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:77:"4 Indigenous feature films get $3M in funding from Telefilm Canada | CBC News";s:4:"link";s:132:"https://moustachebrothers.com/movie-production-companies/4-indigenous-feature-films-get-3m-in-funding-from-telefilm-canada-cbc-news/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Sat, 29 Jan 2022 23:13:31 +0000";s:8:"category";s:76:"Movie Production CompaniesCanadaCBCFeatureFilmsfundingIndigenousnewsTelefilm";s:4:"guid";s:38:"https://moustachebrothers.com/?p=12937";s:11:"description";s:795:"Four Indigenous feature films will receive $3 million in production funding from Telefilm Canada thanks to its new Indigenous production funding stream. In 2017, the Crown corporation made a commitment to increase the feature film production and marketing financing made available for creators from Indigenous communities in Canada. This includes setting aside funding specifically for Indigenous productions, budgeted ... Read more";s:7:"content";a:1:{s:7:"encoded";s:4736:"
Four Indigenous feature films will receive $3 million in production funding from Telefilm Canada thanks to its new Indigenous production funding stream.
In 2017, the Crown corporation made a commitment to increase the feature film production and marketing financing made available for creators from Indigenous communities in Canada.
This includes setting aside funding specifically for Indigenous productions, budgeted at approximately $4 million annually over five years.
“This is a long time coming,” said Laura Milliken, an Ojibway filmmaker who has been working in and creating Indigenous films for 20 years.
“As much as we have diversity of voices programs and have a focus on Canadian content in our funding system, it’s still a challenge to make sure that Indigenous-created and -produced content gets financed,” she said.
Milliken is the producer for Running Home and Tales of an Urban Indian, two of the four films to receive funding. Running Home, by writer/director Zoe Hopkins, is described as a magical romantic dramedy about a single mom who takes up running as a way to heal, and Tales of an Urban Indian by Darrell Dennis and Katya Gardner is a dark comedy following a man’s life from the reserve to the big city.
Funding ‘vital’ to productions
The other two features were Monkey Beach and Forgotten. Monkey Beach by Loretta Todd is about a woman with supernatural powers and Forgotten by Michelle Latimer, based on true events, is about Canada’s only female dangerous offender.
Milliken said getting support and acknowledgement for Indigenous films has been a persistent challenge through her years in the industry and initiatives like this will help foster a growing venue for Indigenous cinema.
“Having grown up seeing so little of ourselves reflected on screen, I knew that I needed to this from a young age,” said Milliken.
“This is vital and I think it’s going to mean an injection of some really fantastic voices in the screen-based community.”
The funding selection process involved a number of steps including clearly defining what constitutes an Indigenous film project, and the selection of an Indigenous jury for the creative assessment of applications.
Michel Pradier, director of projects financing for Telefilm Canada. (Telefilm Canada)
“In order to respect the commitments made with the community we made sure that the jury would be made up mostly or only of Indigenous representatives so they could better assess the sensitivity of the script and the director’s vision,” said Michel Pradier, director of projects financing for Telefilm Canada.
Indigenous jury made selections
The five jury members were selected in consultation with ImagineNATIVE and represent Indigenous communities from across Canada.
A group of Indigenous filmmakers and those involved with the industry decided that to qualify for the funding, a film project had to be 51 per cent owned by a production company whose majority shareholder is Indigenous and at least two of the three key creative partners (producer, director, screenwriter) had to be Indigenous.
“We’re here to support all the voices of Canadian creators, that is inclusive of Indigenous creative talent,” said Pradier.
“We’re more than happy to work with the community and to set up those new parameters to help these things to happen.”
Prior to this funding commitment, there was no Indigenous production funding stream, although Telefilm Canada did have a specific “Feature Aboriginal Stories Program” that focused more on development.
The films are expected to begin production over the next year.
We wish to give thanks to the author of this post for this outstanding web content
";}s:7:"summary";s:795:"Four Indigenous feature films will receive $3 million in production funding from Telefilm Canada thanks to its new Indigenous production funding stream. In 2017, the Crown corporation made a commitment to increase the feature film production and marketing financing made available for creators from Indigenous communities in Canada. This includes setting aside funding specifically for Indigenous productions, budgeted ... Read more";s:12:"atom_content";s:4736:"
Four Indigenous feature films will receive $3 million in production funding from Telefilm Canada thanks to its new Indigenous production funding stream.
In 2017, the Crown corporation made a commitment to increase the feature film production and marketing financing made available for creators from Indigenous communities in Canada.
This includes setting aside funding specifically for Indigenous productions, budgeted at approximately $4 million annually over five years.
“This is a long time coming,” said Laura Milliken, an Ojibway filmmaker who has been working in and creating Indigenous films for 20 years.
“As much as we have diversity of voices programs and have a focus on Canadian content in our funding system, it’s still a challenge to make sure that Indigenous-created and -produced content gets financed,” she said.
Milliken is the producer for Running Home and Tales of an Urban Indian, two of the four films to receive funding. Running Home, by writer/director Zoe Hopkins, is described as a magical romantic dramedy about a single mom who takes up running as a way to heal, and Tales of an Urban Indian by Darrell Dennis and Katya Gardner is a dark comedy following a man’s life from the reserve to the big city.
Funding ‘vital’ to productions
The other two features were Monkey Beach and Forgotten. Monkey Beach by Loretta Todd is about a woman with supernatural powers and Forgotten by Michelle Latimer, based on true events, is about Canada’s only female dangerous offender.
Milliken said getting support and acknowledgement for Indigenous films has been a persistent challenge through her years in the industry and initiatives like this will help foster a growing venue for Indigenous cinema.
“Having grown up seeing so little of ourselves reflected on screen, I knew that I needed to this from a young age,” said Milliken.
“This is vital and I think it’s going to mean an injection of some really fantastic voices in the screen-based community.”
The funding selection process involved a number of steps including clearly defining what constitutes an Indigenous film project, and the selection of an Indigenous jury for the creative assessment of applications.
Michel Pradier, director of projects financing for Telefilm Canada. (Telefilm Canada)
“In order to respect the commitments made with the community we made sure that the jury would be made up mostly or only of Indigenous representatives so they could better assess the sensitivity of the script and the director’s vision,” said Michel Pradier, director of projects financing for Telefilm Canada.
Indigenous jury made selections
The five jury members were selected in consultation with ImagineNATIVE and represent Indigenous communities from across Canada.
A group of Indigenous filmmakers and those involved with the industry decided that to qualify for the funding, a film project had to be 51 per cent owned by a production company whose majority shareholder is Indigenous and at least two of the three key creative partners (producer, director, screenwriter) had to be Indigenous.
“We’re here to support all the voices of Canadian creators, that is inclusive of Indigenous creative talent,” said Pradier.
“We’re more than happy to work with the community and to set up those new parameters to help these things to happen.”
Prior to this funding commitment, there was no Indigenous production funding stream, although Telefilm Canada did have a specific “Feature Aboriginal Stories Program” that focused more on development.
The films are expected to begin production over the next year.
We wish to give thanks to the author of this post for this outstanding web content
";s:14:"date_timestamp";i:1643498011;}i:1;a:11:{s:5:"title";s:130:"MASTERSFX Creates “Creepy Doll” Special Effects For Lakeshore Entertainment & STX Entertainment’s Feature Film “The Boy”";s:4:"link";s:171:"https://moustachebrothers.com/movie-production-companies/mastersfx-creates-creepy-doll-special-effects-for-lakeshore-entertainment-stx-entertainments-feature-film-the-boy/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Sat, 29 Jan 2022 22:39:35 +0000";s:8:"category";s:119:"Movie Production CompaniesBoycreatesCreepyDolleffectsEntertainmentEntertainmentsFeatureFilmLakeshoreMASTERSFXspecialSTX";s:4:"guid";s:38:"https://moustachebrothers.com/?p=12919";s:11:"description";s:955:"Character FX artists from MASTERSFX (www.mastersfx.com ) have created the featured creepy doll “Brahms,” the title character starring in Lakeshore Entertainment and STX Entertainment’s horror film, The Boy. For The Boy, which opened on January 22nd, MASTERSFX’s Vancouver Studio created the title character – a four-foot tall doll that seems to rule the household of ... Read more";s:7:"content";a:1:{s:7:"encoded";s:7504:"
Character FX artists from MASTERSFX (www.mastersfx.com ) have created the featured creepy doll “Brahms,” the title character starring in Lakeshore Entertainment and STX Entertainment’s horror film, The Boy.
For The Boy, which opened on January 22nd, MASTERSFX’s Vancouver Studio created the title character – a four-foot tall doll that seems to rule the household of a remote manor. In the film, a young American woman, Greta, (Lauren Cohan of AMC’s The Walking Dead), takes a job as a live-in nanny in rural England. She comes to find out that the child she was hired to care for is not an actual 8-year-old boy, but instead, a life-sized porcelain doll named “Brahms.”
Company president Todd Masters said, “We have a long-standing relationship with our friends at Lakeshore Entertainment, usually making vampires and werewolves for their Underworld films. But this time, creating ‘Brahms,’ was a completely different challenge.”
“We knew that this ‘Brahms’ doll needed to be more like a supporting cast member for Lauren Cohan to play against, rather than just serve as her prop,” Masters adds, “So we added all sorts of weird little forms and details within his features. We wanted to depict a good deal of realism with his appearance, even by his ability to make a simple turn of his head. Adding in cinematographer Daniel Pearl’s (Texas Chainsaw Massacre) incredible lighting, he, director William Brent Bell, and especially producer Richard Wright were instrumental in helping us to present Brahms’ simple, downplayed, yet truly bizarre features.”
MASTERSFX’s Vancouver Studio created several “Brahams” dolls to accommodate the needs of various stages of the production. MFX’s Lead Artist Yukiyo Okajima sculpted “Brahms'” delicate features, and finished each life-like doll with her special touch. “This was tough in some ways, as sometimes ‘subtle’ nuances can be more painstaking, than, say creating a Lycan – where we have fur and slime to help us hide some of our FX tricks. But with The Boy, our team has really outdone themselves by creating a truly ‘creepy doll’ for the movie ages,” Masters concludes.
Working on-set, MASTERSFX artist Tannis Hegan operated and maintained each of the “Brahms” dolls to ensure that each dolls’ features would reflect the proper emotion and tone. Each doll was articulated as though a large stop-motion armature was inside it. In this manner, Hegan could allow “Brahms” to make the slightest of head turns, or move into a body pose that would convincingly portray the appropriate character’s emotion as each scene required.
