The CW has unveiled its summer schedule, which includes originals on all five nights the network programs. That includes the reboot of Whose Line Is It Anyway? which originally launched last summer, now moving to a new night, Mondays. It will be joined by original episodes of Beauty And The Beast, which has been benched for the rest of the season; two new scripted offerings, Canadian comedy Seed and web-to-TV comedy Backpackers; docu-reality series Famous In 12; and two magic series, Penn & Teller: Fool Us and a Masters Of Illusion revival. Here is the CW summer schedule with premiere dates and descriptions of the new series:
UPDATE: Intl Box Office: ‘Rio 2′ Soars With $63.4M; ‘Captain America: The Winter Soldier’ Blasts Past $300M Overseas; ‘Noah’ Adds $36.2M; ‘Divergent’ Nearing $50M
Highlights: Rio 2 (FOX) has $63.4M weekend, lands $12.6M in China debut; Captain America: The Winter Soldier (DIS) crosses $300M international; Noah (PAR) adds $36.2M; Divergent (LGF/SUM/var) nears $50M; Spanish Affairs (UNI) has 5th No. 1 weekend in Spain…
4th UPDATE, 7:15 PM, PST: The final Divergent numbers are in, with the film nearing $50M but not yet crossing it; it stands at $48.1M. The film is based on the YA novel of the same name (part of a trilogy) and Lionsgate is hoping it will become another big franchise. This is the same company that launched the wildly successful Hunger Games series. Divergent is at $124.7M in the U.S. after the 3-day weekend for a worldwide gross of $172.8M+.
3rd UPDATE, Monday, 1:52 PM, PST: New grosses are in for Rio 2, The Grand Budapest Hotel, 300: Rise Of An Empire, The Lego Movie, Spanish Affairs and The Secret Life of Walter Mitty. Rio 2 did better than previously expected internationally over the weekend, with a total tally of $63.4M to date; the worldwide cume on the animated family picture is over $100M.
2ND UPDATE, MONDAY 12:45 AM PT: Last weekend, Captain America: …
Third in a series.
Stunt drivers have helmets, roll bars, air bags and five-point safety harnesses to help keep them safe. All that a cameraman has between him and an oncoming speeding stunt car is his camera. It’s why so many cameramen and their assistants have gotten killed on film and TV productions: they’re right on top of the action — and sometimes killed beneath it. The loss of 27-year-old camera assistant Sarah Jones on the set of Midnight Rider is yet another tragic death. Her passing has shined a light on set safety. It is particularly dangerous for cameramen and their assistants. In the last 10 years, more than four times as many camera department personnel have been killed making movies and TV shows than stunt performers. By comparison, two stuntmen – Kun Liu on The Expendables 2 and Lu Yanqing on John Woo’s Red Cliff – have been killed in the last 10 years, and none in America. (Also critically injured on The Expendables 2 was Nuo Sun.) Lu was only 23 years old. The following year, Kun’s family filed a wrongful death suit against Nu Image and Millennium Films, and stunt coordinator Chad Stahelski.
Here is a list of some of those cameramen and stuntmen who have perished while working in the industry:
February 24, 2013
Canadian cameraman John Driftmier and his pilot were killed when their small plane crashed on a location shoot in Kenya for the Discovery Canada channel’s Dangerous Flights, a series that documents the hazardous work of ferry pilots who deliver small, private planes to customers around the world. He was the second Canadian cameraman to die in two years while filming reality TV shows. Driftmier’s brother, journalist Peter Driftmier, maintains that a pervasive “culture of fear” in the Canadian reality TV industry is putting lives at risk. “The fact of the matter is that the hardworking people who create Canada’s factual TV productions are not being supported to make their workdays as safe as possible,” he said. “In fact, there is a widespread culture of fear in the industry that is steering people away from speaking up to improve safety on the job.” His brother’s death, he says, “has helped prompt many in the industry to become more conscious of their own safety, and to speak out.”
February 10, 2013
Cameraman Darren Rydstrom, 46, and two others were killed in northern Los Angeles County when their helicopter crashed while filming of an untitled military-themed reality show for the Discovery Channel. Friends and family members recall that even as a kid, Rydstrom always had a camera in his hands. “He was the biggest pain in the neck because he had his eye in a lens all the time,” his mother, Jeri Rydstrom, told a reporter at his hometown paper, the Rapid City (S.D.) Journal. One of his last phone calls, made just a few hours before his death, was to wish her a happy birthday. He told her that her birthday gift was a private golf lesson, and that he’d see her soon and take her golfing. “And then the sheriff was at my door,” she said.
