O:9:"MagpieRSS":23:{s:6:"parser";i:0;s:12:"current_item";a:0:{}s:5:"items";a:10:{i:0;a:11:{s:5:"title";s:86:"What’s Next for Amazon Studios After Top MGM Movie Execs’ Surprise Exit | Analysis";s:4:"link";s:149:"https://movieshere.packagingnewsonline.com/movie-production-companies/whats-next-for-amazon-studios-after-top-mgm-movie-execs-surprise-exit-analysis/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Fri, 29 Apr 2022 00:00:11 +0000";s:8:"category";s:72:"Movie Production CompaniesAmazonanalysisExecsExitMGMMovieStudiosSurprise";s:4:"guid";s:51:"https://movieshere.packagingnewsonline.com/?p=66906";s:11:"description";s:784:"”Amazon just wants content. They don’t care about great content,“ one industry veteran tells TheWrap Others wondered about the direction of MGM and its deep slate of film projects in the absence of two established industry figures who’ve overseen hit franchises like James Bond, “Creed” and the upcoming “Legally Blonde 3” as well as acclaimed ... Read more";s:7:"content";a:1:{s:7:"encoded";s:10920:"
”Amazon just wants content. They don’t care about great content,“ one industry veteran tells TheWrap
Others wondered about the direction of MGM and its deep slate of film projects in the absence of two established industry figures who’ve overseen hit franchises like James Bond, “Creed” and the upcoming “Legally Blonde 3” as well as acclaimed awards bait like “House of Gucci” and “Licorice Pizza.”
And others wondered if this was a sign that MGM Worldwide Television Group chairman Mark Burnett might soon head for the exit door as well.
An executive shakeup was not completely unexpected since Amazon Studios already has a top boss in Jennifer Salke, the former NBC Entertainment president who has headed the streamer’s filmed content division since 2018. “It doesn’t surprise me that this happened because Amazon was already a studio and had its own people in place. And there’s only so much room at the top,” Bryan Sullivan, a partner at Early Sullivan Wright Gizer & McRae who focuses on entertainment and investment, told TheWrap.
Even if logic might lead to the conclusion that De Luca and Abdy would make an exit as behemoth Amazon took over MGM, nobody was entertaining the possibility on Tuesday night at a cocktail party at Las Vegas’ The Palm thrown by Imax, where shrimp was in abundance and masks were totally absent. Executives from Warner Bros., Universal and other major companies talked about returning to theaters and the renewed robust slates of some studio, and some talked about the expectation that Burnett would exit – but not the movie team, which happened the following morning.
Both De Luca and deputy Abdy are regarded as talented industry executives, with long résumés of successful filmmaking and a deep bench of talent relationships. Those struck many as qualities that would be important to any successful movie strategy. “The biggest question is, where are they going?” Sullivan asked. “And are they going to have some sort of relationship with Amazon going forward?” (Amazon did not announce any production deal with either De Luca or Abdy, a typical maneuver when a high-level exec departs a senior role.)
Reps for Amazon and MGM did not respond to requests for comment for this story.
Still, it seems that change — constant and rapid — is the order of the day in Hollywood. And what Amazon’s strategy will be, especially as regards to its theatrical route, is top of mind for industry insiders.
At a party after Universal’s presentation on Wednesday in Las Vegas, which was wall to wall with industry veterans, one studio executive sneered at the move. “Amazon just wants content,” this executive said. “They don’t care about great content.”
A high-level agent agreed that De Luca’s resignation came as a major shock, even to more junior MGM executives. As recently as Tuesday, the agent said, many expected that things would be “business as usual” under the new Amazon bosses and even those within the TV unit and MGM subsidiary Orion were awaiting Amazon’s next town hall before official news was handed down.
However, other insiders said that De Luca might have been inclined to leave no matter what, with the expectation that a new film person could be brought in to lead the unit. Neither De Luca nor Abdy would be happy reporting to Salke, the agent said, let alone to the streamer’s newly promoted movies head, Julie Rapaport.
Another insider with knowledge of Amazon described working for a company of such size “a political nightmare” — something that just might not have suited the outgoing executives.
Indeed, many industry veterans question if MGM can retain an identity or autonomy as a division of Amazon, with the agent fearing that in the long run, the Orion and MGM units could ultimately feed “into the machine” or become merely a co-production label for branding purposes. “Amazon has such a pervasive culture,” the agent said. “I don’t see them wanting competing interests.”
Still, Amazon Studios has traditionally operated at a much higher budget than MGM, with a $13 billion content spend for 2021 that dwarfed the purchase price for MGM. Salke has had major success with tentpole properties like “The Tomorrow War” and “Without Remorse,” as well as “Reacher” on the TV side, and recently won the rights to produce a live-action “Voltron” movie from the director of “Red Notice,” Rawson Marshall Thurber.
Despite Amazon’s involvement, James Bond producers Barbara Broccoli and Michael G. Wilson have been adamant that future 007 installments would remain theatrical releases, and an individual with knowledge of the projects added that it would be unlikely that bigger tentpoles already in the can like “Creed III” would suddenly move to streaming. Other projects in postproduction include the Sylvester Stallone action film “Samaritan,” the Emmett Till biopic “Till” and Ron Howard’s “Thirteen Lives” about the true 2018 story of the Thai soccer team trapped in a cave.
In addition, MGM has other buzzy projects in the works, including new films from Guy Ritchie and Luca Guadagnino, several Channing Tatum projects as part of his company’s first look deal with MGM, an adaptation of a Ta Nehisi-Coates comic book, an adaptation of the musical “Porgy and Bess,” “Project Hail Mary” with director/producers Phil Lord and Chris Miller, and even Mattel’s Polly Pocket toys IP. Producers of several of these projects didn’t immediately respond to requests for comment on their current status at MGM/Amazon.
Sullivan said it’s unlikely that any of these projects will be cast adrift completely as De Luca and Abdy step away from their leadership roles. Even without having their contracts in hand to study, “most C-level executives remain with the project in some capacity” after an exit, Sullivan said. The executives could also form a production company with financing from Amazon rather than bolt to another studio or streamer.
De Luca and Abdy’s exit also underscores that Amazon was less interested in acquiring MGM as an active studio than in the storied company’s rich library. MGM boasts a vault of 4,000 film titles and 17,000 hours of TV programming that includes the “Rocky” movie franchise, James Bond and the Emmy-winning “The Handmaid’s Tale.”
“At Amazon, there’s already a studio, they don’t need MGM’s production staff or their new projects,” Sullivan said. “The library has the biggest value.”
Even as MGM’s film division pares down, many industry watchers are also waiting for another shoe to drop with Burnett. There has long been speculation that Burnett would be on his way out after the Amazon deal closed — especially since Salke is already well-established on the TV side — though an individual close to the executive said he had not decided on his next steps.
Burnett, whose contract expires this year, has a track record with “The Apprentice” and “The Voice” from his days at NBC, but he has struggled to produce any new unscripted hits since he was named chairman of the TV group in 2018. “The Handmaid’s Tale” and “Fargo” have become prestige hits for the studio, but there have been reports that he’s butted heads with other MGM execs.
“Jen is really liked by her team, and Mark has a lot of detractors,” one veteran agent who asked not to be named previously told TheWrap.
“I would be surprised if Mark Burnett sticks around for a long time — very surprised,” Stephen Galloway, dean of Chapman University’s Dodge Film School, said after the deal closed in March.
Sharon Waxman contributedto this report.
We would like to say thanks to the author of this article for this amazing material
";}s:7:"summary";s:784:"”Amazon just wants content. They don’t care about great content,“ one industry veteran tells TheWrap Others wondered about the direction of MGM and its deep slate of film projects in the absence of two established industry figures who’ve overseen hit franchises like James Bond, “Creed” and the upcoming “Legally Blonde 3” as well as acclaimed ... Read more";s:12:"atom_content";s:10920:"
”Amazon just wants content. They don’t care about great content,“ one industry veteran tells TheWrap
Others wondered about the direction of MGM and its deep slate of film projects in the absence of two established industry figures who’ve overseen hit franchises like James Bond, “Creed” and the upcoming “Legally Blonde 3” as well as acclaimed awards bait like “House of Gucci” and “Licorice Pizza.”
And others wondered if this was a sign that MGM Worldwide Television Group chairman Mark Burnett might soon head for the exit door as well.
An executive shakeup was not completely unexpected since Amazon Studios already has a top boss in Jennifer Salke, the former NBC Entertainment president who has headed the streamer’s filmed content division since 2018. “It doesn’t surprise me that this happened because Amazon was already a studio and had its own people in place. And there’s only so much room at the top,” Bryan Sullivan, a partner at Early Sullivan Wright Gizer & McRae who focuses on entertainment and investment, told TheWrap.
Even if logic might lead to the conclusion that De Luca and Abdy would make an exit as behemoth Amazon took over MGM, nobody was entertaining the possibility on Tuesday night at a cocktail party at Las Vegas’ The Palm thrown by Imax, where shrimp was in abundance and masks were totally absent. Executives from Warner Bros., Universal and other major companies talked about returning to theaters and the renewed robust slates of some studio, and some talked about the expectation that Burnett would exit – but not the movie team, which happened the following morning.
Both De Luca and deputy Abdy are regarded as talented industry executives, with long résumés of successful filmmaking and a deep bench of talent relationships. Those struck many as qualities that would be important to any successful movie strategy. “The biggest question is, where are they going?” Sullivan asked. “And are they going to have some sort of relationship with Amazon going forward?” (Amazon did not announce any production deal with either De Luca or Abdy, a typical maneuver when a high-level exec departs a senior role.)
Reps for Amazon and MGM did not respond to requests for comment for this story.
Still, it seems that change — constant and rapid — is the order of the day in Hollywood. And what Amazon’s strategy will be, especially as regards to its theatrical route, is top of mind for industry insiders.
At a party after Universal’s presentation on Wednesday in Las Vegas, which was wall to wall with industry veterans, one studio executive sneered at the move. “Amazon just wants content,” this executive said. “They don’t care about great content.”
A high-level agent agreed that De Luca’s resignation came as a major shock, even to more junior MGM executives. As recently as Tuesday, the agent said, many expected that things would be “business as usual” under the new Amazon bosses and even those within the TV unit and MGM subsidiary Orion were awaiting Amazon’s next town hall before official news was handed down.
However, other insiders said that De Luca might have been inclined to leave no matter what, with the expectation that a new film person could be brought in to lead the unit. Neither De Luca nor Abdy would be happy reporting to Salke, the agent said, let alone to the streamer’s newly promoted movies head, Julie Rapaport.
Another insider with knowledge of Amazon described working for a company of such size “a political nightmare” — something that just might not have suited the outgoing executives.
Indeed, many industry veterans question if MGM can retain an identity or autonomy as a division of Amazon, with the agent fearing that in the long run, the Orion and MGM units could ultimately feed “into the machine” or become merely a co-production label for branding purposes. “Amazon has such a pervasive culture,” the agent said. “I don’t see them wanting competing interests.”
Still, Amazon Studios has traditionally operated at a much higher budget than MGM, with a $13 billion content spend for 2021 that dwarfed the purchase price for MGM. Salke has had major success with tentpole properties like “The Tomorrow War” and “Without Remorse,” as well as “Reacher” on the TV side, and recently won the rights to produce a live-action “Voltron” movie from the director of “Red Notice,” Rawson Marshall Thurber.
Despite Amazon’s involvement, James Bond producers Barbara Broccoli and Michael G. Wilson have been adamant that future 007 installments would remain theatrical releases, and an individual with knowledge of the projects added that it would be unlikely that bigger tentpoles already in the can like “Creed III” would suddenly move to streaming. Other projects in postproduction include the Sylvester Stallone action film “Samaritan,” the Emmett Till biopic “Till” and Ron Howard’s “Thirteen Lives” about the true 2018 story of the Thai soccer team trapped in a cave.
In addition, MGM has other buzzy projects in the works, including new films from Guy Ritchie and Luca Guadagnino, several Channing Tatum projects as part of his company’s first look deal with MGM, an adaptation of a Ta Nehisi-Coates comic book, an adaptation of the musical “Porgy and Bess,” “Project Hail Mary” with director/producers Phil Lord and Chris Miller, and even Mattel’s Polly Pocket toys IP. Producers of several of these projects didn’t immediately respond to requests for comment on their current status at MGM/Amazon.
Sullivan said it’s unlikely that any of these projects will be cast adrift completely as De Luca and Abdy step away from their leadership roles. Even without having their contracts in hand to study, “most C-level executives remain with the project in some capacity” after an exit, Sullivan said. The executives could also form a production company with financing from Amazon rather than bolt to another studio or streamer.
De Luca and Abdy’s exit also underscores that Amazon was less interested in acquiring MGM as an active studio than in the storied company’s rich library. MGM boasts a vault of 4,000 film titles and 17,000 hours of TV programming that includes the “Rocky” movie franchise, James Bond and the Emmy-winning “The Handmaid’s Tale.”
“At Amazon, there’s already a studio, they don’t need MGM’s production staff or their new projects,” Sullivan said. “The library has the biggest value.”
Even as MGM’s film division pares down, many industry watchers are also waiting for another shoe to drop with Burnett. There has long been speculation that Burnett would be on his way out after the Amazon deal closed — especially since Salke is already well-established on the TV side — though an individual close to the executive said he had not decided on his next steps.
Burnett, whose contract expires this year, has a track record with “The Apprentice” and “The Voice” from his days at NBC, but he has struggled to produce any new unscripted hits since he was named chairman of the TV group in 2018. “The Handmaid’s Tale” and “Fargo” have become prestige hits for the studio, but there have been reports that he’s butted heads with other MGM execs.
“Jen is really liked by her team, and Mark has a lot of detractors,” one veteran agent who asked not to be named previously told TheWrap.
