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How Scott Stuber Will Steer Netflix Ambition To Make 40-50 Feature Films Per Year
via Deadline

When Scott Stuber took himself out of contention to replace the late Brad Grey as Paramount chairman, and instead accepted an offer from Reed Hastings and Ted Sarandos to run Netflix’s feature film division, many felt he’d taken the more exciting job. Why? While Jim Gianopulos has to dig Paramount out of a deep hole, Stuber has a blank slate and the financial backing to make Netflix as aggressive a film studio as it is on the television front—try 40-50 films per year. French film purists might wish it away, but Netflix has already been the talk of Cannes. It made the first big pre-buy deal for the stop motion animation pic Bubbles on Michael Jackson’s chimp companion, and debuts its first two Cannes premieres this weekend. That started with last night’s Okja (where they cheered the logo and gave the film and director Bong Joon-Ho a long standing ovation) and Noah Baumbach’s The Meyerowitz Stories on Sunday. Sure, there has been controversy about it not releasing its films in France, but Netflix and Amazon make a strong case that perhaps it is France that needs to change its ridiculously outdated chronology law that prevents films from going SVOD for three years, if they play first in French theaters. 

Netflix has already built some movie momentum, but that is just the warm up for what is to come. The momentum started with Beasts of No Nation and the eight-film deal for Adam Sandler comedies, and upcoming is War Machine with Brad Pitt, the Will Smith franchise play Bright, and the mob-movie reunion of Martin Scorsese and Robert De Niro in The Irishman.

Its ability to pay generously has helped Netflix overcome the challenges of making filmmakers and stars comfortable generating movies for a subscription audience. Sure, that audience is vast, spanning 190 countries, but those artists are accustomed to seeing their work in multiplexes, accompanied by P&A spends that make their work part of the pop-culture conversation. Netflix is more like a global private club, and the priority is keeping its members entertained enough to continue paying their monthly fees. Films like Okja and Meyerowitz will get qualifying theatrical runs, but they are not at all the priority here.

A former vice chairman of worldwide production at Universal Studios who oversaw The Fast and the Furious and The Bourne Identity among others before transitioning to producer of such films as Ted, Central Intelligence and Safe House — the Scarface remake Stuber left behind just got David Ayer in talks to direct Diego Luna at Universal — Stuber has the strong experience in building pictures, and the relationships with talent and their reps who need persuading to take some of their projects to Netflix, in addition to the traditional theatrical model movies they are making.

Stuber also has the experience to broaden Netflix into the next logical step in its feature growth curve: generating its own projects. That veers away from Netflix’s earlier film strategy, which consisted of outbidding theatrical distributors. The best example of this was Bright. For its first potential franchise play, Netflix made a $90 million-plus commitment, half of which covered salaries as well as back-end payday buyouts for Smith, director Ayer, Joel Edgerton and others.

Netflix has already put a few book properties in development, but homegrown films will become a focus for Stuber and his team if Netflix is to generate the volume of pictures needed to grow its slate. That means that here at Cannes and elsewhere, Netflix will be an aggressive acquirer of properties, once again putting traditional theatrical release distributors on their heels.
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This Year In Film / Re: Porno - Trainspotting 2
« Last post by The Ultimate Badass on May 19, 2017, 11:43:33 PM »
This was the movie equivalent of an old dear friend you haven't seen in 20 years suddenly showing up for no other reason than to ask you to "borrow" some money.
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Very childlike, yes.  Amber has to actually remind her to go pee at the beginning of the film.   I wonder if the movement is an attempt to outrace her demons?

Another aspect of her character I've recently started to think about:  Her omnipresent camera (modified with fingernail polish to be a "Rolaroid").  She doesn't seem to be hiding behind it.  I wonder what it provides her?  (If you look very closely in the background of one scene, you can see there's a Christmas tree decorated, in part, with some of her photos...)   Is it a toy?   Does it give her "something to do" while the "grownups" are talking...?  (She gets very bored in the coffee shop scene as Jack is explaining The Biz to Eddie.)
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The Grapevine / Re: You Were Never Really Here
« Last post by eward on May 19, 2017, 09:40:56 PM »
I worked on this!
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The Grapevine / Re: You Were Never Really Here
« Last post by wilder on May 19, 2017, 05:00:10 PM »
It is.
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The Grapevine / The Meyerowitz Stories
« Last post by wilder on May 19, 2017, 05:00:00 PM »


An estranged family gathers together in New York for an event celebrating the artistic work of their father.

Written and Directed by Noah Baumbach
Starring Adam Sandler, Ben Stiller, Candace Bergen, Emma Thomspon, Dustin Hoffman, Elizabeth Marvel, and Grace Van Patten
Release Date - TBD on Netflix


Clip
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The Grapevine / Fahrenheit 11/9
« Last post by Jeremy Blackman on May 19, 2017, 01:58:17 PM »
Fahrenheit 11/9 (get it?) is Michael Moore's new movie about Trump, which was made "under a strict cloak of secrecy."

He seems pretty optimistic about this one:

"No matter what you throw at him, it hasn't worked. No matter what is revealed, he remains standing. Facts, reality, brains cannot defeat him. Even when he commits a self-inflicted wound, he gets up the next morning and keeps going and tweeting. That all ends with this movie."

There's no release date yet, but Weinstein says it "will have one of the most innovative distribution plans ever" and seems to be enthusiastically behind the film.

More details here:

http://www.alternet.org/news-amp-politics/michael-moore-has-new-plan-destabilize-trumps-presidency

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The Director's Chair / Re: Alejandro Jodorowsky
« Last post by jenkins on May 19, 2017, 01:20:43 PM »
i can't not be impressed by him every time i'm reminded of him. i only don't think about him all the time because i'd end up imitating him, except good luck to me on that. here are covers related to some of Jodorowsky's writing journeys

     
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The Director's Chair / Re: Alejandro Jodorowsky
« Last post by jenkins on May 19, 2017, 10:37:40 AM »
ENDLESS POETRY opens in NY & LA on 7/14 & more theaters on 7/24!

Quote
Through renowned father of the midnight movies Alejandro Jodorowsky’s intensely personal lens, Endless Poetry tells the story of his years spent as an aspiring poet in Chile in the 1940’s.Against the wishes of his authoritarian father, the 20 year old Jodorowsky leaves home to pursue his dream of becoming a poet, and is introduced into the bohemian and artistic inner circle of Santiago where he meets Enrique Lihn, Stella Diaz Varín, Nicanor Parra, all unknown at the time, but who would later become driving forces of twentieth century Hispanic literature.

Living with these inspirational artists, Jodorowsky’s exploration of his inner feelings takes him on a journey of sensual experimentation leading him to realize his innermost desires and passions.

Continuing the autobiographical story he began in The Dance of Reality, Endless Poetry is an ode to the quest for beauty and inner truth, as a universal force capable of changing one’s life forever, written by a man who has dedicated his existence to creating spiritual and artistic awareness, told through Jodorowsky’s unique surreal and psychedelic visual language.

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News and Theory / Re: Assorted movie news
« Last post by jenkins on May 19, 2017, 10:12:23 AM »
where they hid a good reason to see that movie
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