The First Omen releases in theaters on April 5th, 2024.
I don’t know to what extent The Omen (1976) is considered a classic, but the truth is that it was one of the most profitable films of its respective year, it has one of the most memorable scores of that decade – so much so that it even won an Oscar, something extremely rare considering the genre – and, of course, it spawned several sequels and even a remake over all these years. The First Omen is the sixth installment of the franchise and, as the title indicates, it’s a prequel to the original movie. It’s also the directorial debut of Arkasha Stevenson who also co-writes the screenplay along with Tim Smith and Keith Tomas (Firestarter).
Margaret Daino (Nell Tiger Free) is a young American woman sent to Rome to start a devout life for the church, but she encounters strange...
I don’t know to what extent The Omen (1976) is considered a classic, but the truth is that it was one of the most profitable films of its respective year, it has one of the most memorable scores of that decade – so much so that it even won an Oscar, something extremely rare considering the genre – and, of course, it spawned several sequels and even a remake over all these years. The First Omen is the sixth installment of the franchise and, as the title indicates, it’s a prequel to the original movie. It’s also the directorial debut of Arkasha Stevenson who also co-writes the screenplay along with Tim Smith and Keith Tomas (Firestarter).
Margaret Daino (Nell Tiger Free) is a young American woman sent to Rome to start a devout life for the church, but she encounters strange...
- 4/5/2024
- by Manuel São Bento
- FandomWire
Writers returned to work two months ago, and the SAG-AFTRA strike has been over for nearly a month. Production has restarted but won’t be back to full strength until mid-January.
But even as Hollywood tries to return to normal, dark clouds are forming on the horizon. The International Alliance of Theatrical Stage Employees contract expires on July 31, as does the Basic Crafts contract, which covers the Teamsters.
In a period of rising union militancy across industries, it’s not clear whether the Hollywood studios have achieved lasting labor peace or just a temporary truce.
“We’re going to be demanding things we believe members deserve for the work they do,” says Lindsay Dougherty, secretary-treasurer of Teamsters Local 399. “We have to fix this stuff. Our members make Hollywood move.”
Both the studios and the below-the-line workforce — camera operators, lighting technicians, makeup artists and so on — have taken a hit...
But even as Hollywood tries to return to normal, dark clouds are forming on the horizon. The International Alliance of Theatrical Stage Employees contract expires on July 31, as does the Basic Crafts contract, which covers the Teamsters.
In a period of rising union militancy across industries, it’s not clear whether the Hollywood studios have achieved lasting labor peace or just a temporary truce.
“We’re going to be demanding things we believe members deserve for the work they do,” says Lindsay Dougherty, secretary-treasurer of Teamsters Local 399. “We have to fix this stuff. Our members make Hollywood move.”
Both the studios and the below-the-line workforce — camera operators, lighting technicians, makeup artists and so on — have taken a hit...
- 12/6/2023
- by Gene Maddaus
- Variety Film + TV
Scalpers are gouging buyers for the Toronto International Film Festival tickets — with screening prices rising by the minute, according to a review of online prices Tuesday.
On Monday, some of the premiere films were sold out on Ticketmaster, with scalpers demanding 10 times face value for some tickets — a bargain compared to the latest prices.
By Tuesday, tickets for The Boy and the Heron had topped $527 — more than a $200 increase. Meanwhile, tickets for “Dumb Money” were going for nearly $900.
Writer and filmmaker Siddhant Adlakha put a spotlight on the gouging, calling it “genuinely insane.”
“Ticketmaster is a scourge and using it as an official ticketing platform for a film festival is incredibly bizarre. It’s genuinely insane that people are allowed to buy and re-sell TIFF tickets pretty much the day they go on sale. The new Miyazaki (film) is going for over $300 US.” Adlakha wrote.
He was referring to Hayao Miyazaki...
On Monday, some of the premiere films were sold out on Ticketmaster, with scalpers demanding 10 times face value for some tickets — a bargain compared to the latest prices.
By Tuesday, tickets for The Boy and the Heron had topped $527 — more than a $200 increase. Meanwhile, tickets for “Dumb Money” were going for nearly $900.
Writer and filmmaker Siddhant Adlakha put a spotlight on the gouging, calling it “genuinely insane.”
