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How do movie genre tastes change with age? • Stephen Follows
<p>The data for today’s piece came from Pearl and Dean’s public microsite, comScore, IMDb and the Office of National Statistics.  It focuses on films released between 2005 and 2015, inclusive.

Movies were permitted to have up to three genres, and I used IMDb’s genre classification system.  This explains why the overall choices of any age group add up to more than 100%.  For example, Alien Vs Predator is not only a bad action movie but also a bad horror movie and a bad sci-fi movie.

The Pearl and Dean exit poll data is designed to help cinema advertisers and it does not cover all movies, meaning that there will be a slight bias towards the bigger, advertiser-friendly movies.  That said, in this article I’m looking at the overall UK cinema population and the majority of those tickets are bought for the major movies (an average of 75% of the box office goes to the 50 highest grossing films each year). Therefore, if your focus is independent or art-house cinema then you may find that your audience skews older.

The chart comparing UK population and cinema receipts requires some nit-picky detail to ensure we all understand exactly what it’s showing.  The UK population data is from the Office of National Statistics in 2014 and shows what percentage of the UK population aged over six years old falls into each of the six categories.  I excluded everybody aged six and under because we don’t have cinema data for that age group and I wanted to compare like with like.  The cinema data is a calculation based on exit polls and the total box office income.</p>

Comedy and adventure decline, action and SF have a mid-age peak, drama and romance grow. Now go and finance a film.
hollywood  film  genre  age 
yesterday by charlesarthur
‘Skyscraper’ Box Office: Dwayne Johnson’s Latest Fails to Measure Up | Observer
China is on pace to overtake the U.S. as the most important box office region in the world. Thanks to the involvement of Legendary Pictures, which is owned by Chinese conglomerate Wanda Group, Skyscraper scored a rare Chinese release date during the country’s annual summer blackout of Hollywood imports. The film will need to do well there to avoid becoming a worldwide bust.

Once upon a time, the names above the marquee were enough to attract audiences. But with the rise of inexpensive and convenient home entertainment and the boom in television quality over the last 20 years, audiences aren’t as inclined to pop into theaters. When they are, it’s for concepts they already know; brands like Marvel and Star Wars still sit atop the mountain. The reason why the film community gets so excited when an original concept such as Get Out or A Quiet Place hit it big is because it happens so infrequently these days. International audiences are also keen on specific types of blockbusters—with everyone capable of impressive CGI these days, tentpoles need to craft the right kind of fantasy Hollywood action in order to impress across the globe.

At the end of the day, if you make a good movie, ticket buyers should theoretically show up. That isn’t always the case, unfortunately, but delivering a quality final product should be the first goal of any studio. But the reality of today’s marketplace demands certain fine-tuning to give a movie the best shot at box office success. Hollywood isn’t as willing to take expensive risks on original concepts and buzz geared towards overseas audiences can’t be understated.
the-rock  hollywood  china-movies 
3 days ago by lwhlihu
Sandra Oh on Her Historic Emmy Nomination for ‘Killing Eve’ - The New York Times
You want to know what? Let’s celebrate it, man. I’m serious, just [expletive] celebrate it. It’s like, we’ve got to start somewhere, we’ve got to start somewhere. And I’m happy to get that ball rolling.

But I am absolutely aware of the significance and take it very seriously because we need it. Not only just for my community — and hopefully what that means to be represented and seen — but also for culture. We’re a part of it. Let us not only see ourselves, but let others see us.
emmy-awards  sandra-oh  aisha-harris  the-new-york-times  interviews  representation  diversity-in-hollywood  hollywood  killing-ev-tv 
8 days ago by yolandaenoch
Hunting the con queen of Hollywood • Hollywood Reporter
Scott Johnson, with a fascinating piece about someone who impersonates high-level Hollywood studio execs over the phone and has fooled a stack of people in the business:
<p>The imposter works by using a combination of deceit, charm and intimidation to manipulate her marks. The victims travel to Indonesia on a promise of work and, once there, are asked to hand over relatively modest amounts of money at a time, up to $3,000 in some cases, to help cover expenses for things like car travel, translation, tour guides and fixers. A designated Indonesian "moneyman" arrives on a moped to collect the funds. Needless to say, the promised reimbursements never arrive. Over time, these small sums add up. All told, hundreds of thousands of dollars have been collectively stolen this way. "Even if they're bringing in $300,000 a year, that's a huge amount of money in Indonesia," says Kotsianas, who believes the same group is behind all of the cases.

At the center of the organization is the impersonator — a woman whose sophisti­cated research, skill with accents and deft psychological and emotional manipulation have earned her the begrudging respect of her victims and trackers. K2 investigators believe the woman is the "talent" of an operation that, while relatively small, may have legs on at least three continents, including the U.S., Asia and Europe. The victims come from all over — the U.K., Europe and the U.S. primarily — and represent a wide swath of creative industries: hairstylists, stuntmen, military advisers, photographers and cinematographers.

The Hollywood Reporter has obtained two separate audio recordings of the woman's voice, which has never been publicly disclosed. Both of the tapes date from an earlier incarnation of the scam, when the imposter was targeting makeup artists in the U.K. at the end of 2015 and early 2016. In one, she speaks in a distinct American twang, a flat, almost nasal intonation, berating her interlocutor (in this case, a victim's agent) about a missed flight. "To be very blunt with you, when I travel internationally, I use this number," she says, exasperated. "This number can be reached, it was registered 10 years ago. OK?"</p>

There's audio as well, if you want to hear how she sounds.
hollywood  scam  fraud 
8 days ago by charlesarthur
‘Roe v. Wade’ Script Leak: Pro-Life Movie Pushes Conspiracy Theories and Lies
About ten pages in, however, things take a very pro-life turn. The year is 1966, and elderly Margaret Sanger, the world’s preeminent birth-control activist, is speaking to Larry Lader on her deathbed. Just before she passes, her dying words to Lader are as follows: “We do not want word to go out that we want to exterminate the Negro population,” she says. “Larry, they can’t see this coming.” The reproductive rights movement is thus framed by the film as a racist plot on a par with Hitler’s Final Solution.

This oft-repeated conservative falsehood, shared by everyone from Herman Cain to Ben Carson, stems from the willful misinterpretation of a 1939 letter Sanger wrote wherein she outlined her plan to connect with prominent leaders in the African-American community and allay their possible fears concerning family-planning clinics. Sanger wrote, “We do not want word to go out that we want to exterminate the Negro population, and the minister is the man who can straighten out that idea if it ever occurs to any of their more rebellious members.”

In addition to Sanger, the villains of Roe v. Wade are undoubtedly the abortion-rights movement’s inner circle, consisting of Larry Lader, Cyril Means, Dr. Nathanson and Betty Friedan. They’re depicted as a shady cabal of rich lefty Jews who meet in exotic locations like St. Croix and the Russian Tea Room to boast about the money they’re raking in through abortions—over daiquiris or pastrami sandwiches. “It pays to fight for a good cause!” Lader exclaims at one point before the crew clinks martini glasses; at another, Dr. Nathanson sings a song that goes “There’s a fortune… in abortion,” which he’d referenced in his book Aborting America.
abortion  reproductiveRights  propaganda  hollywood  screenplays 
9 days ago by campylobacter

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