Delegate List 2014 Updated 29/ 07
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COTY INC. (Exact Name of Registrant As Specified in Its Charter)
UNITED STATES SECURITIES AND EXCHANGE COMMISSION WASHINGTON, D.C. 20549 Form 10-Q (Mark One) ý QUARTERLY REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 FOR THE QUARTERLY PERIOD ENDED SEPTEMBER 30, 2018 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 001-35964 COTY INC. (Exact name of registrant as specified in its charter) Delaware 13-3823358 (State or other jurisdiction of incorporation or organization) (I.R.S. Employer Identification Number) 350 Fifth Avenue, New York, NY 10118 (Address of principal executive offices) (Zip Code) (212) 389-7300 Registrant’s telephone number, including area code Indicate by check mark whether the registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days. Yes ý No ¨ Indicate by check mark whether the registrant has submitted electronically and posted on its corporate Web site, if any, every Interactive Data File required to be submitted and posted pursuant to Rule 405 of Regulation S-T (§232.405 of this chapter) during the preceding 12 months (or for such shorter period that the registrant was required to submit and post such files). Yes ý No ¨ Indicate by check mark whether the registrant is a large accelerated filer, an accelerated filer, a non-accelerated filer, or a smaller reporting company. -
SEAN CONWAY Writer and Director
SEAN CONWAY Writer and Director 2020 MAKING WOLF Adaptation of the novel by Tade Thompson TV Series, Fable Pictures 2020 TONY DICK Creator/Writer TV Series, Chapter One Pictures 2020 LOVE IS THE KING OF BEASTS Creator/Writer TV Series, Company Pictures 2020 SWALLOWS Co Created with Wayne Lettice, TV Series, Warp films / BBC 2019/2020 THE RESURRECTION Creator/Writer TV Series, Carnival Films 2019/2020 JACK THE STRIPPER Co-Creator with Eddie Marsan TV Series, Red Productions / Channel 4 2019/2020 THE HOLES Creator and Writer TV Series, Sid Gentle Films 2018 THE VOYEUR Writer TV series, Sid Gentle Productions 2018 TIES THAT BIND Writer Book adaptation for TV, Carnival Films 2013-18 RAY DONOVAN Writer & Executive Producer TV Series (1, 4-6) The Mark Gordon Company/Showtime Starring Liev Schreiber 2016 ALL I SEE IS YOU Written with Marc Foster Feature Film 2DUX2/Sierra Affinity Starring Blake Lively and Danny Huston 2016 RED LIGHT BALLET Writer TV Pilot for 20th Century Fox 2015 LONG AFTER TONIGHT Writer Feature Film Hook Pictures & Creative England 2014 THE DESERVERS Writer & Co-Creator with Paul Abbott TV Series BBC 2014 DEAD I MAY WELL BE Writer TV Pilot for Anonymous Content 2014 SHAMELESS Writer 1 episode for series 10 Company/Channel 4 2011 HIT & MISS Writer 6 episodes of TV series for Sky / Red Productions / Abbott Vision, created by Paul Abbott and commissioned by Sky Atlantic Winner, Best European and International Fiction at the Television Festival de la Rochelle Nominated for Best Script Writer, 2012 RTS North West Awards Nominated -
Uk Producers in Cannes 2009
UK PRODUCERS IN CANNES 2009 Produced by Export Development www.ukfilmcouncil.org/exportteam The UK Film Council The UK Film Council is the Government-backed lead agency for film in the UK ensuring the economic, cultural and educational aspects of films are effectively represented at home and abroad. Our goal is to help make the UK a global hub for film in the digital age, with the world’s most imaginative, diverse and vibrant film culture, underpinned by a flourishing, competitive film industry. We invest Government grant-in-aid and Lottery money in developing new filmmakers, in funding new British films and in getting a wider choice of films to audiences throughout the UK. We also invest in skills training, promoting Britain as an international filmmaking location and in raising the profile of British films abroad. The UK Film Council Export Development team Our Export Development team supports the export of UK