1 Skydance Media Acquires Global Live Action Rights to “Sword Art
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IMAX China Holdings Soft Momentum After Avengers
14 June 2018 Hong Kong EQUITIES IMAX China Holdings 1970 HK Neutral Soft momentum after Avengers Price (at 06:39, 13 Jun 2018 GMT) HK$27.60 Valuation HK$ 26.00-29.00 Key points - PER Downgrade to Neutral with TP lowered to HK$27.77 12-month target HK$ 27.77 We expect IMAX China’s BO growth to slow down after Avengers with its Upside/Downside % +0.6 network expansion peaking 12-month TSR % +1.8 We expect earnings to drop by 4% YoY in 2H18, with a 4% 18-20E CAGR Volatility Index High GICS sector Media Market cap HK$m 9,903 Event Market cap US$m 1,246 Downgrade to Neutral. IMAX China’s share price has rallied by 45% from the Free float % 32 trough earlier this year (vs +4% for HSI), on the good box office (BO) 30-day avg turnover US$m 5.1 performance of Avengers and strong 1Q. However, we expect the earnings Number shares on issue m 358.8 growth momentum going forward to inevitably slow down on the expected soft film slate and more importantly, the peaking of network installations. We expect Investment fundamentals its earnings to decline by 4% YoY in 2H18, after a +36% YoY in 1H18E, with a Year end 31 Dec 2017A 2018E 2019E 2020E Revenue m 126.5 138.6 146.9 150.7 4% 18-20E earnings CAGR. Downgrade to Neutral from Outperform. EBIT m 57.3 65.1 68.7 70.4 EBIT growth % 20.7 13.5 5.6 2.4 Impact Reported profit m 43.7 49.0 51.8 53.1 Softer momentum after Avengers. -
Print Pageааclose Window Press Release IMAX CORPORATION
Print Page Close Window Press Release IMAX CORPORATION REPORTS SECOND QUARTER 2015 FINANCIAL RESULTS HIGHLIGHTS Record box office of $343 million in Q2 2015 results in over a half a billion of IMAX global box office generated in the first half of the year Stellar global per screen average of $415 thousand in Q2 2015, driven by a 41% increase in domestic and 33% increase in international per screen averages compared to Q2 2014 Company increases annual installation guidance to 120 new theatres after another above target quarter of 35 new commercial installations in Q2 2015 $107.2 million of revenues in Q2, IMAX's highest revenue generating quarter ever, was up 35% from same period last year, driving adjusted EPS of $0.40, 60% growth over Q2 2014 NEW YORK, July 23, 2015 /PRNewswire/ IMAX Corporation (NYSE: IMAX) today reported second quarter 2015 revenues of $107.2 million, adjusted EBITDA as calculated in accordance with the Company's credit facility of $50.4 million, adjusted net income after noncontrolling interest of $28.7 million, or $0.40 per diluted share, and reported net income after noncontrolling interest of $24.4 million, or $0.34 per diluted share. The Company also reported a very strong second quarter global per screen average of $414,600. "The second quarter of 2015 was one of the strongest in IMAX's history, delivering our highest revenue ever, growing adjusted EPS by 60% compared to the same period last year, record box office and quarterly per screen averages that we have not seen since Avatar in 2010," stated IMAX CEO Richard L. -
Celebrating 10 Years! COMIC-CON 2017 the GUIDE
¢ No.9 50 JULY SAN DIEGO SAN DIEGO 2017 COMIC-CON COMIC-CON 48-page anniversary edition! SURVIVAL GUIDE THEGUIDE Celebrating 10 years! COMIC-CON 2017 THE GUIDE TABLE OF CONTENTS Introduction ........................................................................................3 Marvel Heroes ....................................................................................4 Superhero Showdown .......................................................................8 Legends of DC .....................................................................................9 That Was a Comic Book? ................................................................10 Click Picks Comics ...........................................................................12 Heroes & Villains ..............................................................................14 You Know, For Kids! .........................................................................15 Comic-Con Exclusives .....................................................................17 Flights of Fantasy .............................................................................19 Level Up! ............................................................................................20 How to Speak Geek ..........................................................................21 In a Galaxy Far, Far Away ...............................................................26 The Final Frontier .............................................................................27 Invasion! ............................................................................................28 -
