Production on HBO’s “Game of Thrones” prequel “House of the Dragon” has been paused after a positive Covid-19 test on the show’s U.K.-based set, TheWrap has learned.
As part of the rigorous testing implemented for all production employees, a Zone A production member on “House of the Dragon” tested positive for Covid-19, an individual with knowledge of the situation told TheWrap Monday. In compliance with industry guidelines, the production member is now in isolation and those who had close contact with the person will be required to quarantine.
Production on “House of the Dragon” is scheduled to resume on Wednesday after a two-day pause.
“House of the Dragon” is the latest U.K.-based production to shut down due to a positive Covid-19 test on set. Over the weekend, Netflix’s “Bridgerton” Season 2 halted shooting for the second time in a week over coronavirus concerns and...
As part of the rigorous testing implemented for all production employees, a Zone A production member on “House of the Dragon” tested positive for Covid-19, an individual with knowledge of the situation told TheWrap Monday. In compliance with industry guidelines, the production member is now in isolation and those who had close contact with the person will be required to quarantine.
Production on “House of the Dragon” is scheduled to resume on Wednesday after a two-day pause.
“House of the Dragon” is the latest U.K.-based production to shut down due to a positive Covid-19 test on set. Over the weekend, Netflix’s “Bridgerton” Season 2 halted shooting for the second time in a week over coronavirus concerns and...
- 7/19/2021
- by Jennifer Maas
- The Wrap
What more can be said about the success of Marvel except that it’s the biggest brand in the world with $16 billion in worldwide box office to date?
In its 10-year, 19-film history the studio has had six films gross more than $1 billion at box offices worldwide, with billions more than that in toys and consumer products. And as of this writing “Avengers: Infinity War” has already broken records as the highest domestic and international opener. And with $1.16 billion after two weekends, it has become the fastest film ever to gross $1 billion worldwide and is expected to become one of the top five highest grossing films in box office history.
Like anything that finds a formula for success, Marvel has attracted plenty of imitators. But where Marvel continues to thrive and grow, other studios’ attempts to replicate the success have come up short. So the question is, what’s Marvel’s secret? How did a company once floundering in bankruptcy, with film rights to almost all of its A-list characters owned by other studios, end up ruling Hollywood.
What’s the secret? In a word, the company made good use of more than 60 years of comics lore and leveraged legions of fans – including one who ended up at the top of the company.
Also Read: How Marvel Studios Rose as Movie Stars Fell
Kevin Feige as Captain Marvel
Most Hollywood studios have access to plenty of bankable Intellectual Property, but Marvel has a Kevin Feige. In 2007, just ahead of shooting 2008’s “Iron Man,” Feige was promoted to president of production at Marvel Studios after impressing executives with his comic book knowledge.
Since then, Feige has guided the Marvel Cinematic Universe every step of the way, acting as puppeteer.
“Kevin Feige is doing the same thing Stan Lee did for the comic books in the ’60s; he keeps everyone on the same page,” Jonathan Kuntz, a lecturer at the UCLA school of theater, film and TV, told TheWrap.
Also Read: How Marvel Studios Rose as Movie Stars Fell
Marvel’s 19-film franchise goes against Hollywood’s nature, Kuntz said. A lot of franchises focus on trilogies before they tend to reboot or squash it after diminishing returns. But Marvel has maintained a franchise for this long, one that veers, goes off on tangents, yet always comes back to the main idea, thanks to a longer-term vision. And Feige’s been the one pulling the strings from the beginning.
“Doesn’t seem like any of the other major studios have found the right person to guide them, or even the right franchise,” Kuntz told TheWrap.
It should be said, however, Feige could pull all the strings he wants; it’d be useless if noone had built the puppet.
With Great Comics Comes…
Even the boss himself has conceded he relies heavily on the source material that serves as the driving force behind the McU.
“It starts with the comics and us getting to rip pages out, put them on the walls and start to be inspired,” Feige told the press ahead of the release of “Avengers: Infinity War.” “It is always a guide point, a North Star for us as we lead these giant productions into reality are right from those books where it all started.”
Also Read: How Marvel Bounced Back From Bankruptcy to Become Hollywood's Biggest Brand
He said they even sometimes pull dialogue directly from the comics.
In the ’60s, Marvel sparked what has since become known as “the Marvel revolution,” a shift in superhero comics that emphasized flawed protagonists and humanistic values, during which a lot of the stories now finding their way to the big screen were introduced.
Concepts and plots remained colorful and weird, but Marvel characters had complex personalities and had to deal with ordinary personal struggles alongside costumed adventures. And those characters continued to be developed over decades, in a shared and increasingly complex continuity that is now reflected in the movies based on them.
“Some franchises have to build these characters and stories from scratch,” David Hancock, cinema and entertainment research analysis for Ihs Markit, told TheWrap.
But what makes Marvel such successful IP is it’s had those characters and stories to lean on.
“It’s almost like these films have been in development since the ’60s,” Kuntz said.
It’s All About the Fans
The McU is a multi-billion dollar success now, but when it began in 2008 all the studio had after selling away its most widely popular characters were the die-hard fans of the comics.
Virtually no one cared about a character called Iron Man when Marvel set out to make a live-action big-budget film, a former Marvel employee who asked to remain anonymous told TheWrap.
