Benedict Coulter

MARTIN GROVE'S HOLLYWOOD REPORT FOR 11/17/24: RED ONE didn't deliver enough green ones to help cure the boxoffice pandemic that began with JOKER 2 in October.   This weekend's only wide studio launch, Amazon/MGM Studios' PG-13 action adventure comedy RED ONE, opened #1 to $34.1M, per Comscore, at 4,032 theatres ($8,451). Produced reportedly for $250M, it was directed by Jake Kasdan (JUMANJI: THE NEXT LEVEL) and stars Dwayne Johnson & Chris Evans. Its debut beats the $30M Hollywood handicappers were projecting Saturday, but it's still nothing for exhibs to feel good about.   Although ONE is a theatrical dud, it will likely work much better for Amazon as a streaming title with The Rock as a superstar magnet for subscriber eyes. ONE can live on for years as a Prime holiday classic -- whether it is or isn't -- for seasonal viewing as streamers doze on couches globally.   Internationally, ONE is being released by Warner Bros. and has done $50M since opening last week to avoid going head to head this weekend with Paramount's Ridley Scott heavyweight GLADIATOR II -- which ki ked off to $87M overseas.   ONE is tracking best for first choice with men over 25 (six points over norm) and next best with women over 25 (three points over norm). Rotten Tomatoes critics hate it at 33%, but audiences are happy at 89%.   While ONE's modest debut can’t be putting smiles on exhibitors' faces, at least they've got bodies in seats eating popcorn and other concession treats. Exhibs have to hold on until 11/22, when Universal/Marc Platt Productions' WICKED opens to what Hollywood buzzards say will be $80M or more. It's tracking best for first choice with under 25 women (13 points over norm). No scores yet on Rotten Tomatoes.   Exhibs' other big hope 11/22 is Paramount/Scott Free Productions' GLADIATOR II. Insiders expect $65M or more. It's tracking best for first choice with men over 25 (16 points over norm). Rotten Tomatoes critics are an okay 75%.   This weekend's domestic marketplace totaled $73.6M, per Comscore Senior Media Analyst Paul Dergarabedian, up 2% from the prior weekend and down 37% vs. this time last year. Comscore's year to date tally has 2024 at $7.08B, down 11.1% from $7.97B in 2023. The previous weekend in 2024 was down 11.4% vs. 2023.   Meanwhile, back at the multiplexes: Sony/Marvel's VENOM: THE LAST DANCE was #2 in weekend four with $7.4M (-54%) at 3,421 theatres ($2,150). It reportedly cost $120M to produce and has done $127.6M domestic.   Lionsgate/Comworld Productions' faith-based THE BEST CHRISTMAS PAGEANT EVER was #3 with $5.4M (-50%) at 3,020 theatres ($1,150). It's done $20M domestic.   Next weekend (11/22): WICKED + GLADIATOR II (see above) should pump a lifesaving $145M or more into domestic theatres.   (See more at www.ZAMM.com)   #movies #boxoffice #martingrove #redone                

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As Productions Move Abroad, California Gears Up to Battle Film and TV Exodus – The Gloves Are Coming Off! California’s film and TV production game might be down, but it’s far from out! As productions flirt with international locations, the Golden State is ready to throw some heavyweight punches to keep the magic of Hollywood alive. With a powerful combination of tax credits, infrastructure investment, and a homegrown talent pool that’s second to none, California is suiting up to go toe-to-toe with global competitors. Sure, cheaper locations and irresistible international incentives have been stealing the spotlight. But here’s the plot twist: California isn’t just sitting on the sidelines. We’re rolling up our sleeves, ready to “rumble”. The goal? To remind the world that Hollywood is still the undisputed champion of content creation—no matter how far production tries to wander. The future of film in California? Bright, bold, and absolutely worth watching. https://lnkd.in/grDAwWZ3 Entertainment Partners California Film Commission FilmLA Motion Picture Association

