Amazon Severs Ties With TWC: Drops David O. Russell Series, Takes Over ‘The Romanoffs’

In the early days of the Harvey Weinstein controversy, TWC quickly moved in remove his executive producer credit from all series, including the two on Amazon. But that did not calm rampant speculation that Amazon was looking to part ways with TWC altogether —  especially after more and more women started coming forward with harrowing tales of sexual harassment and assault —  and that the David O. Russell series was in danger.

“We are reviewing our options for the projects we have with the Weinstein Co.,” Craig Berman, VP communications at Amazon Entertainment, said in a statement on Tuesday night, amid rising concerns within the company, exposed during a staff meeting earlier that day.

Amazon picked up The Romanoffs in a eight-episode, $70 million deal and the David O. Russell’s series in a two-season $160 million deal within a span of two weeks last fall, with the close relationship between Amazon Studios head Roy Price and Harvey Weinstein said to have been a factor in the back-to-back big-ticket buys. (At about the same time, TWC bought a script from Price’s fiancé, writer Lila Feinberg, upon Harvey Weinstein’s recommendation.)

Matthew Weiner Amazon Series


While TWC had signed on as co-financier on both series, the company has not come through with any financing as of yet, even with one of the shows, the star-studded The Romanoffs, already in production, and Amazon Studios has been solely footing the bill so far. (Sources close to TWC said that the company’s contribution are not due due until 2018.)

The David O. Russell’s series had been a question mark. It was still ways off from start of production, and, in an unusual move, limiting its exposure, I hear Amazon had only taken domestic distribution.

The two series had been pet projects of Amazon Studios topper Price who yesterday was suspended indefinitely over a sexual harassment allegation. With him gone, the company moved swiftly to cut ties with TWC.


Daniel Day-Lewis’ Final Movie Gets an Official Title and Synopsis

One of the greatest actors of this, or any, generation is supposedly retiring, but not before giving us one last performance. Daniel Day-Lewis, the three-time Best Actor Oscar-winner is said to be hanging up his acting shoes for good after his next movie comes out, which makes it extra special. Assuming he does actually retire. Now, the movie has officially been titled Phantom Thread and the studio has released the first synopsis for the awards season contender.

Calling a movie an awards season contender before we’ve seen a trailer, or really anything at all, might seem a bit forward in most cases, but this isn’t most cases. Director Paul Thomas Anderson is reuniting with Daniel Day-Lewis for the first time since There Will Be Blood, which many consider to be one of the greatest movies of the 2000s and a movie that earned Lewis his second Academy Award. So the fact that his alleged final movie is reteaming him with the director that arguably produced his most memorable movie is exciting. Via Focus Features, here’s the official synopsis for Phantom Thread.

“Continuing their creative collaboration following 2007′s There Will Be Blood, three-time Academy Award winner Daniel Day-Lewis stars in Phantom Thread from Paul Thomas Anderson. The writer/director will once again explore a distinctive milieu of the 20th century. The new movie is a drama set in the couture world of 1950s London. The story illuminates the life behind the curtain of an uncompromising dressmaker commissioned by royalty and high society.”

Exploring the world of a guy who makes fancy dresses for people in the 1950s may not sound like the most compelling thing on paper, but then again, a movie about oil maybe didn’t sound all that amazing either. If anyone can make something like Phantom Thread a must-see movie, it’s Paul Thomas Anderson and Daniel Day-Lewis.

Back in June, a spokesperson for the 60-year-old actor, who is notorious for his very hardcore method acting, stated that he was retiring. The spokesperson released a statement saying that he will “no longer be working as an actor.” and that he “is immensely grateful to all of his collaborators and audiences over the many years. This is a private decision and neither he nor his representatives will make any further comment on this subject.” So don’t expect him to address it, even if he manages to secure another Best Actor nomination for his work in Phantom Thread.

Assuming Daniel Day-Lewis can pull off the amazing and win another Best Actor Oscar before he retires, he’ll have won the award for three of his last four movies. 2009′s Nine was a rare misfire for the actor, who last appeared in Steven Spielberg’s Lincoln, a movie that earned him his third Academy Award. Focus Features has set Phantom Thread for release on December 25, 2017. With the release coming up, we should be seeing a trailer very soon. We’ll be sure to keep you up to date as more details on the movie are made available.


‘The Night Shift’ Canceled By NBC After 4 Seasons

NBC has opted not to go forward with a fifth season of The Night Shift.

