O:9:"MagpieRSS":23:{s:6:"parser";i:0;s:12:"current_item";a:0:{}s:5:"items";a:10:{i:0;a:11:{s:5:"title";s:78:"Amazon Studios partners with dj2 Entertainment for more game-movie adaptations";s:4:"link";s:149:"https://movieshere.packagingnewsonline.com/movie-production-companies/amazon-studios-partners-with-dj2-entertainment-for-more-game-movie-adaptations/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Thu, 17 Feb 2022 17:40:55 +0000";s:8:"category";s:83:"Movie Production CompaniesAdaptationsAmazondj2EntertainmentgamemoviePartnersStudios";s:4:"guid";s:51:"https://movieshere.packagingnewsonline.com/?p=25050";s:11:"description";s:716:"GamesBeat Summit 2022 returns with its largest event for leaders in gaming on April 26-28th. Reserve your spot here! Amazon Studios is becoming a big player in entertainment, especially with its upcoming Amazon Prime show The Lord of the Rings: The Rings of Power coming in September. But it’s also jumping on the trend of turning ... Read more";s:7:"content";a:1:{s:7:"encoded";s:5286:"
GamesBeat Summit 2022 returns with its largest event for leaders in gaming on April 26-28th. Reserve your spot here!
Amazon Studios is becoming a big player in entertainment, especially with its upcoming Amazon Prime show The Lord of the Rings: The Rings of Power coming in September.
But it’s also jumping on the trend of turning video games into movies and TV shows. Today it announced a “first look” pact with dj2 Entertainment, which specializes in adapting video game titles for television and film. We’ve seen a lot of this happening lately, with the Uncharted movie from Sony, based on the Uncharted game series, opening in theaters soon. This is the usual transmedia strategy, except in reverse, as it has been focused on movies to games in the past.
“The dj2 team has long believed that video games would one day serve as incredible source material for stories told in television and film, and that it was only the lack of love and respect for the artform which previously held successful adaptations back, said Dmitri M. Johnson, CEO of dj2 Entertainment, in a statement. “Moreover, it is truly an honor to have Prime Video as our platform partner. A partner who truly supports us, as well as our grand ambitions, for telling the best international gaming stories with no limitations in how high we may collectively aim.”
dj2 Entertainment will create and produce content that will exclusively stream on Prime Video in more than 240 countries and territories worldwide.
“I cannot express enough just how excited we are to be working with the powerhouse team at dj2 Entertainment. Their expertise and skill in the gaming-to-screen market is unparalleled,” said Nick Pepper, head of studio creative content, Amazon Studios. “The possibilities are endless for what we can create together for our global audiences.”
Dmitri Johnson of dj2 Entertainment via Miles Lam
dj2 Entertainment specializing in making in video-game-to-TV/motion-picture adaptations. Founded Johnson, the team includes Dan Jevons, Stephan Bugaj, Howard Bliss, and Tim Stevenson.
Their more recent projects include the record-setting box-office hit, Sonic The Hedgehog, with its sequel dated for an April 2022 global theatrical release, Tomb Raider: The Animated Series for Netflix, which has a two-season order (and is currently in production).
One of Amazon Studios’ latest original feature projects, entitled Coyote Blue, starring Sterling Brown, to be directed by Hanelle Culpepper and written by John Wick creator Derek Kolstad, and 2021’s Game of the Year winner, It Takes Two; all in addition to actively reactivating the next round of classic IP for Hollywood, such as Teddy Ruxpin and Sega’s Toe Jam and Earl.
dj2 recently struck a strategic video game-to-producer first-look with Swedish video game publisher, Raw Fury, to assist them in adapting their vast interactive catalog into television and film. Raw Fury is the prolific publisher behind such games as Norco and the indie hit Sable.
dj2 is represented by APA and Cowan, DeBaets, Abrahams & Sheppard LLP.
GamesBeat’s creed when covering the game industry is “where passion meets business.” What does this mean? We want to tell you how the news matters to you — not just as a decision-maker at a game studio, but also as a fan of games. Whether you read our articles, listen to our podcasts, or watch our videos, GamesBeat will help you learn about the industry and enjoy engaging with it. Learn More
We would like to say thanks to the writer of this article for this incredible material
";}s:7:"summary";s:716:"GamesBeat Summit 2022 returns with its largest event for leaders in gaming on April 26-28th. Reserve your spot here! Amazon Studios is becoming a big player in entertainment, especially with its upcoming Amazon Prime show The Lord of the Rings: The Rings of Power coming in September. But it’s also jumping on the trend of turning ... Read more";s:12:"atom_content";s:5286:"
GamesBeat Summit 2022 returns with its largest event for leaders in gaming on April 26-28th. Reserve your spot here!
Amazon Studios is becoming a big player in entertainment, especially with its upcoming Amazon Prime show The Lord of the Rings: The Rings of Power coming in September.
But it’s also jumping on the trend of turning video games into movies and TV shows. Today it announced a “first look” pact with dj2 Entertainment, which specializes in adapting video game titles for television and film. We’ve seen a lot of this happening lately, with the Uncharted movie from Sony, based on the Uncharted game series, opening in theaters soon. This is the usual transmedia strategy, except in reverse, as it has been focused on movies to games in the past.
“The dj2 team has long believed that video games would one day serve as incredible source material for stories told in television and film, and that it was only the lack of love and respect for the artform which previously held successful adaptations back, said Dmitri M. Johnson, CEO of dj2 Entertainment, in a statement. “Moreover, it is truly an honor to have Prime Video as our platform partner. A partner who truly supports us, as well as our grand ambitions, for telling the best international gaming stories with no limitations in how high we may collectively aim.”
dj2 Entertainment will create and produce content that will exclusively stream on Prime Video in more than 240 countries and territories worldwide.
“I cannot express enough just how excited we are to be working with the powerhouse team at dj2 Entertainment. Their expertise and skill in the gaming-to-screen market is unparalleled,” said Nick Pepper, head of studio creative content, Amazon Studios. “The possibilities are endless for what we can create together for our global audiences.”
Dmitri Johnson of dj2 Entertainment via Miles Lam
dj2 Entertainment specializing in making in video-game-to-TV/motion-picture adaptations. Founded Johnson, the team includes Dan Jevons, Stephan Bugaj, Howard Bliss, and Tim Stevenson.
Their more recent projects include the record-setting box-office hit, Sonic The Hedgehog, with its sequel dated for an April 2022 global theatrical release, Tomb Raider: The Animated Series for Netflix, which has a two-season order (and is currently in production).
One of Amazon Studios’ latest original feature projects, entitled Coyote Blue, starring Sterling Brown, to be directed by Hanelle Culpepper and written by John Wick creator Derek Kolstad, and 2021’s Game of the Year winner, It Takes Two; all in addition to actively reactivating the next round of classic IP for Hollywood, such as Teddy Ruxpin and Sega’s Toe Jam and Earl.
dj2 recently struck a strategic video game-to-producer first-look with Swedish video game publisher, Raw Fury, to assist them in adapting their vast interactive catalog into television and film. Raw Fury is the prolific publisher behind such games as Norco and the indie hit Sable.
dj2 is represented by APA and Cowan, DeBaets, Abrahams & Sheppard LLP.
GamesBeat’s creed when covering the game industry is “where passion meets business.” What does this mean? We want to tell you how the news matters to you — not just as a decision-maker at a game studio, but also as a fan of games. Whether you read our articles, listen to our podcasts, or watch our videos, GamesBeat will help you learn about the industry and enjoy engaging with it. Learn More
We would like to say thanks to the writer of this article for this incredible material
";s:14:"date_timestamp";i:1645119655;}i:1;a:11:{s:5:"title";s:85:"Govind Namdev: Bhool Bhulaiyaa 2 Will Surpass Popularity of Original Film | Exclusive";s:4:"link";s:153:"https://movieshere.packagingnewsonline.com/movie-production-companies/govind-namdev-bhool-bhulaiyaa-2-will-surpass-popularity-of-original-film-exclusive/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Thu, 17 Feb 2022 11:00:21 +0000";s:8:"category";s:90:"Movie Production CompaniesBhoolBhulaiyaaEXCLUSIVEFilmGovindNamdevOriginalPopularitySurpass";s:4:"guid";s:51:"https://movieshere.packagingnewsonline.com/?p=24895";s:11:"description";s:745:"Kartik Aaryan starrer Bhool Bhulaiyaa 2 is one of the most-awaited movies this year. After getting postponed multiple times, the movie will now be released on May 20. While fans are excited to know what this sequel of Bhool Bhulaiyaa will bring for the audience, here’s something that will raise excitement. Actor Govind Namdev, who ... Read more";s:7:"content";a:1:{s:7:"encoded";s:5197:"
Kartik Aaryan starrer Bhool Bhulaiyaa 2 is one of the most-awaited movies this year. After getting postponed multiple times, the movie will now be released on May 20. While fans are excited to know what this sequel of Bhool Bhulaiyaa will bring for the audience, here’s something that will raise excitement. Actor Govind Namdev, who will also be seen in the movie, tells News18.com that Bhool Bhulaiyaa 2 will surpass the popularity that the first movie received.
“Jo popularity Bhool Bhulaiyaa 1 ki thi, aur jo impact Bhool Bhulaiyaa one ka tha, mujhe lgta hai usse zyada impact rahega Bhool Bhulaiyaa 2 ka. Log zyada enjoy karne wale hai Bhool Bhulaiya 2 ko (The kind of popularity that Bhool Bhulaiyaa one enjoyed, Bhool Bhulaiyaa will surpass it. Bhool Bhulaiyaa two will create a stronger impact. People will enjoy this movie more),” he said.
Bhool Bhulaiyaa was released in 2007 and starred Akshay Kumar and Vidya Balan in the lead. It was a horror-comedy that presented how an NRI’s wife notices ghostly occurrences as they visit their ancestral home. However, the second part of the movie will have Kartik Aaryan in the lead.
Apart from this, Govind Namdev also talked about the sequel to another Akshay Kumar starrer, OMG 2, and spilled the beans about its plot. The actor mentioned that the second part of OMG will be completely different from the first one. The actor went on to say that OMG 2 has nothing to do with OMG – Oh My God! which was released in 2012.
“Sab kuch naya hi hai. Pichla jaisa kuch nahi hai uss mein. Kahani bhi naye hai, aaj kal ke samay ki hai. Characters bhi bilkul naye hai. Aaj kal ke hisaab se hai. Iske baare mein zyada bata nahi sakte hai. Sirf itna bata sakte hai ke yeh aaj kal ke zamane ki kahani hai, pichle kahane se iska koi lena dena nahi hai. Characters bilkul different hai aur yeh film tahelka machaegi. (Everything is new. It has nothing to do with the older one. It’s a new story, based on today’s world. Characters are also new. I cannot reveal much, but I can say that it has nothing to do with the previous film. Characters are different and the movie will be a superhit),” Namdev said.
The actor also added that OMG 2 has been made considering that it does not hurt anyone’s sentiments. “Humne poori koshish ki hai ke balanced rahe movie, kisi ke bhawnao ko hum aahat na kare, koi hurt na ho. Iske humne poori koshish ki hai. (We tried to keep this movie balanced. We have tried not to hurt anyone’s sentiments),” he said.
OMG – Oh My God! was released in 2012 with Akshay Kumar and Paresh Rawal in the lead. Govind Namdev was seen as a priest in the film which talked about exposing corrupt self-confessed charlatans.
On being asked about his shooting experience for OMG 2 and Bhool Bhulaiyaa 2 amid the coronavirus pandemic, the actor talked about how he followed all safety protocols and mentioned that he was confident about his immunity.
“Main hamesha yeh sochta tha ke jo immunity power main mehsoos karta tha, apne aap ko mazboot mehsoos karta tha. Jo bhi protocol thay corona se bachaw ke liye, main uska palan kiya karta tha. Main uss roop se bahut hi confident tha ke mujhe nahi lagta ke mujhe kuch ho sakta hai, issliye maine shooting ki. (I always used to think that my immunity power is strong. I used to follow all coronavirus-related safety protocols. I was confident that nothing can happen to me and that’s why I went out to shoot),” the actor said.
Namdev also mentioned how there was no work in the beginning of the coronavirus pandemic, but he was lucky enough to be financially stable. He also revealed how several of his friends, including those from the industry, faced financial constraints due to COVID-19. “Aise aise logo ko gidgidaate hue dekha. Sirf Rs 1500 ke liye. Matlab kehte the ke ‘bas Rs 1500 dedo, hum poora mahina kaise bhi nikaal lenge’ (I saw so many people asking for money. They used to ask for merely Rs 1500 and say, ‘we can manage our entire month’),” he said.
Read all the Latest News, Breaking News and Assembly Elections Live Updates here.
