Millennium Films Ramps Up ‘Septembers Of Shiraz’ With Adrien Brody Aboard

By | Wednesday April 9, 2014 @ 5:00pm PDT
Mike Fleming

EXCLUSIVE: Adrien Brody is joining Salma Hayek and Shoreh Aghdashloo in the thriller Chanel And Charles Finch Pre-Oscar DinnerThe Septembers Of Shiraz, which Millennium Films and now will start shooting June 9. The pic, directed by The Sapphires helmer Wayne Blair, is based on the New York Times bestseller by Dalia Sofer, was adapted by Hanna Weg and launched at Berlin’s EFM in February. SeptembersOfShirazIt is the true story of a secular Jewish family caught in the Islamic revolution in Iran, and their journey to overcome and ultimately escape from the deadly tyranny that swept their country and threatened to extinguish their lives at every turn. Gerard Butler, Alan Siegel and Danielle Robinson are producing under their G-Base banner, along with Heidi Jo Markel and Weg. Eclectic Pictures also is working on the production which will be based at Millennium’s Nu Boyana Studios in Sofia, Bulgaria, and also will shoot in Israel. Brody is repped by Paradigm.

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Sundance: Bryan Singer Among Fest Jurists; Nick Offerman & Megan Mullally To Host Awards Gala

By | Thursday January 9, 2014 @ 1:30pm PST

bryan singerOver 20 years after his debut feature Public Access was the co-winner of the Dramatic Grand Jury Prize, Bryan Singer is returning to the Sundance Film Festival. The X-Men: Days Of Future Past director was named today as one of this year’s jurists at the Utah-based festival. Singer will serve on the U.S. Dramatic Jury along with critic Leonard Maltin, producer Peter Saraf, writer-director Lone Scherfig and Slate.com critic Dana Stevens. Jurists in the U.S and World Cinema Sundance2014_badgeDocumentary sections as well World Cinema Dramatic, Short Film, and Science In Film categories were announced too (see the full list below). Additionally, the fest revealed today that Nick Offerman and Megan Mullally will front the Feature Film Awards ceremony on January 25 in Park City. This isn’t the only appearance by Offerman and Mullally at Sundance this year. The Parks & Recreation star tops Nick Offerman: American Ham which premieres January 23 in Salt Lake City, and Mullally is one of the voices in the animated pic Ernest & Celestine, which is being screened January 18. The fest’s 30th anniversary edition runs January 16-26. Here’s the full release:

Related:
Sundance Premieres & Documentary Premieres 2014 Lineup
Sundance Reveals U.S. & World Cinema Competition Slates
Sundance Unveils Spotlight, Midnight, Frontier Films & New Kids Slate
Sundance Reveals Short Film Lineup

sundance-2014__131210193644__131217201040__131219181337__140108195842Park City, UT — Sundance Institute announced today the members of the six juries awarding prizes at the 2014 Sundance Film Festival, January 16-26 in Park City, Salt Lake City, Ogden and Sundance, Utah. Short Film Awards will be announced at a ceremony on January 21 at Park City’s Jupiter Bowl. Feature film awards will be announced at a separate ceremony on January 25 in Park City, hosted by husband-and-wife duo Nick Offerman and Megan Mullally and livestreamed at www.sundance.org/live. Offerman headlines the film Nick Offerman: American Ham in the Festival’s Premieres section. Mullally voices a character in the English-language version of Ernest and Celestine, which will have its world premiere in the Festival’s new Sundance Kids section.

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OSCARS: 75 Original Songs In Contention

By | Monday December 16, 2013 @ 3:50pm PST

oscarBEVERLY HILLS, CA — Seventy-five songs from eligible feature-length motion pictures released in 2013 are in contention for nominations in the Original Song category for the 86th Oscars®, the Academy of Motion Picture Arts and Sciences announced today.

The original songs, along with the motion picture in which each song is featured, are listed below in alphabetical order by film title and song title:

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James Franco, Chris O’Dowd Debut On Broadway In ‘Of Mice And Men’

By | Tuesday November 26, 2013 @ 3:04am PST
Mike Fleming

James Franco and Chris O’Dowd have signed on to make their Broadway debuts in Of Mice And Men, the first new production of the John Steinbeck novel in 40 years. It will be directed by Anna D. Shapiro, who won the Tony for August: Osage County. Franco, who has now tried just about every outlet an actor can try, will play George, while The Sapphires star O’Dowd will play Lennie. The play will be staged at the Longacre Theatre with previews starting March 19. It officially opens April 16 and will run through July 27. They’ll start selling tickets January 11. David Binder is producing Of Mice And Men with Darren Bagert, Kate Lear and Barbara Whitman.