The army vet medical drama, created and executive produced by Gabe Sachs and Jeff Judah, flew under the radar for most of its run. The series, produced by Sony Pictures TV, exceeded expectations in its low-profile summer 2014 launch and, except for Season 2, which was used as a spring 2015 midseason replacement, aired in the off-season.

“We want to thank our amazing creators and executive producers, Gabe Sachs and Jeff Judah, for their dedication and stellar work; a cast and crew that were second to none; and the city of Albuquerque, N.M., which graciously opened its arms to us,” said Jennifer Salke, President of NBC Entertainment. “For four seasons The Night Shift gave audiences a window to heroic doctors, nurses and all-star medical workers who never hesitated to give their blood, sweat and time to help those most in need.”

Asked by Deadline in August about a possible a fifth season renewal, Sachs said, “We have a lot of stories to tell.”

NBC has another medical drama series on the air, Chicago Med, and has more in development for next season, including Bellevue, from David Schulner, Peter Horton and Universal TV, which has a put pilot commitment.


Why Josh Hartnett Left Hollywood

Josh Hartnett was everywhere in the late 90s and early 2000s, taking on project after project, but that all changed around 15 years ago when the actor packed his bags and moved back to his hometown of Minnesota. Many in the industry were stunned, Hartnett was the new heartthrob, the new sex symbol, and he seemed to get more selective with roles and almost disappeared completely around 2007. As it turns out, Hartnett didn’t feel like he was in the driver’s seat when it came to his career, so he decided to take a step back and reprioritize his life.

After the huge success of Pearl Harbor and Hawk Down in 2001 was when Josh Harnett started to realize that he needed to make a change. In a recent interview with the Huffington Post, the actor stated that he needed to get a better perspective of fame as well as the “pursuit of surface values.” Hartnett explains.

“I think it can be an unhealthy environment, to get so consumed with chasing a goal that doesn’t necessarily have to define you is a fool’s errand and I wanted to have a healthy perspective on it. Not only a healthy perspective on the fame itself, but the pursuit of wealth and the pursuit of surface values.”

Ultimately, Hartnett decided that he wasn’t in control of his future. The actor explains.

“I didn’t feel like I was totally in control of my own destiny.”

Josh Hartnett was initially surprised at how rapidly he was getting movie roles and was amazed that he could make money from it, so he decided to jump into it head first in his late teens. But after a while, the actor didn’t really take any breaks, which he does not regret. It was that journey that brought him to where he is today, where he can take any role that he wants and not have to worry about the box office gross or ending up on the cover of a magazine.

Josh Hartnett famously turned down Christopher Nolan and the director’s request to become the Dark Knight in his trilogy, but the actor decided to go do an independent movie instead and continued to make the choices that he wanted, to feel personally fulfilled. Hartnett did regret not getting to work with Nolan though and still feels that he might get to work with the acclaimed director at some point, but only if it’s the right project. Josh Harnett as Batman could have been an interesting twist and he probably would have done a great job, but he wasn’t and isn’t into the superhero genre.

The actor’s latest project is Scott Waugh’s 6 Below: Miracle on the Mountain about the true story of former Olympic hockey player, Eric LeMarque, who survived for 8 days on a mountain after being stranded while snowboarding during a massive storm. Josh Hartnett admits that he started hallucinating from his rapid weight loss and expending high amounts of energy in the mountains while filming. This was the perfect role for Hartnett and he looked forward to the challenge of playing the real-life character. The story slightly resembles his as Eric LeMarque got to know himself better during his ordeal, just like Hartnett. You can check out the rest of the interview with Josh Hartnett, courtesy of the Huffington Post.


David Glasser On His & TWC’s Future After Harvey Weinstein

EXCLUSIVE: The allegations of sexual harassment and rapes against Harvey Weinstein has led to an unrelenting onslaught of nasty press for those left behind at The Weinstein Company following the firing of Weinstein by the board of directors. After being hit hard by a Variety article this morning over a business deal that happened over 20 years ago, TWC president and COO David Glasser wanted to set the record straight on that, and just about everything involving the troubled film/tv company that I could think to ask him. This included why he won’t resign, and why The Weinstein Company as we know it is over.

DEADLINE: The Weinstein Company has become a toxic swirl, and Variety today published an article linking you to Roy Ageloff, a felon convicted of money laundering with ties to organized crime, who invested in early films with you. What do you have to say about that?

