At CinemaCon 2026, StudioCanal announced that both “Escape from New York” and “The Howling” have reboots currently in development.

The French distribution company didn’t give many details on the reimaginings of these two cult classic franchises. The news came at the end of a panel presentation StudioCanal shared with Angel Studios and Sony Pictures Classics.

“Escape from New York” is a 1981 independent sci-fi action film from legendary filmmaker John Carpenter. Carpenter co-wrote the screenplay with Nick Castle. The film, set in the then-future 1997, follows Kurt Russell as Lieutenant S.D. Bob “Snake” Plissken, who is sent to Manhattan Island, which serves as a maximum security prison, to rescue the President of the United States (played by Donald Pleasence).

Russell would return as Snake Plisken in “Escape from L.A.,” a 1996 sequel again directed by Carpenter. Carpenter co-wrote the follow-up alongside Russell and Debra Hill (Carpenter’s longtime partner with whom he wrote “Halloween”).

Another 1981 cult classic, “The Howling” follows Karen White (Dee Wallace), a news anchor who, after being stalked by a serial killer, goes to a resort known as the “Colony” beset by werewolves. Joe Dante directed the film, written by John Sayles and Terence H. Winkless and adapting Gary Brandner’s novel of the same name.

“The Howling” spawned a long-running franchise spanning seven sequels between 1985 and 2011. Follow-up films include “Howling II: Your Sister Is a Werewolf,” “Howling VI: The Freaks” and the latest entry, “The Howling: Reborn.”

During the panel, StudioCanal also showed footage for “Everybody Wants to F–k Me,” a comedy/thriller starring Taron Egerton as a man stalked by women who want to be with him. They rounded out the panel with a clip from the beginning of Danny Boyle’s new film “Ink,” starring Jack O’Connell as Larry Lamb and Guy Pearce as Rupert Murdoch. “Ink” is slated for release in 2027.

The post ‘Escape From New York,’ ‘The Howling’ Redos in the Works at StudioCanal appeared first on TheWrap.

“Films released by these companies don’t just fill our screens. They build audiences, audiences that become voracious and curious and eager for something unique or exciting and fun, quirky, thought provoking, yes, maybe even edgy,” said Tori Baker, film producer and President/CEO of the Salt Lake Film Society. “They deepen the love of motion pictures, and they tell stories that feel intimate and human and that’s personal, showing us a new way to see the world.”

The presentation comes as movie theaters — particularly smaller chains and family-owned locations — are looking for ways to expand the types of films they offer to their customers.

While Cinema United CEO Michael O’Leary told TheWrap that the addition of this presentation was not done in direct response to the potential Paramount-Warner Bros. merger, the ongoing consolidation in Hollywood threatens to reduce the number of films theaters have to screen right at a time when that volume has been rising, increasing optimism for a potential $10 billion domestic box office in 2026.

With movies like Angel’s “David” and Markiplier’s “Iron Lung” becoming recent breakout independent successes, theaters are becoming more open to screening films from outside the Hollywood system. Meanwhile, international films like Neon’s “No Other Choice” and GKids’ “Godzilla Minus One” are slowly developing a new generation of arthouse moviegoers.

During its time onstage, Angel presented a slate that shows its next steps in trying to expand beyond its core faith-based audience. While the studio still has films for that core audience like “Zero A.D.,” a biblical epic from “Sound of Freedom” director Alejandro Monteverde coming this Christmas, there’s also broader fare like a remake of the John Wayne western “Angel and the Badman” starring Zachary Levi, Neal McDonough and Tommy Lee Jones, which will likely try to court older moviegoers when it hits theaters in October.

America’s 250th anniversary was also a major focus of the Provo studio’s 2026 slate with films like “Young Washington,” a biopic about George Washington’s days as a young soldier that will be released on Fourth of July weekend, and “The Brink of War,” a true story Cold War thriller starring Jeff Daniels as Ronald Reagan, which recounts his fateful negotiations on a nuclear treaty with the Soviet Union’s Mikhail Gorbachev in Iceland.