We want to give thanks to the writer of this short article for this remarkable web content
";}s:7:"summary";s:745:"Kartik Aaryan starrer Bhool Bhulaiyaa 2 is one of the most-awaited movies this year. After getting postponed multiple times, the movie will now be released on May 20. While fans are excited to know what this sequel of Bhool Bhulaiyaa will bring for the audience, here’s something that will raise excitement. Actor Govind Namdev, who ... Read more";s:12:"atom_content";s:5197:"
Kartik Aaryan starrer Bhool Bhulaiyaa 2 is one of the most-awaited movies this year. After getting postponed multiple times, the movie will now be released on May 20. While fans are excited to know what this sequel of Bhool Bhulaiyaa will bring for the audience, here’s something that will raise excitement. Actor Govind Namdev, who will also be seen in the movie, tells News18.com that Bhool Bhulaiyaa 2 will surpass the popularity that the first movie received.
“Jo popularity Bhool Bhulaiyaa 1 ki thi, aur jo impact Bhool Bhulaiyaa one ka tha, mujhe lgta hai usse zyada impact rahega Bhool Bhulaiyaa 2 ka. Log zyada enjoy karne wale hai Bhool Bhulaiya 2 ko (The kind of popularity that Bhool Bhulaiyaa one enjoyed, Bhool Bhulaiyaa will surpass it. Bhool Bhulaiyaa two will create a stronger impact. People will enjoy this movie more),” he said.
Bhool Bhulaiyaa was released in 2007 and starred Akshay Kumar and Vidya Balan in the lead. It was a horror-comedy that presented how an NRI’s wife notices ghostly occurrences as they visit their ancestral home. However, the second part of the movie will have Kartik Aaryan in the lead.
Apart from this, Govind Namdev also talked about the sequel to another Akshay Kumar starrer, OMG 2, and spilled the beans about its plot. The actor mentioned that the second part of OMG will be completely different from the first one. The actor went on to say that OMG 2 has nothing to do with OMG – Oh My God! which was released in 2012.
“Sab kuch naya hi hai. Pichla jaisa kuch nahi hai uss mein. Kahani bhi naye hai, aaj kal ke samay ki hai. Characters bhi bilkul naye hai. Aaj kal ke hisaab se hai. Iske baare mein zyada bata nahi sakte hai. Sirf itna bata sakte hai ke yeh aaj kal ke zamane ki kahani hai, pichle kahane se iska koi lena dena nahi hai. Characters bilkul different hai aur yeh film tahelka machaegi. (Everything is new. It has nothing to do with the older one. It’s a new story, based on today’s world. Characters are also new. I cannot reveal much, but I can say that it has nothing to do with the previous film. Characters are different and the movie will be a superhit),” Namdev said.
The actor also added that OMG 2 has been made considering that it does not hurt anyone’s sentiments. “Humne poori koshish ki hai ke balanced rahe movie, kisi ke bhawnao ko hum aahat na kare, koi hurt na ho. Iske humne poori koshish ki hai. (We tried to keep this movie balanced. We have tried not to hurt anyone’s sentiments),” he said.
OMG – Oh My God! was released in 2012 with Akshay Kumar and Paresh Rawal in the lead. Govind Namdev was seen as a priest in the film which talked about exposing corrupt self-confessed charlatans.
On being asked about his shooting experience for OMG 2 and Bhool Bhulaiyaa 2 amid the coronavirus pandemic, the actor talked about how he followed all safety protocols and mentioned that he was confident about his immunity.
“Main hamesha yeh sochta tha ke jo immunity power main mehsoos karta tha, apne aap ko mazboot mehsoos karta tha. Jo bhi protocol thay corona se bachaw ke liye, main uska palan kiya karta tha. Main uss roop se bahut hi confident tha ke mujhe nahi lagta ke mujhe kuch ho sakta hai, issliye maine shooting ki. (I always used to think that my immunity power is strong. I used to follow all coronavirus-related safety protocols. I was confident that nothing can happen to me and that’s why I went out to shoot),” the actor said.
Namdev also mentioned how there was no work in the beginning of the coronavirus pandemic, but he was lucky enough to be financially stable. He also revealed how several of his friends, including those from the industry, faced financial constraints due to COVID-19. “Aise aise logo ko gidgidaate hue dekha. Sirf Rs 1500 ke liye. Matlab kehte the ke ‘bas Rs 1500 dedo, hum poora mahina kaise bhi nikaal lenge’ (I saw so many people asking for money. They used to ask for merely Rs 1500 and say, ‘we can manage our entire month’),” he said.
Read all the Latest News, Breaking News and Assembly Elections Live Updates here.
We want to give thanks to the writer of this short article for this remarkable web content
";s:14:"date_timestamp";i:1645095621;}i:2;a:11:{s:5:"title";s:58:"Adventurous All-Fun Inclusive Concept at Hotel Xcaret Arte";s:4:"link";s:129:"https://movieshere.packagingnewsonline.com/movie-production-companies/adventurous-all-fun-inclusive-concept-at-hotel-xcaret-arte/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Thu, 17 Feb 2022 10:08:44 +0000";s:8:"category";s:74:"Movie Production CompaniesAdventurousAllFunArteConcepthotelInclusiveXcaret";s:4:"guid";s:51:"https://movieshere.packagingnewsonline.com/?p=24883";s:11:"description";s:689:"Grupo Xcaret’s second property, Hotel Xcaret Arte, officially began welcoming guests last month. Conveniently situated 45 minutes away from the Cancun International Airport and 45 minutes away from Tulum, the resort invites adult guests ages 16 and older to experience artisan Mexico. Guests are immersed in both adventure and nature throughout their stay, and the ... Read more";s:7:"content";a:1:{s:7:"encoded";s:4168:"
Grupo Xcaret’s second property, Hotel Xcaret Arte, officially began welcoming guests last month. Conveniently situated 45 minutes away from the Cancun International Airport and 45 minutes away from Tulum, the resort invites adult guests ages 16 and older to experience artisan Mexico.
Guests are immersed in both adventure and nature throughout their stay, and the All-Fun Inclusive model allows them to participate in various activities at no extra cost.
ADVERTISING
The All-Fun Inclusive concept starts from the moment visitors step off the plane since transportation from the airport to the hotel is included.
Upon arrival at Hotel Xcaret Arte, guests are led to their home away from home, a sophisticated suite inspired by the best Mexican artists and built with sustainability in mind. Visitors are engulfed by garden views and the lush Mayan jungle with distant sounds of the ocean waves crashing on the sand.
The adventurous All-Fun inclusive journey continues throughout the stay as guests are invited to connect with nature even more through visits to the surrounding parks. Unlimited access to nearby Xcaret, Xel-Há, Xplor, Xplor Fuego, Xoximilco, Xenses, Xavage and Xenotes is included.
Animal encounters. (photo via Hotel Xcaret Arte)
Guests of all ages can enjoy thrilling activities, like zip lining and cruising through the jungle in an amphibious vehicle, animal encounters, water adventures such as snorkeling or rafting and much more. Transportation to and from the parks is also included.
Adventure doesn’t only come from exhilarating activities – sometimes it’s as simple as trying something new. And trying something new is a must during a stay at this unique hotel, as there are several workshops to participate in. From knitting and literature to dancing, painting and pottery, guests are sure to find something new to try.
Throughout the time spent at this nature-inspired oasis, guests are spoiled with delicious cuisine to indulge in as they discover the unique flavors of the region. From pre-Hispanic influences to Japanese flavors, and everything in between, Hotel Xcaret Arte blends old and new to create delicious menu items for guests to enjoy during their visit.
Workshops at Hotel Xcaret Arte. (photo via Hotel Xcaret Arte)
It’s clear nature was at the forefront during the creation of this property, as it’s ingrained in every aspect, from architecture to cuisine to room views. Visitors step into a “no rush” atmosphere and can enjoy a laidback vibe, choosing to participate in activities when and where they desire.
Although it’s not easy for guests to depart, the All-fun Inclusive concept is topped off with a complimentary transfer back to the airport, giving them one less aspect of the trip to have to think about.
To learn more about the adventure- and nature-inspired All-Fun Inclusive concept at Hotel Xcaret Arte, contact a travel advisor or click here.
We want to say thanks to the writer of this article for this amazing web content
";}s:7:"summary";s:689:"Grupo Xcaret’s second property, Hotel Xcaret Arte, officially began welcoming guests last month. Conveniently situated 45 minutes away from the Cancun International Airport and 45 minutes away from Tulum, the resort invites adult guests ages 16 and older to experience artisan Mexico. Guests are immersed in both adventure and nature throughout their stay, and the ... Read more";s:12:"atom_content";s:4168:"
Grupo Xcaret’s second property, Hotel Xcaret Arte, officially began welcoming guests last month. Conveniently situated 45 minutes away from the Cancun International Airport and 45 minutes away from Tulum, the resort invites adult guests ages 16 and older to experience artisan Mexico.
Guests are immersed in both adventure and nature throughout their stay, and the All-Fun Inclusive model allows them to participate in various activities at no extra cost.
ADVERTISING
The All-Fun Inclusive concept starts from the moment visitors step off the plane since transportation from the airport to the hotel is included.
Upon arrival at Hotel Xcaret Arte, guests are led to their home away from home, a sophisticated suite inspired by the best Mexican artists and built with sustainability in mind. Visitors are engulfed by garden views and the lush Mayan jungle with distant sounds of the ocean waves crashing on the sand.
The adventurous All-Fun inclusive journey continues throughout the stay as guests are invited to connect with nature even more through visits to the surrounding parks. Unlimited access to nearby Xcaret, Xel-Há, Xplor, Xplor Fuego, Xoximilco, Xenses, Xavage and Xenotes is included.
Animal encounters. (photo via Hotel Xcaret Arte)
Guests of all ages can enjoy thrilling activities, like zip lining and cruising through the jungle in an amphibious vehicle, animal encounters, water adventures such as snorkeling or rafting and much more. Transportation to and from the parks is also included.
Adventure doesn’t only come from exhilarating activities – sometimes it’s as simple as trying something new. And trying something new is a must during a stay at this unique hotel, as there are several workshops to participate in. From knitting and literature to dancing, painting and pottery, guests are sure to find something new to try.
Throughout the time spent at this nature-inspired oasis, guests are spoiled with delicious cuisine to indulge in as they discover the unique flavors of the region. From pre-Hispanic influences to Japanese flavors, and everything in between, Hotel Xcaret Arte blends old and new to create delicious menu items for guests to enjoy during their visit.
Workshops at Hotel Xcaret Arte. (photo via Hotel Xcaret Arte)
It’s clear nature was at the forefront during the creation of this property, as it’s ingrained in every aspect, from architecture to cuisine to room views. Visitors step into a “no rush” atmosphere and can enjoy a laidback vibe, choosing to participate in activities when and where they desire.
Although it’s not easy for guests to depart, the All-fun Inclusive concept is topped off with a complimentary transfer back to the airport, giving them one less aspect of the trip to have to think about.
To learn more about the adventure- and nature-inspired All-Fun Inclusive concept at Hotel Xcaret Arte, contact a travel advisor or click here.
We want to say thanks to the writer of this article for this amazing web content
";s:14:"date_timestamp";i:1645092524;}i:3;a:11:{s:5:"title";s:114:"Computerized Numerical Control (CNC) Industry Market Trend, Technology Innovations and Growth Prediction 2021-2026";s:4:"link";s:182:"https://movieshere.packagingnewsonline.com/movie-production-companies/computerized-numerical-control-cnc-industry-market-trend-technology-innovations-and-growth-prediction-2021-2026/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Thu, 17 Feb 2022 08:51:28 +0000";s:8:"category";s:113:"Movie Production CompaniesCNCComputerizedControlGrowthIndustryInnovationsmarketNumericalpredictiontechnologyTrend";s:4:"guid";s:51:"https://movieshere.packagingnewsonline.com/?p=24860";s:11:"description";s:877:"The business literature on Computerized Numerical Control (CNC) Industry market explicates the driving forces, restraints, and rewarding prospects shaping the growth of the industry sphere over 2020-2026. It accurately predicts the performance of the industry by comparing the past and present business landscape, so as to aid stakeholders in making fruitful decisions. Taking the analysis ... Read more";s:7:"content";a:1:{s:7:"encoded";s:6660:"
The business literature on Computerized Numerical Control (CNC) Industry market explicates the driving forces, restraints, and rewarding prospects shaping the growth of the industry sphere over 2020-2026. It accurately predicts the performance of the industry by comparing the past and present business landscape, so as to aid stakeholders in making fruitful decisions.
Taking the analysis further, the study expounds the various market segmentations, highlighting their individual growth graph and contribution to the overall industry value. In addition, it factors in the effect of the COVID-19 pandemic for a stronger cognizance of the industry trajectory.
Request Sample Copy of this Report @ https://www.getnewsalert.com/request-sample/23232
Major highlights from the COVID-19 impact analysis:
An overview of how the pandemic has impacted the worldwide economy
Supply and demand shocks
Current and ensuing industry trends with respect to the pandemic
An overview of the regional landscape:
Geographical landscape of the Computerized Numerical Control (CNC) Industry industry is divided into North America, Europe, Asia-Pacific, South America, Middle East & Africa, South East Asia.
