After 18 years at Disney, Anne Sweeney, co-chair, Disney Media Networks and president, Disney/ABC Television Group, will be stepping down at the end of her current contract in January 2015 to pursue a career as a TV director. “The …
Pilot Locations 2014: New York Production Rises, Los Angeles Plummets, Texas Hot
By Nellie Andreeva – While California Gov. Jerry Brown is still “not committed” to expanding the state’s film and TV tax credit, Los Angeles is seeing another drop in broadcast pilot production to what appears to be an all-time low. New York, which also lured The Tonight Show franchise away from Los Angeles, returns this year as the most popular drama location and reinforcing its strong position in comedy.
Dish And Disney Finalize Output Deal That Ends Their Ad-Hopper Dispute
By David Lieberman – The companies have officially announced a “wide-ranging” deal, which “will result in dismissal of all pending litigation between the two companies, including disputes over PrimeTime Anytime and AutoHop.” The agreement calls for Dish to disable AutoHop functionality for ABC content within the C3 ratings window. The pact also for the first time allows Dish customers to access Disney’s authenticated live and VOD products.
White House Backs Broadcasters In Aereo Case
By David Lieberman and Dominic Patten – The Solicitor General’s office put the Obama administration solidly in the anti-Aereo camp with a 40-page amicus brief filed with SCOTUS.
‘The Wire’s David Simon Takes On Oprah-Produced HBO Mini On Martin Luther King
By Mike Fleming Jr. – I’m hearing that David Simon, the architect of the HBO series The Wire, Homicide and most recently Treme, will spearhead the HBO six-hour MLK miniseries adaptation of America: In The King Years, based on the celebrated book trilogy by Pulitzer Prize-winner Taylor Branch.
In this week’s podcast, Deadline’s executive editor David Lieberman and host David Bloom look at the big Dish-Disney deal and what it might mean for other media companies and even a possible sports-free online pay-TV service. They also discuss Disney’s continuing headaches with its Interactive unit, whether FCC Chairman Tom Wheeler’s new rules for local broadcast alliances go far enough and look at the speculation about Carmike, the big exhibitor whose strong quarter fueled speculation that it will be a fat takeover target.
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.
The CBS chief describes Dish Network and Disney’s new programming agreement as “a win-win for both companies.” But it’s still “not quite enough for us,” Les Moonves told the Morgan Stanley Technology, Media & Telecom Conference today. He likes the fact that Dish chairman Charlie Ergen curtailed the ability of his Hopper DVR to automatically zap ads on ABC shows; the new deal will delay that until three days after a show airs. (CBS and other broadcasters sued Dish saying that the Hopper infringed on their copyrights and violated programming contracts. Dish says the Hopper simply automates the ad skipping that DVR viewers already do with their remote controls.) Moonves also doesn’t mind the terms in the deal with Disney that would enable Dish to carry its channels on an Internet pay TV service, also known as over-the-top. “Everybody’s talking about over the top,” he says. “We’re talking about it with many of the [pay TV distributors] we’re in business with….The current ecosystem works very well, but a new way to get paid for your linear content is a good thing if it’s done appropriately.” He adds that consumers will probably see a online pay TV service “in concert with our partners.” That could include Dish: Moonves says that “our deal with Charlie is up at the end of this year. It’ll be an interesting conversation, as they always are with Charlie.”
It’s definitely a set-back for those who fantasized about such a service based on what we know from the wide-ranging program carriage agreement the companies announced last night. Many industry watchers thought that someone might be able …
UPDATE: International Box Office: ‘The Hobbit: The Desolation Of Smaug’ Has No. 1 Japan Opening; ‘Lego’ Builds to $121M Overseas; ‘Frozen’ Crossing $1B Worldwide; ‘Robocop’ Takes $20.5M In China; More
6th UPDATE, 9 PM: Final numbers are in for The Lego Movie, The Hobbit: Desolation of Smaug, Pompeii and this year’s Best Picture winner 12 Years a Slave. All have been updated below. Slave grossed another $7M over the weekend in 55 markets to bring its total international cume to $89.93M and its worldwide to $140.5M. Its top grossing market is the UK, followed by France and Spain where it had a terrific jump of 56% at the box office. It also had a nice 20% bump in Australia. It will open in Japan on Friday, the first territory to open since winning the Oscar. The other big winner at the Oscars with 7 statues, Gravity is still playing to bring its international cume up to $436.9M for a worldwide total of $707.3M. The breakdown of grosses territory by territory are below.
5th UPDATE, Monday 12:33 PM: Ride Along numbers have been updated as have some of grosses of The Wolf Of Wall Street. Meanwhile, Dallas Buyers Club, which won Matthew McConaughey an Oscar is currently in its Latin American run and film has a cume of $1.16M in 10 markets, grossing $354K on 221 screens. It only has one more territory in Latin America to open before it completes its international run and to date has a worldwide total of about $32M on a $5M budget shot over only 23 days. Interesting to note also that Universal’s 47 Ronin is still playing in 23 territories for a total cume to date of $107.4M with four more territories to open over the next couple of months, including Italy and France.
