The stock is up about 4% in mid-afternoon trading after Piper Jaffray’s James Marsh raised his price target for Lionsgate this morning by 18.5% to $32 ahead of the studio’s financial report next week for the quarter that ended in March. The analyst says that investors may be impressed by DVD and VOD sales for Twilight, which he figures generated about $150M in revenues for the quarter. In addition The Impossible, a film about the Indian Ocean tsunami in 2004, “largely slipped under the radar,” grossing just $19M at domestic theaters but $154M overseas. He expects Lionsgate’s TV operation to impress with results from Mad Men, Anger Management, and Nashville. Looking ahead, Marsh says that he’s “comfortable that management will find a way to extend the Twilight franchise” while Hunger Games could could do better than expected “driven by international box office and high margin merchandising opportunities.” On Monday Stifel’s Benjamin Mogil also upped his price target, in his case by 16% to $29. He says Lionsgate is “tracking materially ahead” of its financial guidance.
Cannes: EOne Announces Itself As Player In U.S. Distribution By Acquiring Naomi Watts-Starrer ‘Diana’
EXCLUSIVE: Entertainment One has acquired U.S. distribution rights to Diana, the Oliver Hirschbiegel-directed drama about a secret love affair that Princess Diana had shortly before her tragic death. With Naomi Watts as the princess, this was one of the higher-profile pictures shopped at the Cannes Film Festival and eOne bought the rights from Embankment Films and Ecosse Films. eOne will also distribute with major releases in the UK, Canada and Spain with the U.S. film coming in Oscar season later this year.
Hirschbiegel helmed the Oscar-nominated Downfall, and screenwriter Stephen Jeffreys wrote The Libertine. Watts, coming off an Oscar nom for The Impossible, stars with Naveen Andrews (best known for ABC’s Lost and The English Patient) in this drama about Diana’s covert love affair with Dr. Hasnat Khan, a Pakistani heart surgeon. This happened in the last two years of her life, before she met Dodi Fayed, and the need for privacy led to her meeting her lover in disguises. This gave her a sense of living an anonymous life, but her incredible worldwide fame became an issue. The film is produced by Ecosse Films’ Robert Bernstein and Douglas Rae.
A British secret agent, an unlikely pair of friends and a kidnapped ex-CIA operative helped boost admissions for European Union films across Europe by 12% in 2012. Despite a drop in overall attendance, market share for Euro films jumped to 33.6%, the highest level of the 2000s so far. The European Audiovisual Observatory said today that Skyfall, a majority UK co-production, was the biggest draw with 44.38M admissions across the Union. It was followed by two French films: The Intouchables at 24.07M and Taken 2 at 10.43M. Receipts hit a record high of 6.47B euros ($8.47B) reflecting hikes in ticket prices and the increase in 3D movies. Admissions for U.S. films were up slightly to 62.8% but were still far off the 68.4% achieved in 2010. The top three Hollywood performers were Ice Age: Continental Drift, The Dark Knight Rises and The Twilight Saga: Breaking Dawn Part 2.
EXCLUSIVE: The resilient indie Western Jane Got A Gun finally has its bad guy. Ewan McGregor is negotiating to play the pivotal role of the leader of an outlaw gang in the film that Gavin O’Connor is now directing. Natalie Portman plays the wife of an outlaw (Noah Emmerich) who leaves that gang after he gets shot up, and returns home. Knowing his former outlaw mates will come to finish him off and destroy her farm, Jane is forced to rekindle a relationship with a past love (Joel Edgerton), a capable gunman who can help her. This is the role that Jude Law originally was going to play, but he exited when original director Lynne Ramsay abruptly left the night before production began. After O’Connor came on to replace Ramsay behind the camera, they got Bradley Cooper to play the part, but his schedule is so impossibly busy — particularly after shooting got postponed on the David O Russell-directed American Hustle because of the Boston Marathon bombing and subsequent city lockdown — that Cooper had to drop out. This was OK because the villain wasn’t scheduled to shoot until later into the production.
