Archive for May, 2010
South film industry to boycott those who attend IIFA
Posted by: admin in Africa Industry News, India Industry News on May 30th, 2010
http://www.indianexpress.com/news/South-film-industry-to-boycott-those-who-attend-IIFA/626912
The South Indian Film Chamber of Commerce (SIFCC) has taken the protest against the latest edition of the International Indian Film Academy’s (IIFA) awards to another level, resolving not to cooperate with any member of the film fraternity who attends the ceremony scheduled to be held in Colombo from June 3-5.
An emergency meeting of SIFCC held on Friday decided that the ‘non-cooperation’ would include a boycott of the concerned personality’s films by the Exhibitors Association of South India, technical staff and junior artistes.
The meeting was attended by representatives from Andhra, Karnataka and Kerala, apart from Tamil Nadu. According to sources, the total market in South India where over 500 movies are released every year is much bigger than the North, and contributes a much greater share towards the box office collection of Bollywood movies.
Condemning the decision to hold the awards function in Sri Lanka, the Chamber said it was opposed to the venue, not IIFA. “The entire world is aware of the genocide of innocent Tamils by the army of the Sri Lankan Government. It is still in the minds of millions of Indians, and at this juncture, they are holding an award function inblood-stained Sri Lanka,” said a resolution by the Chamber.
Chairman of the media and entertainment wing of FICCI Kamal Haasan had already announced his decision to stay away from Lanka, while director Mani Ratnam, actors Abhishek Bachchan and Aishwarya, too, are not taking part in the event. Even Amitabh Bachchan, the IIFA brand ambassador, has not confirmed his participation.
For Hollywood Producers, Is the Glamour Gone?
Posted by: admin in General Industry News, Studio/Network News, United States Industry News on May 29th, 2010
http://www.nytimes.com/2010/05/23/business/media/23steal.html?src=busln
By BROOKS BARNES
FOR decades, movie producers had one of the cushiest gigs in Hollywood. Studios kept stables of them around — all expenses paid — to shepherd movies through their various stages: inception, the nitty gritty of filming, post-production and publicity.
The job was appealing for its variety as studios sought films ranging from teenage blockbusters to arty dramas to dark comedies. Producers also commanded respect because, as powerful middle men, they could help directors stand up to screwball requests from studios, or vice versa.
Today, though, movie producing is in crisis.
Studios, reeling from declines in DVD sales, have sharply reduced the number of producers they keep on retainer. Warner Brothers, for one, has slashed producer deals by 20 percent since 2008, and more reductions are on the way as current deals expire. This has left a generation of producers having to find a new way to pay their development bills.
At the same time, the number of movies being made has shrunk drastically. Half the independent distributors have folded over the last couple of years, and the big studios are cutting back. Paramount Pictures will release 15 films this year, a 32 percent reduction from 2007.
And that leaves fewer jobs for producers.
Many of the jobs that do exist — bloated sequels, bloated remakes — are depressing to this brainy bunch, resulting in a lot of midcareer angst. Yes, everyone wants to make money. But ask five producers why they got into the business and four will pontificate about a desire to create cinematic art. Few would say they came to Hollywood to make a really great “Spy Kids 4.”
On June 4, the Producers Guild of America will host its second “Produced By” conference in Los Angeles. By gathering elite members of the profession together — and inviting the fledgling ranks to mingle with them — the guild hopes to leave all its members smarter and stronger. Among the big names participating are James L. Brooks, Richard D. Zanuck and Brian Grazer.
About 1,200 attendees are expected at the three-day event, with seminars including “Brand New World: Execution of the Deal,” “Where’s the Money?” and “Better, Faster, Cheaper.”
At the very least, said Mark Gordon, whose producing credits include “Saving Private Ryan,” the conference should help give producers an attitude adjustment. “It’s how does one turn lemons into lemonade,” Mr. Gordon said.
Take the renewed focus on sequels and remakes. “It’s frankly a little depressing for everyone because most producers have a passion for storytelling and don’t want to rehash the same thing over and over,” he said.
But Mr. Gordon added: “That’s the reality of the business right now. You can either say ‘This is not interesting for me’ and go play somewhere else. Or you can figure out a way to deliver what studios want while developing passion projects independently.”
Hawk Koch, whose producing credits include the 2000 thriller “Frequency,” noted that there were still producer success stories, like the fellows behind “Paranormal Activity,” the inexpensive horror flick that sold about $193 million at the global box office and has a sequel on the way.
Other success stories include Basil Iwanyk (he hit it big with the recent remake of “Clash of the Titans,” which has made over $463 million at the global box office, and is prepping a sequel) and Judy Cairo and Michael A. Simpson, the producer team largely responsible for the awards-season darling “Crazy Heart.”