Ironwood Football Stadium Renamed After Late Football Coach, Mr. Esquivel
The Ironwood High School Glendale, Arizona Eagle’s Eye Volume 32 Issue 2 October 13, 2017 What’s inside? News Read about how minimum wage is affecting teens getting jobs on... Page 2 Feature Did you tune into Ironwood’s Homecoming? Sarah Saunders Furthermore, Ironwood’s clubs ber said, “It’s a lot of fun, but sought after Homecoming crowns Staff Reporter were tasked with representing kind of stressful putting it all to- were awarded to the deserving Crowns. Carnivals. Football. themselves in a creative way to gether.” Their work did not go un- Homecoming king and queen. It That is right, once again Home- show on display for appreciated. Each club and sport was now that the long awaited for Know what the recent fall play is coming has occurred and the an- As stated by Ironwood.com, was represented given credit. Homecoming dance would com- about on... nual event did not disappoint the Wednesday brought each club The festivities and must-do ac- mence the next night. Page 4 community and high-school stu- together for the Homecoming pa- tivities did not end in the morn- It was Saturday morning that dents of Ironwood. rade from 2:00 PM to 2:20 PM. ing. Once the sun went down, the Eagles Eye fulfilled their an- Entertainment From October The floats were a success, and Ironwood came to life on nual task of decorating second to Octo- thankfully not many incidents the football field. Students, for the Homecom- ber seventh, ensued. staff, and parents all came ing dance. the week However, Thursday was to the Varsity football game Their efforts was filled jampacked with prepara- to cheer on the Eagles. -
SKYDANCE TELEVISION FORMS EXCLUSIVE MULTI-YEAR OVERALL DEAL with ALISON SCHAPKER Schapker Will Serve As Showrunner for Altere
SKYDANCE TELEVISION FORMS EXCLUSIVE MULTI-YEAR OVERALL DEAL WITH ALISON SCHAPKER Schapker Will Serve as Showrunner for Altered Carbon and Develop and Produce Scripted Series for the Studio Santa Monica, CA – (May 23, 2019) – Skydance Television today announced that it has entered into an exclusive multi-year overall production agreement with writer-producer Alison Schapker (Scandal, Fringe). Under the deal, Schapker will serve as the showrunner and executive producer on Altered Carbon, currently in production on its second season on Netflix. Schapker will also develop and produce original scripted series for the studio. Schapker joined Altered Carbon as co-showrunner for season two alongside Laeta Kalogridis and takes over the reins of the series from Kalogridis, who will continue to serve as executive producer. Based on the classic science fiction novels by Richard K. Morgan, Altered Carbon is produced by Skydance Television. Along with Schapker and Kalogridis, James Middleton serves as executive producer with Skydance’s David Ellison, Dana Goldberg and Marcy Ross. The second season stars Anthony Mackie, Renée Elise Goldsberry, Simone Missick, Chris Conner, Dina Shihabi, Torben Liebrecht and James Saito. “Alison is an outstanding storyteller and first-class executive producer and showrunner. We are incredibly proud of the work she’s done on the second season of Altered Carbon and are beyond thrilled at the opportunity to continue collaborating with her,” said Marcy Ross, President, Skydance Television. “I’m excited to expand my relationship with the team at Skydance and to partner with a studio that’s making some of the most compelling television today,” said Schapker. -
DINESH KUMAR BISHNOI Mobile No: +91 9892136994 [email protected] Linkedin.Com/In/Dinesh3007
