by Donna Michelle Anderson
Learn about specific examples of what you might find in the entertainment trades - and how you can translate that information into selling your own projects.
One of my most popular articles to date has been "Breaking Into Hollywood - Do I Need to Read the Trades?" In that post, I outlined the minimum types of information you should scan the trades for and also suggested key trades to read. Thanks to the strong response I received, in this article, I'm going to follow up with specific examples of what you might find in the trades - and how you can translate that information into selling your own projects.
Whether you work in film or TV, you can put these tips to use, even if the specific example is not from your industry.
Let me start by recommending you immediately ditch any hard copies you receive of the trades and sign up for the electronic versions instead. That way, you can easily copy and paste information straight into your databases or share it with partners and reps. Remember, always show copyright love whenever it bears stating!
Now, here are six ways to "trade up" your daily reading into a focused, project-selling process:
Trade-Up Tip #1: Track the Trends As you prepare to pitch various projects, the trades tell you what's hot and what's not. Guess which trend you want to be riding? For example, for reality TV professionals, over the past two weeks, we've learned that:
My Network TV is about to replace 33% of its programming with reality TV AND 180 from telenovelas to targeting male viewers (reality producers, take note); Court TV's first scripted project is a hit with viewers (fiction producers, here's a new potential buyer!); NBC, the CW and Bochco himself all are about to launch original Web-based programs (everyone, are you still ignoring new media?); and Networks in general are looking for cheap ratings bonanzas in brand-friendly game shows (got a talent option you don't know yet how to capitalize on?) All of that info ought to help show creators decide which ideas they are going to prioritize developing to maximize sales possibilities. Database these updates in a simple table or spreadsheet, and you'll always be timely in your pitch meetings. And remember, the execs you're pitching expect you to know this info if it was in the trades!
ACTION PLAN: In Word or Excel, build a simple table with columns for network/studio name, programming announcement(s) and announcement date(s). (when you buy my book, "The Show Starter Reality TV Made Simple System, Vol. 1: How to Create and Pitch a Sellable Reality Show," if you join the Show Starter Online Group, you can access a file of over a dozen network programming announcements from this year's upfronts.)
BONUS ROUND: If you don't have any pitches that ride the trends, rework existing projects to stay current. Is there a cooking pitch you love that also might make a terrific game show? For helpful process tips, read "Show Starter, Vol. 1" pp 25-27.
Trade-Up Tip #2: Run "Comps" on Projects that are Similar to Yours TV producers, before any pitch meeting you ever take, be absolutely sure to check the overnight ratings for the current shows at that network AND any shows anywhere else that are similar to yours. Filmmakers, regularly track the weekend box office for any studios or companies you hope to meet with or any films in your genre.
Now for the example: remember the hot new - and now former - ABC show "The Great American Dream"? At the end of March '07, if you were about to pitch any dream fulfillment shows anywhere, or any show AT ALL to ABC, a quick glance at one day's trades would have shown that "Dream" utterly tanked episode one (ratings report - 3/28/07). . .and was cancelled after episode two (cancellation article - 3/29/07 - as in the NEXT DAY's trades).
Translation: this might be a pretty bad time to pitch a new dreams-come-true project anywhere, and ABC execs might be particularly cautious about new genre projects in general. Isn't that something you'd like to know before entering the room? You BET. At least so you can explain why your project isn't vulnerable to the same ratings risks? And don't be blinded even if you see high ratings. Just because the trades report "Fox Picks Up 13 More Episodes of 5th Grader," it might mean Fox wants to do another deal with Mark Burnett rather than buy your equally biting game show.
ACTION PLAN: Do a quick ratings review in the daily trades to compare your pitch list to current shows. Push danger zone shows to the bottom of your list, if you pitch them at all over the next few weeks. Then shift at least one brand-appropriate trend-winner into your top three opening pitches.
BONUS ROUND: Brainstorm alternative versions of your danger zone pitches (Show Starter, Vol. 1, pp 25-27) so they no longer heavily rely on now-risky elements. Then if an exec challenges them, you can come right back with a well-thought-out twist on your pitch.
Trade-Up Tip #3: Dissect Deal Points If you're not sure what to expect and request in your own deals, read the trades to keep up with what everyone else is offering or receiving! For example, for all you filmmakers who are fighting mainly to get a piece of DVD rentals in your deals, shouldn't you know that the "Netflix Founder Predicts End Of DVD Rental Business" and now is investing millions in digital film downloading? Meanwhile, reality newcomers and pitch partners can set some basic contract expectations by reading news like "Hedda Muskat has been named Consulting Producer on WE's new show, 'Wife, Mom, Bounty Hunter' debuting on April 20. Hedda brought the show to World of Wonder who sold it to WE." (© 2007 Cynopsis).
ACTION PLAN: Scan for any deal discussions regarding professional peers or potential buyers. The Cynopsis example above lets you know right away what you might expect to be offered by WE and/or World of Wonder as a new show creator.