films and talent and services internationally in a number of different ways: Promoting a clear export strategy Consulting and working with industry and government Undertaking export research Supporting export development schemes and projects Providing export information The team is located within the UK Film Council’s Production Finance Division and is part of the International Group. Over the forthcoming year, Export Development will be delivering umbrella stands at the Toronto International Film Festival and Hong Kong Filmart; and supporting the UK stands at the Pusan Asian Film Market; American Film Market and the European Film Market, Berlin;. The team will also be leading Research & Development delegations to Japan and China. -
E C O N O M I C S
ECONOMICS OF MOBILE 2015 EDITION © 2015 SNL Kagan, a division of SNL Financial LC. All rights reserved. One SNL Plaza, Charlottesville, VA 22902 | Phone: 866.296.3743 | www.snlkagan.com Published May 2015 | ISBN: 978-1-939835-437 ECONOMICS OF MOBILE 2015 EDITION © 2015 SNL Kagan, a division of SNL Financial LC. All rights reserved. One SNL Plaza, Charlottesville, VA 22902 | Phone: 866.296.3743 | www.snlkagan.com Published May 2015 | ISBN: 978-1-939835-437 Economics of Mobile Programming SNL Kagan Industry Report Contents Executive Summary........................................................2 Mobile ads vs. video subscription services revenue, U.S. (chart) ................2 Comparing multichannel video subs and subscription OTT subs, Q4 2014 (chart)...3 The Addressable Market: Sizing the U.S. Smartphone and Tablet Audience .............4 Smartphone and tablets in use, U.S., 2008-2014 (chart) .......................4 Carrier Video Subscription Services Are No Competition for OTT/TV Everywhere .......5 Carrier-branded mobile video subs, 2007-2014 (chart)........................5 Carrier-branded mobile video revenue, 2007-2014 (chart) .....................5 OTT and mobile video year-end subs, 2007-2014 (chart) ......................6 Comparing multichannel video subs and subscription OTT subs, Q4 2014 (chart)...6 OTT and carrier-branded mobile video device compatibility ...................7 Price differential between OTT & carrier-based mobile video services, 2015 .......7 Free mobile video content, 2015.........................................7 -
UK Film Council Group and Lottery Annual Report and Financial Statements for the Year Ended 31 March 2011
UK Film Council Group and Lottery Annual Report and Financial Statements for the year ended 31 March 2011 HC 1391 SG/2011/142 £20.75 UK Film Council Group and Lottery Annual Report and Financial Statements for the year ended 31 March 2011 Presented to Parliament pursuant to Section 34(3) and 35(5) of the National Lottery etc. Act 1993 (as amended by the National Lottery Act 1998 and the National Lottery Act 2006) ORDERED BY THE HOUSE OF COMMONS TO BE PRINTED 14 JULY 2011 Presented to the Scottish Parliament pursuant to the Scotland Act 1998 Section 88 Company no: 3815052 London: The Stationery Office HC 1391 SG/2011/142 14 July 2011 £20.75 1 © UK Film Council (2011) The text of this document (this excludes, where present, the Royal Arms and all departmental and agency logos) may be reproduced free of charge in any format or medium providing that it is reproduced accurately and not in a misleading context The material must be acknowledged as UK Film Councilcopyright and the document title specified. Where third party material has been identified, permission from the respective copyright holder must be sought. This publication is also for download at www.official-documents.gov.uk This document is also available from the Department for Culture, Media and Sport’s website at: http://www.transparency.culture.gov.uk/arms-length-bodies/ ISBN: 9780102974485 Printed in the UK by The Stationery Office Limited on behalf of the Controller of Her Majesty’s Stationery Office ID: 2441293 07/11 13762 19585 Printed on paper containing 75% recycled fibre -