Overview of each regional market’s growth patterns is cited over the projected timeframe.
The report includes vital data regarding sales garnered, revenue amassed, and projected growth rate of each region.
Other significant inclusions in the Computerized Numerical Control (CNC) Industry market report:
The product gamut of the Computerized Numerical Control (CNC) Industry industry is classified into Machine Tool andNon-Machine Tool.
Complete information about sales volume and revenue of each product type is hosted in the study.
Other metrics like growth rate as well as production pattern coupled with market share of every product type over the analysis period is incorporated in the document.
The application scope of the Computerized Numerical Control (CNC) Industry market is divided into Automotive,Healthcare,Jewelry,Food Industry andOthers.
Expansion graph in terms of sales and revenue share of each application segment over the stipulated duration is illustrated.
Competitive landscape of the Computerized Numerical Control (CNC) Industry industry is defined by Fanuc,Mitsubishi Electric,Bosch Rexroth AG,Heidenhain,Fagor Automation,Sieb & Meyer AG,GSK CNC Equipment Co,Siemens AG andSoft Servo Systems.
The report includes information pertinent to the industry share, gross margins, and pricing models of the listed companies.
It further highlights the competitive trends and their business implications.
The Computerized Numerical Control (CNC) Industry market report also provides a study on the investment feasibility of new projects with the help of SWOT analysis as well as Porter’s 5 forces analysis tools.
Major Points Covered in TOC:
Overview: Along with a broad overview of the global Computerized Numerical Control (CNC) Industry market, this section gives an overview of the report to give an idea about the nature and contents of the research study.
Analysis of Strategies of Leading Players: Market players can use this analysis to gain a competitive advantage over their competitors in the Computerized Numerical Control (CNC) Industry market.
Study on Key Market Trends: This section of the report offers a deeper analysis of the latest and future trends of the market.
Market Forecasts: Buyers of the report will have access to accurate and validated estimates of the total market size in terms of value and volume. The report also provides consumption, production, sales, and other forecasts for the Computerized Numerical Control (CNC) Industry market.
Regional Growth Analysis: All major regions and countries have been covered in the report. The regional analysis will help market players to tap into unexplored regional markets, prepare specific strategies for target regions, and compare the growth of all regional markets.
Segmental Analysis: The report provides accurate and reliable forecasts of the market share of important segments of the Computerized Numerical Control (CNC) Industry market. Market participants can use this analysis to make strategic investments in key growth pockets of the market.
Key questions answered in the report:
What will the market growth rate of Computerized Numerical Control (CNC) Industry market?
What are the key factors driving the Global Computerized Numerical Control (CNC) Industry market?
Who are the key manufacturers in market space?
What are the market opportunities, market risk and market overview of the market?
What are sales, revenue, and price analysis of top manufacturers of Computerized Numerical Control (CNC) Industry market?
Who are the distributors, traders, and dealers of Computerized Numerical Control (CNC) Industry market?
What are the Computerized Numerical Control (CNC) Industry market opportunities and threats faced by the vendors in the Global Computerized Numerical Control (CNC) Industry industries?
What are sales, revenue, and price analysis by types and applications of the market?
What are sales, revenue, and price analysis by regions of industries?
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We want to say thanks to the author of this post for this remarkable content
";}s:7:"summary";s:877:"The business literature on Computerized Numerical Control (CNC) Industry market explicates the driving forces, restraints, and rewarding prospects shaping the growth of the industry sphere over 2020-2026. It accurately predicts the performance of the industry by comparing the past and present business landscape, so as to aid stakeholders in making fruitful decisions. Taking the analysis ... Read more";s:12:"atom_content";s:6660:"
The business literature on Computerized Numerical Control (CNC) Industry market explicates the driving forces, restraints, and rewarding prospects shaping the growth of the industry sphere over 2020-2026. It accurately predicts the performance of the industry by comparing the past and present business landscape, so as to aid stakeholders in making fruitful decisions.
Taking the analysis further, the study expounds the various market segmentations, highlighting their individual growth graph and contribution to the overall industry value. In addition, it factors in the effect of the COVID-19 pandemic for a stronger cognizance of the industry trajectory.
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Major highlights from the COVID-19 impact analysis:
An overview of how the pandemic has impacted the worldwide economy
Supply and demand shocks
Current and ensuing industry trends with respect to the pandemic
An overview of the regional landscape:
Geographical landscape of the Computerized Numerical Control (CNC) Industry industry is divided into North America, Europe, Asia-Pacific, South America, Middle East & Africa, South East Asia.
Overview of each regional market’s growth patterns is cited over the projected timeframe.
The report includes vital data regarding sales garnered, revenue amassed, and projected growth rate of each region.
Other significant inclusions in the Computerized Numerical Control (CNC) Industry market report:
The product gamut of the Computerized Numerical Control (CNC) Industry industry is classified into Machine Tool andNon-Machine Tool.
Complete information about sales volume and revenue of each product type is hosted in the study.
Other metrics like growth rate as well as production pattern coupled with market share of every product type over the analysis period is incorporated in the document.
The application scope of the Computerized Numerical Control (CNC) Industry market is divided into Automotive,Healthcare,Jewelry,Food Industry andOthers.
Expansion graph in terms of sales and revenue share of each application segment over the stipulated duration is illustrated.
Competitive landscape of the Computerized Numerical Control (CNC) Industry industry is defined by Fanuc,Mitsubishi Electric,Bosch Rexroth AG,Heidenhain,Fagor Automation,Sieb & Meyer AG,GSK CNC Equipment Co,Siemens AG andSoft Servo Systems.
The report includes information pertinent to the industry share, gross margins, and pricing models of the listed companies.
It further highlights the competitive trends and their business implications.
The Computerized Numerical Control (CNC) Industry market report also provides a study on the investment feasibility of new projects with the help of SWOT analysis as well as Porter’s 5 forces analysis tools.
Major Points Covered in TOC:
Overview: Along with a broad overview of the global Computerized Numerical Control (CNC) Industry market, this section gives an overview of the report to give an idea about the nature and contents of the research study.
Analysis of Strategies of Leading Players: Market players can use this analysis to gain a competitive advantage over their competitors in the Computerized Numerical Control (CNC) Industry market.
Study on Key Market Trends: This section of the report offers a deeper analysis of the latest and future trends of the market.
Market Forecasts: Buyers of the report will have access to accurate and validated estimates of the total market size in terms of value and volume. The report also provides consumption, production, sales, and other forecasts for the Computerized Numerical Control (CNC) Industry market.
Regional Growth Analysis: All major regions and countries have been covered in the report. The regional analysis will help market players to tap into unexplored regional markets, prepare specific strategies for target regions, and compare the growth of all regional markets.
Segmental Analysis: The report provides accurate and reliable forecasts of the market share of important segments of the Computerized Numerical Control (CNC) Industry market. Market participants can use this analysis to make strategic investments in key growth pockets of the market.
Key questions answered in the report:
What will the market growth rate of Computerized Numerical Control (CNC) Industry market?
What are the key factors driving the Global Computerized Numerical Control (CNC) Industry market?
Who are the key manufacturers in market space?
What are the market opportunities, market risk and market overview of the market?
What are sales, revenue, and price analysis of top manufacturers of Computerized Numerical Control (CNC) Industry market?
Who are the distributors, traders, and dealers of Computerized Numerical Control (CNC) Industry market?
What are the Computerized Numerical Control (CNC) Industry market opportunities and threats faced by the vendors in the Global Computerized Numerical Control (CNC) Industry industries?
What are sales, revenue, and price analysis by types and applications of the market?
What are sales, revenue, and price analysis by regions of industries?
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We want to say thanks to the author of this post for this remarkable content
";s:14:"date_timestamp";i:1645087888;}i:4;a:11:{s:5:"title";s:126:"Saban Films President Bill Bromiley Talks Company’s Global Ambitions As It Signs Distribution Deals In Switzerland & Benelux";s:4:"link";s:192:"https://movieshere.packagingnewsonline.com/movie-production-companies/saban-films-president-bill-bromiley-talks-companys-global-ambitions-as-it-signs-distribution-deals-in-switzerland-benelux/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Thu, 17 Feb 2022 06:39:16 +0000";s:8:"category";s:121:"Movie Production CompaniesAmbitionsBeneluxBromileyCompanysDealsdistributionFilmsglobalpresidentSabansignsSwitzerlandTalks";s:4:"guid";s:51:"https://movieshere.packagingnewsonline.com/?p=24820";s:11:"description";s:889:"EXCLUSIVE: Saban Films is continuing to expand its international footprint, having recently inked a deal with distribution partners in Switzerland and Benelux. The L.A.-based company has signed with WW Entertainment in Benelux (Belgium, Netherlands and Luxembourg) and Ascot Elite in Switzerland, which it will add to deals it already has in place in the UK ... Read more";s:7:"content";a:1:{s:7:"encoded";s:10588:"
EXCLUSIVE: Saban Films is continuing to expand its international footprint, having recently inked a deal with distribution partners in Switzerland and Benelux. The L.A.-based company has signed with WW Entertainment in Benelux (Belgium, Netherlands and Luxembourg) and Ascot Elite in Switzerland, which it will add to deals it already has in place in the UK and Ireland (Altitude), Germany and Austria (Splendid), France (ACE Entertainment), Spain (Key2Media), Scandinavia (Mis.Label) and Australia and New Zealand (Defiant Screen Entertainment).
“We are confident that we have found the perfect like-minded partners with WW Entertainment and Ascot Elite as we continue to build our global distribution capabilities,” Saban Films’ president Bill Bromiley says.
When the company, which is backed by Power Rangers billionaire Haim Saban, launched in Cannes nearly eight years ago, the aim was to build a distribution outfit that would focus on talent-driven, genre titles, releasing around 12 to 18 movies a year.
“We’ve changed that model a little bit as the appetite has changed over the years but for the most part, our aim is the same thing,” Bromiley tells Deadline. “Except we’ve gone from 12 movies a year to 60.”
Saban Films is coming off the back of two of its most successful years in terms of revenue – during a pandemic, nonetheless. At the end of last year, the outfit had released 148 films since it’s inception and, under Bromiley’s lead, the company has started boarding more and more projects at script stage, as well as expanding its tentacles with distribution partners across the globe.
Saban’s past titles range from Johnny Depp and Forest Whitaker starrer City Of Lies to Mel Gibson starrer Fatman with an upcoming slate including Hide with Jonathan Rhys Meyers, Bruce Willis starrer Reactor and Nicolas Cage western The Old Way.
The company admittedly doesn’t acquire the buzziest projects up for grabs at markets and instead chooses to remain steadfast to what Bromiley describes as a “distribution agnostic” business with “no ego.” “Our bottom line is profitability,” he says.
“At the moment, there’s a whole new perspective on people’s ability to watch content and where they can watch it,” Bromiley says. “Our business is indicative of that given we’ve had two of our biggest years back-to-back.”
Deadline sat down with Bromiley to discuss the company’s strategy, its plans for expanding a global distribution footprint and the challenges that lie for the business ahead.
Nicolas Cage as Colton Briggs & Ryan Kiera Armstrong as Brooke Briggs in “The Old Way” Photo by Kehana Krumme
DEADLINE: Tell us about Saban’s business model and how you have stuck to it.
BILL BROMILEY: We like to call it a distribution agnostic model. When we started, we didn’t have a specific way to distribute the films, we just wanted to maximize revenue on each film. So, in a lot of cases, it was a day-and-date strategy. We worked a lot with DirecTV in the beginning to do premieres with them. We didn’t say no to anything, and we explored every possible way that was new to get content into the consumer home. Where we settled was on the day-and-date model and over the years, that’s been our primary way of releasing films. It was challenging several years ago but, ironically, the business has sort of gone that way anyway. Five years ago or so, it was tough for us to sell talent on that release strategy, but now the studios are doing it so it’s easy.
Of course, a lot of this has to do with the pandemic – we didn’t know the business would be going this way, but the day-and-date-model always seemed to us to be the best way to maximize exposure of a movie.
DEADLINE: You focus a lot on genre titles. Why is this?
BROMILEY: That was the way that the company was launched. That was our pitch when we got Haim [Saban] involved in it, and we sort of pride ourselves on sticking to this business model. It’s tough sometimes to be at a market and see a film that you absolutely love and then do the numbers on it and realize you can’t really make it work because you can’t find the audience.
We’ve walked away from a lot of films we really enjoyed and stuck to those movies that are more traditional in terms of having a larger audience and that’s essentially the genre films. The genre titles have also been more resilient, and these are titles that have always worked more in the independent space, action titles, thrillers and suspense titles.
DEADLINE: Would you ever stray from that model?
BROMILEY: Never say never. We have experimented with some small family films and they have not worked but it’s never say never.
