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https://supreme.justia.com/cases/federal/us/334/131/
|
en
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United States v. Paramount Pictures, Inc., 334 U.S. 131 (1948)
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United States v. Paramount Pictures, Inc.
|
en
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//justatic.com/v/20240807144720/branding/favicon.ico
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Justia Law
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https://supreme.justia.com/cases/federal/us/334/131/
|
United States v. Paramount Pictures, Inc.
No. 79
Argued February 9-11, 1948
Decided May 3, 1948*
334 U.S. 131
Syllabus
The United States sued to restrain violations of §§ 1 and 2 of the Sherman Act by (1) five corporations which produce motion pictures and their respective subsidiaries or affiliates which distribute and exhibit films and own or control theaters, (2) two corporations which produce motion pictures and their subsidiaries which distribute films, and (3) one corporation engaged only in the distribution of motion pictures. The complaint charged that the first group of defendants conspired to and did restrain and monopolize interstate trade in the exhibition of motion pictures in most of the larger cities of the country and that their combination of producing, distributing and exhibiting motion pictures violated §§ 1 and 2 of the Act. It also charged that all of the defendants, as distributors, conspired to and did restrain and monopolize interstate trade in the distribution and exhibition of films. After a trial, the District Court granted an injunction and other relief.
Held:
1. The District Court's finding that price-fixing conspiracies existed between all defendants and between each distributor defendant and its licensees which resulted in exhibitors' being required to charge substantially uniform minimum admission prices, is sustained. Pp. 334 U. S. 141-142.
2. Its injunction against defendants or their affiliates granting any license (except to their own theaters) in which minimum prices for admission to a theater are fixed, is sustained. Pp. 334 U. S. 142-144.
Page 334 U. S. 132
(a) The fact that defendants owned copyrights to their films and merely licensed their use by exhibitors did not entitle them to conspire with each other to fix uniform prices of admission to be charged by exhibitors. P. 334 U. S. 143.
(b) Nor did it justify the conspiracy between each distributor defendant and its licensees to fix and maintain uniform minimum admission prices which had the effect of suppressing price competition between exhibitors. Pp. 334 U. S. 143-144.
(c) A copyright may no more be used than a patent to deter competition between rivals in the exploitation of their licenses. P. 334 U. S. 144.
3. The District Court's finding that there was a conspiracy to restrain trade by imposing unreasonable "clearances" is sustained. Pp. 334 U. S. 144-147.
4. Its injunction against defendants' and their affiliates' agreeing with each other or with any exhibitors or distributors to maintain a system of "clearances," or granting any "clearance" between theaters not in substantial competition, or granting or enforcing any "clearance" against theaters in substantial competition with the theater receiving the license for exhibition in excess of what is reasonably necessary to protect the licensee, is sustained. Pp. 334 U. S. 147-148.
(a) A request that it be construed or modified so as to allow licensors in granting "clearances" to take into consideration what is reasonably necessary for a fair return to the licensor is rejected. Pp. 334 U. S. 147-148.
(b) In the setting of this case, the only measure of reasonableness of a clearance by Sherman Act standards is the special needs of the licensee for the competitive advantages it affords. P. 334 U. S. 148.
5. A provision of the decree that, "Whenever any clearance provision is attacked as not legal . . . , the burden shall be upon the distributor to sustain the legality thereof," is sustained. P. 334 U. S. 148.
6. The District Court's finding that the exhibitor defendants had "pooling agreements" whereby normally competitive theaters were operated as a unit, or managed by a joint committee or by one of the exhibitors, the profits being shared according to prearranged percentages, and that these agreements resulted in the elimination of competition pro tanto both in exhibition and in distribution of feature pictures, is sustained. P. 334 U. S. 149.
Page 334 U. S. 133
7. Its requirement that existing "pooling agreements" be dissolved and its injunction against any future arrangement of that character are sustained. P. 334 U. S. 149.
8. Its findings as to the restraint of trade by means of arrangements under which many theaters are owned jointly by two or more exhibitor defendants, its requirement that the exhibitor defendants terminate such joint ownership of theaters, and its injunction against future acquisitions of such interests, are sustained. Pp. 334 U. S. 149-151.
9. Its order that certain other relationships involving joint ownership of theaters by an exhibitor defendant and an independent be dissolved, and its injunction against future acquisitions of such joint interests, must be revised after further inquiries and findings upon remand of the cases. Pp. 334 U. S. 151-153.
(a) It erred in failing to inquire into the circumstances under which each particular interest had been acquired and in treating all relationships alike in this portion of the decree. P. 334 U. S. 152.
(b) To the extent that these acquisitions were the fruits of monopolistic practices or restraints of trade, they should be divested, and no permission to buy out the other owner should be given a defendant. P. 334 U. S. 152.
(c) Even if lawfully acquired, divestiture of such interests would be justified if they have been utilized as part of the conspiracy to eliminate or suppress competition. P. 334 U. S. 152.
(d) If the joint ownership is an alliance with one who is or would be an operator but for the joint ownership, divorce should be decreed, even though the affiliation was innocently acquired. P. 334 U. S. 153.
(e) In those instances where joint ownership involves no more than innocent investments by those who are not actual or potential operators, and it was not used in furtherance of the conspiracy and did not result in a monopoly, its retention by defendants would be justified, and they might be given permission to acquire the interests of the independents on a showing by them and a finding by the Court that neither monopoly nor unreasonable restraint of trade in the exhibition of films would result. P. 334 U. S. 153.
10. The District Court's findings that certain "formula deals" covering the exhibition of feature pictures in entire circuits of theaters and certain "master agreements" covering their exhibition in two or more theaters in a particular circuit unlawfully restrain
Page 334 U. S. 134
trade, and its injunction against the making or further performance of such arrangements, are sustained. Pp. 334 U. S. 153-155.
(a) Such arrangements are devices or stifling competition and diverting the cream of the business to the large operators. P. 334 U. S. 154.
(b) The pooling of the purchasing power of an entire circuit in bidding for films is a misuse of monopoly power insofar as it combines theaters having no competitors with those having competitors. United States v. Griffith, ante p. 334 U. S. 100; Schine Chain Theaters v. United States, ante p. 334 U. S. 110. Pp. 334 U. S. 154-155.
(c) Distributors who join in such arrangements by exhibitors are active participants in effectuating a restraint of trade and a monopolistic practice. P. 334 U. S. 155.
11. The findings of the District Court with reference to "franchises" whereby exhibitors obtain all feature pictures released by a distributor over a period of more than a motion picture season are set aside so that the court may examine the problem in the light of the elimination from the decree of the provision for competitive bidding. Pp. 334 U. S. 155-156.
12. On the record in this case, it cannot be said that "franchises" are illegal per se when extended to any theater or circuit, no matter how small. P. 334 U. S. 156.
13. The findings of the District Court as to "block-booking" and its injunction against defendants performing or entering into any license in which the right to exhibit one feature is conditioned upon the licensee's taking one or more other features, are sustained. Pp. 334 U. S. 156-159.
(a) The result of this practice is to add to the monopoly of the copyright, in violation of the principle of the patent cases involving tying clauses. P. 334 U. S. 158.
(b) Transparent-Wrap Machine Corp. v. Stokes & Smith Co., 329 U. S. 637, distinguished. P. 334 U. S. 159.
(c) The selling of films in blocks or groups when there is no requirement, express or implied, for the purchase of more than one film is not illegal, but it is illegal to refuse to license one or more copyrights unless another copyright is accepted. P. 334 U. S. 159.
14. The provision of the decree regulating the practice of "blind-selling," whereby a distributor licenses a feature picture before the exhibitor is afforded an opportunity to view it, is sustained. P. 157, n 11.
15. The District Court's findings that defendants had unreasonably discriminated against small independent exhibitors and in
Page 334 U. S. 135
favor of large affiliated and unaffiliated circuits through various kinds of contract provisions, and that these discriminators resulted in restraints of trade in violation of the Sherman Act, are sustained. Pp. 334 U. S. 159-160.
16. On remand of these cases, the District Court should provide effective relief against continuance of these discriminatory practices, in the light of the elimination from the decree of the provision for competitive bidding. P. 334 U. S. 161.
17. That large exhibitors with whom defendants dealt fathered the illegal practices and forced them onto defendants is no excuse, if true, since acquiescence in an illegal scheme is as much a violation of the Sherman Act as the creation and promotion of one. P. 334 U. S. 161.
18. The requirement of the decree that films be licensed on a competitive bidding basis should be eliminated, because it would involve the judiciary too deeply in the daily operation of this nationwide business, and would uproot business arrangements and established relationships without opening up to competition the markets which defendants' unlawful restraints have dominated. Pp. 334 U. S. 161-166.
19. On remand of these cases, the freedom of the District Court to reconsider the adequacy of the decree in the light of the elimination of the provision for competitive bidding is not limited to those parts specifically indicated. P. 334 U. S. 166.
20. Motion pictures, like newspapers and radio, are included in the press whose freedom is guaranteed by the First Amendment; but the problem involved in these cases bears only remotely, if at all, on any question of freedom of the press, save only as timeliness of release may be a factor of importance in specific situations. Pp. 334 U. S. 166-167.
21. The findings of the District Court on the subjects of monopoly in exhibition and the need for divestiture are set aside as being deficient in the light of the principles stated in this opinion, in United States v. Griffith, ante, p. 334 U. S. 100, and in Schine Chain Theaters v. United States, ante, p. 334 U. S. 110, and because of the elimination from the decree of the provisions for competitive bidding. The injunction against the five major defendants' expanding their theater holdings in any manner is also set aside in order that the District Court may make an entirely fresh start on these phases of the problems. Pp. 334 U. S. 167-175.
(a) In determining the need for divestiture, it is not enough to conclude, as the District Court did, that none of the defendants
Page 334 U. S. 136
was organized or has been maintained for the purpose of achieving a "national monopoly," nor that the five major defendants, through their present theater holdings "alone," do not and cannot collectively or individually have a monopoly of exhibition. P. 334 U. S. 171.
(b) When the starting point is a conspiracy to effect a monopoly through restraints of trade, it is relevant to determine what the results of the conspiracy were, even if they fell short of monopoly. P. 334 U. S. 171.
(c) While a monopoly resulting from the ownership of the only theater in a town usually does not constitute a violation of the Sherman Act, even such an ownership is vulnerable in a suit under the Sherman Act if the property was acquired, or its strategic position maintained, as a result of practices which constitute unreasonable restraints of trade. United States v. Griffith, ante, p. 334 U. S. 100. P. 334 U. S. 171.
(d) The problem of the District Court did not end with enjoining continuance of the unlawful restraints, nor with dissolving the combination which launched their conspiracy; its function includes also undoing what the conspiracy achieved. P. 334 U. S. 171.
(e) The problem under the Sherman Act is not solved merely by measuring monopoly in terms of size or extent of holdings, or by concluding that single ownerships were not obtained "for the purpose of achieving a national monopoly." P. 334 U. S. 172.
(f) It is the relationship of the unreasonable restraints of trade to the position of the defendants in the exhibition field (and, more particularly, in the first-run phase of that business) that is of first importance on the divestiture phase of these cases. P. 334 U. S. 172.
(g) The fruits of the conspiracy must be denied to the five major defendants, as they were to the independents in Schine Chain Theaters v. United States, ante p. 334 U. S. 110. P. 334 U. S. 172.
(h) Section 1 of the Sherman Act outlaws unreasonable restraints, irrespective of the amount of trade or commerce involved, and § 2 condemns monopoly of any appreciable part of trade or commerce. P. 334 U. S. 173.
(i) Specific intent is not a necessary element of a purpose or intent to create a monopoly; the requisite purpose or intent is present if monopoly results as a necessary consequence of what was done. P. 334 U. S. 173.
(j) Monopoly power, whether lawfully or unlawfully acquired, may violate § 2 of the Sherman Act though it remains unexercised; the existence of the power to exclude competition when it is
Page 334 U. S. 137
desired to do so is itself a violation of § 2 if it is coupled with the purpose or intent to exercise that power. P. 334 U. S. 173.
(k) The setting aside of the provision of the decree enjoining the five major defendants from further expanding their theater holdings is not to be taken as intimating in any way that the District Court erred in including this prohibition. P. 334 U. S. 175.
22. Vertical integration of producing, distributing, and exhibiting motion pictures is not illegal per se; its legality depends upon (1) the purpose or intent with which it was conceived, or (2) the power it creates and the attendant purpose or intent. Pp. 334 U. S. 173-174.
(a) It violates the Sherman Act if it was a calculated scheme to gain control over an appreciable segment of the market and to restrain or suppress competition, rather than an expansion to meet legitimate business needs. P. 334 U. S. 174.
(b) A vertically integrated enterprise will constitute a monopoly which, though unexercised, violates the Sherman Act if a power to exclude competition is coupled with a purpose or intent to do so. P. 334 U. S. 174.
(c) The fact that the power created by size was utilized in the past to crush or prevent competition is potent evidence that the requisite purpose or intent attends the presence of monopoly power. P. 334 U. S. 174.
(d) Likewise bearing on the question whether monopoly power is created by a vertical integration is the nature of the market to be served and the leverage on the market which the particular vertical integration creates or makes possible. P. 334 U. S.
23. Whether an injunction against the licensing of films among the five major defendants would, in the absence of competitive bidding, serve as a short-range remedy in certain situations to dissipate the effects of the conspiracy is a question for the District Court. P. 334 U. S. 175.
24. The District Court has no power to force or require parties to submit to arbitration in lieu of the remedies afforded by Congress for enforcing the antitrust laws, but it may authorize the maintenance of a voluntary system of arbitration by those parties who consent, and it may provide the rules and procedure under which such a system is to operate. P. 334 U. S. 176.
(a) The Government did not consent to a permanent system of arbitration under the consent decree. P. 334 U. S. 176.
(b) Whether a voluntary system of arbitration should be inaugurated is for the discretion of the District Court . P. 334 U. S. 176.
Page 334 U. S. 138
25. In view of the elimination from the decree of the provision for competitive bidding, the District Court's denial of motions of certain associations of exhibitors and a number of independent exhibitors for leave to intervene in opposition to the system of competitive bidding is affirmed, and their motions for leave to intervene in this Court are denied. Pp. 334 U. S. 176-178.
66 F. Supp. 323; 70 F. Supp. 53, affirmed in part and reversed in part.
In a suit by the United States to restrain violations of §§ 1 and 2 of the Sherman Act by major motion picture producers, distributors, and exhibitors, the District Court granted an injunction and other relief. 66 F. Supp. 323; 70 F. Supp. 53. On appeal to this Court, affirmed in part, reversed in part, and remanded, p. 334 U. S. 178.
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| 75 |
https://theankler.com/p/transcript-art-and-crafts-live-tvs
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en
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Transcript: Art & Crafts LIVE: TV's Top Cinematographers
|
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[
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2024-08-06T22:51:20+00:00
|
Emmy nominees Dana Gonzales, ASC (FX's 'Fargo'), Richard Rutkowski, ASC (Apple TV+'s 'Sugar') and Gary Baum, ASC (Paramount+'s 'Frasier') in conversation with Nicole Hirsch Whitaker, ASC
|
en
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https://substackcdn.com/image/fetch/f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fbucketeer-e05bbc84-baa3-437e-9518-adb32be77984.s3.amazonaws.com%2Fpublic%2Fimages%2F52057339-a69e-445b-bb9d-c4eccf94121c%2Ffavicon.ico
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https://theankler.com/p/transcript-art-and-crafts-live-tvs
|
Share
Subscribe on Apple Podcasts.
|
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3324
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dbpedia
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2
| 83 |
https://www.sonypictures.com/movies
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en
|
SONY PICTURES PRESENTS: MOVIES
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https://www.sonypictures.com/favicon.ico
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https://www.sonypictures.com/favicon.ico
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https://facts.net/world/landmarks/19-fascinating-facts-about-the-paramount-theatre/
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en
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19 Fascinating Facts About The Paramount Theatre
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2023-12-15T16:01:08+08:00
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Discover 19 fascinating facts about The Paramount, from its historical significance to its iconic architecture and stunning performances.
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Facts.net
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https://facts.net/world/landmarks/19-fascinating-facts-about-the-paramount-theatre/
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The Paramount is one of the oldest film studios in Hollywood.
The Paramount, also known as Paramount Pictures Corporation, was founded on May 8, 1912, making it one of the oldest and most iconic film studios in Hollywood.
It was originally named Famous Players Film Company.
When the studio was first established, it went by the name Famous Players Film Company before it was later renamed Paramount Pictures Corporation in 1914.
Paramount has produced countless successful and influential films.
Over the years, The Paramount has been responsible for producing numerous groundbreaking films, including classics like “The Godfather,” “Titanic,” and “Forrest Gump.
The studio has won multiple Academy Awards.
The Paramount holds an impressive record at the Academy Awards, with its films winning a total of 18 Best Picture awards, including “The Godfather,” “Braveheart,” and “No Country for Old Men.”
The Paramount logo is a famous Hollywood landmark.
The iconic Paramount logo, featuring a mountain with stars above it, has become a recognizable symbol in the film industry and is often associated with the golden age of Hollywood.
The Paramount has a rich history of collaboration with renowned directors and actors.
Throughout its existence, The Paramount has worked closely with legendary directors like Alfred Hitchcock, Steven Spielberg, and Martin Scorsese, as well as notable actors such as Tom Cruise, Audrey Hepburn, and Robert De Niro.
The Paramount created the concept of the “blockbuster” film.
In the 1970s, The Paramount revolutionized the film industry with the release of “Jaws” and “Star Wars,” establishing the concept of the summer blockbuster and forever changing the way movies are marketed and distributed.
The studio has its famous movie lot in Hollywood.
The Paramount has its historic movie lot located in Hollywood, covering over 65 acres and featuring numerous iconic sound stages where many legendary films have been produced.
The Paramount is known for its successful franchises.
From the “Mission: Impossible” series to the “Transformers” films, The Paramount has had tremendous success with creating and sustaining popular movie franchises that have captivated audiences worldwide.
The Paramount has been a pioneer in film technology.
The studio has been at the forefront of technological advancements in filmmaking, from the early days of sound in films to the use of digital effects and 3D technology in modern productions.
The Paramount has a significant presence in the television industry.
In addition to its success in the film industry, The Paramount has also made a mark in the television world, with hit shows such as “CSI: Crime Scene Investigation,” “Star Trek: The Next Generation,” and “Yellowstone.
The studio has faced financial challenges throughout its history.
Despite its rich legacy, The Paramount has had its fair share of financial struggles, including a bankruptcy filing in 1933 and various ownership changes over the years.
The Paramount has a vast film library.
With more than 3,000 titles in its catalog, The Paramount boasts one of the largest film libraries in the world, including classics, modern hits, and treasured pieces of cinematic history.
The studio has had successful partnerships with other entertainment companies.
Over the years, The Paramount has formed successful partnerships and collaborations with other entertainment giants, including DreamWorks Animation and Marvel Studios.
The Paramount has a distinctive film release strategy.
The studio has been known for its unique marketing and release strategies, such as the gradual international release of films and limited premieres to build anticipation and buzz.
The studio has a rich tradition of film preservation and restoration.
The Paramount has been actively involved in preserving and restoring classic films, ensuring that future generations can experience the magic of cinema through the preservation of its invaluable film heritage.
The studio has its own streaming service.
In an ever-changing digital landscape, The Paramount launched its own streaming service, Paramount+, providing subscribers with access to a vast library of films, TV shows, and original content.
The Paramount continues to evolve with the times.
With its century-long legacy, The Paramount has consistently adapted to advancements in technology and changes in audience preferences, ensuring its relevance in the ever-evolving world of entertainment.
The Paramount remains a symbol of Hollywood excellence.
With its rich history, groundbreaking films, and enduring legacy, The Paramount stands as a symbol of Hollywood excellence, representing the magic and artistry of the silver screen.
Conclusion
In conclusion, The Paramount is a truly remarkable landmark that holds great historical, cultural, and architectural significance. Its grandeur and timeless beauty continue to captivate visitors from all over the world. Whether you’re a film enthusiast, a history buff, or simply someone who appreciates awe-inspiring landmarks, The Paramount is definitely worth a visit. With its rich history, iconic red sign, and storied past, The Paramount stands as a testament to the golden age of Hollywood and remains a symbol of entertainment and glamour. Don’t miss the opportunity to experience this legendary landmark that has left an indelible mark on the cultural landscape of Los Angeles.
FAQs
1. When was The Paramount built?
The Paramount was built in 1926.
2. What is the significance of The Paramount?
The Paramount is of great historical and cultural significance. It played a major role in the golden age of Hollywood and has been the backdrop for countless iconic films.
3. Can I go inside The Paramount?
No, The Paramount is a private property and is not open to the public. However, you can still appreciate its beauty and take photos from the exterior.
4. What is the iconic red sign in front of The Paramount?
The iconic red sign is a symbol of The Paramount and has become an iconic landmark of Los Angeles. It has appeared in numerous films and is instantly recognizable.
5. Are there any guided tours available for The Paramount?
Unfortunately, there are no guided tours available for The Paramount. However, there are informative online resources and documentaries that provide in-depth information about its history and significance.
6. Can I visit other landmarks nearby?
Absolutely! The Paramount is located in the heart of Hollywood, surrounded by other renowned landmarks such as the Hollywood Walk of Fame, Grauman’s Chinese Theatre, and the Dolby Theatre.
7. Are there any restaurants or cafes near The Paramount?
Yes, there are several restaurants and cafes located near The Paramount where you can grab a bite to eat or enjoy a cup of coffee while admiring the stunning views of the area.
8. Is there parking available near The Paramount?
Yes, there are parking facilities available near The Paramount. However, it is advisable to check for parking availability and rates beforehand, especially during busy times.
9. Can I take photos in front of The Paramount?
Yes, you can take photos in front of The Paramount. Many visitors enjoy capturing memories and selfies against the backdrop of this iconic landmark.
10. Is The Paramount accessible for people with disabilities?
Yes, The Paramount complies with accessibility standards and provides facilities for people with disabilities to ensure equal access and enjoyment of the landmark.
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https://www.marklitwak.com/self-defense-for-filmmakers.html
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Self-Defense for Filmmakers
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As an entertainment attorney I am often called upon to assist writers who have gotten themselves into trouble because they don't understand how their work infringes the rights of others. A writer who...
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Entertainment Law Resources
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https://www.marklitwak.com/self-defense-for-filmmakers.html
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https://roberttayloractor.blog/2014/03/06/robert-taylor-at-paramount-pictures/
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Robert Taylor at Paramount Pictures
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2014-03-06T00:00:00
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Envelope: Return address: Robert Taylor 1709 San Remo Drive Pacific Palisades, Calif. To: Mr. Dudley Nichols Paramount Pictures Corp. 5451 Marathon Street Hollywood 38 California Robert Taylor (letterhead) December 29 Dear Dudley---- "Santa Claus” kinda came between me and my typewriter during the past coupla weeks, thus making my reply to your kind letter of…
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https://s1.wp.com/i/favicon.ico
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Robert Taylor Actor
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https://roberttayloractor.blog/2014/03/06/robert-taylor-at-paramount-pictures/
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Envelope:
Return address:
Robert Taylor
1709 San Remo Drive
Pacific Palisades, Calif.
To:
Mr. Dudley Nichols
Paramount Pictures Corp.
5451 Marathon Street
Hollywood 38
California
Robert Taylor (letterhead)
December 29
Dear Dudley—-
“Santa Claus” kinda came between me and my typewriter during the past coupla weeks, thus making my reply to your kind letter of December 18th a shade tardy. Santa Claus, as you know, is a rather demanding character and, much as I admire the old bastard, I’m glad he’s paid his visit and will leave us the Hell alone for another year!
Just what happened in my relationship with Paramount I’m not certain. I’ve asked Bill Meikeljohn if I’d done something wrong—something which might have incurred their disfavor—but he insists there was nothing. In any case they’ve never called me about the “preview” nor have they inquired as to my availability for future pictures (one of which you are now working on) so I can only assume that I’m on one of their current “lists.”!
HANGMAN wasn’t, I must admit, one of my more pleasant engagements. Mike just doesn’t work like I like to work and I’m sure he sensed the dissatisfaction. I’ve always felt that making pictures should be fun as well as hard work and I’ve never been able to understand why one element should necessarily rule out the other. Naturally I don’t mean to infer that just because a picture is a happy picture it will automatically be a good picture—nor do I believe that unpleasantness on a set is a prerequisite for a successful production.
As you say, Bert’s death was a real blow and left a terribly big vacancy in my plan-making team. I’ve already missed him more than I can say and, at times, I still find myself saying, “Ah, well, what the Hell—Bert will be back soon and then we’ll get things all straightened out again.” He was quite a guy in many, many ways and we’ll all miss him. If he could have known, when he was alive, how terribly he’d be missed were he gone, he might have taken it a little easier and still be here.
My immediate plans, tentative tho they still are, kinda boil down to a coupla pictures overseas—one in Africa—England, and the other in Holland-England. Neither of them are anything to get hysterical about but the money’s OK and, if all other elements work out satisfactorily, I’ll go!
If any good property comes to your attention please, by all means Dudley, let me have it. I’d love to work with you again, more closely, and I’m certain that next time we can have a really pleasant experience.
My wife bought just enuff Xmas cards to cover the German side of the family; I bought nary a one. So this little note will have to suffice in saying I hope you had a fine Xmas and that ’59 will also be a great year for you.
My best to you
Always,
Bob (signature)
Dudley Nichols (April 6, 1895 – January 4, 1960) was an American screenwriter who refused the Academy Award for screenwriting in 1936 because the Screen Writers Guild was on strike at the time. Nichols wrote or co-wrote the screenplays for 72 movies, including such classics as Stagecoach (1939), For Whom the Bell Tolls (1943), Scarlet Street (1945) and others. Dudley Nichols served as president of the Screen Writers Guild. in 1937 and 1938. (Wikipedia)
William Meiklejohn (March 16, 1903 – April 26, 1981), was a famous Hollywood talent agent and scout in the 1920s through the 1940s. He had his own talent agency called the William Meiklejohn Agency that he sold to MCA in May 1939. At the time of the sale, his agency had over 100 actors and writers. He joined MCA as vice-president in charge of setting up their motion picture division. In 1940, he was loaned to Paramount for two weeks and ended up staying for 20 years as head of talent and casting, and it was at Paramount that he developed his reputation for finding talent. (Wikipedia)
Michael Curtiz (December 24, 1886 – April 10, 1962) was a Hungarian-American film director. He directed more than fifty films in Europe and more than one hundred in the United States. He thrived in the heyday of the Warner Bros.studio in the 1930s/40s. He was less successful after the 1940s, when he attempted to move from studio direction into production and freelance work, but continued working until shortly before his death.
[Curtiz] was dismissive of actors who ate lunch, believing that “lunch bums” had no energy for work in the afternoons. The flip side of his dedication was an often callous demeanor: Fay Wray, who worked under him on Mystery of the Wax Museum, said that, “I felt that he was not flesh and bones, that he was part of the steel of the camera”. Curtiz was not popular with most of his colleagues, many of whom thought him arrogant. Bette Davis refused to work with him again after he called her a “goddamned nothing no good sexless son of a bitch”; he had a low opinion of actors in general, saying that acting “is fifty percent a big bag of tricks. The other fifty percent should be talent and ability, although it seldom is”. (Wikipedia)
In 1958 Robert Taylor was at a major transitional point in his career. Mr. Taylor had left the security of his 25 years at MGM for the risks of independence. His first post-MGM film, The Hangman, was a negative experience and he was worried about his future. This might explain, at least in part, his decision to move to television.
TV exposed Robert Taylor to a whole new audience who didn’t remember the thirties and forties. It also reminded his existing fans that he was still working. In addition, Mr. Taylor had a part-ownership of the series “The Detectives” and stood to do well financially if the series succeeded.
This is my review of The Hangman. It’s interesting that none of the stress Mr. Taylor was feeling shows in his performance. He was truly a fine actor.
The Hangman was Robert Taylor’s first independent film after leaving MGM. In later years, he would describe it as one of his failures. Like many Taylor movies, it’s an unusual twist on a familiar subject. Mackenzie Bovard, a Deputy Marshal, is famous for his ability to catch criminals who are later hanged. Bovard is cynical and world weary with a poor opinion of his fellow humans. Pursuing a robbery suspect, he meets the young and lovely Tina Louise. Through his relationship with her, Bovard gradually regains his faith in humanity and becomes a much warmer and more likeable person. This is far from a typical western–no fight scenes, no gorgeous scenery, no evil villains. As another reviewer noted, it’s a drama set in the old West. It’s about responsibility, right and wrong and personal development and growth. Taylor is excellent, as always, in his understated way. Tina Louise is good as a young woman who changes from a drab loser to a confident woman. Mabel Albertson is wonderful as a middle-aged woman who has the hots for Taylor (who can blame her?). Fess Parker, post Davy Crockett is effective as a town Sheriff and his laid back persona makes a good contrast to the driven, more intense Taylor. Jack Lord does well as the wanted man.Perhaps not a classic but definitely worth watching and owning.
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Institution paramount pictures - Download as a PDF or view online for free
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1. Industry study- Paramount Pictures By Alex Senior
2. History Paramount Pictures is an American film and television production company, the company has been ranked the fourth oldest production company in existence. Initially founded in 1916 by Adolph Zukor and Jesse L. Lasky; both of these men were fellow film enthusiasts and amateur film producers. After the founding of Paramount Pictures the company quickly established itself as a key player in progressing market, which was just beginning to make its mark on the world. Before the creation of paramount the film production market was very mundane, films were only distributed within the same states. Hardly ever crossing borders into new territories, after the creation of paramount pictures this principle was soon destroyed. Paramount became the first production company to market and produce films for entire nations, this proved to be a revolutionary factor which changed the way the business worked. Since its formation Paramount Pictures has become one of the biggest film production companies in the world, it has manufactured a global conglomerate which includes the animation company: DreamWorks. So far Paramount has produced $1.2 billion (£ 74,229,8400.00) in revenue, showing the scale it has achieved.
3. Existing products-The Firm Year of production: 1993 Cast: Tom Cruise, Gene Hackman, Jeanne Tripplehorn Certificate: 15 Synopsis: a young Harvard law graduate is pursued by his employers when he discovers the truth about them. Gradually he begins to uncover a web of lies and deceit, this begins a race against time to avoid capture and reveal the truth. Director: Sydney Pollack Run time: 154 minutes
4. Existing products-Marathon man Year of production:1976 Cast: Dustin Hoffman, Laurence Olivier, Roy Scheider Certificate:18 Synopsis: a university students who is training to run a marathon becomes tangled in his FBI brother’s case, he is pursued by a surviving Nazi who is trying to survive in America without revealing his true identity and sell his diamonds. Director: John Schlesinger Run time: 125 minutes
5. Industry regulation-BBFC A film production company has to meet regulations outlined by various agency, to ensure that the public remain safe and comfortable when watching films. One of these regulation bodies is the BBFC (British Board of Film Classification), the BBFC is responsible for ensuring that all of the films broadcasted in the UK meet the age certificate requirements they formulated. Age certificates tell consumers who the film is appropriate for, and therefore parents are very unlikely to show a 5 year old a film with an 18 certificate. There a 6 age certificates which govern the age group that the film is appropriate for, the certificates are: •U •PG •12 •12A •15 •18
6. Production process Every production company has to follow a ritualistic process when they produce a film, time is factor that governs how they work therefore using a certified process is a very attractive concept. The Production process consists of a number of steps, these steps are: •Pre-production-a story board, which is basically a plan of how the events are going to occur is produced. The script which has been created at an earlier stage will be given to the cast and crew members, and the casting process begins. The production designer will be given the task of planning the sets which need to be created for filming stage. If the film incorporates any specialised shots which include special effects, the special effects department will have to plan these shots. Finally an advert is planned and formulated, to start the marketing process and gather public attention. •Filming stage-the shooting of the film begins, the lighting, sound and make up departments are activated. The various actors involved with the project begin to perform their role, the meticulously planned special effects are created by the special effects department. Furthermore while these processes are being performed the producers will keep a close eye on the events from the background.
7. Production process continued Post-production-the editors responsible for formulating the narrative create the narrative sequence, the sound department is given the task of editing the sound. The titles and credits which will be used at the start and end of the film are created, the main colour scheme and appearance of the film is decided and edited. The final sound checks are performed, and finally the director is allowed to create their own personal cut (director’s cut).
8. Distribution process The distribution process is a crucial part of a film production company’s role, they have to ensure that the film is distributed correctly and to the appropriate distributers. This process is carried out in a number of steps, these steps are: •The production company will be to communicate with a distributor about potential deals. •If this is successful the distributor will negotiate with the production company and decide how many units they would like to distribute. •Next potential cinema owners and exhibitionists are given a chance to watch the film and provide the distributor with their opinion as to whether or not the film will be successful. •If the buyers like to the film they will arrange a deal with the distributor about showcasing the movie. •After the launch of the film the cinemas and exhibitionists will send their copies of the film back to distributor and provide them with payment for having the ability to showcase the film.
9. Marketing Marketing is a process which every film production company has to perform, marketing gathers publicity for the project which will eventually lead to ticket sales and successful deals with distributors. There are a number of steps which have to be performed in order to complete this process, for example: •Hiring a sales agent. •Showing ‘test screenings’ to the public, this allows the production company to make alterations if there any of the film which aren’t popular. • Releasing posters, trailers and marketing devices the public to generate interest in the film. This will make some members of the public decide that they would like to see the film when it is released. •Utilizing ‘word of mouth’, a free type of marketing which is very in influential in social scenarios and can help to generate lots of extra profit. On the other hand it can ruin a films reputation. • Using internet marketing to appeal to a larger audience, creates a larger marketing campaign. Successful viral campaigns could be formed as a result of this technique.
10. Established examples-The Godfather The Godfather is one of the greatest films ever made, since its release in 1972 it has amassed a huge following and won a collection of awards (including 3 Oscars). The godfather can be described as one of paramount’s greatest ever achievements, this showcases what this company is capable of when it performs at its optimum level. The film generated $246, 066, 411 in profit (£151, 332, 319.16). Year of production: 1972 Cast: Marlon Brando, Al Pacino and James Caan Certificate:15 Director: Francis Ford Copolla Run time:175
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Marlon Brando is widely considered the greatest movie actor of all time, rivaled only by the more theatrically oriented Laurence Olivier in terms of esteem. Unlike Olivier, who preferred the stage to the screen, Brando concentrated his talents on movies after bidding the Broadway stage adieu in 1949, a decision for which he was severely criticized when his star began to dim in the 1960s and he was excoriated for squandering his talents. No actor ever exerted such a profound influence on succeeding generations of actors as did Brando. More than 50 years after he first scorched the screen as Stanley Kowalski in the movie version of Tennessee Williams' Endstation Sehnsucht (1951) and a quarter-century after his last great performance as Col. Kurtz in Francis Ford Coppola's Apocalypse Now (1979), all American actors are still being measured by the yardstick that was Brando. It was if the shadow of John Barrymore, the great American actor closest to Brando in terms of talent and stardom, dominated the acting field up until the 1970s. He did not, nor did any other actor so dominate the public's consciousness of what WAS an actor before or since Brando's 1951 on-screen portrayal of Stanley made him a cultural icon. Brando eclipsed the reputation of other great actors circa 1950, such as Paul Muni and Fredric March. Only the luster of Spencer Tracy's reputation hasn't dimmed when seen in the starlight thrown off by Brando. However, neither Tracy nor Olivier created an entire school of acting just by the force of his personality. Brando did.
Marlon Brando, Jr. was born on April 3, 1924, in Omaha, Nebraska, to Marlon Brando, Sr., a calcium carbonate salesman, and his artistically inclined wife, the former Dorothy Julia Pennebaker. "Bud" Brando was one of three children. His ancestry included English, Irish, German, Dutch, French Huguenot, Welsh, and Scottish; his surname originated with a distant German immigrant ancestor named "Brandau." His oldest sister Jocelyn Brando was also an actress, taking after their mother, who engaged in amateur theatricals and mentored a then-unknown Henry Fonda, another Nebraska native, in her role as director of the Omaha Community Playhouse. Frannie, Brando's other sibling, was a visual artist. Both Brando sisters contrived to leave the Midwest for New York City, Jocelyn to study acting and Frannie to study art. Marlon managed to escape the vocational doldrums forecast for him by his cold, distant father and his disapproving schoolteachers by striking out for The Big Apple in 1943, following Jocelyn into the acting profession. Acting was the only thing he was good at, for which he received praise, so he was determined to make it his career - a high-school dropout, he had nothing else to fall back on, having been rejected by the military due to a knee injury he incurred playing football at Shattuck Military Academy, Brando Sr.'s alma mater. The school booted Marlon out as incorrigible before graduation.
Acting was a skill he honed as a child, the lonely son of alcoholic parents. With his father away on the road, and his mother frequently intoxicated to the point of stupefaction, the young Bud would play-act for her to draw her out of her stupor and to attract her attention and love. His mother was exceedingly neglectful, but he loved her, particularly for instilling in him a love of nature, a feeling which informed his character Paul in Der letzte Tango in Paris (1972) ("Last Tango in Paris") when he is recalling his childhood for his young lover Jeanne. "I don't have many good memories," Paul confesses, and neither did Brando of his childhood. Sometimes he had to go down to the town jail to pick up his mother after she had spent the night in the drunk tank and bring her home, events that traumatized the young boy but may have been the grain that irritated the oyster of his talent, producing the pearls of his performances. Anthony Quinn, his Oscar-winning co-star in Viva Zapata (1952) told Brando's first wife Anna Kashfi, "I admire Marlon's talent, but I don't envy the pain that created it."
Brando enrolled in Erwin Piscator's Dramatic Workshop at New York's New School, and was mentored by Stella Adler, a member of a famous Yiddish Theatre acting family. Adler helped introduce to the New York stage the "emotional memory" technique of Russian theatrical actor, director and impresario Konstantin Stanislavski, whose motto was "Think of your own experiences and use them truthfully." The results of this meeting between an actor and the teacher preparing him for a life in the theater would mark a watershed in American acting and culture.
Brando made his debut on the boards of Broadway on October 19, 1944, in "I Remember Mama," a great success. As a young Broadway actor, Brando was invited by talent scouts from several different studios to screen-test for them, but he turned them down because he would not let himself be bound by the then-standard seven-year contract. Brando would make his film debut quite some time later in Fred Zinnemann's Die Männer (1950) for producer Stanley Kramer. Playing a paraplegic soldier, Brando brought new levels of realism to the screen, expanding on the verisimilitude brought to movies by Group Theatre alumni John Garfield, the predecessor closest to him in the raw power he projected on-screen. Ironically, it was Garfield whom producer Irene Mayer Selznick had chosen to play the lead in a new Tennessee Williams play she was about to produce, but negotiations broke down when Garfield demanded an ownership stake in "A Streetcar Named Desire." Burt Lancaster was next approached, but couldn't get out of a prior film commitment. Then director Elia Kazan suggested Brando, whom he had directed to great effect in Maxwell Anderson's play "Truckline Café," in which Brando co-starred with Karl Malden, who was to remain a close friend for the next 60 years.
During the production of "Truckline Café," Kazan had found that Brando's presence was so magnetic, he had to re-block the play to keep Marlon near other major characters' stage business, as the audience could not take its eyes off of him. For the scene where Brando's character re-enters the stage after killing his wife, Kazan placed him upstage-center, partially obscured by scenery, but where the audience could still see him as Karl Malden and others played out their scene within the café set. When he eventually entered the scene, crying, the effect was electric. A young Pauline Kael, arriving late to the play, had to avert her eyes when Brando made this entrance as she believed the young actor on stage was having a real-life conniption. She did not look back until her escort commented that the young man was a great actor.
The problem with casting Brando as Stanley was that he was much younger than the character as written by Williams. However, after a meeting between Brando and Williams, the playwright eagerly agreed that Brando would make an ideal Stanley. Williams believed that by casting a younger actor, the Neanderthalish Kowalski would evolve from being a vicious older man to someone whose unintentional cruelty can be attributed to his youthful ignorance. Brando ultimately was dissatisfied with his performance, though, saying he never was able to bring out the humor of the character, which was ironic as his characterization often drew laughs from the audience at the expense of Jessica Tandy's Blanche Dubois. During the out-of-town tryouts, Kazan realized that Brando's magnetism was attracting attention and audience sympathy away from Blanche to Stanley, which was not what the playwright intended. The audience's sympathy should be solely with Blanche, but many spectators were identifying with Stanley. Kazan queried Williams on the matter, broaching the idea of a slight rewrite to tip the scales back to more of a balance between Stanley and Blanche, but Williams demurred, smitten as he was by Brando, just like the preview audiences.
For his part, Brando believed that the audience sided with his Stanley because Jessica Tandy was too shrill. He thought Vivien Leigh, who played the part in the movie, was ideal, as she was not only a great beauty but she WAS Blanche Dubois, troubled as she was in her real life by mental illness and nymphomania. Brando's appearance as Stanley on stage and on screen revolutionized American acting by introducing "The Method" into American consciousness and culture. Method acting, rooted in Adler's study at the Moscow Art Theatre of Stanislavsky's theories that she subsequently introduced to the Group Theatre, was a more naturalistic style of performing, as it engendered a close identification of the actor with the character's emotions. Adler took first place among Brando's acting teachers, and socially she helped turn him from an unsophisticated Midwestern farm boy into a knowledgeable and cosmopolitan artist who one day would socialize with presidents.
Brando didn't like the term "The Method," which quickly became the prominent paradigm taught by such acting gurus as Lee Strasberg at the Actors Studio. Brando denounced Strasberg in his autobiography "Songs My Mother Taught Me" (1994), saying that he was a talentless exploiter who claimed he had been Brando's mentor. The Actors Studio had been founded by Strasberg along with Kazan and Stella Adler's husband, Harold Clurman, all Group Theatre alumni, all political progressives deeply committed to the didactic function of the stage. Brando credits his knowledge of the craft to Adler and Kazan, while Kazan in his autobiography "A Life" claimed that Brando's genius thrived due to the thorough training Adler had given him. Adler's method emphasized that authenticity in acting is achieved by drawing on inner reality to expose deep emotional experience
Interestingly, Elia Kazan believed that Brando had ruined two generations of actors, his contemporaries and those who came after him, all wanting to emulate the great Brando by employing The Method. Kazan felt that Brando was never a Method actor, that he had been highly trained by Adler and did not rely on gut instincts for his performances, as was commonly believed. Many a young actor, mistaken about the true roots of Brando's genius, thought that all it took was to find a character's motivation, empathize with the character through sense and memory association, and regurgitate it all on stage to become the character. That's not how the superbly trained Brando did it; he could, for example, play accents, whereas your average American Method actor could not. There was a method to Brando's art, Kazan felt, but it was not The Method.
After Endstation Sehnsucht (1951), for which he received the first of his eight Academy Award nominations, Brando appeared in a string of Academy Award-nominated performances - in Viva Zapata (1952), Julius Caesar (1953) and the summit of his early career, Kazan's Die Faust im Nacken (1954). For his "Waterfront" portrayal of meat-headed longshoreman Terry Malloy, the washed-up pug who "coulda been a contender," Brando won his first Oscar. Along with his iconic performance as the rebel-without-a-cause Johnny in Der Wilde (1953) ("What are you rebelling against?" Johnny is asked. "What have ya got?" is his reply), the first wave of his career was, according to Jon Voight, unprecedented in its audacious presentation of such a wide range of great acting. Director John Huston said his performance of Marc Antony was like seeing the door of a furnace opened in a dark room, and co-star John Gielgud, the premier Shakespearean actor of the 20th century, invited Brando to join his repertory company.
It was this period of 1951-54 that revolutionized American acting, spawning such imitators as James Dean - who modeled his acting and even his lifestyle on his hero Brando - the young Paul Newman and Steve McQueen. After Brando, every up-and-coming star with true acting talent and a brooding, alienated quality would be hailed as the "New Brando," such as Warren Beatty in Kazan's Fieber im Blut (1961). "We are all Brando's children," Jack Nicholson pointed out in 1972. "He gave us our freedom." He was truly "The Godfather" of American acting - and he was just 30 years old. Though he had a couple of failures, like Desirée (1954) and Das kleine Teehaus (1956), he was clearly miscast in them and hadn't sought out the parts so largely escaped blame.
In the second period of his career, 1955-62, Brando managed to uniquely establish himself as a great actor who also was a Top 10 movie star, although that star began to dim after the box-office high point of his early career, Sayonara (1957) (for which he received his fifth Best Actor Oscar nomination). Brando tried his hand at directing a film, the well-reviewed Der Besessene (1961) that he made for his own production company, Pennebaker Productions (after his mother's maiden name). Stanley Kubrick had been hired to direct the film, but after months of script rewrites in which Brando participated, Kubrick and Brando had a falling out and Kubrick was sacked. According to his widow Christiane Kubrick, Stanley believed that Brando had wanted to direct the film himself all along.
Tales proliferated about the profligacy of Brando the director, burning up a million and a half feet of expensive VistaVision film at 50 cents a foot, fully ten times the normal amount of raw stock expended during production of an equivalent motion picture. Brando took so long editing the film that he was never able to present the studio with a cut. Paramount took it away from him and tacked on a re-shot ending that Brando was dissatisfied with, as it made the Oedipal figure of Dad Longworth into a villain. In any normal film Dad would have been the heavy, but Brando believed that no one was innately evil, that it was a matter of an individual responding to, and being molded by, one's environment. It was not a black-and-white world, Brando felt, but a gray world in which once-decent people could do horrible things. This attitude explains his sympathetic portrayal of Nazi officer Christian Diestl in the film he made before shooting Der Besessene (1961), Edward Dmytryk's filming of Irwin Shaw's novel Die jungen Löwen (1958). Shaw denounced Brando's performance, but audiences obviously disagreed, as the film was a major hit. It would be the last hit movie Brando would have for more than a decade.
Der Besessene (1961) generated respectable numbers at the box office, but the production costs were exorbitant - a then-staggering $6 million - which made it run a deficit. A film essentially is "made" in the editing room, and Brando found cutting to be a terribly boring process, which was why the studio eventually took the film away from him. Despite his proved talent in handling actors and a large production, Brando never again directed another film, though he would claim that all actors essentially direct themselves during the shooting of a picture.
Between the production and release of Der Besessene (1961), Brando appeared in Sidney Lumet's film version of Tennessee Williams' play "Orpheus Descending," Der Mann in der Schlangenhaut (1960) which teamed him with fellow Oscar winners Anna Magnani and Joanne Woodward. Following in Elizabeth Taylor's trailblazing footsteps, Brando became the second performer to receive a $1-million salary for a motion picture, so high were the expectations for this re-teaming of Kowalski and his creator (in 1961 critic Hollis Alpert had published a book "Brando and the Shadow of Stanley Kowalski"). Critics and audiences waiting for another incendiary display from Brando in a Williams work were disappointed when the renamed Der Mann in der Schlangenhaut (1960) finally released. Though Tennessee was hot, with movie versions of Die Katze auf dem heißen Blechdach (1958) and Plötzlich im letzten Sommer (1959) burning up the box office and receiving kudos from the Academy of Motion Picture Arts & Sciences, Der Mann in der Schlangenhaut (1960) was a failure. This was followed by the so-so box-office reception of Der Besessene (1961) in 1961 and then by a failure of a more monumental kind: Meuterei auf der Bounty (1962), a remake of the famed 1935 film.
Brando signed on to Meuterei auf der Bounty (1962) after turning down the lead in the David Lean classic Lawrence von Arabien (1962) because he didn't want to spend a year in the desert riding around on a camel. He received another $1-million salary, plus $200,000 in overages as the shoot went overtime and over budget. During principal photography, highly respected director Carol Reed (an eventual Academy Award winner) was fired, and his replacement, two-time Oscar winner Lewis Milestone, was shunted aside by Brando as Marlon basically took over the direction of the film himself. The long shoot became so notorious that President John F. Kennedy asked director Billy Wilder at a cocktail party not "when" but "if" the "Bounty" shoot would ever be over. The MGM remake of one of its classic Golden Age films garnered a Best Picture Oscar nomination and was one of the top grossing films of 1962, yet failed to go into the black due to its Brobdingnagian budget estimated at $20 million, which is equivalent to $120 million when adjusted for inflation.
Brando and Taylor, whose Cleopatra (1963) nearly bankrupted 20th Century-Fox due to its huge cost overruns (its final budget was more than twice that of Brando's Meuterei auf der Bounty (1962)), were pilloried by the show business press for being the epitome of the pampered, self-indulgent stars who were ruining the industry. Seeking scapegoats, the Hollywood press conveniently ignored the financial pressures on the studios. The studios had been hurt by television and by the antitrust-mandated divestiture of their movie theater chains, causing a large outflow of production to Italy and other countries in the 1950s and 1960s in order to lower costs. The studio bosses, seeking to replicate such blockbuster hits as the remakes of Die zehn Gebote (1956) and Ben Hur (1959), were the real culprits behind the losses generated by large-budgeted films that found it impossible to recoup their costs despite long lines at the box office.
While Elizabeth Taylor, receiving the unwanted gift of reams of publicity from her adulterous romance with Cleopatra (1963) co-star Richard Burton, remained hot until the tanking of her own Tennessee Williams-renamed debacle Brandung (1968), Brando from 1963 until the end of the decade appeared in one box-office failure after another as he worked out a contract he had signed with Universal Pictures. The industry had grown tired of Brando and his idiosyncrasies, though he continued to be offered prestige projects up through 1968.
Some of the films Brando made in the 1960s were noble failures, such as Der häßliche Amerikaner (1963), Südwest nach Sonora (1966) and Spiegelbild im goldenen Auge (1967). For every "Reflections," though, there seemed to be two or three outright debacles, such as Zwei erfolgreiche Verführer (1964), Morituri (1965), Ein Mann wird Gejagt (1966), Die Gräfin von Hongkong (1967), Candy (1968), Am Abend des folgenden Tages (1969). By the time Brando began making the anti-colonialist picture Queimada - Insel des Schreckens (1969) in Colombia with Gillo Pontecorvo in the director's chair, he was box-office poison, despite having worked in the previous five years with such top directors as Arthur Penn, John Huston and the legendary Charles Chaplin, and with such top-drawer co-stars as David Niven, Yul Brynner, Sophia Loren and Taylor.
The rap on Brando in the 1960s was that a great talent had ruined his potential to be America's answer to Laurence Olivier, as his friend William Redfield limned the dilemma in his book "Letters from an Actor" (1967), a memoir about Redfield's appearance in Burton's 1964 theatrical production of "Hamlet." By failing to go back on stage and recharge his artistic batteries, something British actors such as Burton were not afraid to do, Brando had stifled his great talent, by refusing to tackle the classical repertoire and contemporary drama. Actors and critics had yearned for an American response to the high-acting style of the Brits, and while Method actors such as Rod Steiger tried to create an American style, they were hampered in their quest, as their king was lost in a wasteland of Hollywood movies that were beneath his talent. Many of his early supporters now turned on him, claiming he was a crass sellout.
Despite evidence in such films as Südwest nach Sonora (1966) and Spiegelbild im goldenen Auge (1967) that Brando was in fact doing some of the best acting of his life, critics, perhaps with an eye on the box office, slammed him for failing to live up to, and nurture, his great gift. Brando's political activism, starting in the early 1960s with his championing of Native Americans' rights, followed by his participation in the Southern Christian Leadership Conference's March on Washington in 1963, and followed by his appearance at a Black Panther rally in 1968, did not win him many admirers in the establishment. In fact, there was a de facto embargo on Brando films in the recently segregated (officially, at least) southeastern US in the 1960s. Southern exhibitors simply would not book his films, and producers took notice. After 1968, Brando would not work for three years.
Pauline Kael wrote of Brando that he was Fortune's fool. She drew a parallel with the latter career of John Barrymore, a similarly gifted thespian with talents as prodigious, who seemingly threw them away. Brando, like the late-career Barrymore, had become a great ham, evidenced by his turn as the faux Indian guru in the egregious Candy (1968), seemingly because the material was so beneath his talent. Most observers of Brando in the 1960s believed that he needed to be reunited with his old mentor Elia Kazan, a relationship that had soured due to Kazan's friendly testimony naming names before the notorious House un-American Activities Committee. Perhaps Brando believed this, too, as he originally accepted an offer to appear as the star of Kazan's film adaptation of his own novel, Das Arrangement (1969). However, after the assassination of Martin Luther King, Brando backed out of the film, telling Kazan that he could not appear in a Hollywood film after this tragedy. Also reportedly turning down a role opposite box-office king Paul Newman in a surefire script, Butch Cassidy und Sundance Kid (1969), Brando decided to make Queimada - Insel des Schreckens (1969) with Pontecorvo. The film, a searing indictment of racism and colonialism, flopped at the box office but won the esteem of progressive critics and cultural arbiters such as Howard Zinn. He subsequently appeared in the British film Das Loch in der Tür (1971), a prequel to "Turn of the Screw" and another critical and box office failure.
Kazan, after a life in film and the theater, said that, aside from Orson Welles, whose greatness lay in film making, he only met one actor who was a genius: Brando. Richard Burton, an intellectual with a keen eye for observation if not for his own film projects, said that he found Brando to be very bright, unlike the public perception of him as a Terry Malloy-type character that he himself inadvertently promoted through his boorish behavior. Brando's problem, Burton felt, was that he was unique, and that he had gotten too much fame too soon at too early an age. Cut off from being nurtured by normal contact with society, fame had distorted Brando's personality and his ability to cope with the world, as he had not had time to grow up outside the limelight.
Truman Capote, who eviscerated Brando in print in the mid-'50s and had as much to do with the public perception of the dyslexic Brando as a dumbbell, always said that the best actors were ignorant, and that an intelligent person could not be a good actor. However, Brando was highly intelligent, and possessed of a rare genius in a then-deprecated art, acting. The problem that an intelligent performer has in movies is that it is the director, and not the actor, who has the power in his chosen field. Greatness in the other arts is defined by how much control the artist is able to exert over his chosen medium, but in movie acting, the medium is controlled by a person outside the individual artist. It is an axiom of the cinema that a performance, as is a film, is "created" in the cutting room, thus further removing the actor from control over his art. Brando had tried his hand at directing, in controlling the whole artistic enterprise, but he could not abide the cutting room, where a film and the film's performances are made. This lack of control over his art was the root of Brando's discontent with acting, with movies, and, eventually, with the whole wide world that invested so much cachet in movie actors, as long as "they" were at the top of the box-office charts. Hollywood was a matter of "they" and not the work, and Brando became disgusted.
Charlton Heston, who participated in Martin Luther King's 1963 March on Washington with Brando, believes that Marlon was the great actor of his generation. However, noting a story that Brando had once refused a role in the early 1960s with the excuse "How can I act when people are starving in India?," Heston believes that it was this attitude, the inability to separate one's idealism from one's work, that prevented Brando from reaching his potential. As Rod Steiger once said, Brando had it all, great stardom and a great talent. He could have taken his audience on a trip to the stars, but he simply would not. Steiger, one of Brando's children even though a contemporary, could not understand it. When James Mason' was asked in 1971 who was the best American actor, he had replied that since Brando had let his career go belly-up, it had to be George C. Scott, by default.
Paramount thought that only Laurence Olivier would suffice, but Lord Olivier was ill. The young director believed there was only one actor who could play godfather to the group of Young Turk actors he had assembled for his film, The Godfather of method acting himself - Marlon Brando. Francis Ford Coppola won the fight for Brando, Brando won - and refused - his second Oscar, and Paramount won a pot of gold by producing the then top-grossing film of all-time, Der Pate (1972), a gangster movie most critics now judge one of the greatest American films of all time. Brando followed his iconic portrayal of Don Corleone with his Oscar-nominated turn in the high-grossing and highly scandalous Der letzte Tango in Paris (1972) ("Last Tango in Paris"), the first film dealing explicitly with sexuality in which an actor of Brando's stature had participated. He was now again a top ten box office star and once again heralded as the greatest actor of his generation, an unprecedented comeback that put him on the cover of "Time" magazine and would make him the highest-paid actor in the history of motion pictures by the end of the decade. Little did the world know that Brando, who had struggled through many projects in good faith during the 1960s, delivering some of his best acting, only to be excoriated and ignored as the films did not do well at the box office, essentially was through with the movies.
After reaching the summit of his career, a rarefied atmosphere never reached before or since by any actor, Brando essentially walked away. He would give no more of himself after giving everything as he had done in Der letzte Tango in Paris (1972)," a performance that embarrassed him, according to his autobiography. Brando had come as close to any actor to being the "auteur," or author, of a film, as the English-language scenes of "Tango" were created by encouraging Brando to improvise. The improvisations were written down and turned into a shooting script, and the scripted improvisations were shot the next day. Pauline Kael, the Brando of movie critics in that she was the most influential arbiter of cinematic quality of her generation and spawned a whole legion of Kael wannabes, said Brando's performance in Der letzte Tango in Paris (1972) had revolutionized the art of film. Brando, who had to act to gain his mother's attention; Brando, who believed acting at best was nothing special as everyone in the world engaged in it every day of their lives to get what they wanted from other people; Brando, who believed acting at its worst was a childish charade and that movie stardom was a whorish fraud, would have agreed with Sam Peckinpah's summation of Pauline Kael: "Pauline's a brilliant critic but sometimes she's just cracking walnuts with her ass." He probably would have done so in a simulacrum of those words, too.
After another three-year hiatus, Brando took on just one more major role for the next 20 years, as the bounty hunter after Jack Nicholson in Arthur Penn's Duell am Missouri (1976), a western that succeeded neither with the critics or at the box office. Following The Godfather and Tango, Brando's performance was disappointing for some reviewers, who accused him of giving an erratic and inconsistent performance. In 1977, Brando made a rare appearance on television in the miniseries Roots - Die nächsten Generationen (1979), portraying George Lincoln Rockwell; he won a Primetime Emmy Award for Outstanding Supporting Actor in a Miniseries or a Movie for his performance. In 1978, he narrated the English version of Raoni (1978), a French-Belgian documentary film directed by Jean-Pierre Dutilleux and Luiz Carlos Saldanha that focused on the life of Raoni Metuktire and issues surrounding the survival of the indigenous Indian tribes of north central Brazil.
Later in his career, Brando concentrated on extracting the maximum amount of capital for the least amount of work from producers, as when he got the Salkind brothers to pony up a then-record $3.7 million against 10% of the gross for 13 days work on Superman - Der Film (1978). Factoring in inflation, the straight salary for "Superman" equals or exceeds the new record of $1 million a day Harrison Ford set with K-19 - Showdown in der Tiefe (2002). He agreed to the role only on assurance that he would be paid a large sum for what amounted to a small part, that he would not have to read the script beforehand, and his lines would be displayed somewhere off-camera. Brando also filmed scenes for the movie's sequel, Superman II, but after producers refused to pay him the same percentage he received for the first movie, he denied them permission to use the footage.
Before cashing his first paycheck for Superman - Der Film (1978), Brando had picked up $2 million for his extended cameo in Francis Ford Coppola's Apocalypse Now (1979) in a role, that of Col. Kurtz, that he authored on-camera through improvisation while Coppola shot take after take. It was Brando's last bravura star performance. He co-starred with George C. Scott and John Gielgud in Die Formel (1980), but the film was another critical and financial failure. Years later though, he did receive an eighth and final Oscar nomination for his supporting role in Weiße Zeit der Dürre (1989) after coming out of a near-decade-long retirement. Contrary to those who claimed he now only was in it for the money, Brando donated his entire seven-figure salary to an anti-apartheid charity. He then did an amusing performance in the comedy Freshman (1990), winning rave reviews. He portrayed Tomas de Torquemada in the historical drama 1492 - Die Eroberung des Paradieses (1992), but his performance was denounced and the film was another box office failure. He made another comeback in the Johnny Depp romantic drama Don Juan DeMarco (1994), which co-starred Faye Dunaway as his wife. He then appeared in D.N.A. - Experiment des Wahnsinns (1996), co-starring Val Kilmer, who he didn't get along with. The filming was an unpleasant experience for Brando, as well as another critical and box office failure.
Brando had first attracted media attention at the age of 24, when "Life" magazine ran a photo of himself and his sister Jocelyn, who were both then appearing on Broadway. The curiosity continued, and snowballed. Playing the paraplegic soldier of Die Männer (1950), Brando had gone to live at a Veterans Administration hospital with actual disabled veterans, and confined himself to a wheelchair for weeks. It was an acting method, research, that no one in Hollywood had ever heard of before, and that willingness to experience life.
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https://www.syfy.com/syfy-wire/false-positive-first-trailer
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Hulu and A24's 'False Positive' delivers some pregnancy-inspired horror in first trailer
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[
"Nivea Serrao"
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2021-05-24T20:54:57+00:00
|
False Positive was co-written and co-produced by Ilana Glazer, who also stars, along with Pierce Bronson, Justin Theroux, Sophia Bush & Gretchen Mol
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en
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/sites/syfy/themes/custom/syfy/images/icons/apple-touch/apple-touch-icon.png
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SYFY Official Site
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https://www.syfy.com/syfy-wire/false-positive-first-trailer
|
From the trio of Netflix's Fear Street films to the second season of Paramount+'s Evil, the summer of streaming horror continues! The latest addition to this already chill-inducing list is Hulu and A24's upcoming False Positive, which hits the streaming site on June 25.
And as you can see from the trailer below, nothing is scarier than the unknown — especially if it's living inside you.
The movie revolves around Lucy and Adrian (played by Broad City's Ilana Glazer and The Leftover's Justin Theroux), a couple who have been trying to get pregnant for months. But after they meet Dr. Hindle (Pierce Brosnan, Die Another Day), a fertility doctor, they manage to get pregnant with a baby girl. However, as in other films in this particular genre of pregnancy-related horror, Lucy starts to suspect that there may be more to her pregnancy than meets the ultrasound, and that the sinister vibes under Hindle's charming exterior might have something to do with it.
Check out the trailer below:
Sophia Bush (The Hitcher) and Gretchen Mol (The Twilight Zone) also star in the project, which is directed by John Lee (The Shivering Truth). Not only did he co-write the film with Glazer, but the pair are also producing it, along with Jonathan Wang (Swiss Army Man). A24 is the studio behind the film.
False Positive is "due" to come out on June 25.
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https://www.ranker.com/list/actor-with-most-movies/jonathan-mendelsohn
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en
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17 Leading Actors Who've Appeared In Tons Of Movies And Nail It Every Time
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https://imgix.ranker.com/list_img_v2/2292/3262292/original/3262292
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[
"Jon Mendelsohn"
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2024-03-05T00:00:00
|
Explore this curated list of leading actors with the most movies, including Robert De Niro, Samuel L. Jackson, and more - ranked by fans.
|
en
|
/img/icons/touch-icon-iphone.png
|
Ranker
|
https://www.ranker.com/list/actor-with-most-movies/jonathan-mendelsohn
|
Number Of Movies: 64
Beginning his fruitful acting career in the early '80s, Tom Hanks is one of the most memorable actors of all time. Hanks conveys a likable charm on-screen but is also capable of playing multiple kinds of characters including villains. Hanks has acted in several extremely beloved roles, including his Oscar-winning turns in Forrest Gump, where he plays the extraordinary title character who changes history; and Philadelphia, where he plays a lawyer fired for his sexuality and HIV status. Other monumental roles from Hanks include his leading performances in Big, Cast Away, Saving Private Ryan, Captain Phillips, and A Beautiful Day in the Neighborhood.
What many fans of Hanks may not realize is that he started his career in a little-known slasher called He Knows You're Alone. The film follows a killer who murders brides on their wedding day and Hanks shows up as comedic relief, providing one of the most enjoyable performances in the entire film. This early role is a major indication that the actor would become a major star.
Number Of Movies: 88
Anthony Hopkins is one of the most famous actors in the world, partially due to his legendary role as cannibal psychiatrist Hannibal Lecter in The Silence of the Lambs and two of its sequels. Hopkins has the skill to be extremely likable while simultaneously terrifying the viewer with his sadistic charm, making him one of the most sought-after actors of all time.
In addition to playing Hannibal Lecter, Hopkins is known for playing former President Richard Nixon in 1995's Nixon, Van Helsing in Bram Stoker's Dracula, Alfred Hitchcock in 2012's Hitchcock, and Odin in the Thor films. Anthony Hopkins can also be seen in one of the main roles in 2010's The Wolfman. While Wolfman failed to achieve financial success at the time of its release, Hopkins brings a campy fun to his role and is the main reason to watch it.
Number Of Movies: 132
In the world of British cinema, Michael Caine is one of the most prominent names around. Caine's acting style is focused and filled with finesse, and will never fail to fully engage the audience. One of Caine's most revered performances is in the original 1969 Italian Job, though modern audiences will probably be more familiar with his portrayal of Batman's butler Alfred in The Dark Knight trilogy.
Other unforgettable roles from Caine can be seen in Sleuth, Hannah and Her Sisters, Austin Powers in Goldmember, The Cider House Rules, and Youth. Caine may surprise even his most committed fans with his overlooked performance in Brian De Palma's Dressed to Kill, a classic thriller that has been a bit left behind by the younger generations.
Number Of Movies: 136
After starring in several smash hits from Quentin Tarantino, Samuel L. Jackson has cemented himself as a true legend, with his most acclaimed role most likely being hitman Jules from Pulp Fiction. The actor's instantly recognizable voice and force of personality make him stand out from many other leading men in Hollywood.
A more obscure role that Jackson deserves more recognition for would definitely be his work as retired police chief Marcus Banks in Spiral, which is part of the Saw franchise. Jackson's intense screen presence is perfect for that hard-hitting horror movie. Another more underrated performance from Jackson is his villainous turn as Jimmy in Paul Thomas Anderson's first feature, Hard Eight.
Number Of Movies: 137
The father of Kiefer Sutherland, Donald Sutherland is a legend who has changed the game time and time again. Donald Sutherland dominates the screen with his alluring voice and commanding presence.
Sutherland's most well-known performance may be in the leading role in Invasion of the Body Snatchers. A role that Sutherland never gets enough recognition for nowadays is in Don't Look Now. In Don't Look Now, Sutherland plays John Baxter, a grieving father. The end of Don't Look Now is one of the most shocking endings in horror history, and the film remains one of the most daring of Sutherland's career.
Number Of Movies: 197
Christopher Lee featured in more film roles than any other actor from his generation. Lee had a wide range when it came to acting and was capable of playing many characters from different walks of life. The actor appeared in about 244 feature films and TV movies throughout his career, earning him the title of most film roles ever in the Guinness Book of World Records.
Lee is known for appearing in many Hammer horror films including 1958's Dracula (AKA House of Dracula) and The Mummy. Lee starred as Lord Summerisle in the 1973 folk horror film The Wicker Man, and the actor himself has cited the role as a favorite of his career. Lee is also remembered for playing Saruman in the Lord of the Rings film series and Count Dooku in the Star Wars franchise.
One of Lee's roles that deserves a lot more attention is his portrayal of Mr. Alfred Rhinegold in 2009's Boogie Woogie, a satire of the art world. Lee also appeared in a little-known sequel to The Wicker Man in 2011 called The Wicker Tree, which will prove to be worthwhile for most fans of the original.
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| 23 |
https://ca.news.yahoo.com/could-happen-paramount-global-sold-134351725.html
|
en
|
What Could Happen If Paramount Global Is Sold — Especially in Pieces
|
https://media.zenfs.com/en/variety.com/1d75161f9013a665ddbb413fa87a25fa
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2024-03-23T11:13:48+00:00
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What does the future hold for Paramount Global? The odds of a seismic M&A event seem to be increasing: Private-equity firm Apollo Global has reportedly offered $11 billion for Paramount’s Hollywood studios. Short of carving up the “mountain of entertainment,” as the Paramount+ tagline boasts, analysts say the overture could drive up bidding for the …
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Yahoo News
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https://variety.com/2024/biz/news/what-happens-if-paramount-sold-in-pieces-1235948752/
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What does the future hold for Paramount Global? The odds of a seismic M&A event seem to be increasing: Private-equity firm Apollo Global has reportedly offered $11 billion for Paramount’s Hollywood studios. Short of carving up the “mountain of entertainment,” as the Paramount+ tagline boasts, analysts say the overture could drive up bidding for the entirety of Paramount Global — which is what Shari Redstone, who owns a controlling stake in the media conglomerate, is understood to prefer.
Given that backdrop, let’s consider what Paramount Global comprises — and the potential effect of selling it off in its entirety or in pieces. As it stands, Paramount Global, led by CEO Bob Bakish, is made up of three segments: filmed entertainment, TV media and direct-to-consumer streaming.
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The company’s filmed entertainment unit, which includes Paramount Pictures, is its smallest, representing 10% of overall revenue in 2023. Last year, the segment generated revenue of $2.96 billion (down 20%) and an adjusted operating loss of $119 million (versus operating profit of $272 million a year earlier). The company blamed the decline on lower theatrical and licensing revenues, compared with 2022 when Tom Cruise’s “Top Gun: Maverick” banked $1.5 billion at the global box office.
TV media is Paramount Global’s biggest segment, at 68% of 2023 revenue. But it’s been steadily declining over the past several years. Last year it pulled in revenue of $20.1 billion (down 8%) and $4.79 billion of adjusted operating income (down 12%). The fast-growing direct-to-consumer segment (22% of 2023 revenue) had $6.74 billion in revenue, up 37%, and an adjusted operating loss of $1.66 billion (an improvement over -$1.82 billion in 2022).
Filmed Entertainment
Paramount Pictures
Paramount Players
Paramount Animation
Nickelodeon Studio
Awesomeness
Miramax (a joint venture with BeIN Media Group)
The filmed entertainment portion consists of studios Paramount Pictures, Paramount Players, Paramount Animation, Nickelodeon Studio, Awesomeness and Miramax — but does not include Paramount Television Studios, CBS Studios or Showtime/MTV Entertainment Studios, which fall under the TV media division.
Apollo Group’s reported $11 billion for Paramount Global’s film and TV studio business (which Redstone reportedly is “unconvinced” about) would encompass Paramount Pictures’ library of more than 1,000 film titles with rights to an additional 2,500. That would include some of the studio’s biggest titles and franchises such as “Mission: Impossible,” “The Godfather” trilogy, “Indiana Jones,” “Titanic,” “Forrest Gump,” “Top Gun,” “Iron Man,” “Love Story,” “Beverly Hills Cop” and “Saving Private Ryan.” The filmed entertainment segment includes the Paramount Pictures Studio lot at 5555 Melrose Ave. in L.A., spanning roughly 62 acres of land.
What’s unclear is whether Apollo bid is only for Paramount Global’s filmed entertainment division or whether it encompasses the studios housed in the TV media group. If it’s the latter scenario, such a deal would include a slew of TV properties like “Yellowstone,” “NCIS,” “FBI,” “Jack Ryan,” and tons of kids & family, unscripted and reality content.
TV Media
CBS Television Network
CBS Stations (29 owned broadcast stations)
Paramount Media Networks: CMT, Comedy Central, Logo, MTV, Nickelodeon, Paramount Network, Paramount+ With Showtime (cable network), Pop TV, Smithsonian Channel, TV Land
BET Media Group
International free-to-air networks: Network 10 in Australia, Channel 5 in the U.K., Telefe in Argentina, Chilevisión in Chile
CBS Sports Network
Studios: CBS Studios, Showtime/MTV Entertainment Studios (includes MTV Documentary Films), Paramount Television Studios, CBS Media Ventures
If Apollo or another buyer were to swing a deal for Paramount’s filmed entertainment group plus the television studios, the TV media division would end up comprising: the CBS broadcast network (which currently holds some pricey NFL rights), 29 owned-and-operated local CBS Stations, a handful of international free-to-air networks, the cable portfolio of Paramount+ With Showtime (formerly known as Showtime), MTV, Comedy Central, Paramount Network, Smithsonian Channel, Nickelodeon, BET Media Group and CBS Sports Network. It also would include CBS Media Ventures, which produces and distributes first-run syndicated programming, plus digital properties CBS News Streaming and CBS Sports HQ.
Without the studio business, Paramount Global — as a collection of channels and platforms — “may appear hollow,” MoffettNathanson analysts led by Robert Fishman and Michael Nathanson wrote in a note. Would there be enough there for another media company or private-equity firm to be interested in a deal?
Direct-to-Consumer
Paramount+
Pluto TV
BET+
A buyer may opt to bid for not just the TV media assets but also the DTC business: Paramount+ (now with Showtime), Pluto TV and BET+. (Paramount Global is shutting down Noggin, its subscription service for preschool-age kids, in a cost-cutting move.) But again, whoever bought those assets would not own the content engine that supplies a good chunk of programming to them.
That might be less of a concern to buyers who know that the rights situation at Paramount has become “complex” over the past few years, per one rival studio source. Franchises like “Mission: Impossible” have had rights sold off to partners like Skydance, and dozens of similar third-party deals have been done over the past 20 years that whittle down the content that’s actually owned outright by Paramount’s studios.
Then there’s cross-platform intellectual property to consider, like “Star Trek,” which Paramount has a firm hold on — but its film franchise is part of Paramount Pictures, while the TV universe, including “Discovery,” “Below Decks,” “Picard” and “Prodigy,” is under the aegis of CBS Studios.
But if Redstone has her druthers, none of this will be an issue: At the moment, it seems Redstone is preferring to continue negotiating a deal with Skydance’s David Ellison, in partnership with RedBird Capital and Tencent, to sell National Amusements Inc. (which owns nearly 80% of the voting power in Paramount Global). The plan would then be to merge Skydance with Paramount Global.
If Ellison and his partners take the whole package, the messiness of breaking up the mountain goes away. However, that doesn’t mean the company would remain as it is today: A new owner could further downsize the staff or make other drastic changes at the networks or the streamers — or try to sell off the less valuable assets.
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After a Decade in Limbo, Brian Robbins Is Giving Paramount a Makeover With ‘Ninja Turtles,’ Tom Cruise and ‘Gladiator 2’
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2023-07-26T15:00:00+00:00
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Paramount Pictures CEO Brian Robbins explains the film studio's new look, with "Teenage Mutant Ninja Turtles: Mutant Mayhem" and a "Gladiator" sequel.
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en
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Variety
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https://variety.com/2023/film/features/brian-robbins-paramount-pictures-tmnt-mutant-mayhem-tom-cruise-1235679142/
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Something was amiss with Michelangelo’s waistline.
Seth Rogen and Evan Goldberg, the team behind the high school comedy “Superbad,” had sold Brian Robbins, the CEO of Paramount Pictures and Nickelodeon, on the idea of adding some adolescent anarchy into their animated reboot of “Teenage Mutant Ninja Turtles.” But there was a problem with the initial designs for the film’s four reptile heroes: Instead of looking like muscular teens, these Turtles were scrawny and malnourished, barely strong enough to wield nunchucks or hurl a throwing star. “They looked like they were on Ozempic,” Robbins jokes.
In his peripatetic career, the 59-year-old Robbins has been on every end of these kind of creative discussions, working as an actor, writer, director, producer, digital entrepreneur and now, studio chief. And that separates him from other movie moguls, who arrive at the C-suite from MBA programs and years spent in the corporate trenches.
“He’s actually made movies, which puts him in a different category from most studio executives,” says Rogen. “He has a fundamental understanding of the process. He knows how to wrangle a movie into existence. So you can have a different kind of conversation with him.”
“Teenage Mutant Ninja Turtles: Mutant Mayhem,” the result of the four-year journey to reinvigorate the tired kid’s franchise, opens in theaters on Aug. 2, and Robbins is so bullish on what Rogen and Goldberg have delivered that he’s developing a sequel. In a sign of how much the entertainment business is changing, Paramount and Nickelodeon will also produce two seasons of a streaming series with the voice cast from the movies that will serve as a “bridge” between the films.
If “Mutant Mayhem” draws crowds, it will end Paramount’s summer on a high note. But as Robbins settles into a white leather chair on the deserted set of “CBS Mornings” in July, all the momentum he’s established at the studio he’s led for two years is about to collide with a pair of labor strikes that will bring Hollywood to a standstill. There are still 48 hours to go before contract negotiations collapse between the studios and the actors union, but Robbins knows where this is heading. “They’re going to strike,” he says with an air of resignation.
And on July 14 they do, sending 150,000 actors to the picket lines alongside the 11,500 screenwriters who have been holding out since May for a contract that, among other things, gives them more generous royalties from the streaming services that license their work. The effects of this industrywide shutdown are seismic — movies and shows have stopped shooting, leaving hundreds of thousands of people without paychecks. And the delicate social fabric of the entertainment ecosystem has frayed, with each side faulting the other for letting it come to this. As a member of the directors guild, as well as a former member of the actors union, Robbins has a unique perspective on what’s going on.
“I’ve been on all sides of it,” he says. “I’m a guy who went to my mailbox and got residuals. I know how important that is to actors and writers. There has to be a way forward, and hopefully we’ll find it soon. Strikes have happened before, but this one is taking place at a difficult time.”
Outside of “Barbie,” things aren’t going so hot for the Hollywood studios who write the diminishing residual checks. The cable business is vaporizing, movies have been eclipsed by TikTok and YouTube, and streaming, which was supposed to usher in a golden era of entertainment, turned out to be too expensive to maintain. As for the box office, it’s down nearly 20% from pre-COVID levels — a sign that the filmgoing audience could be more comfortable watching movies at home. Even two of Paramount’s biggest franchises, both in their seventh installments, are showing signs of aging. “Transformers: Rise of the Beasts,” based on the popular toys, and “Mission: Impossible — Dead Reckoning Part One,” Tom Cruise’s latest outing as agent Ethan Hunt, opened below expectations this summer. They will likely not turn a profit, given their massive budgets, in their theatrical runs.
“You can’t deny that cash flow at media companies is less than it was or that their share prices are way down,” Robbins says. “There’s been major disruption in this business. We’ll get through it, but we’re going through a painful transition.” He doesn’t seem to be sweating the situation, though it helps that the heavily air-conditioned “CBS Mornings” set makes that impossible. “Why do they always keep these places so cold?” Robbins says with a theatrical shiver that betrays years spent as one of the teen stars of “Head of the Class.” Those sitcom days are long past Robbins, who is presiding over Paramount as the studio has mounted an impressive revival, one supported by hits like “Top Gun: Maverick,” “The Lost City” and “Smile.” And on the horizon are sequels to “Paw Patrol” and “Gladiator,” as well as “If” from “A Quiet Place” director and actor John Krasinski.
Robbins has also established strong relationships with the creative community. “As big as the stakes are, he always stays cool,” says Christopher McQuarrie, the director of “Dead Reckoning Part One.” “He’s also the only head of studio who’s ever called me just to ask how I was doing.”
It’s a shift in fortunes for a studio that had spent much of the previous decade in limbo while its parent company was engulfed in corporate melodrama featuring a merger, leadership struggles and a feud involving its owners, the Redstone family. (The revolving door of names for the conglomerate that owns the studio morphed from Viacom to Viacom-CBS to, ultimately, Paramount Global, illustrating these chaotic shifts.) Robbins politely alludes to what came before when I tell him that visiting the Paramount lot at that time was eerie — a funereal quiet hung over the place.
“Yeah, they had a great run in the early aughts, and then there was a seismic shift, and there was a lot of drama corporately at Viacom, and it just created a downward spiral,” he says.
Paramount no longer feels like it’s been left behind by the business. While Robbins may be altering the perception of the studio, the knock on him is that the most successful films that Paramount has released during his tenure originated under the regime of his predecessor, Jim Gianopulos. Robbins counters that it can take decades to develop a project, to say nothing of the work that goes into making and marketing it. “You ask who greenlit a movie?” he says. “It’s semantics. There’s a lot of people that deserve credit for ‘Top Gun: Maverick’ or ‘Mission: Impossible.’ But over the last two years, it’s been up to my team to see these movies through production and bring them into the world.”
Studio executives tend to be hard-charging, blustery sorts. And while Robbins is a workaholic with a healthy ego, he’s got a laid-back energy that separates him from the pack. He punctuates sentences with “man,” sounding more like a surfer than a suit, and has an easygoing confidence that’s disarming.
“I’ve never seen Brian nervous,” says Kenan Thompson, who worked with Robbins on his first feature, 1997’s “Good Burger.” “He always has his legs crossed, giving off this air of ‘I’ve got this all under control.’”
“This is blowing my mind,” Robbins confesses to me. “This is totally surreal.”
And as I survey the scene in front of us on a muggy June night in Brooklyn, it’s hard to disagree. After all, I’m staring directly at Pete Davidson, who’s peacocking in a blue velour tracksuit that’s been spray-painted with the face of a Transformer, traversing a line of fans screeching at him for selfies. In the distance, there’s a 15-foot statue of an Autobot, a new addition to this stretch of Flatbush Avenue. It’s all part of the extravaganza that Paramount has orchestrated to promote “Transformers: Rise of the Beasts.” But that’s not what Robbins is referring to. It turns out he grew up in Marine Park, Brooklyn, a short subway ride from here. “We went back and forth on this street all the time,” he says. “I never would have thought I’d be at something like this.”
Robbins’ family relocated to Los Angeles when he was 14 so his father, an actor, could land better jobs. Growing up, he’d run lines with his dad before auditions. Eventually, Robbins decided to try out for things himself. He secured guest spots on “Knight Rider” and “Growing Pains” and was a finalist for “Risky Business” and “War Games” before landing his breakthrough role as a rebellious prodigy on “Head of the Class.”
“It was amazing,” Robbins says. “I was 18 years old, and I was on one of the biggest shows on television.”
He calls the sitcom his “film school.” On set, he befriended the crew, grilling them about their jobs. “Everyone was so open,” he remembers. “They let me hang out in the writers’ room or took me to the editing room and taught me how they selected shots.”
He decided that his future lay behind, not in front of, the camera. “Acting was not my path,” Robbins says. “I didn’t want to be in my 50s auditioning for guest spots on ‘CSI.’”
After “Head of the Class” ended in 1991, Robbins began directing and producing. He made the influential 1995 music documentary “The Show,” but his real talent was his ability to sense what younger viewers wanted to watch. And in the early ’90s, those kids were looking for their own version of “Saturday Night Live,” so Robbins and his producing partner Mike Tollin created “All That,” a sketch-comedy show starring teenagers that aired on Nickelodeon. That’s where he got the idea to take two of the show’s breakout stars, Kenan Thompson and Kel Mitchell, and shoot a low-budget movie called “Good Burger” about two high school fast-food workers. Paramount executives loved the idea, and when they asked who was directing the picture, Robbins pitched himself, despite having never made a feature film.
“The second I got back to my office, I turned to my assistant and said, ‘The good news is we’re making a movie. The bad news is I have to act like I know what I’m doing,’” Robbins says.
“Good Burger” was a hit, grossing $23.7 million on its $8.5 million budget, and Robbins was in demand. He used that clout to direct a range of films, including the football drama “Varsity Blues” and a remake of “The Shaggy Dog.” Because he’d spent years acting, Robbins had a knack for identifying promising young talent and coaxing performances from them.
“Brian was the first director who spoke to me as an actor,” says Michael B. Jordan, who had one of his early roles in “Hardball,” a sports drama that Robbins directed. “He helped me tap into what a fictional character would be feeling.”
Robbins also formed bonds with actors that outlasted the movies they made together. “Brian was like a second dad,” Thompson says. “He taught me the ropes. He always told me that when you go into meetings, you can’t be your normal relaxed self: ‘Sell a version of yourself that’s more exciting.’”
Directing proved draining, requiring Robbins to be away from his family for long stretches of time. In 2009, as he was trying to figure out his next move, he noticed that his sons were growing more engrossed by YouTube than movies or TV. One of their favorite shows focused on Fred, a hyperactive teenager played by Lucas Cruikshank, which inspired Robbins to take that character and make a movie about him. To get it off the ground, he invested $1 million of his own money, eventually signing a deal to have it premiere on Nickelodeon, where it was a ratings hit.
“It proved I could be entrepreneurial,” Robbins says. It also left him wanting to move more aggressively into the emerging medium. So he came up with the idea for AwesomenessTV, a startup targeting tween YouTube users. “He saw where the audience was going before most people did,” says UTA chief Jeremy Zimmer, Robbins’ former agent.
Awesomeness eventually sold to DreamWorks Animation, and when DreamWorks Animation was itself sold to Comcast in 2017, Robbins left the company. That’s when he was approached by Paramount to run Paramount Players, a label making mid-budget comedies and dramas. It was a short 16-month stint before he was promoted to oversee Nickelodeon, which was struggling to recapture its 1990s dominance. But an even bigger job awaited.
Paramount Global chairwoman Shari Redstone, who had urged Robbins to take the job at Nickelodeon, says she became convinced that he was the right choice to reinvigorate Paramount. She wanted the studio to have a different vision. “Brian did not have the typical résumé,” she says. “He has his own way of looking at the business. I want us to be moving and changing and looking at the future, and I feel like Brian is making sure we don’t get left behind.”
Since taking over Paramount in 2021, Robbins has pushed the film team to work more closely with other divisions of Paramount Global. “If you look at our success, we made some great movies, but we marketed the living hell out of them,” he says. “And that’s because I did what no one else at Paramount had done. There was a moat around the studio, and I pulled up the drawbridge and said we’re going to work across the company.”
So that’s why CBS viewers were treated to an appearance by “Top Gun: Maverick” star Tom Cruise on an AFC Championship Game broadcast or audiences on MTV were offered a marathon of “Scream” movies in the lead-up to the latest sequel’s release. When we meet in July at “CBS Mornings,” Robbins isn’t there to be interviewed by Gayle King. He’s observing how the program is handling “Mission: Impossible” week, which has seen cast members stop by to enthuse about making the latest installment. All that cross-promotion is supposed to help “Mission: Impossible” achieve a cultural ubiquity that’s hard to pull off in a fractured media landscape.
The release of “Dead Reckoning Part One” marks the end of a turbulent production and a crisis that Robbins inherited on his first day on the job. The studio was at an impasse with Cruise and McQuarrie about the sequel’s runaway budget, which ultimately ballooned to nearly $300 million due to COVID shutdowns, and the filmmakers’ desire to add an expensive sequence involving a Russian submarine. That scene was originally slated to appear in the next installment, but Cruise and McQuarrie believed it was necessary to include earlier in the two-part story. However, the cost had to be assumed wholly by Paramount, because Skydance Media, which co-financed the movie, had a contract requiring the studio to assume overages beyond $240 million. Robbins avoids specifics, but admits things got thorny. “Let’s just say that the studio and the production and Tom were in a disagreement over direction, and there was a stalemate going on,” Robbins says. “We had to hit the pause button. They were stuck on how they were going to move forward with ‘Dead Reckoning Part Two’ while finishing ‘Part One.’”
So, I ask, was the disagreement over money? “It was a production issue, and it was about the scope of what was being asked for,” he says. “And the question we needed to ask was do we need this and why? And then how big is it going to be, and how long is that going to take?”
Appeasing Cruise wasn’t the only thing Robbins had to worry about in those early days. He was savaged in the press, partly because he was promoted as Gianopulos, a well-respected executive who had led Paramount since 2017, was pushed out.
Because Robbins had been an early advocate of YouTube, creating AwesomenessTV to make content for the platform, many assumed that he had sold Shari Redstone on a vision of dismantling the studio’s theatrical slate and sending everything to its streaming service. But the opposite is true — “Smile,” for instance, was supposed to debut on Paramount+, but after viewing a rough cut of the film, Robbins opted to release it theatrically. In fact, he’s primarily interested in making movies for cinemas, believing that the publicity that accompanies that kind of launch makes films more popular when they hit home entertainment.
“It was understandable,” Robbins says of the criticism. “Jim is a gentleman and a statesman of the movie business. The guy is adored — I adore him. He’s nothing but a class act. We live in a world where it’s easier for the press to get more readers by writing something negative than writing something positive.”
Robbins downplays that time, but friends acknowledge that the blistering coverage stung him. (TheAnkler, a newsletter that covers Hollywood, branded Robbins “Norbit Man,” a reference to the critically excoriated Eddie Murphy comedy that he directed).
“You know what I said to him,” Jeffrey Katzenberg, Robbins’ friend and mentor, remembers. “Go back and Google what happened when Barry Diller was named CEO of Paramount. Go back and look at what the reaction was when Michael Eisner was named president of Paramount. Read about when Bob Daly was first named head of Warner Bros. For all of these greats, when they got their jobs, the reaction was harsh, skeptical and cynical. It worked out pretty great for them, and it will work out great for you. Just go do the job.”
It’s a glittering summer morning, and over breakfast Robbins and three of his most trusted Paramount colleagues are giving me a guided tour of all the reasons the movie business is so hazardous. The group includes Marc Weinstock, president of global marketing and distribution, as well as Michael Ireland and Daria Cercek, the co-heads of the motion picture group. The topic is why it’s so punishingly hard to make a movie these days. “You have to will movies to happen,” Robbins says. “The biggest problem with this business is people sit back and feel like a great movie is just going to come to them.”
That passivity has made studios reliant on sequels and superhero movies, often with diminishing returns. The past few weeks have seen new installments in long-running franchises such as “Indiana Jones” and “Fast and Furious” open to disappointing results, while comic book movies like “The Flash” failed to spark much interest. “There has to be a fresh approach to making franchises,” says Cercek. Ireland, looking up from a plate of Belgian waffles, agrees. “There needs to be a reason to make a sequel,” he says. “It can’t just be we’ve made six other versions of this same story, and here’s a seventh.”
Robbins calls it having “a big idea.” And in the case of the latest “Transformers” film, that eureka moment was to have G.I. Joe enter the robots’ cinematic universe, bringing together two of Paramount’s biggest franchises. But that required Robbins to convince Hasbro, the toy company behind both sets of characters, and producers Steven Spielberg and Michael Bay, to let the studio bring the worlds together. And Bay’s approval was tricky, because he was worried that merging the series would cheapen the other “Transformers” movies. “I called him 50 times,” Robbins says. “I would not let him off the hook. And when he finally stopped dodging my calls, we got him to sign off.”
Even with G.I. Joe’s firepower, the recent “Transformers” movie grossed a mediocre $427 million. “We feel it’s not great, but good” is Robbins’ spin. But the film’s struggles, he says, show the perils of a fading global box office. Russia, once the sixth-biggest market for films, has been closed off following its invasion of Ukraine. More consequential, China, which rivals the United States in ticket sales, has become an unreliable source of revenue for Hollywood films. That’s largely due to rising geopolitical tensions with the U.S. In the case of “Rise of the Beasts,” the film grossed $90 million from China, half of what Paramount anticipated.
“China is a different marketplace,” says Weinstock. “You can’t count on it for a big number anymore, so everyone needs to reevaluate their budgets.”
Most summer movies carry staggering price tags. During COVID, many of these productions saw costs escalate by tens of millions of dollars. And though pandemic shutdowns have eased, inflation makes it hard to economize. How, I wonder, will Robbins and his team make cheaper movies?
“It’s no one’s fault,” says Robbins. “COVID and inflation took the $100 million movies and made them cost $200 million. But movie tickets didn’t go from $12 to $24. We have to ask: How do we build movies? What’s necessary? We need to make smart choices. You can’t have everything, but you need that foundation to be strong.”
Years ago, studios could build their movies around movie stars, but Hollywood has done a crappy job of replenishing its cosmos of leading men and women. Instead, they’ve leaned into comic book adaptations, where costumed heroes are the draw, not the actors behind the mask. That makes it difficult to produce other kinds of movies, such as dramas and rom-coms, that rely on personalities, not superpowers, to attract crowds.
Paramount’s leaders want to invest in a new generation of talent. They’re developing “The Saint,” a remake of the Roger Moore spy series that will star “Bridgerton’s” Regé-Jean Page. And for the “Gladiator” sequel, the studio is teaming veteran actor Denzel Washington with the 27-year-old Paul Mescal, recently Oscar nominated for his work in the indie “Aftersun.” To see if Mescal could fill out a toga, Cercek and Ireland watched his performance in the West End revival of “A Streetcar Named Desire.” “He played Stanley, and there are several moments where he takes off his shirt and it was electric,” Cercek says. “The ladies in the audience were very vocal, and we were like, ‘I think we’ve found our guy.’”
Even a star’s ability to make audiences swoon isn’t always enough to guarantee that a movie will make money. “Babylon,” an epic about the silent movie era, collapsed at the box office when Paramount released it last December, despite starring Brad Pitt, while “Dungeons & Dragons: Honor Among Thieves” will lose money even though Chris Pine led the ensemble. Robbins isn’t abandoning the idea of more “Dungeons & Dragons,” though if there’s a sequel, he says, “We’ve got to figure out a way to make it for less.” As for “Babylon,” that one hurt because Robbins believes in Damien Chazelle, the Oscar-winning “La La Land” director who made the movie. “It broke my soul to have ‘Babylon’ not do well,” Robbins admits when we meet for the first time in April. “There’s people who loved the movie and there’s people who hated the movie, but you can’t deny it’s an ambitious fucking movie.”
Costs may be rising while the box office is contracting, but Robbins sees areas of opportunity. He’s overhauled Paramount’s animation division, raiding Nickelodeon’s vault and jettisoning projects that he didn’t think were commercial. “Under the Boardwalk,” a movie about hermit crabs on the Jersey Shore that predated Robbins, will debut on Paramount+, not in theaters. “We’re not going to release an expensive original animated movie and just pray people will come,” he says.
Instead, the studio’s upcoming animated releases will center on familiar properties such as “SpongeBob SquarePants” and “Avatar: The Last Airbender,” which Robbins thinks will appeal to millennials who grew up with the shows.
“It’s not about Disney and Pixar anymore,” he says, noting that recent Disney films like “Elemental” and “Lightyear” have stumbled at the box office. “People are looking for animated movies that are irreverent and have a comedic point of view.”
Robbins and his team believe that they can successfully navigate an uncertain future for movies. But even the smartest executives or the most brilliant filmmakers and brightest stars may not be skilled enough to overcome the cultural and economic forces that are reshaping entertainment. Movies are enormous investments of time and resources, and with younger consumers growing more passionate about video games or social media, can the film business remain viable? Hollywood is already in a defensive crouch, with media conglomerates that once bragged about the billions they were shelling out for “content” now signaling they want to cut costs or sell assets. Analysts believe all this tumult could spark a fresh wave of mergers. So what would that mean for a company like Paramount Global and the studio Robbins runs?
“There’s a whole lot of uncertainty,” says Peter Newman, head of NYU Tisch School of the Arts’ MFA/MBA program. “Will more of these media companies combine? Or does someone like an Apple decide they want to take over a traditional studio?”
Back at “CBS Mornings,” Robbins looks like a man in dire need of an espresso as he rubs his eyes. He’s been out until 2 a.m., attending a lavish New York premiere for “Mission: Impossible” and then partying with the cast after the event. It must, I think, have required him to be always “on,” emanating the “exciting version” of himself that Robbins once advised Thompson to be while pitching studio executives.
Of course, Robbins is now on the other side of the desk, and that changes things. And part of his job requires saying no— rejecting a story idea or, say, informing Tom Cruise that he can’t shoot a sequence with a submarine (in the latter case, the answer was yes, because the latest “Mission: Impossible” kicks off with one).
“Delivering tough news is part of the job,” Robbins admits. “It’s about having a hard conversation. And hopefully, at the end of that talk, you still have mutual respect, or you find a way to come to a compromise. It’s not a fun part of the job.”
“Last night,” Robbins says, his mouth inching into a grin. “Last night was way more fun.”
These interviews were conducted before the SAG-AFTRA strike began.
Styling: Eric Archibald; Grooming: Sydney Sollod
|
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3324
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https://www.esquire.com/entertainment/movies/g3378/best-adam-sandler-movies-ranked/
|
en
|
Every Adam Sandler Movie Ranked
|
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[] |
[] |
[
"adam sandler movies",
"best adam sandler movies",
"every adam sandler movie",
"adam sandler movies ranked",
"all adam sandler movies"
] | null |
[
"Brady Langmann",
"The Esquire Editors"
] |
2017-10-16T13:05:00
|
Here we rank every single one of Adam Sandler's movies. See how your favorite Sandman character stacks up.
|
en
|
/_assets/design-tokens/esquire/static/images/favicon.9bd3ce0.ico
|
Esquire
|
https://www.esquire.com/entertainment/movies/g3378/best-adam-sandler-movies-ranked/
|
Really, it’s a proverb at this point: Sandman does what only Sandman can do. Adam Sandler turns in an Oscar-worthy performance (we’ll never let this snub go) in 2019’s Uncut Gems, dazzling as the rambling, gambling jeweler Howard Ratner. A year later? Hubie Halloween—a toilet-humored rehashing of the crude-humored romps the comedian made his name on. But it works. And of course, off the screen, our man is slinging the basketball around like a god.
That’s the range Sandler will give you. You have The Meyerowitz Stories and Punch-Drunk Loves of his filmography, smashed right up against Grown Ups and Little Nicky. (Don’t forget: DEEDS!) It’s a trip to sort out. Now, with the release of a new Sandler Netflix joint, Spaceman, we opted for some law and order, taking the liberty of ranking all of Sandler’s films from worst to best.
|
||||
3324
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dbpedia
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| 16 |
https://www.paramount.com/about
|
en
|
Paramount
|
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[] |
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[
"About"
] | null |
[] | null |
Paramount delivers premium content and experiences to diverse audiences through television and streaming platforms, studio production, consumer products, and more.
|
en
|
/core/misc/favicon.ico
|
https://www.paramount.com/about
|
STORIES THAT MOVE YOU
Paramount delivers premium content to audiences across platforms worldwide. We connect with billions of people—through our studios, networks, streaming services, live events, merchandise, and more. Our studios create content for all audiences, across every genre and format, while our networks and brands forge deep connections with the world’s most diverse audiences. In streaming, our differentiated strategy is scaling rapidly across free, broad pay, and premium.
|
|||||
3324
|
dbpedia
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0
| 58 |
https://www.failory.com/blog/business-movies
|
en
|
50 Game Changing Business Movies For Entrepreneurs 2024
|
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2024-01-04T00:00:00
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A collection of 50 business movies that will make you a better founder, while you have a great time watching them.
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en
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https://www.failory.com/blog/business-movies
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Weâve made a list of entrepreneur movies you can enjoy and also learn a thing or two about the world of business.
In an hour or two, you can learn how Wall Street works, dive deep into the background stories of some of the most popular founders and investors (yes, Warren Buffetâs on the list), or discover that criminals are actually excellent at running a business.
Thereâs something for everyone. Pick a movie title you like, and be prepared to question your current business principles and beliefs.
Â
Here Are Our Top 3 Picks if You Canât Decide
If youâre as indecisive as we are and want to know the best entrepreneur movies to watch, here are our top 3 picks:Â
If you want to learn how to prepare for an economic downturn and what happened in the 2008 financial crisis: The Big Short
If youâre interested in the financial markets: Wolf of Wall StreetÂ
If youâre into gangster movies but want to learn about business: The Godfather
Â
50 Best Movies for Entrepreneurs
1) Fyre Festival
Name of the movie: Fyre Festival
Description of the movie: Fyre is a documentary about a young entrepreneur and fraud named Billy McFarland and his failed Fyre Festival in 2017. The festival was doomed from the beginning mainly due to bad planning and mismanagement of funds.
This is a great entrepreneur movie because it highlights that planning is the key to everything. But more importantly, it shows that in life, itâs not enough to have the desire and passion to achieve something great - you need to work hard and smartly to succeed.
Released in: 2019
Related topics: Fyre serves as an example that presents the importance of planning and management. It can serve as a warning sign for all young entrepreneurs who fail to deliver the final product, despite massive financial investments.
IMDB Rating: 7.2/10 from 34,714 votes
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2) The Founder
Name of the movie: The Founder
Description of the movie: A biographical movie about McDonaldâs rise as one of the biggest businesses in the gastronomy world.
Salesman Ray Croc joined the McDonaldâs brothers, stole their idea, and without ever paying them for their royalty, he took all the credit for the restaurant's expansion. The lesson -Â be careful who you get in bed with.Â
Released in: 2016
Related topics: The Founder is an inspiring story for entrepreneurs willing to create âthe next big thingâ. Although sometimes harsh and too ambitious, Ray Kroc managed to transform McDonaldâs into the most popular fast-food chain restaurant.Â
IMDB Rating: 7.2/10 from 116,351 votes
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3) Steve Jobs
Name of the movie: Steve Jobs
Description of the movie: This biopic on Apple's founder tells the behind-the-scenes story about the iconic entrepreneur and his struggles on the way to the top.
Also, important shots from Steveâs personal life are shown as well as the obstacles he overcame to build the brand we all know.
Released in: 2015
Related topics: Steve Jobs revolves around Jobâs ideas and the decisions he had to make in order to create Apple and take it to the top.
This is one of those entrepreneur movies anyone can learn something from, even if you have years of experience running a business. Taking a sneak peek into Jobâs mind can be educational and insightful, so give this movie a chance.Â
IMDB Rating: 7.2/10 from 149,991 votes
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4) The Social Network
Name of the movie: The Social Network
Description of the movie: The Social Network is the ultimate story about Facebook and its founder. It shows Mark Zuckerberg and the way he brought to life his idea of building a social media platform.Â
Soon afterward, his project got substantial financial backing, and all of a sudden, Facebook was âliveâ all around the world.
However, it wasnât all roses on Mark's journey - the movie also shows Markâs struggles and lawsuits from his once-friend and first investor, Eduardo Saverin.
Released in: 2010
Related topics: Zuckerbergâs creative approach is fascinating to watch and analyze - youâll feel like youâre in the middle of the technological world in Silicon Valley.
The movie also shows that even large corporations often have small and struggling beginnings, and it can be quite inspiring for young entrepreneurs to see that for themselves.
IMDB Rating: 7.7/10 from 607,074
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5) The Wolf of Wall Street
Name of the movie: The Wolf of Wall Street
Description of the movie: The Wolf Of Wall Street is one of those entrepreneur movies that will keep you glued to the screen. Whatâs a better way to learn about business mistakes to avoid than watching the catastrophic mistakes Jordan Belfort did?Â
This movie is based on his real-life story and how from a promising broker, he got himself into the world of too many drugs, too many lies, and a devastating feud with US authorities. Of course, the success he had is not excluded, but ultimately, he was remembered for his wrongdoings, proving once again that business choices can define your life, so always choose carefully.Â
Released in: 2013
Related topics: Perhaps one of the most exciting moments in the movie is the cold-calling process. Itâs shown with passion, dedication, and belief in the great idea.Â
Also, keeping your employees satisfied by doing whatever makes them happy is another lesson you can take from this movie - but set some boundaries, otherwise, you may dig yourself a hole.
IMDB Rating: 8.2/10 from 1,137,086 votes
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6) The Big Short
Name of the movie: The Big Short
Description of the movie: What happens when one man finds out about the housing market crash before it even occurs? He wouldnât dare to use that for personal profit... or would he?Â
If you like dramatic business movies, this one is a must-watch. This Oscar winner is about the story of the 2007 financial crisis in a way you wouldnât expect.Â
As an entrepreneur, youâll have even more fun watching it - itâs every bit intriguing, and educational at the same time. As a future founder, that should be the part that will catch your eye the most.
Released in: 2015
Related topics: Everything youâll hear in this movie is legit as it gets, especially the economic terms.
It would be like finding out what happens in Wall Street before you make any investment, and as a future investor and entrepreneur, you should be familiar with these things before spinning a dime in the stock market.Â
IMDB Rating: 7.8/10 from 347,373 votes
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7) Pirates of Silicon Valley
Name of the movie: Pirates of Silicon Valley
Description of the movie: Youâre probably reading this article from a Windows or Mac computer - thatâs the size of the influence of Steve Jobs and Bill Gates.Â
This movie is about their work, their brilliant minds, the challenges they faced, and the betrayals they encountered in the business world.Â
Itâs one of the best business movies to learn how to think like an innovator, but also how to protect your ideas from business sharks. Also, if youâre a tech geek, youâll love this movie.
Released in: 1997
Related topics: Any founder-to-be can learn so much from this movie.
Starting from the enthusiastic young innovators and the sacrifices they made to achieve their goals, all the way to developing the mindset of a businessman and how sometimes things wonât go as planned.
Also, if you want to know how great minds are built from a young age, this is the movie for you.Â
IMDB Rating: 7.3/10 from 23,345 votes
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8) The Corporation
Name of the movie: The Corporation
Description of the movie: The Corporation is not unlike any of the other business movies on this list.
It elaborates on a topic like no movie before â what would happen if corporations were people, do they know how to make the difference between the good and the bad?Â
For starters, itâs a documentary on corporate America. The movie shows the other side of the business world, the one thatâs much darker and not at all fun to watch or live â but itâs here to stay.Â
Multiple big shots have a chance to tell their side of the story in front of the camera, and some of them might grow on you. But the question remains â are we living as full consumers, or have the big companies made us one?
Released in: 2003
Related topics: The corporate world is presented as a psychopathic character â selfish, ruthless, and run only by the desire to have more of everything â possessions, money, resources, power.Â
Itâs an excellent entrepreneur movie to think about the influence of capitalism on todayâs corporate values, but itâs also great to question your beliefs.
IMDB Rating: 8.1/10 from 20,211 votes.
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9) American Hustle
Name of the movie: American Hustle
Description of the movie: Inspired by a true story in the late 70s, American Hustle is a crime story that will keep you attentive from start to finish.
A divergent movie that picks on multiple topics, the story is conveyed through vibrant humor, delivering a lesson worth its weight in gold.
American Hustle is about the consequences of past mistakes and the price any one of the movieâs characters needs to pay to rectify them.
Released in: 2013
Related topics: All things aside, American Hustle is a great movie that focuses on the importance of loyalty in business â even if it's an illegal one.Â
Of course, just like any other crime movie on the list, we donât support this kind of behavior â but thereâs a lot to learn about loyalty, staying true to yourself, and keeping your word.Â
IMDB Rating: 7.2/10 from 439,649 votes
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10) Casino
Name of the movie: Casino
Description of the movie: What are you willing to do to achieve your goals - thatâs the question that will pop in your head once you watch this movie.Â
Casino is an epic drama that follows the life of a gambler, working alongside the Mafia that manages a casino in Las Vegas. Itâs a perfect representation of what greed, power, and money can do to a man.
It also shows how thin is the line between leading a decent life and letting all of the above consume you and put you on the road to perdition.Â
Released in: 1995
Related topics: Casino picks on a topic thatâs always sensitive in the business world - should you do business with your best friends or not?
As itâs shown in the movie, thatâs not always the smartest decision and things can go south pretty quickly.Â
IMDB Rating:Â 8.2/10 from 451,318 votes
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11) Glengarry Glen Ross
Name of the movie: Glengarry Glen Ross
Description of the movie: Based on the award-winning play by the same name, Glengarry Glen Ross is one of the most-watched business movies.
It shows the life of four real estate agents and their problems while working under pressure for their new trainer.Â
All four of them are forced to use their knowledge and expertise to overcome the current events and keep their job intact, during a difficult sales period.
Released in: 1992
Related topics: Glengarry Glen Ross is a perfect example that expresses the âhard saleâ mastery and how to work in a high-pressure environment.Â
This movie should be shown to anyone who would like to become a better seller, as it teaches real-life salesmen the right and wrong way to sell.Â
IMDB Rating: 7.7/10 from 93,652 votes
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12) Wall Street
Name of the movie: Wall Street
Description of the movie: Wall Street is all about greed and ambitions. The main protagonist gets carried away by the glamorous lifestyle until he gets caught in a dangerous web of inside trading.Â
Ðs the name suggests, Wall Street is a clear representation of what some people are willing to do to get to the top.
Released in: 1987
Related topics: This film serves as a valuable lesson and a cautionary tale on how ambitions can affect a person and lead someone down illegal paths. Despite all of this, entrepreneurs can learn some tricks of the trade, shared by the main protagonists.
IMDB Rating: 7.4/10 from 140,541 votes
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13) Boiler Room
Name of the movie: Boiler Room
Description of the movie: If you wish to know the answer to the popular question âHow do you earn big money from nothingâ, then this movie is the right one. Boiler Room is based on Stratton Oakmont, a stock trading company created by Jordan Belfort.Â
It shows the ambitions and decisions made by young future founders and their obsession to reach the top.
Released in: 2000
Related topics: Like many business movies, Boiler Room sends a warning to all people involved in the business of any kind.Â
You can easily be blinded by the lifestyle of the rich and famous, so stick to your moral code to avoid that. Aside from that, entrepreneurs can learn plenty of cold-calling tactics regarding sales.
IMDB Rating: 7.0/10 from 48,349 votes
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14) The Pursuit of Happyness
Name of the movie: The Pursuit of Happyness
Description of the movie: The Pursuit of Happyness is a real story based on the life of a homeless salesman, Chris Gardner, and his son. Chris is offered an unpaid internship as a stockbroker, but his ambitions are bigger than that.Â
The movie shows how he manages to become a millionaire in only one year and the sacrifices he and his son make in the pursuit of a better life.
Released in: 2006
Related topics: The Pursuit of Happyness is more than just an inspiring movie to watch - it reveals common challenges ambitious people face and what it takes to rise above oneâs situation.
IMDB Rating: 8.0/10 from 436,173 votes
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15) Moneyball
Name of the movie: Moneyball
Description of the movie: Moneyball tells the story about Billy Beane and his innovative approach to attracting new players in Oakland Athletics, with the teamâs low budget in mind.Â
Billy uses computer data analysis to acquire potential signings and manages to overcome his rivals from the MLB elite.
Released in: 2011
Related topics: Many startups face the same challenge as Billy did. It shows the scenario where every startup is facing obstacles in the open market while competing against established companies.
This is a great movie because it teaches you everything can be achieved through a mixture of risk-taking and creativity - but only if you know what youâre doing.Â
IMDB Rating: 7.6/10 from 353,071 votes.
16) Jerry Maguire
Name of the movie: Jerry Maguire
Description of the movie: Sports agents have it hard going for them - they need to be pros at negotiating better deals for their clients, while also constantly searching for the next big thing.Â
Jerry Maguire gives a very insightful perspective on what it takes to be a sports agent, but with an added twist - what to do when you get fired from your agency and decide to start over, this time with more dignity and righteousness?Â
This is a great movie about business for anyone looking to get out of a rut. It's packed with advice that can help anyone in the business world.
Released in: 1996
Related topics: Thereâs more to life than just making money - itâs about building your life from scratch! If youâre an entrepreneur who has found himself a bit trapped in the money world, without any nourishment for your soul, this movie will be an eye-opener.Â
IMDB Rating: 7.3/10 from 237,666 votes
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17) Startup.com
Name of the movie: Startup.com
Description of the movie: Sometimes described as one of the most heart-wrenching movies for entrepreneurs, Startup.com tells the story of the rise and fall of one dot-com company.Â
Two high-school friends merge business ideas only to find out that building a company when the Internet was a new thing, wasnât easy at all.Â
If you watch it carefully, Startup.com can turn out to be the lesson for every entrepreneur - think twice before going into business with someone you know, and donât trust the crowd - trust your instincts.Â
Released in: 2001
Related topics: The one thing to take from Startup.com is the effect money, greed and power can have on relationships.
 The movie goes into full detail on whether material ownership is all that matters in the end, even if you lose the one friend who stayed beside you all the time.
Itâs an emotional roller-coaster that will make you think back on your business decisions, but also analyze your priorities as an entrepreneur.
IMDB Rating: 7.0/10 from 3,253 votes
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18) The Aviator
Name of the movie: The Aviator
Description of the movie: Being a genius is by no means easy, and this movie portrays that as clearly as possible. The movie is based on the story of Howard Hughes, the American business magnate, pilot, and filmmaker who loved to take risks during his lifetime.Â
The Aviator tells the story of a businessman who has trouble finding meaning in life beyond money and business opportunities while struggling to keep his mental health in check.Â
This business movie is not just about making smart or risky business decisions - itâs about how our mental health can affect and in some cases even define our success, or even failure.Â
It's an excellent way to learn more about how to deal with it if you ever find yourself struggling with personal matters.Â
Released in: 2004
Related topics: As an entrepreneur, itâs important to recognize which business decisions are smart, and which ones are just foolish. In this movie, thatâs presented in a way that will make you rethink your current decisions.Â
Some ideas, as crazy or undoable as they might seem at first, might turn out to be a jackpot - the only way to bring these to fruition is to have an unwavering belief in them.
IMDB Rating: 7.5/10 from 326,364 votes
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19) Joy
Name of the movie: Joy
Description of the movie: It canât be easy watching everyone around you becoming more and more successful â and some of them with your ideas?
Thatâs what happened to Joy, a divorced mother of two who was creative and capable enough to have a business of her own but somehow lacks the courage to actually get out and start it.Â
On her rise to success, she faces many obstacles â both business and personal, but she never gave up on her dream of becoming an inventor.Â
Released in: 2015
Related topics: Itâs quite an inspirational story for every entrepreneur, but itâs particularly beneficial for women.
It shows how persistence and determination can help you make it despite a financial crisis crippling the market, and how personal struggles wonât stop you on your way to the top if you stand your ground and believe in your ideas 100%.
IMDB Rating: 6.6/10 from 125,258 votes
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20) The Devil Wears Prada
Name of the movie: The Devil Wears Prada
Description of the movie: The Devil Wears Prada is the representation of the saying the means justify the ends.
How far would some people go to reach the stars is the main storyline, presented to you by the CEO of a top-rated magazine and a small-town girl who finds herself in the middle of an unforgiving, highly-competitive working environment.
This movie represents another way of leadership â cold-blooded, ruthless, and devoid of emotions. The effects of this leadership style are shown all the time on the screen - a not-so-healthy way to handle your employees.
Released in: 2006
Related topics: Itâs definitely one of those business movies every founder-to-be should watch. Specifically, because it elaborates on topics such as the morality of choices in both professional and personal life.
The effects a job has on employeesâ personal lives, and how stepping over everyone can be devastating, especially if youâre the CEO.Â
IMDB Rating: 6.9/10 from 361,426 votes
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21) Becoming Warren Buffett
Name of the movie: Becoming Warren Buffett
Description of the movie: If you want to get a taste of the mind of one of the most brilliant businessmen ever, Becoming Warren Buffet is the right movie choice for you. Heâs one of the wealthiest men on Earth, but at the same time, he kept his humble spirit.Â
How someone of his size, both intellectual and financial, hasnât lost sight of reality and kept himself accountable, is a lesson you can learn while watching this movie.
The movie unravels the story of how the mindset of an innovator is built from a very young age. Itâs truly one of the most inspiring stories to ever meet the big screen, one that will definitely challenge your beliefs and moral core.Â
Released in: 2017
Related topics: One of the most important lessons you can learn from this entrepreneur movie is what to do with yourself once the money stops being an issue â how to find life goals and objectives unrelated to making more money, but focus on becoming a better human being?
Buffet speaks a lot about his view and his philosophy on life, so make sure to catch something of that for you.
IMDB Rating: 7.6/10 from 3,180 votes
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22) Billionaire Boys Club
Name of the movie: Billionaire Boys Club
Description of the movie: Led by their friend Joe Hunt, a group of wealthy young men in 1980s Los Angeles come up with a plan to get-rich-quick with a Ponzi scheme. The plan ends badly for all involved when Hunt and Jim Pittman end up murdering investor and con man Ron Levin.
Released in: 2018
Related topics: Billionaire Boys Club is not an exception about how bad a Ponzi scheme might end. Those get-rich-quick methods are never worth it, and you should not get involved in one of them.
IMDB Rating: 5.6/10 from 11,557 votes
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23) Wall Street: Money Never Sleeps
Name of the movie: Wall Street: Money Never Sleeps
Description of the movie: Although the sequel of Wall Street didnât get the raving reviews as the first movie, it still offers a valuable lesson about the business world.Â
Gekko, the main character, is once again at the center of the attention, but this time he tries to rebuild his company and fortune â alongside his future son-in-law. He uses some not-so-conventional and morally wrong methods to fight his rivals and enemies, and with his history, that may turn out to be a big mistake.Â
Released in: 2010
Related topics: How past bad business decisions can turn out to be problematic, even if you're a changed man â thatâs the main thing youâll learn from this movie.Â
But on the other side, another question arises - do people really change or adapt a certain shape the way it suits them or not? Youâll have time to think about these while watching the movie.Â
IMDB Rating: 6.2/10 from 96,806 votes
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24) The Secret of My Success
Name of the movie: The Secret Of My Success
Description of the movie: If you like the taste of corporate America, this movie is like a fine piece of beef. Itâs a comedy movie that sheds light on the business life leaders live.Â
The main storyline is about a character who wants to taste the big life in New York but will be faced with multiple obstacles along the way.
Itâs relaxing but at the same time enjoyable and fun to watch, with a pinch of background stories from the ones who are at the top of a company.Â
Released in: 1987
Related topics: One thing to take from this movie? Itâs basically about becoming successful without working hard â but working smart.
IMDB Rating: 6.5/10 from 28,860 votes
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25) Margin Call
Name of the movie: Margin Call
Description of the movie: Margin Call is created in a way that shows the other side of the business world - the psychological one.
Specifically, this movie is about the early days of the 2008 financial crisis, but its focus is on the psychological consequences of the people involved in the crisis rather than the financial one.Â
The action takes place in a 24-hour period where things start to crumble in one finance company, and everyone is trying to make the best of it.Â
Released in: 2011
Related topics: Margin Call is excellent for entrepreneurs who are not interested in complex economic or financial terms, but rather the mindset. The writing is light and understandable for anyone.Â
Aside from that, this business movie is every bit great at showing the psychological drama brokers went through during the 2008 crisis.
 As future businessmen, itâs important you acknowledge the stress a job can cause, and do some changes to prevent that from happening. Also, keep in mind that your decision can affect more people than just your employees.
IMDB Rating: 7.1/10 from 113,934 votes
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26) Catch Me If You Can
Name of the movie: Catch Me If You Can
Description of the movie: Based on a true story, this movie represents the high-class conworld, brought to you by Frank Abegnail himself, one of the most popular con men in history. Of course, we donât support any illegal activities to gain profit.
The reason we have this movie on our list is the skill set Frank has to achieve his goals â imagine if he was an honest man with that set of skills â charismatic, good with numbers and an eye for details, exceptional negotiation skills, and a personality that can blend anywhere. Those are skills any entrepreneur should aim to have.Â
Released in: 2002
Related topics: Every decision you make as a future entrepreneur will have consequences on you, your company, your employees â even your personal life.Â
Thatâs why itâs always better to think twice before making your final decision. Thatâs what Frank missed to do, and that ultimately, got him behind bars. Â
IMDB Rating: 8.1/10 from 796,971 votes
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27) Flash of Genius
Name of the movie: Flash of Genius
Description of the movie: If you want to watch a movie where you can root for the good guy, Flash of Genius is an excellent choice. Inspired by the real-life story of Robert Kearns, a college professor who invents the windshield wiper.Â
However, heâs not aware of what the big-shot auto companies have prepared for him, and if he wants to stay on top of his game, he needs to build a thick skin and not let anyone step on him.
Released in: 2008
Related topics: There are two crucial things you can take from this movie: one is the mindset of the big sharks. The other one is the persistence of the honest man and the way heâll defend himself.
No one should come and tell you that you donât deserve something youâve worked for â even if that someone is Ford.
IMDB Rating: 7.0/10 from 16,334 votes
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28) Office Space
Name of the movie: Office Space
Description of the movie: Office Space is a great example of rebel employees who are not satisfied with their job or with their bossâ attitude, so they decide to take matters into their own hands.Â
The story, although said in a funny way, elaborates on important topics in the workplace. The most important one is leadersâ communication style and employeesâ dedication to set things straight, even if that means using a less-ethical way to prove a point.Â
Released in: 1999
Related topics: If you want to get a glimpse of the mindset of an unhappy employee, this is a movie for you.
As entrepreneurs, keeping your workers happy should be one of the top priorities. Unless you want that to backfire to you like itâs the case in this business movie.Â
IMDB Rating: 7.7/10 from 237,261 votes
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29) The Godfather Trilogy
Name of the movie: The Godfather Trilogy
Description of the movie: Considered as one of the best movies of all time, The Godfather trilogy is not just one-of-a-kind stories â itâs the epitome of the rise and fall of an entire empire.
Despite being a crime movie, The Godfather trilogy is the perfect example of versatile human behavior and the consequences of it on business. Everything in life is negotiation, one way or the other, and this movie does an impeccable job of showing that on-screen.
Besides being a masterpiece, this movie is an absolute must for everyone, but even more so if youâre on the verge to start your own business.Â
Released in: 1972, 1974 and 1990
Related topics: As one of the most famous movie quotes is âIâm going to make him an offer he canât refuseâ, you can learn a lot about negotiation from the movie, along with other things like staying true to yourself and keeping your business and personal reputation at the highest level. Â
IMDB Rating: 9.2/10, 9.0/10, 7.6/10.
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30) Rogue Trader
Name of the movie: Rogue Trader
Description of the movie: Is there such a thing as too much ambition? For the stockbroker Nick Leeson, the main character in this movie, this was the harsh reality.Â
The story becomes even more demoralizing as Nick gains a precious career opportunity that unfortunately, he takes full advantage of and makes risky investments.Â
Rogue Trader is the ultimate movie that shows the devastating effect of bad business decisions on both the company and the person itself.
Released in: 1999
Related topics: No entrepreneur could become successful if thereâs a lack of ambitions.
However, knowing when to stop is a good sign of a rational mindset. You can learn a lot on how to avoid making business decisions that will backfire at some point, which may even put you to prison. Â
IMDB Rating: 6.4/10 from 9,237 votes
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31) Lord Of War
Name of the movie: Lord Of War
Description of the movie: Business and pleasure donât mix â thatâs unless youâre Yuri Orlov, a famous fictional arms dealer. You may find yourself rooting for him in the movie, even though heâs the bad guy. His rags-to-riches story may be one of the reasons for it, alongside with the human inability to fight the system. Itâs an entertaining movie, despite telling a story that turns dark rather quickly.Â
Released in: 2005
Related topics: The movie puts on display the moral code a businessman has â or whatâs left of them in the chase for more money and power.Â
Lord of War does a great job answering the ancient question â is your business in line with your ethical principles? Every business owner has found themselves in such a dilemma at one point or another and whatâs important is to make the right choice â not only for yourself but also for your closest ones.Â
IMDB Rating: 7.6/10 from 289,449 votes
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32) Something Ventured
Name of the movie: Something Ventured
Description of the movie: Something Ventured tells the story of investors from the mid-20th century. Itâs a documentary that includes interviews with prominent American venture capitalists from the 60s, 70s, and 80s, most of which are the founders of companies like Apple, Intel, Cisco, etc.
The movie shows actual footage and conversations and uncovers the background stories, shedding a light on how some of these popular companies managed to scale and expand.
Released in: 2011
Related topics: In an hour and a half, youâll see how a handful of men managed to create a stable foundation and build companies from scratch, companies that will soon rule the world of business and technology.Â
Also, the audience is not spared from the juicy details and the misunderstanding between investors â there were a lot of ups and downs, and youâll get them all - firsthand!Â
IMDB Rating: 7.0/10 from 678 votes
33) Two for the Mone
Name of the movie: Two for the Money
Description of the movie: A former football player whose exceptional at sports-betting gets noticed by one smart man in the sports consulting industry and receives an offer thatâs hard to decline.Â
However, once the money starts rolling in and the greed starts rising up, itâs a downward spiral all the way. â
Two For The Money is an enjoyable movie that shows the dark side of betting, but also the consequences of poor business decisions mixed with greed.
Released in: 2005
Related topics: Proficient communication skills are key for any founder-to-be and here Brandonâs smooth-talking skills can teach you a lot.
This movie does an excellent job of showing what personal follies can do for your business and makes you think of the good old saying: once the money starts pouring in, do we know when enough is enough?Â
IMDB Rating: 6.3/10 from 42,725 votes
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34) Erin Brockovich
Name of the movie: Erin Brockovich
Description of the movie: Based on a true story, this movie is the epitome of encouragement and persistence â and we all lack that sometimes donât we?
Erin Brockovich has no experience or knowledge to work in the law industry, but she has motivation like no one else â and three mouths to feed.Â
What will start off as a simple rags-to-riches story will turn out as a battle against one corporation thatâs slowly destroying the lives of citizens of Hinkley, California.Â
Released in: 2000
Related topics: Watching this movie is like listening to a Rocky theme song while running â it will make you chant in front of the TV for Erin. Plus, as most of the entrepreneurs fight for the little guy, youâll recognize the same drive in this movie too.Â
Itâs always good to remind yourselves that seeing the big picture can be beneficial for everyone, and you may even help someone along the way.
IMDB Rating:Â 7.3/10 from 170,257 votes
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35) Any Given Sunday
Name of the movie: Any Given Sunday
Description of the movie: Any Given Sunday itâs not just an average sports drama â itâs a two and a half hours long school on life.
The passion, enthusiasm, and desire to continue to fight even when the odds are against you is the main storyline of this movie.
More than that, Any Given Sunday is about proper team management when there are multiple different characters, personalities, and set of skills. It may not be a classic business movie, but the resemblance is uncanny.
Released in: 1999
Related topics: Money makes the world go round, whether we like that or not. But, more important than that, is to stay humble to your closest people - thatâs the thing youâll remember from this movie.Â
The best way to become a better leader is to become more empathetic and youâll see a lot of those moments in this movie.Â
IMDB Rating: 6.9/10 from 110,488 votes
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36) Donnie Brasco
Name of the movie: Donnie Brasco
Description of the movie: Donnie Brasco tells the true story of an FBI agent, Joe Pistone who infiltrates the local mob after being taken under the wing of Lefty Ruggiero.Â
They become extremely close as the lines between Joeâs real and mob life get blurred. As the mob catches wind of a possible rat, Donnieâs time is almost up.
But heâs faced with the tough decision with dire consequences. His friend Lefty who trusted in him blindly might be killed off if he brings him in, and Donnie would be the one to put the final nail in his coffin.
Released in: 1997
Related topics: As with almost all mob movies, how to stay loyal is the most valuable lesson to be learned here.Â
Trusting someone blindly could be the downfall of a business so itâs always important to surround yourself with loyal and trustworthy people.Â
IMDB Rating: 7.7/10 from 271,468 votes
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37) Goodfellas
Name of the movie: Goodfellas
Description of the movie: The Goodfellas is a movie about Henry Hill, a man who tells the story of how he had wanted to become a gangster since he was a child.Â
Together with Tommy, they are groomed by the local mob capo Paulie and his associate Jimmy Conway to become part of the Lucchese crime family.
The first rules Jimmy lays on Henry, loyalty and trust, are the ones he ends up breaking.Â
Released in: 1990
Related topics: Goodfellas talks about a very important quality all business associates or even employees should possess: loyalty.
It shows how important it is to have loyal and trustworthy people around you when building and expanding a business. As this movie shows, one wrong move and the whole business falls apart like a house of cards. Â
IMDB Rating: 8.7/10 from 989,705 votes
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38) Invictus
Name of the movie: Invictus
Description of the movie: Having spent nearly 26 years in prison, Nelson Mandela is released in what would soon be the end of the apartheid in South Africa. After being elected president, he vows to unite the divided country for which he employs the help of Afrikaaner Francois Pienaar, the captain of the National Rugby team.Â
An inspiring movie based on the true story of Nelson Mandela, where we see the unification of an apartheid-torn nation through unconventional means: a win at the 1995 World Rugby Championship.Â
Released in: 2009
Related topics: Even though itâs a biographical sports drama and it might not be the most obvious choice for an entrepreneurship movie, thereâs much to be learned from Invictus.Â
For instance, the unconventional approach that Mandela takes and his leadership style by example. Skills and luck are important for a business to prosper, but unity and dedication to the cause can get it to the very top.
IMDB Rating: 7.3/10 from 147,308 votes
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39) Generation Startup
Name of the movie: Generation Startup
Description of the movie: Generation Startup follows the journey of 6 college students willing to put everything on the line in order to develop startups in Detroit.Â
This movie shows us the frontlines of entrepreneurship in America, presents us with all it takes to launch a startup, and the potential outcomes.
Released in: 2016
Related topics: There is a reason why this movie found its place on our list. Younger entrepreneurs can take valuable notes and see that planning a startup from scratch is an arduous task.Â
The actors are strongly determined to reach the top through hard work and creative ideas, encouraging the audience to do the same.
IMDB Rating: 6.5/10 from 84 votes
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40) The Startup Kids
Name of the movie: The Startup Kids
Description of the movie: The Startup Kids is a documentary about young web entrepreneurs from around the world. The founders of Vimeo, Soundcloud, Dropbox, and more talk about what it takes to create a start-up, and the ugly side of the business world.
On the other hand, important people from the tech scene share their experience working with young entrepreneurs with brilliant, life-changing ideas.Â
Released in: 2012
Related topics: It should go without saying how helpful this documentary would be.
Itâs filled with inspirational stories from young entrepreneurs who share the challenges they have had to face before becoming CEOs of successful startups.
IMDB Rating: 6.7/10 from 622 votes
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41) The Goods: Live Hard, Sell Hard
Name of the movie: The Goods: Live Hard, Sell Hard
Description of the movie: The storyline goes like this: a failing car dealership and its employees help a used car liquidator Don and his team to sell over 200 cars for the 4th of July.Â
Through various marketing gimmicks and cheap tricks, Don tries to achieve the goal, however, his dishonest tactics prove fruitless. In the end, they do achieve the goal, but not before Don learns a valuable lesson about team play.Â
Released in: 2009
Related topics: The underlying theme of the movie is indeed the power of teamwork, a lesson even the main character needed to learn.Â
Itâs not baseless when they say that teamwork makes the dream work because a good team can go a very long way. With a good and strong team around you, the skyâs the limit.Â
IMDB Rating: 5.8/10 from 20,513 votes
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42) Limitless
Name of the movie: Limitless
Description of the movie: A movie thatâs as much about science as it is about business, Limitless portrays the story of Edward Mora, a struggling writer who gets his hands on a brain-enhancing drug.
We see his exploits under the influence of the drug, both the good and the bad ones.
The movie is centered around our responsibility to be better people when we have the edge over our competition and others in need.
Released in: 2011
Related topics: What if we use 100% of our brains? This movie portrays the good and the bad side of this phenomenon. Itâs a good movie choice to provoke people to think about what kind of person and businessman they would like to be.Â
IMDB Rating: 7.4/10 from 518,181 votes
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43) August
Name of the movie: August
Description of the movie: Itâs not easy to run a business and have a fulfilling social life, but Tom seems to balance it pretty well.Â
Thatâs until things start to crumble, clients start to stall and the company starts to lose money. Once youâre down, the cost of getting up is much higher and this movieâs storyline covers that in detail.Â
Released in: 2008
Related topics: August is a fall from graceâ movie, a perfect example of how failed planning, a false sense of power, freedom, and money can do to a man. You might question your own beliefs as an entrepreneur once you see Tomâs somewhat immoral acts.
IMDB Rating: 5.3/10 from 4,008 votes
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44) Coach Carter
Name of the movie: Coach Carter
Description of the movie: Donât let the high-school storyline mislead you â thereâs more to this movie than the regular, rebellious, 18-years-old youngsters.Â
This sports drama is the perfect example of what the right person, at the right time, with the right resources, can do of an almost failed college basketball team. The impeccable leadership skills coach Carter shows will discipline even the most rebellious team members.
Released in: 2005
Related topics: More important than success is building long-lasting relationships with people, whether those are current or potential employees, or even regular basketball players.Â
Doing the right thing is more important than conquering awards and this movie does an excellent job of reminding everyone about its value of it.Â
IMDB Rating: 7.3/10 from 123,262 votes
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45) A Beautiful Mind
Name of the movie: A Beautiful Mind
Description of the movie: The storyline in A Beautiful Mind touches multiple pinpoints, itâs hard to pick just one.
An absolutely brilliant movie, with an even better story â a mathematical genius who accepts a job that will tear his life apart. Itâs a bit different from the rest of the movies on our list, but itâs worth watching.
Released in: 2001
Related topics: A Beautiful Mind will show you a side of the mind of a genius, and youâll get to see how his entire life revolves around it.
One poor decision and it can all go down the drain, even though in Johnâs case, itâs much more complex than that.Â
IMDB Rating: 8.2/10 from 825,509 votes
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46) The Blind Side
Name of the movie: The Blind Side
Description of the movie: Another sports drama based on a true story. The Blind Side is a movie that shows the human side of successful people.Â
More often than not, rich people are seen as bad in society, but there are those who want to do good.
This is a story about a woman who takes a young man under her wing, and tries to make him not only a top student and baseball player out of him but a better human being.Â
Released in: 2009
Related topics: The Blind Side is a great reminder that no one succeeds alone in this world.
Everyone needs help from time to time, and even though many entrepreneurs think that they can do everything alone, asking for help doesnât mean defeat or failure.
If you have the right people around you, success is the last thing youâll achieve â becoming a better human being first, successful entrepreneur last.
IMDB Rating: 7.6/10 from 285,259 votes
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47) Thank You for Smoking
Name of the movie: Thank You for Smoking
Description of the movie: Donât let the title mislead you â this movie is not about smoking.
Well, not entirely. Nick Naylor, the main character and CEO of a tobacco company, has a challenge in front of him â how to make cigarettes more popular even though the health industry doesnât recommend them, and raise a preteen son while doing so?
Thank You For Smoking has all the pinpoints of the challenges entrepreneurs face: personal beliefs, market demand, and family relationships â how to keep everyone happy and not lose a dime.Â
Released in: 2005
Related topics: Thank You For Smoking answers the ancient question every entrepreneur has at one point in life - how is my business in accordance with my personal beliefs? Do I still believe in the good side of my business or Iâve lost it somewhere along the way?
As entrepreneurs, youâre sometimes too busy or too deep into it, that you might lose sight of the bigger picture - this movie will help you visualize it.Â
IMDB Rating: 7.6/10 from 210,969 votes
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48) Inside Job
âName of the movie: Inside Job
Description of the movie: Inside Job is a comprehensive analysis of the 2008 global financial crisis.
The movie shows how the crisis cost about $20 trillion and caused millions of people to lose their jobs and homes in the worst recession since the Great Depression.Â
Released in: 2010
Related topics: Inside Job illustrates how important it is to learn about financial markets and the forces that drive them.
We can see that financial institutions are closely linked together, so if one falls, it could cause a snowball effect that would potentially affect the whole country and even have a worldwide impact. It is a must-watch for those interested in the finance and banking industry.
IMDB Rating: 8.2/10 from â75,958 votes.
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49) Too Big to Fail
âName of the movie: Too Big to Fail
Description of the movie: Too Big to Fail is another one of our favourites when it comes to knowing what happened in the 2008 financial crisis in the United States.
The movie explains how the Treasury Secretary and Federal Reserve Chairman at the time worked together to deal with the disaster that had happened.
Released in: 2011
Related topics: This film teaches us the importance of learning how to prepare for the worst.
As entrepreneurs, itâs important to stay alert and prepare for economic downturns. And given the uncertainties of the last couple of years, I think we can all learn some things from this fantastic film.
IMDB Rating: 7.3/10 from â17,680 votes.
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50) War Dogs
âName of the movie: War Dogs
Description of the movie: During the war in Iraq, a young man offers his childhood friend a chance to make big bucks by becoming an international arms dealer.
The two soon find themselves in over their heads after landing a $300 million deal to supply Afghan forces, a deal that puts them in business with some very shady people.
Released in: 2016
Related topics: War Dogs teaches us the importance of always doing your research, no matter how much you think you know about a particular industry.
In the movie, the two young men underbid their competitors millions making them lose quite a lot of money. Â
This happens because they fail to do their research and prepare adequately. In business, you have to know what your competitors are doing and the value of what you are offering in order to succeed. This is one of those great movies everyone should watch.
IMDB Rating: 7.1/10 from â220,591 votes.
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What Business Movies Have You Watched?
So, how do you like our business movies list?
We tried to make it as comprehensive and complete as possible. Plus, we wanted to include something for everyone â from drama to crime movies all the way to regular business genres and Wall Street storylines.
Itâs not easy to be a CEO â itâs even harder to be a skillful CEO!
Thatâs why you should aim to become better in any way possible, and watching business movies can be the easiest way to do it!
Prepare your popcorn and choose any movie you like from the list!
Please, let us know if we missed your favorite one â weâre always ready to update the list!
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History of film - War Years, Post-WWII Trends
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History of film - War Years, Post-WWII Trends: During the U.S. involvement in World War II, the Hollywood film industry cooperated closely with the government to support its war-aims information campaign. Following the declaration of war on Japan, the government created a Bureau of Motion Picture Affairs to coordinate the production of entertainment features with patriotic, morale-boosting themes and messages about the “American way of life,” the nature of the enemy and the allies, civilian responsibility on the home front, and the fighting forces themselves. Initially unsophisticated vehicles for xenophobia and jingoism with titles such as The Devil with Hitler and Blondie for Victory (both 1942), Hollywood’s wartime
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Decline of the Hollywood studios
During the U.S. involvement in World War II, the Hollywood film industry cooperated closely with the government to support its war-aims information campaign. Following the declaration of war on Japan, the government created a Bureau of Motion Picture Affairs to coordinate the production of entertainment features with patriotic, morale-boosting themes and messages about the “American way of life,” the nature of the enemy and the allies, civilian responsibility on the home front, and the fighting forces themselves. Initially unsophisticated vehicles for xenophobia and jingoism with titles such as The Devil with Hitler and Blondie for Victory (both 1942), Hollywood’s wartime films became increasingly serious as the war dragged on (Fritz Lang’s Hangmen Also Die, Jean Renoir’s This Land Is Mine, Tay Garnett’s Bataan, all 1943; Delmer Daves’s Destination Tokyo, Alfred Hitchcock’s Lifeboat, Lewis Milestone’s The Purple Heart, all 1944; Milestone’s A Walk in the Sun, 1946). In addition to commercial features, several Hollywood directors produced documentaries for government and military agencies. Among the best-known of these films, which were designed to explain the war to both servicemen and civilians, are Frank Capra’s seven-part series Why We Fight (1942–44), John Ford’s The Battle of Midway (1942), William Wyler’s The Memphis Belle (1944), and John Huston’s The Battle of San Pietro (1944). The last three were shot on location and were made especially effective by their immediacy.
(Read Alfred Hitchcock’s 1965 Britannica essay on film production.)
When World War II ended, the American film industry seemed to be in an ideal position. Full-scale mobilization had ended the Depression domestically, and victory had opened vast, unchallenged markets in the war-torn economies of western Europe and Japan. Furthermore, from 1942 through 1945, Hollywood had experienced the most stable and lucrative three years in its history, and in 1946, when two-thirds of the American population went to the movies at least once a week, the studios earned record-breaking profits. The euphoria ended quickly, however, as inflation and labor unrest boosted domestic production costs and as important foreign markets, including Britain and Italy, were temporarily lost to protectionist quotas. The industry was more severely weakened in 1948, when a federal antitrust suit against the five major and three minor studios ended in the “Paramount decrees,” which forced the studios to divest themselves of their theater chains and mandated competition in the exhibition sector for the first time in 30 years. Finally, the advent of network television broadcasting in the 1940s provided Hollywood with its first real competition for American leisure time by offering consumers “movies in the home.”
The American film industry’s various problems and the nation’s general postwar disillusionment generated several new film types in the late 1940s. Although the studios continued to produce traditional genre films, such as westerns and musicals, their financial difficulties encouraged them to make realistic small-scale dramas rather than fantastic lavish epics. Instead of depending on spectacle and special effects to create excitement, the new lower-budget films tried to develop thought-provoking or perverse stories reflecting the psychological and social problems besetting returning war veterans and others adapting to postwar life. Some of the American cinema’s grimmest and most naturalistic films were produced during this period, including those of the so-called social consciousness cycle, which attempted to deal realistically with such endemic problems as racism (Elia Kazan’s Gentleman’s Agreement, 1947; Alfred Werker’s Lost Boundaries, 1949), alcoholism (Stuart Heisler’s Smash-Up, 1947), and mental illness (Anatole Litvak’s The Snake Pit, 1948); the semidocumentary melodrama, which reconstructed true criminal cases and was often shot on location (Kazan’s Boomerang, 1947; Henry Hathaway’s Kiss of Death, 1947); and the film noir, whose dark, fatalistic interpretations of contemporary American reality are unique in the industry’s history (Tay Garnett’s The Postman Always Rings Twice, 1946; Orson Welles’s The Lady from Shanghai, 1947; Jacques Tourneur’s Out of the Past, 1947; Abraham Polonsky’s Force of Evil, 1948).
The fear of communism
Film content was next influenced strongly by the fear of communism that pervaded the United States during the late 1940s and early ’50s. Anticommunist “witch-hunts” began in Hollywood in 1947 when the House Un-American Activities Committee (HUAC) decided to investigate communist influence in movies. More than 100 witnesses, including many of Hollywood’s most talented and popular artists, were called before the committee to answer questions about their own and their associates’ alleged communist affiliations. On November 24, 1947, a group of eight screenwriters and two directors, later known as the Hollywood Ten, were sentenced to serve up to a year in prison for refusing to testify. That evening the members of the Association of Motion Picture Producers, which included the leading studio heads, published what became known as the Waldorf Declaration, in which they fired the members of the Hollywood Ten and expressed their support of HUAC. The studios, afraid to antagonize already shrinking audiences, then initiated an unofficial policy of blacklisting, refusing to employ any person even suspected of having communist associations. Hundreds of people were fired from the industry, and many creative artists were never able to work in Hollywood again. Throughout the blacklisting era, filmmakers refrained from making any but the most conservative motion pictures; controversial topics or new ideas were carefully avoided. The resulting creative stagnation, combined with financial difficulties, contributed significantly to the demise of the studio system, although, paradoxically, the actions that the studios took between 1952 and 1965, including the practice of blacklisting, can be viewed as an attempt to halt the industry’s decline.
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| 77 |
https://variety.com/2023/film/news/paramount-global-revives-republic-pictures-1235563417/
|
en
|
Paramount Global Revives Republic Pictures, Historic Home to John Wayne and Orson Welles, as Acquisition Label (EXCLUSIVE)
|
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[] |
[
""
] | null |
[
"Matt Donnelly"
] |
2023-03-24T17:29:24+00:00
|
Paramount Global Content Distribution has revived Republic Pictures as an acquisitions label.
|
en
|
Variety
|
https://variety.com/2023/film/news/paramount-global-revives-republic-pictures-1235563417/
|
Republic Pictures, a historic movie label founded in 1935 and shuttered in 1967, has been revived by parent company Paramount Global. The banner will function as an acquisitions play, releasing titles acquired by Paramount Global Content Distribution.
“We’ve chosen to revitalize the Republic banner given its storied history of delivering popular movies to a global audience,” said Dan Cohen, Paramount chief content licensing officer and newly named president of Republic Pictures. “With our best-in-class global distribution teams working to identify the best homes around the world, we aim to continue that legacy by offering audiences great entertainment across all genres.”
Two films have already been set as Republic Pictures releases. The first is “Winter Spring Summer or Fall,” the feature directorial debut of Tiffany Paulsen. It will star “Scream VI” and “Wednesday” supernova Jenna Ortega and Percy Hines White as two teens who fall in love over four days spread out across the calendar year. The second is “The Caine Mutiny Court-Martial,” from the legendary William Friedkin (director of “The Exorcist” and “The French Connection”). The project’s script is 50 years old and was written by Herman Wouk, adapted from his Pulitzer Prize-winning novel. Kiefer Sutherland, Jason Clarke and Jake Lacy are set to star.
Republic’s legacy is mostly centered around classic Westerns, many of them starring John Wayne, Gene Autry and Roy Rogers. Founded by Herbert J. Yates, the label also released films from director John Ford (“The Grapes of Wrath”) and Orson Welles (his 1948 take on “Macbeth,” in which he cast himself in the lead role).
|
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3324
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dbpedia
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2
| 20 |
https://variety.com/2021/film/news/mission-impossible-7-paranormal-activity-pet-sematary-paramount-plus-windows-1234914113/
|
en
|
ViacomCBS Overhauls Film Strategy With New Theatrical Windows, Epix Pact
|
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[
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2021-02-24T22:40:33+00:00
|
Paramount Plus is leaning heavily on movies, debuting "Mission: Impossible 7" and "A Quiet Place II" within 45 days of their theatrical bow.
|
en
|
Variety
|
https://variety.com/2021/film/news/mission-impossible-7-paranormal-activity-pet-sematary-paramount-plus-windows-1234914113/
|
Paramount Pictures is entering the streaming era in a big way, one that will see the 108-year old studio overhaul the way it releases and licenses the movies it makes.
As part of that effort, Paramount will substantially shrink the amount of time its films are in theaters. At the same time, the studio has adjusted its pay TV output deal with Epix in order to provide thousands of movie titles to the nascent Paramount Plus streamer.
In conjunction with ViacomCBS’ investor presentation today, Paramount Pictures will disclose that it is experimenting with a shorter exclusive exhibition window for theatrical releases. Instead of the traditional 90 days between theatrical release and the first home entertainment availability, Paramount will look to a 30-day frame for most titles and a 45-day theatrical window for tentpole titles including the upcoming “Top Gun: Maverick.” That’s in keeping with moves by rival studios to shakeup the status quo of the three-month wait that has frustrated studio leaders for so long.
Moreover, to help give some sizzle to the March 4 debut of Paramount Plus, a rebrand and expansion of the CBS All Access streaming service, Paramount plans to have two of its high-wattage titles — “Mission: Impossible 7” and “A Quiet Place Part II” — premiere on Paramount Plus after the 45-day theatrical release window.
“Audiences are changing in their habits and we want to make sure that these films are available when they’re fresh after a full theatrical run,” Paramount Pictures CEO Jim Gianopulos told Variety.
Paramount Plus will also have exclusive streaming rights to the Nickelodeon-branded movie “Paw Patrol” following its theatrical debut on Aug. 20.
The moves made during the past few months were designed to preserve the theatrical experience but also set Paramount Plus up for a strong launch on March 4, ViacomCBS president-CEO Bob Bakish told Variety.
“We think this is an excellent investment on the company’s part. We are creating a very compelling service for a broad base of consumers: families with kids, movie lovers, sports lovers,” Bakish said. “To see a movie on a 100-foot screen is a great experience for event pictures. And to be able to put our titles on our own streaming service has incredible value.”
By the summer, Paramount Plus should have upwards of 2,500 movie titles available to subscribers. These include library titles that are currently licensed to Epix, along with films from other studios such as MGM and Sony that appear on the cable channel. Miramax films will be on the service thanks to Paramount’s 2020 decision to buy a stake in the indie studio behind “Shakespeare in Love” and “Pulp Fiction.” The new pact with Epix enables Paramount Plus to have access to other hit franchises such as MGM’s James Bond library, despite the fact that those movies were produced by other studios. The result is a much more robust offering of hot film titles than Wall Street and Hollywood initially expected.
“The service carries the Paramount name and that brand is synonymous with over a century of filmed entertainment that has given audiences a certain expectation for great films,” said Gianopulos. “We want to make sure we deliver on that.”
In select cases, Paramount titles will head to the streamer before they premiere on Epix. As for original production, Paramount Pictures will also deliver to its namesake streamer a new “Paranormal Activity” film and a “Pet Sematary” prequel. In addition, Paramount will premiere “The In Between,” a supernatural thriller from “Chumscrubber” director Aries Posin, on the service. Going forward, Paramount expects to make between four to six original films for the service, many of which will be developed by Paramount Players, the studio division that backs genre and youth-oriented films.
The moves reflect the studio’s adjusted agreement with pay TV channel Epix, which has been the pay TV home of Paramount Pictures titles for the past 11 years. ViacomCBS has extended its Epix pact by one year, covering theatrical titles released through the end of 2023. In exchange, the studio gained a great deal of flexibility in windowing titles.
Paramount is taking a different approach from other studios. Warner Bros. is releasing its entire 2021 theatrical slate on HBO Max at the same time the films debut in theaters, which it has argued is a concession to the COVID-19 pandemic. Universal is deploying its own hybrid model, striking a deal with theater chains like AMC and Cinemark that enables the studio to debut its films on premium video on-demand within 17 days of theatrical premiere.
Paramount Pictures’ unveiling of its windowing shifts come as part of ViacomCBS’s presentation to investors about how it plans to differentiate Paramount Plus from the wave of new streaming offerings. The competition to take on Netflix has grown more pitched in recent months as Disney Plus, Peacock, HBO Max and others have all entered the fray. Paramount Plus’s origins date back to CBS All Access, which launched in 2014 and attracted some 8 million subscribers. ViacomCBS leaders believe the Paramount moniker enjoys broader global awareness than CBS does, hence the rebranding. However, the film studio wasn’t originally seen as a big pillar to supply content to Paramount Plus.
In the weeks leading up to the relaunch, there’s been a concerted effort to refocus on Paramount Pictures and reestablish the importance of movies for streaming services. It has resulted in a mad dash to close deals, renegotiate contracts and shorten widows on licensing fees.
Bakish disputed any suggestion of a scramble. He noted that CBS All Access began experimenting with movies last summer when it added about 300 titles last summer. It was clear early on that movies were sticky for All Access subscribers.
“We saw so much engagement that we knew that our film product matters,” Bakish said. “We always intended to have a big offering.”
The Epix agreement bolsters Paramount Plus’ film offerings substantially. Comparatively, HBO Max had approximately 2,000 films available at launch, Disney Plus kicked off with roughly 500 films and Netflix had 925 films ready to rent. Amazon Prime Video, which launched in 2006, has the biggest library by far with more than 13,000 movies and TV shows. Netflix currently houses about 4,000, while Disney Plus, Hulu and Peacock Premium each have approximately 600 to 800 movies that are cycled through.
“The true success of a streaming service is can a viewer find something that meets their taste, their preference, their mood at any moment of time across a variety of genres?” Gianopulos said. “If you can deliver that, that makes for a satisfied film viewer.”
Months ago there were internal conversations about using a splashy title like “A Quiet Place Part II” to coincide with the debut of Paramount Plus. But that idea was not embraced by the studio, which preferred to stick to a theatrical release strategy for the film even after Disney Plus and HBO Max generated buzz for the Christmas Day debuts of “Soul” and “Wonder Woman 1984,” respectively. None of the films premiering on Paramount Plus have that kind of broad appeal. For the most part, Paramount has opted to release its upcoming blockbusters in theaters, delaying many movies until later in 2021 or 2022 in the hopes of outrunning the pandemic.
During coronavirus, Paramount has sold several films to streaming rivals, such as “Without Remorse” and “The Trial of the Chicago 7.” At one point, “Coming 2 America,” the Eddie Murphy and Arsenio Hall comedy that was sold to Amazon Prime in November, was thought to have been a possible candidate to debut on Paramount Plus. However, the service didn’t come up with a deal that was as attractive as the $125 million that Amazon shelled out for the comedy. Gianopulos acknowledged that there were discussions about selling some of these films to Paramount Plus, but the service wasn’t ready to make the move.
“It was a little early for Paramount Plus,” he said. “The timing wasn’t quite right. I think going forward you would see some decisions made differently if films go directly to a service.”
Rebecca Rubin contributed to this report.
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https://www.paramountpressexpress.com/paramount-plus/releases/%3Fview%3D109817-paramount-movie-nights-returns-this-summer
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https://www.statista.com/topics/964/film/
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Film industry in the United States and Canada - statistics & facts
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Film entertainment in the U.S. pulls in billions of dollars each year. Find more up-to-date film industry and box office revenue figures in the United States here.
|
en
|
Statista
|
https://www.statista.com/topics/964/film/
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| 4 |
https://www.hollywoodreporter.com/business/business-news/paramount-pictures-studio-hollywood-movies-1235838109/
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en
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The Ruthless Rise and Fall of Paramount Pictures During Hollywood’s Golden Age
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2024-02-29T16:40:13+00:00
|
Paramount Pictures early years and history: The studio once defined the industry's zeal for consolidation, pioneering vertical integration.
|
en
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The Hollywood Reporter
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https://www.hollywoodreporter.com/business/business-news/paramount-pictures-studio-hollywood-movies-1235838109/
|
“I’ve seen Paris, France, and Paris, Paramount Pictures,” Ernst Lubitsch said, or so they say, “and on the whole I prefer Paris, Paramount Pictures.”
The great director’s preference for the Hollywood city of lights over the French one expresses a common enough affinity for illusion over reality, but the studio in question was not chosen for alliteration alone. If gritty Warner Bros. specialized in mean streets and threadbare apartments and glitzy MGM spent big on grand hotels and emerald cities, Paramount transported moviegoers into realms of dreamy exoticism, allegedly set in Vienna, Budapest or St. Petersburg, but conjured with better-than-the-original costuming, set design, lighting and dialogue. In an age before jumbo jets, who was to quibble over verisimilitude?
A new version of Paramount looks to be a-borning: Controlling stakeholder Shari Redstone may put her company on the auction block. Whatever conglomerate or mogul buys the assets, it’ll have a legacy to live up to, whether it wants to or not.
The Paramount story begins with its legendary and long-lived founding mogul, Adolph Zukor. Born in 1873, a Hungarian Jew, he arrived in New York at age 15 and made his first real money in the fur trade, where he learned about the vagaries of fashion and the primacy of female tastes, not bad training for his next career move, the amusement trade, first penny arcades and then tent show exhibition at the dawn of cinema. In 1903, he joined forces with the theatrical impresario Marcus Loew and got in on the ground floor of a promising new business.
The first iteration of Zukor’s motion picture empire was the Famous Players Film Company, founded in 1912, whose motto was “famous players in famous plays.” Like Carl Laemmle at Universal, he understood early on that people came to the movies to look at faces, so he paid the famed stage actress Sarah Bernhardt the regal sum of $35,000 to import her French-made starring vehicle Queen Elizabeth (1912), a biopic comprised of “three artistically tinted and toned reels.” He paid even more for the first true superstar of the silent screen, Mary Pickford, who made her name at Biograph but her fortune at Famous Players. Hired at $1,000 per week in 1913, America’s moneywise sweetheart was raking in $250,000 per year by 1916.
The other pillar of the Zukor enterprise was architectural. Foreseeing that ramshackle nickelodeons would not long contain a burgeoning mass audience, he gobbled up real estate, retooled theatrical houses and built grand motion picture palaces to showcase the emerging art. In 1914, Famous Players merged with a prestigious sounding outfit founded by distributor W.W. Hodkinson, Paramount Pictures Corporation. Hodkinson had created a memorable trademark for the company: a circle of stars wrapped around a snow-capped Rocky Mountain (Hodkinson was from Utah). Zukor soon ousted Hodkinson, but he kept the name and logo, still in use. By around 1916, the Paramount Pictures we know had come into being with the establishment of a West Coast production plant to match its East Coast plant in Astoria, New York. The latter was overseen by Jesse L. Lasky, Zukor’s longtime collaborator and competitor. Lasky would remain a vital player at Paramount until 1934.
Zukor’s zeal for consolidation and acquisition was relentless. He formatted the economic program that defined classical Hollywood cinema — the vertical integration of production, distribution and exhibition under a single studio shingle. A true oligopoly, it would serve as the model for each of the four other major studios that made up Hollywood’s Big Five (Warner Bros., MGM, Fox and RKO). As the film historian Robert Sklar stated in his landmark 1975 study Movie-Made America: A Cultural History of America Movies: “The studio system was the house that Adolph Zukor built.”
Under the management of B.P. Schulberg, head of production from 1925 to 1932, Paramount thrived with an eclectic and diversified product line. The highlight reel would include jazz age avatar Clara Bow, who embodied the antecedent in It (1926); William Wellman’s aerial spectacle Wings (1927), the first best picture winner; and Rouben Mamoulian’s innovative early sound film Applause (1929). Already, the studio was cultivating a reputation for smarts and sophistication. Overhearing his father and screenwriter Herman J. Mankiewicz breaking down the script for Mamoulian’s film version of Robert Louis Stevenson’s Dr. Jekyll and Mr. Hyde (1931), Budd Schulberg knew that “they weren’t ignoramuses butchering the classics; they were men and women who knew their Stevenson and were serious about bringing his work to the screen as authentically as possible.”
By the early 1930s, the Paramount house style had emerged. The code word was “Continental” — meaning that in location and attitude, the films affected a suave European worldliness about human desire that might ordinarily be expected to shock Victorian Americans — a mistress on the side, an adulterous lapse, a session of no-guilt transactional sex, all conducted in elegant-to-baroque surroundings somewhere offshore. Two directors — one florid, one discreet — typified Paramount in peak form: the authentically Viennese but bogus aristocrat Josef von Sternberg and the brilliant comedian of manners, Ernst Lubitsch.
Von Sternberg’s breakthrough was The Blue Angel (1930). Shot for Paramount at UFA studio outside of Berlin, simultaneously in German and English language versions, it brought Weimar decadence stateside in the person of Marlene Dietrich, who left for Paramount the very night the film premiered in Berlin. “She’s an eyeful,” low whistled Variety, eyeballing “those Continental soubrette costumes of much stocking, bare limb, and garters.” Commenting on the von Sternberg-Dietrich collaboration, film historian Ethan Mordden marveled at “a Continental art of such gesticulative eroticism, such impishly grotesque sophistication, that even today it’s hard to believe that Paramount let them make six films together within five years.”
Lubitsch’s eponymous touch was already his auteurist billing when he came from Germany to Hollywood in 1922 — brought over by Pickford, to supervise her persona shift as a Spanish street singer in Rosita (1923) — but he imprinted his “saucy but not salacious brand of screen satire” at Paramount. In Lubitsch’s hands, the potentially censor-enraging Design for Living (1932) — about a ménage á trois — could be utterly disarming with a practical solution for an age-old problem: A girl like Miriam Hopkins shouldn’t really be forced to choose between Gary Cooper and Fredric March, should she? Such was Paramount’s reputation for “smart and sophisticated” screen fare that studio publicity had to pull back for fear of scaring away the rubes. “Don’t misunderstand the word ‘smart,’” the pressbook for Lubitsch’s Trouble in Paradise (1932) assured exhibitors. The film was “not over the heads of the mob — and not a picture for the intelligentsia only.”
The Continental (the word is inescapable when talking about Paramount) spirit onscreen also seems to have infused the studio workplace. Passing under the Bronson Gate on Marathon Street (a signpost almost as famous as the “Paramountain”), cast and crew entered a self-contained community with its own barbershop, gym, clinic and cafeteria (where Cecil B. DeMille could be spotted at his table, presiding like Ramses).
Even allowing for the nostalgic gauze filtering the lens of memory, studio veterans speak of Paramount as kind of backlot Camelot. In Sam Wasson and Jeanine Basinger’s Hollywood: The Oral History, cinematographer Ray Rennahan recalls Paramount as “the most homey and pleasant place to work of all of [the studios]. It was very friendly.” Director George Seaton used a German word to describe the cozy atmosphere: “It was very gemütlich.” In Sunset Blvd. (1950), even the haughty star Norma Desmond knows the name of the guard at the Bronson gate when one Paramount director, Billy Wilder, takes us inside to see another Paramount director, DeMille, at work.
Sometimes Paramount could be too welcoming to flashy foreigners with a signature style. In 1930, Jesse Lasky signed the Soviet director Sergei Eisenstein to a six-month contact. Why not? It worked with the Germans. “Mr. Eisenstein has been loaned by the Soviet government to that old radical group, Paramount, and he had hardly set foot on our Republican soil before he was [feted with] banquets and toured around town in Rolls-Royces by the local proletariat,” noted a bemused account in Motion Picture News. Unlike the German imports, however, Eisenstein refused to get with the capitalist program — he insisted there would be no talk, plot or stars in his films. Paramount and the Bolshevik parted ways before his contract was up.
Soon enough, though, Hollywood was having its own problems with capitalism. No studio was hit harder by the Great Depression than Paramount. Property rich but cash poor (it then owned 900 first-run theaters, all of which required massive investment for retooling for sound), it could barely meet its payroll. Worse yet, the revenue stream at the ticket window had dried up. “The Paramount flop in quality production” was the talk of the town.
By 1933, Paramount was on the verge of going belly up. In March, it filed for bankruptcy, the first major studio to be forced to do so. Scores of employees received pink slips. Zukor was not going to fire himself, so he fired B.P. Schulberg as head of production and began a frantic restructuring of production and finances. “Think of it,” said Billy Wilkerson, editor-publisher of The Hollywood Reporter, when he heard the news, “a company that, from the very start, meant tops in this business, a company the trademark of which was imprinted on the mind of every moving picture fan in the country, Paramount, a bankrupt now.”
What reversed Paramount’s death spiral was the timely arrival, not of a foreign director but a homegrown force of nature, the sass-mouthed, hip-swaying multihyphenate Mae West. Her back-to-back smash hits She Done Him Wrong (1933) and I’m No Angel (1933) single-handedly and double entendre-ly saved Paramount from insolvency. Called “the biggest sensation Paramount has had in more than 10 years,” West was the studio’s life preserver, which was only fitting since that’s what sailors called their chesty flotation devices during World War II. “The wages of sin in all cases is not death,” she wisecracked, proving her own maxim. Thanks to West, Paramount ended the year with a $6 million surplus.
In 1935, Lubitsch — a director — was appointed head of production at Paramount, another indication of how friendly the studio was to the talent. Contrary to expectations (“it is like taking one of the world’s greatest plastic surgeons and making him overseer of a general clinic”), it was not a case of promoting an artist to his level of managerial inefficiency. Lubitsch recruited some A-list colleagues — Frank Borzage, Lewis Milestone and King Vidor — but, thankfully, he returned to his true vocation the next year.
Under president Barney Balaban (1936-64) and vp in charge of studio operations Y. Frank Freeman (1938-59), Paramount enjoyed a long and healthy period of managerial stability. Freeman kept with the institutional ethos, mainly staying off the soundstages and letting the directors do their work. Freeman “quite honestly confessed that he knew nothing about films so he just let the filmmakers make the film,” said George Seaton.
In the later 1930s and during the war years, Paramount, like the rest of Hollywood, found it hard to lose money. Its most popular star was probably Bing Crosby, who in the end earned the studio more money than West with a series of ludicrously popular “road” films, beginning with The Road to Singapore (1940), with radio superstar Bob Hope. Crosby was even more successful as a singing priest in director-producer Leo McCarey’s Going My Way (1944) and The Bells of St. Mary’s (1945), the top box office hits of their respective years. Meanwhile, perhaps only Paramount would have rolled the dice by promoting a couple of mere screenwriters, traditionally Hollywood’s bottom feeders, into the director’s chair: Billy Wilder and Preston Sturges.
After the war, the bill for Zukor’s aggressive acquisition of theaters suddenly came due. The coast-to-coast circuit of Paramount theaters (in 1938, it owned 1,400 theaters in the U.S. and 275 in Canada) made the studio the target of choice when the Department of Justice sued the motion picture industry under the Sherman Antitrust Act for conspiring to create a monopoly in restraint of trade. The argument made by Paramount’s lawyers — that the monopoly existed only in the DOJ’s mind — proved unpersuasive. In 1948, when the Supreme Court issued its historic ruling that the studios must jettison their theater chains, it was Paramount that gave its name to the decision. The house that Adolph Zukor built was slated for demolition and with it the rest of the neighborhood.
As was true for all the major studios in the postwar era, Paramount underwent a gradual erosion of brand identity. The atmosphere behind the Bronson gate also became less gemütlichkeit. In 1953, George Weltner, head of international distribution for Paramount, suggested to Wilder that the Nazi spy who infiltrated the American POW barracks in Stalag 17 (1953) be changed to a Polish spy for release in the German market. A furious Wilder severed his 20-year relationship with the studio that had nurtured him.
However, for another old Paramount hand, the studio bond was still intact. The biggest hit of the decade — for Paramount, for Hollywood — came from the man who had been at the studio on and off since the very beginning, Cecil B. DeMille. Based on best-selling public domain source material, The Ten Commandments (1956) boasted a cast of thousands, state-of-the-art FX and enough pagan fun at the foot of Mt. Sinai to make up for the Mosaic lectures. The spectacle pulled millions of lapsed moviegoers away from their televisions for a motion picture event that was akin to a religious duty (“See The Ten Commandments — Keep the Ten Commandments!” urged ads). A company man, DeMille spread the wealth around. In a deal unprecedented in industry history, he earmarked a percentage of the profits for staff and crew who had been with him at the studio for a decade or more.
After The Ten Commandments, it was mostly downhill for the Paramountain — all the way down, actually. By 1966, the year the studio was bought by Gulf and Western, a mineral and mining company, its box office performance ranked dead last of the nine motion picture companies. The new ownership did not seem to place a high priority on the studio: The company’s first-quarter report referred to its sideline acquisition as its “leisure time division.” Variety snapped back: “also known as Paramount Pictures Corporation in the trade.”
Hollywood’s worst fears seemed confirmed when G&W board chairman Charles Bluhdorn appointed as head of production a pretty boy former actor named Robert Evans, a Type A hustler whose managerial approach was definitely not hands-off. The choice turned out to be inspired. Evans guided Paramount back on top with an astonishing run of crowd-pleasing hits like True Grit (1969) and Love Story (1970) and critical and commercial masterpieces like The Godfather (1972) and Chinatown (1974), one of which is certainly the best film of the decade.
Amazingly, in 1975, the year Evans left Paramount to go into independent production, Zukor, “the old man” (he had been called that since the 1930s), was still in harness as board chairman emeritus at the studio he had founded 60 years before. In Hollywood histories and archival documentaries, Zukor tends to get overshadowed because he was “everything that the fictional film tycoon was not,” as The New York Times noted. So, when Zukor died in 1976, at the age of 103, MPAA president Jack Valenti had no colorful anecdotes or amusing malapropisms to repeat, just a poignant truth: With “his death snaps the last link to the giant founders of the film in America.”
The last human link, that is: The house that Zukor built and the logo he lifted are still around. If you’re in the market, the brand has proven value.
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https://www.nywift.org/status-of-women-in-the-industry/
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en
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Status of Women in the Industry - New York Women in Film & Television
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2018-06-21T20:04:25+00:00
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The Celluloid Ceiling: Employment of Behind-the-Scenes Women on Top Grossing U.S. Films in 2023 In Hollywood’s 2023 box office triumphs, Greta Gerwig’s Barbie took center stage. Yet, amidst the celebration, the 26th annual Celluloid Ceiling Report by Dr. Martha M. Lauzen reveals a stark disparity: women directors accounted for a mere 16% on the 250 top-grossing films, down from 18%...
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en
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New York Women in Film & Television
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https://www.nywift.org/status-of-women-in-the-industry/
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The Celluloid Ceiling: Employment of Behind-the-Scenes Women on Top Grossing U.S. Films in 2023
In Hollywood’s 2023 box office triumphs, Greta Gerwig’s Barbie took center stage. Yet, amidst the celebration, the 26th annual Celluloid Ceiling Report by Dr. Martha M. Lauzen reveals a stark disparity: women directors accounted for a mere 16% on the 250 top-grossing films, down from 18% in 2022, and 14% on the 100 top films, up from 11% in 2022. The Celluloid Ceiling Report unveils a disconcerting trend – 75% of top-grossing films featured 10 or more men in pivotal roles, while only 4% extended the same opportunities to women. Overall, women represented 22% of directors, writers, producers, executive producers, editors, and cinematographers on the 250 top-grossing films, marking a 2 percentage point dip from 2022 and an overall increase of just 5 percentage points since 1998.
Indie Women: Behind-the-Scenes Employment of Women in U.S. Independent Film, 2022-23
First initiated in 2008, the Indie Women project monitors the employment of behind-the-scenes women working on films screening and/or streaming at 20 high-profile film festivals in the U.S. This report focuses on the representation of women working as directors, writers, producers, executive producers, editors, and cinematographers on domestically and independently produced feature-length documentaries and narrative films selected by the festivals from July 2022 through June 2023. The report showed the amount of screened narratives directed by women remain the same: In 2022-23, the U.S. festivals studied streamed and/or screened an average of 7 narrative films directed by women compared to an average of 10 narrative films directed by men. This marks a slight improvement from 2021-22. The amount of screened docs directed by women rose: For the first time since women’s representation at festivals has been tracked, fests streamed and/or screened equal numbers of documentaries directed by women and men in 2022-23. This marks a slight improvement from 2021-22. Learn more and see the full report.
