“Everyman’s Journey” wins Palm Springs Fest best doc award

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“Everyman’s Journey” wins Palm Springs Fest best doc award

Postby JRNYMAN » Mon Jan 14, 2013 5:50 pm

PanARMENIAN.Net - Australia’s The Sapphires directed by Wayne Blair was named best narrative feature as the 24th Annual Palm Springs International Film Festival winds down, Deadline reported.

The movie that also screened in Cannes last year is based on the real-life story of an all-female Aboriginal singing group that transitioned from folk to soul with unanticipated success in the 1960s.

Best documentary feature was Don’t Stop Believin’: Everyman’s Journey, directed by Ramona Diaz.

It’s about the rock band Journey’s search for a replacement lead singer after Steve Perry quit.

The fest which began January 3 and officially concludes January 14 screened 182 films from 68 countries, including 42 of the 71 foreign language entries for this year’s Academy Awards.

http://www.panarmenian.net/eng/news/140926/
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Postby Don » Mon Jan 14, 2013 5:58 pm

I remember Neal having complaints about this film after he went to one of the premiers to be proxy for Arnel who was in the Philippines. There was a little bit of a brou ha when Schon left before the Q&A session.

It's only taken them four years to bring it to the screen. Apparently from what the director said, Steve Perry already got his copy and gave the okay so it's all good.

There had been chatter about packing this in with Eclipse but I don't think Wal-Mart would have gone for it. It's like they couldn't go cheap enough with just the one disc and its toilet paper roll packaging.
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Postby steveo777 » Mon Jan 14, 2013 6:21 pm

Glad to see this film hit daylight. I think it's gonna do well.
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Postby Don » Mon Jan 14, 2013 6:24 pm

steveo777 wrote:Glad to see this film hit daylight. I think it's gonna do well.


What is well? Do you mean as a theatrical release or the DVD sales?

Another music documentary, Searching for Sugar Man which was showing along side this film at some of the early festival had a box office run of 3 million dollars. Of course it's Oscar Nomination might help pump up those numbers a bit more.
Where do you see Pineda's film at? One million? Two million? For a documentary like this, Two million would probably be a respectable number.
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Postby steveo777 » Mon Jan 14, 2013 6:43 pm

Don wrote:
steveo777 wrote:Glad to see this film hit daylight. I think it's gonna do well.


What is well? Do you mean as a theatrical release or the DVD sales?

Searching for Sugar Man which was showing along side this film at some of the early festival had a box office run of 3 million dollars. Of course it's Oscar Nomination might help pump up those numbers a bit more.
Where do you see Pineda's film at? One million? Two million? For a documentary like this, Two million would probably be a respectable number.


What is well? In the eye and ear of the beholder I suppose. Well, it gets it out of here, which is a plus. Most of us have heard this story a thousand times. Most people I know don't even know the band has changed hands a few times. All they know is Journey/Steve Perry.

Concert tweets for example: "when did journey hire an asian singer?" Most everyday Joes have no idea, just like Deen had no idea Arnel had been homeless before he joined the band. I guess Deen's drums had been too loud to hear the news. :wink:

People, in general, do not know this story.
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Postby Don » Mon Jan 14, 2013 6:54 pm

There will be some type of market for it. I'm gonna say that it won't be a huge hit in the Philippines though for the simple reason that unlike locally produced Philippine Documentaries, there is no drama in the story. That was one complaint from the American critics also, along with the film being too long.
I'm sure it will do well in some circles though and for a few people they may finally get to know who Journey's latest singer is, though if they didn't figure it out from Oprah, Ellen, and the Today show appearances I'm not sure how much that will change. There's no money to be made from this film so I will hope that one thing it can achieve is to give Pineda a little respect from his peers in the Philippine music industry to see that it was more than just luck that helped get him to where he is today.

