Exclusive: You and The Haunting Of Bly Manor star Victoria Pedretti, Jurassic World star Judy Greer, and Mad Men actor Rich Sommer have joined the cast of coming-of-age movie The Book Of Jobs, which is due to start principal photography tomorrow in Tulsa and Bartlesville, Oklahoma.
Newcomer Abigail Donaghy (Bupkis) is joining in the lead role of “teen Claudia”, with Lola Flanery (The 100) also joining the previously announced Utkarsh Ambudkar (Ghosts).
The movie follows a girl growing up in Silicon Valley in the shadow of Steve Jobs’ triumphant return to Apple, and his outsized influence on her imagination, ambitions and relationships.
Written and to-be-directed by Kayci Lacob, Pedretti joins the cast in the role of “adult Claudia”, alongside Greer as Claudia’s mother, and Sommer as the father.
Tom Nunan is producing for Bull’s Eye Entertainment. Talia Bella and Randy Wayne are executive-producing for Rebellium Films alongside Matthew Shreder...
Newcomer Abigail Donaghy (Bupkis) is joining in the lead role of “teen Claudia”, with Lola Flanery (The 100) also joining the previously announced Utkarsh Ambudkar (Ghosts).
The movie follows a girl growing up in Silicon Valley in the shadow of Steve Jobs’ triumphant return to Apple, and his outsized influence on her imagination, ambitions and relationships.
Written and to-be-directed by Kayci Lacob, Pedretti joins the cast in the role of “adult Claudia”, alongside Greer as Claudia’s mother, and Sommer as the father.
Tom Nunan is producing for Bull’s Eye Entertainment. Talia Bella and Randy Wayne are executive-producing for Rebellium Films alongside Matthew Shreder...
- 11/16/2023
- by Andreas Wiseman
- Deadline Film + TV
Within moments of the SAG-AFTRA strike ending on Wednesday night, the broadcast networks kicked into high gear to salvage the 2023-24 TV season, which suddenly appears possible — barely.
“Night Court” on NBC will be one of the first shows to return to filming starting next week, according to one person close to the production — with numerous other shows close on its heels.
More than two dozen network shows have been on hold during the six-month work stoppage, and at least a dozen of them will start production within the next few weeks. Some will join “Night Court” next week, others the week after Thanksgiving, like ABC’s “Abbott Elementary, CBS’ “Bob Hearts Abishola” and “Young Sheldon.”
Melissa Rauch and John Larroquette in “Night Court” (Photo by: Evans Vestal Ward/NBC)
Cable and streaming shows are also on deck to kick off production, including Freeform’s “Grown-ish” in December. But...
“Night Court” on NBC will be one of the first shows to return to filming starting next week, according to one person close to the production — with numerous other shows close on its heels.
More than two dozen network shows have been on hold during the six-month work stoppage, and at least a dozen of them will start production within the next few weeks. Some will join “Night Court” next week, others the week after Thanksgiving, like ABC’s “Abbott Elementary, CBS’ “Bob Hearts Abishola” and “Young Sheldon.”
Melissa Rauch and John Larroquette in “Night Court” (Photo by: Evans Vestal Ward/NBC)
Cable and streaming shows are also on deck to kick off production, including Freeform’s “Grown-ish” in December. But...
- 11/10/2023
- by Jose Alejandro Bastidas
- The Wrap
Exclusive: Utkarsh Ambudkar (Ghosts) is attached to co-star in dramedy The Book Of Jobs, which Concourse Media is handling for world sales.
Tom Nunan, founder of Bull’s Eye Entertainment and executive producer of Best Picture Oscar winner Crash, and The Illusionist, has started prep on the movie, which is due to start production next month in California and Oklahoma. The film was granted a SAG-AFTRA interim agreement in August.
Described as a rite of passage film, the story follows a girl growing up in Silicon Valley in the shadow of Steve Jobs’ triumphant return to Apple, and his outsized influence on her imagination, ambitions and relationships. Ambudkar co-stars as ‘Mr. Shine’, an off-beat mentor who guides the obsessive millennial. Additional casting is being firmed up.
The movie will mark the feature debut of Kayci Lacob who writes, directs and produces alongside Nunan.
The producers are working with Tava Sofsky...
Tom Nunan, founder of Bull’s Eye Entertainment and executive producer of Best Picture Oscar winner Crash, and The Illusionist, has started prep on the movie, which is due to start production next month in California and Oklahoma. The film was granted a SAG-AFTRA interim agreement in August.
Described as a rite of passage film, the story follows a girl growing up in Silicon Valley in the shadow of Steve Jobs’ triumphant return to Apple, and his outsized influence on her imagination, ambitions and relationships. Ambudkar co-stars as ‘Mr. Shine’, an off-beat mentor who guides the obsessive millennial. Additional casting is being firmed up.
The movie will mark the feature debut of Kayci Lacob who writes, directs and produces alongside Nunan.
The producers are working with Tava Sofsky...
- 10/25/2023
- by Andreas Wiseman
- Deadline Film + TV
You are reading an exclusive WrapPRO article for free. Want to level up your entertainment career? Click here to subscribe.
As Hollywood chiefs lumber their way through labor negotiations, the broadcast networks under their purview face an increasingly tight deadline to get production of their scripted programming up and running in time to air in early 2024. Given the rocky restart of contract talks between the AMPTP and WGA, hope for timely resolution is quickly dwindling.
Insiders who spoke to TheWrap offered a variety of scenarios on how quickly filming could pick back up — all depending on just how long it takes for any resolution to Hollywood’s historic double strike to emerge. Many pointed to September as a crucial deadline for deals with the Writers Guild of America and SAG-AFTRA to get done so new and returning scripted shows can produce even truncated seasons that could premiere early next year.
As Hollywood chiefs lumber their way through labor negotiations, the broadcast networks under their purview face an increasingly tight deadline to get production of their scripted programming up and running in time to air in early 2024. Given the rocky restart of contract talks between the AMPTP and WGA, hope for timely resolution is quickly dwindling.
Insiders who spoke to TheWrap offered a variety of scenarios on how quickly filming could pick back up — all depending on just how long it takes for any resolution to Hollywood’s historic double strike to emerge. Many pointed to September as a crucial deadline for deals with the Writers Guild of America and SAG-AFTRA to get done so new and returning scripted shows can produce even truncated seasons that could premiere early next year.
- 8/25/2023
- by Lucas Manfredi
- The Wrap
You are reading an exclusive WrapPRO article for free. Want to level up your entertainment career? Subscribe to WrapPRO.