GLASSER: Anybody who knows me knows this isn’t factual, at all. It is a hype spin story, that makes headlines at a moment when everything is so toxic because of what is going on with Harvey. I was probably 24, and me and some friends met this charismatic guy from Wall Street. We went to his offices, with hundreds of employees, plaques on the wall with everything he had taken public. We were young foreign sales guys, and here was this guy who wanted to invest in Hollywood. It was your dream come true overnight. He wanted to make movies which meant we didn’t have to pre-sell them, you could just go and make a couple of movies. These were the days when all these Wall Street and international guys were coming in and money was everywhere. He seemed nice, and we made a deal to make a couple of movies.

DEADLINE: Who were  your other movie business partners and are they still prominent in Hollywood?

GLASSER: They are very prominent people in the industry right now.


GLASSER: With everything that is happening in these stories right now, why would I want to drag other people through the mud? It’s not who I am, to connect them to this. They didn’t do anything wrong, and neither did I. We met a guy, borrowed money to make a couple movies. This guy wasn’t charged with anything then, or being sued by anyone. This was 1996. Google doesn’t come out until 1998, so it wasn’t as easy as typing in a name and seeing the one article, written about this guy. It wasn’t like I’d go to a fancy law firm and do a Nexus Lexus search. I was a young guy, what did I know? We signed a contract and that was it. We made the movies. One was successful, the other wasn’t. Later on, he gets into trouble for all kinds of stock stuff. We had no idea. We were like, okay, this guy we got in bed with was a bad guy. This town unfortunately has a lot of good and bad investments in it. At one point, the people prosecuting came in to ask me questions. I provided them all my emails, contracts, every document. They said, ‘hey, you should know this was not a good guy.’ I said I realize that now but you can look back to my contracts and see we did everything legitimately. What they feared was that this guy invested in movies that didn’t really exist. But they were real movies, they existed, they provided a return. That’s exactly what happened here. How this is some salacious headline today, doesn’t make sense to me. I’ve always disclosed this to any job I’ve had and been forthright about it. I was never in any trouble for doing anything. The money I owed I’ve been paying back.

This story has been around years, and you’ve written about it in the past. People have mentioned it in stories. But we’ve all done business with not great people in our careers and you don’t know it until you do. I’m looking at an email I just got from a prominent reporter telling me, “We’re not touching the Variety story. It stinks to high heaven, it’s a leak from somebody and I don’t think it hurts you.”

RelatedThe Weinstein Co. Nears The Brink As Agencies Cut Off Talent Supply

DEADLINE: Why did this leak now?

GLASSER: Somebody has taken this out of my employment contract at The Weinstein Company.

DEADLINE: How do you know that?

GLASSER: In my employment file, I have always disclosed this. I’ve been forthright that I did some business in 1994 and one of the guys that invested with me, I didn’t know about it at the time, but this is what happened. I wrote it in my own handwriting in the document I filled out, because I didn’t want anyone to come back and say, why didn’t you disclose this? That’s exactly what Variety was reading from, when they called me yesterday.

DEADLINE: How can you be sure?

GLASSER: They literally were reading it, verbatim, off of what I had written.

DEADLINE: Who do you think leaked your employment file?

GLASSER: I have my suspicions right now, as to what’s going on. There was an incident in the offices last Friday that leads me to believe you will soon be something coming out about what exactly happened.

DEADLINE: Were other employment files stolen? There is a feeling around town right now that Harvey feels he was rolled under the bus by his brother in those press reports, and he’s eager to return the favor. Is that what we’re talking about here?

GLASSER: I can’t say specifically. What I’m telling you is you will find out in the coming days. Me, as management of the company, I do not have access to employment files. I can’t check Harvey’s, or my own. If someone complains about me, I don’t have the right to touch it, to alter it. I can tell you, that something happened there.

DEADLINE: Police matter?

GLASSER: I think it will become one.

Associated Press

DEADLINE: This adds to the craziness that has been going on at The Weinstein Company since The New York Times article came out. People in the industry speculate and press has reported that Harvey blames Bob. The scenario sounds almost like a brother trying to burn his brother’s baseball card collection and realizing he might have burned down the whole house. The feeling is a feud between the brothers was exacerbated by the passing of their mother, and this is going to be a scorched earth feud that continues. Maybe your experience today is shrapnel from that?