The Boy is a haunting thriller, filled with more than meets the eye – from director William Brent Bell (The Devil Inside.)
In addition to the company’s work on The Boy, MASTERSFX also recently completed its special makeup FX contributions to Underworld: Next Generation, for Lakeshore Entertainment — the 5th installment in the successful action sci-fi franchise, starring Kate Beckinsale. MASTERSFX has once again provided the practical, on-set Lycan characters for this film, which recently completed principal photography in Prague. Anna Foerster directs Underworld: Next Generation, which Sony Pictures Entertainment will release.
About MASTERSFX
Founded in 1987 by Emmy Award winner Todd Masters, MASTERSFX is a multi-award winning character and special FX house with studios in Vancouver, British Colombia, and Los Angeles. MASTERSFX’s creative teams produce a unique blend of practical and digital makeup and special FX, prosthetics and animatronics, through a process called “dMFX,” for hundreds of hit feature films, TV shows, and commercials.
Included among the TV projects to which MASTERSFX has contributed its work are True Blood, Six Feet Under, Tales from the Crypt and Fringe. Among the company’s Film credits are RoboCop, The Day the Earth Stood Still, The Haunting in Connecticut, Star Trek: First Contact, The Horse Whisperer, Slither, Snakes on a Plane, Buffy the Vampire Slayer, Look Who’s Talking, and many more.
Todd Masters won an Emmy Award in 2003 for the 2001/2002 Season of Six Feet Under in the category “Best Special Effects Makeup.” MASTERSFX is also the winner of a 2006 “Saturn Award” for “Best MakeUp FX” for its work on the film Slither. See more at www.mastersfx.com
About STX Entertainment
STX Entertainment is a fully-integrated global media company specializing in the production, marketing, and distribution of talent-driven films, television programming and digital content. It is the first major entertainment media company to be launched at this scale in Hollywood in more than twenty years.
STX Entertainment’s motion picture division recently released their first feature films, the critically-acclaimed box office success The Gift, and the mystery thriller Secret in Their Eyes. The company will next release the horror film The Boy; the epic action-drama Free State of Jones; Hardcore, an adrenaline-fueled action film; Desierto, a gripping and suspense-filled thriller; the interplanetary adventure The Space Between Us; and the coming-of-age comedy Besties. Additionally, STX has five films set to start production over the next 6 months.
About Lakeshore Entertainment
Lakeshore Entertainment is one of the leading independent production, finance and international sales and distribution companies. Founded in 1994 by Chairman and CEO Tom Rosenberg, Lakeshore has produced more than 60 films including the Academy Award(r) winning Million Dollar Baby as well as the Underworld franchise, The Lincoln Lawyer, Runaway Bride, The Ugly Truth, The Mothman Prophecies, Exorcism of Emily Rose, Crank, The Gift, Autumn in New York and Arlington Road. Lakeshore recently released The Age of Adaline, starring Blake Lively, Harrison Ford and Ellen Burstyn. Upcoming releases include The Boy, which will be released with STX Entertainment. Lakeshore is currently in post-production on American Pastoral starring Ewan McGregor, Jennifer Connelly and Dakota Fanning as well as the fifth installment of the Underworld franchise, starring Kate Beckinsale and Theo James.
We want to give thanks to the author of this write-up for this outstanding content
";}s:7:"summary";s:955:"Character FX artists from MASTERSFX (www.mastersfx.com ) have created the featured creepy doll “Brahms,” the title character starring in Lakeshore Entertainment and STX Entertainment’s horror film, The Boy. For The Boy, which opened on January 22nd, MASTERSFX’s Vancouver Studio created the title character – a four-foot tall doll that seems to rule the household of ... Read more";s:12:"atom_content";s:7504:"
Character FX artists from MASTERSFX (www.mastersfx.com ) have created the featured creepy doll “Brahms,” the title character starring in Lakeshore Entertainment and STX Entertainment’s horror film, The Boy.
For The Boy, which opened on January 22nd, MASTERSFX’s Vancouver Studio created the title character – a four-foot tall doll that seems to rule the household of a remote manor. In the film, a young American woman, Greta, (Lauren Cohan of AMC’s The Walking Dead), takes a job as a live-in nanny in rural England. She comes to find out that the child she was hired to care for is not an actual 8-year-old boy, but instead, a life-sized porcelain doll named “Brahms.”
Company president Todd Masters said, “We have a long-standing relationship with our friends at Lakeshore Entertainment, usually making vampires and werewolves for their Underworld films. But this time, creating ‘Brahms,’ was a completely different challenge.”
“We knew that this ‘Brahms’ doll needed to be more like a supporting cast member for Lauren Cohan to play against, rather than just serve as her prop,” Masters adds, “So we added all sorts of weird little forms and details within his features. We wanted to depict a good deal of realism with his appearance, even by his ability to make a simple turn of his head. Adding in cinematographer Daniel Pearl’s (Texas Chainsaw Massacre) incredible lighting, he, director William Brent Bell, and especially producer Richard Wright were instrumental in helping us to present Brahms’ simple, downplayed, yet truly bizarre features.”
MASTERSFX’s Vancouver Studio created several “Brahams” dolls to accommodate the needs of various stages of the production. MFX’s Lead Artist Yukiyo Okajima sculpted “Brahms'” delicate features, and finished each life-like doll with her special touch. “This was tough in some ways, as sometimes ‘subtle’ nuances can be more painstaking, than, say creating a Lycan – where we have fur and slime to help us hide some of our FX tricks. But with The Boy, our team has really outdone themselves by creating a truly ‘creepy doll’ for the movie ages,” Masters concludes.
Working on-set, MASTERSFX artist Tannis Hegan operated and maintained each of the “Brahms” dolls to ensure that each dolls’ features would reflect the proper emotion and tone. Each doll was articulated as though a large stop-motion armature was inside it. In this manner, Hegan could allow “Brahms” to make the slightest of head turns, or move into a body pose that would convincingly portray the appropriate character’s emotion as each scene required.
The Boy is a haunting thriller, filled with more than meets the eye – from director William Brent Bell (The Devil Inside.)
In addition to the company’s work on The Boy, MASTERSFX also recently completed its special makeup FX contributions to Underworld: Next Generation, for Lakeshore Entertainment — the 5th installment in the successful action sci-fi franchise, starring Kate Beckinsale. MASTERSFX has once again provided the practical, on-set Lycan characters for this film, which recently completed principal photography in Prague. Anna Foerster directs Underworld: Next Generation, which Sony Pictures Entertainment will release.
About MASTERSFX
Founded in 1987 by Emmy Award winner Todd Masters, MASTERSFX is a multi-award winning character and special FX house with studios in Vancouver, British Colombia, and Los Angeles. MASTERSFX’s creative teams produce a unique blend of practical and digital makeup and special FX, prosthetics and animatronics, through a process called “dMFX,” for hundreds of hit feature films, TV shows, and commercials.
Included among the TV projects to which MASTERSFX has contributed its work are True Blood, Six Feet Under, Tales from the Crypt and Fringe. Among the company’s Film credits are RoboCop, The Day the Earth Stood Still, The Haunting in Connecticut, Star Trek: First Contact, The Horse Whisperer, Slither, Snakes on a Plane, Buffy the Vampire Slayer, Look Who’s Talking, and many more.
Todd Masters won an Emmy Award in 2003 for the 2001/2002 Season of Six Feet Under in the category “Best Special Effects Makeup.” MASTERSFX is also the winner of a 2006 “Saturn Award” for “Best MakeUp FX” for its work on the film Slither. See more at www.mastersfx.com
About STX Entertainment
STX Entertainment is a fully-integrated global media company specializing in the production, marketing, and distribution of talent-driven films, television programming and digital content. It is the first major entertainment media company to be launched at this scale in Hollywood in more than twenty years.
STX Entertainment’s motion picture division recently released their first feature films, the critically-acclaimed box office success The Gift, and the mystery thriller Secret in Their Eyes. The company will next release the horror film The Boy; the epic action-drama Free State of Jones; Hardcore, an adrenaline-fueled action film; Desierto, a gripping and suspense-filled thriller; the interplanetary adventure The Space Between Us; and the coming-of-age comedy Besties. Additionally, STX has five films set to start production over the next 6 months.
About Lakeshore Entertainment
Lakeshore Entertainment is one of the leading independent production, finance and international sales and distribution companies. Founded in 1994 by Chairman and CEO Tom Rosenberg, Lakeshore has produced more than 60 films including the Academy Award(r) winning Million Dollar Baby as well as the Underworld franchise, The Lincoln Lawyer, Runaway Bride, The Ugly Truth, The Mothman Prophecies, Exorcism of Emily Rose, Crank, The Gift, Autumn in New York and Arlington Road. Lakeshore recently released The Age of Adaline, starring Blake Lively, Harrison Ford and Ellen Burstyn. Upcoming releases include The Boy, which will be released with STX Entertainment. Lakeshore is currently in post-production on American Pastoral starring Ewan McGregor, Jennifer Connelly and Dakota Fanning as well as the fifth installment of the Underworld franchise, starring Kate Beckinsale and Theo James.
We want to give thanks to the author of this write-up for this outstanding content
";s:14:"date_timestamp";i:1643495975;}i:2;a:11:{s:5:"title";s:86:"Gravitas Ventures ‘Tethered’ to Creature Feature and David Lynch-Produced Thriller";s:4:"link";s:138:"https://moustachebrothers.com/movie-production-companies/gravitas-ventures-tethered-to-creature-feature-and-david-lynch-produced-thriller/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Sat, 29 Jan 2022 16:37:46 +0000";s:8:"category";s:91:"Movie Production CompaniesCreatureDavidFeatureGravitasLynchProducedTetheredthrillerVentures";s:4:"guid";s:38:"https://moustachebrothers.com/?p=12872";s:11:"description";s:713:"One of the most disturbing horror movies ever made, Henry: Portrait of a Serial Killer is coming to 4K Ultra HD and Blu-ray from Arrow Video, a release that’s exclusive to the UK. 4K discs, however, are inherently Region Free! The Limited Edition Blu-ray and Limited Edition 4K Ultra HD releases of John McNaughton‘s 1986 ... Read more";s:7:"content";a:1:{s:7:"encoded";s:7457:"
One of the most disturbing horror movies ever made, Henry: Portrait of a Serial Killer is coming to 4K Ultra HD and Blu-ray from Arrow Video, a release that’s exclusive to the UK.