As the Hollywood writers’ strike enters its fourth week, both writers and studios have settled in for what is expected to be a work stoppage that will last for at least two months, if not longer. The entrenched divisions may come down to the preparations both sides have made. It may be the first time in over 15 years that the entertainment industry has had to deal with a formal strike, but other recent events have helped both sides get ready for a long-haul fight.
The Writers Guild of America’s recent successful campaign to eliminate agency packaging fees also helped prepare writers to organize for a bigger battle with their employers. And the studios are running the same playbook they used to get through the pandemic to stock their streaming services with fresh shows and movies.
As the Hollywood writers’ strike enters its fourth week, both writers and studios have settled in for what is expected to be a work stoppage that will last for at least two months, if not longer. The entrenched divisions may come down to the preparations both sides have made. It may be the first time in over 15 years that the entertainment industry has had to deal with a formal strike, but other recent events have helped both sides get ready for a long-haul fight.
The Writers Guild of America’s recent successful campaign to eliminate agency packaging fees also helped prepare writers to organize for a bigger battle with their employers. And the studios are running the same playbook they used to get through the pandemic to stock their streaming services with fresh shows and movies.
- 5/22/2023
- by Jeremy Fuster
- The Wrap
“It ain’t good.”
That’s the reaction from one former television executive to advertising powerhouse Linda Yaccarino’s abrupt exit from NBCUniversal to become Twitter’s new CEO. It signals more turmoil for Comcast’s media arm, just three days before the company’s crucial upfronts presentation. On top of NBCUniversal CEO Jeff Shell’s recent ouster, the latest wave of corporate turmoil flooding 30 Rock feels like it’s straight out of an episode of “Succession.”
Twitter CEO Elon Musk surprised the industry Friday when he announced Yaccarino as his successor in the top role at the struggling social media company. Earlier that day, NBCUniversal said that Yaccarino would be stepping down as its chairman of global advertising and partnerships. It named Mark Marshall, a top ad-sales executive, Yaccarino’s successor on an interim basis.
Speculation about her jump to Twitter started Thursday after Musk tweeted about having found...
That’s the reaction from one former television executive to advertising powerhouse Linda Yaccarino’s abrupt exit from NBCUniversal to become Twitter’s new CEO. It signals more turmoil for Comcast’s media arm, just three days before the company’s crucial upfronts presentation. On top of NBCUniversal CEO Jeff Shell’s recent ouster, the latest wave of corporate turmoil flooding 30 Rock feels like it’s straight out of an episode of “Succession.”
Twitter CEO Elon Musk surprised the industry Friday when he announced Yaccarino as his successor in the top role at the struggling social media company. Earlier that day, NBCUniversal said that Yaccarino would be stepping down as its chairman of global advertising and partnerships. It named Mark Marshall, a top ad-sales executive, Yaccarino’s successor on an interim basis.
Speculation about her jump to Twitter started Thursday after Musk tweeted about having found...
- 5/12/2023
- by Lucas Manfredi and Jose Alejandro Bastidas
- The Wrap
The cancellation this week of “9-1-1,” Fox’s highest-rated scripted show, tells you everything you need to know about the broken economics of the broadcast television business: It doesn’t really work.
With a stunningly high per-episode cost after six years of $9-$10 million, Fox made the call to cancel a show made by Disney-owned 20th Television — only to see the show scooped up by ABC. That’s likely because the licensing cost had rocketed so high for Fox that the show no longer made sense to keep on the air.
The cancellation “signals a massive shift in the business,” a veteran network executive observed to TheWrap. When the broadcast business was healthy, “the network would do anything to keep its top shows.”
Also Read:
‘9-1-1’ Moves to ABC for Season 7
Now, the executive said, “Shows are much more expensive — especially a show like ‘9-1-1’ — and ratings are much, much lower.
With a stunningly high per-episode cost after six years of $9-$10 million, Fox made the call to cancel a show made by Disney-owned 20th Television — only to see the show scooped up by ABC. That’s likely because the licensing cost had rocketed so high for Fox that the show no longer made sense to keep on the air.
The cancellation “signals a massive shift in the business,” a veteran network executive observed to TheWrap. When the broadcast business was healthy, “the network would do anything to keep its top shows.”
Also Read:
‘9-1-1’ Moves to ABC for Season 7
Now, the executive said, “Shows are much more expensive — especially a show like ‘9-1-1’ — and ratings are much, much lower.
- 5/3/2023
- by Jose Alejandro Bastidas
- The Wrap
You are reading an exclusive WrapPRO article for free. Want to level up your entertainment career? Subscribe to WrapPRO now and get a 60% discount.
As the clock is ticking for the Writers Guild of America and the Alliance of Motion Picture and Television Producers to reach an agreement in contract negotiations before Monday’s expiration, a recent WGA advisory memo and former television network executives give a glimpse of how the TV landscape will be reshaped by a writers’ strike.
For TV writers, the current negotiations are “in some ways a much uglier situation than almost the innocent times of 2007/2008,” former NBC Studios and Upn executive Tom Nunan told TheWrap.
The previous strike lasted for 100 days and resulted in the loss of almost 25% of primetime scripted programming for the 2007-2008 network season. That forced studios and networks to get creative and take advantage of the groups that weren’t unionized.
As the clock is ticking for the Writers Guild of America and the Alliance of Motion Picture and Television Producers to reach an agreement in contract negotiations before Monday’s expiration, a recent WGA advisory memo and former television network executives give a glimpse of how the TV landscape will be reshaped by a writers’ strike.
For TV writers, the current negotiations are “in some ways a much uglier situation than almost the innocent times of 2007/2008,” former NBC Studios and Upn executive Tom Nunan told TheWrap.
The previous strike lasted for 100 days and resulted in the loss of almost 25% of primetime scripted programming for the 2007-2008 network season. That forced studios and networks to get creative and take advantage of the groups that weren’t unionized.
- 5/1/2023
- by Lucas Manfredi
- The Wrap
It’s merger mania!
The $21.4 billion deal between Worldwide Wrestling Entertainment and the Endeavor Group-owned Ultimate Fighting Championship is poised to shake up the future of live sports entertainment.
Sports and particularly live events are seen as a key means of attracting audiences to streaming services and linear networks alike, which is prompting a scramble to secure rights, assemble assets and bolster existing programming. Though rising interest rates and an uncertain economic environment may have pressed pause on megadeals, there’s avid interest in smaller-scale dealmaking, whether that’s a merger like the UFC-WWE combination or long-term agreements with leagues.
“Sports entertainment has never been more valuable than it is today. Endeavor saw an opportunity, and leapt on it,” UCLA professor and former NBC and Upn executive Tom Nunan told TheWrap.