Iamabroadcaster Delegate Book 2015
P10 AGENDA P14 SPEAKERS Your guide to two days of Who is contributing to this AIB informative sessions outstanding conference Association for International Broadcasting #iamabroadcaster TWO DAYS OF HIGH-LEVEL DISCUSSION AND DEBATE ABOUT THE INTERNATIONAL MEDIA INDUSTRY | LONDON | 18-19 FEBRUARY 2015 Conference agenda AIB Association for International Broadcasting PRACTICAL INFORMATION #iamabroadcaster Twitter Mobile phones Video recording You can tweet about today’s event As a courtesy to your colleagues AIB will record the conference. - we have created the hashtag of at the conference, please ensure By entering the conference premises, you give your #iamabroadcaster for the that your mobile is switched to consent to be filmed. conference. silent when you are in the You also agree not to record or digitise any parts of Follow AIB @aibnews on twitter. conference. the event. Refreshments and lunch Transportation Refreshments will be served in The closest Underground stations are Regent’s Park – on the Bakerloo line – and Oxford the reception area adjacent to the Circus – on the Bakerloo, Central and Victoria lines. Traditional black cabs can be booked in main conference auditorium. advance through Radio Taxis by calling 020 7272 0272. Mini cabs can be booked through Lunch will be served in the Addison Lee by calling 020 7387 8888. We also recommend Uber which offers an efficient Florence Hall on the first floor. service in London. Quote the RIBA postcode when booking your taxi – W1B 1AD Smoking After the conference We would like to make this event non-smoking – and Photographs and speaker presentations - for those who have granted it is important to remember that smoking is not permission - will be available in the week following the event. -
BRITISH ACADEMY TELEVISION CRAFT AWARDS in 2016: Winners in *BOLD
BRITISH ACADEMY TELEVISION CRAFT AWARDS IN 2016: Winners in *BOLD SPECIAL AWARD *NINA GOLD BREAKTHROUGH TALENT sponsored by Sara Putt Associates DC MOORE (Writer) Not Safe for Work- Clerkenwell Films/Channel 4 GUILLEM MORALES (Director) Inside No. 9 - The 12 Days of Christine - BBC Productions/BBC Two MARCUS PLOWRIGHT (Director) Muslim Drag Queens - Swan films/Channel 4 *MICHAELA COEL (Writer) Chewing Gum - Retort/E4 COSTUME DESIGN sponsored by Mad Dog Casting BARBARA KIDD Jonathan Strange & Mr Norrell - Cuba Pictures/Feel Films/BBC One *FOTINI DIMOU The Dresser - Playground Television UK Limited, Sonia Friedman Productions, Altus Productions, Prescience/BBC Two JOANNA EATWELL Wolf Hall - Playground Entertainment, Company Pictures/BBC Two MARIANNE AGERTOFT Poldark - Mammoth Screen Limited/BBC One DIGITAL CREATIVITY ATHENA WITTER, BARRY HAYTER, TERESA PEGRUM, LIAM DALLEY I'm A Celebrity... Get Me Out of Here! - ITV Consumer Ltd *DEVELOPMENT TEAM Humans - Persona Synthetics - Channel 4, 4creative, OMD, Microsoft, Fuse, Rocket, Supernatural GABRIEL BISSET-SMITH, RACHEL DE-LAHAY, KENNY EMSON, ED SELLEK The Last Hours of Laura K - BBC MIKE SMITH, FELIX RENICKS, KIERON BRYAN, HARRY HORTON Two Billion Miles - ITN DIRECTOR: FACTUAL ADAM JESSEL Professor Green: Suicide and Me - Antidote Productions/Globe Productions/BBC Three *DAVE NATH The Murder Detectives - Films of Record/Channel 4 JAMES NEWTON The Detectives - Minnow Films/BBC Two URSULA MACFARLANE Charlie Hebdo: Three Days That Shook Paris - Films of Record/More4 DIRECTOR: FICTION sponsored -
Independent Television Producers in England
