From Director Michael Bay and Executive Producer Steven
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The Magic of Friendship Comes to the Big Screen in a New My Little Pony Movie from Hasbro's Allspark Pictures and Lionsgate
The Magic of Friendship Comes to the Big Screen in a New My Little Pony Movie from Hasbro's Allspark Pictures and Lionsgate August 7, 2015 The Magic of Friendship Comes to the Big Screen in a New My Little POny Movie from Hasbro's Allspark Pictures and Lionsgate SANTA MONICA, Calif. and PAWTUCKET, R.I., Aug. 7, 2015 /PRNewswire/ -- Lionsgate (NYSE: LGF), a premier next generation global content leader, and Hasbro, Inc. (NASDAQ: HAS), a global company creating the world's best play experiences, are teaming up to prove that "friendship is magic" as the two companies bring Hasbro's world famous MY LITTLE PONY franchise to the big screen. Meghan McCarthy, fan-favorite writer and producer for the My Little Pony: Friendship is Magic animated series, is penning the screenplay, which will be produced by Hasbro's Allspark Pictures. Lionsgate will be distributing and marketing the film globally (except in China). Tony® and Emmy Award®-winning actress Kristin Chenoweth will voice a new character in the film, which is Hasbro's first animated feature. The MY LITTLE PONY brand has been enchanting fans of all ages worldwide for more than 30 years with its socially relevant messages of acceptance and friendship. What started in 1983 as a toy line of colorful ponies with unique symbols, called "cutie marks," has since exploded into international, multi-media, pop culture phenomena that grossed over $1 billion in retail sales in 2014. The entertainment continues to engage and inspire kids and families in over 180 countries across the globe. "We are pleased to partner with Hasbro to bring their brands to audiences in new and exciting ways," said Lionsgate Motion Picture Group Co-President Erik Feig. -
Directors Guild of America Creative Rights Handbook 2011 - 2014
DIRECTORS GUILD OF AMERICA CREATIVE RIGHTS HANDBOOK 2011 - 2014 Los Angeles, CA (310) 289-2000 New York, NY (212) 581-0370 Chicago, IL (312) 644-5050 www.dga.org Taylor Hackford, President • Jay D. Roth, National Executive Director Dear Colleague, As Co-Chairs of the DGA Creative Rights Committee, we spend a lot of time talking to Directors about their Theatrical Creative Rights work problems. Often we nd that trouble begins with Committee TABLE OF CONTENTS those who are unclear about or unaware of creative Jonathan Mostow Steven Soderbergh rights protections they already have as members of the Co-Chair Co-Chair Directors Guild of America. David Ayer Taylor Hackford Donald Petrie CREATIVE RIGHTS CHECKLISTS Some DGA Directors have voiced frustration over Michael Bay John Lee Hancock Sam Raimi Checklists of DGA Directors’ creative rights, practices in the editing room; they did not know John Carpenter Curtis Hanson Brett Ratner codied in this handbook that the DGA Basic Agreement protects them from .…..................….…….…….…….…….….3 interference when they are preparing their cut. Some omas Carter Mary Lambert Jay Roach television Directors have expressed concern about being Martha Coolidge Jonathan Lynn Tom Shadyac excluded from the looping and dubbing process; they Wes Craven Michael Mann Brad Silberling were unaware that they, like feature Directors, have SUMMARY OF CREATIVE RIGHTS Andy Davis Frank Marshall Penelope Spheeris the right to participate in both. And many Directors A summary of a Director’s creative rights did not realize that, because they are Guild members, Roger Donaldson McG Betty omas under the Directors Guild of America Basic they have a right to additional cutting time if necessary David Fincher E. -
Hasbro Annual Report 2020
