Coloring Star Content Uploads 2017 Happy Halloween Pages Minion
 Logo used since 2012 (2021 variant) | |
| Merchandise name | Universal Pictures |
|---|---|
| Formerly |
|
| Type | Subsidiary |
| Manufacture | Film |
| Predecessor | Independent Moving Pictures |
| Founded | Apr 30, 1912 (1912-04-30) |
| Founders |
|
| Headquarters | 10 Universal City Plaza, Universal City, California United States |
| Number of locations | 3 |
| Area served | Worldwide |
| Key people |
|
| Products | Motion pictures |
| Revenue |  US$four.239 billion (2011) |
| Operating income | United states$27 million (2011) |
| Parent | NBCUniversal Film and Entertainment (NBCUniversal (Comcast)) |
| Divisions |
|
| Subsidiaries |
|
| Website | universalpictures.com universalstudios.com |
| Footnotes / references [two] [1] | |
Universal Pictures (legally Universal Urban center Studios LLC,[3] also known as Universal Studios, or simply Universal; common metonym: Uni, and formerly named Universal Pic Manufacturing Company and Universal-International Pictures Inc.) is an American film product and distribution visitor owned past Comcast through the NBCUniversal Film and Entertainment partition of NBCUniversal.
Founded in 1912 by Carl Laemmle, Mark Dintenfass, Charles O. Baumann, Adam Kessel, Pat Powers, William Swanson, David Horsley, Robert H. Cochrane, and Jules Brulatour, Universal is the oldest surviving film studio in the United States; the globe's fifth oldest subsequently Gaumont, Pathé, Titanus, and Nordisk Motion picture; and the oldest member of Hollywood's "Big Five" studios in terms of the overall film market place. Its studios are located in Universal Metropolis, California, and its corporate offices are located in New York City. In 1962, the studio was acquired by MCA, which was re-launched as NBCUniversal in 2004.
Universal Pictures is a member of the Moving-picture show Association (MPA), and was one of the "Petty Three" majors during Hollywood's golden age.[4]
History
Early years
Mark Dintenfass, co-founder of Universal
Universal Studios was founded past Carl Laemmle, Marker Dintenfass, Charles O. Baumann, Adam Kessel, Pat Powers, William Swanson, David Horsley, Robert H. Cochrane[a] and Jules Brulatour. One story has Laemmle watching a box office for hours, counting patrons and calculating the twenty-four hours's takings. Within weeks of his Chicago trip, Laemmle gave up dry goods to buy the first several nickelodeons. For Laemmle and other such entrepreneurs, the creation in 1908 of the Edison-backed Picture show Patents Company (or the "Edison Trust") meant that exhibitors were expected to pay fees for Trust-produced films they showed. Based on the Latham Loop used in cameras and projectors, along with other patents, the Trust collected fees on all aspects of moving-picture show production and exhibition, and attempted to enforce a monopoly on distribution.
Soon, Laemmle and other disgruntled nickelodeon owners decided to avert paying Edison by producing their own pictures. In June 1909, Laemmle started the Yankee Moving-picture show Company with partners Abe Stern and Julius Stern.[6] That company quickly evolved into the Independent Moving Pictures Company (IMP), with studios in Fort Lee, New Jersey, where many early films in America'southward first motion motion-picture show manufacture were produced in the early 20th century.[7] [eight] [9] [x] Laemmle broke with Edison's custom of refusing to requite billing and screen credits to performers. By naming the motion-picture show stars, he attracted many of the leading players of the time, contributing to the creation of the star system. In 1910, he promoted Florence Lawrence, formerly known as "The Biograph Girl",[11] and actor Male monarch Baggot, in what may be the offset instance of a studio using stars in its marketing.
The Universal Film Manufacturing Visitor was incorporated in New York City on Apr 30, 1912.[12] Laemmle, who emerged every bit president in July 1912, was the principal figure in the partnership with Dintenfass, Baumann, Kessel, Powers, Swanson, Horsley, and Brulatour. The company was established June 8, 1912, formed in a merger of Contained Moving Pictures (IMP), the Powers Motion Motion-picture show Company, Rex Movement Picture Manufacturing Visitor, Champion Film Company, Nestor Film Company, and the New York Flick Company.[xiii] Eventually all would be bought out past Laemmle. The new Universal studio was a vertically integrated company, with movie production, distribution and exhibition venues all linked in the same corporate entity, the central chemical element of the Studio system era.
Following the w trend of the industry, by the end of 1912 the visitor was focusing its product efforts in the Hollywood area.
Universal advertisement touting the benefit of the studio's short films to theater operators[14]
On March 15, 1915,[fifteen] : 8 Laemmle opened the world's largest motion movie product facility, Universal City Studios, on a 230-acre (0.ix-km2) converted subcontract just over the Cahuenga Pass from Hollywood.[16] Studio management became the third facet of Universal'southward operations, with the studio incorporated as a distinct subsidiary organization. Unlike other movie moguls, Laemmle opened his studio to tourists. Universal became the largest studio in Hollywood, and remained then for a decade. Nonetheless, information technology sought an audience mostly in small-scale towns, producing mostly cheap melodramas, westerns and serials.
In 1916, Universal formed a three-tier branding organisation for their releases. Universal, unlike the height-tier studios, did not ain any theaters to market its characteristic films. Past branding their product, Universal gave theater owners and audiences a quick reference guide. Branding would assist theater owners brand judgments for films they were well-nigh to lease and help fans decide which movies they wanted to run into. Universal released 3 different types of feature motion pictures:[17] [18]
- Ruddy feather Photoplays – low-budget feature films
- Bluebird Photoplays – mainstream feature release and more ambitious productions
- Jewel – prestige motility pictures featuring high budgets using prominent actors
Directors included Jack Conway, John Ford, Male monarch Ingram, Robert Z. Leonard, George Marshall and Lois Weber, one of the few women directing films in Hollywood.[15] : thirteen
Despite Laemmle's role as an innovator, he was an extremely cautious studio chief. Unlike rivals Adolph Zukor, William Play tricks, and Marcus Loew, Laemmle chose not to develop a theater chain. He also financed all of his ain films, refusing to take on debt. This policy virtually bankrupted the studio when role player-director Erich von Stroheim insisted on excessively lavish production values for his films Blind Husbands (1919) and Foolish Wives (1922), but Universal shrewdly gained a return on some of the expenditure by launching a sensational advertising campaign that attracted moviegoers. Grapheme role player Lon Chaney became a cartoon card for Universal in the 1920s, actualization steadily in dramas. His two biggest hits for Universal were The Hunchback of Notre Matriarch (1923) and The Phantom of the Opera (1925).[nineteen] During this catamenia Laemmle entrusted most of the production policy decisions to Irving Thalberg. Thalberg had been Laemmle's personal secretarial assistant, and Laemmle was impressed by his cogent observations of how efficiently the studio could be operated. Promoted to studio chief, Thalberg was giving Universal'southward production a touch of class, but MGM's head of product Louis B. Mayer lured Thalberg away from Universal with a promise of meliorate pay. Without his guidance Universal became a second-tier studio, and would remain so for several decades.
