Earlier this week, a press release was blasted to Hollywood publications with the salacious headline: “Breaking News: TV Producer Aaron Kaplan Sued For Invasion Of Privacy.”
In the post-#MeToo era, it was designed to grab journalists’ attention as the subject is one of the top TV producers in town. The lawsuit was in response to a Petition for Instruction filed by Aaron Kaplan in February, that lays out alleged attempts by Elizabeth M. Kaplan, widow of Kaplan’s late older brother, successful entrepreneur Joe Kaplan, to remove Aaron Kaplan as executor of his brother’s will and trustee of the trust, which includes Elizabeth Kaplan, her son with Joe, and Joe’s two adult children from a previous marriage.
More from DeadlinePilot Season 2020: The Overachievers List'Good Christian Bitches' High School Reboot From Jordon Nardino & Kapital Entertainment In Works At the Cwcbs Nabs Rick Fox Autobiographical eSports Comedy...
In the post-#MeToo era, it was designed to grab journalists’ attention as the subject is one of the top TV producers in town. The lawsuit was in response to a Petition for Instruction filed by Aaron Kaplan in February, that lays out alleged attempts by Elizabeth M. Kaplan, widow of Kaplan’s late older brother, successful entrepreneur Joe Kaplan, to remove Aaron Kaplan as executor of his brother’s will and trustee of the trust, which includes Elizabeth Kaplan, her son with Joe, and Joe’s two adult children from a previous marriage.
More from DeadlinePilot Season 2020: The Overachievers List'Good Christian Bitches' High School Reboot From Jordon Nardino & Kapital Entertainment In Works At the Cwcbs Nabs Rick Fox Autobiographical eSports Comedy...
- 4/11/2020
- by Nellie Andreeva
- Deadline Film + TV
For those of you out there that might not know (i.e. those of you out there without kids), “Baby Shark” is a song you will never get out of your head once you hear it. And in what has got to be the definition of “Breaking News” The Shining, Doctor Sleep, and It author Stephen […]
The post Stop the Presses: Stephen King Has Finally Heard Baby Shark appeared first on Dread Central.
The post Stop the Presses: Stephen King Has Finally Heard Baby Shark appeared first on Dread Central.
- 11/5/2019
- by Mike Sprague
- DreadCentral.com
On the August 20 episode of /Film Daily, /Film editor-in-chief Peter Sciretta is joined by /film senior writer Ben Pearson and writers Chris Evangelista and Hoai-Tran Bui to discuss the latest film and TV news, including Bond 25’s title, Spider-Man: Far From Home and Breaking News that Marvel Studios is no longer producing Spider-Man movies […]
The post Breaking News Podcast: Marvel Studios Exits Spider-Man, Matrix 4 Announced with Keanu Reeves and Lana Wachowski appeared first on /Film.
The post Breaking News Podcast: Marvel Studios Exits Spider-Man, Matrix 4 Announced with Keanu Reeves and Lana Wachowski appeared first on /Film.
- 8/20/2019
- by Peter Sciretta
- Slash Film
The prestigious Golden Horse Awards announced Wednesday that it will hold its annual ceremony in Taiwan on the same day this year as China’s Communist-backed Golden Rooster Awards – which virtually assures that no major mainland Chinese talent will attend the event known as Asia’s Oscars on November 23.
Hong Kong director Johnnie To will act as chairman of the Golden Horse jury, the festival said. He has been nominated eight times for the best director award and won it on three occasions: in 2000 for “The Mission,” 2004 for “Breaking News” and 2012 for “Life Without Principle.”
He thanked director Ang Lee, head of last year’s executive committee, for the invitation, saying: “The Golden Horse Awards are the most prestigious awards in the Chinese-language cinema and a very important recognition that my films have received. Before I’m awarded another prize, I feel honored to have this chance to offer my services.
Hong Kong director Johnnie To will act as chairman of the Golden Horse jury, the festival said. He has been nominated eight times for the best director award and won it on three occasions: in 2000 for “The Mission,” 2004 for “Breaking News” and 2012 for “Life Without Principle.”
He thanked director Ang Lee, head of last year’s executive committee, for the invitation, saying: “The Golden Horse Awards are the most prestigious awards in the Chinese-language cinema and a very important recognition that my films have received. Before I’m awarded another prize, I feel honored to have this chance to offer my services.
