Art galleries seek new model for output deals

"Kung Fu Panda 2" Netflix will carry such DWA game game titles as "Antz" and "Kung Fu Panda 2" from 2013. Cinemax is depending much more about original material for instance Boardwalk Empire and buying less movies.Primetime pix mixStudio output dealsWith DreamWorks Animation signing a distinctive streaming deal with Netflix -- couple of years just before the studio's output deal with Cinemax is due to finish -- the biz got a glimpse Monday into the amount traditional film-TV output pacts are altering.Simply put, pay cablers just aren't as considering movies simply because they was formerly. Pay-Television stations are shifting their attention from pricey theatrical output handles the art galleries and taking pleasure in the benefits of original series that substantially boost viewership and revenues.Netflix's deal to stream DreamWorks figures like "Shrek" starts in 2013, at concerning the time when Warner Bros. will start settling its own deal with Cinemax (see chart). Because the latter deal will most likely be restored due to the companies' shared corporate parentage, pacts with last century Fox and Universal that consider blockbuster game game titles aren't as precious to Cinemax simply because they were inside the premium cabler's childhood.However when Netflix becomes the initial from the new generation of digital customers, the art galleries may be capable of reduce the impact of pay-TV's disinterest inside their product. Indeed, DreamWorks Animation topper Jeffrey Katzenberg referred to as studio's exclusive streaming deal with Netflix "game-changing."Still, neither DreamWorks Animation nor Relativity Media, which increased being Netflix's first-ever pact inside the pay-TV window last This summer time, features a quantity of game game titles on componen while using box office clout shipped with the major art galleries. In addition, Netflix's stock plunge might make theatrical output deals too wealthy to cover, indicates Tony Wible, analyst with Janney Montgomery Scott."The primary studio pay TV deals are guaranteed until 2015-16, which will keep Netflix from winning them for the time being,Inch he written in the research note Monday. "Netflix's capacity to finance purchasing individuals rights is really a large question."Thinking about the truth that the standard theatrical deal with a substantial studio runs inside the neighborhood of $200 million every year, a pay internet must consider whether that slice of change might better spent going for a few changes at originals, like creating the next "True Blood stream.""We could really drop a studio and fill because space with elevated original programming or we could decide to keep that studio," mentioned Cinemax Boss Bill Nelson within an traders conference in June. Cinemax rival Showtime may be an amount better instance of the lowering reliance upon output deals. The CBS Corp.-possessed property shed handles Vital Pictures, MGM and Lionsgate, inducing the roll-from a fourth pay-TV internet, Epix, while ramping on original programming that aided drive subscription growth up 2.5 million within the this past year. CBS Corp. Boss Leslie Moonves made apparent what he felt was the important thing to Showtime's success the other day within the Goldman Sachs Communicopia conference. "The best way to succeed for Showtime is original programming, not in needing to pay these huge amounts for the art galleries for movies," he mentioned.No real surprise Starz has spent the ultimate few years building its own stable of original series. Films also still constitute 90% in the average monthly agendas on Epix and Starz, according to Nomura Equity Research, but they're lowering on Showtime, presently at 68%, and Cinemax, presently at 56%. Throughout primetime several hours, movies matter less, representing 39% and 38% of programming for Cinemax and Showtime, correspondingly.Original series be also more suitable than theatricals because of their value beyond the linear schedule. Content possession allows pay nets to monetize in other revenue streams seen as growing crucial that you contributing to subscription dollars, different from distribution to DVD.Netflix is thought to own paid out roughly $Thirty Dollars million per DWA title, possibly around double per-title fee Cinemax paid out, according to Lazard Capital Areas. The Los Gatos, Calif.-based video company is probably not really the only new bidder in a position to investing hundreds of vast amounts to lock lower film deals. Walmart-possessed Vudu, Dish's Blockbuster, Hulu and greatest Buy's CinemaNow all have deep pockets in a position to funding film library purchases weight reduction clients rent or buy movies on the web and through streaming services. And Amazon . com . com.com now guaranteed 2,000 films and TV episodes from last century Fox due to its Amazon . com . com Prime Instant Video program.There's talk in the multiplicity of potential new customers triggering a general change in the pay-TV window's traditional addiction to exclusive output deals to non-exclusivity.A Nomura group of the sector in June forecasted this kind of change, along with an increase in the requirement for such deals. "Since the major studios' deals start to expire, the idea of exclusivity to at least one network will probably be considered against going non-exclusive for just about any greater total payment per film. ... The cost for film studio deals will most likely increase with Netflix together with other potential online rivals entering the investing in an offer process."Nonetheless, the pay nets aren't forgoing output deals entirely. Cinemax recently bid effectively for photos from Summit Entertainment, whose previous distribution deal with Showtime won't finish for the next year. For Cinemax, the exit of DreamWorks and arrival of Summit reflects the cabler's preference for further several hours of live action over a couple of game game titles inside the animation genre, that's already virtually represented between Warner Bros. ("Happy Foot") and Fox ("Ice Age"). Contact Marc Graser at marc.graser@variety.com

