kanbar entertainment
kanbar entertainment says it was hoodwinked by weinstein co. | company town | los angeles times
hoodwinked: hoodwinked too! hood vs. evil, an alliance films release; the weinstein company and kanbar entertainment present a kanbar entertainment production in association with kanbar animation; written by cory edwards, todd edwards and tony leech, (dvd )
courtesy of :
hoodwinked too! hood vs. evil
( as kanbar entertainment, llc )
the resource hoodwinked: hoodwinked too! hood vs. evil, an alliance films release; the weinstein company and kanbar entertainment present a kanbar entertainment production in association with kanbar animation; written by cory edwards, todd edwards and tony leech, (dvd )
courtesy of :
hoodwinked too! hood vs. evil
( as kanbar entertainment, llc) less
data citation of the item hoodwinked: hoodwinked too! hood vs. evil, an alliance films release; the weinstein company and kanbar entertainment present a kanbar entertainment production in association with kanbar animation; written by cory edwards, todd edwards and tony leech, (dvd )
this is the logos for the wenstein company and kanbar entertainment, taken from the animated sequel hoodwinked too! hood vs. evil
in his declaration in the filing, kanbar entertainment chief operating officer russell pollock said the partnership between the two companies has a clause for arbitration and that last month kanbar sought to start proceedings but that the weinstein co. has delayed them .
in a petition filed with san francisco county superior court, kanbar entertainment is seeking to force weinstein into binding arbitration to resolve the dispute. the petition also claims that weinstein stopped making contributions to monthly production accounts after february, 2009, and failed to consult them on the release strategy. kanbar also says that weinstein never responded to proposed changes to the sequel, even though kanbar has “final authority on production decisions. ”
kanbar is also upset that the weinstein co. went ahead with a partnership to offer toys tied to the movie with burger king without kanbar' s approval. burger king started offering the toys in january even though there was no movie to promote .
financed by weinstein co. along with animation company kanbar entertainment ,
hoodwinked too !
went into production with a budget of $ 30 million, according to a person with knowledge of the budget but was not authorized to speak publicly on the matter. the weinstein co. declined to comment on the film' s budget. last year, the weinsteins and kanbar went to court over issues related to the film' s delay .
the producers of the animated movie “hoodwinked” claim that the weinstein co. breached its agreement when it postponed the jan. 15 release date of a sequel. in a petition filed with san francisco county superior court, kanbar entertainment is seeking to force weinstein into binding arbitration to resolve the dispute. the petition also claims that [ … ]
there are some nice 3 - d swoops and drops, but the more vertiginous entertainment of the film is in the script, as what we think we know is deliciously turned inside out .
background: this is the production company of american entrepeneur maurice kanbar. 1st logo (2005 - 2008) logo: on a black background, there is a rounded square shape, inside of which is a big capital letter
k
in a fancy font and a tiny lowercase
e
just to the right. below, the word
kanbar
is in boldface, and below is
entertainment
, with a line separating the words. fx / sfx: none. music / sounds: none or the opening theme. availability: can be seen on hoodwinked! , and lifelines. scare factor: none. 2nd logo (2010 - 2011) logo: on a black background, slowly zooming in towards the screen is a blue rectangle with a silver outline. on the rectangle is
kanbar
with
entertainment
below in a much smaller font, both in silver. the
k
and
r
in
kanbar
are larger than the rest of the letters, and
entertainment
is set between these two larger letters. a small glimmer slowly travels down the side of the logo from the top - right. fx / sfx: just the logo zooming in and glimmering. music / sounds: a five - note orchestral theme. availability: seen on seducing charlie barker, and hoodwinked too! hood vs. evil. scare factor: none .
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kanbar financed 100% of the production of “ hoodwinked, the true story of little red riding hood, ” which was released in north america by the the weinstein co. in 2005. according to the petition, kanbar says that it was prepared to finance 100% of the sequel, called “hoodwinked too! hood vs. evil, ” but at the urging of weinstein, entered into a co - financing arrangement with the company .
besides the delayed release date, other issues between the two companies include funds that kanbar alleges weinstein co. has not contributed for the movie. kanbar' s filing also charges that weinstein is in breach of its joint - production agreement for the movie - - a sequel to the surprise 2006 hit
hoodwinked: the true story of little red riding hood
- - because it never presented a plan to market and distribute the film or make a trailer for it, per the agreement. the filing says the movie was
substantially completed
in april 2009 .
