden Globes categories. Amazon is shortening the windows of two releases (“The Report” and “The Aeronauts”) to just two weeks alongside its hopefuls with conventional windows (“Honey Boy” and “Les Miserables”). And newcomer Apple Plus is throwing its hat in the ring for the first time with “Hala” and “The Elephant Queen,” both of which have limited theatrical runs. On Wednesday, Apple scrapped a planned gala screening of “The Banker,...
- 11/21/2019
- by Gregg Goldstein
- Variety Film + TV
The trophies for the fourth annual Critics’ Choice Documentary Awards were handed out on Sunday with Neon’s Apollo 11 taking Best Documentary Feature. The ceremony took place at Bric in Brooklyn.
Neon was the top winner of the night with the space docu, winning five awards. Their docu The Biggest Little Farm walked away with Best Cinematography and their bee-keeping pic Honeyland won Best First Documentary Feature for Tamara Kotevska and Ljubomir Stefano.
The Biggest Little Farm led the pack this year with seven nominations while Apollo 11 (also a Neon title) and the Warner Bros. docu They Shall Not Grow Old each had six. Speaking of the latter, The Shall Not Grow Old‘s Peter Jackson won for Best Director tying with Steven Bognar and Julia Reichert who directed the Netflix docu American Factory.
The ceremony also honored the great documentarian Frederick Wiseman with the D.A.Pennebaker Award...
Neon was the top winner of the night with the space docu, winning five awards. Their docu The Biggest Little Farm walked away with Best Cinematography and their bee-keeping pic Honeyland won Best First Documentary Feature for Tamara Kotevska and Ljubomir Stefano.
The Biggest Little Farm led the pack this year with seven nominations while Apollo 11 (also a Neon title) and the Warner Bros. docu They Shall Not Grow Old each had six. Speaking of the latter, The Shall Not Grow Old‘s Peter Jackson won for Best Director tying with Steven Bognar and Julia Reichert who directed the Netflix docu American Factory.
The ceremony also honored the great documentarian Frederick Wiseman with the D.A.Pennebaker Award...
- 11/11/2019
- by Dino-Ray Ramos
- Deadline Film + TV
Spencer Peeples is leaving Netflix to lead awards strategy and execution for Hulu as its vp film and awards marketing, The Hollywood Reporter has confirmed.
Peeples is one of the most widely liked and respected publicists in the Hollywood awards game. The 38-year-old came up in the pressure cooker of Harvey Weinstein's Miramax and The Weinstein Co., spending 11 years between the two operations, from 2005-2016, and rising to senior vp marketing.
In October 2016, Peeples was hired by Netflix to serve as director of awards. But the streaming giant's July 2018 hiring of veteran awards consultant Lisa Taback as vp ...
Peeples is one of the most widely liked and respected publicists in the Hollywood awards game. The 38-year-old came up in the pressure cooker of Harvey Weinstein's Miramax and The Weinstein Co., spending 11 years between the two operations, from 2005-2016, and rising to senior vp marketing.
In October 2016, Peeples was hired by Netflix to serve as director of awards. But the streaming giant's July 2018 hiring of veteran awards consultant Lisa Taback as vp ...
- 10/23/2019
- The Hollywood Reporter - Movie News
Spencer Peeples is leaving Netflix to lead awards strategy and execution for Hulu as its vp film and awards marketing, The Hollywood Reporter has confirmed.
Peeples is one of the most widely liked and respected publicists in the Hollywood awards game. The 38-year-old came up in the pressure cooker of Harvey Weinstein's Miramax and The Weinstein Co., spending 11 years between the two operations, from 2005-2016, and rising to senior vp marketing.
In October 2016, Peeples was hired by Netflix to serve as director of awards. But the streaming giant's July 2018 hiring of veteran awards consultant Lisa Taback as vp ...
Peeples is one of the most widely liked and respected publicists in the Hollywood awards game. The 38-year-old came up in the pressure cooker of Harvey Weinstein's Miramax and The Weinstein Co., spending 11 years between the two operations, from 2005-2016, and rising to senior vp marketing.
In October 2016, Peeples was hired by Netflix to serve as director of awards. But the streaming giant's July 2018 hiring of veteran awards consultant Lisa Taback as vp ...
- 10/23/2019
- The Hollywood Reporter - Film + TV
Exclusive: Awards specialist Spencer Peeples is leaving Netflix for a high-profile job at streaming rival Hulu. Peeples is joining Disney-controlled Hulu as VP, Film and Awards Marketing. In the newly created position, Peeples will lead Hulu’s awards campaigns as well as oversee publicity and marketing campaigns for Hulu original films. He will start Nov. 11 and will report into Hulu’s VP of Brand and Content Marketing, Ryan Crosby.
This is the first time Hulu has had a senior level executive dedicated to awards. The streamer’s Fyc campaigns were previously overseen by Awards Manager Gina Pence who was member of Hulu’s PR team. She left a couple of months ago for Apple where she works in awards.
