Motion Picture Assocation Chairman and CEO Charles Rivkin continued to not hold back at CinemaCon, delivering another Eliot Ness-fueled, colorful crusade speech against piracy.
“Remember – these aren’t teenagers playing an elaborate prank!” exclaimed Rivkin in a drum that’s been beaten by the MPA since the days of the org’s forefather Jack Valenti.
“The perpetrators are real-life mobsters … organized crime syndicates – many of whom engage in child pornography, prostitution, drug trafficking, and so many other societal ills!”
“They operate websites that draw in millions of unsuspecting viewers whose personal data can then fall prey to malware and hackers,” Rivkin said.
Make no mistake here at CinemaCon where the crusade against anti-piracy is very serious. Divorce papers might have the power to slip through to movie stars on stage during studio presentations at the exhib-studio confab, but take out your phone and the security guards will jump on you...
“Remember – these aren’t teenagers playing an elaborate prank!” exclaimed Rivkin in a drum that’s been beaten by the MPA since the days of the org’s forefather Jack Valenti.
“The perpetrators are real-life mobsters … organized crime syndicates – many of whom engage in child pornography, prostitution, drug trafficking, and so many other societal ills!”
“They operate websites that draw in millions of unsuspecting viewers whose personal data can then fall prey to malware and hackers,” Rivkin said.
Make no mistake here at CinemaCon where the crusade against anti-piracy is very serious. Divorce papers might have the power to slip through to movie stars on stage during studio presentations at the exhib-studio confab, but take out your phone and the security guards will jump on you...
- 4/9/2024
- by Anthony D'Alessandro
- Deadline Film + TV
Charles Rivkin’s contract as chairman-ceo of the Motion Picture Association has been renewed for a third term, making him the longest running head of the trade organization since the legendary Jack Valenti.
Rivkin arrived at the MPA in January 2018. One of his first acts was to open up the membership ranks to include Netflix alongside Hollywood’s legacy movie and TV studios. Today, those studios are Disney, Paramount, Sony, Warner Bros. and Universal
“As the world’s largest content creators, co-producing and investing in more local productions than ever before, MPA members are constantly pushing the boundaries of storytelling around the globe to delight audiences everywhere, on every available screen,” Rivkin said. “Our members’ films and series are among the most accessible and prominent cultural exports, and they drive the creative economy both in the United States and overseas.”
Under Rivkin’s leadership, the MPA has grown in terms...
Rivkin arrived at the MPA in January 2018. One of his first acts was to open up the membership ranks to include Netflix alongside Hollywood’s legacy movie and TV studios. Today, those studios are Disney, Paramount, Sony, Warner Bros. and Universal
“As the world’s largest content creators, co-producing and investing in more local productions than ever before, MPA members are constantly pushing the boundaries of storytelling around the globe to delight audiences everywhere, on every available screen,” Rivkin said. “Our members’ films and series are among the most accessible and prominent cultural exports, and they drive the creative economy both in the United States and overseas.”
Under Rivkin’s leadership, the MPA has grown in terms...
- 1/17/2024
- by Pamela McClintock
- The Hollywood Reporter - Movie News
The Motion Picture Association has renewed chairman and CEO Charles Rivkin’s contract for another three-year term.
Rivkin joined the MPA in September 2017 as CEO and, after a transition period, also became chairman in January 2018. The new contract started on Jan. 1, marking his third term in the role.
During his recent tenure, the MPA and studios grappled with the Covid pandemic, and Rivkin worked with local groups on retaining or enhancing production incentive programs in states including New York, California, Georgia, New Jersey and Louisiana. Budget allocations totaled almost $8 billion last year, according to the MPA. The trade association also cited production incentives in other countries, including Australia, Austria, Canada, France, India, Ireland, New Zealand and Spain, as well as progress on creating a framework for a program in Mexico.
Rivkin also played a leading role in creating the new Streaming Innovation Alliance, which is focused on regulatory policy in...
Rivkin joined the MPA in September 2017 as CEO and, after a transition period, also became chairman in January 2018. The new contract started on Jan. 1, marking his third term in the role.
During his recent tenure, the MPA and studios grappled with the Covid pandemic, and Rivkin worked with local groups on retaining or enhancing production incentive programs in states including New York, California, Georgia, New Jersey and Louisiana. Budget allocations totaled almost $8 billion last year, according to the MPA. The trade association also cited production incentives in other countries, including Australia, Austria, Canada, France, India, Ireland, New Zealand and Spain, as well as progress on creating a framework for a program in Mexico.
Rivkin also played a leading role in creating the new Streaming Innovation Alliance, which is focused on regulatory policy in...
- 1/17/2024
- by Ted Johnson
- Deadline Film + TV
"Jaws" might have been the first blockbuster in 1975, but nearly 15 years later, 1989's "Batman" changed the definition of the term. Tim Burton's third studio movie not only proved a financial success, bringing in $411 million worldwide on a $35 million budget, it kicked off a summer of so-called "Bat-mania," becoming a bonafide phenomenon as Warner Bros. bombarded every facet of popular culture with Bat-themed merchandise. The "Batman" breakfast cereal commercial remains a personal favorite for the grandiose introduction of the product as "Batman, the cereal."
"Batman" becoming such a mega-hit was somewhat surprising, if only because the production itself had faced its share of challenges. Listing everything that was working against the film would take an entire article in and of itself, suffice it to say that Burton described bringing his vision to life as "torture." But despite the various struggles the director had to overcome, the film did have a lot working in its favor.
"Batman" becoming such a mega-hit was somewhat surprising, if only because the production itself had faced its share of challenges. Listing everything that was working against the film would take an entire article in and of itself, suffice it to say that Burton described bringing his vision to life as "torture." But despite the various struggles the director had to overcome, the film did have a lot working in its favor.
- 9/4/2023
- by Joe Roberts
- Slash Film
Will Rogers Motion Picture Pioneers Foundation (Wrmppf) is honoring one of their biggest champs this year with a posthumous recognition: late MGM and United Artists Distribution Boss Erik Lomis. The honor will be recognized at the October 4 dinner at The Beverly Hilton.
Lomis, who was a force in getting movie theaters back open as Covid quelled, and a proponent of the theatrical window with the release of the 007 title No Time to Die, passed away suddenly at 64 on March 22. Lomis was also known for his relentless and passionate fundraising for Will Rogers.
Lomis hosted last year’s Pioneer dinner which honored James Bond producers Barbara Broccoli and Michael G. Wilson.
A tradition for more than 75 years, the Pioneer of the Year Award is bestowed upon esteemed and respected members in the motion picture industry whose corporate leadership, service to the community and commitment to philanthropy are exceptional. All proceeds...
Lomis, who was a force in getting movie theaters back open as Covid quelled, and a proponent of the theatrical window with the release of the 007 title No Time to Die, passed away suddenly at 64 on March 22. Lomis was also known for his relentless and passionate fundraising for Will Rogers.
Lomis hosted last year’s Pioneer dinner which honored James Bond producers Barbara Broccoli and Michael G. Wilson.
A tradition for more than 75 years, the Pioneer of the Year Award is bestowed upon esteemed and respected members in the motion picture industry whose corporate leadership, service to the community and commitment to philanthropy are exceptional. All proceeds...
- 8/4/2023
- by Anthony D'Alessandro
- Deadline Film + TV
Oscar-winning actress Ariana DeBose, Warner Bros. Pictures Group co-chair and CEO Pamela Abdy and nationally recognized trial lawyer Wylie A. Aitken have joined the American Film Institute’s board of trustees, The Hollywood Reporter has learned.
“AFI is the place where artistry and academia meet,” Kathleen Kennedy, the board’s chair, tells THR. “The addition of Pam, Wylie and Ari to the board will further propel our national mandate to inspire, to educate and, ultimately, to drive culture forward.”
The board, which sets AFI’s priorities and guides its national education programs, is already packed with big names. Among them: actors Halle Berry and Michael B. Jordan; filmmakers Steven Spielberg and Ava DuVernay; TV creators Jay Roach and Shonda Rhimes; studio/network chiefs Ted Sarandos and Donna Langley; power-agents Bryan Lourd and Chris Silbermann; the noted academic Jeanine Basinger; MPA chief Charles Rivkin, SAG-AFTRA president Fran Drescher; and Academy of...
“AFI is the place where artistry and academia meet,” Kathleen Kennedy, the board’s chair, tells THR. “The addition of Pam, Wylie and Ari to the board will further propel our national mandate to inspire, to educate and, ultimately, to drive culture forward.”
The board, which sets AFI’s priorities and guides its national education programs, is already packed with big names. Among them: actors Halle Berry and Michael B. Jordan; filmmakers Steven Spielberg and Ava DuVernay; TV creators Jay Roach and Shonda Rhimes; studio/network chiefs Ted Sarandos and Donna Langley; power-agents Bryan Lourd and Chris Silbermann; the noted academic Jeanine Basinger; MPA chief Charles Rivkin, SAG-AFTRA president Fran Drescher; and Academy of...
- 7/26/2023
- by Scott Feinberg
- The Hollywood Reporter - Movie News
For John Fithian, politics and the art of negotiation are second nature. He grew up in Washington, D.C., as the son of longtime U.S. Rep. Floyd Fithian of Indiana, and later began his career working as an outside counsel (code for lobbyist) for clients including the Major League Baseball Players Association. Ultimately, cinema won him over, and in 1999 he was named president of the National Association of Theatre Owners, the start of a decades-long reign that will come to an end May 1, when he turns the title over to Michael P. O’Leary.
Fithian guided the industry through the devastating Covid-19 crisis and unprecedented theater closures, enlisting top filmmakers and stars in convincing Congress to give billions of dollars to rescue theater circuits and their employees. He has spent a total of 30 years at NATO, including first as outside counsel before taking over as president in 2000.
