All posts by Michelle B. Kaplan

Arri’s expansion of the Franz Wieser Grant Program gives new filmmakers more reason to work harder

One of the biggest camera and imaging giants based in Munich, Arri, has today expanded its grant program, the Franz Wieser Grant program, to accommodate for creativity from aspiring filmmakers and directors.

The Franz Wieser Grant program is in charge of providing aspiring filmmakers access to all Arri products and resources so that can practice and gain experience through shooting documentaries and short videos without compromising their portfolio.

The expansion of this already fantastic program means aspiring filmmakers can now do much more than create short videos, or feature videos or music videos, they can now try their hands at some real filmmaking.

Previously named as Amira Grant Program and Launched nine (9) years ago, the grant program has since been renamed after one of Arri’s hardworking executives, Franz Wieser – a man who never tires of empowering small filmmakers. Franz died in 2019 after which the grant was named after him.

Many rising star filmmakers have been beneficiaries of this grant program and are more often than not being nominated for awards in the filmmaking industry.

Speaking about the expansion, the chairman of the grant program, Ksenia Lappo said, “Our goal is to challenge and inspire filmmakers to create the best projects they possibly can.”

This statement in itself shows there’s still a lot the grant program has for its aspiring talents.

Applying for the Franz Wieser Grant program is open all year round although beneficiaries are chosen by how interesting the grant committee sees their proposal. Once someone is selected to join the program, he or she automatically qualifies for the technical support and equipment package offered by the grants.

Adam Wingard, American Filmmaker behind the acclaimed “Godzilla vs Kong” is set to direct Comic Adaptation ‘Hardcore’ at Universal Pictures

Off the back of producing the successful but controversial sci-fi/Action “Godzilla vs. Kong” movie, Adam Wingard does not look like he’s going to be resting on his laurels anytime soon.

The American filmmaker and director have landed the role of directing and adapting “Hardcore” from a comic book series into a movie. The comic book series, written by Robert Kirkman (known popularly for creating “The Walking Dead” series) and Marc Silvestri is a sci-fi/Action thriller, something Wingard is not a stranger to.

The comic book follows the journey of a soldier who wants to save the world without having to play dirty. As of the time of this writing, the script for the adaptation, tailored to specific outlines made by Kirkman is said to have been completed before announcing Wingard as the director of the movie.

Wingard will be adapting the script with up-and-coming filmmaker Will Simmons. Although Wingard, alongside his company Montauk Chair, will produce the movie, Kirkman, Sean, and Bryan Furst are just some of the other executive producers that would have to work alongside Wingard at one point or the other.

Following the success of “Godzilla vs. Kong”, especially with the kaiju showdown amassing well over $400 million despite being released simultaneously on HBO max and theatrically, there is a lot to look forward to on Wingard’s new “hardcore” project.

Gavin MacLeod, ‘Love Boat’ Captain and ‘Mary Tyler Moore Show’ Star, Dies at 90

Gavin MacLeod, a sitcom veteran who played seaman “Happy” Haines on “McHale’s Navy,” Murray on “Mary Tyler Moore” and the very different, vaguely patrician Captain Stubing on “The Love Boat,” has died. He was 90.

MacLeod’s nephew, Mark See, confirmed his death to Variety. MacLeod died in the early morning on May 29. No cause of death was given, but MacLeod’s health had declined in recent months.

MacLeod played a relatively minor character on ABC hit “McHale’s Navy,” starring Ernest Borgnine, but as news writer Murray Slaughter, he was certainly one of the stars of “Mary Tyler Moore,” appearing in every one of the classic comedy’s 168 episodes during its 1970-77 run on CBS. Murray was married to Marie (Joyce Bulifant) but was in love with Moore’s Mary Richards. His desk was right next to Mary’s in the WGN newsroom, so MacLeod was frequently in the shot during the sitcom, and Murray, like all the other characters, was richly developed — a hallmark of MTM shows.

