Disney's Star Wars: The Mandalorian and Grogu "suffered a catastrophic 70% drop in its second weekend," reports Variety, suggesting the movie isn't finding audiences "beyond an aging group of core fans." "Despite playing on far more screens, The Mandalorian and Grogu landed in third place on weekend charts behind Backrooms and Obsession." (described as "two buzzy horror films.") Suprisingly, both movies were directed by 20-something YouTube stars, "and cost nearly nothing to produce." Analyst Jeff Bock of Exhibitor Relations tells Variety, "We knew indie horror was hot, but we didn't know how hot. It's actually competing with the big summer blockbuster." Directed by 20-year-old Kane Parsons, "Backrooms" has earned $118 million globally so far... With a production budget of roughly $10 million, it's already one of the most profitable movies of the year. Though a sequel hasn't been announced, Parsons has already started toying with the idea of turning "Backrooms" into a film franchise... [The "Backrooms" premise seems to have originated on 4chan, then expanded in a YouTube video Parsons filmed when he was 16.] "Backrooms" also ranked as the biggest debut in history for original horror, as well as the best start for a first-time filmmaker on a non-franchise film. Parsons is the youngest director, by far, to have the No. 1 film at the box office. Based on Parsons' hit web series, "Backrooms" follows a furniture store owner (Chiwetel Ejiofor) who finds a secret doorway that leads him to a seemingly endless stretch of nondescript rooms. When he disappears, his therapist (Renate Reinsve) ventures into the unknown to rescue him. Nearly 85% of audiences were under the age of 35, and more than 50% were 25 or younger, according to PostTrak data. Parsons and [26-year-old Obsession director/writer Curry] Barker are part of a wave of YouTubers who have turned their talents to the big screen — and brought their enormous, youthful fanbases along with them. Earlier this year, YouTube creator Mark Fischback directed, self-financed and distributed the horror film "Iron Lung," which earned a stellar $50 million against a $3 million budget. What's all the more impressive is that "Backrooms" and "Obsession" aren't cannibalizing each other at the box office. In fact, "Obsession" rose 10% from the prior weekend, which was already up a stunning 39% from its solid $17 million debut. It's defying box office norms as the first film since "E.T. The Extraterrestrial" in 1982 to see ticket sales increase in its second and third weekends outside of the holiday season, according to Focus. After three weekends of release, "Obsession" has grossed $106 million domestically and $148 million worldwide against a mere $1 million production budget. The first-weekend box office for The Mandalorian and Grogu was the worst since 2002's Attack of the Clones, but then it's second-weekend drop in sales was also the largest ever, reports ScreenRant. The next-worst drop in sales (for a second weekend) was 2017's The Last Jedi, they point out, but The Last Jedi was dropping from a 2.5x larger debut. Their article suggests The Mandalorian/Grogu box office "may not ever hit a total large enough for the titular duo to return to the big screen," although it could eventually show a profit. "While it likely won't break even in theaters, it will earn additional revenue from merchandising on top of its impending streaming, video on demand, and physical media releases." Variety adds that Disney "is hoping that next summer's Star Wars: Starfighter, an original adventure directed by Shawn Levy and starring Ryan Gosling, serves as a fresh start for the franchise."

Read more of this story at Slashdot.

submitted by /u/FinDepp to r/movies
[link] [comments]

AI "crashed the party" at this year's Cannes Film Festival, writes The Hollywood Reporter. The festival exposed "the fault lines reshaping cinema," their article argues, including how "AI is here — and the industry has stopped pretending otherwise." A humanoid robot spotted marching up and down the Croisette seemed to sum up the worst AI fears of the film industry — the machines have arrived and they are taking your place. But inside the Palais and the market tents, the conversation over artificial intelligence had moved beyond fear into something more like uneasy acceptance. Fighting AI "is a battle we will lose," said Demi Moore, a Cannes jury member this year, at the festival's opening press conference, suggesting the film industry needs to "find ways in which we can work with it." That's not the official Cannes line. The festival has banned films using generative artificial intelligence from its competition lineup. But at the Cannes film market, and in discussions at industry events over the past two weeks, the tone has shifted. AI-friendly tech giant Meta signed on as an official partner to the festival in a multiyear deal. Its AI tools were used to help produce an [out of competition] festival entry: Steven Soderbergh's documentary John Lennon: The Last Interview. [Meta's press release announcing the partnership touts "our creator partnerships," their Meta AI assistant, and "our latest AI and wearable technologies" including Ray-Ban Meta AI features for smartglasses like "AI-powered translations that break down language barriers in real-time".] At the Marché du Film [film market], there was an "AI for Talent Summit" that took the AI revolution as given, focusing instead on ethical AI use, data sovereignty and on the ways the technology can be used to enhance, rather than replace, creativity. For the indie film industry, it felt like a turning point.

