Archive for February, 2013
Argo and Life of Pi win at 2013 Oscars; DreamWorks earnings loss prompts Katzenberg to begin layoffs this year, primarily within production groups; Die Hard 5 hits 100 million mark in foreign box office: Nick releases new schedule and bring back Fairly Odd Parents, SpongeBob, TUFF Puppy, Kung Fu Panda: Legends of Awesomeness and Robot and Monster. Penguins of Madagascar excluded
Welcome to the award season clinching edition of Gene Scallop’s entertainment report. Here’s what’s topping today!
Fox was the big winner at the Oscars on Sunday as Argo and Life of Pi took out their rivals easily. In the animation side, Disney/Pixar’s Brave shot the bulls-eye beating out the entire field including Wreck-It-Ralph. What happened at the Oscar’s Perch?
Perch Perkins (at the 2013 Oscars)- “Argo” won Best Picture at the 85th Academy Awards on Sunday.
The true story of the C.I.A.’s heroic efforts to extricate a group of U.S. diplomats from revolutionary Iran nabbed the evening’s biggest prize despite the fact that Ben Affleck failed to score a Best Director Oscar nomination.
“It doesn’t matter how you get knocked down in life, all that matters is that you get up,” Affleck said.
Affleck’s snub was Ang Lee’s gain. The Taiwanese director his second Academy Award on Sunday for his groundbreaking use of 3D in “Life of Pi.”
He beat out a list of formidable contenders to capture the honor, including Steven Spielberg (“Lincoln”) and David O. Russell (“Silver Linings Playbook”). “Pi” led the Oscars with four victories, although most of them came in technical categories.
“Argo” earned three awards, including ones for its script and editing, in a show that stretched over three hours and thirty minutes and spread its top prizes fairly evenly among the major contenders.
The excessive length of the show, which sagged under the weight of several movie tributes and musical performances, became a frequent punch line as the hours ticked by. Host Seth MacFarlane joked that the program would go right into the 2014 Oscars and also quipped that 86-year old Best Actress nominee Emmanuelle Riva was nine when the show started.
Daniel Day-Lewis and Jennifer Lawrence won top acting prizes at the ceremony. Day-Lewis became the first person to ever win three Best Actor prizes, picking up his latest statue for channeling Abraham Lincoln in “Lincoln.”
“Three years ago before we decided to do a straight swap, I’d actually been committed to play Margaret Thatcher,” Day-Lewis joked, after accepting his award from Meryl Streep, who won the Best Actress prize last year for “The Iron Lady.”
“Lincoln,” which initially seemed to be a juggernaut, commanding a leading 12 Oscar nominations, was largely shut out of the awards. Besides Day-Lewis’ victory, it scored only one other award for production design.
Lawrence earned a Best Actress Oscar for her performance as a grieving widow in “Silver Linings Playbook.” The visibly stunned actress thanked her fellow actresses, pausing to wish fellow nominee Emmanuelle Riva (“Amour”) a happy birthday.
On the supporting actor front, Anne Hathaway and Christoph Waltz emerged victorious.
Hathaway earned her statue for playing Fantine, a poverty-stricken mother forced into prostitution in “Les Misérables,” while Waltz won the Best Supporting Actor statue for his performance as a charming bounty hunter in “Django Unchained.”
“It came true,” Hathaway said, while clasping her statue.
She went on to say that she hoped that one day the hardships of characters like Fantine would only be found in stories.
In his speech, Waltz thanked his director Quentin Tarantino and fellow nominees.
“I was on a list with the greatest actors around,” Waltz said backstage in the press room. “How do you think someone feels when all of a sudden his name is called in that context?”
“Amour,” from Austrian director Michael Haneke, captured Best Foreign Language Film, for its searing depiction of an elderly couple struggling to cope with the ravages of old age.
In his speech, Haneke thanked stars Jean-Louis Trintignant and Emmanuelle Riva, two legends of foreign language cinema, saying that he never would have been on the stage had it not been for their performances.
Adele now has an Oscar to go along with her trophy case full of Grammys. The British chanteuse earned an Academy Award for her sultry theme song to “Skyfall,” which is the first James Bond movie to earn a Best Song Oscar, despite decades of memorable movie music from everyone from Paul McCartney to Carly Simon.
Chris Terrio earned an Oscar for Best Adapted Screenplay for “Argo,” for bringing two accounts of the daring C.I.A. mission to the screen, while Tarantino won his second Oscar for Best Original Screenplay with his antebellum revenge fantasy “Django Unchained.”
“I have to cast the right people to make those characters come alive…and boy this time did I do it,” Tarantino said, while thanking his cast.
MacFarlane kicked off the 85th Academy Awards by saying that he only got the hosting gig after everyone from Whoopi Goldberg to Ron Jeremy refused the job.
“And the quest to make Tommy Lee Jones laugh begins now,” MacFarlane said.
The “Family Guy” creator sent up Hollywood self-aggrandizement, poking fun at the Academy’s failure to nominate Ben Affleck and Jean Dujardin’s limited English language skills (joking that “The Artist” star couldn’t make it in talkies).
The lengthy, over-stuffed opener included musical performances from the gay men’s choir of Los Angeles and dancing from Joseph Gordon-Levitt, Daniel Radcliffe, Channing Tatum and Charlize Theron.
There was even a cameo from William Shatner in full James T. Kirk gear from “Star Trek” and a song about actresses who have been naked on film, called “we saw your boobs.”
As promised, music factored heavily into the 2013 edition of the Oscars. In addition to MacFarlane’s showmanship, there was also a tribute to James Bond’s 50 years in films, featuring Dame Shirley Bassey singing the theme from “Goldfinger.” Bassey’s rendition of the classic 007 anthem brought the crowd at the Dolby Theatre to their feet.
Bassey wasn’t the only diva in the house. The ceremony also included a rare appearance by Barbra Streisand, who sang the theme from “The Way We Were” during the show’s “In Memoriam” segment, which recognizes members of the industry who died during the last year — a group that includes the composer of that ballad, Marvin Hamlisch.
For good measure, there was also a tribute to movie musicals of the past decade featuring performances from the cast of “Les Misérables,” Jennifer Hudson of “Dreamgirls” and Catherine Zeta-Jones representing “Chicago.”
Disney dominated the animation awards, picking up Best Animated Feature for “Brave” and Best Animated Short Film for “Paperman.”
“Searching for Sugar Man,” the story of a musician’s amazing second act, earned the award for Best Documentary” over intense competition from the likes of “How to Survive a Plague” and “The Invisible War.” Rodriguez, the American musician rescued from obscurity by the film, was not in attendance, because the movie’s producers said he did not want to distract from the documentary’s big night.
The night’s technical categories produced that rarest of Oscar occurrences — a tie. In the Sound Editing category, both “Zero Dark Thirty” and “Skyfall” earned statues for capturing the explosions, gunfire and other scenes of finely calibrated mayhem.
“Life of Pi” performed strongly in below-the-line categories, earning prizes for its cinematography, score and effects work.
A team from Rhythm & Hues picked up a statue for their work designing visual effects for the film. The win was an especially poignant one for Rhythm & Hues because it filed for bankruptcy protection this month.
Bill Westenhofer, a member of the effects team, tried to pay tribute to the company, but was ushered off the stage as the orchestra began playing. Back stage, he was able to speak in more depth about the financial troubles the befell not just Rhythm & Hues, but the visual effects industry in California.
“We’re not technicians…we’re artists, and if we don’t do something to change the business model, we might lose some of the artistry,” Westenhofer said.
Back on February 10th, we found out that DreamWorks could lose 500 employees. With their earnings report out Stanley, does it mean layoff city?
Stan Jennings Fish (via The Hollywood Reporter)- DreamWorks Animation said Tuesday it will take an $87 million charge for the poor performance of Rise of the Guardians, a film with a $145 million production budget that has scored just $302 million worldwide since opening in November. The company also will take a charge of $54 million for returning Me & My Shadow to development, a $20 million charge to write off other projects in development and another $4.6 million in restructuring charges.
The studio also reported losing $83 million, or 98 cents per share, in the most recent quarter on revenue of $265 million.
Analysts had expected the company to lose about 3 cents per share in the quarter, reversing a 29-cents-per-share profit a year ago. Revenue was expected to sink to $213 million from $219 million in the same quarter a year earlier.
Last year’s DWA releases Madagascar 3: Europe’s Most Wanted and Rise of the Guardians did not come close to matching the financial results of its Kung Fu Panda 2 and Puss in Boots in 2011.
DreamWorks Animation has been going through a rough patch, and CEO Jeffrey Katzenberg confirmed that there will be layoffs this year, primarily within production groups. Katzenberg didn’t say how many people would lose their jobs, but sources tell The Hollywood Reporter that DWA could lay off up to 400 people at its Glendale-based studio.
Katzenberg, citing something Chicago Mayor Rahm Emanuel said when he was President Barack Obama’s White House chief of staff, said the layoffs are an attempt to “take full advantage of every crisis you face.” Therefore, he will “right-size the whole enterprise” to make it more lean and profitable.
The company said three weeks ago it was delaying the release of Mr. Peabody & Sherman by four months and that Me & My Shadow has been yanked from the schedule indefinitely. Katzenberg said Tuesday it was at the “strong suggestion” of distribution partner 20th Century Fox that Peabody & Sherman was being delayed to a date less competitive for family releases.
Katzenberg, in fact, said during a conference call with analysts that release dates were of monumental importance nowadays with so many family movies, including live-action films, scheduled in the marketplace.
“We just have to be more flexible and more strategic,” he said.
The executive said that while box office for Rise of the Guardians was “certainly a disappointment,” he was happy with the entertainment value of the film.
Madagascar 3 accounted for $95.2 million of revenue during the quarter, Puss in Boots was at $10.5 million, Rise of the Guardians came in at $6.1 million, and Kung Fu Panda 2 was good for $4.8 million. Library titles contributed $63.4 million; holiday specials, live-theater productions and other properties accounted for $53.1 million; and Classic Media was good for $31.6 million.
Shares of DreamWorks Animation have declined 6 percent in the past three weeks. On Tuesday, the stock was off 1 percent to $16.61 and an additional 2 percent after the closing bell.
Die Hard 5 continued on its hot streak last time on Danny’s foreign box office report. Does Willis stay another week Danny?
Danny Angelfish (via Hollywood Reporter)-Buoyed by a powerhouse France opening, 20th Century Fox’s A Good Day To Die Hard easily captured the No. 1 box office spot in its third weekend on the foreign theatrical circuit by registering $35.5 million at 10,587 locations in 67 markets, and lifting its foreign gross total well past the $100-million mark ($132.8 million).
The fifth installment of action franchise starring Bruce Willis blasted off at 650 locations in France, drawing $5.47 million and dominating the market. With school holidays in the market just beginning, Good Day is well positioned to cash in over the coming stanzas.
A No. 1 opening in Brazil generated $2.6 million at 531 sites, the best bow in the territory for the Die Hard franchise. Top holdover market was Germany where the sequel nabbed $3 million at 669 spots for a market cume of $10.2 million.
A No. 1 second Japan weekend threw off $2.9 million at 644 situations for a market cume of $13.4 million. A No. 3 India debut contributed $1.4 million at 663 spots.
Over a 25-year span the four prior Die Hard titles all starring Willis have prospered overseas, grossing a collective total of $694.6 million, as per Fox figures, with the second sequel of the franchise, 1995’s Die Hard With A Vengeance, leading the pack with an offshore tally of $264.5 million.
The 1988 original Die Hard drew $57.8 million in offshore box office, with the first sequel, 1990’s Die Hard 2, grossing $122.5 million. The last sequel, 2007’s Live Free or Die Hard, completed its foreign run with box office of $249.7 million.
Coming in second this round was Warner Bros.’ The Hobbit: An Unexpected Journey, which registered a gangbusters opening in China, grossing $18.1 million at 4,009 locations. The Peter Jackson fantasy epic, which opened offshore in December, drew $19.1 million on the weekend over all from 5,006 sites in 44 markets. Cume stands at $679.6 million.
Warner Bros. said Hobbit’s China debut ranks as the market’s fourth biggest three-day opening for a U.S. title, and the distributor’s third biggest behind the seven-day opening of The Dark Knight Rises and the four-day initial tally registered by Harry Potter and the Deathly Hallows, Part 2. The Hobbit’s biggest foreign market introduction was in the U.K. where the film’s opening gross was $18.3 million.
Meanwhile, the foreign grosses of the best picture Oscar nominees are all over the lot:
Les Miserables’ worldwide gross total stands at nearly $400 million ($395.1 million) with the bulk of the action ($248.4 million) coming from foreign play dates. The musical’s Germany opening on the weekend produced $1.5 million at 377 situations, enough for a No. 4 market rank. Weekend over all registered $9.1 million at 3,640 in 52 markets. Les Mis has seven more territories still to open including a debut in China, which occurs this week.
Scoring significantly higher numbers offshore (cume $221.8 million) than in the U.S. and Canada (about $158.8 million), Sony’s Django Unchained’s box office confirms director Quentin Tarantino’s greater popularity overseas. In Germany and France alone, his film has grossed more than $75 million. The latest weekend on the international circuit generated $8.9 million at 3,855 venues in 61 markets.
Setting no bonfires at the overseas box office in director Kathryn Bigelow’s Zero Dark Thirty, which has grossed about $90 million in the U.S. and Canada. Foreign take via a number of offshore distributors should crack the $40 million mark this week, with Universal claiming $20.8 million of that total. This reverses the box office pattern of the director’s 2008 Oscar winner, The Hurt Locker, which collected $32 million abroad and less than $20 million domestically.
Also underperforming overseas is Ben Affleck’s Argo from Warner Bros. While its domestic tally stands at a robust $129.8 million, the foreign gross so far is nearing $80 million. The film’s Oscar win should boost its foreign box office significantly.
Of all the Oscar contenders, Fox’s The Life of Pi has performed the most spectacularly overseas — $471.5 million to date, more than four times its domestic gross. Latest weekend for the Ang Lee film (for which he won best director) generated $2 million at 1,891playdates in 16 territories.
On the other hand, Steven Spielberg’s Lincoln also distributed by Fox has drawn $67.5 million on the foreign circuit as opposed to $178.6 million in the U.S. and Canada. Latest weekend offshore registered $5.4 million at 2,812 sites in 48 markets.
The Weinstein Co.’s Silver Linings Playbook’s foreign action lags behind its domestic take – about $52 million offshore versus $103 million domestically. While Sony Classics’ German-French coproduction Amour from director Michael Haneke has grossed about $13 million offshore, its domestic take stands at less than $5 million. And Fox Searchlight’s low-budget Beasts of the Southern Wild has yet to play foreign.
Within shouting distance of the $500-million gross mark worldwide is Disney’s animation outing Wreck-It Ralph, which ranks No. 1 in the U.K. Latest weekend on the foreign circuit in 68 territories generated $8 million, lifting the film’s foreign cume to $241.5 million and the worldwide total to $428.2 million.
Weekend take over all for the horror title, Mama starring Jessica Chastain, came in at $5.5 million from 1,393 play dates in 18 territories. Foreign cume stands at $27.3 million. A No. 3 U.K. premier delivered $2.34 million at 387 situations.
Hansel and Gretel: Witch Hunters, Paramount/MGM’s 3D co-production distributed overseas in most territories by the former, generated $4.6 million on its sixth weekend at 1,988 sites in 39 markets, hoisting its foreign gross total to $108.5 million. Openings in the U.K., Germany, Spain and the Netherlands are on tap this week.
Flight starring Denzel Washington, distributed overseas by Paramount and other distributors, moved its overseas cume to $53.1 million thanks to a $5.1 million weekend 2,365 spots in 45 markets. Japan and South Korea open this week.
With four weeks of school holidays looming in France, comedies are the order of the day for market newcomers.
Best grossing local language freshman was Gaumont’s release of Vive La France, a cultural satire costarring Jose Garcia and Michael Youn (who also directed) as a pair of Central Asian yokels on a mission to destroy the Eiffel Tower. Opening round drew $3.1 million at 477 play dates, sufficient for a No. 2 market bow.
Securing the market’s No. 7 spot was Universal’s release of the family comedy, La Vrai Vie Des Profs (Real Life Teachers), which opened at 303 locations for $1.1 million.
Other international cumes: Warner’s Gangster Squad, $50.4 million thanks to a $3.2 million weekend at 2,230 sites in 42 markets; Paramount’s Jack Reacher, $133.6 million after a $3 million 10th weekend at 8,191 spots in 26 markets; Universal’s Identity Thief, $1 million; Paramount’s Tad – The Lost Explorer, $13 million in Latin American territories; Universal’s Ted, $321 million; Fox’s Break Up Man, $22.8 million; Universal’s Anna Karenina, $43.7 million; Sony’s Hotel Transylvania, 188.6 million; and Universal’s This Is 40, $11.4 million.
