Latest news with #InYourDreams'
Yahoo
4 days ago
- Business
- Yahoo
Netflix, Yahoo in Pact to Expand Programmatic Ad Sales
Netflix added Yahoo to its list of partners for programmatic ad sales, the streaming giant's latest effort to spark interest in its ad-supported subscription tier. 'This will enable clients to buy Netflix advertising through Yahoo programmatically, and will be available later this year in all 12 of our ad-supported countries,' said Amy Reinhard, Netflix' president of advertising, in a prepared statement. 'Integrating Yahoo DSP is all about driving performance for Netflix advertisers, and we will partner together on advanced targeting segments to optimize the best results for our clients.' More from Variety Netflix Spain at 10: Having Changed the Global Perception of Spanish Content, Netflix Ups the Ante on Investment, Ambition and Throws One Hell of a Party 'We Hatched Hairbrained Schemes to Save Our Family': Alex Woo's Childhood Memories Fuel Netflix's New Animated Film 'In Your Dreams' Emmy Voting Opens With 600 Program Series Submissions, 3% Drop From 2024 Netflix already works with The Trade Desk, Google and Microsoft to sell programmatic advertising, which allows for the purchase of digital inventory according to specific parameters that identify consumer habits, qualities or behaviors. Netflix recently gave advertisers the ability to target more than 100 interests in over 17 categories, including life stages, and to incorporate first-party data into their process. Others are also examining similar options. Amazon and Roku earlier Monday unveiled a new deal that will pool their connected-TV audience impressions to allow for better targeting and more precise placement of programmatic advertising in Amazon Fire and the Roku Channel. 'We're excited to bring Netflix's premium ad-supported inventory to Yahoo DSP clients, offering access to highly engaged audiences in a trusted, brand-safe environment. This integration makes it easy for advertisers to incorporate Netflix into their broader CTV strategies without added complexity,' said Alia Lamborghini, senior vice president of global revenue at Yahoo DSP, in a prepared statement. Netflix has been developing its advertising offers since 2022, and has been active in the annual 'upfront' sales market since 2023. Media buyers say the company's scale has been relatively limited on a region by region basis, though Netflix said earlier this year that its ad-supported tier reaches 94 million people around the world. Advertisers typically don't create a single campaign for global audiences, and may buy commercials for specific regions as well as consumers. Best of Variety New Movies Out Now in Theaters: What to See This Week 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts? 25 Hollywood Legends Who Deserve an Honorary Oscar
Yahoo
13-06-2025
- Entertainment
- Yahoo
Annecy: ‘In Your Dreams' Director Alex Woo Talks Netflix's Animated Epic
Netflix's 'In Your Dreams' is nearly here. The animated epic, about a pair of siblings (voiced by Jolie Hoang-Rappaport and Elias Janssen), who travel into the world of dreams to find The Sandman, in an effort to have their ultimate wish granted, arrives on the streaming service on Nov. 14. But we got a sneak-peek at the movie at the Annecy International Animation Film Festival. You can watch the brand-new trailer below. TheWrap spoke to 'In Your Dreams' director Alex Woo at the festival, who told us that he first had the idea for a movie about dreams back in 2017, shortly after leaving Pixar. He did the math in his head. 'So, yeah, nine years,' Woo said. He acknowledges that the idea of an animated feature set in the world of dreams had been considered at many animation studios; countless films were developed but never finished. It's an intriguing concept but hard to actualize. Still, Woo persisted. 'I just love the story and I love the characters and I felt like it was a story that was really going to move people,' Woo said, about what kept him going. 'It was going to resonate with people. It would make them laugh and it would make them cry. I think it was just how much I believed in the story and how much I wanted to see it brought to fruition and brought to reality.' For his team, Woo recruited Steve Pilcher, a Pixar vet who, at the time, was finishing up work on Pete Docter's 'Soul.' Pilcher would be the production designer on the project. 'We have a shared love of a lot of things, and I think I just knew that we had a similar aesthetic and a similar sensibility,' Woo said. 'I called him and I was like, 'Hey man, you want to jump ship and work on this crazy dream?'' Pilcher said that he was seduced by the idea of working for a smaller studio. When Woo pitched the movie, he was flooded with 'so many possibilities.' 'It was another film that was two worlds,' Pilcher said of the similarities between 'Soul' and 'In Your Dreams.' (There was an element of 'Soul' where a part of the astral plane was actually 'dreams.' While the concept was largely removed from the finished movie, Pilcher remembered it.) In terms of guiding principles for the movie, Woo said, 'I think everything needed to be sincere. We never wanted to put something in the movie that didn't feel like it was one of our authentic experiences. That's when you get into dangerous territory and it goes into cliché is, you're not drawing from something that's connected to who you are or what you've experienced. I don't think there's a single thing we put in there that didn't come from somebody's authentic experience.' And unlike most major animated movies, Woo said that 'In Your Dreams' never hit a wall and had to be rebuilt from the ground up. Instead, there were small things that were tweaked and reworked. But it mostly stayed the same. 'When I pitched the film to Netflix, I put together a 30-minute beat board pitch. It was the entire shape of the story. And it was a really solid, beautiful pitch,' Woo remembered. 'I don't like going into something if I don't have a really clear idea of how everything works together. And I think, because the pitch was so thought-out and so solid, we got a green light very quickly, and then the script was based off of that outline.' Sounds like a – wait for it – dream production. 'In Your Dreams' hits Netflix on Nov. 14. The post Annecy: 'In Your Dreams' Director Alex Woo Talks Netflix's Animated Epic appeared first on TheWrap.