Thumbs Down 2022: Film Critics and Gender, and Why It Matters
After steady but incremental increases in the percentages of women working as reviewers from 2016 to 2020, the percentage of female critics fell from 35% in 2020 to 31% in 2022, according to a new report by Martha M. Lauzen, Ph.D., Founder/Executive Director, Center for the Study of Women in Television and Film at San Diego State University. In the early months of this year (January through March), male reviewers outnumbered females by more than 2 to 1. Men comprised 69% (69.2%), women 31% (30.5%), and nonbinary individuals 0.3% of reviewers. In every job category, type of media outlet, and film genre, men’s voices dominate. In turn, the data shows that, on average, women reviewers award higher quantitative ratings to films with female protagonists than men reviewers, and that films directed by women comprise a larger proportion of reviews written by women than men. However, women’s underrepresentation as reviewers limits their ability to create a more level, more equitable, reviewing marketplace. Read the full report.
It’s a Man’s (Celluloid) World, Even in a Pandemic Year: Portrayals of Female Characters in the Top U.S. Films of 2021
In good times and pandemic times, male characters rule in film, according to the latest installment of It’s a Man’s (Celluloid) World, which found that In 2021, male characters outnumbered females by almost 2 to 1. Even the pandemic didn’t disrupt entrenched gender ratios in film that heavily favor male characters to females. The percentages of females in speaking roles and as major characters declined slightly, while the percentage of films with female protagonists increased slightly. An astounding 85% of films featured more male than female characters, but only 7% of films had more female than male characters. In the second box office year impacted by the pandemic, females comprised 34% of all speaking characters, down 2 percentage points from 36% in 2020 but even with the percentage in 2019. In 2021, the most foundational gender stereotypes lingered. Read the full article.
The Celluloid Ceiling in a Pandemic Year: Employment of Women on the Top U.S. Films of 2021
This year’s Celluloid Ceiling report for 2021 tracked women’s behind-the-scenes employment on top grossing (and now “Watched at Home”) films. After two consecutive years of increases in the percentage of women working as directors, their numbers declined in 2021. Women comprised 17% of directors working on the 250 top grossing films in 2021, down from 18% in 2020. The percentage of women working as directors on the top 100 films retreated from 16% in 2020 to 12% in 2021. Over 80% of films in 2021 were helmed by men. Overall, women accounted for 25% of those working in key behind-the-scenes roles (directors, writers, executive producers, producers, editors, cinematographers) in 2021, up from 23% in 2020. The rise in the overall percentage is due to increases in the percentages of women working as executive producers and producers. Read the full article.
Boxed In 2021: Women On Screen and Behind the Scenes on Broadcast and Streaming Television in 2020-21
More than half (52.2%) of the major characters on streaming programs shown during the 2020-21 season were played by women – an increase of seven percentage points from a year ago and a “recent historic high,” according to the latest “Boxed In” report. The report found females comprised 52% of major characters appearing on streaming programs but 45% on broadcast network programs. Programs on streaming services also had substantially higher percentages of women working as creators, directors, and editors than broadcast programs. Women accounted for 30% of creators, 31% of directors, and 24% of editors on streaming programs but 22% of creators, 19% of directors, and 15% of editors on broadcast network programs. The study also found that programs with at least one woman creator featured more female characters in speaking and major roles than programs with exclusively male creators. Read the full article.
2021 I Am Not a Fetish or Model Minority: Redefining What it Means to Be API in the Entertainment Industry
The Geena Davis Institute on Gender in Media teamed with the Coalition of Asian Pacifics in Entertainment and Gold House on a new study shedding light on representation and perceptions of Asian and Pacific Islanders in the entertainment industry. Among the top-grossing films dissected in the report, the study found that 17% of female API characters are verbally objectified, and 13.0% are visually objectified — a more common occurrence among API women than white women and other non-API women of color. API characters were also less likely to be shown in a relationship, with 83.3% of lead/co-lead/supporting API characters single, compared to 69.1% of white characters and 75.5% of non-API BIPOC characters. Read the full report.
Reflecting Me: Global Representation On Screen
This study is an in-depth exploration of how television and entertainment teach people about themselves and others, with more than 15,000 people surveyed from across 15 countries worldwide. The study was commissioned by ViacomCBS Networks International’s Race and Equity Taskforce, as part of Content for Change, a global ViacomCBS initiative that aims to counteract racism, bias, stereotypes, and hate through the company’s culture, creative supply chain, and ultimately the content it creates. Read the article.
2021 Hispanic and Latino Representation in Film: Erasure On-Screen & Behind the Camera
The Annenberg Inclusion Initiative assessed leading and co-leading Hispanic and Latino actors and all Hispanic and Latino speaking characters across 1,300 top-grossing films from 2007 to 2019, plus the presence of directors, producers and casting directors. The report shines a light on the absence of Hispanic and Latino representation in the film industry. The results reveal that there is little for the Latino community to celebrate in popular films. Read the full report.
Women’s Media Center 2021 Report: Gender & Non-Acting Primetime Emmy Nominations
The Women’s Media Center report shows that Emmy nominations continue to be dominated by men in the four top non-acting Emmy fields: producing, directing, writing, and editing. The number of women nominated for non-acting Primetime Emmys in 2021 decreased by 3% compared to 2020, according to a Women’s Media Center (WMC) analysis. Of the 2,337 people nominated for non-acting Primetime Emmys in 2021, 68% are men, while only 32% are women. ‘When nearly 7 of 10 nominees continue to be men, something needs to change,’ says WMC president. Since 2017 there has been a slow but steady increase in the number of women nominated for Emmys in non-acting categories. This is the first time since that defining moment that WMC’s annual analysis has shown a downturn. Read the full article.
2021 Inclusion in Netflix Original U.S. Scripted Series & Films
USC Annenberg Inclusion Initiative released a study examining the diversity of Netflix’s original content. Dr. Stacy L. Smith says, “Inclusion happens when women are given the keys to the kingdom.” This report demonstrates that Netflix takes its decision-making role seriously, is moving toward inclusion, and will continue to use data-driven metrics to ensure that its choices reflect the diversity of its audience and the talent that exists throughout the entertainment industry. The streamer is outpacing the industry in hiring women of color directors in films and series and have achieved gender equality in leading roles across our films and series. Read the full article.
Indie Women in a Pandemic Year: Dr. Martha M. Lauzen’s 2021 Report
This study tracks women’s behind-the-scenes employment on domestically and independently produced feature-length films streamed/screened at 20 high-profile festivals in the U.S. in 2020-21. Women accounted for 42% of individuals working as directors, writers, producers, executive producers, editors, and cinematographers on documentaries versus 35% of those working on narrative features. Festivals screened an average of 6 narrative features directed by at least one woman versus an average of 9 narrative features directed exclusively by men. Films with at least one woman director had substantially higher percentages of women working as writers, editors, and cinematographers. The percentages of women working in other key behind-the-scenes roles more than doubled. First conducted in 2008, this study has examined over 95,400 credits on more than 9,500 films over the years. Read the full report.
Women in the Workplace 2021 Report
This is the seventh year of Women in the Workplace, the largest study of women in corporate America. This effort analyzes the representation of women in corporate America, provides an overview of HR policies and programs—including HR leaders’ sentiment on the most effective diversity, equity, and inclusion (DEI) practices—and explores the intersectional experiences of different groups of women at work. The data set this year reflects contributions from 423 participating organizations employing 12 million people and more than 65,000 people surveyed on their workplace experiences; in-depth interviews were also conducted with women of diverse identities, including women of color, LGBTQ+ women, and women with disabilities. Read the full report.
It’s a Man’s (Celluloid) World: Dr. Martha M. Lauzen Releases New 2021 Report
According to the latest installment of It’s a Man’s (Celluloid) World, even in the atypical theatrical year that was 2020, it is worth examining the representation of females and males in film. The study considers the representation of female characters in the top 100 grossing films of 2020. The percentage of top-grossing films featuring female protagonists declined precipitously from 40% in 2019 to 29% in 2020. The representation of women as major characters and speaking characters increased slightly last year, with females accounting for 38% of major characters. Due to the interruption caused by Covid-19, the DEG’s “Watched at Home” list from March through December 2020 was compared to the top 100 list as a check that the top 100 films reflect the films that were most viewed. Read the full report.
2021 Dear Producer: Producers Sustainability Survey
Dear Producer has released the results of their first Producers Sustainability Survey. The in-depth report seeks to answer one main question: Is film producing a sustainable career, as it exists today? Dear Producer has attempted to take a snapshot of who makes up the producing community and what life is like for feature-length film producers working in the fiction and/or documentary space in 2020. The goal was to gather benchmark data on the state of independent film producing in the United States. The secondary goal was to use this data to advocate for producers in areas they identified as most important. Read more.
Where We Are on TV Report (2020-2021)
The Where We Are on TV report analyzes the overall diversity of primetime scripted series regulars on broadcast networks and looks at the number of LGBTQ characters on cable networks and streaming services for the 2020-2021 TV season. Of the 773 series regular characters scheduled to appear on broadcast scripted primetime television this season, 70 (9.1 percent) are LGBTQ. This is a decrease from the previous year’s record-high percentage of 10.2 percent, and the first season to see a decrease since the 2013-14 report. Read the full article.
2020 Celluloid Ceiling Report: Study Finds the percentages of women directors increased with recent historic highs
Even though the releases of highly anticipated big-budget features including Chloe Zhao’s Eternals and Cate Shortland’s Black Widow were pushed into 2021, the percentages of women directors increased in 2020. Women comprised 18% of directors working on the top 250 (domestic) grossing features in 2020, up from 13% in 2019 and 8% in 2018. Women accounted for 16% of directors working on the top 100 films, up from 12% in 2019 and 4% in 2018. The good news is that these figures represent two consecutive years of growth and recent historic highs. The bad news is that fully 80% of top films still do not have women at the helm. In 2020, the majority of films (67%) employed 0 to 4 women in the roles considered (directors, writers, executive producers, producers, editors, cinematographers), 24% employed 5 to 9 women, and 9% employed 10 or more women. The majority of films employed fewer than 5 women and 10 or more men in these key roles. Read the full report.
2020 Hollywood Diversity Report
This is the seventh in a series of annual reports to examine relationships between diversity and the bottom line in the Hollywood entertainment industry. Part 1, which focuses on 2018 and 2019 Hollywood theatrical films. Part 2, considers the latest two television seasons since the previous Hollywood Diversity Report release — the 2017-18 and 2018-19 seasons. It discusses any patterns between these findings and conventional and social media audience ratings. Read part one here. Read part two here.
2020 Living Archive: The Celluloid Ceiling, Documenting Two Decades of Women’s Employment in Film
For the first time, this report makes the findings of every edition of the 22 years of The Celluloid Ceiling study available. Since 1998, the annual Celluloid Ceiling report has tracked women’s employment as directors, writers, producers, executive producers, editors, and cinematographers working on the top 250 grossing films. Several big-budget films originally slated for release in the 2020 pre-pandemic world — including Cathy Yan’s Birds of Prey, Niki Caro’s Mulan, Patty Jenkins’s Wonder Woman 1984, Chloe Zhao’s the Eternals, and Cate Shortland’s Black Widow — promised to generate momentum for the issue of gender inclusion in the mainstream film industry this year. Some industry observers predicted 2020 would mark a turning point in women’s employment. The long view provided by The Celluloid Ceiling suggests that evolutionary change is more likely than a revolutionary shift. Read the full report.
Indie Women 2020: Behind-the-Scenes Employment of Women in Independent Film, 2019-2020
Women keep reaching new highs as writers and directors of indie films screening at major festivals. A new study from Dr. Martha M. Lauzen, of the Center for the Study of Women in Television and Film, has found that women represented 38 percent of directors on indie features and docs selected for major fests in 2019-2020, and 35 percent of writers. This bests last’s year’s numbers — also historic highs of 33% and 32%, respectively. “We have now seen gains over the last two consecutive years for women working as directors, writers, and producers in independent film,” Lauzen said. “The percentage of women working as directors on narrative films has more than doubled over the last decade, rising from 15% in 2008-09 to 33% in 2019-20.” There is, however, plenty of room for improvement. Overall, women make up just 34 percent of all directors, writers, producers, executive producers, editors, and cinematographers, and men 66 percent. Across the films considered for the study, women tended to fare better in documentary than in narrative features. Women filled 40 percent of key behind-the-scenes roles on docs, but only 29 percent on narratives. Read the full report.
Boxed In 2019-20: Women On Screen and Behind the Scenes in Television
According to the new “Boxed In” television report, from Dr. Martha Lauzen and San Diego State University’s Center for the Study of Women in Television and Film, streaming programs “featured substantially more female protagonists than programs on cable channels or broadcast networks” in the 2019-2020 season. Streaming services also saw new records of women working as creators, directors, writers, executive producers, producers, editors, and DPs last season. The study examines the representation of females on screen and employment of women behind the scenes on broadcast, cable, and streaming television programs. Women made up 35 percent of streaming shows’ creators, directors, writers, producers, executive producers, editors, and directors of photography. They comprised 31 percent of those roles on cable programs and 30 percent on broadcast. Now in its 23rd year, the project provides the most comprehensive historical record of women’s portrayals and employment in television available. Read the full report.
Thumbs Down 2020: Film Critics and Gender, and Why It Matters
This year’s edition of the “Thumbs Down: Film Critics and Gender, and Why It Matters” study finds little movement in key areas of representation. First conducted in 2007, Thumbs Down is the most comprehensive and longest-running study of women’s representation and impact as film reviewers available. The study finds that, before the pandemic shuttered movie theatres in the U.S. last spring, “male film reviewers outnumbered their female counterparts by nearly 2 to 1.” In the opening months of 2020, men comprised 65% and women 35% of print, broadcast, and online film reviewers in the U.S. More than twice as many of the films reviewed by female critics as male critics are directed by women. The overrepresentation of men as film reviewers coupled with the fact that a higher proportion of their reviews focus on male-driven stories and films directed by men advantage these films by lending them greater visibility in the critical marketplace. Read the full report.
2020 Inclusion in the Director’s Chair: Analysis of Director Gender & Race/Ethnicity
The study examined the prevalence of female directors working across 1,300 top-grossing films from 2007 to 2019. The report provides a deeper dive into the ecosystem surrounding popular films. The report also provides insight into the percentage of directors from underrepresented racial/ethnic groups and looks specifically at women of color working as directors. For the first time in over a decade, the number and percentage of women working as directors has increased. Read the full report.
WMC Investigation 2020: Gender and non-acting Oscar nominations
The number of nominations for women increased in the 92nd Academy Awards, but not by much, according to a Women’s Media Center analysis of the 19 non-acting categories. The overall percentage of female nominees in those categories rose by just 5 percentage points, from 25 percent last year to 30 percent this year, compared to 70 percent for male nominees. Gender parity in the movie industry got a boost in 2019. Women wrote and directed more profitable and critically acclaimed films than ever before, and more women had significant roles behind the camera as well. Yet that shift was not reflected in the Oscar nominations. Read the full report.
Women in the Workplace 2020 Report
This is the sixth year of the Women in the Workplace study a year unlike any other. At the beginning of 2020, before the Covid-19 pandemic began in the United States, the representation of women in corporate America was slowly trending in the right direction. This was most pronounced in senior management: Between 2015 and 2020, the share of women grew from 23 to 28 percent in SVP roles—and from 17 to 21 percent in the C-suite. Women remained dramatically underrepresented, particularly women of color, but the numbers were slowly improving. Read the full report.
2019 Are Ads Inclusive Yet?
In partnership with Google, the Geena Davis Institute on Gender in Media analyzed character depictions in the most-watched ads on YouTube between 2015 and 2019. The findings suggest that while the industry is making strides in presenting a more diverse array of people, it still has a ways to go when it comes to combating negative stereotypes and being inclusive across a broader cross-section of identities. View the report.
Representations of Black Women in Hollywood 2019 Report
This study examines representations of Black women and girls in entertainment media in 2019, as well as leading Black ladies from 2009 to 2019. Compared to previous studies, they found that Black girls and women have made substantial progress when it comes to showing up in entertainment media in numbers that reflect the broader population. However, when they appear, it is often in ways that reinforce stereotypes. Read the full report.
2019 I Want To See Me: Why Diverse Onscreen Representation Drives Cinema Audiences
The Geena Davis Institute on Gender in Media at Mount Saint Mary’s University and Movio have published extensive research on the topic of representation in media. Their analysis shows that there is some correlation between the representation of demographic cohorts on screen and their share of the total audience to a particular film. There is a clear opportunity for more films, aimed at a younger audience, to diversify the characters represented on screen considering the power media has on influencing values and thoughts, especially children. They also found that ultimately the industry will succeed if there is more on-screen representation because there is a ready and waiting audience. Read the full report.
It’s a Man’s (Celluloid) World: Dr. Martha M. Lauzen Releases New 2019 Report
Women made “unprecedented gains” as protagonists in the top-grossing films of 2019, according to the latest installment of It’s a Man’s (Celluloid) World, an annual report out of San Diego State University and The Center for the Study of Women in Television and Film, led by Dr. Martha M. Lauzen, which found that women achieved “recent historic highs” as lead characters in last year’s biggest hits. In 2019, women accounted for 37% of major characters. This represents an increase of 1 percentage point from 36% in 2018. Men comprised 63% of major characters. Women made unprecedented gains as protagonists in 2019. The percentage of films featuring female protagonists jumped from 31% in 2018 to 40% in 2019, reaching a recent historic high. 43% of films featured male protagonists, and 17% had ensembles. Last year, 45% of female protagonists appeared in studio features and 55% appeared in independent features. This marks a shift from 2018 when females were more than twice as likely to appear in independent features as studio features (68% vs. 32%). Read the report.
2019 Celluloid Ceiling Report: Study Finds Women Still Largely Underrepresented in Hollywood
A new report from San Diego State University (SDSU) finds that more than 10% of the directors on last year’s top films were women, which was more than twice as many as in 2018 and the highest number in over a decade. Dr. Martha Lauzen and the Center for the Study of Women in Television and Film have released The Celluloid Ceiling: Behind-the-Scenes Employment of Women on the Top 100, 250, and 500 Films of 2019, and its findings once again show how progress has been made off-screen in terms of gender equality. Women comprised 20% of all directors, writers, producers, executive producers, editors, and cinematographers working on the top 100 (domestic) grossing films of 2019, up from 16% in 2018. Women accounted for 21% of individuals in these roles on the top 250 films, up slightly from 20% in 2018. Women made up 12% of directors working on the top 100 grossing films in 2019, up from 4% in 2018 (and 8% in 2017), and 13% on the top 250 films, up from 8% in 2018 (and 11% in 2017). These figures represent recent historic highs. However, the percentage of women working as directors on the top 500 films declined slightly from 15% in 2018 to 14% in 2019. Read the full report.
2019 Marks Major Change in Hollywood Representation for Women Directors
For the first time in over a decade, both the number and percentage of women working as directors on some of Hollywood’s biggest feature films have increased. In the newest update of the Inclusion in the Director’s Chair Report run by the USC Annenberg Inclusion Initiative and led by Dr. Stacy L. Smith, we see multiple new statistics involving inclusion and diversity that are worth paying attention to. While of course, there are still plenty of strides to be made, the report reminds us to celebrate the accomplishments women have made thus far. The report, released on Tuesday, December 31, 2019, revealed 10.6% of the directors of 2019’s top movies were women. This marks a watershed moment as it is the highest percentage of female directors in the top films in 13 years. The study examined the presence of female directors working across the 1,300 top-grossing films from 2007 to 2019. The findings found that 12 women each directed one of the 100 top films in 2019. While the overall percentage of female directors across the 13-year time frame remains 4.8%, 2019’s number was the highest across the years examined. Read the report.
DGA Reports Half of 2018-2019 TV Episodes Helmed by Female & Minority Directors
The DGA has released their new Episodic Television Director Inclusion Report for the 2018-2019 TV Season. This year, for the first time ever, female and minority TV directors have directed half of all episodic TV shows. According to the Directors Guild’s latest diversity report, that’s up from last year’s record high of 42.5%, and up from just 21% five years ago. Further breaking down the data in the table below, the percentage of episodes directed by women grew to a record 31%, more than doubling in the past five years; and the percentage of episodes helmed by directors of color rose to a new high of 27%, increasing more than 40% in the past five years. Read the full report.
Boxed In: Women On Screen and Behind the Scenes in Television 2019
The Center for the Study of Women in Television and Film at San Diego State University has released the 2019 Boxed In: Women On Screen and Behind the Scenes in Television report. The study examines dramas, comedies, and reality programs appearing on the broadcast networks, basic and premium cable channels, and streaming services. In 2018-19, the percentages of female characters on screen and women working in key roles behind the scenes increased on television. Across broadcast, cable, and streaming platforms, female characters comprised 45% of all speaking characters, up from 40% in 2017-18. Behind the scenes, women accounted for 31% of all creators, directors, writers, executive producers, producers, editors, and directors of photography. Read the report.
USC Annenberg Inclusion Initiative & NALIP Study Finds Hollywood Still Falls Short in Latinx Representation
In a study from Dr. Stacy L. Smith and the USC Annenberg Inclusion Initiative in partnership with National Association of Latino Independent Producers (NALIP) and Wise Entertainment called “Latinos in Film: Erasure On Screen & Behind the Camera”, research proves that Hollywood has failed the Latinx community when it comes to their portrayal in popular movies. According to the study, women represented 49% of the leads or co-leads. However, 5 of those 17 roles went to only one female actress (Cameron Diaz). Only 4.5% of all 47,268 speaking or named characters across the last 12 years were Latinx, as were a mere 3% of lead or co-lead actors. This is not reflective of the size and impact of the Latinx community as 77% of U.S. states and territories have a population of Latinos greater than the percentage seen in Hollywood films. Read the report.
2019-2020 WGA TV Staffing Inclusion Report Card: Women and PoC continue to make gains
For years, the Writers Guild of America has called attention to discrimination in the entertainment industry. As part of that effort, the Writers Guild of America, West (WGAW) has released this updated Inclusion Report Card with data from the 2019 TV Staffing Season. The report states that women and minorities showed slight gains in the 2019-2020 TV series staffing season compared to a year ago, despite disruptions in the hiring process caused during the 105-day standoff between the guild and Hollywood’s talent agencies. Read the report.
Women’s Media Center Releases New Study on Women Representation in Sci-Fi and Superhero Films
A new study by the Women’s Media Center (WMC) in association with BBC America shows that 97 percent of science fiction and superhero films have been directed by men over the last 10 years. Titled SUPERPOWERING WOMEN in Science Fiction and Superhero Film: A 10-Year Investigation, this study is the second in a series of studies from Women’s Media Center in collaboration with BBC America highlighting the importance of representation. The past five years have seen “some improvement,” with females leading or co-leading 53 percent of superhero/sci-fi films, as compared to 2009-2013’s 36 percent. However, overall, 47 percent of the last five years’ films have featured solo male leads. Learn more.
Thumbs Down Report 2019: Male Critics Still Outnumber Women Two to One
Dr. Martha Lauzen along with the Center for the Study of Women in Television and Film have released their annual “Thumbs Down” report. First conducted in 2007, “Thumbs Down” is the longest running study of women’s representation and impact as film reviewers. The study accounts for critics working in all print, broadcast, and online outlets for Spring of 2019. This year’s report concludes that male film reviewers still outnumber women about two to one – as women only represent 34% of film reviewers in the U.S. as compared to last year’s 32%. Read the latest “Thumbs Down” report.
Indie Women Report 2019: Behind the Scenes Employment of Women in Independent Film
Dr. Martha M. Lauzen, the executive director of the Center for the Study of Women in Television and Film at San Diego State University, released the 2018-2019 Indie Women report in June 2019. Conducted since 2008, Indie Women is the only study that examines women’s behind-the-scenes representation on independently and domestically produced films screening at more than 20 high-profile festivals in the U.S., including SXSW, AFI, Sundance, and Tribeca.The percentages of women working as directors, writers, producers, executive producers, and editors on independent films reached historic highs in the 2018-2019 year. That said, independent films still employ more than twice as many men as women (68% vs. 32%) as directors, writers, producers, executive producers, editors, and cinematographers. Read the rest of the statistics.
USC Annenberg: Increasing Inclusion in Animation Report 2019
The USC Annenberg Inclusion Initiative in partnership with Women in Animation released a new report in June 2019 titled Increasing Inclusion in Animation: Investigating Opportunities, Challenges, and the Classroom to the C-Suite Pipeline. This study examines the state of inclusion for women in the animation business and is the first-ever investigation of its kind. In the past 12 years, only 3% of directors for animated movies were women, and just one, Kung Fu Panda 2’s Jennifer Yuh Nelson, was a woman of color. In addition, only 17% of the 120 top-grossing animated films from 2007 to 2018 had a female lead or co-lead, and just three of those movies boasted a woman of color as its protagonist. Read the full report.
UCLA Releases 2019 Hollywood Diversity Report
Earlier this year, the Ralph J. Bunche Center for African American Studies at UCLA released their 2019 Hollywood Diversity Report. Titled, “Old Story, New Beginning,” the report examined 12 different jobs among the creators, directors and top-billed cast of the top movies for 2017 as well as 1,316 broadcast television, cable and digital shows from the 2016 to 2017 programming season. See more.
Study: The Writers Guild of America West’s 2017-2018 Inclusion Report
A recent study conducted by The Writers Guild of America West found that inclusion in TV staffing for the 2017-2018 season displays discrimination in the industry on all levels. The study “WGAW Inclusion Report Card 2017-2018 TV Staffing Season” reports that between 2017-2018 there were 2,985 jobs staffed by writers for TV. And despite the U.S. population being 51% women, only 36% of TV writers jobs are held by women. The gap is even more expansive for people of color, who make up 39% of the U.S. population but only hold 27% of TV writer jobs. And for the 56.7 million Americans who identify as disabled, less than 1% make up all TV writers. Read the WGAW report.
TTIE Survey: 64% of Diverse TV Writers Experience Discrimination on the Job
The Think Tank for Inclusion & Equity (TTIE) shared its’ findings from their first official project, “Behind- The-Scenes: The State of Inclusion and Equity in TV.” TTIE conducted a Survey in which 282 Diverse (individuals who identified as women, non-binary, people of color, LGBTQ+, and/or people with disabilities) TV Writers for the project. 64% percent of those surveyed have encountered bias, discrimination, or harassment by members of their writing staff. Fifty-eight percent say their agents emphasize their “otherness” while pitching them for jobs, and 42 % started in entertainment as a “Diversity Slot” hire. 34% of women/non-binary respondents were the only woman or only non-binary person on the writing staff at least once. 38% percent of writers with disabilities, 65% of POC writers, and 68% of LGBTQ+ writers also report being the “only one.” Read the full report.
The Influence of Female Lead Characters Links to Political Engagement
Based on a recent study done by assistant professor Jennifer Hoewe in Purdue University’s Brian Lamb School of Communications and Lindsey Sherrill, a doctoral candidate at the University of Alabama, watching political dramas with a female lead could increase political engagement and boost viewers’ outlooks on women in politics. The study, “The Influence of Female Lead Characters in Political TV Shows Links to Political Engagement”, examined 218 individuals who regularly watch Madam Secretary, The Good Wife, or Scandal. 71% of these individuals indicated that they identify as female and all three of these shows are political dramas that feature a female lead. Learn more.
The Geena Benchmark Report Shows Male Characters in Chidlren’s Media Outnumber Female Characters 2-to-1
The Geena Davis Institute conducted an analysis of the top 100 grossing animated and non-animated family films between 2007-2017, called The Geena Benchmark Report, which studied the gender, racial, sexuality, and disability disparities within protagonists of these films. Within the study as a whole, researchers discovered that male leads outnumber female leads two to one. Half of movie-goers are women and 51% of women populate the U.S., yet male characters in family films constitute 71.3% of leading roles. There has been a slight increase of female protagonists within the ten-year study with 30.1% of leads in 2017 compared to 23.8% from 2007. Learn more.
Number of Films with Women and People of Color in Leading Roles Hits Record High
According to a new study put forth by the USC Annenberg Inclusion Initiative, representation for women and people of color in top grossing films is higher than ever. The study examines leading and co-leading roles in the top 100 grossing movies of 2018 (as well as those from the preceding 11 years for comparison), in order to provide a glimpse of the breakdowns of leading characters in terms of gender and race/ethnicity. The study found that a total of 40 films featured a female lead or co-lead out of the top 100 in 2018, which represents an increase in 8 % from 2017 and 20 percent from 2007. Though this is the highest number of female-led films in the 12 years studied, the percentage is still notably lower than that of the female population of the United States (51%) and that of women who buy tickets to see movies in theaters (50%). Films featuring people of color in leading roles also saw gains this year, with a total of 28 films with an underrepresented lead or co-lead (up 7% from 2017 and 15% from 2007). Read the full study.
WMC Investigation 2019: Gender and Non-Acting Oscar Nominations
The Women’s Media Center’s (WMC) Investigation 2019 Report finds- again- that women are missing from among the non-acting Oscar nominations in the following categories: Directing, Cinematography, Editing, Original Score and Visual Effects. Only one woman was nominated in Best Animated Feature Film and the two writing categories. This means 75% of non-acting Oscar Nominees are men. Compared to last years Academy Award nominations, the total number of women nominees in non-acting categories were down for Best Picture, Best Director, Original Screenplay, Editing, Cinematography, Production Design, and Animated Feature. Categories of Adapted Screenplay, Documentary Short, Original Score, and Original Song remain changeless with no women non-acting nominations for the past two years. See the full details.
Sundance Institute’s Artist Demographics Reveal Some Progress, More Work to Be Done
A recent study put forth by Sundance Institute and USC Annenberg Inclusion Initiative analyzes demographic data from submissions and acceptances to Sundance Film Festival and Sundance Institute’s Artist Support programs over the last two years. It reveals that while efforts for parity have been made, more work is needed. While the numbers have generally increased since the last study conducted in 2009, submissions by female directors are still under 50% in all festival sections. Read the full report.
Black Directors Hit Historic High in 2018, Intersectionality Remains Stagnant
USC Annenberg Inclusion Initiative’s annual “Inclusion in the Director’s Chair” report published in January 2019 shows the number of black directors reached a historic high in 2018, though representation and intersectionality among other demographics remained flat. The good news: 16 black directors helmed the top 100 grossing films, the highest number by far in the report’s 12-year history. (The previous best was only 7 directors out of 100, back in 2007.) However, only one of the 16 black directors is female: Ava DuVernay. In fact, only 7 black women directors TOTAL have directed a top 100 film since the study began in 2007. The numbers for female directors in general remain dismal, staying flat at 4% across the top 1,200 films from 2007 and 2018. And of those female directors, the vast majority are white. Read more.
“Celluloid Ceiling” Study Shows Decrease in Women Film Directors in 2018
The latest “Celluloid Ceiling” report from Dr. Martha Lauzen, Executive Director of the Center for the Study of Women in Television and Film at San Diego State University, released on January 3rd, 2019, shows that despite increased media attention on gender disparity in Hollywood, no real progress has been made. Despite recent high-profile breakthroughs (Ava Duvernay’s A Wrinkle in Time, Patty Jenkins’ Wonder Woman), the study of the top 250 films of 2018 at the domestic box office found that women comprised just 8% of the directors involved, down from 11% in 2017. The percentages of women directors also declined on the top 100 and 500 films. Overall, women comprised 20% of all directors, writers, producers, executive producers, editors, and cinematographers. This represents an increase of two percentage points from 18% in 2017. Read more.
2018
“Honey, I Hid the Kids!” Shows the Impact Caregiving Has on Film Careers in Australia
WIFT Australia Raising Films Australia Screen Industry Survey report, “Honey, I Hid the Kids!: Experiences of Parents and Carers in the Australian Screen Industry” was released at the 2018 Adelaide Film Festival. The report reveals significant challenges to being a working parent or carer in the screen industry, with 74% of respondents reporting the impact of caring work on their role in the industry as negative. Experiences reported include people hiding the fact that they have children, people taking on more than a full-time load in order to survive, through to those who have had to leave the industry altogether, resulting in an industry-wide loss of knowledge and expertise. Read more.
DGA Report: Slight Increase in TV Episodes Directed by Women and People of Color
The percentage of TV episodes directed by women and people of color increased oh-so-slightly vs. last year, according to an annual study released in early October 2018 by the Directors Guild of America. As the DGA warned in their report, change is frustratingly slow. Despite efforts at several networks to improve representation among directors, the percentage of African-American directors was unchanged from last year, at 13 percent. Asian-American directors directed 6 percent of episodes, a small tick from 5 percent a year earlier. And Latinos directed just 5 percent of episodes, also a slow climb from 4 percent last year. All told, directors of color helmed 24 percent of all episodes last season, up only 2 percentage points from the previous year. The largest gain came from women, and even that was a relatively small climb. In the 2017-2018 TV season, females directed 25 percent of all episodes — an increase of 4 percentage points from 21 percent last year. Read more.
New BBC America + Women’s Media Center Study Says the World Needs More Female Superheroes
A new study called ‘Superpowering Girls’ conducted by BBC America and Women’s Media Center describes the representation in the sci/fi superhero genre and it’s affects on young girls. It was released Monday on the heels of New York Comic Con and the debut of Jodie Whittaker as the 13th Doctor. It’s not a secret that this genre is predominantly made up of male characters, even today with Wonder Woman and Doctor Who. The gender gap on screen, according to the study, has a real world affect to even the youngest of audience members. Read more.
Boxed In Report: TV Representation Shows Little to No Improvement in 2018
Television continues to represent mostly men on screen and behind the scenes, an updated study finds. Now in its 21st year, Boxed In study, sponsored by the Center for the Study of Women in Television and Film at San Diego State University and headed up by executive director Dr. Martha M. Lauzen, provides the most comprehensive historical record of women’s representation and employment in television available. Overall, the numbers are down this year. Females comprised 40% of all speaking characters on dramas, comedies, and reality programs appearing on the broadcast networks, premium and basic cable channels, and on streaming services. This represents a decline of 2 percentage points from 42% in 2016-17. 68% of programs featured casts with more male than female characters in 2017-18. 11% had ensembles with equal numbers of female and male characters, and 21% featured casts with more female than male characters. Read the full report.
Women Shut Out of Major Non-Acting Primetime Emmy Nominations
A new report by the Women’s Media Center examining the 2018 Primetime Emmy nominations states that despite growing efforts working toward parity in the industry, men received 70% of the non-acting nominations, with 14 of the relevant 96 categories including no female nominees at all. Categories like directing, producing, writing, and editing were particularly male-dominated, with WMC reporting that women represented a mere 6% of total directors this year (compared to last year’s 10%), 20% of editors, and 31% of producers.
New DGA Study Shows Improvement
The Directors Guild of America has been known to press studios, networks and producers to be more inclusive in hiring for nearly four decades. These efforts include collective bargaining gains that require studios to run TV director diversity programs, ongoing meeting with studios, networks and individual series regarding their hiring records, and publishing reports that detail employer hiring trends. The DGA recently released a study sharing that the pool of first-time episodic TV directors ‘is more inclusive than ever.’ This pool, which includes women and minorities, shows an encouraging employment gain, setting record highs for the second year in a row. Read more.
Hollywood Has Made Basically No Progress in Onscreen Diversity, Study Finds
Despite recent efforts to change the status quo, Hollywood remains overwhelmingly white and male. In fact, according to a new study from USC’s Annenberg Inclusion Initiative, there has been no significant statistical improvement in the representation of women, people of color, LGBT characters, or characters with disability in film over the last decade.The study is a hotbed of disappointing statistics—indicating that the fight to diversify the industry both in front of and behind the camera is an uphill battle. The report, Inequality in 1,100 Popular Films, draws from the top 100 movies each year from 2007–2017. It found that, although women make up roughly half the population, they represented just 31.8% of speaking characters last year. Read more.
Gender Imbalance in Film Criticism Can Hurt Visibility of Female-Driven Films, Study Finds
Film criticism remains dominated by white male critics, yet another new study finds. Now in its second decade, the Thumbs Down: Film Critics and Gender, and Why it Matters study, sponsored by the Center for the Study of Women in Television and Film at San Diego State University and headed up by executive director Dr. Martha M. Lauzen, is the most comprehensive and longest-running study of women’s representation and impact as film reviewers available. One of their key findings immediately jumps out: male reviewers outnumber female reviewers 2 to 1. Some of the study’s other findings are particularly eye-opening, such as insights into the kind of films that other critics cover and the ways in which they write about them. Female film critics remain the minority in their field, but this latest look at the industry also finds that they are predominantly covering movies for and by women. Read more.
DGA Says, “Number Of Minority Film Directors Hit 5-Year Low Last Year, Down 46% Since 2013; Women Making Gains”
Saying that discrimination is “still rampant” in the film industry, the Directors Guild of America released its second report on Feature Film Diversity on June 21, 2018, which found that only 9.7% of live-action American films with box office takes of at least $250,000 were directed by minorities last year — a five-year low and a precipitous drop of 46% since 2013. Female directors fared considerably better than in recent years — up in numbers by 100% compared with 2013. According to the report, 22 women directed 12.2% of all feature films last year that grossed more than $250,000 — double the number from five years ago. But as a percentage of the population, they’re still more underrepresented than minority directors. Read the full report here.
Film Critics Even Less Diverse Than Films, Study Finds
For the first time, USC’s Annenberg Inclusion Initiative has turned its eye to critics, analyzing the gender and race/ethnicity of the authors behind every Rotten Tomatoes review of 2017’s 100 highest-grossing movies. Its new report, “Critic’s Choice?” finds that out of 19,559 reviews, 77.8% were written by men and 82% were written by white critics. White men wrote 63.9% of reviews, compared with 4.1% penned by women of color. More reviews were also written by white women (18.1%) than by men of color (13.8%). Read the report.
Female-dominated Hollywood Crafts Jobs See Gender Bias, According to New Study
A new report commissioned by IATSE, Local 871 shows certain female-dominated craft professions such as script supervisors and art department coordinators typically receive hundreds of dollars per week less than their counterparts in comparable male-dominated crafts. In addition, the report found that sexual harassment and other forms of gender bias are prevalent in these professions. The new report — titled “’Script Girls,’ Secretaries and Stereotypes: Gender Pay Equity on Film and Television Crews” — represents a wide range of below-the-line craftspeople who work on movie and TV sets. Read the report.
Indie Women Study: Behind the Scenes Employment of Women in Independent Film, 2017 – 2018
The Center for the Study of Women in Television and Film at San Diego State University released the new report, Indie Women: Behind the Scenes Employment of Women in Independent Film. Indie Women is the most comprehensive study of women’s behind-the-scenes employment on independent films available. Read the study.
New York Film Academy’s 2018 Gender Inequality Film Infographic
The New York Film Academy (NYFA) released its original Gender Inequality in Film infographic in 2013. Now, following the TIME’S UP™ movement and actress Frances McDormand’s impassioned call at the 90th Academy Awards for the industry to embrace Inclusion Riders, NYFA’s updated Gender Inequality in Film infographic presents research on gender in film from 2007 to 2017, from more than 40 sources and scholarly studies. “With all that’s happening in the film industry, the New York Film Academy hopes to contribute what we can to the conversation with this infographic. It can be used as a reference and an educational tool to raise further awareness and inspire leaders within the entertainment industry, and beyond,” explains NYFA Chair of Documentary Andrea Swift. “It is an accessible way to interact with key information to support the movement to reach 50/50 by 2020.” See more.
Hollywood Diversity Report Says Minority Groups Still “Woefully Underrepresented”
Despite the emergence of film and television series heralded for their diversity, such as Black Panther, Girls Trip, Atlanta and Black-ish, Darnell Hunt, sociologist and co-author of UCLA’s 2018 Hollywood Diversity Report, maintains little has changed both in front of and behind the camera. Hunt highlighted key trends of the five-year study that took place from 2012 to 2016, specifying how, despite the annual steady increase of the national minority population, representation in Hollywood remains disproportionate. The study, titled “Five Years of Progress and Missed Opportunities,” focused on 11 main arenas and their proportion of people of color and women in various film, broadcast, cable and digital sectors. Read the report.
Women’s Media Center Report Examines Gender and the 2018 Oscars Non-acting Nominations
A new study finds the number of women Oscar nominees grew only slightly in Academy Awards given for non-acting categories this year — despite a concerted push by women and their allies to achieve greater representation for females in all parts of the film industry. Men represent 77 percent of the nominees for behind-the-scenes roles, according to a report by the Women’s Media Center. The percentage of women barely inched up to 23 percent, from 20 percent last year, in the 19 major non-acting categories that feature writing, editing, producing, and directing roles. Read more.
2017 It’s a Man’s (Celluloid) World Report Finds a Slight Increase in Representation of Women of Color, but a Decrease in Inclusion of Women Overall
The Center for the Study of Women in Television in Film has released this year’s It’s a Man’s (Celluloid) World 2017 report. This study examines the representation and portrayal of female characters in the 100 top grossing films every year. This latest edition considers portrayals in 2017. Last year, females comprised 24% of protagonists in the 100 top grossing films, 37% of major characters, and 34% of all speaking characters (major and minor). This represents a decline of 5 percentage points from 29% in 2016. Read the study.
Celluloid Ceiling 2017 Report Shows Increase in Women Behind-the-Scenes Has Stagnated
The Center for the Study of Women in Television and Film at San Diego State University released their 2017 Celluloid Ceiling Report, a quantified study on the employment of women behind the scenes on the top 100, 250 and 500 domestic films of the year. The findings were not exactly inspiring: in fact, the study provided evidence that the increase in women working in film as directors, writers, producers, executive producers, editors, and cinematographers has actually stagnated. In 1998, women accounted for 17% of the above positions in the top 250 films, and in 2017 they still only accounted for 18%. There was an increase this year in the amount of women directing the top 250 films, going from 7% in 2016 up to 11%. But, that increase only puts us back on par with the year 2000, when women also accounted for 11% of top directors. In short, in the span of two decades, there were no significant losses or gains in terms of female employment in key roles on the top 250 films. Read the study.
2017
DGA 2016-17 Episodic TV Director Diversity Report: Increase in Women and Minority Directors
On November 14, 2017, the Directors Guild of America released a report in which television series were analyzed based on the gender and minority status of the directors. The DGA’s annual report on the subject analyzed an all-time high of nearly 4,500 episodes produced in the 2016-2017 television
season, up from 4,061 episodes in the prior season. Summary of Findings: a) Employer Hiring of Women and Minority Directors Up in Record 2016-2017 TV Season and b) Results Mixed By Studio; Netflix Trailed Behind, Twentieth Century Fox Led the Way. Ethnic and gender diversity among episodic television directors continued to increase this past season, the Directors Guild of America reported today, with the percentage of episodes directed by ethnic minorities rising by 3 percentage points to a record 22% of all episodes, while the percentage directed by women went up 4 points to 21% of all episodes, another all-time high. Read the full report.
New Study on Race in the Writers’ Room Finds More Than 90% of TV Showrunners are White Men
A new study commissioned by Color of Change, “the nation’s largest online racial justice organization,” reveals in-depth how the racial dynamics of Hollywood TV writers’ rooms directly affects the portrayals of Black culture on screen. Written by Dr. Darnell Hunt, Dean of Social Sciences at UCLA and author of six iterations of the WGA’s “Hollywood Writers Report,” the study concluded that television networks and streaming companies are systematically “excluding or isolating Black writers in writers’ rooms and in the creative process…The ultimate result of this exclusion is the widespread reliance on Black stereotypes to drive Black character portrayals.” Read the full study.
GLAAD Study Finds Fewer Women & Black Characters on TV
The Gay and Lesbian Alliance Against Defamation (GLAAD) Entertainment Media Team released its annual “Where We Are on TV” study in October 2017. The Team not only works with entertainment-related media platforms to encourage fair, accurate, and inclusive representation of LGBTQ people, but also to combat problematic content and instances of defamation in these industries. The study concluded that “women and people of color still struggle for representation.” The amount of female series regulars on primetime scripted broadcast series has increased by roughly 1% but one of the largest underrepresented groups is still black women. There 69 female characters versus 111 male characters of color on these series and ultimately, there are still voices that need to be heard. Read more.
Cornell Labor Study Finds Several Issues Hurting New York Artists and Entertainers
The Worker Institute at Cornell University released a study in June 2017 for its New York State Projects division entitled “State of the Artist: Challenges to the New York State Arts & Entertainment Industry and its Workforce.” The NYS Projects division researches labor topics specifically for New York state; this particular study was funded by the state legislature. Written by Lois Spier Gray, Maria Figueroa and Jacob Barnes, the study aimed to identify challenges to the state’s arts and entertainment workforce, particularly when it comes to job security. The study concluded what many women working in film in NYC already know: “workers in the New York State arts & entertainment industry continue to face high rates of contingent and project-based employment, low average income, and inadequate employment protections,” inhibiting individual financial growth and thus the artist’s economic contribution to the state. New York artists and entertainers are three times as likely to be self-employed as the total state workforce. The prevalence of short-term work or self-employment within the New York arts and entertainment community combined with inadequate labor protections also increases the risk for wage theft and abuse of employees. And, the authors noted, the industry unfairly relies on unpaid internships and volunteer work done for experience, as opposed to paid entry-level work. All these factors together create an industry where workers have little to no social safety net. Read more.
DGA Study Shows “Record Gains” for First-Time Female TV Directors
A new Directors Guild of America report found that 32% of all first-time episodic TV directors (73 of 225 people) were women in the 2016-17 season. This is a large jump from last season, when only 38 first-time TV directors (24% of all first-timers) were women. There was also a marked increase in the amount of minority female first-time directors hired this season, rising from 6 in 2015-16 to 18 this season. The DGA reported that along with the increase in the proportion of women in the first-time director pool, the pool itself had expanded to match the explosion of episodic television series, thanks to online streaming. So, even though their proportion went down, the overall number of white men hired as first-time directors actually increased this year. Learn more.
Four Crucial Studies from the Center of Media and Social Impact at American University
In 2017 the Center of Media and Social Impact at American University released four studies: “Journey to the Academy Awards: A Decade of Race & Gender in Oscar-Shortlisted Documentaries (2008-2017),” “Diversity in Independent TV Documentaries: Is Public TV Different?” “The State of the Documentary Field: 2016 Survey of Documentary Industry Members,” and “American Realities on Public Television: Analysis of Independent Television Service’s Independent Documentaries, 2007-2016.” Read more.
2017 Boxed In Report shows “Modest but Pervasive Gains” for Women in Film and Television
For the last 20 years, Dr. Martha M. Lauzen’s Boxed In has tracked women’s representation in prime-time television. The project provides the most comprehensive historical record of women’s on-screen portrayals and behind-the-scenes employment available. The study examines dramas, comedies, and reality programs appearing on the broadcast networks, basic and premium cable channels, and streaming services. In 2016-17, women made modest but pervasive gains on screen and behind the scenes in television. The percentages of female characters increased slightly on broadcast network, cable, and streaming programs, and the percentages of women working in powerful behind-the-scenes roles increased slightly on cable and streaming programs. The findings indicate that streaming programs have now surpassed broadcast programs in terms of gender diversity, on screen and behind the scenes. This is especially interesting in light of Shonda Rhimes’ recent move from ABC to Netflix. See details.
USC Study on the Function of Female Characters in Film
In August 2017, the Signal Analysis and Interpretation Laboratory at USC’s Viterbi School of Engineering released preliminary results of a study on the representation of gender, race, and age in a collection of about 1,000 films. Working with Professor Shrikanth Narayanan in the Department of Computer Science, four doctoral students quantified specific tone and sophistication of language with reference to three groups: gender, race, and age. They examined the language of 7,000 characters in over 53,000 dialogues in almost 1,000 scripts by logging the content and sophistication of a character’s language, as well as their interactions with gender, race, and age. One of the major goals of the study was to determine the extent to which female characters were essential to the plot of a given film. Read more.
New USC Anneberg Study: Inequality in 900 Popular Films
Dr. Stacy L. Smith and the Media, Diversity & Social Change (MDSC) Initiative at USC Annenberg announced their newest study, entitled Inequality in 900 Popular Films. The study, released July 31, 2017, reveals how little top-grossing movies have changed when it comes to the on screen prevalence and portrayal of females, underrepresented racial/ethnic groups, the LGBT community, and individuals with disabilities. The study is the largest and most comprehensive intersectional analysis of characters in motion picture content to date. A few key takeaways from the investigation of 900 top films from 2007 to 2016 (excluding 2011) and 39,788 characters: less than one-third of speaking characters on screen from all 9 years were girls/women, including just 31.4% of characters in the 100 top movies of 2016; characters from underrepresented racial/ethnic groups were 29.2% of all characters in the top-grossing films of 2016, which is not different from 2015; LGBT-identified characters represented 1.1% of all speaking characters, a percentage not different from 2015; and characters with disabilities filled only 2.7% of all speaking roles, which is not different from last year. Read the full study.
Women in Independent Film Report on Behind-the-Scenes Employment in 2016-17 Films
Dr. Martha M. Lauren, Executive Director of the Center for the Study of Women in Television and Film, has published the latest Women in Independent Film report. Women in Independent Film is the most comprehensive study of women’s behind-the-scenes employment on independent films available. The study considers 10,943 credits on 1,472 films in 2016-17, and over 59,000 credits on more than 6,000 films over the period of 2008 to 2017. Read the full study.
The Status of Women in the U.S. Media 2017 – Women’s Media Center Report
According to a new study released by the Women’s Media Center on March 22nd, 2017, the number of women in behind- the- scenes roles has decreased significantly, matching the levels of female involvement in 1998. The Status of Women in the U.S. Media 2017 states that in the 250 top-grossing domestic films of 2015-16, only 17% of all directors, writers, producers, executive producers, editors and cinematographers combined were female. That rate was 2 percentage points lower than that of 2014-15 and equal to 1998. The study also takes an in-depth look at related fields including TV network news; traditional print and online-only journalism; sports journalism; radio, television and multi-platform journalism; tech, social media and gaming; and more. Importantly, the WMC also offers a roadmap with guidance for media leaders looking to cultivate parity. Men still dominate media across all platforms—television, newspapers, online and wires—with change coming only incrementally. Women are not equal partners in telling the story, nor are they equal partners in sourcing and interpreting what and who is important in the story. Read the full study.
New Technology Helps to Uncover Gender Disparity in Film
The Geena Davis Institute on Gender in Media has teamed up with Google machine learning engineer Hartwig Adam, USC’s Viterbi School of Engineering’s Dr. Shri Narayanan, the Niki & C. L. Max Nikias Chair in Engineering, and his SAIL Laboratory, to create the Geena Davis Inclusion Quotient (GD-IQ), to create a new software that can measure how long we see and hear women on screen. The GD-IQ scans a film in real time, distinguishing the gender of every person on screen and measures to a fraction of a second how long each person spoke and how long they were on screen for, and then separate this information based on gender. Furthermore, the GD-IQ utilizes the emerging form of programing known as “machine learning,” in which the software learns to perform this action with ever increasing precision over time, in order to insure the precision of the research the software produces. See details.
Diversity in Hollywood: A Work in Progress According to New Study
Women and minorities have made modest gains in front of and behind the camera but remain significantly underrepresented as leading actors in films, as TV show creators, as writers and just about every part of the entertainment industry, according to a report that was issued on February 21st by UCLA.The “2017 Hollywood Diversity Report,” released by the Ralph J. Bunche Center for African American Studies at UCLA, analyzed 168 theatrical films released in 2015 and more than 1,200 television programs released during the 2014-15 season on broadcast, cable, digital and via syndication. Read the full study.
Women and Leadership: A Study of Gender Parity and Diversity in Canada’s Screen Industries
The Canadian Media Producers Association (CMPA) released a study in January 2017, Women and Leadership: A Study of Gender Parity and Diversity in Canada’s Screen Industries, which found that almost 90% of women in screen-based media report gender-based obstacles to advancing their career. In the US, the percentages of women that succeed in various entertainment professions are the same as in Canada and other parts of the world: women have more advancement opportunities when they are working on television dramas; on OTT streaming television media such as Netflix; and when they work as writers (more so than as directors) in all types of media. However, even in the most gender-balanced fields, women never make up more than 30% of the profession. Read the study.
Women’s Media Center Report Shows Only 20% of 2017 Oscar Nominees in Non-Acting Categories are Women
This year only 20 percent of non-acting Oscar nominees are women, according to a recent report by the Women’s Media Center; which is two percentage points below last year. Women were not nominated at all for director, cinematography, or original screenplay. In the last decade women were only recognized in 19 percent of all non-acting Oscar nominations. Nine of the producers nominated for best picture were women – which is the largest number of women represented in any single category. Women also made up almost 75 percent of the costume design nominations. Read the report.
2016
Female Film Protagonists Reach An All Time High in 2016, Up 7% From 2015
A new study released by the Center for the Study of Women in Television and Film at San Diego State University on February 21st has found that last year more female actors took center stage in films. According to the study, called “It’s a Man’s (Celluloid) World” written by Dr. Martha Lauzen, women comprised 29% of protagonists in the 100 top-grossing films of 2016. This figure represents a recent historical high, and a 7% increase from 2015. Female actors accounted for 37% of major characters, a 3% increase from 2015. The percentage of female characters in speaking roles (both major and minor) stayed basically the same, at 32%, only a 1% decrease from 2015. Read the study.
The Celluloid Ceiling: Behind-the-Scenes Employment of Women on the Top 100, 250, and 500 Films of 2016
In 2016, women comprised 17% of all directors, writers, producers, executive producers, editors, and cinematographers working on the top 250 domestic grossing films. This represents a decline of 2 percentage points from last year and is even with the percentage achieved in 1998. Women accounted for 7% of directors, down 2 percentage points from 9% in 2015 and 1998. Last year, 92% of films had no female directors. In other roles, women comprised 13% of writers, 17% of executive producers, 24% of producers, 17% of editors, and 5% of cinematographers. The 2016 study also found that only 3% of composers working on the top 250 films were women. Read the report.
Who Talks? Shows Women Analysts Missing from Primetime Convention Cable News Coverage
Gina Glantz, founder of GenderAvenger.com, Rutger’s University Center for American Women and Politics (CAWP) and the Women’s Media Center created a project called Who Talks? that monitors gender balance in election coverage. During the conventions, Who Talks? tracked daily coverage and found that when combining both conventions, CNN had the best showing of female analysts (including hosts, guests and substitute hosts) with just 37 percent, followed by MSNBC with 29 percent and FOX with 27 percent. Even as viewers witnessed history with the nomination of the first female presidential nominee, Who Talks? shows women analysts were missing from primetime convention cable news coverage during both the Republican and Democratic conventions. See the full study.
Thumbs Down 2016: Top Film Critics and Gender
Dr. Martha Lauzen, Executive Director of the Center for the Study of Women in Television and Film at San Diego State University, published a new study on film critics and gender. This report considers 5,776 reviews written by 247 “top critics” on the popular film review aggregator site, Rotten Tomatoes, during spring 2016 and examines the representation of women and men as film critics. In spring 2016, Dr. Lauzen’s study found that the majority of film critics were men. Women made up 27% while men made up 73% of Rotten Tomato “top critic” individuals. Men also outnumber women regardless of the job title category considered: men comprised 87% of contributors, 75% of freelancers, 74% of film critics, and 72% of individuals with other professional titles. Individuals writing about film for trade publications were made up of 80% men and 20% women. Similarly, men accounted for 71% while women accounted for 29% of those writing about film for large U.S. newspapers. Whether it’s the job title or the type of publication, the study shows that women are underrepresented as film critics.
Study of Gender & Emmy Nominations
The Women’s Media Center released a 10-year review of gender and Emmy Award nominations. Men continue to dominate in all behind-the-camera categories. See the infographic here.
Gender Inequality in the UK Film Industry
A new study conducted by the Stephen Follows Film Data and Education Blog called Cut out of the Picture: A Study of Gender Equality amongst Film Directors in the UK Film Industry investigates the extreme disparities in jobs, opportunities, funding for women in the UK film industry. According to the study, from a total 2,591 films released between 2005 and 2014, inclusively made in the UK, just 13.6% of working film directors were women. In 2005, 11.3% of UK films had a female director but by 2014 this had only increased to 11.9%. As seen in the graph below, the article illustrates the lack of women in a number of creative positions- Of the main key head of department roles, only two had greater than 50% female representation with the rest ranging between 6% and 31%. In many film schools, the presence of male and female film studies are equal, but the disparity of roles grew from after graduation and in the following years in the industry.
Where Are The Women Directors? Report on Gender Equality in the European Film Industry
A study conducted by the European Women’s Audiovisual Network (EWA) titled Where Are The Women Directors? Report on Gender Equality in the European Film Industry discusses the growing concern worldwide about the marginalization of female directors in our film culture and aims to provide evidence to inform policy change at a national and European level. The report calls for affirmative action to change the status quo, and based on the results of national reports covering the period 2006-2013, EWA proposes several policies for change around three key stages in women’s professional development. These three key stages being: preparing the ground in school education, encouraging women directors into the industry, and sustaining women’s careers through targeted strategies.
Women in Independent Film Report Shows Stagnation in Hiring
The Center for the Study of Women in Television and Film at San Diego State University, led by Executive Director Dr. Martha Lauzen, has released a new study title “Women In Independent Film,” which demonstrates that though women directors fared better in the independent realm than with major studios this year, the percentage of women behind the camera is “stagnant.” According to the report, women account for 28% of all directors working in indie film during the past year, a five-point increase over 2014-15 and slightly below the historical high of 29% in 2011-12. Additionally, women make up 35% of documentary directors and 19% of narrative features.
Film Dialogue From 2,000 Screenplays Broken Down By Gender and Age
A recent article from Polygraph entitled “Film Dialogue From 2,000 Screenplays Broken Down By Gender and Age” uses interactive infographics to confirm that Hollywood films are predominantly about white men using interactive infographics. The creators of this in-depth article wanted to compile more data to back up the rhetoric that most films feature white men and answers to questions like how many movies are actually about men? How do different genres, the film’s era, or box-office revenue influence representation? What circumstances help films achieve more diversity? Polygraph set about compiling the number of lines for male and female characters from approximately 2,000 different films’ screenplays. See the results.
WMC Releases 10-Year Review of Oscar Nominations & Gender
Women’s Media Center has released a 10 year study of gender and Oscar nominations. From 2006-2015, nominations of women accounted for just 19% of all non-acting nominations (327 women compared to 1,387 men). The Oscars, awarded by the Academy of Motion Picture Arts and Sciences, the largest and best-known organization of film professionals, offer prestige and high-profile recognition to their winners and their nominees. The lack of representation of women among Oscar nominees over the last decade both demonstrates and contributes to women’s under-representation in behind-the-scenes roles in film—particularly those with the greatest decision-making power.
Comprehensive Annenberg Report on Diversity (CARD)
USC Annenberg’s Media, Diversity, & Social Change Initiative released the Comprehensive Annenberg Report on Diversity (CARD), a groundbreaking study on inclusivity in entertainment. The study analyzes inclusion in front of and behind the camera at ten major media companies (Sony, CBS, Hulu, Amazon, 21st Century Fox, etc.), focusing on films from major studios released in 2014 and prime-time, first-run, scripted series on broadcast, cable, and premium channels, as well as streaming services, from September 2014-August 2015. In the end, 109 films and 305 broadcast, cable, and digital series were included. The emphasis was on speaking characters (role, demographics, domesticity, and sexuality); gender of directors and writers; race and ethnicity of directors; and gender of high level executives. The goal: to arm media businesses with information they can use to improve their casting and hiring processes. The study was authored by Stacy L. Smith, PhD, Marc Choueiti, and Katherine Pieper, PhD, with assistance from Ariana Case and Artur Tofan.
It’s a Man’s (Celluloid) World: Portrayals of Female Characters in the Top 100 Films of 2015
It’s a Man’s (Celluloid) World, Dr. Martha Lauzen’s latest study, analyzes women in the top 100 domestic grossing films of 2015. For this report, Lauzen focuses on the percentages of female and male characters, characters’ demographic traits, and the relationship between on-screen female representation and the representation of women involved behind the camera. Dr. Lauzen has found that only 22% of protagonists in the top 100 domestic grossing films were women. Only 33% of the speaking roles in the top 100 included women, and only 18% of antagonists were women. Lauzen has also found the ethnic and racial diversity of female characters has remained unchanged with 76% of all female characters being white, 13% black, 4% Latina, 3% Asian, 2% other worldly, and 2% other.
The Hollywood Reporter‘s Film Studio Scorecard: How much diversity is there in the Big Six?
In the middle of ongoing pressure on the film industry to embrace gender and racial inclusion, The Hollywood Reporter has published a diversity scorecard for the decision-makers at the major studios. THR notes that women as a group are better represented than people of color among the listed executives. However, it is important to note that no woman leads a studio at the very top of the pyramid. And only two of the 17 female high profile decision makers who made the cut are women of color. Perhaps most egregiously, in a city where nearly half of the populace is Latino (47.5% according to a 2005-2009 survey), no Hispanics are represented in the scorecard.
Researchers have found a major problem with The Little Mermaid and other Disney movies
Linguists Carmen Fought and Karen Eisenhauer have been working on a project to analyze all the dialogue from the Disney princess franchise. The research, published recently on The Washington Post, demonstrates how films like The Little Mermaid represented a backward step in the princess genre.
2015
The Women of Hollywood Speak Out
The New York Times Magazine recently published “The Women of Hollywood Speak Out,”which addresses the struggle it has been for women to create a name for themselves in the entertainment industry. The article, penned by Maureen Dowd, features interviews from several of the entertainment industry’s top woman directors, show runners and executives. Shonda Rhimes, Lena Dunham, and Kathleen Kennedy were a few of the women interviewed that weighed in on what seems to be the industry’s fear of having more women in charge.
DGA Feature Film Diversity Report: Only 6.4% of Directors Are Women
The Directors Guild of America’s inaugural Feature Film Diversity Report, released December 9th, found that only 6.4% of feature film directors in 2013 and 2014 were women, and 1.3% were minority women. The study also found that the percentage of women directors was significantly lower for films that made over $10 million at the box office: below this marker, 11.6% of directors were women, and above, the percentage dropped to 3.1%.
Women and the Big Picture: Behind-the-Scenes Employment on the Top 700 Films of 2014
Dr. Martha Lauzen’s latest study, Women and the Big Picture, is the first study to track women’s behind-the-scenes employment on the top 700 theatrical released films (foreign films omitted) in a single year. The findings indicate that films with women directors (as well as those with at least one-third female executive producers and producers) employed substantially higher percentages of women in other key behind-the-scenes roles. For example, on films with female directors, women comprised 52% of writers. In contrast, on films with exclusively male directors, women accounted for just 8% of writers.
Sundance Institute & Women In Film LA Launch Female Filmmakers Initiative
This landmark study, authored by Cathy Schulman (President, Women in Film Los Angeles), Kirsten Schaffer (Executive Director, Women in Film Los Angeles), Keri Putnam (Executive Director, Sundance Institute) and Caroline Libresco (Director, Special Project & Senior Programmer, Sundance Institute) analyzes the obstacles facing women in American independent film. The third phase of this project uncovers how female directors fare after premiering at the Sundance Film Festival. The study concluded some interesting things: for example, the director gender gap is most noticeable in top-grossing films. Across 1,300 top-grossing films from 2002 to 2014, only 4.1 percent of all directors were female.
Women’s Media Center’s Emmy’s Gender Study Shows Lack in Women Nominees
After concluding a 10-year gender study, the Women’s Media Center has found that women have received only 22% of the nominations for Primetime Emmy’s in writing, directing, producing and editing. At the most recent Emmy Awards, which aired on September 20, 2015, only 25% of nominees were women. WMC found that the problem stems from women not being hired for behind-the-scenes positions in the first place. Women must be present in the industry in order to be influential power players.
Boxed In Study Shows Women Execs are Key to Female Hires
Dr. Martha Lauzen’s latest study of female employment in television reveals that when women are in charge, more women get hired within the industry. Lauzen, executive director of the Center for the Study of Women in Television and Film at San Diego State University, found that there is a correlation between shows that had a least one woman creator or exec producer and the level of female representation throughout the production. For example, During the 2014-15 season, 32% of writers were female on shows with a female exec producer, compared to 8% on shows with only male exec producers.
DGA Study Tracks Diversity in Hiring of Episodic Directors
A study conducted by the Directors Guild of America analyzing over 3,900 TV shows in the 2014-2015 season shows that women directors represented 16% of all episodic directors for broadcast, cable, and internet-based web series. The numbers show an overall positive trend, citing a 14% increase in women TV directors and a 20% year-over-year growth. This could be due, in part, to the increase of TV episodes aired over the past year; the 3,910 episodes produced yielded an increase in job opportunities for women and minorities alike.
New USC Study Finds Minimal Growth for Women Characters in Feature Films
The University of Southern California at Annenberg’s Media, Diversity, & Social Change Initiative has published a seven-year analysis of the gender, ethnic and sexual diversity of characters in feature films from 2007 through 2014. The study also examines people behind the camera, including content creators such as directors, producers, and writers, among others. This study is the most comprehensive analysis of diversity in recent popular films ever conducted, bringing together data assessing gender, race/ethnicity, and LGBT status in the top 100 movies of each year. The study reveals a complete picture of Hollywood’s indisputable bias against featuring females, people of color, and LGBT characters on screen.
Sundance Institute and Women in Film LA Unveil Groundbreaking Study on Women Directors
Sundance Institute and Women in Film Los Angeles, co-founders of the Female Filmmakers Initiative, unveiled Phase III of their groundbreaking study that reveals the barriers and opportunities in the careers of women narrative film directors after premiering a film at the Sundance Film Festival (SFF). The results from this study, authored by Dr. Stacy L. Smith of USC’s Annenberg School, demonstrate that women directors set out on a course that confirms and triggers a stereotype that may affect the deals they make and the opportunities they are offered.
UCLA 2015 Hollywood Diversity Report: Flipping the Script
A recent study by the Ralph J. Bunche Center for African American Studies at UCLA finds that while an increasingly diverse TV, film and new media audience prefers diverse programming, women and minorities remain underrepresented both in front of and behind the camera.
2015 WGA Report: Women, Minority and Older TV Writers Lose Traction
This study from the Writers Guild of America shows that employment for women, minority and older (over age 50) writers decreased in 2013-2014. Employment of women writers fell 5%, from 30.5% to 29%. While it is the showrunners and executive producers who do the majority of the hiring, it is the networks who hire the showrunners; minorities held only 5.5% of those jobs last season, down from 7.8% two years earlier. The lack of diversity at the beginning of the hiring process likely ensures the lack of diversity at the end of it.
2014
It’s a Man’s (Celluloid) World: On-Screen Representations of Female Characters in the Top 100 Films of 2014
By Martha Lauzen
This study examines on-screen representations of female characters in the top 100 grossing films of 2014. The number of female protagonists in 2014 was actually 4 percentage points lower than it was in 2002. However, in films with at least one woman director and/or writer, female representation was slightly better. Still, female characters remained heavily stereotyped throughout.
2014 Celluloid Ceiling Report
By Martha Lauzen
The results of this study drive home the point that men continue to construct the vast majority of the visual and aural worlds featured in U.S. films. Last year, women comprised 17% of individuals working as directors, writers, executive producers, producers, editors, and cinematographers on the top 250 (domestic) grossing films. In 2014, there were less female-directed films than in 1998.
Gender within Film Crews
By Stephen Follows
A study of the gender split in the 2,000 highest grossing films (1994-2013) found that only 22.6% of all crew members were female. During the last 20 years, Tina Fey’s ‘Mean Girls’ had the highest percentage of women on its crew (42%).
Independent Women: Behind-the-Scenes Employment on Festival Films in 2013-14
By Martha M. Lauzen
It’s a Man’s (Celluloid) World: On-Screen Representations of Female Characters in the Top 100 Films of 2013
By Martha M. Lauzen
Female characters remain dramatically under-represented as protagonists, major characters, and speaking (major and minor) characters in the top grossing films of 2013. The Center for the Study of Women in Television and Film at San Diego University takes a closer look.
2013
Gender Inequality in Film: NYFA Infographic
By Nicholas Zurko for the New York Film Academy
A glimpse into the state of women in film compiled from data regarding the top 500 films from 2007 to 2012. Researchers noted the visibility of some female trailblazers in terms of directing, producing and acting, but found that the gender disparity was still dramatic. Full Story.
Gender @ the Movies: On-Line Film Critics and Criticism
By Martha Lauzen
Martha Lauzen has released a new study that examines over 2,000 reviews penned by 145 writers designated as “top critics” on the film review aggregator site Rotten Tomatoes over a two-month period in the spring of 2013. Men continue to dominate as film critics accounting for 78% of top critics and writing 82% of reviews. The critics — whether by accident or design — tend to gravitate to films directed and written by individuals of their own sex. Full Story.
Hollywood Pipeline: Still a Pipe Dream for Women?
By Jennifer Siebel Newsom and Martha M. Lauzen, Huffington Post, 2/22/2013
“Have we ever questioned what constitutes the pipeline for women working in film? Where does it begin? Is the launch pad graduation from top film and television schools across the country? Success with independent features? Short films?” Full story.
Sundance, the Oscars and the Decline of Film Criticism—Not Just a Lady Problem
By Roya Rastegar, The Nation, 2/22/2013
“Critics almost exclusively eviscerated the feature films directed by women that premiered at Sundance this year.” Full story.
Why Women in Hollywood Can’t Get Film Financing
By Lauren Sandler, Bloomberg, 2/21/2013
“Director Jill Soloway says the system won’t change until complicated “women’s films” are supported by ticket sales, not just festival juries.” Full story.
2013 STUDY: The Status of Women in the U.S. Media
By Diana Mitsu Klos, Women’s Media Center
“With females making up 51 percent of the U.S. population, there are business, societal and cultural imperatives that demand gender equality and equal participation. Diversifying the media landscape is critical to the health of our democracy.” Full study (PDF).
2013 STUDY: Exploring the Barriers and Opportunities for Independent Women Filmmakers
Research by Stacy L. Smith, Ph.D., Katherine Pieper, Ph.D. and Marc Choueiti
The study, commissioned by Sundance Institute and Women In Film Los Angeles, is a first-of-its-kind research study examining gender disparity in American independent film. Full study (PDF).
2012 STUDY: The Celluloid Ceiling: Behind-the-Scenes Employment of Women on the Top 250 Films of 2012
By Martha M. Lauzen, PhD, Executive Director, Center for the Study of Women in Television and Film, SDSU
“In 2012, women comprised 18% of directors, writers, producers, executive producers, editors, and cinematographers. This represents no change from 2011 and an increase of 1 percentage point from 1998.” Full study (PDF).
The Surge of Women at Sundance—And What it Means For Filmmaking
By Sharon Waxman, The Wrap, 1/20/2013
“Sex is always a big topic at Sundance, but this year it come from the women’s perspective. That’s because for the first time Sundance has an equal number of women as men directors in competition—eight—with more than a dozen other women directors in other sections of the festival.” Full story.
2012
2012 STUDY: The Status of Women in the U.S. Media
By Robin H. Pugh Yi, Ph.D and Craig T. Dearfield, M.A., Women’s Media Center
This report provides a broad overview of the status of women in U.S. media at the beginning of 2012. Full study (PDF).
DGA’s Grim Stats on Director Diversity in Television: ‘Our Industry Has to Do Better’
By Sophia Savage, Indiewire.com, 9/27/2012
“‘We just don’t know anybody,’ doesn’t cut it anymore—the pool of talented and experienced women and minority directors grows every year, and too many of these qualified, capable directors are still overlooked.” Full story.
2012 STUDY: Boxed-In: Employment of Behind-the-Scenes Women in the 2011-12 Prime-time Television Season
By Martha M. Lauzen, PhD, Executive Director, Center for the Study of Women in Television and Film, SDSU
Last season, women accounted for 26% of creators and 25% of executive producers, new historical highs. The percentage of women writers rebounded to 30%, up from 15% in 2010-11. However, the percentages of women working as directors, editors, and directors of photography remain low. Full study (PDF).
Study: We Benefit From Seeing Strong Women on TV
By Lindsay Abrams, TheAtlantic.com, 8/31/2012
“It was the depiction of female characters, and not sexual violence per se, that appeared to influence audiences’ emotional reactions and attitudes toward women. Positive female characters were in some ways able to negate the effects of degrading content.” Full story.
2012 STUDY: Independent Women: Behind-the-Scenes Representation on Festival Films
By Martha M. Lauzen, PhD, Executive Director, Center for the Study of Women in Television and Film, SDSU
“Women are more likely to work as directors, writers, producers, executive producers, editors, and cinematographers on documentaries than on narrative features screening at high-profile film festivals in the United States…This difference is especially pronounced in the directing role…The percentage of women directing independently produced documentaries (39%) is stunning when compared to the percentage of women directing top grossing films in 2011 (5%).” Full study (PDF).
How Can Women Gain Influence in Hollywood?
The New York Times, 8/14/2012
Melissa Silverstein of Women and Hollywood helped curate this forum that includes filmmakers, academics and executives. Full story.
2011
2011 STUDY: It’s a Man’s (Celluloid) World: On-Screen Representations of Female Characters in the Top 100 Films of 2011
By Martha M. Lauzen, PhD, Executive Director, Center for the Study of Women in Television and Film, SDSU
The study reveals that females comprised 33% of all characters in 2011, up from 28% in 2002. However, the percentage of female protagonists decreased from 16% in 2002 to 11% in 2011. Thus, while there are more female characters on screen today, fewer stories are told from a female character’s perspective. Further, female characters remain younger than their male counterparts and are more likely than males to have an identifiable marital status. The study also found that female characters are much less likely than males to be portrayed as leaders of any kind. Full study (PDF).
2011 STUDY: The Celluloid Ceiling: Behind-the-Scenes Employment of Women on the Top 250 Films of 2011
By Martha M. Lauzen, PhD, Executive Director, Center for the Study of Women in Television and Film, SDSU
“Women accounted for 5% of directors, a decrease of 2 percentage points from 2010 and approximately half the percentage of women directors working in 1998.” Full study (PDF).
2011 STUDY: Boxed-In: Employment of Behind-the-Scenes and On-Screen Women in the 2010-11 Prime-time Television Season
By Martha M. Lauzen, PhD, Executive Director, Center for the Study of Women in Television and Film, SDSU
“Women comprised 25% of all individuals working as creators, directors, writers, producers, executive producers, editors, and directors of photography on broadcast television programs during the 2010-11 prime-time season. This represents a decrease of 2 percentage points from last season (2009-2010) and an increase of 4 percentage points since 1997-98.” Full study (PDF).
2010
2010 STUDY: The Celluloid Ceiling: Behind-the-Scenes Employment of Women on the Top 250 Films of 2010
By Martha M. Lauzen, PhD, Executive Director, Center for the Study of Women in Television and Film, SDSU
“In 2010, women comprised 16% of all directors, executive producers, producers, writers, cinematographers, and editors working on the top 250 domestic grossing films. This represents a decline of 1 percentage point from 1998 and is even with 2009 figures.” Full study.
2010 STUDY: Boxed-In: Employment of Behind-the-Scenes Women in the 2009-10 Prime-time Television Season
By Martha M. Lauzen, PhD, Executive Director, Center for the Study of Women in Television and Film, SDSU
“The percentage of women working in powerful behind-the-scenes roles in prime-time programming airing on the five broadcast networks (ABC, CBS, CW, Fox, NBC) increased 2 percent in the 2009-10 season. Overall, women comprised 27% of all creators, executive producers, producers, directors, writers, editors, and directors of photography working on situation comedies, dramas, and reality programs. This represents an increase of two percentage points from 25% in 2008-09 and an increase of six percentage points since 1997-98. It also represents a recent historical high.” Full study.
In Oscar Directing Category, a Numbers Boost for Women and African Americans
By Rachel Abramowitz, latimes.com, 2/3/2010
Kathryn Bigelow sounds a wee bit tired of questions about being a “female director,” but given that on Tuesday she became only the fourth woman to be nominated for best director by the Academy of Motion Pictures Arts and Sciences, she knows it comes with the territory. “I long personally for the day when the modifier is a moot point,” said a very happy Bigelow, whose film nabbed nine nominations, including one for best picture. “I anticipate that day will come, but if ‘The Hurt Locker’ can make the impossible seem possible to somebody, it’s pretty overwhelming and gratifying. At least we’re heading in the right direction.” Full story.
Worst Network Pilot Season For Women?
By Nikki Finke, Deadline.com, 1/28/2010
“According to one Hollywood agency’s stats so far this year, 33 comedy pilots have been picked up by CBS, ABC, NBC, FOX. Only 3 are written by women. And 36 drama pilots have been picked up by CBS, ABC, NBC, Fox. Only 6 are written by women.” Full story.
2009
2009 STUDY: Independent Women: Behind-the-Scenes Representation on Festival Films
By Martha M. Lauzen, PhD, Executive Director, Center for the Study of Women in Television and Film, SDSU
“The percentage of women working as directors, writers, producers, cinematographers, and editors on domestically produced feature-length films appearing at top U.S. film festivals is substantially higher than the percentage of women working on the top 250 domestic grossing films.” Full study (PDF).
2009 STUDY: The Celluloid Ceiling: Behind-the-Scenes Employment of Women on the Top 250 Films of 2009
By Martha M. Lauzen, PhD, Executive Director, Center for the Study of Women in Television and Film, SDSU
“In 2009, women comprised 16% of all directors, executive producers, producers, writers, cinematographers, and editors working on the top 250 domestic grossing films. This represents a decline of 3 percentage points from 2001 and is even with 2008 figures.” Full study (PDF).
Women in the Seats but Not Behind the Camera
By Manohla Dargis, The New York Times, 12/10/2009
In March 1993 the Academy of Motion Picture Arts and Sciences, the organization that hands out Oscars, decided it was a good time to celebrate women. It wasn’t an original idea: 1992 had been popularly known as the year of the woman in politics, partly because of the number of new women elected to the Senate that year (4!) and the House (24!). Now the academy was joining the fun with the show “Oscar Celebrates Women and the Movies.” The host, Billy Crystal, rose to the occasion with quintessential Hollywood class. “Some of the most-talked-about women’s parts,” he joked, bada-boom, “are Sharon Stone’s in ‘Basic Instinct.” Full story.
‘Fuck Them’: Times Critic On Hollywood, Women & Why Romantic Comedies Suck
By Irin Cameron, Jezebel, 12/14/2009
“Two major studios, Paramount Pictures and Warner Brothers Pictures, didn’t release a single mov
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Animated media production division of Paramount Pictures
Paramount Animation is an American animation studio, serving as the animation division and label of Paramount Pictures, a subsidiary of Paramount Global.[4] The division was founded on July 6, 2011, following the box office success of Paramount's own Rango and the end of their distribution deal with DreamWorks Animation in 2012.
The studio's first film The SpongeBob Movie: Sponge Out of Water was released on February 6, 2015, and its latest release was The Tiger's Apprentice on February 2, 2024, with their next release being Transformers One on September 20, 2024.[5]
Films produced by Paramount Animation have grossed a total of $604.1 million at the box office. Its highest-grossing film to date is The SpongeBob Movie: Sponge Out of Water, which grossed $325.1 million.
Background
[edit]
After the closure of Paramount Cartoon Studios (formerly named Famous Studios) in December 1967, Paramount distributed a few animated films from 1973 to 1992 that were produced by outside studios, including Charlotte's Web, Race for Your Life, Charlie Brown, Bon Voyage, Charlie Brown (and Don't Come Back!!), and Bebe's Kids.
In the fall of 1993, Canadian animation studio Nelvana signed a multi-year deal to produce five animated feature films in collaboration with Paramount Pictures, with Kathleen Kennedy and Frank Marshall producing; the first two began production the following summer, at a cost of over US$20 million each.[6][7] Three of the projects were based on books by E. B. White (The Trumpet of the Swan), Clive Barker (The Thief of Always) and Graeme Base (The Sign of the Seahorse); an original production called Mask Vision was also in the works.[8] However, none of the films were produced in this deal.
Following Paramount's merger with Viacom, the studio started releasing several animated films based on Nickelodeon's TV shows, including the Rugrats film trilogy, The SpongeBob SquarePants Movie, and Jimmy Neutron: Boy Genius; the films produced by Nickelodeon Movies. The studio also released features based on MTV's Beavis and Butt-Head and Comedy Central's South Park.
In 2005, Paramount's new CEO Brad Grey considered building an in-house animation division, because he saw family films as the "sweet spot" of the movie business.[9] The following year, Paramount signed a distribution deal with DreamWorks Animation, starting with Over the Hedge and ending with Rise of the Guardians. During this deal, the studio released Nickelodeon Movies' Barnyard in 2006 and ImageMovers' Beowulf in 2007.
On March 4, 2011, the studio released its first in-house animated film, Nickelodeon Movies' Rango. The film was critically acclaimed and grossed over $245 million at the box office. The success of Rango helped Paramount discover its potential in making successful animated features on its own. In June of that year, the studio acquired the rights to produce an animated film based on Penny Arcade's 2010 webcomic The New Kid.[10]
History
[edit]
Brad Grey era (2011–2017)
[edit]
In July 2011, in the wake of Rango's success, the high hopes for The Adventures of Tintin, and the departure of DreamWorks Animation upon completion of their distribution contract with Madagascar 3: Europe's Most Wanted and Rise of the Guardians in 2012, Paramount announced the formation of a new animation division. The studio would initially produce one animated film a year with a maximum budget of $100 million. A key portion of the films would be co-produced with Nickelodeon and they would be cross-promoted at Nickelodeon's theme parks and hotels.[4]
In October 2011, Paramount named a former president of Walt Disney Feature Animation, David Stainton, president of Paramount Animation.[11] In February 2012, Stainton resigned for personal reasons, with Paramount Film Group's president, Adam Goodman, stepping in to directly oversee the studio.[12] It was also announced that The SpongeBob Movie: Sponge Out of Water, a standalone sequel to 2004's The SpongeBob SquarePants Movie, would be the studio's first film and would be released in 2014. A short time after, the film was delayed to early 2015.[13]
In August 2012, Variety reported that Paramount Animation was in the process of starting development of several animated films in collaboration with Nickelodeon, Mary Parent, and J. J. Abrams. Besides the SpongeBob sequel, Paramount Animation considered adapting Dora the Explorer, The Legend of Korra, and Monkey Quest into films. The increase in animated film production was due to DreamWorks Animation being in talks with other studios to distribute their post-2012 animated films.[14]
On July 31, 2013, Paramount Animation announced that they were developing a new live-action/animated franchise in the vein of the Transformers series, which was titled Monster Trucks. Jonathan Aibel and Glenn Berger were set to write the film's script, Chris Wedge (director of 2002's Ice Age) was set to direct the film, and Mary Parent was set to produce the film, with an initial release date set for May 29, 2015.[15]
The studio's first film, The SpongeBob Movie: Sponge Out of Water, was released on February 6, 2015, to positive reviews[16] and was a box office success, grossing over $325 million worldwide and becoming the fifth highest grossing animated film of 2015.[17] That same month, Paramount fired Adam Goodman due to the studio's thin film slate and Goodman greenlighting box office bombs at the studio.[18] Paramount announced another SpongeBob film later that year.[19]
In the summer of 2015, Paramount Pictures participated in a bidding war against Warner Bros. and Sony Pictures Animation for the rights to produce The Emoji Movie, based on a script by Tony Leondis and Eric Siegel. Sony won the bidding war in July and released the film in 2017.[20] The studio's head Bob Bacon also left Paramount Animation that summer.[18]
In June 2015, it was revealed that Spain's Ilion Animation Studios (the studio behind 2009's Planet 51) won a bidding war against other animation studios to produce a 3D animated tentpole film for Paramount Animation, which was already in production since 2014.[21] In November 2015, Paramount Animation officially announced the project as Amusement Park, (later renamed Wonder Park) with former Pixar animator Dylan Brown helming. The studio also announced Monster Trucks, The Little Prince, Sherlock Gnomes, and the third SpongeBob film.[22]
The studio's second film, The Little Prince, was released on July 29, 2015, in France. It was scheduled to be released on March 18, 2016, in the United States, but Paramount canceled the American release due to the French producers not paying an additional, previously agreed $20 million for the North American prints and advertising budget, however they still retained the distribution rights in France. It was later released onto Netflix on August 5, 2016, as a Netflix original film.[23][24]
The studio's third film, Anomalisa, was given a limited release on December 30, 2015, while getting a wider release in January the following year. It received positive reviews, but grossed $5.7 million on an $8 million budget.
On May 4, 2016, Paramount Pictures announced that they had signed a deal with UK-based Locksmith Animation to co-develop and co-produce three original animated projects to be released under the Paramount Animation label (with animation produced by DNEG).[25]
The studio's fourth film, Monster Trucks was released to mixed reviews[26] and became a box office failure, grossing $64.5 million on a $125 million budget and losing the studio $120 million.[18][27][28]
In March 2017, Skydance Media formed a multi-year partnership with Ilion Animation Studios, forming Skydance Animation.[29]
Jim Gianopulos/Mireille Soria era (2017–2021)
[edit]
In April 2017, Paramount ended its deal with Locksmith Animation when Paramount chairman and CEO Brad Grey was replaced by Jim Gianopulos, who decided that their projects did not fit in with Paramount's other upcoming releases. Locksmith formed a multi-year production deal with 20th Century Fox four months later.[30][31]
In July 2017, Paramount Pictures named former DreamWorks Animation co-president Mireille Soria as the president of the studio.[32] Soria restructured the studio, increasing its number of employees from 10 to over 110, and created a new goal of releasing two tentpole animated films a year with different animation styles and genres. She would also look over the completion of Sherlock Gnomes and Wonder Park, which were in production before her arrival. That same month, Skydance announced its first two animated feature films for Skydance Animation — Split (later retitled Spellbound) and Luck.[33] Both films would be distributed by Paramount Pictures as part of their deal with Skydance. On October 10, 2017, Bill Damaschke was hired to head the division as president of animation and family entertainment.[34]
The studio released its fifth film, Sherlock Gnomes on March 23, 2018, and became a critical[35] and financial disappointment, grossing $90.3 million on a $59 million budget.[36]
In April 2018, Paramount Pictures named former Blue Sky Studios and Nickelodeon Movies producer Ramsey Ann Naito as the executive vice president of the studio.[37][38] She later left the company in order to become the head of animation at Nickelodeon.[39][40] In the same month, Soria greenlit the studio's first three animated features under her leadership to be released in 2020 and beyond: The SpongeBob Movie: It's a Wonderful Sponge (later renamed Sponge On the Run), Reel FX's Monster on the Hill (later renamed Rumble), and Skydance Animation's Luck.[41]
On January 14, 2019, Mireille Soria announced that the team at Paramount Animation will no longer work with Skydance Animation because of their hiring of former Walt Disney Animation Studios and Pixar CCO John Lasseter as the head of animation.[42] Luck and Spellbound were still going to be released by Paramount Pictures without the Paramount Animation brand[43] until Apple TV+ acquired the distribution rights to both films in December 2020 and made a larger pact with Skydance Animation in February 2021.[44][45] Apple Original Films would replace Paramount for both Luck and Spellbound.
The studio's sixth film, Wonder Park was released on March 15, 2019. It received mixed reviews[46] and it became a box office flop, grossing only $119.6 million worldwide on a budget of less than $100 million.[47]
In June 2019, Paramount Animation announced a new slate of animated features, including an animated Spice Girls film, a live-action/animated Mighty Mouse film, an animated film adaptation of The Tiger's Apprentice, a musical film titled Jersey Crabs (later Under the Boardwalk), and the Imagine Entertainment co-production The Shrinking of Treehorn.[48]
The studio's seventh film The SpongeBob Movie: Sponge on the Run theatrically released only in Canada on August 14, 2020, with a March 4, 2021, release in the United States on Paramount+ and a November 5, 2020, release internationally on Netflix due to the COVID-19 pandemic.[49][50][51] The film received positive reviews from critics, and grossed $4.4 million worldwide with a $60 million budget.[52]
In January 2021, Paramount Animation picked up two new films: an adaption of the upcoming Tom Wheeler book C.O.S.M.O.S.[53] and an original animated film from the Comedy Central star Trevor Noah.[54]
Brian Robbins/Ramsey Ann Naito era (2021–present)
[edit]
On September 30, 2021, shortly after Brian Robbins replaced Jim Gianopulos as the chairman and CEO of Paramount Pictures, it was announced that Ramsey Ann Naito would replace Mireille Soria as the president of Paramount Animation in addition to her current role as the president of Nickelodeon Animation Studio.[1]
The studio's eighth film Rumble was released on December 15, 2021, on Paramount+. It was originally expected to be released in theaters on February 18, 2022, but due to the COVID-19 pandemic, it was later moved to Paramount+. It received mixed reviews.
On January 20, 2022, Latifa Ouaou (a veteran of both Illumination and DreamWorks Animation via Universal Pictures) was hired as the executive vice president of movies and global franchises for both Paramount Animation and Nickelodeon Animation Studio. In this position, Ouaou will oversee both streaming and theatrical films for the two companies. It was also revealed that The Tiger’s Apprentice (which was originally being directed by Carlos Baena) will now be directed by Raman Hui, with Paul Watling and Yong Duk Jhun being co-directors. Bob Persichetti (the Academy Award-winning co-director of Sony Pictures Animation's Spider-Man: Into the Spider-Verse) had also joined the film as a producer.[2]
On July 26, 2023, Robbins revealed in a Variety article that the original film Under the Boardwalk would be released straight to Paramount+ instead of theaters (similar Rumble). He stated, “We’re not going to release an expensive original animated movie and just pray people will come,” while also pointing to the box office underperformances of Pixar animated films such as Lightyear and Elemental.[55] This statement received widespread criticism on social media, including from those in the industry such as Guillermo del Toro, Jorge R. Gutierrez, and Christopher Miller.[56][57][58] This also contradicts an earlier statement by the division’s president Naito, who stated in a Deadline interview that she plans to release original animated features to continue building franchises.[59] Under the Boardwalk, the studio's ninth film was instead given a limited theatrical release under the Nickelodeon Movies imprint. It was released on October 27, 2023, with a video-on-demand release on November 7.[60]
The studio's tenth film, The Tiger's Apprentice, was released on February 2, 2024 on Paramount+, after facing several theatrical delays and its theatrical release being cancelled.[61] It received mixed reviews from critics.
On March 5, 2024, Paramount Animation signed a multi-year first-look deal with the Teenage Mutant Ninja Turtles: Mutant Mayhem director Jeff Rowe. Under this deal, Rowe will produce and direct both animated and live-action films, including the 2026 Mutant Mayhem sequel.[62]
If the pending merger of Paramount Global and Skydance Media happens, John Lasseter, who is head of Skydance Animation will become head of Paramount Animation.[63]
Logo
[edit]
Initially, Paramount Animation did not have its own opening logo. Its first six features just used the standard Paramount logo. On September 19, 2019, Paramount Animation introduced a new animated logo featuring a character nicknamed "Star Skipper".[64] When Mireille Soria came to Paramount Animation, one of the first goals set by Jim Gianopulos was to make a logo for the division. The crew wanted to put a female character in the logo because the studio's team is mostly female, and according to Soria, it captures "the magic" of the division. The logo and the character of Star Skipper were designed by Captain Underpants: The First Epic Movie lead visual development artist and art director Christopher Zibach and animated by ATK PLN and Reel FX Creative Studios.[64] This logo debuted in front of The SpongeBob Movie: Sponge on the Run in 2020. The logo's music is the same as the standard Paramount Pictures logo, which is composed by Michael Giacchino.
Process
[edit]
Similar to Warner Bros. Pictures Animation, Illumination, and Sony Pictures Animation, Paramount Animation outsources its animation production to other animation studios such as Mikros Image and Reel FX.[65] Rumble was developed outside of Paramount Animation by Reel FX, but the studio acquired the rights to the film and co-produced it.[66][67]
Like 20th Century Animation with animated films under 20th Century Studios, the studio also acts as somewhat of a distribution label for animated films that are made under or acquired by Paramount Pictures. The earliest case of this would be the aborted deal with Locksmith Animation.[25] Additionally, Paws of Fury: The Legend of Hank, originally expected to be distributed by Open Road Films and STX Entertainment, was acquired by Paramount to be distributed under Paramount Animation, later being distributed under Nickelodeon Movies.[5]
Paramount Animation does not have an in-house animation style. According to Mireille Soria, each film has their own unique style created by the filmmakers, which would be helped by outsourcing animation to different vendors.[68]
When Ramsey Ann Naito took charge of Paramount Animation in September 2021, she brought over the culture of the Nickelodeon Animation Studio, which she describes as "artist-driven" and "creative". Both companies are now united under one team, in a move different from Disney and Universal's animation studios (Walt Disney Animation Studios and Pixar post-Lasseter for the former and Illumination and DreamWorks for the latter).[69]
Filmography
[edit]
Released films
[edit]
Films produced by Paramount Animation Title Release date Director(s) Writers(s) Producer(s) Composer(s) Co-production with Animation services The SpongeBob Movie: Sponge Out of Water[a] February 6, 2015 Paul Tibbitt
Mike Mitchell (live-action sequence) Based on SpongeBob SquarePants created by:
Stephen Hillenburg Paul Tibbitt
Mary Parent John Debney Nickelodeon Movies
United Plankton Pictures Rough Draft Studios Korea
Iloura Stephen Hillenburg
Paul Tibbitt
(story)Jonathan Aibel
Glenn Berger
(screenplay) The Little Prince[b] July 29, 2015[c] Mark Osborne Based on the book by:
Antoine de Saint-Exupéry Aton Soumache
Dimitri Rassam
Alexis Vonarb Hans Zimmer
Richard Harvey ON Animation Studios
Orange Studio
LPPTV
M6 Films Onyx Entertainment
Mikros Image
Lucky Red[d] Irena Brignull
Bob Persichetti Anomalisa[b][e] December 30, 2015 Charlie Kaufman
Duke Johnson Charlie Kaufman Rosa Tran
Duke Johnson
Charlie Kaufman
Dino Stamatopoulos Carter Burwell Starburns Industries — Monster Trucks[a] January 13, 2017 Chris Wedge Matthew Robinson
Jonathan Aibel
Glenn Berger
(story)Derek Connolly
(screenplay) Mary Parent
Denis L. Stewart Dave Sardy Nickelodeon Movies
Disruption Entertainment Mr. X
Moving Picture Company Sherlock Gnomes March 23, 2018 John Stevenson Based on Sherlock Holmes created by:
Arthur Conan Doyle
and the characters created by:
Rob Sprackling
John Smith
Andy Riley
Kevin Cecil
Kelly Asbury
Steve Hamilton Shaw Steve Hamilton Shaw
David Furnish
Carolyn Soper Chris Bacon
(score)Elton John
Bernie Taupin
(songs) Metro-Goldwyn-Mayer
Rocket Pictures Mikros Image
Reel FX Creative Studios Ben Zazove Wonder Park March 15, 2019 Dylan Brown
(uncredited)[70] Robert Gordon
Josh Appelbaum
André Nemec
(story) Josh Appelbaum
André Nemec
(screenplay) Josh Appelbaum
André Nemec
Kendra Haaland Steven Price Nickelodeon Movies Ilion Animation Studios[d] The SpongeBob Movie: Sponge on the Run[a] August 14, 2020[f] Tim Hill Based on SpongeBob SquarePants created by:
Stephen Hillenburg Ryan Harris Hans Zimmer
Steve Mazzaro Nickelodeon Movies
United Plankton Pictures
MRC Mikros Image Tim Hill
Jonathan Aibel
Glenn Berger
(story) Tim Hill
(screenplay) Rumble December 15, 2021[g] Hamish Grieve Based on Monster on the Hill by:
Rob Harrell Brad Booker
Mark Bakshi Lorne Balfe WWE Studios
Walden Media
Reel FX Animation Studios Reel FX Creative Studios Hamish Grieve
Matt Lieberman Under the Boardwalk October 27, 2023[h] David Soren Lorene Scafaria
David Dobkin
(story) Lorene Scafaria
David Soren
(screenplay) David Dobkin
Dagan Potter
Allison Gardner John Debney
Jonathan Sadoff
(score)Sean Douglas
Jonathan Sadoff
(songs) Big Kid Pictures DNEG Animation The Tiger's Apprentice February 2, 2024[g] Raman Hui Co-directors:
Paul Watling
Yong Duk Jhun Based on the book by:
Laurence Yep Jane Startz
Sandra Rabins
Bob Persichetti Steve Jablonsky New Republic Pictures (uncredited)
Jane Startz Productions Mikros Animation David Magee
Christopher Yost
Upcoming films
[edit]
Films produced by Paramount Animation Title Release date Director(s) Writers(s) Producer(s) Composer(s) Co-production with Animation service(s) Production Status Ref. Transformers One September 20, 2024 Josh Cooley Based on the toy line by:
Hasbro Lorenzo di Bonaventura
Tom DeSanto
Don Murphy
Michael Bay
Mark Vahradian
Aaron Dem Brian Tyler Hasbro Entertainment
New Republic Pictures
Di Bonaventura Pictures
Bayhem Films Industrial Light & Magic Post-production [71][72][73][74][75][76] Andrew Barrer
Gabriel Ferrari
Bobby Rubio The Smurfs Movie February 14, 2025 Chris Miller Co-director:
Matthew Landon Based on The Smurfs by:
Peyo Ryan Harris
Rihanna
Laurence "Jay" Brown
Tyran "Ty-Ty" Smith TBA Nickelodeon Movies
Marcy Media Films
LAFIG Belgium
Peyo Company Cinesite Vancouver In production [77][78][79] Pam Brady The SpongeBob Movie: Search for SquarePants[a] December 19, 2025 Derek Drymon Based on SpongeBob SquarePants created by:
Stephen Hillenburg Pam Brady
Lisa Stewart Nickelodeon Movies
United Plankton Pictures Reel FX Animation [80][74][81] Derek Drymon
In development
[edit]
Title Notes C.O.S.M.O.S. [82] Dropz co-production with Gloria Sanchez Productions[83] Muttnik co-production with Imagine Entertainment[83] Once Upon a Motorcyle Dude co-production with Sunswept Entertainment[83] Rainbow Serpent Co-production with Imagine Entertainment and Animal Logic[84] Real Pigeons Fight Crime [83] Stray Dogs Co-production with Image Comics and Coin Operated[85] Superworld Co-production with Temple Hill Entertainment[86] Swan Lake Co-production with Temple Hill Entertainment[83] Untitled Mighty Mouse film[a] [87] Untitled Spice Girls film Co-production with 19 Entertainment[87] Untitled Trevor Noah animated film Co-production with Day Zero Productions and Mainstay Entertainment[54] Yokai Samba [83]
Related productions
[edit]
All films listed are distributed by Paramount Pictures unless noted otherwise.
Title Release date Studio Animation services Notes Rango March 4, 2011 Nickelodeon Movies
Blind Wink
GK Films Industrial Light & Magic Directed by Gore Verbinski. Led to the creation of Paramount Animation. Sonic the Hedgehog February 14, 2020 Sega Sammy Group
Original Film
Marza Animation Planet
Blur Studio Moving Picture Company
Trixter
Digital Domain Directed by Jeff Fowler. Based on the Sega video game series of the same name. PAW Patrol: The Movie August 20, 2021 Nickelodeon Movies
Spin Master Entertainment Mikros Image Directed by Cal Brunker. Based on PAW Patrol by Keith Chapman The Loud House Movie Nickelodeon Movies Top Draw Animation Directed by Dave Needham. Based on The Loud House by Chris Savino. Originally slated to be released by Paramount Pictures. My Little Pony: A New Generation September 24, 2021 Entertainment One
Hasbro Boulder Media[d] Directed by Robert Cullen and José Luis Ucha. Originally slated to be released theatrically by Paramount Pictures, later removed in February 2021 due to the COVID-19 pandemic, as eOne sold the rights to Netflix. Sonic the Hedgehog 2 April 8, 2022 Sega Sammy Group
Original Film
Marza Animation Planet
Blur Studio Moving Picture Company
DNEG Directed by Jeff Fowler. Based on the Sega video game of the same name. Sequel to Sonic the Hedgehog Paws of Fury: The Legend of Hank July 15, 2022 Nickelodeon Movies
GFM Animation
Blazing Productions, Ltd.
Aniventure
Brooksfilms
Flying Tigers Entertainment
Align
HB Wink Animation Cinesite[d] Directed by Rob Minkoff, Chris Bailey and Mark Koetsier. Acquired by Paramount Pictures in January 2022 to be released under Paramount Animation.;[5] released under Nickelodeon Movies. Teenage Mutant Ninja Turtles: Mutant Mayhem August 2, 2023 Nickelodeon Movies
Point Grey Pictures Mikros Animation
Cinesite Vancouver Directed by Jeff Rowe. Based on characters from Teenage Mutant Ninja Turtles by Peter Laird and Kevin Eastman. PAW Patrol: The Mighty Movie September 29, 2023 Nickelodeon Movies
Spin Master Entertainment Mikros Animation Directed by Cal Brunker. Based on PAW Patrol by Keith Chapman. Sequel to PAW Patrol: The Movie. IF May 17, 2024 Sunday Night Productions
Maximum Effort Framestore Written, produced, and directed by John Krasinski. Sonic the Hedgehog 3 December 20, 2024 Sega Sammy Group
Original Film
Marza Animation Planet
Blur Studio Moving Picture Company
Clear Angle Studios
Fin Design + Effects Directed by Jeff Fowler. Based on the Sega video game of the same name. Sequel to Sonic the Hedgehog 2. Aang: The Last Airbender January 20, 2026 Nickelodeon Movies
Avatar Studios Flying Bark Productions Directed by Lauren Montgomery. Based on Avatar: The Last Airbender by Michael Dante DiMartino and Bryan Konietzko. Untitled third PAW Patrol film July 31, 2026 Nickelodeon Movies
Spin Master Entertainment Mikros Animation Directed by Cal Brunker. Based on PAW Patrol by Keith Chapman. Sequel to PAW Patrol: The Mighty Movie. Untitled Teenage Mutant Ninja Turtles: Mutant Mayhem sequel October 9, 2026 Nickelodeon Movies
Point Grey Pictures Mikros Animation
Cinesite Vancouver Directed by Jeff Rowe. Based on characters from Teenage Mutant Ninja Turtles by Peter Laird and Kevin Eastman. Sequel to Teenage Mutant Ninja Turtles: Mutant Mayhem. The Shrinking of Treehorn TBA Imagine Entertainment Animal Logic[d] Directed by Ron Howard. Originally slated to be released theatrically by Paramount Pictures, later sold the rights to Netflix.
Cancelled or inactive projects
[edit]
Title Description The New Kid Feature film based on the comic Penny Arcade. Announced in June 2011,[10] the project was canceled by 2016 due to leadership changes at Paramount Pictures despite the script being complete.[88] Shedd Announced in January 2014 with John Kahrs joining as the director and was based on an original idea by Adam Goodman.[89] Giant Monsters Attack Japan Originally announced in 2006 as a live-action Nickelodeon Movies production from Matt Stone and Trey Parker, the film moved to Paramount Animation in 2015 with a script written by Matt Lieberman.[90] Bodacious Announced in October 2015 as an animated feature produced by Eddie Murphy based on the infamous bull of the same name.[91] Untitled sci-fi film Paramount Animation acquired the rights to an untitled sci-fi pitch from screenwriter David Frigerio in October 2015, which was described as "tonally Cars set in space".[92] The Flamingo Affair Announced in June 2016 as a co-production with J.J. Abrams through Bad Robot with a script written by Pamela Pettler. The film was described as a comedic Ocean's Eleven-style heist film with animals in Las Vegas.[93] Adventures in Wonder Park Prior to Wonder Park's release, Paramount Animation announced a television series based on the film, titled Adventures in Wonder Park, to debut on Nickelodeon after the film's theatrical release.[94] Although a trailer for the series was attached to the Blu-ray release of the film, and its first season, consisting of 20 episodes, was completed between 2019 and early 2020, there have been no updates from Nickelodeon on the project as of 2023. The animatic of the pilot was later posted online in December 2022.[95]
Reception
[edit]
Box office grosses
[edit]
Film Budget North America Overseas
gross Worldwide gross
(unadjusted) Ref(s) Opening Gross
(unadjusted) The SpongeBob Movie: Sponge Out of Water $74 million $55,365,012 $162,994,032 $162,192,000 $325,186,032 [96] The Little Prince $60 million $116,927 $1,339,152 $96,232,098 $97,571,250 [citation needed] Anomalisa $8 million $135,222 $3,759,286 $1,900,000 $5,659,286 [citation needed] Monster Trucks $125 million $10,950,705 $33,370,166 $31,123,749 $64,493,915 [97] Sherlock Gnomes $59 million $10,604,774 $43,242,871 $47,254,907 $90,497,778 [98] Wonder Park $80–100 million $15,853,646 $45,216,793 $74,342,317 $119,559,110 [99] The SpongeBob Movie: Sponge on the Run $60 million $865,824 $4,810,790 — $4,810,790 [100]
Critical and public response
[edit]
Film Critical Rotten Tomatoes Metacritic The SpongeBob Movie: Sponge Out of Water 81% 62 The Little Prince 93% 70 Anomalisa 92% 88 Monster Trucks 32% 41 Sherlock Gnomes 27% 36 Wonder Park 34% 45 The SpongeBob Movie: Sponge on the Run 67% 65 Rumble 43% 48 The Tiger's Apprentice 53% 60
Accolades
[edit]
Year Film Category Recipient(s) Result Refs 2015 Anomalisa Best Animated Feature Charlie Kaufman, Duke Johnson, and Rosa Tran Nominated [101]
Year Film Category Recipient(s) Result Refs 2016 The SpongeBob Movie: Sponge Out of Water Animated Effects in an Animated Production Brice Mallier, Paul Buckley, Brent Droog, Alex Whyte and Jonothan Freisler Nominated [102] Voice Acting in an Animated Feature Tom Kenny Anomalisa Best Animated Feature Rosa Tran, Duke Johnson, Charlie Kaufman and Dino Stamatopoulos Best Directing in a Feature Production Charlie Kaufman and Duke Johnson Best Music in a Feature Production Carter Burwell Best Voice Acting in a Feature Production Jennifer Jason Leigh Best Editing in a Feature Production Garret Elkins
Year Film Category Recipient(s) Result Ref. 2018 Sherlock Gnomes Worst Actor Johnny Depp Nominated [103] Worst Screen Combo His fast-fading film career
Notes
[edit]
See also
[edit]
Nickelodeon Movies
DreamWorks Animation
Miramax Animation
Terrytoons
List of Paramount Pictures theatrical animated feature films
List of animation studios owned by Paramount Global
References
[edit]
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https://apnews.com/article/actors-strike-delayed-shows-movies-writers-42b99032bb638930df097f675b363898
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en
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Movies and TV shows affected by Hollywood actors and screenwriters’ strikes
|
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] |
2023-08-25T18:03:27+00:00
|
Hollywood productions and promotional tours around the world have been put on indefinite hold as actors and writers are on strike against big studios and streaming services.
|
en
|
/apple-touch-icon.png
|
AP News
|
https://apnews.com/article/actors-strike-delayed-shows-movies-writers-42b99032bb638930df097f675b363898
|
Hollywood productions and promotional tours around the world have been put on indefinite hold as actors join writers on the picket lines as they seek new contracts with studios and streaming services.
Late-night talk shows and many television productions were put on long-term hiatus due to the writers strike, movie tentpoles, some in mid-production, have shut down too from Ridley Scott’s “Gladiator” sequel to “Deadpool 3,” and studios are also pushing some of their completed films into 2024 as well.
On Thursday, Warner Bros. reshuffled several films, notably moving “Dune 2” from November to March 2024. The studio also shifted the release date of a “Lord of the Rings” movie that will now arrive in theaters in December 2024.
Here’s a selected look at shows and films in suspension.
SHOWS THAT HAVE PAUSED WORK DURING WRITERS STRIKE
“1923” — Paramount+
“A Knight of the Seven Kingdoms: The Hedge Knight” — HBO
“Abbott Elementary” — ABC
“American Dad” — Fox
“American Horror Story” — FX
“Big Mouth” — Netflix
“Billions” — Showtime
“The Chi” — Showtime
“Cobra Kai” — Netflix
“Daredevil: Born Again” — Disney+
“Duster” — Max
“Emily in Paris” — Netflix
“Family Guy” — Fox
“FBI: Most Wanted” — CBS
“Grey’s Anatomy” — ABC
“Hacks” — Max
“The Last of Us” — HBO
“Law & Order” — NBC
“Metropolis” — Apple TV+
“Penguin” — Max
“Severance” — Apple TV+
“The Sex Lives of College Girls” — Max
“Stranger Things” — Netflix
“The Summer I Turned Pretty” — Prime Video
“Yellowjackets” — Showtime
MOVIES IN (VARIOUS STAGES) OF PRODUCTION THAT SHUT DOWN
“Deadpool 3” — Disney/Marvel (originally set for May 3, 2024)
“Mission: Impossible — Dead Reckoning Part II” — Paramount (originally set for June 28, 2024)
“Beetlejuice 2” — Warner Bros (originally set for Sept. 6, 2024)
“Gladiator 2” — Paramount (originally set for Nov. 24, 2024)
“Wicked” — Universal (originally set for Nov. 27, 2024)
Untitled Karate Kid film — Sony (now Dec. 13, 2024)
“Blade” — Disney (now Feb. 14, 2025)
“G20” — (TBD)
“Lilo & Stitch” — Disney (TBD)
“Mortal Kombat 2”— Warner Bros. (TBD)
“Spider-Man: Beyond the Spider-Verse” — Sony (TBD)
Untitled Brad Pitt F1 Film — Apple (TBD)
“Venom 3” — Sony (TBD)
MOVIES DELAYING RELEASES
“Challengers” – MGM/Amazon (now April 26, 2024)
“Dune: Part Two”- Warner Bros. (now March 15, 2024)
“Ghostbusters: Afterlife” – Sony (now March 29, 2024)
“Godzilla x Kong: The New Empire” – Warner Bros. (now April 12, 2024)
“Kraven the Hunter” – Sony (now Aug. 30, 2024)
“The Lord of the Rings: The War of the Rohirrim” – Warner Bros (now Dec. 13, 2024)
“Poor Things” — Searchlight Pictures (now Dec. 8)
“Problemista” — A24 (TBD)
“They Listen” — Sony (TBD)
Untitled Dirty Dancing Sequel – Lionsgate (now 2025)
“White Bird” – Lionsgate (now Winter 2023)
SHOWS THAT HAVE CANCELED EPISODES DURING WRITERS STRIKE
“Jimmy Kimmel Live” — ABC
“Last Week Tonight With John Oliver” — HBO
“Late Night With Seth Myers” — NBC
“The Late Show With Stephen Colbert” — CBS
“Saturday Night Live” — NBC
“The Tonight Show Starring Jimmy Fallon” — NBC
___
This item first ran on June 30, 2023 and was updated on July 14 and Aug. 25, 2023.
___
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3324
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http://thefilmexperience.net/blog/2024/2/16/interview-the-taste-of-things-director-tran-ahn-hung.html
|
en
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Interview: "The Taste of Things" Director Tran Ahn Hung
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2024-02-16T00:00:00
|
By Ben Miller
Image courtesy of IFC Films I was fortunate enough to sit down with Award-wining ...
|
en
|
/favicon.ico
| null |
By Ben Miller
I was fortunate enough to sit down with Award-wining Vietnamese director Tran Ahn Hung to talk about his wonderful new film The Taste of Things. We spoke about his film's themes, making a film without conflict, and shooting cooking scenes like action sequences.
This interview has been lightly edited for clarity. THIS INTERVIEW CONTAINS SOME FILM SPOILERS
BEN MILLER: I loved your film. Thank you so much for having it. I was curious, more than anything else, how the story came about as far as how it relates to the food. Did you come up with the idea of the film, and then have to backfill all the recipes, and the food, and the preparation, or was it vice versa?
TRAN ANH HUNG: I think the idea of the food came first. I always wanted to make a movie about food. So the idea is to find the right project. So, I read a lot of books. I wanted to make a movie about food, but it didn't happen. So when I found this book, I was really happy because there were some pages, that was really nice, about how people talk about food. That was the starting point. And then, since I didn't like the story in the book, it was the opportunity for me to think about the idea of the people at that age, around 50. And how it would be harmonious relationship between a man and woman at that age. Then, I came with the love story between Eugènie and Dodin.
BEN MILLER: It's really interesting how you just said that. You don't really see that kind of like...these characters are not young, but it's never highlighted that they are getting up there in age. They've been together all this time, but there's no real labels on it. It's not a story of "finally after all these years they can find love." They've always been there. How do you describe that?
TRAN ANH HUNG: This is the very important point that you made. Because it's in fact the nature of their relationship which I tried to show in the movie. And this nature is given by Eugènie because she didn't want to marry Dodin. This distance that she put between them made the beauty of their relationship. At the end of the movie, the very clear definition of their relationship, and this definition is understood and accepted by Dodin, about what woman Eugènie would like to be. It's a very strong statement. The whole movie is about this idea of her being a free woman and about Dodin, who accepted it.
BEN MILLER: The big takeaway from the film...you see films or reality shows with cooking and a chef in a high-pressure situation, and it's always very abrasive and overbearing. IN this film, it's like a ballet. It's so graceful, and working together, and understanding each other's movements. And even whenever the child comes in as the apprentice, we are going introduce her in a way to show her how much this is loved. Any conflict in the film has nothing to do with the food. Was that an intentional idea where you said, "everything is perfect in this situation?"
TRAN ANH HUNG: I would not say that it's perfect. It's more about this idea of giving up with conflicts. Because conflicts is something that is usually in film. Because somehow it's easier, it's a dynamic thing for a movie. When you don't have conflict, it becomes something that's a great challenge for me to achieve. How to make a movie without conflict and expressing harmony. That was something difficult for me to do, it's not that it's perfect, it's how to create a possible world that has harmony between people. Dealing with different feelings like friendship, love, and transmission. This little girl, Pauline, it's a beautiful character. She carries the theme of transmission, because Eugènie wanted to train her and promised to train her. She appears at the beginning of the movie, disappears, and reappears at the end. When she reappears, Eugènie died, and she has to save Dodin. He didn't want to make up with life. Because of that promise, Dodin needs to find a cook to train her And somehow before dying, Eugènie managed to give Dodin a daughter. This is very beautiful.
BEN MILLER: It's not the kind of film you see these days, because like you said, there's always these films with conflict. Most of the conflict is internal. When watching the film, I saw the Russian aristocrat come in, and I assumed he would be the villain. But that didn't happen. And all of Dodin's friends are very supportive. It must be difficult to write that. Was the intention from the beginning or did it just evolve into that?
TRAN ANH HUNG: Yes, it was the intention from the beginning. When I choose a project, it needs to have a real challenge for me. The challenge here is to film the cooking scenes that is really different from what we see in different movies. And also to find the balance between the love story and the cooking scenes. And how to create this feeling of harmony and pleasure for the audience.
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https://www.eveningtribune.com/story/news/2021/04/08/allegany-county-town-allen-hosts-paramount-pictures-movie-shoot/7105257002/
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en
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Lights! Camera! Allen! Allegany County town hosts Paramount Pictures movie shoot
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2021-04-08T00:00:00
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Paramount Pictures is shooting a full-length feature film in the sparsely populated Town of Allen in northern Allegany County
|
en
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The Evening Tribune
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https://www.eveningtribune.com/story/news/2021/04/08/allegany-county-town-allen-hosts-paramount-pictures-movie-shoot/7105257002/
|
Paramount Pictures is shooting a full-length feature film in the sparsely populated Town of Allen in northern Allegany County
Lights! Camera! Allen!
Allen? Yes. Right now, Paramount Pictures is shooting a full-length feature film in the sparsely populated Town of Allen in northern Allegany County. Cast and crew are on location at an Amish farm on a dirt road. The production company is using the Short Tract fire hall as its base camp.
The movie, which could be released next year, is set in a fictional Amish community, which is why Paramount location scouts chose the white, two-story Amish-built farmhouse. The property had been vacant.
A nearby barn now houses all of the accoutrements of filmmaking: lights, cameras and sound equipment. Signs above the barn stalls denote spaces for wardrobe and props. A COVID-19 screening area occupies a large space. The set is closed to visitors as part of the movie industry’s pandemic protocols.
Allegany County setting the 'perfect' location
Members of the production team were not permitted to comment on location, but Paramount authorized Tim Clark, commissioner of the Buffalo Niagara Film Office, to disclose some details of the shoot.
Clark could not reveal the title of the movie or even its genre, but he said that Paramount grew interested in the Southern Tier when John Krasinski directed “A Quiet Place II” in the Village of Akron near Buffalo in 2019.
Scott's Family Resort: New York landmark featured in 'Marvelous Mrs. Maisel' to be sold
Film fest: Movie filmed mostly in Elmira will debut this weekend at Sundance Film Festival
“The executives at Paramount, after spending the summer here, thought that what they were looking for was available here, in Western New York and in particular the Southern Tier,” Clark said.
“The way these movies work, they send in location scouts. They zeroed in on the Western New York vicinity, and they basically didn’t miss one nook or cranny in the place. They spent over a month searching for locations, and this is something that the production wanted to use. They had looked at dozens and dozens of locations, and this one was perfect for the look they were trying to get.”
Once shooting on the farm is completed, The Spectator has learned that driving scenes will be shot locally, and a separate set will be built “somewhere nearby” to film additional scenes.
Production impacts local economy
Clark did not indicate whether any A-list or B-list celebrities have been cast in the movie, but local actors will be working as extras. Last month, Casting Buffalo issued a notice for “Amish-type folk” including an “Elder grandfather — male, Caucasian, 70+, weathered appearance, full beards (willing to match proper Amish-type look), no visible tattoos or piercings, healthy.” Other roles include an elder grandmother, young adults, children who can sing, and people who have experience working with horses and buggies or in carpentry and blacksmithing.
Shooting a film in such a remote location has required Paramount to bring Hollywood to Allegany County. The film studio is renting the Short Tract Volunteer Fire Company’s hall and surrounding land to park a tractor trailer-sized generator, several large trailers, a food truck and a fleet of school buses and vans to shuttle cast and crew several miles to the set.
Even though Paramount brought so much equipment, the production is expected to have an economic impact locally, Clark said.
“For Allegany County, and we won’t know until it’s calculated out at the end, it’s likely to be also millions of dollars. That’s really a lengthy, a big location for them,” Clark said, noting that Paramount will spend money daily to fuel the generator and tractor trailers as well as to buy supplies.
“A lot of the supplies that are used for this movie are really bought locally. I’ve worked with Paramount on a couple of projects already, and they are a company that really believes in patronizing the local establishments. That includes local stores, hardware, paint, all kinds of things like that as well as hotels and catering.”
A sequel in the Southern Tier?
A movie being filmed on a hillside farm in Allen may seem unusual, but Clark doesn’t think it will be the last movie made in the Southern Tier. He cites the New York state film tax credit. According to the Empire State Development website, production companies “may be eligible to receive a fully refundable credit of 25% of qualified production costs and post-production costs incurred in New York state.” Productions with budgets of a half-million dollars or more may receive a 10% credit on labor costs for films shot in many Southern Tier counties.
“We have been doing much more filming in Western New York lately, so as the increased filming happens, you get sort of us and others scouting in areas like Allegany, Livingston, Steuben, all those counties. We really do try to spread it beyond Buffalo, Niagara Falls and the usual cast of characters. I do think there will be more movies coming to Allegany County and to the Southern Tier.”
Clark said that a movie’s economic impact can continue in a community long after it has played in theaters and on streaming services.
“After a movie is made, there’s a thing called ‘film tourism,’ and what happens is people will see these towns or the scenery, and people want to see where that is made. They want to see that particular location that’s shown in the movie.”
Follow Madonna Figura Simon on Twitter @MadonnaFigura. To get unlimited access to the latest news, please subscribe or activate your digital account today.
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https://www.scribd.com/presentation/335123546/paramount-pictures
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Paramount Pictures
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paramount pictures - Free download as Powerpoint Presentation (.ppt / .pptx), PDF File (.pdf), Text File (.txt) or view presentation slides online. Paramount Pictures is one of the major film studios in Hollywood founded in 1912. It has expanded over the years through subsidiary production companies like MTV Films, Nickelodeon Movies, Comedy Central Films, and United International Pictures. These subsidiaries produce a variety of films for different audiences while maintaining Paramount's mission. Paramount has had success with big budget films like Titanic and franchises like Transformers. Their logo has evolved over the decades but has always featured a prominent mountain peak symbolizing the company's prominence in the film industry.
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https://s-f.scribdassets.com/scribd.ico?d4187ae93?v=5
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Scribd
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https://www.scribd.com/presentation/335123546/paramount-pictures
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https://www.nytimes.com/2024/07/28/movies/older-actresses-comedies.html
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Know What’s Funny About Getting Old? These Movies Do.
|
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2024-07-28T00:00:00
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Star-studded with leading ladies, who are all a bit older, recent comedies like “The Fabulous Four” and “80 for Brady” are establishing a popular new genre.
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en
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/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico
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https://www.nytimes.com/2024/07/28/movies/older-actresses-comedies.html
|
There are two new films this year in which Academy Award-nominated actresses in their 70s whip out tiny sex toys. In “Summer Camp,” Kathy Bates offers up wee vibrators to Alfre Woodard and Diane Keaton. In “The Fabulous Four,” it’s Bette Midler giving Susan Sarandon a kegel ball that she later flings at a bike thief.
You might confuse these comedies with “Book Club” (2018), where Keaton, again, finds herself in the company of fellow older luminaries (Jane Fonda, Mary Steenburgen and Candice Bergen). Or with “Poms” (2019), which places Keaton on a retirement community cheer squad with Jacki Weaver, Rhea Perlman and Pam Grier. Then, again, there’s also “80 for Brady” (2023), where Fonda, Lily Tomlin, Sally Field and Rita Moreno go to the Super Bowl.
Though the circumstances are different, the similarities in plot, casting and themes make the films easy to classify but tough to label. “Legendary ladies of cinema do a light romp,” is a little long; “Old lady comedies” might seem demeaning, but that is, essentially, how the films identify themselves. In the “80 for Brady” trailer, Moreno sums it up by saying: “The Super Bowl is no place for four old women.”
Regardless of the label, this growing genre of star-studded comedies has become popular in recent years, with “Four,” which hit theaters on Friday, becoming the latest installment in the canon.
You can usually see the same types of characters in each film. At least one of the women is a stick in the mud. In “The Fabulous Four” that’s Sarandon’s job. As Lou, she’s a serious doctor who loves cats and is holding a grudge against Midler’s character over a long-ago offense. Often Keaton, with her turtlenecks, is the most uptight of her group. And Fonda, when she appears, plays sexually adventurous characters, prone to making off-color jokes. Megan Mullally has that gig in “Four,” with an assist from the famously bawdy Midler. There are usually high jinks involving behavior that one might not expect from seniors. They get high. They go on adventurous excursions like parasailing or ziplining. They experiment with technology and social media. (“The Fabulous Four” has a whole bit about Midler on TikTok.)
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https://newsradio1310.com/idahos-creepiest-haunted-ghost-town-deserves-a-visit/
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en
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Idaho’s Creepiest Haunted Ghost Town Deserves a Visit
|
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2024-08-02T14:40:45+00:00
|
On the north side of what remains of the old town, the road dead ends. There is a grove of trees and an occupied house at the end of the road.
|
en
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https://townsquare.media/site/95/files/2011/02/favicon.ico
|
News Radio 1310 AM and 96.1 FM
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https://newsradio1310.com/idahos-creepiest-haunted-ghost-town-deserves-a-visit/
|
Maybe I’ve seen too many horror films, but visiting Burke, Idaho gave me a case of the willies. I was vacationing in the Shoshone and Kootenai Counties. One day I left Wallace and made the short drive to Burke. I stepped out of the car with a camera and started taking pictures. I didn’t stay long. The place looked and sounded empty, but the entire time, I had a feeling I was being watched.
I’m not sold on the existence of ghosts. I’ve seen and heard some things in life that make me wonder, but not much. There were mining wars in the area in the late 1800s, and people were killed. It was a brutal time in the Idaho panhandle, and there were a lot of tough men working the silver mines.
On the north side of what remains of the old town, the road dead ends. There is a grove of trees and an occupied house at the end of the road. I didn’t go exploring. After all, I’ve watched a few too many slasher pictures.
You won’t find many ghost towns back east. If there were any, they’ve mostly been plowed under and the wood carted away for other uses. The West is a different matter. Towns boomed briefly during various mining booms, and then just as suddenly, everyone left.
I visited a ghost town near Ely a couple of years ago. To my surprise, when I got there much of it had been revived. There are even some brand-new homes with wonderful views of the valley below. People just gave me that look that said Tourist, and then went back to going about their business.
Burke is different. It can make your skin crawl.
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https://www.paramountstudios.com/paramount-history.html
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en
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Paramount History
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Paramount Pictures began humbly in 1912 when Adolph Zukor, the owner of a New York nickelodeon, released the first full-length drama shown in the United States (Queen Elizabeth, starring Sarah Bernhardt) and founded the Famous Players Film Company. A year later, Zukor began distributing his films through a start-up company called Paramount Pictures.
In 1916, Zukorâs Famous Players merged with The Jesse L. Lasky Company, which was producing films in Hollywood (including the first feature-length film ever produced in Hollywood â The Squaw Man) and also using Paramount Pictures as a distributor. The newly formed Famous Players-Lasky Corporation, soon consolidated with the distribution company (in which Zukor was a major stockholder) and all three companies became what you now know as Paramount Pictures.
After the merger, audiences first began seeing the iconic logo with the mountain and stars, which was created by Paramount (the distribution company) founder W. W. Hodkinson. Hodkinson had borrowed the Paramount name from an apartment house that he frequently passed in his neighborhood. A mountain peak he remembered from his childhood in Utah inspired the logo, which he designed. Legend has it that the stars surrounding the mountain represented the original 22 film stars Hodkinson had under contract. Another implication was that Paramount had more stars than there were in the universe.
In 1926, Lasky supervised the construction of a new Hollywood studio, which was the foundation of the Paramount Pictures studio lot today. The original studio, which cost $1 million to build, stood on a 26-acre lot and contained four large sound stages.
It only took a year after moving onto our current studio lot for Paramountâs success to become evident. In 1927, Paramount received the very first Academy Award for Best Picture with its release of Wings, a silent movie about World War I fighter pilots. In addition, Wings is the only silent film in movie history to win that award.
There was no looking back after that.
Memorable Movies (1912-1929)
⢠The Sheik (1921)
⢠Wings (1927, Winner of the 1st
Academy Award for Best Picture)
⢠Interference (1928, Paramount's 1st All Talkie)
⢠Coconuts (1929)
Famous Stars (1912-1929)
⢠Cecil B. DeMille
⢠Mary Pickford
⢠Clara Bow
⢠Douglas Fairbanks
⢠Gloria Swanson
⢠Rudolph Valentino
The 30s through the mid-50s proved to be an immensely successful period for Paramount. Many of the classics weâve all come to know and love were created during this time. In the midst of the Great Depression, the memorable Bing Crosby musicals, Cecil B. DeMille spectacles and the outrageous comedies of Mae West were all created.
Throughout our history, Paramount has nurtured and aided the industryâs most legendary movie talent. From the earliest years and through the 1930s, actors and actresses were more like professional football players of today. They were contracted by the different studios to only appear in each particular studioâs movies. They were also traded back and forth for particular productions between studios. (In more recent times, actors, directors and other talent now have the freedom to work on any production they wish, with any studio.)
During the mid to late 40s, the critical acclaim of films from Paramount also became prominent. In 1944, Paramount won its second Academy Award for Best Picture for Going My Way. The very next year, The Lost Weekend took the top prize. Throughout the early 50s, Paramount dominated the Academy Award nominee lists with enduring classics, including Sunset Boulevard, The Greatest Show on Earth (1952 Academy Winner), Shane, The Rose Tattoo and DeMilleâs remake of The Ten Commandments.
Memorable Movies (1930-1959)
⢠Bob Hope & Bing Crosby
âRoadâ Series (1940-1962)
⢠Going My Way (1944)
⢠Sunset Boulevard (1950)
⢠The Greatest Show on Earth (1952)
⢠White Christmas (1954)
⢠The Ten Commandments (1956)
Famous Stars (1930-1959)
⢠Cecil B. DeMille
⢠Bob Hope
⢠Bing Crosby
⢠Marlene Dietrich
⢠Mae West
⢠Gary Cooper
⢠The Marx Brothers
⢠Elvis Presley
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https://tisch.nyu.edu/open-arts/OA_Courses_AcademicYear
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Open Arts Courses
|
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The following Open Arts courses are offered to NYU students throughout the academic year.
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https://tisch.nyu.edu/open-arts/OA_Courses_AcademicYear
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Combining science and the art of storytelling, this course will tackle one of the most pressing issues facing the future of humanity: Abrupt Climate Change. In a unique collaboration with NYU physical climate scientist Professor David Holland, students will research and create work that bridges the divide between science and the public through accurate, creative science-based storytelling.
This highly multidisciplinary, hands-on course welcomes students from all backgrounds and fields of study to imagine and invent creative ways of telling stories about this global phenomenon and to investigate solutions.
Weekly assignments will lead to a final collaborative project and an exhibition open to the public.
This course challenges us to foster a tactile understanding of the relationship between art and social change. How do artists address social issues? Can art transform lives? How can art serve as a force for encouraging ethical dialogue and action within the public sphere? How do we make our ideas and revelations actually matter within our collective place and space? To better facilitate our understanding of this relationship, and in an effort to get inside these key questions and others, this course will unfold in two parts.
Part I (Conversations on Art and Social Change) will be run as an interactive seminar in which we will explore how the desire to change the world has led some artists to align themselves with wider social movements. Through lectures, discussions and presentations, we will set about to engage ourselves with the work of contemporary artists who have addressed issues related to the environment, racial and cultural identity, human rights, healthcare, and social justice. We will assume that understanding the work of others is necessary if we are to appreciate the potentiality of our own impact on the world.
Part II of this course (A Collective Gesture Toward) will entail challenging ourselves to participate more fully in our immediate surroundings vis-à-vis the development and implementation of a work (or works) of art.
Taking off from the practices of medium-based art categories, this course is structured across key topics in contemporary art - “art of today, produced by artists who are living in the twenty-first century”. During the semester, via the framework of readings, projects and assignments, we will consider the importance of the visual arts in the larger context of society. Each week we will look at a different topic, which will be organized around key concepts, artists and artwork examples. The main goal is to allow us to contemplate the process of interaction between visual art, history, cultural, socio-economical, and technological forces. The stress of our gatherings will be on the artist as a thinker and a maker.
This course will engage students directly in the discourse of contemporary art and in the hugely diverse practices of artists in their studios in New York. Framed predominantly around studio visits, the course will expose students to hybrid mediums and working strategies that will complicate, not facilitate, systems of categorization. Meeting outside of the physical classroom for the majority of the semester, students will be expected to be prepared to navigate the city independently to various locations across Manhattan, Brooklyn and Queens for site visits. Each week, we will sharpen our abilities of seeing, questioning and understanding not only physical spaces of creativity but also mental strategies of production across a wide variety of media. Supplementing the visual feast of these weekly adventures, students will participate in material workshops at a number of artist’s studios and will build a record of influences, ideas, research and modes of making in individual sketchbooks that will be compiled during the semester and which will help inform the class’s collaborative project at the culmination of the semester – a Studio Guide to assist in oblique strategies of creating. Weekly readings, videos and podcasts will introduce elements of art criticism, theory, philosophy and history and will inform our understanding of what we see and how we approach making in the studio. Prior experience in object-making is recommended, however, it is not required. This class is best suited to Collaborative Arts BFA students as well as NYU students through the Open Arts program.
This course examines the Western fascination with the moving body in different cultural environments and throughout colonial and postcolonial historical periods until the present time. It will begin by investigating early images and artistic representation of the body in motion captured by European ethnographers at the turn of the 19th century, and continue tracing it to current trends of contemporary culture. The goal of this course is to develop a critical understanding of the culture built around the body as subject as well as a marker of otherness. This course will offer students an opportunity to study and articulate, intellectually and physically, the legibility of bodies in motion within different cultural landscapes. Body as Culture: Bodies in Cultural Landscapes will provide an open forum in which to investigate human movement within the specific aesthetic system and cultural practice of early ethnographic representation to contemporary culture’s engagement with the moving body. It will offer insight into personal and cultural identity, stimulating an expanded recognition and appreciation of difference. This course offers students the opportunity to explore simultaneously their intellect (in class viewing, readings and discussions), as well as in the presentation of their own version of ethnographic research and representation based on a topic of their choice discussed with instructor. Students will engage weekly with exercises and assignments based on course material.
All art production has an environmental impact. To develop sustainable studio practices, artists must familiarize themselves with the consequences of material choices and processes, such as their carbon footprint, supply chain, environmental justice issues, land use, water footprint, toxicity, and end-of-life management. This studio sculpture class is a combination of hands-on experimentation in the classroom and a series of site visits to facilities in the metropolitan area to conduct research and to find inspiration for the development of new artist practices. Workshops in the classroom include experiments with mycelium, bioplastics, vegan adhesives, and nontoxic paints as alternatives to commercially available products. To understand the links between the fast demands of disposable culture and its effect on biodiversity, exhaustion of natural resources, and climate change, we will visit a recycling facility, an oyster reef, and a rooftop farm to learn about environmental projects and initiatives on a city scale. For class projects, students will invest their creativity to do more with less impact by reusing, repurposing, and recycling the city's abundance and waste. These projects will highlight the resourcefulness of artists’ imagination to invent new solutions in the studio and communicate to audiences the urgency of the paradigm shift needed to tackle the challenges of the climate crisis.
The object, in reality, is anything but inert - it is hyperactive, changing in function and meaning as it moves in time and space. This studio-based course will give students the tools to use objects and materials specifically and deliberately in their work. The course will link intuitive making with research, allowing students to investigate their genuine and unique interests and develop their conceptual goals. During the course of the semester, students will be exposed to a wide range of non-traditional objects and materials that have been employed by artists throughout history. Readings and viewings will supplement the work done in the studio, with four themed sections serving as guided warm ups for a final project of the students’ own direction. These sections are titled: The Other, The Icon, The Minuscule, The Massive. Each student will make a work based on each theme, and group critiques will function as a laboratory in which students can test theories on display, context, form and legibility. This course is best suited to those with an interest in nontraditional art materials, collage, and found objects. Prior experience in sculpture or painting will be particularly helpful, however, it is not required.
Knowledge Systems: The Poetic and the Algorithmic introduces students to a series of critical texts and art practices and invites them to adopt a similarly critical approach to their own work. With texts ranging from 1st century BCE to today, the course through weekly prompts, in class discussion and a deep reading, examines non-dualistic thought and the role of emotion, the sensual and performativity in the making of the world and art. Instances of such non-dualistic thought in art, science, philosophy, and craft are looked at as a way to question established knowledge systems and propose new futures. Non-dualistic thought is approached here as a way to escape established binaries and create a space that goes beyond good/bad, right/wrong and instead invites multiplicity and a wide range of perspectives and voices. Starting with Mallarmé’s seminal poem, “A Throw of the Dice Will Never Abolish Chance,” and concluding with Muñoz’s essay “Feeling Utopia” from his book Cruising Utopia, where he opens with Oscar Wilde’s quote: “a map of the world that does not include utopia is not worth glancing at,” the course challenges students to “feel hope and to feel utopia” as a form of resistance to established dystopian narratives. In particular the course approaches artificial intelligence as a non-plural contemporary knowledge system and asks students to reflect on the world view that technical systems establish. Following such reflections, the course urges students to explore ways to counter monolithic systems by engaging with uncertainty, the poetic and embodied interactions.
Whether you are a filmmaker looking to better understand how to build a cohesive and productive film crew; a theatre maker excited about building a performance project or theatre company; a multi-media artist looking for ways to innovate your ideas for artistic work in collaboration with others; an artist looking for tools for building an artistic ensemble, or a multi- disciplinary artist looking to take your creative work out into communities as social practice, this combination lecture/activity-based class provides you with tools for better understanding how to enter into and engage others in collective creative work of purpose.
Multi-Disciplinary Arts Practice with Community Groups: Theories and Practice explores the challenges and benefits of making artistic work with others and the tools needed to create meaningful collaborative projects. In this class we interrogate definitions of community and group, explore the balance between group process and producing a satisfying creative product, and examine the processes of creating artistic work with others in order to strengthen our own artistic voices while helping raise the creative voices of others. With its focus on social practice, this course provides a foundation for working with small group structures in a variety of community settings and professional creative work environments.
Today, many documentarians consider themselves working within a well-defined human rights framework where images and film are used to raise awareness about social injustice. On the far edge of this movement, however, there are writers, photographers and filmmakers whose work calls attention to the traditional documentary ethics of bearing witness but whose modes of representation blur the lines between fact and fiction. This body of work is more open-ended to interpretation and multiple readings, which also include more personal themes such as loss and melancholy, the ephemeral nature of time and memory, nostalgia and change. While not a production course per se, most students create short poetic films for their midterms and finals. The course is a great opportunity for students to open this door on short-form media production for the first time even if they wish to shoot on their smartphones.
We will study several different kinds of visual poetics such as combining documentary photos with literature, artists working with archives and found images, the essay film, the personal diary and journal film, the performance film, ethnographic poetics, and new trans-media platforms and webdocs. Some of the writers and artists we will study include Roland Barthes, W.G. Sebald, Chris Marker, Christian Boltanski, Forough Farrokhzad, RaMell Ross, Roland Barthes, Miguel Rio Branco Charles Burnett, William Greaves, Agnes Varda, Margaret Tait, Robert Gardner, Jean Rouch, and Jonas Mekas.
This course explores the pictorial articulation of individual human likeness and its fiction in the public forum. The art of portraiture has survived its own origins in myth making and archetype building. The human image, or icon, forever landmarks the voices, textures, physicality, spirituality, symbols, politics, aesthetic concerns and military contexts, religious rituals, government, calendar ceremonies, daily functions, heroic acts and social disorders of diverse cultures throughout recorded history. It is the history of creation, the story of romance, the mark of progress, the record of royalty and the profile of democracy. It is the revolution of fine art and a catalyst of discipline. Imaging the individual in the public eye is the story of humankind. This course bridges the worlds of the oral and written mythologies which inhabit and empower us and the creative manifestation (conscious and unconscious) of these ancient archetypes into contemporary art, media and design. Students will critically rethink the implied and material presence of portraiture in everyday life. Students will gain practical knowledge and insight into the origins and potential power of the archetypes which permeate our collective unconscious.
This course will ask how artists incorporate research in their practice by looking at their manifestoes and their subsequent works. Throughout the term, we'll ask: How did various artists employ manifestos as methods of inquiry to understand how they themselves are situated within their respective fields? By conceptualizing how art-making can be a research tool through these manifestos, we will see how there is an art to research and that art is a mode of inquiry that others use to make sense of their own world. In this way, manifestos are the evidence of the research that went into the art-work.
The way in which artists interrogate the issues, holes, or gaps in the set of assumptions employed within their respective fields will guide students in proposing creative solutions to issues within their own. During the term, we'll focus on archival, qualitative, and quantitative methods to reveal the creative praxis within each. Students will utilize the skills they acquire over the semester to, section by section, create a manifesto of their own, including an artist's statement, research/resource review, an outline of an issue, and the prototype of a project that fills the gap they've found in their field. This living document will then be critiqued by fellow students so that all those in the course experience multiple facets of the creative process.
Urban Arts Workshop–New York is composed of lectures, presentations, screenings, readings, discussions, and visits from painters, photographers, filmmakers, writers, designers, architects, planners, restaurateurs, curators and critics designed to expose students to the key concepts and fundamental theories of urban studies, public art and the urban-inspired works of many great artists and writers based in New York City and around the world. Outside of class time, students will do readings, conduct research, watch movies, post reactions and do various assignments that engage the core course subject matter and themes. Each class will explore another form of urban art, including discussions about and encounters with graffiti, street photography, sculpture, installation art, architecture, music, dance, performance, theater, fashion, urban sound projects, large-scale projections, poetry, essays and short stories with an aim to understand how such art forms came into being and how they express a distinctly urban message to the inhabitants and visitors of New York City and cities across the planet. The instructor seeks to combine the critical and theoretical with the experiential and personal in order to lead students to a deeper and more fruitful relationship with cities, the arts and themselves. Further exploration will be conducted into the phenomenon of connectivity in the 21st century city providing a deeper perspective on globalism, the networked environment, and emerging technology’s role in the future of art, culture and urban living. Field trips may include: The Whitney, The High Line and Hudson Yards, Tiny Island, MoMA, Guggenheim, PS1, Museum of the City of New York, The New Museum, Transit Museum, Noguchi Museum, Governors Island and others based upon availability. Students will need a MetroCard for traveling around the city as well as approximately $50.00 to cover meals and museum tickets (this price varies depending on course itinerary).
This course is an introduction to the fundamentals of classical ballet technique. Its goal is to help students develop a clean and precise technical base for ballet dancing. Through the instruction of proper alignment and dynamic imagery, students will learn how to dance safely and effectively, and improve their comprehension of the ballet form in relation to music, space, time and energy. Eventually students will experience how the mind, body and breath come together to produce greater freedom in movement. The technical content will vary according to the skill level of the class and the individual dancer. All levels are welcome. No previous dance experience is required. For the dance-history part of the course, students will examine the evolution of ballet from the time of Louis XIV through the present, and explore different styles of training and performance presentation through the use of images, video, practice and discussions. Reading assignments will explain how social changes have affected the development of ballet technique and choreography.
This course is a continuation of classical ballet training designed for students who have had previous training or have taken Ballet I and are looking to further develop their technique, learn new steps and expand their vocabulary at the intermediate level. In Ballet I, we traced the basic ballet vocabulary back to the time of its birth at the court of Louis the XIV. Students developed their ballet technique, and experienced the growth of ballet up to the early-1900s avant-garde choreography of the Ballet Russes. The period that followed is considered the most pivotal in ballet history, and it is this era that will be the focus of Ballet II. Students in Ballet II will not only look into the different training styles of ballet technique, but will also learn about some of the 20th century's most famous ballet dancers, as well as notable ballet productions from both the East and the West.
This course is a laboratory for students interested in exploring the works of master choreographers, exposing them to an in-depth study of choreography by focusing on the steps, rhythm, structure, style and historical/conceptual contexts of iconic choreographic works ranging from 19th-century romantic ballet to contemporary work. This exploration will be accomplished physically: students will learn dance excerpts with attention to the physical details of steps, style and phrasing, allowing them to acclimate their own bodies to the universe of specific choreographies.
Students will be able to execute these choreographic works while developing a deeper understanding for the choreographers’ creative process and artistic decisions, inviting them to physically experience major artistic shifts in19th- and 20th-century dance aesthetics as they immerse themselves in the process of choreographic reconstruction. From classical ballet’s ideals of beauty, to the uses of narrative and the social/political/religious function of classicism, and finally through to the deconstruction of dance tradition in postmodern performances, this course exposes students to dance’s living archive while encouraging them to develop a critical perspective on the art of dance, its historical impact and future directions. Each session will be devoted to the recreation of seminal works from a variety of styles—Cambodian dance, Ballet, modern dance, postmodern dance, etc.
Beginning with a twenty-minute warm-up based on a physical technique tailored to each specific style (whether a simple ballet warm-up, basic Horton technique, Pilate’s based exercises, etc.), physical technique will be complemented with readings, viewings and discussion that focus on each historical work. All readings and viewings will be uploaded to create easy access for students. For midterm, students will perform one of the works already covered. For the final project, students will choose a favorite work covered over the semester and develop—in dialogue with the instructor—a solo, duet or a small group piece based on this work. For two weeks preceding these projects, students will build a compositional method based on the creative process of their chosen work. Details and guidelines about the final project will be discussed individually with the instructor. In addition, students will write a three-page paper on their chosen work due on the penultimate week, with guidelines distributed at the beginning of the semester.
This course is an introduction to Modern Dance technique that exposes students to basic concepts of movement in space and time. During the semester students will engage in a weekly physical practice that will prepare their bodies to move safely through space and expand their physical abilities. Students will explore a multitude of exercises aimed at organizing their bodies and deepening their physical awareness to prepare them to perform pedestrian, stylized and codified movement material demonstrated and generated by them upon instructor’s prompts. Through this weekly movement practice, dancers will gain confidence and muscular strength to learn and to execute choreography; understand and translate rhythmic patterns; and improve their spatial awareness. Weekly participation is paramount to success in this course. Grading will be based on student’s work developed in and out of class with homework assignments due every week. There is no pre-requisite for this course, all levels of dance experience are welcomed.
This course is a level II in dance practice designed for a student with an intermediate level of familiarity and experience with Modern dance. It further improves on the physical training offered in Modern Dance I, but is not predicated on previous enrollment in that class. The class focuses on the physical articulation of various movement vocabularies, collaborative exploration of partnering, and ongoing in-class discussion to deepen the connection of self-awareness through learning and executing movement. Each class will involve set choreographic material as well as improvisation practice as teaching tools to deeply inform movement training with intention, efficiency and artistry. Students will be encouraged to pay close attention to their own movement learning experience instead of focusing on replicating the movement they learn. Movement material will include floor work, traveling, balancing, jumping, turning and will be shaped by these principles. Previous modern, contemporary or equivalent experience is required.
Students are expected to know the basic tenets of movement:
Learning movement and executing choreography in detail
Ability to reproduce complex movement material
Comfort in dealing with full-bodied movement through space
Basic knowledge of physical skills
Commitment to a weekly physical practice set up by instructor
Timely presentation of homework assignments
This movement and performance course fosters the creation of interactive experiences that blur the lines between performers and audience, utilizing unconventional spaces for site-specific choreographic structures. Throughout the semester we will immerse ourselves in time-based performance art, emphasizing embodied choreography that challenges the confines of the traditional proscenium stage. Students will be expected to engage confidently in physically demanding movement vocabularies, bolstered by frequent performance opportunities. Set against the backdrop of New York City's rich cultural legacy, the course takes place in outdoor settings at various landmarks. With the inclusion of guest artists, students will collaboratively craft public performances, which will be documented on video. Our goal will be to probe the role of public spaces in articulating social commentary, melding choreography, activism, and performance art, and offering a unique opportunity for students to enhance their movement skills in notable urban locations, honing their performance capabilities within an ensemble. The desire and passion to participate and engage in movement and performance as an ensemble is required.
This is an introduction to the dances and rhythms from different styles that comprise Hip-Hop dance today. The first stage of the course will explore the wide array of styles that comprise and influence Hip-Hop movement. This course will not only introduce steps, but investigate root moves and historical context that shaped contemporary Hip-Hop today. During the course, students will also discuss the current and emerging trends of the genre. As an ever-evolving dance, this class will focus on budding dance styles, such as Flexing, Lite feet and Finger Tuts, comparing and contrasting those to case studies of past styles that emerged, (or re-emerged) to become heavily popularized such as Gliding, Krumping and Waacking. Additionally students will explore the globalized nature of Hip-Hop. To see the full evolution, students will see how other cultures have embraced and left their mark street styles, and how international dance battles and competitions have emerged, ultimately changing the landscape of Hip-Hop dance. Over the course of study students will begin to realize the complexity, the history and the varying opinions focused around Hip-Hop.
Traversing Europe, the Americas, and Asia, this course investigates the various social, political, and historical contexts that have contributed to the evolution of dance, and conversely, explores the ways that performers and choreographers have utilized the medium of dance to reflect their personal concerns back to society in powerful ways. Artistic movements, choreographers, and dancers examined will include Vaudevillian tropes; the impact of the Industrial Revolution on ballet; sexual manipulation in the roles of Nijinsky; the political work of early modern dancers; WW I and II and its aftermath in the German Ausdruckstanz of Mary Wigman, Kurt Jooss, and in Japanese Butoh; the propagandist ballets of the Chinese Cultural Revolution; exploration of the commonplace in the psychological dance-theater of Antony Tudor and Pina Bausch; the anthropological research of black choreographers Katherine Dunham and Pearl Primus; exploration of Postmodern rebellion of the Judson Dance Theater; and the response of choreographers and performance artists to the Culture Wars and the AIDS crisis. Students will pursue extended research, view performance videos and documentaries, and be expected to write and talk about dance.
This course explores why and how dance acts as a vital participant in cultural practices around the world. Looking back through the perspective of present research, we will examine how dance is inherently a reflection of the culture it represents.
A wide overview of dance and its myriad purposes will be covered, from a means of worship in India, Turkey, and Haiti; its inclusion in the rituals of Bali; noh and kabuki theatrical traditions of Japan; fertility and death ceremonies of the Wodaabe, Yoruba, and Dogon tribes of Africa; the healing zar dances of North Africa, and the rituals/activism of Native American tribes. The presentation of court dance as a symbol of power will be examined in Hawai’i, Java, and Cambodia, as well as in Catherine de Medici’s Renaissance pageants and in the French Baroque spectacles of Louis XIV's Versailles and the Paris Opera. The inevitable impact of politics on dance will be examined in viewing the bloody genocide of Cambodia’s Royal Dancers; the propagandist works of China’s Cultural Revolution; the French Revolution’s influence upon Romantic ballets such as La Sylphide and Giselle; and how the repression of a Gitano culture led to the emergence of flamenco in Spain. In addition to written texts and video documentation, we will review examples of related art forms (visual arts, music, and drama). NOTE: This class was previously titled “History of Dance.”
Scores are ordinarily considered as a method of musical notation, but they have also been developed by visual and performance artists as an alternative means of creating material, injecting critical commentary and expanding the imagination for both witness and participant. Within these experimental/postmodern settings, scores have been used to heighten awareness of an artist’s social environment by exposing unconscious assumptions embedded in culture, and by creating spaces of challenge, critique, and/or play. This course is an interactive exploration of some of these major scores, approaching them as documents that reflect a multiplicity of expressive forms as well as reflective of the historical frames that produced them. Students will gain an understanding of how scores work in various disciplines including but not limited to music.
This course is for actors who want to explore and cultivate their filmic talents, directors and writers who want to create performances that exploit the potential of the camera. Unique to acting for film is the intimate relationship between actor and camera. Experienced actors and those new to acting begin working before the camera the first class. Breaking down and filming scenes from television and film scripts, actors learn to make nuanced, authentic choices based on commitment to action, responsibility to text, investing in subtext and understanding what their physicality and behavior reveal.
Being directed and watching others directed will give clarity to the role the actor plays in this visual storytelling process. The audition will be demystified through improvisation and practice of rehearsed and cold audition material. There will be an overview of the business aspects of professional acting, including casting and actor representation. The goal is to be a better screen actor, trust yourself, feel confident and be comfortable auditioning and working on professional sets in the future. Footage and scenes are available to each student.
This next level acting course turns traditional, realistic scene study on its head. We begin with the essentials: digging into the skills for building precise, emotionally connected, intelligently crafted, character-specific, and theatrically articulate performance inside a realistic context. We then use those skills as a springboard to invent new ways of building a compelling narrative through forms of multi-media and devised storytelling. In this course students explore and expand their understanding of “what is character?” And, who’s telling the story and why and how are they telling it? This course is a laboratory for constructing, deconstructing and reconstructing narrative – a place to turn the story on its head to see what new story we can make. Students will engage in studio exercises to build clear skills in acting technique and stage composition and practice with various forms of crafting theatrical stories. In addition, students are expected to analyze, rehearse, and perform one short, realistic two-person scene, create a solo devised piece, and participate in ensemble-devised, multi-media performance pieces for a final showing at the conclusion of the semester. Students are also required to complete a detailed character/script analysis to support their exploration of the journey from realistic theatre to expanded forms of theatrical/performative storytelling. This is a next level performance class; students must have successfully completed Acting I, Performance Practice or have equivalent experience in performance coursework to register for the class.
OART-UT 144 / 1 unit
This intensive focuses on both historic evolution of ritual-based/early theater models through contemporary theater philosophies (accentuating history of Futurist/Dada theater innovations to present), and on anatomizing the nature of performer, performance, story and storytelling via the non-traditional philosophies and methods of contemporary experimental theater. The class will be rigorously participatory in terms of discussing/physicalizing these experimental methods and will culminate in the creation and performance of simple class collaboration-generated stage narratives. Students will investigate the meaning and application of physical/environmental ’neutrality’ on stage as they simultaneously investigate and define for themselves the most essential markers needed for the viewer to perceive ‘story’ in performance. As the staged pieces are constructed from these anatomized building blocks of performance and story, more complex qualities of character, identity, archetype, mannerism, linguistic disfluencies (verbal and non-verbal) and psychological subtext will be introduced as tools for each performer’s role in the story. In the final phases of piece creation, simple analog elements of music, sound, light, mask, craft materials, dance, virtuosic/specialized skill, props will be introduced as tools. The final performance will aspire to clear and effective applications of the performance/story elements discussed (or discovered) in class. Techniques and exercises derived from the worlds of Futurism/Dada, Richard Maxwell, Blue Man Group, Elevator Repair Service, Ann Bogart, Joshua Fried, and others will be discussed and employed.
What makes a musical a musical? How did the most major form of Drama in America come to be? This survey of American musical theatre, with an emphasis on its significant and unique contribution to US popular culture, will trace the musical’s relation to 19th century popular entertainments such as minstrelsy, vaudeville, and burlesque, examine its critical affair with popular song and dance forms from throughout the 20th century, and celebrate its continual reimagining of itself up through present day. Through the reading of librettos and the listening to scores we will also analyze the “bones” of the art form: the structural elements that define the fully Integrated musical: plot, character, song, dance, orchestration, setting, and design – all blended together into a seamless whole, and all completely hinging on the collaborative process for creative inspiration and ultimate success.
Dramatic Literature students should register for DRLIT-UA 296.
This course is a unique collaboration between the Collaborative Arts and IMA Tisch departments, and CultureHub based at La Mama. During the pandemic many performing artists moved their work online, leading to an increasing acceptance of experimental practices that their predecessors developed in on-line work for the past 30 years. In Experiments in Hybrid (IRL/URL) Performance, students will have the opportunity to design, prototype, and present collaborative projects that build on this tradition, blending both physical and virtual elements. Over the course of the semester, students will have the opportunity to study at the CultureHub studio where they will be introduced to video, lighting, sound, and cueing systems. In addition, students will learn creative coding fundamentals allowing them to network multiple softwares and devices generating real-time feedback systems. The class will culminate with a final showing that will be presented online and broadcast from the CultureHub studio.
Modeled as an accelerated intensive on methods of collaboration, students will work together in groups of 4 to produce new performance work to be presented to an invited in person and online audience. Participation in class discussions and in-class movement workshops are mandatory, and always based on each student’s physical ability. All body types and abilities are welcome and needed for this course to be successful.
The primary objective of this semester is to free up the artist’s channel through physical training. This work happens under the notion that the body is a channel through which we process our experiences into motion and sound - whether that be through acting, filmmaking, writing, etc. When the channel is open, you learn to connect with and respond more spontaneously to an environment without tension or pushing. A large portion of the freeing-up process is psychological, which requires an understanding of and connection to your emotional and physical self. The mindfulness component of the movement work encourages you to be permissive with your habits, experiences and emotions as they develop in the body. However, this is never accomplished in a vacuum. The unique insight of this training is the necessity for you to be in contact in order for the work to take-hold. This happens through regularly practiced ensemble exercises drawing from Pilobolus and Viewpoints techniques. The concept of “play,” begins to take hold, as you understand improvisational movement without tension or anxiety - working less cerebrally and more kinesthetically.
Pulling from exercises of Michael Chekov, Lloyd Williamson, Joe Hart, Steve Paxton, Allen Wayne, and Julia Crockett- you are given an arsenal of physical vocabulary and challenged to become fearless, expansive, unapologetic, and creative. A large portion of the work focuses on the studies of Rudolf Laban’s “Eight Efforts.” These Laban Efforts are the springboard for a final composition choreography project, where you will be asked to create your very own movement piece.
Not open to Tisch Drama Majors.
What is comedy? WHY do we laugh at all? WHAT makes us laugh? How is comedy today different from yesterday; how is it the same? Combining theory with practice, this class endeavors to explore comedy both critically and in performance, embodying the comic even as we theorize about it. We will look at comedy historically, and as it manifests in various genres, as well as break it down structurally – all the while keeping an eye to the cultural influences that inform all comedy. The primary mode of exploration for this class will be stand-up. Arguably the most prevalent form of comedy of our age, stand-up offers us a window into how all comedy works, including: the importance of surprise; comedic timing; comedic structure; and comic situations and characters. In terms of content, we will address status as a location for humor; the importance of the body in comedy; and cultural taboos. In addition to working on our stand up routines, each class will have a critical component, and class discussions will serve to deepen our evolving routines. Of particular interest is the examination of (and distinction between) comedy that affirms cultural norms versus comedy that subverts these norms.
This is a course for performers with a keen interest in environmental issues. Students will be allowed to explore various forms of performance – staged, film, digital, musical, and even installation/performance art –to find new and provocative ways to advocate for extinct and threatened species.
Week to week, using a series of assigned prompts and readings, students will devise, dramatize, and articulate each of the well-known Five Stages of Grief (Denial, Anger, Bargaining, Depression, Acceptance) to create a series of micro-short, filmed art performances.
Student-artists will choose a species on the edge of extinction to monitor for the semester, researching the species' life, habitat, cultural and social relations. A “die-in” collective performance will happen mid semester—and each student will design and create a memento mori for their chosen species.
The class will culminate with a collective, mixed media, performance installation on the subject of “extinction” in the style of the great experimental theatre company, The Wooster Group.
From Shakespeare’s era to the present day, writers and other artists have created new works by using other art-forms as source material. This practice is especially true for film and television, where the source material can come from a novel or play, a video game or comic book, an historical event or even a blog or trashy headline. We will explore a variety of practices in the art of adaptation--as it relates to movies and TV--and apply them to an adaptation that students will develop over the course of the semester, resulting in a treatment for a film or television show. Through case studies, exercises and in-class discussion, we will refine and develop students’ work to its greatest potential. We will compare early drafts of award-winning screenplays with their original source material and the final shooting scripts, hopefully gaining insight into the iterative process of adaptation and the challenges and creative insights that the filmmakers discovered along the way. We'll also explore practical issues like options, rights, collaborations, intellectual property laws and licenses, etc.
Always thought you had that perfect concept for a streaming TV show? Curious about what makes those shows tick, and to see if you have what it takes to collaborate on a show that works? Focused on the development of the half-hour streaming ‘prestige' TV series, The Writers’ Room is an Intermediate and Collaborative TV Screenwriting class that addresses the latest forms of shows that sell, on the platforms that dominate the market. Shows like The Mandalorian, Ted Lasso and The Bear are 'binge-worthy' because along with dynamic stand-alone episodes they present connected dramatic arcs stretching over seasons. Often these shows are developed with multiple writers, in a format known as the 'Writers’ Room.' Along with conceptualizing a show, the class is intended as a practicum in collaboration, modeling the Writers Room to prepare the future screenwriter for one of the central forms of commercial storytelling. In this class we will cover what it actually takes to break into TV writing and create a roadmap to developing not only a great TV episode but conceptualizing its entire first season. What will sell a great show? Great premises, fulsome outlines, dynamic pitches, engaging decks, etc. How do you 'break' an episode and build provocative story arcs? Students will emerge with a group-conceptualized deck for an original show as well as that show’s original pilot--all done in the form of a structured workshop environment, with the last half of the class modeling the writers room. Our main texts are current shows that fit within this context. Note: this is a rigorous, collaborative class that requires significant out-of-class meetups with your group colleagues, so please be aware of the time commitment.
If autobiography is a retelling of the events of your life from beginning to end, then memoir—from the French for “to remember”—is an examination of some events of your life through a particular frame. We tell stories drawn from our lives all the time, but we sometimes fail to consider the themes and ideas that connect those stories with themselves and with each other; that failure robs us in turn of the opportunity to understand better both the world and ourselves. Each week of this course you’ll both read and write thoughtful memoir; by the end of the semester, you’ll be able to write reflectively about your own past, examining not just the stories you tell about your life but also those stories’ deeper meanings, their part in shaping your identity, and their echoes in your present and your future.
Animation is often considered an art form of synthesis— bringing together disciplines as varied as collage, cartooning, dance, puppetry, slight-of-hand, sculpture, painting, printmaking, engineering, photography, sound design, music, and acting to forge wholly new kinds of "moving pictures." This hands-on class will explore the productive possibilities of adding a time-based dimension to a variety of artmaking modes. Emphasis will be placed upon experimentation, diy solutions and developing unique approaches to applying the principles of frame-by-frame filmmaking to one’s own practice. The course will survey artists and art movements that have uniquely embraced animation. Group and individual projects will engender a solid understanding of animation principles and provide students with a toolkit of strategies for creating animation in a variety of contexts— from optical toys, to short films, live-performance, documentary and large-scale projection. Open to those with no animation experience, and those with experience looking to deepen an understanding of their own creative process and voice.
Many films - both narrative and documentary - aim to present some form of “truth” and reality to the audience. This course examines how film is always an authored construct, where the filmmaker’s selection and presentation of visual materials reveals an artful manipulation of reality in order to evoke meaning and emotion. Students will analyze and interrogate cinematic representations of reality, and put theory into practice through video exercises based on this theme. This course is designed to give film students the foundational understanding of narrative film structure and cinematic grammar through the use of fiction and non-fiction filmmaking. The class will use films as texts to explore how cinematic storytelling attempts to create and subvert representations of reality. We will examine films that blur the line between documentary and fiction, calling into question the notion of portraying "truth" in cinema. Through a close analysis of films that challenge our notion of what is “real,” students will interrogate the very notion of truth in cinema, and ultimately demonstrate a new way of thinking about film narrative.
Students will also test the waters of film production, through cellphone video exercises and assignments. Students will work in groups to create two 1-3 minute films - one scripted and one built from a real world story. This course inspires students to see the art of cinematic stories not as a narrow construct, but rather one that allows the filmmaker to blend veracity and creation to produce original narratives.
Hollywood in your palm. That is what this combination of lectures, screenings, demonstrations and practical production workshops will offer to the students in this course. There will be several professional guests making presentations and Q&A sessions from the mobile phone filmmaking industry. In addition to the historical and critical overview of the emergence and exponential growth of global cell phone cinema, students will shoot all footage on cell phones and download them for computerized editing. The final project will be under three minute shorts. Projects will include all genres of film and television: news, mini-documentaries, animation, music videos and narrative shorts. Completed student projects will be suitable to be posted on the Internet and entered into domestic and international mobile phone film festivals. For example, two minutes long improvisations of Bollywood Style Music Videos shot on Cell Phones by the students have been projected at the Tribeca Cinemas as part of the New York Indian Film Festival. It is suggested but not compulsory that students bring to the class a cell phone capable of recording video.
In this course, we will explore the versatile usage of animation in the world of graphic design as a unique form of expression. We will examine how motion design combines movement, rhythm, space, and timing to orchestrate abstract shapes, words, and symbols. Through a series of weekly exercises, students will gain an understanding of key concepts in motion design while using and learning Adobe After Effects. We will follow the footsteps of motion design history, reconstructing classic pieces in order to gain a fundamental understanding of this art form. We will learn how graphic design, music, choreography, and acting can all be applied to the motion of design elements and furthermore, how the combination of animation and design can convey compelling stories, emotions, and ideas. Students will survey the technologies and methods that enabled the fields’ developments - from drawing on 18 mm film, the analog Scanimate in the 80s, to UX motion, interactive design, and contemporary live performances. Inspired by those traditions, students will be encouraged to take on an experimental approach, discuss thought processes, and develop their own visual language while combining interdisciplinary practices. *Adobe After Effects will be used as a main tool in the course, therefore a sufficient computer (over 16GB of RAM and a graphic card) is required.
This is a standard digital photography course designed for those with little or no experience in photography. This course will emphasize personal expression through the application of technique to the presentation of subject matter. Open Arts will have enough A7RII cameras for students to share for the duration of the semester. While it is not required that you own your own digital camera to enroll in this course, it is recommended that you borrow or acquire your own camera for the duration of this course, if you would like to avoid having to share one of the department's cameras with another student. If you would like to purchase your own camera, a digital single lens reflex (SLR) or mirrorless digital camera is highly recommended for this course. The camera needs to have manual aperture and shutter speed controls.
The purpose of this course is to develop an understanding of the technical and aesthetic aspects of making photographic images. We will apply fundamental photographic techniques such as composition, framing, lighting and manual camera controls to the images we create. We will discuss the way we see, compared to how cameras and lenses see, evaluate the similarities and differences and how that impacts the creation of images and how we analyze them. Students will make photographs that are effective as individual images and photographs that work together in a series. Students will learn how to create a narrative with a series of photographs and express a feeling or mood with a series of photographs. Class discussions will introduce students to a variety of concepts related to visual literacy. Students will also be introduced to the work of historically significant photographers from a broad range of backgrounds. Students will learn how to use Adobe Creative Cloud software to adjust images for print and digital publishing.
By the end of the course, students will understand how to use a digital SLR or mirrorless camera to create compelling photographs using manual controls, process their images using Adobe Creative Cloud software and best practices for publishing their images digitally as well as best practices for printing their images. Finally, students will enhance their critical thinking skills while developing a deeper understanding of visual/photographic language. Students are expected to shoot a minimum of 108 exposures (photographs) each week.
This course emphasizes the content, the aesthetics, and the purpose of cinema as a truly distinctive and dynamic art form uncovering the inner vision of the filmmaker, and the organic and transformative process where filmmakers projects their original truth, not compromising or borrowing ideas and themes from other films. Students explore the use of technology as a valuable tool that enhances the vision of the filmmaker without diminishing the organic texture of the work by its overwhelming presence. The course brings to light the stagnant and repetitious formulae of commercial cinema, resulting in diluted mainstream films. The works of iconic filmmakers who embrace and use film as an original, vibrant and reflective art form are reviewed throughout the course. Extracts and readings from relevant filmmakers are given throughout the course.
Fundamentals of Documentary Filmmaking I is an intensive 14 week course combining lectures and creative workshops to introduce students to documentary film production, basic film production tools, and basic film grammar. Students work together in crews to research, discover, design, pre-produce, shoot and direct short documentary film exercises and a final short Observational documentary Film. No pre-arranged interviews, or prepared recreations are used. Only a directional camera microphone is employed to acquire diegetic sound while observing and filming real life activity.
This course serves to expand the Open Arts program’s film production course offerings by making an introductory documentary filmmaking class available. It is similar in structure and technical scope to the existing Fundamentals of Filmmaking I course - which is a narrative based course.
Fundamentals of Documentary Filmmaking I will also serve as an introductory film production course for other NYU students who may have an interest in non-fiction, documentary film production courses. This course will count towards the Documentary minor. Please email Tisch Special Programs at [email protected] to ask to substitute this course for the minor.
This practical workshop is designed to introduce students to the techniques and theory of developing and producing short film ideas that are shot on digital video and edited digitally on computer using Adobe Premiere Pro software. The course centers on learning elements of visual storytelling through a spectrum of aesthetic approaches. Working in crews of four, students learn directing, shooting, and editing skills as they each direct three short videos (three to five minutes in length). This course is specifically designed to fulfill the major requirements in production of students not majoring in film and therefore, students who need to fulfill this requirement are given registration priority.
It is required that you purchase an external hard drive (you may find specs at https://tinyurl.com/oacompcamp). Adobe Premiere will be used for editing and students should make sure they have computers that meet the following tech requirements (https://helpx.adobe.com/premiere-pro/system-requirements.html). Other editing software may be used by permission from the instructor. Additional College Student Insurance (approx $155) is a recommended purchase to protect your personal equipment is required. Please contact your professor if you have any questions.
FUNDAMENTALS OF FILMMAKING II: NARRATIVE FILM is an intensive production workshop for fiction filmmaking. Students write, direct, and produce one short, 5-7 minute, film. The course builds upon the visual storytelling tools learned in the prerequisite courses, Fundamentals of Filmmaking I, or Cinematic Narratives. Students will strengthen their skills in screenwriting, cinematography, aesthetics, and editing to further develop their personal filmmaking style. Students can choose to create a traditional narrative film with dialog, or they can choose alternative types of performance and filmmaking that create narrative style flow in different ways. Students must have a rough draft script, or one page treatment, ready by the first day of classes as writing and rewriting work begins in week one. Each student writes and directs their own film, and then they serve as crew members for their classmates when they direct their films.
Students can also choose to break the constraints of the traditional solo director/auteur theory, and choose to co-direct and Co-Create their film with a partner. Students with more experience in acting or performing can partner with other students who have more experience with writing, directing, or cinematography - and they can explore the opportunities within the emerging trend of Co-Creative filmmaking.