Read more of this story at Slashdot.

Higgsfield AI is debuting a 95-minute fully AI-generated film at Cannes called "Hell Grind" that reportedly cost $500,000 to make, $400,000 of which was spent on compute alone. The project took just two weeks to produce and is intended to showcase the startup's AI production tools. But it also underscores the current limits of AI filmmaking: thousands of detailed prompts, endless iteration, high costs, and plenty of traditional filmmaking judgment were still required. The Wall Street Journal reports: What might surprise viewers is how much technical film know-how was needed to create the movie, said Adil Alimzhanov, a content lead at Higgsfield who also worked on it. "You have to understand camera composition, which shots are changed. Like you can't have two close-ups back to back, you have to start with an establishing shot," he said. "You still need those filmmaking skills." Higgsfield, which was valued at $1.3 billion in its latest funding round earlier this year, crossed $400 million in annual revenue run rate in May. It doesn't make the actual video-generation models, relying instead on existing tools like Google's Veo 3. But it does provide the tooling on top to make sure that the visuals are consistent across all the incoming generations. The core of the movie-making process here was prompting the AI models and getting clips back, Alimzhanov said. Each prompt would generate about 15 seconds of footage. Those 15 seconds needed to be generated a number of times, with tweaks to the prompt to get the best possible version. The first 25 minutes of the movie required 16,181 initial video generations, which ended up as 253 final shots. One of the biggest difficulties in making longer-form films with AI is maintaining consistency across the outputs. AI models can be unpredictable, and a feature-length film can't have scenes that look completely different from one moment to the next. Because of that, every prompt had to be extremely long and detailed. Each one would typically start with a prefix that defined requirements like style (8k IMAX, photorealistic), lighting (natural light only, "contre-jour" backlight, camera on shadow side) and the type of camera it should look like it was being shot on ("cine lens," 180-degree shutter motion blur). The lighting was key to avoiding the AI sheen that typically gets branded as "slop," said Alimzhanov. AI-generated video tends to over-light scenes in an unnatural way. That prefix would also have to remind the AI to obey the laws of physics with wording like: "gravity and inertia respected -- mass has real weight, correct contact shadows, no floating props." The individual prompts were, on average, 3,000 words each. One aspect of what Higgsfield has built, and sells to clients, is an AI tool that generates these complex, detailed prompts. Users can enter a page from the original script, and the Higgsfield tool will return with a prompt that could be thousands of words long, designed to create production-quality outputs. And all that prompting is how the company racked up a $400,000 AI compute bill on the project. Co-founder and CEO Alex Mashrabov, however, noted that working with "cloud" providers, like Nebius and CoreWeave, rather than big hyperscalers, helped it keep costs from going even higher. You can watch the trailer for Hell Grind on YouTube and judge the results for yourself.

Read more of this story at Slashdot.