Academy members will get the chance this weekend to see Noah and The Grand Budapest Hotel when their official Academy screening program finally resumes after a break for Oscar. But while the Samuel Goldwyn Theater at the Academy’s Beverly Hills headquarters is undergoing major renovations, the screenings have moved to Hollywood at the Acad’s much smaller Linwood Dunn Theater at its Pickford Center For Motion Picture Study on Vine Street. That’s a loss of about 700 seats, so it could get dicey, especially since no extra screenings are added and RSVPs aren’t taken. For a lot of films the Academy screens, 300 seats is just fine, but these fall squarely in the hotter want-to-see category, and it’s still first-come-first-served, just as it is at the Wilshire Boulevard location. Could get nasty for members wanting a free screening. Better get there early, folks.
Of course this is not exactly crunch time for serious 2014 Oscar contenders, so distributors need not worry too much about disgruntled voters getting turned away from their hot-button potential nominees. But recently I got an email from a veteran Oscar campaign consultant who asked the simple question, “Is NOAH a contender?” And it got me wondering if not only director Darren Aronofsky’s towering epic, which screens Sunday at 3 PM, but also Wes Anderson’s Grand Budapest Hotel, which runs Saturday at 7:30 PM both might actually have a decent shot at racking up numerous nominations, including Best Picture, despite their first quarter release dates (Noah opened March 28 and Budapest has been playing since March 7th). Both are doing extremely well at the box office and riding high with critics too (Noah is 77% fresh and Budapest is 91% fresh at Rotten Tomatoes) and have the kind of first-rate production values to which Oscar voters usually pay serious attention.
It’s tipoff time for the championship matchup to determine Deadline’s Most Valuable Blockbuster of 2013. Stay tuned for our version of the postgame show, where we peel the curtain back on the data we commissioned from insiders to determine just how profitable a movie really is.
The Matchup: After surviving a bruising battle with #5 seed The Hunger Games: Catching Fire, #1 Iron Man 3 takes the court against #3 Despicable Me 2, a film that came through a pick ‘em matchup with #2 seed Frozen.
2013 Most Valuable Blockbuster Final Four – #1 ‘Iron Man 3′ Vs. #5 ‘The Hunger Games: Catching Fire’
We are down to the nitty gritty on Deadline’s search for 2013’s Most Valuable Blockbuster. This is the first of two showdowns today. Fueled by the numbers furnished by our insiders, we’ll find out just how profitable these movies really are.
OTHER FINAL FOUR MATCHUP
#2 ‘Frozen’ Vs. #3 ‘Despicable Me 2′
The Matchup: This battle between Katniss Everdeen and Tony Stark puts the year’s highest domestic-grossing film, The Hunger Games: Catching Fire, against Iron Man 3, which turned in the highest offshore gross.
The Bottom Line: #1 seed Iron Man 3 got here by beating The Conjuring and Gravity, while #5 The Hunger Games 2 beat World War Z and turned in an upset by besting The Hobbit: The Desolation Of Smaug. According to our experts, Robert Downey Jr received first-dollar gross at around $10 million against 10%, putting his payday around $73 million. The film was the year’s top worldwide grosser with $1.2 million and clocked in as the fifth-highest-grossing film of all time, trailing only Avatar, Titanic, The Avengers and the Harry Potter finale. It had the ninth-biggest foreign opening weekend of all time, and the sixth-largest worldwide opening ever. It completely righted the stumble that was Iron Man 2. On the downside, Marvel owed this movie to Paramount as part of that original financing and distribution agreement, so Paramount, which did the marketing and distribution, took in a 9% fee that amounted to $89 million. The film had a net production cost of $200 million, and the global P&A spend was $130 million worldwide.
The Hunger Games: Catching Fire set records of its own. It crushed past records for a Thanksgiving holiday opener — both for weekend and the five-day holiday period. Its $71 million opening day was the seventh-best domestic opening single day total ever, and its $158 million opening weekend was the sixth-highest opening weekend in movie history. Because Lionsgate pre-sells foreign (much like New Line did for The Lord Of The Rings trilogy and Summit did with Twilight Saga), the mini-major doesn’t reap the full dividends of its international performance the way Disney did on Iron Man 3, and star Jennifer Lawrence was paid $10 million upfront against backend. Between her, Liam Hemsworth, Josh Hutcherson and director Francis Lawrence, our experts place the participations at $21 million. The film had a net production cost of $130 million, and Lionsgate spent $50 million for domestic P&A.
The Winner: This is a tough one.
