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Germany’s Red Arrow Buys Gravitas Ventures, Moves Into Film

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Red Arrow Entertainment, the Munich-based content arm of German broadcast giant ProSiebenSat.1 is getting into the movie business, buying L.A.-based Gravitas Ventures.

The two parties have been in talks since March and have now sealed a deal which sees Red Arrow buy a majority stake in Gravitas, with a view to eventually taking full ownership. Red Arrow International, the company’s distribution arm, and Gravitas will work side by side but remain separate distribution brands.

“We weren’t explicitly looking to be in the film business, but we were looking to be deeper in the content business. And the fact is being better at distribution and having more capacity to access, finance, and own projects, and then distribute more compelling packages and catalogue, is key for us,” Red Arrow Entertainment Chairman and CEO Jan Frouman told Variety.

Gravitas releases about 400 new films annually, recently picking up sci-fi thriller “Alien Invasion: S.U.M.1,” which stars “Game of Thrones” actor Iwan Rheon. It has a library of more than 2,400 English-language titles. Red Arrow and Gravitas said they intend to make significant investments in global film and TV projects via acquisitions, co-production, and co-financing.

“The amount of creative firepower that is coming through their door every year is remarkable,” Frouman said of Gravitas. “A lot of people who make TV make movies and vice versa. And [with] the ability to have relationships with all of them on a broad basis, to have production shingles you can attach to projects, have a distribution arm that can handle formats, finished product, TV shows, and movies, you become a much more dynamic player.”

Gravitas CEO and co-founder Nolan Gallagher and his fellow senior managers at Gravitas, Michael Murphy and Brendan Gallagher, will remain with the business. “We were looking to find a strategic partner,” Nolan Gallagher said. “We have relationships with hundreds of filmmakers, and we saw an opportunity to, over time, bring that talent to bear in future opportunities with Red Arrow.

“Creative people want to explore different mediums,” he added. “It allows us to have a deeper conversation with our producers and directors. Before, we were so focused on finding the next film and distributing the next film. Now we can say to filmmakers, ‘What is it you want to achieve over the next five years [in film and TV]?'”

Red Arrow has built an international network of production companies during a sustained period of M&A. Many of these are based in the U.S., including Fabrik Entertainment, Left/Right, Half Yard Productions, and Kinetic Content. Red Arrow companies program about 15% of the grid of ProSiebenSat.1 channels, one of the biggest broadcasters in Europe. The U.S. business, however, accounts for the lion’s share of Red Arrow revenues – about 70% – and that was before the Gravitas deal.

Salem Partners and Greenberg Glusker advised Gravitas Ventures on the transaction. Red Arrow was advised by Stella EOC and Milbank.

http://variety.com/2017/tv/global/red-arrow-buys-gravitas-1202609972/


SVOD Surges as Multiple Services Become a Trend

By: Joseph O'Halloran

Oct 17, 2017

Bundling services is now a driving force in a subscription video-on-demand (SVOD) market that continues to escalate across Europe in particular, according to the latest Ampere Analysis SVOD report.

ampere 16oct2017The analyst found that nearly three-quarters (71.6%) of Internet users in the US have at least one SVOD subscription and in nine of the 13 markets researched at least half have one or more subscriptions. Right behind the US was Denmark (69.9%) and Sweden (66%) with the US around ten percent points behind.

Looking at where SVOD was growing, the survey showed that the subscriber base in Spain increased from 14.1% in Q3 2015 to 51.5% in Q3 2017. During the same period the audience increased by 33 percentage points in Italy and 30 percentage points in Poland. Spain also recorded the largest subscriber base increase between Q1 2017 and Q3 2017, with eight percentage points.

The survey also highlighted that bundling multiple SVOD services is a growing trend, with over two-fifths having a custom-built package. A quarter of Netflix customers were found to also subscribe to Amazon Prime video, while one in five have a Spotify premium subscription, 8% have Apple music and 5% have Google Play Music All Access. Games were also a popular choice: 15% had PlayStation Plus and 10% Xbox Live Gold.


