Culver City Special Endorsement

Total Page:16

File Type:pdf, Size:1020Kb

Culver City Special Endorsement Attachment SONY PICTURES ENTERTAINMENT INC. & ANY & ALL OF SUBSIDIARIES, DIVISIONS, ASSOCIATED AND/OR AFFILIATED COMPANIES IN A LINE OF CORPORATE PROGRESSION NOW EXISTING OR HEREAFTER CREATED OR ACQUIRED, & THEIR FINANCIALLY CONTROLLED OR ACTIVELY MANAGED ORGANIZATIONS OR UNDERTAKINGS, INCLUDING PARTNERSHIPS & JOINT VENTURES, & ANY OTHER ORGANIZATIONS, ENTITIES OR PERSONS WHICH THEY HAVE AGREED TO INSURE INCLUDING ACACIA PRODUCTIONS, INC. MONTROSE PRODUCTIONS, INC. ADELAIDE PRODUCTIONS, INC. OCOTILLO PRODUCTIONS, INC. ALLENFORD PRODUCTIONS, INC. OSAGE PRODUCTIONS, INC. ALPINE PRODUCTIONS, INC. Planet B-Boy Productions, Inc. AMK PRODUCTIONS, LLC PRESSURE PRODUCTIONS ARLINGTON PRODUCTIONS, INC. PRETEND WIFE PRODUCTIONS, INC. ASHLAND PRODUCTIONS, INC. QUADRA PRODUCTIONS, INC. AVOCA PRODUCTIONS, INC. REAL HEAVEN FILMS LTD. BELLISARIUS PRODUCTIONS, INC. REMOTE BROADCASTING, INC. BLAZE FILMS, INC. ROCKINGHAM PRODUCTIONS, INC. CALIFON PRODUCTIONS, INC. ROSECRANS PRODUCTIONS, INC. CANTERBURY PRODUCTIONS, INC. ROSELINE PRODUCTIONS LIMITED COLONY WAY PRODUCTIONS, INC. RT PRODUCTIONS, INC. COLUMBIA PICTURES HYBRID PRODUTIONS, INC. SAN VICENTE PRODUCTIONS, INC. COLUMBIA PICTURES INDUSTRIES, INC. SCENIC PRODUCTIONS, INC. COLUMBIA TRISTAR MARKETING GROUP INC. SCREEN GEMS PRODUCTIONS, INC. Corday Productions, Inc. SOMMA PRODUCTIONS, INC. CORSICA PRODUCTIONS, INC. SONY ONLINE ENTERTAINMENT LLC CPT HOLDINGS, INC. SONY PICTURES ANIMATION INC. CRACKLE, INC. F/K/A GROUPER NETWORKS, INC. SONY PICTURES CLASSICS INC. CRESCENT PRODUCTIONS, INC. SONY PICTURES CONSUMER PRODUCTS INC. CULVER DIGITAL DISTRIBUTION SONY PICTURES DIGITAL INC. EARLHAM PRODUCTIONS, INC. SONY PICTURES IMAGEWORKS INC. ELP COMMUNICATIONS SONY PICTURES HOME ENTERTAINMENT INC. ENTRADA PRODUCTIONS, INC. SONY PICTURES RELEASING CORPORATION EMBASSY ROW SONY PICTURES STUDIOS INC. FAANTASTIC ENTERTAINMENT, INC. SONY PICTURES TELEVISION INC. GLENHILL PRODUCTIONS, INC. STAGE 6 FILMS, INC. GRAND GALLERY PRODUCTIONS, INC. TELE VENTURES, INC. GRANVILLE PRODUCTIONS, INC. Tibernia Productions, Inc. HUDSON PRODUCTIONS, INC. TOPANGA PRODUCTIONS, INC. I.B.C.C. FILMS, INC. TRACKDOWN PRODUCTIONS, INC. J.C. ENTERTAINMENT, INC. TRISTAR PICTURES, INC. JEOPARDY PRODUCTIONS, INC. VAMPIRES-R-US PRODUCTIONS, INC. LAFITTE PRODUCTIONS, INC. VANDAM PRODUCTIONS, LLC LA MESA PRODUCTIONS, INC. VALLEY VISTA PRODUCTIONS INC. MADISON PRODUCTIONS WATER TOWER ENTERTAINMENT, INC. MANHOUSE PRODUCTIONS WESTSIDE PRODUCTION SERVICES INC. MCFARLANE PRODUCTIONS, INC. WOODRIDGE PRODUCTIONS, INC. MESQUITE PRODUCTIONS WOOSTER PRODUCTIONS, INC. MONTANA PRODUCTIONS, INC. XMAS HOLLYWOOD FILMS, INC. REVISED 10/24/2013 H/RISKMGMT/Certs/Production – Outgoing 12 13/Certificate Exhibits/Production Exhibit.doc .
