Hollywood Backs Antipiracy Curriculum for Elementary Schools...

Hollywood Backs Antipiracy Curriculum for Elementary Schools...

When it comes to learning about the evils of Internet piracy, Hollywood studios and the major music labels want kids to start young.

A nonprofit group called the Center for Copyright Information has commissioned a school curriculum to teach elementary-age children about the value of copyrights.

The Los Angeles Times reports the nonprofit is backed by the MPAA, the RIAA and others.
The curriculum, still in draft stage, includes lesson plans, videos and activities for teachers and parents to help educate students about the "importance of being creative and protecting creativity."

Some critics say the curriculum would promote a biased agenda. Others contend it would use up valuable classroom time when public schools are already struggling to teach the basics.

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How to Shoot a Project in Canada...

THR's city-by-city guide to Hollywood's neighbor to the north, from Vancouver to Hamilton, Ontario.
Toronto 2012: Canada's Alliance Films Launches Online Portal for Festival Launch Titles
Toronto 2012: Where to Shop If You're in a Clothing Jam
Toronto 2012: The A-List With Films for Sale

Toronto 2012: FilmDistrict's Peter Schlessel on the Fest -- 'It's My Favorite Acquisitions Market'
As it doubles for New York, Moscow and elsewhere, Hollywood's neighbor to the north plays host to Twilight and scads of TV series.

VANCOUVER

Recent Shoots: The CW's Supernatural and its upcoming Arrow, the TNT sci-fi drama Falling Skies, Fox's Fringe and the ABC fantasy series Once Upon a Time.
PHOTOS: Toronto Film Fest's Top Ten Fashion Statements
British Columbia has, for well more than a generation, served as Hollywood's backlot for its varied locations, from arid deserts and cattle ranches to rural ghost towns and glittering skyscrapers. Multicultural Vancouver has doubled for Moscow, Los Angeles, Shanghai and London. While the city offers a range of diverse settings, popular shooting locations include Chinatown, the University of British Columbia and Stanley Park.

That, plus local tax incentives, saw The CW shoot five of its eight pilots for the 2012-13 season in Vancouver, including Arrow, Cult and First Cut.
Shooting in the city also offers proximity to the coastal beaches and rainforests of Vancouver Island. In recent years, the island has played host to shoots for The Big Year, with Owen Wilson and Jack Black, and The Twilight Saga: New Moon.

In addition to a developed film and TV production infrastructure, backed by about 30 soundstages, Vancouver has a growing digital animation and visual effects industry, complete with dedicated tax credits and a talent pool. That makes British Columbia a top production center for the major Hollywood studios, one that rivals Los Angeles and New York. Says Tim Iacofano, producer on the upcoming ABC drama Red Widow: "Vancouver is a short flight and in the same time zone as Los Angeles. If need be, you can have people on the first flight out of Los Angeles and have them working in the afternoon."

Toronto 2012: Canada's Alliance Films Launches Online Portal for Festival Launch Titles

MONTREAL

Recent Shoots: ABC Studios' Zero Hour pilot, Relativity Media's Mirror Mirror and the Bradley Cooper starrer The Words.
Source Code producer Hawk Koch recalls how shooting the psychological thriller in Montreal was made easier because much of the film takes place inside a relocated Chicago commuter train. That meant the Jake Gyllenhaal starrer could be produced on a soundstage at Mel's Cite du Cinema complex, with cost savings to boot. Before choosing the Canadian city, Koch and his team scouted Pennsylvania, New York and Atlanta. So why Montreal? In part because of Quebec's generous 25 percent all-spend tax credit. Says Koch, the new president of the Academy of Motion Picture Arts and Sciences, "We went there because the movie took place 90 percent in a train and we needed a stage and, from a monetary standpoint, it made the most sense."
Foreign location shooting helps fuel annual production volume of about $800 million in Montreal, most of it coming from French-language film and TV projects. So the local crews and acting talent are busy, experienced and speak fluent English. In addition to its greenscreen soundstages, Montreal has a historical old quarter, providing a wide range of settings for modern or period shoots on locations that can appear North American or European. The city also has more than 40 visual effects companies, making it the world's seventh-largest postproduction hub.

Toronto 2012: Where to Shop If You're in a Clothing Jam

TORONTO

Recent Shoots: Silent Hill: Revelation 3D, the RoboCop reboot, the Jake Gyllenhaal starrer An Enemy and the Stephen King novel adaptation Carrie.

