Sony Pictures Entertainment’s online video streaming portal Crackle.com has added Animax anime channel to its lineup in the U.S. and Canada. Animax features an extensive collection of anime content with curated updates and will be available on Crackle.com and via …
The battle lines are starting to harden around who’ll pay for those lame-looking 3D glasses. I’ve learned that other studios might line up behind Sony’s decision to stop paying the average 50-cents a pair fee beginning in May. Rival studios tell me Fox is on board. “We’re studying our options, but haven’t made any decisions yet,” denied Fox Filmed Entertainment spokesman Chris Petrikin. Remember, Fox was first in line to try to stop paying for glasses back in 2009 when it released Ice Age. But then had to abandon that effort after theaters rebelled. Sony was technically correct today when it said in a statement that “there never has been” a formal agreement stipulating that studios would shoulder the cost of 3D glasses. But it’s easy to understand why exhibitors are stunned by Sony’s stoppage. Because it changes an understanding that’s been in place since 2005 when Disney’s Chicken Little kicked off the 3D movie phenom.
“It is a radical departure from what the practice has been,” National Association of Theater Owners President John Fithian tells me. Now Regal CEO Amy Miles warns that if studios end the practice then it could “result in fewer screens exhibiting 3D films”. That’s bad news for Hollywood, which plans to release 39 films in 3D next year, vs. 36 in 2011. Exhibitors might encourage consumers to bring their own 3D glasses. That may be the future anyway. But BTIG analyst Rich Greenfield says if theaters require payment for 3D specs on top of the typical 3D surcharge ($3.25 to $4 a ticket), then “the U.S. moviegoer will reject this as another way for exhibitors to milk them and further decrease their interest in 3D (and perhaps going to the movies in general)”.
The fight is over glasses manufactured for RealD which it, in turn, supplies them to theaters. RealD’s stock price was down -14.7% today on the Sony news. The 3D tech company won’t disclose
Andrea Wong Tapped As President Of Int’l Production At Sony Pictures TV & President International At Sony Pictures Entertainment
EAfter a year and a half away from the spotlight, Andrea Wong is rejoining the executive ranks with top international positions at Sony Pictures Entertainment. The former CEO of Lifetime, who had been rumored for virtually every high-profile TV executive job that became available in the past 18 months, has been named President of International Production for Sony Pictures Television and President of International for SPE. She will be based in London.
In her SPT position, Wong will head the studio’s international TV production business, reporting to SPT president Steve Mosko. She will oversee SPT’s 15 owned and joint venture international production companies. Wong will shepherd the development of new formats as well as the local adaptations of SPT-owned formats, primarily on the unscripted side. The studio’s library of reality formats, which was boosted by the 2008 acquisition of Dutch company 2waytraffic, includes Who Wants To Be A Millionaire?, Dragon’s Den and Pyramid. Additionally, SPT has been setting up local versions of its daytime talk show Dr. Oz and some of its library sitcoms, including The Nanny, Married … With Children and Everybody Loves Raymond. It was Wong’s successful tenure as head of alternative and late-night at ABC, where she developed such hit franchises as The Bachelor, Dancing With the Stars and Extreme Makeover: Home Edition, that was key in landing her the SPT job, which is skewed heavily towards reality. “Andrea’s business acumen and her role in developing successful unscripted programming like Dancing With the Stars and The Bachelor make her a perfect fit for SPT,” Mosko said.
Wong replaces Kees Abrahams, who is stepping down as president of international production for SPT. Abrahams, former CEO of 2waytraffic, had been overseeing SPT’s international production operations since 2waytraffic’s acquisition. “Kees’ entrepreneurial spirit has been instrumental to the growth of our television production business internationally and we thank him for all of his efforts,” Mosko said. Added Kees, “I think it is now time for me to pursue some new commercial opportunities, and I wish Sony well.”
UPDATED: John Calley, the veteran Hollywood movie and TV producer whose long career as a studio mogul helped engineer the comebacks of Warner Bros, United Artists, and most recently Sony Pictures Entertainment, has died after a long illness. He was 81. Soft-spoken, cerebral, and collegial, Calley was the polar opposite of the stereotypical image of a Hollywood mogul as tyrannical bully. In a demonstration of how well liked he was by the entertainment community, he was awarded filmdom’s highest honor when he received the Irving G. Thalberg Memorial Award from the Academy of Motion Picture Arts and Sciences at the inaugural Governors Awards ceremony on November 11, 2009. At the time, the Academy recognized “his intellectual rigor, sophisticated artistic sensibilities and calm, understated manner” calling Calley “one of the most trusted and admired figures in Hollywood.” Unable to attend in person due to illness, he recorded remarks that were projected on a giant video screen, characterizing the life of a film studio executive as, ”You’re very unhappy for a long period of time. And you don’t experience joy. At the end you experience relief, if you’re lucky.” In fact, Calley was very lucky and very competent: few men get the chance to lead one studio in a lifetime. Calley led three studios and left a lasting mark on each one.
“John was unique,” former filmmaking partner Mike Nichols said in a statement. “As a studio head he was unfailingly supportive and didn’t try to do the filmmaker’s job. When he believed in someone he trusted and supported him and when very rarely he had a suggestion it was usually a life saver. In fact that’s what he was: a life saver.”
Said Sir Howard Stringer, Chairman/CEO of Sony Corp, “John was more than a brilliant executive. I’m not sure he would even like that title. He was a wonderful raconteur, up there with Mike Nichols, Michael Caine and Peter Ustinov who could hold your attention for hours with rich anecdotes that capture the human dimensions of his beloved film industry; love’s labors never lost as long as he was there to remember them.”
