Disney Plans to Produce Original Content for New Streaming Service

Everybody is getting into the streaming business. Not content to sit back and let Netflix have all the fun, Disney is getting ready to launch their own streaming service. And just like Netflix, they now plan to create their own original movies and TV shows. Get the details on the Disney streaming service below.

Breaking up can be hard. The seemingly tranquil relationship between Disney and Netflix is nearing its end, and we’re all about to become children of this divorce, pulled in two directions by our streaming parents. In August, Disney CEO Bob Iger announced that Disney would be forming their own streaming service, and promptly pulling their content off of streaming platforms like Netflix. Iger called the move “a strategic shift in the way we distribute our content,” although later he walked things back slightly and said that while Disney’s own films were definitely expected to move to their new streaming service, the fate of Star Wars and Marvel films was still being determined. That changed rather quickly, however, when Iger later confirmed that Marvel and Star Wars titles would move as well.

Now Iger is doubling-down on the Disney streaming service, giving more details as to why Disney is making the move (via Heroic Hollywood):

“[W]hat we’re doing is we’re taking product out there direct-to-consumers, a sports product in 2018 and a Disney-branded product in 2019. And we’re doing that because we experienced and see a huge disruption in the media business. It doesn’t take a genius, I think, to conclude that the media business today doesn’t look anything like the media business even five years ago. At some point, we felt it would be necessary for us to not only be disruptive but to disrupt our business ourselves. The decision to do that came when we felt we were no longer seeing a speedbump of disruption, which is basically something that occurs, changes things a bit and we react to it. What we were seeing instead was real, profound and permanent change.”

And that’s not all. Just as Netflix has grown their brand by producing their own TV shows and movies, so shall the Disney streaming service. Per Iger:

“We’ll make original films for the platform, probably about five a year. Those will be made specifically for the platform. And we’ll do the same for television. We’ll make original TV series; we’ll take Disney Channel series and move them eventually to this platform. And we’ll also fill it in with shorts and other library product. So it’ll have thousands of hours of Disney, Marvel, Pixar and Star Wars-branded product on it.”

Iger claims the streaming service will produce at least five new films per year, along with original series. The Disney streaming service is expected to go live some time in 2019, which gives Netflix plenty of time to send a really nice Edible Arrangement to the Disney offices with a card begging them not to go.

From SlashFilm

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Disney Releases Updated Film Release Schedule…Aladdin and Star Wars Episode IX Get Release Dates

A dream is a wish your heart makes, and today, Walt Disney Studios made kids’ and parents’ dreams come true when it announced the release dates for 20 (!!!) upcoming films, including the live-action Aladdin and the highly anticipated Star Wars: Episode IX. 

Mark your Disney princess calendar, because here are all of the upcoming House of Mouse film releases through the end of 2019. Bibbidi-bobbidi-boom!

Thor: Ragnarok: November 3, 2017
Coco: November 23, 2017
Star Wars: The Last Jedi: December 15, 2017
Black Panther: February 16, 2018
A Wrinkle in Time: March 9, 2018
Dolphins: April 20, 2018
Avengers: Infinity War: May 4, 2018
Untitled Han Solo Project: May 25, 2018
The Incredibles 2June 15, 2018
Untitled Christopher Robin Project: April 3, 2018
The Nutcracker and the Four Realms: November 2, 2018
Ralph Breaks the Internet: Wreck-It Ralph 2: November 21, 2018
Mary Poppins Returns: Decembe 25, 2018
Dumbo: March 29, 2019
Untitled Toontown Studios Film: April 12, 2019
Live-Action Aladdin: May 24, 2019
Toy Story 4: June 21, 2019
Artemis Fowl: August 9, 2019
Nicole: November 8, 2019
Star WarsEpisode IX: December 20, 2019

From PureNow

Ewan McGregor to Star in Disney’s ‘Christopher Robin’

Ewan McGregor is in talks to star in Disney’s Christopher Robin.