“John has...
Fithian guided the industry through the devastating Covid-19 crisis and unprecedented theater closures, enlisting top filmmakers and stars in convincing Congress to give billions of dollars to rescue theater circuits and their employees. He has spent a total of 30 years at NATO, including first as outside counsel before taking over as president in 2000.
“John has...
- 4/17/2023
- by Pamela McClintock
- The Hollywood Reporter - Movie News
In 1949, John Wayne was nominated for the Academy Award for Best Actor for his performance in Allan Dwan's war film "Sands of Iwo Jima." Despite several thoughtful antiwar films that preceded it -- specifically "All Quiet on the Western Front" and "The Best Years of Our Lives" -- "Iwo Jima" came at a time when patriotic, downright jingoistic movies about World War II were coming into vogue. In particular, 1949 saw the release of films like "Battleground" and "Twelve O'Clock High," both films about the nobility of war and the heroism of soldiers. Both those films were nominated for Best Picture, although they lost to the political corruption drama "All the King's Men." Wayne himself lost Best Actor to Broderick Crawford, the star of "King's Men."
In 1969, Wayne looked back on "Iwo Jima" in an interview with Roger Ebert, and posited that he lost his Oscar for political reasons. A...
In 1969, Wayne looked back on "Iwo Jima" in an interview with Roger Ebert, and posited that he lost his Oscar for political reasons. A...
- 2/28/2023
- by Witney Seibold
- Slash Film
Amazon Studios Boss Jen Salke on Tuesday finally named former Warner Bros President of Production Courtenay Valenti as Head of Film, Streaming and Theatrical for Amazon Studios and MGM. She will report directly to Salke.
Rapaport
Julie Rapaport, who was the interim head of both studios, will continue to oversee the slate for Amazon Originals and MGM in her new role as Head of Film Creative and Strategy, reporting to Valenti.
The deal, which Deadline first told you about, has been in the works for a while and arrives before Amazon MGM’s big release this weekend of Creed III at the box office; it is set to see the franchise’s best domestic debut between $38 million-$40 million.
Following Amazon’s purchase of MGM, the studio’s top leaders, Michael De Luca and Pam Abdy, headed to Warner Bros as co-chairs of the motion picture division. It took awhile for...
Rapaport
Julie Rapaport, who was the interim head of both studios, will continue to oversee the slate for Amazon Originals and MGM in her new role as Head of Film Creative and Strategy, reporting to Valenti.
The deal, which Deadline first told you about, has been in the works for a while and arrives before Amazon MGM’s big release this weekend of Creed III at the box office; it is set to see the franchise’s best domestic debut between $38 million-$40 million.
Following Amazon’s purchase of MGM, the studio’s top leaders, Michael De Luca and Pam Abdy, headed to Warner Bros as co-chairs of the motion picture division. It took awhile for...
- 2/28/2023
- by Anthony D'Alessandro
- Deadline Film + TV
Veteran Hollywood movie executive Courtenay Valenti has closed a deal to take on the role of head of film, streaming and theatrical, for Amazon Studios and MGM as the e-commerce giant expands its footprint in the movie space. Talk of her pending hire was first reported at the end of January, and caps months of speculation as to who would take the job now that Amazon owns MGM.
Valenti will report directly to Amazon and MGM Studios chief Jennifer Salke. She begins March 1.
“Our strategy now encompasses an expanded investment in film, including a robust theatrical plan and growing streaming program, in order to bring even more movies to film lovers all over the world. A key part of this strategy has been taking a focused and deliberate approach to ensure we have the right people in place to execute our creative vision,” Salke wrote in memo to staff Tuesday.
Valenti will report directly to Amazon and MGM Studios chief Jennifer Salke. She begins March 1.
“Our strategy now encompasses an expanded investment in film, including a robust theatrical plan and growing streaming program, in order to bring even more movies to film lovers all over the world. A key part of this strategy has been taking a focused and deliberate approach to ensure we have the right people in place to execute our creative vision,” Salke wrote in memo to staff Tuesday.
- 2/28/2023
- by Pamela McClintock
- The Hollywood Reporter - Movie News
Bethlyn Hand, the former Senior Vice President of Advertising and Administration for the Motion Picture Association, passed away on February 14. The cause was Alzheimer’s disease, her brother Lloyd Hand said. She was 85.
A veteran of the MPA, Hand joined the org soon after Jack Valenti was made President, and remained for 37 years. Valenti said in 2003, “She was by my side at the very beginning of my tenure at the MPAA. I got a lot of credit for what she did.”
Hand played a crucial role in approving or declining marketing campaigns according to the guidelines of the Motion Picture Association of America’s ratings program and became a well-known figure in the industry.
She grew up in Houston and majored in journalism at the University of Texas, then began her career in 1966 when she moved to Washington DC and worked alongside Valenti. Nine years later, Hand moved to Los...
A veteran of the MPA, Hand joined the org soon after Jack Valenti was made President, and remained for 37 years. Valenti said in 2003, “She was by my side at the very beginning of my tenure at the MPAA. I got a lot of credit for what she did.”
Hand played a crucial role in approving or declining marketing campaigns according to the guidelines of the Motion Picture Association of America’s ratings program and became a well-known figure in the industry.
She grew up in Houston and majored in journalism at the University of Texas, then began her career in 1966 when she moved to Washington DC and worked alongside Valenti. Nine years later, Hand moved to Los...
- 2/22/2023
- by Nancy Tartaglione
- Deadline Film + TV
Bethlyn Hand, a former longtime senior executive at the Motion Picture Association of America, died on Feb. 14 of Alzheimer’s disease. She was 85.
Hand joined the MPAA soon after Jack Valenti was made president of the Hollywood trade association and stayed for 37 years. One of the most powerful female executives in the movie industry during the 1990s, she rose to become senior vice president of advertising and administration at MPAA and was selected by The Hollywood Reporter as one of Hollywood’s Most Powerful Women. “She was by my side at the very beginning of my tenure at the MPAA. I got a lot of credit for what she did,” Valenti said in 2003 on the occasion of Hand’s retirement from the MPAA.
During her long tenure, Hand became well-known in the industry for approving or declining movie marketing campaigns, according to the guidelines of the MPAA’s ratings program.
Hand joined the MPAA soon after Jack Valenti was made president of the Hollywood trade association and stayed for 37 years. One of the most powerful female executives in the movie industry during the 1990s, she rose to become senior vice president of advertising and administration at MPAA and was selected by The Hollywood Reporter as one of Hollywood’s Most Powerful Women. “She was by my side at the very beginning of my tenure at the MPAA. I got a lot of credit for what she did,” Valenti said in 2003 on the occasion of Hand’s retirement from the MPAA.
During her long tenure, Hand became well-known in the industry for approving or declining movie marketing campaigns, according to the guidelines of the MPAA’s ratings program.
- 2/22/2023
- by Abid Rahman
- The Hollywood Reporter - Movie News
Bethlyn Hand, who served as senior vice president of advertising and administration for the Motion Picture Association of America, died Feb. 14 of Alzheimer’s disease. She was 85 years old.
Hand joined the Hollywood trade organization shortly after Jack Valenti began his 37-year tenure as MPA president in 1966.
“She was by my side at the very beginning of my tenure at the MPAA,” Valenti said in 2003, four years before his death in 2007. “I got a lot of credit for what she did.”
Working with the MPAA, Hand’s responsibilities included the approval of marketing campaigns aligning with the guidelines of its ratings program — a duty that often spurred studio executives and producers to meet with her to plead their cases. In the ’90s, Hand was named one of Hollywood’s most powerful women by the Hollywood Reporter.
“With the teenage movies, there’s always a lot more sex that marketers want...
Hand joined the Hollywood trade organization shortly after Jack Valenti began his 37-year tenure as MPA president in 1966.
“She was by my side at the very beginning of my tenure at the MPAA,” Valenti said in 2003, four years before his death in 2007. “I got a lot of credit for what she did.”
Working with the MPAA, Hand’s responsibilities included the approval of marketing campaigns aligning with the guidelines of its ratings program — a duty that often spurred studio executives and producers to meet with her to plead their cases. In the ’90s, Hand was named one of Hollywood’s most powerful women by the Hollywood Reporter.
“With the teenage movies, there’s always a lot more sex that marketers want...
- 2/22/2023
- by J. Kim Murphy
- Variety Film + TV
Friday, we hear, is Courtenay Valenti’s last day as Warner Bros President of Production and Development after we told you first last month that she was exiting the Burbank, CA lot after a 33-year run.
Valenti is a free agent, with no strings attached to Warner Bros iscovery, I hear, and given her development track record in the thick of such Warner Bros Oscar movies like Argo, A Star Is Born and Mad Max Fury Road, she is a production boss whose talents will be prized wherever she lands. We’ve heard for some time that she had some sit-downs at Netflix and Amazon’s MGM for a key production job, with the former being buzzed to have the greater edge. Others tell us no offers are being papered, but it won’t be shocking to hear that Valenti makes a great landing in the near future.
She has...
Valenti is a free agent, with no strings attached to Warner Bros iscovery, I hear, and given her development track record in the thick of such Warner Bros Oscar movies like Argo, A Star Is Born and Mad Max Fury Road, she is a production boss whose talents will be prized wherever she lands. We’ve heard for some time that she had some sit-downs at Netflix and Amazon’s MGM for a key production job, with the former being buzzed to have the greater edge. Others tell us no offers are being papered, but it won’t be shocking to hear that Valenti makes a great landing in the near future.
She has...
- 10/28/2022
- by Anthony D'Alessandro
- Deadline Film + TV
Exhibition trade group the National Association of Theatre Owners announced Monday that its 24-year CEO and President John Fithian was retiring.
