Venezuela has the largest proven oil reserves in the world. It was once so rich that Concorde used to fly from Caracas to Paris. But in the last three years its economy has collapsed. Hunger has gripped the nation for years. Now, it’s killing people and animals that are dying of starvation. The Venezuelan government knows, but won’t admit it!!! Four in five Venezuelans live in poverty. People queue for hours to buy food. Much of the time they go without. People are also dying from a lack of medicines. Inflation is at 82,766% and there are warnings it could exceed one million per cent by the end of this year. Venezuelans are trying to get out. The UN says 2.3 million people have fled the country - 7% of the population.
Showing posts with label HBO. Show all posts
Showing posts with label HBO. Show all posts

Thursday, October 31, 2013

Study: Only 14 Percent of Cable Customers Satisfied; 73 Percent Want a la Carte


Study: Only 14 Percent of Cable Customers Satisfied; 73 Percent Want a la Carte

PwC finds that though customers want changes, they aren't willing to pay much for them: "With TV in such a state of flux, companies must revisit their business models," says PwC analyst Matthew Lieberman.

A la carte television programming is a popular concept among consumers who presume they'd save money by ditching channels they don't watch, but given that only 38 percent would be willing to pay more than $3 per channel each month, it's not likely the idea will catch on with TV providers who aren't inclined to stray from bundling. Not at that price.

Hollywood, Take Note: Here's What TV Viewers Really Want (Guest Column)

Viacom CEO Philippe Dauman Doesn't Expect A La Carte Cable Law

A new study out Wednesday from PricewaterhouseCoopers says that 44 percent of consumers would like a total a la carte system and that 73 percent of consumers would prefer a la carte or at least more customization of packages than is currently offered. Only 14 percent are satisfied with the status quo.

When it comes down to it, though, even customers who want such changes aren't willing to pay much for them. Sixteen percent, for example, say they won't pay more than 99 cents a month for a channel they want, while 24 percent will pay $1.99 and 22 percent will pay $2.99.
At $8 a month per channel, the highest option offered in the PwC survey, only 5 percent say they'd pay up.

The survey also indicates that 57 percent would not pay more than 99 cents a month for access to an individual show each month, while 20 percent would pay $1.99 and 12 percent would pay $2.99. Only 2 percent would pay $8 a month for a show.

Despite the lowly amounts that surely would be dismissed as unfeasible by distributors and content providers alike, TV executives would be wise to note the popularity of the a la carte concept, says PwC entertainment, media and communications analyst Matthew Lieberman.

GUEST COLUMN: Hollywood, Take Note: Here's What TV Viewers Really Want

"With TV in such a state of flux, companies must revisit their business models," says Lieberman. "The winners will be those that offer custom services or curate content in the most appealing ways."
For its study, PwC also held focus groups. "I have a bunch of channels that just sit there," one participant said. "If they could take them off and lower my bill each month, that would be great."
If given the a la carte option, 65 percent say they would subscribe to 10 or more channels, the most popular being basic cable offerings, followed, in order, by premium cable, sports, lifestyle, news, premium sports and children's programming.

The comprehensive PwC report also explores ways that consumers currently watch television, how they discover new shows and the amount of advertising they're willing to view in lieu of subscription fees. In regard to the latter, the rule is simple: The smaller the screen, the fewer the number of ads viewers will tolerate.

TV online is dominated by Netflix to the tune of 63 percent, while 49 percent go to the websites of the TV networks for their online viewing, 35 percent to Hulu, 28 percent to Amazon Prime, 25 percent to iTunes and 24 percent to HBO Go. Three percent go to Pirate Bay.

Only 14 percent say they prefer a web service for their TV viewing, but 31 percent acknowledge that the availability of Netflix, Amazon, Hulu and others decreases the value of television to them.
PwC found that 55 percent of TV viewers use their mobile devices while watching television and, of those, 56 percent use them for activities specific to a particular TV show.

Lieberman said focus groups revealed that consumers want more programming guidance from TV service providers. For now, 59 percent say they find new shows through recommendations from friends or family, 45 percent through channel flipping and 42 percent via advertisements. Only 4 percent discover new shows through social media.

Not surprising, DVRs are hugely popular, with 57 percent of consumers saying they record most of their shows for later viewing. Ten percent say they engage in "binge viewing" and 7 percent acknowledge that they often record shows but never watch them.

PwC surveyed 1,008 U.S. consumers ages 18 to 59. Seventy percent of the respondents have cable TV, 41 percent have Netflix, 26 percent subscribe to satellite, 18 percent use Amazon Prime, 16 percent use iTunes and 8 percent use Hulu.

"This study shows that during the next five years, an even greater portion of viewing of and interaction with TV and film content will take place on multiple screens and devices," says Lieberman. "Hollywood must adapt accordingly."