And on the family side, Angel will try to expand beyond faith-based stories with a very unusual choice: “Animal Farm,” Andy Serkis’ adaptation of George Orwell’s cautionary novel about the nature of revolutions and power. During the presentation, Angel gave a nod to the deep skepticism that the film got online when it was announced, quipping that it is a movie that “nobody has an opinion about.”

“This slate demonstrates that with engaging subjects, established stars, and engrossing storytelling, Angel has gone from aspiring to achieving,” said Neal Harmon, co-founder and CEO of Angel. “This marks an exciting step forward in our mission to launch projects created with our audience, not just for them.”

StudioCanal, which has produced and distributed European films like the “Paddington” trilogy and “Shaun of the Dead,” made its CinemaCon debut Monday, a sign of how Cinema United is expanding the spotlight as the French company does not distribute films directly in the U.S., instead working with American partners on its productions.

Among those productions were two re-imaginings of classic ’80s genre films: “Escape From New York,” which starred Kurt Russell, and the Joe Dante werewolf film, “The Howling.”

Among the films showcased by StudioCanal were Aardman’s hit “Wallace & Gromit” spinoff franchise “Shaun the Sheep,” which will have a new film “The Beast of Mossy Bottom” in theaters this year with GKids as the U.S. distributor. Exhibitors were also shown the teaser for the Eli Roth horror film “Ice Cream Man,” which was released publicly on Monday.

The crowd in Vegas also laughed in shock for the teaser for Taron Egerton’s darkly comedic thriller “Everybody Wants to F*ck Me,” in which the “Rocketman” star plays a man wading into London’s dating scene…and finds himself being chased by zombie-like people who don’t want to kill him but rather want to…well, the title says it all.

On the more mature side, Andrew Scott and Olivia Colman will star in “Elsinore,” a true story drama about actor Ian Charleson’s final performance as Hamlet while dying of AIDS. Finally, “28 Years Later” director Danny Boyle came onstage to present his 2027 film “Ink,” which stars Jack O’Connell and Guy Pearce as journalist Larry Lamb and media titan Rupert Murdoch as they launched the tabloid that in 1969 permanently changed British media: The Sun.

Sony Pictures Classics was a late addition to the CinemaCon slate, replacing the financially struggling Row K. But Sony’s specialty wing was on hand to show some of the festival acquisitions it had acquired this past winter, including David Wayne’s “Gail Daughtry’s Celebrity Sex Pass” starring Zoey Deutch as a woman who must have sex with Jon Hamm (played by himself) to save her relationship with her boyfriend after he has sex with his favorite celebrity.

Noah Segan’s “The Only Pickpocket in New York” was also acquired by SPC at Sundance, starring John Turturro as an aging petty thief falling behind in an increasingly digital world. In a clip shown to exhibitors, Turturro offers some advice to a younger pickpocket about how he can pull off his subway heists better.

SPC also showed the Saudi murder mystery thriller “Unidentified” from director Haifaa al Mansour, which follows a police department receptionist in Riyadh who is asked by an all-male detective unit to help solve the mystery of an unidentified woman found in the desert. The studio will also bring anniversary re-releases of Danny Boyle’s “Trainspotting” and Jane Campion’s “The Piano” as well as Pedro Almodovar’s next drama “Bitter Christmas.”

The post Angel, StudioCanal and Sony Pictures Classics Urge Theaters to Broaden Their Horizons at CinemaCon appeared first on TheWrap.

There is no writer or director attached at this time.

The game’s developers Alec Kieft, Matthew Hufton and Cameron Angland will serve as executive producers. J.R. Young will be overseeing for 20th Century Studios.

Produced by Grandma’s Favourite Games (GFG) and released in March 2025, “99 Nights in the Forest” is an action-survival game in which players must survive 99 nights in a haunted forest while attempting to rescue four lost children and survive vicious deer and other beasts.

Just over a year old, the game is already the seventh most played game of all time on Roblox, boasting nearly 26 billion lifetime visits and a player rating of 90.6%. The game has a 14.2 million all-time peak player count, ranking No. 3 on the Roblox platform, and frequently hosts hundreds of thousands of concurrent players.