GLASSER: Look, I can’t say exactly what happened or didn’t. I don’t know and I would be speculating. What I can tell you is no question somebody here wanted to make sure this got out. However they got the documents, The New York Times delivered a powerful story they worked on for some time. They got some amazing women to stand up and speak out and we’re still having a hard time here, understanding how this could go on for so long.

DEADLINE: Today’s article said that you returned to TWC after nearly going to DreamWorks Animation, but you didn’t pass the vetting process because of this old incident. What about that?

GLASSER: This became a rumor mill thing. I had not signed yet with DreamWorks, and Harvey was in the middle of a TV division sale. I was away on my 20th wedding anniversary and Bob Weinstein called me. We were a month away from closing this TV sale, and they gave me a huge incentive, a piece of equity in the TV business. What we’re going through right now with everything dwindling is so heartbreaking for me, because I pushed all my chips into the table, on the TV business, to come back. This town is full of rumors and I think people who know me know who I am. I have been the buffer over ten years between Harvey and Bob and the talent, the agents and everybody, across the board. I think I’ve earned a fair reputation. I feel hurt and angry about what’s going on, and very sorry for all the people out there who’ve been hurt by Harvey. I mean the people depicted in the articles, and also the people internally here. Me included.

DEADLINE: Explain the latter part.

GLASSER: I was the buffer. I absorbed his strong willed very harsh tactics, and made it a safe, strong place to work. Anybody says anything different internally, I’d be surprised. There’s not a single employee who ever came to me and said, David, I don’t feel safe working here, or I have a problem working here. We’re a strong group. One of the reasons I have not resigned yet is I have been trying to find a safe landing for my employees, and the filmmakers I have worked hard to protect. I have had five job offers in seven days. One I really like. I’ve chosen to wait, to sit here and take this and watch the burning of a building that every single employee in this company worked to hard to build. I walk down this office and look at each person and realize what they did along the way. The Weinstein Company was not built by one man. It was built by a team. That is why so many people have left and gone on to have successful careers. They’ve come out of here with incredible resumes and drive to do amazing things.

DEADLINE: To put a fine point on it, are you denying the DreamWorks Animation offer evaporated because of the vetting of that situation that got reported on today?

GLASSER: Correct.

DEADLINE: The company took a major blow yesterday. Two days after the board issued a statement professing no knowledge of abuse and payoffs, board member Lance Maerov admitted to The New York Times yesterday that he knew of several settlements he thought were based on consensual acts. It made the town feel they weren’t told the truth and turned them off. Can you explain the discrepancy between the board statement and what was said in The Times? And, what did you know as the right hand of Harvey for so many years?

GLASSER: There’s a big distinction that many people don’t realize. I do not sit on the board. My CFO doesn’t sit on the board. We’re involved in some matters with the board. But things like, when Harvey’s employment file was leaked and people asked how could these clauses have been negotiated…I was never involved in Harvey’s employment contract. I never saw Harvey’s employment contract and neither did the senior management of this company.

DEADLINE: You mean the 2015 contract that reportedly allowed Harvey Weinstein to financially settle these kinds of disputes, but not lose his job?  

GLASSER: Yes, I never saw that or was given a copy. That was between the board, and Harvey. I can’t speak of why the board does certain things, and what they did and didn’t know. What I can tell you is what I, and we, knew.

DEADLINE: Tell us.

GLASSER: Here’s what I knew, just so we are clear and it’s in black and white, on the record. I would never, ever, allow any employee to walk into the doors of this company, or a piece of talent to work with us, if I knew my boss was sexually assaulting women. That is unacceptable, in every way. I hate what he did and it makes me sick to my stomach. What I was aware of was a verbal argument he had in 2009 or around then with a woman in publicity. I was aware of Emily Nestor, a receptionist who complained to one of my guys in distribution, that Harvey had asked her out, and then had breakfast with her and that was the extent of it. I and other senior managers went to HR and checked this out. There are emails from me that back this up. I emailed my office manager, I asked to meet with Miss Nestor, all documented in emails saying I wanted to know what happened and if there was anything to worry about. I was given a letter back, from my HR department after I sent the emails, that Miss Nestor thanks us, she does not want to continue the conversation or do anything in any way shape or form.