“Ticketmaster is a scourge and using it as an official ticketing platform for a film festival is incredibly bizarre. It’s genuinely insane that people are allowed to buy and re-sell TIFF tickets pretty much the day they go on sale. The new Miyazaki (film) is going for over $300 US.” Adlakha wrote.
He was referring to Hayao Miyazaki...
- 8/29/2023
- by Tina Daunt
- The Wrap
The Toronto International Film Festival is using Ticketmaster to book seats this year, and even though opening night is more than a week away, tickets for high-profile films are already going for more than ten times their face value.
Festivalgoers are not happy about the high resale prices already popping up.
Opening night film “The Boy and the Heron” from Hayao Miyazaki is sold out on TIFF’s ticketing site via Ticketmaster, but tickets are going for up to $388 Canadian ($285) on ticket reselling site Stubhub. Taika Waititi’s “Next Goal Wins” is going for even more, at $416.50 Cad on Ticketmaster.
The premiere of Sylvester Stallone’s documentary “Sly” on Sept. 15 still has tickets available directly for $88 Cad, but Ticketmaster is also reselling others for up to $178.50 Cad.
Writer and filmmaker Siddhant Adlakha brought attention to the high resale prices Monday, tweeting, “Ticketmaster is a scourge and using it as an...
Festivalgoers are not happy about the high resale prices already popping up.
Opening night film “The Boy and the Heron” from Hayao Miyazaki is sold out on TIFF’s ticketing site via Ticketmaster, but tickets are going for up to $388 Canadian ($285) on ticket reselling site Stubhub. Taika Waititi’s “Next Goal Wins” is going for even more, at $416.50 Cad on Ticketmaster.
The premiere of Sylvester Stallone’s documentary “Sly” on Sept. 15 still has tickets available directly for $88 Cad, but Ticketmaster is also reselling others for up to $178.50 Cad.
Writer and filmmaker Siddhant Adlakha brought attention to the high resale prices Monday, tweeting, “Ticketmaster is a scourge and using it as an...
- 8/28/2023
- by Pat Saperstein
- Variety Film + TV
Underdog “King Richard” (Warner Bros.) beat the higher profile “Dune” (Warner Bros.) and “The Power of the Dog” (Netflix) for drama film editing honors at the 72nd Annual Ace Eddie Awards. The live ceremony was held Saturday at the Ace Hotel. Likewise, “Tick Tick Boom” (Netflix) prevailed over the favored “Don’t Look Up” (Netflix) in the film comedy category. Other winners included Oscar favorites “Encanto” (Disney) and “Summer of Soul” (Searchlight Pictures) for animated feature and documentary, and “Oslo” (HBO Films) for non-theatrical feature.
On the TV side, “Succession” (HBO), “Mare of Easttown” (HBO), “The Beatles: Get Back” (Disney+), “Kevin Can F**k Himself” (AMC), “Hacks” (HBO Max), and “Bob’s Burgers” (Fox) were the big winners for drama, limited series, documentary non-theatrical, multi-camera and single-camera comedy series, and non-theatrical animation, respectively. Editors Lillian E. Benson (“Eyes on the Prize”), the first woman of color to join the American Cinema Editors Society,...
On the TV side, “Succession” (HBO), “Mare of Easttown” (HBO), “The Beatles: Get Back” (Disney+), “Kevin Can F**k Himself” (AMC), “Hacks” (HBO Max), and “Bob’s Burgers” (Fox) were the big winners for drama, limited series, documentary non-theatrical, multi-camera and single-camera comedy series, and non-theatrical animation, respectively. Editors Lillian E. Benson (“Eyes on the Prize”), the first woman of color to join the American Cinema Editors Society,...
- 3/6/2022
- by Bill Desowitz
- Indiewire
“King Richard” editor Pamela Martin topped the dramatic feature editing category at the American Cinema Editors 72nd Ace Eddie Awards, while “Tick, Tick … Boom!’s” Myron Kerstein and Andrew Weisblum won the category for best edited comedic feature during Saturday’s in-person ceremony at the Ace Hotel in Los Angeles.
“It’s a great honor to be recognized by my peers, most importantly,” Martin told Variety before the ceremony. “I’m over the moon and I’m so grateful to be in such wonderful, talented company from the other nominees.”