BONUS ROUND: Oh, you know what I'm going to say: add this info to a database - and review it before you actually pitch any partners!
Trade-Up Tip #4: Improve Your Project Development Process Seeking "the right" talent to attach to a project? You can test the industry's temperature for star "heat" by reading that "Kid, Not Play, May Get Talk Show." Or get a great lesson in built-in conflict for reality pitches when you read that "Season three of Run's House on MTV begins April 9 at 10p. Rev. Run and the Simmons family return to face new crisis and growth situations such as the two oldest daughters, Angela and Vanessa living on their own in Manhattan." (© 2007 Cynopsis). Whenever you read about greenlit projects in your industry, consider it powerful development guidance for your own projects.
ACTION PLAN: Scan the trades for talent and story success stories and see what equally compelling "headlines" you could write to promote your own projects. Do you have more work to do to develop the project?
BONUS ROUND: Write the headlines - and send them to your focus group to see if they want to see that show!
Trade-Up Tip #5: Gather Insider Information I call this "Room Wisdom." These are articles that give you explanations of how our business works that help you get inside the minds of the studio, network and production execs you are pitching. For example, the Hollywood Reporter recently ran an article called "Ad Ratings To Gain At Upfront," explaining that advertisers increasingly want to base the ad dollars they commit to a network on ratings for the actual commercials that run during programs, rather than ratings for the shows themselves. Is that a big shift? Of course! Is that something you can talk about intelligently in the room when possible ratings enter the discussion? Sure - if you've read the article.
ACTION PLAN: Read insider information articles and make sure you can summarize the general idea into a straightforward sentence (like I just did above).
BONUS ROUND: Learn the article's new buzzwords and do additional research on them. For my example article, you would research "ad ratings" (aka "commercial ratings") and the new Nielsen measurements they represent.
Trade-Up Tip #6: Scan for Who | What | Where I'll say it again - success in isn't just about know-how; it's about know-WHO. You absolutely must know who the players are that can buy your projects or otherwise assist their sale. All the trades announce executive hiring, firings and job-swappings. Many also feature producers who have just sold new projects. You must know these names to learn whom you already know and whom you need to meet with - not just in the room, but also at panels, seminars and conferences you see advertised.
For example: got contacts at "The Amazing Race"? Guess what? Now you might have contacts at Oprah's new wish fulfillment show - the trades just announced "'Race' duo to oversee Harpo reality series." But before you send an e-mail blast to everyone you know who works anywhere, please read my article: "Breaking Into Hollywood - Do you know anyone who's hiring?" Please don't ever let the first thing you say to someone - a stranger OR a friend - be "What can you do for me?" Make sure your energy in this industry is balanced between advancing your own dreams and sincerely investing in your core circle's dreams at the same time. Those contacts are the ones who'll call YOU to yell, "Hey, I just got the new Oprah show - send me your rez!"
ACTION PLAN: Database the names of studio execs, network execs, production execs, financiers and show runners and keep it updated through your daily trade reads. Start with the network and prod co dbs we give you at our online group, and keep it up-to-date. Those names are the key to your selling a project.
BONUS ROUND: Today, right now, send an e-mail to the five people who have helped you most in your career. Offer something specific to help them back - even if its updating one of THEIR databases. Get balance back in your professional relationships - and watch the immediate shift in your professional progress.
BONUS, BONUS ROUND - Stop typing your latest email blast asking people you otherwise never check in on to find you work. Now re-read "Bonus Round" and give that approach a try instead. Please trust me on this. And remember, send thank you truffles or coffee cards to everyone who ever gets you in front of anyone else for a meeting - whether you close a deal or not.
Wednesday, May 16, 2007
Pride and Prejudice vs. Chick Flicks
by Elizabeth G
Why have women loved Pride and Prejudice for almost 200 years? Why are most "chicks flicks" forgotten in six months? What makes Jane Austen's signature work so special?
Once, when asked my opinion of chick flicks, I promptly replied "I hate them!" But my husband interjected, "No you don't...you love Pride and Prejudice." To which I objected, "That's a classic, not a chick flick!" But his comment challenged me to question what sets Pride and Prejudice apart from the rest of the genre, and I developed a short list. I will admit that not every modern chick flick follows every point that I've listed. But there seems to be a general pattern.
1. It Honors what is honorable. Unlike Mona Lisa Smile, where Julia Robert's character was celebrated for questioning the moral and beautiful, character is everything in the world of Austen. Mr. Darcy is good because he cares for and protects his loved ones, is kind to his servants, and is honest. Mr. Wickham is bad because he lies, runs up debts, pursues rich girls for their money and poor ones just for fun. In a contemporary chick flick Mr. Darcy would be drab while charismatic Wickham would be the leading man. When was the last time a chick flick villainized a man for not paying his credit-card bill? What about for having sex outside of marriage?