While that’s not as long as the late Motion Picture Association boss Jack Valenti’s 38-year run at that trade org, who left behind his own legendary streak with the creation of the ratings system, Fithian well deserves to be mentioned in the same sentence. As movie theaters were closed for the first time in their existence due to the pandemic, Fithian and his team tirelessly championed lawmakers from the federal to the city level to get cinemas reopened and the motion picture industry back on its feet. Not only that, but as studios experimented aggressively for a theatrical day-and-date model, Fithian and company behind the scenes poured water on that broken model as the box office returned.
Sure, Halloween Ends is going day-and-date on theatrical and Peacock this weekend,...
While that’s not as long as the late Motion Picture Association boss Jack Valenti’s 38-year run at that trade org, who left behind his own legendary streak with the creation of the ratings system, Fithian well deserves to be mentioned in the same sentence. As movie theaters were closed for the first time in their existence due to the pandemic, Fithian and his team tirelessly championed lawmakers from the federal to the city level to get cinemas reopened and the motion picture industry back on its feet. Not only that, but as studios experimented aggressively for a theatrical day-and-date model, Fithian and company behind the scenes poured water on that broken model as the box office returned.
Sure, Halloween Ends is going day-and-date on theatrical and Peacock this weekend,...
- 10/13/2022
- by Anthony D'Alessandro
- Deadline Film + TV
Exclusive: After a 33-year run at Warner Bros Pictures, and lots of hits including the Lego franchise, the last four Harry Potter films, multi-Oscar winner Mad Max: Fury Road and this summer’s hit Elvis, Courtenay Valenti, the studio’s President, Production and Development, has decided to leave.
While’s there been a lot of news about cuts at Warner Bros Discovery, Valenti’s departure is not that. This is a highly respected studio executive with a great streak who is looking to move on with what’s next in life. Valenti will depart at the end of October, and leaves behind a keen production staff in Kevin McCormick, Jesse Ehrman, Sheila Walcott, Cate Adams and Peter Dodd under Warner Bros Pictures Group co-chairs and CEOs, Michael De Luca and Pamela Abdy.
Recent and upcoming pics Valenti was taking charge of included Baz Luhrmann’s Elvis, which brought older adults back to cinemas,...
While’s there been a lot of news about cuts at Warner Bros Discovery, Valenti’s departure is not that. This is a highly respected studio executive with a great streak who is looking to move on with what’s next in life. Valenti will depart at the end of October, and leaves behind a keen production staff in Kevin McCormick, Jesse Ehrman, Sheila Walcott, Cate Adams and Peter Dodd under Warner Bros Pictures Group co-chairs and CEOs, Michael De Luca and Pamela Abdy.
Recent and upcoming pics Valenti was taking charge of included Baz Luhrmann’s Elvis, which brought older adults back to cinemas,...
- 9/2/2022
- by Anthony D'Alessandro
- Deadline Film + TV
James Bond franchise architects Michael G. Wilson and Barbara Broccoli have been set to receive the 2022 Pioneer of the Year Award from the Will Rogers Motion Picture Pioneers Foundation. The honor will be bestowed September 21 during a ceremony at the Beverly Hilton.
The Pioneer of the Year Award honors leaders in the movie industry whose career achievements and commitment to philanthropy is exemplary. The award, handed out for more than 70 years, is part of a gala to support the foundation’s Pioneers Assistance Fund, which provides financial assistance to individuals in need in the distribution and exhibition community.
Wilson and Broccoli have produced nine 007 films together: GoldenEye (1995), Tomorrow Never Dies (1997), The World Is Not Enough (1999), Die Another Day (2002), Casino Royale (2006), Quantum of Solace (2008), Skyfall (2012), Spectre (2015) and last year’s No Time to Die which marked the final Bond appearance by Daniel Craig.
“We are thrilled that Michael and Barbara will be receiving this well-deserved honor,...
The Pioneer of the Year Award honors leaders in the movie industry whose career achievements and commitment to philanthropy is exemplary. The award, handed out for more than 70 years, is part of a gala to support the foundation’s Pioneers Assistance Fund, which provides financial assistance to individuals in need in the distribution and exhibition community.
Wilson and Broccoli have produced nine 007 films together: GoldenEye (1995), Tomorrow Never Dies (1997), The World Is Not Enough (1999), Die Another Day (2002), Casino Royale (2006), Quantum of Solace (2008), Skyfall (2012), Spectre (2015) and last year’s No Time to Die which marked the final Bond appearance by Daniel Craig.
“We are thrilled that Michael and Barbara will be receiving this well-deserved honor,...
- 4/21/2022
- by Patrick Hipes
- Deadline Film + TV
Despite being the world capital of the film and TV industry, Los Angeles has never been a particularly hospitable place to stage a film festival. Which makes it all the more surprising that one of the city’s longest-running, most successful fests happens to be one dedicated entirely to French cinema.
First known as City of Lights, City of Angels, the Colcoa French Film Festival will celebrate its 25th anniversary this year, returning to its longtime home at the DGA Theater Complex for a week’s worth of primo Franco fare. Opening with the Juliette Binoche-starrer “Between Two Worlds,” the festival will screen 55 films and series and 19 shorts from Nov. 1-7 — and after taking a gap-year in 2020 due to the pandemic, this year’s fest will be back in-person.
Reliably attracting 20,000 attendees a year in the pre-covid era, Colcoa’s ability to survive a quarter century has a lot...
First known as City of Lights, City of Angels, the Colcoa French Film Festival will celebrate its 25th anniversary this year, returning to its longtime home at the DGA Theater Complex for a week’s worth of primo Franco fare. Opening with the Juliette Binoche-starrer “Between Two Worlds,” the festival will screen 55 films and series and 19 shorts from Nov. 1-7 — and after taking a gap-year in 2020 due to the pandemic, this year’s fest will be back in-person.
Reliably attracting 20,000 attendees a year in the pre-covid era, Colcoa’s ability to survive a quarter century has a lot...
- 11/1/2021
- by Andrew Barker
- Variety Film + TV
”I have been fortunate to work with some of the most talented artists both behind and in front of the camera.”
Village Roadshow Pictures (Vrp) chairman and CEO Bruce Berman is to depart the company after 24 years.
The executive and producer will seek “new opportunities in the rapidly evolving film landscape”, according to a press release issued on Monday (September 27).
Berman oversaw Vrp’s interests in projects at Warner Bros including Joker and the upcoming Matrix: The Resurrections set for release in December. He served as executive producer on both films and acts in the same capacity on Furiosa, the...
Village Roadshow Pictures (Vrp) chairman and CEO Bruce Berman is to depart the company after 24 years.
The executive and producer will seek “new opportunities in the rapidly evolving film landscape”, according to a press release issued on Monday (September 27).
Berman oversaw Vrp’s interests in projects at Warner Bros including Joker and the upcoming Matrix: The Resurrections set for release in December. He served as executive producer on both films and acts in the same capacity on Furiosa, the...
- 9/27/2021
- by Jeremy Kay
- ScreenDaily
Village Roadshow Pictures chairman and CEO Bruce Berman is exiting after 24 years at the production finance studio.
What franchises and big event pics hasn’t Berman been involved with? During his ride with Vrp he’s made several Warner Bros tentpoles including The Matrix franchise, multi-Oscar winner Mad Max: Fury Road, and Joker, the highest-grossing R-rated movie of all time worldwide at $1.07 billion, among many others. Recently, Vrp co-bankrolled the next Matrix movie, The Matrix: Resurrections, which will hit theaters and HBO Max in December. Berman is also executive producing the Mad Max spinoff Furiosa, primed to be the biggest Australian production ever starring Anya Taylor-Joy, Chris Hemsworth and Yahya Abdul-Mateen II.
In total to date, the 101 films produced between Village and Warner Bros have grossed $18.5 billion worldwide, earning 19 Oscars.
The producer and executive will continue to look for new opportunities in the evolving theatrical-streaming atmosphere.
“I am incredibly grateful...
What franchises and big event pics hasn’t Berman been involved with? During his ride with Vrp he’s made several Warner Bros tentpoles including The Matrix franchise, multi-Oscar winner Mad Max: Fury Road, and Joker, the highest-grossing R-rated movie of all time worldwide at $1.07 billion, among many others. Recently, Vrp co-bankrolled the next Matrix movie, The Matrix: Resurrections, which will hit theaters and HBO Max in December. Berman is also executive producing the Mad Max spinoff Furiosa, primed to be the biggest Australian production ever starring Anya Taylor-Joy, Chris Hemsworth and Yahya Abdul-Mateen II.
In total to date, the 101 films produced between Village and Warner Bros have grossed $18.5 billion worldwide, earning 19 Oscars.
The producer and executive will continue to look for new opportunities in the evolving theatrical-streaming atmosphere.
“I am incredibly grateful...
- 9/27/2021
- by Anthony D'Alessandro
- Deadline Film + TV
Before the industry could calculate summer 2021’s final box office figures, they had to wait for Disney, which had the final say.
Because when you have a Marvel movie like Shang-Chi and the Legend of the Ten Rings programmed during the final weekend of the season, and it delivers a Labor Day holiday opening of $94.67 million, it swings everything.
Before the opening of Shang-Chi, Universal (including Focus) was leading the summer box office period of May 7-September 2 with $393.9 million, according to Comscore, ahead of Disney’s $382.3M. But following the Marvel Cinematic Universe title’s release, Disney jumped to No. 1 with $483M. If you include 20th Century Studios and Searchlight’s grosses, the Disney-20th Century combo is $586.1M, per Comscore. Universal and Focus ranked second for the summer with $407.4M.
That means a win for the hybrid theatrical day-and-date model, right?
No, dummy, box office is product-driven. That was...
Because when you have a Marvel movie like Shang-Chi and the Legend of the Ten Rings programmed during the final weekend of the season, and it delivers a Labor Day holiday opening of $94.67 million, it swings everything.
