CHICAS PRODUCTIONS: hollywood reporter

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.

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Sunday, September 30, 2012

Nearly 40 films sold at Toronto...

Nearly 40 films sold at Toronto
Robust tally, announced day before fest ends, includes 29 sales to U.S. distribs

Nearly 40 films have been sold at the Toronto International Film Festival, including 29 to U.S. distributors.
The festival made the announcement Saturday, the day before the event closes.

"We're pleased that the Festival continues to provide opportunities for buyers to see films in a strong environment which facilitates film sales," said Justin Cutler, senior manager of TIFF's sales and industry office. "It had been a particularly robust year for sales and we're happy that the Festival's official selection will reach film lovers across the world."

Focus Features' acquisition of cop thriller "The Place Beyond the Pines" on Sept. 8 has been the largest deal so far at an estimated $3 million for U.S. distribution rights. That deal appeared to lead to other acquisitions closing in the subsequent week.

Lionsgate and its partner Roadside Attractions have been the biggest buyers, snapping up U.S. right to historical drama "Emperor" on Friday night to go along with four other acquistions -- Sarah Polley's doc ''Stories We Tell,'' Joss Whedon's ''Much Ado About Nothing,'' Stuart Blumberg's ''Thanks for Sharing,'' and Robert Pulcini and Shari Springer Berman's ''Imogene.''

IFC picked up a quartet of projects -- Neil Jordan's vampire thriller "Byzantium," Mira Nair's "The Reluctant Fundamentalist" and Noah Baumbach's "Frances Ha" and Jamie Babbit's thriller "Breaking the Girls."

Millennium Entertainment acquired U.S. rights on two high-profile films: Josh Boone's comedy-drama "Writers" and Julianne Moore-Alexander Skarsgard starrer "What Maisie Knew." Buyers for significant titles have included Anchor Bay ("Jayne Mansfield's Car"), newly launched Outsource Media Group ("Great Expectations") and 108 Media/Paladin ("The We and I").

HBO Films also snapped up the U.S. television rights on a pair of feature docs -- Liz Garbus' Marilyn Monroe vehicle "Love, Marilyn," beating out bids from Sony Pictures Classics, IFC Films and Magnolia Pictures; and Tom Donahue's casting directors project "Casting By."

Late acquistions closing Friday included Samuel Goldwyn Films' buying Michael McGowan's romancer "Still," starring James Cromwell and Genevieve Bujold; Magnolia Pictures' snagging North American rights to Ramaa Mosley's fantasy-satire "The Brass Teapot"; and Cinedigm buying horror project "Come Out and Play."

Strand, which specializes in foreign titles, bought three films for U.S. distribution -- Pablo Trapero's "White Elephant," "In the Fog" and the "Paradise" trilogy.

Tribeca Films acquired "How to Make Money Selling Drugs" and "Fitzgerald Family Christmas," and MPI Pictures bought U.S. rights to "Therese Desqueyroux," the final film of French director Claude Miller and the closing night film at Cannes this year.

Two days before Toronto started, one of the more intriguing purchases went through, when Annapurna Pictures bought the U.S. distribution rights to Harmony Korine's "Spring Breakers," starring James Franco - even though Annapurna does not yet have a distribution arm.

Some of the unsold titles include Terrence Malick's "To the Wonder," Rola Nashef's "Detroit Unleaded," Deepa Mehta's "Midnight's Children," Sally Potter's "Ginger & Rosa" and Ariel Vromen's "The Iceman."

The festival accredited 4,280 industry delegates, up 9% growth over 2011 and representing 2,563 companies from 81 countries (up from 77 in 2011). TIFF said attendance from Asia increased by 40% from Japan, China, India and South Korea.

"With the Festival's inaugural Asian Film Summit and Mumbai as the focus of the City to City programme, our goal was to attract more interest from delegates in Asia this year and we're very happy with the results," said TIFF artistic director Cameron Bailey.

Sales to international markets included "7 Boxes," "Come Out and Play," "The Deep," "The Deflowering of Eva Van End," "The Fifth Season," "A Hijacking," "Lore," "Out of the Dark," "Reality," "Something in the Air" and "Stories We Tell."

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Toronto 2012: Robust U.S. Film Sales Reported as Fest Draws to a Close...

TIFF organizers point to 29 indie titles finding U.S. distribution this year as acquisition titles like "Place Beyond the Pines," "Imogene" and "What Maisie Knew" secured buyers.

High-profile deals during the Toronto International Film Festival had organizers on Saturday touting a robust film market this year.

In all, TIFF reported that 29 of its film titles sold into the U.S. market.
That included The Place Beyond the Pines selling to Focus Features, Millenium Entertainment grabbing Writers and Julianne Moore's What Maisie Knew, and Samuel Goldwyn taking the James Cromwell-starrer Still.

STORY: Toronto 2012: THR Celebrates Film at Cocktail Party

Also selling at Toronto's unofficial film market is Thanks for Sharing, Imogene, the historical epic Emperor and Much Ado About Nothing going to Lionsgate and Roadside Attractions, Dangerous Liaisons landing with Well Go U.S.A., Roadside Attractions taking Stories We Tell for itself, and The End of Time going to First Run Features.

Harmony Korine's Spring Breakers, which bowed in Venice before screening in Toronto, went to Annapurna, and IFC Films busily picked up Neil Jordan's vampire pic Byzantium, Something in the Air and Mira Nair's The Reluctant Fundamentalist for North America.

