Robert Greene CV FEB 2020
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AT&T-Time Warner Merger Overview
Updated January 26, 2018 AT&T-Time Warner Merger Overview On October 22, 2016, AT&T Inc. and Time Warner Inc. conglomerates’ cable networks license bundled packages of announced that they had entered into an agreement under programs to MVPDs such as Comcast, Charter, DIRECTV, which AT&T will merge with Time Warner. As of and DISH. September 30, 2017, the total transaction value was about $105.8 billion, including $84.5 billion for the purchase of Changes in the way consumers watch television are having Time Warner stock, and $21.3 billion for the assumption of profound effects on the television industry. Table 1 Time Warner’s debt. illustrates this trend. Growing numbers of households have dropped their MVPD service or chosen not to subscribe in The U.S. Department of Justice (DOJ) filed a civil antitrust the first place. Instead, many are subscribing to SVODs lawsuit in the U.S. District Court for the District of and/or other online video services, which, even after the Columbia to block AT&T’s proposed acquisition of Time cost of separately purchasing broadband service, can be less Warner on November 20, 2017. The trial, overseen by U.S. expensive. District Judge Richard Leon, is set to begin on March 19, 2018. Judge Leon said the trial would last about three Table 1. Television Distribution Sources weeks. (% of U.S. television households) The Two Companies 2014 2015 2016 2017 AT&T is the largest U.S. multichannel video program distributor (MVPD). It provides programming to Broadcast only 10% 11% 12% 13% subscribers through three subscription services: (1) MVPD 88% 86% 85% 82% DIRECTV, a satellite-based service with 20.6 million subscribers, (2) U-Verse, a service that uses the AT&T Broadband only 2% 3% 4% 5% fiber optic and copper infrastructure and has 3.7 million Total number of 115.5 116.4 116.4 118.4 subscribers, and (3) DIRECTV NOW, an online video TV households million million million million service with 787,000 subscribers. -
Ftc-2018-0091-D-0015-163436.Pdf
December 28, 2018 The Honorable Joseph Simons Chairman Federal Trade Commission 600 Pennsylvania Avenue, NW Washington, DC 20580 Dear Chairman Simons, Thank you for inviting public comment on the question of whether U.S. antitrust agencies should publish new vertical merger guidelines, and how those guidelines should address competitive harms, transaction-related efficiencies, and behavioral remedies. We submit these comments on behalf of the Writers Guild of America West (“WGAW”), a labor organization representing more than 10,000 professional writers of motion pictures, television, radio, and Internet programming, including news and documentaries. Our members and the members of our affiliate, Writers Guild of America East (jointly, “WGA”) create nearly all of the scripted entertainment viewed in theaters and on television today as well as most of the original scripted series now offered by online video distributors (“OVDs”) such as Netflix, Hulu, Amazon, Crackle, and more. The Non-Horizontal Merger Guidelines (“Guidelines”), originally issued in 1984,1 are the governing document of U.S. vertical antitrust enforcement. They rely, however, upon outdated economic theories that not only fail to promote and protect competition, but, in some cases, obstruct appropriate antitrust enforcement. Large vertical mergers in key industries have caused harm to consumers and failed to deliver on their promised innovations, efficiencies, and public benefits. The current Guidelines’ bias toward false negatives, or non-findings of harm, enables incumbents to consolidate market power and undermine competition. Recent vertical mergers in the telecommunications and entertainment industries illustrate the deficiencies of the current regulatory regime and provide evidence of the need for new guidelines. -
Delegates Guide