Also Read:
Endeavor’s UFC Merging With WWE to Form $21.4 Billion Entertainment Giant
Under the terms of the deal,...
The $21.4 billion deal between Worldwide Wrestling Entertainment and the Endeavor Group-owned Ultimate Fighting Championship is poised to shake up the future of live sports entertainment.
Sports and particularly live events are seen as a key means of attracting audiences to streaming services and linear networks alike, which is prompting a scramble to secure rights, assemble assets and bolster existing programming. Though rising interest rates and an uncertain economic environment may have pressed pause on megadeals, there’s avid interest in smaller-scale dealmaking, whether that’s a merger like the UFC-WWE combination or long-term agreements with leagues.
“Sports entertainment has never been more valuable than it is today. Endeavor saw an opportunity, and leapt on it,” UCLA professor and former NBC and Upn executive Tom Nunan told TheWrap.
Also Read:
Endeavor’s UFC Merging With WWE to Form $21.4 Billion Entertainment Giant
Under the terms of the deal,...
- 4/5/2023
- by Lucas Manfredi
- The Wrap
Brigitte Muñoz-Liebowitz has been working in television writing and production for over 12 years. But the script for the HBO Max original series Gordita Chronicles was the first time she’d ever seen a TV series that mirrored her own family’s story.
“My mother came to the US from Colombia in 1962,” Muñoz-Liebowitz tells Rolling Stone. “Growing up as a brown person in a predominantly white neighborhood, it made the fact that we were newer to this country culturally much more significant. So reading all the narratives in Gordita Chronicles, I...
“My mother came to the US from Colombia in 1962,” Muñoz-Liebowitz tells Rolling Stone. “Growing up as a brown person in a predominantly white neighborhood, it made the fact that we were newer to this country culturally much more significant. So reading all the narratives in Gordita Chronicles, I...
- 3/24/2023
- by CT Jones
- Rollingstone.com
As Netflix executive Greg Peters takes the co-ceo reins from Reed Hastings, Wall Street, the entertainment industry and consumers will be watching closely to see how he and Ted Sarandos steer the streaming behemoth forward.
A major question for Peters, formerly the company’s COO, and Sarandos, who held the co-ceo title alongside Hastings for almost three years, is whether the company’s new leadership will use the old playbook that powered the company to the top of the streaming world or try to forge their own path.
UCLA professor Tom Nunan, a former executive at NBC and Upn, told TheWrap that one major lesson Peters and Sarandos can learn from Hastings is that they shouldn’t “be a slave to Hollywood’s history and its problem-solving techniques.”
Also Read:
Hollywood’s Hottest New Trend? Movies Opening in Theaters | Chart
Hastings’ way was to “always do what’s best for Netflix,...
A major question for Peters, formerly the company’s COO, and Sarandos, who held the co-ceo title alongside Hastings for almost three years, is whether the company’s new leadership will use the old playbook that powered the company to the top of the streaming world or try to forge their own path.
UCLA professor Tom Nunan, a former executive at NBC and Upn, told TheWrap that one major lesson Peters and Sarandos can learn from Hastings is that they shouldn’t “be a slave to Hollywood’s history and its problem-solving techniques.”
Also Read:
Hollywood’s Hottest New Trend? Movies Opening in Theaters | Chart
Hastings’ way was to “always do what’s best for Netflix,...
- 2/14/2023
- by Lucas Manfredi
- The Wrap
In January 2020, the most popular movie on Netflix was “Don’t Look Up,” a newly released disaster comedy with Leonardo DiCaprio and Jennifer Lawrence. But the second-most-popular movie was “Just Go With It,” an Adam Sandler flick from 2011 that had just started streaming on the service.
Timothy Dowling, who co-wrote the screenplay for that film, watched in anticipation as a movie he’d made more than a decade before inexplicably climbed the Netflix charts. But when his next residual check arrived, he received an unwelcome surprise. “I saw no noticeable change in the residuals I got,” Dowling says, referencing the money that film and TV talent receive when their movies or shows are broadcast, syndicated or appear on home entertainment platforms. He was baffled. “Clearly, Netflix paid money for this,” he says. “But is that money trickling down to the writer?”
The streaming economy — and the writer’s place in it...
Timothy Dowling, who co-wrote the screenplay for that film, watched in anticipation as a movie he’d made more than a decade before inexplicably climbed the Netflix charts. But when his next residual check arrived, he received an unwelcome surprise. “I saw no noticeable change in the residuals I got,” Dowling says, referencing the money that film and TV talent receive when their movies or shows are broadcast, syndicated or appear on home entertainment platforms. He was baffled. “Clearly, Netflix paid money for this,” he says. “But is that money trickling down to the writer?”
The streaming economy — and the writer’s place in it...
- 2/8/2023
- by Gene Maddaus and Brent Lang
- Variety Film + TV
Despite new CBS Entertainment President Amy Reisenbach’s emphatic declaration on Thursday that “broadcast is not dead,” the industry has largely shifted its focus to streaming. And it’s looking more likely than ever that NBC will give its 10 p.m. hour of programming back to its affiliates, an idea that was first teased in August.
Back in NBC’s “Must See TV” heyday of the 1990s, network president Warren Littlefield and most other industry execs thought of the 10 p.m. slot as “Malibu real estate,” valuable territory that no one in their right mind would want to give up. “But that was 30 years ago,” Littlefield told TheWrap in a recent interview.
While he still believes in the value of broadcast networks, Littlefield sees their role now as “a valuable part of a larger ecosystem,” which increasingly favors streaming. Networks “generate buzz and attention, but these are all pieces now of massive media companies.
Back in NBC’s “Must See TV” heyday of the 1990s, network president Warren Littlefield and most other industry execs thought of the 10 p.m. slot as “Malibu real estate,” valuable territory that no one in their right mind would want to give up. “But that was 30 years ago,” Littlefield told TheWrap in a recent interview.
While he still believes in the value of broadcast networks, Littlefield sees their role now as “a valuable part of a larger ecosystem,” which increasingly favors streaming. Networks “generate buzz and attention, but these are all pieces now of massive media companies.
- 11/23/2022
- by Sharon Knolle
- The Wrap
David Nevins’ surprise exit as the top executive at Showtime Networks after an impressive 12-year run signals a troubled path forward for the premium cable channel as a standalone brand in the streaming-first, consolidation-focused industry, insiders said.