Before the opening of Shang-Chi, Universal (including Focus) was leading the summer box office period of May 7-September 2 with $393.9 million, according to Comscore, ahead of Disney’s $382.3M. But following the Marvel Cinematic Universe title’s release, Disney jumped to No. 1 with $483M. If you include 20th Century Studios and Searchlight’s grosses, the Disney-20th Century combo is $586.1M, per Comscore. Universal and Focus ranked second for the summer with $407.4M.
That means a win for the hybrid theatrical day-and-date model, right?
No, dummy, box office is product-driven. That was...
- 9/8/2021
- by Anthony D'Alessandro
- Deadline Film + TV
Anyone who skipped CinemaCon this year out of fear of the pandemic in Las Vegas missed a spitfire of a luncheon chat Thursday afternoon. Not only was Patty Jenkins smashing the theatrical day-and-date model, and wagging a finger at exhibition over the decline in the moviegoing experience, but also Paramount Domestic Distribution Boss Chris Aronson put Marcus Theatres CEO and president Rolando Rodriguez in check over exhibitors’ ticket pricing.
When, natch, asked about the hindsight of Wonder Woman 1984 going theatrical day-and-date on HBO Max, Jenkins exclaimed, “It was the best choice in a bunch of bad choices at the moment” and a “heartbreaking experience.” Back in December, Warner Bros sent its entire 2021 theatrical release slate day-and-date with HBO Max due to its outlook on the lingering pandemic. The first film to go day-and-date in theaters and on Warners’ streaming service was Wonder Woman 1984...
When, natch, asked about the hindsight of Wonder Woman 1984 going theatrical day-and-date on HBO Max, Jenkins exclaimed, “It was the best choice in a bunch of bad choices at the moment” and a “heartbreaking experience.” Back in December, Warner Bros sent its entire 2021 theatrical release slate day-and-date with HBO Max due to its outlook on the lingering pandemic. The first film to go day-and-date in theaters and on Warners’ streaming service was Wonder Woman 1984...
- 8/26/2021
- by Anthony D'Alessandro
- Deadline Film + TV
In preparation for the next Smackdown Team Experience is traveling back to 2000.
Juliette Binoche and Jack Valenti announcing Best Foreign Language Film.
by Juan Carlos Ojano
Coming into the 73rd Academy Awards, the results of the Foreign Language Film category must have felt like the biggest lock of the night (this writer can only assume based on hindsight since he was only a five-year old bébé at the time). Crouching Tiger, Hidden Dragon was the perfect storm when it hit American audiences. The film came from an established filmmaker, Ang Lee, who had made several critical and commercial hits in English and otherwise, the storytelling was tailored to better suit Western sensibilities, it featured international stars known to the English-speaking film market, it received rave reviews and enormous box office returns, and it was both partially funded and widely distributed by a major American studio...
Juliette Binoche and Jack Valenti announcing Best Foreign Language Film.
by Juan Carlos Ojano
Coming into the 73rd Academy Awards, the results of the Foreign Language Film category must have felt like the biggest lock of the night (this writer can only assume based on hindsight since he was only a five-year old bébé at the time). Crouching Tiger, Hidden Dragon was the perfect storm when it hit American audiences. The film came from an established filmmaker, Ang Lee, who had made several critical and commercial hits in English and otherwise, the storytelling was tailored to better suit Western sensibilities, it featured international stars known to the English-speaking film market, it received rave reviews and enormous box office returns, and it was both partially funded and widely distributed by a major American studio...
- 5/18/2021
- by Juan Carlos Ojano
- FilmExperience
Albert Hughes takes us on a wild journey through the movies that made him, then explains why he’s not a cinephile (Spoiler: He is). Heads up – you’re going to hear some words you’ve never heard on our show before, and only one of them is Metropolis.
Show Notes: Movies Referenced In This Episode
Gremlins (1984)
A Christmas Story (1983)
The Candidate (1972)
Menace II Society (1993)
Die Hard (1988)
Raiders of the Lost Ark (1981)
Scarface (1983)
Goodfellas (1990)
Full Metal Jacket (1987)
A Clockwork Orange (1971)
Midnight Cowboy (1969)
Raging Bull (1980)
Taxi Driver (1976)
Alpha (2018)
Battleship Potemkin (1925)
Metropolis (1927)
True Romance (1993)
Who Framed Roger Rabbit? (1988)
The Matrix (1999)
Man Bites Dog (1992)
Looney Tunes: Back In Action (2003)
A Serbian Film (2010)
Scarface (1932)
The Book of Eli (2010)
The Departed (2006)
Infernal Affairs (2002)
The Godfather (1972)
Casino (1995)
JFK (1991)
Dead Presidents (1996)
Eve’s Bayou (1997)
Basic Instinct (1992)
Psycho (1960)
The Cremator (1969)
The Firemen’s Ball (1967)
Halloween (2018)
From Hell (2001)
Bram Stoker’s Dracula (1992)
Hoffa (1992)
V For Vendetta (2005)
Spartacus (1960)
You Were Never Really Here...
Show Notes: Movies Referenced In This Episode
Gremlins (1984)
A Christmas Story (1983)
The Candidate (1972)
Menace II Society (1993)
Die Hard (1988)
Raiders of the Lost Ark (1981)
Scarface (1983)
Goodfellas (1990)
Full Metal Jacket (1987)
A Clockwork Orange (1971)
Midnight Cowboy (1969)
Raging Bull (1980)
Taxi Driver (1976)
Alpha (2018)
Battleship Potemkin (1925)
Metropolis (1927)
True Romance (1993)
Who Framed Roger Rabbit? (1988)
The Matrix (1999)
Man Bites Dog (1992)
Looney Tunes: Back In Action (2003)
A Serbian Film (2010)
Scarface (1932)
The Book of Eli (2010)
The Departed (2006)
Infernal Affairs (2002)
The Godfather (1972)
Casino (1995)
JFK (1991)
Dead Presidents (1996)
Eve’s Bayou (1997)
Basic Instinct (1992)
Psycho (1960)
The Cremator (1969)
The Firemen’s Ball (1967)
Halloween (2018)
From Hell (2001)
Bram Stoker’s Dracula (1992)
Hoffa (1992)
V For Vendetta (2005)
Spartacus (1960)
You Were Never Really Here...
- 9/29/2020
- by Kris Millsap
- Trailers from Hell
Normal 0 false false false En-us X-none X-none
“A Love Story… Not!”
By Raymond Benson
There’s no question that the 1966 film adaptation of Edward Albee’s 1962 Tony-winning play, Who’s Afraid of Virginia Woolf?, is one of the most important and influential motion pictures of the 1960s. It not only showcased four superlative acting performances, a jaw-dropping impressive directorial debut (by Mike Nichols), brilliant black and white cinematography and editing, but it also changed the Hollywood movie industry.
By the mid-60s, the archaic Production Code, which had been in force since July 1934, was in its death throes. When Otto Preminger began releasing titles in the 1950s without the Production Code Seal of Approval, he proved to the powers-that-be that the Code was not infallible. Then along came such fare as Psycho, Lolita, and The Pawnbroker in the early 60s, and it was clear that the American public wanted to see more “adult” pictures.
“A Love Story… Not!”
By Raymond Benson
There’s no question that the 1966 film adaptation of Edward Albee’s 1962 Tony-winning play, Who’s Afraid of Virginia Woolf?, is one of the most important and influential motion pictures of the 1960s. It not only showcased four superlative acting performances, a jaw-dropping impressive directorial debut (by Mike Nichols), brilliant black and white cinematography and editing, but it also changed the Hollywood movie industry.
By the mid-60s, the archaic Production Code, which had been in force since July 1934, was in its death throes. When Otto Preminger began releasing titles in the 1950s without the Production Code Seal of Approval, he proved to the powers-that-be that the Code was not infallible. Then along came such fare as Psycho, Lolita, and The Pawnbroker in the early 60s, and it was clear that the American public wanted to see more “adult” pictures.
- 7/2/2020
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
With full acknowledgment of the big picture implications of a pandemic that has already claimed thousands of lives, cratered global economies and closed international borders, Coping With Covid-19 Crisis is a forum for those in the entertainment space grappling with myriad consequences of seeing a great industry screech to a halt. The hope is for an exchange of ideas and experiences, and suggestions on how businesses and individuals can best ride out a crisis that doesn’t look like it will abate any time soon.
Craig Greiwe, Chief Strategy & Transformation Officer at Rogers & Cowan Pmk focuses on the need for leadership & coordination in a titan-less, Covid-19 Hollywood, asking for a new task force to help steer the business through this crisis.
More from DeadlineCoping With Covid-19 Crisis: A Conversation With Jeanna de Waal, Broadway's Princess DianaCoping With Covid-19 Crisis: Tt The Artist On A Directing Debut Dream Dashed By SXSW...
Craig Greiwe, Chief Strategy & Transformation Officer at Rogers & Cowan Pmk focuses on the need for leadership & coordination in a titan-less, Covid-19 Hollywood, asking for a new task force to help steer the business through this crisis.
More from DeadlineCoping With Covid-19 Crisis: A Conversation With Jeanna de Waal, Broadway's Princess DianaCoping With Covid-19 Crisis: Tt The Artist On A Directing Debut Dream Dashed By SXSW...
- 3/19/2020
- by Mike Fleming Jr
- Deadline Film + TV
The Motion Picture Association has released its annual Theme report, summarizing last year’s showbiz spending and demographic data. And while it’s old news that the global box office reached a high of $42.2 billion and domestic of $11.4B in 2019, -4% from 2018, the trade org reported that for the first time ever, total global entertainment spending topped $101B (+8% over 2018) across theatrical, home and mobile entertainment spending. Mobile/home entertainment spending accounted for a combined record $58.8B, +14% over 2018.
