Visualizzazione post con etichetta David Fincher. Mostra tutti i post
Visualizzazione post con etichetta David Fincher. Mostra tutti i post

giovedì 2 marzo 2017

NEWS - Serial Fincher. Il regista di "Se7en" e "House of Cards" firma "Mindhunter" per Netflix (a ottobre)
News tratta da "Uproxx"
David Fincher is already doing well with Netflix; he executive-produces House of Cards, and directed the first two episodes, helping kick off the original streaming show gold rush. But not content with ruthless political scheming, he’s returning to his first love in a new Netflix series about hunting down serial killers. Mindhunter, set in 1979 and based on the 1996 nonfiction book, follows the work that went into building the FBI’s famous “profiling” program, where they interviewed serial killers looking for common links and traits that might help them spot murderers before they killed again. Needless to say, being in close proximity with some of the most dangerous people in the prison system doesn’t really do much for their mental health, and the agents struggle to keep it together. But, hey, at least one of them is a generous lover, if one of the flash cuts we see are any indication, and it’s nice to see what boils down to basically two guys doing scientific grunt work getting their own TV series. Fincher, of course, first came to prominence with Se7en, but this doesn’t look like a throwback to the ’90s era where everybody was chasing Hannibal Lecter or the many, many photocopies that filled the screen. Hopefully it also digs into the many criticisms of the profiling program, as there’s a lot of debate among criminologists that the FBI’s work is all that accurate or effective. If this series sticks to the story behind the FBI’s profiling unit, it should make for fascinating drama. Just make sure the agents don’t open any boxes.
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mercoledì 11 marzo 2015

GOSSIP - You are Wright! La co-protagonista di "House of Cards" sulla cover di "Vanity Fair" (svela la ragione del taglio corto di capelli di Claire...)
Robin Wright is glowing on the cover of Vanity Fair‘s April 2015 issue, on newsstands March 12.
Here’s what the 48-year-old House of Cards actress had to share with the mag. Wright speaks about developing the icy, ambitious villain Claire Underwood for David Fincher’s House of Cards, which has made her as much a star of the show as Kevin Spacey. Claire’s wardrobe and sleek, androgynous haircut have also minted her a fashion icon. “I was just cutting off damaged hair—too much bleach over months of [appearing in] different movies,” Wright explains of Claire’s much-admired coif. “It was a mercy killing, but it works for the character.” House of Cards creator David Fincher discusses the dynamic between Wright and Spacey, who have made the two scheming, lustful antiheroes one of television’s most beloved power couples. Fincher confides that “a lot of people were asking, Is this meant to be Bill and Hillary? It shouldn’t be, but what I do love—especially with Bill and Hillary—is there’s an unfathomable place at which they meet, and you’re not going to get to the bottom of it. That was kind of where we started.”

On her ex husband Sean Penn: “I’m not in the business of talking about what ‘isn’t.’…I grew up very fast as a young girl, but I grew slowly into my womanhood. We were learning as we were going along. We agreed as parents that we’d not work at the same time, so that one of us was always with the kids. He was making more money than I was at the time, so it was a simple decision: ‘You go work—I’ll stay with the kids.’ And we got along great as creative people. Acting together, him directing me [in The Crossing Guard in 1995]—that was great. I believe we were together not only to have our beautiful children but to learn how to love…for the next time around, the right way. And then, what I’m looking for in people now, is kindness.”
On her fiance Ben Foster: “I’ve never been happier in my life than I am today. Perhaps it’s not ladylike [to say], but I’ve never laughed more, read more, or come more than with Ben. He inspires me to be the best of myself. There’s so much to learn. It’s endless. How great! It took me a long time to grow up. Love is possible as life is possible.”
On stardom coming late for her: “I feel as though I’ve just graduated. I mean, I never went to college. I was pregnant at 23. You hear people say how they have ‘arrived,’ but it was just always there, waiting to come out. For me, it just took a long time. I’m 48. I’m finally a person. I think I’m finally ready.”
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lunedì 22 dicembre 2014

NEWS - David Fincher+James Ellroy, viaggio di coppia seriale DOC sulla scena dei video anni '80 con "Living on Noise"