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Specialty Box Office: Whedon’s ‘Much Ado’ Soars; ‘Dirty Wars’ Opens Decent

By | Sunday June 9, 2013 @ 10:49am PDT

Brian Brooks is a Deadline contributor.

Indie FilmsJoss Whedon‘s Much Ado About Nothing clearly ruled the Specialty Box Office this weekend. Opening in 5 theaters, the Roadside/Lionsgate release gave the 4-century-old play some 21st century adulation, grossing over $183K in 5 theaters for a $36,680 average. Whedon broke box office records last year with The Avengers and will likely do so again with his second round with the franchise, but the versatile filmmaker has clearly shown his filmmaking chops outside the big summer tentpole. Sundance Selects debuted its timely Dirty Wars in 4 runs, also opening solid. The distributor said it played sold out shows in all venues and called the launch a “promising start.” This weekend’s limited release newcomers were plentiful, though most others opened soft at best. Oz pic Wish You Were Here bowed in 11 theaters, averaging $2,338, while Kino Lorber’s You Ain’t Seen Nothin’ Yet opened in two locations, averaging $3,500. Cinedigm’s Violet & Daisy, meanwhile, debuted in 17 locations, with a very slight $602 average, taking in over $10K. The film will move into the top ten markets next weekend. Read More »

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Specialty Box Office: ‘Hannah Arendt’ & ‘The East’ Debut Solid, ‘Frances Ha’ Still Strong In Expansion

By | Sunday June 2, 2013 @ 5:29pm PDT

Brian Brooks is a Deadline specialty film contributor:

Zeitgeist Films’ Hannah Arendt and Fox Searchlight’s The East bowed strong over the weekend, reigning atop a half dozen newcomers among the Specialties. In one theater, Arendt grossed a hefty $31K, bringing its five day take to $45,502 (the film opened Wednesday), while Searchlight opened The East in four locations, taking in $75,628 for a $18,907 PSA. Also opening with some gusto was CBS Films’ The Kings Of Summer. The Sundance debut features a little-known cast, but managed a $58K weekend gross for a $14,500 average. Magnolia’s Shadow Dancer opened comparatively more mild with $10,200 in a pair of locations, while Variance’s The History Of Future Folk took in $6,100 from one run. Related: Specialty B.O. Preview: ‘The East’, ‘The History Of Future Folk’, ‘Hannah Arendt’, ‘The Kings Of Summer’

NEW
Axe Giant: The Wrath Of Paul Bunyan (Cinema Purgatorio) NEW [1 Theater] Weekend $770
The East (Fox Searchlight) NEW [4 Theaters] Weekend $75,628, Average $18,907
Hannah Arendt (Zeitgeist Films) NEW [1 Theater] Weekend $31K, Cume $45,502 (Wed Opening)
The History Of Future Folk (Variance Films) NEW [1 Theater] Weekend $6,100
The Kings Of Summer (CBS Films) NEW [4 Theaters] Weekend $58K, Average $14,500
Shadow Dancer (Magnolia Pictures) NEW [2 Theaters] Weekend $10,200, Average $5,100

Returning / 2nd Weekend
Before Midnight (Sony Classics) Week 2 [5 Theaters] Wkd $430,542, … Read More »

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Specialty Box Office: ‘Before Midnight’ Bows With A Bang’; 4-Day Estimates

Brian Brooks is a Deadline contributor.

Indie FilmsUPDATE 2:00 PM: Sony Pictures ClassicsBefore Midnight has struck box office gold Memorial Day weekend. The start of the summer 2013 blockbuster season will be for Fast & Furious 6 to celebrate, but Midnight clearly resonated with audiences searching for an alternative. The film, directed by Richard Linklater, opened in 5 theaters grossing $321,914 and averaging $64,383. In 2004, Warner Independent debuted Before Sunset in 20 theaters, averaging $10,971. That film went on to gross $5.82 million domestically. “We think the reputation of this film stands on its own whether you’ve seen those or not,” said SPC co-president Michael Barker. “So it has the benefit of being related to those films, but it also has the benefit of being the finest of the three.” SPC will take Before Midnight wide June 14th. In other openers, Sony Classics also opened Fill The Void in three locations. That film took in $79,164, averaging a solid $26,388.