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then that old adage about, in hollywood, its not what you know but who you know, again came into play. tie it into that other adage about, being in the right place at the right time, and hoodwinked was on its way to gaining distribution and making animation history. it seems that the entertainment attorney for blue yonder films also works with robert rodriguez and his wife, elizabeth. hearing about hoodwinked from their attorney, elizabeth rodriguez, in turn, mentioned it to harvey weinstein. two days later the weinsteins were screening the film. two weeks later blue yonder had a deal on the table .
ce: i grew up drawing cartoons, and was a professional illustrator and animator for a few years after college. i have always had an affection for the art form. i love watching it and learning about it as a filmmaking tool. during my summers in college, i worked for a commercial animation company in columbus, ohio as an
in - betweener ,
sketching the rough animation between key poses from the lead animator. that was extremely educational and taught me a lot about the fine points of movement and expression in animation. then years later, i got to direct some animated dvd product for my friend benjy gaither and his animation company, live bait entertainment (benjy also ended up voicing japeth the goat in
hoodwinked
is an irreverent, hard - edged retelling of
little red riding hood
- - a high - energy, imaginative entertainment aimed at younger audiences. replete with the violence typical of vintage cartoons, it opens in time - honored fashion with little red riding hood, known as red (voice of anne hathaway), arriving at her grandmother' s quaint cottage in the forest only to find the wolf (patrick warburton) disguised as granny (glenn close), who is tied up in a closet. a ruckus ensues, and an array of cops, led by chief grizzly (xzibit) descends upon the cottage, ready to arrest the woodsman (jim belushi) for assaulting the wolf, even if he is impersonating granny .
family entertainment these days is pretty much a bust. most of the time the content contained therein is just too soft and too nice to be enjoyable. there' s no real tension without more dramatic content, usually involving guns, explosives, etc. thankfully, hoodwinked is quite aware of that. if i had kids, this is one i' d definitely sit down and watch with them. it' s not difficult to figure out who the culprit of the caper is, but the ride to get there is totally enjoyable. i found some of the * wink - wink * moments at the audience with the music and the characters to be distracting, but mostly forgivable. this is a good solid animated flick for anyone to see and i' m not surprised that it' s getting a sequel .
review diy hits the realm of computer animation with hoodwinked, a first - tier recasting of little red riding hood, from a third - tier studio fueled by a plucky resolve to compete with the big boys. kanbar animation, the sounds - made - up studio, and cory and todd edwards, the brothers who jointly covered the tasks of directing, writing, writing the songs, and providing additional vocal talent, should have had a decent hit on their hands. but a number of curmudgeonly critics did their best to deep - six it, perhaps due to its less than plum january release date (it was once scheduled for christmas), perhaps due to digital animation that varies in quality from scene to scene, character to character. but in animation' s computer age, the script should be the determining factor between a dud and a hit, when the animation meets a minimum standard. the edwardses have written a truly funny and inventive reexamination of a common fairytale, borrowing the differing - perspectives structure of akira kurosawa' s rashomon and giving the story a decidedly feminist bent in the process. not every bit works - - the long scene of granny snowboarding down a mountain is tiresome, as is her talking to fellow snowboarders in urban street lingo. but the majority of it is pretty smart, with an accused wolf complaining of racial profiling, a barnyard of animals dressed up as police (including three oinking pigs), and a dapperly long - legged frog detective named nicky flippers (voice of david ogden stiers) trying to piece it all together like sher - frog holmes. the forest is also fondly reminiscent of what shrek accomplished in its self - contained storybook world. digital animation couldn' t remain the sole domain of pixar and dreamworks forever, and hoodwinked proves that the little guy deserves a seat at the table. ~ derek armstrong, rovi
the independently produced cg film movement takes another step forward with this month & apos; s release from the weinstein company, hoodwinked. producers insist the movie is a true indie project — made for less than $ 20 million. the project & apos; s production model saw animation created at a studio in the philippines; compositing, lighting, and texturing done at a different facility in india; and all conceptualizing, storyboarding, editing, and finishing work done out of a small production office in burbank, calif .
a sequence from hoodwinked as it appeared in the final cut pro interface. fcp was used to first previsualize the movie from storyboards and then edit it as the project moved along .
the executive summary: filmmakers wrote the story themselves, found a single investor to back them, made the movie on a shoestring overseas, edited and assembled an embryonic version themselves in final cut pro, shopped it at the cannes film festival, and lured the weinstein brothers to buy it as the first animated release for their new distribution entity. that agreement came with enough cash to finish in a fotokem di suite and add star power to the voice cast (glenn close, ann hathaway, james belushi, andy dick, and patrick warburton, among others) .