EXCLUSIVE: Director-writer Ryan Murphy has optioned the New York Times bestselling biography Empty Mansions: The Mysterious Life Of Huguette Clark And The Spending Of A Great American Fortune written by Pulitzer-winning investigative reporter Bill Dedman and Paul Clark Newell Jr. The book, which has won critical acclaim (it’s on the favorite books list of NY Times critic Janet Maslin), is about the reclusive heiress Huguette Clark and her family. Co-author Newell, who is Clark’s cousin, was one of the few relatives ever to have spoken with her.
This is yet another bestselling book-to-film project for Murphy, who optioned this through his own production company. It wouldn’t be surprising if Murphy decides to adapt and direct this one but for now his company only optioned it. Besides creating the TV series Nip/Tuck, Glee and American Horror Story, he wrote, produced and directed two feature films based on bestselling memoirs: Elizabeth Gilbert’s wildly popular Eat Pray Love (co-scripted with Jennifer Salt) which starred Julia Roberts and Javier Bardem in 2010, and Augusten Burroughs’ critical favorite Running With Scissors with Annette Bening and Brian Cox in 2006. This will be yet another strong female role about a very intriguing woman who led an interesting life.
Empty Mansions, which debuted September 10 from Ballantine Books to a No. 4 debut on the NYT bestseller’s list, remained on that list nine straight weeks. It also became the No. 1 bestselling nonfiction e-book in the U.S. and has been on the LA Times book list for 11 weeks. It was also chosen as one of the best books of last year by Amazon.com, Barnes & Noble and Goodreads.
So what’s all the hubbub? It’s a fascinating read that slowly unfolds the mystery of a grand house left vacant and its reclusive resident to reveal an incredible life of the owners. Clark died in 2011 at 104, leaving behind a $310M+ fortune. She was the youngest daughter of W.A. Clark, who was born in a log cabin but became a powerful mining and banking magnate after discovering copper in Montana following the Civil War. He rose to such wealth and prominence that he helped to found Las Vegas. He also had high political aspirations which were dashed when it was discovered that he was bribing those in the Montana State Legislature for votes that put him in the U.S. Senate. In fact, the 17th Amendment — which changed voting of senators to office by state legislators to popular votes — was born from that crooked election. He died in 1925 at the age of 86 in New York and was known as one of the richest men in America.
EXCLUSIVE: Idris Elba is in final negotiations to perform the role and provide the voice of the killer tiger Shere Khan in Disney’s live-action take on The Jungle Book. Directed by Jon Favreau, the film is a mix of live action and VFX that is being overseen by Rob Legato, whose VFX credits include Avatar, The Wolf Of Wall Street, Hugo and Titanic, the latter two of which won him Oscars. The studio has bolstered its creative team by setting as its production designers Alex McDowell (Man Of Steel, Rise Of The Guardians) and Chris Glass heading a team of concept artists that includes Michael Kutsche (Alice, Oz, Maleficent), Iain McCaig (Star Wars), and Justin Sweet (Chronicles Of Narnia). The story team is headed by Iron Man‘s David Lowery, who’s working around the clock with seven full-time illustrators, with Legacy Effects participating in creature design and rigging.
Disney is moving very quickly as it is in a race with Warner Bros on versions of Rudyard Kipling’s public domain title. The rival project is still looking for a director after Alejandro Gonzalez Inarritu dropped from the project.
Global Showbiz Briefs: Chinese “Fifth Generation” Director Wu Tianming Dies; New BBC Dramas Feature Stellan Skarsgard, Ben Chaplin, Joanne Froggatt & More; Maurice Lévy To Give Mip-TV Keynote
Chinese director Wu Tianming died Tuesday of an apparent heart attack at his home in Beijing. Wu, known as the “Godfather of the Fifth Generation” directed several films in the 1970s and ’80s that helped reshape Chinese cinema including 1986′s Old Well and 1995′s award winner King Of Masks. He got his professional start at Xi’an Film Studios as an apprentice to Cui Wei and eventually took over the studio in the late 1970s, over the next decade-plus helped guide the careers of such noted Chinese filmmakers as Huang Jianxin, Tian Zhuangzhuang, Chen Kaige and Zhang Yimou. His last directing job was 2003′s Gadfly, a 20-part TV miniseries based on the E.L. Voynich novel.
Stellan Skarsgard has been cast in the lead role of Abi Morgan’s new BBC series River. Morgan, who has scripted features including Shame, The Iron Lady and the upcoming Suffragette, won an Emmy last year for writing the now cancelled BBC series The Hour. River reteams her with the BBC for a six-part series she created. Kudos is producing. The drama centers on John River (Skarsgard), a brilliant police officer who walks a professional tightrope between a pathology so extreme he risks permanent dismissal, and a healthy state of mind that would cure him of his gift. The series is due to air in 2015.