Pluto TV Raises $8.3 Million in Funding Led by Samsung

By: Todd Spangler

Oct 17, 2017

pluto-tv

CREDIT: COURTESY OF PLUTO TV

 

Pluto TV, the startup aiming to build a Spotify-like free service for TV content, has received $5 million in funding from Samsung Venture Investment Corp., the venture-capital arm of the Samsung Group. The financing is part of an $8.3 million round that included participation from other investors.

The funding brings L.A.-based Pluto TV to a total of $51.8 million raised to date. A year ago, the company raked in $30 million in Series B funding led by Germany’s ProSiebenSat.1 with participation from investors including Scripps Networks Interactive.

Pluto TV said it will use the funding to further build out its product, content and marketing efforts. Founded in 2013, Pluto TV offers more than 100 channels of free, ad-supported curated content in a cable-like guide.

“Samsung is the global leader in the TV market, changing the way people experience entertainment through constant innovation,” Pluto TV CEO Tom Ryan said in a statement. “Their investment in Pluto TV is a great vote of confidence in our mission to bring free internet television to consumers everywhere.”

Added Jihong Kim,‎ senior investment manager at Samsung Ventures, “Pluto TV is the leading free internet TV service in America, and we see huge potential for the company as they scale their cutting-edge offering to viewers around the world.”

In 2017, Pluto TV has announced over 40 content deals. Its partners include Warner Bros., Lionsgate, MGM, Bloomberg Media, Al Jazeera English, Cheddar, Gravitas Ventures, Asylum, Viz Media, Electronic Music Awards, Big Sky Conference, Stadium, Jukin Media, and JASH, the comedy studio formed by Sarah Silverman, Michael Cera, Tim Heidecker, Eric Wareheim, and Reggie Watts.

Other investors in Pluto TV include U.S. Venture Partners, Sky, Luminari Capital, Chicago Ventures, Third Wave Capital Partners, and LionTree Advisors.


Global OTT Revenues Set To Double By 2022

by Andrew McDonald
October 2, 2017

Global over-the-top TV (OTT) revenues will more than double between 2016 and 2022, driven by the success of subscription video-on-demand (SVOD), according to a new study.

Digital TV Research claims that online TV episode and movie rentals for the 138 countries covered in its report will climb from US$37 billion in 2016 to US$83 billion in 2022, with US$9 billion added in 2017 alone.

Fuelled by the success of services like Netflix (pictured), SVOD became the largest OTT revenue source in 2013 and is tipped to generate half of over-the-top revenues by 2022, having added US$24 billion in revenues between 2016 and 2022.

In 2022, SVOD is expected to generate revenue of US$41.2 billion, compared to US$29.0 billion for advertising-supported VOD, US$8.1 billion for download-to-own and electronic sell-through, and US$5.2 billion for rental.

“OTT revenues will exceed US$1 billion in 14 countries by 2022 – double the count at the end of 2017,” according to the report. “The top five nations will command two-thirds of global revenues.”

The top five countries by online TV and video revenues are expected to remain the same in 2022 as they are in 2017 – with the US leading the market, followed by China, Japan, the United Kingdom and then Germany.

“The US will remain the dominant territory for online TV and video revenues by some distance. However, the US share of the global market will fall from 51% in 2016 to 40% in 2022,” the report noted.

“Contributing half the Asia Pacific total, China will add a further $7.6 billion, with its total revenues reaching US$12 billion in 2022.”

Overall, the top five countries are expected to generate the following online and TV revenue in 2022: US US$33.1 billion; China US$12.2 billion; Japan US$4.4 billion; UK US$4.2 billion; and Germany US$2.3 billion.

http://tbivision.com/news/2017/10/global-ott-revenues-double-2022/798402/

 


‘Beach Rats’ Seduces In Debut, ‘Terminator 2: Judgment Day 3D’ Starts Slow – Specialty Box Office

BY: Brian Brooks

August 27, 2017

Beach Rats

UPDATED with more details: Neon opened its Sundance Film Festival 2017 title Beach Rats from Eliza Hittman in three locations, grossing a cool $45,000 this weekend at the specialty box office. The opening was a bright spot in a weekend that has traditionally been a tough one at the specialty box office, coming at the end of the summer season ahead of the fall awards hopefuls.