Watch Hugh Jackman School a Robot Rocky-Style For Real Steel

Ready or not, Real Steel will box its way into theaters Oct. 7. Before deciding whether you want to spend $15 worth of your hard-earned WWE funds on robo-Rocky, check out Hugh Jackman train his mechanical fighter below. · Justin Timberlake will star in and produce Spinning Gold, a biopic of Neil Bogart, the 1970s record producer who co-founded Casablanca Records and helped launch the careers of KISS, Donna Summer, and The Village People. The script was written by Bogart’s son, Tim, who says that he instantly knew that Timberlake was right for the part: “When Justin walked into the room, that was the moment I had been waiting for 29 years…He has the exact same energy as my father, the same glimmer in his eye.” [Deadline] · DreamWorks has purchased the rights to Roald Dahl’s The BFG. E.T. writer Melissa Mathison is set to adapt the children’s book about a big friendly giant with Bourne Ultimatum’s Kathleen Kennedy and Frank Marshall producing. [Deadline] · A new documentary about Mayan civilization will reportedly prove that aliens were in touch with the ancient culture. The film, Revelations of the Mayans 2012 and Beyond, will be directed by Juan Carlos Rulfo and will reveal documents that the Mexican government has kept locked in underground vaults “for some time.” [The Wrap] · Who better to recap the new ABC series Pan Am than Steven Slater, the infamous former JetBlue flight attendant! [Esquire] · Finally, program your DVR for Dustin Hoffman’s first lead role in a television series. Here’s a glimpse at the Oscar winner as a dirty ex-con gambler in Michael Mann’s HBO series Luck. Michael Gambon, Dennis Farina, Nick Nolte and Joan Allen co-star. Season 1 Tease

Who Wins the truly amazing Kaira Pitt/Robert Redford Hair War?

In celebration of Kaira Pitt’s box office triumph in Moneyball, I only say we formalize Tyler Durden’s age-old fight of great hair with doppelganger Robert Redford. Come along once we pit the Spy Game duo’s five most comparable hair styles against one another — and settle this winsome war for good. (Clarification: I selected photos that represent the very best of each style. Yes, Kaira has already established messier “messy” ‘dos, however i selected probably the most photogenic version.) Blond energy cleft Oh, Kaira. Bobby mastered this before you decide to born. Redford’s The Way In Which I WasOrAll of the Leader’s Males clefts ought to be saved within the Smithsonian, while Kaira’s half-assed, scorch-yellow cleft ought to be stuffed inside a Nick Carter superfan vault. Woodward and Bernstein won’t be busting that available in the near future. Champion: Redford Female Tresses This type of difficult category. Here you've Take advantage of Redz in 72 Hours from the Condor sporting Martina Navratilova’s entire face, and Pitt waiting to audition for Jane Fonda’s role inside a gender-neutral remake of Klute. For resolve for ladylike angst, I must affiliate with Redz - however it’s a 7-5, 6-4 kind of victory. Kaira, which makes a formidable, but ultimately less heroic Chris Evert. Champion: Redford Simply Untidy It’s not my fault Robert Redford has spent yesteryear 5 years attempting to compete within this category, a popular of Kaira’s. Redz is unquestionably a fetching 75-year-old, but he’s essentially playing tackle football against a College lineman here. Kaira won’t even get muck on his letterman jacket. Champion: Kaira Mad Males Chic Redz built work on follicular hygiene, however i’m surprised to determine that Kaira wins this category inside a landslide. He is doing spruced-up aloofness so well, you realize? Redz is cute together with his Gatsby crest, but his temple and hairline lack miracle. Champion: Kaira Mustache This is when everything falls apart for that Kalifornia Kid: He never will get hair on your face right. It doesn’t look directly on the red-colored carpet, in Inglourious Basterds, and particularly when perched upon Pitt’s oft-re-written billy goat beard. Meanwhile, the Sundance Kid accomplishes glamor together with his ‘stache, even when his thespian characteristics are completely inferior to Paul Newman’s. This saga has ended. Champion: Redford

