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July 28, 2011 | By John Horn, Los Angeles Times
It's hard enough to get into the Sundance Film Festival — more than 10,000 features, documentaries and shorts were submitted for just a few dozen slots in this year's festival. But it's almost equally hard to leave the nation's top gathering for independent film with a distribution deal. Only a handful of Sundance titles receive a meaningful theatrical release. Determined to break that distribution bottleneck, the Sundance Institute on Wednesday launched an initiative that for the first time packages festival films under the Sundance name and offers them for simultaneous viewing on six of the Internet's biggest video platforms — Apple Inc.'s iTunes, Amazon.com, Hulu, Netflix Inc., Google Inc.'s YouTube and Rainbow Media's SundanceNow.
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BUSINESS
July 28, 2011 | By John Horn, Los Angeles Times
It's hard enough to get into the Sundance Film Festival — more than 10,000 features, documentaries and shorts were submitted for just a few dozen slots in this year's festival. But it's almost equally hard to leave the nation's top gathering for independent film with a distribution deal. Only a handful of Sundance titles receive a meaningful theatrical release. Determined to break that distribution bottleneck, the Sundance Institute on Wednesday launched an initiative that for the first time packages festival films under the Sundance name and offers them for simultaneous viewing on six of the Internet's biggest video platforms — Apple Inc.'s iTunes, Amazon.com, Hulu, Netflix Inc., Google Inc.'s YouTube and Rainbow Media's SundanceNow.
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ENTERTAINMENT
January 27, 1999 | AMY WALLACE, TIMES STAFF WRITER
He has a boyish face and a skinny, 6-foot-4-inch frame, and when he walks down Main Street here at the Sundance Film Festival, a knapsack on his shoulder and an orange T-shirt peeking out from under a woolly gray sweater, he looks less like a deal-maker than a sophomore in the middle of final exams. But the single, sibilant syllable of this lawyer's last name has power in the independent film community. It can open doors.
ENTERTAINMENT
January 27, 1999 | AMY WALLACE, TIMES STAFF WRITER
He has a boyish face and a skinny, 6-foot-4-inch frame, and when he walks down Main Street here at the Sundance Film Festival, a knapsack on his shoulder and an orange T-shirt peeking out from under a woolly gray sweater, he looks less like a deal-maker than a sophomore in the middle of final exams. But the single, sibilant syllable of this lawyer's last name has power in the independent film community. It can open doors.
BUSINESS
February 6, 2009 | John Horn
Many Sundance Film Festival movies left this year's gathering without a distributor, but indie film pioneer Harvey Weinstein is alleging that one of the festival's most acclaimed movies -- "Push: Based on the Novel by Sapphire" -- actually was sold twice. In three lawsuits filed Wednesday in New York against the film's sales agent, Cinetic Media, Lionsgate Films and the film's producers, Weinstein Co.
ENTERTAINMENT
September 16, 2009 | PATRICK GOLDSTEIN
A year ago, when "Me and Orson Welles" made its debut at the Toronto International Film Festival, it was one of the most anticipated new films of the season and a leading candidate on most distributors' acquisition lists. Directed by Richard Linklater, it offered a striking vision of Orson Welles as a brash 22-year-old wunderkind mounting his legendary theatrical production of Shakespeare's "Julius Caesar" -- four years before his "Citizen Kane" transformed moviemaking. Offering a view of Welles' escapades through the eyes of a theater-crazed teenager, the movie seemed to have something for everyone: a great performance by Christian McKay as Welles, a lively portrait of an oversize artist as a young enfant terrible and last, but certainly not least, the presence of a red-hot young actor, Zac Efron, star of "High School Musical," in the role of Welles' star-struck protege.
ENTERTAINMENT
May 21, 2007 | John Horn
Outbidding several companies that specialize in independent films, Sony's Columbia Pictures has plunked down a hefty $11.5 million for North American rights to James Gray's "We Own the Night," a gritty crime drama that made its debut at the festival. In topping bids from Fox Searchlight, Miramax, Lionsgate and Summit Entertainment, Columbia also committed to an expansive theatrical release this fall and a rich video deal for Gray's movie, the first since his 2000 work, "The Yards."
ENTERTAINMENT
August 15, 2011
"Senna," a documentary about Brazilian race-car driver Ayrton Senna, has gotten off to a speedy start at the box office. The film, which opened in one theater in Los Angeles and another in New York this past weekend, collected $66,075 for a solid per-theater average of $33,038, according to an estimate from distributor Producers Distribution Agency. "Senna" is the second release for the company founded by John Sloss' Cinetic Media last year when it distributed the Oscar-nominated documentary "Exit Through the Gift Shop" from the street artist Banksy.
BUSINESS
March 23, 2000 | GREG MILLER, TIMES STAFF WRITER
Pop.com, an Internet entertainment site backed by Imagine Entertainment and DreamWorks SKG, on Wednesday unveiled a division to solicit and acquire the rights to short films and animation for online distribution. The move marks the company's first invitation to filmmakers and animators to submit works that--if selected--would be shown on the Pop.com site alongside programming the company is producing itself, including expected contributions from co-founders Steven Spielberg and Ron Howard.
ENTERTAINMENT
January 22, 2007 | John Horn, Times Staff Writer
It took four days, but the first Sundance Film Festival feature finally has been sold -- with Harvey Weinstein's purchase of the Iraq war bereavement drama "Grace Is Gone" for $4 million. Thanks to a consistently grim slate of films, acquisitions this year have been slow, especially compared to last year, when "Little Miss Sunshine" sold soon after its screening on the first full day for a record $10.5 million.
ENTERTAINMENT
January 19, 2013 | By Steven Zeitchik
PARK CITY, Utah -- About three years ago, Randy Moore, a struggling screenwriter living in Burbank, had an out-there idea: What if he took a tiny camera and, without asking permission, began shooting a narrative movie at Disney theme parks? Moore had been visiting Disney World in Orlando, Fla., with his now-estranged father since he was a child, and he'd also begun taking his two children, then 1 and 3, to Disneyland. He thought that juxtaposing the all-American iconography of Mickey Mouse with a dark scripted tale would be cinematic gold, or at least deeply weird.
ENTERTAINMENT
September 10, 1993 | PETER RAINER, TIMES STAFF WRITER
"The Ballad of Little Jo" (selected theaters) is a severely de-romanticized view of the Old West and the women who labored--in more ways than one--on its frontiers. At two hours, "Little Jo" is a long slog of revisionism, and by the end it doesn't necessarily seem any closer to the truth than the standard Hollywood Westerns. It's just bleaker. Revisionist Westerns, like, most recently, Eastwood's "Unforgiven," usually explore the consequences of violence in a male-dominated society.
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