I knew about the Ambra [Battilana Gutierrez] situation, the whole world did. We were all concerned about it because it started in our offices. We were told by the HR team, and the attorneys, that there was going to be no charges against him. I don’t want to quote it wrong but I think the term used was ‘un-credible witness,’ and we couldn’t do anything about it. We are all aware of, and the one the caused us grave concern, was the 2015 email about Lauren O’Connor, which launched an investigation. We as management had asked for things. For example, the board had ordered at one point — because there were questions — was there anything we needed to know in [Harvey’s] employment file to worry about? We didn’t hide from this, we wanted to know and so did the board. So the board hired, I think the attorney’s name was Rodgin Cohen from Sullivan & Cromwell, to do a review of Harvey’s employment file. That letter came back which we as management received a copy of, that said there was nothing in there other than the Emily Nestor situation; there was nothing to worry about, there were no concerns. The letter said Harvey was perfectly fine to manageme this company. Senior management received a copy from the board to look at.

Look, we always thought and heard he was unfaithful, but we always thought those relationships were consensual and never heard otherwise. I only wish I knew these singular events were part of a much bigger pattern, so we could have done more to stop this. But I can tell you that within the walls of our environment, within the walls of our offices, with the talent…I’ve never had an agent call me up and say, ‘Oh my god, we have a problem.’ I never had any talent call me up and say that. Or an employee or a board member tell me, other than what I just told you we knew. There have been tons of complaints about Harvey’s brashness, the yelling and screaming. That happened all the time. But I don’t think there’s a single person in this industry who had not been subjected to that. We all took it. Probably wrong now, going back and looking at it, and I wish I had done more to change that. But I and my entire staff took it, too. I’m one of the people who took it most because I tried to be the buffer. When an employee came to me after a tough fight with Harvey, I was the guy who stepped in, and took the hit with Harvey and told him the bad news. When an agent called up to say a client had pulled out of a movie, I’m the one who delivered that message to Harvey. When someone quit and didn’t want to tell Harvey, I was the one who told Harvey. When we lost money on a deal and it was really bad, I’m the one who went and told Harvey.

People didn’t want to do that and I became that buffer. But to insinuate that the management of this company hid stuff, or swept stuff under the carpet, it’s simply not true. It’s not who I am, it’s not what we are, as a company. By that, I mean the senior management of this company.

DEADLINE: We read in The New Yorker about a honeypot scenario where meetings started with female assistants who would disappear, and then Harvey would appear in a bathrobe.

GLASSER: I never saw any honeypot setup. I’ve never seen Harvey Weinstein in a robe, or in a set up like that.

DEADLINE: You read about the private planes, and Harvey living like a sultan and doing all this stuff with money provided by Disney or the TWC backers. How did all this stuff, eight payoffs get made, under the noses of this corporation?

GLASSER: I’ve asked the same question and that is why we launched a full investigation, to get those answers. New York Times did a great job describing who got money. For me and what I’ve seen, I never signed off on any payment going out the door for a settlement. Nor did I ever sign off on a settlement on its own, for sexual harassment or any of these things he’s being accused of.

DEADLINE: Rose McGowan has hinted for years she had been assaulted. There are so many prominent actresses who came out with horror stories. How could this have been a secret?

GLASSER: I have heard consistently this week, how could The Weinstein Company in the time I was here allow for all these high profile names to happen? If I had known about it, I would have done something about it. I can’t speak for the regime at Miramax, where the majority of these things happened.

DEADLINE: Harvey’s name was stripped off the movie and TV projects. Is that enough? Will these series get made with The Weinstein Company a part of it?

GLASSER: No. My opinion is that The Weinstein Company as it sit today, is done. The reality is, in its current form, the name, the brand has been completely torpedoed and destroyed. I do feel there are probably other incarnations we have to look at. The most important thing, the number one thing I want out there…the reason I am still standing today when everyone out there who knows and likes me is saying, you don’t deserve deserve this, jump ship, get out…is because I want to make sure the films and television shows and staff here can land in a great place. There might be some other version of this company that makes sense, and that’s what the board needs to review right now to figure out what the best options are.

DEADLINE: Are you part of those discussions, or will you leave? There have been rumors that you and Bob Weinstein might leave [Weinstein subsequently issued a statement that the company will continue releasing the finished films].

GLASSER: I can’t speak for Bob but he has made an incredible amount of money under the Dimension label. For me, I have been heavily focused these days on TV and film. We’re not really sure how the board will decide to proceed.

DEADLINE: There is expectation of a big legal showdown between Harvey, Bob and the board. There could be class action lawsuits. We broke a story the other day you were hiring an ad agency to change the name of the company. What will happen over the next few days as this fire continues to burn out of control?

