The company has yet to make a major hire in the film space. Apple has tapped former Sony Pictures Television presidents Zack Van Amburg and Jamie Erlicht to lead the originals division. It also has not made it clear how the programming it makes will be distributed — if it will bow on iTunes or on some different type of service.
The deal is one of Apple's first big film pacts. Apple has previously announced that it will make a morning show drama with Witherspoon and Jennifer Aniston an adaptation of the book “Defending Jacob” starring and executive produced by Chris Evans, and a revival of the Spielberg-produced “Amazing Stories” anthology franchise. The company has been more active in the television space, and has budgeted approximately $1 billion to date on their initial series development slate. On the film front, it has acquired a few films, including the documentary "The Elephant Queen" and the animated film "Wolfwalkers."
The partnership comes as Apple is delving more deeply into making its own shows and movies, having previously signed deals with the likes of Steven Spielberg, Reese Witherspoon, and Oprah Winfrey. Apple is enlisting Oscar-winning indie studio A24 to produce a slate of films for the tech behemoth.
The world of streaming is becoming crowded. Netflix and Amazon have made big investments in original content, and Disney and WarnerMedia are launching streaming services in 2019. The competition is creating something of a land grab mentality when it comes to locking up top talent.” />
It also has an output deal with Amazon, through which its films appear on the company's Prime streaming service after they appear in cinemas. At one point, there were rumors that Apple was going to acquire A24 or another studio, but it appears that it is not taking that route. A24 currently has a deal with DirecTV to jointly acquire films for U.S. distribution, with DirecTV getting rights to offer the films on-demand 30 days prior to theatrical release. The Apple and A24 deal is not exclusive, nor is it a first look arrangement, so the studio will continue to produce and release other movies independently. Those deals remain in effect.
It nabbed a best picture Oscar for "Moonlight," and also scored with the likes of "Room," "The Witch," and "Ex Machina." It does enable Apple to partner with one of the hottest brands in the arthouse space. Launched in 2012, A24 has differentiated itself by backing edgy, auteur-driven projects.
It's unclear if the movies the studio makes will be released in theaters or if they will premiere on some kind of digital platform. Apple did not provide many specifics about the deal with A24 beyond saying it was a "multiyear agreement" and involved multiple films. Financial terms of the pact were not disclosed.

We’ve seen artists ranging from The Weeknd and Robyn to James Blake and even Tei Shi performing at the Museum of Modern Art; Interpol rocked the 2,000-year-old Egyptian Temple of Dendur at the Met, and last year the Guggenheim — you know, the one where Will Smith chases down the cephalopod in “Men in Black” — hosted "An Ode To…," a stunning, unique performance from Solange based around her “Seat at the Table” album. In recent years some of New York’s most unusual concerts have taken place at its most prestigious museums, either as special events or as entertainment at benefit parties for donors and members.
She also left the crowd wanting more, leaving the stage after a 35-odd-minute set, ceding to the DJ (who was seen rocking hard to Smith’s set) and the free-champagne-and-vodka-fueled revelry that ensued.” /> Not surprisingly, her songs — which recall Amy Winehouse, Sade and early Erykah Badu — work well in a small jazzy-combo setting, although her between-song comments were often lost in the museum’s cavernous acoustics.
With that context, the look on the face of 21-year-old British soul singer Jorja Smith — whose debut album was chosen as one of Variety’s mid-year Best Albums of 2018 (so far) — as she took the stage at the center of the Guggenheim’s circular floor on Wednesday night was one of priceless incredulity, although it’s not as if she hasn’t already seen enough surreal moments in a brief career that has already seen her guesting with Drake and Kendrick Lamar and opening an arena tour for Bruno Mars. While stripped down in format, this show, a “Pre-Party” the evening before the museum’s International Gala benefit dinner, was essentially the opening night of her first American tour since the album’s release, and she delivered torch-esque renditions of songs from the album, accompanied by just a keyboardist and electric guitarist.
