PRESS RELEASE Pan-European TV Training Programme Serial Eyes Announces a New Partnership with French Media Giant Vivendi and A

Total Page:16

File Type:pdf, Size:1020Kb

PRESS RELEASE Pan-European TV Training Programme Serial Eyes Announces a New Partnership with French Media Giant Vivendi and A PRESS RELEASE Pan-European TV training programme Serial Eyes announces a new partnership with French media giant Vivendi and a new apprenticeship programme with Big Light Productions Ltd. in London Berlin, 12.09.2016 SERIAL EYES, Europe’s premier postgraduate training programme for TV writers and producers, welcomes the new class of 2016/2017. The 12 TV writers and producers hailing from Italy, France, the United States, Hungary, Colombia and Germany arrived in Berlin today to start their training in the programme’s unique writers’ room workshop. Joining them is an international team of instructors: veteran U.S. showrunners Frank Spotnitz ( "The X-Files", "The Man in the High Castle") and Jeff Bell (“Marvel's Agents of SHIELD”) as well as commissioning editors from broadcast powerhouses RTL, SKY Germany and SKY Italia, Canal + and HBO Europe. The Deutsche Film- und Fersehakademie Berlin (DFFB), which organizes Serial Eyes, is delighted to welcome Vivendi (Canal+, Studiocanal, Universal Music Group) as a new partner for the Serial Eyes programme. Vivendi’s ambition is to become a leading global content and media group and is keen to devise new ways to feed the Group’s future audiovisual projects. By supporting Serial Eyes, Vivendi enables European TV writers to access a new level in storytelling and reach new audiences in Europe and beyond. DFFB and Serial Eyes are also excited to announce a new initiative by Big Light Production Ltd in London. Big Light Productions, headed by writer and producer Frank Spotnitz, partners with Serial Eyes by offering a Big Light Prize at the conclusion of the programme. The prize will consist of a three-month TV writing apprenticeship for one selected Serial Eyes participant at the Big Light Productions London office. Big Light productions will provide a €9000 bursary to the recipient of the apprenticeship. Founded by Spotnitz in 2013, Big Light Productions has become one of the fastest-growing independent production companies in Europe. Under the Big Light banner, Spotnitz has produced: Amazon’s most popular series “The Man in the High Castle”; the upcoming “Medici: Masters of Florence”, starring Richard Madden and Dustin Hoffman; forthcoming suspense drama series “Ransom” for CBS, TF1 and Corus; and upcoming comedy-drama “The Indian Detective”, starring internationally famous comedian Russell Peters, for CTV. About the Serial Eyes programme: SERIAL EYES prepares the next generation of European TV writers, producers and showrunners to bring first-class serialized storytelling to the television screens. Unique in postgraduate education, SERIAL EYES is the first full-time programme specifically designed to train writers in working in a writers’ room setting. In this way, the 8-month SERIAL EYES programme incubates not only new talent, but also new programming, and encourages participants to create new, original TV series concepts that expand the medium and will contribute to a more competitive, exciting European television landscape. Classes are taught at the DFFB in Berlin with additional workshops offered at the London Film School and The National Film School of Denmark. By creating a centre of excellence that brings together the top talents and professionals working in the field, SERIAL EYES enables European TV writers and producers to access a new level in storytelling and reach new audiences in Europe and beyond – creating the future of European television. Alumni of past cycles include Alexandre Manneville (SERIAL EYES 2013/2014), head writer of the animated television series “Teen Crumpets” (Canal+), Alexander Lindh, head writer of the second season of “Arman’s Secret” (ARD), Jana Burbach (SE 2014/2015), who worked in the writers’ room for “Credo” (ZDF/arte) and is the creator and head writer of a new legal show for public broadcaster ARD. SERIAL EYES is funded by the Creative Europe / MEDIA Programme of the EU with additional support from Medienboard Berlin-Brandenburg, RTL, Real Film and Atlantique Productions. For more information about the participants, the lecturers, this year’s programme as well as the alumni network, please visit: www.serial-eyes.com. For press inquiries, please contact the agency LimeLight PR. LimeLight PR Bergmannstraße 103 10961 Berlin Tel: +49 30 - 263 969 8-0 Fax: +49 30 - 263 969 877 E-mail: [email protected], [email protected] , [email protected] .