Other Toronto titles nabbing U.S. distribution included the North American rights to The Brass Teapot going to Magnolia, Magnet taking John Dies at the End, and Love, Marilyn going to HBO Doc Films.
PHOTOS: Toronto 2012: Inside THR's Video Diary Featuring the Festival's Leading Talent
In all, 40 TIFF titles this year sold internationally, and more agreements are expected in the lead-up to AFM, as Toronto fest organizers touted the gains of its film market over the last nine days leading up to Sunday, when the festival wraps its 37th edition.

"It's been a particularly robust year for sales and we're happy that the festival's official selection will reach film lovers across the world," Justin Cutler, senior manager of TIFF's sales and industry office, reported Saturday.

Toronto will next hand out its audience and jury awards on Sunday afternoon.

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

The movie vet talks to THR about nabbing "Looper," leaving Sony and the future for upstart film labels.

This story first appeared in the Sept. 14 issue of The Hollywood Reporter magazine.

Known in the film world as a sharp and savvy consigliere, Peter Schlessel spent 21 years at Sony -- including a stint as president of Columbia Pictures -- before leaving in 2010 to launch FilmDistrict, the domestic distribution company backed by financier-producer Graham King and oil billionaire Tim Headington. Schlessel, who discovered and acquired rights to a string of hits including District 9 while at Sony, continued his winning streak with the low-budget horror pic Insidious, the inspirational Soul Surfer and the Ryan Gosling vehicle Drive. But FilmDistrict hit a speed bump in fall 2011, when experienced execs Bob and Jeanne Berney exited. In an Aug. 27 interview in his Santa Monica office -- bursting with sports, movie and music memorabilia, along with pictures of daughters Stevie, 18, and Sammy, 16 -- the energetic executive discussed how the company has bounced back, growing from a staff of seven to more than 40, including newly installed marketing president Christine Birch. A key milestone for FilmDistrict comes Sept. 6 when Looper, a sci-fi thriller starring Joseph Gordon-Levitt and Bruce Willis, opens the Toronto International Film Festival.

The Hollywood Reporter: How did you acquire distribution rights to Looper, which you are releasing with TriStar/Sony?

Peter Schlessel: I'd started chasing the script during the early days of FilmDistrict. I love sci-fi movies, and this one had so many layers and the story had such great characters, but what really sold it was meeting with [director] Rian Johnson (Brick) and hearing his vision. I told Jim Stern, a friend who produced and financed the movie through his Endgame Entertainment, that he had to sell me this movie, and I slipped the script to Marc Weinstock [Sony's president of worldwide marketing].

THR: How important has Toronto become in terms of launching a fall film?

Schlessel: It's more important than both Telluride and Venice in terms of the North American market. That's not to take away from either, but more people pay attention to what happens in Toronto, both for awards movies and for films opening in September and October. Look at what happened last year with The Descendants. The drumbeat started at Toronto.

THR: Will you bid on any movies during the festival?

Schlessel: We have no space the rest of this year, but we have room next year. Toronto is my favorite acquisitions market for different reasons. It has bigger available movies -- our focus. We found Insidious there in 2010, when it played in the Midnight Madness section. We made our offer at 2 a.m. after the screening and closed the deal at 4:30 a.m.

THR: What does the near future look like for companies like yours as the major studios cut back on the number of films they make?

Schlessel: I don't know if studios have ceded any ground, but clearly they are concentrating on bigger tentpoles. It was clear to me watching what was happening in the marketplace that theater owners wanted more movies. And with all the new equity money coming into Hollywood, I realized you could run a smart business and figure out how to get these movies to the marketplace in a cost-effective way.

STORY: Toronto 2012: The A-List With Films For Sale

THR: Why did you decide to pick up MGM's Red Dawn remake after many of your competitors passed?

Schlessel: I wrote a memo to myself two years ago after I saw an early version saying the movie was good but the cast wasn't known. Then I saw the movie six or seven months later, and all of a sudden the cast was great, between Chris Hemsworth of Thor and Josh Hutcherson of The Hunger Games. It was like buying a good bottle of cabernet and letting it sit on the shelf.
THR: Will there be some heat because MGM changed the villains from the Chinese to the North Koreans?

Schlessel: No, but I think people will talk about it. It's a villain who people won't disagree is a villain.
THR: Why did you decide to leave the protection of a Hollywood studio for a more risky upstart?
Schlessel: I didn't look at it that way. It was time to take the next step. There wasn't room to create my own label, and my personal satisfaction had plateaued. I thought long and hard and had a lot of dinners with Amy [Pascal]. If ever I was going to leave, this was the time. To stay would have felt like a capitulation.

STORY: Toronto 2012: The New Hotspots In Town

IN THE OFFICE

While still heading Sony Pictures Worldwide Acquisitions, the exec snapped up U.S. rights to District 9, a tiny South African film that went on to gross north of $115 million in North America, one of the most profitable movies of 2009.

The piece hanging behind Schlessel's desk in his Santa Monica office is from pop illustrator Burton Morris, who designed the poster for the 76th annual Academy Awards.

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New Russian Child-Protection Law Hits TV Channels...

Broadcasters are forced to make changes to their programming, including "The Simpsons" and "South Park."