Students are guided by their Professor, and a Production Advisor, through all the production logistics that are necessary for successful filmmaking - including casting, art direction, props, locations, schedules, call times, insurance, equipment, wardrobe, effects, editing and more. During Morning Sessions, all work is discussed in class, and creative feedback is an essential component of the course. For the first third of the semester, Afternoon Sessions provide technical training on professional level videocameras, audio gear, lighting, and editing software. After the tech training period, Afternoon Sessions are reserved as optional practice sessions and/or filming periods. Midway through the semester, the final production period occurs over four consecutive weeks, and weekend work is required during this production period.
The course traces the documentary film from its origins to the present day. Pioneer documentarians like Dziga Vertov and Robert Flaherty saw in documentary film the ability to portray life with a kind of truthfulness never before possible. Early Polish filmmaker Boleslaw Matuszewski wrote that while “the cinematograph does not give the whole truth at least what it gives is unquestionable and of an absolute truth.” Since those heady days, it has become all too clear that documentaries have no special access to the truth.
Nevertheless, as this still-young art evolved, documentarians of different schools constantly sought new means to tell the human story. Documentary filmmaking has always been a blend of artistry and technical means and we will also explore this critical relationship. The course explores the development of the documentary and the shifting intentions of documentary filmmakers through the evolution of narrative approach and structure paying special attention to the documentary tradition’s relationship to journalism. Students examine how different filmmakers have gone about trying to convey “reality” on screen both through the use and avoidance of narration, through interviews, editing and dramatizations. Throughout the semester, students investigate how image-driven medium attempts to report stories and the ways an emotion-driven art can be problematic for journalistic objectivity. Finally, the ethical and journalistic responsibilities the documentary filmmaker are discussed. Special attention is given to dramatic re-creations, the filmmaker’s relationship to his/her subjects and the construction of narrative through editing.
New Video Dimensions is a video production workshop where students conceive, produce, perform, direct and edit fully polished video media for a variety of interdisciplinary art forms - from immersive VR to interactive performance art, from movement-based performance to media guided participatory theater, to stand alone internet media and short films. Video is an integral part of many artistic disciplines and this class explores ways to reimagine conventional video production and harness the visceral impact of video within a wide range of unique interdisciplinary mediums.
Each student pitches and chooses an interdisciplinary project they plan to create. They then team up with another student who will work with them to create video that will support that project. Emphasis is given to ways in which personal visual inspiration, as opposed to artistic imitation, can create innovative new forms of video art. Students will alternate roles as interdisciplinary artists and as video collaborators, so that each student creates a final video for a proposed interdisciplinary project. Students can also choose to work together within both roles for a single project, or stand alone video piece. All aspects of video production will be explored, including writing, choreography, acting, art direction, cinematography, music, editing, and more. The role of the video-maker will be explored as a collaborative partner with other interdisciplinary artists.
Students use a variety of cameras & audio gear as they build upon the technical skills they learned in previous filmmaking courses. For the final projects, each proposedinterdisciplinary project will be detailed in a powerpoint presentation, and the completed videos for those projects will be screened along with those presentations. Students are required to have taken one introductory video class with synchronous sound, or special permission can be given by the Professor on a case by case basis.
Photo 1 for Non-Majors will begin with the analog process of photography by using a manually adjustable 35mm film camera to shoot black & white film, with the option of then transitioning to color film and shooting digitally with either a DSLR or other digital device after mid-term. Students will learn how to properly and creatively expose film, have a commercial lab both process and scan film (optionally students may process film off campus and/or scan film themselves if hardware is accessible), and then learn the basics of post-production digital imaging with software such as Adobe Photoshop to edit and finalize images. In addition to viewing photographs on screen, we will also use machine-made prints from the commercial lab and the Laguardia Co-op on campus to make larger-format prints for critique. Emphasis is placed on the application of technique in terms of personal expression through the selection and composition of subject matter. The course consists of technical lectures and demonstrations, photography and written assignments, lectures on historical and contemporary photography, discussions about readings and assignments and several group critiques. Smaller photography assignments begin the semester and each student will work on a single larger project after mid-term. Each student must have access to a camera with manually adjustable focus, aperture and shutter speeds by the first week of class. In addition to a SLR camera, students will need to pay for a minimum of 5 rolls of film, film processing, scanning and have access to digital imaging software.
This course examines the artistic career and creative work of Walter Murch, Oscar-winning film editor and sound designer, and the first and only artist to win Academy Awards for both film editing and sound mixing on a single film (The English Patient, 1997). The class will provide an unprecedented inside look into Mr. Murch’s processes of sound designing, editing, mixing, writing, and directing on such acclaimed and memorable films as THX 1138, American Graffiti, The Conversation, Apocalypse Now, The Godfather, Return to Oz, The English Patient, Touch of Evil, and Cold Mountain. Through interviews, articles, and materials from his private archives never before publicly available, students learn about the creative world of an artist who has brought the importance of sound and editing to a new level. In addition to his work in film and his inventions used in the filmmaking process, two additional areas of interest of Mr. Murch will be examined: translations of Curzio Malaparte’s writings and his passion for astronomy. Mr. Murch will participate on several occasions in the course as a guest lecturer by visiting the class and/or via video conferencing.
Students will learn how to shoot professional looking shots on prosumer cameras with minimal lighting — by applying the lessons of professional cinematography to prosumer video cameras, DSLR’s, and cellphone videography. A wide variety of Camera Exercises are assigned to train the students to shoot movies with natural light and limited prosumer camera gear. 3-4 person crews are selected to work together on all the Camera Exercises, and for the Final Project as well. Students shoot with their own DSLR’s, prosumer cameras, and/or cellphones. Pending availability (and CSI access) students can also choose from a selection of DSLR’s and prosumer gear provided by the course (SONY A73, SONY A7R2, SONY A6400, Pocket Osmo Gimbal Camera, and Osmo 3 Gimbal for Cellphones). All camera exercises are screened and reviewed in class. Students analyze and discuss their own work and are assigned reshoots and pick-up shooting assignments to reinforce their in-class learning. Early classes work with professional lighting gear on stage and students then go out into the field to film camera exercises and music videos utilizing available natural light and small practical light kits - while employing the lighting concepts and lessons they learned on stage.
This production course allows students from all academic backgrounds to expand their artistic practice, and apply film training through the lens of queer cinema. This collaborative course blends film screenings, discussions and theoretical exploration with hands-on production experience. Students will gain critical knowledge of significant works from the queer film canon, and hone their skills as filmmakers through the production of short cinematic works. In this course students will make a short film. In the beginning of the semester students will present their film idea, then shoot and edit it. The film will be between 3-15 minutes and can be a documentary, scripted, or hybrid. Students who want to collaborate on a film can co-direct. The class will culminate in a final screening of all the students' original creations.
THINK LIKE A GAME DESIGNER is a class about collaboration, systems thinking, problem solving, communication, and the creative process. The course uses game design as the way to practice these essential creative skills - but it really is a course about how to design anything. Over the semester, students will work in groups to actually make a series of playable games, each project offering lessons in how to brainstorm, conceptualize, prototype, iterate, and playtest.
While we will be discussing the design and culture of videogames, the focus of the class is hands-on physical game creation: card games, board game, social games, and physical games. Along the way, we will be touching on all of the things that make games work - mathematics and logic, aesthetics and narrative, psychology and economics, technology and culture. Because games operate across all of these areas, they are the perfect way to practice how we can design with all of these factors in mind - systems thinking to storytelling to designing for human contexts. The final class project will make use of your own field of study as you link game design thinking to the analysis and redesign of a real-world problem.
Artist managers are the central focus of the music business, the dealmakers behind the latest industry developments, and the brokers of power, influence, and revenue streams for not only recording artists, but creative entrepreneurs and technology startups as well. The role of the artist manager is to help creative talent find commercial success.
We will study the basics and fundamentals of artist management, and its many different functions. We will learn about the different roles that artist managers play as well as understand how artist managers build and develop their teams, and the different kinds of leadership positions that they assume. We will look at different styles of artist management, and discuss best practices by reviewing case studies, and speaking with special guests. Through a class lab, we will analyze various potential problems and scenarios, and develop techniques and skills for forming solutions, simulating the artist management experience. We will hypothetically take over the management duties for an existing artist and help them re-organize his/her career in a comprehensive final project.
Artist managers now serve as the gatekeepers of commercial and brand value in the talent food chain, and they not only help grow careers, they create many new ones along the way. From Troy Carter and Scooter Braun, to Amy Thomson and Kelly Clancy, artist managers are the thought leaders of this business and catalysts for industry change.
As with Creativity in Context 1 in which the purpose of the course is to contextualize the core curriculum of the The Clive Davis Institute to incoming first year students, this course delves deeper into the exploration of creativity throughout various disciplines and career structures.
In opening this course to the NYU community, we will be linking academic disciplines, philosophy, and culture to creativity and discovery in practice. The course will offer seven workshop style lecture/conversations with senior faculty, and working artists or professionals who have traveled an varied journey throughout their careers. This exposure to, and opportunity for a deeper conversation, will lead students to better understand the relationship between academic study & self-development, artistic & commercial achievement, as well as coupling art and industry with politics and current events.
Design, build, practice, perform, record, recycle, repeat. In this fabrication-heavy course, students will create new musical instruments, devices and toys that can be performed and manipulated by humans, machines, animals and the supernatural. We will experiment with shapes, materials, and analog/digital technologies to create new performative instruments that defy common sense, yet are visually beautiful and sonically adventurous. Our main sources of inspiration will be the industrial revolution, punk subculture, soap operas, cartoons, Fluxus, the universe, and New York City. Our goal will be to devise musical instruments that can be mastered but also played without skill or music education. We will utilize various building tools and Art Studio materials such as 3D modelling and printing, electronics, wood shop, CNC, laser cutting, cardboard and paint. In each weekly iteration, students will compose, record and perform original music with their instruments, sometimes as an ensemble. The semester will end with an exhibition featuring our instruments and sheet music, with a final performance for a live audience.
There Are Other Worlds (They Have Not Told You Of) — Sun Ra
You can be in unison without being in unison. —Ornette Coleman
I do not think there are final and definite answers to any of the really important questions in human life; there are only useful and useless answers—answers, that is, that lead in the direction of enrichment of experience or of its impoverishment. — Christopher Small
This course is about successfully illuminating some of the formal, contextual, cultural, and social dimensions of Experimental performance vis-à-vis the critical study/practice of improvising. Because the professor believes that improvisation presents itself as a non-hierarchical (ideally), process-oriented practice, that claims no victories and is rooted in a listening self, the class will construct this course together as an ensemble; an open, unpretentious and wholly democratic approach will carry us into our 15-week experimentation.
Music supervision and music licensing are two of the hottest topics in the music business. This class will introduce you to the creative, financial, legal, and technical sides of music supervision as well as teach you the nuts and bolts of music clearance and licensing. We will look at the many different facets of a music supervisor’s job, and the services they provide for all types of media projects, including film, television, advertising, video games, online/apps, and more. If you aspire to have a career as a music supervisor, licensor, publisher, artist, songwriter, composer, producer, and/or creative entrepreneur, this course is for you. Some of the topics include: breaking into the field, opportunities for music placement, how to pitch and get your music placed, different parties involved in all sides of the licensing transaction. You will be exposed to complex business challenges that music supervisors face and learn the mindset and strategies needed to successfully overcome. Through readings, discussions, lab assignments, and case studies like Straight Outta Compton and Broad City, as well interactions with special guests, you will gain a real-world understanding of the music supervision field as well as the many opportunities that music creators, and rights owners can leverage to take their career to the next level by understanding music licensing.
For more about Recorded Music courses at Tisch, please refer to the Clive Davis Institute of Recorded Music website.
Fifty years after 1960s, the tumultuous events of that decade haunt our consciousness. Music is the most obvious example of how the “spirit of the 60s” still fascinates us. But no one can grasp the power of ‘60s music without understanding its political and aesthetic context. The style and substance of rock are intimately related to broader social currents of the time. This course will help you to understand those connections, and the logic that informed the music.
We will explore major movements associated with the ‘60s, including the counterculture, the sexual revolution, the New Left, Black Power, Second-Wave Feminism, and Pop Art. We will consider the roots of 60s sensibility, from the Beats, hipsters, and existentialists of the postwar era to the folk revival of the early part of that decade. We will examine the philosophical currents of the ‘60s through some of its leading literary figures, including James Baldwin, Allen Ginsberg, Marshall McLuhan, Herbert Marcuse, Susan Sontag, Ellen Willis, and Tom Wolfe. In addition, we will discuss the aesthetic strategies of Andy Warhol, who influenced everything from rock music to cinema and art. We will discover how the rebellion against distinctions between “highbrow” and “lowbrow” culture produced a new aesthetic sensibility central to the rise of rock. These artifacts will be examined alongside music with a similar spirit, so that they can be experienced contrapuntally. Iconic songs will be presented against material from other media so that their congruencies are evident. I will use my own experiences as a prominent rock critic in the ‘60s, and my personal interactions with important rock creators—such as the Beatles, Jimi Hendrix, Janis Joplin, and Jim Morrison—to bring the era alive, leaving you with a new perspective on how the music and the values of that generation were related to your life. And hopefully it will be groovy.
For more about Recorded Music courses at Tisch, please refer to the Clive Davis Institute of Recorded Music website.
This course focuses on the business of music publishing, which has served as a powerful engine fueling the growth of the music business since the first decade of the 20th century. Song copyrights are among the most important and valuable assets that musicians and songwriters have. Knowing how to protect, manage, and monetize these rights is more critical than ever. This course is targeted to students who aspire to careers as recording artists, songwriters, record producers, artist managers, and music executives, among others. Course topics include: roles and responsibilities of music publishers identifying new markets for songs, structure of the music publishing companies, different music publishing deals and their terms, music publishing revenue flow, practical aspects of music publishing administration and licensing, and music publishing as an investment. You will leave with a practical understanding of music publishing as a business and with tools and strategies for turning songs into sustainable sources of income.
For more about Recorded Music courses at Tisch, please refer to the Clive Davis Institute of Recorded Music website.
Streaming Economy represents a great paradigm shift in the music industry and its monetization. In 2013, digital streaming of music replaced the CD as the main source of music sales and has provided economic hope to a – commercially speaking - weakening industry. However, with artists such as Thom Yorke, The Black Keys, David Byrne and many others speaking out against the royalty of streaming services like Spotify, streaming, in its current structure, as a permanent replacement for CD and digital download sales remains a controversial subject. Through this course the student will be guided through the history of streaming, the controversies surrounding its business model, and the technology that made it possible. Students will be introduced to the new storefront of online music and be shown how the digital marketplace is changing music marketing and artist development.
Streaming offers exciting new opportunities along with serious and complex challenges. This course will examine the pros and cons of the current streaming status quo. The student will practice techniques of releasing music online through a hands-on workshop, which will lead them through the beginning steps of registering, and releasing their own project via Phonofile and WiMP on all major platforms and services.
You don’t have to be an electrical engineer to be able to hack power and twist it for your own wild experiments. No matter what art/performance mediums you use in your creative practice, there are so many exciting and cutting-edge ways to augment your craft with connected devices and computer-assisted fabrication. This entry-level, hands-on electronics course is for students who want to test, build, fail, break, guess, burn, explore, and to ultimately make weird stuff that has never existed before.
Some example projects include: interactive installations, moving sculptures, wearable devices for fashion, dynamic lighting, and DIY music devices. The course goes over the basics of electronic circuits and coding for Arduino — programmable micro-computers that process inputs from buttons, biofeedback sensors, and microphones and translate them into outputs expressed through LED lights, sounds, motors, and relays. We use laser cutters, 3D printers, woodworking tools, and sewing machines to assist us, and learn the best practices of creating robust circuits through soldering, component selection, and power supply. Each week we look to contemporary hardware artists for inspiration and use our classmates to test and analyze our prototypes, getting feedback on not just the practical design of the circuits and mechanisms, but the feelings, ideas, and creative effects our connected art elicits.
No prior coding, hardware, or fabrication experience necessary, but time and dedication is — most projects will require out-of-class time spent in the shop. Students will need a laptop, but basic hardware and materials will be provided.
How do ants or bees organize on a mass scale when their individual brains are incapable of understanding the bigger systems they’re creating together? How did a Twitch hive-mind of 1.2 million people beat Pokémon one collective move at a time? How do we make art that makes us and our audience feel more connected, more alive, more powerful? This hands-on project studio course is about making art where participants are the medium, and the masterpiece created exists inside and between them. Let’s explore community and its connection to transformational, radical joy — not complacent happiness, but a joy that is the feeling of power, agency, and capacity growing within us and within the people around us as we cooperate to overcome shared challenges. Which systems and forms of art, play, and expression foster that kind of joy?
This course is heavy on imagination, vulnerability, reading, discussion, experimentation, playtesting, and interactive group activities. Each week explores the relationship of the individual to the group under various lenses and spheres of life (i.e. politics, religion, activism, evolutionary biology, sociology, pleasure, the universe, sports, games, childhood, etc.). Then together, we break down the relationships, dynamics, and effects those systems have, and create multi-media prototypes and performance experiments inspired by these themes and ideas. The early assignments are solo, and then almost all assignments are in groups. The core process of the class uses iterative game design as a structure for ideating, creating, playtesting, and refining, though students are welcome to work in any medium they choose, so long as the goal is to explore themes of collective joy.
This course will explore the basic tools of digital imaging. We will cover the three main Adobe products for creative imaging - Illustrator, Photoshop, and InDesign. Through a series of short assignments we will look at various graphic design and layout ideas using Illustrator and InDesign and will touch on the wealth of image enhancement techniques afforded by Photoshop.
The short assignments introduce the basics of design, typography and compositing images. Students have the opportunity to complete a small project of their own for the end of the term. Class time will be divided between lectures, critiques, and work in class sessions. This course is not intended to completely cover the software listed, but will give students a fundamental understanding of the possibilities of digital imaging.
While the majority of the class focuses on print media (images, books and magazines), we discuss the growing importance of screen output. We do not have time to cover specific web or media projects, but will address transferable skills and understanding. We will incorporate some Adobe apps to augment the desktop applications.
Additional reading materials will be distributed during the semester. Students should have access to the Adobe Creative Suite through the NYU license.
Technology is a weasel. Squeezing its way into art, culture and the everyday. It infiltrates our psyche, inspiring playful interactions, fantastical ideas, vengeance and drama. It brings us together while tearing us apart. In this project-based studio, we will focus on a collective approach to creating art, tools, performances, and experiences. Outer Space in the context of this course will be used as a metaphor for the future, the unknown, and the seemingly impossible. We will investigate disparate cultural moments and unravel narratives that are both historical and technological. Technology will serve as a structure with open-ended assignments in music, video, sculpture, electronics, kineticism, surveillance, interactive graphics, and performance. Combined collaborative exercises and individual projects will augment classroom discussions and inform the art that we make. A willingness to use your imagination and personal experience to derail preconceived notions of linear timelines will serve you well in this hands-on multidisciplinary course.
This course will introduce students to technologies for speech synthesis and speech recognition from the point of view of performance art. Through weekly assignments and in class lectures, we will explore voice interfaces and their role in technology, design, art, and culture. We will begin with understanding human speech, and then delve into computer speech. We will learn how to program existing technologies such as p5.js to create our own talking machines. The class will research the current limitations and biases of these technologies and models, and respond by leveraging these constraints as ground for performative expression. Students will be required to develop a performative piece as their final project, this could be a live performance, an interactive installation piece, or a performative object or tool. Students are encouraged to bring their interests into the classroom and apply the course into their practice. Prior knowledge of computer programming will be helpful, however, it is not required. NYU is a global community. You are welcome to bring your own language, your accent, and your spoken identity into the class.
While grocery shopping, have you ever wanted to talk to a cucumber? Encounter a red radish or pet a pizza? You can. Puppets are everywhere and highly effective for bringing impossible ideas into reality. Following the idea that puppets are "any performing object" and that objects can be useful as stand-ins for human beings, this hands-on puppet building course explores anthropomorphism, character development, narrative and performance. Through weekly assignments and a final project, we will bring life to objects that we create, transform or find. Drawing inspiration from different styles of mainstream and avante-garde art, music, entertainment and puppetry we will develop original concepts of our own. Exercises explore a range of technologies and materials, from simple sock puppets to marionettes and shadow puppets, to hand puppets and body puppets, to abstract and kinetic objects. We'll spend time looking at how to successfully integrate interactive elements from other realms such as music, special effects, physical interfaces, lighting, video and more into our performances. Every week we perform, with the class culminating in a final public performance bringing together the best of student work.
What do biodata wearables, midi controllers, lighting systems, webcams, kinect depth sensors, 3D models, shaders, animations, smart devices, and projections all have in common? We can get TouchDesigner to connect them all — powerfully augmenting our live performances with innovative technology and hardware. With a varied array of inputs and outputs at our disposal, what new, evolved, or remixed types of performance can we create? And how can the connections of these wildly different systems help us create connections between ourselves and our audience or our world? Students will learn how to use TouchDesigner, a node-based visual programming environment for real-time interactive multimedia content. It's been used by artists, creative coders, musicians, and software designers to create installations, apps, and mixed media works, but we will be focusing on its application as a central hub and interface for live performance. The class will go over the fundamentals of the software and various techniques for real-time graphics programming, interaction design, networking smart devices, midi integration, projection mapping, and more. Weekly assignments range from simple prototypes demonstrating new skills to group performances utilizing a wide array of technologies. The final performance will be a part of a public show.
What types of performance can we create if we’re not limited to a physical stage or even a physical body? How much more can we communicate with video once our audience has the power to directly interact with the content, not just passively observe? We can create dynamic, digital experiences and innovative, virtual performances using Unreal Engine, a game engine and powerful suite of development tools. Students will learn the fundamentals of Unreal Engine, including 3D environments and assets, lighting, cameras, animations, audio, basic VFX, and programming interactivity using visual scripting blueprints. Then, we will incorporate external hardware such as depth cameras, LiDAR scanners, and motion capture suits to create our own digital assets, including virtual avatars of ourselves. Students will use this foundation in virtual production to create projects ranging from 3D music videos to choose-your-own-adventure memoirs to
Performances with puppet avatars in an online 3D environment. The final assignment will be a part of a public show.
Casting is the most recently recognized profession in film and theater. In this course, students learn how to cast a film and learn the skills casting directors employ to become indispensable members of any production, including script and character analysis, scheduling, and negotiation. Students develop protocols for evaluating resumes and auditions, and learn strategies for communicating with directors and producers to ensure the talent pool has been effectively identified. Techniques for delivering convincing and fruitful casting sessions before learning to close deals between producers, actors and agents also are presented. This class will also make students ‘audition ready’ -- equipping them with tools and techniques to better understand and get through the audition process. The course will cover the various disciplines of theater, films, commercials and voiceovers. Through lectures, character exercises and workshops students will learn strategies for preparing for an audition, developing characters, and working with professionals in the industry.
This course will cover both traditional and non-traditional financing and fundraising in the worlds of entertainment and the arts. Although our focus will be on the film world (with an emphasis on feature films), we will take occasional forays into the worlds of television, theatre, and music. We will also look at product financing. The goal of the course is to provide students with a framework for understanding the dynamics (as well as the specific routes) to raising funds for artistic endeavors.
Many entertainment projects require significant capital before they can be realized. The negotiation and structuring of these deals may be a humbling experience, fraught with compromises that affect creative control over the final product. Producers need knowledge of financing tools and structures, an understanding of current economics driving the business, and skills in understanding new technologies and trends in funding. At its core, the course will help students develop a general understanding of fundraising and financing in the world of entertainment and refine the skills necessary to develop proposals that allow them to one day realize a creative vision.
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3324
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dbpedia
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2
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https://www.paramountstudios.com/paramount-history.html
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en
|
Paramount History
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Paramount Pictures began humbly in 1912 when Adolph Zukor, the owner of a New York nickelodeon, released the first full-length drama shown in the United States (Queen Elizabeth, starring Sarah Bernhardt) and founded the Famous Players Film Company. A year later, Zukor began distributing his films through a start-up company called Paramount Pictures.
In 1916, Zukorâs Famous Players merged with The Jesse L. Lasky Company, which was producing films in Hollywood (including the first feature-length film ever produced in Hollywood â The Squaw Man) and also using Paramount Pictures as a distributor. The newly formed Famous Players-Lasky Corporation, soon consolidated with the distribution company (in which Zukor was a major stockholder) and all three companies became what you now know as Paramount Pictures.
After the merger, audiences first began seeing the iconic logo with the mountain and stars, which was created by Paramount (the distribution company) founder W. W. Hodkinson. Hodkinson had borrowed the Paramount name from an apartment house that he frequently passed in his neighborhood. A mountain peak he remembered from his childhood in Utah inspired the logo, which he designed. Legend has it that the stars surrounding the mountain represented the original 22 film stars Hodkinson had under contract. Another implication was that Paramount had more stars than there were in the universe.
In 1926, Lasky supervised the construction of a new Hollywood studio, which was the foundation of the Paramount Pictures studio lot today. The original studio, which cost $1 million to build, stood on a 26-acre lot and contained four large sound stages.
It only took a year after moving onto our current studio lot for Paramountâs success to become evident. In 1927, Paramount received the very first Academy Award for Best Picture with its release of Wings, a silent movie about World War I fighter pilots. In addition, Wings is the only silent film in movie history to win that award.
There was no looking back after that.
Memorable Movies (1912-1929)
⢠The Sheik (1921)
⢠Wings (1927, Winner of the 1st
Academy Award for Best Picture)
⢠Interference (1928, Paramount's 1st All Talkie)
⢠Coconuts (1929)
Famous Stars (1912-1929)
⢠Cecil B. DeMille
⢠Mary Pickford
⢠Clara Bow
⢠Douglas Fairbanks
⢠Gloria Swanson
⢠Rudolph Valentino
The 30s through the mid-50s proved to be an immensely successful period for Paramount. Many of the classics weâve all come to know and love were created during this time. In the midst of the Great Depression, the memorable Bing Crosby musicals, Cecil B. DeMille spectacles and the outrageous comedies of Mae West were all created.
Throughout our history, Paramount has nurtured and aided the industryâs most legendary movie talent. From the earliest years and through the 1930s, actors and actresses were more like professional football players of today. They were contracted by the different studios to only appear in each particular studioâs movies. They were also traded back and forth for particular productions between studios. (In more recent times, actors, directors and other talent now have the freedom to work on any production they wish, with any studio.)
During the mid to late 40s, the critical acclaim of films from Paramount also became prominent. In 1944, Paramount won its second Academy Award for Best Picture for Going My Way. The very next year, The Lost Weekend took the top prize. Throughout the early 50s, Paramount dominated the Academy Award nominee lists with enduring classics, including Sunset Boulevard, The Greatest Show on Earth (1952 Academy Winner), Shane, The Rose Tattoo and DeMilleâs remake of The Ten Commandments.
Memorable Movies (1930-1959)
⢠Bob Hope & Bing Crosby
âRoadâ Series (1940-1962)
⢠Going My Way (1944)
⢠Sunset Boulevard (1950)
⢠The Greatest Show on Earth (1952)
⢠White Christmas (1954)
⢠The Ten Commandments (1956)
Famous Stars (1930-1959)
⢠Cecil B. DeMille
⢠Bob Hope
⢠Bing Crosby
⢠Marlene Dietrich
⢠Mae West
⢠Gary Cooper
⢠The Marx Brothers
⢠Elvis Presley
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3324
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dbpedia
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https://decider.com/list/best-movies-on-paramount-plus/
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en
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The 50 Best Movies on Paramount+, Updated for July 2024
|
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[] |
[] |
[
""
] | null |
[
"Marshall Shaffer"
] |
2022-03-24T19:45:07+00:00
|
Check out our list of the best movies on Paramount Plus right now in 2024 to help you decide what to watch.
|
en
|
Decider
|
https://decider.com/list/best-movies-on-paramount-plus/
|
Paramount+ may have been one of the last major streaming services to market, but that certainly doesn’t mean you should consider them last on your list of streaming subscriptions. In addition to bringing the best of CBS, Comedy Central, BET, and Nickelodeon, Paramount+ boasts a robust library of movies fit for a great night in. The bulk of the options comes from the legendary Hollywood studio indicated in the name, but the platform also contains many great indie and mainstream options alike available through licensing.
So whether there’s no new episode of a Taylor Sheridan show ready for viewing or you’ve burned through all 19 seasons of NCIS available to stream (no judgment if so!), Paramount+ has a movie for your mood. Dig into legendary franchises like Star Trek or Mission: Impossible. Catch up on blockbusters like A Quiet Place and Top Gun: Maverick. Discover a classic comedy like Beverly Hills Cop and Heaven Can Wait. Here are 50 such options for you on Paramount+, updated for July 2024.
|
|||||
3324
|
dbpedia
|
3
| 51 |
https://www.buzzfeed.com/alliehayes/actors-best-onscreen-chemistry-megalist
|
en
|
Actors With The Best Onscreen Chemistry Of All Time
|
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[
"Allie Hayes"
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2022-02-06T22:16:03+00:00
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Because, let's be honest, we all love love!
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en
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/static-assets/_next/static/images/favicon-496b7cee633e6a7dca162654e1bb39c9.ico
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BuzzFeed
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https://www.buzzfeed.com/alliehayes/actors-best-onscreen-chemistry-megalist
|
72 Movie Couples Whose Sexual Tension Was So Believable, They Deserve, Like, An Award Or Something
Because, let's be honest, we all love love!
Over the past couple of years, we've asked our BuzzFeed Community to tell us which actors they believe have had the most scintillating, jaw-dropping, awardworthy chemistry onscreen, and they've come through time and time again with some truly marvelous answers!
So — with that in mind and presented in no particular order — here are the most popular responses we've received, all in one place for easy access. Ready? I sure hope so! Here we go:
1. Keira Knightley and Matthew Macfadyen in Pride and Prejudice (2005)
2. Anjelica Huston and Raul Julia in The Addams Family (1991)
4. Carrie-Anne Moss and Keanu Reeves in The Matrix series
5. Cate Blanchett and Rooney Mara in Carol (2015)
6. Liv Tyler and Viggo Mortensen in The Lord of the Rings trilogy
7. Lily James and Richard Madden in Cinderella (2015)
8. Emma Stone and Ryan Gosling in Crazy, Stupid, Love. (2011)
9. Whoopi Goldberg and Ray Liotta in Corrina, Corrina (1994)
10. Drew Barrymore and Dougray Scott in Ever After (1998)
11. Whitney Houston and Kevin Costner in The Bodyguard (1992)
12. Nicole Kidman and Hugh Jackman in Australia (2008)
13. Sanaa Lathan and Simon Baker in Something New (2006)
14. Renée Zellweger and Colin Firth in Bridget Jones's Diary (2001)
15. Julie Delpy and Ethan Hawke in the Before trilogy
16. Faye Dunaway and Steve McQueen in The Thomas Crown Affair (1968)
17. Jennifer Grey and Patrick Swayze in Dirty Dancing (1987)
18. Drew Barrymore and Adam Sandler in The Wedding Singer (1998)
19. Catherine Zeta-Jones and Antonio Banderas in The Mask of Zorro (1998)
20. Julia Roberts and Richard Gere in Pretty Woman (1990)
21. Tessa Thompson and Michael B. Jordan in Creed (2015)
22. Robin Wright and Cary Elwes in The Princess Bride (1987)
23. Meryl Streep and Stanley Tucci in Julie & Julia (2009)
24. Kate Winslet and Jim Carrey in Eternal Sunshine of the Spotless Mind (2004)
25. Deborah Kerr and Yul Brynner in The King and I (1956)
26. Rachel McAdams and Ryan Gosling in The Notebook (2004)
27. Demi Moore and Woody Harrelson in Indecent Proposal (1993)
28. Zoe Saldana and Chris Pine in Star Trek (2009)
29. Kate Hudson and Matthew McConaughey in How to Lose a Guy in 10 Days (2003)
30. Nicole Kidman and Ewan McGregor in Moulin Rouge! (2001)
31. Barbra Streisand and Robert Redford in The Way We Were (1973)
32. Kate Winslet and Leonardo DiCaprio in Titanic (1997)
33. Meg Ryan and Tom Hanks in Sleepless in Seattle (1993)
34. Keira Knightley and James McAvoy in Atonement (2007)
35. Karen Allen and Harrison Ford in Raiders of the Lost Ark (1981)
36. Claire Danes and Leonardo DiCaprio in Romeo + Juliet (1996)
37. Morena Baccarin and Ryan Reynolds in Deadpool (2016)
38. Deborah Kerr and Burt Lancaster in From Here to Eternity (1953)
39. Lady Gaga and Bradley Cooper in A Star Is Born (2018)
40. Sandra Bullock and Bill Pullman in While You Were Sleeping (1995)
41. Donna Reed and Jimmy Stewart in It's a Wonderful Life (1946)
42. Anna Kendrick and Jeremy Jordan in The Last Five Years (2014)
43. Heath Ledger and Jake Gyllenhaal in Brokeback Mountain (2005)
44. Kate Winslet and Jack Black in The Holiday (2006)
45. Lana Condor and Noah Centineo in To All the Boys I've Loved Before (2018)
46. Alicia Vikander and Michael Fassbender in The Light Between Oceans (2016)
47. Margot Robbie and Alexander Skarsgard in The Legend of Tarzan (2016)
48. Taraji P. Henson and Terrence Howard in Hustle & Flow (2005)
49. Tilda Swinton and Tom Hiddleston in Only Lovers Left Alive (2013)
50. Juliette Lewis and Woody Harrelson in Natural Born Killers (1994)
51. Anne Hathaway and Chris Pine in The Princess Diaries 2: Royal Engagement (2004)
52. Lucy Boynton and Rami Malek in Bohemian Rhapsody (2018)
53. Sanaa Lathan and Omar Epps in Love & Basketball (2000)
54. Julie Andrews and Christopher Plummer in The Sound of Music (1965)
55. Kate Winslet and Idris Elba in The Mountain Between Us (2017)
56. Maggie Gyllenhaal and James Spader in Secretary (2002)
57. Jodie Turner-Smith and Daniel Kaluuya in Queen & Slim (2019)
58. Julia Ormand and Richard Gere in First Knight (1995)
59. Carrie Fisher and Harrison Ford in the entire Star Wars franchise
60. Gwyneth Paltrow and Robert Downey Jr. in Iron Man (2008)
61. Sandra Bullock and Keanu Reeves in Speed (1994)
62. Mandy Moore and Shane West in A Walk to Remember (2002)
63. Ingrid Bergman and Cary Grant in Notorious (1946)
64. Michael Douglas and Kathleen Turner in Romancing the Stone (1984)
65. Rachel Weisz and Brendan Fraser in The Mummy series
66. Jennifer Lopez and George Clooney in Out of Sight (1998)
67. Emmy Rossum and Gerard Butler in The Phantom of the Opera (2004)
68. Keira Knightley and Orlando Bloom in the Pirates of the Caribbean series
69. Jennifer Lawrence and Bradley Cooper in Silver Linings Playbook (2012)
70. Sandra Bullock and Ryan Reynolds in The Proposal (2009)
71. Winona Ryder and Gary Oldman in Bram Stoker's Dracula (1992)
72. And finally: Meg Ryan and Billy Crystal in When Harry Met Sally... (1989)
Well, you've read their picks, but now it's your turn! Do you agree with all of these? Do you disagree? If there were an Academy Award for "Best Onscreen Chemistry," who would you nominate? Share your pick(s) in the comments below!
Note: Some entries have been edited for length and/or clarity.
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https://www.moviefone.com/news/cinemacon-2024-paramount-pictures-presentation/
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en
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CinemaCon 2024: Paramount Pictures Presentation
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2024-04-11T13:22:17
|
The likes of Ridley Scott, Lupita Nyong’o, Chris Hemsworth and John Krasinski were either in person or appearing virtually to talk up their new projects.
|
en
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https://cdn.moviefone.com/legacy/assets/favicon/mf_favicon_rounded.ico
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Moviefone
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https://www.moviefone.com/news/cinemacon-2024-paramount-pictures-presentation/
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Preview:
Paramount revealed a lot of news on future movies at its CinemaCon Presentation.
Other movies highlighted included ‘Transformers One’ and ‘A Quiet Place: Day One’.
Ridley Scott’s ‘Gladiator 2’ provided the big finish.
Paramount had a solid if uninspiring 2023, including a disappointing result for the oft-delayed ‘Mission: Impossible –– Dead Reckoning Part 1’ (which suffered in competition, particularly for IMAX screens, against ‘Barbie’ and ‘Oppenheimer’). But’s best not to bet against Tom Cruise, who will no doubt be doing something to promote the next ‘Mission’ (odds are good we’ll learn the new title). Still, the more recent likes of ‘Mean Girls’ and ‘Bob Marley: One Love’ were reasons to be grateful, even as talk of the studio being up for sale continues to swirl.
Beyond that, expect plenty of promotion for Ridley Scott’s ‘Gladiator II’, ‘A Quiet Place’ prequel ‘Day One’ and possibly the next ‘Transformers’ outing, animated prequel ‘Transformers One’.
Even before the presentation proper kicked off, there was news of new movies in the works. The studio is developing a reboot of the ‘Scary Movie’ spoof franchise to shoot this year for release next year via Paramount’s Miramax subsidiary.
And while a sequel to last year’s family friendly ‘Teenage Mutant Ninja Turtles: Mutant Mayhem’ is moving forward, the company also intends to go in a more grown-up direction with a new live-action ‘Turtles’ offering called ‘The Last Ronin’ that will adapt a dark comic book tale set in a totalitarian New York where Shredder’s grandson has employed artificial ninjas to slaughter all but one of the Turtles. The lone survivor swears vengeance. So… yes, definitely a less kid-centric take on the characters, and one that feels even closer to the black and white origins of the story. That one will be produced by former DC movie boss Walter Hamada, who has a multi-year deal with Paramount and ‘Boy Kills World’ writer Tyler Burton Smith is on script duty.
Related Article: ‘The Fall Guy’, ‘Twisters’ and More Lead Universal’s CinemaCon Show
And now, on with the show…
After a glitch with the opening reel (effectively a tour of the Paramount lot), the presentation commenced with another highlighting Paramount’s considerable movie history and spotlighting successes such as ‘Sonic’, ‘Mean Girls’ and ‘TMNT: Mutant Mayhem’.
And, as suspected, the world of ‘Gladiator’ is a focus, as Roman soldiers stride on to the stage to shepherd the executives. Will those who backed unsuccessful movies have to battle lions? Doubt it, but… would watch.
First up to tout two very different movies is one John Krasinski, who is appearing via video from London. He talks first about…
‘IF’
As Krasinski (who wrote and directed this one) explains, ‘IF’ posits a world where everything kinds imagine is real –– and some imaginary friends are looking to find their humans again (or be connected with new ones).
It has Ryan Reynolds starring, a stacked celebrity voice cast and leans heavily into the Pixar style of movie making.
He cues up the final trailer for the film, which you can see here:
‘IF’ is in theaters May 17th.
Krasinski also mentioned ‘A Quiet Place: Day One’, but more on that later…
Paramount Presentation: Other News
In between teases for this year’s releases, there were more news announcements, including confirmation of a ‘Transformers’ and ‘G.I. Joe’ crossover movie, Edgar Wright landing Glen Powell to star in his new take on Stephen King’s ‘The Running Man’, Ridley Scott officially boarding the Bee Gees musical biopic and Damien Chazelle seemingly handed a second chance after the floptastic ‘Babylon’, getting ready to shoot his next movie this year for the studio, with a release planned for 2025.
Also touted? ‘South Park’ duo Trey Parker and Matt Stone are working on a new, live-action comedy musical with Kendrick Lamar, which will debut on July 4 next year.
With the title very much back in the public consciousness thanks to the Netflix live-action show, Paramount has the likes of Dave Bautista and Eric Nam lending their voices to what is currently title ‘Aang: The Last Airbender’, with Bautista playing a villain. The movie will be in theaters on October 10th next year.
That was not the only voice cast confirmed for an upcoming movie. The new ‘Smurfs’ animated movie, which has Rhianna starring, will also see the tonsil talents of Nick Offerman, Natasha Lyonne, JP Karliak, Daniel Levy, Amy Sedaris, Nick Kroll, James Corden, Octavia Spencer, Hannah Waddingham, Sandra Oh, Alex Winter and more. Expect that one on February 15th next year.
Continuing the animated theme, we learned that ‘The SpongeBob Movie: Search for SquarePants,’ will debut on December 19th, 2025
In fact, lots of future slate info dropped, including that the next ‘Star Trek’ movie (whichever it might be from the various options) and the new, Seth MacFarlane produced ‘Naked Gun’ with Liam Neeson starring, will both also arrive next year.
Oh, and if you, like us, had “next Mission movie title announcement” on your bingo card, no scratching it off –– there was a mention of it, but zero footage and no word on title.
Now on to…
‘Transformers One’
The animated ‘Transformers’ movie that follows a titanic battle on Cybertron has ‘Toy Story 4’s Josh Cooley in the director’s chair and Scarlett Johansson and Chris Hemsworth among its voice cast.
Following a video introduction from Johansson, Hemsworth (who, if we’re honest, was already in Vegas because of the Warners presentation) arrived on stage to talk up the film. He voices Optimus Prime, with Brian Tyree Henry (who joined him at the event) as Megatron.
From the looks of the footage, the tone is aiming for more of a family adventure style, leaning closer to comedy than the live-action/CG movies. And it’s an origin story for many of the characters we love, with Keegan-Michael Key voicing Bumblebee.
Along with a trailer, a first clip screened –– in 3D, no less –– to wide approval for its epic scale and comedy value.
Find the title treatment below:
‘Transformers One’ will be in theaters on September 13th.
And we venture now to more of a terrifying place…
‘A Quiet Place: Day One’
Stars Lupita Nyong’o and Joseph Quinn were on hand to debut an extended trailer for the thriller prequel showing how the scary creatures first arrived and began to terrorize New York. As the previous trailer hinted, this one will see devastation, fear and, ultimately… quiet.
‘A Quiet Place: Day One’ heads to theaters on June 28th.
Speeding from there, we find…
‘Sonic The Hedgehog 3’
Given that Sonic and pals have become one of the biggest recent franchises for the studio (even extending to the upcoming ‘Knuckles’ series), it’s almost surprising how low key the talk of the new movie was.
The studio team just showed a trailer, which went heavily on Jim Carrey’s villainous, maniacal Dr. Robotnik and introduced Shadow the Hedgehog.
‘Sonic The Hedgehog 3’ is racing into theaters on December 20th.
From that, we pivot back to scares…
‘Smile 2’
A follow-up to the 2022 horror sleeper hit, the new movie will see a Lady Gaga-esque pop star confronted by smile-affected people around a concert venue.
Starring Naomi Scott, Kyle Gallner, Rosemarie DeWitt and more, it looked suitably creepy.
The ‘Smile’ sequel is aiming to scare up business on October 18th.
And finally, Paramount’s big finish…
‘Gladiator II’
Sir Ridley Scott appears on screen from London (where he’s still finishing post-production on the movie), to hype his return to the world of ‘Gladiator’.
We were also treated to an intro reel featuring stars Denzel Washington, Paul Mescal, Joseph Quinn, Connie Nielsen, and Pedro Pascal all raving about working with Scott and the scope and scale of the film.
It might be unfinished, but that didn’t stop Scott unleashing a five-minute look at the movie.
“I remember that day. I never forgot it. That a slave could take revenge against an emperor,” says Paul Mescal’s Lucius. A boat battle is seen taking place in the Colosseum. Paul Mescal and other Gladiators fight vicious monkeys. “Rage is your gift,” Denzel Washington tells Mescal. Washington and Pedro Pascal watch on as Mescal fights a rhinoceros. The footage ends with a brutal fight between Pedro Pascal and Paul Mescal.
Are we not entertained? Yes, we were entertained. Though animal rights activists and worried Pedro Pascal fans might think differently.
‘Gladiator II’ returns to the theatrical arena on November 22nd.
Upcoming Paramount Movies:
'The Smurfs Musical' (2025)
'The SpongeBob Movie: Search for SquarePants' (2025)
'Untitled Naked Gun Reboot' (2025)
'Untitled Bee Gees Biopic'
'IF' (2024)
'Transformers One' (2024)
'A Quiet Place: Day One' (2024)
'Sonic the Hedgehog 3' (2024)
'Smile 2' (2024)
'Gladiator II' (2024)
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American film studio, subsidiary of Paramount Global
For the parent company, a mass media and entertainment conglomerate, see Paramount Global.
Paramount Pictures Corporation, commonly known as Paramount Pictures or simply Paramount, is an American film and television production and distribution company and the namesake subsidiary of Paramount Global. It is the sixth-oldest film studio in the world, the second-oldest film studio in the United States (behind Universal Pictures), and the sole member of the "Big Five" film studios located within the city limits of Los Angeles.[1]
In 1916, film producer Adolph Zukor put 24 actors and actresses under contract and honored each with a star on the logo.[2] In 1967, the number of stars was reduced to 22 and their hidden meaning was dropped. In 2014, Paramount Pictures became the first major Hollywood studio to distribute all of its films in digital form only.[3] The company's headquarters and studios are located at 5555 Melrose Avenue, Hollywood, California.[4]
Paramount Pictures is a member of the Motion Picture Association (MPA).[5]
History
Famous Players Film Company
Main article: Famous Players Film Company
The evolution of Paramount1886Westinghouse Electric Corporation is founded as Westinghouse Electric & Manufacturing Company1912Famous Players Film Company is founded1913Lasky Feature Play Company is founded1914Paramount Pictures is founded1916Famous Players and Lasky merge as Famous Players–Lasky and acquire Paramount1927Famous Players–Lasky renamed to Paramount Famous Lasky Corporation; CBS is founded with investment from Columbia Records1929Paramount acquires 49% of CBS1930Paramount Famous Lasky Corporation renamed to Paramount Publix Corporation1932Paramount sells back its shares of CBS1934Gulf+Western is founded as the Michigan Bumper Corporation1935Paramount Publix Corporation renamed to Paramount Pictures1936National Amusements is founded as Northeast Theater Corporation1938CBS acquires Columbia Records1950Desilu is founded and CBS distributes its television programs1952CBS creates the CBS Television Film Sales division1958CBS Television Film Sales renamed to CBS Films1966Gulf+Western acquires Paramount1967Gulf+Western acquires Desilu and renames it Paramount Television (now CBS Studios)1968CBS Films renamed to CBS Enterprises1970CBS Enterprises renamed to Viacom1971Viacom is spun off from CBS1987National Amusements acquires Viacom1988CBS sells Columbia Records to Sony1989Gulf+Western renamed to Paramount Communications1994Viacom acquires Paramount Communications1995Westinghouse acquires CBS1997Westinghouse renamed to CBS Corporation2000Viacom acquires UPN and CBS Corporation2005Viacom splits into second CBS Corporation and Viacom2006CBS Corporation shuts down UPN and replaces it with The CW2017CBS Corporation sells CBS Radio to Entercom (now Audacy)2019CBS Corporation and Viacom re-merge as ViacomCBS2022ViacomCBS renamed to Paramount Global2024Skydance Media and Paramount Global agree to merge
Paramount is the sixth oldest surviving film studio in the world; after Gaumont Film Company (1895), Pathé (1896), Titanus (1904), Nordisk Film (1906), and Universal Studios (1912). It is the last major film studio still headquartered in the Hollywood district of Los Angeles.[1]
Paramount Pictures dates its existence from the 1912 founding date of the Famous Players Film Company. Hungarian-born founder Adolph Zukor, who had been an early investor in nickelodeons, saw that movies appealed mainly to working-class immigrants.[6] With partners Daniel Frohman and Charles Frohman he planned to offer feature-length films that would appeal to the middle class by featuring the leading theatrical players of the time (leading to the slogan "Famous Players in Famous Plays"). By mid-1913, Famous Players had completed five films, and Zukor was on his way to success. Its first film was Les Amours de la reine Élisabeth, which starred Sarah Bernhardt.
That same year, another aspiring producer, Jesse L. Lasky, opened his Lasky Feature Play Company with money borrowed from his brother-in-law, Samuel Goldfish, later known as Samuel Goldwyn. The Lasky company hired as their first employee a stage director with virtually no film experience, Cecil B. DeMille, who would find a suitable site in Hollywood. This place was a rented old horse barn converted into a production facility with an enlarged open-air stage located between Vine Street, Selma Avenue, Argyle Avenue and Sunset Boulevard. It was later known as the Lasky-DeMille Barn.[7] In 1914, their first feature film, The Squaw Man was released.
On May 8, 1914, Paramount Pictures Corporation (previously known as Progressive Pictures) was founded by a Utah theatre owner, W. W. Hodkinson, who had bought and merged five smaller firms.[8] On May 15, 1914, Hodkinson signed a five-year contract with the Famous Players Film Company, the Lasky Company and Bosworth, Inc. to distribute their films.[9] Actor, director and producer Hobart Bosworth had started production of a series of Jack London movies. Paramount was the first successful nationwide distributor; until this time, films were sold on a statewide or regional basis, which had proved costly to film producers. Also, Famous Players and Lasky were privately owned while Paramount was a corporation.
Famous Players–Lasky
Main article: Famous Players–Lasky
In 1916, Zukor engineered a three-way merger of his Famous Players, the Lasky Company, and Paramount. Zukor and Lasky bought Hodkinson out of Paramount, and merged the three companies into one. The new company Lasky and Zukor founded on June 28, Famous Players–Lasky Corporation, although it continued to use the name "Paramount," as well. As a result, it became the largest film company at the time with a value of US$12.5 million (equivalent to $241.8 million in 2023).[10] The corporation was able to grow quickly, with Lasky and his partners Goldwyn and DeMille running the production side, Hiram Abrams in charge of distribution, and Zukor making great plans. With only the exhibitor-owned First National as a rival, Famous Players–Lasky and its "Paramount Pictures" soon dominated the business.[11] The fusion was finalized on November 7, 1916.[12]
Because Zukor believed in stars, he signed and developed many of the leading early stars, including Mary Pickford, Marguerite Clark, Pauline Frederick, Douglas Fairbanks, Gloria Swanson, Rudolph Valentino, and Wallace Reid. With so many important players, Paramount was able to introduce "block booking", which meant that an exhibitor who wanted a particular star's films had to buy a year's worth of other Paramount productions. It was this system that gave Paramount a leading position in the 1920s and 1930s, but which led the government to pursue it on antitrust grounds for more than twenty years.[13]
By the mid-1920s, the old Lasky-DeMille barn property was not big enough to handle all of the studios' West Coast productions.[14] On January 5, 1926, Lasky reached an agreement to buy the Robert Brunton Studios, a 26-acre facility owned by United Pictures and located at 5451 Marathon Street, for $1.0 million (equivalent to $13.8 million in 2023).[15] On March 29, the company began an eight-month building program to renovate the existing facilities and erect new ones.[16] On May 8, Lasky finally moved operations from the Sunset and Vine lot to the new building. At present, those facilities are still part of the Paramount Pictures headquarters. Zukor hired independent producer B. P. Schulberg, an unerring eye for new talent, to run the new West Coast operations.
On April 1, 1927, the company name was changed to Paramount Famous Lasky Corporation.[17] In September 1927, the Paramount Famous Lasky Corporation studio in Astoria (New York City) was temporarily closed with the objective of equipping it with the technology for the production of sound films.[18][19] In the same year, Paramount began releasing Inkwell Imps, animated cartoons produced by Max and Dave Fleischer's Fleischer Studios in New York City. The Fleischers, veterans in the animation industry, were among the few animation producers capable of challenging the prominence of Walt Disney. The Paramount newsreel series Paramount News ran from 1927 to 1957. Paramount was also one of the first Hollywood studios to release what were known at that time as "talkies", and in 1929, released their first musical, Innocents of Paris. Richard A. Whiting and Leo Robin composed the score for the film; Maurice Chevalier starred and sang the most famous song from the film, "Louise".
Publix, Balaban and Katz, Loew's competition and wonder theaters
The driving force behind Paramount's rise was Zukor. He built a chain of nearly 2,000 screens, ran two production studios (in Astoria, New York, now the Kaufman Astoria Studios, and Hollywood, California), and became an early investor in radio, acquiring for the corporation a 50% interest in the new Columbia Broadcasting System in 1928 (selling it within a few years; this would not be the last time Paramount and CBS crossed paths).
By acquiring the successful Balaban & Katz chain in 1926, Zukor gained the services of Barney Balaban (who would eventually become Paramount's president in 1936), his brother A. J. Balaban (who would eventually supervise all stage production nationwide and produce talkie shorts), and their partner Sam Katz (who would run the Paramount-Publix theatre chain in New York City from the thirty-five-story Paramount Theatre Building on Times Square).
Balaban and Katz had developed the Wonder Theater concept, first publicized around 1918 in Chicago. The Chicago Theater was created as a very ornate theater and advertised as a "wonder theater". When Publix acquired Balaban, they embarked on a project to expand the wonder theaters, and starting building in New York City in 1927. While Balaban and Public were dominant in Chicago, Loew's was the big player in New York City, and did not want the Publix theaters to overshadow theirs. The two companies brokered a non-competition deal for New York City and Chicago, and Loew's took over the New York City area projects, developing five wonder theaters. Publix continued Balaban's wonder theater development in its home area.[20]
On April 24, 1930, Paramount-Famous Lasky Corporation became the Paramount Publix Corporation.[21][22]
1920s and 1931–40: Receivership and reorganization
Eventually, Zukor shed most of his early partners; the Frohman brothers, Hodkinson and Goldwyn were out by 1917 while Lasky hung on until 1932, when, blamed for the near-collapse of Paramount in the Great Depression years, he was also tossed out. In 1931, to solve the financial problems of the company Zukor hired taxi/rental car magnate John D. Hertz as chairman of the finance committee in order to assist vice-president and treasurer Ralph A. Kohn.[23] However, on January 6, 1933, Hertz resigned from his position when it become evident that his measures to lift the company had failed.[24] The over-expansion and use of overvalued Paramount stock for purchases created a $21 million debt which led the company into receivership on January 26, 1933,[25] and later filing bankruptcy on March 14, 1933.[26] On April 17, 1933, bankruptcy trustees were appointed and Zukor lost control of the company.[27][28] The company remained under the control of trustees for more than a year in order to restructure the debt and pursue a reorganization plan.[29] On December 3, 1934, the reorganization plan was formally proposed.[30] After prolonged hearings in court, final confirmation was obtained on April 25, 1935, when Federal Judge Alfred C. Coxe Jr. approved the reorganization of the Paramount-Publix Corporation under Section 77-B of the Bankruptcy Act.[31][32]
On June 4, 1935, John E. Otterson[33] became president of the re-emerged and newly renamed Paramount Pictures Inc.[34] Zukor returned to the company and was named production chief but after Barney Balaban was appointed president on July 2, 1936, he was soon replaced by Y. Frank Freeman and symbolically named chairman of the board.[35][36] On August 28, 1935, Paramount Pictures was re-listed on the New York Stock Exchange and when the company was under Balaban's leadership, the studio was successfully relaunched.[37]
As always, Paramount films continued to emphasize stars; in the 1920s there were Gloria Swanson, Wallace Reid, Rudolph Valentino, Florence Vidor, Thomas Meighan, Pola Negri, Bebe Daniels, Antonio Moreno, Richard Dix, Esther Ralston, Emil Jannings, George Bancroft, Betty Compson, Clara Bow, Adolphe Menjou, and Charles Buddy Rogers. By the late 1920s and the early 1930s, talkies brought in a range of powerful draws: Richard Arlen, Nancy Carroll, Maurice Chevalier, Gary Cooper, Marlene Dietrich, Charles Ruggles, Ruth Chatterton, William Powell, Mae West, Sylvia Sidney, Bing Crosby, Claudette Colbert, the Marx Brothers, W.C. Fields, Fredric March, Jack Oakie, Jeanette MacDonald (whose first two films were shot at Paramount's Astoria, New York, studio), Carole Lombard, George Raft, Miriam Hopkins, Cary Grant and Stuart Erwin, among them.[38] In this period Paramount can truly be described as a movie factory, turning out sixty to seventy pictures a year. Such were the benefits of having a huge theater chain to fill, and of block booking to persuade other chains to go along. In 1933, Mae West would also add greatly to Paramount's success with her suggestive movies She Done Him Wrong and I'm No Angel.[39][40] However, the sex appeal West gave in these movies would also lead to the enforcement of the Production Code, as the newly formed organization the Catholic Legion of Decency threatened a boycott if it was not enforced.[41] Paramount cartoons produced by Fleischer Studios continued to be successful, with characters such as Betty Boop and Popeye the Sailor becoming widely successful. One Fleischer series, Screen Songs, featured live-action music stars under contract to Paramount hosting sing-alongs of popular songs. The animation studio would rebound with Popeye, and in 1935, polls showed that Popeye was even more popular than Mickey Mouse.[42] After an unsuccessful expansion into feature films, as well as the fact that Max and Dave Fleischer were no longer speaking to one another, Fleischer Studios was acquired by Paramount, which renamed the operation Famous Studios. That incarnation of the animation studio continued cartoon production until 1967, but has been historically dismissed as having largely failed to maintain the artistic acclaim the Fleischer brothers achieved under their management.[43]
1941–50: United States v. Paramount Pictures, Inc.
In 1940, Paramount agreed to a government-instituted consent decree: block booking and "pre-selling" (the practice of collecting up-front money for films not yet in production) would end. Immediately, Paramount cut back on production, from 71 films to a more modest 19 annually in the war years.[44] Still, with more new stars like Bob Hope, Alan Ladd, Veronica Lake, Paulette Goddard, and Betty Hutton, and with war-time attendance at astronomical numbers, Paramount and the other integrated studio-theatre combines made more money than ever. At this, the Federal Trade Commission and the Justice Department decided to reopen their case against the five integrated studios. Paramount also had a monopoly over Detroit movie theaters through subsidiary company United Detroit Theaters.[45] This led to the Supreme Court decision United States v. Paramount Pictures, Inc. (1948) holding that movie studios could not also own movie theater chains. This decision broke up Adolph Zukor's creation, with the theater chain being split into a new company, United Paramount Theaters, and effectively brought an end to the classic Hollywood studio system.
1951–66: Split and after
With the separation of production and exhibition forced by the U.S. Supreme Court, Paramount Pictures Inc. was split in two.[46] Paramount Pictures Corporation was formed to be the production distribution company, with the 1,500-screen theater chain handed to the new United Paramount Theaters on December 31, 1949. Leonard Goldenson, who had headed the chain since 1938, remained as the new company's president. The Balaban and Katz theatre division was spun off with UPT; its trademark eventually became the property of the Balaban and Katz Historical Foundation. The foundation later acquired ownership of the Famous Players trademark. Cash-rich and controlling prime downtown real estate, Goldenson began looking for investments. Barred from film-making by prior antitrust rulings, he acquired the struggling ABC television network in February 1953, leading it first to financial health, and eventually, in the mid-1970s, to first place in the national Nielsen ratings, before selling out to Capital Cities in 1985 (Capital Cities would eventually sell out, in turn, to The Walt Disney Company in 1996). United Paramount Theaters was renamed ABC Theaters in 1965 and was sold to businessman Henry Plitt in 1977. The movie theater chain was renamed Plitt Theaters. In 1985, Cineplex Odeon Corporation merged with Plitt. In later years, Paramount's TV division would develop a strong relationship with ABC, providing many hit series to the network.
Paramount Pictures had been an early backer of television, launching experimental stations in 1939 in Los Angeles and Chicago. The Los Angeles station eventually became KTLA, the first commercial station on the West Coast. The Chicago station got a commercial license as WBKB in 1943, but was sold to UPT along with Balaban & Katz in 1948 and was eventually resold to CBS as WBBM-TV.
In 1938, Paramount bought a stake in television manufacturer DuMont Laboratories. Through this stake, it became a minority owner of the DuMont Television Network.[47] Paramount also launched its own network, Paramount Television Network, in 1948 through its television unit, Television Productions, Inc.[48]
Paramount management planned to acquire additional owned-and-operated stations ("O&Os"); the company applied to the FCC for additional stations in San Francisco, Detroit, and Boston.[49] The FCC, however, denied Paramount's applications. A few years earlier, the federal regulator had placed a five-station cap on all television networks: no network was allowed to own more than five VHF television stations. Paramount was hampered by its minority stake in the DuMont Television Network. Although both DuMont and Paramount executives stated that the companies were separate, the FCC ruled that Paramount's partial ownership of DuMont meant that DuMont and Paramount were in theory branches of the same company. Since DuMont owned three television stations and Paramount owned two, the federal agency ruled neither network could acquire additional television stations. The FCC requested that Paramount relinquish its stake in DuMont, but Paramount refused.[49] According to television historian William Boddy, "Paramount's checkered antitrust history" helped convince the FCC that Paramount controlled DuMont.[50] Both DuMont and Paramount Television Network suffered as a result, with neither company able to acquire five O&Os. Meanwhile, CBS, ABC, and NBC had each acquired the maximum of five stations by the mid-1950s.[51]
When ABC accepted a merger offer from UPT in 1953, DuMont quickly realized that ABC now had more resources than it could possibly hope to match. It quickly reached an agreement in principle to merge with ABC.[52] However, Paramount vetoed the offer due to antitrust concerns.[53] For all intents and purposes, this was the end of DuMont, though it lingered on until 1956.
In 1951, Paramount bought a stake in International Telemeter, an experimental pay TV service which operated with a coin inserted into a box. The service began operating in Palm Springs, California on November 27, 1953, but due to pressure from the FCC, the service ended on May 15, 1954.[54]
With the loss of the theater chain, Paramount Pictures went into a decline, cutting studio-backed production, releasing its contract players, and making production deals with independents. By the mid-1950s, all the great names were gone; only Cecil B. DeMille, associated with Paramount since 1913, kept making pictures in the grand old style. Despite Paramount's losses, DeMille would, however, give the studio some relief and create his most successful film at Paramount, a 1956 remake of his 1923 film The Ten Commandments.[55] DeMille died in 1959. Like some other studios, Paramount saw little value in its film library and sold 764 of its pre-1950 films to MCA Inc./EMKA, Ltd. (known today as Universal Television) in February 1958.[56]
1966–70: Early Gulf+Western era
By the early 1960s, Paramount's future was doubtful. The high-risk movie business was wobbly; the theater chain was long gone; investments in DuMont and in early pay-television came to nothing; and the Golden Age of Hollywood had just ended, even the flagship Paramount Building in Times Square was sold to raise cash, as was KTLA (sold to Gene Autry in 1964 for a then-phenomenal $12.5 million). Their only remaining successful property at that point was Dot Records, which Paramount had acquired in 1957, and even its profits started declining by the middle of the 1960s.[57] Founding father Adolph Zukor (born in 1873) was still chairman emeritus; he referred to chairman Barney Balaban (born 1888) as "the boy". Such aged leadership was incapable of keeping up with the changing times, and in 1966, a sinking Paramount was sold to Charles Bluhdorn's industrial conglomerate, Gulf and Western Industries. Bluhdorn immediately put his stamp on the studio, installing a virtually unknown producer named Robert Evans as head of production. Despite some rough times, Evans held the job for eight years, restoring Paramount's reputation for commercial success with The Odd Couple, Rosemary's Baby, Love Story, The Godfather, Chinatown, and 3 Days of the Condor.[58]
Gulf and Western also bought the neighboring Desilu Productions television studio (once the lot of RKO Pictures) from Lucille Ball in 1967. Using some of Desilu's established shows such as Star Trek, Mission: Impossible, and Mannix as a foot in the door at the networks, the newly reincorporated Paramount Television eventually became known as a specialist in half-hour situation comedies.[59]
In 1968, Paramount formed Films Distributing Corp to distribute sensitive film product, including Sin With a Stranger, which was one of the first films to receive an X rating in the United States when the MPAA introduced their new rating system.[60]
1971–80: CIC formation and high-concept era
In 1970, Paramount teamed with Universal Studios to form Cinema International Corporation, a new company that would distribute films by the two studios outside the United States. Metro-Goldwyn-Mayer would become a partner in the mid-1970s. Both Paramount and CIC entered the video market with Paramount Home Video (now Paramount Home Entertainment) and CIC Video, respectively.
Robert Evans abandoned his position as head of production in 1974; his successor, Richard Sylbert, proved to be too literary and too tasteful for Gulf and Western's Bluhdorn. By 1976, a new, television-trained team was in place headed by Barry Diller and his "Killer-Dillers", as they were called by admirers or "Dillettes" as they were called by detractors. These associates, made up of Michael Eisner, Jeffrey Katzenberg, Dawn Steel and Don Simpson would each go on and head up major movie studios of their own later in their careers.
The Paramount specialty was now simpler. "High concept" pictures such as Saturday Night Fever and Grease hit big, hard, and fast all over the world,[61] while its fortuitous earlier acquisition of the Star Trek property, which had grown into a cult favorite, enabled Paramount to have a long running science fiction film and television franchise to compete with the outstanding popular success of Star Wars. Diller's television background led him to propose one of his longest-standing ideas to the board: Paramount Television Service, a fourth commercial network. Paramount Pictures purchased the Hughes Television Network (HTN) including its satellite time in planning for PTVS in 1976. Paramount sold HTN to Madison Square Garden Corporation in 1979.[62] But Diller believed strongly in the concept, and so took his fourth-network idea with him when he moved to 20th Century Fox in 1984, where Fox's then freshly installed proprietor, Rupert Murdoch was a more interested listener.
However, the television division would be playing catch-up for over a decade after Diller's departure in 1984 before launching its own television network – UPN – in 1995. Lasting eleven years before being merged with The WB network to become The CW in 2006, UPN would feature many of the shows it originally produced for other networks, and would take numerous gambles on series such as Star Trek: Voyager and Star Trek: Enterprise that would have otherwise either gone direct-to-cable or become first-run syndication to independent stations across the country (as Star Trek: Deep Space Nine and Star Trek: The Next Generation were).
Paramount Pictures was not connected to either Paramount Records (1910s–1935) or ABC-Paramount Records (1955–66) until it purchased the rights to use the name (but not the latter's catalog) in the late 1960s. The Paramount name was used for soundtrack albums and some pop re-issues from the Dot Records catalog which Paramount had acquired in 1957. By 1970, Dot had become an all-country label[63] and in 1974, Paramount sold all of its record holdings to ABC Records, which in turn was sold to MCA (now Universal Music Group) in 1979.[64][65]
1980–94: Continual success
Paramount's successful run of pictures extended into the 1980s and 1990s, generating hits like Airplane!, American Gigolo, Ordinary People, An Officer and a Gentleman, Flashdance, Terms of Endearment, Footloose, Pretty in Pink, Top Gun, Crocodile Dundee, Fatal Attraction, Ghost, the Friday the 13th slasher series, as well as joining forces with Lucasfilm and Steven Spielberg to create the Indiana Jones franchise. Other examples are the Star Trek film series and a string of films starring comedian Eddie Murphy like Trading Places, Coming to America and Beverly Hills Cop and its sequels. While the emphasis was decidedly on the commercial, there were occasional less commercial but more artistic and intellectual efforts like I'm Dancing as Fast as I Can, Atlantic City, Reds, Witness, Children of a Lesser God and The Accused. During this period, responsibility for running the studio passed from Eisner and Katzenberg to Frank Mancuso, Sr. (1984) and Ned Tanen (1984) to Stanley R. Jaffe (1991) and Sherry Lansing (1992). More so than most, Paramount's slate of films included many remakes and television spin-offs; while sometimes commercially successful, there have been few compelling films of the kind that once made Paramount the industry leader.
Around the end of 1981, Paramount Pictures took over fellow Gulf and Western subsidiary Sega from the company's manufacturing division in an effort to get into the video game business. Paramount would go on to sell Sega following the Video Game Crash of 1983, and the two companies would later work together on the live action/CGI Sonic the Hedgehog film series.[66]
On August 25, 1983, Paramount Studios caught fire. Two or three sound stages and four outdoor sets were destroyed.[67][68]
When Charles Bluhdorn died unexpectedly, his successor Martin Davis dumped all of Gulf and Western's industrial, mining, and sugar-growing subsidiaries and refocused the company, renaming it Paramount Communications in 1989. With the influx of cash from the sale of Gulf and Western's industrial properties in the mid-1980s, Paramount bought a string of television stations and KECO Entertainment's theme park operations, renaming them Paramount Parks. These parks included Paramount's Great America, Paramount Canada's Wonderland, Paramount's Carowinds, Paramount's Kings Dominion, and Paramount's Kings Island.[69]
In May 1985, Paramount decided to start its own talent department, an attempt to form a stable of exclusively-contracted film personnel (outside of Eddie Murphy); this effort proved unsuccessful and studio president Dawn Steel decided to shut down the department on July 30, 1986.[70] In 1987, Paramount Pictures, MGM/UA Communications Co. and Universal Pictures teamed up in order to market feature film and television product to China, a response to the 25-billion admission tickets that were clocked in the country in 1986. Worldwide Media Sales, a division of the New York-based Worldwide Media Group had been placed in charge of the undertaking.[71] That year, Paramount Pictures decided to consolidate its distribution operations, closing a number of branch offices that were designed for the studio and relocating staff and major activities in an effort to cut costs and provide for a more efficient centralization; this decision was made in response to a change in distribution practices that had occurred among the various major studios.[72] In August 1987, Paramount Overseas Productions declared that the subsidiary would be in service not just for the upcoming film Experts, which was shot on a budget of $12 million in Canada, but also for other films filmed there worldwide, including the United Kingdom and Canada.[73]
In 1993, Sumner Redstone's entertainment conglomerate Viacom made a bid for a merger with Paramount Communications; this quickly escalated into a bidding war with Barry Diller's QVC. But Viacom prevailed, ultimately paying $10 billion for the Paramount holdings. Viacom and Paramount had planned to merge as early as 1989.[74]
Paramount is the last major film studio located in Hollywood proper. When Paramount moved to its present home in 1927, it was in the heart of the film community. Since then, former next-door neighbor RKO closed up shop in 1957 (Paramount ultimately absorbed their former lot); Warner Bros. (whose old Sunset Boulevard studio was sold to Paramount in 1949 as a home for KTLA) moved to Burbank in 1930; Columbia joined Warners in Burbank in 1973 then moved again to Culver City in 1989; and the Pickford-Fairbanks-Goldwyn-United Artists lot, after a lively history, has been turned into a post-production and music-scoring facility for Warners, known simply as "The Lot". For a time the semi-industrial neighborhood around Paramount was in decline, but has now come back. The recently refurbished studio has come to symbolize Hollywood for many visitors, and its studio tour is a popular attraction.
1989–94: Paramount Communications
In 1983, Gulf and Western began a restructuring process that would transform the corporation from a bloated conglomerate consisting of subsidiaries from unrelated industries to a more focused entertainment and publishing company. The idea was to aid financial markets in measuring the company's success, which, in turn, would help place better value on its shares. Though its Paramount division did very well in recent years, Gulf and Western's success as a whole was translating poorly with investors. This process eventually led Davis to divest many of the company's subsidiaries. Its sugar plantations in Florida and the Dominican Republic were sold in 1985; the consumer and industrial products branch was sold off that same year.[75] In 1989, Davis renamed the company Paramount Communications Incorporated after its primary asset, Paramount Pictures.[76] In addition to the Paramount film, television, home video, and music publishing divisions, the company continued to own the Madison Square Garden properties (which also included MSG Network), a 50% stake in USA Networks (the other 50% was owned by MCA/Universal Studios) and Simon & Schuster, Prentice Hall, Pocket Books, Allyn & Bacon, Cineamerica (a joint venture with Warner Communications), and Canadian cinema chain Famous Players Theatres.[75]
That same year, the company launched a $12.2 billion hostile bid to acquire Time Inc. in an attempt to end a stock-swap merger deal between Time and Warner Communications. This caused Time to raise its bid for Warner to $14.9 billion in cash and stock. Gulf and Western responded by filing a lawsuit in a Delaware court to block the Time-Warner merger. The court ruled twice in favor of Time, forcing Gulf and Western to drop both the Time acquisition and the lawsuit, and allowing the formation of Time Warner.
Paramount used cash acquired from the sale of Gulf and Western's non-entertainment properties to take over the TVX Broadcast Group chain of television stations (which at that point consisted mainly of large-market stations which TVX had bought from Taft Broadcasting, plus two mid-market stations which TVX owned prior to the Taft purchase), and the KECO Entertainment chain of theme parks from Taft successor Great American Broadcasting. Both of these companies had their names changed to reflect new ownership: TVX became known as the Paramount Stations Group, while KECO was renamed to Paramount Parks.
Paramount Television launched Wilshire Court Productions in conjunction with USA Networks, before the latter was renamed NBCUniversal Cable, in 1989. Wilshire Court Productions (named for a side street in Los Angeles) produced television films that aired on the USA Networks, and later for other networks. USA Networks launched a second channel, the Sci-Fi Channel (now known as Syfy), in 1992. As its name implied, it focused on films and television series within the science fiction genre. Much of the initial programming was owned either by Paramount or Universal. Paramount bought one more television station in 1993: Cox Enterprises' WKBD-TV in Detroit, Michigan, at the time an affiliate of the Fox Broadcasting Company.
1994–2005: Dolgen/Lansing and "old" Viacom era
In February 1994, Viacom acquired 50.1% of Paramount Communications Inc. shares for $9.75 billion, following a five-month battle with QVC, and completed the merger in July.[77][78][79] At the time, Paramount's holdings included Paramount Pictures, Madison Square Garden, the New York Rangers, the New York Knicks, and the Simon & Schuster publishing house.[80] The deal had been planned as early as 1989, when the company was still known as Gulf and Western.[74] Though Davis was named a member of the board of National Amusements, which controlled Viacom, he ceased to manage the company.
During this time period, Paramount Pictures went under the guidance of Jonathan Dolgen, chairman and Sherry Lansing, president.[81][82] During their administration over Paramount, the studio had an extremely successful period of films with two of Paramount's ten highest-grossing films being produced during this period.[83] The most successful of these films, Titanic, co-produced with 20th Century Fox and Lightstorm Entertainment, became the highest-grossing film up to that time, grossing over $1.8 billion worldwide.[84] Also during this time, three Paramount Pictures films won the Academy Award for Best Picture; Titanic, Braveheart, and Forrest Gump.
Paramount's most important property, however, was Star Trek. Studio executives had begun to call it "the franchise" in the 1980s due to its reliable revenue, and other studios envied its "untouchable and unduplicatable" success. By 1998, Star Trek television shows, movies, books, videotapes, and licensing provided so much of the studio's profit that "it is not possible to spend any reasonable amount of time at Paramount and not be aware of [its] presence"; filming for Star Trek: Voyager and Star Trek: Deep Space Nine required up to nine of the largest of the studio's 36 sound stages.[85][86]: 49–50, 54
In 1995, Viacom and Chris-Craft Industries' United Television launched United Paramount Network (UPN) with Star Trek: Voyager as its flagship series, fulfilling Barry Diller's plan for a Paramount network from 25 years earlier. In 1999, Viacom bought out United Television's interests, and handed responsibility for the start-up network to the newly acquired CBS unit, which Viacom bought in 2000 – an ironic confluence of events as Paramount had once invested in CBS, and Viacom had once been the syndication arm of CBS, as well.[87] During this period the studio acquired some 30 TV stations to support the UPN network, also acquiring and merging in the assets of Republic Pictures, Spelling Television and Viacom Productions, almost doubling the size of the studio's television library. The television division produced the dominant prime time show for the decade in Frasier, as well as such long running hits as NCIS and Becker and the dominant prime time magazine show Entertainment Tonight. Paramount also gained the ownership rights to the Rysher library, after Viacom acquired the rights from Cox Enterprises.
During this period, Paramount and its related subsidiaries and affiliates, operating under the name "Viacom Entertainment Group" also included the fourth largest group of theme parks in the United States and Canada which in addition to traditional rides and attractions launched numerous successful location-based entertainment units including a long running "Star Trek" attraction at the Las Vegas Hilton. Famous Music – the company's celebrated music publishing arm almost doubled in size and developed artists including Pink, Bush, and Green Day, as well as catalog favorites including Duke Ellington and Henry Mancini. The Paramount/Viacom licensing group under the leadership of Tom McGrath created the "Cheers" franchise bars and restaurants and a chain of restaurants borrowing from the studio's Academy Award-winning film Forrest Gump – The Bubba Gump Shrimp Company. Through the combined efforts of Famous Music and the studio over ten "Broadway" musicals were created including Irving Berlin's White Christmas, Footloose, Saturday Night Fever, Andrew Lloyd Webber's Sunset Boulevard among others. The company's international arm, United International Pictures (UIP), was the dominant distributor internationally for ten straight years representing Paramount, Universal and MGM. Simon and Schuster became part of the Viacom Entertainment Group emerging as the United States' dominant trade book publisher.
In 2002, Paramount; along with Buena Vista Distribution, 20th Century Fox, Sony Pictures Entertainment, MGM/UA Entertainment, Universal Studios, DreamWorks Pictures, Artisan Entertainment, Lions Gate Entertainment, and Warner Bros. formed the Digital Cinema Initiatives. Operating under a waiver from the antitrust law, the studios combined under the leadership of Paramount Chief Operating Officer Tom McGrath to develop technical standards for the eventual introduction of digital film projection – replacing the now 100-year-old film technology.[88] DCI was created "to establish and document voluntary specifications for an open architecture for digital cinema that ensures a uniform and high level of technical performance, reliability and quality control."[88] McGrath also headed up Paramount's initiative for the creation and launch of the Blu-ray Disc.
2005–2019: "New" Viacom era
On December 11, 2005, the Paramount Motion Pictures Group announced that it had purchased DreamWorks SKG (which was co-founded by former Paramount executive Jeffrey Katzenberg) in a deal worth $1.6 billion. The announcement was made by Brad Grey, chairman and CEO of Paramount Pictures who noted that enhancing Paramount's pipeline of pictures is a "key strategic objective in restoring Paramount's stature as a leader in filmed entertainment."[89] While the agreement did not include DreamWorks Animation SKG Inc., the most profitable part of the company that went public the previous year, Paramount became the distributor of DreamWorks Animation films from 2006 to 2012, 20th Century Fox would take over distribution beginning in 2013 to 2017, followed by Universal Pictures permanently following NBCUniversal's acquisition of the studio in 2016[90]
Reflecting in part the troubles of the broadcasting business, in 2005 Viacom wrote off over $18 billion from its radio acquisitions and, early that year, announced that it would split itself in two.[91] With that announcement, Dolgen and Lansing were replaced by former television executives Brad Grey and Gail Berman.[92][93] The Viacom board split the company into CBS Corporation and a separate company under the Viacom name. The board scheduled the division for the first quarter of 2006. Under the plan, CBS Corporation would comprise the CBS and UPN networks, Viacom Television Stations, Infinity Broadcasting Corporation, Viacom Outdoor, Paramount Television, King World Productions, Showtime Networks, Simon & Schuster, Paramount Parks, and CBS News. The revamped Viacom would include "MTV, VH1, Nickelodeon, BET and several other cable networks, as well as the Paramount movie studio".[94] The split was completed on December 31, 2005.[95] Paramount's home entertainment unit began using the CBS DVD brand for the Paramount Television library, as both Viacom and CBS Corporation were controlled by Sumner Redstone's National Amusements.[96]
Grey also broke up the famous United International Pictures (UIP) international distribution company with 15 countries being taken over by Paramount or Universal by December 31, 2006, with the joint venture continuing in 20 markets. In Australia, Brazil, France, Ireland, Mexico, New Zealand and the United Kingdom, Paramount took over UIP. While in Austria, Belgium, Germany, Italy, the Netherlands, Russia, Spain and Switzerland, Universal took over and Paramount would build its own distribution operations there. In 2007 and 2008, Paramount may sub-distribute films via Universal's countries and vice versa. Paramount's international distribution unit would be headquartered in Los Angeles and have a European hub.[97] In Italy, Paramount distributed through Universal.[98] With Universal indicated that it was pulling out of the UIP Korea and started its own operation there in November 2016, Paramount agreed to have CJ Entertainment distribute there.[99] UIP president and chief operating officer Andrew Cripps[97] was hired as Paramount Pictures International head. Paramount Pictures International distributed films that made the 1 billion mark in July 2007; the fifth studio that year to do so and it its first year.[100]
On October 6, 2008, DreamWorks executives announced that they were leaving Paramount and relaunching an independent DreamWorks. The DreamWorks trademarks remained with DreamWorks Animation when that company was spun off before the Paramount purchase, and DreamWorks Animation transferred the license to the name to the new company.[101]
DreamWorks films, acquired by Paramount but still distributed internationally by Universal, are included in Paramount's market share. Grey also launched a Digital Entertainment division to take advantage of emerging digital distribution technologies. This led to Paramount becoming the second movie studio to sign a deal with Apple Inc. to sell its films through the iTunes Store.[102]
Also, in 2007, Paramount sold another one of its "heritage" units, Famous Music, to Sony/ATV Music Publishing (best known for publishing many songs by The Beatles, and for being co-owned by Michael Jackson), ending a nearly-eight-decade run as a division of Paramount, being the studio's music publishing arm since the period when the entire company went by the name "Famous Players".[103]
In early 2008, Paramount partnered with Los Angeles-based developer FanRocket to make short scenes taken from its film library available to users on Facebook. The application, called VooZoo, allows users to send movie clips to other Facebook users and to post clips on their profile pages.[104] Paramount engineered a similar deal with Makena Technologies to allow users of vMTV and There.com to view and send movie clips.[105]
In 2009, CBS Corporation stopped using the Paramount name in its series and changed the name of the production arm to CBS Television Studios, eliminating the Paramount name from television, to distance itself from the latter.
In March 2010, Paramount founded Insurge Pictures, an independent distributor of "micro budget" films. The distributor planned ten movies with budgets of $100,000 each.[106] The first release was The Devil Inside, a movie with a budget of about US$1 million.[107] In March 2015, following waning box office returns, Paramount folded Insurge Pictures and its operations into the main studio.[108]
In July 2011, in the wake of critical and box office success of the animated feature, Rango, and the departure of DreamWorks Animation upon completion of their distribution contract in 2012, Paramount announced the formation of a new division, devoted to the creation of animated productions.[109] It marks Paramount's return to having its own animated division for the first time since 1967, when Paramount Cartoon Studios shut down (it was formerly Famous Studios until 1956).[110]
In December 2013, Walt Disney Studios (via its parent company's purchase of Lucasfilm a year earlier)[111] gained Paramount's remaining distribution and marketing rights to future Indiana Jones films. Paramount will permanently retain the distribution rights to the first four films and will receive "financial participation" from any additional films.[112]
In February 2016, Viacom CEO and newly appointed chairman Philippe Dauman announced that the conglomerate is in talks to find an investor to purchase a minority stake in Paramount.[113] Sumner Redstone and his daughter Shari are reportedly opposed with the deal.[114] On July 13, 2016, Wanda Group was in talks to acquire a 49% stake of Paramount.[115] The talks with Wanda were dropped. On January 19, 2017, Shanghai Film Group Corp. and Huahua Media said they would finance at least 25% of all Paramount Pictures movies over a three-year period. Shanghai Film Group and Huahua Media, in the deal, would help distribute and market Paramount's features in China. At the time, the Wall Street Journal wrote that "nearly every major Hollywood studio has a co-financing deal with a Chinese company."[116]
On March 27, 2017, Jim Gianopulos was named as a chairman and CEO of Paramount Pictures, replacing Brad Grey.[117] In June 2017, Paramount Players was formed by the studio with the hiring of Brian Robbins, founder of AwesomenessTV, Tollin/Robbins Productions and Varsity Pictures, as the division's president. The division was expected to produce films based on the Viacom Media Networks properties including MTV, Nickelodeon, BET and Comedy Central.[118] In June 2017, Paramount Pictures signed a deal with 20th Century Fox for distribution of its films in Italy, which took effect on September. Prior to the deal, Paramount's films in Italy were distributed by Universal Pictures, a deal that dates back to the CIC era.[98]
On December 7, 2017, it was reported that Paramount sold the international distribution rights of Annihilation to Netflix.[119] Netflix subsequently bought the worldwide rights to The Cloverfield Paradox for $50 million.[120] On November 16, 2018, Paramount signed a multi-picture film deal with Netflix as part of Viacom's growth strategy, making Paramount the first major film studio to do so.[121] A sequel to Awesomeness Films' To All the Boys I've Loved Before is currently in development at the studio for Netflix.[122]
In April 2018, Paramount posted its first quarterly profit since 2015.[123] Bob Bakish, CEO of parent Viacom, said in a statement that turnaround efforts "have firmly taken hold as the studio improved margins and returned to profitability. This month's outstanding box-office performance of A Quiet Place, the first film produced and released under the new team at Paramount, is a clear sign of our progress."
2019–present: ViacomCBS/Paramount Global era
On September 29, 2016, National Amusements sent a letter to both CBS Corporation and Viacom, encouraging the two companies to merge back into one company.[124] On December 12, the deal was called off.[125] On May 30, 2019, CNBC reported that CBS and Viacom would explore merger discussions in mid-June 2019.[126] Reports say that CBS and Viacom reportedly set August 8 as an informal deadline for reaching an agreement to recombine the two media companies.[127][128] CBS announced to acquire Viacom as part of the re-merger for up to $15.4 billion.[129] On August 2, 2019, the two companies agreed to remerge back into one entity,[130] which was named ViacomCBS; the deal was closed on December 4, 2019.[131]
In December 2019, ViacomCBS agreed to purchase a 49% stake in Miramax that was owned by beIN Media Group, with Paramount gaining the distribution of the studio's 700-film library, as well as its future releases. Also, Paramount will produce television series based on Miramax's IPs.[132] The deal officially closed on April 3, 2020.[133] ViacomCBS later announced that it would rebrand the CBS All Access streaming service as Paramount+ to allow for international expansion using the widely recognized Paramount name and drawing from the studio's library, as well as that of CBS, MTV, Nickelodeon, and more.[134]
Gianopulos was fired in September 2021 and replaced by Nickelodeon president Brian Robbins.[135]
In January 2022, Paramount Pictures acquired the rights to Tomi Adeyemi's young adult fantasy novel Children of Blood and Bone from Lucasfilm and 20th Century Studios. As part of the acquisition, the film will have a guaranteed exclusive theatrical release while Adeyemi will write the screenplay and serve as executive producer. The film adaptation will also be produced by Temple Hill Entertainment and Sunswept Entertainment.[136][137]
On February 16, 2022, ViacomCBS changed its name to Paramount Global, after the studio.[138]
On March 8, 2022, Paramount Players' operations were folded into Paramount Pictures Motion Picture Group.[139] However, it will continue to operate as a label as it has several upcoming films on its slate.
On November 15, 2022, Paramount entered a multi-year exclusive deal with former president of DC Films Walter Hamada. Hamada will oversee the development of horror films beginning in 2023.[140]
Investments
DreamWorks Pictures
In 2006, Paramount became the parent of DreamWorks Pictures. Soros Strategic Partners and Dune Entertainment II soon afterwards acquired controlling interest in live-action films released through DreamWorks, with the release of Just Like Heaven on September 16, 2005. The remaining live-action films released until March 2006 remained under direct Paramount control. However, Paramount still owns distribution and other ancillary rights to Soros and Dune films.
On February 8, 2010, Viacom repurchased Soros' controlling stake in DreamWorks' library of films released before 2005 for around $400 million.[141] Even as DreamWorks switched distribution of live-action films not part of existing franchises to Walt Disney Studios Motion Pictures and later Universal Pictures, Paramount continues to own the films released before the merger, and the films that Paramount themselves distributed, including sequel rights such as that of Little Fockers (2010), distributed by Paramount and DreamWorks. It was a sequel to two existing DreamWorks films, Meet the Parents (2000) and Meet the Fockers (2004). (Paramount only owned the international distribution rights to Little Fockers, whereas Universal Pictures handled domestic distribution).[142]
Paramount also owned distribution rights to the DreamWorks Animation library of films made before 2013, and their previous distribution deal with future DWA titles expired at the end of 2012, with Rise of the Guardians. 20th Century Fox took over distribution for post-2012 titles beginning with The Croods (2013) and ending with Captain Underpants: The First Epic Movie (2017).[143] Universal Pictures subsequently took over distribution for DreamWorks Animation's films beginning with How to Train Your Dragon: The Hidden World (2019) due to NBCUniversal's acquisition of the company in 2016. Paramount's rights to the 1998–2012 DWA library would have expired 16 years after each film's initial theatrical release date,[144] but in July 2014, DreamWorks Animation purchased Paramount's distribution rights to the pre-2013 library, with 20th Century Fox distributing the library until January 2018, which Universal then assumed ownership of distribution rights.[145]
Another asset of the former DreamWorks owned by Paramount is the pre-2008 DreamWorks Television library, which is currently distributed by Paramount's sister company CBS Media Ventures; it includes Spin City, High Incident, Freaks and Geeks, Undeclared and On the Lot.
CBS library
Independent company Hollywood Classics represents Paramount with the theatrical distribution of all the films produced by the various motion picture divisions of CBS over the years, as a result of the 2000 Viacom/CBS merger.
Paramount has outright video distribution to the aforementioned CBS library with some exceptions; less-demanded content is usually released manufactured-on-demand by CBS themselves or licensed to Visual Entertainment Inc. As of the 2019 Viacom/CBS merger, this library now includes the theatrical distribution of Terrytoons short films on behalf of Paramount Animation, while CBS Media Ventures owns the television distribution. Until 2009, the video rights to My Fair Lady were with original theatrical distributor Warner Bros., under license from CBS (the video license to that film has now reverted to Paramount).
Units
Divisions
Paramount Pictures
Paramount Home Entertainment
Paramount Licensing, Inc.
Paramount Pictures International
Paramount Players
Nickelodeon Movies
BET Films
Paramount Studio Group – physical studio and post production
The Studios at Paramount – production facilities & lot
Paramount on Location – production support facilities throughout North America including New York City, Vancouver, and Atlanta
Worldwide Technical Operations – archives, restoration and preservation programs, the mastering and distribution fulfillment services, on-lot post production facilities management
Paramount Parks & Resorts, licensing and design for parks and resorts[146]
Paramount Animation[109]
Paramount Music
Joint ventures
United International Pictures (co-owned with Comcast's Universal Pictures)
Rede Telecine (co-owned with Amazon's Metro-Goldwyn Mayer, The Walt Disney Company's The Walt Disney Company Latin America, Grupo Globo's Canais Globo and Comcast's Universal Pictures)
Former divisions, subsidiaries, and joint ventures
Paramount Digital Entertainment (Dormant)
Paramount Television (original) (now CBS Studios)
Big Ticket Entertainment (semi-in-name-only since 2006; currently produces Judge Judy and Hot Bench)
Spelling Television (in-name-only since 2006)
Viacom Productions (folded into PNT in 2004)
Wilshire Court Productions (shut down in 2003)
Paramount Domestic Television (now CBS Media Ventures)
Folded Viacom Enterprises in 1995 and Rysher Entertainment and Worldvision Enterprises in 1999
RTV News, Inc., producer of Real TV and Maximum Exposure
United Paramount Network (UPN) – formerly a joint venture with United Television, now part of Nexstar/Paramount Global/Warner Bros. Discovery joint venture The CW Television Network
Paramount Stations Group (now CBS Television Stations)
USA Networks (also including the Sci-Fi Channel) – Paramount owned a stake starting in 1982, 50% owner (with Universal Pictures) from 1987 until 1997, when Paramount/Viacom sold their stake to Universal (now part of NBCUniversal)
Paramount International Television (merged with CBS Broadcast International in 2004 to form CBS Studios International)
Fleischer Studios – purchased in 1942 and organized as Famous Studios (which shut down in 1967); library folded into Paramount Animation.
Terrytoons – purchased by CBS Films (later Viacom International) in 1956; theatrical library moved to Paramount Animation following re-merger of ViacomCBS in 2019.
Paramount Famous Productions – direct-to-video division
Paramount Parks (Purchased by Cedar Fair Entertainment Company in 2006)
Paramount Classics/Paramount Vantage[147] – Paramount Classics merged into Paramount Vantage; the latter then went dormant in December 2013
DW Studios, LLC (also DW Pictures) – defunct, holding film library and rights, principal officers left to recreate DreamWorks as an independent company
DW Funding LLC – DreamWorks live-action library (pre-09/16/2005; DW Funding, LLC) sold to Soros Strategic Partners and Dune Entertainment II and purchased back in 2010[148]
Go Fish Pictures – Arthouse/Independent film unit for used distributing DreamWorks Pictures foreign films; defunct in 2007 after parent company's sale
Paramount Theatres Limited – Founded 1930 in the United Kingdom with the opening of a cinema in Manchester. Several Paramount Theatres had opened or had been acquired in the United Kingdom during the 1930s before being sold to The Rank Organisation becoming part of the Odeon Cinemas chain in 1939.
Epix – 49.76% owner (with Metro–Goldwyn–Mayer and Lionsgate) from 2009 until 2017, when Paramount/Viacom and Lionsgate sold their stakes to MGM
Insurge Pictures – micro-budget film division (March 2010 – 2015);[106] absorbed into Paramount itself
Republic Pictures
"Continental Café" – the commissary run by Pauline Kessinger until the cafe was replaced by the Zukor Building in 1983.[149]
Other interests
In March 2012, Paramount licensed their name and logo to a luxury hotel investment group which subsequently named the company Paramount Hotels and Resorts. The investors plan to build 50 hotels throughout the world based on the themes of Hollywood and the California lifestyle. Among the features are private screening rooms and the Paramount library available in the hotel rooms. In April 2013, Paramount Hotels and Dubai-based DAMAC Properties announced the building of the first resort: "DAMAC Towers by Paramount."[150][151]
Logo
The distinctively pyramidal Paramount mountain has been the mainstay of the company's production logo since its inception and is the oldest surviving Hollywood film logo. In the sound era, the logo was accompanied by a fanfare called Paramount on Parade after the film of the same name, released in 1930. The words to the fanfare, originally sung in the 1930 film, were "Proud of the crowd that will never be loud, it's Paramount on Parade."
Legend has it that the mountain is based on a doodle made by W. W. Hodkinson during a meeting with Adolph Zukor. It is said to be based on the memories of his childhood in Utah. Some claim that Utah's Ben Lomond is the mountain Hodkinson doodled, and that Peru's Artesonraju[152] is the mountain in the live-action logo, while others claim that the Italian side of Monviso inspired the logo. Some editions of the logo bear a striking resemblance to the Pfeifferhorn,[153] another Wasatch Range peak, and to the Matterhorn on the border between Switzerland and Italy. Mount Huntington in Alaska also bears a striking resemblance.
The motion picture logo has gone through many changes over the years:
The logo began as a somewhat indistinct charcoal rendering of the mountain ringed with superimposed stars. The logo originally had twenty-four stars, as a tribute to the then current system of contracts for actors, since Paramount had twenty-four stars signed at the time.
In 1951, the logo was redesigned as a matte painting created by Jan Domela.
A newer, more realistic-looking logo debuted in 1953 for Paramount films made in 3D. It was reworked in early-to-mid 1954 for Paramount films made in widescreen process VistaVision. The text VistaVision – Motion Picture High Fidelity was often imposed over the Paramount logo briefly before dissolving into the title sequence. In early 1968, the text "A Paramount Picture/Release" was shortened to "Paramount", the byline A Gulf+Western Company appeared on the bottom, and the number of stars being reduced to 22. In 1974, another redesign was made, with the Paramount text and Gulf+Western byline appearing in different fonts.
In September 1975, the logo was simplified in a shade of blue, adopting the modified design of the 1968 print logo, which was in use for many decades afterward. A version of the print logo had been in use by Paramount Television since 1968.
A black and white logo with "A Paramount Picture" appeared in the 1980 live action film Popeye, resembling the one used on Paramount's classic Popeye cartoon shorts.
The studio launched an entirely new logo in December 1986 with computer-generated imagery of a lake and stars. This version of the Paramount logo was designed by Dario Campanile and animated by Flip Your Lid Animation (Studio Productions), Omnibus/Abel for the CGI stars and Apogee, Inc for the mountain; for this logo, the stars would move across the screen into the arc shape instead of it being superimposed over the mountain as it was before. A redone version of this logo by Pittard Sullivan made its debuted with South Park: Bigger, Longer & Uncut, released on June 30, 1999.
In March 2002, an updated logo by BUF Compagnie was introduced in which shooting stars would fall from a night sky to form the arc while the Paramount logo would fly into place between them. An enhanced version of this logo made by PIC Collective debuted with Iron Man 2, released on May 7, 2010. The south col area of Mount Everest became the primary basis. The music is accompanied by Paramount on Parade, which was only used on Mean Girls. This logo continued to be featured on DVD and Blu-ray releases with the first incarnation of Viacom byline until March 5, 2019, ending with Instant Family.[citation needed]
On December 16, 2011, an updated logo[154][155][156] was introduced with animation done by Devastudios, using Terragen and Autodesk Maya.[157] The new logo includes a surrounding mountain range and the sun shining in the background. Michael Giacchino composed the logo's new fanfare. His work on the fanfare was carried onto the Paramount Players and Paramount Animation logos, as well as the Paramount Television Studios logo, which is also used for the Paramount Network Original Productions logo with 68 Whiskey.
The word "Pictures" was restored to the bottom of the Paramount logo in 2022 after ViacomCBS took on the Paramount name and branding for its entire operation; this revised logo used for printed materials and merchandising, while still appearing as simply "Paramount" on-screen, no longer uses the byline.
Studio tours
Paramount Studios offers tours of their studios.[158] The 2-hour Studio Tour offers, as the name implies, a regular tour of the studio.[158] The stages where Samson and Delilah, Sunset Blvd., White Christmas, Rear Window, Sabrina, Breakfast at Tiffany's, and many other classic films were shot are still in use today. The studio's backlot features numerous blocks of façades that depict a number of New York City locales, such as "Washington Square", "Brooklyn", and "Financial District". The After Dark Tour involves a tour of the Hollywood Forever Cemetery.[158]
Film library
A few years after the ruling of the United States v. Paramount Pictures, Inc. case in 1948, Music Corporation of America (MCA) approached Paramount offering $50 million for 750 sound feature films released prior to December 1, 1949, with payment to be spread over a period of several years. Paramount saw this as a bargain since the fleeting movie studio saw very little value in its library of old films at the time. To address any antitrust concerns, MCA set up EMKA, Ltd. as a dummy corporation to sell these films to television. EMKA's/Universal Television's library includes the five Paramount Marx Brothers films, most of the Bob Hope–Bing Crosby Road to... pictures, and other classics such as Trouble in Paradise, Shanghai Express, She Done Him Wrong, Sullivan's Travels, The Palm Beach Story, For Whom the Bell Tolls, Double Indemnity, The Lost Weekend, and The Heiress.
The studio has produced many critically acclaimed films such as Titanic, Footloose, Breakfast at Tiffany's, Braveheart, Ghost, The Truman Show, Mean Girls, Psycho, Rocketman, Ferris Bueller's Day Off, The Curious Case of Benjamin Button, Days of Thunder, Rosemary's Baby, Sunset Boulevard, Forrest Gump, Coming to America, World War Z, Babel, The Conversation, The Fighter, Interstellar, Terms of Endearment, The Wolf of Wall Street and A Quiet Place; as well as the Godfather, Star Trek, and Mission: Impossible film series.
Film series
Title Release date No. Films Notes Sophie Lang 1934–37 3 Hopalong Cassidy 1935–41 41 Bulldog Drummond 1937–39 3 The Aldrich Family 1939–44 11 Road to ... 1940–52 6 The War of the Worlds 1953–2005 2 Love Story 1970–78 The Godfather 1972–90 3 Charlotte's Web 1973–2003; 2006 Bad News Bears 1976–2005 4 Peanuts 1977–80 2 Grease 1978–82 2 Star Trek 1979–present 13 Friday the 13th 1980–89; 2009 12 Co-production with Warner Bros. Pictures (1980–2009) and New Line Cinema (2009) Indiana Jones 1981–2023 5 Distribution only; Co-production with Lucasfilm. Studio credit only (2023) Beverly Hills Cop 1984–94 3 Footloose 1984–2011 2 Crocodile Dundee 1986–2001 3 Co-production with Hoyts Distribution (1986–88), 20th Century Fox (1986) and Universal Pictures (2001) Top Gun 1986–present 2 The Naked Gun 1988–present 4 Coming to America 1988–2021 2 Jack Ryan 1990–2014 5 The Addams Family 1991–93 2 co-production with Scott Rudin Productions, Columbia Pictures and Orion Pictures (both 1991) Mission: Impossible 1996–present 7 Rugrats 1998–2003 3 Co-production with Nickelodeon Movies and Klasky Csupo Lara Croft: Tomb Raider 2001–03 2 Jackass 2002–present 6 SpongeBob SquarePants 2004–present 3 Co-production with Nickelodeon Movies and United Plankton Pictures Inc. Mean Girls 2004–24 Shrek 2007–11 Distribution only; Co-production with DreamWorks Animation Transformers 2007–present 7 Co-production with DreamWorks Pictures (2007–09) and Hasbro Paranormal Activity Cloverfield 2008–present 3 Kung Fu Panda 2008–11 2 Distribution only; Co-production with DreamWorks Animation Madagascar 2008–12 Marvel Cinematic Universe 2008–13 6 Distribution only; Co-production with Marvel Entertainment and Marvel Studios (2008–11), Studio credit only (2012–13) Watchmen 2009–present 1 International distributor; co-production with Warner Bros. Pictures and DC Studios G.I. Joe 3 Teenage Mutant Ninja Turtles 2014–present Co-production with Nickelodeon Movies Terminator 2015–19 2 Co-production with Skydance (2015–19), 20th Century Fox and Tencent Pictures (both 2019) A Quiet Place 2018–present 3 Co-production with Platinum Dunes Dora the Explorer 2019–present 2 Co-production with Nickelodeon Movies, Walden Media and Media Rights Group Sonic the Hedgehog 2020–present Co-production with Sega Sammy Group PAW Patrol 2021–present Co-production with Nickelodeon Movies and Spin Master Entertainment Scream 2022–present
Highest-grossing films
‡ — Includes theatrical reissue(s)
Latino and Hispanic representation
On July 31, 2018, Paramount was targeted by the National Hispanic Media Coalition and the National Latino Media Council, which have both claimed that the studio has the worst track record of hiring Latino and Hispanic talent both in front of and behind the camera (the last Paramount film directed by a Spanish director was Rings in 2017). In response, Paramount released the statement: "We recently met with NHMC in a good faith effort to see how we could partner as we further drive Paramount's culture of diversity, inclusion, and belonging. Under our new leadership team, we continue to make progress — including ensuring representation in front of and behind the camera in upcoming films such as Dora the Explorer, Instant Family, Bumblebee, and Limited Partners – and welcome the opportunity to build and strengthen relationships with the Latino creative community further."[161][162][163]
The NHMC protested at the Paramount Pictures lot on August 25. More than 60 protesters attended, while chanting "Latinos excluded, time to be included!". NHMC president and CEO Alex Nogales vowed to continue the boycott until the studio signed a memorandum of understanding.[164]
On October 17, the NHMC protested at the Paramount film lot for the second time in two months, with 75 protesters attending. The leaders delivered a petition signed by 12,307 people and addressed it to Jim Gianopulos.[165]
See also
CBS Studios
Paramount Television Studios
List of Paramount executives
List of Paramount Global television programs
Notes
References
Further reading
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Paramount Pictures Corporation, doing business as Paramount Pictures (also known simply as Paramount) is an American film and television production and distribution company and the namesake subsidiary of Paramount Global. It is the sixth-oldest film studio in the world, the second-oldest film studio in the United States (behind Universal Pictures), and the sole member of the "Big Five" film studios located within the city limits of Los Angeles.
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American film studio, subsidiary of Paramount Global
For the parent company, a mass media and entertainment conglomerate, see Paramount Global.
Paramount Pictures Corporation, doing business as Paramount Pictures (also known simply as Paramount) is an American film and television production and distribution company and the namesake subsidiary of Paramount Global. It is the sixth-oldest film studio in the world, the second-oldest film studio in the United States (behind Universal Pictures), and the sole member of the "Big Five" film studios located within the city limits of Los Angeles.
In 1916, film producer Adolph Zukor put 24 actors and actresses under contract and honored each with a star on the logo. In 1967, the number of stars was reduced to 22 and their hidden meaning was dropped. In 2014, Paramount Pictures became the first major Hollywood studio to distribute all of its films in digital form only. The company's headquarters and studios are located at 5555 Melrose Avenue, Hollywood, California.
Paramount Pictures is a member of the Motion Picture Association (MPA).
History
Famous Players Film Company
Main article: Famous Players Film Company
The evolution of Paramount1912Paramount Pictures is founded1927CBS is founded1929Paramount buys 49% of CBS1932Paramount sells back shares of CBS1950Desilu is founded & CBS distributes its television programs1952CBS creates the CBS Television Film Sales division1958CBS Television Film Sales renamed as CBS Films1966Gulf+Western buys Paramount1968Gulf+Western acquires Desilu and renames it Paramount Television & CBS Films becomes CBS Enterprises1970CBS Enterprises renamed as Viacom1971Viacom is spun off from CBS as a separate company1985Viacom buys full ownership of Showtime & MTV Networks1986National Amusements buys Viacom1989Gulf+Western renamed as Paramount Communications1994Viacom acquires Paramount Communications1995Westinghouse buys CBS1997Westinghouse renamed as CBS Corporation1999Viacom buys CBS Corporation2001Viacom buys BET Networks2006Viacom splits into second CBS Corporation and Viacom2019CBS Corporation and Viacom re-merge to form ViacomCBS2022ViacomCBS changes its name to Paramount Global
Paramount is the sixth oldest surviving film studio in the world; after Gaumont Film Company (1895), Pathé (1896), Titanus (1904), Nordisk Film (1906), and Universal Studios (1912). It is the last major film studio still headquartered in the Hollywood district of Los Angeles.
Paramount Pictures dates its existence from the 1912 founding date of the Famous Players Film Company. Hungarian-born founder Adolph Zukor, who had been an early investor in nickelodeons, saw that movies appealed mainly to working-class immigrants. With partners Daniel Frohman and Charles Frohman he planned to offer feature-length films that would appeal to the middle class by featuring the leading theatrical players of the time (leading to the slogan "Famous Players in Famous Plays"). By mid-1913, Famous Players had completed five films, and Zukor was on his way to success. Its first film was Les Amours de la reine Élisabeth, which starred Sarah Bernhardt.
That same year, another aspiring producer, Jesse L. Lasky, opened his Lasky Feature Play Company with money borrowed from his brother-in-law, Samuel Goldfish, later known as Samuel Goldwyn. The Lasky company hired as their first employee a stage director with virtually no film experience, Cecil B. DeMille, who would find a suitable site in Hollywood. This place was a rented old horse barn converted into a production facility with an enlarged open-air stage located between Vine Street, Selma Avenue, Argyle Avenue and Sunset Boulevard. It was later known as the Lasky-DeMille Barn. In 1914, their first feature film, The Squaw Man was released.
On May 8, 1914, Paramount Pictures Corporation (previously known as Progressive Pictures) was founded by a Utah theatre owner, W. W. Hodkinson, who had bought and merged five smaller firms. On May 15, 1914, Hodkinson signed a five-year contract with the Famous Players Film Company, the Lasky Company and Bosworth, Inc. to distribute their films. Actor, director and producer Hobart Bosworth had started production of a series of Jack London movies. Paramount was the first successful nationwide distributor; until this time, films were sold on a statewide or regional basis which had proved costly to film producers. Also, Famous Players and Lasky were privately owned while Paramount was a corporation.
Famous Players–Lasky
Main article: Famous Players–Lasky
In 1916, Zukor engineered a three-way merger of his Famous Players, the Lasky Company, and Paramount. Zukor and Lasky bought Hodkinson out of Paramount, and merged the three companies into one. The new company Lasky and Zukor founded on June 28, Famous Players–Lasky Corporation, although it continued to use the name "Paramount," as well. As a result, it became the largest film company at the time with a value of US$12.5 million (equivalent to $205.9 million in 2020). The corporation was able to grow quickly, with Lasky and his partners Goldwyn and DeMille running the production side, Hiram Abrams in charge of distribution, and Zukor making great plans. With only the exhibitor-owned First National as a rival, Famous Players–Lasky and its "Paramount Pictures" soon dominated the business. The fusion was finalized on November 7, 1916.
Because Zukor believed in stars, he signed and developed many of the leading early stars, including Mary Pickford, Marguerite Clark, Pauline Frederick, Douglas Fairbanks, Gloria Swanson, Rudolph Valentino, and Wallace Reid. With so many important players, Paramount was able to introduce "block booking", which meant that an exhibitor who wanted a particular star's films had to buy a year's worth of other Paramount productions. It was this system that gave Paramount a leading position in the 1920s and 1930s, but which led the government to pursue it on antitrust grounds for more than twenty years.
By the mid-1920s, the old Lasky-DeMille barn property was not big enough to handle all of the studios' West Coast productions. On January 5, 1926, Lasky reached an agreement to buy the Robert Brunton Studios, a 26-acre facility owned by United Pictures and located at 5451 Marathon Street, for $1.0 million (equivalent to $11.8 million in 2020). On March 29, the company began an eight-month building program to renovate the existing facilities and erect new ones.On May 8, Lasky finally moved operations from the Sunset and Vine lot to the new building. At present, those facilities are still part of the Paramount Pictures headquarters. Zukor hired independent producer B. P. Schulberg, an unerring eye for new talent, to run the new West Coast operations.
On April 1, 1927, the company name was changed to Paramount Famous Lasky Corporation. In September 1927, the Paramount Famous Lasky Corporation studio in Astoria (New York City) was temporarily closed with the objective of equipping it with the technology for the production of sound films. In the same year, Paramount began releasing Inkwell Imps, animated cartoons produced by Max and Dave Fleischer's Fleischer Studios in New York City. The Fleischers, veterans in the animation industry, were among the few animation producers capable of challenging the prominence of Walt Disney. The Paramount newsreel series Paramount News ran from 1927 to 1957. Paramount was also one of the first Hollywood studios to release what were known at that time as "talkies", and in 1929, released their first musical, Innocents of Paris. Richard A. Whiting and Leo Robin composed the score for the film; Maurice Chevalier starred and sang the most famous song from the film, "Louise".
Publix, Balaban and Katz, Loew's competition and wonder theaters
The driving force behind Paramount's rise was Zukor. He built a chain of nearly 2,000 screens, ran two production studios (in Astoria, New York, now the Kaufman Astoria Studios, and Hollywood, California), and became an early investor in radio, acquiring for the corporation a 50% interest in the new Columbia Broadcasting System in 1928 (selling it within a few years; this would not be the last time Paramount and CBS crossed paths).
By acquiring the successful Balaban & Katz chain in 1926, Zukor gained the services of Barney Balaban (who would eventually become Paramount's president in 1936), his brother A. J. Balaban (who would eventually supervise all stage production nationwide and produce talkie shorts), and their partner Sam Katz (who would run the Paramount-Publix theatre chain in New York City from the thirty-five-story Paramount Theatre Building on Times Square).
Balaban and Katz had developed the Wonder Theater concept, first publicized around 1918 in Chicago. The Chicago Theater was created as a very ornate theater and advertised as a "wonder theater". When Publix acquired Balaban, they embarked on a project to expand the wonder theaters, and starting building in New York City in 1927. While Balaban and Public were dominant in Chicago, Loew's was the big player in New York City, and did not want the Publix theaters to overshadow theirs. The two companies brokered a non-competition deal for New York City and Chicago, and Loew's took over the New York City area projects, developing five wonder theaters. Publix continued Balaban's wonder theater development in its home area.
On April 24, 1930, Paramount-Famous Lasky Corporation became the Paramount Publix Corporation.
1920s and 1931–40: Receivership and reorganization
Eventually, Zukor shed most of his early partners; the Frohman brothers, Hodkinson and Goldwyn were out by 1917 while Lasky hung on until 1932, when, blamed for the near-collapse of Paramount in the Great Depression years, he was also tossed out. In 1931, to solve the financial problems of the company Zukor hired taxi/rental car magnate John D. Hertz as chairman of the finance committee in order to assist vice-president and treasurer Ralph A. Kohn. However, on January 6, 1933, Hertz resigned from his position when it become evident that his measures to lift the company had failed. The over-expansion and use of overvalued Paramount stock for purchases created a $21 million debt which led the company into receivership on January 26, 1933, and later filing bankruptcy on March 14, 1933. On April 17, 1933, bankruptcy trustees were appointed and Zukor lost control of the company. The company remained under the control of trustees for more than a year in order to restructure the debt and pursue a reorganization plan. On December 3, 1934, the reorganization plan was formally proposed. After prolonged hearings in court, final confirmation was obtained on April 25, 1935, when Federal Judge Alfred C. Coxe Jr. approved the reorganization of the Paramount-Publix Corporation under Section 77-B of the Bankruptcy Act.
On June 4, 1935, John E. Otterson became president of the re-emerged and newly renamed Paramount Pictures Inc. Zukor returned to the company and was named production chief but after Barney Balaban was appointed president on July 2, 1936, he was soon replaced by Y. Frank Freeman and symbolically named chairman of the board. On August 28, 1935, Paramount Pictures was re-listed on the New York Stock Exchange and when the company was under Balaban's leadership, the studio was successfully relaunched.
As always, Paramount films continued to emphasize stars; in the 1920s there were Gloria Swanson, Wallace Reid, Rudolph Valentino, Florence Vidor, Thomas Meighan, Pola Negri, Bebe Daniels, Antonio Moreno, Richard Dix, Esther Ralston, Emil Jannings, George Bancroft, Betty Compson, Clara Bow, Adolphe Menjou, and Charles Buddy Rogers. By the late 1920s and the early 1930s, talkies brought in a range of powerful draws: Richard Arlen, Nancy Carroll, Maurice Chevalier, Gary Cooper, Marlene Dietrich, Charles Ruggles, Ruth Chatterton, William Powell, Mae West, Sylvia Sidney, Bing Crosby, Claudette Colbert, the Marx Brothers, W.C. Fields, Fredric March, Jack Oakie, Jeanette MacDonald (whose first two films were shot at Paramount's Astoria, New York, studio), Carole Lombard, George Raft, Miriam Hopkins, Cary Grant and Stuart Erwin, among them. In this period Paramount can truly be described as a movie factory, turning out sixty to seventy pictures a year. Such were the benefits of having a huge theater chain to fill, and of block booking to persuade other chains to go along. In 1933, Mae West would also add greatly to Paramount's success with her suggestive movies She Done Him Wrong and I'm No Angel. However, the sex appeal West gave in these movies would also lead to the enforcement of the Production Code, as the newly formed organization the Catholic Legion of Decency threatened a boycott if it was not enforced.
Paramount cartoons produced by Fleischer Studios continued to be successful, with characters such as Betty Boop and Popeye the Sailor becoming widely successful. One Fleischer series, Screen Songs, featured live-action music stars under contract to Paramount hosting sing-alongs of popular songs. The animation studio would rebound with Popeye, and in 1935, polls showed that Popeye was even more popular than Mickey Mouse. After an unsuccessful expansion into feature films, as well as the fact that Max and Dave Fleischer were no longer speaking to one another, Fleischer Studios was acquired by Paramount, which renamed the operation Famous Studios. That incarnation of the animation studio continued cartoon production until 1967, but has been historically dismissed as having largely failed to maintain the artistic acclaim the Fleischer brothers achieved under their management.
1941–50: United States v. Paramount Pictures, Inc.
In 1940, Paramount agreed to a government-instituted consent decree: block booking and "pre-selling" (the practice of collecting up-front money for films not yet in production) would end. Immediately, Paramount cut back on production, from 71 films to a more modest 19 annually in the war years. Still, with more new stars like Bob Hope, Alan Ladd, Veronica Lake, Paulette Goddard, and Betty Hutton, and with war-time attendance at astronomical numbers, Paramount and the other integrated studio-theatre combines made more money than ever. At this, the Federal Trade Commission and the Justice Department decided to reopen their case against the five integrated studios. Paramount also had a monopoly over Detroit movie theaters through subsidiary company United Detroit Theaters. This led to the Supreme Court decision United States v. Paramount Pictures, Inc. (1948) holding that movie studios could not also own movie theater chains. This decision broke up Adolph Zukor's creation, with the theater chain being split into a new company, United Paramount Theaters, and effectively brought an end to the classic Hollywood studio system.
1951–66: Split and after
With the separation of production and exhibition forced by the U.S. Supreme Court, Paramount Pictures Inc. was split in two. Paramount Pictures Corporation was formed to be the production distribution company, with the 1,500-screen theater chain handed to the new United Paramount Theaters on December 31, 1949. Leonard Goldenson, who had headed the chain since 1938, remained as the new company's president. The Balaban and Katz theatre division was spun off with UPT; its trademark eventually became the property of the Balaban and Katz Historical Foundation. The foundation later acquired ownership of the Famous Players trademark. Cash-rich and controlling prime downtown real estate, Goldenson began looking for investments. Barred from film-making by prior antitrust rulings, he acquired the struggling ABC television network in February 1953, leading it first to financial health, and eventually, in the mid-1970s, to first place in the national Nielsen ratings, before selling out to Capital Cities in 1985 (Capital Cities would eventually sell out, in turn, to The Walt Disney Company in 1996). United Paramount Theaters was renamed ABC Theaters in 1965 and was sold to businessman Henry Plitt in 1977. The movie theater chain was renamed Plitt Theaters. In 1985, Cineplex Odeon Corporation merged with Plitt. In later years, Paramount's TV division would develop a strong relationship with ABC, providing many hit series to the network.
Paramount Pictures had been an early backer of television, launching experimental stations in 1939 in Los Angeles and Chicago. The Los Angeles station eventually became KTLA, the first commercial station on the West Coast. The Chicago station got a commercial license as WBKB in 1943, but was sold to UPT along with Balaban & Katz in 1948 and was eventually resold to CBS as WBBM-TV.
In 1938, Paramount bought a stake in television manufacturer DuMont Laboratories. Through this stake, it became a minority owner of the DuMont Television Network. Paramount also launched its own network, Paramount Television Network, in 1948 through its television unit, Television Productions, Inc.
Paramount management planned to acquire additional owned-and-operated stations ("O&Os"); the company applied to the FCC for additional stations in San Francisco, Detroit, and Boston. The FCC, however, denied Paramount's applications. A few years earlier, the federal regulator had placed a five-station cap on all television networks: no network was allowed to own more than five VHF television stations. Paramount was hampered by its minority stake in the DuMont Television Network. Although both DuMont and Paramount executives stated that the companies were separate, the FCC ruled that Paramount's partial ownership of DuMont meant that DuMont and Paramount were in theory branches of the same company. Since DuMont owned three television stations and Paramount owned two, the federal agency ruled neither network could acquire additional television stations. The FCC requested that Paramount relinquish its stake in DuMont, but Paramount refused. According to television historian William Boddy, "Paramount's checkered antitrust history" helped convince the FCC that Paramount controlled DuMont. Both DuMont and Paramount Television Network suffered as a result, with neither company able to acquire five O&Os. Meanwhile, CBS, ABC, and NBC had each acquired the maximum of five stations by the mid-1950s.
When ABC accepted a merger offer from UPT in 1953, DuMont quickly realized that ABC now had more resources than it could possibly hope to match. It quickly reached an agreement in principle to merge with ABC. However, Paramount vetoed the offer due to antitrust concerns. For all intents and purposes, this was the end of DuMont, though it lingered on until 1956.
In 1951, Paramount bought a stake in International Telemeter, an experimental pay TV service which operated with a coin inserted into a box. The service began operating in Palm Springs, California on November 27, 1953, but due to pressure from the FCC, the service ended on May 15, 1954.
With the loss of the theater chain, Paramount Pictures went into a decline, cutting studio-backed production, releasing its contract players, and making production deals with independents. By the mid-1950s, all the great names were gone; only Cecil B. DeMille, associated with Paramount since 1913, kept making pictures in the grand old style. Despite Paramount's losses, DeMille would, however, give the studio some relief and create his most successful film at Paramount, a 1956 remake of his 1923 film The Ten Commandments. DeMille died in 1959. Like some other studios, Paramount saw little value in its film library and sold 764 of its pre-1950 films to MCA Inc./EMKA, Ltd. (known today as Universal Television) in February 1958.
1966–70: Early Gulf+Western era
By the early 1960s, Paramount's future was doubtful. The high-risk movie business was wobbly; the theater chain was long gone; investments in DuMont and in early pay-television came to nothing; and the Golden Age of Hollywood had just ended, even the flagship Paramount Building in Times Square was sold to raise cash, as was KTLA (sold to Gene Autry in 1964 for a then-phenomenal $12.5 million). Their only remaining successful property at that point was Dot Records, which Paramount had acquired in 1957, and even its profits started declining by the middle of the 1960s. Founding father Adolph Zukor (born in 1873) was still chairman emeritus; he referred to chairman Barney Balaban (born 1888) as "the boy". Such aged leadership was incapable of keeping up with the changing times, and in 1966, a sinking Paramount was sold to Charles Bluhdorn's industrial conglomerate, Gulf and Western Industries. Bluhdorn immediately put his stamp on the studio, installing a virtually unknown producer named Robert Evans as head of production. Despite some rough times, Evans held the job for eight years, restoring Paramount's reputation for commercial success with The Odd Couple, Rosemary's Baby, Love Story, The Godfather, Chinatown, and 3 Days of the Condor.
Gulf and Western also bought the neighboring Desilu Productions television studio (once the lot of RKO Pictures) from Lucille Ball in 1967. Using some of Desilu's established shows such as Star Trek, Mission: Impossible, and Mannix as a foot in the door at the networks, the newly reincorporated Paramount Television eventually became known as a specialist in half-hour situation comedies.
In 1968, Paramount formed Films Distributing Corp to distribute sensitive film product, including Sin With a Stranger, which was one of the first films to receive an X rating in the United States when the MPAA introduced their new rating system.
1971–80: CIC formation and high-concept era
In 1970, Paramount teamed with Universal Studios to form Cinema International Corporation, a new company that would distribute films by the two studios outside the United States. Metro-Goldwyn-Mayer would become a partner in the mid-1970s. Both Paramount and CIC entered the video market with Paramount Home Video (now Paramount Home Entertainment) and CIC Video, respectively.
Robert Evans abandoned his position as head of production in 1974; his successor, Richard Sylbert, proved to be too literary and too tasteful for Gulf and Western's Bluhdorn. By 1976, a new, television-trained team was in place headed by Barry Diller and his "Killer-Dillers", as they were called by admirers or "Dillettes" as they were called by detractors. These associates, made up of Michael Eisner, Jeffrey Katzenberg, Dawn Steel and Don Simpson would each go on and head up major movie studios of their own later in their careers.
The Paramount specialty was now simpler. "high concept" pictures such as Saturday Night Fever and Grease hit big, hit hard and hit fast all over the world, while its fortuitous earlier acquisition of the Star Trek property, which had grown into a cult favorite, enabled Paramount to have a long running science fiction film and television franchise to compete with the outstanding popular success of Star Wars. Diller's television background led him to propose one of his longest-standing ideas to the board: Paramount Television Service, a fourth commercial network. Paramount Pictures purchased the Hughes Television Network (HTN) including its satellite time in planning for PTVS in 1976. Paramount sold HTN to Madison Square Garden Corporation in 1979. But Diller believed strongly in the concept, and so took his fourth-network idea with him when he moved to 20th Century Studios in 1984, where Fox's then freshly installed proprietor, Rupert Murdoch was a more interested listener.
However, the television division would be playing catch-up for over a decade after Diller's departure in 1984 before launching its own television network – UPN – in 1995. Lasting eleven years before being merged with The WB network to become The CW in 2006, UPN would feature many of the shows it originally produced for other networks, and would take numerous gambles on series such as Star Trek: Voyager and Star Trek: Enterprise that would have otherwise either gone direct-to-cable or become first-run syndication to independent stations across the country (as Star Trek: Deep Space Nine and Star Trek: The Next Generation were).
Paramount Pictures was not connected to either Paramount Records (1910s–1935) or ABC-Paramount Records (1955–66) until it purchased the rights to use the name (but not the latter's catalog) in the late 1960s. The Paramount name was used for soundtrack albums and some pop re-issues from the Dot Records catalog which Paramount had acquired in 1957. By 1970, Dot had become an all-country label and in 1974, Paramount sold all of its record holdings to ABC Records, which in turn was sold to MCA (now Universal Music Group) in 1979.
1980–94: Continual success
Paramount's successful run of pictures extended into the 1980s and 1990s, generating hits like Airplane!, American Gigolo, Ordinary People, An Officer and a Gentleman, Flashdance, Terms of Endearment, Footloose, Pretty in Pink, Top Gun, Crocodile Dundee, Fatal Attraction, Ghost, the Friday the 13th slasher series, as well as joining forces with Lucasfilm and Steven Spielberg to create the Indiana Jones franchise. Other examples are the Star Trek film series and a string of films starring comedian Eddie Murphy like Trading Places, Coming to America and Beverly Hills Cop and its sequels. While the emphasis was decidedly on the commercial, there were occasional less commercial but more artistic and intellectual efforts like I'm Dancing as Fast as I Can, Atlantic City, Reds, Witness, Children of a Lesser God and The Accused. During this period, responsibility for running the studio passed from Eisner and Katzenberg to Frank Mancuso, Sr. (1984) and Ned Tanen (1984) to Stanley R. Jaffe (1991) and Sherry Lansing (1992). More so than most, Paramount's slate of films included many remakes and television spin-offs; while sometimes commercially successful, there have been few compelling films of the kind that once made Paramount the industry leader.
Around the end of 1981, Paramount Pictures took over fellow Gulf and Western subsidiary Sega from the company's manufacturing division in an effort to get into the video game business. Paramount would go on to sell Sega following the Video Game Crash of 1983, and the two companies would later work together on the live action/CGI Sonic the Hedgehog film series.
On August 25, 1983, Paramount Studios caught fire. Two or three sound stages and four outdoor sets were destroyed.
When Charles Bluhdorn died unexpectedly, his successor Martin Davis dumped all of Gulf and Western's industrial, mining, and sugar-growing subsidiaries and refocused the company, renaming it Paramount Communications in 1989. With the influx of cash from the sale of Gulf and Western's industrial properties in the mid-1980s, Paramount bought a string of television stations and KECO Entertainment's theme park operations, renaming them Paramount Parks. These parks included Paramount's Great America, Paramount Canada's Wonderland, Paramount's Carowinds, Paramount's Kings Dominion, and Paramount's Kings Island.
In May 1985, Paramount decided to start its own talent department, an attempt to form a stable of exclusively-contracted film personnel (outside of Eddie Murphy); this effort proved unsuccessful and studio president Dawn Steel decided to shut down the department on July 30, 1986. In 1987, Paramount Pictures, MGM/UA Communications Co. and Universal Pictures teamed up in order to market feature film and television product to China, a response to the 25-billion admission tickets that were clocked in the country in 1986. Worldwide Media Sales, a division of the New York-based Worldwide Media Group had been placed in charge of the undertaking. That year, Paramount Pictures decided to consolidate its distribution operations, closing a number of branch offices that were designed for the studio and relocating staff and major activities in an effort to cut costs and provide for a more efficient centralization; this decision was made in response to a change in distribution practices that had occurred among the various major studios. In August 1987, Paramount Overseas Productions declared that the subsidiary would be in service not just for the upcoming film Experts, which was shot on a budget of $12 million in Canada, but also for other films filmed there worldwide, including the United Kingdom and Canada.
In 1993, Sumner Redstone's entertainment conglomerate Viacom made a bid for a merger with Paramount Communications; this quickly escalated into a bidding war with Barry Diller's QVC. But Viacom prevailed, ultimately paying $10 billion for the Paramount holdings. Viacom and Paramount had planned to merge as early as 1989.
Paramount is the last major film studio located in Hollywood proper. When Paramount moved to its present home in 1927, it was in the heart of the film community. Since then, former next-door neighbor RKO closed up shop in 1957 (Paramount ultimately absorbed their former lot); Warner Bros. (whose old Sunset Boulevard studio was sold to Paramount in 1949 as a home for KTLA) moved to Burbank in 1930; Columbia joined Warners in Burbank in 1973 then moved again to Culver City in 1989; and the Pickford-Fairbanks-Goldwyn-United Artists lot, after a lively history, has been turned into a post-production and music-scoring facility for Warners, known simply as "The Lot". For a time the semi-industrial neighborhood around Paramount was in decline, but has now come back. The recently refurbished studio has come to symbolize Hollywood for many visitors, and its studio tour is a popular attraction.
1989–94: Paramount Communications
In 1983, Gulf and Western began a restructuring process that would transform the corporation from a bloated conglomerate consisting of subsidiaries from unrelated industries to a more focused entertainment and publishing company. The idea was to aid financial markets in measuring the company's success, which, in turn, would help place better value on its shares. Though its Paramount division did very well in recent years, Gulf and Western's success as a whole was translating poorly with investors. This process eventually led Davis to divest many of the company's subsidiaries. Its sugar plantations in Florida and the Dominican Republic were sold in 1985; the consumer and industrial products branch was sold off that same year. In 1989, Davis renamed the company Paramount Communications Incorporated after its primary asset, Paramount Pictures. In addition to the Paramount film, television, home video, and music publishing divisions, the company continued to own the Madison Square Garden properties (which also included MSG Network), a 50% stake in USA Networks (the other 50% was owned by MCA/Universal Pictures) and Simon & Schuster, Prentice Hall, Pocket Books, Allyn & Bacon, Cineamerica (a joint venture with Warner Communications), and Canadian cinema chain Famous Players Theatres.
That same year, the company launched a $12.2 billion hostile bid to acquire Time Inc. in an attempt to end a stock-swap merger deal between Time and Warner Communications. This caused Time to raise its bid for Warner to $14.9 billion in cash and stock. Gulf and Western responded by filing a lawsuit in a Delaware court to block the Time-Warner merger. The court ruled twice in favor of Time, forcing Gulf and Western to drop both the Time acquisition and the lawsuit, and allowing the formation of WarnerMedia.
Paramount used cash acquired from the sale of Gulf and Western's non-entertainment properties to take over the TVX Broadcast Group chain of television stations (which at that point consisted mainly of large-market stations which TVX had bought from Taft Broadcasting, plus two mid-market stations which TVX owned prior to the Taft purchase), and the KECO Entertainment chain of theme parks from Taft successor Great American Broadcasting. Both of these companies had their names changed to reflect new ownership: TVX became known as the Paramount Stations Group, while KECO was renamed to Paramount Parks.
Paramount Television launched Wilshire Court Productions in conjunction with USA Networks, before the latter was renamed NBCUniversal Cable, in 1989. Wilshire Court Productions (named for a side street in Los Angeles) produced television films that aired on the USA Networks, and later for other networks. USA Networks launched a second channel, the Sci-Fi Channel (now known as Syfy), in 1992. As its name implied, it focused on films and television series within the science fiction genre. Much of the initial programming was owned either by Paramount or Universal. Paramount bought one more television station in 1993: Cox Enterprises' WKBD-TV in Detroit, Michigan, at the time an affiliate of the Fox Broadcasting Company.
1994–2005: Dolgen/Lansing and "old" Viacom era
In February 1994, Viacom acquired 50.1% of Paramount Communications Inc. shares for $9.75 billion, following a five-month battle with QVC, and completed the merger in July. At the time, Paramount's holdings included Paramount Pictures, Madison Square Garden, the New York Rangers, the New York Knicks, and the Simon & Schuster publishing house. The deal had been planned as early as 1989, when the company was still known as Gulf and Western. Though Davis was named a member of the board of National Amusements, which controlled Viacom, he ceased to manage the company.
During this time period, Paramount Pictures went under the guidance of Jonathan Dolgen, chairman and Sherry Lansing, president. During their administration over Paramount, the studio had an extremely successful period of films with two of Paramount's ten highest-grossing films being produced during this period. The most successful of these films, Titanic, co-produced with 20th Century Studios and Lightstorm Entertainment, became the highest-grossing film up to that time, grossing over $1.8 billion worldwide. Also during this time, three Paramount Pictures films won the Academy Award for Best Picture; Titanic, Braveheart, and Forrest Gump.
Paramount's most important property, however, was Star Trek. Studio executives had begun to call it "the franchise" in the 1980s due to its reliable revenue, and other studios envied its "untouchable and unduplicatable" success. By 1998, Star Trek television shows, movies, books, videotapes, and licensing provided so much of the studio's profit that "it is not possible to spend any reasonable amount of time at Paramount and not be aware of [its] presence"; filming for Star Trek: Voyager and Star Trek: Deep Space Nine required up to nine of the largest of the studio's 36 sound stages.
In 1995, Viacom and Chris-Craft Industries' United Television launched United Paramount Network (UPN) with Star Trek: Voyager as its flagship series, fulfilling Barry Diller's plan for a Paramount network from 25 years earlier. In 1999, Viacom bought out United Television's interests, and handed responsibility for the start-up network to the newly acquired CBS unit, which Viacom bought in 2000 – an ironic confluence of events as Paramount had once invested in CBS, and Viacom had once been the syndication arm of CBS, as well. During this period the studio acquired some 30 TV stations to support the UPN network, also acquiring and merging in the assets of Republic Pictures, Spelling Television and Viacom Productions, almost doubling the size of the studio's television library. The television division produced the dominant prime time show for the decade in Frasier, as well as such long running hits as NCIS and Becker and the dominant prime time magazine show Entertainment Tonight. Paramount also gained the ownership rights to the Rysher library, after Viacom acquired the rights from Cox Enterprises.
During this period, Paramount and its related subsidiaries and affiliates, operating under the name "Viacom Entertainment Group" also included the fourth largest group of theme parks in the United States and Canada which in addition to traditional rides and attractions launched numerous successful location-based entertainment units including a long running "Star Trek" attraction at the Las Vegas Hilton. Famous Music – the company's celebrated music publishing arm almost doubled in size and developed artists including Pink, Bush, and Green Day, as well as catalog favorites including Duke Ellington and Henry Mancini. The Paramount/Viacom licensing group under the leadership of Tom McGrath created the "Cheers" franchise bars and restaurants and a chain of restaurants borrowing from the studio's Academy Award-winning film Forrest Gump – The Bubba Gump Shrimp Company. Through the combined efforts of Famous Music and the studio over ten "Broadway" musicals were created including Irving Berlin's White Christmas, Footloose, Saturday Night Fever, Andrew Lloyd Webber's Sunset Boulevard among others. The company's international arm, United International Pictures (UIP), was the dominant distributor internationally for ten straight years representing Paramount, Universal and MGM. Simon and Schuster became part of the Viacom Entertainment Group emerging as the United States' dominant trade book publisher.
In 2002, Paramount; along with Buena Vista Distribution, 20th Century Studios, Sony Pictures Entertainment, MGM/UA Entertainment, Universal Studios, DreamWorks Pictures, Artisan Entertainment, Lions Gate Entertainment, and Warner Bros. formed the Digital Cinema Initiatives. Operating under a waiver from the antitrust law, the studios combined under the leadership of Paramount Chief Operating Officer Tom McGrath to develop technical standards for the eventual introduction of digital film projection – replacing the now 100-year-old film technology. DCI was created "to establish and document voluntary specifications for an open architecture for digital cinema that ensures a uniform and high level of technical performance, reliability and quality control." McGrath also headed up Paramount's initiative for the creation and launch of the Blu-ray Disc.
2005–2019: "New" Viacom era
On December 11, 2005, the Paramount Motion Pictures Group announced that it had purchased DreamWorks SKG (which was co-founded by former Paramount executive Jeffrey Katzenberg) in a deal worth $1.6 billion. The announcement was made by Brad Grey, chairman and CEO of Paramount Pictures who noted that enhancing Paramount's pipeline of pictures is a "key strategic objective in restoring Paramount's stature as a leader in filmed entertainment." While the agreement did not include DreamWorks Animation SKG Inc., the most profitable part of the company that went public the previous year, Paramount became the distributor of DreamWorks Animation films from 2006 to 2012, 20th Century Fox would take over distribution beginning in 2013 to 2017, followed by Universal Pictures permanently following NBCUniversal's acquisition of the studio in 2016.
Reflecting in part the troubles of the broadcasting business, in 2005 Viacom wrote off over $18 billion from its radio acquisitions and, early that year, announced that it would split itself in two. With that announcement, Dolgen and Lansing were replaced by former television executives Brad Grey and Gail Berman. The Viacom board split the company into CBS Corporation and a separate company under the Viacom name. The board scheduled the division for the first quarter of 2006. Under the plan, CBS Corporation would comprise the CBS and UPN networks, Viacom Television Stations, Infinity Broadcasting Corporation, Viacom Outdoor, Paramount Television, King World Productions, Showtime Networks, Simon & Schuster, Paramount Parks, and CBS News. The revamped Viacom would include "MTV, VH1, Nickelodeon, BET and several other cable networks, as well as the Paramount movie studio". The split was completed on December 31, 2005. Paramount's home entertainment unit began using the CBS DVD brand for the Paramount Television library, as both Viacom and CBS Corporation were controlled by Sumner Redstone's National Amusements.
Grey also broke up the famous United International Pictures (UIP) international distribution company with 15 countries being taken over by Paramount or Universal by December 31, 2006, with the joint venture continuing in 20 markets. In Australia, Brazil, France, Ireland, Mexico, New Zealand and the United Kingdom, Paramount took over UIP. While in Austria, Belgium, Germany, Italy, the Netherlands, Russia, Spain and Switzerland, Universal took over and Paramount would build its own distribution operations there. In 2007 and 2008, Paramount may sub-distribute films via Universal's countries and vice versa. Paramount's international distribution unit would be headquartered in Los Angeles and have a European hub. In Italy, Paramount distributed through Universal. With Universal indicated that it was pulling out of the UIP Korea and started its own operation there in November 2016, Paramount agreed to have CJ Entertainment distribute there. UIP president and chief operating officer Andrew Cripps was hired as Paramount Pictures International head. Paramount Pictures International distributed films that made the 1 billion mark in July 2007; the fifth studio that year to do so and it its first year.
On October 6, 2008, DreamWorks executives announced that they were leaving Paramount and relaunching an independent DreamWorks. The DreamWorks trademarks remained with DreamWorks Animation when that company was spun off before the Paramount purchase, and DreamWorks Animation transferred the license to the name to the new company.
DreamWorks films, acquired by Paramount but still distributed internationally by Universal, are included in Paramount's market share. Grey also launched a Digital Entertainment division to take advantage of emerging digital distribution technologies. This led to Paramount becoming the second movie studio to sign a deal with Apple Inc. to sell its films through the iTunes Store.
Also, in 2007, Paramount sold another one of its "heritage" units, Famous Music, to Sony Music Publishing (best known for publishing many songs by The Beatles, and for being co-owned by Michael Jackson), ending a nearly-eight-decade run as a division of Paramount, being the studio's music publishing arm since the period when the entire company went by the name "Famous Players".
In early 2008, Paramount partnered with Los Angeles-based developer FanRocket to make short scenes taken from its film library available to users on Facebook. The application, called VooZoo, allows users to send movie clips to other Facebook users and to post clips on their profile pages. Paramount engineered a similar deal with Makena Technologies to allow users of vMTV and There.com to view and send movie clips.
In 2009, CBS Corporation stopped using the Paramount name in its series and changed the name of the production arm to CBS Television Studios, eliminating the Paramount name from television, to distance itself from the latter.
In March 2010, Paramount founded Insurge Pictures, an independent distributor of "micro budget" films. The distributor planned ten movies with budgets of $100,000 each. The first release was The Devil Inside, a movie with a budget of about US$1 million. In March 2015, following waning box office returns, Paramount folded Insurge Pictures and its operations into the main studio.
In July 2011, in the wake of critical and box office success of the animated feature, Rango, and the departure of DreamWorks Animation upon completion of their distribution contract in 2012, Paramount announced the formation of a new division, devoted to the creation of animated productions. It marks Paramount's return to having its own animated division for the first time since 1967, when Paramount Cartoon Studios shut down (it was formerly Famous Studios until 1956).
In December 2013, Walt Disney Studios (via its parent company's purchase of Lucasfilm a year earlier) gained Paramount's remaining distribution and marketing rights to future Indiana Jones films. Paramount will permanently retain the distribution rights to the first four films and will receive "financial participation" from any additional films.
In February 2016, Viacom CEO and newly appointed chairman Philippe Dauman announced that the conglomerate is in talks to find an investor to purchase a minority stake in Paramount. Sumner Redstone and his daughter Shari are reportedly opposed with the deal. On July 13, 2016, Wanda Group was in talks to acquire a 49% stake of Paramount. The talks with Wanda were dropped. On January 19, 2017, Shanghai Film Group Corp. and Huahua Media said they would finance at least 25% of all Paramount Pictures movies over a three-year period. Shanghai Film Group and Huahua Media, in the deal, would help distribute and market Paramount's features in China. At the time, the Wall Street Journal wrote that "nearly every major Hollywood studio has a co-financing deal with a Chinese company."
On March 27, 2017, Jim Gianopulos was named as a chairman and CEO of Paramount Pictures, replacing Brad Grey.
In June 2017, Paramount Players was formed by the studio with the hiring of Brian Robbins, founder of AwesomenessTV, Tollin/Robbins Productions and Varsity Pictures, as the division's president. The division was expected to produce films based on the Viacom Media Networks properties including MTV, Nickelodeon, BET and Comedy Central. In June 2017, Paramount Pictures signed a deal with 20th Century Studios for distribution of its films in Italy, which took effect on September. Prior to the deal, Paramount's films in Italy were distributed by Universal Pictures, a deal that dates back to the CIC era.
On December 7, 2017, it was reported that Paramount sold the international distribution rights of Annihilation to Netflix. Netflix subsequently bought the worldwide rights to The Cloverfield Paradox for $50 million. On November 16, 2018, Paramount signed a multi-picture film deal with Netflix as part of Viacom's growth strategy, making Paramount the first major film studio to do so. A sequel to Awesomeness Films' To All the Boys I've Loved Before is currently in development at the studio for Netflix.
In April 2018, Paramount posted its first quarterly profit since 2015. Bob Bakish, CEO of parent Viacom, said in a statement that turnaround efforts "have firmly taken hold as the studio improved margins and returned to profitability. This month's outstanding box-office performance of A Quiet Place, the first film produced and released under the new team at Paramount, is a clear sign of our progress."
2019–present: ViacomCBS/Paramount Global era
On September 29, 2016, National Amusements sent a letter to both CBS Corporation and Viacom, encouraging the two companies to merge back into one company. On December 12, the deal was called off. On May 30, 2019, CNBC reported that CBS and Viacom would explore merger discussions in mid-June 2019. Reports say that CBS and Viacom reportedly set August 8 as an informal deadline for reaching an agreement to recombine the two media companies. CBS announced to acquire Viacom as part of the re-merger for up to $15.4 billion. On August 2, 2019, the two companies agreed to remerge back into one entity, which was named ViacomCBS; the deal was closed on December 4, 2019.
In December 2019, ViacomCBS agreed to purchase a 49% stake in Miramax that was owned by beIN Media Group, with Paramount gaining the distribution of the studio's 700-film library, as well as its future releases. Also, Paramount will produce television series based on Miramax's IPs. The deal officially closed on April 3, 2020. ViacomCBS later announced that it would rebrand the CBS All Access streaming service as Paramount+ to allow for international expansion using the widely recognized Paramount name and drawing from the studio's library, as well as that of CBS, MTV, Nickelodeon, and more.
Gianopulos was fired in September 2021 and replaced by Nickelodeon president Brian Robbins.
In January 2022, Paramount Pictures acquired the rights to Tomi Adeyemi's young adult fantasy novel Children of Blood and Bone from Lucasfilm and 20th Century Studios. As part of the acquisition, the film will have a guaranteed exclusive theatrical release while Adeyemi will write the screenplay and serve as executive producer. The film adaptation will also be produced by Temple Hill Entertainment and Sunswept Entertainment.
On February 16, 2022, ViacomCBS changed its name to Paramount Global, after the studio.
On March 8, 2022, Paramount Players' operations were folded into Paramount Pictures Motion Picture Group. However, it will continue to operate as a label as it has several upcoming films on its slate.
On November 15, 2022, Paramount entered a multi-year exclusive deal with former president of DC Films Walter Hamada. Hamada will oversee the development of horror films beginning in 2023.
Investments
DreamWorks Pictures
In 2006, Paramount became the parent of DreamWorks Pictures. Soros Strategic Partners and Dune Entertainment II soon afterwards acquired controlling interest in live-action films released through DreamWorks, with the release of Just Like Heaven on September 16, 2005. The remaining live-action films released until March 2006 remained under direct Paramount control. However, Paramount still owns distribution and other ancillary rights to Soros and Dune films.
On February 8, 2010, Viacom repurchased Soros' controlling stake in DreamWorks' library of films released before 2005 for around $400 million. Even as DreamWorks switched distribution of live-action films not part of existing franchises to Walt Disney Studios Motion Pictures and later Universal Pictures, Paramount continues to own the films released before the merger, and the films that Paramount themselves distributed, including sequel rights such as that of Little Fockers (2010), distributed by Paramount and DreamWorks. It was a sequel to two existing DreamWorks films, Meet the Parents (2000) and Meet the Fockers (2004). (Paramount only owned the international distribution rights to Little Fockers, whereas Universal Pictures handled domestic distribution).
Paramount also owned distribution rights to the DreamWorks Animation library of films made before 2013, and their previous distribution deal with future DWA titles expired at the end of 2012, with Rise of the Guardians. 20th Century Studios took over distribution for post-2012 titles beginning with The Croods (2013) and ending with Captain Underpants: The First Epic Movie (2017). Universal Pictures subsequently took over distribution for DreamWorks Animation's films beginning with How to Train Your Dragon: The Hidden World (2019) due to NBCUniversal's acquisition of the company in 2016. Paramount's rights to the 1998–2012 DWA library would have expired 16 years after each film's initial theatrical release date, but in July 2014, DreamWorks Animation purchased Paramount's distribution rights to the pre-2013 library, with 20th Century Fox distributing the library until January 2018, which Universal then assumed ownership of distribution rights.
Another asset of the former DreamWorks owned by Paramount is the pre-2008 DreamWorks Television library, which is currently distributed by Paramount's sister company CBS Media Ventures; it includes Spin City, High Incident, Freaks and Geeks, Undeclared and On the Lot.
CBS library
Independent company Hollywood Classics represents Paramount with the theatrical distribution of all the films produced by the various motion picture divisions of CBS over the years, as a result of the 2000 Viacom/CBS merger.
Paramount has outright video distribution to the aforementioned CBS library with some exceptions; less-demanded content is usually released manufactured-on-demand by CBS themselves or licensed to Visual Entertainment Inc. As of the 2019 Viacom/CBS merger, this library now includes the theatrical distribution of Terrytoons short films on behalf of Paramount Animation, while CBS Media Ventures owns the television distribution. Until 2009, the video rights to My Fair Lady were with original theatrical distributor Warner Bros., under license from CBS (the video license to that film has now reverted to Paramount).
Units
Divisions
Paramount Pictures
Paramount Home Entertainment
Paramount Licensing, Inc.
Paramount Pictures International
Paramount Players
Nickelodeon Movies
BET Films
Paramount Studio Group – physical studio and post production
The Studios at Paramount – production facilities & lot
Paramount on Location – production support facilities throughout North America including New York City, Vancouver, and Atlanta
Worldwide Technical Operations – archives, restoration and preservation programs, the mastering and distribution fulfillment services, on-lot post production facilities management
Paramount Parks & Resorts, licensing and design for parks and resorts
Paramount Animation
Paramount Music
Joint ventures
United International Pictures (co-owned with Comcast's Universal Pictures)
Rede Telecine (co-owned with Amazon's Metro-Goldwyn Mayer, The Walt Disney Company's The Walt Disney Company Latin America, Grupo Globo's Canais Globo and Comcast's Universal Pictures)
Former divisions, subsidiaries, and joint ventures
Paramount Digital Entertainment (Dormant)
Paramount Television (original) (now CBS Studios)
Big Ticket Entertainment (semi-in-name-only since 2006; currently produces Judge Judy and Hot Bench)
Spelling Television (in-name-only since 2006)
Viacom Productions (folded into PNT in 2004)
Wilshire Court Productions (shut down in 2003)
Paramount Domestic Television (now CBS Media Ventures)
Folded Viacom Enterprises in 1995 and Rysher Entertainment and Worldvision Enterprises in 1999
RTV News, Inc., producer of Real TV and Maximum Exposure
United Paramount Network (UPN) – formerly a joint venture with United Television, now part of Nexstar/Paramount Global/Warner Bros. Discovery joint venture The CW Television Network
Paramount Stations Group (now CBS Television Stations)
USA Networks (also including the Sci-Fi Channel) – Paramount owned a stake starting in 1982, 50% owner (with Universal Pictures) from 1987 until 1997, when Paramount/Viacom sold their stake to Universal (now part of NBCUniversal)
Paramount International Television (merged with CBS Broadcast International in 2004 to form CBS Studios International)
Fleischer Studios – purchased in 1942 and organized as Famous Studios (which shut down in 1967); library folded into Paramount Animation.
Terrytoons – purchased by CBS Films (later Viacom International) in 1956; theatrical library moved to Paramount Animation following re-merger of ViacomCBS in 2019.
Paramount Famous Productions – direct-to-video division
Paramount Parks (Purchased by Cedar Fair Entertainment Company in 2006)
Paramount Classics/Paramount Vantage – Paramount Classics merged into Paramount Vantage; the latter then went dormant in December 2013
DW Studios, LLC (also DW Pictures) – defunct, holding film library and rights, principal officers left to recreate DreamWorks as an independent company
DW Funding LLC – DreamWorks live-action library (pre-09/16/2005; DW Funding, LLC) sold to Soros Strategic Partners and Dune Entertainment II and purchased back in 2010
Go Fish Pictures – Arthouse/Independent film unit for used distributing DreamWorks Pictures foreign films; defunct in 2007 after parent company's sale
Paramount Theatres Limited – Founded 1930 in the United Kingdom with the opening of a cinema in Manchester. Several Paramount Theatres had opened or had been acquired in the United Kingdom during the 1930s before being sold to The Rank Organisation becoming part of the Odeon Cinemas chain in 1939.
Epix – 49.76% owner (with Metro–Goldwyn–Mayer and Lionsgate) from 2009 until 2017, when Paramount/Viacom and Lionsgate sold their stakes to MGM
Insurge Pictures – micro-budget film division (March 2010 – 2015); absorbed into Paramount itself
Republic Pictures
"Continental Café" – the commissary run by Pauline Kessinger until the cafe was replaced by the Zukor Building in 1983.
Other interests
In March 2012, Paramount licensed their name and logo to a luxury hotel investment group which subsequently named the company Paramount Hotels and Resorts. The investors plan to build 50 hotels throughout the world based on the themes of Hollywood and the California lifestyle. Among the features are private screening rooms and the Paramount library available in the hotel rooms. In April 2013, Paramount Hotels and Dubai-based DAMAC Properties announced the building of the first resort: "DAMAC Towers by Paramount."
Logo
The distinctively pyramidal Paramount mountain has been the mainstay of the company's production logo since its inception and is the oldest surviving Hollywood film logo. In the sound era, the logo was accompanied by a fanfare called Paramount on Parade after the film of the same name, released in 1930. The words to the fanfare, originally sung in the 1930 film, were "Proud of the crowd that will never be loud, it's Paramount on Parade."
Legend has it that the mountain is based on a doodle made by W. W. Hodkinson during a meeting with Adolph Zukor. It is said to be based on the memories of his childhood in Utah. Some claim that Utah's Ben Lomond is the mountain Hodkinson doodled, and that Peru's Artesonraju is the mountain in the live-action logo, while others claim that the Italian side of Monviso inspired the logo. Some editions of the logo bear a striking resemblance to the Pfeifferhorn, another Wasatch Range peak, and to the Matterhorn on the border between Switzerland and Italy. Mount Huntington in Alaska also bears a striking resemblance.
The motion picture logo has gone through many changes over the years:
The logo began as a somewhat indistinct charcoal rendering of the mountain ringed with superimposed stars. The logo originally had twenty-four stars, as a tribute to the then current system of contracts for actors, since Paramount had twenty-four stars signed at the time.
In 1951, the logo was redesigned as a matte painting created by Jan Domela.
A newer, more realistic-looking logo debuted in 1953 for Paramount films made in 3D. It was reworked in early-to-mid 1954 for Paramount films made in widescreen process VistaVision. The text VistaVision – Motion Picture High Fidelity was often imposed over the Paramount logo briefly before dissolving into the title sequence. In early 1968, the text "A Paramount Picture/Release" was shortened to "Paramount", the byline A Gulf+Western Company appeared on the bottom, and the number of stars being reduced to 22. In 1974, another redesign was made, with the Paramount text and Gulf+Western byline appearing in different fonts.
In September 1975, the logo was simplified in a shade of blue, adopting the modified design of the 1968 print logo, which was in use for many decades afterward. A version of the print logo had been in use by Paramount Television since 1968.
A black and white logo with "A Paramount Picture" appeared in the 1980 live action film Popeye, resembling the one used on Paramount's classic Popeye cartoon shorts.
The studio launched an entirely new logo in December 1986 with computer-generated imagery of a lake and stars. This version of the Paramount logo was designed by Dario Campanile and animated by Flip Your Lid Animation (Studio Productions), Omnibus/Abel for the CGI stars and Apogee, Inc for the mountain; for this logo, the stars would move across the screen into the arc shape instead of it being superimposed over the mountain as it was before. A redone version of this logo by Pittard Sullivan made its debuted with South Park: Bigger, Longer & Uncut, released on June 30, 1999.
In March 2002, an updated logo by BUF Compagnie was introduced in which shooting stars would fall from a night sky to form the arc while the Paramount logo would fly into place between them. An enhanced version of this logo made by PIC Collective debuted with Iron Man 2, released on May 7, 2010. The south col area of Mount Everest became the primary basis. The music is accompanied by Paramount on Parade, which was only used on Mean Girls. This logo continued to be featured on DVD and Blu-ray releases with the first incarnation of Viacom byline until March 5, 2019, ending with Instant Family.
On December 16, 2011, an updated logo was introduced with animation done by Devastudios, using Terragen and Autodesk Maya. The new logo includes a surrounding mountain range and the sun shining in the background. Michael Giacchino composed the logo's new fanfare. His work on the fanfare was carried onto the Paramount Players and Paramount Animation logos, as well as the Paramount Television Studios logo, which is also used for the Paramount Network Original Productions logo with 68 Whiskey.
The word "Pictures" was restored to the bottom of the Paramount logo in 2022 after ViacomCBS took on the Paramount name and branding for its entire operation; this revised logo used for printed materials and merchandising, while still appearing as simply "Paramount" on-screen, no longer uses the byline.
Studio tours
Paramount Studios offers tours of their studios. The 2-hour Studio Tour offers, as the name implies, a regular tour of the studio. The stages where Samson and Delilah, Sunset Blvd., White Christmas, Rear Window, Sabrina, Breakfast at Tiffany's, and many other classic films were shot are still in use today. The studio's backlot features numerous blocks of façades that depict a number of New York City locales, such as "Washington Square", "Brooklyn", and "Financial District". The After Dark Tour involves a tour of the Hollywood Forever Cemetery.
Film library
A few years after the ruling of the United States v. Paramount Pictures, Inc. case in 1948, Music Corporation of America (MCA) approached Paramount offering $50 million for 750 sound feature films released prior to December 1, 1949, with payment to be spread over a period of several years. Paramount saw this as a bargain since the fleeting movie studio saw very little value in its library of old films at the time. To address any antitrust concerns, MCA set up EMKA, Ltd. as a dummy corporation to sell these films to television. EMKA's/Universal Television's library includes the five Paramount Marx Brothers films, most of the Bob Hope–Bing Crosby Road to... pictures, and other classics such as Trouble in Paradise, Shanghai Express, She Done Him Wrong, Sullivan's Travels, The Palm Beach Story, For Whom the Bell Tolls, Double Indemnity, The Lost Weekend, and The Heiress.
The studio has produced many critically acclaimed films such as Titanic, Footloose, Breakfast at Tiffany's, Braveheart, Ghost, The Truman Show, Mean Girls, Psycho, Rocketman, Ferris Bueller's Day Off, The Curious Case of Benjamin Button, Days of Thunder, Rosemary's Baby, Sunset Boulevard, Forrest Gump, Coming to America, World War Z, Babel, The Conversation, The Fighter, Interstellar, Terms of Endearment, The Wolf of Wall Street and A Quiet Place; as well as the Godfather, Star Trek, and Mission: Impossible film series.
Film series
Title Release date No. Films Notes Sophie Lang 1934–37 N/A N/A Hopalong Cassidy 1935–41 41 Bulldog Drummond 1937–39 3 The Aldrich Family 1939–44 11 Road to ... 1940–52 6 The War of the Worlds 1953–2005 2 Love Story 1970–78 The Godfather 1972–90 3 Charlotte's Web 1973–2003; 2006 Bad News Bears 1976–2005 4 Peanuts 1977–80 2 Grease 1978–82 Star Trek 1979–present 13 Friday the 13th 1980–89; 2009 12 Co-production with Warner Bros. Pictures (1980–2009) and New Line Cinema (2009) Indiana Jones 1981–2023 5 Distribution only; Co-production with Lucasfilm. Studio credit only (2023) Footloose 1984–2011 2 N/A Beverly Hills Cop 1984–present 3 Crocodile Dundee 1986–2001 Co-production with Hoyts Distribution (1986–88), 20th Century Fox (1986) and Universal Pictures (2001) Top Gun 1986–present 2 N/A The Naked Gun 1988–present 4 Coming to America 1988–2021 2 Jack Ryan 1990–2014 5 The Addams Family 1991–93 2 co-production with Scott Rudin Productions, Columbia Pictures and Orion Pictures (both 1991) Mission: Impossible 1996–present 7 N/A Rugrats 1998–2003 3 Co-production with Nickelodeon Movies and Klasky Csupo Lara Croft: Tomb Raider 2001–03 2 N/A Jackass 2002–present 6 SpongeBob SquarePants 2004–present 3 Co-production with Nickelodeon Movies and United Plankton Pictures Inc. Mean Girls 2004–24 N/A Shrek 2007–11 Distribution only; Co-production with DreamWorks Animation Transformers 2007–present 7 Co-production with DreamWorks Pictures (2007–09) and Hasbro Paranormal Activity N/A Cloverfield 2008–present 3 Kung Fu Panda 2008–11 2 Distribution only; Co-production with DreamWorks Animation Madagascar 2008–12 Marvel Cinematic Universe 2008–13 6 Distribution only; Co-production with Marvel Entertainment and Marvel Studios (2008–11), Studio credit only (2012–13) G.I. Joe 2009–present 3 N/A Teenage Mutant Ninja Turtles 2014–present Co-production with Nickelodeon Movies Terminator 2015–19 2 Co-production with Skydance (2015–19), 20th Century Studios and Tencent Pictures (both 2019) XXX 2017–present 1 N/A A Quiet Place 2018–present 2 Co-production with Platinum Dunes Dora the Explorer 2019–present Co-production with Nickelodeon Movies, Walden Media and Media Rights Group Sonic the Hedgehog 2020–present Co-production with Sega Sammy Group PAW Patrol 2021–present Co-production with Nickelodeon Movies and Spin Master Entertainment Scream 2022–present N/A
Highest-grossing films
‡ — Includes theatrical reissue(s)
Latino and Hispanic representation
On July 31, 2018, Paramount was targeted by the National Hispanic Media Coalition and the National Latino Media Council, which have both claimed that the studio has the worst track record of hiring Latino and Hispanic talent both in front of and behind the camera (the last Paramount film directed by a Spanish director was Rings in 2017). In response, Paramount released the statement: "We recently met with NHMC in a good faith effort to see how we could partner as we further drive Paramount's culture of diversity, inclusion, and belonging. Under our new leadership team, we continue to make progress — including ensuring representation in front of and behind the camera in upcoming films such as Dora the Explorer, Instant Family, Bumblebee, and Limited Partners – and welcome the opportunity to build and strengthen relationships with the Latino creative community further."
The NHMC protested at the Paramount Pictures lot on August 25. More than 60 protesters attended, while chanting "Latinos excluded, time to be included!". NHMC president and CEO Alex Nogales vowed to continue the boycott until the studio signed a memorandum of understanding.
On October 17, the NHMC protested at the Paramount film lot for the second time in two months, with 75 protesters attending. The leaders delivered a petition signed by 12,307 people and addressed it to Jim Gianopulos.
See also
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CBS Studios
Paramount Television Studios
List of Paramount executives
List of Paramount Global television programs
Notes
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https://slate.com/culture/2012/06/paramount-stars-assemble-for-an-ironic-photo-that-highlights-the-emptiness-of-the-studios-brand.html
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Paramount “stars” assemble for an ironic photo that highlights the emptiness of the studio’s brand.
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"Aisha Harris"
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2012-06-12T20:11:24+00:00
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To celebrate its 100th Anniversary, Paramount Pictures has released a publicity spread featuring 116 movie stars who have contributed to the studio’s...
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en
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/favicon.ico
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Slate Magazine
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https://slate.com/culture/2012/06/paramount-stars-assemble-for-an-ironic-photo-that-highlights-the-emptiness-of-the-studios-brand.html
|
To celebrate its 100th Anniversary, Paramount Pictures has released a publicity spread featuring 116 movie stars who have contributed to the studio’s success. The photo garners an impressive array of talent, from heavy hitters like Spielberg and DeNiro to the less cinematically notable (like pop singer Justin Bieber, who playfully hangs off the side of a staircase, presumably in celebration of his concert film Never Say Never). The picture calls to mind a great 1944 publicity still from MGM, the studio whose slogan once claimed to have “more stars than there are in the heavens.”
Of course, technically speaking, Paramount doesn’t currently have any stars: The studio system has been dead since the Supreme Court lay down the Paramount Decree in 1948, an anti-trust decision that freed stars from rigid contracts that forced them to work with only one studio. Soon after the decision, the Screen Actors Guild was born.
MGM’s 1944 photo features all the stars that were then under contract to that studio. Many MGM stars—such as Gene Kelly and June Allyson—remain indelibly linked in the popular imagination with MGM, which was best known for its musicals and comedies. (Warner was known for its gangster films, Universal for its monster flicks.)
Paramount’s new publicity photo, on the other hand, brings together some of “the greatest talents ever to work at the studio”—meaning, basically, anyone famous who was once in a movie put out by Paramount. The studio’s original logo featured 24 stars around a mountain-top to symbolize its 24 performers under contract, an image that has long since lost its original meaning. This new photo, however star-studded, feels equally meaningless.
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TCM Classic Film Festival 2024
|
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2021-10-18T16:44:35+00:00
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Join us for the 15th Annual TCM Classic Film Festival on April 18-21, 2024. TCM invites you and the usual suspects to the big movie house for Most Wanted: Crime and Justice in Film.
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en
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TCM Classic Film Festival 2024
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https://filmfestival.tcm.com/programs/
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The 2024 TCM Classic Film Festival will cover a wide range of programming topics, including our central theme, Most Wanted: Crime and Justice in Film. We work directly with the Hollywood studios, the world’s notable film archives, and private collectors to program some of the most revered movies of all time alongside forgotten gems, many in stunning new restorations.
In keeping with TCM tradition, all Festival screenings include special introductions to provide context about each film. Specific details about this unique fan experience will be announced in the weeks and months ahead, including guest appearances by actors, actresses, directors, producers and other key figures.
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https://time.com/5910721/best-movies-based-on-true-story/
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The 10 Best Movies Based on a True Story
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"TIME Staff"
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2020-11-19T17:00:34+00:00
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Films based on true stories connect us to the past in a visceral way. Here are the 10 best, chosen by TIME staff and a panel of historians.
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/favicon.ico
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TIME
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https://time.com/5910721/best-movies-based-on-true-story/
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Movies based on true stories are a special breed of entertainment. We know better than to believe every detail or line of dialogue—movies are always a fiction in the broad sense—and that filmmakers who are dealing with real-life events need to take liberties. They might have to guess what certain encounters might have been like, or imagine dialogue in a situation of which there’s no record. Timelines are abridged; the order of events may be shuffled; supporting figures may be melded into a single character. And yet such a film also demands our trust. We may want to believe, even when we know we shouldn’t. Sometimes our skepticism and our awe have to walk hand-in-hand.
But a vivid, enveloping film can draw us close to the spirit of an event or a person in ways that make us want to expand our view. Sometimes we’re drawn to the library or bookstore, so we can read more about what really happened. And movies based on true stories put us in touch with the past in a visceral way. To see cities and towns recreated as they were 20, 50 or 100 years ago, to look at the clothes people wore, to hear patterns of speech that have since become outmoded: all of these things remind us that the past was a real place, peopled with human beings who cared about the same things we do, who faced challenges that nearly broke them and who found delight in the same joys we ourselves treasure. Each of us can live only one life, but movies that draw on history are windows into the selves that we might have been, had we been born in another time or place or circumstance.
Following is our list of the top 10 movies based on a true story, as chosen by TIME staff and a select group of historians. In order to qualify, the central story in a film must be at least inspired by a real story that happened to real people—not just a fictional story set against a real backdrop—and a central character based on a real person must do things that his or her real-life counterpart actually did. Heroes of investigative journalism, bank robbers and mob informants and gunslingers, ordinary citizens who fought for justice: These people can come to seem more real to us through movies. Their lives may be very different from our own, yet the movie screen opens a portal between us. And the more we learn about them, the more we want to learn. — Stephanie Zacharek
Methodology
We began by creating a pool of 70 contenders: every movie that met our own “based on a true story” standard and appeared at the time of the survey on the IMDB top 100 movies list, IMDB’s list of popular movies based on a true story, the AFI top 100, the Rotten Tomatoes top 100 or the All-TIME 100 Best Movies list. Ten TIME staffers and ten historians then ranked each of the 70 films on a scale of one to five—based on preference, not accuracy. After disqualifying movies that had been seen by fewer than half of the respondents, as well as movies with overwhelmingly split votes (i.e. all fives and ones), these are the films with the highest average scores. Survey design and analysis by Emily Barone.
10. Selma (2014)
On March 7, 1965, as voting-rights demonstrators attempted to cross the Edmund Pettus Bridge in Selma, Ala., during a march to the state capital in Montgomery, they were met by heavily armed police. The day would—known as “Bloody Sunday,” after 17 marchers were hospitalized and 50 treated for lesser injuries—would become a key moment in the fight against racist voter suppression in the U.S., as televised images of the attacks on the marchers stunned the country. But the protesters (led by Martin Luther King Jr., John Lewis, Hosea Williams and other civil rights leaders) did not give up.
These events are the backdrop for the Ava DuVernay-directed film Selma, which, with its re-creation of the months leading up to the marches, illustrates the complexities of social justice movements and their leaders. For Joseph P. Reidy, Emeritus Professor of History at Howard University, the film’s strength lies in both depicting the debates between leaders like King and John Lewis, and the stories of unsung local heroes “immortalized in contemporary newsreels,” which fueled public outrage and forced President Lyndon B. Johnson to condemn the violence inflicted on the marchers. “Beautifully crafted and impeccably acted,” Reidy says, “Selma offers a memorable tribute to the ordinary people whose extraordinary courage helped to reinforce a basic right of American democracy: the vote.” — Suyin Haynes
9. The French Connection (1971)
The complex drug trafficking scheme known as the French Connection was cooked up by Corsican gangsters in the 1930s: poppy seeds were shipped from Turkey and Lebanon to Marseille, a major French seaport, where they were processed into heroin, before being shipped out to U.S. By the 1960s, up to 44 tons were being moved in the U.S. yearly, prompting then-President Richard Nixon to dramatically crack down on drugs—and providing plenty of fodder for Robin Moore’s 1969 nonfiction book about some of the NYPD’s busts during the time, The French Connection. Two years later, director William Friedkin’s Oscar-winning film of the same name debuted, with a slightly fictionalized twist on the thrilling real-life drug seizures.