Delegates Guide 9–14 March, 2018 Cultural Partners Supported by Friends of Qumra Media Partner QUMRA DELEGATES GUIDE Qumra Programming Team 5 Qumra Masters 7 Master Class Moderators 14 Qumra Project Delegates 17 Industry Delegates 57 QUMRA PROGRAMMING TEAM Fatma Al Remaihi CEO, Doha Film Institute Director, Qumra Jaser Alagha Aya Al-Blouchi Quay Chu Anthea Devotta Qumra Industry Qumra Master Classes Development Qumra Industry Senior Coordinator Senior Coordinator Executive Coordinator Youth Programmes Senior Film Workshops & Labs Coordinator Senior Coordinator Elia Suleiman Artistic Advisor, Doha Film Institute Mayar Hamdan Yassmine Hammoudi Karem Kamel Maryam Essa Al Khulaifi Qumra Shorts Coordinator Qumra Production Qumra Talks Senior Qumra Pass Senior Development Assistant Coordinator Coordinator Coordinator Film Programming Senior QFF Programme Manager Hanaa Issa Coordinator Animation Producer Director of Strategy and Development Deputy Director, Qumra Meriem Mesraoua Vanessa Paradis Nina Rodriguez Alanoud Al Saiari Grants Senior Coordinator Grants Coordinator Qumra Industry Senior Qumra Pass Coordinator Coordinator Film Workshops & Labs Coordinator Wesam Said Eliza Subotowicz Rawda Al-Thani Jana Wehbe Grants Assistant Grants Senior Coordinator Film Programming Qumra Industry Senior Assistant Coordinator Khalil Benkirane Ali Khechen Jovan Marjanović Chadi Zeneddine Head of Grants Qumra Industry Industry Advisor Film Programmer Ania Wojtowicz Manager Qumra Shorts Coordinator Film Training Senior Film Workshops & Labs Senior Coordinator -
Directed By: Josephine Decker Written By: Sarah Gubbins Starring: Elisabeth Moss, Odessa Young, Michael Stuhlbarg, Logan Lerman
SHIRLEY Directed by: Josephine Decker Written by: Sarah Gubbins Starring: Elisabeth Moss, Odessa Young, Michael Stuhlbarg, Logan Lerman Running Time: 107 Minutes CORNERSTONE FILMS CONTACTS: Publicity: Anna Bohlin/ [email protected] Marketing: Joanne Michael/ [email protected] SYNPOSIS Fred and Rose move to a small Vermont college town in pursuit of a job for Fred as an assistant professor of literature. The young couple receives an offer for free room and board from professor Stanley Hyman, as long as Rose agrees to spend time cleaning up the home and looking after his wife, acclaimed horror author Shirley Jackson. At first Fred and Rose detest the rocky household of the eccentric couple, but they eventually establish deep bonds with their counterparts, which will test the limits of their young love. Director Josephine Decker makes an exciting return with a biographical portrait brought alive with energy and imagination, based on a novel by Susan Merrill and screenplay by Sarah Gubbins. Shirley is a fresh take on the period drama, full of contemporary intrigue and dynamic in style. It features a stellar lead cast—Elisabeth Moss, Michael Stuhlbarg, Odessa Young, and Logan Lerman—who all return to the Festival to give another memorable performance. DIRECTOR’S STATEMENT Shirley Jackson was a wildly unorthodox human and storyteller. Encountering her work was like finding a map towards becoming the kind of artist I would like to be. Daring. Intimate. Structured yet dreamlike. Shirley’s work rides on the skin between imagined and real, seducing with its oddness and humble cracks until you can’t tell if you’re looking up the stairwell or into your own mouth. -
The Eddie Awards Issue
THE MAGAZINE FOR FILM & TELEVISION EDITORS, ASSISTANTS & POST- PRODUCTION PROFESSIONALS THE EDDIE AWARDS ISSUE IN THIS ISSUE Golden Eddie Honoree GUILLERMO DEL TORO Career Achievement Honorees JERROLD L. LUDWIG, ACE and CRAIG MCKAY, ACE PLUS ALL THE WINNERS... FEATURING DUMBO HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD AND MUCH MORE! US $8.95 / Canada $8.95 QTR 1 / 2019 / VOL 69 Veteran editor Lisa Zeno Churgin switched to Adobe Premiere Pro CC to cut Why this pro chose to switch e Old Man & the Gun. See how Adobe tools were crucial to her work ow and to Premiere Pro. how integration with other Adobe apps like A er E ects CC helped post-production go o without a hitch. adobe.com/go/stories © 2019 Adobe. All rights reserved. Adobe, the Adobe logo, Adobe Premiere, and A er E ects are either registered trademarks or trademarks of Adobe in the United States and/or other countries. All other trademarks are the property of their respective owners. Veteran editor Lisa Zeno Churgin switched to Adobe Premiere Pro CC to cut Why this pro chose to switch e Old Man & the Gun. See how Adobe tools were crucial to her work ow and to Premiere Pro. how integration with other Adobe apps like A er E ects CC helped post-production go o without a hitch. adobe.com/go/stories © 2019 Adobe. All rights reserved. Adobe, the Adobe logo, Adobe Premiere, and A er E ects are either registered trademarks or trademarks of Adobe in the United States and/or other countries. -