In 1926, Universal opened a product unit in Germany, Deutsche Universal-Film AG, nether the direction of Joe Pasternak. This unit of measurement produced 3 to 4 films per year until 1936, migrating to Hungary and then Austria in the face of Hitler'due south increasing domination of central Europe. With the advent of sound, these productions were made in the German linguistic communication or, occasionally, Hungarian or Polish. In the U.S., Universal Pictures did not distribute any of this subsidiary'south films, but at least some of them were exhibited through other, independent, foreign-language picture distributors based in New York Metropolis, without do good of English subtitles. Nazi persecution and a change in ownership for the parent Universal Pictures organisation resulted in the dissolution of this subsidiary.
In the early years, Universal had a "clean picture" policy. Nevertheless, by Apr 1927, Carl Laemmle considered this to be a mistake as "unclean pictures" from other studios were generating more than turn a profit while Universal was losing money.[20]
Oswald the Lucky Rabbit
In early 1927, Universal had been negotiating deals with drawing producers since they wanted to get back into producing them. On March 4, Charles Mintz signed a contract with Universal in the presence of its vice president, R. H. Cochrane. Mintz'due south visitor, Winkler Pictures, was to produce 26 "Oswald the Lucky Rabbit" cartoons for Universal.[21] Walt Disney and Ub Iwerks created the character and the Walt Disney Studio provided the animation for the cartoons under Winkler's supervision.
The films enjoyed a successful theatrical run, and Mintz would sign a contract with Universal ensuring 3 more than years of Oswald cartoons.[22] However, after Mintz had unsuccessfully demanded that Disney have a lower fee for producing the films, Mintz took most of Walt's animators to work at his ain studio. Disney and Iwerks would create Mickey Mouse in underground while they finished the remaining Oswald films they were contractually obligated to cease. Universal after severed its link to Mintz and formed its own in-house animation studio to produce Oswald cartoons headed by Walter Lantz.
In February 2006, NBCUniversal sold all the Disney-animated Oswald cartoons, forth with the rights to the graphic symbol himself, to The Walt Disney Company. In return, Disney released ABC sportscaster Al Michaels from his contract then he could piece of work on NBC's recently acquired Sunday night NFL football package. Universal retained ownership of the remaining Oswald cartoons.
Keeping leadership of the studio in the family
In 1928, Laemmle, Sr. fabricated his son, Carl, Jr. caput of Universal Pictures as a 21st altogether present. Universal already had a reputation for nepotism—at ane fourth dimension, lxx of Carl, Sr.'s relatives were supposedly on the payroll. Many of them were nephews, resulting in Carl, Sr. being known around the studios every bit "Uncle Carl". Ogden Nash famously quipped in rhyme, "Uncle Carl Laemmle/Has a very large faemmle". Amongst these relatives was future University Award-winning director/producer William Wyler.
"Junior" Laemmle persuaded his father to bring Universal up to engagement. He bought and congenital theaters, converted the studio to sound production, and made several forays into loftier-quality product. His early efforts included the critically panned part-talkie version of Edna Ferber's novel Evidence Boat (1929), the lavish musical Broadway (1929) which included Technicolor sequences; and the first all-color musical feature (for Universal), King of Jazz (1930). The more serious All Quiet on the Western Front end (1930), won its year's Best Motion picture Oscar.
Laemmle, Jr. created a niche for the studio, first a series of horror films which extended into the 1940s, affectionately dubbed Universal Horror. Amidst them are Dracula (1931), Frankenstein (1931), The Mummy (1932) and The Invisible Man (1933). Other Laemmle productions of this menstruation include Imitation of Life (1934) and My Man Godfrey (1936).
The Laemmles lose control
Universal's forays into high-quality production spelled the terminate of the Laemmle era at the studio. Taking on the task of modernizing and upgrading a film conglomerate in the depths of the depression was risky, and for a fourth dimension Universal slipped into receivership. The theater concatenation was scrapped, but Carl, Jr. held fast to distribution, studio and production operations.
The terminate for the Laemmles came with a lavish version of Testify Boat (1936), a remake of its earlier 1929 part-talkie production, and produced every bit a high-quality, big-budget motion picture rather than equally a B-picture show. The new film featured several stars from the Broadway phase version, which began product in late 1935, and unlike the 1929 motion-picture show was based on the Broadway musical rather than the novel. Carl, Jr.'s spending habits alarmed company stockholders. They would not allow production to start on Evidence Boat unless the Laemmles obtained a loan. Universal was forced to seek a $750,000 production loan from the Standard Capital Corporation, pledging the Laemmle family's controlling interest in Universal equally collateral. It was the first time Universal had borrowed money for a product in its 26-yr history. The production went $300,000 over budget; Standard chosen in the loan, cash-strapped Universal could not pay, Standard foreclosed and seized command of the studio on April 2, 1936.
Although Universal'south 1936 Evidence Boat (released a little over a month later on) became a critical and financial success, it was not enough to salve the Laemmles' involvement with the studio. They were unceremoniously removed from the visitor they had founded. Because the Laemmles personally oversaw production, Show Boat was released (despite the takeover) with Carl Laemmle and Carl Laemmle Jr.'s names on the credits and in the advertising entrada of the picture show. Standard Capital's J. Cheever Cowdin had taken over as president and chairman of the board of directors, and instituted severe cuts in production budgets. Joining him were British entrepreneurs C.K. Woolf and J. Arthur Rank, who bought a pregnant stake in the studio.[23] Gone were the big ambitions, and though Universal had a few big names under contract, those it had been cultivating, like William Wyler and Margaret Sullavan, left.
Meanwhile, producer Joe Pasternak, who had been successfully producing light musicals with young sopranos for Universal's German subsidiary, repeated his formula in the The states. Teenage singer Deanna Durbin starred in Pasternak'southward start American flick, Three Smart Girls (1936). The film was a box-part hit and reputedly resolved the studio's fiscal problems. The success of the film led Universal to offer her a contract, which for the commencement v years of her career produced her almost successful pictures.
When Pasternak stopped producing Durbin's pictures, and she outgrew her screen persona and pursued more dramatic roles, the studio signed 13-year-erstwhile Gloria Jean for her own series of Pasternak musicals from 1939; she went on to star with Bing Crosby, W. C. Fields, and Donald O'Connor. A pop Universal moving picture of the late 1930s was Destry Rides Once again (1939), starring James Stewart as Destry and Marlene Dietrich in her comeback part after leaving Paramount.