Yahoo
12-06-2025
- Entertainment
- Yahoo
Clancy Brown, Joel McHale, and more actors who self-submitted at this year's Emmys
Networks and studios submit hundreds of actors for Emmy consideration each year, but those not officially entered can still self-submit for a chance at receiving a nomination. This year, that happened in droves. Recognizable names like Clancy Brown (supporting actor for The Penguin) and Joel McHale (guest star on The Bear) were not on the studios' lists that were made public prior to the ballots being released on June 12. It's possible they were added later by the networks, or that the performers self-submitted. Note that Television Academy members get one free submission each year; otherwise, entry fees are based on several factors. Here is the fine print from the Emmys rulebook: More from GoldDerby Netflix debuts 'In Your Dreams' trailer, Keke Palmer joins 'Spaceballs' sequel,' and more of today's top stories 'Cross' star Aldis Hodge on building an aspirational hero - who's not a superhero Ali Larter on playing an 'emotional rollercoaster' opposite Billy Bob Thornton on 'Landman' Individual achievement entries have a processing charge of $125 per submission. In addition to the $125 processing charge, each entrant is charged a $100 entry fee per individual listed on the entry, e.g., for an individual achievement entry (commercials, costume design, editing, sound editing, etc.) with two entrants, the processing fee is $125 + $200 entry fee (for a total of $325 for the entry). Program entries have a processing charge of $225 per submission. In addition to the $225 processing charge, each entrant included with the submission is charged a $100 entry fee, e.g., the entry fee for a program entry (comedy series, limited or anthology series, documentary, etc.) that has four producers, the processing fee is $225 + $400 entry fee (for a total of $625 for the entry). Brown plays mob boss Salvatore "Sal" Maroni on The Penguin, who enjoys a longstanding rivalry with Colin Farrell's titular Oswald "Oz" Cobb. HBO only submitted four actors from the limited series on the Emmy ballot: Farrell, Cristin Milioti (as Sofia Gigante), Rhenzy Feliz (as Victor "Vic" Aguilar), and Deirdre O'Connell (as Francis Cobb). McHale returned to The Bear in the third season as guest star David Field, but he was not one of the 19 performers submitted by FX. The villainous chef appeared in the Season 3 finale for a crucial scene opposite Jeremy Allen White's embattled Carmen "Carmy" Berzatto. McHale is a prior Emmy nominee for The Soup in Best Short-Format Live-Action Entertainment Program (2014). Max officially campaigned 11 actors for Hacks, its reigning comedy series champion. But there are actually 13 performers on the Emmy ballot, with both supporting actor Dan Bucatinsky (as Rob, the executive producer of Late Night) and guest actress Lauren Weedman (as Jo Pezzimenti, the mayor of Las Vegas) appearing to be self-submitters. Hot new contender The Pitt announced it was campaigning 13 actors for its breakout first season, including series lead Noah Wyle. Four of the show's guest stars have likely put themselves up for bids: Brandon Keener (as John Bradley, the father of a braindead teenager), Drew Powell (as Doug Driscoll, a disgruntled patient who punches Katherine LaNasa's nurse Dana), Stacie Greenwell (as Tina Chambers, the mother of a young patient), and Arun Storrs (as Minu, a woman who was pushed onto train tracks). A pair of Shrinking's recurring cast members — Devin Kawaoka (as Charlie, the fiancé of Brian) and Wendie Malick (as Julie Baram, the girlfriend of Paul) — were not among the 13 stars that Apple TV+ was initially campaigning. They possibly entered their own names, as they both now appear on the supporting ballots. HBO's zombie apocalypse drama The Last of Us put forward 10 actors for contention, including Pedro Pascal and Bella Ramsey in lead actor and lead actress. However, even though Danny Ramirez (as Manny Alvarez) was not a part of the initial campaign, he is now eligible to be voted for as a supporting actor. Other actors who apparently self-submitted for the 2025 Emmys include Luke Brandon Field (Interview With The Vampire), Ron Rogge (Matlock), Ramy Youssef (The Studio), and Kitty Hawthorne (Your Friends & Neighbors). Join the Emmy discussion in our TV forums. Historically speaking, self-submissions sometimes do lead to Emmy