cory edwards, who co - directed the movie with todd edwards (his brother) and tony leech (who also edited the piece), explains that the journey was more complicated than all that. for one thing, the filipino studio, digital eyecandy, founded by producers sue bea montgomery and david k. lovegren specifically for the project, was originally meant to be the place where the entire movie would be made. time and budget limitations, however, forced filmmakers to add prana studios in mumbai, india, to the mix, while also making some hard decisions about limiting the number of lead characters, crowds, digital sets, and so forth. but mainly, edwards suggests, the indie nature of the project impacted the final creative direction of the story and imagery “just as it would with a live - action independent film. ”
“like many indie films, we did not have the luxury of re - working scenes and going back to the drawing board — we had to get scenes right the first time, ” says cory edwards. “that meant we needed a battle plan to figure out what shots we needed earlier than a major studio feature would require. that is one reason we came up with a stop - motion type of look to the cg animation. our mantra was to do something small very well rather than trying to copy something huge and grand poorly. so we picked a style that made it a little more quaint and less realistic, but funnier. ”
filmmakers adopted a stop - motion style for the film & apos; & apos; s cg imagery in order to produce the animation within their tight budget and timeline .
the edwards brothers drew all storyboards themselves; leech cut them together with temp dialogue, music, and effects using final cut pro 3 on a dual 1ghz g4 powermac computer in his apartment. that reel served as a basic template for the film, which allowed the animation process to get underway in the philippines. as rough animatics for each scene were completed, the edwards brothers and leech continued building the evolving cut in final cut pro (eventually upgrading from fcp 3 to fcp hd 4. 5) on top of an apple xserve raid (2. 5tb) foundation, connected to the g5 through fibre channel at burbank offices provided by fotokem, the facility that later provided digital color correction services .
in the philippines, artists created 3d images in maya (4. 0) as filmmakers spent much of their time at that studio personally supervising animators. filmmakers also routinely collaborated remotely using a combination of mac isight teleconferencing technology on their laptops and photoshop as a collaboration tool .
“i created about 200 photoshop images representing changes in environments or characters, drawing arrows and colors and notes on the images, sort of like a john madden telestrator [ used on football telecasts ], ” says edwards. “sometimes, we could even fix frames ourselves in photoshop, rather than sending it back across the world to india. we found that photoshop was a great tool for drawing pictures to communicate visually with artists. ”
leech adds that the project & apos; s upgrade to final cut pro hd greatly smoothed the assembly and approval process during this period. “i down - rezzed the hd shots in final cut pro by bringing them into 10 - bit dv resolution timelines and rendering them out, ” explains leech. “when we moved up to final cut & apos; s version 5, it really helped retain the image quality because version 5 has a much better scaler to bring images down to ntsc size without introducing artifacts like aliasing. ”
leech says that as shot approvals trickled through, prana artists moved original, 16 - bit tiff images along the pipeline by compositing them in digital fusion and rendering them out in the mayaman plug - in from animal logic research. frames were then copied from prana & apos; s servers to ata drives, which were shipped to burbank .
there, filmmakers opened each shot as an image sequence in quicktime pro. they then exported shots at an uncompressed 1920×1080 frame size. would leech opt for the same approach in the future ?
“if we were to do this again, i would research converting the still image sequences to hd shots using a 10 - bit codec that might provide some lossless compression, ” leech says. “a single shot from hoodwinked is often in the neighborhood of 1gb to 2gb. with nearly 1, 400 shots in the film, storage space fills up quickly. ”
shots were next brought into final cut pro and scaled down in the 24fps edit timeline to letterboxed 720×480 versions. “this allowed us to create material that would go out to dvcam [ with a pulldown ] or dvd [ as 23. 98 material ] for screening purposes, ” says leech. “dvcam tapes with foot / frame and timecode burn - ins were provided to skywalker sound for the final sound mix .
“once we were ready to go to the iq room at fotokem to do our digital color correction and create a digital intermediate, we created hd timelines in final cut pro, and did a simple copy - paste from the 720×480 timeline to the hd timeline, ” he continues. “we then exported the hd reels as quicktime movies using the same attributes we used when converting the still images into hd shots. ”
reels and edls were then brought on firewire drives to fotokem. the fotokem team brought hd quicktimes into shake and parsed them into cineon frames. from there, frames were loaded into the iq, where fotokem colorist walter volpatto color - timed the film, and also made certain visual fixes that money and time limitations prevented filmmakers from addressing earlier in the process. cory edwards describes this stage as “one more chance to direct the movie. ”
“there were a handful of places where we had single - frame problems, and walter was very helpful in painting things in or out, ” he says. “there was one shot where a character & apos; s head was not properly connected to his body — it was floating above his body. in the iq, walter was able to paint in the part of his neck that was missing frame by frame. that can be costly if you do too much of it, but on the other hand, in selected places, it & apos; s a lot more cost - effective to have walter do it over a few minutes rather than sending the shot back across the world to be revised. ”
filmmakers say the experience taught them several things they would do differently in crafting a future indie cg pipeline .
