venerdì 21 ottobre 2016

NEWS - Cose da Baz(zi)! "The Get Down" di Netflix by Luhrmann ha fatto lievitare i costi a 16 milioni di dollari a episodio (!!!), quasi 200 a stagione! E ha (molta) meno audience della più economica "Stranger Things"...

News tratta da
The Get Down was expected to be an expensive proposition from the get-go and Netflix knew it. The series from Academy Award-winning husband-wife team of Baz Luhrmann and Catherine Martin, Pulitzer-winning playwright Stephen Adly Guirgis, hip-hop historian Nelson George and iconic rappers MC Nas and Grandmaster Flash was expected to cost around $11 million per episode for 12 episodes, which all-in would have totaled about $120M.
However, Deadline has learned that given the way the deal is constructed, Netflix is paying more like $16M per episode — inclusive in the total is worldwide rights to the IP, and factored into that are the premiums that Netflix paid to acquire those rights exclusively.
Other costs include start-up, visual effects, music rights and production design. Of the $16 million, around $11 million was the final production expenses per episode, $3 million-$4 million over the initial budget following a string of filming shutdowns, staffing changes and script rewrites. When a TV drama is produced for $6M or higher an episode, it is considered expensive.
So adding in all the costs on The Get Down, including the worldwide rights and premiums, that brings the total for the 12-episode season closer to the $190M-plus range. They are not completely wrapped yet either.
The Get Down is not a runaway hit the way Netflix’s pop culture phenom Stranger Things has been. Stranger Things ranks No. 3 on Symphony Advanced Media’s chart for viewings among 18- to 49-year-olds; The Get Down is No. 14.
However, Netflix’s strategy for many of its original series is to target specific, often under-served segments of the audience as a way of expanding its subscriber base. The Get Down is said to be the No. 1 show among African Americans and Hispanics and is building out among the young demographic as well — it has caught on with high schoolers. The Get Down is drawing in demos that other Netflix shows normally don’t, said one insider.
Internally, Netflix viewer satisfaction surveys for U.S. viewers that Deadline obtained reveal that The Get Down scored well among hip-hop fans and just slightly better with men than women. Overall, it got a 66% excellent or good rating, with concerns about the slow pacing at the onset but viewers saying that it picked up as the show progressed. The other satisfaction surveys on the show are said to be way above the norm in other countries, specifically France, Germany and Latin America.
In Netflix’s quarterly earnings call Monday, the company’s chief content officer Ted Sarandos said that their new season of content (which includes The Get Down) was traveling globally proportionally as they had hoped.
In responding to a question during the call about The Get Down and its expense versus viewership, Sarandos said, “Yes, it’s an expensive piece of television. Mostly because it’s very large scale, cinematic. The reason why Baz Luhrmann’s films work around the world is that kind of attractiveness. We’re still seeing how it’s going to unfold for the first season. All the shows land at a different level of noise in the press and probably depending on what circles you run in, whether or not your friends are talking about it. We’re very excited about how the show has been performing, particularly in a quarter where we had four shows that turned out to be kind of big event programs for us”. The first six episodes of The Get Down‘s first season were released in August, with the remaining six set to debut in 2017. Netflix had no comment for this report.

giovedì 20 ottobre 2016

NEWS - Clamoroso al Cibali! Allo studio un progetto per il crossover tra "Westworld" e "Game Of Thrones"!

