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.

Thursday, June 2, 2011

Creative Scotland Investing $1 Million Into Initiatives to Boost Scottish Film..

Among the four initiatives is Scottish production banner Sigma Films.

Scottish government backed agency Creative Scotland is pumping £1 million ($1.6 million) into a quartet of initiatives in an attempt to boost Scottish cultural content, develop audiences and bring fame and fortune to Scottish film companies.

Among the four initiatives is Scottish production banner Sigma Films.
It secures a quarter of the cash to help set up its distribution arm Sigma Releasing, to co-release its titles with other distributors and contribute to the p&a costs. An example would be the company's collaboration with Icon for the rollout of You Instead, starring Luke Treadaway.
Also benefiting from Creative Scotland largesse to the tune of £500,000 ($810,000) is a co-venture with the existing Aegis Fund and Prescience, named the MacKendrick Fund. It will offer debt and equity finance to local and international movie projects with Scottish elements or those to be shot in Scotland or post-produced there.

Thank you Hollywood Reporter

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Fanhattan Launches iPad App to Aggregate Movies, TV Shows From Netflix, Hulu Plus

"The current landscape for digital entertainment is overflowing with content, but it can be a confusing landscape for consumers to navigate," says CEO Gilles BianRosa.

NEW YORK - Amid ever-increasing online video services and evolving release windows, entertainment discovery service Fanhattan wants to help consumers find which film and TV content is available, where and in what form - from rental to purchase and subscription, for download, in streaming form, in theatres or on DVD.
To that end, Fanhattan, on Wednesday launched a free iPad app that brings together movie and TV show content from top digital media services, namely Netflix, Hulu Plus and Apple's iTunes, as well as the ABC Player. The latter comes into play when a Fanhattan user, for example, chooses to play ABC hit show Modern Family through it.

The company plans to add more digital services to its lineup of partners throughout the year and also expects to launch an Android app down the line. Among possible partners mentioned by executives is HBO Go.

Fanhattan, backed by venture capital firms NEA, Redpoint Ventures, GreyCroft Partners and BV Capital, as well as LA angel investor Jarl Mohn and independent investors, sees itself as the digital age's interactive program guide.

While consumers these days often have to look at various digital media stores and Web sites for available content, Fanhattan wants to help people find what they are looking for.
The app lets users browse content or search by titles, genres, talent, new releases and the like. Once a consumer chooses a title, the service shows which online or offline options a user has to watch - from a movie theatre to TV or a DVD purchase all the way to renting a series or using an existing digital media subscription, or even starting one. After all, if content is available via a service that the consumer doesn't currently subscribe to, he or she can sign up with Fanhattan's help.

Users can also easily access content featuring the same actors, reviews, ratings, trailers, related YouTube videos and basic info on talent, as well as buy fan gear from Amazon, movie tickets from Fandango or access soundtracks via iTunes.

Through a simple user interface, it also hopes to encourage exploration and discovery.
The company, which first outlined its technology and vision late last year, but didn't have any partners yet, will showcase its app later in the day at the D: All Things Digital conference.
"The current landscape for digital entertainment is overflowing with content, but it can be a confusing landscape for consumers to navigate," said Fanhattan CEO Gilles BianRosa. "Fanhattan brings the world of TV and movies into one rich platform that gives consumers a direct line into watching what they want without having to hunt and poke through a variety of services, prices and licensing rules."

BianRosa said the app will add more transparency to the windows and licensing arrangements of entertainment firms, which often confuse consumers. As a result, Hollywood and its partners will benefit from more discovery and easier access, he argued.

While it currently partners directly with digital distributors, which have licensing deals with entertainment firms, Fanhattan has also started reaching out to studios and pay TV operators.
"We are exploring ways to work with the studios directly, especially around marketing opportunities," such as related merchandise and other marketing assets, said BianRosa. Here, Fanhattan is pitching itself as a partner that can offer provides evergreen pages for movies and shows, allowing for further monetization.

And for pay TV companies, Fanhattan could serve as an interface to discover and access content.
Since its app is free, Fanhattan is looking to get revenue from paid-for premium service offers down the line and referral fees from partners - for example, for enabling a consumer to do a rental or other transaction or become a subscriber.

The company also plans to bring its service to connected TVs and various streaming devices in the future.

