British Columbia Film Commission Production Statistics 2007 2007 Shot in Bc Totals

Total Page:16

File Type:pdf, Size:1020Kb

British Columbia Film Commission Production Statistics 2007 2007 Shot in Bc Totals BRITISH COLUMBIA FILM COMMISSION PRODUCTION STATISTICS 2007 2007 SHOT IN BC TOTALS TOTAL PRODUCTIONS # % Total Budget Overall Total Spent In BC % Features/DVD Features 47 24% $ 428,322,558 $ 260,784,365 28% TV Series 42 21% $ 622,559,767 $ 435,120,166 46% Movies of the Week 43 22% $ 104,126,297 $ 92,401,686 10% TV Pilots 7 3% $ 23,626,584 $ 16,357,584 2% Mini Series 3 1% $ 50,704,493 $ 35,057,893 3% Documentaries 32 16% $ 18,706,755 $ 14,707,472 2% Short Films 9 4% $ 245,500 $ 245,500 0% Animation 19 9% $ 118,639,789 $ 88,673,149 9% Total 202 100% $ 1,366,931,743 $ 943,347,815 100% DOMESTIC PRODUCTIONS # % Total Budget Overall Total Spent In BC % Features/DVD Features 24 17% $ 84,509,508 $ 81,609,894 20% TV Series 24 17% $ 168,041,039 $ 157,641,573 39% Movies of the Week 36 26% $ 83,378,067 $ 74,445,538 18% TV Pilots 1 1% $ 769,584 $ 764,584 0% Mini Series 2 1% $ 34,386,993 $ 24,357,893 6% Documentaries 32 23% $ 18,706,755 $ 14,707,472 4% Short Films 9 7% $ 245,500 $ 245,500 0% Animation 10 8% $ 70,036,361 $ 53,932,027 13% 138 100% $ 460,073,807 $ 407,704,481 100% FOREIGN PRODUCTIONS # % Total Budget Overall Total Spent In BC % Features/DVD Features 23 36% $ 343,813,050 $ 179,174,471 33% TV Series 18 28% $ 454,518,728 $ 277,478,593 52% Movies of the Week 7 11% $ 20,748,230 $ 17,956,148 3% TV Pilots 6 9% $ 22,857,000 $ 15,593,000 3% Mini Series 1 2% $ 16,317,500 $ 10,700,000 2% Documentaries 0 0% $ 0 $ 0 0% Short Films 0 0% $ 0 $ 0 0% Animation 9 14% $ 48,603,428 $ 34,741,122 7% 64 100.00% $ 906,857,936 $ 535,643,334 100% FACTSHEET BRITISH COLUMBIA FILM AND TELEVISION PRODUCTION 2003-2007 2007 2006 2005 2004 2003 Year end Dec 31 Year end Dec 31 Year end Dec 31 Year end Dec 31 Year end Dec 31 Number Production Number Production Number Production Number Production Number Production of $ Spent in of $ Spent in of $ Spent in of $ Spent in of $ Spent in Projects BC Projects BC Projects BC Projects BC Projects BC production $ = millions of dollars Domestic Features/ DVD Features 24 81.61 18 49.7 24 43.1 30 49.75 22 41.65 Television Series 24 157.64 14 55.78 18 88.93 15 100.34 22 89.45 Television Movies, Mini- Series, Pilots, Documentaries, & Other 80 114.52 100 135.15 65 57.14 65 48.84 54 29.22 Animation 10 53.93 12 37.19 11 35.61 6 14.95 2 8.47 Total Domestic 138 407.7 144 277.82 118 224.78 116 213.88 100 168.79 Foreign Features/ DVD Features 23 179.17 35 424.68 39 580.28 16 191.56 25 821.58 Television Series 18 277.48 25 432.78 13 298.1 21 235.75 15 308.86 Television Movies, Mini- Series, Pilots, Documentaries & Other 14 44.25 20 51.41 28 80.69 31 137.52 25 91.62 Animation 9 34.74 6 41.18 13 49.82 10 22.49 4 13.71 Total Foreign 64 535.64 86 950.05 93 1008.89 78 587.32 69 1235.76 TOTAL 202 943.34 230 1227.87 211 1233.67 194 801.2 169 1404.55 Shot in British Columbia Production Numbers & Values 1992-2007 1600 250 230 $1,405 1400 211 205 202 200 198 197 $1,234 $1,228 192 194 1200 $1,180 $1,108 $1,070 169 171 169 $994 1000 $943 150 s n o i t c u d t $808 o n $801 r e P p 800 f S o $ r e b m $631 u 102 N 100 600 95 $537 85 73 $433 $402 400 61 $286 50 $211 200 0 0 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 Productions