Mr. Simpson said one secret to surviving the current business climate was to adopt new ways of financing and distributing pictures — including tweaking the order in which various tiers of investors get paid and embracing streaming and video-on-demand services.
“Some of the most experienced studio producers don’t understand” the new environment, he said by e-mail: “They often have the greatest difficulty adjusting.”
CAN the Producers Guild help? If increased participation in this organization is any indication, a lot of people hope so: membership in the group, which is 60 years old, stands at over 4,200, a 40 percent increase over five years ago. There are an estimated 10,000 working producers in Hollywood.
Mr. Koch and Mr. Gordon want to become co-presidents of the organization; they are running unopposed, with results to be announced June 4. Among their goals are helping members obtain better health care coverage and ensuring that production companies hire guild members.
Most important, they want to persuade studios (and television networks) to formally adopt a system for assigning the producer credits that scroll by at the end of a movie.
There are various levels of producer credit in movies. “Associate producer” is really just a prominent thank you; “executive producer” generally means someone who brought in financing but didn’t play a large creative role.
The heavy lifting is done, counterintuitively, by those labeled simply as “producer,” and Mr. Koch and Mr. Gordon want to make sure this credit has gone to people who actually did the work — which is not always the case now.
Regardless of their success on that front, expect to see more producer names in the end credits as people are forced to team up in greater numbers.
Producers are a problem-solving bunch. It’s their job. They figure out how to fit a budget to a script, how to persuade stars to bite on a project and how to delicately fire a director. So they will undoubtedly figure out how to survive, even if it means following the advice of Bob Gazzale, the chief executive of the American Film Institute.
At a recent event honoring the producer Jerry Bruckheimer in Los Angeles, Mr. Gazzale noted: “What do producers do? Whatever it takes.”
Hollywood attracted by sagging Canuck dollar
Posted by: admin in Canada Industry News, Europe Industry News, State/Government Production Incentive News, Studio/Network News, United States Industry News on May 29th, 2010
http://www.hollywoodreporter.com/hr/content_display/world/news/e3i7983bc6a1278d68626a3fd1d396126b7
But yo-yoing Canuck dollar plays havoc with studio calculations
Rupert Wyatt’s “Planet of the Apes” prequel “Caesar: Rise of the Apes” has set up at the Mammoth Studio in Vancouver to shoot from July 5 to Sept. 30.
Also shooting round the same dates is Catherine Hardwicke’s “Red Riding Hood,” to star Amanda Seyfried, Shiloh Fernandez and Max Irons. Jim Rowe is executive producing the project, and Jennifer Killoran and Julie Yorn producing the July 7 to Sept. 21 shoot.
And the Steve Martin and Owen Wilson-starrer “The Big Year” continues its North Vancouver shoot through July 30.
On the TV front, Vancouver is hosting TV series shoots for the fourth season of Syfy’s “Eureka,” the rookie season for USA Networks’ “Facing Kate,” with Sarah Shahi and Michael Trucco top-lining, the fifth season of “Psych” and “Tower Prep,” which stars Drew Van Acker,” Ryan Pinkston, Elise Gatien and Dyana Lui.
A yo-yoing Canadian dollar has played havoc with studio calculations on whether to shoot in Canada, or in rival locales like southern U.S. states or in Eastern Europe.
The Canadian dollar recently going to parity with the American greenback sapped what gains Los Angeles producers received from exploiting the existing production and post-production infrastructure in the Great White North.
More recently, risk-averse currency traders running back to the American greenback in the face of European sovereign debt concerns has helped lift the number of U.S. film and TV shoots here going into the all-important summer shooting season.
The Canadian dollar was trading in the 95.75 cents range Friday in relation to the U.S. dollar.
Across the country in Toronto, there’s shoots for Universal Pictures’ “The Thing,” from director Mathijs Heijningen and starring Mary Elizabeth Winstead and Joel Edgerton, and the Dennis Lee-directed “Jesus Henry Christ,” which stars Toni Collette and Michael Sheen.
Shoots in Toronto so far in 2010 include the Daniel Craig-starrer “Dream House” and “Red,” which stars Bruce Willis, Helen Mirren and Morgan Freeman.
Ontario is more thinly placed on the TV series front. The Syfy “Warehouse 13″ series is shooting its second season at Toronto’s Cinespace Studios complex through August. Otherwise, the city has mostly local TV series shooting locally.
Toronto did manage to land the Disney Channel TV movie “High Stakes,” to be directed by Michael Lembeck between June 1 and July 16, and the Cartoon Network and Warner Horizon Television series “Unnatural History, which is shooting through mid-July.
Montreal is similarly stacked with local English- and French-language production, but will host “Twilight” star Kristen Stewart in town to shoot “On The Road” in August at Mel’s Cite du Cinema studio.