“I would be surprised if Mark Burnett sticks around for a long time — very surprised,” Stephen Galloway, dean of Chapman University’s Dodge Film School, said after the deal closed in March.
Sharon Waxman contributedto this report.
We would like to say thanks to the author of this article for this amazing material
";s:14:"date_timestamp";i:1651190411;}i:1;a:11:{s:5:"title";s:121:"CNC Cutting Machines Market to Hit USD 6,153.2 Million by 2027 with 6.1 CAGR% – Report by Market Research Future (MRFR)";s:4:"link";s:184:"https://movieshere.packagingnewsonline.com/movie-production-companies/cnc-cutting-machines-market-to-hit-usd-6153-2-million-by-2027-with-6-1-cagr-report-by-market-research-future-mrfr/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Thu, 28 Apr 2022 22:41:59 +0000";s:8:"category";s:76:"Movie Production CompaniesCAGRCNCcuttingfuturehitMachinesmarketMRFRreportUSD";s:4:"guid";s:51:"https://movieshere.packagingnewsonline.com/?p=66877";s:11:"description";s:869:"New York, US, April 28, 2022 (GLOBE NEWSWIRE) — Market Overview: According to a comprehensive research report by Market Research Future (MRFR), “CNC Cutting Machines Market” information by Type, by Product, by End User, by Application and Region – Forecast to 2027” market size to reach USD 6,153.2 million, growing at a compound annual growth ... Read more";s:7:"content";a:1:{s:7:"encoded";s:11507:"
New York, US, April 28, 2022 (GLOBE NEWSWIRE) — Market Overview: According to a comprehensive research report by Market Research Future (MRFR), “CNC Cutting Machines Market” information by Type, by Product, by End User, by Application and Region – Forecast to 2027” market size to reach USD 6,153.2 million, growing at a compound annual growth rate of 6.1% by 2027.
Market Scope: The CNC cutting machines market outlook looks extremely promising. The rapidly growing tool manufacturing sectors and Industry 4.0 adoption across heavy industries worldwide drive the market. The CNC cutting machines industry has always been subject to technological upgrades. Growing adoption is expected to meet customer demands for efficiency gains.
Manufacturing sectors worldwide increase market demand, embracing automation and advanced software solutions to meet customers’ machining needs. Also, the shortage of skilled labor, working hour limits, and labor costs are on the rise. Also, rising quality control and tolerances needs encourage manufacturing companies to add automation to their factories.
Even during the COVID-19 crisis, CNC cutting machines market revenues remained reassuringly robust. The dynamic and constantly changing CNC cutting machines market witnessed a steep increase more quickly than ever. Similarly, the agility to respond to market changes became more important than in the post-pandemic era.
The pandemic-driven lockdown challenges fostered many CNC cutting machines market trends in production, robotics, networked machines, and analytics, entering a new, particularly exciting age. Also, there is a vast demand which would support the CNC cutting machines market to grow steadily over the next five years.
Dominant Key Players on CNC Cutting Machines Market Covered are:
Biesse Group (Italy)
HOMAG Group (Germany)
Anderson Group (Taiwan)
Exel CNC Ltd (UK)
MultiCam Inc. (US)
Thermwood Corporation (US)
The Shoda Company (Japan)
ShopSabre (US)
AXYZ Automation Group (Canada)
Carbide 3D LLC (US)
KOMO Machine Inc. (US)
TRUMPF (Germany)
ESAB (Sweden)
Prima Power (Italy)
Get Free Sample PDF Brochure: https://www.marketresearchfuture.com/sample_request/10810
Market USP Exclusively Encompassed: Market Drivers CNC machines integrated with computer-aided manufacturing (CAM) enable hassle-free production of components and reduced operational time & costs. Large manufacturing facilities are increasingly implementing CNC lathes for their cutting and knurling needs.
The rising commercial demand for advanced compact-sized machines with automatic tool changers and multi-axis machining technology increases the market size. Besides, rapid advances in production technologies and emerging needs for smaller factory footprints driven by the lack of space boost market revenues.
The demand for modern cutting machines that are compact and do not require operators/ supervisors to monitor the machine operations is constantly growing. Moreover, the rising pressure among manufacturers to reduce time, manual labor, and operational costs while boosting the ability to produce components substantiates the market value.
Browse In-depth Market Research Report (167 Pages) on CNC Cutting Machines Market: https://www.marketresearchfuture.com/reports/cnc-cutting-machines-market-10810
Despite the promising prospects, the CNC cutting machines market still witnesses several challenges related to machining services and various strategies. Some issues restraining the market growth include difficulties in data processing & programming errors due to complex structure, high purchase & repairing costs, complexities of material selection, overheating & inappropriate settings of machines, and communication failure.
There is a huge market for competitive advanced cutting tools and geometries. Most industry players are responding to the market needs with their technical expertise and industry experience. Updates in tool simulation and 3D and CAD-CAM technologies and the ability to produce small batch sizes give increased flexibility, particularly relevant to the die and mold industry.
Almost all industries require tailored CNC cutting machining for accurate CNC parts that sometimes are complex to produce using traditional methods. Increasing demand for CNC cutting machining from industries such as aerospace & automotive and building & construction fosters market growth.
Segmentation of Market Covered in the Research: The CNC cutting machines market report is segmented into types, products, applications, end-users, and regions. Type segment comprises movable gantry and stationary gantry types. The product segment comprises plasma, laser, waterjet, and router. The application segment comprises woodworking, stoneworking, and metalworking.
The end-user segment comprises automotive, building & construction, consumer, electronics, aerospace & defense, medical, energy & power, furniture, transportation, and others. The region segment comprises America, Asia-Pacific, Middle East & Africa, Europe, and rest-of-the-world.
Talk to Expert: https://www.marketresearchfuture.com/ask_for_schedule_call/10810
Regional Analysis The Asia Pacific region dominates the global CNC cutting machines market. The ample raw material advantage and availability of cost-competitive workforces are the major factors impacting the market growth in the region. The growing adoption of these machines, rising automation in manufacturing sectors, and the rapid industrialization in this region drive the market demand.
North America holds the second-best position in the global CNC cutting machines market. Vast technological advances and automation in manufacturing sectors boost the market value. Additionally, the high product demand from flourishing manufacturing sectors substantiates market revenues in this region. Also, the increasing application areas and integration of CNC cutting machines with the current manufacturing environment propel the regional market growth.
Buy this Report: https://www.marketresearchfuture.com/checkout?currency=one_user-USD&report_id=10810
Competitive Landscape The CNC cutting machines market would witness various strategic approaches, such as collaboration, expansion, mergers & acquisitions, and advanced technologies integration. Major industry players make strategic investments in driving research and development activities and fostering their expansion plans. The market is likely to witness several product launches.
For instance, recently, on Jan.14, 2022, NUM launched a unique 2D drawing tool – NUMcad that can simplify the design and creation of executable G-code files for CNC cutting machines. This highly intuitive drawing software simplifies 2D path design for users of CNC cutting machines.
NUMcad works directly from the machine’s operator panel as well as under Windows and on any standard PC. Its user interface mimics popular CAD packages, intuitively suitable for design origination and modification, making it ideal for people with minimal or no design experience.
Related Reports: Machine Safety Market Research Report, Components (Safety Sensors, Controllers, Others), Implementation (Individual and Embedded Components), Application (Assembly, Robotics, Others), Industry (Oil & Gas, Chemicals, Others) — Forecast till 2027
CNC Controller Market Report: Information by Product (Microcontroller-Based, DSP-Based, Motion Control Chip-Based and others), by Component (Power Supply Unit, Software, Cabling, Circuitry Protection System, Motor Driver and others), by Axis Type (2 Axis, 3 Axis, 4 Axis, 5 Axis and Multi-Axis), by Application (Closed-Loop Control CNC Machine Tool, Open-Loop Control CNC Machine Tool and Semi-Closed Loop Control CNC Machine Tool), by End-User (Healthcare, Automobile, Aerospace, Defense, Electronics, Metal and Mining), by Region (North America, Europe, Asia-Pacific and Rest of the World) – Forecast till 2027
Smart Machines Market Information, by Type (Embedded systems, Expert system, Autonomous robot), by Application (Automotive, Aerospace, Logistics, Consumer Electronics, Defence, Healthcare) – Forecast 2027
Machine Condition Monitoring Market: Information by End Use (Oil & Gas Industry, Chemical & Petrochemical Industry, Pulp & Paper Industry, Steel & Metal Industry, Automotive Industry, Food & Beverage Industry, Power Industry, Cement, Pharmaceutical Industry), Monitoring Type (Vibration Monitoring, Thermography, Oil Analysis, Corrosion Monitoring, Ultrasound Emission Monitoring, Motor Current Analysis), Monitoring Process Type (Online, Portable), Component (Hardware: Vibration Sensors And Analyzers, Infrared Sensors, Spectrometers, Ultrasound Detectors, Spectrum Analyzers, Corrosion Probes And Others, Software: Data Integration, Diagnostic Reporting, Order Tracking, Parameter Calculation, Services: Initial Service, Maintenance Service, Others), and Region (North America, Europe, Asia-Pacific, and Rest of the World)—Forecast till 2025
About Market Research Future: Market Research Future (MRFR) is a global market research company that takes pride in its services, offering a complete and accurate analysis regarding diverse markets and consumers worldwide. Market Research Future has the distinguished objective of providing the optimal quality research and granular research to clients. Our market research studies by products, services, technologies, applications, end users, and market players for global, regional, and country level market segments, enable our clients to see more, know more, and do more, which help answer your most important questions.
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We would love to give thanks to the writer of this write-up for this amazing content
";}s:7:"summary";s:869:"New York, US, April 28, 2022 (GLOBE NEWSWIRE) — Market Overview: According to a comprehensive research report by Market Research Future (MRFR), “CNC Cutting Machines Market” information by Type, by Product, by End User, by Application and Region – Forecast to 2027” market size to reach USD 6,153.2 million, growing at a compound annual growth ... Read more";s:12:"atom_content";s:11507:"
New York, US, April 28, 2022 (GLOBE NEWSWIRE) — Market Overview: According to a comprehensive research report by Market Research Future (MRFR), “CNC Cutting Machines Market” information by Type, by Product, by End User, by Application and Region – Forecast to 2027” market size to reach USD 6,153.2 million, growing at a compound annual growth rate of 6.1% by 2027.
Market Scope: The CNC cutting machines market outlook looks extremely promising. The rapidly growing tool manufacturing sectors and Industry 4.0 adoption across heavy industries worldwide drive the market. The CNC cutting machines industry has always been subject to technological upgrades. Growing adoption is expected to meet customer demands for efficiency gains.
Manufacturing sectors worldwide increase market demand, embracing automation and advanced software solutions to meet customers’ machining needs. Also, the shortage of skilled labor, working hour limits, and labor costs are on the rise. Also, rising quality control and tolerances needs encourage manufacturing companies to add automation to their factories.
Even during the COVID-19 crisis, CNC cutting machines market revenues remained reassuringly robust. The dynamic and constantly changing CNC cutting machines market witnessed a steep increase more quickly than ever. Similarly, the agility to respond to market changes became more important than in the post-pandemic era.
The pandemic-driven lockdown challenges fostered many CNC cutting machines market trends in production, robotics, networked machines, and analytics, entering a new, particularly exciting age. Also, there is a vast demand which would support the CNC cutting machines market to grow steadily over the next five years.
Dominant Key Players on CNC Cutting Machines Market Covered are:
Biesse Group (Italy)
HOMAG Group (Germany)
Anderson Group (Taiwan)
Exel CNC Ltd (UK)
MultiCam Inc. (US)
Thermwood Corporation (US)
The Shoda Company (Japan)
ShopSabre (US)
AXYZ Automation Group (Canada)
Carbide 3D LLC (US)
KOMO Machine Inc. (US)
TRUMPF (Germany)
ESAB (Sweden)
Prima Power (Italy)
Get Free Sample PDF Brochure: https://www.marketresearchfuture.com/sample_request/10810
Market USP Exclusively Encompassed: Market Drivers CNC machines integrated with computer-aided manufacturing (CAM) enable hassle-free production of components and reduced operational time & costs. Large manufacturing facilities are increasingly implementing CNC lathes for their cutting and knurling needs.
The rising commercial demand for advanced compact-sized machines with automatic tool changers and multi-axis machining technology increases the market size. Besides, rapid advances in production technologies and emerging needs for smaller factory footprints driven by the lack of space boost market revenues.
The demand for modern cutting machines that are compact and do not require operators/ supervisors to monitor the machine operations is constantly growing. Moreover, the rising pressure among manufacturers to reduce time, manual labor, and operational costs while boosting the ability to produce components substantiates the market value.
Browse In-depth Market Research Report (167 Pages) on CNC Cutting Machines Market: https://www.marketresearchfuture.com/reports/cnc-cutting-machines-market-10810
Despite the promising prospects, the CNC cutting machines market still witnesses several challenges related to machining services and various strategies. Some issues restraining the market growth include difficulties in data processing & programming errors due to complex structure, high purchase & repairing costs, complexities of material selection, overheating & inappropriate settings of machines, and communication failure.
There is a huge market for competitive advanced cutting tools and geometries. Most industry players are responding to the market needs with their technical expertise and industry experience. Updates in tool simulation and 3D and CAD-CAM technologies and the ability to produce small batch sizes give increased flexibility, particularly relevant to the die and mold industry.
Almost all industries require tailored CNC cutting machining for accurate CNC parts that sometimes are complex to produce using traditional methods. Increasing demand for CNC cutting machining from industries such as aerospace & automotive and building & construction fosters market growth.