Dollars Spent in BC Number of Productions made in BC Production Spend 1992-2007 1600 1404.55 1400 1233.381227.87 1180.37 1200 1108.48 1069.87 993.58 1000 943.34 t n 807.99 801.2 e p 800 S $ 630.58 600 537.26 432.81 401.97 400 285.97 211.22 200 0 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 Year Canadian vs Foreign Spend $ Millions Canadian 1992-2007 1400 1235.76 1200 Canadian Foreign 1006.9 1000 950.05 856.83 830.02 800 760.97 $ 587.32 600 564.09 535.64 444.79 424.53 405.78 419.39 407.7 400 361.84 363.2 318.51 297.53 277.82 251.64 206.06 213.88 224.78 188.1 175.06 168.79 200 145.29 163.56 97.87 104.44 114.3 65.93 0 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 Year Shot In British Columbia Number of Features 1992 to 2007 70 60 50 s e 39 r 22 29 u t a 40 e 16 F 23 35 f 25 o Foreign r e 30 15 b 14 22 Canadian m 15 u 15 N 11 10 20 11 32 30 27 8 24 24 21 22 22 10 19 18 18 15 17 16 17 8 0 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 Year Shot In British Columbia Number of TV Series 1992 to 2007 45 40 35 18 30 15 s 19 e i r 25 e 21 21 S 10 25 13 V T f 9 o Foreign r e 20 b Canadian m u N 9 15 12 11 8 24 8 22 20 10 4 19 18 6 17 15 15 14 11 5 7 7 7 8 7 5 0 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 Year Shot in British Columbia Number of TV Movies, Pilots, Mini-Series 1992-2007 80 70 20 60 s n o i Foreign t c u 50 Canadian d 14 o r P 28 f o 40 r e 50 27 b 42 m 37 u 30 44 28 37 N 56 27 35 27 28 20 28 25 39 29 10 21 15 11 11 10 11 12 11 6 8 7 8 8 0 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 Year Shot in British Columbia Number of Docs, Shorts, Animation 1992-2007 100 90 5 80 70 s n o i t 0 c 60 0 3 6 u 14 d 9 13 o r 4 P 50 0 f Foreign o r 1 86 e Canadian b 40 m u N 61 30 Please Note Documentaries/Shorts 59 57 56 & Other Projects Were Not Tracked 51 48 48 50 47 By The BC Film Commission as part 20 41 of the Yearly Statistics Package Before 1997 10 0 0 0 0 0 0 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 Year Production Name Type Domestic vs. Foreign Studio ALL TERRAIN BRAIN SEASON 1 ANIMATION USA Global Mechanic ATOMIC BETTY 3 ANIMATION CO-PRO Atomic Cartoons/Breakthrough Films (w/France) BARBIE: ISLAND PRINCESS ANIMATION USA Rainmaker BEING IAN SEASON 4 ANIMATION CDN Studio B Productions CAPTAIN FLAMINGO - SEASON 3 ANIMATION CO-PRO Atomic Cartoons/Breakthrough Films (w/Phillipines) CHAOTIC ANIMATION USA Bardel Entertainment CLASS OF THE TITANS 2 ANIMATION CDN Studio B Productions EDGAR & ELLEN SEASON 2 ANIMATION USA Bardel Entertainment EDGAR & ELLEN SPECIALS ANIMATION USA Bardel Entertainment GEORGE OF THE JUNGLE ANIMATION CO-PRO Studio B Prods/Classic Media/Nickelodeon (UK) MONSTORIES SEASON 2 ANIMATION CDN Monstories Season 2 Enterprises PUCCA II, SEASON 2 ANIMATION USA Studio B Productions RICKY SPROCKET ANIMATION CDN Studio B Productions SKUNK FU! SEASON 1 ANIMATION USA Cartoon Saloon SPACE CHIMPS ANIMATION USA Vanguard Animation STORM HAWKS ANIMATION CDN Nerd Corps Entertainment VIVA PINATA ANIMATION USA Bardel Entertainment ZIXX: LEVEL III ANIMATION CDN Zixx III Productions/YTV ANOTHER CINDERELLA STORY DIGITAL FEATURE USA Warner Premier ARK OF TRUTH, THE DIGITAL FEATURE USA MGM/Sony Pictures CAPTIVE DIGITAL FEATURE USA MGM/Sony Pictures CENTER STAGE 2 DIGITAL FEATURE USA Columbia Tristar DR. DOLITTLE: GOIN HOLLYWOOD DIGITAL FEATURE USA 20th Century Fox Home Entertainment