MOSCOW -- A controversial child protection law that comes into force in Russia as of Sept.1 is to hit TV stations as they will no longer be able to air some of content previously intended for children before 11 p.m.

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The new law specifically targets the depiction of violence, sex and characters consuming tobacco, alcohol and using profanity, prompting TV stations to reconsider their programming.
The TV channel 2x2, which specializes in imported cartoon series, plans to cut some violent parts from Itchy & Scratchy, "a cartoon within a cartoon" in The Simpsons, and to move the airings of South Park to time slots after 11 p.m., Lev Makarov, 2x2's general director, was quoted as saying by the Russian News Service.

Incidentally, four years ago, the channel came under attack from the authorities for allegedly "extremist" content of some of the South Park episodes it had broadcasted and even faced the revoking of it license, but the controversy eventually died down.

Meanwhile, some popular Russian cartoons could be found illegal under the new law, as well. The state-run television company VGTRK will have to air the popular Soviet-time cartoon series Nu, Pogodi! (I'll Get You) only after 11 p.m., the Ekho Moskvy FM station reported. In just about every scene of the series, one of the two main characters, Wolf, is shown smoking a cigarette.
"We have two options: to break the law or to show it late at night," Tatyana Tsyvareva, head of children and youth programming at VGTRK, was quoted as saying in the report.
The maximum punishment for companies for breaking the new law is stipulated to be suspension of operations for up to 90 days.

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Google Pulls Plug on TV Ad Sales System...

The TV Ads in Adwords service, which faced industry resistance, will come to an end later this year.

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Google is pulling the plug on an online exchange that tried to establish the online giant as a major player in the sale of TV ad spots.

In a blog post late Thursday, Google said it would end its TV Ads in Adwords service later this year.
Google has been successfully selling paid-search ads online and wanted to push into the TV ad space, but faced resistance from established players in the TV and advertising communities.
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Hallmark Channel and NBCUniversal's cable channels became early partners, hoping to draw more local advertisers that Google has relationships with. But the Google ad venture was dealt a setback in 2010 when NBCUniversal ended its deal a year early.
"In 2007, we launched Google TV Ads in AdWords to bring digital buying and measurement technologies to traditional TV advertising," Shishir Mehrotra, vp of product at Google's YouTube, wrote in the blog post late Thursday. "Since then, lots of our clients have bought traditional TV advertising for the first time. However, video is increasingly going digital, and users are now watching across numerous devices."
Added Mehrotra: "The future of video advertising is extremely bright, and we're excited to devote ourselves fully to it."
The service's staff would be moved "to other areas at Google," the post said without providing more details.

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Sacramento Gives Final Approval to $200 Million, Two-Year Tax Credit Extension

Now it is up to Gov. Jerry Brown to sign the extension through 2017 in the next 30 days.

The top show business guilds and unions along with the Los Angeles Chamber of Commerce and others applauded passage by the California legislature late Friday of legislation to extend by two years the annual $100 million tax credit program designed to keep movie and TV productions in the state, sending the proposed law to Gov. Jerry Brown for his final consideration.

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The coalition, which includes the Screen Actors Guild, the Directors Guild and IATSE, said that the passage "demonstrated [the state's] commitment to keeping jobs in California for the tens of thousands of men and women working hard to make a living in the entertainment community. Their recognition of the critical importance of this industry to California's economy through this vote, coupled with the substantial success of the tax credit program, will go a long way toward giving California the opportunity to compete on a more level playing field with the many other states and foreign territories that already offer generous incentive programs of their own."
The coalition also asked "Governor Brown to sign the extension into law" adding that it can then "look forward with great anticipation to a more stable environment for all the films and television shows that would prefer to shoot here in California."
A representative for the Governor told The Hollywood Reporter last week that he would not comment on or make any decision until the legislation reached his desk. He now has 30 days to sign or veto. It is widely expected he will sign the bill into law despite the state's severe budget problems. Brown signed a similar bill last year which extended the credits through 2014. However, anyone who has followed the career of Gov. Brown knows that he is very independent and unpredictable, so until the bill is signed, the industry will have to hold its collective breath and see what happens.
The bills introduced by Assemblymember Felipe Fuentes and state Senator Ron Calderon, both Democrats, would extend the tax credits to at least July 2, 2017. The final vote in the Senate on Friday by a 32 to 2 margin was a bipartisan effort, which is itself rare in the highly partisan California legislature.
"By any measure, the program so far has been a tremendous success and should be extended," said Fuentes. "With the State's unemployment rate hovering around 12%, we need this incentive to help keep hundreds of thousands of Californians employed. Extending this incentive program will prevent production companies from moving their projects, jobs and spending out of California."
In an announcement about passage, Fuentes said that the $400 million the state has already spent since the program was first enacted in 2009 proves the program works: "The tax credits have resulted in $3.9 billion in economic activity statewide. Of that $728 million was spent on wages to create an estimated 40,000 jobs. An additional 172,000 individuals are estimated to have received daily employment as background extras."
The only disappointment for the industry was that they had sought a five year extension, to provide even more stability to the program and allow producers to plan far in advance. As it is the $100 million does not come close to meeting the demand. The annual allocation is spent in one day each June (although some others do later get credits by being on a waiting list when projects drop out or are not made).
"Today over 40 U.S. states, New York City and Canada, among others, offer substantial financial incentives to the film industry in an attempt to lure production and post-production jobs and spending away from California," said Fuentes announcement. "The program specifically targets productions that are the most likely to leave the state due to incentives being offered in other states and countries."
Here are some other statements issued in the wake of passage of the extension:
"We thank Assemblymember Fuentes for the commitment, dedication and leadership he has shown throughout this legislative process," said Bryan Unger, Associate National Executive Director/Western Executive Director of the Directors Guild of America. "The extension of the California Film & Television Tax Credit Program will provide needed stability and longevity to this very successful program, allowing California-based DGA members to continue making a living in the entertainment industry here in their home state, while actively contributing to the state economy and remaining close to their families and their communities."
"The Chamber applauds the legislature for passing AB 2026. Putting people back to work is the most important thing we can do on the road to economic recovery. Production projects that qualify for this tax credit will generate millions of dollars in wages, production expenditures, and create thousands of jobs for California residents," said Los Angeles Chamber of Commerce President Gary Toebben.
"Assemblymember Fuentes is leading the way in growing the California economy. Extending these critical tax credits will help retain our state's fundamental industry and the millions of jobs it creates," said Stuart Waldman, President of the Valley Industry and Commerce Association (VICA).
"I applaud the passage of AB 2026, which will extend the California's successful Film and Television program, and we urge the governor to sign this important legislation," said Duncan Crabtree-Ireland, Chief Administrative Officer and General Counsel for the Screen Actors Guild.
Leo T. Reed, Secretary Treasurer of Teamsters Local 399, who represents thousands of drivers, location managers, casting directors and other basic crafts in the entertainment industry, said, "I wish to thank Assemblyman Fuentes and the legislature for its passage of AB2026 on to the Governor which would extend the current film jobs incentives in order to give stabilization to the program continuing to keep vitally needed jobs, and economic infusion to both the State and local businesses, as well as working to keep one of the cornerstone industries of California where it belongs."

