Sara Fruman 🎗️’s Post

Creating movies that are driven by audience interest? What are your thoughts about that? We have been hearing, via various podcasts, to be honest, listening to the interviews in The Bigger Picture Podcast, that creators and studios are not really listening to their audience when it comes to creating content. Whether it is in movies, TV shows, theatrical releases, or for streaming. Is that the reason why so many productions flop (are not successful)? When Sony decided to go into production with Madame Web, we were really looking forward to what they would bring. Considering they did not have a great track record with Marvel Characters from the Spider-Man comics, such as Morbius and the second Venom. (The Into the Spider-Verse series is a exeption) The audience was not waiting for a Madame Web movie. Still, they delivered and what do you know... the movie flopped... big time. So... in what capacity should creators listen to their audience? You don't have to take in everything they are yelling towards you. However, it can work out for the better. Just look at what happened when the audience saw the first design of Sonic, The Hedgehog. We think, with some IPs, you should listen to the audience and look at what you can incorporate into your vision. It does not mean it will no longer be your movie, but some details will work out for the better. Let's talk about it! #movies #audience #filmmaking #tvshows #streaming Netflix NewBe ROYALNIFTY Sony Pictures Entertainment Warner Bros. Entertainment Prime Video & Amazon Studios Kaja Wolffers Tristan Wirabangsa Jeroen Koopman

"Suits" Has A New Spinoff Coming — Here's Everything You Need To Know About The Series Patrick J. Adams and Rick Hoffman (who played Mike Ross and Louis Litt connected Suits) person some expressed involvement successful reprising their roles for the spinoff. Suits had a MAJOR taste infinitesimal past twelvemonth aft the bid began streaming connected Netflix. In fact, earlier this twelvemonth Nielsen revealed that that the bid gained implicit 57.7 cardinal viewing minutes crossed 141 episodes crossed Netflix and Peacock successful 2023. So, it's, like, kinda a large deal. Usa Networks / ©USA Networks/Courtesy Everett Collection If you're thing similar me, than you astir apt binge-watched each 9 seasons successful an alarmingly abbreviated play of time. But really, who's keeping score??? The bid primitively aired connected USA from 2011–2019, truthful it's adjacent wilder that the bid would go much fashionable than ever, 4 years aft it ended. Usa Networks / ©USA Networks/Courtesy Everett Collection With the occurrence of the show, the formed has reunited for the Golden Globes and two seperate Super Bowl commercials.  This amusement was massive, folks. And owed to its utmost success, NBC announced that a caller Suits spinoff is presently successful the aboriginal stages of development. So, here's everything we cognize astir the caller bid truthful far: 1. The spinoff was archetypal confirmed backmost successful November by Universal International Studios president Beatrice Springborn. The spinoff volition beryllium called Suits LA and Springborn said it volition “have the aforesaid vigor and bully looking radical that the archetypal did.” Ian Watson / ©USA Network / Courtesy Everett Collection 2. Aaron Korsh, Suits' creator and writer, volition besides beryllium returning arsenic showrunner for the spinoff. Frederick M. Brown / Getty Images 3. The bid volition instrumentality spot successful LA, and travel a erstwhile national authoritative from New York named Ted Black. After moving to LA Ted is acceptable to reinvent himself by representing immoderate of the astir almighty clients successful LA. Usa Network / ©USA Networks/Courtesy Everett Collectio / Everett Collection A property merchandise from the bid explains, "His steadfast is astatine a situation point, and successful bid to past helium indispensable clasp a relation helium held successful contempt his full career. Ted is surrounded by a stellar radical of characters who trial their loyalties to some Ted and each different portion they can’t assistance but premix their idiosyncratic and nonrecreational lives. All of this is going connected portion events from years agone dilatory unravel that led Ted to permission down everything and everyo...