GLASSER: I think at the end of the day, the board and the shareholders have to look at every option available to them. Do they rename the company? Maybe, but that’s just a shift and it’s the same company and so it might not be the best idea. Do they sell the company or parts of it? That’s probably a more real conversation. My reason for staying, I want to see what they want to do. I have some amazing filmmakers and TV shows I need to be sure are handled right. I gave my commitment to my employees and to those filmmakers that before I do my next chapter, I will make sure they land safely, even if it comes at the expense of a job opportunity for myself.

DEADLINE: So you won’t resign? You intend to hang in?

GLASSER: For a small period of time, I want to be clear. To make sure everybody is taken care of. I would be doing an injustice to every agent, attorney and partner of mine, because I was that buffer. I can’t just say thanks, I’m taking this job, I hope it works out for you.

DEADLINE: As for other things hanging in the air: what happens to Michael Moore’s Fahrenheit 9/11 documentary sequel that was supposed to release on the one year anniversary of Donald Trump next month?

GLASSER: Two things. He’s still working on that movie. He made a Broadway play and literally just returned to it this week. I’ve heard he has some incredible brand new things he’s adding because so much has changed along the way. But that film is owned by Bob and Harvey. The Weinstein Company only had distribution rights; the film is owned by Bob and Harvey.

DEADLINE: Because of the way Fahrenheit 9/11 got released when Disney rejected it?

GLASSER: Correct. That’s a Bob and Harvey personal decision, left to the two of them to figure it out.

DEADLINE: What about Quentin Tarantino’s next film, reportedly about the Manson Family murders?

GLASSER: Again, Quentin is in the midst of it and we haven’t heard from him about it. When that does come up, the conversation will be had internally. It hasn’t come up yet.

DEADLINE: Do the films and TV projects get sold? We hear creatives are making stands and saying they won’t move forward unless the projects go elsewhere.

GLASSER: I think the position the creatives have taken to say they don’t want to be part of the current Weinstein Company, is the right thing for them. People have mixed feelings, but I totally understand and respect that. I understand this is a tainted house and not something people want to be associated with. I understand and respect that and support that. Next step: how do we make sure everyone is okay with their projects? That is what we have to figure out. Is there something that happens where certain projects get sold and certain employees go with them? That’s what the board has to decide and they will do that very quickly. You can see, it’s become a war in the press. What I want is to make sure it’s done very quickly. The board is working around the clock to find the best solution.

DEADLINE: Have there been overtures to sell the projects, like the David O Russell TV series?

GLASSER: Not necessarily the TV stuff, I have been in the middle of those things, but yes on the movies, to do various things, whether it’s filmmakers who want to take them or partners who want to come in. The board is looking at all these things.


DEADLINE: Last night, Lin-Manuel Miranda and his In The Heights co-writer Quiara Alegria Hudes came out on social media and asked for the musical back. They don’t want The Weinstein Company involved. Will that happen, and what about artists who demonstrate publicly the want the projects back?

GLASSER: The goal is to hear Lin-Manuel clearly. He is a phenomenal talent and we’ve had a long history with that project. I understand why he would not want The Weinstein Company and its brand attached. I respect that and will help find the best branding spot that makes him comfortable.

DEADLINE: Will TWC stay in the Tribeca Film Center, where the company became an anchor tenant?

GLASSER: I don’t know. That 375 Greenwich piece is owned personally by Harvey and Bob and I can’t speak for them.

DEADLINE: You spent eight years tethered to Harvey Weinstein, who accomplished so much in the indie film sphere. And now he is defined by this scandal. Can you characterize your feelings about him? It must be complicated.

GLASSER: It is. People get confused about what I did for Harvey. Some say, you were alongside him, you must have seen everything. I didn’t. There are people in the business who went out clubbing with Harvey. I didn’t go out with Harvey or go on vacations with him. My relationship with him worked well because I had a very defined role. I was the right hand, in the business operation of this company. I did not get involved in his personal life, in his family life. I know his kids, and we were very nice to each other. My job was specific. I took his creative genius, the craziness, and bottled it and sold it in the marketplace. It was a hard job. I was available to him, 24 hours a day, seven days a week. I came home from more vacations, holidays broken, more baseball games missed. I lived 181 days on the road, between China and Dubai and everyplace he sent me that he didn’t want to go, or was unavailable to go. I went. I was the guy. I busted my ass for this company, for the employees and the agents and managers around town. With it came incredible success. I’m hurt right now. Not like the victims, of course. But I gave my entire life the past ten years to this company. I would like to see anyone say differently. I bled for this company to make sure things got done. Every deal, movie, marketing, every expense. Every time he was angry and frustrated, I defused that bomb and was able to get us across the finish line. So I sit here today thinking, that was what I did for the last ten years. What do I do now? Do I leave the business? Find the inner strength to try again? If so, how would I do it differently?