Genre auteur Guillermo del Toro didn't just shoot his sci-fi epic Pacific Rim on a few of the stages at Pinewood Toronto Studios. The creature feature was shot on all seven stages of the megastudio, with one stage divided into two to create yet more space for del Toro to move his cameras. The shoot follows a busy year for Canada's largest production center as it continues to entice L.A. producers with a potential 54 percent of labor expenditure savings, thanks to traditional and digital tax credits and the federal government's 16 percent tax credit. Toronto also has a slew of studio facilities and a vast supply of technical and creative talent, and it routinely doubles for New York, Boston, Washington and Chicago while offering an array of services to help calm anxious filmmakers. Says Pacific Rim executive producer Callum Greene, "It's not just a tax break that steers a film of this size into port -- it's also the needed security of knowing we'll be taken care of at a higher level wherever we land."

HALIFAX

Recent Shoots: The William Shatner TV show Weird or What?, the Jason Buxton debut feature Blackbird and the third season of stand-up series The Candy Show.
Tom Selleck should qualify for a Canadian passport by now. The actor was recently in Nova Scotia to shoot Jesse Stone: Benefit of the Doubt for CBS, ­the eighth in the series of TV movies shooting there since 2004 that has the Atlantic province double as Massachusetts. There's strong local government support for foreign location shooting, with Nova Scotia offering some of Canada's most generous tax incentives. The province also offers a regional and frequent filming bonus to entice returning shoots like Jesse Stone. Nova Scotia boasts varied locations, from urban streets in Halifax to historic villages and scenic coastal towns like Lunenburg.

Says producer Mark Montefiore, who shot Picnicface, a series for Canada's The Comedy Network, in Halifax, "It's one of the only places in Canada where you get invited over to dinner by the crew after you wrap."

Toronto 2012: The A-List With Films for Sale

HAMILTON

Recent Shoots: The Universal sci-fi series Rewind, Resident Evil: Retribution and Lifetime telefilm The Cold Spring.
When Anthony Zuiker, the CSI: Crime Scene Investigation creator, teamed with Yahoo to make the online thriller Cybergeddon, a 90-minute scripted drama, he didn't follow the herd and shoot in Toronto. Instead, he took his crew and talent an hour south to Hamilton, Ontario, to tap a 10 percent regional tax-credit bonus. Other advantages include skilled technical and creative talent, readily available soundstages and equipment, diverse locations and a local film commission to help at every turn.

Says Zuiker, "We're still stretching every dollar we can to make the best content possible, but that's all part of the fun."

BY THE NUMBERS

16% of tax credits that can be combined with the Quebec film and TV tax credit.
10% of the regional tax-credit bonus offered by Hamilton.

Toronto 2012: FilmDistrict's Peter Schlessel on the Fest -- 'It's My Favorite Acquisitions Market'

SHOOTING NORTH OF THE BORDER: 

Canada is so competitive that even the major urban centers vie with one another for location shoots. Here's what each specializes in.
Montreal: European Settings
Old Montreal has period buildings and cobblestone streets dating to the 17th century. The Words, starring Bradley Cooper and Olivia Wilde, saw the city pass for Paris and New York.
Halifax: New England
The city's marine setting on the Atlantic makes it ripe to double for New England, as on the Syfy drama Haven and in the Angela Bassett starrer Jumping the Broom, in which Halifax stood in for Martha's Vineyard.

Toronto: Visual Effects

As Canada's top visual effects hub, the city lures Hollywood to bring FX-heavy movies such as Still Seas and Total Recall to take advantage of tax credits that can chop off 60 percent of a project's budget.
Hamilton: Working-Class Grit
They don't call it "Steeltown" for nothing. The 2005 action film Four Brothers used the Stelco and Dofasco steel mills as a backdrop, and Ron Howard's Cinderella Man shot a dockside scene at Hamilton Harbour.

Vancouver: Big-Budget Shoots
With about 30 soundstages, the city routinely hosts tentpoles such as Mission: Impossible -- Ghost Protocol, Man of Steel and Rise of the Planet of the Apes.

