MGM’s Lion Hopes to Roar Again in Movie Distribution
By Kate Kelly
9 March 2006
The Wall Street Journal
English
(Copyright (c) 2006, Dow Jones & Company, Inc.)
Eighteen months after new owners effectively shuttered MGM’s movie business, the historic studio plans to return aggressively to the distribution business with a slate of a dozen new movies to appear in U.S. theaters this year. The move, which was announced yesterday by Chairman and Chief Executive Officer Harry Sloan, will rely on MGM franchises like James Bond, the Pink Panther, and Rocky, as well as new films from producers like Weinstein Co., to fill MGM’s re-opened cinematic pipeline.
MGM’s latest maneuver reflects how the swiftly evolving entertainment industry has forced the company and its owners to rethink a DVD-driven business model that seemed enormously appealing less than two years ago. In the fall of 2004, the investors who bought MGM and its famous roaring lion logo were attracted chiefly to its 4,000-title library, which was viewed as a way to tap into the flourishing DVD market for big profits.
But since the $5 billion deal was struck, DVD and video sales have slackened. In addition, some of MGM’s more aged titles have proved a particularly tough sell, and an industry battle over the format for the next generation of DVDs has threatened to fray the business even further. MGM’s new owners realized that, without new movie product, their ability to maximize value from the big library of older titles would be hampered.
Last fall those developments prompted MGM’s owners — a consortium that includes the Japanese electronics and entertainment concern Sony Corp., the cable giant Comcast Corp., Providence Equity Partners and a handful of other investors — to bring a new CEO on board to help redefine the strategy.
The result: Mr. Sloan’s renewed bet on the distribution business, which the company had essentially abandoned after the release of its last homegrown production, “The Amityville Horror,” last spring.
For now, MGM will stay away from the discipline that helped make it famous — production. Though it will partner with Sony’s Sony Pictures Entertainment to make movies for franchises like Bond and Rocky, there are no plans to hire an in-house production or development staff, said Mr. Sloan. Production tends to be riskier and cost-intensive, and requires additional staff and financing.
“MGM is firing up its theatrical distribution organization with a modern business model that I think is going to be very profitable for our investors,” said Mr. Sloan in an interview. “The old studio model of financing development . . . and determining what the movies would look like on a slate, isn’t what we’re going to be about. The important issue for us is to get into relationships with producers who can deliver.”
To distribute these movies — negotiating deals that place movie content into distribution channels such as theaters or pay television — MGM has kept on board much of the distribution staff it has long employed. The company is also hiring a new marketing team that can help sell product from outside producers who lack the resources to handle the sales themselves.
MGM’s new production partners vary in size. Among them are Weinstein Co., the studio opened last year by Miramax Films co-founders Harvey and Bob Weinstein, and Bauer Martinez Entertainment, a new production company with movies like “Van Wilder Deux” in the works. A likely third partner, according to two people familiar with the matter, is Lakeshore Entertainment, the independent production shop that made the Academy Award winning drama “Million Dollar Baby.” Representatives for Lakeshore couldn’t be reached.
If all goes according to plan, the distribution arrangements have benefits for both parties. For MGM, it is a chance to pocket a sizable distribution fee of roughly 10% of a movie’s box-office gross in a given territory, according to people familiar with the matter. For some of the producers, it is the ability to farm out potentially cost-intensive processes like marketing their films and arranging to show them in theaters. It also allows the producers to sell their product to deep-pocketed pay-television distributors afterward.
As part of our popular Movie Watch chats, tonight TORn’s IRC gang will be settling in to watch the third of the four Harry Potter films, “Harry Potter and the Prisoner of Azkaban.” We will conclude this movie series with “Goblet of Fire” on March 25th.
Join us tonight on our IRC server at 5:30 pm EST when we pop our copies of the film into the DVD player. After the usual confusion, at around 5.30pm EST we’ll all press play on our individual players and proceed to cheer and jeer (or discuss and argue, if you like!) the finer points of the film.
We plan to take a break midway through the film, to allow for stretching of fingers and backs. Barliman will be on hand to serve drinks and snacks (and to enforce the house rules).
