Sky Arts HD is getting ready for its annual Playhouse Presents series which returns to the channel this May. The showcase is devoted to one-off comedies and dramas with talent lined up this year to include Matthew Perry, Billie Piper, Ben Wishaw, Mark Strong, Jo Brand, Simon Callow, Cara Delevingne, Lindsay Duncan, Kevin Eldon, Jane Horrocks, Daniel Mays, Sylvia Syms, Ashley Walters, Jason Watkins and Richard Wilson. Previous editions have had such names as Jon Hamm, Daniel Radcliffe, Emma Thompson, Idris Elba and David Tennant. This year also involves the writing talents of Oscar-winner Peter Straughan, among others. Perry, who’s prepping his Odd Couple pilot at CBS, will make his UK TV comedy debut with The Dog Thrower, the story of a man who finds fame, then infamy, when he starts throwing his dog. It’s produced by Runaway Fridge. Among the other offerings, Piper and Whishaw will star in Foxtrot from Sprout Pictures, about a gang heist gone wrong; Syms and Delevingne play unlikely friends in Timeless, a story of love, loss and hope, written by Tim Firth (Calendar Girls) and produced by Steve Coogan’s Baby Cow; and Strong will star as a tormented movie actor in the Straughan-penned Nosferatu In Love from Bonafide Films.
Disney To Film Marvel Series For Netflix In New York As Part Of Multimillion-Dollar Incentive Package
New York was “our first choice” to film four NYC-based Marvel “Defenders” series and a miniseries planned for Netflix beginning in 2015, Disney CEO Bob Iger said today during a press event in NY announcing the deal. But the Empire State’s taxpayers had to help seal the deal for what officials say is the biggest film or TV production commitment ever for New York: The state provided the entertainment giant with undisclosed breaks and incentives estimated at $4M for the project that’s projected to create 3,000 jobs including 400 full time ones in the Big Apple. They’ll work on 52 one-hour live action episodes and a miniseries built around Marvel characters Daredevil, Jessica Jones, Iron Fist, and Luke Cage in what Disney calls “the gritty world of heroes and villains of Hell’s Kitchen, New York.” Taxpayers had to sweeten the terms for Disney because there was “a lot of competition from different cities” to land the production, Iger says. Gov. Andrew Cuomo says the commitment is “exciting,” and a win for his efforts to broaden the economic base which heavily depends on financial institutions. The economic downturn in 2008 “was a wake-up call for the state of New York…you have to diversify,” he said at announcement with Iger. The Disney chief says that no decision has been made with Netflix about whether the series’ episodes will be released all at once or individually.
Here’s the release from Disney and New York state:
UPDATE, 4:09 PM: Warner Bros has filled another slot in its early 2015 release date calendar, saying today it will drop the Liam Neeson-starrer Run All Night, the Brad Ingelsby actioner, on February 6, 2015. Jaume Collet-Serra is directing in a reteam with Neeson who combined to make Unknown and the upcoming Non-Stop. Neeson plays a mob hitman who, in a single night, is forced to take on his former boss. The guy also has to protect his son and family, and winds up on the run from the mob and the authorities. Joel Kinnaman, Ed Harris and Vincent D’Onofrio co-star.
PREVIOUS, THURSDAY AM: Guy Ritchie’s Man From U.N.C.L.E will be released January 16, 2015, which is the start of the Martin Luther King Jr holiday weekend, Warner Bros said today. Henry Cavill, Armie Hammer, Alicia Vikander and Luca Calvani star in the pic, a big-screen update of the 1960s TV series. This is the project that forced Warners to go back to Square 1 a couple of times, first when Steven Soderbergh was ready to direct and George Clooney to star. After Soderbergh and Clooney left, Warner Bros recruited Ritchie and then landed Tom Cruise for the lead alongside Hammer. Cruise departed last May to focus on Mission: Impossible 5. Cavill then came aboard as CIA agent Napoleon Solo opposite Hammer’s KGB operative Illya Kuryakin, who team amidst the Cold War to stop a global criminal organization. Jared Harris, Elizabeth Debicki and Hugh Grant co-star.