Grandma’s Favourite Games is a partnership of three New Zealand-based creators — Kieft (game designer “Cracky4”), Hufton (programmer “ForyxeV”) and Angland (environment and asset creation “Viridial”) — who have worked together to create some of the most popular games on the global Roblox platform. The game development group was founded in 2020 and now boasts over 10 million members. Between them, members of the 99 Nights team have co-created other hits such as “Mall Tycoon,” “Wacky Wizards” and the “Break In” series. The company is represented by Pryor Cashman.

“The team at Grandma’s Favourite Games are exactly the kind of bold, imaginative creators we love working with at 20th Century Studios, with world-building ideas that feel innately cinematic,” David Greenbaum, president of Disney live action and 20th Century Studios, said in a statement. “’99 Nights in the Forest’ has already connected with millions of players worldwide, and we’re excited to build on that foundation for audiences everywhere.”

Grandma’s Favourite Games added: “Growing up, Disney and 20th films were a huge part of our childhood, so collaborating with such legendary and enduring studios feels surreal. We’re excited to explore the world of 99 Nights in the Forest on a broader stage and to create some scares in an entirely new medium.”

The post 20th Century Studios Lands Theatrical Rights to Popular Roblox Game 99 Nights in the Forest appeared first on TheWrap.

The latest from the horror auteur and his The Horror Section shingle, concerns a mysterious ice cream man (Ari Millen), who rolls into a small town and starts serving the kids of the community sweet treats with deadly side effects. It arrives in theaters on Aug. 7 (because what isn’t better than a frosty cone in the dog days of summer?) but you can watch the brand-new trailer below right now.

While very much a teaser, “Ice Cream Man” appears to deliver some demented thrills, with shades of the finale of “Weapons,” featuring kids murderously chasing adults.

Roth has previously said that “Ice Cream Man” reflects his experience of becoming a father and the anxieties associated with that new stage of his life.

Benjamin Byron Davis, Roth, Karen Cliche, Dylan Hawco, Sarah Abbott, Shiloh O’Reilly, Kiori Mirza Waldman, Charlie Zeltzer and Charlie Storey also star.

Roth co-wrote “Ice Cream Man” with Noah Belson and also produced and directed the film. The movie features music from Snoop Dogg and Emmy-winning composer Brandon Roberts. Christopher Woodrow, Raj Singh and Kate Harrison produced alongside Roth. Rapper Nas serves as an executive producer.

The Horror Section, Roth’s studio, will produce and help distribute the film, partnering with Iconic Events Releasing for its Aug. 7 launch.

Roth’s last film as a director was 2024’s notorious “Borderlands,” based on the popular video game series, which suffered from a delayed release and reshoots overseen by a different director (“Deadpool” filmmaker Tim Miller). Before that, he helmed the hit slasher “Thanksgiving” (and is still working on a sequel), the shark advocacy documentary “Fin” and Amblin’s “The House with a Clock in Its Walls.”

“Ice Cream Man” arrives in theaters Aug. 7.

The post Eli Roth’s ‘Ice Cream Man’ Trailer Offers Stone Cold Thrills appeared first on TheWrap.

Joey Monteiro has been elevated to president of worldwide marketing, where he will oversee both domestic and international marketing for the studio. Alex Altschuler has been elevated to president of media, Don Wilcox to executive vice president of marketing, Mike Winton to executive vice president of marketing, and Danielle Lee to director of creative services. The company also welcomes Cat Fisher as executive vice president of marketing from FilmNation Entertainment, where she served as vice president of marketing. Wilcox, Lee and Fisher will all report to Monteiro.

According to the official release, the promotion “reflects the strength and depth of Neon’s marketing department, combining a deeply experienced bench of executives alongside newer leadership that has rapidly scaled the department’s abilities. Together, the team has helped define Neon’s distinct voice in the marketplace.”

“What this team has built is incredibly special. It’s a deep bench of talent that has been delivering at a high level for nearly a decade, and it’s gratifying to see that work evolve and continue to be recognized,” Tom Quinn, founder and CEO of Neon, said.

Monteiro joined Neon in 2024 as executive vice president of international marketing from Sierra/Affinity and eOne, where he served as executive vice president of marketing and publicity and was responsible for creative marketing across film markets and festivals, as well as international distribution.