If you can’t beat ‘em, join ‘em, goes the old saying. While the studios continue trying to crack the nut of getting Hollywood films into China, many of the majors also have a wider global strategy that’s proving lucrative both there and elsewhere: Local-language production. Hollywood’s involvement in the area is not new. But, increasingly, movies that are co-produced or distributed by the majors in such places as China, India, Germany, Italy, Spain, Korea and Latin America are finding themselves reaping strong returns.
The markets “are huge,” especially where local box office rivals that of Hollywood pictures. Homegrown films in China, for example, generally snag about 50% of the annual market share and are currently widely outperforming Hollywood films – this week’s Iron Man 3 notwithstanding. In India, the indigenous share of a $2B market can be as much as 90%. There’s an argument to be made that Chinese or Indian films don’t cross cultural borders, but with those kinds of numbers, “Why would the film need to travel?” posits an exec.
Richard Fox, EVP International for Warner Bros., says the studio is looking to develop relationships to make Chinese-language films. “There are a lot of moving pieces in assessing which countries to focus on,” but, “if it doesn’t recoup in the country of origin, we don’t get involved,” he says. Warner recently bet well in Mexico where its comedy Nosotros Los Nobles smashed records with the second biggest opening ever for a non-animated local film.
Another studio exec says local language production “is all relatively opportunistic.” It can be a distraction to try and stay abreast of local material, but “paying attention to local markets, filmmakers and stories around the world gets you more educated in terms of worldwide taste and emerging filmmakers.” Plus, “the minute you have a hit, it’s ‘How much money are we making? Why don’t we up this business?’” Here’s a look at how the studios are speaking in various tongues:
EXCLUSIVE: Naomi Watts is in talks to star in St. Vincent De Van Nuys, the film that Ted Melfi will direct from his script for The Weinstein Company, Chernin Entertainment and Don Cheadle’s Crescendo. Watts will join Bill Murray, Melissa McCarthy and Chris O’Dowd. Watts will play a Russian prostitute who develops a close relationship with the title character (Murray), a cantankerous guy who becomes a chief influence on an angelic 12-year old boy whose hardworking single mother (McCarthy) foists child care duties on Murray’s character. The project, which Chernin Entertainment developed for two years with Melfi’s Black List script, has been compared to As Good As It Gets or even TWC’s recent Silver Linings Playbook for the way it mixes comedy and human pathos. Watts is coming off an Oscar-nominated performance in The Impossible. Every age appropriate hot actress in town chased this role. She’s repped by CAA and Untitled.
Brian Brooks is a Deadline contributor.
This weekend’s specialty newcomers performed blasé at best and that’s despite the debut of a new film by a director who is all but a patron saint to the cineaste crowd. Topping the report Sunday morning is LD Entertainment’s Disconnect. Starring Jason Bateman and Hope Davis, the Santa Barbara Int’l Film Festival opener averaged $8,240 from 15 runs, pulling ahead of Terrence Malick and Ben Affleck’s debut, To The Wonder, which averaged $7,647 in 17 theaters. Sundance Selects opened Ken Loach’s Cannes 2012 title The Angels’ Share in 3 theaters, averaging $7K, while Oscilloscope’s It’s A Disaster also opened in a trio of locations, averaging $5,667. But the real good news came from Focus Features’ The Place Beyond The Pines. The Derek Cianfrance-directed feature showed off its box office prowess, averaging a solid $8K in over 500 theaters.
Word on the street was that To The Wonder was Malick’s “most accessible” film, but the film failed to measure up to his comparatively less user friendly previous film Tree Of Life. That film, which opened in 2011 in 4 theaters, averaged a cool $93,230 though it went on to cume $13.3 million. Hopefully the film will show some legs going forward. “I think it’s better outside a festival context and works better on its own,” said Magnolia’s Matt Cowal. “It’s sparking an incredible dialog. You can’t expect it to be liked by everyone. Some hate it, some adore it. And that’s expected in a work of art – it’s fascinating.” iTunes had some good news for To The Wonder this weekend. It topped its Independent charts all weekend. Magnolia will open the film in nearly every major market over the next two weeks.
