Janet Yang

The Hollywood way is more than three-point lighting and the three-act structure. It's also about the structure of the work itself. This is a Variety article about the differences between limited and recurring series, and why Asia favors the former and Hollywood the latter. https://lnkd.in/gbNtBPTA

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Cross-Media Synergy: Japan’s Secret Sauce for hashtag #IP Success Japan nails it when it comes to cross-media IP, and here’s why: Planned from Day One: Many Japanese IPs, like Uma Musume, are built to succeed across multiple platforms—anime, games, music, you name it. Teamwork Makes the Dream Work: hashtag #Anime production committees include investors from hashtag #games, TV, and more, creating a multimedia-first approach that drives massive success. The result? IPs that thrive across all formats.

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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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During my time in the entertainment industry, I pursued an MFA in Film at UCLA, believing it would grant me the credibility I needed to teach and advance my career. However, I soon realized that the degree was essentially useless. Despite my qualifications and education, I was still viewed through the lens of the same stereotypes I had hoped to overcome. It highlighted the systemic issues in the industry—elitism, racism, and exclusion—especially toward Hispanics like me. My time at UCLA felt like an exercise in futility. I was treated unfairly, my opinions were disregarded, and I was prevented from taking courses I had a right to pursue. The institution, like the industry it prepares students for, wasn’t interested in fostering an inclusive environment for minorities. The industry’s claims of progress are empty, and DEI programs only serve to distract from the deeper issues of systemic exclusion. These programs don’t lead to jobs or real opportunities; they’re just talk. Despite decades of experience as a screenwriter, I continue to be shut out of opportunities. Even landing an interview is a struggle. The elites who defend the system benefit from it, while hardworking Hispanics like me are left behind. President-elect Trump recognized this disparity, which is why he resonated with many. The people who defend this broken system are the ones who created it, and they have no intention of changing it. Despite my qualifications, I’m still judged by my background, and the industry continues to be set up to maintain the status quo. Until that changes, I’ll remain caught in a cycle of exclusion.

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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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Japanese #Manga & Korean #Webtoon. Brief breakdown. Full vid on YouTube. #Webtoon #manga #anime #entertainment #comics #animation #art #artdirector #mangaka #webcomic #intellectualproperty #transmedia #games #videogames #gamedesign #storytelling #writing

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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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How to Choreograph a Fight Scene: Tips and Techniques from a Stunt Professional Learn how to choreograph realistic and engaging fight scenes for film and theater. Discover the essential elements to consider when choreographing a fight, from assessing the actors' abilities to determining the story context. Enhance your fight scene choreography skills with this expert guide. #FightSceneChoreography #StuntTips #ActingSkills #FightSceneTechniques #FilmProduction #StageCombat #ActionFilms #ActorTraining #PhysicalTheater #ActionDirecting

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Two days until our film financing/production seminar at UCLA (attend in person or virtually, or order a taped version - details on that last one soon). We're going to drill down on how to finance films (studios, streamers, equity, debt, pre-sales, tax credits, and philanthropy) with special guests from these worlds. And we're going to review the critical path once you have the funding. https://lnkd.in/g-n7HSr3

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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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I frequently receive questions about film financing, and it's clear that understanding some key terms is crucial before we can dive into deeper discussions. This should give you a solid starting point and hopefully make our future conversations even more productive. I encourage you to take the time to explore each topic in depth for full comprehension. To start, ask ChatGPT to expand upon these topics. 1. Equity Financing 2. Debt Financing 3. Tax Incentives 4. Minimum Guarantees 5. Gap Financing/Bridge Loans 6. Mezzanine Financing 7. Cash Flowing Debt 8. Talent Valuations 9. Foreign Presales 10. Negative Pick-Ups 11. Crowdfunding 12. Soft Money 13. Brand Integration 14. Distribution Rights Sales 15. Slate Financing 16. Distributor Backstops 17. Lender Positions 18. Knowing Key Debt Financing Players 19. Impact of Current Interest Rates on Loans 20. Co-Production Agreements

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Pitch, connect, or make a deal—from your phone or PC, the eZWayVerse is the place to be. 🚀⚡️ 📍SAVE-THE-DATE: December 6, 2024—REGISTER NOW & FIND OUT MORE! Welcome to the Future of Business: I’m THRILLED to announce the eZWayVerse! Experience the soft launch of the eZWayVerse and eZWayi App Celebration—powered by View3D.TV. Our groundbreaking event combines cutting-edge AI, gamified networking, and state-of-the-art digital tools to revolutionize the way you do business. What to Expect: • Interactive Networking: Pitch your products and services in a dynamic, game-inspired metaverse from your phone or computer. • AI-Powered Innovation: Explore AI podcasting, private selling rooms, and advanced marketing tools designed to drive success. • Star Power: Engage with top influencers, celebrities, and industry leaders. This is your chance to elevate your business in an immersive and interactive environment. Don’t miss your opportunity to connect, innovate, and grow. •DOWNLOAD THE FREE APP 📲 •CREATE A PROFILE AND STAY IN THE LOOP 📧 •SECURE YOUR SPOT 🕹️ Visit ezwayevents.com to register today. Interested in speaking, sponsoring, or promoting? Email us at [email protected]. Meet me in the eZWayVerse — see you there! #media #business #technology #meta #nextgen #emergingtech #metaverse #AI #innovation #ezway

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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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The global rise of Cosplay, Manga, and Anime - Pop culture has evolved from niche interests into global phenomena. What started in Japan has spread worldwide, with anime series like Naruto and Demon Slayer gaining massive international followings through streaming platforms like Netflix and Crunchyroll. Manga, Japan’s distinctive comic art, has also reached global audiences, with titles like One Piece becoming bestsellers. A key event in this cultural expansion is Comic-Con, which plays a significant role in uniting fans. This year’s Singapore Comic-Con, for instance, featured 400 exhibitors, alongside a diverse range of content creators and performers. From wholesome music acts to quirky performances, like slapping fans for a small fee, the convention showcased a blend of creativity and entertainment. CNA 's Nicolas Ng delves into why these individuals participate in the convention, discovering that they gain exposure, creative fulfillment, and a sense of community. #anime #cosplay #manga #rurusama #popculture #comiccon #contentcreation

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