Peter Jackson’s incoming documentary The Beatles: Get Back will air later this year.
The delayed documentary utilises countless reels of unseen and archive footage, with the Oscar winning director sifting through a veritable mountain of material.
The Beatles: Get Back finally has a release date – it will screen exclusively on Disney+ over three days: November 25th, November 26th, and November 27th.
Each episode is two hours in length, making this a true Blockbuster in every sense. The project builds on the original Get Back film idea, bolstering Michael Lindsay-Hogg’s footage with startling extras.
Peter Jackson comments…
“In many respects, Michael Lindsay-Hogg’s remarkable footage captured multiple storylines. The story of friends and of individuals. It is the story of human frailties and of a divine partnership. It is a detailed account of the creative process, with the crafting of iconic songs under pressure, set amid the social climate of early 1969. But it’s not nostalgia – it’s raw, honest, and human. Over six hours, you’ll get to know The Beatles with an intimacy that you never thought possible.”
He added: “I’m very grateful to The Beatles, Apple Corps and Disney for allowing me to present this story in exactly the way it should be told. I’ve been immersed in this project for nearly three years, and I’m very excited that audiences around the world will finally be able to see it.”
Just when it seemed like the summer movie season was winding down, here comes Scarlett Johansson to stir it up again. The actress made headlines this week when she filed a major lawsuit against Disney alleging that the studio’s decision to release “Black Widow” on Disney+ the same day it hit theaters impacted its box office revenue, which cost her millions of dollars. Johansson’s specific deal with the studio is part of an old-world model facing serious pushback from the streaming era, where the absence or marginalization of box office revenue has yielded very different kinds of deals. There are very few movie stars with the stature of an Avenger who could lobby a case against Disney, but that itself is a distinctive aspect of this story: With IP driving the future of franchises more than famous faces, how can movie stars retain their currency?
In this week’s episode of Screen Talk, Eric Kohn and Anne Thompson discuss the lawsuit and what it says about the future of movie stardom. Turning to other streaming news, they touch on the ramifications of the recent $400 million deal by Universal/Peacock for new “Exorcist” movies. They also discuss some recent developments in the fall film festival lineup and some uncertainty about the safety protocols these events will provide.
Watch the full episode above or listen to it below.
Screen Talk is produced by Leonardo Adrian Garcia and available on Apple Podcasts, Stitcher, Spotify, and hosted by Megaphone. You can subscribe here or via RSS. Share your feedback with Thompson and Kohn on Twitter. Browse previous installments here, review the show on Apple Podcasts, and be sure to let us know if you’d like to hear the hosts address specific issues in upcoming editions of Screen Talk. Check out the rest of IndieWire’s podcasts on Apple Podcasts right here.
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When in doubt, India’s factory setting is to ban. So why would India’s film industry trust the central government to be the ultimate and fair censor? After the Film Certificate Appellate Tribunal was removed by the Narendra Modi government, the film industry was given the recourse of going to courts. Now there is likely to be a supra-body that will have the final say.
The Information and Broadcasting Ministry has proposed a new Cinematograph (Amendment) Bill, 2021. Among other things, it allows the Union government to order a ‘re-examination’ of an already certified film if there are complaints against it.
Last week, a letter from 3,000 film industry members to the IB ministry called it “another blow to the film fraternity” and said “this provision will effectively give the Central Government supreme power over cinema exhibition in the country, potentially endangering freedom of expression and democratic dissent.” Signatories included Anurag Kashyap, Hansal Mehta, Farhan Akhtar, Mira Nair, and Rajeev Ravi.
Earlier this year, Amazon Prime Video’s web series Tandav met with serious public outrage for “misrepresenting” Hindu gods and hurting the religious sentiments of those aggrieved enough to file FIRs against the makers. These supposedly offensive scenes were then removed and Amazon issued a public apology. to those hurt by such content. However, these things tend to snowball and get uglier. When it happened with Sanjay Leela Bhansali’s Padmaavat in 2018, the snowballing led to the Kshatriya Mahasabha saying anyone who chopped off actress Deepika Padukone’s nose and ears would get Rs 1 crore.
The frenzy around Tandav this time was enough to bring the police into action; questioning Prime Video’s India content chief Aparna Purohit and forcing her to submit an anticipatory bail plea.
With the new draft amendment bill, film industry members fear more ‘revisions’ and trips to courts.
India is no stranger to ‘the invisible hand’ in films.
