Rahm Emanuel isn't the only politician with a nickname from "The Godfather."

In recent appearances on the campaign trail, former Florida Gov. Jeb Bush (R) has bragged about being dubbed "Veto Corleone" during his days leading the Sunshine State. 

 "They called me Veto Corleone. Maybe I called myself that, I can't remember, because I vetoed something like 2,500 separate line items in the budget to try to create some discipline and focus on how the budget works," Bush said over the weekend at a GOP House Party in New Hampshire, in reference to his two terms as Florida Governor from 1999 to 2007. 

The comment earned a hearty laugh from the homespun crowd last Friday but it's a line Bush has been recycling in his "stump speech" as he explores a possible presidential bid.

He previously made the reference during his comments at CPAC and at a fundraiser in February.  

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NOW WATCH: Watch John McCain Blow Up At Protesters Heckling Henry Kissinger — 'Get Out Of Here, You Low-Life Scum'

For all the praise going around for "The Jinx"’s ending to end all endings, one bone of contention has lingered throughout the documentary’s six-episode run: its reenactments of the murders of Kathie Durst, Susan Berman, and Morris Black.

The deceased exist in parallel universes onscreen: in real-life photos and videos, and in highly aestheticized rehashings that imagine their final moments.

According to Chelsea Gonzalez, who acts as Kathie Durst’s stand-in, the scenes were huge productions, meticulously shot on-and-off over two years. Most often, they would film at director Andrew Jarecki's home in upstate New York, where Kathie's family and friends would drop by now and then to observe the process. Vulture spoke to Gonzalez about the ins and outs of being a reenactor, working with Jarecki, and what it was like meeting Kathie’s family.

How did you get involved with "The Jinx"?

What was the casting process like? 
It was mostly cast off of them taking pictures of us, and asking a few questions. I was told by Andrew [Jarecki] later that when he saw my picture he freaked out because he told me that I looked just like Kathie Durst.

Had you done anything like this before, or was this a new experience for you?


It was definitely a new experience as an actor [to do reenactments], but the shoot was unbelievable, and I’ve actually been shooting it for the past two years. We shot so much stuff, not even a quarter of it ended up in the documentary. Also, nobody knew what we were shooting.

Did you know much about whom you were portraying?


Yes, and Andrew was great; he was very good at explaining the story and what was going on. We actually filmed most of it at Andrew’s house in upstate New York. So we did this three-day shoot, and we all thought that was the end, and then a couple days later, they would call me back and be like, “Oh, hey, we’re going to add another two days.” Then, two years later, every time I thought it was the last one we were going to do, they would call me back for another one. So I ended up working two weeks total.

Did you feel uncomfortable acting out these scenarios, knowing what the subject matter was?


It was weird, because I met a lot of Kathie’s family and friends. It was more because they wanted to see a movie set, and Andrew said, “Yeah, come check it out.” But it was weird for me because they would always say, “Oh, you just look so much like Kathie.” So it was a little creepy. But Andrew’s been absolutely amazing. I moved to Los Angeles pretty recently, and he set me up with meetings with certain production companies. He’s just such a good person.

Did Kathie's family and friends seem at all bothered or troubled by the reenactments?


No, to be honest.  They were very quiet, but it's been a lot of years, so I feel like they were more happy that the story is getting told if that makes sense. 

What was the mood like on set during these scenes?


Extremely chill. Andrew is such a laid-back guy and literally never stresses, so everyone on set was pretty calm.  Also, Andrew was definitely taking his time on the project, so there was no time crunch at all.  

When you would go in to do these shoots, were the other reenactors there as well?

Yes, particularly the guy who did all the reenactments for Robert Durst. He was always there, and he and I got pretty close.

What kind of direction were you given? Can you describe what a day or scene enactment was like?


It was mostly Andrew who would explain it to us. He would just be like, “This is what we need, be frantic.” And because it was all dubbed, it was mostly, “Okay, now smoke your cigarette!”

So it wasn’t like you knew what you were doing beforehand? He was telling you as you went?


Not at all, not at all. There was one scene where they wanted me to drive up [to the house]. They got this old car that Kathie Durst once drove, so they had that, and they spent so long setting up this one shot. They had me waiting at the bottom of the driveway in the car, and then they just had a walkie-talkie in the car with me, and they said, “Okay, when we tell you, we want you to drive all the way up the driveway, pull over in front of the house, get out of the car, throw your cigarette down on the ground, and go into the house.” When they called action and I went, I didn’t realize they had set up this huge fog machine, and I couldn’t see where I was driving at all, and I crashed into a huge rock.

How physical was the acting?

I think I recall you had a fight scene with Robert Durst’s reenactor.
We had done this whole thing where they laid some gymnastic mats on the floor, and then they put the camera just high enough so if I fall, it looks like I’m falling a huge distance. So we shot over and over again, me falling. And then we did a lot of fighting, so it was a lot of me fighting with Robert Durst. They would literally have us just go on forever. And they would have us screaming and yelling at each other so that it would look real, so we had these fights where I would try to get the keys from him to leave the house, so I would be like, “Give me the fucking keys!”

Was there a scene that was particularly difficult to enact?


Hmm. I’d say the most difficult thing was when they wanted me to fall. I think when they got more evidence they changed it, but originally, in the death scene, they wanted me to fall down, and it was supposed to look like he had pushed me into the fireplace, and used the tools you use in the fire to kill me. And I think Andrew obviously came up with that scenario. That was probably the most difficult because I had to fall and look like I was hitting rock.

Is there anything you’re particularly disappointed didn’t make it in?


I think [the fireplace scene] would be the one because we did so many takes of them filming the death in slow motion. But they just had so much footage. We were joking the whole time, mostly me and the guy who was playing Robert Durst, that this has to be the most money ever spent on a documentary because the rehash scenes were just unbelievable. For one of the shoots, we filmed it at the Katonah train station [in New York]. Even just for that shoot, they rented out the whole MTA train station, and I remember asking the guy who worked for the MTA station, “How much does it cost to rent out a Metro North train?” I think he told me it was $20,000. Not to mention they had 30 people there for crew, and the actors. They really put the money in.

How does it feel watching yourself now, and seeing the case play out?