While Friedkin took some liberties with the film, including its iconic car chase, he was committed to keeping the story fairly realistic. To aid with this, he brought on Eddie Egan and Sonny Grosso, the NYPD detectives who provided the inspiration for the film’s protagonists, Detective “Popeye” Doyle (played by Gene Hackman) and his partner Buddy “Cloudy” Russo (played by Roy Scheider). Egan and Grosso served as technical advisers on set for the entirety of production, as well as both acting in small cameos in the film. “The French Connection conveys the seediness of New York in the late ’60s and early 1970s,” says historian Amity Shlaes. “For those of us who love N.Y., the film was, until this year, a marker that showed how far the city had come after the 1970s lows. Now the film proffers hope: the city came back from decline before. The rough fraud cop played by Gene Hackman reminds us of something else: questionable policing is nothing new.” — Cady Lang
Get your history fix in one place: sign up for the weekly TIME History newsletter
8. Schindler’s List (1993)
Filmmaker Steven Spielberg wanted the cast of his adaptation of Thomas Keneally’s 1982 historical novel to keep something in mind: “We’re not making a film, we’re making a document,” as he put it. Up until that point, there had been documentaries and European films about the Holocaust, but not a modern Hollywood blockbuster.
Liam Neeson stars as the real businessman Oskar Schindler, credited with saving more than 1,000 Jewish people by putting them to work in his munitions factory in Brünnlitz, in what’s now the Czech Republic. In reality, there was more than one list, written not by Schindler, but by a Plaszów camp orderly named Marcel Goldberg, that had the names of those cleared to be transported to Schindler’s factory—but that departure from fact did not mar the movie’s impact. The film was hailed not only by critics—it won the Academy Award for Best Picture—but also by Holocaust survivors, who found its depiction of what they went through and the brutality of the Nazi regime so realistic that it inspired many to share their own memories, thus enabling historians to preserve their stories for future generations. Though World War II ended 75 years ago, the film’s lesson is a timeless one. “It is about the actions of someone who refused to go along with the evil,” says historian Julian Zelizer. “That’s a basic message, but one that resonates loudly in our day and age.” — Olivia B. Waxman
7. The Sound of Music (1965)
Julie Andrews running through the Austrian hills as Maria in the 1965 filmThe Sound of Music is perhaps one of the most well-known opening scenes in cinema history. Based on the memoir of the real Maria, the movie tells the story of a free-spirited nun sent to become a governess for seven musical children, just before the start of World War II. As in the film, Maria married Georg von Trapp (who was 25 years her senior in reality) and the family toured Europe in 1937 as the von Trapp family choir. The following year, they fled Austria, which had been annexed by the Nazis, and made their way to New York, where they held their first American concert in December 1938.
The Sound of Music debuted on Broadway in 1959 and the hit film was released six years later, largely remaining faithful to the true story, although the real Georg was said not to be as cold-hearted as his film double, and Maria was said to sometimes have a bit of a temper, contrary to Julie Andrews’ ever-cheery depiction. “In addition to providing a showcase for the meteoric talents of a young Julie Andrews, The Sound of Music also gives an excellent example of the slow creep of authoritarianism and bigotry,” says Danielle Bainbridge, assistant professor of theater and performance studies at Northwestern and host of the PBS Digital Studios series The Origin of Everything. “The insidious but steady integration of Nazi symbolism and ideology throughout the film, interspersed with upbeat musical numbers about rainstorms and young love, reveals dictatorships for what they truly are.” — Suyin Haynes
6. 12 Years a Slave (2013)
Black British director Steve McQueen’s triple Academy Award-winning 12 Years a Slave, starring Chiwetel Ejiofor and Lupita Nyong’o, is “a raw, horrifying and essential document,” declared TIME’s film critic. Ejiofor stars as Solomon Northup, a free African-American man who was living in Saratoga Springs, N.Y., when he was lured away and kidnapped in 1841 and sold into slavery in Louisiana. The film was based on Northup’s own 1853 memoir Twelve Years a Slave, which documented his treatment on the plantation and his eventual freedom and reunion with his family, as well as on input from historians and researchers.
“12 Years a Slave meets the high bar for historical accuracy as well as artistic excellence,” says Manisha Sinha, Draper Chair in American History at the University of Connecticut, who recommends the film to her students as a source for their work. “It is for the most part extremely faithful to the original narrative of Solomon Northup, which I had taught in my class for years before the movie came out. I think he would approve.” — Suyin Haynes
Read more: 13 True Stories That Would Make Oscar-Worthy Movies
5. GoodFellas (1990)
“As far back as I can remember, I always wanted to be a gangster,” declares Ray Liotta’s Henry Hill, protagonist of Martin Scorsese’s Goodfellas, the 1990 classic crime film charting the rise and fall of a mafioso and his network in Italian-American Brooklyn. Viewers of the film, however, are left with plenty of reasons why a life in the mob might not be quite so desirable.
Billed as “the fastest, sharpest 2 1/2-hr. ride in recent film history,” by TIME’s film critic on its release, Goodfellas was based on the 1985 Wiseguy: Life in a Mafia Family by crime reporter Nicholas Pileggi, who also co-wrote the screenplay for the film. Pileggi’s book detailed the life of the real Henry Hill and his associates Thomas DeSimone and James “Jimmy” Burke. Their characters inspired those played by Joe Pesci and Robert deNiro in the movie, which featured the real 1978 Lufthansa heist at JFK Airport, thought to have been planned by Burke. “Goodfellas demythologizes organized crime, giving an audience primed by Coppola, Brando and Pacino a look at a world that was messy, bitter and unromantic,” says Jason Herbert, creator of Historians at the Movies and a PhD candidate at the University of Minnesota. “Plus, that garlic shot.”— Suyin Haynes
4. Spotlight (2015)
Starring Mark Ruffalo, Rachel McAdams and Michael Keaton as members of a real team of investigative journalists at the Boston Globe,Spotlight shows the efforts of reporters to uncover the history of systematic sexual abuse within the Archdiocese of Boston. The film is largely faithful to true events and based on real people; in January 2002, the Boston Globe Spotlight investigations team published their first story in a series of articles exposing the cover up of the abuse by Roman Catholic priests. Marty Baron, the current editor of the Washington Post, was the editor of the Globe at the time the film takes place, and is portrayed by Liev Schreiber in the film. “What is especially striking about the film is how well the director and writers effectively conveyed the real-life story of this group of courageous journalists—while carefully and delicately unveiling the personal lives of the victims of abuse,” says Keisha N. Blain, associate professor of history at the University of Pittsburgh. “By centering these difficult stories, in a moving, respectful and honest way, I think Spotlight is one of the best movies ever produced.” — Suyin Haynes
3. Butch Cassidy and the Sundance Kid (1969)
Paul Newman and Robert Redford stole hearts and set a new standard for the buddy film when they portrayed notorious real-life outlaws Robert “Butch Cassidy” LeRoy Parker and Harry “The Sundance Kid” Longabaugh in 1969’s Butch Cassidy and the Sundance Kid. While the film begins with the disclaimer that “most of which follows is true,” in reality, the film takes plenty of creative liberties in the service of creating a rollicking, if not quite historically accurate, Western. Even the central relationship was really more of a casual working partnership than the best friendship portrayed in the film, according to Cassidy’s sister Lula Parker Betenson, and the film’s famous ending is still the subject of historical debate: did the two men die in Bolivia or, as Cassidy’s sister and great-nephew contend, did Cassidy escape?
Those questions, however, don’t detract from the movie’s impact—or that of the character of Etta Place, played by Katharine Ross, says Stephanie Coontz, emeritus faculty of history and family studies at The Evergreen State College. “I loved that the guys were so charmingly incompetent and self-deprecating in some areas, without being feckless buffoons. It was the first time I’d seen men willing to admit a woman into their adventures and allow her to be a real friend to one of them without any rivalry between them,” Coontz recalls of seeing the movie when it came out. “I reacted to the movie less as a history student, which I was at the time, than as a product of my own time—a young woman who was fed up with the gender stereotypes I’ve been brought up with.” — Cady Lang
2. All the President’s Men (1976)
A younger generation might know Bob Woodward for his exhaustive chronicles of the Trump Administration in his books Fear: Trump in the White House and Rage. But nearly half a century earlier, he was uncovering the secrets of another president: Richard Nixon. In 1972, he and Washington Post colleague Carl Bernstein began to investigate a break-in at the Democratic National Convention. After exhaustive research, they found that the break-in was part of a massive campaign of political espionage and sabotage on behalf of Nixon and against his opponents; the Watergate scandal soon brought about the downfall of Nixon’s presidency. The journalists and editor Ben Bradlee, says Barbara A. Perry, Gerald L. Baliles Professor and Presidential Studies director at the University of Virginia’s Miller Center, are “genuine American heroes.”
Just four years after the break-in, Alan J. Pakula’s film was released, with Robert Redford and Dustin Hoffman playing Woodward and Bernstein, respectively, in their dogged hunt for the truth. Pakula and screenwriter William Goldman finessed their journalistic pursuit into a nerve-wracking detective story with shadowy garage basement face-offs. Unlike Woodward and Bernstein’s book of the same name, the film focuses less on the actual details of Watergate, instead homing in on the personalities and procedures behind one of the biggest investigations of the 20th century, and important real-life supporting characters like Washington Post’spublisher Katharine Graham are left out. Its picture of the impact of the investigation, however, is very real. The film nabbed eight Oscar nominations; 20 years later, longtime Post writer Ken Ringle called it “the best film ever made about the craft of journalism.” — Andrew R. Chow and Cady Lang
1. Dog Day Afternoon (1975)
Al Pacino has played many criminal masterminds over the course of his career, but John Wojtowicz isn’t one of them. On a scorching 1972 summer day, the Vietnam War veteran made a clumsy attempt to rob a Brooklyn bank, only to be penned in with hostages for a 14-hour standoff. Sidney Lumet’s Dog Day Afternoon depicts the agonizing time spent inside the bank, during which Wojtowicz agonized over his actions and unexpectedly bonded with some of his captives. Among our pool of 10 historians and 10 TIME staffers, everyone who had seen the film ranked it either “great” or “fantastic”—and, points out historian Annette Gordon-Reed, Pacino’s “explosive performance” also created a bit of history, in the form of the 1970s catchphrase “Attica! Attica!”
After the film’s release, Wojtowicz complained in a letter written from prison that the film was only “30% true,” although he also called Pacino’s depiction of himself “flawless.” However, some reporters have cast skepticism on Wojtowicz’s version of events, saying that his stated motive—to pay for a gender-reassignment surgery for his lover Liz Eden—was a cover for a mafia plot. Whether or not the movie was accurate, Wojtowicz is right about one thing: Pacino is undeniably fantastic, imbuing the character with pathos and pent-up frantic energy. The film would make Wojtowicz a folk hero to many—and actually did help fund Eden’s real-life surgery. — Andrew R. Chow
Correction, Nov. 20.
The original version of this story misstated Solomon Northup’s last name in three instances. It is Northup, not Northrup.
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https://www.themarysue.com/does-the-cat-survive-a-quiet-place-day-one/
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en
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Does the Cat Survive 'A Quiet Place: Day One'? Answered
|
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2024-06-27T22:05:57+00:00
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Worried about whether or not the cat survives 'A Quiet Place: Day One'? Don't worry, so is half the internet.
|
The Mary Sue
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https://www.themarysue.com/does-the-cat-survive-a-quiet-place-day-one/
|
If you talk about A Quiet Place: Day One on social media, people have one question for you: Does the cat survive? Frodo (played by Schnitzel and Nico) has taken the internet by storm. He is Sam’s (Lupita Nyong’o) cat and we just want to make sure he’s okay!
Recommended Videos
Trust me, going into my screening of the movie it was a topic of conversation. Many of the other journalists thought that the cat was going to die because Frodo is not featured in the trailers outside of a few key moments. But I am a cat owner, I know how these little creatures function. If a cat is scared, they will find a way to protect themselves.
There were moments when I was afraid for Frodo but our guy had it covered. So in short: No, Frodo does not die. But let’s talk about why Frodo is the best character in the entire movie!
**Slight spoilers for A Quiet Place: Day One lie ahead**
Frodo is Sam’s service animal. Sam has cancer and is living in a hospice facility when we meet her prior to the invasion, and she has Frodo with her when she gets trapped in New York. For the most part, Frodo gets to just walk around and be free but also Frodo knows better than to make noise.
I will say, Frodo does a great job of being an emotional support animal when needed. At one point, Eric (Joseph Quinn) is struggling with everything happening around him, and Frodo lets him hold onto him and take comfort in the cat.
Throughout it all, he stays close to Sam and Eric (even if that does mean going off on his own sometimes) and always makes sure to stay silent during it all. Frodo is the best little guy and I loved him so I know how it feels wondering if the cat survives the movie.
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| 69 |
https://www.seanpcarlin.com/star-trek-save-the-cat-genres/
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en
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Classifying the “Star Trek” Movies by Their “Save the Cat!” Genre Categories — Sean P Carlin
|
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"Sean P Carlin"
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2016-12-16T12:00:46+00:00
|
Star Trek turned fifty this year (something older than me, mercifully), but you needn’t be a fan to appreciate some of the lessons writers of fiction can take from its successes and failures during its five-decade voyage. I mean, I probably wouldn’t myself qualify as a “Trekkie”—I simply don’t get caught up in the minutiae. […]
|
en
|
Sean P Carlin
|
https://www.seanpcarlin.com/star-trek-save-the-cat-genres/
|
Star Trek turned fifty this year (something older than me, mercifully), but you needn’t be a fan to appreciate some of the lessons writers of fiction can take from its successes and failures during its five-decade voyage. I mean, I probably wouldn’t myself qualify as a “Trekkie”—I simply don’t get caught up in the minutiae. What I’ve always responded to in Trek is its thoughtful storytelling and philosophical profundity. “Even the original series, for all its chintziness,” someone told me when I was thirteen, “it was still the thinking man’s show.”
I recall watching The Original Series in syndication, and being swept away by the classic time-travel episode “The City on the Edge of Forever”; finally I understood that Trek was about ideas, and those could be just as thrilling—more so, in fact—than set pieces. Anyone who was around for it certainly remembers the excitement when The Next Generation premiered, unknowingly kicking off perhaps the first major-media “shared fictional universe” two decades before Marvel got there. I watched the pilot with my father—which was a big deal, since television wasn’t his thing (the nightly news excepting)—and I haven’t forgotten his lovely, two-word appraisal of the first episode when it was over: “It’s kind,” he said, with no further elaboration.
It took some years to fully appreciate that assessment. Having grown up on the adventures of James T. Kirk, the original captain’s renegade spirit and cowboy diplomacy appealed to my juvenile worldview; Picard, on the other hand, seemed like a high-school principal in comparison. But over time, I came to identify with Picard’s genteel, introspective mindset, and every line he uttered—even the technobabble—sounded like poetry from the mouth of Patrick Stewart, who endowed his performance with such dignity and conviction. For me, the best part of Star Trek was getting Picard’s closing takeaway on the issue du jour.
The franchise continued to grow as I did, and my wife, whom I started dating at nineteen, was as much a fan as I was, it turned out, and we looked forward every few years to the next feature film, until the series finally, against all expectation, sputtered out with Nemesis (2002) and Enterprise (2001–2005). Among other reasons for that, Trek had been eclipsed by a new sci-fi franchise—The Matrix—that spoke to the ethos of our new Digital Age. Perhaps more than any other genre, science fiction needs to reflect its times, and times change; finality is something to be accepted—embraced, even—not feared. The Enterprise, thusly, had been decommissioned.
FUTURE IN THE PAST
So it is with no small degree of irony, then, that a series that was about looking ahead and exploring new frontiers has been given a nostalgic retrofit by Hollywood. And while it was a special thrill to see Nimoy reprise his signature role in Star Trek (2009), and the movie itself couldn’t be more entertaining, it lacks the existential heft that makes the franchise so intellectually nourishing; as my mentor David Freeman once put it: It’s all frosting, no cake. In some respects, the new movies owe more to Star Wars (another aging franchise filmmaker J. J. Abrams has revived—somebody please stop him) than Star Trek: They put a premium on spectacle over intellectualism, forsaking the insight into human nature that was the hallmark—the point, even—of the series in favor of CGI-conjured whiz-bang action; in other words: set pieces. Sure, the papier-mâché landscapes of TOS and TNG’s alien worlds didn’t have any palpable weight to them, but the stories they serviced typically did.
As such, this year’s Star Trek Beyond is the first Trek feature in thirty years I’ve missed seeing in theaters, although the oversight was entirely intentional. I heard the filmmakers, including producer Abrams and screenwriter/co-star Simon Pegg, on the promotional circuit earlier this summer insisting that “we need Star Trek now more than ever.” I couldn’t disagree more: The continuation of Star Trek is, to borrow the phrasing of Watchmen scribe Alan Moore, yet one more instance of “the ephemera of a previous century squatting possessively on the cultural stage and refusing to allow this surely unprecedented era to develop a culture of its own, relevant and sufficient to its times.” It is a Space Age relic, with no sociocultural significance here in the twenty-first century, hence the reason, I suspect, I wasn’t the only one who sat out this year’s offering. We the audience decide what we need, not corporations, and it is the duty of filmmakers and artists to respond to that very cultural feedback. The zeitgeist isn’t something that can be engineered by cynical studio execs through marketing campaigns. Hell, there is perhaps no greater testament to that than the belated success of Star Trek: The Original Series itself in the 1970s, which transcended the impatient ratings demands of network television that led to its premature cancellation to become one of the definitive sci-fi sagas of the late twentieth century.
The new movie’s title is one I find personally ironic, because there is no Star Trek beyond this for me, including the upcoming TV series, Star Trek: Discovery. With the underwhelming performance of Beyond (despite generally good reviews), the franchise now finds itself commercially vulnerable, if not imperiled, only a few short years after “rebooting”: Consider that it took nearly four decades for the “Rodenberry timeline” (meaning TOS through the TNG feature films) to run out of steam, but the reboot managed the same in a mere seven years, making Star Trek’s irrelevance in this new millennium mathematically quantifiable. Having already revamped the series so recently, I’ve no doubt panicked arguments are underway about the creative direction to take from here so Hollywood might save this dying cash cow yet. But I say—to echo Kirk’s sentiments about the extinction-threatened Klingon race in The Undiscovered Country—let it die.
Hollywood, to be sure, won’t learn any lessons from Trek’s rise and fall—from its creative prosperity and decline. Studio executives, in my experience, have no shortage of opinions—which they assert with complete confidence in their own perceived authority on matters of storytelling—but pitifully little, if any, command of craft (thumbing through Save the Cat! once does not an expert make). But you and I know that mastering the discipline takes years of dedicated practice, and any work of fiction that has spawned countless iterations over half a century merits closer study.
LESSONS FROM TREK IN STRUCTURE AND GENRE
I’ve illustrated on this blog how narratives in the Western tradition adhere a mythic structure known as Joseph Campbell’s “hero’s journey”—also referred to as the “monomyth” or Aristotelian arc—in which a protagonist finds his status quo upended, then must embark on an adventure to restore it, which entails a series of prescribed stages (or “beats” in screenwriting parlance) that form the same underlying foundation of all stories, across all eras, regardless of tone or theme or genre:
In his Save the Cat! books, late screenwriter Blake Snyder demonstrated that the monomyth serves as the macrostructural framework for what he identified as ten distinct “genres”—story models that have nothing to do with generic labels like “science fiction” and “horror” and “comedy”—each defined by its own set of time-honored narrative conventions: Monster in the House concerns itself with overcoming a monster (Alien; Jaws); Golden Fleece is about attaining a defined prize (Raiders of the Lost Ark; Ocean’s Eleven); Buddy Love dramatizes the complications that conspire to keep lovers apart (Titanic; When Harry Met Sally…); etc.
The monomyth (or “beat sheet,” as Snyder rechristened it) provides the architectural blueprint for an emotionally resonant narrative; the genre categories themselves supply the essential ingredients each particular story model is required to incorporate (three apiece) in order to deliver upon audience expectations, which is why it is not only crucial to outline your plot on a beat sheet as you develop it, but to research cinematic and literary antecedents in your story’s particular genre to study how those requirements have been previously fulfilled.
Those ten genre categories are one of the most essential tools in a storyteller’s repertoire (genre, along with structure, characterization, and postnarrativity, is one of the four pillars of narrative); most unsuccessful stories either fail to meet their conventional criteria, or make the fatal mistake of mixing elements from different genres (like Winter’s Tale, which starts as Buddy Love and then switches halfway through to Superhero). To be clear: A story cannot serve two masters—it cannot be faithful to the conventions of more than one narrative model at a time. However, a new installment in an ongoing series presents an opportunity to use familiar concepts and characters in an altogether new genre, and switching story models is exactly what some multipart movie series—including Star Wars, Mad Max, The Hunger Games, and Rambo—have done to combat creative stagnation. Rather than “blowing up the balloon”—i.e., doing the same shit you did last time, just on a bigger scale—“which sequels get into trouble doing,” to quote Dark Knight director Christopher Nolan, Star Trek would routinely shift genres, which surely accounts, at least in part, for why it was able to thrive creatively for so long: Though the characters and aesthetics were consistent and familiar from film to film, the structure and conventions of each individual narrative weren’t necessarily the same each time out. That allowed for the series to periodically reinvent itself—to remain vibrant, even unpredictable.
Of the ten different genre classifications, Star Trek has utilized—in what must surely be a record for a long-running series—half a dozen across thirteen feature films. What’s more, the series’ creative highs and lows are, for the most part, directly attributable to the particular genre that was chosen for any given installment, and whether or not its corresponding conventions were complied with. Let’s review and classify each film:
Star Trek: The Motion Picture (1979)
Genre: Golden Fleece (“Epic Fleece”)
Conventions: Road, Team, Prize
The crew of the USS Enterprise (Team) reunites and sets out to intercept a destructive extraterrestrial energy cloud (Road) before it reaches Earth and annihilates the planet (Prize). Textbook Golden Fleece, which makes sense for a series predicted on the tropes of adventure and exploration. This episode is certainly slowly paced, as it’s been thoroughly criticized for, but also reaches heights of space-operatic grandeur never quite achieved by Trek before or since.
Star Trek II: The Wrath of Khan (1982)
Genre: Superhero (“Fantasy Superhero”)
Conventions: Special Power, Nemesis, Curse
Star Trek has often been compared to Star Wars, but this is perhaps the only way in which they are even remotely similar: Both film franchises debuted as Golden Fleece before switching to Superhero for superior second installments. James Kirk is recast as a Superhero here; note the way he is introduced against dramatic backlighting, his approaching silhouette regarded with awe by slack-jawed spectators. Kirk is a legend—a man who routinely cheats death (Special Power), the only cadet in the history of Starfleet to have triumphed over the unbeatable Kobayashi Maru training exercise. He doesn’t believe in a no-win situation, a foolhardy outlook (Curse) that will be shattered by the climactic death of his friend and first officer, Spock.
Unhappily squandering his superheroic talents in an administrative job at the start of the story, Kirk is drawn back into galactic combat by a vengeful antagonist from the TV series, Khan Noonien Singh (Nemesis), who blames the captain for the death of his wife. It is often argued the franchise’s villainy peaked with Khan, and perhaps the producers realized—if even unconsciously—that he would indeed be a hard act to follow, so they returned to the Golden Fleece paradigm next, rather than pursuing the Superhero model which would have required them to devise a new and worthy Nemesis with each installment, à la Batman and Bond, a feat that can be an insurmountable creative challenge for an ongoing series like this.
Star Trek III: The Search for Spock (1984)
Genre: Golden Fleece (“Epic Fleece”)
Conventions: Road, Team, Prize
The film’s subtitle tips its hat, genre-wise: Kirk and crew (Team) go rogue, stealing the Enterprise in order to travel to the Genesis planet (Road) and recover the reanimated body of their fallen comrade, Spock, so they might bring him to Vulcan and restore his living spirit (Prize), which has been housed in McCoy (and is consequently destabilizing the doctor’s health).
Star Trek IV: The Voyage Home (1986)
Genre: Golden Fleece (“Epic Fleece”)
Conventions: Road, Team, Prize
This time, Kirk, Spock, McCoy, et al. (Team), must travel back in time to San Francisco circa 1986 (Road) to retrieve a pair of humpback whales (Prize), the only lifeform capable of communicating with an alien probe that speaks in whale song, its unanswered transmissions—on account of the species’ extinction by the twenty-third century—throwing the planet into cataclysmic upheaval. Aside from being the most commercially accessible of the Trek films to date—tremendous situational humor was mined from the story’s fish-out-of-water premise, performed to perfection by a cast that had been honing its one-of-a-kind chemistry for two decades—The Voyage Home succeeds in accomplishing something almost no other movie in the franchise has managed: giving all seven crewmembers, and not just the core triumvirate, something genuinely meaningful to do, plot-wise.
Star Trek V: The Final Frontier (1989)
Lots to unpack here. This was the first box-office disappointment of the series, and it’s not too hard, upon analysis, to understand why: Though not without its charms, The Final Frontier is structurally problematic. The Enterprise crew (Team) find their shore leave suddenly canceled when they are ordered by Starfleet to effect a hostage rescue (Prize) on an alien planet (Road). So, from the (overlong) setup, we seem to be dealing with a Golden Fleece.
But not so fast. Upon reaching the hostages (at the first act break), Kirk learns it was all a ruse by Spock’s estranged half-brother, Sybok, to hijack the Enterprise so he might use it to reach a mythical planet at the center of the galaxy (called Sha Ka Ree) where he believes God resides; the hostages themselves are pretty much sidelined for the rest of the movie, which rules out Golden Fleece in favor of… what? Well, one could almost argue at this point the film is Dude with a Problem, with the ambushed crew (Innocent Hero) held hostage aboard their own ship (Sudden Event) as Sybok takes it on what is surely a suicide mission through an impenetrable cosmic barrier (Life-or-Death Battle). Except… after the Enterprise is commandeered, there isn’t much “life-or-death” about any of what transpires; on the contrary, as a villain, Sybok exhibits pacifistic tendencies: He repeatedly goes out of his way not to inflict violence! Kirk, Spock, and McCoy are merely consigned to the brig—and given ample opportunity to get voluntarily on board with Sybok’s plan—while the Enterprise travels to Sha Ka Ree. Contrast that with the escalating test-of-survival complications of other outer-space DWAPs, like The Martian and Gravity, and it becomes clear Final Frontier doesn’t fit the bill.
So that brings us back to the question of whether this is a Golden Fleece about an odyssey to find God. There are several problems with this. First, the “antagonist” (though Sybok is hardly much of one) drives the entire plot while the heroes mostly just spin their wheels either in captivity or under his hypnotic spell. Second, the Enterprise seems to reach its destination pretty quickly (it’s hardly a Road of Trials) and they penetrate the supposedly impregnable energy barrier without much difficulty, save a little signature camera shaking. Upon reaching the fabled planet on the other side, Kirk and crew then peacefully accompany Sybok to the surface—‘cause why not?—where they encounter “God,” immediately expose the spurious deity as a fraud, and rather easily defeat him. Grafted onto all of this, I should mention, is a subplot about a Klingon warship pursuing the Enterprise for sport, but it has no relevance to the main plotline other than to add conflict at the climax. Because the movie lacks a clear through-line—a proactive goal with mounting causal obstacles—the writers kept throwing new out-of-nowhere forces of antagonism at the heroes, but none of it adds up to a plot with any suspense or meaning.
On that last point, the movie is also thematically unfocused. The plot is, ostensibly, about a literal search for God, but none of the characters are in the throes of any kind of spiritual crisis at the outset of the story—the events of the plot don’t correspond with a transformational arc on the part of any of the heroes. Sybok possesses the not-adequately-explained power to relieve people of their innermost psychic wounds, but, to reiterate, none of the crewmembers find themselves in a state of emotional anguish when they are reintroduced to us, so it doesn’t resonate in any meaningful way. There’s some talk at the beginning and end of the movie about Kirk’s prophecy that he’ll “die alone,” but that has nothing to do with the quest for God nor the ability to alleviate unconfronted trauma. (Grappling with issues of mortality during the crusade for a “cosmic solution” to such an existential malady was handled with far more resonance and complexity in Star Trek Generations, which we’ll discuss in a minute.) Other recurring philosophical motifs include the notion that “life is but a dream,” and that Starfleet officers, unlike “normal” people, don’t have families, and there seems to be an animus on the part of the filmmakers to expose televangelists as bullshit artists, but again: It’s all paid lip service; none of it is handled with any depth, because none of those thematics are explored through dramatization—they’re just conversations that happen over the course of a scattershot plot that doesn’t offer them any structural framework in which to cultivate and evolve. As such, The Final Frontier defies genre classification; it’s a very sloppy piece of storytelling that coasts—and barely, at that—on the polished interplay between Kirk, McCoy, and Spock (the last of whom, in a tribute to Nimoy’s singular talents, manages to convey true pathos in otherwise silly outing).
There are those that might exploit this as an opportunity to argue that—see?—not all movies fit within Blake Snyder’s ten genre categories, after all, but I would counter by suggesting that all creatively effective ones do. One last note: The Final Frontier was rushed into production during the 1988 Writers Guild strike, which may have very well contributed to the script problems that sadly plague the finished film.
Star Trek VI: The Undiscovered Country (1991)
Genre: Whydunit (“Fantasy Whydunit”)
Conventions: Detective, Secret, Dark Turn
And now for something completely different: a locked-room murder mystery set aboard the Enterprise. In order to exonerate Kirk and McCoy, Mr. Spock (Detective) must discover the identity of the Klingon chancellor’s assassin (Secret), an investigation that exposes both a conspiracy between Federation and Klingon officials alike to undermine the fragile peace negotiations underway as well as a traitor among the ranks of the Enterprise crew (Dark Turn). In contrast with The Final Frontier, note the thematic unification of this movie: Every character is wrestling with the fear of change the future threatens—the “undiscovered country”—be it death, retirement, cultural assimilation, or aging into obsolescence. The anxiety from that uncertainty is reflected in—exacerbated by, even—the ticking-clock mystery of who killed the chancellor. This is my favorite of the original crew’s adventures, and what a high note to go out on.
Star Trek Generations (1994)
Genre: Golden Fleece (“Epic Fleece”)
Conventions: Road, Team, Prize
Here’s a movie that had the unique challenge of being both a sequel to The Next Generation TV series and the six features that came before it—as well as having to stand on its own two legs—and boy did it rise to the occasion. With millions of lives at stake, Picard and Kirk (Team) must prevent a mad scientist from destroying a star (Prize), a mission that takes them into an extradimensional realm (Road) in which both death and time are rendered moot.
Most critics dismissed this effort as a mere “two-hour installment of The Next Generation”—and it does in many ways reflect the pacing and particular storytelling approach of the series (which was still in production as filming on Generations commenced)—but there’s some remarkable screenwriting at work here that, in my view, went unappreciated, especially given all this movie had to do as a franchise turning point. First off, the conceit of a “temporal nexus”—an elysian dreamland where one’s past, present, and idealized future can be visited and revisited at will—was a brilliant sci-fi whatsit to bridge the eighty-year gap between the two generations without resorting to conventional time travel (which had been done so often before). Furthermore, far from a mere plot device, the Nexus directly reflects and challenges the emotional issues of both the heroes (Picard is dealing with the recent tragic death of his nephew, the family’s last male heir; Kirk is feeling used up and useless in retirement) and the villain (Malcolm McDowell’s Dr. Soran is grieving the inconsolable loss of his family, killed off-screen by the Borg). Also, unlike The Final Frontier, issues of mortality and legacy are explored—are dramatized—with real nuance here. (See how the guiding principles of structure and genre bring out the full potential of a story, rather than restricting it as some would insist?) And how Dr. Soran isn’t regarded as one of the great Trek antagonists alongside Khan I’ll never know: Soran is a man who rejects the truth of his existence—his mortality—in favor of the “new truth” presented by the Nexus; surely the screenwriters had Søren Kierkegaard’s concept of “Truth as Subjectivity” in mind when they named him? For its narrative ambition, philosophical weight, and long-awaited team-up of Shatner and Stewart (who exhibited great chemistry), this is my personal favorite of any of the Trek feature films, be it TOS, TNG, or the Abrams reboots.
Star Trek: First Contact (1996)
Genre: Golden Fleece (“Epic Fleece”)
Conventions: Road, Team, Prize
When the Borg alter history by going back in time and assimilating Earth, Captain Picard and the crew of the Enterprise-E (Team) follow them to the year 2063 (Road), where they attempt to stop them before they can enslave humanity and prevent first contact with the Vulcans (Prize).
This is generally considered to be the best of the Next Gen cinematic outings; however, given my contrarian proclivities, I am going to argue that just as the last entry is underrated, First Contact is overrated. It is, to be sure, not without merit, with a typically commanding performance from Stewart, fully realized Borg effects (what a difference a movie-sized budget makes), and thrilling sequences aboard the Borged-out corridors of the Enterprise that rival Alien for toe-curling suspense. It just seems apparent to me, upon recently reviewing it, that there is a Superhero movie here struggling to emerge from the constraints of First Contact’s Golden Fleece plot.
According to Wikipedia, during the development process, producer Rick Berman envisioned a time-travel story, whereas screenwriters Brannon Braga and Ronald D. Moore wanted to revisit the Borg; they ultimately combined both ideas, which I think was a mistake: Picard’s unique history with the Borg is forced to compete for screen time with the motions of a standard-issue time-travel plot (something that had been so deftly eschewed in Generations) when it could have served as the basis for TNG’s very own Wrath of Khan.
Try this on for size: When a new Borg threat emerges (in the twenty-fourth century—forget the time-travel plotline), Picard is ordered by Starfleet to intervene specifically on account of his telepathic link to the Collective (Special Power), with no regard for the PTSD that still plagues him from his assimilation six years earlier. As such, Picard’s obsessive need for vengeance (Curse) jeopardizes the mission—and the welfare of millions—and puts him on a collision course with the Borg Queen (Nemesis), who still hopes to reintegrate the captain into the Collective.
To be fair, there are echoes of what I suggest above in the finished film; I simply rearranged the components and liberated them from the Golden Fleece time-travel plot that kept them from reaching their full potential. They didn’t need the time-travel plotline, and by placing too much at stake—both the enslavement of humanity and first contact (what screenwriters call heaping bananas on bananas)—they muddled what should have been a clearer through-line. As it stands, First Contact is a perfectly entertaining Star Trek adventure (certainly heaps better than Final Frontier, the last movie in this series to bungle its narrative model), but it could’ve been one of the all-time greats had the producers chosen their genre more judiciously—and consciously. Yet one more reason to practice—and master—these tools.
Star Trek: Insurrection (1998)
Genre: Institutionalized (“Military Institution”)
Conventions: Group, Choice, Sacrifice
When the Federation he is sworn to serve (Group) plots the forced relocation of a small population of peaceful settlers living on a fountain-of-youth planet—an act Picard finds morally objectionable but is nonetheless required as a Starfleet officer to comply with (Choice)—he risks his career (Sacrifice) by defying orders to defend the unarmed inhabitants from the tyranny of his own people.
As previously stated, the series has always been about adventure and exploration, but given that its very premise rests on a military framework, it’s remarkable it took nine big-screen voyages to finally give Trek the Institutionalized treatment; up till now, the Federation was pretty much depicted as a noble and functional governing body. Institutionalized stories are typically about characters with equal and incompatible loyalties to two different organizations/establishments/ideologies; they must choose one over the other. At the beginning of Insurrection, Picard laments that his function as an intergalactic diplomat—a de facto politician and agent of Starfleet—has superseded his original (and preferred) role as explorer, and the story forces him to make the ultimate choice between the irreconcilable institutions of his duty and his conscience. Kirk and Picard, for all their dispositional differences, were both reliably morally upstanding heroes, and Insurrection was an overdue reminder that doing the right thing comes at a cost, and that principles require sacrifice if they are to have any meaning.
That said, critics managed to dismiss this one as too “lightweight,” and indeed its “low”-stakes plot is even acknowledged by the characters themselves: “It’s only six hundred people,” the corrupt admiral points out in defense of his actions, to which Picard replies, “How many people does it take before it becomes wrong?” Critics missed the point, and would probably welcome, in our current blockbuster climate, a franchise offering like Insurrection today—one in which the Fate of the Galaxy doesn’t need to be at stake so long as we’re invested in the plight of the characters. As such, this is my favorite of the purely TNG feature films.
Star Trek: Nemesis (2002)
Genre: Superhero (“Fantasy Superhero”)
Conventions: Special Power, Nemesis, Curse
The Enterprise is dispatched to Romulus to assess an overture of peace from its new praetor, Shinzon, who is revealed to be a clone of Picard—one whose life depends on a DNA transfusion from the captain himself. In addition to this, there is some de rigueur business about Shinzon’s secret plot to eradicate all life on earth… blah, blah, blah.
Oh, boy—where to start? In what was clearly a case of Khan envy, TNG attempted to have its own definitive Superhero story. The problem was, they’d already had the perfect opportunity for that—First Contact—and blew it on a more whimsical Golden Fleece plotline. So they created a Nemesis here that could compete with Khan—a younger, diabolical version of Picard—but it doesn’t work for several reasons. One: Picard has no history with Shinzon, as he did with the Borg, and as Kirk did with Khan, so there’s no backstory to play with (not that that’s a prerequisite in Superhero stories, but it historically makes for more compelling conflict). Second, Picard is not in crisis when we meet him at the beginning of this movie, unlike where he was in First Contact (which opens with one of his PTSD-induced fever dreams); he therefore has no character arc to speak of. For that matter, Picard isn’t even established as much of a Superhero here! For all their effort to create a memorable Nemesis (hence the movie’s subtitle), the screenwriters at no point established a Special Power or Curse for Picard as they had in First Contact (his telepathic link to the Collective and his desire for vengeance), and as they had for Kirk in The Wrath of Khan. What Nemesis has instead is a villain who drives the overcomplicated plot entirely (a mistake made in Final Frontier, as well), with a protagonist who simply reacts to each new act of villainy without any personal/emotional stake in the story.
As it stands, Nemesis is a perfect example of how genre is defined by conventions, and a storyteller defies or ignores those expectations at his peril (something I criticized Twilight for doing). This is a Superhero story—I guess (it surely doesn’t fit any other known narrative model)—but a very unsuccessful one, at that, as two out of the genre’s three narrative requirements are not met. Of the initial ten features, I rank this one a distant tenth—even behind Final Frontier, because it was the first (and only) Trek feature to be an utterly joyless experience. This movie’s creative and box-office failure put the kibosh, sadly, on any further TNG adventures. What an ignoble end to what had been an otherwise exemplary franchise.
Star Trek (2009)
Genre: Buddy Love (“Professional Love”)
Conventions: Incomplete Hero, Counterpart, Complication
In J. J. Abrams’ prequel-cum-reboot, two young Starfleet officers—a brash, self-confident hothead by the name of James Kirk (Incomplete Hero) and a logical, emotionless social outcast known only as Spock (Counterpart)—find themselves locked in a power struggle for control of the Enterprise when her captain is taken prisoner by a vengeful Romulan who plans to destroy the Federation’s base of operations: Earth (Complication).
Reframing Star Trek as Buddy Love was definitely taking the franchise where it hadn’t gone before! It makes sense, since the essence—the heart—of classic Trek was always in the dichotomy between the opposing viewpoints of Kirk and Spock (with McCoy rounding out the triumvirate as the voice of reason willing to call both of them out on their bullshit). But… the ideological differences between the captain and his first officer were always previously made to serve more than just as instruments of suspense and emotional resonance, crucial as those are, but as a means of exploring the philosophical concerns of the story. Except there’s none of the latter to be found here. Whereas The Motion Picture was more preoccupied with being deep than interesting, this movie is ultimately more interesting than deep. But it is interesting—and wholly entertaining. It’s just a shame it had to take the franchise backwards instead of advancing it, but such is the nostalgic state of our culture at present with an emotionally traumatized Gen X at the helm.
Star Trek Into Darkness (2013)
Genre: Superhero (“Fantasy Superhero”)
Conventions: Special Power, Nemesis, Curse
As noted earlier, Khan casts a long shadow over this franchise, with TNG reaching for such epic cinematic heights only to plunge to its death, and then Abrams took his own shot at it—with controversial results. Since taking command of the Enterprise, Kirk has proven himself to be the most innovative, most proactively daring captain in Starfleet (Special Power), with a willingness to do what needs to be done—rules and regulations be damned (Curse). As such, when the Starfleet brass are assassinated in a terrorist attack on their headquarters, the recently demoted Kirk is hand-selected by the lone surviving admiral to find the man responsible and kill him—a fiend who turns out to be the genetically engineered superhuman Khan (Nemesis). However, when Kirk tables his need for vengeance and opts instead to arrest Khan, he learns it was the admiral himself who awakened Khan from stasis, and sent the reliably impetuous Kirk to clean up his mess. Complications ensue, and Kirk finally earns his captainship—the one taken from him via demotion—by sacrificing his life for his crew, with Spock, in a reversal of their roles in Wrath of Khan, pursuing Khan in an action-packed climax that culminates in the villain’s capture, where the regenerative properties of Khan’s blood are harvested to resurrect Kirk. (If all that sounds a little convoluted, blame the screenwriters, not me; I had no trouble summarizing the previous entries in a single logline apiece.)
This is certainly more identifiably Superhero than Nemesis was, but, despite top-notch effects and thrilling action sequences, it isn’t as good as The Wrath of Khan for a number of reasons. One: Unlike the classic Shatner/Montalbán movie (which was itself a direct sequel to an episode of the TV series that had aired fifteen years prior), this Kirk and Khan have no shared history together (something that tripped up Nemesis, as well); Khan has no personal beef with the captain, other than as a fly in his ointment. Khan doesn’t even draw Kirk into the events of the plot—a secondary villain (the admiral) does! On that same note, this Kirk only has one previous adventure on his résumé, which renders him considerably less impressively “superheroic” than Shatner’s Kirk, who, at the time of Star Trek II, had earned his reputation as a legendary captain from his exploits in the original series, the animated series, and the first feature film. It made sense to elevate him to Superhero at that point in his storied career; Pine’s still-green Kirk… not so much. He hadn’t yet attained that degree of goodwill from the audience.
Also: The Kirk and Khan of Into Darkness are not ideologically opposed the way a good hero and villain should be (like Picard and Soran in Generations); they’re just on opposite ends of the (galactic) law. Once again, Abrams’ Trek movies fail to be about anything existential or philosophical. Lastly, in the filmmakers’ attempt to differentiate Into Darkness from Wrath of Khan, Kirk and Khan are robbed of the opportunity to go mano a mano in the last act; I appreciate the subversion of expectations they were attempting, but I don’t know that I found it all that satisfying.
Star Trek Beyond (2016)
Genre: Dude with a Problem (“Epic Problem”)
Conventions: Innocent Hero, Sudden Event, Life-or-Death Battle
When a rescue mission turns into an ambush that destroys the Enterprise and sends her devastated remains hurtling toward an alien world (Sudden Event), her crew (Innocent Hero) are forced to abandon ship, and end up scattered across the planet’s surface, some of them captured, some wounded, and all fighting for survival (Life-or-Death Battle) against a new adversary who wants a cosmic artifact (that had been housed aboard the Enterprise) capable of destroying a Federation Starbase.
Once again, Trek tries a new story model—its sixth (of ten total categories): Dude with a Problem. And unlike Final Frontier, the screenwriters clearly understood that the Life-or-Death Battle is the meat and potatoes of this genre—that’s your entire second act—which, in this instance, is driven by a single antagonist searching for a clear and tangible MacGuffin. As far as storytelling goes, this is a much more successful execution than what Final Frontier managed of a DWAP premise, a genre in which the life-threatening stakes must continue to intensify, whether we’re talking about a thriller (like Speed or Apollo 13) or even a comedic Dude with a Problem (such as Home Alone or Weekend at Bernie’s). So kudos on that.
But as a Star Trek story, Beyond suffers the same shortcoming as the last two installments: It isn’t about anything. Maybe even more so than Abrams’ two entries, this feels like it could be any old outer-space adventure film, and what do we need Star Trek for that when we now have the ever-expanding Star Wars universe? If you ever needed evidence that Trek is culturally irrelevant, this movie—and its tepid box-office—seal the deal. Creative as many of its action sequences may very well be, a series of set pieces is all this film amounts to: It asks no existential questions, provokes no thought or intellectual debate, offers no profound insights into human nature. There’s no “beyond” in Beyond—what you see is all it is.
Now, the intense nature of DWAP stories (like Die Hard and The Fugitive) often—though not always—make them more about tension than thematics (probably why Final Frontier struggled to make its grand notions about God work in that particular paradigm), and it’s almost as if by taking the franchise in that direction, the current custodians of it have doubled down on their commitment to Big Action over Big Ideas. If Final Frontier had too many thematic agenda, Beyond has none. Science fiction resonates when it strikes a balance between exciting, inventive action and contemporary social commentary; Star Trek, alas, has devolved into big-budget cosplay—a Halloween party full of costumed adults engaged in a meaningless mimetic exercise, all but forgotten come the next morning.
BEYOND STAR TREK
For fifteen years now, different producers have been trying, mostly without sustained success, to return this franchise to a place of cultural prominence: Nemesis tacked dark as an ill-conceived “corrective” to Insurrection’s lightheartedness; Enterprise schizophrenically tried for both Roddenberry-esque optimism and ham-fisted War on Terror analogs (the Suliban for the Taliban); J. J. Abrams went back to the well to perform old tricks on a refurbished stage, which seemed to work for about a movie and a half before audiences caught on. There’s a reason why the series’ heyday can’t be recaptured, and maybe it’s time we faced it: Star Trek is the sci-fi saga of a bygone century. Yet we keep taking its epithet as “the final frontier” at face value, endlessly revisiting its fictive universe to seek out old lifeforms and old civilizations in search of an old way of life—the analog age that gave birth both to Trek and to us—that’s gone forever, folks. So, rather than keeping this aging franchise on life support any longer, perhaps we can take a cue from its pioneering spirit and opt instead to explore new artistic frontiers—to boldly go forward on a quest for undiscovered cultural narratives instead of confining ourselves, holodeck-like, to the nostalgic recapitulation of yesteryear’s fantasies.
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https://deadline.com/2018/01/martin-scorsese-paramount-back-moma-republic-pictures-screening-series-1202240835/
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en
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Martin Scorsese, Paramount Back MoMA Republic Pictures Screening Series
|
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2018-01-11T19:01:32+00:00
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Martin Scorsese and Paramount Pictures and are backing the Museum of Modern Art's screenings of 30 films from Republic Pictures.
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en
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Deadline
|
https://deadline.com/2018/01/martin-scorsese-paramount-back-moma-republic-pictures-screening-series-1202240835/
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EXCLUSIVE: Martin Scorsese and Paramount Pictures are backing the Museum of Modern Art’s screenings of 30 restored films from Republic Pictures, a small but creatively resourceful studio that turned out a range of influential genre films from 1935 to 1959. The screening series will run in two parts, in February and August.
Martin Scorsese Presents Republic Rediscovered: New Restorations from Paramount Pictures is a two-part series organized by MoMA in association with Paramount and The Film Foundation, a preservation outfit created by Scorsese in 1990. The 30-film program begins on February 1 with Alfred Santell’s seldom-seen That Brennan Girl, and continues through February 15; the second installment is scheduled for August 9 to 23.
Curated by Scorsese, the program marks a rebirth for the Republic library, which is being restored and returned to wide distribution by Paramount. Republic Rediscovered is organized by Dave Kehr, a longtime film critic and historian who is now curator of the film department at MoMA.
Watch on Deadline
“From the ’30s through the ’50s, the different studio logos at the head of every picture carried their own associations and expectations,” Scorsese said. “And for me, the name Republic over the eagle on the mountain peak meant something special. Republic Pictures was what was known as a ‘poverty row’ studio, but what their pictures lacked in resources and prestige they made up for in inventiveness, surprise, and, in certain cases, true innovation. Among the many ‘B’ pictures produced at Republic in the studio’s heyday, there are so many titles that have been overlooked or forgotten; waiting for decades to be seen again.”
Jim Gianopulos, Paramount’s chairman and CEO, said the studio has devoted resources to the Republic titles. “As part of our commitment to honor the art of cinema and our legacy, Paramount Pictures has preserved more than 800 Republic Pictures films,” he said. “Thanks to the efforts of Martin Scorsese and The Film Foundation, audiences will see Paramount’s work to restore these films has been done with attention to every detail. The world will get to see them as they have not been seen since their original release.”
Often described as the “biggest little studio in Hollywood,” Republic is largely remembered today for its Saturday matinee serials and B Westerns shot in Encino and Studio City before suburban sprawl overtook the San Fernando Valley. (Its former lot in Studio City is now CBS Studio Center.) The studio had a far broader range than cowboy pictures, however, producing films across genres and budget levels, from gritty crime films like John H. Auer’s City that Never Sleeps to lush Technicolor romances such as Frank Borzage’s I’ve Always Loved You.
In the 1940s, Republic became a haven for several leading directors, including Borzage, John Ford and Allan Dwan. It also popularized a two-color process called Trucolor, a low-cost alternative to the three-color Technicolor process.
Andrea Kalas, VP of the archives at Paramount, will present “Republic Preserved,” a lecture with film clips on the Republic library and the process of revitalizing it, before the 2PM ET screening of Trigger, Jr. on February 4.
Here is a trailer for the program:
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https://time.com/5353143/sequels-better-than-original/
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39 Sequels That Are Better Than the Original Movie
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[
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[
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2018-08-30T13:39:04+00:00
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Find out which 39 sequels we deemed better than the original movie, from Logan to Thor: Ragnarok to Paddington 2 to Toy Story 3.
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en
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/favicon.ico
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TIME
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https://time.com/5353143/sequels-better-than-original/
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This list was originally published in 2018 and updated in 2022.
Crafting a good sequel can be daunting. The filmmaker must top the previous movie or in some cases redeem a flagging franchise. Often screenwriters fall back on rehashing old plot points, and studios assume “bigger is better” when it comes to budget and effects.
And yet some of the greatest films ever made are sequels: Movies like The Dark Knight, The Godfather Part II, Toy Story 3, The Empire Strikes Back and The Good, the Bad and the Ugly consistently appear on all-time best lists. Sequels that are better than the original build on what the audience already knows and loves about the franchise’s characters. Perhaps the movie throws the hero into a daunting situations that challenges their beliefs or forces them to evolve. Maybe the movie infuses humor in a traditionally tragic series or poignancy in a historically comedic franchise.
Such tricks can elevate a successful sequel that tops its predecessor. Here is a list of sequels we deemed better than the original.
Dune: Part Two (2024)
Denis Villeneuve’s first Dune movie had to do quite a bit of scene-setting. Frank Herbert’s 1965 sci-fi epic is complex, and Villeneuve wisely broke up the first book so as not to jam too much information into a single film. Still, despite great performances from the likes of Timothée Chalamet and Oscar Isaac and wondrous action sequences involving floating space soldiers, the first installment can play a bit slow. Not only does the action pick up in Dune: Part Two, but the actors imbue their roles with a little more personality. Zendaya, nothing but a vision in a dream in the first film, grounds the movie as a flesh-and-blood love interest skeptical of the mythology surrounding her lover. Javier Bardem finds genuine laughs from the self-serious sci-fi epic, Rebecca Ferguson finds disturbing dimensions to her role as the mother of the maybe-messiah, and Austin Butler commits fully to his role as a deranged, eyebrowless baddie.
Stream on MAX.
John Wick: Chapter 4 (2023)
John Wick’s original charm lay in its simple premise: Bad guy kills puppy; good guy goes on a murderous rampage to avenge the puppy’s death. Each new John Wick installment delved deeper into the lore of Wick’s world: We learned about a guild of assassins and the fancy hotels where they lay down their guns when they need a break. The ever-evolving rules of assassindom could get tiresome, but audiences’ affection for Keanu Reeves grew, culminating in an emotional (supposedly) final installment in the series with Chapter 4. John Wick: Chapter 4 is also a feat of stunt work. Any one of several spectacular set pieces could enshrine this franchise in cinematic history, but we’re partial to the stair fight.
Stream on Amazon.
Puss in Boots: The Last Wish (2022)
The third installment in the Puss in Boots series breathes new life into the decades-old franchise, originally a Shrek spinoff. The film begins with a bacchanal centered on the reckless, swashbuckling Puss (Antonio Banderas). Soon Puss finds out he’s on the last of his nine lives and must undergo some radical lifestyle changes if he hopes to survive. But it’s the new animation style that will entrance audiences. The animator completely rethought the look of the Puss in Boots franchise between installments. Taking a cue from the Spider-Verse animated movies, the Last Wish creators adopted a painterly style filled with rich colors that breaks from the rest of the Shrek cinematic universe and lends itself to Puss’ fairytale world.
Stream on Amazon.
Top Gun: Maverick (2022)
Top Gun is a classic, but the souped-up Top Gun: Maverick felt miraculous at a moment when almost every other action flick devolved into a CGI morass by its final fight. Tom Cruise, impressively or notoriously, depending on your perspective, performed his own stunts and insisted on the rest of the cast (including Miles Teller and Glen Powell) learning to fly fighter jets too. The dedication paid off. He produced a film that felt like a throwback to the blockbusters of yesteryear and happened to land just as we emerged from pandemic lockdowns, desperate for a fun summer romp. And unlike its macho 1986 predecessor, best known for that volleyball scene, Maverick offers a bit of meta-commentary on Cruise’s public persona as an actor. Maverick, like Cruise, must battle against both aging and advances in technology to prove his worth.
Stream on Amazon.
Mission: Impossible—Fallout (2018)
Some argue that the first Mission: Impossible (1996), a taut spy thriller directed by Brian de Palma, is the standout of the series. Others favor Ghost Protocol, Brad Bird’s gravity-defying movie that resurrected the franchise in 2011. But longtime Tom Cruise collaborator Christopher McQuarrie seems to know the star’s strengths best: Fallout offers jaw-dropping stunts, rendered all the more charming by Cruise’s willingness to occasionally stumble while performing them.
Stream on Amazon.
Paddington 2 (2018)
Paddington delighted critics in 2015. But Hugh Grant, who plays Phoenix Buchanan, carries Paddington 2 to new heights. Grant leans into the public’s perception of him as a narcissist to play a perfectly villainous actor who wants to thwart Paddington’s plans. And in this outing, Paddington, an immigrant who fights discrimination with decency and marmalade, becomes a poignant symbol of acceptance. As one critic wrote, “Paddington 2 is the Godfather Part II of Peruvian Bear movies.”
Stream on Amazon.
Thor: Ragnarok (2017)
The first Thor movie, released in 2011, was a decent but not particularly enthralling superhero film. Many critics dubbed the second one, which came out in 2013, the worst of the many Marvel movies. Let’s face it: the Norse God was a bore. His self-seriousness and faux-Shakespearean accent didn’t help. Enter Taika Waititi, an indie director with a quirky voice and a determination to showcase Chris Hemsworth’s comedy chops. Most superheroes wouldn’t risk being this delightfully weird. But the third Thor movie strips the superhero of all his courtly grandeur—as well as his long locks—and is all the better for it.
Stream on Amazon.
Logan (2017)
The first two Wolverine movies are among the worst in the X-Men canon. Hugh Jackman’s character continued to appear in X-Men movies, but avoided another standalone film. But James Mangold salvaged the series when he decided to go raw and gritty with the R-rated Logan. The movie managed to return to the true roots of the franchise—how to embrace what makes you different even in the face of persecution—in a new political context (Wolverine helps his vicious mini-me Laura literally run for the border.) The risk paid off, and Logan was nominated for Best Adapted Screenplay at the 90th Academy Awards, becoming the first live-action superhero film in that category. Logan was a fitting end for a troubled Wolverine trilogy—although its success has Jackman mulling a return to the franchise.
Stream on Amazon.
Mad Max: Fury Road (2015)
Mad Max: Road Warrior (1981) upped the thrill of the original Mad Max (1979). But director George Miller truly outdid himself with his latest excursion into a post-apocalyptic world, Fury Road. It’s unclear whether Fury Road is a sequel or a reboot. But the movie is the best the series has to offer. Updates in technology make for thrilling action sequences, and a surprising focus on feminist issues gave the film more meaning than the average summer popcorn flick. The real standout here is Charlize Theron’s Furiosa, an instant icon. The movie won six Oscars and was even nominated for Best Picture and Best Director—a rarity for a summer popcorn flick.
Stream on Amazon Prime.
Captain America: The Winter Soldier (2014)
Joe and Anthony Russo, now stewards of the Infinity War movies, cut their teeth on the second Captain America film. Captain America: The First Avenger was a solid origin story that grossed more than $370 million at the worldwide box office. But for the sequel, the Russos took the Cap out of his comfort zone by pitting the poster boy for truth and justice against the government he once revered. Channeling heroes from 70s thrillers like Three Days of the Condor, Chris Evans’ Captain America has never been more conflicted or better in action sequences. The success of Winter Soldier even won the Russo brothers the right to helm Captain America: Civil War and the Infinity War movies.
Stream on Disney+.
Dawn of the Planet of the Apes (2014)
Dawn of the Planet of the Apes is the most emotionally gripping, and arguably most philosophical, of the many Apes movies—including the the 1968 original. Director Matt Reeves builds a stunning and believable settlement for the apes with an educational system and distinct architecture to boot. Reeves also hones in on Andy Serkis’ moving performance as Caesar, a benevolent primate who struggles with both inter-ape and ape-human politics. The movie’s heart is bigger than that of any of its predecessors.
Stream on Hulu.
How to Train Your Dragon 2 (2014)
Debuting four years after the original, How to Train Your Dragon 2 proved more beautiful and more emotionally resonant than How to Train Your Dragon. Critics raved about how animators mastered the languid, hypnotizing movements of flight for the dragons and dancing for the humans. The movie also introduces an ice castle that doubles as a dragon sanctuary and puts the Frozen palace to shame. And while the battle sequences are bigger, the movie thrives when it dares to pause for quieter moments, like the romance between Cate Blanchett’s Valka and Gerard Butler’s Stoick.
Stream on Amazon.
Before Midnight (2013)
Before Sunrise, the first movie in Richard Linklater’s Before trilogy starring Ethan Hawke and Julie Delpy, had the perfect ambiguous ending. So why make a sequel? Despite the skepticism, the follow-ups, Before Sunset and Before Midnight, work beautifully. Linklater’s ingenious conceit to return to the same relationship every nine years captures how romance grows and changes, for better or worse. And with each installment, the series matures. Linklater, Hawke and Delpy—who write the scripts together—manage to capture how as the couple ages, they encounter more real-world problems. The most recent installment, set 18 years after the original, is the saddest but also the most poignant.
Stream on Amazon.
Fast Five (2011)
Before Fast Five came out, the Fast and Furious movies were just a series of loosely connected tales about drag racers. Fast Five turned the series into a full-fledged franchise that has grossed more than $1.5 billion at the box office. For the fifth installment, director Justin Lin wisely brings all the characters together from the previous films to create the broader “family” that Vin Diesel’s Dom obsesses over in subsequent movies. And Dwayne ‘The Rock’ Johnson is a brilliant addition. His over-the-top fight with Diesel (watch for when the Rock pulls off a bullet-proof vest that’s restraining his bulging muscles) proves that the franchise has developed a much-needed sense of humor about itself, even as its stunts became increasingly ludicrous.
Stream on Apple TV.
Toy Story 3 (2010)
Has any movie leveraged the emotional attachment of its audience to the franchise more effectively than Toy Story 3? Toy Story and Toy Story 2 were great, thoughtful movies about growing up. But they didn’t reduce their fans to puddles of tears. Fifteen years after the original film debuted, Andy is headed to college—just like all the boys and girls in the audience who grew up with Woody and Buzz. The movie grapples with aging and loss and—minor spoiler alert—manages to convince its audience, if only for a second, that a Disney kids’ franchise might actually kill off beloved characters. Talk about a guilt trip for any kid who abandoned their own toys in an attic before heading off to school.
Stream on Apple TV.
The Dark Knight (2008)
The Dark Knight isn’t just the best Batman film. It’s the best superhero movie ever made, thanks in no small part to Heath Ledger’s performance as the Joker. A villain can make or break a superhero movie, and Ledger’s Oscar-winning turn as the anarchic clown easily bests the ho-hum villain Scarecrow and the inscrutable Bane, not to mention Loki, Thanos and Lex Luthor. And while Dark Knight is gritty—a categorization that has doomed many a DC superhero film since—director Christopher Nolan effectively sets up an appropriate backdrop for the Joker’s terror. Gotham feels legitimately grimy and chaotic, a perfect setting for a laughing lunatic.
Stream on MAX.
Hellboy II: The Golden Army (2008)
Riding on the success of the first Hellboy comic book adaptation, writer-director Guillermo del Toro let loose all the monsters he’d been dreaming up for years in Hellboy II. There’s a character with a city’s skyline sitting atop his head and a vicious plant-monster that would scare even Little Shop of Horrors’ Audrey II. Hellboy II is more a spiritual sequel to Pan’s Labyrinth (or maybe a spiritual prequel to Shape of Water) than it is a traditional superhero movie. But its inventiveness and insistence that fantasy is a conduit for exploring human emotion make it a worthy entry on del Toro’s impressive resumé.
Stream on MAX.
The Bourne Ultimatum (2007)
Say what you will about the Bourne series’ shaky cameras. How could they possibly stay still in the face of so much action? Every Bourne movie is designed to get your heart pounding. Paul Greengrass, in his second outing in the Bourne series (he also directed The Bourne Supremacy), churns out a breathtaking two-hour chase scene. As Richard Corliss wrote at the time for TIME, the Bourne series is like a machine, and “in this third and possibly final episode…the series has come close to attaining a kinetic perfection.”
Stream on Amazon Prime.
Spider-Man 2 (2004)
The first Spider-Man movie starring Tobey Maguire and Kirsten Dunst remains one of best superhero origin stories to hit the big screen: Peter Parker’s emotional arc from vengeful high schooler to more mature adult as he battles the Goblin will resonate with anyone grappling with adulthood. But Sam Raimi’s second Spider-Man movie amped up the emotional stakes and struck the perfect balance between teen angst and impressive special effects. With the origin story out of the way, the sequel posed a more profound question: What if Spider-Man doesn’t want his powers or the great responsibility that comes with them?
Stream on Apple TV.
Harry Potter and the Prisoner of Azkaban (2004)
Christopher Columbus’ Harry Potter movies, Sorcerer’s Stone and Chamber of Secrets, were solid adaptations of J.K. Rowling’s first two children’s books about the beloved wizard. But in both the book and film series, Prisoner of Azkaban represents a tectonic shift in tone and ambition. Alfonso Cuaron took over the franchise from Christopher Columbus to spin a darker tale for adults. Cuaron repeatedly returns to imagery of ticking clocks and the Whomping Willow growing and shedding its leaves to hint at the use of the Time Turner in the climax of the story. He also took more liberties with Rowling’s story than Columbus ever did: That scene where Snape steps in front of Harry, Hermione and Ron to protect them from a werewolf is a pure movie invention and conveys in one shot a complicated emotional relationship that Rowling unraveled in seven books.
Stream on Amazon.
X2: X-Men United (2003)
The X-Men universe has a large cast of characters, and the first movie in the franchise set up their complex relationships and even more complex motivations. Fans complained that the first outing didn’t have quite enough action sequences and left too many plot threads dangling. Director Bryan Singer came out swinging in this sequel that’s better than the original. The movie begins with a new character, Alan Cumming’s blue-hued Nightcrawler, leaping, disappearing and reappearing in a wondrous attempt to assassinate the president. (It later turns out the Nightcrawler was brainwashed.) The scene sets the pace for the movie and presages the conflict: how the mutants must band together to fight xenophobia—instead of each other.
Stream on Hulu.
Lord of the Rings: The Two Towers (2002)
The Two Towers broadens the scope of writer J.R.R. Tolkein’s world. There are more battles, yes, but there is more emotional depth too. At that Battle of Helm’s Deep, director Peter Jackson wisely pulls away from the awe-inspiring mayhem to show the terror of those hiding inside the city walls, silently awaiting their fate. Between action scenes, he takes time to linger on a father’s grief over his son’s death, a talking tree’s unlikely friendship with two hobbits and Andy Serkis’ impressively empathetic motion-capture performance as Gollum. The much-maligned character might have been painted as a pathetic monster in the hands of a less filmmaker, but Jackson gives Gollum the space to shine in The Two Towers, and he ends up becoming the beating heart of the trilogy.
Stream on Amazon.
Terminator 2: Judgement Day (1991)
The first Terminator was a good, even groundbreaking film—both in terms of its original storytelling and the special effects. But Terminator 2 stands out as one of the best action movies of all time, with director James Cameron improving every aspect of this franchise in his second outing. Brilliantly, he turned Arnold Schwarzenegger’s Terminator into the good guy, protecting Sarah Conner and her son John from an even more terrifying android. The once-cowering Sarah Connor evolves into a full-blown badass in the sequel. He set a new high bar with the special effects. But it’s really the relationship among the three good guys, and the family that they form, that gives the movie the sort of heart its predecessors—and its sequels—don’t have.
Stream on Amazon.
Silence of the Lambs (1991)
Technically a sequel to 1986’s Manhunter, Jonathan Demme’s Silence of the Lambs feels like a completely new film. Anthony Hopkins replaces Brian Cox as Hannibal Lecter and develops the sort of eerie repartee with Jodie Foster’s Clarice that hadn’t been seen before—or arguably since. Though he’s only in the film for a few scenes, Hopkins made a terrifying enough impression to earn an Oscar for the performance. In fact, the movie swept the big categories that year: Foster won Best Actress, Demme Best Director and the movie Best Picture. Even as the Lecter stories have proliferated, Silence of the Lambs remains the high watermark for the series and the genre as a whole.
Stream on Amazon Prime.
Superman II (1989)
Director Richard Lester, taking over from Richard Donner, smartly pushes Christopher Reeves to separate the personalities of Superman and Clark Kent in Superman II. Because, let’s be real, Clark’s “disguise” has always been rather ridiculous. But when the glasses are paired with a meek, aww-shucks attitude, his alibis suddenly seem more believable. Lester plays that dichotomy for satire: At one point Louis Lane jumps into Niagara Falls in hopes that Clark will throw on a red cape to save her, thus revealing his true identity. He doesn’t—or at least not that she can see. That sort of humor honors the Superman comics in a way no other Superman movie has.
Stream on Amazon.
National Lampoon’s Christmas Vacation (1989)
It’s rare that a comedy sequel can top its original, especially when that original film is a road-trip comedy written by John Hughes. The laughs can feel derivative. But National Lampoon’s Christmas Vacation, the third movie in the series and the second written by Hughes, remains the most re-watchable, if only because of its dose of holiday schmaltz and its omnipresence on basic cable every December. The Christmas dinner scene is arguably the funniest in the franchise.
Stream on Amazon.
Star Trek II: Wrath of Khan (1982)
The first Star Trek movie was more concerned with special effects than building characters. The filmmakers course-corrected with Wrath of Khan, which not only renewed its focus on our heroes but also on a great villain played by Ricardo Montalbán. And since the Star Trek saga had become rather formulaic by that point, it’s the villain that helps the film stand out. He’s full of resentment and surprisingly sympathetic, even as he tortures our aging heroes—already tortured by the trials of middle age. Star Trek II wins the “most improved” award on this list.
Stream on MAX.
Star Wars Episode V: The Empire Strikes Back (1980)
The Empire Strikes Back has the best twist in cinematic history. That alone earns it a spot on any list of the best sequels ever made. It’s not just that our hero loses a hand—though that’s just one of several huge blows to our heroes in this dark film. That Darth Vader-Luke Skywalker scene introduces the familial anxiety that will hum throughout the rest of the rest of the Star Wars saga. Empire, in short, is the best Star Wars film because it builds the franchise from a campy sci-fi flick into a full-blown space opera. Plus, fan favorites Yoda and Lando Calrissian make their debut.
Stream on Amazon.
Dawn of the Dead (1979)
Dawn of the Dead is not just a great horror movie, in fact, it’s even better than its 1968 cult classic predecessor Night of the Living Dead. The film’s smart social commentary raised the bar for horror films to follow. The survivors of the apocalypse, trapped in a shopping mall, turn out to be just as mindless and perverted as the zombie horde chasing them down. As Roger Ebert once wrote of the movie, “How can I defend this depraved trash? I do not defend it. I praise it.”
Stream on Amazon.
The Godfather Part II (1974)
Perhaps the most famous sequel of them all. The Godfather (1972) was Francis Ford Coppola’s Oscar-winning masterpiece. Somehow, he managed to top himself and win even more Oscars with The Godfather Part II. In fact, the movie was the first sequel to win Best Picture at the Academy Awards. Thank Robert De Niro. Al Pacino delivered stunning performances in both films, but the addition of another legendary actor in flashbacks helped elevate the mob movie. Those flashbacks give context to the Corleone family and delve deeply into the psychology of power-hungry men and the country of opportunity that created them.
Stream on Paramount+.
The Good, the Bad, and the Ugly (1966)
Famed spaghetti western The Good, the Bad, and the Ugly is actually the third film in Sergio Leone’s masterful “Man With No Name” trilogy, all starring Clint Eastwood. Leone had almost no money to film the movie and so cast a then-Hollywood castoff (Eastwood) and filmed several silent scenes because it was faster than shooting scenes with dialogue. All the better for the film: Those silences are filled with Ennio Morricone’s masterful score that imbued the movie with an epic intensity. All those tense moments built up to the most famous standoff scene in cinematic history.
Stream on MAX.
From Russia With Love (1964)
Debate all you want about the best movie in the Bond franchise. But the second entry in the series, From Russia With Love, is arguably the best Bond film. And it undeniably elevated 007 after his first onscreen appearances in 1963’s Dr. No. Bond’s antics can seem silly on the screen, but Sean Connery (still the best Bond) executes 007’s duties with a knowing wink. Still, when the moment arises, Connery’s Bond can believably punch a man out cold: The claustrophobic fight scene between Bond and Robert Shaw’s would-be SPECTRE assassin on a speeding train remains iconic.
Stream on Amazon.
Bride of Frankenstein (1935)
Bride of Frankenstein perfects the campiness that the original film, Frankenstein, desperately needed. This Frankenstein is not scary—just a mild-mannered monster in need of a friend. He gets one in his mate, who sports one of the most iconic hairdos in Hollywood’s history. Still considered a high watermark in the monster movie franchise, the movie slyly snuck a queer subplot, feminist plot points and meditations on necrophilia past the ratings board.
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https://www.forbes.com/sites/joshweiss/2021/06/01/super-8-turns-10-a-mint-oral-history-of-jj-abrams-love-letter-to-movies-childhood--spielberg/
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‘Super 8’ Turns 10: A Mint Oral History Of J.J. Abrams’ Love Letter To Movies, Childhood & Spielberg
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2021-06-01T00:00:00
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Abrams and his talented cast and crew look back on 10 years of the filmmaker's coming-of-age classic.
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en
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Forbes
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https://www.forbes.com/sites/joshweiss/2021/06/01/super-8-turns-10-a-mint-oral-history-of-jj-abrams-love-letter-to-movies-childhood--spielberg/
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Let’s turn the clock back a little over 10 years to Feb. 6, 2011. I was attending a Super Bowl party in Northeast Philadelphia, gorging myself on boneless chicken wings and French fries when one specific Big Game spot made me forget all about my plate of deep-fried food.
It was a teaser trailer for J.J. Abrams’ Super 8.
The use of James Horner’s “Through the Window”; the visual of a young boy walking through a field of long grass at dusk; and the words “from producer Steven Spielberg and director J.J. Abrams” captivated my imagination and stuck with me for the rest of the game. I no longer cared about who won the match or the smorgasbord of wings and fries — all I knew is that I couldn’t wait for it to be June so I could see this movie.
And that’s exactly what I did four months later. As my junior year of high school wound to a close and the weather turned warm, my father and I went to see Super 8 at our local theater. We’ve watched plenty of movies together — before and since — but Super 8 stands out as a singularly unique experience.
I can distinctly remember my dad, a child of the 1970s, leaning over again and again to nostalgically point out the multitude of references to his formative years (painting models or the Three Mile Island nuclear accident), while I reveled in the depiction of a youthful summer vacation.
My friends and I rode bikes together and got up to all sorts of hijinks around the neighborhood — just like the kids in the movie. The only difference is we never found ourselves at the center of a government conspiracy involving a telepathic alien.
Like the classic Spielberg/Amblin projects it lovingly pays homage to (Close Encounters of the Third Kind, E.T., and The Goonies), Super 8 is a timeless piece of cinema that strikes a melodic chord across multiple generations. It’s a wholly original idea that reminds us of the magic of the blockbuster season.
“Super 8 was both a tribute to and a film produced by Steven,” Abrams tells Forbes Entertainment. “So, it wasn't meant to be as much a send-up as it was intended to be part of the ‘Amblin canon.’ It was approached less as a look back, and more like a lost or forgotten volume in the Amblin library.”
“We all got to hand pick the bikes we ride in the film and would ride them all around Bad Robot,” recalls cast member Elle Fanning. “Bikes are such a quintessential nod to Amblin films and movies of that era and we all felt how big of a deal it was to ride a bike in an Abrams/Spielberg film!”
The coming-of-age story about a group of young teens making a no-budget Super 8 zombie movie over the summer of 1979 — only for that humble production to get hijacked by the arrival of an extraterrestrial in their small Ohio town — checks all the proper boxes. The anxieties of growing up, the heartache of young love, the sorrow of broken families, and the wonder of what’s lurking out there in the night sky are core tenets straight out of the Spielberg playbook.
Roger Ebert summed it up best in the introduction for his review of the film: “With its night skies filled with mystery, its kids racing around town on bicycles, and its flashlights forming visible beams in the air, Super 8 has the visual signatures of an early Spielberg movie.”
With the film celebrating its 10th anniversary this month, I decided to track down nearly every key member of its production (save for the elusive Spielberg) to learn how it came to be and why it continues to speak to audiences all these years later.
Interviewees:
J.J. Abrams (writer/director/producer)
Bryan Burk (producer)
Larry Fong (director of photography)
Martin Whist (production designer)
Michael Giacchino (composer)
Michelle Rejwan (producer)
Dawn Gilliam (script supervisor)
Kim Libreri (VFX Supervisor, Industrial Light & Magic)
Lana Lan (CG lead artist, Industrial Light & Magic)
Sven Martin (VFX Supervisor, Pixomondo)
Maryann Brandon (co-editor)
Joel Courtney (Joe Lamb)
Elle Fanning (Alice Dainard)
Riley Griffiths (Charles Kaznyk)
Ryan Lee (Cary McCarthy)
Gabriel Basso (Martin Read)
Kyle Chandler (Deputy Jackson Lamb)
Glynn Turman (Dr. Woodward)
The story of Super 8 begins decades before the movie’s 2011 theatrical release. Its very title is a reference to the fact that Abrams — and many other members of production — began making movies with their parents’ Super 8 film cameras in 1970s and ‘80s. Some of them even worked together as kids.
BURK: I’m a few years younger than J.J. and I actually met him through Matt Reeves, who is also a few years older than me. I remember when Raiders of the Lost Ark came out, it changed my life. I went to the theater to see it over and over and over. There’s an area here [in Los Angeles] called Westwood Village and it was playing at the theater over the summer. I used to go so often, that I convinced the assistant manager to let me go as often as I wanted — as long as they allowed me to clean up after every showing. That guy was Wade Major. Wade knew that I made Super 8 movies and was older than I was — and he said, “Oh, you need to meet my friend, Matt Reeves. He makes Super 8 movies too. He just cut Steven Spielberg’s movies…” I was like, “What?!” ...
I never made any Super 8 movies with audio. I only started doing audio when video came around and started playing around with that ... But Matt Reeves and J.J. did [make Super 8 movies with sound]. It was something you could really relate to, that idea of getting all the neighborhood kids to rally around your crazy idea and everyone showing up with their parents’ clothes — and the bigger the better and the more outlandish the better.
GIACCHINO: Before I got a Super 8 sound camera, I would just have a tape recorder and I would edit together scores to link up with the [footage] … It was a big pain in the butt, but it actually taught me so much, early on, about how music functions with picture. It was my very first version of music editing at that point. I had a huge record collection, both of my dad’s records and my own soundtrack collection that I loved and I would just pull from whatever worked. It could be anything: Star Wars, Raiders, Planet of the Apes, King Kong ...
All I did growing up, from nine years on was make movies. I made Super 8 movies, but before that, I made Regular 8 movies before I could afford a Super 8 camera. And I continued doing that all the way through college — I went to film school and everything. There was never a time I wasn’t making movies.
The seeds for Super 8 had steadily been lengthening their roots in Abrams’ mind for quite some time. The project actually started off as two separate concepts before it was decided to merge them into a single entity. With that decided, Abrams began writing the screenplay.
ABRAMS: It just hit me one day that a movie called Super 8, about a group of kids making movies, would be a fun project to work on. I nearly immediately called Steven Spielberg and asked if he'd want to do that with me. He said, “Yes.” We hung up. That was the beginning. From then on, we held many meetings, discussing the shape of the story — wanting it to be a true Amblin movie — giving it a grounded group of characters and something supernatural and otherworldly.
BURK: For a long time, he [Abrams] talked about wanting to do a movie about the U.S. government transporting something on a train from Area 51 in the middle of the night, and there was an accident. That was the catalyst, the jumping off point — that was its own movie. And then separately, he liked the idea of these kids making Super 8 movies and it was a way of bringing them all together in this bonding experience. One day, I just remember he came in and he was like, “What if we mixed this peanut with this chocolate?” … We started getting together every day for many hours and talked through all the things we wanted to see in the movie … I remember at Bad Robot [Abrams’ production company], we had a washboard and it was a big circle that J.J. drew. There would be different [plot] points [on it].
GIACCHINO: I was at Bad Robot and he said, “Hey, do you have time to read something?” I was like, “Sure.” He gave me an earlier version of the script to read and this was maybe 11 or 12 years ago at this point. I remember sitting in the office reading it because I wasn’t allowed to leave the building with it, of course. I just remember after finishing it, one of the first things I said to him was, “You know, this is basically our childhood.” I said, “Take away the monster and you have our childhood[s].”
FONG: I was like, “What? Kids? I don’t want to do a kids thing.” I’m reading [the script] and I’m like, “Why do I have to do it?…Ohhh. Because we love science fiction, we’ve loved monsters and aliens from a young age. We love special effects and we love Spielberg.” ... Even though we were at different schools, I would help him [Abrams] and vice versa. I want to say it was like our childhood, but not totally 100 percent. We didn’t have aliens and trains in our childhood, but the love of film and all that definitely made it personal between him and I. That was the real connection and I guess that’s why he wanted me to shoot it.
WHIST: It’s one of those scripts that … is just really fresh, but kind of nostalgic at the same time. There’s a familiarity, while at the same time, an exciting, surprise angle … almost like going back to the Spielberg of it all. It took that model and elevated it; made it very contemporary and fresh and exciting. The initial feeling was [me being] grateful for being asked to do it and then excited to be a part of something that felt like it would fall into the classic category of that type of filmmaking.
Super 8’s band of adolescents called for Joe Lamb (Joel Courtney), Charles Kaznyk (Riley Griffiths), Martin Read (Gabriel Basso), Cary McCarthy (Ryan Lee), Preston Scott (Zach Mills, who he declined to be interviewed for this story), and Alice Dainard (Elle Fanning).
Courtney was the most inexperienced of the bunch and never expected to land a coveted Hollywood role on his very first try. Acting (pun intended) on the advice of a casting director friend, he decided to go for broke as Abrams sent out a nationwide call to find the perfect person to play a lovesick boy grappling with the tragic death of his mother.
COURTNEY: I just walked in on a random day and I auditioned and they put me in another room. I was like, “Ok, this is my first audition. I don’t think this is anything other than procedure.” They put me in another room and they came in with another casting director and gave me a new scene to do. They said, “Alright, we’re gonna try this one out with J.J. He’s gonna run down and we’re gonna do this.” I was like, “Wait…what?”
GRIFFITHS: I was 11 at the time and I had gotten a self-tape submission from my agent. I sent in a video tape and I think two or three months went by, and I didn’t hear anything. [But] I ended up getting a callback and I couldn’t even remember the initial audition that well. Then I flew down to L.A., went to Bad Robot, and there were like nine or ten callback rounds … It kind of dwindled down ... I think Gabe was the last one cast. Gabe came in after we had already started rehearsals, but they told us all in a group. Every callback you would come back for, the group of kids would get smaller and smaller, and we’d keep seeing the same dudes around. So, we kind of knew. I kind of knew because I was auditioning for the chubby kid, so once I saw that there were no more chubby kids, I kind of relaxed a little bit [laughs].
BASSO: There was a fake script and I thought it was terrible. I was at my grandmother’s wake and I really didn’t want to record the audition, obviously, because I was concerned with other things. My mom was like, “No, you have to record this.” So, we recorded it in the bathroom at the wake and then I sent it in. I didn't expect anything from it because I didn’t know it was a fake script. When I got back to L.A., they told me to come into Bad Robot and meet casting. I think it was that same day that J.J. came back in and I read with him and then they tried a bunch of glasses on me.
LEE: I did a self-tape in Austin, Texas and [after] doing many, many self-tapes since, it’s funny that you rarely ever hear back. But I was lucky enough to hear back from J.J.’s team and then flew to L.A. ... The process started getting more serious and then we got into the room with J.J. and had another session where it was sort of a chemistry read between all the potential cast mates. It was a mix and match kind of thing and then, at some point, Joel and I got called into the office. We thought we were doing one more audition and then it was just J.J. in the room. He sat us down individually, but he asked: “Hey, Ryan, do you wanna be in a movie?” [laughs] I was like, “Uhhh, lemme think about that.” But yeah, the rest from there was history. It was just super surreal.
FANNING: I was 12 at the time and remember hearing J.J. Abrams was starting to cast his next movie and there was a part I could possibly play, but the film was wrapped in secrecy. Little Darlings was the working title and naturally, I thought he was remaking the 1980’s Tatum O’Neal/Kristy McNichol camp movie. I watched that film and studied it, in hindsight it’s pretty hilarious that that’s what I thought J.J.’s next film was going to be!
I went in and auditioned [with] what turned out to be “fake” scenes about a summer camp. The casting process was long and I eventually got called back to meet J.J. and read with the boys, so he could watch our chemistry together. One day I got a call from a number I didn’t recognize. It was J.J. personally asking if I wanted to be in his movie. I had no idea what the film was about or who I was playing, but obviously I screamed “YES!”
The boys and I had already met during the auditions, but once we were cast, we had to be let in on the secret. Joel, Riley, Ryan, Gabe, Zach, and I had weeks of rehearsals at Bad Robot in L.A. We sat at a table with J.J. and each had a script with dark red pages sitting in front of us. J.J. proceeded to read Super 8 aloud to us for the very first time. It still gives me chills thinking about that special moment.
ABRAMS: It was just a ton of reading of a lot of young actors. It was a wonderful time, getting to meet all these kids, and see what each of them brought to the roles. What I remember is that all the boys were so struck with Elle, that every time she was in a scene with them, they acted completely differently. They were on their best behavior. They were nervous and self-conscious in a way they never were when she was off set. Which was hilarious.
FONG: She [Fanning] was the den mother in a sense. She was a teenager, but slightly older. Her demeanor is like that of an adult. She’s a unique individual and she would take direction from J.J. like crazy. J.J. would direct the other guys and they’d be distracted, not listening, and running around in circles and not do what they’re told sometimes [laughs]. But then he’d talk to Elle and you’d just see her listening, closing her eyes, and really taking it in. Then they go “Action!” and all the sudden, she’ll perform and it’s like, “What?!” She’d just nail it just like an adult. It was actually freaky.
REJWAN: Elle Fanning, at the time, was the most experienced actor of the group and seeing him [Abrams] pull that together and create that chemistry between them that felt so unbelievably organic and authentic and immediately connected you to a time place and tone and feeling was really spectacular ... It was so fun to watch the kids who had, for the most part, not done anything ever like this before. They all became really good friends and formed that group off-camera as well.
To ensure a sense of camaraderie among the adolescent actors, Abrams encouraged them to spend as much time together as possible before the cameras started rolling.
FANNING: He let us loose in Bad Robot for months during rehearsal. It was J.J. Abrams summer camp — our own personal fort. And we became inseparable. Just recently, the boys and I were all just chatting and recalling Super 8 memories in our Group Chat, so needless to say the BOND was created.
GRIFFITHS: Bad Robot is like a kid’s paradise: they have a mini-golf [course] on the roof and ping pong and snacks everywhere. We were all in the same hotel, so we were spending pretty much all day with each other and hanging out, playing video games, and that kind of stuff. So we did get super close, even before we started filming.
COURTNEY: We were all in a hotel and we were all within 30 seconds of another guy’s door. You’d go up the stairs, down the hallway and that was Riley’s room. I was four doors down from him and then Ryan was upstairs or something like that. We just hung out, we just spent time together. We became buddies. We just did it that way.
LEE: It was more important for us to hang out and have fun than it was for us to be good actors and I think that made for a pretty genuine, authentic experience for watchers.
As for the adult characters, Abrams brought in big names like Kyle Chandler (Jackson Lamb, Joe’s distant father and deputy of the Lillian PD) and Glynn Turman (Dr. Woodward, a local schoolteacher who sets the story in motion when he derails an Air Force train carrying an alien from Area 51). Turman’s involvement carries more significance than meets the eye — the actor played another ill-fated high school educator, Roy Hanson, in the Steven Spielberg-produced Gremlins back in 1984.
TURMAN: I hadn’t worked with J.J., but I did know that Steven Spielberg was one of the executive producers [on Super 8]. So, I was glad to be in his company again. I hadn’t been in his company since I was in Gremlins with him many years before that. I had so much fun on that and it had been a while since I had done a big sci-fi kind of film. I looked forward to the experience and it didn’t disappoint. It was great … Neither one of [my characters] fared very well. One got stuck in the butt [laughs] … They got the short end of the stick, so-to-speak.
CHANDLER: To have had the opportunity to work with J.J. Abrams on a film so close to his heart was quite an honor. The experience itself was as educational as it was enjoyable. I am consistently stunned by the un-phased energy of directors I have had the pleasure of working with over the years. Directors such as J.J., with immense responsibility and yet incredible imaginations, make me respect the saying by Elia Kazan: “There is only one thing a great director needs to know…everything.”
COURTNEY: I so appreciate J.J. surrounding me — a totally green newcomer actor — with some powerful actors. Elle, Kyle, Ron Eldard [Alice’s father]. Oh my goodness. Just some really spot-on, well-versed actors and then also having the boys around me: Riley, Ryan, Gabe. A little of experience here and there, but mostly green like me. Just the ensemble all together is just one of the best memories working with those guys.
GRIFFITHS: We were always in the same hotel and so, I think we would go down to the front desk and we’d tell the front desk that we were Kyle Chandler’s son or nephew or something and we’d find out what room he was in. We would ding, dong, ditch him all the time, and he’d chase us down and around floors. It was awesome.
CHANDLER: The kids made the set consistently enjoyable with their wonder and excitement, created from either massive explosions during the night shoots or when a new supply of fresh bagels had arrived at the craft service table. Not all kids are enjoyable on sets, but these guys were a gang — and a good gang to have around at that.
During pre-production, production designer Martin Whist began searching for a location that could best stand in for the hamlet of Lillian, Ohio — Abrams’ fictional slice of small-town America in the late 1970s.
That location turned out to be Weirton, West Virginia, which, once upon a time, had been a crucial part of the U.S. steel industry. It was also the shooting location for Michael Cimino’s 1978 Oscar-winning Vietnam War picture, The Deer Hunter. It should be noted, however, that Weirton was mainly used for exterior shots, with almost every other scene filmed on sound stages or at the Bad Robot headquarters back in Los Angeles.
WHIST: I started in Northern Ohio and scouted all through the west side and down to the south and up the riverside [to] the east side of Ohio that borders West Virginia. I got into the whole Rust Belt and must’ve looked at every single small town, all the way up the river … The most important thing was finding a town that had that authentic, American feel to it. Not a depressed feel in any regard, but a real, gritty working-class, almost Wonder Years-type of feel. But, of course, in the ‘70s. Something, that for someone of my age, would feel very familiar as a time when things were still going well and you hung out with your friends and you rode your bikes and you came home when the streetlights went on and everything was fine. People had stable jobs and all that kind of stuff.
FANNING: I remember filming in Weirton, West Virginia, which, to this day, is my favorite place I have ever filmed. It had that wonderful small town quality and J.J. transformed the main street into what it would have been in the ‘70s. We were completely transported back in time.
Then came the process of converting Weirton into a snapshot of the late ‘70s, but the onus didn’t squarely rest on Whist’s shoulders. Crafting the retro illusion was a team effort that encapsulated costumes, hair and makeup, and a perfectly-curated soundtrack of top hits by Electric Light Orchestra, The Commodores, The Knack, The Cars, and more.
WHIST: For me, as production designer, it was basically a backlot and I could go in and do what I needed to do and transform the era of the town. But, of course, these old towns have a lot of the architecture [that] remains from back in the day. It wasn’t like I had to do big architectural things. It was more signage, color, some architecture, and dressing, which was huge. And the [period] cars and all that ...
You think of the house in E.T. — there’s a casualness to the dressing and it’s not a set so much. It’s very casual, it’s lived-in, it’s authentic to the era. It’s not cliche, and so, that’s kind of the feel that I endeavored to try to get in the sets. Not so much specific looks, but the overall feel of the film.
ABRAMS: As for the needle-drops, I went for music I remembered and loved from the era. I was thrilled that we got the tracks that we did — and owe a special thank you to my friend, Jeff Lynne, who allowed us to use the original ELO track, “Don't Bring Me Down.”
REJWAN: There was this moment where Joel Courtney had to make a phone call. He was calling [Alice] in the camera store and, of course, all of us took for granted the prop we had for the phone — it’s a phone from 1979. He had to turn the dial and Joel did not know how to use that phone. He was standing there and we were like, “Oh my God, this is the cellphone generation.” We all felt so old, so it was so hilarious. Joel was probably looking at us like, “What is wrong with you guys?” [laughs]. But we just thought it was so funny.
COURTNEY: I do remember J.J. giving us this little print-out list of words that they would say back in the day. “Mint” was one of them. There’s one point where I say, “I know my dad’s being a turkey, but we can use his camera.” “You’re a brain.” [Charles says that] when we’re talking about the crash on the TV ... Then there was a list of words where they were like, “Don’t say these because these are too modern.” We had people helping us out with the time zone, the era, and then the costumes really sold it. The haircuts all sold it. The facial hair, all the guys with those big mutton chops. So, it was pretty easy to get into it with all the costuming on point.
FANNING: I have always been a lover of decades past. Getting to transport back in time was extremely exciting for me. I remember my first wardrobe fitting filled with racks and racks of bell bottom jeans. J.J. gave each of us a huge packet full of ‘70s slang terms: “bitchin,” “mint, later days,” etc. and we looked at J.J. like, “Did you REALLY say this stuff?” [laughs]
LEE: You walked onto set and it was all the [period] cars; the gas station had been decorated to the ‘70s ... I felt like I actually experienced a little slice of that time.
GRIFFITHS: I did not know nearly as much [about the ‘70s] as what I learned while filming. I would always call and talk to my parents and be like, “Hey, do you remember this?” I think the craziest thing was…there was a deleted scene in a 7-11 and seeing all the snacks and candies that I’d never heard of. I was so intrigued by that.
BASSO: The one thing that he [Abrams] was adamant about was that we learn that “My Sharona” song. The wardrobe was already there, we didn’t have to worry about that. It was just very much like, “Hey, go be kids, ride around, and learn the lyrics to this song.” ... J.J. was more like, “Dude, just have fun. Be a kid. Hang out.”
LIBRERI: Super 8 is so authentic. We would geek out. We would go on set and look at the kid’s bedroom and be like, “I had that! I had that!”
Right from the get-go, Super 8 was shrouded under a heavy blanket of mystery — like everything Abrams does. Released online in 2010, the very first teaser informed audiences that in 1979, classified cargo from Area 51 was being moved to a more secure facility in Ohio. This was followed by a spectacular train crash and a brief moment of silence before something busts out of one of the train cars.
This (along with a Portal 2 tie-in) whipped fans into a frenzy of speculation, leading to a viral marketing campaign on par with 2008’s Cloverfield (another Abrams project). In fact, some fans theorized that Super 8 was a sequel to Matt Reeves’ found footage monster movie. While that turned out to be false, the publicity once again proved Abrams’ talent for using the power of the internet to generate buzz.
LIBRERI: There was no movie [at the time]. J.J. was working on his script and we made this teaser trailer for it, which is total J.J. style. I think we did it in 4-5 weeks … We did this trailer in almost no time. It was crazy.
LEE: I remember when the teaser trailer came out, there is a split second at the end where it’s a Super 8 camera and it’s shuttering through the frames. J.J. turned to us and said, “Watch, everyone’s gonna go decipher each one of those frames.” I was like, “Wow. He’s a genius.”
Abrams’ penchant for secrecy ended up getting the better of him when the young cast members decided to play a prank on him — one that may have taken a few years off his life.
GRIFFITHS: I think it was during ADR, they all dared me to tell J.J. that I had lost the script in The Grove and that it was online. There’s this window above J.J.’s desk on the roof of Bad Robot. I look up and I can see everybody’s heads lined up, watching me as I prank J.J. I honestly was so scared because I’d never seen somebody so devastated as when I told him I lost that script … Honestly, I think it took a couple seconds for it to set in that it wasn’t real. All the kids ran in and we were just laughing and pointing at him and stuff. I don’t think he was too happy about it.
LEE: I’m pretty sure that was April Fool’s ... It was me, Joel, Elle, and Gabe — we’re all sitting up top, watching through. We see Riley walk into the office and we see J.J.’s face kind of sink and then his hands go to his head. Riley’s playing it cool, he’s being a good actor. I don’t know if I would’ve kept that up, but at some point, we told him and it was all good. But I’m sure he had a moment.
The train crash featured in the teaser ended up being one of Super 8’s pivotal action set pieces. While filming a scene for their Romero-inspired zombie flick at the local train depot, Joe and his friends witness Dr. Woodward derail the Air Force train and free its cargo from the clutches of the sadistic Colonel Nelec (Noah Emmerich).
While a sole pickup truck would never be able to do that much damage to a locomotive in real life, Abrams wasn’t striving for realism. As he notes on the director’s commentary track, he wanted the crash to feel exaggerated, a reflection of how the kids would one day look back on the experience. Since the production couldn’t really blow things up in West Virginia, they decided to shoot this sequence in the safety of the California desert.
WHIST: We found a location up in North Los Angeles … I guess it was technically Victorville, [We] found a piece of land that we plotted out and started irrigating. We seeded and irrigated very early in production because, of course, this is all brown and all desert. [We needed] the green, the lush of the West Virginia/Ohio/Pennsylvania area. And so, we literally irrigated it to grow this green grass. I then laid probably about 800 feet of railway track and built the little train station there.
SVEN MARTIN: While working on the train crash previz, [ILM Animation Supervisor Paul Kavanagh] and I drove over to Bad Robot to take photos of a tabletop model that the art department had built for this sequence. We wanted to use their layout as a blueprint for our digital scenery. After our first round of reference pictures, J.J. walked by and jumped right into a discussion about the action.
It was a beautiful model, like a detailed model or train diorama, and while J.J. was exploring how to shoot the scene, he started to rip the model apart, shifting the items around. It was great to witness this director’s point-of-view and how every little piece needs to come to a perfect position to support the story. Of course, we had to do a new round of reference pictures afterwards. I really like how hands-on J.J. is. During another meeting, he squeezed himself between Paul and I on the sofa, took over the mouse, and started to explore the previz scene in Maya by himself.
ABRAMS: That was obviously a hugely elaborate set piece — and it required many nights of shooting, and lots of pyrotechnics and having the kids in frame with giant explosions, and, of course, ILM doing all the moving train work. Kim Libreri … did spectacular work — all the artists did — making it seem like there really was a freight train racing past them — and crashing for about 35 minutes.
LIBRERI: We shot a ton of plates [in Weirton] and then in visual effects, we would extend the stuff that we would shoot in L.A. … I think it was 400 feet by 400 feet of grass that we were able to dress with the train crash and then, in the night-time, when all the explosions are going off, we were able to rig up practical effects in a safe way, but it was so exciting to see the kids. Instead of trying to do everything with green screen work, it’s happening at the location, at a safe distance with sensible lens choices for safety, but it made the reactions so good.
LEE: You could feel the explosion from a mile away, 5-10 seconds after. Then there was a little mushroom cloud. In my pyromaniac mind at the time, I was like, ‘THIS IS IT! THIS IS THE ONE!’ That was super cool to see.
COURTNEY: Filming the actual train crashing scene, running around all the debris — this was my first time working with explosions of any kind. The epic grand scale of that scene was so fun and I remember J.J. showing us some of his storyboards. He was like, “This massive train car is gonna come out of the air and crash right in front of you. It’s gonna be huge. There’s gonna be an explosion.” … We're just like, “Oh my gosh! This is so cool!” Honestly, my entire experience filming that train crash scene was Ryan’s character’s reaction at the end. He’s like, “Did you see those explosions? They were huge. It was unbelievable!”
FANNING: J.J. wasn’t just concerned about making a good movie, he wanted us to have a shared experience that we would remember for the rest of our lives. He did just that. Every moment was an event. His sets create a larger-than-life atmosphere just like his movies. I remember we all got to stay one night and watch the train crash explosion in real time. IT WAS EPIC! I had never seen anything on that scale.
BASSO: I remember them detonating and blowing the thing up and getting hit with the shockwave. We obviously stood far [away] and watched, but when they blew it up, I just remember it almost knocking Riley and I off the fence that we were sitting on.
GRIFFITHS: Something that stands out to me from the train sequence is, once wrapped, that was the last time the whole group of kids were filming together. I remember stepping back and really taking a moment to appreciate the tremendous journey that filming Super 8 was.
TURMAN: The biggest kid on the set every day was J.J. Abrams. It was like he had all these toys to play with. One of the first scenes that we did was the train crash ... I just remember watching him and how much fun he had putting that all together and making that all happen. His fun was infectious.
GIACCHINO: I took my son that night ... and we were there for that giant explosion, which was fun to see. I would say that working on that film felt so much like when I was a kid making movies.
BRANDON: I’ve never seen somebody so happy. I kept saying to J.J. [during editing], “You sure you don’t want to cut it down?” Finally, he said to me, “I know it’s long, but it is so much fun, I just can’t.” And I was like, “Oh my God, you’re so right!” He’s like, “Maryann, just let everyone enjoy it.” I will never forget those words.
The train crash delivers a multi-limbed — not to mention man-eating — alien onto Lillian. As people and bits of machinery start to disappear, the government sets up a shady presence in the town and the adults run around, totally clueless, blaming all the strange occurrences on a Soviet invasion (a nod to the Cold War paranoia of the time). In true Amblin fashion, it’s up to Joe and his friends to take charge and solve the mystery.
Designed by Neville Page — who could not be reached for this piece — the cosmic visitor was lovingly named “Cooper” by the production crew. While hidden and obscured for most of the film (a technique utilized by a beleaguered Steven Spielberg on 1975’s Jaws), Cooper shows his full self in the action-packed finale, where Joe and Cary venture into the creature’s subterranean lair to save Alice.
LIBRERI: He [Abrams] wanted a design that he felt could be as iconic as an E.T. or a Predator. And yet, could be something that people have some level of empathy with. Because you know, at the beginning of the movie, it’s bad and evil, doing naughty things. But at the end, you’re meant to feel a bit of a connection with it.
LAN: Much of the time we see Cooper, he is in his dark underground lair. His skin has a quite contrasty black and white pattern. In low light, the white parts really popped and the dark parts disappeared, making him challenging to light in the lair. In some ways, it worked in our favor to obscure his true form in early glimpses, but when he does reveal himself to Joe, we had to massage the lighting in every shot to make his shape read properly.
For the way Cooper moves, I recall the animation team trying to make him walk like a person and that simply didn't look alien or scary enough for the sequences when the kids go into the lair. Putting him on all six limbs, like a horrible spider, was much more effective and provided a contrast for when he does stand upright and reveal himself to be an intelligent, emotive creature.
TURMAN: I didn’t approach it [freeing the alien] as if it was some kind of absurd thing or like it was not possible. I was approaching it as though it was a serious possible matter that happened and that this was a serious circumstance. I approached it like this thing could happen. And Woodward had a backstory with the creature, so that backstory let me know that Woodward was taking all of this very seriously because he knew what the ramifications could be.
COURTNEY: The little part where I’m picked up by the alien, I remember being in a harness and then just getting hoisted in the air. They kept telling me, “Joel, you’re smiling too much. You’re having too much fun. This is a scary alien picking you up.” I was probably 15 or 20 feet in the air because they really wanted to get that sudden jolt motion. They were like, “It’s a little more scary. Do more fear.” And I was like, “Ok, ok.” I was just trying to hold in my laughter because I love rollercoasters, I love movement like that. That kind of motion, being in the harness, it was so fun. They were like, “Just remember, you’re scared.” And I was like, “Yayyy.”
For the score, Abrams turned to his longtime collaborator, Michael Giacchino, who has worked on nearly all of Abrams’ projects since Alias. Perfectly mixing unease with tender emotion and a pure sense of wonder, Giacchino’s music for Super 8 is one of the most criminally underrated movie scores in Hollywood history.
The summer that the movie came out, I took a film course at the University of Pennsylvania and would listen to the score every single day on my walk home. I loved it so much, in fact, that a few cues made their way into my final project. Simply put, Giacchino’s score deserves to stand besides John Williams’ beloved and iconic compositions for Close Encounters and E.T.
GIACCHINO: The movie [has], in a good way, a split personality. There’s the romantic version of the story and then you have the horror aspect. The sci-fi/horror thing happening. Weaving those things together, that’s not an easy task to do. Not just for me, but for the editors, for J.J. as a director, for all the actors in terms of tone. It’s difficult to do, so we were always keeping our eye on that because every scene had a specific intent of a story point it was trying to convey.
And then, of course, all of the ‘duh nuh nuh nuh’ — all of that stuff. For that, I wanted it to feel like there’s something just beyond where you can see and you sense that it’s coming towards you, but you don’t know what it is yet or what it wants from you. That was the feeling that I wanted from it and it was this repeating thing that would just grow and grow until it’s huge.
ABRAMS: Michael is responsible for all the feelings you might have watching the film. He did, as always, an extraordinary job capturing the sweetness of the story without it being saccharine. The darkness in the low register that compliments the higher-register melody is the perfect combination of innocence and danger that the movie needed to convey. He's such a genius.
Below is a video specially created for concert performances of the “Super 8 Suite.”
Super 8 goes out on an incredibly high note during the end credits with the finished zombie flick we just saw the kids trying to make throughout the film proper. Shot on an actual Super 8 camera, The Case was almost entirely written and directed by the young cast members. Giacchino completes the schlocky illusion of poor lighting, wonky editing, bad acting, and no-budget special effects with an equally schlocky theme.
ABRAMS: Filming that last movie was one of the most fun aspects of making the movie. It was actually shot on Super 8 film, and we shot it so quickly — and jumped from shot-to-shot. It really made me want to do a series that was shot that way. It felt incredibly alive and ridiculous, and was probably the most entertaining aspect of the whole film.
FONG: That was so much fun. I lit it badly on purpose, which is always so much fun and then compose it badly. I’d be like, “I can operate this one” and J.J. would go, “No! No! I wanna operate this one!” [laughs]. We’d fight over it. It has cuts and zooms that make no sense and the composition’s really bad. You don’t do overs, you just shoot from the same direction. That’s how it was when you were little. To tap into that was so funny — we’d literally be rolling over with laughter after the takes.
GRIFFITHS: J.J. and Larry gave us full control of the script and filming of the movie within the movie. That was such a great experience. I remember we’d all get together and write, figure out the story, and all that stuff. Then Larry would help us set up the shots.
LEE: Obviously, J.J. let us write and direct that little movie ... That was a really fun, special experience. Doing the zombie, I got to try three different variations of zombies. I’m pretty sure Zombieland was out at that point and I Am Legend — stuff like that. I was sort of trying to recreate those.
REJWAN: That was so hilarious, just watching Ryan with his eyes popping out, being a zombie. We were just cracking up … I remember being there for it [and] trying so hard not to laugh while the cameras were rolling because it was unbelievably funny.
BRANDON: I actually cut that together myself. I said to J.J., “I’m gonna do this in my spare time” because I used to make films like this and it was always so much fun. I took my experience from college, where I was in a film club, and we went around and made films like that. I just put it together like I would’ve put a film together at 18.
GIACCHINO: Since this was a film that the kids were making, we wanted their score to sound like stock music that might have been used in an old school horror movie, or maybe it was something that they had found in their basement on an old album of Hollywood monster music. It definitely had to have the feeling of something that already existed, something that would have been familiar to them from watching the old flicks. Side note: I actually played the theremin on the recording!
BURK: All the films we made [as kids] were also really violent. They were amazingly violent [but] by no means were any of them [good]. They were graphically violent in the concept, but never in its execution. It was water balloons exploding with red dye and it’d be like a head exploding and it looked like a water balloon exploding, but it was the idea of what it was. It’s strangely no different from what we do today, which is somebody has an idea and then you need to figure out how to execute that idea.
Of course, Super 8 would not have been possible without the influence of the great Steven Spielberg. While the legendary director was busy making War Horse around the same time, he still made sure to help guide the production along during principal photography, scoring, and editing.
BURK: They [Spielberg and Abrams] were close before Super 8, but I think they really got close while making that film ... They say don’t meet your heroes and in this case, Steven far surpasses your wildest imagination as to how great he is … So many things keep popping into my head, but more than anything, it was that relationship between Steven and J.J., which I think was good and then really started to get galvanized during the making of Super 8.
GIACCHINO: I remember on the [Fox Scoring Stage], standing there one time with Steven before we started the day with the musicians. Everyone was getting set up and he’s looking around the room and you could tell he was just processing something. I was like, “What are you thinking about?” And he said, “You know, I was just thinking that the last time I stood in this room was when we recorded Jaws.” I was just like, “Wow.” That put it all in perspective for me in terms of how crazy and great it was to be where we were, making what we were making with the people we were making it with.
REJWAN: While we were editing the film, Steven would come to the cutting room and work with J.J. It was just pretty incredible to witness and watch how unbelievable he was at zoning in on precisely when something was really working or have unbelievable solutions and proposals and ideas for ways to make something work if we were having any issues with any portion of the narrative. It was just really neat, taking it all in and just learning the greatest master.
CHANDLER: My favorite scene in the movie is etched in my mind and was not captured on film, rather what was witnessed behind-the-scenes. One day of shooting, there was an elevated ramp going down to the lair of the monster where the cameras and viewing monitor for J.J. were set. Behind J.J., a few feet away, there was another monitor set up for Steven Spielberg.
As the shot was happening, I had the opportunity to glance up to both watching the scene unfold — separate but together. There was an unmistakable sense of respect between the two great directors. Most incredibly, J.J. and Steven were standing in identical poses. The moment was not lost on this movie viewer because if you know the story behind the story, you know why it is by far my favorite scene of the film.
GILLIAM: The one thing that I can remember, which I thought was really cool, was that Steven Spielberg came down to the set one day and how nervous all the kids were. He was just coming down to visit J.J. and they were just so nervous.
COURTNEY: To this day, I think that was one of the most nervous and excited [times of my life] just to have him present on set ... There was another time that really stood out. We wrapped filming and at some point, the whole cast and producers and J.J., we went out for dinner. I got sit next to or across from [Steven] at dinner. I remember listening and being like, “I just wanna hear what he has to say. I just wanna glean wisdom. This is insane. This is a once in a lifetime thing. This’ll never happen again.”
FANNING: I remember him coming on set for my big zombie make-up scene, which was the scene I was most excited to film. I absolutely love fake blood (fun fact: movie blood tastes like peppermint). I had been practicing my best zombie impression for weeks in my mirror at home. On the day, I remember seeing Steven and J.J. out of the corner of my eye during a take. They were laughing to each other behind the monitor and my 12-year-old self felt invincible in that moment.
GRIFFITHS: My younger brother [Jade] was actually in the movie as well. He was my younger brother in the movie. And so, the day that Steven came to set, the first day that he came was when we were filming inside the Kaznyk house ... Jade was there and he actually met him before I did. That scene was crazy because they were at the [breakfast] table and they were having a food fight or something, so my younger brother had orange juice all over his hand. Steven came up and introduced himself to my brother and my brother’s hand was all sticky, so he just gave him a fist bump. And I was like, “Dude, do you know who you just fist bumped?”
LEE: I think and Elle were talking and I walked up because I was like, “This is it! This is the moment.” I walked up and said, “Hi.” He goes, “Hi, Cary!” — he knew me by my character name — “Nice to meet you, thanks so much.” And then I’m pretty sure that we just spent the next 10 minutes talking about what new iPhone apps had just come out. Nothing profound, just super normal.
FONG: When he visited, he let J.J. direct. He might’ve had one or two cool ideas that we implemented … It was cool having him on the set because I’d never met him and it was wild to come and see him sitting in my chair.
That’s what happens when you’re DP. You’re always busy and you’re like, “Who’s gonna be sitting in my chair this time?” Rather than an agent’s girlfriend or something, it’s Steven Spielberg sitting in my chair and I’m like, “Wow, that’s really cool and he can stay there.” When he was introduced to me, he did say, “Hey, the dailies are looking great, thank you.” And I’m like, “Whoaaaa.” That was freaky. That was a bucket list type of thing ...
I’ve always avoided [emulating Spielberg] because you can’t outdo Spielberg. If you’re doing a movie that’s trying to look like him, then you’ll just get raked over the coals because what are you doing? But the cool thing about this movie was Spielberg was part of it, so I’m like, “I have total carte blanche, maybe for the only time in my life, to act Spielbergian on a thing that’s involved with him.” I was really lucky in that respect because I’ll probably never do a movie that looks like that again.
Despite its generous budget and access to all sorts of modern movie-making tools, the folks behind Super 8 affirm that its production felt like a return to the intimate, seat-of-your-pants filmmaking known to all kids who one day hope to one day tell stories on the big screen.
ABRAMS: It was a wonderful experience with some wonderfully talented artists and dear friends. Larry Fong ... is someone I've known since I was the age of the kids in the movie. The First AD, Tommy Gormley, is one of the greatest men on the planet, and was, as always, a joy to be with. Dawn Gilliam, the script supervisor, worked with me on Alias and Lost, and we laughed more on that set than anywhere else.
BRANDON: When you work at Bad Robot with J.J., it’s such a family affair. The kids were around a lot and my kids came and went and so, everybody got to know everyone really well … Weirdly, it felt like we were making a home movie, even though it was obviously a studio film. But it felt very personal. I think that’s the biggest thing and why I love Super 8 so much. Because everyone felt open to making crazy suggestions and I think there was a little bit of everyone’s personality involved in that film …
We shot a couple of additional scenes at Bad Robot. That was really fun. It was literally like making a movie when you were in film school. I think I played the back of Ron Eldard’s head in 2 or 3 scenes because I had the right hair color. I think there’s one scene where I might’ve played one of the kids’ shoulders.
REJWAN: The whole movie had a very special, personal feeling about it and many of us talk about that to this day. That it was just a really unique moment in time and something where I think we were all, given the nature of the story and it being centered around these young kids, just accessing an aspect of our childhood and the movies we grew up loving that made us fall in love with cinema ... It had quite an intimate feeling about it. Like we were making a movie in our backyard with friends.
Super 8 opened in theaters on June 10, 2011 to generally positive reactions from critics and audiences (the film currently holds a fresh 81% on Rotten Tomatoes). It was also a modest success at the global box office, bringing in a little over $260 million against an equally modest budget of $50 million.
A decade later, however, crew members and fans alike don’t remember the reviews or ticket sales — they only remember how this particular movie made them feel at the time. A sure sign that Abrams had indeed captured a little bit of that indescribable Amblin magic.
ABRAMS: Personally, it was a strange time, as I was working on a story about a boy who had lost his mother, when my mother was diagnosed with cancer. I didn't expect to be working through feelings about my mother when I started writing it, but that's what ended up happening. I've always been touched by people for whom the movie meant something special. While it is definitely an imperfect film, it's got a big heart and the kids in it (and adults too) were wonderful, and wonderful to work with.
GIACCHINO: I loved working on the final scene when [Joe] has the locket and it’s floating and he lets go of that whole thing. I actually think it was Mother’s Day when we recorded that and I remember J.J.’s mother, who is sadly no longer with us, was there. I remember we got flowers for all the women in the orchestra and that was a special day. You work a bunch of days on these things, but certain ones stick out more than others and that one certainly stuck out for me.
BURK: I find that a lot of people are now showing it to their kids as the kids get a little bit older. It’s what we hoped it would have elements of. I saw Goonies recently and you realize that it’s this film that every generation [rediscovers]. They can keep showing it at a certain age and by no means do I think Super 8 is half as good as Goonies and the greatness of that, but the idea that there can be another one of those films that hopefully parents — or as you become a parent in 20 years when you have a 10-year-old kid — you can show them this movie and it’s something fun for them to experience.
FONG: I’m surprised how many people come up and still say it’s one of their favorite films, and that’s cool because it was definitely a labor of love. For J.J., it was the smallest movie he’s ever done, but it just goes to show you it’s how personal something is, not a mega-mega budget.
WHIST: When people find out I worked on it, they’re all very excited and ask questions. I think it’s definitely held up and will continue to hold up. It’s one of those films that even in the barrage of content out there … It’s always fresh and fun and touching. It just has the human element, which I think is the key to it. There’s that real connection to character, that touching connection through the mother and the son … There’s a sentimentality to it that’s just kind of right. It’s authentic and feels real.
REJWAN: There are different writers and directors over the years I’ve spoken to who ... mention moments in Super 8 that really inspired them, and it’s really nice to hear because we’re so happy that it could bring the joy we had making it. You go, “I hope this is as fun as we think.” I just think it turned out beautifully and it’ll forever be one of my favorite experiences and films.
GILLIAM: It was an homage to Spielberg, but it was also an homage to just simple, basic filmmaking. Basic storytelling. It’s nice and wholesome. I think that’s why Disney does so well, because they do put out wholesome stuff and people like it. This is maybe a little more advanced, but it still had that wholesomeness.
TURMAN: It’s part of that genre and that era. All the fun films of sci-fi. It’ll be included as one of those that took sci-fi to another niche. It stepped up with the technology and the fun of it and there are a bunch of films that lead the way in that genre. I think Super 8 is one of them.
COURTNEY: That whole process of filming Super 8, I just fell in love with the industry, the work, the sets, the crew — everybody … It holds in my memory as nothing less than just exceptional … There are some times when you see special effects and it’s like, “Hmmm, this movie’s aged a little bit.” Super 8 has not. It is seamless.
LEE: I remember before the premiere, all the kids sat down to watch the movie. We went to Bad Robot and we went to the little theater room where we’d done all of our rehearsals and whatnot. J.J. goes, “Ok, guys. Enjoy the movie. I’m gonna step out. I’ll see you guys later.” So, we thought J.J. was gone, but really he just pretended to step out, so he could get our genuine reactions ... We were crying and screaming throughout the whole entire movie. That’s where I’m still at. Nothing’s changed.
FANNING: I’ve had a lot of people say Alice was their first crush which is pretty cool ... J.J. poured his childhood and child-like self into this film. It’s a monster movie with a beating heart. Stories about the imagination of kids and strong friendships always connect us.
Five years after Super 8 debuted, Netflix changed the pop culture landscape with Stranger Things. Another send-up to ‘80s-era touchstones, the hit series (now coming up on its fourth season) helped launch a retro renaissance, whose influence can be felt in Andy Musichetti’s two IT movies, Season 9 of American Horror Story, and the recent Wonder Woman sequel. However, Super 8 was ahead of them all, prompting Fong to joke that Stranger Things feels more like “Super 8: The Series.”
ABRAMS: I guess it was inevitable that filmmakers who were so powerfully impacted by the Amblin movies would start to tell stories that nodded strongly to those influences.
FONG: I think everything old comes around again. Everything’s new again. You’re even seeing people starting to dress that way a little bit — hipsters and girls wearing bell bottoms and these tight jeans and stuff. It’s hilarious. And then hairstyles. Young people know all the songs that are in our old movies. Kids are like, “I love that song!” And you’re like, “What? You were just born 15 years ago, how do you know?” I’m meeting young people who are asking me, “Hey, Larry...do you know Pink Floyd?”
GILLIAM: I would have to say that J.J. is probably that way and I’ve just always been like that. We’ve always been ahead of the curve. We’re just always coming up with stuff and then people catch on later. I think it’s just part of who he is — to just be at the forefront of things.
FANNING: JJ is always ahead of the curve. I’m sure he’s already thinking 10 years ahead of now.
BURK: I think we just happened to make it first. Stranger Things is definitely its own thing and a fantastic thing. It’s so exciting, and they’re really tapped into capturing that retro ‘80s thing in a way that makes me really explore my youth and remember it in a way that’s just fantastic — let alone just be filled with fantastic storytelling and filmmaking and performances.
REJWAN: I love Stranger Things. I think they did — and do — an absolutely brilliant job … At the end of the day, it’s always about great characters and if you’re gripped by those characters, then you wanna hang out with them and care about them and root for them.
GIACCHINO: It was one thing for us to do it because we grew up with all of these things. But then to see people taking that perspective from the point-of-view of not necessarily having grown up with them, but having seen them as they were growing up as things that came out. In the way that I saw, say, Godzilla movies growing up. I was not a part of their release, but they were a big part of my childhood. I feel like that’s what we’re witnessing.
GRIFFITHS: When I first saw Stranger Things, I was like, “Hmm, that looks pretty familiar right there.” But yeah, I think that Super 8 definitely played a part. It’s crazy how that did happen afterwards … I saw a thing on Twitter…some super cinema buff broke it down and found a bunch of similarities and that was crazy to see.
Abrams has no current plans to revisit the world of Super 8 — even if it’s in a more tangential way (à la the Cloverfield universe).
ABRAMS: That movie feels like a beginning, middle and end to me.
BURK: [jokingly] Super 9? We had different conversations about things. Not a sequel necessarily … That’s more of a J.J. question because it was all hatched in his head. It’s one of those things where if one day he said, “I have a crazy idea!”, then that would begin it. But I don’t really think so. There was one thing we talked about, but ask him that question. You can say, “Bryan said you had one time flirted with something, but he won’t go into details…” It was so many years ago. I don’t think it would ever happen, but it would’ve been fun. [Abrams declined to comment]
COURTNEY: J.J.'s said multiple times [that] Super 8 is a one-off. It is the story of friends and a father-son [relationship] — and oh yeah, there’s an alien. It’s all contained in this one story. We joked about that on set. We were like, “Yeah, what if we do a Super 9?” He was like, “You guys…it would at least be 16mm, not Super 9.”
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https://www.vulture.com/article/best-movies-paramount-plus-streaming.html
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The 30 Best Movies on Paramount+ Right Now
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2021-03-04T17:30:07.860000-05:00
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Paramount+ has a deep catalogue full of great films — ‘Election,’ ‘Face/Off,’ ‘Past Lives,’ and more. Here are the very best.
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en
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Vulture
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https://www.vulture.com/article/best-movies-paramount-plus-streaming.html
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This post will be updated frequently as movies enter and leave the service. *New titles are indicated with an asterisk.
In 2021, CBS All Access rebranded with the name Paramount+, reflecting the history of the legendary film and TV company with that nifty little mathematical sign that all the streaming companies seem to love these days. The name Paramount brings a deep catalogue of feature films, and the streaming service also includes titles from the Miramax and MGM libraries. They have also added a more robust original selection than at launch to complement the service’s classics like Gladiator, the Mission: Impossible series and Grease.
For now, Paramount+ can’t compare to the depth of a catalogue like Max’s or the award-winning original works at other streamers, but it has a solid library with at least 30 films you should see.
This Month’s Editor’s Pick
*Election
Year: 1999
Runtime: 1h 42m
Director: Alexander Payne
The writer/director of Nebraska and The Descendants adapted Tom Perrotta’s novel of the same name and produced arguably his best film to date. Reese Witherspoon is amazing as Tracy Flick, an overachieving student who really aggravates a high school teacher named Jim McAllister, played by Matthew Broderick. So much so that he sabotages her run for student government president in a film that understands the intersection of the political and the personal in ways that movies actually set in D.C. rarely do.
*Almost Famous
Year: 2000
Runtime: 2h 3m
Director: Cameron Crowe
Cameron Crowe wrote and directed his masterpiece about a young man (Patrick Fugit) who ends up on tour with a rock band known as Stillwater. With incredible supporting performances from Kate Hudson, Billy Crudup, Frances McDormand, and Philip Seymour Hoffman, Almost Famous is one of the richest and most timeless films of its era, a rare movie that gets better every time you see it.
Arrival
Year: 2016
Runtime: 1h 56m
Director: Denis Villeneuve
The beloved French director’s best film remains his adaptation of “Story of Your Life” by Ted Chiang, a tale of alien invasion that’s really more about the people on Earth than the interplanetary visitors. Amy Adams gives one of the best performances of her career as a linguist tasked with communicating with the aliens.
*The Aviator
Year: 2004
Runtime: 2h 50m
Director: Martin Scorsese
Leonardo DiCaprio stars as Howard Hughes in Martin Scorsese’s incredibly detailed and lavish period piece about one of the most infamous eccentric millionaires of all time. It feels like every other month produces a bit of social outrage about Scorsese’s place in movie history or his comments on Marvel movies. Ignore that noise and just watch one of his works that doesn’t get nearly enough praise, anchored by one of DiCaprio’s best performances and some of the most impressive aerial cinematography of all time.
Beverly Hills Cop
Year: 1984
Runtime: 1h 45m
Director: Martin Brest
It’s hard to explain to people too young to experience it how big a star Eddie Murphy was in 1984 when his Axel Foley ruled the world. Murphy’s wit and charm were put to perfect use in Beverly Hills Cop that produced two inferior sequels, and both happen to also be on Paramount Plus.
Boogie Nights
Year: 1997
Runtime: 2h 35m
Director: P.T. Anderson
Paul Thomas Anderson is widely recognized as one of the best living American filmmakers now, but that wasn’t the case before the release of this masterpiece about life in the Los Angeles porn scene. Mark Wahlberg has never (and likely never will be) better than he is here, anchoring an ensemble that includes equally great work from Julianne Moore and Burt Reynolds.
Chinatown
Year: 1974
Runtime: 2h 10m
Director: Roman Polanski
Forget it Jake, it’s Chinatown. One of the best movies of the ‘70s, this Best Picture nominee (and Best Screenplay winner) tells the story of Jake Gittes, played unforgettably by Jack Nicholson, as he investigates an adulterer and finds something much more insidious under the surface of Los Angeles. It’s a must-see, as important as almost any film from its era.
Clueless
Year: 1995
Runtime: 1h 37m
Director: Amy Heckerling
You can keep all those stuffy Jane Austen adaptations—one of the best remains Amy Heckerling’s updating of the 1815 classic Emma to mid-‘90s L.A. Is this the most ‘90s movie ever? From its fashion to its references to its beloved characters, Clueless is certainly one of the most iconic, a movie that made a small impact when it was released but feels like it grows even more popular with each generation that discovers it.
Collateral
Year: 2004
Runtime: 1h 59m
Director: Michael Mann
Tom Cruise gives one of his most fascinating performances as Vincent, the passenger to Jamie Foxx’s L.A. cab driver on a very fateful night. It turns out that Vincent is hitman and he needs Foxx’s character to drive him on a killing spree in this tense, gorgeously-shot thriller from the masterful craftsman Michael Mann.
Devotion
Year: 2022
Runtime: 2h 19m
Director: J.D. Dillard
The proximity to another little movie about pilots called Top Gun: Maverick likely hurt the bottom line of this excellent, old-fashioned drama based on a true story. The excellent Jonathan Majors plays Jesse Brown, the first Black aviator in Navy history, and Maverick star Glen Powell plays his co-pilot and friend Tom Hudner. Both young future stars are excellent in a film that viewers can now find at home.
Dog Day Afternoon
Year: 1975
Runtime: 2h 4m
Director: Sidney Lumet
Any list of the best performances of all time that doesn’t include Al Pacino’s work in this 1975 masterpiece is simply incorrect. Pacino plays Sonny Wortzik, a New Yorker who tries to rob a bank with his buddy Sal (John Cazale). Sidney Lumet directs a film that’s alternately as tense as any thriller and as illuminating as any character study. It’s a must-see.
*Face/Off
Year: 1997
Runtime: 2h 18m
Director: John Woo
There are rumors that a remake of this John Woo classic is on the horizon, so you owe it to yourself to go back and see the very high standard that project will have to meet. Face/Off is one of the best action movies of the ‘90s, a wonderfully staged blockbuster by one of the genre’s best filmmakers. And John Travolta and Nicolas Cage were near the peaks of their screen charismas as an FBI agent and terrorist who end up, well, switching faces. It’s a blast.
Finding Yingying
Year: 2020
Runtime: 1h 38m
Director: Jiayan “Jenny” Shi
Jiayan Shi directed and produced this heartbreaking documentary about the disappearance and death of Yingying Zhang in 2017. Shi has unique access to the story in that she knew Yingying, and so her film has an incredible you-are-there quality as Shi captures the investigation and grief that would emerge from this horrific crime. Paramount+ deserves credit for bringing smaller projects like this to their subscribers, ones that other major streamers might ignore.
Gladiator
Year: 2000
Runtime: 2h 34m
Director: Ridley Scott
One of the most popular films of its era, this action epic stars Russell Crowe as the legendary Maximus, a warrior whose family is murdered by the vicious Commodus (Joaquin Phoenix). Forced into slavery, Maximus has to rise the gladiator arenas to get his vengeance. The film made a fortune on its way to winning the Oscar for Best Picture.
The Godfather
Year: 1972
Runtime: 2h 55m
Director: Francis Ford Coppola
Maybe you’ve heard of it? In all seriousness, there’s a very cool opportunity right now to watch the entire Godfather trilogy on Paramount+, including the superior recent cut of the third film. You could then slide from some of the best filmmaking of all time into the streaming service’s original series The Offer, about the making of Coppola’s masterpiece.
Interstellar
Year: 2014
Runtime: 2h 49m
Director: Christopher Nolan
No one else makes movies like Christopher Nolan, a man who took his superhero success and used it to get gigantic budgets to bring his wildest dreams to the big screen. Who else could make this sprawling, emotional, complicated film about an astronaut (Matthew McConaughey) searching for a new home for humanity? It’s divisive among some Nolan fans for its deep emotions, but those who love it really love it.
Jackass
Year: 2002
Runtime: 1h 25m
Director: Jeff Tremaine
Jackass Forever helped 2022 start with a bang. Now you can go back and watch the whole series exclusively on Paramount+ right now! (Even the “alternate” ones like Jackass 3.5). Go back to the heyday of Johnny Knoxville, Steve-O, and the rest of the dangerous idiots. These movies are often derided as being dumb but they’re a glorious, infectious kind of dumb that wants nothing more than to make you laugh.
The Lost City
Year: 2022
Runtime: 1h 52m
Director: Aaron Nee, Adam Nee
With echoes of beloved rom-coms like African Queen and Romancing the Stone, this film truly felt like an anomaly in 2022, and yet it turned into a pretty big hit at the theater. It’s already on streaming services, and it’s a great choice if you’re looking for some escapism tonight. Travel to the middle of nowhere with a romance novel writer (Sandra Bullock) and the cover model (Channing Tatum) who tries to save the day.
Minority Report
Year: 2002
Runtime: 2h 25m
Director: Steven Spielberg
One of Steven Spielberg’s best modern movies is this adaptation of a Philip K. Dick story about a future in which crime can be predicted before it happens. Tom Cruise stars as a man who is convicted of a crime he has no intent of committing in a fantastic vision of a future in which the systems designed to stop crime have been corrupted. It’s timely and probably always will be.
Mission: Impossible franchise
Year: 1996-present
Runtime: Varies
Director: Various
The whole series is finally here! For some reason, parts 1 to 3 and parts 4 to 6 have alternated residence on a lot of streaming services, but Paramount+ currently hosts the entire thing from De Palma’s first movie to Fallout. While we wait for Mission: Impossible 7, revisit the whole arc of the saga of Ethan Hunt to date.
Past Lives
Year: 2023
Runtime: 1h 45m
Director: Celine Song
A current Best Picture and Best Original Screenplay nominee, this phenomenal film isn’t on any of the other streamers. It stars the excellent Greta Lee and Teo Yoo as a couple who were close as children but reunite years later after she immigrated to the United States. It’s as much a story of what people leave behind when they change their entire lives as it is a traditional story of unrequited love. It’s beautiful and unforgettable.
Pineapple Express
Year: 2008
Runtime: 1h 52m
Director: David Gordon Green
Seth Rogen gives one of his best performances as Dale Denton, an average guy who just wants to get high. He visits his dealer (played perfectly by James Franco) on the wrong night as the pair cross paths with hitmen and a police officer on the wrong side of the law. This is an incredibly funny movie, and you don’t need to be high to love it.
A Quiet Place
Year: 2018
Runtime: 1h 30m
Director: John Krasinski
Who could have possibly guessed that Jim from The Office would be behind one of the most successful horror films of the ‘10s? You’ve probably already seen this story of a world in which silence is the only way to survive, but it’s worth another look to marvel at its tight, taut filmmaking and a stellar performance from Emily Blunt. Plus, Paramount+ recently added the sequel, so: double feature time!
Red Eye
Year: 2005
Runtime: 1h 25m
Director: Wes Craven
With one of his last great movies, the master of horror Wes Craven proved he could also do thrills without supernatural monsters. This is a film that Alfred Hitchcock would have loved, the story of an average woman (Rachel McAdams) terrorized by the guy in the seat next to her on a red-eye flight to Miami. Cillian Murphy is chilling in this memorable, tight little genre movie.
Rushmore
Year: 1999
Runtime: 1h 32m
Director: Wes Anderson
Writer/director Wes Anderson’s best film is arguably still his second work, a brilliant coming-of-age comedy about a teenager named Max Fischer (Jason Schwartzman) and the love triangle that forms (at least in his mind) between him, a teacher named Rosemary Cross (Olivia Williams), and a wealthy man named Herman Blume (Bill Murray). Charming, eccentric, and hysterical, Rushmore is a modern classic.
Saint Maud
Year: 2019
Runtime: 1h 24m
Director: Rose Glass
Rose Glass’s terrifying horror film is one of the best movies of 2021 and it’s already on Paramount+. Reminiscent of psychological nightmares of the ‘70s like Repulsion and Rosemary’s Baby, this is the tale of a hospice nurse named Maud (a fearless performance from Morfydd Clark) who becomes obsessed with saving the soul of one of her patients (Jennifer Ehle). It’s unforgettable.
Scream
Year: 1996
Runtime: 1h 51m
Director: Wes Craven
The Ghostface killer came back in January 2022 with the release of Scream, the fifth film in this franchise and the first since the death of Wes Craven, and the fun continued with another sequel in 2023 (although the troubles around the production of the seventh film have been, well, notable). Paramount+ is the best place for a marathon with the original trilogy and the fifth and sixth films (but, bizarrely, not Scream 4.) The first movie is still a flat-out genre masterpiece.
The Social Network
Year: 2010
Runtime: 2h
Director: David Fincher
One of the best movies of the 2010s has returned to Paramount after a brief hiatus to remind people how wildly far ahead of its time this movie was when it was released. With a razor-sharp screenplay by Aaron Sorkin and some of the best direction of David Fincher’s career, this is a flawless movie, one that resonates even more now in the era of constant internet than it did thirteen years ago.
Something Wild
Year: 1986
Runtime: 1h 53m
Director: Jonathan Demme
Jonathan Demme was a master of tonal balancing, finding a way to perfectly blend the comedy and the dread in this story of an average man caught up in a criminal’s web. Charlie (Jeff Daniels) is a milquetoast banker who goes on a wild ride with a girl named Lulu (Melanie Griffith), but everything changes when Lulu’s ex (an unforgettable Ray Liotta) enters the picture.
There Will Be Blood
Year: 2007
Runtime: 2h 38m
Director: Paul Thomas Anderson
One of the best films of the ‘00s, Paul Thomas Anderson’s adaptation of Upton Sinclair’s Oil! won Daniel Day-Lewis his second Oscar as the unforgettable Daniel Plainview. As detailed and epic as great fiction, Anderson’s movie is one of the most acclaimed of its era, a film in which it’s hard to find a single flaw. Even if you think you’ve seen it enough, watch it again. You’ll find a new reason to admire it.
Titanic
Year: 1997
Runtime: 3h 14m
Director: James Cameron
More than just a blockbuster, this Best Picture winner was a legitimate cultural phenomenon, staying at the top of the box office charts for months. There was a point when it felt like not only had everyone seen the story of Jack (Leonardo DiCaprio) and Rose (Kate Winslet), but most people had seen it twice. History has kind of reduced this epic to its quotable scenes and earworm theme song, but it’s a better movie than you remember, a great example of James Cameron’s truly robust filmmaking style.
Top Gun: Maverick
Year: 2022
Runtime: 2h 10m
Director: Joseph Kosinski
It’s the movie that saved movies last year! The truth is that Paramount wanted to drop this long-awaited sequel on a streamer during the pandemic, but Tom Cruise knew it was the kind of thing that should be appreciated in a theater. He bet on himself and the result is arguably the biggest hit of his career, a movie that made a fortune and seems primed to win Oscars in a couple months.
Trainspotting
Year: 1996
Runtime: 1h 34m
Director: Danny Boyle
Danny Boyle really broke through with his second film, a beloved adaptation of Irvine Welsh’s novel about addiction. Ewan McGregor plays Mark Renton, the most charismatic member of a group of friends who became instantly iconic, including Spud (Ewan Bremner), Sick Boy (Jonny Lee Miller), Tommy (Kevin McKidd), and the sociopathic Begbie (Robert Carlyle). Propelled by one of the best soundtracks of the ‘90s, Trainspotting has more energy than nearly anything else on Paramount+.
The Wolf of Wall Street
Year: 2013
Runtime: 3h
Director: Martin Scorsese
Leonardo DiCaprio should have won the Oscar for his amazing performance as Jordan Belfort, the financial criminal that rocked Wall Street and shocked audiences in one of Scorsese’s best late films. Arguments over whether or not this film glorifies a “bad guy” have become prominent—and could only really be made by people who haven’t actually watched it. Most of all, it’s a shockingly robust film, filmed with more energy in a few minutes than most flicks have in their entire runtime.
*Zodiac
Year: 2007
Runtime: 2h 37m
Director: David Fincher
David Fincher’s masterpiece is more about the impact of crime than crime itself. The fact that he made a sprawling epic about an unsolved murder is daring enough, but what’s most remarkable is how much this movie becomes less and less about figuring out the identity of the Zodiac Killer and more about the impact of obsession. It’s one of the best films of the ‘00s.
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https://jackcs1997.medium.com/the-actress-who-single-handedly-saved-paramount-pictures-f7e40c820ab9
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en
|
The Actress Who Single-Handedly Saved Paramount Pictures
|
https://miro.medium.com/v2/da:true/resize:fit:610/0*janTCrHuOBWIZ2HU
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https://miro.medium.com/v2/da:true/resize:fit:610/0*janTCrHuOBWIZ2HU
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2020-10-31T09:02:15.385000+00:00
|
It was in 1927 that the New York-born actress was arrested for obscenity charges while starring in her self-penned Broadway play Sex. She replied to reporters who asked how she found her first night…
|
en
|
Medium
|
https://jackcs1997.medium.com/the-actress-who-single-handedly-saved-paramount-pictures-f7e40c820ab9
|
Going West
Ten days in jail wasn’t enough to demolish Mae West’s career.
It was in 1927 that the New York-born actress was arrested for obscenity charges while starring in her self-penned Broadway play Sex. She replied to reporters who asked how she found her first night in prison that it was “not so bad. The inmates were very interesting. Will have enough for ten shows. I didn’t think so much of the bed.” West didn’t take the arrest seriously. In fact, the event garnered a great amount of extra publicity for both the show and herself.
Mae West was what many now — and probably then — would call a pioneer in the theatrical and literary world, writing plays that dealt with taboos of the era, including sex, homosexuality, prostitution, and female rights. Her notoriety on Broadway caught the attention of Hollywood in the early years of sound pictures. It is impressive that West began her career as a cinema actress in 1932 at the late age of thirty-nine, after being signed to Paramount Pictures, making the journey from New York to Hollywood. That year, she appeared in her first film Night After Night alongside George Raft, an extremely well known and highly regarded actor of the era closely associated with gangster films, at the same time as James Cagney. Although it was only a small role, her performance was notable.
By the time she began starring in films, she had adopted a platinum blonde look rather than the long, dark hair she sported the previous decade, all while continuing to project her highly sexual, glamourous, and strong persona. Combined with her hourglass figure, this one film defined her as a sex symbol of the 1930s while her popularity also rose as a result of her comedic re-writing of her lines. It was in this first film that she wrote into the script an exchange between herself and a hotel maid. The maid, in admiration at her glamorous attire, states ‘Goodness, what beautiful diamonds!’. West replies, ‘Goodness had nothing to do with it dearie’. Her status as a sex symbol, actress, writer, and comedienne made her a very unique figure in Hollywood and cemented her immediately as a film personality.
Paramount’s struggles
It will come as no surprise to say that Hollywood was just as affected by the Wall Street Crash in 1929 and the subsequent Great Depression as everyone and everything else in the United States. It is often stated amongst scholars that cinema was a means of escapism from the realities of depression life, which, although true, doesn’t take into account the reality that theatre attendance dropped by around one-third due to economic hardship, with the worst years of the economic downturn between 1929 and 1932. This put a lot of additional stress on the box office and the film industry as although people wanted to see films, they were simply unable to afford it. Prices were dropped in 1932 to attract greater audience numbers, however, at the same time, around 30% of theatres across the United States closed.
Cinema appealed to and deliberately allured the lower class, who made up the largest demographic of filmgoers. This is a reason for why many cinemas of the 1920s and 1930s were elaborately decorated in Art Deco and European styles — the ‘picture palaces’, as they came to be known, were places for the lower classes to immerse themselves in a picturesque, upper-class style setting, with the addition of film removing them from the reality of life. In the immediate aftermath of the Crash, even this was no longer sufficient to attract attendees.
Bad financial decisions prior to the depression meant Paramount suffered more than the other leading Hollywood film companies, thus it was vital that they find a film to help them recover. Despite many good films and the biggest stars under their contract, Paramount was still struggling to attract filmgoers to their pictures and were on the verge of complete bankruptcy. It was after the success of West’s performance in Night After Night that Paramount believed they should at least give her a chance in her own starring film and even allowed her to adapt one of her own plays. The play she chose was Diamond Lil, and its film adaptation would prove to be Paramounts saviour.
She done them right
However, Paramount found out that they faced a big issue with Mae West. Despite widespread public interest in the actress, her actions and lines were full of sexual connotations and innuendos which proved to be a problem for an industry that was gradually being restricted as a result of mass censorship in the 1930s. Many lines had to be rewritten or cut out completely as a result of the obvious sex references. Still, West found a way around this. She wrote lines that were deliberately too sexual so the censors wouldn’t notice the others that she wanted to keep in.
Diamond Lil was revised and adapted into She Done Him Wrong, co-starring Cary Grant in his first major film. It was released in theatres in 1933 with much criticism for its sexual nature from other competitive film studios who didn’t understand how it passed the censors in the first place, while the Church made their own criticisms heard. However, West helped save the company — having spent $250,000 on the production of the film, Paramount acquired $2 million from the box office.
The film was such a success and held in such high regard that it was nominated for the Best Picture Academy Award at the Oscars that year. Although not winning, the nomination — and backlash — was enough to attract even more viewers, pulling Paramount out of the financial hole they were in, and making Mae West one of the biggest attractions in Hollywood cinema. Paramount capitalised on this and quickly arranged for West to star in another of her own authored films, again co-starring Cary Grant, in I’m No Angel, which was even more popular. The film, in which West made it a priority to include black actresses, did even better, grossing $2.3 million in the United States from a budget of $200,000.
Despite making her last film in 1943, until starring in Myra Breckinridge in 1970, a 1949 poll found that Mae West was the best-known woman in the world alongside Eleanor Roosevelt. This was an impressive feat considering she only made ten films in her lifetime. Although she is not as well-known today, her impact on both the film industry and society throughout her life was enormous — not many stars could single-handedly save an entire film studio with their own self-written, self-starring film.
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https://www.britannica.com/topic/Forrest-Gump
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en
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Forrest Gump | Plot, Cast, Awards, & Facts
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2017-06-20T00:00:00+00:00
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Forrest Gump, American film (1994) that starred Tom Hanks and won six Academy Awards.
|
en
|
/favicon.png
|
Encyclopedia Britannica
|
https://www.britannica.com/topic/Forrest-Gump
|
Forrest Gump, American film, released in 1994, that chronicled 30 years (from the 1950s through the early 1980s) of the life of a intellectually disabled man (played by Tom Hanks) in an unlikely fable that earned critical praise, large audiences, and six Academy Awards, including best picture.
(Read Martin Scorsese’s Britannica essay on film preservation.)
Britannica Quiz
Best Picture Movie Quote Quiz
The film opens with Forrest Gump (Hanks) sitting on a bench in Savannah, Georgia, and narrating his life story to various strangers who sit next to him. The plot unfolds in a series of flashbacks. As a child, Forrest (played by Michael Conner Humphreys) lives with his single mother (Sally Field) in Greenbow, Alabama. He has an IQ of 75 and wears braces on his legs, but his mother has raised him to believe that he is no different from anyone else. On his first day on the school bus, a little girl named Jenny (Hanna Hall) is the only child who will allow Gump to sit next to her. One day when he is being chased by bullies, his braces fall off, and he discovers that he can run swiftly. This ability gets him onto the football team in high school and earns him a scholarship to the University of Alabama in the sport. He grows up to be a simple and guileless man. Gump joins the U.S. Army and is sent to Vietnam. He becomes close to fellow recruit Bubba Blue (Mykelti Williamson), who persuades Gump that they will operate a shrimp boat together when they have been released from the service, and to his commanding officer, Lieutenant Dan (Gary Sinise). However, Bubba is killed, and Gump saves Lieutenant Dan in a battle in which Dan loses his legs and Gump is wounded. Gump is awarded the Medal of Honor. While he is recuperating, he learns to play table tennis well enough to defeat Chinese table tennis champions and become famous for his skills. After his discharge, Gump finds himself at an antiwar rally, where he encounters a bitter and alcoholic Lieutenant Dan and his beloved Jenny (Robin Wright), who is following a hippie lifestyle. Gump later returns to Alabama and buys a shrimping boat. Lieutenant Dan joins him in creating the wildly successful Bubba Gump Shrimp Co. Lieutenant Dan invests the profits in Apple Computer, and both men become wealthy. After Jenny declines his proposal of marriage, Gump spends the next three and a half years running back and forth across the country before returning home. Jenny then introduces Gump to their son (Haley Joel Osment). Gump and Jenny are married shortly before Jenny dies from what may be hepatitis C. Throughout the film, Gump becomes involved in numerous important events in American history that occur in that time period.
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https://www.avid.wiki/Paramount_Pictures
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Paramount Pictures
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en
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Audiovisual Identity Database
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https://www.avid.wiki/Paramount_Pictures
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Background
Paramount Pictures Corporation is an American film and television studio owned by Paramount Global. A member of the Motion Picture Association (MPA), it is the second oldest-running film studio in Hollywood (second only to Universal Pictures), and the only remaining member of the "Big Five" Hollywood studios located within the city limits of Los Angeles.
Paramount Pictures was founded on May 8, 1914[1] by William Wadsworth Hodkinson, who also conceived the studio's original logo featuring 24 stars encircling a mountain (the number of stars was reduced to 22 in 1967). On June 28, 1916, Paramount combined its operations with the Famous Players Film Company (founded in 1912 by Adolph Zukor) and the Jesse L. Lasky Feature Play Company (founded in 1913 by Jesse L. Lasky) to form the Famous Players-Lasky Corporation, although it continued to use the Paramount Pictures name for its film business. On April 1, 1927, the company's legal name was changed to Paramount Famous Lasky Corporation; on April 24, 1930, it was again changed to Paramount Publix Corporation. In 1935, after the studio re-emerged from bankruptcy, its legal name was changed to Paramount Pictures Inc.
On January 1, 1950, in the aftermath of the landmark Supreme Court case United States v. Paramount Pictures, Inc., which forced Hollywood studios to divest themselves of their movie theater holdings, Paramount changed its legal name to Paramount Pictures Corporation after relinquishing control of the United Paramount Theaters chain. On March 24, 1966, Paramount was acquired by Gulf+Western Industries; as part of the acquisition, Lucille Ball's Desilu Productions and its associated studio lot were brought under Paramount's control, and in 1967, Desilu was renamed Paramount Television. On June 5, 1989, as part of a corporate restructuring, Gulf+Western changed its name to Paramount Communications.
On March 11, 1994, Paramount Communications was merged with Viacom. On December 31, 2005, Viacom split into two companies: one retaining its original name (inheriting Paramount, MTV Networks and BET Networks) and the other being named CBS Corporation (inheriting Paramount's television production and distribution arms, currently known as CBS Studios, CBS Media Ventures and Paramount Global Content Distribution, respectively), with both companies owned by National Amusements. Television rights to Paramount's library are currently handled by Trifecta Entertainment & Media. On March 4, 2013, Paramount relaunched its Paramount Television division (now known as Paramount Television Studios). On August 13, 2019, it was announced that Viacom and CBS would reunite and merge to form ViacomCBS; the merger was completed on December 4 of that year. On February 16, 2022, ViacomCBS was renamed Paramount Global (or simply Paramount), taking its name from the Paramount Pictures studio.
1st Logo (September 7, 1914-January 25, 1917)
Visuals: Over a black background is a mountain above a few clouds surrounded by stars. There is stacked italic serif text over the mountain reading "Paramount Pictures".
Trivia:
This logo is said to have been originally sketched by founder William W. Hodkinson during a meeting with Adolph Zukor. It is also said to be based on Ben Lomond Mountain in Utah, near where Hodkinson spent his childhood.
The 24 stars surrounding the mountain would later come to represent each star that had a contract with the studio at the time. However, this hidden meaning was dropped in 1967, when the number of stars in the studio's print logo was lowered to 22.
Variants:
Depending on the film, the colors are different.
An in-credit version exists.
A closing variant exists, where the print logo is at the bottom of the screen with "A Paramount Picture" overlapping over it. Below is the copyright notice reading "COPYRIGHTED [YEAR] BY FAMOUS PLAYERS-LASKY CORPORATION". At the center of the screen is "The End". At the top of the screen is a rectangular box with "A FAMOUS PLAYERS-LASKY PRODUCTION" inside.
A blue toned version of this also exists.
Technique: This logo is a painting filmed by a cameraman.
Audio: The closing theme of the film.
Availability: The earliest surviving film to feature this logo was The Virginian, released on September 7, 1914. It is also thought to have appeared on The Lost Paradise, which was released six days earlier as the first film under the Paramount name, but this remains unconfirmed as that film remains lost.
This logo appears on other surviving films from the period, such as The Bargain, The Italian, Carmen, and The Cheat.
2nd Logo (January 29, 1917-June 11, 1927)
Visuals: One of the following bylines is at the top of the screen:
"ADOLPH ZUKOR PRESENTS" (films produced on the East Coast).
"JESSE L. LASKY PRESENTS" (films produced on the West Coast).
"ADOLPH ZUKOR AND JESSE L. LASKY PRESENT" (films produced on both coasts).
"JOSEPH M. SCHENCK PRESENTS" (for Buster Keaton shorts).
Below is the title of the film and more info. Somewhere on the screen, there is a print logo consisting of a snow-capped mountain poking out of a cloud at the bottom, surrounded by a ring of stars. There is text overlapping the mountain reading:
A Paramount Picture
At the bottom of the screen is a box with two Paramount pseudo-logos on either side. Each has a ring of stars inside a ring, both of which read "Paramount Pictures". At the top of the box is "COPYRIGHT [YEAR]". Inside the box, there are the words "FAMOUS PLAYERS-LASKY CORPORATION" in a large font. Below this, there are the words "ADOLPH ZUKOR, President" (the word "President" is written in a script font) in a slightly smaller font. Below Zukor's name, there are the words "NEW YORK CITY". Below the box is, in a large font, "ALL RIGHTS RESERVED".
Variants:
On some films, such as His Sweetheart, Her Strange Wedding, The Secret Game, Male and Female, The Copperhead, Excuse My Dust, Dr. Jekyll and Mr. Hyde, Why Change Your Wife?, Forbidden Fruit, Leap Year, The Affairs of Anatol, Miss Lulu Bett, The Sheik, Moran of the Lady Letty, and Blood and Sand, omit the Paramount Pictures logo.
On Zaza (1923) and So's Your Old Man, the "A Paramount Picture" logo is seen in a background, containing credits which overlap the logo.
On The False Faces, there is the print logo on the bottom right corner. On the top corner of the screen is the Thomas H. Ince Productions logo with the trademark notice below it.
On Mrs. Wiggs of the Cabbage Patch, the box is replaced with the "A Paramount Picture" logo with the print logo on the right with the words "FAMOUS PLAYERS-LASKY CORPORATION" on the top of the screen.
On Behind the Door, there is the text "A Paramount Artcraft Special" with the Paramount Pictures and Artcraft Pictures logos on either side on each boxes.
On Peter Pan (1924), the "TRADE MARK" notices are below each Paramount pseudo-logos.
Starting with the release of You Never Know Women in 1926, the "Paramount Pictures" pseudo-logos on either side of the box are removed.
On Old Ironsides, there are the words "COPYRIGHT [YEAR]" on the upper-left side of the box and "ALL RIGHTS RESERVED" on the upper-right side of the box.
On Buster Keaton shorts, the print logo appears below, with copyright notices on either side of the logo.
On Moran of the Lady Letty, there is a snow-capped mountain, surrounded by a ring of stars. The logo is seen on a black background. Overlapping the logo is the text "A Paramount Picture".
On the opening of Manhandled (1924), the two Paramount pseudo-logos are split, containing the boxes under each Paramount pseudo-logos.
Sometimes, only the print logo would be present on screen.
Closing Titles:
1st Closing Title: On Buster Keaton shorts, the title of the film is at the top of the screen. Inside the frame, there are the words "THE END". At the bottom of the screen is "Paramount-Arbuckle Comedy" inside the rectangular box.
2nd Closing Title: There are the words "THE END", with the title of the film above. At the bottom of the screen is "A Paramount-Artcraft Picture" inside the rectangle-like shape. Certain films, such as Behind the Door, omit the Paramount Pictures logo.
3rd Closing Title: There is a box from the opening logo at the bottom of the screen during the early variant with a drawing line with the title of the film at the top of the screen with the words "The End" at the center.
4th Closing Title: There are the words "The End" or "THE END", with the title of the film above. There is a logo inside a rectangular box with the text "A Paramount Picture" above the rectangular box.
5th Closing Title: Same as before, but there are the words "THE END" on the screen. At the top of the screen is the title of the film. Below the text "THE END" is the opening logo. On The Covered Wagon (1923), this variant appears superimposed on a marble-like background.
Closing Variants:
On some films, the "A Paramount Picture" logo appears after the movie ends instead. After a few seconds, the "The End" overlaps the logo and fades out or the text "THE END" fading into the logo.
Sometimes, the MPPDA logo is seen on the lower-left screen.
On It's the Old Army Game, the text "The End" is omitted.
Sometimes, the words read "Paramount Pictures".
Another variant, from Stage Struck, shows the "THE END" in white script with the "T" and "E" in fancy lettering. After a few seconds, the "A Paramount Picture" pseudo-logo is seen on a reddish pink background, while on Manhandled (1924), there are the words "The End" with the "T" and "E" in fancy lettering. After a few seconds, the "A Paramount Picture" logo is seen on a sepia background.
On some of Paramount's earlier movies, the pseudo-logo "A Paramount Picture" is nowhere to be seen in the movie's title, keeping only the two small pseudo-logos below the title. Instead, the full "A Paramount Picture" logo is seen after it. After a few seconds, the film's opening credits overlap with the logo. It can be seen on films such as Love 'Em and Leave 'Em and Running Wild (1927).
On the openings of Grass, Stage Struck, Moana, Dancing Mothers, It's the Old Army Game, Nell Gwyn, Fine Manners and So's Your Old Man, the credits are seen, with the print logo at the bottom shown between the two words, being similar to the Closing Titles.
On some films, such as The Show-Off (1926), the words "A Paramount Picture" appear below the credits, with the two small pseudo-logos between the copyright notice are shown below the title.
Early Variant: There are the words "A Famous Players-Lasky Super Production" or "A Paramount Picture" with the words "COPYRIGHT [YEAR]" below, all above the box. There is the Paramount Pictures logo on the left and Artcraft Pictures or the Paramount Pictures logo on the right with "TRADE MARK" notices on either side of the logos. Inside the box, there are the words "FAMOUS PLAYERS-LASKY CORPORATION" in a large font. Below "FAMOUS PLAYERS-LASKY CORPORATION" (with the word "BY" above the letter "L" in "LASKY"), there are the words "ADOLPH ZUKOR Pres. JESSE L. LASKY Producer CECIL B. DEMILLE Director General", and below that, there are the words "NEW YORK".
Starting with the release of The Sheik in 1921, the words "ALL RIGHTS RESERVED" appear below the box.
Earlier films until 1920 would have the words "COPYRIGHT [YEAR] BY" above "FAMOUS PLAYERS-LASKY CORPORATION".
On films distributed by Paramount-Artcraft, the text "A Paramount-Artcraft Picture" appears above the box.
Starting with the release of Blood and Sand in 1922, the word "BY" was removed, and "ADOLPH ZUKOR Pres. JESSE L. LASKY Producer CECIL B. DEMILLE Director General" was changed to "ADOLPH ZUKOR, President". Also, the text "NEW YORK" was changed to "NEW YORK CITY".
Some films do not have "TRADE MARK".
Technique: This logo was a painting filmed by a cameraman.
Audio: None or the opening and closing themes of the film.
Availability: This logo was thought to have been extinct for years. Evidence of its existence was seen on a Paramount Pictures 75th Anniversary trailer on 1987 Paramount Home Video releases. However, it was kept intact on the 75th Anniversary VHS release of The Covered Wagon, as well as on that film's 1981 Magnetic Video VHS release, where it is preceded by the United Artists "Transamerica T" logo.
Most of Paramount's silent output featured its print logo over the opening and ending titles, while later films featured the onscreen logo fading into the film's title card.
This logo is retained on all extant silent-era Paramount Pictures films shown on TCM, such as Dr. Jekyll and Mr. Hyde, Why Change Your Wife?, The Sheik, Moran of the Lady Letty, Blood and Sand, The Covered Wagon, Zaza, Manhandled, Peter Pan (1924), Too Many Kisses, The Vanishing American, Stage Struck, Dancing Mothers, It's the Old Army Game, Mantrap, The Show-Off, Love 'Em and Leave 'Em, So's Your Old Man, and Old Ironsides.
Like most silent films before 1927, the rest of their catalogue has been subject to deterioration or in public domain or have passed on to other companies that released versions with copyrighted music scores.
Most of these versions use new opening titles due to lost material for the original credits (the current version of Metropolis is an example of this); however, some films such as the restored version of Peter Pan (1924) have survived with the original Paramount tags intact.
A picture showing the filming of this logo can be found on page 71 of the book A Pictorial History of the Western Film.
The early variant of this logo was seen on His Sweetheart, Her Strange Wedding, The Secret Game, The False Faces, Mrs. Wiggs of the Cabbage Patch, The Roaring Road, Male and Female, The Copperhead, Excuse My Dust, Dr. Jekyll and Mr. Hyde, Why Change Your Wife?, Forbidden Fruit, Leap Year, The Affairs of Anatol, Miss Lulu Bett, The Sheik, Moran of the Lady Letty, and Blood and Sand.
The Buster Keaton variant of this logo was seen on their films, such as Good Night, Nurse! and The Garage.
This logo premiered on His Sweetheart and made its final appearance on Running Wild.
The logo was often not shown at all on a few films, such as at the end of Old Ironsides, Too Wise Wives (which actually used the Lois Weber Productions logo instead) and films distributed by Artcraft Pictures.
The variants were kept intact on the DVD of Love 'Em and Leave 'Em and on the Blu-ray of Running Wild.
3rd Logo (January 18, 1926-May 17, 1955)
German version
French version
1930 Swedish opening version
1930 Swedish closing version
1939 Swedish opening version
1939 Swedish closing version
Italian version
Visuals: There is a snow-capped mountain against a dark sky, with clouds that look like smoke. Encircling the mountain are 24 stars, accompanied by the following text in a majestic script font overlapping the mountain:
A Paramount Picture
At the end of the film is "The End", in script, overlapping the company name. On many movies, "The End" fades out, leaving only the logo and "A Paramount Picture".
Variants:
Sometimes, the clouds around the mountain are foggier.
At the end of Barbed Wire (1927), the "A Paramount Picture" logo is seen. After a few seconds, the words "The End" fade in.
On films starring Harold Lloyd, there is a copyright notice for Harold Lloyd Corporation below the logo.
On The Letter (1929), the logo is still.
On title cards for movies released between 1927 and 1930, the box from the previous logo appears at the bottom of the screen (with the two Paramount pseudo-logos are removed). Inside the box, there are the words "PARAMOUNT FAMOUS LASKY CORPORATION" in a large font. Below this, there are the words "ADOLPH ZUKOR, PRESIDENT" in a slightly smaller font. Below Zukor's name, there are the words "NEW YORK CITY". There are the words "COPYRIGHT [YEAR]" on the upper-left or on the left side of the box and "ALL RIGHTS RESERVED" on the upper-right or on the right side of the box.
On Wings, there are the words "COPYRIGHT [YEAR]" on the top of the box with "ALL RIGHTS RESERVED" omitted.
On Children of Divorce, the word "PARAMOUNT FAMOUS LASKY CORPORATION" is replaced by "FAMOUS PLAYERS-LASKY CORPORATION".
On some films, there are the words "COPYRIGHT [YEAR]" on the right side of the box and "ALL RIGHTS RESERVED" on the left side of the box.
Starting in 1928, the words "WESTERN ELECTRIC SYSTEM" appear below the box.
Although the same general design of this logo remained the same, there were subtle changes from 1929 to 1931, including brighter stars on some films released from 1927 to 1930, the redone version of the stars on some films released from 1930 to 1935, or the slightly different design on films from 1935 to 1939 and from 1936 to 1939, respectively. From 1937 to 1939, and from 1939 to 1942, the words "A" and "Picture" fade out a little, and the word either "ADOLPH ZUKOR PRESENTS", or "Paramount PRESENTS" fades in below "Paramount", or sometimes nothing on the logo, respectively.
There are also sepia variants.
Some films in the early 1930s features the National Recovery Administration (NRA), a new deal agency existed between 1933 and 1935, and a MPPDA card at the start, respectively, before preceded by the Paramountain logo.
On the infamous Koch Media widescreen DVD and Blu-ray of the 1939 animated film Gulliver's Travels, the opening Paramount logo is still on a (poorly) retouched widescreen background, then the "filmed" portion of the mountain stretches and morphs as its fades into the opening title card. The closing variant is similar to the opening version as well, morphing and all.
In earlier color films released from 1930 to 1939, the logo is colored in blue/purple. Starting in 1941, the logo is more colorized.
Some colorized versions of black and white films has the clouds colored in blue or sea blue, with mountains colored in yellow or dark colors.
Another colorized version of the 1936-1939 variant exists, where the clouds are colored in either denim blue, dark blue, or sea green. The mountains are also colored either yellow shade or in dark colors, respectively.
Sometimes, the word "Release" replaces "Picture", although The House That Shadows Built uses the word "Program" instead.
On Horse Feathers and Now and Forever, the logo has 23 stars instead of 24.
On The Cocoanuts, there are the words "The END" fading into the closing logo.
Technique: This logo was a painting filmed by a cameraman. The gliding clouds and mountain are both hand-painted matte paintings, with the cloud background being slid behind the mountain.
Audio: The beginning or end of the film's theme.
Audio Variant: Starting with the 1930 film Paramount on Parade, almost all films from Paramount use the fanfare of the same name (written by Elsie Janis and Jack King).
Availability: This appears on most Paramount films from The Enchanted Hill to The Country Girl.
On old prints of Paramount films distributed by MCA TV through EMKA, they are usually plastered with, or preceded by, the MCA-TV logo of the time.
On current prints that Universal owns from the EMKA package, the 1997 Universal logo precedes it.
The logo also appeared at the beginning of Broadway Bill (originally a Columbia Pictures release that Paramount acquired the rights to years after they remade that film as Riding High).
Legacy: One of the most well known logos during Hollywood's golden age, and one of Paramount's most famous logos in general, given its lifespan.
4th Logo (October 12, 1934-November 7, 1949)
Visuals:
1934-1936: There is a mountain shooting above a cloud deck, with a ring of 19 or 24 stars (similar to the 5th logo). In an unusual font, there are the words "A Paramount Picture".
1936-1949: There is a brown mountain with a brownish sky. This is similar to the Paramount movie logo, except the word "Paramount" is slightly below the top of the mountain, which has 30 stars.
Opening Titles:
Popular Science: A cartoon airplane zooms toward the camera. After the plane passes, the text "ADOLPH ZUKOR PRESENTS" or "PARAMOUNT PRESENTS" appears while the camera is still focused on the airplane. The words "POPULAR SCIENCE" are seen on the airplane's wings. At the bottom is a copyright notice and a Paramount pseudo-logo. Also present may be another copyright notice for Shields Pictures.
Unusual Occupations: On a shining red background is the above words, except the words "UNUSUAL OCCUPATIONS" are seen.
Technique: This logo is a painting filmed by a cameraman.
Audio:
Popular Science: A variation of the Paramount on Parade fanfare accompanies the sound of the airplane passing.
Unusual Occupations: A patriotic theme is heard, which leads into a medley of "I've Been Working on the Railroad", "Pop Goes the Weasel" and "Old MacDonald Had a Farm".
Availability: The aforementioned shorts have had barely any exposure since AMC stopped playing them over a decade ago (when they aired them under the umbrella title AMC Short Cuts). Remains intact on a GoodTimes Entertainment DVD release of Popeye: When Popeye Ruled The World, which contains a short featuring behind-the-scenes footage of a Popeye cartoon.
5th Logo (December 23, 1950-October 22, 1953)
German version
Visuals: Similar to the third logo, but this variation looks more marble and uneven in appearance. The sky background is a bit lighter as well.
Variants:
Before the release of the widescreen feature Shane, the logo appears closer up.
A German version with a repainted mountain was spotted at the end of The War of the Worlds and at the beginning of When Worlds Collide.
Technique: This logo is a painting filmed by a cameraman, with the cloud backdrop being moved behind the mountain.
Audio: None or the opening and closing themes of the film.
Audio Variant: On a few occasions, it uses the Paramount on Parade theme.
Availability: Still intact on Paramount color releases of the period, including Branded, When Worlds Collide, The Greatest Show on Earth, Shane, Arrowhead, and the end of The War of the Worlds (the opening of the film uses the 3rd logo), among others.
The last film to use this logo was Here Come the Girls.
It also makes an appearance at the beginning of the Duckman episode "The Road to Dendron".
6th Logo (May 27, 1953-September 24, 1975)
Visuals: The mountain is more realistic than the previous logo, with canyon scenery and trees around it. The sky is more distant in depth and is very contrast. Everything else is the same as before here.
1953-1968: The text on the mountain reads "A Paramount Picture" or "A Paramount Release" (written in the Paramount corporate font).
1968-1975: "Paramount" (in the same font) is seen on the mountain's peak with the stars encircling the mountain. The byline "A Gulf+Western Company" appears on the bottom.
1970-1975: The "Paramount" script is redrawn, with the first "P" moved slightly upwards.
1974-1975: The "Paramount" script is redrawn once more, this time resembling the one that would be used from 1975 onward.
Trivia:
This was originally created for Paramount's 3D process "Paravision" and later modified for widescreen.
The mountain in this logo is said to have been based on Artesonraju, a mountain in Peru.
Variants:
On some films, there is a shadow behind the "Paramount" script.
On Paramount's first 3D film Sangaree (which was also the first film to use this logo), the text and stars are bigger and the mountain is seen from afar. The words "A Paramount Picture" fade a few seconds later to the words "in 3 Dimension". At the end of the movie, the "The End" text appears by itself in front of the mountain, then fades to the company name a few moments later.
On films shot in VistaVision, the stars and text fade out, followed by the text "in", which itself fades out and is followed by a big "V" zooming in (a la the Viacom's "V of Doom"). The words "VISTA" and "ISION" appear on either side in a wiping effect. Then the words "MOTION PICTURE" appear under "VISTA", followed by "HIGH-FIDELITY" under "ISION".
German and Italian prints of We're No Angels have a localized version with a re-painted mountain and translated text. In the Italian version, no other text appears with "VISTAVISION".
On White Christmas, "Paramount proudly presents the first picture in" (with the "P" written in their corporate font) first appears over the mountain, followed by the VistaVision logo without any other text. The rest of the logo then plays as usual.
The logo has appeared in Spanish ("Paramount Films Presenta"), French ("C'est un film Paramount", or "Distribué par Paramount"), and German ("Ein Paramount Film", or "Im Verleih der Paramount").
On movie trailers, another version is used where there are the 24 stars, followed by "COMING FROM Paramount Pictures" (or "COMING FROM Paramount" since 1968) appearing one by one in the center, with the Gulf+Western byline appearing below in the latter variation. This was used until around 1977; however, the trailers for Harold and Maude use the normal version of this logo instead.
A variant used in 1974 that has two of the stars clipped away exists. The mountain looks the same as it does in the second version, but the stars are bigger. Also, "A Gulf+" slides in from the left and "+Western Company" from the right. The script name also had a few variations of its own. At least three movies from 1974 (The Great Gatsby, Brother Sun, Sister Moon and Death Wish) feature the TV version of this logo; the standard 1974 logo features the print variation, which remains from this day forward.
A version of this variant has the byline in a different font, which is seen at the end of a French print of The Godfather: Part II.
On the Modern Madcaps short Boy Pest with Osh, the byline was replaced with copyright beside the MPAA logo.
Some films such as Lady Sings the Blues and The Italian Job (1969) have a still version of this logo.
Sometimes, the text and stars have a more noticeable drop shadow. This version can be found on True Grit (1969) and the 2002 DVD release of Big Jake (a Cinema Center Films production).
On some films such as Alfie (1966), the clouds move slightly faster than normal.
On some films such as Barbarella, Skidoo, The Italian Job (1969), and Lady Sings the Blues, the Gulf+Western byline is slightly off-center.
On a German print of The Caddy, the text is in German and the stars and text are disconnected from the mountain.
Sometimes, the 1968 logo appears zoomed in. This variant is preserved on the 2001 widescreen DVD release of Charlotte's Web, and possibly on other films from the period.
A textless version also exists, which was seen on an Italian print of El Dorado.
On a May 4, 1986 Yorkshire airing of Darling Lili, the 1968 variant of the logo fades into the 1982 Yorkshire Television endcap.
Technique: This logo was a painting created by matte artist Jan Domela that was filmed by a cameraman, with the cloud backdrop being moved behind the mountain. Cel animation is also used for the VistaVision variant.
Audio: Usually silent or the opening/ending music of a film.
Audio Variants:
On films shown in VistaVision, the logo has a majestic fanfare composed by Nathan Van Cleave (which wasn't used on VistaVision films such as Gunfight at the O.K. Corral, Strategic Air Command and Vertigo, which used their respective opening themes).
The VistaVision fanfare was sometimes specially rearranged for films such as The Desperate Hours (Gail Kubik and Daniele Amfitheatrof), The Tin Star (Elmer Bernstein) and Artists and Models (Walter Scharf, also in a lower pitch).
On White Christmas, the VistaVision fanfare segues into the final notes of the Paramount on Parade fanfare, which itself trails into the opening theme.
For the "COMING FROM" variant, a rhythmic timpani sound is heard for each word that appears, followed by a drum beat.
On Money from Home, a different brass fanfare is heard, composed by Leigh Harline.
Some TV movies such as Seven in Darkness have an extended version of the 1969 Paramount Television theme from the era.
On Charlotte's Web, a 13-note orchestra fanfare featuring part of the opening song "Deep in the Dark" is heard (the music starts before the logo fades in and finishes when the logo fades out).
Availability: Again, preserved on most Paramount releases of the period.
The version without the VistaVision logo was first seen on Paramount's first 3D film Sangaree.
