Daniel Katz: Last News

no stranger to controversy, swiftly rushed to the singer’s defense Tuesday after slamming an internet troll who made a crude joke about Swift and Travis Kelce releasing a sex tape.“It’s not news that the media is particularly (and unwarrantedly) cruel to Taylor Swift,” Zegler, 22, posted on X (formerly Twitter). “But the way men feel entitled to speak about women, their bodies, and their sex lives needs to be seriously evaluated.”“You will never see people speaking this way about a man,” continued “The Hunger Games” prequel star. “That goes for a lot of different scenarios.

Jordan Moreau Nearly a year after he was fired from Disney by former CEO Bob Chapek, Peter Rice has set a film and TV production deal with A24, Variety has confirmed. It’s his first major move after he was ousted. A24, hot off a leading nine Oscar wins with “Everything Everywhere All at Once” and “The Whale” this year, will co-finance film and TV projects with Rice. The deal is non-exclusive, and projects under the agreement will be backed by Rice via A24’s banking relationships. The projects will be for global distribution theatrically and on major streaming platforms. “I am incredibly excited to be an independent producer and could not be more thrilled to begin that journey in partnership with A24,” Rice said in a statement. “They have built Hollywood’s most vibrant, fearless, and creative studio. The fact that they made it out of whole cloth in a decade is a testament to their exquisite taste, razor-sharp business acumen, and infectious enthusiasm for creativity and artists. I have been blessed to work with so many amazing creators as an executive and cannot wait to start producing provocative, meaningful, and entertaining movies and TV shows with creators I admire and respect.”

The head of the VC firm that invested several hundred million dollars in A24 a year ago says the indie producer-distributor’s “extraordinary” momentum could lead to a large international business and potential acquisitions.

A24, the scrappy indie studio that has built a brand for itself as a home for hip and cutting-edge movies, triumphed over its deeper-pocketed rivals at the Oscars on Sunday. It scored a leading nine wins, topping that of its closest competitor, Netflix, which had to settle for six trophies. Plus, A24 not only captured best picture for “Everything Everywhere All at Once” but also pulled off the incredibly rare feat of winning every major acting category, with three statuettes coming for the cast of the head-spinning adventure film and the other one recognizing Brendan Fraser’s work in “The Whale.” But don’t expect the studio to do a victory lap. Co-founders David Fenkel and Daniel Katz (who named their shop after the highway that connects Rome to Teramo) shun the spotlight and have done almost no interviews or profiles, though they have certainly been asked. Rather, the indie moguls say they prefer to let their films speak for themselves — an anomaly in Hollywood, where executives usually push one another aside to claim credit for successes.

Clayton Davis In the late summer of 2012, the indie film production and distribution company A24 was born. Drama, comedy, horror, documentary, animation – nothing has been off-limits for the New York outfit.

EXCLUSIVE: Davionte “GaTa” Ganter is working on an animated series for Onxy Collective.

The Dog Who Wouldn't Be Quiet is very much its own creature. In ways that can pull you in and also keep you at a distance, it has no use for movie conventions of plot and characterization as it traces turning points in its 30-something protagonist's life — a life shaped by ordinary strife and joy and, for a while, a strange planetary phenomenon.

Literally opening, as the title implies, with “The Dog Who Wouldn’t Be Quiet,” Argentinian director Ana Katz’s melancholic rumination on the life of Sebastian (Daniel Katz, the filmmaker’s brother), a languishing writer turned migrant worker, is a visually stunning, but oftentimes opaque experiment. Filmed in lush black and white, with animated interludes used to portray the more devastating aspects of Sebastian’s life, Katz’s film unfurls as a series of vignettes.