Michelle Statter accepted the prestigious Ace Golden Eddie Award — recognizing an artist or company for distinguished achievement in film — on behalf of The Sundance Institute. Film editors Lillian E. Benson, ACE and Richard Chew, ACE received Career Achievement Awards for their outstanding contributions to film editing. The event was hosted by DJ Lance Rock and presided over by ACE President Kevin Tent,...
“It’s a great honor to be recognized by my peers, most importantly,” Martin told Variety before the ceremony. “I’m over the moon and I’m so grateful to be in such wonderful, talented company from the other nominees.”
Michelle Statter accepted the prestigious Ace Golden Eddie Award — recognizing an artist or company for distinguished achievement in film — on behalf of The Sundance Institute. Film editors Lillian E. Benson, ACE and Richard Chew, ACE received Career Achievement Awards for their outstanding contributions to film editing. The event was hosted by DJ Lance Rock and presided over by ACE President Kevin Tent,...
- 3/6/2022
- by Jazz Tangcay
- Variety Film + TV
“King Richard” and “tick, tick…Boom!” have been named the best-edited feature films of 2021 by the American Cinema Editors, which held its annual Ace-Eddie Awards on Saturday at, appropriately enough, the Ace Hotel in downtown Los Angeles.
“King Richard” beat fellow Oscar nominees “Dune” (the presumed favorite) and “The Power of the Dog” to win in the drama category, while “tick, tick…Boom!” beat the Oscar-nominated “Don’t Look Up” in the comedy category.
In the 22 years since Ace split its film award into separate drama and comedy categories, one of its winners has gone on to win the Oscar for Best Film Editing 15 times. All but one of those wins have come in the drama category. Last year’s winner, “The Trial of the Chicago 7,” lost the Oscar to “Sound of Metal.”
In the documentary categories, music docs ruled, with “Summer of Soul” taking the prize for documentary feature...
“King Richard” beat fellow Oscar nominees “Dune” (the presumed favorite) and “The Power of the Dog” to win in the drama category, while “tick, tick…Boom!” beat the Oscar-nominated “Don’t Look Up” in the comedy category.
In the 22 years since Ace split its film award into separate drama and comedy categories, one of its winners has gone on to win the Oscar for Best Film Editing 15 times. All but one of those wins have come in the drama category. Last year’s winner, “The Trial of the Chicago 7,” lost the Oscar to “Sound of Metal.”
In the documentary categories, music docs ruled, with “Summer of Soul” taking the prize for documentary feature...
- 3/6/2022
- by Steve Pond
- The Wrap
The American Cinema Editors (Ace) has nominated “Belfast,” “Dune,” “King Richard,” “No Time to Die” and “The Power of the Dog” in the category of feature film drama at the 72nd annual Ace Eddie Awards.
In the best edited comedic feature category, “Cruella,” “Don’t Look Up,” “The French Dispatch,” “Licorice Pizza” and “Tick, Tick…Boom!” all received nominations.
Among the animated features nominated were “Encanto,” “Luca,” “The Mitchells vs. the Machines,” “Raya and the Last Dragon” and “Sing 2.” The TV nominees include “Succession” and “The White Lotus.”
The Eddies are considered a precursor for the best picture and best editing categories at the Oscars. Five of the past 11 winners for best edited drama feature went on to win the film editing Oscar.
Since 1961, only 10 women have won in the best edited drama feature category. This year, there are two women who made the cut: Pamela Martin (“King Richard”) and...
In the best edited comedic feature category, “Cruella,” “Don’t Look Up,” “The French Dispatch,” “Licorice Pizza” and “Tick, Tick…Boom!” all received nominations.
Among the animated features nominated were “Encanto,” “Luca,” “The Mitchells vs. the Machines,” “Raya and the Last Dragon” and “Sing 2.” The TV nominees include “Succession” and “The White Lotus.”
The Eddies are considered a precursor for the best picture and best editing categories at the Oscars. Five of the past 11 winners for best edited drama feature went on to win the film editing Oscar.
Since 1961, only 10 women have won in the best edited drama feature category. This year, there are two women who made the cut: Pamela Martin (“King Richard”) and...