EXCLUSIVE: Brit youngster Tom Holland is moving from his breakout debut The Impossible to another watery high profile project. He’s been cast in Warner Bros.’ In The Heart Of The Sea, the long-gestating seafaring adventure helmed by Ron Howard from a script by Charles Leavitt (Blood Diamond). Chris Hemsworth is starring in the pic adapted from Nathaniel Philbrick’s award-winning book In The Heart Of The Sea: The Tragedy Of The Whaleship Essex, an account of a whaling ship that was stalked and destroyed by a sperm whale in 1820. The tragedy left the crew of the Essex adrift for 90 days in the Pacific during which they turned to cannibalism before eight survivors made it home, an ordeal that partially influenced Herman Melville’s Moby-Dick.
Brian Brooks is a Deadline contributor.
Fox Searchlight’s Trance seduced the Specialty Box Office this weekend, grabbing the top spot in the averages game, though DIY release Upstream Color and Sony Classics’ The Company You Keep both bowed solidly and not far behind. Danny Boyle’s thriller starring James McAvoy, Vincent Cassel and Rosario Dawson averaged a cool $34K this weekend, not quite the sizzling opening numbers of Boyle’s previous roll out, 127 Hours, but still number one on the limited release slate this weekend. Shane Carruth’s Upstream Color opened at IFC Center in New York in one showing, grossing $31,500. That is numerically a stronger showing than his last film, Primer, which opened back in October 2004. Robert Redford-directed The Company You Keep opened on 5 runs, averaging $29,212. His previous films opened comparatively wider, but on a straight average comparison, the film holds well.
But Searchlight’s Trance held the top spot in specialty theaters in the first weekend of April. Boyle, Dawson and Cassel turned out for a glittering premiere in New York midweek courtesy of the Cinema Society for the filmmaker’s first post-Olympics gig. In the comparison game, however, the film did not shine as brightly as his last film, 127 Hours. That film opened with a $66,213 average in 4 theaters in November, 2010 and went on to gross over $18.33 million domestically. His previous film, Oscar-winning Best Picture Slumdog Millionaire, however, averaged $36K when it opened in November 2008 in 10 theaters. That film went on to gross over $141.3 million in the U.S. alone. “The biggest selling point of this film is obviously Danny Boyle’s name”, noted Searchlight SVP Distribution Frank Rodriguez. Trance will move into about 350 theaters April 12.
On the Specialty box office front, this Easter Weekend showed strong debuts for Focus Features’ The Place Beyond The Pines and IFC Films’ documentary Room 237 while Renoir painted a passable opening leaving silent feature Blancanieves and Wrong to start with less gusto. Pines director Derek Cianfrance showed with his film’s star Ryan Gosling up at a Film Society Of Lincoln Center party for New Directors. (The same duo caught Oscar chatter back in 2010 with Blue Valentine after its debut at the Sundance Film Festival.) Pines opened in a pair of runs in both New York and Los Angeles with a winning $67,564 average. Noted Jack Foley, Focus Features president of distribution: “It’s a testament to the appeal of this incredible cast, and also to Derek Cianfrance’s vision as a great storyteller, that audiences came out to see Pines this weekend. It’s epic, powerful and just great entertainment. Smart audiences want great movie options all year and you saw that with this weekend’s terrific numbers.”
IFC Films’ documentary centered on Stanley Kubrick’s The Shining also made an impressive showing over the weekend. That’s good news for the distributor, which saw the exit of its long time SVP of Marketing and Publicity Ryan Werner who is one of the most important backers of international and indie cinema in America. The film Room 238 averaged $18K in two NYC theaters. Noted Werner: It’s an amazing film that says so much about the way we watch movies today. …
Brian Brooks is a Deadline contributor.
