An internet misanthrope launches a message board for amateur stock pickers, gets kicked off and then watches from afar as this rogue community brings Wall Street to its knees.
That is the hot pitch that turned
Jaime Rogozinski
into the man every producer in Hollywood wanted to do business with. Earlier this week, the founder of Reddit?s WallStreetBets sold the rights to his life story to RatPac Entertainment, a production company known for backing hits like ?Wonder Woman.?
A movie version of Mr. Rogozinski?s story will kick things off and then move on to podcasts and other mediums, RatPac producers say.
In exchange for a payment in the low six figures, Mr. Rogozinski has given exclusive access to RatPac producers?including the company?s head,
Brett Ratner,
a longtime Hollywood player who recently lost a major deal amid sexual-harassment accusations. They want to dramatize the story of his role in the WallStreetBets saga that has sent shares of struggling companies like GameStop Corp. surging, driven hedge funds to crippling losses and turned unlikely investors into big winners and losers.
Mr. Rogozinski is already talking with writers who RatPac is considering to write the feature film script.
?Maybe I?ll get to go on the red carpet,? he said.
The race is on to bring the WallStreetBets saga to the screen. Metro-Goldwyn-Mayer Inc. has acquired a book proposal about the events written by
Ben Mezrich,
whose previous books were adapted into the films ?21? and ?The Social Network.?
Netflix Inc.
is in talks with ?Zero Dark Thirty? screenwriter
Mark Boal
on a film that would star young heartthrob
Noah Centineo
of ?To All the Boys I?ve Loved Before.?
Mr. Ratner said his company is self-financing the project and that the access he now has to Mr. Rogozinski gives his project an edge.
?Anybody can go make a movie about junk bonds, but if Mike Milken cooperates, how much more insight are you going to have?? he said, referring to the financier known for developing high-yield, or junk, bonds, and an insider trading scandal that resulted in his serving time in prison.
Mr. Rogozinski, who says he doesn?t yet have an opinion on which actor should play him in the movie, said he has spent the last two weeks in a daze. In addition to phone calls to his parents? home and news coverage from as far away as his sister?s home in Israel, he has fielded messages from Hollywood producers eager to cut a deal for his life rights.
Securing the life rights to a person whose story would make a compelling movie or TV show is an increasingly popular tactic of producers who want an edge when competing with other moviemakers eager to get in on a big story. The deal often grants exclusive access to the subject, as well as diaries, photos and other memorabilia that can flesh out the story.
In Mr. Rogozinski?s case, the producers have the right to adapt his story into any conceivable form?podcast, documentary, TV series or even live theatrical event like a play.
The deal came together quickly, Mr. Rogozinski said. Shortly after he was featured in a number of news outlets, including The Wall Street Journal, Mr. Rogozinski was bombarded by messages from producers. Busy juggling media interviews with his day job and parenting duties, Mr. Rogozinski turned to his brother,
Joel Rogozinski,
for help.
Joel Rogozinski reached out to a childhood friend,
Michael Smith Liss,
who he knew was well connected in Hollywood. In turn, Mr. Smith Liss was able to introduce the brothers to Mr. Ratner.
Mr. Ratner directed the ?Rush Hour? trilogy and ?X-Men: The Last Stand? but more recently has been known as the co-financier of several major releases at
AT&T Inc.?s
Warner Bros, including ?Jersey Boys? and ?Justice League.?
Brett Ratner in 2017.
Photo:
danny moloshok/Reuters
His deal with the studio dissolved in 2017 after several women accused him of sexual assault and harassment. Mr. Ratner denied the accusations from the accusers, including actress Olivia Munn. There were no charges filed against Mr. Ratner.
He has maintained a comparatively low profile since then, saying he has been producing documentaries without taking named credits. He came upon the WallStreetBets story, he said, after several friends in the hedge-fund world told him of its importance. One of his best friends, he said, is
Jordan Belfort,
the former penny-stock trader whose investing downfall was told in Martin Scorsese?s ?The Wolf of Wall Street.?
?This story is such a human story of power and uprising, capitalism and socialism, and so much more,? he said.
Mr. Rogozinski hopes the movie will go beyond the past month?s GameStop saga to show WallStreetBets? entire journey, walking viewers through how a small, off-color Reddit forum he founded in 2012 became a multimillion-user community at the heart of controversy. He also plans to share the low points of his time with WallStreetBets. Mr. Rogozinski was kicked out of his moderator role last spring, something he says stung for quite some time.
?I?m laying it all out on the table. There are going to be some things that are extremely shocking, things that people don?t know about me,? he said.
He?s no stranger to backlash. In the past few weeks, Reddit users who are bitter about his former role at WallStreetBets have written posts blasting him. Some individuals even took to
Amazon
to leave negative reviews of his book.
News of the movie deal may inflame tensions. But Mr. Rogozinski said he has learned not to feed the trolls.
?I won. They can pretend to have this battle,? he said.
Write to Erich Schwartzel at erich.schwartzel@wsj.com and Akane Otani at akane.otani@wsj.com
Corrections & Amplifications
Jaime Rogozinski is the founder of Reddit’s WallStreetBets. A caption accompanying an earlier version of this article incorrectly spelled his first name as Jamie. (Corrected on Feb. 4)
Copyright ©2022 Dow Jones & Company, Inc. All Rights Reserved. 87990cbe856818d5eddac44c7b1cdeb8
We would love to thank the writer of this article for this awesome material
WSJ News Exclusive | Reddit?s WallStreetBets Founder Sells Life Story to Movie Producer RatPac Entertainment
An internet misanthrope launches a message board for amateur stock pickers, gets kicked off and then watches from afar as this rogue community brings Wall Street to its knees.
That is the hot pitch that turned
Jaime Rogozinski
into the man every producer in Hollywood wanted to do business with. Earlier this week, the founder of Reddit?s WallStreetBets sold the rights to his life story to RatPac Entertainment, a production company known for backing hits like ?Wonder Woman.?
A movie version of Mr. Rogozinski?s story will kick things off and then move on to podcasts and other mediums, RatPac producers say.
In exchange for a payment in the low six figures, Mr. Rogozinski has given exclusive access to RatPac producers?including the company?s head,
Brett Ratner,
a longtime Hollywood player who recently lost a major deal amid sexual-harassment accusations. They want to dramatize the story of his role in the WallStreetBets saga that has sent shares of struggling companies like GameStop Corp. surging, driven hedge funds to crippling losses and turned unlikely investors into big winners and losers.
Mr. Rogozinski is already talking with writers who RatPac is considering to write the feature film script.
?Maybe I?ll get to go on the red carpet,? he said.
The race is on to bring the WallStreetBets saga to the screen. Metro-Goldwyn-Mayer Inc. has acquired a book proposal about the events written by
Ben Mezrich,
whose previous books were adapted into the films ?21? and ?The Social Network.?
Netflix Inc.
is in talks with ?Zero Dark Thirty? screenwriter
Mark Boal
on a film that would star young heartthrob
Noah Centineo
of ?To All the Boys I?ve Loved Before.?
Mr. Ratner said his company is self-financing the project and that the access he now has to Mr. Rogozinski gives his project an edge.
?Anybody can go make a movie about junk bonds, but if Mike Milken cooperates, how much more insight are you going to have?? he said, referring to the financier known for developing high-yield, or junk, bonds, and an insider trading scandal that resulted in his serving time in prison.
Mr. Rogozinski, who says he doesn?t yet have an opinion on which actor should play him in the movie, said he has spent the last two weeks in a daze. In addition to phone calls to his parents? home and news coverage from as far away as his sister?s home in Israel, he has fielded messages from Hollywood producers eager to cut a deal for his life rights.
Securing the life rights to a person whose story would make a compelling movie or TV show is an increasingly popular tactic of producers who want an edge when competing with other moviemakers eager to get in on a big story. The deal often grants exclusive access to the subject, as well as diaries, photos and other memorabilia that can flesh out the story.
In Mr. Rogozinski?s case, the producers have the right to adapt his story into any conceivable form?podcast, documentary, TV series or even live theatrical event like a play.
The deal came together quickly, Mr. Rogozinski said. Shortly after he was featured in a number of news outlets, including The Wall Street Journal, Mr. Rogozinski was bombarded by messages from producers. Busy juggling media interviews with his day job and parenting duties, Mr. Rogozinski turned to his brother,
Joel Rogozinski,
for help.