It’s crazy. I’ve been so excited for so long about this. It’s been amazing to be a part of the process, even though I was aware you weren’t really going to see my face. It’s been one of those things where I’ve been like, “It’s gonna be a big deal!” But the first couple episodes came out and I was like, "Man, no one’s talking about it." I really thought it was going to be this huge hit, and was expecting everyone to be talking about it. So then after this weekend, it changed everything.

SEE ALSO: HBO filmmakers cancel all press; could be key witnesses against alleged murderer Robert Durst

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Sony Pictures released the first trailer for its coming sci-fi comedy "Pixels." The movie stars Adam Sandler as a former video game champion who has to fight off an invasion of classic arcade characters like Pac-Man and Donkey Kong.

Directed by Chris Columbus ("Home Alone,""Harry Potter and the Sorcerer's Stone"), the movie is based on a 2010 short film by filmmaker Patrick Jean that you can watch here.

"Pixels" will be released July 24.

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What "Jaws" did for the ocean, "Backcountry" will do for the woods. 

The premise isn't unfamiliar: A couple ventures into the Canadian woods for a weekend getaway, and things don't go exactly as planned. Alex claims to be an expert woodsman, and he does all he can to impress his girlfriend, Jenn, since this is her first camping trip.

"Backcountry" works because of the relationship between Alex and Jenn. When they first arrive at the campsite, it's clear that Jenn has little to no interest in actually being there — she's only there because Alex is so gung-ho about it. She'd rather just stare at her BlackBerry the whole time.

As the trip progresses and things spiral out of control, Jenn's disinterest in the trip becomes toxic, and a whole other level of tension and intensity is thrown into the mix. 

The film is more effective than your average horror movie since the terror comes from real-life situations. There are no ghosts, demons, or creatures from another dimension, just the seemingly never-ending woods with all of nature's horrors contained within.

There are so many elements working to keep the audience on edge and it's never clear which scary set-up will actually get its pay-off. Each new situation brings its own sense of dread to the table, and when the proverbial shit hits the fan, my jaw hit the floor and stayed there for rest of the movie.

Saying any more would likely weaken the experience — I knew literally nothing about the movie going in, so I tense on the edge of my seat the entire time trying to anticipate what would happen next. Every time I thought I knew where it was going, it veered off the path and surprised me with something else that's equally unsettling.  

The single most horrifying moment occurs right up top, when text appears on-screen that reads "based on a true story." "Backcountry" plays like a bizzarro version of Reese Witherspoon's Oscar-nominated "Wild," where literally nothing goes right along the way.

Watch the trailer below (although I recommend going in completely blank if you can hold out):

"Backcountry" opens in limited release and video-on-demand on March 20th. 

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When “Star Wars Episode I: The Phantom Menace” opened in theaters May 19, 1999 the anticipation for the continuation of the saga was palpable. Fans would finally get the first three installments leading up to “Star Wars Episode IV: A New Hope.” All those hours of discussing what led Obi-Wan Kenobi to live in seclusion on Tatooine or why Anakin Skywalker turned to the dark side to become Darth Vader would finally be revealed.

Though the film earned over $1 billion dollars worldwide in its theatrical run, many critics and loyal fans weren’t that impressed by George Lucas’ return to his galaxy far, far away. From the strange sexual connection between 9-year-old Anakin (Jake Lloyd) and 14-year-old Queen Padmé Amidala (Natalie Portman) to Jar Jar Binks, there was a lot to pick on Lucas about.

But one exception — and watching it 16 years later still gives me goosebumps — is the fight at the end of the movie between Jedi Knights Qui-Gon Jinn (Liam Neeson) and Obi-Wan Kenobi (Ewan McGregor) versus the Sith Lord Darth Maul (Ray Park) during the Battle of Naboo.

Doing a deep-dive of the scene, it's shocking to see what George Lucas and his team needed to use to pull off one of the pinnacle shots in the duel.

But first, let's get ourselves familiar again with the scene. 

Accompanied by a new piece of music from John Williams, who has been responsible for all of the iconic scores in the “Star Wars” saga, the scene shows that Lucas was prepared to elevate the lightsaber battles from episodes IV-VI. Faster, more complex moves and the inclusion of a new-style lightsaber sported by Maul, which had double blades, the scene gives the movie the jolt it needed following a drawn out podrace on Tatooine earlier and heavy dialogue-driven diplomatic scenes.

Lucas pushed his stunt team to create a fighting style different from the previous films as this is the era of Jedi in their prime. And in casting Maul he turned to Park, who was already doing stunts on the film. When Lucas saw a tape of him doing moves with the double-bladed lightsaber he gave him the role.

As per Lucas’ style, the Jinn/Kenobi/Maul fight is one of four battles going on simultaneously. There’s also Queen Padmé and her guard detail trying to retake the palace from Federation Viceroy Gunray; Jar Jar Binks and the rest of the Gungan army going up against the Federation’s droid army; and Anakin has found himself in space battling the Federation’s droid control ship after accidentally starting the starfighter he was hiding in. Lucas uses this method to keep the action from getting stale and extending the battles in running time.

Specifically focusing on the lightsaber battle, you have the intimidating figure of Maul — which up to this moment we had only seen mostly standing around looking sinister and for a brief moment battling Jinn on Tatooine — holding his own against two Jedi.

During the fighting, Kenobi is kicked by Maul and falls down a lower level of the room and finds himself hanging from one of the catwalks in the generator room.

With Jinn fighting Maul one-on-one, Maul leads him towards a narrow hall with laser fields.

Kenobi finds the strength to force-jump back on the catwalk. He jumps once more to the level Jinn and Maul are on and races back to the action. But is held up when the laser fields turns on. Jinn and Maul are also separated by the fields, leading to a pause in the action.

When we return after checking in on Anakin, Jar Jar and Padmé’s progress, we find Jinn, Kenobi and Maul preparing for the fields to open.

Using The Force they are prepared before the fields are opened with Jinn and Maul instantly going back at it. Kenobi is still racing to assist his Master.

The fields close just before Kenobi can enter the fray and he is forced to watch as Maul kills Jinn.

Once you get over the shock of seeing a lightsaber go through someone, you can't help but find the reaction of Kenobi eerily similar to Luke Skywalker watching Kenobi’s death by the hand of Darth Vader in “A New Hope.”

In the commentary track of “The Phantom Menace” Blu-ray, Lucas explained the challenges of this portion of the scene.