Recommended publications
  • The Uses of Animation 1
    The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator.
    [Show full text]
  • Sony Corporation Names Anthony Vinciquerra Chairman and Chief Executive Officer, Sony Pictures Entertainment
    SONY CORPORATION NAMES ANTHONY VINCIQUERRA CHAIRMAN AND CHIEF EXECUTIVE OFFICER, SONY PICTURES ENTERTAINMENT [Culver City, CA – May 11, 2017] Sony Corporation today announced that Anthony Vinciquerra will become Chairman and Chief Executive Officer of Sony Pictures Entertainment (SPE), starting on June 1 and reporting to Sony Corporation President and CEO Kazuo Hirai. Vinciquerra will replace SPE Chairman and CEO Michael Lynton, who announced in January that he would step down this spring. Vinciquerra will oversee the studio’s corporate groups and its lines of business: SPE’s Motion Picture Group, Sony Pictures Television and SPE’s Worldwide Media Networks division. Vinciquerra comes to Sony Pictures with deep experience in the media, entertainment and tech spaces. He is currently Senior Advisor to Texas Pacific Group in the Technology, Media and Telecom sectors, where he has focused on TPG’s Capital, Growth and Opportunity investing arenas, as well as digital and emerging technologies and their impact on the distribution and consumption of film and TV content. Prior to TPG, Vinciquerra spent almost 10 years at Fox where he served as Chairman and CEO of Fox Networks Group, the largest operating unit of News Corporation. Before Fox, Vinciquerra was with Hearst Corporations broadcasting group and CBS’s television group. “Tony is a proven, results‐oriented leader with extensive experience running and driving growth in large, complex media and entertainment businesses,” said Hirai. “His operating skills, effectiveness working with creative teams and expertise in managing digital disruption and new technologies make him the perfect choice to lead SPE, and build on the studio’s turnaround efforts to date.
    [Show full text]
  • L'animation Stylisée
    Universite Paris 8 Master Creation Numerique parcours : Arts et Technologies de l'Image Virtuelle L’animation stylisée Clea Gonay Memoire de Master 2 2019 - 2020 1 résumé Le cinema d’animation est un medium propice a* l’abstraction du reel, a* la simplification des formes et du mouvement. Gra0ce a* un language visuel et une esthetique qui lui sont propre, l’animation stylisee reussit a* conserver le sens tout en amplifiant les emotions du spectateur. Pourquoi et comment realise t-on un film en animation stylisee ? En se basant sur la litterature disponible, mes experiences et une serie d’interviews realisees aupre*s d’acteurs de l’industrie, ce memoire propose une approche philosophique, anthropologique et technique des principes et codes de l’animation stylisee. Il cherche a* mettre en lumie*re les raisons qui poussent un realisateur a* choisir ce medium et explore les possibilites offertes par les outils disponibles a* travers des exemple d’oeuvres 2D, 3D et hybrides. Enfin, pour illustrer mon propos, j’y presente mes mises en pratiques realisees lors de mon etude du sujet. abstract Animation is a perfect medium to abstract reality and to simplify forms and movements. Thanks to its own visual language and aesthetical values, stylised animation conveys meaning as well as amplifies the spectator’s emotions. Why and how are stylized animated movies made ? Using available literature, my own experiences and a series of interviews made with people involved with the industry, this thesis takes a philosophical, anthropological and technical approach to the principles and codes of stylized animation. It highlights the reasons why a director would choose this route and explores the possibilities of the available tools while presenting related 2D, 3D and hybrid works.