“But we knew that the people who did care about Iron Man were going to be hardcore fans and that they were going to love it, tell their friends and their families to go see it,” the former employee said. “That first movie was full of cool comic book moments. Marvel’s always fully acknowledged its fan base.”
Franchises like “Harry Potter” and “The Hunger Games” — and to some extent what DC has done with Batman — have recognized how integral it is to deal in some fan service. “Harry Potter” is the fifth highest grossing franchise, according to Box Office Mojo, and “The Hunger Games” ranks above “Star Trek,” “The Dark Knight” trilogy and “Lord of the Rings.”
Other franchises, like “Transformers” probably could have reached another level if they did more to satisfy fans, the form Marvel employee said.
“The big key is the fandom,” they said. “With each new movie [Marvel] get’s more and more fans, so 10 years of these movies, of course ‘Infinity War’ is going to have the biggest opening ever. Geek culture is the new pop culture.”
Read original story How Marvel Became a $16 Billion Franchise: Fandom, Cribbing From Comics and Kevin Feige At TheWrap...
In its 10-year, 19-film history the studio has had six films gross more than $1 billion at box offices worldwide, with billions more than that in toys and consumer products. And as of this writing “Avengers: Infinity War” has already broken records as the highest domestic and international opener. And with $1.16 billion after two weekends, it has become the fastest film ever to gross $1 billion worldwide and is expected to become one of the top five highest grossing films in box office history.
Like anything that finds a formula for success, Marvel has attracted plenty of imitators. But where Marvel continues to thrive and grow, other studios’ attempts to replicate the success have come up short. So the question is, what’s Marvel’s secret? How did a company once floundering in bankruptcy, with film rights to almost all of its A-list characters owned by other studios, end up ruling Hollywood.
What’s the secret? In a word, the company made good use of more than 60 years of comics lore and leveraged legions of fans – including one who ended up at the top of the company.
Also Read: How Marvel Studios Rose as Movie Stars Fell
Kevin Feige as Captain Marvel
Most Hollywood studios have access to plenty of bankable Intellectual Property, but Marvel has a Kevin Feige. In 2007, just ahead of shooting 2008’s “Iron Man,” Feige was promoted to president of production at Marvel Studios after impressing executives with his comic book knowledge.
Since then, Feige has guided the Marvel Cinematic Universe every step of the way, acting as puppeteer.
“Kevin Feige is doing the same thing Stan Lee did for the comic books in the ’60s; he keeps everyone on the same page,” Jonathan Kuntz, a lecturer at the UCLA school of theater, film and TV, told TheWrap.
Also Read: How Marvel Studios Rose as Movie Stars Fell
Marvel’s 19-film franchise goes against Hollywood’s nature, Kuntz said. A lot of franchises focus on trilogies before they tend to reboot or squash it after diminishing returns. But Marvel has maintained a franchise for this long, one that veers, goes off on tangents, yet always comes back to the main idea, thanks to a longer-term vision. And Feige’s been the one pulling the strings from the beginning.
“Doesn’t seem like any of the other major studios have found the right person to guide them, or even the right franchise,” Kuntz told TheWrap.
It should be said, however, Feige could pull all the strings he wants; it’d be useless if noone had built the puppet.
With Great Comics Comes…
Even the boss himself has conceded he relies heavily on the source material that serves as the driving force behind the McU.
“It starts with the comics and us getting to rip pages out, put them on the walls and start to be inspired,” Feige told the press ahead of the release of “Avengers: Infinity War.” “It is always a guide point, a North Star for us as we lead these giant productions into reality are right from those books where it all started.”
Also Read: How Marvel Bounced Back From Bankruptcy to Become Hollywood's Biggest Brand
He said they even sometimes pull dialogue directly from the comics.
In the ’60s, Marvel sparked what has since become known as “the Marvel revolution,” a shift in superhero comics that emphasized flawed protagonists and humanistic values, during which a lot of the stories now finding their way to the big screen were introduced.
Concepts and plots remained colorful and weird, but Marvel characters had complex personalities and had to deal with ordinary personal struggles alongside costumed adventures. And those characters continued to be developed over decades, in a shared and increasingly complex continuity that is now reflected in the movies based on them.
“Some franchises have to build these characters and stories from scratch,” David Hancock, cinema and entertainment research analysis for Ihs Markit, told TheWrap.
But what makes Marvel such successful IP is it’s had those characters and stories to lean on.
“It’s almost like these films have been in development since the ’60s,” Kuntz said.
It’s All About the Fans
The McU is a multi-billion dollar success now, but when it began in 2008 all the studio had after selling away its most widely popular characters were the die-hard fans of the comics.
Virtually no one cared about a character called Iron Man when Marvel set out to make a live-action big-budget film, a former Marvel employee who asked to remain anonymous told TheWrap.
“But we knew that the people who did care about Iron Man were going to be hardcore fans and that they were going to love it, tell their friends and their families to go see it,” the former employee said. “That first movie was full of cool comic book moments. Marvel’s always fully acknowledged its fan base.”
Franchises like “Harry Potter” and “The Hunger Games” — and to some extent what DC has done with Batman — have recognized how integral it is to deal in some fan service. “Harry Potter” is the fifth highest grossing franchise, according to Box Office Mojo, and “The Hunger Games” ranks above “Star Trek,” “The Dark Knight” trilogy and “Lord of the Rings.”