By the early 1940s, the company was concentrating on lower-budget productions that were the company'southward principal staple: westerns, melodramas, serials and sequels to the studio's horror pictures, the latter now solely B pictures. The studio fostered many series: The Dead Stop Kids and Trivial Tough Guys action features and serials (1938–43); the comic adventures of babe Baby Sandy (1938–41); comedies with Hugh Herbert (1938–42) and The Ritz Brothers (1940–43); musicals with Robert Paige, Jane Frazee, The Andrews Sisters, and The Merry Macs (1938–45); and westerns with Tom Mix (1932–33), Buck Jones (1933–36), Bob Bakery (1938–39), Johnny Mack Brown (1938–43); Rod Cameron (1944–45), and Kirby Grant (1946–47).
Universal could seldom afford its own stable of stars, and often borrowed talent from other studios, or hired freelance actors. In addition to Stewart and Dietrich, Margaret Sullavan, and Bing Crosby were two of the major names that made a couple of pictures for Universal during this period. Some stars came from radio, including Edgar Bergen, W. C. Fields, and the comedy team of Abbott and Costello (Bud Abbott and Lou Costello). Abbott and Costello's military comedy Buck Privates (1941) gave the quondam burlesque comedians a national and international contour.
During the war years, Universal did have a co-product arrangement with producer Walter Wanger and his partner, manager Fritz Lang, lending the studio some amount of prestige productions. Universal'due south core audition base was withal found in the neighborhood flick theaters, and the studio continued to please the public with depression- to medium-upkeep films. Basil Rathbone and Nigel Bruce in new Sherlock Holmes mysteries (1942–46), teenage musicals with Gloria Jean, Donald O'Connor, and Peggy Ryan (1942–43), and screen adaptations of radio'south Inner Sanctum Mysteries with Lon Chaney, Jr. (1943–45). Alfred Hitchcock was also borrowed for two films from Selznick International Pictures: Saboteur (1942) and Shadow of a Doubt (1943).
As Universal's master product had always been lower-budgeted films, it was ane of the final major studios to have a contract with Technicolor. The studio did not make use of the three-strip Technicolor process until Arabian Nights (1942), starring Jon Hall and Maria Montez. Technicolor was besides utilised for the studio's remake of their 1925 horror melodrama, Phantom of the Opera (1943) with Claude Rains and Nelson Boil. With the success of their start 2 pictures, a regular schedule of high-budget, Technicolor films followed.
Universal-International and Decca Records takes command
In 1945, J. Arthur Rank, who already endemic a pale in the studio since nigh a decade earlier, hoping to expand his American presence, bought into a four-way merger with Universal, the independent visitor International Pictures, and producer Kenneth Young. The new combine, United Earth Pictures, was a failure and was dissolved within one yr. Rank and International remained interested in Universal, however, culminating in the studio'south reorganization as Universal-International; the merger was announced on July 30, 1946.[24] William Goetz, a founder of International along with Leo Spitz, was fabricated head of production at the renamed Universal-International Pictures, a subsidiary of Universal Pictures Visitor, Inc. which too served as an import-export subsidiary, and copyright holder for the product arm's films. Goetz, a son-in-law of Louis B. Mayer decided to bring "prestige" to the new company. He stopped the studio'south depression-upkeep product of B movies, serials and curtailed Universal's horror and "Arabian Nights" cycles. He besides reduced the studio's output from its wartime average of 50 films per year (which was almost twice the major studio'southward output) to 30-five films a yr.[25] Distribution and copyright command remained under the name of Universal Pictures Visitor Inc.
Universal-International Studio, 1955
Goetz fix out an ambitious schedule. Universal-International became responsible for the American distribution of Rank'south British productions, including such classics as David Lean'due south Great Expectations (1946) and Laurence Olivier'due south Hamlet (1948). Broadening its scope further, Universal-International branched out into the lucrative non-theatrical field, buying a majority stake in habitation-moving picture dealer Castle Films in 1947, and taking the company over entirely in 1951. For 3 decades, Castle would offering "highlights" reels from the Universal film library to abode-movie enthusiasts and collectors. Goetz licensed Universal's pre–Universal-International film library to Jack Broeder'southward Realart Pictures for movie theater re-release but Realart was non allowed to show the films on tv.
The production arm of the studio still struggled. While there were to be a few hits like The Killers (1946) and The Naked City (1948), Universal-International'south new theatrical films often met with disappointing response at the box office. By the tardily 1940s, Goetz was out, and the studio returned to depression-budget and series films such equally Ma and Pa Kettle (1949), a spin off of the studio's 1947 hit The Egg and I and The cheap Francis (1950), the first film of a series about a talking mule, became mainstays of the company. Once again, the films of Abbott and Costello, including Abbott and Costello Meet Frankenstein (1948), were among the studio'south top-grossing productions. But at this point Rank lost involvement and sold his shares to the investor Milton Rackmil, whose Decca Records would take full control of Universal in 1952. Too Abbott and Costello, the studio retained the Walter Lantz cartoon studio, whose production was released with Universal-International's films.
In the 1950s, Universal-International resumed their serial of Arabian Nights films, many starring Tony Curtis. The studio as well had a success with monster and science fiction films produced by William Alland, with many directed by Jack Arnold and starring John Agar. Other successes were the melodramas directed by Douglas Sirk and produced by Ross Hunter, although for film critics they were not and so well idea of on first release as they have since get. Amongst Universal-International'due south stable of stars were Rock Hudson, Tony Curtis, Jeff Chandler, Audie Murphy, and John Gavin.
Although Decca would go on to keep picture budgets lean, it was favored by changing circumstances in the flick business organization, every bit other studios let their contract actors get in the wake of the 1948 U.S. vs. Paramount Pictures, et al. decision. Leading actors were increasingly free to work where and when they chose, and in 1950 MCA agent Lew Wasserman made a deal with Universal for his client James Stewart that would modify the rules of the business organization. Wasserman's deal gave Stewart a share in the profits of three pictures in lieu of a large bacon. When i of those films, Winchester '73 (1950), proved to be a hit, the organization would get the rule for many futurity productions at Universal, and eventually at other studios every bit well.