Thank you Hollywood Reporter

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Saturday, September 8, 2012

Why Hollywood Loves Puerto Rico...


Versatile locations, attractive rebates and experience crews have everyone from the "Fast Five" producers to HBO and Showtime headed to the Caribbean hotspot -- it's more than just the rum.

Canada Tops World List of Cost-Effective Digital Locations, KPMG Report

Johnny Depp's 'The Rum Diary' to Open Bahamas Film Festival

'Game of Thrones' Photos Reveal Notable Locations

What do HBO's hit offbeat comedy Eastbound & Down, the Vin Diesel action extravaganza Fast Five and the Leonardo DiCaprio-produced thriller Runner, Runner have in common? Puerto Rico, one of Hollywood's new favorite shooting destinations. With about 70 percent of foreign shoots there employing the region as a convincing stand-in for other locations, the commonwealth has thrived lately thanks to a host of factors. Here are five reasons why Hollywood is increasingly heading to the "Island of Enchantment" for offshore shoots.


1. MORE BANG FOR YOUR BUCK

Puerto Rico boasts one of the most robust film incentive programs in all of Latin America and the Caribbean. In a nutshell, the region offers a 20 percent tax credit on payments made to above-the-line nonresidents, including producers, directors, writers and talent. Sweetening the deal is a 40 percent rebate on payments made to Puerto Rican residents for below-the-line services.
Since 2011, some 30 foreign productions in TV and film and advertising have reaped the benefits of the tax breaks, including Johnny Depp's The Rum Diary, which spent $20 million on location in Puerto Rico and received an $8 million credit in return (a good thing considering its tepid $13 million domestic box office).

2. NO FOREIGN EXCHANGE RATE

As a U.S. territory, Puerto Rico is in the unique position of being able to offer many conveniences of the mainland.

STORY: Who in Hollywood Owns a Private Island

Case in point: Puerto Rico uses the U.S. dollar as its currency, and its banking system operates under the same stateside protections. What's more, Puerto Rico abides by the same labor laws, and U.S. citizens need no passport to get there.

Says executive producer James Holt, who shot 2009's The Men Who Stare at Goats in Puerto Rico, "People don't necessarily register that this is a U.S. territory. It doesn't present the same headaches as filming in a foreign country."

3. LOCATION, LOCATION, LOCATION

As Puerto Rico's tax credits draw more productions, it's becoming more common for the region to double for other locations. Settings in and around the capital of San Juan were depicted as Rio de Janeiro in the action flick Fast Five. And for the current filming of the gambling drama Runner, Runner, starring Ben Affleck, Puerto Rico substitutes for Costa Rica.
VIDEO: 'The Rum Diary' Trailer: Johnny Depp Drinks His Way Through Puerto Rico
Puerto Rico consists of a main island surrounded by a cluster of smaller ones. As one might expect, Puerto Rico appeals to tourists thanks to a number of stunning locations, but what it offers filmmakers is diversity: from lush mountains and white-sand beaches to colonial-era architecture and modern, urban settings.

Puerto Rico also benefits from its proximity to the U.S. With Miami just 2½ hours away by plane (a $450 flight), producers get to reap the benefits of rebates while saving money on travel.

4. EXPERIENCED, ENGLISH- SPEAKING CREWS

Puerto Rico has hosted about 90 foreign shoots since 1999, and local crews have become skilled at servicing a range of productions, including such effects-laden tentpoles as Disney's Pirates of the Caribbean: On Stranger Tides, action vehicles like the James Bond film GoldenEye and TV series such as the Showtime dramedy The Big C.
"We traveled in with our department heads and most of our camera crew but then staffed the remainder of crew locally," says Laura Benson, production manager on The Big C. "They were extremely helpful and hardworking."
Another benefit: English is an official language in Puerto Rico.
The only drawback, Benson notes, was that the location has become so popular that two other productions were filming at the same time as The Big C, making it a challenge to round up a crew.

5. A SAFE SHOOTING ENVIRONMENT
What Puerto Rico lacks in soundstages and full-service facilities, it makes up for in safety. Rival location Mexico offers the whole enchilada when it comes to industry infrastructure, but its ongoing drug war has spooked some producers.

The higher-ups at HBO were taking no chances on season two of Eastbound & Down. When the comedy's setting moved from North Carolina to a fictional Mexican town, producers opted to shoot in Puerto Rico because of security concerns about filming south of the border.
Puerto Rico also offers peace of mind in the form of free hurricane insurance coverage. According to Puerto Rico film commissioner Mariella Perez, the government will pay a premium for hurricane insurance when producers want to shoot during hurricane season. Since the studios usually have umbrella coverage, the insurance is geared toward independent productions. Says Perez: "They're the ones that really need an extra push."
Thank you Hollywood Reporter


More info: www.hollywoodreporter.com

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Saturday, August 25, 2012

How Much TV Is Too Much TV?