MacLeod originally tried out for the part of Lou Grant, which went to Ed Asner, but claimed to be happy that he ended up playing Murray. He also auditioned for the role of Archie Bunker on “All in the Family,” but of reading the script for the first time, he wrote in his memoir, “Immediately I thought, This is not the script for me. The character is too much of a bigot. I can’t say these things.” When Norman Lear called the actor to say that Carroll O’Connor had gotten the part, MacLeod was relieved.

The “Moore” cast — MacLeod, Asner, Valerie Harper, Cloris Leachman, Betty White and Georgia Engel (Ted Knight had died in 1986) — reminisced with Moore in 2002 on CBS’ “The Mary Tyler Moore Reunion.”

Asner paid tribute to MacLeod on Twitter, writing: “My heart is broken. Gavin was my brother, my partner in crime (and food) and my comic conspirator. I will see you in a bit Gavin. Tell the gang I will see them in a bit. Betty! It’s just you and me now.”

MacLeod had the great fortune to roll right from one hit show to another in 1977, when “Moore” ended and ABC’s “The Love Boat” began. The hourlong romantic comedy set on a cruise ship ran for 10 years. The actor’s Captain Stubing was known for his signature salute. Even after the end of the voyage in 1987, the actor returned for telepic “The Love Boat: A Valentine Voyage” in 1990 and for the “Reunion” episode of rebooted series “Love Boat: The Next Wave” in 1998.

MacLeod may, indeed, hold a record for consecutive long-running series: He went straight from “The Mary Tyler Moore Show” (168 episodes) to “The Love Boat” (249 episodes).

The New York Times said in 2010: “Perhaps no actor has embraced a signature role the way Mr. MacLeod has with Captain Stubing. Since ‘The Love Boat’ went off the air, he has been a spokesman for Princess Cruises.”

In 1997, the actor joined the rest of “The Love Boat” cast on “Oprah” in what was the first full cast appearance since the show was cancelled. Another cast reunion occurred in 2013 on “The Talk.”

MacLeod was born Allan George See in Mount Kisco, N.Y. His mother worked for Reader’s Digest, while his father was an electrician who was part Chippewa. He grew up in Pleasantville, N.Y., and went to Ithaca College, where he studied acting and graduated in 1952. After serving in the U.S. Air Force, he moved to New York City and worked at Radio City Music Hall as an usher and elevator operator while seeking work as an actor. During this time he changed his name.

After a few uncredited film roles, MacLeod made his credited big screen debut in the 1958 Susan Hayward vehicle “I Want to Live,” playing a police lieutenant, then played a G.I. in Gregory Peck starrer “Pork Chop Hill” the next year. His supporting role in Blake Edwards’ WWII comedy “Operation Petticoat,” starring Cary Grant and Tony Curtis and focusing on the chaotic goings on aboard a submarine, gave the young actor a flavor of what he would be doing a few years later on “McHale’s Navy.” In the meantime he appeared in the 1960 thriller “Twelve Hours to Kill,” which starred future “I Dream of Jeannie” star Barbara Eden; Blake Edwards’ musical comedy “High Time,” starring Bing Crosby and Fabian; and the critically hailed but now forgotten Korean War film “War Hunt.” He also did a boatload of guest appearances on TV before his stint on “McHale’s Navy.”

MacLeod left “McHale’s Navy” in order to be able to appear in a supporting role in the excellent period adventure film “The Sand Pebbles,” starring Steve McQueen, and he appeared in a number of other films throughout the decade: “A Man Called Gannon” and Blake Edwards’ Peter Sellers comedy “The Party” in 1968; “The Thousand Plane Raid,” “The Comic” and “The Intruders” in 1969; and, in 1970, the World War II caper film “Kelly’s Heroes,” in which he played Moriarty, Oddball’s machine-gunner and mechanic.

In the meantime he was guesting on both dramas (“Perry Mason,” “Ben Casey,” “Ironside,” “Hawaii Five-O,” “The Big Valley”) and comedies (“The Andy Griffith Show,” “My Favorite Martian,” “Hogan’s Heroes”). In December 1961, he guested on “The Dick Van Dyke Show” in what was his first time working with Mary Tyler Moore.