Joel Rogozinski reached out to a childhood friend,
Michael Smith Liss,
who he knew was well connected in Hollywood. In turn, Mr. Smith Liss was able to introduce the brothers to Mr. Ratner.
Mr. Ratner directed the ?Rush Hour? trilogy and ?X-Men: The Last Stand? but more recently has been known as the co-financier of several major releases at
AT&T Inc.?s
Warner Bros, including ?Jersey Boys? and ?Justice League.?
Brett Ratner in 2017.
Photo:
danny moloshok/Reuters
His deal with the studio dissolved in 2017 after several women accused him of sexual assault and harassment. Mr. Ratner denied the accusations from the accusers, including actress Olivia Munn. There were no charges filed against Mr. Ratner.
He has maintained a comparatively low profile since then, saying he has been producing documentaries without taking named credits. He came upon the WallStreetBets story, he said, after several friends in the hedge-fund world told him of its importance. One of his best friends, he said, is
Jordan Belfort,
the former penny-stock trader whose investing downfall was told in Martin Scorsese?s ?The Wolf of Wall Street.?
?This story is such a human story of power and uprising, capitalism and socialism, and so much more,? he said.
Mr. Rogozinski hopes the movie will go beyond the past month?s GameStop saga to show WallStreetBets? entire journey, walking viewers through how a small, off-color Reddit forum he founded in 2012 became a multimillion-user community at the heart of controversy. He also plans to share the low points of his time with WallStreetBets. Mr. Rogozinski was kicked out of his moderator role last spring, something he says stung for quite some time.
?I?m laying it all out on the table. There are going to be some things that are extremely shocking, things that people don?t know about me,? he said.
He?s no stranger to backlash. In the past few weeks, Reddit users who are bitter about his former role at WallStreetBets have written posts blasting him. Some individuals even took to
Amazon
to leave negative reviews of his book.
News of the movie deal may inflame tensions. But Mr. Rogozinski said he has learned not to feed the trolls.
?I won. They can pretend to have this battle,? he said.
Write to Erich Schwartzel at erich.schwartzel@wsj.com and Akane Otani at akane.otani@wsj.com
Corrections & Amplifications
Jaime Rogozinski is the founder of Reddit’s WallStreetBets. A caption accompanying an earlier version of this article incorrectly spelled his first name as Jamie. (Corrected on Feb. 4)
Copyright ©2022 Dow Jones & Company, Inc. All Rights Reserved. 87990cbe856818d5eddac44c7b1cdeb8
We would love to thank the writer of this article for this awesome material
WSJ News Exclusive | Reddit?s WallStreetBets Founder Sells Life Story to Movie Producer RatPac Entertainment
Following a storm of criticism over ambiguous diversity and funding criteria, Canadian government funding org Telefilm revealed on Monday an Equity and Representation Action Plan designed to overhaul its internal system.
The plan consists of several action points and strategies to achieve them. To ?create a culture of mutual respect, dignity and inclusivity for Canada?s audiovisual industry,? the plan will ?review and update existing Telefilm policies through a lens of diversity and inclusion in order to abolish systemic racism.?
In order to engage in ongoing dialogue with underrepresented communities, Telefilm has launched an Equity and Representation Action Committee to align diversity and inclusion efforts across the org. This includes the creation of an internal committee led by E.J. Alon and Kathleen Beaugé (pictured, L-R), which will work in coordination with external stakeholders.
Telefilm is also creating four new positions for Black, Indigenous and People of Color employees: two on the project financing team, one in business affairs, and another in a senior management role reporting to the executive leadership team.
The org has also made a commitment to a minimum 50% representation of new hires across Telefilm from underrepresented identities by 2023 (Black, Indigenous, other Racialized Persons/Visible Minorities, Persons with Disability and LGBTQ2+), and will ensure a minimum of 30% representation of new management hires across Telefilm from underrepresented identities by 2023.
?One of our first steps to further support filmmakers from diverse backgrounds will be the creation of a new stream in our development program dedicated to Racialized Persons/Visible Minorities,? said Christa Dickenson, executive director of Telefilm Canada.
?Telefilm will also prioritize data collection in order to better identify needs, and allow us to better provide more directed funding, and customized initiatives, tailored to support clients that may not have received any financing from Telefilm Canada, or clients who may not have received adequate support to date. As another step in this commitment, we are developing an approach to collect data from recipients of funding from our 2020-2021 fiscal.?
The data collection point could be a direct response to a challenge by BIPOC TV & Film, a grassroots organization and collective of Black, Indigenous and People of Color in Canada?s TV and film industry, which asked Telefilm to supply information on how many Black, Indigenous and People of Color filmmakers and production companies have been granted funding in the past five years and how the money has been distributed (i.e. grants above CAD$500,000, CAD$1.2 million and CAD$2.5 million).
Telefilm responded on July 8, noting that it couldn?t provide detailed information because the data ?was not collected.?
We would like to give thanks to the writer of this short article for this awesome material
Telefilm Canada Plans to Overhaul Internal Policies and ?Abolish Systemic Racism?
Following a storm of criticism over ambiguous diversity and funding criteria, Canadian government funding org Telefilm revealed on Monday an Equity and Representation Action Plan designed to overhaul its internal system.
The plan consists of several action points and strategies to achieve them. To ?create a culture of mutual respect, dignity and inclusivity for Canada?s audiovisual industry,? the plan will ?review and update existing Telefilm policies through a lens of diversity and inclusion in order to abolish systemic racism.?
In order to engage in ongoing dialogue with underrepresented communities, Telefilm has launched an Equity and Representation Action Committee to align diversity and inclusion efforts across the org. This includes the creation of an internal committee led by E.J. Alon and Kathleen Beaugé (pictured, L-R), which will work in coordination with external stakeholders.
Telefilm is also creating four new positions for Black, Indigenous and People of Color employees: two on the project financing team, one in business affairs, and another in a senior management role reporting to the executive leadership team.
The org has also made a commitment to a minimum 50% representation of new hires across Telefilm from underrepresented identities by 2023 (Black, Indigenous, other Racialized Persons/Visible Minorities, Persons with Disability and LGBTQ2+), and will ensure a minimum of 30% representation of new management hires across Telefilm from underrepresented identities by 2023.
?One of our first steps to further support filmmakers from diverse backgrounds will be the creation of a new stream in our development program dedicated to Racialized Persons/Visible Minorities,? said Christa Dickenson, executive director of Telefilm Canada.
?Telefilm will also prioritize data collection in order to better identify needs, and allow us to better provide more directed funding, and customized initiatives, tailored to support clients that may not have received any financing from Telefilm Canada, or clients who may not have received adequate support to date. As another step in this commitment, we are developing an approach to collect data from recipients of funding from our 2020-2021 fiscal.?
The data collection point could be a direct response to a challenge by BIPOC TV & Film, a grassroots organization and collective of Black, Indigenous and People of Color in Canada?s TV and film industry, which asked Telefilm to supply information on how many Black, Indigenous and People of Color filmmakers and production companies have been granted funding in the past five years and how the money has been distributed (i.e. grants above CAD$500,000, CAD$1.2 million and CAD$2.5 million).
Telefilm responded on July 8, noting that it couldn?t provide detailed information because the data ?was not collected.?
We would like to give thanks to the writer of this short article for this awesome material
Telefilm Canada Plans to Overhaul Internal Policies and ?Abolish Systemic Racism?
EXCLUSIVE: IFC Films has taken North American rights to Andrea Arnold?s well-received Cannes Film Festival documentary Cow.
Cow, which made its world premiere earlier this month in the newly created Cannes Premiere section, reps IFC and Arnold?s second teaming together after her award-winning Fish Tank, which starred Katie Jarvis and Michael Fassbender.
U.S. sales rep Submarine Entertainment brokered the deal for Cow on behalf of the filmmakers. Submarine sold Todd Haynes? The Velvet Underground to Apple TV+ back in October; that doc also made its world premiere at Cannes this year.
Cow was shot over seven years, and repped Arnold?s return to Cannes after her 2016 young-adult movie American Honey. It was produced by Kat Mansoor of Halcyon Pictures and executive produced by Rose Garnett of BBC Film and Maxyne Franklin and Sandra Whipham of Doc Society.