- 6/26/2019
- by Rebecca Davis
- Variety Film + TV
Hong Kong International Film Festival
HONG KONG -- Eye in the Sky (Gun Chong) meets somewhere between Johnnie To's Breaking News and any number of great cop/gangster thrillers Yau Nai-hoi has written for To and Milkyway Image in the last decade -- of which The Mission, (rumored to be going down the Hollywood remake road), Election, Throwdown and "PTU" are just a few. This is as stylish as anything Yau has written for To, if a little more ragged in keeping with the subject matter.
The film is likely to attract a reasonable amount of interest in Asia, if only for the pedigree and stars involved, and overseas in festivals since To's name will carry it a long way. While it's sure to make it into any To/Milkyway completist's DVD collection, the film isn't strong enough to move much beyond niche markets.
The story is a simple one. The police department's Surveillance Unit, led by Doghead (Yam) with some help from a computer-bound crew under Maggie Siu, welcomes a new recruit, Piggy (Tsui), just as a complex operation against jewel thieves begins. (Jewels maintain their place as Hong Kong criminals' favored high-end target). Piggy's young, and doesn't look like a cop, which to Doghead makes her a perfect tail. The operation begins when the SU connects local lay-about Fatman (Milkyway favorite Lam) with a robbery that went off in Hong Kong's business district in broad daylight. Fatman eventually leads the squad to the mastermind behind the operation, Shan (Leung), who enjoys a good game of Sodoku on the tram when he needs to plot out his plans.
The story focuses as much on procedure as it does on Piggy and her insertion into police work. As her mentor, Doghead is supportive and understanding, and Siu's boss is a reasonable one. But Piggy drops the ball on Shan -- referred to as Hollowman -- when she's forced to make an ethical choice, her first on the job, and questions her own capabilities. Thankfully, the script avoids cliche and she's never threatened with her job or thrown out of it on the spot. But anyone even remotely familiar with To & Co. will know that situation is going to come up again. Inevitably, it will be more personal.
The film's biggest flaw may be the glaring missed opportunity to make a larger comment on the omnipresence of general surveillance in the world at large. The film does forge a decent sense of paranoia by suggesting we're being watched at all times. Hollowman and Fatman have cops on them, but cameras are everywhere. Aerial scene transitions recall grainy CCTV images. The streets are crowded and chaotic: Anyone could be watching anyone else. Sadly, the script doesn't explore the voyeuristic nature of contemporary society much beyond that.
Cheung's frantic, hand-held cinematography goes a long way to creating the atmosphere in which the cops exist and work. Constant jarring cuts and quick pans across busy intersections give the impression that the audience is trying to find a target through a crowded field as well. And Yau does an excellent job of exploiting Hong Kong's winding streets, endless alleys and overwhelming numbers.
An opening sequence, which begins on one of the city's venerable jam-packed trams and ends with a wide shot of a pedestrian crossing that fills up as if floodgates were opened, smoothly establishes the mood and pace.
Eye in the Sky is similar in tone to much of Milkyway's material. This is a world where violence hovers just below the surface of decent society. When Shan has his orders on the first heist disobeyed, he flies off the handle in a flash, and then settles down just as quickly. There's the requisite raging gun battle, but Yau and Au veer off with an unexpected, upbeat finale.
If Yau was at all uncomfortable in his first turn behind the camera, it didn't show in the performances. Fortunately, he had a strong cast to work with including young Tsui that manages to create whole characters from the near archetypes that were written. Leung and Yam could do the cop/robber shtick with their eyes closed: Each has done it time and again, often for To. Leung brings a simmering, intense rage to the character while Yam, waddling around with an extra 20 pounds, goes against type to play Doghead as unglamorously workmanlike. Yau has crafted a decent enough film, but it lacks the cohesive polish of his mentor's best work.
EYE IN THE SKY
Milkyway Image (HK) Ltd.
Credits:Director: Yau Nai-hoi
Writers: Yau Nai-Hoi, Au Kin-Yee
Producers: Johnnie To, Tsui Siuming
Executive producer: Stephen Ng
Director of photography: Cheung Tung Leung
Production designer: Raymond Chan
Music: Guy Zerafa
Costume designers: William Fung, Mabel Kwan
Editor: David Richardson
Cast:
Shan/Hollowman: Tony Leung Ka-Fai
Simon Yam: Wong/Doghead
Piggy: Kate Tsui
Fatman: Lam Suet
Maggie Siu
Running time -- 88 minutes
No MPAA rating...
