Kelli Garner Signs With More/Medavoy For Management

The Enemy Within alumna Kelli Garner has signed with More/Medavoy for management.
She previously played Marilyn Monroe opposite Susan Sarandon in the Lifetime event series The Secret Life of Marilyn Monroe. Garner most recently starred as Kate Ryan on NBC’s The Enemy Within opposite Jennifer Carpenter and Morris Chestnut.
Garner’s most notable film performances include Craig Gillespie’s Lars and the Real Girl, Ang Lee’s Taking Woodstock, and Martin Scorsese’s The Aviator. On the television side, Garner co-starred opposite Christina Ricci in ABC’s Pan Am.
Garner is also represented by The Gersh Agency and Hansen, Jacobson, Teller, Hoberman, Newman, Warren, Richman, Rush & Kaller.” />

‘Foxcatcher’ Producer Anthony Bregman On Finance Algorithms: “Netflix Has Created Chaos In The Business And That’s Good” — EFM

The viewing habits generate data that Netflix uses to guide which films, “they want to make, who they want to make it with and what budget and how they sell it.” Netflix have changed the game because they have “100M to 150M viewers across different age groups and gender make ups, ethnicities and economic levels and artistic taste,” he continued.
Silver Reel is currently in production on a six-part series adaptation of the Man Booker prize-winning novel The Luminaries with Working Title and BBC. There can be people out there with their smartphone and it can go viral. Bluemhuber said that one way the industry needs to change is in the assumption that every project has to be a film. “I don’t think in these categories anymore. It can be five minutes, 10 minutes, 30 minutes, or 60 minutes or you can have a feature, I think we need to stop thinking in these categories.”
Tonnes of times when I talked to studios, an executive would say we are looking for a mid-budget romantic comedy starring Mel Gibson. He also said there had been a tendency among some studio executives for short-sightedness in unpicking what films would be successful, basing their decisions on only the very latest available data, “Many algorithms were made on the Monday after the opening weekend. People were actually on the prowl for that. What do you have that we could give to Mel Gibson?” The whimsical nature of these sentiments meant, “Those algorithms usually lasted for 2 weeks.”
Delivering the industry keynote ‘Future Proofing Film Production and Finance,’ Bregman, Chairman of the Independent Filmmaker Project (IFP) Board of Directors, said that the reason Netflix managed to disrupt the film business so successfully is because they use a more sophisticated and better algorithm than the studios when deciding which films to green light.
He complained, “Imagine now, what kind of movies we didn’t make for the past 25 years. What were the movies that we could have made that we didn’t because we bought into an algorithm that is not true.” He singled out for criticism some industry perceptions around diversity, “We have always had to swallow the algorithm that tells us that movies with actors with dark skin don’t perform world wide.” He said we now know this is not true because both Moonlight and Black Panther broke that algorithm.
For much of his keynote speech, the Likely Story President and CEO, spoke with a definition of algorithm on the white board behind him.    He claimed that Netflix changed the game because they would pick up films rejected by studios at the same budget and make successes out of them.
price up to the $750,000 it finally sold to the Samuel Goldwyn Company.” After the film won the Golden Bear, “The very same distributors that had passed on the film for domestic distribution at $25000 started a bidding war driving the U.S. “We showed them the film, they came the saw, and they all passed,” he said.
It’s not the other way around anymore.”” /> Beath argued that the advantage of working with Netflix is that, “Once they work with you, they want to know what you are doing next.
Bregman said that every film is made because of algorithms, “Algorithms have always dictated what was made. But algorithms pre-Netflix were not as sophisticated and based on less data and maybe based on the perception of data and maybe on fantasy and desires.”
Following his address, Bregman was joined on stage by Linda Beath, founder of Ideal Filmworks Italia and Silver Reel film producer Claudia Bluemhuber, whose recent credits include Oscar nominees Loving Vincent and The Wife.
Foxcatcher and Eternal Sunshine Of The Spotless Mind producer Anthony Bregman delivered a wide-ranging keynote yesterday at the EFM in Berlin on the subject of algorithms and how Netflix has disrupted the film business.
Bregman added that “The problem with the international sales business has always been that everyone runs the same numbers, there is no variation.” The problem is compounded because all of the companies act like they know what the numbers mean when they don’t.
He joked, “Ang Lee’s Chinese-American gay green-card romantic comedy, just what the world wanted in 1993.” A few days before the film went into production the budget was slashed in half from $1.5 million to $750,000. The producers Ted Hope, James Schamus and Ang Lee managed to cut days and keep the film in production and when it was invited to the Berlin Film Festival to be in competition, Good Machine, which was nearly bankrupt, offered all the U.S. He went on to deliver a case study based on Ang Lee’s Berlinale Golden Bear winner The Wedding Banquet. distributors the rights for $25,000.
“The problem has always been that the sales numbers do not reflect the business and the arrival of Netflix as a disrupter changes that because they have their own way of valuing things and it has created chaos in this business and that is a good thing, because we can get movies like Private Life made, and we are now shooting four movies with Netflix this year, and movies I don’t know if they will get financed elsewhere.” “With Private Life when we took it out of the studio everyone said the same thing, valuing it at a number that was too low for us to make the movie correctly,” he said.