The VistaVision version is often seen on Western films (such as Last Train from Gun Hill, the Magnetic Video release of which preserves the logo in its entirety; also on the film's Starmaker Video VHS release) and is also seen on White Christmas (the first film to use the VistaVision variation) and Vertigo.
It was plastered by the 1963 Universal logo at the beginning of four Alfred Hitchcock films that Paramount merely released: The Trouble with Harry, The Man Who Knew Too Much, Vertigo, and Rear Window.
However, recent remastered prints of those films restore the Paramount logo on their current DVD and Blu-ray releases.
Psycho, another Hitchcock production released by Paramount, also preserves this logo on its initial MCA Videocassette release, as well as all releases from 1989 onward.
It is unknown whether this logo and/or the Universal logo is preserved on the DiscoVision release.
This logo is also seen at the beginning of the first four Indiana Jones films (with the Gulf+Western byline from the 6th logo added in) and Big Top Pee-wee.
The 1968-74 variation first debuted on The Odd Couple, and among the notable releases of this variant were The Godfather (at least on the 1990 VHS release; most prints have either newer Paramount logos or none at all), Catch-22, On a Clear Day You Can See Forever, Charlotte's Web, Paint Your Wagon, Harold and Maude, and Rosemary's Baby.
It is also seen at the end of the 2001 DVD release of The Godfather Part II and Chinatown, which had the 2nd logo at the beginning.
It was also seen at the beginning of Escape from Zahrain when it was streamed on the Paramount Vault YouTube channel in 2016; it is unknown if it plastered the 1953-69 version.
BBC One UK airings of The Italian Job (1969) retain the logo.
Original theatrical prints of Willy Wonka & the Chocolate Factory contained the 1968-74 logo, but the rights reverted to producer David L. Wolper after that film initially underperformed at the box office, and became property of Warner Bros. Pictures upon that studio's acquisition of Wolper Productions in 1976, so most newer prints plaster this with a variety of Warner Bros. logos, most prominently the various 1990s Warner Bros. Family Entertainment logos.
However, the 2021 UHD print of the film restores the opening Paramount logo (although the closing Paramount logo is seen on an old UK VHS release thereof).
The 1974-75 variation can be found on The Great Gatsby (1974), The Longest Yard (1974), The Godfather Part II, The Day of the Locust, Bug, Nashville, Framed, and Three Days of the Condor, and also plasters the 1968-74 variation on many current prints of Goodbye, Columbus.
Newer prints of Danger: Diabolik and Such Good Friends, the 1995 VHS release of Charlotte's Web, and earlier DVD releases of The Godfather and The Godfather Part II have this logo plastered with the 1986 logo, while many current prints of Once Upon a Time in the West, Barbarella, Ace High, Downhill Racer, Fear is the Key, Three Days of the Condor, and Murphy's War have it plastered with the next logo below (although this logo is kept at the end of Barbarella).
The last film to use this logo was Three Days of the Condor.
Legacy: This is one of the more famous logos for Paramount, and is a favorite among fans of their older catalogue. Also, the mountain seen here would serve as a template for all future Paramount logos.
7th Logo (October 8, 1975-December 12, 1986)
Visuals: First the same mountain landscape from the previous logo is shown. 22 white stars encircling the mountain fade in all at once, followed by the word "Paramount" on the mountain's peak (in the same script font as the 1974 variant of the previous logo). The Gulf+Western byline (this time with each word stacked and set in News Gothic) and a registered trademark symbol also appear at the same time below it. The scene then crossfades to a navy blue version of the print logo (with the stars, script and byline still in white) on a light blue background.
Trivia: The design of this logo allowed the full animation to be used on trailers and as a closing logo instead of a still variant.
Variants:
The distance between the words and the mountain peak sometimes varies.
The size and the color tint of the logo may vary.
On films produced in 2.35:1 and some 1979-1986 films produced in 1.85:1, the stars fade in further down the mountain than usual in the first half, and the "Paramount" script initially overlaps the mountain's peak; this usually does not affect the end product.
Certain films shot in 2.35:1 have the logo stretched horizontally.
One variation from 1976 has the navy blue portion of the final logo appear smaller than usual, with the "Paramount" script slightly smaller, and the stars and Gulf+Western byline drastically larger. This appears on films such as Hustle, Leadbelly, The Last Tycoon, and Lifeguard. A less awkward version with resized text (but still keeping the smaller mountain) appears on films such as The Bad News Bears, Looking for Mr. Goodbar, Lipstick, Won Ton Ton: The Dog Who Saved Hollywood, and Thieves; this version also lacks a registered trademark symbol.
A variation of this logo was used as a bumper for trailers for upcoming films with the words "Coming From" above. However, trailers for Popeye, D.A.R.Y.L. and other films use the normal version instead.
The theatrical trailer for Reds has "In December" written in the middle of the logo in white.
On a 1985 promotional film for the studio, a circle of stars is seen and the logo is revealed, but is completely white.
On some French releases, the mountain is flatter than usual, and the "Paramount" script, which is now in the center of the circle, looks the same as it did in the 1970 variant of the 1953 logo. The Gulf+Western byline is also in a taller font, and there are 29 stars around the mountain instead of 22.
On the 2006 video game version of The Warriors, the logo has the Viacom "Wigga-Wigga" byline.
On a 1991 BBC 2 airing of Pretty in Pink, the logo does not fade to the print mountain.
On a LWT airing of Trading Places from December 21, 1986, the logo fades into the 1986 LWT endcap.
Technique: The mountain segment is a painting filmed by a cameraman, with the cloud backdrop being moved behind the mountain. Fading effects are used for the transition to the print logo.
Audio: None.
Audio Variants:
Sometimes the film's opening/closing theme.
1976-1985: In some cases, a new orchestral fanfare ending with an electric guitar chord was used for the "Coming From" variant on trailers for films like Islands in the Stream, Saturday Night Fever, Foul Play, and Airplane!. A few films such as Starting Over also had this fanfare at the beginning. This theme was composed by Lalo Schifrin.
On Won Ton Ton, the Dog Who Saved Hollywood, an orchestral rendition of the Paramount on Parade theme, arranged by Neal Hefti, was used.
Pre-1998 prints of Grease feature a theme which seems to be a horn re-orchestration of the intro to "Love Is a Many-Splendored Thing" or the 1976 Paramount Television fanfare. The Grease 40th Anniversary DVD/Blu-ray release and a recent Netflix print both restore the horn theme.
On the 1985 promo variant, a male announcer says, "In 1985, Paramount has a whole new attitude."
Availability: Seen on most Paramount films released between 1975 and 1986. Most films released on VHS, DVD, and Blu-ray, as well as TV prints, have this logo intact or restored as well. Some well-known films that used this include The Bad News Bears, Saturday Night Fever, Grease, Heaven Can Wait, The Warriors, Escape from Alcatraz, the first four Star Trek films, the first six Friday the 13th films, Airplane!, An Officer and a Gentleman, 48 Hrs., Flashdance, Trading Places, Terms of Endearment, Footloose, Beverly Hills Cop, Pretty in Pink, Top Gun, Ferris Bueller's Day Off, and Crocodile Dundee.
The opening version of this logo made its first appearance on Mahogany (released on October 8, 1975), and made its last appearance on Star Trek IV: The Voyage Home (released on November 26, 1986). The last film that used this logo in regular usage was The Golden Child (albeit at the end; the next logo (shown below) made its debut at the beginning of the film).
This logo is also seen at the end of 1989's Indiana Jones and the Last Crusade (the 5th logo is used at the beginning).
However, pre-1999 VHS prints of the film plaster this with the 1988 version of the 1986 logo instead.
This logo has also been restored on the recent Sony DVD release and TV airings of Meatballs, which previously plastered it with the 9th logo.
The 1976 variation can be found on Lipstick, The Bad News Bears, Won Ton Ton: The Dog Who Saved Hollywood, the 1996 VHS release of Race for Your Life, Charlie Brown, U.S. prints of Bugsy Malone, and current prints of Looking for Mr. Goodbar.
Some films have this plastered with the next logo in any of its three byline variations, such as Grease starting with its 1998 video releases, King Kong (1976), and the 2002 DVD release of Mahogany (all with the Viacom byline version).
Early video releases, most 2004-2012, and post-2020 prints of Top Gun retain this logo, but all other copies plaster it with either the 7th logo (although the 1987 VHS release retains this logo at the very end, as it is plastered by the "75th Anniversary" variant of the 1986 logo at the beginning) or the 10th logo for most 2013-19/3D prints.
Late 1990s American TV broadcasts of Dragonslayer briefly plastered this logo with the Viacom byline version of the 1986 logo, but recent broadcasts retain the original logo.
The 2001 Director's Edition DVD of Star Trek: The Motion Picture also replace this logo with the 1995 version of the 1986 logo, but it is still retained on copies of the theatrical cut and the 2022 versions of the Director's Edition.
Of the films released during Paramount's distribution pact with Lorimar Film Entertainment, An Officer and a Gentleman still has this logo due to it being financed and owned outright by Paramount, but The Postman Always Rings Twice (1981), Escape to Victory, S.O.B., and The Sea Wolves all have it replaced by the 1999 Warner Bros. Pictures logo on most current prints (since Paramount only had North American distribution rights).
Night School, however, had this and the Lorimar logo intact on a recent Movie Channel airing and is preserved intact on the widescreen LaserDisc release.
The "Coming From" variant is usually preserved on trailers for films such as Flashdance, Saturday Night Fever and Islands in the Stream on their DVD and Blu-ray releases.
While the 8th logo plasters this (but retains the original fanfare) on the iTunes and Blu-ray trailer for Airplane!, the DVD release retains the original variation.
This logo is also seen on the 1982(?) Paramount Home Video Gateway Video VHS release of the Star Trek episode "Space Seed", preceding the episode.
This logo is also seen after the credits on the VHS release of Jailbait (aka Streetwise), at least on the U.S. screener VHS release.
This logo may have also been seen on Canadian theatrical prints of De Laurentiis Entertainment Group films such as The Transformers: The Movie.
It may have also been seen on international prints of Gallipoli, as Paramount distributed the film internationally (it is also preserved intact on the 2005 Australian Region 4 DVD release of said movie, but most Australian prints (such as the 1982 Australian VHS release thereof) use no logo at the start.)
It is unknown whether it also appeared on Canadian theatrical prints of Disney features The Black Hole, Midnight Madness, and The Watcher in the Woods, which Paramount distributed theatrically in Canada.
Legacy: This is another famous Paramount logo.
8th Logo (December 12, 1986-February 15, 2002)
Visuals: It starts with a shot of a model of the mountain from before, with a CGI lake in front of it and a light blue/yellow gradient sky behind it. The camera slowly zooms towards the mountain as 22 silver CGI stars fly from the left side of the screen and encircle the mountain. While this happens, the sky slowly changes to a blue/red gradient as the landscape becomes slightly darker. When the last star takes its place, the "Paramount" script, redone with a shiny silver finish, fades in on the peak of the mountain, along with a registered trademark symbol ("®"). One of the three bylines (as described below) fade in near the base of the mountain.
Trivia: Paramount used a painting commissioned for its 75th anniversary from Italian artist Dario Campanile as a basis for this logo, which can be seen here.
Bylines:
December 12, 1986-August 30, 1989: "A Gulf + Western Company" (in Helvetica Bold) fades in with the Paramount script (in the prototype version, the byline is set in Helvetica Bold Condensed).
September 22, 1989-December 23, 1994: "A Paramount Communications Company" (in Century Oldstyle, with a line above it) fades in. For its first year, the byline faded in with the Paramount script like the Gulf+Western version, and was colored gold. On video releases from the era, the color scheme of the logo is more washed out than normal.
February 17, 1995-February 15, 2002: "A VIACOM COMPANY" (in the 1990 "Wigga-Wigga" font, with a line above it) fades in.
One variant, used on the trailer for Mission: Impossible II and international releases, has no byline whatsoever (see below).
Variants:
December 12, 1986-December 18, 1987: For the logo's debut and its first official year (1987, even though the logo actually debuted in 1986), the words "75th Anniversary" appear over the mountain, between the Paramount script logo and the Gulf + Western byline. "75th" is in silver with "75" bigger and "th" smaller and "Anniversary" in gold. Also, a trademark ("™") symbol is used instead of a registered trademark ("®") symbol.
On films such as The Golden Child and Hot Pursuit (the former being one of the first films to use this logo, while the latter has the normal music), a different 75th Anniversary disclaimer appears, the Paramount script is slightly smaller, and the Gulf+Western byline is also set in Helvetica Bold Condensed. It is unknown if Crimes of the Heart and King Kong Lives, the first two DEG films to use this logo for their Canadian release, used this variant as well.
A second prototype variant also exists, where the Paramount script is still slightly small, but contains elements of the official variant, including the refined 75th Anniversary disclaimer. This appears on the original home video releases of Critical Condition; later releases use the official variant instead. It was also spotted on a March 1987 promotional reel as well.
February 5, 1988-February 2, 1990: The "75th Anniversary" disclaimer is removed.
March 2, 1990-March 12, 1993: The "Paramount" script has a stronger drop shadow, and the stars and some of the blue clouds have been recomposited.
Some films with this variant have a vignette effect on both sides of the screen.
April 7, 1993-December 23, 1994: The stars and "Paramount" script have been slightly repositioned, and the Paramount Communications byline has a stronger drop shadow. Also, some of the blue clouds have been made slightly darker.
March 31, 1995-June 18, 1999: Some of the blue clouds are now more transparent. Also, the drop shadow under the "Paramount" script has been adjusted.
An early version of the Viacom byline variant exists, which has the byline slightly bigger and off-center. The clouds also stop moving once it fades in, likely because this variant reuses footage from the Paramount Communications variant. This can be found on the first two films that use this byline (The Brady Bunch Movie and Losing Isaiah).
June 30, 1999-February 15, 2002: The logo has been partially updated with newer animation. The stars are now more three-dimensional, shinier, and have a motion blur effect, and can briefly be seen reflected in the lake in front of the mountain. The "Paramount" script and Viacom byline now shine as well. The mountain also now turns dark, and the cloud background is slightly enhanced. Also, the registered trademark symbol now fades in at the same time as the byline.
On films shot in 2.39:1 aspect ratio (such as Bringing Out the Dead, Mission: Impossible II, Shaft (2000), and Rat Race), the logo starts with a still shot of the mountain before animating normally (much like its home video counterpart). Also, the stars, text and byline are somewhat smaller than in the normal 16:9 variant in order to match the aspect ratio (this is retained on fullscreen/open matte prints).
A videotaped version of the 1999 variant exists in which the mountain does not turn dark. This can be found on some Paramount VHS trailers from 2000 to 2002, and on Paramount's "Now in Theaters" bumper from 2000 to 2002, although the variant in its entirety hasn't been seen yet.
A prototype variant with a more 2D look also exists, and can be seen on a trailer for Star Trek: Insurrection, as well as on the teaser trailer for South Park: Bigger, Longer, and Uncut.
On Double Jeopardy, the "®" symbol fades in with the Paramount script.
On Runaway Bride and Wonder Boys, the "®" symbol and Viacom byline fade in with the Paramount script.
On CIC Video's The Paramount Movie Show segments, VHS trailers for Chinatown and A Place in the Sun, theatrical trailers for I.Q., The Brady Bunch Movie, Star Trek: Generations, and Braveheart, a TV spot for Milk Money, the teaser trailer for The Indian in the Cupboard, and the second trailer for Forrest Gump, the logo is bylineless.
On the 1991 trailer tape from CIC Video, the CIC Video logo morphs into the mountain as seen in the start of the logo, and it animates as usual, but with a smaller Paramount Communications byline. The logo then morphs into the 1971 version of the 1963 Universal logo. This can only be found on some Latin American VHS releases as the beginning of a short promo to commemorative 1,000,000 copies of CIC videotapes sold.
On a Brazillian TV Spot for Clear and Present Danger, "Distribuido por United International Pictures" appears below the logo.
On bumpers for the Brazillian channel Telecine, the Viacom byline is replaced with a cheaper one in the Eagle font.
Closing Variants:
At the end of movies, mostly earlier ones, the logo appears as a still image. This version is also seen on syndicated airings of Death Wish 4: The Crackdown before the Cannon logo.
At the end of most later movies, the finished product is seen, with the clouds gliding.
Despite replacing the 1995 variant as an opening logo, the 1999 variant was seldom used as a closing logo, with most films released from 1999 to 2002 instead using the 1995 logo at the end. Some exceptions include the domestic release of South Park: Bigger, Longer, and Uncut (which was released by Warner Bros. internationally) and the 2022 Blu-ray and digital releases of Jimmy Neutron: Boy Genius.
On Mission: Impossible II, the logo fades in without the Viacom byline, which fades in after about a second.
A zoomed-in still variant of the 1988 version of the 1986 logo also exists, which was seen at the end of a UK airing of The Presidio on BBC1 from February 14, 1995.
Technique: A mixture of CGI animation and live-action, designed and composited by Jay Jacoby of Studio Productions (now Flip Your Lid Animation), who went on to produce the logos for Universal Pictures and 20th Century Fox, among others. The CGI stars were created by David Sieg at Omnibus/Abel on a III Foonly F1 computer, and the mountain scenery was a physical model created and filmed by Apogee, Inc.
Audio: A reworked version of the 1976 fanfare (which debuted on The Blue Iguana, released on April 22, 1988), with synthesized chimes added to the beginning, as well as additional instruments.
Audio Variants:
Sometimes, the logo is silent or the opening theme of the movie.
On Event Horizon, a rearranged, slower and more "powerful" version of the 1976 fanfare, composed by Michael Kamen, is heard, with the final note held out.
1987: Earlier films with the 1976 fanfare have the synth chimes fade out when the music begins.
On Campus Man, a different fanfare composed by James Newton Howard plays.
On Stepping Out, a different fanfare composed by Peter Matz plays.
On The Naked Gun 33 1/3: The Final Insult, a different fanfare composed by Ira Newborn plays.
On Harriet the Spy, some soft-sounded chimes sampled from Mrs. W's garden can be heard faintly.
On Snow Day, wind from a snowstorm is heard throughout the logo.
On a Spanish TV airing of Titanic, the 1994 20th Century Fox fanfare is heard due to the airing using an international Spanish audio track.
On the 1998 reissue of Grease, the 1988 fanfare is given a more "powerful" remix with louder cymbals.
On the Australian DVD release and a French print of The Next Best Thing, the Lakeshore Entertainment theme is heard over the logo due to an editing error where the order of the logos are reversed but the audio isn't.
On the UK Second Sight Blu-ray release of Creepshow, the NTSC-pitched 1994 Warner Bros. Television fanfare plays over the ending version of this logo.
On European TV airings of Braddock: Missing in Action III, the 1995 MGM lion roar is heard over the Viacom byline version of the 1986 logo, likely due to those airings using a Paramount-owned TV print with audio from an MGM-owned master.
On the Icon UK DVD release of What Women Want, the thunderclap from the 1994 Icon Productions logo is heard due to an audio swapping error (the DVD release uses the pitched-up U.S. audio master, as Paramount held the U.S. rights to the movie while Icon held internationally).
Availability: Seen on most Paramount movies of the era. While it's been plastered on some TV airings and video releases of Paramount films (as well as some remastered or restored prints), most of these films still retain their original logos.
The first films to use this logo were The Golden Child and Crimes of the Heart (the latter a De Laurentiis Entertainment Group production distributed in Canada by Paramount), both released on December 12, 1986, and the last film was Crossroads, released on February 15, 2002 (possibly plastered in later prints).
The Paramount Communications byline variant is preserved on films such as Ghost, The Hunt for Red October, Wayne's World, and Forrest Gump, among others.
In general, it debuted on Black Rain, and last appeared on Nobody's Fool.
The 1995 Viacom byline variant is preserved on films such as Clueless, Star Trek: First Contact, U.S. prints of Titanic, Saving Private Ryan, and The Truman Show, among many others. It debuted on The Brady Bunch Movie.
The 1999 enhanced version is preserved on their 1999-2002 films starting with South Park: Bigger, Longer and Uncut (as a variant), and ending with Crossroads (the entire logo's final appearance).
The 1988 version of the 1986 logo is also seen at the end of Big Top Pee-Wee, which has the 5th logo at the beginning.
Paramount has used the 1995 Viacom variation in all logo plasters and TV movies, such as those made for Showtime.
The 75th Anniversary logo can be found on 1987 VHS releases of Top Gun, Ferris Bueller's Day Off, The Whoopee Boys, Crocodile Dundee, Children of a Lesser God, and Star Trek IV: The Voyage Home, and was plastered with its later variations for many years.
However, Paramount preserved this variant later on, as it is seen on the DVD releases of Planes, Trains and Automobiles and The Untouchables and the 2022 Blu-ray release of Back to the Beach under the Paramount Presents (#34) line.
It is also left intact on VH1's print of Beverly Hills Cop II.
The 75th Anniversary logo is also seen at the start and end of the 1987 US VHS release of G'Day Australia: Like Nothing Else on Earth.
The prototype 75th Anniversary variation can be found on The Golden Child, Hot Pursuit, and the trailer for Beverly Hills Cop II (which is also preserved on iTunes).
The Viacom variation of this logo plasters the Paramount Communications variant on post-1995 VHS releases and some DVD and Blu-ray releases of films released in late 1994.
For example, on the 1999 DVD and 2004 Special Edition releases of Star Trek: Generations, the Viacom variant is seen at both ends instead.
However, on the 2009 Blu-ray and DVD re-releases (as well as the 2023 UHD and Blu-ray releases), the Paramount Communications variation is restored.
The Paramount Communications variant of this logo also plasters the 1982 Orion Pictures logo on Spike TV airings of First Blood (as Paramount Communications had already folded into Viacom by the time Viacom purchased Worldvision Enterprises, Carolco Pictures' television distributor, in full, it's possible that the logo first appeared on that film around the time Viacom, which had by then already acquired Paramount Communications, merged with Blockbuster, which owned Worldvision's parent company Spelling Television).
It can also be found on VHS releases from 1989 to 1995, and also makes an appearance at the end of older US prints of Sleepy Hollow (however, current prints have the Viacom byline of this logo), with the standard 1999 logo at the beginning of said film.
The Paramount Communications variant also makes appearances on the Mexican DVD release of Demonic Toys (Juguetes Demoniacos) and the Echo Bridge Home Entertainment DVD releases of Puppet Master 5, likely due to being sourced from older VHS masters.
The tail end of it also makes an appearance on the rough cut of the final Mystery Science Theater 3000 episode "Diabolik" (the actual episode itself cuts it out).
It was also seen at the start of a UK airing of the 1978 TV movie True Grit: A Further Adventure on LEGEND from April 8, 2023.
The standard Gulf+Western variant of this logo is also preserved on VHS releases from 1988 to 1989, and also makes an appearance on the Razor Digital DVD release of Puppet Master (1989).
The Viacom variant of this logo is also preserved on VHS releases from 1995 to 2003 (as detailed above), and at the end of AMC airings of Rambo: First Blood Part II and Prancer.
The 1995-2002 version with the Viacom byline was also spotted after the split-screen credits of Nickelodeon airings of Barnyard. This was the result of a credits error that resulted in Nickelodeon instead using the ones for Jimmy Neutron: Boy Genius, which originally used the 1999 logo.
On the other hand, this logo can be found on DVD, digital, and Blu-ray prints of Jimmy Neutron, as well as TV airings, but is plastered with the 90th Anniversary version of the next logo on its original VHS release.
The silent version of the Viacom variant is also preserved on Hulu prints of The Lorax and The Cat in the Hat.
This logo is also seen on ThisTV's prints of Wild Geese II plastering the Cannon logo, and That Championship Season on the same station, as they used a Paramount master.
It is also seen on Screenpix Action airings of Avenging Force.
It is also seen at the end of Anchor Bay's print of Bad Boys (the 1983 film), an EMI film for which Viacom had the television rights.
The 1990 Paramount Communications variant of the closing logo does not appear at the end of a 2004 UK airing of Ghost on ITV1, as it goes right from the closing credits straight into the ten-second Motorola closing sponsorship ident instead.
The 1995 Viacom variant of the closing logo was also seen at the end of a UK airing of Beavis and Butthead Do America on BBC Two from August 6, 2000.
Legacy: Much like some of its predecessors, this logo is a favorite within the logo community thanks to its blend of models and CGI, as well as its fanfare.
9th Logo (February 25, 2002-May 16, 2012)
Visuals: The camera pans down from a starry sky to a set of clouds. As the camera slowly zooms backwards, a few cometoid objects fly down and reveal themselves as the trademark Paramount stars that zoom past the camera. The familiar "Paramount" script (with a gold border) zooms out, revealing it to be a reflection (which fades to white) the entire time as a total of 22 stars shoot past the script and encircle the mountain, which is now more realistic in appearance, on a dusk background. The script continues to zoom out before taking its place at the peak of the mountain. The Viacom byline (once again, with a line above) then fades in below the logo.
Bylines:
March 1, 2002-March 26, 2010: "/\ \/|/\CO/\/\ CO/\/\PANY" in its 1990 "Wigga-Wigga" font. This version last appeared on She's Out Of My League, the 2012 Brazilian animated film Peixonauta: Agente Secreto da O.S.T.R.A., the 2015 Spanish animated film Capture the Flag (for the full animation variant) and the 2011 DreamWorks Animation film Kung Fu Panda 2 (for the closing and distribution variants).
April 26, 2010-May 16, 2012: "A VIaCOM COMPANY" in its 2005 font. This version first appeared on Iron Man 2 and last appeared at the end of The Dictator.
Variants:
March 1-December 27, 2002: For the logo's debut and its first official year (2002), the words "90TH ANNIVERSARY" in gold, with "90" bigger, "TH" smaller and on the top right of "90", and "ANNIVERSARY" below, fade in with the Viacom byline, sandwiched between the peak of the mountain. Again, the trademark symbol ("™") is used in place of the registered trademark symbol ("®") in this variation.
On earlier films released with the 90th Anniversary variant (such as Hey Arnold!: The Movie, Serving Sara, and Changing Lanes), the logo's general color scheme is brighter and more cartoonish. The stars have a stronger motion blur effect, but one star is missing from the first half of the logo, and the stars in the final shot are somewhat off-center from the rest of the mountain. There is also an error during the portion where the script zooms back, in which some of the stars seem to jump out of the reflection of the text. The clouds in the sky and around the mountain also appear less realistic than in the later version, and the sky background in the second half appears to be stretched vertically (however, on We Were Soldiers, which was the first film to use the 90th Anniversary logo, the sky background is more or less unaltered). Also, the trademark symbol is yellow instead of white.
The 90th Anniversary variant was reanimated to look more natural starting with The Sum of All Fears (the only film that didn't use the revised variant was The Hours, which used the earlier version), with the color of the trademark symbol being changed to white. The version used on that film would later become the regular logo without the 90th Anniversary tag, which was introduced the following year.
Sometimes, the 90th Anniversary variant fades in after the camera pans down from the sky.
A still version of the 90th Anniversary logo exists, in which the stars and Paramount script are spaced slightly further from the mountain, and the "90" text is shinier. This appears on the video game version of The Sum of All Fears, as well as the Australian DVD release of Blue's Clues: Get to Know Joe (albeit without the "90th Anniversary" text). It also appears on the cover of the 2002 compilation album Paramount Pictures' 90th Anniversary: Memorable Scores.
A still version of the logo also exists, which appears on international prints of Sleuth.
A variant is used at the end of every trailer for Paramount's films on online stores such as iTunes, the PlayStation Store, and the Xbox Store. A still version of the Paramount logo appears with the words "Now Available from Paramount" above and a copyright stamp below it. It has also been seen zoomed in (so the copyright and the "now available" text is not seen) and on the trailer for Airplane!, where the logo plasters the 1975 trailer version of the logo (keeping the music). This also appears on old DreamWorks movie trailers.
A short version exists that starts when the stars fall from the sky. This mainly appears on VHS releases.
On video releases from the company, the logo is videotaped and often in open matte.
Starting with Iron Man 2, the logo was enhanced once more with shinier text and sleeker stars that jump out of the reflection of the sky, and the Viacom byline is switched to its 2006 font. There is a noticeable error in this variant where the stars from the first half of the logo are visible behind the "Paramount" script as it zooms out where it should normally obscure them (the deleted alternate opening of the film uses the original variant).
This variant was possibly done to accommodate for stereoscopic 3D films, since the first overall appearance of this variant was technically in the 2007 film Beowulf, albeit with the byline being in the "Wigga-Wigga" font and with a part of it being warped. The international version of the film used the 3D Warner Bros. Pictures logo used on IMAX documentaries of the time, which plays normally.
On fullscreen DVD releases of Paramount movies shot in 2.39:1, the logo is incredibly zoomed in, since it is in the 4:3 ratio. On matted films, it is either zoomed in halfway or in open matte.
An open-matte version exists on some uncropped 35mm film scans of films, one example being Mean Girls.
Closing Variants:
Only the finished product of the logo, with the only animation being the clouds in the background. It's basically the same as its pre-2006 television counterpart, but slightly extended and silent.
On The Eye and Indiana Jones and the Kingdom of the Crystal Skull (both 2008), the logo is completely still.
2006-October 28, 2011: When distributing films from another company, the words "DISTRIBUTED BY", in white, are seen above the logo with the Viacom byline and the line. Usually seen at the end of DreamWorks Pictures (however, some films will say "DISTRIBUTED BY DREAMWORKS/PARAMOUNT DISTRIBUTION") and DreamWorks Animation films beginning in late 2006. Also appeared at the end of Iron Man.
The "DISTRIBUTED BY" text was updated along with the Viacom byline starting in 2010.
Technique: CGI animation directed by Peter Schluter at BUF Compagnie, believed to have been done on one of BUF's 75 Silicon Graphics O2 units. The 2010 version was animated by PIC Collective.
Audio: Usually none or the opening theme of the film.
Audio Variants:
On Mean Girls, the 1988 fanfare is heard.
On the 2005 remake of The Longest Yard, a different fanfare composed by Teddy Castellucci plays.
On an AMC airing of Rambo III, this plasters the Carolco logo and keeps the low-pitched version of the theme, likely due to a plaster error.
On Twisted, wind is audible throughout the logo.
On Jackass Number Two and Jackass 2.5, a loud jet sound is heard along with wind when the stars fly down, followed by whooshes when the stars pass by the screen, then a final whoosh sound when the Viacom byline fades in.
On a French Paramount Channel airing of Assassination, the 1984 Cannon Films theme plays over the logo.
Availability: Appears on all films from the company from the time-period until 2011.
The 90th Anniversary variant made its theatrical debut on We Were Soldiers (released on February 25, 2002), and made its final appearance on The Hours (released on December 27, 2002).
However, it is also seen on Charlotte's Web 2: Wilbur's Great Adventure (released on March 18, 2003), likely due to the film being completed in 2002, but released in 2003.
The version without the "90th Anniversary" tag debuted on How to Lose a Guy in 10 Days (released on February 7, 2003), and made its final appearance on She's Out of My League (released on March 12, 2010); it made its final closing appearance on Kung Fu Panda 2 (released on May 27, 2011).
The enhanced version debuted on Iron Man 2 (released on April 26, 2010), and made its final full appearance on The Adventures of Tintin: Secret of the Unicorn (released on October 26, 2011), with its final closing appearance at the end of The Dictator (released on May 16, 2012, though the next logo is used at the beginning).
Despite being mostly retired after 2011, this logo also makes appearances on the 2011 French film Beur sur la ville, the 2012 Brazilian animated film Peixonauta: Agente Secreto da O.S.T.R.A., and the 2015 Spanish film Capture the Flag (only at the beginning; the film uses the next logo at the end).
The 2010 variant can also be found on the 2012 restorations of Wings and Hondo, respectively.
The 90th Anniversary variant also sometimes plasters old logos on 2002 video releases, as well as the 1984 TriStar Pictures logo on Encore airings of Rambo III.
The 2003 version of the 2002 logo is also seen at the end of Grease Sing-a-Long (a re-release of 1978's Grease), which retains the 7th logo at the beginning.
It is also seen at the end of IMAX prints and all international prints of Watchmen; on North American IMAX prints, it is followed by the Warner Bros. Pictures closing logo.
This logo also plasters the previous logo on small HD widescreen prints of The Rainmaker, although most current prints including the Blu-ray release have the original logo intact.
It also plasters the Weintraub Entertainment Group logo on an Encore airing of My Stepmother is an Alien, retaining the film's opening music.
It also plasters the 1982 Orion Pictures logo on HBO, Comedy Central, and IFC airings of Bill and Ted's Excellent Adventure (also plasters the closing version of the logo at the end, with the following Nelson Entertainment logo kept at the beginning), and the 1995 MGM logo on older HBO airings of House Arrest.
The full version is seen at the beginning of a few early episodes of Hogan's Heroes on MeTV, including the pilot episode and the HD remasters on Universal HD.
This logo does not appear at the beginning of Strange Wilderness, however, the "Distributed by" variant appears at the end.
It is also seen at the end of DreamWorks Animation films released from 2006 to 2011, but not at the beginning of them, unlike 20th Century Fox and Universal Pictures.
It does, however, appear on the VCD release of Flushed Away.
Some later prints of these movies like the 2018 Blu-ray release of Over the Hedge have this plastered with the 2012 Universal logo.
It also plasters the 1973 Warner Bros. "Big W" logo on the VCD release of Cujo due to Paramount gaining the rights to that film when Taft Entertainment was merged into Republic, which became part of Viacom.
Disney has also retained this logo on current prints of Iron Man, Iron Man 2, Thor, and Captain America: The First Avenger, all of which Paramount distributed on behalf of Marvel Studios until 2013.
The 2003 version of the 2002 logo is also seen at the end of the Criterion Ultra HD Blu-ray release of The Virgin Suicides.
The 2003 version of the 2002 logo is also seen at the start and end of modern prints (including a November 24, 2022 TMC Movies UK airing) of Big Jake.
The 2003 version of the 2002 logo is also seen at the end of a Showtime on Paramount+ streaming print of Basic Instinct.
The closing version of the 90th Anniversary variant of this logo is also seen at the end of current prints of Turbulence.
The 90th Anniversary variant of this logo was also seen at the start of both a December 4, 2022 UK airing of Mean Machine on Film4, and a December 17, 2022 UK airing of Jackass: The Movie on Comedy Central, respectively.
Legacy: Another favorite of the logo community due to its more advanced CGI.
10th Logo (December 16, 2011-)
Visuals: Over a dark cloudy background, several stars fly towards the camera, a mirrored reference to the previous logo. As the third star flies towards the camera, the camera follows it and pans upward to reveal that it was a reflection of a lake (another reference to the previous logo). The camera follows two of the stars as they skim the lake, and a total of 22 stars fly over a forest, line up and encircle the mountain ahead. Then the "Paramount" script zooms out to take its place on the mountain, which is situated on a cloudy sunset landscape. The byline then fades in below, alongside an ®/™ symbol (prior to 2022).
Trivia: The 2022 version marks the first time since 1968 that the logo has been bylineless.
Alternate Descriptive Video Transcriptions: Flying stars skim across a lake towards a distinctive pyramid-like mountain with a snow covered peak, the stars form an arch over the mountain, Paramount, a Viacom/ViacomCBS Company.
Bylines:
December 16, 2011-November 8, 2019: "A VIaCOM COMPANY" (set in the 2006 Viacom font)
January 10, 2020-February 11, 2022: "A ViacomCBS Company" (set in Gotham Bold)
2021-March 29, 2022: Same as before, except it's set in ViacomCBS Raisonné.
March 25, 2022-: Bylineless
Variants:
December 16, 2011-December 21, 2012: For the logo's debut and its first official year (2012, even though it actually debuted in 2011), a bright light shines to reveal the text "100 Years", with "100" bigger and "Years" smaller, before a smaller Viacom byline fades in underneath. The lens flare is also different, which can also be seen in the Paramount Players logo.
Sometimes, the byline fades in earlier than usual when the "Paramount" script zooms back. This was also seen on trailers and TV spots for some films until 2022.
An open-matte version exists.
A version with a French byline, reading "UNE SOCIÉTÉ VIaCOM", also exists. This was only used as a corporate variant.
A version of this logo exists where some of the stars have a lighter color, the "Paramount" script is darker, and some of the clouds behind the mountain are not visible.
A version of the aforementioned variant also exists for the 100 Years version of this logo, where the Viacom byline is shifted upwards.
Sometimes, the logo is cut down to its last few seconds. This was also seen on short films, and trailers and TV spots for certain films.
Starting with The Lost City, released on March 25, 2022, the ViacomCBS byline is excluded, and the logo is bylineless for the first time since the 6th logo, due to aforementioned renaming.
On some movies, the logo has a more bluish sky and brighter clouds.
A B&W version of this logo exists, which is seen on newer prints of older films now owned by Paramount.
On YouTube advertisements from the side of a video (done after a video ad), the logo appears bylineless and has a dark blue/black gradient on the sides.
A still open matte version of the 100 Years variant also exists, which was spotted when the Paramount Movies app on Xbox 360 is launched. A print version of this logo was also seen at the Xbox One reveal event on May 21, 2013.
Similarly, a version with the 100 Years print logo in silver on a steel background with "100 Years of Movie Magic" below it is seen as the splash screen on the Paramount100 app, exclusively on iPad.
On a promo reel, the logo has 13 stars instead of 22 and the "Paramount" script is also slightly different, alongside the camera angle being slightly changed. A slightly modified version of this variant was first seen on a promo for Paramount+.
Closing Variants:
The ending result of the opening logo; sometimes "DISTRIBUTED BY" appears above, set in the same fonts as the Viacom and ViacomCBS bylines. Sometimes, the logo fades in and out; other times, it cuts in and out. This is mainly seen at the end of DreamWorks Animation films from 2012 and three Mission: Impossible films: Ghost Protocol, Rouge Nation and Fallout.
Sometimes, the logo is in full white, bylineless and in-credit along with the other logos, which is only seen at the end of The Little Prince and Tad, the Lost Explorer and the Emerald Tablet.
Technique: CGI by Devastudios, animated using Terragen from Planetside Software (which they also used for the 2021 and 2023 Warner Bros. Pictures logos) and Autodesk Maya. Here is a behind-the-scenes look at the many layers of rendering that were required for the "100 Years" version of this logo.
Audio: A light bell and string piece which rises in intensity to become more majestic and orchestral, with the final note also using a brief choir. This was composed by Michael Giacchino and recorded at the Newman Scoring Stage at the Fox Studio Lot.
Audio Variants:
Sometimes, there is no music, the opening theme of the movie, or a different fanfare.
An alternate version of the fanfare exists with some slight changes, in the note of the orchestration, making it sound more powerful. This version is only heard on Mission: Impossible - Ghost Protocol, which is the first movie to use this logo. An unused alternate version is heard on the OST of its debut film that features a very different, more sweeping, and even more powerful orchestration. This can be heard in that said film's complete score soundtrack, which is unlisted in the album, as with the other versions, here.
Sometimes, whooshes are added to the logo over either the fanfare or the opening theme of the movie when the stars and the text fly by.
None for the closing variant. Sometimes, the closing theme of the movie would be used instead.
At the end of a Starz print of Hero and the Terror, a Cannon film, the 1986 Viacom "V of Steel" jingle plays over the end variant of this logo due to a plastering error.
On the 2022 German film Es ist nur eine Phase, Hase (It's Just a Phase, Honey), the logo is accompanied by different sound effects, such as whooshes, water rippling when the stars skim on the lake. When the script reaches its position, a faint metallic banging sound is heard.
Availability: Unlike previous logos, this is not only used on films, but also on television series as well. This was also used in tandem with the previous logo until December 21, 2011.
Seen on all Paramount films since Mission: Impossible - Ghost Protocol (trailers and TV spots for the film use the previous logo).
Also seen on Paramount+ miniseries starting with Knuckles.
The 100 Years version debuted on the aforementioned film and made its last appearance on Jack Reacher, released on December 21, 2012.
The version without the "100 Years" text first appeared on Hansel & Gretel: Witch Hunters, released on January 25, 2013.
It is also seen on the last two DreamWorks Animation films released under Paramount before DWA's distribution rights were handled to 20th Century Fox (Madagascar 3: Europe's Most Wanted & Rise of the Guardians), both released in 2012.
But just like its predecessor, this is only seen at the end of these films. Reprints of these films have the 2012 Universal Pictures logo instead.
However, on BBC prints of How to Train Your Dragon 2, Penguins of Madagascar, Home, Kung Fu Panda 3, and Trolls, this logo plasters the final 20th Century Fox logo, even though Paramount ended its distribution deal with DreamWorks in 2012.
In the case of How to Train Your Dragon 2, Penguins of Madagascar and Kung Fu Panda 3, it's possible that this was done to maintain consistency with each film's predecessor(s), which were all distributed by Paramount.
It is also seen as a de-facto home entertainment logo on Paramount's 4K UHD Blu-ray releases starting in 2016, and on regular Blu-ray and DVD releases starting in 2019 with Bumblebee, and Nickelodeon and Comedy Central DVD releases starting in 2023.
However, CBS Home Entertainment, Showtime and Paramount Media Networks (e.g. Comedy Central, Nickelodeon until 2023) DVD releases, despite containing the Paramount logo on the disc and cover, do not have this logo.
It is also seen on the first six films from Paramount Animation before the division got their own logo in 2019, although this still appears as a closing logo.
The Viacom byline made its final appearance on Playing with Fire; while the ViacomCBS byline version first debuted in 2019 on a Spanish TV spot for Sonic the Hedgehog and was seen on all films from Like a Boss to The In Between, with its final appearance overall being on O Palestrante and a trailer for Top Gun: Maverick.
The bylineless version debuted on TV spots for Sonic the Hedgehog 2, and its first theatrical appearance as a regular logo being on The Lost City.
It made its first non-U.S. appearance on Laal Singh Chaddha (a Bollywood remake of Forrest Gump produced by Aamir Khan).
The ViacomCBS byline in the ViacomCBS Raisonné typeface debuted on the UK trailer for Clifford the Big Red Dog and trailers for Snake Eyes: G.I. Joe Origins, but was never used on an actual film.
This logo is also preserved on French prints of films produced by Orange Studio.
This logo is also preserved on post-2012 and 3D U.S. prints of Titanic; plastering the 8th logo, and the 2013-19 and 3D prints of Top Gun, plastering the 7th or 8th logos (the 4K/2020 remastered Blu-ray releases restore the 7th logo).
This logo can also be found on U.S. prints of Selma, as the 2009 20th Century Fox logo appears on the film's UK prints.
This logo is also sometimes seen at the end of modern prints of DreamWorks Pictures films, such as on a Netflix print of The Cat in the Hat and the Blu-ray release of Mouse Hunt.
The ViacomCBS variant has also been spotted on some newer prints of older films, as well as the 30th anniversary edition of The Godfather Part III, where it plasters the 1990 version of the 1986 logo.
This was also seen at the end of the August 7, 2022 Cartoon Network airing of Shrek 2, plastering the closing variant of the previous logo, similar to the BBC's plaster above.
This logo is also seen at the end of Secret Headquarters, a Paramount+ original film.
However, it does not appear at the beginning of said film, as the aforementioned logo is used instead.
Similarly, it is also seen at the end of digital prints of The Black Demon, as it does not appear at the beginning of the film.
This logo can also be found on VOD and home media prints of Devotion, which was originally released theatrically in the U.S. by Columbia Pictures and STX International overseas (Sony sold the home media rights to Paramount).
This does not appear on My Little Pony: A New Generation, as it was distributed by Netflix instead.
The ViacomCBS variant of this logo was also seen at the end of a January 8, 2023 UK airing of Rio Lobo on ITV4, and at the end of a December 27, 2023 UK airing of The Croods: A New Age on BBC One, and is also seen at the end of newer prints of The April Fools.
Legacy: This is another well-regarded logo among many due to the CGI and fanfare.
Unused Logo
Logo (2010)
Visuals: There is a close-up of the familiar Paramountain's left side. The camera zooms out to its familiar distance. The whole logo is set at daytime. As this occurs, the "Paramount" script, now silver zooms out to take its place on the mountain, which is situated on a cloudy morning. along with text saying "100TH ANNIVERSARY" moving below it. 22 silver stars shoot past the script and encircle the mountain behind it.
Technique: CGI animation by Matt Hartle.
Availability: The only known appearance of this logo is an image found on Matt Hartle's website but the video footage is currently unknown at this time.
References
Paramount Pictures on Wikipedia
Official Website for Paramount Pictures
Paramount Pictures filmography on IMDb
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https://www.history.com/news/anna-may-wong-facts-career
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Anna May Wong: 13 Facts About Her Trailblazing Hollywood Career
|
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2024-04-30T14:12:18+00:00
|
Anna May Wong started acting at age 14 and rose to fame, but as a Chinese American, landing leading roles was often a struggle.
|
en
|
HISTORY
|
https://www.history.com/news/anna-may-wong-facts-career
|
Anna May Wong rose to fame as an actress during the Golden Age of Hollywood. Living from 1905 to 1961, when the Chinese Exclusion Act of 1882 and its extensions were enforced, Wong grappled with racism that limited her opportunities. Nevertheless, over the span of her career, she acted in over 60 productions and marked many firsts for Asian Americans.
“As Hollywood’s first Chinese American movie star, Anna May Wong faced more challenges than most actresses of her era,” says Katie Gee Salisbury, the author of Anna May Wong’s biography Not Your China Doll. “In spite of the racism she experienced—studios balked at casting her in leading roles and often relegated her to China doll or dragon lady stereotypes—Wong persisted and even thrived, working in silent films, talkies, radio, theater, and television across four decades.”
As a result of her artistic achievements and philanthropic efforts, Anna May Wong became the first Asian American to be memorialized on American currency in 2022 when the U.S. Mint released quarters bearing her likeness as part of the American Women Quarters program. Below are 13 facts about her life, career and legacy.
1. She was a third-generation American.
While Anna May Wong was of Chinese descent, she was born and raised in the United States and was considered a third generation American. She was born Wong Liu Tsong in Los Angeles on January 3, 1905. She was given the name “Anna” by the family’s American doctor at birth. She later added "May" to her name and made “Anna May” her stage name as a teenager.
She was the second of seven children of her parents Sam Sing and Gon Toy Lee, who were both California natives. The couple owned and operated a laundry business near Chinatown in Los Angeles, where Wong and her siblings also worked alongside their parents.
2. She experienced racism in school.
Wong and her siblings initially attended a predominantly white public school in California and experienced racism and hostility from her classmates. She recalls a particularly harrowing experience in The True Life of a Chinese Girl, a three-part memoir published by Pictures Magazine in 1926.
“They surrounded us. Some of them pulled our hair, which we wore in long braids down our backs. They shoved us off the sidewalk, pushing us this way and that," she wrote, adding that the students chanted racist slurs during the assault. "I don’t suppose either of us ever cried so hard in our lives, before or since.”
Wong and her siblings eventually transferred to the Chinese Mission School in L.A.’s Chinatown, which had a predominantly Chinese student body and she was no longer bullied. While Wong’s native language was English, she learned Chinese while attending the school, though she spoke it with an accent.
3. Wong had to carry ID under the Chinese Exclusion Act.
While the Chinese Exclusion Act of 1882 prohibited the immigration of Chinese laborers for 10 years, the act was extended until it was officially repealed in 1943 through the Magnuson Act. The law required all Chinese residents in the United States to carry Certificates of Identity issued by the government. Wong’s fame as an actor did not exempt her from carrying one of these certificates and she endured othering that many Asian Americans experienced during this period.
4. As a child, she spent time around film sets.
In the 1910s, when Wong was a child, film production shifted from New York to Los Angeles. Wong used the tips she earned while working at the laundromat and her lunch money to buy movie tickets and watch films. She would also watch movies being filmed on the streets of Los Angeles.
Wong recalled in an interview, “I would worm my way through the crowd and get as close to the cameras as I dared…I’d stare and stare at these glamorous individuals, directors, cameramen, assistants, and actors in grease-paint, who had come down to our section of town to make movies.”
5. She was first cast as an extra at age 14.
Wong’s film career officially began when a casting call went out for Chinese women for the silent film The Red Lantern (1919), directed by Albert Capellani. She carried a lantern in one of the film’s scenes, but she was not mentioned in the movie credits.
Three years later, Wong landed her first leading role in the film, The Toll of the Sea (1922), which was the first feature film made in the two-strip Technicolor process. The film was based on the opera Madame Butterfly. In the melodrama, Wong played the part of Lotus Flower, a Chinese woman who rescues an American man floating in the sea.
6. Hollywood’s anti-miscegenation laws restricted Wong's acting roles.
Anti-miscegenation laws in the United States, which had its origins in the late 19th century, prohibited racial mixing in relationships and cohabitation. These restrictions also translated to the silver screen as part of the Hays Code.
Anti-miscegenation laws prevented actors of different races from kissing on screen, which barred Wong from playing the romantic lead in many films. It was common for non-Asian actors to play the part of Asian characters, but Wong could not play a romantic lead in a film even if the male lead was a white actor playing an Asian character.
7. She created her own film production company in 1924.
As a result of the limited roles available to her, Wong created her own film production company called Anna May Wong Productions in March of 1924. She hoped to make films about her own Chinese culture and circumvent some of the casting restrictions she experienced. However, the company closed after one year because of issues with the business partnership.
8. She was passed over for lead Asian character roles in favor of non-Asian actors.
Because of anti-miscegenation laws and film narratives that centered white heroes, Wong was often typecast to token roles like the exotic slave girl or the villainous dragon lady. For instance, she played the supporting role of a conniving slave in The Thief of Bagdad (1924) alongside star Douglas Fairbanks. Even when she signed with Paramount Pictures and played leading roles such as in Daughter of the Dragon (1931), she was cast as Ling Moy, an exotic dancer and vengeful daughter of Fu Manchu.
“I was so tired of the parts I had to play,” she said in a 1933 interview. “Why is it that the screen Chinese is nearly always the villain of the piece, and so cruel a villain—murderous, treacherous, a snake in the grass. We are not like that.”
In 1936, casting began on a film adaptation of Pearl Buck’s book The Good Earth, a story about a Chinese family in a rural village. Wong auditioned for the lead part of O-Lan, but she was offered the role of Lotus, the concubine, which she turned down. She expressed her frustration, “You're asking me—with Chinese blood—to do the only unsympathetic role in the picture, featuring an all-American cast portraying Chinese characters.” Luise Rainer, who was cast as O-Lan, won an Oscar for her performance.
9. Wong moved to Europe and starred in films and plays.
After experiencing repeated frustrations in Hollywood, Wong moved to Berlin, Germany in 1928, where she found more freedom in her career in the absence of American anti-miscegenation laws. She starred in films and made her theater debut in the play The Circle of Chalk (1929) in London and the Viennese operetta Tschun Tschi (1930). Wong also created her own stage show that she toured around major cities in Europe in the 1930s, which included acts like singing Noel Coward’s song “Half-Caste Woman.”
10. Anna May Wong and Philip Ahn were first Asian Americans to act as Hollywood romantic leads.
In 1937, Wong and Korean American actor Philip Ahn acted opposite each other in Daughter of Shanghai, becoming the first Asian American actors to play a leading romantic couple in Hollywood. Because of the prevalence of white actors being cast as Asian characters in movies, this pairing was remarkable. In the film, Wong plays a woman attempting to solve her father’s murder and Ahn plays an FBI agent on the case.
11. Wong helped with war relief in China during World War II.
Wong visited China for the first time in 1936, where she directed and produced a documentary and travelogue film titled My China Film. In China, however, she was criticized for the film roles she played because they were considered negative and stereotypical portrayals of Chinese people, with some reviewers calling her performances “degrading.” She said in an interview, "It's a pretty sad situation to be rejected by Chinese because I'm 'too American' and by American producers because they prefer other races to act Chinese parts."
However, her trip strengthened her connection to China and her cultural heritage. During the Second Sino-Japanese War between the Republic of China and the Empire of Japan as part of World War II, Chinese civilians suffered with displacement, violence and a widespread humanitarian crisis. Wong used her star power in the United States to help raise awareness for the United China Relief by giving speeches, leading public campaigns, and participating in fundraising events.
12. She was the first Asian American to lead a US television show.
After her tour in Europe and her involvement with the China Relief Fund, Wong returned to acting to star as a detective in the 1951 television show, The Gallery of Madame Liu-Tsong on the DuMont Television Network, making her the first Asian American to lead a television series. While there were plans for future episodes, the show was canceled after the first season.
13. She was the first Asian American woman to be awarded a Hollywood Star.
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TRANSFORMERS ONE is the untold origin story of Optimus Prime and Megatron, better known as sworn enemies, but once were friends bonded like brothers who changed the fate of Cybertron forever. In the first-ever fully CG-animated Transformers movie, TRANSFORMERS ONE features a star-studded voice cast, including Chris Hemsworth, Brian Tyree Henry, Scarlett Johansson, Keegan-Michael Key, Steve Buscemi, with Laurence Fishburne, and Jon Hamm.
About to embark on a new world tour, global pop sensation Skye Riley (Naomi Scott) begins experiencing increasingly terrifying and inexplicable events. Overwhelmed by the escalating horrors and the pressures of fame, Skye is forced to face her dark past to regain control of her life before it spirals out of control.
From legendary director Ridley Scott, Gladiator II continues the epic saga of power, intrigue, and vengeance set in Ancient Rome. Years after witnessing the death of the revered hero Maximus at the hands of his uncle, Lucius (Paul Mescal) is forced to enter the Colosseum after his home is conquered by the tyrannical Emperors who now lead Rome with an iron fist. With rage in his heart and the future of the Empire at stake, Lucius must look to his past to find strength and honor to return the glory of Rome to its people.
Eleven-year-old history buff Kevin’s mundane life takes a thrilling turn when he unexpectedly joins a group of time-traveling thieves. With a Map stolen from the egotistical and vengeful Supreme Being himself, they are plunged into a dangerous adventure across time and space, from Ancient Troy to the Ice Age and beyond. Kevin and The Bandits face excitement and peril at every turn as they navigate through history, fight for survival, unravel mysteries and seek inter-dimensional fortune and glory.
The Grace family moves from Brooklyn, New York to their ancestral home in Henson, Michigan, the Spiderwick Estate. Helen makes the move with her 15-year-old fraternal twin boys, Jared and Simon, and her older daughter, Mallory. Shortly after moving to the Spiderwick Estate Jared discovers a boggart and realizes that magical creatures are real! The only one to believe him is his great-aunt Lucinda who implores Jared to find the pages of her father’s field guide to magical creatures and protect them from the murderous Ogre, Mulgarath.
Jack Reacher, a veteran military police investigator, is pulled from his vagabond life by a coded message informing him that a member of the 110th – his elite group of Army Special Investigators – has been murdered. He and some of his former military cohorts reunite to investigate and soon realize the case is bigger than they ever could have imagined. Reacher Season 3 Coming Soon.
From writer and director John Krasinski, IF is about a girl who discovers that she can see everyone’s imaginary friends — and what she does with that superpower — as she embarks on a magical adventure to reconnect forgotten IFs with their kids. IF stars Ryan Reynolds, John Krasinski, Cailey Fleming, Fiona Shaw, and the voices of Phoebe Waller-Bridge, Louis Gossett Jr., and Steve Carell alongside many more as the wonderfully unique characters that reflect the incredible power of a child’s imagination.
BOB MARLEY: ONE LOVE celebrates the life and music of an icon who inspired generations through his message of love and unity. On the big screen for the first time, discover Bob’s powerful story of overcoming adversity and the journey behind his revolutionary music. Produced in partnership with the Marley family and starring Kingsley Ben-Adir as the legendary musician and Lashana Lynch as his wife Rita.
From the comedic mind of Tina Fey comes a new twist on the modern classic, MEAN GIRLS. New student Cady Heron (Angourie Rice) is welcomed into the top of the social food chain by the elite group of popular girls called “The Plastics,” ruled by the conniving queen bee Regina George (Reneé Rapp) and her minions Gretchen (Bebe Wood) and Karen (Avantika). However, when Cady makes the major misstep of falling for Regina’s ex-boyfriend Aaron Samuels (Christopher Briney), she finds herself prey in Regina’s crosshairs. As Cady sets to take down the group’s apex predator with the help of her outcast friends Janis (Auli’i Cravalho) and Damian (Jaquel Spivey), she must learn how to stay true to herself while navigating the most cutthroat jungle of all: high school.
When a magical meteor crash lands in Adventure City, it gives the PAW Patrol pups superpowers, transforming them into The MIGHTY PUPS! For Skye, the smallest member of the team, her new powers are a dream come true. But things take a turn for the worse when the pups\' arch-rival Humdinger breaks out of jail and teams up with a mad scientist to steal the superpowers for the two villains. With the fate of Adventure City hanging in the balance, the Mighty Pups have to stop the supervillains before it\'s too late, and Skye will need to learn that even the smallest pup can make the biggest difference.
After years of being sheltered from the human world, the Turtle brothers set out to win the hearts of New Yorkers and be accepted as normal teenagers through heroic acts. Their new friend April O’Neil helps them take on a mysterious crime syndicate, but they soon get in over their heads when an army of mutants is unleashed upon them.
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Danny Chan on LinkedIn: What Could Happen If Paramount Global Is Sold — Especially in Pieces
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The current interest rate environment is forcing massive changes to many industries especially ones built with lots of debt. I've wanted to talk specifically… | 40 comments on LinkedIn
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Skydance and Paramount are deep into hashing out a complicated deal that would see the David Ellison’s studio and its backers take control of the storied film and television company owned by Shari Redstone. The exclusive month-long negotiating period through May 3 is likely to be extended perhaps by a few weeks, Deadline hears, given the complexity of the transaction. The rough contours of a Skydance deal would see a circa $2 billion payout to Redstone for a majority stake in family holding NAI (which controls Paramount though its voting Class A shares) as well as the National Amusements theater chain and associated real estate assets. Step two would see Paramount acquire Skydance in an all-stock deal valued at circa $4-5 billion. That’s being worked on and will likely wind up at the high end of the range.
Apollo wants to add Paramount by subtraction In what is likely the most serious bid so far, Apollo Global Management, Inc. has apparently made an $11 billion offer for ONLY Paramount's studio assets - TV and film. That's a 27% premium on Paramount's current valuation, and the offer leaves out all the company's networks and streamers - CBS, Nickelodeon, Paramount+ & Pluto TV. On one hand, Apollo has just complicated Redstone's life. This is a hard offer to look away from, but it would make it far more difficult to sell the other assets, without the IP that makes up their backbone. On another, this offer shows a valuation that is far closer to the company's actual worth than at the $9 bil Wall Street currently values it. I don't think a deal like the one offered will close. But interest seems to be climbing, and based on this tender, so will Paramount's stock price and value, I imagine. https://lnkd.in/eMtg9ta7
Paramount Global (Viacom CBS) controlled by NationalAmusements is more a mess than people realize. This is conglomerate is: Paramount, Showtime, CBS, BET, MTV, CMT, Nickelodeon, Comedy Central, Paramount+, Pluto TV. It is preparing for layoffs, maybe a sale, and closing streaming services. ----- Variety: "Paramount Global Mulling 1,000-Plus Layoffs Amid Shari Redstone’s Talks to Sell Controlling Interest (Report)" Variety: https://lnkd.in/giYsJFwf ----- YahooFinance: "Shari Redstone Weighs Sale of Stake in Paramount Global" (Thomas Buckley & Michelle F. Davis) (Dec 12, 2023 at 6:33 AM PST·3 "Redstone has held talks with Hollywood producer David Ellison, and RedBird Capital Partners, about an acquisition of her family’s stake in the business, according to people familiar with the matter. A buyer of Redstone’s stake could generate $13.5 billion by selling Paramount’s TV networks, including CBS and Showtime, according to Wells Fargo & Co.’s Steven Cahall. The remaining businesses, including the Paramount Pictures film studio and production operations behind shows like the hit TV series Yellowstone, could be worth $19 billion, or around $23 a share, he said . Shares of Paramount were down about 1% Tuesday morning in New York at $16.09. Proceeds from asset sales would be used to reduce Paramount’s $15.6 billion in long-term debt by two-thirds. Cahall’s analysis also envisions new owners closing the Paramount+ streaming service, which is projected to lose $1.6 billion this year. Whether a sale actually occurs is in the hands of Redstone, who is Paramount’s chairperson and controls 77% of the voting shares through a family holding company, National Amusements Inc. The websites Deadline and Puck reported on the talks last week. Activision Blizzard Inc. CEO Bobby Kotick, who is leaving that company at the end of the month, has also held talks with Redstone about a potential sale, the Wall Street Journal reported on Monday. The newspaper also said Paramount is considering layoffs of 1,000 workers early next year. A spokesperson for the company declined to comment on any job cuts. YahooFinance: https://lnkd.in/gMEUNb9h ----- Bloomberg: "Shari Redstone Weighs Sale of Stake in Paramount Global --Legacy TV channels could fetch $13 billion, analyst suggests --Proceeds could help smaller, production company reduce debt" "Shari Redstone is contemplating the sale of her interest in the Paramount Global movie and TV empire, a deal that could lead to more than $13 billion in asset sales, including the CBS network." Bloomberg: https://lnkd.in/gjkmdwbQ ----- WallStreetJournal: "Redstone’s Predicament: Whether to Sell or Fix Her Media Empire. Shari Redstone considers sale of controlling stake in National Amusements amid pressures from Paramount’s cable business, ad market" "Shari Redstone has a decision to make: fight or flight." WallStreetJournal: https://lnkd.in/gxwBfRhN #hollywood #filmindustry #tvindustry #streamingmedia #paramount #cbsviacom
Taking a look at Sony's bid for Paramount I noticed this sweet graphic from Chartr detailing where its revenue came from in 2023. The theatrical revenue was short of $1B. Some things this data makes me consider: - I didn't realize how little revenue came from the films that these production dynasties compared to the full picture of their offerings. - Paramount has always been a top creator of films in my eyes, but the shift to streaming has made them change focuses slightly. Here are just a few films Paramount produced, helped produce, or distributed in 2023 that make this number surprising to me. The existing IPs of many of these films are so valuable, so it may point toward moviegoers looking for less sequels/original concepts. Transformers: Rise of the Beasts (co-produced with Skydance, Hasbro and others) Dungeons & Dragons: Honor Among Thieves (co-produced with Entertainment One, Hasbro and others) Indiana Jones and the Dial of Destiny (studio credit, co-production with The Walt Disney Company and others) Mission: Impossible – Dead Reckoning Part One (co-produced with Skydance and others) Teenage Mutant Ninja Turtles: Mutant Mayhem (co-produced with Nickelodeon and others) Killers of the Flower Moon (co-produced with Apple and others) For comparison, Disney had box office revenues of $1.89B (Statista) in 2023. There's more revenue in TV for Paramount than there is in Films at the moment. Is Paramount putting too many of their eggs into this basket? Looking at this from a bidders perspective, do you make a plan to grow the film category? #film #streamingwars #paramount
From THR: The Wall Street Journal reported that Apollo Global Management, Inc. made an $11 billion offer just for #Paramount’s #film and television studio. That is higher than the company’s $7.7 billion market cap when the story was published, and the deal reportedly does not include Paramount’s other business lines, like CBS , BET or the former Viacom cable channels. The fate of Paramount has been the talk of #Hollywood in recent months, with a number of potential bidders circling the company, as well as National Amusements, the Redstone family company that has a controlling stake. Gerry Cardinale of RedBird Capital Partners and David Ellison of Skydance have held talks with National Amusements about buying that company (and thus gaining control of Paramount), while Byron Allen made a very public $14 billion bid for the entire company, albeit without financing details. Apollo’s bid is likely to be taken more seriously, with financing unlikely to be a problem. The question is what to do with the remaining businesses: Will there be buyers for the linear #TV networks or Paramount+? Perhaps Warner Bros. Discovery would make a play for CBS? Paramount Pictures
NEWS OF THE DAY! Paramount's Potential Breakup: Sony and Apollo's $26 Billion Bid Sparks Regulatory Rumble 1.Paramount Global, a big entertainment company, might get split up if Sony Pictures Entertainment and Apollo Global Management buy it as per a report. 2.The plan involves selling CBS broadcast network, Paramount's cable channels, and its streaming service, Paramount+. 3.Paramount Pictures would join Sony's movie studio, while Sony and Apollo would keep Paramount's TV shows, movies, and intellectual property. 4.Sony and Apollo haven't discussed this plan with Paramount yet. 5.Shari Redstone, who owns Paramount, might not like the idea, but it's not a deal-breaker. 6.Splitting up Paramount could make it easier for the deal to pass regulations, especially because U.S. laws might not allow Sony to own a broadcast network entirely. 7.Paramount is also thinking about sharing its financial details with Sony and Apollo, which could help with their $26 billion buyout offer. =>Please follow Finplate and stay updated with the latest #mergersandacquisitions news. Thanks in advance. To read the news in detail, click below: https://lnkd.in/g_2mH8Pe To familiarize yourself with the context of this news, kindly click on the following link. https://lnkd.in/gqrBwDR9
These are the promises Paramount laid out on that Skydance investor call by David Ellison (Skydance CEO) and his crew: * Paramount’s weak credit rating will return to “investment-grade status” by 2026 * $2 bn in cost savings * Improve Paramount+, which has 71M subs and is losing money They will do this by: * Keep people on the platform longer by investing in “algorithmic recommendation engines.” * Make Paramount filmmaker-friendly and “creatively execute at the highest level” * Stop the cash flow bleeding and break even by being “a little bit smarter about licensing” instead of throwing content onto Paramount+ Ellison stated: “We need to transition New Paramount to a world-class media and technology enterprise… The first thing we need to do is to double down on the core competency of storytelling across mediums.” The medium that makes up more than 50% of Paramount’s revenue is not their studio or streaming service but Linear TV. Attached is a deeper look at the future plans of Paramount. https://lnkd.in/g6jFAg82
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American film studio, subsidiary of Paramount Global
For the parent company, a mass media and entertainment conglomerate, see Paramount Global.
Paramount Pictures Corporation, commonly known as Paramount Pictures or simply Paramount, is an American film and television production and distribution company and the namesake subsidiary of Paramount Global. It is the sixth-oldest film studio in the world, the second-oldest film studio in the United States (behind Universal Pictures), and the sole member of the "Big Five" film studios located within the city limits of Los Angeles.[1]
In 1916, film producer Adolph Zukor put 24 actors and actresses under contract and honored each with a star on the logo.[2] In 1967, the number of stars was reduced to 22 and their hidden meaning was dropped. In 2014, Paramount Pictures became the first major Hollywood studio to distribute all of its films in digital form only.[3] The company's headquarters and studios are located at 5555 Melrose Avenue, Hollywood, California.[4]
Paramount Pictures is a member of the Motion Picture Association (MPA).[5]
History
Famous Players Film Company
Main article: Famous Players Film Company
The evolution of Paramount1886Westinghouse Electric Corporation is founded as Westinghouse Electric & Manufacturing Company1912Famous Players Film Company is founded1913Lasky Feature Play Company is founded1914Paramount Pictures is founded1916Famous Players and Lasky merge as Famous Players–Lasky and acquire Paramount1927Famous Players–Lasky renamed to Paramount Famous Lasky Corporation; CBS is founded with investment from Columbia Records1929Paramount acquires 49% of CBS1930Paramount Famous Lasky Corporation renamed to Paramount Publix Corporation1932Paramount sells back its shares of CBS1934Gulf+Western is founded as the Michigan Bumper Corporation1935Paramount Publix Corporation renamed to Paramount Pictures1936National Amusements is founded as Northeast Theater Corporation1938CBS acquires Columbia Records1950Desilu is founded and CBS distributes its television programs1952CBS creates the CBS Television Film Sales division1958CBS Television Film Sales renamed to CBS Films1966Gulf+Western acquires Paramount1967Gulf+Western acquires Desilu and renames it Paramount Television (now CBS Studios)1968CBS Films renamed to CBS Enterprises1970CBS Enterprises renamed to Viacom1971Viacom is spun off from CBS1987National Amusements acquires Viacom1988CBS sells Columbia Records to Sony1989Gulf+Western renamed to Paramount Communications1994Viacom acquires Paramount Communications1995Westinghouse acquires CBS1997Westinghouse renamed to CBS Corporation2000Viacom acquires UPN and CBS Corporation2005Viacom splits into second CBS Corporation and Viacom2006CBS Corporation shuts down UPN and replaces it with The CW2017CBS Corporation sells CBS Radio to Entercom (now Audacy)2019CBS Corporation and Viacom re-merge as ViacomCBS2022ViacomCBS renamed to Paramount Global2024Skydance Media and Paramount Global agree to merge
Paramount is the sixth oldest surviving film studio in the world; after Gaumont Film Company (1895), Pathé (1896), Titanus (1904), Nordisk Film (1906), and Universal Studios (1912). It is the last major film studio still headquartered in the Hollywood district of Los Angeles.[1]
Paramount Pictures dates its existence from the 1912 founding date of the Famous Players Film Company. Hungarian-born founder Adolph Zukor, who had been an early investor in nickelodeons, saw that movies appealed mainly to working-class immigrants.[6] With partners Daniel Frohman and Charles Frohman he planned to offer feature-length films that would appeal to the middle class by featuring the leading theatrical players of the time (leading to the slogan "Famous Players in Famous Plays"). By mid-1913, Famous Players had completed five films, and Zukor was on his way to success. Its first film was Les Amours de la reine Élisabeth, which starred Sarah Bernhardt.
That same year, another aspiring producer, Jesse L. Lasky, opened his Lasky Feature Play Company with money borrowed from his brother-in-law, Samuel Goldfish, later known as Samuel Goldwyn. The Lasky company hired as their first employee a stage director with virtually no film experience, Cecil B. DeMille, who would find a suitable site in Hollywood. This place was a rented old horse barn converted into a production facility with an enlarged open-air stage located between Vine Street, Selma Avenue, Argyle Avenue and Sunset Boulevard. It was later known as the Lasky-DeMille Barn.[7] In 1914, their first feature film, The Squaw Man was released.
On May 8, 1914, Paramount Pictures Corporation (previously known as Progressive Pictures) was founded by a Utah theatre owner, W. W. Hodkinson, who had bought and merged five smaller firms.[8] On May 15, 1914, Hodkinson signed a five-year contract with the Famous Players Film Company, the Lasky Company and Bosworth, Inc. to distribute their films.[9] Actor, director and producer Hobart Bosworth had started production of a series of Jack London movies. Paramount was the first successful nationwide distributor; until this time, films were sold on a statewide or regional basis, which had proved costly to film producers. Also, Famous Players and Lasky were privately owned while Paramount was a corporation.
Famous Players–Lasky
Main article: Famous Players–Lasky
In 1916, Zukor engineered a three-way merger of his Famous Players, the Lasky Company, and Paramount. Zukor and Lasky bought Hodkinson out of Paramount, and merged the three companies into one. The new company Lasky and Zukor founded on June 28, Famous Players–Lasky Corporation, although it continued to use the name "Paramount," as well. As a result, it became the largest film company at the time with a value of US$12.5 million (equivalent to $241.8 million in 2023).[10] The corporation was able to grow quickly, with Lasky and his partners Goldwyn and DeMille running the production side, Hiram Abrams in charge of distribution, and Zukor making great plans. With only the exhibitor-owned First National as a rival, Famous Players–Lasky and its "Paramount Pictures" soon dominated the business.[11] The fusion was finalized on November 7, 1916.[12]
Because Zukor believed in stars, he signed and developed many of the leading early stars, including Mary Pickford, Marguerite Clark, Pauline Frederick, Douglas Fairbanks, Gloria Swanson, Rudolph Valentino, and Wallace Reid. With so many important players, Paramount was able to introduce "block booking", which meant that an exhibitor who wanted a particular star's films had to buy a year's worth of other Paramount productions. It was this system that gave Paramount a leading position in the 1920s and 1930s, but which led the government to pursue it on antitrust grounds for more than twenty years.[13]
By the mid-1920s, the old Lasky-DeMille barn property was not big enough to handle all of the studios' West Coast productions.[14] On January 5, 1926, Lasky reached an agreement to buy the Robert Brunton Studios, a 26-acre facility owned by United Pictures and located at 5451 Marathon Street, for $1.0 million (equivalent to $13.8 million in 2023).[15] On March 29, the company began an eight-month building program to renovate the existing facilities and erect new ones.[16] On May 8, Lasky finally moved operations from the Sunset and Vine lot to the new building. At present, those facilities are still part of the Paramount Pictures headquarters. Zukor hired independent producer B. P. Schulberg, an unerring eye for new talent, to run the new West Coast operations.
On April 1, 1927, the company name was changed to Paramount Famous Lasky Corporation.[17] In September 1927, the Paramount Famous Lasky Corporation studio in Astoria (New York City) was temporarily closed with the objective of equipping it with the technology for the production of sound films.[18][19] In the same year, Paramount began releasing Inkwell Imps, animated cartoons produced by Max and Dave Fleischer's Fleischer Studios in New York City. The Fleischers, veterans in the animation industry, were among the few animation producers capable of challenging the prominence of Walt Disney. The Paramount newsreel series Paramount News ran from 1927 to 1957. Paramount was also one of the first Hollywood studios to release what were known at that time as "talkies", and in 1929, released their first musical, Innocents of Paris. Richard A. Whiting and Leo Robin composed the score for the film; Maurice Chevalier starred and sang the most famous song from the film, "Louise".
Publix, Balaban and Katz, Loew's competition and wonder theaters
The driving force behind Paramount's rise was Zukor. He built a chain of nearly 2,000 screens, ran two production studios (in Astoria, New York, now the Kaufman Astoria Studios, and Hollywood, California), and became an early investor in radio, acquiring for the corporation a 50% interest in the new Columbia Broadcasting System in 1928 (selling it within a few years; this would not be the last time Paramount and CBS crossed paths).
By acquiring the successful Balaban & Katz chain in 1926, Zukor gained the services of Barney Balaban (who would eventually become Paramount's president in 1936), his brother A. J. Balaban (who would eventually supervise all stage production nationwide and produce talkie shorts), and their partner Sam Katz (who would run the Paramount-Publix theatre chain in New York City from the thirty-five-story Paramount Theatre Building on Times Square).
Balaban and Katz had developed the Wonder Theater concept, first publicized around 1918 in Chicago. The Chicago Theater was created as a very ornate theater and advertised as a "wonder theater". When Publix acquired Balaban, they embarked on a project to expand the wonder theaters, and starting building in New York City in 1927. While Balaban and Public were dominant in Chicago, Loew's was the big player in New York City, and did not want the Publix theaters to overshadow theirs. The two companies brokered a non-competition deal for New York City and Chicago, and Loew's took over the New York City area projects, developing five wonder theaters. Publix continued Balaban's wonder theater development in its home area.[20]
On April 24, 1930, Paramount-Famous Lasky Corporation became the Paramount Publix Corporation.[21][22]
1920s and 1931–40: Receivership and reorganization
Eventually, Zukor shed most of his early partners; the Frohman brothers, Hodkinson and Goldwyn were out by 1917 while Lasky hung on until 1932, when, blamed for the near-collapse of Paramount in the Great Depression years, he was also tossed out. In 1931, to solve the financial problems of the company Zukor hired taxi/rental car magnate John D. Hertz as chairman of the finance committee in order to assist vice-president and treasurer Ralph A. Kohn.[23] However, on January 6, 1933, Hertz resigned from his position when it become evident that his measures to lift the company had failed.[24] The over-expansion and use of overvalued Paramount stock for purchases created a $21 million debt which led the company into receivership on January 26, 1933,[25] and later filing bankruptcy on March 14, 1933.[26] On April 17, 1933, bankruptcy trustees were appointed and Zukor lost control of the company.[27][28] The company remained under the control of trustees for more than a year in order to restructure the debt and pursue a reorganization plan.[29] On December 3, 1934, the reorganization plan was formally proposed.[30] After prolonged hearings in court, final confirmation was obtained on April 25, 1935, when Federal Judge Alfred C. Coxe Jr. approved the reorganization of the Paramount-Publix Corporation under Section 77-B of the Bankruptcy Act.[31][32]
On June 4, 1935, John E. Otterson[33] became president of the re-emerged and newly renamed Paramount Pictures Inc.[34] Zukor returned to the company and was named production chief but after Barney Balaban was appointed president on July 2, 1936, he was soon replaced by Y. Frank Freeman and symbolically named chairman of the board.[35][36] On August 28, 1935, Paramount Pictures was re-listed on the New York Stock Exchange and when the company was under Balaban's leadership, the studio was successfully relaunched.[37]
As always, Paramount films continued to emphasize stars; in the 1920s there were Gloria Swanson, Wallace Reid, Rudolph Valentino, Florence Vidor, Thomas Meighan, Pola Negri, Bebe Daniels, Antonio Moreno, Richard Dix, Esther Ralston, Emil Jannings, George Bancroft, Betty Compson, Clara Bow, Adolphe Menjou, and Charles Buddy Rogers. By the late 1920s and the early 1930s, talkies brought in a range of powerful draws: Richard Arlen, Nancy Carroll, Maurice Chevalier, Gary Cooper, Marlene Dietrich, Charles Ruggles, Ruth Chatterton, William Powell, Mae West, Sylvia Sidney, Bing Crosby, Claudette Colbert, the Marx Brothers, W.C. Fields, Fredric March, Jack Oakie, Jeanette MacDonald (whose first two films were shot at Paramount's Astoria, New York, studio), Carole Lombard, George Raft, Miriam Hopkins, Cary Grant and Stuart Erwin, among them.[38] In this period Paramount can truly be described as a movie factory, turning out sixty to seventy pictures a year. Such were the benefits of having a huge theater chain to fill, and of block booking to persuade other chains to go along. In 1933, Mae West would also add greatly to Paramount's success with her suggestive movies She Done Him Wrong and I'm No Angel.[39][40] However, the sex appeal West gave in these movies would also lead to the enforcement of the Production Code, as the newly formed organization the Catholic Legion of Decency threatened a boycott if it was not enforced.[41] Paramount cartoons produced by Fleischer Studios continued to be successful, with characters such as Betty Boop and Popeye the Sailor becoming widely successful. One Fleischer series, Screen Songs, featured live-action music stars under contract to Paramount hosting sing-alongs of popular songs. The animation studio would rebound with Popeye, and in 1935, polls showed that Popeye was even more popular than Mickey Mouse.[42] After an unsuccessful expansion into feature films, as well as the fact that Max and Dave Fleischer were no longer speaking to one another, Fleischer Studios was acquired by Paramount, which renamed the operation Famous Studios. That incarnation of the animation studio continued cartoon production until 1967, but has been historically dismissed as having largely failed to maintain the artistic acclaim the Fleischer brothers achieved under their management.[43]
1941–50: United States v. Paramount Pictures, Inc.
In 1940, Paramount agreed to a government-instituted consent decree: block booking and "pre-selling" (the practice of collecting up-front money for films not yet in production) would end. Immediately, Paramount cut back on production, from 71 films to a more modest 19 annually in the war years.[44] Still, with more new stars like Bob Hope, Alan Ladd, Veronica Lake, Paulette Goddard, and Betty Hutton, and with war-time attendance at astronomical numbers, Paramount and the other integrated studio-theatre combines made more money than ever. At this, the Federal Trade Commission and the Justice Department decided to reopen their case against the five integrated studios. Paramount also had a monopoly over Detroit movie theaters through subsidiary company United Detroit Theaters.[45] This led to the Supreme Court decision United States v. Paramount Pictures, Inc. (1948) holding that movie studios could not also own movie theater chains. This decision broke up Adolph Zukor's creation, with the theater chain being split into a new company, United Paramount Theaters, and effectively brought an end to the classic Hollywood studio system.
1951–66: Split and after
With the separation of production and exhibition forced by the U.S. Supreme Court, Paramount Pictures Inc. was split in two.[46] Paramount Pictures Corporation was formed to be the production distribution company, with the 1,500-screen theater chain handed to the new United Paramount Theaters on December 31, 1949. Leonard Goldenson, who had headed the chain since 1938, remained as the new company's president. The Balaban and Katz theatre division was spun off with UPT; its trademark eventually became the property of the Balaban and Katz Historical Foundation. The foundation later acquired ownership of the Famous Players trademark. Cash-rich and controlling prime downtown real estate, Goldenson began looking for investments. Barred from film-making by prior antitrust rulings, he acquired the struggling ABC television network in February 1953, leading it first to financial health, and eventually, in the mid-1970s, to first place in the national Nielsen ratings, before selling out to Capital Cities in 1985 (Capital Cities would eventually sell out, in turn, to The Walt Disney Company in 1996). United Paramount Theaters was renamed ABC Theaters in 1965 and was sold to businessman Henry Plitt in 1977. The movie theater chain was renamed Plitt Theaters. In 1985, Cineplex Odeon Corporation merged with Plitt. In later years, Paramount's TV division would develop a strong relationship with ABC, providing many hit series to the network.
Paramount Pictures had been an early backer of television, launching experimental stations in 1939 in Los Angeles and Chicago. The Los Angeles station eventually became KTLA, the first commercial station on the West Coast. The Chicago station got a commercial license as WBKB in 1943, but was sold to UPT along with Balaban & Katz in 1948 and was eventually resold to CBS as WBBM-TV.
In 1938, Paramount bought a stake in television manufacturer DuMont Laboratories. Through this stake, it became a minority owner of the DuMont Television Network.[47] Paramount also launched its own network, Paramount Television Network, in 1948 through its television unit, Television Productions, Inc.[48]
Paramount management planned to acquire additional owned-and-operated stations ("O&Os"); the company applied to the FCC for additional stations in San Francisco, Detroit, and Boston.[49] The FCC, however, denied Paramount's applications. A few years earlier, the federal regulator had placed a five-station cap on all television networks: no network was allowed to own more than five VHF television stations. Paramount was hampered by its minority stake in the DuMont Television Network. Although both DuMont and Paramount executives stated that the companies were separate, the FCC ruled that Paramount's partial ownership of DuMont meant that DuMont and Paramount were in theory branches of the same company. Since DuMont owned three television stations and Paramount owned two, the federal agency ruled neither network could acquire additional television stations. The FCC requested that Paramount relinquish its stake in DuMont, but Paramount refused.[49] According to television historian William Boddy, "Paramount's checkered antitrust history" helped convince the FCC that Paramount controlled DuMont.[50] Both DuMont and Paramount Television Network suffered as a result, with neither company able to acquire five O&Os. Meanwhile, CBS, ABC, and NBC had each acquired the maximum of five stations by the mid-1950s.[51]
When ABC accepted a merger offer from UPT in 1953, DuMont quickly realized that ABC now had more resources than it could possibly hope to match. It quickly reached an agreement in principle to merge with ABC.[52] However, Paramount vetoed the offer due to antitrust concerns.[53] For all intents and purposes, this was the end of DuMont, though it lingered on until 1956.
In 1951, Paramount bought a stake in International Telemeter, an experimental pay TV service which operated with a coin inserted into a box. The service began operating in Palm Springs, California on November 27, 1953, but due to pressure from the FCC, the service ended on May 15, 1954.[54]
With the loss of the theater chain, Paramount Pictures went into a decline, cutting studio-backed production, releasing its contract players, and making production deals with independents. By the mid-1950s, all the great names were gone; only Cecil B. DeMille, associated with Paramount since 1913, kept making pictures in the grand old style. Despite Paramount's losses, DeMille would, however, give the studio some relief and create his most successful film at Paramount, a 1956 remake of his 1923 film The Ten Commandments.[55] DeMille died in 1959. Like some other studios, Paramount saw little value in its film library and sold 764 of its pre-1950 films to MCA Inc./EMKA, Ltd. (known today as Universal Television) in February 1958.[56]
1966–70: Early Gulf+Western era
By the early 1960s, Paramount's future was doubtful. The high-risk movie business was wobbly; the theater chain was long gone; investments in DuMont and in early pay-television came to nothing; and the Golden Age of Hollywood had just ended, even the flagship Paramount Building in Times Square was sold to raise cash, as was KTLA (sold to Gene Autry in 1964 for a then-phenomenal $12.5 million). Their only remaining successful property at that point was Dot Records, which Paramount had acquired in 1957, and even its profits started declining by the middle of the 1960s.[57] Founding father Adolph Zukor (born in 1873) was still chairman emeritus; he referred to chairman Barney Balaban (born 1888) as "the boy". Such aged leadership was incapable of keeping up with the changing times, and in 1966, a sinking Paramount was sold to Charles Bluhdorn's industrial conglomerate, Gulf and Western Industries. Bluhdorn immediately put his stamp on the studio, installing a virtually unknown producer named Robert Evans as head of production. Despite some rough times, Evans held the job for eight years, restoring Paramount's reputation for commercial success with The Odd Couple, Rosemary's Baby, Love Story, The Godfather, Chinatown, and 3 Days of the Condor.[58]
Gulf and Western also bought the neighboring Desilu Productions television studio (once the lot of RKO Pictures) from Lucille Ball in 1967. Using some of Desilu's established shows such as Star Trek, Mission: Impossible, and Mannix as a foot in the door at the networks, the newly reincorporated Paramount Television eventually became known as a specialist in half-hour situation comedies.[59]
In 1968, Paramount formed Films Distributing Corp to distribute sensitive film product, including Sin With a Stranger, which was one of the first films to receive an X rating in the United States when the MPAA introduced their new rating system.[60]
1971–80: CIC formation and high-concept era
In 1970, Paramount teamed with Universal Studios to form Cinema International Corporation, a new company that would distribute films by the two studios outside the United States. Metro-Goldwyn-Mayer would become a partner in the mid-1970s. Both Paramount and CIC entered the video market with Paramount Home Video (now Paramount Home Entertainment) and CIC Video, respectively.
Robert Evans abandoned his position as head of production in 1974; his successor, Richard Sylbert, proved to be too literary and too tasteful for Gulf and Western's Bluhdorn. By 1976, a new, television-trained team was in place headed by Barry Diller and his "Killer-Dillers", as they were called by admirers or "Dillettes" as they were called by detractors. These associates, made up of Michael Eisner, Jeffrey Katzenberg, Dawn Steel and Don Simpson would each go on and head up major movie studios of their own later in their careers.
The Paramount specialty was now simpler. "High concept" pictures such as Saturday Night Fever and Grease hit big, hard, and fast all over the world,[61] while its fortuitous earlier acquisition of the Star Trek property, which had grown into a cult favorite, enabled Paramount to have a long running science fiction film and television franchise to compete with the outstanding popular success of Star Wars. Diller's television background led him to propose one of his longest-standing ideas to the board: Paramount Television Service, a fourth commercial network. Paramount Pictures purchased the Hughes Television Network (HTN) including its satellite time in planning for PTVS in 1976. Paramount sold HTN to Madison Square Garden Corporation in 1979.[62] But Diller believed strongly in the concept, and so took his fourth-network idea with him when he moved to 20th Century Fox in 1984, where Fox's then freshly installed proprietor, Rupert Murdoch was a more interested listener.
However, the television division would be playing catch-up for over a decade after Diller's departure in 1984 before launching its own television network – UPN – in 1995. Lasting eleven years before being merged with The WB network to become The CW in 2006, UPN would feature many of the shows it originally produced for other networks, and would take numerous gambles on series such as Star Trek: Voyager and Star Trek: Enterprise that would have otherwise either gone direct-to-cable or become first-run syndication to independent stations across the country (as Star Trek: Deep Space Nine and Star Trek: The Next Generation were).
Paramount Pictures was not connected to either Paramount Records (1910s–1935) or ABC-Paramount Records (1955–66) until it purchased the rights to use the name (but not the latter's catalog) in the late 1960s. The Paramount name was used for soundtrack albums and some pop re-issues from the Dot Records catalog which Paramount had acquired in 1957. By 1970, Dot had become an all-country label[63] and in 1974, Paramount sold all of its record holdings to ABC Records, which in turn was sold to MCA (now Universal Music Group) in 1979.[64][65]
1980–94: Continual success
Paramount's successful run of pictures extended into the 1980s and 1990s, generating hits like Airplane!, American Gigolo, Ordinary People, An Officer and a Gentleman, Flashdance, Terms of Endearment, Footloose, Pretty in Pink, Top Gun, Crocodile Dundee, Fatal Attraction, Ghost, the Friday the 13th slasher series, as well as joining forces with Lucasfilm and Steven Spielberg to create the Indiana Jones franchise. Other examples are the Star Trek film series and a string of films starring comedian Eddie Murphy like Trading Places, Coming to America and Beverly Hills Cop and its sequels. While the emphasis was decidedly on the commercial, there were occasional less commercial but more artistic and intellectual efforts like I'm Dancing as Fast as I Can, Atlantic City, Reds, Witness, Children of a Lesser God and The Accused. During this period, responsibility for running the studio passed from Eisner and Katzenberg to Frank Mancuso, Sr. (1984) and Ned Tanen (1984) to Stanley R. Jaffe (1991) and Sherry Lansing (1992). More so than most, Paramount's slate of films included many remakes and television spin-offs; while sometimes commercially successful, there have been few compelling films of the kind that once made Paramount the industry leader.
Around the end of 1981, Paramount Pictures took over fellow Gulf and Western subsidiary Sega from the company's manufacturing division in an effort to get into the video game business. Paramount would go on to sell Sega following the Video Game Crash of 1983, and the two companies would later work together on the live action/CGI Sonic the Hedgehog film series.[66]
On August 25, 1983, Paramount Studios caught fire. Two or three sound stages and four outdoor sets were destroyed.[67][68]
When Charles Bluhdorn died unexpectedly, his successor Martin Davis dumped all of Gulf and Western's industrial, mining, and sugar-growing subsidiaries and refocused the company, renaming it Paramount Communications in 1989. With the influx of cash from the sale of Gulf and Western's industrial properties in the mid-1980s, Paramount bought a string of television stations and KECO Entertainment's theme park operations, renaming them Paramount Parks. These parks included Paramount's Great America, Paramount Canada's Wonderland, Paramount's Carowinds, Paramount's Kings Dominion, and Paramount's Kings Island.[69]
In May 1985, Paramount decided to start its own talent department, an attempt to form a stable of exclusively-contracted film personnel (outside of Eddie Murphy); this effort proved unsuccessful and studio president Dawn Steel decided to shut down the department on July 30, 1986.[70] In 1987, Paramount Pictures, MGM/UA Communications Co. and Universal Pictures teamed up in order to market feature film and television product to China, a response to the 25-billion admission tickets that were clocked in the country in 1986. Worldwide Media Sales, a division of the New York-based Worldwide Media Group had been placed in charge of the undertaking.[71] That year, Paramount Pictures decided to consolidate its distribution operations, closing a number of branch offices that were designed for the studio and relocating staff and major activities in an effort to cut costs and provide for a more efficient centralization; this decision was made in response to a change in distribution practices that had occurred among the various major studios.[72] In August 1987, Paramount Overseas Productions declared that the subsidiary would be in service not just for the upcoming film Experts, which was shot on a budget of $12 million in Canada, but also for other films filmed there worldwide, including the United Kingdom and Canada.[73]
In 1993, Sumner Redstone's entertainment conglomerate Viacom made a bid for a merger with Paramount Communications; this quickly escalated into a bidding war with Barry Diller's QVC. But Viacom prevailed, ultimately paying $10 billion for the Paramount holdings. Viacom and Paramount had planned to merge as early as 1989.[74]
Paramount is the last major film studio located in Hollywood proper. When Paramount moved to its present home in 1927, it was in the heart of the film community. Since then, former next-door neighbor RKO closed up shop in 1957 (Paramount ultimately absorbed their former lot); Warner Bros. (whose old Sunset Boulevard studio was sold to Paramount in 1949 as a home for KTLA) moved to Burbank in 1930; Columbia joined Warners in Burbank in 1973 then moved again to Culver City in 1989; and the Pickford-Fairbanks-Goldwyn-United Artists lot, after a lively history, has been turned into a post-production and music-scoring facility for Warners, known simply as "The Lot". For a time the semi-industrial neighborhood around Paramount was in decline, but has now come back. The recently refurbished studio has come to symbolize Hollywood for many visitors, and its studio tour is a popular attraction.
1989–94: Paramount Communications
In 1983, Gulf and Western began a restructuring process that would transform the corporation from a bloated conglomerate consisting of subsidiaries from unrelated industries to a more focused entertainment and publishing company. The idea was to aid financial markets in measuring the company's success, which, in turn, would help place better value on its shares. Though its Paramount division did very well in recent years, Gulf and Western's success as a whole was translating poorly with investors. This process eventually led Davis to divest many of the company's subsidiaries. Its sugar plantations in Florida and the Dominican Republic were sold in 1985; the consumer and industrial products branch was sold off that same year.[75] In 1989, Davis renamed the company Paramount Communications Incorporated after its primary asset, Paramount Pictures.[76] In addition to the Paramount film, television, home video, and music publishing divisions, the company continued to own the Madison Square Garden properties (which also included MSG Network), a 50% stake in USA Networks (the other 50% was owned by MCA/Universal Studios) and Simon & Schuster, Prentice Hall, Pocket Books, Allyn & Bacon, Cineamerica (a joint venture with Warner Communications), and Canadian cinema chain Famous Players Theatres.[75]
That same year, the company launched a $12.2 billion hostile bid to acquire Time Inc. in an attempt to end a stock-swap merger deal between Time and Warner Communications. This caused Time to raise its bid for Warner to $14.9 billion in cash and stock. Gulf and Western responded by filing a lawsuit in a Delaware court to block the Time-Warner merger. The court ruled twice in favor of Time, forcing Gulf and Western to drop both the Time acquisition and the lawsuit, and allowing the formation of Time Warner.
Paramount used cash acquired from the sale of Gulf and Western's non-entertainment properties to take over the TVX Broadcast Group chain of television stations (which at that point consisted mainly of large-market stations which TVX had bought from Taft Broadcasting, plus two mid-market stations which TVX owned prior to the Taft purchase), and the KECO Entertainment chain of theme parks from Taft successor Great American Broadcasting. Both of these companies had their names changed to reflect new ownership: TVX became known as the Paramount Stations Group, while KECO was renamed to Paramount Parks.
Paramount Television launched Wilshire Court Productions in conjunction with USA Networks, before the latter was renamed NBCUniversal Cable, in 1989. Wilshire Court Productions (named for a side street in Los Angeles) produced television films that aired on the USA Networks, and later for other networks. USA Networks launched a second channel, the Sci-Fi Channel (now known as Syfy), in 1992. As its name implied, it focused on films and television series within the science fiction genre. Much of the initial programming was owned either by Paramount or Universal. Paramount bought one more television station in 1993: Cox Enterprises' WKBD-TV in Detroit, Michigan, at the time an affiliate of the Fox Broadcasting Company.
1994–2005: Dolgen/Lansing and "old" Viacom era
In February 1994, Viacom acquired 50.1% of Paramount Communications Inc. shares for $9.75 billion, following a five-month battle with QVC, and completed the merger in July.[77][78][79] At the time, Paramount's holdings included Paramount Pictures, Madison Square Garden, the New York Rangers, the New York Knicks, and the Simon & Schuster publishing house.[80] The deal had been planned as early as 1989, when the company was still known as Gulf and Western.[74] Though Davis was named a member of the board of National Amusements, which controlled Viacom, he ceased to manage the company.
During this time period, Paramount Pictures went under the guidance of Jonathan Dolgen, chairman and Sherry Lansing, president.[81][82] During their administration over Paramount, the studio had an extremely successful period of films with two of Paramount's ten highest-grossing films being produced during this period.[83] The most successful of these films, Titanic, co-produced with 20th Century Fox and Lightstorm Entertainment, became the highest-grossing film up to that time, grossing over $1.8 billion worldwide.[84] Also during this time, three Paramount Pictures films won the Academy Award for Best Picture; Titanic, Braveheart, and Forrest Gump.
Paramount's most important property, however, was Star Trek. Studio executives had begun to call it "the franchise" in the 1980s due to its reliable revenue, and other studios envied its "untouchable and unduplicatable" success. By 1998, Star Trek television shows, movies, books, videotapes, and licensing provided so much of the studio's profit that "it is not possible to spend any reasonable amount of time at Paramount and not be aware of [its] presence"; filming for Star Trek: Voyager and Star Trek: Deep Space Nine required up to nine of the largest of the studio's 36 sound stages.[85][86]: 49–50, 54
In 1995, Viacom and Chris-Craft Industries' United Television launched United Paramount Network (UPN) with Star Trek: Voyager as its flagship series, fulfilling Barry Diller's plan for a Paramount network from 25 years earlier. In 1999, Viacom bought out United Television's interests, and handed responsibility for the start-up network to the newly acquired CBS unit, which Viacom bought in 2000 – an ironic confluence of events as Paramount had once invested in CBS, and Viacom had once been the syndication arm of CBS, as well.[87] During this period the studio acquired some 30 TV stations to support the UPN network, also acquiring and merging in the assets of Republic Pictures, Spelling Television and Viacom Productions, almost doubling the size of the studio's television library. The television division produced the dominant prime time show for the decade in Frasier, as well as such long running hits as NCIS and Becker and the dominant prime time magazine show Entertainment Tonight. Paramount also gained the ownership rights to the Rysher library, after Viacom acquired the rights from Cox Enterprises.
During this period, Paramount and its related subsidiaries and affiliates, operating under the name "Viacom Entertainment Group" also included the fourth largest group of theme parks in the United States and Canada which in addition to traditional rides and attractions launched numerous successful location-based entertainment units including a long running "Star Trek" attraction at the Las Vegas Hilton. Famous Music – the company's celebrated music publishing arm almost doubled in size and developed artists including Pink, Bush, and Green Day, as well as catalog favorites including Duke Ellington and Henry Mancini. The Paramount/Viacom licensing group under the leadership of Tom McGrath created the "Cheers" franchise bars and restaurants and a chain of restaurants borrowing from the studio's Academy Award-winning film Forrest Gump – The Bubba Gump Shrimp Company. Through the combined efforts of Famous Music and the studio over ten "Broadway" musicals were created including Irving Berlin's White Christmas, Footloose, Saturday Night Fever, Andrew Lloyd Webber's Sunset Boulevard among others. The company's international arm, United International Pictures (UIP), was the dominant distributor internationally for ten straight years representing Paramount, Universal and MGM. Simon and Schuster became part of the Viacom Entertainment Group emerging as the United States' dominant trade book publisher.
In 2002, Paramount; along with Buena Vista Distribution, 20th Century Fox, Sony Pictures Entertainment, MGM/UA Entertainment, Universal Studios, DreamWorks Pictures, Artisan Entertainment, Lions Gate Entertainment, and Warner Bros. formed the Digital Cinema Initiatives. Operating under a waiver from the antitrust law, the studios combined under the leadership of Paramount Chief Operating Officer Tom McGrath to develop technical standards for the eventual introduction of digital film projection – replacing the now 100-year-old film technology.[88] DCI was created "to establish and document voluntary specifications for an open architecture for digital cinema that ensures a uniform and high level of technical performance, reliability and quality control."[88] McGrath also headed up Paramount's initiative for the creation and launch of the Blu-ray Disc.
2005–2019: "New" Viacom era
On December 11, 2005, the Paramount Motion Pictures Group announced that it had purchased DreamWorks SKG (which was co-founded by former Paramount executive Jeffrey Katzenberg) in a deal worth $1.6 billion. The announcement was made by Brad Grey, chairman and CEO of Paramount Pictures who noted that enhancing Paramount's pipeline of pictures is a "key strategic objective in restoring Paramount's stature as a leader in filmed entertainment."[89] While the agreement did not include DreamWorks Animation SKG Inc., the most profitable part of the company that went public the previous year, Paramount became the distributor of DreamWorks Animation films from 2006 to 2012, 20th Century Fox would take over distribution beginning in 2013 to 2017, followed by Universal Pictures permanently following NBCUniversal's acquisition of the studio in 2016[90]
Reflecting in part the troubles of the broadcasting business, in 2005 Viacom wrote off over $18 billion from its radio acquisitions and, early that year, announced that it would split itself in two.[91] With that announcement, Dolgen and Lansing were replaced by former television executives Brad Grey and Gail Berman.[92][93] The Viacom board split the company into CBS Corporation and a separate company under the Viacom name. The board scheduled the division for the first quarter of 2006. Under the plan, CBS Corporation would comprise the CBS and UPN networks, Viacom Television Stations, Infinity Broadcasting Corporation, Viacom Outdoor, Paramount Television, King World Productions, Showtime Networks, Simon & Schuster, Paramount Parks, and CBS News. The revamped Viacom would include "MTV, VH1, Nickelodeon, BET and several other cable networks, as well as the Paramount movie studio".[94] The split was completed on December 31, 2005.[95] Paramount's home entertainment unit began using the CBS DVD brand for the Paramount Television library, as both Viacom and CBS Corporation were controlled by Sumner Redstone's National Amusements.[96]
Grey also broke up the famous United International Pictures (UIP) international distribution company with 15 countries being taken over by Paramount or Universal by December 31, 2006, with the joint venture continuing in 20 markets. In Australia, Brazil, France, Ireland, Mexico, New Zealand and the United Kingdom, Paramount took over UIP. While in Austria, Belgium, Germany, Italy, the Netherlands, Russia, Spain and Switzerland, Universal took over and Paramount would build its own distribution operations there. In 2007 and 2008, Paramount may sub-distribute films via Universal's countries and vice versa. Paramount's international distribution unit would be headquartered in Los Angeles and have a European hub.[97] In Italy, Paramount distributed through Universal.[98] With Universal indicated that it was pulling out of the UIP Korea and started its own operation there in November 2016, Paramount agreed to have CJ Entertainment distribute there.[99] UIP president and chief operating officer Andrew Cripps[97] was hired as Paramount Pictures International head. Paramount Pictures International distributed films that made the 1 billion mark in July 2007; the fifth studio that year to do so and it its first year.[100]
On October 6, 2008, DreamWorks executives announced that they were leaving Paramount and relaunching an independent DreamWorks. The DreamWorks trademarks remained with DreamWorks Animation when that company was spun off before the Paramount purchase, and DreamWorks Animation transferred the license to the name to the new company.[101]
DreamWorks films, acquired by Paramount but still distributed internationally by Universal, are included in Paramount's market share. Grey also launched a Digital Entertainment division to take advantage of emerging digital distribution technologies. This led to Paramount becoming the second movie studio to sign a deal with Apple Inc. to sell its films through the iTunes Store.[102]
Also, in 2007, Paramount sold another one of its "heritage" units, Famous Music, to Sony/ATV Music Publishing (best known for publishing many songs by The Beatles, and for being co-owned by Michael Jackson), ending a nearly-eight-decade run as a division of Paramount, being the studio's music publishing arm since the period when the entire company went by the name "Famous Players".[103]
In early 2008, Paramount partnered with Los Angeles-based developer FanRocket to make short scenes taken from its film library available to users on Facebook. The application, called VooZoo, allows users to send movie clips to other Facebook users and to post clips on their profile pages.[104] Paramount engineered a similar deal with Makena Technologies to allow users of vMTV and There.com to view and send movie clips.[105]
In 2009, CBS Corporation stopped using the Paramount name in its series and changed the name of the production arm to CBS Television Studios, eliminating the Paramount name from television, to distance itself from the latter.
In March 2010, Paramount founded Insurge Pictures, an independent distributor of "micro budget" films. The distributor planned ten movies with budgets of $100,000 each.[106] The first release was The Devil Inside, a movie with a budget of about US$1 million.[107] In March 2015, following waning box office returns, Paramount folded Insurge Pictures and its operations into the main studio.[108]
In July 2011, in the wake of critical and box office success of the animated feature, Rango, and the departure of DreamWorks Animation upon completion of their distribution contract in 2012, Paramount announced the formation of a new division, devoted to the creation of animated productions.[109] It marks Paramount's return to having its own animated division for the first time since 1967, when Paramount Cartoon Studios shut down (it was formerly Famous Studios until 1956).[110]
In December 2013, Walt Disney Studios (via its parent company's purchase of Lucasfilm a year earlier)[111] gained Paramount's remaining distribution and marketing rights to future Indiana Jones films. Paramount will permanently retain the distribution rights to the first four films and will receive "financial participation" from any additional films.[112]
In February 2016, Viacom CEO and newly appointed chairman Philippe Dauman announced that the conglomerate is in talks to find an investor to purchase a minority stake in Paramount.[113] Sumner Redstone and his daughter Shari are reportedly opposed with the deal.[114] On July 13, 2016, Wanda Group was in talks to acquire a 49% stake of Paramount.[115] The talks with Wanda were dropped. On January 19, 2017, Shanghai Film Group Corp. and Huahua Media said they would finance at least 25% of all Paramount Pictures movies over a three-year period. Shanghai Film Group and Huahua Media, in the deal, would help distribute and market Paramount's features in China. At the time, the Wall Street Journal wrote that "nearly every major Hollywood studio has a co-financing deal with a Chinese company."[116]
On March 27, 2017, Jim Gianopulos was named as a chairman and CEO of Paramount Pictures, replacing Brad Grey.[117] In June 2017, Paramount Players was formed by the studio with the hiring of Brian Robbins, founder of AwesomenessTV, Tollin/Robbins Productions and Varsity Pictures, as the division's president. The division was expected to produce films based on the Viacom Media Networks properties including MTV, Nickelodeon, BET and Comedy Central.[118] In June 2017, Paramount Pictures signed a deal with 20th Century Fox for distribution of its films in Italy, which took effect on September. Prior to the deal, Paramount's films in Italy were distributed by Universal Pictures, a deal that dates back to the CIC era.[98]
On December 7, 2017, it was reported that Paramount sold the international distribution rights of Annihilation to Netflix.[119] Netflix subsequently bought the worldwide rights to The Cloverfield Paradox for $50 million.[120] On November 16, 2018, Paramount signed a multi-picture film deal with Netflix as part of Viacom's growth strategy, making Paramount the first major film studio to do so.[121] A sequel to Awesomeness Films' To All the Boys I've Loved Before is currently in development at the studio for Netflix.[122]
In April 2018, Paramount posted its first quarterly profit since 2015.[123] Bob Bakish, CEO of parent Viacom, said in a statement that turnaround efforts "have firmly taken hold as the studio improved margins and returned to profitability. This month's outstanding box-office performance of A Quiet Place, the first film produced and released under the new team at Paramount, is a clear sign of our progress."
2019–present: ViacomCBS/Paramount Global era
On September 29, 2016, National Amusements sent a letter to both CBS Corporation and Viacom, encouraging the two companies to merge back into one company.[124] On December 12, the deal was called off.[125] On May 30, 2019, CNBC reported that CBS and Viacom would explore merger discussions in mid-June 2019.[126] Reports say that CBS and Viacom reportedly set August 8 as an informal deadline for reaching an agreement to recombine the two media companies.[127][128] CBS announced to acquire Viacom as part of the re-merger for up to $15.4 billion.[129] On August 2, 2019, the two companies agreed to remerge back into one entity,[130] which was named ViacomCBS; the deal was closed on December 4, 2019.[131]
In December 2019, ViacomCBS agreed to purchase a 49% stake in Miramax that was owned by beIN Media Group, with Paramount gaining the distribution of the studio's 700-film library, as well as its future releases. Also, Paramount will produce television series based on Miramax's IPs.[132] The deal officially closed on April 3, 2020.[133] ViacomCBS later announced that it would rebrand the CBS All Access streaming service as Paramount+ to allow for international expansion using the widely recognized Paramount name and drawing from the studio's library, as well as that of CBS, MTV, Nickelodeon, and more.[134]
Gianopulos was fired in September 2021 and replaced by Nickelodeon president Brian Robbins.[135]
In January 2022, Paramount Pictures acquired the rights to Tomi Adeyemi's young adult fantasy novel Children of Blood and Bone from Lucasfilm and 20th Century Studios. As part of the acquisition, the film will have a guaranteed exclusive theatrical release while Adeyemi will write the screenplay and serve as executive producer. The film adaptation will also be produced by Temple Hill Entertainment and Sunswept Entertainment.[136][137]
On February 16, 2022, ViacomCBS changed its name to Paramount Global, after the studio.[138]
On March 8, 2022, Paramount Players' operations were folded into Paramount Pictures Motion Picture Group.[139] However, it will continue to operate as a label as it has several upcoming films on its slate.
On November 15, 2022, Paramount entered a multi-year exclusive deal with former president of DC Films Walter Hamada. Hamada will oversee the development of horror films beginning in 2023.[140]
Investments
DreamWorks Pictures
In 2006, Paramount became the parent of DreamWorks Pictures. Soros Strategic Partners and Dune Entertainment II soon afterwards acquired controlling interest in live-action films released through DreamWorks, with the release of Just Like Heaven on September 16, 2005. The remaining live-action films released until March 2006 remained under direct Paramount control. However, Paramount still owns distribution and other ancillary rights to Soros and Dune films.
On February 8, 2010, Viacom repurchased Soros' controlling stake in DreamWorks' library of films released before 2005 for around $400 million.[141] Even as DreamWorks switched distribution of live-action films not part of existing franchises to Walt Disney Studios Motion Pictures and later Universal Pictures, Paramount continues to own the films released before the merger, and the films that Paramount themselves distributed, including sequel rights such as that of Little Fockers (2010), distributed by Paramount and DreamWorks. It was a sequel to two existing DreamWorks films, Meet the Parents (2000) and Meet the Fockers (2004). (Paramount only owned the international distribution rights to Little Fockers, whereas Universal Pictures handled domestic distribution).[142]
Paramount also owned distribution rights to the DreamWorks Animation library of films made before 2013, and their previous distribution deal with future DWA titles expired at the end of 2012, with Rise of the Guardians. 20th Century Fox took over distribution for post-2012 titles beginning with The Croods (2013) and ending with Captain Underpants: The First Epic Movie (2017).[143] Universal Pictures subsequently took over distribution for DreamWorks Animation's films beginning with How to Train Your Dragon: The Hidden World (2019) due to NBCUniversal's acquisition of the company in 2016. Paramount's rights to the 1998–2012 DWA library would have expired 16 years after each film's initial theatrical release date,[144] but in July 2014, DreamWorks Animation purchased Paramount's distribution rights to the pre-2013 library, with 20th Century Fox distributing the library until January 2018, which Universal then assumed ownership of distribution rights.[145]
Another asset of the former DreamWorks owned by Paramount is the pre-2008 DreamWorks Television library, which is currently distributed by Paramount's sister company CBS Media Ventures; it includes Spin City, High Incident, Freaks and Geeks, Undeclared and On the Lot.
CBS library
Independent company Hollywood Classics represents Paramount with the theatrical distribution of all the films produced by the various motion picture divisions of CBS over the years, as a result of the 2000 Viacom/CBS merger.
Paramount has outright video distribution to the aforementioned CBS library with some exceptions; less-demanded content is usually released manufactured-on-demand by CBS themselves or licensed to Visual Entertainment Inc. As of the 2019 Viacom/CBS merger, this library now includes the theatrical distribution of Terrytoons short films on behalf of Paramount Animation, while CBS Media Ventures owns the television distribution. Until 2009, the video rights to My Fair Lady were with original theatrical distributor Warner Bros., under license from CBS (the video license to that film has now reverted to Paramount).
Units
Divisions
Paramount Pictures
Paramount Home Entertainment
Paramount Licensing, Inc.
Paramount Pictures International
Paramount Players
Nickelodeon Movies
BET Films
Paramount Studio Group – physical studio and post production
The Studios at Paramount – production facilities & lot
Paramount on Location – production support facilities throughout North America including New York City, Vancouver, and Atlanta
Worldwide Technical Operations – archives, restoration and preservation programs, the mastering and distribution fulfillment services, on-lot post production facilities management
Paramount Parks & Resorts, licensing and design for parks and resorts[146]
Paramount Animation[109]
Paramount Music
Joint ventures
United International Pictures (co-owned with Comcast's Universal Pictures)
Rede Telecine (co-owned with Amazon's Metro-Goldwyn Mayer, The Walt Disney Company's The Walt Disney Company Latin America, Grupo Globo's Canais Globo and Comcast's Universal Pictures)
Former divisions, subsidiaries, and joint ventures
Paramount Digital Entertainment (Dormant)
Paramount Television (original) (now CBS Studios)
Big Ticket Entertainment (semi-in-name-only since 2006; currently produces Judge Judy and Hot Bench)
Spelling Television (in-name-only since 2006)
Viacom Productions (folded into PNT in 2004)
Wilshire Court Productions (shut down in 2003)
Paramount Domestic Television (now CBS Media Ventures)
Folded Viacom Enterprises in 1995 and Rysher Entertainment and Worldvision Enterprises in 1999
RTV News, Inc., producer of Real TV and Maximum Exposure
United Paramount Network (UPN) – formerly a joint venture with United Television, now part of Nexstar/Paramount Global/Warner Bros. Discovery joint venture The CW Television Network
Paramount Stations Group (now CBS Television Stations)
USA Networks (also including the Sci-Fi Channel) – Paramount owned a stake starting in 1982, 50% owner (with Universal Pictures) from 1987 until 1997, when Paramount/Viacom sold their stake to Universal (now part of NBCUniversal)
Paramount International Television (merged with CBS Broadcast International in 2004 to form CBS Studios International)
Fleischer Studios – purchased in 1942 and organized as Famous Studios (which shut down in 1967); library folded into Paramount Animation.
Terrytoons – purchased by CBS Films (later Viacom International) in 1956; theatrical library moved to Paramount Animation following re-merger of ViacomCBS in 2019.
Paramount Famous Productions – direct-to-video division
Paramount Parks (Purchased by Cedar Fair Entertainment Company in 2006)
Paramount Classics/Paramount Vantage[147] – Paramount Classics merged into Paramount Vantage; the latter then went dormant in December 2013
DW Studios, LLC (also DW Pictures) – defunct, holding film library and rights, principal officers left to recreate DreamWorks as an independent company
DW Funding LLC – DreamWorks live-action library (pre-09/16/2005; DW Funding, LLC) sold to Soros Strategic Partners and Dune Entertainment II and purchased back in 2010[148]
Go Fish Pictures – Arthouse/Independent film unit for used distributing DreamWorks Pictures foreign films; defunct in 2007 after parent company's sale
Paramount Theatres Limited – Founded 1930 in the United Kingdom with the opening of a cinema in Manchester. Several Paramount Theatres had opened or had been acquired in the United Kingdom during the 1930s before being sold to The Rank Organisation becoming part of the Odeon Cinemas chain in 1939.
Epix – 49.76% owner (with Metro–Goldwyn–Mayer and Lionsgate) from 2009 until 2017, when Paramount/Viacom and Lionsgate sold their stakes to MGM
Insurge Pictures – micro-budget film division (March 2010 – 2015);[106] absorbed into Paramount itself
Republic Pictures
"Continental Café" – the commissary run by Pauline Kessinger until the cafe was replaced by the Zukor Building in 1983.[149]
Other interests
In March 2012, Paramount licensed their name and logo to a luxury hotel investment group which subsequently named the company Paramount Hotels and Resorts. The investors plan to build 50 hotels throughout the world based on the themes of Hollywood and the California lifestyle. Among the features are private screening rooms and the Paramount library available in the hotel rooms. In April 2013, Paramount Hotels and Dubai-based DAMAC Properties announced the building of the first resort: "DAMAC Towers by Paramount."[150][151]
Logo
The distinctively pyramidal Paramount mountain has been the mainstay of the company's production logo since its inception and is the oldest surviving Hollywood film logo. In the sound era, the logo was accompanied by a fanfare called Paramount on Parade after the film of the same name, released in 1930. The words to the fanfare, originally sung in the 1930 film, were "Proud of the crowd that will never be loud, it's Paramount on Parade."
Legend has it that the mountain is based on a doodle made by W. W. Hodkinson during a meeting with Adolph Zukor. It is said to be based on the memories of his childhood in Utah. Some claim that Utah's Ben Lomond is the mountain Hodkinson doodled, and that Peru's Artesonraju[152] is the mountain in the live-action logo, while others claim that the Italian side of Monviso inspired the logo. Some editions of the logo bear a striking resemblance to the Pfeifferhorn,[153] another Wasatch Range peak, and to the Matterhorn on the border between Switzerland and Italy. Mount Huntington in Alaska also bears a striking resemblance.
The motion picture logo has gone through many changes over the years:
The logo began as a somewhat indistinct charcoal rendering of the mountain ringed with superimposed stars. The logo originally had twenty-four stars, as a tribute to the then current system of contracts for actors, since Paramount had twenty-four stars signed at the time.
In 1951, the logo was redesigned as a matte painting created by Jan Domela.
A newer, more realistic-looking logo debuted in 1953 for Paramount films made in 3D. It was reworked in early-to-mid 1954 for Paramount films made in widescreen process VistaVision. The text VistaVision – Motion Picture High Fidelity was often imposed over the Paramount logo briefly before dissolving into the title sequence. In early 1968, the text "A Paramount Picture/Release" was shortened to "Paramount", the byline A Gulf+Western Company appeared on the bottom, and the number of stars being reduced to 22. In 1974, another redesign was made, with the Paramount text and Gulf+Western byline appearing in different fonts.
In September 1975, the logo was simplified in a shade of blue, adopting the modified design of the 1968 print logo, which was in use for many decades afterward. A version of the print logo had been in use by Paramount Television since 1968.
A black and white logo with "A Paramount Picture" appeared in the 1980 live action film Popeye, resembling the one used on Paramount's classic Popeye cartoon shorts.
The studio launched an entirely new logo in December 1986 with computer-generated imagery of a lake and stars. This version of the Paramount logo was designed by Dario Campanile and animated by Flip Your Lid Animation (Studio Productions), Omnibus/Abel for the CGI stars and Apogee, Inc for the mountain; for this logo, the stars would move across the screen into the arc shape instead of it being superimposed over the mountain as it was before. A redone version of this logo by Pittard Sullivan made its debuted with South Park: Bigger, Longer & Uncut, released on June 30, 1999.
In March 2002, an updated logo by BUF Compagnie was introduced in which shooting stars would fall from a night sky to form the arc while the Paramount logo would fly into place between them. An enhanced version of this logo made by PIC Collective debuted with Iron Man 2, released on May 7, 2010. The south col area of Mount Everest became the primary basis. The music is accompanied by Paramount on Parade, which was only used on Mean Girls. This logo continued to be featured on DVD and Blu-ray releases with the first incarnation of Viacom byline until March 5, 2019, ending with Instant Family.[citation needed]
On December 16, 2011, an updated logo[154][155][156] was introduced with animation done by Devastudios, using Terragen and Autodesk Maya.[157] The new logo includes a surrounding mountain range and the sun shining in the background. Michael Giacchino composed the logo's new fanfare. His work on the fanfare was carried onto the Paramount Players and Paramount Animation logos, as well as the Paramount Television Studios logo, which is also used for the Paramount Network Original Productions logo with 68 Whiskey.
The word "Pictures" was restored to the bottom of the Paramount logo in 2022 after ViacomCBS took on the Paramount name and branding for its entire operation; this revised logo used for printed materials and merchandising, while still appearing as simply "Paramount" on-screen, no longer uses the byline.
Studio tours
Paramount Studios offers tours of their studios.[158] The 2-hour Studio Tour offers, as the name implies, a regular tour of the studio.[158] The stages where Samson and Delilah, Sunset Blvd., White Christmas, Rear Window, Sabrina, Breakfast at Tiffany's, and many other classic films were shot are still in use today. The studio's backlot features numerous blocks of façades that depict a number of New York City locales, such as "Washington Square", "Brooklyn", and "Financial District". The After Dark Tour involves a tour of the Hollywood Forever Cemetery.[158]
Film library
A few years after the ruling of the United States v. Paramount Pictures, Inc. case in 1948, Music Corporation of America (MCA) approached Paramount offering $50 million for 750 sound feature films released prior to December 1, 1949, with payment to be spread over a period of several years. Paramount saw this as a bargain since the fleeting movie studio saw very little value in its library of old films at the time. To address any antitrust concerns, MCA set up EMKA, Ltd. as a dummy corporation to sell these films to television. EMKA's/Universal Television's library includes the five Paramount Marx Brothers films, most of the Bob Hope–Bing Crosby Road to... pictures, and other classics such as Trouble in Paradise, Shanghai Express, She Done Him Wrong, Sullivan's Travels, The Palm Beach Story, For Whom the Bell Tolls, Double Indemnity, The Lost Weekend, and The Heiress.
The studio has produced many critically acclaimed films such as Titanic, Footloose, Breakfast at Tiffany's, Braveheart, Ghost, The Truman Show, Mean Girls, Psycho, Rocketman, Ferris Bueller's Day Off, The Curious Case of Benjamin Button, Days of Thunder, Rosemary's Baby, Sunset Boulevard, Forrest Gump, Coming to America, World War Z, Babel, The Conversation, The Fighter, Interstellar, Terms of Endearment, The Wolf of Wall Street and A Quiet Place; as well as the Godfather, Star Trek, and Mission: Impossible film series.
Film series
Title Release date No. Films Notes Sophie Lang 1934–37 3 Hopalong Cassidy 1935–41 41 Bulldog Drummond 1937–39 3 The Aldrich Family 1939–44 11 Road to ... 1940–52 6 The War of the Worlds 1953–2005 2 Love Story 1970–78 The Godfather 1972–90 3 Charlotte's Web 1973–2003; 2006 Bad News Bears 1976–2005 4 Peanuts 1977–80 2 Grease 1978–82 2 Star Trek 1979–present 13 Friday the 13th 1980–89; 2009 12 Co-production with Warner Bros. Pictures (1980–2009) and New Line Cinema (2009) Indiana Jones 1981–2023 5 Distribution only; Co-production with Lucasfilm. Studio credit only (2023) Beverly Hills Cop 1984–94 3 Footloose 1984–2011 2 Crocodile Dundee 1986–2001 3 Co-production with Hoyts Distribution (1986–88), 20th Century Fox (1986) and Universal Pictures (2001) Top Gun 1986–present 2 The Naked Gun 1988–present 4 Coming to America 1988–2021 2 Jack Ryan 1990–2014 5 The Addams Family 1991–93 2 co-production with Scott Rudin Productions, Columbia Pictures and Orion Pictures (both 1991) Mission: Impossible 1996–present 7 Rugrats 1998–2003 3 Co-production with Nickelodeon Movies and Klasky Csupo Lara Croft: Tomb Raider 2001–03 2 Jackass 2002–present 6 SpongeBob SquarePants 2004–present 3 Co-production with Nickelodeon Movies and United Plankton Pictures Inc. Mean Girls 2004–24 Shrek 2007–11 Distribution only; Co-production with DreamWorks Animation Transformers 2007–present 7 Co-production with DreamWorks Pictures (2007–09) and Hasbro Paranormal Activity Cloverfield 2008–present 3 Kung Fu Panda 2008–11 2 Distribution only; Co-production with DreamWorks Animation Madagascar 2008–12 Marvel Cinematic Universe 2008–13 6 Distribution only; Co-production with Marvel Entertainment and Marvel Studios (2008–11), Studio credit only (2012–13) Watchmen 2009–present 1 International distributor; co-production with Warner Bros. Pictures and DC Studios G.I. Joe 3 Teenage Mutant Ninja Turtles 2014–present Co-production with Nickelodeon Movies Terminator 2015–19 2 Co-production with Skydance (2015–19), 20th Century Fox and Tencent Pictures (both 2019) A Quiet Place 2018–present 3 Co-production with Platinum Dunes Dora the Explorer 2019–present 2 Co-production with Nickelodeon Movies, Walden Media and Media Rights Group Sonic the Hedgehog 2020–present Co-production with Sega Sammy Group PAW Patrol 2021–present Co-production with Nickelodeon Movies and Spin Master Entertainment Scream 2022–present
Highest-grossing films
‡ — Includes theatrical reissue(s)
Latino and Hispanic representation
On July 31, 2018, Paramount was targeted by the National Hispanic Media Coalition and the National Latino Media Council, which have both claimed that the studio has the worst track record of hiring Latino and Hispanic talent both in front of and behind the camera (the last Paramount film directed by a Spanish director was Rings in 2017). In response, Paramount released the statement: "We recently met with NHMC in a good faith effort to see how we could partner as we further drive Paramount's culture of diversity, inclusion, and belonging. Under our new leadership team, we continue to make progress — including ensuring representation in front of and behind the camera in upcoming films such as Dora the Explorer, Instant Family, Bumblebee, and Limited Partners – and welcome the opportunity to build and strengthen relationships with the Latino creative community further."[161][162][163]
The NHMC protested at the Paramount Pictures lot on August 25. More than 60 protesters attended, while chanting "Latinos excluded, time to be included!". NHMC president and CEO Alex Nogales vowed to continue the boycott until the studio signed a memorandum of understanding.[164]
On October 17, the NHMC protested at the Paramount film lot for the second time in two months, with 75 protesters attending. The leaders delivered a petition signed by 12,307 people and addressed it to Jim Gianopulos.[165]
See also
CBS Studios
Paramount Television Studios
List of Paramount executives
List of Paramount Global television programs
Notes
References
Further reading
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https://www.premiumbeat.com/blog/golden-age-of-hollywood/
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Over 100 years ago, it would have been hard to imagine the Hollywood of today. Massive international box office pictures with outrageous budgets are all fighting to be the next billion-dollar franchise film. Studios all over the world compete to rake in the most at the box office, or instead, now most seem to be shifting between box-office dollars and proprietary subscription services. There are many moving parts to the industry today, but that was not always the case.
The “Hollywood” that truly made Hollywood famous was controlled by just a few big studios. These studios weren’t just making movies; they practically owned the whole system. They held the rights to the pictures, had leading stars in multi-year contracts, and even owned all the major theaters. They also propelled technological advances like talking pictures, studio lighting, anamorphic lenses, aspect ratios, and color film.
Let’s dive into the early years, the evolution of cinema, and the downfall of the Golden Age of Hollywood.
When did the Golden Age of Hollywood happen?
There isn’t a definitive starting year to the Golden Age of Hollywood. Some scholars credit 1915’s The Birth of a Nation as one of the earliest films of the period, but the true mass appeal of cinema and non-stop release of films didn’t happen until the 1920s and 1930s.
A considerable proponent that kicked off the success of cinema actually came from an economic downturn. The Great Depression that followed the 1929 stock market crash turned Hollywood into a powerhouse. Now, not to discredit the films of the roaring twenties, which can be argued to be part of the Golden Age of Hollywood, once the Great Depression started, a majority of American turned to cinema as their form of escapism. Why? Movie tickets were often far cheaper than tickets to theater shows and concerts. According to history.com, up to 80 million Americans went to the movies each week during the Depression.
During this Depression, when the spirit of the people is lower than at any other time, it is a splendid thing that for just 15 cents an American can go to a movie and look at the smiling face of a baby and forget his troubles.
Franklin D. Roosevelt on watching Shirley Temple films.
Ten years later, 1939 saw the release of some of the biggest films in cinematic history. Leveraging technological advances in image capture from lensing to color film advances, movies like The Wizard of Oz, Gone with the Wind, Mr. Smith Goes to Washington, and The Hunchback of Notre Dame dazzled and captivated audiences.
Historically speaking, more films were made in the 1920s and 1930s than pretty much any other decade — EVER. Even in comparison to major releases seen today, hundreds of more films were made and released in the 1930s. Genre films were big hits, especially westerns, gangster and crime movies, and musicals.
The Golden Age of Hollywood began to falter by 1948 and fully came to an end by the 1960s. More on that in a bit.
The “Big Five” Major Studios of the Golden Age
Most of Hollywood of the 1930s through the end of the Golden Age was ruled by five studios, Metro Goldwyn Mayer (MGM), RKO, 20th Century Fox, Warner Bros., and Paramount Pictures. What set these five apart from other smaller studios like Universal, United Artists, and Columbia was the fact that the five major studios owned the entire cinematic pipeline. This vertical integration gave them absolute control over everything. They owned the studio lots and camera equipment, they locked talent into exclusive contracts forbidding them to work with other studios while under contract, they owned all aspects of production, distribution, and exhibition. From before cameras started rolling until the theaters projectors stopped, the entire process was controlled by the studios.
MGM
MGM was the biggest of the five major studios and often reigned as the box office king throughout the 1930s. For over a decade during the Golden Age, MGM was the most financially successful studio. Led by movie mogul Louis B. Mayer, MGM grew a powerhouse roster of talent dubbed under their “star system.” This also meant the studio fully controlled talent both on and off-screen.
The talent roster included legendary names like Clark Gable, Spencer Tracy, Greta Garbo, Joan Crawford, Lon Chaney, William Powell, Buster Keaton, Wallace Beery, Jean Harlow, Robert Montgomery, Judy Garland, Gene Kelly, and Laurel and Hardy.
At its peak, MGM had 16-18 pictures shooting at the same time. The studio had six lots with over 40 cameras and 60 sound machines.
Notable MGM golden age films:
The Merry Widow (1925)
The Big Parade (1925)
La Bohème (1926)
The Scarlet Letter (1926)
The Patsy (1928)
Perfect Day (1929)
The Kiss (1929)
Freaks (1932)
Mutiny on the Bounty (1935)
A Night at the Opera (1935)
The Wizard of Oz (1939)
Gone with the Wind (1939)
The Philadelphia Story (1940)
Gaslight (1944)
An American in Paris (1951)
Singin’ in the Rain (1952)
Forbidden Planet (1956)
Cat on a Hot Tin Roof (1958)
Ben-Hur (1959)
North by Northwest (1959)
The Time Machine (1960)
Lolita (1962)
How the West Was Won (1962)
Twentieth Century-Fox
Twentieth Century-Fox was perhaps the biggest rival to MGM in terms of financial success during the Golden Age, often coming in as the second most successful studio. Formed in 1935 after the merger of Fox Films and Twentieth Century Pictures, the company was led by Darryl F. Zanuck and Joseph M. Schenck. The famous William Fox had already lost control of the Fox Film Corporation after a hostile takeover, and he was never involved with the film and television studios that bore his name.
The studio’s roster of talent included Tyrone Power, Linda Darnell, Carmen Miranda, Don Ameche, Henry Fonda, Gene Tierney, Sonja Henie, Betty Grable, Alice Faye, and Shirley Temple. They also produced theatrical versions of Broadway hits from Rodgers and Hammerstein.
Notable 20th Century Fox golden age films:
The Little Colonel (1935)
Les Misérables (1935)
Charlie Chan in Shanghai (1935)
White Fang (1936)
Rawhide (1938)
The Little Princess (1939)
Young Mr. Lincoln (1939)
The Adventures of Sherlock Holmes (1939)
The Grapes of Wrath (1940)
Rebecca (1940)
The Mark of Zorro (1940)
How Green Was My Valley (1941)
A Tree Grows in Brooklyn (1945)
Miracle on 34th Street (1947)
All About Eve (1950)
The Day the Earth Stood Still (1951)
The Robe (1953)
The King and I (1956)
The Diary of Anne Frank (1959)
The Hustler (1961)
The Longest Day (1962)
Something’s Got to Give (1962)
Cleopatra (1963)
The Sound of Music (1965)
Warner Bros.
Warner Bros. was the powerhouse studio behind The Jazz Singer (1927) with Al Jolson, credited as the first feature-length film with audible dialogue. The company started as a theater in Pennsylvania, screening films like The Great Train Robbery. Warner Bros. officially established itself as a movie-focused studio on Sunset Boulevard in California in 1923. The “bros.” in the name comes from the actual brothers, Harry, Albert, Sam, and Jack Warner.
The company produced films throughout WWI and, in 1919 acquired the rights to the Broadway play The Gold Diggers, which they turned into a series of films. Around the same time, the studio established the superstar dog Rin Tin Tin, who became their top earning star.
Throughout the 1920s, the studio was known for its musicals and color films. As musicals declined in popularity during the Great Depression, the studio moved into animated short films (Looney Tunes and Merrie Melodies) and gangster films, giving rise to actor James Cagney. Other notable Warner Bros. stars of the Golden Age included Humphrey Bogart, Bette Davis, Olivia de Havilland, Paul Muni, Errol Flynn, Joan Blondell, Edward G. Robinson, Warren William, Barbara Stanwyck, Lauren Bacall, and Doris Day.
Notable Warner Bros. golden age films:
Where the North Begins (1923)
Don Juan (1926)
The Jazz Singer (1927)
The Desert Song (1929)
Looney Tunes (1930)
Merrie Melodies (1931)
Little Caesar (1931)
The Public Enemy (1931)
42nd Street (1933)
Gold Diggers of 1933 (1933)
A Midsummer Night’s Dream (1935)
‘G’ Men (1935)
Kid Galahad (1937)
Angels with Dirty Faces (1938)
The Adventures of Robin Hood (1938)
Dodge City (1939)
The Maltese Falcon (1941)
High Sierra (1941)
The Strawberry Blonde (1941)
Casablanca (1942)
Yankee Doodle Dandy (1942)
The Big Sleep (1946)
The Treasure of the Sierra Madre (1948)
White Heat (1949)
A Streetcar Named Desire (1951)
Rebel Without a Cause (1955)
Rio Bravo (1959)
Paramount Pictures
Paramount Pictures dates back to 1912 when Adolph Zukor founded the Famous Players Film Company. Legend has it that in the 1916 merger that created Paramount, Zukor honored his 24 original contracted actors and actresses with the stars above the Paramount logo. Still, the number of stars doesn’t always align with the number of contracts. The logo currently features 22 stars with allegedly no hidden meaning.
Over the years, Paramount contracts locked in stars like Douglas Fairbanks, Gary Cooper, Mae West, Mary Pickford, Marguerite Clark, Pauline Frederick, Gloria Swanson, Audrey Hepburn, Rudolph Valentino, Bing Crosby, Bob Hope, Charlton Heston, and Wallace Reid.
Paramount Pictures was also notorious for its introduction of block booking, where they forced theaters to purchase licenses for multiple films at once. This allowed them to quickly distribute their A-list and second-rate B films together, with some contracts bundling 52 to over 100 films in a single block. This practice led the the massive anti-trust United States v. Paramount Pictures landmark case. More on that later.
Notable Paramount golden age films:
Wings (1927)
The Love Parade (1929)
Tom Sawyer (1930)
Morocco (1930)
Huckleberry Finn (1931)
Dr. Jekyll and Mr. Hyde (1932)
Movie Crazy (1932)
A Farewell to Arms (1932)
Duck Soup (1933)
Alice in Wonderland (1933)
Cleopatra (1934)
Hop-a-Long Cassidy (1935)
Gulliver’s Travels (1939)
Road to Singapore (1940)
Hold Back the Dawn (1941)
Double Indemnity (1944)
Sunset Boulevard (1950)
The Greatest Show on Earth (1952)
Shane (1953)
Roman Holiday (1953)
The War of the Worlds (1953)
Rear Window (1954)
White Christmas (1954)
Sabrina (1954)
The Man Who Knew Too Much (1956)
The Ten Commandments (1956)
Vertigo (1958)
Psycho (1960)
Breakfast at Tiffany’s (1961)
The Man Who Shot Liberty Valance (1962)
RKO
RKO Radio Pictures, an abbreviation of Radio-Keith-Orpheum, was formed in 1928 when Radio Corporation of America (RCA) merged the Keith-Albee-Orpheum theater chain and Joseph P. Kennedy’s Film Booking Offices of America studio into a single entity focused on creating movies using RCA’s sound-on-film technology.
The studio produced iconic films during this era, including King Kong and Citizen Kane. It also took control of distribution for the fledgling Walt Disney Productions, which had previously distributed Silly Symphonies and Mickey Mouse short films through Columbia and United Artists. RKO distributed what the critics dubbed “Disney’s Folly,” the studio’s first feature-length animated film, Snow White and the Seven Dwarfs.
RKO was primarily known for its series of musicals starring Fred Astaire and Ginger Rogers but also produced a series of horror and noir films. Other RKO stars included legends Katharine Hepburn, Robert Mitchum, Cary Grant, Ingrid Bergman, Irene Dunne, Mary Astor, Maureen O’Hara, and Orson Welles. It was also home to a B-list yet-to-be famous television superstar Lucille Ball.
Notable RKO golden age films:
The Vagabond Lover (1929)
King Kong (1933)
Little Women (1933)
Top Hat (1935)
Swing Time (1936)
Snow White and the Seven Dwarfs (1937)
Bringing Up Baby (1938)
Room Service (1938)
The Hunchback of Notre Dame (1939)
Pinocchio (1940)
Citizen Kane (1941)
Dumbo (1941)
The Pride of the Yankees (1942)
Tarzan and the Amazons (1945)
The Bells of St. Mary’s (1945)
Dick Tracy (1945)
It’s a Wonderful Life (1946)
Notorious (1946)
Fort Apache (1948)
Treasure Island (1950)
Cinderella (1950)
The Thing from Another World (1951)
Alice in Wonderland (1951)
Oklahoma! (1955)
The “Little Three” Studios of the Golden Age
There were undoubtedly other big studios in the game, but not all had the power of the major five. Primarily Universal Pictures, Columbia Pictures, and United Artists were not as vertically integrated with control over the entire pipeline. Each owned a smaller number of theaters or had limited access to studios. They often partner with other studios to help with financing and distribution.
Universal Pictures
Founded in 1912, Universal Film Manufacturing Company (Universal Films) was born out of a group of nickelodeon owners who wanted to produce their own films and escape from paying fees to the Edison-Trust, which had a monopoly through patents on their motion picture systems. The company also made the move to begin crediting and naming movie stars in their films, something Edison’s company had refused to do. Their marketing promotions of Florence Lawrence and King Baggot are often credited as some of the first instances of using movie stars, though history shows the practice had been done at least once before in France.
In 1915 the company opened Universal City Studios in California, then the world’s largest motion picture production facility. It was also the first studio open to tourists. Universal Pictures did not own any of their own theaters and relied on branding their products to help lure audiences. The company dubbed their 1922 film Foolish Wives as the “first million-dollar movie” to come out of Hollywood.
The studio couldn’t afford to contract stars and either borrowed or hired freelance actors to star in films, Golden Age acting icons like Margaret Sullavan, Bing Crosby, W. C. Fields, James Stewart, Marlene Dietrich, and Abbott and Costello. The iconic horror films starring Lon Chaney, Boris Karloff, and Bela Lugosi are perhaps more synonymous with the Universal name. The studio would rely on distribution deals, sequels to horror films, and serial films to survive the 1940s.
Today Universal Pictures is the oldest surviving film studio in the United States fifth oldest in the world.
Notable Universal Pictures golden age films:
20,000 Leagues Under the Sea (1916)
Foolish Wives (1922)
The Hunchback of Notre Dame (1923)
The Phantom of the Opera (1925)
All Quiet on the Western Front (1930)
King of Jazz (1930)
Dracula (1931)
Frankenstein (1931)
The Mummy (1932)
The Invisible Man (1933)
Imitation of Life (1934)
Show Boat (1936)
Three Smart Girls (1936)
The Green Hornet (1940)
Flash Gordon Conquers the Universe (1940)
Hamlet (1948)
It Came from Outer Space (1953)
Creature from the Black Lagoon (1954)
Spartacus (1960)
To Kill a Mockingbird (1962)
The Birds (1963)
Columbia Pictures
In 1918, Jack and Harry Cohn and business partner Joe Brandt founded Cohn-Brandt-Cohn (CBC) Film Sales Corporation. The adopted the name Columbia Pictures in 1924 and later adopted the imagery of Columbia, the female personification of the United States, Americas, and the New World.
The studio was a minor player in Hollywood, eventually finding success with The Three Stooges short films. Columbia became known for screwball comedies, westerns, and comic serials. Columbia was also one of the first distributors of Mickey Mouse short films. The studio’s major contract stars included Jean Arthur, Cary Grant, Rita Hayworth, Jack Lemmon, Rosalind Russell, Glenn Ford, Ann Sothern, Buck Jones, Charles Starrett, Gene Autry, and William Holden. It was director Frank Capra that helped elevate the studio into a Hollywood player with his renowned films like It Happened One Night.
Notable Columbia Pictures golden age films:
Lady for a Day (1933)
The Three Stooges (1934)
It Happened One Night (1934)
Mr. Deeds Goes to Town (1936)
Mr. Smith Goes to Washington (1939)
Only Angels Have Wings (1939)
The Lady in Question (1940)
Meet John Doe (1941)
Batman (1943)
The Phantom (1943)
The Lady from Shanghai (1947)
All the King’s Men (1949)
From Here to Eternity (1953)
On the Waterfront (1954)
The Bridge on the River Kwai (1957)
3:10 to Yuma (1957)
Anatomy of a Murder (1959)
Lawrence of Arabia (1962)
Bye Bye Birdie (1963)
United Artists
United Artists was founded in 1919 by Hollywood heavyweights Charlie Chaplin, D.W. Griffith, Mary Pickford, and Douglas Fairbanks. The goal was to allow actors to control their own interests versus signing themselves over to the major studios and getting locked into exclusivity contracts.
Griffith left the company in 1924, and Joseph Schenck was brought in as President. During his time as President, Schenk formed a partnership with Pickford and Chaplin to establish international theaters under the United Artists, opening first in Mexico and Canada. Schenk asked for ownership in United Artists and was denied, so he left to help form Twentieth Century Fox.
The company had successes and challenges throughout the 1930s and 40s, culminating in lawsuits and Fairbanks’ death. By the mid-1950s, Chaplin and Pickford sold their shares, and the company soon went public. United Artists had a string of successes towards the end of the Golden Age. By the 1960s, they found hits with the Beatles, Pink Panther, James Bond, Stanly Kramer films, and the spaghetti westerns of Sergio Leone.
Notable United Artists golden age films:
His Majesty, the American (1919)
Pollyanna (1920)
The Mark of Zorro (1920)
Robin Hood (1922)
Steamboat Bill, Jr. (1928)
City Lights (1931)
Scarface (1932)
Mr. Robinson Crusoe (1932)
The Count of Monte Cristo (1934)
A Star Is Born (1937)
Stagecoach (1939)
Wuthering Heights (1939)
The Great Dictator (1940)
Marty (1955)
12 Angry Men (1957)
Some Like It Hot (1959)
The Magnificent Seven (1960)
The Apartment (1960)
The Alamo (1960)
The Manchurian Candidate (1962)
Dr. No (1962)
The Great Escape (1963)
It’s a Mad, Mad, Mad, Mad World (1963)
What caused the decline of the Golden Age of Hollywood?
As for the end of the Golden Age, again, film scholars are torn on a definite year. Some claim the 1948 breakup of studios, but the traditions and scope of production lasted well into the 1960s.
Perhaps the biggest killer of the Golden Age of Hollywood was the beginning of the Golden Age of Television which was around 1947 through the 1960s. Generally speaking, the mid-1960s is often considered the end of both Golden Ages.
Let’s dive into a few key moments that eventually changed the fate of Hollywood.
The Hays Code
The Hays Code did not directly cause the end of the Golden Age of Hollywood. However, it’s still an important note to understand how studios wanted to avoid government interference in the industry at all costs.
Both the silent era and early golden age of Hollywood were rocked with celebrity scandals and raunchy depictions of sex and violence in films. In the early 1920s, there was public and political pressure mounting to create moral standards for motion pictures. The studios feared the increasing amount of film censorship bills throughout the United States, especially after the 1915 ruling of Mutual Film Corporation v. Industrial Commission of Ohio declared that laws of free speech did not apply to motion pictures. The studios decided to self-regulate the industry to avoid any further government interference.
Postmaster General Will H. Hays was enlisted to create a code of standards. The Presbyterian elder formed a committee to discuss film censorship, in which they determined a list of “Don’ts and Be Carefuls.” The 1927 list included 11 topics that were best to be avoided entirely and 25 topics that should be handled carefully. It established the “Pre-Code” era of censorship in Hollywood.
During the Great Depression, films that seemingly ignored the code were financial successes. Since there was no actual enforcement of the code, studios continued to ignore the rules to capitalize on revenue. In 1934 the Production Code Administration was established, which required all films released on or after July 1, 1934, to obtain a certificate of approval before their release.
Without the Hays Code, the Golden Age of Hollywood may have ended sooner than it did. Studios now faced true censorship, which caused changes to scripts, wardrobes, and release schedules. Again, all of these sacrifices were accepted by the studios to avoid the inevitable government interference of their monopoly over the film industry.
The United States v. Paramount Pictures
Remember the mention of Paramount Pictures block booking up above? Where they bundled the release of multiple pictures into deals, they forced on theaters. That single act is one of the biggest things that caused the downfall of the Golden Age. The Federal Trade Commission began investigating film companies during the silent era, and by 1938 the US Department of Justice sued the major movie studios.
A case was initially settled in 1940, which allowed the government to resume prosecution if studios were non-compliant. Studio requirements included:
The Big Five studios could no longer block-book short films with features films
The Big Five could block-book feature films, but the block size would be limited to five films
Blind buying would be outlawed and replaced with trade showings for theaters to decide if they wanted to book a film
The studios did not fully comply, and thus a new case went on trial in 1945. The court ruled in favor of the studios, and the government appealed to the Supreme Court.
In 1948 the United States Supreme Court looked into violations of the 1890 Sherman Act, which outlawed any monopolization or conspiracy to monopolize. The anti-trust known as United States v. Paramount Pictures, Inc. lists Paramount Pictures as the primary defendant as the most prominent studios at the time, but all Big Five and Little Three studios were named in the case.
The vertically integrated studios were deemed an oligopoly, and in a 7-1 decision, they were forced to divest themselves of their theater chains. In what became known as the Paramount Decrees, Paramount Pictures was forced to split into two companies, a film company, and a theater chain.
After the decision, there was not only a rise in the number of independent movie theaters, but it also led to the rise of independent and art house studios and theaters. Foreign films and independent films screened in these theaters also weakened the Hays Code and were becoming freer from studio interference.
The Rise of Television
Television started making massive technological leaps in the 1930s, but with the onset of World War II, its expansion was halted until the post-war years. Between 1947 and the mid-1950s, the American suburbs grew 43 percent in size. Thousands of new homes and families moved into areas farther away from entertainment districts, and they turned their focus to home entertainment via radio and television.
During the same years as the Paramount cases, television saw the rise of the Big Three networks, ABC, CBS, and NBC. By 1948, the networks began prime-time schedules seven nights a week. Film studios quickly moved to gain a controlling interest in the television networks (like the Paramount Television Network), but the Federal Communications Commission had the authority to reject TV licenses to companies engaged in monopolistic activities.
Throughout the 1950s, television benefitted from technological advances that now only brought color televisions into homes, and the overall prices of televisions continued to drop significantly. By the 1960s, more than half of American homes had a television set. With free entertainment currently broadcast into people’s homes, studios had to diversify by producing television shows, licensing films for broadcast or looked to other options like opening theme parks.
The Legacy of the Golden Age of Hollywood
Perhaps aside from the original creation of the motion picture camera and the digital revolution the film industry continues to go through now, most major technological advances, achievement, and experiments were conducted during the Golden Age of Cinema.
Here are just a few things the Golden Age of Hollywood is responsible for:
Synchronous Sound
Continuity Editing
Montage Editing
24 frame-per-second
Dubbing
Color Film
Technicolor
Studio Lighting
Three Act Structure
180-degree rule
Aspect Ratios
Widescreen
Cinemascope
Compositing
Blue/Green Screen
Camera Support
Crane
Dolly
3D Films
Acting School
Vocal Coaches
Make-up Styles and Beauty Standards
Costume Departments
Ethics Code / Ratings
Animated Feature Films
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Media and Culture
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According to the author, the world did not need another introductory text in mass communication. But the world did need another kind of introductory text in mass communication, and that is how Understanding Media and Culture: An Introduction to Mass Communication was birthed.
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https://courses.lumenlearning.com/suny-massmedia/chapter/8-2-the-history-of-movies/
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The movie industry as we know it today originated in the early 19th century through a series of technological developments: the creation of photography, the discovery of the illusion of motion by combining individual still images, and the study of human and animal locomotion. The history presented here begins at the culmination of these technological developments, where the idea of the motion picture as an entertainment industry first emerged. Since then, the industry has seen extraordinary transformations, some driven by the artistic visions of individual participants, some by commercial necessity, and still others by accident. The history of the cinema is complex, and for every important innovator and movement listed here, others have been left out. Nonetheless, after reading this section you will understand the broad arc of the development of a medium that has captured the imaginations of audiences worldwide for over a century.
As the kinetoscope gained popularity, the Edison Company began installing machines in hotel lobbies, amusement parks, and penny arcades, and soon kinetoscope parlors—where customers could pay around 25 cents for admission to a bank of machines—had opened around the country. However, when friends and collaborators suggested that Edison find a way to project his kinetoscope images for audience viewing, he apparently refused, claiming that such an invention would be a less profitable venture (Britannica).
Because Edison hadn’t secured an international patent for his invention, variations of the kinetoscope were soon being copied and distributed throughout Europe. This new form of entertainment was an instant success, and a number of mechanics and inventors, seeing an opportunity, began toying with methods of projecting the moving images onto a larger screen. However, it was the invention of two brothers, Auguste and Louis Lumière—photographic goods manufacturers in Lyon, France—that saw the most commercial success. In 1895, the brothers patented the cinématographe (from which we get the term cinema), a lightweight film projector that also functioned as a camera and printer. Unlike the Edison kinetograph, the cinématographe was lightweight enough for easy outdoor filming, and over the years the brothers used the camera to take well over 1,000 short films, most of which depicted scenes from everyday life. In December 1895, in the basement lounge of the Grand Café, Rue des Capucines in Paris, the Lumières held the world’s first ever commercial film screening, a sequence of about 10 short scenes, including the brother’s first film, Workers Leaving the Lumière Factory, a segment lasting less than a minute and depicting workers leaving the family’s photographic instrument factory at the end of the day, as shown in the still frame here in Figure 8.3 (Encyclopedia of the Age of Industry and Empire).
Believing that audiences would get bored watching scenes that they could just as easily observe on a casual walk around the city, Louis Lumière claimed that the cinema was “an invention without a future (Menand, 2005),” but a demand for motion pictures grew at such a rapid rate that soon representatives of the Lumière company were traveling throughout Europe and the world, showing half-hour screenings of the company’s films. While cinema initially competed with other popular forms of entertainment—circuses, vaudeville acts, theater troupes, magic shows, and many others—eventually it would supplant these various entertainments as the main commercial attraction (Menand, 2005). Within a year of the Lumières’ first commercial screening, competing film companies were offering moving-picture acts in music halls and vaudeville theaters across Great Britain. In the United States, the Edison Company, having purchased the rights to an improved projector that they called the Vitascope, held their first film screening in April 1896 at Koster and Bial’s Music Hall in Herald Square, New York City.
Film’s profound impact on its earliest viewers is difficult to imagine today, inundated as many are by video images. However, the sheer volume of reports about the early audience’s disbelief, delight, and even fear at what they were seeing suggests that viewing a film was an overwhelming experience for many. Spectators gasped at the realistic details in films such as Robert Paul’s Rough Sea at Dover, and at times people panicked and tried to flee the theater during films in which trains or moving carriages sped toward the audience (Robinson). Even the public’s perception of film as a medium was considerably different from the contemporary understanding; the moving image was an improvement upon the photograph—a medium with which viewers were already familiar—and this is perhaps why the earliest films documented events in brief segments but didn’t tell stories. During this “novelty period” of cinema, audiences were more interested by the phenomenon of the film projector itself, so vaudeville halls advertised the kind of projector they were using (for example “The Vitascope—Edison’s Latest Marvel”) (Balcanasu, et. al.), rather than the names of the films (Britannica Online).
By the close of the 19th century, as public excitement over the moving picture’s novelty gradually wore off, filmmakers were also beginning to experiment with film’s possibilities as a medium in itself (not simply, as it had been regarded up until then, as a tool for documentation, analogous to the camera or the phonograph). Technical innovations allowed filmmakers like Parisian cinema owner Georges Méliès to experiment with special effects that produced seemingly magical transformations on screen: flowers turned into women, people disappeared with puffs of smoke, a man appeared where a woman had just been standing, and other similar tricks (Robinson).
Not only did Méliès, a former magician, invent the “trick film,” which producers in England and the United States began to imitate, but he was also the one to transform cinema into the narrative medium it is today. Whereas before, filmmakers had only ever created single-shot films that lasted a minute or less, Méliès began joining these short films together to create stories. His 30-scene Trip to the Moon (1902), a film based on a Jules Verne novel, may have been the most widely seen production in cinema’s first decade (Robinson). However, Méliès never developed his technique beyond treating the narrative film as a staged theatrical performance; his camera, representing the vantage point of an audience facing a stage, never moved during the filming of a scene. In 1912, Méliès released his last commercially successful production, The Conquest of the Pole, and from then on, he lost audiences to filmmakers who were experimenting with more sophisticated techniques (Encyclopedia of Communication and Information).
“I Don’t Think We’re in Kansas Anymore”: Film Goes Technicolor
Although the techniques of tinting and hand painting had been available methods for adding color to films for some time (Georges Méliès, for instance, employed a crew to hand-paint many of his films), neither method ever caught on. The hand-painting technique became impractical with the advent of mass-produced film, and the tinting process, which filmmakers discovered would create an interference with the transmission of sound in films, was abandoned with the rise of the talkie. However, in 1922, Herbert Kalmus’s Technicolor company introduced a dye-transfer technique that allowed it to produce a full-length film, The Toll of the Sea, in two primary colors (Gale Virtual Reference Library). However, because only two colors were used, the appearance of The Toll of the Sea (1922), The Ten Commandments (1923), and other early Technicolor films was not very lifelike. By 1932, Technicolor had designed a three-color system with more realistic results, and for the next 25 years, all color films were produced with this improved system. Disney’s Three Little Pigs (1933) and Snow White and the Seven Dwarves (1936) and films with live actors, like MGM’s The Wizard of Oz (1939) and Gone With the Wind (1939), experienced early success using Technicolor’s three-color method.
Despite the success of certain color films in the 1930s, Hollywood, like the rest of the United States, was feeling the impact of the Great Depression, and the expenses of special cameras, crews, and Technicolor lab processing made color films impractical for studios trying to cut costs. Therefore, it wasn’t until the end of the 1940s that Technicolor would largely displace the black-and-white film (Motion Pictures in Color).
Down With the Establishment: Youth Culture of the 1960s and 1970s
Movies of the late 1960s began attracting a younger demographic, as a growing number of young people were drawn in by films like Sam Peckinpah’s The Wild Bunch (1969), Stanley Kubrick’s 2001: A Space Odyssey (1968), Arthur Penn’s Bonnie and Clyde (1967), and Dennis Hopper’s Easy Rider (1969)—all revolutionary in their genres—that displayed a sentiment of unrest toward conventional social orders and included some of the earliest instances of realistic and brutal violence in film. These four films in particular grossed so much money at the box offices that producers began churning out low-budget copycats to draw in a new, profitable market (Motion Pictures). While this led to a rise in youth-culture films, few of them saw great success. However, the new liberal attitudes toward depictions of sex and violence in these films represented a sea of change in the movie industry that manifested in many movies of the 1970s, including Francis Ford Coppola’s The Godfather (1972), William Friedkin’s The Exorcist (1973), and Steven Spielberg’s Jaws (1975), all three of which saw great financial success (Britannica Online; Belton, 1994).
Blockbusters, Knockoffs, and Sequels
In the 1970s, with the rise of work by Coppola, Spielberg, George Lucas, Martin Scorsese, and others, a new breed of director emerged. These directors were young and film-school educated, and they contributed a sense of professionalism, sophistication, and technical mastery to their work, leading to a wave of blockbuster productions, including Close Encounters of the Third Kind (1977), Star Wars (1977), Raiders of the Lost Ark (1981), and E.T.: The Extra-Terrestrial (1982). The computer-generated special effects that were available at this time also contributed to the success of a number of large-budget productions. In response to these and several earlier blockbusters, movie production and marketing techniques also began to shift, with studios investing more money in fewer films in the hopes of producing more big successes. For the first time, the hefty sums producers and distributers invested didn’t go to production costs alone; distributers were discovering the benefits of TV and radio advertising and finding that doubling their advertising costs could increase profits as much as three or four times over. With the opening of Jaws, one of the five top-grossing films of the decade (and the highest grossing film of all time until the release of Star Wars in 1977), Hollywood embraced the wide-release method of movie distribution, abandoning the release methods of earlier decades, in which a film would debut in only a handful of select theaters in major cities before it became gradually available to mass audiences. Jaws was released in 600 theaters simultaneously, and the big-budget films that followed came out in anywhere from 800 to 2,000 theaters nationwide on their opening weekends (Belton; Hanson & Garcia-Myers, 2000).
The major Hollywood studios of the late 1970s and early 1980s, now run by international corporations, tended to favor the conservative gamble of the tried and true, and as a result, the period saw an unprecedented number of high-budget sequels—as in the Star Wars, Indiana Jones, and Godfather films—as well as imitations and adaptations of earlier successful material, such as the plethora of “slasher” films that followed the success of the 1979 thriller Halloween. Additionally, corporations sought revenue sources beyond the movie theater, looking to the video and cable releases of their films. Introduced in 1975, the VCR became nearly ubiquitous in American homes by 1998 with 88.9 million households owning the appliance (Rosen & Meier, 2000). Cable television’s growth was slower, but ownership of VCRs gave people a new reason to subscribe, and cable subsequently expanded as well (Rogers). And the newly introduced concept of film-based merchandise (toys, games, books, etc.) allowed companies to increase profits even more.
References
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Belton, American Cinema/American Culture, 305.
Belton, John. American Cinema/American Culture. (New York: McGraw-Hill, 1994), 284–290.
Britannica Online, s.v. “History of the Motion Picture”.
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Britannica Online, s.v. “nickelodeon.”
Britannica Online. s.v. “History of the Motion Picture.” http://www.britannica.com/EBchecked/topic/394161/history-of-the-motion picture; Robinson, From Peep Show to Palace, 45, 53.
British Movie Classics, “The Kinetoscope,” British Movie Classics, http://www.britishmovieclassics.com/thekinetoscope.php.
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[] |
[
"4th of july movies",
"patriotic movies"
] | null |
[
"Yaa Bofah",
"Adrianna Freedman"
] |
2019-06-04T21:45:56.354760
|
Our list of the top movies to watch and stream on the 4th of July includes classic 4th of July movies, the best patriotic films and picks for kids and family.
|
en
|
/_assets/design-tokens/goodhousekeeping/static/images/favicon.8e97a02.ico
|
Good Housekeeping
|
https://www.goodhousekeeping.com/life/entertainment/g27656502/4th-of-july-movies/
|
Let's set the scene: It's Independence Day, the fireworks show is over, and plenty of delicious 4th of July barbecue food has been enjoyed by friends and family. All you want to do is kick back, relax and enjoy something simple, like watching a summer movie that centers around the holiday or has American themes. While there aren't many options that specifically involve the day itself (unless you want to get into all the action in Independence Day), there are still a plethora of great movies to watch on the 4th of July.
For starters, anything with action is usually appropriate, so you'll find plenty of flicks with stunts, physical feats and danger. And to that end, there are quite a few war-centric films that will take you back in time and wrestle with America's history. But don't worry, it's not all so intense — we threw in some movies that are just fun, too.
|
||||
3324
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dbpedia
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3
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https://www.britannica.com/money/Paramount-Pictures
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en
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History, Credits, & Facts
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[] |
[] |
[
""
] | null |
[] |
2024-08-10T00:00:00
|
Paramount Pictures, one of the first and most successful of the Hollywood film studios.
|
en
|
/money/favicon.ico
|
https://www.britannica.com/money
|
Read More
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3324
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dbpedia
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3
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https://people.com/bob-marley-one-love-cast-side-by-side-the-real-people-8583062
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See the Bob Marley: One Love Cast Side by Side with the Real People
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2024-02-17T10:30:00-05:00
|
Kingsley Ben-Adir stars as Bob Marley in Paramount Pictures' Bob Marley: One Love. See the rest of the cast side by side with the real people.
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en
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/favicon.ico
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Peoplemag
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https://people.com/bob-marley-one-love-cast-side-by-side-the-real-people-8583062
|
Paramount Pictures is bringing Bob Marley's story to life with Bob Marley: One Love.
Starring Kingsley Ben-Adir as the legendary Jamaican reggae singer, the film tells the story of his rise to fame in the mid-1970s until he died in 1981.
While the film features many notable people from Marley's life, there were also quite a few of them involved behind the scenes, including two of his children, Ziggy and Cedella Marley, who served as producers and his widow Rita Marley, whom he was married to from 1966 to 1981.
“The authenticity of the Jamaican element of this is something never before seen in a Hollywood production of this size. This movie is a real representation of Jamaica and of Bob and of the creation of his music," Ziggy told Paramount Pictures of the film. "We have approached this as a creative project, not an emotional thing. My emotions are beyond this. It’s about showing the truth.”
Ahead, see the cast side by side with the real people they play.
01 of 11
Kingsley Ben-Adir as Bob Marley
Kingsley Ben-Adir stars as Jamaican singer Bob Marley in the new film, which the actor says was a "dream role." Additionally, Quan-Dajai Henrique stars as teenage Bob Marley, while Nolan Collignon portrays a young Bob Marley in the film.
Speaking with PEOPLE, Ben-Adir revealed he prepped for the role while filming Barbie, including learning how to play the guitar and studying the musician’s Jamaican accent and Patois language on set.
During a Dotdash Meredith Special Screening of Bob Marley: One Love in New York City on Feb. 12, the actor reflected on Marley's inspiring work ethic, telling PEOPLE, "[It was] something I haven't heard or seen of. This is a man who is dedicated to his craft in a way that any other artist can only dream of working as hard as he did at."
02 of 11
Lashana Lynch as Rita Marley
The Marvels actress Lashana Lynch plays Rita Marley, Bob Marley's wife at the time of his death. The couple married in 1966 and welcomed three children together during their relationship. Marley also toured alongside the singer as a member of the reggae vocal group the I Threes. In the film, Nia Ashi also stars as a teenage Rita Marley.
Speaking with PEOPLE at Dotdash Meredith's screening of the film, Lynch said she found many parallels between her and her character, including the fact that they were both of Jamaican descent.
Lynch noted that she was incredibly inspired by Marley's story as she prepped to play her, but was especially moved by her "light" when they met in person. "It's a love that I think transcends time and also is a love that a lot of people on this earth never get to experience, and she has and is still experiencing it now today," she said. "Her upholding this legend's story, his worth, his greatness in the world, I think she's just done so much that I look forward to people being educated about it."
03 of 11
James Norton as Chris Blackwell
James Norton plays Chris Blackwell, a Jamaican-British record producer who helped Bob Marley and the Wailers receive national attention.
04 of 11
Umi Myers as Cindy Breakspeare
Umi Myers plays Cindy Breakspeare, a beauty queen who was in a relationship with Marley, beginning in 1976 and lasting until he died in 1981. During their relationship, she gave birth to a son, Damian Marley, in 1978.
05 of 11
Aston Barrett Jr. as Aston "Family Man" Barrett
In the new movie, Aston Barrett Jr. plays his own father, Aston "Family Man" Barrett, who was the bandleader of Bob Marley's backing band. Barrett Jr. is also the nephew of drummer Carlton “Carly” Barrett.
“I know they had tried to do different versions [of this movie, in the past]. I’d heard rumors,” Barrett Jr. told Paramount Pictures about how his role came about. “But I knew this was serious when I got a call from Cedella Marley. She said, ‘What do you think about acting?’ I said, ‘I never acted before.’ She said, ‘Well, we’re doing a movie. And we want you to play your father.’ I said, ‘Alright, no problem.’ I got the greenlight from her, so I just got on with it.”
He added that it was particularly special continuing his father's legacy following his death in February 2024. “If you really think about this mission a lot of souls have now gone, so it’s been very spiritual," he continued. "The whole experience has been mystical. I can feel Uncle Bob. I can feel everybody. Even though my father isn’t here [on set], I still feel him in spirit. It’s emotional, when you’re shooting scenes, to see the struggles they came through. It’s given us so much more knowledge and understanding [of our fathers].”
06 of 11
David Davo Kerr as Junior Marvin
David Davo Kerr is also portraying his father in the film — Junior Marvin, who was the guitarist for Bob Marley and The Wailers. “What makes this film so special is that not only are we, Bob’s offspring, involved, but there are also the offspring of other musicians involved too,” Ziggy Marley told Paramount Pictures.
“We have Family Man’s son, who is also a bass player, and he’s [playing] Family Man in our movie. We have Junior Marvin’s son on guitar. He’s playing Junior Marvin," he continued. "The guys are real. Nobody is faking it. Them is a part of this. It’s a good lineup, this thing.”
Kerr told Paramount Pictures it was a "dream come true" to play his father. "I’ve always been into acting because of my dad," he said. "He always had a camera. At home, we would do little home videos. And I did Drama growing up. But what makes this special is that I get to relive what he did,"
07 of 11
Anna-Sharé Blake as Judy Mowatt
Anna-Sharé Blake (known professionally as Sevana) plays Judy Mowatt, who was a member of the I Threes, the backing vocalists for Bob Marley and the Wailers.
08 of 11
Naomi Cowan as Marcia Griffiths
Naomi Cowan plays Marcia Griffiths, who was a member of the I Threes from 1974 to 1981. Cowan, who is the daughter of gospel artist Carlene Davis and reggae singer and producer Tommy Cowan, found herself instantly connected to the sons of the real-life Wailers.
Recalling their first meeting, she told Paramount Pictures, “We immediately all clocked that our dads worked together, which is so special. I’d never met any of them, but we clicked on the spot because we had similar experiences growing up. And I think we all also saw ourselves as carrying a heavy mantle — one that we were all honored to carry."
"I’m so proud of those guys because they were so dedicated to ensuring that they were matching their dads’ energies," she continued. "Not just getting the songs right but even playing and moving in the way that they did.”
09 of 11
Hector Roots Lewis as Carly Barrett
Hector Roots Lewis plays Carly Barrett, a Jamaican musician best known for being the drummer for Bob Marley and the Wailers.
Talking with Paramount Pictures about the upcoming film and Marley's impact on pop culture, he explained, “I think this movie is going to show that Bob wrote for more than the people."
"He also wrote for an internal thing that he was trying to satisfy within himself," he added. "Bob was more than just this rock star. He was an artist who was crying out to be healed. Crying out for the world to hear him, sharing something he loved.”
10 of 11
Tosin Cole as Tyrone Downie
Tosin Cole plays Tyrone Downie, who served as the keyboardist and pianist for Bob Marley and The Wailers.
11 of 11
Stefan A. D Wade as Alvin Seeco Patterson
Stefan A. D Wade plays Alvin Seeco Patterson, a Cuban-born Jamaican percussionist who was also a member of The Wailers Band.
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https://austinfilmfestival.com/about/faqs/
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Austin Film Festival
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2016-02-24T23:59:48+00:00
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en
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https://austinfilmfestival.com/wp-content/themes/AFFest-wp-theme/images/favicon.ico
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Austin Film Festival
|
https://austinfilmfestival.com/about/faqs/
|
General FAQs
What is the Austin Film Festival
Austin Film Festival is dedicated to furthering the art, craft, and business of screenwriting and filmmaking by providing unique, year-round cultural events and services, enhancing public awareness and participation, and encouraging dynamic and long-lasting community partnerships. Austin Film Festival is a not for profit 501c3 corporation. Click here to learn more.
Can I volunteer?
Sure – we’re happy to have you! Lots to do. Visit our Volunteer page to learn more!
What is the AFF Store Refund Policy?
See Refund Policy
What is AFF Membership?
Join AFF todayfor a year’s worth of exclusive advanced screenings, film premieres, script readings, Conversations in Film, party invitations, and more! AFF Members not only receive free access to most of our events, but also gain priority seating! Skip the long lines and enjoy first entry into the theatre as an AFF Member . You’ll also receive discounts around town at participating businesses.
Learn More
What is the Coverage Program?
The AFF Coverage Program provides constructive and Hollywood-savvy feedback that will show you exactly how industry professionals gauge a script’s power and functionality. Learn More
Festival & Conference FAQs
When is the Festival?
The 31st annual Austin Film Festival is October 24 – 31, 2024. Join Us!
Where does the Festival take place?
Our Annual Austin Film Festival and Writers Conference takes place in Austin, TX featuring 8 days of film screenings, 4 days of panels, and select parties!
What is included in the live event for Austin Film Festival and Writers Conference?
8 days of live film screenings, 4 days of live panels, and select live parties – all of it from downtown Austin, Texas. Experience the live event with our selection of Badges and Passes: Producers, Conference, Weekend, Lonestar, Film Pass. Get your Badge or Pass today!
What are the venues?
The Film Festival shows movies at theaters throughout downtown Austin and the surrounding area. Venues typically include the Paramount Theatre, State Theatre, Long Center Rollins Theatre, The Galaxy Theatre, Vesper Austin. (Venues are subject to change each year). The Conference panels take place at the Driskill Hotel, Omni Hotel, St. David’s Church, Central Presbyterian Church, and 800 Congress in the heart of downtown Austin, and in East Austin.