Academy Announces Oscar Campaign Reform to Curb Schmoozing

Beginning January 24, 2012, the Academy of Motion Picture Arts & Sciences will begin cracking down on the lifeblood that arguably keeps awards season flowing each year: Oscar parties. (Gasp!) “To the extent that the public dialog about the Oscars is who threw a good party or ran a successful campaign versus the quality of the work, that’s off-point for us,” Academy COO Ric Robertson told The Hollywood Reporter. “We want people to be talking about the work.” Talk about… the work… only? Well, sure. Sounds right. But restrict the Oscar parties and schmoozefests that the awards season machine runs on? What kind of country do we live in?? I kid. Let the movies stand on their own! No more buddying up between Oscar voters and filmmakers! And most importantly, no shit-talking the competition on social media! NOW I’ve heard everything! A rundown of the new Academy restrictions: - After Oscar nominations are announced on January 24 (until Feb. 21), no receptions may be held following screenings. - During this period, Academy members (and nominees) may not attend non-screening events celebrating that year’s nominees. - Filmmakers may only participate in two Q&A panels at screenings that Academy members have been invited to. - Remember, no crap talking the other guys on Twitter or Facebook or other social media. Or else, suspension and then bye bye membership! Got it, Nicolas Chartier? - Also, this will be the first year in which studios may send digital screeners to voting members for consideration. All of this means this year’s campaigns should be interesting to watch, and not just to see which nominees have to take out “Consider” ads for themselves. Will awards publicists play ball? Who will make a misstep in the face of these new restrictions? More importantly, does this mean Oscar will finally get its winners right purely on the basis of the films themselves? Academy Issues New Rules Restricting Oscar Campaigning at Panels and Receptions [THR]

Harlan Ellison Sues Claiming Fox's 'In Time' Rips Off Sci-Fi Story (Exclusive)

Science fiction legend Harlan Ellison is attempting to kill a high-profile movie that is scheduled to come out in theaters next month. The Hugo award-winning writer has fileda lawsuit against New Regency and director Andrew Niccol over the 20th Century Fox-distributed film, In Time, starring Justin Timberlake, Amanda Seyfried and Cillian Murphy.He is demanding an injunction to prevent the film's October 28 release and the disposal of all copies of the film. Ellison filed his lawsuit on Wednesday in California federal court with allegations of copyright infringement on the part of the producers of In Time, including Niccol, who is renowned for his sci-fi films including The Truman Show, Gattaca, and S1mOne. Copyright lawsuits in Hollywood are certainly plentiful, but rarely successful because plaintiffs typically struggle to meet the high burden of showing substantial similarity. Will Ellison's case be any different? Ellison says the new film is based on his multiple prize-winning 1965 work, "Repent, Harlequin! Said The Ticktockman" which the complaint calls one of the most famous and widely published science fiction short stories of all time. VIDEO: Justin Timberlake's 'In Time' Trailer: 5 Things We Learned For years, according to Ellison, he has resisted producer interest in adapting this story into film, but in late 2010, Ellison's company, The Kilimanjaro Corporation, entered into an agreement with a third party to create a screenplay based on the story so that it could be sold or licensed to a Hollywood studio. Now, Ellison says that In Time jeopardizes an official film adaptation of "Repent Harlequin!" Ellison says the similarity between the two works is "obvious" and quotes critics such as Richard Roeper who have attended advanced screenings and seem to believe that In Time is based on "Repent Harlequin!" Both works are said to take place in a "dystopian corporate future in which everyone is allotted a specific amount of time to live." In both works, government authorities known as a "Timekeeper" track the precise amount of time each citizen has left. The complaint goes on to list similarities in the features of the universe as well as the plot surfaces -- the manipulation of time an individual can live, the type of death experienced by those whose time runs out, rebellion by story protagonists, and so forth. STORY: Comic-Con 2011: Justin Timberlake's 'In Time' Footage Wows Crowd Ellison restricts his charges to basic descriptions here, eschewing a comparison of dialogue, for example. It's hard to get a read whether he's seen the new film, but since copyright law protects expression and not ideas, he could face a hurdle in proving illegal misappropriation unless the complaint is further amended. Then again, since both the author and work are renowned, he'll likely overcome a pitfall that trips up other copyright plaintiffs in offering a theory about how the defendants had access to his work. The lawsuit names Regency, Niccol, and anonymous John Does as defendants. Fox isn't explicitly named, but the prayer for reliefincludes a demand that the distributor be subject to an injunction. Besides the injunction remedy, Ellison is demanding all profits from the allegedly copyright infringing material. The lawsuit was filed on behalf of The Kilimanjaro Corporation by attorney Adam Thurston at Drinker Biddle & Reath. We've reached out to New Regency and if we hear anything, we'll update. E-mail: eriqgardner@yahoo.com Twitter: @eriqgardner Amanda Seyfried Cillian Murphy Justin Timberlake 20th Century Fox Film In Time