News tratta da SlashFilm.com
Hot on the heels of the confirmation that David Fincher and James Ellroy are working together on an HBO show comes the news of another project that Fincher will do for the big cable network. Fincher will direct the pilot for an HBO music video show called Living on Noise, described as a “half-hour HBO project about music videos in the 1980s.”
The Wrap has the news. Fincher, of course, got his start as a director making music-related projects. Early on, there was the Rick Springfield concert film The Beat of the Live Drum, then a series of increasingly more high-profile music videos for the likes of Sting, Madonna, and Michael Jackson. This doesn’t sound like a documentary series in the vein of HBO’s Sonic Highways, created with Dave Grohl and the Foo Fighters, but a dramatic series reportedly rooted in the 1980s music video scene. Fincher was talking to Playboy not long ago, and mentioned “this TV show I’m doing about music videos in the 1980s and the crew members who worked on them.” That would seem to be Living on Noise.
The timeline for production of this show is unclear. In addition to Shakedown, which is the James Ellroy project, and Living on Noise, Fincher is also working on a new version of the UK series Utopia for HBO, partnering with Gone Girl author Gillian Flynn. Fincher will direct all of the first season of Utopia.
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mercoledì 10 settembre 2014

TWITTER-JAM - Le migliori twittate seriali
 
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martedì 4 marzo 2014

NEWS - Ecco perchè "Breaking Bad" e "House of Cards" hanno ucciso gli Oscar!


Excerpted from "The $11 Billion Year: From Sundance to the Oscars, an Inside Look at the Changing Hollywood System" 
 