Thank you Hollywood Reporter
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Wednesday, June 1, 2011

Shakira mulls possibility of Arabic-language record

by Matt Glazebrook, Posted May 31, 2011

While plenty of her pop contemporaries struggle to express themselves coherently in one language, Shakira has long composed her idiosyncratic pop ditties in both her native Spanish and her English second tongue. Now she's just showing off, preparing to expand her songwriting fluency to another element of her expansive cultural make-up.

Though she was born and raised in Colombia, Shakira's father is an American of Lebanese descent and she credits her Arabic background for the Middle Eastern influence in her tunes and her propensity for belly-dancing on stage. According to Contactmusic, she is considering brushing up on her already-impressive language skills to make a more complete tribute to her heritage.

"It would be a challenge to do an album in Arabic, but I would first have to learn Arabic," she explains. "I am completely open to that experience -- at some point I would love that to happen in my life." At the moment, Shakira's Arabic extends as far as saying "ateeni boosa" which apparently translates as "can I have a kiss?"

A more tricky proposition is coming up with the Arabic for "lucky that my breasts are small and humble / So you don't confuse them, with mountains".

Shakira played her first concert in Arabic speaking Morocco on Saturday (28.05.11), closing the Mawazine World Rhythms Festival.
The 'Underneath Your Clothes' star has also previously been approached by Bollywood film makers about starring in an Indian production, which would likely see her singing in Hindi.


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NATO warns Canada on early VOD - Entertainment News, Film News, Media - Variety

NATO warns Canada on early VOD

Org enlists support for theatrical experience from Tarantino, Shyamalan, Favreau

By ANDREW STEWART

The National Assn. of Theater Owners took its fight against premium video-on-demand beyond U.S. borders, with NATO prexy and CEO John Fithian urging industryites at exhib confab ShowCanada tostay wary of shrinking theatrical windows.
"Early VOD releases to the home could damage the movie industry in two significant ways," Fithian said to the crowd on Wednesday. "Early releases will reduce movie ticket sales, and will exacerbate movie theft by giving pirates an early pristine copy of movies."

Fithian also called for the participating VOD studios -- Fox, Universal, Sony and Warner Bros. -- to release VOD sales stats: "How can the industry evaluate the studios' test if they continue to hide the facts?" Fithian asked.

Sony's "Just Go With It" was the first title to launch in April via premium VOD 69 days after its theatrical release. The remaining three titles included Warner's "Hall Pass," Fox Searchlight's "Cedar Rapids" and "The Adjustment Bureau," all about 60 days after theatrical release.

Until now, the premium VOD trial has stayed within the U.S., but as international grosses continue to overshadow domestic, studios undoubtedly will look to extend the VOD biz overseas.

After Canada, NATO plans to move to Europe later this month, then in August to Australia, where Fithian will hold meetings with local exhib execs. "We hope that this early VOD experiment begins and ends in the U.S.," Fithian said. "But if not, we want exhibitors everywhere to be prepared."

So far, NATO has earned support from such high-profile filmmakers as James Cameron, Michael Bay, Kathryn Bigelow and Guillermo del Toro. The org announced at the confab it has also enlisted backing from Christopher Nolan, Jon Favreau, M. Night Shyamalan, Quentin Tarantino and Mark Boal.

ShowCanada runs through June 2 in Ottawa.

Contact Andrew Stewart at andrew.stewart@variety.com

Thanks Variety!
NATO warns Canada on early VOD - Entertainment News, Film News, Media - Variety

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The Bilingual Advantage

By CLAUDIA DREIFUS
Published: May 30, 2011

A cognitive neuroscientist, Ellen Bialystok has spent almost 40 years learning about how bilingualism sharpens the mind. Her good news: Among other benefits, the regular use of two languages appears to delay the onset of Alzheimer’s disease symptoms. Dr. Bialystok, 62, a distinguished research professor of psychology at York University in Toronto, was awarded a $100,000 Killam Prize last year for her contributions to social science. We spoke for two hours in a Washington hotel room in February and again, more recently, by telephone. An edited version of the two conversations follows.

Q. How did you begin studying bilingualism?

A. You know, I didn’t start trying to find out whether bilingualism was bad or good. I did my doctorate in psychology: on how children acquire language. When I finished graduate school, in 1976, there was a job shortage in Canada for Ph.D.’s. The only position I found was with a research project studying second language acquisition in school children. It wasn’t my area. But it was close enough.