Other franchises, like “Transformers” probably could have reached another level if they did more to satisfy fans, the form Marvel employee said.
“The big key is the fandom,” they said. “With each new movie [Marvel] get’s more and more fans, so 10 years of these movies, of course ‘Infinity War’ is going to have the biggest opening ever. Geek culture is the new pop culture.”
Read original story How Marvel Became a $16 Billion Franchise: Fandom, Cribbing From Comics and Kevin Feige At TheWrap...
- 5/6/2018
- by Trey Williams
- The Wrap
On day one at CinemaCon — the annual exhibitor convention at Caesar’s Palace in Las Vegas — disruptors were making rooms full of theater executives sit up and listen. “If your company has a chief data officer, raise your hand,” said one Palace ballroom moderator. Hardly any hands went up.
The theater owners ingested phrases like “conversion pixel” and “big data,” as they heard how crucial it is to collect, store and correctly interpret customer data. The disruptors at this year’s CinemaCon are not only the controversial online subscription service MoviePass (with its valuable data), but UK chain Cineworld’s hard-driving Israeli CEO, Moshe (Mooky) Greidinger, Mexico’s Cinépolis mogul Alejandro Ramírez Magaña, and South Korea’s Jeong Seo, CEO of Cj Cgv, which is building its own innovative high-tech theaters, including two in Los Angeles.
Truth is, “mature” North America won’t remain the number one box office market in the world for long.
The theater owners ingested phrases like “conversion pixel” and “big data,” as they heard how crucial it is to collect, store and correctly interpret customer data. The disruptors at this year’s CinemaCon are not only the controversial online subscription service MoviePass (with its valuable data), but UK chain Cineworld’s hard-driving Israeli CEO, Moshe (Mooky) Greidinger, Mexico’s Cinépolis mogul Alejandro Ramírez Magaña, and South Korea’s Jeong Seo, CEO of Cj Cgv, which is building its own innovative high-tech theaters, including two in Los Angeles.
Truth is, “mature” North America won’t remain the number one box office market in the world for long.
- 4/24/2018
- by Anne Thompson
- Thompson on Hollywood
Shanghai-based events cinema outfit Citylights Events to attend.
The Event Cinema Association will host a focus on China for the first time at its annual showcase event in Barcelona.
Taking place on June 21 at the Hotel Sb Diagonal Zero, the day will feature a presentation from David Hancock from marketing research firm Ihs, who will present a report on the China market.
Citylights Events, a new events cinema company financed by Shanghai multiplex operator Bingo Cinemas, will attend the event to reach out to the industry, make contacts and acquire content for release in China.
The company’s founders, Yan Yin and Ryan Hickey, will highlight the opportunities and challenges of releasing content in China.
Yan commented: “Event Cinema is a massive, untapped opportunity in China and we are very happy to be coming to Barcelona and working with the Eca to make new contacts and find distribution and content partners, and we are...
The Event Cinema Association will host a focus on China for the first time at its annual showcase event in Barcelona.
Taking place on June 21 at the Hotel Sb Diagonal Zero, the day will feature a presentation from David Hancock from marketing research firm Ihs, who will present a report on the China market.
Citylights Events, a new events cinema company financed by Shanghai multiplex operator Bingo Cinemas, will attend the event to reach out to the industry, make contacts and acquire content for release in China.
The company’s founders, Yan Yin and Ryan Hickey, will highlight the opportunities and challenges of releasing content in China.
Yan commented: “Event Cinema is a massive, untapped opportunity in China and we are very happy to be coming to Barcelona and working with the Eca to make new contacts and find distribution and content partners, and we are...
- 5/26/2017
- by tom.grater@screendaily.com (Tom Grater)
- ScreenDaily
UK box office is up 2% year-on-year and has surged past £1bn but attendance figures remain static.
Worldwide box office is on the rise but challenges remain in a saturated theatrical market, according to Lucy Jones of data analyst ComScore and David Hancock of research firm Ihs.
Speaking at today’s (Nov 24) Screen Film Summit at Picturehouse Central in London’s West End, the two executives highlighted that the growing number of films produced and released is not correlating with demand.
This year will see close to 900 films distributed theatrically in UK cinemas, a record figure that equates to an average of 16 films per week.
“Even if you went twice a day you would not see every film that is released,” added Jones.
Admissions have remained relatively static over the last decade at an average of 2.7 visits per person per year. This has led to the highest-profile theatrical releases garnering a greater market share.
“The top 40 releases...
Worldwide box office is on the rise but challenges remain in a saturated theatrical market, according to Lucy Jones of data analyst ComScore and David Hancock of research firm Ihs.
Speaking at today’s (Nov 24) Screen Film Summit at Picturehouse Central in London’s West End, the two executives highlighted that the growing number of films produced and released is not correlating with demand.
This year will see close to 900 films distributed theatrically in UK cinemas, a record figure that equates to an average of 16 films per week.
“Even if you went twice a day you would not see every film that is released,” added Jones.
Admissions have remained relatively static over the last decade at an average of 2.7 visits per person per year. This has led to the highest-profile theatrical releases garnering a greater market share.
“The top 40 releases...
- 11/24/2016
- by tom.grater@screendaily.com (Tom Grater)
- ScreenDaily
UK box office is up 2% year-on-year and has surged past £1bn but attendance figures remain static.