The best movies get made because filmmakers, financiers, champions, and a great many gifted creative people stubbornly ignore the obstacles. The question going forward is how adaptive all these people are. How long will they struggle before they give up on the film business and take their talents elsewhere? And how flexible is the industry itself?
As AMC’s TV drama Breaking Bad took over the water-cooler conversation in 2013, and television critics dominated Twitter in a way that no movie debaters did, it served to reinforce the fact that film’s glory days are over. In today’s omnivorous world, it’s no longer about seeing the new movie opening on Friday or waiting eagerly for the next New Yorker review. Cinephiles go to film festivals for their fix, or to SnagFilms, Criterion, Indieflix, Fandor, Mubi, or Turner Classic Movies. Why schlep out to the new Dumb and Dumber sequel when the glories of Hollywood’s Golden Age are easily Netflixed? (As of this writing, Netflix boasts “38 million members in 40 countries enjoying more than one billion hours of TV shows and movies per month, including original series” even partnering with Marvel on four new live-action MTV series) Even the New York Times film critic A. O. Scott admitted that he was according many of his weekly viewing hours to television—just like everyone else.
There was a time during the golden age of the studio system when Hollywood churned out hundreds of quality films for grownups. In many ways 2012 boasted the best crop of films since the banner year of 1939 that yielded Gone with the Wind, Mr. Smith Goes to Washington, Wuthering Heights, Stagecoach, The Wizard of Oz, Ninotchka, and Dark Victory.
Six of the nine 2012 Best Picture Oscar nominees passed the $100 million mark—the biggest numbers, even with ticket-price adjustments, in recent box-office history. All six were released in the later part of the year. So why don’t the studios finance even more quality “prestige” films—by proven directors, at high budget levels—and aggressively back them, aiming for mass audiences all year long?
Admittedly, this is hard to do. It demands confidence and risk-taking. In late 2012, the studios released a group of films that were made by directors who had won Best Picture and/or Best Director (Steven Spielberg’s Lincoln, Sam Mendes’s Skyfall, Ang Lee’s Life of Pi, Robert Zemeckis’s Flight, Kathryn Bigelow’s Zero Dark Thirty, Peter Jackson’s The Hobbit, Tom Hooper’s Les Misérables), and all but one of those films were released initially in over 2,000 theaters, rather than platformed like the majority of top Oscar contenders in most other years—which is the usual sign of high awards expectations. And they all not only earned consensus rave reviews but made a healthy profit. (Specialty Oscar nominees Amour and Beasts of the Southern Wild took the usual slow-release route.)
But despite 2012’s bountiful harvest of strong, substantive films and action and animated blockbusters that scored record global box office, from Brave to The Hunger Games, there’s precious little optimism about the future of movies. The Best Picture Oscar nominees (whether in 2012 or 2013) are always exceptions that prove the rule, from outsiders jumping over the wall at Sundance (Beasts of the Southern Wild) to insiders willfully refusing to play by the rules (12 Years a Slave). Sure, the studios will permit a few top-of-the-line filmmakers to chase adults in the fourth quarter, but no wholesale changes are in store.
No wonder Spielberg was pissed off. He saw a crowd pleaser in Lincoln. And he was right. It was the top-grossing Oscar contender ($182 million), the eleventh most successful domestic performer of 2012. Why was it so difficult to get traditional studio financing? Like many independents these days, Reliance-backed DreamWorks cobbled together presales on territories overseas (via Twentieth Century Fox, which also took home-video rights) and brought in an outside investor (Participant Media) to fund the movie, which was released by DreamWorks distributor Disney.
The old days of studio largesse are over—even for Spielberg, arguably the most powerful and versatile filmmaker in Hollywood. And if he has to hustle, what about the hordes of less prepossessing talent who find themselves frozen out by the studios? They’re heading where the money is: foreign financing, television, cable, HBO, or Netflix.
While the studios could build on these year-end successes and try to make more of them, they won’t. While they could try to diversify and make movies for underserved constituencies like Hispanics, African Americans, adults, and women, they won’t. They’d rather stick to what they know: cookie-cutter movies for families and young men, and throwing millions of dollars at building a bigger mousetrap. Truth is, the more expensive a movie, the tougher it is for it to have any noticeable personality: all the edges get shaved off. By default the picture has to appeal to the widest number of people—all over the globe. That’s how genre formula, nonstop action, and eye-popping pixel effects keep trumping witty dialogue and old-fashioned storytelling.