In fact, the reins on Indian cinema were well established even before Tandav. The Central Board of Film Certification came down harshly on many popular releases. Films such as Haider (2014) received its U/A certificate only after 41 cuts. The critically acclaimed film Udta Punjab (2016)was released with one cut — that the court weighed in on after the CBFC suggested 13 cuts. Lipstick Under My Burkha (2017) and Angry Indian Goddesses (2015) that addressed themes of sexuality and women’s liberation, received similar reproach from the Board. The CBFC refused to certify the former initially because it was ‘lady oriented’, and the latter had scenes censored, even on Netflix.
During Indira Gandhi’s Emergency, prints of Amrit Nahata’s Kissa Kursi Ka were destroyed — the film was later released with significant cuts.
The new amendment bill, which was open for public comments till 2 July 2021, is a revised version of the Cinematograph Act of 1952. The government power to ‘vet’ has already been extended to OTT platforms. The Modi government recently notified IT Rules for OTT and digital news platforms.
They say art and life mimic each other. That can’t be more true for India in 2021.
The Centre’s certification and revision power — some have called it a ‘super censor’ now — can dilute the creative freedom of not only those making the film but all stakeholders of such artwork alike. Art and society have a mutually reciprocal relationship, constantly shaping each other. Art takes inspiration from society and society feeds off art. Art is a strong political force and filmmakers often address the risky, the profane, the dogmas of institutional apathy, caste-politics and communalism through it. But Indians are finding it surprisingly difficult to dissent in films and the streets these days.
So, most filmmakers found a way out — OTT platforms like Netflix and Amazon Prime Video. But with increasing FIRs and complaints, and the IT Rules, that oasis is going further away.
This will make many mainstream films — and “indie” films — lose crucial platforms, disorienting the way such art is produced and consumed. OTT platforms might have to brutally inspect a film for supposed red flags and, in the process, shy away from such films altogether.
Renowned documentary filmmaker Anand Patwardhan said, “something like Netflix won’t touch my films. They’re scared that they’ll be thrown out of the country.”
The global cinematic trend seems to be moving close to meaningful, nuanced cinema and series, beyond the purview of sanitised and glamorised big Hollywood and Bollywood Blockbusters. We might be taking a step or two backward now.
To be sure, India does need better privacy rules and perhaps age-based film certification — both of which are in the Cinematograph (Amendment) Bill, 2021. It’s the revision part that’s alerted the film industry.
The encroachment of the central government on creative independence, in mandating what films can be produced and consumed, weakens the scope of a mature democracy.
Is it time to mourn the slow death of creative freedoms in Indian cinema, or what was left of it anyway?
Censorship hinges on fears and anxieties of the government as well as social groups. It works as a perfect social tool for the BJP and the RSS to move the public, because Hindutva also rests on Hindu historical anxieties and insecurity.
And so, the Cinematograph (Amendment Bill) 2021, subsequent restrictions on OTT platforms and the abolishment of the FCAT only add further fuel to the fire. Especially because the new revision powers in the bill depend on complaints against the films. Regardless of who is in power — Congress or BJP — film cuts and bans are a way to mould audience perceptions and set a narrative.
India needs a good and independent film council, like the FCAT, not more acts allowing ‘revisions’.
India needs free, fair, non-hyphenated and questioning journalism even more as it faces multiple crises.
But the news media is in a crisis of its own. There have been brutal layoffs and pay-cuts. The best of journalism is shrinking, yielding to crude prime-time spectacle.
ThePrint has the finest young reporters, columnists and editors working for it. Sustaining journalism of this quality needs smart and thinking people like you to pay for it. Whether you live in India or overseas, you can do it here.
The emergence of virtual productions like those popularized by Disney’s The Mandalorian have given display giants a new niche for their massive screens. Sony, which boasts a movie production arm, is already using its modular crystal LEDs to provide backgrounds for shoots. Now, Samsung is getting in on the act through a new partnership with major Korean movie and TV show producer CJ ENM.
The pact will see Samsung provide its massive MicroLED TVs, known as The Wall, to the studio’s virtual production facility when it opens in Paju, Gyeonggi Province later this year. CJ ENM previously struck a deal with Fortnite maker Epic Games to use its Unreal Engine game engine — which also provided the digital backdrops for The Mandalorian — for future projects.