“it all depends on if the story is any good, obviously, but assuming so, the technology is now there to make these kinds of films independently, ” he says. “i think a boom will happen now like the kind that happened in the 1990s with live - action indie films — you will see a lot of them. ”
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ce: since i could walk! okay, a little after that. my brother and sister and i have always been creative, putting on plays and puppet shows and making a very big deal out of our halloween costumes. and that segued into making radio shows on our tape recorder, and experimenting with our church' s video camera. at about ten years old, i became very, very fascinated with how every art form imaginable comes together to make one art form: a movie .
. up until then, i had really only seen disney comedies and a few light family films. i was the perfect age to receive it at nine years old, and
was my introduction into bold, mainstream movie making. it blew the doors off my imagination and my concept of what a movie could be. the world just got bigger. i believe it was that summer that i checked out every book in the library about filmmaking and started making my own movies. my entire life from that point has been a constant quest to do what i do now. my wife tells me that this is rare: to stick to the one thing that gave you joy as a child and to make it a career. so i feel blessed every day .
ce: that was a film written and directed by my brother, todd edwards. todd and i started a production company called blue yonder films (which continues to make films today), and this was the project that we poured all of our contacts, resources and efforts into. thematically, it' s ironic, because the plot is about some guys who have no drive or goals after college (or have forgotten them) and have to find a passion for their lives again. for all of us in blue yonder ,
became that passion for a couple years. i was a producer on the film, which means i was on the phone a lot raising money. we raised the budget ourselves and shot the whole thing independently in tulsa, oklahoma. i was also an actor in it. the film was the first feature - length project we had ever worked on, and it was accepted into sundance. that was a thrilling time for us, and we met a lot of people and finally started getting hooked into the hollywood community .
is a labor of love that i will always look back on fondly... and it celebrates its ten year anniversary this month. go check it out !
, which would also be the weinstein company' s first fully - animated feature; this was also mentioned by todd edwards to be the first fully independently - funded computer - animated feature film. tell me about bringing this story to life, from the earliest stages of development to post - production .
ce: it all began when we were courting an investor in san francisco on a number of other live action projects. when he expressed an interest in animated films, we prepared a brand new story to pitch to him, and that was
. i remember the day that todd called me up and pitched me the concept: red riding hood' s story as a crime story, told from four different perspectives! to this day, i don' t think i' ve seen another kid' s film told like this: non - linear, with four stories crossing paths. i think that' s the
steam
that got me going and kept me working on it for three years. it was such a unique concept .
began as a completely independent project, and for three years, we had no idea if it would be distributed. todd and i wrote the first drafts in a coffee shop. then tony leech came on to edit the story reel on his mac while i sketched the storyboards and todd wrote the songs. this phase was all happening in tony' s apartment! then our producer, sue bea montgomery, would come over and meet with us and kept talking to our investor. the project began with very humble aspirations; as a dvd release for young kids that might pay our bills for a while .
thankfully, weinsteins came in at the eleventh hour and helped vault it to a major release. they also helped us get some bigger names in the cast. weinstein company' s involvement also inspired the investor to spring for better technology and a better sound mix - - at skywalker sound, no less! all of that happened very fast and then the brilliant marketing campaign from weinstein company (which also had to happen very fast) created this wave of audience awareness for the film just weeks before it came out. we missed the number one box office spot that weekend by only $ 50 grand !
and i realize that there were other independently - funded projects being done at the same time, but yes, we were the first... the first kind of a new model and a new way of making an animated film. it was made with no studio money, overseas, then picked up by a major distributor. a few other animated films have followed this path, but not to the level of success that
had a movie come out earlier that year, but that was with a struck deal and brand recognition .
was this freak of nature that was made completely outside of the studio system and, thankfully, worked. i rarely toot my own horn, but these are facts that never get mentioned and i am really proud of what our little film did .
was made for under $ 8 million, and has grossed over $ 150 million worldwide. that easily makes it the most profitable animated film of its time .
.). so all of these experiences led me to be in a unique position of being confident enough to directing an animated film as my first feature. i never would have dreamed that' s how things would play out in my career .
ce: i just watched it again recently at a screening for some college students. it' s my favorite kind of audience; the audience we really wrote it for. while there will always be clunky scenes that i have regrets about, i still enjoy watching most of it. i think we got about 80% of what was in my head onto the screen. and considering our resources, i' d say that' s pretty good! there are still jokes that i laugh at... weird jokes, like when the wolf says he was
raised by wolves ,
we top that joke by going to a
ken burns documentary
shot of his family with sad piano music. i can' t believe we got away with that stuff. but it made us laugh .
fond memories from the film would include the camaraderie that we were able to achieve in the philippines as we carved out a tiny animation studio. my partners and i got very familiar with all of the malls around manila. we would always look forward to going out at the end of a long, long day and having some comfort food at the westernized restaurants (
hey, they have an outback steakhouse !