Sundance Selects scored in the specialty arena this weekend, opening Gimme The Loot at its IFC Center in Greenwich Village with a solid $23,400. The movie, which IFC Films’ Sundance Selects label picked up last year out of the SXSW Film Festival, reported sold-out screenings Friday and Saturday nights, boosted by Q&As with former The Daily Show personality Wyatt Cenac. It premiered at MoMA on Tuesday with Sofia Coppola, Mike Birbiglia , Elizabeth Olsen, and Josh Safdie among the attendees. Loot next weekend will head to Chicago’s Music Box, L.A.’s NuArt and the Jacob Burns Center in Upstate New York. The Weinstein Company launched Cannes 2012 entrant The Sapphires in 4 NYC/LA theaters with a decent $10,232 average. Among other openers, Paladin debuted My Brother The Devil with two runs, averaging just over $6K. Starbuck is an original that DreamWorks Sudios is adapting to star Vince Vaughn. It was a hit at home north of the border, but opened comparatively quietly here, averaging $5,482 in three theaters. Next month, distributor eOne will take it to the top 30 to 50 markets. Archstone’s A Resurrection took in $7,250 at a single cinema.
MARCH 21, 2013 — Los Angeles, CA, and Santa Monica, CA – M-GO, the people-friendliest new digital entertainment service, and Lionsgate (NYSE: LGF), a leading global entertainment company, are partnering to bring Lionsgate’s vast array of movies and TV shows, including The Hunger Games and Twilight film franchises, Tyler Perry’s Madea films and the multiple Emmy Award-winning TV series Mad Men, to M-GO customers for purchase or rental, the two companies announced today.
Specialty B.O.: ‘Spring Breakers’ Powers To $270K In 3 Cinemas, ‘Poppy Hill’, ‘Ginger & Rosa’, ‘Mindless Behavior’ Solid In Debuts
Brian Brooks is a Deadline contributor.
UPDATED: Just in time for the debauchery of Spring Break that has long provided fodder for Hollywood, distribution newcomer A24 Films scored big time with this weekend’s three-theater opening of Harmony Korine’s Spring Breakers. The Venice/Toronto debut headlining James Franco and Disney stars Selena Gomez and Vanessa Hudgens grossed a whopping $270K for a $90K average. That’s the best opening per-theater-average in the specialty arena for 2013. A24 also fared well with their other rollout, Ginger & Rosa, which had the third-highest per theater average of the current weekend with $15K. Both titles should prove strong box office contenders in the weeks to come. GKids released Studio Ghibli’s From Up On Poppy Hill, which averaged an impressive weekend second-best $27,514 in a pair of theaters. The animated film was directed by Goro Miyazaki, son of master Japanese animator Hayao Miyazaki, who was co-writer on the movie. YouTube channel AwesomenessTV partnered with AMC Entertainment to open the teen R&B concert pic Mindless Behavior: All Around The World in 117 theaters, grossing over a half-million dollars with a solid $4,351 average. Oscilloscope bowed Matteo Garrone’s Reality in one theater, grossing $8K, while Millennium took Upside Down to 11 locations, averaging $2,570.
Brian Brooks is a Deadline contributor.
Tribeca Film’s Somebody Up There Likes Me bowed exclusively at Chicago’s Music Box Theatre with the best score among the specialties this weekend with a strong $38,495. The 2012 SXSW Film Festival entry had multiple sold-out showings in the 700-seat theater, with producer and Chicago native Nick Offerman hosting Q&As. The weekend potentially bodes well for distributor Tribeca, although momentum will be better gauged once it hits other cities. It will next head to Cinefamily in L.A. next weekend, according to Tribeca Film. Somebody Up There Likes Me will open San Francisco on March 22 and New York on March 29 with Austin to follow. Paladin/108 Media opened Michel Gondry’s The We And I with an average of $6,140 in a pair of NYC locations. The We And I heads to Los Angeles, San Francisco and 5 other top markets on March 22.