DEADLINE: You guys have set up an expansive global distribution network, partnering with companies such as Altitude in the UK and Ireland, ACE Entertainment in France and Defiant Screen in Australia and New Zealand, among others. What’s the strategy behind this?
BROMILEY: We started thinking about this probably two or three years ago when we were looking for ways to expand the business. We decided to focus on replicating the model that we have in the U.S., which is to align ourselves with very strong partners in certain territories internationally and have output deals with these partners as we do in the U.S. [Saban partners with Lionsgate and Paramount for domestic releases].
This model will allow us to grow the company and revenue in a conservative way because there isn’t a lot of risk attached. We must educate ourselves on each of the territories of course.
DEADLINE: How does it work at markets then? Do you strategize with your partners when buying a film?
BROMILEY: That’s a good question. It’s a little bit different at markets. It’s better to look at it in terms of finished films versus pre-buys. With finished films often we will just make the deal whether it’s for the U.S., North America or all of our territories. In some cases, we’ve bought worldwide rights. For a pre-buy, we do a little bit more digging and we evaluate in each of the territories what we think the worth is in each and, in some cases, if it’s something they’ve been pursuing, we decide if we’re going to do it together or do it separately. It’s worked out well and super easy so far.
DEADLINE: What’s the plan for growing this global distribution network?
BROMILEY: We’re taking it slowly. But we will continue to expand as we see necessary. I think we’ve kept it where we want to go for stage one. We have identified the territories that make the most sense for us. But if you’re asking will there be a stage two expansion? Yes, there will be at some point for sure. It wouldn’t be unusual for us to be in the worldwide business within another year or two.
DEADLINE: What’s the distribution business looking right now for your company given the current landscape?
BROMILEY: We’re hoping that it continues to get back to somewhat what it used to be prior to the pandemic. I think that the theatrical business is very healthy for the business overall. It’s necessary. Even though it’s not our primary source of revenue, we are fully supportive of it. People want to see movies in theaters and I don’t think that will ever go away. Unfortunately, you’re seeing some of the weaker theaters having to close for financial reasons but I think that the theaters that do remain will continue to prosper and that business will grow back to a segment of what it used to be. Now, we’re seeing people have been more educated on how to see film in places outside of the theater. So, hopefully what happens is we have more opportunities and more eyeballs to be able to see film in more places and I don’t think this will be at the expense of theaters. I think theatrical is going to come back, it’s just going to take a little bit more time.
DEADLINE: What challenges are you facing beyond that?
BROMILEY: I think the biggest challenge for us is content and, to be more specific, it’s the talent in the content. The actors that are doing projects in the independent film world are the same group of 20, 30 or 40 actors. Most of the talent has migrated to the SVOD companies and cable companies and are working for, I would presume, massive fees because they have left the independent film business. We used to have this great breadth of types of talent that we could choose from and now we’re not seeing that and that is, I think the biggest danger we face.
We would love to thank the author of this short article for this incredible web content
";}s:7:"summary";s:889:"EXCLUSIVE: Saban Films is continuing to expand its international footprint, having recently inked a deal with distribution partners in Switzerland and Benelux. The L.A.-based company has signed with WW Entertainment in Benelux (Belgium, Netherlands and Luxembourg) and Ascot Elite in Switzerland, which it will add to deals it already has in place in the UK ... Read more";s:12:"atom_content";s:10588:"
EXCLUSIVE: Saban Films is continuing to expand its international footprint, having recently inked a deal with distribution partners in Switzerland and Benelux. The L.A.-based company has signed with WW Entertainment in Benelux (Belgium, Netherlands and Luxembourg) and Ascot Elite in Switzerland, which it will add to deals it already has in place in the UK and Ireland (Altitude), Germany and Austria (Splendid), France (ACE Entertainment), Spain (Key2Media), Scandinavia (Mis.Label) and Australia and New Zealand (Defiant Screen Entertainment).
“We are confident that we have found the perfect like-minded partners with WW Entertainment and Ascot Elite as we continue to build our global distribution capabilities,” Saban Films’ president Bill Bromiley says.
When the company, which is backed by Power Rangers billionaire Haim Saban, launched in Cannes nearly eight years ago, the aim was to build a distribution outfit that would focus on talent-driven, genre titles, releasing around 12 to 18 movies a year.
“We’ve changed that model a little bit as the appetite has changed over the years but for the most part, our aim is the same thing,” Bromiley tells Deadline. “Except we’ve gone from 12 movies a year to 60.”
Saban Films is coming off the back of two of its most successful years in terms of revenue – during a pandemic, nonetheless. At the end of last year, the outfit had released 148 films since it’s inception and, under Bromiley’s lead, the company has started boarding more and more projects at script stage, as well as expanding its tentacles with distribution partners across the globe.
Saban’s past titles range from Johnny Depp and Forest Whitaker starrer City Of Lies to Mel Gibson starrer Fatman with an upcoming slate including Hide with Jonathan Rhys Meyers, Bruce Willis starrer Reactor and Nicolas Cage western The Old Way.
The company admittedly doesn’t acquire the buzziest projects up for grabs at markets and instead chooses to remain steadfast to what Bromiley describes as a “distribution agnostic” business with “no ego.” “Our bottom line is profitability,” he says.
“At the moment, there’s a whole new perspective on people’s ability to watch content and where they can watch it,” Bromiley says. “Our business is indicative of that given we’ve had two of our biggest years back-to-back.”
Deadline sat down with Bromiley to discuss the company’s strategy, its plans for expanding a global distribution footprint and the challenges that lie for the business ahead.
Nicolas Cage as Colton Briggs & Ryan Kiera Armstrong as Brooke Briggs in “The Old Way” Photo by Kehana Krumme
DEADLINE: Tell us about Saban’s business model and how you have stuck to it.
BILL BROMILEY: We like to call it a distribution agnostic model. When we started, we didn’t have a specific way to distribute the films, we just wanted to maximize revenue on each film. So, in a lot of cases, it was a day-and-date strategy. We worked a lot with DirecTV in the beginning to do premieres with them. We didn’t say no to anything, and we explored every possible way that was new to get content into the consumer home. Where we settled was on the day-and-date model and over the years, that’s been our primary way of releasing films. It was challenging several years ago but, ironically, the business has sort of gone that way anyway. Five years ago or so, it was tough for us to sell talent on that release strategy, but now the studios are doing it so it’s easy.
Of course, a lot of this has to do with the pandemic – we didn’t know the business would be going this way, but the day-and-date-model always seemed to us to be the best way to maximize exposure of a movie.
DEADLINE: You focus a lot on genre titles. Why is this?
BROMILEY: That was the way that the company was launched. That was our pitch when we got Haim [Saban] involved in it, and we sort of pride ourselves on sticking to this business model. It’s tough sometimes to be at a market and see a film that you absolutely love and then do the numbers on it and realize you can’t really make it work because you can’t find the audience.
We’ve walked away from a lot of films we really enjoyed and stuck to those movies that are more traditional in terms of having a larger audience and that’s essentially the genre films. The genre titles have also been more resilient, and these are titles that have always worked more in the independent space, action titles, thrillers and suspense titles.
DEADLINE: Would you ever stray from that model?
BROMILEY: Never say never. We have experimented with some small family films and they have not worked but it’s never say never.
DEADLINE: You guys have set up an expansive global distribution network, partnering with companies such as Altitude in the UK and Ireland, ACE Entertainment in France and Defiant Screen in Australia and New Zealand, among others. What’s the strategy behind this?
BROMILEY: We started thinking about this probably two or three years ago when we were looking for ways to expand the business. We decided to focus on replicating the model that we have in the U.S., which is to align ourselves with very strong partners in certain territories internationally and have output deals with these partners as we do in the U.S. [Saban partners with Lionsgate and Paramount for domestic releases].
This model will allow us to grow the company and revenue in a conservative way because there isn’t a lot of risk attached. We must educate ourselves on each of the territories of course.
DEADLINE: How does it work at markets then? Do you strategize with your partners when buying a film?
BROMILEY: That’s a good question. It’s a little bit different at markets. It’s better to look at it in terms of finished films versus pre-buys. With finished films often we will just make the deal whether it’s for the U.S., North America or all of our territories. In some cases, we’ve bought worldwide rights. For a pre-buy, we do a little bit more digging and we evaluate in each of the territories what we think the worth is in each and, in some cases, if it’s something they’ve been pursuing, we decide if we’re going to do it together or do it separately. It’s worked out well and super easy so far.
DEADLINE: What’s the plan for growing this global distribution network?
BROMILEY: We’re taking it slowly. But we will continue to expand as we see necessary. I think we’ve kept it where we want to go for stage one. We have identified the territories that make the most sense for us. But if you’re asking will there be a stage two expansion? Yes, there will be at some point for sure. It wouldn’t be unusual for us to be in the worldwide business within another year or two.
DEADLINE: What’s the distribution business looking right now for your company given the current landscape?
BROMILEY: We’re hoping that it continues to get back to somewhat what it used to be prior to the pandemic. I think that the theatrical business is very healthy for the business overall. It’s necessary. Even though it’s not our primary source of revenue, we are fully supportive of it. People want to see movies in theaters and I don’t think that will ever go away. Unfortunately, you’re seeing some of the weaker theaters having to close for financial reasons but I think that the theaters that do remain will continue to prosper and that business will grow back to a segment of what it used to be. Now, we’re seeing people have been more educated on how to see film in places outside of the theater. So, hopefully what happens is we have more opportunities and more eyeballs to be able to see film in more places and I don’t think this will be at the expense of theaters. I think theatrical is going to come back, it’s just going to take a little bit more time.
DEADLINE: What challenges are you facing beyond that?
BROMILEY: I think the biggest challenge for us is content and, to be more specific, it’s the talent in the content. The actors that are doing projects in the independent film world are the same group of 20, 30 or 40 actors. Most of the talent has migrated to the SVOD companies and cable companies and are working for, I would presume, massive fees because they have left the independent film business. We used to have this great breadth of types of talent that we could choose from and now we’re not seeing that and that is, I think the biggest danger we face.
We would love to thank the author of this short article for this incredible web content
";s:14:"date_timestamp";i:1645079956;}i:5;a:11:{s:5:"title";s:75:"“Arte-sanar” or the Healing Power of Art through Therapeutic Dissidence";s:4:"link";s:140:"https://movieshere.packagingnewsonline.com/movie-production-companies/arte-sanar-or-the-healing-power-of-art-through-therapeutic-dissidence/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Wed, 16 Feb 2022 20:59:41 +0000";s:8:"category";s:71:"Movie Production CompaniesartArtesanarDissidencehealingPowerTherapeutic";s:4:"guid";s:51:"https://movieshere.packagingnewsonline.com/?p=24543";s:11:"description";s:685:"Independent Senator José Vargas Vidot sought art as a means for personal expression that has evolved into form of physical and emotional healing. “I was raised in Old San Juan. And whenever my mother went to the market, she used to leave me with [Rafael] Tufiño. I was really young then, and I couldn’t possibly ... Read more";s:7:"content";a:1:{s:7:"encoded";s:3904:"
Independent Senator José Vargas Vidot sought art as a means for personal expression that has evolved into form of physical and emotional healing.
“I was raised in Old San Juan. And whenever my mother went to the market, she used to leave me with [Rafael] Tufiño. I was really young then, and I couldn’t possibly realize he was a great artist… but the particular smell of oil on canvas and the realization of the harmonious organization of the colors always caught my attention,” Vargas Vidot said while recalling that growing up in poverty acted on him as a self-imposed limitation.
“Since the beginning, I thought that I couldn’t [make art], so I didn’t even dare to touch a brush,” he added.
But the grassroot activist turned senator did away with that after he met renowned Puerto Rican painter Antonio Martorell, while he was a professor at the Cayey Campus of the University of Puerto Rico. The relationship with the Master Artist put Vargas Vidot in contact with various artists that showed him how to “unlearn” all the misconceptions and prejudices he had about art.
One of those artists was Mildred Utroska, a Puerto Rican mother with a Polish last name, and self-taught artist.
Vargas Vidot recalls Mildred telling him she never studied painting, and that her teacher was cancer. “I am a person with cancer that has been able to get over the idea of loss searching for a way to deal with my own vulnerability because I am my daughters only support,” he recalled from his first meeting with artist.
After his meeting with Mildred, a cancer survivor that uses art as medicine and a means to live a healthy and productive life, Vargas Vidot decided to try his hand at art.
The Senator, who prior to his incursion in politics was the founder of “Iniciativa Comunitaria” a service and advocacy group in favor of the homeless, drug addiction and HIV victims, admits to the evident pun in the title of his art exhibit.
“‘Arte-sanar’ is not only about the healing powers of art, but also because I want to put an end to the idea that artisan work is lesser than art,” he pointed out as an indictment on the existing categorization between the artisan and the artist.
Vargas Vidot describes his work as “intuitive sentimental expressionism” with inclinations toward the abstract and admits he has had to fight against the “trivialization of abstract art.”
