Steven Knight To Produce Oasis Concert Film
Peaky Blinders creator Steven Knight will produce a film following Oasis on their summer reunion tour.
Oasis Live '25 will be directed by Dylan Southern and Will Lovelace. The duo previously worked on the LCD Soundsystem concert film Shut Up And Play The Hits and Meet Me In The Bathroom, the documentary on the early 2000s NYC music scene.
More from Deadline
Steven Knight Teases Potential For Netflix's 'Peaky Blinders' Movie To Have Theatrical Run
Steven Knight & Cast Of 'A Thousand Blows' Talk Combining Bare-Knuckle Boxing With Female Gangs In Disney+'s Victorian Drama Series
Steven Knight On His Approach To Writing 'Maria', Finding The Human Version Of The Facts & The "Elton John/Bernie Taupin" Relationship He Shares With Pablo Larraín
The film will be a Magna Studios production. The company's previous credits include Beastie Boys Story, Gangs Of London, 20000 Days On Earth, and Lewis Capaldi: How I'm Feeling Now.
The project will be distributed by Sony Music Vision. Krista Wegener of Sony Music Vision will lead global sales.
There had been reports in the UK tabloid papers that Oasis had set plans to document their reunion tour for cinema audiences. The band has not performed together since 2009 when a backstage row between the Gallagher brothers saw songwriter Noel quit the band. They have scheduled 17 gigs next year across the UK and Ireland, beginning in Cardiff in July. Tickets were in such demand that many fans were left disappointed or paying hundreds of dollars more than anticipated, due to 'dynamic pricing' on the sales websites, and a government watchdog is currently investigating the ticket sales process.
The BBC later reported that more than 50,000 UK tour tickets sold on secondary platforms will be canceled. The band's promoters, Live Nation and SJM, told BBC File on 4 that all invalidated tickets will be made available again through the official seller, Ticketmaster, at face value.
Best of Deadline
How Jon Gries' Return To 'The White Lotus' Could Shape Season 3
Everything We Know About 'Nobody Wants This' Season 2 So Far
'The Last Of Us' Season 2 Cast: Who Plays Who?
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
10 hours ago
- Yahoo
Why do concert tickets cost so much these days? And is it all Ticketmaster's fault?
When you buy through links on our articles, Future and its syndication partners may earn a commission. Concert ticket prices have risen sharply in recent years. Arena gig tickets have more than doubled, in real terms, since the turn of the century. For the biggest artists, increases have been bigger still. A basic standing ticket to see Oasis at Wembley Stadium on their last tour, in 2009, cost £44 (around £70 adjusted for inflation). The official price, when tickets for the Wembley gig in July went on sale, was £151. The average ticket for Taylor Swift's Eras tour in the UK was £206. This has become a political issue, and at the centre of the debate is the role of the world's largest ticket sales company, Ticketmaster, responsible for both these tours. The UK competition regulator launched an investigation into its sale of Oasis tickets, in particular into the use of "dynamic pricing". In March, President Trump signed an executive order promising "to bring common-sense reforms" to ticket sellers in America's live entertainment industry. If not a monopoly player, it's a near-monopoly, controlling more than 75% of concert ticket sales at major venues in the US, and about 60% in the UK. In 2010 it merged with the world's largest live events company, Live Nation, which controls more than 265 concert venues in the US; and owns or part-owns the Academy Music Group chain of venues, and festivals from Reading to Latitude, in the UK. Live Nation, now Ticketmaster's parent company, is also a major promoter (organising, funding and publicising music events), which promoted 54,000 events last year. It manages artists, too; and it's a big player in advertising and sponsorship, event parking, food and drink sales, merchandise and security. The US Department of Justice describes it as a "live entertainment ecosystem"; Liam Byrne MP, chair of the Commons Business Committee, says it has "more arms than an octopus". Live Nation "has faced allegations of predatory pricing, misleading fees, restrictive contracts, technical blunders, suppressing or colluding with competitors and generally abusing its monopolistic power", said Dorian Lynskey in The Guardian. Fans struggle to get tickets for big events, often facing technical problems, and long online queues; its app is notoriously awful and glitchy. Pricing is opaque. Which? has complained about the "drip pricing" of extra fees – on a £45 ticket, you might get a £6.10 service charge, a £1.75 facility charge, and a £2.75 order processing fee – making it hard to estimate the final price. As a result, Ticketmaster is very unpopular among fans. The country musician Zach Bryan released a live album called "All My Homies Hate Ticketmaster". A poll for More in Common found that 58% of Britons