Negotiating Dependence: Independent Television Producers in England Karl Rawstrone A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts and Creative Industries, University of the West of England, Bristol November 2020 77,900 words. Abstract The thesis analyses the independent television production sector focusing on the role of the producer. At its centre are four in-depth case studies which investigate the practices and contexts of the independent television producer in four different production cultures. The sample consists of a small self-owned company, a medium- sized family-owned company, a broadcaster-owned company and an independent- corporate partnership. The thesis contextualises these case studies through a history of four critical conjunctures in which the concept of ‘independence’ was debated and shifted in meaning, allowing the term to be operationalised to different ends. It gives particular attention to the birth of Channel 4 in 1982 and the subsequent rapid growth of an independent ‘sector’. Throughout, the thesis explores the tensions between the political, economic and social aims of independent television production and how these impact on the role of the producer. The thesis employs an empirical methodology to investigate the independent television producer’s role. It uses qualitative data, principally original interviews with both employers and employees in the four companies, to provide a nuanced and detailed analysis of the complexities of the producer’s role. Rather than independence, the thesis uses network analysis to argue that a television producer’s role is characterised by sets of negotiated dependencies, through which professional agency is exercised and professional identity constructed and performed. -
What Millennials Want Fro M Tv
W HAT M ILLENNIALS W ANT F RO M TV Author: Colin Dixon, Founder and Chief Analyst, nScreenMedia | Date: Q3 2014 www.nScreenMedia.com This paper is made possible by the generous contribution of: Introduction After years of growth the pay television industry has Stalwarts of the industry are confident that they will hit a plateau. In the US, while the pundits argue about win the millennial consumer’s business. Jeff Bewkes, small gains and losses, the core number of households Time Warner Inc. CEO, said recently, “Once they with pay television has been stuck at about a hundred <millennials> take the mattress and get it off the floor, million for the last few years. In the UK, it is the same that’s when they subscribe to TV.” 1 Is he right, as story. Sky, the leading pay-TV provider in the UK, has millennials age will they subscribe to pay television, struggled to continue growth beyond 10.5 million just as their parents did? Unfortunately, there is homes. evidence that attracting the young customer is harder than it has ever been before. Though the overall number of subscribers may not be changing, operators must work very hard just to keep This paper will examine the dimensions of the those that they have today. In this daily battle for problems facing operators in attracting millennial customers, one of the most important age groups for consumers. It will look at the increasingly important operators to focus on is the 18 to 29-year-olds, the so- role of social media in the video experience, called millennial generation. -
Joseph Gilgun
www.hamiltonhodell.co.uk Joseph Gilgun Talent Representation Telephone Madeleine Dewhirst & Sian Smyth +44 (0) 20 7636 1221 [email protected] Address Hamilton Hodell, 20 Golden Square London, W1F 9JL, United Kingdom Television Title Role Director Production Company BRASSIC Vinnie Daniel O'Hara Sky PREACHER Series 1-4 Cassidy Various Sony TV/AMC Studios THIS IS ENGLAND '90 Woody Shane Meadows Warp Films/Channel 4 COMING UP - 'HENRY' Martin Michael Pearce Channel 4 RIPPER STREET Carmichael Various BBC MISFITS Series 3, 4 & 5 Rudy Wade Various Quite Funny Films/E4 THIS IS ENGLAND (Christmas Special) Woody Shane Meadows Warp Films/Channel 4 THIS IS ENGLAND '88 Woody Shane Meadows Warp Films/Channel 4 THIS IS ENGLAND '86 Woody Shane Meadows Warp Films/Channel 4 EMMERDALE Eli Dingle Various Yorkshire Television SORTED Car Mechanic Iain B. MacDonald BBC BIG DIPPERS Karl Kay Patrick Red Productions HOLLYOAKS Marcus Various Mersey Television SHAMELESS Series 2 Rico Various Channel 4 CORONATION STREET Jamie Armstrong Various Granada Film Title Role Director Production Company THE INFILTRATOR Dominic Brad Furman Good Films THE LAST WITCH HUNTER Ellic Breck Eisner Summit Entertainment PRIDE Mike Matthew Warchus Proud Films James Mather/Stephen St. LOCK OUT Hydell Europa Corp. Leger SCREWED Gleeson Reg Traviss Screwed Films HARRY BROWN Kenny Daniel Barber Marv Films THIS IS ENGLAND Woody Shane Meadows Warp Films Theatre Title Role Theatre/Producer HANKY PARK Nobby Lowry Theatre Edinburgh Fringe 2002/Unity BORSTAL BOY Charlie Theatre, Liverpool/Capitol -