Of that $101B figure, 42% came from theatrical revenue and 48% from digital, while physical (DVDs) entertainment pulled in 10% or $10.1 billion, the latter an all-time low.
More from DeadlineMPA Says It's 'Closely Monitoring' Global Spread Of Coronavirus; SAG-aftra Issues Statement - UpdateAs China's Coronavirus Cases Slow, Are Re-Openings Of Movie Theaters Far Behind?ViacomCBS' Ott Crown Jewel, Pluto TV, Unveils Upgrade, Marketing Blitz
With the average U.S/Canada ticket price reaching a high of...
Of that $101B figure, 42% came from theatrical revenue and 48% from digital, while physical (DVDs) entertainment pulled in 10% or $10.1 billion, the latter an all-time low.
More from DeadlineMPA Says It's 'Closely Monitoring' Global Spread Of Coronavirus; SAG-aftra Issues Statement - UpdateAs China's Coronavirus Cases Slow, Are Re-Openings Of Movie Theaters Far Behind?ViacomCBS' Ott Crown Jewel, Pluto TV, Unveils Upgrade, Marketing Blitz
With the average U.S/Canada ticket price reaching a high of...
- 3/11/2020
- by Anthony D'Alessandro
- Deadline Film + TV
The Motion Picture Association paid Chris Dodd $2.4 million in severance payments in 2018, while its latest financial results also reflected the sale of most of the ownership stake in its Washington, D.C. headquarters.
Dodd, who left the organization at the end of 2017, was paid $2,400,842 along with $11,000 retirement and $4,336 in nontaxable benefits, according to the latest filing to the Internal Revenue Service. The former COO of the MPAA, Diane Strahan, who also left in 2017, was paid $788,931 in severance and benefits.
The organization finished 2018 in the black, with a balance of $628,489. But its total revenue declined to $68.7 million, from $76.2 million a year earlier. That was largely due to the sale in 2017 of an 80% stake in its Eye Street headquarters, just a few blocks from the White House, which gave the Mpa a one-time boost. As part of the sale, developer Trammell Crow redeveloped the property into a modern glassy office complex, shedding...
Dodd, who left the organization at the end of 2017, was paid $2,400,842 along with $11,000 retirement and $4,336 in nontaxable benefits, according to the latest filing to the Internal Revenue Service. The former COO of the MPAA, Diane Strahan, who also left in 2017, was paid $788,931 in severance and benefits.
The organization finished 2018 in the black, with a balance of $628,489. But its total revenue declined to $68.7 million, from $76.2 million a year earlier. That was largely due to the sale in 2017 of an 80% stake in its Eye Street headquarters, just a few blocks from the White House, which gave the Mpa a one-time boost. As part of the sale, developer Trammell Crow redeveloped the property into a modern glassy office complex, shedding...
- 12/2/2019
- by Ted Johnson
- Deadline Film + TV
The Motion Picture Association recently moved into a redesigned headquarters, just a couple blocks from the White House, and on Monday night the trade organization debuted the signature feature of their glassy new space: a 118-seat theater.
The occasion was a screening of Motherless Brooklyn, the new Edward Norton drama that opens on Nov. 1, but the studio hopes are that the venue will again become a focal point for D.C.’s social scene.
The theater replaces a smaller, 70-seat one that was part of a Brutalist-style structure opened in 1969.
Back then, with Jack Valenti at the helm, the theater became “one of the most exclusive invitations in Washington,” as The New York Times once described it. Lady Bird Johnson attended one of the first events, and President Gerald Ford, Vice Presidents Walter Mondale, George H.W. Bush and Dick Cheney, and Jordan’s King Abdullah were among those who attended screenings there.
The occasion was a screening of Motherless Brooklyn, the new Edward Norton drama that opens on Nov. 1, but the studio hopes are that the venue will again become a focal point for D.C.’s social scene.
The theater replaces a smaller, 70-seat one that was part of a Brutalist-style structure opened in 1969.
Back then, with Jack Valenti at the helm, the theater became “one of the most exclusive invitations in Washington,” as The New York Times once described it. Lady Bird Johnson attended one of the first events, and President Gerald Ford, Vice Presidents Walter Mondale, George H.W. Bush and Dick Cheney, and Jordan’s King Abdullah were among those who attended screenings there.
- 10/8/2019
- by Ted Johnson
- Deadline Film + TV
Exclusive: Tom Molter, Warner Bros Pictures’ Executive Vice President, International Distribution, is leaving the company. Molter has been a longtime key executive whose departure was announced internally in a memo sent to staffers today, and obtained by Deadline (read it below). The separation is understood to be due to recent organizational changes.
Molter, who has been present through regimes with Sue Koll and Veronika Kwan Vandenberg, has navigated and provided leadership for the theatrical division for many years. He originally joined the international distribution team in 2004. Since 2016, he has been at the helm of the strategic development of theatrical growth opportunities and revenue streams for the offshore division, as well as maximizing sales and distribution efforts with Warner Bros’ overseas network of affiliates and licensees worldwide. He has also overseen the day-to-day operations of film distribution, including dating strategies, competitive positioning, filmmaker and exhibitor trade relations, box office and film...
Molter, who has been present through regimes with Sue Koll and Veronika Kwan Vandenberg, has navigated and provided leadership for the theatrical division for many years. He originally joined the international distribution team in 2004. Since 2016, he has been at the helm of the strategic development of theatrical growth opportunities and revenue streams for the offshore division, as well as maximizing sales and distribution efforts with Warner Bros’ overseas network of affiliates and licensees worldwide. He has also overseen the day-to-day operations of film distribution, including dating strategies, competitive positioning, filmmaker and exhibitor trade relations, box office and film...
- 8/26/2019
- by Nancy Tartaglione
- Deadline Film + TV
In today’s film news roundup, Elizabeth Banks will receive the Pioneer of the Year Award, “The Great Hack” launches a festival, Women In Media launch the CAMERAderie Initiative and UCLA, University of Michigan and USC are receiving $50 million.
Banks Honored
The Will Rogers Motion Picture Pioneers Foundation has selected Elizabeth Banks as the recipient of its Pioneer of the Year Award.
The honor will be presented on Sept. 25 at The Beverly Hilton in Beverly Hills. Banks is the first female director to receive the honor, which is given to a member of the motion picture community who exemplifies professional leadership, service and commitment to philanthropy.
Banks made her directorial debut with Universal Pictures’ “Pitch Perfect 2,” the top grossing musical comedy of all time with $287 million. she is also currently directing, producing, co-writing and starring as Bosley in “Charlie’s Angels” for Sony Pictures and has starred in “The Hunger Games...
Banks Honored
The Will Rogers Motion Picture Pioneers Foundation has selected Elizabeth Banks as the recipient of its Pioneer of the Year Award.
The honor will be presented on Sept. 25 at The Beverly Hilton in Beverly Hills. Banks is the first female director to receive the honor, which is given to a member of the motion picture community who exemplifies professional leadership, service and commitment to philanthropy.
Banks made her directorial debut with Universal Pictures’ “Pitch Perfect 2,” the top grossing musical comedy of all time with $287 million. she is also currently directing, producing, co-writing and starring as Bosley in “Charlie’s Angels” for Sony Pictures and has starred in “The Hunger Games...
- 6/21/2019
- by Dave McNary
- Variety Film + TV
The Will Rogers Motion Picture Pioneers Foundation announced today that actress, director, and producer Elizabeth Banks will receive the 2019 Pioneer of the Year Award on September 25, 2019 at The Beverly Hilton in Beverly Hills. Banks is the first female director to receive the honor.
The Pioneer of the Year Award is given to a respected member of the motion picture community whose professional leadership, service, and commitment to philanthropy is exemplary. Banks will receive the Award at the Pioneer of the Year Dinner – the annual fundraiser benefiting the Wrmppf’s Pioneers Assistance Fund (Paf) which provides financial support and services to individuals in the theatrical entertainment community who are encountering an illness, injury or a life-changing event. There wasn’t a Pioneer of the Year Dinner at CinemaCon in Las Vegas back in April because the event was moved to Beverly Hills this fall.
Banks’ filmography counts $5.6 billion at the global box office.
The Pioneer of the Year Award is given to a respected member of the motion picture community whose professional leadership, service, and commitment to philanthropy is exemplary. Banks will receive the Award at the Pioneer of the Year Dinner – the annual fundraiser benefiting the Wrmppf’s Pioneers Assistance Fund (Paf) which provides financial support and services to individuals in the theatrical entertainment community who are encountering an illness, injury or a life-changing event. There wasn’t a Pioneer of the Year Dinner at CinemaCon in Las Vegas back in April because the event was moved to Beverly Hills this fall.
Banks’ filmography counts $5.6 billion at the global box office.
- 6/20/2019
- by Anthony D'Alessandro
- Deadline Film + TV
Celebrating its 60th anniversary this year, the Marché du Film has a long history of reflecting trends in the larger film industry while reacting to the realities of the moment.
Indeed, when the festival organizers created the Marché in 1959, they hardly invented the idea of a market. Ever since the first edition of Cannes in 1946, industry professionals had always been doing business on the Croisette. For the first decade of the festival’s life, the distributors, sales agents, foreign buyers and international financiers all signed their contracts and presented their projects off-site, often in rented storefronts along the Rue d’Antibes.
By the end of the 1950s, because so many industry professionals were coming to town uniquely for business, Cannes functionally had an existing market component; all the festival organizers had to do was to make it official, give it the Cannes stamp of approval and bring the proceedings under one roof.
Indeed, when the festival organizers created the Marché in 1959, they hardly invented the idea of a market. Ever since the first edition of Cannes in 1946, industry professionals had always been doing business on the Croisette. For the first decade of the festival’s life, the distributors, sales agents, foreign buyers and international financiers all signed their contracts and presented their projects off-site, often in rented storefronts along the Rue d’Antibes.