Sam Riley and Garrett Hedlund are also top-lining Walter Salles’ big-screen adaptation of Jack Kerouac’s classic “On the Road” novel from France’s MK2, Film4 in the U.K. and Brazil’s Videofilmes.
After her star-turn on “On The Road,” Stewart will move over to the next installment of Summit Entertainment’s “Twilight” franchise, “Twilight Saga, Breaking Dawn,” with a question mark over whether competing tax breaks will drive the shoot from Vancouver to New Orleans.
Calabasas, CA movie distributor sentenced for independent film financing fraud
Posted by: admin in General Industry News, Studio/Network News, United States Industry News on May 29th, 2010
By BNO News
LOS ANGELES (BNO NEWS) – A Calabasas, California movie distributor was sentenced to nearly four years in prison for a $7 million fraud scheme related to the financing of independent films, prosecutors announced on Wednesday.
Harel Goldstein, 49, pleaded guilty to bank fraud in relation to a scheme to defraud Comerica Bank about 10 years ago. He was sentenced to 46 months in prison. Goldstein initially cut a deal with the prosecution to cooperate in the investigation but he lied to special agents with the Federal Bureau of Investigation (FBI).
Goldstein falsified “Deal Memos” and “Notices of Assignment,” which intended to show that foreign distributors of independent films were willing to pay for distribution rights before the movies were produced. Typically, these documents were the result of pre-production pitches made to foreign distributors by sales agents like Goldstein at film markets and events such as the Cannes Film Festival.
Such commitments, usually in the form of “Deal Memos,” were presented to a bank as collateral to secure loans to finance film productions. Goldstein and others forged at least $7 million worth of such false documents and then presented them to Comerica Bank, which awarded more than $35 million in loans to produce six films featuring actors such as Peter O’Toole, Casper Van Dien, Alicia Silverstone, Treat Williams, Natasha Henstridge and Leslie Nielsen.
During the 2001 Cannes Festival the scheme was discovered. Goldstein blamed Canadian producer Gary Howsam, as the head of the fraudulent operation and entered an agreement with the FBI to cooperate in the investigation.
Goldstein wore a recording device to a dinner meeting with the producer in which details relating to the scheme were discussed. Based on information provided by Goldstein, much of which was corroborated by the recording, the producer was indicted by a federal grand jury on bank fraud charges.
During his trial, Howsam claimed that he was not the planner of the fraudulent scheme and after some investigation; FBI agents concluded that Goldstein was the individual who planned the scheme without Howsam’s knowledge. The indictment against the producer was dropped and Goldstein was convicted.
New York Production Listings
Posted by: admin in Studio/Network News, United States Industry News on May 29th, 2010
http://www.backstage.com/bso/production-listings/new-york-production-listings-1004094612.story
The following listings are not casting notices but instead reflect the best general information available about current casting assignments. Do your homework and use them wisely. Do not phone or visit casting directors’ offices. Unless otherwise instructed, all contact with casting directors should be through the mail. Blind mass mailings are not recommended. An asterisk (*) denotes a changed listing.
Compiled by Mark Dundas Wood
FEATURE FILMS: CURRENTLY SHOOTING
Death and Dr. Chang(e), a spiritual, political, and romantic dark comedy. Directed by D.Q. Gladstone. Shooting through early summer. Principals and background: dqgladstone@gmail.com. Especially seeking a taller Asian female, 30–40, with comedic skills. Also seeking actors of all races, with uniforms, to play police officers. Nonunion project; no pay.
Dr. G., an indie feature. Directed by Tony Greer. Wrap date TBD. Principals and background: tonyfilms@yahoo.com. Seeking the following supporting roles: African-American male, 25–35, fit and toned; female, 40–55, agent-manager. The producer states: “Simulated sex scenes will be carefully choreographed and shot in a professional manner.” For more info, go to www.tonyfilmsltd.com. Deferred pay.
*NEW Foreclosure, a ghost story about a broken family that moves into a haunted house. Directed by Richard Ledes. Shooting May 12–June 10. Principals: No further casting. Background: Kee Casting, P.O. Box 3175, Guttenberg, NJ 07093.
The Smurfs, an animated/live action hybrid fantasy. Directed by Raja Gosnell. Wraps June 21. With Neil Patrick Harris. Principals: No further casting. Background: Comer & Gallucio Casting, 336 W. 37th St., Ste. 315, NYC 10018 or candgcasting@gmail.com.
*Something Borrowed, a romantic comedy. Directed by Luke Greenfield. Shooting through June 24. With John Krasinski and Ginnifer Goodwin. Principals: No information available. Background: Grant Wilfley Casting, 123 W. 18th St., 8th floor, NYC 10011.
*We Need to Talk About Kevin, a drama, based on the novel by Lionel Shriver, about the parents of a boy who went on a high-school killing spree. Directed by Lynne Ramsay. Shooting from April 19 through May 28. With Tilda Swinton and John C. Reilly. Principals: No further casting. Background: Kee Casting, P.O. Box 3175, Guttenberg, NJ 07093.