Fox Networks Group today announced its first ever cross-network global premiere event — for Seth MacFarlane‘s passion project, Cosmos: A Spacetime Odyssey, on Sunday, March 9, 9-10 PM ET/PT. In addition to premiering on the 10 U.S. networks simulcasting the premiere episode — Fox Broadcasting Company, National Geographic Channel, FX, FXX, FXM, FOX Sports 1, FOX Sports 2, Nat Geo Wild, Nat Geo Mundo and FOX Life — and on the Fox International Channels and National Geographic Channels International, as previously announced, Cosmos will premiere on all 90 National Geographic Channels in 180 countries, as well as 120 Fox-branded channels in 125 countries, making this the largest global launch ever for a television series. Rolling out immediately after the U.S. premiere, international markets will begin airing the premiere episode day and date on both Fox-branded and National Geographic Channels, concluding within one week of the domestic premiere event. The additional 12 episodes will air exclusively on National Geographic Channels outside the U.S.
This first multi-network launch event for Fox Networks Group, along with the series debut on Fox International Channels and National Geographic Channels International, will make Cosmos: A Spacetime Odyssey available on 220 channels in 181 countries, with an overall footprint of more than half a billion homes.
While the normally freezing weather in Berlin is an annual lament, this year’s unseasonably balmy clime became a major focus of conversation. And, as they say, when people have nothing else to talk about, they talk about the weather… The notably lackluster European Film Market boasted a small handful of buzz titles and only a few headline-grabbing deals. As such, the usual whispers of “Do we really need to be here?” grew louder in the last week. Another talking point was the early-in-the-market news of a shake-up at Exclusive Media, the production and foreign sales company headed by well-respected veterans Nigel Sinclair and Guy East. And, reliably, Lars von Trier’s director’s cut premiere of Nymphomaniac Vol. 1 was a head-turner, albeit for star Shia LaBeouf‘s pre-screening antics here.
Distribution consultant Jason Resnick mused yesterday, “It was the warmest Berlin ever, and yet the coldest Berlin ever.” Yet, no one was particularly shocked by the way business went here. Offshore and domestic deals were done, but folks roundly agreed there was a serious lack of oomph. As one exec told me ahead of the market, “Everybody is asking where the projects are.”
Because nothing says “celebration of TV industry” like a Monday in August, NBC and the TV Academy on Tuesday said they had picked August 25 as the airdate for this year’s Primetime Emmy Awards. NBC yanking the Emmys out of its traditional night-before-the-start-of-the-TV season berth to make way for the network’s Sunday football package is not news — the network has done it twice already, in 2006 and 2010. And both times NBC aired the trophy show on a Sunday in August. But a Monday in August was news and caused a kerfuffle yesterday. Eyebrows were raised until they threatened to disarrange hairlines as the media wondered why a company that had enjoyed recent Emmy success with NBCUniversal-produced Downton Abbey, and that had such high hopes for this year’s Emmys what with Universal TV’s freshman comedy for Fox, Brooklyn Nine-Nine, having cleaned up at the recent Golden Globes, would toss the trophy show on a Monday in August.
After yesterday’s news broke, the Academy of Television Arts & Sciences issued a statement pointing the finger at NBC. “Each year it is the responsibility of the host network to schedule the Primetime Emmy Awards,” Academy president and COO Lucy Hood said, cueing up a certain amount of industry snarking about the wisdom of putting a broadcast network in charge of picking the best date to air what’s become the CableACE Awards. ”With NBC, there is the added element of the NFL schedule, which typically pushes the date back into late August,” Hood continued, adding, “We look forward to working with NBC as we begin to plan the 2014 Primetime show.”