Brand new 4K restoration from the original camera negatives, approved by John McNaughton
4K (2160p) UHD Blu-ray presentation in HDR10.
Original 2.0 stereo mix and 5.1 DTS-HD Master audio
English subtitles for the deaf and hard of hearing
Reversible sleeve featuring original and newly commissioned artwork by Eric Adrian Lee
Limited edition 60-page booklet featuring new writing by Shaun Kimber, Peter Vronsky, Alexandra Heller-Nicholas and Julian Petley
Booklet containing the original storyboards for Henry: Portrait of a Serial Killer
Double-sided fold-out poster
Six collector’s postcards (Limited Edition exclusive)
Disc One – Features & Extras (4K Ultra HD):
Brand new 4K restoration from the original camera negatives
4K (2160p) UHD Blu-ray presentation in HDR10.
Brand new audio commentary by John McNaughton & Steven A. Jones
Two archive commentaries by John McNaughton
Scene specific commentaries with John McNaughton and critic Nigel Floyd
Deleted scenes and outtakes
Original script
Original theatrical and 30th anniversary trailers
Image gallery
Disc Two – Bonus Disc (Blu-ray):
Portrait: The Making of Henry, a 50-minute behind-the-scenes documentary
In Defense of Henry, an appreciation by Joe Swanberg, Kim Morgan, Jeffrey Sconce, Joe Bob Briggs and Errol Morris
Twisting the Lens: The Diegetic Camera and Voyeurism in Henry, exclusive new documentary with John McNaughton, Adam Rockoff, Anna Bogutskaya and Jonathan Rigby discussing killers behind cameras
Henry vs. MPAA: A Visual History, the story of the struggle to get Henry into North American theatres
Henry at the BBFC with Stephen Thrower, discussing Henry’s troubled history at the hands of the British censors
John McNaughton on Henry: Portrait of a Serial Killer, exclusive new interview with John McNaughton and Stephen A. Jones, conducted at the time of Henry’s UK premiere in February 1990
Interview with John McNaughton, from 1998
It’s Either You… Or Them: An Interview with Joe Coleman, the artist behind Henry’s legendary original theatrical release poster
John McNaughton in conversation with Nigel Floyd, interview from 2003
In the Round: A Conversation with John McNaughton, conducted by Spencer Parsons in 2016
“Widely heralded as one of the greatest serial killer movies of all time, Henry: Portrait of a Serial Killer presents a bleak and unflinching dive into the mind of a mass murderer.
“Recently released from prison, the nomadic Henry (Michael Rooker, Guardians of the Galaxy, The Walking Dead) finds temporary abode in the rundown Chicago lodgings of a former jail acquaintance and small-time drug dealer, Otis (Tom Towles). Hiding behind his unremarkable employment as a pest exterminator, Henry leads a double life, prowling the streets by night on a brutal and apparently motiveless killing spree. As the bodies mount up, Otis finds himself inducted into Henry’s dark secret world, but when Otis’ sister Becky (Tracy Arnold) moves in, herself fleeing from an uncomfortable domestic situation, it quickly becomes apparent that two’s company, but three’s a crowd.
“Based on the horrific true-life crimes of Henry Lee Lucas, the harrowing controversial debut feature from John McNaughton (Mad Dog and Glory, Wild Things) returns to the UK in its best-looking release ever, in a new 4K restoration supervised by the director himself.”
You can expect both releases in the UK on April 18, 2022.
We would like to give thanks to the writer of this short article for this outstanding material
";}s:7:"summary";s:713:"One of the most disturbing horror movies ever made, Henry: Portrait of a Serial Killer is coming to 4K Ultra HD and Blu-ray from Arrow Video, a release that’s exclusive to the UK. 4K discs, however, are inherently Region Free! The Limited Edition Blu-ray and Limited Edition 4K Ultra HD releases of John McNaughton‘s 1986 ... Read more";s:12:"atom_content";s:7457:"
One of the most disturbing horror movies ever made, Henry: Portrait of a Serial Killer is coming to 4K Ultra HD and Blu-ray from Arrow Video, a release that’s exclusive to the UK.
Brand new 4K restoration from the original camera negatives, approved by John McNaughton
4K (2160p) UHD Blu-ray presentation in HDR10.
Original 2.0 stereo mix and 5.1 DTS-HD Master audio
English subtitles for the deaf and hard of hearing
Reversible sleeve featuring original and newly commissioned artwork by Eric Adrian Lee
Limited edition 60-page booklet featuring new writing by Shaun Kimber, Peter Vronsky, Alexandra Heller-Nicholas and Julian Petley
Booklet containing the original storyboards for Henry: Portrait of a Serial Killer
Double-sided fold-out poster
Six collector’s postcards (Limited Edition exclusive)
Disc One – Features & Extras (4K Ultra HD):
Brand new 4K restoration from the original camera negatives
4K (2160p) UHD Blu-ray presentation in HDR10.
Brand new audio commentary by John McNaughton & Steven A. Jones
Two archive commentaries by John McNaughton
Scene specific commentaries with John McNaughton and critic Nigel Floyd
Deleted scenes and outtakes
Original script
Original theatrical and 30th anniversary trailers
Image gallery
Disc Two – Bonus Disc (Blu-ray):
Portrait: The Making of Henry, a 50-minute behind-the-scenes documentary
In Defense of Henry, an appreciation by Joe Swanberg, Kim Morgan, Jeffrey Sconce, Joe Bob Briggs and Errol Morris
Twisting the Lens: The Diegetic Camera and Voyeurism in Henry, exclusive new documentary with John McNaughton, Adam Rockoff, Anna Bogutskaya and Jonathan Rigby discussing killers behind cameras
Henry vs. MPAA: A Visual History, the story of the struggle to get Henry into North American theatres
Henry at the BBFC with Stephen Thrower, discussing Henry’s troubled history at the hands of the British censors
John McNaughton on Henry: Portrait of a Serial Killer, exclusive new interview with John McNaughton and Stephen A. Jones, conducted at the time of Henry’s UK premiere in February 1990
Interview with John McNaughton, from 1998
It’s Either You… Or Them: An Interview with Joe Coleman, the artist behind Henry’s legendary original theatrical release poster
John McNaughton in conversation with Nigel Floyd, interview from 2003
In the Round: A Conversation with John McNaughton, conducted by Spencer Parsons in 2016
“Widely heralded as one of the greatest serial killer movies of all time, Henry: Portrait of a Serial Killer presents a bleak and unflinching dive into the mind of a mass murderer.
“Recently released from prison, the nomadic Henry (Michael Rooker, Guardians of the Galaxy, The Walking Dead) finds temporary abode in the rundown Chicago lodgings of a former jail acquaintance and small-time drug dealer, Otis (Tom Towles). Hiding behind his unremarkable employment as a pest exterminator, Henry leads a double life, prowling the streets by night on a brutal and apparently motiveless killing spree. As the bodies mount up, Otis finds himself inducted into Henry’s dark secret world, but when Otis’ sister Becky (Tracy Arnold) moves in, herself fleeing from an uncomfortable domestic situation, it quickly becomes apparent that two’s company, but three’s a crowd.
“Based on the horrific true-life crimes of Henry Lee Lucas, the harrowing controversial debut feature from John McNaughton (Mad Dog and Glory, Wild Things) returns to the UK in its best-looking release ever, in a new 4K restoration supervised by the director himself.”
You can expect both releases in the UK on April 18, 2022.
We would like to give thanks to the writer of this short article for this outstanding material
";s:14:"date_timestamp";i:1643474266;}i:3;a:11:{s:5:"title";s:95:"Film News Roundup: Lakeshore Entertainment Developing ‘The New Mrs. Keller’ Techno-Thriller";s:4:"link";s:145:"https://moustachebrothers.com/movie-production-companies/film-news-roundup-lakeshore-entertainment-developing-the-new-mrs-keller-techno-thriller/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Sat, 29 Jan 2022 10:36:19 +0000";s:8:"category";s:93:"Movie Production CompaniesDevelopingEntertainmentFilmKellerLakeshorenewsroundupTechnoThriller";s:4:"guid";s:38:"https://moustachebrothers.com/?p=12842";s:11:"description";s:813:"In today’s film news roundup, Lakeshore Entertainment is developing a Hitchcockian thriller, and Alex MacNicoll and Addison Timlin are starring in “Sleeping in Plastic.” PROJECT LAUNCH Lakeshore Entertainment is developing “The New Mrs. Keller,” a Hitchcockian techno-thriller based on Mark Hogan’s spec script, Variety has learned exclusively. Lakeshore, which plans to make the movie in ... Read more";s:7:"content";a:1:{s:7:"encoded";s:4995:"
In today’s film news roundup, Lakeshore Entertainment is developing a Hitchcockian thriller, and Alex MacNicoll and Addison Timlin are starring in “Sleeping in Plastic.”
PROJECT LAUNCH
Lakeshore Entertainment is developing “The New Mrs. Keller,” a Hitchcockian techno-thriller based on Mark Hogan’s spec script, Variety has learned exclusively.
Lakeshore, which plans to make the movie in 2018, is keeping the logline under wraps. Lakeshore CEO Tom Rosenberg, president Gary Lucchesi, and Eric Reid are producing.
Hogan most recently adapted the Scott Selby non-fiction book “A Serial Killer in Nazi Berlin” for Mythology Entertainment with Jamie Dagg attached to direct.
Lakeshore Entertainment has financed the “Underworld” franchise along with “Runaway Bride,” “Million Dollar Baby,” “The Lincoln Lawyer,” “The Age of Adaline,” and “The Boy.”
Hogan is repped by Gersh and managed by Kaplan/Perrone.
PRODUCTION STARTS
Red Entertainment has started shooting crime drama “Sleeping in Plastic,” starring Alex MacNicoll (“Transparent”), Addison Timlin, Nick Chinlund, and Dash Mihok, Variety has learned exclusively.
Production has launched in Oklahoma with Van Ditthavong making his feature directorial debut and directing from his own script, set in a rural Texas town with a high school wrestler getting entangled with a drifter and her psychopathic lover. Lives intertwine and spiral violently out of control once he becomes her escort driver.