Disney’s live-action film, which will be helmed by World War Z and Quantum of Solace director Marc Forster, centers on the child from the A. A. Milne’s Winnie the Pooh stories — but he’s all grown up.

McGregor will play the adult Christopher Robin, who’s lost his sense of imagination and is a businessman focused on work and success.

The studio also is bringing in Oscar-nominated screenwriter Allison Schroeder (Hidden Figures) to take a new pass of the script. Alex Ross Perry wrote the screenplay, with Tom McCarthy working on a later draft.

Milne’s Christopher Robin was inspired by and named after his own son, Christopher Robin Milne. He wrote about the character in two books, Winnie-the-Pooh (1926) and The House at Pooh Corner (1928), and other poems. Disney adapted the tales into several animated projects, including the 1988 series The New Adventures of Winnie the Pooh and the 2011 animated film Winnie the Pooh.

The Jungle Book producer Brigham Taylor is producing the project.

McGregor was most recently seen in Danny Boyle’s T2 Trainspotting and Disney’s live-action Beauty and the Beast with Emma Watson. He stars in the third season of FX’s hit Fargo, which premiered April 19, playing twins Emmit and Ray Stussy. He’s also attached to Drake Doremus’ next film, Zoe, with Lea Seydoux. He’s repped by UTA, United Agents in the UK and Sloane Offer.

Schroeder wrote the script for Fox’s hit film Hidden Figures, which was nominated for three Oscars, including best adapted screenplay. She is repped by Verve and Good Fear Film + Management.

From The Hollywood Reporter

Disney Announces Release Dates for Frozen 2 and Live Action Lion King

The Walt Disney Studios has just updated its release schedule—which means it’s time for Disney fans to update their calendars!

Some release dates are simply worth melting for… Frozen 2 has been scheduled to open on November 27, 2019. Development of the sequel to the blockbuster film from Walt Disney Animation Studios was announced in March 2015, with the Oscar®-winning team of directors Chris Buck and Jennifer Lee and producer Peter Del Vecho returning to continue the adventures of the characters fans first fell in love with in 2012.

The Lion King, directed by Jon Favreau, will open in theaters on July 19, 2019. Actor James Earl Jones is reprising the role of Mufasa in the live-action reimagining of the Disney animated classic, and Donald Glover is voicing the adult Simba in the new film. The savanna and its amazing inhabitants will come to photorealistic life through technology that builds upon the innovative filmmaking audiences loved in Favreau’s adaptation of The Jungle Book.

Of course, those aren’t the only opening dates you’re going to want to circle in red. Take a look at this list for 2017 and 2018—and set those calendar alerts. There’s a lot of popcorn in your not-too-distant future, and there’s always room for surprises, too! Stay tuned to D23 for all of the updates about these films, and more to come in the future.

2017

May 5—Marvel Studios’ Guardians of the Galaxy Vol. 2

May 26—Pirates of the Caribbean: Dead Men Tell No Tales

June 16—Cars 3

November 3—Thor: Ragnarok

November 22—Coco

December 15—Star Wars: The Last Jedi

2018

February 16—Black Panther

March 9—A Wrinkle in Time

April 6—Magic Camp

May 4—Avengers: Infinity War

May 25—Untitled Han Solo Star Wars Anthology Film

June 15—The Incredibles 2

July 6—Ant-Man and The Wasp

November 2—Mulan (Live-Action)

November 21—Ralph Breaks the Internet: Wreck-It Ralph 2

December 25—Mary Poppins Returns

‘Beauty And The Beast’ Ends Week Three With $920 Million

Another day, another Beauty and the Beast update. The Walt Disney blockbuster earned $3.2 million on its third Thursday, bringing its domestic total up to $407.3m in just 21 days. Presuming an over/under $25m fourth weekend, the film is looking at a 24-day total of slightly above $430m as it starts to lose theaters. But if that

But if that fourth-weekend drop is a little smaller than expected, it’ll be because 1,200 theaters will be getting a new Sing-Along version of the Emma Watson/Dan Stevens musical, just as Walt Disney did for Frozen and Moana.