NBC had intended to air this year’s Emmycast on August 24, according to a report published five months ago. Based on that date, plans had been locked in for the so-called Creative Arts (aka non-televised) portion of the two-night trophy-dispensing ceremony. What changed NBC’s mind? Fear of Miley Cyrus: According to several press reports, the date was changed to Monday when it was discovered the MTV Video Music Awards would be held Sunday, August 24.
LOS ANGELES (January 23, 2014) – Screen Actors Guild Awards® Executive Producer Kathy Connell announced today that the 21st Annual Screen Actors Guild Awards®, honoring the outstanding performances of calendar year 2014, has been scheduled for Sunday, Jan. 25, 2015. The 2015 SAG Awards® ceremony will be simulcast live on TNT and TBS at 8 p.m. ET/ 5 p.m. PT, marking the 18th consecutive year the SAG Awards have been telecast on television’s destination for drama and the 10th year on cable’s top-rated comedy network. Timing for the 21st Annual SAG Awards nominations announcement and the full calendar of key dates for the 21st Annual SAG Awards will be announced in the coming months.
The Hunger Games: Catching Fire topped $409.4M last night, surpassing the first The Hunger Games which grossed $408M. It marks the first time ever that the first two installments of a franchise have each grossed $400M at the domestic box office, Lionsgate announced early this morning. Catching Fire has a total worldwide cume to date of $838.2M in its first seven weeks of release compared to $691M worldwide box office generated during the entire run of the first Hunger Games film, the company said. It also noted that it became the highest-grossing film released at the domestic box office in 2013. Disney’s Frozen is still playing in over 1,000 theaters and has already grossed $302M since opening on Thanksgiving Day and Disney’s Iron Man 3 still holds the record for the highest grosser of calendar year 2013 with a little over $409M; the third Iron Man was released on May 3. Catching Fire reached its $409 mark in only 49 days. The film already had set records for the biggest November opening weekend ever at $158.1M as well as the biggest three- and five-day Thanksgiving box office gross. The picture is still playing in wide release. Lionsgate also noted that Catching Fire is the first 2D film to become the top-grossing film of the year since 2008. The next installment, The Hunger Games: Mockingjay Part 1 is scheduled for a November 21, 2014 release followed by Part …
OSCARS Q&A: ‘Inside Llewyn Davis’ And ‘Captain Phillips’ Producer Scott Rudin On Making Prestige Pics Inside And Outside The Studio Fold
It has become common to find Scott Rudin with multiple films in the Oscar hunt. This time, the producer has the Joel and Ethan Coen-directed Inside Llewyn Davis, financed independently and distributed by CBS Films, and the Paul Greengrass-directed Captain Phillips, funded by Rudin’s home studio Sony Pictures. The prolific producer manages these Oscar campaigns while he presided over a record-breaking limited stage run of the Mike Nichols-directed Betrayal with Daniel Craig; as The Book Of Mormon continues to be Broadway’s biggest bread winner; preps for next month’s Berlin premiere of Wes Anderson’s The Grand Budapest Hotel; is in post on the Chris Rock-directed Finally Famous and Jon Stewart’s helming debut Rosewater, about a mock journalist who spent nine frightening months detained in Iran after filing a comic field report on Stewart’s The Daily Show. There are big pics percolating, from one with Paul Thomas Anderson to the adaptation of Walter Isaacson’s book on Steve Jobs, a Girl With the Dragon Tattoo sequel, and the adaptation of Stacy Schiff’s Cleopatra book that got a new draft from Eric Roth and has everyone excited including Angelina Jolie, who seems destined to play the Egyptian queen. Rudin, who once had his projects bankrolled by whatever major studio he called home, has responded to a changing market for the challenging adult films he favors by becoming increasingly nimble in finding money to empower the auteurs that work with him over and over. There is reason for optimism in this race: his last two Coen collaborations were the Best Picture Oscar winning No Country For Old Men and the Best Picture nominee True Grit; his last film with Hanks, Extremely Loud And Incredibly Close, was a Best Picture nominee. Rudin took time out to discuss Inside Llewyn Davis, Captain Phillips, and his continued evolution in a fast-changing business.