“One of the most difficult parts of this sequence was figuring out a way to separate Obi-Wan from Qui-Gon,” he said. “I had to have a situation where Qui-Gon could get trapped and Obi-Wan would have to look and watch him get killed and not be able to do anything about it.” 

Kenobi finally gets his chance to avenge Jinn’s death as the final laser field opens.

Lucas remarked on McGregor and Park’s intensity in this duel.

“This was a fun sword fight between Ewan and Ray because they were really into it and they were very much out to prove who was the better swordsman,” he said in the commentary. “They were very much challenging each other, which made for a challenging shoot but very exciting. They finished this and their swords were almost bent in half they were hitting each other so hard.” 

But things don’t go well when Maul force-pushes Kenobi into a pit, leaving him hanging for his life as Maul kicks his lightsaber into the dark void.

Lucas notes that this moment is a theme in the saga.

“[Obi-Wan] falls over the ridge earlier [in the battle], falls over here. Copying kind of what happens in ‘Empire Strikes Back’ with Luke in the same kind of sword fight with a Sith and falling over the edge.”

But in a move that surprises Maul, Kenobi force-jumps out of the pit while using The Force to get Jinn’s lightsaber, flips over Maul, and slices him in half.

Lucas says the four battles were switched around in the way they ended numerous times in post production. But he finally settled on the Kenobi/Maul battle to conclude them all.

“When you have four endings basically you have to figure out which is the most important and save it for last and the most shocking,” he said. “Which is Darth Maul being cut in half, and you make it the last one.” 

In looking back on "The Beginning" documentary we also get a glimpse into the making of the Jinn/Kenobi/Maul duel.

Here's Park getting his Darth Maul makeup applied.

Though the generator room looks like a giant section of Padmé’s palace, it actually was a portion of a soundstage the first three films were all shot on in London. Most of the vast space created in post production.

"The Beginning" shows the section of filming where Kenobi pulls himself from the catwalk to get back into the fight. Here McGregor is shown a model of the generator room and where the catwalk he's hanging from is located. 

A challenge making that sequence was finding a way for McGregor to leap back onto the catwalk in a "graceful, Jedi-like move." 

First they tried a trampoline.

That didn't work.

After the shot, Lucas came over to say that from his monitor "you can see that he's bouncing on something."

This leads to a practical solution, but one that's surprising to see on the set of a "Star Wars" film. The stunt team decided to lift McGregor up while he's standing on a wooden plank.

That turned out to be successful. 

Pretty incredible that even on a $115 million budgeted movie sometimes what works best is some basic DIY ingenuity. 

Though it's hard to justify many things in “The Phantom Menace,” the Jinn/Kenobi/Maul duel shows the strength of the "Star Wars" saga. Unique battles with a thrilling score is the hallmark of “Star Wars” and this one especially stands out as it highlights the beauty of the lightsaber duels and its ferocity.

It brings us some hope that all those years of waiting for the prequel wasn’t all in vain.

Watch a portion of the fight below.

SEE ALSO: 2017 is going to be an absolutely huge year for Disney

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The runaway success of "Dragon Blade," a Chinese film starring Adrien Brody and John Cusack, proved that two actors with middling success in their home country could find success overseas.

In fact, it feels like reaching out abroad is the best bet for many entertainers right now.

Today, studios count on a film's foreign box office even more than its domestic gross.

Stars who struggled in the United States can find a new life in unexpected places. Sometimes, they can do it by exploring a new medium, whether it be music or painting.

Here are eight American actors who have found surprising success overseas.

Nicolas Cage — China

In America, Nicolas Cage's over-the-top performances have made him both a punchline and a meme. China, however, takes the Oscar-winning actor a lot more seriously. It might have to do with the fact that many of his films, including "The Croods,""Ghost Rider," and "National Treasure: Book of Secrets" were just three of a handful of American films to make it past Chinese censors.

In fact, Cage is so well-liked in China that in 2013, he received the "Best Global Actor in Motion Pictures" Award at the Huading Awards Show.

He also stars in a car ad for Beijing Automotive.

His upcoming "Outlander," an American-Chinese-Canadian co-production, will be released in China on April 3.

Here's the trailer:

David Hasselhoff — Germany 

In America, Hasselhoff fame has gone up and down multiple times. In the 1980s and '90s, he starred in hit shows "Knight Rider" and "Baywatch." Lately, he is probably best known for an infamous YouTube video in which he drunkenly eats a cheeseburger.

But even when he was down stateside, he maintained a loyal following in Germany.  

On New Year's Eve in 1989, Haselhoff performed a tune called "Looking for Freedom" for a newly reunited Berlin. That year, the song became Germany's top selling single, and Haselhoff proved that if its not working as an actor, you can always try and write a pop song. 

Here is Haselhoff singing at the Berlin Wall:

Halle Berry — China

Similar to Adrien Brody, an Oscar win unfortunately didn't bolster Halle Berry's career for long. While she does star in a few of the "X-Men" movies, she also won a Razzie for her performance in 2004's "Catwoman."

Berry was up for a much more prestigious award in 2014: she won a Global Icon award at China's Huading Film Awards. When she got onstage, she said she felt like "an original Beatle" in China.  

This could be perplexing to some, given that a few of her recent starring vehicles ("Catwoman," "The Call," "Perfect Stranger") didn't even play in China. Yet, "Cloud Atlas" made the bulk of its $103 million foreign box office gross in China.

John Cusack — China

As mentioned earlier, Cusack has found surprise stardom in China, thanks to his starring role in "Dragon Blade." In recent years, Cusack has starred in a wide array of projects, ranging from blockbusters to independent films, that have been met with mixed box office and critical success in America.

Part of Cusack's viability overseas may be because he is already a proven box office draw in China: "2012" was a big hit when it was released there back in 2009.

Perhaps Cusack's collaboration with Jackie Chan was inevitable. After all, Cusack has been an admirer of martial arts and has used it in his movies since the days of "Grosse Pointe Blank":

Jerry Lewis — France

France's love of Jerry Lewis is like folklore at this point, but it is no myth. Lewis has been a fixture in French culture since the 1960s, where many French critics and historians have praised his work, with some saying they prefer him over Woody Allen. His popularity hasn't wained there: an annual Jerry Lewis film festival is held every year in Paris.   

