PRESS RELEASE:

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CINE EUROPE, BARCELONA, SPAIN, JUNE 23RD 2015 - Harkness Screens (booth 323) the world's leading screen technology company and thought-leaders in on-screen brightness is the preferred screen partner for Cine Europe 2015, the leading professional exhibition for European cinema.
The show's auditorium in the CCIB (in Barcelona) features an 18.35 x 7.90m Harkness produced Precision White 140 low gain 3D screen powered by RealD's pioneering coating technology.

Designed to enhance both 2D and 3D presentations, Precision White Screen technology from Harkness Screens and RealD has wide viewing angles and significantly improved uniformity at the edge of the screen. The improved screen efficiency results in significantly more total light coming off the screen, providing more uniform brightness and a richer visual image for all content compared to traditional first generation silver screens.

"We're absolutely delighted to once again be the screen of choice for CineEurope and to support both RealD and indeed the team at CineEurope in providing the best premium 2D and 3D viewing experience for film studios to show their content to European exhibitors. Cinema-going is all about the experience and with Precision White screens, the RealD 3D viewing experience is incredible" says Richard Mitchell, Head of Global Marketing at Harkness Screens.

Available exclusively for RealD 3D customers utilizing RealD 3D Cinema Systems, Precision White Screen technology from Harkness Screens is used for cinema projection and combines 2D white screen performance with the ability to project polarized 3D images.

 

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PRESS RELEASE:

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Cinema Equipment Supplies (CE+S) and Unique Digital Ltd. are pleased to announce their new partnership, blending the market leading positions of CE+S and Unique Digital to provide a comprehensive software and support solution for the American markets.

"The combination of CE+S's market knowledge, innovation, rich history and respected track record aligns with Unique Digital's ground-breaking and deployed product offerings. This will create a seriously strong offering in the marketplace" commented Mark Stephen, Director of Sales at Unique Digital. "The team at CE+S gets it! Simple as that. We have found developing the relationship with the team to be an absolute pleasure".
Mark Stephen added "The combination of both of our existing software products for the market, with an eye on the new products being developed for release in H2 2015, make this the ideal time for both sides to combine forces".

The partnership of Unique Digital's exceptional workflow products in RosettabridgeTM TMS and BasekeyTM, its game changing content distributionproducts such as Movie TransitTM, together with CE+S's mobile proactive monitoring and support solution, CieloTM, provides the most robust set of solutions for the industry. 

"Adding Unique Digital offerings to CE+S's comprehensive portfolio of solutions adds tremendous value for our customers in The Americas," commented Alex Younger, VP of Sales at CE+S. "Both companies share the same vision of driving operational efficiencies and revenue growth for our customers, so this new partnership makes sense for everyone."

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Interview by Daniel Loria

You've worked with Seth MacFarlane long enough to be able to consider both of you frequent collaborators. How did your working relationship start with the first Ted film?

This will be our third film and we've also worked on a television series together. I'd been pitched the original Ted a couple of years before it was made. [Seth McFarlane] had a very clear vision of how he saw the teddy bear; he wanted the movements to resemble the physical movements of a person as opposed to the type of Pixar style animation. It was difficult to figure out how to create that concept in an R-rated comedy because these movies aren't really the most expensive movies to make. As a producer, I read every draft of the screenplay, and my lasting impression with Ted was laughing out loud even after reading the same joke for the tenth time. I connected in a very big way with the
humor and I'm a huge fan of Family Guy, so it was truly an honor to work with Seth.

The two of you have also worked together for television.

My collaboration with Seth grew from that experience and we made A Million Ways to Die in the West and now Ted 2. Along the way, I was introduced to Ann Druyan, Carl Sagan's widow, and exposed to the chance of rebooting Cosmos on TV. I have a son who studies physics in college and I've always been a bit of a science geek, but to be exposed at that level...I jumped in with both feet and Seth had our back all along the way. I'm thrilled to have had the opportunity to work with him in these three films and television series.

What was the hardest part of getting the first Ted film off the ground?

unnamed-2.jpgOur challenge was to create Ted within our budget and our schedule while still allowing for the opportunity of improvisational acting between the CGI character and the actors. We came up with a way where Seth could record his dialogue in the exact same environment while directing the movie, eye-line pulls and reference materials that were easy to capture and didn't slow down the production team or the actors and a way where Seth could wear the motion capture system without requiring a volume to surround him in. The result was that we were able to capture his subtle performance reactions, the physicality to the lines, and it made the humor come to life because it was captured at the moment with the other actors reacting. I think it was a big plus in creating the kind of vitality and energy required by comedy. We found a couple of great animation houses, a bit off-the-beaten-path. We had to match the CGI with the teddy bear we'd designed, so these two separate animation houses in two different continents helped us bring that to life.

Ted ended up being a tremendous box office hit, including more than $330 million overseas. What was that experience like and what do you think contributed to the film's global success?

It was nothing short of thrilling. If you read a script ten times and you're still laughing out loud, you hope you're not just dumb or crazy - a lot of people embraced. I think it's a testament to the pairing of Mark Wahlberg and Seth's performance as Ted, the writing, the idea of taking a Pixar movie -what if your teddy bear came to life?- and flipping it on its head twenty years later. When we set out to do it, our concept was to create a world in which everything feels familiar. People react to Ted in the same way people react to The Muppets, they don't go "Oh my god, there's a talking frog!" -it's just a guy. I produced the two Stuart Little movies and have been involved in CGI character creation before and have been on the pioneering end of these type of movie ideas, as was the case with Monster House as well. The chance to apply that experience to an R-rated comedy, which is something I gravitate towards, at a price point that made the movie go, was a huge opportunity. Then to have people embrace it, to treat it as a character movie and not an effects movie, it was an awesome experience.