Hulu’s film efforts so far have been in the documentary area and include the Oscar-nominated Minding the Gap.
Peeples is a respected awards strategist and film marketing executive. For the past three years,...
This is the first time Hulu has had a senior level executive dedicated to awards. The streamer’s Fyc campaigns were previously overseen by Awards Manager Gina Pence who was member of Hulu’s PR team. She left a couple of months ago for Apple where she works in awards.
Hulu’s film efforts so far have been in the documentary area and include the Oscar-nominated Minding the Gap.
Peeples is a respected awards strategist and film marketing executive. For the past three years,...
- 10/23/2019
- by Nellie Andreeva
- Deadline Film + TV
Promoting two features and three documentaries, Netflix’s Telluride Film Festival dinner at Rustico spanned two long tables crammed with journalists, staff, and stars like Greta Gerwig, Adam Driver, Adam Sandler, and Laura Dern. This was Netflix CEO Reed Hastings’ third year in Telluride, only this time he was accompanied by the largest team of any Hollywood entertainment company.
It was an impressive showing, but the world has shifted dramatically since Netflix spent $50 million promoting last year’s Oscar title, “Roma.” On February 25, the morning after Alfonso Cuaron’s black-and-white drama won three of Netflix’s 15 Oscar nominations (but not Best Picture), Netflix stock opened to $367.01. At this writing, the price hovers around $288.
That makes the paradigm-busting Netflix look more human, less Pennywise, but the more complicated truth is Netflix can no longer occupy the role of studio bogeyman: Between Disney +, Hulu, Apple+, HBO Max, and Amazon, there’s too much competition.
It was an impressive showing, but the world has shifted dramatically since Netflix spent $50 million promoting last year’s Oscar title, “Roma.” On February 25, the morning after Alfonso Cuaron’s black-and-white drama won three of Netflix’s 15 Oscar nominations (but not Best Picture), Netflix stock opened to $367.01. At this writing, the price hovers around $288.
That makes the paradigm-busting Netflix look more human, less Pennywise, but the more complicated truth is Netflix can no longer occupy the role of studio bogeyman: Between Disney +, Hulu, Apple+, HBO Max, and Amazon, there’s too much competition.
- 9/6/2019
- by Anne Thompson
- Thompson on Hollywood
Promoting two features and three documentaries, Netflix’s Telluride Film Festival dinner at Rustico spanned two long tables crammed with journalists, staff, and stars like Greta Gerwig, Adam Driver, Adam Sandler, and Laura Dern. This was Netflix CEO Reed Hastings’ third year in Telluride, only this time he was accompanied by the largest team of any Hollywood entertainment company.
It was an impressive showing, but the world has shifted dramatically since Netflix spent $50 million promoting last year’s Oscar title, “Roma.” On February 25, the morning after Alfonso Cuaron’s black-and-white drama won three of Netflix’s 15 Oscar nominations (but not Best Picture), Netflix stock opened to $367.01. At this writing, the price hovers around $288.
That makes the paradigm-busting Netflix look more human, less Pennywise, but the more complicated truth is Netflix can no longer occupy the role of studio bogeyman: Between Disney +, Hulu, Apple+, HBO Max, and Amazon, there’s too much competition.
It was an impressive showing, but the world has shifted dramatically since Netflix spent $50 million promoting last year’s Oscar title, “Roma.” On February 25, the morning after Alfonso Cuaron’s black-and-white drama won three of Netflix’s 15 Oscar nominations (but not Best Picture), Netflix stock opened to $367.01. At this writing, the price hovers around $288.
That makes the paradigm-busting Netflix look more human, less Pennywise, but the more complicated truth is Netflix can no longer occupy the role of studio bogeyman: Between Disney +, Hulu, Apple+, HBO Max, and Amazon, there’s too much competition.
- 9/6/2019
- by Anne Thompson
- Indiewire
The advent of festival season, with its raves and rebukes, usually prompts a cautious optimism in the indie world; there’s action out there, perhaps even at the box office. This would be welcome this year, following a 6% drop in overall box office and a 45% plummet in the specialty sector so far in 2019.
However, a very different kind of “indie” is stealing much of the fest spotlight this year. In signing deals with Martin Scorsese, Noah Baumbach, Ron Howard, Dee Rees, Steven Soderbergh and Guillermo del Toro, plus stars ranging from Meryl Streep to Adam Sandler, Netflix has ensured itself a major role in award season.
Buried in Netflix’s dizzying list of some 55 movies greenlit by Ted Sarandos and Scott Stuber are several films that already seem implanted on “must see” lists – The Irishman and Marriage Story, for example. Never before has a single production entity accounted for such a massive detonation of product.
However, a very different kind of “indie” is stealing much of the fest spotlight this year. In signing deals with Martin Scorsese, Noah Baumbach, Ron Howard, Dee Rees, Steven Soderbergh and Guillermo del Toro, plus stars ranging from Meryl Streep to Adam Sandler, Netflix has ensured itself a major role in award season.