“There are some people who have discredited abstract art by making tutorials, and they look at it as if it is a matter throwing three blotches of paint and moving them around with a squeegee. That has no substance,” he sentenced.
Vargas Vidot characterizes his artwork as originating the emotions experiences and the mental state he is painting. Also, it is based on real stories, so it is impossible to reproduce. According to the artist, anyone looking at his painting shouldn’t try to decipher their meaning, but rather develop his or her own interpretation.
“Arte-sanar” exhibit will be until March 10, at the Antonio Fas Alzamora Art Gallery in the Senate wing of the Capitol Building.
We want to say thanks to the author of this post for this amazing content
";}s:7:"summary";s:685:"Independent Senator José Vargas Vidot sought art as a means for personal expression that has evolved into form of physical and emotional healing. “I was raised in Old San Juan. And whenever my mother went to the market, she used to leave me with [Rafael] Tufiño. I was really young then, and I couldn’t possibly ... Read more";s:12:"atom_content";s:3904:"
Independent Senator José Vargas Vidot sought art as a means for personal expression that has evolved into form of physical and emotional healing.
“I was raised in Old San Juan. And whenever my mother went to the market, she used to leave me with [Rafael] Tufiño. I was really young then, and I couldn’t possibly realize he was a great artist… but the particular smell of oil on canvas and the realization of the harmonious organization of the colors always caught my attention,” Vargas Vidot said while recalling that growing up in poverty acted on him as a self-imposed limitation.
“Since the beginning, I thought that I couldn’t [make art], so I didn’t even dare to touch a brush,” he added.
But the grassroot activist turned senator did away with that after he met renowned Puerto Rican painter Antonio Martorell, while he was a professor at the Cayey Campus of the University of Puerto Rico. The relationship with the Master Artist put Vargas Vidot in contact with various artists that showed him how to “unlearn” all the misconceptions and prejudices he had about art.
One of those artists was Mildred Utroska, a Puerto Rican mother with a Polish last name, and self-taught artist.
Vargas Vidot recalls Mildred telling him she never studied painting, and that her teacher was cancer. “I am a person with cancer that has been able to get over the idea of loss searching for a way to deal with my own vulnerability because I am my daughters only support,” he recalled from his first meeting with artist.
After his meeting with Mildred, a cancer survivor that uses art as medicine and a means to live a healthy and productive life, Vargas Vidot decided to try his hand at art.
The Senator, who prior to his incursion in politics was the founder of “Iniciativa Comunitaria” a service and advocacy group in favor of the homeless, drug addiction and HIV victims, admits to the evident pun in the title of his art exhibit.
“‘Arte-sanar’ is not only about the healing powers of art, but also because I want to put an end to the idea that artisan work is lesser than art,” he pointed out as an indictment on the existing categorization between the artisan and the artist.
Vargas Vidot describes his work as “intuitive sentimental expressionism” with inclinations toward the abstract and admits he has had to fight against the “trivialization of abstract art.”
“There are some people who have discredited abstract art by making tutorials, and they look at it as if it is a matter throwing three blotches of paint and moving them around with a squeegee. That has no substance,” he sentenced.
Vargas Vidot characterizes his artwork as originating the emotions experiences and the mental state he is painting. Also, it is based on real stories, so it is impossible to reproduce. According to the artist, anyone looking at his painting shouldn’t try to decipher their meaning, but rather develop his or her own interpretation.
“Arte-sanar” exhibit will be until March 10, at the Antonio Fas Alzamora Art Gallery in the Senate wing of the Capitol Building.
We want to say thanks to the author of this post for this amazing content
";s:14:"date_timestamp";i:1645045181;}i:6;a:11:{s:5:"title";s:31:"Film4 Gets Serious About Comedy";s:4:"link";s:102:"https://movieshere.packagingnewsonline.com/movie-production-companies/film4-gets-serious-about-comedy/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Wed, 16 Feb 2022 19:38:08 +0000";s:8:"category";s:37:"Movie Production CompaniesComedyFilm4";s:4:"guid";s:51:"https://movieshere.packagingnewsonline.com/?p=24502";s:11:"description";s:609:"LONDON – Film4, the standalone movie-making arm of broadcaster Channel 4, is pumping an extra £1 million ($1.6 million) into a development fund specifically geared towards unearthing comedy gold at the boxoffice. Film4 chief and Channel 4’s controller of film and drama Tessa Ross told gathered industry luminaries at the unit’s pre-Cannes annual bash Thursday ... Read more";s:7:"content";a:1:{s:7:"encoded";s:4656:"
LONDON – Film4, the standalone movie-making arm of broadcaster Channel 4, is pumping an extra £1 million ($1.6 million) into a development fund specifically geared towards unearthing comedy gold at the boxoffice.
Film4 chief and Channel 4’s controller of film and drama Tessa Ross told gathered industry luminaries at the unit’s pre-Cannes annual bash Thursday evening it is allocating the additional funding to unearth the next laugher.
STORY: ‘Inbetweeners’ Movie Books U.S. Release
The move comes in the wake of the runaway boxoffice success of The Inbetweeners movie, a project fully financed by Channel 4 through Film4 and 4DVD, which went on to take a whopping £45 million ($72.6 million) in the U.K. alone.
On the way the bawdy teen comedy set a record for the most successful opening weekend ever for a British laugher and became the third highest grossing film of 2011 here behind only Harry Potter and the Deathly Hallows: Part 2 and multiple Oscar winnner The King’s Speech.
Ross and Channel 4 have charged the broadcaster’s head of comedy Shane Allen — the exec producer who steered the growth of The Inbetweeners from a cult comedy show on Channel 4’s digital offering E4 series to a box office hit — with the task of managing the fresh comedy fund.
Allen will manage the fund and commissioning activity with Film4 and is tasked with developing features for theatrical release with an initial annual development budget of $1.6 million.
STORY: ‘Inbetweeners’ Stars Simon Bird and Joe Thomas Comedy ‘Chickens’ to Launch on Sky
While the size of the fund is far from large, it is likely to be used to seed development of projects with big ambitions.
That cash is in addition to Film4’s annual £15 million ($24 million) funding it currently invests in developing and financing films.
Allen’s small screen resume on his watch as head of comedy includes Facejacker, StarStories, FridayNightDinner, BlackMirror and ComicStrip: TheHuntforTonyBlair.
Allen described the cashpool as “a fantastic adrenaline shot for more British film comedy following on from the overwhelming audience appetite we experienced last summer.”
He added: “The recent explosion in live comedy is because it’s a very communal experience, so with the huge expertise of Film4 it’s a brilliant opportunity to tap the cinematic potential of UK writing and performing talent.”
STORY: ‘The Inbetweeners’ Opens to Record $32.9 Million in U.K.
This year’s Festival de Cannes lineup includes the Film4 backed projects Walter Salles‘ On The Road with Kristen Stewart, Kirsten Dunst and Sam Riley among the ensemble cast and Ben Wheatley’s comedy horror Sightseers.
Ross described Allen’s track record as “impeccable” when it came to comedy commissions.
“With his [Allen’s] huge wealth of experience we know we are in for some seriously entertaining films,” Ross said.
Film4 has developed and co-financed a slew of titles including Danny Boyle’s Slumdog Millionaire and 127 Hours, Martin McDonagh’s In Bruges, Steve McQueen’s Hunger and Shame, Mike Leigh’s Another Year, Chris Morris’ Four Lions, Richard Ayoade’s Submarine, Joe Cornish’s directorial debut Attack The Block, Lone Scherfig’s One Day, Ben Wheatley’s Kill List and Paddy Considine’s debut feature Tyrannosaur.
We would love to give thanks to the writer of this write-up for this remarkable web content
";}s:7:"summary";s:609:"LONDON – Film4, the standalone movie-making arm of broadcaster Channel 4, is pumping an extra £1 million ($1.6 million) into a development fund specifically geared towards unearthing comedy gold at the boxoffice. Film4 chief and Channel 4’s controller of film and drama Tessa Ross told gathered industry luminaries at the unit’s pre-Cannes annual bash Thursday ... Read more";s:12:"atom_content";s:4656:"
LONDON – Film4, the standalone movie-making arm of broadcaster Channel 4, is pumping an extra £1 million ($1.6 million) into a development fund specifically geared towards unearthing comedy gold at the boxoffice.
Film4 chief and Channel 4’s controller of film and drama Tessa Ross told gathered industry luminaries at the unit’s pre-Cannes annual bash Thursday evening it is allocating the additional funding to unearth the next laugher.
STORY: ‘Inbetweeners’ Movie Books U.S. Release
The move comes in the wake of the runaway boxoffice success of The Inbetweeners movie, a project fully financed by Channel 4 through Film4 and 4DVD, which went on to take a whopping £45 million ($72.6 million) in the U.K. alone.
On the way the bawdy teen comedy set a record for the most successful opening weekend ever for a British laugher and became the third highest grossing film of 2011 here behind only Harry Potter and the Deathly Hallows: Part 2 and multiple Oscar winnner The King’s Speech.
Ross and Channel 4 have charged the broadcaster’s head of comedy Shane Allen — the exec producer who steered the growth of The Inbetweeners from a cult comedy show on Channel 4’s digital offering E4 series to a box office hit — with the task of managing the fresh comedy fund.
Allen will manage the fund and commissioning activity with Film4 and is tasked with developing features for theatrical release with an initial annual development budget of $1.6 million.
STORY: ‘Inbetweeners’ Stars Simon Bird and Joe Thomas Comedy ‘Chickens’ to Launch on Sky
While the size of the fund is far from large, it is likely to be used to seed development of projects with big ambitions.
That cash is in addition to Film4’s annual £15 million ($24 million) funding it currently invests in developing and financing films.
Allen’s small screen resume on his watch as head of comedy includes Facejacker, StarStories, FridayNightDinner, BlackMirror and ComicStrip: TheHuntforTonyBlair.
Allen described the cashpool as “a fantastic adrenaline shot for more British film comedy following on from the overwhelming audience appetite we experienced last summer.”
He added: “The recent explosion in live comedy is because it’s a very communal experience, so with the huge expertise of Film4 it’s a brilliant opportunity to tap the cinematic potential of UK writing and performing talent.”
STORY: ‘The Inbetweeners’ Opens to Record $32.9 Million in U.K.
This year’s Festival de Cannes lineup includes the Film4 backed projects Walter Salles‘ On The Road with Kristen Stewart, Kirsten Dunst and Sam Riley among the ensemble cast and Ben Wheatley’s comedy horror Sightseers.
Ross described Allen’s track record as “impeccable” when it came to comedy commissions.
“With his [Allen’s] huge wealth of experience we know we are in for some seriously entertaining films,” Ross said.
Film4 has developed and co-financed a slew of titles including Danny Boyle’s Slumdog Millionaire and 127 Hours, Martin McDonagh’s In Bruges, Steve McQueen’s Hunger and Shame, Mike Leigh’s Another Year, Chris Morris’ Four Lions, Richard Ayoade’s Submarine, Joe Cornish’s directorial debut Attack The Block, Lone Scherfig’s One Day, Ben Wheatley’s Kill List and Paddy Considine’s debut feature Tyrannosaur.
We would love to give thanks to the writer of this write-up for this remarkable web content
";s:14:"date_timestamp";i:1645040288;}i:7;a:11:{s:5:"title";s:51:"ZDF Enterprises Rebrands as ZDF Studios (EXCLUSIVE)";s:4:"link";s:120:"https://movieshere.packagingnewsonline.com/movie-production-companies/zdf-enterprises-rebrands-as-zdf-studios-exclusive/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Wed, 16 Feb 2022 18:51:04 +0000";s:8:"category";s:64:"Movie Production CompaniesEnterprisesEXCLUSIVERebrandsStudiosZDF";s:4:"guid";s:51:"https://movieshere.packagingnewsonline.com/?p=24491";s:11:"description";s:667:"ZDF Enterprises, a key production-distribution component of one of Europe’s biggest public broadcaster powerhouses, Germany’s ZDF, is set to operate under the new name of ZDF Studios. Effective from April 1, the title, announced by ZDF Enterprises President and CEO Fred Burcksen on Monday in Mainz, captures much better ZDFE’s current business reach, scale and ... Read more";s:7:"content";a:1:{s:7:"encoded";s:8391:"
ZDF Enterprises, a key production-distribution component of one of Europe’s biggest public broadcaster powerhouses, Germany’s ZDF, is set to operate under the new name of ZDF Studios.
Effective from April 1, the title, announced by ZDF Enterprises President and CEO Fred Burcksen on Monday in Mainz, captures much better ZDFE’s current business reach, scale and ambitions.
“We are a studio, we cover all elements of our industry, from early development to longtail sales. The new name fits our business model much better and reflects our production and distribution expertise,” Burcksen said.
ZDF Enterprises was launched in 1993 to handle worldwide program distribution as new content-avid private TV networks sprang up in Europe and beyond and also to deal with the business affairs of the acquisition of programs from around the world. Since then, however, ZDFE has diversified energetically.