Last weekend’s specialty box office winner Frances Ha held steady in its second weekend. IFC Films added 56 theaters in its second weekend of release, grossing $708,000 for a $11,800 average. Noted IFC Films: “Frances Ha expanded to the top 20 markets to fantastic results this Memorial Day weekend. Initial runs remained very strong with minimal drops signifying the comedy’s positive word of mouth. The new markets were also excellent buoyed by phenomenal reviews (93% on Rotten Tomatoes) and an extensive advanced screening program. Frances Ha will continue its aggressive platform release as the film will open the top 50 markets this weekend.”
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Cannes: Caution In The Market

With the market officially wrapped, the deal pace has slowed to a crawl and the focus turns back to the movies. That’s after a week of international sales on some key titles and a few high-profile domestic deals in an environment that nevertheless was marked by caution. Oftentimes as Cannes is about to start, there are splashy announcements of domestic pick-ups on fest-related movies and that helps set the pace. In 2011, The Weinstein Co. acquired The Artist before the curtain lifted. Last year, it grabbed The Sapphires and Sony Pictures Classics bought Susanne Bier’s Love Is All You Need on Day One. This year, there were no eve-of-the-fest acquisitions on titles that are in official selection (although Warner Bros. moved in on Ryan Gosling’s How To Catch A Monster which is currently shooting and Lionsgate arrived in town having taken the upcoming The Quiet Ones). Ultimately, U.S. buyers that I spoke with ahead of the fest said they would be opportunistic, but cautious. “Everyone goes in very carefully,” Sony Classics’ Tom Bernard told me. “There’s a lot of pushback in the ancillary areas so when you’re spending money, you have to spend it wisely.”

Foreign sellers say there’s a shift in the balance of key territories. China, Russia, Brazil, the Middle East and even India – which has such a massive local box office – are becoming “significant pieces of the puzzle.” Spain and Italy remain the places that make sellers misty given the economic crises there. Rai, however, did pick up The Gunman starring Sean Penn in what was a notable buy for the company. That movie virtually sold out for Studiocanal. Read More »

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Specialty Box Office: ‘Frances Ha’ Triumphs As Fellow Newcomers Take A Nose Dive

By | Sunday May 19, 2013 @ 10:12am PDT

Brian Brooks is a Deadline contributor.

Indie FilmsIFC FilmsFrances Ha had the last laugh this weekend, opening solid in a pair of theaters each in New York and Los Angeles. The critically well-received feature directed by Noah Baumbach and starring Greta Gerwig grossed $134K, averaging $33,500. It came fairly close to his last feature, Greenberg, which averaged $39,384 when it opened in March 2010 in three locations. But that film, which also starred Gerwig, also included Ben Stiller, Jennifer Jason Leigh and Juno Temple. Frances Ha inched out Baumbach’s acclaimed 2005 Best Screenplay Oscar-nominated The Squid And The Whale in terms of first weekend PSA. That film opened in four runs, averaging $32,461. Frances Ha‘s fellow newcomers, however did not fare nearly as well.
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Cannes: Distributors To Watch

CBS Films
CBS Films has overhauled under Terry Press and Wolfgang Hammer who were named co-presidents about a year ago. At the time, CBS Corp. president and CEO Les Moonves said, “They both possess the ‘roll-up-your-sleeves’ attitude for making, acquiring and marketing quality films for a division that is small in size, but laser-focused on assembling a mix of home-grown productions and acquisitions across a diverse range of genres.” Demonstrating its mettle here in Cannes, the company has the very high-profile Coen brothers movie Inside Llewyn Davis in Competition. It acquired the film in February after a screening on the Sony lot attracted lots of interest and created a competitive situation. CBS spent close to $4M to seal the deal. The movie will be a big part of CBS’ presence in Cannes, but that doesn’t mean the company isn’t looking to buy. It’s releasing about four to six pictures a year and has the flexibility to work across any genre. Although it has never acquired a foreign language film, it’s not out of the question, I’m told. Previous pick-ups include Lasse Hallstrom’s Salmon Fishing In The Yemen, horror hit The Woman In Black and Martin McDonagh’s Seven Psychopaths.