Red Sanders, president of Red Entertainment, said, “We were immediately hooked by Van’s fresh, compelling aesthetic, and even more intrigued upon learning that he was inspired to write the script as a photographer for Texas Monthly visiting small Texas towns on assignment. Along with our talented cast, we’re excited to see the journey he will take the audience on.”
MacNicoll is represented by the Gersh Agency and Joanne Horowitz. Timlin is represented by Gersh and Management 360’s Nicole King. Chinlund is represented by SMS Agency and Gilbertson Entertainment’s Gordon Gilbertson. Mihok is represented by Gersh and Untitled Entertainment’s Beth Holden-Garland.
REVIEW PROJECT
Gil Robertson, president of the African American Film Critics Association, has announced the launch of Kaleidoscope Reviews, a project to promote diversity among film and television critics.
“As the entertainment landscape changes and more movies, TV shows, Web series and shorts are produced by or feature people of color, there needs to be a corresponding rise in the number of film and television critics to evaluate these art forms and interpret their meanings from their representative communities,” said Robertson.
Kaleidoscope Reviews will feature articles about people of color from people of color. The project will involve students at Emerson College as well as journalists who are part of the National Association of Latino Independent Producers and the Coalition of Asian Pacifics in Entertainment.
“Our goal is to empower the next generation of diverse media makers to become a creative force in the industry,” Robertson said. “We also hope to fuel the kind of collaboration and inclusion we want to see in our society, culture and future.”
RIGHTS DEAL
Grasshopper Film has picked up North American VOD and Non-Theatrical rights for Mark Grieco’s documentary “A River Below” following the film’s initial theatrical opening in New York and Los Angeles, Variety has learned exclusively.
The film examines the efforts of two conservationists in the Amazon to bring about change by using the national media, only to discover the consequences of their actions come with a high price.
The film debuted in April at the Tribeca Film Festival and has been screened at the Hot Docs, Camden, and Melbourne Film Festivals. It won the Environmental Award at Sheffield Doc/Fest as well as the Audience Award at the Zurich Film Festival.
The film is a Sandarba Films production with Torus Tammer producing. Executive producers are Mike Erwin, Jeff Hewitt and Jerre Hewitt. Paradigm is handling North American sales.
We would love to give thanks to the author of this post for this awesome material
";}s:7:"summary";s:813:"In today’s film news roundup, Lakeshore Entertainment is developing a Hitchcockian thriller, and Alex MacNicoll and Addison Timlin are starring in “Sleeping in Plastic.” PROJECT LAUNCH Lakeshore Entertainment is developing “The New Mrs. Keller,” a Hitchcockian techno-thriller based on Mark Hogan’s spec script, Variety has learned exclusively. Lakeshore, which plans to make the movie in ... Read more";s:12:"atom_content";s:4995:"
In today’s film news roundup, Lakeshore Entertainment is developing a Hitchcockian thriller, and Alex MacNicoll and Addison Timlin are starring in “Sleeping in Plastic.”
PROJECT LAUNCH
Lakeshore Entertainment is developing “The New Mrs. Keller,” a Hitchcockian techno-thriller based on Mark Hogan’s spec script, Variety has learned exclusively.
Lakeshore, which plans to make the movie in 2018, is keeping the logline under wraps. Lakeshore CEO Tom Rosenberg, president Gary Lucchesi, and Eric Reid are producing.
Hogan most recently adapted the Scott Selby non-fiction book “A Serial Killer in Nazi Berlin” for Mythology Entertainment with Jamie Dagg attached to direct.
Lakeshore Entertainment has financed the “Underworld” franchise along with “Runaway Bride,” “Million Dollar Baby,” “The Lincoln Lawyer,” “The Age of Adaline,” and “The Boy.”
Hogan is repped by Gersh and managed by Kaplan/Perrone.
PRODUCTION STARTS
Red Entertainment has started shooting crime drama “Sleeping in Plastic,” starring Alex MacNicoll (“Transparent”), Addison Timlin, Nick Chinlund, and Dash Mihok, Variety has learned exclusively.
Production has launched in Oklahoma with Van Ditthavong making his feature directorial debut and directing from his own script, set in a rural Texas town with a high school wrestler getting entangled with a drifter and her psychopathic lover. Lives intertwine and spiral violently out of control once he becomes her escort driver.
Red Sanders, president of Red Entertainment, said, “We were immediately hooked by Van’s fresh, compelling aesthetic, and even more intrigued upon learning that he was inspired to write the script as a photographer for Texas Monthly visiting small Texas towns on assignment. Along with our talented cast, we’re excited to see the journey he will take the audience on.”
MacNicoll is represented by the Gersh Agency and Joanne Horowitz. Timlin is represented by Gersh and Management 360’s Nicole King. Chinlund is represented by SMS Agency and Gilbertson Entertainment’s Gordon Gilbertson. Mihok is represented by Gersh and Untitled Entertainment’s Beth Holden-Garland.
REVIEW PROJECT
Gil Robertson, president of the African American Film Critics Association, has announced the launch of Kaleidoscope Reviews, a project to promote diversity among film and television critics.
“As the entertainment landscape changes and more movies, TV shows, Web series and shorts are produced by or feature people of color, there needs to be a corresponding rise in the number of film and television critics to evaluate these art forms and interpret their meanings from their representative communities,” said Robertson.
Kaleidoscope Reviews will feature articles about people of color from people of color. The project will involve students at Emerson College as well as journalists who are part of the National Association of Latino Independent Producers and the Coalition of Asian Pacifics in Entertainment.
“Our goal is to empower the next generation of diverse media makers to become a creative force in the industry,” Robertson said. “We also hope to fuel the kind of collaboration and inclusion we want to see in our society, culture and future.”
RIGHTS DEAL
Grasshopper Film has picked up North American VOD and Non-Theatrical rights for Mark Grieco’s documentary “A River Below” following the film’s initial theatrical opening in New York and Los Angeles, Variety has learned exclusively.
The film examines the efforts of two conservationists in the Amazon to bring about change by using the national media, only to discover the consequences of their actions come with a high price.
The film debuted in April at the Tribeca Film Festival and has been screened at the Hot Docs, Camden, and Melbourne Film Festivals. It won the Environmental Award at Sheffield Doc/Fest as well as the Audience Award at the Zurich Film Festival.
The film is a Sandarba Films production with Torus Tammer producing. Executive producers are Mike Erwin, Jeff Hewitt and Jerre Hewitt. Paradigm is handling North American sales.
We would love to give thanks to the author of this post for this awesome material
Text description provided by the architects. Located in Lyon, in the heart of the Part-Dieu district, the city’s business centre, Silex² is a real estate complex consisting of an existing, renovated tower, its extension adjacent to the north façade, and a 9-storey building that connects with its neighbour Silex I. This new tower will be 130m high, to shine in the heart of Lyon’s most connected district.
It is the result of an urban, architectural, and technical reflection on how to restore a new life cycle to the old EDF tower from the 70s. Designed by Jean Zumbrunnen, Charles Delfante, and René Provost, this tower is one of the remarkable objects in the architectural heritage of the Part-Dieu district. This imposing concrete building is balanced on a narrower base that is preserved to evoke the history of this emblematic building in the city of Lyon.
The choice of an architectural extension entirely made of steel modernizes the whole and gives this new tower a strong identity thanks to the slender shape of the steel structure. It rests on the existing tower at the 20th level to withstand earthquakes and wind forces, while preserving the structural independence of the two towers. The 9-storey building adjoining the tower has a mixed concrete and steel structure and is connected to the city by its slender door on the forecourt of rue des Cuirassiers.
“Preserving the strength of the existing building, whilst offering it a new skin and new uses for a real regeneration of the site.” Raquel Milagres, architect, associate / Arte Charpentier
The two buildings of Silex² mainly house offices, spread over a surface area of approximately 32,000 m² that can accommodate up to 2,500 people. Multiple services are offered to its occupants: company restaurant, cafeteria, local shops, a brasserie with table service on the 21st floor, concierge service, 140-seat auditorium, wellness area, and, on the ground floor, an active base of 300 m² accessible from the street that will make the connection with the city.
The Silex² tower contributes to the evolution of workspaces by offering light units with more than 90% of offices lit by natural light, and shared meeting and reception spaces. Its link with the city and nature is ensured by means of the 1,700 m² of accessible planted terraces and the vast hall that makes the bridge between the central patio and the restaurant.
The noble and refined treatment and the visible lines give character to this hall, which includes several waiting areas that can be converted into workspaces. Designed according to a rational and legible organization of spaces that integrate all the services required for a premium office building, Silex² responds to an ambitious environmental approach with innovative solutions and recreates the links with the city through the active base that is largely open onto a generous square. Through a resolutely contemporary architectural writing, characterized by the use of regular rhythms and contrasts of materials and textures, Silex² is a strong signal on the Lyon skyline.
Text description provided by the architects. Located in Lyon, in the heart of the Part-Dieu district, the city’s business centre, Silex² is a real estate complex consisting of an existing, renovated tower, its extension adjacent to the north façade, and a 9-storey building that connects with its neighbour Silex I. This new tower will be 130m high, to shine in the heart of Lyon’s most connected district.
It is the result of an urban, architectural, and technical reflection on how to restore a new life cycle to the old EDF tower from the 70s. Designed by Jean Zumbrunnen, Charles Delfante, and René Provost, this tower is one of the remarkable objects in the architectural heritage of the Part-Dieu district. This imposing concrete building is balanced on a narrower base that is preserved to evoke the history of this emblematic building in the city of Lyon.
The choice of an architectural extension entirely made of steel modernizes the whole and gives this new tower a strong identity thanks to the slender shape of the steel structure. It rests on the existing tower at the 20th level to withstand earthquakes and wind forces, while preserving the structural independence of the two towers. The 9-storey building adjoining the tower has a mixed concrete and steel structure and is connected to the city by its slender door on the forecourt of rue des Cuirassiers.
“Preserving the strength of the existing building, whilst offering it a new skin and new uses for a real regeneration of the site.” Raquel Milagres, architect, associate / Arte Charpentier
The two buildings of Silex² mainly house offices, spread over a surface area of approximately 32,000 m² that can accommodate up to 2,500 people. Multiple services are offered to its occupants: company restaurant, cafeteria, local shops, a brasserie with table service on the 21st floor, concierge service, 140-seat auditorium, wellness area, and, on the ground floor, an active base of 300 m² accessible from the street that will make the connection with the city.