The combination of Smith, clad in a black sparkly dress, with the rotunda, the Hilma af Klint exhibit hanging on the walls and the spectacularly dressed audience was irresistible. While the musicians can sometimes feel like background entertainment at such shows, happily the Guggenheim’s circular structure meant that all attention was focused on Smith, and a dazzling light show illuminated both the stage and the upward-spiraling rotunda that reaches five stories above the ground floor.
While the special events are largely staged for fans and feel more like regular concerts in a wildly exotic setting, the donor and member parties, which are not always open to the general public, attract a more affluent society/arts-foundation-type clientele and/or their often extremely well-dressed offspring, along with resourceful fans who’ve managed to find a way in. As such, they can make for a disorienting reversal for anyone expecting a traditional concert: the entertainment is sometimes secondary to the audience, and the press and photographers in attendance are focused accordingly.

The studio teamed with Warner Bros. MGM's last release, "Operation Finale," launched to $17 million domestically in August. 21. on "Creed 2," which opens on Nov.
MGM did not identify which title was the source of the charges. It also said this was partially offset by $32 million of higher adjusted EBITDA from "robust" licensing activity for "Vikings," as well as deliveries of new episodes of "Vikings" (Season 6) and "The Handmaid's Tale" (Season 2). The third quarter included "unanticipated film impairment charges" totaling $19.7 million.
Cary Joji Fukunaga will direct the 25th James Bond installment, replacing Danny Boyle, who exited the pic over creative differences with producers Barbara Broccoli and Michael G. MGM is handling domestic distribution on the new James Bond movie. Fukunaga will be the Bond franchise's first American director.” /> Wilson, and returning star Daniel Craig.
In a filling Thursday on its investor relations website, privately held MGM also disclosed that its earnings slid to $25.3 million from $114.2 million in the year-ago quarter and adjusted EBITDA (earnings before interest, taxes, depreciation, and amortization) declined to $34.5 million from $90.8 million, which the company said was due to higher expenses-related investment spending on growth initiatives, including increased programming costs for its Epix channel, higher marketing expenses for Epix, expanded theatrical distribution, and higher overhead due to the acquisitions of Epix, Evolution, and Big Fish.
TV licensing revenue for film content was $110.2 million for the three-month period, rising $23.3 million from last year. Home entertainment revenue was $21.8 million, an increase of $4.9 million during the same three-month period a year ago. MGM's most recent third quarter worldwide theatrical revenue for film content was $5.3 million, up $2.4 million from last year.
MGM Holdings has reported a strong 42% third-quarter revenue hike to $380.2 million, thanks to higher television revenues.
"We also continued to deliver a high volume of unscripted shows, including our new show for CBS, 'TKO: Total Knock Out,' plus new episodes of 'Live PD' from our strategic acquisition of Big Fish in June 2018, 'The Real Housewives of Orange County' (Season 13), 'Survivor' (Season 37), 'Botched' (Season 5), 'The Voice' (Season 15), and many other shows," MGM said.

Listing agent Spencer Means at Compass Real Estate declined to comment.” />
A zigzagging corridor off the kitchen leads to a hall bathroom that includes two guest bedrooms and a hall bathroom with a flat-screen TV built-in to the wall above the towel rack. The not especially spacious master suite, also tucked back behind the kitchen, offers two exposures, a custom-fitted dressing hall with full height wardrobes and a windowed bathroom with modern white cabinets juxtaposed against a classic, claw-footed bathtub and a glitzy white glass chandelier.
Samuel L. Located on one of the middle floors of a prestigious, 13-story pre-war apartment house known as The Leonori, the approximately 3,000-square-foot condo has four bedrooms and 3.5 bathrooms. Jackson hopes to turn a hefty, multi-million dollar profit on the sale of a multi-unit combination condominium on the Upper East Side of Manhattan he bought in 2005 for $4.8 million and now has available at $13 million.
Presiding over the tony corner of East 63rd Street and Madison Avenue, the elegant, elaborately detailed limestone clad Beaux-Arts-style building was built in the early 1900s as an apartment hotel and remains named after the building’s first lessor, Charles L. In 1937, with apartment hotels falling out of fashion, the owner of the building maintained the opulent façades but rebuilt the interiors to accommodate proper apartments and the now landmarked, doorman-staffed building was converted to luxury condominiums in the 1980s. Leonori.