Netflix’s ‘Roma’ Makes Estimated $200K In 5-day Thanksgiving Opening

57th New York locations, and Manhattan's IFC Center, and all in, Deadline industry sources say that the 5-day gross is an estimated $200K which works out to be $66,6K a screen. Netflix isn't reporting weekend grosses for Alfonso Cuarón's Roma, but we've been hearing since Wednesday about sell-out shows at the Landmark's Pico Blvd Los Angeles and W.
Prior to this awards season, Netflix would typically play its big streaming movies exclusively at the luxury iPic Theater chain. with a $91K over two weeks. Netflix boss Ted Sarandos told Deadline that in the pic's first 10-days of streaming, 3M people watched Beasts of No Nation. Back in October 2015, with the help of Bleecker Street, Netflix opened Cary Fukunaga's Beasts of No Nation at 31 theaters on the same day the pic was available on the streaming service. Beasts tanked at the B.O.
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That's very good for a foreign film, and though apples-to-oranges in comparisons, that take is higher than the 3-day opening screen averages of such subtitled fare as Ang Lee's Lust, Caution ($63,9K) and South Korea's Battleship Island from CJ ($59,3K) (which both opened on one screen) and Walter Salles' The Motorcycle Diaries ($53,2K average at three sites ) and Pedro Almodovar's Talk to Her ($52,1K average at two), all of which are some of the best foreign film launches.
Fox Searchlight's The Favourite scored the best opening screen average of the year at $105K off four New York and Los Angeles theaters this weekend or $420K, but we are hearing that was padded by early shows on Wednesday and Thursday.
Given how great the weekend result was for Roma, the mind boggles why Netflix just doesn't report an official number: The National Association of Theater Owners recently flogged the streaming giant in the press for their decision to go with what they called "token releases", and urged them to do more in regards to pushing more product on the big screen. Note, Netflix has been publicly bullish about the power of streaming over exhibition in the past, however, it's proper to acknowledge that they're trying to give some justice to an auteur's theatrical release (even if it's for Oscar-qualifying purposes) and providing an opportunity for the film to be seen on the big screen. Cuaron was seeking a theatrical release for Roma and Netflix gave him one in advance of the pic's streaming date, in addition to other titles this awards season including  Joel & Ethan Coen's The Ballad of Buster Scruggs and the Sandra Bullock film Bird Box.
Alfonso Cuarón recently lamented on Twitter about the small number of Mexican cinemas showing Roma, and that's due to the country’s leading exhibitor Cinépolis having a beef with Netflix over the movie's collapsed theatrical window. Roma is Mexico's submission to the Oscar's this year in the foreign film category.
The movie will be released globally on Netflix on Dec. 5. 14 with an expanded theatrical release in the U.S. cities, Toronto and London with a further roll out on Dec. On Thursday, Roma will further expand to additional U.S. In total, the film will be theatrically released in over 30 countries globally with 70mm presentations also being planned during the film’s theatrical release. and international markets.