Hasbro Annual Report 2020 Form 10-K (NASDAQ:HAS) Published: February 27th, 2020 PDF generated by stocklight.com UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 Form 10-K ☒ ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended December 29, 2019 Commission file number 1-6682 Hasbro, Inc. (Exact Name of Registrant As Specified in its Charter) Rhode Island 05-0155090 (State of Incorporation) (I.R.S. Employer Identification No.) 1027 Newport Avenue Pawtucket, Rhode Island 02861 (Address of Principal Executive Offices) (Zip Code) Registrant’s telephone number, including area code (401) 431-8697 Securities registered pursuant to Section 12(b) of the Act: Title of each class Trading Symbol(s) Name of each exchange on which registered Common Stock HAS The NASDAQ Global Select Market 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 ☒ or 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. Yes ☐ or No ☒. 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. -
Spectacle, Labour and Utopia in Michael Bay's the Island Brian
The Cinema Within: spectacle, labour and utopia in Michael Bay’s The Island Brian Baker In this article, I will analyse Michael Bay’s The Island (2005) as a cinematic spectacle which, through its imagination of a particular dystopian future, lays bare the machinery of spectacular visuality that is crucial to the mode of Hollywood spectacle cinema that Bay’s work is often held to exemplify. I will suggest that the formal apparatus of the utopia/dystopia, and of science fiction itself, allows for a reading of The Island as a kind of self-conscious critique of spectacle cinema within the formal apparatus of spectacle cinema, which works in part through thematising visuality and in part through making visible the very apparatus of cinematic production itself. In this, I will draw upon the work of Jonathan Beller, and in particular The Cinematic Mode of Production (2006), and a mode of film theory and criticism in which cinema is foundationally implicated in the production of ideology. In Beller’s work, which draws on Guy Debord, Jean Baudrillard and Fredric Jameson, ‘cinema’ can be understood not only as an effect of the circuits of late capital, where spectacle is an extension of ideology, but as a means by which capital extends its operations into new productive domains, into attention and the ‘work’ of spectatorship. My reading of The Island suggests that it is a particularly important film in Bay’s oeuvre, in that it marks a point at which Bay’s visual strategies of cinematic spectacle turn back on themselves and the formal presentation of visuality within a utopian/dystopian paradigm affords the potential for critique, both within and without the film. -
It's the Season for Big Movies and Big Hits—And the Occasional Sleeper
Summer Blockbusters It’s the season for big movies and big hits—and the occasional sleeper. Here are directors living large in a selection of shots from some good old summertime films. HANGING OUT: (opposite) Michael Bay looks up at Mark Wahlberg in Transformers: Age of Extinction (2014). The Hong Kong set took 16 weeks to build in downtown Detroit and was so large, shooting had to be adjusted to allow the downtown light rail system to pass through; (above) Todd Phillips (center) sets up a driving shot en route to Las Vegas for The Hangover (2009). “There is a real freedom and an energy and an aggressiveness that comes with doing an R-rated movie,” Phillips said. “As a comedy director, it’s where you want to be.” 54 dga quarterly PHOTOS: (LEFT) FRANK MASI/WARNER BROS.; (OPPOSITE) ANDREW COOPER/PARAMOUNT PICTURES/EVERETT dga quarterly 55 THE NEXT THING: Jon Favreau (center) directs a scene with Robert Downey Jr. and Don Cheadle in Iron Man 2 (2010). Since so much of the technology depicted in the first Iron Man had inspired video games, Favreau pushed the sequel further into the future so that the look wouldn’t be behind the curve. WIZARD OF HOGWARTS: Ten years of storytelling comes to an end as David Yates prepares Lord Voldemort (Ralph Fiennes) for his impending death in Harry Potter and the Deathly Hallows: Part 2 (2011). Yates’ idea for his four Potter films was to make the magic “something visceral, frightening and percussive.” CHILD’S PLAY: Steven Spielberg (center) framed most of E.T. -
DONNA LANGLEY the Complete Pioneer of the Year Tribute Journal Will Be Available for Download on Our Website