As a psychologist, I brought neuroscience questions to the study, like “How does the acquisition of a second language change thought?” It was these types of questions that naturally led to the bilingualism research. The way research works is, it takes you down a road. You then follow that road.

Q. So what exactly did you find on this unexpected road?

A. As we did our research, you could see there was a big difference in the way monolingual and bilingual children processed language. We found that if you gave 5- and 6-year-olds language problems to solve, monolingual and bilingual children knew, pretty much, the same amount of language.

But on one question, there was a difference. We asked all the children if a certain illogical sentence was grammatically correct: “Apples grow on noses.” The monolingual children couldn’t answer. They’d say, “That’s silly” and they’d stall. But the bilingual children would say, in their own words, “It’s silly, but it’s grammatically correct.” The bilinguals, we found, manifested a cognitive system with the ability to attend to important information and ignore the less important.

Q. How does this work — do you understand it?

A. Yes. There’s a system in your brain, the executive control system. It’s a general manager. Its job is to keep you focused on what is relevant, while ignoring distractions. It’s what makes it possible for you to hold two different things in your mind at one time and switch between them.

If you have two languages and you use them regularly, the way the brain’s networks work is that every time you speak, both languages pop up and the executive control system has to sort through everything and attend to what’s relevant in the moment. Therefore the bilinguals use that system more, and it’s that regular use that makes that system more efficient.

Q. One of your most startling recent findings is that bilingualism helps forestall the symptoms of Alzheimer’s disease. How did you come to learn this?

A. We did two kinds of studies. In the first, published in 2004, we found that normally aging bilinguals had better cognitive functioning than normally aging monolinguals. Bilingual older adults performed better than monolingual older adults on executive control tasks. That was very impressive because it didn’t have to be that way. It could have turned out that everybody just lost function equally as they got older.

That evidence made us look at people who didn’t have normal cognitive function. In our next studies , we looked at the medical records of 400 Alzheimer’s patients. On average, the bilinguals showed Alzheimer’s symptoms five or six years later than those who spoke only one language. This didn’t mean that the bilinguals didn’t have Alzheimer’s. It meant that as the disease took root in their brains, they were able to continue functioning at a higher level. They could cope with the disease for longer.

Q. So high school French is useful for something other than ordering a special meal in a restaurant?

A. Sorry, no. You have to use both languages all the time. You won’t get the bilingual benefit from occasional use.

Q. One would think bilingualism might help with multitasking — does it?

A. Yes, multitasking is one of the things the executive control system handles. We wondered, “Are bilinguals better at multitasking?” So we put monolinguals and bilinguals into a driving simulator. Through headphones, we gave them extra tasks to do — as if they were driving and talking on cellphones. We then measured how much worse their driving got. Now, everybody’s driving got worse. But the bilinguals, their driving didn’t drop as much. Because adding on another task while trying to concentrate on a driving problem, that’s what bilingualism gives you — though I wouldn’t advise doing this.

Q. Has the development of new neuroimaging technologies changed your work?

A. Tremendously. It used to be that we could only see what parts of the brain lit up when our subjects performed different tasks. Now, with the new technologies, we can see how all the brain structures work in accord with each other.

In terms of monolinguals and bilinguals, the big thing that we have found is that the connections are different. So we have monolinguals solving a problem, and they use X systems, but when bilinguals solve the same problem, they use others. One of the things we’ve seen is that on certain kinds of even nonverbal tests, bilingual people are faster. Why? Well, when we look in their brains through neuroimaging, it appears like they’re using a different kind of a network that might include language centers to solve a completely nonverbal problem. Their whole brain appears to rewire because of bilingualism.

Q. Bilingualism used to be considered a negative thing — at least in the United States. Is it still?

A. Until about the 1960s, the conventional wisdom was that bilingualism was a disadvantage. Some of this was xenophobia. Thanks to science, we now know that the opposite is true.

Q. Many immigrants choose not to teach their children their native language. Is this a good thing?

A. I’m asked about this all the time. People e-mail me and say, “I’m getting married to someone from another culture, what should we do with the children?” I always say, “You’re sitting on a potential gift.”

There are two major reasons people should pass their heritage language onto children. First, it connects children to their ancestors. The second is my research: Bilingualism is good for you. It makes brains stronger. It is brain exercise.

