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Would you happily show a minor a full on, hardcore violence, R Rated movie?

Yes
7
39%
No
11
61%
 
Total votes : 18

Postby silentbobafett on Fri Jan 19, 2007 9:29 am

Heh heh!

Exactly! So whats the point in seeing it when you are younger?

You'll say that you've seen the film and have an opinion on it... but its kinda wrong.

Cos you haven't seen the film as you should have and therefore your view on it is wrong!

I'm guessing you now like the film

:-)
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Postby ThisIsTheGirl on Fri Jan 19, 2007 9:33 am

Yeah - I love it. First time I saw it, I think I only laughed once. Now, I howl with laughter throughout the whole film!
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Postby silentbobafett on Fri Jan 19, 2007 9:35 am

Yeah a moment of respect for the genius film that is Spinal Tap! :-)
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Postby MonkeyM666 on Fri Jan 19, 2007 9:35 am

silentbobafett wrote:its the parents... parents,as MONKEY666 the genius said, must take resonpsibilty!


:shock:



Ohhh, you... stop it.... :oops:


Something else to think about is the realism level of films in the 70's, 80's and early 90's are very different to what is being made now. When we were kids you couldn't run around the streets killing people with baseball bats (aka gta), see a real live serial killer using some intestines for a anklet, or watch as bodies are dragged out of another Mosque on the 18:00 news.

The level of realism that technology has brought us is only predicated by the Gladiators in Rome 1000 years ago. Technology has not only brought us CGI graphics and cool looking games it has opened the worlds eyes to news. Live, gritty, horrific news all captured on mobile phones and handycams and played and plastered on ever news service you can imagine. It's harder for kids to tell what's real what what's not. The gulf war was the first example of a media driven war machine and that was in the early 90's. Now look at what we got.


Children have been protected from a lot of the really full on stuff for many years. We have have known all about it, but we never saw it in the flesh (as it were). The lines between reality and fantasy are blurring for everyone (especially for some Zoners :wink:).
Last edited by MonkeyM666 on Fri Jan 19, 2007 10:05 am, edited 2 times in total.
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Postby silentbobafett on Fri Jan 19, 2007 9:38 am

The lines between reality and fantasy are blurring for everyone (especially for some Zoners ).


Real... what now? :-)
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Postby Chairman Kaga on Fri Jan 19, 2007 9:40 am

buster00 wrote:It breaks down like this: If you take your children to an R-rated movie, then you are a bad parent. It's exactly that simple.

What? Did you not understand? BAD. PARENT. The fuck up you must shut.

Yeah because some randomly selected strangers sure know how to raise your own child better than you do..... :roll:
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Postby MonkeyM666 on Fri Jan 19, 2007 9:41 am

Damn, I keep editing my posts as I have more thoughts and people post after me! Damn it... I need to learn to write it into word first and make sure I'm done!
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Postby MonkeyM666 on Fri Jan 19, 2007 9:42 am

Chairman Kaga wrote:
buster00 wrote:It breaks down like this: If you take your children to an R-rated movie, then you are a bad parent. It's exactly that simple.

What? Did you not understand? BAD. PARENT. The fuck up you must shut.

Yeah because some randomly selected strangers sure know how to raise your own child better than you do..... :roll:


Sometimes some strangers do know what's better than you do. The Zone is a perfect example of that (well for me it is at least). You don't hurt your foot and lop it off your self because you know better than some stranger do you?

And Kirk takes the advice of strangers all the time... 'don't touch me there', 'don't put that in your mouth... ' etc.. :wink: :lol:
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Postby Chairman Kaga on Fri Jan 19, 2007 9:50 am

MonkeyM666 wrote: The gulf war was the first example of a media driven war machine and that was in the early 90's. Now look at what we got.

I disgaree. The Spanish American War is easily the starting point of modern media as propaganda tool as well as the media driving decision making in the conflict.
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Postby MonkeyM666 on Fri Jan 19, 2007 9:51 am

I honestly haven't heard of that War :oops:

Was there video in the field and shots of missiles going off and all of that? I'm just talking in regard to in your face live video from the field. Propaganda punctuated by that sort of realism punch.
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Postby tapehead on Fri Jan 19, 2007 10:54 am

Chairman Kaga wrote:
MonkeyM666 wrote: The gulf war was the first example of a media driven war machine and that was in the early 90's. Now look at what we got.

I disgaree. The Spanish American War is easily the starting point of modern media as propaganda tool as well as the media driving decision making in the conflict.


Kaga is correct - and as far as International conflicts go, there was propaganda media - film reels, news and radio, at least as far back as World War I.
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Postby MonkeyM666 on Fri Jan 19, 2007 11:05 am

Ahh... Ok. I see what you’re saying.

I’ll clarify what I mean.

Early conflicts have had media involvement for ages. True. The way that I'm referencing it in this instance is that the Gulf War was the first time there was 24 hour coverage on multiple networks (News and commercial) that had unprecedented access to the battlefield. You couldn't escape the imagery of the Gulf for days on end. Older news reels and the like were only of interest if you wanted it to be, if you know what I mean, as well as the time it took to process the news reels/photos and then the government lines the news went through before it came to the publics attention. It was harder to censer live video images from the gulf.

What were we originally talking about again? Censorship and children?