DINESH KUMAR BISHNOI Mobile No: +91 9892136994 [email protected] linkedin.com/in/dinesh3007 https://www.imdb.com/name/nm4402352/ Currently working on a Department Supervisor(Assistant HOD) position in Matchmove, Double Negative, Mumbai, India. I began my career studying VFX specialization at Bangalore Takshaa academe of the artist, in 2005. I managed to finish the course just as the industry began to collapse in 2009. Like many Visual effect artists at that time, I made the switch to camera tracking working for Hollywood Movies and commercials. One of the initial movies I worked on was X-Men Origins: Wolverine (2009). Later on, I have joined MPC in 2010 as a Junior matchmove artist and from there onwards I have moved to Prime focus and then Dneg. EXPERIENCE APR 2017 – PRESENT MATCMOVE DEPT. SUPERVISOR(ASSISTANT HOD), DNEG (Formerly known as Assistant Head of Camera) (Formerly Overall Department Supervisor) What I do So in a nutshell I'm here to make the working life of a Double negative camera track as efficient as possible. My job is to make sure that the pipeline is as camera-track-friendly as possible. My role is to liaise with the camera track and body track, Camera Supervisors, Discipline Supervisors, Production and Production Technology to improve what doesn't work for us in the pipe, suggest better methods to improve workflow and consult on the development and completion of those improvements. On a Show level and a SITE level, my aim is to make sure camera track artist and sups spend their time delivering work on time with good quality, Also my job is to bridge the communication gap between the client's vision and the camera track team. -
Chronologically Nonlinear Techniques in Traditional Media and Games
Chronologically Nonlinear Techniques in Traditional Media and Games Gail Carmichael David Mould School of Computer Science School of Computer Science Carleton University Carleton University Ottawa, Canada Ottawa, Canada [email protected] [email protected] ABSTRACT known? Fortunately, being able to control the story is less Although stories in games have become more sophisticated important to most players than experiencing traditional in- over time, their use of nonlinear techniques has not yet be- teractive gameplay. Therefore, as long as compelling game- come as prevalent as in traditional media like novels and play is maintained, chronologically nonlinear techniques can films. Writers have largely excluded nonlinear techniques be successfully used in games. from their toolbox, possibly because of fears of introducing Through observations of how and why flashbacks, rewinds, inconsistencies when player actions alter past events. How- framing devices, memory issues, and episodic storytelling are ever, as we show through a survey of common nonlinear used in both traditional media and in modern videogames, techniques seen in television, novels, and film, games can we will show that gameplay agency is compatible with chrono- and have avoided these inconsistencies while maintaining logically nonlinear storytelling. We conclude by discussing gameplay agency. Many players prefer a high quality static potential uses of nonlinear storytelling in games that incor- story incorporated into strong gameplay, making the insight porate story agency as well as gameplay agency. from this discussion immediately useful in designing nonlin- 1.1 Definitions ear game stories. We also discuss some ways in which non- linear techniques can offer both gameplay and story agency, In the following, we refer to chronologically nonlinear sto- hopefully bringing the quality of game stories one step closer ries – that is, stories that depict events out of chronological to their traditional counterparts. -
Massive Movie Waves and the Anthropic Ocean