    [Show full text]
  • Sony Pictures Classics and Stage 6 Films to Unleash the Raid 2
    SONY PICTURES CLASSICS AND STAGE 6 FILMS TO UNLEASH THE RAID 2 NEW YORK (November 5, 2013) – Sony Pictures Classics and Stage 6 Films announced today that they will theatrically release THE RAID 2 in the United States. The highly-anticipated sequel to the action thriller THE RAID: REDEMPTION, the new film THE RAID 2 was once again written and directed by Gareth Evans. The film was produced by Ario Sagantoro for Merantau Films, and Aram Tertzakian and Nate Bolotin of XYZ Films. The film was executive produced by Rangga Maya Barack-Evans for Merantau Films, Irwan D. Mussry, and Nick Spicer and Todd Brown on behalf of XYZ. Matt Flannery (THE RAID: REDEMPTION) and Dimas Imam Subhono served as cinematographers with Joseph Trapanese (THE BOURNE LEGACY), Aria Prayogi (THE RAID: REDEMPTION) and Fajar Yuskemal (THE RAID: REDEMPTION) scoring the picture. THE RAID: REDEMPTION was released theatrically in March 2012 by Sony Pictures Classics to great success. Currently in post-production, THE RAID 2 picks up right where the first film left off and follows Rama (Iko Uwais) as he goes undercover and infiltrates the ranks of a ruthless Jakarta crime syndicate in order to protect his family and uncover the corruption in his own police force. ABOUT SONY PICTURES CLASSICS Michael Barker and Tom Bernard serve as co-presidents of Sony Pictures Classics—an autonomous division of Sony Pictures Entertainment they founded with Marcie Bloom in January 1992, which distributes, produces, and acquires independent films from around the world. Barker and Bernard have released prestigious films that have won 31 Academy Awards® (27 of those at Sony Pictures Classics) and have garnered 135 Academy Award® nominations (109 at Sony Pictures Classics) including Best Picture nominations for AMOUR, MIDNIGHT IN PARIS, AN EDUCATION, CAPOTE, HOWARDS END, AND CROUCHING TIGER, HIDDEN DRAGON.
    [Show full text]
  • Seattle Location Management and Scouting
    Mark A. Freid – Seattle Location Management and Scouting. Field Producing. (310) 770-3930 [email protected] www.northernlocs.com QUALIFICATIONS Teamster Local 399 Location Manager. CSATF Safety Passport. LOCATION SCOUTING AND MANAGEMENT 2001-2017 FEATURE FILM/TELEVISION: War for Planet of the Apes. 20th Century Fox. VFX Plate Unit Location Manager Ryan Stafford, VFX Producer. 50 Shades Freed, 50 Shades Darker. Focus Features. 2nd Unit Location Manager Scott Ateah, 2nd Unit Dir. Barbra Kelly UPM. Marcus Viscidi Producer. Grey’s Anatomy. ABC/Disney. Location Scout Thomas Barg, Production Supervisor. Vacation. Warner Brothers/New Line. 2nd Unit Location Manager Peter Novak, 2nd Unit Production Supervisor. The Librarians . Electric Entertainment. Location Scout Bobby Warberg, Location Manager. David Drummond, Location Scout. 50 Shades of Grey. Focus Features. 2nd Unit Location Manager David Wasco Production Designer, Barbra Kelly, UPM, Marcus Viscidi Producer. Transformers 4. Paramount Pictures. Location Manager JJ Hook, Location Manager. Daren Hicks, Production Supervisor. They Die By Dawn. Location Manager Jaymes Seymor, Director. Peter Novak, Producer. America’s Most Wanted. STF Productions. Location Manager Miles Perman, Producer. Paranormal Activity The Marked One. Paramount Pictures Location Scout Christopher Landon, Director. Stephenson Crossley, Location Manager. Hayden Lake. Location Manager Ryan Page, Christopher Pomerenke Directors. Linette Shorr, Production Designer. Lacey Leavitt, Producer. Rampart. Lightstream Pictures. Location Manager Oren Moverman, Director. David Wasco Production Designer. Karen Getchell, Production Supervisor. Ben Foster, Lawrence Inglee, Clark Peterson, Ken Kao, Producers. Michael DiFranco and Lila Yacoub Executive Producers. Late Autumn. Location Manager Kim Tae-Yong, Director. Dave Drummond, Co-Location Manager Mischa Jakupcak, Producer. The Details. Key Assistant Location Manager Doug duMas, Location Manager.