DR. DOOLITTLE 4: FIRST DOG DIGITAL FEATURE USA 20th Century Fox Home Entertainment HIGHER FORM OF LEARNING DIGITAL FEATURE CDN Insight Film Studios JOYRIDE 2: END OF THE ROAD DIGITAL FEATURE USA 20th Century Home Entertainment LOST BOYS 2: THE TRIBE DIGITAL FEATURE USA Warner Premier SAFETY GLASS DIGITAL FEATURE CDN Nasser Entertainment Group SANCTUARY DIGITAL FEATURE CDN Stage 3 Media SMILE OF APRIL DIGITAL FEATURE CDN Broken Artists Pictures STARGATE SG-1 CONTINUUM DIGITAL FEATURE USA MGM Studios Production Name Type Domestic vs. Foreign Studio APRES LE GENOCIDE DOCUMENTARY CDN Red Letter Films ART OF OBSERVATION DOCUMENTARY CDN Asterisk Productions BLOWDOWN DOCUMENTARY CDN Parallax Film Productions BRANDED: SAVING OUR TOWN DOCUMENTARY CDN Mars Entertainment CHASING A DREAM DOCUMENTARY CDN Spohr Films CHIEFS AND CHAMPIONS SEASON II DOCUMENTARY CDN Big Red Barn Entertainment CLOSER TO HOME SEASON 1 DOCUMENTARY CDN Real World Media CONFESSIONS OF AN INNOCENT MAN: THE WILLIAM SAMPSON STORY DOCUMENTARY CDN Paperny Films DEATH IN THE FOREST DOCUMENTARY CDN Dilemma Productions DEFYING GRAVITY DOCUMENTARY CDN Gold Star Productions DOWN HERE DOCUMENTARY CDN Shore Films Inc FATHERHOOD DREAMS DOCUMENTARY CDN Fatherhood Dreams Productions FOR FUN AND PROFIT DOCUMENTARY CDN DocTV Productions GLUTTON FOR PUNISHMENT DOCUMENTARY CDN Paperny Films HIJACKED FUTURE DOCUMENTARY CDN 0790519 BC Ltd.
Recommended publications
  • Abandoning the Girl Show Ghetto: Introducing and Incorporating Care Ethics to Girls' Animation
    AN ABSTRACT OF THE THESIS OF Adam C. Hughes for the degree of Master of Arts in Applied Ethics presented on July 15, 2013 Title: Abandoning the Girl's Show Ghetto: Introducing and Incorporating Care Ethics to Girls' Animation Abstract approved: Flora L. Leibowitz In regards to animation created and aimed at them, girls are largely underserved and underrepresented. This underrepresentation leads to decreased socio-cultural capital in adulthood and a feeling of sacrificed childhood. Although there is a common consensus in entertainment toward girls as a potentially deficient audience, philosophy and applied ethics open up routes for an alternative explanation of why cartoons directed at young girls might not succeed. These alternative explanations are fueled by an ethical contract wherein producers and content creators respect and understand their audience in return for the privilege of entertaining. ©Copyright by Adam C. Hughes July 15, 2013 All Rights Reserved Abandoning the Girl Show Ghetto: Introducing and Incorporating Care Ethics to Girls' Animation by Adam C. Hughes A THESIS submitted to Oregon State University in partial fulfillment of the requirements for the degree of Master of Arts Presented July 15, 2013 Commencement June 2014 Master of Arts thesis of Adam C. Hughes presented on July 15, 2013 APPROVED: Major Professor, representing Applied Ethics Director of the School of History, Philosophy, and Religion Dean of the Graduate School I understand that my thesis will become part of the permanent collection of Oregon State University libraries. My signature below authorizes the release of my thesis to any reader upon request. Adam C. Hughes, Author ACKNOWLEDGEMENTS This author expresses sincere respect for all animators and entertainers who strive to create a better profession for themselves and their audiences.