This film is an endeavour to consider cows. To move us closer to them. To see both their beauty and the challenge of their lives. Not in a romantic way but in a real way,? Arnold said. ?It?s a film about one dairy cow?s reality and acknowledging her great service to us. When I look at Luma, our cow, I see the whole world in her.?
IFC Films president Arianna Bocco said: ?We are beyond thrilled to reunite with Andrea again after the incredible debut of Fish Tank over a decade ago. Cow is a poignant extension of her remarkable career and we are looking forward to sharing this emotional and deeply universal story with audiences across North America.?
The deal for Cow was was negotiated by Bocco and IFC Director of Acquisitions Aijah Keith with Josh Braun, Ben Schwartz and Matt Burke of Submarine on behalf of the filmmakers. mk2 films handled worldwide sales outside of North America.
Deadline?s Tom Grater first reported that the doc recorded brisk business, with streaming service and theatrical distributor Mubi taking Italy, Germany, Austria and Latin America, as well as UK, Ireland and Turkey. Also taking Cow were ANZ (Madman), France (Ad Vitam), Benelux (Cherry Pickers), Spain (Elastica), Scandinavia (Non Stop), Poland (Against Gravity), Portugal (Alambique), Romania (Independenta), and South Korea (Green Narae).
Cow reps Arnold?s fifth movie. She studied directing at the AFI Conservatory in Los Angeles. After making several short films, she won the Academy Award for Best Live Action Short Film for Wasp in 2005. In 2006, her first film Red Road won the Jury Prize at Cannes Film Festival and the BAFTA Carl Foreman Award. Her second film Fish Tank won the 2009 Cannes Jury Prize and the 2010 BAFTA for Best British Film. Her third film, Wuthering Heights ?was an adaptation of the Emily Brontë novel and premiered in Competition at the 2011 Venice Film Festival. American Honey was shot in the U.S. with Sasha Lane and Shia LaBeouf, and won Arnold her third Cannes Jury Prize in 2016.
She also directed the second season of HBO?s Big Little Lies.
Deadline?s review of the Arnold?s Cow said that it gives audiences ?plenty to chew on.?
We wish to give thanks to the author of this post for this incredible content
IFC Films Picks Up Andrea Arnold?s Buzzy Cannes Doc ?Cow?
EXCLUSIVE: IFC Films has taken North American rights to Andrea Arnold?s well-received Cannes Film Festival documentary Cow.
Cow, which made its world premiere earlier this month in the newly created Cannes Premiere section, reps IFC and Arnold?s second teaming together after her award-winning Fish Tank, which starred Katie Jarvis and Michael Fassbender.
U.S. sales rep Submarine Entertainment brokered the deal for Cow on behalf of the filmmakers. Submarine sold Todd Haynes? The Velvet Underground to Apple TV+ back in October; that doc also made its world premiere at Cannes this year.
Cow was shot over seven years, and repped Arnold?s return to Cannes after her 2016 young-adult movie American Honey. It was produced by Kat Mansoor of Halcyon Pictures and executive produced by Rose Garnett of BBC Film and Maxyne Franklin and Sandra Whipham of Doc Society.
This film is an endeavour to consider cows. To move us closer to them. To see both their beauty and the challenge of their lives. Not in a romantic way but in a real way,? Arnold said. ?It?s a film about one dairy cow?s reality and acknowledging her great service to us. When I look at Luma, our cow, I see the whole world in her.?
IFC Films president Arianna Bocco said: ?We are beyond thrilled to reunite with Andrea again after the incredible debut of Fish Tank over a decade ago. Cow is a poignant extension of her remarkable career and we are looking forward to sharing this emotional and deeply universal story with audiences across North America.?
The deal for Cow was was negotiated by Bocco and IFC Director of Acquisitions Aijah Keith with Josh Braun, Ben Schwartz and Matt Burke of Submarine on behalf of the filmmakers. mk2 films handled worldwide sales outside of North America.
Deadline?s Tom Grater first reported that the doc recorded brisk business, with streaming service and theatrical distributor Mubi taking Italy, Germany, Austria and Latin America, as well as UK, Ireland and Turkey. Also taking Cow were ANZ (Madman), France (Ad Vitam), Benelux (Cherry Pickers), Spain (Elastica), Scandinavia (Non Stop), Poland (Against Gravity), Portugal (Alambique), Romania (Independenta), and South Korea (Green Narae).
Cow reps Arnold?s fifth movie. She studied directing at the AFI Conservatory in Los Angeles. After making several short films, she won the Academy Award for Best Live Action Short Film for Wasp in 2005. In 2006, her first film Red Road won the Jury Prize at Cannes Film Festival and the BAFTA Carl Foreman Award. Her second film Fish Tank won the 2009 Cannes Jury Prize and the 2010 BAFTA for Best British Film. Her third film, Wuthering Heights ?was an adaptation of the Emily Brontë novel and premiered in Competition at the 2011 Venice Film Festival. American Honey was shot in the U.S. with Sasha Lane and Shia LaBeouf, and won Arnold her third Cannes Jury Prize in 2016.
She also directed the second season of HBO?s Big Little Lies.
Deadline?s review of the Arnold?s Cow said that it gives audiences ?plenty to chew on.?
We wish to give thanks to the author of this post for this incredible content
IFC Films Picks Up Andrea Arnold?s Buzzy Cannes Doc ?Cow?
You have viewed over 50 articles in the last 12 months.
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For nearly 15 years now, insidethegames.biz has been at the forefront of reporting fearlessly on what happens in the Olympic Movement. As the first website not to be placed behind a paywall, we have made news about the International Olympic Committee, the Olympic and Paralympic Games, the Commonwealth Games and other major events more accessible than ever to everybody.
insidethegames.biz has established a global reputation for the excellence of its reporting and breadth of its coverage. For many of our readers from more than 200 countries and territories around the world the website is a vital part of their daily lives. The ping of our free daily email alert, sent every morning at 6.30am UK time 365 days a year, landing in their inbox, is as a familiar part of their day as their first cup of coffee.
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As the world begins to emerge from the COVID crisis, insidethegames.biz would like to invite you to help us on our journey by funding our independent journalism. Your vital support would mean we can continue to report so comprehensively on the Olympic Movement and the events that shape it. It would mean we can keep our website open for everyone. Last year, nearly 25 million people read insidethegames.biz, making us by far the biggest source of independent news on what is happening in world sport.
Every contribution, however big or small, will help maintain and improve our worldwide coverage in the year ahead. Our small and dedicated team were extremely busy last year covering the re-arranged Olympic and Paralympic Games in Tokyo, an unprecedented logistical challenge that stretched our tight resources to the limit.
2022 is not going to be any less busy, or less challenging. We have the Winter Olympic and Paralympic Games in Beijing, where we are sending a team of four reporters, the Commonwealth Games in Birmingham, the Summer World University and Asian Games in China, the World Games in Alabama and multiple World Championships. Plus, of course, there is the FIFA World Cup in Qatar.
Unlike many others, insidethegames.biz is available for everyone to read, regardless of what they can afford to pay. We do this because we believe that sport belongs to everybody, and everybody should be able to read information regardless of their financial situation. While others try to benefit financially from information, we are committed to sharing it with as many people as possible. The greater the number of people that can keep up to date with global events, and understand their impact, the more sport will be forced to be transparent.
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ARD and ZDF vow to continue biathlon coverage following IBU scandal
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Keep Olympic News Free
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For nearly 15 years now, insidethegames.biz has been at the forefront of reporting fearlessly on what happens in the Olympic Movement. As the first website not to be placed behind a paywall, we have made news about the International Olympic Committee, the Olympic and Paralympic Games, the Commonwealth Games and other major events more accessible than ever to everybody.
insidethegames.biz has established a global reputation for the excellence of its reporting and breadth of its coverage. For many of our readers from more than 200 countries and territories around the world the website is a vital part of their daily lives. The ping of our free daily email alert, sent every morning at 6.30am UK time 365 days a year, landing in their inbox, is as a familiar part of their day as their first cup of coffee.