    [Show full text]
  • Screendollars About Films, the Film Industry No
    For Exhibitors October 12, 2020 Screendollars About Films, the Film Industry No. 138 Newsletter and Cinema Advertising Sparked by this year’s renewed interest in independent distributors and genre films, we celebrate the creativity of American International Pictures, the pioneer of mass-production, low-budget film making. AIP was founded in 1954 as American Releasing Corporation (ARC) by Samuel Arkoff, an entertainment lawyer, and James Nicholson, a former sales manager for Realart Pictures. They soon expanded into production so they could take full control of their product, both creatively and financially. AIP developed a checklist of creative elements to ensure a film’s appeal to their target youth audience, largely overlooked by studios of the day. Their ARKOFF formula, named after the founder, included these elements: Action, Revolution, Killing, Oratory, Fantasy and Fornication. AIP would frequently bundle multiple pictures to play as double features at the nearly 4000 drive-ins (Click to Play) operating in the US in the 50’s and 60’s. One of AIP’s famously prolific and successful directors, was Roger Corman, "The Pope of Pop Cinema", who established a cult following for himself and AIP through his adaptions of Edgar Allen Poe tales as horror films. Famously, AIP’s new project development began by creating the film’s title and movie poster, which was then market-tested to confirm interest before the screenwriter, director and cast were hired. Today’s independent producers have many lessons they can learn from the film entrepreneurs
    [Show full text]
  • Sony Pictures Imageworks Arnold
    Sony Pictures Imageworks Arnold CHRISTOPHER KULLA, Sony Pictures Imageworks ALEJANDRO CONTY, Sony Pictures Imageworks CLIFFORD STEIN, Sony Pictures Imageworks LARRY GRITZ, Sony Pictures Imageworks Fig. 1. Sony Imageworks has been using path tracing in production for over a decade: (a) Monster House (©2006 Columbia Pictures Industries, Inc. All rights reserved); (b) Men in Black III (©2012 Columbia Pictures Industries, Inc. All Rights Reserved.) (c) Smurfs: The Lost Village (©2017 Columbia Pictures Industries, Inc. and Sony Pictures Animation Inc. All rights reserved.) Sony Imageworks’ implementation of the Arnold renderer is a fork of the and robustness of path tracing indicated to the studio there was commercial product of the same name, which has evolved independently potential to revisit the basic architecture of a production renderer since around 2009. This paper focuses on the design choices that are unique which had not evolved much since the seminal Reyes paper [Cook to this version and have tailored the renderer to the specic requirements of et al. 1987]. lm rendering at our studio. We detail our approach to subdivision surface After an initial period of co-development with Solid Angle, we tessellation, hair rendering, sampling and variance reduction techniques, decided to pursue the evolution of the Arnold renderer indepen- as well as a description of our open source texturing and shading language components. We also discuss some ideas we once implemented but have dently from the commercially available product. This motivation since discarded to highlight the evolution of the software over the years. is twofold. The rst is simply pragmatic: software development in service of lm production must be responsive to tight deadlines CCS Concepts: • Computing methodologies → Ray tracing; (less the lm release date than internal deadlines determined by General Terms: Graphics, Systems, Rendering the production schedule).
    [Show full text]
  • Christy Marx
    Write Your Way Into Animation and Games Write Your Way Into Animation and Games Create a Writing Career in Animation and Games Christy Marx AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK © 2010 Elsevier, Inc. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, elec- tronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, fur- ther information about the Publisher’s permissions policies and our arrangements with organiza- tions such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions. This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein). Notices Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treat- ment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluat- ing and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility.