Q. Are you bilingual?

A. Well, I have fully bilingual grandchildren because my daughter married a Frenchman. When my daughter announced her engagement to her French boyfriend, we were a little surprised. It’s always astonishing when your child announces she’s getting married. She said, “But Mom, it’ll be fine, our children will be bilingual!”

Thank you The NY Times!


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Tuesday, May 31, 2011

PBS to Add Commercials During Shows...

Public broadcast execs explain the decision by pointing to the steep drop-off in ratings when traditional messages were aired between shows.
PBS is breaking from its long-term model and adding commercials to shows, PBS officials told member stations at a recent conference in Orlando.
Instead of airing breaks every 50 minutes, as the public broadcaster does now, it will air them every 15 minutes beginning this fall, according to the New York Times. Nature and Nova are two of the shows that will contain corporate and foundation sponsor ads, promotional messages and branding every 15 minutes.
Feelings about the move are mixed.
"One of the biggest things they have to sell is that they are noncommercial," David D. Oxenford, a partner with the law firm Davis Wright Tremaine, which represents several public broadcasters, told the Times.
Said Alberto Ibargüen, a former PBS board chairman and president and chief executive of the Knight Foundation, "My first reaction is that in any kind of marketing opportunity, if you give up something that is desirable and differentiates you from your competition, it's too bad, and that's what this is."
But he said the public broadcaster did not make this move in haste. "The people of PBS would not do this lightly."
John F. Wilson, the chief programming executive for PBS, pointed to the steep drop off of audience members once the promotional spots aired at the end of the shows: "It's almost as if someone pulled the fire alarm and they scrambled for the exits."
(PBS did not provide specific ratings figures.)
"I'd look really carefully at a Masterpiece drama, at how we'd do that or how often we'd do that," he added.
Now producers will have to restructure their shows to contain breaks.
"It's not like this is untested, uncharted territory in some respect," said Wilson.
Antiques Roadshow will begin airing sponsor messages in January "between looking at Grandma's sofa and the 1850s flintlock someone had in their basement," Oxenford told the Times.

Thank you Hollywood Reporter

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Assembly votes to extend film production tax break..

Assembly votes to extend film production tax break

By ADAM WEINTRAUB - Associated Press | AP – 29 minutes ago

SACRAMENTO, Calif. (AP) — The state Assembly voted Tuesday to extend incentives for California's entertainment industry for five more years, approving up to $500 million in additional tax credits to help keep movie-making jobs in the state.
The California Film and Television Tax Credit Program enacted in 2009 has already helped keep some $2.2 billion in film and television production and 25,000 crew jobs in California, said Assemblyman Felipe Fuentes, a Sylmar Democrat, arguing for the extension.
The Assembly voted 72-1 to extend the program from 2014 to July 2019. The bill goes next to the state Senate.
Supporters said other states and nations have been stepping up their incentives to lure away film and television work.
California lost production jobs for years until the credit took effect, said Assemblyman Anthony Portantino, D-La Canada Flintridge, and it was carefully crafted for economic benefit to the state.
"You had to create the job here to get the credit," he said.
Democrats and Republicans both backed AB 1069 as a way to preserve California jobs, though some GOP lawmakers said other industries needed the help as much as Hollywood.
Only Assemblyman Chris Norby voted against the bill, saying the tax credits tilted the level playing field of business competition.
"This is about picking and choosing economic winners and losers," Norby said. "If you want to support Hollywood, go see a movie. I haven't seen one in a long time."
Los Angeles area legislators had pushed for a production tax credit for years without success until then-Gov. Arnold Schwarzenegger got behind the idea in 2008. His backing was pegged to a decision by the producers of the ABC Studios television series "Ugly Betty" to move production from Los Angeles to New York, costing about two-thirds of the 150 crew members their jobs on the $3 million-per-episode show.

Thank you By ADAM WEINTRAUB - Associated Press | AP – 29 minutes ago


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Feature and Short meet in cannes selections around common theme Muslim saves young jews in Paris WW2 a true story

2 Films with a message meet in Cannes around same subject and true story: Muslim saves young jews in occupied Paris WW2

Both films (a feature film and a short film) tell a story based on the true life of Rector of The Grande Mosquée de Paris who saved young jews in 1942 by forging certificates of muslim origin for hundreds of young jews. 500 to 1600 the exact figure is not available, on Schindlers's list there WAS a list!