Oscilloscope bowed French-Russian dance drama Polina in two locations, grossing $13,250, while FIP headed out with its latest Bollywood title, A Gentleman, in 135 theaters for a $195K weekend.

Opening somewhat quietly was James Cameron’s 3D remastered version of his 1991 sci-fi action pic Terminator 2: Judgment Day. The title hit 386 theaters Friday, roughing up more than $582K in its three-day estimate, averaging $1,509 per screen.

Gravitas Ventures added a run for California Typewriter in its second weekend, holding well with a $16,336 gross. Samuel Goldwyn Films expanded Gook to two dozen locations in its second frame, taking in $75,734, while Fox Searchlight took Patti Cake$ to 59 runs, for a flat $105K Friday to Sunday. Neon expanded Ingrid Goes West to 647 theaters, holding well at nearly $782K for the three days, while A24’s Good Time played 721 locations, grossing nearly $611K. Both films now have reached seven figures.

Beach Rats doesn’t boast big stars, and the Sundance debut was directed by a second-time feature filmmaker, but the title clearly resonated. The film grossed $45K in three theaters in New York and L.A., averaging $15,003, by far the best per theater average of the weekend —
though of course Beach Rats played far fewer runs than many titles reporting.

Starring up-and-comer Harris Dickinson who plays an aimless teen who balances time between his delinquent friends and picking up older guys online, was No.1 at each of its engagements at the Arclight in L.A. as well as the Sunshine and the Film Society of Lincoln Center in New York, according to Neon, which said Sunday the film particularly found support from the younger art house and gay audiences.

The company also lauded its reviews and marketing material, which highlighted the fact it’s a “sexy film” in propelling its debut. Beach Rats also had a boost from Barry Jenkins, director of last year’s Oscar Best Picture winner Moonlight.

Neon will continue to roll out Beach Rats slowly in the next couple weeks, adding locations in New York and L.A. while opening a couple additional select markets. It will head to major markets later in September.

Oscilloscope’s opened Valérie Müller and Angelin Preljocaj’s dance drama Polina in two locations Friday. Starring Anastasia Shevtsova and Juliette Binoche, the film grossed $13,250 for a $6,625 PTA. Oscilloscope said the title’s early grosses were “an encouraging start” and that it expects positive word-of-mouth to propel the title as it expands around the country heading into fall. Said the company’s Andrew Carlin earlier this week: ““Anyone with even a passing interest in ballet or contemporary dance will want to seek this one out.” Molina will bow at the Nuart in L.A. next weekend.

Both FIP’s A Gentleman and Terminator 2: Judgment Day 3D played far more theaters in their debuts, though they were still limited. Distrib Films US handled distribution for James Cameron’s restoration of his 1991 classic starring Arnold Schwarzenegger. The latest manifestation opened in 386 theaters Friday (exclusively AMC locations), grossing an estimated $582,300 this weekend — averaging $1,509 per location. That stands in the huge shadow of Cameron’s remastered Titanic 3D, which was also a wide release. Its first weekend in April 2012, Titanic 3D grossed $17,285,453 in 2,674 theaters, averaging $6,464. Still, T2’s latest manifestation in theaters does have social media momentum. Distrib Films US said it has “around 4M fans” on Facebook.

FIP’s A Gentleman, meanwhile, grossed $195K in 135 locations, averaging $1,444. No word on expansion plans for the title as of Sunday.

Some second-weekend titles maintained momentum as they added locations. Gravitas Ventures’ California Typewriter added one run in its second frame, grossing $16,336 in two theaters. Of that total, $12,443 came from Lincoln Plaza in New York; the pic debuted the weekend prior at Metrograph in New York.

“We are thrilled Director Doug Nichol’s labor of love and insightful documentary California Typewriter is being well received by critics and fans alike,” said Laura Florence, VP Marketing & Sales, on Sunday. The title will head to Los Angeles next Friday and continue to roll out to additional markets later in September.