At the cozy heart of the bi-winged apartment, a slender den is dominated by a bespoke media cabinet while a petite dining area incorporates a cushioned window seat banquette and the meticulously tailored and unquestionably high-end but decidedly pint-sized kitchen is arguably better suited for unpacking take-out than cooking up a culinary feast. An ample guest bedroom beyond the living room includes a cedar-lined walk-in closet and an Art Deco-inspired bathroom slathered in inky black ceramic tiles. A windowed alcove off the small entrance vestibule and foyer includes a sleek wet bar with under-counter beverage fridge and the lengthy but somewhat slim combination living/dining room features dark chocolate-brown oak floorboards, a floor-to-ceiling bank of custom built-ins and a dramatic black glass chandelier over the dining table.
The estate privately occupies a private promontory with cross-canyon views from a nearly 12,000-square foot mansion at the end of a long, tree-covered driveway along with a swimming pool, poolside guesthouse and lighted tennis court. Jackson, who has more than half of a dozen projects in various stages of production including M. Night Shyamalan’s upcoming sci-fi thriller “Glass,” and his actress wife, LaTanya Richardson, also maintain a leafy estate in the much-ballyhooed Beverly Park enclave in the mansion-dotted mountains above Beverly Hills, Calif., that they picked up in 2000 for $8.35 million from Roseanne Barr.

Can you discuss that, and where else you will be going with the film? You have an interesting strategy for exhibition.
Or is there something else you want audiences to take from the film? Was it just to tell the history of this transcendent talent? What was the goal in making this film?
The goal was to make a "Piazzolla by Piazzolla" film. Ninety per cent is previously unseen footage and amazing music, or personal archives revealed by his son for the first time. But it is not a film only about his music, It is also about a father and his child, family loves and the mysteries of creation. We don’t have talking heads.
Documentary Film Festival Amsterdam (IDFA). Daniel Rosenfeld’s “Piazzolla, the Years of the Shark,” a biographical documentary about tango musician Astor Piazzolla, world premieres at the Intl. Rosenfeld talked with Variety about Piazzolla’s legacy, the revelations within the film and his interesting exhibition strategy.
The film features a previously unreleased collection of interviews with the artist himself, recorded before his death in 1992. Piazzolla is, along with Carlos Gardel, the most notable tango musician of the 20th century. The film uses those tapes, video of classic performances and the extensive memorabilia collection of Piazzolla’s son, Daniel, to tell the story of the international superstar.
Rosenfeld found early success as a documentary filmmaker with his 2000 debut “Saluzzi – Essay for Bandoneon and Three Brothers.” The bandoneon, similar to an accordion, plays a major role in “Piazzolla” as well.
Euroarts is handling sales. The film is an Argentine-French co-production between Rosenfeld – an equally accomplished producer and director – and France’s Françoise Gazio from Idéale Audience.
In December the film will have its Asian premiere in Japan. The international premiere is at IDFA, at the Carré Theater, with a Bandoneon concert before the film screens. It’s been crazy, but people love it.” /> In Argentina it just recently premiered in theaters, fully booked since the first screening, then Netherlands, France and Portugal so far. In Argentina I have organized special screenings with a bandoneon player live before each.
How is Piazzolla viewed in Argentina today? He seemed much happier, much more comfortable in other countries where his work was more appreciated, but I wonder if there is a greater appreciation of his work today than during his lifetime.
Nowadays, everyone in Argentina admires Piazzolla’s music. They couldn’t dance with his rhythms; he was changing the Tango. Today international musicians like Chick Corea, Martha Argerich, Yo-Yo Ma, Mick Jagger and Caetano Veloso all play and love his music. But in the ‘50s and ‘60s a lot of people hated his music.
What did you learn about Astor and about his family while you were making this film?
He grew up there in the ‘30s, he lived 14 years there. Childhood has a lot of clues in the creative process. He always wanted to come back to New York. Before doing the film I believed that some of his strongest or most melancholic melodies came from the nostalgia of cities in Argentina he adored like Mar del Plata and Buenos Aires. But now I believe his big love was New York.