would like to see it nationalised. Michael Rapino, chief executive of Live Nation, claims that big concerts are still "massively underpriced". He may have a point. Demand is often high, and supply is limited. An estimated ten million fans wanted tickets for Oasis, so they could have been priced much higher, and still sold out. A live concert is a special experience; people, even on modest incomes, will pay large sums to see acts they love. And many forces have contributed to price rises. The internet has reduced music sales, so artists now depend on concert fees for nearly all of their income; big artists insist on a high proportion of the revenue from ticket sales. Shows have become more spectacular and expensive to stage. Inflation has been high, and VAT is 20%. The ticket price is shared between, in rough order: artist (including crew, transport etc.), venue, VAT, promoter and ticket seller. Ticketmaster – or a rival such as AEG – might pick up 10% of the total price. Live Nation says its ticket profit margins are less than 2%. Finally, "scalping" can also drive up prices. In the early 2000s, sites such as StubHub launched as legitimate platforms for fans to resell unwanted tickets. But many have been exploited by touts, who buy large numbers of tickets to resell at inflated prices. The problem has been made worse by scalper "bots", which bombard ticketing sites with purchases destined for resale. Such bots are illegal in the UK, but are hard to police. No. Last May, the US Justice Department filed an anti-monopoly suit against Live Nation; the then assistant attorney general, Doha Mekki, claimed that Ticketmaster is rife with "abuse, exploitation and self-dealing". The case is ongoing; it has been reported that it may try to break up the company. The UK Competition and Markets Authority found that Ticketmaster and Live Nation may have breached consumer laws by selling Oasis tickets at almost 2.5 times the standard price, without explaining that they came with no additional benefits, and by demanding a higher price than initially quoted after a lengthy queuing process. Many artists – Bruce Springsteen, Taylor Swift, Neil Young – have complained publicly about Ticketmaster. As far back as the 1990s, the US rock band Pearl Jam tried to organise a tour without using the company, but concluded that it was nearly impossible. There are, though, things that artists with substantial followings can do. They can reject dynamic pricing, as Coldplay and Neil Young have done. Or they can go further, like The Cure's Robert Smith. On The Cure's last tour, not only was dynamic pricing rejected, but tickets were priced at as little as £16, and resale was prohibited. Arguably, says Dorian Lynksey, Smith "made things awkward for artists by proving that they set the prices and dictate the conditions" – though they are happy for Ticketmaster to take the blame.
New York Post
2 days ago
- New York Post
Stephen Graham reveals the 'ultimate' goal of 'Adolescence'
Stephen Graham, who co-created, co-wrote and stars in the critically acclaimed Netflix series 'Adolescence,' hopes that the show sparks conversations at home. 'When me and Jack (co-creator, Jack Thorne) started talking about this and writing and creating it, we wanted there to be conversations between parents and children,' he told The Post exclusively at the Gotham Television Awards on Monday, June 2. 'That was our ultimate thing. 'We wanted to try and see if we could create that conversation that needs to happen.' 8 Stephen Graham as Eddie Miller in 'Adolescence.' Courtesy of Netflix It's safe to say that the creative duo fulfilled their wish. The show, which premiered in March, has reached nearly 150 million views worldwide. It centers around a 13-year-old boy named Jamie Miller (played by Owen Cooper) who is arrested after the murder of a girl in his school. The series takes a pointed look at the role social media has in shaping young male teens and their views of women. London's Lord Mayor, Sadiq Khan, recently praised the show for highlighting the 'epidemic of violence against women and girls' in the United Kingdom. The 'Peaky Blinders' alum, 51, doesn't lay all the blame on the internet and social media. 8 (L to R) Owen Cooper as Jamie Miller, Stephen Graham as Eddie Miller in 'Adolescence.' Courtesy of Netflix 8 'We wanted to try and see if we could create that conversation that needs to happen,' he told The Post. Courtesy of Netflix 8 He used real-life crimes in Great Britain over the recent years as the inspiration behind the show. Courtesy of Netflix 'I think it's something that we all maybe need to take accountability for,' he opined. 'I mean, you know, from the schooling, parenting, social kind of environment that our kids grow up in, and now I think these big social media companies themselves have a responsibility.' Graham was quick to clarify that 'I'm not saying police it' but rather 'I'm just saying [they] have a responsibility to be mindful.' The show won big at the Gotham Awards, winning for Breakthrough Limited Series, Outstanding Lead Performance in a Limited Series and Outstanding Supporting Performance in a Limited Series. 