    [Show full text]
  • Columbia Pictures E Stage 6 Films Presentano Una Produzione Bron Studios / Right of Way in Associazione Con Creative Wealth Media
    Columbia Pictures e Stage 6 Films presentano una produzione Bron Studios / Right Of Way in associazione con Creative Wealth Media un film di Jason Reitman con Hugh Jackman Vera Farmiga J.K. Simmons Alfred Molina Basato sul romanzo “All the Truth Is Out: The Week Politics Went Tabloid” di Matt Bai Prodotto da Jason Reitman, pga, Helen Estabrook, pga, Aaron L. Gilbert, pga Produttori esecutivi Matt Bai, Jay Carson, Michael Beugg, Jason Blumenfeld, George Wolfe, Steven Thibault, Brenda Gilbert, David Gendron, Ali Jazayeri, Jason Cloth, Chris Conover, Edward Carpezzi Sceneggiatura di Matt Bai & Jay Carson & Jason Reitman Direttore della fotografia Eric Steelberg, asc Montaggio di Stefan Grube Costumi di Danny Glicker Musica di Rob Simonsen Scenografia di Steve Saklad Diretto da Jason Reitman Distribuito da Warner Bros. Entertainment Italia Durata del film: 113 minuti Uscita italiana: 21 febbraio 2019 Materiale stampa: share.sonycenter.it/b/lpJEw2ANwPiUNqcUhs8E Facebook: www.facebook.com/TheFrontRunnerIT YouTube: www.youtube.com/user/SonyPicturesIT Instagram: www.instagram.com/sonypicturesit/ #TheFrontRunnerIT Senior Publicity Manager consultant - Ufficio Stampa Film Cristiana Caimmi: [email protected] Publicity Manager Sony Pictures - Warner Bros. Entertainment Italia Antonio Viespoli: [email protected] THE FRONT RUNNER - IL VIZIO DEL POTERE NOTE DI PRODUZIONE Il candidato all’Oscar® Hugh Jackman protagonista del thriller drammatico The Front Runner – Il vizio del potere nel ruolo del carismatico politico Gary Hart. Il film, diretto dal regista candidato all’Oscar® Jason Reitman, segue l’ascesa e la caduta del senatore Hart, capace di catturare l’immaginazione dei giovani votanti e considerato il favorito tra i democratici alle elezioni del 1988.
    [Show full text]
  • Screendollars Newsletter 2021-04-26.Pdf
    Monday, April 26, 2021 | No. 165 One of the things moviegoers like most about going to theatres is seeing films on the Big Screen, "the way they were meant to be seen." What people don't realize is that when films started in the mid-1890s, there were neither screens nor projectors. The very short films of that era were meant to be seen individually by looking into peep show machines in arcades. Those Kinetoscope devices were one of many inventions from Thomas Edison's factory in West Orange, NJ. Since Edison was monetizing his Kinetoscopes quite well, he had no interest in developing a machine to project film images on walls. Others, however, saw a big future in showing films to groups of people. Peep show owners, in fact, were very vocal in pressing Edison to devise a Film projection to large audiences was much more way to show life size images on arcade walls. This led to the Vitascope profitable than viewing through individual kiosks, since projection system, developed by Washington, DC inventor Thomas Armat, fewer machines were needed in proportion to the but then marketed by Edison's organization as if it were his own invention. number of viewers - Click to Play The first public Vitascope screening took place April 23, 1896 at Koster & Biel's Music Hall, a vaudeville house in New York's Herald Square at 34th Street near Broadway, the site today of Macy's. It would have premiered three days earlier, but it took longer than expected to install the machinery. That first night audience was dazzled by film images projected on a 20 foot canvas screen set within a gilded frame.