UPCOMING FEATURE FILMS
*NEW After Dark, a psychological thriller. Directed by Daniel Eifilippo. Shooting May 17–June 7. Principals: afterdarkmovie@gmail.com. Seeking the following roles only: Caucasian male, mid-30s, brown hair, blue/green eyes, clean-cut, detective of 10 years, married, with a 10-year-old daughter; African-American male, early 40s, cunning serial killer, almost gentlemanlike; Caucasian girl, 12–13, murder victim. Some pay. Background: Not casting.
Asabiyah, a drama set in 2059 about a political idealist and two ragtag gang members who try to save the world. Directed by Jeff Bonistalli. Shooting from May 17 to late August in Ridgefield, Conn. Principals and background: JBonistall@aol.com. Some pay.
Broken Souls, an indie thriller. Director TBA. Shooting begins in the summer. Principals and background: brokensoulsmovie@gmail.com. Some pay.
Creative Control Film Projects, directors and shooting dates TBA. Principals and background: DD172, 172 Duane St., NYC 10013, Attn: Toni Sterrett. No drop-offs. Possible pay.
*NEW Diamond Ruff, a film based on the novel of the same name. Director TBA. Shooting in July in Connecticut. Principals and background: info@youngstudios.biz. For further information, see www.diamondruffmovie.com. Possible pay.
The Familia, a Latino mob love story. Directed by Emilio Rosa and Juan Shamsul Alam. Shooting begins in late May on Long Island. With Rosa, Tito Puente Jr., Santo Alam, Jaime Tirelli, Angel Salazar, Rick Borgia, and Steven Bauer. Principals and background: tainorosafilms@aol.com. For more information, go to www.tainorosa.com or www.thefamilia.us. Deferred pay.
*NEW How Do You Write a Joe Schermann Song?, a musical drama about a songwriter who jeopardizes his career when he works with a singer. Directed by Gary King. Shooting in July. Principals: info@kitchentablefilms.com. Seeking the following leading role: female, 18–35, any ethnicity, attractive, skilled in traditional and contemporary musical-theater song and dance. Also seeking featured dancers, male and female, 18–25, all ethnicities, with strong technique in Broadway dance genres, including jazz, modern, and tap. Background: Not casting. For more information, visit www.joeschermannsong.com and www.grking.com. Negotiable pay.
Hulk, an experimental narrative feature. Director TBA. Rehearses in May; shoots June 1–30. Principals: Vanessa McDonnell at castinghulk@gmail.com. Background: Not currently casting. No pay.
Hurley Antics: 101, an indie about a wild dormitory that disrupts an otherwise peaceful college campus. Directed by Gregory Pellerito. Shooting in June in Connecticut. Principals: Allison McBryde, 666 Fifth Ave., Ste. 115, NYC 10103. Background: No information available.
*One Night Stand, a psychosexual horror film. Directed by Gorman Bechard. Shooting in the fall in Connecticut. With Lynn Mancinelli and Alex Brown. Principals: Casting, P.O. Box 6260, Hamden, CT 06517 or onenightstandmovie@gmail.com. Seeking the following roles: male, 35, frat boy who never grew up; male, 45, sleazy lawyer type; male, 30, tall, dark, good-looking, blue-eyed; female, 28–38, tall, Caucasian, domineering, lawyer type. Note: Three male roles involve simulated sexual situations and nudity from the waist up (brief full-frontal nudity in the case of the sleazy lawyer type). Background: Not casting. No pay, but transportation and a share of the back end. For more info, see www.onsmovie.com.
Quarter Life Crisis, a drama about a young man who goes on a drug- and alcohol-fueled rampage to avoid domestication. Directed by Ray Soltani. Shooting begins in summer. Shooting in the tristate area, the Southern and Midwestern U.S., South America, and Europe. Principals: raysoltani@yahoo.com. Seeking one role only: female lead, 18–25. Deferred pay. Background: Not casting.
Regretting Fish, a crime thriller. Directed by Brad Saville. Shooting in late May. Principals: cadillacfilms@gmail.com. Seeking male actors, 30s to 70s. No pay. Background: Not currently casting.
Return to Start, a drama. Directed by Ken Castellano. Shooting June 1–Aug. 31 in New Jersey. Principals: Not casting. Background: casting@908media.com. No pay. For more information, go to www.returntostart.com.
Super Mehra Bros, a dramatic comedy about two very distant Indian-American brothers getting to know each other. Directed by C. Charles. Shooting June–July in southern New Jersey and Philadelphia. Principals: Casting@redflightpictures.com. Seeking the following roles only: male stranger, about 35, with East Indian accent; 30-something Chinese man. Indicate the role you are submitting for. No pay. Background: Not currently casting.
