Announcing Gulfstream, a New Film Production and Financing Company

Warner Bros. Signs Exclusive First-Look Deal with Producers Mike Karz & Bill Bindley’s New Gulfstream Pictures, a Partnership with Korea’s Redrover Ltd. and U.S. Private Equity Funds

Gulfstream Sets Up Shop at Warner Bros. to Develop and Co-Finance Tentpole Films

BURBANK, Calif.--(BUSINESS WIRE)--Warner Bros. has signed an exclusive first-look deal with Mike Karz and Bill Bindley’s new film production and financing company, Gulfstream Pictures. The company gets its start with an initial multi-million-dollar development fund from Korea-based 3D stereoscopic leader Redrover Ltd. and a consortium of U.S. private equity funds.

Under the two-year pact, Gulfstream will be based on Warners' Burbank lot and will co-finance development with Warners with the option of co-financing the films, which will be distributed worldwide by Warners. Gulfstream is currently meeting with additional investors to complete the formation of a $200 million film fund, of which Redrover and the U.S. private equity funds are lead investors. Gulfstream plans to produce and co-finance two films per year.

Gulfstream’s first film is “The Nut Job,” a $45-million animated feature directed by Peter Lepeniotis for Redrover and Toonbox Entertainment, a top Toronto animation studio, which becomes a sister company to Gulfstream.

“Mike and Bill have been valued members of the Warner family for a long time,” said Greg Silverman, President of Production for Warner Bros. Pictures. “We're excited to extend our relationship to include Gulfstream and eagerly anticipate making more great movies together.”

Hoe-jin Ha, Redrover's CEO, said: “This opportunity is a historic step for the Korean film industry. We are very excited to set up this fund, supported by Warner Bros., and we look forward to co-financing many films through this partnership with Gulfstream.”

This new deal follows producer Karz’s long-standing relationship with the studio, where he produced such hits as “New Year’s Eve” and “Valentine’s Day,” the latter of which set box-office records, including the top-grossing romantic comedy weekend of all time and the top-grossing Presidents’ Day Weekend opening. Karz’s most recent film for Warners, “Thunderstruck,” starring the NBA’s Kevin Durant, is in theaters now.

Bindley and Karz are currently producing two films for Warners: “West Texas United,” a comedy with Russell Brand attached to star, and “Say Uncle,” a family comedy, with Bindley attached to direct. Bindley directed the Jim Caviezel-starrer “Madison,” a Sundance Film Festival favorite, distributed by MGM Pictures.


About Redrover Ltd.
Redrover Ltd. is a global leader in the 3D stereoscopic industry, founded in 2000 with the participation of college professors and researchers. Since then, Redrover Ltd., a publicly held company, has obtained patents from 30 countries, including Korea, and established a global network in major trading countries, including the U.S., Canada, China, and Japan. In 2008 Redrover began producing 3D stereoscopic animation movies and television series with its North American studio Toonbox Entertainment, and will continue producing two to four Korean films each year, beginning this fall with its first film.

"Attack of the Clones" and "Revenge of the Sith" Get the 3D Treatment

Star Wars 3D Continues with Episodes II and III

Attack of the Clones and Revenge of the Sith to be Theatrically Released in 3D back-to-back in September and October, 2013

SAN FRANCISCO--(BUSINESS WIRE)--Lucasfilm Ltd. and Twentieth Century Fox have announced the official release dates for the 3D theatrical launch of Star Wars: Episode II Attack of the Clones and Star Wars: Episode III Revenge of the Sith. Attendees at the closing ceremony for Star Wars Celebration VI, the franchise’s massive fan event, learned that the epic movies that chronicle the rise of the Galactic Empire will be released back-to-back, with Episode II hitting theaters on September 20, 2013 and Episode III arriving soon after on October 11, 2013.

With its deeply detailed worlds and engulfing action, Star Wars is perfectly suited for the immersive 3D theatrical experience. Episode II and III deliver such captivating locales as the gleaming clone hatcheries of rain-swept Kamino, and the fiery lava planet of Mustafar as well as spectacular action sequences like Yoda’s unforgettable debut as a lightsaber duelist, the explosive space and ground battles of the Clone Wars, and the dramatic showdown between Obi-Wan Kenobi and Anakin Skywalker.

