Aaron Sorkin in Talks to Adapt Michael Lewis’ ‘Flash Boys’: The Hollywood Reporter

41rC-xFW03LGreat news for fans of Sorkin/Lewis collaborations (Moneyball). According to THR, Sorkin is now in talks with Sony about adapting another Lewis book, “Flash Boys”, which “deals with the practice of high-frequency trading on Wall Street and how it became a way to rig the system.”

Tatiana Siegel writes: “Lewis’ book revolves around a group of men on Wall Street including Sergey Aleynikov, a one-time programmer for Goldman Sachs, and Brad Katsuyama, the founder of IEX, the Investor’s Exchange.

Scott Rudin and Eli Bush are producing the film. Rudin, who has his first-look deal at Sony, executive produced Moneyball.

Rudin and Sorkin are frequent collaborators, having worked together on Social Network and the HBO series The Newsroom. They also have an untitled Steve Jobs project in the works at the studio that Danny Boyle is directing.”

Check out more from The Hollywood Reporter.

Harlan Ellison Scripted Episode of ‘The Outer Limits’ to get Feature Release

oltitleAccording to The Hollywood Reporter, Scott Derrickson (Sinister/Marvel’s Doctor Strange) and C. Robert Cargill have signed up to pen the script for a feature film based on a single episode of “The Outer Limits” television series that ran in the 1960’s.

“Demon With a Glass Hand”, written by science-fiction scribe and legend Harlan Ellison, received two awards back in the day: the 1965 Writers Guild of America Award for Outstanding Script for a Television Anthology and the 1972 Georges Melies Fantasy Film Award for Outstanding Cinematic Achievement in Science Fiction Television.

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The episode focuses on a man with no memory of his life before the past ten days and whose hand has been removed and replaced by an advanced hand-shaped computer. The machine demands that three of the fingers (now missing) be reattached before the man will be told what has happened to him and why he is being hunted by a group of humanoid aliens, the Kyben.

‘Boyhood’: Why Richard Linklater Owns His New Movie: The Hollywood Reporter

boyhood_5601_560Great post detailing a strange, but interesting occurrence in how film distribution contracts were constructed for Richard Linklater’s Boyhood and how this gamble could deliver massive payoffs financially and in securing some sliver of control over the distribution of a director’s film.

Tatiana Siegel for THR writes: “Richard Linklater’s new film Boyhood might jump-start a rare phenomenon in Hollywood: the director as owner. The director sacrificed his usual low-seven-figure upfront fee to share the copyright in his 12-years-in-the-making movie, as financial transparency improves in the industry and Hollywood’s take-the-money-and-run mentality shifts.

When Linklater’s longtime lawyer, John Sloss, structured the contract for the experimental coming-of-age drama — Boyhood was made over 12 years for a modest $5 million and is set to open July 11 — he insisted that financier IFC Films give the helmer part ownership of the movie’s copyright. Unlike a typical deal that offers a percentage of profits — or “points” — so a director shares in the success but has no control over the movie’s future, Linklater’s pact gave him a say in where and how the film is released. Working together, IFC the financier and Linklater decided that IFC’s distribution arm was their best option.

“This has been such a unique process and a complete leap of faith for all parties involved,” Linklater tells THR. As an owner, he can join in marketing decisions, touch each part of the revenue stream and eventually sell his stake to a library (by contrast, many directors still are paid for home video on a “royalties” basis that is much lower than theatrical gross). Sloss won’t reveal details but says Linklater’s ownership is substantial.

Still, it came at a price. The 53-year-old auteur had to give up a big part of his upfront fee, normally in the low-seven figures. And that’s precisely why most directors haven’t taken this route. They stick to Hollywood’s oldest adage: Take the money and run…

Others are skeptical, though. “I’m not sure director ownership is a trend,” says indie producing veteran Anthony Bregman (Begin Again, Foxcatcher). “Maybe it’s a trend for Richard Linklater.”

For more of this great article, check out THR.

Stephen Sondheim: ‘Puritanical Ethics’ on Disney ‘Into the Woods’ Changes-The Wrap

enhanced-buzz-6405-1380289280-32 Stephen Sondheim, prolific Broadway megawriter/lyricist/composer has a knack for heading to the heart of any issue and revealing the sometimes grim reality underneath the shiny surface. This talent extends not only to his work, but in how he sees the world. That is why we love him and he is of Godlike status in the theater world (a little side note, if you a fan of Sondheim and have not seen the HBO Documentary film Six by Sondheim, stop reading now and watch it. You will thank me later.)

That is why it was no surprise to hear his response to Disney’s “requests” in changes for the film reimagining of Sondheim’s “Into the Woods.”

Linda Ge of The Wrap writes: “Concerns that Stephen Sondheim’s subversive fairy-tale redo “Into the Woods” might get a Disney makeover when the House of Mouse mounted the big-screen adaptation seem to be coming true, according to the lyricist and composer himself.

Speaking to a Sardi’s full of theater educators about censorship in artistic education, Sondheim revealed that Disney shared some of the teachers’ concerns with the overt and not-so-overt adult themes in the show — for example, the sexualized nature of the relationship between the Wolf and Little Red Riding Hood. Sondheim says this sexualization has been removed from the film, along with some other more mature moments…

Sondheim says James Lapine, who wrote both the Tony-winning book of the musical and the film’s screenplay, tried to fight to keep some of these elements in the film, but the studio was firm…

Sondheim shared some of the teachers’ concerns on behalf of their students, who felt angry and mistrusted for having to put on edited versions of shows like “Into the Woods” and “Spring Awakening,” but realizes it’s part of reality. “[You] have to explain to them that censorship is part of our puritanical ethics, and it’s something that they’re going to have to deal with. There has to be a point at which you don’t compromise anymore, but that may mean that you won’t get anyone to sell your painting or perform your musical. You have to deal with reality.”