Also at the BBC, Ben Chaplin, Downton Abbey‘s Joanne Froggatt and Silent Witness‘ Emilia Fox have been confirmed to join drama showcase The Secrets. The strand is a series of five stand-alone films that highlights new writing talent. It’s made by Working Title TV for BBC One. The above are joining a host of British names that includes Olivia Colman, Alison Steadman, Ashley Walters, Helen Baxendale and Sarah Solemani. BAFTA-winning director Dominic Savage will helm the five films, each of which starts with one incident and then follows five different stories stemming from the event.
There’s a lot of overlap between sound mixing and sound editing but both have a lot to do with creating believability of the story and mood of a picture. For Universal/Emmett Furla’s war pic Lone Survivor, a team of three are nominated for Best Achievement in Sound Mixing (Beau Borders, Andy Koyama and David Brownlo) and one is nominated for Sound Editing (Wylie Statemen). The film, which is told from the viewpoint of Navy SEAL hero Marcus Luttrell, is the story of Operation Redwings and its ill-fated mission fighting al-Qaeda in the mountains of Afghanistan. It begins with the camaraderie of the Navy SEALS at the base before their mission, continues as they move stealthily into overwatch positions, erupts in a bloody battle and ends in a remote village.
To capture the first section when the audience becomes familiar with the team, Borders noted that the soundscape is very “smooth. They’re on an active military base, so you’ll hear the sounds of jets and helicopters. They kind of bleed over cuts and even the music really just swells and kind of comes and goes, and everything has a little more of a thinned and almost pleasant and almost romantic feel to it,” he said. But when they are called into their mission, the adrenaline kicks in. “That’s when the helicopters are really big and …
When it comes to predicting who will take home Oscars for adapted and original screenplay, don’t look to the recent Writers Guild Awards for any significant clues. Usually the guild will give some indication of which way the winds are blowing among the scribes of the Academy of Motion Picture Arts and Sciences, even though the 372-member writers branch has different criteria and eligibility rules than the more stringent 20,000-plus WGA membership. The WGAs differ from other guild awards in not nominating any movies not made under their basic agreement or within guild guidelines. That isn’t a huge factor this year, as the Academy matched the WGAs’ nominee list in original screenplay and chose three of the same adaptations (Oscar nominees 12 Years A Slave and Philomena were not allowed to compete in the WGAs). Lone Survivor and August: Osage County nabbed the other two nominations, although neither won. In fact, in a highly unusual result, the WGA winners, Her for original and Captain Phillips for adapted, have not been considered slam-dunks to pull off the same trick at the Oscars on March 2.
Vancouver-based 3D specialists Gener8 Media is expanding into VFX postproduction with a newly created division called The Feder8tion, to be headed by 20th Century Fox veteran Jennifer Meislohn. She comes to the company after almost a decade at Fox, where she was VP Visual Effects overseeing films like the Oscar-winning Life Of Pi, Chronicle, Night At The Museum, and the converted Titanic 3D. Gener8′s new VFX department will specialize in composite, set extension, and environment visual effects and is planning on adding 30 staffers by summer’s end. “I’ve seen firsthand the impact that Gener8 has had on Hollywood’s 3D conversion industry,” said Meislohn. “From a groundbreaking process and technology to a growing list of major studio clients and films, Gener8 is fast becoming recognized as a key player for unbeatable quality and service. I’m very excited to get The Feder8tion up and running and help expand the business in a broader direction.” Gener8 has established itself in the field of 3D with proprietary stereo conversion services and credits on The Amazing Spider-Man, Harry Potter, Thor: The Dark World and Iron Man 3 as well as developing cloud-based data management via its Cumul8 system.
Director Hamish Hamilton returns to the show after having directed the 82nd Oscars in March 2010. Hamilton has directed many celebrated live televised events, including the 2013 “MTV Video Music Awards,” the 2013 Super Bowl halftime show featuring Beyoncé, and the opening ceremonies of the 2012 London Olympics, for which he received an Emmy® nomination. Hamilton also shared in the 2011 Peabody Award for the fifth annual “CNN Heroes: An All-Star Tribute” and was a 2003 Grammy Award® nominee for directing the musical special “Robbie Williams – Live at the Albert.” He will direct the upcoming 2014 Super Bowl halftime show featuring Bruno Mars.
‘Frozen’ Becomes Shining Star For Disney: Surpasses $300M Domestically, At $655M Worldwide To Date; Is Broadway Next?