Worldwide box office is on the rise but challenges remain in a saturated theatrical market, according to Lucy Jones of data analyst ComScore and David Hancock of research firm Ihs.
Speaking at today’s (Nov 24) Screen Film Summit at Picturehouse Central in London’s West End, the two executives highlighted that the growing number of films produced and released is not correlating with demand.
This year will see close to 900 films distributed theatrically in UK cinemas, a record figure that equates to an average of 16 films per week.
“Even if you went twice a day you would not see every film that is released,” added Jones.
Admissions have remained relatively static over the last decade at an average of 2.7 visits per person per year. This has led to the highest-profile theatrical releases garnering a greater market share.
“The top 40 releases...
Worldwide box office is on the rise but challenges remain in a saturated theatrical market, according to Lucy Jones of data analyst ComScore and David Hancock of research firm Ihs.
Speaking at today’s (Nov 24) Screen Film Summit at Picturehouse Central in London’s West End, the two executives highlighted that the growing number of films produced and released is not correlating with demand.
This year will see close to 900 films distributed theatrically in UK cinemas, a record figure that equates to an average of 16 films per week.
“Even if you went twice a day you would not see every film that is released,” added Jones.
Admissions have remained relatively static over the last decade at an average of 2.7 visits per person per year. This has led to the highest-profile theatrical releases garnering a greater market share.
“The top 40 releases...
- 11/24/2016
- by tom.grater@screendaily.com (Tom Grater)
- ScreenDaily
A panel of experts will provide insight into sourcing finance, while attendees will be able to have private meetings with influential funders.
This year’s Screen Film Summit at Picturehouse Central on November 24 will provide attendees with the opportunity to learn about the intricacies of accessing investment and private funding for film projects.
Book your tickets here
Five leading financial experts will take part in a morning panel that will provide critical information to producers looking to finance their independent film projects.
The speakers are: Peter La Terriere, managing director at European Film Bonds, Paul Brett, director at Prescience Film, Gary Collins, CEO at Red Rock Entertainment, Tim O’Shea, senior investment director at Ingenious, and Phil Hunt, co-managing director at Bankside Films and Head Gear Films.
For the first time this year, ticket-holders will also have the opportunity to sign up to one-to-one meetings with some of the UK’s most influential private and public financiers...
This year’s Screen Film Summit at Picturehouse Central on November 24 will provide attendees with the opportunity to learn about the intricacies of accessing investment and private funding for film projects.
Book your tickets here
Five leading financial experts will take part in a morning panel that will provide critical information to producers looking to finance their independent film projects.
The speakers are: Peter La Terriere, managing director at European Film Bonds, Paul Brett, director at Prescience Film, Gary Collins, CEO at Red Rock Entertainment, Tim O’Shea, senior investment director at Ingenious, and Phil Hunt, co-managing director at Bankside Films and Head Gear Films.
For the first time this year, ticket-holders will also have the opportunity to sign up to one-to-one meetings with some of the UK’s most influential private and public financiers...
- 11/8/2016
- ScreenDaily
A panel of experts will provide insight into sourcing finance, while attendees will be able to have private meetings with influential funders.
This year’s Screen Film Summit at Picturehouse Central on November 24 will provide attendees with the opportunity to learn about the intricacies of accessing investment and private funding for film projects.
Book your tickets here
Five leading financial experts will take part in a morning panel that will provide critical information to producers looking to finance their independent film projects.
The speakers are: Peter La Terriere, managing director at European Film Bonds, Paul Brett, director at Prescience Film, Gary Collins, CEO at Red Rock Entertainment, Tim O’Shea, senior investment director at Ingenious, and Phil Hunt, co-managing director at Bankside Films and Head Gear Films.
For the first time this year, ticket-holders will also have the opportunity to sign up to one-to-one meetings with some of the UK’s most influential private and public financiers...
This year’s Screen Film Summit at Picturehouse Central on November 24 will provide attendees with the opportunity to learn about the intricacies of accessing investment and private funding for film projects.
Book your tickets here
Five leading financial experts will take part in a morning panel that will provide critical information to producers looking to finance their independent film projects.
The speakers are: Peter La Terriere, managing director at European Film Bonds, Paul Brett, director at Prescience Film, Gary Collins, CEO at Red Rock Entertainment, Tim O’Shea, senior investment director at Ingenious, and Phil Hunt, co-managing director at Bankside Films and Head Gear Films.
For the first time this year, ticket-holders will also have the opportunity to sign up to one-to-one meetings with some of the UK’s most influential private and public financiers...
- 11/8/2016
- ScreenDaily
The event will focus on the event cinema market outside of the UK.
The Event Cinema Association (Eca) will host its first conference outside of the UK this October in Stockholm, Sweden.
Speakers will include Sf Bio’s Emma Sjöblom (Sweden), Royal Opera House’s Ann-Christin Danhammar (Sweden) and Marjut Apilo-Olsen from Finnish distributor and exhibitor Finnkino Oy (Finland), as well as several speakers from independent cinemas across the region.
The day’s schedule includes panels on a number of topics including a Scandinvian perspective on technical delivery, audience development, and how the local market works in each territory.
The conference will focus on the event cinema market outsdie of the UK and will feature an overview of the development of the global digital cinema market, with a presentation about Scandinavia from David Hancock, senior analyst from insight firm I.H.S.