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How to Survive Film Festival Season...

Heading off to Venice, Toronto, Telluride or Deauville? Celebrity health experts share their tips for staying in one piece during the festival frenzy.

Those summer nights are over, and film festival season is kicking off. Whether you're saying "Ciao, Venice," "Bonjour, Deauville," "Hello, Telluride" or "Oh, Canada" for TIFF, you'll be spending the next few weeks out of the office and likely in the air, in screenings and meetings and rushing from one red carpet to the next. Not sleeping enough, indulging in local delicacies and schmoozing your way through endless glasses of champagne are part of the game, but that doesn't mean you need to sacrifice your health entirely. Award-winning vegan chef and author Ani Phyo and celebrity yoga and pilates powerhouse Kristin McGee share their insider tips for surviving the fall festival season.

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1) EATING HEALTHY
Bring a blender: That's the advice from Phyo, whose clients include Maroon 5, Moby and Carrie Ann Moss. She recommends packing a small travel blender like the Tribest Personal Blender that is, she points out, "smaller than a pair of shoes." Pack it into the PB deluxe or regular carrying case specifically designed for travel and remember to pack a power transformer and adapter if heading overseas.

Phyo's advice: "Before you leave, find out if there are any local markets and ask your hotel if they have a fridge you can store a few things in. Then just grab some greens, superfood powders and any fruits, and you can just blend in your room. When you're really busy, blending is great. Blending means it's chewing up the food for us, so that places way less digestive stress on our system, and the nutrients can be taken to the parts of body that need nutrition, giving us more energy."
For snacks, Phyo recommends on-the-go-friendly produce including carrots, jicama, peppers, radishes, cucumbers, apples, oranges, lemons and limes and easy-to-pack snacks like Nori -- "It's a great seaweed for mineralizing, helps with heavy metal radiation and is filled with electrolytes. You can take a whole packet of 20 sheets and stick it in the outside compartment of your carry-on luggage." Also wheatgrass and rice protein powders, dried fruits like goji berries or superfoods such as maca or chlorella that are "really full of antioxidants and slow down the signs of aging. Nuts are great too. They're high in Vitamin E antioxidant and building collagen in the skin."
Pack a small jar of Rawmio almond or hazelnut gourmet chocolate spreads for a healthy alternative to those Nutella breakfasts in Venice, or make your own protein bars ahead of time from Phyo's new book Ani's 15-Day Fat Blast. Just mix almonds, protein powder, maca powder, dates, a pinch of salt and even some cacao powder or vanilla and goji berries together, pack into a baking tray, slice into bar shapes and carry with you throughout the week.

2) TAKING CARE OF YOUR BODY
Stretching is key. "When you first arrive at your hotel, do legs up the wall pose to let the blood recirculate and alleviate tight lower back and compressed legs from a long flight," recommends McGee, whose clients include Tina Fey, Steve Martin and LeAnn Rimes. Before heading out at night, she says, "Do a few sun salutations in the hotel room to perk yourself up and stretch out your entire body, especially your feet in upward dog and downward dog knowing you'll be cramming them in high-heel shoes or standing on them all night."
Even while sitting on a plane or in a long screening, there are still ways to stretch out. McGee recommends "eagle arms while seated, simple twists in your chair or tolasana, which is picking your butt up and hovering in the air." Even at events, McGee says: "Find a quiet corner to do a few rounds of alternate nostril breathing. It will oxygenate the brain and keep you alert for the premieres, showings and parties."

