Entertainment
Jeffrey Katzenberg Is Launching an AI Animation Studio
Jeffrey Katzenberg has a vision for the next phase of Hollywood, and he’s jumping in to make it happen.
Just after issuing a manifesto on Elon Musk’s X earlier this week urging Hollywood to embrace rather than fear AI, he spoke to WaxWord about his plans to launch a new animation studio focused on making quality film and television programming using the new technology.
“For me, it is time for artists, creatives, storytellers, to actually seize the day,” he said. “These new AI tools are about innovation and opportunity. If barriers and cost come down, more films will get made, there will be more jobs, new forms of storytelling will emerge.”
Katzenberg, one of the most accomplished Hollywood executives of our time, has spent much of the last 10 years building relationships in Silicon Valley, and the last eight months closely following the evolution of generative AI. And what he has seen of AI output in the last few months convinced him that something revolutionary has arrived.
“Up until recently it was slop,” he said. “It didn’t hold any interest for me. That has changed only in the last couple of months for me in ways I don’t think we can ignore anymore. Where they [the technologies] are today, where we are likely to be in coming months, in a year or two or three is a real transformative moment.”
It is true that Katzenberg had already seen the future a couple of times, whether in evangelizing for 3D filmmaking in Hollywood, which never really materialized, or in launching the short-form video company Quibi in 2020 backed by $1.75 billion in capital, which fizzled in just six months. Seeing the future is no doubt hard. Last year Katzenberg partnered with Kimbal Musk to invest in drone technology that would create a new form of entertainment with the sky as the canvas.
None of his past false starts have dampened Katzenberg’s enthusiasm for AI and what it can do for animation, his area of expertise and heartfelt passion since helping to revive Walt Disney Animation Studios and leading it to greatness in the 1980s and ’90s with “The Little Mermaid,” “The Lion King” and many other enduring titles.
Katzenberg shared that he has decided to jump into the deep end, creating either a digital platform or an actual studio to create animated entertainment content using AI.
“I am fired up, and going to go out and do something that actually shows what’s possible here,” he said. “Partner with talented filmmakers and AI to deliver the resources of the AI world and to marry that with best talent.”
I pointed out to Katzenberg that a lot of companies have already jumped in to create high quality AI-driven content, though no one of his experience has done so in the animation category. Disney, however, is making technology its concerted focus under new CEO Josh D’Amaro.
Katzenberg was effusive there too. “I love what Josh is doing. He is making all the right ambitious moves.” But, he added: “Here’s a fact: Pixar could never have been created inside Disney animation. Just the opposite. They fought it. Roy Disney specifically asked me not to make [“Toy Story”]. To Michael Eisner’s credit, he overrode it and said: make ‘Toy Story.’”
Katzenberg intends to make animated features films and television “with the best talent and the most aspirational content,” he said. “I want to be able to show at the top of the waterfall what is aspirationally possible with the best tools in the hands of the best talent. That waterfall will go to pro-sumer, to consumer.”
What is his barrier to success, after being too early on short form video with Quibi? Easy, he said: talent. “That’s the hard part,” he said.
“I believe we are on the cusp of what can be a true renaissance for Hollywood storytelling, and a complete transformation for all video forms as of today,” he said.
Stay tuned for details.
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movies
‘Mary Poppins’ TV Series In The Works, Will Lean Into Darker Elements
EXCLUSIVE: Here’s a fun one. We can reveal that a Mary Poppins TV series is in the works.
Rather than retelling the Disney film Mary Poppins starring Julie Andrews and Dick Van Dyke from the 1960s, we understand the live action TV adaptation plans to go back to P. L. Travers’ original eight Mary Poppins books and open up the larger, stranger world she created.
The Mary Poppins of the novels is often noted for being more mysterious, mercurial and dangerous than her film incarnation, and the adventures in the books are magical, surreal and sometimes frightening.
The series is being developed and produced by Tom Winchester for Pure Fiction Television, the indie backed by Slow Horses and Heartstopper outfit See-Saw Films and UK talent agency Hamilton Hodell.
Winchester is developing the series on behalf of the trustees of the P.L Travers estate from whom he has optioned the rights. We hear that very early-stage conversations are taking place with Disney, and that Winchester is approaching top level showrunners. As we understand it, the project doesn’t need Disney’s buy-in from a rights perspective, but there’s hope the studio might want to join the project given their history with the IP. Nothing has been agreed to that effect so far. Things are still at pitch stage.
Mary Poppins is a rich IP – Travers’ successful books were most famously adapted by Disney into the Oscar winning musical with Andrews and Van Dyke. But Travers openly critcised Disney’s vision for the 1964 film and their fallout was the basis for the film Saving Mr. Banks starring Emma Thompson and Tom Hanks. Disney’s 2018 sequel, Mary Poppins Returns, starred Emily Blunt and Lin-Manuel Miranda and was directed by Rob Marshall who produced the musical fantasy comedy film alongside John DeLuca and Marc Platt.
Winchester isn’t a stranger to adapting legacy IP. He was a producer on the first season of FX’s Emmy-winning series Shōgun, based on the novel by James Clavell. He is also developing Barry Eisler’s 18 popular John Rain assassin books into a series for Apple TV.
Pure Fiction and Disney declined to comment.
Editor’s note: The Dish is a regular column for Deadline journos to plant their flag in deals, hires and firings and industry developments before they’re fully baked. The column is inspired by Mike Fleming Jr’s longtime trade column of the same name.
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Entertainment
Cinema Owners Urge Congress to Offer Tax Credit for Theater Upgrades
For more than a century, the American motion picture industry has been an enduring part of our shared experience. Movies bring audiences across the country the unique magic of sitting with their neighbors to see extraordinary stories told on the big screen at their local cinema.
