April 18, 2014

Tag Archives: The Italian Job

Wally Pfister To Headline Kodak Focus at Los Angeles Film Festival

HollywoodNews.com: Director-cinematographer Wally Pfister, ASC, BSC will headline the annual Kodak Focus program at this year’s Los Angeles Film Festival. The intimate conversation will spotlight Pfister’s artistic and technical accomplishments by screening scenes from three of his films – Insomnia, Laurel Canyon and Inception. Kodak Focus takes place on June 23 at 1 p.m. at the Regal Cinemas at L.A. Live. The seminar is free with a festival ticket.
Pfister won an Oscar® for his cinematography on Inception, and is currently prepping for his feature film directorial debut. His work on the highly anticipated summer movie The Dark Knight Rises hits theaters in July. Pfister’s long-time collaborations with director Christopher Nolan has garnered him an additional three Oscar nominations for The Dark Knight, The Prestige and Batman Begins. His notable film credits also include Moneyball, The Italian Job and Memento, in addition to shooting and directing many prominent commercials.
“Wally Pfister’s stunning and innovative cinematography on so many iconic films thrills audiences and inspires filmmakers,” says Kodak’s Judy Doherty. “We are excited to have him share his inspirations and visionary approach to his work with LAFF filmmakers and cinephiles.”
Kodak will also sponsor LAFF’s Fast Track – an intensive film financing market that connects filmmakers seeking funding with financiers, production companies and other high-level industry professionals who can provide assistance. This highly selective program is open to established as well as up-and-coming filmmakers with exceptional projects still seeking funding. Previous Fast Track projects include Amreeka, Frozen River, Kabluey, Four Sheets to the Wind, Ira and Abby and After Innocence.
The LAFF festival, which runs June 14-24, celebrates independent and international cinema. This year’s festival in downtown Los Angeles will screen a diverse slate of nearly 200 feature films, shorts and music videos, representing more than 30 countries, along with such signature programs as Poolside Chats, Coffee Talks, music events and more. There will also be a number of free community screenings. Tickets may be requested in person only at the Festival Ticket Center or at the door while supplies last.
Kodak’s Entertainment Imaging Division is the world-class leader in providing film, digital and hybrid motion imaging products, services and technology for the entertainment industry. For more information, visit www.kodak.com/go/motion, or follow Kodak on Facebook at http://www.facebook.com/KodakMotionPictureFilm.
For more information on LAFF, visit www.lafilmfest.com.
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‘The Expendables’ and ‘Eat Pray Love’ have strong weekend multipliers

By Scott Mendelson
HollywoodNews.com: Proving once again that films aimed at older audiences have theoretically stronger legs than those aimed at teens, The Expendables and “Eat Pray Love” both had strong weekend multipliers and both performed at or above realistic expectations. With all the hub-bub regarding ‘the guy movie vs. the chick flick’, both films posted exceptional opening weekends and both respective marketing teams should be commended. As for Scott Pilgrim vs. the World, its frontloaded and underwhelming debut proves that geek cultures is not mainstream culture, and that hardcore geek interest should not be mistaken for mainstream interest. With films like that, the only real victory should be the fact that it got made and released. Anyway, here we go… The Expendables ended the weekend with $35 million, giving it a decent 2.64x weekend multiplier. As mentioned yesterday, this is the massive win that Lionsgate needed to prove that they could open something other than Saw sequels and Tyler Perry dramas to anything resembling blockbuster numbers. As I’ve written any number of times, if you take away the Saw sequels and the Tyler Perry pictures, the studio’s biggest opening weekend was Fahrenheit 9/11 with $23.9 million and The Haunting In Connecticut with $23 million. Be it Rambo ($18.2 million), Kick Ass ($19.8 million), 3:10 to Yuma ($14 million), or Killers ($15.8 million), Lionsgate has had a problem opening seemingly break-out pictures above their $15-19 million ceiling.
At $35 million, The Expendables posted the second biggest opening weekend in Lionsgate history, besting the $33.6 million debut of Saw III and falling short of the $40 million debut of Madea Goes to Jail. For comparison, the prior best opening weekend in Lionsgate history for something that was not a Madea picture or a Jigsaw epic were the $23 million debuts of Fahrenheit 9/11 (which broke a record for a film opening under 1,000 screens set by Stallone’s Rocky III back in 1982) and The Haunting In Connecticut. Lionsgate has had several high-profile disappointments of late, not so much flops as heavily-hyped pictures that none-the-less failed to break the $21 million opening weekend ceiling that Lionsgate seems to have. That they could successfully open this mainstream entertainment as large as any other studio is an encouraging sign that Lionsgate can play in the bigger studios’ sandbox. The film cost $82 million, but Lionsgate paid just $20 million for distribution and offered up marketing expenses [...]