Supervised by Industrial Light & Magic, the meticulous 3D conversion was undertaken by Prime Focus, the global visual entertainment services company. With their proprietary View-D™ process, Prime Focus transformed Episode II and III into 3D with the utmost respect for the source material, and with a keen eye for both technological consideration and artistic intentions.

Lucasfilm, STAR WARS™ and related properties are trademarks and/or copyrights, in the United States and other countries, of Lucasfilm Ltd. and/or its affiliates. TM & © Lucasfilm Ltd. All rights reserved. All other trademarks and trade names are properties of their respective owners.


About Fox Filmed Entertainment
One of the world’s largest producers and distributors of motion pictures, Fox Filmed Entertainment produces, acquires and distributes motion pictures throughout the world. These motion pictures are produced or acquired by the following units of FFE: Twentieth Century Fox, Fox 2000 Pictures, Fox Searchlight Pictures, Twentieth Century Fox Animation and Fox International Productions. Twentieth Century Fox International is a unit of Fox Filmed Entertainment, a segment of Fox Entertainment Group.

Review: "The Maltese Falcon" is an All-Time Great (Remembering John Huston)

TRASH IN MY EYE No. 44 (of 2003) by Leroy Douresseaux

The Maltese Falcon (1941) – Black & White
Running time: 101 minutes (1 hour, 41 minutes)
DIRECTOR: John Huston
WRITER: John Huston (based upon the novel by Dashiell Hammett)
CINEMATOGRAPHER: Arthur Edeson
EDITOR: Thomas Richards
PRODUCER: Hal B. Wallis (executive producer)
Academy Award nominee

MYSTERY/FILM-NOIR

Starring: Humphrey Bogart, Mary Astor, Gladys George, Peter Lorre, Barton MacLane, Lee Patrick, Sydney Greenstreet, Ward Bond, Jerome Cowan, and Elisha Cook, Jr.

The subject of this movie review is The Maltese Falcon, a 1941 film noir detective film. It is based upon Dashiell Hammett’s 1930 novel of the same name and was the film debut of actor, Sydney Greenstreet, who earned a best supporting actor Oscar nomination for his performance. The Maltese Falcon was also John Huston’s directorial debut and went on to earn a best picture Oscar nomination.

Before the word “thug” entered the popular lexicon via Hip-Hop culture, there were men we could have called “thugs.” If we go by popular rapper Nas’s definition, a thug is “a man who answers to no one.” That describes one of my favorite characters of the golden age of Hollywood, “Bogie,” a popular nickname for that famous actor Humphrey Bogart, to a tee. Bogie was a thug, and he gave the ladies and not-so-lady-like his thug lovin;’ he answered to no man and even used cops to further his own agenda. And in no film is that more evident than in the beautiful and fantastic The Maltese Falcon, one of the great detective dramas and one of the films that created the template for film noir.

After someone kills his associate Miles Archer (Jerome Cowan) during a seemingly routine assignment, Samuel “Sam” Spade (Bogart) reasons, “When a man’s partner is killed, he’s supposed to do something about it.” He’s not “all talk,” and is certainly going to do something about the murder of his partner. Along the way of finding the killer, Spade becomes involved in a desperate quest to find and to possess “The Black Bird,” the Maltese Falcon, a legendary treasure so prized that it tangles Spade with some of the most devious and eccentric characters he’s ever faced.

There’s the damsel in distress Brigid O’Shaughnessy (Mary Astor) who first catches Archer’s eye and later Spade’s. Close on her heels is the shifty and effete Joel Cairo (Peter Lorre) who always finds himself on the wrong side of slap or a punch even when he has the gun. Finally, there’s “The Fat Man,” Kasper Gutman (Sydney Greenstreet) and his tag-along gunman (or “gunsel” as Spade slyly calls him), Wilmer Cook (Elisha Cook, Jr.). Gutman is the main mover and shaker in the scheme to get the Falcon, the man with the most dough and who is a gourmand when it comes to the finer things.

