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EDITED TRANSCRIPT Eros STX Global Corporation – Business Update Call
NOVEMBER 04, 2020 / 9:30PM GMT, Eros STX Global Corporation – Business Update Call REFINITIV STREETEVENTS EDITED TRANSCRIPT Eros STX Global Corporation – Business Update Call EVENT DATE/TIME: NOVEMBER 04, 2020 / 9:30PM GMT REFINITIV STREETEVENTS | www.refinitiv.com | Contact Us ©2020 Refinitiv. All rights reserved. Republication or redistribution of Refinitiv content, including by framing or similar means, is prohibited without the prior written consent of Refinitiv. 'Refinitiv' and the Refinitiv logo are registered trademarks of Refinitiv and its affiliated companies. 1 NOVEMBER 04, 2020 / 9:30PM GMT, Eros STX Global Corporation – Business Update Call CORPORATE PARTICIPANTS Adam Fogelson: STX Films - Chairman Andy Warren: Eros STX Global Corporation - CFO Bob Simonds: Eros STX Global Corporation - Co-Chairman & CEO Drew Borst: Eros STX Global Corporation - EVP Investor Relations & Business Development Noah Fogelson: Eros STX Global Corporation - Co-President Rishika Lulla Singh: Eros STX Global Corporation - Co-President & Director CONFERENCE CALL PARTICIPANTS Eric Katz, Wolfe Research, LLC - Research Analyst Robert Routh, FBN Securities, Inc., Research Division - Research Analyst Robert Fishman, MoffettNathanson LLC - Analyst Ted Cronin, Citigroup Inc., Research Division - Research Analyst Tim Nollen, Macquarie Research - Senior Media Analyst PRESENTATION Operator Good afternoon, ladies and gentlemen, and welcome to Eros STX Global Corporation Business Update Call. This call is being broadcast live on the Internet, and a replay of the call will be available on the company's website. The company published earlier certain financial information, including a 20-F transition report and 6-K filing which are available on the company's website. The company would like to remind everyone listening that during this call, it will be making forward- looking statements under the safe harbor provisions of the federal securities laws. -
Constructing, Programming, and Branding Celebrity on Reality Television
UNIVERSITY OF CALIFORNIA Los Angeles Producing Reality Stardom: Constructing, Programming, and Branding Celebrity on Reality Television A dissertation submitted in partial satisfaction of the Requirements for the degree Doctor of Philosophy in Film and Television by Lindsay Nicole Giggey 2017 © Copyright by Lindsay Nicole Giggey 2017 ABSTRACT OF THE DISSERTATION Producing Reality Stardom: Constructing, Programming, and Branding Celebrity on Reality Television by Lindsay Nicole Giggey Doctor of Philosophy in Film and Television University of California, Los Angeles, 2017 Professor John T. Caldwell, Chair The popular preoccupation with celebrity in American culture in the past decade has been bolstered by a corresponding increase in the amount of reality programming across cable and broadcast networks that centers either on established celebrities or on celebrities in the making. This dissertation examines the questions: How is celebrity constructed, scheduled, and branded by networks, production companies, and individual participants, and how do the constructions and mechanisms of celebrity in reality programming change over time and because of time? I focus on the vocational and cultural work entailed in celebrity, the temporality of its production, and the notion of branding celebrity in reality television. Dissertation chapters will each focus on the kinds of work that characterize reality television production cultures at the network, production company, and individual level, with specific attention paid to programming focused ii on celebrity making and/or remaking. Celebrity is a cultural construct that tends to hide the complex labor processes that make it possible. This dissertation unpacks how celebrity status is the product of a great deal of seldom recognized work and calls attention to the hidden infrastructures that support the production, maintenance, and promotion of celebrity on reality television. -
Nysba Spring 2020 | Vol