Segmentation of Market Covered in the Research: The CNC cutting machines market report is segmented into types, products, applications, end-users, and regions. Type segment comprises movable gantry and stationary gantry types. The product segment comprises plasma, laser, waterjet, and router. The application segment comprises woodworking, stoneworking, and metalworking.
The end-user segment comprises automotive, building & construction, consumer, electronics, aerospace & defense, medical, energy & power, furniture, transportation, and others. The region segment comprises America, Asia-Pacific, Middle East & Africa, Europe, and rest-of-the-world.
Talk to Expert: https://www.marketresearchfuture.com/ask_for_schedule_call/10810
Regional Analysis The Asia Pacific region dominates the global CNC cutting machines market. The ample raw material advantage and availability of cost-competitive workforces are the major factors impacting the market growth in the region. The growing adoption of these machines, rising automation in manufacturing sectors, and the rapid industrialization in this region drive the market demand.
North America holds the second-best position in the global CNC cutting machines market. Vast technological advances and automation in manufacturing sectors boost the market value. Additionally, the high product demand from flourishing manufacturing sectors substantiates market revenues in this region. Also, the increasing application areas and integration of CNC cutting machines with the current manufacturing environment propel the regional market growth.
Buy this Report: https://www.marketresearchfuture.com/checkout?currency=one_user-USD&report_id=10810
Competitive Landscape The CNC cutting machines market would witness various strategic approaches, such as collaboration, expansion, mergers & acquisitions, and advanced technologies integration. Major industry players make strategic investments in driving research and development activities and fostering their expansion plans. The market is likely to witness several product launches.
For instance, recently, on Jan.14, 2022, NUM launched a unique 2D drawing tool – NUMcad that can simplify the design and creation of executable G-code files for CNC cutting machines. This highly intuitive drawing software simplifies 2D path design for users of CNC cutting machines.
NUMcad works directly from the machine’s operator panel as well as under Windows and on any standard PC. Its user interface mimics popular CAD packages, intuitively suitable for design origination and modification, making it ideal for people with minimal or no design experience.
Related Reports: Machine Safety Market Research Report, Components (Safety Sensors, Controllers, Others), Implementation (Individual and Embedded Components), Application (Assembly, Robotics, Others), Industry (Oil & Gas, Chemicals, Others) — Forecast till 2027
CNC Controller Market Report: Information by Product (Microcontroller-Based, DSP-Based, Motion Control Chip-Based and others), by Component (Power Supply Unit, Software, Cabling, Circuitry Protection System, Motor Driver and others), by Axis Type (2 Axis, 3 Axis, 4 Axis, 5 Axis and Multi-Axis), by Application (Closed-Loop Control CNC Machine Tool, Open-Loop Control CNC Machine Tool and Semi-Closed Loop Control CNC Machine Tool), by End-User (Healthcare, Automobile, Aerospace, Defense, Electronics, Metal and Mining), by Region (North America, Europe, Asia-Pacific and Rest of the World) – Forecast till 2027
Smart Machines Market Information, by Type (Embedded systems, Expert system, Autonomous robot), by Application (Automotive, Aerospace, Logistics, Consumer Electronics, Defence, Healthcare) – Forecast 2027
Machine Condition Monitoring Market: Information by End Use (Oil & Gas Industry, Chemical & Petrochemical Industry, Pulp & Paper Industry, Steel & Metal Industry, Automotive Industry, Food & Beverage Industry, Power Industry, Cement, Pharmaceutical Industry), Monitoring Type (Vibration Monitoring, Thermography, Oil Analysis, Corrosion Monitoring, Ultrasound Emission Monitoring, Motor Current Analysis), Monitoring Process Type (Online, Portable), Component (Hardware: Vibration Sensors And Analyzers, Infrared Sensors, Spectrometers, Ultrasound Detectors, Spectrum Analyzers, Corrosion Probes And Others, Software: Data Integration, Diagnostic Reporting, Order Tracking, Parameter Calculation, Services: Initial Service, Maintenance Service, Others), and Region (North America, Europe, Asia-Pacific, and Rest of the World)—Forecast till 2025
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We would love to give thanks to the writer of this write-up for this amazing content
";s:14:"date_timestamp";i:1651185719;}i:2;a:11:{s:5:"title";s:112:"How Focus Features’ ‘Downton Abbey: A New Era’ Ushers In Specialty Label’s First Franchise – CinemaCon";s:4:"link";s:166:"https://movieshere.packagingnewsonline.com/movie-production-companies/how-focus-features-downton-abbey-a-new-era-ushers-in-specialty-labels-first-franchise-cinemacon/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Thu, 28 Apr 2022 22:36:00 +0000";s:8:"category";s:93:"Movie Production CompaniesAbbeyCinemaConDowntoneraFeaturesFocusFranchiselabelsSpecialtyushers";s:4:"guid";s:51:"https://movieshere.packagingnewsonline.com/?p=66871";s:11:"description";s:842:"EXCLUSIVE: When Downton Abbey first burst on the scene in 2010, the Julian Fellowes-created series quickly drew audiences and made headlines for its unique spin on the traditional British period drama. This was not your grandmother’s upstairs/downstairs look at the upper crust, rather its take on the aristocracy gave contemporary audiences characters and storylines they ... Read more";s:7:"content";a:1:{s:7:"encoded";s:15274:"
EXCLUSIVE: When Downton Abbey first burst on the scene in 2010, the Julian Fellowes-created series quickly drew audiences and made headlines for its unique spin on the traditional British period drama. This was not your grandmother’s upstairs/downstairs look at the upper crust, rather its take on the aristocracy gave contemporary audiences characters and storylines they could relate to with strong women, quotable dialogue and tons of heart.
Now, 12 years later comes Focus Features’ Downton Abbey: A New Era, the feature sequel to the 2019 hit film that notched $238 million in worldwide box office and became the studio’s highest-grossing title ever domestically. But A New Era isn’t just a sequel, it also establishes Focus’ first bona fide franchise — a rare beast in the specialty arena. It’s also a sign of the way the company, which is celebrating its 20th anniversary, is thinking about its future.
Directed by Simon Curtis and featuring the original cast, A New Era starts offshore rollout this week, including in the UK on Friday, and lands in North America on May 20, taking audiences on a trip to the South of France while also saving plenty of intrigue for the folks on the Grantham estate.
Deadline recently spoke with Focus chairman Peter Kujawski, vice chairman Jason Cassidy and Downton producer Gareth Neame, who is executive chairman of NBCUniversal International-owned Carnival Films and has been there since the series’ inception. The trio discussed the latest film, attracting new audiences and where things go from here. (The conversation below has been condensed and edited for clarity.)
DEADLINE: Walk me through how A New Era establishes Focus’ first franchise, rather than being considered simply a sequel.
PETER KUJAWSKI: We’ve found that the power of the relationship that the audience has to this world and these characters and this glimpse into the shifting landscapes of the eras that Downton is talking about, has built the same kind of thing — but in different ways and to a different crowd — to engage in a manner that is similar to the biggest and broadest franchises that exist out there as well.
Focus Features
You had the show, you’ve now got a couple movies, you have the touring exhibition that has been a giant global hit anywhere it’s gone, and podcasts and digital series. There’s going to be a bunch of original Downton content that is tied to the release of this movie, stories and the world in and of itself for people to spend time with.
(Original video series) Inside The Downton Kitchen and the Fireside Chat with Julian Fellowes and things like that truly in this space kind of crib on what you see more happening on the large studio scale with classic IP superheroes and action movies.
I think we’ve been lucky beneficiaries of what had been built before and the chance to make the (first) movie and then joining the Downton family and really leaning into the idea that a franchise is more than just sequels. It’s broader.
GARETH NEAME: I think we’re now just breaking into the area of, “Okay this was a hit TV show, it’s been a hit movie, hopefully it’s a successful sequel,” and I think that we’re in that space where rightly, Focus, Universal and we are looking at this as a prime piece of IP within the wider group and what can you do, what are these companies supposed to do actually when they have got these big pieces of the crown jewels.
It does feel to me like five years ago I would have been happy with six successful seasons and one movie to demonstrate that it works on the big screen. Of course the more things go on you think, “No, I don’t want it to end yet, there is more to do.”
DEADLINE: Are you going to do a third film?
KUJAWSKI: All our focus right now is making this film connect with audiences. But of course it would also be foolish of us not to be contemplating the idea of what Downton can continue to be to audiences and what a future would look like. Right now it’s really about this movie and a lot of things that we’re talking about that are on the edge of this movie that are Downton related.
NEAME: I would like to do another movie, and I’m very optimistic about this film, particularly for the fans. It’s a very special treat. It’s more focused on the core characters than the first film. It’s a family story and inevitably its construction is very easy to relate to if you’re a fan.
Peter Kujawski
KUJAWSKI: It’s your favorite family that not only has an adventure at home, but also the discovery of a secret that takes them to the South of France. It feels like an event and the filmmakers have gone above and beyond this time.
DEADLINE: Is there room to attract new and younger audiences who perhaps weren’t a part of that zeitgeist moment when the series first aired?
JASON CASSIDY: When we started on this journey, it was certainly an older audience. As we’ve gone through the success of the movie — it did $100M domestic, you don’t do that by just playing to older audiences — we were frankly surprised and thrilled that there were 25-40-year-olds making up a very significant part of the audience.
So we think about those audiences that are on the younger side that’s really grown and the digital content has helped build up the franchise. It’s given a real opportunity to grow it, because you don’t get the response in box office and then in the after markets from just the older audience. The age has definitely come down even as we’ve been on it. I would think in the world of people watching The Gilded Age and Bridgerton, content and shows and movies that are in this space, broadly speaking, are drawing in new eyeballs and younger eyeballs. You’re able to say, “Oh, you like Bridgerton? Boom, you’re gonna like this.”
Focus Features
KUJAWSKI: This was in a way the original and I think real credit is due to the particular genius of Julian and Gareth and how, from the get-go, before a frame of the series was shot, they saw what this genre could be.
It hit very quickly and I think it’s because they tapped into this notion that underneath the world they were talking about in terms of the classic British heritage was actually a ton of modern stuff. They knew that, and the entire series and the movies as well has always been propelled by fundamental things everyone feels all the time everywhere. Like the anxiety of just the new, the era is always changing on you and how do you respond to that and what is history and tradition, what it means to move forward. You look at the journey of Thomas Barrow over the course of the franchise which has never allowed itself to be defined by typical genre trappings. These characters are people you feel and related to in a completely contemporary and present-day sense while existing in this world of aspirational wealth and beauty and travel and all the things that the series promises — and that’s not a generational thing.
DEADLINE: You make these movies for a price, but there is a great deal of location shooting and a huge cast; how has that evolved?
KUJAWSKI: Certainly with the first film we wanted to make sure that we were building the production in a way that it could have the promise to really reignite the fervor that existed for the series, but draw it as a theatrical imperative. So, we were also kind of tactical and cautious about that. I think because of the overwhelming and immediate success from the outset through the release of the movie, certainly on this movie there was no hesitation for us to kind of amp that up.
DEADLINE: So you spent more money?
KUJAWSKI: For sure, and that was to deliver what the promise of this movie had been from the very first conversations with Gareth and Julian — this idea of going to the South of France and all that. We wanted to make sure that it was truly a grand adventure in a grand and broad and beautiful way.
Carnival Films
DEADLINE: Gareth, I recall before you made the first movie one of your concerns was the sort of herding of cats of such a big cast…
NEAME: It was a concern for the first one because in the same way as it was a stony path to migrate to the big screen, I would think that it would be quite reasonable that the actors had the same reservations. At every stage, Downton exceeded expectations, so was this going to be the one that failed? They were cautious, and then that film worked, so coming into the second film was much much easier because there were no qualms about going again.
DEADLINE: Generally speaking of Focus, you guys opened 23 films exclusively in cinemas since 2020 and the last two years have been the company’s busiest in terms of production (led by Kiska Higgs, President of Production & Acquisitions) while also maintaining the top position among specialty labels four out of the past five years. What does the future look like? Will you aim to make more franchises?
KUJAWSKI: We’re at an awfully exciting juncture as a company ourselves. We are still a theatrical company that has actually massively increased our release line during the pandemic rather than going the other way — and we have all of the support in the world to continue to do that and lean in to that. That’s indicative of the way we’re starting to think about what the future of our slate and world looks like, of using the entire apparatus to truly make franchises that aren’t just about let’s go back in the library and make a sequel to this movie. It may include some of that, but it will include a broader reach-around.
We made Hanna with Joe Wright back in the day and that became a TV series on Amazon. That kind of stuff can now flow much more naturally and organically in the kind of holistic plan we can do with the slate, our movies, our filmmakers. It’s about supercharged injection to the storytelling capabilities of the people that we’re incredibly lucky to work with, and I think that everyone’s mindset is shifting to get that it’s not just the individual movie. Each moment that you’re launching a movie you can build a world around it, you can build additional stuff that broadens the story, broadens the world, broadens your relationship with those characters, and then from there maybe another movie comes and you do the same thing in an even broader way. That is certainly an active part of our thinking.
We want to give thanks to the author of this short article for this remarkable material
";}s:7:"summary";s:842:"EXCLUSIVE: When Downton Abbey first burst on the scene in 2010, the Julian Fellowes-created series quickly drew audiences and made headlines for its unique spin on the traditional British period drama. This was not your grandmother’s upstairs/downstairs look at the upper crust, rather its take on the aristocracy gave contemporary audiences characters and storylines they ... Read more";s:12:"atom_content";s:15274:"
EXCLUSIVE: When Downton Abbey first burst on the scene in 2010, the Julian Fellowes-created series quickly drew audiences and made headlines for its unique spin on the traditional British period drama. This was not your grandmother’s upstairs/downstairs look at the upper crust, rather its take on the aristocracy gave contemporary audiences characters and storylines they could relate to with strong women, quotable dialogue and tons of heart.