Patrick Brzeski (Asian Bureau Chief at The Hollywood Reporter): "Do you think you restructured how the story is told in any significant way? For example, you talked about the theme of a character encountering a culture they don’t understand. In your version, it seems we’re getting more of that from both sides, rather than just John Blackthorne’s — certainly compared to the earlier TV adaptation."   Justin Marks (Co-EP of "Shōgun" with Rachel Kondo): "The book made most of the choices for us. Because of the way the 1980 miniseries came out, I think there’s a collective misunderstanding that the book is Blackthorne’s story. Of course, Blackthorne is a huge character and he’s sort of the inciting incident of the whole thing, but the book is a real three-hander in the way it’s constructed. And even more than that, because all of the additional, dynamic ensemble characters who all get their time in the book. So we just ran with that. When I think back to our meetings with John Landgraf, Gina Balian, Kate Lambert and Lindsay Donohue at FX, what we said was that everything in the book is great and we don’t want to change it. All we want to do is find ways to subvert the gaze. We would never be able to properly invert the gaze, because we’re Western filmmakers, just like James Clavell was a Western writer. What we are hoping to do is to subvert the gaze enough to surprise the audience — like, let’s see Blackthorne as the Japanese see him. Let’s have these moments where you get insight in both directions, or moments where you think you know what kind of scene it is, but then it’s going to go out the side door because we’re looking at it through a more modern lens." #entertainment #shogun #fx #hulu #disneyplus #storytelling #storystructure #tv #television #streaming #streamingtv #character #incitingincident #threehander #subvertthegaze #surprisetheaudience #subtitles #subtitling #authenticity

*3 short stories & quick takeaways from leaders in media, film & tech* But first, do you remember SXSW? That 2-week-long extravaganza in Austin... it was 1 month ago! It was my first time at the conference and I learned a lot. One of the best parts? The lessons you can learn from the variety of speaker at the top of their game. I'd love to share a few takeaways from Nicholas Viall, Sydney Sweeney, & Jack Conte. 1. Nicholas Viall was first broadly known as the villain of the popular TV show the Bachelorette. Misunderstood and broke, he was asked to be a part of a celebrity villain spinoff show. But he had a bigger vision. Instead of cashing out, he went on to become the next Bachelor, and build a media empire with one of the most streamed podcasts out there (The Viall Files). - Lesson: You can redefine yourself from being canceled or vilified by the media by intentionally selecting the spaces you'd like to be in, and concern yourself more with being consistent and worthy of respect vs. being liked by all. 2. Sydney Sweeney auditioned for a film when she was 15 set at a religious school. She loved it. Years went by. Did someone else get the role? Was the film made? No. It was mostly forgotten. But not by Sweeney. 10 years later she became the executive producer and star of that film (Immaculate). - Lesson: Put your art out there, because you never know who it will touch, and what life it can take on with the right people knowing about it. 3. Jack Conte was a struggling musician touring venues with single-digit attendees for years. He noticed a fellow artist got 30k views on an original song on Youtube, so he tried uploading videos. His band (Pomplamoose) took off. He has 100s of people showing up to his shows. All through organic marketing. But the creator economy has shifted. It's gone from getting subscribes on Youtube, to likes on Facebook, to TikTok's "for you" page. He created Patreon to help artists break through to their audiences. - Lesson: You can create for other what you wish to receive or experience yourself. Which lesson struck you most? Is there a takeaway you heard at SXSW you'd like to share? [pictured here in one of those long, beautiful lines with friends Saurav Sharma & Adaora MaryAnn Anugo]

Great piece on the rise of "#midentertainment", movies and TV shows that are enjoyable but not critically acclaimed or groundbreaking. Mid entertainment offers a respite from the constant need to analyze and dissect every piece of #media. It allows for #passiveenjoyment without the pressure of forming complex opinions or engaging in deep discussions. We know that the modern media landscape is dominated by #discourse, with every show and movie analyzed for its social and political implications. This constant pressure to engage can be overwhelming and even counterproductive for audiences. Mid entertainment provides a valuable escape from this constant scrutiny. It allows for simple enjoyment and relaxation without the burden of intellectual analysis. That's why enjoying mid entertainment is not a sign of bad taste or lack of sophistication. It's simply a preference for a different kind of #viewingexperience. In fact, embracing mid entertainment could be a step towards a more #inclusive media landscape, where people are free to enjoy whatever they like without judgment or the pressure to conform to certain standards. #taste #films #TV