Its brief now covers national and international production where it works all parts of the value chain from initial concept to development to production as well as successful marketing. ZDFE also offers its services to third-party public and private television broadcasters, independent producers, streaming platforms and other customers and partners.
Selling, buying producing and marketing for ZDF would in itself be a major task. In Jan. 2022, the German public broadcaster, with regard to scripted and unscripted series, was working on 73 new unreleased commissions, a number only beaten in Europe by the BBC (196), France Televisions (137), Channel 4 (90) and Arte (89), according to an Ampere Analysis study. It has been a market leader in Germany over the last decade.
Since 1998, when it bought 100% of Hamburg’s Network Movie Film-und Fernsehproduktion, currently one of Germany’s strongest production companies, as Burcksen pointed out to Variety, ZDFE has also built up a network of 28 affiliated production companies, some with interests in distribution, like Amsterdam-based Off The Fence.
The Swarm
ZDF und Julian R. Wagner / Leif
The portfolio investment includes a 49% stake in Bavaria Fiction, acquired in 2007, 49% in Moritz von Kruedener and Robert Franke’s Intaglio Films, an operation put through in 2018 and, a year later, 49% in Peter Nadermann’s Nadcon. In its most recent participation, ZDFE bought 49% of Studio Hamburg Production Group’s Real Film, producer of Netflix hit “Unorthodox.”
Upcoming shows include environmental thriller “The Swarm” from Beta Film and ZDF Enterprises’ joint-venture Intaglio Films, which was set up to develop, finance and produce English-language scripted dramas for the international market. “Game of Thrones” executive producer Frank Doelger, who heads up Intaglio, will executive produce.
“Under the new umbrella brand ZDF Studios, we’ll be able to bring our network of affiliated companies even closer together. We’re a group of companies working for our shareholder, ZDF, and for our partners as well. With consolidated turnover of around €240 million [$273.6 million] in the year 2020, we’re one of the largest production groups in Germany and rights distributors in Europe,” Burcksen said.
“Since it was established, ZDF Enterprises has achieved a great deal for the ZDF Group. With creativity, ingenuity and efficiency, the group has become a major player in the fiction and non-fiction arena. The new name ‘ZDF Studios’ makes it instantly clear that this is a media industry company,” added longtime ZDF head Thomas Bellut, director-general of ZDF and chair of the supervisory board of ZDF Enterprises.
Fred Burcksen
Credit. ZDF Enterprises
ZDFE also has a sense of corporate identity. Since the beginning of the century, ZDF Enterprises has invested in global content, with a focus on Scandinavia. In 2007, ZDF Enterprises co-produced Danish series “The Killing,” which ZDF aired in Sunday in second prime time to stellar ratings.
“I really admired the courage of ZDF’s editorial department to pick up a great series that was, however, a 20-hour show about just one crime case,” said Burcksen.
“That was basically the starting point of a lot of exciting international investments. So on the one hand, there’s definitely been a large interest to cooperate in original storytelling, in good co-productions. On the other hand, it’s also part of the DNA of the network and of ourselves: Being interested in other people’s stories as well.”
Part of that go-ahead drive has seen ZDF and ZDFE drive into ever edgier fare. Given that ZDF Studios is a subsidiary of ZDF and also produces for other broadcasters and platforms, the escalating demand for high-end series will mean that ZDF Studios can be expected to grow even more its production volume, Burcksen said.
ZDF Studios is also keen to support independent German production companies, putting up if necessary development moneys and support.
“ZDF Studios is not done yet,” Burcksen said. “We are organizing ourselves, we are rebranding. But every day we wake up and look for the next good story. That’s the bottom line. That’s what we live for: The next good story.”
optional screen reader
We would love to thank the writer of this write-up for this incredible web content
";}s:7:"summary";s:667:"ZDF Enterprises, a key production-distribution component of one of Europe’s biggest public broadcaster powerhouses, Germany’s ZDF, is set to operate under the new name of ZDF Studios. Effective from April 1, the title, announced by ZDF Enterprises President and CEO Fred Burcksen on Monday in Mainz, captures much better ZDFE’s current business reach, scale and ... Read more";s:12:"atom_content";s:8391:"
ZDF Enterprises, a key production-distribution component of one of Europe’s biggest public broadcaster powerhouses, Germany’s ZDF, is set to operate under the new name of ZDF Studios.
Effective from April 1, the title, announced by ZDF Enterprises President and CEO Fred Burcksen on Monday in Mainz, captures much better ZDFE’s current business reach, scale and ambitions.
“We are a studio, we cover all elements of our industry, from early development to longtail sales. The new name fits our business model much better and reflects our production and distribution expertise,” Burcksen said.
ZDF Enterprises was launched in 1993 to handle worldwide program distribution as new content-avid private TV networks sprang up in Europe and beyond and also to deal with the business affairs of the acquisition of programs from around the world. Since then, however, ZDFE has diversified energetically.
Its brief now covers national and international production where it works all parts of the value chain from initial concept to development to production as well as successful marketing. ZDFE also offers its services to third-party public and private television broadcasters, independent producers, streaming platforms and other customers and partners.
Selling, buying producing and marketing for ZDF would in itself be a major task. In Jan. 2022, the German public broadcaster, with regard to scripted and unscripted series, was working on 73 new unreleased commissions, a number only beaten in Europe by the BBC (196), France Televisions (137), Channel 4 (90) and Arte (89), according to an Ampere Analysis study. It has been a market leader in Germany over the last decade.
Since 1998, when it bought 100% of Hamburg’s Network Movie Film-und Fernsehproduktion, currently one of Germany’s strongest production companies, as Burcksen pointed out to Variety, ZDFE has also built up a network of 28 affiliated production companies, some with interests in distribution, like Amsterdam-based Off The Fence.
The Swarm
ZDF und Julian R. Wagner / Leif
The portfolio investment includes a 49% stake in Bavaria Fiction, acquired in 2007, 49% in Moritz von Kruedener and Robert Franke’s Intaglio Films, an operation put through in 2018 and, a year later, 49% in Peter Nadermann’s Nadcon. In its most recent participation, ZDFE bought 49% of Studio Hamburg Production Group’s Real Film, producer of Netflix hit “Unorthodox.”
Upcoming shows include environmental thriller “The Swarm” from Beta Film and ZDF Enterprises’ joint-venture Intaglio Films, which was set up to develop, finance and produce English-language scripted dramas for the international market. “Game of Thrones” executive producer Frank Doelger, who heads up Intaglio, will executive produce.
“Under the new umbrella brand ZDF Studios, we’ll be able to bring our network of affiliated companies even closer together. We’re a group of companies working for our shareholder, ZDF, and for our partners as well. With consolidated turnover of around €240 million [$273.6 million] in the year 2020, we’re one of the largest production groups in Germany and rights distributors in Europe,” Burcksen said.
“Since it was established, ZDF Enterprises has achieved a great deal for the ZDF Group. With creativity, ingenuity and efficiency, the group has become a major player in the fiction and non-fiction arena. The new name ‘ZDF Studios’ makes it instantly clear that this is a media industry company,” added longtime ZDF head Thomas Bellut, director-general of ZDF and chair of the supervisory board of ZDF Enterprises.
Fred Burcksen
Credit. ZDF Enterprises
ZDFE also has a sense of corporate identity. Since the beginning of the century, ZDF Enterprises has invested in global content, with a focus on Scandinavia. In 2007, ZDF Enterprises co-produced Danish series “The Killing,” which ZDF aired in Sunday in second prime time to stellar ratings.
“I really admired the courage of ZDF’s editorial department to pick up a great series that was, however, a 20-hour show about just one crime case,” said Burcksen.
“That was basically the starting point of a lot of exciting international investments. So on the one hand, there’s definitely been a large interest to cooperate in original storytelling, in good co-productions. On the other hand, it’s also part of the DNA of the network and of ourselves: Being interested in other people’s stories as well.”
Part of that go-ahead drive has seen ZDF and ZDFE drive into ever edgier fare. Given that ZDF Studios is a subsidiary of ZDF and also produces for other broadcasters and platforms, the escalating demand for high-end series will mean that ZDF Studios can be expected to grow even more its production volume, Burcksen said.
ZDF Studios is also keen to support independent German production companies, putting up if necessary development moneys and support.
“ZDF Studios is not done yet,” Burcksen said. “We are organizing ourselves, we are rebranding. But every day we wake up and look for the next good story. That’s the bottom line. That’s what we live for: The next good story.”
optional screen reader
We would love to thank the writer of this write-up for this incredible web content
";s:14:"date_timestamp";i:1645037464;}i:8;a:11:{s:5:"title";s:110:"Head Gear Films’ Phil Hunt on Finding Financing Amid Post-Pandemic Uncertainly (and Why He Now Has a Mohawk)";s:4:"link";s:176:"https://movieshere.packagingnewsonline.com/movie-production-companies/head-gear-films-phil-hunt-on-finding-financing-amid-post-pandemic-uncertainly-and-why-he-now-has-a-mohawk/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Wed, 16 Feb 2022 14:49:28 +0000";s:8:"category";s:88:"Movie Production CompaniesFilmsFinancingfindingGearHuntMohawkPhilPostPandemicUncertainly";s:4:"guid";s:51:"https://movieshere.packagingnewsonline.com/?p=24384";s:11:"description";s:777:"With more than 300 films to his name across 25 years in the business, Phil Hunt, founder and managing director of London-based financier Head Gear Films, is one of the most prolific exec producers around. But Head Gear — which he founded in 2002 and helps fund film, TV and video games, and has backed ... Read more";s:7:"content";a:1:{s:7:"encoded";s:9783:"
With more than 300 films to his name across 25 years in the business, Phil Hunt, founder and managing director of London-based financier Head Gear Films, is one of the most prolific exec producers around.
But Head Gear — which he founded in 2002 and helps fund film, TV and video games, and has backed titles such as Minamata, Black Mass, Belle and X+Y — is just one of Hunt’s six businesses. There’s also the sales banner Bankside Films (he’s co-managing director) and, offering a hat tip to a love of ale, his proudly “non-conformist” LGBTQ+ London pub The Apple Tree, part of his Bohemia umbrella, which recently expanded to include the production and investment company Bohemia Media, focussing on diverse storytelling.
With such a growing empire, the COVID-19 pandemic struck Hunt on several levels. Like most U.K. venues, The Apple Tree has been shut for several months (and is currently hoping for a mid-July reopening, government guidelines permitting), while film financing, he explains, has “falling off a fucking cliff.” Just as the world entered lockdown, he was even forced to charter a 747 to extract the team of John Michael McDonagh’s The Forgiven — another film he’s financing— from Morocco (although Ralph Fiennes was apparently happy to stay).
But speaking to The Hollywood Reporter, Hunt explains that, coming out of the pandemic into a very uncertain world also offers something of a “massive opportunity,” especially in the lower-budget film arena. Essentially, if insurance concerns mean that banks won’t back the producers he likes working with, then he will.
How’s your lockdown been so far?
It’s really nice to have a quieter world. But it hasn’t let up — I’ve been working flat out. But I am a bit of a workaholic who will make stuff to fill the time. I’ve got six businesses, so there’s always been a backlog of stuff to sort out. I’m just looking into starting an internet radio station for my pub, Bohemia, and I’m planning to start another company. I’ll be announcing something later this year in the film space. The new things are not baking, although my other half has been doing lots of bread. And because my pub is closed and I love ale, I’ve ordered a load of ales and try to have one each day at 5:30 in the garden. And I’ve also got a mohawk. I got into punk when I was a teenager. I’d been meaning to get one for a while, and put in on Facebook and dared six other people to do it as well.
We’ve heard a lot about how the crisis how hurt exhibition and production, but what’s the impact been on film financing?
Film financing has fallen off a fucking cliff. I’m down about 85 percent on money out. But I’ve been doing deals with video games tax credits and bits and pieces of TV. That said, I’ve got something in Serbia that is still looking pretty good for September. It hasn’t been announced but a studio pre-bought it. And I’ve got a movie shooting in the desert in California in the coming weeks, but that’s pretty low budget, under $1 million.
Did it all begin falling off a cliff in March, like the rest of the industry?
Yeah. I happened to go to L.A. on March 6 for seven days. There were bits and pieces of news about [the COVID-19 pandemic] but I was like, fuck it. And that was a weird week as the agencies refused to see anyone — you weren’t allowed to go to their offices. That was the start of it. When I got back on March 14, on the Monday we had a film shooting in Morocco, John Michael McDonaugh’s The Forgiven. And we had about four-five hours until the borders closed indefinitely. And this is a film that I’ve almost fully-financed, so I had a lot of approval. Ralph Fiennes wanted to stay. But I just couldn’t, so we had to get them out and we had to hire a 747 — the last plain that we could charter — for £150,000 [$188,000]. We had to reset that film for September.
And was that the first of many dominoes to fall?