Here is Jerry entertaining paparazzi (who are clearly huge fans) in Paris:

Kevin James — Germany

Haselhoff isn't the only one who's big in Germany. Comedian Kevin James has been a fixture in Germany since "The King of Queens" became one of the few American sitcoms to truly succeed there.

His movies such as "I Now Pronounce You Chuck & Larry" (which was promoted more heavily on James than Adam Sandler) and "Zookeeper" (where it made its highest foreign gross) attract big audiences in Germany, based on his name alone. American humor tends to get lost in translation when crossing overseas, and while James is much maligned in America, his brand of slapstick doesn't require a translator.

Here is Kevin James making an appearance on the popular German TV show "Wetten, dass..?" ("Wanna Bet?") alongside Cameron Diaz:

Clint Eastwood — Italy 

Clint Eastwood is currently having a career renaissance behind the camera with "American Sniper," which recently became the 

highest-grossing film in the US in 2014. It also opened to big numbers in Italy.

It may be because Eastwood has been a huge star over there since the 1960s, when Sergio Leone's "The Dollars Trilogy" first cemented him as a movie star. Eastwood is the rare actor who went abroad in order to become a star in his home country.

Sylvester Stallone — Russia

Sure, the Soviet Union might have once been Rocky Balboa's enemy, but in recent years, Stallone's films have gained something of a following in Russia.

Outside of the "Expendables" franchise, his "Grudge Match" earned its highest overseas total there (at just $2.8 million, though) while his 2013 film "Escape Plan" trailed China for second place. Russians also saw a side of Stallone that Americans never get to witness: a 2013 exhibit in St. Petersburg displayed paintings by Stallone.

His artwork might not have received positive reviews, but Russians from all across the country still came to see it.

Check out some of Stallone's art below:

SEE ALSO: This movie starring Jackie Chan, Adrien Brody, and John Cusack is huge in China right now

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NOW WATCH: Forget IMAX — The Next Big Thing For Movie Theaters Is 4DX

Monday, Universal Studios debuted the seventh “Fast and Furious” film, “Furious 7” for fans at seven private screenings across the country over two weeks before its big screen debut.

Stars Tyrese, Ludacris, Jordana Brewster, and Vin Diesel showed up to introduce four of the premieres. 

Diesel opened the premiere in Los Angeles, where the first film in the franchise takes place.

There, he gave an emotional speech honoring costar Paul Walker who died in November 2013 in a car crash.

Since Walker's death, fans of Diesel have rallied behind the actor as he has openly grieved, sharing memoriesand photos of his time with the late actor, who he refers to as his brother and best friend Pablo, most noticeably on Facebook. He's shared updates about "Furious 7" online before Universal Studio made announcements.

Here's one of his most recent postings:

Diesel is now one of the most followed actors on Facebook with over 90 million followers.

Small snippets of Diesel’s conversation made their way onto social media, but we couldn’t find a full video of his over three minute speech to the crowd until now. 

Here's what he said to fans Monday evening:

I had to introduce the first screening in California where the whole franchise started. This was, as you know, this was a very, very personal and important film to us. Every time when I saw the movie at the premiere, Paul Walker and I would go up to the side, and he would always tell me, ‘Vin, the best one’s still in the can.’ Well, I hope tonight, you let Pablo know that this is the best one for you guys. 

If you love the movie, and I hope you do, I think you will, feel free to talk about it. At the same time, know that you are a select few that have been allowed to see this movie before April 3. So, think about that. And allow people to enjoy the movie and discover it for themselves. 

This was a labor of love. It was in some ways the hardest I ever had to do because the relationships that you see on film are so real. When the tragedy happened, I lost my best friend. I lost my brother. 

Tonight (here, Diesel takes a big pause as fans encourage him to go on) … what can I say guys, thanks for being my family. Thanks for always taking care of us. Thanks for believing in us. 

Thanks for taking the themes that we put in this action saga, and somehow applying it to your own lives. You know what’s most important in life. 

We truly made this for you. I said at the premiere at “Fast and Furious 6” at Universal Studios that we would bring the saga back home. And in this film, that’s exactly what we do. 

Please, from my heart, know that we made this movie from our hearts, and know that this is our gift to you. And, more importantly, it’s for my brother there.

Watch the full video below:

[h/t Cinemablend]

SEE ALSO: 'Fast and Furious 7' is an absolutely ridiculous thrill ride and Paul Walker tribute that fans will love

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NOW WATCH: The new 'Furious 7' trailer is packed full of cars, explosions, and ridiculous stunts

Netflix's bold foray into original movies has been swift and, at least among filmmakers, a bit controversial.

That's because striking a deal with the streaming giant means giving up on the fantasy lurking in the psyche of every producer, director and star: that your movie will become a box-office phenomenon and make you rich.

Deep-pocketed Netflix, just as it disrupted the TV industry, is willing to pay a steep premium to nab projects — as it did with recent deals with Adam Sandler for four comedies and Leonardo DiCaprio for environmental documentaries. But despite the pile of cash upfront, Netflix for the most part doesn't pay any backend.

"Sure, you won't get the next Frozen, but you won't get "Mortdecai," either," says Wall Street analyst Richard Greenfield, referencing Johnny Depp's recent bomb. "How many films actually make money? We could spend all day going down the list of those that don't."

Two independent projects recently acquired by Netflix provide a case study of the company's acquisitions strategy: Cary Fukunaga's completed African war film "Beasts of No Nation," starring Idris Elba as a brutal commander, and "Jadotville," a yet-to-be-shot Irish war movie starring Jamie Dornan and Frenchman Guillaume Canet. Netflix paid $12 million for "Beasts," or 200 percent of the movie's budget, something no traditional distributor would offer. Fox Searchlight and Focus Features also bid for "Beasts," but sources say they topped out at $8 million. The $17 million price tag for "Jadotville" (or more than 140 percent of the $12 million budget) was even more eye-popping.

Netflix is promising a theatrical release for "Beasts" this year, but the film is expected to be seen in only 200 or so independent theaters because most exhibitors remain unwilling to play a title that simultaneously is debuting elsewhere.

"Netflix wants to break new ground with this film and create a new paradigm for watching specialty movies," says Daniela Taplin Lundberg, whose Red Crown Productions made "Beasts" with Participant Media. Still, Lundberg adds that she and her fellow producers debated "endlessly" about forgoing the established route before making a deal. Or, as another person close to the film puts it, "It was a buyout. Netflix has to make it worth your while to give up the lottery ticket — what if your movie is the next 'King's Speech'?"