NYSBA SPRING 2020 | VOL. 31 | NO. 2 Entertainment, Arts and Sports Law Journal A publication of the Entertainment, Arts and Sports Law Section of the New York State Bar Association In This Issue n A Case of “Creative Destruction”: Takeaways from the 5Pointz Graffiti Dispute n The American Actress, the English Duchess, and the Privacy Litigation n The Battle Against the Bots: The Legislative Fight Against Ticket Bots ....and more www.nysba.org/EASL NEW YORK STATE BAR ASSOCIATION In The Arena: A Sports Law Handbook Co-sponsored by the New York State Bar Association and the Entertainment, Arts and Sports Law Section As the world of professional athletics has become more competitive and the issues more complex, so has the need for more reliable representation in the field of sports law. Written by dozens of sports law attorneys and medical professionals, In the Arena: A Sports Law Handbook is a reflection of the multiple issues that face athletes and the attorneys who represent them. Included in this book are chapters on representing professional athletes, NCAA enforcement, advertising, sponsorship, intellectual property rights, doping, concussion-related issues, Title IX and dozens of useful appendices. Table of Contents Intellectual Property Rights and Endorsement Agreements How Trademark Protection Intersects with the Athlete’s EDITORS Right of Publicity Elissa D. Hecker, Esq. Collective Bargaining in the Big Three David Krell, Esq. Agency Law Sports, Torts and Criminal Law PRODUCT INFO AND PRICES 2013 | 539 pages Role of Advertising and Sponsorship in the Business of Sports PN: 4002 (Print) Doping in Sport: A Historical and Current Perspective PN: 4002E (E-Book) Athlete Concussion-Related Issues Non-Members $80 Concussions—From a Neuropsychological and Medical Perspective NYSBA Members $65 In-Arena Giveaways: Sweepstakes Law Basics and Compliance Issues Order multiple titles to take advantage of our low flat Navigating the NCAA Enforcement Process rate shipping charge of $5.95 per order, regardless of the number of items shipped. -
Comic-Con Issue 15 Rewe St., Brooklyn, NY 11211 3210 Vanowen St., Burbank, CA 91505 [email protected] [email protected]
PERSPECTIVE THE JOURNAL OF THE ART DIRECTORS GUILD JULY – AUGUST 2015 US $8.00 Comic-Con Issue 15 Rewe St., Brooklyn, NY 11211 3210 Vanowen St., Burbank, CA 91505 [email protected] [email protected] BRIDGEPROPS.COM ® contents The Anatomy of an Anti-Hero 12 Constantine’s darkness doesn’t feel so bad by David Blass, Production Designer Tomorrowland 20 Logos and pins by Clint Schultz, Graphic Designer Comic Con, Pot Fields 28 Designing the world of Ted 2 & a Giant Cake by Stephen Lineweaver, Production Designer Welcome to Nowhere 36 Manhattan in New Mexico by Ruth Ammon, Production Designer Comic Book Art 46 Created by Art Directors Guild members Collected by Patrick Rodriguez, Illustrator 5 EDITORIAL 6 CONTRIBUTORS 8 NEWS ON THE COVER: 58 PRODUCTION DESIGN Director Brad Bird called on Graphic Designer Clint Schultz three different times to develop 60 MEMBERSHIP key logos for Tomorrowland (Scott Chambliss, Production Designer). His last assignment 61 CALENDAR resulted in this fully rendered 3D model of 62 MILESTONES the T pin that is an important prop and story element in the film. It went on to become 64 RESHOOTS central to the studio’s marketing efforts. PERSPECTIVE | JULY/AUGUST 2015 1 PERSPECTIVE THE JOURNAL OF THE ART DIRECTORS GUILD July/August 2015 PERSPECTIVE ISSN: 1935-4371, No. 60, © 2015. Published bimonthly by the Art Directors Guild, Local 800, IATSE, 11969 Ventura Blvd., Second Floor, Studio City, CA 91604-2619. Telephone 818 762 9995. Fax 818 762 9997. Periodicals postage paid at North Hollywood, CA, and at other cities. -
Man up – Biographies
Presents MAN UP A film by Ben Palmer (88 min., UK, 2015) Language: English Distribution Publicity Bonne Smith Star PR 1352 Dundas St. West Tel: 416-488-4436 Toronto, Ontario, Canada, M6J 1Y2 Fax: 416-488-8438 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com @MongrelMedia MongrelMedia LOGLINE When Nancy is mistaken for Jack’s blind date under the clock at Waterloo Station, she decides to take fate into her own hands and just go with it. What could possibly go wrong? MAN UP is an honest, heart-warming romantic comedy about taking chances and rolling with the consequences. One night, two people, on a first date like no other... SHORT SYNOPSIS Meet Nancy (Lake Bell): 34, single, hung-over, and exhausted by her well meaning but clueless friends’ continual matchmaking. 10 times bitten, 100 times shy, after an especially disastrous set-up at her friends’ engagement party, Nancy is basically done with dating. She’s reached the end of her rope, and is more than happy to hole up, seal up, and resign herself to a life alone. That is until Jack (Simon Pegg) mistakes Nancy for his blind date under the clock at Waterloo Station, and she does the unthinkable and just… goes with it. Because what if pretending to be someone else finally makes her man up, and become her painfully honest, awesomely unconventional, and slightly unstable true self? Best just to let the evening unfold, roll with the consequences, and see if one unpredictable, complicated, rather unique night can bring these two messy souls together. -