Buried in Netflix’s dizzying list of some 55 movies greenlit by Ted Sarandos and Scott Stuber are several films that already seem implanted on “must see” lists – The Irishman and Marriage Story, for example. Never before has a single production entity accounted for such a massive detonation of product.
- 9/5/2019
- by Peter Bart
- Deadline Film + TV
Bloomberg reports that streaming giant will target Emmy voters with 100-page promotional mag.
Netflix will publish a magazine promoting its TV series’ ahead of the Emmys, according to Bloomberg.
They report that the streaming giant is planning a 100-plus pages publication, tentatively titled Wide, featuring interviews, essays and features about people who work on Netflix shows.
Netflix aims to distribute the free publication in June, when members of the television academy vote on Emmy nominations. No version for film voters has been announced so far.
Screen has contacted Netflix for comment.
Last year Netflix ramped up its awards operation by...
Netflix will publish a magazine promoting its TV series’ ahead of the Emmys, according to Bloomberg.
They report that the streaming giant is planning a 100-plus pages publication, tentatively titled Wide, featuring interviews, essays and features about people who work on Netflix shows.
Netflix aims to distribute the free publication in June, when members of the television academy vote on Emmy nominations. No version for film voters has been announced so far.
Screen has contacted Netflix for comment.
Last year Netflix ramped up its awards operation by...
- 4/11/2019
- by Orlando Parfitt
- ScreenDaily
Netflix is planning its first magazine, according to a Bloomberg report.
The awards-oriented publication, tentatively named Wide, will reportedly promote the streaming giant’s shows and stars ahead of the Emmys. The 100-plus page first issue will include interviews, essays and features about those who work on Netflix series.
The company aims to distribute the targeted, free publication in June when TV academy members vote on Emmy nominations. There’s no word yet if this will extend to the Oscar season but that seems a safe bet. Netflix was unavailable for comment but we’ve had the magazine concept confirmed by sources.
Netflix garnered more Emmy nominations than any rival network last season but it has yet to win best drama series, best comedy series, or best limited series or movie. The streaming giant had an equally impressive Oscar run with Roma scoring ten nominations and winning three key prizes.
The awards-oriented publication, tentatively named Wide, will reportedly promote the streaming giant’s shows and stars ahead of the Emmys. The 100-plus page first issue will include interviews, essays and features about those who work on Netflix series.
The company aims to distribute the targeted, free publication in June when TV academy members vote on Emmy nominations. There’s no word yet if this will extend to the Oscar season but that seems a safe bet. Netflix was unavailable for comment but we’ve had the magazine concept confirmed by sources.
Netflix garnered more Emmy nominations than any rival network last season but it has yet to win best drama series, best comedy series, or best limited series or movie. The streaming giant had an equally impressive Oscar run with Roma scoring ten nominations and winning three key prizes.
- 4/11/2019
- by Andreas Wiseman
- Deadline Film + TV
Netflix is not in the business of leaving stones unturned, particularly when it comes to pursuing awards, which help to attract new subscribers and talent to the service.
The streaming giant has, for several years now, operated its own "FYSee" campaign space on the Raleigh Studios lot ahead of and during Emmy nominations voting. Last year, it retained the services of one of Hollywood's top awards strategists, Lisa Taback, and her team of employees, which became the core of a Netflix awards and talent relations squad that has grown to include dozens. It spent, by most estimates, tens of ...
The streaming giant has, for several years now, operated its own "FYSee" campaign space on the Raleigh Studios lot ahead of and during Emmy nominations voting. Last year, it retained the services of one of Hollywood's top awards strategists, Lisa Taback, and her team of employees, which became the core of a Netflix awards and talent relations squad that has grown to include dozens. It spent, by most estimates, tens of ...
- 4/10/2019
- The Hollywood Reporter - Movie News
Netflix is not in the business of leaving stones unturned, particularly when it comes to pursuing awards, which help to attract new subscribers and talent to the service.
The streaming giant has, for several years now, operated its own "FYSee" campaign space on the Raleigh Studios lot ahead of and during Emmy nominations voting. Last year, it retained the services of one of Hollywood's top awards strategists, Lisa Taback, and her team of employees, which became the core of a Netflix awards and talent relations squad that has grown to include dozens. It spent, by most estimates, tens of ...
The streaming giant has, for several years now, operated its own "FYSee" campaign space on the Raleigh Studios lot ahead of and during Emmy nominations voting. Last year, it retained the services of one of Hollywood's top awards strategists, Lisa Taback, and her team of employees, which became the core of a Netflix awards and talent relations squad that has grown to include dozens. It spent, by most estimates, tens of ...
- 4/10/2019
- The Hollywood Reporter - Film + TV
Krista Smith, Vanity Fair’s longtime West Coast editor, has accepted a consulting job at Netflix but is still planning to remain on the magazine masthead as a contributing editor, a person familiar with the matter told TheWrap.