Recommended publications
  • Interviews with Chris Carter, Frank Spotnitz, Vince Gilligan
    Read Writing The X-Files: Interviews with Chris Carter, Frank Spotnitz, Vince Gilligan, John Shiban, and Howard Gordon by Jason Davis (2016-02-04) PDF Book Download, PDF Download, Read PDF, Download PDF, Kindle Download Read Writing The X-Files: Interviews with Chris Carter, Frank Spotnitz, Vince Gilligan, John Shiban, and Howard Gordon by Jason Davis (2016-02-04) PDF By reading we can add insight and gain new information There is now a Read Writing The X- Files: Interviews with Chris Carter, Frank Spotnitz, Vince Gilligan, John Shiban, and Howard Gordon by Jason Davis (2016-02-04) PDF book on our website that you get for free The Writing The X-Files: Interviews with Chris Carter, Frank Spotnitz, Vince Gilligan, John Shiban, and Howard Gordon by Jason Davis (2016-02-04) PDF Download book is available in PDF, Kindle, Ebook, ePub and mobi formats that you can take anywhere without any more trouble, can you save on the device you have Immediately get this book !!! Download PDF File Download ePub File Download Kindle File Read Writing The X-Files: Interviews with Chris Carter, Frank Spotnitz, Vince Gilligan, John Shiban, and Howard Gordon by Jason Davis (2016-02-04) PDF PDF Download Writing The X-Files: Interviews with Chris Carter, Frank Spotnitz, Vince Gilligan, John Shiban, and Howard Gordon by Jason Davis (2016-02-04) Soldier Full Online, epub free Writing The X-Files: Interviews with Chris Carter, Frank Spotnitz, Vince Gilligan, John Shiban, and Howard Gordon by Jason Davis (2016-02-04) PDF Kindle Soldier, ebook free Download Writing The X-Files: Interviews with Chris Carter, Frank Spotnitz, Vince Gilligan, John Shiban, and Howard Gordon by Jason Davis (2016-02-04) PDF Soldier, free ebook Free Writing The X-Files: Interviews with Chris Carter, Frank Spotnitz, Vince Gilligan, John Shiban, and Howard Gordon by Jason Davis (2016-02-04) PDF Download Soldier, free .
    [Show full text]
  • An N U Al R Ep O R T 2018 Annual Report
    ANNUAL REPORT 2018 ANNUAL REPORT The Annual Report in English is a translation of the French Document de référence provided for information purposes. This translation is qualified in its entirety by reference to the Document de référence. The Annual Report is available on the Company’s website www.vivendi.com II –— VIVENDI –— ANNUAL REPORT 2018 –— –— VIVENDI –— ANNUAL REPORT 2018 –— 01 Content QUESTIONS FOR YANNICK BOLLORÉ AND ARNAUD DE PUYFONTAINE 02 PROFILE OF THE GROUP — STRATEGY AND VALUE CREATION — BUSINESSES, FINANCIAL COMMUNICATION, TAX POLICY AND REGULATORY ENVIRONMENT — NON-FINANCIAL PERFORMANCE 04 1. Profile of the Group 06 1 2. Strategy and Value Creation 12 3. Businesses – Financial Communication – Tax Policy and Regulatory Environment 24 4. Non-financial Performance 48 RISK FACTORS — INTERNAL CONTROL AND RISK MANAGEMENT — COMPLIANCE POLICY 96 1. Risk Factors 98 2. Internal Control and Risk Management 102 2 3. Compliance Policy 108 CORPORATE GOVERNANCE OF VIVENDI — COMPENSATION OF CORPORATE OFFICERS OF VIVENDI — GENERAL INFORMATION ABOUT THE COMPANY 112 1. Corporate Governance of Vivendi 114 2. Compensation of Corporate Officers of Vivendi 150 3 3. General Information about the Company 184 FINANCIAL REPORT — STATUTORY AUDITORS’ REPORT ON THE CONSOLIDATED FINANCIAL STATEMENTS — CONSOLIDATED FINANCIAL STATEMENTS — STATUTORY AUDITORS’ REPORT ON THE FINANCIAL STATEMENTS — STATUTORY FINANCIAL STATEMENTS 196 Key Consolidated Financial Data for the last five years 198 4 I – 2018 Financial Report 199 II – Appendix to the Financial Report 222 III – Audited Consolidated Financial Statements for the year ended December 31, 2018 223 IV – 2018 Statutory Financial Statements 319 RECENT EVENTS — OUTLOOK 358 1. Recent Events 360 5 2. Outlook 361 RESPONSIBILITY FOR AUDITING THE FINANCIAL STATEMENTS 362 1.