‘Expendables’ explodes, ‘Eat Pray Love’ is bountiful, while ‘Scott Pilgrim vs. the World’ lacks ‘Game Genie.’

By Scott Mendelson
HollywoodNews.com: Proving once again that films aimed at older audiences have theoretically stronger legs than those aimed at teens, ‘The Expendables’ and ‘Eat Pray Love’ both had strong weekend multipliers and both performed at or above realistic expectations.

With all the hub-bub regarding ‘the guy movie vs. the chick flick’, both films posted exceptional opening weekends and both respective marketing teams should be commended. As for ‘Scott Pilgrim vs. the World,’ its frontloaded and underwhelming debut proves that geek cultures is not mainstream culture, and that hardcore geek interest should not be mistaken for mainstream interest. With films like that, the only real victory should be the fact that it got made and released. Anyway, here we go…’ The Expendables’ ended the weekend with $35 million, giving it a decent 2.64x weekend multiplier. As mentioned yesterday, this is the massive win that Lionsgate needed to prove that they could open something other than ‘Saw’ sequels and Tyler Perry dramas to anything resembling blockbuster numbers. As I’ve written any number of times, if you take away the ‘Saw’ sequels and the Tyler Perry pictures, the studio’s biggest opening weekend was ‘Fahrenheit 9/11′ with $23.9 million and ‘The Haunting In Connecticut’ with $23 million. Be it ‘Rambo’ ($18.2 million), ‘Kick Ass’ ($19.8 million), ’3:10 to Yuma’ ($14 million), or ‘Killers’ ($15.8 million), Lionsgate has had a problem opening seemingly break-out pictures above their $15-19 million ceiling.
At $35 million, ‘The Expendables’ posted the second biggest opening weekend in Lionsgate history, besting the $33.6 million debut of ‘Saw III’ and falling just short of the $40 million debut of ‘Madea Goes to Jail.’ For comparison, the prior best opening weekend in Lionsgate history for something that was not a Madea picture or a ‘Jigsaw’ epic were the $23 million debuts of Fahrenheit 9/11 (which broke a record for a film opening under 1,000 screens set by ‘Rocky III’ back in 1982) and ‘The Haunting In Connecticut.’ Lionsgate has had several high-profile disappointments of late, not so much flops as heavily-hyped pictures that none-the-less failed to break the $21 million opening weekend ceiling that Lionsgate seems to have. That they could successfully open this mainstream entertainment as large as any other studio is an encouraging sign that Lionsgate can play in the bigger studios’ sandbox. The film cost $82 million, but Lionsgate paid just $20 million for distribution and offered up marketing [...]

INTERVIEW: “Other Guys” Ferrell and Wahlberg on blending comedy with action

By Sean O’Connell
Hollywoodnews.com: We’re finally able to spill the beans on our exclusive coverage of Will Ferrell and Mark Wahlberg’s cop comedy “The Other Guys” which opens in theaters this Friday.
Last month, we were able to attend a press conference with the “Guys,” as well as director Adam McKay and co-stars Eva Mendes and Michael Keaton. We’ll bring you exclusive content from our interviews all week long, leading up to a full review of “The Other Guys” on opening day.
One of the first questions directed at McKay asked how he balanced the requisite cop-drama elements with the script’s intended comedy.
“You know there are certain beats that you have to hit,” McKay told the gathered journalists. “(Steve Coogan) has to be taken from them in the car, because that’s what’s happening to them in the scene. And then you know also know when there are scenes where you can just go off. If it’s Mark saying a monologue or Will chewing out Mark, you know you’ve got room there. We sort of identify the areas where you can get sort of fuzzy and crazy, like when Michael (Keaton) was talking to the Bed, Bath and Beyond employees. We improvised about a half-hour worth of material out of just that, where it just went on and on.”
“This, probably, is the most plot-driven movie we’ve done,” Ferrell added.
When asked if he contributed knowledge of action-movie mechanics, thanks to his extensive experience shooting pictures like “Max Payne,” “Shooter,” “The Departed” or “The Italian Job,” Wahlberg admitted, “I obviously had a lot of fun making this movie. I certainly felt very comfortable when it came to anything cop-ish or action (related). But with all of the other (comedic) stuff, I just basically wanted to follow their lead.”
“It was funny, we’d be shooting a big, giant action scene, and Will and I would be like, ‘Wow, look at this. We’re breaking a window!’” said McKay. “And Mark would come over, almost yawning, and be like, ‘Yeah, we did this one time except I was being shot out of a cannon and I was on fire.’ And we’d be like, ‘You know what, Mark, let us have our fun. Please.’”
We’ll have more coverage of “The Other Guys” as the week progresses, including additional quotes from Ferrell, Wahlberg, Eva Mendes and Michael Keaton.

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