Altschuler was responsible for building the media team and maintaining the division from the ground up, “executing media strategy and buying entirely in-house.” Altschuler joined Neon in 2023 as vice president of media.

Mike Winton has been elevated to executive vice president of marketing after nine years with the company, where he has been a consistent force across Neon’s campaigns from its earliest days. His recent work includes campaigns for Oscar-nominated titles such as “The Secret Agent,” “It Was Just an Accident,” “Sirat” and “Arco.” In addition, Winton founded Neon’s college ambassador program, “expanding the studio’s grassroots reach and engagement with younger audiences.”

Wilcox joined Neon in 2023 as vice president of marketing.

Cat Fisher joins Neon after eight years in international marketing at the sales agency FilmNation Entertainment.

As director of creative services, Danielle Lee “leads the execution of all design initiatives, overseeing a talented in-house team of three designers and shaping the creative identity of Neon’s slate.” Lee joined Neon in October 2024 as the design team’s first hire, serving as project manager for the team.

Upcoming Neon titles include “Hokum,” starring Adam Scott; Boots Riley’s “I Love Boosters”; Australian horror film “Leviticus”; Takashi Miike’s “Bad Lieutenant: Tokyo”; and Chloe Okuno’s “Brides.” Its stacked Cannes lineup includes Cristian Mungiu’s “Fjord,” Nicolas Winding Refn’s “Her Private Hell” and Na Hong-jin’s “Hope.”

The post Neon Elevates Joey Monteiro to President of Worldwide Marketing and Alex Altschuler to President of Media appeared first on TheWrap.

That’s according to a study from National Research Group in collaboration with The Wrap, which found audiences of all ages (but especially Gen Z and Gen Alpha) express a desire to reconnect with reality as a response to how isolated technology has made society.

“The majority of consumers believe that real-world experiences are more meaningful, more authentic to their true identities, and more conducive to building relationships with others,” NRG reports.

Out of 3,500 surveyed consumers between the ages of 13 and 64, 61% agreed that “real-world experiences feel more meaningful and memorable than digital ones,” with only 12% arguing that digital experiences can be equally meaningful and memorable. Likewise, 53% shared that they feel more like themselves while in the real world rather than online, and 56% feel more connected to people in the real world rather than online.

The study also found Americans expressing a greater interest in in-person events than at-home activities across four out of five key categories: movies, sports, gaming and dining. The only holdout was music — which makes sense considering the massive gulf in commitment between queuing an artist up on streaming and making the lengthy and pricey trek out to a full concert.

“Despite being the most digitally fluent generations in history, they’re also among the most eager to spend more of their free time offline, whether that’s going to the movies or simply playing video games with friends in the same physical space,” the report said.

The key demographics yearning for these live experiences may surprise readers. While Gen Z and Gen Alpha have both largely grown up in a world with entertainment constantly at their fingertips, these two generations demonstrate the largest enthusiasm in live experiences rather than remaining at home.

For example, out of 6,100 surveyed, 59% of Gen Alpha prefers watching movies in theaters more than at home, while 50% prefers attending sporting events in-person. Compare that to Gen X, where only 46% prefers watching movies in theaters and 42% prefer attending sporting events in-person.

The song remains the same across film, sports, video games and music, with Gen Alpha and Gen Z consistently being the two age groups most interested in live entertainment. The only exception is dining, where Gen Alpha is the most interested in dining out over ordering takeout or delivery, but Gen Z is the least interested. All four age demographics, however, had more 50% of those surveyed interested in dining out over dining at home.

What drives the Gen Alpha/Gen Z interest in live experiences? According to NRG, it’s the social aspect of being in a real environment with other people.

“In the case of moviegoing, for example, older generations are more likely to say they enjoy going because of the quality of the sound or the picture quality in theaters relative to what’s on offer at home. Younger Americans, on the other hand, go because they enjoy the experience of spending time with their friends and family, experiencing communal moments of joy and delight with others in the same physical space,” the report said. “That’s also why kids and teens are the most likely to say that they prefer going to a busy theater over a quiet one: it’s about the energy in the room as much as the story on the screen.”