    [Show full text]
  • Denying a Motion Filed by Defendants to Dismiss the Case
    UNITED STATES DISTRICT COURT CENTRAL DISTRICT OF CALIFORNIA CIVIL MINUTES—GENERAL Case No. CV 16-7733 DMG (ASx) Date August 28, 2018 Title Century of Progress Productions v. Vivendi S.A., et al. Page 1 of 22 Present: The Honorable DOLLY M. GEE, UNITED STATES DISTRICT JUDGE KANE TIEN NOT REPORTED Deputy Clerk Court Reporter Attorneys Present for Plaintiff(s) Attorneys Present for Defendant(s) None Present None Present Proceedings: IN CHAMBERS - ORDER RE DEFENDANTS’ MOTIONS TO DISMISS [44, 49] Plaintiffs, Century of Progress Productions (“CPP”), Christopher Guest, Rob Reiner Productions (“RRP”), United Heathen (“UH”), Spinal Tap Productions (“STP”), Harry Shearer, Rob Reiner, and Michael McKean, filed the operative second amended complaint (“SAC”) on October 19, 2017. [Doc. # 33.] The SAC alleges six causes of action: (1) breach of contract; (2) breach of the implied covenant of good faith and fair dealing; (3) fraud by concealment and misrepresentation; (4) accounting; (5) declaratory relief as to alleged trademark rights, 28 U.S.C. § 2201; and (6) declaratory relief as to alleged copyright reversion, 17 U.S.C § 703. Id. at 1 (caption). Now before the Court are two motions to dismiss. The first, brought by Defendants Universal Music Group, Inc. and UMG Recordings, Inc. (collectively, “UMG”), seeks to dismiss Plaintiffs’ SAC in its entirety, as alleged against UMG.1 [Doc. # 44 (“UMG MTD”).] The second, brought by Defendants Vivendi S.A.’s (“Vivendi”), Studiocanal S.A.S.’ (“Studiocanal”), and Ron Halpern (collectively, “Studiocanal Defendants”), seeks dismissal of Plaintiffs’ claim for fraud. [Doc. # 49 (“Studiocanal MTD”).] UMG joins in the Studiocanal MTD.
    [Show full text]
  • STUDIOCANAL ACCELERATES ITS DEVELOPMENT in TV PRODUCTION Investments in Particularly Promising Companies in Spain and the UK
    STUDIOCANAL ACCELERATES ITS DEVELOPMENT IN TV PRODUCTION Investments in particularly promising companies in Spain and the UK Cannes, April 4, 2016 – STUDIOCANAL is greatly accelerating its development in TV series production by announcing investments in several independent companies that are home to some of the most recognisable European talent in the industry. These investments concern Spanish company BAMBÚ PRODUCCIONES, a company based in Madrid of which STUDIOCANAL is acquiring 33%, URBAN MYTH FILMS in London (20%), and SUNNYMARCH TV also based in London (20%). Each deal includes distribution agreements. STUDIOCANAL already has a strong presence in TV series production via its subsidiaries TANDEM in Germany, and RED Production Company in the UK, as well as its stakes in SAM (Denmark) and GUILTY PARTY (UK). Founded in 2007 in Madrid, BAMBÚ PRODUCCIONES is run by its two founders, Teresa Fernández- Valdés and Ramon Campos. BAMBÚ stands out as one of the most creative TV production companies in Spain, with a slate of more than 10 original, high-quality, and internationally ambitious series. Among them, Refugiados, co-produced with BBC Worldwide, is the first Spanish series shot in English, while successful Grand Hotel and Velvet series have been sold all over the world. Based in London, URBAN MYTH FILMS was founded in 2013 by an experienced team of international producers and screenwriters. Johnny Capps and Julian Murphy were behind the launch of Shine Drama in 2002, and of several international hits series, including Merlin for BBC One. Howard Overman has created and written several hit shows, including Misfits on E4, which won a BAFTA in 2010.