Virtual productions are gaining traction in global filmmaking. The technique involves the use of LED stages, game engines and VR to create and control computer-generated backdrops. Currently, the massive investment has limited the tools to Blockbuster shoots, but industry insiders believe that could change as people realize the savings they bring on crew travel and physical sets and infrastructure. As a result, virtual production is expected to become the norm in filmmaking within five years, according to an industry report by the Göteborg Film Festival.
Samsung says its latest screens will deliver improved visuals thanks to their support for HDR 10+ and optimized frame rates such as 23.976Hz, 29.97Hz and 59.94Hz. The company will install an oval-shaped main display at CJ ENM’s new complex with a diameter of 20 metres and a height of seven metres or more. Samsung says its massive screen measures over 1,000 inches and supports up to 16K high-resolution content.
But, the Korean company hasn’t embraced virtual production quite like Sony. The Japanese conglomerate previously paid $250 million to acquire a minority stake in Epic Games. It also bought virtual production software maker Nurulize in 2019 and integrated it into Sony Innovation Studios, the state-of-the-art facility located on the Sony Pictures Studios lot.
Have an enjoyable weekend with another round of great music.
Beach Boys concert
Tickets go on sale Friday for The Beach Boys concert. The performance will be Thursday, Oct. 14, at the Tuscaloosa Amphitheater. Buy tickets at ticketmaster.com.
Earth, Wind and Fire concert
Tickets are on sale for the Earth, Wind and Fire concert. The performance will be Tuesday, Oct. 19, at the Tuscaloosa Amphitheater. Purchase tickets at ticketmaster.com.
The summer concert season heats up in Can’t Miss Alabama. (Getty Images)
Red Mountain Entertainment
Live performances through August include:
July 30 – Phish, Oak Mountain Amphitheatre in Birmingham.
July 30 – ZZ Top, Tuscaloosa Amphitheater.
July 31 – Luke Bryan, The Wharf Amphitheater in Orange Beach.
Aug 5 – Blippi The Musical, BJCC in Birmingham.
Aug. 6 – Alabama with Martina McBride, The Wharf Amphitheater in Orange Beach.
Aug. 7 – Alabama, Oak Mountain Amphitheatre in Pelham.
Aug. 9 – Rise Against, Avondale Brewing Co. in Birmingham.
Aug. 13-14 – Thomas Rhett, The Wharf in Orange Beach.
Aug. 14 – The Molly Ringwalds, Avondale Brewing Co. in Birmingham.
Aug. 19 – Lady A, The Wharf Amphitheater in Orange Beach.
Aug. 23 – Kesha, Avondale Brewing Co. in Birmingham.
Aug. 26 – Bryce Vine, Iron City in Birmingham.
Aug. 27 – Harry Connick Jr., Tuscaloosa Amphitheater.
Aug. 27 – Jelly Roll, Avondale Brewing Co. in Birmingham.
Aug. 27-28 – Jason Aldean, The Wharf Amphitheater in Orange Beach.
Unwind every Sunday at Music Under The Marlins at The Wharf from 4 p.m. to 7 p.m. through Sunday, Aug. 8. This week’s performers are Destiny Brown and Chase Brown. Bring a chair and find the best view, then grab a drink in the Entertainment District and enjoy free kids’ attractions, including a balloon artist, stilt walker and juggler. Admission is free. The Wharf encourages guests to observe social distancing.
Prattville Farmers Market
The Prattville Farmers Market is open Saturdays until noon through Aug. 28. Find locally grown fruits and vegetables, as well as honey, farm-fresh eggs, baked goods, and handmade bath and body products. Get a free, reusable Prattville Farmers Market tote bag and coloring book while supplies last, and enjoy a live remote with Bama Country Radio. Throughout the season, enjoy live music, prize giveaways, guest speakers and guest chefs. Follow along on Facebook to for each week’s events. The Market is on Doster Road just a few blocks off Main Street in the grove across from Pratt Park, which makes it ideal for a family outing. For more information, call 334-595-0850 or visit the website at prattvilleal.gov.
Classic family favorites at the Alabama Theatre
Grab the family and head to one of Birmingham’s most iconic theaters for classic movie favorites. See “Steel Magnolias” on Friday, July 30, at 7 p.m. and “The Sound of Music” on Sunday, Aug. 1, at 2 p.m. Upcoming classics are here. Tickets for all movies are $10 each, and children ages 2 and younger are admitted free. Doors open one hour before showtime, and each screening will begin with a sing-along with the Mighty Wurlitzer Organ. Capacity is limited to 50% and guests should use social distancing. Please wear a mask if you have not been vaccinated against COVID-19.