Doh! I’m always getting side-tracked :lol:
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Postby havocSchultz on Fri Jan 19, 2007 11:24 am

Cpt Kirks 2pay wrote:I saw a lot of horror films as a kid, and they sorta shook me up and educated me about how nasty this world and the people who live in it can be. Plus it teaches you the difference between right and wrong



Like don't be out smoking dope and having sex with each other when you're supposed to be counselling this fucking camp!!!!

The fucking Elephant Man's Kid is drowning and you're out getting your Brocktune on...

Cpt Kirks 2pay wrote:So it wisens you and makes you defensive to Evil. It teaches you about survival.


Like don't let the fucking kid drown in the first place!
How fucking hard is it to make sure all the kids are strapped to their beds - As opposed to sleeping underwater - Just waiting for the day when he becomes the world's angriest goalie and starts fucking your shit up...

Come on!
If people would learn these things when they were young - there would be a helluva lot less havoc in this world...

Oh yeah, and don't run upstairs when you should be running out the front door.

And never say "I'll be right back..."



Just in case...
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Postby DinoDeLaurentiis on Fri Jan 19, 2007 11:26 am

buster00 wrote:But when I see trailer-trash parents taking their 4-and-5-year olds to see Pick of Destiny, Silent Hill, or Bad Santa (and I did, at all three films), I just wanna slap 'em shitless. What the fuck kind of parenting is that?


Holy crappa, I gonna to have a to agree with a you, eh paisan? In alla honesty, the Dino, he truly believes this is a the form of a the child abuse, eh? "Dino, you crazy!" I can a hear a you say, no? But a hear a the Dino out...

The little bambino, his a mind, he canna process the horrific images he sees onna the screen, eh? He canna tell a the fantasy from a the reality... not a 'cos a he's a stupid, but a 'cos a he's a the little child anna his a brain, she has a not a matured enough a to a the point to be able to deal with a what he's seeing onna the movie screen, eh? When a the bambino, he sees a the person inna the distress inna the movie, he thinks that a the distress, she is a real... the concept of a the "acting," she goes outta the window, no? Anna this causes a the distress inna the mind of a the bambino, who deals with a the stress inna the way the bambinos do... which is a to react to it empathically anna experience a the same stress.

Holy crappa it's alla kinds of a the wrong, no? The poor little things...

Iffa the MPAA, they really wanna to do something about it, they should a change a the R-rating to be a the no one from a the 13-17, they can a get in without a the adult, anna NO ONE under a the 13, they can a get in period, no? Or a something to that effect, eh? I have a not thought it alla the way through, but a you get a the Dino's drift, no?
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Postby darkjedijaina on Fri Jan 19, 2007 11:56 am

My seven year old has seen Evil Dead II and Army of Darkness. But, I don't generally let him watch R rated things. He doesn't even watch PG-13 stuff. Hell, he hasn't even seen JAWS yet, because I know that it would probably scare him. But, Evil Dead II and Army of Darkness aren't really horrific to me. They're more campy and fun. Especially AoD.

The thing with my son is that he will sneak out of his room and sit in the hall to watch what I'm watching. That's how he was exposed to Evil Dead II and 28 Days Later. But, he wasn't frightened at all. I caught him while I was watching 28 Days Later and I covered his eyes at what I thought was one particulary scary scene, but he just kept moving his head wanting to watch it.
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Postby ThisIsTheGirl on Fri Jan 19, 2007 11:57 am

Ghibli to distribute foreign animation in Japan

From Variety:

Ghibli tunes foreign cartoon releases


Animation house makes plans on Japan market
By MARK SCHILLING


TOKYO -- Studio Ghibli, the animation house that helmer Hayao Miyazaki built, plans to distribute foreign toons in the Japanese market.
Biz will be run by the Ghibli Museum, which has presented animation displays and screenings at its site in Mitaka, Tokyo, since opening in 2001.

Ghibli will exhib art toons from abroad at the Cinema Angelika in Shibuya, a Tokyo entertainment hub.

It will also release foreign toons on DVD with the co-operation of Buena Vista Home Entertainment, which has handled Ghibli's own projects, including Miyazaki hits "Spirited Away" and "Princess Mononoke."

Ghibli's first foreign toon theatrical release, skedded for March 17, is Russian animator Alexander Petrov's "The Awakening of Spring," a new toon made in a style resembling oil painting on glass. Petrov won an Oscar in 1999 in the animated short category for "The Old Man and the Sea."

Ghibli's first DVD release will be Paul Grimault's "The King and Mockingbird" (Le Roi et l'oiseau), a 1980 French toon that Miyazaki has claimed as an inspiration.

Appearing at press conference at the Angelika on Tuesday to announce the distrib initiative, Petrov said, "It's the fate of art films to have few chances to be distributed theatrically -- I'm truly appreciative of this plan."

At the conference Ghibli prexy Toshio Suzuki said Ghibli has begun work on a pic, but will not announce the director and title until March.

Anime blogs and fan sites have named Miyazaki as the director and the title as "I Lost My Little Boy," with a story based on a Chinese novella, but Suzuki would not confirm this.
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Postby MonkeyM666 on Fri Jan 19, 2007 12:03 pm

When I first started reading this I was thinking 'foreign films? What Invader Zim, Lion King and Avatar??'