Frozen, the animated musical from Walt Disney Studios Animation, has slid past the $300M mark domestically, according to estimates Tuesday night. The film is on its way to becoming the highest-grossing Disney Animation release in history … one insider said it could become their Billion dollar baby. This, of course, begs the question — will Frozen‘s huge success take it all the way to the Great White Way? It a natural for Disney. The soundtrack just hit No. 1 on the Billboard chart today and the film itself seems custom-made for a stage presentation for a holiday season as soon as the ice freezes in Rockefeller Center. “There’s been no discussion on doing that with Frozen yet, but we are obviously aware how powerful it is and how powerful the music is,” said one top Disney executive. At present, Disney is prepping for Aladdin which bows on Broadway on March 20th. And, as everyone knows, The Lion King has become a huge success — for a while a permanent fixture – on Broadway, winning six Tony Awards and playing throughout the country and on stages worldwide (in many territories). It has, as of year-end 2013, become the first Broadway show ever with $1B in cume gross; it has been running 17 years to pass Les Miserables as the 4th longest running show on Broadway. So, it would make sense for Frozen to follow in its footsteps to become the next worldwide juggernaut. The Lion King box office success also spawned two direct-to-video films, a spinoff TV series and several video games. In fact, the previous record-holder at the worldwide box office for Disney was the original The Lion King, which in 1994 ended up with a total gross on its initial run of $313M domestically and $452M internationally for a total worldwide cume of $765M.
Santa Barbara, CA- The Santa Barbara International Film Festival will honor director Martin Scorsese and actor Leonardo DiCaprio with the Cinema Vanguard Award at the 29th edition of the Fest, which runs January 30 -February 9, 2014, it was announced today by SBIFF Executive Director Roger Durling. The award presentation and evening tribute, sponsored by lynda.com, will take place on Thursday, February 6, 2014 at the historic Arlington Theatre.
Scorsese and DiCaprio will be celebrated for their extraordinary film collaboration which has produced five exemplary films including Gangs of New York, The Aviator, Shutter Island, The Departed and their latest, the critically acclaimed hit film The Wolf of Wall Street, which has taken their fearless and uncompromising work together to an even deeper level.
Terry Dove will be responsible for distributing Kaleidoscope’s slate of independent features and documentaries in the UK, the company announced today. Dove moves to Kaleidoscope from 20th Century Fox where he served as executive sales director. He is credited with releasing nearly 500 films over a 20-year career including Titanic, Star Wars, Die Another Day, Minority Report, Ice Age, and Little Miss Sunshine. Dove begins his new position on January 2.
Since Kate Winslet was first nominated for her supporting role in Sense And Sensibility in 1995, she has been up for Oscars five more times, finally winning a statuette for 2008’s The Reader. But take a look at her four other Oscar-nominated turns — 1997’s Titanic, 2001’s Iris, 2004’s Eternal Sunshine Of The Spotless Mind and 2006’s Little Children — and you will find no discernible thread linking these performances. Each is truly unique and thoroughly Winslet, much like her current Golden Globe-nominated role in Jason Reitman’s Labor Day, in which she plays Adele, an agoraphobic single mom caught up in an unexpected and dangerous relationship with con on the run Frank (Josh Brolin). In some ways, the film is an old-fashioned romance like that “other” love story she did that was set aboard a sinking ship, and it once again proves Winslet is an actress who likes working without a net.
AwardsLine: How is Labor Day different from your last few roles?
Kate Winslet: I’m often drawn to characters that are more obviously one thing. They’re passionate, and there is always an element of strength because I think every person possesses that in some way, even if they’ve experienced hardship in their lives. I could see the challenge for me with (Adele) was that I didn’t want her to be just one thing. I didn’t want her to be just the shaky-handed person who didn’t like going outside. She is a woman who has a gigantic heart, and, certainly in her past, it beat much fuller and faster. I felt very strongly that through Frank and falling in love with him some of those sides of her would come back to life a little bit.
For Playboy‘s 60th anniversary issue, the magazine needed an iconic subject for the Playboy Interview, and I hit the lottery. I got to talk with actor-writer-director-producer Ben Affleck about his life and the remarkable second act that he wrote for himself as writer-director of Gone Baby Gone and The Town, which culminated in the Best Picture Oscar for Argo. Naturally, the first topic on the menu was his surprise decision to become the latest in a long line of actors to play the Caped Crusader in Batman Vs. Superman. At the time we met, Affleck was watching as the Internet exploded negatively to his Bat-candidacy. Having weathered career hardship before and come back stronger for it, Affleck was unconcerned by the Bat-zealots who actually started online petitions against him.