Nevins, who was promoted only a year ago to chief content officer for all Showtime and Paramount+ scripted originals, last week announced his plans to depart a company that, according to one individual with knowledge of the corporate culture, has become overrun with “powerful bros” jockeying for position under CEO Bob Bakish. But the underlying business prospects for Showtime remain challenging, especially without Nevins to champion the brand.
“This should be the curtain call for Showtime,” David Offenberg, an associate professor of finance at Loyola Marymount University focusing on the entertainment business, told TheWrap. “As Paramount Global works to rebrand under the Paramount name and shift focus to the revenue streams of the future,...
Nevins, who was promoted only a year ago to chief content officer for all Showtime and Paramount+ scripted originals, last week announced his plans to depart a company that, according to one individual with knowledge of the corporate culture, has become overrun with “powerful bros” jockeying for position under CEO Bob Bakish. But the underlying business prospects for Showtime remain challenging, especially without Nevins to champion the brand.
“This should be the curtain call for Showtime,” David Offenberg, an associate professor of finance at Loyola Marymount University focusing on the entertainment business, told TheWrap. “As Paramount Global works to rebrand under the Paramount name and shift focus to the revenue streams of the future,...
- 10/11/2022
- by Diane Haithman
- The Wrap
It’s the end of The CW as we know it: As the local-tv station giant Nexstar closed its deal to acquire a majority 75 stake in the network, a new indication of its plans arrived with the news of longtime CW president Mark Pedowitz’s exit. Nexstar will seek to “completely reimagine” the network as it embarks on an entirely different creative direction, industry insiders and analysts told TheWrap.
Incoming president Dennis Miller will likely prioritize content that feeds more naturally into the company’s local news programming. Miller, who has held senior executive positions at Sony Pictures Entertainment, Lionsgate Television and Turner Network Television and recently led the production company that produces reality hits like “American Idol” and “90-Day Fiancé,” is expected to build a new primetime slate that could see a mix of unscripted series, syndicated acquisitions and cheaper foreign imports, akin to The CW’s current Friday and weekend lineup.
Incoming president Dennis Miller will likely prioritize content that feeds more naturally into the company’s local news programming. Miller, who has held senior executive positions at Sony Pictures Entertainment, Lionsgate Television and Turner Network Television and recently led the production company that produces reality hits like “American Idol” and “90-Day Fiancé,” is expected to build a new primetime slate that could see a mix of unscripted series, syndicated acquisitions and cheaper foreign imports, akin to The CW’s current Friday and weekend lineup.
- 10/6/2022
- by Natalie Oganesyan
- The Wrap
The Walt Disney Co.’s board of directors finally snapped out of its near-catatonic corporate state this week by extending Bob Chapek’s term as CEO, a definitive move that expressed confidence both to the smart money on Wall Street and tourists ambling up Main Street, U.S.A. By extending Chapek’s contract for three years, the 11-member board put to rest speculation that Bob Iger would return to save the day, among other names bandied about as a possible replacement. And, at least for now, the move silences some of the well-documented whispers and complaints of missteps that have plagued Chapek since taking the job in February 2020. “Bob Chapek inherited a nightmare with this pandemic, and he has managed their big core businesses effectively through a very challenging time. It’s only fair play to give him a chance to run the company under normal circumstances,” said Tom Nunan,...
- 6/30/2022
- by Joe Bel Bruno
- The Wrap
The set of “Rust” seemed to produce an unending list of tragic circumstances, snafus, and gaffes: the camera crew quitting in protest over work conditions; the prop gun that fired a bullet, which killed cinematographer Halyna Hutchins; the mix of 500 blanks, dummy rounds and suspected live rounds collected on the set by Santa Fe Sheriff’s Office, and even the custom T-shirts reportedly ordered by production staff mocking crew requests for hotel rooms. At this point, “Rust” producer and star Alec Baldwin may be alone in his assertion about his film with a reported budget of under $7 million: “We were a very, very well-oiled crew.”
The “Rust” reports document what might be generously described as gross mistakes and mismanagement, but “low budget does not equal unsafe. That’s not the conclusion to draw from this tragedy,” said Tom Nunan, who was an executive producer of “Crash” and “The Illusionist” and...
The “Rust” reports document what might be generously described as gross mistakes and mismanagement, but “low budget does not equal unsafe. That’s not the conclusion to draw from this tragedy,” said Tom Nunan, who was an executive producer of “Crash” and “The Illusionist” and...
- 11/3/2021
- by Chris Lindahl
- Indiewire
NBCUniversal will be heading into the streaming era with a different man at the helm. On Thursday, word broke out that NBCU’s longtime CEO Steve Burke would be stepping down next summer, ending a nearly 10-year tenure running the media conglomerate. And according to experts and analysts who spoke with TheWrap, Burke leaves behind a long shadow, but one that Jeff Shell, who is expected to succeed Burke, seems capable of filling. Tom Nunan, founder and partner of Bull’s Eye Entertainment and a lecturer at UCLA’s School of Theater, Film and Television, said Burke has been “an iconic figure in broadcasting for his entire career.” “There are few people with his track record of success,” Nunan said. “He’s definitely in that elite circle that [Disney Chairman Bob] Iger is a part of and a few others. Also Read: Jeff Shell to Replace NBCUniversal CEO Steve Burke “Frankly, I...
- 12/14/2019
- by Tony Maglio and Tim Baysinger
- The Wrap
NBCUniversal’s decision this week to pull “The Office” from Netflix is just the latest sign of the shifting landscape for streaming services. Even bigger changes are coming thanks to mega deals with many of the top producers in television.
But will those deals pay off?
The days of Netflix building a streaming business on classic TV shows appear to be numbered, which is why it was a coup for the streaming giant to secure the services of Shonda Rhimes and Ryan Murphy. Netflix is hoping that the two uber-producers behind hits like “Grey’s Anatomy” and “American Horror Story” will keep it perched atop the rapidly-expanding streaming kingdom.
WarnerMedia, meanwhile, is prepared to give J.J. Abrams $500 million to help prop up its upcoming streaming service, while last week it was announced that longtime producer John Wells will help Warner Bros. TV take advantage of all the new content buyers,...
But will those deals pay off?
The days of Netflix building a streaming business on classic TV shows appear to be numbered, which is why it was a coup for the streaming giant to secure the services of Shonda Rhimes and Ryan Murphy. Netflix is hoping that the two uber-producers behind hits like “Grey’s Anatomy” and “American Horror Story” will keep it perched atop the rapidly-expanding streaming kingdom.
WarnerMedia, meanwhile, is prepared to give J.J. Abrams $500 million to help prop up its upcoming streaming service, while last week it was announced that longtime producer John Wells will help Warner Bros. TV take advantage of all the new content buyers,...