*Two Taryn Atkins Projects, a drama about how the decisions people make dictate their lives and a drama about a young woman with internal struggles. Both shooting in the fall or winter. Principals and background: TCA Productions Inc., Attn: Casting Dept., 125-28 Queens Blvd., Suite 610, Kew Gardens, NY 11415. Include two headshots showing different looks. For more information, go to www.tcaproductionsinc.com. Some pay.
*NEW Zero in the System, a low-budget crime drama. Directed by Tim McCann. Shooting in early June in Spring Valley, N.Y. Principals: redcircle9@gmail.com. Seeking the following roles only: African-American female, 30, very attractive, mother of a 10-year-old boy; African-American male, 20s, garage mechanic, charismatic prankster; African-American male, 20s, gang member, lethal. No pay. Background: Not casting.
TV IN PRODUCTION
Beach Lane, a pilot for an NBC sitcom about a celebrity author running a struggling newspaper in the Hamptons. Begins shooting April 19. With Matthew Broderick. Principals: No information available. Background: Barbara McNamara Casting, Attn: Beach Lane, 249 W. 34th St., Ste. 500, NYC 10001 or BeachLane@barbmcasting.com.
*NEW The Big C, a comedy for Showtime in which a suburban housewife’s cancer diagnosis leads her to try to change her life for the better. Starring Laura Linney and Oliver Platt. Shooting in May. Casting: Julie Tucker and Ross Meyerson, Tucker/Meyerson Casting, 568 Broadway, Suite 301, NYC 10012.
*Big Lake (previously listed as “The Jon Heder Show”), a half-hour comedy for Comedy Central about an out-of-work computer specialist who returns to a small town to live with his family. Shooting began in mid-April and concludes in late May. With Chris Gethard, Chris Parnell, and Horatio Sanz. Principals: No information available. Background: Central Casting New York, 875 Sixth Ave., 15th floor, NYC 10001.
Boardwalk Empire, a series for HBO about the rise of Atlantic City in the 1920s. Shooting continues to May 30. With Steve Buscemi, Stephen Graham, Kelly Macdonald, Michael Pitt, Vincent Piazza, and Michael Shannon. Principals: No information available. Background: Grant Wilfley Casting, 123 W. 18th St., 8th floor, NYC 10011. Men must be willing to have their hair cut short; women must have at least shoulder-length hair.
Bored to Death, a half-hour series for HBO about an author with writer’s block and a vivid fantasy life. Wraps approximately June 4. With Jason Schwartzman, Ted Danson, and Zach Galifianakis. Principals: Information not available. Background: Comer & Gallucio Casting, 336 W. 37th St., Ste. 315, NYC 10018 or candgcasting@gmail.com.
The Hook, a pilot for an episodic series set in a recording studio. Rehearses in May and shoots in midsummer in Brooklyn. Principals and background: chrisbazzoni@gmail.com and damemasmusic@gmail.com. Also seeking musicians and artists. Deferred pay.
*NEW In Treatment, a half-hour drama for HBO about a psychotherapist. Tentatively scheduled to resume shooting in June. With Gabriel Byrne and Dane DeHaan. Principals: Not listed. Background: Central Casting New York, 875 Sixth Ave., 15th floor, NYC 10001.
*Law & Order: Criminal Intent, an hourlong drama for the USA Network. Shooting continues to May 19. With Eric Bogosian, Vincent D’Onofrio, Kathryn Erbe, Alicia Witt, and Chris Noth. Principals: Lynn Kressel Casting, Pier 62, Room 304, West 23rd Street and Hudson River, NYC 10011. Background: Central Casting New York, 875 Sixth Ave., 15th floor, NYC 10001.
Law & Order: Special Victims Unit, an hourlong NBC drama. Shooting until April 30. With Christopher Meloni, Mariska Hargitay, Richard Belzer, Dann Florek, Ice-T, Connie Nielsen, Stephanie March, B.D. Wong, Michaela McManus, and Tamara Tunie. Principals: Jonathan Strauss, Lynn Kressel Casting, Pier 62, Room 304, West 23rd Street and Hudson River, NYC 10011. Background: Central Casting New York, 875 Sixth Ave., 15th floor, NYC 10001.
*Lights Out, an hourlong drama for FX about a retired boxer. Shooting continues to July. With Holt McCallany, Catherine McCormack, Stacy Keach, and Pablo Schreiber. Principals: No information available. Background: Grant Wilfley Casting, 123 W. 18th St., 8th floor, NYC 10011.
Louie, a half-hour comedy for FX. Shooting resumes in April and continues to the end of May. With Louis C.K. Principals: No information available. Background: Central Casting New York, 875 Sixth Ave., 15th floor, NYC 10001.
