At its I/O developer conference today, Google announced Veo, its latest generative AI video model, that "can generate 'high-quality' 1080p resolution videos over a minute in length in a wide variety of visual and cinematic styles," reports The Verge. From the report: Veo has "an advanced understanding of natural language," according to Google's press release, enabling the model to understand cinematic terms like "timelapse" or "aerial shots of a landscape." Users can direct their desired output using text, image, or video-based prompts, and Google says the resulting videos are "more consistent and coherent," depicting more realistic movement for people, animals, and objects throughout shots. Google DeepMind CEO Demis Hassabis said in a press preview on Monday that video results can be refined using additional prompts and that Google is exploring additional features to enable Veo to produce storyboards and longer scenes. As is the case with many of these AI model previews, most folks hoping to try Veo out themselves will likely have to wait a while. Google says it's inviting select filmmakers and creators to experiment with the model to determine how it can best support creatives and will build on these collaborations to ensure "creators have a voice" in how Google's AI technologies are developed. Some Veo features will also be made available to "select creators in the coming weeks" in a private preview inside VideoFX -- you can sign up for the waitlist here for an early chance to try it out. Otherwise, Google is also planning to add some of its capabilities to YouTube Shorts "in the future." Along with its new AI models and tools, Google said it's expanding its AI content watermarking and detection technology. The company's new upgraded SynthID watermark imprinting system "can now mark video that was digitally generated, as well as AI-generated text," reports The Verge in a separate report.

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Disney CEO Bob Iger says the company is shrinking the MCU with a new mission to drop the number of Marvel TV series to two a year and the film output to no more than three movies per year. The comment follows Iger conceding last year that Marvel had diluted audience's focus by making too many TV shows. From a report: Iger said this is part of Disney's overall strategy to reduce output and focus on quality, a strategy "that's particularly true with Marvel." "We're slowly going to decrease volume and go to probably about two TV series a year instead of what had become four and reduce our film output from maybe four a year to two, or a maximum of three," the Disney CEO said during the company's quarterly earnings call Tuesday. "And we're working hard on what that path is." Iger says Marvel has "a couple of good films in '25 and then we're heading to more 'Avengers,' which we're extremely excited about," adding: "Overall, I feel great about the slate. It's something that I've committed to spending more and more time on. The team is one that I have tremendous confidence in and the IP that we're mining, including all the sequels that we're doing, is second to none."

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Sony Pictures Entertainment and Apollo Global Management have made a bid to acquire Paramount for $26 billion and take it private. Variety reports: Sony and private-equity giant Apollo submitted a letter with the non-binding offer Wednesday to Paramount Global, as first reported by the Wall Street Journal. The bid, which would include the assumption of debt and could be negotiated, would be a premium over the company's current $22 billion enterprise value. Shares of Paramount Global jumped 13% on news of the offer from Apollo and Sony Entertainment, closing at $13.86 per share Thursday. It's not clear how Paramount's board will proceed on the Sony-Apollo proposal, having rejected previous overtures from the private-equity firm. The company has an exclusive negotiating window with Skydance that ends Friday (May 3), but discussions among the parties could extend beyond that. If it happens, the combination of Sony Pictures with Paramount Pictures would likely result in mass layoffs -- and knock the number of major Hollywood studios from five to four, after Disney took over 20th Century. Sony Corp., which acquired Columbia Pictures in 1990 for $3.5 billion, is the largest studio operator in the industry that does not have a broad-scale direct-to-consumer streaming play. Under the proposed bid with Apollo, Sony would be the majority owner of the combined company. Sony Corp. would merge Sony Pictures Entertainment into a joint venture with Paramount Global. Sony and Apollo would both contribute cash to finance the deal. What's unclear is what would happen to the 28 local TV stations CBS owns; FCC rules bar foreign entities (i.e. Tokyo-based Sony) from having majority ownership control of broadcast TV stations, so Sony would need to carve out a separate U.S. ownership structure for the station group. In the Skydance scenario, Redstone would sell her stake in National Amusements, which holds 77% of the voting shares in Paramount Global, to Skydance, whereupon Skydance would merge with Paramount Global in an all-stock deal that would value Skydance at roughly $5 billion. Paramount Global would remain a publicly traded company. Redstone would receive up to $2 billion from the Skydance-NAI transaction; in addition, Skydance would pay a premium for Paramount Global shares and pay $3 billion to the company to help pay down debt. Ellison would serve as CEO of the merged Paramount-Skydance, while Jeff Shell, the former NBCUniversal CEO who is chairman of sports and media at RedBird and works under founder and managing partner Gerry Cardinale, would take on a key management role.