SSI0010.1177/0539018418783073Social Science InformationHelmreich 783073research-article2018 Special Issue Social Science Information 2018, Vol. 57(3) 494-521 1 –28 Massive movie waves and © The Author(s) 2018 Reprints and permissions: the anthropic ocean sagepub.co.uk/journalsPermissions.nav https://doi.org/10.1177/0539018418783073DOI: 10.1177/0539018418783073 journals.sagepub.com/home/ssi Stefan Helmreich Massachusetts Institute of Technology, USA Abstract This article examines representations of ocean waves in disaster and science fiction movies, reading these for what they can indicate about shifting ideological accounts of human–ocean relations. I track the technical conjuring of such on-screen waves – made using everything from scale model wave tanks to computer-generated imagery (CGI) – and explicate how these enable waves’ narrative purposes and effects. I argue that towering waves in film have operated as emblems of (a) the elemental power of cosmic, inhuman, arbitrary forces, (b) the return of the social-environmental repressed, and (c) the power and limits of cinematic media themselves. The most recent fantastical waves, rendered digitally, I suggest, now generate reflexive usages that underwrite either optimistic aesthetics of a nature crafted in partnership with humanity or ironic pessimism about human enterprise in the face of looming ecological disaster. Keywords Anthropocene, animation, disaster, film, waves Résumé Cet article examine les représentations des vagues océaniques dans les films catastrophes et de science-fiction, afin d’appréhender les changements idéologiques inhérents aux relations Homme–océan. J’examine les aspects techniques de ces ondes océaniques à l’écran – du modèle réduit de réservoir à vagues à l’imagerie générée par ordinateur (3D) – et analyse les effets narratifs de ces dites-vagues. -
Terminator Genisys – Pressbook Italiano
Terminator Genisys – pressbook italiano 1 Terminator Genisys – pressbook italiano PARAMOUNT PICTURES e SKYDANCE PRODUCTIONS Presentano Con ARNOLD SCHWARZENEGGER, JASON CLARKE, EMILIA CLARKE, JAI COURTNEY, J.K. SIMMONS MATTHEW SMITH, e BYUNG-HUN LEE. Regia di ALAN TAYLOR Sceneggiatura di LAETA KALOGRIDIS & PATRICK LUSSIER Prodotto da DAVID ELLISON e DANA GOLDBERG Produttori Esecutivi BILL CARRARO, LAETA KALOGRIDIS, PATRICK LUSIER, MEGAN ELLISON e ROBERT CORT Direttore della Fotografia KRAMER MORGENTHAU, ASC Uscita Italiana: 9 Luglio 2015 Durata del Film: 119 minuti Il materiale fotografico è disponibile sul sito www.upimedia.com http://www.terminatorgenisys.it/ twitter.com/universalpicsit Facebook: www.facebook.com/TerminatorGenisys.IT Ufficio Stampa Universal Pictures International Italy: Cristina Casati – [email protected] Marina Caprioli – [email protected] Simone Raineri – [email protected] 2 Terminator Genisys – pressbook italiano Note di Produzione Quando John Connor (Jason Clarke), leader della resistenza umana, spedisce indietro nel tempo nel 1984 il Sergente Kyle Reese (Jai Courtney) per proteggere Sarah Connor (Emilia Clarke) e salvaguardare il futuro, un evento inaspettato crea una frattura nella linea temporale. Così, il Sergente Reese si ritroverà in un passato nuovo e sconosciuto, in cui dovrà fronteggiare improbabili alleati, tra cui un nuovo terminator T-800, il Guardiano (Arnold Schwarzenegger), nuovi pericolosi nemici, ed una nuova missione inaspettata: Per ripristinare il futuro ... Paramount Pictures e Skydance Productions presentano "Terminator Genisys", con Arnold Schwarzenegger, Jason Clarke, Emilia Clarke, Jai Courtney, J.K. Simmons Matthew Smith, e Byung-hun Lee. "Terminator Genisys" è diretto da Alan Taylor, e scritto da Laeta Kalogridis e Patrick Lussier. E' prodotto da David Ellison e Dana Goldberg. -
Brandon Lambdin Producer/Upm
BRANDON LAMBDIN PRODUCER/UPM TELEVISION WESTWORLD (Season 2 & 3) HBO Prod: Jonathan Nolan, Lisa Joy, JJ Abrams, Dir: Various (1ST AD & Assoc. Producer) (2nd Unit – Eps: 201, 204, 208, 210) Athena Wickham THE LIBRARIANS TNT Television Prod: Dean Devlin, Marc Roskin, John Rogers Dir: Various (Season 3 & 4) (Producer/UPM) (Season 2) (1st AD) FEATURES REMINISCENCE Warner Bros. Pics Prod: Michael De Luca, Jonathan Nolan, Aaron Ryder Dir: Lisa Joy (1st AD) Lisa Joy X-MEN: DARK PHOENIX 20th Century Fox Prod: Stan Lee, Todd Hallowell, Josh McLaglen Dir: Simon Kinberg (1st AD – 2nd Unit) TRIPLE FRONTIER Netflix Prod: Alex Gartner, Thomas Hayslip, Anna Gerb Dir: J.C. Chandor (1st AD – Columbia Unit) THE PREDATOR (1st AD) 20th Century Fox Prod: John Davis, John Starke, Bill Bannerman, Dir: Shane Black (2nd Unit) Blondel Aidoo, Lawrence Gordon 2nd Unit Dir: Brian Smrz PROUD MARY (1st AD) Sony Screen Gems Prod: Glenn Gainor, Taraji P. Henson, Andrea