Date: Saturday March 11 Time: 5.30pm EST Place: #moviechat on the TORn IRC server.
Time zone conversions
Not sure what time the chat will be where you are? Check this little conversion table out for some help.
America:
5.30pm EST (New York)
4.30pm CST (Chicago)
3.30pm MST (Salt Lake City)
2.30pm PST (Los Angeles)
Europe:
10.30pm GMT (London)
11.30pm CET (Paris)
Asia-Pacific:
6.30am AWST (Sunday) Perth
8.30am AEST (Sunday) Brisbane
9.30am AEDT (Sunday) Sydney
11.30am NZDT (Sunday) Wellington
WHERE?
On TORn’s IRC server, in the #moviechat channel. After joining the server, type /join #moviechat to get there.
If you’ve never been to TORn’s IRC server before, you can join through our java applet and type /join #moviechat once you’re signed in. We recommend you visit our FAQ for some guidelines on using our IRC service. Barliman’s is a place for good conversation about JRR Tolkien’s works. We welcome you to our community and ask that you, and all guests, abide by some simple guidelines.
HOW?
Once everyone is in #moviechat and has their DVD ready to go, the ops will moderate the room and have a countdown to “Play.” I expect that we will be able to give minute-markers throughout the evening for latecomers. A break will be taken midway through — the exact point will be announced in the topic.
The question of questions. The question sages have pondered for decades. The question that has overturned book club meetings and caused riots on message boards. The Question of the Ages. No, it’s not ‘What’s the Meaning of Life, the Universe and Everything?’. Nor is it ‘Who shot JR?’. It’s not even ‘Where’s the beef?’. Instead, we are going to ponder the imponderable, ask the unanswerable, seek that which has eluded both the wise and the extremely geeky: Who is the greatest Hero of Middle-earth?
Do you have the answer? An opinion? A suggestion? Are you firmly in the camp of the Aragorn-ites or the Frodo-ians? Do you vacillate between the students of Gandalf and the worshippers of Pippin? Do your tastes tend toward the earthy- as in Eowyn, or the sublime- as in Galadriel? (yes, women CAN be heroes too!) Perhaps you look deeper into Middle-earth’s long history toward heroes such as Beren, Turin, Hurin or Elendil. Or do you just go for the bizarre and take Gollum or Sauron for you role-model?
Wherever your affections and loyalties lie, you will have the chance to explore, expand, and expound on the merits of each this weekend in #thehalloffire as we discuss Middle-earth’s Greatest Hero. But be prepared to back up your assertions, because this is going to be one heck of a debate!
Date: Saturday March 4 Time: 5.30pm EST Place: #thehalloffire on the TORn IRC server.
Time zone conversions
Not sure what time the chat will be where you are? Check this little conversion table out for some help.
America:
5.30pm EST (New York)
4.30pm CST (Chicago)
3.30pm MST (Salt Lake City)
2.30pm PST (Los Angeles)
Europe:
10.30pm GMT (London)
11.30pm CET (Paris)
Asia-Pacific:
6.30am AWST (Sunday) Perth
8.30am AEST (Sunday) Brisbane
9.30am AEDT (Sunday) Sydney
11.30am NZDT (Sunday) Wellington
Our chats usually last 45 mins to an hour, and are very newbie friendly. Simply drop in and join the conversation!
Where?
Chat happens on #thehalloffire on irc.theonering.net — the TORn IRC server. You can connect instantly via our java chat client that works inside your web browser (find it here!) or choose to install a dedicated chat program such as mIRC on your computer.
If you have a burning desire to discuss something in Hall of Fire, drop us a line with your topic at halloffire@theonering.net. If we like it, we’ll probably give it a run in the coming weeks!
Join HoF Announce!
Did you know that Hall of Fire has a mailing list? Join today and get topic announcements and news delivered regularly to your inbox!
MrCere writes: Cynthia Cummens attended the ORC 2006 show as a guest of TheOneRing.net and participated in several aspects of the show including the ‘Iron Artist’ contest and she taught a drawing workshop. She was a big hit both on stage and off, bringing enthusiasm to the show and her warmth to those who had a chance to speak with her in person.