Crown Heights expanded to 10 theaters from its initial three in its second weekend. The title grossed $32,800, averaging $3,280. In its debut, the Amazon Studios/IFC Films release grossed $27,552, averaging $9,184. It has cumed $69,812.

Samuel Goldwyn Films’ Gook had last weekend’s top debut with a $31,100 gross in two theater. This weekend, the title moved to 24 runs, taking in $75,734, averaging $3,156. It has cumed $109,678.

FilmRise added four locations for Marjorie Prime in its second frame. In 10 theaters, it grossed $23K. The title took in $24K the weekend prior, averaging $4K. The title’s two-week cume is $53,890.

Searchlight’s Patti Cake$ jumped to 59 theaters in Week 2 from its launch in 14 locations. The title continued to struggle, grossing $105K, averaging $1,780. Patti Cake$ grossed $66K last weekend, averaging $4,714. Its cume is now $197,394. Searchlight’s documentary Step, meanwhile, is closing in on $1M. In its fourth weekend, the Sundance title grossed $66K, averaging $559 in 118 locations, placing its cume at $972,590.

Neon’s Ingrid Goes West, which it picked up out of Sundance earlier this year, went from just 26 runs to 647 in its third frame. Starring Aubrey Plaza and Elizabeth Olsen, the title took in $781,750, averaging $1,208. The feature grossed $265,567 last weekend, averaging $10,214. Ingrid Goes West has now cumed $1.32M.

A24 also jumped Good Time in its third weekend from just 20 runs to 721 this weekend. Starring Robert Pattinson and directed by Josh and Benny Safdie (the latter who also stars in the film), the title grossed $610,890 averaging $847 placing its cume just over seven figures at $1.029M. Good Time grossed $173K in its 20 locations last weekend, averaging $8,652. A24’s Menashe, meanwhile, is moving close to seven figures. The title grossed $172,510 in 103 theaters, averaging $1,675 for a cume of $973,593.

And Columbus by filmmaker Kogonada and starring John Cho is maintaining momentum in its fourth weekend. This is notable because it is a self-released title through the Superlative Films/Depth of Field label, which received guidance through Sundance Institute’s Creative Distribution Fellowship. In 22 locations, the film grossed $68,680, averaging $3,122 giving it a cume of $242,727.

NEW RELEASES

Beach Rats (Neon) NEW [3 Theaters] Weekend $45,008, Average $15,003

A Gentleman (Fox International Productions) NEW [135 Theaters] Weekend $195,000, Average $1,444

Polina (Oscilloscope) NEW [2 Theaters] Weekend $13,250, Average $6,625, Cume $13,250

Terminator 2: Judgment Day 3D (Distrib Films US) NEW [386 Theaters] Weekend $582,300, Average $1,509

RETURNING/SECOND WEEKEND

California Typewriter (Gravitas Ventures) NEW [2 Theaters] Weekend $16,336, Average $8,168, Cume $21,442

Crown Heights (Amazon Studios/IFC Films) Week 2 [10 Theaters] Weekend $32,800, Average $3,280, Cume $69,812

Gook (Samuel Goldwyn Films) Week 2 [24 Theaters] Weekend $75,734, Average $3,156, Cume $109,678

Marjorie Prime (FilmRise) Week 2 [10 Theaters] Weekend $23,000, Average $2,300, Cume $53,890

Patti Cake$ (Fox Searchlight) Week 2 [59 Theaters] Weekend $105,000, Average $1,780, Cume $197,394

HOLDOVERS / THIRD+ WEEKENDS

Good Time (A24) Week 3 [721 Theaters] Weekend $610,890, Average $847, Cume $1,029,354

Ingrid Goes West (Neon) Week 3 [647 Theaters] Weekend $781,750, Average $1,208, Cume $1,321,500

The Only Living Boy In New York (Amazon Studios/Roadside Attractions) Week 3 [289 Theaters] Weekend $175,627, Average $607, Cume $385,856

The Trip To Spain (IFC Films) Week 3 [56 Theaters] Weekend $132,048, Average $2,358, Cume $284,048