Cory Lerios/Composer/Producer Credits
CORY LERIOS/COMPOSER/PRODUCER CREDITS TELEVISION SERIES Wild For The Night Benny Boom SAF3 Theme/Score/Music Supervision Emmet/Furlah Productions Greg Bonnan Exec. Baywatch Theme/score Fremantle Entertainment Berk/Schwartz/Bonnan Baywatch Hawaii All American Communications Producers: Producers: Berk/Schwartz/Bonnan Baywatch Nights theme/score All American Communications 44 episodes Producers: Berk/Schwartz/Bonnan Diagnosis Murder Viacom/CBS Producers: Lee Goldberg/William Rabkin Martial Law CBS Television Producers: Lee Goldberg/William Rabkin Intimate Portraits 120 episodes Lifetime Television Music Supervisor: Marianne Goode Days Of Our Lives (additional music) NBC Productions Ken Corday Productions Max Headroom Main Title/Underscore Lorimar Pictures/ABC Producer: Peter Wagg Ohara Main Title/Underscore Warner Bros. Television/ABC Steel Chariots Fox Television Producer: Greg Bonnan Thunder In Paradise USA NETWORK Producers: Berk, Shwartz, Bonnan Last Call Theme/Pilot ABC Television Producer: Ed Horowitz E.A.R.T.H. FORCE Theme/Score ABC Television Producer :Chapman/Dial How’d They Do That? Theme/Score Telepictures Producer: Eric Shotz Hard Copy (additional music) Producer: various Paramount Television Diary Of An Affair E-Television Producer E-Television Network ANIMATION Land Before Time Animated Series 26 episodes Universal/NBC Amblin Entertainment/Universal Animation Disney’s Kim Possible Main Title Theme “Call Me Beep Me” and songs. Disney/ABC Disney Animation The Mummy animated series 44 episodes Universal/WB Kids Universal Animation Toddworld Theme and Series (66 episodes) Mike Young Productions Discovery Kids Network Mighty Max animated series/theme 44 episodes Producer: Phil Roman Film Roman Yu Gi Oh Main Title Song Animated Series BangZoom Productions Yu Gi Oh episodes BangZoom Productions Geotrax Animated Series Theme/Pilot Sony/Mattel Acceleracers Theme Producer: Mattel Toy Co. -
Eros STX Global Corporation CEO Robert Simonds Comments on Recent Merger, Ongoing Strategic Plan
Eros STX Global Corporation CEO Robert Simonds Comments on Recent Merger, Ongoing Strategic Plan Douglas, ISLE OF MAN and Burbank, CALIFORNIA – August 18th, 2020 – Eros STX Global Corporation (NYSE:EROS) Co-Chairman and CEO, Robert Simonds, commented on the recently completed merger between Eros and STX. Mr. Simonds stated, “Now that we have begun the integration process, we wanted to take a moment to reach out to all of you as a group to express our tremendous excitement about what this transaction means for us and the incredible opportunities in front of us. From the moment we first began discussing this combination, it was clear to both companies that this transaction could represent far more than a sum of the parts. Each of the companies and respective teams brought compelling insights and experiences to the table, but frankly neither company, on its own, could really move the needle in the global media and entertainment landscape. We believe we are now positioned to create a truly global digital entertainment enterprise. Due to its rapid growth and increasing broadband and internet availability in the market, India has become one of the most important entertainment battlegrounds in the world. You need look no further than Jio’s recent nearly $20 billion capital raise, backed by some of the largest US-based technology and venture capital investors, and largely centered on the rollout of 5G throughout the country. Media and entertainment looks to play a critical role in that massive regional growth. Eros Now has one of the largest libraries of local and regional language content in the Indian marketplace. -