The performances are heightened to a fever pitch, and the actors play their characters with a theatrical flair. Even the dialogue crackles with energy, bite and wit, but it’s all for a good purpose. It adds style and even color to the black and white film. Most of the players fairly drip with deceit and duplicity, but the mack daddy, the playa, is Bogart’s Sam Spade. A crouching tiger and a hidden dragon, he’s always on top even when it seems as if he’s just got the bad end of things. With the ladies, especially Ms. Astor’s Brigid, he’s tough but romantic. He’s world weary, but savvy, and he has an unbreakable code of honor when it comes to his profession as a detective. It’s what drives him through the maze of weird foes and police traps to find his partner’s murderer.

Spade would define the kind of characters Bogart would play for the rest of his career, but even in this highly stylized performance, we can see a man with superior talent and ability to act in front of a movie camera. Both Bogart and his character Spade are intriguing and exciting; let this performance go down as one of the great ones.

The Maltese Falcon was the debut of legendary director and filmmaker John Huston. Although he would continue to do fine and challenging work, Huston caught lightning in a bottle with Falcon. He gave life to a genre of film and a style of filmmaking that continues to influence all of popular culture to this day. It’s a great work, and if you like movies, you should have seen it already.

10 of 10

NOTES:
1942 Academy Awards: 3 nominations: “Best Picture” (Warner Bros.), “Best Actor in a Supporting Role” (Sydney Greenstreet), and “Best Writing, Screenplay” (John Huston)

1989 National Film Preservation Board, USA: National Film Registry

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"Street Fight" is a Heavy Weight Political Documentary

TRASH IN MY EYE No. 222 (of 2006) by Leroy Douresseaux


Street Fight (2005)
Running time: 82 minutes (1 hour, 22 minutes)
(Not rated by the MPAA)
PRODUCER/WRITER/DIRECTOR: Marshall Curry
EDITOR/CINEMATOGRAPHER: Marshall Curry
Academy Award nominee

DOCUMENTARY

Starring: Cory Booker and Sharpe James

The subject of this movie review is Street Fight, a 2005 documentary film from director Marshall Curry. The film received a best documentary film Oscar nomination and was also aired on the PBS series, P.O.V.

In 2002, documentary filmmaker Marshall Curry followed Cory Booker, a candidate for Mayor of Newark, New Jersey, taking viewers behind the scenes in what turned out to be a cutthroat 2002 mayoral race. Booker, a Newark city councilman, was an Ivy League upstart who’d only won a single political race prior to his 2002 mayoral campaign – that of the city council seat he held at the time.

The incumbent Sharpe James was a four-term, old-timer who represented the old-fashioned political machine’s way of running a political campaign and managing a government. That old political machine will try to win by any means necessary. James was the undisputed king of New Jersey politics, and some called him a “king maker.” James was also not above using down-and-dirty tactics to win, and he was not above bringing forth race and skin color as divisive issues he could use to defeat his opponents.

Booker and James are both African-Americans, but Booker has a lighter skin complexion than James. James, who at the time of the film had been in politics for 32 years, was one of the politicians that enjoyed the first fruits of the hard fought Civil Rights battles. Booker, on the other hand, represented the new generation of black leaders born after the Civil Right movement. These young African-Americans want to bring new ideas to government, and race (skin color, ethnicity) is less of a factor in how they run their campaigns, manage government, and operate in the public arena. Just being one of the father’s of Civil Rights or being a first generation beneficiary of the movement doesn’t make one untouchable or above criticism from these young black leaders.

Such an attitude rankled supporters of Sharpe who saw Sharpe and his career as the epitome of the struggle for civil rights and what the movement wanted to achieve. So Booker, who wasn’t born in Newark (whereas James was) was seen as an outsider. James encouraged that sentiment and went so far as to suggest that Booker wasn’t black or, as a light-skinned Negro, not black enough. James also liked to accuse Booker of being Jewish (he’s not) and a lackey of right wing, white Republicans. Booker often struck back by pointing out Newark’s problems and how the city had languished under James’ stewardship.

Raising hard questions about American politics, race and racial identity, and democracy, Street Fight earned a 2006 Academy Award nomination (“Best Documentary, Features”) for its story of a bare-knuckles political race. Marshall Curry’s brilliant follows it all, letting his camera record something uniquely American and rarely shown to the country at large – an inner city political campaign in which two black candidates go after each other for blood. The film’s one flaw is that Curry deliberately avoided covering the issues and focused on the “street fight.” Curry has said in interviews that in the battle, in which both men went into the neighborhoods of Newark canvassing for votes and feting voters, he saw the true story. It’s debatable if issues such as poverty, gang violence, municipal construction, etc. weren’t as important.