Sounds cool... Ghibli seems to be becoming Asia’s Disney (well more like Disney, with the DVD distribution.... they already are Asia's Disney in a way.... ahhhh you know what I mean.... :roll:)
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Postby Lady Sheridan on Fri Jan 19, 2007 5:55 pm

I'd let my kid watch R rated films within reason. My parents were letting me watch Poltergeist, Lethal Weapon, Indiana Jones, etc., before I was even in school. It would depend on my child and what they could handle.
But ethically, I have no problem letting them watch "Braveheart" or "300." I'd rather they watch something a little gruesome that teaches them something than "Unaccompanied Minors" or tripe like that.
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Postby buster00 on Fri Jan 19, 2007 6:41 pm

Poltergeist was actually a PG flick. Some people point to that film as the reason PG-13 was invented. And there's never been an Indiana Jones flick rated stronger than a PG-13. But that's all picking nits.

The point is the parents. From what you've said about them in the past, LS, you seem to have pretty decent parents. If you got out of line because you repeated, "I'm getting too old for this shit" in front of them, they'd probably have straightened you out, yes?

I saw quite a few horror flicks and other questionable stuff when I was younger, but that's because I sneaked behind my parents' backs to do it, the way God and Nature intended. They would have shit seven eggrolls if they knew about some of the stuff I got away with watching or renting.

There's no way they would have taken me to see something if they knew it had titties or guts in it.

I went to see Good Morning Vietnam with my dad when I was 15, because he deemed it "within reason," as you alluded.
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Postby Lady Sheridan on Fri Jan 19, 2007 10:22 pm

buster00 wrote:Poltergeist was actually a PG flick. Some people point to that film as the reason PG-13 was invented. And there's never been an Indiana Jones flick rated stronger than a PG-13. But that's all picking nits.

The point is the parents. From what you've said about them in the past, LS, you seem to have pretty decent parents. If you got out of line because you repeated, "I'm getting too old for this shit" in front of them, they'd probably have straightened you out, yes?


I always forget Poltergeist is PG-13...damn, that should have been an R, lol. Poltergeist and Raiders were a pretty hard PG-13 really, I know the face-melting kept me up a few nights. :P

But it's the parents that are really the clincher, as you say. My parents let me watch Lethal Weapon, but they always stressed the dangers of guns and violence. My dad was a cop and I would have been slapped silly had I ever touched his gun--they always made a point of explaining how violence in movies was fake, but shooting people in real life wasn't.

I do question WHY they let me see Poltergeist at 4, but I'm willing to buy their explanation that I just "didn't seem all that scared." ;) Certainly knowing how badly that scared me, I wouldn't let my kid see it at 4! But they're gonna watch Raiders and like it.

That's why I don't buy those excuses of a "video game generation" and how some kid shot up his school because he couldn't tell reality from fiction. That may very well be, but it's not the fault of the movies or video games, it's that his parents never straightened him or her out.

And as you pointed out, sneaking off to see questionable films is all about growing up...everyone did it. Kids will always do it. They're going to watch it anyway, so I'd rather they watch it with me so I can set them straight on sex and violence in the real world.
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Postby Lord Voldemoo on Fri Jan 19, 2007 10:25 pm

Lady Sheridan wrote:
I do question WHY they let me see Poltergeist at 4, but I'm willing to buy their explanation that I just "didn't seem all that scared." ;) Certainly knowing how badly that scared me, I wouldn't let my kid see it at 4! But they're gonna watch Raiders and like it.


:shock:

I was at the parents house over the holidays and went into the attic to find some old stuff. Sitting on one of the shelves were the two toy clowns I made my parents remove from my room after seeing poltergeist when I was little.

They were staring at me.

I nearly wet myself.

Sorry, random threadjack, but it does go to show the lasting effects... :lol:
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Postby silentbobafett on Sat Jan 20, 2007 1:41 pm

Havocshultaz wrote the funniest thing I have ever read:

Cpt Kirks 2pay wrote:
I saw a lot of horror films as a kid, and they sorta shook me up and educated me about how nasty this world and the people who live in it can be. Plus it teaches you the difference between right and wrong




Like don't be out smoking dope and having sex with each other when you're supposed to be counselling this fucking camp!!!!

The fucking Elephant Man's Kid is drowning and you're out getting your Brocktune on...

Cpt Kirks 2pay wrote:

So it wisens you and makes you defensive to Evil. It teaches you about survival.


Like don't let the fucking kid drown in the first place!
How fucking hard is it to make sure all the kids are strapped to their beds - As opposed to sleeping underwater - Just waiting for the day when he becomes the world's angriest goalie and starts fucking your shit up...

Come on!
If people would learn these things when they were young - there would be a helluva lot less havoc in this world...

Oh yeah, and don't run upstairs when you should be running out the front door.

And never say "I'll be right back..."



Just in case...



I was thinking that but its one of those strange things you never think to type. Don't ask me why! Anyway... I'm glad I didn't it was so fucking funny to read it from someone else! :-)
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Postby havocSchultz on Sat Jan 20, 2007 1:43 pm

silentbobafett wrote:Havocshultaz wrote the funniest thing I have ever read:

Cpt Kirks 2pay wrote:
I saw a lot of horror films as a kid, and they sorta shook me up and educated me about how nasty this world and the people who live in it can be. Plus it teaches you the difference between right and wrong




Like don't be out smoking dope and having sex with each other when you're supposed to be counselling this fucking camp!!!!

The fucking Elephant Man's Kid is drowning and you're out getting your Brocktune on...

Cpt Kirks 2pay wrote:

So it wisens you and makes you defensive to Evil. It teaches you about survival.