To the winners go the spoils. But 2013 revealed the hazards of the tentpole, all-or-nothing approach. Just as Spielberg predicted in his June 12, 2013, panel at USC, six costly would-be summer blockbusters tanked domestically, although a few were barely bailed out by their international grosses. 2013 proved the cyclical theory held by the late A. D. Murphy, a Variety box-office analyst and professor at USC’s Peter Stark program. He declared that it’s perilous to follow the trends of what works at the box office, because when the studios throw imitations of recent hits at moviegoers, moviegoers inevitably get bored. Tom Rothman, an eighteen-year Fox veteran and Fox chairman and CEO until January 2013, who during his tenure backed such risky films as Peter Weir’s Master and Commander and Ang Lee’s Life of Pi, concurs: “Movies struggled this summer because they were, essentially, all the same and the audience was bored. No longer can an audience be pounded into attendance by dint of spending. Now, exactly because of how much great work there is on television, films have to raise the bar, to be more original, more complex, more imaginative, more daring. That is hard because of the huge cost/risk involved, and cost often has an inverse relationship with creativity. But I am fervently optimistic. We can make the films for less, sell them for less, and push creative boundaries more. And when we do, the audience will set the DVR, go out of the house, and come to the theaters. As long as we don’t underestimate them, they will reward us.”
In Hollywood you have to keep moving and stay ahead of the trends. And being able to adapt to digital is key, as is the recognition that consumers’ viewing habits have irrevocably changed.
From the point of view of the seven major studios, the migration of film talent to television isn’t an issue, because their corporations are not losing income; they own pieces of that business too. If HBO makes money, that’s good for Warner Bros. Viacom and Paramount want MTV, VH1, and CBS to succeed. Comcast owns Universal and NBC; Disney owns ABC and ESPN; Sony produces Breaking Bad, Jeopardy, and Wheel of Fortune; and Lionsgate roots for its own shows on AMC Networks.
Tellingly, three studios (Disney/ABC, Twenty First Century Fox, and NBC Universal) decided to hang on to their online streaming service, Hulu, instead of selling it. Finally, they recognized its value—and didn’t want anyone else to get it. Hulu has conducted valuable experiments in what audiences want, even if it’s mostly TV shows. But challenging the studios’ dominance in entertainment are digital powerhouses Google, Apple, Amazon, and Netflix. They are encroaching more and more on the studios’ territory—as Apple did in the music business. Mobiles are the new window into viewing content, and everyone knows it.
Netflix and Amazon are all about giving their customers what they want by constantly tweaking complex algorithms to determine how to anticipate consumer desires. That’s how Netflix knew their subscribers would love a remake of House of Cards, directed by David Fincher and starring Kevin Spacey, and banked $100 million launching their own content division. They probably won’t spend that much again, but they were right. Their high-stakes gamble paid off and made them a potentially strong competitor to HBO, Showtime, FX, and AMC.
While the studios are trying to hang on to their market-share dominance, they are keenly aware that smaller, more nimble companies with less to lose have more freedom to experiment. They saw the music industry’s rapid decline, reinvention, and ascension. The indies can take advantage of new funding sources like Kickstarter and IndieGoGo, produce microbudget films that can make back their money by reaching out to burgeoning online fanbases, and figure out the video-on-demand paradigm as the old windows model eventually falls away. The new indie entrepreneurs are getting their scripts rated on Spec Scout or The Black List. They are connecting with potential investors and sales agents through Slated. They’re going to Seed & Spark for marketing expertise, hiring the best marketing and distribution experts, and using on-demand theater-booking service Tugg to predetermine audience interest in seeing their film in specific markets before making a booking as they control their medium and message.
Digital is winning, even inside the studios. Kevin Tsujihara grabbed the reins at the Warner Bros. studio, knocking out his rivals from TV and motion pictures. Comcast’s Steve Burke let go the movie-bred chairman of Universal, Adam Fogelson—even after what looked like a successful year in 2012—in favor of cable guy Jeff Shell. After a rocky box office in 2013, Sony replaced their marketing chief with their digital marketing pro. And innovative digital-marketing guru Amy Powell—who pioneered Paramount’s on-demand booking of movies—continues to rise in the executive ranks at that studio.
The motion picture CEOs aren’t stupid. While they may be hanging on tight to the old ways so that they can grab as much short-term cash as possible via top-down models that manipulate consumers by telling them what to buy, they know the ground under their feet is unstable. In order to survive they will have to learn to listen to their customers, find out what they want and how to best serve them. The old strategies in the movie business are disintegrating, as the ownership model gives way to one that is all about access. Adapt or die.