DEADLINE: How much of that future TWC decision is yours, since the decision rests with the remaining board members representing investors who are watching the value drop with every passing day and each new unsavory revelation?

GLASSER: I’m talking about me personally and whether I stay, leave, go sell real estate, which I enjoy. These are my raw feelings. Now, one of the decisions that will be in front of me will be what the board does, how I land people safely. Those decisions won’t be mine, but they will be in front of me and I will have to pick from the options.

DEADLINE: Any points we should be considering here?

GLASSER: Yes. There are a lot of amazing employees and filmmakers and partners at this company who did not deserve this, at all. We’ve all worked hard here. This is not a company where you walk in at 10 am and clock out at 5 pm. That is not what the Weinstein Company has ever stood for. A lot of people are sitting here, me included, just exhausted for the amount of time they put in here, who now are trying to figure out what they are going to do going forward. I’m not perfect, we all have flaws. But I’ve done my best to protect people within and around this company and my priority is to make sure they land okay.


John Carpenter Will Score New Halloween Movie Soundtrack

For whatever reason, the Friday the 13th franchise can’t seem to get going again, but Jason’s biggest rival, Michael Myers, is coming back to the big screen next year. John Carpenter, the man who directed the original Halloween and brought the modern slasher movie to life, is on board as an executive producer. So, even though he isn’t directing, he’s pretty heavily involved. Now we have word that he’s officially signed on to score the soundtrack for the Halloween reboot as well. It’s early, but this sounds like it could be awesome.

The horror legend has been doing scores for his movies for a very long time now and did the score for the original Halloween, including coming up with that iconic theme. Music has been his main focus these days, but he hasn’t actually scored a Halloween movie since Halloween III: Season of the Witch, otherwise known as the one that doesn’t have Michael Myers in it. But in a recent interview with Billboard about his upcoming tour, John Carpenter revealed that he’s been persuaded to do the music for this upcoming Halloween movie. Here’s what he had to say about it.

“I am an executive producer and it looks clear to me that I’ve made a deal to do the music.”

John Carpenter has said previously that he was considering coming back to do the score for this Halloween, but hadn’t confirmed it. Apparently, the folks over at Blumhouse, who are producing the reboot, along with director David Gordon Green (Pineapple Express) somehow convinced him to commit to it. As for what we can expect from the soundtrack this time around? Carpenter doesn’t know yet, but he’s got some ideas.

“There are many options. I’ll be consulting with the director to see what he feels. I could create a new score, we could update the old score and amplify it, or we could combine those two things. I’ll have to see the movie to see what it requires.”

Having the man who created Halloween on as an executive producer and to do the score will benefit this reboot tremendously. But this movie has a lot going for it beyond that. For one, Jamie Lee Curtis is coming back as Laurie Strode for the first time since her unceremonious death in Halloween: Resurrection. To that point, it’s been said that this reboot will ignore every single Halloween sequel, meaning that it will be a direct sequel of sorts to John Carpenter’s original movie. This movie has a chance to undo a lot of what went wrong in the later sequels.

David Gordon Green co-wrote the script for the Halloween reboot with Danny McBride (This is the End), who is primarily known for comedy. That may seem like an odd pair, but Carpenter has praised their take and this movie is starting to sound pretty great. Plus, it’s coming out on October 19, 2018, which will put it out just in time for Halloween. Billboard getting confirmation that John Carpenter is doing the score just adds to the excitement. Earlier today, Trent Reznor and Atticus Ross released their own take on the classic Halloween theme, but it’s not clear if that is being used in the movie.


Jason Returns in Kill Happy Friday the 13th Fan-Made Trailer

Happy Friday the 13th, horror fans! Today is a day that is synonymous with scary things and yet, the horror franchise that is named after this very day is at a standstill. Ever since the 2009 reboot of Friday the 13th, it has been seemingly impossible to get a new movie featuring Jason Voorhees off the ground. So, it’s up to the fans to keep the machete carnage going. Today, it’s fan and director Nick Merola to the rescue, as he’s released an awesome fan trailer for a Friday the 13th movie that we’d probably all like to see.