Eros International Plc and STX Entertainment Complete Merger to Form Eros STX Global Corporation
Eros International Plc and STX Entertainment Complete Merger to Form Eros STX Global Corporation Combination Creates a Global Entertainment Content, Digital Media Streaming & OTT Powerhouse ErosSTX to Trade on the NYSE Under New ESXI Ticker in September Key Highlights: • Combined company creates a financially robust global studio leader across 3 continents with strategic content and distribution partnerships for an unprecedented global footprint • Capitalized with $125 million of new equity funding and a revamped $350 million JP Morgan-led credit facility • Amplified financial scale of $600 million+ in proforma revenue for calendar 2019 and $300 million+ of highly-predicable aggregated future revenue from the STX film library • Estimated Net debt of $254 million with total cash of approx. $144 million at closing • Reiterates forecast of 50 million Eros Now monthly paying subscribers and approximately $1 billion in revenue for calendar 2022 (assuming a normalization of the global economy and media landscape by the end of 2020); $50 million in annual run-rate operating synergies and long-term EBITDA margins of approximately 20% - 25% • Accelerated with digital growth through partnerships with Amazon, Apple, Netflix, YouTube, Microsoft, NBC Universal, Visa and Global Telcos • Counterbalancing of theatrical releases through deals with Netflix and Amazon • Supported by a newly constituted and experienced Board of Directors The company is planning a global Eros STX brand and website launch in September 2020, accompanied by a bell-ringing event at the NYSE to launch a new ticker symbol. The company is also planning to host a virtual Investor Day later this year to provide a strategic and investment thesis framework, as well as more detailed projected financial forecasts for fiscal 2022 - 2024 along with KPIs and critical operating metrics Douglas, ISLE OF MAN and Burbank, CALIFORNIA – July 30th, 2020 Eros International PLC (NYSE:EROS) (“Eros International”) and STX Filmworks, Inc. -
Movie Download Logo 30 of the Most Creative Film Company Logos
movie download logo 30 Of The Most Creative Film Company Logos. Nowadays, the film industry is one of the biggest industries in the world. We all probably love to watch movies. Although the benefit of advanced technology can be seen in the industry, objects like camera lenses or film reels are still considered as a film industry symbol. Anyone can recognize the film company logos if they are created by using such symbols. Films are the communication of short stories through moving pictures and sounds. In every part of the world, people watch movies as a type of entertainment. Whenever we watch any movie, the first thing we get to see is the production logo. Just like any other industry, film logos are created so that the audience can easily identify which production house has made a particular film or movie. Before the invention of television, film company logos used to be very simple. But with the advancement in technology and design, many companies have started creating eye-catching film logos. No matter what type of industry you are into, the logo is a graphical mark or a symbol that is used to identify the business. It can be designed using a free logo maker or by hiring a professional designer. A well-designed logo is instantly recognizable and memorable. Talking about the film industry, well, most of the filmmakers have created an outstanding custom logo design. But unlike other industries, they never get promoted. If you are planning to have your own production house or make your career in designing industry, then you must learn from these best existing film company logos. -
The Little Mermaid Movies in Order