Now, 12 years later comes Focus Features’ Downton Abbey: A New Era, the feature sequel to the 2019 hit film that notched $238 million in worldwide box office and became the studio’s highest-grossing title ever domestically. But A New Era isn’t just a sequel, it also establishes Focus’ first bona fide franchise — a rare beast in the specialty arena. It’s also a sign of the way the company, which is celebrating its 20th anniversary, is thinking about its future.
Directed by Simon Curtis and featuring the original cast, A New Era starts offshore rollout this week, including in the UK on Friday, and lands in North America on May 20, taking audiences on a trip to the South of France while also saving plenty of intrigue for the folks on the Grantham estate.
Deadline recently spoke with Focus chairman Peter Kujawski, vice chairman Jason Cassidy and Downton producer Gareth Neame, who is executive chairman of NBCUniversal International-owned Carnival Films and has been there since the series’ inception. The trio discussed the latest film, attracting new audiences and where things go from here. (The conversation below has been condensed and edited for clarity.)
DEADLINE: Walk me through how A New Era establishes Focus’ first franchise, rather than being considered simply a sequel.
PETER KUJAWSKI: We’ve found that the power of the relationship that the audience has to this world and these characters and this glimpse into the shifting landscapes of the eras that Downton is talking about, has built the same kind of thing — but in different ways and to a different crowd — to engage in a manner that is similar to the biggest and broadest franchises that exist out there as well.
Focus Features
You had the show, you’ve now got a couple movies, you have the touring exhibition that has been a giant global hit anywhere it’s gone, and podcasts and digital series. There’s going to be a bunch of original Downton content that is tied to the release of this movie, stories and the world in and of itself for people to spend time with.
(Original video series) Inside The Downton Kitchen and the Fireside Chat with Julian Fellowes and things like that truly in this space kind of crib on what you see more happening on the large studio scale with classic IP superheroes and action movies.
I think we’ve been lucky beneficiaries of what had been built before and the chance to make the (first) movie and then joining the Downton family and really leaning into the idea that a franchise is more than just sequels. It’s broader.
GARETH NEAME: I think we’re now just breaking into the area of, “Okay this was a hit TV show, it’s been a hit movie, hopefully it’s a successful sequel,” and I think that we’re in that space where rightly, Focus, Universal and we are looking at this as a prime piece of IP within the wider group and what can you do, what are these companies supposed to do actually when they have got these big pieces of the crown jewels.
It does feel to me like five years ago I would have been happy with six successful seasons and one movie to demonstrate that it works on the big screen. Of course the more things go on you think, “No, I don’t want it to end yet, there is more to do.”
DEADLINE: Are you going to do a third film?
KUJAWSKI: All our focus right now is making this film connect with audiences. But of course it would also be foolish of us not to be contemplating the idea of what Downton can continue to be to audiences and what a future would look like. Right now it’s really about this movie and a lot of things that we’re talking about that are on the edge of this movie that are Downton related.
NEAME: I would like to do another movie, and I’m very optimistic about this film, particularly for the fans. It’s a very special treat. It’s more focused on the core characters than the first film. It’s a family story and inevitably its construction is very easy to relate to if you’re a fan.
Peter Kujawski
KUJAWSKI: It’s your favorite family that not only has an adventure at home, but also the discovery of a secret that takes them to the South of France. It feels like an event and the filmmakers have gone above and beyond this time.
DEADLINE: Is there room to attract new and younger audiences who perhaps weren’t a part of that zeitgeist moment when the series first aired?
JASON CASSIDY: When we started on this journey, it was certainly an older audience. As we’ve gone through the success of the movie — it did $100M domestic, you don’t do that by just playing to older audiences — we were frankly surprised and thrilled that there were 25-40-year-olds making up a very significant part of the audience.
So we think about those audiences that are on the younger side that’s really grown and the digital content has helped build up the franchise. It’s given a real opportunity to grow it, because you don’t get the response in box office and then in the after markets from just the older audience. The age has definitely come down even as we’ve been on it. I would think in the world of people watching The Gilded Age and Bridgerton, content and shows and movies that are in this space, broadly speaking, are drawing in new eyeballs and younger eyeballs. You’re able to say, “Oh, you like Bridgerton? Boom, you’re gonna like this.”
Focus Features
KUJAWSKI: This was in a way the original and I think real credit is due to the particular genius of Julian and Gareth and how, from the get-go, before a frame of the series was shot, they saw what this genre could be.
It hit very quickly and I think it’s because they tapped into this notion that underneath the world they were talking about in terms of the classic British heritage was actually a ton of modern stuff. They knew that, and the entire series and the movies as well has always been propelled by fundamental things everyone feels all the time everywhere. Like the anxiety of just the new, the era is always changing on you and how do you respond to that and what is history and tradition, what it means to move forward. You look at the journey of Thomas Barrow over the course of the franchise which has never allowed itself to be defined by typical genre trappings. These characters are people you feel and related to in a completely contemporary and present-day sense while existing in this world of aspirational wealth and beauty and travel and all the things that the series promises — and that’s not a generational thing.
DEADLINE: You make these movies for a price, but there is a great deal of location shooting and a huge cast; how has that evolved?
KUJAWSKI: Certainly with the first film we wanted to make sure that we were building the production in a way that it could have the promise to really reignite the fervor that existed for the series, but draw it as a theatrical imperative. So, we were also kind of tactical and cautious about that. I think because of the overwhelming and immediate success from the outset through the release of the movie, certainly on this movie there was no hesitation for us to kind of amp that up.
DEADLINE: So you spent more money?
KUJAWSKI: For sure, and that was to deliver what the promise of this movie had been from the very first conversations with Gareth and Julian — this idea of going to the South of France and all that. We wanted to make sure that it was truly a grand adventure in a grand and broad and beautiful way.
Carnival Films
DEADLINE: Gareth, I recall before you made the first movie one of your concerns was the sort of herding of cats of such a big cast…
NEAME: It was a concern for the first one because in the same way as it was a stony path to migrate to the big screen, I would think that it would be quite reasonable that the actors had the same reservations. At every stage, Downton exceeded expectations, so was this going to be the one that failed? They were cautious, and then that film worked, so coming into the second film was much much easier because there were no qualms about going again.
DEADLINE: Generally speaking of Focus, you guys opened 23 films exclusively in cinemas since 2020 and the last two years have been the company’s busiest in terms of production (led by Kiska Higgs, President of Production & Acquisitions) while also maintaining the top position among specialty labels four out of the past five years. What does the future look like? Will you aim to make more franchises?
KUJAWSKI: We’re at an awfully exciting juncture as a company ourselves. We are still a theatrical company that has actually massively increased our release line during the pandemic rather than going the other way — and we have all of the support in the world to continue to do that and lean in to that. That’s indicative of the way we’re starting to think about what the future of our slate and world looks like, of using the entire apparatus to truly make franchises that aren’t just about let’s go back in the library and make a sequel to this movie. It may include some of that, but it will include a broader reach-around.
We made Hanna with Joe Wright back in the day and that became a TV series on Amazon. That kind of stuff can now flow much more naturally and organically in the kind of holistic plan we can do with the slate, our movies, our filmmakers. It’s about supercharged injection to the storytelling capabilities of the people that we’re incredibly lucky to work with, and I think that everyone’s mindset is shifting to get that it’s not just the individual movie. Each moment that you’re launching a movie you can build a world around it, you can build additional stuff that broadens the story, broadens the world, broadens your relationship with those characters, and then from there maybe another movie comes and you do the same thing in an even broader way. That is certainly an active part of our thinking.
We want to give thanks to the author of this short article for this remarkable material
";s:14:"date_timestamp";i:1651185360;}i:3;a:11:{s:5:"title";s:159:"Gravitas Ventures Launches New Theatrical Release Label Gravitas Premiere; Katie Aselton’s ‘Mack & Rita’, Starring Diane Keaton, Set As First Acquisition";s:4:"link";s:216:"https://movieshere.packagingnewsonline.com/movie-production-companies/gravitas-ventures-launches-new-theatrical-release-label-gravitas-premiere-katie-aseltons-mack-rita-starring-diane-keaton-set-as-first-acquisition/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Thu, 28 Apr 2022 13:01:32 +0000";s:8:"category";s:134:"Movie Production CompaniesacquisitionAseltonsDianeGravitasKatieKeatonLabellaunchesMackpremiereReleaseRitasetStarringTheatricalVentures";s:4:"guid";s:51:"https://movieshere.packagingnewsonline.com/?p=66612";s:11:"description";s:1013:"Gravitas Ventures, an Anthem Sports & Entertainment Company, today announced the launch of its new theatrical release label, Gravitas Premiere, which will acquire 4-6 cast-driven, high production value films per year and release them wide theatrically with significant P&A support. The first title on Premiere’s docket is Katie Aselton’s dramedy Mack & Rita, starring Diane ... Read more";s:7:"content";a:1:{s:7:"encoded";s:4914:"
Gravitas Ventures, an Anthem Sports & Entertainment Company, today announced the launch of its new theatrical release label, Gravitas Premiere, which will acquire 4-6 cast-driven, high production value films per year and release them wide theatrically with significant P&A support. The first title on Premiere’s docket is Katie Aselton’s dramedy Mack & Rita, starring Diane Keaton, which it will release wide in theaters across the U.S. and Canada on August 12.
In Mack & Rita, Mackenzie Martin (Elizabeth Lail) is tired of doing all the things she has to do to keep up and get ahead in her 30s. Since she was a little girl, Mack’s deepest wish has been to be just like her Grammie: comfortable in her own skin, great at saying “no,” and largely unburdened by what others think of her—not to mention love for a good chunky sweater and being in bed by 8:00 p.m.! While at her best friend’s bachelorette in Palm Springs, Mack stumbles into a sound bath regression pod and emerges a 70-year-old woman. Now transformed as “Aunt Rita” (Keaton), Mack thinks she will finally find self-acceptance, but quickly learns the reality of skipping to old age isn’t quite what she imagined.
The film written by Paul Welsh & Madeline Walter also stars Taylour Paige, Loretta Devine, Simon Rex, Dustin Milligan, Amy Hill, Lois Smith, Wendie Malick, Patti Harrison, Martin Short, Addie Weyrich, Aimee Carrero and Nicole Byer. Keaton, Alex Saks, Stephanie Heaton-Harris, Jina Panebianco and Dori A. Rath produced, with Paris Kassidokostas-Latsis, Terry Dougas, Jean-Luc De Fanti, R. Wesley Sierk III, Joseph Panebianco, John D. Straley, Jojo Ryder, Lauren Beveridge, Brett Beveridge, Jackie Shenoo and Joseph Restaino serving as exec producers. Hulu will be a Pay One U.S. partner on the film, with subscribers gaining access to stream it on December 20th.
“We’re so thrilled to be working on Mack & Rita with the incredible team at Gravitas Ventures as they launch their new label, Gravitas Premiere,” said Aselton and Saks in a joint statement. “Their support and collaborative spirit, as well as their commitment to a wide theatrical release, are a dream for us as filmmakers.”
“The entire team at Gravitas is happy to be part of the life of ‘Mack & Rita,’” said Gravitas Ventures’ Senior Director of Acquisitions, Bill Guentzler. “Katie Aselton, Alex Saks and Diane Keaton created a funny and endearing inter-generational story filled with romance and heart. Through Gravitas Premiere, we look forward to sharing the magic of this film with audiences in theaters this summer.”
“We are delighted to launch Gravitas Premiere with the acquisition of ‘Mack & Rita,’ which solidifies our commitment to championing the cinematic in-theater experience,” added Gravitas Ventures’ Founder & CEO, Nolan Gallagher. “People love going to the movies and this film is an excitingly fresh and insightful comedy that needs to be experienced on the big screen. ‘Mack & Rita’ is the type of high-quality, independently-produced story we are seeking to acquire through Gravitas Premiere, and we look forward to collaborating with our exhibition partners in bringing the film to theaters wide across North America.”
Gravitas Ventures is a distributor of indie features and documentaries founded in 2006, which sold to multi-platform media company Anthem Sports & Entertainment last November. Recent releases from the company include Michael Lembeck’sQueen Bees; Gabriela Cowperthwaite’s Our Friend, starring Casey Affleck, Dakota Johnson, and Jason Segel; Vanguard, directed by Stanley Tong and starring Jackie Chan; and Andy Tennant’s The Secret: Dare to Dream, starring Katie Holmes.
Guentzler negotiated the deal for Mack & Rita on behalf of Gravitas Ventures, with WME Independent on behalf of the filmmakers.
We want to thank the author of this short article for this amazing web content
";}s:7:"summary";s:1013:"Gravitas Ventures, an Anthem Sports & Entertainment Company, today announced the launch of its new theatrical release label, Gravitas Premiere, which will acquire 4-6 cast-driven, high production value films per year and release them wide theatrically with significant P&A support. The first title on Premiere’s docket is Katie Aselton’s dramedy Mack & Rita, starring Diane ... Read more";s:12:"atom_content";s:4914:"
Gravitas Ventures, an Anthem Sports & Entertainment Company, today announced the launch of its new theatrical release label, Gravitas Premiere, which will acquire 4-6 cast-driven, high production value films per year and release them wide theatrically with significant P&A support. The first title on Premiere’s docket is Katie Aselton’s dramedy Mack & Rita, starring Diane Keaton, which it will release wide in theaters across the U.S. and Canada on August 12.