    [Show full text]
  • Original Filed in Corporate Minute Book for Adelaide Productions, Inc
    ORIGINAL FILED IN CORPORATE MINUTE BOOK FOR ADELAIDE PRODUCTIONS, INC UNANIMOUS WRITTEN CONSENT OF THE BOARD OF DIRECTORS OF ADELAIDE PRODUCTIONS, INC. ALADDIN PROGRAMMING, INC. ARLINGTON PRODUCTIONS, INC. AVIATION HOLDINGS, INC. AVON GATE MUSIC, INC. BARHAM BLVD. MUSIC, INC. BIRDLAND PRODUCTIONS, INC. BURBANK PLAZA MUSIC, INC. CASTLE ROCK HOLDING, INC. CC TELECOMMUNICATIONS, INC. CC TELECOMMUNICATIONS PRODUCTIONS, INC. CC TELEVISION OPERATIONS, INC. CCT BARTER, INC. COL-STAR, INC. COLPAY GERMANY, INC. COLPAY U.K., INC. COLTEL SYNDICATION, INC. COLUMBIA FILM TRADING CORPORATION COLUMBIA FILMS OF SINGAPORE, LTD. COLUMBIA PICTURES HOME VIDEO, INC. COLUMBIA PICTURES INDUSTRIES, INC. COLUMBIA PICTURES OF CHILE, INC. COLUMBIA PICTURES OF ECUADOR, INC. COLUMBIA PICTURES OF PERU, INC. COLUMBIA PICTURES OF URUGUAY, INC. COLUMBIA PICTURES OF VENEZUELA, INC. COLUMBIA PICTURES OF WEST INDIES, INC. COLUMBIA PICTURES TELEVISION, INC. COLUMBIA PICTURES TELEVISION TRADING CORPORATION COLUMBIA TELEVISION GAME SHOWS, INC. COLUMBIA PICTURES TELEVISION TRADING CORPORATION OF VENEZUELA COLUMBIA TRISTAR FILMS (JAPAN) LTD. COLUMBIA TRISTAR FILMS OF ARGENTINA, INC. COLUMBIA TRISTAR FILMS OF BRASIL, INC. COLUMBIA TRISTAR FILMS OF CHINA, LTD. COLUMBIA TRISTAR FILMS OF COLOMBIA, INC. COLUMBIA TRISTAR FILMS OF HONG KONG, LTD. COLUMBIA TRISTAR FILMS OF INDIA, LTD. COLUMBIA TRISTAR FILMS OF THAILAND, LTD. COLUMBIA TRISTAR HOME VIDEO (INTERNATIONAL) INC. COLUMBIA TRISTAR INTERNATIONAL RELEASING CORPORATION CPE HOLDINGS, INC. CPE MUSIC, INC. CPT HOLDINGS, INC. CSGP, INC. D.S. (THAILAND) PRODUCTIONS, LIMITED DE-CONSENTS/145/93 D.S. FILMS, LTD. E.O.B. PRODUCTIONS, INC. ENTERTAINMENT BUSINESS SECTOR, INC. ENTRADA PRODUCTIONS, INC. FILM GEMS EXPORT CORPORATION GOLDCOL PRODUCTIONS, INC. HIGH PRODUCTIONS, INC. JC ENTERTAINMENT, INC. LTMA, INC. LTMB, INC. NEW TANDEM MUSIC, INC.
    [Show full text]
  • Q2 FY2019 Consolidated Financial Results
    Q2 FY2019 Consolidated Financial Results (Three months ended September 30, 2019) October 30, 2019 Sony Corporation Please be aware that, in the following remarks, statements made with respect to Sony‘s current plans, estimates, strategies and beliefs and other statements that are not historical facts are forward-looking statements about the future performance of Sony. These statements are based on management’s assumptions in light of the information currently available to it, and, therefore, you should not place undue reliance on them. Sony cautions you that a number of important factors could cause actual results to differ materially from those discussed in the forward-looking statements. For additional information as to risks and uncertainties, as well as other factors that could cause actual results to differ, please refer to today's press release, which can be accessed by visiting www.sony.net/IR. 1 Q2 FY2019 Consolidated Financial Results and FY2019 Consolidated Results Forecast Segments Outlook • Today I would like to explain two topics. 2 Q2 FY2019 Consolidated Results (Bln Yen) Q2 FY18 Q2 FY19 Change Sales & operating revenue 2,182.8 2,122.3 -60.5 bln yen (-3%) +39.4 bln yen Operating income 239.5 279.0 (+16%) bln yen Income before income taxes +15.7 246.4 262.1 (+6%) Net income attributable to Sony Corporation’s +14.9 bln yen stockholders 173.0 187.9 (+9%) Net income attributable to Sony Corporation’s stockholders per share of common stock (diluted) 133.43 yen 148.59 yen +15.16 yen Average rate 1 US dollar 111.5 yen 107.4 yen 1 Euro 129.7 yen 119.3 yen • FY19 Q2 consolidated sales decreased 3% compared to the previous fiscal year (“year-on-year”) to 2 trillion 122.3 billion yen, primarily due to the impact of exchange rates, and operating income increased 39.4 billion yen year-on- year to 279.0 billion yen.
    [Show full text]