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Hollywood Betting Big on Genre Films: AFM’s Vegas Move Signals Shift in the Independent Film Market For the first time in its 45-year history, the American Film Market (AFM) has traded the coastal ambiance of Santa Monica for the glitzy setting of Las Vegas, launching its 2024 event at the Palms Casino Resort. This relocation comes with high hopes for streamlined networking, concentrated events, and fresh energy—but also a dose of skepticism as the independent film market continues to erode. With a notable focus on genre films, the independent film industry is gathering to confront market challenges in a bold new setting. A New Venue and New Energy Relocating from Los Angeles, where AFM was a fixture for over four decades, the Las Vegas setting promises to bring renewed energy to the market. At the Palms Casino Resort, all activities—from screenings to panels to networking events—are conveniently held under one roof, a feature set to alleviate some of the logistical challenges of prior years. By consolidating everything into one venue, AFM aims to foster a community atmosphere, allowing filmmakers, distributors, and buyers to maximize their time without shuttling across various locations. The all-in-one setup at the Palms is already a draw for industry heavyweights. With 286 sales, production, and distribution companies registered, including significant players, AFM sees increased interest from international representatives spanning 80 countries. European delegates from Italy, France, and Germany are attending in solid numbers, underscoring the global appeal of AFM’s new setting. The Rise of Genre Films Amid Uncertain Markets In an industry facing unpredictable returns from theatrical releases, genre films have emerged as a key investment focus at this year’s AFM. Genre films, especially horror and action, command significant buyer interest due to their strong built-in audiences and relatively lower risk. The recent success of horror films like Longlegs and Terrifier 3 has reinforced this trend, with AFM showcasing an impressive slate of horror and action offerings. Projects generating buzz include George A. Romero’s final zombie movie, Twilight of the Dead, directed by Brad Anderson, and the psychological thriller Victoria Psycho, which reunites Sanctuary star Margaret Qualley with director Zachary Wigon. Action films are also gaining traction, with high-profile offerings such as Cleaner, featuring Daisy Ridley in a Die Hard-style thriller, and The Last Druid, a sword-and-sandals epic led by Russell Crowe.

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To Catch a Killer All Secrets Must Come to Light #CrescentCity Official Trailer produced by #Clever_Caboose with #TerritoryStudios for #Grindstone #Lionsgate drops exclusively today on #Collider. (Posted 7/12/24) Have you visited our website? Check out: clever-caboose.com #movietrailers #filmdistribution #filmmarketing #entertainment #entertainmentmarketing #entertainmentindustry #entertainmentnews

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“Hollywood May Need to Find a New Path Beyond Its Former Glory” In recent years, the state of the Hollywood box office has starkly illustrated the challenges facing the film industry. In 2019, Hollywood enjoyed a peak with $11.4 billion in revenue. However, the COVID-19 pandemic caused a dramatic drop to $2.1 billion in 2020. The industry saw a gradual recovery with $4.5 billion in 2021 and $7.4 billion in 2022, but these figures fell short of pre-pandemic levels. In 2023, box office revenue significantly rebounded to $8.9 billion. However, projections for 2024 suggest a decline to $6.8 billion, falling below the $7 billion mark for the first time since 1998. Considering that the first half of the year typically accounts for 40% of annual box office revenue, it seems unlikely that the industry will see a dramatic turnaround in the remaining months. Traditionally, Hollywood has been driven by major releases from franchises like Marvel and Disney. Yet, in recent years, even these reliable blockbusters have struggled to achieve the same level of success. Several factors contribute to this trend. Firstly, post-pandemic, fewer people are visiting theaters. Secondly, the rise of streaming services has led to a preference for home viewing. Thirdly, there’s a lack of diverse new content and growing fatigue with existing franchises. Interestingly, as traditional theaters face these challenges, other market players are seizing opportunities. One notable entrant is Japanese animation. Hayao Miyazaki’s 2010 film is set for a wide release in the U.S. Successful Japanese animated films in the U.S. now regularly achieve $30-$40 million in box office revenue. This indicates that Japanese animation studios are effectively leveraging the U.S. theater platform. Another significant development is the theater utilization by streaming giants Apple TV +, Netflix, and Prime Video & Amazon MGM Studios Studios. These services are increasingly releasing their original films in theaters. If these films succeed at the box office, they generate additional buzz for the streaming platform; if they fail, the financial impact is mitigated since the films were primarily produced for their own platforms. This approach presents a new challenge to traditional Hollywood studios. The international market also presents difficulties. Revenue from key markets such as South Korea, China, and the UK has been declining, weakening Hollywood’s global influence. This decline in overseas earnings significantly impacts Hollywood’s global strategy. Considering all these factors, Hollywood faces significant obstacles in reclaiming its former glory. The film industry must navigate new changes and challenges, requiring innovative content creation and new business models. Strategic approaches that reflect changing audience preferences and consumption patterns are essential. This includes offering a broader range of genres and formats rather than relying solely on blockbuster franchises.