In Mack & Rita, Mackenzie Martin (Elizabeth Lail) is tired of doing all the things she has to do to keep up and get ahead in her 30s. Since she was a little girl, Mack’s deepest wish has been to be just like her Grammie: comfortable in her own skin, great at saying “no,” and largely unburdened by what others think of her—not to mention love for a good chunky sweater and being in bed by 8:00 p.m.! While at her best friend’s bachelorette in Palm Springs, Mack stumbles into a sound bath regression pod and emerges a 70-year-old woman. Now transformed as “Aunt Rita” (Keaton), Mack thinks she will finally find self-acceptance, but quickly learns the reality of skipping to old age isn’t quite what she imagined.
The film written by Paul Welsh & Madeline Walter also stars Taylour Paige, Loretta Devine, Simon Rex, Dustin Milligan, Amy Hill, Lois Smith, Wendie Malick, Patti Harrison, Martin Short, Addie Weyrich, Aimee Carrero and Nicole Byer. Keaton, Alex Saks, Stephanie Heaton-Harris, Jina Panebianco and Dori A. Rath produced, with Paris Kassidokostas-Latsis, Terry Dougas, Jean-Luc De Fanti, R. Wesley Sierk III, Joseph Panebianco, John D. Straley, Jojo Ryder, Lauren Beveridge, Brett Beveridge, Jackie Shenoo and Joseph Restaino serving as exec producers. Hulu will be a Pay One U.S. partner on the film, with subscribers gaining access to stream it on December 20th.
“We’re so thrilled to be working on Mack & Rita with the incredible team at Gravitas Ventures as they launch their new label, Gravitas Premiere,” said Aselton and Saks in a joint statement. “Their support and collaborative spirit, as well as their commitment to a wide theatrical release, are a dream for us as filmmakers.”
“The entire team at Gravitas is happy to be part of the life of ‘Mack & Rita,’” said Gravitas Ventures’ Senior Director of Acquisitions, Bill Guentzler. “Katie Aselton, Alex Saks and Diane Keaton created a funny and endearing inter-generational story filled with romance and heart. Through Gravitas Premiere, we look forward to sharing the magic of this film with audiences in theaters this summer.”
“We are delighted to launch Gravitas Premiere with the acquisition of ‘Mack & Rita,’ which solidifies our commitment to championing the cinematic in-theater experience,” added Gravitas Ventures’ Founder & CEO, Nolan Gallagher. “People love going to the movies and this film is an excitingly fresh and insightful comedy that needs to be experienced on the big screen. ‘Mack & Rita’ is the type of high-quality, independently-produced story we are seeking to acquire through Gravitas Premiere, and we look forward to collaborating with our exhibition partners in bringing the film to theaters wide across North America.”
Gravitas Ventures is a distributor of indie features and documentaries founded in 2006, which sold to multi-platform media company Anthem Sports & Entertainment last November. Recent releases from the company include Michael Lembeck’sQueen Bees; Gabriela Cowperthwaite’s Our Friend, starring Casey Affleck, Dakota Johnson, and Jason Segel; Vanguard, directed by Stanley Tong and starring Jackie Chan; and Andy Tennant’s The Secret: Dare to Dream, starring Katie Holmes.
Guentzler negotiated the deal for Mack & Rita on behalf of Gravitas Ventures, with WME Independent on behalf of the filmmakers.
We want to thank the author of this short article for this amazing web content
";s:14:"date_timestamp";i:1651150892;}i:4;a:11:{s:5:"title";s:71:"Marvel Studios Boss Speaks Out on New LGBTQ Hero’s Impact on Children";s:4:"link";s:139:"https://movieshere.packagingnewsonline.com/movie-production-companies/marvel-studios-boss-speaks-out-on-new-lgbtq-heros-impact-on-children/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Thu, 28 Apr 2022 13:00:38 +0000";s:8:"category";s:73:"Movie Production CompaniesBosschildrenHerosimpactLGBTQMarvelspeaksStudios";s:4:"guid";s:51:"https://movieshere.packagingnewsonline.com/?p=66606";s:11:"description";s:709:"Marvel Studios has worked hard to prove its commitment to the inclusion of characters that represent all walks of life, especially people of color and those in the LGBTQIA+ community. On the LGBTQIA+ front, from Phastos in Eternals to Loki and Sylvie in Loki, Marvel has taken major steps toward making the world in the MCU look more like ... Read more";s:7:"content";a:1:{s:7:"encoded";s:6483:"
Marvel Studios has worked hard to prove its commitment to the inclusion of characters that represent all walks of life, especially people of color and those in the LGBTQIA+ community. On the LGBTQIA+ front, from Phastos in Eternals to Loki and Sylvie in Loki, Marvel has taken major steps toward making the world in the MCU look more like the world around us.
The heavily anticipated Doctor Strange in the Multiverse of Madness will be no exception, either. While the story will, of course, focus heavily on Benedict Cumberbatch’s titular character and Elizabeth Olsen’s Wanda Maximoff/Scarlet Witch, it will also introduce Xochitl Gomez’s America Chavez. Miss America, as she’s known in the comics, will be the MCU’s first Latina LGBTQ character.
ADVERTISEMENT
Recent interviews with Gomez and Marvel Studios President Victoria Alonso give some insight into how much America Chavez’s inclusion in the MCU matters.
America Chavez Brings Representation to Latinx, LGBTQ Youth
Marvel recently posted an interview with Xochitl Gomez and Victoria Alonso on their website where they discussed Gomez’s excitement about the role and what America Chavez brings to the MCU.
In preparing for the role, Gomez “dove straight into the comics” to learn everything she could about the character. She “instantly fell in love with [Miss America],” and saw Chavez’s “confidence as a stand-out trait.”
ADVERTISEMENT
Victoria Alonso added that Gomez was a perfect pick to bring Miss America to life on the big screen. She noted, “With Xochitl, there was a cheekiness about her. There was a spark in her eye. We saw the defiance of America Chavez in her.”
Alonso spoke about what Chavez means to the wider MCU community in terms of representation. To her, Miss America is “the type of character [she’s] been waiting to see.”
“This character was important to me for many personal reasons, but also because it was important that we make the effort to have every kid in this world represented in our universe, and she represents both the LGBTQ+ and Latinx community. It’s the type of character I’ve been waiting to see us have since we started this journey with Iron Man back in 2008. I’m so happy she is part of the MCU family, and I know she will be a great addition.”
The veteran Marvel Studios producer, who was promoted to a position as studio president of physical and post-production, visual effects, and animation production in September 2021, noted that “children [and adolescents] want to see themselves represented” on screen with characters like Chavez “to see themselves; to not be invisible:”
ADVERTISEMENT
“[America] is a young Latina who is part of the LGBTQ+ community, and has great power… Children want to see themselves represented. There is this level of identity that comes to be a very important moment in an adolescent’s life – to see themselves; to not be invisible.”
Gomez, who auditioned for the role at age 13, acknowledged that kids her age will be excited to “see a young person in the middle of a big story.”
“It’s so cool that fans will get to see a young person in the middle of a big story like this, and know that things that happen in our kid lives are important because it shapes who they’ll become when they’re older as adults. It’s exciting that we will hopefully get to see more of how things play out for America in the future.”
Representation Is Key in the MCU’s Future
Marvel
Make no mistake, what fans have seen so far is just the tip of the iceberg in terms of Marvel’s plans for greater inclusion.
ADVERTISEMENT
The path to where the studio finds itself today is in many ways an interesting mirror of the story of its counterpart in the world of comics. Where the cast of characters was once dominated by white men and highly sexualized women, the superhero world of today—both in comics and in films—has increasingly become as diverse as the world of the fans who enjoy them.
Miss America is far from the only LGBTQIA+ character slated to arrive in the MCU, and she’s also not the first. As noted above, Loki revealed the titular characters’ gender fluidity and the bisexuality of both Loki and Sylvie, while Phastos of the Eternals was shown with his husband. Thor: Ragnarok cut a scene that would have canonized Valkyrie’s bisexuality, though that may be set right in Love and Thunder.
In a time when debate rages about LGBTQIA+ representation in media intended for children, both Marvel Studios and their parent company Disney are proving that they are taking a firm stance in their commitment to allowing young people of all kinds to see themselves in the shows and films they love. As the studio looks to a future that will almost certainly include groups like the X-Men and Young Avengers, the world of the MCU is sure to become even more colorful
ADVERTISEMENT
We would like to say thanks to the writer of this post for this incredible material
";}s:7:"summary";s:709:"Marvel Studios has worked hard to prove its commitment to the inclusion of characters that represent all walks of life, especially people of color and those in the LGBTQIA+ community. On the LGBTQIA+ front, from Phastos in Eternals to Loki and Sylvie in Loki, Marvel has taken major steps toward making the world in the MCU look more like ... Read more";s:12:"atom_content";s:6483:"
Marvel Studios has worked hard to prove its commitment to the inclusion of characters that represent all walks of life, especially people of color and those in the LGBTQIA+ community. On the LGBTQIA+ front, from Phastos in Eternals to Loki and Sylvie in Loki, Marvel has taken major steps toward making the world in the MCU look more like the world around us.
The heavily anticipated Doctor Strange in the Multiverse of Madness will be no exception, either. While the story will, of course, focus heavily on Benedict Cumberbatch’s titular character and Elizabeth Olsen’s Wanda Maximoff/Scarlet Witch, it will also introduce Xochitl Gomez’s America Chavez. Miss America, as she’s known in the comics, will be the MCU’s first Latina LGBTQ character.
ADVERTISEMENT
Recent interviews with Gomez and Marvel Studios President Victoria Alonso give some insight into how much America Chavez’s inclusion in the MCU matters.
America Chavez Brings Representation to Latinx, LGBTQ Youth
Marvel recently posted an interview with Xochitl Gomez and Victoria Alonso on their website where they discussed Gomez’s excitement about the role and what America Chavez brings to the MCU.
In preparing for the role, Gomez “dove straight into the comics” to learn everything she could about the character. She “instantly fell in love with [Miss America],” and saw Chavez’s “confidence as a stand-out trait.”
ADVERTISEMENT
Victoria Alonso added that Gomez was a perfect pick to bring Miss America to life on the big screen. She noted, “With Xochitl, there was a cheekiness about her. There was a spark in her eye. We saw the defiance of America Chavez in her.”
Alonso spoke about what Chavez means to the wider MCU community in terms of representation. To her, Miss America is “the type of character [she’s] been waiting to see.”
“This character was important to me for many personal reasons, but also because it was important that we make the effort to have every kid in this world represented in our universe, and she represents both the LGBTQ+ and Latinx community. It’s the type of character I’ve been waiting to see us have since we started this journey with Iron Man back in 2008. I’m so happy she is part of the MCU family, and I know she will be a great addition.”
The veteran Marvel Studios producer, who was promoted to a position as studio president of physical and post-production, visual effects, and animation production in September 2021, noted that “children [and adolescents] want to see themselves represented” on screen with characters like Chavez “to see themselves; to not be invisible:”
ADVERTISEMENT
“[America] is a young Latina who is part of the LGBTQ+ community, and has great power… Children want to see themselves represented. There is this level of identity that comes to be a very important moment in an adolescent’s life – to see themselves; to not be invisible.”
Gomez, who auditioned for the role at age 13, acknowledged that kids her age will be excited to “see a young person in the middle of a big story.”
“It’s so cool that fans will get to see a young person in the middle of a big story like this, and know that things that happen in our kid lives are important because it shapes who they’ll become when they’re older as adults. It’s exciting that we will hopefully get to see more of how things play out for America in the future.”
Representation Is Key in the MCU’s Future
Marvel
Make no mistake, what fans have seen so far is just the tip of the iceberg in terms of Marvel’s plans for greater inclusion.
ADVERTISEMENT
The path to where the studio finds itself today is in many ways an interesting mirror of the story of its counterpart in the world of comics. Where the cast of characters was once dominated by white men and highly sexualized women, the superhero world of today—both in comics and in films—has increasingly become as diverse as the world of the fans who enjoy them.
Miss America is far from the only LGBTQIA+ character slated to arrive in the MCU, and she’s also not the first. As noted above, Loki revealed the titular characters’ gender fluidity and the bisexuality of both Loki and Sylvie, while Phastos of the Eternals was shown with his husband. Thor: Ragnarok cut a scene that would have canonized Valkyrie’s bisexuality, though that may be set right in Love and Thunder.
In a time when debate rages about LGBTQIA+ representation in media intended for children, both Marvel Studios and their parent company Disney are proving that they are taking a firm stance in their commitment to allowing young people of all kinds to see themselves in the shows and films they love. As the studio looks to a future that will almost certainly include groups like the X-Men and Young Avengers, the world of the MCU is sure to become even more colorful
ADVERTISEMENT
We would like to say thanks to the writer of this post for this incredible material
";s:14:"date_timestamp";i:1651150838;}i:5;a:11:{s:5:"title";s:81:"Focus Features Touts ‘Downton Abbey 2,’ Todd Field’s ‘Tar’ at CinemaCon";s:4:"link";s:136:"https://movieshere.packagingnewsonline.com/movie-production-companies/focus-features-touts-downton-abbey-2-todd-fields-tar-at-cinemacon/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Thu, 28 Apr 2022 09:36:48 +0000";s:8:"category";s:78:"Movie Production CompaniesAbbeyCinemaConDowntonFeaturesfieldsFocusTarToddTouts";s:4:"guid";s:51:"https://movieshere.packagingnewsonline.com/?p=66537";s:11:"description";s:716:"Focus Features — which is celebrating its 20th anniversary this year — came to CinemaCon on Wednesday to woo theater owners with a diverse slate of specialty films, including Downton Abbey: A New Era. “Movie theaters are sacred spaces and vital to our culture,” said Focus chairman Peter Kujawski told theater owners gathered in Las ... Read more";s:7:"content";a:1:{s:7:"encoded";s:3991:"
Focus Features — which is celebrating its 20th anniversary this year — came to CinemaCon on Wednesday to woo theater owners with a diverse slate of specialty films, including Downton Abbey: A New Era.