Related: Cannes: Actors To Watch

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Specialty Box Office: Sarah Polley’s ‘Stories We Tell’ Opens Strong; ‘Mud’ Sticks

By | Sunday May 12, 2013 @ 9:59am PDT

Brian Brooks is a Deadline contributor.

Indie FilmsCanadian filmmaker/actress Sarah Polley‘s documentary Stories We Tell is leading the pack of specialty releases among titles reporting early Sunday afternoon ET. The Venice/Telluride/Toronto ’12 debut, which headed into release with strong word of mouth and festival acclaim, grossed a solid $31K in two locations and saw its grosses shoot up Friday to Saturday by a spectacular 172%. The feature, which is a personal account of Polley’s family, received a 92 score on Metacritic and 94% fresh on Rotten Tomatoes.

“The opening is in the range of openings of last year’s doc hits Searching For Sugar Man from SPC ($9153 a screen opening on 3 screens in NY/LA, $3,657,684 final gross) and Queen Of Versailles from Magnolia ($17,109 a screen opening on 3 screens in NY/LA, $2,401,999 final gross), which is right where we want to be,” said Roadside Attractions Sunday.

The film will head into 20 runs in the top 7 markets next weekend.

Also opening with decent numbers is Zeitgeist’s doc One Track Heart: The Story Of Krishna Das, which took in $7,500 in one Manhattan theater. IFC Films’ comedy/thriller hybrid Sightseers languished with a $4,200 average in its debut in two runs, while Anchor Bay’s No One Lives opened in an ambitious 53 theaters but only scraped together an $866 average.
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Disney, ‘Iron Man 3′ Dominate 2013 Golden Trailer Awards

By | Sunday May 5, 2013 @ 1:55pm PDT

Golden Trailer Awards Winners 2013The annual marketing kudos went big for Disney pics Iron Man 3, Wreck-It-Ralph, Monsters University, Brave, and The Avengers at the Golden Trailer Awards Friday night. The GTAs didn’t just fete the best movie promos of the year. They also doled out Trashiest Trailer (to A24′s Spring Breakers) and gave indie comedy Hit & Run the Golden Fleece award, awarded to a trailer better than its actual movie. Here’s the full list of winners:
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Specialty Box Office: ‘The Iceman’ Scores Cool Opening, ‘What Maisie Knew’ Solid

By | Sunday May 5, 2013 @ 9:48am PDT

Brian Brooks is a Deadline contributor.

Indie FilmsMillennium Entertainment’s The Iceman warmed over the specialty box office this weekend despite the Iron Man 3 juggernaut. The film averaged a cool $23,287 from four runs and that wasn’t the only good news for the distributor. Millennium also bowed What Maisie Knew in one location, grossing $23,268. The duo were among a large number of specialty newcomers this weekend, though they did by far the best among titles reporting. Pantelion’s Cinco De Mayo: La Batalla averaged $3,500 from 20 runs, while SPC’s Love Is All You Need averaged $9,739 from its initial four theaters opening. Cannes 2012 debut Post Tenebras Lux took in $5,525 in one theater, while the weekend’s new doc Scatter My Ashes At Bergdorf’s grossed $38,294 for a $9,574 average in four theaters. Meanwhile IFC Films’ French-language Something In The Air bowed in three theaters, averaging a slight $5K.
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Specialty Box Office: ‘Mud’ Slings A Snazzy Debut; ‘Kon-Tiki’ Sails While ‘Arthur Newman’ Flails

By | Sunday April 28, 2013 @ 10:46am PDT

Brian Brooks is a Deadline contributor.