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SDG Releasing Launches, Revolutionizing Theatrical Film Distribution with Transparency and Integrity Fort Worth, TX – July 29, 2024 SDG Releasing (sdgreleasing.com) proudly announces its launch as the newest player in the theatrical film distribution industry. Founded by veteran filmmakers Cary Solomon and Chuck Konzelman, the creative minds behind acclaimed films like Nefarious, God's Not Dead, and Unplanned, SDG Releasing is designed by filmmakers for filmmakers. Their revolutionary model combats industry corruption with honesty, transparency, and low costs, ensuring fair and accessible distribution for all. To kick off their journey, SDG Releasing is proud to announce its inaugural partnership with The Daily Wire. This partnership includes handling their first-ever theatrical release, Am I Racist?, the follow-up to Matt Walsh's acclaimed What Is A Woman?, and exclusive home video distribution rights. The first two films under this home video agreement will be What Is A Woman? and Ladyballers. At SDG Releasing, Cary Solomon and Chuck Konzelman bring their three decades of filmmaking experience to the forefront. "We’ve experienced the tremendous highs of bringing our vision to life and the joy of watching audiences moved to tears or shouts of excitement," says Solomon. "What’s not amazing is dealing with Hollywood’s 'creative accounting,' which always ends with, 'You get nothing.' We’ve faced this numerous times and didn't like it. We’re guessing you don't either. As fellow filmmakers, we feel your pain. That’s why we set out to do something about it: a straight forward approach that guarantees you get every penny owed to you." Key Highlights of SDG Releasing: Radical Transparency: Filmmakers have full visibility of every financial transaction through a dedicated bank account lockbox service, with each client having their own account. Industry-Low Fees: SDG Releasing offers the lowest distribution costs and fees in the industry by cutting out unnecessary intermediaries. Diverse Film Slate: The company showcases a variety of genres, from impactful documentaries to blockbuster features, ensuring a wide audience reach. SDG Releasing has already made a significant impact by distributing acclaimed films they have produced, and now, through their exclusive contract with The Daily Wire, they are poised to revolutionize film distribution. For more information, visit SDG Releasing.

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>>The traditional playbook for many Film sales companies is to premiere a film at one of the major festivals (Sundance, Cannes, TIFF, Venice), hopefully secure a few major territories from that premiere (including North America), and then take the film to AFM to sell off the remaining territories worldwide and realize a profit. Rinse, repeat. However, that practice came to a halt for a handful of years once the Streamers started gobbling up Worldwide rights to these Tier 1 festival films, therefore leaving no remaining territories left to sell at AFM. During those years, many of the international distributors became flustered as their supply chains were interrupted. Well, we’re back to where we started - the original AFM playbook. READ ON... https://lnkd.in/g6BKdGX9

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Do you want your own category section on a streaming service? Do you have a video podcast, a tv series, an influencer channel, comedy or music videos, class you are teaching, etc...? ElevationMovies.com just may be the place for you! PM to find out how to make it happen! #stream #streamer #streaming #streamingnow #comedy #comedian #podcast #musician #music #band #ElevationMovies

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Mr. Robotic's key takeaways for sync success: -Dollar for dollar, sync fees outweigh music downloads/streams -Use your PRO as a resource for networking -Face-to-face interactions at conferences are crucial -Syncs on popular shows drastically boost downloads/streams -Be ready for any sync opportunity with metadata, splits, etc. -Use sync as a tool for strategically building your overall music career Align with his insights and approach sync licensing as a long-term career strategy.

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DIVERSITY, DIVERSITY, HEAR ALL ABOUT IT! According to the annual Hollywood Diversity Report (2024) presented by the UCLA Entertainment & Media Research Initiative, only 2.3 out of 10 theatrical film directors are people of color, Only 1.5 out of 10 theatrical film directors are women. This can be a daunting statistic that leaves many of the filmmakers I work with hopeless. I'm committed to hope and measurable change for diverse storytellers. So, I wanted to share a bit of my perspective on how l've seen diversity change in the work I do with new voices over the past few years. The budgets of the movies we make live under $4 million which isn't accounted for in the report that focuses on theatrical films in the $100M range. I think we have to contextualize when evaluating change. People of color and women often have to start at the bottom with smaller budgets. But this is where so much of the change around inclusion and equity is happening. This growth is rarely reported on, but is remarkable nonetheless. Our genre features slate with @hulu is proof of this incredible moment. I'd like to propose that we stop thinking of diversity as a bad word that's overused and performative. Diversity is real, it's needed, and it is changing the landscape of whose stories are told. There's never been a better time to be a diverse storyteller, use it to your advantage wherever, however, and with whomever you can. Ally with teams and producers who are part of this change at the grassroots level, develop your stories with them, and together let's continue to diversify Hollywood from the bottom, up! Excerpts from "The Era of Upheaval" panel at the 2023 Asian Leadership Conference in Seoul, moderated by Ron Geller, VP Worldwide Content Relations at Dolby