Still, anyone who likes politics and documentaries will find that Street Fight is a gourmet meal and a lavish dessert in one.

9 of 10
A+

Thursday, October 26, 2006

NOTES:
2006 Academy Awards: 1 nomination: “Best Documentary, Features” (Marshall Curry)

Review: "Vincent" is Short, But Long on Delights (Happy B'day, Tim Burton)

(A screen capture from Vincent, copyright Walt Disney Productions).

TRASH IN MY EYE No. 23 (of 2006) by Leroy Douresseaux

Vincent (1982) – animated and B&W
Running time: 6 minutes
WRITER/DIRECTOR: Tim Burton
PRODUCER: Rick Heinrichs
CINEMATOGRAPHER: Victor Abdalov
ANIMATOR: Stephen Chiodo
COMPOSER: Ken Hilton

SHORT/ANIMATION/FANTASY with elements of comedy and horror

Starring: Vincent Price (narrator)

Vincent is a black and white, stop-motion animation film short from director Tim Burton and Walt Disney Productions. The short film is essentially Burton’s directorial debut – basically his first professional film. Vincent is included on both the Special Edition and Collector’s Edition DVDs of Nightmare Before Christmas.

Narrated by Vincent Price, the film tells the story of Vincent Malloy, a seven year-old boy fascinated (or obsessed) with Vincent Price. He constantly daydreams, imagining horrific events he wishes would occur in his life: having a dead wife that calls to him from her grave, boiling his aunt in wax, and turning his dog into a zombie, among other things. Soon, his imagination gets the best of him, and he looses himself in his macabre daydreams, and it annoys his Mother that he doesn’t know where reality begins and the horror ends.

Next to La Jatee, this is best short film I’ve ever seen. Both brilliant and biographic, it hints at many of the visual elements and themes that Burton would use in his most personal and signature films: Beetlejuice, Nightmare Before Christmas, and Corpse Bride, in particular. Filmed in a shadowy black and white photography, the film’s design (by Burton) is as imaginative and as vivid as most color animated films; in fact, he uses black and white as the color of the film. Price’s narration is a subtle mixture of Dr. Seuss, Edgar Allen Poe, and oral folk storytelling. Not only does Vincent Malloy resemble Tim Burton, but also the film is obviously a quasi-biography and film essay on Burton’s own passion for Vincent Price, for the macabre, and for Gothic-inspired cartoons and illustrations.

10 of 10

Monday, January 30, 2006

SnagFilms Snags Distribution Rights to Several Acclaimed Documentaries

SnagFilms to Distribute 2012 Sundance Film Festival Grand Jury Award Winner “The House I Live In” and 2012 SXSW Film Festival Grand Jury Award Winner “Beware of Mr. Baker”

SnagFilms Also Acquires Six Acclaimed Titles: “Harlan County USA”, “American Dream,” “Waco: The Rules of Engagement,” “The Life and Times of Hank Greenberg,” “Fuel” and “Yoo-Hoo, Mrs. Goldberg”

NEW YORK--(BUSINESS WIRE)--SnagFilms announced today the acquisition of domestic distribution rights to the two most honored documentaries of 2012: The House I Live In, winner of the Grand Jury Prize at the Sundance Film Festival, and Beware of Mr. Baker, winner of the Grand Jury Prize at the South by Southwest Film Festival.

The House I Live In, directed by Eugene Jarecki (Why We Fight, Reagan), tells the stories of individuals at all levels of America’s war on drugs. From the dealer to the narcotics officer, the inmate to the federal judge, the film offers a penetrating look inside America’s criminal justice system, revealing the profound human rights implications of U.S. drug policy.

Beware of Mr. Baker, directed by Jay Bulger, is an intimate look at legendary drummer Ginger Baker, best known for his work with Eric Clapton in Cream and Blind Faith. Considered by many to be the world’s best drummer, this controversial and unforgettable musician reflects back on his life along with interviews with Eric Clapton, Carlos Santana, Steve Winwood, Charlie Watts, Max Weinberg and many more.

Digital distribution is expected to cover key pay platforms and eventual ad-supported release on snagfilms.com. Richard Abramowitz’s Abramorama will handle theatrical releasing for both films.