). i will also never forget driving onto skywalker ranch to mix the sound for my movie. it' s as heavenly there as you might imagine .
; you are not directing this time, but are credited with writing the screenplay. what made you decide against directing the film, which is now being directed by established animator mike disa .
ce: while tony, todd and i enjoyed revisiting those characters (and protecting them) by writing the script, there are many reasons i was very firmly against directing the sequel .
first off, i felt like if my second film was a sequel to my first film, that would be a very lateral creative move for me. it' s not exactly a career - stretching way to cash in the
currency
i had earned with
hoodwinked .
another reason was that i wanted desperately to get into live action films, and was very concerned about being pigeon - holed as an animation director (since i have never seen myself as that in the first place). but one of the biggest reasons i didn' t want to direct
was because i did not have a good experience with some key people on the first film. to put it lightly, i was not treated well. i don' t have any interest in working with people like that again. life' s too short .
and on the positive side, i think mike disa is doing a great job as director. he' s a lot smarter in the world of animation than i am, and he is taking the
hoodwinked
world to a new level. i look forward to the film he' s going to create with our screenplay .
ce: that whole thing started as a rewrite assignment. todd and tony and i did the rewrite as we were finishing
, and it was a tough assignment. the film was basically finished and purchased as a foreign film, and we were asked to rewrite the whole thing while fitting new jokes and new dialogue into the existing lip sync of the characters. and by that i mean we completely changed the plot and even re - edited the movie as we wrote, all the while knowing that we could never change a frame of the animation. so the film was a bit of a
frankenstien' s monster ,
to say the least .
then, to really sell our take on the movie, and to make sure the jokes were actually fitting with the lip sync, the three of us overdubbed all the character voices in a rough cut and showed it to the weinsteins. they liked it so much that they asked me to come in and do some voices here and there. i defy you to tell which lines are mine... i don' t think i can remember myself! a skeleton here, a tiny creature there... and i even doubled for bill hader' s character in a few scenes. it was fun to be in the booth, but also a little stressful, since none of us really knew where the project was going. to this day, you can say the word
doogal
to me and i feel like i' m going to break out in a rash .
ce: tony' s had this great concept :
in area 51, alien prisoners stage a jail break .
the aliens are all from different planets, with different abilities and faults. the humans are mysterious
monsters
to them; the villains, if you will .
the film is still in production up in vancouver, and the last i heard, they are in the
story reel
phase, which is a version of the film that is simply storyboards edited together with temp audio. we have done a lot of rewrites on this script, and it has been a long process of figuring out what the studio wants and balancing that with what we, the writers, want. truthfully, i have not written on the film for almost a year, and i know that tony is moving ahead with some minor rewrites on his own. the artwork i have seen is unbelievable... fantastic ,
incredibles
caliber stuff. they are just scrutinizing the finer story points at this point. i anticipate that they will be moving into casting very soon .
the script always makes me laugh out loud in many, many parts, and it' s going to have some amazing action scenes in it. look forward to hearing more about it in a year or so .
will be released in 2011, and i know that everything about this movie is being kept top secret, so let' s talk about what you have been doing to get into the mindset of making this film; you wrote on your site that you have been re - watching every muppet film. what are some of your favorite muppet moments ?
ce: i am hopeful that the film will release sometime in 2010, but we are currently awaiting a production green light. the script is in great shape, but a production budget and schedule are not in place yet. i' m really excited about the
movie and hopefully it will exceed expectations. i' m shooting high with this one, trying to say some big things about humanity in the way that
did, but at the same time, make a really cool adventure film .
to this day, there is a magic in that stunt that every other muppet stunt has to match. i love films that were made pre - cgi effects, because when you see a moment like this one, you know it' s really happening on the set .
the muppets drive a real car! that blew my mind. to see these characters leave the tv studio environment we had always seen them in and take off into the real world was very exciting. and i can still sing every word of this song .
there are so many crazy puppet stunts in this that it amazes me. these little rats are skating on real butter pads, unicycling with egg beaters, and swimming in soup pots. all with real puppets, each rigged for that specific gag. while frank oz directed the film, jim henson directed this sequence. it' s a real testament to his love of these kinds of
magic tricks ,
and his commitment to building a different puppet for each single gag .
every muppet character seemed to be there in the chapel, even the sesame street gang. it really felt like one of those monumental
this is your life
moments for the characters. and i still don' t know if the union is legal or not .
just a happy, chaotic song that encapsulates that muppet energy: they all live together in a condemned, cheap hotel, full of hijinks and calamity, and they love it! the song is so catchy and makes me wish i could live there too .
it doesn' t really make much sense what happens here... all the hollywood sets fall down and suddenly there are a hundred muppets singing. it' s kind of a
dream sequence
moment. but those lyrics about
the lovers, the dreamers and you
get me every time .
