It looks like Martin Scorsese is missing his pals at Netflix. The streaming giant essentially gave Scorsese a blank check to make The Irishman, and now that the legendary filmmaker is back working with a regular studio, he’s reportedly getting nostalgic for that Netflix freedom. Scorsese is currently working on Killers of the Flower Moon, which stars both Leonardo DiCaprio and Robert De Niro. The movie already has a budget over $220 million dollars, which is rumored to be giving studio Paramount more than a few sleepless nights.
Richard Rushfield broke this story in his Ankler newsletter, stating that there are rumors swirling that Netflix could swoop in and grab Martin Scorsese’s Killers of the Flower Moon. Rushfield states these are nothing but rumors for now, but does add that even if Netflix doesn’t come to the rescue, Scorsese would sure like them to. As the story goes, Paramount is nervous about Flower Moon‘s current $225 million budget – and not even the presence of box office draw Leonardo DiCaprio is soothing these worries.
Scorsese had money to burn and a wealth of freedom on the Netflix-released The Irishman, and Paramount’s worry over the budget seems to have him pining for that sweet, sweet Netflix support system. Again: None of this means Netflix is going to ride in on a white horse and take Killers of the Flower Moon away. Still, it’s interesting to learn how fond of Netflix Scorsese has become – and who can blame him? He’s been making movies the old fashioned way for decades, and then Netflix went ahead and gave him tons of money and freedom to do whatever the heck he wanted. Who wouldn’t want to return to that?
Based on a true story, and the book of the same name by David Gran, Killers of the Flower Moon tells the story of the Osage murders of the 1920s. At the time, the Osage Nation in Oklahoma had become extremely wealthy due to oil being discovered beneath their land. Then, as the book jacket explains “one by one, the Osage began to be killed off. The family of an Osage woman, Mollie Burkhart, became a prime target. One of her relatives was shot. Another was poisoned. And it was just the beginning, as more and more Osage were dying under mysterious circumstances, and many of those who dared to investigate the killings were themselves murdered.” The FBI, still in its infancy at the time, began investigating, and sent in a former Texas Ranger, Tom White, to try to find the killer or killers. White put together an undercover team to get to the bottom of things, and ended up exposing a conspiracy in the process.
As a lifelong Scorsese fan, I’m of the opinion that studios and producers should give him as much damn money and freedom as he wants to get his films made, but hey, that’s me. Scorsese is set to start...
The Third Floor, the industry's busiest visualization company in tackling superhero movies “Black Widow,” “Avengers: Endgame”, already had an advantage working remotely with real-time tools and virtual workflows when the coronavirus pandemic struck early this year. Turns out, though, that the COVID-19 epicenter was too close for comfort.
“When this crisis began, we initially faced the challenge of protecting our staff in Beijing, who were in the midst of launching our first permanent office in China,” said CEO and co-founder Chris Edwards. “When the virus started spreading beyond Wuhan, the first thing we did was send everyone home and connect them virtually...we learned a lot about the procedures for mitigating the risk of spreading the virus that we began to apply to our other offices in London, Atlanta, and LA [headquarters].
“Time was of the essence to put a highly secure, remote-working infrastructure in place,” he said, “and we needed to leverage the company infrastructure to bolster communication and function as a support group for all of our employees and their families.”
Back in LA, The Third Floor TTF found the resilience of its Beijing crew instructive. The company, which has become the go-to visualization specialist for the MCU performing rough previs of scenes, more elaborate techvis breakdowns of camera lenses, set construction, and stunts, and postvis enhancements during crunch time, used video conferencing and other methods of digital collaboration to significantly advance preparations and stay on schedule. Despite the physical isolation, however, everyone started relying on the video calls for more than just work-related advice.
“At our [LA] hub, we didn't want to take the risk of being unprepared, so we authorized our IT team to increase our internet band tenfold, and build an advanced remote login system that could enable our artists to work fluidly and securely from home,” said Edwards, who worked with IT chiefs at major studios such as Disney for advising and approving their comprehensive work-from-home solution.
But the two-week transition to a completely virtual studio only became possible with the help of industry colleagues and suppliers when California Governor Gavin Newsom and LA Mayor Eric Garcetti issued the stay-at-home order. And, as part of its mobilization effort, the company launched a TTFaid program as a resource for more than 100 employees and their families with supplies, aid, and emotional support.
“With this early foresight in February, we were prepared to roll out a set of guidelines, which I called the TTF Health Vigilance Plan, across our other studios in LA, Atlanta, and...