Commentary

With guild agreements being signed and production ramping up, Hollywood hopefully awaits a moment of youthful innovation. Oops: The most newsworthy films set for imminent release are directed by filmmakers in their 80s – grizzled veterans who understand their muscle but, like the neophytes, are perplexed by the chaotic landscape. Will this become a Back
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Editor’s note: Dade Hayes and Jonathan Bing are co-authors of Open Wide: How Hollywood Box-Office Became a National Obsession. Hayes is Deadline’s Business Editor and Bing is Chief Communications Officer at Vice Media Group. The more things change, the more the Hollywood studios stay the same. At least that’s one of the surprising lessons of
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The mysterious sanctuary hidden away in the Jemez mountains was known only as Box 1663 in the mid 1950s. The mission of its 13,000 residents was to create “the gadget.” Living there was a challenge. “It’s a prison camp for eggheads,” whispered one scientist. As a young newsman, I decided I had to find a
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Editor’s note: Deadline presents the 40th episode of its video series Take Two, in which Pete Hammond and Todd McCarthy tackle the artistry of films just opening in theaters every weekend. Each has reviewed and written about the craft for decades and built a remarkable breadth of knowledge of films past and present. What we hoped for
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Editor’s note: Deadline presents the 39th episode of its video series Take Two, in which Pete Hammond and Todd McCarthy tackle the artistry of films just opening in theaters every weekend. Each has reviewed and written about the craft for decades and built a remarkable breadth of knowledge of films past and present. What we hoped for
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“Deliver a good entertainment, and the audience will come.” That’s what the venerable director Robert Wise told me after defying Hollywood doubters with his hit musical West Side Story (yes, the 1961 version). Courtly and gracious, Wise also was a tough realist who, following his success, decided to turn to disaster movies like The Hindenburg and
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It’s fascinating to watch local governments—New York, San Francisco, Los Angeles, New Orleans—rush to enact Covid vaccine requirements for entry to the publicly accessible spaces of private business, including, yes, movie theaters. I’m not equipped to judge the ultimate propriety or efficacy of such mandates. Frankly, the complexities posed by breakthrough, uncertain vaccine longevity, variants,
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Long before former Hulu chief Jason Kilar became disruptor in chief at WarnerMedia and put the entire 2021 Warner Bros slate on HBO Max, Fredric Rosen began changing the way concert tickets were sold as the Ticketmaster president/CEO, when the service became the leading computerized ticketing company in the world. He would become co-CEO of
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Last week, just before the President’s diagnosis consumed us, Hollywood leaders joined in asking that Congress send coronavirus relief funds to exhibitors. Those were described as a life-and-death issue for theaters.  A mortal threat. And who can doubt it? If the White House isn’t safe, movie houses are certainly still a question mark. But the
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Watching Wayne Wang’s Coming Home Again, set for a virtual release (online, but through individual theaters) by Outsider Pictures on Oct. 23, delivered a jolt. Like getting nicked by a live wire. The picture is so small–shot in just over three weeks on a micro-budget. So personal: The story is about a young Korean-American man
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