i have to stop there. i' m sure there are more, but these rose to the surface !
ce: i first met lisa henson and jason lust from the company at the san diego comic con, through some mutual contacts. then they told me that they had seen
hoodwinked
and loved the tone of it. i' ve always thought that
had a significant
muppet
vibe to it. then they asked me to work on a rewrite of the
sequel. that was an exciting prospect, but the deal never came together and the film has changed hands in several ways since then. but that got me into several conversations with the studio that led to
was not a series i was familiar with, and i wasn' t sure if that was the right move for my second film. but the more i thought about jim henson' s original vision for the fraggles and that it was a chance to say something very significant to the world, the more i got really invested in the idea. after i had a story in my head i wanted to tell, the deal came together very quickly .
working with the jim henson company has been the best situation i could imagine. they are all very smart people over there, who care very much about their properties and characters. but they are also incredibly collaborative and want to pave the way for new creatives to do their own thing. it' s been a very open place to throw around ideas and argue for the best movie. lisa and jason have been extremely supportive of what i want to do, and brian henson has also become a good mentor to the project. he' s always giving me tips and advice on how to shoot puppets, or sharing a war story that will help me down the road. i couldn' t be happier to work with this group; the people who forged most of my childhood influences !
ce: i sincerely hope that i will be able to carve out a niche in this business where i am a
brand name
director. by that i mean, when an audience sees my name, they anticipate something good... and when a studio thinks of me, they are eager to make a
cory edwards film .
that kind of branding can take several years and several movies to create, but that is why i am so careful with my choices for the next few projects. i hope in ten years i have had the chance to explore a number of genres. you look at the careers of spielberg, zemekis, ridley scott, david fincher, ron howard... these guys began as the go - to guys in specific genres, but the public has allowed them to
grow up
and venture into all kinds of material. i want to keep surprising people, but still keep my name synonymous with quality. and right now in the present, if people want to see me as the family film / comedic guy, well that ain' t all bad either .
fulle circle magazine is a publication of interviews, articles and essays for anyone interested in interesting people. edited by jason anders .
the weinstein co. is pushing back the release of its sequel to its surprise animated hit
hoodwinked .
originally set to premiere the weekend of jan. 15 ,
hoodwinked too! hood vs. evil
now will debut in february at the earliest. david glasser, a senior weinstein co. executive who oversees distribution, cited a few reasons for the move .
he said the company is focusing its resources on a big marketing and promotion push for
youth in revolt ,
its teen comedy starring michael cera that debuts jan. 8, and it is also making some
tweaks
to the animation of
hoodwinked too .
we were rushing to get the picture ready ,
said glasser of the decision to hit pause on
hoodwinked too .
although the original
hoodwinked
also opened on the martin luther king jr. weekend and did well, glasser believes
youth in revolt
is strong enough to
own a couple of weeks .
glasser added that weinstein co. is the final stages of a marketing deal with a fast - food chain, although he declined to disclose any other details on a promotional tie - in campaign for
hoodwinked too .
glasser said a new firm release date for
hoodwinked too
has not yet been set, but he hinted he ls looking at february. while weinstein co.' s financial challenges have been well documented and the company has over the last 18 months shuffled many of its release dates (including most recently
nine
), glasser said money is not an issue in the decision to delay
hoodwinked too! .
weinstein co. did have reason to celebrate yesterday as the company' s movies - - including
nine
and
inglourious basterds
- - were nominated for 12 golden globes .
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in 2010, animation was a hot ticket at the box office, with four of the top ten movies of the year coming from that genre. between them, those four films brought in more than $ 1. 1 billion in north american dollars alone. the wave was riding high, and with some highly anticipated sequels coming in 2011, that trend seemed certain to continue. except…it didn’t .
in fact, the best performing animated film in 2011, cars 2, looks likely to finish in seventh for domestic box office with a north american total of $ 191. 4 million. this total is $ 26 million lower than last year’s
best performing animated film, how to train your dragon. we actually have to go all the way back to 2002 to find an animated film in the top ten for the year that finishes with a
total than cars 2 – and that movie is ice age, whose $ 176. 3 million domestic finish still inflation adjusts quite a bit higher than cars 2’s number for 2011 .
it wasn’t all gloom and doom, of course. the first animated film of the year, gnomeo and juliet, came on pretty strong. a comparatively inexpensive movie to make (some reports have it with a $ 10 million production budget, though it’s likely higher than that), the shakespeare knockoff had a debut weekend of $ 25. 4 million, and it finished its north american run with $ 100 million. beyond that, we had a number of animated films that finished above their reported budgets in terms of domestic finish, but none of them were stellar in that regard. international numbers had to save the day for a lot of studios that invested in animated properties in 2011 .