    [Show full text]
  • SUBVERSION of NOSTALGIA AS a STRATEGY of ENGAGEMENT in ALTERNATE HISTORY TV: 11.22.63 and the MAN in the HIGH CASTLE by Tobias Steiner
    Online at: http://cstonline.net/subversion-of-nostalgia-as-a-strategy-of-engagement-in-alternate-history-tv-11-22-63-and-the- man-in-the-high-castle-by-tobias-steiner/ SUBVERSION OF NOSTALGIA AS A STRATEGY OF ENGAGEMENT IN ALTERNATE HISTORY TV: 11.22.63 AND THE MAN IN THE HIGH CASTLE by Tobias Steiner Jun 1, 2018 | Amazon, Blogs, Drama, ECREA, Streaming, Transnational TV, US TV | 0 Beginning with the popularization and mass availability of television in the 1950s, the medium has since extensively been employed to transport and mediate history in manifold ways. From early newscasts of Queen Elizabeth II.’s coronation ceremony in 1952, to a collection of devastating and traumatic events such as the assassination of John F. Kennedy in 1963, the Watergate scandal (1972), the Challenger (1986) and Columbia (2003) spacecraft disasters and the cataclysmic event of 9/11 (2001), that burned themselves into the collective subconscious through television images – all those events rapidly evolved from news broadcast to what Marita Sturken has famously labeled “instant history”[1]. Coronation ceremony of Queen Elizabeth II. – and the BBC is broadcasting live! CBS News anchor Walter Cronkite reports that President John F. Kennedy was assassinated in Dallas on Nov. 22, 1963. Following the Watergate scandal, U.S. president Nixon reads his resignation letter live on TV. The Columbia space shuttle disaster. Attack on World Trade Center, September 11, 2001. Views of inundated areas in New Orleans, Louisiana, following breaking of the levees surrounding the city as the result of Hurricane Katrina (2005). Moreover, television also plays with history and provides its audience with a plethora of factual and fictional accounts of our past: myriads of biographic accounts of historic figures as well as documentaries bring history closer to millions and millions of viewers.
    [Show full text]
  • View Annual Report
    2016 ANNUAL REPORT CONTENT MESSAGES FROM THE SUPERVISORY BOARD AND THE MANAGEMENT BOARD 02 1 4 Profile of the Group and its Businesses | Financial Report | Statutory Auditors’ Report Financial Communication, Tax Policy on the Consolidated Financial Statements | and Regulatory Environment | Risk Factors 05 Consolidated Financial Statements | 1. Profi le of the Group and its Businesses 07 Statutory Auditors’ Report on 2. Financial Communication, Tax policy and Regulatory Environment 43 the Financial Statements | Statutory 3. Risk Factors 47 Financial Statements 183 Selected key consolidated fi nancial data 184 I - 2016 Financial Report 185 II - Appendix to the Financial Report: Unaudited supplementary fi nancial data 208 2 III - Consolidated Financial Statements for the year ended December 31, 2016 210 Societal, Social and IV - 2016 Statutory Financial Statements 300 Environmental Information 51 1. Corporate Social Responsibility (CSR) Policy 52 2. Key Messages 58 3. Societal, Social and Environmental Indicators 64 4. Verifi cation of Non-Financial Data 101 5 Recent Events | Forecasts | Statutory Auditors’ Report on EBITA forecasts 343 1. Recent Events 344 2. Forecasts 344 3 3. Statutory Auditors’ Report on EBITA forecasts 345 Information about the Company | Corporate Governance | Reports 107 1. General Information about the Company 108 2. Additional Information about the Company 109 3. Corporate Governance 125 6 4. Report by the Chairman of Vivendi’s Supervisory Board Responsibility for Auditing the Financial Statements 347 on Corporate Governance, Internal Audits and Risk 1. Responsibility for Auditing the Financial Statements 348 Management – Fiscal year 2016 172 5. Statutory Auditors’ Report, Prepared in Accordance with Article L.225-235 of the French Commercial Code, on the Report Prepared by the Chairman of the Supervisory Board of Vivendi SA 181 ANNUAL REPORT 2016 ANNUAL REPORT 2016 The Annual Report in English is a translation of the French “Document de référence” provided for information purposes.