- 6/26/2019
- by Tony Maglio and Tim Baysinger
- The Wrap
Hollywood has been drawn into the abortion debate as production-heavy states like Georgia and Louisiana have passed new “heartbeat” laws banning abortions as early as six weeks into pregnancy, with companies and top talent taking one of the several paths: boycott those states, threaten to boycott if the laws survive legal challenges and actually take effect — or stay completely silent on the matter.
In addition, several top Hollywood firms and personalities with projects already slated to shoot in Georgia and other states that have passed similar legislation say they will proceed with production there but donate fees to support nonprofit groups challenging the laws in the courts.
The varying approaches reflect a complicated reality for many studios and networks, whose executives and key talent tend to support abortion rights but who are often reluctant to take sides publicly on a divisive political issue. In addition, many companies don’t want...
In addition, several top Hollywood firms and personalities with projects already slated to shoot in Georgia and other states that have passed similar legislation say they will proceed with production there but donate fees to support nonprofit groups challenging the laws in the courts.
The varying approaches reflect a complicated reality for many studios and networks, whose executives and key talent tend to support abortion rights but who are often reluctant to take sides publicly on a divisive political issue. In addition, many companies don’t want...
- 6/3/2019
- by Beatrice Verhoeven
- The Wrap
“Bones” stars and executive producers were awarded $179 million earlier this month in a profit participation lawsuit with Fox that ended up in arbitration — but don’t expect a sudden surge of copycat lawsuits, experts tell TheWrap. At least, not successful ones.
One prominent dealmaker told TheWrap that although this judgement — which ruled in favor of “Bones” stars David Boreanaz and Emily Deschanel, executive producer Barry Josephson and Kathy Reichs, the forensic anthropologist whose books inspired the show — may lead other hit shows to hire someone to scrutinize how their studio shared profits, not everyone will have the right situation or the finances to take it to court.
“It’s the confluence of a successful show, where people are underpaid, where there are enough points that reside with one or two or three people such that it’s worth it to take on Fox,” the dealmaker, who requested anonymity due to...
One prominent dealmaker told TheWrap that although this judgement — which ruled in favor of “Bones” stars David Boreanaz and Emily Deschanel, executive producer Barry Josephson and Kathy Reichs, the forensic anthropologist whose books inspired the show — may lead other hit shows to hire someone to scrutinize how their studio shared profits, not everyone will have the right situation or the finances to take it to court.
“It’s the confluence of a successful show, where people are underpaid, where there are enough points that reside with one or two or three people such that it’s worth it to take on Fox,” the dealmaker, who requested anonymity due to...
- 3/1/2019
- by Tony Maglio and Tim Baysinger
- The Wrap
Court rules that producer Bob Yari used 'creative accountancy' to avoid paying Haggis share of profit from Oscar-winning film
Us director Paul Haggis was cheated out of money owed to him for his work on the Oscar-winning film Crash, a Los Angeles court has ruled.
Producer Bob Yari used "creative accountancy" to avoid paying Haggis, star Brendan Fraser and screenwriter Bobby Moresco their share of profits from the film, judge Daniel J Buckley ruled. Among other bogus practices, Yari deducted the price of his ticket to the Oscars and a $150,000 payment to Sandra Bullock from the film's $33.8m gross before paying out.
"Defendants breached the contracts with the plaintiffs by diverting funds to third parties; adopting bogus contractual interpretations; refusing to correct accounting errors in a timely manner; adopting inappropriate accounting procedures that were contrary to industry standards; and, ultimately, using all of these to avoid paying plaintiffs money due under contracts,...
Us director Paul Haggis was cheated out of money owed to him for his work on the Oscar-winning film Crash, a Los Angeles court has ruled.
Producer Bob Yari used "creative accountancy" to avoid paying Haggis, star Brendan Fraser and screenwriter Bobby Moresco their share of profits from the film, judge Daniel J Buckley ruled. Among other bogus practices, Yari deducted the price of his ticket to the Oscars and a $150,000 payment to Sandra Bullock from the film's $33.8m gross before paying out.
"Defendants breached the contracts with the plaintiffs by diverting funds to third parties; adopting bogus contractual interpretations; refusing to correct accounting errors in a timely manner; adopting inappropriate accounting procedures that were contrary to industry standards; and, ultimately, using all of these to avoid paying plaintiffs money due under contracts,...
- 7/29/2011
- by Ben Child
- The Guardian - Film News
By Sean O’Connell
Hollywoodnews.com: Controversy continues to swirl around Paul Haggis’ “Crash,” which won three Oscars in 2006 including the top prize for Best Picture.
“Crash” co-star Matt Dillon filed a claim in Los Angeles Superior Court yesterday claiming he was still owed nearly $100,000 in profits, according to a report in the Hollywood Reporter.
Dillon states in the complaint that his company, Matthias Prods., presented the findings of an audit to Bob Yari and the film’s producers, they “deliberately authorized [the production entity] to apply an incorrect formula for the calculation of [Dillon's] contingent compensation.”
This isn’t the first “Crash” lawsuit. Yari, himself, sued the Academy and the producers guild back in 2006 over him getting a credit on the film. (He lost.) Later, producers Cathy Shulman and Tom Nunan sued Yari, and also said he “withheld millions of dollars in profits from the films,” according to the Hollywood Reporter. And finally,...
Hollywoodnews.com: Controversy continues to swirl around Paul Haggis’ “Crash,” which won three Oscars in 2006 including the top prize for Best Picture.
“Crash” co-star Matt Dillon filed a claim in Los Angeles Superior Court yesterday claiming he was still owed nearly $100,000 in profits, according to a report in the Hollywood Reporter.
Dillon states in the complaint that his company, Matthias Prods., presented the findings of an audit to Bob Yari and the film’s producers, they “deliberately authorized [the production entity] to apply an incorrect formula for the calculation of [Dillon's] contingent compensation.”
This isn’t the first “Crash” lawsuit. Yari, himself, sued the Academy and the producers guild back in 2006 over him getting a credit on the film. (He lost.) Later, producers Cathy Shulman and Tom Nunan sued Yari, and also said he “withheld millions of dollars in profits from the films,” according to the Hollywood Reporter. And finally,...
- 10/1/2010
- by Sean O'Connell
- Hollywoodnews.com
Is "Crash" the most-litigated movie in Hollywood history? Now actor Matt Dillon has become the latest to sue over profits from the 2006 best picture Oscar winner.
In a lawsuit filed Thursday in Los Angeles Superior Court, the actor who played a racist cop who memorably saves Thandie Newton from a burning car claims that he was cheated out of at least $100,000 in profits from the hit drama by executive producer Bob Yari and others.