*Mildred Pierce, a miniseries for HBO, based on the novel by James M. Cain and directed by Todd Haynes. Shooting concludes July 16. With Kate Winslet. Principals: No information available. Background: Grant Wilfley Casting, 123 W. 18th St., 8th floor, NYC 10011.
Rescue Me, an hourlong drama for FX about the professional and personal lives of New York City firefighters. Shooting through May. With Denis Leary, Michael Lombardi, Steven Pasquale, Andrea Roth, John Scurti, and Daniel Sunjata. Principals: Julie Tucker Casting, 568 Broadway, Ste. 301, NYC 10012. Background: Barbara McNamara Casting, 249 W. 34th St., Ste. 500, NYC 10001.
Royal Pains, an hourlong comedy for the USA Network about a physician treating the rich and fashionable. Shooting now through the summer. With Mark Feurstein. Principals: No information available. Background: Grant Wilfley Casting, 123 W. 18th St., 8th floor, NYC 10011. Seeking AFTRA members only.
*Rubicon, an hourlong political drama for AMC. Shooting from March 29 until Aug. 10. With James Badge Dale, Miranda Richardson, Jessica Collins, Christopher Evan Welch, and Lauren Hodge. Principals: No information available. Background: Amerifilm Casting, 151 First Ave., Suite 225, NYC 10003 or amerifilmcasting@yahoo.com. Email submissions encouraged.
White Collar, an hourlong drama for the USA Network about a con man and an FBI agent. Shooting resumes April 15 and continues through October. With Matthew Bomer, Tim DeKay, Tiffani Thiessen, Willie Garson, and Natalie Morales. Principals: Julie Tucker Casting, 568 Broadway, Ste. 301, NYC 10012. Background: Central Casting New York, 875 Sixth Ave., 15th floor, NYC 10001.
DAYTIME DRAMA
As the World Turns (CBS). Mary Clay Boland (principals and day players), LaMont Craig (under-fives), Kate Martineau (background), 1268 E. 14th St., Brooklyn, NY 11230. Send headshots and résumés. Series is slated to end in September.
One Life to Live (ABC). Julie Madison (casting director), Victoria Visgilio (associate), Sheryl Baker-Fisher (assistant), 157 Columbus Ave., 2nd floor, NYC 10023. Send headshots and résumés or post cards only.
German production company UFA ramps up ambitious slate
Posted by: admin in Europe Industry News, Studio/Network News on May 29th, 2010
http://www.variety.com/article/VR1118019698.html?categoryid=13&cs=1
Two English-language films included in pic pipeline
By ED MEZA
Two years after launching what is likely Germany’s biggest film production company after Constantin Film, UFA Cinema is rolling out a slew of titles and ramping up production on its growing slate of local and international projects.
Berlin
Despite its illustrious and historically tinged name, the Berlin-based UFA Cinema is a modern outfit, directly plugged into Bertelsmann, one of the world’s biggest media congloms.
Launched in 2008 by TV production giant UFA Film & TV Produktion, a subsidiary of RTL Group, UFA Cinema is looking to produce between six and 10 pics a year. Last year it inked a wide-ranging distribution and co-production pact with Universal Pictures Intl. and Focus Features Intl., with UPI handling theatrical and home entertainment distribution in German-speaking territories. Focus will distribute selected titles internationally.
While most of its films will be aimed at local auds, UFA Cinema is looking to produce one to two English-language productions for the international market.
First up is “The Physician,” based on Noah Gordon’s bestselling novel about an 11th-century Englishman who travels to Persia to study medicine. Pic is expected to shoot next year.
Also in the works is “Three Bags Full,” a CGI 3D animated adaptation of Leonie Swann’s mystery novel about a flock of sheep investigating the murder of their shepherd, and “Fatherland,” a German-language adaptation of Robert Harris’ novel about an alternate reality in which Nazi Germany won the war and conquered all of Europe.
“I couldn’t imagine doing such a story set in the Third Reich with English-speaking actors. That would not make any sense,” says Thomas Friedl, managing director at UFA.
The strategy, he adds, has always been based on a very broad range of films.
UFA’s most important market, however, remains the domestic one.
“The focus is to work with the exceptional creative talent that we have in Germany to produce films for the German market,” says Friedl, who spent 18 years at Constantin Film, most recently as head of distribution and marketing.
The company’s newest project is “Im Jahr des Hundes” (In the Year of the Dog), a political thriller written and directed by Dennis Gansel, who helmed Constantin’s 2008 hit modern-day fascist drama “The Wave” and the upcoming vampire love story “We Are the Night.” The pic, set in Germany and Russia, starts shooting in October.
Hitting theaters later this year is “Days to Come,” Lars Kraume’s near-future drama starring Daniel Bruehl, Johanna Wokalek and August Diehl, which tells the story of a German family torn apart by terrorism, political instability and an ongoing war for the last Asian oil fields.