The Silex² tower contributes to the evolution of workspaces by offering light units with more than 90% of offices lit by natural light, and shared meeting and reception spaces. Its link with the city and nature is ensured by means of the 1,700 m² of accessible planted terraces and the vast hall that makes the bridge between the central patio and the restaurant.
The noble and refined treatment and the visible lines give character to this hall, which includes several waiting areas that can be converted into workspaces. Designed according to a rational and legible organization of spaces that integrate all the services required for a premium office building, Silex² responds to an ambitious environmental approach with innovative solutions and recreates the links with the city through the active base that is largely open onto a generous square. Through a resolutely contemporary architectural writing, characterized by the use of regular rhythms and contrasts of materials and textures, Silex² is a strong signal on the Lyon skyline.
";s:14:"date_timestamp";i:1643451033;}i:5;a:11:{s:5:"title";s:67:"Industry Mourns Oscar Winner, Anonymous Content Founder Steve Golin";s:4:"link";s:124:"https://moustachebrothers.com/movie-production-companies/industry-mourns-oscar-winner-anonymous-content-founder-steve-golin/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Sat, 29 Jan 2022 04:38:31 +0000";s:8:"category";s:84:"Movie Production CompaniesAnonymousContentFounderGolinindustryMournsOscarSteveWinner";s:4:"guid";s:38:"https://moustachebrothers.com/?p=12782";s:11:"description";s:685:"Anonymous Content founder and CEO Steve Golin, who earned three Academy Award nominations as a producer, including a Best Picture Oscar win for Spotlight in 2016, has passed away at the age of 64, reportedly of cancer. Golin made an indelible industry mark in varied content forms, including features, TV, commercials and music videos–first as ... Read more";s:7:"content";a:1:{s:7:"encoded";s:3961:"
Anonymous Content founder and CEO Steve Golin, who earned three Academy Award nominations as a producer, including a Best Picture Oscar win for Spotlight in 2016, has passed away at the age of 64, reportedly of cancer.
Golin made an indelible industry mark in varied content forms, including features, TV, commercials and music videos–first as co-founder of Propaganda Films and then with Anonymous Content. At Anonymous, he meshed production of TV, features and commercials with talent management.
In a SHOOT interview back in 2015, Golin spoke of Anonymous’ multi-faceted development of directorial careers. While a number of Anonymous Talent and Lit Management clients were repped for spots by other production houses, many maintained continuity with the company across production and talent management. Golin said he ideally liked to have filmmakers repped and managed by Anonymous, making for “a 360-degree involvement…We are involved in quite a bit of feature and TV development with a lot of our directors. We want them to be completely diversified in advertising and entertainment production. That’s our model and it’s what we continue to pursue.”
Golin’s efforts yielded top drawer work as reflected in not only the alluded to trio of Oscar nominations (the other two being for Best Picture for The Revenant in 2016 and Babel in 2007, both directed by Alejandro Inarritu) but also three primetime Emmy Award noms–The Alienist for Outstanding Limited Series in 2018; and Outstanding Drama Series nods in 2016 for Mr. Robot and in 2014 for the groundbreaking first season of True Detective, the latter with director Cary Fukunaga who had made his commercialmaking debut with Anonymous.
Golin’s other notable producing credits included director Spike Jonze’s Being John Malkovich, Michel Gondry’s Eternal Sunshine of the Spotless Mind, and earlier endeavors such as David Lynch’s Wild At Heart, Jane Campion’s The Portrait of a Lady, David Fincher’s The Game and Neil LaBute’s Your Friends & Neighbors. Golin also produced or exec produced such TV series as Beverly Hills 90210, The L Word, The Knick, Lynch’s seminal Twin Peaks and the brand new Catch-22, which is set to premiere on Hulu next month.
Golin was also a staunch proponent of commercialmaking as an artform. He chaired the 2009 AICP Show, describing his serving in that role as “a wonderful honor.” He observed, “This is more than just an awards show–not only does it honor and celebrate the craft of commercial filmmaking, but through being archived at MoMA, contributes to our understanding of advertising and its place in our culture.”
At Anonymous Content, Golin’s directors also scored numerous honors for their spotmaking, including Inarritu who won the DGA Award in 2013 for Procter & Gamble’s tug-at-the-heartstrings “Best Job” saluting Olympic athletes’ moms, out of Wieden+Kennedy.
Among assorted other awards, Golin received the American Film Institute’s 2009 Franklin J. Schaffner Alumni Medal, which recognizes the extraordinary creative talents of a graduate of the AFI Conservatory who symbolizes the legacy of revered Oscar winner Schaffner.
We wish to give thanks to the author of this post for this outstanding content
";}s:7:"summary";s:685:"Anonymous Content founder and CEO Steve Golin, who earned three Academy Award nominations as a producer, including a Best Picture Oscar win for Spotlight in 2016, has passed away at the age of 64, reportedly of cancer. Golin made an indelible industry mark in varied content forms, including features, TV, commercials and music videos–first as ... Read more";s:12:"atom_content";s:3961:"
Anonymous Content founder and CEO Steve Golin, who earned three Academy Award nominations as a producer, including a Best Picture Oscar win for Spotlight in 2016, has passed away at the age of 64, reportedly of cancer.
Golin made an indelible industry mark in varied content forms, including features, TV, commercials and music videos–first as co-founder of Propaganda Films and then with Anonymous Content. At Anonymous, he meshed production of TV, features and commercials with talent management.
In a SHOOT interview back in 2015, Golin spoke of Anonymous’ multi-faceted development of directorial careers. While a number of Anonymous Talent and Lit Management clients were repped for spots by other production houses, many maintained continuity with the company across production and talent management. Golin said he ideally liked to have filmmakers repped and managed by Anonymous, making for “a 360-degree involvement…We are involved in quite a bit of feature and TV development with a lot of our directors. We want them to be completely diversified in advertising and entertainment production. That’s our model and it’s what we continue to pursue.”
Golin’s efforts yielded top drawer work as reflected in not only the alluded to trio of Oscar nominations (the other two being for Best Picture for The Revenant in 2016 and Babel in 2007, both directed by Alejandro Inarritu) but also three primetime Emmy Award noms–The Alienist for Outstanding Limited Series in 2018; and Outstanding Drama Series nods in 2016 for Mr. Robot and in 2014 for the groundbreaking first season of True Detective, the latter with director Cary Fukunaga who had made his commercialmaking debut with Anonymous.
Golin’s other notable producing credits included director Spike Jonze’s Being John Malkovich, Michel Gondry’s Eternal Sunshine of the Spotless Mind, and earlier endeavors such as David Lynch’s Wild At Heart, Jane Campion’s The Portrait of a Lady, David Fincher’s The Game and Neil LaBute’s Your Friends & Neighbors. Golin also produced or exec produced such TV series as Beverly Hills 90210, The L Word, The Knick, Lynch’s seminal Twin Peaks and the brand new Catch-22, which is set to premiere on Hulu next month.
Golin was also a staunch proponent of commercialmaking as an artform. He chaired the 2009 AICP Show, describing his serving in that role as “a wonderful honor.” He observed, “This is more than just an awards show–not only does it honor and celebrate the craft of commercial filmmaking, but through being archived at MoMA, contributes to our understanding of advertising and its place in our culture.”
At Anonymous Content, Golin’s directors also scored numerous honors for their spotmaking, including Inarritu who won the DGA Award in 2013 for Procter & Gamble’s tug-at-the-heartstrings “Best Job” saluting Olympic athletes’ moms, out of Wieden+Kennedy.
Among assorted other awards, Golin received the American Film Institute’s 2009 Franklin J. Schaffner Alumni Medal, which recognizes the extraordinary creative talents of a graduate of the AFI Conservatory who symbolizes the legacy of revered Oscar winner Schaffner.
We wish to give thanks to the author of this post for this outstanding content
";s:14:"date_timestamp";i:1643431111;}i:6;a:11:{s:5:"title";s:46:"Is Eurimages support more important than ever?";s:4:"link";s:103:"https://moustachebrothers.com/movie-production-companies/is-eurimages-support-more-important-than-ever/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Fri, 28 Jan 2022 22:34:01 +0000";s:8:"category";s:42:"Movie Production CompaniesEurimagessupport";s:4:"guid";s:38:"https://moustachebrothers.com/?p=12728";s:11:"description";s:659:"“Eurimages fulfils an important role to back those culturally important, risk-taking films that the market doesn’t necessarily support,” said Hungarian director Ildiko Enyedi at an event to celebrate Eurimages’ 30th anniversary. Held during the European Film Awards weekend on December 7 in Berlin, she spoke of the need for more “brave and daring” filmmaking in Europe ... Read more";s:7:"content";a:1:{s:7:"encoded";s:4923:"
“Eurimages fulfils an important role to back those culturally important, risk-taking films that the market doesn’t necessarily support,” said Hungarian director Ildiko Enyedi at an event to celebrate Eurimages’ 30th anniversary.
Held during the European Film Awards weekend on December 7 in Berlin, she spoke of the need for more “brave and daring” filmmaking in Europe and said Eurimages — the cultural support fund of the Council of Europe — has to support those voices.
Enyedi noted that her forthcoming drama The Story Of My Wife, a collaboration between Hungary, Germany, France and Italy, would not have been made without Eurimages.
“Eurimages helps us take those risks, to not have to directly look for an audience,” said Germany’s Jonas Dornbach of Komplizen Film, co-producer on The Story Of My Wife. “It gives us more freedom to work with filmmakers for their vision. We have to co-produce otherwise [these] films wouldn’t be possible.”
Giorgos Karnavas of Greece’s Heretic, who is co-producing Ruben Ostlund’s Triangle Of Sadness, said: “For small countries like Romania and Greece with limited resources, the support of Eurimages is a game-changer. You have to think in a more co-operative way.”
Romanian director Anca Damian (Crulic — The Path To Beyond and Marona’s Fantastic Tale) agreed that co-production makes her films stronger. “For me, aside from the production needs, co-producing can elevate the project to a different level.”
Even with productions being made across borders, the experts agreed films are not crossing enough of those boundaries in distribution. Roberto Olla, executive director of Eurimages, says the organisation is now researching how best to support this going forward as the current distribution support framework ends in March 2020.
Creative freedom
The support of Eurimages can help the European film industry offer audiences something different to the global streaming platforms, suggested Bero Beyer, the outgoing festival director of International Film Festival Rotterdam and soon to be CEO of the Netherlands Film Fund. He noted European public funders “should give more creative freedom to those voices who can make really original work”.