The report noted a number of ways that theaters explicitly have attempted to drive in-person viewership in recent years, selling audiences on specialty experiences that can’t be recreated at home. “One Battle After Another” sold out screenings in the revived VistaVision format of the 1950s and early 1960s, while Ryan Coogler explained to audiences the differences between film formats to encourage 70mm IMAX viewings of “Sinners.” 

A number of experiential or novelty screenings popped up in 2025: “The Long Walk” invited a select audience to watch the film walking on treadmills, “Bugonia” hosted an early screening where audiences had to shave their heads to enter. The Sphere in Las Vegas, meanwhile, made headlines for its immersive and AI-expanded adaptation of “The Wizard of Oz” for the venue’s specialty spherical format.

We’ve also seen theaters increasingly try their hands at programming screenings that aren’t movie-based in recent years, such as the “Stranger Things” finale and WWE WrestleMania. Theatrical events like these can prove crucial in a time when concerns over ticket prices to live sporting and music events continue to mount.

When NRG surveyed 3,000 participants between the ages of 13 and 54 over what non-movie content they’d attend in a movie theater, 64% expressed an interest in seeing landmark TV episodes (like finales and premieres), while 57% would see other special TV episodes (like reunions or holiday specials). 48% said they would watch live sports in a movie theater, and 47% were interested in other live events like televised concerts, but only 35% would watch an award ceremony in a theater.

“Theatrical spaces,” the study concludes, “are increasingly being reimagined as experiential hubs that can offer viewers something fundamentally different from what they’d get in their bedrooms or their living rooms.”

The post Why Young People Are Poised to Save Movie Theaters, In-Person Entertainment | Charts appeared first on TheWrap.

In his new role, Oshinsky will oversee the development of ESPN’s multiplatform storytelling efforts across “30 for 30,” ESPN Films, ESPN Originals, podcasts and scripted projects. He will head the sports network’s creative strategy, talent partnerships and the creation of its global master content slate.

“I’m thrilled to join an iconic brand like ESPN at such a pivotal moment for the industry,” Oshinsky said in a statement Monday. “I look forward to shaping the next chapter of ESPN’s original storytelling, marrying ambitious creative vision with formats and partnerships that meet audiences where they are.”

Oshinsky comes to ESPN having mostly recently served for six months as the Vice President of Creative Strategy at Business Insider. Prior to that, he worked as the Vice President of Global Content & Digital at PepsiCo, a position he held for three years after having previously served as an executive producer at the company and Senior Director of Global Communications.

Oshinsky’s other experience includes working as a director and executive producer at Time Studios, a two-year stint as Vice President of Sports Illustrated from 2017 through 2019 and a supervising producer at Time Inc. He returns to ESPN after having worked as an editor at the company for several months in 2005. He got his start in the sports entertainment world working as a producer for Major League Baseball.

Over the course of his 20+ year career, Oshinsky has received 14 Emmy Awards as well as multiple Webby, Telly and Anthem Awards. He previously produced and edited the 2010 ESPN “30 for 30” documentary “Four Days in October,” which charts the four games in the 2004 American League Championship Series when the Boston Red Sox became the first MLB team in history to win a best-of-seven playoff series after falling behind 0-3 to the New York Yankees.

Oshinsky’s appointment comes just a few months after ESPN officially closed its deal to acquire the NFL Network. Last week, ESPN also confirmed that longtime NBA and college football announcer Mark Jones was set to leave the network after 36 years. His last game as an ESPN play-by-play announcer came this past Sunday when the Orlando Magic traveled to Boston to take on the Boston Celtics. Jones’ departure was reportedly his decision.

The post ESPN Sets Josh Oshinsky as Senior Director of Original Content Development appeared first on TheWrap.

He does so at a time where there’s plenty of short-term good news for theaters. The 2026 box office is off to the best start the industry has seen since the COVID-19 pandemic, thanks to films like “The Super Mario Galaxy Movie,” “Project Hail Mary” and “Scream 7.” Theaters are getting creative in finding new hits like Markiplier’s “Iron Lung” and the upcoming series finale to “The Amazing Digital Circus,” creating experiences for a new generation of moviegoers.