Smith has spent more than two decades with Vanity Fair, first joining the publication as a fact checker in 1989 under longtime editor Graydon Carter, who retired last year.
She will officially start with Netflix on April 15 as a consultant covering matters concerning events, awards and talent relations, the individual said, adding that Smith will perform a dual role that will see her report to Netflix original films head Scott Stuber and awards chief Lisa Taback.
Also Read: Joe Scarborough, Mika Brzezinski Marry in Hush-Hush D.C. Wedding
The unusual arrangement will allow Smith to remain entwined with both companies. Reps for Vanity Fair and Netflix did not immediately respond to inquiries about...
Smith has spent more than two decades with Vanity Fair, first joining the publication as a fact checker in 1989 under longtime editor Graydon Carter, who retired last year.
She will officially start with Netflix on April 15 as a consultant covering matters concerning events, awards and talent relations, the individual said, adding that Smith will perform a dual role that will see her report to Netflix original films head Scott Stuber and awards chief Lisa Taback.
Also Read: Joe Scarborough, Mika Brzezinski Marry in Hush-Hush D.C. Wedding
The unusual arrangement will allow Smith to remain entwined with both companies. Reps for Vanity Fair and Netflix did not immediately respond to inquiries about...
- 3/27/2019
- by Jon Levine
- The Wrap
IndieWire’s recent story about Academy Governor Steven Spielberg’s strong belief that Netflix-distributed movies should be in the race for Emmys, not Oscars, spawned a legion of comments and debates on social media. But various reaction threads also revealed how much misinformation is out there about everything from the legendary director’s positions on the matter, as well as the Oscars and Netflix itself.
Yes, IndieWire readers are smart and well-informed. See how you do with our reality check, below.
Myth: Netflix produced “Roma.”
Fact: Netflix had nothing to do with “making” or even funding “Roma,” which is the case for many (not all) of the shows/movies labeled as Netflix Originals. Participant Media’s David Linde greenlit and financed “Roma,” which was shot on location by Cuarón’s production company over 110 days for a little less than $15 million in Mexico City, with Participant production chief Jonathan King on hand.
Yes, IndieWire readers are smart and well-informed. See how you do with our reality check, below.
Myth: Netflix produced “Roma.”
Fact: Netflix had nothing to do with “making” or even funding “Roma,” which is the case for many (not all) of the shows/movies labeled as Netflix Originals. Participant Media’s David Linde greenlit and financed “Roma,” which was shot on location by Cuarón’s production company over 110 days for a little less than $15 million in Mexico City, with Participant production chief Jonathan King on hand.
- 3/8/2019
- by Anne Thompson
- Thompson on Hollywood
IndieWire’s recent story about Academy Governor Steven Spielberg’s strong belief that Netflix-distributed movies should be in the race for Emmys, not Oscars, spawned a legion of comments and debates on social media. But various reaction threads also revealed how much misinformation is out there about everything from the legendary director’s positions on the matter, as well as the Oscars and Netflix itself.
Yes, IndieWire readers are smart and well-informed. See how you do with our reality check, below.
Myth: Netflix produced “Roma.”
Fact: Netflix had nothing to do with “making” or even funding “Roma,” which is the case for many (not all) of the shows/movies labeled as Netflix Originals. Participant Media’s David Linde greenlit and financed “Roma,” which was shot on location by Cuarón’s production company over 110 days for a little less than $15 million in Mexico City, with Participant production chief Jonathan King on hand.
Yes, IndieWire readers are smart and well-informed. See how you do with our reality check, below.
Myth: Netflix produced “Roma.”
Fact: Netflix had nothing to do with “making” or even funding “Roma,” which is the case for many (not all) of the shows/movies labeled as Netflix Originals. Participant Media’s David Linde greenlit and financed “Roma,” which was shot on location by Cuarón’s production company over 110 days for a little less than $15 million in Mexico City, with Participant production chief Jonathan King on hand.
- 3/8/2019
- by Anne Thompson
- Indiewire
Steven Spielberg wants the Oscars to stem the tide against the streaming revolution upending Hollywood. The director behind “Schindler’s List” and “Jaws” is putting his considerable weight behind the effort to prevent Netflix from cleaning up at future awards shows. His stance puts him in opposition with many members of the Academy of Motion Picture Arts & Sciences, the group that hands out the awards for film excellence.
“As much as I respect Steven and revere him as a filmmaker, he’s not reading the tea leaves,” said Stu Zakim, an Academy member and veteran publicist who worked on previous Spielberg releases. “That ship has sailed.”
Nevertheless, Spielberg firmly believes that Netflix and other companies that release their movies on streaming platforms at the same time they show in theaters should be barred from Academy Awards consideration. He’s reportedly looking to use his position on the Academy’s board...