2016 PIONEER OF THE YEAR DONNA LANGLEY The complete Pioneer of the Year Tribute Journal will be available for download on our website, www.wrpioneers.org/2016dinner. Thank you to all our sponsors. Renewable resources were used to produce this printed piece. A donation will be made on behalf of Donna Langley and the Will Rogers Motion Picture Pioneers Foundation to American Forestry. 2016 PIONEER OF THE YEAR Welcome On behalf of the Board of Directors of the Will Rogers Motion Picture Pioneers Foundation,thank you for attending the 2016 Pioneer of the Year Dinner. This is our 75th annual dinner, and this evening’s honoree Donna Langley, is a most-deserving one. The Pioneer of the Year award is bestowed upon an esteemed and respected member of the motion picture industry whose corporate leadership, service to the community and commitment to philanthropy is exceptional. Tonight we honor a visionary leader, a proven champion of the motion picture art form, and a woman who gives tirelessly of herself to our industry and to philanthropic causes-Donna Langley. The Pioneers Assistance Fund is the only industry program that provides both short- term and Quality of Life grants (long-term) to veterans of the motion picture industry who are encountering an illness, injury, or life-changing event. Thank you for donating generously to our industry charity-hopefully you will never have reason to call on the Pioneers Assistance Fund, but should the need arise we will be here to help. Please enjoy yourself tonight as we pay tribute to a true pioneer. -
The Cinema of Michael Bay: an Aesthetic of Excess
1 The Cinema of Michael Bay: An Aesthetic of Excess Bruce Bennett, Lancaster University UK fig. 1: An aesthetic of excess – the spectacle of destruction in Bad Boys II Introduction Michael Bay’s films offer us some of the clearest examples of technically complex, emotionally direct, entertaining contemporary cinema. He has built up a substantial body of work; in addition to directing music videos and TV adverts and producing films and TV series, he has also directed eleven feature films since the mid-1990s with budgets ranging from $19m to over $200m. To date, these films have grossed over $2bn at the box office and have a global reach, with his latest film, Transformers: Age of Extinction (2014) outstripping Titanic (Cameron, 1997) and Red Cliff (Woo, 2008) to become the highest-grossing film in China. Bay’s filmic style so typifies mainstream US cinema that his name has come to function as shorthand for the distinctive form of 21st century big budget cinema. Bay’s films are occasionally discussed in positive terms as instances of Hollywood cinema’s technological sophistication, but more frequently they are invoked negatively as illustrations of Hollywood’s decadence, its technical ineptness, conceptual superficiality and extravagant commercialism. As Jeffrey Sconce observes, for instance, discussing the emergence of a wave of self-consciously ‘smart’ American independently produced films in the 1990s: they are almost invariably placed by marketers, critics and audiences in symbolic opposition to the imaginary mass-cult monster of mainstream, commercial, Hollywood cinema (perhaps best epitomized by the 'dumb’ films of Jerry Bruckheimer, Michael Bay and James Cameron). -
Jake Jensen† I. INTRODUCTION
\\jciprod01\productn\T\TWR\3-2\TWR206.txt unknown Seq: 1 3-JAN-17 14:39 HOLLYWOOD BLACKOUT: IMPACT OF NEW ARCHITECTURAL COPYRIGHT LAW S ON THE FILMING INDUSTRY Jake Jensen† I. INTRODUCTION .......................................... 147 R II. OVERVIEW OF THE FILM INDUSTRY ..................... 148 R A. Importance of Filming Locations.................... 151 R 1. Cost-Effectiveness .............................. 151 R 2. Higher Quality.................................. 153 R III. OVERVIEW OF COPYRIGHT LAW ........................ 157 R A. Copyrights in General ............................... 157 R B. Architecture and Copyrights......................... 159 R C. De Minimis Solution and Its Problems .............. 