And yet O’Leary has spent the past several months in an existential battle on behalf of theaters, lobbying across the country against the proposed merger between Warner Bros. and Paramount. Through O’Leary, Cinema United has made it clear that any sale of the hallowed legacy studio would be damaging to theaters, moviegoers, and the economy that sustains surrounding businesses and countless small towns.

Despite this foreboding threat to the bottom lines of theaters, O’Leary told TheWrap that he wants to focus on the good news at this year’s convention. He also spoke about theaters’ need to diversify where they get their films to screen, as well as not to get so hooked on Imax to the suffering of all other auditoriums.

This year at CinemaCon, you have invited specialty and independent distributors like Angel and StudioCanal to the main stage. Was this move done partly in response to the consolidation issue in Hollywood?

We’re bringing in additional distributors because we’re trying to expand the circle of people that our members have exposure to. Even right now there are gaps in the schedule each year, as you know, and independent film is extremely important, not just culturally and financially, but it’s also a big way to fill in some of those gaps that exist in the schedule.

So that decision to have to highlight some of the independent distributors that are out there was not made in any way in response to possible consolidation. The one thing I would note, and we certainly learned this when Disney acquired Fox, is that it’s simply not realistic to think that the independent community can come in and take the place of a major studio that sees its production levels drop, as in the case of 20th Century Fox, by almost 50%.

So if there’s any speculation out there about any connection to consolidation, we’re just trying to highlight different distributors that are out there because they’re making an array of movies that appeal to different audiences. Our working premise is that we want the theater to be someplace where there’s something for everyone, so having a wider group of people putting movies into the system helps us serve that goal more than anything.

Well, to that end, we have recently seen some big independent hits like “Iron Lung,” which came from fans of Markiplier reaching out to theaters and asking for the film to be added to their screens, and Regal in particular jumped on that because they had staff that recognized Markiplier’s fanbase. What are your thoughts on how that played out?

I thought that was a great example of the direction we want our industry to move in. It was great for the fans and very logical on our end, because at the end of the day, we’re in a consumer-facing business. We want to put as much product into our theaters that will draw an audience, that people find compelling. You identified the Regal example, and I think there are other folks out there probably doing the same thing, keeping an eye out for fanbases and audiences off the beaten path that want to have that shared theatrical experience.  My guess is it will probably intensify as we move forward, and more movies like “Iron Lung” have success doing this kind of thing.

On the Paramount and Warner front, there’s been more red flags from Wall Street about the debt issues that will bring to Paramount Skydance, and California Attorney General Rob Bonta has been signaling for weeks that he will review the merger. On Cinema United’s front, what have been the most recent developments on opposing this merger?

Well, we’ve continued to talk with regulators at the state, federal and international level, continuing to press our case and to make the point that we think that this transaction as currently configured is not just bad for exhibition. It’s bad for movie fans, it’s bad for communities all over this country and around the world, and it’s bad for the entire entertainment industry.

I think we’ve been fairly disciplined and fairly straightforward in our approach, in trying to highlight the impact that this transaction is going to have on Main Street. A number of regulatory bodies are in the investigative phase trying to gather information, and we’ve been supporting that in a number of states and at the federal level, and also internationally. So we’re trying to make our case right now, and we intend to stay on top of this. It’s our highest priority, and we’ll see where the process goes.

Since you took over as head of Cinema United, you’ve pushed for an increase in capital investments to allow theater chains to refurbish thousands of theaters. How is that campaign going, and are you seeing signs that audiences are starting to notice the improvements?

Yes, we’re very happy with that progress. We’re actually going to be putting out an update on that sometime after CinemaCon. But what I can tell you is that between September 2024 and September 2025, there had been an investment of $1.5 billion in top theater chains. That’s for upgrades in the lobby, in the concession areas and also with expanded food and beverage options. You’re seeing a lot of it go into the technical side too: laser projectors, improved sound systems, and especially on seats, which movie fans really, really covet. This is happening from one screen, independent theaters all the way up through the largest circuits in the world. A couple of years ago, the top eight members of Cinema United pledged to spend $2.3 billion over three years. After one year, we were already halfway there.