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More info: www.hollywoodreporter.com
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Brooklyn Navy Yard may become site of new media and film campus

Most New Yorkers probably think of the Brooklyn Navy Yard as the decrepit out-of-the-way spot you have to schlep to when your car gets towed. But that is beginning to change. The nonprofit Brooklyn Navy Yard Development Corporation and developer Douglas Steiner have put together a proposal to turn the Yard’s abandoned 300-acre Naval Annex Historic Campus into a media, film, and technology complex, which would connect to the already existing 15-acre site of the developer’s Steiner Studios production facility. The complex would cost nearly $400 million and take 12 years to build, and would use the nine historical buildings on the Historic Campus, while creating five new structures. There would be 328,000 square feet devoted to media companies and academic programs, while 100,000 square feet would be used for new stages for film and TV, including the first underwater stage in the country and the first back lot on the East Coast to feature a New York City streetscape.

Steiner has committed nearly $346 million for the new complex. He is seeking $35 million to build out the site’s infrastructure, including water, sewers and electricity: $17.5 million from the Empire State Development Corporation’s Regional Council and an equal amount from the city. (As Steiner sits on the Regional Council, he has reclused himself from the matter.) Feedback on the proposal is expected this fall.

The 60,000-square-foot Greek Revival hospital, built in 1838 from Tuckahoe marble, would be the campus’s centerpiece. “My dream is to have an anchor tenant like Google or Apple,” Steiner told The New York Times. He is also hoping to build a Hollywood-style back lot, where filmmakers could recreate New York locations. Steiner thinks the lot could also become a draw for tourists.

The developers estimate that the project would create thousands of jobs during its development and construction, and when completed, the 50-acre media campus would employ approximately 6,000 New Yorkers.

What do you think of this new use for the Brooklyn Navy Yard? Let us know in the comments section.

More info: http://production2blog.com/
http://production2blog.com/2012/08/21/brooklyn-navy-yard-may-become-site-of-new-media-and-film-campus/
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Russian Online Video Service ivi.ru Inks Deals with Hollywood Majors...

ivi.ru became the first company in Eastern Europe to have licensing deals with all of the majors.

MOSCOW -- The Russian company ivi.ru has become the first online video service in Eastern Europe to have signed agreements with all the Hollywood majors.
OUR EDITOR RECOMMENDS

'The Hollywood Reporter: Russian Edition' Celebrates Launch in Moscow 

The company said in a statement that it had finalized the latest in a series of licensing deals with the majors and now is offering to its users 65,000 items of video content, including that licensed from 20th Century Fox, Walt Disney, Sony Pictures, Warner Brothers, Paramount Pictures and NBC Universal.

"The reached agreements are an important step for the development of the legitimate video market in Russia and fighting piracy in the digital content industry," Oleg Tumanov, chairman of the board and managing director of ivi.ru, said in a statement. "The partnership with Hollywood's leading studios is opening up new opportunities and creating advantages for our users and for the sector in general."

In the near future, 30 out of 50 all-time box office champions are to be made available to ivi.ru users, the company said.

ivi.ru is Russia's leading online video service, with a market share of about 30 percent, according to the research group Romir Gallup International. It uses a combination of ad-sponsored, pay-per-view and subscription models. Recent box office hits are available to the service's users at 79 roubles ($2.7) per movie.

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The Painful Death of Hollywood's Producers: No First Class, No Calls Back...

Even high-flying big names are being treated badly as studio economics mean cutbacks; says one producer, "I feel like Willy Loman."

This article originally appeared in the Oct. 4 issue of The Hollywood Reporter.

You aren't going to get me to talk about how awful the studios are!" says one veteran producer before launching into a tirade on the subject. "The studios just don't respect what producers do. They'd rather not have them around. … Studios have way too many executives and waste way too much money on that."

Says another producer who ranks among the Hollywood elite: "The bigger the movies get, the more executives feel they're producing them. I believe there are more executives being dispatched to locations than ever before. … When the executive says 'my' movie, it drives you crazy, and it's happening more and more."

With the movie business undergoing a historic realignment as DVD revenue has shriveled and new technology has not yet generated cash to take its place, the issues facing the business are squeezing the top rank of producers, including those who still have generous deals with studios -- on paper. It's trickle-up economics, and those who have long been used to having their voices respected are finding that sometimes -- ouch -- their calls aren't even returned.

Some believe that life has changed forever in the movie business, while others -- noting that studios are making increasingly homogeneous movies -- are hoping that eventually it will become clear that audiences crave something different and that producers are the ones with the experience and skill to develop and execute original, sometimes even great, material.