UFA is also prepping the second installment in its “Teufelskicker” (Devil’s Kickers) franchise, which follows a gang of fearless kids who play street soccer while running parkour.
It’s an ambitious slate and, in Germany, comparable only to that of Constantin. For Friedl, that’s hardly coincidental.
“Naturally the Constantin model is extremely professional and well thought out, and it has been very successful. If I were going to do something completely different, I would have already done it at Constantin. Constantin is the ideal form of a European production and distribution company.
NY Film Business Hurt Awaiting Tax Incentive Renewal
Posted by: admin in State/Government Production Incentive News, United States Industry News on May 29th, 2010
http://www.nyconvergence.com/2010/05/ny-film-business-hurt-awaiting-tax-incentive-renewal.html
So far, NYC sound stages have landed only one of 40 new TV shows and no pilots for the upcoming TV season. To blame is a lack of movement by the legislature in Albany on a NY State tax incentive program which offers a 30% credit on production expenditures if stipulations are met. The credit ran out nearly a year ago, was extended for 12 months, and now is up for renewal. Gov. David Paterson included $420 million for the film tax credit in his budget, extending the the program through 2014. While film execs are confident the program will be renewed, the budget is already two months late.
While the situation is making some producers hold off until the incentive is passed, some studios, like Steiner Studios in Brooklyn are busy. They have four HBO series, which came in before the credit expired, in production there.
Spanish films tapping into tax shelter coin
Posted by: admin in Europe Industry News, State/Government Production Incentive News on May 29th, 2010
http://www.variety.com/article/VR1118019960.html?categoryid=13&cs=1
With pics getting more expensive, producers look for financing
By EMILIANO DE PABLOS, JOHN HOPEWELL
This August, Spanish director Chema de la Pena rolls on “23-F,” the first movie about the most recent military uprising in Western Europe.
And producers Lazona and Arcadia Motion Pictures are celebrating a coup of their own, having pulling down E400,000 ($490,000) in tax shelter coin to complete financing on “23-F,” a step-by-step chronicle of Spain’s Feb. 23, 1981 putsch.
Up to now, Spain’s new film tax breaks for private investors that were approved in December 2007 have rarely been used.
That is slowly changing, as Spain’s direct film subsidy system is threatened by government austerity measures.
Also, ambitious young producers are hiking budgets, fashioning epics aimed at cutting through the glut of releases at home and abroad.
Co-produced by Zircocine, “23-F” focuses on the most dramatic moment in the history of modern Spain.
On Feb. 23, 1981, Lt. Col. Antonio Tejero burst into Spain’s parliament, taking its members hostage at gunpoint for 17 hours. The coup d’etat, a mix of braggadocio and near-comic incompetence, was stopped in its tracks by a broadcast of King Juan Carlos I ordering the rebels to lay down their arms.
“23-F” is “like Spain’s 9/11: Everybody remembers where they were or what they were doing that day,” says Lazona producer Ignacio Salazar-Simpson.
With a built-in Spanish audience, “23-F” is tapping traditional financing: Pubcaster Radio Television Espanola has free-to-air rights, and producers say a Spanish theatrical distribution is close.
The production’s $5.4 million budget is high for a Spanish pic, and tax-shelter funds have proved crucial.
Accessing them is another matter.
“23-F” tax coin is put up by some 10 high-net-worth individuals grouped in an Agrupacion de Interes Economico tax vehicle, says Gonzalo Salazar-Simpson. The break is levied at 18% of investment, which implies real risk for investors. Spain’s film industry has few producers with a financing background.
“The Spanish financial sector wasn’t very interested in film before the crisis, and is less interested in any risk afterwards,” Arcadia’s Ibon Cormenzana says.
It’s a battle to create that interest. Many AIE tax shelters have been set up, butthey’re not functioning at full throttle as far as attracting investors is concerned, says Fabia Buenaventura, general manager at producers lobby Fapae.
Nevertheless, at Arcadia, Cormenzana and Angel Durandez, both former Arthur Andersen execs, have arranged tax deals for eight films.
Morena Films (”Che,”) and Tornasol (”The Secret in Their Eyes”) have used rebates.
Tax breaks are one future for Spanish film financing, says Morena’s Alvaro Longoria.
A built-in audience helps too. “The ‘23-F’ opening will be a media event,” predicts Ignacio Salazar-Simpson.
Stimulus grants stimulate nonprofit jobs
Posted by: admin in General Industry News, State/Government Production Incentive News, Studio/Network News, Training & School News, United States Industry News on May 29th, 2010
“Women Make Movies is a non-profit media organization based in New York, whose mission is to facilitate the production, promotion and distribution of films by women directors and producers,” said Marketing Manager Abby Peck.