The money from national funds and bodies such as Eurimages should come with fewer strings attached too, said Beyer. “The amount of time you have to spend as a producer juggling all those elements so that you can get the film made is taking away energy from what you could be doing in terms of the project itself.”
The organisation, founded by the Council of Europe in 1988 and active since 1989, has grown to 40 members with the addition of Argentina (as an associate member) in October. The next country to be added is likely to be Ukraine in 2020. The UK is not a member and with Brexit looming, UK policymakers have said they will research the feasibility of joining.
Eurimages’ funding support reaches about $28.8m (€26m) per year and comes from member states’ contributions and repayment of loans to past projects. Even though many producers would like to see more funding for Eurimages, that is unlikely unless all member states voluntarily agree to raise their dues.
Following a study in 2018, Eurimages is proposing to make some changes from 2021. The proposals have been approved by the Eurimages board and now need to be ratified by the Council of Europe’s governing bodies.
“The evaluation from 2018 indicated Eurimages is growing so big the rules of the game [need to be] updated for the new paradigm,” said Olla.
Currently, national representatives vote on which projects receive co-production funding. Under the new proposals, those national reps would work on Eurimages’ wider policies, but external experts would make the project-funding decisions.
The core of Eurimages will remain unchanged, however. “It is clear Eurimages should keep a cultural editorial line,” said Olla. “We are there to encourage filmmakers to take risks and be creative and in a way that’s not necessarily market-oriented.”
We wish to say thanks to the writer of this post for this remarkable web content
";}s:7:"summary";s:659:"“Eurimages fulfils an important role to back those culturally important, risk-taking films that the market doesn’t necessarily support,” said Hungarian director Ildiko Enyedi at an event to celebrate Eurimages’ 30th anniversary. Held during the European Film Awards weekend on December 7 in Berlin, she spoke of the need for more “brave and daring” filmmaking in Europe ... Read more";s:12:"atom_content";s:4923:"
“Eurimages fulfils an important role to back those culturally important, risk-taking films that the market doesn’t necessarily support,” said Hungarian director Ildiko Enyedi at an event to celebrate Eurimages’ 30th anniversary.
Held during the European Film Awards weekend on December 7 in Berlin, she spoke of the need for more “brave and daring” filmmaking in Europe and said Eurimages — the cultural support fund of the Council of Europe — has to support those voices.
Enyedi noted that her forthcoming drama The Story Of My Wife, a collaboration between Hungary, Germany, France and Italy, would not have been made without Eurimages.
“Eurimages helps us take those risks, to not have to directly look for an audience,” said Germany’s Jonas Dornbach of Komplizen Film, co-producer on The Story Of My Wife. “It gives us more freedom to work with filmmakers for their vision. We have to co-produce otherwise [these] films wouldn’t be possible.”
Giorgos Karnavas of Greece’s Heretic, who is co-producing Ruben Ostlund’s Triangle Of Sadness, said: “For small countries like Romania and Greece with limited resources, the support of Eurimages is a game-changer. You have to think in a more co-operative way.”
Romanian director Anca Damian (Crulic — The Path To Beyond and Marona’s Fantastic Tale) agreed that co-production makes her films stronger. “For me, aside from the production needs, co-producing can elevate the project to a different level.”
Even with productions being made across borders, the experts agreed films are not crossing enough of those boundaries in distribution. Roberto Olla, executive director of Eurimages, says the organisation is now researching how best to support this going forward as the current distribution support framework ends in March 2020.
Creative freedom
The support of Eurimages can help the European film industry offer audiences something different to the global streaming platforms, suggested Bero Beyer, the outgoing festival director of International Film Festival Rotterdam and soon to be CEO of the Netherlands Film Fund. He noted European public funders “should give more creative freedom to those voices who can make really original work”.
The money from national funds and bodies such as Eurimages should come with fewer strings attached too, said Beyer. “The amount of time you have to spend as a producer juggling all those elements so that you can get the film made is taking away energy from what you could be doing in terms of the project itself.”
The organisation, founded by the Council of Europe in 1988 and active since 1989, has grown to 40 members with the addition of Argentina (as an associate member) in October. The next country to be added is likely to be Ukraine in 2020. The UK is not a member and with Brexit looming, UK policymakers have said they will research the feasibility of joining.
Eurimages’ funding support reaches about $28.8m (€26m) per year and comes from member states’ contributions and repayment of loans to past projects. Even though many producers would like to see more funding for Eurimages, that is unlikely unless all member states voluntarily agree to raise their dues.
Following a study in 2018, Eurimages is proposing to make some changes from 2021. The proposals have been approved by the Eurimages board and now need to be ratified by the Council of Europe’s governing bodies.
“The evaluation from 2018 indicated Eurimages is growing so big the rules of the game [need to be] updated for the new paradigm,” said Olla.
Currently, national representatives vote on which projects receive co-production funding. Under the new proposals, those national reps would work on Eurimages’ wider policies, but external experts would make the project-funding decisions.
The core of Eurimages will remain unchanged, however. “It is clear Eurimages should keep a cultural editorial line,” said Olla. “We are there to encourage filmmakers to take risks and be creative and in a way that’s not necessarily market-oriented.”
We wish to say thanks to the writer of this post for this remarkable web content
";s:14:"date_timestamp";i:1643409241;}i:7;a:11:{s:5:"title";s:74:"Heritage Minister rescues Telefilm Canada from a funding debacle in Quebec";s:4:"link";s:132:"https://moustachebrothers.com/movie-production-companies/heritage-minister-rescues-telefilm-canada-from-a-funding-debacle-in-quebec/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Fri, 28 Jan 2022 21:13:56 +0000";s:8:"category";s:83:"Movie Production CompaniesCanadadebaclefundingHeritageministerQuebecrescuesTelefilm";s:4:"guid";s:38:"https://moustachebrothers.com/?p=12716";s:11:"description";s:734:"Mr. Rodriguez first signalled his concern after an April meeting with an industry group.Adrian Wyld/The Canadian Press A made-in-Quebec drama starring Telefilm Canada and the province’s film industry came to a happy ending Thursday, as Minister of Canadian Heritage and Multiculturalism Pablo Rodriguez gave Telefilm $7.5-million to fill a hole in its budget for francophone ... Read more";s:7:"content";a:1:{s:7:"encoded";s:8664:"
Mr. Rodriguez first signalled his concern after an April meeting with an industry group.Adrian Wyld/The Canadian Press
A made-in-Quebec drama starring Telefilm Canada and the province’s film industry came to a happy ending Thursday, as Minister of Canadian Heritage and Multiculturalism Pablo Rodriguez gave Telefilm $7.5-million to fill a hole in its budget for francophone feature films. Mr. Rodriguez also named two new board members for the federal agency, which will commission an external audit of its funding programs.
The minister’s largesse stilled the turmoil that had wracked the Quebec film community and the federal agency since early April, when reports began circulating that Telefilm had already exhausted its 2019-20 budget for French-language feature films. Cinema professionals, alarmed by the increasing presence in Quebec of Netflix and its mainly English content, were suddenly faced with a funding drought till next year.
The most disturbing charge was that Telefilm had blown through some of its 2019-20 funds during 2018-19. On April 30, three long-serving senior managers were abruptly let go with no explanation, including Michel Pradier, director of project financing.
The industry rallied behind the exiting bureaucrats, who included director of business affairs and co-productions Roxane Girard and director of administration and corporate services Denis Pion. Eight professional organizations, representing every sector of the Quebec film industry, accused Telefilm executive director Christa Dickenson of “decapitating” the agency, scapegoating the departed managers, and putting Telefilm’s mission and raison d’être in danger. The organizations demanded to know why Ms. Dickenson, who took up her post last June, was mum about what had happened and why Telefilm’s board had not used its oversight power to protect the 2019-20 funding envelope.
In a phone interview on Friday, Ms. Dickenson said “there’s no doubt there was underfunding and overcommitment” in the French feature-film program for 2018-19. She declined to give more detail.
“The cycle of funding for film straddles several years,” she said. “What I’m looking to do is to make sure there’s predictability and agility [in Telefilm programs], so that this kind of situation doesn’t happen again.” She had no comment about the three departed directors.
Mr. Rodriguez first signalled his concern after an April meeting with an industry group. No one, however, took it for granted that Heritage would fill the gap. The 2016 federal budget included a gradual increase of $29.5-million in Telefilm funding, after two years of shrinking or flat parliamentary appropriations (The agency’s budget for 2018-19 is $111-million). Heritage also provided a one-time additional transfer of $2.5-million in 2017-18, specifically to support international exposure for Canadian cinema.
“We can’t simply stand by while good films are not produced,” Mr. Rodriguez said, as he disbursed his $7.5-million Thursday. There’s no doubt that the money was also intended to protect Quebec’s cinema ecosystem from the effects of a dry spigot at Telefilm. If film professionals start leaving, it will be harder to keep or increase Quebec film’s 13-per-cent share of the province’s film theatre audience.
On Thursday, Ms. Dickenson praised the minister’s appearance as the saviour in this narrative. She also acknowledged, in Friday’s phone interview, that her image had taken a beating in Quebec.
“The image has been a bit damaged, and I’m certainly working on that,” she said. “I had conversations yesterday with Quebec producers about re-establishing dialogue.” She said the producers responded favourably to her invitation to join a working group, to evaluate Telefilm’s funding programs.
One bit of news that could have spared Ms. Dickenson from ill will was somehow overlooked when it was first mentioned on April 18. Mr. Pradier told an industry conference that the agency would add $2.5-million in previously unallocated funds to French-language features. That increase didn’t appear in Quebec media until it was reiterated Thursday.
The appointment of new board members might seem to support the industry’s feeling that the existing board didn’t do all it should have, but Ms. Dickenson said there were two vacancies, which Heritage had been working for months to fill.
Robert Spickler, the new board chair, has extensive experience as an arts manager, although not in film. His arrival, and the learning curve that awaits him, may not calm the fears of those lamenting the departure of Telefilm veterans who knew the scene intimately. Karen Horcher, the other new board member, is an expert in financial risk management. The three departed managers have been replaced, in two cases on an interim basis, by long-standing Telefilm personnel.
As for Mr. Rodriguez, he still faces the task of finding a coherent and effective approach to Netflix and its ilk, which are still immune to federal sales tax. Quebec, meanwhile, stands to gain $62-million a year from its recent application of sales tax to online entertainment subscriptions, according to Revenue Canada. That money could help keep the provincial film industry alive to shoot another day.