Also: Sony/MGM’s Skyfall, $804 million; Universal’s Chinese Zodiak, $9.4 million over four rounds in Russia only; Paramount’s Cirque du Soleil, $17.1 million; Focus Features’ Hyde Park on Hudson, $1.8 million; Warner’s Kokowaah 2, $16.8 million in three rounds in Germany only; Focus Features’ Promised Land, $432,723; Sony’s Hotel Transylvania, $189.3 million; Focus Features’ Moonrise Kingdom, $22.8 million; Fox’s Hitchcock, $12.5 million; Cloud Atlas, $18.4 million in Focus Features territories only; and Universal’s Pitch Perfect, $44.9 million.
On January 31st, Cartoon Network released their full yearly schedule including their returning shows. How ‘will Nick do this year? Here’s the list:
NEW YORK, Feb. 26, 2013 – Nickelodeon today at its annual upfront previewed its strategy to serve the new generation of post-millennial kids; introduced a line-up of brand-new animated and live-action comedy series from new creative voices; outlined plans for new, innovative content development platforms; and presented a new slate of educational preschool programming. Hosted by Nickelodeon Group President Cyma Zarghami, the presentation was held at Jazz at Lincoln Center in New York City.
Among the new animated projects introduced were: Sanjay & Craig, an animated series about a boy and his best friend–a snake–whose creative team combines two first-generation Nickelodeon creators Will McRobb and Chris Viscardi (The Adventures of Pete & Pete) with first-time Nickelodeon creators and co-executive producers Jim Dirschberger , Jay Howell and Andreas Trolf ; and Breadwinners, whose creative team (animator Gary “Doodles” DiRaffaele and writer Steve Borst ) came from Nickelodeon’s Animation Shorts Program and features two booty-shaking ducks who operate a bread delivery service out of their awesome, jet-fueled rocket van. Additional new animated projects include the previously announced Rabbids and Monsters vs. Aliens. Nickelodeon is also picking up a third season of its hit animated series Teenage Mutant Ninja Turtles, which bowed in 2012 as the number-one new animated series with boys 2-11.
In live-action, two new family comedy series were announced, including The Haunted Hathaways, created by veteran comedy writer-producer Robert Peacock (Reba, The Jeff Foxworthy Show) in his first Nickelodeon show, about a family who moves into a house in New Orleans, LA, only to learn it’s already occupied by a family of ghosts; and The Thundermans, from Jed Spingarn , who most recently served as co-executive producer of the hit Nickelodeon series Big Time Rush, about the sibling rivalry between twins in a family of superheroes. These series join the previously announced live-action series Sam & Cat and the recently launched Wendell & Vinnie.
A robust slate of original new educational programs for preschoolers was also introduced, including Wallykazam!–Nickelodeon’s first literacy show for preschoolers that embeds the curriculum into a rich narrative story with the goal of helping and inspiring kids to read; Blaze and the Monster Machines, which is the first-ever preschool series that features a curriculum dedicated to all areas of STEM (Science, Technology, Engineering and Math) and follows the adventures of an 8-year-old boy and his monster truck; and Dora and Friends, a spin-off from the original creative team behind megahit Dora the Explorer, which stars the Latina heroine as a 10-year-old who goes on adventures in the big city with a group of new friends.
In addition, Zarghami outlined Nick’s commitment to researching the newest generation of kids, the post-millennials, born between 2005 to present, as well as how the network is reinventing its development process and pipeline and innovating on new platforms. The presentation also included a look at Nickelodeon’s just-launched Nick App–which now ranks as the number-one title on the Entertainment App list and the number-two title on the Free App list in the iTunes Store, approaching 400K downloads. Also detailed were: a new live afternoon daypart, Nick Studio 10; announcements about new sketch-comedy workshops for live-action development; and a partnership with Brian Robbins ‘ Awesomeness TV online site.
“We have reorganized our development process in a way that allows us to make content smarter and faster than ever before, tailored specifically for this first generation of post-millennial kids,” Zarghami said. “Our research tells us that for them funny is a badge of honor, and because funny is in Nickelodeon’s core DNA, we believe our position will ensure our success with them.”
In a surprise appearance, actor Josh Duhamel took the stage to highlight his role as host of Nickelodeon’s 26th Annual Kids’ Choice Awards, which will air Saturday, March 23, at 8 p.m. (ET/PT). Duhamel was later joined by Viacom President and CEO Philippe Dauman ; and the presentation was capped off with a musical performance by Interscope recording artists OneRepublic, who performed their latest hit single, “If I Lose Myself.”
Details of Nickelodeon’s new content slates include:
Sanjay & Craig–The 20-episode series tells the story of two best friends–one of whom is a snake–and the true adventures of being a kid. Voice actors include: Maulik Pancholy (30 Rock) as Sanjay; Chris Hardwick (Nerdist, Back at the Barnyard) as Craig; Tony Hale (Arrested Development) as Mr. Noodman; Linda Cardellini (Freaks and Geeks) as Megan; Kunal Nayyar (The Big Bang Theory) as Vijay; and Grey DeLisle (Fairly Odd Parents) as Darlene. Sanjay & Craig is created and co-executive produced by Jim Dirschberger , Jay Howell (character design for Bob’s Burgers) and Andreas Trolf , and executive produced by Nickelodeon alumni Will McRobb and Chris Viscardi (The Adventures of Pete & Pete, Alvin and the Chipmunks).
Monsters vs. Aliens–Inspired by DreamWorks Animation’s 2009 blockbuster feature film ($383 million worldwide gross), this new series follows the further adventures of the beloved monsters — B.O.B., the gelatinous blob without a brain; Link, the prehistoric fish-man; Dr. Cockroach, the half-man/half-insect mad scientist; and Susan (aka Ginormica), the incredible growing woman — as they learn to adapt to a new world filled with bizarre aliens. This series, which is greenlit for 26 episodes, marks the third partnership between Nickelodeon and DreamWorks Animation.
Rabbids–This series brings to television the hysterical physical comedy that is the hallmark in Ubisoft’s wildly successful Rabbids video games. Irreverent, unpredictable and silly, the Rabbids are a mysterious breed of rabbit-like creatures that explore, and often wreak havoc, in the human world. Everything is a source of wonder and amusement, and these indestructible and uncontrollable creatures have absolutely no respect for the social rules that govern society. For them, there are no laws, no rules of the road. It’s all about having fun and saying “Bwaaaaaah!” Nickelodeon has secured global broadcast rights for 26 new half-hour CG episodes of Rabbids, which will be produced by Ubisoft.
Breadwinners – Created by Gary “Doodles” DiRaffaele (MAD, Metalocalypse), who was discovered from Nick’s 2012 Animated Shorts Program, and Steve Borst (Teen Titans Go!, MAD), Breadwinners follows two booty-shaking ducks as they operate a bread delivery service out of their awesome, jet-fueled rocket van. The series was picked up for 20 full-length episodes.
Nickelodeon has renewed its Animated Shorts Program, as a further commitment to produce hit animated content for kids. Last year, more than 600 pitches were collected during Nickelodeon’s inaugural program. From the pitches, 12 were created and five are in series development. All 12 shorts will air on the network, or appear on nick.com or on Nickelodeon’s new app, which launched Feb. 21.
Nickelodeon also announced a third season pick up of its hit Teenage Mutant Ninja Turtles series, which was 2012′s number-one new animated program with boys 2-11 across all TV. Season two is currently in production.
For the 2013-14 season, the network will also roll out new episodes of returning hit animated series, including season two of The Legend of Korra, SpongeBob SquarePants, The Fairly OddParents, Winx Club, T.U.F.F. Puppy, Kung Fu Panda : Legends of Awesomeness and Robot and Monster.
The Haunted Hathaways–Life in The Big Easy gets a little more complicated and way more spirited when the Hathaway siblings ( Amber Montana, Breanna Yde ) and their mom ( Ginifer King ) move into a house already occupied by a dad ( Chico Benymon ) and his sons ( Curtis Harris , Benjamin “Lil P-Nut” Flores Jr.) who happen to be ghosts. Created by veteran comedy writer-producer Robert Peacock (Reba, The Jeff Foxworthy Show), The Haunted Hathaways is executive produced by Boyce Bugliari & Jamie McLaughlin (Bucket & Skinner’s Epic Adventures). The series will begin production on 20 episodes this spring.
Wendell & Vinnie–A brand-new, live-action family comedy featuring Jerry Trainor (iCarly) in his first starring and producing role, this series follows 30-year-old Vinnie Bassett (Trainor) living the life of a carefree bachelor, when he suddenly becomes the legal guardian of his precocious, wise-beyond-his-years nephew, Wendell ( Buddy Handleson , Shake It Up) forming a hysterical odd-couple family dynamic. Nicole Sullivan ( Rita Rocks , Mad TV) also stars as Vinnie’s older unlucky-in-love sister, Wilma, with Haley Strode (Gangster Squad) as Vinnie’s newly divorced neighbor and love interest, Taryn. Wendell & Vinnie, which has received has received a 20 episode order. The series airs regularly on Saturdays at 8p.m. (ET/PT).
Sam & Cat –In this comedic spin-off from award-winning creator and executive producer Dan Schneider (iCarly, Victorious, Drake & Josh, Zoey 101), Sam & Cat stars Jennette McCurdy (iCarly‘s Sam Puckett ) and Ariana Grande (Victorious’ Cat Valentine) reprising their roles from their respective hit shows. The series features the pair as unlikely roommates and best friends who become teen entrepreneurs by starting their own after-school babysitting business. Sam & Cat is currently in production on 20 episodes in Los Angeles and will premiere this fall.
The Thundermans–The Thundermans are a typical suburban family who happen to have astounding superpowers. At the center of the action are the 14-year-old Thunderman twins, Max ( Jack Griffo ) and Phoebe ( Kira Kosarin ), who share the same bathroom, the same school and the same annoying younger siblings. Their only difference? Phoebe is a super student with a super sunny disposition who super looks forward to being a superhero someday, and Max aspires to become a super villain. The 13-episode series will commence production this spring and is written by longtime Nickelodeon producer Jed Spingarn, who most recently served as co-executive producer of the hit series Big Time Rush and prior to that, produced on The Adventures of Jimmy Neutron: Boy Genius and Johnny Bravo.
Nick Studio 10–This live, daily afternoon daypart features four friends who make and share outrageously funny content in real time. Beginning this spring, content created on the show will also migrate from on-air to the recently launched Nick App , and content from the app will also be featured on the series.
Awesomeness (working title)–Nickelodeon is partnering with Brian Robbins (Smallville, One Tree Hill, Coach Carter) to co-develop a new half-hour sketch comedy show that features a mix of new and existing content from the extremely popular online site Awesomeness TV.
Nickelodeon will also premiere more new episodes of its hit live-action series, including Big Time Rush, Marvin Marvin and See Dad Run.
Dora and Friends–An original, animated Dora the Explorer spin-off, Dora and Friends: Into the City stars Latina heroine Dora as a 10-year-old who goes on city adventures with a group of new friends. Fantastical twists and turns abound as the stories take Dora and her friends into exotic magical worlds waiting to be explored. Dora and Friends features a curriculum that fosters a child’s understanding of Spanish, teamwork, music and community service. The series has been picked up for 20 episodes and will launch on Nickelodeon in 2014.
Wallykazam –This new animated series is Nickelodeon’s first literacy show for preschoolers that embeds the curriculum into a rich narrative story, with the goal of helping kids fall in love with words and inspiring them to read. The original comedy follows the adventures of a boy named Wally Trollman and his pet dragon, Norville. Wally has a magic stick that makes words come to life and playfully transforms the world around him. Wallykazam! is currently in production on 26 episodes that will premiere on Nickelodeon in 2014.
Blaze and the Monster Machines–This original CG-animated series introduces preschoolers to the areas of science, technology, engineering and math (STEM). This is the first preschool show that features a curriculum dedicated to all areas of STEM. Viewers will join an eight-year-old boy named AJ and his incredible monster truck Blaze on super-sized adventures. AJ and the viewer help Blaze as they explore the physics of how things move, master mathematics and discover how everyday technologies work. The series, which received a 20-episode order, will debut on Nickelodeon in 2014.
Peter Rabbit–This new CG-animated series is a reimagining of the popular Beatrix Potter children’s books based on the beloved Peter Rabbit character, which have sold over 250 million copies worldwide and have been translated into 35 languages. The series follows the adventures of Peter Rabbit and his best friends Benjamin Bunny and Lily Bobtail. Peter Rabbit features educational goals that encourage preschoolers to learn problem-solving and interpersonal skills, self-efficacy, resilience, positive re-framing and fosters an interest in nature. The series, which received a 26-episode order, launched on Feb. 19 and posted double-digit gains and won its time period across all cable with kids 2-5, adults 18-49 and total viewers.
During the presentation, Nickelodeon highlighted original research into the newest generation of kids, the post-millennials. The network’s early profile of them reveals some of their unique connections to friends, family and funny, including:
Post-millennial kids are part of a Velcro family–The post-millennials’ parents are the Gen-Xers who are striving to right those perceived wrongs from their own neglected childhoods. Their kids, the post-millennials, are therefore more protected and sheltered than any generation before. No one is more important to these kids than mom and dad: 90% of them say their parents are their heroes; 80% say they want to spend more time with their parents; and the majority of the next generation says that family time is the first choice for how to spend free time.
Post-millennials view friendship differently than their predecessors–Unlike millennials before them, friendship is not a game of numbers but is about shared trust among a small circle of people. While the post-millennials may have limitless cyber connections, they choose to have only 2 or 3 real friends in their lives.
This new generation of kids speaks fluent “Grown-Up”–Post-millennials are included in the adult world, and they influence adult decisions. They understand how to keep the adults in their lives happy, and it makes them feel good about themselves. They speak fluent “Grown-Up.”
The post-millennial generation cares deeply about community–This new generation of kids has been exposed at a very early age to war, climate change and a poor economy, which has made their sense of compassion and desire to improve the world particularly pronounced. They genuinely want to make positive contributions and participate alongside one another in making the world a better place.
Post-millennials have a strong affinity for comedy–Humor plays a pivotal role in the lives of post-millennials, uniting them with friends and family and playing a key role in how they view themselves. A majority of post-millennials (74%) describe themselves as funny, and as a descriptor, that rates as highly as being smart. Additionally, when it comes to spending time together as a family, this current generation of kids ranks laughing together higher than vacations, having a meal together and holidays. Post-millennials also consider being funny as a badge of honor, a commodity to be traded with friends, which brings them social currency.
With that out of the way, let’s check the Penguins tally!
With no mention of new episodes of Penguins of Madagascar, looks like the last mission along with The Penguin Who Loved Me, will air as promised and planned sometime in March scheduling permitting. This week, 916 fans sign in continuing to wish Team Skipper good luck, but it appears the tally could be scrapped for good thus, it could be dead. We’ll look for some scheduling changes as we enter March.
As for next month,That’s does it for this short month of February TV and movie fans. Now that we know which Nicktoons will return this year, look out for new episodes of SpongeBob, Fairly OddParents, TUFF Puppy, Robot and Monster, and Kung Fu Panda: Legends of Awesomeness as Spring sweeps start to roll in. See you soon!
Identity Thief remains on top after thwarting Snitch and Dark Skies with 14 million win; Nick recruits Rocket Monkeys while House of Anubis Season 3 moves to Teen Nick; Lincoln poised to take Oscars but Argo is proven to be Oscar upset
The thief strikes again! I’m Realistic Fish Head. The box office got a surprise last week when Die Hard 5 gave a well deserved boost signaling that Winter Storm Nemo, the storm that would’ve threatened the box office, is no longer a factor! Universal’s Identity Thief struck again when it was under threat from Dark Skies and Snitch. Was the thief able to pull through? Gene Scallop has an APB update!
After finishing in a very close second last weekend, Universal’s Identity Thief returned to first place this weekend with an estimated $14.06 million. The break-out comedy starring Jason Bateman and Melissa McCarthy was down a very solid 41 percent from last weekend’s three-day frame. Identity Thief continues to outpace expectations and has now grossed $93.67 million through 17 days of release. That leaves the film just $6.33 million away from becoming the first release of 2013 to reach the $100 million domestic milestone. Identity Thief is currently running a comfortable 19 percent ahead of the $78.79 million 17-day take of 2011’s Just Go with It.