For more visit The Wrap here.

‘Zero Dark Thirty’ Duo Kathryn Bigelow & Mark Boal Planning Film On Controversial POW Bowe Bergdahl: IndieWire

THE HURT LOCKERKathryn Bigelow is so much more of a varied director than her career choices for the last couple of films (including the recently announced Tom Hardy, mistaken-identity thriller) have made her appear. Near Dark, Point Break and Strange Days are emblematic of how diverse she can be and while I have no doubt she will bring it with this new project, especially aligned with screenwriter Mark Boal, it makes me nervous to see her involvement with yet another film about our military entanglement with the Middle East.

But, hey…I have no doubt she knows what she’s doing and amping the controversy seems to only sweeten the pot for Bigelow. So…bring it, lady.

Oliver Lyttelton of IndieWire writes of the recent announcement: “The director/writer pair had a certain amount of backlash from “The Hurt Locker,” but nothing compared to their follow-up “Zero Dark Thirty” — willfully misread by some as being pro-torture, and well-researched to the extent that some wanted to investigate where their sources come from.

But that may have been the tip of the iceberg compared to what might come next, as Deadline report that the pair, through Boal’s new Megan Ellison-backed company Page One, are planning to make a movie focusing on the story of Bowe Bergdahl. In case you’ve been in a coma for the last couple of weeks, Bergdahl is the U.S. soldier who was kidnapped by the Taliban after wandering off his base, and held captive for five years.

Reportedly Boal and Bigelow have been looking into the case for years, but the announcement surely comes in response to recent weeks, in which Bergdahl was freed in exchange for five Taliban fighters, causing an uproar among the right-wing, who then subsequently made claims that Bergdahl was a traitor who’d attempted to desert and, in the particularly crazy corners of the internet, even that he was a “Homeland”-style sleeper agent.”

Lyttelton writes of a peculiar announcement that tells of a second, identical project announced today as well: “Looks like Bowe Bergdahl might already be the new Truman Capote: Deadline already report that a rival project to Bigelow & Boal’s is in the offing, with Fox Searchlight acquiring the rights to “America’s Last Prisoner Of War,” an article by late Rolling Stone reporter Michael Hastings about Bergdahl. “In The Bedroom” and “Little Children” helmer Todd Field is involved, presumably as a writer/director, though we hope he shoots his adaptation of Jess Walter’s brilliant novel “Beautiful Ruins,” set to star Imogen Poots, first. Read the original article here.”

For more about this announcement and all the particulars, visit Indiewire.

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Tom Hardy image as Kray twins released: BBC News

_75509616_75497895I’ve got a crisp, new twenty dollar bill in my pocket waiting for this. Yes, ma’am.

From the BBC: “The first image of actor Tom Hardy as the infamous Krays has been released as filming gets under way on a new movie about the notorious London gangsters.

The 36-year-old is taking on both roles as twins Ronnie and Reggie in Legend, which follows the rise and fall of the brothers in the 1950s and 1960s.

British stars Christopher Eccleston and David Thewlis, Australian actress Emily Browning and A Bronx Tale’s Chazz Palminteri are also confirmed to star.

It is expected to be released in 2015…

Based on John Pearson’s book The Profession of Violence, Legend is written by Brian Helgeland – who won an Oscar for writing 1997’s LA Confidential – an adaptation of the novel by James Ellroy.

Ronnie and Reggie Kray were infamous for their involvement running organised crime rackets in London’s East End and were both jailed for life in 1969 for the murders of fellow gangsters George Cornell and Jack ‘The Hat’ McVitie.”

For more from Hardy on the role and from the BBC, check it out here.

The Future of Movie Watching in Three Wonky Graphs: IndieWire

downloadPriceWaterhouseCoopers released their predictions for how the movie consumer will choose to view films within the next couple of years, detailing how they see the film industry and viewership evolving in the next decade. Not surprising by any stretch of the imagination, it is interesting to see however that they view the act of going to a theater to be consistent with current trends, and may even increase with a definite jump in film revenues.

Jacob Combs from IndieWire writes: “Here are the six big take-aways, followed by graphs for all you visual learners:

**Revenue from film and entertainment sources will will grow from $88.3 billion last year to some $110.1 billion in 2018, hitting the $100 billion mark in 2017. As PwC points out, emerging markets (especially China) will be a major driver of growth, but existing markets like the U.S. and the U.K. will continue to be significant and increasing sources of revenue.
**Home entertainment–not surprisingly!–will increasingly come from digital rather than physical sources. Streaming and VOD services will grow by 2018 to fully overtake physical home entertainment like DVDs and Blu-Rays.
**Streaming services will grow the fastest of any sector of the entertainment industry, rising from $6.6 billion worldwide in 2013 to $22.7 billion in 2018.
**Thankfully, going to the movies will remain popular! PwC projects that global box office revenue will not only continue to make more money than physical home video, it will also grow over the next four years.
**China, according to PwC, will provide both “a challenge and an opportunity.” PwC expects China to surpass Japan as the third-largest market for film (behind the U.S. and U.K.) in 2018, with total revenue reaching $7 billion by that year.
**Hollywood will remain king, for the time being, but distribution is changing. By 2018, with new platforms become more popular, “traditional distribution models will be disrupted,” writes PwC.”

For more on this topic and to witness the aforementioned graphs, visit IndieWire here.