Jason Schwartzman Elisabeth Moss Jonathan Pryce Krysten Ritter Joséphine De La Baume Listen up Philip a Film by Alex Ross Perry
Jason Schwartzman Elisabeth Moss Jonathan Pryce Krysten Ritter Joséphine de La Baume Listen Up Philip a film by Alex Ross Perry Following up his critically acclaimed THE COLOR WHEEL, Alex Ross Perry scripts a complex, intimate and highly idiosyncratic comedy filled withNew Yorkers living their lives somewhere between individuality and isolation. Jason Schwartzman leads an impressive cast including Elisabeth Moss, Krysten Ritter and Jonathan Pryce, balancing Perry’s quick-witted dialogue and their characters’ painful, personal truths. With narration by Eric Bogosian, we switch perspectives as seasons and attitudes change, offering a literary look into the lives of these individuals and the triumph of reality over the human spirit. Listen Up Philip was produced by Washington Square Films (the company’s follow-up film to the acclaimed All Is Lost) and Sailor Bear Productions, the team behind the 2013 Sundance hit Ain’t Them Bodies Saints. SYNOPSIS Anger rages in Philip (Jason Schwartzman) as he awaits the publication of his sure-to-succeed second novel. He feels pushed out of his adopted home city by the constant crowds and noise, a deteriorating relationship with his photographer girlfriend Ashley (Elisabeth Moss), and his own indifference to promoting the novel. When Philip’s idol Ike Zimmerman (Jonathan Pryce) offers his isolated summer home as a refuge, he finally gets the peace and quiet to focus on his favorite subject – himself. Philip faces mistakes and miseries affecting those around him, including his girlfriend, her sister, his idol, his idol’s daughter, and all the ex-girlfriends and enemies that lie in wait on the open streets of New York. -
Journey to the Academy Awards: an Investigation of Oscar-Shortlisted and Nominated Documentaries (2014-2016) PRELIMINARY KEY
Journey to the Academy Awards: An Investigation of Oscar-Shortlisted and Nominated Documentaries (2014-2016) PRELIMINARY KEY FINDINGS By Caty Borum Chattoo, Co-Director, Center for Media & Social Impact American University School of Communication | Washington, D.C. February 2016 OVERVIEW For a documentary filmmaker, being recognized by the Academy of Motion Picture Arts & Sciences for an Oscar nomination in the Best Documentary Feature category is often the pinnacle moment in a career. Beyond the celebratory achievement, the acknowledgment can open up doors for funding and opportunities for next films and career opportunities. The formal recognition happens in three phases: It begins in December with the Academy’s announcement of a shortlist—15 films that advance to a formal nomination for the Academy’s Best Documentary Feature Award. Then, in mid-January, the final list of five official nominations is announced. Finally, at the end of February each year, the one winner is announced at the Academy Awards ceremony. Beyond a film’s narrative and technical prowess, the marketing campaigns that help a documentary make it to the shortlist and then the final nomination list are increasingly expensive and insular, from advertisements in entertainment trade outlets to lavish events to build buzz among Academy members and industry influencers. What does it take for a documentary film and its director and producer to make it to the top—the Oscars shortlist, the nomination and the win? Which film directors are recognized—in terms of race and gender? -
Cartoon Network and Palace Entertainment Develop Premier Hotel Experience