Evidence of the pressure studios are imposing on big-name producers is everywhere. Jerry Bruckheimer just underwent what he described to THR as the most difficult negotiation of his career with Disney to launch The Lone Ranger with Johnny Depp. Ron Howard and Brian Grazer of Imagine have seen their rich deal at Universal cut back and the studio pull the plug on their ambitious fantasy Western The Dark Tower, based on a series of books by Stephen King. A-list producers Frank Marshall and Kathleen Kennedy just departed from Sony after two years without a green light. Even the industry's ultimate 800-pound gorilla, Steven Spielberg, has had struggles raising money.

Some of the industry's most successful producers say the studios are making them feel, as one puts it, increasingly "irrelevant." And a top executive at one studio acknowledges that in many cases, they have a point. "I wish I could tell you they're wrong or they're being babies," he says. "But [their complaints] are legitimate. And it doesn't feel like it's to the benefit of the movie business. But studios are more involved in movies because the stakes are so high. You get pressure from the bosses to be sure you're managing the projects well -- but that used to be the producer's job."

And that's from an executive at a studio that is considered relatively respectful. Not all are. There seems to be broad agreement among high-level producers that Fox has long been the most contentious with producers, even before the economics became so challenging, largely due to a strong-arm culture created by studio chief Tom Rothman. Disney, with suppliers such as Marvel and Pixar and its focus on branded entertainment, now makes few movies of its own and scarcely seems to need producers. Paramount and Universal also seem largely indifferent, except for a clutch of stars like J.J. Abrams (who, notably, is a filmmaker himself). Sony and Warner Bros. -- in that order -- get the highest marks.

"Even when they're f--ing you, they're apologetic," says one prominent producer. "Fox, Paramount, Universal -- it's simply: 'This is what we're doing. Sorry we forgot to tell you.' "

Says producer Laurence Mark (Julie & Julia): "Sony's the only studio that sort of harks back to the old studio days. Amy [Pascal] deals with the big picture. She's happy to make bold moves. They have great relationships that pay off." Notably, Sony has made The Social Network and Moneyball with powerhouse producer Scott Rudin -- films that other studios would have been unlikely to make. (In fact, one producer says he has heard executives at other studios make snide comments about Sony's decision to take a chance on Moneyball.) But some with ties to the studio say even Pascal has had to trim her sails in the current environment.

"The studios trust a smaller and smaller number of producers," says Marshall Herskovitz, president emeritus of the Producers Guild of America. But he adds that he got that memo long ago. "I don't have a deal anymore," says Herskovitz. "Am I upset? Yes. But there's no point in crying about it." Instead, he says, he and many others have adapted: "Every producer I know has had to learn about independent financing. It may be that these tectonic shifts are finally hitting people who thought they were invulnerable, but most people have adapted. Producers have moved into television and new media and looked for other ways to finance features because that's what producers do. They're coping." (One producer says he has, like many others, sought opportunities in television, but even that is a struggle. "Suddenly you're going from office to office, peddling TV," he says. "There's a little bit of a Willy Loman aspect to it.")

"We can yell our heads off, but we collectively need to adapt to changes in the business," says current guild co-president Mark Gordon. "The world is changing, and we have to change with it."

Perhaps nothing illustrates more vividly the difference between then and now for producers than the Imagine experience. Last decade, Universal was giving Howard and Grazer a hefty $17 million a year in overhead as well as fees of $2 million up front against at least 5 percent of gross (more if Howard was directing). The partners even had two "put" pictures -- meaning they could force projects into Universal's pipeline -- though they never exercised that option. Their deal has since been trimmed to $8 million-plus a year, according to a knowledgeable source, but when the time comes for renegotiation (it runs through 2013), they are sure to face further pressure.

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PGA Predicts Quick Studio Approval of New 'p.g.a.' Mark...