“We’ve heard a lot about Dream Teams recently,” said Rick Allen, SnagFilms CEO. “But the year’s top two documentary winners, plus six time-honored titles, constitute the Doc Dream Team. We are honored to be bringing them to wide audiences.”

The House I Live In was directed and written by Eugene Jarecki and produced by Jarecki and Melinda Shopsin. Executive Producers are Danny Glover, Nick Fraser, John Legend, Russell Simmons, Joslyn Barnes and Sally Jo Fifer. www.thehouseilivein.org

Beware of Mr. Baker was directed and written by Jay Bulger and produced by Andrew Karsch, Fisher Stevens and Erik Gordon, executive producer Julie Goldman. http://bewareofmrbaker.com/

In addition to these two award-winning titles, SnagFilms has also acquired a slate of six acclaimed films, including Academy Award-winners Harlan County USA and American Dream; the Academy Award nominee and Emmy Award-winner Waco: The Rules of Engagement; Peabody and Critics Choice Award winner The Life and Times of Hank Greenberg; Sundance Film Festival Audience Award winner Fuel and the critically-acclaimed Yoo-Hoo, Mrs. Goldberg. SnagFilms’ digital rights are exclusive for certain pay, SVOD and ad-supported platforms to commence in the coming months.

These announcements come on the heels of a string of major 2012 acquisitions by the new media platform and distributor, which have seen it add films with over 200 major awards or nominations to its library of over 3300 films. The company has increasingly taken premiering films, including the upcoming theatrical and digital release of Decoding Deepak, Gotham Chopra’s new film about his father Deepak Chopra, and The Black Tulip from filmmaker Sonia Nassery Cole, plus the upcoming digital premieres of Faces in the Mirror from musician Boyd Tinsley and We Made This Movie from “The Late Show with David Letterman” executive producer Rob Burnett.

More information about these titles:
Academy Award-winner Harlan County USA – included in the National Film Registry by the National Film Preservation Board; named as a Top Ten Film by the National Board of Review; and honored by the LA Film Critics Association. Barbara Kopple’s classic documentary details the bitter and often violent struggle between coal miners and management in Appalachian Kentucky, with a close focus on the women who actively organized and spearheaded efforts to keep the cause alive with their strength and courage.

Academy Award-winner American Dream – another classic documentary from filmmaker Barbara Kopple, recounts the months long strike of a Minnesota Hormel factory and captures working men and women making tough choices about survival during a time of economic crisis in the American Midwest. It screened at the Sundance Film Festival where it was awarded the Documentary Audience Award, the Documentary Grand Jury Prize, and the Documentary Filmmaker Trophy, the only non-fiction film to win all three distinctions.

The Academy Award-nominated and Emmy Award-winning Waco: The Rules of Engagement – from director William Gazecki, the controversial documentary about the stand-off between an unorthodox Christian group - the Branch Davidians, under the leadership of the young, charismatic David Koresh - and the FBI and ATF in Waco, Texas.

The Peabody Award-winning, Emmy-nominated and multiple critics’ award-winner The Life and Times of Hank Greenberg – from filmmaker Aviva Kempner, the story of Baseball Hall-of-Famer Hank Greenberg, the first major Jewish baseball star in the Major League.

Sundance Film Festival Audience Award-winner Fuel -- from director Josh Tickell, a man with a plan and a Veggie Van, who is takes on big industry, big government and America’s dependence on foreign oil.

Cine Golden Eagle Award-winner, Women’s Film Critic Circle Award-winner and New York Times Critics Pick Yoo-Hoo, Mrs. Goldberg -- the humorous and eye-opening story of television pioneer Gertrude Berg, also from filmmaker Aviva Kempner.


About SnagFilms
SnagFilms features free, sponsor-supported, on demand viewing of more than 3,300 award-winning, fiction and non-fiction titles from some of the greatest names in film. SnagFilms’ curated collection is viewed on its own site and a digital network of more than 110,000 affiliated sites and webpages worldwide, including partners such as Comcast's Xfinity, Hulu, the Starbucks Digital Network, IMDb, hundreds of non-profits, special interest sites and blogs — and via its applications for tablets, including Apple’s iPad (AirPlay-enabled), Amazon’s Kindle Fire, Blackberry Playbook and other Android-based tablets; Android smartphones; OTT platforms Roku, Boxee and Western Digital; connected TVs and blu-ray players from Sony, Panasonic, LG and Vizio, and soon to launch on connected TVs and blu-ray players from Samsung. SnagFilms’ titles have been featured on more than 3.5 billion pageviews across its network.