160 R D. How Do Filmmakers Normally Go About Obtaining the Rights to Film Certain Monuments? ............. 161 R 1. Obtaining the Rights ........................... 161 R 2. Examples of Problems if Rights are Not Obtained........................................ 163 R IV. FREEDOM OF PANORAMA LAW S ........................ 165 R A. Freedom of Panorama Laws in General ............ 165 R B. What are the New Laws in Consideration? .......... 166 R C. Effect of New Laws on the Film Industry ........... 167 R 1. Tougher Enforcement........................... 168 R 2. Higher Prices ................................... 169 R V. SOLUTION ............................................... 170 R VI. CONCLUSION ............................................ 172 R I. INTRODUCTION Imagine a world where every movie has a black background instead of the beautiful scenery and architecture that is customary. Now imag- ine a world where every picture taken and posted on social media for friends to see has that same black screen. Unfortunately, these scena- rios are starting to become a reality. Several countries have started to enforce laws such as these on many of their national monuments through monuments copyright protections.1 † J.D. Candidate, May 2017, Texas A&M University School of Law; B.A., Latin American Studies, April 2014, Brigham Young University. -
Jody K Jenkins
JODY K JENKINS SELECTED CREDITS FRANK OF IRELAND (2020) WALES: LAND OF THE WILD (2019) TOMORROW (2017) MOON FOR QUAKER OATS-PEPSICO (2016) COCKNEYS vs ZOMBIES(2012) ATONEMENT(2007) BIOGRAPHY Jody Jenkins studied percussion and composition at the Royal Academy of Music, London. He now concentrates on composing for film and television, as well as collaborating with other film-composers as a percussionist and programmer/orchestrator. In the last few years Jody has scored a number of feature films, recently completing 'Tomorrow' (Dir. Martha Pinson, Exec. Prod. Martin Scorsese) ‘; Israeli/UK production ‘Lipstika’ and UK black-comedy ‘Cockneys Vs Zombies’. Jody has worked on countless film scores in a variety of roles within the music department, including percussion programmer for Academy Award winner Dario Marianelli, on films such as ‘Bumblebee’, ‘Paddington 2’, ‘V for Vendetta’ and ‘Atonement’. He also worked alongside Harry Gregson-Williams on the score for Disney’s ‘Narnia – Prince Caspian’ and as programmer for Javier Navarrete on Warner Bros. blockbuster: ‘Wrath of The Titans’. As a composer for television, Jody has established ongoing relationships with several production houses where his work has included composing the incidental music, orchestrating and conducting the BBC National Orchestra of Wales for ‘Wales: Land of the Wild’, BBC Science programme ‘Secrets of the Sexes’ and the score to the BBC/Tiger Aspect production ‘The Convent’. Many of Jody's orchestral works have been recorded by major production music libraries such as EMI, Universal and Audio Network, and have been synced on programs such as Top Gear, Brian Cox's 'Wonders of the Universe', Horizon and Panorama to name a few. -
Delegate List
Delegate List Updated Friday 24th May 2019 First Name Surname Company Kris Abbott The Walt Disney Company Malika Abdellaoui NEWEN DISTRIBUTION Mary-Anne Abekhe Sheffield Students' Union Angelo Abela Lime Pictures Lucy Acfield Guinness World Records Vikki Acornley Sheffield Hallam University Vikki Acornley Sheffield Hallam University Puteri Sabrina Affenddy Poggo Animation Sdn Bhd Ivan Agenjo Peekaboo Animation Juliane A. Ahrens Freelancer Alistair Aitcheson Incredible Playable Show Betty Akeredolu-Ale Freelancer Yinka Akinwunmi UTC Sheffield Aoife Alder ITV Zaafir Ali University of York Sophia Ali International Children's Television Jasmijn Alkaf Cinekid Foz Allan Bryncoed Productions Jo Allen BBC Chris Andrews Sweet Tooth Games Tom Angell Eagle Vs Bat Cristina Angelucci BM SRL Laura Annis Blue Zoo Jessica-Rose Armitstead Edgehill University Finn Arnesen Allspark (A Hasbro Company) Helen Arntsen Blue-Zoo Courtney Arumugam Gaumont Animation Grace Ataide-Lobo UTC Sheffield Jamie Badminton Karrot Entertainment Tim Bain Self-employed Kevin Bakhursdt Ofcom Zia Bales Turner Broadcasting Mathew Ball MMU Janet Balmforth DDA Blueprint Chris Banks Banks & Wag Justine Bannister JUST B Andrew Barnett Jones The Black Sheep Lauren Bartles The Children's Media Conference James Bartlett Sony Music Entertainment Irsa Basharat Brinsworth Academy Julian Bashford Visionality Liz Bastian Turner Broadcasting Martin Baynton Pukeko Pictures Ltd Daniel Bays Lightning Sprite Media Ryan Beaird imaginators.tv Tom Beattie Tiger Aspect Kevin Beimers Italic Pig Limited -