Free Men (Les hommes libres) written and directed by Ismaël FERROUKHI, produced by Fabienne Vonier starring Tahar Ramin... will screen may 19th in Official selection, a special screening out of competition as one of the two 'School Screenings', aimed at 'secondary pupils'may.


1942, in German-occupied Paris: Younes, a young unemployed Algerian, earns his living as a black marketeer. Arrested by the French police, Younes agrees to spy on the Paris Mosque. The police suspects indeed the Mosque authorities, among which Si Kaddour Ben Ghabrit, its Rector, of helping Resistance fighters and Jews by giving them false certificates.
At the Mosque, Younes meets the Algerian singer Salim Halali. Younes is moved by Salim's beautiful voice and strong personality and they become friends. Soon after, he discovers that Salim is Jewish. In spite of the risks it entails, Younes stops collaborating with the police. Confronted by this barbarism, Younes gradually develops from being a politically ignorant immigrant worker into a fully-fledged freedom fighter.
A Pyramide production by Pyramide, screenplay by Ismaël FERROUKHI and Alain-Michel BLANC starring :Tahar RAHIM (le Prophète), Michael LONSDALE (of Gods and Men), Mahmoud SHALABY


Ensemble Directed by Mohamed Fékrane (2010) 12 minutes tell the same story from a different perspective, and with a shorter focus of the Imam's life played by Habib Kadi.
It will be shown as one of the 8 co-winners of Banlieuz'Art competition (sponsored by BNP and Région Ile de France) Salle Bazin May 20th at 2.00 followed by a press conference with the 8 jury members (each supporting their protégé film. Jean-Rachid producer of Grand Corps Malade, an actor, singer, stand up comedian: a man with many talents and tastes.

Paris, 1942, Isaac (inspired by Salim Halali) a Jewish child, escapes the Nazis, he finds refuge in the Mosquée of Paris where Ahmed, the founder and rector of the The Grande Mosquée de Paris, takes him under his protection, teaches him Coran and arab, fakes his certificate....
Ahmed then started to save as many children as possible from certain death. Before he was arrested...
A poignant story based on true events. though it is still impossible to evaluate the number of lives saved through these extraordinary brave acts, the estimates range between 600 and 1500.

Cast: Habib Kadi, Clémence Thioly, Arsene Mosca, DjamelBourriahi, Tony Baillargeat, Styéphane Mercier, Jacques Guillet, Leo Ouadfel, Chistophe Kourdouly and Erwan, the first Emotion Film Factory production (the company was set up by Christophe Kourdouly and Bruno Chatelin)
Crew:Director of photography : Victor Dupuis, Sound: Olivier Roux, Deco: Mark-R, Editing: Wadi Laadam, Color: Lamine Diakite
Produced by Christophe Kourdouly and Bruno Chatelin

The film is available online on Cinando. Ask for a invitation
Click to watch the trailer

Contacts in Cannes
Ensemble: Bruno Chatelin + 33 6 80 99 57 34 brunochatelin@emotion film factory
Free Men: André Paul Ricci +33 (0)6 12 44 30 62 apricci@wanadoo.fr




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Hollywood tailoring movies for overseas audiences...