There are layers to Jason Voorhees and the Friday the 13th franchise has done a lot of creative things over the years, with varying degrees of success. But really, we all just want to see a huge guy in a hockey mask slaughter young, good-looking people by a lake. That’s exactly what Nick Merola does with this fan-made trailer for a Friday the 13th movie. Set to the feel-good summertime tune Theme From a Summer Place by The Lettermen. There’s a bunch of teenagers hanging out at Camp Crystal Lake doing their thing. Then Jason comes out of the water and goes murder happy on every single one of them. Here’s what Merola had to say about the video.

Friday the 13th is one of the longest-running film franchises of all time and fans have long awaited Jason’s return to the big screen. The purpose of the trailer is to announce the return of this slasher legend and to let the fans know they have not been forgotten, Jason lives!”

This fan-made trailer for Friday the 13th may not be perfect, but something like this would be perfect. The perfect juxtaposition. A very happy, cheery tune playing as Jason brutally kills some innocent young people. The final shot is particularly great, as we just watch Jason dragging his final girl away by the hair as credits roll and the song continues to play. If a studio just surprised horror fans with a trailer like this for a Friday the 13th movie that were actually happening, people would lose their minds. Sadly, this is just a dream for right now.

It’s been eight years since the Friday the 13th reboot arrived and, despite a lot of trying, the sequel never got off the ground. The movie would have featured Jason at Camp Crystal Lake in the dead of winter for the first time ever, but it isn’t happening. The movie was officially taken off of the studio’s release schedule earlier this year, so who knows when we could actually see a new Friday the 13th movie. As this trailer shows us, it isn’t all that hard to have a guy kill people by a lake. Sure, there’s a bit more to it than that, but is this nut really that tough to crack? You can check out Nick Merola’s work on Instagram, and be sure to check out his Friday the 13th trailer for yourself below.

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Justice League Rating Promises a Violent and Action-Packed Movie

We are this close to finally seeing Justice League in theaters, DC fans. The movie arrives on November 17, which is just over a month from now. That means the marketing campaign is officially ramping up, but the movie has been given an official rating from the MPAA. Justice League will follow suit with the rest of the DCEU, as the movie has officially been rated PG-13.

The rating was revealed via the official Warner Bros. site for Justice League. The movie earns its rating for featuring “sequences of Sci-Fi violence and action,” which has been made pretty clear in the trailers we’ve seen for the movie. But this makes it pretty clear that they are keeping the language clean. And we probably aren’t going to see anything sexual. Just some fancy, expensive-looking comic book violence on the big screen. Batman, Aquaman, Wonder Woman and the rest of the gang are going to be taking down a whole bunch of Parademons.

While Justice League getting a PG-13 rating isn’t at all surprising in itself, there’s something well worth noting here. Joss Whedon has been very busy doing reshoots and editing the movie ever since taking over for Zack Snyder a few months ago. He had been shooting and tweaking things up until very recently, but now that the movie has officially been rated, that means he’s done with it. Once the movie is rated, it’s more or less in the can. Sound, color and things of that sort can be changed, but the movie that is being presented must stay the same. So, more or less, we know that Justice League is in the can. Despite a whole lot of turbulence, Whedon got the job done.

Following the success of Wonder Woman, the tone of the DCEU movies going forward is going to be a bit lighter. More fun. Prior to this, Warner Bros. interconnected universe of DC movies has been quite a bit darker than what we’ve seen from the Marvel Cinematic Universe. Still, they’ve managed to keep the movies at a PG-13 level so far. Though, Suicide Squad did feel like something that could have easily benefited from being R-rated. And there is the ultimate edition cut of Batman V. Superman: Dawn of Justice that’s R-rated. But their theatrical releases have all been PG-13 and Justice League will be no different.

A PG-13 rating means that Justice League can reach the widest potential audience. And it’s going to need it. Every superhero movie is expensive, but given all of the reshoots and the massive scope of this movie, we’re guessing Warner Bros. spent a whole lot of cash on this one. So they need it to be a huge hit in order to make their money back. Can Justice League keep the hot streak going after Wonder Woman? Or will it be another divisive superhero flick that calls into question the direction of the DC universe moving forward? We’ll know soon enough.

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