Even during the worst times of the COVID-19 pandemic, insidethegames.biz maintained its high standard of reporting on all the news from around the globe on a daily basis. We were the first publication in the world to signal the threat that the Olympic Movement faced from the coronavirus and have provided unparalleled coverage of the pandemic since.
As the world begins to emerge from the COVID crisis, insidethegames.biz would like to invite you to help us on our journey by funding our independent journalism. Your vital support would mean we can continue to report so comprehensively on the Olympic Movement and the events that shape it. It would mean we can keep our website open for everyone. Last year, nearly 25 million people read insidethegames.biz, making us by far the biggest source of independent news on what is happening in world sport.
Every contribution, however big or small, will help maintain and improve our worldwide coverage in the year ahead. Our small and dedicated team were extremely busy last year covering the re-arranged Olympic and Paralympic Games in Tokyo, an unprecedented logistical challenge that stretched our tight resources to the limit.
2022 is not going to be any less busy, or less challenging. We have the Winter Olympic and Paralympic Games in Beijing, where we are sending a team of four reporters, the Commonwealth Games in Birmingham, the Summer World University and Asian Games in China, the World Games in Alabama and multiple World Championships. Plus, of course, there is the FIFA World Cup in Qatar.
Unlike many others, insidethegames.biz is available for everyone to read, regardless of what they can afford to pay. We do this because we believe that sport belongs to everybody, and everybody should be able to read information regardless of their financial situation. While others try to benefit financially from information, we are committed to sharing it with as many people as possible. The greater the number of people that can keep up to date with global events, and understand their impact, the more sport will be forced to be transparent.
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ARD and ZDF vow to continue biathlon coverage following IBU scandal
The Global CNC Lathe Machine Market area is anticipated to increment essentially somewhere in the range of 2021 and 2027, as indicated by a new report by MRInsights.biz. The record conjectures a portion of the overall industry assessment as far as amounts for the expected time frame. The exploration centers around market patterns from that various times that can be used to conjecture market prospects.
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The global CNC Lathe Machine market is divided into a type that includes
The report has been segmented by application into
- Machinery Manufacturing
- Automobile
- Aerospace and Defense
Some of the distinguished players in the market include
- Yamazaki Mazak
- DMG Mori Seiki
- Okuma Corporation
- Makino
- DMTG
- TRUMPF
- JTEKT Corporation
- Haas Automation
- Doosan Infracore
- GF Machining Solutions
- SMTCL
- Chiron
- KOMATSU NTC
- Emag
- INDEX
- MAG IAS
- HERMLE
- AMADA
- GROB
- Schuler
- MHI
- Hardinge Group
- Hurco
Geographically, the market has been segmented into
- North America (United States, Canada and Mexico)
- Europe (Germany, France, United Kingdom, Russia, Italy, and Rest of Europe)
- Asia-Pacific (China, Japan, Korea, India, Southeast Asia, and Australia)
- South America (Brazil, Argentina, Colombia, and Rest of South America)
- Middle East & Africa (Saudi Arabia, UAE, Egypt, South Africa, and Rest of Middle East & Africa)
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Global CNC Lathe Machine Market Business Analysis 2021 by CAGR, Share, Revenue and Prominent Key Players to 2027 – corporate ethos
The Global CNC Lathe Machine Market area is anticipated to increment essentially somewhere in the range of 2021 and 2027, as indicated by a new report by MRInsights.biz. The record conjectures a portion of the overall industry assessment as far as amounts for the expected time frame. The exploration centers around market patterns from that various times that can be used to conjecture market prospects.
The concentrate likewise checks out the Covid-19 and post-Covid patterns in the worldwide CNC Lathe Machine market. The review is a phenomenal asset for finding out about the overall CNC Lathe Machine market, and recent fads, item applications, client and rivalry inspirations, brand situating, and customer conduct.
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Extra information is located using hierarchical and granular perspectives, including past income and deals volume. The report then, at that point, recognizes and examinations market-moving elements, arising patterns, just as significant market drivers, difficulties, openings, and imperatives. The overview?s key discoveries are illustrated in the report?s next part, including the top purposes behind associations to develop inventory network permeability further later on in years. It focuses on a couple of essential features of the current compensation framework in the business.
The global CNC Lathe Machine market is divided into a type that includes
The report has been segmented by application into
- Machinery Manufacturing
- Automobile
- Aerospace and Defense
Some of the distinguished players in the market include
- Yamazaki Mazak
- DMG Mori Seiki
- Okuma Corporation
- Makino
- DMTG
- TRUMPF
- JTEKT Corporation
- Haas Automation
- Doosan Infracore
- GF Machining Solutions
- SMTCL
- Chiron
- KOMATSU NTC
- Emag
- INDEX
- MAG IAS
- HERMLE
- AMADA
- GROB
- Schuler
- MHI
- Hardinge Group
- Hurco
Geographically, the market has been segmented into
- North America (United States, Canada and Mexico)
- Europe (Germany, France, United Kingdom, Russia, Italy, and Rest of Europe)
- Asia-Pacific (China, Japan, Korea, India, Southeast Asia, and Australia)
- South America (Brazil, Argentina, Colombia, and Rest of South America)
- Middle East & Africa (Saudi Arabia, UAE, Egypt, South Africa, and Rest of Middle East & Africa)
ACCESS FULL REPORT: https://www.mrinsights.biz/report/global-cnc-lathe-machine-market-growth-2021-2026-269165.html
Coming up next are a portion of the report?s features:
- It disperses area investigation at the local and public levels.
- Recommendations for new contestants are remembered for the distribution.
- Industry patterns, including drivers, limitations, openings, challenges, hardships, venture possibilities, and suggestions
- It shows data in simple to-look at even and graphical portrayals.
Customization of the Report:
This report can be customized to meet the client?s requirements. Please connect with our sales team (sales@mrinsights.biz), who will ensure that you get a report that suits your needs. You can also get in touch with our executives on +1-201-465-4211 to share your research requirements.
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We would like to thank the writer of this short article for this outstanding web content
Global CNC Lathe Machine Market Business Analysis 2021 by CAGR, Share, Revenue and Prominent Key Players to 2027 – corporate ethos
As Drive My Car sped from a best screenplay win and stellar reviews at Cannes to four Oscar nominations (Best Picture, International Feature, Director, Adapted Screenplay), distributor credits for the three-hour Japanese drama went to Sideshow/Janus Films ? the former a little known new venture from Jonathan Sehring.
The longtime head of IFC Films said he launched Sideshow with ?a group of friends.? Drive is its first project. Other are coming but ?nothing we are ready to talk about yet.? The friends include Jonathan Turell and Peter Becker, partners in Janus Films. Turell is also CEO and Becker president of The Criterion Collection, a separate company that shares a leadership team and frequently works in concert with Janus. Their fathers, the late William Becker and Saul Turell, acquired Janus Films in 1965 and, Sehring said, gave him his first job out of college. ?I worked for their dads. It?s almost like family to me, we have been friends and partners for so long.?
He said the group had been batting around the idea of forming a new company and scouting for acquisitions for a year and a half, without an official name. When they decided to launch Sideshow, ?It wasn?t about Drive My Car, but about making sure that more challenging films weren?t overlooked, especially in this world of DTC and day-and-date, which may sound strange.? (Sehring pioneered day-and-date.)
?After I left IFC and was watching what was going on, and the pandemic, and how movies can get lost, a group of us decided to do something. And then we saw Drive My Car at Cannes.?
?We all loved the movie and thought it was a masterpiece. But it seemed challenging. Nobody thought it would be where it is today. I?d be lying if I said we weren?t surprised.? (The film by Ryusuke Hamaguchi grossed an estimated $148,227 on 162 screens in its 14th weekend, for a $915 per screen average and a new cume of over $1.83K.)
Sehring hired Jason Hellerstein, formerly of Magnolia Pictures, and ?lots of consultants.? He?d seen from his IFC Films days with pics like Boyhood (2014), Carlos (2010) and Che (2008, shown with an intermission) that audiences aren?t necessarily intimidated by run time. Still, Drive did not seem like an obvious sell. It?s in Japanese, the story of a lonely stage director who bonds with a driver assigned to shuttle him back and forth to rehearsals of a production of Chekhov?s Uncle Vanya for a theater festival in Hiroshima.