Dillon says that in 2006 his company Matthias Prods. performed an audit and found that he was owed a big chunk of money from the film, which was made for under $8 million but grossed about $98 million worldwide. But he says that when he presented the audit to Yari and his execs Dennis Brown and William Immerman, they "deliberately authorized [the production entity] to apply an incorrect formula for the calculation of [Dillon's] contingent compensation," according to the complaint. This allegedly allowed...
In a lawsuit filed Thursday in Los Angeles Superior Court, the actor who played a racist cop who memorably saves Thandie Newton from a burning car claims that he was cheated out of at least $100,000 in profits from the hit drama by executive producer Bob Yari and others.
Dillon says that in 2006 his company Matthias Prods. performed an audit and found that he was owed a big chunk of money from the film, which was made for under $8 million but grossed about $98 million worldwide. But he says that when he presented the audit to Yari and his execs Dennis Brown and William Immerman, they "deliberately authorized [the production entity] to apply an incorrect formula for the calculation of [Dillon's] contingent compensation," according to the complaint. This allegedly allowed...
- 10/1/2010
- by By Matthew Belloni
- The Hollywood Reporter - Movie News
Starz is staying on "Crash" course. The premium cable network has renewed its first original drama series for a second season with a 13-episode order.
For its sophomore effort, the Lionsgate TV-produced "Crash" will take on a new direction with a new creative team led by Ira Steven Behr ("The 4400"), who has been tapped as executive producer/showrunner. He is being joined by James DeMonaco and Todd Harthan (both of Spike TV's "The Kill Point"), who have been named exec producer and supervising producer, respectively.
Series creator/exec producer Glen Mazzara, who served as showrunner for the first season, will stay on as a consulting producer.
"The show was off to a very good start," Starz exec vp programming Stephan Shelanski said. "We wanted to adjust the course, moving away from some of the police story arcs and focus more on other aspects of Los Angeles."
About half...
For its sophomore effort, the Lionsgate TV-produced "Crash" will take on a new direction with a new creative team led by Ira Steven Behr ("The 4400"), who has been tapped as executive producer/showrunner. He is being joined by James DeMonaco and Todd Harthan (both of Spike TV's "The Kill Point"), who have been named exec producer and supervising producer, respectively.
Series creator/exec producer Glen Mazzara, who served as showrunner for the first season, will stay on as a consulting producer.
"The show was off to a very good start," Starz exec vp programming Stephan Shelanski said. "We wanted to adjust the course, moving away from some of the police story arcs and focus more on other aspects of Los Angeles."
About half...
- 2/23/2009
- by By Nellie Andreeva
- The Hollywood Reporter - Movie News
ABC Family has picked up two half-hour pilots -- "10 Things I Hate About You," based on the film, and "Ruby and the Rockits," starring Alexa Vega -- and greenlighted an original movie with Joey Lawrence and Melissa Joan Hart.
Gil Junger, who directed the "10 Things" feature, is on board to direct the single-camera pilot as well as the untitled movie.
"10 Things," written and exec produced by Carter Covington (ABC Family's "Greek"), revolves around two sisters -- a strong-willed feminist and a social butterfly -- facing the challenges of starting out in a new high school. The series is from Prodco Inc.
"Ruby," from ABC Studios and exec producers Shaun Cassidy ("Invasion") and Marsh McCall ("Carpoolers"), is a multicamera comedy about a former teen idol whose quiet life is disrupted when his brother and former bandmate shows up with a newfound teenage daughter. "Ruby," directed by Ted Wass, was written by Cassidy and Ed Yeager,...
Gil Junger, who directed the "10 Things" feature, is on board to direct the single-camera pilot as well as the untitled movie.
"10 Things," written and exec produced by Carter Covington (ABC Family's "Greek"), revolves around two sisters -- a strong-willed feminist and a social butterfly -- facing the challenges of starting out in a new high school. The series is from Prodco Inc.
"Ruby," from ABC Studios and exec producers Shaun Cassidy ("Invasion") and Marsh McCall ("Carpoolers"), is a multicamera comedy about a former teen idol whose quiet life is disrupted when his brother and former bandmate shows up with a newfound teenage daughter. "Ruby," directed by Ted Wass, was written by Cassidy and Ed Yeager,...
- 10/9/2008
- by By Kimberly Nordyke
- The Hollywood Reporter - Movie News
Writer-producer Glen Mazzara has been tapped as executive producer/showrunner on Crash, Starz's first original drama series.
The 13-episode series, co-produced with Lionsgate TV, is based on the Oscar-winning feature about race relations post-Sept. 11.
"I was very intrigued with the idea of doing a character-based drama set in Los Angeles that revolved around explosive moments in people's lives that came out of seemingly mundane events," Mazzara said.
Members of the team behind the movie --including director/co-writer/producer Paul Haggis, co-writer/producer Bobby Moresco, producers Bob Yari, Don Cheadle and Mark R. Harris and executive producer Tom Nunan -- will be involved in the series, slated to premiere this year on the John Malone-backed pay cabler.
In addition to running the series, Mazzara also will rewrite the first episode script, which was penned by Caleb Kane.
Mazzara, who plans to keep elements from Kane's script, is deciding which story lines and characters from the movie will make the transition to series.
The 13-episode series, co-produced with Lionsgate TV, is based on the Oscar-winning feature about race relations post-Sept. 11.
"I was very intrigued with the idea of doing a character-based drama set in Los Angeles that revolved around explosive moments in people's lives that came out of seemingly mundane events," Mazzara said.
Members of the team behind the movie --including director/co-writer/producer Paul Haggis, co-writer/producer Bobby Moresco, producers Bob Yari, Don Cheadle and Mark R. Harris and executive producer Tom Nunan -- will be involved in the series, slated to premiere this year on the John Malone-backed pay cabler.
In addition to running the series, Mazzara also will rewrite the first episode script, which was penned by Caleb Kane.
Mazzara, who plans to keep elements from Kane's script, is deciding which story lines and characters from the movie will make the transition to series.
- 2/26/2008
- The Hollywood Reporter - Movie News
Starz is making its biggest statement to date in the original programming arena by greenlighting Crash as its first original drama series.
Based on the Oscar-winning feature, the 13-episode series, co-produced with Lionsgate TV, is slated to debut on the John Malone-backed pay cabler this year.
Key members of the team behind the gritty, racially charged film are on board for the series, including director/co-writer/producer Paul Haggis, co-writer and producer Bobby Moresco, producer Bob Yari, producer Don Cheadle, producer Mark R. Harris and executive producer Tom Nunan.