    [Show full text]
  • HA10 HA18 Bonne Sortie Du HLK Spectacle Kidsport
    1976 - 2007 Le Nord LeLVol. 31 e No 43 HearstNordN On ~ Le mercredio 10r janvierd 2007 1,25$ + T.P.S. À érieur Entente Columbia ................HA03 Recrutement ................HA10 Les Élans au Sault ................HA19 Pensée de la semaine Félicitations ! En opposant la Kreison Wabano est notre pre- haine on ne mier bébé de l’année! Kreison fait que la est né par césarienne le 3 janvier 2007 à 21 h 30 à l’Hôpital répandre, en Sensenbrenner de Kapuskasing. surface Il pesait 7 livres et 2 onces à la naissance. Il est le fils de Tim comme en Wabano et Tina Bluff de Constance Lake. Photo profondeur. disponible au journal Le Nord/CP Ghandi Spectacle Kidsport Bonne sortie du HLK HA10 HA18 Mercredi Jeudi Vendredi Samedi Dimanche Lundi Ensoleillé avec Généralement passages nuageux Faible neige Ciel variable Plutôt nuageux Ciel variable Max 2 Min -12 Max -11 Min -19 ensoleillé Max 10 Max -20 Min -20 Max -13 PdP 80% PdP 20% Max -17 Min -23 PdP 10% PdP 0% PdP 60% PdP 20% Nouveau conseil municipal Mattice nomme ses représentants au sein des comités MATTICE (FB) – Le conseil d’administration de l’Association le comité local des citoyens de la représentant municipal sur le la région de Hearst. municipal de Mattice-Val Côté a de recyclage de Cochrane- Forêt de Kapuskasing. Il a aussi Comité de financement du La trésorière Manon Leclerc a nommé ses représentants sur Temiscamingue. M. Tanguay a été désigné représentant du con- Collège Boréal, campus de été désignée comme représen- divers comités ou organismes aussi été désigné maire-adjoint seil au sein du Conseil de Hearst.
    [Show full text]
  • Emotional and Linguistic Analysis of Dialogue from Animated Comedies: Homer, Hank, Peter and Kenny Speak
    Emotional and Linguistic Analysis of Dialogue from Animated Comedies: Homer, Hank, Peter and Kenny Speak. by Rose Ann Ko2inski Thesis presented as a partial requirement in the Master of Arts (M.A.) in Human Development School of Graduate Studies Laurentian University Sudbury, Ontario © Rose Ann Kozinski, 2009 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-57666-3 Our file Notre reference ISBN: 978-0-494-57666-3 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]
  • Eone Annual Report 2019
    2019 Annual Report and Accounts Unlocking the power & value of creativity We are focused on building the leading talent-driven, platform- agnostic entertainment company in the world. Through our deep creative relationships we are able to produce the highest quality content for the world’s markets. We are powered by global reach, scale and local market knowledge to generate maximum value for this content. Strategic Report SR Governance G Financial Statements FS Unlocking the Unlocking the value of originality power & value p.10 of creativity Unlocking the power of creativity p.12 Strategic report Governance 02 At a glance 66 Corporate governance 04 Chairman’s statement 68 Board of Directors 06 Chief Executive Officer’s review 70 Corporate governance report 10 Unlocking the power 78 Audit Committee report & value of creativity Unlocking the 86 Nomination Committee report value of direction 20 Market Review 90 Directors’ Remuneration report p.14 22 Business Model 118 Directors’ report: 24 Strategy additional information 26 Key performance indicators Financial statements Business review 122 Independent auditor’s report 28 Family & Brands 127 Consolidated financial statements 36 Film, Television & Music 131 Notes to the consolidated financial statements Unlocking the 46 Finance review power of storytelling 51 Principal risks and uncertainties Visit our website: entertainmentone.com p.16 58 Corporate responsibility Unlocking the value of talent p.18 entertainmentone.com 1 AT A GLANCE Performance highlights Strong growth in underlying EBITDA
    [Show full text]
  • 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]
  • Star Channels, May 26-June 1