Even more, the option of game streaming is becoming a more tangible reality, as Microsoft revealed with its game streaming tech “Project xCloud” on Monday. In a world where you could potentially stream the same games on any device, wouldn’t console choice become irrelevant?Ubisoft’s Yves Guillemot stated back in June a prediction that streaming will be “more accessible” to players, making dedicated or expensive hardware less necessary.“There will be one more console generation and then after that, we will be streaming, all of us,” Guillemot said.” />
“Now that we have ‘Spiderman’ out the door, we’re looking down in 2019 to games like ‘Dreams’ and ‘Days Gone’ but we wouldn’t have enough to bring people altogether in some location in North America to have that event,” Layden said.”We don’t want to set expectations really high and then not deliver on it.”
The event expanded over the next few years as a place to give news updates. This year, though Layden expressed that “we have a lot of progress that we’re making in our games” but also that there’s not much to share at this point for upcoming titles. PlayStation Experience started four years ago as a celebration for PlayStation’s 20th anniversary as a way to “bring fans together” for a consumer event, according to Layden.
In general, game consoles are facing stiffer competition from not just the traditional push and pull with the massive PC games market, but a growing mobile game market, which has exceeded $26 billion already in 2018.  Kodera also said over the summer that he still sees potential in portable gaming, and thinks it shouldn’t be separated from console gaming but seen as another way to experience gaming. As consumers find ways to game beyond traditional gaming-dedicated hardware, the development of such hardware naturally comes into question.
The timing also comes just a month after Sony CEO Kenichiro Yoshida confirmed that a successor to the PlayStation 4 is going to happen.
Yoshida declined to confirm whether or not the next PlayStation console will be called the “PlayStation 5,” which seems like the natural choice.While consoles are traditionally announced at E3, the PlayStation 4's announcement actually occurred at an event in New York City and Microsoft's Xbox One was unveiled at the company's campus. “At this point, what I can say is it’s necessary to have a [sic] next-generation hardware,” Yoshida stated.
This will be the first time in E3's 24-year history that PlayStation will not be attending the event, it is also the second major PlayStation event canceled by the company in recent months.
In September, Shawn Layden, chairman of Sony Interactive Entertainment Worldwide Studios, said the company wouldn't be hosting this year's PlayStation Experience citing a lack of games to show.
The news was buried inside the Entertainment Software Association's announcement of the 2019 show that quoted competitors Nintendo and Microsoft.
Sony Interactive Entertainment, currently riding high on record sales of its PlayStation 4 gaming console won't be hosting its annual press conference or showing up at all during next year's massive E3 expo.
The same could be true for E3 2019, though that does raise concerns about the PlayStation 4 itself and a potential lack of upcoming titles.

Student teams will have support from publishers as well as the university itself with sanctioned events, staff, and resources as well as equipment to bring it all together. The Dean of USC Cinematic Arts, Elizabeth Daley, and Chair of the Interactive Media & Games Division Danny Bilson, revealed the ESU, which will be focused on developing clubs and teams that focus on individual video games that secure large followings, with a goal in mind of making gaming an integral part of student life.
17. The Conquest Event is a school spirit event that's held each year to celebrate the UAC and UCLA cross-town rivalry and is taking place ahead of the USC Trojans and UCLA Bruins' football game on campus Saturday, Nov.
“We aspire for 'League of Legends' to be a global sport that lasts for generations, and we're thrilled to see our Alma Mater, a school right in our backyard, join us in making that mission a reality,” said Beck and Merrill in a statement.
USC Games announced the USC Esports Union (ESU), its first official collegiate esports program, during the annual USC Conquest Event.
USC is set to announce the school's first roster of "League of Legends" Trojans team members on Thursday, who are scheduled to compete against UCLA's Bruins in a live League Exhibition Match. The team will also compete in Riot Games' Spring 2019 competitive College League. There will be a special esports pavilion set up, with "League of Legends" set up in addition to other games, tournaments, prizes, cosplayers, and pro-esports players in attendance.” />
The initiative will also include a special curriculum including industry-sponsored design courses, as well as management, promotion, marketing, and other elements of the esports business. There will be summits held to promote diversity and talks with leaders in the gaming space, financial support for players, and scholarships planned for awarding players as well.