“Movie theaters are sacred spaces and vital to our culture,” said Focus chairman Peter Kujawski told theater owners gathered in Las Vegas this week, adding he remembers holding the hand of his future wife for the first time at a theater.
“We’ve opened 24 films in the last two years. We leaned in while others leaned out,” Kujawski continued. “We will release 15 films this year, a record. You can consider this our new normal.”
Taking the stage, distribution chief Lisa Bunnell then shared the Universal-owned specialty label’s upcoming slate.
Focus showed a sneak peek of its brand-new trailer for Mrs. Harris Goes to Paris, a whimsical, heartwarming comedy starring Lesley Manville as a British housekeeper whose dream of owning a couture Christian dress and travels to Paris. Isabelle Huppert, Jason Isaacs, and Lucas Bravo also co-star in the movie, which opens July 15.
Cinema operators were also treated to exclusive, riveting footage of Todd Field’s first film in 16 years, Tár. The film, set in the world of classical music, stars the incomparable Cate Blanchett as a conductor. Now in post-production, Tár opens Oct. 15.
Focus also presented an unreleased first look of James Gray’s Armageddon Time ahead of its world premiere at the Cannes Film Festival. The coming-of-age story about the strength of family and the generational pursuit of the American Dream showcases an all-star cast led by Anthony Hopkins, Jeremy Strong, Anne Hathaway and breakout performances from newcomers Michael Banks Repeta and Jaylin Webb.
New footage from Downton Abbey: New Era was a particular favorite for cinema owners. On May 20, North American audiences will be reunited with the beloved cast as they go on a grand journey to the South of France to uncover the mystery of the Dowager Countess’ newly inherited villa.
Members of the cast, including Michelle Dockery and Hugh Bonneville, said a special hello to theaters owners via video.
“We have our own superheroes and Downton Abbey is going to bring older folks back to the theaters,” Bunnell said.
Earlier, Veronika Kwan Vandenberg, Universal’s president of international distribution, noted that Downton Abbey begins overseas his weekend. “We look forward to bringing all the females back to the movies.”
Hollywood studios and cinema operators are gathered together this week in Las Vegas for CinemaCon, the annual convention hosted by the National Association of Theatre Owners. This year is especially crucial for exhibitors as they try to emerge from the ravages of the COVID-19 crisis and compete with streamers.
Specialty films, which rely on older adults are a particular challenge.
CinemaCon was canceled altogether in 2020, while last year’s event was a pared-down version held in late August, versus its traditional late spring slot.
This year, all five major Hollywood studios plus Lionsgate and Neon are touting upcoming slates during their time on stage inside the Colosseum at Caesars Palace.
CinemaCon 2022 runs April 25-28.
We wish to give thanks to the writer of this short article for this outstanding content
";}s:7:"summary";s:716:"Focus Features — which is celebrating its 20th anniversary this year — came to CinemaCon on Wednesday to woo theater owners with a diverse slate of specialty films, including Downton Abbey: A New Era. “Movie theaters are sacred spaces and vital to our culture,” said Focus chairman Peter Kujawski told theater owners gathered in Las ... Read more";s:12:"atom_content";s:3991:"
Focus Features — which is celebrating its 20th anniversary this year — came to CinemaCon on Wednesday to woo theater owners with a diverse slate of specialty films, including Downton Abbey: A New Era.
“Movie theaters are sacred spaces and vital to our culture,” said Focus chairman Peter Kujawski told theater owners gathered in Las Vegas this week, adding he remembers holding the hand of his future wife for the first time at a theater.
“We’ve opened 24 films in the last two years. We leaned in while others leaned out,” Kujawski continued. “We will release 15 films this year, a record. You can consider this our new normal.”
Taking the stage, distribution chief Lisa Bunnell then shared the Universal-owned specialty label’s upcoming slate.
Focus showed a sneak peek of its brand-new trailer for Mrs. Harris Goes to Paris, a whimsical, heartwarming comedy starring Lesley Manville as a British housekeeper whose dream of owning a couture Christian dress and travels to Paris. Isabelle Huppert, Jason Isaacs, and Lucas Bravo also co-star in the movie, which opens July 15.
Cinema operators were also treated to exclusive, riveting footage of Todd Field’s first film in 16 years, Tár. The film, set in the world of classical music, stars the incomparable Cate Blanchett as a conductor. Now in post-production, Tár opens Oct. 15.
Focus also presented an unreleased first look of James Gray’s Armageddon Time ahead of its world premiere at the Cannes Film Festival. The coming-of-age story about the strength of family and the generational pursuit of the American Dream showcases an all-star cast led by Anthony Hopkins, Jeremy Strong, Anne Hathaway and breakout performances from newcomers Michael Banks Repeta and Jaylin Webb.
New footage from Downton Abbey: New Era was a particular favorite for cinema owners. On May 20, North American audiences will be reunited with the beloved cast as they go on a grand journey to the South of France to uncover the mystery of the Dowager Countess’ newly inherited villa.
Members of the cast, including Michelle Dockery and Hugh Bonneville, said a special hello to theaters owners via video.
“We have our own superheroes and Downton Abbey is going to bring older folks back to the theaters,” Bunnell said.
Earlier, Veronika Kwan Vandenberg, Universal’s president of international distribution, noted that Downton Abbey begins overseas his weekend. “We look forward to bringing all the females back to the movies.”
Hollywood studios and cinema operators are gathered together this week in Las Vegas for CinemaCon, the annual convention hosted by the National Association of Theatre Owners. This year is especially crucial for exhibitors as they try to emerge from the ravages of the COVID-19 crisis and compete with streamers.
Specialty films, which rely on older adults are a particular challenge.
CinemaCon was canceled altogether in 2020, while last year’s event was a pared-down version held in late August, versus its traditional late spring slot.
This year, all five major Hollywood studios plus Lionsgate and Neon are touting upcoming slates during their time on stage inside the Colosseum at Caesars Palace.
CinemaCon 2022 runs April 25-28.
We wish to give thanks to the writer of this short article for this outstanding content
";s:14:"date_timestamp";i:1651138608;}i:6;a:11:{s:5:"title";s:170:"Embedded Power Market Size, Share, Forecast to 2028 – Artesyn, ABB, Huawei, Delta Americas, Infineon, Elektro-Automatik, Megmeet, HPXIN, UNIPOWER – Ripon College Days";s:4:"link";s:223:"https://movieshere.packagingnewsonline.com/movie-production-companies/embedded-power-market-size-share-forecast-to-2028-artesyn-abb-huawei-delta-americas-infineon-elektro-automatik-megmeet-hpxin-unipower-ripon-college-days/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Thu, 28 Apr 2022 04:40:13 +0000";s:8:"category";s:151:"Movie Production CompaniesABBAmericasArtesynCollegedaysDeltaElektroAutomatikEmbeddedForecastHPXINHuaweiInfineonmarketMegmeetPowerRiponshareSizeUNIPOWER";s:4:"guid";s:51:"https://movieshere.packagingnewsonline.com/?p=66398";s:11:"description";s:1023:"Global Embedded Power Market report provides an overview of market research firms and how their business policies are implemented in the market. The market research report examines market share, size, and growth drivers for each industry. In addition to evaluating the sector’s financial position, the report provides an inclusive market and dealer climate. This worldwide ... Read more";s:7:"content";a:1:{s:7:"encoded";s:5895:"
Global Embedded Power Market report provides an overview of market research firms and how their business policies are implemented in the market. The market research report examines market share, size, and growth drivers for each industry. In addition to evaluating the sector’s financial position, the report provides an inclusive market and dealer climate.
This worldwide Embedded Power market study is intended to outline the industry’s current state as well as its future prospects by investigating new and changing customer behaviour. The survey helps market participants make better judgments. It investigates the growth of present and emerging categories, as well as the revenue performance of the Embedded Power industry.
(The sample of the report is immediately accessible on request)
This Free report sample includes:
A brief introduction to the Embedded Power Market research report.
Graphical introduction of the regional analysis.
Top players in the Embedded Power Market with their revenue analysis.
Selected illustrations of Embedded Power Market insights and trends.
Example pages from the Embedded Power Market report.
Major Key Players included in Embedded Power Market are:
Artesyn
ABB
Huawei
Delta Americas
Infineon
Elektro-Automatik
Megmeet
HPXIN
UNIPOWER
Embedded Power Market Segmentation Overview 2022:
The Embedded Power Market Study examines the geographic regions of the market, and it includes a systematic examination of geographical areas and an emphasis on the major suppliers in the global market. The study also assesses a market prediction in the worldwide context by examining historical data and possible trends to develop a better understanding of supply and demand.
Embedded Power Market Segmentation by Type
Embedded Power Market Segmentation by Application
Communications industry
Medical Instruments
Industry
Other
Regional Analysis
The global Embedded Power market has been analyzed in light of the above listed factors. The analysis covers upstream circumstances, demand growth, industry segmentation, business climate, and cost and price structure. Additionally, the factors that encourage growth and business networks are also discussed in this study.
Regional Analysis Covered in this report:
North America [United States, Canada]
Europe [Germany, France, U.K., Italy, Russia]
Asia-Pacific [China, Japan, South Korea, India, Australia, China Taiwan, Indonesia, Thailand, Malaysia]
(Note: The report will be updated with COVID-19 impact analysis before delivery)
Competitive Outlook 2022:
This Embedded Power Industry Market Report analyzes the industry behind a major local and global industry. The report dives into the industry’s major players, trends, limitations, and strategies for surviving in the local and global market. The report also includes data on the global and local economies and an assessment of all areas.
This study examines the global network of distribution channels, development of products, and flexibility of the global market. In terms of end-use markets, innovations, and product categories, this report provides an extensive overview of both local and international markets.
Table of Content 1 Scope of the Report 2 Executive Summary 3 Embedded Power Market Size by Player 4 Embedded Power by Regions 5 Americas 6 APAC 7 Europe 8 Middle East & Africa 9 Market Drivers, Challenges and Trends 10 Global Embedded Power Market Forecast 11 Key Players Analysis 12 Research Findings and Conclusion
";}s:7:"summary";s:1023:"Global Embedded Power Market report provides an overview of market research firms and how their business policies are implemented in the market. The market research report examines market share, size, and growth drivers for each industry. In addition to evaluating the sector’s financial position, the report provides an inclusive market and dealer climate. This worldwide ... Read more";s:12:"atom_content";s:5895:"
Global Embedded Power Market report provides an overview of market research firms and how their business policies are implemented in the market. The market research report examines market share, size, and growth drivers for each industry. In addition to evaluating the sector’s financial position, the report provides an inclusive market and dealer climate.
This worldwide Embedded Power market study is intended to outline the industry’s current state as well as its future prospects by investigating new and changing customer behaviour. The survey helps market participants make better judgments. It investigates the growth of present and emerging categories, as well as the revenue performance of the Embedded Power industry.
(The sample of the report is immediately accessible on request)
This Free report sample includes:
A brief introduction to the Embedded Power Market research report.
Graphical introduction of the regional analysis.
Top players in the Embedded Power Market with their revenue analysis.
Selected illustrations of Embedded Power Market insights and trends.
Example pages from the Embedded Power Market report.
Major Key Players included in Embedded Power Market are:
Artesyn
ABB
Huawei
Delta Americas
Infineon
Elektro-Automatik
Megmeet
HPXIN
UNIPOWER
Embedded Power Market Segmentation Overview 2022:
The Embedded Power Market Study examines the geographic regions of the market, and it includes a systematic examination of geographical areas and an emphasis on the major suppliers in the global market. The study also assesses a market prediction in the worldwide context by examining historical data and possible trends to develop a better understanding of supply and demand.
Embedded Power Market Segmentation by Type
Embedded Power Market Segmentation by Application
Communications industry
Medical Instruments
Industry
Other
Regional Analysis
The global Embedded Power market has been analyzed in light of the above listed factors. The analysis covers upstream circumstances, demand growth, industry segmentation, business climate, and cost and price structure. Additionally, the factors that encourage growth and business networks are also discussed in this study.
Regional Analysis Covered in this report:
North America [United States, Canada]
Europe [Germany, France, U.K., Italy, Russia]
Asia-Pacific [China, Japan, South Korea, India, Australia, China Taiwan, Indonesia, Thailand, Malaysia]
(Note: The report will be updated with COVID-19 impact analysis before delivery)
Competitive Outlook 2022:
This Embedded Power Industry Market Report analyzes the industry behind a major local and global industry. The report dives into the industry’s major players, trends, limitations, and strategies for surviving in the local and global market. The report also includes data on the global and local economies and an assessment of all areas.
This study examines the global network of distribution channels, development of products, and flexibility of the global market. In terms of end-use markets, innovations, and product categories, this report provides an extensive overview of both local and international markets.
Table of Content 1 Scope of the Report 2 Executive Summary 3 Embedded Power Market Size by Player 4 Embedded Power by Regions 5 Americas 6 APAC 7 Europe 8 Middle East & Africa 9 Market Drivers, Challenges and Trends 10 Global Embedded Power Market Forecast 11 Key Players Analysis 12 Research Findings and Conclusion
";s:14:"date_timestamp";i:1651120813;}i:7;a:11:{s:5:"title";s:101:"Marvel Studios’ “DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS” Enters a New Dimension in ScreenX";s:4:"link";s:163:"https://movieshere.packagingnewsonline.com/movie-production-companies/marvel-studios-doctor-strange-in-the-multiverse-of-madness-enters-a-new-dimension-in-screenx/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Thu, 28 Apr 2022 02:00:26 +0000";s:8:"category";s:91:"Movie Production CompaniesDimensionDoctorentersMadnessMarvelMultiverseScreenXStrangeStudios";s:4:"guid";s:51:"https://movieshere.packagingnewsonline.com/?p=66334";s:11:"description";s:835:"“Doctor Strange in the Multiverse of Madness” will have the most ScreenX content of any Marvel film to date with 52 minutes of exclusive imagery in the visually stunning and immersive 270 degree ScreenX format. Tickets on Sale Now HOLLYWOOD, Calif., April 27, 2022 /PRNewswire/ — CJ 4DPLEX, the world’s leading producer of premium film formats ... Read more";s:7:"content";a:1:{s:7:"encoded";s:6313:"
“Doctor Strange in the Multiverse of Madness” will have the most ScreenX content of any Marvel film to date with 52 minutes of exclusive imagery in the visually stunning and immersive 270 degree ScreenX format.