“As much as I respect Steven and revere him as a filmmaker, he’s not reading the tea leaves,” said Stu Zakim, an Academy member and veteran publicist who worked on previous Spielberg releases. “That ship has sailed.”
Nevertheless, Spielberg firmly believes that Netflix and other companies that release their movies on streaming platforms at the same time they show in theaters should be barred from Academy Awards consideration. He’s reportedly looking to use his position on the Academy’s board...
- 3/6/2019
- by Brent Lang
- Variety Film + TV
So Netflix battered down most of another barrier this week in its apparent mission to reshape Hollywood forever.
Another House of Cards Moment, But In a Good Way When People Still Liked House Of Cards
And even though the streaming giant came up just short of the biggest prize in this year's Oscars, its overall performance this awards season represents another win for the Big Red N. This week, and this awards season, proved to be another House of Cards moment, resetting expectations for both Netflix and the rest of the industry. It also sends a particularly well timed message of quality programming to global audiences deciding whether to keep paying those rising subscription fees.
You remember House of Cards, the dark and twisty political drama based on an even darker British series, from back when we still thought Kevin Spacey was an amazing actor and not also a mega-creep.
Another House of Cards Moment, But In a Good Way When People Still Liked House Of Cards
And even though the streaming giant came up just short of the biggest prize in this year's Oscars, its overall performance this awards season represents another win for the Big Red N. This week, and this awards season, proved to be another House of Cards moment, resetting expectations for both Netflix and the rest of the industry. It also sends a particularly well timed message of quality programming to global audiences deciding whether to keep paying those rising subscription fees.
You remember House of Cards, the dark and twisty political drama based on an even darker British series, from back when we still thought Kevin Spacey was an amazing actor and not also a mega-creep.
- 2/28/2019
- by David Bloom
- Tubefilter.com
Despite losing out on best picture, streaming giant will be back for more.
Roma’s stumble at the final hurdle of an impressively managed marathon may have seemed like the big surprise at Sunday’s 91st annual Academy Awards, although in truth the best picture Oscar was always going to be a stretch for Netflix this year – but it will be back.
Oscars 2019: full list of winners
It was easy to get swept up by the streaming giant’s $30m campaign (which encompassed the awards push and promotion of the limited theatrical release) and yet, as one senior awards strategist pointed out to Screendaily,...
Roma’s stumble at the final hurdle of an impressively managed marathon may have seemed like the big surprise at Sunday’s 91st annual Academy Awards, although in truth the best picture Oscar was always going to be a stretch for Netflix this year – but it will be back.
Oscars 2019: full list of winners
It was easy to get swept up by the streaming giant’s $30m campaign (which encompassed the awards push and promotion of the limited theatrical release) and yet, as one senior awards strategist pointed out to Screendaily,...
- 2/26/2019
- by Jeremy Kay
- ScreenDaily
Relief was palpable at the Governors Ball Sunday night. The hostless show was entertaining, and surprise winners like Olivia Colman (“The Favourite”) dive-bombed many an office Oscar pool. Studio films obviated the need for a Best Popular Film category: Fox’s “Bohemian Rhapsody” dominated the night with four Oscars, while Universal’s “Green Book” and Disney’s “Black Panther” each won three. With presenters and performers with high global profiles, ratings were up slightly from last year, to 29.6 million viewers.
But most of all, Hollywood was relieved that Netflix did not win Best Picture. “‘Roma”s on Netflix, what’s next?” quipped presenter Tina Fey. “My microwave makes a movie?”
Clearly the most expensive campaign for a foreign-language film in Hollywood history, “Roma” came very close to winning the big prize. The preferential ballot favored a consensus title like “Green Book,” a movie in the tradition of “In the Heat of the Night,...
But most of all, Hollywood was relieved that Netflix did not win Best Picture. “‘Roma”s on Netflix, what’s next?” quipped presenter Tina Fey. “My microwave makes a movie?”
Clearly the most expensive campaign for a foreign-language film in Hollywood history, “Roma” came very close to winning the big prize. The preferential ballot favored a consensus title like “Green Book,” a movie in the tradition of “In the Heat of the Night,...
- 2/25/2019
- by Anne Thompson
- Thompson on Hollywood
Relief was palpable at the Governors Ball Sunday night. The hostless show was entertaining, and surprise winners like Olivia Colman (“The Favourite”) dive-bombed many an office Oscar pool. Studio films obviated the need for a Best Popular Film category: Fox’s “Bohemian Rhapsody” dominated the night with four Oscars, while Universal’s “Green Book” and Disney’s “Black Panther” each won three. With presenters and performers with high global profiles, ratings were up slightly from last year, to 29.6 million viewers.
But most of all, Hollywood was relieved that Netflix did not win Best Picture. “‘Roma”s on Netflix, what’s next?” quipped presenter Tina Fey. “My microwave makes a movie?”