The one-day conference will be held at the Bio Rio cinema in central Stockholm, Sweden...
The Event Cinema Association (Eca) will host its first conference outside of the UK this October in Stockholm, Sweden.
Speakers will include Sf Bio’s Emma Sjöblom (Sweden), Royal Opera House’s Ann-Christin Danhammar (Sweden) and Marjut Apilo-Olsen from Finnish distributor and exhibitor Finnkino Oy (Finland), as well as several speakers from independent cinemas across the region.
The day’s schedule includes panels on a number of topics including a Scandinvian perspective on technical delivery, audience development, and how the local market works in each territory.
The conference will focus on the event cinema market outsdie of the UK and will feature an overview of the development of the global digital cinema market, with a presentation about Scandinavia from David Hancock, senior analyst from insight firm I.H.S.
The one-day conference will be held at the Bio Rio cinema in central Stockholm, Sweden...
- 9/5/2016
- ScreenDaily
Exclusive: Only a handful of exhibitors will be able to screen Ang Lee’s anticipated drama as the director intends.
When Ang Lee’s Billy Lynn’s Long Halftime Walk goes on release in November only a handful of exhibitors will be able to screen it as the director intends.
The TriStar Pictures war comedy-drama, starring Kristen Stewart, Vin Diesel, Steve Martin and Screen Star of Tomorrow Joe Alwyn in the title role, is the first to be shot in a combination of 4K resolution in stereo 3D and at 120 frames a second (fps) - a bold specification that exceeds all Dci compliant presentation systems.
The Oscar-winning director, who previously pushed the boundaries of 3D with Life Of Pi, spoke last year at CinemaCon about shooting at 120fps, which was in part chosen as a means to immerse viewers in Billy Lynn’s combat scenes.
“What Ang Lee is aiming for cannot be done on any Dci-compliant...
When Ang Lee’s Billy Lynn’s Long Halftime Walk goes on release in November only a handful of exhibitors will be able to screen it as the director intends.
The TriStar Pictures war comedy-drama, starring Kristen Stewart, Vin Diesel, Steve Martin and Screen Star of Tomorrow Joe Alwyn in the title role, is the first to be shot in a combination of 4K resolution in stereo 3D and at 120 frames a second (fps) - a bold specification that exceeds all Dci compliant presentation systems.
The Oscar-winning director, who previously pushed the boundaries of 3D with Life Of Pi, spoke last year at CinemaCon about shooting at 120fps, which was in part chosen as a means to immerse viewers in Billy Lynn’s combat scenes.
“What Ang Lee is aiming for cannot be done on any Dci-compliant...
- 4/12/2016
- ScreenDaily
The Eca’s annual conference takes place on Oct 19.
The annual Event Cinema Association (Eca) conference will this year highlight the topics of developing markets and Video On Demand (VOD), among other subjects, at London’s Picturehouse Central on Oct 19, 2015.
During one of the breakout sessions, Mark Walukevich, Svp of international film at National Amusements, will host a talk about growing event cinema in developing markets. Walukevich oversees all aspects of booking for National Amusements’ international markets.
Another breakout session will be hosted by Adam Rubins and Daniel Heale from London-based marketing and PR agency Way To Blue, who will talk about the relationship between social media and event cinema.
The last event of the day will be a talk titled ‘Staying ahead of the game in a VOD world’, which will be overseen by the Eca’s Jonathan Ross. Panelists incldue Kymberli Frueh, Fathom Events; Scott Glosserman, Gathr; Mark Rupp, Specticast; [link...
The annual Event Cinema Association (Eca) conference will this year highlight the topics of developing markets and Video On Demand (VOD), among other subjects, at London’s Picturehouse Central on Oct 19, 2015.
During one of the breakout sessions, Mark Walukevich, Svp of international film at National Amusements, will host a talk about growing event cinema in developing markets. Walukevich oversees all aspects of booking for National Amusements’ international markets.
Another breakout session will be hosted by Adam Rubins and Daniel Heale from London-based marketing and PR agency Way To Blue, who will talk about the relationship between social media and event cinema.
The last event of the day will be a talk titled ‘Staying ahead of the game in a VOD world’, which will be overseen by the Eca’s Jonathan Ross. Panelists incldue Kymberli Frueh, Fathom Events; Scott Glosserman, Gathr; Mark Rupp, Specticast; [link...
- 10/14/2015
- ScreenDaily
New report reveals the growing sector was worth nearly $300m in 2014.
Event cinema has recorded a 35.2% boost in revenues in the past two years, according to a new report into the sector by Ihs Technology.
The total revenue of the sector reached nearly $300m in 2014. Event cinema is forecast to generate $1bn by 2019.
The figures are revealed in the second edition of the Event Cinema in European Cinemas report, the first of which was released in 2013.
It focuses on event cinema data collected by Rentrak for the first time, and examines the growth of this exhibition sector across several key markets: France, Italy, Netherlands, UK & Ireland, Brazil, Australia and New Zealand.
Initiated by the Eca (Event Cinema Association) in 2013, the first report examined the growth of the sector using data collected from Eca members themselves.
Since then, event cinema hits include Universal’s Billy Elliot The Musical - Live, which became the first UK box-office number one for...