3) STAYING HYDRATED
Hydration is essential when on the go, especially during the trip to and from the festivals. "The plane is dehydrating. For every hour, drink one liter of water. Flying is aging and stressful on the body, so hydration is key," Phyo says.
Her recommendation? "Put a tablespoon of chia seeds into a liter bottle of water -- It's full of energy and very hydrating. Buy water before you get onto the plane, and mix a bag of chia seeds into them. It's the best trick ever."

And, if you can find some, drink as much juice as possible. "Green juices infuse the body with so many nutrients and enzymes. They make your skin glow -- they're better than a facial. Your inner body starts to radiate to your outer shell. It's just amazing," Phyo says of the liquid trend.

4) SLEEPING WELL
Sleep is a luxury at film festivals, so when there is a chance for some slumber, make it count. "Do a supine twist before going to bed to detox from all the cocktails and to work out the kinks in your lower back and shoulders from standing, mingling and holding drinks or posing for paparazzi all night long," McGee recommends. And if you're still having trouble sleeping, she says, "Lie in goddess pose with your hands on your belly and watch the breath rise and fall."

5) STAYING CALM
It's easy to forget to eat or sleep during festival season, but don't forget to breathe. Slip a travel yoga mat like Manduka's eKO Superlite into their brand-new Journey On collection bags designed for practicing on the run and do yoga in your room -- even five, 10 or 15-minute sessions -- thanks to Yogaglo.com. The site, which features top teachers from across the globe like New York's Elena Brower or the Paris-based Marc Holzman, even has special sections for travel yoga, the immune system or stress reduction that likely will come in handy over the next few weeks. Or give the computer a break and grab Art of Attention, Brower's brand-new book with co-author Erica Jago, for more on and off the mat inspiration wherever in the world you are.

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Judge Rules DGA Foreign Levies Reports Acceptable But Lawyer Claims They Don't '

The court finds that the guild is complying with a settlement agreement, dismissing plaintiff counsel's argument that more information should be required.

A California judge ruled Wednesday that the Directors Guild is complying with a 2008 settlement agreement requiring it to report certain data related to foreign royalties, brushing aside the motion of a lawyer who told the court that the DGA reports were all but incomprehensible.
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"We've engaged consultants," Neville Johnson of Johnson & Johnson LLP told The Hollywood Reporter. "But they say they can't make sense (of the DGA reports)." Johnson represents a class of non-DGA members who are entitled to receive foreign royalties paid out by the guild.
The DGA countered in a statement that it "has distributed more than $121 million in foreign levies, including over $13 million to more than 3,400 non-members." The guild added, "It was a hard-fought effort to attain these funds and we are very proud of our efforts."
Johnson's position is that even if the DGA is complying with the letter of the settlement agreement, it wasn't in tune with the spirit of the pact, and he urged Judge John Wiley to require more. The judge declined, notwithstanding Johnson's argument that since he maintained jurisdiction over the case, he should ensure that the information provided be clear and adequate.
But Wiley – in Johnson's words – said that "if you make a settlement agreement, that's all you get."
The judge's denial of Johnson's motion was "with prejudice," meaning that it can't be refiled. Johnson can, however, appeal, and said his office was deciding whether to do so. He has 60 days to decide and said it was likely that he would.
Foreign royalties are complex. Collection societies in certain countries collect the sums based on various government regulations, then remit a portion of the U.S.-destined payments to the DGA, WGA and SAG for payment to individual "authors" (i.e., writers and directors) and performers.
Another portion of the collected monies is paid to the U.S. studios or producers, who under U.S. law and customary entertainment contracts are deemed the authors of the movies, television shows and other audiovisual works at issue. The fact that monies are split between the studios and the individuals is a consequence of balancing the contrasting U.S. and foreign definitions of "author" and was arrived at in agreements between the guilds and studios in the early 1990s.
According to a geographic breakdown prepared by the WGA, 51 percent of the $147.5 million it's collected in the last 20 years came from Germany. Next, with 8 percent to 11 percent each, were France, Argentina, Switzerland and Spain. No other territory constituted more than 3 percent of the total.
More information can be found on the DGA, SAG-AFTRA and WGA West websites. The SAG-AFTRA royalties collected as of mid-2011 totaled under $21 million, or less than one-fifth of what the WGA and DGA collected. That's due in part to the fact that fewer countries provide for performers to receive foreign royalties than do for authors.
Foreign royalties are distinct from foreign residuals. The latter are computed according to the terms of the collective bargaining agreements between the unions and studios. As confusing as residuals – and especially foreign residuals – can be, foreign royalties are even murkier.
Whether the unions even have the right to collect such royalties, let alone on behalf of non-members and/or for movies and TV shows that aren't under their jurisdiction, was the subject of three class-action lawsuits – one against each union – filed in the mid-2000s.
Those lawsuits were settled, with the unions permitted to make collections and disbursements, subject to reporting. But for various reasons, the reporting requirements ended up being different for each union, notwithstanding the fact that all three lawsuits were assigned to the same L.A. Superior Court judge, Carl West. None of them is particularly detailed, however.
West ultimately retired and was succeeded on the case by Wiley. Johnson said that Wednesday's hearing was Wiley's first on the case and attributed his decision in part to not having been on the three cases for the more than half-decade that West was.
Johnson also failed to persuade the judge to award additional attorneys fees beyond what he had already received. Johnson told THR that he might seek to withdraw from the case as a result and have new counsel appointed.