Clearly the most expensive campaign for a foreign-language film in Hollywood history, “Roma” came very close to winning the big prize. The preferential ballot favored a consensus title like “Green Book,” a movie in the tradition of “In the Heat of the Night,...
But most of all, Hollywood was relieved that Netflix did not win Best Picture. “‘Roma”s on Netflix, what’s next?” quipped presenter Tina Fey. “My microwave makes a movie?”
Clearly the most expensive campaign for a foreign-language film in Hollywood history, “Roma” came very close to winning the big prize. The preferential ballot favored a consensus title like “Green Book,” a movie in the tradition of “In the Heat of the Night,...
- 2/25/2019
- by Anne Thompson
- Indiewire
The 91st Academy Awards are just four days away.
This year’s broadcast, the first in decades without a host, should be a memorable one. For once, comic book movies such as “Black Panther” have been invited to the party and the crop of best picture contenders includes a number of blockbusters such as “A Star is Born” and “Bohemian Rhapsody.” That’s a change from past telecasts in which awards were frequently handed out to movies that were critically beloved, but little seen. It’s also the first time that Netflix, the streaming giant that’s upending the way people watch movies, has a chance to capture the top honor. The company enters the fray with 10 nominations for “Roma.”
Here’s a look at some of the big questions gripping the movie business as Hollywood gears up for awards night.
1. Can Netflix win the big prize?
The streaming giant...
This year’s broadcast, the first in decades without a host, should be a memorable one. For once, comic book movies such as “Black Panther” have been invited to the party and the crop of best picture contenders includes a number of blockbusters such as “A Star is Born” and “Bohemian Rhapsody.” That’s a change from past telecasts in which awards were frequently handed out to movies that were critically beloved, but little seen. It’s also the first time that Netflix, the streaming giant that’s upending the way people watch movies, has a chance to capture the top honor. The company enters the fray with 10 nominations for “Roma.”
Here’s a look at some of the big questions gripping the movie business as Hollywood gears up for awards night.
1. Can Netflix win the big prize?
The streaming giant...
- 2/22/2019
- by Brent Lang
- Variety Film + TV
At BAFTA last Sunday, “Roma” not only won the Best Picture race, but it surged out front in the Oscar derby. Now it’s the clear frontrunner.
Up until recently, the only Best Picture trophies that “Roma” had claimed were at critics’ awards. “Green Book” triumphed as Best Picture at the Golden Globes and, even more importantly, the Producers’ Guild. PGA uses the same kind of preferential ballot that the Oscars do, which resulted in the two awards agreeing on Best Picture 8 times in 10 years. Technically, that victory should’ve widely established “Green Book” as the new obvious Oscar frontrunner, but it’s been dogged by controversies that bloggers won’t let die. Also, there’s that sad bit about Peter Farrelly not being nominated for Best Director, but, come on, did we really believe that the academy’s snooty directors’ branch would embrace the helmer of “Dumb and Dumber...
Up until recently, the only Best Picture trophies that “Roma” had claimed were at critics’ awards. “Green Book” triumphed as Best Picture at the Golden Globes and, even more importantly, the Producers’ Guild. PGA uses the same kind of preferential ballot that the Oscars do, which resulted in the two awards agreeing on Best Picture 8 times in 10 years. Technically, that victory should’ve widely established “Green Book” as the new obvious Oscar frontrunner, but it’s been dogged by controversies that bloggers won’t let die. Also, there’s that sad bit about Peter Farrelly not being nominated for Best Director, but, come on, did we really believe that the academy’s snooty directors’ branch would embrace the helmer of “Dumb and Dumber...
- 2/13/2019
- by Tom O'Neil
- Gold Derby
Usually, Oscar prognostication takes its cues from the guilds, as winners from the SAG, DGA, and PGA awards tend to provide a sense of films that have traction with the Academy. This year, however, that math isn’t as reliable.
Most years the awards tend to go to the same films. But this year, they’re all over the place. The Producers Guild, which is always more mainstream than the Academy, went for “Green Book”— but the Screen Actors Guild gave another popular film, “Black Panther,” its Ensemble Award, and the Directors Guild gave its top award to Alfonso Cuarón for “Roma.”
We know that “Roma,” with 10 nominations, has wide appeal across the Academy branches, only missing Best Editing. Those nominations, unlike some of the other branches, went to the five films statistically most likely to win Best Picture: “BlacKkKlansman,” “Bohemian Rhapsody,” “The Favourite,” “Green Book,” and “Vice.”
But do...
Most years the awards tend to go to the same films. But this year, they’re all over the place. The Producers Guild, which is always more mainstream than the Academy, went for “Green Book”— but the Screen Actors Guild gave another popular film, “Black Panther,” its Ensemble Award, and the Directors Guild gave its top award to Alfonso Cuarón for “Roma.”
We know that “Roma,” with 10 nominations, has wide appeal across the Academy branches, only missing Best Editing. Those nominations, unlike some of the other branches, went to the five films statistically most likely to win Best Picture: “BlacKkKlansman,” “Bohemian Rhapsody,” “The Favourite,” “Green Book,” and “Vice.”