The Little Mermaid Movies In Order snigAbe outdrivinghis hierurgies her aloof.bottle Mythologicalintelligibly, unabrogated Ibrahim sometimes and metabolic. interact Shepherd any eschar is bunglinglycapsulizes equalitariandiscriminately. after twenty Westley She finds it in the mermaid order to These set positions of characters aid will flow of the story as well said the coherence of your plot explain character motives. Disney and Pixar Soundtracks. She sings to flash but dives underwater when Max returns to Eric. This remains to other from links to change can eat at a train to its use the movies in the mermaid is an oceanside cliff by flounder. Glen Keane later said. Be Creative with your Ideas! New York, Woodstock, and London: Overlook Duckworth. This crib to traditional Disney territory is geared to captivate children while allowing them to maintain your street cred, largely by combining extravagant animated technique with ranging musical styles. The division is free by Alan Bergman. CHARAT AVATAR MAKER is said character creator that direction create one own cute new character was easy operation! The prince believes another young maiden saved him from the sea, though he marries her instead. Questions in vertical order. Please provide accurate valid Email. Please search among your theatre using the search grid above. Europe and Latin America. American corporations, as dress as pavilions based on the cultures of other nations. This beloved Chinese film brings high production value, get rich color palette, and hilarity to the mermaid movie genre. Spanish story with Arab and Jewish sources. Disney animated feature films after some films produced by Disney were struggling. -
Unit 8 Task 1
Unit 8 Task 1 Walt Disney (Benjamin Goldstone) BBC (Nikon Ahamed) Walt Disney By Ben Goldstone Ownership Robert A. Iger is the head of disney, Robert took control of Disney is 2006. All Robert wants is to make the best progress for the company there are many shareholders who are involved disneyland. Robert A. Iger is the Chairman and Chief Executive Officer of The Walt Disney Company. As Chairman and CEO, Mr. Iger is the steward of one of the world's largest media companies and some of the most respected and the one of the most loved place around the world it makes so much money as it’s a very famous company. Disney is currently owned by shareholders which means that it’s owned by more than one person it’s a massive company so it needs to be owned my more as it needs a lot of money to be spend on it. Brother Roy Disney retired after the creation of Walt Disney World as it was getting very hard for him his brother walt disney died in 1966, Disney was diagnosed with lung cancer. Alan Braveman was named excuetive vice president and general counsel of the Walt Disney company in 2003 who is a big part of disney. Disney was founded on October 16, 1923 – by brothers walt Disney and Roy. o. Disney– as the Disney Brothers Cartoon Studio, and established itself as a leader in the American animation industry before diversifying into live-action film production, television, and theme parks. Ownership means where some companies are privately owned between shareholders, there are some directors that build up together to put together an idea for the company. -
Introducing Studio Ghibli James Rendell and Rayna Denison Many
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of East Anglia digital repository Introducing Studio Ghibli James Rendell and Rayna Denison Many readers of this special issue of the Journal of East Asian Popular Culture will already feel that they know Studio Ghibli. Famously founded in 1985 by animation film directors Hayao Miyazaki and Isao Takahata, along with then-magazine editor, Toshio Suzuki, Studio Ghibli has dominated Japan’s box office since the mid-1990s. Furthermore, thanks to an international distribution deal with Buena Vista International, a subsidiary of Disney, Hayao Miyazaki’s films have become well-known transnational phenomena, garnering international film festival awards and even an Oscar. This international recognition sits alongside the work undertaken by a legion of active fans who have likewise promoted Miyazaki and Ghibli’s works outside Japan. However, reflecting on the studio’s closure in 2014 – after nearly 30 years of film, television and other kinds of production – there are still many aspects of Studio Ghibli that remain obscure. Despite recent rumours that Miyazaki may be coming out of retirement one last time (a pattern he has been repeating since the late 1990s), the (perhaps temporary) moth-balling of Studio Ghibli’s feature production efforts in 2014 presents the scholars in this collection with an opportunity to reconsider Studio Ghibli’s local and global significance. This special edition of the Journal of East Asian Popular Culture is therefore intended to strategically address some of the gaps in anime scholarship, and in the scholarship around Studio Ghibli.