In a bizarre statement addressing the New York Times' exposé on sexual harassment allegations against him, Harvey Weinstein ostensibly quoted Jay-Z's track "4:44" off his latest album of the same name in an apparent expression of contrition.
While Weinstein disputes some of the specific allegations, he is working with therapists to address his behavior, per his statement. Many of the incidents took place in hotels such as the Peninsula in Los Angeles or Savoy in London, according to the report.
The story also quotes actress Ashley Judd, who spoke to Variety in 2015 about being sexually harassed by an unnamed mogul. Weinstein has retained a team of lawyers including Lisa Bloom — typically known for working with victims of sexual misconduct, and whose book Weinstein's company is adapting to television — to defend him, and is preparing to sue the Times over the report.” />
The closest approximation are the following lyrics from the song "4:44:" "And if my children knew / I don’t even know what I would do. If they ain’t look at me the same / I would prob’ly die with all the shame." The statement reads, "Jay Z wrote in 4:44 'I’m not the man I thought I was, and I better be that man for my children.' The same is true for me." However, the quote in question does not appear anywhere throughout the "4:44" album.
The Times also reported that Weinstein reached confidential settlements with at least eight women, including McGowan. Celebrities including Lena Dunham, Amber Tamblyn, and Rose McGowan have spoken out following the report, which details allegations from "dozens" of women dating back decades. Weinstein, who has five children, announced that he would be taking a leave of absence amid the growing scandal.

Founder Paula Wallace.
This year's 13 honorees are Richard Gere (Lifetime Achievement Award), Zoey Deutch (Rising Star Award), Mariska Hargitay (Humanitarian Award), Ashley Judd (Virtuoso Award), Kyra Sedgwick (Spotlight Award), Andrea Riseborough (Outstanding Supporting Actress Award for "Battle of the Sexes"), and Willow Shields (Rising Star Award), joining previously announced honorees John Boyega, Salma Hayek Pinault, Holly Hunter, Robert Pattinson, Aaron Sorkin and Patrick Stewart.
The Georgia festival will begin with the opening night gala screening of Sorkin's "Molly's Game," and the festival's centerpiece gala screening will feature Greta Gerwig's "Lady Bird."
The 17 films with Gala Screenings in this year's festival include "I, Tonya," "The Shape of Water," "Downsizing," and "Three Billboards Outside Ebbing, Missouri." Other films like "Logan," "Battle of the Sexes," and "The Big Sick" are part of the Signature Series screenings and will feature Q&A sessions with directors, actors, producers, and writers. The SCAD Savannah Film Festival highlights films it considers to be awards contenders.
4. This year's festival will show 131 films, including 33 narrative films, 16 documentaries, and 82 shorts and will run from Oct. 28 to Nov.
Film Festival, guests and industry greats alike see that the best is yet to come,” said SCAD President and
“For 20 years, SCAD has celebrated the best of the best in film, and each year at the SCAD Savannah
The Savannah College of Art and Design has announced the honorees and film lineup for the 20th SCAD Savannah Film Festival.
The Savannah College of Art and Design has seen more than 8,100 students go into animation, film, broadcast and other entertainment jobs.” />

Such an assumption is certainly made by “black sheep” cousin Trace (Tanner Beard), who attempts to proposition Sinaloa on a money-making scheme. Spied early on in an out-of-focus closeup that suggests a mysterious identity, Sinaloa appears, on the surface, like your typical return-of-the-repressed villain, back to wreak havoc and claim a share of the clan’s fortunes. That latter quality is also matched, it becomes clear, with a mischievous — if not downright cunning — streak, which first manifests itself when, while preparing for a party at Merle’s familial estate, Sinaloa abruptly introduces herself to Merle’s mom Patricia (JoBeth Williams) as Merle’s sister. However, it’s at this point that “Barracuda” veers sharply to the left, even as it maintains its inherent mystery about who this long-haired woman is (a question complicated by the singer-songwriter skills she may have inherited from her father) and what she truly wants.
There’s nothing particularly adventurous about their approach, but nothing unsteady either, which allows concentration to remain squarely on Tolman and Reid as their characters bob and weave around each other, at once far enough apart to maintain a sense of safety, and yet just close enough for discomfort. The palpable tension between them grows ever steadier as things progress, and from Sinaloa’s flick of a knife at a would-be friend, to her later attempt to force Merle to put a wounded dog out of its misery, the threat of mortal danger soon amplifies to a menacing degree. Aside from their fondness for framing figures in fuzzy compositions, Cortlund and Halperin’s direction is of a polished if standard variety, interjecting fleeting snapshots of lonesome highways, nighttime truck stops and Austin city construction projects into their action proper — all of it set to a gentle country-tinged score.
Merle naturally greets this news with more than a bit of skepticism, and her suspicions only grow after Raul impulsively (and, with regard to his wife, thoughtlessly) invites Sinaloa to stay with them. Making matters edgier still is Sinaloa’s behavior, which vacillates on a dime between rash cheeriness and goodwill toward Merle (whom she says she wants to embrace as her last living blood relative) and detached strangeness. Arriving from immediate parts unknown, Londoner Sinaloa (Sophie Reid) proves a surprising guest to Austin, Texas, resident Merle (Allison Tolman) and her fiancé Raul (Luis Bordonada) — especially once Sinaloa claims that she’s Merle’s half-sister, having been fathered and occasionally visited by their dearly departed country-icon daddy during his overseas tours.
No matter the violent incident that punctuates its climax, the film sidesteps clichés as it wends its way toward its conclusion, locating the tumultuous and corrosive alienation, loneliness and discontent that comes from being denied the appreciation everyone believes they deserve.” /> More than Reid’s hard-to-read countenance, it’s the capable Tolman’s constant look of furrowed-brow concern and confusion that soon takes center stage in “Barracuda.” Merle’s emotional destabilization mounts as she comes to recognize this long-lost sibling as a kindred spirit, equally desperate for validation after a lifetime of neglect, if not outright abandonment, by a father who cast such an overwhelming shadow.
Credit to Jason Cortlund and Julia Halperin’s indie film, then, for quickly upending expectations and delivering a far more uneasy, ambiguous portrait of women desperate for recognition and acceptance. Though its slow-burn narrative doesn’t pay off in a wholly satisfying manner, this offbeat nail-biter should nonetheless be welcomed by those eager for something off the beaten genre path. The story of a young stranger who shows up on a woman’s doorstep claiming to be her stepsister — and thus potentially in line for a piece of their dead-music-legend father’s pie — “Barracuda” initially seems like just another run-of-the-mill thriller about a grifter carrying out a duplicitous scheme.

The film's producers are Lauren Mann of Wandering Trail Pictures and Blackbird’s Lawrence Inglee. The script is adapted from Catherine Hanrahan's debut novel "Lost Girls and Love Hotels." Hanrahan adapted her book for the screen.
Amazon Studios has given a Feb. 23 release date to "You Were Never Really Here," which debuted at this year's Cannes Film Festival.
Stefan Avalos wrote, produced, and directed the movie. Houck is joined in the documentary by world-renowned violinist Razvan Stoica, his mentor and fine-violin maker Rodger Stearns, his cousin and best friend David Campbell and his mother Mary Houck.
Rosa Attab, Pascal Caucheteux, Lynne Ramsay, and James Wilson are producers. The news was first reported by Deadline Hollywood.” /> Ekaterina Samsonov and Alessandro Nivola also star. "You Were Never Really Here" is based on Jonathan Ames' novel.
Olsson's Swedish-language film, "Reliance" (Förtroligheten), won the grand jury prize for best cinematography and best screenplay at the Shanghai Film Festival in 2013. WME Global is handling the worldwide rights for the film.
Alexandra Daddario, known for HBO's "True Detective" and the "Baywatch" remake, has signed on to star in the dramatic thriller "I Am Not A Bird" for director William Olsson.
Gravitas Ventures has acquired North American rights to "Strad Style," which took home both the grand jury and audience awards for best documentary feature from this year’s Slamdance Film Festival, Variety has learned exclusively.
"I Am Not a Bird," centers around a young western woman in the midst of losing herself in the bacchanal of nighttime Tokyo. Haunted by memories of her twin brother's descent into madness, she courts danger with her fellow ex-pat misfits in dive bars and love hotels before she falls for a handsome Japanese gangster.
It centers on Ohio hillbilly Daniel Houck and his peculiar obsession with Italian luthier and crafter of string instruments, Antonio Stradivari, and all things violin. 7 and in DVD/Blu-ray Nov. The movie will be available on demand Nov. 14.
Nolan Gallagher and Josh Spector from Gravitas Ventures negotiated the deal with ICM Partners on behalf of the filmmakers.
The movie is directed by Lynne Ramsay and stars Joaquin Phoenix as a PTSD Gulf War vet and former FBI agent who gets hired to free a senator’s daughter out of a sex-trafficking ring.
In today's film news roundup, Alexandra Daddario is cast in the dramatic thriller "I Am Not a Bird," Gravitas buys the documentary "Strad Style" and Joaquin Phoenix's "You Were Never Really Here" gets a release date.