Sideshow and Janus worked with film-centric social media platform Letterboxd early on and targeted younger audiences in a marketing push that was mostly digital, due to costs. Word of mouth was crucial. Film critics were key ? ?as important to this as to any movie I?ve ever been involved with,? he said. Janus has a long history of bringing international arthouse films to U.S. audiences. And ?The Criterion brands means a lot. We leaned heavily on Criterion. They have great social media network. The people who follow Criterion are the most passionate film lovers in the world.?
The film rolled out slowly and buzz grew. ?We were hoping it would be the Japanese entry ? that was great. Then, we were hoping it could make the initial [international feature] long list ? and that was great.? Then, boom, nominations. ?That was the wonderful thing about the Academy going to ten movies,? he said, referring to the first year the org committed to a full ten Best Picture nominees.
As Omicron recedes and mandates vanish, ?Let?s hope this is it,? he said, and exhibition can really revive. ?The pandemic did keep people away. Theaters were closed and audiences were shy about going back to cinemas. But our industry can?t lose that. Arthouses should never go away.?
We want to give thanks to the writer of this short article for this awesome material
Former IFC Films Boss Jonathan Sehring On Steering ?Drive My Car? From Cannes To The Oscars & His New Venture, Sideshow
As Drive My Car sped from a best screenplay win and stellar reviews at Cannes to four Oscar nominations (Best Picture, International Feature, Director, Adapted Screenplay), distributor credits for the three-hour Japanese drama went to Sideshow/Janus Films ? the former a little known new venture from Jonathan Sehring.
The longtime head of IFC Films said he launched Sideshow with ?a group of friends.? Drive is its first project. Other are coming but ?nothing we are ready to talk about yet.? The friends include Jonathan Turell and Peter Becker, partners in Janus Films. Turell is also CEO and Becker president of The Criterion Collection, a separate company that shares a leadership team and frequently works in concert with Janus. Their fathers, the late William Becker and Saul Turell, acquired Janus Films in 1965 and, Sehring said, gave him his first job out of college. ?I worked for their dads. It?s almost like family to me, we have been friends and partners for so long.?
He said the group had been batting around the idea of forming a new company and scouting for acquisitions for a year and a half, without an official name. When they decided to launch Sideshow, ?It wasn?t about Drive My Car, but about making sure that more challenging films weren?t overlooked, especially in this world of DTC and day-and-date, which may sound strange.? (Sehring pioneered day-and-date.)
?After I left IFC and was watching what was going on, and the pandemic, and how movies can get lost, a group of us decided to do something. And then we saw Drive My Car at Cannes.?
?We all loved the movie and thought it was a masterpiece. But it seemed challenging. Nobody thought it would be where it is today. I?d be lying if I said we weren?t surprised.? (The film by Ryusuke Hamaguchi grossed an estimated $148,227 on 162 screens in its 14th weekend, for a $915 per screen average and a new cume of over $1.83K.)
Sehring hired Jason Hellerstein, formerly of Magnolia Pictures, and ?lots of consultants.? He?d seen from his IFC Films days with pics like Boyhood (2014), Carlos (2010) and Che (2008, shown with an intermission) that audiences aren?t necessarily intimidated by run time. Still, Drive did not seem like an obvious sell. It?s in Japanese, the story of a lonely stage director who bonds with a driver assigned to shuttle him back and forth to rehearsals of a production of Chekhov?s Uncle Vanya for a theater festival in Hiroshima.
Sideshow and Janus worked with film-centric social media platform Letterboxd early on and targeted younger audiences in a marketing push that was mostly digital, due to costs. Word of mouth was crucial. Film critics were key ? ?as important to this as to any movie I?ve ever been involved with,? he said. Janus has a long history of bringing international arthouse films to U.S. audiences. And ?The Criterion brands means a lot. We leaned heavily on Criterion. They have great social media network. The people who follow Criterion are the most passionate film lovers in the world.?
The film rolled out slowly and buzz grew. ?We were hoping it would be the Japanese entry ? that was great. Then, we were hoping it could make the initial [international feature] long list ? and that was great.? Then, boom, nominations. ?That was the wonderful thing about the Academy going to ten movies,? he said, referring to the first year the org committed to a full ten Best Picture nominees.
As Omicron recedes and mandates vanish, ?Let?s hope this is it,? he said, and exhibition can really revive. ?The pandemic did keep people away. Theaters were closed and audiences were shy about going back to cinemas. But our industry can?t lose that. Arthouses should never go away.?
We want to give thanks to the writer of this short article for this awesome material
Former IFC Films Boss Jonathan Sehring On Steering ?Drive My Car? From Cannes To The Oscars & His New Venture, Sideshow
Fox Searchlight Pictures has launched a new TV division, the company announced on Wednesday. The division will produce series for broadcast, cable and streaming.
David Greenbaum and Matthew Greenfield, senior executives with nearly two decades of experience with the company between them, have been promoted to presidents of Production for Film and Television, adding Searchlight Television to their area of oversight.
?At such an exciting moment for the company, we feel it is the perfect time to provide new avenues for visionary and innovative talent as well as to recognize the contributions of David and Matthew,? said Fox Searchlight Pictures Presidents Nancy Utley and Steve Gilula.
Also Read: Guillermo del Toro Signs Overall Production Deal at Fox Searchlight
The news follows a big year for the specialty film label, which recently struck gold with awards juggernauts ?The Shape of Water? and ?Three Billboards Outside Ebbing, Missouri.? Those two films are part of a larger library that the studio plans to leverage for TV and streaming adaptation, in addition to creating original content.
It also comes as Fox Searchlight is headed to Disney as part of the company?s larger deal to acquire 21st Century Fox.
Said Stacey Snider, Chairman and CEO, Twentieth Century Fox Film, ?The relationships that the Searchlight team forges with talent are deep and abiding. It only makes sense to extend these relationships into television so Searchlight can continue to tell great stories on every platform.?
Also Read: ‘Isle of Dogs’ Stays Atop Indie Box Office in Second Weekend as ‘Gemini’ Opens
Said Peter Rice, President, 21st Century Fox, and Chairman and CEO, Fox Networks Group, ?At such an exciting time for storytelling, all the Fox channels and studios are thrilled to be collaborating with Searchlight as it expands its unique brand of groundbreaking excellence into television.?
?Searchlight has always been dedicated to bringing the unique stories of passionate creators to audiences worldwide,? added Greenfield and Greenbaum. ?This evolution allows us to expand upon that mission, and provides our talent new opportunities to tell their stories in the widest variety of creative outlets, all the while maintaining the safe haven and dedicated creative approach that is Searchlight?s hallmark.?
13 Best and Worst Oscars Moments, From Frances McDormand’s Speech to Gael Garcia Bernal’s Singing (Photos)
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Getty Images
We want to say thanks to the writer of this short article for this awesome web content
Fox Searchlight Pictures Launches TV Division
Fox Searchlight Pictures has launched a new TV division, the company announced on Wednesday. The division will produce series for broadcast, cable and streaming.
David Greenbaum and Matthew Greenfield, senior executives with nearly two decades of experience with the company between them, have been promoted to presidents of Production for Film and Television, adding Searchlight Television to their area of oversight.
?At such an exciting moment for the company, we feel it is the perfect time to provide new avenues for visionary and innovative talent as well as to recognize the contributions of David and Matthew,? said Fox Searchlight Pictures Presidents Nancy Utley and Steve Gilula.
Also Read: Guillermo del Toro Signs Overall Production Deal at Fox Searchlight
The news follows a big year for the specialty film label, which recently struck gold with awards juggernauts ?The Shape of Water? and ?Three Billboards Outside Ebbing, Missouri.? Those two films are part of a larger library that the studio plans to leverage for TV and streaming adaptation, in addition to creating original content.
It also comes as Fox Searchlight is headed to Disney as part of the company?s larger deal to acquire 21st Century Fox.
Said Stacey Snider, Chairman and CEO, Twentieth Century Fox Film, ?The relationships that the Searchlight team forges with talent are deep and abiding. It only makes sense to extend these relationships into television so Searchlight can continue to tell great stories on every platform.?