After his years on “Mary Tyler Moore” and “The Love Boat,” MacLeod did not work on a steady basis — he did not have to.

He made an impression, however, in a 2000 episode of HBO prison drama “Oz” in which he played the Roman Catholic Cardinal Frances Abgott, with whom Rita Moreno’s nun Sister Pete discusses leaving the order. The actor had assumed a certain gravitas as Captain Stubing, even amid the silliness of “The Love Boat,” that made this role possible in a way that it couldn’t have been before.

In the 2000s MacLeod also guested on series including “The King of Queens,” “JAG,” “Touched by an Angel” and “That ’70s Show.”

MacLeod, who had appeared on Broadway in 1962 in “The Captains and the Kings,” also returned to stage work after “The Love Boat.” He toured with Michael Learned of “The Waltons” in A.R. Gurney’s “Love Letters,” and he appeared in musicals such as “Gigi” and “Copacabana” between 1997 and 2003. At a concert in 2008, he conducted the Colorado Symphony in Denver.

MacLeod was first married, from 1955-1972, to Joan Devore, with whom he had two sons and two daughters.

He married actress Patti Kendig in 1974. They divorced in 1982 but remarried in 1985.

During the mid-1980s, MacLeod and his second wife became Evangelical Christians, and the pair credited the religion for reuniting them. He wrote about it in his 1987 book “Back on Course, the Remarkable Story of a Divorce That Ended in Remarriage.” He and Kendig appeared in the Christian big-screen time-travel epic “Time Changer,” along with Hal Linden, in 2002, and he played the title role in the 2008 Christian film “The Secrets of Jonathan Sperry.”

His memoir “This Is Your Captain Speaking: My Fantastic Voyage Through Hollywood, Faith & Life,” was published in 2013.

He is survived by Kendig and four children by Devore.

Tale of Tails: An Original Series Not to be Missed


Tails is not a white-collar gentlemen’s club. It’s a borderline-legal bar with topless dancers and a back room where anything goes for the right price. Nick, the owner, keeps Tails afloat by taking advantage of the desperate women who dance for money and the desperate men who pay for female attention. When a dead body shows up in the bathroom, Nick’s control begins to unravel. Hunted by an ambitious, relentless cop, Nick’s enemies begin to surround him. He must decide how many friends to sacrifice in order to save himself.
Tevis Marcum (Stone) who had the original idea for the show approached Harley Wallen (Abstruse) in late 2019 to play the lead role of Nick in the pilot .  Wallen immediately saw the potential but had some input and alongside Steve Kopera (Boyne Falls) the three then revamped with new ideas wrote not only the pilot but the whole season and it came pretty easily.  They added a strong female element with Kaiti Wallen (Agramon’s Gate) and built a terrific ensemble around them including season guest stars such as Richard Tyson (Kindergarten Cop), Yan Birch (The People Under the Stairs), Blanca Blanco (Betrayed), Michael Emery (BlueBloods), Daron Cruickshank (The Ultimate Fighter) and, Jesi Jensen (Devils Night) and regulars such as Jerry Hayes (Moving Parts), Grover McCants (Solomon) and Dominique Alexander (Black Petunia) and Jessika Johnson (Playboy After Dark).
Getting Michael Hamilton and Courtney Vanloo Hamilton onboard moved them into pre-production in a month.
Production started in early February 2020 but grounded in late March due to the pandemic, but after a few months off they went back and completed season one over the summer 2020.
“It was funny but every day I left set I felt we had something truly special so the expectations became higher and higher” said Wallen.  When they wrapped the Labor Day weekend Kopera had already been editing and Wallen decided to bring on the music of Randy Lynch and Allen Lynch because of how music heavy the series is.
With season 1 completed the festival run started the accolades started coming.  “We’ve had strong festival runs before but nothing like this, it confirmed what we had been thinking… It started feeling like we had a hit in our hands!” Said Wallen.
when it came to distributors they didn’t have a shortage of interest but decided on Homestead Entertainment who really believed in the series.  Tale of Tails will be available 6/12/21 exclusively on Tubi, a season 2 is already in the works.