We would like to say thanks to the writer of this short article for this amazing content
";}s:7:"summary";s:734:"Mr. Rodriguez first signalled his concern after an April meeting with an industry group.Adrian Wyld/The Canadian Press A made-in-Quebec drama starring Telefilm Canada and the province’s film industry came to a happy ending Thursday, as Minister of Canadian Heritage and Multiculturalism Pablo Rodriguez gave Telefilm $7.5-million to fill a hole in its budget for francophone ... Read more";s:12:"atom_content";s:8664:"
Mr. Rodriguez first signalled his concern after an April meeting with an industry group.Adrian Wyld/The Canadian Press
A made-in-Quebec drama starring Telefilm Canada and the province’s film industry came to a happy ending Thursday, as Minister of Canadian Heritage and Multiculturalism Pablo Rodriguez gave Telefilm $7.5-million to fill a hole in its budget for francophone feature films. Mr. Rodriguez also named two new board members for the federal agency, which will commission an external audit of its funding programs.
The minister’s largesse stilled the turmoil that had wracked the Quebec film community and the federal agency since early April, when reports began circulating that Telefilm had already exhausted its 2019-20 budget for French-language feature films. Cinema professionals, alarmed by the increasing presence in Quebec of Netflix and its mainly English content, were suddenly faced with a funding drought till next year.
The most disturbing charge was that Telefilm had blown through some of its 2019-20 funds during 2018-19. On April 30, three long-serving senior managers were abruptly let go with no explanation, including Michel Pradier, director of project financing.
The industry rallied behind the exiting bureaucrats, who included director of business affairs and co-productions Roxane Girard and director of administration and corporate services Denis Pion. Eight professional organizations, representing every sector of the Quebec film industry, accused Telefilm executive director Christa Dickenson of “decapitating” the agency, scapegoating the departed managers, and putting Telefilm’s mission and raison d’être in danger. The organizations demanded to know why Ms. Dickenson, who took up her post last June, was mum about what had happened and why Telefilm’s board had not used its oversight power to protect the 2019-20 funding envelope.
In a phone interview on Friday, Ms. Dickenson said “there’s no doubt there was underfunding and overcommitment” in the French feature-film program for 2018-19. She declined to give more detail.
“The cycle of funding for film straddles several years,” she said. “What I’m looking to do is to make sure there’s predictability and agility [in Telefilm programs], so that this kind of situation doesn’t happen again.” She had no comment about the three departed directors.
Mr. Rodriguez first signalled his concern after an April meeting with an industry group. No one, however, took it for granted that Heritage would fill the gap. The 2016 federal budget included a gradual increase of $29.5-million in Telefilm funding, after two years of shrinking or flat parliamentary appropriations (The agency’s budget for 2018-19 is $111-million). Heritage also provided a one-time additional transfer of $2.5-million in 2017-18, specifically to support international exposure for Canadian cinema.
“We can’t simply stand by while good films are not produced,” Mr. Rodriguez said, as he disbursed his $7.5-million Thursday. There’s no doubt that the money was also intended to protect Quebec’s cinema ecosystem from the effects of a dry spigot at Telefilm. If film professionals start leaving, it will be harder to keep or increase Quebec film’s 13-per-cent share of the province’s film theatre audience.
On Thursday, Ms. Dickenson praised the minister’s appearance as the saviour in this narrative. She also acknowledged, in Friday’s phone interview, that her image had taken a beating in Quebec.
“The image has been a bit damaged, and I’m certainly working on that,” she said. “I had conversations yesterday with Quebec producers about re-establishing dialogue.” She said the producers responded favourably to her invitation to join a working group, to evaluate Telefilm’s funding programs.
One bit of news that could have spared Ms. Dickenson from ill will was somehow overlooked when it was first mentioned on April 18. Mr. Pradier told an industry conference that the agency would add $2.5-million in previously unallocated funds to French-language features. That increase didn’t appear in Quebec media until it was reiterated Thursday.
The appointment of new board members might seem to support the industry’s feeling that the existing board didn’t do all it should have, but Ms. Dickenson said there were two vacancies, which Heritage had been working for months to fill.
Robert Spickler, the new board chair, has extensive experience as an arts manager, although not in film. His arrival, and the learning curve that awaits him, may not calm the fears of those lamenting the departure of Telefilm veterans who knew the scene intimately. Karen Horcher, the other new board member, is an expert in financial risk management. The three departed managers have been replaced, in two cases on an interim basis, by long-standing Telefilm personnel.
As for Mr. Rodriguez, he still faces the task of finding a coherent and effective approach to Netflix and its ilk, which are still immune to federal sales tax. Quebec, meanwhile, stands to gain $62-million a year from its recent application of sales tax to online entertainment subscriptions, according to Revenue Canada. That money could help keep the provincial film industry alive to shoot another day.
We would like to say thanks to the writer of this short article for this amazing content
";s:14:"date_timestamp";i:1643404436;}i:8;a:11:{s:5:"title";s:91:"Vertical Entertainment Acquires North American Rights To ‘Four Good Days’ – PopHorror";s:4:"link";s:139:"https://moustachebrothers.com/movie-production-companies/vertical-entertainment-acquires-north-american-rights-to-four-good-days-pophorror/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Fri, 28 Jan 2022 16:33:22 +0000";s:8:"category";s:87:"Movie Production CompaniesAcquiresAmericandaysEntertainmentNorthPopHorrorrightsVertical";s:4:"guid";s:38:"https://moustachebrothers.com/?p=12692";s:11:"description";s:778:"Vertical Entertainment has acquired North American rights to Rodrigo Garcia’s drama Four Good Days, which premiered at the 2020 Sundance Film Festival. The film stars 7-time Academy Award Nominee Glenn Close (The Wife, Fatal Attraction) and Mila Kunis (Black Swan, That 70s Show) in a moving mother-daughter drama. Four Good Days was directed by Rodrigo ... Read more";s:7:"content";a:1:{s:7:"encoded";s:4551:"
Vertical Entertainment has acquired North American rights to Rodrigo Garcia’s drama Four Good Days, which premiered at the 2020 Sundance Film Festival. The film stars 7-time Academy Award Nominee Glenn Close (The Wife, Fatal Attraction) and Mila Kunis (Black Swan, That 70s Show) in a moving mother-daughter drama.
Four Good Dayswas directed by Rodrigo Garcia, written by Eli Saslow and Rodrigo Garcia, produced by Jon Avnet, Marina Grasic, Jake Avnet, Jai Khanna, and Rodrigo Garcia, executive produced by Sage Scroope, William G. Santor, John Hills, Andrew Chang-Sang, Doug Murray, John Griffith, David Haring, Christian Mercuri, and Ruzanna Kegeyan, with cinematography by Igor Jadue-Lillo, editing by Lauren Connelly, costume design by Michele Michel, and music by Ed Shearmur. The film is presented by Oakhurst Entertainment, financed by Productivity Media, and produced by Indigenous Media.
Synopsis for Four Good Days
In an emotional journey based on a true story by Pulitzer Prize-winning Washington Post writer Eli Saslow, 31-year-old Molly begs her estranged mother Deb for help fighting a fierce battle against the demons that have derailed her life. Despite all she has learned over a decade of disappointment, grief and rage, Deb throws herself into one last attempt to save her beloved daughter from the deadly and merciless grip of heroin addiction. Powerhouse performances from Glenn Close and Mila Kunis anchor director Rodrigo García’s poignant and unpredictable chronicle of mother and daughter fighting to regain the love and trust that once held them together.
Director Rodrigo Garcia said “When I first read Eli’s article I was struck right away by the emotional power of the story, and by how beautifully it captured the complicated and unbreakable bond of a mother and daughter. It’s been a great journey working with Glenn so many times, and I always marvel at her artistry, intelligence, and sensibility. I never stop learning from her. And I’ve always found Mila to be an excellent actress of subtlety and complexity. Two great artists bringing us closer to what it’s really like to be in a situation that is tragically common in American families.”
“From the first day, I watched Rodrigo work with actors at the Sundance Directors workshop on his script “Things You Can Tell Just by Looking at Her,” I’ve been a fan of the alchemy he creates with his actresses. I had the good fortune to produce that film which starred Glenn Close and many other world-class actresses and won the Cannes Film Festival’s prize “Un Certain Regard,” after premiering in Sundance. Four Good Days reunites Rodrigo and Glenn and brings in Mila Kunis, with who I had the pleasure of working as an executive producer on Black Swann. Once again, Rodrigo creates a spell which binds these two in a messy but unforgettable relationship,” said producer Jon Avnet.
“We are excited to share the impactful message and impeccable performances by Mila Kunis and Glenn Close in Four Good Days with audiences this spring. The film, based on a true story, gives audiences a window into the struggle of a mother and daughter trying to rebuild their relationship after a long battle with drug abuse. The conversation around addiction can be complex and difficult for family members to have and we strongly feel that audiences, and most importantly families, will empathize with these characters and possibly even open up the discussion about drug abuse with one another,” said Rich Goldberg, co-president of Vertical Entertainment.
Peter Jarowey and Josh Spector negotiated the deal for Vertical Entertainment with Indigenous Media on behalf of the filmmakers. Vertical Entertainment will release Four Good Days theatrically on April 30th and on demand on May 21st.
We want to give thanks to the writer of this short article for this remarkable web content
";}s:7:"summary";s:778:"Vertical Entertainment has acquired North American rights to Rodrigo Garcia’s drama Four Good Days, which premiered at the 2020 Sundance Film Festival. The film stars 7-time Academy Award Nominee Glenn Close (The Wife, Fatal Attraction) and Mila Kunis (Black Swan, That 70s Show) in a moving mother-daughter drama. Four Good Days was directed by Rodrigo ... Read more";s:12:"atom_content";s:4551:"
Vertical Entertainment has acquired North American rights to Rodrigo Garcia’s drama Four Good Days, which premiered at the 2020 Sundance Film Festival. The film stars 7-time Academy Award Nominee Glenn Close (The Wife, Fatal Attraction) and Mila Kunis (Black Swan, That 70s Show) in a moving mother-daughter drama.