Hollywood knows pirates and robots travel well overseas. This summer, movie studios will learn if the same holds true for hung-over Americans, alien-battling cowboys and animated cars that detour from Route 66.
And if these movies get hung up at the border, you can't say the filmmakers didn't put in the effort.
With international moviegoers now accounting for up to two-thirds of a blockbuster's total receipts, movies are more than ever being crafted with overseas audiences in mind — from story to casting to setting. Some animated films even substitute vocal talent, characters and jokes country by country.
"If we have storylines that at script-stage feel too U.S.-centric, especially with big action or science-fiction movies, we try to come up with solutions that will make the movie feel more global," says Tomas Jegeus, co-president of 20th Century Fox International Theatrical.
Evidence of that focus has been strong so far this year as more and more theaters enter the international marketplace. The high-octane heist picture "Fast Five," set in Rio de Janeiro and sporting a cast packing global appeal, currently leads the worldwide box office. Its revenues just passed the animated movie "Rio," also set in Brazil.
Both films also opened in selected international territories earlier than North America. That release pattern, once rare, is now commonplace — a concession both to piracy concerns and the importance of the global audience.
"Studios want to make movies that integrate international flavor and in genres that transcend cultures and language," says Paul Dergarabedian, president of the box office division of Hollywood.com. "This is a global business and it's no longer who the stars are, but where they come from."
This can be seen in the internationally-loaded casting of would-be summer blockbusters like "Pirates of the Caribbean: On Stranger Tides," debuting this weekend after its high-profile premiere last Saturday at the Cannes Film FestivAl , and the Brit-heavy "X-Men: First Class."
"If you have the possibility of hiring an actor who travels well, you try to do it," says "Pirates" producer Jerry Bruckheimer, whose movie includes two newcomers — Spanish actress Penelope Cruz and England's Ian McShane — in lead roles. "An actor's worldwide popularity can only help with audiences."
Shading humor specifically to countries' cultures is also becoming a popular way to fuel box-office receipts. 20th Century Fox and Blue Sky Studios have worked wonders dubbing voices and localizing jokes for their "Ice Age" animated movies. Grosses from the films climbed from $383 million for the 2002 original to the $886 million take of "Dawn of the Dinosaurs," the third entry in the series.
"These movies aren't based on any particular culture, so you can dub them and they become local movies in every country," says Brazilian filmmaker Carlos Saldanha, director of "Rio" and the "Ice Age" films.
Pixar Animation will be following that formula to a degree this summer, localizing "Cars 2" in six different countries by subbing in a different car for a scene that takes place at a Tokyo party.
NASCAR driver Jeff Gordon provides the voice in the United States, but will be replaced in the one scene with regional favorites like Australian racer Mark Winterbottom and Spanish Formula One driver Fernando Alonso.
"Pixar is taking a lot of care to make the movie as specific to these countries as possible," ''Cars 2" producer Denise Ream says. "This is Pixar's biggest movie. I like to joke that we built the world for this one."
That kind of heavy lifting can be painful during production but prove rewarding for the bottom line. The first "Cars" movie, which followed its automotive characters in a distinctly American setting, did well commercially in North America. Overseas, however, audiences didn't connect with its nostalgic story, and the film failed to equal domestic grosses, a rarity for the genre.
"Cars 2" takes its characters around the world, an idea its co-writer and co-director, Pixar chief creative officer John Lasseter, came up with while traveling to promote the first movie.
"It's always done with the story in mind," Ream says, "and not just for the sake of doing it."
Similarly, the notorious nightlife of Bangkok seemed the perfect setting for "The Hangover Part II." And moving "Fast Five" to Rio represented part of a concerted effort to give the franchise a wider appeal beyond its American automotive roots, says David Kosse, president of Universal Pictures' international division.
"It's not a car movie," Kosse says. "We're picking up people who haven't seen the other movies who want to see a heist movie."
Box-office tracker Dergarabedian notes the common wisdom that epic action movies and superhero popcorn flicks have been friendly genres for foreign audiences. But he says that comedies like "Hangover Part II" work, too, provided the humor is broad.
As for how the traditional international aversion to American Westerns might affect July's sci-fi Western "Cowboys & Aliens," Dergarabedian laughs.
"The combination of themes is precisely why it will work with foreign audiences," he says. "Plus, it stars James Bond (Daniel Craig). They've done their homework."

Thank you Hollywood Reporter

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U.K. Film, TV Directors Support Rejection of 'Fair Use' Copyright Policy...

Hargreaves Report says the U.K. Government should not introduce measures to allow copyrighted content to be used for free.