News tratta da "Entertainment Weekly"
Could Westworld crossover with Game of Thrones?
It’s an idea that fans have been suggesting online ever since HBO’s new sci-fi thriller premiered. The 1973 Westworld movie featured not just an android-filled Old West theme park like in the series, but also a Roman World and – most pertinently – a Medieval World.
So here’s the pitch: What if instead of eventually introducing a Medieval World into the show, there was a Westeros World filled with android hosts modeled after Game of Thrones? It’s like how Universal has its Wizarding World of Harry Potter park and Disney is creating a section of its park based on Star Wars, except with all the interactive sex and violence that Westworld offers its hedonistic guests. Then HBO could even resurrect popular dead characters such as Khal Drogo and Ned Stark.
Well, fans aren’t the only ones who have had this idea. It actually occurred to Thrones author George R.R. Martin even before Westworld premiered. In fact, the author mentioned it to the Westworld showrunners Jonathan Nolan and Lisa Joy over dinner weeks a couple months ago, and we recently followed up to get their reaction.
“We love George and our daughter’s first trip anywhere in the world was out to Santa Fe for a screening of The Prestige at his theater, the Jean Cocteau,” Nolan says. “He’s a lovely guy and a stunning writer and it’s flattering he would encourage a crossover. We should be so lucky.”
Joy noted they have one issue with the premise, however. “I need to be believe that dragons are real,” she says. “I want them be a real thing. So as much as I love George, I can’t lose that for myself!”
Of course, there are all sorts of other, higher hurdles – creative, logistical and legal – that would make a crossover highly unlikely to ever happen. But at least the showrunners haven’t ruled out that other genetic archetypal lands such as Roman World will eventually be introduced in the series. “We’ve got an awful lot of material to cover just with Westworld, but you want to stay tuned…” Nolan says.
In the meantime, more good ratings news for Westworld: The series premiere has climbed to 12 million viewers including streaming, On Demand and DVR. That’s higher than the first season of Thrones or True Detective. The third episode premiered Sunday to 2.1 million viewers at 9 p.m., setting a new high for a debut airing of the series. This weekend, however, Westworld will go head-to-head against The Walking Dead premiere, so its Sunday night numbers are likely to take a hit.
L'EDICOLA DI LOU - Stralci, cover e commenti sui telefilm dai media italiani e stranieri

Con "I Medici" sfida al mercato internazionale
"Firenze, 1429. Giovanni de' Medici, grazie all'accordo stipulato con il papato, ha trasformato la sua banca di famiglia in una potenza economica senza eguali, nonostante le ricorrenti accuse di usura. Quando Giovanni viene assassinato, i suoi figli, Cosimo e Lorenzo, sono costretti ad affrontare numerosi nemici che complottano contro il potere dei Medici. Non c'è dubbio circa l'ambizione di questo progetto. Gli attori (Dustin Hoffman e Richard Madden su tutti), il periodo storico (il Rinascimento a Firenze, il rifiorire delle lettere, delle arti e delle scienze), il respiro internazionale, il sapore della saga: quella dei Medici è intricata, appassionante, misteriosa. I Medici si alternano per molto tempo nelle stanze più influenti del potere ecclesiastico e secolare, partecipando alle vicende storiche e spesso cambiandone il corso. «I Medici», ideato da Nicholas Meyer e Frank Spotnitz, diretto da Sergio Mimica Gezzan, non si confronta con la fiction italiana ma con quella internazionale (Raiuno, martedì, 21.30). Basti pensare ai «Borgia» con Jeremy Irons. L'intento, spesso raggiunto, è quello di rendere avvincente una storia che può godere di uno degli scenari più belli del mondo. Ogni tanto, però, si cade nel didascalico e l'uso eccessivo del flashback a volte rompe la linearità della storia, a volte rompe, e basta. Ai tempi, non si andava tanto per il sottile per la conquista del potere e anche la Roma papalina non era da meno: per questo assistiamo in Vaticano a scene di sesso, sodomia e corruzione davvero inusuali per gli standard narrativi della Lux Vide, la casa di produzione fondata da Ettore Bernabei. Ovviamente i titoli di coda ci rassicurano che la storia è «frutto di fantasia» e nel corso delle prime puntate ci viene ripetuto quello che potrebbe essere il motto dei Medici: «Fare qualcosa di male per raggiungere il bene». Che è anche un po' lo scopo della fiction italiana". (Aldo Grasso, 20.10.2016)

mercoledì 19 ottobre 2016

NEWS - Hugh Laurie, dopo House torna a fare il medico sul serial! Da oggi protagonista di "Chance" su Hulu

News tratta da
This week, Hugh Laurie returns to television in an hour-long drama series that centers on a tormented doctor whose one-syllable last name also happens to be the title of the show.
And that’s pretty much where the House parallels begin and end.
In the noir-ish thriller Chance, which debuts Wednesday on Hulu, the actor best known as Dr. Gregory House plays Dr. Eldon Chance, a mild-mannered(!) and compassionate(!!) neuropsychiatrist who gets sucked into a violent and dangerous world of mistaken identity, police corruption and mental illness while grappling with his own existential crisis.
In the following Q&A, Laurie praisaes Chance‘s quiet, cerebral charms, explains why he believes Dr. House was more hero than heel, marvels at George Clooney’s total ER recall, and goes full-on fanboy over Veep co-star Julia Louis-Dreyfus.