MCA takes over
Ceremonial gate to Universal Studios Hollywood (the theme park attached to the studio lot)
In the early 1950s, Universal set up its own distribution company in French republic, and in the late 1960s, the company also started a product company in Paris, Universal Productions France S.A., although sometimes credited by the proper name of the distribution visitor, Universal Pictures France. Except for the two start films it produced, Claude Chabrol's Le scandale (English language title The Champagne Murders, 1967) and Romain Gary's Les oiseaux vont mourir au Pérou (English championship Birds in Peru), information technology was just involved in French or other European co-productions, including Louis Malle'south Lacombe, Lucien, Bertrand Blier'due south Les Valseuses (English title Going Places, 1974), and Fred Zinnemann'south The Twenty-four hour period of the Jackal (1973). It was merely involved in approximately twenty French motion picture productions. In the early on 1970s, the unit was incorporated into the French Movie theater International Corporation arm.
By the tardily 1950s, the motility motion-picture show business organization was again changing. The combination of the studio/theater-chain break-upwardly and the rise of television saw the reduced audience size for picture palace productions. The Music Corporation of America (MCA), the globe'southward largest talent agency, had also become a powerful television producer, renting space at Republic Studios for its Revue Productions subsidiary. Subsequently a period of complete shutdown, a moribund Universal agreed to sell its 360-acre (i.five km2) studio lot to MCA in 1958, for $11 million, renamed Revue Studios. MCA owned the studio lot, but not Universal Pictures, withal was increasingly influential on Universal's production. The studio lot was upgraded and modernized, while MCA clients like Doris Day, Lana Turner, Cary Grant, and director Alfred Hitchcock were signed to Universal contracts.
The long-awaited takeover of Universal Pictures by MCA, Inc. happened in mid-1962 every bit part of the MCA-Decca Records merger. The company reverted in name to Universal Pictures from Universal-International. Equally a final gesture before leaving the talent agency business, virtually every MCA client was signed to a Universal contract. In 1964, MCA formed Universal City Studios, Inc., merging the move pictures and goggle box arms of Universal Pictures Company and Revue Productions (officially renamed equally Universal Television in 1966). And and then, with MCA in accuse, Universal became a full-blown, A-motion picture motion-picture show studio, with leading actors and directors under contract; offer slick, commercial films; and a studio tour subsidiary launched in 1964.
Television product made upward much of the studio's output, with Universal heavily committed, in particular, to deals with NBC (which much later merged with Universal to grade NBC Universal; see below) providing up to half of all prime number fourth dimension shows for several seasons. An innovation during this catamenia championed by Universal was the fabricated-for-idiot box moving-picture show. In 1982, Universal became the studio base for many shows that were produced by Norman Lear'due south Tandem Productions/Embassy Tv, including Diff'rent Strokes, Ane Day at a Time, The Jeffersons, The Facts of Life, and Silver Spoons which premiered on NBC that same fall.
At this fourth dimension, Hal B. Wallis, who had recently worked as a major producer at Paramount, moved over to Universal, where he produced several films, amid them a lavish version of Maxwell Anderson'due south Anne of the 1000 Days (1969), and the every bit lavish Mary, Queen of Scots (1971).[26] Although neither could claim to be a big financial hit, both films received Academy Award nominations, and Anne was nominated for Best Movie, Best Actor (Richard Burton), Best Actress (Geneviève Bujold), and Best Supporting Actor (Anthony Quayle). Wallis retired from Universal after making the film Rooster Cogburn (1975), a sequel to True Grit (1969), which Wallis had produced at Paramount. Rooster Cogburn co-starred John Wayne, reprising his Oscar-winning role from the before flick, and Katharine Hepburn, their merely film together. The film was only a moderate success.
In 1983, Universal Pictures launched an independent film arm designed to release specialty films, Universal Classics, and the sectionalisation has sights on separation.[27] In 1987, both Universal Pictures, along with MGM/UA Communications Co. and Paramount Pictures teamed upward in order to marketplace feature picture and television production to China, and the consumer achieve is measured in terms of the 25-billion admission tickets that were clocked in China in 1986, and Worldwide Media Sales, a division of the New York-based Worldwide Media Group had been placed in charge of the undertaking.[28]
In the early 1980s, the company had its own pay television arm Universal Pay Television (a.k.a. Universal Pay Television receiver Programming, Inc.), which spawned in 1987, a 11-motion picture cable television understanding with then-independent picture studio New Line Movie theatre.[29]
In the early 1970s, Universal teamed upwardly with Paramount to class Cinema International Corporation, which distributed films by Paramount and Universal outside of the Usa and Canada. Although Universal did produce occasional hits, among them Aerodrome (1970), The Sting (1973), American Graffiti (also 1973), Earthquake (1974), and a large box-function success which restored the company'due south fortunes: Jaws (1975), Universal during the decade was primarily a television studio. When Metro-Goldwyn-Mayer purchased United Artists in 1981, MGM could not drop out of the CIC venture to merge with United Artists overseas operations. However, with futurity film productions from both names being released through the MGM/UA Amusement plate, CIC decided to merge UA's international units with MGM and reformed as United International Pictures. There would exist other movie hits like Smokey and the Brigand (1977), Fauna House (1978), The Jerk (1979), The Blues Brothers (1980), E.T. the Extra-Terrestrial (1982), Scarface (1983), The Breakfast Club (1985), Back to the Future (also 1985), An American Tail (1986), The Land Earlier Time (1988), Field of Dreams (1989), and Jurassic Park (1993), simply the film business was financially unpredictable. UIP began distributing films by commencement-upwards studio DreamWorks in 1997, due to connections the founders have with Paramount, Universal, and Amblin Entertainment. In 2001, MGM dropped out of the UIP venture and went with 20th Century Flim-flam's international arm to handle distribution of their titles, an arrangement which remains ongoing. UIP nearly lost its connection with Universal Pictures in 1999 when Universal started Universal Pictures International to have over the assets of PolyGram Filmed Entertainment, and wanted UPI to distribute their films starting in 2001.[30] Only a small scattering of films were released theatrically past Universal Pictures International, upwards until the release of the picture show Mickey Blueish Optics. UIP then take over the theatrical distribution inventory of future films planned to be released past Universal Pictures International, such every bit The Green Mile and Angela's Ashes.[31] On Oct 4, 1999, Universal renewed its commitments to United International Pictures to release its films internationally through 2006.[32] [33]
Matsushita, Seagram, Vivendi and NBCUniversal
Logo used from 1997 to 2012, still used on some properties, such every bit Universal Sony Pictures Home Entertainment and Universal Music Group
Anxious to expand the company'southward broadcast and cable presence, longtime MCA head Lew Wasserman sought a rich partner. He located Japanese electronics manufacturer Matsushita Electric (at present known every bit Panasonic), which agreed to acquire MCA for $6.6 billion in 1990.
Matsushita provided a greenbacks infusion, but the clash of cultures was besides great to overcome, and v years later Matsushita sold an eighty% stake in MCA/Universal to Canadian drinks benefactor Seagram for $5.vii billion.[34] Seagram sold off its pale in DuPont to fund this expansion into the amusement industry. Hoping to build an entertainment empire effectually Universal, Seagram bought PolyGram in 1999 and other entertainment properties, just the fluctuating profits feature of Hollywood were no substitute for the reliable income stream gained from the previously held shares in DuPont.