To your point, AMC CEO Adam Aron has mentioned in earnings calls that they have made it a particular point to improve interest and satisfaction in just standard formats, to let people know that they are still going to get a good experience if they can’t get seats to an Imax or Dolby screening and that it won’t be a gamble on the sound and picture.

That’s right, and it’s something I’ve talked about for over a year. There’s a risk, frankly with the overemphasis on premium large formats. First of all, there are incredible PLFs that aren’t Imax. Most of our members have their own proprietary brand of them that is just as good even if it’s not well known. And while Imax deserves plenty of credit for building that trust with moviegoers, it’s our job to highlight the sheer volume of world class PLFs that are out there.

But beyond that, to Adam’s point, there are a number of people who go to the movies who aren’t seeking out that premium experience. I’m always amazed when I read articles on Monday and Tuesday that say something like 26% of a movie’s box office was made in the premium large formats. Well, that means 74% of it was made somewhere else, in other types of auditoriums. So part of what you’re seeing out there is a diversity of choice for people that go to the movies. Some people, they want to see it on the biggest screen, and that’s great. There’s an option for them. But if you’re taking five kids to a movie, you may want to see it in something that’s more affordable.

Our point is simply this: Every experience at the theater is special and amazing. And I think, frankly, the overindexing on PLFs is something which is being driven to a certain degree by forces outside of the exhibition industry. We cannot get into a situation where the consumer feels like if they don’t see it in a certain format, it’s not worth seeing in a theater, because that is just fundamentally inaccurate.

Last year, you urged Hollywood to move towards 45-day windows as an industry standard. Universal has agreed to that starting next year. During this Warner Bros. merger process, Paramount has committed to that window, and while Netflix was bidding for it, [co-CEO] Ted Sarandos was saying the same thing. Do you feel like Hollywood is getting to where you want them to be on this front?

Things are moving in a positive direction, and it is because more people in our industry are recognizing that meaningful windows benefit everybody. There was so much experimentation over the last six or seven years, and some of those experiments didn’t work and everyone is coming back to the realization that our industry is stronger when there’s a meaningful theatrical window. There’s still work to be done, but I think the studios are more and more starting to see that this is a path that is best for everybody.

Beyond what we’ve discussed, what else do you think is going to be a major part of this CinemaCon that we in the press are not focusing on as much or you think deserves more attention?

This is an odd year because there’s some very positive things going on out there, but then there’s a still this kind of overhang caused by possible consolidation. But I just want people to take a moment to look at those positives. As I said, windowing is moving in the right direction, and on top of that, I think everyone in exhibition is on the same page in terms of moving forward and figuring out new and inventive ways to make the theater experience better for everyone.

That’s why we made it a point at this CinemaCon to do a very comprehensive set of educational panels so that people can come from all over the world and share their experiences with theater owners, and maybe somebody hears something or sees something or learns something, and they take it back to their theater and they implement it, or they implement some variation on it, and it just helps our industry to continue to grow. So the focus is always on the future. How can we do better? How can we control what we control and deal with things that we can’t control? And so that’s kind of a theme, I think, which is probably more important this year than it has been in the recent past.

This interview has been edited for clarity.

The post Cinema United Chief Michael O’Leary Talks CinemaCon, Mergers and Winning the Windowing Battle appeared first on TheWrap.

Lindelof was one of over 1,000 signatories to sign the open letter Monday. The other names attached to the document include industry heavyweights like J.J. Abrams, Denis Villeneuve, David Fincher, Jason Bateman, Kristen Stewart, Emma Thompson, Noah Wyle, Ben Stiller and Lin-Manuel Miranda. Together, they express their deep concerns about the merger and, specifically, the signs that it is being supported by those prioritizing “the interests of a small group of powerful stakeholders over the broader public good.”

“The integrity, independence, and diversity of our industry would be grievously compromised,” the open letter stated. “This transaction would further consolidate an already concentrated media landscape, reducing competition at a moment when our industries — and the audiences we serve — can least afford it. The result will be fewer opportunities for creators, fewer jobs across the production ecosystem, higher costs, and less choice for audiences in the United States and around the world.”

Lindelof, for his part, took to Instagram to express not only the initial fear he felt about attaching his name to the letter, but also the existential concerns that led him to ultimately do exactly that.