Tickets on Sale Now
HOLLYWOOD, Calif., April 27, 2022 /PRNewswire/ — CJ 4DPLEX, the world’s leading producer of premium film formats and cinema technologies, announced today that Marvel Studios’ “Doctor Strange in the Multiverse of Madness” will debut in the visually immersive 270-degree panoramic ScreenX theaters worldwide starting May 6.
By expanding specially selected film sequences onto the left and right-side walls of the auditorium, ScreenX surrounds and transports moviegoers into the story and action of the film. CJ 4DPLEX worked closely with Marvel Studios and the filmmakers to ensure the highest quality presentation of the action adventure to guarantee an immersive, 270-degree panoramic viewing experience that can’t be replicated elsewhere.
After Marvel Studios and CJ 4DPLEX announced their collaboration to release films in the ScreenX format, audiences have been able to watch Marvel megahits like “Black Panther,” “Captain Marvel” and “Black Widow” in ScreenX’s peripheral three-screen design. “Doctor Strange in the Multiverse of Madness” is the next installment of this partnership and will be available on more than 372 ScreenX screens worldwide and 71 screens in North America with Regal Cinemas, Cineplex, B&B, Cinepolis and CGV Cinemas.
“ScreenX audiences will be transported into another universe with ‘Doctor Strange in the Multiverse of Madness.’ Thank you Disney, Marvel Studios and the filmmakers for your valued collaboration and innovative input to make the ScreenX experience one-of-a-kind,” said Jongryul Kim, CEO, CJ 4DPLEX.
“We’re excited for audiences to enter a new dimension with 52 minutes of exclusive ScreenX imagery highlighting for movie goers the differentiation between the cinema and the home experience,” said Don Savant, CEO & President, CJ 4DPLEX America.
“Doctor Strange in the Multiverse of Madness” tickets are on sale now and can be purchased at your local ScreenX theaters.
About “Doctor Strange in the Multiverse of Madness” Marvel Studios’ “Doctor Strange in the Multiverse of Madness”—a thrilling ride through the Multiverse with Doctor Strange, his trusted friend Wong and Wanda Maximoff, aka Scarlet Witch. “Doctor Strange in the Multiverse of Madness” opens in U.S. theaters on May 6, 2022.
About CJ 4DPLEX CJ 4DPLEX is a leading, next-generation cinema technology company, headquartered in Seoul with international offices in Los Angeles and Beijing. The company has created innovative film technologies for theaters worldwide that include ‘ScreenX’, ‘4DX’, and ‘4DX Screen’ for consumers to experience films in ways that were never before possible.
CJ 4DPLEX is a part of the CJ Group conglomerate that also includes entertainment powerhouses CJ CGV, the fifth largest theater chain in the world, and CJ ENM (CJ Entertainment & Media), who produced the Academy Award®, Golden Globe® and SAG Awards winning film, “Parasite”. CJ 4DPLEX was named Most Innovative Company of 2017 and 2019 in Live Events by Fast Company, and the technology has been recognized with Silver at the Edison Awards in the Media and Visual Communications-Entertainment category in 2015 and 2018.
ScreenX is the world’s first multi-projection cinema with an immersive 270 degree field of view. By expanding the image beyond the frame and onto the walls of the theatre, ScreenX draws you into the story on the main screen and immerses you in a virtual reality like setting with cinema quality resolution. To date, there are over 372 ScreenX auditoriums around the world in 38 countries.
4DX provides moviegoers with a multi-sensory cinema-going experience, allowing audiences to connect with movies through motion, vibration, water, wind, snow, lightning, scents, and other special effects that enhance the visuals on-screen. Each 4DX auditorium incorporates motion-based seating synchronized with more than 21 different effects and optimized by a team of skilled editors. To date, there are over 776 4DX auditoriums around the world, spanning over 69 countries.
4DXScreen is a powerful combination of our super premium immersive theatre technologies of ScreenX and 4DX in one auditorium, creating a never-before-seen experience for cinemagoers. To date, there are 41 4DXScreens installed around the globe.
SOURCE CJ 4DPLEX
We want to thank the author of this short article for this awesome material
";}s:7:"summary";s:835:"“Doctor Strange in the Multiverse of Madness” will have the most ScreenX content of any Marvel film to date with 52 minutes of exclusive imagery in the visually stunning and immersive 270 degree ScreenX format. Tickets on Sale Now HOLLYWOOD, Calif., April 27, 2022 /PRNewswire/ — CJ 4DPLEX, the world’s leading producer of premium film formats ... Read more";s:12:"atom_content";s:6313:"
“Doctor Strange in the Multiverse of Madness” will have the most ScreenX content of any Marvel film to date with 52 minutes of exclusive imagery in the visually stunning and immersive 270 degree ScreenX format.
Tickets on Sale Now
HOLLYWOOD, Calif., April 27, 2022 /PRNewswire/ — CJ 4DPLEX, the world’s leading producer of premium film formats and cinema technologies, announced today that Marvel Studios’ “Doctor Strange in the Multiverse of Madness” will debut in the visually immersive 270-degree panoramic ScreenX theaters worldwide starting May 6.
By expanding specially selected film sequences onto the left and right-side walls of the auditorium, ScreenX surrounds and transports moviegoers into the story and action of the film. CJ 4DPLEX worked closely with Marvel Studios and the filmmakers to ensure the highest quality presentation of the action adventure to guarantee an immersive, 270-degree panoramic viewing experience that can’t be replicated elsewhere.
After Marvel Studios and CJ 4DPLEX announced their collaboration to release films in the ScreenX format, audiences have been able to watch Marvel megahits like “Black Panther,” “Captain Marvel” and “Black Widow” in ScreenX’s peripheral three-screen design. “Doctor Strange in the Multiverse of Madness” is the next installment of this partnership and will be available on more than 372 ScreenX screens worldwide and 71 screens in North America with Regal Cinemas, Cineplex, B&B, Cinepolis and CGV Cinemas.
“ScreenX audiences will be transported into another universe with ‘Doctor Strange in the Multiverse of Madness.’ Thank you Disney, Marvel Studios and the filmmakers for your valued collaboration and innovative input to make the ScreenX experience one-of-a-kind,” said Jongryul Kim, CEO, CJ 4DPLEX.
“We’re excited for audiences to enter a new dimension with 52 minutes of exclusive ScreenX imagery highlighting for movie goers the differentiation between the cinema and the home experience,” said Don Savant, CEO & President, CJ 4DPLEX America.
“Doctor Strange in the Multiverse of Madness” tickets are on sale now and can be purchased at your local ScreenX theaters.
About “Doctor Strange in the Multiverse of Madness” Marvel Studios’ “Doctor Strange in the Multiverse of Madness”—a thrilling ride through the Multiverse with Doctor Strange, his trusted friend Wong and Wanda Maximoff, aka Scarlet Witch. “Doctor Strange in the Multiverse of Madness” opens in U.S. theaters on May 6, 2022.
About CJ 4DPLEX CJ 4DPLEX is a leading, next-generation cinema technology company, headquartered in Seoul with international offices in Los Angeles and Beijing. The company has created innovative film technologies for theaters worldwide that include ‘ScreenX’, ‘4DX’, and ‘4DX Screen’ for consumers to experience films in ways that were never before possible.
CJ 4DPLEX is a part of the CJ Group conglomerate that also includes entertainment powerhouses CJ CGV, the fifth largest theater chain in the world, and CJ ENM (CJ Entertainment & Media), who produced the Academy Award®, Golden Globe® and SAG Awards winning film, “Parasite”. CJ 4DPLEX was named Most Innovative Company of 2017 and 2019 in Live Events by Fast Company, and the technology has been recognized with Silver at the Edison Awards in the Media and Visual Communications-Entertainment category in 2015 and 2018.
ScreenX is the world’s first multi-projection cinema with an immersive 270 degree field of view. By expanding the image beyond the frame and onto the walls of the theatre, ScreenX draws you into the story on the main screen and immerses you in a virtual reality like setting with cinema quality resolution. To date, there are over 372 ScreenX auditoriums around the world in 38 countries.
4DX provides moviegoers with a multi-sensory cinema-going experience, allowing audiences to connect with movies through motion, vibration, water, wind, snow, lightning, scents, and other special effects that enhance the visuals on-screen. Each 4DX auditorium incorporates motion-based seating synchronized with more than 21 different effects and optimized by a team of skilled editors. To date, there are over 776 4DX auditoriums around the world, spanning over 69 countries.
4DXScreen is a powerful combination of our super premium immersive theatre technologies of ScreenX and 4DX in one auditorium, creating a never-before-seen experience for cinemagoers. To date, there are 41 4DXScreens installed around the globe.
SOURCE CJ 4DPLEX
We want to thank the author of this short article for this awesome material
";s:14:"date_timestamp";i:1651111226;}i:8;a:11:{s:5:"title";s:61:"A24’s weird and wonderful sci-fi comedy is coming to the UK";s:4:"link";s:129:"https://movieshere.packagingnewsonline.com/movie-production-companies/a24s-weird-and-wonderful-sci-fi-comedy-is-coming-to-the-uk/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Wed, 27 Apr 2022 21:00:58 +0000";s:8:"category";s:61:"Movie Production CompaniesA24sComedyComingSciFiWeirdwonderful";s:4:"guid";s:51:"https://movieshere.packagingnewsonline.com/?p=66230";s:11:"description";s:675:"A24’s new sci-fi movie Everything Everywhere All At Once seemingly appeared out of nowhere, but it has quickly become the movie that everyone is (and can’t stop) talking about. Joining the masterful likes of Parasite, The Godfather and Halle Berry’s Catwoman (okay so the latter was critically panned but in our minds it’s high art!), ... Read more";s:7:"content";a:1:{s:7:"encoded";s:9004:"
A24’s new sci-fi movie Everything Everywhere All At Once seemingly appeared out of nowhere, but it has quickly become the movie that everyone is (and can’t stop) talking about. Joining the masterful likes of Parasite, The Godfather and Halle Berry’s Catwoman (okay so the latter was critically panned but in our minds it’s high art!), the movie starring Michelle Yeoh has surpassed the former two movies on Letterboxd, becoming the public film review platform’s best rated movie to date. With a score of 4.6 out of 5 stars, the movie from filmmaker duo Daniels — the directors known for Swiss Army Man and that batshit muscle-crotch “Turn Down For What” music video — is reportedly equally as wild, with blood-covered dildos and deadly snot. But it also has a lot of heart and a sweet message at its centre.
Perhaps Everything Everywhere All At Once will be a contender for the Oscars in 2023? We still have a long way to go before then but in the meantime, from critics’ reviews to the international release date, here’s everything you need to know about the internet’s new favourite movie.
What is the plot of Everything Everywhere All At Once?
The movie follows Evelyn Wang, an older Chinese American woman running a laundromat whose business, marriage and relationship with her daughter is falling apart. That is, until she discovers technology that allows her to explore alternate realities, unknowingly created every time she had been faced with a choice in the past. In each of the other universes, Evelyn is thriving. But with the entire multiverse and all existence under threat, Evelyn sets out to save the world.
Who is in the cast?
Bond girl and Crazy Rich Asians star Michelle Yeoh leads the film as Evelyn, with her husband played by Ke Huy Quan (The Goonies) and her daughter Joy played by the MCU’s Stephanie Hsu. Other cast members include James Hong (Turning Red) as Evelyn’s father, Jamie Lee Curtis (Halloween) as a tax inspector and Jenny Slate (Parks and Recreation), Harry Shum Jr. (Glee) and Sunita Mani (GLOW) in smaller additional roles.
Who is behind the camera?
Everything Everywhere All At Once is created, written, directed and produced by Daniel Kwan and Daniel Scheinert, known collectively as Daniels, who were previously best known for their music video work with Foster the People and DJ Snake. They were also behind the fart-filled 2016 Daniel Radcliffe movie Swiss Army Man. Alongside them as producers are the Russo brothers (The Avengers) while the distribution has been led by our fave production company du jour, A24.
What have the critics said about it?
While the film has been lauded by Letterboxd users, it’s also received universal acclaim from film critics with Rotten Tomatoes reporting it has a 97% approval rating. Polygon noted that “every moment of Everything Everywhere is an exciting unknown”, also stating that “the cast was stellar”; the Washington Post and Rolling Stone meanwhile, paid particular due to Michelle Yeoh, the latter arguing the multiverse felt like a tribute to an actress as accomplished as she is. The Atlantic, Screen Rant and the Boston Globe also praised the film for giving us all the chaotic goofiness we expect from Daniels, but with, as the Globe put it, a “thoughtful, heartfelt, nuanced story about family and the life that is worth fighting for”.
What are users on Letterboxd saying about it?
Critics might have raved about the movie with professional, muted admiration, but the reviews by movie lovers over on Letterboxd have elevated Everything Everywhere All At Once to the status of greatest movie ever made since the dawn of time. “This is one of the best things I’ve ever seen in my piece of shit life,” opined actor Bowen Yang, while others considered it “easily one of the top five movies about taxes” and claimed to have “started levitating during the movie”. There was also a lot of love for Jamie Lee Curtis in “the role she was born to play” as well as a lot of thirst for Ke Huy Quan’s dorky hunk energy.