Variety reports: Amazon MGM Studios started auditioning actors for the part of 007 in the past few weeks, Variety has learned... The next James Bond film will be directed by Denis Villeneuve, the filmmaker behind the "Dune" franchise, "Arrival" and "Sicario." Amy Pascal of the "Spider-Man" films and David Heyman of the "Harry Potter" series will produce the picture, which will feature a script from "Peaky Blinders" creator Steven Knight. Tanya Lapointe ("Dune") is executive producing the film. The BBC notes it's been five full years since the release of the last Bond film No Time To Die, and 15 months "since Amazon MGM Studios took control of the Bond franchise." But they also offer this list of "the current bookmakers' favourites" for who will become the seventh actor to play the gadget-loving super spy in the franchise's 64-year history: Callum Turner — the 36-year-old actor is the current bookies' frontrunner. He has been in the Fantastic Beasts franchise, was nominated for a Bafta for TV drama The Capture, and starred in Apple TV's Masters of the Air... Jacob Elordi — the Australian actor, 28, made his name in TV's Euphoria and cult hit film Saltburn, and was nominated for an Oscar this year for playing the monster in Frankenstein. The Rest Is Entertainment host Marina Hyde recently said she'd heard from a number of well-placed sources that he's now "in pole position" to be Bond. Harris Dickinson — the 29-year-old is playing John Lennon in the forthcoming major Beatles biopics, and has previously appeared in Maleficent, The King's Man, Where the Crawdads Sing and Babygirl, and received a Bafta TV Award nomination for A Murder at the End of the World. Henry Cavill — the Superman, The Witcher and Mission: Impossible actor is a fan favourite and was widely regarded to have been the runner-up when Craig landed the part. But at 43, is he now too old to start a lengthy stint as 007? Aaron Taylor-Johnson — the Bafta-nominated 35-year-old, known for films like Kick-Ass, Kraven the Hunter and 28 Years Later, is a perennial contender, and would fit the bill. Theo James — the suitably suave star, 41, made his name in the Divergent films and has since built his reputation in The Time Traveler's Wife, The White Lotus and The Gentlemen. ...Or producers could well go for one of the many other names who have been touted for the role, or an unexpected choice.

Read more of this story at Slashdot.

The Academy has clarified that only human-performed acting and human-authored writing are eligible for Oscar nominations. The Oscars will not ban AI tools broadly, but says it will judge films based on the degree to which humans remain central to the creative work. The BBC reports: The Academy of Motion Picture Arts and Sciences [...], which controls the US film industry's most prestigious award, on Friday issued updated rules for what kind of work in movies and documentaries would be considered eligible for an Oscar as the use of artificial intelligence (AI) technology grows. In updated eligibility requirements, the Academy specified that only acting "demonstrably performed by humans" and that writing "must be human-authored" in order to be nominated for an award. The Academy called the requirements a "substantive" change to the rules for the Oscars. The need to specify awards can only go to acting and writing done by "humans" is new for the academy. [...] However, the academy did not issue a ban on AI use in films more broadly. Outside of acting and writing, if a filmmaker used AI tools in their work, such "tools neither help nor harm the chances of achieving a nomination," the academy wrote. "The Academy and each branch will judge the achievement, taking into account the degree to which a human was at the heart of the creative authorship when choosing which movie to award," the group added. "If questions arise regarding the aforementioned use of generative artificial intelligence, the Academy reserves the right to request more information about the nature of the use and human authorship."

Read more of this story at Slashdot.

Ahead of December's release of Avengers: Doomsday, Disney has unveiled "Infinity Vision," reports Kotaku, which they describe as "a new theater-going experience that will be certain to transform your pedestrian $15 night out into an exotic $43 one." (Though those prices appear to be estimates...) Disney's announcement calls it "a new certification for premium large format (PLF) theaters," helping ticket-buyers find "a huge screen with the sharpest, clearest color and sound," including laser projection "for superior brightness and clarity ") and "premium audio formats for fully immersive sound". Light on specifics, Disney says they will be certifying premium large format theaters for the Infinity Vision experience, highlighting laser projection and immersive audio quality. The new program will begin in the summer for a theater run of 2019's Avengers: Endgame ahead of Doomsday's holiday release. Now you might be thinking: Giant screen? Booming audio? That sounds an awful lot like IMAX. The most consumer-recognized premium movie-going screen is the coveted throne for big blockbuster events, from Avatar to One Battle After Another. Unfortunately for Doomsday, IMAX screens are already booked for the holiday season by Dune: Part Three, the anticipated return to Arrakis, where Timothée Chalamet's Muad'Dib will begin to go worm-mode. Locked out of the popular choice for doubling your ticket price, Disney appears to have made up a new one... Disney says they aim to certify 75 theaters in the United States and 300 internationally for the Infinity Vision program.

Read more of this story at Slashdot.