Snitch placed in a close second this weekend with an estimated $13.0 million. The Dwayne Johnson vehicle from Lionsgate and Summit trailed Identity Thief by just $1.06 million for the frame. Snitch opened in line with pre-release expectations, which were held in check by the film being a lower profile release for Johnson and by the poor performances of earlier 2013 action vehicles in general. After debuting with $4.13 million on Friday, Snitch increased an encouraging 36 percent on Saturday to gross $5.6 million. The film earned a B rating on Cinema Score, while the audience breakdown for the film skewed a bit towards male moviegoers (53 percent) and towards moviegoers over 30 (58 percent).
Fellow new release Dark Skies wasn’t as strong, as it had to settle for an estimated sixth place start of $8.85 million. The PG-13 sci-fi horror film from The Weinstein Company debuted on the low end of expectations. With that said, only $5.21 million separated sixth place from first place this weekend. Dark Skies opened with $3.09 million on Friday and increased 13 percent on Saturday to take in $3.49 million. The film earned a so-so C+ rating on Cinema Score and isn’t likely to hold up well going forward given the typically front-loaded nature of horror fare and the release of fellow PG-13 horror film The Last Exorcism Part II this coming Friday.
Second weekend holdovers occupied spots three through five this weekend, with The Weinstein Company’s Escape From Planet Earth leading that group with an estimated third place take of $11.0 million. The 3D computer animated film fell just 31 percent from last weekend’s three-day start, as it continues to be aided by the current lack of other options for family audiences in the marketplace. Escape From Planet Earth has grossed $35.14 million in ten days, which is stronger than expected and places the film 23 percent ahead of the $28.64 million ten-day take of 2006’s Hoodwinked.
Relativity’s Safe Haven placed in fourth with an estimated $10.6 million. The romantic drama starring Josh Duhamel and Julianne Hough was down a sharp 50 percent from last weekend, though the decline was quite understandable given that the initial rush-out for the film was boosted by the Valentine’s Day holiday. Safe Haven has grossed a very solid $48.06 million in eleven days, placing it 16.5 percent ahead of the $41.24 million eleven-day take of 2008’s Step Up 2 the Streets.
Holding up worse was Fox’s A Good Day to Die Hard. The fifth installment of the action franchise starring Bruce Willis fell a steep 60 percent to land in fifth with an estimated $10.0 million. Mixed word of mouth and the added direct competition from Snitch both took a toll on A Good Day to Die Hard this weekend. With an eleven-day start of $51.80 million, A Good Day to Die Hard is running a very disappointing 34.5 percent softer than the $79.03 million eleven-day performance of 2007’s Live Free or Die Hard.
Fortunately, A Good Day to Die Hard continued to perform much stronger overseas this weekend. The film took in $35.7 million from 67 foreign markets. That brings the overseas total for A Good Day to Die Hard to $133.1 million and the film’s global haul to $184.9 million.
Silver Linings Playbook led the way among Best Picture nominees this weekend with an estimated seventh place take of $6.05 million. The Weinstein Company release was down a slim 3 percent from last weekend and has grossed $107.48 million to date.
Estimated weekend grosses for other Best Picture nominees included $2.25 million for Zero Dark Thirty (down 25 percent from last weekend), $1.97 million for Argo (down 10 percent), $1.55 million for Life of Pi (down 1 percent), $1.49 million for Lincoln (down 9 percent), $1.04 million for Django Unchained (down 32 percent), $0.82 million for Amour (up 16 percent) and $0.66 million for Les Misérables (down 24 percent).
To recap, The thief, who came back 2 weeks ago, easily beats Snitch to take the top spot which pulled in 2nd, Escape From Planet Earth rallies the troops in 3rd, Safe Haven’s 50% drop drops in 4th, while Die Hard 5 gets held over in 5th.
While Rocket Monkeys is currently monitored on Teletoon Canada, Nick has required the chimps to keep up on its progress. Sounds like they’re going to be very busy aren’t they Jim?
Jim Fish (via The Hollywood Reporter)- Nickelodeon has acquired the Canadian Rocket Monkeys animated series from indie producer Breakthrough Entertainment and studio Atomic Cartoons for its worldwide network, including the U.S.
The cartoon series, comprising 26 half hours, focuses on brothers Gus and Wally as hapless monkeys in space causing more intergalactic calamity than frontier exploration.
Rocket Monkeys is to air on Teletoon Canada here.
”Rocket Monkeys is a great fit for our global network, a funny, energetic, laugh-out-loud comedy that we are confident our audiences around the world will love,” said Jules Borkent, senior VP of global acquisitions and international programming at Nickelodeon, in a statement.
The animated series is created by Dan Abdo and Jason Patterson, and developed by producers Alex Galatis and Mark Evestaff.
Executive producers are Ira Levy, Joan Lambur and Peter Williamson.
Speaking of catching up, Season 3 of House of Anubis is getting Teen Nick viewers a big recap with Nick at Nite also with some late night showings too. With more episodes planned soon Jimmy, how long until we see new episodes air on Nick again?
Jim Trout (via Nick and More)- In yet another of Nickelodeon’s cast-offs, House of Anubis will move over to TeenNick starting next Monday with the remainder of this season’s new episodes.
Nickelodeon aired the third season of Anubis for six weeks on Thursday nights to poor ratings. So far, twelve half-hours have aired (since Nick aired it in an hour-long format each week). That means 28 half-hours remain from this season’s 40 episode order. (There is also supposed to be a 90-minute TV movie this season as well.)
In a completely unannounced move, TeenNick did air all of this season’s episodes this past Monday and Tuesday night from 8-11pm ET, but they will be airing all 12 half-hours again this weekend, Saturday and Sunday, from 3-6pm ET each day. So, if you’ve missed anything from this season, now’s the time to catch-up.
New episodes will then start next Monday, February 25 at 8:30pm ET (5:30pm PT) with same-night encores at 11:30pm ET (8:30 PT). New episodes will air each Monday, Tuesday, Wednesday and Thursday night – totaling 4 half-hours each week.
Anubis follows Nick@Nite’s short-lived attempt at a telenovela style drama each night with Hollywood Heights last summer. After a few weeks, they shipped the remainder of the episodes over to TeenNick for premieres and it was canceled afterwards.
Nickelodeon has also done the same with many different animated series never completing their runs on Nickelodeon and thusly being shipped over to Nicktoons (the channel) or just plain never airing.
We surpassed the 3000 mark in the Penguins tally! Now as we close in on 4000, 964 fans have signed in as International Nick viewers continue to await Team Skipper’s last mission to hit the airwaves soon. So far, Nick Korea, Nick Russia, Nick Poland, and Nick Germany have already aired and said a big farewell to the team. We’ll continue to track down the rest of the world as the confirmed airdates come in.
With the 2013 Oscars just hours away, it’s time to predict which movie will rule Hollywood as the next best picture. IGN breaks them down and tells us why:
(From IGN)- The Academy Awards are Sunday, so naturally we’re engaged in the guessing game of who will go home with an Oscar. But will the winners be the ones we truly wanted to
see get the nod?
Who Will Win: Argo.Lincoln may have a bunch of nominations, but Argo has momentum is in its favor as it’s been on a streak of winning all the major film awards of late.
Who Should Win: While we’re absolutely fine with Argo winning, we’d still be very happy if Zero Dark Thirty took home the Oscar.
Who Will Win: Daniel Day-Lewis is a lock. Everyone knows that.
Who Should Win: As with Argo, we’re totally fine with DDL winning, but we’d also love to see Joaquin Phoenix pull an upset just because we dig what he did in that film.
•Jessica Chastain, Zero Dark Thirty
•Jennifer Lawrence, Silver Linings Playbook
•Emmanuelle Riva, Amour
•Quvenzhane Wallis, Beasts of the Southern Wild
•Naomi Watts, The Impossible
Who Will Win: Jennifer Lawrence is the “It” girl of the moment and a damn fine actress so the common wisdom is that she’ll add an Oscar to her spate of other awards for her performance in Silver Linings Playbook.
Who Should Win: Jessica Chastain. She’s a highly respected actress and Zero Dark Thirty was the frontrunner for Best Picture before politics seemed to derail its chances. This could be the Academy’s way of honoring the film. (It should be noted there’s a possibility that Chastain and Lawrence could split the vote leaving Emmanuelle Riva the winner.)
Best Supporting Actor
•Alan Arkin, Argo
•Robert De Niro, Silver Linings Playbook
•Philip Seymour Hoffman, The Master
•Tommy Lee Jones, Lincoln
•Christoph Waltz, Django Unchained
Who Will Win: Tommy Lee Jones, who has won several awards for Lincoln already.
Who Should Win: In a film with such an awesome ensemble, Christoph Waltz was the standout in Django Unchained and we’d love to see him win here.
Best Supporting Actress
•Amy Adams, The Master
•Sally Field, Lincoln
•Anne Hathaway, Les Miserables
•Helen Hunt, The Sessions
•Jackie Weaver, Silver Linings Playbook
Who Will Win: Anne Hathaway, because she dreamed a dream like nobody else could.
Who Should Win: Amy Adams for her less showy, but compelling turn in The Master.
•Michael Haneke, Amour
•Benh Zeitlin, Beasts of the Southern Wild
•Ang Lee, Life of Pi
•Steven Spielberg, Lincoln
•David O. Russell, Silver Linings Playbook
Who Will Win: This is the Oscars’ biggest horse race this year. Ben Affleck won the Directors Guild award for Argo, but wasn’t even nominated for an Oscar. Zero Dark Thirty’s Kathryn Bigelow was also snubbed. We think this gives the edge to industry titan Steven Spielberg to walk away with the trophy for Lincoln. There’s also a chance Michael Haneke could win, but our money’s on Spielberg.
Who Should Win: Ang Lee for pulling off Life of Pi in such dazzling, poetic fashion.
Animated Feature Film
•The Pirates! Band of Misfits
Who Will Win: Brave, because we’re not convinced that enough Oscar voters saw the non-Pixar nominees.
Who Should Win: Wreck-It Ralph or Frankenweenie, two heartfelt crowd-pleasers that unfortunately might still be too niche for Oscar voters to reward.
Writing (Adapted Screenplay)
•Argo, Chris Terrio
•Beasts of the Southern Wild, Lucy Alibar & Benh Zeitlin
•Life of Pi, David Magee
•Lincoln, Tony Kushner
•Silver Linings Playbook, David O. Russell
Who Will Win: Argo. It’s won most of the other major screenplay awards so an Oscar seems inevitable now.
Who Should Win: Life of Pi, because it was long deemed “an unfilmable book” and Magee and Lee found a way to do it. We’re also OK with the brilliant playwright Tony Kushner being awarded for his adaptation of Lincoln.
Writing (Original Screenplay)
•Amour, Michael Haneke
•Django Unchained, Quentin Tarantino
•Flight, John Gatins
•Moonrise Kingdom, Wes Anderson & Roman Coppola
•Zero Dark Thirty, Mark Boal
Who Will Win: We’re torn. We give the edge to Zero Dark Thirty after its Writers Guild win, but never count out Tarantino as the Academy may want to reward Django in some major category.
Who Should Win: We’d be happy with either Django Unchained or Moonrise Kingdom.
•Life of Pi
Who Will Win: Life of Pi
Who Should Win: Life of Pi, but Skyfall’s cinematographer Roger Deakins did a wonderful job here and has an amazing body of work that the Academy might want to reward him for.
•The Hobbit: An Unexpected Journey
•Life of Pi
•Marvel’s The Avengers
•Snow White and the Huntsman
Who Will Win: Life of Pi, because that CG tiger “Richard Parker” was an amazingly realistic creation and better than all the Orcs in Middle-earth or aliens combined.
Who Should Win: Life of Pi.
Music (Original Score)
•Life of Pi
Who Will Win: Life of Pi
Who Should Win: We’re cool with Pi winning the Oscar, but it was also nice to see John Williams’ do something far different than his usual fare with his score for Lincoln.
Makeup and Hairstyling
Who Will Win: Les Mis because Oscar voters love to see beautiful actors looking ugly in heavy period pieces.
Who Should Win: The Hobbit, because those 13 dwarves weren’t born looking that way. Except for maybe that sexy, boy band-looking one.
•”Before My Time” from Chasing Ice
•”Everybody Needs A Best Friend” from Ted
•”Pi’s Lullaby” from Life of Pi
•”Skyfall” from Skyfall
•”Suddenly” from Les Miserables
Who Will Win: Adele for Skyfall. Outside of DDL as Best Actor and Hathaway as Best Supporting Actress, this is the surest category to predict.
Who Should Win: Skyfall for being not just the best Bond song in ages but, yes, the best original song in a movie that year.
And the remaining Oscars go to:
Foreign Film will almost certainly go to Amour. Anna Karenina seems likely to win for both Costume Design and Production Design. Expect the editing award to go to Argo (this award is usually a pretty solid indicator of what will also win Best Picture). Disney’s lovely Paperman should snag the Best Animated Short, while Searching for Sugar Man will likely win for Best Documentary. And judging from the recent sound editors awards, we expect Skyfall to win Sound Editing and Les Miserables to take Sound Mixing. Industry conventional wisdom peg Mondays at Racine to Best Documentary Short and Curfew to take home Best Live Action Short.
The winners will be announced tonight on ABC and we’ll be here for news and analysis after the show. This is Realistic Fish Head saying, keep your eyes on Oscar!
20th Fox’s Jennifer Howell leaves top animation department: Die Hard 5 tops foreign box office while Rise of the Guardians and Django ‘reach 200 million mark; Zero Dark Thirty wins best picture at the writer’s guild awards while Life of Pi Sky Fall, Les Miz, and Wreck-It-Ralph win at the Golden Reels
Welcome to the award winning edition of Gene Scallop’s entertainment report. Here’s what’s topping today!
There’s big news at 20th Fox studios as Jennifer Howell calls it quits as head of animation. What’s the reason behind it Johnny?
Johnny Trout (via Dateline Hollywood)- EXCLUSIVE: Jennifer Howell, head of 20th Century Fox TV‘s animation department, is leaving the studio to pursue other opportunities. I hear her contract is up in May and is not being renewed. Howell has headed the department since 20th TV created it in 2008. The series developed on her watch include Fox’s Bob’s Burgers, the recently picked up Murder Police as well as Napoleon Dynamite and Allen Gregory. 20th Century Fox TV chairmen Dana Walden and Gary Newman are expected to find a replacement.
Additionally, Howell ran the joint Fox/20th TV Fox Incubation initiative focused on breaking new animation talent by evaluating potential toon series through fully-formed 2-minute shorts rather than by traditional script development. The program, also started in 2008, developed a number of projects though none got on the air. It was dissolved last year after Fox shifted its attention to the launch of a late-night animation block, bringing in former Adult Swim head Nick Weidenfeld to oversee it. Before joining 20th TV, Howell was EVP of Matt Stone and Trey Parker’s production company Important Films and a former supervising producer on South Park. In other personnel changes at 20th TV’s animation department, director Evan Shames is segueing to a writing career.
In this week’s box office report, Die Hard 5 surprised Hollywood with 25 million smackers easily winning President’s day weekend as the best 4 day open in its history. How did Willis do in the foreign box office, and has Django reached the 200 million smacker mark Danny, and if so, what other flick also manage to reach the mark?
Danny Angelfish (via The Hollywood Reporter)- Blanketing the foreign theatrical circuit in its second weekend of international release, 20th Century Fox’s A Good Day To Die Hard easily captured the No. 1 box office spot overseas, grossing $60.6 million – the year’s biggest foreign opening tally thus far – at 9,589 locations in 66 markets, and moving its early foreign cume to $79.1 million.
The fifth installment of action franchise starring Bruce Willis introduced itself to 37 new territories, and finished No. 1 in 32. Biggest debut was in the U.K. where 845 locations registered a total of $7.5 million. Japan contributed $6.97 million from 643 sites while Russia came up with $6.6 million at 1,693 situations and Germany generated $6.5 million at 660 locales.
As Fox put it, “John McClane has his biggest weekend ever in the international marketplace!” Openings in France, Brazil and India are on tap this week with China and Australia releases due next month.
IMAX reported that Die Hard grossed $2.1 million at 134 IMAX sites, pushing its two-round total from those venues to $4.5 million. February opening weekend records for IMAX were set in Taiwan, Hong Kong and Malaysia.
Die Hard opened offshore last weekend at just seven Asian markets, and drew $10.4 million at 1,182 locations for a per-screen average of nearly $8,800.
Over a 25-year span the four prior Die Hard titles all starring Willis have prospered overseas, grossing a collective total of $694.6 million, as per Fox figures, with the second sequel of the franchise, 1995’s Die Hard With A Vengeance, leading the pack with an offshore tally of $264.5 million.
The 1988 original Die Hard drew $57.8 million in offshore box office, with the first sequel, 1990’s Die Hard 2, grossing $122.5 million. The last sequel, 2007’s Live Free or Die Hard, completed its foreign run with box office of $249.7 million.