I'd like to see him use it as a springboard for his own career at home when he's done with the band. Really, here in the States nothing is going to propel him into the spotlight of America's subconscious for the simple reason that his band-mates can't allow it for risk of alienating their touring base by getting away from what the public wants to hear when they buy tickets.
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Postby slucero » Tue Jan 15, 2013 7:50 am

It still has to find distribution, and then will will likely only get played in independent film houses.. and you'd be hard pressed to the average fan at a independent theater...

I don't see it getting played at any of the big theater chains (Century, etc)... the very places most general Journey fans likely would frequent...

so the possibility of this movie educating the average fan who the singer of Journey is now.. are probably pretty slim

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Postby The Sushi Hunter » Tue Jan 15, 2013 9:12 am

I'd be surprised if it's not most popular in the Philippines over all other countries. I've not looked into it all that much, but from what I read here and there, it's primarily about AP and Journey, no? If it's not about that, why was it created at this specific time in that band's history and by someone from the Philippines? The wierd thing for me was the monitary donations that were being asked to get it produced. I've never heard of that one before. Very odd way of doing it in my opinion anyways. With it funded in that manner, what out of pocket expenses did the producer incurr? Usually the funding for the production is offset by what it brings in on sales and such. But they did this thing completely different. Basically the producer has no out of pocket, or at least has minimized that amount, and then will collect royalties. That's the best setup for a producer who sets it up where they will not take a hit if it doesn't work out, but still makes bank regardless of how it does.

Now how this flick does, I'm not sure if that will benefit AP or the band. Only the producer benefits, the more donations brought in for the production, the more the producer will benefit monitarily wise.
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Postby RocknRoll » Tue Jan 15, 2013 11:23 am

slucero wrote:It still has to find distribution, and then will will likely only get played in independent film houses.. and you'd be hard pressed to the average fan at a independent theater...

I don't see it getting played at any of the big theater chains (Century, etc)... the very places most general Journey fans likely would frequent...

so the possibility of this movie educating the average fan who the singer of Journey is now.. are probably pretty slim


A new paradigm: Cinedigm steps up acquisitions for a variety of platforms
Dec 26, 2012
-By Doris Toumarkine



Colin Firth and Emily Blunt in 'Arthur Newman'
As the digital conversion in theatres nears completion, what’s Cinedigm Digital Cinema Corp., the country’s number-one pioneering digital integrator, to do? In a few words—plenty and then some. And content has everything to do with it.

Continuing as a powerhouse in cinema software and services with its Digital Cinema and Software units, the company’s third unit—Cinedigm Entertainment Group (CEG)—is going full-throttle in the acquisitions and distribution business, delivering content in theatres, across digital and on-demand platforms and on DVD/Blu-ray.

Theatres are key, but as company chairman and CEO Chris McGurk explained to the financial community a few months ago, Cinedigm is also about playing well on mobile, cable and satellite and “being digitally compliant with all screens, big and small, on the major digital distribution platforms—from key exhibitors to digital retailers like iTunes, Netflix and Amazon.”

Theatres remain the hallowed platform, but in our brave new digital world of multiple outlets and massive choice on large and small screens, theatres no longer have everything to do with the new acquisitions game. Serving theatres with exclusives or day-and-date video-on-demand and then rolling out to the usual suspects in the ancillary markets, CEG is going pedal to the metal everywhere with content holdings for a variety of outlets.

These holdings are vast and growing, thanks to Cinedigm’s library of films and programs, including more than 12,000 movies and shows for digital distribution. About 900 of these are documentaries—many award-winning—brought into the fold as a result of Cinedigm’s purchase last April of New Video, arguably the country’s foremost doc distributor.

Beyond its formidable size, the library’s growth, says McGurk, is also creating new opportunities for potential financing and creative and talent partnerships. The distribution options for so much content are many; on just one ancillary front, the company distributes more than 1,700 feature films to iTunes worldwide. But amidst all this, theatres still rule. As McGurk notes, “Exhibition has long thrilled and the tribal experience it affords is as alive as ever.”