DEADLINE: Inside Llewyn Davis was probably the first Coen Brothers film made without a distributor in place. How did you benefit from doing it that way?
RUDIN: It gave us a huge advantage. It was not a particularly expensive movie, under $20 million, and we financed it completely out of Europe. StudioCanal was a fantastic partner and allowed the guys to go off and make the movie exactly the way they wanted to. They wrote a check, wished us luck, and loved it when we were done. To have a completed Coen Brothers movie, and own North America, was spectacular. We had four or five offers for it. We did a one night screening with a music component to it that people loved, and we took the CBS Films deal. That was a choice people were curious about when we made it because they didn’t have experience with this kind of movie. It worked out fantastically well.
DEADLINE: Is that because the usual suspects already had Oscar bait films?
RUDIN: A big part of the draw was Terry Press. We’ve worked together on a ton of movies; she was the head of publicity back when I did Sister Act at Disney. We go back 25 years. She worked on The Social Network and on Dragon Tattoo, and I knew she loved this kind of music and the Coens. As we fielded other offers, I frankly hoped it would end up there. We had a lot of input into how they distributed it and sold it. I liked working with Wolfgang Hammer and have always loved Les Moonves. He was running Fox Television while I was running feature production at Fox in the mid-1980s so we go back 30 years. They didn’t have another movie in this slot, and it felt they would do something bold and more aggressive with it. It felt like a perfect fit.
DEADLINE: You undersold that buyers screening. As I recall, there were wall to wall music stars milling with Brad Pitt, Angelina Jolie and every star in the constellation…
RUDIN: That became our selling screening. We had this idea to do a screening the night before Grammys because a ton of music people would be in town and we wanted to screen the movie for musicians. We sent invitations and the list came back so spectacularly that I said to Joel and Ethan, why don’t we just invite some buyers? It was such a great opportunity to screen the movie for an audience you could feel pretty confident would love it, because the movie was really about them. It was a great party full of people who really loved the movie and had a profound relationship to the subject. A lot of them had worked with the Coens or worked with me. We had 700 people in two screening rooms, followed by a concert with T Bone Burnett, The Punch Brothers played, so did Marcus Mumford and Oscar Isaac. It was pretty spectacular. Because there was this pure motive of, let’s screen the movie for musicians, and because no one had seen the film, it had a buzz in the room that existed because it was an authentic event.
DEADLINE: When did your offers come in?
RUDIN: The next day.
NBC began its Today show Olympics walk-up this morning with a strategically timed piece in The New York Times about a Comcast-wide ad blitz for a new show tagline “Rise to Shine”. It’s part of a big push to get Today back on top in the morning infotainment show ratings. In the article, NBC noted that Today, which lost its ratings crown to ABC’s Good Morning America some time ago, has been chipping away at GMA’s lead, even beating its rival by 18,000 in the news demo the week of December 16 (aka The Week GMA Sent Robin Roberts to the Vatican). The head of NBC News research spoke passionately about Matt Lauer‘s importance to the show’s ratings resuscitation, and Matt himself discussed taking selfies when you think you’re looking good, not when you’re looking bad.
GMA responded this morning with a news release announcing that it won all four quarters of 2013, including its largest fourth-quarter total-viewer lead over Today in more than 22 years, and its biggest demo lead over Today in 19 years (371,000 viewers) during the final full week of the calendar year.
Oh, and Robin Roberts come out on GMA this morning — taking some of the wind out of Today’s carefully orchestrated “Rise to Shine”.