Ajemian, Dir: Babak Najafi (2nd Unit & Add’l Photography) Mark Anthony Little, Paul Schiff, Tai Duncan BAD SAMARITAN (Exec. Producer/UPM) Electric Entertainment Prod: Marc Roskin, Carsten Lorenz, Rachel Olschan Dir: Dean Devlin BLADE RUNNER 2049 (1st AD) Alcon Entertainment Prod: Ridley Scott, Val Hill, Frank Giustra, Tim Gamble, Dir: Denis Villeneuve (Aerial Unit – Iceland & Spain) Bill Carraro, Yale Badik, Dana Belcastro, Ian McGloin GEOSTORM (1st AD) Warner Bros. Prod: Herb Gaines, Marc Roskin, Rachel Olschan, Dir: Dean Devlin (2nd Unit) Don Granger, Cliff Lanning, Dana Goldberg 2nd Unit Dir: Marc Roskin POINT BREAK (1st AD) Alcon Entertainment Prod: David Valdes, John McMurrick, Dan Mintz, Dir: Ericson Core (2nd Unit – Tahiti) Peter Abrams, Robert L. -
JEREMY WEBB Director
JEREMY WEBB Director 2020 SHADOW AND BONE 21 Laps Entertainment for Netflix 2 Episodes including season finale Executive Producers: Dan Cohen, Daegan Fryklind and Shelley Meals Starring: Ben Barnes, Danielle Galligan and Jessie Mei Lei 2019 THE UMBRELLA ACADEMY Universal Cable Productions/Dark Horse for Netflix 1 episode, Season finale Executive Producers: Steve Blackman, Scott Tuber Starring: Ellen Page, Robert Sheehan, Tom Hopper and Mary J Blige ALTERED CARBON Mythology Entertainment for Netflix 2 episodes Executive Producers: Laeta Kalogridis, Alison Schapker, David Ellison, Bradley J. Fischer Starring: Anthony Mackie, Lela Loren TREADSTONE Captivate Entertainment for Amazon Prime Video 1 episode, Season finale Executive Producers: Tim Kring, Dave Kalstein, Patrick Alison Starring: Jeremy Irvine, Tracy Ifeachor, Omar Metwally NOS4A2 AMC Productions / AMC 2 Episodes Executive Producers: Thomas Brady, Lauren Corrao, Joe Hill, Jami O’Brien Starring: Ashleigh Cummings, Zachary Quinto, Olafur Darri Olafsson 2018/19 MARVEL’S RUNAWAYS Marvel TV for Hulu 1 episode Executive Producers: Josh Schwartz, Stephanie Savage, Stan Lee, Warren Hsu Leonard, Quinton Peeples Starring: Rhenzy Feliz, Gregg Sulkin and Virginia Gardener 2018 THE SON AMC Productions / AMC 2 episodes Executive Producers: Kevin Murphy and Phillip Meyer, based on a novel by Phillip Meyer Starring: Pierce Brosnan and Henry Garrett THE UMBRELLA ACADEMY Universal Cable Productions/Dark Horse for Netflix 2 episodes Executive Producers: Steve Blackman, Scott Tuber Starring: Ellen -
0708 Dvd&Vhs
2007-2008 DVD VHS ACQUISITIONS RECORD # CALL # LOC TITLE IMPRINT ODATE RDATE UNE PO# Invoice Date Invoice No. Amount Paid PN 1997 C58985 A Civil action [videorecording] / Touchstone Pictures and Paramount Burbank, CA. : Touchtone pictures, o1207064 1999 dvd Pictures present a Wildwood Enterprises/Scott Rudin production. Touchtone Home Video, 1999. 01/24/08 02/01/08 LIB-74020 01/22/08 AMAZON-3222658 $12.49 A Life among whales [videorecording] / written, produced and directed by QL 737.C4 L5443 Bill Haney co-produced by Eric Grunebaum Uncommon Productions, o1217513 2005 dvd LLC. Oley, PA : Bullfrog Films, [2005] 04/30/08 05/16/08 LIB-74020 05/05/08 BULLFROG-49121 $232.00 A nos amours [videorecording]= to our loves / Les films du Livradois - PN 1997 A21667 Gaumont - FR3 présentent scénario, dialogue, Arlette Langmann, [Irvington, N.Y.] : Criterion o1215759 2006 dvd Maurice Pialat un film de Maurice Pialat. Collection, c2006. 04/23/08 05/21/08 LIB-2054 04/28/08 B&T-S25309850 $28.96 F 912.T85 A4375 [Fort Collins, CO] : Bob Swerer o1217379 2004 dvd Alaska, silence & solitude [videorecording]. Productions, c2004. 04/30/08 05/01/08 LIB-74020 04/30/08 NHF-003269 $25.92 Alexander revisited [videorecording] : the final cut / Warner Bros. Pictures and Intermedia Films present a Moritz Borman production in association with IMF, an Oliver Stone film produced by Thomas Schühly ... [et al.] PN 1997 A44936 written by Oliver Stone and Christopher Kyle and Laeta Kalogridis Burbank, CA : Warner Home Video, o1216673 2007 dvd directed by Oliver Stone. 2007. 04/25/08 05/01/08 LIB-2054 04/28/08 B&T-S25309850 $23.19 Alive day memories [videorecording] : home from Iraq / Attaboy Films HBO Documentary Films produced by Ellen Goosenburg Kent directed DS 79.76 A4584 by Jon Alpert, Ellen Goosenburg Kent produced and photographed by o1200355 2007 dvd Jon Alpert, Matthew O'Neill.