For the team behind "Jadotville," a Netflix deal avoided a complicated financing structure. "The traditional 'independent' model would have meant an interparty structure of seven or eight individual parties wrapped up in a banking deal and the ever possible potential for differing creative objectives. This way, we have one source of financing and a very supportive creative partner," says "Jadotville" producer Alan Moloney. "What's not to love?"

But others say Netflix could face an uphill battle in persuading producers who are accustomed to a share of box-office grosses to sign up, not to mention filmmakers used to a splashy theatrical play. (Similar concerns have been raised in TV by producers hoping for syndication riches.) A key test will be how Netflix fares at the Cannes Film Festival; at SXSW, it picked up "6 Years," produced by Jay and Mark Duplass, with whom Netflix signed a four-picture deal in January. But it has yet to win a major festival film such as Sundance's "Me and Earl and the Dying Girl" or "Brooklyn," both of which went to Fox Searchlight. Why? "There's no backend," says one veteran film executive. And Netflix, boasting 57 million subscribers in 50 countries, including 39.1 million in the U.S., is aggressive about holding global rights for up to 20 years, say sources.

A big question is whether Sandler is getting any backend to star in and produce his Netflix movies (the first, "The Ridiculous Six," is filming). Chief content officer Ted Sarandos told THR in October that his company would spend the same $40 million to $80 million that a studio would for a Sandler film, an amount sure to include a big salary. But under his Sony first-look deal, Sandler also commanded a hefty backend that likely is not possible under a Netflix model that eschews box office.

From the outset, Sarandos said he won't release Sandler's films in theaters as he will attempt with "Beasts" and the sequel to "Crouching Tiger, Hidden Dragon," due Aug. 28 on Netflix and in select Imax theaters. Major theater chains were infuriated at Netflix and The Weinstein Co. for the "Crouching Tiger" deal; they won't play the movie, so it might be seen only in locations owned by Imax. Greenfield chastises exhibitors for flawed thinking: "The crazy part is that the government hasn't gone after theater owners for collusion."

Along with the money issue, theater resistance is a factor producers must weigh as Netflix builds its film slate. How much do filmmakers care about that now? One agent says Netflix makes a compelling partner: "If what you want is for people to see your movie, Netflix has almost unparalleled power because of their direct relationship with the consumer."

But Don’t Count Out Amazon in Race for Original Films

Just as Amazon followed Netflix into TV productions, it’s now bidding to bring original movies to its 40 million Amazon Prime Video users. In January, Amazon Studios hired indie veteran Ted Hope to head its theatrical effort and acquire or produce a dozen films a year. No titles have been revealed, but Hope and Amazon Studios vice president Roy Price shopped at Sundance, Berlin and SXSW. Unlike Netflix, Amazon will debut its movies first in theaters and then offer an exclusive early window four to eight weeks later, presumably giving filmmakers the best of both worlds. Says one agent: “That’s where Amazon can be competitive.”

SEE ALSO: Here's what's coming to Netflix in April

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NOW WATCH: Animated map of what Earth would look like if all the ice melted

We're just over a month away from the release of Marvel and Disney's highly anticipated "Avengers"sequel. Today the studio released a new TV spot for the film that features a ton of new footage with detailed looks at all of the main characters, including the villain Ultron.

"The Avengers: Age of Ultron" opens May 1.

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Netflix is currently working with Oscar-winning filmmaker Errol Morris (“The Fog of War”) on a six-part docu-series.

Though details on the project have been kept mum, in a conversation with Morris about the Blu-ray release of his seminal documentary “The Thin Blue Line” out next Tuesday, he gave a little insight to Business Insider exclusively on what the series will be about.

"[It] has an element of true crime in it," he told BI over the phone from Los Angeles.

Morris brought the true-crime film genre to prominence with the release of “The Thin Blue Line” in 1988, which looked at the wrongful conviction of Randall Dale Adams. The findings in the film helped eventually get Adams released.

The 67-year-old filmmaker says true crime is a subject he's still very interested in.

"I wrote a book about true crime, 'A Wilderness of Error,' it sold and will be made into a feature film," he said. "'Tabloid' is true crime. A number of projects I'm working on as we speak are true crime."

When asked if the current six-part Netflix series he's making was one of them he replied, "That, yes, has an element of true crime in it. Yes indeed it does."

He would not go into detail about the series, only to say that an announcement was forthcoming.

The interest in true crime is at its peak at the moment, most recently with the arrest of real estate heir Robert Durst coinciding with the finale of the popular HBO documentary “The Jinx,” which examines the three murders Durst is suspected of carrying out and then presumably admitted to committing in the final episode of the series.

The documentary follows the success of the podcast series “Serial” and the fictitious true crime series on HBO, “True Detective.”

Most recently, Morris directed six short films for ESPN titled, "It's Not Crazy, It's Sports." 

Along with the Netflix series he's also prepping his first narrative feature in 24 years, “Holland, Michigan,” which he says will begin shooting in the fall.

"'Holland, Michigan' is not true crime," he pointed out with a chuckle.

SEE ALSO: HBO filmmakers cancel all press; could be key witness against alleged murderer Robert Durst

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NOW WATCH: Netflix's new 'Daredevil' show looks way better than Ben Affleck's version of the superhero

"Insurgent," the second movie in the popular "Divergent" series starring Shailene Woodley, debuts in theaters this weekend.

It's one of many highly-anticipated book-to-film adaptations lined up for 2015. 

We compiled a list of some of the best books becoming movies this year. This year brings back "Gone Girl's" Gillian Flynn with a new psychological thriller and the culmination of the "Hunger Games" series.

From sci-fi to period pieces, and even some true stories, here are the books you need to read before they become movies this year. 

"Insurgent" by Veronica Roth

Release Date: March 20

In the first "Divergent" film we learn members of the dystopian society are tested and assigned one of the five factions at the age of 16. Those who fit into more than one, like protagonist Tris Prior (Shailene Woodley) are deemed Divergent and are considered a threat to society. 

In the series' second installment, Tris and the other Divergents are on the run from Jeanine Matthews, leader of the Erudite faction. Tris must embrace her divergence to fight for and protect the ones she loves while uncovering the truth about the past and future of her world.