    MAY 26 - JUNE 1, 2019 staradvertiser.com BRIDGING THE GAP The formula of the police procedural gets a spiritual new twist on The InBetween. The drama series follows Cassie Bedford (Harriet Dyer), who experiences uncontrollable visions of the future and the past and visits from spirits desperately seeking her help. To make use of her unique talents, she assists her father, Det. Tom Hackett (Paul Blackthorne), and his former FBI partner as they tackle complicated crimes. Premieres Wednesday, May 29 on NBC. WE EMPOWER YOUR VOICE, BY EMPOWERING YOU. Tell your story by learning how to shoot, edit and produce your own show. Start your video training today at olelo.org/training olelo.org ON THE COVER | THE INBETWEEN Crossing over Medium drama ‘The As for Dyer, she may be a new face to North first time channelling a cop character; he American audiences, but she has a long list of starred as Det. Kyle Craig in the “Training Day” InBetween’ premieres on NBC acting credits, including dramatic and comedic series inspired by the 2001 film of the same roles in her home country of Australia. She is name. By Sarah Passingham best known for portraying Patricia Saunders in Everything old really is new again. There was TV Media the hospital drama “Love Child” and April in the a heyday for psychic, clairvoyant and medium- cop comedy series “No Activity,” which was centred television in the mid-2000s, with he formula of the police procedural gets a adapted for North American audiences by CBS shows like “Medium” and “Ghost Whisperer,” spiritual new twist when “The InBetween” All Access in 2017.
    [Show full text]
  • Annual Report 2004Shaw Television Broadcast Fund Shaw Television Broadcast Fund
    Annual Report 2004Shaw Television Broadcast Fund Shaw Television Broadcast Fund 2004 Shaw Television Broadcast Fund 2004 was a milestone year at the Shaw Television Broadcast Fund, investing over $9.5 million in original Canadian children’s programming. We had a quantum leap in our funding Since 1998, the Fund has invested over enabling us to impact the children’s $35 million and supported 173 original television industry in a very big way productions. The Shaw Television Broadcast and we could not have done it without Fund is pleased to continue to finance the significant contributions from Shaw Canadian children’s television productions Communications, Star Choice Television based on their quality and innovation, Network and EastLink Cablesystems. As supported by a sound business plan. important and very key to our success this year, we welcomed two new contributors The success of this year is truly the start to Delta Cable Communications and Shaw something big for years to come. Pay Per View Ltd., a division of Shaw Cablesystems G.P. With the addition of our new contributors, we were able to increase our investments into the production of Canadian children’s and youth programming by 40% this year! 2004 Annual Report | 3 Investing in Canadian Children’s Television By Genre In Every Age Group Variety 6% Variety Magazine 3% Pre-School $2,707,500 Documentary 5% Primary (6-9) $452,800 Elementary (9-12) $4,397,950 Drama 86% Youth $1,218,650 Family $821,220 Across Canada British Columbia $397,200 Newfoundland $350,000 Nova Scotia $1,310,000
    [Show full text]
  • Klassics for Kids: the Reception of Antiquity in Children's
    Klassics for Kids: The Reception of Antiquity in Children’s Entertainment Many, if not most, of today’s children will not get their first exposure to the ancient world from an ancient source, or even from a myth compendium like the justly famous D’Aulaire’s Book of Greek Myths. Instead, they are more likely to meet people from Zeus to Caesar in their favorite picture book, Saturday morning cartoon, or PG rated movie. These sources are often what draws people to the Classics in the first place, and even more often provide the foundation of their understanding of the ancient world. Indeed, large numbers of students young and old are shocked to find that Ovid’s Hercules is not the same as the man they knew from Disney movies. Understanding antiquity’s status in the modern world therefore requires us to study the materials that craft the lens through which new generations will see it. This panel hopes to be a first step in that direction. Taking their cue from CAMWS’ recent thought provoking special panels on Classical Reception in Westerns, Sword and Sandal films, and other media, this panel will approach Greece and Rome’s role in children’s entertainment from both scholarly and pedagogical perspectives. The nature and significance of divergences from ancient sources will be discussed, as will strategies to maximize the benefits children’s television, books and films provide to the classroom while minimizing the potential problems they can cause. While this panel will be focused on children’s entertainment generally, the multiform nature of this entertainment provides a vantage point by which to combine multiple genres of reception analysis into a single panel.