Meanwhile, musician Caleb Keeter, a performer at Sunday's Route 91 Harvest Festival, wrote that he had changed his mind and now advocates gun control.

Lady Gaga also called for legislators to "act quickly."

Joss Whedon tweeted a link to support Everytown for Gun Safety, an advocacy group backed by Michael Bloomberg, among others. Julianne Moore, Marti Noxon, Debra Messing and Peaches were among many others who also tweeted the Everytown message.

Billy Eichner tweeted several calls to action supporting more firearms regulation.

"Sensible gun control NOW," Alyssa Milano wrote. Numerous other entertainment figures joined the call to limit access to guns.″ />
In the wake of Sunday night's mass shooting that killed at least 58 people in Las Vegas and injured hundreds more during a country music concert, entertainment figures are begging the government to enact stronger gun control laws.

Charges against McFarland include two counts of wire fraud – one for scheming to defraud investors through actions including falsifying emails – and the other scheming to defraud vendors. Two additional counts allege false statements to a bank.
Technically the government was required to bring an indictment against McFarland within 30 days of his arrest, a condition that can be extended by mutual agreement and was ameliorated by the fact that the defendant was free on bond rather than incarcerated. McFarland was attended in court by his lead counsel, Boies, Schiller & Flexner’s Randall Jackson, as well as the firm’s Karen Chesley. Attorney Kristy Greenberg. Representing the government’s case was Assistant U.S.
McFarland’s Fyre Media business partner, the rapper Ja Rule (whose given name is Jeffrey Atkins) has not been criminally charged but is named as a defendant in several of the dozen or so civil cases.” />

13. McFarland can amend his pleading at any time prior to trial. Attorney Joon Kim. If an agreement is not reached between McFarland and U.S. McFarland, 25, waived indictment, which eliminates the need to convene a grand jury, meaning the case will proceed on evidence collected by federal investigators, compiled in a document known as an information signed by Acting U.S. prosecutors a trial can be expected to commence sometime during the first quarter of 2018. The government now has two weeks to present discovery to the defense, with the first pre-trial hearing is scheduled for Dec. While the waiver signals a cooperative defendant and would typically indicate that plea discussions are underway, the move has no practical bearing on the case, which will proceed to trial.
Court for the Southern District of New York on Pearl Street in Lower Manhattan. The proceeds were sparsely attended, due in part to the fact that it was calendared late last week, as well as the fact that opening arguments were taking place in the same building for the high profile "Chelsea bomber" terrorism case of Ahmad Khan Rahimi, which was packed and spilled into an overflow courtroom. The hearing took place before Judge Naomi Buchwald on the bench for the U.S.

Fyre Festival promoter Billy McFarland appeared in Manhattan federal court this morning where he pleaded not guilty to charges of wire fraud and making false statements to a bank. Cancellation of the fest, which delved into chaos as attendees began arriving on the island, resulted in addition to the criminal proceedings in several civil class actions investor suits. The proceeding was the result of a June 30 arrest and criminal charges of defrauding investors in the ill-fated Fyre Festival Bahamian concert that was to have taken place in April and May.

Existing Groove Music subscribers are being encouraged to transfer their playlists and libraries to Spotify. Microsoft is the latest company to exit the streaming music business: The software giant announce Monday that it was shuttering its Groove Music service at the end of this year.
"As we continue to listen to what our customers want in their music experience we know that access to the best streaming service, the largest catalog of music, and a variety of subscriptions is top of the list," wrote Microsoft Groove GM Jerry Johnson in a blog post Monday.
Samsung tried a number of different service models before ultimately settling on a partnership model with existing services. Microsoft isn't the first major tech company to try, and then give up on competing with Spotify. And Sony replaced its own music service with Spotify in early 2015.” />
Existing Groove Music subscriptions won't automatically transition to Spotify subscriptions, but the two companies are trying to sweeten the deal for Groove Music users by giving them 60 days to try Spotify's premium service for free. The company will stop serving subscription customers and selling music downloads at the end of December, but maintain the app as a way to play local music libraries.
Microsoft first launched its Xbox Music subscription service in 2012, and was initially focusing heavily on Xbox users as its target audience. In 2015, the company rebranded the service as Groove Music, hoping to broaden the service's audience and also reach users on mobile platforms. However, Groove Music never really caught up to Spotify or Apple Music, and ultimately competed among a list of second-tier services.

He was 66. Tom Petty, whose Florida-bred quintet the Heartbreakers was one of the defining arena-rock acts of the 1970s with hits like "Breakdown," has died after suffering a heart attack Sunday at his home in Malibu, Calif., a source confirms to Variety.
The band cut an unsuccessful single for Shelter, but fell apart with the firing of original drummer Randall Marsh. In the wake of a poorly capitalized exploratory trip to Los Angeles in search of a record contract, Mudcrutch was contacted by Denny Cordell, an English producer-executive whose Shelter Records had issued hit releases by Cordell’s partner, musician Leon Russell.
Petty is survived by second wife Dana York Petty and his daughters from his first marriage, Adria and Annakim.” />
13 album featured the cautionary title song, a brooding number about the record business that director Julien Temple converted into an elaborate, nearly seven-minute video starring Johnny Depp and Faye Dunaway. The Heartbreakers regrouped for 1991’s “Into the Great Wide Open,” which also employed the production services of Lynne. The double-platinum No.
Police responded to his home a 10:50 p.m. Sunday night and he was transferred to UCLA-Santa Monica Medical Center, where he was on life support until Monday.
After Shelter was acquired by major MCA in 1979, Petty bridled and sought to void his band’s contract with a bankruptcy declaration. Ultimately, the group was rewarded with a better deal and a slot at a newly formed MCA imprint, Backstreet Records.
Despite dramatic exits from the Heartbreakers’ original lineup, the expulsion and overdose death of the group’s latter-day bassist and Petty’s intermittent struggles with drugs and depression, the Heartbreakers sustained their massive popularity for more than four decades.
8, 2008) and “2” (No. 4, 2006) and the two albums with the renascent Mudcrutch, “Mudcrutch” (No. Petty’s side projects in the new millennium included the solo side “Highway Companion” (No. 10, 2016).
However, he had cancelled a few shows during the tour for laryngitis. 25. Petty toured all summer across the U.S., with the last date at the Hollywood Bowl on Sept. He had been scheduled to play two dates in New York in November.
With their breakthrough third album, 1979’s triple-platinum “Damn the Torpedoes,” the Heartbreakers established themselves as a top contender among American acts of the era. The group’s 1993 “Greatest Hits” collection sold more than 10 million copies. The unit ultimately released eight top-10 albums and nine top-20 singles.
8, and combined strong full-band material with a more subdued, folk-inflected sound. Petty’s sophomore solo release “Wildflowers,” produced by Rick Rubin and released in 1994, rose to No.
He was born Oct. Like many other boyish rock aspirants, he began working on music in earnest after witnessing the Beatles on “The Ed Sullivan Show” in Febrary 1964. 20, 1950, in Gainesville, Fla. A poor student, he caught the rock ‘n’ roll bug after he was introduced by his uncle to Elvis Presley, who was shooting the picture “Follow That Dream” on location in nearby Ocala.
15). Backstreet issued “Damn the Torpedoes” in the wake of the new pact. Produced by engineer-producer Jimmy Iovine, who had worked on such straight-ahead rock hits as Bruce Springsteen’s album “Born to Run” and the Springsteen-Patti Smith smash “Because the Night,” the album was lofted to No. 10) and “Refugee” (No. 2 by the signature hit singles “Don’t Do Me Like That” (No.
Petty was awarded UCLA’s George and Ira Gershwin Award for lifetime achievemtn in 1996. In 2002, Petty and the Heartbreakers were inducted into the Rock and Roll Hall of Fame.
The latter album featured participation by two performers who would soon become permanent members of the Heartbreakers: drummer Steve Ferrone, first heard with Petty on “Wildflowers,” and the well-traveled session guitarist Scott Thurston. The band’s sales declined with the gold soundtrack album “Songs and Music from ‘She’s the One’” (No. 15, 1996) and “Echo” (No. 10, 1999).
7, 1985), which contained a No. pop duo Eurythmics, and promoted via MTV in a striking “Alice in Wonderland”-themed video featuring Petty as the Mad Hatter. 9 collection “Long After Dark” in 1982. 13 hit, “Don’t Come Around Here No More,” produced and co-written by Dave Stewart of the U.K. That title was succeeded by the regionally flavored “Southern Accents” (No. Epstein bowed on the No.
He also hit the upper reaches of the charts on two albums with the supergroup the Traveling Wilburys, a collaborative effort with Bob Dylan (with whom the Heartbreakers toured internationally in the late ‘80s), George Harrison, Jeff Lynne and (on the debut release) Roy Orbison. With 1989’s “Full Moon Fever,” Petty established a concurrent solo career that saw the release of three top-10 albums.
He died of drug-related causes in February 2003. The increasingly unreliable Epstein – who failed to show up for the cover photo session for “Echo” – was finally dismissed after appearing with the Heartbreakers at their 2002 Rock and Roll Hall of Fame induction.
It was this five-piece group that assembled in Los Angeles to record the newly dubbed Heartbreakers’ self-titled debut album in 1976. However, Petty, Campbell and Tench reconvened with the addition of two other Gainesville musicians, bassist Ron Blair and drummer Stan Lynch.
Recalling his first performance with a band as a teenager to biographer Warren Zanes, he said, “The first time you count four and, suddenly, rock and roll is playing – it’s bigger than life itself. It was the greatest moment in my experience.”
Director Peter Bogdanovich took a deep look at the Heartbreakers story in his four-hour 2007 documentary “Runnin’ Down a Dream.”
But the sets spawned such tuneful early live staples as “American Girl,” “Breakdown” (the group’s biggest early hit, peaking at No. 23 respectively. Neither that album nor its 1978 successor “You’re Gonna Get It!” were major successes, peaking at No. 40), “I Need to Know” and “Listen to Her Heart.” 55 and No.
Over the course of time, Petty piled up credits in other show biz realms. Following bit parts in the features “FM” and “Made in Heaven,” he became a recurring character as himself on “It’s Gary Shandling’s Show” and appeared on “The Larry Sanders Show.” He voiced ne’er-do-well redneck Lucky Kleinschmidt on Mike Judge’s animated series “King of the Hill.” He was also a long-running celebrity host on Siriux XM satellite radio.
In 1979 he filed for Chapter 11 bankruptcy protection after his original recording contract, which he found onerous, was acquired by MCA Records. He was a smart, outspoken and intransigent musician whose song “I Won’t Back Down” could be taken as a kind of credo. Two years later, he publicly attacked MCA when they threatened to raise the list price on his new album.
The act became a surprisingly popular attraction in England amid the punk rock fervor of the day; at a show a the Whisky a Go Go in the newly adopted hometown of L.A., they were introduced by British DJ John Peel, an enthusiastic early supporter.
In a move that surprised everyone except Ron Blair, who had predicted his own return in a 1993 interview, Petty drafted the Heartbreakers’ original bassist to replace Epstein on the 2002 set “The Last DJ,” a bile-filled rebuke of the music industry that reached No. 9.
Penning economical, affecting, hook-laced songs (frequently in partnership with guitarist Mike Campbell) that never shied away from complex emotions or dark narratives, Petty approached rock music with the fervor of the true believer.
His long-running marriage to Jane Benyo unraveled, and the depression-prone musician began a short dalliance with heroin use. Founding drummer Lynch, whose resentment grew when Petty failed to use him on “Wildflowers,” was ejected from the band. And bassist Epstein’s own heroin addiction began to escalate. During this period, Petty’s personal and professional life began to erode.
Singer-songwriter-guitarist Petty arrived on the national scene during the period between the original classic rock era and the arrival of punk. His taut, thoughtful and heartfelt songs – which elaborated on the work of such precursors as the Byrds – resonated with an audience looking for a new hero.
However, at that juncture Petty and the Heartbreakers’ profile was heightened considerably by service as opening act and backup band on a long world tour by Bob Dylan. The 1987 album “Let Me Up (I’ve Had Enough),” though it reached No. 20 and shifted 1 million units, was deemed a relative disappointment.
In his late teens, he became a top local attraction on the fertile Gainesville music scene (which produced members of the Flying Burrito Brothers, the Eagles and new wave act the Motels) as front man and songwriter for Mudcrutch, an outfit that also included guitarist Campbell and keyboard prodigy Benmont Tench. Playing guitar and bass, he cut his teeth in cover bands like the Epics and the Sundowners.
Petty also returned to his Sunshine State roots with two top-10 albums that reunited members of his late-‘60s hometown band Mudcrutch.
7) and “Runnin’ Down a Dream” (No. The next few years found Petty increasingly active as a performer apart from his working band. 3, 1988). 23). 1” (No. Some of the Heartbreakers appeared in minor backing roles on his Jeff Lynne-produced solo debut “Full Moon Fever,” which contained the emblematic hits “Free Fallin’” (No. He worked side-by-side with his idols on “Traveling Wilburys Vol.
Blair remained on board as full-time bassist for subsequent tours and the Petty-Heartbreakers albums “Mojo” (2010), a blues-based collection that peaked at No. 1 album, a mere 37 years after their debut. 2, and “Hypnotic Eye” (2014), which became the band’s first No.
The million-selling “Hard Promises” (No. 3 single “Stop Draggin’ My Heart Around,” on which the Heartbreakers, produced by Petty and Iovine, backed avowed Petty fan Stevie Nicks of Fleetwood Mac, soon followed. 5, 1981) and the same year’s No.
However, bassist Blair, considered the odd man out among the band members, was soon displaced in the group by Howie Epstein, who played on the sessions for the Petty-produced 1982 album by ‘60s rocker Del Shannon, “Drop Down and Get Me.”