HONG KONG -- Eye in the Sky (Gun Chong) meets somewhere between Johnnie To's Breaking News and any number of great cop/gangster thrillers Yau Nai-hoi has written for To and Milkyway Image in the last decade -- of which The Mission, (rumored to be going down the Hollywood remake road), Election, Throwdown and "PTU" are just a few. This is as stylish as anything Yau has written for To, if a little more ragged in keeping with the subject matter.
The film is likely to attract a reasonable amount of interest in Asia, if only for the pedigree and stars involved, and overseas in festivals since To's name will carry it a long way. While it's sure to make it into any To/Milkyway completist's DVD collection, the film isn't strong enough to move much beyond niche markets.
The story is a simple one. The police department's Surveillance Unit, led by Doghead (Yam) with some help from a computer-bound crew under Maggie Siu, welcomes a new recruit, Piggy (Tsui), just as a complex operation against jewel thieves begins. (Jewels maintain their place as Hong Kong criminals' favored high-end target). Piggy's young, and doesn't look like a cop, which to Doghead makes her a perfect tail. The operation begins when the SU connects local lay-about Fatman (Milkyway favorite Lam) with a robbery that went off in Hong Kong's business district in broad daylight. Fatman eventually leads the squad to the mastermind behind the operation, Shan (Leung), who enjoys a good game of Sodoku on the tram when he needs to plot out his plans.
The story focuses as much on procedure as it does on Piggy and her insertion into police work. As her mentor, Doghead is supportive and understanding, and Siu's boss is a reasonable one. But Piggy drops the ball on Shan -- referred to as Hollowman -- when she's forced to make an ethical choice, her first on the job, and questions her own capabilities. Thankfully, the script avoids cliche and she's never threatened with her job or thrown out of it on the spot. But anyone even remotely familiar with To & Co. will know that situation is going to come up again. Inevitably, it will be more personal.
The film's biggest flaw may be the glaring missed opportunity to make a larger comment on the omnipresence of general surveillance in the world at large. The film does forge a decent sense of paranoia by suggesting we're being watched at all times. Hollowman and Fatman have cops on them, but cameras are everywhere. Aerial scene transitions recall grainy CCTV images. The streets are crowded and chaotic: Anyone could be watching anyone else. Sadly, the script doesn't explore the voyeuristic nature of contemporary society much beyond that.
Cheung's frantic, hand-held cinematography goes a long way to creating the atmosphere in which the cops exist and work. Constant jarring cuts and quick pans across busy intersections give the impression that the audience is trying to find a target through a crowded field as well. And Yau does an excellent job of exploiting Hong Kong's winding streets, endless alleys and overwhelming numbers.
An opening sequence, which begins on one of the city's venerable jam-packed trams and ends with a wide shot of a pedestrian crossing that fills up as if floodgates were opened, smoothly establishes the mood and pace.
Eye in the Sky is similar in tone to much of Milkyway's material. This is a world where violence hovers just below the surface of decent society. When Shan has his orders on the first heist disobeyed, he flies off the handle in a flash, and then settles down just as quickly. There's the requisite raging gun battle, but Yau and Au veer off with an unexpected, upbeat finale.
If Yau was at all uncomfortable in his first turn behind the camera, it didn't show in the performances. Fortunately, he had a strong cast to work with including young Tsui that manages to create whole characters from the near archetypes that were written. Leung and Yam could do the cop/robber shtick with their eyes closed: Each has done it time and again, often for To. Leung brings a simmering, intense rage to the character while Yam, waddling around with an extra 20 pounds, goes against type to play Doghead as unglamorously workmanlike. Yau has crafted a decent enough film, but it lacks the cohesive polish of his mentor's best work.
EYE IN THE SKY
Milkyway Image (HK) Ltd.
Credits:Director: Yau Nai-hoi
Writers: Yau Nai-Hoi, Au Kin-Yee
Producers: Johnnie To, Tsui Siuming
Executive producer: Stephen Ng
Director of photography: Cheung Tung Leung
Production designer: Raymond Chan
Music: Guy Zerafa
Costume designers: William Fung, Mabel Kwan
Editor: David Richardson
Cast:
Shan/Hollowman: Tony Leung Ka-Fai
Simon Yam: Wong/Doghead
Piggy: Kate Tsui
Fatman: Lam Suet
Maggie Siu
Running time -- 88 minutes
No MPAA rating...