Also Read: ‘Isle of Dogs’ Stays Atop Indie Box Office in Second Weekend as ‘Gemini’ Opens
Said Peter Rice, President, 21st Century Fox, and Chairman and CEO, Fox Networks Group, ?At such an exciting time for storytelling, all the Fox channels and studios are thrilled to be collaborating with Searchlight as it expands its unique brand of groundbreaking excellence into television.?
?Searchlight has always been dedicated to bringing the unique stories of passionate creators to audiences worldwide,? added Greenfield and Greenbaum. ?This evolution allows us to expand upon that mission, and provides our talent new opportunities to tell their stories in the widest variety of creative outlets, all the while maintaining the safe haven and dedicated creative approach that is Searchlight?s hallmark.?
13 Best and Worst Oscars Moments, From Frances McDormand’s Speech to Gael Garcia Bernal’s Singing (Photos)
-
Getty Images
We want to say thanks to the writer of this short article for this awesome web content
Fox Searchlight Pictures Launches TV Division
Discovery Communications has reached a sublicensing agreement with ARD and ZDF which will see the two German public broadcasters cover the Olympic Games between 2018 and 2024.
The package will include the free-to-air audiovisual rights to the Winter Olympic Games PyeongChang 2018 and Beijing 2022, as well as the Summer Olympic Games Tokyo 2020 and 2024, which is expected to take place in Paris, although the host city is yet to be officially confirmed.
Daily coverage of all four events will be produced by Discovery-owned channel Eurosport, and will alternate between ARD and ZDF. The transmissions will be available to German viewers on TV and via streaming on mobile devices. Eurosport will retain exclusive live coverage of some sports, including snowboard, ice hockey, figure skating and short-track speed skating at PyeongChang.
The agreement represents a major U-turn after Discovery, which purchased the European TV rights to the Games between 2018 and 2024 in a ?1.3 billion (US$1.5 billion) deal in June 2015, had previously announced that Eurosport would be the exclusive broadcaster in Germany of both summer and winter editions of the flagship event, retaining free-to-air coverage on its own platforms.
However, just over half a year on from the collapse of initial negotiations, ARD and ZDF re-entered talks with Discovery in July.
Peter Hutton, chief executive of Eurosport, said: ?This long-term commitment between Discovery and ARD/ZDF is another example of our game-changing approach to premium live sport, empowering viewers to watch the biggest moments in sport whenever and however they choose.
?For the Olympic Games, our ambition is to share the world?s greatest event with more people, on more screens, than ever before. Establishing free-to-air partnerships with the best national broadcasters across Europe, such as ARD/ZDF, will enable us to fulfil this transformational goal.?
Susanne Aigner-Drews, managing director of Discovery Networks Germany, added: ?We have discussed a partnership with ARD/ZDF for some time and our new collaboration for the Olympic Games until 2024 shows our desire to put viewers first. They will enjoy unrivalled coverage and have the chance to follow every moment, through more than 100 events, for the first time with Eurosport.?
Discovery Communications has reached a sublicensing agreement with ARD and ZDF which will see the two German public broadcasters cover the Olympic Games between 2018 and 2024.
The package will include the free-to-air audiovisual rights to the Winter Olympic Games PyeongChang 2018 and Beijing 2022, as well as the Summer Olympic Games Tokyo 2020 and 2024, which is expected to take place in Paris, although the host city is yet to be officially confirmed.
Daily coverage of all four events will be produced by Discovery-owned channel Eurosport, and will alternate between ARD and ZDF. The transmissions will be available to German viewers on TV and via streaming on mobile devices. Eurosport will retain exclusive live coverage of some sports, including snowboard, ice hockey, figure skating and short-track speed skating at PyeongChang.
The agreement represents a major U-turn after Discovery, which purchased the European TV rights to the Games between 2018 and 2024 in a ?1.3 billion (US$1.5 billion) deal in June 2015, had previously announced that Eurosport would be the exclusive broadcaster in Germany of both summer and winter editions of the flagship event, retaining free-to-air coverage on its own platforms.
However, just over half a year on from the collapse of initial negotiations, ARD and ZDF re-entered talks with Discovery in July.
Peter Hutton, chief executive of Eurosport, said: ?This long-term commitment between Discovery and ARD/ZDF is another example of our game-changing approach to premium live sport, empowering viewers to watch the biggest moments in sport whenever and however they choose.
?For the Olympic Games, our ambition is to share the world?s greatest event with more people, on more screens, than ever before. Establishing free-to-air partnerships with the best national broadcasters across Europe, such as ARD/ZDF, will enable us to fulfil this transformational goal.?
Susanne Aigner-Drews, managing director of Discovery Networks Germany, added: ?We have discussed a partnership with ARD/ZDF for some time and our new collaboration for the Olympic Games until 2024 shows our desire to put viewers first. They will enjoy unrivalled coverage and have the chance to follow every moment, through more than 100 events, for the first time with Eurosport.?
We would like to say thanks to the author of this write-up for this amazing web content
Discovery confirms Olympic deal with ARD and ZDF – SportsPro
Discovery Communications has reached a sublicensing agreement with ARD and ZDF which will see the two German public broadcasters cover the Olympic Games between 2018 and 2024.
The package will include the free-to-air audiovisual rights to the Winter Olympic Games PyeongChang 2018 and Beijing 2022, as well as the Summer Olympic Games Tokyo 2020 and 2024, which is expected to take place in Paris, although the host city is yet to be officially confirmed.
Daily coverage of all four events will be produced by Discovery-owned channel Eurosport, and will alternate between ARD and ZDF. The transmissions will be available to German viewers on TV and via streaming on mobile devices. Eurosport will retain exclusive live coverage of some sports, including snowboard, ice hockey, figure skating and short-track speed skating at PyeongChang.
The agreement represents a major U-turn after Discovery, which purchased the European TV rights to the Games between 2018 and 2024 in a ?1.3 billion (US$1.5 billion) deal in June 2015, had previously announced that Eurosport would be the exclusive broadcaster in Germany of both summer and winter editions of the flagship event, retaining free-to-air coverage on its own platforms.
However, just over half a year on from the collapse of initial negotiations, ARD and ZDF re-entered talks with Discovery in July.
Peter Hutton, chief executive of Eurosport, said: ?This long-term commitment between Discovery and ARD/ZDF is another example of our game-changing approach to premium live sport, empowering viewers to watch the biggest moments in sport whenever and however they choose.
?For the Olympic Games, our ambition is to share the world?s greatest event with more people, on more screens, than ever before. Establishing free-to-air partnerships with the best national broadcasters across Europe, such as ARD/ZDF, will enable us to fulfil this transformational goal.?
Susanne Aigner-Drews, managing director of Discovery Networks Germany, added: ?We have discussed a partnership with ARD/ZDF for some time and our new collaboration for the Olympic Games until 2024 shows our desire to put viewers first. They will enjoy unrivalled coverage and have the chance to follow every moment, through more than 100 events, for the first time with Eurosport.?
Discovery Communications has reached a sublicensing agreement with ARD and ZDF which will see the two German public broadcasters cover the Olympic Games between 2018 and 2024.
The package will include the free-to-air audiovisual rights to the Winter Olympic Games PyeongChang 2018 and Beijing 2022, as well as the Summer Olympic Games Tokyo 2020 and 2024, which is expected to take place in Paris, although the host city is yet to be officially confirmed.
Daily coverage of all four events will be produced by Discovery-owned channel Eurosport, and will alternate between ARD and ZDF. The transmissions will be available to German viewers on TV and via streaming on mobile devices. Eurosport will retain exclusive live coverage of some sports, including snowboard, ice hockey, figure skating and short-track speed skating at PyeongChang.
The agreement represents a major U-turn after Discovery, which purchased the European TV rights to the Games between 2018 and 2024 in a ?1.3 billion (US$1.5 billion) deal in June 2015, had previously announced that Eurosport would be the exclusive broadcaster in Germany of both summer and winter editions of the flagship event, retaining free-to-air coverage on its own platforms.
However, just over half a year on from the collapse of initial negotiations, ARD and ZDF re-entered talks with Discovery in July.
Peter Hutton, chief executive of Eurosport, said: ?This long-term commitment between Discovery and ARD/ZDF is another example of our game-changing approach to premium live sport, empowering viewers to watch the biggest moments in sport whenever and however they choose.