From the book “The $11 Billion Year: From Sundance to the Oscars, an Inside Look at the Changing Hollywood System” by Anne Thompson. Copyright 2014 by Anne Thompson. Reprinted by permission of It Books, an imprint of HarperCollins Publishers.
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giovedì 28 novembre 2013

NEWS -  Alla fine Sky si è decisa e cala l'asso "House of Cards" (era ora!). Oggi anteprima al Torino Film Festival (da quando il Telefilm Festival ha sdoganato le serie tv su grande schermo tutti dietro...!)

House of Cards è l’acclamata serie politica Usa, prima produzione originale per Netflix, diretta per i primi due episodi da David Fincher (Fight Club, The Social Network). La serie è stata premiata agli Emmy 2013 per la Miglior Regia nella categoria Drama. Protagonista - oltre che produttore esecutivo - è Kevin Spacey, scritta da Beau Willimon (Le Idi di Marzo) ed Eric Roth (Lo strano caso di Benjamin Button, Oscar per la Miglior Sceneggiatura non originale per Forrest Gump). House of Cards, in anteprima al 31° Torino Film Festival all’interno della neonata sezione Big Bang tv (i primi due episodi il 28 novembre ore 19.30), svela tutti i retroscena di potere, sesso, ambizione, avidità e corruzione nella moderna Washington D.C. I 13 episodi della serie saranno in onda prossimamente in esclusiva prima tv su Sky. Siamo di fronte a una serie decisamente innovativa, a partire dalla produzione e dalla distribuzione in Usa, primo caso di serie trasmessa dal canale on demand in streaming Netflix che l’ha prodotta con Sony Pictures Television. House of Cards, di cui è attualmente in lavorazione la seconda stagione, si impone da subito come la serie-fenomeno del momento. Il thriller politico orbita intorno alle vicende di Francis Underwood (Kevin Spacey, American Beauty, vincitore di un Academy Award per I Soliti Sospetti) che svolge il ruolo di Majority Whip al Congresso. Underwood è la quintessenza dell’uomo politico, autoritario, seducente, carismatico, spietato e sua moglie Claire (Robin Wright La Ragazza che giocava col fuoco, Forrest Gump) non è da meno, altrettanto ambiziosa e senza scrupoli non si ferma davanti a nulla pur di garantire l’ascesa al potere del marito.House of Cards si basa sull’omonima miniserie realizzata da BBC nel 1990 e già acclamata dalla critica. Nelle versione USA il  Parlamento inglese viene sostituito dal  Campidoglio americano per narrare la storia trasversale e universale della corruzione attraverso le vicende della politica statunitense. L’omonimo romanzo a cui House of Cards si ispira è stato scritto dal conservatore inglese Lord Michael Dobbs, che insieme a Andrew Davies ha prodotto la serie. In Italia sarà pubblicato da Fazi Editore in concomitanza con la messa in onda della serie. Tra i protagonisti di House of Cards, Kate Mara (American Horror Story), Corey Stoll (Midnight in Paris), Kristen Connolly (Quella casa nel bosco), Michael Kelly (I guardiani del destino) e Sakina Jaffrey (Certamente forse).  David Fincher ha diretto i primi due episodi della serie, sceneggiati da Beau Willimon, responsabile generale della serie. I restanti  episodi sono stati diretti da: James Foley (Americani), Joel Schumacher (Un giorno di ordinaria follia), Charles McDougall (The Good Wife), Carl Franklin (Il Diavolo in blu) e Alan Coulter ( I Sopranos).
La produzione esecutiva di House of Cards è firmata da David Fincher, Josh Donen (Spartacus), Eric Roth, Kevin Spacey, Dana Brunetti (The Social Network,  Cinquanta sfumature di grigio), Andrew Davies (il Diario di Bridget Jones, House of Cards), Lord Michael Dobbs (House of Cards), John Melfi (Sex and the City, Rome, From Earth to the Moon) e Beau Willimon.
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domenica 13 maggio 2012

NEWS - Il telefilm è Hulu-lì! Il futuro delle serie tv è in streaming...
Articolo di Beatrice Pagan per Lettera 43
"Il futuro dei serial tivù non è più solo nelle mani dei network tradizionali: Netflix e Hulu, i due leader statunitensi nel settore streaming on demand, sembrano infatti interessati ad investire per prolungare la vita di alcuni titoli di potenziale successo tra i propri abbonati e a creare contenuti inediti per attirare nuovo pubblico digitale.I NUMERI DELLO STREMING INSIDIANO LA TIVÙ VIA CAVO. Negli ultimi due anni gli utenti di Netflix negli Stati Uniti sono aumentati con una velocità superiore alle aspettative: dai 14 milioni registrati a Marzo 2010 si è passati ai 23,41 milioni di utenti a Marzo 2012, a cui si devono aggiungere 3,07 milioni disubscribers attivi in Canada, Messico, America Latina, Caraibi, Gran Bretagna e Irlanda. I clienti dei servizi in streaming hanno quindi raggiunto la considerevole cifra di 26,48 milioni, un dato che inizia ad avvicinarsi a quelli degli iscritti alle tivù via cavo, come ad esempio Hbo.NETWORK GENERALISTI IN CALO. Il trend positivo si contrappone al periodo negativo dei network generalisti, che affrontano preoccupanti cali di ascolto sopratutto nella categoria 18-49, fascia d'età che ha contribuito alla generale perdita di pubblico stimata tra il -3% registrato dalla Nbc fino al -21% della Abc.

