Supply Chain Efficiency

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TECHNOLOGY & OPERATIONS COMMITTEE 2018-19 The Technology & Operations Committee is focused on creating efficiency and promoting collaboration across the physical and digital supply chains. The group provides leadership to the Digital Supply Chain Task Forces focused on developing, recommending and implementing both standards and best practices in the digital space. Co-Chairs Mark Sgriccia Vice President, Content Operations & Strategy Lionsgate Willie Gillespie Vice President, TV Distribution NBC Universal, Inc. Members Allison Martin Content Planning Manager - Digital Distribution BBC Studios Sarah Williams Digital Content Specialist, Operations BBC Studios Patrick Kilkelly SVP Partner Integration and Worldwide Home Entertainment HBO Home Entertainment Sandra Kim Director, WW Production HBO Home Entertainment Ryan C. Benson VP Digital Media Services Lionsgate Entertainment Carol Knorr Senior Vice President, Digital Media Services Lionsgate Entertainment Justin Poulsen Coordinator, Content Operations & Strategy Lionsgate Entertainment Craig Seidel Vice President Distribution Technology Movie Labs Kip Welch Vice President, Business Development Movie Labs Sarah Bryan Executive Director Worldwide Television and Digital Systems Paramount Home Media Distribution Edward Hoxsie Senior Vice President, Worldwide Product Production & Fulfillment Paramount Home Media Distribution Rebecca Carr VP, Operations PBS Distribution Amy Eggers Director of Production PBS Distribution Paul Charron Director, Product and Promotions Fox Enterprise Operations Brian Mori Executive Director Product & Promotion Management 20th Century Fox Home Entertainment Rosemarie Cordero International Sales & Administration Universal Pictures Home Entertainment Ben Getting Director Worldwide Product Fulfillment Universal Pictures Home Entertainment William Gillespie Vice President, TV Distribution Universal Pictures Home Entertainment Ronda Haralson Manager, Global Title Management Universal Pictures Home Entertainment Gina James Director, Archive Operations & Global Title Management Universal Pictures Home Entertainment Harvey Landy Director, Technology & Engineering Universal Pictures Home Entertainment Kenesha Luney Manager, Digital Operations Universal Pictures Home Entertainment Ruby Wong Vice President, Digital Product Solutions Universal Pictures Home Entertainment Erin Hughes Executive Director, Global Product Planning and Marketing Warner Bros. Home Entertainment Lara Lee Director, Global Product Planning Warner Bros. Home Entertainment Josh Perkins Director, Data Process & Quality Warner Bros. Home Entertainment Connie Shin Executive Director, Global Product Planning – Theatrical New Release & Film Franchises Warner Bros. Home Entertainment Jonathan Schminske Executive Director, Client Relations & Operations Strategy Warner Bros. Home Entertainment Lena Wasikowski Vice President, Global Client Services Warner Bros. Home Entertainment .

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GLAAD Media Institute Began to Track LGBTQ Characters Who Have a Disability
Studio Responsibility IndexDeadline 2021 STUDIO RESPONSIBILITY INDEX 2021 From the desk of the President & CEO, Sarah Kate Ellis In 2013, GLAAD created the Studio Responsibility Index theatrical release windows and studios are testing different (SRI) to track lesbian, gay, bisexual, transgender, and release models and patterns. queer (LGBTQ) inclusion in major studio films and to drive We know for sure the immense power of the theatrical acceptance and meaningful LGBTQ inclusion. To date, experience. Data proves that audiences crave the return we’ve seen and felt the great impact our TV research has to theaters for that communal experience after more than had and its continued impact, driving creators and industry a year of isolation. Nielsen reports that 63 percent of executives to do more and better. After several years of Americans say they are “very or somewhat” eager to go issuing this study, progress presented itself with the release to a movie theater as soon as possible within three months of outstanding movies like Love, Simon, Blockers, and of COVID restrictions being lifted. May polling from movie Rocketman hitting big screens in recent years, and we remain ticket company Fandango found that 96% of 4,000 users hopeful with the announcements of upcoming queer-inclusive surveyed plan to see “multiple movies” in theaters this movies originally set for theatrical distribution in 2020 and summer with 87% listing “going to the movies” as the top beyond. But no one could have predicted the impact of the slot in their summer plans. And, an April poll from Morning COVID-19 global pandemic, and the ways it would uniquely Consult/The Hollywood Reporter found that over 50 percent disrupt and halt the theatrical distribution business these past of respondents would likely purchase a film ticket within a sixteen months.