rights to Italian crime drama “Maltese” from sales company ZDF Enterprises. It is the first Italian drama to stream on the VOD service. TV drama VOD service Walter Presents has acquired the U.K.
in March this year.” /> in January last year by Iuzzolino, Jason Thorp and Jo McGrath. It launched as an SVOD service in the U.S. Walter Presents, which is a joint venture between Channel 4 and Global Series Network, was launched in the U.K.
The eight-part series stars Kim Rossi Stuart as a police detective who returns to Sicily for the wedding of a childhood friend and gets caught up in a murder case which sees him waging war against the mafia in a desperate effort to unravel the truth. Rike Schmid co-stars.
“It’s a violent, elegant, nostalgic piece that combines the pathos of ‘The Godfather’ with the achingly stylish beauty of ‘Mad Men.’” “I’ve been on a mission to find a great Italian drama for the last three years and this is truly an exceptional one,” said Walter Iuzzolino, the Italian-born co-founder and curator of Walter Presents in a statement.
It is produced by Palomar, RAI and Maze Pictures . “Maltese” is written by Leonardo Fasoli and Maddalena Ravagli, who worked together on hit Italian crime series “Gomorrah,” and directed by Gianluca Maria Tavarelli (“The Young Montalbano”).

Additionally, a spokesperson for Caesars Palace confirmed that all shows scheduled for Monday night at the venue have been cancelled.
Cirque du Soleil confirmed the cancellations in a statement released on Monday, which added that none of its employees have been identified among the victims and that the organization is continuing to check in with employees. All tickets for cancelled shows will be refunded.
"In light of the attack, and out of respect for all those impacted, all of our shows will be dark tonight. "The entire Caesars Entertainment family is deeply saddened and we are keeping the victims, their families and the first responders in our thoughts and prayers," the spokesperson said in a statement. Tickets for tonight’s performances can be refunded at the original point of purchase. Additional details regarding show times for tomorrow are forthcoming."
"Cirque du Soleil’s deepest thoughts and sympathies are with the victims, their loved ones and the Las Vegas community," Cirque du Soleil said in the statement.
With 58 dead and over 500 injured due to gunfire or the resulting crowd stampede, this shooting is the most deadly in modern U.S. Paddock was found dead in the hotel room. The shooting took place at the Route 91 Harvest Music Festival when 64-year-old Stephen Paddock of Mesquite, Nev., opened fire on the crowd from the 32nd floor of the Mandalay Bay hotel. history.
In the wake of Sunday night's shooting in Las Vegas, all Monday night shows planned for Cirque du Soleil and Blue Man Group in the city have been cancelled.
Other sources were unable to confirm plans for Jennifer Lopez's Vegas show at Planet Hollywood, with the next one being scheduled for Wednesday.” /> A source tells Variety that Celine Dion's show for Tuesday night at the Colosseum is scheduled to proceed as planned, as of now.

Glass will be released by Universal Pictures in North America on Jan. 18, 2019. Production companies are Blinding Edge Pictures and Blumhouse.
The studios announced Monday that Universal will handle domestic distribution, while Buena Vista International is on board for international territories. Shooting began Monday in Philadelphia — the site of many of Shyamalan's movies.
"Split" was a massive success for Universal, Blumhouse, and Shyamalan, grossing $277 million worldwide on a $9 million budget.” />
Producers are Shyamalan and Blumhouse Production's Jason Blum, who also produced the writer/director's previous two films for Universal. Steven Schneider will executive produce. They produce again with Ashwin Rajan and Marc Bienstock.
Joining the cast are "Unbreakable" cast members Spencer Treat Clark and Charlayne Woodard, who reprise their roles as Dunn's son and Price's mother, respectively, as well as Sarah Paulson. "Glass" will see Dunn pursuing The Beast in a series of escalating encounters, while the shadowy presence of Price emerges as an orchestrator.
"Glass" brings together the narratives of Shyamalan's "Unbreakable," which was released through Disney, and last year's "Split," from Universal. Shyamalan is self-financing.
M. Night Shyamalan has started shooting his thriller "Glass," with Disney joining Universal as a distributor.
Other previous Shyamalan collaborators, including cinematographer Michael Gioulakis, production designer Chris Trujillo, editor Luke Ciarrocchi, and costume designer Paco Delgado, will also be working on "Glass."
Joining from "Split" are James McAvoy, reprising his role as Kevin Wendell Crumb and the multiple identities who reside within, and Anya Taylor-Joy, the only captive to survive an encounter with McAvoy's The Beast. From "Unbreakable," Bruce Willis returns as David Dunn and Samuel L. Jackson is back as Elijah Price, best known by his pseudonym Mr. Glass.