But do...
- 2/6/2019
- by Anne Thompson
- Indiewire
Legion M, billed as the world’s “first fan-owned entertainment company,” has promoted David Baxter to vice president of development, where he will oversee the company’s development slate of film, television, and Vr projects with COO and head of content, Terri Lubaroff.
Baxter has been in the spotlight in recent days as a key event producer of the high-profile Star Lee tribute scheduled for Wednesday at the Tcl Chinese Theatre in Hollywood. The event will be hosted by Kevin Smith who, like industry veteran Baxter, knew and admired the late Marvel Comics icon for decades.
With more than 25 years in the entertainment industry as a development executive, producer, and award-winning WGA writer, Baxter joined Legion M as the head of content-developing services when the company was formed by Paul Scanlan and Jeff Annisonin in 2016. The company uses the equity crowdfunding laws enabled by the federal Jumpstart Our Business Startups...
Baxter has been in the spotlight in recent days as a key event producer of the high-profile Star Lee tribute scheduled for Wednesday at the Tcl Chinese Theatre in Hollywood. The event will be hosted by Kevin Smith who, like industry veteran Baxter, knew and admired the late Marvel Comics icon for decades.
With more than 25 years in the entertainment industry as a development executive, producer, and award-winning WGA writer, Baxter joined Legion M as the head of content-developing services when the company was formed by Paul Scanlan and Jeff Annisonin in 2016. The company uses the equity crowdfunding laws enabled by the federal Jumpstart Our Business Startups...
- 1/29/2019
- by Geoff Boucher
- Deadline Film + TV
Netflix was a pioneer for original streaming TV programming, so it was ironic that the first streaming show to win the Emmy for Best Drama Series ended up being from Hulu, and the first streaming show to win Best Comedy Series was from Amazon. But now Netflix has its sights set on the Oscars, where “Roma” may be on track to be the first streaming winner for Best Picture — take that, Emmys!
Netflix has certainly had success at the Emmys, busting down the doors with top series nominations for “House of Cards” and “Orange is the New Black,” and following those up with myriad nominations for comedies, dramas, limited series, documentaries and reality shows. In 2018 they even beat HBO as the most nominated network of the year.
Sign UPfor Gold Derby’s free newsletter with latest predictions
But despite multiple Netflix Best Drama Series bids for “House of Cards,” “Oitnb,...
Netflix has certainly had success at the Emmys, busting down the doors with top series nominations for “House of Cards” and “Orange is the New Black,” and following those up with myriad nominations for comedies, dramas, limited series, documentaries and reality shows. In 2018 they even beat HBO as the most nominated network of the year.
Sign UPfor Gold Derby’s free newsletter with latest predictions
But despite multiple Netflix Best Drama Series bids for “House of Cards,” “Oitnb,...
- 1/25/2019
- by Daniel Montgomery
- Gold Derby
The escalating cost of awards campaigning may reach an all-time high this season as heavyweights such as “Roma” and “A Star Is Born” battle for Oscar gold.
The quest for an Academy Award has always been expensive, but Netflix’s hunger to nab its first best picture win, coupled with the presence of legitimate studio contenders like Fox’s “Bohemian Rhapsody” and Universal’s “Green Book,” is leading to sticker shock.
Oscar campaign budgets for films seeking nominations in multiple categories, such as “A Star Is Born,” “Roma” and “First Man,” can run from $20 million to $30 million as companies compete with each other to out-wine and dine awards voters, according to insiders at the various studios and streamers. One source said the campaign for “A Star Is Born” came in at slightly lower than $20 million, in a studio effort to spend more strategically than in past years.
The current cycle has few precedents,...
The quest for an Academy Award has always been expensive, but Netflix’s hunger to nab its first best picture win, coupled with the presence of legitimate studio contenders like Fox’s “Bohemian Rhapsody” and Universal’s “Green Book,” is leading to sticker shock.
Oscar campaign budgets for films seeking nominations in multiple categories, such as “A Star Is Born,” “Roma” and “First Man,” can run from $20 million to $30 million as companies compete with each other to out-wine and dine awards voters, according to insiders at the various studios and streamers. One source said the campaign for “A Star Is Born” came in at slightly lower than $20 million, in a studio effort to spend more strategically than in past years.
The current cycle has few precedents,...
- 1/23/2019
- by Matt Donnelly
- Variety Film + TV
Period. End of Sentence. is the little film that did, and it wouldn’t have come about without several high school girls, a high school English teacher and a Hollywood publicist who is one of the four lead producers on the film, which was just nominated for an Oscar this morning in the Best Documentary Short category.
The film’s director, Rayka Zehtabchi, was the only female to be nominated in the category. The 25-year-old graduated from USC film school just two years ago.
