Black Animated film 'Hair Love'

I donated to the Kickstarter (fundraiser) for this film. You can read more about that below and more about this film and the other films I donated to at the 'Nother Brother Entertainment blog at the bottom.

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#TBT From AUGUST 2017 my post about HAIR LOVE that was just announced yesterday as being picked up by SONY PICTURES ANIMATION.🙌🏾🖤 You can read more about that @ the new link @ the bottom and also @ the Link in my BIO☝🏾 REPOST: When the short film #HairLove was announced a month ago I knew I had to be a part of it.❤️ 'Hair Love', is a 5 minute animated short film that centers around the relationship between an African-American father, Stephen, his daughter, Zuri and her hair. It's a story about an African American father trying to do his daughters hair for the first time. As the creator of this project @matthewacherry put it, "I've had the idea for this project for a couple of years now, but it wasn't until I recently started coming across a lot of viral videos of black fathers interacting with their sons and daughters online that I finally had the confidence to try and make this a real thing." See this story is ALL TOO REAL to me. One morning☀️before school, I TRIED to do my daughter's hair and it was an EPIC FAIL!🤦🏾‍♂️ I tried to do her hair the way I'd seen her mother do it dozens of times, but I was failing miserably and her school bus 🚌 was due to arrive soon.🙇🏾 I eventually put something together, but I wouldn't call it a hairstyle or "done". 🤦🏾‍♂️ She made her bus, but I felt so bad for her that day.😥😔 After that, the only thing I did with her hair was grease her scalp after it was braided (pictured, top left) and I did that WELL! 👌🏾LOL On a last note: Any resemblance between the shirt color of the animated father and mine I'm sure is pure coincidental. LOL 😂 Because of almost 5,000 people that backed 'Hair Love' it surpassed its initial goal of $75K and is currently the most funded short film in the history of @Kickstarter raising $284K, 378% of its goal.🙌🏾 🔷NEW LINK: “Sony Animation Picks Up ‘Hair Love’ Short From ‘BlacKkKlansman’ EP Matthew A. Cherry” https://deadline.com/2019/03/blackkklansman-executive-producer-hair-love-film-matthew-a-cherry-sony-pictures-animation-kickstarter-1202579320/ also @ the Link in my BIO☝🏾

A post shared by Dankwa Brooks (@dankwa) on Mar 21, 2019 at 5:38am PDT

MARCH 20, 2019
Sony Animation Picks Up ‘Hair Love’ Short From ‘BlacKkKlansman’ EP Matthew A. Cherry

Click the titles below

Why I Donated to AFFRM

Why I Donated to Spike Lee’s Fundraising Campaign

Meryl Streep Points Out Movies Geared at Women Make Huge Profits [QUOTE]

Meryl Streep, June 12, 2012 at the Women In Film Crystal + Lucy Awards

Excerpted from Entertainment Weekly’s “Tentpoles in Trouble” June 29, 2012

While presenting a prize at the Women In Film Crystal + Lucy Awards on June 12, Meryl Streep pointed out that “in the last five years, five little movies aimed at women have earned over $1.6 billion: The Help, The Iron Lady—believe it or not—Bridesmaids, Mamma Mia!, and The Devil Wears Prada…They cost a fraction of what the big tentpole failures cost…Let’s talk about The Iron Lady. It cost $14 million to make and brought in $114 million. Pure profit!

Webster's defines “tentpole” as "a big-budget movie whose earnings are expected to compensate the studio for its less profitable movies"

Alex Kurtzman (Co-writer of Star Trek, 2009) “I think those movies [tentpoles] will always be around. Because when they work, they work so well.”  

David Fincher's Kickstarter Success

The Goon Kickstarter is a Success!

by Spencer Perry, Superhero Hype

November 12, 2012

The Kickstarter for The Goon is a bit of a touchy subject for some people. The ambitious campaign is now a success though some don't understand why a Kickstarter was neccessary. Why can't producer David Fincher simply write a check and it be done? Co-director Tim Miller said it best in an interview on Last Call with Carson Daly: "David Fincher writing a check for $400,000 is not going to get this made. It's about getting the fans involved and showing the studios it's not just a Hollywood vanity project." The fans certainly showed up to support Frankie and The Goon as the campaign surpassed its $400,000 goal.

The purpose for the Kickstarter was for the creation of a story reel, an animated story board with voice actors, sound effects, and music added on. This story reel will span the entire film and gives potential investors for the actual movie a better idea of what Fincher and Blur studios want to make. The campaign was successfully funded yesterday with $441,900 pledged and donated by over 7500 backers, some donating as much as $10,000. The studio has broken down what will happen with the funds for the project in a graph (seen below).

Creator Eric Powell took to Twitter after the funding was reached to thank fans: "I can't tell you how much I appreciate you guys. Thanks for pushing us to do a kickstarter and thanks for pushing it! Won a major battle, Goon fans. To win the war we still have to sell the film." We certainly hope you win that war Mr. Powell.

The film would see Clancy Brown playing The Goon with Paul Giamatti as his friend Frankie. The Goon follows the adventures of a muscle-bound brawler who claims to be the primary enforcer for a feared mobster. The stories have a paranormal and comedic edge to them and concern ghosts, zombies, bog lurks, mad scientists and "skunk apes."

Wreckage and Rage: The Making of Alien³

From Digital Bits, 11-3-03
The documentary on Disc Six, now simply titled The Making of Alien³, was originally called Wreckage and Rage: The Making of Alien³. More than thirty minutes of material that was produced for this documentary was cut at the last minute. You might be wondering what difference thirty minutes could make in a three hour documentary. A big difference.