Gate ii, Universal Studios (equally it appears when airtight on weekends)
To heighten money, Seagram head Edgar Bronfman Jr. sold Universal'due south television holdings, including cablevision network U.s.a., to Barry Diller (these aforementioned properties would be bought back afterwards at profoundly inflated prices). In June 2000, Seagram was sold to French water utility and media visitor Vivendi, which owned StudioCanal; the conglomerate then became known as Vivendi Universal. Subsequently, Universal Pictures acquired the United States distribution rights of several of StudioCanal's films, such as David Lynch's Mulholland Drive (2001) and Alliance of the Wolf (2001) which became the second-highest-grossing French linguistic communication movie in the United States since 1980. Universal Pictures and StudioCanal also co-produced several films, such as Love Actually (2003) a $40 million-budgeted film that eventually grossed $246 million worldwide.[35] In belatedly 2000, the New York Film University was permitted to use the Universal Studios backlot for student film projects in an unofficial partnership.[36]
Burdened with debt, in 2004 Vivendi Universal sold 80% of Vivendi Universal Entertainment (including the studio and theme parks) to General Electrical (GE), parent of NBC.[37] The resulting media super-conglomerate was renamed NBCUniversal, while Universal Studios Inc. remained the proper noun of the production subsidiary. Later that deal, GE owned 80% of NBC Universal; Vivendi held the remaining 20%, with an option to sell its share in 2006.
In tardily 2005, Viacom's Paramount Pictures caused DreamWorks SKG after acquisition talks between GE and DreamWorks stalled. Universal's long-time chairperson, Stacey Snider, left the company in early 2006 to caput up DreamWorks. Snider was replaced past then-Vice Chairman Marc Shmuger and Focus Features head David Linde. On October five, 2009, Marc Shmuger and David Linde were ousted and their co-chairperson jobs consolidated under former president of worldwide marketing and distribution Adam Fogelson condign the unmarried chairperson. Donna Langley was also upped to co-chairperson.[38] In 2009, Stephanie Sperber founded Universal Partnerships & Licensing within Universal to license consumer products for Universal.[39]
GE purchased Vivendi'due south share in NBCUniversal in 2011.[40]
Comcast era (2011–present)
GE sold 51% of the visitor to cable provider Comcast in 2011. Comcast merged the former GE subsidiary with its ain cablevision-boob tube programming assets, creating the electric current NBCUniversal. Post-obit Federal Communications Commission (FCC) approval, the Comcast-GE deal was closed on January 29, 2011.[41] In March 2013, Comcast bought the remaining 49% of NBCUniversal for $16.7 billion.[42]
In September 2013, Adam Fogelson was ousted equally co-chairman of Universal Pictures, promoting Donna Langley to sole-chairman. In addition, NBCUniversal International Chairman, Jeff Shell, would exist appointed as Chairman of the newly created Filmed Amusement Group. Longtime studio head Ron Meyer would give up oversight of the film studio and appointed Vice Chairman of NBCUniversal, providing consultation to CEO Steve Burke on all of the company's operations. Meyer retained oversight of Universal Parks and Resorts.[43]
Universal'southward multi-year film financing bargain with Elliott Management expired in 2013.[44] In summer 2013, Universal fabricated an agreement with Thomas Tull'southward Legendary Pictures to distribute their films for five years starting in 2014 (the year that Legendary's like understanding with Warner Bros. Pictures ends).[45]
In June 2014, Universal Partnerships took over licensing consumer products for NBC and Sprout with the expectation that all licensing would eventually be centralized inside NBCUniversal.[39] In May 2015, Gramercy Pictures was revived by Focus Features every bit a genre label that concentrated on action, sci-fi, and horror films.[46]
On December 16, 2015, Amblin Partners announced that it entered into a v-twelvemonth distribution bargain with Universal Pictures by which the films volition be distributed and marketed by either Universal or Focus Features.[47] [48]
In early 2016, Perfect World Pictures announced a long-term co-financing bargain with Universal, which represents the get-go time a Chinese visitor directly invest in a multi-year slate deal with a major U.Southward studio.[49]
On April 28, 2016, Universal's parent company, NBCUniversal, appear a $iii.8 billion deal to buy DreamWorks Animation.[50] On August 22, 2016, the bargain was completed.[51] Universal took over the distribution deal with DreamWorks Blitheness starting in 2019 with the release of How to Train Your Dragon: The Hidden Globe, after DreamWorks Animation's distribution bargain with 20th Century Trick ended.
On February fifteen, 2017, Universal Pictures caused a minority stake in Amblin Partners, strengthening the relationship between Universal and Amblin,[52] and reuniting a minority per centum of the DreamWorks Pictures label with DreamWorks Blitheness.
In December 2019, Universal Pictures entered early negotiations to distribute upcoming feature film properties based on the Lego toys. Although the original Lego Movie characters are still owned by Warner Bros. Pictures, Universal Pictures will serve every bit benefactor of future releases and volition develop additional Lego films. The future of the already in-evolution films is believed to remain the aforementioned.[53]
In June, it was announced longtime Universal International Distribution President Duncan Clark would be stepping down. He would transition to a consulting role with the studio in August and would be replaced by Veronika Kwan Vandenberg.[54]
Units
- Universal Pictures International
- Universal International Distribution
- Universal Pictures Home Entertainment
- Universal Dwelling Amusement Productions
- Universal 1440 Entertainment
- DreamWorks Animation Home Amusement
- Universal Sony Pictures Home Amusement Australia (joint venture with Sony Pictures Abode Entertainment)
- Universal Playback
- Studio Distribution Services (joint venture with Warner Bros. Home Entertainment)
- Focus Features
- Universal Pictures International Entertainment
- NBCUniversal Amusement Japan
- Working Title Films
- WTtwo Productions
- Working Title Television
- Carnival Films
- Rede Telecine (10%, joint venture with Canais Globo, Disney, Paramount Pictures and Metro-Goldwyn-Mayer)
- Illumination
- Illumination Mac Guff
- Universal Animation Studios
- DreamWorks Animation
- DreamWorks Animation Boob tube
- DreamWorks Classics
- Big Thought Entertainment
- Bullwinkle Studios (JV)
- Harvey Entertainment
- DreamWorks Theatricals
- DreamWorks New Media
- Peacock Kids
- DreamWorks Press
- OTL Releasing
- Back Lot Music
- Universal Brand Development
- United International Pictures (fifty%, articulation venture with Paramount Global'due south Paramount Pictures)
- Amblin Partners (minor stake)[47] [48] (JV)[52]
- Amblin Entertainment
- Amblin Goggle box
- DreamWorks Pictures
- Storyteller Distribution[55]
Film library
In addition to its own library, Universal releases the EMKA, Ltd. itemize of 1929–1949 Paramount Pictures, endemic by sister company Universal Television.