If his schedule allows, Cheadle might reprise his role on the series as well as direct.
" 'Crash' introduced a whole range of fascinating characters and engrossing, intertwined stories that are ideally suited for developing into a TV series," Starz exec vp programming Stephan Shelanski said. "Starz is the premium channel for movies, so it's appropriate that this best picture winner is providing the basis for our first dramatic series."
The order for Crash follows the recent launch of Starz's first original series -- the comedies Head Case and Hollywood Residential. While Starz brass had stated plans to develop lower-cost original series as a complement to the channel's movie packages, that won't be the case with Crash.
"We will be paying the higher end of the going rate for any drama series," Starz vp original programming Michael Ruggiero said. "The quality of the series will match that of a theatrical experience."
Despite its strong foray into original series with Crash, Starz won't follow in the footsteps of fellow pay cable channels HBO and Showtime, which tapped into their movie acquisition budgets to do more original series, Ruggiero said.
Based on the Oscar-winning feature, the 13-episode series, co-produced with Lionsgate TV, is slated to debut on the John Malone-backed pay cabler this year.
Key members of the team behind the gritty, racially charged film are on board for the series, including director/co-writer/producer Paul Haggis, co-writer and producer Bobby Moresco, producer Bob Yari, producer Don Cheadle, producer Mark R. Harris and executive producer Tom Nunan.
If his schedule allows, Cheadle might reprise his role on the series as well as direct.
" 'Crash' introduced a whole range of fascinating characters and engrossing, intertwined stories that are ideally suited for developing into a TV series," Starz exec vp programming Stephan Shelanski said. "Starz is the premium channel for movies, so it's appropriate that this best picture winner is providing the basis for our first dramatic series."
The order for Crash follows the recent launch of Starz's first original series -- the comedies Head Case and Hollywood Residential. While Starz brass had stated plans to develop lower-cost original series as a complement to the channel's movie packages, that won't be the case with Crash.
"We will be paying the higher end of the going rate for any drama series," Starz vp original programming Michael Ruggiero said. "The quality of the series will match that of a theatrical experience."
Despite its strong foray into original series with Crash, Starz won't follow in the footsteps of fellow pay cable channels HBO and Showtime, which tapped into their movie acquisition budgets to do more original series, Ruggiero said.
- 1/29/2008
- The Hollywood Reporter - Movie News
- For an Oscar-winning film it received its share of flack, yet it won't prevent Paul Haggis, Bobby Moresco, Bob Yari, Don Cheadle, Mark R. Harris and Tom Nunan from retro-fitting the 2004 drama into a 13 episode series. Starz will be airing the series sometime down the road with filming expected this Spring. To be expected are the stereotype portraits in one-hour segments, foreign languages, race relations in the burbs of Los Angelese and current event issues examined head on, but I'd be totatlly surprised to see Haggis go behind the camera on one of these shoots. Interesting side note: this is only the second time a Best Picture Oscar®-winner has been turned into a series. In the Heat of the Night was the first. ...
- 1/28/2008
- IONCINEMA.com
A Los Angeles judge has effectively ensured that Cathy Schulman and Tom Nunan will remain credited producers on The Illusionist through its August release by continuing to bar fellow producer Bob Yari from removing their names. Los Angeles Superior Court Judge James Dunn ruled Friday that the temporary restraining order he granted against Yari will remain in effect through the conclusion of trial, according to Schulman and Nunan's attorney, Melvin Avanzado. No date has been set for the trial, and it is not expected to begin before the film's Aug. 19 release. "We're quite pleased that the judge saw the evidence our way," Avanzado said. "Cathy agreed to work on this picture and provided her services, and there wasn't any controversy about the quality of her work or that she would get a credit." Yari's reps could not be reached for comment Friday.
- 6/26/2006
- The Hollywood Reporter - Movie News
Producers Cathy Schulman and Tom Nunan have been granted a temporary restraining order barring producing partner Bob Yari from removing their names from the credits of the upcoming feature The Illusionist. The order signed Friday by Los Angeles Superior Court Judge James Dunn is the latest skirmish in the legal feud between Yari and Schulman/Nunan, who have sued each other over various claims related to Crash and their Joint Venture Bulls Eye Entertainment. Crash won a best picture Oscar for Schulman but not Yari, who was denied producing credit by the Producers Guild of America. The latest fight centers on The Illusionist, director Neil Burger's screen adaptation of Steven Millhauser's short story about a magician in early 1900s Vienna who falls in love with a woman above his social standing. Schulman and Yari are listed as producers, with Nunan serving as an executive producer, according to IMDb.com.
Is the traditional definition of a "producer" outmoded given the financial complexities of getting a film made in today's global market? Whatever else it might do, the legal wrangling between Bob Yari, Cathy Schulman and the Producers Guild of America is sure to raise important questions about the issue. At a time when so many projects are cobbled together through financing sources outside the studio system, some argue that the PGA and AMPAS should acknowledge what so-called money men like Yari bring to the table when they agree to back a film. After months of posturing and threats, Yari sued the guild and the Academy on Wednesday, claiming that he was unfairly stripped of his producer's credit on best picture nominee Crash. On Tuesday, Schulman and Tom Nunan filed suit against Yari, alleging that he withheld millions in profits, damaged their reputations and used their joint venture, Bulls Eye Entertainment, to promote his other interests (HR 3/2).
Is the traditional definition of a "producer" outmoded given the financial complexities of getting a film made in today's global market? Whatever else it might do, the legal wrangling between Bob Yari, Cathy Schulman and the Producers Guild of America is sure to raise important questions about the issue. At a time when so many projects are cobbled together through financing sources outside the studio system, some argue that the PGA and AMPAS should acknowledge what so-called money men like Yari bring to the table when they agree to back a film. After months of posturing and threats, Yari sued the guild and the Academy on Wednesday, claiming that he was unfairly stripped of his producer's credit on best picture nominee Crash. On Tuesday, Schulman and Tom Nunan filed suit against Yari, alleging that he withheld millions in profits, damaged their reputations and used their joint venture, Bulls Eye Entertainment, to promote his other interests (HR 3/2).
The feud over producing credits on Oscar Best Picture nominee Crash has escalated as producers Cathy Schulman and Tom Nunan have sued real estate mogul and movie financier Bob Yari, alleging that he withheld millions in profits, damaged their reputations and used their joint venture to promote his other interests. Separately on Wednesday, Yari sued the Producers Guild of America and the Academy of Motion Picture Arts and Sciences for allegedly denying him a fair procedure when they ruled against his producing credit on Crash. In addition to damages, Yari asked the Los Angeles Superior Court to force the Academy and PGA to modify future credit arbitrations by identifying the people who made the decisions and allowing further opportunities to challenge the results. The interconnected disputes had been simmering behind the scenes, but all the parties involved waited until final Oscar balloting closed Tuesday to make their latest legal moves.