In Film Mike Gubbins
TAKE 12 DIGITAL INNOVATION IN FILM MIKE GUBBINS 3 CONTENTS CHAPTER 1 A TAKE 12 INTRODUCTION 5 CHAPTER 2 THE TAKE 12 APPROACH 7 CHAPTER 3 CONTEXT 11 CHAPTER 4 CASE STUDIES 21 B3 23 BREAKTHRU FILMS 25 FILM EXPORT UK (FEUK) 27 HOLLYWOOD CLASSICS 29 LUX 31 METRODOME 33 MOSAIC FILMS 35 ONEDOTZERO 37 REVOLVER ENTERTAINMENT 39 VOD ALMIGHTY 41 WARP FILMS 43 ZINI 45 CHAPTER 5 INNOVATION READY 47 CHAPTER 6 CONCLUSIONS 55 Toolbox items are links to other resources and documents, referenced in boxes on many pages. These are links to richer content, more details, or useful documents produced during Take 12 that could be re-used for anyone seeking to apply lessons in their business. 4 5 CHAPTER 1 A TAKE 12 INTRODUCTION Take 12 Digital Innovation In Film was an normally be beyond the financial reach of most individual initiative that responded to two dawning SMEs. realities at the time of its launch in the And through working on a range of business plans Spring of 2008. and ideas, the programme would be able to create a framework for the ‘innovation ready’ business. The first was that digital change and the audience demand it had enabled would have profound and This process of evaluating plans, testing ideas irreversible consequences for the whole UK film industry against market realities and customer research, and (see Chapter 2). implementing specific projects was carried out in ‘live’ conditions, running alongside day-to-day work. The second was that the responsibility for dealing with these challenges – and for grasping the opportunities And the results were to be shared with the whole industry. -
Six Emerging Trends in Media and Communications Occasional Paper
Six emerging trends in media and communications Occasional paper NOVEMBER 2014 Canberra Melbourne Sydney Red Building Level 32 Level 5 Benjamin Offices Melbourne Central Tower The Bay Centre Chan Street 360 Elizabeth Street 65 Pirrama Road Belconnen ACT Melbourne VIC Pyrmont NSW PO Box 78 PO Box 13112 PO Box Q500 Belconnen ACT 2616 Law Courts Queen Victoria Building Melbourne VIC 8010 NSW 1230 T +61 2 6219 5555 T +61 3 9963 6800 T +61 2 9334 7700 F +61 2 6219 5353 F +61 3 9963 6899 1800 226 667 F +61 2 9334 7799 Copyright notice http://creativecommons.org/licenses/by/3.0/au/ With the exception of coats of arms, logos, emblems, images, other third-party material or devices protected by a trademark, this content is licensed under the Creative Commons Australia Attribution 3.0 Licence. We request attribution as: © Commonwealth of Australia (Australian Communications and Media Authority) 2014. All other rights are reserved. The Australian Communications and Media Authority has undertaken reasonable enquiries to identify material owned by third parties and secure permission for its reproduction. Permission may need to be obtained from third parties to re-use their material. Written enquiries may be sent to: Manager, Editorial and Design PO Box 13112 Law Courts Melbourne VIC 8010 Tel: 03 9963 6968 Email: [email protected] Contents Introduction 1 Communication goes OTT 6 Consumers build their own communications links 10 Wearable devices—personalised data arrives 15 ‘Flexible’ TV—online expands viewer options 19 Multi-screening is mainstream 25 TV is still the main news source, even as platforms shift 30 | iii Introduction The ACMA monitors industry and consumer data to identify changes in the media and communications environment and their impact on regulatory settings.