Film serial
| Championship | Release date | Notes |
|---|---|---|
| Universal Monsters/Dark Universe | 1925–56; 1979; 1999–present | co-production with Sommers Visitor, Alphaville, Relativity Media, Grand/O Paper Products, Perfect World Pictures, and Blumhouse Productions |
| Sherlock Holmes | 1936–47 | |
| Abbott and Costello | 1940–55 | |
| Woody Woodpecker | 1941–present | co-production with Walter Lantz Studios and Universal Animation Studios |
| Ma and Pa Kettle | 1947–57 | |
| Francis the Talking Mule | 1950–56 | |
| Psycho | 1960–98 | co-production with Paramount Pictures |
| The Birds | 1963–94 | |
| Airport | 1970–79 | |
| The Jackal | 1973–97 | co-production Warwick Films, Alphaville and Mutual Film Company |
| Jaws | 1975–87 | |
| The Dejection Brothers | 1980–98 | co-production with SNL Studios |
| Halloween | 1981–82, 2018–present | co-production with Compass International, De Laurentiis Entertainment Group, 20th Century Fox, Dimension Films, Miramax, The Weinstein Company, Metro-Goldwyn-Mayer, and Blumhouse Productions |
| Conan the Barbarian | 1982–84; TBA | co-product with Lionsgate and Millennium Amusement |
| The Thing | 1982–2011; TBA | co-production with Morgan Creek Productions and Strike Entertainment |
| Back to the Future | 1985–ninety | co-production with Amblin Entertainment |
| An American Tail | 1986–99 | co-product with Amblin Amusement, Amblimation and Sullivan Bluth Studios |
| The Land Before Time | 1988–2016 | co-production with Amblin Entertainment, Lucasfilm and Sullivan Bluth Studios |
| Child'due south Play / Chucky | 1990–98; 2013–present | co-production with Rogue Pictures, Relativity Media, Metro-Goldwyn-Mayer, and United Artists |
| Tremors | 1990–present | |
| Darkman | 1990–96 | co-production with Renaissance Pictures |
| Kindergarten Cop | 1990–2016 | co-production with Imagine Entertainment |
| Backdraft | 1991–2019 | co-product with Imagine Entertainment and Trilogy Entertainment Group |
| Beethoven | 1992–2014 | |
| Jurassic Park | 1993–present | co-product with Amblin Entertainment, Legendary Amusement, and The Kennedy/Marshall Visitor |
| Carlito's Way | 1993–2005 | |
| Difficult Target | 1993–2016 | |
| The Flintstones | 1994–2000 | co-production with Hanna-Barbera and Amblin Entertainment |
| Timecop | 1994–2003 | co-product with Renaissance Pictures |
| Babe | 1995–98 | |
| Casper | 1995–2000; 2016–nowadays | co-production with Amblin Entertainment, Harvey Films, Saban Ltd., and 20th Century Fox; right holders through DreamWorks Classics |
| Balto | 1995–2005 | co-production with Amblin Entertainment and Amblimation |
| Apollo films | 1995–2018 | co-production with Imagine Entertainment, Argument Pictures, CNN Films and Neon |
| Sudden Decease | 1995–2020 | |
| Dragonheart | 1996–present | |
| Twister | co-production with Amblin Entertainment and Warner Bros. (both 1996) | |
| Mr. Bean | 1997–2007 | co-production with PolyGram Films, Gramercy Pictures, Working Title Films, StudioCanal, and Tiger Aspect Productions |
| The Best Man | 1999–present | |
| The Mummy | 1999–2008; 2017; TBA | co-product with Relativity Media, Sommers Company, Alphaville, K/O Newspaper Products, and Perfect World Pictures |
| American Pie | 1999–2012 | |
| Jay Ward universe | 1999–2014; 2016–present | co-product with Bullwinkle Studios, Mandeville Films, Walt Disney Pictures, Imagine Entertainment, TriBeCa Productions, DreamWorks Animation, DreamWorks Classics, 20th Century Fox, and Pacific Information Images |
| Meet the Parents | 2000–x | co-product with DreamWorks Pictures, Paramount Pictures and TriBeCa Productions |
| The Chronicles of Riddick | 2000–13 | co-production with Gramercy Pictures, United states Films, Original Picture show, and Relativity Media |
| Dr. Seuss films | 2000–18 | co-product with Imagine Entertainment, DreamWorks Pictures, 20th Century Fox, Blue Sky Studios, and Illumination |
| Bring It On | 2000–22 | co-production with Strike Entertainment |
| Hannibal Lecter | 2001–02 | co-production with Metro-Goldwyn-Mayer, Orion Pictures, Scott Costless Productions, The Weinstein Company, and De Laurentiis Entertainment Group |
| Fast & Furious | 2001–present | co-production with Original Film, Relativity Media, and One Race Films |
| Shrek | co-production with DreamWorks Animation, Pacific Information Images, DreamWorks, Paramount Pictures, and 20th Century Play a trick on | |
| Bourne | 2002–present | co-production with The Kennedy/Marshall Company and Relativity Media. |
| The Scorpion King | 2002–eighteen | co-product with Alphaville and WWE Studios |
| Omnipotent | 2003–07 | co-production with Spyglass Entertainment, Shady Acres Entertainment, and Original Film |
| Hulk | 2003–08; TBA | including MCU'due south The Incredible Hulk (distribution simply), correct of first refusal holders (distribution simply) of whatever time to come MCU solo Hulk films; co-production with Marvel Studios |
| Johnny English | 2003–18 | co-production with StudioCanal and Working Title Films |
| Three Flavours Cornetto trilogy | 2004–13 | co-production with Rogue Pictures, Relativity Media, Focus Features, Working Title Films and StudioCanal |
| ...of the Dead | 2004–05 | co-production with Atmosphere Amusement, Romero/Grunwald Films, Cruel and Unusual Films and Strike Entertainment |
| White Noise | 2005–07 | co-production with Golden Circle Films |
| Doom | 2005–present | co-production with Di Bonaventura Pictures, Bethesda Softworks, and id Software |
| Nanny McPhee | 2005–ten | co-production with Working Title Films |
| Curious George | 2006–present | co-production with Imagine Entertainment |
| Smokin' Aces | 2007–present | co-production with Relativity Media |
| Dead Silence | co-production with Twisted Pictures | |
| VeggieTales | 2008; 2016–present | correct holders through DreamWorks Classics; co-product with Big Idea Entertainment, FHE Pictures, Starz Animation |
| Kung Fu Panda | 2008–nowadays | co-product with DreamWorks Animation, Oriental DreamWorks, Paramount Pictures and 20th Century Fox |