Six of the high school girls are executive producers. “When I graduated, one of our producers who is one of the dads of one of six high school girls [exec producer Ruby Schiff] told me about this,” Zehtabchi said today after the noms were announced. “The whole project started because of Melissa Berton who is an English teacher at Oakwood School in Los Angeles. She rounded up her...
The film’s director, Rayka Zehtabchi, was the only female to be nominated in the category. The 25-year-old graduated from USC film school just two years ago.
Six of the high school girls are executive producers. “When I graduated, one of our producers who is one of the dads of one of six high school girls [exec producer Ruby Schiff] told me about this,” Zehtabchi said today after the noms were announced. “The whole project started because of Melissa Berton who is an English teacher at Oakwood School in Los Angeles. She rounded up her...
- 1/22/2019
- by Anita Busch
- Deadline Film + TV
Although “Netflix” has launched serious Oscar campaigns in the past for titles like “Mudbound,” nothing compares to the stops the streaming giant has pulled out in its quest to make Alfonso Cuarón’s “Roma” not just its first Best Picture nominee, but also it’s first Best Picture winner. New reports from The New York Times and Fast Company detailing Netflix’s “Roma” Oscar campaign make it clear the company is holding nothing back, reportedly spending as much as $20 million or more on the campaign.
Per the Times’ carpetbagger Kyle Buchanan, “Hollywood is blanketed in billboards bearing [lead actress Yalitza] Aparicio’s face, ‘Roma’ events are thrown nearly round the clock, and many industry figures received a heavy $175 book about the film published by Assouline. Rival publicists estimate that Netflix is spending $10 million to $20 million on award-season promotion, though some put that figure even higher.”
Netflix’s awards campaign blitz for “Roma” has...
Per the Times’ carpetbagger Kyle Buchanan, “Hollywood is blanketed in billboards bearing [lead actress Yalitza] Aparicio’s face, ‘Roma’ events are thrown nearly round the clock, and many industry figures received a heavy $175 book about the film published by Assouline. Rival publicists estimate that Netflix is spending $10 million to $20 million on award-season promotion, though some put that figure even higher.”
Netflix’s awards campaign blitz for “Roma” has...
- 1/15/2019
- by Zack Sharf
- Indiewire
Rayka Zehtabchi's Period. End of Sentence is one of 10 titles chosen by the documentary branch of the Academy of Motion Picture Arts and Sciences — from a list of 104 — for this season's best documentary short Oscar shortlist, from which five nominees will be drawn and announced on Jan. 22. But it has has a different sort of pedigree than any of the others on the list.
A 25-minute film about women's access to sanitary pads, or lack thereof, in rural India, it is the brainchild of an English teacher at the Los Angeles private high ...
A 25-minute film about women's access to sanitary pads, or lack thereof, in rural India, it is the brainchild of an English teacher at the Los Angeles private high ...
- 1/11/2019
- The Hollywood Reporter - Film + TV
While Lisa Taback has been guiding Netflix’s Oscar efforts, a short film she separately produced has been shortlisted for the Academy Awards. Check out the new trailer for Period. End of Sentence above.
Here’s the logline of the film from producer-director Rayka Zehtabchi: In a rural village in India, a group of women bands together to install and operate a sanitary pad-making machine, combatting the crushing stigma of menstruation, improving accessibility of sanitary products and discovering newfound independence and hope for a better future.
The film’s new poster:...
Here’s the logline of the film from producer-director Rayka Zehtabchi: In a rural village in India, a group of women bands together to install and operate a sanitary pad-making machine, combatting the crushing stigma of menstruation, improving accessibility of sanitary products and discovering newfound independence and hope for a better future.
The film’s new poster:...
- 1/8/2019
- by Erik Pedersen
- Deadline Film + TV
For first time, the Academy of Motion Picture Arts and Sciences didn’t dole out its Oscars short lists one category at a time this year. Instead, it released them in one fell swoop on Dec. 17, singling out 101 films that will move to a second round of voting in nine categories.
When the dust had cleared, here’s what we had learned.
1. Europe lost its stranglehold on the foreign-language category. With four films from Asia, three from Europe, one from North America and one from South America, this is the first year since the Oscars foreign short list began in 2006 that a continent other than Europe has placed the most films on the list.
And after being called out for consistently failing to recognize films from East Asia (including by TheWrap), the Academy put Japan’s “Shoplifters” on the list and, crucially, gave South Korea its first-ever spot on the short list for “Burning.
When the dust had cleared, here’s what we had learned.
1. Europe lost its stranglehold on the foreign-language category. With four films from Asia, three from Europe, one from North America and one from South America, this is the first year since the Oscars foreign short list began in 2006 that a continent other than Europe has placed the most films on the list.
And after being called out for consistently failing to recognize films from East Asia (including by TheWrap), the Academy put Japan’s “Shoplifters” on the list and, crucially, gave South Korea its first-ever spot on the short list for “Burning.
- 12/19/2018
- by Steve Pond
- The Wrap
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