Columbus (Superlative Films/Depth of Field) Week 4 [22 Theaters] Weekend $68,680, Average $3,122, Cume $242,727

Step (Fox Searchlight) Week 4 [118 Theaters] Weekend $66,000, Average $559, Cume $972,590

We Love You, Sally Carmichael! (Purdie Distribution) Week 4 [10 Theaters] Weekend $5,625, Average $562, Cume $91,835

Wind River (The Weinstein Company) Week 4 [2,095 Theaters] Weekend $4,410,610, Average $2,105, Cume $9,840,823

Brigsby Bear (Sony Pictures Classics) Week 5 [94 Theaters] Weekend $30,118, Average $320, Cume $458,773

An Inconvenient Sequel: Truth To Power (Paramount Pictures/Participant Media) Week 5 [127 Theaters] Weekend $80,000, Average $630, Cume $3,325,000

Menashe (A24) Week 5 [103 Theaters] Weekend $172,510, Average $1,675, Cume $973,593

The Fencer (CFI Releasing) Week 6 [5 Theaters] Weekend $11,874, Average $2,375, Cume $37,658

Landline (Amazon Studios/Magnolia Pictures) Week 6 [30 Theaters] Weekend $15,300, Average $510, Cume $896,113

Lady Macbeth (Roadside Attractions) Week 7 [41 Theaters] Weekend $19,650, Average $479, Cume $1,052,909

The Little Hours (Gunpowder & Sky) Week 9 [26 Theaters] Weekend $21,408, Average $823, Cume $1,550,538

The Big Sick (Amazon Studios/Lionsgate) Week 10 [706 Theaters] Weekend $745,000, Average $1,055, Cume $39,127,805

Lost In Paris (Oscilloscope) Week 11 [16 Theaters] Weekend $19,000, Average $1,188, Cume $535,645

Maudie (Sony Pictures Classics) Week 11 [96 Theaters] Weekend $91,051, Average $948, Cume $5,781,011

The Hero (The Orchard) Week 12 [37 Theaters] Weekend $15,498, Average $419, Cume $4,023,748

Love, Kennedy (Purdie Distribution) Week 13 [8 Theaters] Weekend $2,840, Average $355, Cume $382,135

http://deadline.com/2017/08/beach-rats-box-office-terminator-2-return-specialty-1202157025/


As Box Office Goes to Hell, Specialty Market Hangs on with 'Beach Rats'

BY: Tom Brueggemann

Aug 27, 2017

It's a small small specialized world right now.

“Beach Rats”

Sundance

On a disastrous weekend at the overall box office –with the lowest per capita attendance since the FDR administration — specialty movies did comparatively better. On a smaller scale.

Still, continuing a recent trend, a slew of Sundance premieres expanded to weak results. “Ingrid Goes West” (Neon) and “Good Time” (A24), both with significant support and strong theater placement, are barely treading water in most locations as they broaden.

Beach Rats” (Neon), another Sundance American indie, leads among new openers with an adequate start in its initial two city dates. But it is below other films that are now struggling to find interest with broader audiences.

Like the mainstream market, the specialized scene has gone from a strong early summer with several notable titles (led by “The Big Sick”) to a wide number of disappointments that have come and gone very quickly. With the fall festival and awards season just around the corner, things could change. But things look bleak at the moment.

Opening

Beach Rats (Neon) – Metacritic: 79; Festivals include: Sundance, New Directors/New Films, San Francisco, Seattle 2017

$45,008 in 3 theaters; PTA (per theater average): $15,003

Strong theater placement in New York and Los Angeles, upbeat reviews and significant ad support led to a positive but still sub-$20,000 per theater average seen by multiple recent limited releases (many of which have failed to show strength much beyond initial dates) for another Sundance premiere with a younger feel. Set among working-class Brooklyn characters, the movie faces the challenge of reaching audiences close to the age of those in the film who increasingly are shunning most specialized films.

What comes next: This expands to major cities for the holiday weekend.

“Polina”

Polina (Oscilloscope) – Metacritic: 70; Festivals include: Venice 2016

$13,250 in 2 theaters; PTA: $6,625

This French film about a budding ballet choreographer opened at two prime Manhattan theaters with positive reviews and a gross good enough to suggest a modest national release ahead.