Total Broadway cume slipped a bit to $23.2 million for 24 shows playing, and attendance dipped by 8,000 to 198,483, or 84% of Broadway's overall seating capacity.” />
The other was "Anastasia" ($822,993), which has experienced a slowdown of its own but perked up by 5% last week. "Charlie" was one of two new musicals that were largely ignored by the Tonys but still attracted notable crowds, at least initially.
A slow final week of September kept the Broadway box office humble last week, except at the biggest of hits like "Hamilton" and "Hello, Dolly!"
In the aftermath of the closings of shows including "A Doll's House, Part 2" — and with "War Paint" on hiatus for a week — overall Broadway sales and attendance both downticked. Individual productions mostly tread water, posting only minor gains or losses — with the only exception being "Charlie and the Chocolate Factory" ($558,636).
Down by 16% (or approximately $110,000) compared to the previous week, "Charlie" has lost momentum in the last six weeks or so, after an initial several months that saw the show gain significant sales traction despite largely downbeat reviews and a Tony Awards shut-out. The show powered through million-dollar-plus weeks for most of the summer, but more recently has seen its numbers take a downward turn.
Otherwise, there were few changes of note at the box office last week, with "Hamilton" ($2,941,667), "Hello Dolly!" ($2,310,278), "The Lion King" ($1,876,322) and "Dear Evan Hansen" ($1,680,306) holding on to spots at the top of the chart.
Reps for the show promise the production's weekly grosses will be higher this week. With significant appeal to the all-ages demographic, "Charlie" seems certain to trend with the Street, rising as city visitors — and, in particular, family-oriented tourists — return to Times Square.

Indeed, listing details indicate the unit is tenant occupied and offers “good income potential.” A little research on the internet indicates similar units in 1950s-era building rent for somewhere just above $1,000 per month. It seems highly unlikely the famously curvaceous and deep-pocketed brunette actually shacked up in the humble studio much if at all in recent years given she’s one of Hollywood’s highest earning television actresses, with an income Forbes estimated to be about $41.5 million between June 2016 and June 2016, and, hence, can comfortably afford the finest suite or bungalow of any hotel in Miami Beach.
Listing photos: EWM Realty” />
They do, however, indicate the one-room apartment measures in at 468-square-feet —smaller, probably, than the master bathroom of Vergara’s Beverly Hills mansion — with hardwood floors, a through-wall air conditioner and maintenance fees of $210 per month. Online listings don’t include any photographs of the interior of the second floor condo that is conveniently two short if not particularly scenic blocks from the beach.
Online listings show the condo pending sale. A couple of years before she landed her star-making role as heavily accented, preternaturally sexy and hilariously superstitious trophy wife Glóría Delgado-Pritchett on the now-iconic sitcom “Modern Family,” Colombian-born and bred actress Sofía Vergara, married to equally alluring actor Joe Manganiello, paid $165,000 for a pint-sized studio apartment in an unassuming, low-rise building in the North Beach area of Florida’s Miami Beach that, we first heard word from Bettina Beachcomber, is on the market for $150,000.
It wasn’t until early 2014, a few months before she publicly announced her engagement to fortunately-born food condiment entrepreneur Nick Loeb had been called off, that the “Hot Pursuit” star acquired a Beverly Hills mansion commensurate with her skyrocketing fame and fortune. The opulently outfitted three-story Italian villa of 11,369-square-feet cost her $10.6 million and at the time of her purchase had five family bedrooms plus two staff bedrooms and a total of 11 bathrooms as well as a 3,000-bottle wine cellar and tasting room, a bar room, a screening room and a gym with sauna. Miz Vergara, who, turns out, wisely dropped out of dentistry school in Colombia to pursue modeling and show business, owns at least two other, much more substantial properties, both in Los Angeles. The three-bedroom and three-bathroom unit briefly popped up for sale in 2011 at $1.35 million and was set out as a high-end rental in late 2015 and early 2016 at $7,200 per month. In July 2007, just months after she bought the wee pad in Miami Beach, she coughed up $1.1 million for a 2,071-square-foot condo on a middle floor of mid-rise apartment tower along the Wilshire Corridor.

But priorities have changed.
“For a film industry with such a small domestic market, it’s important to make movies which can interest international partners and reach markets overseas,” Muñoz argued.
The Basque government is also broadening its range of incentives, introducing this year development grants and now Film Basque Country, a move to homogenize tax breaks across the Basque Country, build a stronger digital locations base and present a united front for the Basque Country’s shoot locale appeals in international, Muñoz said.
“With Basque Government and ETB aid, producers are in a favorable position to take their project to a national or international level,” said producer Koldo Zuazua.
“The search for international openings is our opportunity and our challenge,” said “Kilker" producer Marián Fernández Pascual.
Talked up for years, Basque Country tax breaks are “pretty well generalized,” said Muñoz. Channelled via AIE tax vehicles and offering investors 30% tax breaks, they allow Basque producers to come to the international table – and with the rest of Spain – with far more muscle, said producer Eduardo Carneros.
After “Loreak” and “Handía,” Irusoin/Moriarti producer Xabi Berzosa said at San Sebastián that his next two features will both be international co-productions. Set up at Txintxua Films, “Kilker, the Cricket Hunter,” from Asier Altuna (“Amama”) is also a natural for overseas co-production, unspooling between Paris and the Basque Country.
A producer of the extraordinary Gkids-bought animation film “Birdboy: the Forgotten Children,” Carlos Juárez agrees: “We need to ramp up exports.”
Pitched Sunday at San Sebastian’s Europe-Latin America Co-production Forum, Pablo Aguëro’s “Akelarre” has two French co-producers, La Fidèle and Tita Productions, and has been acquired for world sales by Film Factory Ent., in a deal announced Sunday. That looks to be happening. One day later, Film Factory Ent. revealed it has also boarded Fermín Muguruza’s awaited animation feature “Black is Beitza.”
As “Game of Thrones” showed, turning Bizkaia’s islet of San Juan de Gaztelugatxe into Season 7’s Dragonstone, and the stark-cliffed beach of Itzurun into the place where Daenarys finally steps onto the shores of Westeros, one large lure of the Basque Country is simply the singularity of its locations, ranging from Frank Gehry’s titanium Museo Guggenheim in Bilbao to its wild coast, crag-topped hills and steep-buffed mountains.
SAN SEBASTIAN –“Handía” (Giant), San Sebastián’s 2017 flagship Basque movie, a tale of two brothers’ deep affective bonds, says much about the film ambitions of the Basque Country – and why the Basque Country should grow as a shoot locale for films or TV from Europe and beyond.
Once an afterthought, in Film Basque Country international is once again moving stage center.” />
Basque production volume may not have risen much in very recent years, said Joxean Muñoz, the Basque government’s deputy culture minister: Counting minority co-productions, the Basque Country makes an average score of features a year.
Set down the decades from 1836, the tale of two brothers’ love, warped but never destroyed by grinding poverty, romantic rivalry and the carnage of the 1833-40 Carlist War, begins with shots of the Basque Country and a voiceover: “Change is the only thing that is not changing.”
One of the biggest attractions of shooting in the Basque Country is the Basque country. “Handia’s” prologue captures rolling pine-clad hills seen in pale dawn light, steep cliffs, and scrub-desert expanses.
Basque production is broadening its gamut. San Sebastián Basque movies this year range from a period piece (“Handía”) to broad comedy (“Operación Concha”) to auteurist intimacy (“Dying”), a thriller (“Akelarre”) and road movie (“El doble más quince”), even a musical (“Dantza”). “There are as many trends as producers and directors,” said producer Leire Apellaniz.
For near two decades from the late-80s, in industrial terms, Basque cinema was a survival act. From around 2004, the Kimuak shorts program, consolidated Basque government and TV backing, via pubcaster ETB – which buys Basque movies at above market prices – and the breakout hit of “Aupe Extxebeste!” a light – if spot-on – social satire and the first Basque-language feature in years, laid the foundations of a modern Basque cinema. Another is the Basque Country industry itself.

