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Want to accelerate software development at your company? See how we can help.
Want to accelerate software development at your company? See how we can help.




Want to accelerate software development at your company? See how we can help.
Want to accelerate software development at your company? See how we can help.

Hollywood is broken. Jason Blum, the king of low-budget horror, has the fix. - Fortune   

The Hollywood Legend of Jason Blum has been told so many times by now that he could sell the IP: how as a struggling young producer he turned Paranormal Activity, the $15,000 found-footage thriller from 2009 that everyone told him was worthless, into a $890 million global theatrical franchise. How he used the spoils to build his production company, Blumhouse, into a horror hit factory that has since made nearly 200 movies and grossed $5.7 billion at the box office. How even as Hollywood’s giants have seen a precipitous drop in profits over the last decade, even as streaming platforms have watched their subscriber bases plateau, even as the entire theatrical business—the very idea of going out to see a movie—has become deeply imperiled, Blumhouse’s hits keep coming and coming and coming. Like a serial killer with a machete in one of his movies. There’s your log line.

But there’s another version of Jason Blum’s origin story—more of a prequel, really—and it takes place in 1962, seven years before he was born. It’s a story about Jason’s father, an ascendant young L.A. art dealer named Irving Blum, and it opens with the day he visited the small Upper East Side Manhattan apartment of a kooky weirdo who was painting a ludicrously extensive series of Campbell’s soup cans. Thirty-two of them. No one in the New York art scene liked Andy Warhol. Soup cans? Was this some kind of joke? 

On the spot, Blum offered Warhol his first solo show in Los Angeles, but just for the soup cans. All 32 of them, and nothing else. 

Continued here




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