Michael Piotrowski Production Sound Mixer
Michael Piotrowski Production Sound Mixer (Selected Credits) With Love – Amazon Prime Series. Directors: Hiromi Kamata, Meera Menon, Linda Mendoza and Kimberly McCullough. Producers: Gloria Calderon Kellett, Pixie Wespiser Ambulance- Feature. Director: Michael Bay. Producer: Ian Bryce. WandaVision- Marvel Series Season 1. Director: Matt Shakman. Producer: Kevin Feige. Line Producer: Mary Kane. Production Supervisor: Jason Tamez. Dave- FX Series Season 1. Director: Greg Mottola. Producer: Kent Zbornak. AJ And The Queen- Netflix Series, Season 1. Producer/Director: Michael Patrick King. Line Producer: Paddy Cullen. UPM: Franklyn Gottbetter. Mayans MC- Pilot #2. Director: Norberto Barba. Producer: James Williams Jean-Claude Van Johnson- Amazon Series, Season 1. Director: Peter Atencio. UPM: Mary Kane. Line Producer: Diane Sabatini. The Real O’Neals- ABC Television, Season 1 & 2- Director: Todd Holland. Producers: Kent Zbornak, Kris Eber. Hand of God- Amazon Series, Season 2, Ep 201,202,203. UPM: Michelle Lankwarden. Line Producer: Craig Siebels. Just Add Magic- Amazon Series, Season 1- UPM: Pixie Wespiser. Salem Rogers- Amazon Pilot- Director: Mark Waters. UPM: Pixie Wespiser. Blood In The Water- Directors: Orson & Ben Cummings. Line Producer: Scott Fort. Producers: Gigi Causey, Mitch Solomon. Production Supervisor: Michael Watkins. Marvel One Shot: All Hail The King- Marvel Studios- Director: Drew Pearce. Production Supervisor- Jason Tamez. Production Manager: Louis D’Esposito. Adam- Director: Michael Uppendahl. Producers: Gary Gilbert, Jordan Horowitz, Matthew Myers. Production Supervisor: Tai Burkholder. Grounded- Director: Michael Uppendahl. Producers: Gary Gilbert, Jordan Horowitz, Matthew Myers. Production Supervisor: Tai Burkholder. Hostel: Part III- Director: Scott Spiegel. Producers: Scott Putman, Chris Briggs. Production Supervisor: Dan Mondschain. Have A Little Faith- Director: Jon Avnet. -
30 7 BOOKS (Page 435)
film review Rocky horror picture shows Deep Impact A Mimi Leder film Dreamworks/Paramount: 1998 Armageddon A Michael Bay film Touchstone Films: 1998 8 Kevin Zahnle The penultimate summer of the dying mil- lennium brings us two oddly similar Holly- wood disaster movies in which the Earth is threatened by heavenly bodies cast loose from the vault of fixed stars. INC. BRUCKHEIMER, PICTURES/JERRY TOUCHSTONE In Deep Impact, the antagonist is a comet, 10 kilometres in diameter, discovered as a telescopic smudge two years before a pre- dictable and adverse encounter with Earth. The plot centres on the story of humanity saving itself. In Armageddon, the antagonist Coming down to Earth: science is the first casualty in both Armageddon(above) and Deep Impact(below). is an asteroid “the size of Texas”, discovered 18 days before it is set to annihilate life on ludic nihilism. Meteor showers target major Earth. The plot is the story of humanity cities for bombing runs. Fashion models live ILM being saved by Hollywood action heroes. on deep-sea drilling platforms. Space shut- Armageddon is probably the more enjoyable tles are launched in pairs and fly in tandem film, because it is fast, loud and silly, whereas like Star Wars fighter planes through swarms Deep Impact tells its story poorly. But which of hyper-caffeinated asteroids. Boulders lift of them has the better science? Deep Impact off and fly about like flocks of pigeons. Wile gets close enough to make it at least possible E. Coyote dusts off the ashes and opens to discuss these matters.