The much-anticipated sequel returns with stars Shailene Woodley, Kate Winslet, Theo James, Ansel Elgort, and Miles Teller. 

Buy the book

"The Longest Ride" by Nicholas Sparks

Release Date: April 10

Two couples separated by generations converge in another one of Nicholas Sparks' tear-jerking romantic tales. Ira is 91-years-old and lost his wife Ruth nine years prior. College student Sophia and bull-rider Luke come from two different worlds but fall deeply in love. While the two stories are different they remind us that the most challenging choices in life can yield extraordinary journeys.

The romantic film stars Scott Eastwood and Britt Robertson. 

Buy the book

"The Moon and the Sun" by Vonda N. McIntyre

Release Date: April 10

King Louis XIV is determined to find the key to immortality, and he believes he finds this immortality in a rare sea monster, Sherzad. He plans to endanger and ultimately kill the creature, so against the orders of the king and the pope, a young lady-in-waiting fights to free the innocent creature.

The period piece stars Pierce Brosnan, William Hurt, Benjamin Walker, and Kaya Scodelario.

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Will Ferrell has never been one to go the conventional way to promote his movies.

For the 2008 basketball comedy “Semi-Pro,” he posed in character with Heidi Klum in the Sports Illustrated swimsuit issue as the film’s afro-rocking star, "Jackie Moon."

At Comic-Con to promote the animated feature “Megamind” in 2010, in which he voiced the title character, Ferrell showed up dressed as the big-headed blue character.

So for the release of next Friday's “Get Hard,” Ferrell's new comedy co-starring Kevin Hart, what did the funny actor have up his sleeve to get the word out?

Here’s a rundown of the antics we've seen so far:

1. On March 12, Ferrell headed to Arizona and played for 10 Major League Baseball clubs in five spring training games throughout the day.

But he didn’t do it just solely to promote “Get Hard.” All the memorabilia from the day (jerseys he wore, his gloves, bats, balls he signed) will be auctioned and the proceeds will go to Cancer for College and Stand Up to Cancer. And the footage will be aired in a special for HBO through his website, Funny or Die.

2. A few days later, Ferrell showed up to the taping of the "Comedy Central Roast of Justin Bieber" as his legendary "Anchorman" character Ron Burgundy to give his two cents about the pop star. Here are some of the remarks from San Diego’s favorite Scotch-drinker. You’ll get to see the whole show when it airs March 30. (h/t Funny or Die).

3. Ferrell showed up as himself, in a suit, to the South By Southwest Festival and hung out with the hip kids along with co-star, Kevin Hart, for a screening of "Get Hard."

4. Ferrell then headed to New York to hit the late night shows. His appearance on “Late Show With David Letterman” turned out to be on St. Patrick’s Day. He showed up in festive attire. 

5. The following day he appeared on “The Tonight Show Starring Jimmy Fallon” and decided to also dress a little differently while chatting with his former "SNL" cast mate. As he tells it, he's the new face of Little Debbie snack cakes. 

6. On Thursday, Ferrell showed up on "The Daily Show with Jon Stewart" wearing a t-shirt with Zack Galifianakis faces all over it and commended Stewart for departing his longtime hosting gig. 

"For 17 years you've banged your head against this desk, and we've all watched this train wreck go on," Ferrell joked. "I just applaud you for going, 'It's not working.'"
 Ferrell's kooky appearances seem to be working, as he's still a viable box office draw.

The 47-year-old actor's voice recently helped "The Lego Movie"rake in over $468 million, and 2013's "Anchorman 2" earned over $173 million at the box office.

With the help of Ferrell's "Get Hard" co-star Kevin Hart's recent surge in popularity, Warner Bros. hopes the two will prove a winning duo despite early negativereviews.

SEE ALSO: LEAKED: Sony Execs Calls out Kevin Hart for requesting money to promote his movies on social media

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Filmmaker Alex Gibney's upcoming Steve Jobs documentary is reportedly "a blistering takedown" that is "deeply unflattering" of the late Apple CEO. So it's no surprise that Apple wanted no part of it.

"They didn’t give us any help whatsoever,"Gibney told Variety of Apple's lack of involvement with the film. "When we reached out to them, they were somewhat hostile. They are brutal. People love their products, but they can be a ruthless company."

According to Gibney, Apple PR declined participation from the get-go, telling him, "We don't have the resources to help you on this project."

In "Steve Jobs: Man in the Machine," Gibney ("Going Clear," "Taxi to the Dark Side,""Enron: The Smartest Guys in the Room") takes a critical look at the personal and private life of Steve Jobs, tackling topics like his repeated denial of being the father of his daughter Lisa and the harsh way in which he treated many Apple employees. 

Former Apple engineer Bob Belleville, who had a love-hate relationship with Jobs, breaks down in the film as he reads a note he wrote after Jobs' death. Altogether, Gibney interviewed roughly 50 people who knew Jobs.

But many former and current Apple employees weren't as eager to be associated with the film.

After the doc's premiere last weekend at South by Southwest, several Apple employees in the audience reportedly walked out of the screening early.

Apple software and services chief Eddy Cue Tweeted after viewing the movie:

The film was also made without the participation of Jobs' widow, Laurene Powell. In a Q&A after the SXSW screening, Gibney said she was interested early on in engaging with the project but later declined.

Gibney's film is the first to be deeply critical of Jobs, who was also portrayed by Ashton Kutcher in "Jobs" in 2013 and by Michael Fassbender in the coming biopic "Steve Jobs," which is based on Walter Isaacson's biography. 

Gibney was not a fan of past films about Jobs, telling Variety: "After the Walter Isaacson book and so many other films, I didn’t really want to do a paint-by-the-numbers bio. I do think that Ashton Kutcher looks like a young Steve Jobs, but beyond that, I found it silly... it wasn’t interesting to me."

But Gibney's take is sure to be interesting.

"Behind the scenes, Jobs could be ruthless, deceitful, and cruel," the filmmaker says via voiceover early in the documentary. And apparently the sentiment doesn't stop there.

After the film's premiere at South by Southwest last Saturday, The Daily Beast called it "a blistering takedown" and "an all-out character assassination," while Variety wrote the film was a "coolly absorbing, deeply unflattering portrait" of Jobs.

Just one day after the premiere, Magnolia Pictures acquired the North American theatrical, video-on-demand, and home-entertainment rights to the documentary.