I'ma do a retrospective of the "2010s TV Boom" cuz that was such an interesting time in Hollywood where studios invested heavily nearly billions in producing TV shows and often they provided massive returns. The product they were putting out every night was what the audiences were looking for. It brought us the Arrowverse (Arrow, The Flash, Legends of Tomorrow, Supergirl, Batwoman, & Black Lightning) and their annual crossover events. It brought us Shonda Thursdays: Scandal, Grey's Anatomy, and HTGAWM. Who woulda thought we'd get Scandal/HTGAWM crossover? It was the crossover that we needed. Brought us Netflix Marvel w/ Jessica Jones, Luke Cage, Iron Fist, & Daredevil (The Defenders Crossover event) It brought us shows like Game of Thrones, High Maintenance, Master of None, The Blacklist, House of Cards, The Duece, Mr. Robot, OITNB, Power, Blindspot, Person of Interest, Empire, American Horror Stories, The Walking Dead, BCS, Comedies made a comeback with Blackish, Brooklyn Nine-Nine, Atlanta, Insecure, Girls, Dear White People, Survivor's Remorse, and Ballers. This was time where studios took chances on young up and coming writers to produce some new original content that had a good story engine and compelling characters the audience can relate to which is what the audience wanted. Many of these shows won multiple Emmys are regarded as one of the best shows in the modern era. Nowadays you don't see studio execs take those same chances that they used to. More than half of the movie slate next year are reboots, remakes, or sequels. This is part of the problem The goal isn't to produce projects to attract different audiences. The goal is to produce projects for the audience is going to watch them. You do that, it will attract other audiences. If you're going to produce a project based on an existing IP, stay true to the source material. #BusinessStrategy #HollywoodUnlocked #userresearch #television #Film #MediaAnalysis

Are your crew ‘facing the same direction’ behind a central message? Glen Powell, star of the new ‘Twisters’ film (and many more) thinks making a movie with a message that the entire crew believes in is the best way of making a movie. I also happen to think it’s fundamental to creating a blockbuster company too. Glen recently appeared on an episode of ‘What It’s Like.’, a podcast run by Austin’s Moody College of Communication at The University of Texas. In it he talks about what he looks for when choosing a movie. Central to his process is the message the movie conveys to the world and how it affects the audience. Glen explains that the movies with a meaning at the core, those that the crew believe in what they are making, have been the most successful films because everyone is working together. They are all contributing to something they can be proud of, even if individually they might be having an off day. At Whiteoaks we recently unveiled the latest evolution of our own central message around performance PR which we’re all behind. And it’s a service we offer to our clients too, helping them craft and communicate a compelling vision, mission, SMP and values. It's time to get your crew on the same page and turn your company into a blockbuster! P.S. link to the podcast in the comments #b2bpr #b2btechpr #publicrelations #messaging #hollywood

These are the moments I fight for in the creator economy – not just the monetary successes, but the lifetime milestones a creator will remember forever. Things like... 🎙️ Booking podcasts guests that have made our team shriek in excitement 🎬 Helping a creator distribute their first film to AMC cinemas ✏️ Writing keynote speeches at VidSummit that have resulted in tears and standing ovations 🩶 Supporting a creator as they unbox their very first silver play button. 🎞️✂️ Helping editors' names get listed on the Streamys website, so those below-the-line in the creator economy can finally get credit for their work 👩🏼💻Pitching a hit video that not only got millions of views, but taught the creator something about themselves. It's easy to distill things into numbers and money -- and trust me, I have those numbers too. But more than views, and more than money, I love making milestones with Creators. And if you need help making those milestones, I am #OpenForWork.

Did you watch 𝗠𝗔𝗫 𝗕𝗘𝗬𝗢𝗡𝗗 by HaZ Dulull? You should! And if you want to know how it's all done, follow Haz, because he shares all the insights. MAX BEYOND is a fully animated feature film, streaming on Apple TV (and more platforms). The film is fully made in Unreal Engine by a relatively small team of mostly animation enthusiasts. 𝗛𝗮𝘃𝗶𝗻𝗴 𝘆𝗼𝘂𝗿 𝗼𝘄𝗻 𝗜𝗣 The cool thing about creators having their own IP is the sharing they can do freely. And Haz goes even further, he goes all in on this! I've listened to and read numerous podcasts and articles. You will not get this amount of insights when the IP is in the hands of bigger publishers. I've seen it happening a couple of times, when a studio gets bought, then instantly the flow of information stops. Which is unfortunate in many cases. For MAX BEYOND I can recommend the Podcast from befores & afters, where Haz deep-dives into the whole process of creating this film. He discusses the technical part, the distribution, how the team came about, and how to manage executives. It's amazing how much he can tell about the process and I always love his energy. I'll drop the link in the comments. 𝗠𝗼𝘁𝗶𝗼𝗻 𝗖𝗮𝗽𝘁𝘂𝗿𝗲 Yesterday a new blog came out on Creative Bloq, including a video about #mocap with Ace Ruele. I edited out the part where he explains his #Xsens setup, but watch the full video in the comments. Did you watch 𝗠𝗔𝗫 𝗕𝗘𝗬𝗢𝗡𝗗 already? __ Hit the 🔔 to get post notifications 📅 Schedule a call: https://lnkd.in/e3uRie7f 📨 Subscribe to my #LetsTalkAboutMocap newsletter: https://lnkd.in/en5UiQwG