SnagFilms also offers selected titles via pay video on demand with Comcast, iN Demand (including Time Warner Cable, Cox and Bright House Networks), Verizon's FiOS and DIRECTV, as well as on iTunes, Hulu Plus, Amazon, VUDU, Xbox Live, Google Play, YouTube Movies, and will soon be launching on DISH Network and Samsung Media Hub. SnagFilms was named one of the fastest growing technology companies in Washington, DC area. Gizmodo has named SnagFilms as a “Best iPad App,” OVGuide has twice named SnagFilms a Top Site, and MovieMaker Magazine named SnagFilms to its annual list of “50 Best Websites for Moviemakers.” The SnagFilms family also includes Indiewire, for more than 15 years the web’s top source of news, reviews and information about independent film – and winner of the 2012 Webby Award as the top film and movie site.

Review: "Half Baked" is All Good (Happy B'day, Dave Chappelle)

TRASH IN MY EYE No. 20 (of 2005) by Leroy Douresseaux

Half Baked (1998)
Running time: 83 minutes (1 hour, 23 minutes)
MPAA – R for pervasive drug content, language, nudity, and sexual material
DIRECTOR: Tamra Davis
WRITERS: Dave Chappelle and Neal Brennan
PRODUCER: Robert Simonds
CINEMATOGRAPHER: Steven Bernstein
EDITOR: Don Zimmerman, A.C.E.

COMEDY

Starring: Dave Chappelle, Jim Breuer, Harland Williams, Guillermo Diaz, Rachel True. Laura Silverman, and Clarence Williams III, Tommy Chong, Rick Demas, Snoop Dogg, Jon Stewart, Stephen Baldwin, Tracy Morgan, Willie Nelson, Jason Blicker, Dave Nichols with (uncredited) Janeane Garofalo, Bob Saget, and Steven Wright

Before Dave Chappelle and Neal Brennan created the popular “Chappelle’s Show” for the Comedy Central cable network in 2003, the duo collaborated on the script for the hilarious pro-marijuana comedy, Half Baked. Although it appeared a good four years before the Chappelle Show likely began production, the film was an introduction to some of the kind of humor that Dave and Neal would feature on the show.

Dave is Thurgood Jenkins, a pot smoker since he was 15-years old. He lives with his three friends Scarface (Guillermo Díaz), Brian (Jim Breuer), and Kenny Davis (Harland Williams), with whom he was introduced to weed, in a ratty apartment in which the boys spend their non-working hours puffin.’ However, when Kenny is arrested for (accidentally) killing a police officer (a diabetic horse he overstuffed with junk food), the trio has to find a way to raise Kenny’s enormous bail so that the can get out of prison before someone invades the sanctity of his virgin butthole, i.e. save him from the trauma of homosexual rape.

Thurgood comes across a scheme to sell high-quality cannabis he steals from a pharmaceutical research lab, and he, Scarface, and Brian do quite well in their little enterprise. However, they earn the ire of Samson Simpson (Clarence Williams III), a drug dealer who wants a cut of their take. Thurgood must also keep his bud-selling enterprise a secret from his new girl friend, Mary Jane Potman (Rachel True), a young woman who hates drug dealers because her father was one and is currently in prison. Can Thurgood keep his new sweetie off the trail of smoke, and can he and his buddies save Kenny’s ass?

Half Baked is simply flat out funny. I liked everyone in the sometimes droll and often vulgar laid back comedy. In fact, Chappelle actually does not steal the show from his cast, especially the hilarious and talented trio of Díaz, Breuer, and Williams. Clarence Williams also shines in a very small part, one of the few times his versatile comedy skit talent comes to life on screen.

Half Baked also features several amusing cameos, but even without them, this movie is… dope and doped up. The film deserves its “R” rating, as it’s actually a “hard” R because of the frequent drug references and a prison shower scene featuring several fully nude men and the threat of prison rape. Still, that should not dissuade mature audiences looking for grown up juvenile comedy, and it might actually attract some folks.

8 of 10
A

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