Whether or not the nation’s highest court decides to hear the broadcasters’ case against Aereo could be determined in the next few weeks. The Supreme Court’s new 2014 calendar has Conference days set for January 10, 17 and 24. Conference days are when the Justices look over reviews and petitions — like the one ABC, CBS, Fox, NBC and several other broadcasters submitted against the Barry Diller-back streaming service on October 11. If SCOTUS decides to take on the submission and not leave it with lower courts, then a date for oral arguments in the potentially industry-changing case will be scheduled for later in the term. At the heart of their petition, the broadcasters want the High Court to review an April 1, 2013 ruling by the U.S. Court of Appeals in New York that confirmed a District Court decision and rejected their request for a preliminary injunction against Aereo. Since its launch in the NYC area back in early 2012, broadcasters have repeatedly called out Aereo in the courts as conducting a blatant violation of their public performance rights. Some, like CBS’ Les Moonves, have even suggested they could make the move to cable if the Aereo situation isn’t resolved to their liking. In its December 11 response brief to the broadcasters’ petition, Aereo surprised many by welcoming the move to SCOTUS as a way …
Saturday Night Live alum Jim Breuer has joined AXS TV‘s weekly comedy series Gotham Comedy Live as consulting producer, and will host the show’s third-season season debut on January 9. The franchise received a 24-episode third season order. Breuer will work with the show’s producers, Chris and Steven Mazzilli, Dave Goldberg and Rob Cea, on what AXS markets as the only live, uncensored and unedited stand-up show on TV. Breuer also will assist in broadening the show’s content, and serve as the show’s spokesperson. “Not only does he have a clear grasp of what resonates with audiences today, but he represents our channel’s brand with his love and knowledge of rock music,” said Michele Dix, AXS TV’s SVP Programming and Development.
Here’s the release:
Specialty Box Office: ‘Her’ Strong; ‘August: Osage County’ Holds; ‘Interior. Leather Bar.’ Rings In Quiet Start To 2014
Let’s hope the first weekend of 2014 is just a blip in the calendar. As newcomers are mostly hiding out, some holdovers have held steadfast in a freezing cold weekend for a huge chunk of the country. TWC’s August: Osage County held its base in five theaters as TV commercials touted the Golden Globes nominated pic. The Meryl Streep/Julia Roberts starrer grossed almost $141K, averaging $28,177. When it opened last weekend, the feature averaged $35,895 in the same number of reporting locations. It expands wide next week. Sony Classics added one theater for its Charles Dickens film The Invisible Woman, grossing over $30K in four theaters. It averaged $30,151 for a two week cume approaching $117K. Warner Bros.’ Her is playing very strong the weekend before it expands from 47 venues to 1,700 so the studio is well set for a wider release. Her opened initially on the 18th of last month in six theaters and on Christmas day expanded to its current 47 venues. The Spike Jonze pic is getting high accolades and positive word of mouth so is up 11% from last weekend and is the only one at the moment that did not fall weekend to weekend on the same number of screens. It’s per screen rose to an estimated $15,361 this weekend on a total take of .722. It’s cume to …
Year-End: UK Tax Breaks Too Much Of A Good Thing? Tasty Danish Offerings; French Film Biz Blues; Germany, Russia, Italy, Spain
The UK emerged in 2013 as an increasingly attractive location destination with new and expanded tax credits – but can it stand the bulge? Hollywood has cozied up to Britain, not only bringing its films there to shoot, but now its TV programs while it also continues to plumb it as a source of original drama to be remade in the U.S. Across the Channel, after a wake-up call in the waning days of 2012 by France‘s influential Vincent Maraval of Wild Bunch, the local industry spent 2013 debating its rich subsidy system that’s spent big (too big?) on talent. Germany‘s local share of the box office is expected to be down for 2013, only slightly, but it’s been fertile ground for the studios working in local language. Meanwhile, Olympics host Russia is seeing its star rise while Italy and Spain are still undergoing financial woes. And yet, nothing seems rotten in the state of Denmark where the box office is top heavy with local films and a new drama series could be the Danes’ answer to Downton Abbey. Here’s a look back at 2013 and some glimpses of what 2014 may hold:
The British government has strongly backed the film and television business by increasing tax breaks this year. But in so doing, has it backed the industry into a corner? Arguably one of the biggest stories out of the UK in …
New Year’s Box Office Update: ‘Hobbit’ Crosses $200M U.S., ‘Hunger Games’ On Verge of $400M; ‘Frozen’ Ices Competition, ‘American Hustle.’ ‘Wolf’ Playing Hard, ‘Anchorman 2′ Nears $100M
THIS WEEKEND OPENERS: Paranormal Activity: The Marked Ones (PAR, wide)
THURSDAY, 8:09 AM: Since Christmas fell on a Wednesday this year and New Year’s Eve on a Tuesday, the studios are enjoying a long holiday run at the box office that will continue through Sunday. Through the New Year’s holiday, The Hobbit: Desolation Of Smaug surpassed $200M for Warner Bros.’/MGM, but it was Disney’s animated musical Frozen that has iced the competition since Sunday, taking in solid midweek numbers and climbing its way past such 2013 powerhouse grosses as Gravity and Fast & Furious 6 to earn about $263.1M at the end of calendar year 2013. The Hunger Games: Catching Fire is expected to cross the $400M mark for Lionsgate either tonight or tomorrow. Sony and Annapurna’s American Hustle is rolling past $70M and the studio is hoping to edge into $90M by the weekend — a much-needed surge for the studio as it heads into the middle of awards season. However, box office for the rest of the week will be impacted by a massive snowstorm hitting the Northeast that will have about 70M people digging out and facing bitter temperatures. Paramount is reaping a big box office take for Anchorman 2: The Legend Continues both here and abroad, with an estimated domestic gross of about $95.5M through Wednesday. New Year’s Day was strong for almost all of the top 12. Those pics receiving the highest percentage …
CNN Worldwide chief Jeff Zucker, who is about to celebrate his first anniversary at the news gathering organization, touted his addition of Anthony Bourdain‘s show and the documentary Blackfish in a holiday memo to staffers, but gave a miss to any discussion of his new morning program, or the return of Crossfire.
“In 2013, CNN was recognized with three News Emmys, and two first-ever prime time Emmys for Anthony Bourdain Parts Unknown, as well as a Peabody Award for our coverage in Syria,” Zucker wrote. “And heading into 2014, CNN Films is on the short list for an Academy Award in the Documentary category for Blackfish. In our first year of even having a film division!”
He promised to pick up the pace on his program to broaden the definition of news programming in calendar year 2014. “If you thought we did a lot in 2013, wait until you see 2014,” Zucker wrote. “Real change that transforms an organization doesn’t happen overnight. I have talked a lot about broadening the definition of news. You have seen the start of that, especially at CNN, where we have begun to introduce new series, documentaries and films to augment our best-in-class breaking news coverage.”
Last week, the latest numbers for Modern Family‘s freshman run in syndication came out. The Emmy winning ABC comedy, which airs on USA and in broadcast syndication, hit new combined highs in all key measures, including households (5.1), Adults 18-34 (3.1) and Adults 18-49 (3.1). Modern Family now ranks as the No.2 program in all of syndication among 18-49 behind The Big Bang Theory (3.4) and is No.1 in 18-34. At the same time, the season to date rankings for all broadcast programs came out, and Modern Family is averaging 5.0 in 18-49 in 18-49 through the first 12 weeks of the season (in most current ratings that include DVR playback). That is not bad, as Modern Family is tied with NBC’s The Blacklist for No.3 in 18-49 behind Sunday Night Football (7.9) and Big Bang (6.8). But vs. the same 12 weeks last season, Modern Family is down 21%. That despite the show’s solid start in syndication.