By the end of the 1950s, because so many industry professionals were coming to town uniquely for business, Cannes functionally had an existing market component; all the festival organizers had to do was to make it official, give it the Cannes stamp of approval and bring the proceedings under one roof.
- 5/13/2019
- by Ben Croll
- Variety Film + TV
A week and a half prior to the exhibitor-distributor love-in CinemaCon, the Motion Picture Association of America has released their annual entertainment industry report, showing that the theatrical and home ancillary sectors were vibrant at a record $96.8 billion in revenues in 2018, +9% over 2017.
Global box office, which has already been previously reported at record levels, was $41.1B, with domestic B.O. also notching a banner year of $11.9B.
Some of the majors might be crying that the home entertainment sector has collapsed, and are continuing to secretly devise behind the scenes how to pull early Pvod windows off, but the MPAA report shows that global and U.S. home entertainment spending are at their highest levels respectively (for combined physical and digital transactions) at $55.7B billion (+16% versus 2017) and $23.3B (+12%). In sum, reports about the death of the home entertainment sector have been greatly exaggerated.
Broken out, in the U.S. physical home entertainment (DVD revenue) is at a low of $5.8B, but digital is at a record high of $17.5B.
In other words, U.S. digital spend of $17.5B beats domestic B.O. ticket sales of $11.9B by 47%. An interesting factoid as Netflix joins the MPAA ranks, and ponders a bigger theatrical window for its upcoming mega fall title The Irishman from Martin Scorsese.
In regards to the percent shelled out by consumers: 44% spent a bit more on digital home entertainment than the theatrical experience (42%) worldwide and far more than physical home entertainment (such as DVDs) (14%). Stateside, digital home entertainment spending outstripped theatrical moviegoing spending, 50% to 34%, with physical spend nearly squashed at 16%.
Broken out overseas home entertainment shows the same trend with digital at a record level ($25.1B) trumping physical spend ($7.3B) at its lowest levels.
Further deep-dive on home entertainment: U.S. Streaming subscription revenues hit a record $13.3B stateside, up from 2017’s $10.4B, with transactional home entertainment spend easing from $10.5B in 2017 to $10B last year.
What was once an industry brief when MPAA Chairman Jack Valenti oversee the org has blossomed into a catalog of data, drilling down into various sectors of the entertainment industry.
“In today’s dynamic marketplace, stories come to life for audiences in theaters, at home, and on the go,” said Charles Rivkin, Chairman and CEO of the Motion Picture Association of America (MPAA). “Our companies continue to deliver content where, when, and how audiences want it – and the numbers released today speak volumes.”
Other notable takeaways out of the MPAA report:
–In a composition of 2018’s gender share of population and everyday home viewers, women watched more streaming than men, 54% to 46% whereas guys can’t let go of their DVDs, watching them at 59% to females’ 41%.
–U.S./Canada theatrical admissions hits 1.3 billion, +5% over 2017. Though down from the ten year high of 2009’s 1.42B (this is based off the average movie ticket prices of $9.11 which Nato announced back in January). The drum, which even Valenti screamed eons ago was that movies are the most economical form of entertainment for a family of four ($36.44) compared to other entertainment outings and the MPAA continues to emphasize that: NFL tickets ($401.04), NHL ($267.45), Theme Parks ($252.92), NBA ($232.52), and Mlb games ($129.76) and the MPAA continues to emphasize that showing that $36.44. Editor’s note: I’ve always argued that a further expounding on the average ticket price needs to be conducted, breaking out average large format prices, Tuesday night prices, major chain average price, even geographical breakdown. When was the last time you spent $9.11 on a movie ticket? In any major metropolitan market the price is well above $12, even in the teens. Three Imax matinee tickets to a new studio release can easily cost a combined $50 in a suburban La market.
–Total films released reached their second highest numbers ever at 758 in 2018, down from 785 titles in 2017. Among the MPAA studios, their number of releases totaled 127, the second lowest over the last ten years, the last low being in 2013 when the majors released 114 films.
—Most frequent moviegoers remain the 25-39 demo at 10.8M, but they’re down from 11.1M in 2017. The 18-24 demo, upticked from 5.2M to 5.5M between 2017 and 2018. Teenagers 12-17, the biggest headache for major studios when pushing non-superhero pic event titles, declined from 5.5M to 5M between 2017 and 2018.
–Men buy most of the tickets sold compared to women, 53% vs. 47%.
–Frequent moviegoers have a higher share of ownership of each of the key technology products, when compared to the total adult population, in regards to smartphones (91%), computers (88%), disc-players (63%), and tablets (68%).
–The total number of theatrical screens worldwide increased by seven percent, reaching nearly 190,000.
One of the key pieces of data greatly missed which was previously published in the annual MPAA industry reports of the late 1990s and early aughts: The average production cost of a major studio release and an independent movie. Instead the report reveals the number of films going into production by the following budget breakdowns (not counting P&A) levels of $1M+ (576 vs. 549 between 2018 and 2017), between $1M-$15M (405 vs. 387) and $15M+ (171 vs. 162), figures which don’t adequately assesses the number of tentpoles or mid-level budgeted films being produced for the marketplace. Statistically speaking, film finance sources have told Deadline that bigger budget films at $100M have the better chance of being profitable over mid and low-budget theatrical releases.
Another stat in the MPAA massive industry report that would be welcome: Is the entertainment industry still the biggest U.S. export after the aviation industry? For years that was historically the case, but it would be great to see how entertainment stacks up against Silicon Valley, auto manufacturing, the energy industry, U.S. tourism, etc.
Global box office, which has already been previously reported at record levels, was $41.1B, with domestic B.O. also notching a banner year of $11.9B.
Some of the majors might be crying that the home entertainment sector has collapsed, and are continuing to secretly devise behind the scenes how to pull early Pvod windows off, but the MPAA report shows that global and U.S. home entertainment spending are at their highest levels respectively (for combined physical and digital transactions) at $55.7B billion (+16% versus 2017) and $23.3B (+12%). In sum, reports about the death of the home entertainment sector have been greatly exaggerated.
Broken out, in the U.S. physical home entertainment (DVD revenue) is at a low of $5.8B, but digital is at a record high of $17.5B.
In other words, U.S. digital spend of $17.5B beats domestic B.O. ticket sales of $11.9B by 47%. An interesting factoid as Netflix joins the MPAA ranks, and ponders a bigger theatrical window for its upcoming mega fall title The Irishman from Martin Scorsese.
In regards to the percent shelled out by consumers: 44% spent a bit more on digital home entertainment than the theatrical experience (42%) worldwide and far more than physical home entertainment (such as DVDs) (14%). Stateside, digital home entertainment spending outstripped theatrical moviegoing spending, 50% to 34%, with physical spend nearly squashed at 16%.
Broken out overseas home entertainment shows the same trend with digital at a record level ($25.1B) trumping physical spend ($7.3B) at its lowest levels.
Further deep-dive on home entertainment: U.S. Streaming subscription revenues hit a record $13.3B stateside, up from 2017’s $10.4B, with transactional home entertainment spend easing from $10.5B in 2017 to $10B last year.
What was once an industry brief when MPAA Chairman Jack Valenti oversee the org has blossomed into a catalog of data, drilling down into various sectors of the entertainment industry.
“In today’s dynamic marketplace, stories come to life for audiences in theaters, at home, and on the go,” said Charles Rivkin, Chairman and CEO of the Motion Picture Association of America (MPAA). “Our companies continue to deliver content where, when, and how audiences want it – and the numbers released today speak volumes.”
Other notable takeaways out of the MPAA report:
–In a composition of 2018’s gender share of population and everyday home viewers, women watched more streaming than men, 54% to 46% whereas guys can’t let go of their DVDs, watching them at 59% to females’ 41%.
–U.S./Canada theatrical admissions hits 1.3 billion, +5% over 2017. Though down from the ten year high of 2009’s 1.42B (this is based off the average movie ticket prices of $9.11 which Nato announced back in January). The drum, which even Valenti screamed eons ago was that movies are the most economical form of entertainment for a family of four ($36.44) compared to other entertainment outings and the MPAA continues to emphasize that: NFL tickets ($401.04), NHL ($267.45), Theme Parks ($252.92), NBA ($232.52), and Mlb games ($129.76) and the MPAA continues to emphasize that showing that $36.44. Editor’s note: I’ve always argued that a further expounding on the average ticket price needs to be conducted, breaking out average large format prices, Tuesday night prices, major chain average price, even geographical breakdown. When was the last time you spent $9.11 on a movie ticket? In any major metropolitan market the price is well above $12, even in the teens. Three Imax matinee tickets to a new studio release can easily cost a combined $50 in a suburban La market.
–Total films released reached their second highest numbers ever at 758 in 2018, down from 785 titles in 2017. Among the MPAA studios, their number of releases totaled 127, the second lowest over the last ten years, the last low being in 2013 when the majors released 114 films.
—Most frequent moviegoers remain the 25-39 demo at 10.8M, but they’re down from 11.1M in 2017. The 18-24 demo, upticked from 5.2M to 5.5M between 2017 and 2018. Teenagers 12-17, the biggest headache for major studios when pushing non-superhero pic event titles, declined from 5.5M to 5M between 2017 and 2018.
–Men buy most of the tickets sold compared to women, 53% vs. 47%.
–Frequent moviegoers have a higher share of ownership of each of the key technology products, when compared to the total adult population, in regards to smartphones (91%), computers (88%), disc-players (63%), and tablets (68%).
–The total number of theatrical screens worldwide increased by seven percent, reaching nearly 190,000.