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Earlier this week, Netflix found itself embroiled in an AI scandal when Futurism spotted AI-generated images used in the Netflix documentary What Jennifer Did.. The movie's credits do not mention any uses of AI, causing critics to call out the filmmakers for "potentially embellishing a movie that's supposed to be based on real-life events," reports Ars Technica. An executive producer of the Netflix hit acknowledged that some of the photos were edited to protect the identity of the source but remained vague about whether AI was used in the process. From the report: What Jennifer Did shot to the top spot in Netflix's global top 10 when it debuted in early April, attracting swarms of true crime fans who wanted to know more about why Pan paid hitmen $10,000 to murder her parents. But quickly the documentary became a source of controversy, as fans started noticing glaring flaws in images used in the movie, from weirdly mismatched earrings to her nose appearing to lack nostrils, the Daily Mail reported, in a post showing a plethora of examples of images from the film. [...] Jeremy Grimaldi -- who is also the crime reporter who wrote a book on the case and provided the documentary with research and police footage -- told the Toronto Star that the images were not AI-generated. Grimaldi confirmed that all images of Pan used in the movie were real photos. He said that some of the images were edited, though, not to blur the lines between truth and fiction, but to protect the identity of the source of the images. "Any filmmaker will use different tools, like Photoshop, in films," Grimaldi told The Star. "The photos of Jennifer are real photos of her. The foreground is exactly her. The background has been anonymized to protect the source." While Grimaldi's comments provide some assurance that the photos are edited versions of real photos of Pan, they are also vague enough to obscure whether AI was among the "different tools" used to edit the photos.

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Film data researcher Stepehen, writing on his blog: This may surprise some, but since 2000, just over half of all movies released have been original screenplays. The most common source for adapted screenplays was real-life events, accounting for almost a fifth of movies made between 2000 and 2023. (Typically, in these cases, the filmmakers will have paid for the rights to a nonfiction book or two that covered those events, but we will classify that as 'based on real-life events' in this analysis.) Other sources include fictional books/articles (8.9%), previous movies (11.8%), stage productions (including plays, musicals, and dance performances) (1.5%), and TV/Web shows (0.9%). In the chart below, 'Other' includes myths, legends, poems, songs, games, toys, and more. How has this changed over the years? Forty years ago, about the same proportion of movies being made were original screenplays as they are today. That's quite surprising -- both because I assume that many people expected it to be lower in recent years, but also because little stays the same in the film industry over such a long period of time. But when we look at a time series by year, we can see that it hadn't plateaued. During the late 1990s and 2000s, original screenplays declined markedly and only rose again in the 2010s.

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Movie exhibitors still face "serious risks," the Los Angeles Times reported Tuesday: Attendance was on the decline even before the pandemic shuttered theaters, thanks to changing consumer habits and competition for people's time and money from other entertainment options. The industry has demonstrated an over-reliance on Imax-friendly studio action tent poles, when theater chains need a deep and diverse roster of movies in order to thrive... It remains to be seen whether the global box office will ever get back to the $40 billion-plus days of 2019 and earlier years. A clearer picture will emerge in 2025 when the writers' and actors' strikes are further in the past. But overall, there's a strong case that moviegoing has proved to be relatively sturdy despite persistent difficulties. Which brings us to this year's CinemaCon convention, where multiplex operators heard from Hollywood studios teasing upcoming blockbusters like Joker: Folie à Deux, Furiosa: A Mad Max Saga, Transformers One, and Deadpool & Wolverine. Exhibitors pleaded with the major studios to release more films of varying budgets on the big screen, while studios made the case that their upcoming slates are robust enough to keep them in business... Box office revenue in the U.S. and Canada is expected to total about $8.5 billion, which is down from $9 billion in 2023 and a far cry from the pre-pandemic yearly tallies that nearly reached $12 billion... Though a fuller release schedule is expected for 2025, talk of budget cuts, greater industry consolidation and corporate mergers has forced exhibitors to prepare for the possibility of a near future with fewer studios making fewer movies.... As the domestic film business has been thrown into turmoil in recent years, Japanese cinema and faith-based content have been two of movie theaters' saving graces. Industry leaders kicked off CinemaCon on Tuesday by singing the praises of Sony-owned anime distributor Crunchyroll's hits — including the latest "Demon Slayer" installment. Mitchel Berger, senior vice president of global commerce at Crunchyroll, said Tuesday that the global anime business generated $14 billion a decade ago and is projected to generate $37 billion next year. "Anime is red hot right now," Berger said. "Fans have known about it for years, but now everyone else is catching up and recognizing that it's a cultural, economic force to be reckoned with.... " Another type of product buoying the exhibition industry right now is faith-based programming, shepherded in large part by "Sound of Freedom" distributor Angel Studios... Theater owners urged studio executives at CinemaCon to put more films in theaters — and not just big-budget tent poles timed for summer movie season and holiday weekends... "Whenever we have a [blockbuster] film — whether it be 'Barbie' or 'Super Mario' ... records are set," added Bill Barstow, co-founder of ACX Cinemas in Nebraska. "But we just don't have enough of them."

