So are Millennials the future of movie-going?  How often do Millennials go to the theater? What genres do they prefer? And how much do they spend on box office concessions? More interestingly Millennials are in a transitional phase of their life, so do they exhibit consistent behavior as a group?

Telemundo was awarded two Silver World Medals in the 2016 New York Festivals® International TV & Film Awards for the network’s promotional campaigns for its telenovelas “La Querida del Centauro” and “Bajo El Mismo Cielo” in the “Television – Entertainment Special Program” category.

One of the most influential Latino filmmakers is joining a powerful roster of CMOs, authors, entertainers, media executives and researchers who are at the forefront of change and innovation in their industries. AHAA: The Voice of Hispanic Marketing is excited to announce its latest keynote speaker at its Annual Conference at the Nobu Eden Roc in Miami: Roberto Orci, the billion-dollar filmmaker behind some of the decade’s biggest films including Mission: Impossible III, Eagle Eye, Transformers, Transformers: Revenge of the Fallen, Cowboys and Aliens and the Star Trek films.

beIN Media Group has acquired the independent film and television company Miramax.

But will the power of the Star Wars and other “event movies” continue to lure Gen Z?

Ahead of entertainment’s most exclusive and glamorous night of the year, a new study demonstrates just how exclusive film and television can be when it comes to women, people of color and the LGBT community. The results reveal that the prequel to #OscarsSoWhite is #HollywoodSoWhite.

STRATA announced  it has partnered with National CineMedia (NCM), America's Movie Network, to allow agencies to buy cinema advertising in the Spot marketplace for the first time. 

Building Box-Office Brands is a new research study, brought to you by Digital Cinema Media (DCM) and Millward Brown, which explores the role of Cinema in today’s cross media landscape.

NASCAR announced it has teamed up with Eugenio Derbez to collaborate on an original, full-length comedy movie.

The study from the Media, Diversity, & Social Change Initiative at USC Annenberg is the most comprehensive analysis of diversity in recent popular films ever conducted, bringing together data assessing gender, race/ethnicity and LGBT status in movies.

For those of you who may have been buried under a rock the last week or so, the Internet saw the premieres of “Daredevil” on Netflix, the “Game Of Thrones”’ season opener and trailers for “Batman vs. Superman,” “Fantastic Four,” “Ant-Man” and the most amazing, awe-inspiring trailer of them all: “Star Wars: The Force Awakens.”  I have never watched so much online video and then read about what I’d just watched in forums and blogs as I did last week!

Movie viewers in North America are frequenting the theater less often.

The U.S. Census Bureau released data today from the 2012 Economic Census showing that receipts for the nation’s motion picture and video industry  – covering the entire process from production to projection − increased $1.2 billion (1.5 percent), from $79.8 billion in 2007 to $81.0 billion in 2012. These receipt totals include ticket and concession revenue.

Young adult (YA) fiction adaptations—movies based on young adult fiction titles—are a growing slice of the box office pie, increasing 6% between 2013 and 2014. One might assume that teens are driving this trend, considering that the characters in these books are around their age. But in reality, young adults are heading to theaters less frequently than they were five years ago, and fans of the YA movie genre span many age groups.

By Gonzalo López Marti /

In this business we rarely ask the opinion of the artists-for-hire who help us bring to life our lofty, world-changing, award-winning ideas. Namely film directors, photographers, web developers and so on. We expect from them to hit the ground running, give us exactly want we want, when we want it, at the price we set, no questions asked. This series of articles will humbly attempt to right this wrong.