Brian Brooks is a Deadline contributor.
Fox Searchlight’s Stoker just may bring some fresh air into a specialty field that’s been monopolized in 2013 on the money side by two titles, Quartet and Amour. Park Chan-wook’s Nicole Kidman starrer averaged $22,500 in 7 runs. For comparisons, Amour opened in 3 theaters as well, averaging $22,755 (a Christmas period release) while Quartet bowed January 11 in two theaters with a $23,561 average. Both have continued solid runs. This weekend also has a number of other newcomers, including Oscar-nominated War Witch. That film, which won awards at last year’s Tribeca Film Festival and was picked up by the festival’s distribution wing Tribeca Film, grossed $10,260 for a $5,130 average. It’s a terrific film, and hopefully word of mouth will carry it further, but its bow is modest. Two other newcomers beat War Witch out in terms of PTA although they were single showings. Cinema Guild’s Leviathan took in just over $10K, while International Film Circuit’s Hava Nagila grossed $9,521.
But it was a Stoker weekend in the limited release arena following the climax of the long, long awards season. Korean director Park Chan-wook found a loyal following in the U.S. with titles Old Boy and I’m A Cyborg, But That’s OK, and Stoker is his first English-language outing. Starring Kidman, Matthew Goode, Mia Wasikowska, and Oscar nominee Jackie Weaver (Silver Linings Playbook), the feature will add a dozen or so theaters in its current markets next week.
Canadian filmmaker Kim Nguyen’s Foreign-Language Oscar nominee War Witch will head to LA next weekend before expanding to 30-plus markets later this month and into April (in addition to VOD). Fellow newcomer A Place At The Table did not fare so well in its bow despite some foodie and Hollywood star power. The doc took in $84K for a $2,400 average, although distributor Magnolia did put the title in 35 theaters. The film, which exposes the crisis of hunger in America featured Jeff Bridges and Tom Colicchio with the backing of Participant Media. Magnolia and Participant worked together on doc Food Inc., which opened in June 2009 in 3 theaters, averaging $20,171 in its opening weekend. Table may find its legs in the coming weeks, although hunger may be a tough sell. At this weekend’s doc-focused True/False Film Festival, one industry insider noted about the challenges Table faced compared to Food, Inc: “It’s about people who are marginalized and are poor vs. foodies with cash facing down the vagaries of the food industry.”
The True/False Fest is also screening two specialty holdovers this weekend in Columbia, Mo which are holding their own in the overall market. Sony Pictures Classics’ foreign-language Oscar-nominee No added 5 locations in its third weekend, averaging a positive $10,013, while fellow SPC release The Gatekeepers added 27 theaters, averaging $5,549. Last weekend it averaged $8,084 in 19 locations.
A Place At The Table (Magnolia Pictures) NEW [35 Theaters] Weekend $84K, Average $2,400
The End Of Love (Variance) NEW [2 Theaters] Weekend $2,400, Average $1,200
Hava Nagila (The Movie) (International Film Circuit) [1 Theater] Weekend $9,521
Leviathan (Cinema Guild) NEW [1 Theater] Weekend $10,018
Stoker (Fox Searchlight) NEW [7 Theaters] Weekend $158K, Average $22,500
War Witch (Tribeca Film) NEW [2 Theaters] Weekend $10,260, Average $5,130
Welcome To Pine Hill (Oscilloscope) NEW [1 Theater] Weekend $4K
Brian Brooks is a Deadline contributor.