- 1/27/2022
- by Jazz Tangcay
- Variety Film + TV
The American Cinema Editors has spliced together the nominees for its 72nd annual Ace Eddie Awards.
The editors behind Belfast, Dune, King Richard, No Time to Die and The Power of the Dog will compete for Best Edited Dramatic Feature Film. Up for Comedy Feature are Cruella, Don’t Look Up, The French Dispatch, Licorice Pizza and tick, tick…Boom! The Animated Feature race will be among Encanto, Luca, The Mitchells vs. the Machines, Raya and the Last Dragon
and Sing 2.
Vying in the Documentary Feature competition are Flee, The Rescue, Summer of Soul, Val and The Velvet Underground. See the full list of the Eddie Award nominations below.
Trophies will be presented during the guild’s awards ceremony on March 5 at the Theatre at the Ace Hotel in Los Angeles. The half-capacity show originally was set for February 26.
A highlight on the TV side is Kevin Can F**k Himself,...
The editors behind Belfast, Dune, King Richard, No Time to Die and The Power of the Dog will compete for Best Edited Dramatic Feature Film. Up for Comedy Feature are Cruella, Don’t Look Up, The French Dispatch, Licorice Pizza and tick, tick…Boom! The Animated Feature race will be among Encanto, Luca, The Mitchells vs. the Machines, Raya and the Last Dragon
and Sing 2.
Vying in the Documentary Feature competition are Flee, The Rescue, Summer of Soul, Val and The Velvet Underground. See the full list of the Eddie Award nominations below.
Trophies will be presented during the guild’s awards ceremony on March 5 at the Theatre at the Ace Hotel in Los Angeles. The half-capacity show originally was set for February 26.
A highlight on the TV side is Kevin Can F**k Himself,...
- 1/27/2022
- by Erik Pedersen
- Deadline Film + TV
“Belfast,” “Dune,” “King Richard,” “No Time to Die” and “The Power of the Dog” have been nominated as the best dramatic film editing of 2021 by the American Cinema Editors, which announced the nominees for the 72nd annual Ace Eddie Awards on Thursday.
Those five films will compete in the Best Edited Feature Film (Dramatic) category, while the field in Best Edited Feature Film (Comedy) will consist of “Cruella,” “Don’t Look Up,” “The French Dispatch,” “Licorice Pizza” and “tick, tick…Boom!”
The most surprising omission was probably “West Side Story,” while Ace Eddie voters also bypassed “Nightmare Alley,” “Coda” and “Spider-Man: No Way Home.”
Nominations for the editing of animated features went to the same five animated films that have also been nominated by the Cinema Audio Society, Motion Picture Sound Editors, Visual Effects Society and Art Directors Guild: “Encanto,” “Luca,” “The Mitchells vs. the Machines,” “Raya and the Last Dragon” and “Sing 2.
Those five films will compete in the Best Edited Feature Film (Dramatic) category, while the field in Best Edited Feature Film (Comedy) will consist of “Cruella,” “Don’t Look Up,” “The French Dispatch,” “Licorice Pizza” and “tick, tick…Boom!”
The most surprising omission was probably “West Side Story,” while Ace Eddie voters also bypassed “Nightmare Alley,” “Coda” and “Spider-Man: No Way Home.”
Nominations for the editing of animated features went to the same five animated films that have also been nominated by the Cinema Audio Society, Motion Picture Sound Editors, Visual Effects Society and Art Directors Guild: “Encanto,” “Luca,” “The Mitchells vs. the Machines,” “Raya and the Last Dragon” and “Sing 2.
- 1/27/2022
- by Steve Pond
- The Wrap
As IATSE members prepare to vote this weekend on a proposed new film and TV contract, membership discontent is evident not only on social media but also is a playing out in the Editors Guild’s upcoming board elections. In their campaign statements, none of the guild’s 23 board candidates openly opposes the tentative agreement, but none flat out endorse it either.
Three years ago, the Editors Guild, IATSE Local 700, was the only local that voted against ratification of the 2018 contract – and by a huge majority. This time, however, the guild’s leadership is urging their members to ratify it, as are the leaders of IATSE and all the other 45 affected locals across the country.
“This last round of negotiations, we got most of what we wanted,” incumbent Maysie Hoy wrote in her candidate’s statement. “We can and we should do better. Looking toward the future, we must raise...