TVLINE | Dr. Chance is, in many ways, the polar opposite of Dr. House. Was that diversion a conscious decision on your part?
No. It wasn’t. I wish I had the ability to plan as intelligently. I’m a goldfish, honestly. I stumble from one thing to another. I read [Kem Nunn’s book on which the series is based] and I thought, “I’m really intrigued by this. There’s something so mournful and melancholy about it. I find it sort of oddly moving.” I didn’t really have any clear idea about how, you know, it would fit into my career. I don’t really know what a career is. It’s just a bunch of [roles] strung together. There are, I’m sure, clever actors or agents or managers who think, “What we need to do is two months on Broadway, then we need to do something Scandinavian, and then we need to do a big action blockbuster.” I just don’t have that skill.

TVLINE | Let’s say Chance was about a doctor who was a dick. Would you have rejected it outright?
You see, I don’t think of House as a dick. I have to disagree with you there. I found him rather heroic. That may say something about my own dick-ishness. I realize that he appeared to have behaved in a dick-ish way, but he did so in the service of a noble [cause]. He may not have been an angel, but he was on the side of the angels.

TVLINE | Did the medical jargon take you back to your House days?
It was a bit of a struggle getting my tongue around that kind of stuff again. I’m reasonably quick at picking that stuff up, but I’m also very quick to forget it. I did [Tomorrowland] with George Clooney, and the ER experience meant a great deal to him; it stayed with him. He talked about it a lot. And he was also able to remember great reams of dialogue that he’d done, including incredibly technical medical terms.

TVLINE| He remembered actual dialogue from ER?
Yeah. This is how many years later?

TVLINE | Twenty?
I don’t know how he does it. I can’t remember a single word. The word aspirin is about as far as I can go.

TVLINE | Medical jargon aside, Chance and House — the shows — could not be more different.
I agree. House was almost like chamber music. It was very heightened and very beautifully constructed. Chance is much more intimate, more vulnerable. The characters are actually revealing parts of themselves in a much less self-conscious way. I think House was aware of itself as a show — deliberately so. [Series creator] David Shore, who’s a genius, deliberately constructed it that way.

TVLINE | As I was watching the first few episodes, I found myself waiting for some kind of twist…
I know exactly what you mean. It’s all the things that it doesn’t have that makes me love it. It doesn’t have people quipping at each other. It doesn’t have banter. It doesn’t have big dramatic action. There’s no ticking bomb. There’s not a virus that threatens to consume Manhattan. There are no super powers. There’s no, “Oh my god, it turns out they’re actually brother and sister!” I found that so wonderful. I don’t know how you feel about all of these other shows, with the time travel and all that stuff. I just think [it’s interesting for characters to] just be. To just be a person boiling an egg or taking your kid to school. It doesn’t have to be like, “Oh my God, they’re after us!” or “We’ve got company!” or “Call in a drone strike!” We can all just calm down a little bit, you know? Of course, it’s a very competitive world and [TV shows] are trying to draw attention. Maybe we’ll pay a price. Maybe the audience will go, “I couldn’t get into it. I wanted a ticking bomb!”

TVLINE | Hulu already ordered a second season, so…
I think we still have to earn it. I’m pretty sure that on page 784 of the contract there’s a small [cancellation provision].

TVLINE | Is it anxiety-provoking committing to a show where the source material runs out after Season 1?
I’m in a similar position with The Night Manager. In both cases, [Season 1 follows a novel] and then people go, “All right, now what do we do [in Season 2]?” I don’t know what the hell [a second season of Chance looks like]. And I can pretty confidently say [the producers] don’t either. Maybe they have a plan, and it’s all on a big board somewhere. We’ll just have to wait and see. Maybe we’ll have to put some time travel in it.