The organization was created to focus on issues of misrepresentation of females in the media industry. WMM especially places emphasis on work by women of color. Some might even describe it as a feminist movement in film.
The specific goal of WMM is to train women to become film and video makers, according to its website. In January 2002, the organization began its 30th anniversary year at the Sundance Film Festival with a record breaking 10 films.
The organization said on its site, “While earned income from the WMM distribution service has continued to increase steadily since 1983 and currently provides 85% of our overall operational budget, we are deeply grateful to the wonderful government, corporate and private foundations which support us.”
Some of the funders of WMM include the New York State Council on the Arts, National Endowment for the Arts, and the New York City Department of Cultural Affairs. Unfortunately, even big name institutions such as these are limited to what they can give. Despite a laundry list of donors, the economic downturn of 2009 threatened the security of jobs provided by WMM. Therefore, the organization reached out to the federal government for assistance.
“We were awarded a grant for $50,000 from the NEA but only requested $10,000 of the grant,” said Peck, whose position at the company may have been directly affected by the assistance.
Another arts and humanities organization in New York City was also forced to seek financial aid in 2009 because of the economy.
Danspace Project, Incorporated is a nonprofit dance organization founded in 1974 to provide a venue for experimental and independent choreographers. The organization is funded by several public donors such as the New York State Office of Parks, Recreation and Historic Preservation and acknowledges private support of organizations like the Arnhold Foundation, Inc.
In July 2009, Danspace was awarded $50,000 to create two administrative jobs: a program manager position and a marketing manager position. However, the organization only received $35,000. Whether this was Danspace’s choice is unknown. Danspace administrators would not respond in regards to its award.
So how has the economic stimulus recovery program ultimately benefited these organizations?
“For the third year in a row, films from WMM took home top prizes at the Sundance Film Festival,” said Peck.
In addition, PBS will broadcast a recent film from WMM’s Production Assistance Program, “El General,” by Natalie Almada, in Summer 2010.
As for Danspace, it is currently hosting “Retrospective Project” featuring the experimental dancers and choreographers whom The New York Times calls “The King and Queen of Slow,” Eiko and Koma.
The positions created and retained by the economic stimulus recovery awards are still in effect today.
Stephens gets students rolling
Posted by: admin in Training & School News on May 29th, 2010
http://www.columbiatribune.com/news/2010/may/29/stephens-gets-students-rolling/
“Quiet on the set,” someone yells, hushing background chatter in the studio. Smoke oozes out of a behind-the-scenes fog machine, setting an ominous stage for the strange woman to inform an American professor that a computer eventually will do her work for her.
“Perhaps yours as well,” she says with a thick German accent and a sinister laugh.
It’s the first take of scene 93 of “Red Cloud,” a narrative film shot this past week at Stephens College. Actors Cheryl Piha and Brett Prentiss will repeat the scene several more times, tweaking their lines and facial expressions as directed.
The 30-minute feature is the centerpiece of Stephens College’s Summer Film Institute, which allowed about 20 students to experience production on an actual set alongside professional actors and filmmakers.
The 10-day institute began in 2005 when Stephens launched its film program. The goal is to expose students to the various roles involved in making films, from designing the sets to keeping production on schedule, said Kerri Yost, chairwoman of the school’s department of film and media and a local filmmaker.
“So during SFI they rotate through each department and position on set at least once to get an idea of all the different roles — directing, cinematographer, gaffer, sound, publicity, art department, producing — and hopefully see what they enjoy the most and what kind of work they would like to go into,” she said.
In addition to the film, students also worked with Boxcar Films to produce a music video and filmed the filmmaking experience to create a behind-the-scenes documentary. But it’s the narrative feature that shows students what a true production is all about.
“In the film world, once production has started, every day is focused on production until the film is finished, and that’s what SFI is like, too,” Yost said. “It’s 10 intense days with no breaks and some later nights at times. But we get a lot done in this time, and it’s really motivating for them to see how much can be accomplished when we have enough time and dedication devoted to a project.”
Kayla Kauffman, a Stephens senior, knows firsthand how intense days can get; she’s in charge of keeping everyone on schedule.
“We’re running behind, but I’m confident we can catch back up,” she said during filming on Wednesday. Although she hopes to become a producer someday, serving as assistant director of the film was exciting, she said. “It’s fun to see it all come together.”
Chad Freidrichs, a documentary filmmaker who teaches narrative classes at Stephens, wrote and directed “Red Cloud.” The story is set on a college campus in the 1960s, taking advantage of Stephens’ buildings.
The plot revolves around a professor who fears computers aren’t simply predicting the weather but are actually controlling the weather as part of a communist scheme.
The film is expected to debut at Ragtag Cinema on July 1, screening alongside two local documentaries. “It’s been really fun,” Freidrichs said. “We’ve had a great time and hope we made a great film, as well.”