Three years ago, the Editors Guild, IATSE Local 700, was the only local that voted against ratification of the 2018 contract – and by a huge majority. This time, however, the guild’s leadership is urging their members to ratify it, as are the leaders of IATSE and all the other 45 affected locals across the country.
“This last round of negotiations, we got most of what we wanted,” incumbent Maysie Hoy wrote in her candidate’s statement. “We can and we should do better. Looking toward the future, we must raise...
- 11/9/2021
- by David Robb
- Deadline Film + TV
Curated by the IndieWire Crafts team, Craft Considerations is a platform for filmmakers to talk about recent work that we believe is worthy of awards consideration. In partnership with HBO, for this edition we look at the subtle craft of “Mare of Easttown” with the limited series’ Emmy-nominated editor Amy E. Duddleston, costume designer Meghan Kasperlik, and production designer Keith P. Cunningham.
Creator Brad Ingelsby’s scripts for “Mare of Easttown” were filled with local details, imbuing a fictional town with memories of the working-class Philadelphia suburbs where he grew up. Combined with series director Craig Zobel’s naturalistic approach to filming on location, this meant a premium was put on research and getting regional details right. Yet capturing that authenticity was simply a jumping off point for the artisans behind “Mare of Easttown.”
In a story of one community’s interconnectedness — about people who were raised, and are now raising their kids,...
Creator Brad Ingelsby’s scripts for “Mare of Easttown” were filled with local details, imbuing a fictional town with memories of the working-class Philadelphia suburbs where he grew up. Combined with series director Craig Zobel’s naturalistic approach to filming on location, this meant a premium was put on research and getting regional details right. Yet capturing that authenticity was simply a jumping off point for the artisans behind “Mare of Easttown.”
In a story of one community’s interconnectedness — about people who were raised, and are now raising their kids,...
- 8/11/2021
- by Chris O'Falt
- Indiewire
Here’s the latest episode of the The Filmmakers Podcast, part of the ever-growing podcast roster here on Nerdly. If you haven’t heard the show yet, you can check out previous episodes on the official podcast site, whilst we’ll be featuring each and every new episode as it premieres.
For those unfamiliar with the series, The Filmmakers Podcast is a podcast about how to make films from micro budget indie films to bigger budget studio films and everything in-between. Our hosts Giles Alderson, Dan Richardson, Andrew Rodger and Cristian James talk how to get films made, how to actually make them and how to try not to f… it up in their very humble opinion. Guests will come on and chat about their film making experiences from directors, writers, producers, screenwriters, actors, cinematographers and distributors.
The Filmmakers Podcast #231: Editing the Emmy-nominated HBO show Mare of Easttown with...
For those unfamiliar with the series, The Filmmakers Podcast is a podcast about how to make films from micro budget indie films to bigger budget studio films and everything in-between. Our hosts Giles Alderson, Dan Richardson, Andrew Rodger and Cristian James talk how to get films made, how to actually make them and how to try not to f… it up in their very humble opinion. Guests will come on and chat about their film making experiences from directors, writers, producers, screenwriters, actors, cinematographers and distributors.
The Filmmakers Podcast #231: Editing the Emmy-nominated HBO show Mare of Easttown with...
- 8/2/2021
- by Phil Wheat
- Nerdly
Psycho’s shower scene is one of the most iconic scenes ever filmed. But does just one 45 second scene warrant an entire documentary?
Seventy-eight. Fifty-two. Just numbers, sure, but also the precise alchemical formula for creating the most iconic scene in cinematic history. In around 45 seconds, the legendary auteur Alfred Hitchcock used seventy-eight setups and fifty-two cuts to craft Psycho’s shower scene, an unforgettable sequence that transcended the confines of the screen into immortality. Not only are film students destined to pore over it for generations to come, trying to unlock its many secrets, but it has also shaped key areas of our shared cultural consciousness. How? As well as restyling the depiction of violence on screen for future filmmakers to come, the shower scene reimagined the representation of violence onscreen towards women, with Karyn Kusama, director of several thrillers herself, calling it the "first modern expression of the...