Indicative of Cinedigm’s focus on theatre-quality acquisitions, whether narrative fiction with marquee names or issue-charged, awards-ready docs, the CEG unit is readying a number of films for theatres and the digital thereafter. Violet & Daisy is their young-adult action/sci-fi entry with built-in appeal to the 18 to 34-year-old demographic and younger art-house crowd. Suggesting a younger, hipper, maybe even darker Thelma & Louise, the film stars Saoirse Ronan ( Hanna) and Alexis Bledel (“Gilmore Girls”) as two young, pop culture-obsessed assassins (Ronan in yet another assassin role!) in New York City who accept what they think will be a quick and easy job until an unexpected target, played by James Gandolfini, brings unplanned difficulties. The film from longtime indie producer GreeneStreet Films also boasts Oscar-winning screenwriter Geoffrey Fletcher, who won for specialized hit Precious. He is writer and debuting director here and therefore someone to watch.

As Violet & Daisy is going out to theatres day-and-date as VOD, McGurk explains the rationale for hitting both platforms simultaneously. “Theatre owners want more content, so we’re saying, ‘Here’s a picture that wouldn’t be released if not for the day-and-date patterns, as this isn’t a Dark Knight kind of picture. This is a film that would go directly to VOD and theatres would get no money from it. And theatres should understand that the cable marketing for these kinds of VOD offerings makes consumers aware of their availability in theatres and this actually drives traffic to theatres because it signals to viewers that, for the money spent to see this at home, they can get these films on the big screen.”

Another major CEG acquisition is Arthur Newman, a U.S./U.K. production starring Academy Award winner Colin Firth and Golden Globe winner Emily Blunt. It will be released exclusively in theatres in mid-2013 before hitting the subsequent windows. Written by Oscar-nominated writer Becky Johnston (The Prince of Tides, etc.), the story follows the midlife crisis of Wallace Avery (Firth), who abandons job and family to live his dream. He stages his own death, assumes a new identity as Arthur Newman and embarks on a crazy life of petty crime, subterfuge and multiple identities after meeting a kindred soul (Blunt).
McGurk, who held executive positions at MGM, Universal, Disney and Overture prior to Cinedigm, describes this “movie-star movie” from debuting director Dante Ariola as “a dark comedy, a romance and funny.” He likens it to the critically acclaimed Sunshine Cleaning because of its “additional real elements of drama and emotion.”

CEG VP of theatrical acquisitions Vincent Scordino, who joined Cinedigm from Millennium, describes Arthur Newman as “a deeply entertaining film...perfect for today's audiences” and with the great assets of stars Firth and Blunt and “a powerful story of displacement, longing and, ultimately, redemption. Moviegoers will leave the theatre moved and uplifted.”

Cinedigm also recently acquired all U.S. distribution rights to the doc Call Me Kuchu, about the daily lives of David Kato—the first openly gay Ugandan man—and three fellow “kuchus” (LGBT Ugandans) and a brutal and senseless murder that sent shock waves throughout the world. Cinedigm has planned an early 2013 theatrical release for the film, followed by on-demand, premium digital, DVD, and TV releases.

Already hailed on the festival circuit, the doc from filmmakers Fairfax Wright and Zouhali-Worall has won a number of prestigious prizes including a Berlin Fest Teddy Award and Best International Feature at Hot Docs 2012.

CEG currently has the John Slattery (“Mad Men”) starrer In Our Nature in theatres and on VOD and will also be releasing this March Don’t Stop Believin’: Everyman’s Journey. A festival standout eliciting much positive buzz, the doc follows the real life rock ’n’ roll journey of Filipino Arnel Pineda, who was plucked from obscurity and a difficult life via YouTube to become the front man for iconic American rock band Journey.

Regarding CEG’s embrace of docs and the strategic purchase of New Video, McGurk, who was instrumental in bringing docs like Bowling for Columbine and Capitalism: A Love Story to theatres and worldwide attention, declares, “I love operating in the social-issue space.”
Jumping genres and scheduled for theatrical release in early spring is CEG’s Toronto acquisition Come Out and Play, a horror story set on an initially beautiful but soon-emerging mysterious island where a couple awaiting their first child get anything but the quiet vacation they were expecting.