In the wake of a Justice Department letter greenlighting the Producers Guild's new "p.g.a." credit designation, guild executive director Vance Van Petten tells The Hollywood Reporter that he's confident the designation will be adopted shortly by a majority of studios.
"With this letter, we will be able to close (agreements with) four studios imminently," Van Petten said in an interview.
The designation is intended to indicate that a motion picture producer has performed the functions of a producer on a project, as opposed to having received a vanity credit. Eligibility requires a "Produced by" credit and the credited producer having "performed a majority of the producing duties on the film," according to a PGA statement to THR explaining the designation.
The designation would follow a producer's name in the movie's credits, if he or she qualified, and desired the designation. In addition, said the guild, studios and distributors remain free to assign the credit to whomever they wish.
STORY: Producers Guild Will Continue to Nominate 10 Movies for Its Top Film Award
PGA presidents Hawk Koch and Mark Gordon said "We're extremely pleased that the U.S. Department of Justice has fully endorsed the Producers Guild's certification mark." The added, "The DOJ's critical decision clearly and definitively paves the way for swift adoption of the Producers' Mark, as there should be no further resistance from the motion picture studios to participate in the 'p.g.a.' certification program."
The PGA has sought to protect the "p.g.a." designation by filing for federal registration as a certification mark – a type of trademark indicating that the services were performed by a person meeting specified criteria.
Certification marks also – and more commonly – can be applied to goods. For instance, "Bluetooth" certifies that cell phones, headsets and other products comply with the necessary technical standards.
The guild received a Notice of Allowance from the Trademark Office, meaning that registration is all but automatic once the mark is in use.
A certification mark for use in motion picture credits is unusual, and perhaps unique. According to Van Petten, this approach was developed "because we had brilliant legal counsel," David Quinto of Quinn Emanuel Urquhart & Sullivan, LLP.
Catherine Fisk, a law professor at UC Irvine and an expert on credit and attribution in entertainment, remarked "Screen credit is important in Hollywood's labor market and to consumers of Hollywood films. The success of the PGA's certification mark will ultimately depend on whether the PGA can develop an impartial and rigorous method for determining the contributions of producers."
Although the Producers Guild is not a union – unlike the similarly named Writers, Directors and Screen Actors Guilds – it's managed to adopt for producers one of the WGA's key functions for writers: namely, determining credits, at least for the purpose of qualifying for best picture nominations for the Academy Awards, Golden Globes and BAFTA Awards.
The guild explained that "the process for implementing the (p.g.a.) Producers' Mark follows the template laid down by the Guild's successful awards arbitration process, though with an accelerated timeline: eligibility determinations (are held) during a film's post-production process in order to determine the recipients of the Mark prior to the striking of the film's credits."
Following the receipt of a Notice of Credits from the relevant studio or distributor, Guild staff will invite credited producers to submit an eligibility form to receive the Mark, said the PGA. The form is similar to the eligibility forms submitted by producers for consideration for awards.
The process is similar in some respects to the WGA credit procedure.
Studios haven't yet agreed to the plan, and negotiations with one of the majors, Paramount, hung up over the studio's concerns that the designation might lead to antitrust liability – despite the fact that the designation is optional, isn't restricted to PGA members, and will only be granted to members if they meet the same criteria as any other producer.
In addition, Van Petten pointed out to THR that designations such as A.S.C. have been used in credits for many years after the names of members of the American Society of Cinematographers – a more restrictive designation, since only ASC members are eligible – yet without apparent antitrust concerns.
Another frequent designation is A.C.E., for members of the American Cinema Editors. Both organizations are professional societies open to personnel of a certain level of experience and distinction. They're not unions.
The Paramount objections led to another innovative move: the PGA sought a "business review letter" from the Department of Justice – essentially, an assurance that the DOJ sees no antitrust problem in the proposed approach.
Those letters are seldom granted – they've been issued at the rate of only about five per year in the past few years – and the use of such a letter in combination with a certification mark seems even rarer.
Rare or not, the PGA obtained one on Friday.
The letter, which was the first one issued this year, stated "the (Department of Justice) has no present intention to challenge the proposed use of the Guild's certification mark." Receipt of the letter led Van Petten to express his confidence that negotiations would now be successful with Paramount and three additional studios, which he didn't name.
Koch and Gorden said "We (believe) that the entire industry benefits from recognizing producers for their work."
The guild also noted in its statement to THR that it "believes that audiences deserve to know which producers, among an often-extensive list of credited individuals and teams, actually did the work."
At present, the p.g.a. mark is only applicable to theatrical motion pictures, although television use is under consideration.
The official description of the mark, as reflected in the guild's trademark filing, is "The certification mark, as intended to be used by authorized persons, is intended to certify that an individual identified as a producer on the credits of a motion picture, television or cable show has satisfied the certifier's standards to qualify for a production credit and is thus is recognized as a producer eligible to be nominated for and to receive an award in connection with the individual's work on such motion picture, television or cable show."