8 'Adolescence' centers around a teen boy named Jamie Miller ( Owen Cooper) who is arrested after the murder of a girl in his school. Courtesy of Netflix 8 (L to R) Stephen Graham as Eddie Miller, Christine Tremarco as Manda Miller, in 'Adolescence.' Courtesy of Netflix Graham recently opened up that while 'Adolescents' is fictional, he used real-life crimes in Great Britain over the recent years as the inspiration behind the show. 'I read an article in the newspaper, which was about a young boy who had stabbed a young girl to death. And … I was stunned by what I was reading,' he said in March, per NPR. 'And then, about three or four months later, there was a story on the news … about a young boy who had stabbed a young girl to death, and this incident was the opposite end to the country to the first incident that I'd read about,' Graham continued. 8 'Adolescence' is available to stream on Netflix. Courtesy of Netflix 8 (L/R) British actors Owen Cooper, Stephen Graham, Ashley Walters and Erin Doherty attend Netflix's 'Adolescence.' AFP via Getty Images He initially blamed the parents; however, he admitted that he later realized he needed to dig deeper. 'Adolescence is a very difficult age, as we all know. You go through a lot of different things, physically, mentally, and even spiritually in the greater scheme of things,' the actor shared. 'My main question was why: Why is this happening?' Graham continued, 'There's a wonderful saying, which is, it takes a village to raise a child. And within that kind of complexity … it's kind of like, maybe we're all accountable. 'When a child closed the door back in the day when it was me and you, we didn't have access to the rest of the world [via the internet], and we couldn't be influenced dramatically by other people and their theories and their thought processes. So that was what we really wanted to look at.' 'Adolescence' is available to stream on Netflix.
Yahoo
3 days ago
- Yahoo
Banijay Chief Marco Bassetti On Potential ITV Takeover: 'Scale Is Really Important'
Marco Bassetti, CEO of MasterChef and Peaky Blinders production empire Banijay Entertainment, has addressed speculation about the company's interest in acquiring ITV. The Financial Times reported in April that Banijay has held talks with ITV about a takeover. Deadline reported last month that the talks were still tentative and that the shape of any deal was unclear. More from Deadline Deadline's Sound & Screen To Make UK Debut At SXSW London With Star Composers, Abbey Road Tribute & Anne Dudley Honor London Mayor Threatens To Reopen Donald Trump Rift After Swiping At "Inward-Looking" U.S. On Opening Day Of SXSW London Banijay Appoints Factual Drama Chief During an appearance at SXSW London, Bassetti sowed some confusion by saying 'we're not buying ITV Studios.' Bassetti went on to talk about the benefits of scale in the current climate. If Banijay was to make an audacious bid for ITV, it would cement its status as one of the biggest entertainment companies in the world. 'To put this in context, we are a niche business with many companies, so we always talk to each other about how to create more value. And sometimes rumors get out,' he said, adding that we are currently 'living in a world where consolidation is really important.' 'It wasn't like this a few years ago,' he said. 'Then, we were a little bit scared about scale. We didn't want to be seen as too big or powerful. But today, if you don't have a big distribution branch or have the money to invest in pilots, it is difficult to stay in the market.' Flanked by its banking advisors at Goldman Sachs, Morgan Stanley, and Robey Warshaw, ITV has reportedly been entertaining potential suitors since at least last November. RedBird IMI, run by former CNN chief Jeff Zucker, emerged as the frontrunner to a deal after the Abu Dhabi-backed investment fund acquired All3Media last year. Last month, citing sources with knowledge of the talks, we reported that RedBird IMI's interest has cooled significantly in recent weeks, though the situation remains fluid and could change again quickly. Sources told Deadline that RedBird IMI believes ITV Studios' valuation is too high. Bassetti's talk was moderated by Jordan Schwarzenberger, co-founder of Arcade Media, the management company of YouTube creators The Sidemen. On the topic of online creators and their convergence with traditional producers like Banijay, Bassetti spoke at length, telling the audience that to move forward, both producers and creators must increasingly work together. 'We must converge if we want to exploit the content created,' Bassetti said. 'We need to use as much as possible all the platforms the market has today. So like your next picture for you is Netflix. We are working to produce shows on YouTube.' Best of Deadline 2025 TV Cancellations: Photo Gallery 2025-26 Awards Season Calendar: Dates For Tonys, Emmys, Oscars & More 2025 TV Series Renewals: Photo Gallery Sign in to access your portfolio