Asked how the world of shifting demographics and abundant content impacts CEG’s evaluations of potential acquisitions for so many audiences and platforms, Scordino responds that “with so many different outlets for different properties, the review process is entirely different for each. There’s traditional theatrical, day-and-date VOD, Ultra VOD, etc. On the one hand, [so much diversity] allows us to take a more expansive view of the market. If you have a quality film and we’ve identified a platform that can support a meaningful release, then we’re interested in working with you. On the other hand, [the diversity] forces us to be even more specific about the audiences we’re targeting and to be more creative in our marketing. You have to be able to break through the noise.”

Scordino goes on to emphasize that “it’s the marketable elements for each film that we look at, and the targeting of audiences, so with regard to theatres, we can select those that are appropriate for each film. For instance, we know that with Everyman’s Journey, we’re booking theatres that are strong in the Filipino world.”
....


Balance of article here -> http://www.filmjournal.com/filmjournal/ ... 7365256489
Last edited by RocknRoll on Tue Jan 15, 2013 2:14 pm, edited 1 time in total.
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Postby Don » Tue Jan 15, 2013 11:41 am

So, that rules out AMC and Regal right?
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Postby RocknRoll » Tue Jan 15, 2013 12:30 pm

Don wrote:So, that rules out AMC and Regal right?



Don't have a clue since I have no idea how movie chains work. Figured you would know more about things like this!
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Postby steveo777 » Tue Jan 15, 2013 2:00 pm

RocknRoll wrote:
Don wrote:So, that rules out AMC and Regal right?



Don't have a clue since I have no idea how movie chains work. Figured you would know more about things like this!


We probably won't see it in a theater in this smallish community, but I'd buy the DVD. I buy anything Journey. I personally just love the story and glad I got to witness someone's dream come true.
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Postby slucero » Tue Jan 15, 2013 2:04 pm

RocknRoll wrote:
slucero wrote:
CEG currently has the John Slattery (“Mad Men”) starrer In Our Nature in theatres and on VOD and will also be releasing this March Don’t Stop Believin’: Everyman’s Journey. A festival standout eliciting much positive buzz, the doc follows the real life rock ’n’ roll journey of Filipino Arnel Pineda, who was plucked from obscurity and a difficult life via YouTube to become the front man for iconic American rock band Journey.

Regarding CEG’s embrace of docs and the strategic purchase of New Video, McGurk, who was instrumental in bringing docs like Bowling for Columbine and Capitalism: A Love Story to theatres and worldwide attention, declares, “I love operating in the social-issue space.”
Jumping genres and scheduled for theatrical release in early spring is CEG’s Toronto acquisition Come Out and Play, a horror story set on an initially beautiful but soon-emerging mysterious island where a couple awaiting their first child get anything but the quiet vacation they were expecting.

Asked how the world of shifting demographics and abundant content impacts CEG’s evaluations of potential acquisitions for so many audiences and platforms, Scordino responds that “with so many different outlets for different properties, the review process is entirely different for each. There’s traditional theatrical, day-and-date VOD, Ultra VOD, etc. On the one hand, [so much diversity] allows us to take a more expansive view of the market. If you have a quality film and we’ve identified a platform that can support a meaningful release, then we’re interested in working with you. On the other hand, [the diversity] forces us to be even more specific about the audiences we’re targeting and to be more creative in our marketing. You have to be able to break through the noise.”

Scordino goes on to emphasize that “it’s the marketable elements for each film that we look at, and the targeting of audiences, so with regard to theatres, we can select those that are appropriate for each film. For instance, we know that with Everyman’s Journey, we’re booking theatres that are strong in the Filipino world.”


Balance of article here ->http://www.filmjournal.com/filmjournal/content_display/news-and-features/features/movies/e3i8f7fa61c526103b372fec77365256489



Pretty much negates most of the traditional theater venues then... and specifically focuses those on the coasts, or were there is a large Pinoy demographic.

VOD, Ultra VOD and mobile will be something else altogether.

I'd bet this does much better in places like Japan than the U.S.

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