    [Show full text]
  • A Decade of Deceit How TV Content Ratings Have Failed Families EXECUTIVE SUMMARY Major Findings
    A Decade of Deceit How TV Content Ratings Have Failed Families EXECUTIVE SUMMARY Major Findings: In its recent report to Congress on the accuracy of • Programs rated TV-PG contained on average the TV ratings and effectiveness of oversight, the 28% more violence and 43.5% more Federal Communications Commission noted that the profanity in 2017-18 than in 2007-08. system has not changed in over 20 years. • Profanity on PG-rated shows included suck/ Indeed, it has not, but content has, and the TV blow, screw, hell/damn, ass/asshole, bitch, ratings fail to reflect “content creep,” (that is, an bastard, piss, bleeped s—t, bleeped f—k. increase in offensive content in programs with The 2017-18 season added “dick” and “prick” a given rating as compared to similarly-rated to the PG-rated lexicon. programs a decade or more ago). Networks are packing substantially more profanity and violence into youth-rated shows than they did a decade ago; • Violence on PG-rated shows included use but that increase in adult-themed content has not of guns and bladed weapons, depictions affected the age-based ratings the networks apply. of fighting, blood and death and scenes We found that on shows rated TV-PG, there was a of decapitation or dismemberment; The 28% increase in violence; and a 44% increase in only form of violence unique to TV-14 rated profanity over a ten-year period. There was also a programming was depictions of torture. more than twice as much violence on shows rated TV-14 in the 2017-18 television season than in the • Programs rated TV-14 contained on average 2007-08 season, both in per-episode averages and 84% more violence per episode in 2017-18 in absolute terms.
    [Show full text]
  • The 12Th Annual Jerusalem Pitch Point
    The 12th Annual Jerusalem Pitch Point 01. pitchpoint past projects Saving Neta Youth Fill the Void Tikkun In Between Scaffolding That Lovely Girl Zero Motivation Policeman .02 03. SCHEDULE INDUSTRY DAYS EVENTS 2017 SUNDAY, JULY 16th reading of a trade publication from the recent Marché du Film in Cannes, and the large variety of advertising contained within. 10:00-12:15 Are there absolute rules to be followed or mistakes to be avoided? How does one stand out from Pitch Point Production Competition the crowd? How can design allow a project to reach or create an audience without betraying Open to the general public its artistic spirit and creative integrity? Theater 4, Jerusalem Cinematheque 16:00-17:30 13:00-18:45 Based on a True Story – A Documentary Panel Industry Panels Finding a new subject for a documentary film can be very exciting. But after the precious Open to the general public story is found, how do you tell it? Sinai Abt (Kan - Israeli Public Broadcasting Corporation), Theater 4, Jerusalem Cinematheque Joëlle Alexis (Film Editor), Osnat Trabelsi (Israeli Documentary Filmmakers Forum) and Maya Zinshtein (Forever Pure) discuss the ups and downs of “writing” reality, from the blank page to the editing bay. Moderated by Osnat Trabelsi 13:00-14:30 One Film, Many Platforms - A Distribution Panel 17:45-18:45 The “Digital Revolution” has had an effect on every aspect of our lives, including our industry. Jerusalem Through the Director’s Viewfinder - The Quarters Panel Alongside groundbreaking advances in filmmaking, film distribution is in the midst of a digital Four acclaimed international directors – Todd Solondz (Happiness), Anna Muylaert (The Second transformation.