Finishing a distant No. 2 was Django Unchained, which had been the No. 1 overseas box office draw for the previous four weekends.
This time, director Quentin Tarantino’s Oscar contender generated $13.8 million from 4,636 locations in 62 territories, lifting its foreign gross total past the $200-million mark ($208.6 million) of which $40 million came from Germany and $30.4 million from France.
Ranking No. 2 in its second round in the U.K. was Disney’s animation title Wreck-It Ralph, which grossed $5.3 million in the market at 543 locations. That propelled the total weekend take to $11.5 in 68 territories. Ralph has now crossed the $400-million mark in worldwide box office ($411.2 million), and has tallied an international cume of $225.6 million.
Universal Les Miserables, with its eight Oscar nominations, held steady with a $10 million gross on the weekend at 2,900 situations in 48 markets, pushing the musical’s foreign gross total to $233.3 million and $379 million worldwide. An Argentina opening ($310,000 at 42 playdates) set an opening market record for a musical. A No. 2 Mexico bow yielded $1.6 million at 315 situations.
Breaking the $100-million foreign gross mark was Hansel and Gretel: Witch Hunters, Paramount/MGM’s 3D co-production distributed overseas in most territories by the former. Overseas cume over five rounds of offshore release currently stands at $100.5 million thanks to a $9.4 million weekend at 2,693 venues in 42 territories handled by Paramount.
With Jeremy Renner and Gemma Arterton portraying the title pair as bounty hunters, Hansel and Gretel opened No. 5 in South Korea (via C.J. Entertainment), drawing $1 million from 297 spots. The film remains No. 1 in Brazil for the fourth straight stanza with $1.7 million registered at 397 sites for a market cume of $19.3 million.
Continuing to generate box office in unspectacular fashion is Paramount and other distributors’ Flight, starring best-actor nominee Denzel Washington, which grossed $6.2 million on the weekend at 1,952 spots in 27 markets. International cume is put at $45.4 million from all distributors. A No. 2 France opening registered $2 million from 338 sites. This week will see Flight open in nine territories including Taiwan and Hong Kong.
Steven Spielberg’s Lincoln grossed $6.6 million on the weekend at 2,844 spots in 46 markets, moving its foreign gross total to nearly $60 million ($59 million).
Premiering No. 1 in China, as per Paramount, Jack Reacher grossed $5 million in its ninth weekend of overseas release, lifting its offshore cume to $123.8 million. In China, the Tom Cruise action vehicle generated an estimated $4.8 million from 7,500 situations.
Opening day-and-date with its domestic bow was Beautiful Creatures — a fantasy romance based on a young adult book series by Kami Garcia and Margaret Stohl – which grossed $5.4 million at some 1,300 screens in 20 overseas markets, as per the film’s foreign distributor Lionsgate International. A No. 5 U.K. debut generated $1.7 million at 423 spots.
Meanwhile, Lionsgate’s zombie romance Warm Bodies enlarged its offshore footprint by about 10 territories, and drew $4 9 million from some 2,200 screens in 34 markets. The film’s early foreign cume stands at $17.7 million.
Holding No. 1 in Spain for the second consecutive weekend was Universal’s Mama, which drew a muscular $2.4 million from 320 locations for a10-day market cume of $7 million. Weekend take over all for the horror title starring Jessica Chastain delivered $4.7 million at $1,200 play dates in 16 territories. Foreign cume stands at $20.5 million. Five openings are on tap this week including a U.K. debut.
Introducing itself at last in France was Sony Animation’s Hotel Transylvania, which resurfaced late in its foreign run (begun Sept. 27). Openings in France (1.5 million at 115 sites) and in French-speaking Switzerland plus assorted holdovers generated a total of $4.2 million on the weekend, moving the animation title’s offshore cume to $184.3 million.
Lionsgate’s tsunami disaster title, The Impossible, elevated its overseas cume to $143 million thanks to a $3 million weekend at some 1,600 sites in 42 markets. Warner Bros.’ period crime thriller, Gangster Squad, drew $2.5 million at 1,570 screens in 36 markets, moving its foreign gross total to $46.7 million through Monday. Openings in Italy and Mexico are due this week.
Top local language newcomer in France on the weekend was Pathe’s release of Turf, directed and written by Fabien Onteniente and starring Alain Chabat. The racetrack comedy opened at 602 sites and drew $1.7 million, sufficient for a No. 3 market ranking.
Other international cumes: Fox’s Life of Pi, $466.6 million (after a $3.7 million weekend at 2,674 in 27 markets); Universal and other distributors’ Zero Dark Thirty, $30.2 million from all distributors (after a $4 million weekend at 2,087 sites in some 30 markets including a $1.1 million opener in Japan via Gaga for a No. 6 market ranking); Warner’s Argo, $77.7 million; Cloud Atlas, $18.2 million in Focus Features territories only; Par’s Cirque du Soleil – World’s Away, $16 million; Focus Features’ Hyde Park on Hudson, $1.69 million; Focus Features’ Moonrise Kingdom, $22.5 million; and Focus Features’ Promised Land, $250,180.
Also, Warner’s The Hobbit: An Unexpected Journey, $660 million; Universal’s This Is 40, $9.1 million (after a No. 3 U.K. opening generating $1.9 million at 386 sites); DreamWorks/Paramount’s Rise of the Guardians, $200.5 million; Universal’s Ted, $316.6 million; Fox’s Break Up Man, $21.7 million; Paramount’s Tad – The Lost Explorer, $32.8 million; Universal’s Pitch Perfect, $44.7 million; Universal’s Anna Karenina, $40.9 million; Warner’s Argo, $77.1 million; and Fox’s Murder 3, $3.2 million in opener at India.
Weeks ago, we announced the nominees for the Golden Reels. This week, the winners are reveled! Angie’s got the results as well as the Writer’s Guild’s:
Angie Angelfish (via Dateline Hollywood)- The 65th Annual Writers Guild Awards Los Angeles ceremony honored outstanding achievement in writing in film, television, radio, new media, and other awards categories. The presentation at the JW Marriott LA Live was going on simultaneously with the New York City ceremony. Or at least it was supposed to. Instead, the LA event lagged NYC’s by almost an hour. Which meant award winners were being announced first by WGAE and then trickling into the WGAW audience to ruin any suspense. ”This is outrageous,” one audience member emailed me from the scene. “Word of Chris Terrio’s Argo win for Adapted Screenplay in NYC came in right after Lincoln nominee Tony Kushner accepted his Paul Selvin award from Steven Spielberg. No award for Adapted Screenplay still in sight in LA.What a mess. Unfortunately, the WGAW had no control over the East’s announcements. Traditionally, NYC gives out some news and radio kudos that the West doesn’t. However, the WGAE took to tweeting all the winners, which is another reason why they started beating the announcements of the WGAW which made a policy not to tweet. Last year, WGAW and WGAE were nearly synced. The only problem was when the East trumped the West with the announcement of Woody Allen winning Original Screenplay for Midnight In Paris.
The WGA nominations for theatrical motion pictures were in 3 categories: Original Screenplay, Adapted Screenplay and Documentary Screenplay. Missing include Django Unchained, Les Miserables, Amour, Beasts Of The Southern Wild and The Best Exotic Marigold Hotel which were excluded from the nomination ballots for not being produced under guild jurisdiction or under a collective bargaining agreement in Canada, Ireland, New Zealand or the UK. (Oscar guidelines are less restrictive.) But those nominees out of the 112 eligible screenplays include for Original Screenplay the films Flight, Looper, The Master, Moonrise Kingdom, and Zero Dark Thirty,and for Adapted Screenplay the films Argo, Life Of Pi, Lincoln, The Perks Of Being A Wallflower, and Silver Linings Playbook.
Those honors bestowed included the prestigious Laurel Awards. The Screen Laurel Award to Tom Stoppard is given to that member of the Guild who, in the opinion of the current Board of Directors, has advanced the literature of the motion picture through the years, and who has made outstanding contributions to the profession of the screenwriter. The Paddy Chayefsky Laurel Award to Joshua Brand & John Falsey is given to those members of the Guild who, in the opinion of the current Board of Directors, have advanced the literature of television through the years, and who have made outstanding contributions to the profession of the television writer. Other honors are the Valentine Davies Award to Phil Rosenthal, the Morgan Cox Award to Daniel Petrie Jr, the Paul Selvin Award to Tony Kushner, the Animation Writers Caucus Award to Matt Groening.
Among the Hollywood bigwigs attending were LucasFilm’s Kathleen Kennedy, her Lincoln producing partner Frank Marshall, their director Steven Spielberg of DreamWorks Studios, Mad Men creator Matthew Weiner, Zero Dark Thirty director Kathleen Bigelow, and legendary screenwriter Francis Ford Coppola who was here his son Roman who is nominated for Moonrise Kingdom.
2013 WRITERS GUILD OF AMERICA AWARDS
Zero Dark Thirty (Sony/Columbia Pictures), Written by Mark Boal
Argo (Warner Bros Pictures), Screenplay by Chris Terrio; Based on a selection from The Master of Disguise by Antonio J. Mendez and the Wired Magazine article “The Great Escape” by Joshuah Bearman
Searching for Sugar Man (Sony Pictures Classics), Written by Malik Bendjelloul
Breaking Bad (AMC), Written by Sam Catlin, Vince Gilligan, Peter Gould, Gennifer Hutchison, George Mastras, Thomas Schnauz, Moira Walley-Beckett
Louie (FX), Written by Pamela Adlon, Vernon Chatman, Louis C.K.
Girls (HBO), Written by Judd Apatow, Lesley Arfin, Lena Dunham, Sarah Heyward, Bruce Eric Kaplan, Jenni Konner, Deborah Schoeneman, Dan Sterling
Mad Men (AMC), Written by Semi Chellas and Matthew Weiner – “The Other Woman”
LONG FORM – ORIGINAL
Hatfield’s & McCoy’s (History Channel), Teleplay by Ted Mann and Ronald Parker, Story by Bill Kerby and Ted Mann, Nights Two and Three
LONG FORM – ADAPTED
Game Change (HBO), Written by Danny Strong, Based on the book by Mark Halperin and John Heilemann
Modern Family (ABC), Written by Elaine Ko – “Virgin Territory”
COMEDY / VARIETY (INCLUDING TALK) – SERIES
Portlandia (IFC), Writers: Fred Armisen, Carrie Brownstein, Karey Dornetto, Jonathan Krisel, Bill Oakley
COMEDY / VARIETY – MUSIC, AWARDS, TRIBUTES – SPECIALS
66th Annual Tony Awards (CBS), Written by Dave Boone; Special Material by Paul Greenberg; Opening and Closing Songs by David Javerbaum, Adam Schlesinger
The Simpsons (Fox), Written by Jeff Westbrook – “Ned ’N’ Edna’s Blend Agenda”
The Young and the Restless (CBS), Written by Amanda Beall, Jeff Beldner, Susan Dansby, Janice Ferri Esser, Jay Gibson, Scott Hamner, Marla Kanelos, Natalie Minardi Slater, Beth Milstein, Michael Montgomery, Anne Schoettle, Linda Schreiber, Sarah K. Smith, Christopher J. Whitesell, Teresa Zimmerman
CHILDREN’S – EPISODIC & SPECIALS
Sesame Street (PBS), Written by Christine Ferraro – “The Good Sport”
CHILDREN’S – LONG FORM OR SPECIAL
Girl vs. Monster (Disney Channel), Teleplay by Annie DeYoung and Ron McGee, Story by Annie DeYoung
DOCUMENTARY – CURRENT EVENTS
“Money, Power and Wall Street: Episode One” (Frontline-PBS), Written by Martin Smith and Marcela Gaviria (PBS)
DOCUMENTARY – OTHER THAN CURRENT EVENTS
“The Fabric of the Cosmos: The Illusion of Time” (Nova-PBS), Telescript by Randall MacLowry, Story by Joseph McMaster and Randall MacLowry
NEWS – REGULARLY SCHEDULED, BULLETIN, OR BREAKING REPORT
“Tragedy In Colorado: The Movie Theatre Massacre” (ABC News), Written by Lisa Ferri, Joel Siegel
NEWS – ANALYSIS, FEATURE, OR COMMENTARY
“The Ghost of Joe McCarthy” (Moyers & Company/Thirteen/WNET), Written by Bill Moyers, Michael Winship
PROMOTIONAL WRITING AND GRAPHIC ANIMATION WINNERS
ON-AIR PROMOTION (RADIO OR TELEVISION)
“Partners” (CBS), Written by Dan A. Greenberger
TELEVISION GRAPHIC ANIMATION
Sunday Morning With Charles Osgood) (CBS), Animation by Bob Pook – “The Oscars”
NEWS – REGULARLY SCHEDULED OR BREAKING REPORT
“World News This Year 2011” (ABC News Radio), Written by Darren Reynolds
NEWS – ANALYSIS, FEATURE, OR COMMENTARY
“Dishin Digital” (WCBS-AM), Written by Robert Hawley
OUTSTANDING ACHIEVEMENT IN WRITING DERIVATIVE NEW MEDIA
The Walking Dead: Cold Storage (amctv.com), Written by John Esposito – “Hide And Seek,” “Keys to the Kingdom,” “The Chosen Ones,” “Parting Shots”
OUTSTANDING ACHIEVEMENT IN WRITING ORIGINAL NEW MEDIA
Jack In A Box (jackinaboxsite.com), Written by Michael Cyril Creighton – “The Compromises, Episode 1,” “The Pest, Episode 3,” The Snake, Episode 4,” “The Bonding, Episode 6,” “The Future, Episode 7/Series Finale”
OUTSTANDING ACHIEVEMENT IN WRITING VIDEOGAME WRITING
Assassin’s Creed III: Liberation (Ubisoft), Scriptwriting by Richard Farrese, Jill Murray (Ubisoft)
Life Of Pi, Les Misérables, Skyfall and Wreck-It Ralph took home feature film prizes at the Motion Picture Sound Editors Golden Reel Awards. Life Of Pi, which won two awards, and Skyfall are also Oscar-nominated for sound editing. Game Of Thrones, Fringe and Smash were among the winners of Golden Reels in television. In the ceremony at at downtown LA’s Westin Bonaventure Hotel, the MPSE also presented Life Of Pi director Ang Lee the organization’s previously announced Filmmaker Award. Foley artist John Roesch received the MPSE’s 2013 Career Achievement Award. Roesch, whose list of credits is extensive, is the first Foley artist whose career the MPSE has recognized. The Golden Reels recognize sound editing in 22 categories encompassing feature films, television, animation, computer entertainment and student work. Complete list of winners follows:
2013 Golden Reel Award Winners
Feature Film Category
BEST SOUND EDITING: MUSIC IN A FEATURE FILM
LIFE OF PI (20TH CENTURY FOX)
Directed by: Ang Lee
Produced by: Gil Netter, Ang Lee, David Womark
Music Editor: Erich Stratmann
Additional Music Editor: Mitch Bederman
BEST SOUND EDITING: MUSIC IN A MUSICAL FEATURE FILM
LES MISÉRABLES (UNIVERSAL PICTURES)
Directed by: Tom Hooper
Produced by: Eric Fellner, Tim Bevan, Debra Hayward, Cameron Mackintosh
Supervising Music Editor: Gerard McCann
Co-Supervising/Vocals Editor: John Warhurst
Music Editors: Rob Houston, James Bellamy, Rael Jones
Vocals Editors: Tim Hands, Alastair Sirkett
BEST SOUND EDITING: DIALOGUE AND ADR IN A FEATURE FILM
LIFE OF PI (20TH CENTURY FOX)
Directed by: Ang Lee
Produced by: Gil Netter, Ang Lee, David Womark
Supervising Sound Editors: Eugene Gearty, Philip Stockton, M.P.S.E.
Supervising ADR Editor: Kenton Jakub
BEST SOUND EDITING: SOUND EFFECTS AND FOLEY IN A FEATURE FILM
SKYFALL (MGM/COLUMBIA PICTURES)
Directed by: Sam Mendes
Produced by: Barbara Broccoli, Michael G. Wilson
Supervising Sound Editors: Per Hallberg, M.P.S.E., Karen Baker Landers
Sound Designers: Peter Staubli, M.P.S.E.,
Christopher Assells, M.P.S.E.
Supervising Foley Editor: Craig S. Jaeger, M.P.S.E.