What comes next: Los Angeles opens this Friday.

patti cakes sundance

“Patti Cake$”

Sundance

Week Two

Patti Cake$ (Fox Searchlight)

$105,000 in 59 theaters (+45); PTA: $1,780; Cumulative: $197,394

The second weekend expansion of this, yet another strong Sundance shown title, continues the minor response seen in its opening select theaters last week.

Crown Heights (IFC)

$32,800 in 10 theaters (+7); PTA: $3,200; Cumulative: $69,812

The second weekend expansion of this true story of the quest to prove the innocence of a convicted felon showed some positive results, with a particularly strong increase on Saturday suggesting some strong word of mouth that could lead to further interest ahead.

"Gook"

“Gook”

Courtesy of Sundance Institute, photo by Ante Cheng

Gook (Goldwyn)

$75,734 in 24 theaters (+22); PTA: $3,156; Cumulative: $109,678

Set among Los Angeles’ Korean community during the 1992 riots, this expansion (including its initial New York dates) shows clear interest in targeted areas.

Marjorie Prime (FilmRise)

$23,000 in 10 theaters (+4); PTA: $2,300; Cumulative: $53,890

Veteran actress Lois Smith’s acclaimed performance is a main draw in this story of a widow reunited with her late husband via A.I. technology as it expands to modest reaction so far.

California Typewriter (Gravitas Ventures)

$16,336 in 2 theaters (+1); PTA: $8,168; Cumulative: $21,442

This documentary about old-school writers and their attachment to typewriters is getting above average (these days) grosses in its limited initial dates, with a particularly good gross at New York’s Lincoln Plaza. It opens in Los Angeles this Friday.

Ingrid Goes West

“Ingrid Goes West”

Courtesy of Sundance

Ongoing/expanding (Grosses over $50,000 in under 1,000 theaters)

Ingrid Goes West (Neon) Week 3

$781,750 in 647 theaters (+621); Cumulative: $1,322,000

Another Sundance sensation finds much more limited public interest in a wider release. Neon deserves credit as a new distributor in reaching this wide a release, but the results don’t suggest the effort for this social media sensation story was worth making.

Good Time (A24) Week 3

$610,890 in 721 theaters (+701); Cumulative: $1,029,000

Weak expansion for another acclaimed film Sundance film, with the Safdie Brothers’ prison break attempt tale with Robert Pattinson failing to gain much attention (under $1,000 per theater) in a disappointing expansion.

The Big Sick (Lionsgate) Week 10

$745,000 in 706 theaters (+88); Cumulative: $39,266,000

The year’s biggest independent film (and Amazon’s second biggest overall) is still ahead of most of titles late in its run.

Detroit (Annapurna) Week 5

$231,000 in 525 theaters (-903); Cumulative: $16,153,000

Down to token shows at most theaters, Kathryn Bigelow’s mostly acclaimed (though with some dissent) 1967 riot-set drama will end up with little more than it has already amassed despite an aggressive wide release after its initial platform dates.

“The Only Living Boy in New York”

The Only Living Boy in New York (Roadside Attractions) Week 3

$175,627 in 289 theaters (+223); Cumulative: $385,856

Marc Webb’s most recent film though somewhat similar in style and tone to his debut “(500) Days of Summer” is only going to do a small fraction of that film’s numbers as it quickly fades to oblivion.

The Trip to Spain (IFC) Week 3; also available on Video on Demand

$132,048 in 56 theaters (+37); Cumulative: $248,048

A decent response with its parallel VOD component for this third road trip hosted by Steve Coogan.

Menashe (A24) Week 5

$172,510 in 103 theaters (+17); Cumulative: $973,593

This American-made subtitled (in Yiddish) Orthodox community set custody battle story is steadily climbing to $1 million total, uncommon these days for non-English language titles.

Maudie (Sony Pictures Classics) Week 20

$91,051 in 96 theaters (-28); Cumulative: $5,781,000

One of the more slowly percolating mid-level specialized successes of the summer is still adding to its totals, which include nearly $3 million in the U.S. (the rest in Canada, its setting).

