Posts Tagged ‘people’

‘Transformers 4′ Tops Foreign Box Office Thanks to Huge China Weekend

July 6, 2014  |  Variety  |  No Comments

Transformers: Age of Extinction” dominated the international box office for the second week in a row, picking up $95.8 million in foreign markets, according to studio estimates. The giant robots sequel played better in China than it did in the United States, earning $50.9 million from the People’s Republic compared with $36.4 million stateside. Overall,... Read more

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Neil Gaiman’s American Gods Finds a Home at Starz

July 1, 2014  |  Media Week  |  No Comments

It's been rumored for years and now it's one step closer to small-screen life: Neil Gaiman's beloved fantasy novel American Gods has a network ready to pilot to its long-rumored TV adaptation. Now the show is headed to independent premium network Starz, which has had a hit recently with Michael Bay-produced pirate drama Black Sails and managed a brief Renaissance a few years ago shortly after the installation of CEO Chris Albrecht, who had the foresight to put several of the network's flagship shows—notably ancient war drama Spartacus—on Netflix. That's not the same as a full series order, but it's certainly a step closer than it's ever been. FreemantleMedia picked up the rights to the series back in February, but no network was attached. Michael Lombardo of HBO confirmed to Vulture in June that the network where the series eventually landed wouldn't be his. Hannibal showrunner Bryan Fuller will write the pilot for Starz with Michael Green, who is used to tricky adaptations: he created NBC drama Kings, which retold and modernized the Biblical story of David.

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Penny Dreadful Creator John Logan Explains Why He Loves Monsters

June 28, 2014  |  Media Week  |  No Comments

One of the most critically beloved new shows on cable, Showtime's Penny Dreadful is written start to finish by Skyfall and Hugo screenwriter John Logan and produced by Sam Mendes, with Eva Green, Timothy Dalton and Josh Hartnett in the leading roles. The Victorian Gothic mash-up features characters pulled from Frankenstein, Dracula, The Picture of Dorian Gray and other, stranger texts, but the key to

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Netflix Looking To Pursue More Native Advertising

June 16, 2014  |  Media Week  |  No Comments

Online audiences are oohing and ahhing over Netflix's New York Times branded content on women inmates , tied to the hit series Orange Is the New Black .

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‘Edge of Tomorrow’ Tops Foreign Box Office with $82 Mil

June 8, 2014  |  Variety  |  No Comments

“Edge of Tomorrow” racked up $82 million overseas this weekend, taking the top spot at the foreign box office and bringing the science-fiction adventure’s international haul to $111 million. That number includes a $25 million debut in China, which will likely stand as Tom Cruise’s biggest debut in the People’s Republic. “This is a film... Read more

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Cannes: IFC Films in Negotiations to Acquire Josh Charles Starrer ‘Bird People’ (EXCLUSIVE)

May 25, 2014  |  Variety  |  No Comments

PARIS– IFC Films is in advanced negotiations to acquire the rights to “Bird People,” Pascale Ferran’s Un Certain Regard player  that stars “The Good Wife’s” Josh Charles as an American business traveler with a 24-hour delay in Paris. Paris-based Films Distribution handles international sales on the film – one of the arthouse standouts of the... Read more

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Seeing Spots: Lifetime Branding Effort Looks an Awful Lot Like Splashy Hotel Ad