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2013 Movie Catalog © Warner Bros
1-800-876-5577 www.swank.com Swank Motion Pictures,Inc. Swank Motion 2013 Movie Catalog 2013 Movie © Warner Bros. © 2013 Disney © TriStar Pictures © Warner Bros. © NBC Universal © Columbia Pictures Industries, ©Inc. Summit Entertainment 2013 Movie Catalog Movie 2013 Inc. Pictures, Motion Swank 1-800-876-5577 www.swank.com MOVIES Swank Motion Pictures,Inc. Swank Motion 2013 Movie Catalog 2013 Movie © New Line Cinema © 2013 Disney © Columbia Pictures Industries, Inc. © Warner Bros. © 2013 Disney/Pixar © Summit Entertainment Promote Your movie event! Ask about FREE promotional materials to help make your next movie event a success! 2013 Movie Catalog 2013 Movie Catalog TABLE OF CONTENTS New Releases ......................................................... 1-34 Swank has rights to the largest collection of movies from the top Coming Soon .............................................................35 Hollywood & independent studios. Whether it’s blockbuster movies, All Time Favorites .............................................36-39 action and suspense, comedies or classic films,Swank has them all! Event Calendar .........................................................40 Sat., June 16th - 8:00pm Classics ...................................................................41-42 Disney 2012 © Date Night ........................................................... 43-44 TABLE TENT Sat., June 16th - 8:00pm TM & © Marvel & Subs 1-800-876-5577 | www.swank.com Environmental Films .............................................. 45 FLYER Faith-Based
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In the United States District Court for the Northern District of Alabama Southern Division
Case 6:09-cv-02258-JEO Document 15 Filed 11/02/10 Page 1 of 13 FILED 2010 Nov-02 AM 11:54 U.S. DISTRICT COURT N.D. OF ALABAMA IN THE UNITED STATES DISTRICT COURT FOR THE NORTHERN DISTRICT OF ALABAMA SOUTHERN DIVISION ERIC S. ESCH, a/k/a BUTTERBEAN ) ) Plaintiff, ) ) v. ) 6:09-cv-02258-JEO ) UNIVERSAL PICTURES COMPANY, INC; ) NBC UNIVERSAL, INC.; and ) ILLUMINATION ENTERTAINMENT ) ) Defendants. ) MEMORANDUM OPINION Before the court is the motion of defendants Universal Pictures Company, Inc. (“Universal”), NBC Universal, Inc. (“NBC”), and Illumination Entertainment (“Illumination”), to dismiss this action pursuant to Rule 12(b)(6) of the FEDERAL RULES OF CIVIL PROCEDURE, on the ground that the complaint fails to state a claim upon which relief can be granted. (Doc. 7).1 Additionally, before the court is the motion of the defendants to strike the affidavit of Corey L. Fischer offered in support of the plaintiff’s response to the motion to dismiss. (Doc. 11). The parties have been afforded an opportunity to brief the relevant issues. Upon consideration, and as fully discussed below, the court finds that the defendants’ motion to dismiss and motion to strike are due to be granted. BACKGROUND Procedural History The plaintiff, Eric S. Esch (“Esch”), filed a complaint in this court, premised on diversity 1References herein to “Doc. ___” are to the document numbers assigned by the Clerk of the Court and located at the top of each document. Case 6:09-cv-02258-JEO Document 15 Filed 11/02/10 Page 2 of 13 jurisdiction, against defendants Universal, NBC, and Illumination, alleging that the defendants appropriated his likeness without his consent for use in a film trailer for a movie entitled Despicable Me.