This summer’s strong box office demonstrates once again that Americans still love going to the movies. But that success masks one important truth facing theatrical exhibition today: Over the past six years, studio consolidation, a global pandemic, and multiple labor strikes have all contributed to a long-term erosion of available capital to reinvest in our businesses. For nearly all theater owners, years of lost and disrupted revenue mean that even as audiences are returning, the capital needed for major improvements has not. Thankfully, a bipartisan bill, the Supporting Cinema Renewal, Enhancement, and Enriching Neighborhoods (SCREEN) Act (H.R. 9938), is waiting in the wings. This legislation will have a direct economic impact in all 50 states, and we urge Congress to act.
We are four small business owners who represent this vital piece of the American film industry’s success, and as Congress considers how to restore and strengthen American film, it must ensure movie theaters are part of the solution. We own and operate independent theaters in Northern California, Nashville, rural Montana and Idaho, and America’s oldest drive-in theater in Orefield, Pennsylvania. We are not part of Hollywood, although we’re vital to bringing films to audiences. We are proud Main Street enterprises.
Movie theaters like ours are the economic and cultural cornerstones of communities across this great nation — in all 50 states, in cities and towns, big and small. In some parts of this great country, it is not uncommon for people to drive 50-plus miles to see a movie at our theaters, making it both a gathering place and a driver of economic activity far beyond the doors of the theater. Success at the local theater means additional revenue for surrounding local businesses — shops, restaurants, bars, coffee shops – that benefit from the foot traffic of the local cinema.
Despite the challenges our industry has faced, theater owners across the country — from the world’s largest theater circuits to the family-owned single-screen theaters like ours — are making long-term bets on ourselves and the magic of movies on the big screen. We are reinvesting in our theaters to ensure they remain first-class show houses that movie fans will want to visit again and again. These investments include the industry’s latest advancements in screens, projection, and sound; modern seating; and enhanced concession, dining, and gathering spaces – the kinds of improvements that keep audiences coming back. But there is much more work to be done.
That is why we are grateful to a bipartisan group of leaders in the U.S. House of Representatives who have introduced legislation that will help more movie theater owners make those investments and more movie fans enjoy them. Sponsored by Representatives Claudia Tenney (R-NY), Mike Carey (R-OH), David Kustoff (R-TN), and Tom Suozzi (D-NY), the SCREEN Act is focused and targeted legislation that provides a tax credit for movie theater reinvestment and sunsets after five years. It applies to the modernization and improvement of existing theaters that are five years or older, helping theater owners put private capital to work and securing the future of theaters across the country.
The SCREEN Act does not ask Washington to build or operate movie theaters. Instead, it gives theater owners the help they need to invest their own capital in modernizing existing businesses and strengthening the commercial areas around them. It is exactly the kind of public-private partnership that can have a direct and positive impact in communities of all sizes.
And its impact extends beyond the theaters themselves. When we renovate our theaters, a significant amount of that reinvestment goes to the local contractors who do the work. It goes to suppliers and vendors—typically small or mid-sized companies. And it supports the surrounding businesses that benefit from vibrant, modern centers of community activity and entertainment. For every dollar spent on a movie ticket, an additional $1.50 is spent at surrounding businesses. Simply put, the SCREEN Act will result in more money being spent in Main Street America.
The SCREEN Act also complements recent calls for a production tax credit aimed at keeping more film production in the United States. Modern theaters, serving more communities and driving higher box office, create greater return for the studios, who can reinvest in more home-grown production.
We are proud of the part we have played and will continue to play in the American motion picture industry’s story. The SCREEN Act recognizes that movie theaters matter not only to the future of American entertainment, but to the economic and cultural life of communities across the United States. Congress should pass it and help Main Street theaters write the industry’s next great chapter.
Becky Dupuis is CEO of Polson Theatres, Inc., Polson, Montana (7 locations, 20 screens); Paul Gunsky is president, CineLux Theatres, San Jose, California (8 locations, 62 screens); Lauren McChesney is co-owner, Shankweiler’s Drive-in, Orefield, Pennsylvania (1 location, 1 screen); Stephanie Silverman is executive director, The Belcourt Theatre, Nashville, TN (1 location, 3 screens). All are members of the Executive Board of Cinema United, a trade association representing the global exhibition industry.
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movies
‘NAZA’ Trailer: First Look At Yuval Abraham & Rachel Szor’s Gaza Doc
We have the first trailer for Yuval Abraham and Rachel Szor’s NAZA, which debuted to huge acclaim at this year’s Venice Film Festival. Check it out above.
Earlier this week, in an unprecedented move, it was announced that The Guardian newspaper will make NAZA available for global audiences for free on its website after its theatrical run in late November.
The film will be released theatrically from September 28 onwards in 56 territories. The investigative documentary, which exposes the Israeli military’s calculated targeting of civilians in Gaza in missile strikes through the testimony of intelligence personnel and soldiers involved in the killing, has caused a sensation since its Venice debut. It landed a record 25-minute ovation at Venice, but has since been attacked by Israeli politicians, including Prime Minister Benjamin Netanyahu, who has threatened to strip the directors of their Israeli citizenship even though he has no power to do this under the country’s laws.
The film will receive its North American premiere on 26 September at the New York Film Festival, and is set to open in U.S. theaters on September 30, launching exclusively at the IFC Center in New York City. It will expand to Los Angeles and other key markets on October 9, ahead of a national rollout in the weeks to follow.
NAZA is produced by The Guardian and James Wilson (JW Films), and executive produced by Oscar-winning filmmaker Jonathan Glazer.
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