“When I was asked to sign a letter that openly opposed the sale of Warner Brothers to Paramount/Skydance, I felt two things; the first was that yes, absolutely, of course I opposed it. The second was oh shit, I’m afraid to say so publicly,” Lindelof wrote. “Fear is embarrassing. No one wants to be the guy puking in the boat in ‘Saving Private Ryan.’ They want to be the ones storming the beach. So why was I afraid? Some implied retaliation?”

“Being put on some list of rabble-rousers? Getting kicked off the beloved Warner Brothers backlot I have called home for the last fifteen years?” Lindelof continued, adding that he “sort of” knows Paramount-Skydance CEO David Ellison. “We produced a few things together not too long ago. I found him to be bright, ambitious and passionate. He loved movies and trusted the people he made them with. But still… Better not to risk it.”

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The Emmy winner said he briefly thought the letter — and his participation in it— would be pointless and that the document would “evaporate into the s–tstorm of an unrelenting news cycle.” But in the end, not even that was enough to stop him.

“Hollywood, believe it or not, is a blue-collar town. It’s thousands and thousands of Grips and Gaffers. Drivers and Decorators. Builders and Boom operators. Camera teams and Caterers. And they’re all about to get f—ked,” Lindelof explained. “Hollywood mergers mean fewer movies and fewer TV shows and that means fewer jobs. When two storied backlots are owned by the same company, the outcome is intuitive — one becomes a Ghost Town.”

“I’m scared. But I’m not a ghost. And a fight is already lost if it’s never fought. So I signed. Proudly. I understand why many of my peers have not — trust me, I’m more of a puker than a stormer,” he concluded. “But these boats are heading for the beach whether we like it or not… The only thing we have any control over is what we do when we get there.”

Lindelof’s comments came as Ellison has continued, unwavering, to push for the completion of his company’s proposed $110 billion acquisition of Warner Bros. Discovery. He has previously said that the sale could close as early as this summer, depending on regulatory obstacles. Meanwhile, concerns about the merger’s potential impact on Hollywood’s economy, output and job landscape have only continued to grow among those both within and outside of the entertainment industry.

In addition to expressing those very concerns, the Lindelof-signed open letter shared Monday declares support for California Attorney General Rob Bonta and his colleagues in other states, who have not only remained skeptical of the merger but have also reportedly been considering legal action to block it.

“We are grateful for their leadership,” Monday’s letter further noted, “and stand ready to support all efforts to preserve competition, protect jobs, and ensure a vibrant future for our industry, for American culture, and for our single most significant cultural export.”

The post Damon Lindelof Warns Paramount-WBD Merger Will Turn Warner Bros. Lot Into a ‘Ghost Town’ appeared first on TheWrap.

Sitting down for a live taping of “Happy Sad Confused” podcast at the 92nd Street Y recently, host Josh Horowitz made Radcliffe aware of Garfield’s assessment, which came last month. During an interview, Garfield noted that “Daniel is so goddamn good,” in the “Potter” films, and that Garfield “really liked them.”

“Really? Hey, cool! Thank you Andrew Garfield, you’re awesome,” Radcliffe said. “He’s awesome! He’s so fantastic. That’s really, that’s cool. I disagree with him about my performance in ‘Potter,’ but that’s really nice, thank you!”

Radcliffe has long been open about his thoughts on his performance in the franchise — usually cringing at himself — but noted that his thoughts have changed as the years have gone on.

“I have more time now for me in the early films,” Radcliffe explained. “Like, when I was 18, I would cringe watching the earlier films. Now, I think the early films are sweet, and now I cringe watching myself when I was 18 or 19. And I assume those dates will just keep changing as to what I find palatable of my own work.”

At that, Horowitz wondered whether there is any time period of the films that Radcliffe is specifically avoiding, prompting another honest answer from the actor.

“I mean, I haven’t seen any of them for so long, so, all of them I guess,” he said with a laugh.

You can watch Radcliffe’s full appearance on ‘Happy Sad Confused” in the video above.

The post Daniel Radcliffe Disagrees With Andrew Garfield’s Assessment of His ‘Harry Potter’ Performance appeared first on TheWrap.