Seventy-eight. Fifty-two. Just numbers, sure, but also the precise alchemical formula for creating the most iconic scene in cinematic history. In around 45 seconds, the legendary auteur Alfred Hitchcock used seventy-eight setups and fifty-two cuts to craft Psycho’s shower scene, an unforgettable sequence that transcended the confines of the screen into immortality. Not only are film students destined to pore over it for generations to come, trying to unlock its many secrets, but it has also shaped key areas of our shared cultural consciousness. How? As well as restyling the depiction of violence on screen for future filmmakers to come, the shower scene reimagined the representation of violence onscreen towards women, with Karyn Kusama, director of several thrillers herself, calling it the "first modern expression of the...
- 11/6/2017
- Den of Geek
The shower murder in Alfred Hitchcock’s “Psycho” sits alongside the opening of “Citizen Kane” and the climax of “2001: A Space Odyssey” as one of the most famous movie scenes in history, but the reasons are both obvious and elusive. Alfred Hitchcock’s 1960 proto-slasher film jarred audiences with the sudden death of leading lady Janet Leigh midway through, in a grisly, taboo-shattering bout of nudity and knifing at the ends of a shadowy, cross-dressing Norman Bates. As a complex narrative strategy and a subversive stunt, it kickstarted decades of conversations, so it’s surprising it took so long for someone to make a movie about it.
Enter “78/52,” the latest film-history deep-dive from Alexandre O. Phillipe (“Doc of the Dead,” “The People vs. George Lucas”). A compendium of appreciations, close readings, and reminiscences on the bloody death scene and its lasting impact, Phillipe’s brisk cinematic essay consolidates the enthusiasm...
Enter “78/52,” the latest film-history deep-dive from Alexandre O. Phillipe (“Doc of the Dead,” “The People vs. George Lucas”). A compendium of appreciations, close readings, and reminiscences on the bloody death scene and its lasting impact, Phillipe’s brisk cinematic essay consolidates the enthusiasm...
- 1/26/2017
- by Eric Kohn
- Indiewire
Documentarian Alexandre O. Philippe has tackled a variety of topics over his career, including zombies (Doc of the Dead) and the fickleness of Star Wars fans (The People vs. George Lucas), but it’s his latest project, 78/52, which thoughtfully examines the shower scene in Alfred Hitchcock’s Psycho, that might be his most ambitious project to date. The documentary took Philippe three years to complete, and features a cavalcade of fantastic interviews with numerous notable folks, including Jamie Lee Curtis, Guillermo del Toro, Peter Bogdanovich, Bret Easton Ellis, Danny Elfman, Mick Garris, Karyn Kusama, Oz Perkins, Richard Stanley, Elijah Wood, and many more.
Daily Dead caught up with Philippe on the eve of 78/52’s premiere at the 2017 Sundance Film Festival to discuss the long road to getting the project made, his approach to making sure 78/52 would be accessible to everyone (even those who may not be Psycho fans), some of...
Daily Dead caught up with Philippe on the eve of 78/52’s premiere at the 2017 Sundance Film Festival to discuss the long road to getting the project made, his approach to making sure 78/52 would be accessible to everyone (even those who may not be Psycho fans), some of...
- 1/25/2017
- by Heather Wixson
- DailyDead
It's been a busy year for The Wheeler Boys writer/director Philip G. Flores. Since winning Film Independent's Netflix Find Your Voice competition last year, Flores has been on quite a ride going from script to screen in less than 12 months. Flores, an alumni of Film Independent's Screenwriters Lab, sat down with Film Independent Director of Talent Development Josh Welsh to talk about The Wheeler Boys and its upcoming world premiere later this month at the Los Angeles Film Festival.
By Josh Welsh
You've been extremely busy since we last interviewed you, just before the Screenwriters Lab began. It's a broad question, but how have these last months been for you?
Making this film has been the most incredible experience of my life. It's been amazing to see a story you've been dreaming up in your head forever comes to life, first on set, and now during the post-production process.
By Josh Welsh
You've been extremely busy since we last interviewed you, just before the Screenwriters Lab began. It's a broad question, but how have these last months been for you?
Making this film has been the most incredible experience of my life. It's been amazing to see a story you've been dreaming up in your head forever comes to life, first on set, and now during the post-production process.
- 6/17/2010
- Film Independent
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