Moana dropped just 8% on the weekend its sing-along version opened wide for a $2.4 million weekend. But, in that case, A) the film expanded by nearly 600 theaters and B) Moana was coming off a few Oscar nominations.

Back at the end of January 2014, Frozen fell just 2% on the weekend its “sing-along” version debut and bounced back from No. 4 to No. 2 in that weekend’s box office. It earned $8.9 million, outgrossing both new releases (That Awkward Moment and Labor Day) and giving it one final shot in the arm before The LEGO Movie blew into town. This time out, it’s one last ride before Fate of the Furious rolls into town.

So we’ll see how that plays out, as the Disney musical and DreamWorks Animation’s The Boss Baby fight it out for the (arbitrary) top spot. But either way, there isn’t that much more to offer until we get some solid weekend numbers as the $160 million-budgeted musical moves its way further up the all-time charts.

In terms of overseas muscle, the film earned another $6 million overseas to bring its foreign cume to $512.7m and its global cume to a whopping $920m thus far. As of this moment, it is the 22nd-biggest domestic grosser of all time (not accounting for inflation or 3D bumps) and the 41st-biggest global earner ever, just above Shrek 2 ($919m back in 2004 and in 2D).

There are no new overseas markets this weekend (South Africa is next weekend and Japan is the weekend after that), so it will need several more days to claw up to the $1 billion mark. Beyond that, it’s just a matter of seeing just how far it’ll go.

From Forbes

‘Beauty and the Beast’ Dominates for the 2nd Straight Week

Disney’s “Beauty and the Beast” waltzed into the top spot at the box office for the second week in a row, earning an estimated $88 million, according to Box Office Mojo.

The live-action feature, starring Emma Watson, Dan Stevens, Kevin Kline and Ian McKellen, has raked in more than $315 million in 10 days. In addition, “Beauty and the Beast” brought in more than $119 million overseas, bringing its worldwide total to more than $690 million.

“Power Rangers,” starring Naomi Scott, RJ Cyler, Ludi Lin, Becky G. and Dacre Montgomery, had an impressive opening weekend, earning an estimated $40.5 million for a second place finish. “Kong: Skull Island” took third place with a $14.4 million haul.

“Life,” released last week and starring Jake Gyllenhaal, Ryan Reynolds and Rebecca Ferguson, had a disappointing fourth place finish, taking in an estimated $12.6 million.

Here are the top 10 movies from Friday through Sunday, with estimated weekend gross ticket sales:

  • 1 – Beauty and the Beast, $88 million
  • 2 – Power Rangers, $40.5 million
  • 3 – Kong: Skull Island, $14.4 million
  • 4 – Life, $12.6 million
  • 5 – Logan, $10.1 million
  • 6 – Get Out, $8.68 million
  • 7 – CHIPS, $7.6 million
  • 8 – The Shack, $3.78 million
  • 9 – The LEGO Batman Movie, $1.97 million
  • 10 – The Belko Experiment, $1.8 million

From ABC News

‘Beauty and the Beast’ Smashes Records With Towering $170 Million Debut

This is what makes Disney such a powerhouse.

“Beauty and the Beast,” the studio’s latest live-action update of a cartoon classic, waltzed its way to a towering $170 million debut this weekend, setting a new record for a March opening and solidifying the Mouse House’s status as the dominant player in the film business. No other company can match the streak that Disney is currently enjoying, thanks to a series of multi-billion acquisitions that put the likes of Pixar, Marvel, and Lucasfilm in its Magic Kingdom. Last year, the studio accounted for more than a quarter of all domestic ticket sales, and 2017 brings the release of sequels to “Guardians of the Galaxy,” “Cars,” and “Thor,” in addition to “Beauty and the Beast.”