nominations. In 2019, Gwendoline Christie entered her own name for the final season of Game of Thrones, and she wound up receiving a bid for Best Drama Supporting Actress. The year prior, The Handmaid's Tale guest actress Kelly Jenrette, who played Annie, self-submitted and earned a 2018 nom for Best Drama Guest Actress. SIGN UP for Gold Derby's free newsletter with latest predictions Best of GoldDerby Tina Fey on 'The Four Seasons': 'It was a challenge to be restrained about where we put jokes' 'The best job I ever had': 'From 'Supernatural' to 'The Boys,' Eric Kripke talks his biggest hits — and miss (ahem, 'Tarzan') 'Cross' star Aldis Hodge on building an aspirational hero — who's not a superhero Click here to read the full article.
Yahoo
12-06-2025
- Entertainment
- Yahoo
Martin Scorsese and David Tedeschi on ‘Beatles '64,' the Fab Four's Influence on Cinema, and David Lynch at Their First U.S. Concert
The Beatles are one of the 20th century's most exhaustively documented bands, from television series like 'The Beatles Anthology' and feature films like Richard Lester's 'A Hard Day's Night' to documentaries by Albert and David Maysles, Ron Howard, and Peter Jackson, among others. One would think there was little left to explore, but the miracle of the Disney+ documentary 'Beatles '64' is that it manages to feel completely fresh and new — largely by giving the viewer the visceral experience of what it was like to experience The Beatles' first visit to America via the recollections of people who were there. One person who vividly remembers what it was like to first hear The Beatles' music is Martin Scorsese, who produced 'Beatles '64' in the hope that it would convey the exuberance that the band's first visit to America inspired. 'You have to understand, it was the end of the origins of rock and roll,' Scorsese told IndieWire. 'You had Motown, you had Phil Spector and the Wall of Sound — which influenced me a great deal in 'Mean Streets' and other films — you had the girl groups and Smokey Robinson and there was still a lot going on, but [rock and roll] needed something fresh. And America needed something fresh too.' More from IndieWire 'In Your Dreams' Teaser: The Search for the Sandman Powers Netflix's New Animated Sibling Fantasy Gold List TV Honors 'Squid Game,' 'Deli Boys,' 'The Studio,' and More That's because the country was, when The Beatles arrived on American shores in February 1964, still reeling from the assassination of President John F. Kennedy, a tragedy that 'Beatles '64' uses as a structuring device in order to give the band's visit context. 'The devastation was unlike anything anyone had experienced in our generation,' Scorsese said. 'The country was ready for something new.' Yet as Scorsese points out, and the documentary demonstrates, The Beatles were initially met with skepticism. 'They were touted as kind of an oddity because they had hair that was long, and the press couldn't wait to attack them,' Scorsese said. 'We didn't take them that seriously. There was an attitude we all had of, 'Yeah, show us.'' Scorsese followed the press coverage of The Beatles' arrival and assumed they were just a 'nonsense novelty' act — until he heard 'I Wanna Hold Your Hand' on the radio for the first time while getting ready to go to class at NYU film school. 'I heard the first few beats, and I just stood there. I was late for class,' Scorsese said. 'I listened and I admitted to myself, 'That's really good,' and as soon as I got to NYU I was telling everybody, 'This is not some ripoff — this is for real.' There was something joyous about it, and I don't think we can ever really describe the uplifting effect of not only their musical ability, but the writing and the lyrics. An extraordinary change occurred in the youth of the country after the disaster of the assassination.' Scorsese, frequent producing partner Margaret Bodde, and director David Tedeschi had access to extraordinary archival footage shot by Albert and David Maysles that enabled them to give the audience a sense of the immediate impact The Beatles had. Most of the Maysles' footage has barely been seen since it was shot, partly due to clearance issues and partly because United Artists didn't want the material in general release where it could dilute the appeal of 'A Hard Day's Night.' Thanks to restoration work by Peter Jackson's Park Road Post Production, most of the footage looks and sounds like it was shot yesterday. For Tedeschi, the key to utilizing the Maysles' footage was taking advantage of their talent as interviewers. As great as all the backstage and concert footage of the band itself is, what really conveys the magic of the moment is Tedeschi's use of interviews the Maysles did with the group's fans. 