Like don't let the fucking kid drown in the first place!
How fucking hard is it to make sure all the kids are strapped to their beds - As opposed to sleeping underwater - Just waiting for the day when he becomes the world's angriest goalie and starts fucking your shit up...

Come on!
If people would learn these things when they were young - there would be a helluva lot less havoc in this world...

Oh yeah, and don't run upstairs when you should be running out the front door.

And never say "I'll be right back..."



Just in case...



I was thinking that but its one of those strange things you never think to type. Don't ask me why! Anyway... I'm glad I didn't it was so fucking funny to read it from someone else! :-)


Why thank you...

True story by the way...
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Postby silentbobafett on Sat Jan 20, 2007 1:45 pm

I know I know! :-)

I saw a documentary on it once... Friday the something or other... can't quite remember! :-)
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Postby DerLanghaarige on Sat Jan 20, 2007 2:58 pm

Kids will watch these films anyway. And if I had kids, I would prefer to watch these hard R-Rated films together with them. I wanna tell them, that there is a difference between films and reality, what is real or just
F/X and of course the important difference between good and bad, not their friends of the same age, whose paretns just don't care if their brats play with a loaded gun or not. It is MY job, to tell them, that the man, who just got eaten by a monster is not really dead. Films are fake and so is the violence that is shown there. Is there a better way to learn that than joking about the on-screen events with the family?
But of course I would still make a difference. I would probably watch together with my kids "Braindead" or "The Thing", but not "The Hills Have Eyes". Maybe when they are 13 or 14 .
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Postby silentbobafett on Sat Jan 20, 2007 3:08 pm

But for me the "real" content isn't the bother

Its whether you really need to show this stuff to kids. Why o they need to see violent films? Why not? fair enough but...

WOuldn't they be better served with a film they will understand fully or is targeted for them? :-)
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Postby DerLanghaarige on Sat Jan 20, 2007 3:31 pm

WEll, it's not that I would go to the kids and say: "Hey, who wants to watch 'Dawn Of The Dead' with me", but like I said: sooner or later they will start watching these films and what is more important: Much earlier they see REAL violence. So if my little boy or girl comes one day with one of my R-rated DVDs to me and wants to watch it, I will decide if, when and how we watch it.
Remember: Better with you than with someone else.

My best friend has the control over his daughter's (9 years old) TV. At night, he pulls the antenna plug. He watches horrorfilms with her too, but he sees them first without her.
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Postby silentbobafett on Tue Jan 23, 2007 10:32 am

more on mpaa :-) :


MPAA wants NC-17 back
Glickman urges indies to embrace rating
By PAMELA MCCLINTOCK


MPAA chairman-CEO Dan Glickman met with indie filmmakers and studio specialty execs Monday at Sundance, declaring he wants the movie biz to embrace the NC-17 rating and thereby provide a place for edgier fare.
He also delivered a gift during the closed-door sesh: The Classification & Ratings Administration has appointed a liaison to help filmmakers with questions about the ratings process.

Indie filmmakers have long felt frustrated by the ratings process, which has been shrouded in mystery. Glickman is trying to relieve some of that angst, saying the credibility of the ratings system is vital to the entire movie biz.

The morning meeting in Park City at the Lodges at Deer Valley officially kicked off Glickman's campaign to make the ratings system more transparent and user-friendly (Daily Variety, Jan. 17).

Ratings had already come up at Sundance, even before Glickman's roundtable with the indie community.

On Sunday, the Weinstein Co. and Lionsgate pacted to pick up "Teeth," a dark comedy about a girl who has teeth in her vagina. Harvey Weinstein said he doesn't want to cut the movie to ensure an R rating. Lionsgate can release an unrated movie since it's not a member studio of the MPAA.

Accompanying Glickman to Park City was Joan Graves, chair of the Classification & Ratings Administration. The National Assn. of Theater Owners (which administers the ratings board with the MPAA) also is a partner in the campaign.

In Park City, some attending the roundtable offered the idea of taking the stigma out of the NC-17 rating, which itself was created to take the stigma out of the X rating. But the NC-17 rating never caught on.

Studio marketing departments quickly encountered trouble when trying to place media buys, since various outlets think an NC-17 film is the same as an X-rated film. Also, exhibs have been reluctant to devote screens to NC-17 films.

Briefing reporters after the session, Glickman and Graves said they readily agreed something must be done.

"We are going to talk about this with the Directors Guild of America and NATO," Glickman said. "It's one of our ratings, and I'd like to see it used more."

Graves said parents are particularly concerned about the new generation of horror pics playing on the bigscreen, such as the "Saw" and "Hostel" franchises.

Glickman stressed the rating system itself is not being changed. The reforms being made are designed to make the process more public.

In the coming weeks, Glickman, Graves and NATO prexy John Fithian will meet with various stakeholders in the ratings process to talk about the proposed changes and to get input about other possible reforms.

For the first time, CARA plans to post the ratings rules, which describe the ratings and appeals process, and the standards for each.

In another first, CARA will allow a filmmaker to reference a scene from another movie during the appeals process, although the board still will put heavy emphasis on context.

There also will be a new ratings descriptor saying certain R-rated movies aren't appropriate for younger children.