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Gaming co XSET bought creative studio Illusivemedia. It’s the first purchase since XSET’s $15M raise in 2022. Let's break it down... ---SELLER: Illusive Media--- • Full service creative studio known for innovation • Film production, creative direction, editorial, interactive design • Launched 2002 as web design biz in Myspace days • Founded by Shomi Patwary and wife Punom Patwary • Music videos for Beyonce, A$AP Rocky, Diplo, The Weeknd • Produced doc for 25th anniversary of Enter The Wu-Tang (36 Chambers) • Brand clients incl Google, Facebook, UPS, Pepsi, Adidas • 2B+ views on YouTube • Team of 14 per website ---BUYER: XSET--- • Gaming entertainment and lifestyle company • Talent and partnerships across music, art, sports, fashion, entertainment • Founded 2020 by Greg Selkoe, Marco Mereu, Clinton Sparks, Wil Eddins • 130M+ followers across social channels • Gaming cabanas in Vegas nightclubs • Award-winning merch collabs • 8 esports teams across Valorant, Rocket League, Fortnite, Warzone, Apex Legends, more • Activations w/ Roots Canada, Frank’s Red Hot, Google Pixel, Prize Picks, Boston Red Sox, NFL, and Amazon Studios/MGM ---M&A AND CAP TABLE HISTORY: XSET--- • TBD Seed in 2020 • $15M Series A in 2022 • 25 investors incl LightWork Worldwide (SA lead), Alpha Sigma, Apex Capital, Baron Davis, Mind Melt Media, 6 NFL athletes, Swae Lee (seed lead), more  • UOF: scale apparel drops / content / team / marketing On LightWork… • Global streetwear and lifestyle brand  • Structured as hold co, incubator, and fund • Invested in livestream commerce app Ezze  • Invested in streetwear brands 424, Round Two, Pyschworld, No Vacancy Inn, Supervsn • For brands, goal is to take them global, w/ focus on China SOURCE: Crunchbase ---DEAL DETAILS--- • Undisclosed • Considering XSET’s $15M investment, I est structure to incl cash upfront, equity in XSET parent co, and earnout via growth of new XSET studio ---DEAL VALUE PROP--- • Help marketer clients appeal to gamer audiences and culture • Create in-house studio for immersive gaming, lifestyle experiences • Create In-game maps, digital skins, immersive digital worlds, short/long form content • Audience focus: gen z and alpha • Platform focus: Fortnite, Roblox, GTA • First project is Fortnite map w/ Miami Dolphins receiver ---POST DEAL OPS--- • XSET Studios will live under XSET hold co • Illusive chief Potwary will lead new XSET studios ---WHAT ELSE I FIND INTERESTING--- Re gaming M&A, I've recently written about GameSquare Holdings Inc. / FaZe Clan, and Loaded / GG Talent Group. I expect more M&A around digital agencies to grow advertiser revenues around branded content / IM / social / paid media. I also expect consolidaiton around gaming IP / teams / orgs which will trade at massive discounts VS a few years ago. -- I'm the founder of RockWater Industries. We do M&A and strategy advisory for media, agencies, and creator economy. My DMs are open.

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When you think of copyright, you probably picture lawsuits over pop songs. But let me take you back to the 1700s, where book publishers were the real drama kings and queens of copyright battles. Picture a time when owning the rights to a book wasn’t just about money—it was about bragging rights, control, and, yes, a healthy dose of backstabbing. And the hottest commodities back then? Two literary heavyweights: the Bible and the complete works of Shakespeare. This was a world where “piracy” meant more than just copying DVDs; it was the literal Wild West of publishing. Some publishers would go to insane lengths just to secure the rights to print the Bible or Shakespeare’s works, while others made careers off pirated copies. So, let’s dive into the messy, sometimes downright ridiculous world of the OG copyright wars.

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And so it begins. Cable 2.0 is here.