Gibney spent nearly three years on"Steve Jobs: Man in the Machine," which was financed by CNN Films. By the end of his experience, Gibney says he was disillusioned.

"When I went into it, I thought that Jobs was an inventor," Gibney tells Variety. "And I don’t really think he was an inventor now. I think he knew how to push people and he was a storyteller, and he became a storyteller for the computer age. But not all the stories that he told were true."

Gibney says working on the doc even affected his feelings about his once beloved iPhone: "I would say I’m no longer madly in love with my iPhone. It’s no longer blind faith."

While Gibney's Jobs film doesn't yet have a release date, "Going Clear," his explosive documentary on Scientology, premieres next weekend on HBO.

SEE ALSO: The new Steve Jobs documentary is a 'blistering takedown' that is 'deeply unflattering'

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NOW WATCH: 6 Crazy Things Revealed In HBO's Explosive New Scientology Documentary 'Going Clear'

This article contains spoilers for the ending of "Interstellar."

Thanks to the physicists and engineers at Caltech's Jet Propulsion Lab, we now know a little more about Interstellar.

At a Q&A earlier this week, Jonathan Nolan revealed that — surprise, surprise — the film had a very different ending before his brother hopped aboard the project. 

Recall the ending of Interstellar's theatrical cut: Cooper (Matthew McConaughey) dives into Gargantua and flies around a five-dimensional bounce house, communicating with Murph via Morse code and dust to give her the data that will solve Brand's equation.

Well. According to a Nerdist writer who was in the audience, Nolan, who was plugging the movie's upcoming Blu-Ray release, said the ending of his original script was more straightforward. There was no five-dimensional tesseract. Instead, "the Einstein-Rosen bridge (a.k.a. wormhole) collapse[s] when Cooper tries to send the data back."

Nolan reportedly didn't expand on whether or not the data would've made it back, but things didn't look great for Cooper.

Once he agreed to direct, Christopher Nolan tweaked the script to include the happier ending, and also to make some of the science more digestible for the public (e.g., the gravity anomaly Cooper and Murph discover earlier in the movie was supposed to have come from a wrecked neutron star's gravity waves, which would've been picked up by the Laser Interferometer Gravity-Wave Observatory).

You can re-watch the movie and fantasize about its alternate ending March 31.

SEE ALSO: 'Interstellar' Physics You Need To Know

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NOW WATCH: Neil deGrasse Tyson Explains The End Of 'Interstellar'

Considering domestic box office dropped 5.2 percent and physical home entertainment revenue fell 11 percent, the major film studios did surprisingly well in 2014, buoyed by cost controls, subscription VOD sales to outlets like Netflix and TV production, which is part of the film segment at some congloms. 

THR's annual look at studio operating profits for calendar 2014 reveals box office can be a deceiving indicator of profitability.

WALT DISNEY

Thanks to the global success of Frozen, a 2013 release, Disney was most profitable among the Big 6 studios in 2014 with $1.7 billion — marking the first year since THR began its analysis in 2010 that Warner Bros. hasn't claimed the top spot.

Thank home video as well as Guardians of the Galaxy ($774.2 million worldwide), though overall box office dipped 6 percent.

With a seventh Star Wars film in December, two Pixar titles due this year and Marvel movies scheduled through 2019, CEO Robert Iger says the studio will be "a significant driver of bottom-line results for the company, certainly through the next five years."

21ST CENTURY FOX

With $1.5 billion, the studio scored its highest profit total in THR's five years of analysis.

It set a global box-office record for Fox thanks to Dawn of the Planet of the Apes, Gone Girl, X-Men: Days of Future Past and Rio 2. "Across the board, we had a very diverse slate," said co-COO James Murdoch in December. He added that the studio wants to continue making films using a "broader canvas" (like midbudget hit The Fault in Our Stars), as opposed to exclusively tentpole movies.

On the TV side, the syndication of Modern Family, a new season of 24 and SVOD revenue from the sale of The Americans to Amazon helped temper the loss of How I Met Your Mother.

WARNER BROS.

Despite the costs of a restructuring and such flops as Transcendence, Blended and Winter's Tale, Warner Bros. did fine in 2014, generating $1.3 billion in profits.

Cost containment, new TV hits Gotham and The Flash and films including The Lego Movie, Godzilla (the last release from its Legendary Pictures relationship) and the final Hobbit powered the studio's first full year under CEO Kevin Tsujihara. On March 4, he said the "three pillars" of WB will be DC (with films set through 2020), Lego (at least three sequels) and Fantastic Beasts movies from Harry Potter's J.K. Rowling.

But the real growth will come from international TV, one reason WB paid $273 million for the Netherlands-based Eyeworks.

NBCUNIVERSAL

The Comcast-owned studio had its most profitable year by its metric of operating cash flow ($711 million), even though filmed-entertainment revenue fell 8 percent.

Lower marketing costs because of a smaller slate helped, as did Neighbors, Ride Along and Lucy. Universal Pictures chair Donna Langley's 2015 should be huge with Fifty Shades of Grey, Furious 7, Minions, Jurassic World, Pitch Perfect 2 and Ted 2.

Analyst Matthew Harrigan believes Universal Pictures would be worth $10.5 billion on its own: "Its value should be evinced this year with a ridiculously loaded summer release schedule."

SONY

The hack related to the release of The Interview dented Sony's 2014 profits by about $15 million and caused the conglomerate to delay its calendar fourth-quarter earnings report, which was finally released March 16.

For the year, the studio's operating income was up 66 percent to $522 million on revenue that rose 2 percent to $8.06 billion. A restructuring saved $130 million during the comp­any's fiscal year ended March 2014, but a $106 million gain from the sale of music publishing in 2013 made comparisons tough, and disappointment The Amazing Spider-Man 2 didn't help (and prompted the ouster of co-chair Amy Pascal as much as her leaked emails).

In TV, Sony is humming with AMC's Better Call Saul, Wheel of Fortune and Jeopardy.

PARAMOUNT

The Viacom studio was the only one other than Fox to report an uptick in worldwide box office, driven by Transformers: Age of Extinction and Teenage Mutant Ninja Turtles. But a one-time boost in 2013 for selling to Disney home entertainment distribution rights for Marvel movies made Paramount's $219 million in profits pale in comparison with a year ago.