?For the Olympic Games, our ambition is to share the world?s greatest event with more people, on more screens, than ever before. Establishing free-to-air partnerships with the best national broadcasters across Europe, such as ARD/ZDF, will enable us to fulfil this transformational goal.?
Susanne Aigner-Drews, managing director of Discovery Networks Germany, added: ?We have discussed a partnership with ARD/ZDF for some time and our new collaboration for the Olympic Games until 2024 shows our desire to put viewers first. They will enjoy unrivalled coverage and have the chance to follow every moment, through more than 100 events, for the first time with Eurosport.?
We would like to say thanks to the author of this write-up for this amazing web content
Discovery confirms Olympic deal with ARD and ZDF – SportsPro
?I don?t want to be that person who lives in a town and says, ?I used to remember when that was a movie theater,? ? Arianna Bocco tells Deadline as the IFC Films president and New Jersey native formally joins Bradley Lab ? a subsidiary of theater developer/manager Cinema Lab.
The group is planning to reopen The Bradley, a Monmouth, NJ, theater that dates from 1915 and a project Bocco brought them. ?It?s one of the last one-room theaters in the state and the thought of it going by the wayside and becoming something else pained me,? she said.
The original vaudeville theater at Bradley Beach was first called The Palace before being renamed The Beach and then The Showroom. It will reopen late this year with three high-tech auditoriums showing studio films, independent releases, curated series and director Q&As. It will offer free screenings for families with special needs children, and serve as a venue for local events and fundraisers.
The idea is ?to create a community focused, technology-first moviegoing experience,? Cinema Lab said, one that?s closely tied to the town and caters to both year-around residents and a large summer population.
?When you think about the marketplace, it?s clear that audiences have a lot of options and you have to fight more for their attention and make it more interesting for them to to leave their homes,? Bocco said.
She calls cinemagoing an irreplaceable social experience but thinks its future requires more direct relationships with audiences, ?looking at it as more of a gathering space,? as well as choice.
?If we want to do a retrospective, that?s great. But we can also play Spider-Man,? she said. ?Arthouse people love to see commercial movies as well ? [it?s about] giving people what they want.?
Bocco, a native of Freehold, NJ and now a Bradley Beach resident, said her local theater was formative to her love of the movies and eventual career, which includes a decade overseeing acquisitions for IFC Films and IFC Midnight before being named president. She previously ran the independent feature packaging division at Gersh and worked as SVP Acquisitions at Miramax Films and VP Acquisitions and Co-Production at New Line Cinema and Fine Line Features.
She said she approached local officials when the closed theater was put up for sale and eventually connected with Cinema Lab. The company opened The Village at SOPAC, in Orange County NJ, in July.
?Arianna?s passion and love for Bradley Beach and cinema as a whole was the engine that got this project rolling, and we are thrilled she brought this project to our attention,? said Cinema Lab CEO Luke Parker Bowles, a producer and nephew of Camilla Parker Bowles.
Cinema Lab also runs The Cañon (Cañon City, CO) and is planning to open The Maplewood (in Maplewood, NJ) later this year. It aims to open some 15 venues over the next five years.
Other partners and investors behind The Bradley include Andy Childs, original member of the Soho House North American team, and film marketing exec Brandon Jones, who are COO and chief marketing officer of Cinema Lab, respectively; actor Patrick Wilson; Vincent Onorati; and former Stitcher CEO Erik Diehn.
The move comes as exhibition struggles to emerge from a Covid slump, particularly specialty film and arthouse theaters that historically depend on older demos, which have been the slowest to return; some may have fallen away for good. Distributors including IFC have been experimenting with release patterns to adapt to a new normal. Bocco believes older audiences do want to go back. ?They just need to feel it?s a safe space.?
And as Omicron recedes, ?All the signs are pointing up,? Bocco said. ?I?m encouraged.?
We would love to thank the author of this post for this amazing content
IFC Films? Arianna Bocco On Plans To Reopen Historic Cinema In Her Hometown & The Importance Of Local Theaters
?I don?t want to be that person who lives in a town and says, ?I used to remember when that was a movie theater,? ? Arianna Bocco tells Deadline as the IFC Films president and New Jersey native formally joins Bradley Lab ? a subsidiary of theater developer/manager Cinema Lab.
The group is planning to reopen The Bradley, a Monmouth, NJ, theater that dates from 1915 and a project Bocco brought them. ?It?s one of the last one-room theaters in the state and the thought of it going by the wayside and becoming something else pained me,? she said.
The original vaudeville theater at Bradley Beach was first called The Palace before being renamed The Beach and then The Showroom. It will reopen late this year with three high-tech auditoriums showing studio films, independent releases, curated series and director Q&As. It will offer free screenings for families with special needs children, and serve as a venue for local events and fundraisers.
The idea is ?to create a community focused, technology-first moviegoing experience,? Cinema Lab said, one that?s closely tied to the town and caters to both year-around residents and a large summer population.
?When you think about the marketplace, it?s clear that audiences have a lot of options and you have to fight more for their attention and make it more interesting for them to to leave their homes,? Bocco said.
She calls cinemagoing an irreplaceable social experience but thinks its future requires more direct relationships with audiences, ?looking at it as more of a gathering space,? as well as choice.
?If we want to do a retrospective, that?s great. But we can also play Spider-Man,? she said. ?Arthouse people love to see commercial movies as well ? [it?s about] giving people what they want.?
Bocco, a native of Freehold, NJ and now a Bradley Beach resident, said her local theater was formative to her love of the movies and eventual career, which includes a decade overseeing acquisitions for IFC Films and IFC Midnight before being named president. She previously ran the independent feature packaging division at Gersh and worked as SVP Acquisitions at Miramax Films and VP Acquisitions and Co-Production at New Line Cinema and Fine Line Features.
She said she approached local officials when the closed theater was put up for sale and eventually connected with Cinema Lab. The company opened The Village at SOPAC, in Orange County NJ, in July.
?Arianna?s passion and love for Bradley Beach and cinema as a whole was the engine that got this project rolling, and we are thrilled she brought this project to our attention,? said Cinema Lab CEO Luke Parker Bowles, a producer and nephew of Camilla Parker Bowles.
Cinema Lab also runs The Cañon (Cañon City, CO) and is planning to open The Maplewood (in Maplewood, NJ) later this year. It aims to open some 15 venues over the next five years.
Other partners and investors behind The Bradley include Andy Childs, original member of the Soho House North American team, and film marketing exec Brandon Jones, who are COO and chief marketing officer of Cinema Lab, respectively; actor Patrick Wilson; Vincent Onorati; and former Stitcher CEO Erik Diehn.
The move comes as exhibition struggles to emerge from a Covid slump, particularly specialty film and arthouse theaters that historically depend on older demos, which have been the slowest to return; some may have fallen away for good. Distributors including IFC have been experimenting with release patterns to adapt to a new normal. Bocco believes older audiences do want to go back. ?They just need to feel it?s a safe space.?
And as Omicron recedes, ?All the signs are pointing up,? Bocco said. ?I?m encouraged.?
We would love to thank the author of this post for this amazing content
IFC Films? Arianna Bocco On Plans To Reopen Historic Cinema In Her Hometown & The Importance Of Local Theaters
Arrow Pictures has won a three-way commission from PBS, ARTE France and Channel 4 to make Generation 9/11, a feature-length documentary which takes a unique look at the impact of the 9/11 tragedy on its 20th anniversary.
An estimated one hundred and eight children were in their mother?s womb when they lost their fathers in the terrorist attacks of 11 September 2001. Generation 9/11 (1 x 120 mins) is an intimate film telling the stories of their children, born in the wake of their deaths. The film is distributed by PBS International.
John Smithson, Executive Producer and Creative Director, Arrow Pictures, says: ?We have made a number of films about 9/11, but they have all focused on the day itself. What?s exciting about this project is having the opportunity to examine life in the wake of 9/11, through the eyes of the children who have all been uniquely shaped by the tragedy.?
Following the lives of this unique group of teenagers, Generation 9/11 will document what?s happened to them and their families in the 20 years following al-Qaeda?s assault. Whilst the film weaves together shared chapters of the lives of these children ? their first day of school; the first time the absence of their father was felt; the moment they learned how their father died ? it also serves as a lens to look at the broader world.