LONDON – Directors U.K., the body representing over 4,000 directors working in film and television, said a report looking at copyright and deciding against the introduction of a U.S. "fair use" regime is a good thing.
The report, authored by Ian Hargreaves, said the Google-backed proposal to allow copyrighted content to be used for free, is not something the Government here should aim to introduce in changes to copyright law making.
"We welcome the clear and firm support given to the importance of copyright as a stimulus for creativity, innovation and growth, and for the support for effective enforcement of copyright against theft," said Directors U.K. CEO Andrew Chowns. "We are pleased that Professor Hargreaves has decided against the introduction of a U.S. "fair use" regime.
Hargreaves' report, published Tuesday here, called for 10 changes to archaic regulations that he argued are stunting the growth of the creative and technology industries.
The review was commissioned by British Prime Minister David Cameron.
Proposed changes include creating a "one-stop shop" for digital rights clearance and lifting restrictions on parodying copyrighted material.
"We also welcome Professor Hargreaves' vision for modern, efficient and accountable collecting societies operating a flexible copyright licensing regime. Directors U.K. believes the concept of the Digital Copyright Exchange is well worth consideration as a means of licensing digital uses efficiently and we welcome the opportunity to participate in this project," Chowns added.
"We welcome the assurances regarding better enforcement at home and abroad and the measures to assist in rights clearance where there is market failure but we are concerned about a number of recommendations which will have an impact on the film industry including proposals related to exceptions on copyright and linking the Digital Copyright Exchange to enforcement.
After the report was published, Christopher Marcich, president and managing director, Motion Picture Association, which reps the major Hollywood film studios, issued a statement.
Marcich said the MPA is ready and willing to "engaging with the government on these proposals to ensure that the vital safeguards provided by IP protection, which give the creative sector its value, are maintained and that any changes are carefully considered in the context of their potential impact on the market place."

Thank you Hollywood Reporter

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WGAW Report Shows Lack of Diversity Among Film, TV Writers...

"The current recession has done little to help women, minority and older writers move ahead in the Hollywood industry," the study says.

The writers' rooms are still lacking in diversity, according to a new report from the Writers Guild of America West.

The study, titled "2011 Hollywood Writers Report," examines employment status and earnings based on age, gender and ethnicity for writers in 2008 and 2009.

"The current recession has done little to help women, minority and older writers move ahead in the Hollywood industry relative to their male, white and younger counterparts," the report says.
Among the findings is the fact that the percentage of working writers who were women dropped by one percentage point from 2007 levels to 24% in 2009. In addition, the earnings gap between male and female TV writers increased from $5,109 in 2007 to $9,400 in 2009. On the film side, the gap shrunk to its lowest level in eight years ($14,017).

Meanwhile, the share of minority writers working in TV rebounded to 2005 levels (10%), but the report noted that minorities are still underrepresented by a ratio of 3-to-1. The earnings gap for minorities widened to its largest level in at least 10 years ($23,325).
In film, the ratio is 7-to-1, with the share of minorities employed in writing jobs declining to its lowest level in at least 10 years (5%). But the earnings gap shrunk from $38,542 in 2007 to $20,864 in 2009.

Elsewhere, the employment rate for the largest group of "older writers," defined as those aged 41-50, has remained flat at 61% since 2005.

Thank you Hollywood Reporter

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Incentives Update May 21st 2011

MICHIGAN REDUX

The Michigan Senate has approved a ceiling of $10 million, considerably less than the $25 million in the Governor's proposed budget, but more than the zero amount approved by the House. The Michigan Film Office says that this eliminates the incentives program from the tax code, which will allow it to now be part of an appropriations process. The Governor is proceeding with his plan to allocate $25 million from a tobacco settlement fund. Meanwhile, legislation was introduced last week to leave the program largely intact, but change the amount to a negotiated figure between 10% and (up to) 40%. Stay tuned.

UTAH

The Governor has signed legislation that raises the incentive (rebate or refundable credit) to 25%. The Legislature also approved an ongoing tax credit fund of $6.8 million for the Motion Picture Incentive Fund (MPIF).

FLORIDA

New legislation has been passed (but not yet signed by the Governor) that will make some changes to the successful Florida program, including $12 million in additional tax credits for the last three fiscal years of the program. A 5% bonus for shooting in underutilized locations has been added; another 5% can be added if using a "Qualified production facility". There is a bonus for hiring students or recent film school graduates; however, in no event can tax credit awards exceed 30% of the Florida qualified spend.

Unfortunately, there are now some complicated restrictions that could make television series production, difficult - if not impossible. Hopefully, these concerns will be resolved prior to the Governor signing the new legislation, as Florida is an important production center, with a good incentives program.

MARYLAND
The Governor signed new legislation on May19, 2011, which provides a refundable tax credit of 25% (27% for television) of qualified expenses. $7,500,000 is available per fiscal year, with any unused amounts carrying forward to the next year.

WASHINGTON STATE

The Washington House has approved legislation to extend the incentives program past its sunset date of July, 2011. The measure now goes to the Senate. Washington offers a 30% cash rebate, with $3.5 million appropriated each year.


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