She has been working on a line of new Lord of the Rings cards for Topps that will feature her original sketches inserted into packs of cards. Cynthia was kind enough to take some time at ORC and talk to TheOneRing.net about her projects and also included a sneak of her cards scheduled for release on March 1. Not only was TORn pleased to have her at the ORC event but was thrilled to build a relationship with such a talented and kind artist.
TheOneRing.net: Tell me about your artistic roots and training and I am particularly interested how you grew into such a genre (or geek) centric artist?
Cynthia Cummens: Hi Larry. Thanks for talking with me. I started drawing as a kid, about age 3, and knew at a young age it was wanted to do for the rest of my life. It seems my creative influences came from the sci-fi/fantasy TV shows that appealed to me – Wonder Woman, Buck Rogers, Godzilla, among others. Luckily, my mom supported my love for drawing, even though she herself isn’t an artist. When she took me to see Star Wars, which I don’t actually remember seeing (believe it or not), I was immediately obsessed (thanks, Mom!) and it became the subject of almost everything I drew for many years. Later, in high school and college, I went into the fine arts programs, which provided a wonderful foundation for painting and drawing. I had a variety of art jobs during and after college, and explored different subject matters in my paintings, most of which were often about very personal experiences and not at all related to sci-fi or fantasy. Then about 6 years ago, I worked as a portrait artist in a local Renaissance Faire, which empowered me to launch my career as a freelance illustrator.
TORn: And how did you get hooked into the Lucasfilm and Lord of the Rings franchises? CC: While I worked at the Ren Faire, it was suggested that I should look into exhibiting at conventions, which until then I never knew about. The idea appealed to me, and I took the advice to get to Star Wars Celebration II in 2002 (my first convention). I spoke with some of the artists who were exhibiting there, and the advice was the same – get to San Diego Comic Con, which I attended in 2002, along with Wizard World Chicago. Both conventions provided many opportunities to get my work seen by professionals in the industry. At SDCC in 2004, Star Wars artist Randy Martinez recommended me to Topps, the trading card company, who was hiring artists to work on Star Wars trading cards. Lucas Licensing reviewed and approved my portfolio to work on the cards, and since then I’ve been involved with different projects for them. At the end of 2005, Topps also invited me to work on their LOTR sketch cards which required approval by licensing at New Line Cinema.
TORn: Lets talk about this card project. How was it working on this series? CC: It was a very exciting project to be involved with being a fan of the books and movies. For those who might not know what sketch cards are, they are one of-a-kind, hand-drawn sketches on trading cards. Fans of the movies and trading card collectors love them because they are original pieces of art, not reproductions. For the LOTR set, I drew 350 cards, which were based on movie likenesses, not an interpretation of Tolkien characters. At times it was grueling, as I tend to work very detailed even though the cards are meant to be sketches, not highly rendered works of art. I used pencil on each card, occasionally adding some white conte for highlighting. That’s just my approach to sketching. Overall, it was a thrill for me. It was actually was kind of sad when I sent the cards back to Topps, knowing they’d never be in my hands again.
TORn: Were you able to pick subjects and scenes and moments from the films to depict or were they assigned? CC: Since this is a character-based set, I drew portraits of the characters from the films. There were no limits to which characters I could draw, or from which films. So there was no shortage of inspiration!
TORn: Can you tell us about the working process? Did you use visuals directly from the film? CC: Yes, I used the DVD’s as reference, spending many hours glued to the tv, remote control in one hand, pencil and cards in the other (not a bad way to spend the day)! I also have a steadily growing stockpile of internet references and books that I used intermittently.
TORn: How much time did you allow yourself to spend on each card? CC: At the minimum, I spent 20 minutes on a card, depending on the character. Ring Wraiths were the quickest to draw, while human likenesses require a bit more time, sometimes as much as an hour depending on how detailed I wanted the piece to be.
TORn: As an artist and/or as a fan, how did you view the films from your creative perspective? CC: These movies re-ignited my creativity when I saw them, and even as I continue to watch them I find myself in awe, studying the lighting and composition of scenes, the color schemes and the moods they create. I really enjoy costuming (even though I can barely sew a hole in my sock!) and am inspired by the level of craftsmanship in the costumes, the attention to the smallest detail in a gown or sword, the colors and textures in the flesh of creatures like Gollum and Lurtz, not to mention the landscapes, the environments. It’s just amazing how it all connects so seamlessly. I try to borrow from that energy and creativity and bring it back into my work, whether it’s a sketch card or some painting, unrelated to the books/movies that I may for do just for myself.