“I don’t know if they made a deal with the devil, but Disney is an awfully potent empire right now,” said Jeff Bock, an analyst at Exhibitor Relations. “You continue to shake your head and roll your eyes, but they can do no wrong right now and that has all the other studios salivating.”

“Beauty and the Beast” represents another part of Disney’s branded strategy. It’s the latest fairy tale adaptation to hit screens. Others in the lucrative group include “Alice in Wonderland,” which picked up $1 billion worldwide; “Cinderella” with its $543.5 million global haul; and last year’s “The Jungle Book,” which racked up a mighty $966.6 million after finishing its run. Remakes of “Dumbo” and “Mulan” are already in the works, as Disney commits to putting a live-action spin on the bulk of its animated properties (Fans of “Treasure Planet” may be out of luck).

The latest fairy tale follows Belle, a bookish girl in France played by Harry Potter film veteran Emma Watson, who helps a tortured Beast (Dan Stevens of “Downton Abbey” fame) break out of his shell. In the process, she lifts a curse that’s left the Beast’s kingdom populated by talking household items. “Beauty and the Beast” didn’t muck about with the elements that made the 1991 film so beloved. Director Bill Condon kept the basic plot intact, while fleshing out a bit more of Belle’s backstory, and retaining a soundtrack that includes “Be Our Guest” and “Belle.” All those elaborate musical numbers and chatty cutlery don’t come cheap. “Beauty and the Beast” carries a hefty $160 million budget. It should make that money back manyfold after ticket sales are tallied and new lines of princess wear are whipped up to satisfy new generations of Belle lovers.

“Beauty and the Beast’s” appeal cut across the generations, while its feminist heroine, a brainy, headstrong villager who refuses to conform, resonated with younger women. Sixty percent of ticket buyers were female, while families accounted for half of the opening weekend audience. Children under 12 made up 22% of the crowd, while people between the ages of 26 and 34, the same demographic reared on the animated film, comprised 21% of the audience.

“The elements came together to make this into a can’t miss event,” said Dave Hollis, Disney’s distribution chief. “There was massive nostalgia for the original film. Parents loved the movie and they wanted to show this one to their kids and share that experience.”

Most major studios steered clear of “Beauty and the Beast.” The only other new release of note, “The Belko Experiment,” debuted to $4.1 million, which its backers say is success given its model. The film boasts a unique distribution strategy. “The Belko Experiment” opened in 1,341 locations, roughly a third of the theater count for a major studio offerings. The theaters are chosen because they are more popular with horror fans. Orion, an MGM label, backed the film and is distributing it with BH Tilt. That label is overseen by “The Purge” and “Insidious” producer Blumhouse. It’s trying to find more cost-efficient ways to bring smaller films to the masses. “The Belko Experiment” follows a group of American corporate types, who are locked in a high-rise office in Bogotá, Colombia. They are ordered by a voice on the intercom to kill one another in a gray flannel-version of Social Darwinism.

With “Beauty and the Beast” dominating ticket sales, last weekend’s champ, “Kong: Skull Island,” fell 53% to $28.8 million. That pushes the monster movie’s domestic haul to $110.1 million. Warner Bros. and Legendary Entertainment teamed up to produce the remake of King Kong.

Fox’s “Logan” took third place, pulling in $17.5 million and bringing the R-rated superhero tale’s stateside total to $184 million. Universal and Blumhouse’s “Get Out,” a thriller about a black man whose girlfriend’s white family holds a sinister secret, nabbed fourth position. It made $13.2 million, bringing its gross to $133.1 million. With a budget of $4.5 million, the film is one of the year’s most profitable. Lionsgate’s “The Shack” rounded out the top five generating $6.1 million and pushing the faith-based drama’s earnings to over $42.6 million.