Thank you Hollywood Reporter

Apple Products Shown in 30% of Hollywood's Top Movies, for Free...

In the so-called "tech trial of the century," Apple is showing off just how much it has captured the hearts and minds of Hollywood.

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Apple is in the midst of a jury trial that accuses rival Samsung of infringing its patents and trademarks on its iPhone and iPad products in creating and marketing the Galaxy devices. The trial continues this week after a San Francisco jury heard testimony from top Apple executives about the making and marketing of the consumer technology that took the world by storm. Apple now demands some $2.5 billion in damages from Samsung. Jury selection began July 30.

Apple has long insisted that it doesn't pay for product placement in movies and television, but that doesn't mean the Cupertino, Calif.-based company doesn't care. In fact, highlights from the trial evidence that Hollywood has been a huge part of the company's marketing strategy over the years.
When Apple first worked on the iPhone, it was called "Project Purple."

According to testimony by Apple mobile software head Scott Forstall, secrecy about the project was so immense that a sign on the front door where the work was being done said "Fight Club." The allusion was obvious. "The first rule of Fight Club is you don't talk about Fight Club," testified Forstall.

Apple executives say that building the iPhone was risky, but there were great rewards promised for a successful project.

More than five years ago, when the company was working on the prototypes, Apple saw what cell phones weren't doing well at the time. "We started to look at whether you could put entertainment content on cellphones," testified Phil Schiller, Apple's global chief of marketing. "We realized at the time that some phones weren't any good as entertainment devices."

The iPhone was introduced in June 2007. Before it launched, Apple used a commercial during the Academy Awards to announce its impending arrival. But then the company decided it could "go quiet" on the advertising front, according to more testimony.

How?
For one thing, Apple realized the press would lavish attention on it. But the company also decided that Hollywood would embrace it.
"We would love to see our products used by stars in movies [and] TV shows, and we have a person who helps provide products to people that want to do that," said Schiller.

The jury saw a chart that documented all of the product-placement successes.

In fact, Apple has been getting hundreds of millions of dollars of possibly free publicity over the years.

According to a survey by Brandchannel this year, Apple-branded products have appeared in more than a third of all films topping the box office from 2001 through 2011 (and 17 of the 40 top films last year). That's more than McDonald's, Pepsi and the Sony Vaio combined for the past decade.

In Mission: Impossible -- Ghost Protocol, for example, Apple got more than five minutes onscreen, which analysis from Front Row Analytics estimates to be worth more than $23 million. Perhaps most amazing, according to Brandchannel, is that Apple says it doesn't pay for product placement.

At trial, Schiller testified that in 2007, the company concluded that it "didn't need" to put any money into its advertising budget. That's changed somewhat. According to what the jury heard, from 2008 to 2011, Apple spent $647 million on iPhone publicity and $457 million on iPad publicity. For a company that has sold some 250 million iPhones, though, that's a rather paltry sum.

Nevertheless, Schiller says that Samsung's introduction of similar smartphones and tablets "creates a huge problem" for his marketing division.

Samsung's lawyer asked whether it's really possible that consumers "accidentally buy the Droid Charge thinking it's an iPhone."

"I believe they may be confused," responded Schiller.
Samsung will have an opportunity to bring its own witnesses and evidence soon. Confusion is one part of the fussing in court. The parties also are debating who gets credit for going first with the important design work on mobile devices. Samsung tried in vain to show off its F700 phone to the jury and got in trouble with the judge for possibly leaking excluded evidence to the media. Samsung also could attempt to show "prior art" by pointing to more Hollywood content. After all, Samsung once brought forward the argument that an iPad-like device could be seen in Stanley Kubrick's 1968 film 2001: A Space Odyssey. Apple doesn't get credit for that one.

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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

Toronto 2012: Festival Director Piers Handling Expects Strong Film Market...

Hot TIFF titles for U.S. buyers include the latest works by Robert Redford, Brian De Palma, Terrence Malick, Harmony Korine, Derek Cianfrance and Liz Garbus.

TORONTO - After lengthening its red carpets to help star-driven titles debut to foreign buyers, Toronto International Film Festival organizers are pumping up the volume on their unofficial market.

Toronto 2012: Sarah Polley and Brandon Cronenberg Films Added to Lineup

TIFF 2012: Paul Thomas Anderson's 'The Master' to Play Toronto Fest

"I don't think it's just going to be OK. I think it's going to be a very strong year," TIFF director Piers Handling told The Hollywood Reporter about the slew of sales companies headed to Toronto to close deals with key distributors from around the globe.

Robert Redford's The Company You Keep and Brian De Palma's Passion will both arrive in Toronto for a North American debut without U.S. distribution, and, as things stand today, so too will Derek Cianfrance's The Place Beyond The Pines and Harmony Korine's Spring Breakers.

STORY: Julian Assange Telepic 'Underground' Confirmed for TIFF Premiere

Despite a flat economy, Handling expects an exceptional year for film sales in Toronto, which is well on its way to recovering from the deep market trough experienced in 2008-09.
"There's no question the industry has become more healthy. It certainly went into a deep drought and I don't think it has come back out entirely," Handling said.

As in past years, TIFF programmers are front-end loading the festival with sales titles, many of which are star-driven to boost buyer appeal.