Foley Artists: Dan O’Connell, John Cucci
Sound Effects Editors: Dino R. DiMuro, M.P.S.E., Daniel Hegeman,
Bill R. Dean, M.P.S.E., Piero Mura
BEST SOUND EDITING: SOUND EFFECTS, FOLEY, DIALOGUE AND ADR IN AN ANIMATION FEATURE FILM
WRECK-IT RALPH (WALT DISNEY STUDIOS MOTION PICTURES)
Directed by: Richard Moore
Produced by: Clark Spencer, John Lasseter
Supervising Sound Editor: Frank Eulner
Sound Designer: Gary Rydstrom, M.P.S.E.
Supervising Foley Editor: Luke Dunn-Gielmuda
Foley Artists: Dennie Thorpe, Jana Vance
Supervising Dialogue Editor: Marshall Winn
Sound Effects Editors: J.R. Grubbs, E.J. Holowicki, David Chrastka
Foley Editor: Dee Selby
BEST SOUND EDITING: SOUND EFFECTS, FOLEY, DIALOGUE AND ADR IN A
FEATURE FOREIGN LANGUAGE FILM
RUST & BONE (UGC DISTRIBUTION)
Directed by: Jacques Audiard
Produced by: Pascal Caucheteux, Jacques Audiard
Sound Designer: Pascal Villard
Foley Artist: Phillipe Penot
Sound Effects Editors: David Vranken, Nikolas Javelle
Dialogue Editor: Caroline Reynaud
BEST SOUND EDITING: SOUND EFFECTS, FOLEY, DIALOGUE, ADR AND MUSIC IN A FEATURE DOCUMENTARY
LAST CALL AT THE OASIS (ATO PICTURES)
Directed by: Jessica Yu
Produced by: Elise Pearlstein
Supervising Sound Editor: Peter Brown
Sound Effects Editor: Paul Aulicino, M.P.S.E.
Dialogue Editor: Glynna Grimala
Music Editor: Kim Roberts
BEST SOUND EDITING: SHORT FORM MUSIC IN TELEVISION
FRINGE: “A SHORT STORY ABOUT LOVE” (WARNER BROTHERS TELEVISION)
Directed by: J.H. Wyman
Produced by: J.J. Abrams, Bryan Burk, Joe Chappelle, David Fury, Akiva Goldsman,
Tamara Isaac, Kathy Lingg, J.H. Wyman, Tanya Swerling, Graham
Noland, Athena Wickham, Jay Worth, Reid Shane, Roberto Orci, Alex
Supervising Music Editor: Paul Apelgren
BEST SOUND EDITING: SHORT FORM MUSICAL IN TELEVISION
SMASH: “HELL ON EARTH” (NBC STUDIOS)
Directed by: Paul McGuigan
Produced by: Steven Spielberg, Theresa Rebeck, David Marshall Grant,
Justin Falvey, Darryl Frank, Marc Shaiman
Supervising Music Editor: Dan Evans Farkas
Additional Music Editors: Annette Kudrak, Robert Cotnoir, M.P.S.E.
BEST SOUND EDITING: SHORT FORM DIALOGUE AND ADR IN TELEVISION
THE NEWSROOM: “AMEN” (HBO ENTERTAINMENT)
Directed by: Daniel Minahan
Produced by: Aaron Sorkin, Scott Rudin, Alan Poul, Dauri Chase
Supervising Sound Editor: Mark Relyea
Supervising ADR Editor: Mark Relyea
Dialogue Editor: Robert Guastini, M.P.S.E.
ADR Editor: Ruth Adelman, M.P.S.E.
BEST SOUND EDITING: SHORT FORM SOUND EFFECTS AND FOLEY IN TELEVISION
AMERICAN HORROR STORY: “WELCOME TO BRIARCLIFF” (20TH CENTURY FOX TELEVISION)
Directed by: Brad Buecker
Produced by: Ryan Murphy, Brad Falchuk, Dante DiLoreto, Tim Menear, Jennifer Salt,
James Wont, Jessica Sharzer, Brad Buecker, Alexis Martin Woodall, Chip
Supervising Sound Editor: Gary Megregian, M.P.S.E.
Sound Designers: Gary Megregian, M.P.S.E.,
Timothy A. Cleveland
Supervising Foley Editor: Andrew Dawson
Foley Artist: Noel Vought
BEST SOUND EDITING: LONG FORM MUSIC IN TELEVISION
HEMINGWAY & GELLHORN (HBO FILMS)
Directed by: Phillip Kaufman
Produced by: Peter Kaufman, Trish Hoffman, James Gandolfini, Alexandra Ryan
Supervising Music Editor: Joanie Diener, M.P.S.E.
BEST SOUND EDITING: LONG FORM MUSICAL IN TELEVISION
LET IT SHINE (DISNEY CHANNEL)
Directed by: Paul Hoen
Produced by: Amy Gibbons, Michael Healy, Gary Marsh
Music Editors: Amber Funk, Sherry Whitfield
BEST SOUND EDITING: LONG FORM DIALOGUE AND ADR IN TELEVISION
GAME OF THRONES SEASON 2: “VALAR MORGHULIS” (HBO)
Directed by: Alan Taylor
Produced by: David Benihof, D.B. Weiss, Carolyn Strauss
Supervising Sound Editor: Peter Brown
Supervising Dialogue Editor: Vanessa Lapato
Supervising ADR Editor: Kira Roessler, M.P.S.E.
Editor: Tim Hands
BEST SOUND EDITING: LONG FORM SOUND EFFECTS AND FOLEY IN TELEVISION
GAME OF THRONES SEASON 2: “VALAR MORGHULIS” (HBO)
Directed by: Alan Taylor
Produced by: David Benihof, D.B. Weiss, Carolyn Strauss
Supervising Sound Editor: Peter Brown
Sound Designers: Stephen P. Robinson, M.P.S.E., Jon Title
Supervising Foley Editor: Paul Aulicino, M.P.S.E.
Foley Artists: James Moriana, M.P.S.E.,
Jeffrey Wilhoit, M.P.S.E.
Foley Editor: Brett Voss
SEAL TEAM SIX: THE RAID ON OSAMA BIN LADEN (THE WEINSTEIN COMPANY)
Directed by: John Stockwell
Produced by: Nicolas Chartier, Zev Foreman, Tony Mark
Supervising Sound Editors: Trip Brock, Peter Daniel Lago, M.P.S.E.
Supervising Foley Editor: Greg Mauer
Foley Artist: Rick Owens, M.P.S.E.
Sound Effects Editor: Steven Avila, M.P.S.E.,
Alexander Pugh, M.P.S.E.
Foley Editor: Kate Sheil
TV Animation & Documentary Category
BEST SOUND EDITING: SOUND EFFECTS, FOLEY, DIALOGUE AND ADR ANIMATION IN TELEVISION
ADVENTURE TIME: “CARD WARS” (CARTOON NETWORK STUDIOS)
Directed by: Larry Leichliter
Produced by: Brian Miller, Jennifer Pelphrey, Pendleton Ward, Kelly Crews,
Fred Seibert, Curtis Lelash, Rob Sorcher
Supervising Sound Editors: Thomas Syslo, Timothy J. Borquez, M.P.S.E.
Supervising ADR Editor: Robert Serda
Supervising Dialogue Editor: Krandal Crews
Foley Artist: Diane Greco
Sound Effects Editors: Tony Orozco, Eric Freeman
BEST SOUND EDITING: LONG FORM DOCUMENTARY IN TELEVISION
CROSSFIRE HURRICANE (HBO)
Directed by: Brett Morgen
Produced by: Mick Jagger, Victoria Pearman
Supervising Sound Editor: Cameron Frankley
Sound Designer: Jason Jennings
Music Editor: Jon Michaels
VERNA FIELDS AWARD IN SOUND EDITING FOR STUDENT FILMMAKERS
HEAD OVER HEELS (NATIONAL FILM AND TELEVISION SCHOOL)
Sound Designer: Axle Kith Cheeng
Computer/Direct to Video Category
BEST SOUND EDITING: COMPUTER EPISODIC ENTERTAINMENT
HALO 4: FORWARD UNTO DAWN (MACHINIMA, INC.)
Directed by: Stewart Hendler
Produced by: Josh Feldman
Supervising Sound Editors: Zach Seivers, J.M. Davey
Supervising Foley Editor: Rodrigo Ortiz-Parraga, M.P.S.E.
Sound Effects Editors: Jared Neal, George Pereyra
Sound Designers: Tobias Poppe, Charles Maynes, M.P.S.E.
Supervising Dialogue/ADR Editor: Andrew S. Duncan
BEST SOUND EDITING: COMPUTER INTERACTIVE ENTERTAINMENT
RESIDENT EVIL: 6 (CAPCOM CO., LTD.)
Directed by: Eiichiro Sasaki
Produced by: Hiroyuki Kobayashi, Yoshiaki Hirabayashi
Supervising Sound Editors: Masanobu “Tomi” Tomita,
Scott Martin Gershin, M.P.S.E.
Audio Directors: Wataru Hachisako, Arata Iwashina
Foley Artists: James Moriana, M.P.S.E.,
Jeffery Wilholt, M.P.S.E.
Sound Effects Editors: Eliot Connors, Patrick Ginn, Yasuyuki Tsujino,
Sound Designers: Brad Beaumont, Chad Bedell
Supervising Dialogue/ADR Editor: Kakunoshin Atsumi
Music Editor: Akihiko Narita
BEST SOUND EDITING: DIRECT TO VIDEO—ANIMATION
JUSTICE LEAGUE: DOOM (WARNER BROS. ANIMATION)
Directed by: Lauren Montgomery
Produced by: Sam Register, Bruce Timm, Lauren Montgomery
Sound Designer: Robert Hargreaves, M.P.S.E.
Supervising Dialogue Editor: Mark Keatts
Foley Artist: Gary Marullo
Sound Effects Editor: George Brooks
Dialogue Editors: Kelly Foley-Downs, Mike Garcia
Foley Editor: John Hegedes
BEST SOUND EDITING: DIRECT TO VIDEO – LIVE ACTION
FIRE WITH FIRE (GRINDSTONE ENTERTAINMENT GROUP)
Directed by: David Barrett
Produced by: 50 Cent, Andrew Deane, Randall Emmett, George Furla, Richard Jackson,
Supervising Sound Editor: David Barber, M.P.S.E.
Supervising Foley/ADR Editor: Gonzalo Espinoza
Foley Artist: Gonzalo Espinoza, David Kitchens
Sound Designer: Sean Gray, Ken Skoglund
Filmmaker Award – Ang Lee
Career Achievement Award – John Roesch
Checking the Penguin tally, the last 36 fans have signed in. Now with only 8 left, will the tally end this week or will it be extended for a full number of weeks? We’re still monitoring Team Skipper’s last mission with the exact airdates for the international Nick networks.
With 4 days left until the Oscars, DreamWorks Lincoln is the favorite to win it all. We’ll see if the other movies take down the academy’s pick this Sunday. This is Gene Scallop saying, see you at the Oscars!
A Good Way To Die Hard overtakes Identity Thief and brings down Beautiful Creatures to win president’s Day box office with 25 million with 36 million overall; Netflix destined to save DreamWorks’ financial troubles; Kids Choice Awards nominees announced; Nick Studio 10 to premiere this week
Bruce Wills makes a triumphant return to the big screen! I’m Realistic Fish Head. Things haven’t been exiting since Hollywood last saw him in Die Hard 4. Now with more guns than ever before, Die Hard 5 shoots a big win in the box office! Does Wills’ return give tinsel town back the advantage? Gene Scallop tells us why:
Fox’s A Good Day to Die Hard debuted in first place this weekend with an estimated $25.0 million over the three day frame. After a very solid $8.24 million Valentine’s Day start on Thursday, the action sequel starring Bruce Willis was down a surprising 13 percent on Friday, which ultimately led to this weekend’s race at the box office being much closer than anticipated. A Good Day to Die Hard did recover nicely on Saturday by increasing 41 percent over Friday, though the film’s overall performance this weekend was still lower than widely expected nonetheless. A Good Day to Die Hard has grossed $33.24 million through four days of release and is currently on pace to gross $37.4 million in its first five days. That would be 3 percent softer than the $38.72 million 5-day start of 2008’s Jumper and an underwhelming 20 percent softer than the $48.40 million 5-day start of 2007’s Live Free or Die Hard.
Despite four new wide releases entering the marketplace this weekend, Universal’s Identity Thief was able to hold up quite nicely with an estimated second place three-day take of $23.4 million. The R-rated comedy starring Jason Bateman and Melissa McCarthy continues to prove that it’s critic proof, as it fell just 32 percent from last weekend’s stronger than expected opening weekend performance. Identity Thief has grossed $70.69 million through ten days of release and is on pace to have grossed $75.0 million by the end of Monday. That would be 17 percent stronger than the $64.14 million eleven-day start of 2011’s Just Go with It and 21 percent stronger than the $62.01 million eleven-day take of 2007’s Norbit.
After debuting in first place on Valentine’s Day with $8.83 million, Relativity’s Safe Haven fell to third over the weekend with an estimated three-day take of $21.43 million. That Safe Haven lost momentum after Valentine’s Day came as no surprise and in the bigger picture the film is still performing well thus far. The romantic drama starring Josh Duhamel and Julianne Hough has grossed $30.26 million in its first four days of release and is on pace for a five-day start of $33.8 million. That would be 18 percent stronger than the $28.73 million five-day take of 2008’s Step Up 2 the Streets and 2 percent softer than the $34.52 million five-day start of 2010’s Dear John.
Going into Pres.’s Day weekend with this week’s recap, Die Hard 5’s 13% increase calls shotgun, Identity Thief holds its ground in 2nd, Save Haven loses its performance in 3rd, Escape from Planet Earth invades 4th, out invading Warm Bodies in 5th.
In Wednesday’s top headliner in last week’s entertainment report, Netflix has planned to launch Turbo F.A.S.T., DreamWorks newest TV series. Stan, could it be a lifesaver for the company once the show goes green?
Stan Jennings Fish (via Seeking Alpha)- DreamWorks Animation (DWA) has been a disappointment recently. The release of “Rise of the Guardians” did not go as planned for the company and a new shift in the company’s release schedule has sent shares down. Netflix (NFLX) appears to be coming to the rescue and investors should be getting excited.
Netflix and DreamWorks announced a partnership to bring all new original kids television shows to Netflix. The move is part of Netflix’s strategy at original programming, which includes the current hit “House of Cards” and the anticipated return of “Arrested Development”.
The deal will begin with “Turbo: F.A.S.T. (Fast Action Stunt Team)”. The television show will begin in December and will be the first of many TV shows. Netflix’s Chief Content Officer Ted Sarandos had this to say, “We’re thrilled to add Turbo the Series as well as all new DreamWorks Animation films, starting with their 2013 slate, to Netflix.” The show will be the first original kids show on Netflix. Kids streaming options continue to be one of the most popular for the movie company.
This is where I see the deal being a huge win for DreamWorks. I wrote last year about the company’s rumored expansion into television. The partnership with Netflix gives the studio’s movies life after the big screen and will also help turn sequels into bigger box office results. The show will also air in the United States and 39 other countries, which could help the international box office numbers of future DreamWorks releases.
In 2012, DreamWorks Animations acquired Classic Media for $150 million. The deal gave DreamWorks ownership of over 100 new characters. The company can slowly create movies on these characters. With the new Netflix deal, DreamWorks could also go the television route with several characters, as the majority of them have an initial history on television. This would allow DreamWorks to diversify away from its 2-3 movie release schedule, or to test out characters before they become part of big budget movies.
“Turbo” will be released in theaters on July 19th. The movie centers around a snail that gains extreme speed and competes in the Indianapolis 500. The movie stars Ryan Reynolds and several other big names. The movie will now be one of only two released in 2013 after DreamWorks moved one of its releases back.
It’s time to vote again this year kids as this year’s 2013 KCA voting is officially underway. For those of you voting for the first time or keeping up with this tradition, Jim has this year’s KCA noms:
Jim Fish (via Nick and More)- Nickelodeon fans have spoken! Voting for their favorites in television, sports, music and film, kids everywhere have made their voices heard as the network announces the nominees for Nickelodeon’s 26th Annual Kids’ Choice Awards, airing Saturday, March 23. Vying for the sought-after blimp award are mega-stars Adele, Justin Bieber, Big Time Rush, Bon Jovi, Miranda Cosgrove, Johnny Depp, Robert Downey Jr., Selena Gomez, Anne Hathaway, Vanessa Hudgens, Victoria Justice, Jennifer Lawrence, Maroon 5, Bruno Mars, One Direction, Katy Perry, Michael Phelps, Julia Roberts, Chris Rock, Adam Sandler, Will Smith, Kristen Stewart, Ben Stiller, Taylor Swift, Tim Tebow, and Venus and Serena Williams. Hollywood’s biggest kid, Josh Duhamel, will be hosting the slime-fest, telecast live from USC’s Galen Center from 8-9:30 p.m. (ET/PT).