As the Television Critics Association press tour winds down -- Friday is the last day -- one mostly exciting but partly troublesome theme has been unavoidable.

TCA 2012: Jenji Kohan, Mary-Louise Parker Reflect on Final Season of 'Weeds'
There's a lot of original scripted content looking to get noticed. And the vast volume of it, growing aggressively the past few years, is making it harder for cable channels to stand out and find an audience.

TCA 2012: TV's Winners, Losers and What Was Overheard

Obviously we're in a full-blown 52-week television season with no signs of letup. What that means for viewers is that their options have increased significantly, but so has the sense that they can't keep track of it as it piles up on their DVRs. Never has it been harder for niche cable channels to plant their flag and capture the attention of viewers. And while it might be a great time to be a voracious lover of television, with options galore, for content providers there's a lot of money at stake in this original scripted Renaissance.

On Tuesday, Hulu was at TCA touting its streaming options, which include a new Larry King talk show and the continued importing of British series such as The Thick of It, Rev and Misfits, plus the Israeli series Prisoners of War, which Showtime's Homeland is based on. Hulu also has a travel series called Up to Speed, hosted by Timothy "Speed" Levitch and directed by Richard Linklater.

At the same time Hulu was here, Netflix (which did not present at TCA but likely will soon) was in Las Vegas at the National Association of Broadcasters, touting its original content. The streaming service had Weeds creator Jenji Kohan, who is making Orange Is the New Black, a series about a woman's time in a minimum-security prison; Eli Roth, who is making the murder-mystery series Hemlock Grove with Famke Janssen; and the cast of cult comedy Arrested Development, which will have a high-profile season on Netflix before making its movie. Arrested Development has generated tons of buzz, as has the 2013 premiere of the David Fincher and Kevin Spacey project, House of Cards.

TCA 2012: HBO Execs on Larry David, Aaron Sorkin and the Future of 'Game of Thrones'
Whether any of that works remains to be seen – Lilyhammer, the series Netflix got its feet wet with, is still available on the service, but there's no truly accurate way to tell how it has performed (reviews were mixed). Nevertheless, this next batch is even more content for viewers to choose from, and this time it's a lot more high profile.

On Wednesday, back at TCA, new and returning series were presented by BBC America, including the much-anticipated second season of The Hour, plus a new espionage series called The Spies of Warsaw with David Tennant, based on the books of Alan Furst. But the big push for the channel is Copper, its first original drama, created by Will Rokos, the Oscar-nominated writer of Monster's Ball, who also has written and produced for Southland. The period piece is set in 1864 New York City (Five Points, Fifth Avenue "and the emerging African-American community in northern Manhattan) and centers on post-Civil War cops. It's co-created by Tom Fontana (who will be the showrunner) and executive produced by Barry Levinson.

HBO also presented at TCA on Wednesday, but the major push was the repositioning of Cinemax, which started a year ago with the launch of Strike Back, a series that garnered a surprising amount of critical acclaim and kicks off its second season later this month.

TCA 2012: 'Copper' EPs and Cast Tout BBC America's Big Budget Scripted Original
Kary Antholis, president of programming for Cinemax (and HBO miniseries), said the plan was to "distinguish the Cinemax brand as a premium destination for entertaining, cinematic and compelling original series."

It won't be easy to get out of HBO's shadow or shake off the old "Skinemax" moniker, but Strike Back was a successful start and the channel will follow in October with Hunted, "a conspiracy action thriller set in the world of corporate espionage," starring Melissa George (In Treatment) and created by The X-Files alum Frank Spotnitz (who also helped on the first season of Strike Back). Then, in early 2013, the channel will premiere the new series Banshee from creator Alan Ball.

Perhaps to drive home how hard it is to stand out in a crowded field, the pay cable channels Encore and Starz came to press tour Thursday, with the spotlight firmly on Boss, the Kelsey Grammer series starting its second season Aug. 17. Although many critics found Boss to be compelling if uneven, the performance of Grammer was brilliant from start to finish, but he was snubbed for an Emmy (something he noted at TCA).

Starz also made inroads with the Sopranos-meets-Mad Men style of Magic City, a series that really found itself near the end of its recently completed first season. Both Boss and Magic City built on the profile the channel created with Spartacus (it has other offerings in 2013, including Da Vinci's Demons from creator David S. Goyer).

TCA 2012: Larry King On His New Hulu Show and CNN's Ratings Woes

The question is, how do these series stand out in a crowded field? How do they reach a viewing audience seemingly overwhelmed with options? There's obviously a lot of money at stake. BBC America needs to come off as more than just a retransmission service for its Brit parent. Starz has to up its game to compete with HBO and Showtime. And Cinemax has to get more series on its bench to be taken seriously as a separate, worthwhile entity from HBO.