An Inconvenient Sequel: Truth to Power (Paramount) Week 5

$80,000 in 127 theaters (-187); Cumulative: $3,325,000

This documentary update on climate change strategies is nearing the end of its relatively brief run with only a fraction of what “An Inconvenient Truth” took in, although it stands near the top of non-fiction film releases this year.

Columbus (Superlative) Week 4

$68,680 in 22 theaters (+10); Cumulative: $242,727

Currently the best reviewed specialized film in release (Metacritic is at 90), this self-released independent film set in a mid-size Indiana city known for its elevated architecture continues to do respectable business as it opens in new cities.

Step (Fox Searchlight) Week 4

$66,000 in 118 theaters (-188); Cumulative: $972,590

Quickly fading despite Searchlight’s considerable backing, this Baltimore-set youth dance competition documentary never caught on.

Also noted:

Brigsby Bear (Sony Pictures Classics) – $30,118 in 94 theaters; Cumulative: $458,773

The Little Hours (Gunpowder & Sky) – $21,408 in theaters; Cumulative: $1,551,000

Lady Macbeth (Roadside Attractions) – $ in 41 theaters; Cumulative:

The Hero (The Orchard) – $15,498 in 37 theaters; Cumulative: $4,024,000

Landline (IFC) – $15,300 in 30 theaters; Cumulative: $896,113

 

http://www.indiewire.com/2017/08/beach-rats-specialty-summer-winds-down-1201870030/


Review: ‘California Typewriter’: Preserving the Past, Key by Key

[A scene from the documentary ”California Typewriter.” Credit: Gravitas Ventures]

“California Typewriter” might center on a small, beleaguered typewriter repair shop in Berkeley, Calif., but this quirky, obsessive documentary is about so much more than broken keys and busted type wheels. It’s really about how we create art.

Sinking into a dedicated — and overwhelmingly male — subculture of enthusiasts, the director Doug Nichol unearths a trove of reasons for loving the clicketyclacking machine. The playwright and actor Sam Shepard (who died last month) confesses an addiction to the percussive sound of thoughts striking paper. Tom Hanks, an avid collector who owns around 250 machines and types almost daily, declares that he hates emailed thank-you notes and simply deletes them. Take note, sycophants and star-stalkers.

More substantively, the musician John Mayer and the historian David McCullough speak eloquently of the need for tangible proof of creation versus the ephemeral nature of digital data. Denied diaries, letters or first drafts — whether of songs or presidential speeches — future historians will find it much harder to plumb the minds of the famous.

Overlong and poorly annotated (interviewees are not identified until the end, and even then without photographs), “California Typewriter” fields plenty of thinkers, but it’s the fringe folks who entertain. Like the sculptor Jeremy Mayer, who — inspired by multiple viewings of “Metropolis” — transforms irreparable machines into fantastic beasts and life-size figures. Or the self-described typewriter poet, Silvi Alcivar, who composes impromptu stanzas for any occasion and for people who just need cheering up.

As an alternative, those clients could slip into a performance by the delightful members of the Boston Typewriter Orchestra. They’re currently working on a cover of Slayer’s “Raining Blood.”

California Typewriter | Director: Doug Nichol | Running Time: 1h 43m | Genre: Documentary 

https://www.nytimes.com/2017/08/17/movies/california-typewriter-review.html


Sales Roundup: Gravitas Acquires “No Man’s Land”

August 16, 2017

Gravitas Ventures acquires U.S. VOD rights to No Man’s Land

Gravitas Ventures has announced the acquisition of all U.S. VOD rights to No Man’s Land — the story of a right-wing militia whose occupation of the Malheur National Wildlife Refuge ended in a confrontation between them and the federal government.

Morgan Spurlock‘s Warrior Poets produced the film along with First Look Media’s Topic studio, while Impact Partners co-produced and co-financed the film.