OCT. 30, 2018 CARTOON NETWORK AND PALACE ENTERTAINMENT DEVELOP PREMIER HOTEL EXPERIENCE The Network’s First Hotel Will Open Summer 2019 October 30, 2018 – Some of the world’s most well-loved cartoon characters will be coming to life through a partnership announced today by Cartoon Network and Palace Entertainment. The Cartoon Network Hotel will be the premier family lodging experience in Central Pennsylvania. Joining a global portfolio of great Cartoon Network family experiences, the Network’s first hotel will feature 165 rooms and immerse guests in the animation and antics of characters from shows like Adventure Time, We Bare Bears, and The Powerpuff Girls. Through a combination of character animation and creative technology, the entire property will offer fun and unexpected ways to experience the animated worlds of Cartoon Network from the moment of arrival. The nine-acre destination will feature an interactive lobby with surprises around every corner, a brand-new resort-style pool and water play zone, an outdoor amphitheater with an oversized movie screen, lawn games, fire pits and more! The experience continues inside, where each guest room and suite will feature interchangeable show theming that can be customized around children’s preferences to make each visit a new adventure. An indoor pool, game room, kids play area, and Cartoon Network store will keep the fun going regardless of the season. The Cartoon Network Hotel is centrally located along the Route 30 commercial stretch in the heart of Lancaster County and is just steps from the castle doors of Dutch Wonderland Family Amusement Park. Palace Entertainment currently owns and operates more than 20 amusement parks, water parks, and family entertainment centers across the United States and Australia. -
A Film by Kirsten Johnson
presents filmswelike CAMERAPERSON A FILM BY KIRSTEN JOHNSON A Big Mouth Productions and Fork Films production A boxing match in Brooklyn; life in postwar Bosnia and Herzegovina; the daily routine of a Nigerian midwife; an intimate family moment at home: these scenes and others are woven into Cameraperson, a tapestry of footage captured over the twenty-five-year career of documentary cinematographer Kirsten Johnson. Through a series of episodic juxtapositions, Johnson explores the relationships between image makers and their subjects, the tension between the objectivity and intervention of the camera, and the complex interaction of unfiltered reality and crafted narrative. A work that combines documentary, autobiography, and ethical inquiry, Cameraperson is both a moving glimpse into one filmmaker’s personal journey and a thoughtful examination of what it means to train a camera on the world. United States • 2016 • 102 minutes • Color • 1.85:1 aspect ratio • In English, Bosnian, Arabic, Dari, Hausa, and Fur, with English subtitles • Format: DCP Canadian bookings and inquries: mike@filmswelike.com Canadian publicity: mallory@filmswelike.com DIRECTOR’S STATEMENT The joys of being a documentary cameraperson are endless and obvious: I get to share profound intimacy with the people I film, pursue remarkable stories, be at the center of events as they unfold, travel, collaborate, and see my work engage with the world. I experience physical freedom and the chance for artistic expression and discovery every time I hold a camera. No wonder I’ve been doing it for twenty-five years and love my life. And yet, the dilemmas I face while holding my camera are formidable. -
AFS Year 7 Slate MASTER
AFS YEAR 7 FILM SLATE "1 AFS 2018-2019 FILM THEMES *Please note that this thematic breakdown includes documentary features, documentary shorts, animated shorts and episodic documentaries American Arts & Culture Entrepreneurism Chasing Trane! Blood, Sweat & Beer! Gentlemen of Vision! Chef Flynn! Honky Tonk Heaven: Legend of the Dealt! Broken Spoke! Ella Brennan: Commanding the Table! Jake Shimabukuro: Life on Four Strings Good Fortune! More Art Upstairs! Knife Skills! Moving Stories! New Chefs on the Block! Obit! One Hundred Thousand Beating Hearts! Restless Creature: Wendy Whelan! Human Rights Score: A Film Music Documentary! STEP! A Shot in the Dark! All-American Family! Disability Rights Bending the Arc! A Shot in the Dark! Cradle! All-American Family! Edith + Eddie! Cradle! I Am Jane Doe! Dealt! The Prosecutors! I’ll Push You! Unrest! Pick of the Litter! LGBTQI Reengineering Sam! Served Like a Girl! In A Heartbeat! Unrest! The S Word: Opening the Conversation Stumped# About Suicide! Stumped! "2 Mental Health Awareness Sports Cradle! A Shot in the Dark! Served Like a Girl! All-American Family! The S Word: Opening the Conversation Baltimore Boys! About Suicide! Born to Lead: The Sal Aunese Story! The Work! Boston: The Documentary! Unrest! Down The Fence! We Breathe Again! Run Mama Run! Skid Row Marathon! The Natural World and Space Take Every Wave: The Life of Laird A Plastic Ocean! Hamilton Above and Beyond: NASA’s Journey to STEM Tomorrow! Frans Lanting: The Evolution of Life! Bombshell: The Hedy Lamarr Story! Mosquito! Dream Big: -