other than gnomeo & juliet, the year was peppered with middling to blah domestic performers. those so - so titles would include rango, which although a terrific little animated film, was only able to pull $ 123. 3 million in north america versus its $ 135 million budget. hop was actually a decent earner with $ 108 million (versus a $ 63 million budget), but expectations seemed higher and it felt like a slight letdown even with the decent return on investment. the same goes for rio, which tallied $ 143. 6 million against a $ 90 million budget and the smurfs ($ 142. 6 million versus $ 110 million). winnie the pooh, the only new wide release of the bunch to utilize classic animation, just missed its $ 30 million budget with a domestic total of $ 26. 7 million (and barely got it back even with international numbers) .
then we had the various sequels, all of which underperformed compared to their predecessors. hoodwinked too! hood vs. evil kicked things off by opening to only $ 4. 1 million and taking in $ 10. 1 million at the domestic box office. the original hoodwinked earned $ 51. 4 million back in 2006, so this was a truly disastrous result for the weinstein co. this was a film that couldn’t even make its money back with international receipts, as it only made an additional $ 7 million or so overseas, meaning it only took in about 50% of its budget in theaters .
need to contact us? e - mail a box office prophet. monday, july 9, 2018 © 2018 box office prophets, a division of one of us, inc .
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daily box office (sun .) | weekend box office (jul. 6–8) | # 1 movie:' ant - man and the wasp' | showtimes
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the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
movies and tv shows are certified fresh with a steady tomatometer of 75% or higher after a set amount of reviews (80 for wide - release movies, 40 for limited - release movies, 20 for tv shows), including 5 reviews from top critics .
is missing the first installment' s wit and refreshingly low - budget charm .
the sequel to hoodinked finds our heroine, red (hayden panettiere), training with a mysterious covert group called the sisters of the hood. but red is forced to cut her training short when she gets an urgent call from nicky flippers (david ogden stiers), who returns as head of the super - secret happily ever after agency, aka the hea. a wicked witch (joan cusack) has abducted two innocent children, hansel (bill hader) and gretel (amy poehler), and nicky needs red for the search - and - rescue mission. granny (glenn close) and the rest of the hoodinked gang - including the ever - clueless wolf (patrick warburton) and his over - caffeinated little partner, twitchy (cory edwards), join red to solve the forest' s latest caper. - - (c) official site
full of manic momentum and nattering, witless word play, the movie has all the charm of a mudslide .
remember the first
hoodwinked ,
five years ago? remember how it ended with the promise of a sequel? remember how many times you' ve wondered when - oh - when - will - it - finally - come? me neither .
parents should take their children to
hoodwinked too! hood vs. evil ,
if only because kids are never too young to learn the important and liberating skill of walking out of a movie and demanding a refund .
hoodwinked
wasn' t a bad movie, but it wasn' t a smash hit, either, and the stash of spoofable fairy tales is now as empty as old mother hubbard' s cupboard .
if you' re looking for an animation that is rife with pop culture references and riffs on fairytales; save yourself the agony and watch shrek instead .
surely too much money has been spent on the cast and the 3d rather than on fashioning an intelligent, funny script .
as with the wicked witch, there' s something inherently untrustworthy, even slapdash, about this whole affair .
if your little ones are clamoring for this then make them wait for cable .
now i like the first hoodwinked movie very much, and for a low budget cg film its very funny and keeps you entertained, so when i heard they were going to make a bigger budgeted 3 - d sequel i was interested, but the better cg doesn' t add to how poorly this film was made, the cg may be better, but the lip synching is terrible and the voice acting isn' t that good. though patrick warburton was still funny as the wolf, the new voice actors just didn' t do it for me. the villains of the film are lame and annoying along with their voices and attitudes, there were only a few real moments that made me laugh, the plot is forgettable, and it rips off star wars which is inexcusable to do, and they even have a moment where ben kenobi talks to red and says
wrong person .
that is just flat out stupid. the only real thing i liked in this film was the scene with the three little pigs being bad mercenaries, but the funny thing about it is that cheech marin plays one pig and chong plays another, and i found that pretty funny actually, but the rest of the film is just crap, and is undoubtedly the worst film i' ve seen this year.