Holdovers held sway in the specialty arena on an otherwise quiet Oscars weekend. Best Foreign Language contender No starring Gael García Bernal added two theaters in its second weekend, averaging a stellar $13,726. The Chilean entry is expected to Sony Pictures Classics’ competing nominee Amour, however which continues its momentum at the box office (and in the awards department after yesterday’s best foreign feature win at the Independent Spirit Awards). In its 10th weekend, SPC added 22 locations for Amour, averaging $2,489 and bringing its cume to just under $5.25 million. Sundance Selects’ second weekend holdover Like Someone In Love added 6 theaters, averaging $2,542. The film averaged $7,615 at its debut but its second weekend number out-shined Sundance Selects’ Oscar Weekend opener Inescapable, which grossed a paltry $721 in two theaters. Tribeca Film opened a double-billing of Alex Karpovsky’s Rubberneck and Red Flag at the Elinor Bunin Munroe Film Center in New York, grossing $4,150.
Can’t we just end all this suspense about winners or losers and call it one massive tie this year? The 2012 crop of Oscar nominees, and films in general, is so impressively dense with quality it seems a shame the Academy has to pick just one winner in each category. But that’s the name of the game we play this time of year, and with ballots going out just as I had to turn this piece in, it is still a fluid situation as to just what the final results will be. With so many movies spread across many categories that are genuine contenders, a split vote resulting in some surprising twists and turns is possible, even though the various guild awards give strong clues about industry sentiment. If the past is any indication, I am aware some readers might take these predictions as gospel and bet the farm on it in their Oscar pools, so I offer a disclaimer before we begin. I am not responsible for any monetary loss you might incur, nor do I expect 10% of any winnings. I am just trying to read the winds of Oscar after several months of analyzing every tea leaf. Here is where I have a hunch it stands, but please note I have made a few tweaks since the original version of these predictions were published in last week’s print edition of AwardsLine (I switched in production design and makeup/hairstyling). Results at BAFTA, WGA, and several other guild award shows have now been taken into account since then, but it is all still a crap shoot in one of the craziest Oscar years in memory.
All season long, this has been about as wide open a race, and as competitive a field of contenders, as we have seen in many years. With nine nominees, the same number as last year, it has taken a while to figure out a surefire winner. But with key awards from the PGA, DGA, WGA, BAFTA and SAG, in addition to best picture honors at the Golden Globes and Critics Choice Movie Awards, Argo has clearly emerged as the frontrunner, a remarkable turn of events considering its director, Ben Affleck, was snubbed by the Academy’s directing branch Jan. 10. Oh, what a difference a few weeks makes. The big question is, can the Warner Bros. juggernaut maintain momentum and win Oscar’s top prize, even without that directing nomination? If so, it would be only the second film to win without a directing nom, following Driving Miss Daisy’s feat at the 1990 ceremony. With the best picture category holding the strongest possibility for success among Argo’s seven nominations, could it actually win here and nowhere else? Not likely, but it’s possible, especially in a year in which I think the Academy will be spreading the wealth. Lincoln, with a leading 12 nominations (a good, if not always correct, indicator), Silver Linings Playbook, and Life of Pi are probably still in the mix here as well but…
The Winner: Argo
The Competition: Amour, Beasts of the Southern Wild, Django Unchained, Les Misérables, Life of Pi, Lincoln, Silver Linings Playbook, Zero Dark Thirty
With the quirky director’s branch going out of their way to snub DGA nominees Kathryn Bigelow, Tom Hooper, and DGA winner Ben Affleck, we know for sure we can’t count on the usual spot-on correlation between the DGA winner and the eventual victor in this category. Affleck actually would have been my prediction to win here, but, alas, he’s not even nominated, which means voters might very well be splitting their vote for director and picture this year — certainly not unheard of in recent years but increasingly rare. As directors of the two films with the most nominations, Steven Spielberg for Lincoln and Ang Lee for Life of Pi, are the likely frontrunners, with Silver Linings Playbook’s David O. Russell coming up on the outside. If initial frontrunner Lincoln has been eclipsed in the Best Picture race, this is the place voters could come to kneel at the Spielberg-ian altar. Or not. Lee’s triumph in even managing to bring the “unfilmable” Pi to the screen just screams “directing”, and that could play very well here.