The feud over producing credits on Oscar Best Picture nominee Crash has escalated as producers Cathy Schulman and Tom Nunan have sued real estate mogul and movie financier Bob Yari, alleging that he withheld millions in profits, damaged their reputations and used their joint venture to promote his other interests. Separately on Wednesday, Yari sued the Producers Guild of America and the Academy of Motion Picture Arts and Sciences for allegedly denying him a fair procedure when they ruled against his producing credit on Crash. In addition to damages, Yari asked the Los Angeles Superior Court to force the Academy and PGA to modify future credit arbitrations by identifying the people who made the decisions and allowing further opportunities to challenge the results. The interconnected disputes had been simmering behind the scenes, but all the parties involved waited until final Oscar balloting closed Tuesday to make their latest legal moves.
Abigail Spencer has been cast as the lead in Lifetime Television's tentatively titled Emily's Eyes, which has been given a 13-episode order by the female-targeted cable network, sources said. The hourlong procedural drama, from NBC Universal Television Studio, centers on a tough-as-nails FBI agent (Spencer) in her mid-20s who can sniff out liars. The series will follow the character as she seeks to right the wrongs of her parents, who are CIA operatives serving time in prison for treason. It's believed that the series is targeted to premiere in the summer. Dan McDermott and Scott Shepherd are writing Eyes. They also are serving as executive producers along with Bull's Eye Entertainment principals Tom Nunan and Cathy Schulman.
- 2/28/2006
- The Hollywood Reporter - Movie News
While producer Bob Yari was busy finalizing a distribution deal for Dave Chappelle's Block Party on Wednesday at the Toronto International Film Festival, the real estate-mogul-turned-film-financier also said he will distribute another of his films himself. The film, Adam Rapp's literary drama Winter Passing, also is screening in Toronto. The move would mark Yari's first foray into film distribution. In other developments, Yari also disclosed that his production partner Cathy Schulman has left the company. After Yari consolidated his operations in the spring, Schulman, the indie producer behind such Yari films as the sleeper hit Crash (which has grossed $53 million) and Sony Pictures Classics' upcoming Thumbsucker, moved her Bull's Eye Entertainment offices, temporarily setting up shop at the beginning of the month at Lions Gate Films with her partner Tom Nunan, who founded the company with her in 2000.
- 9/15/2005
- The Hollywood Reporter - Movie News
Sandra Bullock, Brendan Fraser, Matt Dillon, Ryan Phillippe, Thandie Newton, Larenz Tate, Nona Gaye and rapper Ludacris are jumping into Crash for Bull's Eye Entertainment, sources confirmed. Don Cheadle is already on board to star in the Paul Haggis-directed production, which is due to begin lensing Monday in Los Angeles. Penned by Haggis and Bobby Moresco, Crash is being produced by Bull's Eye -- the production partnership between Bob Yari, Cathy Schulman and Tom Nunan -- with financing coming from Yari and Mark Gordon's Stratus Film Co. along with Blockbuster arm DEJ Prods.
- 12/4/2003
- The Hollywood Reporter - Movie News
Bull's Eye Entertainment, the 9-month-old production company created by Bob Yari, Cathy Schulman, Tom Nunan and Mark Curcio, has signed a two-year, first-look feature film production deal with Paramount Pictures. Under the deal, Bull's Eye will serve in a producing capacity and possibly as co-financiers on larger budget, star-driven movies. Under the agreement, Paramount may become involved with material originated or developed in-house by Bull's Eye. Additionally, Bull's Eye will package projects in-house for potential financing by Paramount. Paramount and Bull's Eye may also choose to co-finance pictures through Bull's Eye's financing arrangements with its founding partner, Yari.
- 9/26/2003
- The Hollywood Reporter - Movie News
Matthew McConaughey is in negotiations to star in and Bull's Eye Entertainment will finance Section Eight's Tishomingo Blues, an adaptation of the Elmore Leonard best seller that will mark the feature directorial debut of actor Don Cheadle, who will also star. The project, budgeted at $15 million, will go into production Sept. 2. Tishomingo Blues is set in Mississippi, birthplace of the blues, and centers on Dennis Lenahan (McConaughey), a circus high diver staying at the Tishomingo Lodge & Casino who happens to witness a murder by local members of the Dixie Mafia. Robert Taylor (Cheadle), a slick con artist bent on taking over the mob's drug business, also witnesses the crime. Lenahan and Taylor become friends, and through a series of events, the killers, drug-dealing cronies, shady businessmen and the con artist all find themselves performing in Lenahan's Civil War re-enactment -- but the ammunition may be real. John C. Richards (Nurse Betty) adapted the screenplay. Steven Soderbergh and George Clooney's Section Eight are producing with Bull's Eye, headed by producer-financier Bob Yari, as well as Cathy Schulman, Tom Nunan and Mark Curcio. Leonard's manager Michael Siegel is also producing. McConaughey, repped by ICM and attorney Kevin Morris, is expected to segue into Crusader Entertainment's Sahara after he wraps Tishomingo.
Bull's Eye Entertainment has optioned Brian Horiuchi's original screenplay The Glass Gun. Glass Gun, described as a contemporary Chinatown, is the story of a man plunged into a mystery in which he must discover who is responsible for killing the friends he cares most about. The project will be produced by Bull's Eye's Cathy Schulman, Bob Yari and Tom Nunan. "Brian is a tremendously talented and gifted screenwriter, and we consider ourselves fortunate to have landed such an intriguing project," Schulman said. "This promises to be a great moviemaking experience, and we will be seeking a top-tier director in the very near future." Horiuchi, repped by the Gersh Agency, Untitled Entertainment's Jennifer Levine and attorney Howard Abramson, most recently set up at Warner Bros. Pictures an untitled thriller as a vehicle for Paul Walker to star in that Nine Yards Entertainment and Mayhem Pictures are producing (HR 4/30). He is writing a remake of This Island Earth for Alphaville Pictures. He co-wrote the indie feature America So Beautiful, which has played at the Berlin and Los Angeles film festivals. Bull's Eye is in production on its inaugural feature, Employee of the Month, starring Matt Dillon, Steve Zahn and Christina Applegate. Its second feature, Thumbsucker, begins production next month.
- 6/19/2003
- The Hollywood Reporter - Movie News
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