Event cinema has recorded a 35.2% boost in revenues in the past two years, according to a new report into the sector by Ihs Technology.
The total revenue of the sector reached nearly $300m in 2014. Event cinema is forecast to generate $1bn by 2019.
The figures are revealed in the second edition of the Event Cinema in European Cinemas report, the first of which was released in 2013.
It focuses on event cinema data collected by Rentrak for the first time, and examines the growth of this exhibition sector across several key markets: France, Italy, Netherlands, UK & Ireland, Brazil, Australia and New Zealand.
Initiated by the Eca (Event Cinema Association) in 2013, the first report examined the growth of the sector using data collected from Eca members themselves.
Since then, event cinema hits include Universal’s Billy Elliot The Musical - Live, which became the first UK box-office number one for...
- 7/1/2015
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Updated (gallery/official winners book): The Screen Awards has unveiled its 2014 winners, recognising excellence in UK marketing, distribution and exhibition.Scroll down for full list of winnersBrowse the Screen Awards book Heregallery: Click here for pictures from the night
The awards were handed out at a glamorous ceremony at The Brewery in London last night, before 500 assembled guests. Broadcaster Edith Bowman hosted the event for the third year.
Twentieth Century Fox took home the hotly contested studio distributor of the year award, while Curzon Artificial Eye won the best independent distributor prize.
Prison drama Starred Up, from Twentieth Century Fox, took home theatrical campaign of the year, with a highly commended notice for Alain Guiraudie’s Stranger By The Lake.
Twentieth Century Fox scored a further four wins including 3D campaign for How To Train Your Dragon 2 and prizes for best marketing team, online campaign for Dawn of the Planet of the Apes with Think Jam...
The awards were handed out at a glamorous ceremony at The Brewery in London last night, before 500 assembled guests. Broadcaster Edith Bowman hosted the event for the third year.
Twentieth Century Fox took home the hotly contested studio distributor of the year award, while Curzon Artificial Eye won the best independent distributor prize.
Prison drama Starred Up, from Twentieth Century Fox, took home theatrical campaign of the year, with a highly commended notice for Alain Guiraudie’s Stranger By The Lake.
Twentieth Century Fox scored a further four wins including 3D campaign for How To Train Your Dragon 2 and prizes for best marketing team, online campaign for Dawn of the Planet of the Apes with Think Jam...
- 10/24/2014
- ScreenDaily
Updated (gallery/official winners book): The Screen Awards has unveiled its 2014 winners, recognising excellence in UK marketing, distribution and exhibition.Scroll down for full list of winnersBrowse the Screen Awards book Heregallery: Click here for pictures from the night
The awards were handed out at a glamorous ceremony at The Brewery in London last night, before 500 assembled guests. Broadcaster Edith Bowman hosted the event for the third year.
Twentieth Century Fox took home the hotly contested studio distributor of the year award, while Curzon Artificial Eye won the best independent distributor prize.
Prison drama Starred Up, from Twentieth Century Fox, took home theatrical campaign of the year, with a highly commended notice for Alain Guiraudie’s Stranger By The Lake.
Twentieth Century Fox scored a further four wins including 3D campaign for How To Train Your Dragon 2 and prizes for best marketing team, online campaign for Dawn of the Planet of the Apes with Think Jam...
The awards were handed out at a glamorous ceremony at The Brewery in London last night, before 500 assembled guests. Broadcaster Edith Bowman hosted the event for the third year.
Twentieth Century Fox took home the hotly contested studio distributor of the year award, while Curzon Artificial Eye won the best independent distributor prize.
Prison drama Starred Up, from Twentieth Century Fox, took home theatrical campaign of the year, with a highly commended notice for Alain Guiraudie’s Stranger By The Lake.
Twentieth Century Fox scored a further four wins including 3D campaign for How To Train Your Dragon 2 and prizes for best marketing team, online campaign for Dawn of the Planet of the Apes with Think Jam...
- 10/24/2014
- ScreenDaily
Former Scott Free London head Liza Marshall recently launched Archery Pictures with Kris Thykier.
Liza Marshall, joint MD of Archery Pictures, is to join a panel at the upcoming Screen Film Summit (Dec 1) to debate the Changing Face of Content Consumption.
Marshall, who recently stepped down as head of Scott Free London to launch Archery Pictures with Kris Thykier, will be joined on the panel by Picturehouse director of programming and acquisitions Claire Binns; and Dogwoof chairman Andy Whittaker.
Together, they will discuss how audience habits and platforms are changing and what new platforms are doing to better serve audiences. They will also explore the future of these platforms.
Another new addition to the line-up is William Sargent, CEO and co-founder of Framestore.
Sargent will join Independent MD Andrew Orr and Vue CEO Tim Richards on the UK Film Industry Wishlist panel to discuss challenges facing different sectors across the industry and changes they would like to...
Liza Marshall, joint MD of Archery Pictures, is to join a panel at the upcoming Screen Film Summit (Dec 1) to debate the Changing Face of Content Consumption.
Marshall, who recently stepped down as head of Scott Free London to launch Archery Pictures with Kris Thykier, will be joined on the panel by Picturehouse director of programming and acquisitions Claire Binns; and Dogwoof chairman Andy Whittaker.
Together, they will discuss how audience habits and platforms are changing and what new platforms are doing to better serve audiences. They will also explore the future of these platforms.