TVLINE | Will you be returning to Veep in Season 6?
If they’ll have me.

TVLINE | Is working on the show as much fun as it seems?
Completely. The only mistake I made is that I’m very bad at watching myself. And now that I’m in it, it makes it harder to watch. But in exchange for that, I get to see Julia Louis-Dreyfus [up close]. She is the best I’ve ever seen. Ever.

TVLINE| What is it like working with her?
It’s awe inspiring. She [plays Selina] with such brilliance, energy and invention. And she never settles. As soon as a take is done she’s going, “Let’s try this.” She’s always pushing, until people almost have to pull her away and go, “Julia, it’s all right. It’s all right. We’ve got it.” And [she doesn’t work] in an obsessive way; she does it with such good grace. She’s unbelievable.

martedì 18 ottobre 2016

TELEFILM ART - Un poster per ogni stagione. Netflix rilascia un poker di manifesti per "un anno di vita" con le Gilmore...

News tratta da
Seasons’ greetings, Gilmore Girls fans.
Netflix has unveiled the official key-art campaign for next month’s Gilmore Girls: A Year in the Life revival, and each of the four 90-minute seasonal installments — “Winter,” “Spring,” “Summer,” and “Fall” — is getting its very own poster (check ’em out below).
“It’s about three women at a crossroads in each of their lives,” series creator Amy Sherman-Palladino previously said of the continuation, which debuts Nov. 25. “I am very pleased with all four of [the episodes]. I feel like we accomplished what we set out to do, which is something I almost never say”. Leading lady Lauren Graham, meanwhile, recently called the continuation “my most favorite thing I’ve ever done”. To the question of whether there may be more GG on the horizon beyond A Year in the Life, Scott Patterson recently told TVLine that, for now, “The curtain is closed, but it’s a really thin curtain”. Have a look at the four posters below and then hit the comments with an answer to this question: Which poster/season is your fave and why?
NEWS - Tris d'assi! Gillian Anderson e Miyazaki (figlio) insieme in una serie (cartoon) scritta dalla Lindgren di "Pippi Calzelunghe"

News tratta da
While we’re still way in the Sad Camp about Hayao Miyazaki retiring from making featuring films, and Studio Ghibli not making its own features anymore (they animated and co-produced this year’s festival hit The Red Turtle along with French-Belgian studio Wild Bunch), they have committed to making new shorts and television projects—one of the latter coming to Amazon. Announced via a press release on Friday, Amazon has picked up Ghibli’s Emmy-winning Japanese series Ronja the Robber’s Daughter.
The 3D CG series is directed by Goro Miyazaki, the son of Hayao Miyazaki and the director of Ghibli films Tales from Earthsea and From Up On Poppy Hill, and based on the wildly popular children’s fantasy book series by Swedish author Astrid Lindgren, the writer of Pippi Longstocking. The elder Miyazaki famously attempted to adapt Pippi Longstocking to television many years ago.
The series is described as “an epic 26-part animated story of a strong, adventurous young girl who grows up exploring a beautiful and dangerous forest filled with mythical creatures.” That sounds pretty amazing to us already, and despite the 3D-animation, it still has the overall visual stamp of Studio Ghibli. For the series’ English language version, Amazon has tapped Gillian Anderson to be narrator of Ronja the Robber’s Daughter. Anderson had previously voiced Moro, the giant wolf goddess and the adopted mother of San in the English dub of Miyazaki’s 1997 film, Princess Mononoke.
Ronja the Robber’s Daughter will premiere on Amazon later this fall.

lunedì 17 ottobre 2016

"Il trivial game + divertente dell'anno" (Lucca Comics)

"Il trivial game + divertente dell'anno" (Lucca Comics)
Il GIOCO DEI TELEFILM di Leopoldo Damerini e Fabrizio Margaria, nei migliori negozi di giocattoli: un viaggio lungo 750 domande divise per epoche e difficoltà. Sfida i tuoi amici/parenti/partner/amanti e diventa Telefilm Master. Disegni originali by Silver. Regolamento di Luca Borsa. E' un gioco Ghenos Games.

Lick it or Leave it!

Lick it or Leave it!