Bankside Films, Westend Films, Embankment Films, Among U.K. Sales Companies Benefiting from $608,000 COVID-19 Fund 

Bankside Films, Westend Films, and Embankment Films are three of the 26 major U.K. Sales Companies to have benefitted from the $608,000 COVID-19 funds set up by the British Film Institute (BFI). 

The fund which was generated from the BFI International Fund was established to support U.K. Sales Companies and help cover the increased costs the companies are incurring due to changes forced by the coronavirus pandemic. The value of the award varies based on the size of each company with the maximum award being $32, 278.  

The selected companies are expected to use the funds to cover costs that were not initially available in their budget for the year such as new post-covid digital marketing solutions; new technical systems for international deliveries; equipment for staff who will be working remotely; among others. Each beneficiary company will receive the awards until January 2021.  

The funding comes as a huge relief for Sales Companies who have had to develop new ways to acquire, market, and sell their products without putting their staff’s health and safety at risk.  

Speaking on the significance of the BFI fund, Chief executive of Film Export U.K., Charlie Bloye, said, “Sales companies always employ adaptability and ingenuity to export independent films but the current challenges are really severe. This pragmatic and timely support is helping them refresh their toolkit and make the most of opportunities to connect with global distributors online.” 

Below is the list of the U.K Sales company benefiting from the BFI COVID-19 Funds: 

All Media Partners International Ltd, £24,000 

Bankside Films Ltd, £7,750 

Carnaby International Sales & Distribution PLC, £14,000 

Celsius Entertainment Ltd, £20,000 

Cornerstone Films Ltd, £25,000 

Dogwoof, £16,440 

Embankment Films Ltd, £25,000 

Evolutionary Films, £15,464 

Film Constellation, £25,000 

Film Republic Sales Ltd, £10,000 

Film Seekers Ltd, £20,000 

GFM Films LLP, £15,000 

Goalpost Film, £7,500 

Kaleidoscope Film Distribution Ltd, £20,000 

Legacy Rights Ltd, £15,000 

Met Film Sales Ltd, £15,999 

Metro International Entertainment Ltd, £25,000 

MFH London Limited, £10,000 

Mister Smith Entertainment Ltd, £25,000 

Parkland Pictures Ltd, £15,000 

Protagonist Pictures Ltd, £20,000 

REASON8 Films Ltd, £20,000 

Rocket Science Industries Ltd, £25,000 

SC Films International Ltd, £20,000 

Screenbound International Pictures Ltd, £10,000 

Westend Films Ltd, £25,000 

 

Sophia Loren set to make Triumphant Movie comeback in Netflix’s “The Life Ahead” 

Sophia Loren, one of the biggest stars of the Hollywood Golden age is set to play a lead role in Netflix’s acquired upcoming drama movie The Life Ahead. The film stars the Italian actress alongside Ibrahima Gueye and Abril Zamora and it is directed by her son, Edoardo Ponti. The screenplay is written by Ugo Chiti and Edoardo Ponti based on Romain Gary’s novel “The Life Before Us”.  

In the movie, Loren plays the role of Madame Rosa, a Holocaust survivor who strikes a connection with a young Senegalese immigrant (played by Ibrahima Gueye). Her role in this movie is quite similar to the role she played in the 1961 Film “Two Women” which was not only produced and directed by her late husband, Carlo Ponti but also won her the Oscars award for Best Actress. 

In a phone call with EW, Loren expressed how happy she always is when working on a project with her son especially because they know each other so well. Netflix’s The Life Ahead is the third project and second film Loren and her son have made together.  

Loren’s popularity and fame grew during the early years of her career both because of her amazing looks as well as her power to play roles that require a high display of emotions. This was why she became the first actor to win an Oscar for playing a role in a foreign language feature film. Now 86, “The Life Ahead” is Loren’s first live-action film in over a decade of retirement.  