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I'm happy to announce that my original TV pilot screenplay, PROSPERITY, was awarded a semi-finalist spot in Filmmatic's drama competition! PROSPERITY is now listed in the top 5% of all projects on Coverfly. Jen Grisanti, a writing coach and story consultant was pivotal early on in the process. Writing on the side and continuing to find inspiration, while being a full-time business owner, especially in the age of AI, is not easy. But I continue to do it for the love of bringing forth my vision. When you truly love what you're doing, while you're doing it, and realize it as what it is, a Divine gift, nothing can stand between you and your vision. No matter how easy it gets to seemingly create via AI (and will continue to get easier), there's always room for your human vision to influence it. After all, it was trained on human creation and human intelligence. Even in a new coming world filled with instantly prompted niche movies, people will crave something human-centric. Something they can empathize with, identify with, and feel inspired by the journey they're taken on by a human-centric hero. I truly believe nothing will replace human creativity. As long as humans are watching, reading and paying attention to a hero's journey, nothing will replace that human-centric story. #screenwriting #screenwriter #entrepreneur #marketing #storyteller

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MARTIN GROVE'S HOLLYWOOD REPORT FOR 9/15/24: The JUICE was still on the loose and moviegoers saw NO EVIL this weekend.   Between them, WB/Plan B Entertainment's PG-13 fantasy horror comedy BEETLEJUICE BEETLEJUICE and Universal/Blumhouse Productions' R rated horror thriller SPEAK NO EVIL pumped over $63M in ticket sales into theatres plus millions more for pricey popcorn, candy, etc.   This weekend's domestic marketplace totaled $94.8M, per Comscore Senior Media Analyst Paul Dergarabedian, down 37.1% from the prior weekend, but up 50% vs. this time last year. Comscore's year to date tally has 2024 at $6.08B, down 12% from $6.94B in 2023. The previous weekend, 2024 was down 13% vs. 2023.   Meanwhile, back at the multiplexes: BB, directed by Tim Burton, held on to #1 in weekend two with $51.6M (-54%) at 4,575 theatres ($11,279), per Comscore. It reportedly cost $100M to produce and has grossed $188M domestic and $264.3M worldwide to date.    SPEAK NO EVIL opened #2 to $11.5M at 3,375 theatres ($3,407), per Comscore. That's better than the $10M Hollywood buzz-ards were originally looking for. Having reportedly cost just $15M to produce, Universal & Blumhouse should be okay. It opened internationally to $9.3M, bringing its worldwide cume to $20.8M.   EVIL, starring James McAvoy, is tracking best for first choice with women over 25 (one point over norm). Rotten Tomatoes critics & audiences are both very happy at 85%, which should mean good word of mouth.   The weekend's only other wide launch, Lionsgate's R rated action comedy thriller THE KILLER'S GAME, starring Dave Bautista, was dead on arrival in sixth place with $2.6M at 2,623 theatres ($991). It's tracking for first choice below norm with all demos. Rotten Tomatoes critics hate it at 36% and audiences aren't excited at 77%.   Although GAME reportedly cost $25-30M, the buzz is that Lionsgate's customary upfront financial strategizing reduced its risk significantly.   Next weekend (9/20) ticket sales should heat up with Paramount/Hasbro Entertainment's PG rated animated action adventure TRANSFORMERS ONE. It's the franchise's first animated episode in nearly 40 years. Hollywood insiders expect $45-55M at about 3,700  theatres.     TO is tracking best for first choice with under-25 men (five points over norm) and next best with men over 25 (three points over norm). Rotten Tomatoes critics are applauding at 90%.   Sat., 9/21 will see SUPER/MAN: THE CHRISTOPHER REEVE STORY open in limited release via Fathom Events/DC Studios. It's the story of Reeve's rise to stardom and the near-fatal 1995 horse-riding accident that left him paralyzed from the neck down. Rotten Tomatoes critics are cheering at 100%.   (See more at www.ZAMM.com)   #movies #boxoffice #martingrove #beetlejuice #speaknoevil      

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What’s the best investment for making your content great? Listen to this!   While there are times when you shouldn’t cut corners on your content, sometimes you need to fly solo without a pro crew. A relatively small investment in quality audio can spell the difference between professional-sounding pieces, and total disaster.   Here are some recommendations to help your content shine!   Check out the video👇 for the full story! Have a great week! #GreatStorytelling #Production #ProductionTips #ContentCreation #MarketingTips #VideoContentProducer Ready to make content that’s music to your ears? Let’s connect!

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