    [Show full text]
  • Games Workshop Appoints Former Hasbro Studios Executive to Newly Created Role As It Renews Focus on Its Content Strategy
    Games Workshop appoints former Hasbro Studios executive to newly created role as it renews focus on its content strategy 11th March 2021: Games Workshop Group PLC, the hugely successful hobby, publishing, video games and retail business, has appointed former Turner Broadcasting and Hasbro Studios executive Finn Arnesen as its first head of entertainment development. Reporting into Jon Gillard, Games Workshop’s EVP of global licensing, Arnesen is tasked with mining the extensive and multi-faceted Warhammer universe – home to thousands of novels and short stories, featuring a diverse range of engaging and extremely popular characters – to develop live-action and animated content for broadcast channels and platforms around the globe. Arnesen, who was most recently SVP global distribution & development at Hasbro Studios, brings 25 years’ experience to the role. He inherits an initial content slate that includes the previously announced live-action drama based on the best-selling Eisenhorn series of novels. Eisenhorn, a classic tale of one powerful character’s fight against external and internal threats, set in the galaxy-spanning, dark dystopia of the 41st millennium, is currently being developed with Frank Spotnitz (The Man in the High Castle, The X-Files) and his company, Big Light Productions. Jon Gillard comments: “In its almost 40-year history, Warhammer has been a leader in the field of tabletop and video gaming, growing into one of the most fully realised examples of fantasy and sci-fi world-building ever devised. The characters we’ve explored and stories we’ve told during that time, through games, books, comics and more, are crying out to be brought to the screen.
    [Show full text]
  • Huge in France: Explaining French Underperformance in the International Box Office
    Bard College Bard Digital Commons Senior Projects Spring 2019 Bard Undergraduate Senior Projects Spring 2019 Huge in France: Explaining French Underperformance in the International Box Office Jay D. Rosenstein Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2019 Part of the Industrial Organization Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Rosenstein, Jay D., "Huge in France: Explaining French Underperformance in the International Box Office" (2019). Senior Projects Spring 2019. 154. https://digitalcommons.bard.edu/senproj_s2019/154 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Huge in France: Explaining French Underperformance in the International Box Office Senior Project The Division of Social Studies of Bard College by JAY ROSENSTEIN Advisor: PROF. MICHAEL E. MARTELL Annandale-on-Hudson, New York May 1, 2019 To Google Translate, through whom all things are possible. Plagiarism Statement I hereby confirm the authenticity of this project. I have closely read and understand the College’s policy on plagiarism and academic honesty. Unless stated otherwise, the following work is the culmination of my own ideas and words.
    [Show full text]
  • BOLL 1902299 RAPPORT ACTIVIT… 2018 GB.Indd
    Bolloré Business report 2018 ! — !Message!from!the!Chairman # —$ Profile % —$ Key!figures & —$ Economic!organizational!chart ' —$ Stock!exchange!data ( —$ Our!locations (! —$ Group!strategy (# —$ Business!model (% —$ CSR!key!figures () — !Governance The Group (& Transportation and logistics !% Communications ,# Electricity storage and solutions #! — ! Other!assets #% —$ Corporate!social!responsibility *! — !History!of!the!Group BUSINESS REPORT 2018 — BOLLORÉ 01 Message from the Chairman Vincent Bolloré, Chairman and Chief Executive O! cer of Financière de l’Odet Bolloré was founded in Brittany, in 1822, by leaders. Having seen him at work in the Group my two great-great-great-great-grandfathers, for twelve years, I fi rmly believe that Cyrille François Le Marié and René Bolloré. They Bolloré is the right choice for this new chapter were followed successively by their children, in the Group’s story. As planned, I will remain Nicolas Le Marié, my great-great-great-uncle, Chairman and Chief Executive Officer of and Jean-Claude Guillaume Bolloré, my Financière de l’Odet – which controls 65% of great-great-great-grandfather, their children Bolloré’s share capital – until February 17, 2022, and their children’s children, right down to date of our bicentennial, to ensure that the my uncles and my father. transition is as smooth as possible. Today, it gives me great pride to see the seventh generation take over the reins, with the help of teams of cohesive and experienced 02 BOLLORÉ — BUSINESS REPORT 2018 Cyrille Bolloré" Chairman and Chief Executive O! cer of Bolloré I am greatly honored by the confidence that Consolidated operating income was 1.3 billion the Board of Directors has shown me by unani- euros, a 25% increase attributable largely to mously appointing me Chairman and Chief the Communications business (+29%), driven Executive Officer of Bolloré, replacing Vincent by the very good performance of Vivendi’s Bolloré.