When was the film released in the US?
After premiering at SXSW in early March, the movie has had a limited release in select cinemas since 25 March 2022. It’s done pretty well so far, having the second best limited release since the pandemic after Licorice Pizza. The film had its wider release on 8 April 2022.
Does Everything Everywhere All At Once have an international release date? When will the UK release be?
The film is already released in Canada, Malaysia, Singapore and the Philippines and will be debuting in cinemas in mainland Europe and the rest of the world between April 8 and the end of the month. You can check iMDb for updates on when the movie will be released in your country here.
And as for those of us living on plague island? In a recent tweet, Daniel Kwan confirmed that the film would be arrive in UK cinemas next month, on May 13. “Sorry for the wait,” the filmmaker wrote. We forgive you, Daniel. But we’d like to see some contrition from the other Daniel, too. It’s okay, we’ll wait.
Follow i-D on Instagram and TikTok for more on movies and Michelle Yeoh.
We would love to thank the writer of this post for this incredible content
";}s:7:"summary";s:675:"A24’s new sci-fi movie Everything Everywhere All At Once seemingly appeared out of nowhere, but it has quickly become the movie that everyone is (and can’t stop) talking about. Joining the masterful likes of Parasite, The Godfather and Halle Berry’s Catwoman (okay so the latter was critically panned but in our minds it’s high art!), ... Read more";s:12:"atom_content";s:9004:"
A24’s new sci-fi movie Everything Everywhere All At Once seemingly appeared out of nowhere, but it has quickly become the movie that everyone is (and can’t stop) talking about. Joining the masterful likes of Parasite, The Godfather and Halle Berry’s Catwoman (okay so the latter was critically panned but in our minds it’s high art!), the movie starring Michelle Yeoh has surpassed the former two movies on Letterboxd, becoming the public film review platform’s best rated movie to date. With a score of 4.6 out of 5 stars, the movie from filmmaker duo Daniels — the directors known for Swiss Army Man and that batshit muscle-crotch “Turn Down For What” music video — is reportedly equally as wild, with blood-covered dildos and deadly snot. But it also has a lot of heart and a sweet message at its centre.
Perhaps Everything Everywhere All At Once will be a contender for the Oscars in 2023? We still have a long way to go before then but in the meantime, from critics’ reviews to the international release date, here’s everything you need to know about the internet’s new favourite movie.
What is the plot of Everything Everywhere All At Once?
The movie follows Evelyn Wang, an older Chinese American woman running a laundromat whose business, marriage and relationship with her daughter is falling apart. That is, until she discovers technology that allows her to explore alternate realities, unknowingly created every time she had been faced with a choice in the past. In each of the other universes, Evelyn is thriving. But with the entire multiverse and all existence under threat, Evelyn sets out to save the world.
Who is in the cast?
Bond girl and Crazy Rich Asians star Michelle Yeoh leads the film as Evelyn, with her husband played by Ke Huy Quan (The Goonies) and her daughter Joy played by the MCU’s Stephanie Hsu. Other cast members include James Hong (Turning Red) as Evelyn’s father, Jamie Lee Curtis (Halloween) as a tax inspector and Jenny Slate (Parks and Recreation), Harry Shum Jr. (Glee) and Sunita Mani (GLOW) in smaller additional roles.
Who is behind the camera?
Everything Everywhere All At Once is created, written, directed and produced by Daniel Kwan and Daniel Scheinert, known collectively as Daniels, who were previously best known for their music video work with Foster the People and DJ Snake. They were also behind the fart-filled 2016 Daniel Radcliffe movie Swiss Army Man. Alongside them as producers are the Russo brothers (The Avengers) while the distribution has been led by our fave production company du jour, A24.
What have the critics said about it?
While the film has been lauded by Letterboxd users, it’s also received universal acclaim from film critics with Rotten Tomatoes reporting it has a 97% approval rating. Polygon noted that “every moment of Everything Everywhere is an exciting unknown”, also stating that “the cast was stellar”; the Washington Post and Rolling Stone meanwhile, paid particular due to Michelle Yeoh, the latter arguing the multiverse felt like a tribute to an actress as accomplished as she is. The Atlantic, Screen Rant and the Boston Globe also praised the film for giving us all the chaotic goofiness we expect from Daniels, but with, as the Globe put it, a “thoughtful, heartfelt, nuanced story about family and the life that is worth fighting for”.
What are users on Letterboxd saying about it?
Critics might have raved about the movie with professional, muted admiration, but the reviews by movie lovers over on Letterboxd have elevated Everything Everywhere All At Once to the status of greatest movie ever made since the dawn of time. “This is one of the best things I’ve ever seen in my piece of shit life,” opined actor Bowen Yang, while others considered it “easily one of the top five movies about taxes” and claimed to have “started levitating during the movie”. There was also a lot of love for Jamie Lee Curtis in “the role she was born to play” as well as a lot of thirst for Ke Huy Quan’s dorky hunk energy.
When was the film released in the US?
After premiering at SXSW in early March, the movie has had a limited release in select cinemas since 25 March 2022. It’s done pretty well so far, having the second best limited release since the pandemic after Licorice Pizza. The film had its wider release on 8 April 2022.
Does Everything Everywhere All At Once have an international release date? When will the UK release be?
The film is already released in Canada, Malaysia, Singapore and the Philippines and will be debuting in cinemas in mainland Europe and the rest of the world between April 8 and the end of the month. You can check iMDb for updates on when the movie will be released in your country here.
And as for those of us living on plague island? In a recent tweet, Daniel Kwan confirmed that the film would be arrive in UK cinemas next month, on May 13. “Sorry for the wait,” the filmmaker wrote. We forgive you, Daniel. But we’d like to see some contrition from the other Daniel, too. It’s okay, we’ll wait.
Follow i-D on Instagram and TikTok for more on movies and Michelle Yeoh.
We would love to thank the writer of this post for this incredible content
";s:14:"date_timestamp";i:1651093258;}i:9;a:11:{s:5:"title";s:85:"Shaun Of The Dead’s Killer Joke: April Comedies For Focus Features 20th Anniversary";s:4:"link";s:152:"https://movieshere.packagingnewsonline.com/movie-production-companies/shaun-of-the-deads-killer-joke-april-comedies-for-focus-features-20th-anniversary/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Wed, 27 Apr 2022 20:35:04 +0000";s:8:"category";s:87:"Movie Production Companies20thAnniversaryAPRILcomediesDeadsFeaturesFocusJokekillerShaun";s:4:"guid";s:51:"https://movieshere.packagingnewsonline.com/?p=66206";s:11:"description";s:738:"Shaun Of The Dead’s Killer Joke: April Comedies For Focus Features 20th Anniversary Edgar Wright invents the zom-com and now we can’t stop laughing at the living dead During the production of Shaun of the Dead, Edgar Wright remembers how an extra, mistaking him for another zombie, said, “Straight to video, this one.” It’s easy ... Read more";s:7:"content";a:1:{s:7:"encoded";s:8912:"
Shaun Of The Dead’s Killer Joke: April Comedies For Focus Features 20th Anniversary
Edgar Wright invents the zom-com and now we can’t stop laughing at the living dead
During the production of Shaun of the Dead, Edgar Wrightremembers how an extra, mistaking him for another zombie, said, “Straight to video, this one.” It’s easy to see how the film’s untried hybrid of comedy, horror, and romance starring barely known actors at the time, like Simon Pegg and Nick Frost, could end up in the rental pile. But despite all odds, Shaun of the Dead turned out to be not just a success but a runaway classic, redefining both comedy and horror in the process. To celebrate Focus Features’ 20th year anniversary, we are paying tribute to some of our most innovative and hilarious comedies during the month of April.
Register to be first to know about FREE advanced screenings, World Premiere Travel Packages, Weekend Set Visits and so much more!
The official trailer for Shaun of the Dead
Co-writer and director Edgar Wright and a zombie on the set of Shaun of the Dead
Like much of the action in the film, the origin of Shaun of the Dead too place over drinks. “Simon Pegg was the first person I’d ever met who was as obsessed with George Romero’s Dawn of the Dead as I was,” relates Wright. “One evening, I was round at Simon and his pal Nick Frost’s flat for drinks when I said we should make our own zombie movie, a horror comedy.” Having explored the zombie concept in their TV show Spaced, Wright and Pegg expanded their ideas into a feature-length film. As a starting principle, Wright and Pegg made sure their film honored the zombie genre, its creators, and fans. “It was a total love letter,” explains Pegg, “made with complete devotion to George Romero, and to zombies. We wanted it to be for people who felt the same way.”
With little money but lots of enthusiasm, Wright depended on friends and fans to help get the film made. Many of his Spaced fans showed up to play zombies. When kids from a local housing project took to throwing stones and eggs at the production, Wright cast them as well. “They went through full makeup and eventually became teenage zombies,” explains Wright. Dire Straits and Sade agreed to allow Shaun (Pegg) and Ed (Frost) to trash their albums by throwing them at zombies. The lesson they learned was that everyone loves zombies, and people who like zombies, such as Stephen King and George Romero, love hilarious zombie movies like Shaun of the Dead. The King of horror gave his stamp of approval, declaring Shaun of the Dead “a ‘10’ on the fun meter and destined to be a cult classic.”
Kate Ashfield, Lucy Davis, Dylan Moran, Simon Pegg, Penelope Wilton, and Simba Masaku in Shaun of the Dead
When the film was released in 2005, it resuscitated and transformed the genre. “If the zombie genre steadfastly refuses to die,” noted The Washington Post, “we can be grateful to Shaun of the Dead for breathing fresh, diverting life into the form, with subtle visual humor and a smart, impish sense of fun.” Since then, its influence has only grown. IndieWire lists it as one of the “Best Zombie Movies Ever Made” and The Guardian names it one of the “Best Comedy Films of All Time.” Most agree that what makes the film so funny, frightening, and fantastic is the way Wright fully embraces the genre he spoofs. “If all the jokes were removed and Shaun of the Dead was played straight, it would be a genuinely great zombie-infested horror movie,” affirms Screenrant. But those jokes are, as Shaun might say, “a slice of fried gold.”
";}s:7:"summary";s:738:"Shaun Of The Dead’s Killer Joke: April Comedies For Focus Features 20th Anniversary Edgar Wright invents the zom-com and now we can’t stop laughing at the living dead During the production of Shaun of the Dead, Edgar Wright remembers how an extra, mistaking him for another zombie, said, “Straight to video, this one.” It’s easy ... Read more";s:12:"atom_content";s:8912:"
Shaun Of The Dead’s Killer Joke: April Comedies For Focus Features 20th Anniversary
Edgar Wright invents the zom-com and now we can’t stop laughing at the living dead
During the production of Shaun of the Dead, Edgar Wrightremembers how an extra, mistaking him for another zombie, said, “Straight to video, this one.” It’s easy to see how the film’s untried hybrid of comedy, horror, and romance starring barely known actors at the time, like Simon Pegg and Nick Frost, could end up in the rental pile. But despite all odds, Shaun of the Dead turned out to be not just a success but a runaway classic, redefining both comedy and horror in the process. To celebrate Focus Features’ 20th year anniversary, we are paying tribute to some of our most innovative and hilarious comedies during the month of April.
Register to be first to know about FREE advanced screenings, World Premiere Travel Packages, Weekend Set Visits and so much more!
The official trailer for Shaun of the Dead
Co-writer and director Edgar Wright and a zombie on the set of Shaun of the Dead
Like much of the action in the film, the origin of Shaun of the Dead too place over drinks. “Simon Pegg was the first person I’d ever met who was as obsessed with George Romero’s Dawn of the Dead as I was,” relates Wright. “One evening, I was round at Simon and his pal Nick Frost’s flat for drinks when I said we should make our own zombie movie, a horror comedy.” Having explored the zombie concept in their TV show Spaced, Wright and Pegg expanded their ideas into a feature-length film. As a starting principle, Wright and Pegg made sure their film honored the zombie genre, its creators, and fans. “It was a total love letter,” explains Pegg, “made with complete devotion to George Romero, and to zombies. We wanted it to be for people who felt the same way.”
With little money but lots of enthusiasm, Wright depended on friends and fans to help get the film made. Many of his Spaced fans showed up to play zombies. When kids from a local housing project took to throwing stones and eggs at the production, Wright cast them as well. “They went through full makeup and eventually became teenage zombies,” explains Wright. Dire Straits and Sade agreed to allow Shaun (Pegg) and Ed (Frost) to trash their albums by throwing them at zombies. The lesson they learned was that everyone loves zombies, and people who like zombies, such as Stephen King and George Romero, love hilarious zombie movies like Shaun of the Dead. The King of horror gave his stamp of approval, declaring Shaun of the Dead “a ‘10’ on the fun meter and destined to be a cult classic.”
Kate Ashfield, Lucy Davis, Dylan Moran, Simon Pegg, Penelope Wilton, and Simba Masaku in Shaun of the Dead
When the film was released in 2005, it resuscitated and transformed the genre. “If the zombie genre steadfastly refuses to die,” noted The Washington Post, “we can be grateful to Shaun of the Dead for breathing fresh, diverting life into the form, with subtle visual humor and a smart, impish sense of fun.” Since then, its influence has only grown. IndieWire lists it as one of the “Best Zombie Movies Ever Made” and The Guardian names it one of the “Best Comedy Films of All Time.” Most agree that what makes the film so funny, frightening, and fantastic is the way Wright fully embraces the genre he spoofs. “If all the jokes were removed and Shaun of the Dead was played straight, it would be a genuinely great zombie-infested horror movie,” affirms Screenrant. But those jokes are, as Shaun might say, “a slice of fried gold.”