Another new addition to the line-up is William Sargent, CEO and co-founder of Framestore.
Sargent will join Independent MD Andrew Orr and Vue CEO Tim Richards on the UK Film Industry Wishlist panel to discuss challenges facing different sectors across the industry and changes they would like to...
- 10/8/2014
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Nt Live and the Royal Opera House among winners at the first Event Cinema Awards, organised by the Event Cinema Association to honour content including opera, ballet and rock concerts.
The winners of the inaugural Annual Event Cinema Awards were unveiled on October 15 at the first networking event in London dedicated to the Event Cinema (formerly known as Alternative Content) sector, organised by the Event Cinema Association (Eca).
Three box office awards recognising theatrical admissions of 100,000 (bronze), 250,000 (silver) and 500,000 (gold) were presented to More2Screen for Queen Live In Budapest 86, Omniverse Vision for Led Zeppelin: Celebration Day (pictured) and Arts Alliance Media for Springsteen And I.
Awards for Excellence in Programming went to The Royal Opera House for Alice In Wonderland, Nt Live for The Curious Incident Of The Dog In The Nightime and Ominverse Vision for Led Zeppelin: Celebration Day.
Awards for Excellence In Exhibition went to John Travers, head of Event...
The winners of the inaugural Annual Event Cinema Awards were unveiled on October 15 at the first networking event in London dedicated to the Event Cinema (formerly known as Alternative Content) sector, organised by the Event Cinema Association (Eca).
Three box office awards recognising theatrical admissions of 100,000 (bronze), 250,000 (silver) and 500,000 (gold) were presented to More2Screen for Queen Live In Budapest 86, Omniverse Vision for Led Zeppelin: Celebration Day (pictured) and Arts Alliance Media for Springsteen And I.
Awards for Excellence in Programming went to The Royal Opera House for Alice In Wonderland, Nt Live for The Curious Incident Of The Dog In The Nightime and Ominverse Vision for Led Zeppelin: Celebration Day.
Awards for Excellence In Exhibition went to John Travers, head of Event...
- 10/15/2013
- by sarah.cooper@screendaily.com (Sarah Cooper)
- ScreenDaily
Nt Live and the Royal Opera House among winners at the first Event Cinema Awards, organised by the Event Cinema Association to honour content including opera, ballet and rock concerts.
The winners of the inaugural Annual Event Cinema Awards were unveiled on October 15 at the first networking event in London dedicated to the Event Cinema (formerly known as Alternative Content) sector, organised by the Event Cinema Association (Eca).
Three box office awards recognising theatrical admissions of 100,000 (bronze), 250,000 (silver) and 500,000 (gold) were presented to More2Screen for Queen Live In Budapest 86, Omniverse Vision for Led Zeppelin: Celebration Day (pictured) and Arts Alliance Media for Springsteen And I.
Awards for Excellence in Programming went to The Royal Opera House for Alice In Wonderland, Nt Live for The Curious Incident Of The Dog In The Nightime and Ominverse Vision for Led Zeppelin: Celebration Day.
Awards for Excellence In Exhibition went to John Travers, head of Event...
The winners of the inaugural Annual Event Cinema Awards were unveiled on October 15 at the first networking event in London dedicated to the Event Cinema (formerly known as Alternative Content) sector, organised by the Event Cinema Association (Eca).
Three box office awards recognising theatrical admissions of 100,000 (bronze), 250,000 (silver) and 500,000 (gold) were presented to More2Screen for Queen Live In Budapest 86, Omniverse Vision for Led Zeppelin: Celebration Day (pictured) and Arts Alliance Media for Springsteen And I.
Awards for Excellence in Programming went to The Royal Opera House for Alice In Wonderland, Nt Live for The Curious Incident Of The Dog In The Nightime and Ominverse Vision for Led Zeppelin: Celebration Day.
Awards for Excellence In Exhibition went to John Travers, head of Event...
- 10/15/2013
- by sarah.cooper@screendaily.com (Sarah Cooper)
- ScreenDaily
As digital takes over, many in the film industry are mourning the death of 35mm film after 120 years in the business. But it's time to move on to a far more flexible format
After 120 years and countless movies, 35mm is officially on the way out. In January, 63% of the world's screens will be digital, according to report from Ihs. Last year, 67% of global screens were still 35mm. The year 2011 is the tipping point, when digital cinema replaces celluloid as the mainstream form of projection. It's the end of an era and the start of something new.
"Since 1889, 35mm has been the principal film projection technology," David Hancock, head of film research at Ihs, said this week. "However, after 10 years of market priming, movie theatres now are undergoing a rapid transition … spurred initially by the rising popularity of 3D films."
In 2009, James Cameron's Avatar convinced the industry that it was time for an upgrade.
After 120 years and countless movies, 35mm is officially on the way out. In January, 63% of the world's screens will be digital, according to report from Ihs. Last year, 67% of global screens were still 35mm. The year 2011 is the tipping point, when digital cinema replaces celluloid as the mainstream form of projection. It's the end of an era and the start of something new.
"Since 1889, 35mm has been the principal film projection technology," David Hancock, head of film research at Ihs, said this week. "However, after 10 years of market priming, movie theatres now are undergoing a rapid transition … spurred initially by the rising popularity of 3D films."