In limited release, “T2 Trainspotting,” a sequel to the 1996 cult comedy about a group of heroin addicts, opened in five locations, earning $180,000. Ewan McGregor reprises his role as a drug-addict Scot. The actor also has a supporting turn playing Lumiere, a candlestick, in “Beauty and the Beast.” Sony is releasing “T2,” which is heavily geared towards European audiences. The drama has already made $34 million overseas.

From Variety

Walt Disney Studios Announces Release Date for Indiana Jones 5

Indiana Jones will return to the big screen on July 19, 2019, for a fifth epic adventure in the blockbuster series. Steven Spielberg, who directed all four previous films, will helm the as-yet-untitled project with star Harrison Ford reprising his iconic role. Franchise veterans Kathleen Kennedy and Frank Marshall will produce.

“Indiana Jones is one of the greatest heroes in cinematic history, and we can’t wait to bring him back to the screen in 2019,” said Alan Horn, Chairman, The Walt Disney Studios. “It’s rare to have such a perfect combination of director, producers, actor and role, and we couldn’t be more excited to embark on this adventure with Harrison and Steven.”

Famed archaeologist and explorer Indiana Jones was introduced in 1981’s Raiders of the Lost Ark – one of AFI’s 100 Greatest American Films of All Time – and later thrilled audiences in 1984’s Indiana Jones and the Temple of Doom, 1989’s Indiana Jones and the Last Crusade, and 2008’s Indiana Jones and the Kingdom of the Crystal Skull. The four films have brought in nearly $2 billion at the global box office.

D23 Gold Member Exclusive – Walt Disney Studios Tour

D23 Members have the rare opportunity to enjoy a two-and-a-half-hour tour of The Walt Disney Studios. This exclusive experience includes a visit to Walt Disney’s office suite and the Walt Disney Archives.
Tours will take place at The Walt Disney Studios on April 8th at 9 a.m., 9:30 a.m., 10 a.m., 10:30 a.m., 12:30 p.m., 1 p.m., 1:30 p.m., and 2 p.m. Check-in will begin outside the Hyperion Bungalow at The Walt Disney Studios 30 minutes before your tour.

The cost of the tour is $75 per person (plus $5 processing fee). Tickets will go on sale on Thursday, March 9, at 10 a.m. PT. Please check here for ticketing link.


The tour is only available to Gold and Gold Family Members. You will be required to show a photo ID. Members will be required to show their D23 Membership Card.

Join your D23 tour guide on a stroll through the original Animation building, where beloved animated films (including Cinderella, Lady and the Tramp, and The Jungle Book) were created; see the historic soundstages used for filming such Disney live-action movie classics as 20,000 Leagues Under the SeaMary Poppins, and Pirates of the Caribbean: The Curse of the Black Pearl; plus explore the beautiful Disney Legends Plaza, which honors those who have made significant contributions to the Disney legacy. Many guests will also recognize the exterior spaces on the lot, which have been featured in productions from the Mickey Mouse Club and The Absent-Minded Professor to Saving Mr. BanksMuppets Most Wanted, and ABC’s black-ish!

Then, explore the rich legacy and historical collections of The Walt Disney Company during a tour of the Walt Disney Archives and Walt Disney’s restored 3H office suite, filled with original furnishings, awards, and items from the master showman’s personal collection. Upon exiting the suite, all guests will receive an exclusive pin to commemorate this memorable experience.

Guests will also have the opportunity to shop at the Disney Studio Store and purchase items only available on the Studio lot!

D23 Gold and Gold Family Members may reserve a ticket for themselves and one (1) guest. Due to the nature of this experience, children under the age of 10 are not able to partake in The Official Walt Disney Studios Tour—Presented by D23. Only confirmed ticketed attendees will be able to enter The Walt Disney Studios on April 8, 2017.