What are your COVID policies?
Our main goal is to make sure that all our attendees feel safe. To ensure this, we are keeping a watchful eye on recommended health guidelines along with those encouraged by our local community. You can find our most up to date Festival and partner venue policies here.
Do the Conference and Festival run at the same time?
Yes. The Conference Panels occur for the first four days of the Festival with Films screening through all eight days. Panels usually end around 5pm and films run throughout the evening. Stay tuned for more details!
What happens at the Conference?
The Conference provides over 175 inspiring and interactive panels, roundtables, and meet & greets with established screenwriters and filmmakers. The Conference conducts workshops on the core elements of screenwriting and filmmaking, including dialogue, story structure, and character development. Some popular panels focus on writing scripts that producers want to develop, overcoming writer’s block, producing your film on an indie budget, marketing your project, and more.
Where can I see a list of panelists who plan to attend?
Panelists’ photos and bios can be found on the Panelist page. All Panelists are confirmed, schedules permitting, and may be subject to change without notice.
Are there opportunities to network?
Yes, lots! There are meet and greets with many writers and producers as well as parties where you can meet lots of industry people. In fact, many people have gotten their scripts sold and found new opportunities by attending the festival. To hear some of our success stories, visit the Success Stories page.
Check your Badge of choice to see what parties you have access to, here.
The Fine Print
Review the programs you wish to watch so you know if they are scheduled or available at your leisure. The overall program includes a number of each type!
All scheduled programs are in Central Standard Time.
Presentations do not carry an MPAA rating.
The Festival schedule and guests are subject to change. Our website and social media platforms will have the most up-to-date information.
Where can I park downtown?
We do not offer a specific area to park; however, there are several options to park downtown. There are parking garages and meters. Parking garages are available all around the downtown area and are only a few dollars to park there. Metered Parking hours are as follows: Monday-Wednesday: 8:00 a.m.-6:00 p.m., Thursday-Friday: 8:00 a.m.-Midnight, Saturdays: 11:00 a.m.-Midnight. The hours listed will apply to all meters between Cesar Chavez and 10th Street, and between IH-35 and Lamar Blvd. Outside of that area, meters will begin operating from 8:00 a.m. until 6:00 p.m. Monday-Saturday. Unless otherwise marked, metered on-street parking has a three-hour time limit.
What about Submissions?
Film Submissions FAQ
Screenplay & Teleplay FAQ
Digital Series FAQ
Can I volunteer at the Festival?
Yes! You can get involved by helping us prepare for the festival or by working at the actual event. Please feel free to give us a call at 512-478-4795 or email at [email protected] for more information. More details can be found at the Volunteer Information page.
Buying Badges, Tickets, and Passes FAQs
Can I buy tickets to just one movie?
Yes, individual movie tickets will be available for purchase 20mins prior to the Festival screening.
What is the difference between a Badge and a Film Pass?
Badges give you priority access to all Festival films plus access to panels at the Conference as well as the parties and meet & greets offered by the Festival. Click here to purchase a Badge.
A Film Pass allows you the opportunity to see over 180 films in 8 days and grants you priority in line over single pass tickets giving you more time to get seats, popcorn, and drinks. Click here to purchase a Film Pass.
What do the different Badges mean?
The Producers Badge grants you access to everything, including panels, front-of-line entry to all Film Festival films and to all parties.
The Conference Badge grants you access to the four days of panels at the conference, unlimited access to the film screenings throughout the festival, and entry to some of the parties, including the Late Night Welcome Party, the Pitch Finale Party, and the Heart of Film Conference Party.
The Weekend Badge grants you access to the Conference on Saturday and Sunday, all films, and entry to the Pitch Finale Party and the Heart of Film Conference Party.
The Lone Star Badge grants you access to Saturday panels and entry to all of the films and the Pitch Party. To purchase a badge, visit the Badges and Passes information page.
For more information, visit the Badge Page
How long are the Passes, Badges, and Tickets on sale?
For live event: The Producers, Conference, Weekend, and Lone Star Badges as well as Film Passes will have a price increase on midnight, June 16th, and midnight, September 26th. Badges and Passes will then go to full price up to the Festival. Individual tickets go on sale the day of the screening, 20 minutes prior to showtime at the designated theater if seating is still available. For more information and pricing visit The Shop Page, or order over the phone (1-800-310-FEST (3378)).
How do I receive my Film Pass/Badge?
If you buy your Badge or Pass online or over the phone prior to the event, it will be available for pickup at Festival Registration starting on October 26th, 2024
What are the Registration Hours?
Registration Hours for our 2024 Festival & Conference will be announced closer to the event.
Are there any refunds on Passes or Badges?
Refund requests for the Festival must be in writing, postmarked by July 16th, 2024, and all refunds will incur a $75 processing fee. Please send refund requests to:
Austin Film Festival
1801 Salina Street
Austin, Texas 78702
After July 15th, 2024, all payments are non-refundable for any reason, including, but not limited to illness, acts of God, or travel-related problems. Badges are non-transferable and are the property of Austin Film Festival, Inc. Unused registrations cannot be credited for future year’s attendance. Find more information on our Refund & Policy Page.
Are there any discounts?
Discounts are available to Austin Film Festival members – depending on the level of membership. For more information on membership, visit the Membership page.
How do I buy a ticket to the AFF Awards Luncheon?
The AFF Awards Luncheon presented by Alice Kleberg Reynolds Foundation will be held on Saturday, October 28th, and you can buy tickets by calling 1-800-310-FEST or purchase online with your Badge. Tickets are $70 and only Conference and Producer badge-holders may purchase a ticket. The Awards Luncheon honors the 2024 Awardees, Screenplay Competition winners, and Film Competition winners.
Do I need a certain badge to attend the parties?
Yes. To see what badges get you into what parties, please see the Badge Page.
Does my badge get me into the Film & Food Party the night before the Festival?
No. The Film & Food party is a separate charity event that raises money for our Young Filmmakers Program the night before the Festival at the Driskill Hotel. Badgeholders do receive a discount on the ticket price. For more information, visit the Film & Food information page.
What about Line Etiquette?
All are subject to AFF Refund Policy.
• We sell more than just badges and passes •
Visit the AFF Store for more great items!
Festival Films FAQs
What are the venues?
The Film Festival shows movies at theaters throughout downtown Austin and the surrounding area. Venues typically include the Paramount Theatre, State Theatre, Long Center Rollins Theatre, and The Galaxy Theatre. (Venues are subject to change each year). The Conference panels take place at the Stephen F. Austin Hotel, and St. David’s Church in the heart of downtown Austin.
What kinds of films does AFF screen?
Each year, Austin Film Festival holds film competitions in 8 categories, including: Narrative Feature, Narrative Short, Narrative Student Short, Documentary Feature, Documentary Short, Comedy Vanguard, Dark Matters, and Animated Short.
AFF also presents out-of-competition Marquee Screenings, giving audiences their first opportunity to see films that will grab the spotlight during Oscar© season.
How many films will be shown?
The festival will show over 180 films during the 8 day event.
Has the Festival lineup been released?
We’re working to get our programming information lined up for our Live Festival.
To stay in the loop with all happenings, be sure to subscribe to our newsletter and follow us on Facebook, Instagram and Twitter for the most current updates and announcements.
At what times do the films screen?
For our Live Festival: Opening night typically starts at 7 pm on Thursday. Films are screened all day on Friday, Saturday, and Sunday. Afternoon matinees and evening shows are offered Monday thru Thursday. The full film schedule will be released closer to the Festival.
What are the prizes?
The selection for screening will be announced a month prior to the festival. Filmmakers will be notified regarding the status of their film by late September at the latest.
How do I (as an audience member) vote?
After the screening you will be handed a ballot to cast your vote.
When will the awards be given out?
The awards will be presented during the Austin Film Festival Awards Luncheon. Awards are based on overall merit of the entries. In-competition awards are determined by a distinguished group of jurors, all established within the film industry. All awards will be presented to the writer of the winning films with the exception of the Documentary awards which will be presented to the director.
Travel and Lodging FAQs
Where can I stay?
While there are many great options for places to stay in Austin, Austin Film Festival has several special rates for those attending the Festival. To get the special rate, the room must be booked through Austin Film Festival. Please call 1-800-310-FEST(3378) to book today! For more information and a list of our partner hotels, please visit the Travel & Lodging page.
What is the weather like in Austin?
It’s a common saying here: if you don’t like Texas weather, just wait five minutes. While Austin weather is not so dramatic, it can change from hot to chilly very quickly. In general, Austin sees highs of around 80 degrees Fahrenheit and lows around 60 degrees Fahrenheit in October.
Visit Austin Weather Forecast for more up-to-date info.
Where can I park?
We do not offer a specific area to park; however, there are several options to park downtown. There are parking garages and meters. Parking garages are available all around the downtown area and are only a few dollars to park there. Metered Parking hours are as follows: Monday-Wednesday: 8:00 a.m.-6:00 p.m., Thursday-Friday: 8:00 a.m.-Midnight, Saturdays: 11:00 a.m.-Midnight. The hours listed will apply to all meters between Cesar Chavez and 10th Street, and between IH-35 and Lamar Blvd. Outside of that area, meters will begin operating from 8:00 a.m. until 6:00 p.m. Monday-Saturday. Unless otherwise marked, metered on-street parking has a three-hour time limit.
What kind of transportation is available in Austin?
The Capital Metro Bus System, taxis, and walking are options for transportation downtown. Bus day passes are $2.50 and are good for 24 hours; a one-way fare is $1.25. Plus, the downtown area is very accessible for walking.
For the complete Capital Metro Bus schedule, visit their website.
AFF Competitions
Young Filmmakers Program FAQs
What is the Young Filmmakers Competition?
Showcasing, both local and national student work, our Young Filmmakers Competition is FREE to young filmmakers ages 13-18. At the Young Filmmakers Showcase, selected animated, documentary, and narrative short films from all around the world will play on the big screen in front of a supportive Festival audience.
Selected filmmakers will receive badges to Austin Film Festival and Writers Conference, which are intended for an accredited writer of the film and his/her legal guardian. AFF’s appointed jury will award one film the Young Filmmakers Program Jury Award.
To learn more, click here.
What is Digital Storytelling?
Digital Storytelling, the Program’s signature, in-school initiative, provides English and Language Arts TEKS-aligned curriculum on the arts of screenwriting, narrative podcasting, and film production. Offered at no cost to participating schools, Digital Storytelling encourages students to harvest stories from their own lives, transform those stories into scripts, and experience the challenging, yet rewarding process of turning personal narrative into art. To learn more, click here.
What is the Festival & Conference Scholarship?
Through AFF’s Festival and Writers Conference Scholarship program, the Festival awards nearly 450 Festival badges to local students and educators. The Festival creative team curates student-specific programming aimed at deepening students’ understanding of the entertainment industry and illuminating paths to creative careers.
To learn more, click here.
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21 actors who started as background extras in movies and TV shows
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Actors including Leonardo DiCaprio and Cuba Gooding Jr. got their starts as background extras in movies and TV shows.
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Business Insider
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https://www.businessinsider.com/actors-who-started-as-tv-movie-extras
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This story is available exclusively to Business Insider subscribers. Become an Insider and start reading now. Have an account? .
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In the cult classic "Dazed and Confused," Renee Zellweger appeared as a background character.
The Oscar winner appeared in a couple of scenes throughout the film, including passing by Matthew McConaughey's character as he leans against a wall, pictured.
Before he was Rocky or Rambo, Sylvester Stallone was an extra in Woody Allen's 1971 "Bananas."
Stallone appeared as a mugger, harassing commuters and Allen's character on the subway.
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In the Robert Downey Jr.-led "Less Than Zero" in 1987, Brad Pitt had a blink-and-you'll-miss-him appearance.
Appearing on screen for seconds, Pitt is the party-goer in the left corner. He also appeared in the background of the 1987 movie "No Man's Land" as a waiter.
Before she got marooned on a mysterious island on "Lost," Evangeline Lilly appeared as a high schooler in 2003's "Freddy vs. Jason."
The "Ant-Man" star (wearing a green long-sleeved shirt) appeared frightened as two of the characters discuss killer Freddy Krueger and how he invades people's nightmares.
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Before he became a Hollywood legend, Clint Eastwood worked as an extra on a number of films.
Eastwood appeared as an extra in a number of films in his 20s, including "Francis in the Navy," "Revenge of the Creature," "Lady Godiva of Coventry," and "Tarantula."
Channing Tatum is hidden among the people running in the background of 2005's "War of the Worlds."
Tatum originally had a scene in the film, but it was cut for time. His only remaining screen time is a brief appearance where he runs behind Tom Cruise's character when the aliens attack the church. You can spot him directly to the right of the police officer.
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One of future "Twilight" star Kristen Stewart's earliest roles was in the Disney Channel film "The Thirteenth Year."
Stewart played an annoyed girl (seen at the bottom of the screen) waiting at the back of the line to use the school's water fountain.
In one of his first film appearances, Arnold Schwarzenegger played a henchman 1973's "The Long Goodbye."
Schwarzenegger had no lines in the film, but he showed off the physique that would soon turn him into an action movie star.
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Before he was John McClane, Bruce Willis appeared in the courtroom in the 1981 movie "The Verdict."
To find Willis, you might have to squint, but he's located on the third row on the right side of the screen.
Willem Dafoe appeared in the background of the 1980 box office disaster "Heaven's Gate."
Dafoe had more scenes in the film, but he said he was fired by director Michael Cimino after laughing too hard at a joke on set.
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Though he's known for his athleticism, Jean-Claude Van Damme barely moves in the background of the 1984 film "Breakin'."
Wearing a black tank top, Van Damme played one of the onlookers watching break dancing in the street.
In 1988 "Coming to America," Cuba Gooding Jr. had a haircut.
The future Oscar winner doesn't have any lines but can't help cracking a smile at Eddie Murphy's antics.
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As he would be in many of his future roles, young method actor Daniel Day-Lewis was almost unrecognizable in the 1971 movie "Sunday Bloody Sunday."
Day-Lewis played a boy who scratched the side of a blue car with a broken bottle.
Megan Fox appeared as a club dancer in the 2003 film "Bad Boys II."
Sometimes it pays to be an extra. Fox would reunite with "Bad Boys II" director Michael Bay for his next film, "Transformers," in a starring role.
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A young Matt Damon and Ben Affleck were extras on the 1989 film "Field of Dreams."
The future Oscar winners were among the crowd of people watching a baseball game at Fenway Park, though they're not visible in the film.
Heath Ledger's first role was as a clown in the 1992 film "Clowning Around."
Ledger played the role of Orphan Clown in the film. One of Ledger's final roles before his death in 2008 was as the Joker in "The Dark Knight."
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Martial artists Jackie Chan and Bruce Lee actually met on the set of the 1973 film "Enter The Dragon." It didn't end well for Chan's character.
Chan's character is quickly beaten and dispatched by Lee's in the film. Chan also did extra work on Lee's 1972 film "Fists of Fury."
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A young George Clooney started his career as an extra on the 1978 TV miniseries "Centennial."
The show was filmed in Clooney's hometown of Augusta, Kentucky, giving then-17-year-old Clooney his first taste of stardom.
Screen legend Marilyn Monroe appeared as an extra in the 1948 film "Scudda Hoo! Scudda Hay!"
Do you spot Monroe in this scene? She's wearing the blue dress in the corner and passes by actress June Haver as she's leaving church. She's later seen in the film rowing a canoe.
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Epic FilmsTHE SILENT ERAFROM THE DEPRESSION TO THEPOSTWAR ERATHE NEW HOLLYWOOD ERAFURTHER READING Source for information on Epic Films: Schirmer Encyclopedia of Film dictionary.
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Epic Films
THE SILENT ERA
FROM THE DEPRESSION TO THE
POSTWAR ERA
THE NEW HOLLYWOOD ERA
FURTHER READING
Like "musical," "comedy," "war film," and "Western," "epic" is a term used by Hollywood and its publicists, by reviewers, and by academic writers to identify a particular type of film. It was first used extensively in the 1910s and the 1920s: Variety's review of Ben-Hur (1925) noted that "the word epic has been applied to pictures time and again" (6 January 1926: 38). It was particularly prevalent in the 1950s and 1960s, when epics of all kinds were produced to counter a decline in cinema attendance. And it has been recently revived with films such as Gladiator (2000), Troy (2004), and The Alamo (2004). As a term, "epic" is associated with historical films of all kinds, particularly those dealing with events of national or global import or scale. As a genre it thus encompasses a number of war films and westerns as well as films set in earlier periods. But because of its links with ancient classical literature, it is associated above all with films set in biblical times or the ancient world. However, the term "epic" has also been used to identify—and to sell—films of all types that have used expensive technologies, high production values, and special modes of distribution and exhibition to differentiate themselves from routine productions and from rival forms of contemporary entertainment. There are therefore at least two aspects to epics, two sets of distinguishing characteristics: those associated with historical, biblical, and ancient-world films and those associated with large-scale, high-cost productions.
These aspects have often coincided, as is true not only of films such as The Ten Commandments (1923 and 1956), El Cid (1961), 55 Days at Peking (1963), How the West Was Won (1962), and Troy, but of films with more recent historical settings such as The Big Parade (1925), Exodus (1960), The Longest Day (1962), Schindler's List (1993), and Pearl Harbor (2001). However, the production of large-scale, high-cost comedies, musicals, and dramas such as It's a Mad, Mad, Mad, Mad World (1963), The Sound of Music (1965), and Gone with the Wind (1939)—some of them with historical settings, some without—and the production of more routinely scaled historical and biblical films such as Salome (1953), Hannibal (1960), and, indeed, most war films, Westerns, and swashbucklers tend to make hard-and-fast definitions more difficult. Generalizations can be made about the scale of the films and the events they depict, the prominence of visual and aural spectacle, and a recurrent preoccupation with political, military, divine, or religious power, but, as is often the case with Hollywood's genres, anomalies and exceptions of one kind or another can nearly always be found. It is easier to be more precise about specific periods, cycles, and trends.
THE SILENT ERA
The generic and industrial traditions of the epic film date back to the 1890s, when several Passion plays (plays representing the life of Christ) were filmed and exhibited in unusually lengthy, multi-reel formats. In the period between 1905 and 1914, a number of relatively large-scale, high-cost historical, biblical, and ancient-world films—among them La vie du Christ (1906), The Fall of Troy (1910), La siège de Calais (1911), Quo Vadis? (1913), and Cabiria (1914)—were made in Italy, France, and elsewhere in Europe and helped to establish the multi-reel feature. Multi-reel films of a similar kind were produced in the United States as well. But at a time when production, distribution, and exhibition in the United States were geared to the rapid turnover of programs of single-reel films, films like this were often distributed on a "road show" basis. Road show films were shown at movie theaters as well as alternative local settings such as town halls for as long as they were financially viable.
Many of these films drew on nineteenth-century traditions of historical and religious representation, particularly paintings and engravings, toga plays, Passion plays, pageants, and popular novels such The Last Days of Pompeii and Ben-Hur and their subsequent theatrical adaptations. They also drew on nineteenth- and early twentieth-century preoccupations with Imperial Rome and early Christianity, and on an association between religious and historical representation and nationhood and empire. These traditions and preoccupations were particularly prominent among the middle and upper classes, to whom many of the earliest multi-reel films and features were directed and to whom the aura of respectability associated with religious and historical topics and the legitimate theater was important. Augmented by films such as The Coming of Columbus (1912) and The Birth of a Nation (1915), which dealt with aspects of US history, productions like this helped found a tradition of large-scale, high-cost spectacles, "superspecial" productions that would be road shown not just in legitimate theaters but in the large-scale picture palaces that were being built in increasing numbers in major cities. Ticket prices were high. The films were shown, usually twice a day, at fixed times and with at least one intermission. They were usually accompanied by an orchestra playing a specially commissioned score. Only after a lengthy run in venues like this, a practice essential to the recouping of costs and the making of profits, would superspecials be shown in more ordinary cinemas at regular prices.
The production of road shown superspecials reached a peak in the United States in the 1920s with films like Orphans of the Storm (1922), Robin Hood (1922), The Covered Wagon (1923), The Ten Commandments (1923), The Thief of Bagdad (1924), The Big Parade (1925), The Iron Horse (1924), Ben-Hur (1925), Wings (1927), The King of Kings (1927), and Noah's Ark (1928). Although these films are diverse in setting and type (Robin Hood is a swashbuckler, The Thief of Bagdad an exotic costume adventure film, The Ten Commandments a biblical epic, The Iron Horse a western, and Wings a World War I film), there are aesthetic, structural, and thematic links among them. Like the epics and spectacles of the 1910s, they exhibit what Vivian Sobchack has called "historical eventfulness" (p. 32)—that is to say, they mark themselves and the events they depict as historically significant. In addition, nearly all these films narrate stories that interweave the destinies of individual characters with the destinies of nations, empires, dynasties, religions, political regimes, and ethnic groups. While some focus on powerful characters (generals, pharaohs, princes, and leaders), many focus on more ordinary characters who either become caught up in events over which they have little control (as in The Big Parade, Wings, and Orphans of the Storm) or are unsung agents of significant historical or epochal change (as in The Iron Horse). Robin Hood and The Thief of Bagdad are variants in which, as vehicles for star and producer Douglas Fairbanks (1883–1939), the power of the central character to effect change is, however fancifully, bound up with his physical prowess.
Following the precedent established by Intolerance (1916), the contemporary relevance of the events depicted in The Ten Commandments, The King of Kings, and Noah's Ark is underscored by including story lines and scenes from the present as well as the past. However, it is the story lines and scenes from the past that provide the most obvious occasions for spectacle. Difficult to define, spectacle is clearly not restricted to epics and to spectacle films as such; however, films of this kind played an important role in exploring, organizing, and legitimizing cinema's spectacular appeal and potential, in maintaining the involvement of contemporary audiences in much longer films than they had initially been used to, in mediating between competing contemporary demands for realism and spectacle, narrative and display. This was evident not just in their expansive battle scenes, crowd scenes, and settings, their expensive costumes and sets, or their use of new technologies. Epic films were regularly used to showcase new special effects, new camera techniques, and new color processes such as two-color Technicolor. It was evident, too, in their capacity to encompass incidental details, intimate scenes, and individualized story lines and to make sequences of spectacle such as the exodus from Egypt and the parting of the Red Sea in The Ten Commandments clearly serve dramatic and narrative ends.
FROM THE DEPRESSION TO THE
POSTWAR ERA
With the advent of the Great Depression in 1929, Hollywood companies cut back on expensive productions and road shows. These practices were revived in the early 1930s, establishing a cross-generic trend toward what Tino Balio calls "prestige pictures" (pp. 179–211). However, although many prestige pictures were top-ofthe-range costume films of one kind or another (adaptations of classic literature, biopics, swashbucklers, and the like), very few were made and road shown on the scale of the silent superspecial. Fewer still were biblical films and films with ancient-world settings. Cecil B. DeMille (1881–1959), who had produced and directed The Ten Commandments and The King of Kings in the silent era, produced and directed The Sign of the Cross (1932) and Cleopatra (1934). But along with The Last Days of Pompeii (1935), which was produced by Merian C. Cooper (1893–1973) and directed by Ernest B. Schoedsack (1893–1979), these productions were the only biblical and ancient-world productions made between 1928 and 1949. All three may be interpreted as films that engage the Depression and its moral implications in various ways. Toward the end of the 1930s, David O. Selznick (1902–1965) explicitly appealed to the traditions of the silent road shown superspecial when producing and planning the distribution of Gone with the Wind. He went on to produce Since You Went Away (1944), an epic home-front drama, and Duel in the Sun (1946), an epic western. DeMille, meanwhile, sought to revive the biblical epic by re-releasing The Sign of the
CECIL B. DeMILLE
b. Cecil Blount de Mille, Ashfield, Massachussetts, 12 August 1881, d. 21 January 1959
Cecil Blount DeMille was a major figure in Hollywood from the mid-1910s to the late 1950s. Remembered now mainly as a showman and as the producer/director of a number of biblical epics, he was in fact a versatile innovator who made important films of all kinds throughout his career.
DeMille's parents were involved in the theater. When his father died, he worked as actor and general manager for his mother's theatrical company and also produced and wrote plays with his brother, William. In 1913, he left the theater to work in motion pictures as cofounder of the Jesse L. Lasky Feature Play Company. In 1914, he coproduced, cowrote, and codirected its first film, The Squaw Man, a six-reel adaptation of Edwin Royle's play, which was a success. When the Lasky company became part of Paramount later that year, DeMille supervised its production program. He also wrote, produced, directed, and edited many of its films.
By the mid-1920s, DeMille had been at the forefront of a number of key developments: the use of plays as a template for feature-length films; the production of feature-length westerns; the dramatic use of low-key lighting effects, most notably in The Cheat (1915) and The Heart of Nora Flynn (1916); the production of Jazz Age marital comedies such as Don't Change Your Husband (1919) and Why Change Your Wife? (1920) (both of them written, as many of DeMille's films were, by or with Jeannie Macpherson); and the production of "superspecials" such as The Ten Commandments (1923).
The Ten Commandments, a Paramount film, was the first of DeMille's biblical epics. His second, The King of Kings (1927), was released through Producers Distributing Corporation, a company for whom he began making films in 1925. Following a period with MGM, DeMille returned to Paramount to make The Sign of the Cross in 1932. He remained with Paramount for the remainder of his career, making social problem dramas, westerns, and spectacles like Samson and Delilah (1949), The Greatest Show on Earth (1952), and the 1956 remake of The Ten Commandments. From 1936 to 1945, he also hosted and directed adaptations of Hollywood films and Broadway plays for Lux Radio Theater.
DeMille's films are usually said to be marked by a formula in which seductive presentations of sin are countered by verbal appeals to a Christian ethic inherent in scenes of redemption and in the providential outcome of events. However, it is worth stressing the extent to which, as the actions of characters like Moses, Samson, and John Trimble (in The Whispering Chorus) all illustrate, acts of virtue as well of sin in these films entail unusually perverse or destructive behavior.
RECOMMENDED VIEWING
The Cheat (1915), The Whispering Chorus (1918), Why Change Your Wife? (1922), The Ten Commandments (1923 and 1956), This Day and Age (1933), Union Pacific (1939)
FURTHER READING
Birchard, Robert S. Cecil B. DeMille's Hollywood. Lexington: University of Kentucky Press, 2004.
DeMille, Cecil B. The Autobiography of Cecil B. DeMille. Englewood Cliffs, NJ: Prentice-Hall, 1959.
Higashi, Sumiko. Cecil B. DeMille and American Culture: The Silent Era. Berkeley: University of California Press, 1994.
Steve Neale
Cross in 1944 and producing and directing Samson and Delilah in 1949.
By 1949, Hollywood was undergoing a long-term process of change. Audiences, ticket sales, and profits were in decline; the ownership of theater chains by major studios was declared illegal; competition from television, domestic leisure pursuits, and other forms of entertainment were on the rise; and at a time when income from overseas markets was more important to Hollywood companies, a number of European countries were taking steps to protect their domestic economies, to stimulate domestic film production, and hence to limit the earnings Hollywood companies could take out of these countries each year. At the same time, the Cold War, nationalist and anti-imperial struggles, the superpower status of the United States, the marked increase in church-going, and the prevalence of religious discourse in the US itself provided a set of contexts and reference points for many of the films, in particular the big-budget road shown epics Hollywood was to produce, co-fund, or distribute during the course of the next two decades.
The postwar growth in epic production was the result of a decision to spend more money on enhancing the cinema's capacity for spectacle through the use of stereophonic sound and new widescreen, large-screen, and large-gauge technologies and on an increasing number of what were beginning to be called "blockbuster" productions—productions that, in road show form in particular, could be used to justify higher prices and generate high profits in a shrinking market. MGM led the way in road showing remakes of silent spectacles and in using income held abroad to fund the use of overseas facilities, locations, and production personnel with Quo Vadis in 1951. Two years later, Twentieth Century Fox pioneered the use of CinemaScope and stereophonic sound with its adaptation of Lloyd C. Douglas's bestselling novel The Robe. In 1956, DeMille released a four-hour remake of The Ten Commandments, which used Paramount's new VistaVision process, was shot in Egypt, Sinai, and Hollywood, and cost over $13 million. The film made more than $30 million on its initial release in the US and Canada alone. The following year, Columbia released The Bridge on the River Kwai, one of the first in a series of road shown epic war films. And in 1960, the road show release of Cimarron and The Alamo, the latter filmed in Todd-AO, helped cement a trend toward epic Westerns.
The Bridge on the River Kwai was produced by Sam Spiegel (1901–1985), an internationally based independent producer. Along with Lawrence of Arabia (1962), it was one of a series of epics he made with British director David Lean (1908–1991). The Bridge on the River Kwai was filmed in Ceylon using a mix of British, American, Japanese, and Ceylonese actors, stars, and production personnel. Ceylon was a British colony, and The Bridge on the River Kwai was registered as a British film in order to take advantage of British subsidies. Although credited to the French writer Pierre Boulle (who wrote the novel on which it was based), its script actually was written by Carl Foreman and extensively revised by Michael Wilson, both of them blacklisted US Communists.
The national identity of a film like The Bridgeon the River Kwai is thus hard to pin down. This was an era of increasing independent production, in which funding for films was increasingly obtained on a one-off basis from a variety of international sources and international settings, locations, and casts were becoming the norm for big-budget productions. Blacklisted writers, whether officially credited or not, were hired to write or co-write scripts for epic productions such as Exodus, Spartacus (1960), El Cid, The Guns of Navarone (1961), Lawrence of Arabia, Sodom and Gomorrah (1962), 55 Days at Peking, and The Fall of the Roman Empire (1964), and cut-price Italian "peplums" (toga films) such as Hercules (1958) and Hercules Unchained(1959) proved popular at the box office in the US as well as in Europe.
Hence the ideological characteristics of postwar epics are difficult to categorize. While the prologue to The Ten Commandments explicitly declares its anti-Communist agenda, Quo Vadis, The Robe, Spartacus, and The Fall of the Roman Empire are anti-fascist. Most of the remainder, even some of the westerns, are hostile to imperialism and to the brutal, cynical, and dictatorial exercise of political and military power. But they are often compromised by their focus on white ethnic characters. And their displays of male heroism, sometimes in stark contradiction to an apparent concern with the ethics of war, add a further layer of ideological complication. Only in films like The Egyptian (1954), King of Kings (1961), and The Greatest Story Ever Told (1965) are male heroism, male ambition, and the options of political and military engagement explicitly qualified, eschewed, or rejected.
THE NEW HOLLYWOOD ERA
Although epic war films and big-budget musicals continued to be made in the 1970s and early 1980s, the road shown superspecial and the prestige epic were increasingly displaced by what has come to be known as the New Hollywood blockbuster. As exemplified by Jaws (1975), Star Wars (1977), Superman (1978), and Raiders of the Lost Ark (1981), New Hollywood block-busters drew their inspiration from the B film, the serial, comic books, and action-adventure pulps rather than from the culturally prestigious traditions of the Hollywood epic. Wide-released rather than road shown, they were designed to appeal to teenagers and families with young children and to garner profits as rapidly as possible. However, productions in the prestige epic tradition such as Dances with Wolves (1990), The English Patient (1996), and Schindler's List were still occasionally made. Some of them received a relatively exclusive "platform" release. And the New Hollywood blockbuster, like the old Hollywood epic, functioned as a special vehicle for spectacle, large-scale stories and new technologies. Indeed, the advent of CGI (computer-generated imagery) seems to have been a major factor in the recent revival of the epic not just in its traditional forms, as exemplified by Gladiator, Troy, King Arthur (2004), and Alexander, but in the guise of the Lord of the Rings trilogy as well. In all these films the themes of heroism, justice and the uses and abuses of power, representational prowess, large-scale spectacle, and large-scale stories and settings remain among the epic's principal ingredients.
SEE ALSO Action and Adventure Films;Genre;Historical Films;Religion
FURTHER READING
Babington, Bruce, and Peter William Evans. Biblical Epics: Sacred Narrative in the Hollywood Cinema. Manchester: Manchester University Press, 1993.
Balio, Tino. Grand Design: Hollywood as a Modern Business Enterprise, 1930–1939. New York: Scribner, 1993.
Bowser, Eileen. The Transformation of Cinema: 1907–1915. New York: Scribner, 1990.
Cohan, Steve, and Ina Rae Hark, eds. Screening the Male: Exploring Masculinities in Hollywood Cinema. London: Routledge, 1993.
Elley, Derek. The Epic Film: Myth and History. London: Routledge and Kegan Paul, 1984.
Forshey, Gerald E. American Religious and Biblical Spectaculars. London: Praeger, 1992.
Hall, Sheldon. "Tall Revenue Features: The Genealogy of the Modern Blockbuster." In Genre and Contemporary Hollywood, edited by Steve Neale, 11–26. London: British Film Institute, 2002.
King, Geoff. Spectacular Narratives: Hollywood in the Age of the Blockbuster. London: I. B. Tauris, 2000.
Sobchack, Vivian. "'Surge and Splendor': A Phenomenology of the Hollywood Epic." Representations 29 (Winter 1990): 24–49. Reprinted in Film Genre Reader III, edited by Brian Keith Grant, 296–323. Austin: University of Texas Press, 2003.
Wyke, Maria. Projecting the Past: Ancient Rome, Cinema, and History. New York: Routledge, 1997.
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Paramount+ is officially live: The genre movies and shows you can watch today (and in the future)
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2021-03-04T17:43:26+00:00
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Paramount+ has arrived, and we're breaking down all the big genre hits you can watch right now.
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SYFY Official Site
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https://www.syfy.com/syfy-wire/paramount-plus-genre-movies-shows-launch-day
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Today marks the launch of Paramount+, the latest major player in the streaming wars conceived by ViacomCBS as a one-stop show for its vast library of films, shows, news, live sports, and more. An adaptation and expansion of CBS All Access, the streaming service arrives with all the programming you came to expect from the old platform, along with an expanded content library featuring thousands of hours of film and television and a robust slate of existing and upcoming original programming.
So, what can you watch on the service now that it's officially Paramount+, and what can you expect in the weeks and months to come? We're here to break it all down.
Highlights
New Launch Day titles: At the moment, while it's certainly not going to be the case for long, it's best to look at Paramount+ as an expansion of CBS All Access with a bigger library and wider variety of movies and shows. Plenty of additional original programming is coming, but in terms of brand-new shows to stream at launch, the biggest genre offerings are the long-awaited Spongebob Squarepants: Sponge on the Run feature film finally making its U.S. debut, and the Spongebob prequel series Kamp Koral. So, that's very good news for fans of all things Bikini Bottom.
Upcoming Originals: Though Paramount+ isn't launching with a vast offering of new original programming, that's going to change very soon. In addition to a massive library of content offered at launch, the streamer announced last month that it's working on a wide variety of upcoming new genre projects.
The Star Trek universe of shows will continue with two new series — the live-action Strange New Worlds and the animated Prodigy — while the long-awaited Halo series is also set to debut on the service, as is a new origin story based in the world of Stephen King's Pet Sematary, a new installment in the Paranormal Activity franchise, and more. Plus, if you're a fan of Avatar: The Last Airbender, you're in luck: Nickelodeon announced last month that it's founded an entire division within in its animation studio just to produce new Avatar stories that'll eventually find a home on Paramount+.
Big Movies: The Paramount+ library of movies is already vast, but the streamer announced last month that we can expect it to expand in the coming months. Thanks to its association with Paramount Pictures, the streamer will get several major upcoming blockbusters, including Mission: Impossible 7 and A Quiet Place Part II, after a short theatrical window of just 30-45 days. Plus, the streamer has partnered with EPIX to begin offering films from various studios, including the James Bond franchise and The Addams Family films, on the service in "late spring," and will continue that partnership to include streaming of upcoming films (including No Time to Die) after their "exclusive pay television window" on EPIX has inspired. So, with a little patience, this service will be packed with big movies over the course of the next year.
What's streaming right now?
So, now that we've covered the overview, let's take a look at the sci-fi, fantasy, and horror programming you can watch on Paramount+ today.
Movies
A.I.: Artificial Intelligence
The Adventures of Tintin
Aeon Flux
Area 51
Avalon (2001)
Below
Beowulf
The Boy Who Cried Werewolf
Charlie's Angels: Full Throttle
Console Wars
Down to Earth
Dragonslayer
eXistenZ
The Faculty
Fairytale: A True Story
From Dusk Till Dawn
Ghost Town
The Gift
Halloween: Resurrection
Halloween H20: 20 Years Later
The Hole
Imagine That
Indiana Jones: Raiders of the Lost Ark
Indiana Jones and the Temple of Doom
Indiana Jones and the Last Crusade
Indiana Jones and the Kingdom of the Crystal Skull
Invasion of the Body Snatchers (1956)
Kate & Leopold
Lemony Snicket's a Series of Unfortunate Events
Liar, Liar, Vampire
Mimic
Minority Report
Mission: Impossible
Mission: Impossible 2
Mission: Impossible 3
My Bloody Valentine
Neverwas
Next
The Nutty Professor (1963)
Pet Sematary
Pet Sematary Two
The Phantom
Pinnochio (2002)
Prophecy
The Ring
The Ruins
Sin City
The Skull
Small Soldiers
The Spongebob Movie: Sponge on the Run
Star Trek IV: The Voyage Home
Star Trek: Generations
Star Trek: First Contact
Star Trek: Nemesis
Tales from the Darkside: The Movie
The Time Machine
The Traveler
The Uninvited
Vanilla Sky
Virtuosity
War of the Worlds (1953)
Wes Craven Presents: Dracula 2000
The Wild Thornberrys Movie
Young Sherlock Holmes
TV Shows
Aaahh!!! Real Monsters
The Adventures of Jimmy Neutron: Boy Genius
The Adventures of Kid Danger
The Adventures of Paddington Bear
The Adventures of Sonic the Hedgehog
The Adventures of Super Mario Bros. 3
Aeon Flux
The Angry Beavers
Archie's Weird Mysteries
Are You Afraid of the Dark? (Original and revival)
Avatar: The Last Airbender
Beauty and the Beast
CatDog
Celebrity Deathmatch
Clone High
Cloudy with a Chance of Meatballs
Danger Mouse
Danny Phantom
Doug
Drawn Together
Every Witch Way
Evil
Extant
The Fairly Oddparents
Fanboy & Chum Chum
George of the Jungle
Henry Danger
House of Anubis
Inspector Gadget
Invader Zim
Jericho
Kamp Koral
Knight Squad
Kung Fu Panda: Legends of Awesomeness
The Legend of Korra
Monsters vs. Aliens
My Life as a Teenage Robot
Nella the Princess Knight
The New Archies
The Other Kingdom
Paw Patrol
The Penguins of Madagascar
Planet Sheen
Ren and Stimpy
Ricky Zoom
Robot and Monster
Rocko's Modern Life
Rugrats
Sanjay and Craig
Shimmer and Shine
Sonic the Hedgehog
Sonic Underground
Spongebob Squarepants
The Stand
Star Trek: The Original Series
Star Trek: The Animated Series
Star Trek: The Next Generation
Star Trek: Deep Space Nine
Star Trek: Voyager
Star Trek: Enterprise
Star Trek: Discovery
Star Trek: Short Treks
Star Trek: Picard
Star Trek: Lower Decks
Super Mario World
T.U.F.F. Puppy
Teenage Mutant Ninja Turtles (2014)
Tell Me a Story
The Thundermans
The Troop
The Twilight Zone (original and revival)
Twin Peaks
Under the Dome
Where on Earth is Carmen Sandiego?
WITS Academy
The Wild Thornberrys
Wonder Showzen
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The 20 Best Movies on Paramount+ Right Now (August 2024)
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2024-08-01T13:54:00+00:00
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From martial arts films to classics like The Man Who Shot Liberty Valance, here are Paste's picks for the 20 best movies on Paramount+.
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Paste Magazine
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https://www.pastemagazine.com/movies/paramount-plus/best-movies-on-paramount
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Paramount+, the streaming service that is to ViacomCBS what HBO Max is to WarnerMedia, is finally here. The company (and the studio that streamer takes its name from) is stuffing its library online. CBS All Access, which it is replacing, is dead. Yes, it’s another streamer and yes, it’s another streamer with a + at the end of its name. But hear us out: Paramount might be the new kid on the block, but the best movies on Paramount+ are a heck of a deal. Either $9.99 a month for the ad-free tier or $4.99 for ads gets you “2,500 movie titles,” and that’s not even mentioning the slew of TV shows that’re coming along for the ride. You can also slap Showtime on for some extra oomph if you want!
Between the Comedy Central Roasts, stand-up specials and seemingly endless documentaries, it can be hard to sift through. Never fear, though, because we’re here to sort through it all and find the cream of the crop—updating every month. The plethora of dramatic classics, martial arts movies, Star Trek entries and forgotten favorites make Paramount+ worth checking out—especially considering its relatively low price point.
Here are the 20 best movies available to stream on Paramount+ right now:
1. Jackass Forever
Year: 2022
Director: Jeff Tremaine
Stars: Johnny Knoxville, Steve-O, Chris Pontius, Danger Ehren, Wee Man, Preston Lacy, Zach Holmes, Jasper Dolphin, Rachel Wolfson, Sean McInerney
Rating: R
Genre: 96 minutes
On paper, Jackass Forever operates in perfect sync with every other long-gap nostalgia sequel/revival being used to prop up various streaming services or the tenuous theatrical experience. It arrives 11 years and change after a second sequel to a movie based on (and very similar to) a TV series, brings back as much of its core cast as possible for more of the same and, in some cases, even circles back to revisit certain sequences from previous installments. Just like past versions, Jackass Forever opens with a more staged action sequence that seems designed to blow remaining budget money on a larger-scale expression of the project’s grody whimsy. It’s Jackass, again, again. Two factors help Jackass Forever mitigate this on-trend sameness, and then transcend it. One is the durability of Jackass itself, which—in case it has somehow escaped you—consists of ringleader Johnny Knoxville and assorted skater-adjacent goofballs performing a variety of stunts and pranks that blur the line between primitive sketch comedy and sophisticated geek show. The second factor also has to do with that longevity. Let any movie or TV series run long enough, and it will become at least in part about its own age, and while Jackass doesn’t get too cutely sentimental about how long these guys have been in each other’s lives and ours, it is unavoidably aware of that fact. In some sequences, Knoxville’s hair is a distinguished mussed gray; more than once, Steve-O brandishes and/or retrieves his false front tooth (“They’re dropping like flies,” he grins semi-ruefully). In an early sequence, Knoxville jokes about the camera needing to avoid capturing his bald spot. Spike Jonze, a longtime cohort who only occasionally makes on-camera appearances, rushes on with some spray paint to cover it up. These guys are well into their forties, and they’re still surprising each other with taser zaps, engaging in everyone-loses slapstick competitions and using each other to prop up bike ramps. This is, as the saying goes, a feature, not a bug. That affability goes a long way: More casual viewers’ mileage may vary on which stunts are laugh-out-loud funny and which are abjectly horrifying, and the rickety carnival rollercoaster ride works better when the other passengers—whether fellow audience members or the on-camera talent—are screaming and laughing along in equal measure. Knoxville himself feels more like a host than ever, jumping into the fray for select bits, including a hell of a curtain call for his closer. He’s been good in fiction films, but he never feels as comfortable onscreen as when he’s presiding over this particular brand of mayhem. He emcees every Jackass movie like he may never get the chance to do it again—an unspoken threat that looms larger than ever over this one. After all, it may not be physically feasible to keep this series going as a Richard Linklater or 7 Up-style chronicle of slapstick performance art. Then again, Forever is right there in the title.—Jesse Hassenger
2. To Catch a Thief
Year: 1955
Director: Alfred Hitchcock
Stars: Cary Grant, Grace Kelly, John Williams
Rating: PG
Genre: Drama, Romance
But really—he didn’t do it. Cary Grant plays John Robie, a retired jewel thief who’s enjoying his golden years tending vines on the French Riviera. Just when the Grenache is hitting the perfect Brix level, a series of copycat heists put Robie back in the thiefly limelight. Seeking to clear things up, he compiles a list of locals who are known to have heistable jewels, and being a smart and wily guy, he starts tailing a very, very pretty one (Francie, played by Grace Kelly). Budding romance can be an accidental side-effect of these things, but when Francie’s ice does go missing, she suspects John and it sours their relationship, as one might expect. John goes on the proverbial lam to get to the bottom of it. Talk about jewels! Nothing ever sparkled quite like Cary Grant and Grace Kelly onscreen together, especially with the legendary Edith Head on costume design—and their peerless charisma is in amazing hands here. The film itself is a bauble, unapologetically so: light and frothy and absolutely not Rear Window (none of which is an indictment). Sometimes it’s enough for something to simply be charming and beautiful. This film proves it. —Amy Glynn
3. Minority Report
Year: 2002
Director: Steven Spielberg
Stars: Tom Cruise, Samantha Morton, Colin Farrell, Max von Sydow
Rating: PG-13
Genre: Sci-Fi
The more we become connected, the more any sense of personal privacy completely evaporates. So goes Steven Spielberg’s vision for our near future, couched in the signifiers of a neo-noir, mostly because the veil of safety and security has been—today, in 2002 and for decades to come—irrevocably ripped from our eyes. What we see (and everything we don’t) becomes the stuff of life and death in this shadowed thriller based on a Philip K. Dick story, about a pre-crime cop John Anderton (Tom Cruise) whose loyalty and dedication to his job can’t save him from meaner bureaucratic forces. Screenwriters Scott Frank and Jon Cohen’s plot clicks faultlessly into place, buoyed by breathtaking action setpieces—metallic tracking spiders ticking and swarming across a decrepit apartment floor to find Anderton, the man submerged in an ice-cold bathtub with his eyes recently switched out via black market surgery, immediately lurches to mind—but most impressive is Spielberg’s sophistication, unafraid of the bleak tidings his film prophecies even as it feigns a storybook ending. —Dom Sinacola
4. Clueless
Year: 1995
Director: Amy Heckerling
Stars: Alicia Silverstone, Stacey Dash, Brittany Murphy, Paul Rudd
Rating: PG-13
Genre: Comedy
The Beverly Hills reboot of Jane Austen’s classic Emma was a sleeper-smash in 1995—and much more importantly, gave the phrase “As if!” to pop culture. Alicia Silverstone is Cher, a pretty, vain, superficial LA teen who goes on a mission to turn ugly-ducking classmate Tai (Brittany Murphy) into a Superswan, only to find herself eclipsed and adrift. A soft-edged satire of nouveau-riche Angeleno culture and simultaneously of the teen rom-com genre, Clueless is neither the most subtle nor the most hard-hitting film of its era, but it’s surprisingly seductive, in large part thanks to Amy Heckerling’s scrupulously researched script, which captured a dialogue style that both represented and influenced teen-speak of the time. —Amy Glynn
5. Titanic
Year: 1997
Director: James Cameron
Stars: Leonardo DiCaprio, Kate Winslet, Billy Zane, Kathy Bates, Frances Fisher
Rating: PG-13
Almost 20 years after its theatrical debut, James Cameron’s blockbuster epic is still so ubiquitous in the pop culture zeitgeist, its filmmaking marvels are drowned out by young Kate-and-Leo nostalgia and that damned Celine Dion caterwaul (not to mention the now late James Horner’s iconic score). Cameron’s ear for dialogue may be woefully leaden, but he’s a shrewd storyteller, plunking a Romeo-and-Juliet redux aboard the doomed ocean liner and flanking the fictional romance with historical details, groundbreaking special effects and jaw-dropping visuals. The narrative lapses are at times dumbfounding-let’s face it, old Rose, who tosses a priceless artifact into the abyss after waxing ad nauseam about herself, is a thoughtless jerk—and the aforementioned dialogue is awful (to say nothing of Billy Zane doing his best mustache-twirling silent movie villain) but Titanic remains a painstaking testament to the all-in Hollywood spectacle.—Amanda Schurr
6. Interstellar
Year: 2014
Director: Christopher Nolan
Stars: Matthew McConaughey, Anne Hathaway, Jessica Chastain, Bill Irwin, Ellen Burstyn, Matt Damon, Michael Caine
Rating: PG-13
Genre: Sci-Fi
Whether he’s making superhero movies or blockbuster puzzle boxes, Christopher Nolan doesn’t usually bandy with emotion. But Interstellar is a nearly three-hour ode to the interconnecting power of love. It’s also his personal attempt at doing in 2014 what Stanley Kubrick did in 1968 with 2001: A Space Odyssey, less of an ode or homage than a challenge to Kubrick’s highly polarizing contribution to cinematic canon. Interstellar wants to uplift us with its visceral strengths, weaving a myth about the great American spirit of invention gone dormant. It’s an ambitious paean to ambition itself. The film begins in a not-too-distant future, where drought, blight and dust storms have battered the world down into a regressively agrarian society. Textbooks cite the Apollo missions as hoaxes, and children are groomed to be farmers rather than engineers. This is a world where hope is dead, where spaceships sit on shelves collecting dust, and which former NASA pilot Cooper (Matthew McConaughey) bristles against. He’s long resigned to his fate but still despondent over mankind’s failure to think beyond its galactic borders. But then Cooper falls in with a troop of underground NASA scientists, led by Professor Brand (Michael Caine), who plan on sending a small team through a wormhole to explore three potentially habitable planets and ostensibly secure the human race’s continued survival. But the film succeeds more as a visual tour of the cosmos than as an actual story. The rah-rah optimism of the film’s pro-NASA stance is stirring, and on some level that tribute to human endeavor keeps the entire yarn afloat. But no amount of scientific positivism can offset the weight of poetic repetition and platitudes about love. —Andy Crump
7. The Wolf of Wall Street
Year: 2013
Director: Martin Scorsese
Stars: Leonardo DiCaprio, Jonah Hill, Margot Robbie, Matthew McConaughey, Kyle Chandler, Rob Reiner, Jon Favreau, Jean Dujardin
Rating: R
Genre: Comedy
The decade’s been both kind and not so kind to good ol’ Marty, ten years of bad takes questioning his credentials for directing Silence, for denying Marvel movies the honorific of “cinema,” for forcing audiences to showers en masse following screenings of The Wolf of Wall Street. And yet it’s impossible to keep him down; he’s immune to controversy and he thrives on lively debate, which is why, at 70 years old, his chronicle of the life, times and crimes of Jordan Belfort (Leonardo DiCaprio)—a stock broker and inveterate fraudster who bilked over 1,000 schlemiels, suckers and saps out of billions (and got off easy)—feels like something an artist half his age directed. The Wolf of Wall Street is a pissed off film. It’s also a horny, pervy, brutal, an impeccably made and fundamentally hideous film. At every passing image, Scorsese’s white-hot rage burns around the edges of the frame. The director has his own beefs and conflicts with his Christian faith, but here his presence is felt as a furious deity sitting in judgment on the fun Belfort has screwing over his clients, two-timing his first wife, jerking around his second wife and doing more blow in three hours than Scorsese himself did in the 1970s and ’80s. The easy knock to make against this movie is that it endorses the finance bro culture it navigates over the course of its running time, because at no point does Scorsese impose manufactured morality on what happens in front of us; instead he plays the hits as Belfort wrote them, showing the audience exactly what Belfort did while running his company, Stratton Oakmont, and while running around on his spouses. That the film ultimately ends with Belfort out on the prowl again is the ultimate indictment: Being rich allowed this man to get away with financial murder, because being rich, in the end, makes everything better. “Being rich makes everything better,” for some, is the movie’s embraced philosophy, but The Wolf of Wall Street doesn’t appreciate displays of wealth unhinged. It reviles them. Scorsese puts energy into the film, a spring in its every greedy step; one could call such debauchery without consequences a “good time.” But The Wolf of Wall Street doesn’t care about that kind of time as much as it cares about hanging Belfort out to dry. —Andy Crump
8. The SpongeBob Movie: Sponge on the Run
Year: 2021
Director: Tim Hill
Stars: Tom Kenny, Awkwafina, Matt Berry, Snoop Dogg, Bill Fagerbakke, Clancy Brown, Tiffany Haddish, Carolyn Lawrence, Mr. Lawrence, Keanu Reeves, Danny Trejo, Reggie Watts
Rating: PG
Genre: Animation, Comedy
There are many reasons why SpongeBob SquarePants has endured more than two decades of steadfast love and pop culture relevance. Part of it is the enduring positivity and ridiculousness of SpongeBob (Tom Kenny), Patrick (Bill Fagerbakke) and the entire populace of their world. The characters are self-referential, consistent to their defining traits and the writers have always created a duality of experience: Silliness for kids and a sly ascendance of wit that appeals directly to the older viewers. The mode in which the funny is served needs to have all of that present to work. Director/writer Tim Hill (who also wrote 2004’s original The SpongeBob SquarePants Movie) understands that in this first, all-3D presentation. Hill and his team of artists—including Mikros Image, which is responsible for the CGI animation—play it smart by introducing a subtle transition for the view in the opening of Sponge on the Run. Gorgeous, photorealistic CGI of the underwater world transitions to the familiar color palette and stylized look of Hillenburg’s corner of the ocean, just with more presence and tactile flourishes. From Gary’s snail slime coming across as tangible goop to scratches in Sandy Cheeks’ breathing dome, the movie doesn’t aim to overwhelm audiences with overt tech bells and whistles. Instead, it presents the characters and world as an opportunity to experience the familiar in a new light, like appreciating the miniscule scale of a 3D-generated Plankton in comparison to his explosive rage—which makes him all the more hilarious. As another evolution in the ongoing SpongeBob universe, The SpongeBob Movie: Sponge on the Run is a graceful and well-executed dip of the yellow toe into 3D waters. There’s overall respect for the characters and tone, and artistic merit to how they integrate the medium into the show’s standards for presenting the surreal and strange. Does it push the sponge forward? Probably not, and that’s ok. There’s something timeless about Bikini Bottom remaining as it is, with spin-offs and new series serving as the appropriate playgrounds for new outlets of storytelling. Sponge on the Run lovingly splits the difference, but doesn’t take anything away from what many know and love.—Tara Bennett
9. Bumblebee
Year: 2018
Director: Travis Knight
Stars: Hailee Steinfeld, John Cena, Jorge Lendeborg Jr., John Ortiz, Jason Drucker, Pamela Adlon, Dylan O’Brien, Angela Bassett, Justin Theroux, Peter Cullen
Rating: PG-13
Genre: Action, Sci-Fi
Paramount actually made a Transformers movie that’s a lovely, exciting and wholly engaging gem of a sci-fi adventure for teenagers. I guess it’s time for me to finally go into my dream business of exporting the newly formed ice from hell using my army of flying pigs. Bumblebee is an ’80s set spin-off/prequel to Michael Bay’s migraine-inducing, often infuriating, and always head-slappingly stupid five Transformers flicks. It wisely scales down Bay’s love of random mayhem in favor of a fairly respectful and inventive throwback to those Spielbergian family sci-fi/adventure movies about the friendship between a nerdy, lonely teenager (Hailee Steinfeld) and a friendly and protective alien/robot/magical being. Their bond teaches the teenager to come out of her shell and face her fears. Of course since we also need an action-heavy third act, the big bad military that’s unfairly threatened by the creature goes after it, forcing the teenager and the creature to defend each other against all odds, learning lessons about the importance of love in the process. Sure, Bumblebee doesn’t really bring much that’s especially new or daring to that formula, but at least all the ingredients really work. It’s hard enough to have a fully CG character as your co-star, and it’s even tougher when an actor is tasked with creating a deep emotional connection with something she can’t even see during production. Steinfeld is up to the challenge, making us believe in Bumblebee’s existence almost as much as the animators who worked on bringing him to life. Just like death and taxes, it’s a certainty of life that we will get a new Transformers in theaters once every few years. If they’re more like Bumblebee going forward, the thought of that doesn’t depress me nowhere near as it used to. —Oktay Ege Kozak
10. Star Trek Into Darkness
Year: 2013
Director: J.J. Abrams
Stars: Chris Pine, Benedict Cumberbatch, Zachary Quinto, John Cho, Alice Eve
Rating: PG-13
Genre: Sci-Fi
After a well-received re-whatever the Kelvin universe is, Star Trek Into Darkness might seem a ready-made blockbuster and classic, but though it did count as the former, it’s tough to ascribe to it the latter. Too often, director J. J. Abrams relies on awkward dialogue that doubles as director subtitles for character arcs and plot developments. (A second insertion/reminder of what will be the deus ex machina for one of those developments is particularly ill-executed.) And, though laden with enough plot points to serve as a potent meditation on the dangers of losing one’s way in the name of countering the threat posed by an Other, Star Trek Into Darkness doesn’t so much wrestle with such issues as give them a swat on the butt in passing. Granted, that’s not necessarily inconsistent with Roddenberry’s universe, where humanity’s better angels rule in the end (alternate timeline or no). For all the photon torpedoes, warp drives and matter transmitters, that optimism regarding human nature may be the most fantastical element of all. —Michael Burgin
11. Sonic the Hedgehog 2
Release Date: April 8, 2022
Director: Jeff Fowler
Stars: James Marsden, Ben Schwartz, Tika Sumpter, Natasha Rothwell, Adam Pally, Shemar Moore, Colleen O’Shaughnessey, Lee Majdoub, Idris Elba, Jim Carrey
Rating: PG
Genre: Comedy, Action
Director Jeff Fowler’s Sonic the Hedgehog 2 dashes forward as a sequel that pleases as any continuation should. Momentum carries over, fan-favorite characters enter the fray and the filmic universe’s presence embiggens. The first Sonic the Hedgehog is an adorable buddy comedy about an alien blur and his Donut Lord protector. Sonic the Hedgehog 2 feels more akin to Sonic’s videogame adventures by teaming with Tails, facing Knuckles and hunting the Master Emerald. It’s a comforting videogame adaptation: Heartwarming childhood lessons will delight all ages as Sonic leaves his origin blueprints behind to become the next-stage hero once projected from black plastic Sega cartridges. Eat your heart out, Mario. Jim Carrey continues his domination as the mustache-twirling villain Dr. Robotnik who flosses, giving another masterclass in physical comedy and conveying more range through his facial acting than entire comedy troupes. Carrey is an unstoppable force drawing from his glorious ‘90s catalog, especially when the action kicks into gear and his gesticulating goofiness translates to a Pacific Rim situation. There’s no shock on my face as I type these words: It’s so fulfilling to see Carrey play this kind of off-the-wall lunatic again. All this would be nothing without clean animation, and Sonic the Hedgehog 2 picturesquely impresses. Kudos to the collaborative efforts of Marza Animation Planet, Moving Picture Company and DNEG—the blending of live-action and computerized creatures is essentially immaculate. The quills and furs in blazing reds, the deepest blues and warm yellows are vividly detailed, and destruction that spans Green Hills to Hawaii could rival most blockbuster disaster flicks. Fans of Sonic the Hedgehog are in good hands with Sonic the Hedgehog 2. Fowler quietly sets the most recent bar for videogame adaptations by building a cinematic universe that speaks eloquently of childhood experiences through Sonic’s adrenaline-junkie antics. The addition of Tails and Knuckles is a dynamic level-up that will have fans craving more, not to mention the pop in my theater during the film’s mid-credits scene. Sonic the Hedgehog 2 might momentarily lose itself to for-the-kids wackiness, which certainly leaves some plotlines frayed, but the reasons we’re here—Knuckles, Tails, Sonic, more Eggman—are all enthusiastically respected. I’m a happy Sonic fan after Fowler’s high-speed sequel.—Matt Donato
12. The Lost City
Release Date: April 1, 2022
Director: Adam Nee, Aaron Nee
Stars: Sandra Bullock, Channing Tatum, Daniel Radcliffe, Da’Vine Joy Randolph, Oscar Nuñez, Patti Harrison, Bowen Yang
Rating: PG-13
Genre: Comedy
After the death of her husband, the last thing smartypants archaeologist-turned-paperback-romance-author Loretta Sage (Sandra Bullock) wants to do is leave her house, let alone go on a book tour at the behest of her caring but pushy publisher/publicist Beth (Da’Vine Joy Randolph) and painfully millennial social media manager Allison (Patti Harrison, a star). Being a trouper, Loretta suits up into her uncomfortable glittery purple jumpsuit (it’s on loan) and begrudgingly puts on a fake smile onstage next to Alan (Channing Tatum), the well-meaning but dimwitted (and yes, hot) himbo cover model who portrays the hunky leading man of Loretta’s books, Dash McMahon. While the explosive, action-packed sequences are a lot of fun, and an essential element of the adventure genre, what sets The Lost City apart from recent, more tired blockbuster adventure/comedy fare (looking at you, Uncharted) is the humorously human moments that lead to a genuine connection between Loretta, Alan and the audience. Instead of falling back on the kind of semi-ironic “so, that happened” style of fourth-wall-breaking writing, directors and co-writers Adam and Aaron Nee take familiar adventure/rom-com cornerstones and repurpose them to find previously undiscovered gems through these personal moments. They are certainly aware of the tropes being toyed with here—dumb guy/smart lady romance, the frame story of Loretta’s novels, the treasure-hunting villain—but they approach these tropes with a freshness that gets the audience invested in its characters. The Lost City might follow conventional genre beats, but an expert cast with a stellar sense of humor and fresh writing leads to lots of laughs and a romantic adventure that turns out to be a diamond in the rough.—Katarina Docalovich
13. Serpico
Year: 1973
Director: Sidney Lumet
Stars: Al Pacino, John Randolph, Tony Roberts
Rating: R
Genre: Drama
You could have a great debate about who had the best acting decade between Al Pacino, Jack Nicholson, Gene Hackman, Jon Voight and Dustin Hoffman, and while my vote goes to Nicholson (with Hoffman a close second), Pacino has a terrific argument. In Serpico, he plays the complicated figure of a detective who went undercover to rat out corrupt cops. His decision to turn against his own is as fraught as you might imagine, and he faces death at every turn from cops who’d love to shut him up. It’s an exciting street drama with the decrepit-yet-energetic look of urban ’70s films. —Shane Ryan
14. Mission: Impossible
Year: 1996
Director: Brian De Palma
Stars: Tom Cruise, Jon Voight, Henry Czerny, Emmanuelle Béart, Jean Reno, Ving Rhames, Kristin Scott Thomas, Vanessa Redgrave, Emilio Estevez
Rating: PG-13
Genre: Action
Yup—stop for a minute and contemplate that the first M:I film was directed by Brian De Palma. A guy known more for art house thrillers and anti-heroes helms the first in a possible franchise starring an A-list actor (before Hollywood was only interested in franchises), not to mention the first film Cruise ever produced, a risk in and of itself. And yet, it all worked: Mission: Impossible is a plot-heavy, intelligent, patient action film, establishing a cypher of an action star who would go on to perfectly serve every single director to come. By now, it’s expected that with every new film in the franchise, Tom Cruise will step up his stuntman game, and every new director will be given the chance to interpret Ethan Hunt as he (or she, we can only hope) sees fit. In Mission: Impossible – Rogue Nation, Cruise asserts himself as perhaps the world’s most prominent asexual action hero, but 20 years ago no one had any idea what kind of conceptual framework he was putting into place. Mission: Impossible was a new breed of blockbuster action film, and the franchise’s longevity is clear evidence that, no matter what’s happened since, Tom Cruise is a guy whose risks seem to always pay off.—Dom Sinacola
15. Top Gun: Maverick
Release Date: May 27, 2022
Director: Joseph Kosinski
Stars: Tom Cruise, Jenifer Connelly, Miles Teller, Jon Hamm, Monica Barbaro, Ed Harris, Val Kilmer, Jay Ellis, Glen Powell, Lewis Pullman, Danny Ramirez, Greg “Tarzan” Davis
Rating: PG-13
Genre: Action
Not quite four years since Mission: Impossible—Fallout and much of Tom Cruise’s purpose remains the same—if it hasn’t exactly grown in religious fervor. In Top Gun: Maverick, the sequel to Tony Scott’s 1986 original, Cruise is Captain Pete “Maverick” Mitchell, a man trapped in the past, refusing to advance his career as resolutely as he refuses to do much of anything besides continue to prove he’s the greatest pilot in the world—a title the film never forgets to remind the audience that Maverick earned long ago—and mourn his best friend, Goose (Anthony Edwards), who died 35 years ago in an accident for which Maverick still feels responsible. Tom Cruise is also, simply, “Tom Cruise,” the only notable show business scion left to throw his body into mind-numbing danger to prove that it can be done, to show a younger generation that this is what movies can be, what superstars can do. Must do. The more modern action films teem with synthetic bodies bursting apart at the synthetic seams, the more Tom Cruise builds his films as alters upon which to splay his beautiful sacrificed flesh. To that end, Joseph Kosinski is the precisely correct director to steer Cruise’s legacy sequel. As was the case with Kosinski’s Tron: Legacy, Maverick seems to exist to justify its existence, to update an IP that seems to only work in the past. For Top Gun this means translating Scott’s vision of sweat-drenched beach volleyball and unmitigated military spectacle into a soberer IMAX adventure, moving from the halcyon days of Reagan’s America to a world with no more need of a man like Maverick. “The future’s coming, and you’re not in it,” he’s told; every one of his superior officers appears to have no patience for him left. One can’t help but imagine that every new Tom Cruise vehicle is a way for him to reckon with that. Kosinski’s dogfights are pristine, incredible feats of filmmaking, economical and orbiting around recognizable space, but given to occasional, inexplicable shocks of pure chaos. Then quickly cohering again. If Scott’s action was a melange of motion never meant to fully cohere, keeping the American dream just that, then Kosinski is dedicated to allowing the audience a way into the experience. With his regular cinematographer Claudio Miranda, he revels in symmetry to keep the audience tethered. A wide glimpse of a dogfight in total, resembling a beach scene earlier, so suddenly appeared silently in the vast theater and unlike anything I’d ever really seen before, I gasped.—Dom Sinacola
16. Teenage Mutant Ninja Turtles: Mutant Mayhem
Release Date: August 2, 2023
Director: Jeff Rowe, Kyler Spears (co-director)
Stars: Micah Abbey, Shamon Brown Jr., Brady Noon, Nicolas Cantu, Jackie Chan, Ice Cube
Rating: PG
Genre: Animation, Action, Comedy, Fantasy
A visual tour de force of hybrid 2D and 3D animation, Mutant Mayhem is not only the most authentically New York version of the Turtles yet, it’s arguably the most inventive. Rowe, Spears and production designer Yashar Kassai have rendered the brothers as if they’re hand-drawn, complete with messy sketch lines, doodle flairs and a graffiti aesthetic. This is the ultimate paint-outside-the-lines take on the Turtles and it works on every level. Teenage Mutant Ninja Turtles: Mutant Mayhem is swinging for the fences with its story and voice performances to ambitiously, quantifiably shake up the artistic rut that theatrical computer animation has been stuck in for the last two decades. Another plus is that the brothers are voiced by non-adult voice actors Nicolas Cantu (Leo), Brady Noon (Raph), Shamon Brown Jr. (Mikey) and Micah Abbey (Donnie), who recorded together, and were encouraged to excitedly talk over one another like a gaggle of real, tight-knit brothers would do. It translates into rapid-fire, organic quips and seemingly effortless timing that conveys a rapport that is singular to this iteration. It also elevates the script so that it doesn’t sound like it was written by a bunch of 40-year-olds trying to be hip and young. Rowe and Spears have a firm hold on their pacing, especially in how they use comedy to enhance their action beats. They also chart a progression to the brother’s battle prowess that is satisfying and pays off in satisfying full-circle moments. There’s also much to be admired in their choice to frame a lot of sequences with hand-held camera blocking, which leans into the unpredictable youth of the heroes that works so well in the gritty New York environs they’re sparring in. The filmmakers are also delightfully experimental throughout the Mutant Mayhem, using inspired live-action inserts, segueing into different artistic styles (including a homage to Eastman and Laird’s comic art) and embracing the asymmetrical character design that gives the film a fresh and energetic looseness. Rowe and company prove that there’s no strength to the myth of IP fatigue when you have the vision and passion to reinvent with such bold and fun intention.—Tara Bennett
17. Sweeney Todd: The Demon Barber of Fleet Street
Year: 2007
Director: Tim Burton
Stars: Johnny Depp, Helena Bonham Carter, Alan Rickman, Timothy Spall, Sacha Baron Cohen
Rating: R
Runtime: 117 minutes
Whoever said murder couldn’t be wonderfully melodic? Although the Tony-winning Sweeney Todd: The Demon Barber of Fleet Street was right up Tim Burton’s alley, his 2007 film took his macabre look at a homicidal English barber and made it fun. Here’s another Burton flick that relies on the tested chemistry of Johnny Depp and Helena Bonham Carter, but we also see great performances from Alan Rickman as the corrupt Judge Turpin and Sasha Baron Cohen as a rival barber. The film sees Burton’s on-screen gruesomeness at an all-time high, but it’s all balanced out by some infectious musical numbers.—Tyler Kane
18. The Godfather Part II
Year: 1974
Director: Francis Ford Coppola
Stars: Al Pacino, Robert Duvall, Diane Keaton, Robert De Niro, Talia Shire, Morgana King, John Cazale, Mariana Hill, Lee Strasberg
Rating: R
Runtime: 200 minutes
With the success of The Godfather, Francis Ford Coppola’s second chapter—released just two years later—set a new precedent for sequels by proving just as triumphant. Anchored by prevailing performances from Al Pacino and Robert De Niro, the follow-up carries on the mafia saga and explores the parallels between father and son. It’s another tour de force with epic proportions.—David Roark
19. A.I. Artificial Intelligence
Year: 2001
Director: Steven Spielberg
Stars: Haley Joel Osment, Jude Law, Frances O’Connor, Brendan Gleeson, William Hurt
Rating: PG-13
Genre: Sci-Fi
A.I. may be Spielberg’s misunderstood masterpiece, evidenced by the many critics who’ve pointed out its supposed flaws only to come around to a new understanding of its greatness—chief among them Roger Ebert, who eventually included it as one of his Great Movies ten years after giving it a lukewarm first review. A.I. represents the perfect melding of Spielberg and Stanley Kubrick’s sensibilities—as Kubrick supposedly worked on the story with Spielberg, and Spielberg felt obliged to finish after Kubrick’s death—which allows the film to keep each of their worst instincts in check. It’s not as cold or distant as Kubrick’s films tend to be, but not as maudlin and manipulative as Spielberg’s films can become—and before the ending is brought out as proof of Spielberg’s failure, it should be noted that the film’s dark coda was actually Kubrick’s idea, adamant that the ending not be meddled with moreso than any other scene. A closer inspection of the film’s themes reveal a much bleaker conclusion—and, no, those aren’t “aliens.” —Oktay Ege Kozak
20. Mission: Impossible – Ghost Protocol
Year: 2011
Director: Brad Bird
Stars: Tom Cruise, Paula Patton, Jeremy Renner, Simon Pegg
Genre: Thriller, Action
Rating: PG-13
Runtime: 133 minutes
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Paramount is one of the world’s leading producers of premium entertainment content that connects billions of people in nearly every country in the world.
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Paramount+, part of Paramount’s global portfolio of multimedia entertainment and news brands, is a direct-to-consumer digital subscription video on-demand and live streaming service, combining live sports, breaking news and A Mountain of Entertainment™. The streaming service features an expansive library of original series, hit shows and popular movies across every genre from world-renowned brands and production studios, including BET, CBS, Comedy Central, MTV, Nickelodeon, Paramount Pictures and the Smithsonian Channel. Paramount+ with SHOWTIME®, the service's cornerstone plan, is also home to SHOWTIME® content, including scripted hits and critically acclaimed nonfiction projects and films. This premium plan includes unmatched events and sports programming through the local live CBS stream, including golf, basketball and more. All Paramount+ subscribers have streaming access to CBS News Network for 24/7 news and CBS Sports HQ for sports news and analysis.
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https://www.hatchwise.com/resources/the-history-of-the-paramount-logo
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en
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The History Of The Paramount Logo
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2023-03-13T12:27:41+00:00
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When you put on a new movie, without thinking twice, you always expect to see the animated movie logo of the film company appear before the movie starts. Whether it’s the 20th Century Fox lion roaring, the Pixar magnifying glass bouncing across the screen, or Paramount Pictures’ iconic mountain and stars flashing across the scene – with any big box production, the animated logo is expected to appear.
|
en
|
Hatchwise
|
https://www.hatchwise.com/resources/the-history-of-the-paramount-logo
|
When you put on a new movie, without thinking twice, you always expect to see the animated movie logo of the film company appear before the movie starts. Whether it’s the 20th Century Fox lion roaring, the Pixar magnifying glass bouncing across the screen, or Paramount Pictures’ iconic mountain and stars flashing across the scene – with any big box production, the animated logo is expected to appear.
Like we said, you don’t ever think twice about it and that’s because of two things. First, the logo has become so commonplace that its placement is expected and natural. And second, because the logo is so common, it has become widely recognized.
It takes time to build up a logo to 20th Century Fox’s, Pixar’s, and Paramount’s level – creating a highly recognizable logo doesn’t happen overnight. With patience, a highly skilled design team, and a few other things, it is possible though. For this article, we’ll be zeroing in on one of those film conglomerates, Paramount, to provide you with a deep dive into what helped them grow their logo organically to the logo we know today.
Keep reading below to learn the ins and the outs of Paramount and how this logo came to be.
Meet Paramount
Paramount Pictures is one of those brands that doesn’t warrant a lengthy introduction. Paramount Pictures falls under Paramount Network. Paramount Network not only owns Paramount Pictures, but many other television stations you are already familiar with like CBS, The CW, MTV, VH1, Nickelodeon, Pop, Comedy Central, BET, TV Land, and more.
Paramount Pictures was founded on May 8, 1912, in Hollywood (Los Angeles), CA. Founded by a Hungarian-born early investor in movie theaters, Adolph Zukor, Paramount’s headquarters remains in Hollywood today. While several other major film companies serve as competition to Paramount, Paramount has claimed the title of being the oldest operating, and only remaining, major film studio in Hollywood. Overall, Paramount is the fifth-oldest operating film studio in the world and the second-oldest in the United States (only falling behind Universal Pictures, which is headquartered outside of Hollywood).
Paramount’s Evolution
1912 – 1929: Paramount Pictures is founded
In 1912, Adolph Zukor founded Paramount Pictures under a different name, the Famous Players Film Company. With its inception, the company released the United States’ first full-length drama film in a movie theater in New York, which Adolph owned. In its first year of operation, Adolph’s company produced five films. Also, during this first year, Adolph decided to distribute the films he produced through a start-up distribution company, Paramount Pictures.
In the early years of Paramount, in 1916, Adolph brought his company through its first merger, a merger with The Jesse L. Lasky Company, a fellow film production company based in Hollywood. The new name of the film production studio was Famous Players – Lasky Corporation. It wasn’t long before this newly formed company decided to partner with Paramount Pictures, becoming one universal company – the Paramount Pictures we know today.
A few things unfolded after this official merger. First, Paramount’s iconic logo was created. This was based on Paramount’s founder, W.W. Hodkinson’s childhood in Utah. The mountain on the logo resembles a mountain peak he saw as a child. Second, in 1926, Paramount constructed a new Hollywood studio. This project cost the company $1 million, and it took up 26 acres. And third, in 1927, Paramount was awarded the first-ever Academy Award for Best Picture, for Wings.
1930-1959: The early talent of Paramount
Winning the first-ever Academy Award for Best Picture helped propel Paramount to continue producing films of that same caliber. This next era of Paramount is characterized by the iconic Bing Crosby musicals, contracting, and nurturing top movie talent, and trading talent back and forth between film companies. Year after year, Paramount won Academy Awards for Best Picture and consistently showed up on the nomination list.
1960-1979: Paramount expands into television
After growing success in the film industry, Paramount expanded into the television market. To expand rapidly, Paramount purchased Desilu television studios from Lucille Ball. This helped them control the production of many iconic television shows like The Andy Griffith Show, Star Trek, The Brady Bunch, The Odd Couple, and Laverne & Shirley.
With the expansion into television though, Paramount continued to produce film after film, and during this era, Paramount produced many films that still are critically acclaimed today like Breakfast at Tiffany’s, The Godfather, and Saturday Night Fever.
1980-1999: Paramount produces blockbuster after blockbuster
During these decades, Paramount released several films that turned into money-making franchises. With so much praise for films, Paramount kept producing film after film.
It was during this era that film franchises like Indiana Jones and Mission: Impossible were first introduced, as well as staple films like Terms of Endearment, Forrest Gump, Braveheart, and Saving Private Ryan. What was most instrumental during this period of Paramount though was the release of Titanic, in partnership with 20th Century Fox, which became the highest-grossing film ever released at that time, generating more than $1.8 billion.
2000-Today: Paramount today
With each new decade, Paramount was constantly evolving. Paramount proved itself to be a force to be reckoned with in the film and television industries, producing films that continued to receive a wide array of Academy Award nods.
To adapt to evolving industry needs, Paramount also opened a new sound facility and post-production facility that some of the best creative and technical talent still work out of today.
Roadblocks Along the Way
It’s no surprise the biggest roadblock that Paramount has had to deal with is competing film studios. With new partnerships being formed between competitors, Paramount needed to stay at the cutting edge of technology, innovation, and new storylines. They were able to stay prominent despite any increased competition, as displayed by the fact that they are the oldest film studio that is still operating in Hollywood.
The Meaning of Paramount’s Logo and Paramount’s Logo History
Even though Paramount Pictures was formed in 1912, the first logo wasn’t released until 1914. As you see Paramount’s logo progression below, you’ll notice that while it has developed, and become more “modern,” it hasn’t altered very much since the early design.
With this logo’s release, came an animated version of this design that appears at the start of feature films produced by Paramount.
As we mentioned at the start of this article, this is probably one of the first things you associate with the brand.
Paramount’s font choice:
With every logo design, Paramount has opted to use a script-based serif font. This font is Paramount’s unique font, and the “swirly” script makes it stand out.
Paramount’s logo color:
Paramount’s logo resembles the natural colors you would see on a mountaintop. The color palate is blue and white, depicting the sky and a snow-capped mountain. The colors don’t seem to hold any deeper meaning beyond it being made to represent what a natural mountain landscape may look like.
Paramount’s logo symbols:
Paramount’s logo is made up of two prominent symbols. The first is a mountain which was chosen to represent the childhood of founder, W.W. Hodkinson. Hodkinson grew up in Utah and grew up alongside many mountains, like what is depicted in the logo.
The second is the stars that surround the logo. The original meaning behind the stars was to include 24 stars that represented each “star” (or talent) that signed on with Paramount in 1914. To adapt the logo though, two of these stars were dropped and today’s logo only displays 22 stars.
Paramount Today
Today, Paramount holds a few accolades. Paramount is the fifth-longest-surviving film studio in the world, the second-longest-surviving film studio in the United States, and the longest-surviving film studio in Hollywood.
So, what has kept Paramount to keep these titles? That would be its constant innovation. In 2005, Paramount purchased DreamWorks for $1.6 billion, expanding its market reach. While this partnership only lasted until 2008, it was a partnership that helped set Paramount up for future acquisitions and mergers.
In the years that followed, Paramount signed a deal with Apple Inc. to sell its films through the iTunes Store, Paramount formed a partnership with developer, FanRocket, Paramount founded Insurge Pictures, and founded an animation division after DreamWork’s departure.
More recently, after CBS Corporation and Viacom split into two separate groups, they merged back together under Paramount in 2019. With this new structure, while it wasn’t Paramount Pictures specifically, ViacomCBS purchased a 49% stake in Miramax which provided Paramount with the distribution of Miramax’s 700-film library, and any future releases.
Today, Paramount Pictures is led by CEO Brian Robbins, the former president of Nickelodeon. Paramount’s headquarters remains in Hollywood (Los Angeles), CA, and last year, Paramount’s annual revenue was $30.15 billion, a 5.49% increase from the year prior.
Lessons Learned from Paramount
If you take anything away from this article, let it be this lesson from Paramount’s logo design – your logo does not need substantial changes to become memorable. Paramount has been around for more than 100 years and during that time, the brand has only had four logos. For them, four logos were all the company ever needed.
When you look at Paramount’s logo evolution, you want to take account of a few things, which you can bring over to your own logo’s design. The first lesson is that Paramount’s logo never lost its key features. What people remembered about the first version of the Paramount logo; they would find in a later logo design. Each logo version included a mountain and stars, so it was never a question of what logo design you are looking at. Next, by keeping the same elements of a logo, by keeping it consistent, you are building credibility and building a reputation of being a long-standing business. And finally, the logo uses simple symbolism tying the mountain and stars back to the company’s early beginnings.
We hope you found this article helpful as you take a closer look at how Paramount’s logo evolved, and what lessons from Paramount you can bring over to your design. Whether you need to create your company’s first logo, or whether your logo needs a simple update, you don’t have to tackle that alone. Companies like Hatchwise are equipped to take the stress of logo design away, all with a simple logo contest.
If you’re ready to get started with a logo contest, don’t wait on reaching out to Hatchwise. After you fill out a creative brief, Hatchwise’s team of creatives will get started on sending you logo options – it’s as simple as that. Reach out to a member of Hatchwise’s team today to get started!
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https://www.imdb.com/title/tt22866358/news/
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The Book of Clarence (2023)
|
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[
"News",
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[] | null |
The Book of Clarence (2023) - Movies, TV, Celebs, and more...
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en
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IMDb
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https://www.imdb.com/title/tt22866358/news/
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3324
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https://www.abbeyroad.com/news/the-history-of-film-recording-at-abbey-road-studios-as-told-by-abbey-roads-mirek-stiles-part-three-2946
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en
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The History of Film Recording at Abbey Road Studios | As Told By Abbey Road's Mirek Stiles | Part Three
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[
""
] | null |
[] | null |
In part three of Mirek Stiles’ epic History of Film Scoring at Abbey Road, he turns his attention to the 1990s. Read here as Mirek explores creation of the scores to titles from ‘Philadelphia’ and ‘Interview With The Vampire’ to ‘Braveheart’, ‘Sleepy Hollow’ and the return of the ‘Star Wars’ series.
|
en
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Abbey Road
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https://www.abbeyroad.com/news/the-history-of-film-recording-at-abbey-road-studios-as-told-by-abbey-roads-mirek-stiles-part-three-2946
|
Sign up for the latest production advice, insights and 'how to' content for artists and producers from Abbey Road Studios.
Sign up now
|
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3324
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Gender, Race, and Top Billing at Paramount Pictures
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[
"Gwen Sharp",
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] |
2010-07-12T00:00:00
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The Society Pages (TSP) is an open-access social science project headquartered in the Department of Sociology at the University of Minnesota
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The best sci-fi movies and TV shows on Paramount Plus in August
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Discover the best sci-fi movies and TV shows to stream on Paramount Plus.
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Space.com
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https://www.space.com/best-sci-fi-movies-and-tv-shows-paramount-plus
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When it comes to the best sci-fi movies and TV shows on Paramount Plus, there's an abundance to choose from. The streaming platform is home not only to iconic titles from the genre, but its own original content. Each month, the options only expand. It's worth noting that while Paramount Plus used to be the home of everything Star Trek, some of the franchise can no longer be found there.
Do not fear though, there are still a lot of new (and old) Star Trek favorites available on Paramount Plus. We're talking anywhere from the animated reimagining of the Star Trek Universe, "Star Trek: Lower Decks" to highly-rated cult icon, "Star Trek: Deep Space Nine".
It's not all about Star Trek on Paramount Plus though, for sci-fi TV shows and movies, there are cult classics, modern adaptations, and, of course, the famous Halo and Transformers franchises.
If your watchlist still isn't full after you've journeyed through our list below, be sure to check out our guide to the best sci-fi TV shows of all time and the best sci-fi movies. If you're keen to anticipate what's to come, there are also the upcoming sci-fi TV shows and sci-fi movies for 2024 for all the latest sci-fi content entering our celestial space.
Star Trek
1) 'Star Trek' Original Movies
Cast: William Shatner, Leonard Nimoy, Nichelle Nichols, George Takei, (more)
Directors: Robert Wise, Nicholas Meyer, Leonard Nimoy, William Shatner
Release: 1979-1991
A huge reason for getting Paramount Plus is that it's the home of all things Star Trek and that's the case with the movies. All six original movies from The Motion Picture to The Undiscovered Country are available to stream, although only in the UK and Australia.
With these movies, you'll see the original crew of the USS Enterprise in all their glory as they set off to save Earth, travel further afield and face new challenges and foes. The six movies are based on the original TV series, feature the same cast and span 12 years, from 1979 to 1991.
2) 'Star Trek' The Next Generation Movies
Cast: Patrick Stewart, Jonathan Frakes, Michael Dorn, Brent Spiner, (more)
Directors: David Carson, Jonathan Frakes, Stuart Baird
Release: 1994-2002
In 'The Next Generation' Patrick Stewart plays the role of Jean-Luc Picard and becomes an instant fan-favorite. The four installments in this era of Star Trek movies see the English actor play the iconic role as the next generation of Star Trek heroes attempt to save Earth, bring peace in different parts of the universe and encounter new and troublesome foes.
These four movies were generally well received, despite criticism for 'Nemesis'. If you're a fan of Star Trek, they’re well worth the watch. The Next Generation era featured four movies based on the television series spanning from 1994-2002. All four of The Next Generation movies are only available on Paramount Plus in the UK and Australia.
3) 'Star Trek' Kelvin Timeline Movies
Cast: Zachary Quinto, Chris Pine, Simon Pegg, John Cho, (more)
Directors: J.J. Abrams, Justin Lin
Release: 2009
This new era of Star Trek movies is referred to as the Kelvin timeline by many, named after the USS Kelvin, a spaceship named after J.J Abrams' grandfather. This series of movies is still ongoing as the fourth installment was set for a December 2023 release, however, has faced continuous delays.
These films are a revival of the originals and cast much younger actors in the titular roles with updated looks to costumes and the interior of the Enterprise getting its very own revamp. Critically, these movies were well received with the first instalment being arguably the best Star Trek movie to be made.
4) 'Star Trek' The Original Series
Cast: William Shatner, Leonard Nimoy, Nichelle Nichols, George Takei, (more)
Seasons: Three
First Release: 1966
This is where the (unquestionably) most iconic sci-fi franchise in television history began as the USS Enterprise takes the crew and the science fiction genre boldly where no man has gone before.
Join Captain Kirk, Spock, Scotty, Sulu, Uhura, Chekov and others as they seek out new life and civilizations. 79 episodes of action, adventure, good humor, and compelling storytelling are all available to stream on Paramount Plus right now.
5) 'Star Trek' The Next Generation
Cast: Patrick Stewart, Jonathan Frakes, Michael Dorn, Brent Spiner, (more)
Seasons: Seven
First Release: 1987
Some will argue that The Next Generation is as iconic as the original series - it certainly helped the franchise stand the test of time. Here we have instantly recognizable characters including Jean-Luc Picard, Worf, Geordi La Forge, Data/Lore and more.
The new crew set off on new adventures around a hundred years after the events of the original series. More compelling storytelling, good humor, action and adventure mean you get to sit back and enjoy USS Enterprise action for more than 170 episodes.
6) 'Star Trek' Deep Space Nine
Cast: Avery Brooks, Rene Auberjonois, Cirroc Lofton, Colm Meaney, (more)
Seasons: Seven
First Release: 1993
One of the more, if not the most, underappreciated and underrated entries into the Star Trek universe, Deep Space Nine is set in the 24th century. Unlike its predecessors, it is set on a space station rather than a traveling ship. It's also the first Star Trek series to have an African American actor as the central character.
Like The Next Generation, there's seven series for you to enjoy here and it's likely that you will as it was nominated for Emmy Awards in every year of its run. Throughout the series you'll see stories of adventure, war, and conflict all tied in with the usual humor and good storytelling.
7) 'Star Trek' Voyager
Cast: Kate Mulgrew, Robert Beltran, Roxann Dawson, Ethan Phillips, (more)
Seasons: Seven
First Release: 1995
Released to run at the same time as Deep Space Nine, Star Trek Voyager also got seven seasons and took the franchise into the new millennium. The series was generally well-received and was notable (along with its overall quality) for having a more gender-balanced cast.
The adventures start as USS Voyager departs Deep Space Nine in search of a missing ship in the Badlands. From there, the ship is overrun by a powerful energy and the surviving crew are trapped tens of thousands of lightyears from Earth.
8) 'Star Trek' Enterprise
Cast: Scott Bakula, John Billingsley, Jolene Blalock, Dominic Keating, (more)
Seasons: Four
First Release: 2001
Enterprise, as it was initially known, is set about 100 years before the events of the original series. It's a prequel that follows the adventures of Earth's first starship that can travel at warp five and its crew.
The show received mixed reaction across its four seasons with a slump in season two before picking back up. The first two seasons showcase standalone episodes while more plot-driven adventures are had in three and four. It can definitely be argued that the show fought for survival by introducing plot improvements and raising the rate of enjoyment before it was canceled.
9) 'Star Trek' Discovery
Cast: Sonequa Martin-Green, Doug James, Anthony Rapp, Emily Coutts, (more)
Series: Five
First Release: 2017
And so, onto the new era of Star Trek television series, which has to be said, is pretty good. Star Trek Discovery is set on board the starship Discovery and takes place ten years before the events of the original series. Without giving too much away, the Discovery does travel to the 32nd century, which is the setting for the proceeding series.
Star Trek Discovery is notable for its widely diverse cast and genuinely good quality storytelling. It's been nominated for - and won - numerous Primetime Emmy Awards as well as receiving other accolades.
10) 'Star Trek' Picard
Cast: Patrick Stewart, Alisson Pill, Michelle Hurd, Santiago Cabrera, (more)
Seasons: Three
First Release: 2020
Patrick Stewart reprises his role as Jean-Luc Picard for a television series beginning 20 years after the events in Star Trek: Nemesis. Each season explores different aspects of the character in his old age as he is deeply affected by the death of 'Data' and the destruction of 'Romulus.'
It's another well-received entry into the Star Trek universe, one we like a lot too, and the good news is that there are three seasons to enjoy on Paramount Plus.
11) 'Star Trek' Lower Decks
Cast: Tawny Newsome, Jack Quaid, Noël Wells, Eugene Cordero, (more)
Seasons: Four (ongoing)
First Release: 2020
This animated entry into the Star Trek universe is a bit different but refreshing. While most of the Star Trek series center around senior officers or captains onboard a starship, 'Lower Decks' focuses on those who work below deck, carrying out cog-churning jobs.
This series is set in the 24th century and focuses on the low-ranking officials on board one of Starfleet's least important starships, the USS Cerritos. There are four seasons out now on Paramount Plus, with a fifth and final season premiering on October 24.
12) 'Star Trek' Strange New Worlds
Cast: Melissa Navia, Anson Mount, Ethan Peck, Jess Bush, (more)
Seasons: Two (ongoing)
First Release: 2022
Star Trek: Strange New Worlds is a prequel to the original series, set in the decade leading up to the adventures of Captain Kirk, Scotty, Sulu et al. As well as being a prequel, this series is also a spin-off from Star Trek: Discovery which sees some of the same characters explore new worlds onboard the USS Enterprise.
Halo
1) 'Halo'
Cast: Pablo Schreiber, Shabana Azmi, Natasha Culzac, Olive Gray, (more)
Seasons: Two
First Release: 2022
Okay, so this section is a little short but worthy of its own section nevertheless. Paramount Plus is where you can stream both seasons of Halo, based on the iconic video game of the same name.
This sci-fi action series follows the adventures of Master Chief as he leads his team of Spartans from a powerful alien threat that is hellbent on destroying humanity. Unfortunately, Variety reports the live-action series has been canceled, meaning there's no hope of a third season.
Transformers
1) 'Transformers'
Cast: Shia LaBeouf, Megan Fox, Josh Duhamel, Tyrese Gibson, (more)
Director: Michael Bay
Release: 2007
The first Transformers and the first of five with Michael Bay directing, this movie well and truly propelled the franchise into motion. Transforming (uh-hum) the original 1986 animated movie into something much, much bigger, teen Sam Witwicky (Shia LaBeouf) stumbles upon Autobot Bumblebee while looking for his first car. Unbeknownst to him, he's about to embark on a journey of war as the battle between the Decepticons and Autobots crashes onto Earth.
While it's not the top-rated Transformers entry by critics, it shaped everything to come, as you’re about to discover with the five other movies on our list. Be sure to check out how to watch the Transformers movies in chronological order or by release.
2) 'Transformers' Revenge of the Fallen
Cast: Shia LaBeouf, Megan Fox, Josh Duhamel, Tyrese Gibson, (more)
Director: Michael Bay
Release: 2009
The sequel to the first movie in the Transformers series, Revenge of the Fallen, is finally coming to Paramount Plus in the US in August. In this entry, we follow Sam Witwicky once again, whose hopes for a normal life are quickly thwarted. Cryptic symbols begin to fill his head which drag him right back into the Transformers' war.
Sam finds himself personally targeted by the Decepticons for what he knows and what it could mean for the future of the bots. It’s a revenge arc at the end of the day and the once-defeated robots are returning in a bid to destroy the Sun and end human life on Earth, the planet that wronged them.
3) 'Transformers' Dark of the Moon
Cast: Shia LaBeouf, Rosie Huntington-Whiteley, Josh Duhamel, Tyrese Gibson, (more)
Director: Michael Bay
Release: 2011
Following on from Revenge of the Fallen, Dark of the Moon continues the story of this saga as the Autobots learn of a mysterious spacecraft hidden on the moon and race against the Decepticons to reach it and learn its secrets. Just like the other films in the saga, you'll get plenty of sci-fi action in this story.
4) 'Transformers' Age of Extinction
Cast: Mark Wahlberg, Nicola Peltz Beckham, Jack Reynor, Stanley Tucci, (more)
Director: Michael Bay
Release: 2014
This installment sees Mark Wahlberg play the lead role for the first time in the franchise as Age of Extinction offers up more action, more sci-fi cinematography and more transformers.
Humanity turns to a bounty hunter to help with their pursuit of Optimus Prime, but when the Autobots learn of this, they turn to a mechanic and his family for help.
5) 'Transformers' The Last Knight
Cast: Mark Wahlberg, Anthony Hopkins, Josh Duhamel, Laura Haddock (more)
Director: Michael Bay
Release: 2017
The last of the Michael Bay-era Transformers movies, The Last Knight did not impress critics or the audience. A 16% critic score and 43% audience score on Rotten Tomatoes is a very telling sign. Nonetheless, there's a history to unfold on Earth that tells fans of the franchise a lot more about the Decepticons and Autobots.
It's a trip you may not be expecting with lots of King Arthur, Merlin, an English Lord, and an Oxford professor leading the story this time round. A step away from the usual action, but with Optimus Prime on their own separate mission of discovery, it shapes another adventure into defending Earth and remaining victorious in war.
6) 'Bumblebee'
Cast: Hailee Steinfeld, Jorge Lendeborg Jr., John Cena, (more)
Director: Travis Knight
Release: 2018
Bumblebee, although the sixth entry in the franchise, actually sets itself in the prequel timeline of the movies and, as such, is set only a year after the original animated series. For this thread, director Travis Knight picks the origin story of Bumblebee as its story.
Charlene "Charlie" Wilson (Hailee Steinfeld) stumbles upon Autobot scout B-127 in a junkyard, hiding out after fleeing the war on Cybertron. Charlie befriends him and calls him "Bumblebee". Unfortunately, despite the fuzzy nickname, trouble has followed him to Earth and battle commences.
7) 'Transformers' Rise of the Beasts
Cast: Anthony Ramos, Dominique Fishback, Luna Lauren Velez, (more)
Director: Steven Caple Jr.
Release: 2023
Rise of the Beasts was a return to the Transformers franchise, five years after Bumblebee, and it came with a big change. No more Michael Bay and no more previous timeline. Following on from Bumblebee, it's a new continuity altogether and although meant to be prequels, don't relate to the history from the previous movies.
It's the 90s and Noah (Anthony Ramos) and Elena (Dominique Fishback) are caught up in the Autobot-Decepticon war. It doesn't matter the timeline, they're always going to be fighting. This time though, there's a new Transformers faction in the shape of the Maximals, joining as allies on Earth.
Best sci-fi movies on Paramount Plus
1) 'A.I. Artificial Intelligence'
Cast: Hayley Joel Osment, Jude Law, Frances O'Conner, Sam Robards, (more)
Director: Steven Spielberg
Release: 2001
Heartfelt sci-fi drama, A.I. Artificial Intelligence, was nominated for two Oscars for its story which follows a highly advanced robotic boy who wants to become human in order to regain the love of his mother.
This film is set in the 22nd century where climate change has raised sea levels, melted the polar ice caps, and reduced the human population. Humanoid robots have been created and David, a prototype child capable of love, is given to Henry and Monica after their son contracted a rare disease.
2) 'War of the Worlds'
Cast: Tom Cruise, Dakota Fanning, Tim Robbins, Maranda Otto, (more)
Director: Steven Spielberg
Release: 2005
Another entry into our guide from director Steven Spielberg, this time nominated for three Oscars. War of the Worlds is a cinematic adaptation of the classic novel from H.G Wells telling the story of an alien invasion on Earth and the desperate fight for survival through the eyes of an American family. Alien war machines go around destroying neighborhoods and disintegrating humans following multiple flashes of lightning which cause an EMP, completely frying most electronic devices. War of the Worlds is only available on Paramount Plus in the US.
3) 'The War Of The Worlds'
Cast: Gene Barry, Ann Robinson, Les Tremayne, (more)
Director: Byron Haskin
Release: 1953
Speaking of War of the Worlds, it's a book that has inspired many sci-fi movies, the first of which was in 1953 which in turn inspired Speilberg's 2005 version above. And it's now found its home on Paramount Plus. It's a lot different than what you'd expect in the books though; it's set in Victorian London following a writer who, during a Martian invasion, finds himself separated from his wife.
This original movie adaptation is about a scientist who falls for a former college student during the Martian invasion, all set in the movie's own timeline of 1953. It won the Academy Award for Best Visual Effects and has inspired not only more War of the Worlds adaptations, but the sci-fi movie genre as a whole.
4) 'When Worlds Collide'
Cast: Richard Derr, Barbara Rush, Peter Hansen, (more)
Director: Rudolph Maté
Release: 1951
Another one of the best sci-fi movies of the 50s is the iconic When Worlds Collide. In true sci-fi fashion, there’s the fate of the world in the hands of just a select few. A new star and planet are hurtling towards Earth, threatening its very existence and it's down to a group of survivalists to come up with a plan to save humanity by sending them from Earth in a rocket to find a new place to call home.
A world under threat, a core romantic relationship featuring a hero, and the promise that it's through the knowledge of science at its core that will save us all has influenced a multitude of sci-fi titles since its 1951 release and was groundbreaking cinema for its time, which still holds steady today.
5) 'Event Horizon'
Cast: Laurence Fishburne, Sam Neill, Jason Isaacs, Kathleen Quinlan, (more)
Director: Paul W.S. Anderson
Release: 1997
This sci-fi thriller features a well-known cast and tells the story of a crew onboard a spaceship that disappears down a black hole, but when it returns it has someone or something new onboard too.
Set in 2047, a distress signal is received from the spaceship, Event Horizon, and upon its re-emergence around Neptune, a rescue vessel is sent to investigate it. However, the crew onboard the rescue vessel are greeted by the aftermath of a massacre when they reach the ship. Event Horizon is available in the US and UK, but not Australia.
6) 'Deep Impact'
Cast: Robert Duvall, Téa Leoni, Elijah Wood, Morgan Freeman, (more)
Director: Mimi Leder
Release: 1998
Nothing quite says apocalyptic sci-fi than a comet on a collision course for Earth. The tension builds in Deep Impact as President Beck (Morgan Freeman) prepares for the worst, by coming up with a plan to build underground shelters. Unfortunately, not for everyone.
This iconic disaster movie is only available to stream on Paramount Plus in the US and Australia. But, for anyone looking for some end-of-the-world panic laced with science and impressive special effects, here's your pick.
7) 'A Quiet Place'
Cast: Emily Blunt, John Krasinski, Millicent Simmonds, (more
Director: John Krasinski
Release: 2018
Real-life couple turned on-screen, Evelyn (Emily Blunt) and Lee (John Krasinski) alongside their two children must quickly learn how to navigate life, in silence. As noise-sensitive, blind otherworldly creatures target citizens, it's up to the couple to keep their family alive by communicating through sign language… And not making a sound.
John Krasinski, of The Office fame, not only starred in A Quiet Place, but he co-wrote and directed it too. There's A Quiet Place Part II to watch when you're finished, although unlike the first, this one's only available in the US. And then there's also A Quiet Place: Day One which had its theatrical release in June, so should arrive on the streaming platform later this year.
8) 'Significant Other'
Cast: Maika Monroe, Jake Lacy, Matthew Yang Kim, (more)
Director: Dan Berk, Robert Olsen
Release: 2022
If you're planning a backpacking trip anytime soon, we'd recommend giving Significant Other a swerve until you've returned home safely. Young couple, Ruth (Maika Monroe) and Harry (Jake Lacy) on their own remote backpacking adventure through the Pacific Northwest. They quickly find out though that everything is not as it seems.
As the couple navigates the isolated location, which doesn't feel so isolated anymore, they begin to question whether they can even trust each other. A Paramount Plus Original movie that impressed both critics and audience alike.
Best sci-fi TV shows on Paramount Plus
1) 'The Twilight Zone'
Cast: Rod Serling, Robert McCord, Jay Overholts, (more)
Seasons: Five
First Release: 1959
Paramount Plus is home to one of sci-fi’s most notable TV shows, The Twilight Zone. Spanning five seasons between 1959 and 1964, each episode has its very own story to tell. That’s 156 different experiences to enjoy spanning a multitude of genres all embodying sci-fi's famous tropes from dystopian nightmares to thrilling supernatural goings-on.
It's a show that's sparked spin-offs, like Jordan Peele's 2019 collection, to theme park rides, to radio shows, to movies. It stands the test of time and sci-fi fans of any age can find enjoyment in its storytelling.
2) 'The Astronauts'
Cast: Miya Cech, Bryce Gheisar, Keith L. Williams, Kayden Grace Swan, (more)
Seasons: One
First Release: 2020
The Astronauts follows five teenagers who are accidentally sent into outer space aboard a spacecraft that was supposed to intercept an asteroid. They must work together without any training or a fully functioning onboard AI, to achieve the unlikely goal of returning home safely. There are no plans for a new season of this show, so unfortunately this series is a one-off. On Paramount Plus, this one’s only available to stream in the UK and Australia.
3) 'I am Frankie'
Cast: Alex Hook, Kyson Facer, Sophia Forest, Nicole Alyse Nelson, (more)
Seasons: Two
First Release: 2017
In this comedy-drama, Frankie Gaines is a typical teenager, only... She isn't. She is an advanced experimental android trying to hide her identity to remain hidden from the evil tech company, EGG Labs. EGG Labs, more precisely Mr. Kingston who is the head of the company, is trying to use Frankie for a weaponized android research project. This only has two seasons so if this is your thing, you'll be able to binge it in relatively quick time.
4) 'Under the Dome'
Cast: Mike Vogel, Rachelle Lefevre, Alexander Koch, (more)
Seasons: Three
First Release: 2013
Based on Stephen King's 2009 novel of the same name, Under the Dome tells the story of a fictional small town called Chester's Mill. It may sound quaint, but that certainly doesn't remain the case when a mysterious see-through, indestructible dome trapping everyone and everything Chester's Mill inside.
Demonstrating the lengths people will go to to survive, the town descends into a survivalist world of tension and choices as they're cut away from normal society, and its resources. There are three seasons to devour before it meets its timely finish.
5) 'The Adventures of Jimmy Neutron: Boy Genius'
Cast: Debi Derryberry, Jeffery Garcia, Rob Paulsen, Carolyn Lawrence, (more)
Seasons: Four
First Release: 2002
A young boy, who happens to be a genius, gets into all sorts of shenanigans and goes on adventures with his best friends, Sheen and Carl as well as the family he has in the small town he lives in. Often inventing all kinds of contraptions, Jimmy Neutron is the title character in a fun animated series that's ideal for younger viewers and throws older viewers back to classic Nickelodeon days.
6) 'Planet Sheen'
Cast: Fred Tatasciore, Bob Joles, Rob Paulsen, Thomas Lennon, (more)
Seasons: Two
First Release: 2010
This is a short spin-off from The Adventures of Jimmy Neutron: Boy Genius that sees Jimmy's close friend, Sheen Estevez, get himself sent to a planet trillions of light-years away from Earth. After accidentally blasting off in a rocket invented by Jimmy, Sheen lands on a mysterious planet and meets the emperor who believes he's a supernatural being that will bring joy.
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Actors of Paramount Pictures Studio for the studio’s 75th anniversary in Hollywood, 1987. Featuring Elizabeth Taylor, Harrison Ford, Faye Dunaway, Robert De Niro, Gregory Peck, Robin Williams and many others.
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https://iconicimages.net/photo/hw001-paramount-pictures-stars/
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Certain trademarks and copyrights are owned by Iconic Images Limited and its parents and affiliates (collectively “Iconic”). All other trademarks and copyrights that are not owned by Iconic, that appear on this site are the property of their respective owners, who may or may not be affiliated with, connected to, or represented by Iconic. © 2024 Iconic Images
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[
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[] | null |
Paramount is one of the world’s leading producers of premium entertainment content that connects billions of people in nearly every country in the world.
|
en
|
/core/misc/favicon.ico
|
https://www.paramount.com/inclusion-impact/inclusion/our-content
|
Paramount International Networks & Streaming launched its “No Diversity, No Commission” content policy across the company’s international properties, effective October 2020. The policy, which started at ViacomCBS Networks U.K. in July 2020, is designed to promote and increase diversity in content and production. Among other changes, the policy requires production companies to meet prescribed diversity and inclusion guidelines prior to getting a final sign-off from Paramount International Networks & Streaming. The policy also includes “New Faces, New Voices,” a search for diverse contributors that aims to boost on-screen representation, and the “Promotion Opportunity Project,” created to identify and support the promotion of Black, Asian and Minority Ethnic (BAME) production talent in the UK.
Previously, Channel 5 commissioned shows under the Diverse Indie Initiative, which it co-founded with The TV Collective in 2019 with the intent to partner with the most culturally diverse production companies to create mainstream programs for the channel. At BET UK, a $1m (£714k) commissioning budget was created to invest in new UK originals addressing themes and topical issues relevant to young, Black British audiences.
In October 2021, Paramount International Studios (PIS) launched PIS Social Impact. The new studio division will develop groundbreaking social impact-driven content addressing climate, equity, and health for the Paramount portfolio of brands, including Paramount+, as well as for third-party partners. PIS Social Impact is part of Content for Change and will also champion diverse creators and content focused on underrepresented communities. PIS Social Impact commissioned “Protest & Progress” from world-renowned, history-making photographer and social activist, Misan Harriman. The studio is also launching an inclusive writers’ room focused on scripted ideas powered by a diverse group of creatives, with a strong presence of participants from LGBTQ+ communities led by actor, writer and director Thishiwe Ziqubu. Earlier in May, 2021, Paramount International Networks & Streaming launched Narrativas Negras, a writing room of Black writers dedicated to ”developing representative and inclusive content.” The writing team is based in Brazil and led by Marton Olympio.
|
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| 24 |
https://www.pbs.org/newshour/economy/movie-stars-to-strike-friday-in-hollywoods-biggest-labor-fight-in-decades
|
en
|
Movie and TV stars join writers on the picket line in fight over the future of Hollywood
|
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[
"Andrew Dalton",
"Associated Press"
] |
2023-07-14T13:55:33-04:00
|
“Ted Lasso” star Jason Sudekis, Rosario Dawson and other top movie and TV actors joined picket lines alongside screenwriters Friday on the first full day of a walkout that has become Hollywood’s biggest labor fight in decades.
|
en
|
PBS News
|
https://www.pbs.org/newshour/economy/movie-stars-to-strike-friday-in-hollywoods-biggest-labor-fight-in-decades
|
LOS ANGELES (AP) — “Ted Lasso” star Jason Sudekis, Rosario Dawson and other top movie and TV actors joined picket lines alongside screenwriters Friday on the first full day of a walkout that has become Hollywood’s biggest labor fight in decades.
A day after the dispute brought production to a standstill across the entertainment industry, Sudeikis was among the picketers outside NBC in New York pressing for progress following the breakdown of contract talks with studios and streaming services. Dawson, star of the film “Rent” and the “Star Wars” TV series “Ahsoka,” joined picketers outside Warner Bros. studios in Burbank, California.
“Lord of the Rings” star Sean Astin marched with chanting protesters outside Netflix’s offices in Hollywood. Also present at Netflix were “Titanic” and “Unforgiven” actor Frances Fisher and “The Nanny” star Fran Drescher, who is president of the Screen Actors Guild-American Federation of Television and Radio Artists.
The actors’ arrival energized the picket lines outside Netflix, where music blared and the sidewalks were packed with demonstrators.
Elsewhere, “Once Upon a Time” actor Ginnifer Goodwin stood with protesters at Paramount Pictures.
The walkout is the first double-barreled strike by actors and screenwriters in more than six decades.
The famous faces of Oscar and Emmy winners will likely be seen with some regularity on picket lines in New York and Los Angeles, adding star power to the demonstrations outside studios and corporate offices.
WATCH: Why Hollywood actors are on strike and what it means for entertainment industry
In recent weeks, many actors made a show of solidarity with the 11,500 writers, who walked out in May. Now 65,000 members of the actors’ union have formally joined them on strike.
The two guilds have similar issues with studios and streaming services. They are concerned about contracts keeping up with inflation and about residual payments, which compensate creators and actors for use of their material beyond the original airing, such as in reruns or on streaming services. The unions also want to put up guardrails against the use of artificial intelligence mimicking their work on film and television.
Many on the picket lines took aim at Disney chief executive Bob Iger, who said Wednesday that the damage the strikes will do to the entertainment economy is “a shame.”
“I think that when Bob Iger talks about what a shame it is, he needs to remember that in 1980, CEOs like him made 30 times what their lowest worker was making,” actor Sean Gunn, who starred in “Guardians of the Galaxy,” said outside Netflix.
Now Iger “makes 400 times what his lowest worker is. And I think that’s a shame, Bob. And maybe you should take a look in the mirror and ask yourself, ‘Why is that?’”
No talks are planned, and no end is in sight for the work stoppage. It is the first time both guilds have walked off sets since 1960, when then-actor Ronald Reagan was SAG’s leader.
The Alliance of Motion Picture and Television Producers, which represents employers including Disney, Netflix, Amazon and others, has lamented the walkout, saying it will hurt thousands of workers in industries that support film and television production.
WATCH: The issues behind possible Hollywood writers’ strike that could halt film, TV production
The actors’ strike will affect more than filming. Stars will no longer be allowed to promote their work through red carpet premieres or personal appearances. They cannot campaign for Emmy awards or take part in auditions or rehearsals.
The strike triggered cancellations of red carpet events scheduled for next week for “Special Ops: Lioness,” starring Zoe Saldaña and Nicole Kidman, and Christopher Nolan’s “Oppenheimer.”
A “Haunted Mansion” premiere event at Disneyland on Saturday was set to go on as planned, but with no actors in attendance to promote the film.
Los Angeles Mayor Karen Bass said it was clear that the entertainment industry “is at a historic inflection point.” She urged all parties to work around the clock until an agreement is reached.
“This affects all of us and is essential to our overall economy,” Bass said in a statement.
While international shoots technically can continue, the stoppage among U.S.-based writers and performers is likely to have a drag on those, too.
The writers’ strike had already stopped much of television production, and the actors joining them immediately led to a shooting shutdown for many major films, including “Deadpool 3,” “Gladiator 2” and the eighth installment of Tom Cruise’s “Mission Impossible” series. All are scheduled for release next year.
The writers’ strike also shut down late-night talk shows and “Saturday Night Live,” as well as several scripted shows that have either had their writers’ rooms or production paused, including “Stranger Things” on Netflix, “Hacks” on Max and “Family Guy” on Fox. Many more are sure to follow them now that performers also have been pulled.
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https://www.townandcountrymag.com/society/g15907978/best-movies-based-on-true-stories/
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en
|
71 Must-Watch Movies Based on True Stories
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[
"movies based on true stories",
"true story movies",
"best true story movies",
"films based on true stories",
"true movies",
"true story movies 2018",
"movies based on true stories 2018",
"movies based on true events",
"real story movies",
"inspirational movies based on true stories",
"based on a true story"
] | null |
[
"The Editors"
] |
2018-02-27T17:12:00
|
Pretty much any movie can be "based off a true story," but there are a select few that take real-life events and turn them into cinematic masterpieces. View our favorites here.
|
en
|
/_assets/design-tokens/townandcountrymag/static/images/favicon.80ace0d.ico
|
Town & Country
|
https://www.townandcountrymag.com/society/g15907978/best-movies-based-on-true-stories/
|
While compelling storylines come in many forms, there’s something distinctly satisfying about a movie based on a real life story. Not only can you continually remind yourself that what you’re watching on screen really did happen (even when the likes of Brad Pitt or Meryl Streep are the stars), you can also find joy in learning about a captivating tale based on true events. Netflix even has an entire category on its platform dedicated to movies based on true stories.
Whether you're looking for a biopic, a serial killer mystery, a feel good tale of finding oneself, or a classic underdog story, these films take all of the facts and spin them into a drama that will inspire, astound, and haunt long after you've finished watching—because the best kind of movie is the one that makes you want to learn everything you can about the real story. From The Woman in Gold to The Theory of Everything, here are some of the greatest films of all time based on true stories.
In 18th-century England, Queen Anne (Olivia Colman) is on the throne. Lady Sarah (Rachel Weisz) and her cousin Abigail Masham (Emma Stone) both vie to be Anne's favorite. Queen Anne was, in all likelihood, interested in women—and the film centers on a lesbian love triangle.
The Favourite is based on a largely true story. Sarah Churchill, the eventual Duchess of Marlborough, was indeed childhood friends with then-Princess Anne. The nature of their relationship is subject to interpretation, but Sarah did really threaten to blackmail Anne with their letters. And Abigail Masham did work her way up to be a woman of the bedchamber for Queen Anne, and ultimately supplanted Sarah as the monarch's favorite.
One Night in Miami... is a fictionalized account of a February 1964 meeting of Malcolm X (Kingsley Ben-Adir), Muhammad Ali (Eli Goree), Jim Brown (Aldis Hodge), and Sam Cooke (Leslie Odom Jr.). Directed by Regina King, the film is based entirely on true events—the four men really did spend time together one night, after Cassius Clay (later Muhammad Ali) beat Sonny Liston in Miami.
"I was a journalist in my former life, and this was just a paragraph in a book that I'd been reading on the intersection between sports and the Civil Rights Movement," Kemp Powers, who wrote the screenplay for the film, explained. "There was one paragraph in the book that mentioned that the night Cassius Clay beat Sonny Liston, February 25, 1964, he went back to Malcom X’s hotel room with his friends, Malcolm, Sam Cooke, and Jim Brown. And the next morning is when he announced to the world that he was in the nation of Islam. So that was like, whoa! Could you imagine the night of conversation these men must have had?"
|
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3324
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dbpedia
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| 68 |
https://www.studiobinder.com/blog/the-history-of-film-timeline/
|
en
|
The History of Film Timeline — All Eras of Film History Explained
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[] |
[
""
] | null |
[
"Chris Heckmann"
] |
2023-01-01T15:35:01+00:00
|
The history of film timeline covering every major era of film history, from its beginnings in 1895 to the present day and everything in between.
|
en
|
https://s.studiobinder.com/wp-content/uploads/favicon.ico
|
StudioBinder
|
https://www.studiobinder.com/blog/the-history-of-film-timeline/
|
Motion pictures have enticed and inspired artists, audiences, and critics for more than a century. Today, we’re going to explore the history of film by looking at the major movements that have defined cinema worldwide. We’re also going to explore the technical craft of filmmaking from the persistence of vision to colorization to synchronous sound. By the end, you’ll know all the broad strokes in the history of film.
Note: this article doesn’t cover every piece of film history. Some minor movements and technical breakthroughs have been left out – check out the StudioBinder blog for more content.
When Were Movies Invented?
Pre-Film Techniques and Theory
Movies refer to moving pictures and moving pictures can be traced all the way back to prehistoric times. Have you ever made a shadow puppet show? If you have, then you’ve made a moving picture.
To create a moving picture with your hands is one thing, to utilize a device is another. The camera obscura (believed to have been circulated in the fifth century BCE) is perhaps the oldest photographic device in existence. The camera obscura is a device that’s used to reproduce images by reflecting light through a small peephole.
Here’s a picture of one from Gemma Frisius’ 1545 book De Radio Astronomica et Geometrica:
When Did Movies Start? • Camera Obscura in ‘De Radio Astronomica et Geometrica’
Through the camera obscura, we can trace the principles of filmmaking back thousands of years. But despite the technical achievement of the camera obscura, it took many of those years to develop the technology needed to capture moving images then later display them.
When Was Film Invented?
The First Motion Pictures
When were movies invented? The first motion pictures were incredibly simple – usually just a few frames of people or animals. Eadweard Muybridge’s The Horse in Motion is perhaps the most famous of these early motion pictures. In 1878, Muybridge set up a racing track with 24 cameras to photograph whether horses gallop with all four hooves off the ground at any time
The result was sensational. Muybridge’s pictures set the stage for all coming films; check out a short video on Muybridge and his work below.
When Did the First Movie Come Out? • Eadweard Muybridge’s ‘The Horse in Motion’ by San Francisco Museum of Modern Art
Muybridge’s job wasn’t done after taking the photographs though; he still had to produce a projection machine to display them. So, Muybridge built a device called the zoopraxiscope, which was regarded as a breakthrough device for motion picture projecting.
Muybridge’s films (and tech) inspired Thomas Edison to study motion picture theory and develop his own camera equipment.
Films as we know them today emerged globally around the turn of the century, circa 1900. Much of that development can be attributed to the works of the Lumière Brothers, who together pioneered the technical craft of moviemaking with their cinematograph projection machine. The Lumière Brothers’ 1895 shorts are regarded as the first commercial films of all-time; though not technically true (remember Muybridge’s work).
French actor and illusionist Georges Méliès attempted to buy a cinematograph from the Lumière Brothers in 1895, but was denied. So, Méliès ventured elsewhere; eventually finding a partner in Englishman Robert W. Paul.
Over the following years, Méliès learned just about everything there was to know about movies and projection machines. Here’s a video on Méliès’ master of film and the illusory arts from Crash Course Film History.
When Were Movies Invented? • Georges Méliès – Master of Illusion by Crash Course
Méliès’ shorts The One Man Band (1900) and A Trip to the Moon (1902) are considered two of the most trailblazing films in all of film history. Over the course of his career, Méliès produced over 500 films. His contemporary mastery of visual effects, multiple exposure, and cinematography made him one of the greatest filmmakers of all-time.
Movie History
The First Film Movements
War and cinema go together like two peas in a pod. As we continue on through our analysis of the history of film, you’ll start to notice that just about every major movement sprouted in the wake of war. First, the movements that sprouted in response to World War I:
DADAISM AND SURREALISM
History of Motion Pictures • Still From ‘Un Chien Andalou’ by Luis Buñuel and Salvador Dalí
Major Dadaist filmmakers: Luis Buñuel, Salvador Dalí, Germaine Dulac.
Major Dadaist films: Return to Reason (1923), The Seashell and the Clergyman (1928), Un Chien Andalou (1929).
Dadaism – an art movement that began in Zurich, Switzerland during World War I (1915) – rejected authority; effectively laying the groundwork for surrealist cinema.
Dadaism may have begun in Zurich circa 1915, but it didn’t take off until years later in Paris, France. By 1920, the people of France had expressed a growing disillusionment with the country’s government and economy. Sound familiar?
That’s because they’re the same points of conflict that incited the French Revolution. But this time around, the French people revolted in a different way: with art. And not just any art: bonkers, crazy, absurd, anti-this, anti-that art.
It’s important to note that Paris wasn’t the only place where dadaist art was being created. But it was the place where most of the dadaist, surrealist film was being created. We’ll get to dadaist film in a short bit, but first, let’s review a quick video on Dada art from Curious Muse.
Where Did Film Originate? • Dadaism in 8 Minutes by Curious Muse
Salvador Dalí, Germaine Dulac, and Luis Buñuel were some of the forefront faces of the surrealist film movement of the 1920s. French filmmakers, such as Jean Epstein and Jean Renoir experimented with surrealist films during this era as well.
Dalí and Buñuel’s 1929 film Un Chien Andalou is undoubtedly one of the most influential surrealist/dadaist films. Let’s check out a clip:
History of Movies • ‘Un Chien Andalou’ Clip
The influence of Un Chien Andalou on surrealist cinema can’t be quantified; key similarities can be seen between the film and the works of Walt Disney, David Lynch, Terry Gilliam, and other surrealist directors.
Learn more about surrealism in film →
GERMAN EXPRESSIONISM
The Creation of Film and German Expressionism • Still From ‘The Cabinet of Dr. Caligari’ by Robert Wiene
German Expressionism – an art movement defined by monumentalist structures and ideas – began before World War I but didn’t take off in popularity until after the war, much like the Dadaist movement.
Major German Expressionist filmmakers: Fritz Lang, F.W. Murnau, Robert Wiene
Major German Expressionist films: The Cabinet of Dr. Caligari (1920), Nosferatu (1922), and Metropolis (1927).
German Expressionism changed everything for the “look” and “feel” of cinema. When you think of German Expressionism, think contrast, gothic, dark, brooding imagery and colored filters. Here’s a quick video on the German Expressionist movement from Crash Course:
History of Film Timeline • German Expressionism Explained
The great works of the German Expressionist movement are some of the earliest movies I consider accessible to modern audiences. Perhaps no German Expressionist film proves this point better than Fritz Lang’s M; which was the ultimate culmination of the movement’s stylistic tenets. Check out the trailer for M below.
Most Important Film in History of German Expressionism • ‘M’ (1931) Trailer, Restored by BFI
M not only epitomized the “monster” tone of the German Expressionist era, it set the stage for all future psychological thrillers. The film also pioneered sound engineering in film through the clever use of diegetic and non-diegetic sound. Fun fact: it was also one of the first movies to incorporate a leitmotif as part of its soundtrack.
Over time, the stylistic flourishes of the German Expressionist movement gave way to new voices – but its influence lived on in monster-horror and chiaroscuro lighting techniques.
Learn more about German Expressionism →
SOVIET MONTAGE THEORY
Film History 101 • The Odessa Steps in ‘Battleship Potemkin’
Soviet Montage Theory – a Soviet Russian film movement that helped establish the principles of film editing – took place from the 1910s to the 1930s.
Major Soviet Montage Theory filmmakers: Lev Kuleshov, Sergei Eisenstein, Dziga Vertov.
Major Soviet Montage Theory films: Kino-Eye (1924), Battleship Potemkin (1925), Man With a Movie Camera (1929).
Soviet Montage Theory was a deconstructionist film movement, so as to say it wasn’t as interested in making movies as it was taking movies apart… or seeing how they worked. That being said, Soviet Montage Theory did produce some classics.
Here’s a video on Soviet Montage Theory from Filmmaker IQ:
Eras of Movies • The History of Cutting in Soviet Montage Theory by Filmmaker IQ
The Bolshevik government set-up a film school called VGIK (the Gerasimov Institute of Cinematography) after the Russian Revolution. The practitioners of Soviet Montage Theory were the OG members of the “film school generation;” Kuleshov and Eisenstein were their teachers.
Battleship Potemkin was the most noteworthy film to come out of the Soviet Montage Theory movement. Check out an awesome analysis from One Hundred Years of Cinema below.
History of Film Summary • How Sergei Eisenstein Used Montage to Film the Unfilmable by One Hundred Years of Cinema
Soviet Montage Theory begged filmmakers to arrange, deconstruct, and rearrange film clips to better communicate emotional associations to audiences. The legacy of Soviet Montage Theory lives on in the form of the Kuleshov effect and contemporary montages.
Learn more about Soviet Montage Theory →
When Did Movies Become Popular?
The End of the Silent Era
There was no Hollywood in the early years of American cinema – there was only Thomas Edison’s Motion Picture Patents Company in New Jersey.
Ever wonder why Europe seemed to dominate the early years of film? Well it was because Thomas Edison sued American filmmakers into oblivion. Edison owned a litany of U.S. patents on camera tech – and he wielded his stamps of ownership with righteous fury. The Edison Manufacturing Company did produce some noteworthy early films – such as 1903’s The Great Train Robbery – but their gaps were few and far between.
To escape Edison’s legal monopoly, filmmakers ventured west, all the way to Southern California.
Fortunate for the nomads: the arid temperature and mountainous terrain of Southern California proved perfect for making movies. By the early 1910s, Hollywood emerged as the working capital of the United States’s movie industry.
Director/actors like Charlie Chaplin, Harold Lloyd and Buster Keaton became stars – but remember, movies were silent, and people knew there would be an acoustic revolution in cinema. Before we move on from the Silent Era, check out this great video from Crash Course.
When Did Movies Become Popular? • The Silent Era by Crash Course
The Silent Era holds an important place in film history – but it was mostly ushered out in 1927 with The Jazz Singer. Al Jolson singing in The Jazz Singer is considered the first time sound ever synchronized with a feature film. Over the next few years, Hollywood cinema exploded in popularity. This short period from 1927-1934 is known as pre-Code Hollywood.
When Did Hollywood Start?
Pre-Code Hollywood
In our previous section, we touched on the rise of Hollywood, but not the Hollywood epic. The Hollywood epic, which we regard as longer in duration and wider in scope than the average movie, set the stage for blockbuster cinema. So, let’s quickly touch on the history of Hollywood epics before jumping into pre-code Hollywood.
It’s impossible to talk about Hollywood epics without bringing up D.W. Griffith. Griffith was an American film director who created a lot of what we consider “the structure” of feature films. His 1915 epic The Birth of a Nation brought the technique of cinematic storytelling into the future, while consequently keeping its subject matter in the objectionable past.
For more on Griffith’s The Birth of a Nation (and its complicated legacy), check out this poignant interview clip with Spike Lee.
History of Filmmaking • Spike Lee on ‘The Birth of a Nation’
As Lee suggests, it’s important to acknowledge the technical achievement of films like The Birth of a Nation and Gone With the Wind without condoning their horrid subject matter.
As another great director once said: “tomorrow’s democracy discriminates against discrimination. Its charter won’t include the freedom to end freedom.” – Orson Welles.
Griffith made more than a few Hollywood epics in his time, but none were more famous than The Birth of a Nation.
Okay, now that we reviewed the foundations of the Hollywood epic, let’s move on to pre-code Hollywood.
PRE-CODE HOLLYWOOD
A History of Film • James Cagney in ‘The Public Enemy’
Pre-Code Hollywood – a period in Hollywood history after the advent of sound but before the institution of the Hays Code – circa ~1927-1934.
Major Pre-Code stars: Ruth Chatterton, Warren William, James Cagney.
Major Pre-Code films: Dr. Jekyll and Mr. Hyde (1931), The Public Enemy (1931), Baby Face (1933).
Pre-Code Hollywood was wild. Not just wild in an uninhibited sense, but in a thematic sense too. Films produced during the pre-Code era often focused on illicit subject matter, like bootlegging, prostitution, and murder – that wasn't the status quo for Hollywood – and it wouldn’t be again until 1968.
We’ll get to why that year is important for film history in a bit, but first let’s review pre-Code Hollywood with a couple of selected scenes from Kevin Wentink on YouTube.
Movie Film History • Pre-Code Classic Clips
Pre-Code movies were jubilant in their creativity; largely because they were uncensored. But alas, their period was short-lived. In 1934, MPPDA Chairman William Hays instituted the Motion Picture Production Code banning explicit depictions of sex, violence, and other “sinful” deeds in movies.
Learn more about Pre-Code Hollywood →
Development of Movies
The Early Golden Age and Color in Film
The 1930s and early 1940s produced some of the greatest movies of all-time – but they also changed everything about the movie-making process. By the end of the Pre-Code era, the free independent spirit of filmmaking had all but evaporated; Hollywood studios had vertically integrated their business operations, which meant they conceptualized, produced, and distributed everything “in-house.”
That doesn’t mean movies made during these years were bad though. Quite the contrary – perhaps the two greatest American films ever made, Citizen Kane and Casablanca, were made between 1934 and 1944.
But despite their enormous influence, neither Citizen Kane nor Casablanca could hold a candle to the influence of another film from this decade: The Wizard of Oz.
The Wizard of Oz wasn’t the first film to use Technicolor, but it was credited with bringing color to the masses. For more on the industry-altering introduction of color, check out this video on The Wizard of Oz from Vox.
When Was Color Movies Invented? • How Technicolor Changed Movies
Technicolor was groundbreaking for cinema, but the dye-transfer process of its colorization was hard… and cost prohibitive for studios. So, camera manufacturers experimented with new processes to streamline color photography. Overtime, they were rewarded with new technologies and techniques.
Learn more about Technicolor →
Cinema Eras
Wartime and Propaganda Films
In 1937, Benito Mussolini founded Cinecittà, a massive studio that operated under the slogan “Il cinema è l'arma più forte,” which translates to “the cinema is the strongest weapon.” During this time, countries all around the world used cinema as a weapon to influence the minds and hearts of their citizens.
This was especially true in the United States – prolific directors like Frank Capra, John Ford, John Huston, George Stevens, and William Wyler enlisted in the U.S. Armed Forces to make movies to support the U.S. war cause.
Documentarian Laurent Bouzereau made a three-part series about the war films of Capra, Ford, Huston, Stevens, and Wyler. Check out the trailer for Five Came Back below.
A History of Film • Five Came Back Trailer
Wartime film is important to explore because it teaches us about how people interpret propaganda. For posterity’s sake, let’s define propaganda as biased information that’s used to promote political points.
Propaganda films are often regarded with a negative connotation because they sh0w a one-sided perspective. Films of this era – such as those commissioned for the US Department of War’s Why We Fight series – were one-sided because they were made to counter the enemy’s rhetoric. It’s important to note that “one-sided” doesn’t mean “wrong” – in the case of the Why We Fight series, I think most people would agree that the one-sidedness was appropriate.
Over time, wartime film became more nuanced – a point proven by the 1966 masterwork The Battle of Algiers.
History of Movies
Post-War Film Movements
Global cinema underwent a renaissance after World War II; technically, creatively, and conceptually. We’re going to cover a few of the most prominent post-war film movements, starting with Italian Neorealism.
ITALIAN NEOREALISM
Movie Film History • Still from Vittorio De Sica’s ‘Umberto D.’
Italian Neorealism (1944-1960) – an Italian film movement that brought filmmaking to the streets; defined by depictions of the Italian state after World War II.
Major Italian Neorealist film-makers: Vittorio De Sica, Roberto Rossellini, Michelangelo Antonioni, Luchino Visconti, Federico Fellini.
Major Italian Neorealist films: Rome, Open City (1945), Bicycle Thieves (1948), La Strada (1954), Il Posto (1961).
Martin Scorcese called Italian Neorealism “the rehabilitation of an entire culture and people through cinema.” World War II devastated the Italian state: socially, economically, and culturally.
It took people’s lives and jobs, but perhaps more importantly, it took their humanity. After the War, the people needed an outlet of expression, and a place to reconstruct a new national identity. Here’s a quick video on Italian Neorealism.
Movie History • How Italian Neorealism Brought the Grit of the Streets to the Big Screen by No Film School
Italian Neorealism produced some of the greatest films ever made. There’s some debate as to when the movement started and ended – some say 1943-1954, others say 1945-1955 – but I say it started with Rome, Open City and ended with Il Posto. Why? Because those movies perfectly encompass the defining arc of Italian Neorealism, from street-life after World War II to the rise of bureaucracy. Rome, Open City shows Italy in the thick of chaos, and Il Posto shows Italy on the precipice of a new era.
The legacy of Italian Neorealism lives on in the independent filmmaking of directors like Richard Linklater, Steven Soderbergh, and Sean Baker.
Learn more about Italian Neorealism →
FRENCH NEW WAVE
Development of Movies • Still From Jean-Luc Godard’s Breathless
French New Wave (1950s onwards) – or La Nouvelle Rogue, a French art movement popularized by critics, defined by experimental ideas – inspired by old-Hollywood and progressive editing techniques from Orson Welles and Alfred Hitchcock.
Major French New Wave filmmakers: Jean-Luc Godard, François Truffaut, Agnes Varda.
Major French New Wave films: The 400 Blows (1959), Breathless (1960), Cleo from 5 to 7 (1962).
The French New Wave proliferated the auteur theory, which suggests the director is the author of a movie; which makes sense considering a lot of the best French New Wave films featured minimalist narratives. Take Jean-Luc Godard’s Breathless for example: the story is secondary to audio and visuals. The French New Wave was about independent filmmaking – taking a camera into the streets and making a movie by any means necessary.
Here’s a quick video on The French New Wave by The Cinema Cartography.
History of Filmmaking • Breaking the Rules With the French New Wave by The Cinema Cartography
It’s important to note that the pioneers of the French New Wave weren’t amateurs – most (but not all) were critics at Cahiers du cinéma, a respected French film magazine. Writers like Godard, Rivette, and Chabrol knew what they were doing long before they released their great works.
Other directors, like Agnes Varda and Alain Resnais, were members of the Left Bank, a somewhat more traditionalist art group. Left Bank directors tended to put more emphasis on their narratives as opposed to their Cahiers du cinéma counterparts.
The French New popularized (but did not invent) innovative filmmaking techniques like jump cuts and tracking shots. The influence of the French New Wave can be seen in music videos, existentialist cinema, and French film noir.
Learn more about the French New Wave →
Learn more about the Best French New Wave Films →
SCANDINAVIAN REVIVAL
A History of Film • Still from Ingmar Bergman’s ‘The Seventh Seal’
Scandinavian Revival (1940s-1950s) – a filmmaking movement in Scandinavia, particularly Denmark and Sweden, defined by monochrome visuals, philosophical quandaries, and reinterpretations of religious ideals.
Major Scandinavian Revival filmmakers: Carl Theodor Dreyer and Ingmar Bergman.
Major Scandinavian Revival films: Day of Wrath (1943), The Seventh Seal (1957), Wild Strawberries (1957).
Swedish, Danish, and Finnish films have played an important role in cinema for more than 100 years. The Scandinavian Revival – or renaissance of Scandinavian-centric films from the 1940s-1950s – put the films of Sweden, Denmark, and Finland in front of the world stage.
Here’s a quick video on the works of the most famous Scandinavian director of all-time: Ingmar Bergman.
History of Cinema • Ingmar Bergman’s Cinema by The Criterion Collection
The influence of Scandinavian Revival can be seen in the works of Danish directors like Thomas Vinterberg and Lars von Trier, as well as countless other filmmakers around the world.
BENGALI CINEMA
History of Motion Pictures • Still from Satyajit Ray’s ‘Pather Panchali’
Bengali Cinema – or the cinema of West Bengal; also known as Tollywood, helped develop arthouse films parallel to the mainstream Indian cinema.
Major Bengali filmmakers: Satyajit Ray and Mrinal Sen.
Major Bengali films: Pather Panchali (1955) and Bhuvan Shome (1969).
The Indian film industry is the biggest film industry in the world. Each year, India produces more than a thousand feature-films. When most people think of Indian cinema, they think of Bollywood “song and dance” masalas – but did you know the country underwent a New Wave (similar to France, Italy, and Scandinavia) after World War II? The influence of the Indian New Wave, or classic Bengali cinema, is hard to quantify; perhaps it’s better expressed by the efforts of the Academy Film Archive, Criterion Collection, and L'Immagine Ritrovata film restoration artists. Here's an introduction to one of India's greatest directors, Satyajit Ray.
Evolution of Cinema • How Satyajit Ray Directs a Movie
In 2020, Martin Scorsese said, “In the relatively short history of cinema, Satyajit Ray is one of the names that we all need to know, whose films we all need to see.” Ray is undoubtedly one of the preeminent masters of international cinema – and his name belongs in the conversation with Hitchcock, Renoir, Kurosawa, Welles, and all the other trailblazing filmmakers of the mid-20th century.
Learn more about Indian Cinema →
OTHER POST-WAR & NEW WAVE MOVEMENTS
How Has Film Changed Over Time? • Still from Akira Kurosawa’s ‘Stray Dog’
Italy, France, Denmark, Sweden, Finland, and India weren’t the only countries that underwent “New Waves” after World War II; Japan, Iran, Great Britain, and Russia had minor film revolutions as well.
In Japan, directors like Akira Kurosawa and Yasujirō Ozu introduced new filmmaking techniques to the masses; their 1940s-1950s films were great, but some filmmakers, like Hiroshi Teshigahara and Nagisa Ōshima felt they were better suited to make films about “modern” Japan.
Here’s a quick video on the Japanese New Wave from Film Studies for YouTube.
Cinema Eras • Japanese New Wave Video Essay by Film Studies for YouTube
Some cinema historians combine the Japanese New Wave with the post-war era. For simplicity’s sake, we’ll do the same: the major films of this era (1940s-1960s) include Rashomon (1950), Tokyo Story (1953), and Seven Samurai (1954).
The Iranian New Wave began about fifteen years after the end of World War II, circa 1960-onwards. Iranian cinema is an important part of Iranian culture. Here’s a quick video on Iranian cinema from BBC News.
Important Dates in Film History • Spotlight on Iran’s Film Industry via BBC News
Cinema historians widely consider Dariush Mehrjui’s The Cow (1969) to be a foundational film for the movement. Abbas Kiarostami is perhaps the most famous Iranian filmmaker of all-time. His film Close-Up (1990) is regarded as one of the greatest films ever produced in Iran.
The British New Wave was a minor film movement that was defined by kitchen-sink realism – or depictions of ordinary life. Many filmmakers of the British New Wave were critics before they were directors; and they wanted to depict the average life of Britain through a filmic eye.
Here’s a lecture on the British New Wave from Professor Ian Christie at Gresham College.
History of Filmmaking • Street-Life and New Wave British Cinema by Gresham College
The British New Wave became synonymous with Cinéma vérité (cinema of truth) over the course of its brief existence. Some of the major pictures of the movement include: Look Back in Anger (1959) and Saturday Night and Sunday Morning (1960).
Russian cinema is complex… probably just as complex as American cinema. We could spend 100 pages talking about Russian cinema – but that’s not the focus of this article. We already talked about Soviet Montage Theory, so let’s skip ahead to post World War II Soviet cinema.
When I think of post-war Soviet cinema, I think of one name: Andrei Tarkovsky. Tarkovsky directed internationally-renowned films like Andrei Rublev (1969), Solaris (1972), and Stalker (1979) in his brief career as the Soviet Union’s pre-eminent maestro.
Here’s a deep dive into the works of Tarkovsky by “Like Stories of Old.”
Film Industry Timeline • Praying Through Cinema – Understanding Andrei Tarkovsky by Like Stories of Old
Tarkovsky wasn’t the only great filmmaker in the post-war Soviet Union – but he was probably the best. I’d be remiss if I didn’t use this section to focus on him.
History of Film Timeline
The Golden Age of Hollywood
The Hollywood Golden Age began with the fall of pre-Code Hollywood (1934) and lasted until the birth of New Hollywood (1968).
Major stars of the Hollywood Golden Age: Humphrey Bogart, Cary Grant, Katharine Hepburn, Audrey Hepburn, Elizabeth Taylor, Clark Gable, Ingrid Bergman, Henry Fonda, Kirk Douglas, Gregory Peck, Lauren Bacall, Grace Kelly, James Dean, Marlon Brando.
Major filmmakers of the Hollywood Golden Age: Cecil B. DeMille, Orson Welles, Billy Wilder, Frank Capra, John Huston, Alfred Hitchcock, John Ford, Elia Kazan, David Lean, Joseph Manckiewicz.
Notice how many names we included? It’s ridiculous – it would be wrong to omit any of them; and still, there are probably dozens of iconic figures missing. The Hollywood Golden Age was all about stars. Stars sold pictures and the studios knew it. “Hepburn” could sell a movie every time; it didn’t matter which Hepburn – or what the movie was about.
Here’s a breakdown of the Hollywood Golden Age from Crash Course.
History of Movies • The Golden Age of Hollywood by Crash Course
There are a few sub-eras within the Hollywood Golden Age era; let’s break them down in detail.
CENSORSHIP
Important Dates in Film History • Photo of MPPDA Chairman William Hays
In 1934, Chairman William Hays of the Motion Picture Producers and Distributors of America instituted a production code that banned graphic cinematic depictions of sex, violence, and other illicit deeds.
The “Production Code” or “Hays Code” was responsible for the censorship of Hollywood films for 34 years.
For more on the history of Hollywood censorship and movie ratings, check out the video from Filmmaker IQ below.
How Has Film Changed Over Time? • History of Hollywood Censorship by Filmmaker IQ
The Hays Code kept cinema tame, which led to Hollywood romanticism. But it also made cinema unrealistic, which made the American public yearn for improbable outcomes. Not to mention that it set race relations back an indeterminable amount of years. The Hays Code specifically forbade miscegenation, or “the breeding of people of different races.”
Ultimately, the censorship of Hollywood films was about keeping power in the hands of people with power. It had some positive unintended outcomes – but it wasn’t worth the cost of suppression.
Learn more about the Hays Code →
Learn more about the history of movie censorship →
FILM NOIR
How Movies Have Changed Over Time • Still from John Ford’s ‘The Searchers’
Hollywood westerns were incredibly popular during the Golden Age. Why? Because the American people loved stories of lawlessness and expansion, dating all the way back to Erastus Beadle’s dime novels – making the western the perfect subgenre for vicarious cinema.
Major Hollywood westerns: Stagecoach (1939), High Noon (1952), The Searchers (1956).
Westerns, much like film noirs, allowed repressed audiences to feel alive at the movie theater. Remember: Hollywood films were censored during the Golden Age, which meant you couldn’t find graphic violence or pornography at the theaters. So, audiences took what they could get – which was usually film noirs and Westerns.
Here’s a video on the history of Westerns in Hollywood cinema.
Evolution of Film • Western Movies History by Ministry of Cinema
Hollywood westerns inspired a global fascination with cowboys, mercenaries, and gunslingers, directly leading to samurai cinema, spaghetti westerns, zapata westerns, and neo-westerns.
Learn more about Spaghetti Westerns →
Learn more about Neo-Westerns →
McCARTHYISM & THE BLACKLIST
How Movies Have Changed Over Time • Bryan Cranston as Blacklisted Screenwriter Dalton Trumbo
In 1947, the state of Wisconsin elected notorious fear-monger Joseph McCarthy as senator of their state. McCarthy hated free-speech – that’s not a one-sided perspective, that’s the truth. McCarthy spent his entire career demagoguing, and his legacy shows that.
In 1950, ten Hollywood screenwriters were summoned to appear before the United States Congress House of Un-American Activities, largely because of McCarthy's divisive rhetoric against communist sympathizers. The screenwriters were cited for contempt of congress and fired from their jobs, and thus, the blacklist was born.
For more on McCarthyism and the Hollywood blacklist, check out the video from Ted-Ed below.
The History of Film • McCarthyism and the Blacklist by Ted-Ed
The Hollywood blacklist derailed the careers of hundreds of writers, directors, and producers from 1950-1960. The blacklist ended when Kirk Douglas credited Dalton Trumbo – one of the most famous blacklisted screenwriters – as the screenwriter of Stanley Kubrick’s Spartacus, effectively taking back control of Hollywood.
Learn more about the Hollywood Blacklist →
THE PARAMOUNT CASE
The History of Film • Paramount Studios Classic Style Logo
In 1948, the Supreme Court of the United States ruled that the five major motion picture studios: Paramount, Metro-Goldwyn-Mayer (MGM), Warner Bros., 20th Century Fox, and RKO violated the U.S. Sherman Antitrust Act of 1890.
As a result of the decision, movie studios could no longer solely create and distribute movies to their own theaters.
It may not sound important, but the Paramount Case changed everything for American cinema. Here’s a quick video on the Case and its lasting impact on Hollywood.
The History of Filmmaking • Film History 101: The Paramount Decree by Omar Rivera
The Paramount Case opened the door for international films and independent theaters. It also gave businesses more freedom to show movies outside of the MPPDA ratings system.
Evolution of Cinema
New Hollywood
Movie History • Still from Arthur Penn’s’ Bonnie and Clyde’
New Hollywood, otherwise known as the Hollywood New Wave, introduced “the film school generation” to Hollywood. New Hollywood films are defined as larger in scope, darker in subject matter, and overtly more graphic than their Golden Age predecessors.
Major New Hollywood filmmakers: George Lucas, Steven Spielberg, Martin Scorsese, Brian De Palma, Peter Bogdanovich, Woody Allen, Francis Ford Coppola, James Cameron.
Major New Hollywood films: Bonnie and Clyde (1967), The Graduate (1967), Easy Rider (1969), Midnight Cowboy (1969), The Godfather (1972), American Graffiti (1973).
New Hollywood ushered American filmmaking into a new era by returning to the popular genres of the pre-Code era, such as gangster films and sex-centric films. It also marked the emergence of “film-school” directors like George Lucas, Steven Spielberg, and Martin Scorsese. It’s clear from watching New Hollywood films that the writers and directors who produced them were acutely aware of cinema history.
During this era, writers like Woody Allen employed themes of existentialist cinema found in the French New Wave and Italian Neorealism (among other movements). Directors like Martin Scorsese utilized advanced framing techniques pioneered by masters of the pre-war era.
For more on New Hollywood, check out this feature documentary based Peter Biskind's seminal book "Easy Riders, Raging Bulls."
Movie History • How New Hollywood Was Born
New Hollywood (and its immediate aftermath) produced some of the greatest films of all-time: such as The Godfather (1972), The Godfather Part II (1974), Chinatown (1974), Taxi Driver (1976), Network (1976), and Annie Hall (1977).
Somewhat tragically, New Hollywood ended with the emergence of blockbuster films – such as Jaws (1975) and Star Wars (1977) – in the mid to late 1970s.
Learn more about New Hollywood →
Eras of Movies
Dogme 95 and Independent Movements
Big-budget movies dominated the movie-scene after New Hollywood ended. Suddenly, cinema became more of a spectacle than an art-form. That’s not to say movies produced during this era (1975-1995) were bad – some big-budget films, like Back to the Future (1985) and Jurassic Park (1993) were financially successful and critically acclaimed; and writer/directors like John Hughes found enormous success making studio films about seemingly mundane life.
But despite the financial prospect of making contrived studio films, some filmmakers decided to go back to their roots and make films independently, much in the vein of the artists of the French New Wave. This spirit inspired the Danish Dogme 95 movement and the American Independent movement.
DOGME 95
Evolution of Film • Photo Still from ‘Festen’ by Thomas Vinterberg
D0gme 95 – a Danish film movement that brought filmmaking back to its primal roots: no non-diegetic sound, no superficial action, and no director credit.
Major Dogme 95 filmmakers: Thomas Vinterberg and Lars von Trier
Major Dogme 95 films: Dogme #1 – Festen (1998), Dogme #2 – The Idiots (1998), Dogme #12 – Italian for Beginners (2000).
It’s ironic that Dogme 95, which states the director must not be credited, is perhaps best known for the fame of two of its founders: Thomas Vinterberg and Lars von Trier. Dogme 95 sought to rid cinema of extravagant special effects and challenging productions by making the filmmaking process as simple as possible. To do this, its founders created the Vows of Chastity: a ten-part manifesto for Dogme 95 filmmaking.
Check out a video on the Vows of Chastity and Dogme 95 below.
History of Cinema • Vows of Chastity – Films of Dogme 95 by FilmStruck
Ultimately, the Vows of Chastity proved too limiting for filmmakers – but their influence lives on in New Danish cinema and independent films all over the world.
Learn more about Dogme 95 →
INDIE FILM
History of Cinema • Still from Kevin Smith’s ‘Clerks’
Indie film – or late 80s, early 90s cinema produced outside of the major motion picture system – was about experimenting with new cinematic forms, pushing the Generation Next agenda, and making art by any means necessary.
Major indie filmmakers: Richard Linklater, Wes Anderson, Steven Soderbergh, Jim Jarmusch.
Major indie films: Sex, Lies, and Videotape (1989), Slacker (1990), and Bottle Rocket (1994).
The American indie movement launched the careers of a myriad of great directors. It also marked the beginning of a major decline for film. The advent of digital cameras and DVDs meant film was becoming a luxury. Conversely, it meant procuring the necessary equipment needed to make movies was easier than ever.
Indie-films introduced the idea that anybody could make movies. For better or worse, the point proved to be true. The '90s and early 2000s were littered with independently produced, scarcely funded movies. It was unrestrained, but it was also liberating.
Check out this video on no-budget filmmaking from The Royal Ocean Film Society to learn more about the indie movement.
Evolution of Cinema • Lessons for the No-Budget Feature by The Royal Ocean Film Society
The indie movement (as it was known then) ended when the major studios (like Disney and Turner) bought the independent studios (like Miramax and New Line). Today, we often refer to minimalist, low-budget movies as independent, but the truth is just about every production studio is owned by a conglomerate.
How Has the Film Industry Changed?
New Distribution Methods
The current state of cinema is in flux due to a wide array of issues, including (but not limited to) the economic impact of the Covid-19 pandemic, the wide-adoption of new streaming services from first-party producers, i.e. Netflix, Disney, Paramount, etc., and the growth of new media forms.
Over the last few years, big-budget epics like Marvel’s The Avengers and Star Wars have performed well at the U.S. and Chinese box-office, but their success has often come at the expense of medium-budget movies; the result being a deeper lining of the pockets of exorbitantly wealthy corporations.
Still, there’s a lot of money to be made – a point perhaps best proven by the rise of the Chinese film industry. In 2020, China overtook North America as the world’s biggest box-office market, per THR. Check out a video on Hengdian, China’s largest film studio from South China Morning Report.
Movie History • Inside China’s Largest Film Studio by South China Morning Report
Movies seem to get bigger and bigger every year but the development of computer-generated-imagery and compositing techniques has given filmmakers the technology to create vast worlds in limited spaces.
So: what’s next for film? Who’s to say for certain? The future of the industry looks cloudy – but there’s definite promise on the horizon. More people have cinema-capable cameras in their pocket today than ever before. Perhaps the next great movement will take off soon.
Up Next
100 Years of Cinematography
The history of film includes a lot more than what we went over here. In 2019, the American Society of Cinematographers celebrated 100 years of great cinematography with a list of legendary works. In our next article, we break down some of the ASC’s choices with video examples. Follow along as we look at the work of Conrad Hall, Vittorio Storaro, and more.
Up Next: Best Cinematography of All-Time →
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http://americancinematheque.blogspot.com/2016/08/the-innovator-jerry-lewis-at-paramount.html
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en
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MOVIES ON THE BIG SCREEN: THE INNOVATOR: JERRY LEWIS AT PARAMOUNT PICTURES, by Jim Hemphill
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[
"American Cinematheque"
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A blog celebrating all things moving image.
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http://americancinematheque.blogspot.com/favicon.ico
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http://americancinematheque.blogspot.com/2016/08/the-innovator-jerry-lewis-at-paramount.html
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What's new at the American Cinematheque's Egyptian and Aero Theaters
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https://www.hollywoodreporter.com/lists/if-cast-imaginary-friends-voice-actor-guide/
|
en
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‘IF’: See Who Voices the Imaginary Friends in John Krasinski’s Film
|
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[
"Tatiana Tenreyro"
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2024-06-10T23:33:44+00:00
|
For the IF movie, see the celebs who voice animated characters in the movie starring Ryan Reynolds, John Krasinski, Blake Lively and Bradley Cooper.
|
en
|
The Hollywood Reporter
|
https://www.hollywoodreporter.com/lists/if-cast-imaginary-friends-voice-actor-guide/
|
John Krasinski recruited an A-list cast to voice the imaginary friends in his new family-friendly fantasy film, IF.
Director and co-writer Krasinski stars as the father of 12-year-old Bea (Cailey Fleming), who gains the ability to see imaginary friends (referred to as “IFs”) who have been left behind by those who’ve grown up. With the help of her neighbor Cal (Ryan Reynolds), who shares her power to see IFs, Bea sets out to provide the imaginary friends with new kids to play with.
Besides Krasinski, who in addition to his live-action role as Bea’s dad also voices Marshmallow, the all-star cast includes Steve Carell, Emily Blunt, George Clooney, Maya Rudolph, Jon Stewart, Bradley Cooper and Blake Lively.
Krasinski told The Hollywood Reporter that he took ideas from his and Blunt’s children while writing the flick. “I pitched them the idea of the script, I showed them all the drawings I did while I was writing the script — I’m a terrible artist, so I had to walk them through that,” he explained. “They told me what was cute about certain IFs, what wasn’t cute, what they wanted to change.”
He also shared that his daughters’ own IFs are featured in the movie. “Ally the pink alligator is one of my daughter’s and the other one is the flaming marshmallow, so it’s a family affair,” he said.
Read on to find out the voices behind the film’s 19 IFs.
|
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| 84 |
https://community.withairbnb.com/t5/Hosting/Do-you-allow-film-and-photo-shoots-in-your-listing/td-p/963781
|
en
|
Do you allow film and photo shoots in your listing?
|
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2019-03-13T18:56:46.446000+00:00
|
I have a bit of experience with this but was just wondering what other hosts' perspectives were on the subject. I've always had photo shoots at my
|
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https://community.withairbnb.com/html/@06419164B24F16DE69937C84658D7619/assets/favicon.ico
|
https://community.withairbnb.com/t5/Support-with-your-bookings/Do-you-allow-film-and-photo-shoots-in-your-listing/m-p/963781#M67959
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Thanks @Paul154.
Yes I do think it helps a lot that I work in the industry as I know what can go wrong and what the price is for that noise, commotion etc. happening in my house and it is NOT the same as the AIrbnb room rate!
I do get the impression from some of the requesters who got stroppy when I said I would not do it for Airbnb rates that some hosts are not aware of any of this and happily accept the booking for the nightly price thinking A. How exciting! My place is going to be in a photoshoot! and B. That's an easy way to make money (just like non-hosts often think hosting is making money without doing any work). WRONG!
So, that's what I'd like to hear from other hosts. Have you tried it? How did it work out for you? I'm very happy to give advice on the subject if anyone needs it. Apart from my industry knowledge, I learnt a lot from that one bad experience with the film students that has taught me to put down very firm guidelines and not let anyone cross them. So far, that seems to be working.
The last shoot was a couple of days ago with a small group of students from my former university. They paid for 2 x adults for 2 x nights to shoot here for under four hours and only used the bedroom. I laid down a very strict set of rules for them from the get-go and, as soon as they asked for something not previously agreed to, were told no straight away. I haven't received the review yet (if they leave one) so can't be 100% sure, but they seemed very, very grateful for being able to shoot here.
@Paul154 @Huma0
Paul,
I'm sorry to say, but it doesn't seem you are properly attuned to the discussion raised by Huma. There is rather evidently a dissonance between your two voices.
Indeed, it's an almighty chasm between what Huma speaks of, individual small projects of modest budgets; while you are fantasizing about Block Buster movies, as if Hollywood would come crawling at your door to offer you a measly 50 bucks while raking millions. Dream On!
You've clearly got an active imagination, but it seems you're projecting something unreal, or at least not based on experience.
I've recounted some of mine, and that's starting from the same base as you, far from Huma's 'expertise', no experience whatsoever, but one that I was attracted to try when inquiries began. It was a big surprise, and as mentioned I consulted another Airbnb hostess in London who was well versed on the subject having been a Location Libary Manageress
.
I summarily believe that Huma's suggestion to Airbnb seems an excellent one, 'they are always launching new categories and this could be a good money maker for them'.
Indeed, Airbnb has such a global array of properties in their portfolio, that would attract all comers, from the small to the large. So why not consider opening their own Location Library as a branch of their enterprise?
@Alon1
You are right, we are talking about small project here. The ones I get contacted about via Airbnb are typically students, photographers looking to do a simple shoot, e.g. model portfolio shots, or someone launching a new, but small brand. I have never been contacted via Airbnb about a big production. Those people use the location agencies.
I have had bigger production requests via the agency but, as I mentioned to you earlier, they have a real problem with Airbnb guests staying, so that didn't work out. It seems that sort of thing is only possible when you are not hosting or happen to not have guests staying.
I also get adhoc enquiries from time to time by location scouts simply knockng on my door. One time this was for a full on feature film starring a famous actor that I am not too keen on, but they just wanted to shoot my front door and entrance hall. They were pretty serious and came back for a second visit but opted for another property. I did see them filming across the road some time later. For this sort of thing, I would easily expect to be paid over £1,000 a day, if not considerably more, but these are not the offers you get via Airbnb. Not yet, anyway...
@Alon1
Ah yes, I do remember that listing quite clearly as it always popped up in highlights and articles etc. when I started hosting in my home. Having something unique like that is for sure a real pull for people wanting to do shoots.
The attraction of my place is that it has lots of period features (in a quite quirky, not totally typical way) and I guess also that I've put quite a lot of effort into the interior decoration. Plus, there are some good sized (but not massive) rooms.
Of course, somewhere that has something unique or grand will always attract more enquiries, but film/TV production companies are always looking for various types of properties, from country piles to council estates, so you don't have to have something 'wow' to get the odd shoot here and there. It's more a matter of being out there on the platforms that people are looking on and I definitely get the impression that more professionals would be looking on AIrbnb if they had a category for hosts that are open to this.
@Ian-And-Anne-Marie0 & @Huma0
1) re. Paul's contribution
We are all virtual strangers, meaning that outside of this global forum, few if any of us know each other personally.
Indeed, I don't know Paul and therefore can't tell about 'his sense of humour'.
However, in my interpretation of his comment, far from exercising his humour, it seemed to me that he rather offered a serious comment on a subject of which he has no experience, and therefore articulated nothing more than the product of his imagination.
Paul did not reply to my comment, but if he did he may choose to confirm one way or the other.
2) re: 'If AirBnb did a Location Library I'd expect the email ....'
Contrary to Paul, it seems you are trying to be funny! But I must confess that I find your expression of humour in this case a little frustrating and demeaning, because it does not seem to me that you have taken the time and effort to peruse the contribution of those who do have experience in this field.
I need be more explicit as I note from your Profile biography that you are a Photographer. However, it does not appear that you have had any experience of letting your place via Airbnb to photographers or film makers. Please correct me if I'm wrong.
-------
Finally, then, how might Airbnb consider this venture?
In addition to what I've posted on this thread, I would just add that my listing states:
Re 'EVENTS': PHOTO/FILM shoots (Please discuss terms).'
re. Discuss Terms: On this thread I've stated the advice I received from the ex-Location Library manageress: 'to be firm but flexible in negotiating price for each individual project.'
I wasn't so explicit to mention on this thread as I have done other places, that in fact, one can achieve considerably higher rates for this type of booking than nightly rates. Moreover, in a private message to Huma I quoted her the price range I've managed to achieve.
Huma replied that she has achieved similar prices, perhaps even higher.
In sum, it seems Huma and myself are in agreement about the process of negotiation; that it might lead nowhere and be a waste of time; alternatively, one can potentially receive considerably more than nightly rates.
[For me who does not do Instant Book, the process of Inquiry is normal, and conversion rate of Inquiry into Booking has remained remarkably consistent over 6 years at c. 35% .]
Consequently, as we would like to promote the idea to Airbnb of Location Libraries, the question you raise is a pertinent one: how might Airbnb market it?
Airbnb constantly request feedback and inform us that they take stock of our responses. Therefore, it's plausible that they may well understand that on the one hand set prices will be higher than nightly rates; and on the other hand, that it's more than likely that each project will be negotiated separately.
In short, my suggestion at least that Airbnb should consider to market the Location Library differently than their normal enterprise; and given the primary need for negotation, Instant Book would hardly work with this venture.
In any case, based on my experience (and it seems Huma and others as well), this could be a potentially lucrative branch of the Airbnb enterprise.
@Alon1 You need a sense of humour injection, and since I 'perused' every post on this thread before commenting, your comment was in fact demeaning.
Yes, as a photographer for nearly 40 years I've been involved with location shoots both film and video and none of them have been the type which were inconspicuous. For that reason, communication with the location owner was paramount and negotiation of fees - involved.
The idea that Airbnb could cater for this is ludicrous.
The fees banded around here for location rates are appealing... Thats because those fees are obtained by agents understanding the market and the location being part of specialist location finding database specifically for the purpose. If you want to access those, join a specialist listing group who actively promote higher fees reflecting the value of the commodity which @Paul alludes to, and create your own location shoot website promoting your space. Taking negotiations away from Airbnb would be the way to get the rates and terms you want and is already what is happenning.
Without splitting hairs over contract negotiations and chasing 'AirBnb business development ideas' where it seems they are struggling in their mainstay of home sharing according to many posters on these forums 'hot air' on how best to perform a business shift is eactly that.
"If AirBnb did a Location Library I'd expect the email " Dear Ian, A production crew booked a Barn Conversion near you for 23% less. To increase your bookings you might consider reducing your rates". It's a fast race to the bottom. Lol."
It seems my previous post encapsulated all aspects of this post. Perceptive, factual and... was even humerous!
@Ian-And-Anne-Marie0
Just to clarify, the reason I posted the agency rates (and hopefully I was clear that this is what the agency charges and not what I charge for enquiries via Airbnb), was to show one of the reasons why I would never accept a nightly Airbnb rate for shoots. Some hosts may think they are doing well to get some shooting during the day and not staying overnight for that rate, but I would not.
Of course you are right that it is highly unlikely to get those agency rates via Airbnb and I do not charge anything close to them to contacts that come via Airbnb. If they had that sort of budget, they would have a wealth of locations to choose from via agencies.
The reason I suggested that Airbnb considers this as a category (and I am aware that this might not be possible due to insurance purposes etc.) is that I get SO many shoot enquiries on here and I am sure I am not alone in that. Listing in that specific category would need to involve higher rates than the guest rates and a different set of house rules etc. I agree also that instant book would not be possible. The person making the request/enquiry would need to fill in different details from a guest.
Perhaps it's pie in the sky thinking, but it would be good to be able to direct those enquiries via a structured system rather than having to explain to (most) of them that they cannot hire a location for a nightly guest rate and that particular rules apply.
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https://www.premiumbeat.com/blog/genre-breakdown-horror-films/
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en
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Genre Breakdown: The Different Types of Horror Films
|
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[
"Daniel Cooper"
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2022-03-14T14:00:00+00:00
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In this genre tour, we breakdown some of the best-known sub-genres for tips on how to improve your own horror filmmaking endeavors.
|
en
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The Beat: A Blog by PremiumBeat
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https://www.premiumbeat.com/blog/genre-breakdown-horror-films/
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In this genre tour, we breakdown some of the best-known sub-genres for tips on how to improve your own horror filmmaking endeavors.
Suppose your friend suggests seeing a horror film this weekend, let me ask you: Which genre comes to mind? Psychological? Paranormal? Monster?
See, while we associate horror as the genre that will elicit fear and revulsion for entertainment purposes, there are many sub-genres that exist within it, and each genre plays on different fears.
I’m sure I’m not alone in saying that we tend to double-check our front doors and move a bit quicker to the bed after watching the latest horror. But how do you, an aspiring filmmaker, create these feelings and experiences for your audience? Which genre offers you accessible avenues to explore when making your fearfully frightful film? This will depend on which sub-genre of horror you want to focus on.
Let us embark on our ghost-train tour of horror film genres, where we will break down some of the best-known sub-genres for tips on how to improve your horror filmmaking.
When you go back to the origins of the horror genre in film history, we pay homage to the French filmmaker George Méliès, with his 1896 short film Le Manoir du Diable (The House of the Devil), re-using shots in minimal locations (tip numéro un.)
However, the Japanese weren’t far behind, releasing two of the earliest horror films ever documented—Shinin No Sosei (Resurrection of a Corpse) and Bake Jizo (Jizo the Spook) in 1898.
However, as we follow the genre from its international roots into modern day, we find that horror lends itself to indie and DIY filmmaking and includes some of the most diverse and creative sub-genres. (If you need a quick primer on genre theory, check out this article first.)
Slasher Horror
Let’s start with one of the most beloved horror sub-genres. Many consider the slasher film one of the most sensational and popular genres. You can trace its origins to John Carpenter‘s Halloween in 1978, where it enjoyed a prominent run in the ’80s and ’90s, perhaps culminating in the mainstream success of the slasher-esque thriller The Silence of the Lambs.
The slasher is still out there and thriving today (I don’t mean literally), but like most contemporary horror, it’s often self-aware—if not self-deprecating. Slasher films can be pretty straightforward to write and shoot, as they need to follow standard thriller plot points, leading back to the systematic hunting of an unknown assailant. Don a creepy costume and track an unsuspecting group or individual.
The good thing about this sub-genre is that it can occur outside or indoors, depending on your resources. Remember that you’ll need VFX if you want to create heart-racing slashing scenes. If you’re on a budget or don’t have the skills yet to film your protagonist tearing through flesh comfortably, never underestimate the power of a shadow or blood splatter.
Films to check out:
Psycho
Scream
Halloween
Black Christmas
A Nightmare On Elm Street
Behind The Mask
When A Stranger Call
I Know What You Did Last Summer
Zombie Horror
Another of the most recognized horror sub-genres is the zombie film. Introduced in 1968 by horror maestro George A. Romero, Night of the Living Dead quickly became a fan favorite.
As the sub-genre evolved, we saw a diversion when it began to embraced comedy and light-heartedness with Shaun of the Dead, compared to hyper-realized franchises like 28 Days Later.
Zombie films are often fun projects for aspiring horror filmmakers, as the styles and tropes are so widely known at this point. Style your cast in ripped and bloody attire with some dark, gory makeup, and your zombie horror film could come alive before you can say “brains!”
Aesthetically, it doesn’t require much if you focus on the days pre-apocalypse, and you can film it pretty much anywhere. We recommend finding somewhere remote and a little run-down—access permitting, of course.
With the incredible popularity of The Walking Dead and subsequent media properties that looked to capitalize on The Walking Dead‘s infamy, one could argue that the zombie genre has been “done to death.”
However, what about the notion of incorporating the zombie genre into a typically unseen manner. Here’s the perfect example in the form of the short film “Cargo.” I can’t say much about it as it may spoil the story, but it’s worth watching and also worth noting that the short was later adapted into a feature film with Martin Freeman.
Films to check out:
Dawn of The Dead
Day of the Dead
28 Days Later
Shaun of The Dead
Train to Busan
Night of the Living Dead
Zombie Flesh Eaters
Folk Horror
Outside of hallmark styles such as slasher and zombie, many horror sub-genres explore what we find fascinating and frightening more thoroughly. Folk horror is a sub-genre that explores the terror of the unknown in natural and rural regions—beyond the safe confines of urban life. We see folk horror cross into other genres, but it remains strong with its core themes in classics like Children of the Corn and modern films like Midsommar.
Our tip is to have a suitable location that you can utilize well for filming this sub-genre. If you have access to an expanse of fields and forests or a cool-looking barn, you and your large group of friends could create a pretty neat folk horror short. It could also be heaps of fun as you sing “Ring Around the Rosie” holding hands.
Recently, we put together the tongue-in-cheek folk horror starter kit. I recommend checking out this article if folk horror is where you intend on planting the roots of your film.
Films to watch:
Kuroneko
Kwaidan
The Wicker Man
The VVitch
Midsommar
Children of The Stones
A Warning To The Curious
Body Horror
Body horror is a sub-genre that explores the terrors of our human bodies. The sub-genre often gets associated with the career of horror filmmaker David Cronenberg and his classics—Scanners, Videodrome, and The Fly. However, you can find traces of body horror in everything from Alien to The Human Centipede.
Camera angles, props, and VFX are essential for this sub-genre. But, these will only carry you so far. A good cast who can portray realistic reactions is at the core of making a believable body horror short.
If you think you have these nailed and know what you’re doing from a safety perspective, all you need is a location that compliments your storyline, where you and your crew can comfortably create the most uncomfortable short film. It’s probably not the most budget-friendly if you want to use some jaw-dropping VFX, but it can deliver a punch if you get it right.
While you may not be able to finance similar results to a Xenomorph jolting through the stomach of one of your cast members, in the following tutorial below, you’ll at least be able to lose a few limbs.
Body horror greats:
The Thing
Alien
Rosemary’s Baby
Possession
Aliens
Black Swan
The Fly
Carrie
Under The Skin
One of the most surprisingly successful horror sub-genres of the past few decades is found-footage horror. This is excellent news for limited-budget and micro-budget filmmakers, as this sub-genre certainly lends itself to minimal and DIY productions.