Loren revealed that she had not intended her hiatus away from the industry to be as long as it turned out to be. Further discussion revealed that she wanted a film that would inspire and challenge her but most of the available films just didn’t feel right to her. While the role she plays in Netflix’s The Life Ahead does not portray any activity Loren is currently doing right now, she revealed that playing the role of a Holocaust survivor gave a nostalgic feeling of her own life as a young girl who grew during the Naples War.  

When asked about the first-time actor Ibrahima Gueye, Loren was full of praises for him saying: “He was a great partner, very in touch with his emotions. I think he will have a great future in this profession, if he chooses it. For his first thing on the screen, he was never upset about the camera, upset about the people around. He just did what he had to do.” 

The Life Ahead is set to premiere on November 13, 2020, in the United States. 

Christopher Levy Launches CINEFLIK a new streaming service that cares


The film industry is ruled by companies that value corporate gain over artistry and films that tell real stories. These companies don’t give independent filmmakers a chance. In a time where it is so important that voices are heard through the imaginative minds of the creatives out there with a dream. 
 

I have been in the film industry for two decades. I have seen how they operate with a tunnel vision focus on numbers and sales. Large studios and others are taking advantage of independent filmmakers. They are not given a fair chance to showcase their talents, and they are not being adequately paid for their art. I have been a producer for several studios and I have seen how they turn everything into numbers. There is no creativity, there is no freedom. Everything turned into a walking barcode that depicted your worth. All you look for is the next “big hit”. The old saying that you are as good as your last movie constantly in playback in your head. 

I quit everything in 2019 and set to reinvent myself and what I stand for. I started my own production company to seek out true talent with beautiful stories, now adding to the distribution side, having a presence in Cannes, Berlin, and L.A’s AFM. It is not enough that these films are being made, but they deserve the opportunity to be seen.

CINEFLIK is a streaming service built for people who want exposure, a platform to showcase creativity and talent. Whilst we are not as established as Amazon, HBO max, and others, what sets us apart is that we care. We care about the integrity of filmmaking and the efforts that you have put in, as an artist to create these films. You are not just a number to us, we will also put in our all to make sure your story has the opportunity for maximum exposure. That is why I have also partnered with INFILMS Magazine to promote filmmakers. 

A streaming service that cares about art and also the filmmakers 

With CINEFLIK, the film owners decide on the price of rental and receive a cut of 80%. We will give you a fair price because we understand how other larger companies will try and take advantage. We will not compromise the opportunity for distribution with fair compensation. For example, Amazon pays only 6 cents per hour, for up to 99,999 hours streamed in a period of 365 days, tied in with an exclusive rights clause. Not only are they taking advantage, but they are making sure that you are legally unable to sell or share your stories with others. If you rent your film for $1.99, you will get $1.59 with CINEFLIK as opposed to $0.06 you would get from Amazon, with 100 downloads is a difference between $159 and $6 with Amazon.
We only keep 20% to maintain the site.

Unlike other services we also don’t follow a set of rules and requirements that may restrict distribution. For instance, Redbox has a list of preferred titles and requests, like; Action genre with a recognizable cast, supernatural horror, and family films that are animated standalone features. They only accept “new” titles that have been produced in a rolling two-year time span, they don’t consider films that have previously been available on DVD or via SVOD streaming services, NC-17 ratings and features under 80 minutes are out of the questions and don’t even think about direct television in the Comedy or Drama genre or Foreign Language films or Documentaries. With all these restrictions, they are not accepting of a variety of content, effectively closing doors to many filmmakers. On top of that, they set the price and pay around $2.75 to $3.50 per disc, this is largely dependent on the cast, genre, and a fit for their customers. A factor that is completely determined by themselves, which doesn’t sound fair at all. The film owners would have to pay for the DVDs and they would have complete control of how many times your movie is rented. We do not want to go down this path, CINEFLIK is fair, we set the pricing together with the film owner, we respect that they deserve to have their films and shows distributed at a fair price. We respect and accept all submissions of genres, the audience is always evolving and we want to anticipate what they want by providing a range of films and shows. 