These include: What Maisie Knew, by directors Scott McGhee and David Siegel; Shola Lynch's Free Angela and All Political Prisoners; Liz Garbus' Love, Marilyn, To the Wonder, by Terrence Malick; and Joss Whedon's Much Ado About Nothing.

Handling insisted mid-range indie titles with budgets of between $20 million to $40 million, the range in which most international filmmakers screening in Toronto work, remain the most challenged in finding buyers.

"They're not working with the big budgets, the tentpole summer films. And they're not making the low-budget $10-million-dollar pictures. They've done that, been there, seen it. So they're in the mid-range," Handling said of mid-budget indie filmmakers.

Other hot films for U.S. buyers include Mira Nair's The Reluctant Fundamentalist, Deepa Mehta's Midnight's Children, Sally Potter's Ginger and Rosa, Mike Newell's Great Expectations and Thanks for Sharing, by Stuart Blumberg.

U.S. distributors will also have their pick of Ramaa Mosley's Brass Teapot, the tennis doc Venus and Serena by Maiken Baird, Kon-Tiki, by directors Joachim Roenning and Espen Sandberg, Chinese director Hur Jin-Ho's Dangerous Liaisons and Ariel Vromen's The Iceman.

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Third-quarter audience trends have been "disappointing" so far for U.K

"Disappointing" recent audience trends should improve in the fourth quarter, and lower ratings for the return of "X Factor" "may build" as the season continues, UBS says though.

LONDON - Third-quarter audience trends have been "disappointing" so far for U.K. commercial broadcaster ITV amid the BBC's strong ratings for its coverage of the Summer Olympics, UBS analyst Tamsin Garrity said Monday in lowering her full-year 2012 and 2013 advertising revenue forecast for the company.

Olympics 2012: BBC Reaches Biggest Average Audience With Closing Ceremony
"Audience has been disappointing through the third quarter, though ITV has a strong programming slate for the fourth quarter," she said in a research report.

For 2012, the analyst lowered her advertising revenue estimate for ITV to growth of 0.5 percent, down from 2.5 percent previously, but still ahead of the consensus expectation for no change. For 2013, she expects no gain, down from her previous projection of 1.5 percent growth, "although this is offset by better interest and tax," which should help profitability, Garrity said.

The UBS analyst also said that ratings for ITV should improve in the fourth quarter, and lower ratings for this weekend's return of Simon Cowell's X Factor "may build" as the season continues.
"ITV management stated it is confident audience share will be stronger in the fourth quarter," Garrity wrote. "On the weekend, ITV proceeded with the return of the X Factor and a rejuvenated Red or Black; initial viewing was low at 8 million (last year 11 million), however this may build." And she highlighted that other returning shows over the near-term include Downton Abbey.

Jefferies analyst Will Smith said X Factor "is very visible, so people take note," even though most analysts don't spend much time on individual shows.

"It sounds like September is tracking a bit better than expected on ad spend," Smith said though.
Garrity echoed that. Announcing its latest results last month, ITV said that ad revenue in September will come in between unchanged from 2011 to down 5 percent, leaving the first nine months of 2012 unchanged. "Media buyers think this is slightly pessimistic," she said.

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Old People, Old Stars: Hollywood's New Hot Demo Is Saving the Box Office

Says one studio executive, "It's a big deal to get an AARP cover" as movies from "Hope Springs" to "The Expendables 2" prove that aging stars, plus the population's fastest-growing segment, are the secret weapons at the box office.

Behind the Scenes of THR's Steve Carell Cover Shoot

Midday on Saturday, Aug. 18, the top-grossing theater in the U.S. for The Expendables 2 -- a who's who of 1980s action stars now in their 60s, led by 66-year-old Sylvester Stallone -- was the Cinemark Palace 20 in Boca Raton, Fla., ground zero for affluent retirees. About 245 miles away, Hope Springs, starring Meryl Streep, 63, and Tommy Lee Jones, 65, was the No. 1 film at the Rialto 8 in The Villages, a sprawling retirement community northwest of Orlando that is the country's fastest-growing small town (presumptive GOP vice presidential candidate Paul Ryan stumped there the same day with his 78-year-old mother, Betty Douglas).

After years of fawning over the fanboy, Hollywood is suddenly embracing the boomer, who is turning out to be the most avid moviegoer of all as teenagers and young adults disappear behind video game consoles, computers and iPhones. "It's the next frontier. Younger people have pretty much been milked," says Bill Newcott, entertainment editor at AARP's The Magazine.

PHOTOS: 'The Expendables 2' Premiere Arrivals: Sylvester Stallone, Arnold Schwarzenegger
Not even the youth-obsessed studios can ignore the numbers. There are 78 million baby boomers, defined as those born between 1946 and 1964. In 2010 -- thanks in great part to advances in medicine -- 40.3 million were over age 65, making them the fastest-growing segment of the population, according to the U.S. Census. That compares with 30.7 million people between 18 and 24. It's also the segment that most likes to go to the cinema. The MPAA reports that movie attendance across all age groups dipped in 2011 -- save for those 60 and older.