kanbar entertainment is an independent film production studio founded by private investor maurice kanbar and disney animation veteran sue bea montgomery in 2002 . the studio produced hoodwinked ! , which was one of the first computer-animated films to be entirely independently financed . the film was produced on a budget of less than $ 8 million , considerably less than the typical budget for an animated film . to save costs , kanbar entertainment founded the animation studio digital eyecandy in manila , philippines to create most of the film 's animation . the weinstein company signed on as the film 's distributor near the end of its production and it was released in december 2005 . the film received mixed critical reviews , but was financially successful , earning over $ 110 million worldwide . hoodwinked ! 's success led to a sequel being announced in january 2006 . although kanbar entertainment originally intended to finance the film entirely on its own as it had done with the first film , it was convinced by the weinstein company to enter into a co-financing agreement with the studio . this allowed the film to be produced on a larger budget than its predecessor at $ 30 million . the film was initially scheduled for a january 2010 release , but in december 2009 , the weinstein company postponed the release date . kanbar entertainment sued the weinstein company in april 2011 , claiming that the delay violated their agreement and also accusing the studio of not contributing to monthly production accounts after february , 2009 , neglecting to consult them on a release strategy , and failing to respond to proposed changes to the film , even though they held " final authority on production decisions " . hoodwinked too ! hood vs. evil was eventually released in april 2011 to almost universally negative critical reviews and financial failure , earning $ 16.9 million worldwide ; only about half of its budget . kanbar entertainment enlisted interworks , inc. to create an android based video game of hoodwinked too ! hood vs. evil . kanbar entertainment had several ideas proposed to them by interworks , inc. and chose hoodwinked too ! decoder game , which was released on the android market in correlation with the film 's april 29 , 2011 release date . kanbar entertainment also produced lifelines , which was released in 2009 and seducing charlie barker , which was released in 2010 . 
kanbar entertainment is an independent film production studio founded by private investor maurice kanbar and disney animation veteran sue bea montgomery in 2002. the studio produced hoodwinked! , which was one of the first computer-animated films to be entirely independently financed. the film was produced on a budget of less than $ 8 million, considerably less than the typical budget for an animated film. to save costs, kanbar entertainment founded the animation studio digital eyecandy in manila, philippines to create most of the film's animation. the weinstein company signed on as the film's distributor near the end of its production and it was released in december 2005. the film received mixed critical reviews, but was financially successful, earning over $ 110 million worldwide. hoodwinked!'s success led to a sequel being announced in january 2006. although kanbar entertainment originally intended to finance the film entirely on its own as it had done with the first film, it was convinced by the weinstein company to enter into a co-financing agreement with the studio. this allowed the film to be produced on a larger budget than its predecessor at $ 30 million. the film was initially scheduled for a january 2010 release, but in december 2009, the weinstein company postponed the release date. kanbar entertainment sued the weinstein company in april 2011, claiming that the delay violated their agreement and also accusing the studio of not contributing to monthly production accounts after february, 2009, neglecting to consult them on a release strategy, and failing to respond to proposed changes to the film, even though they held " final authority on production decisions ". hoodwinked too! hood vs. evil was eventually released in april 2011 to almost universally negative critical reviews and financial failure, earning $ 16.9 million worldwide; only about half of its budget. kanbar entertainment enlisted interworks, inc. to create an android based video game of hoodwinked too! hood vs. evil. kanbar entertainment had several ideas proposed to them by interworks, inc. and chose hoodwinked too! decoder game, which was released on the android market in correlation with the film's april 29, 2011 release date. kanbar entertainment also produced lifelines, which was released in 2009 and seducing charlie barker, which was released in 2010.
kanbar entertainment is an independent film production studio founded by private investor maurice kanbar and disney animation veteran sue bea montgomery in 2002. the studio produced hoodwinked! , which was one of the first computer-animated films to be entirely independently financed. the film was produced on a budget of less than $ 8 million, considerably less than the typical budget for an animated film. to save costs, kanbar entertainment founded the animation studio digital eyecandy in manila, philippines to create most of the film's animation. the weinstein company signed on as the film's distributor near the end of its production and it was released in december 2005. the film received mixed critical reviews, but was financially successful, earning over $ 110 million worldwide. hoodwinked!'s success led to a sequel being announced in january 2006. although kanbar entertainment originally intended to finance the film entirely on its own as it had done with the first film, it was convinced by the weinstein company to enter into a co-financing agreement with the studio. this allowed the film to be produced on a larger budget than its predecessor at $ 30 million. the film was initially scheduled for a january 2010 release, but in december 2009, the weinstein company postponed the release date. kanbar entertainment sued the weinstein company in april 2011, claiming that the delay violated their agreement and also accusing the studio of not contributing to monthly production accounts after february, 2009, neglecting to consult them on a release strategy, and failing to respond to proposed changes to the film, even though they held " final authority on production decisions ". hoodwinked too! hood vs. evil was eventually released in april 2011 to almost universally negative critical reviews and financial failure, earning $ 16.9 million worldwide; only about half of its budget. kanbar entertainment enlisted interworks, inc. to create an android based video game of hoodwinked too! hood vs. evil. kanbar entertainment had several ideas proposed to them by interworks, inc. and chose hoodwinked too! decoder game, which was released on the android market in correlation with the film's april 29, 2011 release date. kanbar entertainment also produced lifelines, which was released in 2009 and seducing charlie barker, which was released in 2010.