TORn: Do you have a favorite illustration from the cards? CC: I don’t necessarily have a favorite illustration, though I enjoyed drawing the hobbits, particularly Frodo, whose expressions are so amazing and challenging to capture.
TORn: How about something you wish you could have illustrated? CC: I would have liked to have illustrated interior scenes and landscapes, or perhaps have drawn characters from the books that weren’t in the films.
TORn: What are some other projects you would like to work on? CC: I’ve got a bunch of exciting projects lined up for 2006. Unfortunately, the way it works is that I often can’t reveal anything them until some official announcement is made about the project or product. I have a couple possible book projects in the works, one about a well-known UFO incident, which I’m looking forward to illustrating. I plan to continue working on sketch cards – anything sci-fi or fantasy related is always enjoyable! Since I do a lot of conventions, I hope to continue adding more to the line-up this year, and teach more drawing workshops like the one I taught at ORC and maybe even do another Iron Artist event if the opportunity comes up. I’ll be updating my site with news about upcoming projects and additional convention appearances.
TORn: Any artists you particularly admire? CC: I love the work of Norwegian figurative painter Odd Nerdrum. I also enjoy the work of Roger Dean who is known for his album cover art for Yes, a prog rock band from the 70’s. Of course I think Alan Lee’s work is so elegant and delicate. There are a lot of children’s book illustrators that I enjoy, such as Patricia Polacco. The list, like the road, goes ever on…
TORn: Will you be attending any other TheOnering.net events? CC: Absolutely!
TORn: Anything else? CC: Lord of the Rings: Evolution from Topps will be released March 1st. If you don’t pull one of my cards from the hobby boxes, and are still interested in owning one, you can check that well known-auction site. Or you can commission me for custom artwork through my site: cynthiacummensart.com
Laithaine writes: For all of New York’s previous Theater Glory, there are very few one-screen movie theaters left to remind us of the majesty that used to exist before the institutional multiplex mega movie houses. The Ziegfeld is one of them! All weekend, this hidden treasure has been running a Lord of the Rings Movie Marathon and if it ever happens again, I urge everyone who can to get there and see the spectacle!
Although the movies didn’t begin until 1:00, fans began lining up outside the doors by 12:00. A sharp cold wind was diving in between the building to assail us with biting frost, but nobody minded (although some did compare it to the gusts on mighty Caradhras). People who felt an instant community with one another were chatting amiably with expressive recounts of their favorite scenes and vigorous discussions on the points of the films that diverge from the book. One thing was for sure, we were all so happy to be there.
The theater showed us incredible compassion by swinging the doors open by 12:20 and we all quickly piled in to escape the cold. There were 2 authentic black bordered ticket pick up and purchase windows with real live people behind them to greet and help you. I thanked the cashier for the three precious tickets that would let me into the films and practically dragged my friend down the luscious red carpet to the ticket taker. A couple of rippity rips and we were in! A mad dash up more carpeted steps and we stumbled into a marvelous rotunda with mirrors, circular high back couches and two old style concession stands. All of it the same deep Art Deco red. Contrary to the usual indifferent movie house staff that us constant moviegoers have grown accustomed to, remarkably friendly ushers herded us in the direction we were to go with smiles and greetings.
Enormous black doors were swung wide for us and we wandered through with wide-eyed amazement. Nothing can compare to the utter grandness of the theater itself. In my mind, it was even more elegant than Radio City. The magnificent size of the room itself was overpowering. Not to mention that every wall was covered in Red Velvet from base to the 50-foot ceiling and the entire floor was wall-to-wall carpet giving you the feeling of incredible elegance combined with the comfort of a well provided living room.
Contrary to what I read, the seats were well padded and comfortable with a bit more legroom that was expected. The orchestra was gently but deeply tiered so that a head in front of you didn’t block the screen and the mezzanine in the back ramped straight up to provide excellent distance viewing, if you’re into that sort of thing. There was even an honest to God heavy brocade curtain covering the unbelievably wide screen with yellow sheers as a compliment.