"Our demo has more time, more disposable income, and when they like a movie, they reward it very well," says Newcott. "They give a movie legs, and that's the real value of our audience."
And not just the serious, art house dramas that are often associated with the elderly crowd (the indies long have adored this demo). Aging boomers can drive all kinds of movies to commercial success. The more obvious examples are 2007's The Bucket List, starring Jack Nicholson, 75, and Morgan Freeman, 75, and 2008's Gran Torino, directed by and starring the 82-year-old Clint Eastwood. The less obvious include Mamma Mia!, starring Streep; the action hit Taken, starring Liam Neeson, 60; True Grit, starring Jeff Bridges, 62; and the thriller Safe House, starring 57-year-old Denzel Washington. Even The Bourne Legacy is being fueled by the over-50 set, which made up 33 percent of the film's opening-weekend audience in early August, the largest of any age group by far.

"Boomers, older and younger, grew up when moviegoing was the cool form of entertainment," says one studio chief. "They have the lifetime habit and enjoyment of going to theaters, and it is still the 'date night' activity. And now they have the time to do it, either as empty nesters or, for many, retirees. They also have the money to spend. So, yes, it's a very important audience, albeit a segment."

COVER STORY: 'Hope Springs' Star Steve Carell Says Comedy Has Become 'Uber-Cynical,' 'Borderline Mean'

For the stars that the older boomers grew up with, it's welcome news: Streep, Eastwood, Neeson, Bridges, Michael Douglas and Helen Mirren are just a few of the actors who are in the midst of a late-career renaissance.

The Best Exotic Marigold Hotel, about a group of British retirees who decide to move to India, is one of the most profitable films of the summer. Released in May, the Fox Searchlight movie -- whose ensemble cast includes Judi Dench, 77; Tom Wilkinson, 64; Bill Nighy, 62; and Maggie Smith, 77 -- was made for a modest $10 million but has grossed north of $46 million domestically and $131 million worldwide. Better yet, Searchlight spent a fraction of what a bigger studio spends to market a film since it rolled Marigold out slowly, banking on word-of-mouth.

In North America, Marigold made more than the genre mashup Abraham Lincoln: Vampire Slayer ($37.2 million) or the Adam Sandler-Andy Samberg comedy That's My Boy ($37 million). And Focus Features' Moonrise Kingdom -- Wes Anderson's quirky coming-of-age story that features Bill Murray, 61, and Bruce Willis, 57 -- also overperformed throughout the summer, grossing $42 million to date.
Historically, the major studios haven't entirely ignored the older moviegoer -- 1985's Cocoon, 1989's Driving Miss Daisy, 1993's Grumpy Old Men and 2000's Space Cowboys were box-office hits in their day -- but the rise of the Franchise Age demanded a steady diet of big-budget tentpoles, so many of which starred the hot young actor of the moment and relegated Hollywood's seasoned veterans to mostly supporting roles. Amy Baer, who oversaw 2003's Something's Gotta Give during her tenure as Sony's executive vp production, recalls some resistance to the film's subject matter. "I remember when the script came in," she says. "Amy Pascal always loved it, but there were certain concerns coming from marketing. They asked, 'Are people going to want to watch these people kiss and have sex?' "
A quiet revolution within the studio system began in 2009 with the success of Julie & Julia, starring Streep and Amy Adams. Instead of releasing the film in fall or winter -- primetime for adult fare -- Sony went against conventional wisdom and opened the movie in August. Julie & Julia went on to become one of the most profitable films of that summer, grossing $94.1 million in North America. More than 55 percent of the film's opening-weekend audience was over age 50.

VIDEO: Behind the Scenes of THR's Steve Carell Cover Shoot

The Expendables came a year later, co-written, directed by and starring Stallone, who roped in as many of his action contemporaries as he could, including Dolph Lundgren, Eric Roberts, Mickey Rourke, Jet Li and Jason Statham, most of whom could buy tickets for their own movie at the senior rate. Action stars aren't supposed to be quite so elderly, and no studio would touch the project, forcing Millennium Films to finance the movie independently before Lionsgate agreed to pony up for distribution rights.
Expendables was a resounding hit, grossing nearly $275 million globally and prompting this summer's sequel (which adds beefy roles for Willis; Arnold Schwarzenegger, 65; Chuck Norris, 72; and Jean-Claude Van Damme, 51). In October 2010, RED -- starring Willis, Mirren, Freeman and John Malkovich, 58, as mothballed spies who come out of retirement -- provided further proof that sexagenarians can wield guns and flex their muscles along with the best of them. Yes, action films like these still have the car chases and explosions general audiences are looking for, but for the older moviegoer, they can provide vicarious wish fulfillment.

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Sunday, September 30, 2012

Nearly 40 films sold at Toronto...

Toronto 2012: Robust U.S. Film Sales Reported as Fest Draws to a Close...

Saturday, September 8, 2012

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

Saturday, September 1, 2012

New Russian Child-Protection Law Hits TV Channels...

Google Pulls Plug on TV Ad Sales System...

Sacramento Gives Final Approval to $200 Million, Two-Year Tax Credit Extension

Monday, August 27, 2012

How to Survive Film Festival Season...

Judge Rules DGA Foreign Levies Reports Acceptable But Lawyer Claims They Don't '

Saturday, August 25, 2012

Apple Products Shown in 30% of Hollywood's Top Movies, for Free...

How Much TV Is Too Much TV?

Thursday, August 23, 2012

Toronto 2012: Festival Director Piers Handling Expects Strong Film Market...

Third-quarter audience trends have been "disappointing" so far for U.K

Old People, Old Stars: Hollywood's New Hot Demo Is Saving the Box Office