The next few months will find ESU supporting titles like "League of Legends," which it has chosen as its inaugural title, due to Riot Games founding members and USC alumni Brandon Beck and Marc Merrill's involvement.

“Beautiful Boy” uses non-linear storytelling, intercutting frequent flashbacks — sometimes very brief, sometimes longer — in the fact-based tale of a dad (Steve Carell) dealing with his son’s (Timothee Chalamet) drug addiction and rehab.
But a production designer has a vision for the whole movie, to assist and guide you. For me, it was new to work with a production designer. The director, who is making his English-language debut, praises Tobman as “an incredibly talented artist. In Belgium we call them art directors, and they help you find locations. ”
With the first cut, we had to find the emotional logic that makes sense. So we cut it by trial and error and then when it happens — that’s the magic of moviemaking,” he laughs. Other versions jumped back and forth more, and they didn’t work. “I give Nico a lot of credit for being able to jump around time and not confuse the audience.
One example: As things get tougher, Karen works to make the house more colorful. The first story is a genuine house, while the second story was completely built on a stage. The house changes with small details denoting the passage of time. Van Groeningen also praises his cinematographer Ruben Impens and production designer Ethan Tobman, who create the increasingly different worlds of David and Nic, with an impressive re-creation of a Marin County house.
In visiting real-life centers, Ethan noted something that he incorporated into the design. “In almost every place, there are people talking, but there are always a lot of empty chairs, which made it just felt so authentic and sad. Another subtle example: the film’s distinct rehab centers. There are a lot of people seeking help, but there are many more who are staying away.”” />
That concern began with the scriptwriting, by the director and Luke Davies, adapting twin autobiographical books from David and Nic Sheff, through to editing and post-production. Rehab is by definition cyclical, he says, with progress and relapses. Since the story spans more than three years, it was hard to make sure this wasn’t repetitive.
“This shows how his memory works and shows their higher highs and lower lows. Director Felix van Groeningen and his editor Nico Leunen have used this method of storytelling for five of the six films they’ve made together. The style is a good match for the story of the Amazon-Plan B film: “The flashbacks are important to show the emotional journey of these characters, to see the unique bond, and to see David questioning himself,” says van Groeningen.
By moving it, everything fell in place.” “I said, ‘It’s too important, we can’t cut it.’ Nico had the genius idea to put it near the end, and it made everything come together. “There is a scene late in the film, with David and Karen [his second wife, played by Maura Tierney] at an an Al-Anon meeting where a woman is talking about her daughter.” Originally, that scene was in a different place but didn’t work, so Leunen wanted to cut it.
Van Groeningen also credits his editor with finding the truth of the story by playing with chronology.

Schumer is expecting a baby with husband Chris Fischer, and expressed regret at having to cancel the Texas show, which was scheduled for Thursday evening in Dallas. "Texas I am really really sorry and I'll be out there as soon as I'm better," she said.
https://www.instagram.com/p/BqNjmDdFUQj/
Amy Schumer has had to postpone a Texas date on her current tour due to a pregnancy-related condition that has left her hospitalized.
"But everyone who says the 2nd trimester is better is not telling the full story. I’ve been even more ill this trimester. "I am in the hospital. I have hyperemesis and it blows. I’m fine. Baby’s fine," Schumer said on Instagram Thursday. Very lucky to be pregnant but this is some bulls—!"
According to Mayo Clinic, hyperemesis gravidarum occurs "when someone with nausea and vomiting of pregnancy has severe symptoms that may cause severe dehydration or result in the loss of more than 5% of pre-pregnancy body weight."
Schumer was most recently hospitalized for five days in April with a "horrible" kidney infection, causing her to miss the premiere of her film "I Feel Pretty." She said at the time that she was working to "put [her] health first."
Schumer's next scheduled tour date is on Nov. 17 at the New Jersey Performing Arts Center in Newark.” />