Four Good Dayswas directed by Rodrigo Garcia, written by Eli Saslow and Rodrigo Garcia, produced by Jon Avnet, Marina Grasic, Jake Avnet, Jai Khanna, and Rodrigo Garcia, executive produced by Sage Scroope, William G. Santor, John Hills, Andrew Chang-Sang, Doug Murray, John Griffith, David Haring, Christian Mercuri, and Ruzanna Kegeyan, with cinematography by Igor Jadue-Lillo, editing by Lauren Connelly, costume design by Michele Michel, and music by Ed Shearmur. The film is presented by Oakhurst Entertainment, financed by Productivity Media, and produced by Indigenous Media.
Synopsis for Four Good Days
In an emotional journey based on a true story by Pulitzer Prize-winning Washington Post writer Eli Saslow, 31-year-old Molly begs her estranged mother Deb for help fighting a fierce battle against the demons that have derailed her life. Despite all she has learned over a decade of disappointment, grief and rage, Deb throws herself into one last attempt to save her beloved daughter from the deadly and merciless grip of heroin addiction. Powerhouse performances from Glenn Close and Mila Kunis anchor director Rodrigo García’s poignant and unpredictable chronicle of mother and daughter fighting to regain the love and trust that once held them together.
Director Rodrigo Garcia said “When I first read Eli’s article I was struck right away by the emotional power of the story, and by how beautifully it captured the complicated and unbreakable bond of a mother and daughter. It’s been a great journey working with Glenn so many times, and I always marvel at her artistry, intelligence, and sensibility. I never stop learning from her. And I’ve always found Mila to be an excellent actress of subtlety and complexity. Two great artists bringing us closer to what it’s really like to be in a situation that is tragically common in American families.”
“From the first day, I watched Rodrigo work with actors at the Sundance Directors workshop on his script “Things You Can Tell Just by Looking at Her,” I’ve been a fan of the alchemy he creates with his actresses. I had the good fortune to produce that film which starred Glenn Close and many other world-class actresses and won the Cannes Film Festival’s prize “Un Certain Regard,” after premiering in Sundance. Four Good Days reunites Rodrigo and Glenn and brings in Mila Kunis, with who I had the pleasure of working as an executive producer on Black Swann. Once again, Rodrigo creates a spell which binds these two in a messy but unforgettable relationship,” said producer Jon Avnet.
“We are excited to share the impactful message and impeccable performances by Mila Kunis and Glenn Close in Four Good Days with audiences this spring. The film, based on a true story, gives audiences a window into the struggle of a mother and daughter trying to rebuild their relationship after a long battle with drug abuse. The conversation around addiction can be complex and difficult for family members to have and we strongly feel that audiences, and most importantly families, will empathize with these characters and possibly even open up the discussion about drug abuse with one another,” said Rich Goldberg, co-president of Vertical Entertainment.
Peter Jarowey and Josh Spector negotiated the deal for Vertical Entertainment with Indigenous Media on behalf of the filmmakers. Vertical Entertainment will release Four Good Days theatrically on April 30th and on demand on May 21st.
We want to give thanks to the writer of this short article for this remarkable web content
";s:14:"date_timestamp";i:1643387602;}i:9;a:11:{s:5:"title";s:104:"Vertical Entertainment’s Horror Movie ‘In the Forest’ Turns a Family Camping Trip into a Nightmare";s:4:"link";s:153:"https://moustachebrothers.com/movie-production-companies/vertical-entertainments-horror-movie-in-the-forest-turns-a-family-camping-trip-into-a-nightmare/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Fri, 28 Jan 2022 10:31:43 +0000";s:8:"category";s:91:"Movie Production CompaniesCampingEntertainmentsfamilyforestHorrorMovieNightmareTripVertical";s:4:"guid";s:38:"https://moustachebrothers.com/?p=12639";s:11:"description";s:811:"Every entry in the Final Destination franchise kicks off with a premonition of a lethal cataclysmic event. The original film set the bar high with a harrowing plane explosion mid-air. Its direct follow-up, released in 2003, upped the ante in terror with a far more statistically probable catastrophe that hits closer to home. Final Destination 2‘s opening premonition ... Read more";s:7:"content";a:1:{s:7:"encoded";s:7150:"
Every entry in the Final Destinationfranchise kicks off with a premonition of a lethal cataclysmic event. The original film set the bar high with a harrowing plane explosion mid-air. Its direct follow-up, released in 2003, upped the ante in terror with a far more statistically probable catastrophe that hits closer to home. Final Destination 2‘s opening premonition still induces road anxiety nearly twenty years later.
Set one year after the first film’s events, this sequel opens with an introduction to college student Kimberly Corman (A.J. Cook), who’s on her way to Florida for Spring Break with friends. In usual franchise fashion, this sequence establishes the latest group to get caught up in Death’s design, all unaware that they’re moments away from meeting a gruesome demise. As the camera drifts in and out of vehicles to introduce key players, it also begins to toy with viewers and build suspense.
An unbuckled Rory Peters (Jonathan Cherry) presents the perfect example of a distracted driver, as he’s more focused on snorting coke and avoiding police detection. Deputy Marshal Thomas Burke (Michael Landes) spills hot coffee all over his lap. Meanwhile, a motorcyclist darts in and out of traffic and a very wet stretch of highway. Each one is a potential trigger for a fatal pile-up.
The actual cause is ultimately revealed to be the logging truck, whose bindings snap and cause its massive logs to roll out into traffic. It triggers a chain reaction of car crashes, explosions, freak accidents, and violent deaths for all on that stretch of road. Straight away, one log smashes through Burke’s patrol vehicle, coming out through the back covered in his viscera. While pinned in her overturned vehicle, Kimberly watches all of it happen in horror. Before a careening car comes for her, she snaps out of the vision on the entrance ramp, avoiding the pile-up and beginning Death’s new game.
Blood, fire, and metal spill across the pavement. Shattering glass, screeching tires attempting to swerve away from harm, piercing screams of drivers burning to death as they’re pinned in place. Director David R. Ellis slows down the lethal pile-up to capture the horror of it all through disturbing detail. That attention to detail graphically paints a picture of an everyday event that happens in the blink of an eye.
Driving is a regular part of life, and crashes happen daily. Logs cutting loose from their transport and crashing through vehicles also makes for an unsettlingly plausible scenario that’s happened before. Freak accidents happen, but the odds of being involved in a plane explosion, roller coaster derailment, or a stadium collapse aren’t nearly as high as a road accident.
This intense sequence effectively transformed the logging truck into a real-life boogeyman. Kimberly’s premonition embeds itself into your skull. Once you see Final Destination 2, it’s near impossible to shake that instant spike of anxiety that comes with driving close to a similar flatbed semi-truck transporting potential impalement cargo.
Scene Screams is a recurring column that spotlights the scenes in horror that make us scream, whether through fear, laughter, or tears. It examines the most memorable, and often scariest, scenes in horror and what it is about them that makes them get under our skin.
We would like to give thanks to the author of this write-up for this awesome content
";}s:7:"summary";s:811:"Every entry in the Final Destination franchise kicks off with a premonition of a lethal cataclysmic event. The original film set the bar high with a harrowing plane explosion mid-air. Its direct follow-up, released in 2003, upped the ante in terror with a far more statistically probable catastrophe that hits closer to home. Final Destination 2‘s opening premonition ... Read more";s:12:"atom_content";s:7150:"
Every entry in the Final Destinationfranchise kicks off with a premonition of a lethal cataclysmic event. The original film set the bar high with a harrowing plane explosion mid-air. Its direct follow-up, released in 2003, upped the ante in terror with a far more statistically probable catastrophe that hits closer to home. Final Destination 2‘s opening premonition still induces road anxiety nearly twenty years later.
Set one year after the first film’s events, this sequel opens with an introduction to college student Kimberly Corman (A.J. Cook), who’s on her way to Florida for Spring Break with friends. In usual franchise fashion, this sequence establishes the latest group to get caught up in Death’s design, all unaware that they’re moments away from meeting a gruesome demise. As the camera drifts in and out of vehicles to introduce key players, it also begins to toy with viewers and build suspense.
An unbuckled Rory Peters (Jonathan Cherry) presents the perfect example of a distracted driver, as he’s more focused on snorting coke and avoiding police detection. Deputy Marshal Thomas Burke (Michael Landes) spills hot coffee all over his lap. Meanwhile, a motorcyclist darts in and out of traffic and a very wet stretch of highway. Each one is a potential trigger for a fatal pile-up.
The actual cause is ultimately revealed to be the logging truck, whose bindings snap and cause its massive logs to roll out into traffic. It triggers a chain reaction of car crashes, explosions, freak accidents, and violent deaths for all on that stretch of road. Straight away, one log smashes through Burke’s patrol vehicle, coming out through the back covered in his viscera. While pinned in her overturned vehicle, Kimberly watches all of it happen in horror. Before a careening car comes for her, she snaps out of the vision on the entrance ramp, avoiding the pile-up and beginning Death’s new game.
Blood, fire, and metal spill across the pavement. Shattering glass, screeching tires attempting to swerve away from harm, piercing screams of drivers burning to death as they’re pinned in place. Director David R. Ellis slows down the lethal pile-up to capture the horror of it all through disturbing detail. That attention to detail graphically paints a picture of an everyday event that happens in the blink of an eye.
Driving is a regular part of life, and crashes happen daily. Logs cutting loose from their transport and crashing through vehicles also makes for an unsettlingly plausible scenario that’s happened before. Freak accidents happen, but the odds of being involved in a plane explosion, roller coaster derailment, or a stadium collapse aren’t nearly as high as a road accident.
This intense sequence effectively transformed the logging truck into a real-life boogeyman. Kimberly’s premonition embeds itself into your skull. Once you see Final Destination 2, it’s near impossible to shake that instant spike of anxiety that comes with driving close to a similar flatbed semi-truck transporting potential impalement cargo.
Scene Screams is a recurring column that spotlights the scenes in horror that make us scream, whether through fear, laughter, or tears. It examines the most memorable, and often scariest, scenes in horror and what it is about them that makes them get under our skin.
We would like to give thanks to the author of this write-up for this awesome content
![The Highway Nightmare of ‘Final Destination 2’ Still Induces Anxiety [Scene Screams]](https://i0.wp.com/bloody-disgusting.com/wp-content/uploads/2022/01/Final-Destination-2-1.jpg?resize=740%2C416&ssl=1 "Vertical Entertainment’s Horror Movie ‘In the Forest’ Turns a Family Camping Trip into a Nightmare 30")