    [Show full text]
  • The Narrative Functions of Television Dreams by Cynthia A. Burkhead A
    Dancing Dwarfs and Talking Fish: The Narrative Functions of Television Dreams By Cynthia A. Burkhead A Dissertation Submitted in Partial Fulfillment of the Requirements for the Ph.D. Department of English Middle Tennessee State University December, 2010 UMI Number: 3459290 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT Dissertation Publishing UMI 3459290 Copyright 2011 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 DANCING DWARFS AND TALKING FISH: THE NARRATIVE FUNCTIONS OF TELEVISION DREAMS CYNTHIA BURKHEAD Approved: jr^QL^^lAo Qjrg/XA ^ Dr. David Lavery, Committee Chair c^&^^Ce~y Dr. Linda Badley, Reader A>& l-Lr 7i Dr./ Jill Hague, Rea J <7VM Dr. Tom Strawman, Chair, English Department Dr. Michael D. Allen, Dean, College of Graduate Studies DEDICATION First and foremost, I dedicate this work to my husband, John Burkhead, who lovingly carved for me the space and time that made this dissertation possible and then protected that space and time as fiercely as if it were his own. I dedicate this project also to my children, Joshua Scanlan, Daniel Scanlan, Stephen Burkhead, and Juliette Van Hoff, my son-in-law and daughter-in-law, and my grandchildren, Johnathan Burkhead and Olivia Van Hoff, who have all been so impressively patient during this process.
    [Show full text]
  • Downloading of Movies, Television Shows and Other Video Programming, Some of Which Charge a Nominal Or No Fee for Access
    Table of Contents UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 10-K (Mark One) ☒ ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 FOR THE FISCAL YEAR ENDED DECEMBER 31, 2011 OR ☐ TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 FOR THE TRANSITION PERIOD FROM TO Commission file number 001-32871 COMCAST CORPORATION (Exact name of registrant as specified in its charter) PENNSYLVANIA 27-0000798 (State or other jurisdiction of (I.R.S. Employer Identification No.) incorporation or organization) One Comcast Center, Philadelphia, PA 19103-2838 (Address of principal executive offices) (Zip Code) Registrant’s telephone number, including area code: (215) 286-1700 SECURITIES REGISTERED PURSUANT TO SECTION 12(b) OF THE ACT: Title of Each Class Name of Each Exchange on which Registered Class A Common Stock, $0.01 par value NASDAQ Global Select Market Class A Special Common Stock, $0.01 par value NASDAQ Global Select Market 2.0% Exchangeable Subordinated Debentures due 2029 New York Stock Exchange 5.50% Notes due 2029 New York Stock Exchange 6.625% Notes due 2056 New York Stock Exchange 7.00% Notes due 2055 New York Stock Exchange 8.375% Guaranteed Notes due 2013 New York Stock Exchange 9.455% Guaranteed Notes due 2022 New York Stock Exchange SECURITIES REGISTERED PURSUANT TO SECTION 12(g) OF THE ACT: NONE Indicate by check mark if the Registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes ☒ No ☐ Indicate by check mark if the Registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Act.
    [Show full text]
  • Additional Facts
    FACTSHEET: SHEARER LITIGATION Vivendi Anti-Competition and Accounting Fraud Practices Despite the success of Spinal Tap the band, This Is Spinal Tap the film and its two cinema releases, the albums, TV, video and music sales, and the exploitation of associated merchandise licenses. the film’s creators, producer, and participating cast have yet to be paid fairly for their hard work and creative talents. This is due to the questionable anti-competitive and fraudulent accounting practices applied by the Vivendi group and related entities. Harry Shearer has filed a lawsuit to expose and correct this conduct. Creators Barred from Sharing in Spinal Tap and This Is Spinal Tap Success The film charting the disastrous U.S. tour by spoof rock band Spinal Tap was produced on a shoestring budget of approximately US$2.25 million dollars, but its enduring popularity has generated tens of millions of dollars in revenue in the thirty years since its original theatrical release. o To this day, the film enjoys popularity on television, home video, and other media, including a 25th Anniversary Blu-Ray DVD release in 2009. In an accounting report to which Shearer gained access around November 2013, Shearer learned the following: Despite the enormous success of this beloved film, Viviendi/StudioCanal claimed the film took until 2011 to recoup. o By 2011, the film reportedly had grossed more than US$12 million. Despite the success, according to Vivendi/StudioCanal the four creators (McKean, Guest, Shearer and Reiner) were entitled to a profit share of only US$29,514. The four creators’ share of total worldwide merchandising income between 1984 and 2006 was calculated by Vivendi/StudioCanal at US$81.
    [Show full text]