D23 Members will be required to provide their membership number when reserving tickets. Tickets may be picked up only with a valid photo ID AND D23 MEMBERSHIP CARD. D23 Members who do not bring their membership card may not be admitted to the event. Ticketed members who do not attend the event forfeit their place as well as all experiences, benefits, and gifts associated with the event. All D23 Special Events are subject to change without notice. There are no cancellations or refunds, and tickets are not transferable.

Electric Convenience Vehicles (ECVs) will not be permitted inside Walt Disney’s office suite. Guests utilizing a wheelchair will need to transfer to a wheelchair supplied by the Walt Disney Archives. Photography and video recording will be permitted during portions of the tour, but flash photography and recording of any kind will not be permitted inside Walt Disney’s office suite.

PLEASE BE ADVISED: Filming, photography, and other recording will take place at The Walt Disney Studios during the event you will be attending. The Walt Disney Company will be taking photos and filming at The Walt Disney Studios located at 500 S. Buena Vista Street, Burbank, California. By entering the premises, you irrevocably consent to and authorize The Walt Disney Company, its affiliates, successors, and assigns (collectively “Producer”), to photograph you, make sound recordings of you, and use such photographs and recordings throughout the world, for any purpose whatsoever in perpetuity, including, but not limited to, television broadcasts and home entertainment products, including, but not limited to, home video and DVD. All such photographs and sound recordings will be the sole property of Producer.

Disney Signs Niki Caro to Direct Live-Action Mulan Movie

Disney’s live-action adaptation of the 1998 animated musical Mulan will be directed by Niki Caro (The Zookeeper’s Wife), according to The Hollywood Reporter.

Caro will be the fourth woman to ever solo-direct a film with a budget over $100 million, joining a very tiny club that includes Kathryn Bigelow (K-19: The Widowmaker in 2002), Patty Jenkins (Warner Bros. upcoming Wonder Woman movie), and Ava DuVernay (Disney’s upcoming A Wrinkle in Time). Disney, by merit of hiring two women to direct blockbusters ever in its history, is somehow leading the pack for major Hollywood studios.

Hollywood studios have begun to feel the pressure to hire more female directors for tentpole films, after multiple controversies around the hiring of young, comparably untested male directors for massive projects like Jurassic World and Star Wars, as well as a federal investigation of sexist hiring practices in the industryLucasfilm head Kathleen Kennedy was also recently the subject of heated criticism due to her comments about the “search” for a female director capable of handling a Star Wars movie.

Disney has also expressed its intent to hire a woman to direct its first female-led superhero film, Captain Marvel. Caro had previously been included on the studio’s short listalongside Lesli Linka Glatter (the principle director on Homeland) and Lorene Scafaria (Nick & Norah’s Infinite PlaylistThe Meddler), though The Hollywood Reporter suggests this new assignment likely takes Caro out of the running for the 2019 film.

Caro made her breakthrough critical hit Whale Rider in 2002, following it up with the star-studded North Country (Charlize Theron, Frances McDormand, Sissy Spacek) in 2005, but — as is typical for female directors in Hollywood — her career largely idled after that. Since 2005 she’s released only two films: the low-budgetoverlooked TIFF submission The Vinter’s Luck in 2009 and Disney’s moderately successful McFarland, USA in 2015.

Mulan will be executive produced by Bill Kong (best known Stateside for House of Flying Daggers and Crouching Tiger, Hidden Dragon) and rely on input from Chinese cultural consultants and the large co-production team that Disney maintains with Shanghai Media Group. It will be interesting to see how Disney navigates the more culturally delicate live-action project, particularly considering the fact that it also has a live-action Aladdin on its plate. Big studios have a nasty habit of casting famous white faces in roles that shouldn’t belong to them — see the recent uproar over Scarlett Johansson in Ghost in the Shell or Rooney Mara as Pan’s Tiger Lily.

Mulan is set for release on November 2, 2018. It will likely be a treat to watch a young woman perform a live musical number that snarkily defines masculinity around violence and endurance as part of an ongoing dramatic irony bit.

From The Verge