Yeah. Then there was a bunch of stuff in pre or closing that was just not going to happen. There was one that I was fully financing, a lowish budget, $2.5 million film, and the producers were like, maybe we can shoot in two weeks. And I said I’m not doing it. I’m not funding a movie that you think you’re going to shoot in two weeks. And there were a number of others. So since then I’ve been focusing on the TV side of things and video games, alongside my pub stuff and a couple of big renovations I’ve got coming up.
Do you think, as we come out of the crisis, there’s going to be a fundamental shift in filmmaking and financing?
It’s all about risk. And the older I get, the more I understand how to measure risk, and the key to understanding this is the word assumptions. Where we’re at right now is a variant of assumptions that is so wide that it’s a very difficult question to answer.
When the variant is too wide, do not trade. So when you’re dealing in highly-traded volume stocks — Amazon, Google etc — the difference is an absolute gnat’s cock, it’s minimal. On a penny share, the variant is so much greater. And that is where film sales are at the moment. We talk about how the middle has dropped out of the market — you either win or lose. Now sales estimates on lower-budget dramas with no A-star cast, the variance on the estimates is fucking massive these days, more than it was 20 years ago.
To get back to your question, I just haven’t got a clue. But the most optimistic point of view is that early next year we’re going to have got rid of all the COVID procedures and restrictions on a film set and the COVID risks and it will be back to normality. The pessimistic view is quite the opposite, that the COVID procedures are all in place and there’s no insurance for COVID, and if there’s no insurance then the banks are not lending. Which actually gives me a massive opportunity.
How so?
Because I’m a private lender, and I assess risk in a totally different way to banks. Also I’m a producer, and I make a stand to help some producers. I started out as a producer, but ended up stopping because I was shit at it, but I still love producing so wanted to invest and help. So for me, this situation isn’t just about me going, hey, I’ve got an upper hand I can do deals where others can’t and can make money. It’s also equally, if not more, about being able to help people producing realize their films. And I can quantify this — I can get stuck right into producing.
So as awful as this situation has been for the industry, for Head Gear Films it actually presents something of an opportunity to finance more films?
Absolutely. We’ve been talking to all of our regular filmmakers. We’re not usually the first money in — you’d normally bring us on board once you’ve got your equity. So we’ve been telling them they should be talking to us much earlier than they normally would, and that that’s going get your film in a safer place, the risks of getting into production are lessened.
Also, we’re not just a lender, we don’t just help producers out by writing checks, but by connecting them to the right people and deals. There are a lot of awful practitioners in this show, because money talks and everyone is after money. So having worked in this industry for quarter of a century and having worked on over 300 movies now, we have a lot of authority to be able to bring people in line.
For Head Gear, next year you could be exec producing a lot more films than you normally would?
Yeah. That’s what I want to do, to help producers get back to work as quickly and as effectively as possible, working with all my regular partners, whether that be the BFI, Screen Australia, and key sales companies and distributors and trying to ensure the business starts properly again.
Are you going to have any involvement in the two digital Cannes markets?
I think it’s really for buyers and sellers, so it’s kind of fairly pointless for a lender to participate. My business is about being in touch with producers every day of the year. I might be wrong here but I don’t see the benefit of a lender participating in a virtual market.
But the good thing about keeping it virtual is that the city of Cannes won’t get all our money. Their festival rates — I believe — are more than at any other event throughout the year. This is my message to Cannes: Hey Cannes, you fuckers, don’t be so money-grabbing. You are now catering for an industry that has lost three-quarters of its money over the past decade, so bring your rates down, you bastards.
We would like to say thanks to the writer of this write-up for this awesome material
";}s:7:"summary";s:777:"With more than 300 films to his name across 25 years in the business, Phil Hunt, founder and managing director of London-based financier Head Gear Films, is one of the most prolific exec producers around. But Head Gear — which he founded in 2002 and helps fund film, TV and video games, and has backed ... Read more";s:12:"atom_content";s:9783:"
With more than 300 films to his name across 25 years in the business, Phil Hunt, founder and managing director of London-based financier Head Gear Films, is one of the most prolific exec producers around.
But Head Gear — which he founded in 2002 and helps fund film, TV and video games, and has backed titles such as Minamata, Black Mass, Belle and X+Y — is just one of Hunt’s six businesses. There’s also the sales banner Bankside Films (he’s co-managing director) and, offering a hat tip to a love of ale, his proudly “non-conformist” LGBTQ+ London pub The Apple Tree, part of his Bohemia umbrella, which recently expanded to include the production and investment company Bohemia Media, focussing on diverse storytelling.
With such a growing empire, the COVID-19 pandemic struck Hunt on several levels. Like most U.K. venues, The Apple Tree has been shut for several months (and is currently hoping for a mid-July reopening, government guidelines permitting), while film financing, he explains, has “falling off a fucking cliff.” Just as the world entered lockdown, he was even forced to charter a 747 to extract the team of John Michael McDonagh’s The Forgiven — another film he’s financing— from Morocco (although Ralph Fiennes was apparently happy to stay).
But speaking to The Hollywood Reporter, Hunt explains that, coming out of the pandemic into a very uncertain world also offers something of a “massive opportunity,” especially in the lower-budget film arena. Essentially, if insurance concerns mean that banks won’t back the producers he likes working with, then he will.
How’s your lockdown been so far?
It’s really nice to have a quieter world. But it hasn’t let up — I’ve been working flat out. But I am a bit of a workaholic who will make stuff to fill the time. I’ve got six businesses, so there’s always been a backlog of stuff to sort out. I’m just looking into starting an internet radio station for my pub, Bohemia, and I’m planning to start another company. I’ll be announcing something later this year in the film space. The new things are not baking, although my other half has been doing lots of bread. And because my pub is closed and I love ale, I’ve ordered a load of ales and try to have one each day at 5:30 in the garden. And I’ve also got a mohawk. I got into punk when I was a teenager. I’d been meaning to get one for a while, and put in on Facebook and dared six other people to do it as well.
We’ve heard a lot about how the crisis how hurt exhibition and production, but what’s the impact been on film financing?
Film financing has fallen off a fucking cliff. I’m down about 85 percent on money out. But I’ve been doing deals with video games tax credits and bits and pieces of TV. That said, I’ve got something in Serbia that is still looking pretty good for September. It hasn’t been announced but a studio pre-bought it. And I’ve got a movie shooting in the desert in California in the coming weeks, but that’s pretty low budget, under $1 million.
Did it all begin falling off a cliff in March, like the rest of the industry?
Yeah. I happened to go to L.A. on March 6 for seven days. There were bits and pieces of news about [the COVID-19 pandemic] but I was like, fuck it. And that was a weird week as the agencies refused to see anyone — you weren’t allowed to go to their offices. That was the start of it. When I got back on March 14, on the Monday we had a film shooting in Morocco, John Michael McDonaugh’s The Forgiven. And we had about four-five hours until the borders closed indefinitely. And this is a film that I’ve almost fully-financed, so I had a lot of approval. Ralph Fiennes wanted to stay. But I just couldn’t, so we had to get them out and we had to hire a 747 — the last plain that we could charter — for £150,000 [$188,000]. We had to reset that film for September.
And was that the first of many dominoes to fall?
Yeah. Then there was a bunch of stuff in pre or closing that was just not going to happen. There was one that I was fully financing, a lowish budget, $2.5 million film, and the producers were like, maybe we can shoot in two weeks. And I said I’m not doing it. I’m not funding a movie that you think you’re going to shoot in two weeks. And there were a number of others. So since then I’ve been focusing on the TV side of things and video games, alongside my pub stuff and a couple of big renovations I’ve got coming up.
Do you think, as we come out of the crisis, there’s going to be a fundamental shift in filmmaking and financing?
It’s all about risk. And the older I get, the more I understand how to measure risk, and the key to understanding this is the word assumptions. Where we’re at right now is a variant of assumptions that is so wide that it’s a very difficult question to answer.
When the variant is too wide, do not trade. So when you’re dealing in highly-traded volume stocks — Amazon, Google etc — the difference is an absolute gnat’s cock, it’s minimal. On a penny share, the variant is so much greater. And that is where film sales are at the moment. We talk about how the middle has dropped out of the market — you either win or lose. Now sales estimates on lower-budget dramas with no A-star cast, the variance on the estimates is fucking massive these days, more than it was 20 years ago.
To get back to your question, I just haven’t got a clue. But the most optimistic point of view is that early next year we’re going to have got rid of all the COVID procedures and restrictions on a film set and the COVID risks and it will be back to normality. The pessimistic view is quite the opposite, that the COVID procedures are all in place and there’s no insurance for COVID, and if there’s no insurance then the banks are not lending. Which actually gives me a massive opportunity.
How so?
Because I’m a private lender, and I assess risk in a totally different way to banks. Also I’m a producer, and I make a stand to help some producers. I started out as a producer, but ended up stopping because I was shit at it, but I still love producing so wanted to invest and help. So for me, this situation isn’t just about me going, hey, I’ve got an upper hand I can do deals where others can’t and can make money. It’s also equally, if not more, about being able to help people producing realize their films. And I can quantify this — I can get stuck right into producing.
So as awful as this situation has been for the industry, for Head Gear Films it actually presents something of an opportunity to finance more films?
Absolutely. We’ve been talking to all of our regular filmmakers. We’re not usually the first money in — you’d normally bring us on board once you’ve got your equity. So we’ve been telling them they should be talking to us much earlier than they normally would, and that that’s going get your film in a safer place, the risks of getting into production are lessened.
Also, we’re not just a lender, we don’t just help producers out by writing checks, but by connecting them to the right people and deals. There are a lot of awful practitioners in this show, because money talks and everyone is after money. So having worked in this industry for quarter of a century and having worked on over 300 movies now, we have a lot of authority to be able to bring people in line.
For Head Gear, next year you could be exec producing a lot more films than you normally would?
Yeah. That’s what I want to do, to help producers get back to work as quickly and as effectively as possible, working with all my regular partners, whether that be the BFI, Screen Australia, and key sales companies and distributors and trying to ensure the business starts properly again.
Are you going to have any involvement in the two digital Cannes markets?
I think it’s really for buyers and sellers, so it’s kind of fairly pointless for a lender to participate. My business is about being in touch with producers every day of the year. I might be wrong here but I don’t see the benefit of a lender participating in a virtual market.
But the good thing about keeping it virtual is that the city of Cannes won’t get all our money. Their festival rates — I believe — are more than at any other event throughout the year. This is my message to Cannes: Hey Cannes, you fuckers, don’t be so money-grabbing. You are now catering for an industry that has lost three-quarters of its money over the past decade, so bring your rates down, you bastards.
We would like to say thanks to the writer of this write-up for this awesome material
";s:14:"date_timestamp";i:1645022968;}i:9;a:11:{s:5:"title";s:90:"The 10 Best Movies Produced By Amblin Entertainment, Ranked (According To Rotten Tomatoes)";s:4:"link";s:158:"https://movieshere.packagingnewsonline.com/movie-production-companies/the-10-best-movies-produced-by-amblin-entertainment-ranked-according-to-rotten-tomatoes/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Wed, 16 Feb 2022 08:37:10 +0000";s:8:"category";s:79:"Movie Production CompaniesAMBLINEntertainmentmoviesProducedRankedRottentomatoes";s:4:"guid";s:51:"https://movieshere.packagingnewsonline.com/?p=24189";s:11:"description";s:822:"Ever since its creation in 1981, Steven Spielberg’s production company, Amblin Entertainment, has been responsible for some of the most critically and commercially successful films of all time. The logo takes its likeness from Spielberg’s classic family sci-fi film E.T. The Extraterrestrial, which marked the third motion picture Amblin produced in its illustrious 40-year existence. RELATED: ... Read more";s:7:"content";a:1:{s:7:"encoded";s:24435:"
Ever since its creation in 1981, Steven Spielberg’s production company, Amblin Entertainment, has been responsible for some of the most critically and commercially successful films of all time. The logo takes its likeness from Spielberg’s classic family sci-fi film E.T. The Extraterrestrial, which marked the third motion picture Amblin produced in its illustrious 40-year existence.
RELATED: Steven Spielberg’s 5 Most Sentimental Movies (& 5 Surprisingly Dark Ones)
But while Amblin is often associated with PG-rated family fare, the production company also made several prestigious dramas, such as Munich, Flags of Our Fathers, Minority Report, A.I., Lincoln, Bridge of Spies, and many more.
10 Letters From Iwo Jima (2006) 91%
Clint Eastwood’s two-part cinematic tribute to the veterans of World War II culminated with Letters From Iwo Jima, the better-received half of Flags of Our Fathers released in 2006.
RELATED: 10 Best WWII Movies, Ranked (According To Metacritic)
Told from the perspective of Japanese soldiers, the film offers a glimpse of the Battle of Iwo Jima unlike any seen before in an American war movie. Clint Eastwood was nominated for Best Director and the film was nominated for Best Picture. The film was also a much greater financial success than Flags of Our Fathers.