Beginning Thursday, Feb. 14, kids will be able to cast their votes in 22 categories, including the newly introduced nominations for Favorite App and Favorite Villain, across all of Nickelodeon’s digital outlets: Nick.com, all desktop and mobile devices, and Nickelodeon’s Facebook page and Twitter feed. On Facebook, users will be able to vote from a tab on the page and the entire voting experience can be embedded directly into wall posts, and on Twitter users be able to vote using custom KCA hash tags.
It’s a fight to the cinematic finish as Kids’ Choice Awards former host and winner Will Smith, Johnny Depp¸ Zachary Gordon and newcomer Andrew Garfield nabbed nominations for Favorite Movie Actor: Smith for Men in Black 3, Depp for Dark Shadows, Gordon for Diary of a Wimpy Kid: Dog Days and Garfield for The Amazing Spider-Man. Jennifer Lawrence, Kristen Stewart and Scarlett Johansson kicked butt with dual nominations for Favorite Movie Actress and Favorite Female Butt kicker, while The Avengers, The Amazing Spider-Man, The Hunger Games and Diary of a Wimpy Kid: Dog Days are all up for Favorite Movie.
In television, Miranda Cosgrove, Bridgit Mendler, Selena Gomez and Victoria Justice round out the Favorite TV Actress nominees, with iCarly, Good Luck Charlie, Wizards of Waverly Place and 2012 KCA winner Victorious also competing for Favorite TV Show. First time nominees Carlos Pena (Big Time Rush), Lucas Cruikshank (Marvin Marvin), Jake T. Austin (Wizards of Waverly Place) and Ross Lynch (Austin & Ally) were tapped for Favorite TV Actor.
Taylor Swift scored three nominations: one for Favorite Voice from an Animated Movie (The Lorax), Favorite Song (“We Are Never Ever Getting Back Together”) and Favorite Female Singer. Last year’s Favorite Music Group Big Time Rush made the list again and are up against Maroon 5, Bon Jovi and One Direction whose single “What Makes You Beautiful” is also nominated for Favorite Song.
Presenting sponsors of Nickelodeon’s 26th Annual Kids’ Choice Awards are General Mills, Hasbro Twister Rave Games and Target. Associate sponsors are Bounty™, McDonald’s®, nabi, Wii U from Nintendo and Sketchers.
The nominees for Nickelodeon’s 26th Annual Kids’ Choice Awards are:
Favorite TV Show
Good Luck Charlie
Wizards of Waverly Place
Favorite Reality Show
America’s Got Talent
The Fairly OddParents
Phineas and Ferb
Tom and Jerry
Favorite TV Actor
Jake T. Austin (Wizards of Waverly Place)
Lucas Cruikshank (Marvin Marvin)
Ross Lynch (Austin & Ally)
Carlos Pena (Big Time Rush)
Favorite TV Actress
Miranda Cosgrove (iCarly)
Selena Gomez (Wizards of Waverly Place)
Victoria Justice (Victorious)
Bridgit Mendler (Good Luck Charlie)
The Amazing Spider-Man
Diary of a Wimpy Kid: Dog Days
The Hunger Games
Favorite Movie Actor
Johnny Depp (Dark Shadows)
Andrew Garfield (The Amazing Spider-Man)
Zachary Gordon (Diary of a Wimpy Kid: Dog Days)
Will Smith (Men in Black 3)
Favorite Movie Actress
Vanessa Hudgens (Journey 2: The Mysterious Island)
Scarlett Johansson (The Avengers)
Jennifer Lawrence (The Hunger Games)
Kristen Stewart (The Twilight Saga: Breaking Dawn – Part 2)
Favorite Animated Movie
Ice Age: Continental Drift
Madagascar 3: Europe’s Most Wanted
Favorite Voice from an Animated Movie
Chris Rock (Madagascar 3: Europe’s Most Wanted)
Adam Sandler (Hotel Transylvania)
Ben Stiller (Madagascar 3: Europe’s Most Wanted)
Taylor Swift (The Lorax)
Favorite Male Butt kicker
Robert Downey Jr. (The Avengers)
Andrew Garfield (The Amazing Spider-Man)
Chris Hemsworth (The Avengers)
Dwayne Johnson (Journey 2: The Mysterious Island)
Favorite Female Butt kicker
Anne Hathaway (The Dark Knight Rises)
Scarlett Johansson (The Avengers)
Jennifer Lawrence (The Hunger Games)
Kristen Stewart (Snow White and the Huntsman)
Favorite Music Group
Big Time Rush
Favorite Male Singer
Favorite Female Singer
“Call Me Maybe” (Carly Rae Jepsen)
“Gangnam Style” (PSY)
“We Are Never Ever Getting Back Together” (Taylor Swift)
“What Makes You Beautiful” (One Direction)
Favorite Male Athlete
Favorite Female Athlete
Reed Alexander (iCarly)
Simon Cowell (The X Factor)
Tom Hiddleston (The Avengers)
Julia Roberts (Mirror Mirror)
Diary of a Wimpy Kid series
Harry Potter series
The Hunger Games series
Magic Tree House series
Just Dance 4
Mario Kart 7
Will the Sponge score another win, or will Team Timmy earn their first blimp? Tune in this March to find out!
Remember Slime Time Live and U-Pick Live? We’ll these 2 will combine into one new interactive show. What will it be called Perch?
Perch Perkins (via Nick and More)- For the first time since May 2007 (the end of the short-lived ME:TV), Nickelodeon will have a live hosted weekday afternoon programming block once again.
Nick Studio 10 will premiere Monday, February 18 at 5 p.m. (ET/PT), likely running two hours. Similar to ME:TV, and before that U-Pick Live and Slime Time Live, the block means that episodes of SpongeBob SquarePants, which air from 5-7, will be “off the clock” and one 11-minute episode will have to be cut for the live segments to fill in.
Checking in the Penguins tally, were inching very closer as 36 fans sign in as we continue to monitor the worldwide premiere of The Penguin Who Loved Me all the way to Nick HQ!
And be sure to tune in to Nick Studio 10 tomorrow at 5 sharp for 2 hours of Nicktoons and lots of surprises! This is Realistic Fish Head saying, get ready to go live!
New Gumball and Regular Show give Cartoon Network top rating honors as full ratings reports fill in; Netflix to release Turbo F.A.S.T. TV series; Live Free or Die Hard makes an unexpected surprise in foreign box office Nick to air La–La-Loopsy TV series
Welcome to the Turbo edition of Gene Scallop’s entertainment report. Here’s what’s topping today!
Monday was Cartoon Network’s day as a new episode of Regular Show (which was followed after the 2013 Hall of Game Awards), and Tuesday’s new Gumball have give the network another impressive weekly win. Here’s what else topped the list:
Across the second week of February 2013, Cartoon Network ranked as basic cable’s #1 network for Early Prime (7-9 p.m.) delivery of boys 2-11, 6-11 & 9-14, and #1 in Total Day delivery of boys 9-14.
Cartoon Network was Television’s #1 destination for all boy demos on Monday Night (7-9 p.m.), while #1 among boys 6-11 on Tuesday, Wednesday and Thursday night.
Among the network’s original programming, an all-new episode of Adventure Time (Monday, 7:30 p.m.) was the #1 telecast of the day among kids & boys 9-14, and #1 in its time period among boys 2-11/6-11. Additionally, a new episode of Regular Show (8 p.m.) was #1 in its timeslot with kids 9-14 and all boys 2-11/6-11/9-14.
Thursday night’s new episode of Cartoon Network’s newest original live-action series Incredible Crew (8 p.m.) ranked #1 on all television in its time period among boys 6-11, and #1 on basic cable among boys 9-14. Right before that, a new episode of Annoying Orange (7:30 p.m.) ranked #1 in its time period among all boys 2-11/6-11/9-14.
The Amazing World of Gumball (Tuesday, 7 p.m.) presented a new episode that ranked #1 in its timeslot among boys 6-11, while The Looney Tunes Show (7:30 p.m.) ranked #1 in its timeslot among boys 2-11/6-11.
The Saturday morning action-adventure line-up of Beyblade: Metal Fury (8 a.m.), Pokémon BW: Adventures in Unova (8:30 a.m.), Ben 10 Omniverse (9 a.m.) and Star Wars: The Clone Wars (9:30 a.m.) each ranked #1 in their respective time periods among boys 9-14. Compare to the same time period last year, Ben 10 Omniverse and Star Wars: The Clone Wars both grew all kids and boys demos, mostly by double-digits, ranging between 7% and 60%.
Get ready racing fans, because Netflix is bringing DreamWorks’ newest TV series early as Turbo F.A.S.T. zooms in every platform for viewers to watch and see! What made it happen yesterday Johnny?
Johnny Trout (via The Wrap)- Netflix will release its first ever original kids series with DreamWorks Animation, the company announced Tuesday.
Based on the DreamWorks film “Turbo,” which will be released this summer, “Turbo F.A.S.T.” will debut exclusively on the streaming service in December. It joins a slate of original Netflix programming that includes the new drama “House of Cards” and new episodes of “Arrested Development” that will begin airing in May.
“Turbo: F.A.S.T.” (which stands, obviously, for Fast Action Stunt Team) will be available in the 40 countries where Netflix offers its service.
“Families love Netflix, so creating an original series for kids was a natural for us. And we’re doing it in a big way by adapting “Turbo,” this year’s DreamWorks Animation summer tentpole movie,” said Ted Sarandos, chief content officer of Netflix. “DreamWorks Animation has a long track record of creating incredibly successful characters and stories that delight people of all ages. We’re thrilled to add Turbo the series as well as all new DreamWorks Animation films, starting with their 2013 slate, to Netflix.”
Added DreamWorks Animation’s CEO Jeffrey Katzenberg: “Netflix boasts one of the largest and fastest-growing audiences in kids television. They pioneered a new model for TV dramas with ‘House of Cards,’ and now together, we’re doing the same thing with kids’ programming.”
Turbo follows the adventures of an ordinary snail who dreams of going fast — and soon does.
Netflix has stood out from cable and broadcast networks by offering every installment of its original series at once, allowing viewers to watch them whenever they want.
For the 4th week running, Django was still topped in the foreign box office. But for some surprising reason, Bruce Wills, the star of each Die Hard movie, pulled out the big guns! Does it signal a big change Danny?
Danny Angelfish (via Hollywood Reporter)- While Sony’s Django Unchained remained No. 1 overseas for the fourth consecutive weekend, the highlight of a sluggish session on the foreign theatrical circuit was the limited introduction of 20th Century Fox’s release of A Good Day To Die Hard.
Getting a jump on its U.S. and Canada bow this week, the fifth installment of action franchise starring Bruce Willis opened over the weekend in just seven Asian markets, and drew $10.4 million at 1,182 locations for a per-screen average of nearly $8,800.
In South Korea, the opening take, including previews, was $4.3 million from 459 sites. Good Day set a Fox record in Indonesia and set a franchise record in Hong Kong ($1.26 million at 87 spots). The film is “poised to take advantage of the Chinese New Year holiday, which begins Sunday, a time audiences tend to flock to cinemas,” said Fox.
Over a 25-year span, the four prior Die Hard titles, all starring Willis, have prospered overseas, grossing a collective total of $694.6 million, as per Fox figures, with the second sequel of the franchise, 1995’s Die Hard With A Vengeance, leading the pack with an offshore tally of $264.5 million.
The 1988 original Die Hard drew $57.8 million in the offshore box office, with the first sequel, 1990’s Die Hard 2, grossing $122.5 million. The last sequel, 2007’s Live Free or Die Hard, completed its foreign run with a box office tally of $249.7 million.
Still dominant in Germany, France, Switzerland and Belgium, director Quentin Tarantino’s Unchained collected $19.5 million from 5,082 locations in 68 markets. The action western costarring Jamie Foxx, Christoph Waltz and Leonardo Di Caprio, adorned with five Oscar nominations, has grossed a total of $187.7 million since opening offshore on Christmas Day.
In Germany, its best market, Unchained drew $4.1 million in its fourth round at 843 sites for a market cume of $35.6 million. In France, the Sony release has been No. 1 for four consecutive weeks, with the latest weekend tally ($3.5 million) and a market total of $27.2 million.
The No. 1 domestic title, the comedy Identity Thief, opened overseas in an assortment of smaller markets — Bulgaria, Croatia, Romania, Slovenia and Taiwan — and grossed $225,372 at 109 screens. The Universal release’s international rollout will intensify over the next three months.
Opening No. 1 in the U.K. was Disney’s animation title, Wreck-It Ralph, which grossed a powerful $7.1 million at 501 locations. That propelled the total weekend take to $11.7 in 65 territories. Ralph has now crossed the $200 million mark in international box offices ($207.5 million), and has tallied a worldwide cume of $391.9 million.
Opening No. 1 in Australia ($2.3 million at about 190 spots) was Hansel and Gretel: Witch Hunters, Paramount/MGM’s 3D co-production distributed overseas in most territories by the former, which grossed $11.6 million on the weekend overall at 2,861 situations in 42 territories and lifting its total overseas take to $83.4 million.
With Jeremy Renner and Gemma Arterton portraying the title pair as bounty hunters, Hansel and Gretel drew about $2 million in its latest round in Brazil, its best holdover market. A South Korea opening is due this week.
Universal Les Miserables, with its eight Oscar nominations, grossed $10 million on the weekend at 3,939 situations in 45 markets, pushing the musical’s foreign gross total to $215 million and $359.1 million worldwide. A Russia debut generated $1.7 million at 486 play dates, sufficient for a No. 3 market ranking, while the film’s fifth holdover round in the U.K. came up with $2.6 million from 514 sites, enough for a No. 2 market ranking and a 31-day market cume of $52.4 million.
Steven Spielberg’s Lincoln is nearing the $50 million mark in overseas box offices ($47.8 million) after a $10.2 million weekend at 3,297 situations in 50 territories. Openings in seven markets buoyed results with a No. 4 Australia bow delivering $1.8 million at 220 locations.
Attracting box office traction in Mexico ($1 million from 400 spots in market debut) was Paramount and other distributors’ Flight, starring best-actor nominee Denzel Washington, which grossed $8 million on the weekend overall in 28 markets. International cume is put at $34.8 million with a France opening due this week.
Opening No. 1 in Germany and in Austria was Warner Bros.’ release of director-actor-writer Till Schweiger’s Kokowaah 2, the sequel to his 2011 hit local language comedy. Germany debut drew $6.1 million at 691 screens. Play dates in Austria and Switzerland pushed the total weekend take to $7.3 million at a total of 842 screens.
Fox’s Life of Pi pushed its foreign gross total to $456.5 million thanks to a $6.3 million weekend at 3,800 sites in 45 markets. Top market for director Ang Lee’s Oscar contender was Japan ($1.7 million from 714 spots for a market cume of $14.7 million).
Recording the biggest Spain opening of the year so far was Universal’s Mama, which drew a muscular $3.4 million from 333 locations. It was the fourth biggest original horror film market opening. Weekend take overall for the Jessica Chastain vehicle delivered $6 million at $1,339 play dates in 15 territories, seven of which were new. Early foreign cume stands at $13.3 million.
Warner’s crime drama, Gangster Squad, opened at No. 2 in France ($2.15 million at 450 sites) and grossed $5.1 million on the weekend overall from 42 markets. International cume stands at $42.3 million.
Lionsgate’s zombie romance Warm Bodies drew $4.6 million from some 2,000 screens in 24 markets, moving its very early foreign cume to $8.7 million. Same distributor’s The Impossible, costarring best actress nominee Naomi Watts, grossed $4.3 million on the weekend, lifting the international cume for the tsunami disaster film to $138 million.
Topping the Japan market for the fourth consecutive weekend was Universal’s smash comedy Ted, which has notched a foreign gross total of $310.3 million. The latest Japan round drew $3.5 million at 190 sites for a 23-day market cume of $25.2 million.
Universal’s portion of director Kathryn Bigelow’s Zero Dark Thirty’s foreign release increased $2.6 million over the weekend from 1,403 play dates in 11 markets for a distributor cume of $16.8 million. An Italy opening provided $733,000 at 196 sites.
Other international cumes: Warner’s The Hobbit: An Unexpected Journey, $657.4 million; Universal’s Pitch Perfect, $44.4 million; Lionsgate’s The Last Stand, $15.7 million; Paramount’s Jack Reacher, $116.8 million; Universal’s This Is 40, $6.5 million; SND’s Amties Sinceres, $4.8 million in France only; Chinese Zodiac, $7.74 million in Russia only where the film ranks No. 1; Fox’s Parental Guidance, $39 million; Paramount’s Tad — The Los Explorer, $28.4 million; Fox’s Break Up Man, $20.6 million; and Anna Karenina, $39 million.