Gone now is much of the honesty and truth about the hell director David Fincher went through on the production. Among the footage lost were actual moments with Fincher on the set, where you saw his frustration and anger. You saw his struggles with producers. You heard from Sigourney [Weaver] and the other cast and crew members talking about the problems, and what a raw deal Fincher got. You even heard from the film's producers and Fox executives talking about what went wrong. Simply put, this disc was about as good a behind-the-scenes look at the making of Alien³ as you could ever hope to get, short of Fincher returning to address the production himself (and he WAS asked to do so, but declined). Unfortunately, what you get now, while it still does contain some of the above (including material that you've never seen before), it sort of teases the stuff you really want to know, then glosses by it.

UPDATED: Digital Bits 10-25-10
Wreckage and Rage, was censored by Fox back in 2003, with some 21 minutes cut prior to release - footage detailing director David Fincher's struggles and frustrations on the set. You'll be pleased to know that ALL of that lost footage been restored, making this the most complete version of the documentary to date.
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THIS ^^^ restored version is the one I'm currently watching. Be prepared for an update afterwards.

UPDATE: November 20, 2012
I forgot to update this, but Wreckage and Rage: The Making of Alien³ was an excellent documentary. Throughout this extensive 2 hour and 40 minute doc you could see what kind of pressure a studio can put on a director, especially a first time one and Alien³ was David Fincher’s first studio picture.

As detailed above you do get:

honesty and truth about the hell director David Fincher went through on the production. Among the footage lost were actual moments with Fincher on the set, where you saw his frustration and anger. You saw his struggles with producers. You heard from Sigourney [Weaver] and the other cast and crew members talking about the problems, and what a raw deal Fincher got. You even heard from the film's producers and Fox executives talking about what went wrong. Simply put, this disc was about as good a behind-the-scenes look at the making of Alien³ as you could ever hope to get, short of Fincher returning to address the production himself (and he WAS asked to do so, but declined). 

In the doc you also find out that Sigourney Weaver maintained a lot more control over the story than everyone previously thought. Without revealing any spoilers, Sigourney says herself on camera that it was SHE who decided to take the Alien³ story in a different direction than what happened in Aliens (Part 2). Everyone blamed Fincher for that, but it was Sigourney.

Wreckage and Rage: The Making of Alien³ is on the fifth disc of the ALIEN ANTHOLOGY BluRay set (Pictured right) and one of the best DVD/BluRay Extras I have ever seen in its comprehensiveness. 

The Rights Stuff

I love to read about the business of show business. Below is an article depicting who has the rights to tell certain stories, specifically Marvel stories.

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'Daredevil' falling back to Marvel

No extension for Fox; Carnahan's take 'up in smoke'

By Rachel Abrams, Variety

With its extension request rejected, 20th Century Fox will have no choice but to allow the rights to "Daredevil" to go back to Marvel, marking the second major character to revert back to the superhero shingle since Disney bought it in 2009.

Under the current terms of the agreement, Fox has to put the pic into production by Oct. 10. But late Monday night, Joe Carnahan, Fox's pick to direct the film, indicated that the actioner wasn't happening at the studio.

"Think my idea for a certain retro, red-suited, Serpico-styled superhero went up in smoke today kids," Carnahan tweeted, followed by "We shall see. Time is NOT on anyone's side."

Marvel will regain control of the character sometime after the October deadline passes, according to sources with knowledge of the situation.

The Punisher, which had been at Lionsgate, marked the first character to revert to Marvel since its 2009 sale to Disney. The Mouse House cannot exploit characters including Spider-Man, Venom, Ghost Rider, the X-Men, Wolverine, Fantastic Four, the Silver Surfer, Elektra and Deadpool because the those characters were already licensed to other studios. Rights-holders that can prove films are in active development retain those rights in perpetuity.

Marvel began fully financing its own slate of projects in 2005, beginning with "The Incredible Hulk" and "Iron Man." Before that, Marvel licensed its characters out to other studios, with vampire hunter Blade the first to get the bigscreen treatment by New Line in 1998.

Marvel licensed Spider-Man to Sony in 1999, while Thor had once been set up at Sony before Paramount picked up the rights in 2006.

As John Couture at VideoETA points out "The studios that option these rights own them in perpetuity as long as they prove that they have a film in production every so many years. This is the primary reason that Sony rebooted The Amazing Spider-Man, so that the rights to the character would not revert back to Marvel."

"As proof of concept (and awesomeness) Carnahan turned to Twitter and YouTube to show off two sizzle reels that he created. (For Daredevil) They are both very similar, but the NC-17 version contains a lot more violence and really shows the dark places Carnahan was set to take this character." Read the full VideoETA with VIDEO here

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Even though Joe Carnahan is not going to make the picture with Fox he didn't develop the picture for free. I'm sure he got a nice "development deal" sum to develop the Daredevil picture. I don't have any citation to back that up, but those type of deals are "par the course" in the Hollywood. Of course they hope your work is realized, but if it doesn't you still get paid.

Scorsese on movie funding [QUOTE]

Entertainment Weekly: You were supposed to direct Hugo four years ago, but it fell through. Is it harder to get movies made these days?

SCORSESE: We had a meeting with [Warner Bros.] and I felt there was no enthusiasm on their part. I had just done a couple of pictures—The Aviator and The Departed—where we were on the same page. But if they're not gung ho about it, what are we doing here? Making a product, but I want everyone to be enthusiastic. -Entertainment Weekly November 18, 2011

Note: Hugo was eventually done at Paramount Pictures-Dankwa Brooks

Read more about Hugo at Wikipedia by clicking the poster above