April 1, 2014  |  Media Week  |  No Comments

A new sizzle reel designed to raise Lifetime ’s brand profile ahead of the 2014-15 upfront season may look awfully familiar to the people who developed a certain nerve-jangling hotel campaign that bowed last summer. Developed by writer/producer Steven Moseley, Lifetime’s 60-second “Social Revolution” spot is designed to tease the new on-air look the network plans to adopt this summer. Trouble is, it’s a dead ringer for the 30-second Cosmopolitan of Las Vegas “Misfit Right In” promo that debuted last July. Both seizure-inducing spots rely on retina-frying colors, strobes and an editing style that perhaps can be best characterized as “oops, we’re fresh out of Adderall.” In the Cosmo execution, pithy slogans (“Break Some Eggs,” Make a Hot Mess”) are intercut with closeups of pouty-lipped models and blooming roses, while the Lifetime spot weaves similarly punchy verbiage (“Grow a Pair,” “#TalkDirty”) with shots of on-air talent (fashionistas Tim Gunn and Heidi Klum, the casts of Devious Maids and Witches of East End) and a suggestively shaped Bosc pear. Ironically, about five seconds into the spot, the Cosmo creative exhorts viewers to value “one-offs” over “copies,” while Lifetime makes the rather iffy boast, “We don’t IMITATE.” Both ads are scored by propulsive, high-BPM soundtracks. The Cosmo spot blares the 2011 Diplo/Major Lazer track “Original Don,” while Lifetime’s leans heavily on “Let the Credits Roll” by the New Orleans-based bounce artist Showboy Rickey. According to chief marketing officer Lisa Marchese, the Cosmopolitan adopted the assaultive “Misfit” spot after its competitors began biting on its signature marketing style. “There have been a lot of spots that have come out that look like they almost could have been from us,” Marchese told Adweek last summer . “We wanted to create a spot that was radically different in form—the mix of typography to imagery, the way the imagery was shot. The tone is radically different. We wanted it to look like nothing else out there.” Welp, it worked for about nine months.

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How I Met Your Mother Finale Soars

April 1, 2014  |  Media Week  |  No Comments

Pop quiz: In the series finale of CBS’ How I Met Your Mother , the titular mom is revealed to be: a) a MacGuffin b) a red herring c) the Yellow [Umbrella] King d) a nice, limpid-eyed dead lady e) a burlap sack full of hissing eels Boy oh boy, did Craig Thomas and Carter Bays ever piss off Twitter last night. The creators of the popular sitcom, which for nine seasons chronicled the romantic foibles of five high-functioning alcoholics , threw fans a bit of an ontological curveball with the one-hour series finale. In doing so, Thomas and Bays opened themselves, and their show, up to a whole lot of this kind of thing . Leaving aside the question of whether the HIMYM writers owed loyal viewers the ending they apparently thought they deserved—SPOILER ALERT: no one in this life owes you anything , you poopy-pants crybabies, and certainly not the people who bring you free, over-the-air television—the finale certainly out-delivered where it mattered most. According to Nielsen fast national data, the one-hour HIMYM finale was watched by 12.9 million viewers and delivered a princely 5.3 among adults 18-49, making it the show’s all-time highest-rated episode. The HIMYM finale put up big numbers across the board, serving up a series-high 5.8 rating among the 18-34 set while matching its best 25-54 delivery with a 5.4.

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SundanceTV President Is on the Lookout for Flawed Characters

February 3, 2014  |  Media Week  |  No Comments

Specs Who

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Fox Sports’ Erin Andrews Discusses Her Dream Come True of Covering the Super Bowl

January 27, 2014  |  Media Week  |  No Comments

Specs Who Erin Andrews Age 35 New gig Sunday marks Andrews’ first stint as a Super Bowl sideline reporter. Continuing gig Fox Sports reporter and studio host, Fox College Saturday ( FS1 ) How does the Super Bowl stack up to every other event you’ve covered over the course of your career? It’s really one of the biggest reasons I wanted to go to Fox. This is a bucket list thing for me. I mean, it’s the Super Bowl—what’s bigger and better than that? How would you characterize your role for fans who don’t see the value in a sideline reporter? Well, there are a lot of people who think, “Oh, there’s no need for them, they’re just glorified gurney chasers.” And if that’s the case, I say, why not come on down and give it a try, and see how much work goes into it! In many ways, it’s like being a spy. I’m privy to conversations that [Fox analysts] Joe [Buck] and Troy [Aikman] aren’t, and it’s my job to convey some of that information back to the booth and to the people watching at home

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