'I was lucky enough to work with Al Maysles on [Scorsese's Rolling Stones concert film] 'Shine a Light,'' Tedeschi told IndieWire. 'Marty hired him to shoot behind-the-scenes stuff. You'd see him disarm whoever he was with.' Tedeschi feels that the Maysles' talent for making interviewees feel at ease is what really makes the footage 'Beatles '64' had to work with special. 'It's not surprising to me that they were able to capture The Beatles,' Tedeschi said. 'What's surprising to me is how a 15-year-old girl on the street who has had no media training is somehow calm and able to project themselves and has great charisma.' Scorsese was able to witness the Maysles at work back in the 1960s when he was at NYU and looking for a job. 'They were making a changeover from black and white to color, and they always used available light,' Scorsese said. 'But you couldn't do that with color at the time, so my job was to hold the lamp. Now, the problem is that they're directing without telling you anything, so you have to anticipate where Al's going with the camera to give him a little bit of light. In a sense, it was an extraordinary master class in visual interpretation, in creating narrative when nothing is staged.' 'Beatles '64' contains not only the Maysles material and other archival footage, but new interviews conducted by Bodde, Scorsese, and Tedeschi with subjects from the two surviving Beatles (Paul McCartney and Ringo Starr) to fans who saw their first concerts — including director David Lynch in one of his final filmed interviews before he passed away earlier this year. The filmmakers were stunned to learn that, as a young art student, David Lynch attended The Beatles' first ever American concert at the Washington Coliseum — and that he had another connection to the narrative they were telling. 'One thing he said that didn't make the film was pretty fascinating,' Tedeschi said. 'As a Boy Scout, he had been an usher at Kennedy's inauguration. When it came down to it, it was extraordinary how many people were at the New York Carnegie Hall show, at the Washington Coliseum, and in Miami — many people who went on to do great things.' Interviewing McCartney and Starr was a challenge for Scorsese and Tedeschi, who didn't want to repeat old stories — no easy feat with celebrities as extensively interviewed as The Beatles. Luckily, Tedeschi was able to talk with McCartney as the rock and roller was curating a photographic exhibit dedicated to The Beatles in 1964. 'The photographs jogged his memory and created a way to have a conversation more than just an interview,' Tedeschi said. In the case of Starr, the filmmakers got him to open up by going through all of the old clothes he kept from the time. Another way that 'Beatles '64' makes enthusiasm for The Beatles infectious is through the way in which Starr himself seems not to have aged — as he goes through his old clothes and displays his old drum set, he demonstrates a youthful energy not dissimilar from the much younger man we see in the archival footage. In the brief moments Scorsese shares with Starr on camera, he seems to get younger, too — as though he's getting back in touch with that NYU film student who first fell in love with the band. 'It's almost as if you can't quite believe this amount of time has passed,' Scorsese said of his experience interviewing Starr. 'I would have been a different interviewer 30, 40 years ago. But following them and other great artists, from the Stones to Dylan to The Band to Van Morrison, you go along for this whole period of people taking these long artistic journeys, and you change. And somehow you tap into that original excitement about the joy of music, and what that music means as an observation of the life we're leading or trying to lead.' Scorsese and Tedeschi, who have worked together in various capacities for around 20 years now, are still not only passionate about music but energized by the challenge of finding a cinematic language with which to express their feelings. 