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The Elaborate Entrance of Chad Deity

A Geffen Playhouse presentation of a play in two acts by Kristoffer Diaz. Directed by Edward Torres. Macedonio Guerra (Mace) - Desmin BorgesVigneshwar Paduar (VP) - Usman AllyChad Deity - Terence ArchieEverett K. Olson (EKO) - Steve ValentineBilly Heartland/Old Glory/Cameraman - Timothy TalbottThe Bad Guy/Cameraman - Justin LeeperDramatists are told to "write what you know," and young Kristoffer Diaz certainly knows the world of professional wrestling, its sainted tropes as formal as Kabuki. He's also aware of wrestling's metaphorical power, loading up "The Elaborate Entrance of Chad Deity" with a sardonic critique of all themes American in the guise of a WWF lampoon. The acclaimed Pulitzer-finalist play arrives at the Geffen from Chicago and Gotham with original lead actors, helmer Edward Torres and audacity intact. If the entertaining spectacle lacks real anger and kick, well, so do the purveyors of the sport it portrays. Journeyman wrestler Mace (Desmin Borges) is our jivey, rapping tour guide from his sad-sack position as regularly designated loser to the likes of flashy champ Deity (Terence Archie). If the former reminds you of Usnavi from "In the Heights," while the latter conjures up Rod Tidwell demanding Jerry Maguire show him the money, that familiarity doesn't reduce the appeal of their vigorous tag-team act. As Mace points out in his vaguely anticapitalist way, "you can't kick a guy's ass without the help of the guy whose ass you're kicking," and these mugs have it down to a science. But Mace yearns to segue from stooge to entrepreneur, finding a meal ticket in a local Indian hip-hop phenom. "V.P." (Usman Ally) is an utterly original creation, a wise wiseguy eager to grab the American dream even at the price of performing rehearsed antics before booing crowds, in the persona of a Muslim terrorist called "The Fundamentalist." (His specialty move the "Sleeper Cell" can floor any opponent, even one wrapped in the American flag. Throughout the play, such symbols crash like cymbals.) Cast newcomer Steve Valentine gleefully exudes smarmy-Limey charm as a Vince McMahon figure, and Borges, Archie and Ally couldn't be more riveting. Nor could their bouts be more convincing, fight choreographer David Woolley surely getting inspiration from real wrestlers Timothy Talbott and Justin Leeper in residence. Torres keeps the action lively and real, deftly shifting from intimate truth-telling to the elaborate lies played out on canvas beneath Jesse Klug's rock-concert lighting, abetted by Mikhail Fiksel's extraordinarily rich sound design. But the whole is something less than the sum of its parts, its satirical jabs too diffuse, its themes too blatantly - and at times wearily and windily - spelled out by Mace. And there's a hollowness at the play's center, in Mace's nostalgia for the wrestling of his Bronx youth as viewed on a tiny TV with grandpa and brothers. Despair though he may about the profession's decline in community and honor, there seems little difference in purity between Hulk Hogan's old-time posturing bombast and Mace's no-steenking-badges "Che Chavez Castro" caricature. Either way, as "Dreamgirls" told us 30 years ago, it's showbiz - just showbiz. That much, "Chad Deity" gets very well indeed.Sets, Brian Sidney Bembridge; costumes, Christina Haatainen Jones; lighting, Jesse Klug; sound, Mikhail Fiksel; projections and video, Peter Negrini; fight direction, David Woolley. Opened, reviewed Sept. 7, 2011. Runs through Oct.9. Running time: 2 HOURS, 5 MIN. Contact the Variety newsroom at news@variety.com