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BSkyB Told to Loosen Grip on Hollywood Studio Pay-TV Deals...

Satcaster's deals with the six majors means rival subscription services are failing to compete.

LONDON – U.K. satcaster BSkyB is facing a call to loosen its pay-TV grip on films made by the Hollywood majors following an investigation by the Competition Commission here.

BSkyB agrees to deal with pay TV rivals

British Prime Minister Denies Involvement in News Corp.'s BSkyB Bid
T
he Commission said Friday BSkyB's deals for the first subscription pay-TV window with "the six major Hollywood studios" means other competitors, such as BT and Virgin Media, cannot compete for rights properly.

The industry watchdog noted that while BSkyB does supply its movie channels to "some other pay-TV retailers," it found that that "has not these retailers to compete effectively with Sky for movie channel subscribers."

"Due to the importance of being able to see recent movies to many pay-TV subscribers, Sky's control over the FSPTW movie rights of the major studios, and therefore over the movie channels incorporating this content, contributes to a lack of effective competition in the overall pay-TV retail market," the Competition Commission's report states.

BSkyB's deals for the first pay window means the satellite provider enjoys exclusivity on an array of high profile Hollywood fair for 15 months. It means output from Universal, Walt Disney, 20th Century Fox, Paramount, Dreamworks and Warner Brothers are on Sky first in the pay-TV window.

Upcoming high profile films to be offered exclusively on Sky include Tron Legacy, Shrek Forever After and Sex and the City 2.

The Competition Commission has invited industry and public reaction to a series of recommendations to help loosen Sky's grip on the market.

The first recommendation is to restrict Sky from signing exclusive deals with the six majors in the first subscription pay television window.
Loosening the grip would mean rival operators could buy the rights to other distribution methods, including video on demand.

"Sky has had control of recent movie content on pay TV for many years. At the heart of the problem is Sky's strong position in the pay-TV market, with twice as many subscribers to pay TV as all other traditional pay-TV retailers put together. This provides Sky with a great advantage when it comes to bidding for movie rights, which no rival bidder has yet been able to overcome – and, if things stay as they are, we see no likely prospect of change," Competition Commission movies on pay-TV investigation chairperson Laura Carstensen said.

Carstensen also noted that providing new movie releases enabled Sky "to attract more pay-TV subscribers than its rivals and having more subscribers increases further its advantages when bidding in the next round for pay-TV movie rights, and so it goes on."

Added Carstenen: "Recent movie content is important to many pay-TV subscribers. As a result, Sky's control of this content on pay TV enables it to attract more pay-TV subscribers than its rivals and having more subscribers increases further its advantages when bidding in the next round for pay-TV movie rights, and so it goes on."

The satellite broadcaster spends north of £250 million ($412 million) per year on buying films, more than its budget for Sky News and other entertainment channels.

Under recommendations put forward by the Competition Commission, BT and Virgin Media would be able to rival Sky Movies by offering their own selection of new releases.
BSkyB issued a statement noting the announcement of provisional findings by the Competition Commission in its movies on pay-TV market investigation.

"BSkyB continues to believe that no regulatory intervention is required and that consumers benefit from high levels of choice, value and innovation across a wide range of providers," BSkyB said. "We note that the CC's findings remain provisional and have been issued for consultation. We will continue to engage with the CC during the ongoing regulatory process."
The Competition Commission is scheduled to publish a final decisino in August 2012 after consultation on its provisional findings.

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Australia High Court Agrees to Review Closely-Watched Hollywood Piracy Case

In Australia, the High Court has agreed to hear an appeal from a coalition of Hollywood studios continuing to pursue claims that iiNet, one of the country's largest ISPs, contributed to its users illegally sharing copyrighted material.

In February, 2010, a trial judge found that iiNet was not liable for the downloading habits of its customers, and that decision was affirmed by a lower appeals circuit in February.
The plaintiff says that iiNet should have responded more forcefully to evidence of copyright infringers on its networks, including possible suspension of customer accounts.
Since the decision, there has been growing movement both internationally and in the U.S. to push ISPs to take responsibility for copyright infringement.

The decision by the High Court to hear an appeal allows Hollywood an attempt at erasing one of its worst legal losses on the piracy front.

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