Spurlock, David Byars, Jeremy Chilnick, David Holbrooke, David OsitRachel Traub and Stash Wislocki produced No Man’s LandThom Beers, First Look Media’s Michael Bloom and Adam Pincus and Impact Partners’ Dan Cogan were executive producers of the doc, which marks Byars’ directorial debut.

The deal for No Man’s Land (pictured) was brokered by Gravitas Founder and CEO Nolan Gallagher and Matt Burke from Submarine Deluxe on behalf of the filmmakers.

The film premiered at the 2017 Tribeca Film Festival and will also show at the Hot Springs Doc and will have its on demand launch at the Mill Valley Film Festival on Oct. 31.

http://realscreen.com/2017/08/16/sales-roundup-gravitas-acquires-no-mans-land-cineflix-makes-intl-sales/


Home Media

DEG Reports Mid-Year 2017 Gains for Home Entertainment

3 Aug, 2017

By: Thomas K. Arnold

 

Consumer spending on home entertainment edged up nearly 2.6% in the first half of the year to $9.17 billion, from $8.94 billion in the first six months of 2016, according to estimates released Aug. 3 from DEG: The Digital Entertainment Group.

Gains were driven by a robust second quarter that saw spending rise 3.25%.

As has come to be expected, Netflix is largely responsible for the overall uptick, with consumer spending on subscription streaming up 24% at the year’s midpoint, at an estimated $3.62 billion, compared with $2.92 billion in the first half of 2016.

Electronic sellthrough also posted impressive gains of 8.3%, rising to an estimated $1.07 billion in the first half of 2017, from $990 million in the comparable period last year.

The spike in EST, however, wasn’t enough to stem the continued slide in home entertainment purchases. Consumers spent a total of $3.38 billion on buying movies, TV shows and other pre-recorded content in the first half of 2017, 5.2% less than they did in the first half of 2016, when spending was estimated at $3.57 billion.

Physical media sales were down 10.4% in the first half to $2.3 billion, from $2.58 billion in 2016, but DEG says the second quarter saw a “significant rebound,” with a 2% rise in Blu-ray Disc sales capping the Q2 disc decline to 5.8% — compared with 14.3% in the first quarter.

While overall VOD slowed, Internet VOD “continued to show strong results,” DEG says, with a 14% gain in the first six months of the year.

More than 4.8 million 4K Ultra HD TVs were sold in the first half of 2017, with the total number of sets sold to date exceeding 20 million, DEG reported. Approximately 1 million Ultra HD Blu-ray Disc playback devices were sold in the first half of the year, bringing the total number of players (including game consoles) sold to 4.3 million since the format was launched in early 2016.

With the Walt Disney Studios now in the game, DEG says Ultra HD Blu-ray Disc content  “is expanding rapidly,” with 166 titles in the market and consumers buying approximately 4 million units valued at approximately $107 million.


Gravitas Acquires Tribeca Best Screenplay Winner ‘Abundant Acreage Available’

By: Anita Busch

June 15, 2017

EXCLUSIVE: Angus MacLachlan’s Abundant Acreage Available, coming off its premiere at this year’s Tribeca Film Festival where it won the Best Screenplay Award in the U.S. Narrative Competition, was just acquired by Gravitas Ventures for theatrical and on-demand release this fall. Martin Scorsese was the executive producer for the film from MacLachlin (Junebug), who wrote, produced and directed.

Abundant Acreage Available is about grown siblings coming to terms with the transitory nature of life, and what we regard as property. Kate Churchill (Spotlight) also produced the film and the other executive producer is Jeanne Hagerty (Enlighten Up!).

The film, specifically, unravels the story of Tracy (Amy Ryan) and Jesse (Terry Kinney), who are reeling from their father’s recent passing on their North Carolina tobacco farm. Their quiet and simple existence is unexpectedly disrupted by the arrival of three mysterious brothers, camping on their land and possessing a surprising connection to their family. The two sets of siblings are set on a direct collision course that will change all of their lives, for better or for worse.

The deal was negotiated by Josh Spector, director of acquisitions for Gravitas Ventures, and by Gersh’s Jay Cohen on behalf of the filmmakers. MacLachlan is repped by Brillstein Entertainment Partners.