Marshall and William Cawley. Directed by the Academy Award-nominated Kennedy (“Last Days in Vietnam”), “Take Every Wave” is written by Mark Bailey and Jack Youngelson, produced by Kennedy, Paul Speaker, Bailey, Youngelson, and executive produced by Jonathan S.
There's the technical questions: How do you capture a guy on a wave? I was challenged in ways I hadn't been in my other films. It's part of the appeal, frankly, that it was so different. But what drew me is that I felt it had a great story, the character’s so rich, one of the great individualists, someone who's forged his own path, who's changed the sport in radical ways. This is a different kind of films from most of the ones I've done. If you look at other sports, you haven't seen so many extreme changes.
In banner international deals, Film Constellation has closed France (Groupe AB, Canal Plus), Germany/Austria, one of Europe’s biggest extreme sports movies markets (Universum), China (Jushi Films) and Latin America (Polar Star). Cai Chang has acquired Taiwanese rights, Captive those for airlines.
There were some ground rules agreed to early on.” /> It was a process of making him feel comfortable and not really forcing anything per se. Some things I did force in the beginning, I really wanted editorial control. But I think it was not always a comfortable place for him. I think he and Gabby are very open, he was incredibly generous, he put me in touch with family and friends that he has a strange relationship with. The interview was done over four days, three hours a day, we covered a lot of ground and I think he was largely open with me. That's a brilliant question.
“Take Every Wave’s” press notes talk about your films addressing some of the world's most pressing issues: poverty, corruption, domestic abuse, human rights, mental illness. What is the most pressing issue addressed by “Take Every Wave?”
I think you can say with Gaby and other people in his life, it is the cost of greatness, to some degree. Those [Strapped] friends were of great value to Laird at that time. But he has to move on and find some other people who'll continue to help him achieve his goals. If not, it doesn't work so well. I think it played a role. If you're onboard with that, it works. But it speaks to something bigger; when you are so singularly focused in your life there’s gonna be cost and consequences.
And I think he has an internal drive, which, y'know, nature/nurture. He was driven, from a very young age had a love and passion for the water, he'd push the envelope at home and school, with people in positions of authority. I think Laird is definitely driven by demons from his childhood, and we explore it in the film. But at the forefront what drove me was what it takes for a human to achieve greatness, push the envelope, do things nobody else has ever done, at the risk of great personal peril. The surfing is a nice backdrop. But he managed to harness that part of himself, invest it into something that ultimately was quite satisfying for him.
SAN SEBASTIAN — Suggesting the pull of major documentaries on extreme sports legends, London-based Film Constellation has rolled out Rory Kennedy’s weighty “Take Every Wave: the Life of Laird Hamilton,” a portrait of legendary big wave surfer, to multiple major territories.
There, with the rest of the Strapped crew, he invented tow-in surfing, the practice of a surfer being towed by a jet-ski into the ocean so as to catch big waves – which caused huge controversy. As its trailer suggests, the bio-doc goes on to feature spectacular footage of Hamilton in the early ‘90s surfing big waves at what came to be known as the Jaws surf break off the north-central coast of Maui. It also naturally takes in his historic feat in 2000 at Tahiti’s Teahupoʻo break when he surfed what is described as the heaviest wave ever, plus his present passion for foil boarding and fated decision to bring in cameras to shoot his Jaws exploits – which turned him into a celebrity and changed the face of surf forever,
Mixing archive and new footage with interviews with Hamilton, multiple friends (and sometimes ex-friends), surf journalists, his step-father Bill Hamilton and wife Gabrielle Reece, “Take Every Wave” flashes back from a present where Hamilton is nervously listening to radio reports about El Niño creating historic sea swell. “Take Every Wave” records his early life growing up in on Pūpūkea beach on Hawaii’s Oahu North Shore, where, “100% disobedient,” as his half-brother puts it, he was beaten by his father and bullied at school, but found peace in the ocean.
Just as big wave surfing was coming onto the media radar, he met Gabrielle Reece, who was working on TV, and was more clued into what the man she fell in love with could offer as a media brand. One important thing is chance.
Laird himself says that he “didn’t reject competition as much as judgment.” To what extent did he'd view you, as a director, in the interviews or finished film, as a possible source of judgment, and thus feel slightly uncomfortable.
You seem to locate two important answers: One, his childhood and another the need to justify technology in general, in what it allows big wave surfers to achieve. You go beyond the what to the why: What drives Laird Hamilton? I don't know if you'd agree….
“Take Every Wave” will now segue for its U.K. 5 at an IMAX screening at the BFI London Film Festival. The two-hour documentary feature world premiered at January’s Sundance Festival and had its European premiere this weekend at Spain’s San Sebastián Festival, playing in its Savage Cinema section. premiere on Oct. sale to Sundance Selects/IFC Films, which will release “Take Every Wave” on Sept. The U.K., Scandinavia, Spain and Japan are currently in negotiation, according to Film Constellation founder Fabien Westerhoff. 29. In a deal announced this April, UTA brokered a U.S.
But the real focus of “Take Every Wave” is as much psychological, and a question which Kennedy says she asked herself when a child whose family friends included tennis champion Billie Jean King: What drives an elite athlete to attempt such extraordinary feats? Variety talked to Kennedy just before “Take Every Wave” played San Sebastián:
Previous sales were closed together with UTA Independent Film Group for Canada with Mongrel and for Australia with Madman.

A cult, then, by any definition of the term — in which days seem to pass in a perennially sunlit haze of slow-motion gambolling, shot to the lens-flared hilt by ace d.p. Sergio Armstrong, another valuable Larraín loan. She's one of a large, undefined number of young people living on an idyllic lakeside compound in southernmost Chile, overseen with firm but nonconformist authority by the charismatic, middle-aged Miguel (regular Larraín collaborator Marcelo Alonso). Things don't get much less cryptic as we segue into the seemingly charmed, notionally real world of Tamara (Sara Caballero, impressive in her first feature), a bright girl on the cusp of adolescence, who will shortly be made to put away childish things with brutal finality. Questions begin mounting up as early as "Princesita's" dazzling, elliptical pre-credit sequence, a trippy assembly of sliding neon streaks and natural transmogrification imagery that sets up the film's ongoing stylistic tension between the organic and the artificial.
Alonso's increasingly malevolent leader is, unsurprisingly, more unknowable still: At just 78 minutes, "Princesita" may be admirably compact for a film trading in such tricky subject matter, but could afford a little more time spent coloring in its enigmatic character network. There's potential in this horrifying premise for an excoriating feminist allegory, yet even as "Princesita" sets about giving the patriarchy its due, the film undercuts its infernal power by skimping on human details. With all due credit to Caballero — who brings winning curiosity and maturity to a distinctly difficult role — Tamara never emerges as a complete character in her own right, even accounting for the possessive nature of her "family." With her cool, abstract voiceover not necessarily a reflection of her surely turbulent inner life, she winds up a rather remote victim figure — the blank spaces in her psychology all the more disquieting as the film heads into perilous areas of sexual exploitation.
For Miguel is counting on a hands-on role in his virginal young ward's carnal enlightenment: It's not Tamara he views as his successor after all, but the son he plans to seed in her. Even within this loosely disciplined story world, however, the question of why a controlling, obsessive alpha male like Miguel would risk the security of his otherworldly empire by exposing Tamara to conventional society remains a dramatic sticking point in Rivas and Camila Gutiérrez's slender screenplay. From the first day of term, it's clear to Tamara's kindly teacher (María Gracia Omegna) that there's something amiss about the girl's home life; when the class begins sex education lessons, moreover, Tamara's unexpected contributions to the discussion turn those early warning signs to blazing scarlet flags.
Chilean director Marialy Rivas throws a veritable banana split of florid formal techniques at the screen in her risky second feature, switching registers from woozy waking dream to extreme-cinema shock therapy; it's attention-grabbing, but the film's restless, busy style does little to deepen the sensationalistic abuse narrative at its center. "Your body does not belong to you." Few lines can be more terrifying to hear in a horror movie than this one, and the same goes double when it crops up in a coming-of-age drama. The edgy imprimatur of producer Pablo Larraín will give it a leg up with international distributors, but "Princesita" frustratingly proves as evasive as it is incendiary. In "Princesita," a short, deceptively sun-kissed nightmare that ultimately falls under both those categories, it sounds a stomach-knotting alarm to a 12-year-old girl whose sexual and emotional development has fallen under the cultish control of toxic masculinity.
(To what, exactly, we don't know: There's a suggestion of religious intent to the cult that isn't articulated beyond some garish fluorescent crosses.) It is suggested that Miguel is Tamara's father, though the specifics of how anyone or anything came to be in this suspended reality are kept vague in a film that defines itself as an adult fairy tale. Tamara's world is swiftly redefined when Miguel decrees that she must begin attending school away from the compound — a privilege not granted to her fellow cult members, since Miguel claims to see her as his potential successor. "Together, we are happy," Tamara informs us via her ecstatically whispered narration — a running device that not only lends proceedings a darkened hint of late Terrence Malick, but throws the film's perspective disconcertingly, perhaps deliberately, off-kilter from the beginning. Whatever the answer, it's one that knows the illusory nature of that aforementioned happiness. The Tamara of the voiceover seems older and more omniscient than the precocious but decidedly unworldly girl we see on screen, so from what vantage point is her story being told?
Rivas' keen directorial eye and ear for subtly compromised beauty at least brings consistent formal intrigue to this frustrating provocation. Even at its most pictorially blissed-out, there's a bilious undercoat and queasy inconsistency of focus to Armstrong's lensing that hints at greater corruption to come, while the low-lying electro buzz of Ignacio Pérez Marín and Domingo García-Huidobro's score is in tune with our protagonist's growing unease.” />

