His eponymous FX comedy may have been snubbed in the best comedy series category, but comedian Louis C.K. still managed to become the most nominated person at the 63rd Primetime Emmy Awards with four noms, sharing the honors with The Lonely Island’s Akiva Schaffer and Jorma Taccone. Louis C.K. was nominated in the lead comedy actor category for his role on FX’s Louie, in the writing for comedy series category for penning the Poker/Divorce episode of the show, as well as in two Variety, Music or Comedy special categories for his Epix comedy special Louis C.K.: Hilarious — for writing and for editing. Three of Schaffer and Taccone’s four nominations were in the Original Music and Lyrics category, in which The Lonely Island’s Schaffer, Taccone and Andy Samberg have a regular presence, often in tandem with Justin Timberlake, having won an Emmy together for Dick In a Box. This year, Saturday Night Live is completely dominating the category with four of the six nominations: three for Schaffer, Taccone and Samberg’s digital music videos I Just Have Sex, Jack Sparrow and their latest collaboration with Timberlake, 3-Way, and one for the song from host Timberlake’s opening monologue. Schaffer and Taccone’s fourth Emmy nomination is in the writing for VMC series category for their staff-writing duties on SNL.
Becoming Chaz, the documentary about the former Chastity Bono that Deadline first reported was picked up by OWN in January ahead of its bow at the Sundance Film Festival, has gotten its TV premiere date: May 10 at 8 p.m. ET/PT. It will be the first movie under the OWN Documentary Film Club brand. Rosie O’Donnell will host a one-hour special afterward that will include an interview with Bono, whose gender reassignment journey is followed in the doc, which was directed by Randy Barbato and Fenton Bailey of World of Wonder.
SUNDANCE OVERVIEW From Mike Fleming: Is Dealmaking Avalanche In The Forecast? Handicapping The High Priority Acquisitions
PARK CITY, UTAH: The acquisitions crowd rolls into the 2011 Sundance Film Festival today with a sense of optimism that dealmaking could pick up where it left off at the Toronto Film Festival last fall. On paper, the signs are encouraging: new buyers and hungry established distributors; plenty of titles with name casts and intriguing plot lines; and a sense of urgency created by sellers bold enough not to prescreen titles for buyers. Several that did screen early wound up with pre-festival deals. Roadside Attractions bought the Grateful Dead-themed drama The Music Never Stopped; Sony Pictures Classics’ bought Take Shelter, sight unseen, as SPC read a script and gambled on the elements; OWN acquired the documentary Becoming Chaz; HBO bought the documentary Project Nim and will sell feature rights; and A&E IndieFilms bought TV rights to Corman’s World. Not to mention that Knuckle, a documentary about two families in Ireland that periodically engages in bare knuckle brawls because of a long simmering dispute, has more than one suitor circling remake rights after CAA sent DVDs because bootlegs already were making the rounds.
There is optimism about the indie business in general right now. Indie films have made a strong awards season showing, with 2010 Sundance films The Kids Are All Right, Winter’s Bone and Blue Valentine in the mix for acting categories at least. Buyers and sellers said the indie business is past its painful bottoming-out phase of the last few years. A leaner, smarter model has emerged and while minimum guarantees and P&A commitments are smaller than years past, filmmakers are keeping their budgets at sensible levels. They’re still drawing stars attracted to provocative material. There were also enough success stories from last year to stoke the fire. “You had this period of too much financing, and over production that left too many movies looking for distribution,” said WME Global’s Graham Taylor. “We saw things stabilize in 2010 and we will see growth in 2011. Demand has definitely picked up, and there are new distributors and players coming in.” Added UTA’s Rena Ronson: “We’ve gone through the slates of the major buyers, and there are major holes. Every major buyer has told us they need films.”
There could well be bidding battles on several fronts this year. There is a bumper crop of buyers looking for product that can open on between 1,500 to 2,000 screens. After absorbing Overture Films, Ryan Kavanaugh’s Relativity Media, and Peter Schlessel and Bob Berney’s FilmDistrict fall in step with a reinvigorated Weinstein Company, Fox Searchlight, Summit, Lionsgate, Focus and CBS Films. The question: will any of the Sundance films justify spending the $20 million or more in P&A required to support that kind of release? Dark Castle thought it had such a candidate last year when it committed $25 million in P&A to the horror film Splice, only to see it gross about that much, worldwide. Despite this, several horror titles are high priorities for distributors because they can be opened wide.
All of those players but FilmDistrict will be on the prowl for the specialty films that most of the festival films fall into. Sony Pictures Classics, IFC, Anchor Bay, Roadside Attractions and others that stepped up at Toronto last fall are also expected to be aggressive on films that can be platformed, and widened if audiences respond. “There is clearly a strong market for platform films,” said CAA agent Micah Green. “Those titles can bring their distributors both prestige and profit. Also, the lower cost of entry into platform distribution makes it attractive for independent companies who lack the capital to open films wide. We have seen a surge in ancillary value for star-driven specialty films. That was the primary driver for the quick pace of business in Toronto — star talent is very attractive for buyers focused on VOD, DVD, digital distribution and cable outlets. There’s a bullishness on the distribution side of the market. You can feel it.”
After checking with several major buyers, here are the films most often identified as priority targets:
MY IDIOT BROTHER - The Jesse Peretz-directed comedy stars Paul Rudd, Elizabeth Banks, Zooey Deschanel, Emily Mortimer. Rudd plays a guy who, after serving time for pot dealing, moves in with each of his three sisters as he tries to get back on his feet. His best intentions quickly bring the family to the cusp of chaos and ultimately the brink of clarity.
THE SON OF NO ONE - The Dito Montiel-directed drama stars Channing Tatum, Al Pacino, Katie Holmes, Tracy Morgan, Ray Liotta and Juliette Binoche. Two men in post-9/11 New York are forced to relive two murders they committed as young boys. Their lives start to unravel by the threat of the revelation.
(Deadline freelancer Sharon Swart is helping cover the Sundance Film Festival)
EXCLUSIVE: Deadline has learned that Oprah Winfrey’s upstart cable network OWN has acquired Becoming Chaz, the Fenton Bailey/Randy Barbato-directed feature documentary that will make its premiere at the Sundance Film Festival and follows the gender reassignment journey that transformed Cher’s and the late Sonny Bono’s daughter Chastity into their son, Chaz Bono. The network is prepping a soiree up at the festival, where OWN will likely make a formal announcement of this deal. The network has already acquired more than half a dozen documentaries. Oprah’s chief content officer Lisa Erspamer will be at the fest looking for more. More importantly for the film, Chaz Bono will be on hand for a film that makes its first festival premiere on Sunday, January 23. Bailey and Barbato are Sundance vets whose credits include The Eyes of Tammy Faye, Party Monster, and Inside Deep Throat. World of Wonder, the production shingle of Bailey and Barbato, previously set the Sarah Ferguson series Finding Sarah with OWN, and they are the executive producers of another doc at the fest this year, the Billy Luther-directed Grab.