Fithian will brief theater owners on these and other changes at ShoWest in March.
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Postby silentbobafett on Tue Jan 23, 2007 10:35 am

How do I loose or change the Poll at the top? I started the thread but when I click EDIT I can't do anything about it! :-)
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Postby silentbobafett on Wed Jan 24, 2007 9:05 am

The real Hollywood politics
Peter Bart: D.C. vibe is bubbling up
By PETER BARTHollywood is of one mind politically -- at least, that's the long-standing myth. Well, at this moment (a rare moment) the myth may have become reality. The anti-war sentiment in the entertainment community is as pervasive as it was during Vietnam. Yet there are many other cross-currents as well -- and they are strengthening as the '08 campaign looms.
One obvious area of disagreement, of course, involves personalities. Barack Obama's cameo appearances in town have created a fervent constituency, and Hollywood likes instant stars. Still, the Hillary backers have power and money and are diligently trying to disconnect her from the debacle in Iraq.

The political star system has its built-in tensions, to be sure. Adam Venit, a honcho at Endeavor, hosted a reception for John Edwards at his agency the other day. Not present was Venit's partner, Ari Emanuel, who threw a hot Obama bash not long ago and whose brother, Rahm, may (or may not) remain in the Hillary camp.

At the same time, Hollywood loves box office, and Al Gore's documentary, "An Inconvenient Truth," has become Paramount's single most profitable release. Suddenly Gore is a star again.

There are other emerging fissures, as well. The aggressively photogenic John Edwards was cruising along, detailing his litany of liberal causes last week until, during question time, he invoked the "I" word -- Israel. Perhaps the greatest short-term threat to world peace, Edwards remarked, was the possibility that Israel would bomb Iran's nuclear facilities. As a chill descended on the gathering, the Edwards event was brought to a polite close.

Support for Israel in the U.S. has lately become bafflingly multi-cultural, representing an alliance between diaspora Jews, traditional Zionists and evangelicals. Support from Christian zealots, who now represent about one third of Israel's tourist business, is welcomed even though, according to evangelical doctrine, Judgment Day will bring the ultimate destruction of Israel and death to most of its residents.

The Economist observed this week that "knee jerk defensiveness" of Israel ultimately will erode support for that country around the world, even among Jews. Only 17% of American Jews today regard themselves as "pro-Zionist," the magazine points out, and only 57% say that "caring about Israel is a very important part of being Jewish." And Jimmy Carter only exacerbates these mixed signals with his recent perorations that Israel must "give back" territories to the Palestinians.

Given that the Christian Right and neo-conservatives in this country seem more obsessed with Israel than the Jewish community, the "I" word is becoming a potentially lethal component of today's political dialogue.

The Middle East crisis represents just one of the issues that could splinter the formidable anti-Bush sentiment in the entertainment community. Further, as Democratic candidates compete to propose ever bolder ways to bureaucratize health care, this issue, too, could undermine the seemingly liberal consensus.

Liberals also have to figure a way to catch up with The Governator on environmental issues. Clearly, Schwarzenegger is finding consensus positions that cross party lines -- something the liberals have been unable to fashion.

All this provides both an opportunity and a trap for Obama as he mounts his presidential campaign. His platform has the purity of a fresh screenplay that's about to be submitted to the Hollywood studios. And Hollywood has mastered the process of messing things up with its interminable "notes."

Obama must at once enter the fray and stand above it. And his mentors, whoever they turn out to be, must remember that while Vietnam knocked the bad guys out of power, it delivered the nation to Richard Nixon.

That didn't help much.
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Postby silentbobafett on Thu Jan 25, 2007 6:21 am

More on the MPAA:

Valenti defends ratings
Former MPAA chief points to parents
By WILLIAM TRIPLETT

Valenti


WASHINGTON -- Jack Valenti, the former MPAA topper who launched its movie ratings system in 1969, believes the headline-grabbing changes recently announced at Sundance are "OK" and said, "They will help in the process of the ratings."
"But there's a white elephant in the room," he huffed. "The fact is that 80% of parents with children under 13" -- the target demographic for the ratings system -- "say the system is either fairly useful or very useful in making decisions about which movies their kids should see."

Surveys conducted by the Opinion Research Corp. show that the ratings system has climbed from 51% approval at its inception to 80% in 2006. "We're at an all-time high," Valenti said, "yet critics never mention this."

The system, he pointed out, "wasn't designed for studios or executives or directors or journalists or critics," some of whom have been complaining about it. "It was designed for parents, and it has worked for 38 years for the people it was intended for. Nothing lasts that long in this competitive and venomous marketplace unless it's doing something right."
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Postby silentbobafett on Fri Apr 27, 2007 9:54 am

I'll see if I can get this going again! :-)

Hasta La Vista, Buena Vista


The Walt Disney Co. plans to do away with its remaining Buena Vista banners and replace them with the Disney name, Bloomberg News reported today (Thursday), citing people involved in the plans. The company's distribution division and its home-video unit both bear the Buena Vista designation. Buena Vista Games has already become Disney Interactive Studios. Tuna Amobi, a New York-based analyst with Standard & Poor's, told the wire service that few people associate the Buena Vista name with Disney. "I guarantee millions of people don't know that it's owned by Disney. ... Outside of the industry, it's not widely known."
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Postby silentbobafett on Fri Apr 27, 2007 9:54 am