| Marvel Cinematic Universe | 2008; TBA | The Incredible Hulk (distribution right holders) only, distribution right of showtime refusal holders of hereafter Hulk films; co-production with Marvel Studios |
| Mamma Mia | 2008–xviii | co-production with Relativity Media, Playtone, LittleStar, Legendary Entertainment and Perfect Earth Pictures |
| Decease Race | 2008–present | co-production with New Horizons, Cruise/Wagner Productions and Relativity Media |
| The Strangers | co-product with Intrepid Pictures, Relativity Media, Rogue Pictures and Aviron Pictures | |
| Monsters vs. Aliens | 2009–14 | co-product with DreamWorks Animation and Paramount Pictures |
| Hit-Girl & Kick-Ass | 2010–13 | co-production with Lionsgate and Marv Films |
| How to Train Your Dragon | 2010–xix | co-production with DreamWorks Blitheness, Pacific Data Images, Paramount Pictures and 20th Century Play a joke on |
| Despicable Me | 2010–present | co-production with Illumination |
| Ted | 2012–xv | co-production with Media Rights Capital, Bluegrass Films, and Fuzzy Door Productions |
| The Man with... | co-production with Strike Entertainment and Bluegrass Films | |
| Pitch Perfect | 2012–17 | co-production with Gilded Circle Films and Brownstone Productions |
| The Purge | 2013–present | co-product with Blumhouse Productions and Platinum Dunes |
| The Croods | co-production with DreamWorks Animation and 20th Century Play a joke on | |
| Ouija | 2014–16 | co-production with Blumhouse Productions, Hasbro Studios, Genre Films, and Platinum Dunes |
| Neighbors | co-production with Point Grey, Relativity Media, and Expert Universe | |
| Ride Along | co-production with Relativity Media and Perfect World Pictures | |
| Unfriended | 2014–eighteen | co-product with Blumhouse Productions and Bazelevs Visitor |
| L Shades | 2015–xviii | co-production with Focus Features, Michael De Luca Productions and Trigger Street Productions |
| The Cloak-and-dagger Life of Pets | 2016–present | co-production with Illumination |
| Trolls | co-product with DreamWorks Animation and 20th Century Pull a fast one on | |
| Sing | co-product with Illumination | |
| Unbreakable | 2016–19 | co-production with Touchstone Pictures, Blinding Edge Pictures, and Blumhouse Productions |
| The Boss Baby | 2017–present | co-production with DreamWorks Animation and 20th Century Pull a fast one on |
| The Snowman | co-production with Perfect World Pictures | |
| Happy Death Twenty-four hour period | co-product with Blumhouse Productions | |
| Insidious | 2018; TBA | co-product with FilmDistrict, Focus Features, Gramercy Pictures, IM Global, Alliance Films, Stage half dozen Films, Amusement One, and Blumhouse Productions |
| Pacific Rim | co-production with Legendary Entertainment and Warner Bros. | |
| The Addams Family | 2019–nowadays | International distributor; co-production with Metro-Goldwyn-Mayer and Bron Creative |
Highest-grossing films
Universal was the first studio to accept released three billion-dollar films in one yr; this distinction was achieved in 2015 with Furious 7, Jurassic World, and Minions.[56]
|
|
‡ Includes theatrical reissue(s).
Encounter likewise
- List of television set shows produced by Universal Studios
- DreamWorks
Notes
- ^ Robert H. Cochrane (1879–1973) formed the Cochrane Advertising Agency in Chicago in 1904. He joined the Laemmle Picture show Service as advertising director in 1906, and for the next 30 years devoted himself to promoting Carl Laemmle as the 'star' of various motion picture enterprises. In 1912 Cochrane was elected vice-president of the Universal Film Manufacturing Company, and served as president of Universal in 1936–37 afterward Laemmle sold his interests.[5]
- ^ International distribution only. Released by Warner Bros. domestically in North America.
References
- ^ a b "Brad Weston Launches Production Visitor With Bankroll From Universal, eOne". Variety.
- ^ "Contact Us". NBCUniversal. Archived from the original on 2017-09-03. Retrieved 2017-08-31 .
- ^ "Who We Are | Motion Picture Association". Motion Motion-picture show Association lists "Universal City Studios LLC" as its member. Flick Association. Retrieved April 6, 2020.
{{cite web}}: CS1 maint: others (link) - ^ "Our Story". MPAA.
- ^ Cochrane, Robert H. (2007). "Commencement of motion moving-picture show printing agenting". Film History: An International Journal. Indiana University Press. 19 (3): 330–332. doi:x.2979/fil.2007.xix.iii.330. S2CID 191585832. Retrieved Jan seven, 2016.
- ^ Vander Hook, Sue (2010). Steven Spielberg: Groundbreaking Director . ABDO Publishing Company. p. 35. ISBN978-1617852527 . Retrieved April 12, 2018.
- ^ Rose, Liza (April 29, 2012), "100 years ago, Fort Lee was the first town to bask in film magic", The Star-Ledger , retrieved November eleven, 2012
- ^ Koszarski, Richard (2004), Fort Lee: The Film Boondocks, Rome, Italia: John Libbey Publishing -CIC srl, ISBN0-86196-653-8
- ^ "Studios and Films". Fort Lee Moving picture Committee. Archived from the original on Apr 25, 2011. Retrieved May 30, 2011.
- ^ Fort Lee Film Commission (2006), Fort Lee Birthplace of the Move Picture Industry, Arcadia Publishing, ISBN0-7385-4501-5
- ^ "Florence Lawrence". www.cemeteryguide.com . Retrieved 2022-03-28 .
- ^ "About Us: Universal Studios History". The Filmmakers Destination. NBCUniversal. Retrieved Feb 12, 2016.
- ^ "LC Linked Data Service: Authorities and Vocabularies (Library of Congress)". The Library of Congress.
- ^ "The Universal Programme". Move Picture News. Motion Picture show News, inc. May half-dozen, 1916. p. 2704. Retrieved Feb 7, 2021.
- ^ a b Hirschhorn, Clive (1985) [1983]. The Universal Story. New York: Crown Publishers. ISBN0-7064-1873-5.
- ^ "Universal Studios Lot | Universal Studios". Universal Studios Lot . Retrieved 2022-03-28 .
- ^ Michael Zmuda (30 April 2015). The V Sedgwicks: Pioneer Entertainers of Vaudeville, Film and Television. McFarland. pp. 54–. ISBN978-0-7864-9668-half dozen.