One of the key pieces of data greatly missed which was previously published in the annual MPAA industry reports of the late 1990s and early aughts: The average production cost of a major studio release and an independent movie. Instead the report reveals the number of films going into production by the following budget breakdowns (not counting P&A) levels of $1M+ (576 vs. 549 between 2018 and 2017), between $1M-$15M (405 vs. 387) and $15M+ (171 vs. 162), figures which don’t adequately assesses the number of tentpoles or mid-level budgeted films being produced for the marketplace. Statistically speaking, film finance sources have told Deadline that bigger budget films at $100M have the better chance of being profitable over mid and low-budget theatrical releases.
Another stat in the MPAA massive industry report that would be welcome: Is the entertainment industry still the biggest U.S. export after the aviation industry? For years that was historically the case, but it would be great to see how entertainment stacks up against Silicon Valley, auto manufacturing, the energy industry, U.S. tourism, etc.
- 3/21/2019
- by Anthony D'Alessandro
- Deadline Film + TV
In an inspired bit of holiday season counter-programming, the Quad Cinema in New York is showing 34 non-family films that were either rated X or should have been. In the U.K. the X rating was first introduced in 1951 when it originally indicated “suitable for those aged 16 and over” and replaced the H for Horror rating that had existed since 1932. In 1972 the age was raised to 18 (and ten years later the certificate changed from X to 18). A surprising number of arthouse classics such as Jules and Jim and a number of Bergman films received an X rating in the U.K.In the U.S. the X rating was introduced in 1968 as part of Jack Valenti’s new MPAA rating system, and Midnight Cowboy became not only one of the first films to receive the rating, but was the only X-rated film ever to win Best Picture.For some filmmakers and...
- 12/14/2018
- MUBI
It’s been more than 40 years since publicist and newly minted Governors Award honoree Marvin Levy began his close association with Steven Spielberg, but their adventures together only constitute one of acts in the Levy saga.
From the time Levy graduated from NYU in 1949, the affable but no-nonsense communications pro has been somewhere near the center of showbiz gravity.
“I was always a fan of the Broadway musicals starting in high school, and by college we were regularly scoring tickets for opening nights and showing up in tuxedos. We’d see epic shows like ‘Finian’s Rainbow’ and ‘Brigadoon,’ and being naughty boys, we’d go to the backstage door dressed in our tuxes and they’d let us in and we’d get word of where to go for the cast parties.”
When asked if a Variety column item from 1954 — “Marvin Levy and Gordon Morris penned the special material...
From the time Levy graduated from NYU in 1949, the affable but no-nonsense communications pro has been somewhere near the center of showbiz gravity.
“I was always a fan of the Broadway musicals starting in high school, and by college we were regularly scoring tickets for opening nights and showing up in tuxedos. We’d see epic shows like ‘Finian’s Rainbow’ and ‘Brigadoon,’ and being naughty boys, we’d go to the backstage door dressed in our tuxes and they’d let us in and we’d get word of where to go for the cast parties.”
When asked if a Variety column item from 1954 — “Marvin Levy and Gordon Morris penned the special material...
- 11/16/2018
- by Steven Gaydos
- Variety Film + TV
The MPAA has named Kelly McMahon to succeed Joan Graves as chair of the Classification and Rating Administration, the group that assigns film ratings.
Graves, a 77-year-old grandmother of two, retires next year after 30 years with the organization. The MPAA’s corporate counsel, McMahon, will succeed her after a transition.
“I look forward to working with Joan and Kelly to shape the future of the rating system and continue our mission of helping American parents make informed viewing choices for their children,” MPAA chairman and CEO Charles Rivkin said in a statement Thursday.
Cara was created by former MPAA president and CEO Jack Valenti 50 years ago this month. This voluntary program provided an alternative to government censorship of movies and was designed first and foremost to be a resource for parents, while simultaneously protecting the First Amendment, the rights of filmmakers, and the creative process.
Graves began her career as...
Graves, a 77-year-old grandmother of two, retires next year after 30 years with the organization. The MPAA’s corporate counsel, McMahon, will succeed her after a transition.
“I look forward to working with Joan and Kelly to shape the future of the rating system and continue our mission of helping American parents make informed viewing choices for their children,” MPAA chairman and CEO Charles Rivkin said in a statement Thursday.
Cara was created by former MPAA president and CEO Jack Valenti 50 years ago this month. This voluntary program provided an alternative to government censorship of movies and was designed first and foremost to be a resource for parents, while simultaneously protecting the First Amendment, the rights of filmmakers, and the creative process.
Graves began her career as...
- 11/16/2018
- by Dawn C. Chmielewski
- Deadline Film + TV
Ask folks in Hollywood what they think of the Motion Picture Association of America’s Classification & Ratings Administration (Cara), and you’ll get an earful. Filmmakers have become so sophisticated about the vagaries of the ratings board (one F-word per PG-13 movie) that they often manipulate the process by adding footage they’re willing to lose later in order to get what they want into their final cut.
And over the decades, ace marketers have followed the game plan perfected by Miramax’s Harvey Weinstein when he publicized battles with the ratings board just to get exposure for movies like “Scandal,” “The Cook, The Thief, His Wife & Her Lover,” “Clerks,” “Kids,” and “Fahrenheit 9/11.”
But while filmmakers get exorcised over the board’s many myopic decisions over sex and violence and issues like the studios getting away with more than the indies, MPAA president Jack Valenti had valid and urgent...
And over the decades, ace marketers have followed the game plan perfected by Miramax’s Harvey Weinstein when he publicized battles with the ratings board just to get exposure for movies like “Scandal,” “The Cook, The Thief, His Wife & Her Lover,” “Clerks,” “Kids,” and “Fahrenheit 9/11.”
But while filmmakers get exorcised over the board’s many myopic decisions over sex and violence and issues like the studios getting away with more than the indies, MPAA president Jack Valenti had valid and urgent...
- 10/29/2018
- by Anne Thompson, Eric Kohn, Tom Brueggemann, Michael Nordine, Christian Blauvelt and Chris O'Falt
- Indiewire
Fewer appeals have been filed in recent years over ratings decisions rendered by the MPAA, according to a new report by the trade organization marking the 50th anniversary of the ratings system.
Introduced on November 1, 1968 by Jack Valenti in the wake of films such as Who’s Afraid of Virginia Woolf? causing a stir with their provocative content, the ratings system has assigned letters to 29,791 films as of September 30.
Of those nearly 30,000 films, 17,202 were rated R, while just 1,574 have been rated G for general audiences.
A total of 428 films since 1968 have appealed the initial ratings decisions, with fewer than 1% succeeding in getting the rating overturned. Some of the cat-and-mouse exchanges over films such as South Park: Bigger, Longer and Uncut, American Psycho and Natural Born Killers have attained near-mythic status in the industry and popular culture.
In 1984, the year that the PG-13 rating was introduced, 18 films (6% of the total number...
Introduced on November 1, 1968 by Jack Valenti in the wake of films such as Who’s Afraid of Virginia Woolf? causing a stir with their provocative content, the ratings system has assigned letters to 29,791 films as of September 30.
Of those nearly 30,000 films, 17,202 were rated R, while just 1,574 have been rated G for general audiences.
A total of 428 films since 1968 have appealed the initial ratings decisions, with fewer than 1% succeeding in getting the rating overturned. Some of the cat-and-mouse exchanges over films such as South Park: Bigger, Longer and Uncut, American Psycho and Natural Born Killers have attained near-mythic status in the industry and popular culture.
In 1984, the year that the PG-13 rating was introduced, 18 films (6% of the total number...
- 10/29/2018
- by Dade Hayes
- Deadline Film + TV
A profoundly grateful Tom Cruise received the pioneer of the year award from the Will Rogers Motion Picture Pioneers Foundation — the first actor to be so honored.
Cruise was feted Wednesday night on the third day of Cinemacon, the National Association of Theater Owners’ annual convention in Las Vegas. The pioneer of the year award is given to a member of the motion picture community to honor professional leadership, service, and commitment to philanthropy.
“I grew up going to the movies, and I wanted to make movies since I was 4,” Cruise said in his acceptance speech. “I’m very proud to be part of this family. We take care of our own, that’s what families do. I love what I do, and I will cherish this beautiful award.”
Cruise spent most of the 15-minute speech offering thanks. He recalled one of the early instances of that came when Stanley...
Cruise was feted Wednesday night on the third day of Cinemacon, the National Association of Theater Owners’ annual convention in Las Vegas. The pioneer of the year award is given to a member of the motion picture community to honor professional leadership, service, and commitment to philanthropy.
“I grew up going to the movies, and I wanted to make movies since I was 4,” Cruise said in his acceptance speech. “I’m very proud to be part of this family. We take care of our own, that’s what families do. I love what I do, and I will cherish this beautiful award.”
Cruise spent most of the 15-minute speech offering thanks. He recalled one of the early instances of that came when Stanley...
- 4/26/2018
- by Dave McNary
- Variety Film + TV
There’s been a recent addition to the Netflix — but viewers may have noticed only if they happened to pay attention to the top left corner of the screen. There, you’ll find a pop-up graphic denoting the show or film’s content rating, bringing the streaming service into line with what broadcast television and cable networks have done for two decades.
Per a blog post written by Mike Hastings, director of enhanced content at Netflix, this is a new initiative meant to improve “some long-standing Netflix features that provide members with the information and tools they need to make wise decisions about what’s right for themselves and for their families”:
In addition, we will also begin displaying more prominently the maturity level rating for a series or film once a member hits play on a title. While these maturity ratings are available in other parts of the experience,...
Per a blog post written by Mike Hastings, director of enhanced content at Netflix, this is a new initiative meant to improve “some long-standing Netflix features that provide members with the information and tools they need to make wise decisions about what’s right for themselves and for their families”:
In addition, we will also begin displaying more prominently the maturity level rating for a series or film once a member hits play on a title. While these maturity ratings are available in other parts of the experience,...
