Sources indicate the Cupertino, Calif. colossus has held preliminary conversations in recent weeks with executives in Hollywood to suss out their interest in spearheading efforts to produce entertainment content. The unit putting out the feelers reports into Eddy Cue, who is Apple’s point man on all content-related matters, from its negotiations with programmers for Apple TV to its recent faceoff with Taylor Swift.
An Apple spokesperson declined comment. Read the rest of this entry »
“Mad Men collectibles on offer include Joan’s emerald necklace, Stan Rizzo’s bongos; Bert Cooper’s tea set; plus a wide assortment of vintage barware, ashtrays, briefcases, luggage, lamps, carpets and period toys.”
Nearly 1,400 items from the Lionsgate-produced series will open for online bidding at ScreenBid, starting Friday, July 31, at 12 p.m. PT. Lots will begin closing Aug. 6.
In addition to the Coupe de Ville (bids start at $1,500), items on the block include Draper’s Brooks Brothers suits, sunglasses and business cards; wardrobe, office accessories and personal effects for every major character including Peggy Olsen, Pete Campbell, Roger Sterling, Betty Draper and Joan Harris; Megan Draper’s wedding ring; and Don Draper’s Manhattan penthouse furnishings. Read the rest of this entry »
— Variety (@Variety) September 14, 2014
Say it isn’t so! Read the rest of this entry »
In the current edition of John Nolte‘s Hollywood Playbook, this item caught my eye: Deadline‘s Mike Fleming Jr. and Variety‘s Peter Bart discuss the state of movies and whether or not films are dealing with a brain drain as talented writers and producers head over to television in the hopes of grabbing their own piece of this new Golden Age.
Bart thinks it is all cyclical. Fleming is edging towards despair.
Fleming: Because those series and 10 more like them are better than anything I see on a movie screen. For the 25 years I’ve covered it, film has always been the sexiest, most prestigious part of the business. … But now, it feels like the ecosystem has been damaged. The creative vision on the big films comes from executives who give creativity-stifling one-step screenwriter deals, with emphasis on reaching four quadrant audiences. Producers have been marginalized. Should the authorship of a picture belong to the studio exec? By contrast, some of the best series are generated by feature writers who couldn’t get hired after studios turned away from smart mid-budget dramas in favor of no-budget genre and high-priced tent poles. I remember Tony Gilroy telling me a couple years ago that movies like his superb Michael Clayton would go extinct, but there should be no funeral because all those writers who made them were flocking to TV and wait and see what happens. Man, was he right. Will the next generation growing up in this creative blight be inspired by mediocrity to dream about having the authority to reboot The Hangover?
First off, “Michael Clayton” sucked. And I don’t think the idea of a “Hangover” reboot will wait for another generation. In five years, “The Hangover” will return with the characters as dads, or something. Read the rest of this entry »
The re-edited story will air on “60 Minutes” Feb. 9 on CBS
For Variety, Francesca Bacardi reports: In the wake of Philip Seymour Hoffman’s death, “60 Minutes” will rebroadcast a 2006 interview conducted by Steve Kroft in which Hoffman discusses his problems with drug addiction. It will be re-edited to include previously un-broadcast material, including more from the actor about the rehabilitation he underwent as a young man that he credited with saving his life.