2015 Catalogue
14th Annual ASHLAND INDEPENDENT FILM FESTIVAL April 9-13, 2015 ashlandfilm.org PAGE 1 CONTENTS PO Box 218 Box Office 3 Ashland, Oregon 97520 Venues 5 541.488.3823 Support AIFF 7 [email protected] Welcome 8 ashlandfilm.org Sponsors & Grantors 11 Parties 14 Rogue Award 17 Connect with #AIFF15 Sneak Preview Screening 19 twitter.com/ashlandfilm Rebel Heart Filmmaking Workshop 20 facebook.com/ashlandfilm Filmmaker TalkBack Panels 21 blog.ashlandfilm.org instagram.com/ashlandfilm Locals Only & LAUNCH Films 22 Family Films 25 Awards & Jurors 26 SAVE THE DATES! Films 29 Documentaries 30 REEL to ROGUE: October 1, 2015 Short Documentaries 49 World FIlm Week: October 2-8, 2015 Features 59 15th Annual AIFF: Shorts 68 April 7-11, 2016 The AIFF Team 84 Volunteers 86 Donors & Members 88 The 2015 Festival art was painted on Thanks 90 location by Gabriel Mark Lipper Schedule 91 Film Index 96 Graphic design by CarterWorks PAGE 2 PAGE 3 BOX OFFICE & MERCHANDISE The AIFF Box Office brought to you by MARCH 16 Tickets go on sale to Members MARCH 22 Tickets go on sale to the General Public PURCHASE TICKETS ONLINE at ashlandfilm.org No service fee thanks to Project A! TICKET PRICES Films PRE-SALE TICKETS/WILL CALL General: $13 Seniors (62+): $12 the Information Kiosk, Downtown Ashland Plaza o Students (w/valid ID): $6 t P Member Pre-sale Dates: March 16-21, 4-6pm Oregon Trail Card Holders: $5 (Box Office only) E Online ordering begins at 10am PST Special Events R Benefactor, Executive O Rebel Heart Filmmaking Workshop: Producer & Producer Monday, March 16 E $20 general/$10 student Director Tuesday, March 17 P Back on Board: Greg Louganis Fan Wednesday, March 18 L Special Screening: $15 general/$8 student Cine Thursday, March 19 W E Indie Friday, March 20 Locals Only Film Programs O ! Friend Saturday, March 21 Free (ticket required) P General Public Pre-sale Dates/Hours Filmmaker TalkBack Panels Sunday, March 22, 4-6pm Free (ticket required) Check website for additional hours Parties DURING FESTIVAL TICKETS/WILL CALL Opening Night Bash: $30 Varsity Theatre, 166 E. -
Peter Larsen
Peter Larsen pasadenastarnews.com/2019/02/06/20-movies-to-see-at-the-red-bull-music-festival-la-film-series February 5, 2019 By Peter Larsen | [email protected] | Orange County Register PUBLISHED: February 6, 2019 at 2:05 pm | UPDATED: February 13, 2019 at 4:57 pm In the late 1970s, when punk rock still seemed dangerous – no, it’s true, kids, you can ask your mom and dad – the venerable old Ukrainian Culture Center in East Hollywood was one of the few places in Los Angeles willing to host shows for bands such as Black Flag and Bad Brains, the Minutemen and the Circle Jerks. These days it’s home to tamer events like the centennial of the late great Ukrainian-American actor Volodymyr Palahniuk – you may know him as Oscar- winning actor Jack Palance – or the annual Psyanka Festival celebrating Ukrainian-style Easter egg decorating. But music returns to the UCC for a few weeks this month when the Red Bull Music Festival holds its Center Channel film series there, screening movies that make use of genres from rock and jazz to instrumental and dance, including an opening day tribute to the punk bands that once rattled its gilded art deco rafters. From Friday, Feb. 8 through Wednesday, Feb. 20, some 20 films will screen, many of them with guests from the productions either on screen or behind the scenes. 1/17 2/17 Sound 3/17 4/17 5/17 6/17 7/17 8/17 9/17 10/17 11/17 12/17 13/17 1 of 16 New age composer Iasos will perform with special visuals during the Red Bull Music Festival LA’s Center Channel film series in Los Angeles in February 2019.