Also, Fox’s Hitchcock, $8.1 million; Warner Bros.’ Argo, $76.1 million; Focus Features, Hyde Park On Hudson, $1.5 million; Cloud Atlas, $18.1 million in Focus Features-handled territories only; Sony/MGM’s Skyfall, $797.3 million; DreamWorks/Paramount’s Rise of the Guardians, $198.8 million; Focus Features’ Moonrise Kingdom, $22 million; and Paramount’s Cirque du Soleil — Worlds Away, $15.7 million.
Look for Die Hard 5 coming soon to my box office report!
First, there was Pokémon and Hot Wheels, then there was the Bratz Girls and Monster High. Now La-La-Loopsy is getting the full TV series treatment! Which network is getting the Loopsy Girls Perch?
Perch Perkins (via Toon Zone HQ- NEW YORK – Feb. 11, 2013 – Nickelodeon has ordered 52 episodes of the animated preschool series, Lalaloopsy, set to premiere in spring 2013. Based on the best-selling line, the half-hour series celebrates diversity, friendship and teamwork and stars the Lalaloopsy rag dolls –, Mittens Fluff ‘n Stuff, Bea Spells-a-Lot, Rosy Bumps ‘N’ Bruises, Jewel Sparkles, Peanut Big Top, Spot Splatter Splash, Crumbs Sugar Cookie, Dot Starlight and their group of friends. The characters, who magically came to life when their last stitch was sewn, each have a unique personality based on the fabrics that were used to make them and a special pet. They come together for daily adventures in a whimsical world of silly surprises called Lalaloopsy Land. Lalaloopsy is co-produced with MGA and Moonscoop Productions.
“Kids adore the Lalaloopsy line and will now be able to engage with these characters in a whole new way when we bring them to life on TV for the first time,” said Teri Weiss, EVP of Production and Development, Nickelodeon Preschool. “The Lalaloopsy world is filled with magic and surprises that will delight preschoolers while teaching important lessons about teamwork and friendship.”
“We are delighted to partner up with Nickelodeon, the greatest kids’ TV brand in the U.S. to air this outstanding series based on an award-winning brand,” said Isaac Larian, Chief Executive Officer of MGA Entertainment. “The series is certain to fuel the brand to new heights.”
Checking the Penguins tally, 64 fans are left to go in the race to 3000 as the international Nick networks celebrate V-Day with the Penguins final mission, The Penguin Who Loved Me featuring the appearance of Doris the dolphin. The rest of the Nick network agents will get the rest of the top secret surprises once it crosses nationwide, and we’ll bring you the airdate to Team Skipper’s last mission ASAP!
Tomorrow’s Valentine’s Day in entertainment central. Look for TV marathons and movies from your favorite networks. Until next time, this is Gene Scallop reminding you to give your loved one something good or something great on V-Day!
Universal’s Identity Thief steals box office with 36 million; DreamWorks previous mistakes and delays could lead to losing up to 500 jobs; The Grinch goes 3D as he returns to steal the holidays again
An unexpected thief steals the goods! I’m Realistic Fish Head! While the box office puts a 36 million reward for Universal’s newest mystery movie, winter storm Nemo took the northeast by surprise! But some movie experts fear that the storm could bury the big rally for the whole year! Gene Scallop puts an APB for the thief on the loose!
Despite Friday’s marketplace being slowed on the East Coast by Winter Storm Nemo, Universal’s Identity Thief was still able to exceed expectations this weekend with a first place estimated debut of $36.6 million. The R-rated comedy starring Jason Bateman and Melissa McCarthy proved to be critic proof this weekend, as it registered the 13th largest February debut of all time without adjusting for ticket price inflation. Compared to previous February comedies that launched the frame before Presidents Day Weekend, Identity Thief opened 5 percent stronger than the $34.19 million start of 2007’s Norbit and 20 percent stronger than the $30.51 million start of 2011’s Just Go with It (both of which were rated PG-13). Identity Thief also opened stronger than the $28.30 million debut of 2011’s Horrible Bosses (which featured Bateman) and the $26.25 million debut of 2011’s Bridesmaids (which featured McCarthy). There is no doubt that the paring of McCarthy and Bateman was the key to the film’s opening weekend success.
The opening weekend audience for Identity Thief skewed towards female moviegoers (58 percent) and towards older moviegoers (57 percent of the film’s audience was 30 and older). Identity Thief received a respectable B rating on Cinema Score and registered an opening weekend to Friday ratio of 3.27 to 1. While that ratio was inflated a bit from Friday’s snow storm deflated grosses, it is a good sign for the film going forward nonetheless.
Warm Bodies held up relatively well for its genre this weekend. Lionsgate’s PG-13 zombie comedy fell a respectable 43 percent in its second weekend to claim second with an estimated $11.5 million. Horror themed films aimed at teenage audiences on Super Bowl weekend are typically quite front-loaded, but Warm Bodies looks like it will be an exception thanks to good word of mouth and the continued limited amount of PG-13 rated fare in the marketplace. Warm Bodies has grossed $36.63 million in ten days, which places it 4 percent ahead of the $35.26 million ten-day take of last year’s The Woman in Black (which fell 52 percent in its second weekend) and 26 percent behind the $47.60 million ten-day take of 2009’s Zombieland (which fell 40 percent in its second weekend).
To recap, Universal’s Identity Thief beats movie predicted estimates in 1st, Warm Bodies rebounds in 2nd, Side Effects measures carefully in 3rd, while Silver Linings Playbook and Hansel and Gretel in 4th and 5th feel a big drag coming in.
In this week’s entertainment report, Jim reported on the rescheduled release of Peabody and Sherman. Now due to this and other missteps, DreamWorks could be on the chopping block! What’s the matter with the studio this time Jim?
Jim Fish (via Reuters) – DreamWorks Animation SKG Inc. might cut a maximum of 500 jobs from its 2,000 member workforce following disappointing holiday results and delays to its film lineup, the Wall Street Journal reported on Thursday, citing a person familiar with the situation.
On Tuesday, the studio said in a statement that it would push back the release of its film “Mr. Peabody & Sherman” to March 2014, while “Me & My Shadow,” originally slotted for a 2014 release, would return to development.
“The move of ‘Mr. Peabody & Sherman’ means that we will now release two films in 2013, and we are adjusting our operating infrastructure costs accordingly,” DreamWorks Animation Chief Executive Jeffrey Katzenberg said in the statement.
The Journal said that the job cuts were not expected to be limited to the studio’s headquarters in Glendale, California.
DreamWorks Animation could not be reached for comment by Reuters outside regular business hours.
Walt Disney Co, which purchased Pixar Animation Studios in 2006, told Reuters on Wednesday that it had started cost-cutting initiatives that might include layoffs at its studio and other units.
A few Christmases ago, The Grinch first appeared on TV in the 1960’s and seen again in late 1987 and was seen ever since. It was named after the book by the late Dr. Seuss and was remade as a holiday movie as a result. Now, he’s going 3D based on the book as Universal, who made the flick, is returning back to where they remade it before. Is the Grinch back to his grinchy ways April?
April Bluefish (via The Wrap)- Illumination Entertainment and Universal are bringing the Grinch back to the big screen for a new animated feature based on the iconic Dr. Seuss tale, according to an individual with knowledge of the project.
Music video and commercials director Pete Candeland will direct the film, a 3D feature based on the 1957 book “How the Grinch Stole Christmas!” Candeland has made videos for The Gorillaz and ads for Coca-Cola, but this would be his first full-length feature.
Universal will distribute the movie worldwide while Illumination CEO Chris Meledandri will produce. Audrey Geisel, widow of Dr. Seuss author Theodor Geisel, will executive produce.
Illumination still needs to find a writer to adapt the story of the embittered, callous creature. It was adapted into a half-hour animated special in 1966 while Universal released a live-action adaptation on the Grinch tale in 2000. That version, directed by Ron Howard, starred Jim Carrey as the titular character.
This marks the second animated “Grinch” — the first was a TV version in 1966 — and the third Dr. Seuss adaptation for Chris Meledandri, the founder of Illumination. He made “Horton Hears a Who!” back when he ran Fox Animation and made “The Lorax” for Universal.
Meledandri’s Illumination is a valuable partner for the studio, as its first movie for the studio, “Despicable Me,” has already spawned a sequel and a spin-off. Since then, the two have collaborated on a pair of released films, “Hop” and “Lorax.”
We’re at the end at the third batch of fans at the Penguins tally as 84 fans sign in to help Team Skipper to make sure that their mission won’t be their last!
Look out for your favorite movies and TV shows as this year’s Golden Reels will be announced next Sunday, and we’ll bring you the results in our next special awards edition! In the meantime, preschoolers who saw Peter Rabbit’s Christmas Tale, will see his new series this Tuesday! This is Realistic Fish Head saying, Look out for Peter Rabbit!
Disney’s recent deal with Netflix is a “power play”; Fox moves Peabody and Sherman to next spring; Disney plans Star Wars spinoffs; Warner Bros. plans yearly animated release schedule
Welcome to the power play edition of Gene Scallop’s entertainment report. Here’s what’s topping today!
During our Golden Globes results show, Disney after taking Netflix last holiday season, scrapped its 3D collection in favor of Viacom’s disappointing viewer report which robbed them of taking the entertainment company since the deal to keep their channels on Direct TV. According to their CEO Bobby Iger, the team up is now part of a “power play”. What does that mean Johnny?
Johnny Trout (via Multichannel News)- Walt Disney Co. chairman and CEO Bob Iger said the media giant’s recent output deal with Netflix won’t cut into viewership at its kids’ networks and other channels, on a conference call with analysts late Tuesday.
In December Disney signed a long-term licensing deal with Netflix beginning in 2016 for an estimated $350 million per year. The agreement replaces an earlier deal the studio had with cable premium channel Starz.
On a conference call to discuss its fiscal first-quarter results, Iger said he has no qualms that the Netflix deal will steer viewers away from its other networks, especially its kids’ channels.
Online’s ability to affect ratings at linear networks was most evident last year in a report by Sanford Bernstein media analyst Todd Juenger, who showed how Viacom’s deal with Netflix for its cable content helped draw viewers away from its Nickelodeon kids’ network.
On the conference call, Iger said he was impressed with Netflix’s platform and user interface, and without revealing details said the online giant “stepped up and paid the right price.”
He added that he was confident the strength of its networks like the Disney Channel networks was sufficient to withstand any added pressure from Netflix.
“This is not a step in the direction of encouraging people to not subscribe to multichannel services,” Iger said on the call. “This is a movie play… Given the popularity of shows that we have, the demand to see those shows relatively quickly remains pretty high and we believe we will be able to sustain that.”
Disney also seemed to ease analysts’ fears that its recent flurry of carriage deals could affect affiliate fee growth, especially at its ESPN channels. Chief financial officer Jay Rasulo said that the company is beginning to see the effect of some of those new deals already one month into the fiscal second quarter.
“We are beginning to recognize in the second fiscal quarter the new rates associated with the new deals we negotiated at ESPN,” Rasulo said. “The rates are differential across all the ESPN channels. Yes, I think we can expect to see an increase. I don’t want to talk about how much.”
Rasulo said that Disney was “exploring” an exit from its ESPN UK network, which has been in limbo since the channel lost the bidding for British Premier League Soccer rights last year. He declined further comment.
There’s been a change concerning the upcoming movie Peabody and Sherman. Originally, the flick was supposed to premiere in November. With DreamWorks now in 20th Fox’s hands, what did they do to solve this overlapping problem Jimmy?
Jim Fish (via The L.A. Times Entertainment Edition)- DreamWorks Animation said Tuesday night that it is pushing back the release date for its animated movie “Mr. Peabody & Sherman” by four months.
The Glendale studio said it was changing the release date for the film from Nov. 1 to March 7, 2014, at the recommendation of its distributor, Twentieth Century Fox. As a result of the decision, “Me & My Shadow,” which had previously been scheduled for release in March 2014, will go back into development.
“Our distributor, who has had great success in March with their ‘Ice Age’ franchise, has recommended we move ‘Mr. Peabody & Sherman’ to the spring of 2014, which we totally agree is a much more advantageous release window,” said Anne Globe, chief marketing officer of DreamWorks Animation, said in a statement.
The company’s feature film slate for 2013 and 2014 is now as follows: “The Croods” on March 22; “Turbo” on July 19; “Mr. Peabody & Sherman” on March 7, 2014; “How To Train Your Dragon 2” on June 20, 2014; and “Happy Smekday!” on Nov. 26, 2014.
“We believe the best strategy for DreamWorks Animation in the long run is to ensure that every one of our films has an optimal release date with the biggest opportunity to succeed at the box office,” added DreamWorks Animation Chief Executive Jeffrey Katzenberg. “The move of ‘Mr. Peabody & Sherman’ means that we will now release two films in 2013, and we are adjusting our operating infrastructure costs accordingly.”
Katzenberg did not specify what the cost cutting would entail but the decision is expected to result in layoffs at the studio, which employs more than 2,000 people.
DreamWorks Animation is expected to take a substantial write-off on its previous animated movie “Rise of the Guardians,” which fared poorly at the domestic box office after its release last Thanksgiving.
After planning to continue the Star Wars collection that Fox left behind, Disney’s planning some spinoffs to coincide the first new 3 Star Wars films. How many of them will be made Angie?
Angie Angelfish (via The Wrap)- Disney is planning “Star Wars” spin-off movies in addition to the three sequels it has previously announced, Chief Executive Officer Robert Iger said Tuesday.
The Disney head said that Lawrence Kasdan is working on one script for the films and Simon Kinberg is working on another. They will focus on characters from the “Star Wars” universe, but Iger did not offer any additional details. He would not say how many standalone movies would be produced.
As The Wrap first reported, Disney has enlisted J.J. Abrams to direct the first film in a proposed new trilogy. Iger told analysts on a conference call that the company was “pleased” to have Abrams, the director of the “Star Trek” reboot and co-creator of “Lost,” taking the franchise into the future.
Michael Arndt, an Oscar-winner for “Little Miss Sunshine,” will handle that script. The Abrams-directed film will hit theaters in 2015, Iger said.
Both Kasdan and Kinberg will serve as creative consultants on Abrams’ film.
Kasdan, who is best known as the director or “The Big Chill,” is well versed in the “Star Wars” vernacular. He has previously written the screenplays for “Return of the Jedi” and “The Empire Strikes Back.”
Kinberg may not have done a turn in the cockpit of the Millennium Falcon, but he has big-budget experience. Among his screenwriting credits are blockbusters like “Sherlock Holmes” (2009) and “X-Men: The Last Stand” (2006).
Iger first announced the projects during an appearance on CNBC. It is more evidence that Disney is hoping to exploit the “Star Wars” characters in myriad ways from toys to theme park rides beyond just continuing the story of the Skywalkers.
Disney needs to be creative when it comes to monetizing these characters because it paid a hefty $4.05 billion in cash and stock to buy Lucasfilm from George Lucas last October.
Iger told analysts that Disney brass talked with Lucas about the possibility of doing standalone films separate from the “Star Wars” saga prior to its purchase of the company.
“Those possibilities are becoming more real,” Iger said.
Iger did say that Disney’s valuation of Lucasfilm did not factor in any potential revenue from big screen spin-offs, saying the prospect was too “premature” at that point.
Things were painful in the toon world at the box office between 2010, 2011, and last year much to the Guardians troubles at Paramount. Fox’s Ice Age, Universal’s Despicable Me, and Disney’s Toy Story franchises have propelled the box office to its highest levels. As for Warner Bros’. 2 previous blockbusters Happy Feet 2 and Legend of The Guardians: The Owls of Ga’hoole, the Warner’s haven’t been performing well since 2007’s TNMT. To that end, it gave them an idea to solve the losing slump. What was it Perch?
Perch Perkins (via The L.A. Times Entertainment Edition)- Committing to the genre after years of fits and starts, Warner Bros. on Monday said it will produce one animated movie per year beginning in 2014.
Every other major studio in Hollywood has established an animation strategy in the past few years, with some such as 20th Century Fox, Sony Pictures and Walt Disney Studios making the movies in-house and others like Paramount Pictures and Universal Pictures relying on outside companies with which it makes deals.
While animated franchises like “Toy Story,” “Ice Age” and “Despicable Me” have been among the industry’s most profitable, Warner’s approach has been more cautious. Its last two animated films, 2011’s “Happy Feet Two” and 2010’s “Legend of the Guardians,” were both box-office flops. Prior to that, the studio hadn’t released an animated movie since 2007’s “Teenage Mutant Ninja Turtles.”
Already in the works for 2014 is an animated film based on the “Lego” toys, to be made by “Cloudy with a Chance of Meatballs” and “21 Jump Street” co-directors Phil Lord and Chris Miller.