- 3/21/2007
- The Hollywood Reporter - Movie News
HONG KONG -- Breaking News director Johnnie To is set to produce the first film to roll from cable operator i-Cable Communications' new movie production subsidiary. The $2 million police thriller will be helmed by new director Yau Nai-hoi, who has previously scripted many of To's award-winning movies such as Running Out of Time and PTU. I-Cable Communications, a subsidiary of leading pay TV operator Cable Television, is set to invest $38.5 million in a two-year plan to produce between 10 and 15 movies through the yet-to-be-named production banner. I-Cable, which owns three movie channels, has previously invested in films produced by other production companies such as Universe Films and China Star. This marks the first time that the company will venture into movie production. Edko Films -- owned by House of Flying Daggers and Crouching Tiger, Hidden Dragon producer Bill Kong -- will handle local theatrical distribution as well as overseas sales for the productions.
- 3/11/2005
- The Hollywood Reporter - Movie News
TORONTO -- Although the Toronto International Film Festival has begun to wind down, several deals were announced Thursday: Fine Line inked a pact to pick up world rights to the basketball documentary The Year of the Yao, a portrait of NBA player Yao Ming, and Palm Pictures took on Johnnie To's Breaking News. At press time, further theatrical pacts were in the process of being hammered out for the Real to Reel selection Three of Hearts, the Midnight Madness horror features Creep and Dead Birds and Susanne Bier's Danish import Brothers. In other dealings, attorney Andrew Hurwitz and the William Morris Independent unit wrapped up $3 million in international sales on the TIFF pick Saint Ralph. Meanwhile, all eyes turned to the high-profile feature The Libertine, which was slotted for a gala screening Thursday night. The film stars Johnny Depp, Samantha Morton and John Malkovich, and even while many top execs were heading out of town, Miramax Films honcho Harvey Weinstein was said to be landing in Toronto to screen Libertine. Besides checking out the film, Weinstein was likely on hand to support Depp, who plays the lead in Miramax's Oscar hopeful Finding Neverland.
- 9/17/2004
- The Hollywood Reporter - Movie News
TORONTO -- Although the Toronto International Film Festival has begun to wind down, several deals were announced Thursday: Fine Line inked a pact to pick up world rights to the basketball documentary The Year of the Yao, a portrait of NBA player Yao Ming, and Palm Pictures took on Johnnie To's Breaking News. At press time, further theatrical pacts were in the process of being hammered out for the Real to Reel selection Three of Hearts, the Midnight Madness horror features Creep and Dead Birds and Susanne Bier's Danish import Brothers. In other dealings, attorney Andrew Hurwitz and the William Morris Independent unit wrapped up $3 million in international sales on the TIFF pick Saint Ralph. Meanwhile, all eyes turned to the high-profile feature The Libertine, which was slotted for a gala screening Thursday night. The film stars Johnny Depp, Samantha Morton and John Malkovich, and even while many top execs were heading out of town, Miramax Films honcho Harvey Weinstein was said to be landing in Toronto to screen Libertine. Besides checking out the film, Weinstein was likely on hand to support Depp, who plays the lead in Miramax's Oscar hopeful Finding Neverland.
- 9/17/2004
- The Hollywood Reporter - Movie News
TORONTO -- Although the Toronto International Film Festival has begun to wind down, several deals were announced Thursday: Fine Line inked a pact to pick up world rights to the basketball documentary The Year of the Yao, a portrait of NBA player Yao Ming, and Palm Pictures took on Johnnie To's Breaking News. At press time, further theatrical pacts were in the process of being hammered out for the Real to Reel selection Three of Hearts, the Midnight Madness horror features Creep and Dead Birds and Susanne Bier's Danish import Brothers. In other dealings, attorney Andrew Hurwitz and the William Morris Independent unit wrapped up $3 million in international sales on the TIFF pick Saint Ralph. Meanwhile, all eyes turned to the high-profile feature The Libertine, which was slotted for a gala screening Thursday night. The film stars Johnny Depp, Samantha Morton and John Malkovich, and even while many top execs were heading out of town, Miramax Films honcho Harvey Weinstein was said to be landing in Toronto to screen Libertine. Besides checking out the film, Weinstein was likely on hand to support Depp, who plays the lead in Miramax's Oscar hopeful Finding Neverland.
- 9/17/2004
- The Hollywood Reporter - Movie News
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