Birmingham Legion
Birmingham Legion FC will have two home soccer matches downtown at BBVA Field this week with Central Division rival Atlanta United 2. The first game is Saturday, July 31, at 6:30 p.m., and the next contest is Wednesday, Aug. 4, at 7 p.m. Everybody Wins on Wednesdays with Legion FC, as fans can come out to enjoy $1 hot dogs, $2 beers and a post-game fireworks show on Aug. 4. Tickets are available at bhmlegion.com. Call 205-791-7145 for more information.
Lauren Victory shares how we tracked down her family.
But is it a happy ending? That’s for you to decide.
Bradley Hill was able to figure out an old setup with a projector and film but new technology (the Internet) couldn’t help him with a clue: where is the little girl now whose name and birthdate were on a reel he bought an Indiana antique shop?
Now we know why his Google search came back empty.
“She only made it to five and a half,” said Elaine Rath, identified as the younger sister of the girl in the film. Turns out her older sibling Carol died from leukemia as a child.
“She wasn’t sick for maybe four months I think and she passed away and my parents were devastated, of course. So I really never got to know her and I always wish I had a sister,” said Rath who grew up in Cicero and moved to Naples, Fla., in recent years.
“I’m going to start to cry here I think,” she said, reminiscing on life spent mostly as an only child. Rath was less than two years old when her sister passed away.
She’d never seen the footage found on the reel hung in Hill’s house. CBS 2 showed her even more clips of her big sis, including cameos from her grandmother and grandfather.
“I didn’t even know those [the clips] existed,” Rath said, adding her grandpa died when she was about 5 years old.
The reel also showed holidays with Carol before Rath was born.
Vacations at the lake were also a big family tradition.
“That of course is my mother with Carol,” said Rath, narrating the footage we shared with her over Zoom.
They’re special decades-old memories unearthed–and for a while, the question was — for who? After our first story aired, viewers doubling as amateur genealogists flooded our inbox.
Marilyn Miller said she used findagrave.com, newspapers.com and ancestry.com to track down Elaine Rath’s name (Rath’s maiden name was Shultz, like Carol’s).
“I hope that this helps solve the mystery, and perhaps Elaine or her children would like to see the film,” Miller wrote CBS 2.
She was right.
“I kind of think it was divine intervention. I think my father wanted me to have this film,” said Rath who is grateful to the amateur genealogists for helping her close a chapter.
Rath was able to meet Hill over Zoom as well and thanked him multiple times.
“It’s the greater side of the Internet,” said Hill of the viewers who helped piece together the puzzle.
He said he was hopeful but unsure our first CBS 2 story would be able to solve the mystery of the little girl on his film reel. “It’s definitely a nice ending to this.”
Rath explained to Hill that the equipment used by her dad broke years ago and that the reel on Hill’s wall made its way there after a garage sale for an out-of-the-state move.
Since its launch last year, Google has been rolling out its new TV interface to more devices and services. Last week, Android TV exported some of Google TV’s best features including a watchlist, recommended tuning and detail pages. Now, it’s the turn of the Google TV app on Android, formerly Play Movies TV, an all-round entertainment hub for streaming, buying and renting movies and TV shows. Courtesy of a new update, the app is getting a fresh design and a raft of new reality, global and live TV programming.
As if the branding wasn’t convoluted enough, to make things more complicated the service is only available in the US. For everyone else, there’s the Play Movies TV app, which is limited to digital downloads.
With that out of the way, let’s take a closer look at the new stuff. In terms of new content, Google is adding programming from Discovery+ and Rakuten’s Asian drama streamer Viki, along with kids’ shows from Cartoon Network, PBS kids, and Boomerang and live TV from YouTube TV, Philo and fuboTV.
A new design, meanwhile, should make deciding what to watch that tad bit easier. Google is emphasising movie and TV shows with 16:9 widescreen posters, below which you can find Rotten Tomatoes scores. The company has also improved its discovery algorithm that matches movie and shows to your tastes. You can put it to the test by scouring the new rows of personalized recommendations, including new sub-genres like sci-fi thrillers and summer Blockbusters.
They had been to countries including India, Jordan, Albania, Serbia and Hungary, before coronavirus lockdown measures came into force in March last year. This meant they had to spend several months in Nepal.