What can we expect from Ted 2?

Whenever you do a sequel, it's hard to recapture the novel aspects of the original. What you really have to do is try to develop a story that captures the relationship of the characters in a way that feels like the relationship has moves forward. I think this film really accomplishes something with heart and humor that feels very original and the right evolution of the characters' story. I think that's what you want to try to accomplish in a sequel: come up with enough invention to keep it fresh.

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By Daniel Garris

Jurassic World took in $11.57 million on Monday to continue to lead the daily box office. The Chris Pratt led 3D blockbuster sequel from Universal and Legendary has topped the daily box office for ten of the past eleven days. Jurassic World was down a sharp, but understandable 70 percent from Sunday's inflated Father's Day performance and down 54 percent from last Monday. Jurassic World has grossed a massive $414.37 million through eleven days of release. Without adjusting for ticket price inflation that already ranks the film as the 15th highest grossing film of all-time domestically. And by the end of today the film will likely have moved into eleventh place on the all-time list. Jurassic World is currently running $33.38 million and 9 percent ahead of the $380.99 million eleven-day take of 2012's Marvel's The Avengers.

Inside Out placed in a close second with a strong $10.49 million. The critically acclaimed 3D computer animated film from Disney and Pixar declined 58 percent from Sunday. Inside Out surpassed the $100 million domestic milestone on Monday and has grossed a much  stronger than expected $100.93 million in four days. Inside Out is the second fastest Pixar film ever to reach the $100 million milestone, behind only 2010's Toy Story 3 (which reached the milestone in three days). Inside Out is running an impressive 8 percent ahead of the $93.45 million four-day start of 2013's Monsters University and 20 percent behind the $125.91 million four-day take of Toy Story 3.

Fox's Spy took third place with $1.26 million. The Melissa McCarthy led comedy fell 66 percent from Sunday and a healthy 28 percent from last Monday. Spy continues to stabilize as of late thanks in part to strong word of mouth. The film has grossed a respectable $76.36 million in 18 days. However, that places the film an underwhelming 19 percent behind the $94.55 million 18-day gross of 2013's Identity Thief.

Warner's San Andreas landed in fourth with $0.958 million. The Dwayne Johnson led 3D disaster film was down a sharp 70.5 percent from Sunday, but only down a slim 17 percent from last Monday thanks in part to just how much the film stabilized over the past weekend. San Andreas continues to significantly exceed pre-release expectations with a 25-day take of $133.65 million.

Open Road's Dope rounded out Monday's top five with $0.788 million. The critically acclaimed Rick Famuyiwa directed comedy drama declined 53 percent from Sunday. Despite its strong critical reviews, Dope is running slightly below its already modest expectations with a four-day start of $6.89 million. That places the film 5 percent ahead of the $6.54 million four-day take of last year's Beyond the Lights. Dope will hope to hold up well going forward with help from its strong word of mouth and reviews.

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Jonathan Papish @ChinaBoxOffice

In order to maintain a healthy balance between domestic product and Hollywood fare, SARFT (The State Administration of Radio, Film, and Television) imposes an annual blackout "month" on most imported films. This weekend begins the month or more-long protection period and sees 14 new films enter cinemas.

Of the eight new domestic films, three co-productions, and three imports, Hollywood Adventures (横冲直撞好莱坞) has all the makings of a summer blockbuster. Produced by Justin Lin (Furious 3-6, Better Luck Tomorrow) and starring superstar and newly minted billionaire Vicky Zhao (赵薇), current it boys Huang Xiaoming (黄晓明) and babyfaced Tong Dawei (佟大为), this Hollywood-China coproduction has been aggressively marketed for months through publicity tours, music videos, and cast appearances. According to EntGroup's EFMT Index, Hollywood Adventures has the highest level of awareness and intent to purchase of any release this weekend. We think it could be a massive hit on the Mainland grossing upwards of $100 million a la The Breakup Guru which opened in the same frame last summer on its way to $107.83 million.

Another film getting buzz this weekend is Hear Me (听说), a lighthearted teen romance film from Taiwan starring popular performers Eddy Peng, Ivy Chen, and Michelle Chen. However, the film was released in Taiwan all the way back in 2009 which might hurt box office potential.

Begin Again starring Mark Ruffalo and Keira Knightley seems to have skirted the blackout, but its limited appeal to Chinese moviegoers is probably the reason for this unattractive release date.

Finally, Jurassic World will be losing most of its screens this weekend due to the protection period, but we still see the hot ticket in China placing in the top 3 and ending its run over $200 million. 

Other films opening: The Temptation in Lincang 临沧的诱惑 (China), Come Back, Love 约定到时候 (China), My Geeky Nerdy Buddies 大宅男 (China/Taiwan), Bloody Destiny 拳霸风云 (China), Can't Prove 无法证明 (China), I Love You, Too 恋爱排班表 (China), Where The Wind Settles 对风说爱你 (China/Taiwan), Twilight Online 午夜43路 (China/Hong Kong), The Three Pigs and the Lamp 三只小猪与神灯 (China), and The Adventures of Little Piglet Banna 小猪班纳之梦想大冒险 (China).

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