Indie FilmsMud kicked up the dirt in the specialty realm with a hefty opening and some decent audiences to boot. The Roadside Attractions release directed by Jeff Nichols and starring Matthew McConaughey and Reese Witherspoon bowed with $2.185 million in a release strategy Roadside says is the new path for certain indie/specialties featuring named talent. The Weinstein Company launched Kon-Tiki in one theater each in NYC and LA, taking the weekend’s highest per screen average with $11,167 among limited releases. Another big specialty release, Arthur Newman, however, tanked with a $435 average in 248 theaters. The weekend happened to coincide with the most beautiful weather in New York City in what seems like years. It was a crowded space with many new specialty releases and the lure of staying outside. But roll out they did. Sony Classics’ At Any Price had a slight opening in four theaters, IFC Films fared better with Venice opener The Reluctant Fundamentalist in three theaters, and Paladin/108 Media’s Salman Rushdie-written Midnight’s Children opened with $12,200 in two theaters. Meanwhile one film, which almost didn’t have formal distribution at all — An Oversimplification Of Her Beauty — scored a solid opening with no stars.

Roadside Attractions has verbally called out the traditional NY/LA two-to-four (or so) platform release strategy that has been the norm for many-a-specialty release. Believing it can capitalize on a blitz of media, when the film has at least one star, and a flurry of social media, the distributor has forgone the traditional limited release roll out and opened — at least in indie world numbers — fairly widely. Mud had a $6,022 average. Not gargantuan, but it debuted in 363 theaters. McConaughey and Witherspoon star in the pic, which factored into Roadside’s strategy. For comparison’s sake, Roadside’s Emperor with Tommy Lee Jones opened March 8th in 260 theaters with just over $1 million. That was nearly one-third of its come, which has topped out at a bit under $3.3 million to date. “The world moves fast. Emperor frankly didn’t have amazing reviews but had a million dollar opening,” said Roadside chief Howard Cohen. “I think the old model has come outdated especially when the PR is front loaded.” Cohen noted that their strategy with a release like Mud works when the film includes named talent. The traditional mode is still a good one theatrically when there isn’t”.
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Specialty Box Office: ‘Filly Brown’ Croons, Ricky Jay Doc Opens Solid

By | Sunday April 21, 2013 @ 9:52am PDT

Brian Brooks is a Deadline contributor.

Indie FilmsMusic drama Filly Brown rhymed its way atop the Specialty Box Office this weekend with a hefty release in 188 theaters, grossing over $1.36 million. In the per screen average race, Kino Lorber’s doc Deceptive Practices: The Mentors And Mysteries Of Ricky Jay took in $15K in one New York location, while Cohen Media Group’s In The House averaged $11,738 from three locations. Anchor Bay had the biggest roll out with Rob Zombie’s The Lords Of Salem. The thriller bowed in 355 theaters, though it was comparatively slight with a $1,752 average and a gross of $622K.

Filly Brown box office“The Filly fans really came out this weekend,” noted Indomina Production exec Rob Williams Sunday. “We’re very happy with the per screen average and looking to expand the film into more markets this weekend. Sales were especially strong in Southwestern states”. The film grossed $673K Friday but softened to $405K Saturday. Women were by far and away the big draw comprising 71% of the audience, and 41% were under 25. The film’s $7,250 average is the highest PSA of any Pantelion release to date, the distributor pointed out. And the film landed #1 at 20 locations where it outgrossed the weekend’s number one film in the overall box office, Oblivion. The screenings were followed by a live Q&A with Edward James Olmos and other members of the cast that were streamed to all locations.

Ricky Jay doc Deceptive Practices had the highest PSA among reporting Specialties in a weekend that did not boast any blistering knock outs. Read More »

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Specialty Box Office: ‘Place Beyond The Pines’ Shines, ‘To The Wonder’, ‘Disconnect’ Open Soft

Brian Brooks is a Deadline contributor.

Indie FilmsThis 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.
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Specialty Box Office: ‘Trance’ Mesmerizes, ‘Upstream Color’ And Redford’s ‘Company’ Bow Solid

By | Sunday April 7, 2013 @ 10:30am PDT

Brian Brooks is a Deadline contributor.

Indie FilmsFox 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.
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Specialty Box Office: ‘Pines’ Best Average

By | Sunday March 31, 2013 @ 4:08pm PDT

Indie FilmsOn 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. … Read More »

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Specialty Box Office: ‘Gimme The Loot’ Rakes It In, ‘The Sapphires’ Solid In Debut

By | Sunday March 24, 2013 @ 11:46am PDT

Brian Brooks is a Deadline contributor.

Indie FilmsSundance 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. Read More »

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