?Having the backing of three significant and equal partners through both the development and commissioning process has fuelled our creative ambition for this film,? adds Smithson. ?Our research team spent months identifying all the individual stories. From there, we will focus down on a small cross-section of children whose fathers died on that fateful day, people from all sorts of diverse backgrounds across America and the world beyond to unveil the hidden cost of the tragedy.?
Generation 9/11 will follow its protagonists on their personal journey over the last 20 years using a combination of new footage, family photos and home archives. It follows in the footsteps of a range of 9/11 films for which John Smithson has been responsible, including the Emmy-nominated 9/11: Phone Calls From The Towers (1 x 90 for Channel 4) and the BAFTA-nominated 9/11: The Falling Man (1x 90 for Channel 4/Discovery Channel).
Generation 9/11 is directed by Liz Mermin. An award-winning filmmaker who has directed high-profile documentaries for Netflix, BBC, CNN, PBS, Sundance Channel, many more, Mermin?s films include First Ladies, detailed portraits of Michelle Obama and Nancy Reagan for CNN; and The Beauty Academy of Kabul for BBC Storyville. Lucie Ridout is the film?s Executive Producer.
Bill Gardner, VP of Programming and Development, PBS, says: ?From our earliest conversations at concept stage, we all knew this was a special project. The world, not just America, was forever changed as a result of 9/11 and its aftermath, and we wanted to explore that ongoing, global impact in a very direct, personal way. The lives of these young people and their families have been shaped by 9/11 in a variety of intimate ways, and their openness to sharing their lives allows us to thoughtfully explore the nuances of the 20 eventful years since that unforgettable day.?
Mark Edwards, Commissioning Editor of International Co-pros, ARTE France, comments: ?For us this project has been all about giving a voice to this new generation coming of age and turning 20 this year. This particular group, of course, was very directly impacted by the legacy of 9/11, but their outlook also joins up with that of millions of other young people who are looking to find their place in the world and engage with the very real challenges we all are facing. Just as 9/11 was an event with global consequences, so too is the pandemic. The circumstances in which the film has been made have added an extra intensity and layer of introspection to their stories.?
Sacha Mirzoeff, Factual Commissioner, Channel 4, says: ?Most 9/11 stories are set around that fateful day two decades ago and the immediate aftermath. Generation 9/11 is the first documentary I?m aware of to look forwards and the voice of the film is provided by the sons and daughters who lost their fathers in the attack. They?ve all lived in the shadow of that terrorist event, and many others after, and have unique takes on our world that help define our future. To hear directly from young people today about their views on the multitude of issues they face in this fast-changing environment feels critical. Doing that with the intimate human documentary human touch that Liz Mermin and Arrow Pictures provides feels particularly exciting.?
Tom Koch, VP of PBS International, adds: ?It is very unique for three broadcasters to sit down and agree on a story at the start. We all felt that following the lives of these children growing up in a post-9/11 world would give an incredibly important perspective on the last 20 years. We look forward to sharing their stories in Generation 9/11 with the global audience.?
Generation 9/11 will be delivered prior to the 20th anniversary of September 11 as a two-hour film, with cuts available to broadcasters in a 2 x 60-minute package. It was commissioned by Bill Gardner, VP of Programming and Development at PBS; Mark Edwards, Commissioning Editor of International Co-pros at ARTE France; and Sacha Mirzoeff, Factual Commissioner at Channel 4. An Arrow Pictures production, Generation 9/11 is Exec Produced by Lucie Ridout. The Creative Director is John Smithson.
Jon Creamer
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Arrow to make 9/11 doc for PBS, ARTE, C4 – Televisual
Arrow Pictures has won a three-way commission from PBS, ARTE France and Channel 4 to make Generation 9/11, a feature-length documentary which takes a unique look at the impact of the 9/11 tragedy on its 20th anniversary.
An estimated one hundred and eight children were in their mother?s womb when they lost their fathers in the terrorist attacks of 11 September 2001. Generation 9/11 (1 x 120 mins) is an intimate film telling the stories of their children, born in the wake of their deaths. The film is distributed by PBS International.
John Smithson, Executive Producer and Creative Director, Arrow Pictures, says: ?We have made a number of films about 9/11, but they have all focused on the day itself. What?s exciting about this project is having the opportunity to examine life in the wake of 9/11, through the eyes of the children who have all been uniquely shaped by the tragedy.?
Following the lives of this unique group of teenagers, Generation 9/11 will document what?s happened to them and their families in the 20 years following al-Qaeda?s assault. Whilst the film weaves together shared chapters of the lives of these children ? their first day of school; the first time the absence of their father was felt; the moment they learned how their father died ? it also serves as a lens to look at the broader world.
?Having the backing of three significant and equal partners through both the development and commissioning process has fuelled our creative ambition for this film,? adds Smithson. ?Our research team spent months identifying all the individual stories. From there, we will focus down on a small cross-section of children whose fathers died on that fateful day, people from all sorts of diverse backgrounds across America and the world beyond to unveil the hidden cost of the tragedy.?
Generation 9/11 will follow its protagonists on their personal journey over the last 20 years using a combination of new footage, family photos and home archives. It follows in the footsteps of a range of 9/11 films for which John Smithson has been responsible, including the Emmy-nominated 9/11: Phone Calls From The Towers (1 x 90 for Channel 4) and the BAFTA-nominated 9/11: The Falling Man (1x 90 for Channel 4/Discovery Channel).
Generation 9/11 is directed by Liz Mermin. An award-winning filmmaker who has directed high-profile documentaries for Netflix, BBC, CNN, PBS, Sundance Channel, many more, Mermin?s films include First Ladies, detailed portraits of Michelle Obama and Nancy Reagan for CNN; and The Beauty Academy of Kabul for BBC Storyville. Lucie Ridout is the film?s Executive Producer.
Bill Gardner, VP of Programming and Development, PBS, says: ?From our earliest conversations at concept stage, we all knew this was a special project. The world, not just America, was forever changed as a result of 9/11 and its aftermath, and we wanted to explore that ongoing, global impact in a very direct, personal way. The lives of these young people and their families have been shaped by 9/11 in a variety of intimate ways, and their openness to sharing their lives allows us to thoughtfully explore the nuances of the 20 eventful years since that unforgettable day.?
Mark Edwards, Commissioning Editor of International Co-pros, ARTE France, comments: ?For us this project has been all about giving a voice to this new generation coming of age and turning 20 this year. This particular group, of course, was very directly impacted by the legacy of 9/11, but their outlook also joins up with that of millions of other young people who are looking to find their place in the world and engage with the very real challenges we all are facing. Just as 9/11 was an event with global consequences, so too is the pandemic. The circumstances in which the film has been made have added an extra intensity and layer of introspection to their stories.?
Sacha Mirzoeff, Factual Commissioner, Channel 4, says: ?Most 9/11 stories are set around that fateful day two decades ago and the immediate aftermath. Generation 9/11 is the first documentary I?m aware of to look forwards and the voice of the film is provided by the sons and daughters who lost their fathers in the attack. They?ve all lived in the shadow of that terrorist event, and many others after, and have unique takes on our world that help define our future. To hear directly from young people today about their views on the multitude of issues they face in this fast-changing environment feels critical. Doing that with the intimate human documentary human touch that Liz Mermin and Arrow Pictures provides feels particularly exciting.?
Tom Koch, VP of PBS International, adds: ?It is very unique for three broadcasters to sit down and agree on a story at the start. We all felt that following the lives of these children growing up in a post-9/11 world would give an incredibly important perspective on the last 20 years. We look forward to sharing their stories in Generation 9/11 with the global audience.?
Generation 9/11 will be delivered prior to the 20th anniversary of September 11 as a two-hour film, with cuts available to broadcasters in a 2 x 60-minute package. It was commissioned by Bill Gardner, VP of Programming and Development at PBS; Mark Edwards, Commissioning Editor of International Co-pros at ARTE France; and Sacha Mirzoeff, Factual Commissioner at Channel 4. An Arrow Pictures production, Generation 9/11 is Exec Produced by Lucie Ridout. The Creative Director is John Smithson.
Jon Creamer
Share this story
We wish to thank the writer of this short article for this outstanding content
Arrow to make 9/11 doc for PBS, ARTE, C4 – Televisual