'The problem is how to say it, in other words, the visual narrative,' Scorsese said, noting that he and Tedeschi are struggling with that very problem right now on their upcoming Robbie Robertson documentary. 'We shot the memorial concert, and Dave is now assembling it,' Scorsese said. 'We're smack in the middle of figuring out what this is. We know it's a concert, but there's got to be something that takes us on a trip, or gives us an experience where we can appreciate more where the music came from and how it affects people today.' According to Tedeschi, the challenge is finding a way to get the feelings he witnessed in the artists at the tribute concert onto the screen in a way that's clear. 'We shot the tribute concert along with the rehearsals, and there were tremendous artists,' Tedeschi said. 'Eric Clapton, Van Morrison, Allison Russell…and it's very interesting to see The Band's music and Robbie's music played by different artists, all of whom have been really touched by The Band and affected by it. We're working to take that excitement and the musicality and beauty of that and turn it into something more like a movie.' 'Beatles '64' is currently streaming on Disney+. Best of IndieWire The Best Thrillers Streaming on Netflix in June, from 'Vertigo' and 'Rear Window' to 'Emily the Criminal' All 12 Wes Anderson Movies, Ranked, from 'Bottle Rocket' to 'The Phoenician Scheme' Nightmare Film Shoots: The 38 Most Grueling Films Ever Made, from 'Deliverance' to 'The Wages of Fear'
Yahoo
12-06-2025
- Entertainment
- Yahoo
‘In Your Dreams' Teaser: The Search for the Sandman Powers Netflix's New Animated Sibling Fantasy
Netflix dropped the teaser trailer for its animated Oscar-hopeful, 'In Your Dreams' (streaming November 14), the original comedy-fantasy about siblings trying to save their parents' marriage by enlisting the aid of the mythical Sandman. Former Pixar story artist Alex Woo ('WALL-E') directs with Erik Benson, another ex-Pixar story artist ('Toy Story 4'). The film is produced by Netflix Animation and Woo's Kuku Studios, with animation by Sony Pictures Imageworks. The voice cast is led by Cristin Milioti as the mom and Simu Liu as the dad. 'In Your Dreams' finds Stevie (voiced by Jolie Hoang-Rappaport) and her brother Elliot (voiced by Elias Janssen) discovering a magic book, which allows them to enter the wacky realm of their dreams, where the Sandman (Omid Djalili) can grant their wish for the perfect family. Along the way, they encounter Elliot's long-lost sarcastic stuffed giraffe, Baloney Tony (Craig Robinson), zombie breakfast foods, and Nightmara (Gia Carides), the Sandman's rival. More from IndieWire 'Tow' Review: Rose Byrne Fights Bureaucracy in a Social Justice Drama That Narrowly Steers Clear of Poverty Porn 'Stories Don't Have to Be About Disability' to Feature Actors with a Disability: A Call for Change The film is very personal for Woo, who took inspiration from his own parents' breakup. He presented footage Thursday at the Annecy Animation Film Festival with production designer Steve Pilcher ('Soul') and VFX supervisor Nicola Lavender ('The Mitchells vs. the Machines'). Accompanying the sumptuous animation of the surreal landscapes are compelling themes of managing dual careers while being caring, nurturing parents, the importance of imagination and not giving up on your dream, and learning to cope with harsh realities as a part of growing up. And be careful what you wish for. At Annecy, Netflex Animation (led by Hannah Minghella, head of Netflix Feature Animation and Family Film) touted sneak peeks of two upcoming animated series, 'Stranger Things: Tales from '85' (from showrunner Eric Robles), and 'Long Story Short' (from 'Bojack Horseman's' Raphael Bob-Waksberg, streaming August 22), as well as the features 'KPop Demon Hunters' (directed by Maggie Kang and Chris Appelhans, streaming June 20), the Roald Dahl-adapted 'The Twits' (directed by Phil Johnston, streaming in the fall), and 'Pookoo' (from Skydance Animation and director Nathan Greno, streaming in 2026). In addition, Netflix premiered Genndy Tartakovsky's adult 2D comedy feature, 'Fixed' (streaming August 13). Check out the first teaser for 'In Your Dreams' below. Best of IndieWire Guillermo del Toro's Favorite Movies: 56 Films the Director Wants You to See 'Song of the South': 14 Things to Know About Disney's Most Controversial Movie Nicolas Winding Refn's Favorite Films: 37 Movies the Director Wants You to See