CEO Brad Grey is seeking to replace ousted film group president Adam Goodman and beef up his movie slate, and also to make TV production a bigger contributor. He has made progress, having sold six projects this season.

Here is a complete graph of studio profits for 2014:

SEE ALSO: Here are the top 25 richest living comedians

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NOW WATCH: Here's Why A Texas Movie Chain Decided To Show 'The Interview' On Christmas

Paramount released the first trailer for the next "Mission: Impossible" movie.

The fifth film in the franchise will be called "Mission: Impossible — Rogue Nation." Tom Cruise will reprise his role as IMF agent Ethan Hunt and join Jeremy Renner who starred in 2011's "Ghost Protocol."

Together, their team will work together to take out an international rogue organization called the Syndicate that is trying to take out the IMF.

The best scene in the trailer shows Cruise dangling from the side of a military plane, a stunt which the actor performed on his own.

The film also stars Alec Baldwin, Simon Pegg, and Ving Rhames.

"Mission: Impossible — Rogue Nation" will be released July 31, 2015.

Watch the trailer below:

Here's the first teaser poster for the film:

SEE ALSO: 20 books you should read before they become movies this year

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Sean Penn's latest movie, "The Gunman," bombed at theaters this weekend.

The film was the 54-year-old actor's turn at attempting his own action thriller.

Instead, the movie debuted to $5 million.

The Open Road Films production cost as much as $40 million to make, according to the LA Times. "The Gunman" also starred Javier Bardem and Idris Elba. 

The film looked like it was trying to capitalize on the recent success of action thrillers starring the 62-year-old Liam Neeson. However, with Neeson's latest, "Run All Night," not being as big a draw as his other flicks, it may be time that the "Taken" frenzy has run its course.

Penn isn't especially known for action thrillers despite 2013's "Gangster Squad." That film was delayed from 2012 after a theater shooting and was given a January release.

Penn also isn't a big theater draw right now. His last big film was 2008's "Milk" for which he won an Oscar. 

SEE ALSO: 20 books you should read before they become movies this year

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NOW WATCH: Adam Sandler may finally have a hit with 'Pixels' — watch the awesome trailer

Following Sunday's exciting teaser, Paramount Pictures released a full-length trailer for its upcoming Summer tentpole "Mission: Impossible Rogue Nation," marking the fifth installment of the franchise starring Tom Cruise. 

Much of Cruise's recent box office success has been driven by the last two movies in the franchise. Since "Mission: Impossible 3" came out in 2006, only one of Cruise's non-"Mission" vehicles has crossed the $100 million-dollar mark at the domestic box office. That movie was 2014's "Edge of Tomorrow," which barely crossed the threshold, according to boxofficemojo.com.

"Mission: Impossible Rogue Nation" comes out on July 31st.

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Paul Hollingsworth and his daughter Hailee joined forces to recreate Jurassic Park using $100,000 in Legos. Paul has been making films with his daughter for the past few years. Animation has been a great bonding experience for the two. It has also been a way for Hailee to learn to use math in practical situations and build upon her storytelling and problem solving skills.

With the use of stop-motion, motion controlled camera rigs, after effects composition and an original score composed by Voodoo Highway, Paul and Hailee were able to put together an incredible film in just 3 months.

Video courtesy of Digital Wizards Studios

Visit digitalwizards.tv for more incredible Lego films.

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On Sunday, we got the first teaser trailer from the latest film in Tom Cruise’s “M:I” franchise, “Mission: Impossible - Rogue Nation.” 

Filled with the usual jump cutting of action-packed moments while reintroducing us to Ethan Hunt (Cruise) and his team, the trailer concludes with a shot of Cruise hanging outside a large plane taking off.

Pretty jaw-dropping.

But this is just the latest in crazy stunts showcased in the “Mission: Impossible” trailers. And the crazier the featured stunts, the more money the movie has raked in at the box office.

Let’s take a look back.

“Mission: Impossible” (1996)

Cruise launches the “M:I” franchise with legendary director Brian De Palma at the helm. Along with establishing the Ethan Hunt character for a generation who weren’t around for the 1960s TV series, there were also some great stunts throughout. And though most will remember Hunt hanging from wires trying to break into CIA headquarters, the most insane stunt was teased in the trailer. 

It was Hunt leaping from an exploding helicopter onto a moving train while inside a tunnel.

For the late ‘90s, this was a marvel in CGI wizardry. And audiences certainly wanted to see it on the big screen as the film took in $458 million worldwide. Firmly cementing the “M:I” franchise.

“Mission: Impossible 2” (2000)

So how do you follow up Tom Cruise leaping from an exploding plane onto a train? You hire action legend John Woo to direct the sequel.

The trailer shows off Cruise’s motorcycle talents, though we also have to endure a Limp Bizkit rendition of the iconic “M:I” theme music. But Woo definitely ups the level of stunts, the major one showing Hunt and the bad guy playing chicken on bikes and on the moment of impact leaping in the air to fight one another.

The result was an $88 million bump at the box office as “M:I 2” took in $546 million globally.

“Mission: Impossible 3” (2006)

Perhaps it was because the world had changed since 9/11 and people didn’t want to see Tom Cruise blow things up, or director J.J. Abrams turning to a darker place for Ethan Hunt to explore in this edition of the franchise, but audiences found themselves less excited for “M:I 3” and it showed at the box office. Though it was number one its opening weekend the film only took in $398 million total worldwide. The lowest earner of the franchise to date.

And from the trailer you can see there isn’t that “wow” moment the others have. The closest is Cruise running from an explosion on a bridge; the shock knocking him into a car. The scene pales in comparison to jumping from an exploding helicopter, and people began to question if Cruise could still lead action films. 

“Mission: Impossible - Ghost Protocol” (2011)

The trailer of the fourth film proved Cruise could still open an action movie. In one of the craziest predicaments yet, we find him scaling the tallest building in the world — the Burj Khalifa in Dubai — reportedly without a stunt double. 

The stunt worked as “Ghost Protocol” is the highest grossing film in the franchise with $695 million globally. 

We can only imagine what the hanging-from-a-plane stunt in the “Rogue Nation” trailer (which, by the way, Cruise also did on his own) will do for the film’s box office.

Here’s the full trailer that was released today, with a longer airplane hanging portion.

SEE ALSO: Why we'll see the new 'Mission Impossible' sequel 5 months earlier then expected

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