9 Jurassic Park (1993) 91%
1993 was a banner year for Amblin Entertainment. Spielberg not only released his most personal movie in Schindler’s List, but he also shepherded the gargantuan blockbuster Jurassic Park.
RELATED: 10 Best Dinosaur Movies, Ranked By IMDB Score
In addition to grossing over a billion dollars, Jurassic Park won three Oscars to go along with its ubiquitous critical plaudits. The way in which Spielberg realized Michael Crichton’s novel is akin to what he did with Peter Benchley’s Jaws two decades earlier, turning a monster-movie into a riveting family-oriented thriller.
SCREENRANT VIDEO OF THE DAY
8 Arachnophobia (1990) 92%
Few films perfectly encapsulate the tone, tenor, and temperament of Amblin Entertainment in the way Arachnophobia does. The PG-13 horror-comedy strikes a perfect balance between levity and lethality.
Directed by Frank Marshall, the film finds a big-city doctor (Jeff Daniels) moving his family to the country to start anew. As the doc struggles to find new patients, a deadly breed of rare spider creates a giant nest in his barn. As the townsfolk begin dying gruesome deaths, arachnophobic Dr. Jennings calls in exterminator Delbert (John Goodman) for help.
7 Men In Black (1997) 92%
Barry Sonnenfeld’s massive sci-fi-comedy hit Men In Black is another movie that embodies the Amblin spirit. The cartoonish tableau adapted from the Lowell Cunningham comics grossed roughly $590 million en route to becoming a four-film franchise and counting.
RELATED: 10 Movies To Watch If You Like Men In Black
Will Smith and Tommy Lee Jones star as Agents Jay and Kay, two opposing buddy-cops who patrol extraterrestrial activity for a secret government organization. The weirder the things are, the more at odds Jay and Kay come to be, as they must prevent an alien bug from obtaining the “Galaxy” energy supply.
6 Saving Private Ryan (1998) 93%
Spielberg earned the second Best Director Oscar for his career for his work on Saving Private Ryan, one of the all-time best war films ever made. The film won five total Oscars and currently ranks #26 on IMDb’s Top 250 to go along with its sterling Rotten Tomatoes rating.
The WWII epic follows a ragtag band of American soldiers led by Captain Miller (Tom Hanks), whose platoon is tasked with a search and rescue mission to find Private Ryan (Matt Damon), a soldier whose three brothers died in battle. Along the way, Miller imparts wisdom upon his platoon before making the ultimate sacrifice.
5 Catch Me If You Can (2002) 96%
Based on the unbelievable true story, Catch Me If You Can tracks the life of Frank Abagnale Jr. (Leonardo DiCaprio), a precocious conman and forger who, by the age of 21, managed to scheme his way into becoming a lawyer, doctor, and commercial airline pilot.
RELATED: Leonardo DiCaprio’s 10 Most Tragic Characters, Ranked
When Abagnale begins making a fortune by printing fake money, FBI agent Carl Hanratty (Tom Hanks) doggedly pursues the criminal across the globe. In addition to the critical praise and the two Oscar nods it received, the film grossed $300 million at the international box-office.
4 Back To The Future (1985) 96%
Robert Zemeckis’ all-time classic Back to the Future marked the seventh feature film produced by Amblin Entertainment. The film continues to be adored across the world and remains a pop-cultural touchstone.
While it inspired a film trilogy, the original Back to the Future is by far the best of the bunch, according to Rotten Tomatoes and every other rating aggregator. The story of Marty McFly (Michael J. Fox) traveling back to 1955 in a Delorean time machine currently ranks #36 on IMDB’s Top 250 and holds an 87/100 Metascore.
3 Who Framed Roger Rabbit (1988) 97%
Robert Zemeckis followed up Back to the Future with Who Framed Roger Rabbit, two of the most iconic movies from the 1980s. The ambitious mixture of live-action with classic cartoon animation earned three Oscars, including one win for Best Visual Effects.
The 40s-set film noir comedy follows Eddie Valiant (Bob Hoskins), a toon-hating private eye mourning over the death of his brother. When Valiant is hired by Jessica Rabbit (Kathleen Turner) to find out who framed her beau Roger (Charles Fleischer), Valiant is dragged back into Toon Town to unwittingly avenge his brother’s killer.
2 Schindler’s List (1993) 97%
In his most personal and important movie made to date, Spielberg’s Schindler’s List is the second-best movie produced by Amblin Entertainment according to Rotten Tomatoes. The film won seven Oscars, including Best Picture and Director, and currently sits at #6 on IMDB’s Top 250.
RELATED: 10 Behind-The-Scenes Facts About Schindler’s List
The heartbreaking drama centers on Oskar Schindler (Liam Neeson), a cutthroat German businessman whose conscience slowly gets the better of him during the Holocaust in WWII. As Oskar witnesses the unthinkable atrocities his Jewish workforce experiences under German occupation, he takes it upon himself to save over 1,000 victims from being slaughtered.
1 E.T. The Extraterrestrial (1982) 98%
Given that the Amblin logo bares its likeness, it makes sense that Spielberg’s E.T. The Extraterrestrial ranks as the production company’s highest-rated film, per Rotten Tomatoes.
The landmark sci-fi family film traces Elliot (Henry Thomas), a lonely young boy whose life is upended upon discovering a childlike alien in California. When he brings E.T. home, a fish-out-water comedy of errors ensues as Elliot and his little sister try to keep the creature a secret from their family. In the end, Elliot learns that sometimes, it’s best to let the one you love go free.
NEXT: Phone Home: 10 Behind-The-Scenes Facts About E.T. The Extraterrestrial
Next 10 Goriest Horror Movies Of The 2010s
We want to say thanks to the author of this short article for this incredible material
";}s:7:"summary";s:822:"Ever since its creation in 1981, Steven Spielberg’s production company, Amblin Entertainment, has been responsible for some of the most critically and commercially successful films of all time. The logo takes its likeness from Spielberg’s classic family sci-fi film E.T. The Extraterrestrial, which marked the third motion picture Amblin produced in its illustrious 40-year existence. RELATED: ... Read more";s:12:"atom_content";s:24435:"
Ever since its creation in 1981, Steven Spielberg’s production company, Amblin Entertainment, has been responsible for some of the most critically and commercially successful films of all time. The logo takes its likeness from Spielberg’s classic family sci-fi film E.T. The Extraterrestrial, which marked the third motion picture Amblin produced in its illustrious 40-year existence.
RELATED: Steven Spielberg’s 5 Most Sentimental Movies (& 5 Surprisingly Dark Ones)
But while Amblin is often associated with PG-rated family fare, the production company also made several prestigious dramas, such as Munich, Flags of Our Fathers, Minority Report, A.I., Lincoln, Bridge of Spies, and many more.
10 Letters From Iwo Jima (2006) 91%
Clint Eastwood’s two-part cinematic tribute to the veterans of World War II culminated with Letters From Iwo Jima, the better-received half of Flags of Our Fathers released in 2006.
RELATED: 10 Best WWII Movies, Ranked (According To Metacritic)
Told from the perspective of Japanese soldiers, the film offers a glimpse of the Battle of Iwo Jima unlike any seen before in an American war movie. Clint Eastwood was nominated for Best Director and the film was nominated for Best Picture. The film was also a much greater financial success than Flags of Our Fathers.
9 Jurassic Park (1993) 91%
1993 was a banner year for Amblin Entertainment. Spielberg not only released his most personal movie in Schindler’s List, but he also shepherded the gargantuan blockbuster Jurassic Park.
RELATED: 10 Best Dinosaur Movies, Ranked By IMDB Score
In addition to grossing over a billion dollars, Jurassic Park won three Oscars to go along with its ubiquitous critical plaudits. The way in which Spielberg realized Michael Crichton’s novel is akin to what he did with Peter Benchley’s Jaws two decades earlier, turning a monster-movie into a riveting family-oriented thriller.
SCREENRANT VIDEO OF THE DAY
8 Arachnophobia (1990) 92%
Few films perfectly encapsulate the tone, tenor, and temperament of Amblin Entertainment in the way Arachnophobia does. The PG-13 horror-comedy strikes a perfect balance between levity and lethality.
Directed by Frank Marshall, the film finds a big-city doctor (Jeff Daniels) moving his family to the country to start anew. As the doc struggles to find new patients, a deadly breed of rare spider creates a giant nest in his barn. As the townsfolk begin dying gruesome deaths, arachnophobic Dr. Jennings calls in exterminator Delbert (John Goodman) for help.
7 Men In Black (1997) 92%
Barry Sonnenfeld’s massive sci-fi-comedy hit Men In Black is another movie that embodies the Amblin spirit. The cartoonish tableau adapted from the Lowell Cunningham comics grossed roughly $590 million en route to becoming a four-film franchise and counting.
RELATED: 10 Movies To Watch If You Like Men In Black
Will Smith and Tommy Lee Jones star as Agents Jay and Kay, two opposing buddy-cops who patrol extraterrestrial activity for a secret government organization. The weirder the things are, the more at odds Jay and Kay come to be, as they must prevent an alien bug from obtaining the “Galaxy” energy supply.
6 Saving Private Ryan (1998) 93%
Spielberg earned the second Best Director Oscar for his career for his work on Saving Private Ryan, one of the all-time best war films ever made. The film won five total Oscars and currently ranks #26 on IMDb’s Top 250 to go along with its sterling Rotten Tomatoes rating.
The WWII epic follows a ragtag band of American soldiers led by Captain Miller (Tom Hanks), whose platoon is tasked with a search and rescue mission to find Private Ryan (Matt Damon), a soldier whose three brothers died in battle. Along the way, Miller imparts wisdom upon his platoon before making the ultimate sacrifice.
5 Catch Me If You Can (2002) 96%
Based on the unbelievable true story, Catch Me If You Can tracks the life of Frank Abagnale Jr. (Leonardo DiCaprio), a precocious conman and forger who, by the age of 21, managed to scheme his way into becoming a lawyer, doctor, and commercial airline pilot.
RELATED: Leonardo DiCaprio’s 10 Most Tragic Characters, Ranked
When Abagnale begins making a fortune by printing fake money, FBI agent Carl Hanratty (Tom Hanks) doggedly pursues the criminal across the globe. In addition to the critical praise and the two Oscar nods it received, the film grossed $300 million at the international box-office.
4 Back To The Future (1985) 96%
Robert Zemeckis’ all-time classic Back to the Future marked the seventh feature film produced by Amblin Entertainment. The film continues to be adored across the world and remains a pop-cultural touchstone.
While it inspired a film trilogy, the original Back to the Future is by far the best of the bunch, according to Rotten Tomatoes and every other rating aggregator. The story of Marty McFly (Michael J. Fox) traveling back to 1955 in a Delorean time machine currently ranks #36 on IMDB’s Top 250 and holds an 87/100 Metascore.
3 Who Framed Roger Rabbit (1988) 97%
Robert Zemeckis followed up Back to the Future with Who Framed Roger Rabbit, two of the most iconic movies from the 1980s. The ambitious mixture of live-action with classic cartoon animation earned three Oscars, including one win for Best Visual Effects.
The 40s-set film noir comedy follows Eddie Valiant (Bob Hoskins), a toon-hating private eye mourning over the death of his brother. When Valiant is hired by Jessica Rabbit (Kathleen Turner) to find out who framed her beau Roger (Charles Fleischer), Valiant is dragged back into Toon Town to unwittingly avenge his brother’s killer.
2 Schindler’s List (1993) 97%
In his most personal and important movie made to date, Spielberg’s Schindler’s List is the second-best movie produced by Amblin Entertainment according to Rotten Tomatoes. The film won seven Oscars, including Best Picture and Director, and currently sits at #6 on IMDB’s Top 250.
RELATED: 10 Behind-The-Scenes Facts About Schindler’s List
The heartbreaking drama centers on Oskar Schindler (Liam Neeson), a cutthroat German businessman whose conscience slowly gets the better of him during the Holocaust in WWII. As Oskar witnesses the unthinkable atrocities his Jewish workforce experiences under German occupation, he takes it upon himself to save over 1,000 victims from being slaughtered.
1 E.T. The Extraterrestrial (1982) 98%
Given that the Amblin logo bares its likeness, it makes sense that Spielberg’s E.T. The Extraterrestrial ranks as the production company’s highest-rated film, per Rotten Tomatoes.
The landmark sci-fi family film traces Elliot (Henry Thomas), a lonely young boy whose life is upended upon discovering a childlike alien in California. When he brings E.T. home, a fish-out-water comedy of errors ensues as Elliot and his little sister try to keep the creature a secret from their family. In the end, Elliot learns that sometimes, it’s best to let the one you love go free.
NEXT: Phone Home: 10 Behind-The-Scenes Facts About E.T. The Extraterrestrial
Next 10 Goriest Horror Movies Of The 2010s
We want to say thanks to the author of this short article for this incredible material