In 2009, James Cameron's Avatar convinced the industry that it was time for an upgrade.
- 11/29/2011
- The Guardian - Film News
I met Arthur Cullipher in Louisville, Kentucky at the Fright Night Film Fest this summer and have made a friend for life. One of the funniest and nicest guys you'd ever want to meet and he is talented too! He and his Clockwerk Pictures team have created one of the darkest and disturbing short films I've ever witnessed with 'Come', think Lovecraft and R-rated Twilight Zone episode mixed with a little Outer Limits, all on acid and then stuck in a blender, I haven't been lucky enough to witness more from him but I'm sure that day is coming. Arthur is a part of Clockwerk Pictures and even the Dark Carnival Film Fest. He's an FX artist, he writes, directs, produces, even makes action figures and can make you laugh in a second! Check out my latest "Versus" with Arthur Cullipher as he's invited all of us for...
- 8/28/2010
- by brians
- GeekTyrant
Amsterdam -- Surging regional interest in 3D cinema has triggered a rapid pickup in the conversion of theaters to digital-projection systems, producing an estimated 5,500 European digital screens by midyear.
"Almost all of the growth in Europe has been driven by 3D," Paramount exec vp distribution Mark Christiansen said Tuesday. "In the past year, Europe has surpassed the U.S. in the number of 3D screens available."
More than 75% of Europe's digital screens had been outfitted for 3D by the end of the first quarter, which featured a 16% uptick in the digital conversion rate, Screen Digest analyst David Hancock told an audience of exhibitors at a Cinema Expo seminar on d-cinema.
Digital penetration varies greatly country to country, with Luxembourg topping the region at 72%, while Serbia lags all others with just 2% of its screens converted. The U.K. is a standout among larger territories at 22% digital, compared with just 13% of screens converted in Italy.
"Almost all of the growth in Europe has been driven by 3D," Paramount exec vp distribution Mark Christiansen said Tuesday. "In the past year, Europe has surpassed the U.S. in the number of 3D screens available."
More than 75% of Europe's digital screens had been outfitted for 3D by the end of the first quarter, which featured a 16% uptick in the digital conversion rate, Screen Digest analyst David Hancock told an audience of exhibitors at a Cinema Expo seminar on d-cinema.
Digital penetration varies greatly country to country, with Luxembourg topping the region at 72%, while Serbia lags all others with just 2% of its screens converted. The U.K. is a standout among larger territories at 22% digital, compared with just 13% of screens converted in Italy.
- 6/22/2010
- by By Carl DiOrio
- The Hollywood Reporter - Movie News
London -- Alternative content in theaters is set to become a money-spinner worth more than $500 million globally by 2014 according to a report Monday.
The research from Screen Digest puts the global market in alternative content -- think live opera screenings or traditional theater productions -- to hit $526 million in five years, up from the lowly $45.7 million reached by the end of 2008.
And while the U.S. market laid claim to two thirds of global revenues gathered from such content, Screen Digest says that will likely fall to under 50% as the appetite for non-movie programming across the rest of the world grows.
The report entitled "Alternative Content in Cinemas: Market assessment and forecasts to 2014" says the cinema is fast becoming a "multi-arts venue" with the last two years posting a growth in alternative programming on the back of a boom in digital cinema screen technology.
The report points to there being...
The research from Screen Digest puts the global market in alternative content -- think live opera screenings or traditional theater productions -- to hit $526 million in five years, up from the lowly $45.7 million reached by the end of 2008.
And while the U.S. market laid claim to two thirds of global revenues gathered from such content, Screen Digest says that will likely fall to under 50% as the appetite for non-movie programming across the rest of the world grows.
The report entitled "Alternative Content in Cinemas: Market assessment and forecasts to 2014" says the cinema is fast becoming a "multi-arts venue" with the last two years posting a growth in alternative programming on the back of a boom in digital cinema screen technology.
The report points to there being...
- 11/30/2009
- by By Stuart Kemp
- The Hollywood Reporter - Movie News
Calculation aims to take risk out of deciding whether follow-ups to cinema hits will be a sure thing, or a disastrous gamble
Ever wondered why Spider-Man 2 triumphed and Basic Instinct 2 bombed? Now a group of academics have come up with a mathematical formula to predict the fortunes of a film sequel.
Hollywood has long known a follow-up is a fairly safe bet and franchises from Pirates of the Caribbean to Star Wars have dominated cinema schedules for years. But until now decisions about what to invest in a sequel or how much to pay for rights to a franchise have been based on some simple rules of thumb and a good dose of gut feeling.
Based on factors such as whether key stars are still on board, how long it has been since the last film and how that performed, the researchers say they can calculate what producers can...
Ever wondered why Spider-Man 2 triumphed and Basic Instinct 2 bombed? Now a group of academics have come up with a mathematical formula to predict the fortunes of a film sequel.
Hollywood has long known a follow-up is a fairly safe bet and franchises from Pirates of the Caribbean to Star Wars have dominated cinema schedules for years. But until now decisions about what to invest in a sequel or how much to pay for rights to a franchise have been based on some simple rules of thumb and a good dose of gut feeling.
Based on factors such as whether key stars are still on board, how long it has been since the last film and how that performed, the researchers say they can calculate what producers can...
- 11/8/2009
- by Katie Allen
- The Guardian - Film News
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