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Disney said Thursday it planned to crack down on password sharing [non-paywalled link] for its streaming services starting with a few countries in June before implementing a wider rollout in September. From a report: Disney Chief Executive Bob Iger unveiled the timeline to limit password sharing in a CNBC interview Thursday morning, a day after the company defeated activist Nelson Peltz in a bruising proxy fight. Iger didn't say which countries would be first. The company for months has said a crackdown was coming as it looks to cut costs and make Disney+ and Hulu profitable. Since Iger returned as CEO in 2022, the company has trimmed its streaming losses. Iger said the company is on track to have a profitable streaming business by the fourth quarter this year. "That's a huge, huge improvement," he said on CNBC. "Now what we have to do is turn it not just into a profitable business, into a growth business."

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Godzilla x Kong "stomped all over expectations," writes Deadline, "with an $80M opening, the second best start of the year so far, $2.5M behind the $82.5M opening of Legendary's other big pic this spring, Dune: Part Two... "EntTelligence reports that GxK is expected to pull in more than 5.5M admissions this weekend, the most attended opening weekend for any movie year-to-date." No one saw this coming... International delivered $114M for a great $194M global start. The Adam Wingard directed movie, not including preview night, commanded 56% of all foot traffic and 89% of all premium format admissions. Imax and PLF drove 38% of the gross with 3D responsible for 19%... Beamed Warner Bros Domestic Distribution Boss Jeff Goldstein, "This is a huge, fun Easter movie for the whole family...." For a fifthquel to bounce back the franchise, GxK being the second best start in the Legendary Monsterverse after Godzilla's $93.1M ten years ago, is pretty remarkable. The article speculates that the first installments (of both the Dune and Godzilla vs. Kong franchise) underperformed because of their mid-pandemic release dates, with their sequels earning more in 2024. The pure theatricality of Godzilla x Kong: The New Empire "clearly underscores the value of the IP on the big screen, and moviegoers' preference to see such monster mashing in no other place but a theater." (Deadline calls the movie "a really fun creature feature with a lot of heart; heck, it's even better than Jurassic World: Dominion. Seriously.") It also earned "the fifth best Easter weekend opening ever," the article points out, coming in behind Batman v. Superman ($181M), Super Mario Bros Movie ($166.4M), Furious 7 ($161.2M) and The Fate of the Furious ($107.3M), according to the article. Their headline? "They Have Risen: 'Godzilla x Kong' Conquers Easter Box Office..."

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In 2019 Los Angeles film/TV producer Brian Morrison painted Blockbuster's logo onto an old newspaper box — and then filled it up with used DVDs. "The Free Blockbuster movement slowly gained traction," reports the New York Times — aided at times by social media — "and eventually more than 200 other community boxes had opened from Louisiana to Canada and even Britain." Though it's not clear how many are still operational, a 37-year-old California opened a free "Blockbuster" library outside her home earlier this year, according to the article, "and stocks it with season-specific films, subversive books and free candy." "We are social animals; we want to go out into the world and engage with each other," said Brian Morrison, who keeps a lending library outside his home. He often refills it with DVDs and VHS tapes of TV series, horror movies and, on occasion, signed independent films, and said that it had encouraged interaction with his neighbors. Andrew Kevin Walker, a Los Angeles-based screenwriter, said he had visited secondhand stores especially to seek out films to leave in the boxes, including two sealed James Bond box sets and a copy of "Cobra," a 1986 film written by Sylvester Stallone. "It's an opportunity for people to really share their love of cinema, whether it be their favorite guilty pleasure or their favorite movie of all time," he said. Viewers with streaming fatigue say they are tired of chasing content that moves around an ever-expanding array of platforms or even disappears altogether, and some long for the physical media that was dominant until streaming took over. "I think it's great that folks are doing this, keeping the spirit of DVDs alive, circulating film[s] in and exchanging them," said Joe Pichirallo, a film producer and professor at New York University... Alfonso Castillo, who co-founded a Free Blockbuster on Long Island, N.Y., with his son, said the lending library sees regular turnover with people both taking and dropping off movies, including older people. "My sense is that for them, it's less of this cool novelty sort of ironic thing and more like, finally, there's a place to get DVDs again," he said. Award-winning filmmaker Ava DuVernay misses the commentary tracks on DVDs (along with director's cuts). But more importantly, they told the Times that when it comes to art, "nothing beats holding it in your hand... It is a part of the experience of consuming and experiencing art."

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