L'offensiva di Netflix: investimenti da 400 milioni di dollari per arrivare a 90 milioni di utenti

L'amministratore delegato di Netflix, Reed Hastings, grazie alle statistiche favorevoli, ha quindi messo in atto un piano di crescita senza precedenti che punta a superare i 90 milioni di abbonati in tutto il mondo nei prossimi anni. Per riuscirci Hastings ha deciso di investire il 5% del budget destinato alla programmazione dell'offerta via streaming alle produzioni originali, con una spesa stimabile in circa 400 milioni di dollari, e sta valutando la possibilità di accogliere nuovi episodi di serie cancellate dai network nonostante la loro popolarità tra il pubblico.
HULU PUNTA A SERIE NON IMPORTATE. Hulu, la joint venture formata da News Corp.-Fox, Disney-Abc e Comcast-Nbc ha invece puntato sulla promozione di serie non prodotte negli Stati Uniti, come Endgame o Misfits, da affiancare alla creazione di nuovi titoli.IL RILANCIO THE RIVER E JERICHO. La crescita generale del settore ha così permesso a Netflix di mettere in produzione la quarta stagione del telefilm Arrested Development, con protagonisti gli attori Jason Bateman, Jeffrey Tambor e Will Arnett, composta da dieci episodi che verranno messi a disposizione in contemporanea. Sfumato l'accordo con la 20th Century Fox per proseguire le avventure tra preistoria e fantascienza di Terra Nova prodotte da Steven Spielberg, Netflix potrebbe invece puntare ad una seconda stagione di The River, una delle novità del 2011 cancellata dopo poco tempo dalla Abc, e a riportare in vita Jericho, serie cancellata nel 2008 dal palinsesto della Cbs dopo due cicli di episodi.
La storia ambientata in una cittadina del Kansas alle prese con le conseguenze di un attacco nucleare gode tuttora di un'ampia popolarità tra gli abbonati e i vertici del portale hanno contattato i produttori per verificare se esistano le basi per la creazione di una terza stagione.

Co-produzione di telefilm inediti trasmessi esclusiva sulla piattoforma on demand

Il piano di sviluppo di Netflix prevede anche la co-produzione di telefilm inediti. In esclusiva per la piattaforma on demand arriveranno quindi Orange is the New Black (sceneggiato da Jenji Kohan, già autrice di Weeds, e tratto dal libro autobiografico di Piper Kerman in cui si raccontano quindici mesi di detenzione nel carcere femminile di Danbury in Connecticut), il serial norvegese sulla mafia intitolato Lilyhammer, l'horror Hemlock Grove (ispirato al romanzo di Brian McGreevy con protagonista l'attrice Famke Janssen e realizzato da Eli Roth), e sopratutto l'ambizioso House of Cards: un thriller politico realizzato con un budget di oltre 80 milioni di dollari, che può contare sulla prestigiosa regia di David Fincher e la bravura di Kevin Spacey e Robin Wright nel ruolo dei protagonisti.LA RISPOSTA DI HULU. La concorrenza di Hulu non ha esitato a rispondere agli avversari muovendosi sul loro stesso campo e ha deciso di fornire i fondi per la produzione della seconda stagione di Endgame, un criminal drama prodotto in Canada, e di finanziare le serie inedite The Awesomes (le avventure di supereroi poco conosciuti alle prese con nemici e l'invadenza dei media, interpretate da Seth Meyers e Michael Shoemaker), Don't quit your daydream (con Adrian Grenier impegnato nella ricerca di talenti musicali in disgrazia), Flow (dedicato ad un ragazzo incolpato di un crimine che non ha commesso), We Got Next (la vita quotidiana tra vittorie e sconfitte di quattro giocatori di basket), e confermando la comedy politica Battleground.ANCHE AOL, YAHOO E YOUTUBE NEL BUSINESS. I network tradizionali stanno cercando di adeguarsi al consumo sempre più diffuso dei contenuti on demand aumentando la propria visibilità su internet e contraendo i tempi di pubblicazione degli episodi sulle proprie piattaforme, pur vedendo diminuire le entrate pubblicitarie in modo drastico. I successi di Netflix e Hulu hanno inoltre spinto anche Aol, Yahoo e YouTube a gettare le basi per nuove produzioni indipendenti, destinate a essere presentate a breve ufficialmente ai possibili investitori che dovranno valutare le prospettive economiche di questa nuova fase dei prodotti seriali.
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"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. http://www.facebook.com/GiocoDeiTelefilm. https://twitter.com/GiocoTelefilm

Lick it or Leave it!

Lick it or Leave it!