Patricia Motilla, at Andersen Tax & Legal, pinpointed a positive evolution in tax rebate schemes in Spain whose ceiling for deductions, once 50% of a film’s production cost, is now rising to 60%.” /> In a final session focusing on financing, Pedro Martín at Spain’s Crea SGR, a bank guarantee scheme facilitating bridging loans for clients, revealed that much of its focus now turned on operations with Asociaciones de Interés Económico (AIEs), tax vehicles used ever more to finance films in Spain.
While explaining the equations used by his company, originally developed for marketing companies who used them to determine the best programs for advertising, he pointed out that “more than 50% of the appeal factors that we look at are character driven.” Representing TAPE Consultancy at the forum was company managing director John Peek who discussed ways in which the company quantifies what goes into making a successful series. Of the myriad of possible factors, the obvious stand outs are the characters.
What seems unquestionable, however, is that not only national governments and directives but the E.U.’s Media Program, a targeted support system for film and TV in Europe, is taking on board the paramount importance of VOD delivery for European production, as was made clear by declarations of Media Program head Lucia Recalde at a San Sebastián Festival seminar on Sept. 24, All 4 One.
“Regarding content quotas, the situation is not the same for platforms in all countries,” Recalde said.
This is confirmed by a new Ampere Analysis report, “SVoD Content Strategies: The Drive for Originality (Thinking Local, Going Global). According to its findings, country-of-origin content in the territories Netflix operates in varies from 1% of its total content (Denmark) to just over 10% (the U.K.). European content levels could take these percentages up to 30%-or-over in some territories, however.
“The clear reason for that is that they are not canceling as many, and they are not doing it because they are waiting for catch-up viewing.” Peek said that with more than 50% of viewing now being done through catch-up, networks have to take a more wait-and-see approach to whether their shows are connecting with audiences.
proposed minimum percentage of European content required of international video streaming platforms – may have some impact on various platforms in certain E.U. SAN SEBASTIAN —  Upped from 20% to 30% at a European Council of Ministers this May, the so-called Netflix Quota – an E.U. countries.
“It is good to have content available but more and more important to have the content more visibly shown on the platforms,” Recalde said.
Gong forward, Netflix, Amazon and other platforms could be subject to investment quotas, as already in place in France for Canal Plus, or levies whose returns would be plowed into a fund for local content – a German scheme approved by the European Commission but contested by Netflix.
Discussing larger trends in the TV market, Peek recalled that in his 25 years of attending the L.A. market is slow to adapt, but that changes can be seen .One such trend has been a decrease in number of new shows present at the screenings. Screenings, he has come to realize that the U.S.
Promotion of European digital platform content is “possibly the most important topic we want to discuss with the industry in the context of the future discussion of the Media Program,” she added, arguing that social media promotion allows content creators to reach out to “young audiences” and “new communities.”
According to Joly, "getting people to know the films are on the platform is the most important thing.” But VOD platforms which promote European content are vital. In one of the three panel sessions at 4 For All, Muriel Joly at Under the Milky Way International, a VOD aggregator, reiterated that while making the content available is a nice start, it means very little if it is not marketed properly.
"The most difficult thing isn't the cost, it's the moment you say they need to sign up and put in their credit card." This is the hurdle that all players, large and small, must find ways to overcome. Mac Mahon noted that, "as a platform you want people to get to know you, and what better place to know you than on your own platform." The general consensus among the assembled industry professionals was that a free trial, whatever the duration, is one key. Sophie de Mac Mahon of Flix Olé stressed that the real challenge for a VOD player is picking up new subscribers.

“Charmer” fits the bill to a tee. Oblique –  “the things you don’t say, you don’t see, sometimes are much more effective or interesting, like the inner life of  a character,” Milad maintains – and genre tinged, “Charmer” plumbs class and race as it paints a portrait of the supremely complicated and constrained life of an immigrant. His life becomes a waking nightmare as he falls in love with a beautiful Iranian student, is stalked by the husband of a woman who committed suicide when Esmail abandoned her – one thing he’s not looking for is marriage – and the clock ticks on his likely expulsion from Denmark. Alami’s first feature, it turns on a Iranian, Esmail, who doggedly attempts to secure a stable girlfriend to increase his chances of gaining a residence permit in Denmark.
SAN SEBASTIAN — “If I try to analyze my films, they are usually about characters who are outsiders to society in some sense,” says Irani-born, Sweden-bred and Denmark-based Milad Alami, whose “Charmer,” world premieres at San Sebastian as the opening night film of New Directors, its main sidebar.
Your films are about outsiders. Do you see other constants in them which could be the mark of an emerging authorial voice?
Could you comment? “Charmer” uses within-frame vertical framing of Esmail in constrained spaces and its tones veer from blue when Esmail to occasional red.
Made on a shoestring with fellow graduates of Denmark’s National Film School, 2015’s “Mommy,” a touching portrait of a single mother attempting to be a good parent while still staying young, won a best short Danish Academy Award; co-directed by Aygul Bakanova, “Void,” starring Lars Mikkelson as an emotionally eviscerated 50-year-old, made the cut of the Cannes’ 2014 Directors’ Fortnight. It also represents the debut of one of Denmark’s most multi-prized young filmmakers.
It was important for us that they had something in common on a deeper level. Sara, at home taking care of her mother who is unwilling to let go of the glory days in the past. Absolutely, trapped in a sense. But what they most of all share, for me, is a sense of loneliness. This is something that I discussed with screenwriter Ingeborg Topsøe, whom I co-wrote the script with. And Esmail in the nightmare he has created for himself, bouncing between different women in the hopes of some kind of stability.
Early on we had an idea of creating a maze with long corridors and reflections in mirrors in order to create a claustrophobic mood. To emphasize Esmail’s growing feelings for her. Also, we wanted the scenes where Esmail is with Sara to feel light, colorful and comfortable to be in. Sabine Hviid, the production designer, Sophia Olsson, the cinematographer and me had long discussions about the visual language.
Or that two women want sex with him, but from behind, so that they don’t see him when making love? Is it coincidence that one woman drops him after they’ve attended together a day at one of her wealthy friends sea-side mansion? You’ve also said that the things you don’t say can be much more effective.
I am interested in people that you can’t pin down, who at a first glimpse are a riddle or a mystery. I think parts of me are in all the characters I have directed, also in Esmail who is the main character in “The Charmer.” In a sense, I think a lot of directors feel like ”outsiders,” because they observe the world around them. So do I.
I think a common characteristic in my films is that I try to challenge the audience, what they expect from a story and a main character. Right now Ingeborg and I are working on our next story that is also an intense character-driven piece, but we have journeyed into realms of fantasy. I have never done that before and it's very exciting.” /> I like it when stories and characters surprise you and you have feelings that you weren't expecting.
Esmail’s falling in love with Sara, the daughter of a celebrated Iranian singer, feels like a meeting of similar-status émigrés. Could you comment? Both live in Denmark, mix with Danes, but cannot enjoy a fully-liberated life.
Would you regard that as is anyway semi-autobiographical? You’ve said that most of your films turn in some way on outsiders.
Apart from this, what were your guidelines when it came to the direction of “The Charmer”?
I wanted to play with genres and mix a character-driven drama with elements of suspense, thriller and a love story. My ambition was to create an intense and unpredictable cinematic experience. I wanted the movie to be both a punch in the stomach and a beat in the heart.
Esmail experiences obvious exoticism, the women he encounters use him, as he tries to use them. There is a notion of the Middle Eastern man as aggressive, primitive and almost animal-like, he’s not thought of as sensitive or having a rich emotional life. You could expect some of the women that Esmail meets to be drawn to those specific characteristics. Interesting observation! They want to fulfill their idea of what type of person he might be and what kind of sex that would entail.