Said Amy Pascal, Co-Chairman of Sony Pictures Entertainment: “He had a steely business mind and the soul of an artist. His sense of humor about the business never made him cynical or got in the way of his passion for movies and directors. John’s taste may have seemed idiosyncratic but his pulse was unerring. Those are the instincts of a one-of-a-kind executive. He never pandered to the audience, he never accepted conventional studio wisdom and he never lost his enthusiasm.”
Born in New Jersey, Calley joined the entertainment industry at the age of 21, landing a job in the NBC mailroom in New York after serving in the U.S. Army. That job led to positions of increasing responsibility in sales, production and programming during the network’s formative years, with Calley eventually becoming director of nighttime programming. From there, Calley went on to become VP of Henry Jaffe Enterprises, where he was responsible for developing and producing musical entertainment for films. He next moved to Ted Bates Advertising as VP in charge of radio and television programming.
Beginning his career in television production in the 1950s producing such classic series as Mr. Ed, Calley would go on to produce for Filmways pics like The Loved One, The Cincinnati Kid, Castle Keep, Ice Station Zebra, Topkapi, The Americanization Of Emily, and Catch-22. While filming Joseph Heller’s novel of wartime insanity, Calley became identified with a seismic shift in Hollywood’s balance of power, as his official biography notes. “The late 1960s ushered in a new generation of younger filmmakers just as the major studios were discovering the vast potential of the youth market. ‘Kids were kings. After Easy Rider, everything was exploding everywhere,” Calley recalled in a 1999 newspaper interview. ‘We were all young, it was our time, and it was very exciting. The founders were no longer in charge … What had been this rigid, immobile structure had completely come apart, and what was left was a lot of freedom.’”
Calley became head of production, president, and vice chairman of Warner Bros from 1968 until 1981 under the leadership of Ted Ashley and Frank Wells and ownership of Steve Ross. That studio entered a critical and financial heyday with such acclaimed films as Dirty Harry, A Clockwork Orange, McCabe And Mrs. Miller, Deliverance, Enter The Dragon, Mean Streets, The Exorcist, A Star Is Born, What’s Up Doc, Blazing Saddles, The Towering Inferno, Dog Day Afternoon, Jeremiah Johnson, Klute, All The President’s Men, Superman, Barry Lyndon, Chariots of Fire, and Woodstock.
Calley became known for introducing a new level of cool quotient to the studio executive suite: he eschewed suits for blue jeans, and fostered friendly relationships with filmmakers from Stanley Kubrick (who for years was one of Calley’s closest confidantes), to Clint Eastwood and Sydney Pollack to Federico Fellini, among many others. While at Warner Bros, Calley was responsible for all of Kubrick and Eastwood’s films. Calley also was responsible for films released under the First Artists, Orion, and Ladd Company banners.
Following his successful tenure at Warner Bros., Calley, an avid sailing enthusiast, entered semi-retirement, spending his time between Connecticut and Florida. In 1989 he returned to independent filmmaking, partnering with his pal Mike Nichols to produce Postcards From The Edge and The Remains Of The Day (which earned him a Best Picture nomination). But then CAA chief Michael Ovitz became a consultant to Credit Lyonnais, the French bank that owned MGM/UA, and Ovitz offered Calley in 1993 a chance to return to the executive suite as President/COO of United Artists Pictures. At the time the studio was moribund, and Calley started putting a eclectic slate of pictures into production so Credit Lyonnais could dress up MGM/UA for a sale:
Sony Pictures Entertainment co-chairman Amy Pascal has released a statement on the passing of veteran producer Laura Ziskin. The two women worked together on many pictures that included the Spider-Man franchise, but their relationship was both personal and professional:
Bond 23… Total Recall… The Girl With The Dragon Tattoo… the list of partnered movies keeps growing longer and longer between Sony Pictures and the reconstituted MGM:
LOS ANGELES, CA (May 18, 2011)- MGM will become a financial partner on the upcoming Sony Pictures Entertainment film 21 Jump Street, it was announced today by MGM Co-Chairmen and Chief Executive Officers Gary Barber and Roger Birnbaum and Sony Pictures Chairman and CEO Michael Lynton and Co-Chairman Amy Pascal. Sony will handle marketing and distribution, while MGM will handle select international television licensing for the film.
21 Jump Street is part of the recently announced agreement between Sony and MGM to explore co-financing opportunities on future motion pictures produced by each of the respective studios for the next five years. They have most recently partnered on the highly anticipated Bond 23, set for worldwide release on November 9, 2012.
Sony Pictures Entertainment has released a trailer for Anonymous, the latest film by Roland Emmerich and a departure from his usual blowing-up-the-world thing. Here, it airs the long-rumored suspicion that William Shakespeare’s plays were actually penned by Edward De Vere, the Earl of Oxford. The film bows Sept. 30.
Last year at ShoWest, Sony Pictures Entertainment CEO Michael Lynton appealed to theater owners to introduce healthy foods at concession stands to combat obesity in kid moviegoers. This morning, Lynton lauded AMC for listening. Other chains are helping out by making fattening snacks, popcorn and soda so expensive it’s prohibitive …
Sony Pictures Entertainment has released yet another trailer for Battle: Los Angeles, the Jonathan Liebesman-directed alien invasion film. The studio has been offering more and more in a series of momentum building trailers, and the film is getting more and more interesting. It opens March 11.
EXCLUSIVE: Kevin James is back in business with The Zookeeper director Frank Coraci. Coraci is set to direct the untitled mixed martial arts picture that James will make his next star vehicle for Sony Pictures Entertainment. Deadline revealed the …
Low-budget high-concept filmmakers Andrew Gurland and Huck Botko have been set by Sony Pictures Entertainment to write and direct Wheels, a high school road movie that will be produced by Gary Sanchez Productions and Principato-Young. Gurland and Botko wrote and produced The Last Exorcism and wrote and directed The Virginity …