It’s an odd marriage between the rapidly advancing modern technologies like video recording, home video, and smartphones, and the same classic horror fears we explored above—like those we find in slasher, folk horror, and zombie films.
The hallmark found-footage horror film would be The Blair Witch Project—released in 1999 with a $60,000 budget. It earned well over $200 million. Since then, we’ve seen big franchises and films like Paranormal Activity, Cloverfield, and V/H/S thrive.
DIY filmmakers on a small budget have to think realistically when it comes to creating their horror short that’s scary enough to make their parents raise their eyebrows. We recommend found-footage because, unlike other genres, you can choose to rely on yourself and your trusty camcorder solely—you can’t blame anyone else for not charging it!
You can completely control your film, bringing many positives such as what you say, where you film, and when you break for lunch. However, the essence of this sub-genre will be in the writing and performance.
If you’ve got an engaging script and a good set of heavy-breathing skills, you’re bound to leave your audience feeling breathless.
Films to watch this weekend:
Noroi
REC
Troll Hunter
The Blair Witch Project
The Taking of Deborah Logan
V/H/S
The Tunnel
For more genre theory and horror filmmaking tips and tricks, check out these articles:
A Guide to the Basic Film Genres
Video Tutorial: Create Retro Horror Movie Titles in After Effects
Lamb: Arthouse Horror and the Rise of a New Genre
The Editor of “Us” on Working with Jordan Peele and the Horror Genre
Cinematography Tips for Horror Filmmakers
Strange ’80s Synth Music for Horror and Fantasy Films
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https://www.visitcalifornia.com/experience/10-great-ways-see-celebrities-california/
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en
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10 Great Ways to See Celebrities in California
|
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2022-04-12T20:23:52+00:00
|
From TV studios to legendary hotels, Los Angeles spotsâand a few elsewhere in the stateâwill have you seeing stars.
|
en
|
/assets/favicons/apple-touch-icon.png?v=1
|
Visit California
|
https://www.visitcalifornia.com/experience/10-great-ways-see-celebrities-california/
|
No state can hold a candle to California in terms of sheer star power. Itâs a place where celebrities have lived, worked, and played since the golden age of cinema. Los Angeles has all the glitz, glam, and red carpets expected of the moviemaking capital of the world, while the laid-back luxury of beach towns like Montecito, Malibu, and Newport Beach offer their own allure with secluded shores and swanky boutiques.
Hereâs a guide for starstruck fans hoping to see some of the biggest names in Hollywood, from Oscar-winning actors and music moguls to athletes and multi-hyphenate entertainers.
1. Be part of a live studio audience
From The Late Late Show with James Corden to American Idol to The Voice, some of TVâs most popular shows tape live on sound stages across Los Angeles County. Whether you want to laugh out loud to mean tweets on Jimmy Kimmel Live! or cheer for a costumed competitor on The Masked Singer, opportunities abound to get a behind-the-scenes glimpse of your favorite talk-show hosts, game-show presenters, and sitcom stars. Most tapings are free to attend, but itâs best to begin looking for tickets a few months in advance. Pro tip: Plan to spend several hours at the studio.
2. Dine at their favorite restaurants
Tinseltownâs elite have an affinity for stylish restaurants. Cecconi's West Hollywood is a popular Hollywood hotspot, welcoming music icons such as Madonna, The Weeknd, and Britney Spears onto its airy patio. Also on Melrose Avenue, Catch LA's seafood-focused menu is a favorite of Justin Bieber and wife Hailey. In nearby Hollywood, the Chris Santosâowned Beauty & Essex is a favorite for celeb soirees. Actor America Ferrera and rap powerhouse Cardi B are among the restaurant's high-profile revelers. Other restaurants frequented by the stars include The Ivy and Sugarfish in Beverly Hills; Nobu Malibu; Craigâs on Melrose; and Giorgio Baldi in Santa Monica.
3. Hang out at a hotel bar
These three iconic L.A.-area hotels are steeped in history, making them a favorite among visiting celebs seeking a Golden State getaway. Opened in 1912, The Beverly Hills Hotel has hosted famous guests from Howard Hughes to John Lennon. Today, perch at The Polo Lounge bar to be the first to know about power lunches like the one between SNL media mogul Lorne Michaels and Kim Kardashian. At The Hollywood Roosevelt, birthplace of the Academy Awards and home to Marilyn Monroe for two years, grab a day pass to the Tropicana Pool to stargaze at visiting celebs like Justin Timberlake and Miley Cyrus. The legendary Chateau Marmont now limits overnight stays to members only, but if you can get a table at the ultra-exclusive restaurant you might catch a glimpse of celebs such as Beyonce and Jay-Z, Rihanna, and Keanu Reeves.
4. Score a seat at an awards show
Fans are the big winners at shows like the iHeart Radio Music Awards and American Music Awards, which both take place in Los Angeles. Free pit tickets, general admission, and seat-filler spots are typically available in advance of the show through online ticketing sites like 1iota, SeatFillersAndMore.com, or directly through the venue. Prestigious industry events such as the Academy Awards, Grammys, Emmys, Golden Globes, and Screen Actors Guild Awards are invite-only, but often have a number of red-carpet bleacher seats available for the general public. These once-in-a-lifetime spots are typically part of ticket giveaways through association partners, so check online in the months leading up to the show.
5. Attend a film festival
Under-the-radar festivals in SoCal offer easy access to star-studded parties, premieres, and screenings. In coastal Orange County, the Newport Beach Film Festival has become a notable stop during awards season, offering opportunities to rub elbows with celebs at the glittering waterfront celebration or as they take a seat next to you in a darkened theater. âFrom Will Ferrell, Rita Moreno, and Aaron Sorkin to Henry Golding, Saniyya Sidney, and Calvin Harrison, Jr., the Newport Beach Film Festival creates an environment where the audience can engage with both legendary talent as well as rising stars,â says festival CEO and co-founder Gregg Schwenk. Also check out the Palm Springs International Film Festival and Santa Barbara International Film Festival, which have welcomed Academy Awardânominated actors such as Benedict Cumberbatch and Kristen Stewart.
6. Take a neighborhood stroll
To see stars in their natural element, step away from the hustle and bustle of L.A. and head to the water. The seaside retreat of Malibu, with its mountain views and 16 miles of shoreline, is a whoâs who of the entertainment industry. You might run across Lady Gaga en route to Vintage Grocers or Caitlyn Jenner while sipping coffee at Trancas Country Market. Up the coast, Montecito is a tony beach town in Santa Barbara County thatâs home to the rich, famous, and royal. Oprah, Ariana Grande, and Meghan Markle and Prince Harry are all neighbors here, enjoying a quiet life at laid-back spots like Luckyâs Steakhouse and the high-end market and boutique Pierre LaFrond & Co.
7. Embark on a studio tour
Do more than just see the starsâlearn about the rich history of and get an up-close look at working studios and soundstages. While thereâs no guarantee that youâll spot your favorite A-lister, keep your eyes peeled for a rare sighting. At Universal Studios Hollywood, the 60-minute studio tour takes visitors past iconic sets like the Bates Motel and mansion from Psycho and the Boeing 747 from War of the Worlds. The VIP experience also allows guests to disembark from the tram and explore the backlotâs outdoor sets on foot. In Culver City, the Sony Pictures Studio Tours takes visitors backstage where production crews are setting up for game shows including Wheel of Fortune and Jeopardy!, and costumed extras for various sitcoms may be wandering around. Other working backlot tours include the Warner Bros. Studio Tour in Burbank and Paramount Pictures Studio Tour in L.A., where Dr. Phil and NCIS: Los Angeles currently film.
8. See âcelebritiesâ at Madame Tussauds
Donât leave the stargazing up to chance. A family-friendly way to ensure you see all your favorites is a trip to Madame Tussauds Hollywood, where you can pose alongside wax figures ranging from Dwayne âThe Rockâ Johnson to pop icons like Taylor Swift. âItâs the only wax museum that works directly with A-list celebrities to create incredibly detailed and lifelike figures,â says spokesperson Brittany Williams. âAlways on top of the latest pop-culture trends, the attraction offers an interactive experience beyond TV, film, and phone screens.â
9. Attend a Hollywood Walk of Fame Star ceremony
The Hollywood Walk of Fame stretches 15 blocks on Hollywood Boulevard, honoring more than 2,700 legendsâeveryone from Henry Winkler to Wink Martindale. Several times a year, new stars are inducted at ceremonies that draw huge crowds of fans and fellow celebs. Ceremonies are free to attend and no tickets are required; check the Hollywood Walk of Fame website for the latest announcements on new honorees.
10. Hit the Sunset Strip on a TMZ Celebrity Tour
Who better to take you on a tour of Tinseltown than some of L.A.'s best star seekers? The TMZ Celebrity Tour cruises through the streets of Hollywood, West Hollywood, and Beverly Hills during a two-hour sightseeing trip that hits up landmarks like the Beverly Wilshire Hotel, Rodeo Drive, and the Viper Room. TMZ's newsroom staff are the eyes and ears of Hollywood, guiding their drivers with up-to-date information so they can pull up next to stars like Jennifer Lopez and Ben Affleck when theyâre waiting at a stoplight. To get more insight about this tour, listen to the âCaliforniaâs Movie Magicâ episode of the California Now Podcast.
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Interviews with historians, writers, filmmakers, politicians, and immigrants are intercut with archival newsreels, still photographs, comics, and live action footage to illustrate the construction of the Statue of Liberty, and the significance of freedom worldwide. In 1865, Édouard René Lefèbvre de Laboulaye, a lawyer and chairman of the French Anti-Slavery Society, suggested the construction of a monument to be gifted to America for its 1876 centennial celebration. At the time of Laboulaye’s proposition, France was still reeling from Napoleon Bonaparte’s dictatorship, and people generally believed the democratic ideals of the French Revolution had been forsaken. Laboulaye thought America succeeded at democracy where France had failed, and hoped the project would spark new efforts to ensure liberty in France. He also believed that a French statue of mass proportions at the gateway to America would put his country’s footprint in the landscape of “democracy.” To gain support for the
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/favicon.ico
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https://catalog.afi.com/Catalog/moviedetails/57483
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The documentary begins by asking, “What is liberty?” After brief responses from well-known writers and politicians, including Jerzy Kosiński, Milos Foreman, David McCullough, Barbara Jordan, Mario Cuomo, and James Baldwin, the film is divided into two sections: “The Idea” and, “The Promise.” Both topics are addressed theoretically as well as technically, with “The Idea” covering concepts of democracy and the construction of the Statue of Liberty, and “The Promise” illustrating the hopes of immigrants as their ships pass by the monument to reach Ellis Island. “The Promise” is also described by African Americans, who reflect upon their ancestors’ lack of freedom. Interviewees note that racism and socio-economic factors prevent the fulfillment of a pledge in the U.S. Declaration of Independence: “Life, Liberty, and the Pursuit of Happiness.” All agree freedom should not be taken for granted.
As shown in the documentary’s live-action footage, the statue was being renovated during production, and scaffolding surrounded the entire figure. On 5 Jul 1983, a NYT article announced that scaffolding construction would soon be underway, implying that the film began sometime after that date. The print viewed for this record also includes images of First Lady Nancy Reagan officially opening the statue on 5 Jul 1986. However, the documentary aired on the Public Broadcasting Service (PBS) on 28 Oct 1985 and was screened theatrically later that year to qualify for Academy Award consideration. The Statue of Liberty was nominated for an Academy Award in the category Documentary (Feature). Since the film opened in theaters on 1 Mar 1986, the Nancy Reagan footage must have been added at ...
More Less
The documentary begins by asking, “What is liberty?” After brief responses from well-known writers and politicians, including Jerzy Kosiński, Milos Foreman, David McCullough, Barbara Jordan, Mario Cuomo, and James Baldwin, the film is divided into two sections: “The Idea” and, “The Promise.” Both topics are addressed theoretically as well as technically, with “The Idea” covering concepts of democracy and the construction of the Statue of Liberty, and “The Promise” illustrating the hopes of immigrants as their ships pass by the monument to reach Ellis Island. “The Promise” is also described by African Americans, who reflect upon their ancestors’ lack of freedom. Interviewees note that racism and socio-economic factors prevent the fulfillment of a pledge in the U.S. Declaration of Independence: “Life, Liberty, and the Pursuit of Happiness.” All agree freedom should not be taken for granted.
As shown in the documentary’s live-action footage, the statue was being renovated during production, and scaffolding surrounded the entire figure. On 5 Jul 1983, a NYT article announced that scaffolding construction would soon be underway, implying that the film began sometime after that date. The print viewed for this record also includes images of First Lady Nancy Reagan officially opening the statue on 5 Jul 1986. However, the documentary aired on the Public Broadcasting Service (PBS) on 28 Oct 1985 and was screened theatrically later that year to qualify for Academy Award consideration. The Statue of Liberty was nominated for an Academy Award in the category Documentary (Feature). Since the film opened in theaters on 1 Mar 1986, the Nancy Reagan footage must have been added at a later date.
The Statue of Liberty was awarded the Council on International Nontheatrical Events (CINE) Golden Eagle in Oct 1985.
Portions of end credits on the print viewed for this record may have been added during the 2002 re-mastering. They acknowledge using clips from the following films: "Mr. Smith Goes to Washington, courtesy of Columbia Pictures; Anything Can Happen, courtesy of Paramount Pictures; Planet of the Apes, courtesy of Twentieth Century Fox.”
End credit also state: “Contemporary artwork courtesy of: A&M Records, Michael Rock, Jacques Faizant, Folon, Pierre Etaix, Gotlib, Bob Gruen/Star File Photo, American Postcard Co., Jean LaGarrigue, Andy Warhol/Marx-Berlin.” The following people and institutions are credited for providing “archival material”: “American Heritage; Musee Bartholdi, Colmar; John E. Allen; City of Colmar, France; Statue of Liberty Nat’l Mon; C.N.A.M., Paris; N.Y. Historical; Miege et Buhler; Union League Club; Comets; Amer. Inst. of Architects; Louvre; National Archives; Musee Carnavalet; CBS News; Musee Blerancourt; Sherman Grinberg; Bibliotheque Forney; Library of Congress.”
Less
Interviews with historians, writers, filmmakers, politicians, and immigrants are intercut with archival newsreels, still photographs, comics, and live action footage to illustrate the construction of the Statue of Liberty, and the significance of freedom worldwide. In 1865, Édouard René Lefèbvre de Laboulaye, a lawyer and chairman of the French Anti-Slavery Society, suggested the construction of a monument to be gifted to America for its 1876 centennial celebration. At the time of Laboulaye’s proposition, France was still reeling from Napoleon Bonaparte’s dictatorship, and people generally believed the democratic ideals of the French Revolution had been forsaken. Laboulaye thought America succeeded at democracy where France had failed, and hoped the project would spark new efforts to ensure liberty in France. He also believed that a French statue of mass proportions at the gateway to America would put his country’s footprint in the landscape of “democracy.” To gain support for the project, Laboulaye established the Franco-American Union, and sculptor Frédéric Auguste Bartholdi, also a staunch abolitionist, responded to the call for a monument. Bartholdi’s early drawings for the statue were derived from his designs for “Egypt Carrying the Light to Asia,” a female, torch-bearing “lighthouse” that he wished to mount in Egypt to honor the 1869 completion of the Suez Canal. The project never came to fruition. In 1871, Bartholdi visited the “New World” and identified Bedloe’s Island in New York Harbor as the gateway to America. He planned to have “La Liberté éclairant le monde” (“Liberty Enlightening the World”), later known as the “Statue of Liberty,” to be erected at this site. Returning to ...
More Less
Interviews with historians, writers, filmmakers, politicians, and immigrants are intercut with archival newsreels, still photographs, comics, and live action footage to illustrate the construction of the Statue of Liberty, and the significance of freedom worldwide. In 1865, Édouard René Lefèbvre de Laboulaye, a lawyer and chairman of the French Anti-Slavery Society, suggested the construction of a monument to be gifted to America for its 1876 centennial celebration. At the time of Laboulaye’s proposition, France was still reeling from Napoleon Bonaparte’s dictatorship, and people generally believed the democratic ideals of the French Revolution had been forsaken. Laboulaye thought America succeeded at democracy where France had failed, and hoped the project would spark new efforts to ensure liberty in France. He also believed that a French statue of mass proportions at the gateway to America would put his country’s footprint in the landscape of “democracy.” To gain support for the project, Laboulaye established the Franco-American Union, and sculptor Frédéric Auguste Bartholdi, also a staunch abolitionist, responded to the call for a monument. Bartholdi’s early drawings for the statue were derived from his designs for “Egypt Carrying the Light to Asia,” a female, torch-bearing “lighthouse” that he wished to mount in Egypt to honor the 1869 completion of the Suez Canal. The project never came to fruition. In 1871, Bartholdi visited the “New World” and identified Bedloe’s Island in New York Harbor as the gateway to America. He planned to have “La Liberté éclairant le monde” (“Liberty Enlightening the World”), later known as the “Statue of Liberty,” to be erected at this site. Returning to Paris, Bartholdi created models that were said to have “the face of his mother and the body of his mistress.” He was also inspired by Freemason iconography, and became a member of the organization during construction. When a full-sized model was complete, a wooden “honeycomb” mold was built to replicate the form, and copper plates were hammered into place. The work was financed by Laboulaye’s Franco-American Union with 600,000 francs donated by French commoners. Still, the structure was not engineered to stand upright. Builder Gustave Eiffel innovated an iron skeleton, supported by a center pylon, that could accommodate movement, expansion, and contraction. Meanwhile, Americans failed to make good on their promise to build the statue pedestal. The delay was attributed to a general mistrust of France, and suspicion of ulterior motives. Critics opposed the symbolism of femininity, and were troubled by a perceived homage to a “pagan goddess.” Despite American antagonism, the Statue of Liberty was disassembled and packed into 210 crates which set sail from Paris on 21 May 1885 aboard the Isère. After nearly capsizing on its way to New York City, the monument arrived unceremoniously, as construction on architect Richard Morris Hunt’s pedestal remained at a standstill. While the statue lingered in boxes for another year, publisher Joseph Pulitzer precipitated an outpouring of public support by printing the name and testimonial of every contributor to the pedestal fund, no matter how much money he or she donated. Gifts generally ranged well under $1, but the effort secured at least $100,000 to finance the pedestal’s completion. Twenty-one years after Édouard René Lefèbvre de Laboulaye conceived the project, and ten years after the American centennial, the Statue of Liberty was finally dedicated on 28 October 1886. At 305 feet, it was the tallest structure in America at that time. Despite the populist, democratic ideals embodied by the statue, the ceremony included only two women, and the speeches made no mention of the immigrants who were meant to see the monument upon their arrival to America. Over time, the symbol of liberty was both revered and commercialized. However, the promise of “freedom” remained a subject of contention for African Americans and migrants who were not always included in the promise of the “American Dream.”
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Was Humphrey Bogart a Great Actor, or a Movie Star? — Cinema & Sambal
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Sometimes in life there are mysteries that run deep, into the very soil of Creation. These things defy explanation, and our minds cannot really comprehend the true nature of the thing. The vastness of space, for instance, or the absurdity of life. One that has always puzzled me is how Humphrey Bogar
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https://assets.squarespace.com/universal/default-favicon.ico
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Cinema & Sambal
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https://jamesjguild.com/blog/2020/6/9/was-humphrey-bogart-a-great-actor-or-a-movie-star
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Sometimes in life there are mysteries that run deep, into the very soil of Creation. These things defy explanation, and our minds cannot really comprehend the true nature of the thing. The vastness of space, for instance, or the absurdity of life. One that has always puzzled me is how Humphrey Bogart, a Napoleon-sized chain-smoker with a bulldog’s face ended up married to Lauren Bacall, one of Hollywood’s all-time great beauties. Even more amazing is that their marriage was apparently not a studio concoction, but an actual union of love - she remained by his side as he drank and smoked himself to death in 1957. He was not yet 60 years old.
What exactly was it about Humphrey Bogart that compelled Lauren Bacall to fall in love with him? The same thing, undoubtedly, that made American movie-goers fall in love with him. Something ineffable, that cannot be captured or measured. Movie star charisma. If you have it, you have it. And if you don’t, you don’t. It’s not a skill that can be learned. It’s an inner presence, inexplicable as time, that can be projected through the screen and onto the audience, casting a spell over them. Tom Cruise has it. He can carry a film simply by virtue of being in it. And Humphrey Bogart had it. Bogart starred in many of the best and most influential films from Hollywood’s Golden Age. He ruled the cinema in the 1940s. He made classic, wonderful movies opposite Lauren Bacall and then ran out the rest of his life married to her.
And yet, from the outside looking in, there was nothing about this man that screamed movie star. He had missing teeth. He reportedly often had to film scenes wearing lifts so that he wouldn’t appear shorter than his female co-stars. He chain smoked and drank voraciously. His face, described as “swarthy”, and his body as “wiry”, are not exactly the stuff of leading men. And yet almost every film he touched in the 1940s is still considered a classic.
The Hollywood studio system was then still in full bloom. The production, distribution and exhibition of films was controlled by a couple of major studios - MGM, Fox, Paramount, RKO and a few others. That means their films were guaranteed to play, because the studios owned the theaters and could ensure a market always existed for their product. Some people look back on this as Hollywood’s Golden Age (it was eventually ruled to be an anti-competitive monopolistic business practice, and production studios were forced to divest from their theater chains). What it meant in practice was that a very narrow group of executives and producers controlled the entire film production pipeline in Hollywood. Studios signed creative talent to long-term contracts, and then a couple of king-makers like Irving Thalberg or David O. Selznick basically decided what got made. At Warner Bros in the 1930s and 40s, Hal B. Wallis played this role.
Bogart was signed to Warner Bros when he had his breakout role - 1941’s High Sierra. Written by John Huston, who would go on to be very important to Bogart’s career as well as a seminal figure in shaping the noir genre, it’s a crime caper film. Bogart had by then been typecast as a tough guy for some reason, even though a gust of wind would have knocked him over. I think it was really all about the way he talked and held himself that somehow gave the impression when he was on screen that he was a this larger than life force of nature, immovable as the sea. He was what people of the time imagined a tough guy to be, and so that’s what he became. That is the alchemy of cinema, I suppose. Personally I find High Sierra underwhelming, but it was the beginning of a monster couple of years for Bogart.
Later in 1941, he starred as Sam Spade in The Maltese Falcon. Written and directed by John Huston, and based on the classic hard-boiled detective novel by Dashiell Hammett, The Maltese Falcon is rightfully considered one of the greatest films of all time. It is also generally considered one of, if not the first, movie in the film noir genre. All the classic elements are there - the hard-bitten crime narrative, the femme fatale, the careful use of light and shadows to suggest a world lost in a moral vacuum and awash with cynicism. It’s not just an entertaining film - it is a cultural and cinematic milestone that would exert immense influence on the subsequent creative direction of Hollywood in the 1940s and 50s and well beyond. And at the heart of this film was Humphrey Bogart, anchoring the entire thing with his nasal monotone straight-talking hard-boiled sleuth persona.
1941 was a big year for Bogie. And he followed it up in 1942 with Casablanca, opposite Ingrid Bergman and Claude Rains. Many fans of Old Hollywood (though not me) will argue that Casablanca is the greatest screenplay ever written, with many immortal lines like “Here’s looking at you kid” and “Round up the usual suspects” and of course “It doesn't take much to see that the problems of three little people don't amount to a hill of beans in this crazy world” which would no doubt sound like gibberish to a modern audience. I think The Maltese Falcon is the better and more influential film, but Casablanca is perfectly representative of the gold standard for screenwriting in 1942 Hollywood. It’s what Hollywood considered its perfect self, and what America expected from the Hollywood dream factory - a wartime tale of romance, intrigue and snappy one-liners delivered by a leading man who somehow managed to control the screen with the simple act of his existence. Casablanca won more awards and made more money than The Maltese Falcon. Humphrey Bogart was a movie star.
He then entered a collaborative phase of four films starring opposite Lauren Bacall, during which they fell in love and got married (after Bogart divorced his then-wife, Mayo Methot). Probably the most famous of these is the first one, To Have and Have Not based on the Ernest Hemingway novel. Released in 1944 and directed by Howard Hawks, the chemistry between Bacall and Bogart was unmistakable. It’s exemplified in the famous whistle scene, where she delivers the following scene-stealer of a line: “You know how to whistle, don’t you Steve? You just put your lips together, and blow.” Simply reading that on the page it seems like a nothingburger, but that was the genius of Bacall and Bogart and the way their scenes together played. There was so much subtext and meaning embedded in the way they delivered the lines, and the way their exchanges became a verbal game of a cat-and-mouse, that you could only really understand why that line-reading is so great if you watch the film. And that is what made their films together so compelling.
Bogart finished out the 1940s with a couple more Bacall pictures, like The Big Sleep, another noir film directed by Howard Hawks. And the hits kept coming. John Huston returned to direct him in 1948’s The Treasure of the Sierra Madre. This film is very famous, and mainly remembered for the line “We don't need no stinking badges!" which is actually a misquote and not the real line. I think this film is terribly overrated, but America loved it. John Huston’s father, Walter Huston, ended up winning an Oscar for Best Supporting Actor playing a character who, if we look back on it now, appears to be unknowingly in an SNL skit doing a parody of an old mining prospector.
In 1951 Bogart starred in his final hit, The African Queen, directed once again by John Huston. Acting opposite Katharine Hepburn, Bogart would win his first and only Oscar for this film, which I confess I have never seen. Following The African Queen, Humphrey Bogart ended his string of hits and passed away a few years later. By the early 1950s Bogart’s health was becoming an issue but also the nature of Hollywood was starting to change. Big biblical and historical epics were starting to become popular, as were lavish MGM musicals. The studios were slowly losing their hammerlock on every aspect of the film industry, which meant they could not longer shape tastes to quite the degree they enjoyed in the 1940s.
But most importantly, acting itself was changing, and it changed in a big way when Marlon Brando exploded on the scene as Stanley Kowalski in A Streetcar Named Desire. Brando brought to that performance a raw, animal magnetism and charisma that was revolutionary. There is, I think, a very clear line between a movie star and a great actor. A movie star has screen presence and charisma. They can carry a film. Prior to 1951, all the famous leading men were movie stars. Humphrey Bogart was a movie star. Carey Grant was a movie star. Spencer Tracey was a movie star. But they weren’t great actors. Bogart always played the same character in every film. Either he was the tough fast-talking sleuth, or the tough-fast talking war veteran, or the tough fast-talking gangster. He always snapped his sentences off like bullets, and his expression hardly ever changed. That is what audiences expected a leading man to be, at the time.
Marlon Brando was an actor. He was Method. His range was tremendous, his power unmistakable. When he was at his best on screen - in Streetcar, in On the Waterfront, in The Godfather - no one could touch him. You simply couldn’t look away when he was on the screen. So just as Bogart was beginning to fade from the scene, the acting world was changing and maybe it would have left him behind anyway. Marlon Brando and James Dean would set the bar for acting in the 1950s.
Bogart was what the studios thought a tough-talking, stoic leading man should look like in the 1940s and so they made him that person on the screen. This resulted in some of the greatest films of all time, the heyday of the classical Hollywood leading man. But part of the charm of Hollywood’s Golden Age in the 1940s is the artifice of those films, the way they are so carefully constructed on big lots and sound stages owned by the studios who controlled every aspect of the process from beginning to end. Bogart perfectly fit the role of someone manufactured to play a part. He played that particular part well, maybe better than anyone else ever has.
That control started to loosen in the 1950s. Naturalistic performances were coming into vogue and public tastes as well as the structure of the industry were shifting. I don’t think Humphrey Bogart ever could have been a particularly great actor. But for that span of a decade or so in the 1940s, there was certainly no greater movie star in the world.
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Fi Category At the Oscars?
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An anonymous reader writes "In this chat with the originator of the light-saber in Star Wars and the Nostromo in Alien, director Roger Christian argues that the Academy Awards needs a special category for 'best science-fiction film.' It's a thorny subject, since such a new category would inevitably ...
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Paramount Pictures
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[
"Contributors to Moviepedia"
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2024-07-12T14:06:28+00:00
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Paramount Pictures (also known as Paramount Pictures Corporation) is a film and television production/distribution company founded in 1912 and currently owned by media conglomerate Paramount Global. It is the third oldest existing film studio in the world behind Universal Studios & Gaumont...
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en
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https://static.wikia.nocookie.net/filmguide/images/4/4a/Site-favicon.ico/revision/latest?cb=20230313154015
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Moviepedia
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https://movies.fandom.com/wiki/Paramount_Pictures
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Paramount Pictures (also known as Paramount Pictures Corporation) is a film and television production/distribution company founded in 1912 and currently owned by media conglomerate Paramount Global. It is the third oldest existing film studio in the world behind Universal Studios & Gaumont Pictures, and the last major film studio still headquartered in the Hollywood district of Los Angeles. Paramount is consistently ranked as one of the largest top-grossing movie studios. Paramount Pictures is a member of the Motion Picture Association of America (MPAA).
History[]
1912–1920: Early history[]
Paramount is the fifth oldest surviving film studio in the world behind Universal Studios, Nordisk Film, Pathé, and Gaumont Film Company. It is the last major film studio still headquartered in the Hollywood district of Los Angeles.
Paramount Pictures dates its existence from the 1912 founding date of the Famous Players Film Company. However, Famous Players was actually only one of the companies that merged into Paramount Pictures (then known as the Famous Players-Lasky Corporation) in 1914. Founder Hungarian-born Adolph Zukor, who had been an early investor in nickelodeons, saw that movies appealed mainly to working-class immigrants. With partners Daniel Frohman and Charles Frohman he planned to offer feature-length films that would appeal to the middle class by featuring the leading theatrical players of the time (leading to the slogan "Famous Players in Famous Plays"). By mid-1913, Famous Players had completed five films, and Zukor was on his way to success.
That same year, another aspiring producer, Jesse L. Lasky, opened his Lasky Feature show Company with money borrowed from his brother-in-law, Samuel Goldfish, later known as Samuel Goldwyn. The Lasky company hired as their first employee a stage director with virtually no film experience, Cecil B. DeMille, who would find a suitable location site in Hollywood, near Los Angeles, for his first feature film, The Squaw Man.
Beginning in 1914, both Lasky and Famous Players released their films through a start-up company, Paramount Pictures Corporation, organized early that year by a Utah theatre owner, W. W. Hodkinson, who had bought and merged several smaller firms. Hodkinson and actor, director, producer Hobart Bosworth had started production of a series of Jack London movies. Paramount was the first successful nation-wide distributor; until this time, films were sold on a state-wide or regional basis which had proved costly to film producers. Also, Famous Players and Lasky were privately owned while Paramount was a corporation.
In 1916, Zukor maneuvered a three-way merger of his Famous Players, the Lasky Company, and Paramount. Zukor and Lasky bought Hodkinson out of Paramount, and merged the three companies into one. The new company Lasky and Zukor founded, Famous Players-Lasky Corporation, grew quickly, with Lasky and his partners Goldwyn and DeMille running the production side, Hiram Abrams in charge of distribution, and Zukor making great plans. With only the exhibitor-owned First National as a rival, Famous Players-Lasky and its "Paramount Pictures" soon dominated the business.
1921–1930: The rise[]
Because Zukor believed in stars, he signed and developed many of the leading early stars, including Mary Pickford, Marguerite Clark, Pauline Frederick, Douglas Fairbanks, Gloria Swanson, Rudolph Valentino, and Wallace Reid. With so many important players, Paramount was able to introduce "block booking", which meant that an exhibitor who wanted a particular star's films had to buy a year's worth of other Paramount productions. It was this system that gave Paramount a leading position in the 1920s and 1930s, but which led the government to pursue it on antitrust grounds for more than twenty years.
The driving force behind Paramount's rise was Zukor. All through the teens and twenties, he built the Publix Theatres Corporation, a mighty chain of nearly 2,000 screens, ran two production studios (in Astoria, New York, and Hollywood, California), and became an early investor in radio, taking a 50% interest in the new Columbia Broadcasting System in 1928 (selling it within a few years; this would not be the last time Paramount and CBS crossed paths, as time proved). By acquiring the successful Balaban & Katz chain in 1926, he gained the services of Barney Balaban (who would eventually become Paramount's president in 1936), his brother A. J. Balaban (who would eventually supervise all stage production nationwide and produce talkie shorts), and their partner Sam Katz (who would run the Paramount-Publix theatre chain in New York City from the thirty-five story Paramount Theatre Building on Times Square). Zukor also hired independent producer B. P. Schulberg, an unerring eye for new talent, to run the new West Coast operations. They would then purchase what was originally built as the Robert Brunton Studios. This 26 acre facility, at 5451 Marathon Street, cost US$1 million. In 1927, Famous Players-Lasky took on the name Paramount-Famous Lasky Corporation. Three years later, because of the importance of the Publix Theatres, it became Paramount-Publix Theatres Corporation.
Also in 1928, Paramount began releasing Inkwell Imps animated cartoons produced by Max and Dave Fleischer's Fleischer Studios in New York City. The Fleischers, veterans in the animation industry, would prove to be among the few animation producers capable of challenging the prominence of Walt Disney. The Paramount newsreel series Paramount News ran from 1927 to 1957. In 1929 Paramount Released their first musical "Innocents of Paris" Richard A. Whiting and Leo Robin composed the score for the film, Maurice Chevalier starred and sung the most famous song from the film "Louise".
1931–1940: Receivership[]
Eventually, Zukor shed most of his early partners; the Frohman brothers, Hodkinson and Goldwyn were out by 1917 while Lasky hung on until 1932, when, blamed for the near-collapse of Paramount in the Depression years, he too was tossed out. Zukor's over-expansion and use of overvalued Paramount stock for purchases led the company into receivership in 1933. A bank-mandated reorganization team, led by John Hertz and Otto Kahn kept the company intact, and, miraculously, Zukor was kept on. In 1935, Paramount-Publix went bankrupt. In 1936, Barney Balaban became president, and Zukor was bumped up to chairman of the board. In this role, Zukor reorganized the company as Paramount Pictures, Inc. and was able to successfully bring the studio out of bankruptcy.
As always, Paramount films continued to emphasize stars; in the 1920s there were Swanson, Valentino, and Clara Bow. By the 1930s, talkies brought in a range of powerful new draws: Miriam Hopkins, Marlene Dietrich, Mae West, W.C. Fields, Jeanette MacDonald, Claudette Colbert, the Marx Brothers (whose first two films were shot at Paramount's Astoria, New York, studio), Dorothy Lamour, Carole Lombard, Bing Crosby, band leader Shep Fields, famous Argentine tango singer Carlos Gardel, and Gary Cooper among them. In this period Paramount can truly be described as a movie factory, turning out sixty to seventy pictures a year. Such were the benefits of having a huge theater chain to fill, and of block booking to persuade other chains to go along. In 1933, Mae West would also add greatly to Paramount's success with her suggestive movies She Done Him Wrong and I'm No Angel. However, the sex appeal West gave in these movies would also lead to the enforcement of the Production Code, as the newly formed organization the Catholic Legion of Decency threatened a boycott if it was not enforced.
Paramount cartoons produced by Fleischer Studios continued to be successful, with characters such as Betty Boop and Popeye the Sailor becoming widely successful. One Fleischer series, Screen Songs, featured live-action music stars under contract to Paramount hosting sing-alongs of popular songs. However, a huge blow to Fleischer Studios occurred in 1934, after the Production Code was enforced and Betty Boop's popularity declined as she was forced to have a more tame personality and wear a longer skirt. The animation studio would rebound with Popeye, and in 1935, polls showed that Popeye was even more popular than Mickey Mouse. After an unsuccessful expansion into feature films, as well as the fact that Max and Dave Fleischer were no longer speaking to one another, Fleischer Studios was acquired by Paramount, which renamed the operation Famous Studios. That incarnation of the animation studio continued cartoon production until 1967, but has been historically dismissed as having largely failed to maintain the artistic acclaim the Fleischer brothers achieved under their management.
1941–1950: United States v. Paramount Pictures, Inc.[]
In 1940, Paramount agreed to a government-instituted consent decree: block booking and "pre-selling" (the practice of collecting up-front money for films not yet in production) would end. Immediately Paramount cut back on production, from sixty-plus pictures to a more modest twenty annually in the war years. Still, with more new stars like Bob Hope, Alan Ladd, Veronica Lake, Paulette Goddard, and Betty Hutton, and with war-time attendance at astronomical numbers, Paramount and the other integrated studio-theatre combines made more money than ever. At this, the Federal Trade Commission and the Justice Department decided to reopen their case against the five integrated studios. Paramount also had a monopoly over Detroit movie theaters through subsidiary company United Detroit Theaters as well. This led to the Supreme Court decision United States v. Paramount Pictures, Inc. (1948) holding that movie studios could not also own movie theater chains. This decision broke up Adolph Zukor's creation and effectively brought an end to the classic Hollywood studio system.
1951–1966: Split and after[]
With the separation of production and exhibition forced by the U.S. Supreme Court, Paramount Pictures Inc. was split in two. Paramount Pictures Corporation was formed to be the production distribution company, with the 1,500-screen theater chain handed to the new United Paramount Theaters on December 31, 1949. Leonard Goldenson, who had headed the chain since 1938, remained as the new company's president. The Balaban and Katz theatre division was spun off with UPT; its trademark eventually became the property of the Balaban and Katz Historical Foundation. The Foundation has recently acquired ownership of the Famous Players Trademark. Cash-rich and controlling prime downtown real estate, Goldenson began looking for investments. Barred from film-making by prior anti-trust rulings, he acquired the struggling ABC television network in February 1953, leading it first to financial health, and eventually, in the mid-1970s, to first place in the national Nielsen ratings, before selling out to Capital Cities in 1985 (Capital Cities would eventually sell out, in turn, to The Walt Disney Company in 1996). United Paramount Theaters was renamed ABC Theaters in 1965 and was sold to businessman Henry Plitt in 1974. The movie theater chain was renamed Plitt Theaters. In 1985, Cineplex Odeon Corporation merged with Plitt. In later years, Paramount's TV division would develop a strong relationship with ABC, providing many hit series to the network.
The DuMont fiasco[]
Paramount Pictures had been an early backer of television, launching experimental stations in 1939 in Los Angeles and Chicago. The Los Angeles station eventually became KTLA, the first commercial station on the West Coast. The Chicago station got a commercial license as WBKB in 1943, but was sold to UPT along with Balaban & Katz in 1948 and was eventually resold to CBS as WBBM-TV.
In 1938, Paramount bought a stake in television manufacturer DuMont Laboratories. Through this stake, it became a minority owner of the DuMont Television Network. However, Paramount proved to be a timid and obstructionist partner. Its minority stake hampered DuMont's efforts to expand. The FCC counted KTLA and WBKB as DuMont O&O stations, even though the former was only an affiliate in 1947 and the latter never carried a DuMont program. Since DuMont already owned three stations, the FCC did not allow DuMont to buy any more stations as long as Paramount owned a portion of DuMont. However, Paramount refused to sell. Also Paramount launched its own network, Paramount Television Network, in 1948 through its television unit, Television Productions, Inc. It also refused to help DuMont as it sank during the 1950s. Paramount management planned to acquire additional owned-and-operated stations ("O&Os"); the company applied to the FCC for additional stations in San Francisco, Detroit, and Boston. The FCC, however, denied Paramount's applications. A few years earlier, the federal regulator had placed a five-station cap on all television networks: no network was allowed to own more than five VHF television stations. Paramount was hampered by its minority stake in the DuMont Television Network. Although both DuMont and Paramount executives stated that the companies were separate, the FCC ruled that Paramount's partial ownership of DuMont meant that DuMont and Paramount were in theory branches of the same company. Since DuMont owned three television stations and Paramount owned two, the federal agency ruled neither network could acquire additional television stations. The FCC requested that Paramount relinquish its stake in DuMont, but Paramount refused. According to television historian William Boddy, "Paramount's checkered anti-trust history" helped convince the FCC that Paramount controlled DuMont. Both television networks suffered as a result, with neither company able to acquire five O&Os. Meanwhile, CBS, ABC, and NBC had each acquired the maximum of five stations by the mid-1950s.
When ABC accepted a merger offer from UPT in 1953, DuMont quickly realized that ABC now had more resources than it could possibly hope to match. It quickly reached an agreement in principle to merge with ABC. However, Paramount vetoed the deal in part due to an earlier FCC ruling that Paramount controlled DuMont, as well as concerns that UPT was still a Paramount subsidiary. Within two years of the failed ABC deal, DuMont was no more.
In 1951, Paramount bought a stake in International Telemeter, an experimental pay TV service which operated with a coin inserted into a box. The service began operating in Palm Springs, California on November 27, 1953, but due to pressure from the FCC, the service ended on May 15, 1954.
With the loss of the theater chain, Paramount Pictures went into a decline, cutting studio-backed production, releasing its contract players, and making production deals with independents. By the mid-1950s, all the great names were gone; only C.B. DeMille, associated with Paramount since 1913, kept making pictures in the grand old style. Despite Paramount's losses, DeMille would, however, give the studio some relief and create his most successful film at Paramount, a 1956 remake of his 1923 film The Ten Commandments. Like some other studios, Paramount saw little value in its film library (see below for more info on the early Paramount library). DeMille died in 1959.
1966–1970: Early Gulf+Western era[]
By the early 1960s, Paramount's future was doubtful. The high-risk movie business was wobbly; the theater chain was long gone; investments in DuMont and in early pay-television came to nothing. Even the flagship Paramount building in Times Square was sold to raise cash, as was KTLA (sold to Gene Autry in 1964 for a then-phenomenal $12.5 million). Founding father Adolph Zukor (born in 1873) was still chairman emeritus; he referred to chairman Barney Balaban (born 1888) as "the boy." Such aged leadership was incapable of keeping up with the changing times, and in 1966, a sinking Paramount was sold to Charles Bluhdorn's industrial conglomerate, Gulf + Western Industries Corporation. Bluhdorn immediately put his stamp on the studio, installing a virtually unknown producer named Robert Evans as head of production. Despite some rough times, Evans held the job for eight years, restoring Paramount's reputation for commercial success with The Odd Couple, Love Story, The Godfather, Chinatown, and Rosemary's Baby.
Gulf + Western Industries also bought the neighboring Desilu television studio (once the lot of RKO Pictures) from Lucille Ball in 1967. Using some of Desilu's established shows such as Star Trek, Mission: Impossible, and Mannix as a foot in the door at the networks, the newly reincorporated Paramount Television (now Paramount Television Studios) eventually became known as a specialist in half-hour situation comedies.
1971–1980: CIC formation and high-concept era[]
In 1970, Paramount teamed with Universal Studios to form Cinema International Corporation, a new company that would distribute films by the two studios outside the United States. Metro-Goldwyn-Mayer would become a partner in the mid-1970s. Both Paramount and CIC entered the video market with Paramount Home Video (now Paramount Home Entertainment) and CIC Video, respectively.
Robert Evans abandoned his position as head of production in 1974; his successor, Richard Sylbert, proved to be too literary and too tasteful for Gulf + Western's Bluhdorn. By 1976, a new, television-trained team was in place headed by Barry Diller and his "Killer-Dillers", as they were called by admirers or "Dillettes" as they were called by detractors. These associates, made up of Michael Eisner, Jeffrey Katzenberg, Dawn Steel and Don Simpson would each go on and head up major movie studios of their own later in their careers.
The Paramount specialty was now simpler. "High concept" pictures such as Saturday Night Fever and Grease hit big, hit hard and hit fast all over the world,[citation needed] and Diller's television background led him to propose one of his longest-standing ideas to the board: Paramount Television Service, a fourth commercial network. Paramount Pictures purchased the Hughes Television Network (HTN) including its satellite time in planning for PTVS in 1976. They also hired Rich Frank of KCOP-TV and a member of the Operation Prime Time steering committee. But neither the board nor Bluhdorn himself accepted Diller's repeated advancements of this idea and neither did Bluhdorn's successor, Martin Davis. Paramount sold HTN to Madison Square Garden in 1979. But Diller believed strongly in the concept, and so took his fourth-network idea with him when he moved to 20th Century Fox in 1984, where Fox's then freshly installed proprietor, Rupert Murdoch was a more interested listener. Meanwhile, concentrating on hot films, Paramount was met with critical success with the release of The Godfather, based on the popular novel.
However, the television division would be playing catch-up for over a decade after Diller's departure in 1984 before launching its own television network – UPN – in 1995. Lasting eleven years before being merged with The WB network to become The CW in 2006, UPN would feature many of the shows it originally produced for other networks, and would take numerous gambles on series such as Star Trek: Voyager and Star Trek: Enterprise that would have otherwise either gone direct-to-cable or become first-run syndication to independent stations across the country (as Star Trek: Deep Space Nine and Star Trek: the Next Generation were). UPN was able to host a proven winner when it picked up the final two seasons of Buffy the Vampire Slayer.
Paramount Pictures was not connected to Paramount Records until it purchased the rights to use the name (but not its catalog) in the late 1960s. The Paramount name was used for soundtrack albums and some pop re-issues from the Dot Records catalog which Paramount had acquired in 1958. By 1970, Dot had become an all-country label and in 1974, Paramount sold all of its record holdings to ABC Records, which in turn was sold to MCA (now Universal Music Group) in 1979.
1980–1994: Continuous success[]
Paramount's successful run of pictures extended into the 1980s and 1990s, generating hits like Airplane!, American Gigolo, Ordinary People, An Officer and a Gentleman, Flashdance, Terms of Endearment, Footloose, Pretty in Pink, Fatal Attraction, the Friday the 13th slasher series, as well as Raiders of the Lost Ark and its sequels. Other examples are the Star Trek series and a string of films starring comedian Eddie Murphy like Trading Places, Coming To America, and Beverly Hills Cop and its sequels. While the emphasis was decidedly on the commercial, there were occasional less commercial but more artistic and intellectual efforts like I'm Dancing as Fast as I Can, Atlantic City, Reds, Witness, Children of a Lesser God and The Accused. During this period, responsibility for running the studio passed from Eisner and Katzenberg to Frank Mancuso Sr. (1984) and Ned Tanen (1984) to Stanley Jaffe (1991) and Sherry Lansing (1992). More so than most, Paramount's slate of films included many remakes and television spinoffs; while sometimes commercially successful, there have been few compelling films of the kind that once made Paramount the industry leader. The studio even had its share of box office flops such as Grease 2, Clue and a few others.
In 1981, Cinema International Corporation was reorganized as United International Pictures. This was necessary because MGM had merged with United Artists which had its own international distribution unit, but MGM was not allowed to leave the venture at the time (they finally did in 2001, switching international distribution to 20th Century Fox). In 1985, Dawn Steel became head of Motion Picture Production.
In August 25, 1983, fire struck the Paramount Studios. Two or three sound stages and four outdoor sets were destroyed; fortunately, the rest of the Studios were still intact.
When Charles Bluhdorn died unexpectedly, his successor Martin Davis dumped all of G+W's industrial, mining, and sugar-growing subsidiaries and refocused the company, renaming it Paramount Communications in 1989. With the influx of cash from the sale of G+W's industrial properties in the mid-1980s, Paramount bought a string of television stations and KECO Entertainment's theme park operations, renaming them Paramount Parks. These parks include Paramount's Great America, now acquired by Cedar Fair Entertainment Company and renamed to California's Great America, Canada's Wonderland, Carowinds, Kings Dominion, And Kings Island.
In 1993, Sumner Redstone's entertainment conglomerate Viacom made a bid for a merger with Paramount Communications; this quickly escalated into a bidding war with Barry Diller's QVC. But Viacom prevailed, ultimately paying $10 billion for the Paramount holdings. Viacom and Paramount had planned to merge as early as 1989
Paramount is the last major film studio located in Hollywood proper. When Paramount moved to its present home in 1927, it was in the heart of the film community. Since then, former next-door neighbor RKO closed up shop in 1957; Warner Bros. (whose old Sunset Boulevard studio was sold to Paramount in 1949 as a home for KTLA) moved to Burbank in 1930; Columbia joined Warners in Burbank in 1973 then moved again to Culver City in 1989; and the Pickford-Fairbanks-Goldwyn-United Artists lot, after a lively history, has been turned into a post-production and music-scoring facility for Warners, known simply as "The Lot". For a time the semi-industrial neighborhood around Paramount was in decline, but has now come back. The recently refurbished studio has come to symbolize Hollywood for many visitors, and its studio tour is a popular attraction.
1994–2004: Dolgen/Lansing and "old" Viacom era[]
During this time period, Paramount Pictures went under the guidance of Jonathan Dolgen, chairman and Sherry Lansing, president. During their administration over Paramount, the studio had an extremely successful period of films with two of Paramount's ten highest grossing films being produced during this period. The most successful of these films, Titanic, a joint production with 20th Century Fox, became the highest grossing film up to that time, grossing over $1.8 billion worldwide. Also during this time, three Paramount Pictures films won the Academy Award for Best Picture; Titanic, Braveheart, and Forrest Gump. Dolgen and Lansing also presided over the production and release of other films including Saving Private Ryan (with DreamWorks), as well as the Mission: Impossible films.
Paramount's most important property, however, was Star Trek. Studio executives had begun to call it "the franchise" in the 1980s due to its reliable revenue, and other studios envied its "untouchable and unduplicatable" success. By 1998 Star Trek TV shows, movies, books, videotapes, and licensing provided so much of the studio's profit that "it is not possible to spend any reasonable amount of time at Paramount and not be aware of [its] presence"; filming for Star Trek: Voyager and Star Trek: Deep Space Nine required up to nine of the largest of the studio's 36 sound stages.
In 1995, Viacom and Chris-Craft Industries' United Television launched United Paramount Network (UPN) with Star Trek: Voyager as its flagship series, fulfilling Barry Diller's plan for a Paramount network from 25 years earlier. In 1999, Viacom bought out United Television's interests, and handed responsibility for the start-up network to the newly acquired CBS unit, which Viacom bought in 1999 – an ironic confluence of events as Paramount had once invested in CBS, and Viacom had once been the syndication arm of CBS as well.
In 2002, Paramount, Buena Vista Distribution, 20th Century Fox, Sony Pictures, Universal Studios, and Warner Bros. formed the Digital Cinema Initiatives. DCI was created "to establish and document voluntary specifications for an open architecture for digital cinema that ensures a uniform and high level of technical performance, reliability and quality control."
2005–present: Paramount today[]
CBS Corporation/Viacom split[]
Reflecting in part the troubles of the broadcasting business, in 2005 Viacom wrote off over $18 billion from its radio acquisitions and, early that year, announced that it would split itself in two. The split was completed in January 2006.
With the announcement of the split of Viacom (now ViacomCBS), Dolgen and Lansing were replaced by former television executives Brad Grey and Gail Berman. The Viacom Inc. board split the company into CBS Corporation and a separate company under the Viacom name. The board scheduled the division for the first quarter of 2006. Under the plan, CBS Corp. would comprise CBS and UPN networks, Viacom Television Stations Group, Infiinty Broadcasting, Viacom Outdoor, Showtime, Simon and Schuster, Paramount Parks, and CBS News. The revamped Viacom would include “MTV, VH1, Nickelodeon, BET and several other cable networks as well as the Paramount movie studio”. Paramount's home entertainment unit continues to distribute the Paramount TV library through CBS DVD, as both Viacom and CBS Corporation are controlled by Michael Redstone's National Amusements.
In 2009, CBS stopped using the Paramount name in its series and changed the name of the production arm to CBS Television Studios (now CBS Media Ventures), eliminating the Paramount name from television, to distance itself from the latter. It is one of only 2 of the Big Six to have this fate (the other being Columbia Pictures, although unlike Paramount, it is still a direct sister to its former TV arm).
DreamWorks purchased[]
On December 11, 2005, The Paramount Motion Pictures Group announced that it had purchased DreamWorks SKG (which was co-founded by former Paramount executive Jeffrey Katzenberg) in a deal worth $1.6 billion. The announcement was made by Brad Grey, chairman and CEO of Paramount Pictures who noted that enhancing Paramount's pipeline of pictures is a "key strategic objective in restoring Paramount's stature as a leader in filmed entertainment." The agreement does not include DreamWorks Animation SKG Inc., the most profitable part of the company that went public the previous year.
Under the deal, Paramount is required to distribute the DreamWorks animated films for a small fee intended only to cover Paramount's costs with no profit to the studio, including the Shrek franchise (and ending for the 2004 installment, Shrek 2). The first film distributed under this deal was Over the Hedge.
The deal closed on February 6, 2006. This acquisition was seen at the time as a stopgap measure as Brad Grey had been unsuccessful in assembling sufficient films for production and distribution and the DreamWorks films would fill the gap.
On October 6, 2008, DreamWorks executives announced that they were leaving Paramount and relaunching an independent DreamWorks. The DreamWorks trademarks remained with DreamWorks Animation when that company was spun off before the Paramount purchase, and DreamWorks Animation transferred the license to the name to the new company.
UIP, Famous Music and Digital Entertainment[]
Grey also broke up the famous UIP international distribution company, the most successful international film distributor in history, after a 25-year partnership with Universal Studios and has started up a new international group. As a consequence Paramount fell from No.1 in the international markets to the lowest ranked major studio in 2006 but recovered in 2007 if the DreamWorks films, acquired by Paramount but still distributed internationally by Universal, are included in Paramount's market share. UIP still does business in smaller markets.[citation needed]
Grey also launched a Digital Entertainment division to take advantage of emerging digital distribution technologies. This led to Paramount becoming the second movie studio to sign a deal with Apple Inc. to sell its films through the iTunes Store. They also signed an exclusive agreement with the failed HD DVD consortium and subsequently gave up the guarantees they had received and will now release in the Blu-ray format.
Also, in 2007, Paramount sold another one of its "heritage" units, Famous Music, to Sony/ATV Music Publishing (best known for publishing many songs by The Beatles, and for being co-owned by Michael Jackson), ending a nearly-eight-decade run as a division of Paramount, being the studio's music publishing arm since the period when the entire company went by the name "Famous Players." An additional legacy unit, Famous Players Theaters (Canada) was sold in 2005 to its competitor Cineplex Odeon Corporation. These theaters had been in the company since the days of silent movie. When the 1949 Paramount Consent Decree forced divestiture by the studios, it did not apply outside the US so Paramount kept its Canadian theater subsidiary.
In early 2008, Paramount partnered with Los Angeles-based developer FanRocket to make short scenes taken from its film library available to users on Facebook. The application, called VooZoo, allows users to send movie clips to other Facebook users and to post clips on their profile pages. Paramount engineered a similar deal with Makena Technologies to allow users of vMTV and There.com to view and send movie clips.
In March 2010, Paramount founded Insurge Pictures, an independent distributor of "micro budget" films. The distributor planned ten movies with budgets of $100,000 each. The first release was The Devil Inside, a movie with a budget of about US$1 million.
In July 2011, in the wake of critical and box office success of the animated feature, Rango, and the departure of DreamWorks Animation upon completion of their distribution contract in 2012, Paramount announced the formation of a new division, devoted to the creation of animated productions. It marks Paramount's return to having its own animated division for the first time since 1967, when Paramount Cartoon Studios shut down (it was formerly Famous Studios until 1956).
Investments[]
DreamWorks[]
In 2006, Paramount became the parent of DreamWorks SKG. Soros Strategic Partners and Dune Entertainment II soon afterwards acquired controlling interest in the live-action films released through September 16, 2005, the latest film in this package was Just Like Heaven. The remaining live-action films through March 2006 remained under direct Paramount control.
However, Paramount does own distribution (and other ancillary) rights to the Soros/Dune films.
Even as DreamWorks switches distribution of live-action films that are not part of existing franchises to Walt Disney Studios Motion Pictures, Paramount will continue to own the films released before the merger, and the films that Paramount themselves distributed (including sequel rights; such films as Little Fockers will be distributed by Paramount and DreamWorks, since it is a sequel to an existing DreamWorks film – in this case, Meet the Parents and Meet the Fockers, though Paramount will only own international rights to this title, whereas Universal Studios will handle domestic distribution).
As for the DreamWorks Animation library, Paramount owns distribution rights to the pre-2013 library, and their previous distribution deal to future DWA titles expired at the end of 2012 with the last Paramount-distributed feature, Rise of the Guardians. 20th Century Fox now handles distribution on future titles beginning with The Croods.
The CBS library[]
Independent company Hollywood Classics now represents Paramount in the theatrical distribution of all the films produced by the various motion picture divisions of CBS over the years, as a result of the Viacom/CBS merger.
Paramount (via CBS Home Entertainment) has outright video distribution to the aforementioned CBS library with few exceptions-for example, the original Twilight Zone DVDs are handled by Image Entertainment. Until 2009, the video rights to My Fair Lady were with original theatrical distributor Warner Bros., under license from CBS (the video license to that film has now reverted to CBS Home Entertainment under Paramount).
The CBS-produced/owned films, unlike other films in Paramount's library, are still distributed by CBS Television Distribution on TV, and not by Trifecta Entertainment & Media, because CBS (or a subdivision) is the copyright holder for these films.
Film library[]
Film series[]
Title Release date Notes The SpongeBob Movie 2004-present co-production with Nickelodeon Movies, United Plankton Pictures and Paramount Animation Gnomeo and Juliet 2011-2018 co-production with Touchstone Pictures, Paramount Animation, Metro-Goldwyn-Mayer and Rocket Pictures
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Paramount Wikia
Gallery[]
Filmography[]
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Paramount and Universal
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The Sorcerer Blog.
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At least they did back in 1977. Or maybe they decided that someone who’d want to see a movie about trucks and explosives and mud wouldn’t know how to read. For some reason, this poster always makes me mad.
During late August US director William Friedkin chose to show a restored version of his 1977 masterpiece Sorcerer when he collected the Golden Lion for Lifetime Achievement at the 2013 Venice Film Festival. While the movie has garnered a dedicated … Continue reading →
While Sorcerer was in production, Charles Bludhorn was chairman of Gulf & Western, the parent company of Paramount. G&W, thanks to Bludhorn, had extensive interests in the Dominican Republic. Walon Green: “[Friedkin] put Bludhorn’s picture on the wall in the office in … Continue reading →
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The Next Best Picture Podcast – Interview With “War Game” Directors Jesse Moss & Tony Gerber
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“War Game” had its world premiere at the 2024 Sundance Film Festival, where it received solid reviews for orchestrating a simulation of a coup after a disputed election. Insurgents take capitals, questioning the President’s military control. Countering disinformation is vital, highlighting bipartisan defense of democracy. With a sense of urgency in its storytelling and taut […]
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“War Game” had its world premiere at the 2024 Sundance Film Festival, where it received solid reviews for orchestrating a simulation of a coup after a disputed election. Insurgents take capitals, questioning the President’s military control. Countering disinformation is vital, highlighting bipartisan defense of democracy. With a sense of urgency in its storytelling and taut filmmaking, the film might very well be the most terrifying one you see all year. Directors Jesse Moss & Tony Gerber were both kind enough to spend some time talking with us about their experience making the documentary, which you can listen to, read, or watch below. Please be sure to check out the film, which is now playing in New York at the Film Forum and expanding to additional markets, including Los Angeles and Chicago, on August 9th from Submarine Entertainment. Thank you, and enjoy!
Thank you so much for listening. The Next Best Picture Podcast is proud to be a part of the Evergreen Podcasts Network. You can subscribe to us anywhere you listen to podcasts or listen in the embedded player below. Please take a moment to review us on Apple Podcasts here. And if you’re feeling generous, you enjoy what you hear, and you want to hear more, please help support us on Patreon for as little as $1 a month, and you’ll receive some exclusive podcast content from us.
Just a few short months ago, Jesse Moss released “Girls State,” the sequel to “Boys State.” Both documentaries follow a political experiment in which kids form their own fictional state governments, run for office, and create laws. It’s easy to see the connective tissue between those films and his latest project, “War Game,” directed by Moss and Tony Gerber, in which former politicians and military officials act out a fictional experiment to stop a military coup in the vein of January 6th. “I’m interested in exploring the spaces that occupy what I call the fault line in American life, spaces where people with different politics are trying to do something together,” Moss explains about the shared DNA between these films. “I think that it’s rare. So, when I find them, I want to be in them, look at them, see what I can learn from them.”
Moss and Gerber filmed this war game in the style of a thriller, dressing the set and moving the cameras to capture the tension of a nation under siege. Gerber described how the filmmakers “needed to create cinematic space that also had a practical function to it.” Though the role players weren’t actually a functioning presidential cabinet, the fictional Situation Room needed to enhance the reality of the experiment for them. “We immediately recognized this was a real-time thriller and that the audience should feel that way,” Moss explained.
As an exploration of how the government might respond to another January 6th, the subject matter is inherently polarizing. “It’s very important for us, in our release plan, to get this film into red and purple states, and we’re doing that,” Gerber says. The filmmakers are partnering with universities and museums to get the film seen, even in traditionally “red” states. “I also really do believe that, as progressives, we bring a certain amount of baggage and assumptions about how this film will play to people who don’t hold our political points of view,” Gerber went on. “Let’s not make assumptions. And, in a lot of ways, we’re in this horribly divided state because of assumptions.”
In a recent conversation with Next Best Picture, Moss and Gerber discussed capturing this experiment, how they prepared for the shoot, and how they hoped “War Game” could find some common ground in a highly divided country.
*This interview has been edited for length and clarity.*
DANIEL HOWAT: Let’s start at the beginning with the origins of the project. How did you guys get connected with Vet Voice, this war game, and how did you know that it was right for a film?
JESSE MOSS: Well, we read this op-ed by these three generals in the Washington Post calling out this threat that they see of extremism in the military and the risk that the next insurrection could be worse. And I think that caused a lot of people to sit up. You know, these were people from within the institution saying this is something we need to take seriously. And Vet Voice, not an organization that I knew, but a national, nonpartisan veterans organization led by Janessa Goldbeck, took up the challenge of organizing this war game. They weren’t going to wait for the U.S. government to run it. They were going to run it themselves. They’re friendly with people in both parties, and a lot of former service members are nonpartisan. We learned about them through some colleagues in the entertainment business, so we reached out and started a conversation. I’ll say that when I heard that they were going to run this war game, I thought, “This is extraordinary.” What a film would this be if we could get access. We won’t get access, but it’s something I’m thinking about, we’re all thinking about. What’s our political future? What did we live through on January 6th, 2021? Is it possible we could have a military-backed coup in this country? I think so. We know our democracy is not as impregnable and sturdy as we would like to believe. I didn’t know what form this film would be, because it’s a war game. It’s a work of improvisational theater, not unlike a film that Tony and I made about 15 years ago (“Full Battle Rattle”), also a documentary, also a work of dystopian science fiction, all wrapped up in some crazy package. And, I just thought, if we can raise the money, and we can get access, this will be an incredible film to think about what’s next.
So, it sounds like Jesse – you kind of heard about this first and then Tony came on board. Is that right, Tony? What were your first impressions?
TONY GERBER: Well, you know, when Jesse called to describe to me what was on offer, my heart began to beat. I thought it was the perfect way to deal with an issue that folks don’t want to deal with, right? It’s this notion of intentional blindness that the big thing that’s right in front of you, people can’t see it. So, how do you do that? The Russians have this great expression, which is called the knight’s move. It’s the movement that the knight on a chessboard takes. So, your opponent thinks you’re going in one direction, but you go in another direction. Filming and having access to this roleplay exercise, which really was this grand theatrical initiative, as Jesse had mentioned, was fake by definition. We know the theater is fake. We know those are actors, or in our case, they’re not actors; they’re playing parts, but we had the ability tohook the audience in a really fresh and interesting way. When folks watch a horror film, they know it’s not real. They still get scared, but they know it’s not real. So, here’s something in which we lead the audience to understand that this is a construct that President Hotham is not a real president, and he’s played by the former governor of Montana, Steve Bullock. We see folks in hair and makeup. We see them learning their role, reading their roles, their area of operation, and their duties. Then, once the game begins, the clock begins to tick down, and news of the sort of fictionalized world begins to creep into the room; you see the temperature rise. These folks become a president and his inner circle of advisors on January 6th, 2025. There’s no doubt. And the way this film works on an audience, it’s proof positive that in this theatrical alchemy, something that’s not real becomes more real than real.
Did you have any part in casting this experiment, or was that done exclusively by Vet Voice?
MOSS: No, we didn’t cast the role players. We certainly had the power to emphasize which role players we could choose to focus on. Of course, the President was going to be a central focus, but it was really a surrender of control that we normally would have in the documentary. Who you choose to focus on – that’s the power of the director. So, that was part of the terror of this project, but the thrill as well. And, until we actually started filming the exercise itself, we didn’t know if they could play their parts. We knew they had plenty of experience. That doesn’t mean the camera is going to be compelled by them or that their ability to inhabit the role is going to make us lean forward and pay attention. And yet, when it started, we were hooked, transfixed. I felt like I was sitting in the White House Situation Room, pulling up a seat at the table, watching a president and his advisers wrestle with this most profound of questions to deploy the active duty U.S. military on domestic soil to stave off a potential civil war. That was super interesting. On the other hand, to counterbalance that risk, we had a great deal of control over the environment that would be constructed in which they would play. And how we could build our team of filmmakers and collaborators around us, which is enormous by the standards of documentary. So, I think it was that balance of control and chaos that I think is the place where really interesting work happens. I’m sort of happy to live if I can find the money, or we can find the money, to support this endeavor. That’s where I like to make films.
I want to hear about the nuts and bolts of capturing the actual war game. You did interviews pre- and post-with them, but the majority of this movie is this six-hour experiment. So, how did you prep to make sure you didn’t miss any vital moments during that day?
GERBER: That’s a good question. Just to clarify, we did not have access to the role players before the exercise. These folks are so busy, and they’re spread across the country. I mean, it’s something we asked for. We thought, “Wouldn’t it be great if we could sit down with all the principals and get a sense of who’s who and who’s interesting and just have that kind of advantage?” We didn’t have that. So, we met these folks on January 6th when we filmed. So, to answer your question about how we prepped, We did not design the game scenario. The way a war game scenario is constructed by the game designers is that there are tentpole events, right? And these tentpole events, in a screenplay, you’d call them inciting incidents. The sort of big events that happen, like the crowd growing and the National Guard letting some of the protesters through. That’s the first event, and it’s marked in our film and in the exercise by a news report. So, we have television news. We created a T.V. news network. We knew that we needed to create these fake news pops. But, again, we didn’t write them. The scenario team wrote them and gave us a script. We knew that bringing some verisimilitude to this would make it a better movie. But, we also knew that the verisimilitude of the set design of the table, of the coasters on the table, would enhance the experience of these role players because we really wanted them to slip into the dramatic scenario and not be conscious of cameras, not be conscious of artifice. And that happened beautifully. It happened really beautifully. We had access to this hotel ballroom, which was not cinematically interesting. The light in there was dreadful. So, we needed to create a cinematic space that also had a practical function to it. You needed to bake in a habit trail with gerbils, in a sense. How is the space going to encourage people to move? How is it going to encourage them to interact? What sort of tools will they have? For example, the intercom that you see at a moment of crisis in the film. Those are all things that we needed. The fact that the red cell could be down the hall, but there would be a level of connectivity between the red cell and the blue cell, between the President in the Situation Room and the would-be insurrectionists, but they don’t see everything. The red cell does not see everything that the blue cell is seeing. They see selectively, right? They can see the news reports. They see the same news reports that the blue cell reads. Everyone shares this sort of fake Twitter, you know, social media universe, which is full of some legitimate sources but a lot of propaganda. So, how did you parse that? That was a big part of the game.
You hinted at the way the movie looks as well, which is really striking. You guys shot this really like a thriller, from both the colors and the aesthetic of the set that you’re in, but also camera movements. Tell me about developing the look and feel of this documentary.
MOSS: Well, thank you. Yeah, the references immediately were works of narrative film. We started with “Dr. Strangelove,” in particular the production design of the War Room set, probably the most famous built set in Hollywood history. But, it’s a kind of theatrical space, you know, and that was permission to not try to be totally faithful to the realWhite House Situation Room, which is a bit of a dingy basement room if you’ve seen pictures of it. So we could elevate our space. We looked at some theatre. That inspired us in the fluidity of on-stage and off-stage action unfolding simultaneously for the audience. That’s exciting. We looked at the work of Edward Luttwak, a writer who wrote this famous book called “Coup d’État: A Practical Handbook,” a kind of strange political science text. That’s what was exciting to us: Drawing from all these places and feeling like we were doing something also a bit new. And so, we did have control of that space. We had exceptional documentary cinematographers who also worked in fiction. Fiction looks like fiction because of the control and the scale of production. And so, we were able to build a lighting grid in the set that we could sort of dial in settings through the war game that corresponded to the sequence of events the tentpole injects that Tony mentioned. We immediately recognized this was a real-time thriller, that the audience should feel that way, and that we should strive to depict it visually in a way that drew people into the action and the fluidity of the camera movement around the table as people kind of pass from one space to another. These were all intentional. But then we couldn’t say anything about action or cut. And fiction looks like fiction because you can shoot coverage. But I think great documentary cinematographers understand the grammar of coverage and what it means to shoot a conversation as it looks like a movie like we’re making a movie. Tony and I wanted to make a film that could stand up on the big screen. I mean, we all say that, but I think we recognize that this film, as a work of theater and a work of cinema, could draw people together in a space to share this experience, and that could be cathartic and provocative at the same time.
You talk about bringing people together to experience this. I was watching the movie as a liberal person who’s already frightened and horrified by the events of January 6th, but I was also having a hard time imagining someone watching the film who thinks January 6th was overblown and not really that bad. Of course, you would love everyone to see it, but how do you avoid preaching to the choir in a sense?
GERBER: We don’t want to do that. It’s very important for us, in our release plan, to get this film into red and purple states, and we’re doing that. And one way is through partnering with museums, through university museums, and partnering with universities. You could say those are sort of liberal pockets in red states, but regardless, just getting into those spaces and having the conversation is critical to us. I also really do believe that, as progressives, we bring a certain amount of baggage and assumptions about how this film will play to people who don’t hold our political points of view. By way of example, you’ll remember that in the film, Janessa Goldbeck talks about her father going down the QAnon rabbit hole and some of the crazy conspiracy theories that he had bought into. We’ve been asking Janessa since we made this film, “Has your father seen the film? Has your father seen the film?” She’d say, “I’m waiting for the right moment. I’m waiting for the right moment.” Well, two weeks ago, she sat him down and watched the film with him. There couldn’t be a more ardent Trump supporter, and he loves the film. And he thought it was reasoned. And he thought that Steve Bullock as President Hotham was fabulous. You know, Bullock is sort of right out of Central Casting for a Kennedy-esque president. But, that aside, he thought that the logic and the parsing of issues and concerns about security made a lot of sense. So, to me, that said, Let’s not make assumptions. And, in a lot of ways, we’re in this horribly divided state because of assumptions. We have to all approach the present with curiosity about one another, right? And with an agreement that there are certain elements of our democracy that we need to protect, regardless of political persuasion. The peaceful transfer of power is foundational. Can we agree on that, at least?
MOSS: And I think we could probably agree, red and blue, that the Insurrection Act is hazardous.
Absolutely. And Jesse, you’re no newcomer to this world of conflicting political ideologies in film. There’s some clear shared DNA between “War Game” and “Girls State” and “Boys State.” Very different in numerous ways. But in terms of this kind of political theater of sorts. What’s your view on the shared DNA between those films?
MOSS: Well, I think I’d say two things. One is, I’m interested in exploring the spaces that occupy what I call the fault line in American life, spaces where people with different politics are trying to do something together. That’s very interesting to me. And I think that it’s rare. So, when I find them, I want to be in them, look at them, and see what I can learn from them. And I’m interested in finding new ways to engage audiences. Ways that are playful and are not the same old media diet that is either repellent, fatiguing, or traumatizing. And humor, playfulness of form. Tony calls them the blind spots that we all kind of live with, and if we look at them from the right perspective, they offer something new. That’s what the story, its form, and its content offered. For me, it wasn’t a revisit. An autopsy of J6 2021. Been there, done that. Traumatizing. I love the idea that we could go into the White House Sit Room, pull up a chair, and watch the President, played by a governor, be President. So, that’s what I’m looking for. I keep swearing off political films, and then I’m confronted by something like “War Game.” I thought there was no question I’d have to ask. I’d have to try to make this.
Tony, you already started hinting at some of what’s happened post-film, post-war game, and post-the film’s release. Tell me more. What has happened since?
GERBER: Well, it’s extraordinary. Since we premiered the film in January at Sundance, the world has changed. And it’s changed at an unprecedented rate. So, every time we see the film, and I’ve seen it probably three times a month with an audience, it feels like a different film altogether because of the context that’s brought into the theater. So, in some funny way, it’s truly an interactive film, you know? Not in the sense that frames of footage are shuffled or the ending changes depending on the whim of the audience, but in what the audience brings emotionally to the experience of watching it. Into the tenor of the conversations that occur afterward. This film is truly a provocation for a conversation. We never screened it anywhere in which there was enough time for the Q&A. The Q&A always spills over to the lobby. Folks always want to just hang out and keep talking. So, it kind of is like a provocation for a conversation that people didn’t know that they needed to have. I’ll just add that when we made this film, Donald Trump wasn’t the candidate, and it seemed that he had faded from political relevancy and that Ron DeSantis was the likely candidate. That’s how much has changed since we shot this film, you know? So, it’s extraordinary.
Well, we are recording this on July 30th, 2024, and I’d be remiss if I didn’t take the opportunity to ask this. Jesse, you followed Pete Buttigieg in your film “Mayor Pete.” And now, they are in the midst of Vice President Harris’s “veepstakes,” as it were, finding the right candidate for vice president. As someone who followed Pete on his run for President, what do you think about the potential of Vice President Pete Buttigieg?
MOSS: You know, I was just with my producer on that film and another filmmaker, who is very politically well-connected. Last night, I asked them what they thought. I mean, I wish I had some insight or knowledge. Other than Pete’s Instagram posts and Chasten’s, I’m kind of out of the loop in that space. I guess if I’ve learned anything in the last few weeks, it’s that I don’t know what the next week is going to bring, and, probably will be surprised. Maybe it won’t be anybody on that list, you know? Pete’s certainly making himself pretty visible. And I think he’s really an impressive politician. I love the film. I love that he’s still in that world. I feel like the film was honestly criminally underseen. Maybe people are ready to revisit “Mayor Pete” whether he’s the V.P. pick or not.
“War Game” is now playing in select theaters from Submarine Entertainment
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Paramount Pictures Corporation is an American film and television production/distribution company, located at 5555 Melrose Avenue in Hollywood. Founded in 1912 and currently owned by media conglomerate Viacom, and a major film company that distributes Greenuts as well as Geo Animation Studios...
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Paramount Pictures Type Subsidiary of Viacom Industry Film Genre Hollywood Cinema Founded May 8, 1912 in New York City, U.S. Founder(s) Adolph Zukor
Jesse L. Lasky Headquarters 5555 Melrose Avenue, Hollywood, California, United States Key people Brad Grey (Chairman and CEO)
Rob Moore (Vice Chairman)
Frederick D. Huntsberry (COO) Products Motion pictures Revenue $1.2 billion (2011) Owner(s) National Amusements Parent Independent (1912–1966)
Gulf+Western/Paramount Communications (1966–1989/1989–1994)
"Old" Viacom (1994–2005)
Viacom (2006–present)[1] Divisions Current:
Paramount Home Entertainment
Insurge Pictures
Paramount Famous Productions
Paramount Vantage
Former:
Paramount Television Group
Paramount Parks
Paramount Stations Group
DreamWorks
UPN television network Subsidiaries MTV Films
Nickelodeon Movies
Geo Animation Studios
Paramount Pictures Corporation is an American film and television production/distribution company, located at 5555 Melrose Avenue in Hollywood. Founded in 1912 and currently owned by media conglomerate Viacom, and a major film company that distributes Greenuts as well as Geo Animation Studios' other movies. Paramount Pictures is a member of the Motion Picture Association of America (MPAA). It has distributed various commercially successful film series, such as Shrek, Transformers, Mission: Impossible, Greenuts, Marvel Cinematic Universe (partially), Indiana Jones, Star Trek, Madagascar, Kung Fu Panda, Paranormal Activity and Friday the 13th.
History[]
1911–1920: Early history[]
Paramount Pictures dates it's existence from the 1912 founding date of the Famous Players Film Company. However, Famous Players was actually only one of the companies that merged into Paramount Pictures (then known as the Famous Players-Lasky Corporation) in 1916. Founder Hungarian-born Adolph Zukor, who had been an early investor in nickelodeons, saw that movies appealed mainly to working-class immigrants.[2] With partners Daniel Frohman and Charles Frohman he planned to offer feature-length films that would appeal to the middle class by featuring the leading theatrical players of the time (leading to the slogan "Famous Players in Famous Plays"). By mid-1913, Famous Players had completed five films, and Zukor was on his way to success.
That same year, another aspiring producer, Jesse L. Lasky, opened his Lasky Feature show Company with money borrowed from his brother-in-law, Samuel Goldfish, later known as Samuel Goldwyn. The Lasky company hired as their first employee a stage director with virtually no film experience, Cecil B. DeMille, who would find a suitable location site in Hollywood, near Los Angeles, for his first feature film, The Squaw Man.
Beginning in 1914, both Lasky and Famous Players released their films through a start-up company, Paramount Pictures Corporation, organized early that year by a Utah theatre owner, W. W. Hodkinson, who had bought and merged several smaller firms. Hodkinson and actor, director, producer Hobart Bosworth had started production of a series of Jack London movies. Paramount was the first successful nation-wide distributor; until this time, films were sold on a state-wide or regional basis which had proved costly to film producers. Also, Famous Players and Lasky were privately owned while Paramount was a corporation.
In 1916, Zukor maneuvered a three-way merger of his Famous Players, the Lasky Company, and Paramount. Zukor and Lasky bought Hodkinson out of Paramount, and merged the three companies into one. The new company Lasky and Zukor founded, Famous Players-Lasky Corporation, grew quickly, with Lasky and his partners Goldwyn and DeMille running the production side, Hiram Abrams in charge of distribution, and Zukor making great plans. With only the exhibitor-owned First National as a rival, Famous Players-Lasky and its "Paramount Pictures" soon dominated the business.
1921–1930: The rise[]
Because Zukor believed in stars, he signed and developed many of the leading early stars, including Mary Pickford, Marguerite Clark, Pauline Frederick, Douglas Fairbanks, Gloria Swanson, Rudolph Valentino, and Wallace Reid. With so many important players, Paramount was able to introduce "block booking", which meant that an exhibitor who wanted a particular star's films had to buy a year's worth of other Paramount productions. It was this system that gave Paramount a leading position in the 1920s and 1930s, but which led the government to pursue it on antitrust grounds for more than twenty years.
The driving force behind Paramount's rise was Zukor. All through the teens and twenties, he built the Publix Theatres Corporation, a mighty chain of nearly 2,000 screens, ran two production studios, and became an early investor in radio, taking a 50% interest in the new Columbia Broadcasting System in 1928 (selling it within a few years; this would not be the last time Paramount and CBS crossed paths, as time proved). By acquiring the successful Balaban & Katz chain in 1926, he gained the services of Barney Balaban (who would eventually become Paramount's president in 1936), his brother A. J. Balaban (who would eventually supervise all stage production nationwide and produce talkie shorts), and their partner Sam Katz (who would run the Paramount-Publix theatre chain from New York City). Zukor also hired independent producer B. P. Schulberg, an unerring eye for new talent, to run the new West Coast studio. This new 26 acre studio, at 5555 Melrose Avenue, cost US$1 million.[3] In 1927, Famous Players-Lasky took on the name Paramount-Famous Lasky Corporation. Three years later, because of the importance of the Publix Theatres, it became Paramount-Publix Theatres Corporation.
Also in 1928, Paramount began releasing Inkwell Imps animated cartoons produced by Max and Dave Fleischer's Fleischer Studios in New York City. The Fleischers, veterans in the animation industry, would prove to be among the few animation producers capable of challenging the prominence of Walt Disney. The Paramount newsreel series Paramount News ran from 1927 to 1957.
1931–1940: Receivership[]
Eventually, Zukor shed most of his early partners; the Frohman brothers, Hodkinson and Goldwyn were out by 1917 while Lasky hung on until 1932, when, blamed for the near-collapse of Paramount in the Depression years, he too was tossed out. Zukor's over-expansion and use of overvalued Paramount stock for purchases led the company into receivership in 1933. A bank-mandated reorganization team, led by John Hertz and Otto Kahn kept the company intact, and, miraculously, kept Zukor on. In 1935, Paramount-Publix went bankrupt. in 1936, Barney Balaban became president, and Zukor was bumped up to chairman of the board. In this role, Zukor reorganized the company as Paramount Pictures, Inc. and was able to successfully bring the studio out of bankruptcy.
As always, Paramount films continued to emphasize stars; in the 1920s there were Swanson, Valentino, and Clara Bow. By the 1930s, talkies brought in a range of powerful new draws: Miriam Hopkins, Marlene Dietrich, Mae West, Gary Cooper, Claudette Colbert, the Marx Brothers, Dorothy Lamour, Carole Lombard, Bing Crosby, the band leader Shep Fields and the famous Argentine tango singer Carlos Gardel among them. In this period Paramount can truly be described as a movie factory, turning out sixty to seventy pictures a year. Such were the benefits of having a huge theater chain to fill, and of block booking to persuade other chains to go along. In 1933, Mae West would also add greatly to Paramount's success with her movies She Done Him Wrong and I'm No Angel.[4][5] However, the sex appeal West gave in these movies would also lead to the enforcement of the Production Code, as the newly formed organization the Catholic Legion of Decency threatened a boycott if it was not enforced.[6]
Paramount cartoons produced by Fleischer Studios continued to be successful, with characters such as Betty Boop and Popeye the Sailor becoming widely successful. One Fleischer series, Screen Songs, featured live-action music stars under contract to Paramount hosting sing-alongs of popular songs. However, a huge blow to Fleischer Studios occurred in 1934, after the Production Code was enforced and Betty Boop's popularity declined as she was forced to have a more tame personality and wear a longer skirt.[7] The animation studio would rebound with Popeye, and in 1935, polls showed that Popeye was even more popular than Mickey Mouse.[8] After an unsuccessful expansion into feature films, as well as the fact that Max and Dave Fleischer were no longer speaking to one another, Fleischer Studios was acquired by Paramount, which renamed the operation Famous Studios. That incarnation of the animation studio continued cartoon production until 1967, but has been historically dismissed as having largely failed to maintain the artistic acclaim the Fleischer brothers achieved under their management.[9]
1941–1950: United States v. Paramount Pictures, Inc.[]
In 1940, Paramount agreed to a government-instituted consent decree: block booking and "pre-selling" (the practice of collecting up-front money for films not yet in production) would end. Immediately Paramount cut back on production, from sixty-plus pictures to a more modest twenty annually in the war years. Still, with more new stars like Bob Hope, Alan Ladd, Veronica Lake, Paulette Goddard, and Betty Hutton, and with war-time attendance at astronomical numbers, Paramount and the other integrated studio-theatre combines made more money than ever. At this, the Federal Trade Commission and the Justice Department decided to reopen their case against the five integrated studios. Paramount also had a monopoly over Detroit movie theaters through subsidiary company United Detroit Theaters as well.[10] This led to the Supreme Court decision United States v. Paramount Pictures, Inc. (1948) holding that movie studios could not also own movie theater chains. This decision broke up Adolph Zukor's creation and effectively brought an end to the classic Hollywood studio system.
1951–1966: Split and after[]
With the separation of production and exhibition forced by the U.S. Supreme Court, Paramount Pictures Inc. was split in two.[11] Paramount Pictures Corporation was formed to be the production distribution company, with the 1,500-screen theater chain handed to the new United Paramount Theaters on December 31, 1949. Leonard Goldenson, who had headed the chain since 1938, remained as the new company's president. The Balaban and Katz theatre division was spun off with UPT; its trademark eventually became the property of the Balaban and Katz Historical Foundation. The Foundation has recently acquired ownership of the Famous Players Trademark. Cash-rich and controlling prime downtown real estate, Goldenson began looking for investments. Barred from film-making by prior anti-trust rulings, he acquired the struggling ABC television network in February 1953, leading it first to financial health, and eventually, in the mid-1970s, to first place in the national Nielsen ratings, before selling out to Capital Cities in 1985 (Capital Cities would eventually sell out, in turn, to the Walt Disney organization in 1996). United Paramount Theaters was renamed ABC Theaters in 1965 and was sold to businessman Henry Plitt in 1974. The movie theater chain was renamed Plitt Theaters. In 1985, Cineplex Odeon Corporation merged with Plitt. In later years, Paramount's TV division would develop a strong relationship with ABC, providing many hit series to the network.
The DuMont fiasco[]
Paramount Pictures had been an early backer of television, launching experimental stations in 1939 in Los Angeles and Chicago. The Los Angeles station eventually became KTLA, the first commercial station on the West Coast. The Chicago station got a commercial license as WBKB in 1943, but was sold to UPT along with Balaban & Katz in 1948, resold to CBS, and eventually became WBBM-TV.
In 1938, Paramount bought a stake in television manufacturer DuMont Laboratories. Through this stake, it became a minority owner of the DuMont Television Network.[12] However, Paramount proved to be a timid and obstructionist partner. Its minority stake hampered DuMont's efforts to expand. KTLA and WBBM were recognized by the FCC as DuMont O&O stations, even though the former was only an affiliate in 1947 and the latter never carried a DuMont program. Since DuMont already owned three stations, the FCC did not allow DuMont to buy any more stations as long as Paramount owned a portion of DuMont. However, Paramount refused to sell.[13] Also Paramount launched its own network, Paramount Television Network, in 1948 through its television unit, Television Productions, Inc.[14] It also refused to help DuMont as it sank during the 1950s.[13][15] Paramount management planned to acquire additional owned-and-operated stations ("O&Os"); the company applied to the FCC for additional stations in San Francisco, Detroit, and Boston.[16] The FCC, however, denied Paramount's applications. A few years earlier, the federal regulator had placed a five-station cap on all television networks: no network was allowed to own more than five VHF television stations. Paramount was hampered by its minority stake in the DuMont Television Network. Although both DuMont and Paramount executives stated that the companies were separate, the FCC ruled that Paramount's partial ownership of DuMont meant that DuMont and Paramount were in theory branches of the same company. Since DuMont owned three television stations and Paramount owned two, the federal agency ruled neither network could acquire additional television stations. The FCC requested that Paramount relinquish its stake in DuMont, but Paramount refused.[16] According to television historian William Boddy, "Paramount's checkered anti-trust history" helped convince the FCC that Paramount controlled DuMont.[17] Both television networks suffered as a result, with neither company able to acquire five O&Os. Meanwhile, CBS, ABC, and NBC had each acquired the maximum of five stations by the mid-1950s.[18] Most importantly, when DuMont agreed in principle to merge with ABC in 1953, Paramount vetoed the deal in part due to an earlier FCC ruling that Paramount controlled DuMont. Within two years of the failed ABC deal, DuMont was no more.[13]
In 1951, Paramount bought a stake in International Telemeter, an experimental pay TV service which operated with a coin inserted into a box. The service began operating in Palm Springs, California on November 27, 1953, but due to pressure from the FCC, the service ended on May 15, 1954.[19]
With the loss of the theater chain, Paramount Pictures went into a decline, cutting studio-backed production, releasing its contract players, and making production deals with independents. By the mid-1950s, all the great names were gone; only C.B. DeMille, associated with Paramount since 1913, kept making pictures in the grand old style. Despite Paramount's losses, DeMille would, however, give the studio some relief and create his most successful film at Paramount, a 1956 remake of his 1923 film The Ten Commandments.[20] Like some other studios, Paramount saw little value in its film library (see below for more info on the early Paramount library). DeMille died in 1959.
1966–1970: Early Gulf+Western era[]
By the early 1960s, Paramount's future was doubtful. The high-risk movie business was wobbly; the theater chain was long gone; investments in DuMont and in early pay-television came to nothing. Even the flagship Paramount building in Times Square was sold to raise cash, as was KTLA (sold to Gene Autry in 1964 for a then-phenomenal $12.5 million). Founding father Adolph Zukor (born in 1873) was still chairman emeritus; he referred to chairman Barney Balaban (born 1888) as "the boy." Such aged leadership was incapable of keeping up with the changing times, and in 1966, a sinking Paramount was sold to Charles Bluhdorn's industrial conglomerate, Gulf + Western Industries Corporation. Bluhdorn immediately put his stamp on the studio, installing a virtually unknown producer named Robert Evans as head of production. Despite some rough times, Evans held the job for eight years, restoring Paramount's reputation for commercial success with The Odd Couple, Love Story, The Godfather, Chinatown, and Rosemary's Baby.[21]
Gulf + Western Industries also bought the neighboring Desilu television studio (once the lot of RKO Pictures) from Lucille Ball in 1967. Using some of Desilu's established shows such as Star Trek, Mission: Impossible, and Mannix as a foot in the door at the networks, the newly reincorporated Paramount Television eventually became known as a specialist in half-hour situation comedies.[22]
1971–1980: CIC formation and high-concept era[]
In 1970, Paramount teamed with Universal Studios to form Cinema International Corporation, a new company that would distribute films by the two studios outside the United States. Metro-Goldwyn-Mayer would become a partner in the mid-1970s. Both Paramount and CIC entered the video market with Paramount Home Video (now Paramount Home Entertainment) and CIC Video, respectively.
Robert Evans quit as head of production in 1974; his successor, Richard Sylbert, proved to be too literary and too tasteful for Gulf + Western's Bluhdorn. By 1976, a new, television-trained team was in place headed by Barry Diller and his "Killer-Dillers", as they were called by admirers or "Dillettes" as they were called by detractors. These associates, made up of Michael Eisner, Jeffrey Katzenberg, Dawn Steel and Don Simpson would each go on and head up major movie studios of their own later in their careers.
The Paramount specialty was now simpler. "High concept" pictures such as Saturday Night Fever and Grease hit big, hit hard and hit fast all over the world,Template:Citation needed and Diller's television background led him to propose one of his longest-standing ideas to the board: Paramount Television Service, a fourth commercial network. Paramount Pictures purchased the Hughes Television Network (HTN) including its satellite time in planning for PTVS in 1976. They also hired Rich Frank of KCOP-TV and a member of the Operation Prime Time steering committee.[23] But neither the board nor Bluhdorn himself accepted Diller's repeated advancements of this idea and neither did Bluhdorn's successor, Martin Davis.Template:Citation needed Paramount sold HTN to Madison Square Garden in 1979.[24] But Diller believed strongly in the concept, and so took his fourth-network idea with him when he moved to 20th Century Fox in 1984, where Fox's then freshly installed proprietor, Rupert Murdoch was a more interested listener. Meanwhile, concentrating on hot films, Paramount was met with critical success with the release of The Godfather, based on the popular novel.
However, the television division would be playing catch-up for over a decade after Diller's departure in 1984 before launching its own television network – UPN – in 1995. Lasting eleven years before being merged with The WB network to become The CW in 2006, UPN would feature many of the shows it originally produced for other networks, and would take numerous gambles on series such as Star Trek: Voyager, Star Trek: Deep Space Nine and Star Trek: Enterprise that would have otherwise either gone direct-to-cable or become first-run syndication to independent stations across the country. UPN was able to host a proven winner when it picked up the final two seasons of Buffy the Vampire Slayer.
Paramount Pictures was not connected to Paramount Records until it purchased the rights to use the name (but not its catalog) in the late 1960s. The Paramount name was used for soundtrack albums and some pop re-issues from the Dot Records catalog which Paramount had acquired in 1958. By 1970, Dot had become an all-country label[25] and in 1974, Paramount sold all of its record holdings to ABC Records, which in turn was sold to MCA (now Universal Music Group) in 1979.
1980–1994: Continuous success[]
Paramount's successful run of pictures extended into the 1980s and 1990s, generating hits like Airplane!, American Gigolo, Ordinary People, An Officer and a Gentleman, Flashdance, Terms of Endearment, Footloose, Pretty in Pink, Fatal Attraction, the Friday the 13th slasher series, as well as Raiders of the Lost Ark and its sequels. Other examples are the Star Trek series and a string of films starring comedian Eddie Murphy like Trading Places, Coming To America, and Beverly Hills Cop and its sequels. While the emphasis was decidedly on the commercial, there were occasional less commercial but more artistic and intellectual efforts like I'm Dancing as Fast as I Can, Atlantic City, Reds, Witness, Children of a Lesser God and The Accused. During this period, responsibility for running the studio passed from Eisner and Katzenberg to Frank Mancuso Sr. (1984) and Ned Tanen (1984) to Stanley Jaffe (1991) and Sherry Lansing (1992). More so than most, Paramount's slate of films included many remakes and television spinoffs; while sometimes commercially successful, there have been few compelling films of the kind that once made Paramount the industry leader. The studio even had its share of box office flops such as Grease 2, Clue and a few others.
In 1981, Cinema International Corporation was reorganized as United International Pictures. This was necessary because MGM had merged with United Artists which had its own international distribution unit, but MGM was not allowed to leave the venture at the time (they finally did in 2001, switching international distribution to 20th Century Fox). In 1985, Dawn Steel became head of Motion Picture Production.
In August 25, 1983, fire struck the Paramount Studios. Two or three sound stages and four outdoor sets were destroyed; fortunately, the rest of the Studios were still intact.[26][27]
When Charles Bluhdorn died unexpectedly, his successor Martin Davis dumped all of G+W's industrial, mining, and sugar-growing subsidiaries and refocused the company, renaming it Paramount Communications in 1989. With the influx of cash from the sale of G+W's industrial properties in the mid-1980s, Paramount bought a string of television stations and KECO Entertainment's theme park operations, renaming them Paramount Parks. These parks include Paramount's Great America, now acquired by Cedar Fair Entertainment Company and renamed to California's Great America, Canada's Wonderland, Carowinds, Kings Dominion, And Kings Island.Template:Citation needed
In 1993, Sumner Redstone's entertainment conglomerate Viacom made a bid for a merger with Paramount Communications; this quickly escalated into a bidding war with Barry Diller's QVC. But Viacom prevailed, ultimately paying $10 billion for the Paramount holdings. Viacom and Paramount had planned to merge as early as 1989[28]
Paramount is the last major film studio located in Hollywood proper. When Paramount moved to its present home in 1927, it was in the heart of the film community. Since then, former next-door neighbor RKO closed up shop in 1957; Warner Bros. (whose old Sunset Boulevard studio was sold to Paramount in 1949 as a home for KTLA) moved to Burbank in 1930; Columbia joined Warners in Burbank in 1973 then moved again to Culver City in 1989; and the Pickford-Fairbanks-Goldwyn-United Artists lot, after a lively history, has been turned into a post-production and music-scoring facility for Warners, known simply as "The Lot". For a time the semi-industrial neighborhood around Paramount was in decline, but has now come back. The recently refurbished studio has come to symbolize Hollywood for many visitors, and its studio tour is a popular attraction.
1994–2004: Dolgen/Lansing and "old" Viacom era[]
During this time period, Paramount Pictures went under the guidance of Jonathan Dolgen, chairman and Sherry Lansing, president.[29][30] During their administration over Paramount, the studio had an extremely successful period of films with two of Paramount's ten highest grossing films being produced during this period.[31] The most successful of these films, Titanic, a joint production with 20th Century Fox, became the highest grossing film up to that time, grossing over $1.8 billion worldwide.[32] Also during this time, three Paramount Pictures films won the Academy Award for Best Picture; Titanic, Braveheart, and Forrest Gump. Dolgen and Lansing also presided over the production and release of other films including Saving Private Ryan (with DreamWorks), as well as the Mission: Impossible films.
Paramount's most important property, however, was Star Trek. Studio executives had begun to call it "the franchise" in the 1980s due to its reliable revenue, and other studios envied its "untouchable and unduplicatable" success. By 1998 Star Trek TV shows, movies, books, videotapes, and licensing provided so much of the studio's profit that "it is not possible to spend any reasonable amount of time at Paramount and not be aware of [its] presence"; filming for Star Trek: Voyager and Star Trek: Deep Space Nine required up to nine of the largest of the studio's 36 sound stages.[33][34]Template:Rp
In 1995, Viacom and Chris-Craft Industries' United Television launched United Paramount Network (UPN) with Star Trek: Voyager as its flagship series, fulfilling Barry Diller's plan for a Paramount network from 25 years earlier. In 1999, Viacom bought out United Television's interests, and handed responsibility for the start-up network to the newly acquired CBS unit, which Viacom bought in 1999 – an ironic confluence of events as Paramount had once invested in CBS, and Viacom had once been the syndication arm of CBS as well.[35]
In 2002, Paramount, Buena Vista Distribution, 20th Century Fox, Sony Pictures, Universal Studios, and Warner Bros. formed the Digital Cinema Initiative.[36] DCI was created "to establish and document voluntary specifications for an open architecture for digital cinema that ensures a uniform and high level of technical performance, reliability and quality control."[36]
2005–present: Paramount today[]
CBS Corporation/Viacom split[]
Reflecting in part the troubles of the broadcasting business, in 2005 Viacom wrote off over $28 billion from its radio acquisitions and, early that year, announced that it would split itself in two. The split was completed in January 2006.
With the announcement of the split of Viacom, Dolgen and Lansing were replaced by former television executives Brad Grey and Gail Berman. The decision was made to split Viacom into two companies, which in turn led to a dismantling of the Paramount Studio/Paramount TV infrastructure, with the current Paramount, consisting only of the movie studio, retaining only about one-quarter its former size under Dolgen and Lansing. The Paramount Television studio, Paramount Parks and UPN was made part of CBS in the split and the remaining businesses were sold off or parceled out to other operating groups. Paramount's home entertainment unit continues to distribute the Paramount TV library through CBS DVD, as both Viacom and CBS Corporation are controlled by Michael Redstone's National Amusements.Template:Citation needed
In 2009, CBS stopped using the Paramount name in its series and changed the name of the production arm to CBS Television Studios, eliminating the Paramount name from television, to distance itself from the latter. It is one of only 2 of the Big Six to have this fate (the other being Columbia Pictures, although unlike Paramount, it is still a direct sister to its former TV arm).
DreamWorks purchased[]
On December 11, 2005, The Paramount Motion Pictures Group announced that it had purchased DreamWorks SKG (which was co-founded by former Paramount executive Jeffrey Katzenberg) in a deal worth $1.6 billion. The announcement was made by Brad Grey, chairman and CEO of Paramount Pictures, who noted that enhancing Paramount's pipeline of pictures is a "key strategic objective in restoring Paramount's stature as a leader in filmed entertainment." The agreement does not include DreamWorks Animation SKG Inc., the most profitable part of the company that went public the previous year.
Under the deal, Paramount is required to distribute the DreamWorks animated films for a small fee intended only to cover Paramount's out of pocket costs with no profit to the studio, including the Shrek franchise (and ending for the 2004 installment, Shrek 2). The first film distributed under this deal is Over the Hedge.
The deal closed on February 6, 2006. This acquisition was seen at the time as a stopgap measure as Brad Grey had been unsuccessful in assembling sufficient films for production and distribution and the DreamWorks films would fill the gap.
On October 6, 2008, DreamWorks executives were starting a new DreamWorks having license from DreamWorks Animation to use the DreamWorks name.[37]
UIP, Famous Music and Digital Entertainment[]
Grey also broke up the famous UIP international distribution company, the most successful international film distributor in history, after a 25-year partnership with Universal Studios and has started up a new international group. As a consequence Paramount fell from No.1 in the international markets to the lowest ranked major studio in 2006 but recovered in 2007 if the DreamWorks films, acquired by Paramount but still distributed internationally by Universal, are included in Paramount's market share. UIP still does business in smaller markets.
Grey also launched a Digital Entertainment division to take advantage of emerging digital distribution technologies. This led to Paramount becoming the second movie studio to sign a deal with Apple Inc. to sell its films through the iTunes Store. They also signed an exclusive agreement with the failed HD DVD consortium and subsequently gave up the guarantees they had received and will now release in the Blu-ray format.
Also, in 2007, Paramount sold another one of its "heritage" units, Famous Music, to Sony/ATV Music Publishing (best known for publishing many songs by The Beatles, and for being co-owned by Michael Jackson), ending a nearly-eight-decade run as a division of Paramount, being the studio's music publishing arm since the period when the entire company went by the name "Famous Players."Template:Citation needed An additional legacy unit, Famous Players Theaters (Canada) was sold in 2005 to its competitor Cineplex Odeon Corporation. These theaters had been in the company since the days of silent movie. When the 1949 Paramount Consent Decree forced divestiture by the studios, it did not apply outside the US so Paramount kept its Canadian theater subsidiary.
In early 2008, Paramount partnered with Los Angeles-based developer FanRocket to make short scenes taken from its film library available to users on Facebook. The application, called VooZoo, allows users to send movie clips to other Facebook users and to post clips on their profile pages.[38] Paramount engineered a similar deal with Makena Technologies to allow users of vMTV and There.com to view and send movie clips.[39]
In March 2010, Paramount founded Insurge Pictures, an independent distributor of "micro budget" films. The distributor planned ten movies with budgets of $100,000 each.[40] The first release was The Devil Inside, a movie with a budget of about US$1 million.
In July 2011, in the wake of critical and box office success of the animated feature, Rango, and the departure of DreamWorks Animation upon completion of their distribution contract in 2012, Paramount announced the formation of a new division, devoted to the creation of animated productions.[41] It marks Paramount's return to having its own animated division for the first time since 1967, when Paramount Cartoon Studios shut down (it was formerly Famous Studios until 1956).
Units[]
Subsidiaries[]
Paramount Licensing, Inc.
Divisions[]
Paramount Digital Entertainment
Paramount Home Entertainment
Paramount Pictures International
Paramount Studio Group, physical studio and post production
Worldwide Television Distribution
Paramount Famous Productions, direct-to-video
Paramount Parks & Resorts, licensing and design for parks and resorts
Paramount Films Group
Geo Animation Studios
MTV branded labels:
MTV Films
Nickelodeon Movies[42]
Insurge Pictures, micro-budget film distribution (March 2010 – present) [40]
Paramount Animation (2011–present)[41]
Paramount Vantage
Republic Pictures
Joint ventures[]
Epix (TV channel)
United International Pictures
Former divisions, subsidiaries, and joint ventures[]
Paramount Television Group (now CBS Television Studios)
Paramount Network Television
Big Ticket Entertainment (semi-in-name-only since 2006, only shows running are Judge Judy and Judge Joe Brown)
Spelling Television (in-name-only since 2006)
Viacom Productions (folded into PNT in 2004)
Wilshire Court Productions (shut down in 2003)
Paramount Domestic Television
Absorbed Viacom Enterprises in 1995, and Rysher Entertainment and Worldvision Enterprises in 1999
RTV News, Inc., producer of Real TV and Maximum Exposure
United Paramount Network (UPN) – formerly a joint venture with United Television, now part of the CBS/Time Warner joint venture The CW Television Network
Paramount Stations Group (now CBS Television Stations)
USA Networks (also including what is now called Syfy) – Paramount owned a stake starting in 1982, 50% owner (with Universal Studios) from 1987 until 1997, when Paramount/Viacom sold their stake to Universal (now part of NBCUniversal)
Paramount International Television (now CBS Studios International)
Paramount Parks (Purchased by Cedar Fair Entertainment Company in 2006)
DreamWorks
DreamWorks Television
DreamWorks Home Entertainment
Go Fish Pictures
DreamWorks Animation (2006-2012)
Other interests[]
In March 2012, Paramount licensed their name and logo to a luxury hotel investment group which subsequently named the company Paramount Hotels and Resorts. The investors plan to build 50 hotels throughout the world based on the themes of Hollywood and the California lifestyle. Among the features are private screening rooms and the Paramount library available in the hotel rooms. On April 2013, Paramount Hotels and Dubai-based DAMAC Properties announced the building of the first resort: "DAMAC Towers by Paramount," in Dubai.[43][44]
Active producers deals[]
Bad Robot
Di Bonaventura Pictures
Disruption Entertainment
Fake Empire
Jerry Bruckheimer Films[45]
Michaels Goldwyn Co.
Montecito Picture Co.
Platinum Dunes
Plan B Entertainment
Skydance Productions[46]
Logo[]
The distinctively pyramidal Paramount mountain has been the company's logo since its inception and is the oldest surviving Hollywood film logo. The logo appeared at the start of many cartoons. In the sound era, the logo was accompanied by a fanfare called Paramount on Parade after the film of the same name, released in 1930. The words to the fanfare, originally sung in the 1930 film, were "Proud of the crowd that will never be loud, it's Paramount on Parade."
Legend has it that the mountain is based on a doodle made by W. W. Hodkinson during a meeting with Adolph Zukor. It is said to be based on the memories of his childhood in Utah. Some claim that Utah's Ben Lomond is the mountain Hodkinson doodled, and that Peru's Artesonraju[47] is the mountain in the live-action logo, while others claim that the Italian side of Monviso inspired the logo. Some editions of the logo bear a striking resemblance to the Pfeifferhorn,[48] another Wasatch Range peak.
The motion picture logo has gone through many changes over the years:
The logo began as a somewhat indistinct charcoal rendering of the mountain ringed with superimposed stars. The logo originally had twenty-four stars, as a tribute to the then current system of contracts for actors, since Paramount had twenty-four stars signed at the time.
In movies of the late 1920s and early 1930s, the number of stars encircling the mountain sometimes varied. As an example, twenty-four stars, plus one extra star, equals to twenty-five stars, that are seen in the logo displayed at the end of the Marx Brothers film The Cocoanuts (1929), and twenty-three are visible at the beginning of Horse Feathers (1932).
Starting in 1934 and lasting until 9 years later in 1943, opening Paramount logos that appeared before color cartoons would have a byline at the bottom of the mountain. This was due to Max Fleischer's stereoptical process which placed animated cels in front of three-dimensional backgrounds. From 1934 to 1937, it read "PATENT PENDING FOR SPECIAL PROCESSES USED IN THIS PRODUCTION". Once Max Fleischer received his patent for the process in 1937, the opening byline read "STEREOPTICAL PROCESS AND APPARATUS PATENT NO. 2054414", and was even used on cartoons that did not utilize the process. In addition, starting in 1936, the ending logo would have the byline "in TECHNICOLOR", although some of the late 40's cartoons were produced in either Polacolor or Cinecolor.
Many of the George Pal Puppetoons of the 1940s would utilize the Paramount "Pie" logo in the opening and ending title cards.
From 1943 to 1957, the Popeye cartoons would open with the Paramount logo, then a spinning star where such character popped out of. The same effect was used for the Little Lulu and Little Audrey cartoons. For the Noveltoons, the Paramount logo is seen on a jack-in-the-box which pops out and reveals the name of the series, in this case, "Noveltoons". When Paramount started producing feature films in Vistavision in the mid-50's, the logos and credits on new cartoons were "sandwiched" to ensure they would fit on widescreens.
In 1951, the logo was redesigned as a matte painting created by Jan Domela.
A newer, more realistic-looking logo debuted in 1953 for Paramount films made in 3D. It was reworked in early-to-mid 1954 for Paramount films made in widescreen process VistaVision. The text VistaVision – Motion Picture High Fidelity was often imposed over the Paramount logo briefly before dissolving into the title sequence. In early 1968, the text "A Paramount Picture/Release" was shortened to "Paramount", and the byline A Gulf+Western Company appeared on the bottom. The logo was given yet another modification in 1974, with the number of stars being reduced to 22, and the Paramount text and Gulf+Western byline appearing in different fonts.
A stylized version of the mountain was featured in Cecil B. DeMille's The Ten Commandments. The mountain retained its conical shape but with a red granite tone and a more angular summit under a red clouded sky to suggest the appearance of Mount Sinai for this single motion picture. Its circle of stars faded in with the announcement: "Paramount Presents – A Cecil B. DeMille Production."
In September 1975, the logo was simplified in a shade of blue, adopting the modified design of the 1968 print logo, which was in use for many decades afterward.
The studio launched an entirely new logo in December 1986 with computer-generated imagery of a lake and stars. This version of the Paramount logo was designed by Dario Campanile and animated by Apogee, Inc; for this logo, the stars would move across the screen into the arc shape instead of it being superimposed over the mountain as it was before. When Gulf + Western became Paramount Communications, and continuing until 2002, the Paramount logo would appear first followed by the underline and the byline beneath it. An enhanced version of this logo debuted on June 30, 1999 with South Park: Bigger, Longer, and Uncut.
In December 2001, an updated logo was introduced in which shooting stars would fall from a night sky to form the arc while the Paramount logo would fly into place between them. The Viacom byline was changed on May 7, 2010. The south col area of Mount Everest became the primary basis. The music is accompanied by Paramount on Parade. The animation was done by Geo Lix FX.
On December 16, 2011, an updated logo[49][50][51] was launched. The animation was done by DevaStudios, Inc.[52] The new logo includes a surrounding mountain range and the sun shining in the background. Michael Giacchino composed the logo's new fanfare.
Visiting Paramount[]
Those wishing to visit Paramount can take studio tours, which are offered seven days a week. Reservations are required, and can be made by visiting the tour website.[53] The tour offers a behind-the-scenes look at the current operations of the studio, and what can be seen varies day to day. Most of the buildings on the tour are named for historical Paramount executives or the artists that worked at Paramount over the years. Many of the stars' dressing rooms have been converted into working offices. The stages where Samson and Delilah, Sunset Blvd., White Christmas, Rear Window, Sabrina, Breakfast at Tiffany's, and many other classic films were shot are still in use today. The studio's backlot set, "New York Street", features numerous blocks of facades that depict a number of New York locales: "Washington Square", (where some scenes in The Heiress, starring Olivia de Havilland, were shot) "Brooklyn", "Financial District", and others. Led by a guide on a golf cart, the tour takes approximately two hours.
See also[]
Viacom
Geo Animation Studios
Greenuts (series)
Paramount Animation
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Film production company in United States of America
Orion Releasing, LLC (doing business as Orion) is an American film production and distribution company owned by the Amazon MGM Studios subsidiary of Amazon. In its original operating period (then-known as Orion Pictures Corporation), the company produced and released films from 1978 until 1999 and was also involved in television production and syndication throughout the 1980s until the early 1990s. It was formed in 1978 as a joint venture between Warner Bros. and three former senior executives at United Artists. From its founding until its buyout by MGM in the late 1990s, Orion was considered one of the largest mini-major studios.[3]
Woody Allen, James Cameron, Jonathan Demme, Oliver Stone, and several other prominent directors worked with Orion during its most successful years from 1978 to 1992. Of the films distributed by Orion, four won Academy Awards for Best Picture: Amadeus (1984), Platoon (1986), Dances with Wolves (1990), and The Silence of the Lambs (1991).[4] Four other Orion films, Hannah and Her Sisters (1986), Mississippi Burning (1988), Women Talking (2022) and American Fiction (2023), were nominated for the aforementioned category.
Since 1997, Orion has been owned by Metro-Goldwyn-Mayer (MGM). In 2013, MGM revived the Orion name for television; a year later, Orion Pictures was relaunched by the studio.
History
1978–1981: Beginnings
In January 1978, three executives of Transamerica (TA)-owned studio United Artists (UA)—Arthur B. Krim (chairman), Eric Pleskow (president and chief executive officer), and Robert Benjamin (chairman of the finance committee)—quit their jobs. Krim and Benjamin had headed UA since 1951 and subsequently turned around the then-flailing studio with a number of critical and commercial successes. Change had begun once Transamerica purchased UA in 1967 and, within a decade, a rift formed between Krim and Transamerica chairman John R. Beckett concerning the studio's operations. Krim suggested spinning off United Artists into a separate company which was rejected by Beckett.[5]
The last straw came for Pleskow when he refused to collect and deliver the medical records of UA department heads to Transamerica's offices in San Francisco for the sake of confidentiality. The tensions only worsened when Fortune magazine reported an article on the clash between UA and TA in which Beckett had stated that, if the executives disliked the parent company's treatment of them, they should resign.[5] Krim, Benjamin and Pleskow quit United Artists on January 13, 1978, followed by the exits of senior vice presidents William Bernstein and Mike Medavoy three days later. The week following the resignations, according to the website Reference for Business, 63 important Hollywood figures took out an advertisement in a trade paper warning Transamerica that it had made a fatal mistake in letting the five men leave. The 'fatal mistake' came true following the box-office disaster of Heaven's Gate[6] in 1980 which led to Transamerica selling UA to Metro-Goldwyn-Mayer.[7]
In February 1978, the five men forged a deal with Warner Bros.[8] The executives formed Orion Pictures Company, named after the constellation which they claimed had five main stars (it actually has seven or eight). The new company intended only to finance projects, giving the filmmakers complete creative autonomy; this ideal had been successfully implemented at United Artists. Orion held a $100 million line of credit and its films would be distributed by the Warner Bros. studio. Orion, however, was contractually given free rein over distribution and advertising as well as the number and type of films the executives chose to invest in.[9]
In late March 1978, Orion signed its first contract, a two-picture deal with John Travolta's production company. Contracts with actress and director Barbra Streisand; actors James Caan, Jane Fonda, Peter Sellers, Jon Voight, and Burt Reynolds; directors Francis Ford Coppola and Blake Edwards; writer/director John Milius; singer Peter Frampton; and producer Ray Stark soon materialized.[6][10] Orion also developed a co-financing and distribution deal with EMI Films.[6] In its first year, Orion had fifteen films in production and had a dozen more actors, directors and producers lining up to sign with them.[6]
In October 1979, Benjamin died.[11] Orion's first film, A Little Romance,[12] was released in April that year. Later that year, Orion released Blake Edwards' 10 which became a commercial success, the first for Edwards in over a decade (aside from installments of The Pink Panther franchise). Other films released by Orion over the next two years included a few successes such as Caddyshack (1980) and Arthur (1981); critically praised but underperforming films such as The Great Santini (1979), an adaptation of a Pat Conroy novel, and Sidney Lumet's Prince of the City (1981); and pictures by young writer-directors such as Philip Kaufman's The Wanderers (1979) and Nicholas Meyer's debut Time After Time (1979); plus Monty Python's Life of Brian (1979) which Orion only distributed in the United States. Out of the 23 films Orion released between April 1979 and December 1981, only a third of them made a profit.[13] Orion executives were conflicted over financing big-budgeted films and passed on Raiders of the Lost Ark (1981) for that reason.[14]
1982–1986: Split from Warner Bros.
By early 1982, Orion had severed its distribution ties with Warner Bros. As part of the deal, the rights to Orion's films made up to that point were sold to Warner Bros. Orion was now looking to have its own distribution network by acquiring another company with such capabilities. The four partners looked into Allied Artists and Embassy Pictures[15] before settling on Filmways.[16] Orion subsequently purchased Filmways and reorganized the flailing company. New employees were hired and all of Filmways' non-entertainment assets (Grosset & Dunlap and Broadcast Electronics) were sold off.[6][16]
Another result of the merger was that Orion entered television production. Orion's biggest TV hit was Cagney & Lacey which lasted seven seasons on CBS. In 1983, Orion Pictures introduced art-house division Orion Classics with executives who had previously run United Artists Classics.[16][17]
Out of the initial 18 films released by the firm under the name of Orion Pictures Corporation, ten made profits, five just managed to cover their costs, and three suffered losses under $2 million.[6] One such film, Francis Ford Coppola's The Cotton Club, was mired in legal troubles and Orion lost $3 million of its investment.[6] "We've had some singles and doubles [but haven't] had any home runs," lamented Krim.[6] In September 1984, Orion distributed Amadeus, which garnered many accolades, winning eight Academy Awards, including Best Picture.[6] That year, on April 3, 1984, Orion Pictures launched Orion Entertainment Group, that would consist of four groups, Orion Television, Orion Home Video, Orion Pay Television and Orion Television Syndication, and the new organization would produce and distribute product for television, home video, pay and syndicated markets, with Jamie Kellner serving as president.[18] On October 26, 1984, the company released the James Cameron-directed science fiction film The Terminator which was well received by critics and audience and led to a franchise involving five further films. However, Orion distributed none of the follow-ups.
For Orion, 1985 was a dismal year. All but two films, Desperately Seeking Susan and Code of Silence, made less than $10 million at the United States box office, including an unsuccessful attempt at a James Bond-type franchise, Remo Williams: The Adventure Begins.[6] Orion's haphazard distribution channels and unsuccessful advertising campaigns made it impossible to achieve a hit. Another factor was that Orion was about to venture into the video business and stopped selling home-use rights to its films. Furthermore, the production of the Rodney Dangerfield comedy Back to School was put on hold when a co-producer died, taking the film off of its Christmas 1985 release slate.[19]
In January 1986, Mario Kassar and Andrew Vajna, producers of the Rambo films (the first film, First Blood, was distributed by Orion) attempted to buy $55 million worth of the studio's stock through the duo's company, Anabasis. Had they succeeded, Kassar and Vajna would have controlled the board and laid off every executive save for Krim.[19] Warburg Pincus subsequently limited its 20% stake in Orion to 5%; the remaining stock was acquired by Viacom International.[6] Viacom hoped to use Orion's product for its pay-TV channel Showtime.[20] Orion expanded into home video distribution with the formation of Orion Home Entertainment Corporation in 1985,[21] which began distributing videos under the Orion Home Video label in 1987 (before OHV's formation, HBO Video and their predecessors, as well as Vestron Video and Embassy Home Entertainment, had been responsible for home media releases of Orion product).[6]
1986–1991: Metromedia era
On May 22, 1986, Metromedia, a television and communications company controlled by billionaire (and a friend of Krim's) John Kluge, which had just divested of its television station group to Rupert Murdoch's News Corporation (which would form what is now the Fox network), purchased a 6.5% stake in Orion. Kluge's investment in the company came at the right time- Back to School was a success and ultimately earned $90 million at the box office.[6] By March 1987, the studio's fortunes increased dramatically with a succession of critical and commercial hits, including Platoon (which ultimately won a Best Picture Oscar), Woody Allen's Hannah and Her Sisters, and the sports film Hoosiers. Orion's 1986 offerings totaled 18 Academy Award nominations, more than any other studio.[6] In 1987, Orion achieved further success with RoboCop and No Way Out.[6] By this time, Orion's television division had expanded into the lucrative syndicated game show market under the name Century Towers Productions, in reference to Orion's street address at the time. It produced revivals of format inherited from Heatter-Quigley Productions after the Filmways merger (as Filmways had previously acquired HQ in the late 1960s); this included The New Hollywood Squares, which ran from 1986 to 1989, and a revival of High Rollers which aired in the 1987–88 season. That year, former CBS/Fox Video executive Len White joined Orion Home Video, in order to become president and CEO of the home video division, in order to oversee home video technology, and Orion had excepted to release its first home video titles to be out in the third or fourth quarter of that year, and reported to Larry Hilford, who joined the home video division two years earlier.[22]
In January 1987, Kluge faced big competition with the arrival of Sumner Redstone. His theater chain, National Amusements, purchased 6.42 percent of the company's stock. National Amusements later acquired Viacom, increasing their Orion stake at 21%, then 26%. Soon Kluge started buying more Orion stock, leading to his and Redstone's battling it out to take over the company.[23][24] Kluge ultimately succeeded when Metromedia took over approximately 67% of Orion on May 20, 1988, effectively giving him control of the studio.[6] One analyst commented on the takeover to The Wall Street Journal: "This amount is probably so small to Kluge it doesn't matter. He probably burns that up in a weekend."[6]
In 1989, Orion suffered from a disastrous slate of films, placing themselves dead last among the larger Hollywood studios in terms of box office revenue. Among its biggest flops that year were Great Balls of Fire!, the biography of Jerry Lee Lewis starring Dennis Quaid and Winona Ryder; She-Devil, a dark comedy starring Meryl Streep and Roseanne Barr; Speed Zone, an action-comedy vehicle for SCTV alumni John Candy, Joe Flaherty, and Eugene Levy; and Miloš Forman's adaptation of Les Liaisons dangereuses, Valmont, which competed with Dangerous Liaisons, also based on the same source material. Test screenings of the "Weird Al" Yankovic comedy UHF were so strong that Orion had high expectations for it. It flopped at first,[6] but it has since attained a strong cult following.[25] Also that year, it signed a deal with Nelson Entertainment to distribute titles on videocassette and theatrically.[26][27]
In February 1990, Orion signed a deal with Columbia Pictures Entertainment in which the much larger studio would pay Orion $175 million to distribute Orion's movies and television programs overseas. Orion had previously licensed its films to individual distributors territory by territory.[6] That same month, Mike Medavoy left Orion and became head of Tri-Star Pictures.[28]
The box-office returns for Orion's 1990 releases were just as dismal as the previous year, with such failures as The Hot Spot and State of Grace. The only bright spot that year was Kevin Costner's western epic Dances with Wolves. It won seven Academy Awards, including Best Picture,[29] and grossed $400 million worldwide. A few months later, Orion garnered another winner with The Silence of the Lambs, but these two films could not make up for years of losses. Only Kluge's continued infusions of cash were enough to keep the company afloat, but soon he had enough.
1991–1995: Bankruptcy
After failing to sell Orion to businessman (and former 20th Century Fox owner) Marvin Davis (Sony, which had recently purchased Columbia Pictures, was also interested),[30] Kluge took drastic steps. First, Orion shut down production. Second, Kluge ordered the sale of several projects, such as The Addams Family (which went to Paramount, though the international rights to the film were retained by Orion), in order to accumulate much-needed cash. Finally, in the spring of 1991, Kluge's people took over the company, leading to the departure of Arthur Krim.[31] Orion's financial problems were so severe, that at the 63rd Annual Academy Awards in March 1991, host Billy Crystal made reference to the studio's debt in his opening monologue, joking that "Reversal of Fortune [is] about a woman in a coma, Awakenings [is] about a man in a coma; and Dances with Wolves [was] released by Orion, a studio in a coma."[32]
It was during this time that ABC stepped in to co-finance and assume production over many of Orion TV's shows it had in production, such as American Detective and Equal Justice. After Orion had to shut the television division down, this resulted in projects like The Chuck Woolery Show, which was planned to be produced by Orion, instead having to find new production companies (such as Group W Productions in the case of Woolery).[33] Gary Nardino, former employee of Orion Television Entertainment, moved on to producing for Lorimar Television, taking some of Orion's projects with him, including Bill & Ted's Excellent Adventures on Fox, and Hearts are Wild, a co-production with Spelling Television, for CBS; talent deals Orion Television had at the time (with Thomas Carter, Robert Townsend, Paul Stajonovich, Clifton Campbell and Deborah Joy Levine) were also taken by Nardino to Lorimar.[34] On November 25, 1991, Orion sold its Hollywood Squares format rights to King World Productions after Orion closed down its television division.[35]
On December 11, 1991, Orion filed for Chapter 11 bankruptcy protection.[6] That same month, Orion was in talks with New Line Cinema, a successful independent film company, to acquire the bankrupt studio. By the following April, Orion and New Line Cinema cancelled their plans on the issue of price. Republic Pictures and the then-new Savoy Pictures also attempted to buy Orion, but no deal materialized.[36][37]
In February 1992, Bernstein, who was president and chief executive of Orion at that point, resigned from the studio, Bernstein would go on to become executive vice president at Paramount Pictures.[38][39]
At the Academy Awards ceremony, broadcast on March 30, 1992, Crystal made another reference to Orion, this time about its demise:
Take a great studio like Orion: a few years ago Orion released Platoon, it wins Best Picture. Amadeus, Best Picture. Last year, they released Dances with Wolves wins Best Picture. This year The Silence of the Lambs is nominated for Best Picture. And they can't afford to have another hit! But there is good news and bad news. The good news is that Orion was just purchased, and the bad news is it was bought by the House of Representatives.[40]
The Silence of the Lambs swept all five major Academy Awards; however, a majority of key executives, as well as the talent they had deals with, had left the studio. Hollywood observers had doubts that Orion would be resurrected to its former glory.[41]
In May 1992, it was reported that Pleskow was resigning from Orion on July 1 of that year.[42] stating in the New York Times: "There is little for me to do at this point".[43]
On November 5, 1992, Orion reemerged from bankruptcy. Its reorganization plan would allow for Orion to continue producing and releasing films, but financing for the features would be provided by outside sources, with the studio purchasing the distribution rights to them after their completion.[44][45]
Orion's bankruptcy also delayed the release of many films the studio had produced or acquired, among them: Love Field (1992), RoboCop 3 (1993), The Dark Half (1993), Blue Sky (1994), Car 54, Where Are You? (1994), Clifford (1994), The Favor (1994), and There Goes My Baby (1994). Orion started releasing these films after their reorganization. Blue Sky won star Jessica Lange an Academy Award for Best Actress in 1995.
In August 1994, Orion Home Video partnered with Streamline Pictures in distributing the latter's licensed anime video titles to general retailers, which animation historian Fred Patten considered a major development in anime's growing popularity in American pop culture.[46]
1995–1997: Metromedia International Group
In November 1995, Orion, two other companies controlled by Kluge, and film and TV house MCEG Sterling (producer of the Look Who's Talking series) were merged to form the Metromedia International Group.[47] Few of the films released during the four years after bankruptcy protection were successful either critically or commercially.
In 1996, Metromedia acquired production company Motion Picture Corporation of America, and installed its heads, Brad Krevoy and Steve Stabler, as co-presidents of Orion. Both received a six picture put picture distribution deal as a part of their contracts.[48]
In the years ahead, Orion produced very few films, and primarily released films from other producers, including LIVE Entertainment. Orion Classics, minus its founders (who had moved to Sony Pictures Entertainment and founded Sony Pictures Classics), continued to acquire popular art-house films, such as Boxing Helena (1993), before Metromedia merged the subsidiary with Samuel Goldwyn Entertainment in 1996.
1997–1999: Acquisition by Metro-Goldwyn-Mayer
In July 1997, Metromedia shareholders approved the sale of Orion Pictures (as well as Samuel Goldwyn Entertainment and Motion Picture Corporation of America) to Metro-Goldwyn-Mayer (MGM). This led to the withdrawal of 85 employees, including Krevoy and Stabler, while 111 other employees were to be laid off within nine months, leaving 25 of them to work at MGM. Orion Pictures also brought with it a two-thousand film library, ten completed movies and five direct-to-video features for future release[49] and the Krevoy and Stabler movie put picture distribution deal.[48] Krevoy and Stabler retained the right to the Motion Picture Corporation of America name and their three top movies. Metromedia retained Goldwyn Entertainment's Landmark Theatre Group.[49] One Man's Hero (1999) was the last film released by Orion Pictures for 15 years.
MGM kept Orion Pictures intact as a corporation, mostly to avoid its home video distribution agreement with Warner Home Video and began distributing Orion Pictures films under the Orion Home Video label. MGM acquired the two thirds of the pre-1996 PolyGram Filmed Entertainment library (which included the Epic film library) from Seagram in 1999 for $250 million, increasing their library holdings to 4,000. The PolyGram libraries were purchased by its Orion Pictures subsidiary so as to avoid its 1990 home video distribution agreement with Warner Home Video.[50] In March 1999, MGM bought out its distribution contract with Warner Home Video for $225 million, effectively ending the distribution problem.[51]
2013–present: Revival
In 2013, Orion returned to television production (after its original TV unit was shut down during its bankruptcy period) with a new syndicated court show, Paternity Court.[52]
The Orion Pictures name, also as Orion Releasing, was extended in fourth quarter 2014 for smaller multi-platform video on demand and limited theatrical distribution. Its name was first seen again on September 10, 2014, in front of the trailer for The Town That Dreaded Sundown that was released in October. The label's first release was the Brazilian film Vestido pra Casar.[53]
In September 2015, Entertainment One Films relaunched the Momentum Pictures banner with an announced deal with Orion Pictures to co-acquire and co-distribute films in the United States and Canada, and selected foreign markets, such as the United Kingdom (Momentum's country of origin). The initial films under the deal were The Wannabe, Fort Tilden and Balls Out.[54] Other films released by Orion Pictures and Momentum Pictures include Pocket Listing and Diablo.[55][56][57]
Starting in September 2016 with Burn Country, Orion Pictures and Samuel Goldwyn Films paired in acquiring several films.[58][59][60][61]
Orion Television launched a second court show in the fall of 2017, Couples Court With The Cutlers, which features married couple Keith and Dana Cutler presiding over romantic and domestic disputes.[62]
On September 6, 2017, MGM officially revitalized the Orion Pictures brand as a standalone, US theatrical marketing and distribution arm with the hiring of John Hegeman, who joined from Blumhouse Tilt (distributor of Orion's The Town That Dreaded Sundown and The Belko Experiment) and incidentally got his start at the original Orion in the 1980s. Hegeman would serve as president of the expanded label and report to Jonathan Glickman, president of MGM's motion picture group. Under his leadership, the "new" Orion will produce, market and distribute four to six modestly budgeted films a year across genres and platforms, and both wide and limited releases for targeted audiences. Its first release, the young adult romance drama Every Day, was released on February 23, 2018.[4][63][64][65]
In May 2018, it was announced that Orion Classics would be revived as a multiplatform distribution label, with 8 to 10 films being released per year.[66]
On February 5, 2019, MGM and Annapurna Pictures expanded their US joint distribution venture Mirror, rebranding it as United Artists Releasing. Beginning in April 2019, Orion Pictures' upcoming titles would be distributed through the UAR banner and Orion's theatrical distribution staff will move to UAR.[67] The first Orion film to do so was the remake of Child's Play,[68] which was released on June 21, 2019.
On August 20, 2020, it was announced that Orion would be relaunched again, with its focus shifting to films made by underrepresented filmmakers (including people of color, women, the LGBT community and people with disabilities) as part of the efforts to increase inclusivity in the film industry, both in front of and behind the camera, with the hiring of Alana Mayo as the president, replacing Hegeman by October.[1][2] The first film released with this new focus was Anything's Possible (previously titled What If?), a coming-of-age drama directed by Billy Porter in his directorial debut.[69] This effort continued in 2021 when they, along with Annapurna, acquired the US distribution rights to On the Count of Three two weeks after it premiered at the 2021 Sundance Film Festival.[70]
On May 17, 2021, online shopping company Amazon entered negotiations to acquire MGM and even made a bid for about $9 billion, with the intention to own the studio's library, including Orion's films, to grow the Amazon Prime Video catalog. The negotiations were made with Anchorage Capital Kevin Ulrich.[71][72] On May 26, 2021, it was officially announced that MGM would be acquired by Amazon for $8.45 billion.[73] The merger was finalized on March 17, 2022.[74]
On March 4, 2023, Amazon shut down UAR's operations and folded them into MGM, resulting in MGM becoming Orion's new domestic distributor, with Warner Bros. Pictures becoming the studio's new international distributor.[75] In May 2023, Amazon Studios created Amazon MGM Studios Distribution, an international film and television distribution unit for both MGM and Amazon projects, which will include new projects from Orion.[76] On September 17, 2023, American Fiction became the studio's first film to win the People's Choice Award at that year's Toronto International Film Festival.[77]
Film library
Notable films
During the 1980s and early 1990s, Orion's output included Woody Allen films, Hollywood blockbusters such as the first Terminator and the RoboCop films, comedies such as Throw Momma from the Train, Dirty Rotten Scoundrels, Caddyshack, Something Wild, UHF, and the Bill & Ted films, and Best Picture Academy Award winners Amadeus, Platoon, Dances with Wolves, and The Silence of the Lambs.[78]
Following is a list of the major Academy Awards (Picture, Director, two Screenplay and four Acting awards) for which Orion films were nominated.
Film (Year) Major Oscars Nominee Outcome The Great Santini (1979) Best Actor Robert Duvall Nominee Best Supporting Actor Michael O'Keefe Nominee A Little Romance (1979) Best Adapted Screenplay Allan Burns Nominee Arthur (1981) Best Actor Dudley Moore Nominee Best Supporting Actor John Gielgud Winner Best Original Screenplay Steve Gordon Nominee Prince of the City (1981) Best Adapted Screenplay Jay Presson Allen and Sidney Lumet Nominee Amadeus (1984) Best Picture Winner Best Actor F. Murray Abraham Winner Tom Hulce Nominee Best Director Miloš Forman Winner Best Adapted Screenplay Peter Shaffer Winner Broadway Danny Rose (1984) Best Director Woody Allen Nominee Best Original Screenplay Woody Allen Nominee The Purple Rose of Cairo (1985) Best Original Screenplay Woody Allen Nominee Platoon (1986) Best Picture Winner Best Director Oliver Stone Winner Best Original Screenplay Oliver Stone Nominee Best Supporting Actor Tom Berenger Nominee Willem Dafoe Nominee Hannah and Her Sisters (1986) Best Picture Nominee Best Director Woody Allen Nominee Best Supporting Actor Michael Caine Winner Best Supporting Actress Dianne Wiest Winner Best Original Screenplay Woody Allen Winner Hoosiers (1986) Best Supporting Actor Dennis Hopper Nominee Radio Days (1987) Best Original Screenplay Woody Allen Nominee Throw Momma from the Train (1987) Best Supporting Actress Anne Ramsey Nominee Bull Durham (1988) Best Original Screenplay Ron Shelton Nominee Mississippi Burning (1988) Best Picture Nominee Best Director Alan Parker Nominee Best Actor Gene Hackman Nominee Best Supporting Actress Frances McDormand Nominee Married to the Mob (1988) Best Supporting Actor Dean Stockwell Nominee The Unbearable Lightness of Being (1988) Best Adapted Screenplay Jean-Claude Carrière and Philip Kaufman Nominee Crimes and Misdemeanors (1989) Best Director Woody Allen Nominee Best Supporting Actor Martin Landau Nominee Best Original Screenplay Woody Allen Nominee Alice (1990) Best Original Screenplay Woody Allen Nominee Dances with Wolves (1990) Best Picture Winner Best Director Kevin Costner Winner Best Actor Nominee Best Supporting Actor Graham Greene Nominee Best Supporting Actress Mary McDonnell Nominee Best Adapted Screenplay Michael Blake Winner The Silence of the Lambs (1991) Best Picture Winner Best Director Jonathan Demme Winner Best Actor Anthony Hopkins Winner Best Actress Jodie Foster Winner Best Adapted Screenplay Ted Tally Winner Love Field (1992) Best Actress Michelle Pfeiffer Nominee Blue Sky (1994) Best Actress Jessica Lange Winner Ulee's Gold (1997) Best Actor Peter Fonda Nominee Women Talking (2022) Best Picture Nominee Best Adapted Screenplay Sarah Polley Winner American Fiction (2023) Best Picture Nominee Best Adapted Screenplay Cord Jefferson Winner Best Actor Jeffrey Wright Nominee Best Supporting Actor Sterling K. Brown Nominee
Highest-grossing films
Orion's library today
Almost all of Orion's post-1982 releases, as well as most of the AIP and Filmways backlogs and all of the television output originally produced and distributed by Orion Television, now bear the MGM name. However, in most cases, the 1980s Orion logo has been retained or added, in the case of the Filmways and AIP libraries.
Most ancillary rights to Orion's back catalog from the 1978–1982 joint venture period remain with Warner Bros., including such films as 10 (1979), Caddyshack (1980), Arthur (1981), Excalibur (1981), and Prince of the City (1981). Some post-1982 films originally released by Orion—Lionheart (1987), The Unbearable Lightness of Being (1988), and Amadeus (1984) (the latter two being Saul Zaentz productions)—are currently distributed by Warner Bros. as well. HBO also owns video distribution rights to Three Amigos (1986), as they co-produced the film and owns pay-TV rights. However, MGM owns all other rights and the film's copyright.[citation needed] The Wanderers is owned by the film's producers; however, the copyright is held by MGM/Orion. Orion also retains a controlling interest in The Cotton Club, although major rights are now with Lionsgate, which owns the library of presenting studio Zoetrope Corporation.
Woody Allen's films A Midsummer Night's Sex Comedy (1982) and Zelig (1983) are the only Orion films from the original joint venture period now owned by MGM. Orion releases produced by the Hemdale Film Corporation and Nelson Entertainment are included in MGM's library as well, and are incorporated into the Orion library. MGM did not acquire the Hemdale films (which include The Terminator, Hoosiers, and Platoon) or the Nelson films (including the Bill & Ted films) until MGM bought the pre-1996 library of PolyGram Filmed Entertainment (the "Epic library"), which included both companies' libraries, although the television and digital rights to certain Nelson films are now held by Paramount Television (the result of a pre-existing deal Nelson had with Viacom), with television syndication handled on behalf of Paramount Television by Trifecta Entertainment & Media.
Many of the film and television holdings of The Samuel Goldwyn Company have now also been incorporated into the Orion library (with ownership currently held by MGM), and the copyright on some of this material is held by Orion, except The New Adventures of Flipper now carries the MGM Television Entertainment copyright.[citation needed]
MGM still holds distribution rights to the 1980s revival of Hollywood Squares and High Rollers the company produced, as well as the remnants of the Heatter-Quigley library that was not erased, including all remaining episodes of the original Squares; they do not own the rights to the format, which is currently owned by CBS Television Distribution, successor-in-interest to King World, who purchased the format rights in 1991 and produced another syndicated revival from 1998 to 2004.
Orion distributed the first Rambo film, First Blood (1982).[79] That film, like the rest of the Rambo franchise, is now owned by StudioCanal as a result of purchasing the library of its co-distributor, Carolco Pictures.[80]
References
Further reading
Medavoy, Mike; Young, Josh (2002). You're Only as Good as Your Next One: 100 Great Films, 100 Good Films, and 100 for Which I Should Be Shot. New York City: Atria Books.
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https://www.pbs.org/wgbh/americanexperience/features/pickford-adolph-zukor-1873-1976/
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Adolph Zukor (1873-1976)
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2017-12-11T13:32:46.272546-05:00
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Zukor's ambition would propel him to the leadership of one of Hollywood's most powerful companies, Paramount Pictures.
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en
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https://www.pbs.org/wgbh/americanexperience/features/pickford-adolph-zukor-1873-1976/
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Adolph Zukor was one of the first people to make big profits in the movie business. He realized that the three elements of the film business -- production, distribution, and exhibition -- were financially dependent on each other, and could be increased by opportunistic mergers. Zukor's ambition would propel him to the leadership of one of Hollywood's most powerful companies, Paramount Pictures.
Business-Minded Orphan
Born in Ricse, Hungary, in 1873, Adolph Zukor was orphaned by age seven. He was sent to live with his uncle, Kalman Liebermann, a rabbi who hoped Adolph would follow in his footsteps. Zukor knew from a young age, though, that he was destined for the world of business. "I had the devil of a time persuading my uncle ... that I wasn't cut out for the theological calling," Zukor would later recall.
New World Ambition
Like hundreds of thousands of Europeans at the time, Zukor followed his ambitions to the New World. He managed to get himself to New York by the age of 16, resolving to work hard to make his way. Soon he landed a $2-a-week job sweeping floors at a fur store. In the evenings, he studied English and business. In 1892 he went with a friend, Morris Kohn, to Chicago, and together they opened their own fur business.
Penny Arcade to Nickelodeon
His business was successful, and soon Zukor had enough money to try other ventures. He and Kohn moved their company to New York in 1900. They got involved in running a penny arcade that featured phonographs and short movies. A new medium, the movies were becoming popular, and Zukor decided to invest in a nickelodeon theater, "Hales' Tours of Kansas City."
Risky Venture
Zukor's investment was risky; in the early days, no one was sure what consumers would watch. Audiences for his "tours" sat in converted train cars and viewed moving footage of landscapes accompanied by the sounds of a train. Initially, the idea was extremely popular, but the novelty wore off, and Zukor lost money on the venture. But for him, the loss was only a slight setback: he continued to open nickelodeon theaters with a fellow fur merchant, Marcus Loew.
Integrating the Business
Loew and Zukor's company, Loew's Enterprises, adapted ordinary shops to serve as film exhibition halls. The makeshift theaters attracted audiences, but Zukor faced innumerable challenges in getting the exhibition rights to films. His frustrations led him to a single conclusion: he would have to produce films himself. He would soon pursue his vision of creating feature-length plays for the screen.
An Elite Premiere
Zukor embarked on a partnership with Broadway producer Daniel Frohman, and together they secured the U.S. rights to show the French-produced film Queen Elizabeth, starring one of the day's biggest names, Sarah Bernhardt. The partners targeted a wealthier clientele than those who frequented the nickelodeons, seeking to create an event with cachet. Their investment paid off when New York society elites attended the premiere at the Lyceum Theater on July 12, 1912.
Prosperity
A handsome profit from the film's tour helped the partners launch their own production company, The Famous Players Film Company, in 1912. The company shot plays for the screen, and Zukor continued to prosper in the booming industry.
Building the System
W. W. Hodkinson, a forward-thinking businessman, established the Paramount Pictures Corporation in 1914 to act as a distributor for multiple film producers. Paramount advanced Frohman and Zukor production funding in exchange for a steady stream of films for distribution. Famous Players fell under Paramount's jurisdiction, along with another major producer, Jesse Lasky's Feature Play Company. In 1916 Famous Players merged with Lasky's business to become Famous Players-Lasky. Meanwhile, on the distribution side, theater owners consolidated their holdings by creating theater chains. Zukor kept a hand in both sides of the business. His company invested in the chains, which empowered him to present his own films in the theaters, and he purchased stock in Paramount to protect his interests.
Consolidation
Zukor seized the momentum from profit-bearing mergers and proposed to Paramount's board that Famous Players-Lasky join Paramount to form an even stronger entity. His idea fell on receptive ears, and he became the new president of the conglomeration, which was now a subsidiary of Famous Players-Lasky. In the 1920s the company dropped the name Famous Players-Lasky and became Paramount Pictures.
All About the Money
One of Zukor's shrewdest decisions was to offer an up-and-coming actress, Mary Pickford, a contract. The combination of her popularity and his business acumen increased their collective influence. Zukor endured endless salary negotiations with Pickford and her mother, Charlotte, during the years of their collaboration. Zukor remembered Pickford saying, "You know, for years I've dreamed of making $20,000 a year before I was 20, and I'll be 20 very soon." "I could take a hint," he recalled. "She got the $20,000, and before long I was paying her $100,000 a year. Mary was a terrific businessman," Zukor reminisced.
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https://memory-alpha.fandom.com/wiki/Paramount_Pictures
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en
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Paramount Pictures
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2024-03-14T08:28:11+00:00
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The Paramount Pictures Corporation, or simply Paramount Pictures, is the film production and distribution company that currently holds the license to produce the Star Trek feature films, and had formerly controlled the rights in full to not only the Star Trek movie franchise, but that of the...
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en
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https://static.wikia.nocookie.net/memoryalpha/images/4/4a/Site-favicon.ico/revision/latest?cb=20240722023401&path-prefix=en
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Memory Alpha
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https://memory-alpha.fandom.com/wiki/Paramount_Pictures
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Real world article
(written from a production point of view)
The Paramount Pictures Corporation, or simply Paramount Pictures, is the film production and distribution company that currently holds the license to produce the Star Trek feature films, and had formerly controlled the rights in full to not only the Star Trek movie franchise, but that of the television franchise as well until 2006. Paramount is currently owned by the media conglomerate Paramount Global which is, in turn, controlled by National Amusements.
Jim Gianopulos, a veteran of the entertainment industry, is the current CEO and chairman. He succeeded the late Brad Grey, who held the position for twelve years between 2005 and 2017. It had been Grey's stated intention to reestablish Paramount as a leading media company by being willing to take risks and lure creative talent to the company. As part of this initiative, he lured Gail Berman, one of the original producers of Buffy the Vampire Slayer, into the corporate offices to take on the role of President. (citation needed • edit)
Beginning in 1931, Paramount Pictures owned and operated the Paramount Theatre in Oakland, California where it held many premieres for its films. Since 1986, the theater has been owned and operated as a non-profit organization by the city.
Paramount produced and distributed all Star Trek productions from 1967 (Star Trek: The Original Series) through 2005 (Star Trek: Enterprise) where the television shows were concerned, and from 1979 (Star Trek: The Motion Picture) through 2016 (Star Trek Beyond) in regard to the feature movies. Through purchase the studio also owned the Original Series' first season and its two preceding pilot episodes, whereas it had also licensed the production Star Trek: The Animated Series to Filmation in 1973, though retaining ownership.
History with Star Trek[]
Paramount formally acquired the Star Trek franchise on 27 July 1967 when Lucille Ball's Desilu Studios, the company that produced TOS (as it was later dubbed, but then still officially known as simply Star Trek), was purchased for seventeen million dollars by Gulf+Western, Paramount's then owner.
Paramount Pictures had previously operated its own rather insignificant television production department and Desilu was incorporated into it to form Paramount Television, placing the Star Trek television series under its aegis. As a result of Gulf+Western's purchase of Desilu, it also acquired three other Desilu television shows that were in production at the time. Mission: Impossible, Mannix, and The Lucy Show were considered hugely successful at that time and were the prime motivations for the purchase of Desilu. Star Trek and its middling television ratings were essentially thrown into the deal as an afterthought.
The company came under the ownership of the original Viacom conglomerate, when that company took over the remnants of Gulf+Western in 1994.
Acquiring The Original Series[]
Viewed as a commercial disappointment at the time, Gulf+Western initially wanted to exclude Star Trek from its purchase of Desilu. Desilu executive Herb Solow later stated, "Paramount didn't want Star Trek, because it was losing too much money each week and didn't have enough episodes to syndicate successfully. That was a wise business decision at the time." Nonetheless, Lucille Ball insisted on selling her company as an intact entity – excepting her own hugely popular Here's Lucy show – which forced a reluctant Paramount to also accept the legal and financial liabilities for the unwanted property. (NBC: America's Network, p. 218)
One week after the acquisition and alarmed by his financial audits, Gulf+Western founder, co-owner, president, and driving force behind the acquisition, Charles Bluhdorn, called one of Desilu's former negotiators named Ed Holly, utterly aghast. Holly recalled, "Just a week or so after the merger, when Bluhdorn had started seeing the cost figures, he called me in the middle of the night. All I heard was 'What did you sell me? I'm going to the poorhouse!' I said, 'Charlie, you must be looking at Star Trek and Mission: Impossible. Those shows are costing almost to the dollar what our projections showed they would cost. You and your people made the judgment that that was all right." (Desilu: The Story of Lucille Ball and Desi Arnaz, 1994, pp. 297-298)
Although he had been known as a formidable business tycoon, Bluhdorn's exchange with Holly betrayed that he and his financial subordinates did not have a thorough understanding of the motion picture and television business. Bluhdorn had only become a "Hollywood Mogul" less than a year earlier when he had bought Paramount Pictures on 19 October 1966 and was not, in the least, reassured by Holly's assurances. Bluhdorn decided to visit the set of Star Trek in person to witness a day of production for himself and found it to be an underwhelming experience. What he saw on that day made him highly skeptical but, even though it was his prerogative as the temporary chairman of the board of Paramount Pictures, he stopped short of actually ordaining the series' cancellation. [1]
Instead, Bluhdorn had a small army of Paramount and NBC financial executives and accountants descend on Star Trek to go through the finances of the production with a fine tooth comb. Inevitably, this resulted in more severe budget cuts and creative meddling from these businessmen.
This interference eventually turned out to be the impetus for the subsequent departure of the driving forces behind the series which included Solow, Gene Roddenberry, and, eventually, Robert H. Justman. (Inside Star Trek: The Real Story, 1997, pp. 360-et al.) These defections only served to reinforce the decision to cancel Star Trek as soon as possible but fan letter-writing campaigns convinced NBC to renew the series twice.
Despite NBC's and Gulf+Western's financial experts' grave concerns about Star Trek's high production costs, the final decision to cancel the show was not made by television network NBC until the end of the series' third season, reportedly leaving the entire production at US$4.7 million in debt. (Star Trek Creator: The Authorized Biography of Gene Roddenberry, p. 399)
Due to its original contractual obligations, net profits (non-existent at the time) were to be shared between the studio (26⅔%), Roddenberry's production company Norway Corporation (26⅔%), performer William Shatner (20%), and NBC (26⅔%). Due to its losses, Paramount offered Roddenberry the opportunity to obtain the Star Trek property for US$100,000-$150,000 in 1970. However, Roddenberry was unable to raise this sum on his own so the ownership of the property remained with Paramount.
This turned out to be extremely fortuitous for the studio, and as Solow put it, "History would show that Gulf & Western's purchase of Star Trek alone, the low-rated, money-losing second-year series on NBC, would become one of the most spectacular business moves in entertainment history." (NBC: America's Network, p. 220)
Syndicating The Original Series and resurgence[]
Earliest known trade journal Star Trek studio syndication advertisements Broadcasting, 24 March 1969 Broadcasting, 4 August 1969 Broadcasting, 2 February 1970 Broadcasting, 16 February 1970
Yet, very shortly after the studio had made Roddenberry the offer, Paramount found that its hot potato was quickly turning into a hot property due to its huge and unexpected success in syndication in the early 1970s. In effect, the very first time Paramount sold syndication rights was already in 1969 while the third season was still being aired in its original run on NBC. The buyer, Kaiser Broadcasting (which operated a small chain of local television stations along the West and East Coast), immediately started to broadcast Star Trek after NBC had canceled the series on a daily basis and, much to their delight, observed a steep rise in viewership and ratings, the latter identified in Star Trek lore as the reason why the Original Series was canceled by NBC in the first place. (Inside Star Trek: The Real Story, 1997, pp. 417-418) The phenomenon was not lost on other local television stations, and thus the spectacular resurgence of Star Trek in syndication started. It was around that time that Paramount discovered that Roddenberry was selling Star Trek merchandise through Lincoln Enterprises, which was formally an illegal endeavor, as he simply did not own the brand. Yet, both parties struck a deal, which allowed Roddenberry to continue in return of a percentage of the sales, as Paramount also started to realize that their Star Trek property was not a bad one to have after all. Not yet having a well oiled Star Trek marketing machine of their own, Lincoln Enterprises suited the needs of the studio well in raising the awareness of their increasingly profitable Star Trek brand. By early 1987, when a new television series, Star Trek: The Next Generation, went into pre-production, Variety magazine of 2 December 1991 was able to report that the Original Series had by then netted the studio already over US$1 million dollar per episode in domestic syndication fees alone, thus excluding the by then substantial sales revenues abroad, as well as those stemming from home media format, and affiliated merchandise sales. Considering the average production cost of US$190,000 per episode, this turned out to be a more than healthy return on investment, especially since Paramount had not borne the costs of the normally most expensive first season of a production that was essentially thrown into the deal. Any Desilu book losses in regard to the Star Trek production would have been accounted for in the purchase price paid by Paramount. Susan Sackett, Roddenberry's personal assistant, had dryly noted that it was NBC which had borne most (but not all) of the production costs (also explaining why there had been NBC financial experts present in the first place at the due diligence audit back in 1967), not Paramount. (Starlog, issue 43, p. 14)
Now a less pleasant side of doing business in Hollywood came to the fore in full force, as it became concurrently known that the studio had shortchanged at least one of its other stakeholders, Roddenberry, who was still legally entitled a full one third of the net profits (in exchange for surrendering any and all other legal title to the series, save for his "Created By" credit, according to James Van Hise). Roddenberry was by 1981 perpetually led to believe by the studio that the Original Series was still deeply in the red by as much as US$1 million – or US$500,000 by 1982, again according to Van Hise (The Man Who Created Star Trek: Gene Roddenberry, p. 58) – as supposedly "proven" by doctored account statements handed over to him. Roddenberry instructed his attorney, Leonard Maizlish, to start legal proceedings in order to be given access to Paramount's records, seemingly to no avail initially. "The greatest science fiction in show biz is in the accounting", Roddenberry declared chagrined, referring to the infamous "Hollywood accounting" industry phenomenon. (Starlog, issue 43, p. 14) Roddenberry had reasons to be suspicious, as it seemed unlikely that the by 1987 reported net syndication profit of US$78 million dollar was only realized in the intervening six years. While it was at the time unknown what the outcome of the legal proceedings would be, it should be noted that it was around this time that Roddenberry entered into his below-mentioned financially advantageous movie deal with the studio. It was conceivable that Roddenberry and the studio settled their Original Series accounts on that occasion, as Roddenberry became a wealthy man from then on. That this was indeed the case came to light in 1994 when it was revealed that the studio disbursed US$5.3 million in profit distribution to Roddenberry between June 1984 and July 1987. [6]
Launching the Star Trek movie franchise[]
As if to underscore Roddenberry's suspicions, former Original Series writer D.C. Fontana was already able to report in the fanzine Star-Borne of 22 June 1972 that, "Paramount… [is] enormously impressed by the quantity (and quality) of fan mail they continue to receive. The possibility seems to be slowly developing of a Star Trek feature movie for theatrical release, aimed at becoming the new Star Trek television pilot… on the network front, NBC still expresses great interest in doing Star Trek in some form. Both NBC and Paramount continue to receive a great deal of mail and have had to assign secretaries for the sole job of answering it." [7] NBC's complete turnaround not only stemmed from the spectacular resurgence of the Original Series in syndication, but also from its own accounting department. Shortly before Fontana's report, NBC had replaced its old Nielsen rating system, purportedly the results from which having been the primary reason for the cancellation of the series, with a new and updated one. When they ran the original Original Series figures through their new system they found out much to their surprise that it had not only reached full penetration into their most coveted target audience, the male population between 18 and 45, but also that the series had been one of the most successful series the network had ever aired. The sickening realization hit upon the dismayed network executives that they had slaughtered the goose that laid the golden eggs, something that every Star Trek fan at the time could have told them. Hurriedly approaching Roddenberry to see if the series could be revitalized, it turned out to be unfeasible, as Paramount had only a few months earlier cleared out their warehouses from the vast majority of the remaining Star Trek production assets, those either having been scrapped, given away, or simply stolen. Recreating them, calculated at US$750,000, was deemed far too cost prohibitive. It did however, lead to NBC ordering the creation of Star Trek: The Animated Series. (Star Trek - Where No One Has Gone Before, pp. 51-52)
And indeed, the phenomenon was not lost on Bluhdorn himself, as he had by 1974 completely reversed his stance from the one he had back in 1967, and had by now become enamored with Star Trek due to its huge and unexpected success in syndication – and the recent addition of the Animated Series, which, while not produced by the studio, was legally Paramount property nevertheless, adding an additional Star Trek revenue stream – embracing the property as something of a pet project. It was therefore, after he had been presented by a subordinate, Paramount's then chief financial officer Arthur Barron, with the idea of turning Star Trek into a movie, that he gave Barry Diller, freshly appointed in October 1974 as the new studio head, as one of his consignments, to turn the idea into a project. Not particularly interested in doing Star Trek in any format whatsoever, but, by any standard, a formidable executive himself, Diller nevertheless did not want to repeat the mistake his immediate predecessor Frank Yablans made by antagonizing his new boss and his newfound infatuation with Star Trek and set to work. (The Keys to the Kingdom, Chapter 5)
As it turned out, Roddenberry had already approached the studio with a pitch for a Star Trek movie one year previously. Then Paramount President, Frank Yablans, was very interested, but due to Roddenberry's obtuseness at the negotiation table, the proposition fell through. (Inside Star Trek: The Real Story, 1997, pp 420-421) Despite the failure of the negotiations, Yablans' interest in producing high-tech science fiction was piqued nevertheless and to this end he facilitated and arranged the funding for the establishment of two Paramount visual effects subsidiaries, Douglas Trumbull's Future General Corporation (FGC) and Carey Melcher's Magicam, Inc, a very short time thereafter. [8] Unfortunately, his immediate successors, Barry Diller and Michael Eisner, had zero affinity with science fiction and none whatsoever with visual effects in particular, and tried to shut down FGC immediately upon their ascent, which came back to haunt the production later on. [9](X) Yablans however, had failed to inform his boss of Roddenberry's prior overtures, and Bluhdorn perceived this as part of Yablans' overall lack of respect for him, which shortly thereafter led to his downfall. Barron, incidentally, had approached Bluhdorn on his own accord. (The Keys to the Kingdom, Chapter 5)
Still, getting Star Trek off the ground again as a new live action production turned out to be not as straightforward as it originally sounded, and for three years the project stubbornly refused to come into fruition. However, when Diller thought up a fourth television network for the company, Paramount Television Services, officially announced on 10 June 1977, he intended Star Trek to serve as its flagship as a new television series, Star Trek: Phase II (or Star Trek II as its official title was to be). Fully endorsed by Bluhdorn, who sensed an even more profitable repeat performance of the property, [2] actual production of a new live-action production was finally started the same month. His initial enthusiasm notwithstanding, Bluhdorn soon found out that America was not yet ready for a fourth television network, informed as such by then Vice President of Research Mel Harris, as advertiser's interest did not materialize and he already pulled the plug on the network project near the end of July. Still, he allowed the production of Star Trek to continue, which was, aside from his own personal interest, in no small part due to the desire not to lose development costs already sunk in all previous revitalization attempts. Star Trek: Phase II eventually morphed into Star Trek: The Motion Picture, which was officially announced by the studio on 28 March 1978 to the public at Paramount Pictures in the largest press conference held since Cecil B. DeMille's announcement of his 1923 silent movie, The Ten Commandments. (The Making of Star Trek: The Motion Picture, pp. 50-51).
Even set initially at an (in hindsight) unrealistic original budget of US$15 million dollar, Paramount took a huge gamble with The Motion Picture as it was the most complex, ambitious, and expensive movie project the studio had ever embarked upon in its history, Cecil B. DeMille's (inflation adjusted) 1956 remake of his own 1923 silent movie classic The Ten Commandments being the sole exception. Having only just recently reversed the fortunes of the studio, after nearly a two decades long slump, all the studio's biggest box office successes of the mid-1970s, John Travolta's Saturday Night Fever and Grease and Mario Puzo's The Godfather, were in comparison "low-budget" productions, none of them exceeding a production budget of US$6 million dollar (the substantial profits made from these were mainly used as debt relief and repairing the financial position of the studio). Only in the mid-to-late 1980s did production budgets start to habitually balloon exponentially, first in double digits, and subsequently into the triple digits.
Partly due to the studio's hitherto utter lack of experience with a technically complex and visual effects heavy productions of this magnitude, the production of The Motion Picture proved to be exceptionally difficult, troublesome, frustrating, and, for those times, extremely costly, the latter in no small part due to the studio's own mismanagement of the visual effects production. "We didn't know what these things were, Bob Wise [remark: the movie's director] was a lovely man, but he didn't know, either," Diller conceded, though only much later. (The Keys to the Kingdom, 2000, Chapter 6) Running massively over budget as a result, Diller and his executive subordinates (close to nervous exhaustion) were bracing themselves for a financial disaster, which fortunately for them did not materialize. Immensely relieved of having dodged the financial bullet, Diller and his colleagues counted their blessings and were fully prepared to move on, entirely willing to leave Star Trek behind them. Yet, Bluhdorn was of different mind and ordered the development of sequels shortly after the premiere of The Motion Picture in early 1980. Bluhdorn personally selected Harve Bennett who would head, as executive producer, the production of the subsequent four Star Trek films, of which two, Star Trek II: The Wrath of Khan and Star Trek IV: The Voyage Home, became particularly successful.
For all intents and purposes, it was therefore Bluhdorn, who was responsible for the creation of the Star Trek movie franchise. (The Keys to the Kingdom, Chapters 5-7) For a more detailed treatise on the difficult birth of the movie franchise, please see Star Trek: The Motion Picture: Production.
Gene Roddenberry, however, indeed responsible for some (but not all) production troubles, was increasingly perceived by the studio as very difficult to work with and was essentially removed by them from creative control over the movie halfway through the production. Actually, Diller had already removed him once entirely from one of the previous revitalization attempts, Star Trek: Planet of the Titans. While the studio, as far as they were concerned, had seen the very last of Roddenberry, the realization also sank in that by now, no Star Trek incarnation could ever be produced without the Roddenberry name attached to it while he was still alive due to his by now firmly established stature in the general populace's awareness as the creator of Star Trek, strongly backed up by a small, but highly vocal hardcore of the more puritanical Trekkies. Adhering to the old adagio "keep your friends close, but keep your enemies closer", the studio came up with a crafty solution to the conundrum; Roddenberry was "bumped upstairs", given his own office at the studio with a handsome remuneration, and given the formal title of "Executive Consultant", which meant that directors and creative staff could ask for his opinion on the project, though with the proviso that his advice was not needed to be taken. Required by the agreement to be kept in the loop, but lost in the studio's equivalent of the "Bermuda Triangle", no one ever thereafter heeded Roddenberry's copious, but unsolicited, advice for the subsequent five movies, nor did anyone even bother to consult with him. Though for the studio perhaps a costly solution, it was far cheaper than to be bogged down by incessant lawsuits, which were sure to follow given Roddenberry's character, and dealing with the fallout from the Star Trek fan base, which was equally sure to follow, and the resulting negative publicity. Still, this did not prevent Roddenberry in the slightest from relentlessly harassing studio and production staff alike, on occasion even going as far as threatening with legal actions as Actor/Director William Shatner and Director Nicholas Meyer could attest to. The latter was bluff however, as the stipulations of his studio contract simply did not allow for them, and no legal proceedings ever materialized during this period in time. (William Shatner Presents: Chaos on the Bridge; From Sawdust to Stardust, pp. 240-241; Star Trek Movie Memories, pp. 99, et al.)
While acknowledging this state of affairs as "speculation", an opposing view was proffered by authors Judith and Garfield Reeves-Stevens, who have claimed in their reference book Star Trek: The Next Generation - The Continuing Mission (p. 3) that, "(t)he real reason for Paramount's concern about keeping Roddenberry tied to each Star Trek film was that every executive involved with the productions shared the maddening knowledge that no one had the slightest idea why Star Trek was a success… except Gene Roddenberry. Without his input, there was always the chance that the next movie wouldn't capture whatever it was that made Star Trek so enticing." While staunch Roddenberry supporters Reeves-Stevens' did have a point where the studio executives themselves were concerned, their assertion was certainly contradicted by the directors, producers and screenwriters (most notably Spock Performer/Writer/Director Leonard Nimoy, who most definitely had a thorough understanding of what made Star Trek "tick", arguably even more so than Roddenberry himself did) of the subsequent five movies, all of them, save Shatner's Star Trek V: The Final Frontier, highly successful and produced without any creative input from Roddenberry whatsoever, and each of them actually opposed by him in varying degrees of vehemence. Roddenberry being put out to pasture, it effectively was the Nimoy-Bennett-Meyer triumvirate that became the keeper of the Star Trek films flame in the decade following The Motion Picture. (Cinefantastique, Vol 22 #5, pp. 39-42)
Creating an overall Star Trek franchise []
Until 1979, and reflecting the studio's general attitude towards Star Trek, merchandising and licensing Star Trek remained a rather passive and haphazard affair; interested parties had to approach the Paramount Publicity Department with proposals, which the department's involvement somewhat limited to either agreeing to them or not, and drawing up contracts. Having had personal dealings with the department, author Stephen Edward Poe has commented in later years, "Desilu [and its successor] treated the whole idea of Star Trek licensing and merchandising with immense disdain. It was as if studio executives felt greatly annoyed at having to even discuss the subject at all (…) – some sort of corporate aberration – and licensed merchandise emerged only slowly and with, apparently, great reluctance." (A Vision of the Future - Star Trek: Voyager, pp. 45-46)
Emergence[]
Paramount's first food products tie-in promotion; Coca-Cola beverage containers on the left, and a still from a McDonald's commercial on the right. Star Trek Into Darkness on the cover of License! Global magazine
Yet, for all the troubles The Motion Picture represented for the studio as far as the production itself was concerned, it also represented the birth of the modern moneymaking property the studio was to eventually refer to as "The Franchise". Responsible for this was Vice-President of Marketing and Licensing, Dawn Steel, who was charged with coming up with an additional revenue stream after the February 1979 visual effects crisis, which had left the Motion Picture production in a critical situation, as there was no more money left to complete the movie. She did so by organizing a vigorous merchandising and licensing fund drive, which climaxed in a highly imaginative presentation, held in the largest theater on the Paramount lot. A resounding success, [3] the presentation was met with rambunctious enthusiasm by the attending prospective licensee companies. "It was the most unbelievable party Paramount ever had", attending studio producer, Brian Grazer, remembered, to which then novice studio producer Jerry Bruckheimer has admiringly added, "She went to conventions and got every toy-maker, anyone who made T-shirts and key chains and raised every nickel she could. She shook the trees. There hasn't been that energy vortex in merchandise since she left.". Numerous companies signed up, including for the times unusual ones, such as food industry corporations like Coca-Cola and McDonald's. The presentation marked the first time for Paramount that licensing revenues were generated before a production had premiered. The successful fund drive made Steel's name in the motion picture industry, and a thoroughly impressed Paramount CEO Michael Eisner, who was (in)famous for not being easily impressed, promoted her the next day to vice-president of productions in features, getting her off to a stellar industry career. She had been working in the licensing department for less than six months. (New York Magazine, 29 May 1989, p. 45; 6 September 1993, p. 40; Star Trek: The Complete Unauthorized History, pp. 108-109)
Hollywood studios had, and to this day, have obviously been exceptionally loath to divulge particulars surrounding their revenue streams stemming from licensing and merchandising efforts, Star Trek not excepted. However, Steel, due to the unexpected and exceptional success of her 1979 fund drive, had understandably been somewhat more loose-lipped, unable to resist some bragging at the time. Revealing in January 1980 that General Mills featured Star Trek artwork on 37 million of their cereal boxes, McDonald's had spent US$20 million dollar on TV adds to promote fifty million Star Trek themed Happy Meals, and Bally had by that time already totaled up a sale of US$19.5 million of US$1.795 apiece Star Trek themed pinball machines, alone, she divulged that by that time she expected that at the most conservative estimations, licensed Star Trek related merchandise would at least amount to US$250 million, with the possibility of reaching double that. "Licensed children's merchandise is the last category to suffer in a recession: Dad will give up his suits, but his kids will still get toys and clothes", she clarified, adding, "Our fee ranges from one to eleven percent, depending on the product." This statement indicated that the studio was to receive at the very least US$2.5 million, or at the very most US$55 million in licensing and merchandising revenues, though it was unlikely that the upper estimate was ever met due to the mixed reception of the movie and the somewhat disappointing sales of related merchandise. (Playboy magazine, January 1980, p. 310)
Print material franchise[]
The first, 1979, franchise book publications; the novel on the left and the reference book on the right
Concurrently, parent company Gulf+Western, through Bluhdorn, had commissioned the development of an accompanying, The Motion Picture-themed, book line through subsidiary Pocket Books and its imprints, which it had acquired in 1975 (and therefore a sister company of Paramount Pictures), and from here on end merchandising and licensing became an integral part of a proactive overall marketing strategy (considerably hammered out by Frank Mancuso, Sr., who was appointed as the department's president after Steel had left), in the creation of a sustained Star Trek product line. [10] In doing so, the franchise rescinded the license for Star Trek book titles other publishers held up until that point in time, Ballantine Books having been been the most notable one.
For over two-and-a-half decades Pocket Books was the only publisher of official Star Trek-related book titles, specifically novels, reference works, and calendars, the latter having also been the purview of Ballantine Books before 1979. Other print materials, most notably comics, were licensed out to other publishers.
For obvious, commercial reasons, the franchise requires licensed writers to write their real-world production reference works and articles for licensed magazines in an upbeat, somewhat celebratory and slightly promotional manner, and to shy away from any and all critical notes, on the franchise itself in particular, essentially exercising censorship. It was for this reasons that Pocket Books declined publishing the book Return to Tomorrow - The Filming of Star Trek: The Motion Picture for example (in which the dubious role of Paramount itself was highlighted, especially in regard to VFX company Robert Abel & Associates), its then chief editor deeming the copy too "non-puffery" [4] to the franchise's taste. [11] Nevertheless, aside from actual illegal publications, the franchise was unable to curtail the prolific publications of, often more critical, unlicensed (therefore not rarely deemed "illegal" and/or undesirable from the franchise's point-of-view) but legal reference works – those of Schuster & Schuster and (auto)biographies in particular, and eventually including Return to Tomorrow as well – , or any article written by journalists for otherwise unaffiliated magazines for that matter, as these were published making the fullest use of the "works of journalistic/academic nature" exemption clauses in copyright laws, though this meant these publications could not legally feature any Star Trek copyrighted imagery. As of 2002, the franchise has opted not to publish reference works – both in-universe as well as real-world – themselves anymore, but rather to license them out to mostly non-affiliated publishers.