Giant Plasma Screens Delayed by Piracy Fears


Samsung's plans to begin delivering 50- and 58-inch HDTV plasma screens have been delayed following complaints from major studios that the wireless signal used in the sets could be hijacked. According to reports appearing on several tech-oriented websites on Wednesday, Samsung now plans to begin distributing them in September if the studios' concerns about piracy can be satisfactorily addressed. A Samsung spokesperson told the ArsTechnica website that the approval is needed by June in order to begin shipments by September. "We have the technology; we are just waiting on approval," the spokesperson said.
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Re: World of Film Information Hotline (aka Hollywood news)

Postby TheButcher on Fri Mar 14, 2014 1:34 am

Disney Shocker: Top Exec Anne Sweeney to Exit to Become TV Director (Exclusive)
Hollywood's most powerful woman quits at the top after 18 years to become a TV director (yes, really!) as Disney CEO Bob Iger reveals his succession plan ("My goal is to do it fast") and both detail the full backstory in interviews with THR.
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Re: World of Film Information Hotline (aka Hollywood news)

Postby TheButcher on Fri Mar 14, 2014 1:35 am

Tyler Perry, Lionsgate End Long-Term Relationship (Exclusive)
The writer-producer-director is closing the Los Angeles offices of his 34th Street Films, consolidating operations at his Atlanta headquarters.
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Re: World of Film Information Hotline (aka Hollywood news)

Postby TheButcher on Wed Mar 26, 2014 1:43 pm

'Lego Movie' Backer Village Roadshow Cut Out of Sequel (Exclusive)
Insiders say Warner Bros. execs realized they made "a big mistake" allowing its financing partner to cover 50 percent of the box-office hit's costs.
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Re: World of Film Information Hotline (aka Hollywood news)

Postby TheButcher on Sat Mar 29, 2014 1:24 am

‘Godzilla’ Legal Battle Between Legendary & Tossed Producers Gets Trial Date
DOMINIC PATTEN | wrote:It’ll be almost a year to the day after the new Godzilla hits the big screen, but the long legal clash between Legendary Pictures and a trio of veteran producers dumped from the reboot now has a trial date. Despite Legendary’s efforts to keep the matter private, the parties will be arguing their case in front of a jury in LA Superior Court starting May 17, 2015. That could change if the two sides reach a settlement over credits and compensation for the Warner Bros-distributed tentpole. If that doesn’t happen, the trial, which ejected producers Roy Lee, Dan Lin and Doug Davison have been seeking since filings started flying in January 2013, is scheduled to last around 10 days. The case was reassigned to Judge Michael Beckloff earlier this week. The new Godzilla movie, from director Gareth Edwards and starring Bryan Cranston, Aaron Taylor-Johnson, Elizabeth Olsen, David Strathairn, Juliette Binoche and Sally Hawkins, opens May 14.

An actual trial date, which was set last week, is new, but the fact this case is going before a jury comes as no surprise after a California Appeals Court judge on March 4 denied Legendary’s attempt to keep the dispute out of the courts and the public eye. Justice Judith Ashmann-Gerst’s ruling was in response to a May 10, 2013 ruling by Judge Abraham Khan denying Legendary’s desire for arbitration in the potentially multimillion-dollar lawsuit.

On January 9 last year, the company filed a complaint to remove Lin, Lee and Davison from the mega-monster reboot with a $25,000 payout. According to Legendary, the puny payout was all the trio were due under the March 2011 Producer Loan Agreement between them and Thomas Tull’s company. Lin, Lee and Davison, who Legendary claimed were about to seek a temporary restraining order against the pic, disagreed and filed a breach-of-contract cross complaint on January 17 last year. The three are seeking millions in compensatory damages, screen credit, and participation in Godzilla sequels, prequels, or further remakes for the work they say they did in helping Legendary acquire rights to the Godzilla character from Japanese corporation Toho and getting the big-budget film off the ground.

Stanton L. Stein, Bennett Bigman, and Ashley Yeargan of LA’s Liner Grode Stein Yankelevitz Sunshine Regenstreif & Taylor are repping the producers in the case. Dale Kinsella and Gregory Korn of Kinsella Weitzman Iser Kump & Aldisert LLP are Legendary’s lawyers.
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Re: World of Film Information Hotline (aka Hollywood news)

Postby TheButcher on Sat Mar 29, 2014 1:25 am

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The Epic Disney Blow-Up of 1994

Postby TheButcher on Sat Apr 19, 2014 2:24 am

The Epic Disney Blow-Up of 1994: Eisner, Katzenberg and Ovitz 20 Years Later
Twenty years ago, Frank Wells, Disney's No. 2, died in a helicopter crash, and war broke out in the industry. It was Eisner vs. Katzenberg, the dominoes started to fall, and Kim Masters was in the middle of it.
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Re: World of Film Information Hotline (aka Hollywood news)

Postby TheButcher on Fri Apr 25, 2014 10:14 pm

Indie Bigwig Cassian Elwes Slams Studios & Agencies Over “Rubbish” Tentpole System
ANTHONY D'ALESSANDRO wrote:Producer and Elevated Film Sales CEO Cassian Elwes used his keynote address at the Independent Film & Television Alliance Production Conference today to rip studios for ignoring movie audiences’ demands for smart, theatrical fare in exchange for comic-book franchises, and warned that the current flood of franchise movies threatens smart filmmaking, particularly for the younger generation. “Studios don’t want to make a movie for $10 million and see it fail, rather they’re looking to make films that generate $100 million-$200 million profit,” he said. “This has made the agencies complicit in this business.” The result, he says: Studios have dwindled their picture pipelines and stars’ salaries have eroded. “Twenty years from now, I’m convinced we’ll be seeing Fast & Furious 37 and these characters will have an advantage because they’ll be able to park in the handicapped zones,” Elwes quipped to the crowd.
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Re: World of Film Information Hotline (aka Hollywood news)