The Winner: Ang Lee, Life of Pi
This is Daniel Day-Lewis’ to lose at this point. Playing such a well-known biographical figure is, of course, a big plus. But Day-Lewis brought a lot to the table and remains the guy to beat in an impossibly fine field of contenders. Day-Lewis’ biggest drawback is that he has already won this prize twice, and a third would be unprecedented for lead actors in Oscar history. Also no actor has ever won an Oscar for playing a U.S. president, another potential first. The Academy might want to reward equally deserving newcomers to the category like Hugh Jackman or Bradley Cooper instead, but judging from the pile of precursor awards Day-Lewis has already won, it looks like you can bet a very large pile of $5 bills that he will make Oscar history with honest Abe.
The Winner: Daniel Day-Lewis, Lincoln
The Competition: Bradley Cooper, Silver Linings Playbook; Hugh Jackman, Les Misérables; Joaquin Phoenix, The Master; Denzel Washington, Flight
I got this one wrong last year when Meryl Streep (The Iron Lady) beat Viola Davis (The Help), and this is another tough one. The race for lead actress is hotly competitive, with both Silver Linings Playbook’s Jennifer Lawrence and Zero Dark Thirty’s Jessica Chastain claiming other early awards and also impressing with strong performances (Naomi Watts is magnificent in The Impossible, but that film got no other nominations, putting it at a disadvantage here against four other actress nominees from Best Picture contenders). Plus, never underestimate the so-called “babe factor” (thanks to the Academy’s dominant male membership) that this category often, but not always, favors. A win here for either one could be a chance to give either of their movies an important award, while shutting them out elsewhere. The real wild card in this race is 85-year-old Emmanuelle Riva, whose performance in the foreign language film Amour has been widely praised and admired, particularly by her fellow actors, who comprise the Academy’s largest voting block. As the oldest Best Actress nominee ever (she actually turns 86 on Oscar Sunday), she could trigger a sentimental factor and a feeling that the others will have another shot someday. SAG champ Lawrence probably has the edge and is where the smart money’s going, but a split in this very fluid category could provide one of the evening’s most interesting stories. So going way out on a limb…
The Winner: Emmanuelle Riva, Amour
The Competition: Jessica Chastain, Zero Dark Thirty; Jennifer Lawrence, Silver Linings Playbook; Quvenzhané Wallis, Beasts of the Southern Wild; Naomi Watts, The Impossible
Pablo Berger’s black and white and silent rendering of Snow White won the top Goya in Spain on Sunday night. The Spanish Oscars gave Blancanieves the Best Film prize along with Best Actress for Maribel Verdú and Best Original Screenplay for Berger. It won seven other prizes for a total of 10 out of its leading 18 nominations. The Impossible‘s Juan Antonio Bayona was named Best Director. The tsunami drama that stars Ewan McGregor and Oscar nominated Naomi Watts was also a winner in four other categories including Editing and Special Effects. It had 14 nominations going in. Click over for a full list of winners.
Brian Brooks is a Deadline contributor.
2013 has been blasé at best for specialty box office. Thank goodness for the likes of Amour and Quartet. Although the first six weeks of the year have been otherwise dismal, it’s been good for Sony Pictures Classics. This weekend SPC scored with its Chilean Oscar-nominated feature No with an $18,619 average from four theaters. Thedistrib has also fared well with multiple Academy Award nominee Amour, which undertook a major expansion going into its third month in release, and its holdover Oscar-nominated documentary The Gatekeepers has maintained momentum. The Weinstein Company’s Quartet added more venues in its sixth weekend, actually increasing its per screen average from the previous weekend. Newcomers this weekend included Sundance Selects’ (IFC Films) Like Someone In Love, which bowed in three cinemas, averaging $7,615. The distributor, which also rolled out The Jeffrey Dahmer Files, which is available on VOD and was a midnight screening at the IFC Theater in New York exclusively, declined to report figures.