UPDATE, 2:45 PM: Some Washingtonians were disappointed this afternoon when no one stepped up to ask President Obama a Duck Dynasty question during his last news conference of the calendar year. The disappointed ones had a pool going, in re which reporter would ask POTUS a question about the recently suspended Duck Dynasty star. “Moral dilemma for White House reporters: Duck Dynasty question guarantees pickup and/but..practical dilemma for @pfeiffer44: how much prep?” tweeted Mark Halperin, senior political analyst for Time magazine, Time.com, and MSNBC. (instead, Obama got asked whether 2013 had been the “worst year of your presidency,” a couple NSA surveillance questions and what he thought was his biggest mistake of the year. Answer: ACA rollout.)
A&E has no plans to edit down, or out, show patriarch Phil Robertson’s appearances in the nine episodes that have already been completed of the show’s upcoming 10-episode fifth season, scheduled to debut on January 15. And it is hoping he will be back for Season 6. That said, the network is giving some thought to pushing back start of production on the next batch of episodes currently slated for spring, according to informed sources, as it attempts to see what it can salvage from the wreck left by this week’s GQ article and newly unearthed Phil video. In that 2010 video, Robertson is seen making an impassioned speech against the “gross sexual immorality” of “women with women” and “men with men.” The video, first uploaded by various attendees of a Wild Game Supper of the Berean Bible Church, somewhere in Pennsylvania, shows Robertson alternately demonstrating bird calls, defining his pursuit of happiness as “to blow a duck’s head smooth off,” and discussing the “shameful lust” going on in this country.
“Women with women. Men with men. They committed indecent acts with one another. And they received in themselves the due penalty for their perversion,” Robertson said in the video. “They’re full of murder, envy, strife, hatred. They are insolent, arrogant God haters. They are heartless, they are faithless, they are senseless, they are ruthless, they invent ways of doing evil.”
PREVIOUS, 8:47 AM: A&E Network has had to beef up security at its New York headquarters after receiving death threats and suspicious packages from people enraged about the network’s decision to suspend Duck Dynasty patriarch Phil Robertson. No formal meetings are schedule today between A&E and the Robertson clan, who yesterday issued a statement saying they “cannot imagine” doing the show without Phil — which, loosely translated, means “No Phil – no show.” That said, the network, which has had a good working relationship with the family (as the clan noted in its statement), is “always talking to them,” as one source with knowledge of the family said. The decision to suspend Phil Robertson triggered a firestorm and has created some strange bedfellows; last night Jon Stewart defended Phil’s “right to say ignorant shit” — joining Phil defenders Sarah Palin, who’d tweeted “Those ‘intolerants’ hatin’ and taking on the Duck Dynasty patriarch for voicing his personal opinion are taking on all of us,” and Republican Louisiana Gov. Bobby Jindal, who’d pronounced it “It is a messed up situation when Miley Cyrus gets a laugh, and Phil Robertson gets suspended.”
‘Wolf Of Wall Street’ Had Its Own Consigliere For R-Rating In Tom Sherak; Exhibs Waiting To See How It Plays In Peoria
Martin Scorsese’s The Wolf Of Wall Street will be released wide by Paramount Pictures on Christmas Day with a three-hour play time and an R-rating that some who have seen the film are surprised it received from the MPAA’s Classification and Rating Administration. Exhibitors who’ve seen it have called it everything from “rough” to “the hardest R I’ve ever seen from a major Hollywood studio.”
Most think it will play well on the coasts but question how audiences will react in Middle America once they realize the movie is quite different from what the ads indicate. (One exhib I spoke with Friday said it might be another Django Unchained – referring to the Quentin Tarantino pic that despite its violent content played well across the country.)
For Wolf Of Wall Street, the studio’s marketing team cut together a slick advertising campaign selling the party aspects of the film, which play to the young, college crowd (the demo that floods the marketplace during holiday break). But, the content is … well, even its star Leonardo DiCaprio aptly calls it “a modern-day Caligula.”