UPDATE, 5:20 PM: The companies have officially announced a “wide-ranging” deal, which “will result in dismissal of all pending litigation between the two companies, including disputes over PrimeTime Anytime and AutoHop.” The agreement calls for Dish to disable AutoHop functionality for ABC content within the C3 ratings window. The pact also for the first time allows Dish customers to access Disney’s authenticated live and VOD products. The full release is below the original story.
PREVIOUS, 3:59 PM: They both made big concessions as part of a new — and long-awaited — program carriage deal that Dish Network cut with Disney, The Wall Street Journal reports. It says that Dish Network has agreed to disable the Hopper DVR’s “Auto Hop” feature for ABC shows for the first three days after they air. Disney, in return, will drop out of broadcasters’ suit against Dish. They’ve said that the DVR’s feature that automatically jumps past ads on some recorded shows infringes on their copyrights and violates carriage contracts. Dish Chairman Charlie Ergen has steadfastly cast himself as a champion for his customers’ interests, saying that Hopper simply automates what DVR owners already can do with their remote controls. Now that Dish and Disney have agreed to allow ad zapping after three days, we’ll have to see whether other broadcasters can accept similar terms. CBS chief Les Moonves said in November that he’s “very flexible. We’re willing to negotiate.” Last month Ergen said that he was “cautiously optimisic” about striking a deal with Disney, in part because CEO Bob Iger — who’s also a member of Apple’s board – “has looked at [terms] in ways that others have not.”
The same day that Disney launches its mega-hit Frozen in the digital realm, the company is announcing a cloud-based purchase and storage service for its films. In a new deal with Apple, Disney Movies Anywhere goes live today exclusively through iTunes, kicking off with more than 400 Disney, Pixar and Marvel titles such as Iron Man 3, Finding Nemo and Mary Poppins. The service allows users to browse, buy, manage and watch movies on PCs and iOS devices using an app or website. The move comes 15 months after the company announced it was pulling the plug on Disney Movies Online, its barely-known and costly Internet pic service.
Not that DMA is without precedent.
In many ways, DMA is Disney’s answer to UltraViolet. While the House of Mickey has not been a part of the UltraViolet gang, the cloud-based digital rights library has been backed by many of the other major studios as well as Lionsgate, DreamWorks Animation and HBO, among others. With two such systems now on the movie market, there undoubtedly will be concerns about consumer confusion over DMA and UltraViolet, which debuted in 2011. The latter’s backers want the service to be the industry standard and to provide consumers with a single digital locker for their movies. A desire the new DMA now challenges.
Additionally, the tie-up with Apple is key for Disney. Right now UltraViolet titles can be played on Apple devices, with the help of an app, but don’t show up in iTunes. DMA is powered by KeyChest, Disney’s adaptable technology that can integrate with any existing distribution partner as well as work with new ones to enable access to digital content. DMA bolsters the companies’ ties with Apple. Last year, the Disney Channel app was made available on Apple TV.
If you have a fledgling consumer media or entertainment product company, then this is for you: The media giant says its new Los Angeles-based program — called Disney Accelerator — will pick 10 companies to receive …
OSCARS: ‘Frozen’ Brings Its Best Song Contender To The Concert Stage While Rescinded Nominee ‘Alone Yet Not Alone’ Still Won’t ‘Let It Go’
“There’s not one single Academy member invited to this event tonight,” a Disney executive proudly told me before the studio’s live concert of the music from their smash animated Oscar contender Frozen began Sunday evening at Herb Alpert’s Vibrato Jazz Club in L.A. Now that’s not normally the kind of thing you hear during awards season. Usually studios beg and cajole Oscar voters to show up to these kinds of things. For instance, Disney staged another memorable musical event in December for Saving Mr. Banks with a concert by Mary Poppins composer Richard M. Sherman at the Polo Lounge. That one was crawling with invited Academy members. But that also took place before nominations. Much stricter AMPAS guidelines for campaigning after nominations are announced mean all these kinds of events, lunches, parties, meet-and-greets with contenders, etc., are verboten, and a violation of those guidelines can mean loss of tickets or stronger repercussions from the Academy.
So this special evening was limited to Disney execs, Frozen creatives like directors Jennifer Lee and Chris Buck, producer Peter Del Vecho, composer Christophe Beck, songwriters Kristen Anderson-Lopez and Robert Lopez, and executive producer and Disney Animation chief John Lasseter along with the press. Lots of press who can spread the word about the phenomenal success of Frozen just a few days before those ballots go into the mail to Oscar voters who — did I say this? – weren’t invited.