- ^ B movies (Hollywood Gilded Age)#Roots of the B movie: 1910s–1920s
- ^ Opam, Kwame (2017-06-06). "Universal is adding The Phantom of the Opera and The Hunchback of Notre Dame to its cinematic universe". The Verge . Retrieved 2022-03-28 .
- ^ Leonard Leff and Jerold Simmons The Matriarch in the Kimono, 1990 (original edition)
- ^ "Universal Announces Release Of "Oscar, the Rabbit" Cartoons". Moving Picture show World. March 12, 1927. Retrieved August 23, 2019.
- ^ "Universal Signs for 3 More Years of Oswald". Motion Picture News. February 18, 1928. Retrieved August 23, 2019.
- ^ "Linked to British Company". The New York Times. 1936-03-fifteen. ISSN 0362-4331. Retrieved 2021-05-26 .
- ^ "International Pictures and the merger with Universal Pictures". cobbles.com . Retrieved Nov 8, 2017.
- ^ "UNIVERSAL-INTERNATIONAL AND THE EARLY MCA YEARS". Film Reference . Retrieved November viii, 2017.
- ^ Page, Tim (1986-ten-08). "HAL B. WALLIS, Film PRODUCER, IS Expressionless". The New York Times. ISSN 0362-4331. Retrieved 2022-03-28 .
- ^ "Classics 'On Line' with Universal As Unit of measurement Has Sights on Separation". Variety. 1983-03-02. p. 8.
- ^ "MGM/UA, Par, Universal Squad To Market U.S. Products In Red china". Variety. 1987-06-03. p. 6.
- ^ "New Line, Universal Pay TV Sign Cable Deal For Theatrical Pics". Variety. 1987-06-x. p. 46.
- ^ Carver, Benedict; Dawtrey, Adam (1999-02-10). "U to outset int'l distrib". Multifariousness . Retrieved 2022-01-09 .
- ^ Groves, Don (1999-x-08). "'Eyes' to close UPI slate". Variety . Retrieved 2022-01-09 .
- ^ Dawtrey, Adam; Petrikin, Chris (1999-10-04). "A Universal entreatment". Diversity . Retrieved 2022-01-09 .
- ^ Petrikin, Chris (1999-ten-xv). "U, Par extend UIP pact". Variety . Retrieved 2022-01-09 .
- ^ Fabrikant, Geraldine (Apr 10, 1995). "THE MCA SALE: THE Deal; Seagram Puts the Finishing Touches on Its $5.vii Billion Acquisition of MCA". The New York Times. ISSN 0362-4331. Retrieved April 4, 2019.
- ^ "Love Actually (2003) – Box Office Mojo". Box Office Mojo.
- ^ "New York Film Academy – Los Angeles". nyfa.edu.
- ^ Ahrens, Frank (2004-05-13). "GE, Vivendi Requite Rise To a Giant". Washington Mail service. ISSN 0190-8286. Retrieved 2022-03-28 .
- ^ Andreeva, Nellie (October 5, 2009). "'Two And A Half Men' Cast's Vacation Gifts For The Show'south Crew And Staff". Deadline.
- ^ a b Goldstein, Lindsay (June 19, 2014). "Universal Partnerships & Licensing to Aggrandize to Consumer Products Covering NBC and Sprout". The Wrap . Retrieved June 27, 2014.
- ^ James, Meg (January 27, 2011). "GE completes its purchase of Vivendi'due south stake in NBC Universal". Los Angeles Times . Retrieved Apr 22, 2013.
- ^ Lafayette, Jon (January 29, 2011). "Comcast Competes Deal". Multichannel News . Retrieved May 21, 2011.
- ^ Lieberman, David (March 19, 2013). "Comcast Completes Acquisition Of GE's 49% Stake In NBCUniversal". Deadline . Retrieved June 9, 2020.
- ^ Fleming, Mike Jr. (September 9, 2013). "UNIVERSAL SHAKEUP: Adam Fogelson Out, Donna Langley Sideways, Jeff Shell In, And Ron Meyer Up As Studio Taken By Surprise". Deadline . Retrieved June 9, 2020.
- ^ Masters, Kim (Dec 13, 2012). "Why Studios Don't Pay to Make Movies Anymore". The Hollywood Reporter. p. iv. Retrieved April 22, 2013.
- ^ Faughnder, Ryan (July 10, 2013). "Legendary Amusement strikes five-twelvemonth deal with NBCUniversal". Los Angeles Times . Retrieved July 10, 2013.
- ^ "Focus Revives Gramercy Pictures Label For Genre Films". Deadline Hollywood. May 20, 2015. Retrieved May twenty, 2015.
- ^ a b Lang, Brent (Dec 16, 2015). "Steven Spielberg, Jeff Skoll Bring Amblin Partners to Universal". Diverseness . Retrieved December 23, 2015.
- ^ a b Busch, Anita (December 16, 2015). "Information technology's Official: Spielberg, DreamWorks, Participant, eOne, Others Pact For Amblin Partners". Borderline.com . Retrieved December 23, 2015.
- ^ Rainey, James (Feb 17, 2016). "Universal and Perfect World Pictures of China Complete $500 1000000 Film Slate Deal".
- ^ "Comcast'south NBCUniversal buys DreamWorks Animation in $iii.8-billion bargain". Los Angeles Times . Retrieved April 28, 2016.
- ^ James Rainey (Baronial 23, 2016). "DreamWorks Animation's New Management Structure". Variety . Retrieved October 11, 2016.
- ^ a b Perry, Spencer (February 15, 2017). "Universal Studios Buys a Minority Pale in Amblin Partners". Comingsoon.net . Retrieved Feb 20, 2017.
- ^ Matt Donnelly (December nineteen, 2019). "Universal in Talks With Lego Grouping to Develop New Films Based on Toys (Sectional)". Variety.
- ^ Tartaglione, Nancy (June 9, 2020). "Duncan Clark To Get out Universal As President Of International Distribution; Quondam WB Exec Veronika Kwan Vandenberg Volition Take Over Role". Borderline . Retrieved June 9, 2020.
- ^ Fritz, Ben (December 16, 2015). "Steven Spielberg's DreamWorks Relaunches as Amblin Partners". The Wall Street Periodical. ISSN 0099-9660. Retrieved Apr iv, 2019.
- ^ Nancy Tartaglione. "'Minions' Tops $1 Billion Worldwide; Universal Sets Another Industry Record - Deadline". Deadline.
- ^ "Universal All Fourth dimension Box Part Results". Box Office Mojo . Retrieved April ix, 2017.
External links
- Official website
Source: https://en.wikipedia.org/wiki/Universal_Pictures
Post a Comment for "Coloring Star Content Uploads 2017 Happy Halloween Pages Minion"