This marks a new chapter to promote independent filmmakers in a way that does not involve bias or pure judgment of how much money they can generate. CINEFLIK carries everything, including, Classic Movies, Independent Films, short and full-length Features, as well as all genres of Television shows. We embrace creativity and have a thirst for real stories and originality. We want your trust in your films. Let us take you onboard and together we can discover a whole new audience for you. I am excited about the future, we can challenge the underlying issues of the film industry together and pave the way for real stories and talent that is often overlooked by Hollywood executives. 

Let’s take this challenge on together, no more waiting, no more negotiations, no more banging on the wrong door. We are here to make it happen.

You can access CINEFLIK here http://www.cineflik.com
Membership is always free.

Studios Keep Delaying Movies. What’s the Cost? 

Above the past few months, it has become a thing of the past: studios announce plans to release a new film in theaters, epidemics have boosted those plans, and the studio Delayed again. Rinse, wash, repeat. We’ve seen this playout with high profile movies like Christopher Nolan’s “Tenet”, which has moved twice in the last month, and Disney’s “Milan”, which has been postponed three times since March. 

There is a good chance that if coronavirus cases continue to rise across the country and state force theaters to close, the trend will continue.
 

In a pre-coronary virus world, this would be impossible for premiere dates to follow. But when the Coronavirus epidemic began closing in cinemas for the first time in March, studios began releasing films in the middle of the year or 2021 or later. Cinema reopening time.  

When the cinema reopening begins, “Tenet”, “Mulan” and other films that welcome moviegoers are expected to be among the first to join, as the release Calendars are open. However, if the films that have already been moved several times continue to circulate, the studios eventually risk burning through the marketing dollars. 

“Everyone is playing a wait-and-see game,” said Eric Handler, an analyst at MKM Partners. “With blockbuster movies, budgets are significant. To recover these budgets, they need theater. But there’s no point in going to reopen them, so it’s like a chicken and an egg. “ 

Will “Tenet” and “Milan” be able to hold their latest schedule debut – August 12 and August 21, respectively? Executives and analysts say there will be no greater economic loss. Marketing funds can be leveraged to accommodate the extra weeks here and there, but not all of them will be stressful. But this equation changes if there are delays. At some point, the studios will have to decide whether to expand beyond marketing expectations or to stop and resume them as the release date approaches.
 

Impact on marketing fees 

Film executives privately estimate that pushing “Mulan” or “Tenet” at once in a few weeks could reduce marketing fees by 000 200,000 to ، 400,000 – the cover of a new film. Expenses that are not necessarily the same for a major studio in the Great Depression scheme. Depending on various factors, this number could rise to $5 million if they delay again without adequate notice. This is because most of the promotion and advertising efforts of a film take place in the first two weeks before its release. So far, changes to the release date have fallen out of this window. 

Tentpole movie 

Tentpole movie marketing, which often takes between 100 million and 200 million production budgets, is an expensive proposition in any climate. From 30-second TV commercials and billboards too fast, stardom premieres that shut down Hollywood Boulevard as usual. Studios begin implementing these efforts six weeks before the release of a film – sometimes during a competitive time, such as the movie Giving Season, in the summer before that.
 

Since multiplexes are closed and most personal projects are still on hold, studios have taken advantage of traditional methods such as playing trailers in theaters or arranging press tours with personalities. Live events, such as the NBA Championship or the regular MLB season games, are one of the most reliable ways to ensure eyeballs on modern movie commercials. But with so many games being held right now, this option isn’t even available. 

Tiktok marketing 

Despite the deviation from the strategy, marketing budgets aren’t getting smaller – they’re just recovering. There is a strong emphasis on digital media to target viewers at home, such as TikTok trends and releasing new trailers on Fortnite. At least one of the benefits of this weird time where everyone gets stuck indoors is that addictive apps and popular video games are getting more attention than ever before. 