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CASE STUDY Illumination Entertainment, founded by Chris Meledandri in 2007, is one of the entertainment industry’s leading producers of all-audience event films. ILLUMINATION entertainment Illumination Entertainment Illumination Entertainment, CHALLENGE Sometimes, hardware settings on the system would be the founded by Chris Meledandri in With the enormous culprit, requiring a full machine 2007, is one of the entertainment success of the Despicable reboot for the reconfiguration industry’s leading producers Me franchise, Illumination to take place. of all-audience event films. In Entertainment outgrew July 2010, Illumination, which its editorial infrastructure The editors at Illumination has an exclusive financing and creating challenges in their Entertainment needed to set distribution partnership with studio workflow. Production up for dailies on their Avid Universal Pictures, released its increased, requiring additional systems prior to entering the first film, Despicable Me, starring edit bays and the ability for the review suite and then move editors to swap in and out of Steve Carell, which earned more into the review suite after the review suite for dailies. setup was complete. Each than $540 million worldwide system is comprised of an Avid and launched a beloved global In the past, an editor worked in system, with dual displays, a franchise. the review suite on a dedicated dual link playback monitor, a Avid system tied to a specific keyboard, a mouse, and audio edit bay. Editors working in output. other edit bays would come into the review suite, import When another editor occupied their settings and open their the review suite, the displaced projects on the Avid system editor would either have to tied to that review suite.
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INEQUALITY ACROSS 1,300 POPULAR FILMS: EXAMINING GENDER AND RACE/ETHNICITY OF LEADS/CO LEADS FROM 2007 TO 2019 Research Brief ANNENBERG INCLUSION INITIATIVE1 he goal of this research brief was to examine gender and race/ethnicity of leads/co leads in popular motion pictures. Our analysis Tinvolved the 1,300 top movies, focusing on the highest earning 100 films from 2007 through 2019.2 Every film was categorized in one of two ways, featuring a lead or co lead driving the action or as an ensemble storyline. Only those films featuring a lead/co lead are dis- cussed in this brief. Put differently, ensembles were excluded but will be represented in our longer report released in the summer. The sample for 2019 movies was pulled on January 29th 2020, as the domestic box office is still open for several films theatrically released last year. Clearly, this is the most comprehensive and up-to-date analysis of gender and race/ethnicity of leading/co leading characters in Hollywood films. In the section that follows, we present the trends for 2019 first followed by a comparison to 2018 and then 2007. Only differences of 5 percentage points or greater are noted as significant. This approach is taken in all of our reports to avoid making noise about trivial deviations (1-2%). Gender. A total of 43 of the 100 top movies of 2019 featured a female lead or co lead.3 This is a 13-year high, as shown in Infographic 1. 2019 was 4 percentage points higher than 2018 (39 films) and more than twice as high as 2007 (20 films).
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Lilms Perisllecl
Film History, Volume 9, pp. 5-22, 1997. Text copyrig ht © 1997 David Pierce. Design, etc. copyright© John libbey & Company. ISSN: 0892-2 160. Pri nted in Australia l'lle legion of file conclemnecl - wlly American silenf lilms perisllecl David Pierce f the approximately 1 0 ,000 feature print survives for most silent films, usually therewere films and countless short subjects re not many copies lo begin with . While newspapers leased in the United States before or magazines were printed and sold by the thou O 1928, only a small portion survive . sands, relatively few projection prints were re While so me classics existand are widelyavailable, quired for even the most popular silent films . In the many silent films survive only in reviews, stills, pos earliest days of the industry, producers sold prints, ters and the memories of the few remaining audi and measured success bythe number ofcopies sol d. ence members who saw them on their original By the feature period, beginning around 1914, release. 1 copies were leased lo subdistributors or rented lo Why did most silent films not survive the pas exhibitors, and the owners retained tight control. sage of time? The curren! widespread availability The distribution of silent features was based on a of many tilles on home video, and the popularity of staggered release system, with filmgoers paying silent film presentations with live orchestral accom more lo see a film early in its run. Films opened in paniment might give the impression that silent films downtown theatres, moved lo neighbourhood had always been held in such high regard .
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Universal Pictures: 65 Years"
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LIONS GATE ENTERTAINMENT CORP. (Exact Name of Registrant As Specified in Its Charter)
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