- 4/11/2018
- by Liz Shannon Miller
- Indiewire
<!--[Cdata[
Since Jack Valenti retired as MPAA chairman and CEO in 2004 after a four-decade rule, no one has been able to quite fill his shoes. But in April, Charles Rivkin, 55, was named to the top job, and, unlike his two immediate predecessors — former Agriculture Secretary Dan Glickman and former Sen. Christopher Dodd — he has roots in the entertainment world as well as politics. The son of the late William R. Rivkin, an ambassador during the Kennedy and Johnson administrations, Rivkin worked for 15 years at The Jim Henson Co., rising in 2000 to CEO — the...
Since Jack Valenti retired as MPAA chairman and CEO in 2004 after a four-decade rule, no one has been able to quite fill his shoes. But in April, Charles Rivkin, 55, was named to the top job, and, unlike his two immediate predecessors — former Agriculture Secretary Dan Glickman and former Sen. Christopher Dodd — he has roots in the entertainment world as well as politics. The son of the late William R. Rivkin, an ambassador during the Kennedy and Johnson administrations, Rivkin worked for 15 years at The Jim Henson Co., rising in 2000 to CEO — the...
- 12/7/2017
- by Pamela McClintock
- The Hollywood Reporter - Movie News
The major Hollywood studios’ growing dependency on R-rated movies as evidenced by It, Mother! and The Kingsman sequel points up a potential need to revise the ratings code, we suggest in the The Deadline Podcast with special guest Deadline co-editor-in-chief Mike Fleming Jr. Deadpool's release two years ago (sequel forthcoming) was a reminder that “hard R”-rated movies found a wider audience than most pictures of that genre used to reach. In the 1960s, Jack Valenti…...
- 9/29/2017
- Deadline
I'm sure a lot of you already know that Steven Spielberg's Indiana Jones and the Temple of Doom was the film ever to receive a PG-13 rating. But, did you know that the reason behind the rating was because of Indiana Jones action figures and other merchanse?
As you know, the movie is pretty gruesome and had some pretty intense stuff in it. Hell, a guy had his heart ripped out of his chest! Spielberg didn't want to lose his younger audience to an R-rating, especially because he had a ton of action figures, trading cards, and other merchandise tied to the film that had to sell to that younger market.
So, instead of losing out on all that extra cash, Spielberg went to Jack Valenti, the president of the Motion Picture Association of America, and talked to him about implementing a new rating between PG and R, and he rolled with it!
As you know, the movie is pretty gruesome and had some pretty intense stuff in it. Hell, a guy had his heart ripped out of his chest! Spielberg didn't want to lose his younger audience to an R-rating, especially because he had a ton of action figures, trading cards, and other merchandise tied to the film that had to sell to that younger market.
So, instead of losing out on all that extra cash, Spielberg went to Jack Valenti, the president of the Motion Picture Association of America, and talked to him about implementing a new rating between PG and R, and he rolled with it!
- 7/7/2017
- by Joey Paur
- GeekTyrant
During the 2014 Sony hack, Deadline readers benefited from the wisdom of Los Angeles based Hemanshu "Hemu" Nigam, a former federal prosecutor against Online Crimes and former Chief Security Officer for News Corp and Fox Interactive Media, and VP Worldwide Internet Enforcement under Jack Valenti's MPAA. Nigam then called for the appointment of a Hollywood cyber czar after the Sony attack, and gave self-protection advice to Sony staffers dealing with the public dispersal of…...
- 5/2/2017
- Deadline TV
During the 2014 Sony hack, Deadline readers benefited from the wisdom of Los Angeles based Hemanshu "Hemu" Nigam, a former federal prosecutor against Online Crimes and former Chief Security Officer for News Corp and Fox Interactive Media, and VP Worldwide Internet Enforcement under Jack Valenti's MPAA. Nigam then called for the appointment of a Hollywood cyber czar after the Sony attack, and gave self-protection advice to Sony staffers dealing with the public dispersal of…...
- 5/2/2017
- Deadline
Toby Emmerich is finally making some executive moves for his vision of Warner Bros. Pictures.
Emmerich, who took over as Warners' president and chief content officer in January, is promoting veteran executive Courtenay Valenti to president of production while also bringing back film vet Kevin McCormick as a senior exec, multiple sources tell The Hollywood Reporter.
Warner Bros. had no comment. Sources said an announcement could be made this week.
Valenti is the daughter of the late Jack Valenti, the famed and feared president of the MPAA. She had been serving as executive vp development and production since 2014 and...
Emmerich, who took over as Warners' president and chief content officer in January, is promoting veteran executive Courtenay Valenti to president of production while also bringing back film vet Kevin McCormick as a senior exec, multiple sources tell The Hollywood Reporter.
Warner Bros. had no comment. Sources said an announcement could be made this week.
Valenti is the daughter of the late Jack Valenti, the famed and feared president of the MPAA. She had been serving as executive vp development and production since 2014 and...
- 5/2/2017
- by Borys Kit
- The Hollywood Reporter - Movie News
Robert Keeling Apr 19, 2017
Kevin Costner headlined an all-star cast in Oliver Stone's JFK. It was a film that led to an act of Congress being passed...
Oliver Stone’s epic conspiracy-thriller JFK, surrounding the assassination of John F. Kennedy and the case brought about by New Orleans District Attorney Jim Garrison in relation to his murder, was released in 1991 to an astonishing level of critical backlash. Even before JFK arrived in theatres it was being pilloried and attacked by many in the media. The attacks were kick-started by Washington Post correspondent George Lardner, an investigative reporter who wrote a piece called On the Set: Dallas In Wonderland; How Oliver Stone’s Version Of The Kennedy Assassination Exploits The Edge Of Paranoia, which was actually based solely on a leaked copy of Stone’s first draft of the script.
See related The Last Kingdom series 2 episode 5 review The Last Kingdom...
Kevin Costner headlined an all-star cast in Oliver Stone's JFK. It was a film that led to an act of Congress being passed...
Oliver Stone’s epic conspiracy-thriller JFK, surrounding the assassination of John F. Kennedy and the case brought about by New Orleans District Attorney Jim Garrison in relation to his murder, was released in 1991 to an astonishing level of critical backlash. Even before JFK arrived in theatres it was being pilloried and attacked by many in the media. The attacks were kick-started by Washington Post correspondent George Lardner, an investigative reporter who wrote a piece called On the Set: Dallas In Wonderland; How Oliver Stone’s Version Of The Kennedy Assassination Exploits The Edge Of Paranoia, which was actually based solely on a leaked copy of Stone’s first draft of the script.
See related The Last Kingdom series 2 episode 5 review The Last Kingdom...
- 3/29/2017
- Den of Geek
A fractured membership, breaking rank, warring factions — no, it’s not the Republican Party. It’s CinemaCon, the annual exhibitors’ convention that will run March 27-30 at Caesars Palace in Las Vegas.
CinemaCon is always a crucible for change in the motion picture industry. It’s a four-day snapshot of the symbiotic and sometimes difficult relationship between distributors and the National Association of Theater Owners, which represents some 40,000 movie screens in North America and cinemas in 50 countries.
See MoreAwards Roundup: CinemaCon to Fete Naomi Watts, Pflag National to Honor Martha Plimpton and More
However, that partnership has never been more fraught than it is now. Studios seriously flirt with bringing first-run major releases into homes, while exhibitors fight tooth and nail to get the public’s butts back into theaters: Their mutual interests are no longer the same.
See MoreCinemaCon 2017: ‘Dunkirk,’ ‘The Beguiled,’ ‘Baby Driver,” and the New Woody Allen...
CinemaCon is always a crucible for change in the motion picture industry. It’s a four-day snapshot of the symbiotic and sometimes difficult relationship between distributors and the National Association of Theater Owners, which represents some 40,000 movie screens in North America and cinemas in 50 countries.
See MoreAwards Roundup: CinemaCon to Fete Naomi Watts, Pflag National to Honor Martha Plimpton and More
However, that partnership has never been more fraught than it is now. Studios seriously flirt with bringing first-run major releases into homes, while exhibitors fight tooth and nail to get the public’s butts back into theaters: Their mutual interests are no longer the same.
See MoreCinemaCon 2017: ‘Dunkirk,’ ‘The Beguiled,’ ‘Baby Driver,” and the New Woody Allen...
- 3/27/2017
- by Anne Thompson and Graham Winfrey
- Indiewire
Breaking a tradition that goes back to the Jack Valenti era, MPAA Chairman Christopher Dodd will not attend the upcoming CinemaCon exhibitors’ convention, citing personal commitments. That means John Fithian, president and CEO of the National Association of Theater Owners, will have to make the state of the industry speech solo on Tuesday at Caesar’s Palace in Las Vegas. However, he and Dodd spoke with press on Wednesday via conference call to announce the MPAA’s early release of their annual Theatrical Market Statistics report for 2016.
We knew that box office was virtually flat in 2016: Global box office returns reached $38.6 billion, up just 1 percent from 2015, while in North America, receipts rose by 2 percent to $11.4 billion. However, MPAA 2016 statistics reveal some seismic changes. It supports an increased focus on the domestic market and movies that appeal to women and minorities, which are growing while white audiences decline.
Let’s do the 2016 numbers.
We knew that box office was virtually flat in 2016: Global box office returns reached $38.6 billion, up just 1 percent from 2015, while in North America, receipts rose by 2 percent to $11.4 billion. However, MPAA 2016 statistics reveal some seismic changes. It supports an increased focus on the domestic market and movies that appeal to women and minorities, which are growing while white audiences decline.
Let’s do the 2016 numbers.
- 3/23/2017
- by Anne Thompson
- Thompson on Hollywood
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