Postby TheButcher on Sat May 10, 2014 7:44 am

As It Unleashes 'Godzilla,' Legendary Pictures Makes Big Moves
Thomas Tull's company is settling into its new deal at Universal as its ambitions grow.
Gregg Kilday wrote:Thomas Tull, CEO of Legendary Pictures, wants to do more than just write checks. Nearly 10 years ago, when Tull, a onetime laundromat owner-turned-investment banker, first showed up at Warner Bros. with $500 million he raised, the studio happily signed him to help back two dozen films. But Legendary's summer 2013 move from Warners to a five-year deal at Universal largely was about becoming a more active producer, a goal that had chafed former studio head Jeff Robinov. And Godzilla, which launches May 16 as the final Legendary movie released in the U.S. by Warners, is a step in that autonomous direction.

The $165 million-budgeted return of the giant lizard marks the second major in-house production from Legendary -- which oversaw development as well as the physical shoot in Vancouver and Hawaii -- following last summer's Pacific Rim. Guillermo del Toro's $190 million monsters-vs.-robots epic took in $411 million worldwide (including $112 million in China). It squeaked into the black, says the company, but was no blockbuster, and a sequel has not been greenlighted.

Instead of trying to summon echoes of monsters past, Legendary has gone straight to the source, licensing Godzilla rights from Japan's Toho Co. And Tull has entrusted the movie to British newcomer Gareth Edwards, whose previous film as a director (Monsters) was made for about $500,000. Tull says Godzilla will break even "if it [does] $450 million worldwide. Anything above that would be pretty good." Tracking suggests a $60 million-plus opening in the U.S., much bigger than Pacific Rim's $37 million. Still, the film is a gamble -- Godzilla's previous big-screen incarnation, released by Sony in 1998, did only $379 million worldwide. Legendary is shouldering 75 percent of the budget and the cost of prints and advertising on the new film.

Even before Godzilla's release, Tull was focusing on his new life at Universal. In 2012, he assembled $720 million in new financing, including $443 million from Wadell & Reed Financial. Eager to expand into television, digital and even theme parks, he found a much more eager taker in Universal, which was seeking a financing partner to replace Relativity and to limit exposure on the big-budget movies Tull enjoys backing. "They were aggressive about what they wanted us to do and how we would fit in," says Tull.

Sources say Legendary agreed for the first two years of the deal to invest $275 million annually in movies it co-finances with Universal as well as those it fully finances. That number rises to $350 million a year for the final three years. Legendary pays a 10 percent distribution fee on the movies it co-finances -- on par with its Warners deal -- but it only has to pay 8 percent on its fully financed features and will have control over the marketing spend on those pics. (Legendary has an in-house marketing team run by Emily Castel.)

Legendary's first Universal release is the low-budget found-footage movie As Above, So Below, set in the sewers of Paris, coming in August. It also has taken a stake in two of Universal's other 2014 releases: The Untold Dracula and the awards hopeful Unbroken, which Angelina Jolie is directing. Beginning in 2015, Legendary will have a much bigger influence on the Universal slate, releasing two movies that it has fully financed -- Michael Mann's Cyber and the fantasy The Seventh Son -- and investing in Jurassic World, which Universal already was moving forward on.

Other parts of the new Legendary are works in progress. In June, Tull enlisted Bruce Rosenblum, former Warner Bros. Television Group president, to run a TV and digital media unit, which he is building out. And through his Hong Kong-based Legendary East, Tull has struck a co-production deal with China Film Group. No new films have come out of that pact yet, but CFG has made an eight-figure investment in Seventh Son and the video game-based Warcraft, scheduled for 2016. Now Tull must wait to see if his sweat as well as his equity pays off.
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Re: World of Film Information Hotline (aka Hollywood news)

Postby TheButcher on Wed Jun 04, 2014 3:02 am

'Godzilla' Studio Looks to Throw Out Producers' Fraud Claim
Legendary Pictures emphasizes in court that Dan Lin, Roy Lee and Doug Davison weren't thrown off the film until three years after "Godzilla" rights were secured, and that an email stating they would be "well-treated" was merely an opinion.
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Re: World of Film Information Hotline (aka Hollywood news)

Postby TheButcher on Fri Jun 20, 2014 5:21 pm

Jeff Robinov Close to Deal With Investors Worth Up to $300M
Chinese conglomerate Fosun will provide the bulk of financing while Huayi Brothers may also invest in the former Warner Bros. executive's Studio 8, which will distribute its films through Sony.
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Re: World of Film Information Hotline (aka Hollywood news)

Postby TheButcher on Fri Jun 20, 2014 5:21 pm

'Transformers: Age of Extinction' Chinese Partner Terminates Collaboration Contract
Beijing Pangu Investment Co. accuses Paramount Pictures and other associate partners in "Transformers 4" of causing huge financial loss and damage to the reputation of the company.
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Re: World of Film Information Hotline (aka Hollywood news)

Postby TheButcher on Sun Jun 22, 2014 11:24 pm

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Re: World of Film Information Hotline (aka Hollywood news)