The studio announced it already has movies in development. “Storks,” written by “Muppets” director Nicholas Stoller and directed by Pixar veteran Doug Sweetland, is a planned 2015 release. “Smallfoot,” written by “Crazy Stupid Love” screenwriters John Requa and Glenn Ficarra and directed by Sergio Pablos, a producer on “Despicable Me,” is planned for 2016.
Warner film group President Jeff Robinov said those filmmakers, along with “Mr. Popper’s Penguins” writer Jared Stern, would be part of an animation “think tank” for the studio.
Warner Bros. was once second only to Disney as a player in animation, thanks to its library of Looney Tunes characters including Bugs Bunny, Daffy Duck, Porky Pig and Wile E. Coyote.
The studio appears to be developing new properties with its latest attempt rather than building on that legacy. It will work with outside companies to handle production work on its animated films.
Checking the Penguins tally, 107 fans sign in help Team Skipper wish good luck on the final mission. Speaking of that, Nick Germany will air the last mission on Valentine’s Day. This could surprise the other international Nick channels as well as catching them off guard including our US affiliate which would abruptly end the series on a surprising note! Let’s see if our friends at Nick Germany call shotgun!
If you’re getting your loved one the newest movie just in time for Valentine’s Day, then you’ve come to the right place! Here’s a list of DVD releases this month:
Here Comes the Boom
Little White Lies
Celeste and Jesse Forever
Paul Williams Still Alive
The Perks of Being a Wallflower
Diana Vreeland: The Eye Has to Travel
The Kid With a Bike
Robot & Frank
Chicken With Plums
Over Your Cities Grass Will Grow
How to Survive a Plague
The Loneliest Planet
Love’s in the air in 2013 in the entertainment world, and we’ll be able to bring you the most admirable stories to you! We’ll see you soon for another edition of my entertainment report!
Summit’s Warm Bodies takes it to the top with 20 million; Wreck–It Ralph nabs 5 Annie’s including best animated feature; Viacom’s losing streak continues as Paramount’s home entertainment gets slammed
The box office warms up! I’m Realistic Fish Head. After an R-rated weekend by Hansel and Gretel, it got a warming surprise from Summit Entertainment’s Warm Bodies who took in 20 million, outperformed the witch hunters. Gene Scallop decided to skinny dip himself in this feature!
Gene: As was widely expected, Warm Bodies easily took first place this weekend with an estimated $20.0 million start. The zombie comedy from Lionsgate and Summit continued the tradition of horror themed films (especially PG-13 rated ones) performing well on Super Bowl weekend, and was certainly helped by the lack of PG-13 rated fare in the marketplace as of late. Warm Bodies registered the seventh largest opening weekend on record for Super Bowl weekend and opened a tad below the $20.87 million Super Bowl weekend debut of The Woman in Black last year.
Warm Bodies also opened within shouting distance of fellow zombie comedy Zombieland, which launched with $24.73 million in October of 2009. Like Zombieland, Warm Bodies will hope to hold up well for a genre film going forward. The film’s B+ rating on Cinema Score is an early positive sign in the right direction. The audience breakdown for Warm Bodies skewed towards female moviegoers (60 percent) and towards moviegoers under 25 (65 percent). Moviegoers under 18 were responsible for 37 percent of the film’s audience.
It was a far different story for the weekend’s other wide release, as Warner’s Bullet to the Head simply bombed with a sixth place estimated debut of only $4.5 million. The Sylvester Stallone vehicle marked the third straight disappointment within a three-week span for an action film starring a cast member from The Expendables. Bullet to the Head debuted even softer than the $7.01 million start of Jason Statham vehicle Parker last weekend and the $6.28 million debut of Arnold Schwarzenegger vehicle The Last Stand two weeks ago. Obviously, scheduling the three films so close to one another was an unwise decision, especially with box office prospects for all three being modest at best to begin with. The audience breakdown for Bullet to the Head skewed towards male moviegoers (60 percent) and heavily towards moviegoers over 25 (81 percent). The film registered a B- rating on Cinema Score and should disappear from theatres extremely quickly.
Paramount’s Hansel and Gretel: Witch Hunters placed in second this weekend with an estimated $9.2 million. The 3D action horror film starring Jeremy Renner was down one spot and 53 percent from last weekend. That represented a respectable second weekend hold, especially when factoring in the film’s genre and Super Bowl weekend. Hansel and Gretel has grossed $34.46 million in ten days, which is towards the lower end of pre-release expectations. The film is currently running 28 percent stronger than the $26.89 million ten-day take of 2005’s The Brothers Grimm. Hansel and Gretel continued to perform stronger internationally this weekend, as it grossed $15.0 million from 36 foreign territories. That brings the film’s international total to $62.2 million and current worldwide haul to $96.7 million.
Silver Linings Playbook continued to display exceptional holding power this weekend, as the Best Picture nominee was up one spot and down only 14 percent from last weekend to claim third with an estimated $8.1 million. The Weinstein Company release will top the $80 million mark today. Silver Linings Playbook is now just $13.24 million away from matching the $93.62 million total gross of 2010’s The Fighter.
Universal’s Mama was down two spots and 49 percent to place in fourth with an estimated $6.7 million. The PG-13 horror film starring Jessica Chastain held up reasonably well given the new direct competition it faced from Warm Bodies. Mama has grossed a stronger than expected $58.26 million in 17 days, placing it 30 percent ahead of the $44.83 million 17-day take of 2009’s My Bloody Valentine 3D.
Sony’s Zero Dark Thirty (also starring Jessica Chastain) rounded out the weekend’s top five with an estimated $5.3 million. The Best Picture nominee was down two spots and 45 percent from last weekend. Zero Dark Thirty has grossed $77.79 million to date domestically.
In semi-wide release, Lionsgate’s Stand Up Guys was off to a modest $1.5 million estimated start. The crime comedy starring Al Pacino, Christopher Walken and Alan Arkin earned a per-location average of $2,276 from 659 locations. Due in part to its limited release, expectations for Stand Up Guys were quite muted heading into the weekend.
Here’s how it warmed to me in this recap, Warm Bodies warms us up 1st, H&G get pulled down in 2nd, Silver Linings holds down the fort in 3rd, Mama’s 49% drop takes her to 4th, and ZD Thirty’s 45% decrease drops in 5th.
The Annie’s last night was wrecked to pieces as Disney’s Wreck-It Ralph came and tore down the competition after a dismal debut during the holiday season. Now setting the sights as it takes on Argo for Best Picture supremacy, the Oscar voters better keep tabs on those 2 movies to see which one fights best. Angie, how many Annie’s did Ralph take last night?
Angie Angelfish (via Dateline Hollywood)- Wreck-It Ralph heads toward this year’s Academy Awards with newly added momentum. The videogame-themed Walt Disney Animation Studios pic was the bigger winner tonight at the 40th Annual Annie Awards. Ralph took Best Animated Feature plus Best Directing, Music, Voice Acting and Best Writing in an Animated Feature. Last year’s Annie’s Animated Feature winner Rango went on to win the Oscar for the same category in 2012.
Hosted by film critic Leonard Maltin and voice actors Maurice LaMarche and Rob Paulsen, the ceremony from UCLA’s Royce Hall saw DreamWorks’ Rise Of The Guardians, LAIKA/Focus Features’ ParaNorman, and Pixar’s Brave pick up several awards as well. Robot Chicken’s DC Comic Special won the Best General Audience Animated Television Production award. Marvel’s blockbuster The Avengers took the nod for Best Animated Effects in a Live Action Production and Rhythm & Hues Studio won best Character Animation in a Live Action Production for their work on Life Of Pi. Walt Disney Animation Studio’s Paperman won the Best Animated Short Subject award. South Park’s Trey Parker scooped a best Writing in an Animated TV/Broadcast Production for the long running satire’s South Park: Jewpacabra.
Wreck-It Ralph – Walt Disney Animation Studios
Director Rich Moore only thanked Pixar and Walt Disney Animation Studios CCO John Lasseter, as many people did tonight, but said he was so honored and thankful to be part of the Disney Legacy.
General Audience Television Production
Robot Chicken DC Comics Special – Stoopid Buddy Studios
“Let’s just keep making awesome stuff”, says Seth Green to the crowd on Robot Chicken’s win and the animation industry in general.
Directing in a Feature Production
Rich Moore, Wreck-It Ralph – Walt Disney Animation Studios
The Annie’s exploded with a roar when Ralph’s Moore name was read aloud for best Feature Directing. The director joked that he’s in trouble because he gave his speech to “the teleprompter guy” (they’ve had issues tonight). Moore then gave a seamless speech thanking a wide variety of people involved “in this fantastic film”.
Directing in a Television/Broadcast Production
John Eng, Dragons: Riders Of Berk: Animal House – DreamWorks Animation
Animated Short Subject
Paperman – Walt Disney Animation Studios
Animated Special Production
Despicable Me: Minion Mayhem – Illumination Entertainment
Winsor McCay Award – There are three winners this year: Oscar Grillo, Terry Gilliam, Mark Henn
Terry Gilliam is getting his McCay Award from two men in kilts. “He requested it personally,” says Brave director Mark Andrews, one of the men in Scottish garb. “Gilliam was a cheap little thief”, says a heavily sarcastic Terry Gilliam via video accepting the award “on behalf of the deceased”. Though now well known as a feature film director, Gilliam was the main animator for Monty Python’s Flying Circus back in the late 1960s and early 1970s.
June Foray – Howard Green
The VP, Communications for Walt Disney Animation Studios, Green is a 35 year veteran of Disney’s publicity, communications and marketing team. The award is for significant or charitable effect on the animation industry. In his speech, Green thanks all those who taught him the “art of flackery and hype.” The line gets a big laugh.
Ub Iwerks – Toon Boom Animation Pipeline
In a scheduling surprise, Annie’s founder and the “first lady of Animation” June Foray was awarded the Tex Avery Award, presented for the first time outside Texas. Emmy-winning Foray, a voice actor, has worked on everything from Cinderella to The Simpsons. “This is an amazing award and a great surprise”, Foray tells the crowd. Foray created the Annie Awards back in 1972 and has been a constant advocate for the industry ever since.
General Audience Animated TV Production For Preschool Children
Bubble Guppies A Tooth On The Looth – Nickelodeon Animation Studios
Animated Effects in an Animated Production
Andy Hayes, Carl Hooper, David Lipton, Rise Of The Guardians – DreamWorks Animation
Animated Effects in a Live Action Production
Jerome Platteaux, John Sigurdson, Ryan Hopkins, Raul Essig, Mark Chataway, The Avengers – Industrial Light & Magic
Character Animation in a TV/Broadcast Production
Dan Driscoll, SpongeBob Square Pants: It’s A SpongeBob Christmas! – Nickelodeon Animation Studios
“I’ll definitely renew my membership this year,” jokes Driscoll as he accepts his award.
Character Animation in a Feature Production
Travis Knight, ParaNorman – LAIKA/Focus Features
Character Animation in a Live Action Production
Erik de Boer, Matt Shumway, Brian Wells, Vinayak Pawar, Michael Holzl, Life Of Pi – Tiger – Rhythm & Hues Studio
Character Design in an Animated TV/Broadcast Production
Robert Valley, Disney Tron: Uprising: The Renegade, Part I – Disney TV Animation
Character Design in an Animated Feature Production
Heidi Smith, ParaNorman – LAIKA/Focus Features
Music in an Animated Television/Broadcast Production
John Paesano, Dragons: Riders of Berk: How To Pick Your Dragon – DreamWorks Animation
Music in an Animated Feature Production
Henry Jackman, Skrillex, Adam Young, Matthew Thiessen, Jamie Houston, Yasushi Akimoto, Wreck-It Ralph – Walt Disney Animation Studios
Production Design in an Animated TV/Broadcast Production
Alberto Mielgo, Tron: Uprising: The Stranger – Disney TV Animation
Production Design in an Animated Feature Production
Steve Pilcher. Brave – Pixar Animation Studios
Storyboarding in an Animated TV/Broadcast Production
Doug Lovelace, Dragons: Riders Of Berk: Portrait Of Hiccup As A Buff Man’ – DreamWorks Animation
Storyboarding in an Animated Feature Production
Johanne Matte, Rise Of The Guardians – DreamWorks Animation
Matte gives a shout out to her home town of Montreal, to her parents (in French) and to “the best team ever.”
Voice Acting in an Animated TV/Broadcast Production
Kristen Schaal as Mabel Pines, Gravity Falls: Tourist Trapped – Disney TV Animation
Schaal runs onstage and leaps up and down for her win. The high-pitched actress and Daily Show correspondent thanks her husband “who gets to, nay, has to listen to this voice everyday”.
Voice Acting in an Animated Feature Production
Alan Tudyk as King Candy, Wreck-It Ralph – Walt Disney Animation Studios
Tudyk beat out Adam Sandler, Jude Law and Kelly MacDonald in this category. Like almost everyone else tonight the Wreck-It Ralph star thanked John Lasseter.
Writing in an Animated TV/Broadcast Production
Trey Parker, South Park: Jewpacabra – Central Productions
Writing in an Animated Feature Production
Phil Johnston, Jennifer Lee, Wreck-It Ralph – Walt Disney Animation Studios
Johnson thanked a lot of people, “including my wife, who has nothing to do with the movie but is a good person.”
Editorial in an Animated TV Production
Hugo Morales, Adam Arnold, Davrick Waeden, Otto Ferraye, Kung Fu Panda – Enter The Dragon – Nickelodeon Animation Studios
Editorial in an Animated Feature Production
Nicholas C. Smith, A.C.E, Robert Grahamjones, A.C.E., David Suther, Brave – Pixar Animation Studios
Animated TV Production For Children
Dragons: Riders Of Berk “How To Pick Your Dragon” – DreamWorks Animation
Animated Video Game
Journey – Sony Computer Entertainment America
Best Student Film
Head Over Heels – Timothy Reckart
The entertainment world is in shock once again as Viacom’s worst fears are confirmed once again as the company is getting pummeled again by continuing losses. Which division got the worst of the damage Jim?
Jim Fish (via The L.A. Times)- Media company Viacom Inc. disappointed Wall Street with lower revenue in its fiscal first quarter, particularly at its Hollywood film studio, Paramount Pictures, which bombed at the box office.
In past quarters, Paramount could count on being propped up by the company’s cash cow MTV and Nickelodeon television networks. But those networks are struggling to reverse ratings slides, exposing Paramount’s thin film slate and a bare home video cupboard that contained only one release.
For the quarter ended Dec. 31, Paramount’s film revenue plummeted 37% to $975 million. The Melrose Avenue film studio posted a $139-million loss compared with a $31-million loss in the year earlier period.
Tom Cruise’s “Jack Reacher” and Denzel Washington’s “Flight” could not conceal the mess created by the “Rise of the Guardians” flop. And “Paranormal Activity 4” couldn’t scare up a big enough audience to help.
The studio also suffered by tough comparisons because it released the hit film, “Mission: Impossible — Ghost Protocol,” in the year-earlier period.
Worldwide theatrical revenue was $328 million in the latest quarter, a staggering 42% decline from $570 million a year earlier.
Home entertainment revenue tumbled 43% to $341 million as the studio offered just one new DVD title in the last three months of 2012 — “Madagascar 3: Europe’s Most Wanted,” from DreamWorks Animation.
Overall, Viacom generated $3.3 billion in revenue, down 16% from a year earlier and below analysts’ estimates of $3.48 billion, according to Thomson Reuters. The company posted $473 million, or 93 cents a share, in earnings from continuing operations, down from $591 million, or $1.06 a share, in the year-earlier period. Adjusted earnings came in slightly higher than analysts’ had forecast.
Viacom is controlled by Los Angeles billionaire Sumner Redstone.
Bernstein & Co. media analyst Todd Juenger summed up Viacom’s problems this way: “Unlike past quarters, this time Viacom was unable to find cost savings to make up the revenue shortfall.”
An even 130 fans sign in our Penguins tally as speculations grow of Team Skipper’s last mission which could air on Nick on Valentine’s Day because unbeknownst to Kowalski, that both Doris and Dr. Blowhole (which technically are bottlenose dolphins) could be smitten. Could any or all of these factors play spoiler? We’ll see.
With the Super Bowl just hours away, the toon world tackles with super marathons of Rug rats including the feature Rug rats in Paris, Johnny Test, the last episodes of Pokémon: Black and White: Rival Destines, Pokémon: Kyurem vs. The Sword of Justice, the premiere of Pokémon: Black and White: Adventures in Unova, and Legends of Chima, the newest animated series from LEGO. This is Realistic Fish Head saying, which team who are you going to root to win the Super Bowl?