From 2016, Alava offers a 40% tax incentive for Basque-language productions. Also, international projects can tap 15% tax payback against their spend of at least €1 million ($1.2 million).
Upcoming shoots in the territory include Sonora Estudios' real facts-inspired feature “Vitoria, 3 de marzo,” about five men's death during a police  eviction of workers at a meeting in San Francisco de Asis church in Vitoria in 1976, set against the background of Spain's political transition to democracy.
“The San Sebastian Festival places the territory on the film map and primes producers' interest in filming there,” says Mikel Diez Sarasola, head of the Culture Cabinet at Gipuzkoa’s governmental Diputación Foral.
But there are some nuances in each territory's film offer. SAN SEBASTIAN — The three Basque provinces, Alava, Bizkaia and Gipuzkoa, share green and mountainous landscapes and one of the more attractive tax credits in Spain: a 30% tax shelter for local film, TV and animated productions. “We are not competitors but strategic allies,” says Bizkaia's Bilbao city councilor Xabier Ochandiano. Their respective film commissions are teaming to co-ordinate in joint actions for international promotion under the Film Basque Country umbrella.
Gorka Gómez Andreu ("House of Others"), winner this year of the Spotlight Award of the American Society of Cinematographers, few up in Alava. Talents such as Goya Award-winning animated film director Maite Ruiz de Austri (“El regreso del viento del norte”) and d.p.
An Elías Querejeta Film School will join these training facilities in the future. Further key contributions to that cause include the Andoain film and video school ESCIVI, the influence of generations of  '80s and '90s Basque filmmakers and also public and private finance. Beyond the 30% tax scheme available across all the Basque Country, channeled through Agrupaciones de Interés Económico (AIE) tax vehicles, Gipuzkoa is propelling new film investment measures. For years, Gipuzkoa and its capital, San Sebastian, are generating a “propitious ecosystem,” in Diez Sarasola words, to develop the film production sector.
Producer Carnerosis  teaming with Mediaset España's film production arm Telecinco Cinema, on Gracia Querejeta's comedy “Crime Wave,” starring Maribel Verdú, which rolls in Bizkaia from the fall, as does Julio Medem's family drama “El árbol de la sangre,” produced by Ibon Cormenzana at Arcadia Motion Pictures.
“There is a great competition in the tax incentives area,” says Imanol Pradales at Bizkaia's Diputación Foral. “We want to position ourselves in the international market as a reference destination in the shoot industry.”
Gipuzkoa has recently invested €150,000 ($179,000) in five local projects, three of them playing at the current San Sebastian edition: Official selection contender “Handia” and documentaries “Chillida: Esku Huts” and “Baskavigin,” both screening at the Basque Zinemira sidebar.
The 30% tax shelter for film and TV investments can be applied by Bizkaia-based tax payers on up to 40% of production costs and P&A.
Vitoria, capital of the Basque Country, is re-launching its film office, as the big-screen adaptation of best-selling novel “El silencio de la ciudad blanca,” a benchmark for the city's image, is scheduled to roll there by next year.
Among them, part of “Game of Thrones” Season 7 and Atresmedia hit TV comedy series “Allí abajo.”” /> Last year, more than 100 film and TV projects rolled in 30 cities in Gipuzkoa province, generating a €7.8 million ($9.3 million) direct investment.
Pradales adds: “We are committed to extending our reputation and what makes us different, via the value of our locations -city, coast, nature, historical centers, industrial landscapes-, the competence of local professional teams and a modern network of infrastructures.”
Spreading its services to all the province, the Vitoria-Gasteiz Film Office boast “standout locations such as the Medieval Quarter of Vitoria, the vineyards of La Rioja Alavesa and the futuristic Alava Technologic Park,” says Ruiz. There are more attractions than tax breaks when it comes to filming in Alava.
Boosted by “Game of Thrones” Season 7 shoot in San Juan de Gaztelugatxe and the Barrika beach, thousands of HBO series' fans have started to make a pilgrimage to the territory. Film tourism in Bizkaia is booming.
25-, exemplifies the strong synergies between the festival and the local film industry. Antonio Cuadri's “Operación Concha,” a comedy set at the San Sebastian Festival -where it premieres Monday Sept.
The first part of a literary trilogy, “El silencio de la ciudad blanca” takes place in Vitoria and environs in the Alava province. Expectations are high about the project's impact on local filming development. “The novel is like a tourist brochure," says Ana Ruiz at the Vitoria-Gasteiz Film Office.
Leveraging Bizkaia's advantageous tax regime, new outfits are launching such as Bilbao-based Laniakea Capital, run by producers Eduardo Carneros (Nacho Vigalondo's “Timecrimes”) and Alejandro Miranda (“Buried”).
The feature adaptation of Eva García Sáenz de Urturi's crime-thriller book, “El silencio” is produced by Atresmedia Cine, the powerful film arm of Spanish broadcaster Atresmedia, in partnership with Barcelona's Rodar y Rodar (“The Orphanage”).
At least 50% of the deduction must be spent in each territory, up to a ceiling of €3 million ($3,6 million). As in the other Basque provinces, Alava offers a 30% tax shelter for Spanish film, TV and animated productions, capped at 40% of total production and P&A costs,.
“The arrival of visitors generates a positive impact on the economic activity, employment and the international projection of the Bilbao-Bizkaia brand,” says Xabier Ochandiano.
The Diputación Foral has approved a €175,000 ($209,000) support fund for Gipuzkoa-set projects at any stage before release. Dubbed Lanabesa, the subsidies cannot exceed 70% of project's expenditure nor the maximum amount of €40,000 ($48,000), Diez Sarasola says.

This Bilbao area is increasingly in demand for film futuristic movies, such as the Watchowskis' “Jupiter Ascending. One of the icons of the modern Basque Country, Bilbao's Guggenheim Museum hosted in 1999 the partial shoot of James Bond franchise installment “The World is Not Enough,” with Pierce Brosnan.
Over July to October 2016, production teams at HBO and Spanish services company Fresco Film established one of “Game of Thrones” production headquarters in Bilbao, also filming series' scenes on the beaches of Muriola, in Bizkaia's Barrika, and Itzuru, in Gipuzkoa's Zumaia, which boasts a singular geo-park featuring Flysch rock formation.
In the early ‘70s, Dustin Hoffman and Steve McQueen spent nearly a week in Hondarribia, a Gipuzkoan town near the French border, shooting Franklin J. Schaffner's prison drama “Papillon.” Hondarribia, alongside San Sebastian and Zarauz, was chosen by British director Guy Hamilton to film Michael Caine's 1969 WWII drama “Battle of Britain.” High-profile international shoots in the Basque Country have some standout precedents.
The city of Bilbao will also play a key role in Gracia Querejeta's “Crime Wave,” rolling in locations in Bilbao's business and tourist districts, the Neguri suburb, the Ria and the Portugalete Suspension Bridge.
Atresmedia's “Down Below,” one of the most successful Spanish TV fiction series in recent years which exploits a culture clash between Basque and Andalusian characters, rolls regularly in San Sebastian’s port.
"Handia," Jon Garaño and Aitor Arregi's San Sebastian player, a 19th century-set Basque-language feature, filmed in Vitoria's well-preserved Medieval Quarter and also in Zumaia.
SAN SEBASTIAN — Bizkaia's 10th century chapel of San Juan de Gaztelugatxe, built on a rock in the sea, served as one of the real-life locations for Dragonstone, the home to Daenerys Targaryen (Emilia Clarke) in Season 7 of “Game of Thrones.”
In their search for cutting-edge technology appeal, Spanish titles “Orbita 9” and “Cuerpo de elite” have also filmed in the Park, whose facilities include a wind tunnel.” /> Paul Urkijo's Basque-language fantasy film “Errementari” rolled in the Alava mountains and the Alava Technologic Park, where producers, headed by Alex de la Iglesia, installed a big chroma, VFX facility available for upcoming projects.
ABC's “The Bachelor” also filmed at San Juan de Gaztelugatxe this year.
A regular scene for recent Spanish shoots, Zumaia and surroundings hosted Spanish box-office friendly movies such as “Spanish Affair,” “Zip & Zap and the Marble Gang” and “Zip & Zap and the Captain's Island,” all titles co-produced by Koldo Zuazua at San Sebastián-based Kowalski Films, one of the most dynamic Basque production houses.

Unax Ugalde (Helena Taberna's "The Good News"), a 2005 EFP shooting star, is attached to star in "Beltza" playing Manex, a young Basque who intended to walk inside one of the carnival giants.
"After movies like Fernando Trueba and Javier Mariscal's 'Chico & Rita' and Ari Folman's 'Waltz with Bashir,' animation for adults seemed to suffer a certain hiatus, but I am convinced that 2D traditional animation for adults will see a new strength," Muguruza said.
“'Black is Beltza' is very different for the Spanish adult animation scene so far, and originality is exactly what the market is demanding," Canales said, adding that the project is perfectly suited for combining international theatrical releases with launches on digital platforms and VOD services.
The Black Panthers, racial uprisings, the Cuban Revolution, intricate Cold War stratagems act as a colorful historical background for a story linking action, love, revolution and espionage.
A teaser will be screened at Berlin, where Muguruza has promised a "noteworthy" musical landing, as well. The project will be offered to buyers at the Berlinale’s next European Film Market, Film Factory CEO Vicente Canales told Variety.
Co-produced by Basque country Talka Records & Film and Catalonia's Setmagic, "Beltza" will offer a colorful canvas of the 60's counterculture era, kicking off in October 1965 when a group of giants and carnival heads –inspired by Pamplona's 17th century parades– is invited to march down New York’s 5th Avenue on Hispanic Day. However, the figures of two black giants are not accepted for the parade.
Rights to legendary songs from the period are under negotiation. The film’s musical score is already finished –"and this is one of the great weapons we have in 'Beltza'," Muguruza said including pieces from Spanish songwriters as Raúl Fernández or Manu Chao.
SAN SEBASTIAN — Spain's Film Factory has acquired international rights to Fermin Muguruza's adult animation feature debut "Black is Beltza."
“Beltza” was originally a movie screenplay penned by Muguruza and Harkaitz Cano and then became a graphic novel illustrated by Argentine Jorge Alderete.
Spain's Hampa Studio and Argentina’s Draftoon animation houses are also on board.
Feature is scheduled to be ready for delivery by September 2018.
Muguruza began his musical career setting up one of most important bands in Basque Radical Rock –Kortatu. Last year the multi-hyphenate artist premiered at San Sebastian Film Festival “Nola?,” a documentary exploring the cultural universe of New Orleans ten years after Katrina.” />