Postby TheButcher on Tue Jun 24, 2014 11:39 am

Last edited by TheButcher on Tue Jun 24, 2014 11:41 am, edited 1 time in total.
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Re: World of Film Information Hotline (aka Hollywood news)

Postby TheButcher on Tue Jun 24, 2014 11:40 am

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Re: World of Film Information Hotline (aka Hollywood news)

Postby TheButcher on Tue Jun 24, 2014 1:51 pm

Setting the Record Straight on Nikki Finke, Peter Bart and Mike Fleming
Anne Thompson wrote:Get one thing straight. Peter Bart and Mike Fleming wouldn't have jobs right now if it weren't for Nikki Finke. Their recent back-and-forth on why Finke is no longer working at Deadline sticks in my craw. As you know, I disapprove of many of Finke's working methods, mostly her bullying, litigious, self-aggrandizing behavior. She not only made life miserable for anyone who dealt with her in Hollywood, but especially her co-workers, who refused to let her come back, even when Fleming argued for her return. That may be because he recognizes that he owes her a great deal. Basically Penske wanted to give her Peter Bart's current role at Variety--columnist with no portfolio. She wanted more.

Let's give Finke her due.

Nikki Finke reinvented the Hollywood trades.
I joined The Hollywood Reporter in 2005, where I felt compelled to launch their first blog, Risky Biz, in cahoots with the online editor and on my own time, against the editors' wishes. Finke launched Deadline at the LA Weekly, where she wrote a column similar to my old Risky Business column, on Oscar night 2006. She was a smarter businesswoman than I was: she owned her blog.

When Variety's Peter Bart lured me to go to Variety, on the basis of Risky Biz, I had to leave RiskyBiz behind. I thought I was going to the more profitable Tiffany top-dog trade. On my first day in the newsroom I had my blink moment. Variety was complacent, bloated, spending a fortune on separate editorial staffs for the LA and NY dailies as well as Weekly Variety. They sent massive numbers of people to Cannes, many of whom contributed nothing. They had no idea what to do with my blog, and wouldn't help me to fight THR to get back the Risky Business name I was identified with for years. They didn't recognize that Oscar advertisers wanted to buy online ads against my column and blog--it was pennies to them, they were raking in millions on print ads-- in effect paying for my annual salary. In their first round of many layoffs starting in February 2009, they let me go with 30 others including Ben Fritz, now at the Wall Street Journal.

Variety dismissed Nikki Finke as a mere blogger, and no journalist. They didn't get it.

After Finke reinvented the trade model, the trades were forced to play catch-up.

Obviously, it was possible to break news without waiting politely for stories to be handed to you as an exclusive in a press release. Finke aggressively called and cajoled and bullied and insisted on getting the news first and broke it online. She had no print edition to wait for. It took the trades a long time to catch on to the idea that they could break news online. And to give up their daily print editions in favor of one print weekly.

Variety undervalued Mike Fleming.

Because Fleming was a fast breaking news reporter working from his home basement on Long Island (which made the transition to blogging much easier), Variety editor Peter Bart did not treat Fleming like a star, partly because he tended not to write long pieces for Weekly Variety. That was what Bart prized. He didn't consider Fleming to be a real "writer." (Fleming did just fine freelancing for Premiere and Playboy.)

It was Finke's brilliant move--after she was bought out by Jay Penske and had more resources-- to poach Fleming. And Finke taught him how to be an online breaking news reporter. He took to it like a duck to water. The difference between them? Fleming over time developed enough trust with his myriad sources that they wanted to give him stories and felt safe that he would take care of them. Finke instilled fear and bullied people into giving her stories first.

Peter Bart is a Luddite.
I have great respect for Bart, who gets this industry like no one else, writes gorgeous astute columns, and lured me to Variety. He brought high journalistic standards to the paper and understood the power of high quality international reviews. But missing the internet revolution set Variety back for years--they are still recovering from Bart's blind spot. When I was at Variety, Bart typed his copy on a typewriter, and his assistant printed out his emails for him.

Nikki Finke is a transitional figure who is no longer in her prime.
In the end of course, while Finke moved the needle and paved the way for the current new model trades including Variety, THR and The Wrap-- online trade and film community Indiewire, my host site, was founded 18 years ago--she was her own worst enemy. I kept expecting her to blow up or burn out and eventually she did. Can she build it all back up again at NikkiFinke.com? Not if she takes 36 hours off to deal with legal problems. Her 228,000 Twitter followers are a start. But she's now functioning in a much more competitive environment, as the trades have overtaken Deadline. She needs support staff and resources and advertising--Oscar ads came to Deadline with Pete Hammond--and a lot of energy to make it this time. And good will from the community. Is it there?
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Re: World of Film Information Hotline (aka Hollywood news)

Postby TheButcher on Thu Jul 10, 2014 4:46 am

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$80 Billion

Postby TheButcher on Wed Jul 16, 2014 5:34 pm

Time Warner Rejected $80 Billion Takeover Offer From 21st Century Fox
UPDATED: The company rebuffed the approach, arguing it is better off as an independent company, but its stock jumped before the market opened.


Time Warner Explains Why It Rejected Bid as Fox Says No Current Talks
UPDATED: Time Warner, led by CEO Jeff Bewkes, also comments on the approach from Rupert Murdoch's company and explains why it rejected its $80 billion offer.
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