Before we knew it, the curtains pulled back and the lights darkened. The first thing you notice after the thrill of hearing the projector begin is the absolutely incredible sound system. It engulfs you with its quality and power. I can’t remember the last time I enjoyed Such a richness of sound! It could easily have been the best I have heard in many years.
The previews came and went, and so did the 70’s movie manners reminder cartoon.
THEN YOU HEARD IT!!!
The beginning music, those mournful violins with deep mysterious cellos…and Galadriel’s ghostly voice:
I amar prestar aen. Han mathon ne nen. Han mathon ne chae. A han noston ned ‘wilith.
We were RAPT with awe; it sounded like she was whispering right in our ears and as the film unfolded, it’s breath and scope drew us into Middle-earth utterly and completely.
The fireworks display was staggering and with the expansive woofers slung on the wall, each explosion rattled the room. We were there. We were really there!
The cry of the Ringwraiths literally hurt your ears (I swear to Manwe, I had to cover my ears more than a few times in earmuff fashion just to handle it) and Asfaloth’s hoof beats forced your heart to drum in time. We were pulled in so deeply that most people let go of their normal self-restraint to weep openly during the tragic slaying of Boromir and gasp out load as the great wall of Helm’s Deep exploded into the sky. We chuckled at Gimli’s refusal to be tossed and then his request to be tossed later. And I’m convinced that those who didn’t laugh when Sam proclaimed himself not the bodyguard but the gardener are missing some humor gene. Personally, I lost my self-control when the Eagles arrived at the Black Gate to open a world of hurt on the Fell Beasts. I just love that scene; Gwaihir in action is not only powerful, but also comprised of nearly perfect grace and dignity. And, no matter how many times we’ve all seen it, the tears just pour out when Frodo tells Sam, “I’m glad you’re with me, Samwise Gamgee. Here at the end of all things.”
And all of us were glad, too, to be with each other. There was a strong sense of community between us all even though it was the first time we laid eyes on one another. We took food orders when we stepped out to grab dinner from kindly strangers who were staying behind to watch over everyone’s stuff. Extra Snacks were passed around while in between movie debates carried on wildly. There are few opportunities for Tolkien fans to get together without having to pilgrimage to a large and costly convention and so it was wonderful that for under $20 you could sit in the comforting presence of like-minded company. If a viewing like this ever comes around again in NY, I enthusiastically encourage fans to go. It was a wonderful day, or rather, escape from the real world and a much-needed fix for all of us who are despondently missing Middle-earth.
LeafOfHumanTree writes: Viggo Mortensen was at the Sydney premiere of A History of Violence tonight at the George St cinemas. Viggo was an absolute gentleman and generous with his time. He signed everything for everyone, posing for photos, chatting to fans in different languages and shaking hands.
Before the film started, Viggo slowly worked his way down the red carpet, signing books, film postcards, DVD covers, calendars, etc for the fans. After the invitees had entered the cinema, cinema staff allowed fans to take down the posters and poster boards promoting A History of Violence, so I took one. Viggo then disappeared briefly to introduce the film to those VIPs invited to the screening and returned to sign more paraphernalia.
On his first trip down the carpet, Viggo was kind enough to sign a LOTR CD cover for me. When he returned from introducing the film, he was kind enough to sign my A History of Violence poster.
Here is a link to one of the few photos I took before my camera batteries died. I wish I could have taken a photo when he was smiling and turned my way, but the batteries were dead. [More]
Here is a link to an article in the Sydney Morning Herald about Viggo’s appearance at the premiere. [More]
Viggo is even more gorgeous in person than on film. Softly spoken, polite, patient and kind. He was a little serious, but smiled readily for photos and conversation.
I wish I could say that I said or asked something incredibly clever or gracious but I was dumbstruck and he had to say ‘And this is for…?’ when he came to sign my LOTR picture. ‘Is this how you spell it?’, he asked, as he wrote my name. I didn’t care – he could have signed it ‘To Rumpelstiltskin’ for all I cared!