The digital and direct-to-consumer push has seen it launch the Filmtastic channel on Amazon’s new channels platform in Germany, and, with Load, it will be looking to add to the pipeline of digital content. TMG works across film and TV production and international distribution, and also has a stake in TV channels Tele 5 and RTL II.
TMG has been in M&A mode and the deal for Load follows agreements to take control of Munich-based producer Odeon Film and buy into Storied Media, the IP broker run by former ICM agent Todd Hoffman. Herbert Kloiber, managing director and son of TMG's founder, and head of corporate development Bernd Wendeln are leading the charge.
are big markets, and it is absolutely the goal to go into these,” Ramme said. “The digital-content market has developed so you must produce international content, and content that works in different languages that can travel internationally, and which uses different business models.” “The German market is a good one, but the U.S. and U.K.
Load has been working with big brands, producing Instagram fashion star project “” with StoryLab, the content arm of Japan’s Dentsu. It has also made “Das Specktakel,” an online quiz show for Burger King, and is expected to move into kids' content soon and to move beyond its home turf.
We will see whether we could help develop some of the Load properties into long form,” Kloiber said. It goes both ways. “We have more experience in long-form scripted. We can also distribute what Georg is developing in Germany and internationally.”” /> “The flip side is [that] the IP from us and all of our sister companies will in some case lend itself to short-form digital content.
Endemol Shine re-branded the business before ultimately shutting it down. The Load deal sees TMG take a significant minority stake in the business, which Ramme set up after stepping down as boss of Endemol Shine’s digital-content business, Endemol Beyond, in 2016.
“We can expand across the value chain, or go international or into new genres.” Ramme told Variety that the TMG deal will allow Load to realize its ambitions to reach into new genres and grow internationally. “There are a lot of synergies. They have production companies and also footprint in broadcasting and distribution, and for that reason it was very interesting for us,” he said.
For TMG, buying into the digital business marks a shift into new areas, recognizing the way the content business is evolving and reaching out to younger audiences, Kloiber said. “The market and environment have changed quite dramatically over the last year or two, and we decided we want to diversify our business away from predominantly being a trading house and towards more production, more digital content and more to the direct-to-consumer exploitation of rights,” he said.
The Tele München Group has bought into Load Studios, the digital content business run by former Endemol Beyond chief Georg Ramme.

Antonio Cuadri ("The Heart of the Earth") directs this comedic tale of fraud and fools, whose sales are handled by Filmax International. “A scam caper set at the very San Sebastian Festival in the line of “Nine Queens” and “Ocean’s Eleven,” as producer Joxe Portela at Abra Producciones defines it. World premiere at the San Sebastian's big screen Velodrome.
Film –in pre-production– is penned by Javier Gullón (Denis Villeneuve’s “Enemy”) adapting Spain’s Antonio Orejudo novel. Pre-acquired by Entertainment One’s Seville International and co-produced by San Sebastian-based Señor y Señora and Madrid’s Morena Films “Advantages” marks the much-awaited feature debut of Aritz Moreno.
A take on symbol and metaphors in traditional Basque dances, the polished upscale musical is produced by Txintxua Films, a company co-founded by director Asier Altuna "Amama." From one of most prominent Basque directors Telmo Esnal ("Go!"), "Dantza" will be sneakk-peeked at San Sebastián’s Glocal in Progress, the new showcase devoted to works in non-hegemonic European languages.
Feature debut of architect-director Iñigo García Agirrezabalaga, whose credits include shorts "Berde," –co-directed with Jose Luis Barredo, and “Errusia." Produced by Berde Produkzioak, this story about two men in the search of a better, warmer land world premieres at the San Sebastian Festival Basque Zinemira section.
Newest project of seasoned Basque producer Ángel Amigo, a driving force behind Imanol Uribe's "Escape from Segovia,” set up at Basque shingle Biliben 2014. It follows Spanish poet Luis Cernuda working with Basque children evacuated after the Condor Legion’s bombing of Durango, Gernika, Elorrio and Etxandio in 1937. Feature debut of short-maker and scriptwriter José Luis Egea who, incredibly, co-directed "The Challenges," with Víctor Erice way back in 1969.
First solo feature of Maider Fernández Iriarte, who teamed with María Elorza for "Our Walls,” exploring “love of God and the speech of a free man” through the life of a 51 year-old man born with cerebral paralisis. World premieres at San Sebastián’s Zinemira showcase. "Jordi" is produced by Señor y Señora.
Presented at the San Sebastián Co-production Forum, the new project from Mikel Rueda ("Hidden Away," "Fifth Floor”) is an intimate drama about growing-up, both for a teenager and a 45-year-old woman. Cast includes Maribel Verdú (Guillermo del Toro's "Pan's Labyrinth”); the Basque Country's Baleuko and Sonora co-produce.
Second animation feature of Ángel Alonso ("The Thief of Dreams") following the adventures of Portuguese Fernando de Magallanes and Basque Juan Sebastián de Elcano, the first seamen to sail around the world in a voyage ending in 1522. Produced by Dibulitoon ("Yoko"), one of leading animation production houses in the Basque Country.
Filmax International manages sales. Kinoskopik, Pokeepsie Film, Nadie es Perfecto PC, Gariza Films, Euskaltel and The Project Film Clu produce a story based on a Basque folk tale of fantastic imagery and mythological creatures. Mentored by black comedy master Álex de la Iglesia, fantasy horror "Blacksmith" marks the debut of Paul Urkijo Alijo.
SAN SEBASTIAN — The strength of the Basque industry as a potential co-production partner for Basque Country shoots will be seen, when push comes to shove, in its movies. Here, profiles of upcoming Basque movies whether playing this year’s San Sebastián Festival, in production or projects.
produce this character-driven romantic drama; Film Factory handles sales.
Vicente Canales' Film Factory handles sales of this musical portrait of the ‘60s counter-culture era, directed by multi-hyphenate artist Fermin Muguruza and based on a graphic novel illustrated by Argentine Jorge Alderete. Produced by Basque Country's Talka Records & Films and Catalonia's Setmagic, "Beltza" is another instance of the vibrant Basque animation sector.
The biggest Basque film at this year’s San Sebastián Festival, where it plays in competition, the biopic of a 19th century Basque giant, but far more the tale of his relationship with his brother, which survives the pressures of poverty, rivalry, war and fame, produced by two of Basque Country’s most active producers, Irusoin and Moriarti Produkzoiak, "Handia" is directed by Jon Garaño, the co-director of Spain's 2015 Oscar entry "Flowers," the first submission ever of a Basque-language film. Film Factory handles sales.
Sold to 14 countries, Synergetic distributes it in U.S. and Canada. It's produced by Basque Films and  Morituri. Sold by France's Burdigala Production, horror movie “Coffin” marks the feature debut of acclaimed shortmaker Haritz Zubillaga ("Dead Hours"), one more talent coming from the Basque Country's prestigious shorts program Kimuak.
Koldo Zuazua at Kowalski Films and Andalusia's Ferdydurke Films World premiering as a special screening in the San Sebastian Festival’s Official Selection "Dying" is the much-anticipated second feature of editor-director Fernando Franco, whose debut "Wounded" won a Special Jury Prize and a Golden Seashell for best actress Marian Alvarez –co-star of “Dying"–  at San Sebastian.
Produced by Basque company Kanaki Films and Poland's Platige Image and co-produced with Belgium's Umedia and Walking the Dog, and Germany's Animationsfabrik and Wüste Film. Raúl de la Fuente and Damian Nenow direct a hybrid animation-live action inspired by but not adapting the journalist’s first novel. One of Europe’s most awaited animation films, the Indie Sales-sold "Day" revolves around the truth of war through the near-suicidal journey across Angola of Polish famed war reporter Ryszard Kapuściński.
The docu-feature plumbs the possible co-operation centuries back between Basque whalers and America’s indigenous population on a remote U.S. Navarre's Arena Comunicación Audiovisual and Guipuzcoa's Txalapart co-produce. island. Pablo Iraburu, Migeltxo Molina and Igor Otxoa co-direct this docu feature world premiering at the San Sebastian Festival as its Basque Film and ETB Gala.
“2 Guns” and “Everest” director Baltasar Kormákur –via his outfit RVK Studios– has inked with Bilbao-based Eduardo Carneros, producer of Nacho Vigalondo's “Timecrimes,” at Euskadi Movie AIE, to co-produce this historical crime thriller set in 1616 Iceland, which is also produced by Tornosal Films, the company behnd Academy Award winner “The Secret in Their Eyes.” Koldo Serra ("The Backwoods") to direct.
Basque Sorgin Films, AIE produces alongside French Tita Production and La Fidele.” /> Argentine director Pablo Agüero – a Jury Prize winner at 2008 Cannes festival with "Salamandra" and Silver Condor best director winner with "Eva Doesn't Sleep"—directs this witchcraft thriller set in the Basque country in 1609 to be presented at the 2017 San Sebastián Co-production Forum.
Produced by Irusoin, and sparking some pre-festival buzz, ”Non" world premieres in San Sebastian’s 6th Basque Zinemira section. Eñaut Castagnet, director of “When I Was a Child,” and playwright and actor Ximun Fuchs offer in their feature debut a story about workers struggling to preserve their dignity.