As far as specialized Star Trek magazines were concerned, the franchise has until recently opted to farm out licenses to outside publishers. The very first such known publisher was Starlog Press, acquiring the license to carry the denomination "official" in the title of their "upbeat" 1980s-1990s spin-off official movie magazine series, from the 1982 Wrath of Khan magazine onward. Starlog was chosen as its magazine source publication (over which the franchise had no editorial control due to the "works of journalistic nature" exemption clause) founding editors were unadulterated "Trekkies", profusely reporting on Star Trek, even though interviews were featured with former Star Trek performers and production staffers – predominantly from the Original Series and The Motion Picture-era – who, on occasion, vented opinions, the franchise had preferred not to see in print, much of which actually turning up as edited copy in the Schuster & Schuster publications. Nevertheless, aside from the movie specials, it netted Starlog Press the right to publish the recurrent, subsequent "official" The Next Generation, Deep Space Nine, and Voyager magazine series from which any and all critical observations were omitted. There was however, a definite upside of having been able to carry the "official" moniker in title of the spin-off publications; in return of surrendering some of its editorial freedoms as well as magazine revenues, Starlog writers and journalists were given uninhibited access to the sound stages, performers, production staffers, and studio archives – therefore becoming notable for the publication's reproduction of production material, rarely seen afterwards – enabling these publications to report on the inside story of any Star Trek production in detail first, at a time when Star Trek frenzy was rapidly reaching a peak.
Pursuant to the 1982 Starlog Press license, the franchise has considerably tightened its (editorial) grip on magazine publications it has licensed to carry the moniker "official" in their (sub-)titles. These included, most notably, Star Trek: Communicator (from 1995 onward and being the original 1979 "official" fanclub magazine), Star Trek Magazine (partially absorbing the function Communicator had upon its default in 2005), and Star Trek: The Magazine, the US off-shoot of the equally "official" Star Trek Fact Files and its international variants. The latter, which ran from 1999 till 2003, was presented as a higher-quality (attempting to come across as less fan club like and less heavy on merchandise peddling), glossy, lifestyle like magazine, though a five percent page count in each issue served as an impromptu franchise message board as well as merchandise product placements, disguised as articles, whereas an additional ten percent still consisted of actual merchandise advertisements. A more recent "official" release in this regard is the British Star Trek: The Official Starships Collection partwork publication and its derivatives, like Starlog and The Magazine before them lacking any and all critical observations.
In 2002, the print franchise took it up a notch when it reconsidered the status of reference works written from an in-universe point of view. Henceforth only the Star Trek Chronology, the Star Trek Encyclopedia, and the 1991 Star Trek: The Next Generation Technical Manual (all of which co-written by Mike Okuda) were considered by the franchise as the sole primary reference sources for all subsequent in-universe reference works; as such these three works were in essence elevated to the status of "quasi-canon". Licensed works of this kind released afterwards by outside publishers after Pocket Books was removed from the franchise mix around 2008 – such as the later GE Fabbri (publisher of Fact Files), Haynes Publishing, and Eaglemoss Collections (publisher of The Official Starships Collection) Star Trek publications – are required to be in concordance with the information contained within these three works, with the Okuda author couple not rarely assigned to these later publications as "technical consultants" to ensure compliance. As a consequence, all previously fully licensed/endorsed/authorized in-universe reference works were no longer considered official references – including such fan favorites as, most notably, Franz Joseph's Star Fleet Technical Manual as well as Shane Johnson's Mr. Scott's Guide to the Enterprise and Worlds of the Federation. Labeled "unofficial", these works were de facto debunked and demoted by the franchise to the apocryphal status of novels, comics, non-production art (such as Star Trek: Ships of the Line calendars), and (computer) games. It is in this respect that "official", when used in a title, has gained an additional meaning, as it presently also signifies a work in compliance with canon, besides being a licensed work. (Star Trek: The Magazine Volume 2, Issue 11, p. 71)
Home video format franchise[]
Two of the six earliest known official home video format Star Trek releases, the VHS version of Volume 1 of The Original Series on the left, and the Betamax version of The Motion Picture on the right.
An important cornerstone for the overall franchise became the home video formats franchise. In 1971 Paramount Pictures partnered up with industry competitor Universal Studios when they, as equal partners, established Cinema International Corporation (CIC) in 1971 (as of 1981: United International Pictures – UIP – ) as a joint venture, and responsible for the distribution of feature films outside the US, which included all of the later Star Trek films. This action was necessitated partly for cost-cutting reasons, partly for antitrust rules, specifically aimed to break the hold individual studios hitherto had on the entirety of the industry, otherwise known as the traditional "Hollywood Studio System" (see also Desilu Studios in this regard).
With the advent of the VHS and Betamax video tape home video formats, a subsidiary division, CIC Video, was established two years later, responsible for the distribution of this home video format – due to the very high retail prices, predominantly through the rental outlet circuit initially – including all the Star Trek productions released in this format. It was again The Motion Picture that turned out to be the primary agent for Star Trek to make its entrance in the home media market as currently understood (meaning visual formats – there had been a few audio only formats previously, such as the 1976 Inside Star Trek LP). While it was a foregone conclusion that the film itself was to be released on the new videotape formats, Paramount Home Video (established in 1976, later known as Paramount Home Entertainment) also made use of the opportunity to release ten selected episodes of The Original Series, in five volumes of two episodes each, as part of their "Television Classics" collection in the United States as appetizers for the later in October released movie tapes, priced at US$79.95 at the time of their release. [12] Released in early 1980, these five titles are as such, together with the later released movie tapes, the earliest known Star Trek home video format releases, where there had been none previously, that is, officially at least. [5] Having the year previously hammered out a deal with photo developer/video rental outlet Fotomat Video, one of the very first such rental companies, it were these tapes that were the first Star Trek titles to turn up in the rental circuit from mid-to-late 1980 onward. [13]
Ironically, it was not CIC Video that became responsible for the distribution of the first known Star Trek home video format title outside the US/Canada, but rather the obscure British distributor Mountain Video, when it, possibly unlicensed, released in the same year the one episode only tape of "Shore Leave" – not included on any of the five original releases in the US – in both tape variants on the UK market, [14] though, again for the high retail price, the majority of them ended up in the rental circuit. From the mid-1980s onward though, CIC Video took over the distribution, not only for the UK alone, but for the entirety of mainland Europe as well.
It was Paramount however, who revolutionized the way these home video formats were marketed. Responsible for this was the aforementioned Mel Harris, by now President of Paramount Home Video, who helped to create the home video sell-through market by convincing Paramount to sell low-priced videos directly to the public to persuade customers to purchase videos rather than simply renting them. At the time, videos for sale were priced at around US$60-$80 or more; Harris accurately predicted that decreasing the price would create a market for videocassette purchases. Actually, the video tapes for The Wrath of Khan were the first ones to be offered in 1982 for a sharply reduced price of US$39.95, unheard of at the time, and sending shock waves through industry and retail stores alike – though amusingly, Paramount again generated shock waves eight years later, when it offered tapes of the movie The Hunt for Red October for sale at US$99.99, incredibly high by that time. (The Encyclopedia of Television, Cable, and Video, 2012, p. 411) His policies helped immensely to make the by him later initiated Star Trek: The Next Generation a resounding success, aside from tapping into yet another revenue source for the Original Series and movies produced up until then.
CIC Video as a joint venture was dissolved in 1999 (corresponding with the demise of the video tape in favor of such later home video formats as the LaserDisc, VCD, DVD, and later still, the Blu-ray Disc) when Paramount reasserted full control over the release of their home video formats through their own division, Paramount Home Entertainment. Yet, after 2006 Paramount had to leave the home video format distribution of the television properties, most specifically the remastered versions of The Next Generation and Enterprise, to CBS Home Entertainment, as it no longer owns the franchise, though they are still entitled to do so for the movie properties – albeit in mandated conjuncture with CBS, the latter thereby asserting its ownership of the franchise. The theatrical distribution arm, UIP, is, as of 2016, still in operation and still equally shared by Paramount and Universal.
Yet, while it became one of the most important cornerstones of the overall franchise, it has also become in recent decades somewhat a bone of contention with fans and customers of home video formats alike, due to the franchise's predilection to release numerous versions of the productions, each somewhat different from the other, leaving "double-dipping" (term used by them for incessantly re-buying alternate versions) fans increasingly feeling alienated from, and "exploited" by the franchise, as evidenced by a myriad of angry customer reviews on Amazon.com or TrekCore. For example, the one episode per Betamax/VHS video tape format, as released from the mid-1980s through the early-2000s and adhered to for all Star Trek television series with the exception of Enterprise, has irked American customers to no end, especially since the format was, excepting a handful of early 1980s British tapes, not utilized in overseas markets, which were served with (at least) two episodes per tape releases. Something similar ensued with the very first Star Trek television series DVD releases, those of the Original Series; starting in August 1999, American customers were first offered the series on "bare-bone" two episodes per disc releases, shortly before season box sets – with, adding insult to injury, four episodes per disc and beefed out with special features – were made available to them. Overseas customers were on this occasion spared the double-dip format, as it were the season box sets that were offered them right from the bat, albeit at a later point in time. Incidentally, Enterprise was not released in the US on VHS but directly on DVD. However, this time around, Europeans were given the double-dip treatment, as they were first offered the series on VHS right before the DVD box set releases.
Though certainly not the only one – as Disney and Universal were among those who had solid reputations in this regard as well – it was Paramount in particular that became notorious for these kind of practices, and which were by all means not limited to Star Trek alone. While one of the very first, the Original Series has concurrently the dubious distinction of becoming one of the very few, if not only one, television series to be released on DVD in this manner, as all other Hollywood studios, conceivably forewarned by the bad example Paramount had set, decided right from the start to release their television properties on a per season basis in the new DVD home video format. 20th Century Fox became the pioneering one with their The X-Files DVD box set releases, which, complete with all the accouterments of such releases, started its release run in May 2000, when Paramount's bare-bone Star Trek editions were still in the midst of their release run; the contrast between the two release formats could not possibly have been any starker and was certainly not lost on customers at the time. In Paramount's defense however, it should be noted that, as an "early adopter", unintended errors in judgment regarding the initial release formats could be expected.
Particularly loathed are the so-called "retailer exclusive" formats. The format entailed that preferred retailers, most notably the chain store Best Buy, would receive versions that contained special features not included on the regular releases. [15] An early notable instance where Paramount had employed the practice was on the occasion of their first movie releases on DVD, starting in 1998 with First Contact. Regular customers could only buy the basic "vanilla" version of the movies, meaning only the movie itself with the theatrical trailer as single "extra", whereas Best Buy customers, for the same price, received an additional disc with the special features which were not available in any manner anywhere else; it infuriated fans, to put it mildly. At the time several scrupulous Best Buy patrons bought these releases in bulk and subsequently offered the special feature discs up at premium prices on eBay, the market site that was at the time rapidly becoming a force to be reckoned with. [16] The perceived injustice was only redressed with the 2001-2005 "Special Edition" releases, though it meant yet another round of double-dipping. While the franchise could traditionally afford to dismiss fan/costumer concerns in these regards as entirely irrelevant – particularly before the advent of the internet age, when customers for the most part remained blissfully (from the franchise's point of view that is) unaware of the varying treatments, euphemistically called "market discrimination" in business economics – criticism of the retailer exclusive format in particular, started to swell considerably during 2012, precisely because of the internet. It became an issue of note with the releases of the Next Generation and Enterprise Blu-ray home video formats. But the situation truly came to a head during the "Star Trek Into Darkness Blu-ray VAM controversy", which, officially at least, marked the first time that the franchise actually buckled under fan/customer pressure, rectifying their "wrongdoings" by releasing the 2014 Star Trek: The Compendium Blu-ray set, and offering a $5 rebate for US residents only (a discrimination – not the first time – which, somewhat incomprehensibly, implies that the franchise still considers foreign markets as sideshows), who had previously purchased Star Trek or Into Darkness on Blu-ray. [17]
Exhibit and attraction franchise[]
From the early 1990s onward, the franchise has, through subsidiaries and conglomerate sister companies of Paramount (such as Paramount Production/Show Services, Paramount Parks Entertainment or CBS Consumer Products itself), branched out in Star Trek-themed commercial public side-activities in the form of exhibitions and attractions. However, it was somewhat ironic that neither phenomenon was actually started by the franchise itself; it was only after the phenomenal successes of the 1988-1996 Star Trek Adventure attraction of distribution partner Universal Studios (though fully licensed by Paramount) and the 1992-1994 Star Trek Smithsonian Exhibit by the Smithsonian Institution (though supported by the studio), that the franchise, from 1993 onward and deeming them commercially viable, took over full control over either, starting with the 1993 Star Trek World Tour for exhibitions, and the 1998 Star Trek: The Experience for attractions.
Becoming "The Franchise"[]
By the time the television series Star Trek: Voyager went into production, the studio's stance and attitude towards Star Trek had radically changed from the one it had back in 1967. Studio Executive Brandon Tartikoff had already stated by the time The Next Generation went into its fifth season, "When you look at the books, you saw that Star Trek: The Next Generation was a twenty-five-million-dollar-goody, every year. That's the profit it would generate for Paramount." (Star Trek: The Next Generation - The Continuing Mission, p. 155) Stephen Poe observed two years later for himself how much the studio's stance and attitude had changed, when he resided at the studio on an extended stay in order to chronicle the genesis of the fourth live action Star Trek series, Voyager. Poe noticed that studio employees, executives included, were almost unanimously and reverently referring to their Star Trek property as "The Franchise" due to its reliable and consistent revenue stream, having been from the mid-1980s through the 1990s Paramount's most profitable property, much to the envy of industry competitors. [6] (A Vision of the Future - Star Trek: Voyager, pp. 50-51)
Reporter Mark A. Altman disclosed that the entire franchise – which is otherwise loath to report the other revenue streams themselves, apart from the box office takes – had already passed the US$1 billion mark in total studio revenues by 1993 (Cinefantastique, Vol 24 #3/4, p. 16), which was upped to US$2 billion gross in Entertainment Weekly's Special Star Trek Issue of 18 January 1995. In his 1998 book A Vision of the Future - Star Trek: Voyager (p. 55), Stephen Poe cited a Los Angeles Times article, that claimed nearly US$2 billion franchise revenues in retail sales alone. While the gross box office takes of the Star Trek franchise, US$1.9 billion as of 2015, are relatively well known, the gross revenues from the other franchise elements remain shrouded in mystery (the 1995 Entertainment Weekly US$2 billion statement, implied a rough fifty-fifty split at that time). [18] In December 1998 the Los Angeles Times reported a US$3.5 billion aggregate consumer merchandise turnover, which did not include the box office takes and their derivative home media formats sales, [19] constituting a considerable upward adjustment from the US$1.3 billion franchise total gross they reported four years earlier in May 1994. [20] Richard Arnold has later on reported a US$10 billion total turnover in July 2016, which like the 1994 Los Angeles Times figure, constituted a franchise total up until then, thus also including box office takes and home media format sales, and thus implying a roughly 80/20 split between all merchandise and box office takes – Star Trek Beyond was just released at the time of Arnold's report, its total box office take therefore not yet known. [21]
Despite the reluctance of the franchise to divulge more detailed figures itself, but with revenues undoubtedly running in the billions over the decades, Star Trek has become one of the most successful media franchises in history. Yet, it is the financial success of the younger Star Wars franchise, a franchise rival right from the start, and sporting far fewer movie or television productions, that is truly staggering, dwarfing that of Star Trek. (see: main article)
Viacom/CBS split and reunification[]
A somewhat ambiguous situation arose in late 2005, when the original Viacom holding corporation was split up into two independent corporations (although both corporations were owned by the same company, National Amusements, meaning the franchise was still owned by one company), the television corporation CBS Corporation (which constituted the former Viacom) and a motion picture corporation, which, a bit confusingly perhaps, was also called Viacom and of which Paramount Pictures was now a part. The split was formalized in January 2006. CBS licensed the right to produce Star Trek films to Paramount Pictures, but the newly-formed successor of the Paramount Marketing and Licensing Department, CBS Consumer Products, remained the sole entity responsible for the marketing and licensing of the entire Star Trek product line for both the television as well as the movie properties, instead of farming out the latter to Paramount's own division, Paramount Licensing, Inc.
However, this confusing division ended in 2019, when the new Viacom and CBS corporations were again merged into a new conglomerate, originally called ViacomCBS. With the companies reunited, the Star Trek franchise was also brought under one roof; although television production remained with CBS Studios, that department was once again a corporate sibling of Paramount Pictures. In February 2022, ViacomCBS renamed itself Paramount Global, taking the name of the movie studio for the entire conglomerate.
Relaunching the Star Trek television franchise[]
The continuing success of the syndicated Original Series, now augmented with three successful theatrical movies (even The Motion Picture turned out to be far more profitable than the studio initially led to believe – see: Star Trek films: Performance summary) and with a fourth movie and the 20th anniversary of the franchise coming up, enticed now Paramount Television Group President Mel Harris to decide that it would be an opportune time to launch a brand new Star Trek television series, especially since the fourth movie, The Voyage Home, soon proved to be exceptionally successful. To this end he instructed in mid-summer 1986 his subordinate, Paramount Network Television President John S. Pike, to develop what was to become The Next Generation. Initially, the studio wanted to proceed without Star Trek creator Gene Roddenberry, which was, aside from his notorious eccentricities, partly due to his failing health. Nevertheless Pike, heeding his movie predecessor's considerations, decided to bring him in on 12 September 1986, this time in an active executive producer role. (Star Trek: The Next Generation - The Continuing Mission, p. 7) Unfortunately, Roddenberry's eccentricities, aggravated by ill health and his notorious attorney Leonard Maizlish, soon reasserted themselves yet again, turning the production of the first two seasons of the new series into a repeat performance of what had happened during the production of Star Trek: Phase II - The Motion Picture.
In an ironic repetition of what Herbert Solow had to go through twenty-two years earlier, Pike had a tough time selling the series to the networks, as interest in science fiction for television was at an all time low at the time (after The Next Generation started its run, it was for years the only new science fiction series being aired). Most ironically, it was future Paramount President Brandon Tartikoff who declined to buy the series for NBC, which he headed at the time; in 1965 NBC had bought The Original Series. Pike was down to his last option, Fox Broadcasting Company (which, again ironically, was established by Barry Diller, now succeeding where he had failed for Paramount in 1977 in establishing a fourth television network for which Star Trek: Phase II was slated to serve as flagship), finding it interested, but only wanting to commit to a half season of thirteen episodes at an offer that was nowhere near enough to cover the projected budget of US$1.2 million per episode for a full season. For the briefest of times it appeared that the new Star Trek television series had died before it even had been born, when Pike was approached by his colleague, Paramount Domestic Television President Lucie Salhany. (William Shatner Presents: Chaos on the Bridge)
Salhany convinced Pike to produce the new series for direct syndication, an entirely novel idea at the time, assuring him she could sell a full season of twenty-six episodes. Taking her cue from the syndication history of the Original Series, Salhany reasoned that even if the new series did not turn in a profit in first syndication run, the studio should still take its losses on this occasion, as subsequent runs would, not to mention the future revenues from associated sales, such as merchandise, home media formats (especially appealing to Harris, considering his prior involvement with these), foreign sales, and the like. Even more novel was Salhany's idea to offer the first syndication run of The Next Generation for free, in exchange for control over the seven-minute advertisement blocks. In order to manage financial risk, the studio green-lit a half season run of thirteen episodes packaged with Original Series episodes (which were to be paid for by networks). These were proposed to see if interest in the new series would materialize, especially from the side of advertisers, to continue production if it did. Subsequent events proved Salhany's hunch correct. In ultimately doing so, Star Trek again made television history. Mel Harris officially revealed the news of a new Star Trek television series on 10 October 1986. Despite a troubled and rocky production during its first two seasons, The Next Generation went on to arguably become the most successful outing in the television franchise. (William Shatner Presents: Chaos on the Bridge; Star Trek: The Next Generation - The Continuing Mission, pp. 5-7, 11)
In all fairness though, the concept of direct syndication was not entirely new; Salhany's own division produced the current media affairs show Entertainment Tonight, which was, right from its launch in 1981, already sold through direct syndication. Nonetheless, The Next Generation did become the first major or "real" television show – as in a drama or a sitcom production – to be marketed this way, and it is more than likely that Salhany also got her cue from Entertainment Tonight, whose production she was responsible for. As studio property and an already established show with considerable national coverage, Entertainment Tonight became the franchise's natural choice as the primary outlet for all (live-action) media news regarding Star Trek, and several Star Trek specials have been featured in the show while Star Trek was in production in that period of time. Subsequently, the UPN network, later co-established by Salhany (see below), took over that position. None of the specials aired by either, though, have found their way onto later released home media formats, despite being franchise property.
As if to underscore that Salhany's hunch was a correct one, the first season finished with a 10.6 Nielsen rating, representing 9.4 million households, ranking first in the 18-49 age group, the prime demographic group sought by advertisers. While the first season was running, it was already sold to eight European and Asian countries, albeit for a limited run initially and reflecting the studio's thirteen-episode trial run. Additionally, by the start of the series' first summer hiatus, a domestic sale of US$2 million had already been realized in VHS tape sales, which only comprised the first four-six episodes at the time. (Star Trek: The Next Generation Companion, 3rd ed., p. 32)
For a chauvinistic, male-dominated industry as Hollywood was at the time, it was ironic that Star Trek was effectively saved for a second (or third, if one is to include Dawn Steel's crucial contribution for The Motion Picture) time by a woman, as Salhany's namesake, Lucille Ball, had already done so in February 1966 for the Original Series, followed by the unprecedented 1968 write-in campaign to save the series which was organized, and driven by, another woman, Bjo Trimble. The chauvinistic nature of the industry was further exemplified by the fact that Salhany's name was kept under wraps for decades, even as her novel approach became well-known, with her boss Mel Harris crediting her idea as a group effort. It was not until the 2014 documentary William Shatner Presents: Chaos on the Bridge that Salhany was unequivocally credited in full by her former colleague Pike as being the brains behind the format.
Unlike its original television predecessor, the series became profitable while it was still in production. On 21 January 1993, the studio declared The Next Generation "in the profit", and announced profit distribution to start the following month. Exceptionally pleased with the result, Mel Harris, in a for the studio uncharacteristic and unprecedented stance, became a Roddenberry supporter (in public at least) when he stated, "In the period since 1987 no other program has been able to get anywhere near [TNG]... It's primarily because of the program that was created....[I]f this hadn't been created in the way that it was by Gene Roddenberry, it probably wouldn't be on the air today and it certainly wouldn't be performing as it is." If Harris' praise had been genuine, then it was obvious that he had not been present on those occasions when his subordinate John Pike had to deal with Roddenberry. Pike has had his share of run-ins with Roddenberry. (William Shatner Presents: Chaos on the Bridge; [22])
Despite the studio's troubled relationship with Star Trek creator Roddenberry, the studio did at least exhibit the decency to acknowledge him in full for his contribution to their money making franchise. On the occasion of the franchise's 25th anniversary, on 6 June 1991, shortly before celebrating the 100th episode of The Next Generation, the Producers Building on the former Desilu studio lot was renamed the "Gene Roddenberry Building" in a highly publicized ceremony, the only building on the studio lot named for a television production staffer. Paramount television president Harris held a speech, making the above-quoted statement, and during the ceremony Star Trek captain performers William Shatner and Patrick Stewart said a few words about Roddenberry. Not only was it the sole building on the Paramount lot named for a television staffer, it was also a timely one, as Roddenberry passed away less than a half year later.
Post-Next Generation productions[]
The late Brandon Tartikoff, now chairman of Paramount Pictures from 1991 to 1992, during The Next Generation's fifth and sixth seasons, was deeply impressed with the success of the six (at the time) Star Trek films and The Next Generation, and it was he, in a complete reversal of the position he had six years earlier, who initiated and authorized the creation of a third live-action Star Trek series to launch into syndication, Star Trek: Deep Space Nine. (Trek: The Unauthorized Behind-The-Scenes Story of The Next Generation; DS9 Season 1 DVD-special feature, "A Bold New Beginning")
However, him ordering a third live-action Star Trek television series, entailed far more than just doing that. The Next Generation Executive Producer Rick Berman had recounted that he had a series of meetings with Tartikoff, starting in the summer of 1991. As a former television network executive, Tartikoff was acutely aware that even the most successful series had a limited, economical lifespan for a variety of reasons, ranging from psychological cast fatigue, through naturally increasing production costs – if only for the annually inflation adjusted production staff wages as ordained by the Hollywood Unions, and not in the least for star cast salaries habitually inflating exponentially with each sequel – to increased competition with itself for scarce syndication time slots the longer a series runs. Together with Berman, Tartikoff decided upon an optimum Star Trek series run of seven seasons, meaning that The Next Generation had at that time only three seasons left to go. Though enamored with the Original Crew movies, Tartikoff was well aware that they too had run their course, if only for the age of the cast, but figured this was the perfect time to pass the baton to "the next generation", thereby starting a new Star Trek movie franchise. He instructed Berman to start looking into that, and have a movie ready at the end of The Next Generation television series (by which time the new Deep Space Nine series had to be up and running for two seasons), preferably one in which, one way or another, featured the transition of the Original Crew to The Next Generation Crew. Given his marching orders, Berman was sent on his way to his most daunting year in his career, 1994. For all intents and purposes, it was Tartikoff who had come up with the leap-frogging seven-season format of the modern Star Trek television franchise, and the start of The Next Generation movie franchise, though he had to leave the actual production start in February 1993 and oversight of what was to become the first Next Generation film, Star Trek Generations, to his immediate successor Sherry Lansing, due to his premature departure. (Star Trek Movie Memories, 1995, pp. 399-403; Star Trek: The Next Generation - The Continuing Mission, pp. 154-157; [23])
Voyager itself was actually conceived to serve as the flagship of Paramount's second attempt of operating a television network, established in 1994 as United Paramount Network (UPN) by Lucie Salhany and her superior Kerry McCluggage. Salhany had previously been recruited in 1991 by Barry Diller to head the by him established Fox Broadcasting Company, but returned in 1994 to Paramount to succeed where her former boss had failed back in 1977. [24] Unlike its unsuccessful 1977 predecessor, UPN fared somewhat better, only ceasing to exist in 2006, after it had aired the fifth live action Star Trek series, Star Trek: Enterprise.
It was in this period of time that the most successful film set in the prime universe was released in 1996, Star Trek: First Contact, even surpassing, both in critical as well as financial terms, the two hitherto most successful and beloved ones, The Wrath of Khan and The Voyage Home (see Star Trek films: Performance summary). It was only in hindsight that it became clear that First Contact represented the high water mark of what was then still called "The Franchise".
Demise of "The Franchise" in the prime universe[]
While Voyager was generally well received and considered successful by franchise management, its somewhat mixed reception already hinted at the writing on the wall of what Star Trek author and historian Larry Nemecek had referred to as "Franchise Fatigue". (Before Her Time: Decommissioning Enterprise) And indeed, when Voyager premiered, Star Trek alumnus Robert Justman already observed, "I think the show has been flogged unmercifully and its going to rebound. The reaction is essentially going to be a negative reaction. If it is around in another 30 years, I don't think it's going to resemble what it has been in the past." [25](X) It later turned out that even co-creator and executive producer Rick Berman himself had reservations about the inception of yet another Star Trek reincarnation, so hard in the heels of The Next Generation and Deep Space Nine, essentially for the same franchise fatigue reasons. Yet, since it had slated the production to serve as the flagship for the studio's own recently established UPN television network, the studio had overriding, commercial reasons to push ahead with Voyager nonetheless.
An aggravating contributor to the franchise fatigue, was the proliferation of Star Trek-related merchandise in that period of time, inundating and over-saturating the market. While profitable at first as related above, it has also caused William Shatner to exclaim, "What the hell are all of you people buying, anyway?" in his autobiography Get a Life!, having additionally observed that because of the merchandise proliferation Star Trek was no longer "special" by 1999. Shatner appeared to have a point then, as licensees were already starting to dial down their Star Trek merchandise; long standing Star Trek toy manufacturer Playmates Toys, for example, was already rumored to let its license expire without much further ado in December 1999, [26](X) which turned out to be true even sooner than expected on 17 September 1999, when Playmates formally canceled all Star Trek lines (though it has acquired a new license in 2008). [27] Likewise, Racing Champions, who had acquired Star Trek merchandise producing companies AMT, Ertl, and Playing Mantis, immediately ceased and desisted any and all Star Trek product lines upon their acquisition in 1999, the Johnny Lightning model toy line of the latter having been the sole exception. For AMT in particular, this was poignant, as it had been the oldest and truest known licensing partner of the franchise, courtesy the aforementioned Stephen Edward Poe, ever since it released the very first Star Trek model kit, that of the USS Enterprise, back in 1966 (though it too, under new ownership, has rekindled the license a decade later).
However, the first clear-cut and unmistakable sign that the franchise was in trouble came in December the same year when Star Trek: Insurrection was released; the movie was a flop, at that time the all-time worst performing movie in the franchise ever, and the first Star Trek film to turn in a net loss for the studio, and a substantial one at that. Even the hitherto most reviled one, The Final Frontier had managed to break even.
Still, franchise management decided to push the envelope even further, if only for the fact that Voyager had ended its run and that UPN was in need of another flagship. And so, yet another Star Trek live-action incarnation was ordered to premier in 2000. Having had reservations on Voyager already, this time around Berman was near skeptical, as was later revealed by his partner for the new project, Brannon Braga, in 2014, "Star Trek was wearing out its welcome. Rick Berman didn't want to make a show so soon but Paramount did. I think it was too soon for another show. It was a quality show, but the ratings weren't really what they should be. And I don't think the network – the new regime [at UPN] – I don’t think they treated the show with the tender loving care that it needed to thrive." [28] Not only that, but outside voices started to chime in as well; when interviewed by TV Guide, Mark Altman, even though he was and is a life-long Star Trek fan, additionally expressed his great doubt and was not convinced of the viability of the franchise when a fifth, prequel series was announced, what eventually was to become Enterprise, being on record as having stated, "People are sick of Star Trek. But rather than give the franchise a rest and re-launch in a few years when fervor has built again, Paramount is going to run it into the ground until it's dead." [29]
Having been given his marching orders, Berman had little choice, other than resigning, but to obey his superiors and set to work with partner Braga. "Contrary to the people on the Internet who seem to think I never cared very much about the Star Trek franchise, I did and I do. I felt that if someone was going to keep it true to Gene Roddenberry's vision it would probably be better me than for me to bow out," Berman stated in this respect to Star Trek Magazine. In order to set the new series apart from the others, Berman tried his hand at an entirely different approach, and it was exactly for these reasons that the series was simply called Enterprise, without the Star Trek prenom. Unfortunately, it did not work out as he had hoped. Debuting with a relatively large audience, Enterprise quickly lost viewership and inspired criticism of both the series and its creators, with fans – and as it turned out after-the-fact by production staffers as well – criticizing alleged violations in established continuity, causing a polarization in the apparently dwindling Star Trek fan base.
Enter Star Trek Nemesis in 2002, after the second season airing of Enterprise— and if the performance of Insurrection had been dismal, the box office take of Nemesis was even worse. The film only barely earned back its production budget – barely (see: Star Trek films: Gross vs Net profitability). Already up in arms over Enterprise, outspoken critics saw this as the straw that broke the camel's back and clamored for the removal of Berman in earnest. The most partisan ones were united in the "The Star Trek Fan Association" (STFA). A relatively small organization, it was at the time a very vocal one nonetheless, rapidly becoming the focal point for press and media alike, interested in reporting on what all the upheaval was about. (Star Trek and American Television, p. 40) Nationwide attention the STFA garnered, when it very shortly after the release of Nemesis organized an online petition to Viacom President Sumner Redstone and Paramount head Sherry Lansing, calling for sweeping changes within the Star Trek franchise leadership (not realizing that they by proxy also questioned the abilities of Redstone and Lansing as well) and creative direction with the goal of "restoring" the franchise to Gene Roddenberry's creative precedents. [7] While the franchise usually ignored Trekdom entirely, this was media attention it could do well without, and it conceivably contributed to their internal decision to cancel Enterprise after its third season, which was at the time already in full pre-production. Therefore, while already indicating cancellation with the approach of the end of the third season of Enterprise (though better, not that well received either), so too did Paramount and UPN indicate the apparent end of Rick Berman's tenure as the overseer of Star Trek productions.
Berman himself divulged that, in the case of Enterprise, the relationship between UPN and Star Trek, which had been a warm one during the production of Voyager, had by then soured considerably and had taken a turn for the worst, "Our relationship with the network was distant. And it wasn't embracing and warm and… a sense of working together that had existed in all the years before." (ENT Season 3 Blu-ray-special feature, "In a Time of War") With the 2013-2014 releases of the Enterprise Blu-ray sets, several of his former subordinates, both cast and production staff, have subsequently corroborated Berman's assessment, coming forward with tales which also pointed at studio politics detrimental to Star Trek in general, and serious mismanagement of Enterprise in particular, especially where ratings and demographics interpretation, as well as air time scheduling were concerned. In the latter respect, it exhibited disturbing similarities with what had befallen between The Original Series and NBC back in the 1960s. Exemplary of studio politics was, according to Braga, their decree, if the series was to be renewed for a fourth season – the network actually already of a mind not to do so – the producers would get rid off Scott Bakula as Jonathan Archer, which Berman fought tooth and nail, successfully as it turned out (though he had not been able to counter their decree to add "Star Trek" to the series title which was originally just Enterprise, as explicitly intended). (Before Her Time: Decommissioning Enterprise)
Whether or not influenced by the petition and though remaining credited, franchise management indeed virtually relegated both Berman and Braga to the role of figurehead at the end of the third season (admitted as such by Braga in 2007 [30]), and their places were de facto filled for, what turned out to be, the last season by Manny Coto and his second man Mike Sussman, under whose tenure much of the perceived continuity violation was redressed, aided by writers such as the Reeves-Stevens author couple, who, like them, had an equally thorough understanding of original Star Trek lore. That the series was renewed for a last season, was in no small part due to the fact that strong backing was received from an unexpected corner; Scott Bakula has unequivocally cited Garry Hart, the former UPN head and Star Trek supporter, who had just been promoted to another position within the conglomerate, as the driving force behind the renewal, thereby thwarting the cancellation intents of his successor(s) at UPN, conceivably an instance of "studio politics". (Before Her Time: Decommissioning Enterprise)
How eager UPN was to get rid of Enterprise, despite the last season being considered a triumph by staffers and fans alike, was exemplified by the fact that the last season ended four episodes shy of a full season. At the time UPN made it known that it was changing its focus by targeting an African-American audience and produced urban-themed situation comedies with African-American casts, as well as professional wrestling and reality shows. This change in targeted demographics and programming was by contemporaries accepted as the reason for the cancellation of Enterprise after only four seasons of a projected seven season run. No matter what cancellation considerations were in play; prime universe Star Trek was finished, both literally and figuratively.
"The Franchise" changes hands[]
Though not directly related, a further aggravating circumstance for Star Trek was, that in January 2006, the former Viacom was split into two separate, independent companies: CBS Corporation and a new Viacom. The split resulted in an extensive "Studio Shuffle" with all the unsavory studio politics surrounding it, not unlike the one that had befallen the studio back in 1991 when The Undiscovered Country was in production, with executives fired, hired, promoted, demoted, reassigned, and not few of them hostile to Star Trek as has been, but ending up in places where it mattered to Star Trek nevertheless, most conspicuously Leslie Moonves, a reputed hater "of all things Sci-Fi" – Star Trek included. [31] Moonves, in his previous position as head of Paramount Television in favor of the earlier by Hart thwarted 2003 in-house cancellation decision, had actually been the executive who personally ordained the ultimate cancellation of Enterprise in February 2005, therefore in turn effectively thwarting the efforts of his now subordinate Garry Hart to keep the show alive, and thus ending Star Trek prime as well for the time being. Less than a year later Moonves ended UPN as well. (In Conversation: Writing Star Trek: Enterprise; [32]) Within a year, all executives known, or even rumored, to have been Star Trek-"friendly", were either let go or reassigned to other positions within the conglomerate – only forced to leave as well after the split became effective in January 2006; these included in addition to Garry Hart among others, Sherry Lansing (ironically Moonves' superior until 2004, when the latter was promoted to co-CEO of old Viacom), Kerry McCluggage and, ultimately, Rick Berman (who, unlike every other Star Trek production staffer, had studio tenure) as well.
CBS Corporation was given ownership of Paramount Television, which until then had always been a dependent division of Paramount Pictures, and was renamed "CBS Paramount Television", eventually known as "CBS Television Studios", and most recently CBS Studios, incidentally terminating UPN in the process. It was therefore from now on CBS that exercised ownership of the Star Trek franchise and television series, while Paramount Pictures, now part of the new Viacom, retained the rights to the Star Trek films through a license from CBS Television Studios, which remained the sole entity holding the copyrights to the Star Trek franchise. For the movies this meant that, with the exception of the direct box-office takes, the subsequent home media sales and the sale of television rights – though an undisclosed, but likely hefty percentage of these still have to be paid as license fees – all other forms of revenues, most notably those of related merchandise, revert directly to CBS, not Paramount. An undesirable side-effect the split has caused, was the aggravation of the already controversial "Hollywood accounting" phenomenon.
Yet, for all the repercussions it has entailed for the franchise in practice, it must again be noted and reminded that, while the franchise has formally changed hands – that is, on paper at least – , actual end ownership has remained unchanged factually, as both new entities are still owned and fully controlled by National Amusements, the family owned holding group of "media mogul" Sumner Redstone (who not only continued to serve as CEO of new Viacom, but also as that of CBS Corporation – alongside Moonves – until 2016, when he was forced to step back due to age in favor of his daughter Shari) as it has always been ever since his former Viacom acquired the remnants of Gulf+Western back in 1994, until then the property of the Charles Bluhdorn family.
Liquidation of assets[]
Whether or not the disappointment over the live-action production performances of the last three Star Trek outings, general animosity toward the phenomenon, simple harsh economic realities, or any combination thereof were in play, fact remained, the new owners came at the franchise with a vengeance.
Firstly there was their decision to sell off Paramount's entire warehouses' contents of Star Trek production stock assets in the 2006-2009 40 Years of Star Trek: The Collection, and It's A Wrap! sale and auction wave of auctions, with the exception of those that were still on exhibition tour at the times. While CBS put a positive spin on the decision in wordings that amounted to "graciously allowing" dedicated fans the "wonderful" chance to own a piece of Star Trek history (Star Trek: Beyond the Final Frontier), it did not take a Nobel Prize laureate to realize that the primary reason was CBS' rush to liquidate their Star Trek holdings as quickly as possible, making it abundantly clear that CBS was done with Star Trek as it had been.
There was a certain amount of cynicism involved surrounding the 40 Years of Star Trek: The Collection auction organized by auction house Christie's, as it was presented as the franchise's one of only two official events for Star Trek's 40th anniversary. Additional official events were absent, save for employing a barely observed anniversary logo. The contrast with the high profile, highly publicized Hollywood-style gala event for the 30th anniversary, registered as the Star Trek: 30 Years and Beyond documentary, could not have been any greater. To date, the 40th anniversary has been the least celebrated anniversary of all, ever since the franchise started to celebrate these in 1986, having seen the conception of The Next Generation as part of that anniversary.
If there had been any lingering doubt left within Trekdom about the intentions of CBS, that bubble was popped less than a year later when CBS cut the last line of official communications with the outside Star Trek world (Star Trek Communicator, the official fanclub magazine, had folded the year before when publisher Decipher Games gave up its license due to internal issues unrelated to the studio changes) when StarTrek.com was taken off-line, almost overnight, with its entire staff fired on the spot as the result of "restructuring" at CBS Interactive. [33](X) Over the years a substantial amount of behind-the-scenes production information had been gathered on the site, but CBS has not bothered to make backups of this material and as a result, a valuable cache of information was essentially lost to posterity.
Next up were the former Paramount entertainment parks and attractions that CBS had acquired in the "divorce settlement", with Star Trek: The Experience as one of its flagships. Within the time span of two years all of these were sold to such third parties as Cedar Fair Enterprise, and by 2008 all Star Trek-themed attractions had become defunct.
The print franchise too, enjoyed the scrutiny of the new owners; the number of "official" magazines had already started to dwindle under the previous owner Paramount to just the one, the British Star Trek Magazine, but now CBS went after the foreign language editions that were still in print, as Oliver Denker, the Chief Editor of Star Trek: Das offizielle Magazin (a German language variant of Star Trek Magazine) could attest to. Denker had to renegotiate his license due to the new ownership situation in 2007, only to find out that, much to his dismay, he was unable to and has cited a "mercurial" CBS Consumer Products as the reason for the failed negotiations. [34] Denker had reasons to be dismayed, as the magazine was doing well, since Germany, along with several other European Union nations, enjoyed something of a Star Trek revival due to the syndication phenomenon. Denker was not the only one who found himself in this position, as by 2008, with exception of two GE Fabbri publications, no other foreign language official magazine was still in print, leaving the British magazine the sole "official" survivor. The number of Star Trek books too was whittled down considerably, with Pocket Books ceasing publication of reference books altogether, and the number of new novels reduced to what was essentially a token number only with the majority of 40th anniversary novel releases being cheap reprints. Within two years all Star Trek affiliated editors, most notably, Marco Palmieri and Margaret Clark, were booted out. Remarkably, one successful Pocket Books publication, the Star Trek: Ships of the Line calendar series, was as late as 2012 sold to Universe Publishing and Andrews McMeel Publishing.
The prevailing mood was not lost on other merchandise license holders either, and their exodus continued unabated, resulting in a 2006-2008 merchandise drought and a stark contrast with the merchandise situation a decade before. There was a single bright spot in this era however; Art Asylum had only gained a merchandise license at the turn of the millennium, releasing products pertaining to Enterprise at first, and refused to give in to the pursuant general mood, stubbornly continuing to release Star Trek-based models and action figures in a period of time that was virtually devoid of competitors. Art Asylum's faith in the franchise has paid off, as it still holds the prime universe license as of 2016.
There were however two franchise elements that escaped the scrutiny relatively unscathed. The first one was an obvious one as it had always been relatively easy money – syndication. And as a matter of fact, CBS came in at the tail end of what was essentially a syndication bonanza, courtesy the European Union. From the mid-1990s onward, the Union had ordained its member states to liberalize their broadcast landscape. Up until then, almost all European countries traditionally had their respective governments exercise control over the airwaves, but the member states had now committed themselves to allow commercial broadcasters unrestricted access to the airwaves as well. This sparked a boom in the number of channels all over the Union. However, there was in most countries a proviso: in order to retain their broadcast license, a newcomer committed itself to broadcast a daily minimum number of hours. As virtually none of these newcomers had their own production companies yet in place to fill their time slots, a veritable scramble for 1980s-1990s television productions ensued, Hollywood being the most obvious provider of these. With its impressive backlog catalog, Star Trek fitted the initial need for these newcomers perfectly. As a result, the European airwaves were for nearly a decade flooded with Star Trek, in most cases airing on a daily basis. In a country like the Netherlands, for example, which had only aired part of the Original Series in the early 1970s up until then, all spin-off series were now aired on daily basis, sometimes concurrently on different channels. It should be noted that this was at the time a somewhat unusual situation, as all these series had already been made available to the Dutch public through both the rental circuit as well as the home media format market. The minimum broadcast hours proviso has sometimes also led to odd situations; at one point commercial broadcaster Veronica had to air Enterprise in the dead of night, when the country was asleep, to not lose its license. [35] For the most part this situation applied to the other countries as well, but it has also been a part of the reasons why Denker's above-mentioned magazine was doing so well. However, by 2007-2008, the new situation on the European broadcast landscape had settled, with production companies in full swing, providing the commercial broadcasters with their own productions, and the after-market demand for Star Trek has dropped sharply since then, the movies excepted.
The other franchise element that escaped "The Wrath of CBS" unscathed, for partly the same reasons, was the home media format franchise, particularly since it was the dawn of high definition television. In this light the survival of Fabbri's two publications should be considered, as both were a DVD/Magazine combination partwork publication, the DVD element being, quite literally, the saving grace. In effect, it was one of the very few areas, if not the only one, where CBS took affirmative action in that period of time, by commissioning the production of The Original Series remastering project. Favorably received, the remastering project stands out as the single bright spot, in what was otherwise the "Dark Ages" of what once was "The Franchise". Incidentally and somewhat characteristically, CBS gambled on the wrong horse initially when it released the first season of the remastered series in the HD DVD format, the high resolution format that lost out to Blu Ray. Announced on 31 August 2006, the project was the second (and last) of CBS's official events for Star Trek's 40th anniversary, and its episodes were first broadcast on television, before being disseminated on home media formats. Contrary to the Christie's auction, this project at least had a positive ring about it, lacking the cynical undertones of the former. Actually, the remastering project conceivably helped to keep Star Trek Magazine afloat, as CBS belatedly realized that they were increasingly left without any official communication channels to promote the project to the very target audience it was intended for; the traditional Star Trek fan base. Publisher Titan Magazines was allowed in late 2006 to launch the magazine in the US – having been devoid of any "official" print publication since 2005 – as well, its contents synchronized with the British source publication.
Rekindling "The Franchise"[]
This article or section is incompleteThis page is marked as lacking essential detail, and needs attention. Information regarding expansion requirements may be found on the article's talk page. Feel free to edit this page to assist with this expansion.
Reestablishing itself in the alternate universe[]
While the last three live-action Star Trek productions had tanked, the same era also witnessed a remarkable upswing in other science fiction productions; television had Ronald D. Moore's critically acclaimed revamped Battlestar Galactica series, whose first regular season started its run, while Enterprise's last was being aired, but it was especially the big screen that saw a proliferation of genre feature productions, quite a few of them becoming box-office smashes, those stemming from the Marvel Comics universe in particular. It was after Paramount itself had a hand in four of them, War of the Worlds (2005 as distributor), Transformers (2007 as co-producer), Iron Man (2008 as distributor), and Cloverfield (2008 as co-producer), that the studio decided, even though it no longer owned the franchise, to give Star Trek another go and activate the license they held from CBS. In this it was very reminiscent of their decision to do The Motion Picture back in 1977 in response to Star Wars. In order to maximize the chances for commercial success they contracted Transformer scribes Alex Kurtzman and Roberto Orci for the same chore, as well as the highly successful Cloverfield producer J.J. Abrams for that, as well as the directorial chores. In effect, it had been Abrams himself, after he had been signed by Paramount for a five-movie deal in 2006 – Cloverfield becoming his first one for Paramount – who presented the idea of revisiting Star Trek to the studio. (Star Trek Magazine issue 129) These men set to work to reinvent Star Trek, essentially recreating Star Trek from scratch with little of the philosophies behind the Star Trek universe as postulated by creator Roddenberry left intact – if any at all, exactly as predicted by Robert Justman back in 1994, but fifteen years earlier than even he could have foreseen.
It worked, the 2009 alternate universe feature film Star Trek became a box office success, easily surpassing any of its predecessors by far. The 2009 film itself became surpassed by its successor, the 2013 sequel Star Trek Into Darkness, also directed and produced by Abrams. Its sequel became the 2016 film Star Trek Beyond, which was however, rather unexpectedly, considerably less successful. (see: Star Trek films: Performance summary)
Yet, while hugely successful at the box offices, long standing Star Trek production veteran Doug Drexler spoke for many prime universe Star Trek fans, skeptical of the reinvented version, when he stated, "Technically they are beautiful… the work is stunning… however… and I hope no one will hold this against me… I did not enjoy the last two films, and honest… I really wanted to… but for me, Star Trek has to have a philosophical, humanist bend to it… always making a point, or asking a question. It should be introspective, and self examining. That's the Roddenberry factor. The new films are devoid of Gene Roddenberry, and at the end of the day, I'm not ok with that." [36](X) Drexler's observation was more than validated when Paramount Motion Pictures Group President Marc Evans made the following comment in 2015, "I often think about the areas of the Star Trek universe that haven’t been taken advantage of. Like, I'll be ridiculous with you, but what would Star Trek: Zero Dark Thirty look like? Where is the SEAL Team Six of the Star Trek universe? That fascinates me," a statement that flew straight in the face of Roddenberry's non-militaristic vision for his Star Trek universe – and which had actually already spawned some fan criticism when the MACOs were introduced in Enterprise. [37] Drexler is not the only prime universe production staffer skeptical of alternate universe Star Trek, as Producer Robert Meyer Burnett has voiced similar concerns in public. [38]
Still, the box office aggregates of nearly US$1.2 billion for the first three films alone (surpassing the amount all ten previous Star Trek movies had made), as well as the partial resurgence of the overall franchise, indicated that revitalized Star Trek had attracted a new viewership that went well above and beyond traditional Trekdom.
Studio executives actively involved with Star Trek productions[]
(Note: This list is currently incomplete.)
In the list below, the name of the executive producers for any given production is also mentioned after its title. Formally, they are not part of the studio executive staff, but the creative managerial heads of the actual productions, and as such officially credited, which studio executives – Original Series executives Bill Heath, Herb Solow, Douglas S. Cramer, and The Motion Picture's Lindsley Parsons, Jr. being the notably sole exceptions – are traditionally not. Yet, they do serve as the primary liaison between the actual productions and the studio oversight and consequently, they are answerable to studio executives. Note that even the highest Paramount executives had bosses; Diller, for example, was answerable to Gulf+Western President Bluhdorn, who, while relatively far removed from the production, did make some momentous decisions concerning the Star Trek movie franchise, as related above, aside from being responsible for acquiring the franchise for Paramount in the first place. Also listed are the executives involved with the Star Trek television franchise, since these productions were until 2006 part of Paramount Pictures, as explained above.
Historical overview[]
Founded by Adolph Zukor in on 8 May 1912, Paramount Pictures is America's second oldest, still-operating, motion picture studio behind Universal Studios, though only by a little over a week. Its logo – the highly-recognizable, majestic Paramount mountain – has been part of the company from the beginning, thus making it the oldest surviving Hollywood film logo. For nearly half a century it was one of what once was colloquially known as the "Big Five" major Hollywood motion picture studios, along with 20th Century Fox (the "Fox" component having been founded in 1915), and the only surviving one still located in the Los Angeles neighborhood of Hollywood. Ironically, Universal had not been one of them, it being subordinated in a lower tier. One of the original "Big Five" had been RKO Pictures (founded on 23 October 1928) which went defunct on 7 March 1958, after which Desilu Studios bought its assets and real estate – but not its backlog library of film titles, even though a clipping from the 1945 RKO film The Spanish Main became a recurrent Star Trek "guest star". Through the acquisition of Desilu itself in 1967, Paramount became the owner of much of what had been a major industry competitor once.
Paramount Pictures was the company responsible for the film to win the very first "Best Picture" Academy Award in 1929, the silent World War I theatrical feature Wings (1927) – also turning out to become the only silent film to do so – additionally winning the very first "Best Effects, Engineering Effects" Academy Award, the later "Visual Effects" category. [39] Clippings of that movie were featured in the opening title sequences of the two Star Trek: Enterprise "In a Mirror, Darkly" mirror universe episodes.
Since then, Paramount has produced the Academy Award-winning films Going My Way (1944), The Lost Weekend (1945), The Greatest Show on Earth (1952), The Godfather (1972), The Godfather, Part II (1974), Ordinary People (1980), Terms of Endearment (1983), Forrest Gump (1994), Braveheart (1995), and Titanic (1997). Among the other acclaimed films they have produced are Double Indemnity (1944), Stalag 17 (1953), The War of the Worlds (1953, based on the book by H.G. Wells), The Ten Commandments (1956), Breakfast at Tiffany's (1961), The Man Who Shot Liberty Valance (1962), Once Upon a Time in the West (1968), Chinatown (1974), Saturday Night Fever (1977), Grease (1978), Top Gun (1986), Fatal Attraction (1987), Saving Private Ryan (1998), and Zodiac (2007).
By 2020 one of only five to pass the US$2 billion mark as the all-time highest (worldwide) grossing films, the multi Academy Award winning Titanic (served by such Star Trek alumni as Robert Legato
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List of Paramount Pictures films
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This is a list of selected films released by Paramount Pictures. Asterisks (* ) indicate works in the public domain. For Paramount Vantage/Classics releases and DreamWorks live-action films distributed by Paramount, see those articles List of Paramount Pictures films on IMDbScript error: No such...
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Moviepedia
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Release Date Title Notes February 19, 2010 Shutter Island co-production with Phoenix Pictures, Sikeila Productions and Appian Way Productions March 12, 2010 She's Out of My League co-production with DreamWorks Pictures and Mosaic Media Group March 26, 2010 How to Train Your Dragon Nominee of the Academy Award for Best Animated Feature. Distribution only; produced by DreamWorks Animation May 7, 2010 Iron Man 2[4] co-production with Marvel Studios and Fairview Entertainment May 21, 2010 Shrek Forever After distribution only; produced by DreamWorks Animation July 1, 2010 The Last Airbender Nominee of the Razzie Award for Worst Picture; co-production with Nickelodeon Movies, The Kennedy/Marshall Company and Blinding Edge Pictures July 30, 2010 Dinner for Schmucks co-production with DreamWorks Pictures, Spyglass Entertainment, Parkes/MacDonald Productions, Everyman Pictures, Reliance ADA Group and Reliance BIG Entertainment October 15, 2010 Jackass 3D co-production with Dickhouse Productions and MTV Films October 22, 2010 Paranormal Activity 2 co-production with Blumhouse Productions, Solana Films and Room 101, Inc. November 5, 2010 Megamind distribution only; produced by DreamWorks Animation, Pacific Data Images and Red Hour Films November 10, 2010 Morning Glory co-production with Bad Robot Productions (limited) December 10, 2010
(wide) December 17, 2010 The Fighter Nominee of the Academy Award for Best Picture. US distribution only, co-production with The Weinstein Company, Relativity Media, Mandeville Films and Closest to the Hole Productions December 22, 2010 Little Fockers international distribution only, co-production with Universal Pictures, Relativity Media, Tribeca Productions and Everyman Pictures True Grit Nominee of the Academy Award for Best Picture. co-production with Skydance Productions, Scott Rudin Productions and Mike Zoss productions January 21, 2011 No Strings Attached co-production with The Montecito Picture Company, Spyglass Entertainment and Cold Spring Pictures May 13, 2011 Thor[5] co-production with Marvel Studios June 10, 2011 Super 8 co-production with Bad Robot Productions and Amblin Entertainment July 22, 2011 Captain America: The First Avenger[6] co-production with Marvel Studios July 29, 2011 Cowboys & Aliens UK and International distribution only, produced by Universal Pictures, DreamWorks Pictures, Relativity Media, Imagine Entertainment, Fairview Entertainment, Platinum Studios, Reliance BIG Entertainment, K/O Paper Products and Amblin Entertainment October 14, 2011 Footloose co-production with Spyglass Entertainment, MTV Films, Dylan Sellers Productions, Zadan/Meron Productions and Weston Pictures October 21, 2011 Paranormal Activity 3 co-production with Blumhouse Productions, Solana Films and Room 101, Inc. November 11, 2011 Puss in Boots Nominee of the Academy Award for Best Animated Feature. Distribution only; produced by DreamWorks Animation November 23, 2011[7] Hugo Nominee of the Academy Award for Best Picture; co-production with Nickelodeon Movies, GK Films, Metropolitan Filmexport and Infinitum Nihil (limited) December 9, 2011
(wide) December 16, 2011 Young Adult co-production with Mandate Pictures, Right of Way Films, Denver & Delilah Films and Mr. Mudd (IMAX) December 16, 2011
(worldwide) December 21, 2011[8] Mission: Impossible – Ghost Protocol co-production with Bad Robot Productions, TC Productions and Skydance Productions December 21, 2011[9] The Adventures of Tintin: Secret of the Unicorn Winner of the Golden Globe Award for Best Animated Feature. US distribution only, co-production with Columbia Pictures, Nickelodeon Movies, Hemisphere Media Capital, The Kennedy/Marshall Company, WingNut Films and Amblin Entertainment January 6, 2012 The Devil Inside distribution only, produced by Insurge Pictures, di Bonaventura Pictures and Prototype Productions March 2, 2012 Dr. Seuss' The Lorax distribution only; produced by DreamWorks Animation March 9, 2012 A Thousand Words Nominee of the Razzie Award for Worst Picture; co-production with Nickelodeon Movies, Saturn Films, Varsity Pictures and Work After Midnight Films April 4, 2012[10] Titanic 3-D US distribution only, co-production with 20th Century Fox and Lightstorm Entertainment May 4, 2012 The Avengers Studio credit only; produced by Marvel Studios. Distributed by Walt Disney Studios Motion Pictures. May 16, 2012[11] The Dictator co-production with Four by Two Films, Berg/Mandel/Shaffer Productions and Scott Rudin Productions June 8, 2012[12] Madagascar 3: Europe's Most Wanted distribution only; produced by DreamWorks Animation and Pacific Data Images July 5, 2012[13] Katy Perry: Part of Me co-production with Insurge Pictures, MTV Films, AEG Live, Perry Productions, Direct Management Group, EMI Music North America and Imagine Entertainment September 7, 2012 Indiana Jones and the Raiders of the Lost Ark: The IMAX Experience co-production with Lucasfilm October 19, 2012 Paranormal Activity 4 co-production with Blumhouse Productions, Solana Films and Room 101. Inc. October 26, 2012 Fun Size co-production with Nickelodeon Movies, Anonymous Content and Fake Empire Productions November 2, 2012 Flight co-production with Parkes/MacDonald Productions and ImageMovers November 9, 2012 Rise of the Guardians distribution only; produced by DreamWorks Animation and Reel FX, the last DreamWorks animated film to be distributed by Paramount Pictures. December 19, 2012 The Guilt Trip co-production with Skydance Productions and Michaels/Goldwyn Films December 21, 2012 Cirque du Soleil: Worlds Away co-production with Cirque du Soleil Productions, Reel FX, Strange Weather and Cameron and Pace Group Jack Reacher co-production with Skydance Productions, TC Productions and The Mutual Film Company January 25, 2013 Hansel and Gretel: Witch Hunters co-production with Metro-Goldwyn-Mayer Pictures, Gary Sanchez and MTV Films February 8, 2013 Top Gun co-production with Don Simpson/Jerry Bruckheimer Films March 28, 2013 G.I. Joe: Retaliation[14] co-production with Metro-Goldwyn-Mayer Pictures, Skydance Productions, Hasbro and di Bonaventura Pictures April 26, 2013 Pain & Gain co-production with Platinum Dunes and De Line Pictures May 3, 2013 Iron Man 3 Studio credit only, produced by Marvel Studios and DMG Entertainment. Distributed by Walt Disney Studios Motion Pictures. May 16, 2013 Star Trek Into Darkness co-production with Skydance Productions, Bad Robot Productions and K/O Paper Products June 21, 2013[15] World War Z co-production with Skydance Productions, GK Films, Plan B Entertainment and Hemisphere Media Capital October 25, 2013 Jackass Presents: Bad Grandpa co-production with MTV Films and Dickhouse Productions December 18, 2013 Anchorman 2: The Legend Continues co-production with Apatow Productions and Gary Sanchez Productions December 25, 2013 The Wolf of Wall Street US distribution only, co-production with Red Granite Pictures, Appian Way Productions, Sikelia Productions and Emjag Productions, Universal Pictures held international rights January 3, 2014 Paranormal Activity: The Marked Ones co-production with Blumhouse Productions, Solana Films and Room 101. Inc. January 17, 2014 Jack Ryan: Shadow Recruit co-production with Skydance Productions, Mace Neufeld Productions and di Bonaventura Pictures January 31, 2014 Labor Day co-production with Indian Paintbrush, Right of Way Productions and Mr. Mudd March 28, 2014[16] Noah co-production with Regency Enterprises, New Regency Productions and Protozoa Pictures June 27, 2014 Transformers: Age of Extinction co-production with di Bonaventura Pictures and Hasbro Studios July 25, 2014 Hercules co-production with Metro-Goldwyn-Mayer, Flynn Picture Company and Radical Pictures August 8, 2014 Teenage Mutant Ninja Turtles co-production with Nickelodeon Movies, Platinum Dunes, Gama Entertainment, Mednick Productions and Heavy Metal Productions October 17, 2014 Men, Women & Children co-production with Right of Way Films November 7, 2014 Interstellar North American distribution only, co-production with Warner Bros. Pictures, Legendary Pictures and Syncopy Inc. December 12, 2014 Top Five co-production with IAC Films and Scott Rudin Productions December 25, 2014 The Gambler co-production with Chartoff/Winkler Productions, Closest to the Hole Productions and Leverage Entertainment Selma Nominee for the Academy Award for Best Picture. North American distribution only;[17] production by Pathé, Harpo Films, Plan B Entertainment, Cloud Eight Films, Redgill Selma Productions, and Ingenious Media.[18] January 30, 2015 Project Almanac co-production with Insurge Pictures, MTV Films and Platinum Dunes February 6, 2015 The SpongeBob Movie: Sponge Out of Water co-production with Paramount Animation, Nickelodeon Movies and United Plankton Pictures[19] February 20, 2015 Hot Tub Time Machine 2[20] Worldwide theatrical and home video distribution; co-production with Metro-Goldwyn-Mayer May 15, 2015 Area 51 distribution only; produced by Insurge Pictures, Aramid Entertainment Fund, Blumhouse Productions, IM Global, Incentive Filmed Entertainment and Room 101 May 22, 2015 Drunk Wedding distribution only; produced by Insurge Pictures July 1, 2015 Terminator Genisys co-production with Skydance Productions July 31, 2015 Mission: Impossible – Rogue Nation distribution only; produced by Skydance Productions, Odin, China Movie Channel, Alibaba Pictures and Bad Robot Productions[21] September 18, 2015 Captive co-production with BN Films, 1019 Entertainment, Brightside Entertainment and Yoruba Saxon Productions October 23, 2015 Paranormal Activity: The Ghost Dimension co-production with Blumhouse Productions October 30, 2015 Scouts Guide to the Zombie Apocalypse distribution only; produced by Broken Road Productions December 11, 2015 The Big Short Nominee for the Academy Award for Best Picture. Distribution only; produced by Regency Enterprises and Plan B Entertainment.[22] December 25, 2015 Daddy's Home co-production with Gary Sanchez Productions and Red Granite Pictures December 30, 2015 Anomalisa Nominee for the Academy Award for Best Animated Feature January 15, 2016 13 Hours: The Secret Soldiers of Benghazi co-production with 3 Arts Entertainment and Bay Films February 12, 2016 Zoolander 2 distribution only; produced by Red Hour Productions and Scott Rudin Productions[23] March 4, 2016 Whiskey Tango Foxtrot co-production with Broadway Video and Little Stranger March 11, 2016 10 Cloverfield Lane co-production with Bad Robot Productions March 30, 2016 Everybody Wants Some!! co-production with Annapurna Pictures June 3, 2016 Teenage Mutant Ninja Turtles: Out of the Shadows co-production with Nickelodeon Movies, Platinum Dunes, Alibaba Pictures and China Movie Media Group June 3, 2016 Approaching the Unknown co-distribution with Vertical Entertainment[24] July 22, 2016 Star Trek Beyond co-production with Skydance Productions, Bad Robot Productions, K/O Paper Products, Alibaba Pictures and Huahua Media August 5, 2016 The Little Prince co-production with ON Animation Studios released by Netflix August 12, 2016 Florence Foster Jenkins US distribution only, produced by BBC Films, Pathé, Canal+ and Qwerty Films August 19, 2016 Ben-Hur co-production with Metro-Goldwyn-Mayer, Lightworkers Media and Bazelevs Company August 26, 2016 The Intervention co-distribution with Samuel Goldwyn Films September 23, 2016 Goat co-distribution with The Film Arcade October 21, 2016 Jack Reacher: Never Go Back distribution only; produced by Skydance Productions and TC Productions[25] November 11, 2016 Arrival US distribution only; produced by FilmNation Entertainment, 21 Laps Entertainment and Lava Bear Films November 23, 2016 Allied co-production with ImageMovers, GK Films and Huahua Media December 9, 2016 Office Christmas Party distribution in the Americas, Italy and Russia; co-production with DreamWorks Pictures, Reliance Entertainment, Bluegrass Films and Entertainment 360[26] December 16, 2016 Fences co-production with Marco, Bron Studios and Scott Rudin Productions December 23, 2016[27] Silence US distribution only; co-production with IM Global, Cappa/De Fina Productions, Cecchi Gori Pictures, Emmett/Furla/Oasis Films and Sikelia Productions January 13, 2017 Monster Trucks co-production with Paramount Animation, Nickelodeon Movies and Disruption Entertainment January 20, 2017 XXX: Return of Xander Cage co-production with One Race Films, Revolution Studios and Roth Kirschenbaum Films February 3, 2017 Rings Parkes + MacDonald Imagination March 31, 2017 Ghost in the Shell co-production with DreamWorks Pictures, Amblin Partners and Arad Productions May 25, 2017 Baywatch co-production with Contrafilm, The Montecito Picture Company, Vinson Films, Flynn Picture Company and Seven Bucks Productions June 21, 2017 Transformers: The Last Knight Nominee for the Golden Raspberry Award for Worst Picture; Co-production with Hasbro Studios and di Bonaventura Pictures July 28, 2017 An Inconvenient Sequel: Truth to Power co-production with Participant Media and Actual Films September 1, 2017 Tulip Fever Studio credit only; co-production with The Weinstein Company, Worldview Entertainment and Ruby Films September 15, 2017 Mother! co-production with Protozoa Pictures October 20, 2017 Same Kind of Different as Me co-production with Disruption Entertainment; distributed by Pure Flix Entertainment October 27, 2017 Suburbicon US distribution only, co-production with Black Bear Pictures, Dark Castle Entertainment and Smokehouse Pictures November 10, 2017 Daddy's Home 2 distribution only; produced by Gary Sanchez Productions December 22, 2017 Downsizing US distribution only; co-production February 4, 2018 The Cloverfield Paradox co-distributed with Netflix; produced by Bad Robot Productions[28] February 23, 2018 Annihilation distribution in the US, Canada, and China only; co-production with Skydance Productions, DNA Films and Scott Rudin Productions March 23, 2018 Sherlock Gnomes produced by Paramount Animation, Metro-Goldwyn-Mayer and Rocket Pictures[29] April 6, 2018 A Quiet Place co-production with Platinum Dunes[30] May 18, 2018 Book Club distribution only; produced by June Pictures[31] June 1, 2018 Action Point co-production with Dickhouse Productions July 27, 2018 Mission: Impossible – Fallout co-production with Skydance Productions, Bad Robot Productions and Tom Cruise Productions November 2, 2018 Nobody's Fool produced by Paramount Players and Tyler Perry Studios November 9, 2018 Overlord co-production with Bad Robot Productions November 16, 2018 Instant Family [32] December 21, 2018 Bumblebee co-production with Allspark Pictures, di Bonaventura Pictures and Tencent Pictures February 8, 2019 What Men Want produced by Paramount Players, BET Films and Will Packer Productions March 15, 2019 Wonder Park produced by Paramount Animation, Nickelodeon Movies April 5, 2019 Pet Sematary co-production with di Bonaventura Pictures[33][34] May 31, 2019 Rocketman co-production with Marv Films and Rocket Pictures July 12, 2019 Crawl produced by Ghost House Pictures August 9, 2019 Dora and the Lost City of Gold produced by Paramount Players, Walden Media, Nickelodeon Movies and Media Rights Capital October 11, 2019 Gemini Man co-production with Skydance Productions and Jerry Bruckheimer Films October 18, 2019 Eli released by Netflix November 1, 2019 Terminator: Dark Fate North America distribution only; co-production with 20th Century Fox, Lightstorm Entertainment, and Skydance Productions November 8, 2019 Playing with Fire produced by Paramount Players, Nickelodeon Movies, Walden Media, and Broken Road Productions November 22, 2019 Blue Story distribution only; produced by BBC Films, Joi Productions and DJ Films January 10, 2020 Like a Boss co-production with Principato-Young January 31, 2020 The Rhythm Section co-production with Eon Productions and IM Global February 14, 2020 Sonic the Hedgehog co-production with Marza Animation Planet, Original Film, Blur Studio, and Sega May 19, 2020 Body Cam distribution only; produced by Ace Entertainment, Paramount Players and BET Films May 22, 2020 The Lovebirds co-production with Media Rights Capital, 3 Arts Entertainment and Quinn's House; distributed by Netflix August 14, 2020 The SpongeBob Movie: Sponge on the Run produced by Paramount Animation, Nickelodeon Movies, United Plankton Pictures and Media Rights Capital September 25, 2020 The Trial of the Chicago 7 co-production with Cross Creek Pictures, DreamWorks Pictures, Marc Platt Productions, ShivHans Pictures and Amblin Partners; distributed by Netflix October 2, 2020 Spontaneous distribution only; produced by Awesomeness Films and Jurassic Party Productions October 16, 2020 Pixie UK distribution only; produced by Fragile Films, Ingenious Media and Northern Ireland Screen October 16, 2020 Love and Monsters U.S distribution only; produced by Entertainment One and 21 Laps Entertainment; distributed by Netflix in international territories on April 14, 2021. October 30, 2020 Spell distribution only through Paramount Players; produced by LINK Entertainment and MC8 Entertainment March 4, 2021 Coming 2 America co-production with Eddie Murphy Productions, Misher Films and New Republic Pictures; distributed by Amazon Studios April 30, 2021 Without Remorse co-production with Skydance Productions, Weed Road Pictures, Outlier Society, New Republic Pictures and Midnight Radio Productions; distributed by Amazon Studios May 28, 2021 A Quiet Place Part II co-production with Platinum Dunes and Sunday Night Productions June 10, 2021 Infinite co-production with Di Bonaventura Pictures, Closest to the Hole Productions, New Republic Pictures and Fuqua Films; distributed by Paramount+ July 2, 2021 The Tomorrow War co-production with Skydance Productions, Phantom Four Films, New Republic Pictures and Lit Entertainment Group; distributed by Amazon Studios July 23, 2021 Snake Eyes: G.I. Joe Origins co-production with Metro-Goldwyn-Mayer, Skydance Media, Entertainment One[35] and Di Bonaventura Pictures[33][36][37] August 6, 2021 Bring Your Own Brigade distribution only; produced by XTR, Artemis Rising, Topic Studios, Tree Tree Tree and Good N'Proper[38] August 20, 2021 PAW Patrol: The Movie § distribution outside of Canada; co-production with Nickelodeon Movies, Spin Master Entertainment and Mikros Image[39][40] October 29, 2021 Paranormal Activity: Next of Kin ‡ produced by Paramount Players and Blumhouse Productions;[41] distributed by Paramount+[42][43] November 10, 2021 Clifford the Big Red Dog § distribution outside of the UK and Canada; co-production with Entertainment One[44]The Kerner Entertainment Company, New Republic Pictures[45] and Scholastic Entertainment[46][47][48][49] December 15, 2021 Rumble ‡ co-production with Paramount Animation, WWE Studios, Walden Media, and Reel FX Animation Studios; distributed by Paramount+[50][51][52][53] January 14, 2022 Scream co-production with Spyglass Media Group, Project X Entertainment, Outerbanks Entertainment and Radio Silence Productions February 4, 2022 Jackass Forever co-production with MTV Entertainment Studios, Dickhouse Productions and Gorilla Flicks February 11, 2022 The In Between ‡ co-production with Paramount Players; distributed by Paramount+ March 25, 2022 The Lost City co-production with Fortis Films, 3dot Productions and Exhibit A Films[54][55][56]
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The 92 Best Halloween Movies of All Time
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2023-10-30T17:12:33-04:00
|
Here's a complete list of the best Halloween movies of all time, including kid-friendly options like 'Hocus Pocus' to new cult classics like 'Talk to Me.'
|
en
|
PureWow
|
https://www.purewow.com/entertainment/best-halloween-movies
|
Spooky season has arrived
PureWow editors select every item that appears on this page, and the company may earn compensation through affiliate links within the story. All prices are accurate upon date of publish. You can learn more about the affiliate process here.
Here at PureWow, we practically watch classic Halloween movies all year round. But not all October 31st-based films are created equal, and choosing the right one can all depend on what kind of mood you're in. For instance, you can revisit classics like Beetlejuice if you're feeling nostalgic. And if you're down for a scary flick that'll make you sleep with one eye open, then The Exorcist ought to do the trick.
Fortunately, we compiled a list of our all-time favorite films to celebrate the spooky season, from murder mysteries and psychological thrillers to traditional monster movies. So, grab your favorite Halloween snacks and prepare to spice up your queue with 92 of the best Halloween movies to get you in the mood.
RELATED
37 Funny Halloween Movies to Watch Right Now, from ‘Clue’ to ‘Scream’
What Is the Most Watched Halloween Movie of All Time?
To address one of the biggest debates, both Vudu and Fandango surveyed viewers to get an answer once and for all. Well, the votes are in: Hocus Pocus is the most popular Halloween flick (hence why we included it on this list).
Warner Bros.
1. Practical Magic (1998)
Cast: Sandra Bullock, Nicole Kidman, Dianne Wiest, Stockard Channing
Run time: 104 minutes
Bullock and Kidman are primo on their own. Together? Playing nonpracticing witches who try to use their hereditary gift for magic to fix their love lives? Solid gold. (Same goes for the Stevie Nicks soundtrack.)
Walt Disney Pictures
2. Hocus Pocus (1993)
Cast: Kathy Najimy, Bette Midler, Sarah Jessica Parker
Run time: 96 minutes
More witches! The Sanderson sisters are resurrected after three centuries, and just in time for trick-or-treaters. But can Max stop them from carrying out their evil plan?
3. Hocus Pocus 2 (2022)
Cast: Kathy Najimy, Bette Midler, Sarah Jessica Parker
Run time: 103 minutes
In the highly anticipated sequel, the Sanderson sisters return to Salem after 29 years. *Cue “The Witches Are Back”*
4. Orphan (2009)
Cast: Isabelle Fuhrman, Vera Farmiga, Peter Sarsgaard
Run time: 123 minutes
Married couple Kate (Farmiga) and John (Sarsgaard) adopt a sweet, young girl named Esther. After a series of unfortunate events start to occur, the couple thinks their new daughter is far from innocent.
Twentieth Century Fox
5. The Rocky Horror Picture Show (1975)
Cast: Richard O'Brien, Tim Curry, Patricia Quinn
Run time: 98 minutes
This cult musical about a couple (Susan Sarandon and Barry Bostwick) forced to rap on the door of a wacky scientist (Tim Curry) after their car breaks down is a must-watch for the soundtrack and costumes alone.
Justina Mintz/Netflix
6. A Babysitter's Guide to Monster Hunting (2020)
Cast: Tamara Smart, Oona Laurence, Ian Ho, Troy Leigh-Anne Johnson
Run time: 98 minutes
A high school student is recruited by a secret society of babysitters, who are battling a Boogeyman slash kidnapper.
Archive Photos / Getty Images
7. Ghostbusters (1984)
Cast: Bill Murray, Casey Kasem, Dan Aykroyd
Run time: 105 minutes
If you loved the 2016 version, you will definitely love the hilarious 1984 classic—starring Bill Murray, Dan Aykroyd and Sigourney Weaver—about a group of professors turned ghost removers.
Archive Photos / Stringer/ Getty Images
8. Edward Scissorhands (1990)
Cast: Johnny Depp, Winona Ryder, Dianne Wiest, Anthony Michael Hall
Run time: 105 minutes
This is a must-watch for anyone who thinks Johnny Depp’s kooky character acting began with Pirates of the Caribbean...
9. It Lives Inside (2023)
Cast: Megan Suri, Neeru Bajwa, Mohana Krishnan, Betty Gabriel
Run time: 99 minutes
From the producers of Get Out comes the 2023 horror flick, It Lives Inside. This tells the story of an Indian-American teenager named Samidha (Suri). After having a big fight with her best friend, she releases a vengeful demon that feeds on her loneliness.
Scott Yamano/NETFLIX
10. Hubie Halloween (2020)
Cast: Adam Sandler, Kevin James, Julie Bowen, Ray Liotta
Run time: 103 minutes
The movie takes place on Halloween night in Salem, Massachusetts. When a man suddenly finds himself in the middle of a real murder investigation, he’s forced to get creative as he tries to convince the police that monsters actually do exist.
Orion Pictures
11. The Addams Family (1991)
Cast: Raul Julia, Anjelica Huston, Christopher Lloyd
Run time: 101 minutes
Anjelica Huston was nominated for an Oscar for her role in this film about a group of con artists who try to pull a fast one on the famously eccentric family.
Columbia Pictures
12. Escape Room (2019)
Cast: Logan Miller, Deborah Woll, Taylor Russell
Run time: 99 minutes
Six strangers are thrown into a deceiving maze. Can they find the exit before time runs out?
Universal Pictures
13. Casper (1995)
Cast: Christina Ricci, Bill Pullman, Cathy Moriarty
Run time: 100 minutes
Christina Ricci is back at it when a friendly ghost falls in love with her. Too bad Casper's also-transparent relatives don’t approve.
14. It's the Great Pumpkin, Charlie Brown (1966)
Cast: Peter Robbins, Christopher Shea, Kathy Steinberg, Bill Melendez
Run time: 96 minutes
More for the family: Linus waits out the arrival of the Great Pumpkin, despite relentless teasing from Lucy, Sally and the rest of the Peanuts gang.
Universal Pictures
15. Get Out (2017)
Cast: Daniel Kaluuya, Allison Williams, Bradley Whitford
Run time: 104 minutes
Chris is finally ready to meet his girlfriend’s parents. They seem overly accommodating at first, but things take a horrifying turn when he discovers the family’s haunting past.
16. Room on the Broom (2012)
Cast: Gillian Anderson, Rob Brydon, Timothy Spall, Martin Clunes
Run time: 30 minutes
Based on Julia Donaldson’s best-selling book, it introduces children to a generous witch, who invites several animals to ride on her broom (despite the large crowd). Oh, and did we mention Room on the Broom is only 27 minutes long, making it the perfect pre-bedtime flick?
Barry King/ Getty Images
17. Corpse Bride (2005)
Cast: Johnny Depp, Helena Bonham Carter, Emily Watson
Run time: 77 minutes
The other animated Halloween movie from Tim Burton, this one is about a shy groom (voiced by Johnny Depp) practicing his wedding vows in front of a dead woman (Helena Bonham Carter) who, confused, assumes she’s now his bride.
Universal Pictures
18. Halloween (1978)
Cast: Donald Pleasence, Jamie Lee Curtis, Tony Moran
Run time: 91 minutes
As the first movie in the Halloween franchise, it introduces viewers to serial killer Michael Myers (Nick Castle) as he terrorizes the innocent residents of Haddonfield, Illinois.
The Disney Channel
19. Halloweentown (1998)
Cast: Debbie Reynolds, Kimberly J. Brown, Joey Zimmerman
Run time: 84 minutes
On her 13th birthday, Marnie (Kimberly J. Brown) learns she’s a witch. Join her as she follows her grandma to Halloweentown, a magical city where warlocks, trolls and zombies reside year-round.
New Line Cinema
20. A Nightmare on Elm Street (1984)
Cast: Heather Langenkamp, John Saxon, Ronee Blakley, Robert Englund
Run time: 91 minutes
Director Wes Craven incited fear with this classic slasher film, which follows Freddy Krueger (Robert Englund) as he stalks teenagers in their dreams.
Universal Pictures
21. Demon Knight (1995)
Cast: Billy Zane, William Sadler, Jada Pinkett Smith
Run time: 92 minutes
An ex-soldier holds the power to unlock a tremendous evil. Although he’s been on the run for 90 years, he’s finally ready to face off against the Collector.
Dimension Films
22. Scream (1996)
Cast: Neve Campbell, David Arquette, Courteney Cox, Matthew Lillard, Rose McGowan, Skeet Ulrich
Run time: 111 minutes
A small town is on edge after someone commits a series of murders while wearing a Ghostface costume. The slightly comical horror scenes make it the perfect introduction to slasher films.
Warner Brothers/Getty Images
23. The Shining (1980)
Cast: Jack Nicholson, Shelley Duvall, Scatman Crothers, Danny Lloyd
Run time: 144 minutes
When a struggling writer becomes a caretaker at an isolated hotel, he uncovers secrets about the property’s dark past. (Creepy children included.)
Lions Gate Home Entertainment
24. The Monster Squad (1987)
Cast: Andre Gower, Robby Kiger, Stephen Macht
Run time: 82 minutes
Five kids are tasked with protecting their small town from the ultimate Halloween foursome: Dracula, the Mummy, the Gill Man and Frankenstein’s Monster.
Michael Gibson
25. Carrie (1976)
Cast: Sissy Spacek, Piper Laurie, Amy Irving, Nancy Allen
Run time: 98 minutes
Based on Stephen King’s namesake horror novel, the movie follows Carrie as she discovers her supernatural powers.
Warner Bros.
26. The Exorcist (1973)
Cast: Ellen Burstyn, Max von Sydow, Lee J. Cobb, Kitty Winn
Run time: 122 minutes
When Regan starts acting bizarre, her parents seek medical attention, only to realize she’s been seized by the devil.
Columbia Pictures
27. Hotel Transylvania (2012)
Cast: Adam Sandler, Andy Samberg, Selena Gomez, Kevin James, Fran Drescher
Run time: 91 minutes
Introducing Hotel Transylvania, a lavish resort run by Count Dracula that serves as a vacation-like escape for monsters.
Continental Distributing
28. Night of the Living Dead (1968)
Cast: Duane Jones, Judith O'Dea, Marilyn Eastman
Run time: 96 minutes
The O.G. zombie movie. It’s filmed in grainy black-and-white, which automatically makes everything 100 times scarier.
Buena Vista Pictures
29. The Haunted Mansion (2003)
Cast: Eddie Murphy, Terence Stamp, Nathaniel Parker, Marsha Thomason,
Run time: 86 minutes
Jim and his family are in for quite the surprise when they visit a scary mansion that’s unknowingly haunted by Master Gracey.
Blue Rider Pictures
30. Night of the Demons (1988)
Cast: Hal Havins, Allison Barron, Alvin Alexis
Run time: 90 minutes
In an attempt to scare their friends, two teenage girls host a Halloween seance in an old funeral parlor. Need we say more?
Paramount Pictures
31. Paranormal Activity (2007)
Cast: Katie Featherston, Micah Sloat
Run time: 85 minutes
Katie (Featherston) and Micah (Sloat) are excited to get settled in their new home. That is, until they discover that they’re not the only residents...
Entertainment One
32. The Babadook (2014)
Cast: Essie Davis, Noah Wiseman, Daniel Henshall
Run time: 96 minutes
A single mom is trying to help her son get over his fear of monsters—that is, until she comes face-to-face with the sinister presence itself.
Columbia Pictures
33. Monster House (2006)
Cast: Steve Buscemi, Nick Cannon, Maggie Gyllenhaal
Run time: 90 minutes
Three kids are convinced that there’s a creature living in the house next door...but no adults will believe them.
Columbia Pictures
34. The Craft (1996)
Cast: Robin Tunney, Fairuza Balk, Neve Campbell
Run time: 100 minutes
When Sarah (Robin Tunney) transfers to a new school, she meets a coven of witches who are keen on taking advantage of her telekenetic powers.
35. Poltergeist (1982)
Cast: JoBeth Williams, Craig T. Nelson, Heather O'Rourke
Run time: 114 minutes
The members of the Freeling family are in for a scare when they learn ghosts can access the house via their television set.
Brian Douglas
36. Haunt (2019)
Cast: Katie Stevens, Will Brittain, Lauryn McClain
Run time: 92 minutes
Join a group of friends as they visit a legendary haunted house. The problem? The spooky tales they’ve been told are no match for the horrors that await them.
Drafthouse Films
37. The Invitation (2015)
Cast: Logan Marshall-Green, Tammy Blanchard, Michiel Huisman
Run time: 96 minutes
When a man attends a dinner party with his girlfriend, he soon learns that his ex-wife is planning revenge against the guests (including himself).
Sony Pictures
38. Boogeyman (2005)
Cast: Barry Watson, Emily Deschanel, Lucy Lawless
Run time: 89 minutes
As a child, Tim (Aaron Murphy) is haunted by the memory of his father being dragged away by the boogeyman. Years later, he’s forced to face his fears as an adult (Barry Watson).
Brooke Palmer/Warner Bros.
39. It (2017)
Cast: Jaeden Lieberher, Bill Skarsgård, Wyatt Oleff
Run time: 134 minutes
A group of friends faces their worst fear when an ancient, shape-shifting clown rises from the sewer to prey on the local children.
Paramount Pictures
40. Sleepy Hollow (1999)
Cast: Johnny Depp, Christina Ricci, Miranda Richardson
Run time: 105 minutes
Based on Washington Irving’s classic tale, it follows Ichabod Crane (Johnny Depp) as he investigates a series of murders in the small village of Sleepy Hollow.
ALPHAVILLE FILMS
41. Pet Sematary (1989)
Cast: Dale Midkiff, Denise Crosby, Fred Gwynne
Run time: 102 minutes
Another Stephen King adaptation. The movie is a modern-day take on the fictional story about a couple who discovers a haunted burial ground near their home.
Warner Bros. Pictures
42. Trick 'r Treat (2007)
Cast: Anna Paquin, Brian Cox, Dylan Baker
Run time: 82 minutes
The lives of several strangers become intertwined on Halloween. Can they extinguish the Jack-o-Lantern before midnight?
43. Day Shift (2022)
Cast: Jamie Foxx, Dave Franco, Natasha Liu Bordizzo
Run time: 113 minutes
While working as a pool cleaner pays the bills, this father's secret job—vampire hunting—may be the only answer to paying for his daughter's tuition before it's too late.
Warner Bros. Pictures
44. The Nun (2018)
Cast: Demián Bichir, Taissa Farmiga, Jonas Bloquet
Run time: 96 minutes
When a nun takes her own life, the case is sent to the Vatican for investigation, where they uncover an unholy secret. Dun dun dun.
William Castle Productions
45. House on Haunted Hill (1999)
Cast: Geoffrey Rush, Famke Janssen, Taye Diggs
Run time: 92 minutes
Stephen Price (Geoffrey Rush) is offering a million dollars to anyone who can stay the night in a former insane asylum. He soon learns the haunted tales are more fact than fiction.
Buena Vista Pictures
46. The Sixth Sense (1999)
Cast: Bruce Willis, Toni Collette, Olivia Williams
Run time: 107 minutes
Cole (Haley Joel Osment) is too scared to tell anyone about his supernatural abilities. That is, until he meets Dr. Malcolm Crowe (Bruce Willis), who uncovers the truth.
Artisan Entertainment
47. The Blair Witch Project (1999)
Cast: Heather Donahue, Joshua Leonard, Michael C. Williams
Run time: 80 minutes
Through archived footage, three film students embark on a wild journey as they search for answers about a local murderer named Blair Witch.
Warner Bros.
48. The Witches (1990)
Cast: Anjelica Huston, Mai Zetterling, Jasen Fisher
Run time: 91 minutes
When Luke (Fisher) accidentally eavesdrops on a convention of witches, he’s forced to flee before they turn him into a test subject.
New Line Cinema
49. The Little Vampire (2000)
Cast: Jonathan Lipnicki, Richard E. Grant, Jim Carter
Run time: 95 minutes
Tony is struggling to make friends at his new school, so he befriends a kid vampire who indirectly teaches him about bravery. (Think of it as the Dracula version of Casper.)
Warner Bros. Pictures
50. Scooby-Doo: The Movie (2002)
Cast: Freddie Prinze, Jr., Sarah Michelle Gellar, Matthew Lillard
Run time: 86 minutes
Meet Mystery Incorporated, a group of four adults (plus one dog) who reunite to investigate a series of incidents at a popular resort.
Universal Pictures
51. The Witch (2015)
Cast: Anya Taylor-Joy, Ralph Ineson, Kate Dickie
Run time: 93 minutes
It’s 1630 in New England. A family encounters a dark force near their home after the youngest son, Samuel, suddenly goes missing.
Universal Pictures
52. Us (2019)
Cast: Lupita Nyong'o, Winston Duke, Elisabeth Moss
Run time: 116 minutes
Adelaide (Lupita Nyong’o) returns to her childhood home with her family only to be greeted by masked strangers who look exactly like them.
Marvista Entertainment
53. Under Wraps (1997)
Cast: Adam Wylie, Mario Yedidia, Clara Bryant, Ken Campbell
Run time: 96 minutes
Three children find themselves in a race against time after they stumble upon a mummy who’s been out of commission for 3,000 years.
Geffen Company
54. Beetlejuice (1988)
Cast: Alec Baldwin, Geena Davis, Michael Keaton
Run time: 92 minutes
Before she was a mom spooked on Stranger Things, Winona Ryder was a teenager spooked by ghosts (Geena Davis and Alec Baldwin) in this comedy about a husband and wife haunting the new owners of their beloved house.
Twentieth Century Fox
55. Buffy the Vampire Slayer (1992)
Cast: Kristy Swanson, Donald Sutherland, Paul Reubens, Rutger Hauer, Luke Perry, Hilary Swank
Run time: 86 minutes
No, not the TV show. This 1992 teen hit is what inspired the TV show. Kristy Swanson plays a flighty teenager who discovers she’s blessed with vampire butt-kicking powers. (Beverly Hills, 90210 heartthrob Luke Perry also stars.)
Warner Bros. Television
56. Double Double Toil and Trouble (1993)
Cast: Mary-Kate Olsen, Ashley Olsen, Cloris Leachman
Run time: 93 minutes
In an attempt to save their family home, the Olsen twins team up to outsmart their evil aunt (Cloris Leachman), who’s after a magic moonstone.
57. The Pumpkin Karver (2006)
Cast: Amy Weber, Minka Kelly, Terrence Evans, Charity Shea
Run time: 90 minutes
After a Halloween prank gone awry, Lynn and Jonathan move to an all-new town for a fresh start. However, they soon find themselves reliving a similar version of that fateful Halloween night.
MICHAEL TACKETT/WARNER BROS. PICTUREs
58. The Conjuring (2013)
Cast: Vera Farmiga, Patrick Wilson, Ron Livingston, Lili Taylor
Run time: 112 minutes
Two paranormal investigators are enlisted to help a family who recently moved into a new house. The problem? It has a supernatural presence. Cue the nightmares.
Paramount Pictures
59. Rosemary's Baby (1968)
Cast: Mia Farrow, John Cassavetes, Ruth Gordon
Run time: 136 minutes
A young couple is desperate to conceive a baby. When they finally do, the young mother suspects an evil cult is plotting to steal the newborn.
Columbia Pictures
61. Goosebumps (2015)
Cast: Jack Black, Dylan Minnette, Amy Ryan, Ryan Lee
Run time: 103 minutes
Zach Cooper (Dylan Minnette) is thrilled when he learns that his neighbor’s dad is a renowned sci-fi author. Things take a dramatic turn when he accidentally unleashes the franchise’s fictional monsters.
Sunset Boulevard / Contributor/ Getty Images
63. The Nightmare Before Christmas (1993)
Cast: Danny Elfman, Chris Sarandon, Catherine O'Hara, William Hickey, Ken Page
Run time: 76 minutes
It’s one of Tim Burton’s best: When Jack Skellington, the king of Halloween Town, gets bored scaring people every year, he moves on to Christmas Town—and his plan goes awry.
Focus Features
65. Coraline (2009)
Cast: Dakota Fanning, Teri Hatcher, Jennifer Saunders
Run time: 101 minutes
A family flick that follows a young girl named Coraline (voiced by Dakota Fanning), who ventures into an alternate world after discovering a secret door.
Stanley Bielecki Movie Collection/ Getty Images
66. Young Frankenstein (1974)
Cast: Gene Wilder, Madeline Kahn, Marty Feldman, Peter Boyle, Cloris Leachman
Run time: 106 minutes
In Mel Brooks’s masterpiece, Dr. Frankenstein (Gene Wilder) inherits his grandfather’s estate in Transylvania and resumes his monster-making experiments with the help of servants Igor (Marty Feldman), Inga (Teri Garr) and Frau Blücher (Cloris Leachman).
67. Tales of Halloween (2015)
Cast: Neil Marshall, Darren Lynn Bousman, Axelle Carolyn, Lucky McKee, Andrew Kasch, Paul Solet
Run time: 92 minutes
It features ten short stories about ghosts, ghouls and monsters. While it’s an anthology film, each tale revolves around the spooky holiday, so grab the popcorn candy bag.
68. Scary Stories to Tell in the Dark (2019)
Cast: Zoe Colletti, Michael Garza, Gabriel Rush, Austin Zajur
Run time: 96 minutes
Young Stella (Zoe Colletti) loves telling scary stories about her spooky home—that is, until they become all too real for her small hometown.
Murray Close / Contributor/ Getty Images
69. Little Shop of Horrors (1986)
Cast: Rick Moranis, Ellen Greene, Vincent Gardenia
Run time: 93 minutes
Rick Moranis plays Seymour, a flower-shop assistant pining away for his coworker Audrey (Ellen Greene), who happens to have a boyfriend (Steve Martin). But when he discovers a plant that prefers to feed on human flesh and blood—boom, problem solved.
70. Children of the Corn (1984)
Cast: Peter Horton, Linda Hamilton, John Franklin, Courtney Gains
Run time: 92 minutes
Based on Stephen King’s namesake story, the movie examines a gory ritual in which the town’s children murder all the adults. *Grabs nightlight*
Archive Photos / Stringer/ Getty Images
71. Ernest Scared Stupid (1991)
Cast: Jim Varney, Eartha Kitt, Shay Astar
Run time: 96 minutes
Seriously, the ’90s knew how to do Halloween. In this silly take on the holiday, Ernest accidentally unleashes an army of trolls on a small town on October 31. And to be honest, it holds up.
72. Teen Witch (1989)
Cast: Robyn Lively, Zelda Rubinstein, Dan Gauthier
Run time: 93 minutes
When a high schooler named Louise (Robyn Lively) suddenly discovers her magical abilities, she uses them to achieve her life-long dream of being popular. *Cue the coming-of-age story*
Universal Pictures
73. Truth or Dare (2018)
Cast: Lucy Hale, Tyler Posey, Violett Beane
Run time: 100 minutes
It’s the childhood game we all know and love. But this time, it triggers an evil demon that forces a group of friends to confront their biggest fears.
74. Candyman (2021)
Cast: Yahya Abdul-Mateen II, Teyonah Parris, Nathan Stewart-Jarrett
Run time: 91 minutes
In this sequel to the 1992 classic, a young artist gets more than he bargained for after exploring the history of the infamous Candyman. We promise, you won't look at mirrors the same way again.
75. His House (2020)
Cast: Wunmi Mosaku, Sope Dirisu, Matt Smith
Run time: 93 minutes
Two refugees escape their war-torn country and seek asylum in England—but the place where they end up turns out to be even more terrifying than the place they left...
Warner Bros. Television
76. It: Chapter 2 (2019)
Cast: Jessica Chastain, James McAvoy, Bill Hader, Isaiah Mustafa
Run time: 169 minutes
It’s been 27 years since the first Pennywise encounter. Watch The Losers Club reunite in this terrifying sequel.
77. A Quiet Place (2018)
Cast: Emily Blunt John Krasinski
Run time: 90 minutes
In a post-apocalyptic world, a family of four is forced to live in silence while hiding from monsters/aliens who track their prey by sound.
ABC Family
78. The Hollow (2004)
Cast: Kevin Zegers, Kaley Cuoco, Nick Carter, Stacy Keach
Run time: 83 minutes
Inspired by Washington Irving's The Legend of Sleepy Hollow, this film follows Ian, a teenager who learns that he's a descendant of Ichabod Crane. His presence leads to the return of the Headless Horseman, but will he and his friends succeed at taking him down?
Vertical Entertainment
79. Polaroid (2019)
Cast: Kathryn Prescott, Mitch Pileggi, Grace Zabriskie
Run time: 88 minutes
A teenager named Bird gets her hands on a seemingly harmless vintage Polaroid camera. But when she learns that it hold a mysterious, deadly curse, she must find a way to put an end to it.
Dimension Films
80. Scream 2 (1997)
Cast: David Arquette, Neve Campbell, Courteney Cox
Run time: 120 minutes
Set two years after the events of the first film, Scream 2 follows Sydney and Gale as they relive the same nightmare. Once again, a masked killer resurfaces and goes on a killing spree, but can Sydney and the gang stop him?
Paramount Pictures
81. Friday the 13th (1980)
Cast: Betsy Palmer, Adrienne King, Harry Crosby, Laurie Bartram
Run time: 95 minutes
Starring Betsy Palmer, Kevin Bacon and Adrienne King, this infamous ’80s slasher film centers around a group of camp counselors who are being stalked by a mysterious killer.
Disney Channel
82. Twitches (2005)
Cast: Tia Mowry, Tamera Mowry, Kristen Wilson, Patrick Fabian
Run time: 87 minutes
When twin sisters Alex and Camryn are reunited on their 21st birthday, they use their magical powers to defeat the forces of darkness.
Columbia Pictures Industries Inc
83. Zombieland (2009)
Cast: Jessie Eisenberg, Woody Harrelson, Emma Stone, Abigail Breslin
Run time: 87 minutes
A thriller comedy film bringing four strangers together to survive a post-apocalyptic world. They venture on a road trip across the U.S. while fighting against their biggest threat—zombies.
84. Cam (2018)
Cast: Madeline Brewer, Patch Darragh, Melora Walters, Devin Druid
Run time: 95 minutes
Daniel Goldhaber's directional debut stars Brewer as Alice Ackerman, a cam girl who discovers that her account has been hacked and taken over by a lookalike. Determined to reclaim her identity, Alice embarks on a mission to find the culprit.
85. Gerald's Game (2017)
Cast: Carla Gugino, Bruce Greenwood, Carel Struycken, Henry Thomas
Run time: 103 minutes
A married couple's romantic getaway to an isolated home goes horribly wrong when they get into an argument and the husband suddenly dies of a heart attack...while the wife is handcuffed to the bed. Now trapped with nowhere to go, she must figure out how to survive while dealing with terrifying hallucinations.
86. Five Nights at Freddy’s (2023)
Cast: Josh Hutcherson, Matthew Lillard, Elizabeth Lail
Run time: 110 minutes
Based on the popular horror game, Five Nights at Freddy’s follows a troubled security guard (Hutcherson) who starts working the night shift at Freddy Fazbear's Pizzeria. While working in the pizza joint, he soon realizes there is a dark presence lurking within the walls.
87. The Nun 2 (2023)
Cast: Taissa Farmiga, Storm Reid, Bonnie Aarons, Anna Popplewell
Run time: 110 minutes
In this terrifying sequel, Sister Irene (Farmiga) returns to investigate a string of murders that has occurred all across Europe. Is the demonic nun back from the dead? The Nun 2 is playing in theaters everywhere.
88. Talk to Me (2022)
Cast: Sophie Wilde, Alexandra Jensen, Joe Bird, Otis Dhanji
Run time: 94 minutes
When a group of high schoolers come into possession of an embalmed hand that allows them to talk to dead spirits, they begin using the item as a party trick. However, things go badly when Mia (Wilde) takes it too far.
89. No One Will Save You (2023)
Cast: Kaitlyn Dever, Zack Duhame, Lauren Murray, Geraldine Singer
Run time: 93 minutes
Brynn (Dever) is an isolated seamstress mourning the loss of her mother and her best friend. One day, a humanoid alien invades her home and she accidentally kills it, sending her down a terrifying path that will make her face her past.
90. The Curse of Bridge Hollow (2022)
Cast: Marlon Wayans, Priah Ferguson, Kelly Rowland
Run time: 91 minutes
Shortly after moving to a new house, a teenage girl accidentally summons an ancient spirit on Halloween. In order to save the town, she teams up with her father to stop the curse once and for all.
91. Disco Inferno (2023)
Cast: Soni Bringas, Stephen Ruffin, Helene Udy
Run time: 18 minutes
The short film takes place during the summer of ’73 and follows two expectant parents who are excited for a carefree night at the disco. When they realize that an evil demon is trying to steal their unborn child, they must escape to save themselves.
92. Pet Sematary: Bloodlines (2023)
Cast: Jackson White, Natalie Alyn Lind, Forrest Goodluck
Run time: 87 minutes
The film is based on an untold chapter from Stephen King’s Pet Sematary, and it serves as a prequel to the 2019 film. The story focuses on a young boy who discovers sinister secrets about his family.
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[
"Marshall Shaffer"
] |
2022-03-24T19:45:07+00:00
|
Check out our list of the best movies on Paramount Plus right now in 2024 to help you decide what to watch.
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en
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Decider
|
https://decider.com/list/best-movies-on-paramount-plus/
|
Paramount+ may have been one of the last major streaming services to market, but that certainly doesn’t mean you should consider them last on your list of streaming subscriptions. In addition to bringing the best of CBS, Comedy Central, BET, and Nickelodeon, Paramount+ boasts a robust library of movies fit for a great night in. The bulk of the options comes from the legendary Hollywood studio indicated in the name, but the platform also contains many great indie and mainstream options alike available through licensing.
So whether there’s no new episode of a Taylor Sheridan show ready for viewing or you’ve burned through all 19 seasons of NCIS available to stream (no judgment if so!), Paramount+ has a movie for your mood. Dig into legendary franchises like Star Trek or Mission: Impossible. Catch up on blockbusters like A Quiet Place and Top Gun: Maverick. Discover a classic comedy like Beverly Hills Cop and Heaven Can Wait. Here are 50 such options for you on Paramount+, updated for July 2024.
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Paramount Pictures
|
[] |
[] |
[] |
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"Movie Studio Jobs",
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"Transformers Trailer",
"Quiet Place Trailer",
"Bumblebee Trailer",
"2019 movie trailers"
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[
"Tom Cruise as Maverick"
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en
|
favicon.ico?v=2
|
Paramount Pictures
| null |
TRANSFORMERS ONE is the untold origin story of Optimus Prime and Megatron, better known as sworn enemies, but once were friends bonded like brothers who changed the fate of Cybertron forever. In the first-ever fully CG-animated Transformers movie, TRANSFORMERS ONE features a star-studded voice cast, including Chris Hemsworth, Brian Tyree Henry, Scarlett Johansson, Keegan-Michael Key, Steve Buscemi, with Laurence Fishburne, and Jon Hamm.
About to embark on a new world tour, global pop sensation Skye Riley (Naomi Scott) begins experiencing increasingly terrifying and inexplicable events. Overwhelmed by the escalating horrors and the pressures of fame, Skye is forced to face her dark past to regain control of her life before it spirals out of control.
From legendary director Ridley Scott, Gladiator II continues the epic saga of power, intrigue, and vengeance set in Ancient Rome. Years after witnessing the death of the revered hero Maximus at the hands of his uncle, Lucius (Paul Mescal) is forced to enter the Colosseum after his home is conquered by the tyrannical Emperors who now lead Rome with an iron fist. With rage in his heart and the future of the Empire at stake, Lucius must look to his past to find strength and honor to return the glory of Rome to its people.
Eleven-year-old history buff Kevin’s mundane life takes a thrilling turn when he unexpectedly joins a group of time-traveling thieves. With a Map stolen from the egotistical and vengeful Supreme Being himself, they are plunged into a dangerous adventure across time and space, from Ancient Troy to the Ice Age and beyond. Kevin and The Bandits face excitement and peril at every turn as they navigate through history, fight for survival, unravel mysteries and seek inter-dimensional fortune and glory.
The Grace family moves from Brooklyn, New York to their ancestral home in Henson, Michigan, the Spiderwick Estate. Helen makes the move with her 15-year-old fraternal twin boys, Jared and Simon, and her older daughter, Mallory. Shortly after moving to the Spiderwick Estate Jared discovers a boggart and realizes that magical creatures are real! The only one to believe him is his great-aunt Lucinda who implores Jared to find the pages of her father’s field guide to magical creatures and protect them from the murderous Ogre, Mulgarath.
Jack Reacher, a veteran military police investigator, is pulled from his vagabond life by a coded message informing him that a member of the 110th – his elite group of Army Special Investigators – has been murdered. He and some of his former military cohorts reunite to investigate and soon realize the case is bigger than they ever could have imagined. Reacher Season 3 Coming Soon.
From writer and director John Krasinski, IF is about a girl who discovers that she can see everyone’s imaginary friends — and what she does with that superpower — as she embarks on a magical adventure to reconnect forgotten IFs with their kids. IF stars Ryan Reynolds, John Krasinski, Cailey Fleming, Fiona Shaw, and the voices of Phoebe Waller-Bridge, Louis Gossett Jr., and Steve Carell alongside many more as the wonderfully unique characters that reflect the incredible power of a child’s imagination.
BOB MARLEY: ONE LOVE celebrates the life and music of an icon who inspired generations through his message of love and unity. On the big screen for the first time, discover Bob’s powerful story of overcoming adversity and the journey behind his revolutionary music. Produced in partnership with the Marley family and starring Kingsley Ben-Adir as the legendary musician and Lashana Lynch as his wife Rita.
From the comedic mind of Tina Fey comes a new twist on the modern classic, MEAN GIRLS. New student Cady Heron (Angourie Rice) is welcomed into the top of the social food chain by the elite group of popular girls called “The Plastics,” ruled by the conniving queen bee Regina George (Reneé Rapp) and her minions Gretchen (Bebe Wood) and Karen (Avantika). However, when Cady makes the major misstep of falling for Regina’s ex-boyfriend Aaron Samuels (Christopher Briney), she finds herself prey in Regina’s crosshairs. As Cady sets to take down the group’s apex predator with the help of her outcast friends Janis (Auli’i Cravalho) and Damian (Jaquel Spivey), she must learn how to stay true to herself while navigating the most cutthroat jungle of all: high school.
When a magical meteor crash lands in Adventure City, it gives the PAW Patrol pups superpowers, transforming them into The MIGHTY PUPS! For Skye, the smallest member of the team, her new powers are a dream come true. But things take a turn for the worse when the pups\' arch-rival Humdinger breaks out of jail and teams up with a mad scientist to steal the superpowers for the two villains. With the fate of Adventure City hanging in the balance, the Mighty Pups have to stop the supervillains before it\'s too late, and Skye will need to learn that even the smallest pup can make the biggest difference.
After years of being sheltered from the human world, the Turtle brothers set out to win the hearts of New Yorkers and be accepted as normal teenagers through heroic acts. Their new friend April O’Neil helps them take on a mysterious crime syndicate, but they soon get in over their heads when an army of mutants is unleashed upon them.
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The 10 most successful film productions by Paramount Pictures
|
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[
"Swapnil Dhruv Bose"
] |
2021-05-08T15:00:15+01:00
|
Including films by directors like Steven Spielberg, Michael Bay and James Cameron, these are the 10 most successful film productions by Paramount Pictures.
|
/favicon.ico
|
Far Out Magazine
|
https://faroutmagazine.co.uk/paramount-pictures-10-most-successful-films/
|
Paramount Pictures has enjoyed a stellar reputation in the film industry due to its status as one of the oldest film studios in the world. Founded way back in 1912, the studio was built on the premise that cinema belongs to the working-class. Over the years, it has produced masterpieces like Alfred Hitchcock’s Psycho and Roman Polanski’s Rosemary’s Baby among many others.
“It’s an incredibly storied institution and one of the oldest studios. Some of the best movies ever made were made here. The chance to revive it is an exciting one,” said Paramount’s CEO Jim Gianopulos. “It’s surprising it got so bumpy here for a couple of years because all the elements are in place. There are only six companies that comprise all the elements of a major studio, and this is one of them. You want to see it achieve its full potential. There’s no reason why it shouldn’t be more successful than it’s been recently.”
He added, “We have people, money, resources, global distribution and the reach of almost four billion people that Viacom touches around the world. If you can’t make that work, something’s not right. There is a great executive team here and a lot of very talented and dedicated people who want to win and who, despite disappointments at the box office, have a great sense of purpose, direction and talent.”
On the 109th anniversary of its conception, we take a look at 10 of the most successful Paramount Pictures releases of all time in order to understand its impact on popular culture.
The 10 most successful Paramount Pictures movies:
10. Transformers (Michael Bay – 2007)
Michael Bay’s Transformers is a well-known work in the sci-fi genre due to its popularity in the mainstream consciousness. It features a massive war between two extraterrestrial factions as they fight to gain control of the AllSpark. The film grossed $709,709,780 worldwide.
Bay said, “I make my own movie, I don’t have someone tell me what to do. I’ve always been inspired by Steven. I was not a Transformers fan before I signed on to this movie. I think I was two years older when the toys came out, so I just discovered girls then instead of Optimus Prime. But I quickly became after I went to Hasbro, where you heard about that Transformers school?
“I really thought, ‘What the fuck am I going to Hasbro for Transformers school? I thought I was going to learn how to fold up robots, but I met with the CEO and I went through the whole Transformer lore. I’ve been offered a lot of superhero movies before and nothing’s really appealed to me and in the room, because I’ve been such a fan of Japanese Anime it just hit me that if I make this really real it could be something very new and different.”
9. Madagascar 3: Europe’s Most Wanted (Tom McGrath, Eric Darnell, Conrad Vernon – 2012)
The third film in the immensely popular Madagascar series, the beloved animated work features the cohort of zoo animals who end up in Europe while trying to get back to New York. Even though it was probably not the best film in the franchise, it was definitely the most successful one from a commercial perspective.
Madagascar 3: Europe’s Most Wanted grossed $746,921,274 worldwide and became the eighth-highest grossing film from 2012. The film also received several prestigious nominations including one for Best Animated Feature at the Critics’ Choice Movie Awards.
8. Shrek Forever After (Mike Mitchell – 2010)
The fourth instalment in the iconic Shrek franchise, Mike Mitchell’s 2010 animated film portrays the titular character in a domesticated existence. In order to get out of his predicament, Shrek signs a sinister contract with Rumpelstiltskin. Shrek Forever After became the fifth-highest grossing film of the year and made $752,600,867 worldwide.
While making the film, the primary question that Mitchell grappled with was: “How do we give the audience what they know and love, but at the same time give it a fresh take, make it more beautiful?” He explained, “We’ve taken on the bittersweet challenge of wrapping up the story of Shrek. We know fans would want to see how it ends.”
7. Indiana Jones and the Kingdom of the Crystal Skull (Steven Spielberg – 2008)
Many fans of the Indiana Jones series consider Kingdom of the Crystal Skull to be the worst addition to its legacy. It features an ageing Jones (played by Harrison Ford) in the search for ancient civilisations and a mysterious crystal skull. Kingdom of the Crystal Skull ended up making $786,636,033 on a global scale.
“I’m very happy with the movie. I always have been,” the director admitted. “I sympathise with people who didn’t like the MacGuffin because I never liked the MacGuffin. George [Lucas] and I had big arguments about the MacGuffin. I didn’t want these things to be either aliens or inter-dimensional beings. But I am loyal to my best friend.
“When he writes a story he believes in – even if I don’t believe in it – I’m going to shoot the movie the way George envisaged it. I’ll add my own touches, I’ll bring my own cast in, I’ll shoot the way I want to shoot it, but I will always defer to George as the storyteller of the Indy series. I will never fight him on that.”
6. Mission: Impossible – Fallout (Christopher McQuarrie – 2018)
Starring Tom Cruise as the famous Ethan Hunt, this 2018 spy thriller presents a hunt for plutonium as terrorists threaten to blow three cities. The wildly successful film made $220.2 million in North America alone and ended up with a total gross of $791.1 million worldwide.
“Mission is always a little bit of an underdog. This franchise doesn’t have the wind under its wings that something like Bond does. We always feel like we have something to prove. We never take that success for granted,” the director said. “There are a lot of franchises that are always looking to top themselves or take their movies to the next level but the secret to our success is we aren’t trying to top ourselves.”
5. Shrek the Third (Chris Miller – 2007)
Chris Miller’s 2007 animated film has to be one of the most commercially successful directorial debuts of all time. The third addition to the Shrek series, this version reveals Shrek’s doubts as he is hesitant to take the reigns of the kingdom as a ruler. The film grossed $813,367,380 worldwide.
“The way we look at the series is just sort of as a continuous story,” Miller elaborated. “We didn’t want to just sort of title it like it was just a sequel. [We wanted] something to make it stand on its own, give it its own personality and really try to treat it as a chapter in Shrek’s life. I quite like the name, because there were other iterations of it that just felt like the title for any sequel.”
4. Transformers: Revenge of the Fallen (Michael Bay – 2009)
Starring Shia LaBeouf as Sam Witwicky, Revenge of the Fallen continues the story of its predecessor two years after the events of the first film. Bay faced a lot of problems during this particular production, especially his team going on strike. However, Revenge of the Fallen became a commercial success and earned $836,303,693 at the worldwide Box Office.
Bay said: “On the second movie we got burned. We had a writers strike, we had to agree on a story in three weeks, and then we knew they were going on strike. It was a fucked scenario all the way around, it wasn’t fair to the writer, it wasn’t fair to me, it wasn’t fair to anybody. It was still an entertaining movie, but I think we failed on certain aspects.”
3. Transformers: Age of Extinction (Michael Bay – 2014)
Michael Bay’s Transformers series is undoubtedly one of the highest-grossing film franchises. Age of Extinction is just another example of the influence of Transformers on popular culture, even though the film was poorly received by critics and considered to be sub-par. Age of Extinction made $1,104,054,072 worldwide.
While talking about the series, Michal Bay commented: “Movie franchises have to grow up a little bit. You start off kind of like fun, trying to figure out what it was, you know what I’m saying? That kind of setup. But I like it a little bit more grounded. Still fun, but grounded.”
2. Transformers: Dark of the Moon (Michael Bay – 2011)
The most financially successful instalment in the Transformers series, Dark of the Moon continues the war between the Autobots and Decepticons as they engage in a massive power struggle. The film earned Oscar bids for Best Visual Effects and Best Sound Editing among others. Dark of the Moon ended up with a worldwide gross of $1.12 billion.
“We tried to learn from the second movie,” the filmmaker admitted. “What we did with this movie is I think we have a much better script, and we got back to basics. I think there’s some really cool action on this movie, there’s some very cool conspiracy, there’s great robot stuff in this that people were missing in the second one, you’ve got great robot conflict.”
1. Titanic (James Cameron – 1997)
It’s extremely impressive that Titanic has retained its status as the highest-grossing Paramount production both in North America as well as worldwide even after all these years. James Cameron’s famous romantic drama sits at the top of the list with a monumental worldwide gross of $2.18 billion.
Cameron reflected, “I had dark hours on Titanic as dire as Piranha II. We missed the iceberg by that much. But I’m at my best when I’m neck-deep in ice water trying to work out how we’re going to keep the lights turned on when the water hits the bulbs.”
Adding, “Titanic was conceived as a love story. If I could have done it without one effect, I would’ve been happy. It was definitely a goal to integrate a very personal, emotional style with spectacle – and try to make that not be chocolate syrup on a cheeseburger, you know. The cathartic experience is what made the film work.”
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en
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THE STUDIO ERA
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The Majors ("big five" and "little three"): between 1930 and 1948, the 8 majors controlled 95% of films exhibited in US: a true oligopoly
Big Five
1. Metro-Goldwyn-Mayer
established in 1924, by merger of Loew's, Inc. theater chain with three production companies (Metro Pictures/Goldwyn Pictures/Louis B. Mayer Productions)
leader in stars, glamour, spectacle: consider Gone with the Wind and Wizard of Oz, both 1939
high pre-production investment (i.e., numerous writers and editors), and Irving Thalberg's tight rein on production through 1936
a "galaxy of stars": Joan Crawford, Greta Garbo, Judy Garland, Greer Garson, Jean Harlow, Norma Shearer; Mickey Rooney, Spencer Tracey, Clark Gable
effects of Depression: $15m profit in 1930, $4.3m in 1933. Never lost money.
purchased by Kirk Kerkorian, 1969; later MGM-UA; then briefly belonged to Turner, who kept the pre-1986 film library when he sold it back (hence Turner Classic Movies, which also owns UA and pre-1950 Warners films); owned by French bank Credit Lyonnias 1991-92;back to Kerkorian; Sony in 2004; bankruptcy in 2010; now part of MGM Holdings Inc.
2. Paramount Picture Corp
established as a distribution company in 1914, it was acquired by Adolph Zukor in 1917, who merged it with his production company, Famous Players-Lasky Corp., and then started buying theatres, making it the first fully vertically-integrated company
silent era stars: Mary Pickford, Douglas Fairbanks, Gloria Swanson, William S. Hart, Fatty Arbuckle
directors: Cecil B. DeMille, Erich von Stroheim, Mack Sennet, D.W. Griffith, Dorothy Arzner (from 1927--one of few women directors in era)
comedy, light entertainment, occasional epics (like DeMille's Ten Commandments)
later stars: Mae West, Marlene Dietrich, Hedy Lamarr, Barbara Stanwyck, Marx Bros., Bing Crosby, Bob Hope
produced 40-50 films annually in studio heyday
effects of Depression: $18.4m profit in 1930, $6.3m in 1931, -$21m in 1932: receivership in 1933, bankruptcy in 1935
heavily involved in television in 1960s
sold off 1929-49 films to MCA in 1958; acquired by Gulf and Western, 1966; acquired by Viacom in 1990s; now part of Viacom/CBS
3. Fox Film Corporation/20th Century Fox
established for exhibition in 1913 by William Fox; producing fims by 1915.
"20th C" after 1935 merger with production company headed in part by Darryl F. Zanuck, former Warners production head who had just left United Artists
known for musicals; westerns and crime films after 1948; The Robe (1953), 1st Cinemascope feature film
directors: John Ford, Elia Kazan, Joseph Mankiewicz
stars: Shirley Temple, Will Rodgers, Tyrone Power, Betty Grable, Carmen Miranda, Sonja Henie; in 1940s/50s Henry Fonda, Marlon Brando, Marilyn Monroe, Jane Russell, Gregory Peck
effects of Depression: $10m profit in 1930, -$4m in 1931, -$7m in 1932; founder Fox forced out in 1931.
owned by Rupert Murdoch/News Corp since 1985
4. Warner Brothers established in 1924 by Harry, Jack and Albert Warner
1st sound film: The Jazz Singer (1927)
fully integrated only by 1928-30, with acquisition of First National Pictures theatre chain (which had come into being in 1917 to resist Adolph Zukor)
effects of Depression: $14.5m profit in 1929, $7m in 1930, -$8m in 1931; thanks to bloodletting and assembly-line, rationalized, low-budget productions WB did not go bankrupt or become beholden to Wall Street
60 films per year in depression, 1930s: gangster films, backstage musicals, social realism
no "stable" but contact directors and stars: Raoul Walsh, Howard Hawks; Paul Muni, Humphrey Bogart, James Cagney, Edward G. Robinson, Errol Flynn, James Dean, Bette Davis, Ingrid Bergman, Joan Crawford, Barbara Stanwyck, Lauren Bacall
also heavily into TV in 1960s; later Warner-Seven Arts, then Warner Communications, now part of Time-Warner
5. RKO Radio Pictures Incorporated
an immediate major, born of the 1928 merger of Radio Corporation of America with Keith and Orpheum theatres to exploit its "Photophone" movie sound system
"unit production" introduced by David O. Selznick (contracting with individual directors for a certain number of films, free of studio interference)
hence Citizen Kane (Welles), King Kong, Bringing Up Baby (Hawks), Notorious (Hitchcock)
associated with horror films and film noir in its B-movies; after 1940-42, B-movies became the chief product
effects of Depression: $3.4m profit in 1930, -$5.7m in 1931; forced into receivership
bought by Howard Hughes (1948), then General Tyre and Rubber Company (1955) then Desilu Productions (1957), which was later acquired by Gulf & Western, which merged it with Paramount, now owned by Viacom
Little Three
1. Universal Pictures
formed 1912 by Carl Laemmle Sr.
production facility in Universal City in San Fernando Valley, not Hollywood, 1915
Irving Thalberg among first chiefs of production (before joining MGM)
stars: Rudolph Valentino, Lon Chaney; later, after mid-40s reorganization, attracted James Stewart, Charlton Heston, Orson Welles, Marlene Deitrich, Janet Leigh by offering percentages of profits in contracts
Frankenstein, Dracula (both 1931), All Quiet on the Western Front (1930, 1st sound movie on WWI)
after 1948, thrillers, melodramas, westerns
effects of Depression: lost its theatres; Laemmle forced out in 1936 after the studio went into receivership
blockbusters : Jaws (1975), E.T. (1982), Jurassic Park (1993), all directed by Spielberg
taken over by Decca Records, 1952; part of MCA after 1962; bought by Matsushita in 1990 for $6.6 billion; sold to Seagram (1995); sold to Vivendi (France, 2000); sold to GE/NBC, 2004; now part of NBC Universal
2. United Artists (est. 1919)
breakaway company founded by Mary Pickford, Douglas Fairbanks, Charlie Chaplin, D.W. Griffith, distributing their films (most successful with Chaplin's)
only Chaplin still producing in 1930s; UA turned to distributing features of independent producers like Samuel Goldwyn and David O. Selznick
only a major after 1948 Paramount case: High Noon (1951), Marty (1955), 1960s James Bond films; three Oscars in a row in 1975-77 (One Flew Over the Cuckoo's Nest; Rocky; Annie Hall)
effects of Depression: lost money in 1932, but largely OK after that
overextended in late 1970s; part of Transamerica since 1967, sold to MGM in 1981(along with pre-1950 Warner film library)
3. Columbia (1924)
1930, produced and sold B-movies to "big five"
1932, Harry Cohn, one of the original founders, becomes president, with a tight rein
1934, It Happened One Night's great success led it to experiment with "A" pictures too; often these were adaptations of novels and stage plays
no stable, but associations with Frank Capra, Rita Hayworth; after 1948 William Holden, Broderick Crawford, Judy Holliday
effects of Depression: survived OK in part because it owned no theatres
first to get into television (Screen Gems, 1950--Dragnet); also backed foreign productions, e.g., Lawrence of Arabia, 1962)
sold studios, 1972; bought by Coca-Cola, 1982; bought by Sony, 1989
"Poverty Row" studios
1. Essanay (1907)
bought by Vitagraph, 1917, and then Warners, 1927
westerns (incl. 360 Bronco Billy films)
comedies--Chaplin, Keystone Cops in 'teens
2. Monogram Pictures (1930)/Allied Artists Picture Corp.(after 1953)
Charlie Chan series (40+!)
filed for bankruptcy, 1980
3. Republic Pictures (1935)
fast production practices
westerns: John Wayne, Gene Autry, Roy Rogers
decline of Bs doomed it in 1950s; folded in 1958
The Quiet Man (1952, won Oscar); Johnny Guitar (1954)
Theater Seating Capacity, 1945 Weekly Theater Attendance, 1925-1990 Schatzs Rules for Conglomerate-era Blockbusters
US Movie Theaters, 1925-2000 Theaters by Population, 1945Highest-Grossing Animated Films
Features Released by the Majors, 1925-1985 Production costs, 1920-1990 The Economist on Hollywood, 2013
The Unit Production SystemClearance and ZoningNetflix Conquers the World
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par·a·mount / ˈparəˌmount/ • adj. more important than anything else; supreme: /the interests of the child are of paramount importance./ ∎ having supreme power: /a paramount chief./ DERIVATIVES: par·a·mount·cy / -sē/ n. par·a·mount·ly adv.
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Paramount
PARAMOUNT AND THE EMERGENCE OF THE HOLLYWOOD STUDIO SYSTEM
THE WAR BOOM, THE PARAMOUNT DECREE, AND THE EARLY TELEVISION ERA
PARAMOUNT IN THE NEW HOLLYWOOD: BLOCKBUSTER FRANCHISES AND GLOBAL CONGLOMERATES
FURTHER READING
Paramount Pictures stands as the consummate Hollywood studio, a veritable paradigm for the industry at each stage of its development, from its founding in the early twentieth century as an integrated production-distribution company to its twenty-first century status as a key subdivision within Viacom's vast global media empire. During the classical Hollywood era, Paramount built the world's largest theater chain to become the dominant vertically integrated studio, while cultivating stables of contract talent and an amalgam of trademark star-genre formulas rivaled only by Metro-Goldwyn-Mayer (MGM). The studio's dominance was so pronounced, in fact, that it was the prime target of the US Justice Department's antitrust campaign—the epochal "Paramount case," which resulted in the postwar disintegration of the studio system and the end of Hollywood's classical studio era. Paramount struggled through the postwar era and was the first studio to succumb to the conglomerate wave of the late 1960s, when it was bought by Gulf + Western. This marked a shift in Paramount's focus toward television series production, although its film division soon regained its footing with a succession of huge hits like Love Story (1970) and The Godfather (1972).
Paramount eventually returned to movie industry prominence on the combined strength of successful film franchises—the Star Trek, Indiana Jones, and Beverly Hills Cop films, for example—along with a steady output of hit TV series. These have been the dominant elements of the studio's "house style" in the New Hollywood era, which also has seen Paramount undergo significant—and symptomatic—structural changes. During the 1980s, Gulf + Western steadily siphoned off its non-media holdings and transformed itself into Paramount Communications. Then, in the 1990s, as Hollywood underwent a second epochal conglomerate wave, Paramount was acquired by the global media giant Viacom. Any semblance of a distinct house style steadily faded after the Viacom purchase, as Paramount became simply one of many media divisions in a media empire that included Blockbuster, MTV, Showtime, Simon & Schuster, and eventually (crucially) CBS—along with literally scores of other media and entertainment units. Paramount Pictures remains a key holding and vitally important "brand" within the Viacom empire, of course, although the Paramount of the new millennium is a far cry from the film conglomerate cobbled together by Adolph Zukor (1873–1976) nearly a century earlier.
PARAMOUNT AND THE EMERGENCE OF THE HOLLYWOOD STUDIO SYSTEM
Paramount Pictures was created in 1916 through the merger of two prominent film production companies, the Famous Players Film Company and the Jesse L. Lasky Feature Play Company, and a nationwide film distributor, Paramount. Famous Players was created in 1912 by Adolph Zukor, a Hungarian immigrant who started in the penny arcade and nickelodeon business in New York in the early 1900s. Based in New York City, Famous Players enjoyed early success producing and distributing multi-reel ("feature-length") films and developing a star-driven market strategy, and soon the fledgling company was competing with the likes of Fox and Universal. Meanwhile, three young filmmaking entrepreneurs, Jesse Lasky (1880–1958), Samuel Goldfish (1882–1974) (later Goldwyn), and Cecil B. DeMille (1881–1959), launched a production company in Hollywood in 1913 and scored a major hit in 1914 with their first feature production, The Squaw Man. That same year, as the movies were rapidly becoming a major entertainment enterprise, W. W. Hodkinson (1881–1971) formed a nationwide distribution company, Paramount Pictures, to release the films produced by Famous Players, Lasky, and others.
JOSEF VON STERNBERG
b. Jonas Sternberg, Vienna, Austria, 29 May 1894, d. 22 December 1969
Born in Vienna, raised and educated in both Austria and the United States, Josef von Sternberg was one of several contract directors who brought a distinctly European inflection to Paramount's house style. In Sternberg's case the accent was notably Germanic. He fashioned a unique Hollywood expressionism, with its play of light and shadow, sensuous images and exotic production design, sexual symbology and frank eroticism. Sternberg's best films—all made for Paramount between 1930 and 1935—often were set in foreign locales and were populated by cynical, dissolute outcasts; they generally were weak on plot but remarkably strong on style and characterization. And they all starred Marlene Dietrich, whose rapid rise in Hollywood coincided with Sternberg's, and whose screen persona was perhaps the most essential component of his inimitable style.
Sternberg learned filmmaking in various departments during the silent era, and added the "von" to his name once he started directing. He signed with Paramount in 1926 and scored an early hit with Underworld (1927), a seminal Hollywood gangster saga scripted by Sternberg's frequent collaborator Jules Furthman. In 1929 a career-defining (and life-altering) assignment took Sternberg to Germany to direct a Paramount-Ufa coproduction, Der Blaue Engel (The Blue Angel, 1930), Ufa's first sound film. The film was tailored for German star Emil Jannings, but he was utterly eclipsed by Dietrich, whom Sternberg discovered singing in a cabaret and cast as the wanton temptress, Lola Lola.
The film was a sensation in Europe, and by the time it was released in the United States, Dietrich had been signed by Paramount and had finished her first Hollywood picture, Morocco (1930). Thus began a stunning five-year, six-picture run of Sternberg-Dietrich collaborations that included Dishonored (1931), Shanghai Express (1932), Blonde Venus (1932), The Scarlet Empress (1934), and The Devil Is a Woman (1935). Each was a technical tour-deforce and a bold, sensual love story, although the crucial romance involved Sternberg's camera (which he often operated himself) and Dietrich's extraordinary screen presence. Sternberg enjoyed complete authority over these films, assembling a production unit at Paramount whose key figures were Furthman, costume designer Travis Banton, art director Hans Dreier, and cinematographers Lee Garmes and Lucien Ballard. Sternberg's only non-Dietrich film during this stretch was the 1931 adaptation of Drieser's An American Tragedy, which he wrote, produced, and directed.
The Deitrich films marked both the sustained peak but also the culmination of Sternberg's career. He left Paramount in 1935, never to return—and never to work again with Dietrich or recapture the success they had enjoyed at Paramount. His subsequent films seemed empty and self-indulgent without Dietrich, and his headstrong arrogance made it increasingly difficult to find work.
RECOMMENDED VIEWING
Der Blaue Engel (The Blue Angel, 1930), Morocco (1930), Dishonored (1931), Shanghai Express (1932), Blonde Venus (1932), The Scarlet Empress (1934), The Devil Is a Woman (1935)
FURTHER READING
Baxter, John. The Cinema of Josef von Sternberg. New York: A. S. Barnes; London: Zwemmer, 1971.
——. Just Watch! Sternberg, Paramount, and America. London: British Film Institute, 1993.
Prawer, S. S. The Blue Angel (Der Blaue Engel). London: British Film Institute, 2002.
Sternberg, Josef von. Fun in a Chinese Laundry. San Francisco: Mercury House, 1965.
Studlar, Gaylyn. In the Realm of Pleasure: Von Sternberg, Dietrich, and the Masochistic Aesthetic. New York: Columbia University Press, 1988.
Thomas Schatz
Zukor quickly recognized the advantages of an integrated production-distribution setup, and he moved with the kind of savvy, ruthless aggression that made him the prototypical Hollywood "mogul." By 1915 Zukor already had begun integrating the star system with the practice of "block booking," using the films of Mary
Pickford (1892–1979) and other top stars to leverage the sale of an entire production slate, and he began to see the logic of a bicoastal production operation wed to a nation-wide distribution machine. In 1916 Zukor engineered the merger of Famous Players-Lasky and Paramount, and within a few months he forced Goldfish and Hodkinson out, assuming complete control as president of the sprawling enterprise (with Lasky as vice president in charge of production and DeMille as "director general," the studio's top contract filmmaker).
Paramount's subsequent success was truly staggering. Zukor signed top stars like Douglas Fairbanks (1883–1939), William S. Hart (1864–1946), and Fatty Arbuckle (1887–1933), and brought other production companies into the Paramount fold as well, increasing the company's output to over a hundred feature films per annum. Although scarcely a centralized studio, given its far-flung production operations, and not yet a vertically integrated company, Paramount was eminently successful as a producer-distributor—so successful, in fact, that other companies like Fox and First National developed their own vertically integrated production-distribution-exhibition setups simply to compete. These counter-moves induced Zukor to move more forcefully into film exhibition, an effort that began in earnest in 1919 and culminated in the 1925 acquisition of the nation's top exhibitor, the Chicago-based Balaban and Katz theater chain, giving Paramount 1,200 theaters. The success of its massive operation enabled Paramount to acquire an enviable stable of stars—notably Gloria Swanson (1897–1983), Rudolph Valentino (1895–1926), Clara Bow (1905–1965), Mae Murray (1889–1965), Pola Negri (1894–1987), and John Barrymore (1882–1942)—and to maintain its dominance through the height of the silent era, when the studio produced scores of top hits, ranging from Valentino vehicles like The Sheik (1921) and Blood and Sand (1922) to western epics like The Covered Wagon (1923) and DeMille spectacles The Ten Commandments (1923) and The King of Kings (1927).
After the Balaban and Katz merger, Zukor and Lasky developed a more coherent production operation based primarily on the West Coast. In 1926 Paramount moved into a larger and better equipped Hollywood facility that became its production headquarters, with B. P. Schulberg (1892–1957) installed as head of production (under Lasky). This setup proved eminently successful, enabling Paramount to begin functioning as a centralized studio and to cultivate a more coherent, recognizable house style. While centralized production and capable studio management were crucial, the emergence of Paramount's house style in the late 1920s and early 1930s was the company's extraordinary talent pool—a pool that deepened considerably during the Lasky-Schulberg regime, as two distinct waves of new contract talent signed on in the late 1920s. The first came as the new studio regime coalesced, and included directors Josef von Sternberg (1894–1969), Rouben Mamoulian (1897–1987), and Ernst Lubitsch (1892–1947) (all signed in 1927), and top stars like Harold Lloyd (1893–1971), Gary Cooper (1901–1961), Claudette Colbert (1903–1996), Frederic March (1897–1975), and Maurice Chevalier (1888–1972). The second wave came with Paramount's rapid conversion to sound, when the studio recruited talent from vaudeville, radio, and the stage—notably W. C. Fields (1880–1946), the Marx Brothers (Chico [1887–1961], Harpo [1888–1964], Groucho [1890–1977], and Zeppo [1901–1979]), Bing Crosby (1903–1977), George Burns (1896–1996) and Gracie Allen (1895–1964), and the inimitable Mae West (1893–1980).
Paramount rode the talkie boom to unprecedented heights, reaping industry-record profits of $18.4 million in 1930 (and out-earning all of the other majors), only to suffer financial collapse a year later under the weight of oversized budgets, the costly conversion to sound, and the massive debt service associated with its huge theater chain. After net losses of $21 million in 1932—another industry record—Paramount declared bankruptcy in
early 1933. The financial turmoil led to a massive executive shake-up in which Zukor was stripped of power (but retained as board chairman), while Lasky, Schulberg, and other top executives including Schulberg's second-in-command, David Selznick, either left or were fired. Theater czar Sam Katz was installed as chief executive by the Chicago and New York financiers who guided the studio out of bankruptcy, and he was succeeded in 1936 by his former partner Barney Balaban (1887–1971), who would successfully guide the company for some three decades. The Balaban regime returned the studio to stability, although Paramount had managed to remain productive and relatively successful during its three-year recovery from financial collapse.
The Paramount house style that took shape in the late 1920s and early sound era continued to develop more or less unabated throughout the 1930s, despite the studio's financial and administrative tumult, which involved a succession of production bosses, including Lubitsch for a brief period in the mid-1930s. Like the other majors, Paramount's house style was geared to a range of stargenre formulas; but the studio was unique in that these generally were handled not by unit producers but by specific directors who were granted considerable creative autonomy and control—as with von Sternberg's highly stylized Dietrich melodramas (Morocco, 1930; Shanghai Express, 1932; Blonde Venus, 1932; The Scarlet Empress, 1934; The Devil Is a Woman, 1935), for instance, and Lubitsch's distinctive musical operettas with Jeanette MacDonald (The Love Parade, 1929; Monte Carlo, 1930; One Hour With You, 1932; The Merry Widow, 1934). While the key elements in these star-genre units were director and star, other filmmakers were crucial as well: writer Jules Furthman (1888–1966) and cinematographer Lee Garmes (1898–1978) on the Dietrich films, for example, and the production design by Hans Dreier (1885–1966) on all of the films directed by both Lubitsch and von Sternberg during this period.
Another important element of the studio's emergent house style was its markedly "European" dimension, which was a function of Paramount's market strategy and talent resources. Zukor had expanded international operations throughout the 1920s, setting up a worldwide distribution system and investing in production and distribution systems overseas, particularly on the Continent. Paramount owned considerable stock in Germany's Ufa studios, where it actively coproduced pictures and cultivated talent that might be "imported" to Hollywood. Lubitsch, Dietrich, and Dreier were German recruits, and Mamoulian was trained in Russia. Von Sternberg was born in Vienna and raised in the United States, but the German influence was quite genuine; in fact, he had discovered Dietrich while directing Ufa's first sound film, Der Blaue Engel (The Blue Angel), a Paramount coproduction that became a huge international hit in 1930.
Paramount's European dimension was countered in the 1930s by two significant generic (and stylistic) trends. One involved the studio's heavy investment in comedy during the early sound era, best typified perhaps by its run of Marx Brothers romps: The Cocoanuts (1929), Animal Crackers (1930), Monkey Business (1931), Horse Feathers (1932), and Duck Soup (1933). W. C. Fields, Burns and Allen, Jack Oakie (1903–1978), and Mae West all contributed to this trend, whose roots ran deeply into American vaudeville, as did a number of contract directors like Leo McCarey (1898–1969) (Duck Soup; Belle of the Nineties, 1935; Ruggles of Red Gap, 1935) and, later in the decade, the vastly underrated Mitchell Leisen (1898–1972) (Hands Across the Table, 1935; The Big Broadcast of 1937, 1936; Easy Living, 1937; Midnight, 1939). The second crucial Paramount trend was its signature DeMille epics, which actually were on hiatus from the mid-1920s to the early 1930s, when the studio's most distinctive house director left for independent status and a brief stint with MGM. DeMille returned in 1932 to produce and direct a succession of historical spectacles, concentrating on biblical and ancient epics earlier in the decade (The Sign of the Cross, 1932; Cleopatra, 1934; The Crusades, 1935) before shifting to epic Americana (The Plainsman, 1937; The Buccaneer, 1938; Union Pacific, 1939).
DeMille's shift to American subjects in the late 1930s was directly related to changes and uncertainties in the international marketplace, particularly the political turmoil and the threat of war in Europe. Anticipating the loss of the Continental market and determined to contain costs, the ever pragmatic Balaban ordered Y. Frank Freeman, the studio production chief hired in 1938 from one of Paramount's theater subsidiaries, to severely cut production expenses, including high-paid talent as well as film budgets, and to shift the studio's emphasis away from more lavish and exotic productions in favor of lighter fare designed for the domestic market. This proved to be an ideal adjustment to the wartime social and economic conditions that transformed the industry in the 1940s and returned Paramount to a position of unchallenged supremacy.
THE WAR BOOM, THE PARAMOUNT DECREE, AND THE EARLY TELEVISION ERA
The US "war economy" (full employment, round-the-clock factory operations in major cities, severe restrictions on travel and entertainment) helped induce a complete reversal in Paramount's fortunes. A decade earlier, its massive theater chain concentrated in major markets (where the mortgages were heaviest) had financially strapped the company; now its chain generated enormous revenues and profits, enabling the studio to cut back production and concentrate increasingly on the booming first-run market. Between 1940 and 1945, Paramount's feature film output fell from 48 releases to 23, while its revenues rose from $96 million to $158.2 million, and its profits surged from $6.3 million to a record $15.4 million. The war boom continued into 1946, Hollywood's best year ever, when Paramount's profits reached a staggering $39.2 million on only 22 releases—accounting for fully one-third of the Hollywood studios' profits ($119 million) in that all-time record year.
Paramount's enormous prosperity during the war era was fueled by its films, of course, which enjoyed critical as well as commercial success despite the radical changes in its house style and the departure of so many top stars and directors. Balaban's cost-cutting campaign and shift away from Paramount's long-standing emphasis on the European market (and style) led to the departure in the late 1930s of contract stars Dietrich, Colbert, Cooper, March, Carole Lombard (1908–1942), and Mae West, and directors von Sternberg, Lubitsch, and Mamoulian. Bing Crosby and Barbara Stanwyck (1907–1990) remained, as did director Mitchell Leisen, all of whom accommodated Paramount's changing production and market strategies. DeMille stayed on as well, although his epic bent was sorely limited by war-related budgetary and material constraints. Paramount's vacated star stable was quickly filled with a new crop of stars, notably Ray Milland (1905–1986), Bob Hope (1903–2003), Dorothy Lamour (1914–1996), Fred MacMurray (1908–1991), Paulette Goddard (1910–1990), Veronica Lake (1919–1973), and Alan Ladd (1913–1964). Several important new directors emerged as well, most notably Preston Sturges (1898–1959) and Billy Wilder (1906–2002), both of whom rose from the studio's ranks to become two of the foremost "hyphenate" writer-directors in Hollywood.
Sturges quickly established himself as a master of dark comedy, offbeat romance, and acerbic dialogue, and as one of the most prolific filmmakers in the A-film ranks as well, turning out eight pictures in four years for Paramount, including several of the very best Hollywood films of the war era: The Lady Eve (1941), Sullivan's Travels (1941), The Palm Beach Story (1942), The Miracle of Morgan's Creek (1944), and Hail the Conquering Hero (1944). Wilder, meanwhile, started somewhat slower before delivering some of the era's most powerful dramas, including Double Indemnity (1944) and The Lost Weekend (1945). Leisen continued to turn out quality romantic comedies and melodramas at a prodigious rate (12 pictures from 1940 to 1945), while DeMille managed only two lackluster pictures during the same period. Much of the studio's success came with films that teamed particular stars—the pairing of Alan Ladd and Veronica Lake in two noir thrillers, This Gun for Hire and The Glass Key (both 1942), for instance, and the teaming of Crosby, Hope, and Lamour in the hugely successful run of "road pictures" (Road to Singapore, 1940; Road to Zanzibar, 1941; Road to Morocco, 1942; et al.). Crosby and Hope enjoyed tremendous success during the war in a wide range of films, with Crosby in particular emerging as a true cultural phenomenon, considering his concurrent success in the radio and recording industries. His most successful film for Paramount, and its biggest wartime hit, was as a crooning priest in Going My Way (1944), a quasi-independent project produced, directed, and written by free-lancer Leo McCarey.
GARY COOPER
b. Frank James Cooper, Helena, Montana, 7 May 1901, d. 13 May 1961
A consummate American screen hero of Hollywood's classical era and the archetypal "strong silent type," Gary Cooper spent roughly the first half of his career at Paramount, where he paid his dues as a studio contract star and, in the course of the 1930s, rose to top stardom. Cooper enjoyed sufficient clout by the late 1930s to demand a nonexclusive contract with Paramount, and within a few years he was essentially a freelance star. Thus many of Cooper's most memorable roles, including his Oscar® -winning performances in Sergeant York (1941) and High Noon (1952), were done elsewhere. But during the early years at Paramount, Cooper did some of his best work and steadily refined his distinctive screen persona: the tall, laconic, hesitant but steadfast hero whose diffident honesty and physical beauty masked an undercurrent of anxiety and self-doubt. He established a remarkable acting range as well, handling comedy, romantic drama, and action-adventure roles with equal assurance.
Cooper broke into films as an extra in silent westerns—due largely to his genuine skills as a horseman. He soon signed with Paramount and appeared in some twenty supporting roles before starring in his breakthrough hit, The Virginian (1929), his first talkie, in which he famously intoned, "When you say that—smile." The picture clinched his early stardom and led to a succession of similar roles in 1930 and 1931, until the western was downgraded to B-movie status. Cooper did star in one of the Depression era's few "A" westerns, The Plainsman, a 1936 biopic of Wild Bill Hickok and his first film for Cecil B. DeMille, and he helped facilitate the resurgence of the western in 1940 with another DeMille epic, North West Mounted Police, and The Westerner, one of many films Cooper did for independent producer Sam Goldwyn.
During the western genre's decade-long hiatus, Cooper played action-adventure roles for Paramount in films like The Lives of a Bengal Lancer (1935), The General Died at Dawn (1936), and Beau Geste (1939). Cooper also proved to be a serviceable romantic costar in films like A Farewell to Arms (1932) and Peter Ibbetson (1935). But the real surprise was his emergence as a top comedy star in films like Design for Living (1933) and Bluebeard's Eighth Wife (1938), both directed by Ernst Lubitsch; on loan to Columbia in the Capra-directed Mr. Deeds Goes to Town (1936); and on loan to RKO in the Hawks-directed Ball of Fire (1941). By 1941 Cooper was a freelance star, and although he stayed busy throughout the 1940s and 1950s, remaining one of Hollywood's top box office stars, his only subsequent work for Paramount was in the Goldwyn-produced For Whom the Bell Tolls (1943) and in DeMille's The Story of Dr. Wassell (1944) and Unconquered (1947).
RECOMMENDED VIEWING
The Virginian (1929), Design for Living (1933), The Plainsman (1936), Mr. Deeds Goes to Town (1936), The General Died at Dawn (1936), Beau Geste (1939), Sergeant York (1941), The Pride of the Yankees (1942), High Noon (1952)
FURTHER READING
Kaminsky, Stuart. Coop: The Life and Legend of Gary Cooper. New York: St. Martin's Press, 1979.
Meyers, Jeffrey. Gary Cooper: American Hero. New York: Cooper Square Press, 2001.
Thomas Schatz
Paramount's tremendous success continued into the early postwar era, although it became evident as the Justice Department revived its antitrust campaign against the studios that its glory days were numbered. In May 1948 the Supreme Court issued its momentous Paramount decree, which cited Paramount Pictures as the first defendant because the company's domination and manipulation of the movie marketplace had been most pronounced. Unlike several of the other Big Five integrated majors (i.e., MGM, Twentieth Century Fox, Warner Bros., and RKO, which also owned theater chains), Paramount readily complied with the Court's demand to divorce its theater chains, splitting in late 1949 into two corporate entities, Paramount Pictures and United Paramount Theaters (UPT). Besides dis-integrating the company, the Paramount decree also dashed Balaban's plans to exploit the emergent television medium. Paramount had been actively pursuing
television broadcasting for over a decade in various ways, notably its purchase of television stations in Chicago and Los Angeles, and its investment in video pioneer DuMont, which involved video projection in theaters as well as delivery of Paramount films to the home. The antitrust ruling enabled the Federal Communications Commission (FCC) to prohibit the studios from active participation in the burgeoning TV industry, however, so Paramount Pictures sold off its television and video interests while UPT became a major investor inthe ABC television network.
Hollywood's general postwar decline was especially pronounced for Paramount, whose profits fell from over $22 million in 1948 to just $3 million in 1949. The studio survived through a two-pronged strategy of "bigger" films and independent productions. DeMille effectively initiated the postwar blockbuster trend with Samson and Delilah, released in late 1949 just weeks before the Paramount-UPT split, and he sustained it with The Greatest Show on Earth (1952) and The Ten Commandments (1956), which earned an astounding $34.2 million. Meanwhile, the studio realized major hits via financing-and-distribution deals with independent producer-directors like George Stevens (1904–1975) (A Place in the Sun, 1951; Shane, 1953) and Alfred Hitchcock (1899–1980) (Rear Window, 1954; To Catch a Thief, 1955; The Man Who Knew Too Much, 1956). Paramount was the last of the majors to acquiesce to network television, opening its vault to TV syndication in 1958 and moving tentatively into telefilm series production. The studio faded badly in the early 1960s due to a succession of costly flops and the ongoing erosion of the movie-going audience. This led to Balaban's removal and the 1966 purchase of Paramount by Gulf + Western—the first of several studio buyouts by huge nonmedia conglomerates in the late 1960s, and a crucial step in the transition from the Old Hollywood to the New.
PARAMOUNT IN THE NEW HOLLYWOOD: BLOCKBUSTER FRANCHISES AND GLOBAL CONGLOMERATES
The Gulf + Western buyout relegated Balaban to an emeritus role (along with Zukor), as the irrepressible Gulf + Western founder Charles Bludhorn took command of the company. The early Bludhorn era saw an increase in television series production, accelerated by the 1969 acquisition of Desilu, and the unexpected installation of Robert Evans (b. 1930) as head of motion picture production. Both proved to be good moves. The television division generated new hit series (The Brady Bunch, 1969; Happy Days, 1974, et al.), while the Desilu acquisition gave Paramount several established series like Mission: Impossible (1966–1973) and particularly Star Trek (1966–1969) which, upon cancellation as network series, became hugely successful in syndication during the burgeoning cable era—and later, of course, spawned successful movie franchises. Evans, meanwhile, immediately emerged as one of the chief architects of an "American New Wave"—an auteur-driven cinema geared increasingly to the era's youth and counter cultures. Paramount's output under Evans included Rosemary's Baby (1968), Goodbye Columbus (1969), Love Story (1970), The Godfather (1972), The Godfather Part II (1974), and Chinatown (1974). Evans left for independent production in the mid-1970s, but Paramount's success continued—indeed, accelerated—under Barry Diller and Michael Eisner. The studio continued to mine the youth market with films like Saturday Night Fever (1977) and Grease (1978), and enjoyed critical as well as commercial success with films like Heaven Can Wait (1978), Ordinary People (1980), Reds (1981), and Terms of Endearment (1983).
Paramount also pursued mainstream audiences with calculated blockbuster fare and a big-screen "franchise" strategy—that is, movie series generated by high-cost, megahits like Star Trek: The Motion Picture (1979),Raiders of the Lost Ark (1981), and Beverly Hills Cop (1984). Raiders, produced by George Lucas (b. 1944) and directed by Steven Spielberg (b. 1946), launched the highly successful "Indiana Jones" films in a partnership with Lucasfilm Limited, as well as a TV series coproduced by Lucasfilm, Spielberg's Amblin Entertainment, and Paramount. The studio coproduced the Beverly Hills Cop films with a company owned by star Eddie Murphy (b. 1961), whose long-term relationship with Paramount generated many other box-office hits (48 Hours, 1982; Trading Places, 1983; Coming to America, 1988). The Star Trek series was in a class by itself as an entertainment franchise. Its lineage includes ten feature films, four subsequent liveaction TV and cable series, an animated series, and a literally incalculable number of media tie-ins and licensed products—including an entire book division at Simon & Schuster, a Paramount (now Viacom) subsidiary.
Bludhorn's death in 1983 brought Martin S. Davis in as chief executive officer of Gulf + Western, and a year later Frank Mancuso took over the studio (as Diller left for Fox and Eisner for Disney). Paramount continued to surge, reclaiming its top spot among Hollywood studios, fueled primarily by its hit-spawning movie franchises, along with hit TV series like Family Ties (1982–1989) and Cheers (1982–1993), and a run of box-office surprises including Top Gun (1986), Crocodile Dundee (1986), Fatal Attraction (1987), and Ghost (1990). Meanwhile, Gulf + Western steadily "downsized" to focus on media and entertainment, and in 1989 the parent company's title was officially changed to Paramount Communications. The same year, Paramount attempted a hostile takeover of Time Inc., but the publishing giant opted to merge with Warner Communications. So Paramount continued to look for a suitable partner as a media mergers-and-acquisitions wave swelled in the early 1990s, eventually submitting to a $10 billion buyout (initiated in 1993 and consummated in 1994) by Viacom, a global conglomerate controlled by Sumner Redstone. Viacom had been expanding at a truly incredible rate since Redstone took over the media giant in 1987, and the process continued throughout the booming 1990s. Besides buying Paramount, Viacom also acquired Blockbuster Video in 1994, launched the UPN cable network in 1995, and closed out the decade with the $50 billion acquisition of CBS (formerly Westinghouse) in 1999. The purchase of CBS was a telling irony in modern media annals, in that Viacom was created in 1971 when the FCC had forced CBS to spin off its syndication division.
Paramount continued to produce top movie hits in the 1990s, including Mission: Impossible (1996) and its sequel (2000), and the phenomenally successful Forrest Gump (1994). But the hits were less frequent and many of its biggest hits were cofinanced and thus shared with other studios—most notably Titanic (1997) with Twentieth Century Fox and Saving Private Ryan (1998) with DreamWorks. The studio's success after the CBS merger has been even more sporadic, leading to considerable turnover in the executive ranks—with the sole exception of Redstone himself, who became board chairman and CEO in 1996 (at age 73) and has maintained power over the ever-expanding Viacom empire into the new millennium. The sheer size of this global media giant as of the early 2000s is staggering. It includes over a dozen film and television production companies (including Paramount Pictures and Paramount Television); the Paramount Film Library (over 2,500 titles); over a dozen broadcast and cable networks (including CBS, UPN, MTV, Showtime, the Comedy Channel), along with 40 owned-and-operated stations and some 300 affiliates; the world's number one video rental chain (Blockbuster, with over 8,500 stores); shared ownership of over 1,000 movie screens worldwide; a global distribution partnership with Universal (UIP); amusement parks in the United States and Canada; over a dozen publishing entities (including Simon & Schuster and Scribners); a radio operation (CBS Radio and Infinity) with 180 stations; a music publishing company that holds the copyright on over 100,000 song titles; the number one billboard advertising company in the United States and Europe (Outdoor Advertising), and so on.
While the Paramount "brand name" remains vital to Viacom's success, and the studio's movie products continue to drive the parent company's entertainment product lines, the studio is scarcely on par with the Paramount of old—even the Paramount of the 1970s and 1980s—given the structure, complexity, and general sprawl of the media conglomerate at large. Paramount is hardly able (or expected) to sustain an identifiable house style, which would require stable management and resources, including talent on both sides of the camera, and thus the only consistent "markers" of its style are the signature franchises. The sheer size of the media giant has become so great, in fact, that Redstone in early 2005 proposed it be split into two publicly traded companies: Viacom (which will include Paramount Pictures and the powerhouse MTV network) and CBS (which will include Paramount Television and the other television, cable, and home-video holdings). The Viacom board approved the split in June 2005, and the 82-year-old Redstone told the press, "The age of the conglomerate is over." While that claim is dubious, the split may signal a new chapter in the saga of Paramount Pictures.
SEE ALSO Star System;Studio System
FURTHER READING
Bach, Steven. Marlene Dietrich: Life and Legend. New York: DeCapo, 1992.
DeMille, Cecil B. Autobiography. Englewood Cliffs, NJ: Prentice-Hall, 1959.
Eames, John Douglas. The Paramount Story. London: Octopus, 1985.
Finler, Joel W. The Hollywood Story. New York: Crown, 1988.
Halliwell, Leslie. Mountain of Dreams: The Golden Years at Paramount Pictures. New York: Stonehill, 1976.
Gomery, Douglas. "The Movies Become Big Business: Publix Theaters and the Chain Store Strategy." In The American Movie Industry: The Business of Motion Pictures, edited by Gorham Kindem, 104–115. Carbondale: University of Illinois Press, 1982.
Zukor, Adolph, with Dale Kramer. The Public Is Never Wrong: The Autobiography of Adolph Zukor. New York: Putnam, 1953.
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2019-04-17T00:00:00
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Every Tim Burton movie is channeling specific visual influences — plus his own alienated childhood.
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Vox
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https://www.vox.com/culture/2019/4/17/18285309/tim-burton-films-visual-style-aesthetic-disney-explained
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Tim Burton is one of modern filmmaking’s best-known directors — largely because his films all look like Tim Burton films. It’s hard to find a recent director whose distinct visual aesthetic has become so universally, immediately recognizable. Even in his new live-action Disney film Dumbo, which is something of a departure from Burton’s previous work — it’s a remake that doubles as a careful critique of its predecessor — it can still easily be called “Burton-esque,” like all of his movies.
But what does it mean to be “Burton-esque?” Is there a way to catalog the visual ingredients of a Burton film? And how did Burton develop such a distinct visual style that continues to resonate so strongly with audiences?
The answers to these queries are more concrete than you might expect. Burton got his start in the industry working as an animator for Walt Disney Studios, where he began to develop his staple brand of quirkiness. Before that, he grew up absorbing a range of pop art styles and cinematic influences that later led to his becoming something of an alienated gothic hero — which still makes itself felt in his work today.
Burton grew up identifying with moody iconoclasts — and developing an art style to match
Born in 1958 in Burbank, California, Burton grew up with an inverse relationship to his surroundings. Where Burbank was sunny and benign, Burton was moody, interested in the dark and the macabre. When other kids played ball and rode bicycles, he hung out in cemeteries and wax museums. He developed a love for Hammer horror films and B-movie sci-fi. He seemed to channel these sensibilities into his art, displaying a penchant for exaggerated caricatures and illustrations influenced by a range of pop art from advertising to children’s illustrators to comics.
By age 15, he was winning local advertising art contests, shooting creepy 8mm films around his neighborhood, and creating an illustrated children’s book of his own — which Disney, incidentally, rejected for publication, albeit with an encouraging note. Disney told Burton that “the art is very good. The characters are charming and imaginative, and have sufficient variety to sustain interest.” It would be the start of a long and sometimes contentious relationship with the Mouse.
After high school, Burton attended the prestigious California Institute of the Arts, which opened in 1961, partly out of the last great vision of Walt Disney himself. Disney died in 1966, but his brother and nephew were both on the school’s founding board of trustees. Disney had imagined an arts school designed specifically to educate new generations of animators, but it wasn’t until 1975 that the school began admitting students into a program to teach character animation.
A year later, in 1976, Burton joined the new animator program, becoming one of a now-legendary era of CalArts animators who would collectively go on to profoundly impact the next four decades of animation. These included famed Disney animator Glen Keane, The Nightmare Before Christmas director Henry Selick, Brave director Brenda Chapman, and Lion King director Rob Minkoff. He described them to Vanity Fair in 2014 as “a collection of outcasts,” a group of artists who were united by general nerdiness and a shared excitement about taking artistic risks and experimenting. (Incidentally, another figure who’d play a significant role in Burton’s career, Paul Reubens a.k.a Pee-wee Herman, was also on the campus studying theater at the same time.)
The Vanity Fair CalArts profile reports a steady blur of wild parties, dark senses of humor, and perpetual impromptu performance art — all of which Burton essentially blended into his personal brand. “One year [for Halloween] I did a bunch of makeup, and when I woke up, my face was stuck to the floor,” he recalled. “So it was sickening, really, but it’s one of my few fond memories.” This seems to be a representative picture of the era at CalArts’ character animation department, and of Burton himself.
Burton’s early career at Disney was difficult — but it set the tone for everything after
At CalArts, Burton animated several short films and developed his signature style as an illustrator of characters with amusingly exaggerated features. One of his student works, a partly silent animated short called Stalk of the Celery Monster, once again earned him attention from Walt Disney Studios, which brought him on as an animation apprentice after his graduation from CalArts in 1980, drawing mainly concept art and models for features.
At CalArts, Burton’s general air of weirdness was essentially encouraged by the prevailing spirit of the era. But at Disney, where he worked for four years, Burton’s iconoclastic style frequently made him an outlier, and he was largely relegated to producing concept art for films like 1981’s The Fox and the Hound and 1983’s The Black Cauldron. The work went unused. “I couldn’t even fake the Disney [art] style,” he wrote later in the book Burton on Burton.
Speaking about that era of Disney to Vanity Fair, Brad Bird (director of The Incredibles) described it as a generational clash. “As Disney’s top-tier guys retired, the people running things became the businesspeople and the middle-level animation artists who had been there awhile,” Bird said. “They just wanted to sit back and coast on the Disney reputation while we younger guys were on fire, full of the ideas that the old-master Disney guys inspired in us. Now we were the ones thinking outside the box.” In the same article, Glen Keane recalled Burton hiding in a coat closet for hours.
But Burton didn’t just mope around. While at Disney, he solidified his own unique art style, with its weirdly elongated shapes and people, and a touch of the maudlin, the gothic, and the slightly off-kilter. He developed the concepts for a number of films that Disney initially rejected — including The Nightmare Before Christmas. He did, however, manage to produce a few works for Disney that showcased what would later become hallmarks of his instantly recognizable art style. The most notable is probably a short film called Vincent — based on Burton’s own childhood, including his idealization of the actor Vincent Price, known for his appearances in horror films.
Vincent (1982) combines Burton’s burgeoning visual aesthetic with his lifelong love of the macabre and interest in stop-motion animation. Narrated by Price himself, the film displays much of Burton’s trademark weirdness — like misunderstood goth kids in suburbia, and an obsession with dark subjects that manifests in unconventional ways. It’s also atypically dark for an animated Disney film of the era and was never individually released. (It later showed up as a package with some versions of The Nightmare Before Christmas.)
Following Vincent, Burton’s independent artistic forays met with less success. Disney produced his next short film, Frankenweenie, about a boy who tries to bring his small dog back from the dead, in 1984 — but then immediately fired him.
“When he made the film in 1984, I don’t think Disney knew what to do with him,” said producer Don Hahn, who’d worked with Burton back in his Disney days, in a 2012 interview with Yahoo UK. “It’s like, ah, here’s this really interesting guy who’s making these really rangy black-and-white movies. Let’s let him go.” Burton revived Frankenweenie as a feature-length film in 2012, which Hanh produced.
Of course, in all fairness to Disney, it could also be because this was Burton’s idea of a fun day at the office:
After leaving, Burton quickly caught an amazing break: His old classmate Paul Reubens, now better known as his alter ego Pee-Wee Herman, had seen Vincent and asked Burton to direct a big-screen adaptation of his character. Burton, who had directed one live-action piece while at Disney, 1983’s Hansel and Gretel, was game for any project that would let him continue to express his particular style, and agreed. 1985’s Pee-wee’s Big Adventure grossed $40 million on a budget of less than $7 million, and launched Burton’s prolific career as a film director.
He would go on to bring the world a litany of iconic films for the next several decades, most notably Beetlejuice (1988); Batman (1989) and Batman Returns (1992); Edward Scissorhands (1990); The Nightmare Before Christmas (1993) — which he produced and created but left to his fellow CalArts alum Henry Selick to direct; Mars Attacks! (1996); Sleepy Hollow (1999); Big Fish (2003); Corpse Bride (2005); Sweeney Todd: The Demon Barber of Fleet Street (2007); and Alice in Wonderland (2010). And though most of these films are live action, they all continue to develop and expand the artistic style he expressed early on.
By the time Disney released Burton’s full-length feature version of Frankenweenie in 2012, Burton’s name had become an undeniable brand of its own. And that brand was still closely associated with Disney, which had by then happily embraced him as a producer and director on several of its films. Describing his on-again, off-again relationship with Disney to the Independent upon Frankenweenie’s 2012 release, Burton simply said, “I’ve been hired and fired by Disney three different times. I’m used to it.”
But far from being defined by his rocky relationship with Disney, Burton is regarded as a singular visionary, defined entirely by his unique style. To properly define the Burton style, we can point to a couple of specific important visual and artistic influences that made his art and his overall production style what it is today.
Burton’s art and cinema are hugely influenced by Expressionism
Burton’s own aesthetic reflects German Expressionism more than any other style. Expressionism began as a modern art movement and quickly expanded to influence art across Europe in the 1920s. Drawing upon what was then the still-new field of psychotherapy, Expressionist film became a cinematic medium in which the overall scenic and production design produced a feeling of dreamlike unreality and psychological tension for the viewer.
The traits of Expressionism have become incorporated so successfully into certain modes of storytelling within art, cinema, and animation that the casual viewer might not realize these features all have a distinct origin point. Among the most distinctive features are sharply exaggerated backdrops and landscapes with high color contrasts — typically relying heavily on the use of shadows and silhouettes to heighten a feeling of tension or dread. Sets with jagged edges and alternately rounded, tilted, or visually disjointed and discombobulated spaces, are another key element.
A general sense of visual distortion, the use of dialed-up color contrasts, looming architectural shapes, and an overall sense of heightened reality, are all further key parts of the aesthetic that form basic components of a “Burtonesque” look. Expressionism has influenced so many subsequent art and film styles — everything from film noir to Surrealist art, from art deco architecture to midcentury horror — that its impact on Burton’s own style hardly makes him unique. However, from here on out, his influences may seem even more surreal.
The Day of the Dead made a huge impression on Burton
In Latin America, the annual celebration of the Day of the Dead is traditionally accompanied by a host of colorful depictions of skulls and skeletons. Among these are reanimated skulls and skeletons known as calaveras, and calacas, skulls and skull masks worn during ceremonies. Burton’s work is full of references to calacas and calaveras.
You’re probably thinking of Jack Skellington in Nightmare Before Christmas as the most obvious example of this influence, but Emily, the titular bride of Corpse Bride, is also a walking calavera. Both films wear their love for Dios de Los Muertes on their bony sleeves.
But perhaps no style is more overt in the work of and more closely associated with Tim Burton than that of the gothic.
Tim Burton films are obviously gothic — but with a twist
The concept of the “gothic” originated first as a pejorative, derived from the Goths and Visigoths who sacked Ancient Rome, to refer to a distinct style of medieval architecture as barbarous and uncivilized. It was meant as an insult, yet it grew to be associated with unsettling, disconcerting feelings of awe and dread that could be evoked by such elaborately beautiful architecture and art. And so when Horace Walpole published his scandalous novel, The Castle of Otranto, in 1764, he called it “a gothic story” because it was set in a massive, haunted castle whose dark hallways and unknown mysteries were meant to horrify.
Walpole essentially expanded the tone of gothic architecture and gothic art into what we now know as gothic literature — a genre full of distinctive, familiar horror tropes: huge dark buildings looming up out of the mist; tortured heroes and antiheroes meeting their doom over a tragic lost love or an unearthed secret from their past; and a sense of delight in the sinister, the grotesque, the weird, the bloody, and the terrifying.
Between his love for Vincent Price, Edgar Allan Poe, skeletons, and cemeteries, Burton soaked up plenty of gothic inspiration as a child. But remember — he also grew up in peaceful, quintessentially suburban Burbank, where he was constantly fascinated with thoughts of ominous and dark things lurking beneath the surface.
As a mature artist, Tim Burton’s work married his love of the surreal to stories that stripped away the banality of everyday, politely civilized life. Vincent and Frankenweenie are about normal boys feeding their love for the grotesque within quiet normal households. The Nightmare Before Christmas is about the unholy juxtaposition of Halloween and Christmas. Sweeney Todd sees a serial killer opening up a respectable barber shop; though based on an existing musical, its themes fit perfectly into the Burton portfolio. And in Edward Scissorhands, Edward’s nightmare house is next to, well, this:
This juxtaposition is probably best exemplified in Burton’s Beetlejuice, which is an entire movie about the sinister surprise that may be lurking in your otherwise idyllic suburban neighborhood.
Burton’s distorted, slightly dystopian suburbia often takes on a gleefully manic, almost circus-like form that’s descended from gothic’s bloodier cousin, Grand Guignol. We see its influence in films like Beetlejuice, Charlie and the Chocolate Factory, and Sweeney Todd. Whether or not things get bloody, they’re always tinged with an awareness that things could get bloody. And that’s the heart of the gothic in a Burton work.
Burton also cites a number of mid-century sci-fi and horror films as influences over his work
In 2009, the Museum of Modern Art produced a wildly successful exhibition of Tim Burton’s art and sculpture, showcasing material from throughout his life and career as an artist and filmmaker. In conjunction with the exhibit, Burton curated a list of films that had had key influences over his life’s work. The film series, called “Tim Burton and the Lurid Beauty of Monsters,” included a wide-ranging list, from the works of B-movie scion Roger Corman to horror films by James Whale, Tobe Hooper, and many others.
From this list, you get a clear sense of the zany, colorful, slightly surreal and over-the-top influences that resonated with Burton as a kid. It’s not easy to locate the full list of films online, so we’re presenting it here for your further Burton study and edification.
The Adventures of Ichabod and Mr. Toad (1949)
The Omega Man (1971)
Jason and the Argonauts (1963)
Mad Monster Party (1967)
Frankenstein (1931)
The Cabinet of Dr. Caligari (1920)
Murders in the Rue Morgue (1932)
Plan 9 from Outer Space (1959)
Dracula (1931)
The Raven (1935)
Bride of the Monster (1955)
Pit and the Pendulum (1961)
The Mummy’s Hand (1940)
The Creature From the Back Lagoon (1954)
The Mummy’s Tomb (1942)
When Dinosaurs Ruled the Earth (1970)
Revenge of the Creature (1955)
The Towering Inferno (1974)
Nosferatu (1922)
The Swarm (1978)
Earthquake (1974)
The Brain from Planet Arous (1957)
Scream Blacula Scream (1973)
The Brain that Wouldn’t Die (1962)
Tex Avery Cartoons: Swing Shift Cinderella (1945); Red Hot Riding Hood (1943); Little Rural Riding Hood (1949); The Cat that Hated People (1948)
The Burton-esque style is derived from a wealth of art, cinematic, and literary genres. But if Burton’s work was just copied from his influences, it wouldn’t resonate with viewers. What Burton brings to all these ideas is his own joyous idiosyncrasy — his ability to meld the ominous and the frightful with a sense of whimsy, and then turn that unholy duet into part of the act and the art of being a tortured outsider.
These traits make his films feel personal and relatable to so many of us, whether we come from the same superficially sunny suburbia or not. Burton may have spent his childhood in a world that didn’t suit him, but he’s channeled that into a visual style that unites him with us all.
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