    [Show full text]
  • Summer 2019 Vol.21, No.3 Screenwriter Film | Television | Radio | Digital Media
    CANADIAN CANADA $7 SUMMER 2019 VOL.21, NO.3 SCREENWRITER FILM | TELEVISION | RADIO | DIGITAL MEDIA A Rock Star in the Writers’ Room: Bringing Jann Arden to the small screen Crafting Canadian Horror Stories — and why we’re so good at it Celebrating the 23rd annual WGC Screenwriting Awards Emily Andras How she turned PM40011669 Wynonna Earp into a fan phenomenon Congratulations to Emily Andras of SPACE’s Wynonna Earp, Sarah Dodd of CTV’s Cardinal, and all of the other 2019 WGC Screenwriting Award winners. Proud to support Canada’s creative community. CANADIAN SCREENWRITER The journal of the Writers Guild of Canada Vol. 21 No. 3 Summer 2019 ISSN 1481-6253 Publication Mail Agreement Number 400-11669 Publisher Maureen Parker Editor Tom Villemaire [email protected] Contents Director of Communications Lana Castleman Cover Editorial Advisory Board There’s #NoChill When it Comes Michael Amo to Emily Andras’s Wynonna Earp 6 Michael MacLennan How 2019’s WGC Showrunner Award winner Emily Susin Nielsen Andras and her room built a fan and social media Simon Racioppa phenomenon — and why they’re itching to get back in Rachel Langer the saddle for Wynonna’s fourth season. President Dennis Heaton (Pacific) By Li Robbins Councillors Michael Amo (Atlantic) Features Mark Ellis (Central) What Would Jann Do? 12 Marsha Greene (Central) That’s exactly the question co-creators Leah Gauthier Alex Levine (Central) and Jennica Harper asked when it came time to craft a Anne-Marie Perrotta (Quebec) heightened (and hilarious) fictional version of Canadian Andrew Wreggitt (Western) icon Jann Arden’s life for the small screen.
    [Show full text]
  • Andrea Kinsky
    Andrea Kinsky Height: 5’6 Skills and Experience Andrea Kinsky Rick Seaman Driving Clinic Seat Time Weight: 110 lbs Motorcycle Rider 310-962-8573 US Powerboat Certification Hair: Blonde MMA Fight Training Fighting for Film [email protected] SAG/ AFTRA Eyes: Blue Ground Pounder Rhythmic Gymnastics Ballet Dancing Size: 0-2, S Marathon runner, cyclist Acting For Film On-Camera Scene Study Television Stunt Coordinator Westworld Stunt Cyclist Doug Coleman The Haunting Stunt double-Mena Suvari Nils Allen Stewart The OA Stunt double-Brit Marling Wade Allen The Mick Stunt double-Tricia O’Kelley Jeremy Fitzgerald Lifeline Stunt Actor-Reagan Nils Allen Stewart Idiotsitter Stunt double-Charlotte Newhouse Danny Wayne Notorious Stunt double-Piper Perabo Phil Culotta Fear of the Walking Dead Stunt Zombie Mark Norby Hawaii Five-0 Stunt double-Sarah Carter Jeff Cadiente NCIS Stunt double-Emily Wickersham Diamond Farnsworth Supernatural Stunt Angel Lou Bollo Once: Wonderland Stunt double-Emma Rigby Gaston Morrison Red Widow Stunt double-Erin Moriarty Danny Virtue Once Upon a Time Stunt double-Jennifer Morrison Gaston Morrison Smallville Stunt Burglar Jacob Rupp Psych Stunt double-Mena Suvari Dan Shea Supernatural Stunt Ballerina Lou Bollo Confined Stunt double-Emma Caulfield Rob Hayter Psych Stunt Jogger Dan Shea Supernatural Stunt double-Paris Hilton Lou Bollo The Guard Stunt Canoer Dan Redford Smallville Stunt double-Laura Vandervoort Jacob Rupp Aliens in America Stunt Wife Rob Wilton Bionic Women Stunt Diner Patron Dean Choe Supernatural Stunt
    [Show full text]