Handler said, “You see the studios trying to do something different – the new trailer for ‘Tenet’, which aired on Fortnite.” It’s worrying that old adults will soon return to theaters. , So you have to celebrate a huge market for thousands of years. “
 

Major marketing resources 

Because “Tenet” wasn’t ready to hit theaters until early July, Warner Bruce recently began to commit to large marketing resources. With or without the epidemic, there is another challenge to having a real IP in the film. Marketers not only have to work overdrive to introduce themselves, but also to stop the audience from the brainstorming that exists in the world of global spying. 

The adaptation of Disney’s classic animated story to live-action is not a concern for Mulan. Most moviegoers are already familiar with the fearless Chinese fighters. But “Mulan” needs to be more concerned with the Northern invaders. Since its theatrical release was canceled two weeks before its targeted US launch, Disney has already shelled around eight and a half million for the premiere of Gleason Los Angeles in March. It’s not just studios that have money on the table. Theaters cannot be successfully reopened until a new product arrives on the big screen. 

As history delays, so do the rising virus level, causing exhibitors to edit their plans. China AMC, the country’s largest theater, has abandoned its plans to resume business for two weeks. The exhibitor, and its rival circuits, now plan to resume business by the end of July and expect to be fully operational by August. Handler said, “We’re in a big holding right now.” The industry is at the mercy of municipalities in America’s largest markets. This is causing the municipalities to pump the brakes. Hopefully, in these markets, we will look at things from a higher level and this will give some relief to the government. It’s time-consuming.
 

“Who wants to go first and set fire to $200 million?” 

If the movie only earns a few million, you get a massive written download. It’s a risk, “Greenfield said.” It’s a race where winning is losing. Winning is riskier than losing.

SAG Awards 2021 

 

Coronavirus pandemic has postponed the 2021 SAG Awards six weeks before the Oscars – until March 14. The 27th Annual Awards Show, which honors film and television performances, was originally scheduled for January 24, 2021. The Academy of Motion Picture Arts and Sciences announced on June 15 that the 93rd Academy Awards telecast had been postponed for two months until April 25, 2021. 

It was first reported in mid-May when the academy was considering delaying the big night in the wake of the coronavirus pandemic. The 2020 SAG Awards ceremony was held in January at the Shrine Auditorium in Los Angeles. The cast of “Parasite” won the Feature Film Pair Award, with Joaquin Phoenix winning the Male Actor Award for “Joker” and Renee Zellweger winning the Female Actor Trophy for “Judy”. 

The eligibility requirements for the event have been modified with a two-month extension in the eligibility window. From January 1, 2020, to February 28, 2021, motion pictures, prime time television, and cable and new media programs may be shown or broadcast earlier.  

The submission period starts on September 21 and ends on November 20. Nominations will be announced on February 4, 2021. The final voting will take place between SAG-AFTRA members between February 10 and March 10. 

The SAG Awards are among the Oscars, Golden Globes, and BAFTA Film Awards for advancing their dates and qualifying periods for feature films due to the pandenic. 

Many CAA offices to remain closed through January 2021 due to coronavirus pandemic (exclusive) 

We have learned that the Creative Artist Agency is closing several home locations until early 2021. The internal memo, alerted agents and others that the CAA headquarters in Los Angeles, Nashville, and New York offices, would remain closed as epidemics spread.
 

“After carefully studying many factors as a top priority for employee health and safety, we have concluded that we will not return until at least January 2021. There is still a long way to go before a specific date can be set. , “
 

The company will also look into the re-entry protocol for its London office. Headquartered in Los Angeles, the CAA, affectionately known as the “Death Star”, sits in Century City, and it’s a wonderful illustration of the power of Hollywood rooms. “In reviewing today’s decision, in addition to a large group of internal executives, external consultants have focused on several criteria, including health options guidelines, Local laws, and infection rates; Availability, or lack thereof, testing, vaccines, and treatment. Limit the personal circumstances of our employees, availability, and cost of supply, mask, and modification facility; the senior leadership wrote, and, of course, we can better support our capabilities and work together.