The plus side to all of this is that there's an incredible amount of quality in the marketplace. More scripted series means more people employed, just as it means a higher profile upon success for each entity producing the shows. But none of this is going to be easy. These channels are going to have to steal audience from more established outlets, which puts pressure on channels such as Showtime, HBO, AMC and FX to keep product in the pipeline or risk losing traction – and relevance – with the viewing audience.

It almost makes you think it would be crazy to get into the scripted game. And it just might be, since sustaining this amount of content will rely on generous advertising budgets, creatively effective promotion and serious online and social media components.

We're about to find out what the threshold is for how many series dedicated viewers can keep up with. Godspeed, everybody.

Thank you Hollywood Reporter


More info: www.hollywoodreporter.com
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Thank you for reading us,
Thank you for your time,
Hope you'll found the information you expected,
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Have a great day ☼
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--------------------------------------------------------> Submit to: Show contact info
In order to avoid all the SCAMS, we decide not to publish all the info of the recruter in the job postings. You'll find the Daily Password in our Monthly Newsletter. You can Subscribe to our Newsletter here Thanks. A.

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Saturday, August 13, 2011

iTunes Replay for Movies Held Up by HBO? No Studio Deals in Place Yet

iTunes Replay for Movies Held Up by HBO? No Studio Deals in Place Yet

iTunes Replay has been the target of several reports claiming that it will be delayed. Few have said much outside of the fact that the whole cloud-based movie and TV streaming service seems to hinge on contracts with the six large Hollywood studios. Well, it now seems that HBO, part of Time Warner, is what might be holding things up.

Why you ask? Well, first off, it's HBO, that should be enough. This is the pay-cable company that requires you to have a subscription to their channels so you can stream the content online (LAME!).

HBO, Gatekeeper to Movie Studios

HBO is also the gatekeeper to several other major studio properties for digital delivery (according to CNET) including 20th Century Fox , Warner Bros and Universal.
What seems to be going on is that HBO has first option on exclusive electronic distribution. This means that no legal digital distribution of any kind can be done without consent of HBO.
While it might seem strange that a cable channel has those rights, you have to think about it in the historical sense and the fact that HBO generally does get first air on many films, meaning they thought ahead to include this into their contracts.

It's also probably why HBO Go is cable-channel-subscription-restricted. They are protecting their own window and subscription base by making sure you cannot, ever get those films anywhere else, without paying them their pound of flesh.

Well, that, and they paid a lot of money for those rights and want to make sure they get a return (or a continuing return) on those payments as well as continue to be in a position to profit from them in the future. So they won't go frivolously offering up contracts that would then compromise their ability to be a competitor in the future.

Enter Apple, who suddenly wants to sign contracts with the six majors, including the three that HBO is the gatekeeper for, and you see their dilemma.

HBO needs to maintain the price point from how they see it. They don't want to be undercut which could then eat into their profits, especially not because they softened on their position and allowed someone to go ahead with a service that, while not competing direct with them in the beginning, eventually evolves to do so. It's just plain business smarts.

On the part of Apple, they might threaten that if HBO doesn't play ball for the Replay service, they can't have their content on the iTunes store. It would be a risky gamble on Apple's part since HBO does have a large amount of content there and pulling it all in hopes of bluffing their way into the HBO digital distribution window, could backfire and not only mean a serious depletion of the video library, but also serious consumer backlash.
What About the Other Big Three Studios?

The others probably won't be so hard to persuade. First off, Steve Jobs owns a lot of Disney, so that deal is all but done, really. Second, Sony loves digital distribution and needs all the cash they can get after three consecutive losses, this year being around $3B in the red. Finally, Paramount, part of Viacom, might simply take a Sotheby's approach to it all and let all the streaming services, cable and satellite operators duke it out in a no holds barred auction for the licenses to their content.That could stand to be a major windfall for them, and in the meantime, while they all fight over it, Paramount can just make the cash on their current deals or offer up the content themselves.
Benjamins Down the Rabbit Hole

Let's face it, this is all high-tech meets Hollywood and anytime these two sit down to the tea party, it's going to be numbers exponentially larger than the Mad Hatter's hat sizes. While dealing out sugar to one company, someone like Apple might also be slipping something noxious into the cups of others just to make sure they have the upper hand when the queen walks up and yells Off with their heads!
Honestly, the only real losers I see here are the consumers as we have to wait while they all sip their tea, eye up the competition and get down to the basics of it: money. Then, regardless of what they come up with, they will turn to the consumers with hands stretched forth and expect payment because, after all, they're obviously doing us a favor with all of this, right?
Yet, I still can't help but wonder, do we even need YAVSS? As in `Yet Another Video Streaming Service,' pay-per-view, subscription or otherwise. Honestly, how many places do we need access to Loverboy, Dirty Dancing and the Last Action Hero?

Thank you Hollywood Reporter


Have a great day ☼
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