2. Substantial Characters In the modern chick flick, I usually have a hard time caring about the characters. The men and women usually have good looks in common, but why else should I care that they get together? Chick flick characters tend to be far more interchangeable than those in Pride and Prejudice. I was thrilled for both Lizzy and Darcy, but it was clear that Lizzy and Bingley (or Jane and Darcy) would have been a horrid match. Not so when Exhibit A of attractive blond woman could be equally happy with any attractive, sweet-talking male. And when the leading lady dumps Guy A for Guy B, I'm left wondering, "How was that a step up?"
3. Dialogue The novels of Jane Austen are characterized by the masterful use of dialogue. On the other hand, modern chick flicks rely predominantly on visuals (kissing and beyond) to develop the romance (or "sexual tension"), along with some properly placed loved ballads. And when chick flick characters do talk, they don't have much to say! Many people remember this line from Notting Hill, “I’m just a girl, standing in front of a boy, asking him to love her.” Jerry Maguire made hearts melt when he said, “You…complete me.”
Compare that googly-eyed nonsense with Darcy’s first proposal, “In vain I have struggled. It will not do. My feelings will not be repressed. You must allow me to tell you how ardently I admire and love you." Or compare it with his second proposal, "You are too generous to trifle with me. If your feelings are still what they were last April, tell me so at once. My affections and wishes are unchanged; but one word from you will silence me on this subject for ever."
4. It's hilarious! So often, chick flicks have to rely on filthy jokes and physical comedy to garner laughs. Not so with Pride and Prejudice. Austen's sarcastic wit produces many subtle comments with laugh-out-loud results! For example, Elizabeth’s reaction to Mr. Collins unwanted proposal, “‘Really, Mr. Collins,’ cried Elizabeth with some warmth, ‘you puzzle me exceedingly. If what I have hitherto said can appear to you in the form of encouragement, I know not how to express my refusal in such a way as may convince you of its being one.’”
I’m still not sure if “chick flick” is the best way to describe Pride and Prejudice (especially the Firth/Ehle version). But if more chick flicks would follow its lead, I would probably be at the movies more often.
Why have women loved Pride and Prejudice for almost 200 years? Why are most "chicks flicks" forgotten in six months? What makes Jane Austen's signature work so special?
Once, when asked my opinion of chick flicks, I promptly replied "I hate them!" But my husband interjected, "No you don't...you love Pride and Prejudice." To which I objected, "That's a classic, not a chick flick!" But his comment challenged me to question what sets Pride and Prejudice apart from the rest of the genre, and I developed a short list. I will admit that not every modern chick flick follows every point that I've listed. But there seems to be a general pattern.
1. It Honors what is honorable. Unlike Mona Lisa Smile, where Julia Robert's character was celebrated for questioning the moral and beautiful, character is everything in the world of Austen. Mr. Darcy is good because he cares for and protects his loved ones, is kind to his servants, and is honest. Mr. Wickham is bad because he lies, runs up debts, pursues rich girls for their money and poor ones just for fun. In a contemporary chick flick Mr. Darcy would be drab while charismatic Wickham would be the leading man. When was the last time a chick flick villainized a man for not paying his credit-card bill? What about for having sex outside of marriage?
2. Substantial Characters In the modern chick flick, I usually have a hard time caring about the characters. The men and women usually have good looks in common, but why else should I care that they get together? Chick flick characters tend to be far more interchangeable than those in Pride and Prejudice. I was thrilled for both Lizzy and Darcy, but it was clear that Lizzy and Bingley (or Jane and Darcy) would have been a horrid match. Not so when Exhibit A of attractive blond woman could be equally happy with any attractive, sweet-talking male. And when the leading lady dumps Guy A for Guy B, I'm left wondering, "How was that a step up?"
3. Dialogue The novels of Jane Austen are characterized by the masterful use of dialogue. On the other hand, modern chick flicks rely predominantly on visuals (kissing and beyond) to develop the romance (or "sexual tension"), along with some properly placed loved ballads. And when chick flick characters do talk, they don't have much to say! Many people remember this line from Notting Hill, “I’m just a girl, standing in front of a boy, asking him to love her.” Jerry Maguire made hearts melt when he said, “You…complete me.”
Compare that googly-eyed nonsense with Darcy’s first proposal, “In vain I have struggled. It will not do. My feelings will not be repressed. You must allow me to tell you how ardently I admire and love you." Or compare it with his second proposal, "You are too generous to trifle with me. If your feelings are still what they were last April, tell me so at once. My affections and wishes are unchanged; but one word from you will silence me on this subject for ever."
4. It's hilarious! So often, chick flicks have to rely on filthy jokes and physical comedy to garner laughs. Not so with Pride and Prejudice. Austen's sarcastic wit produces many subtle comments with laugh-out-loud results! For example, Elizabeth’s reaction to Mr. Collins unwanted proposal, “‘Really, Mr. Collins,’ cried Elizabeth with some warmth, ‘you puzzle me exceedingly. If what I have hitherto said can appear to you in the form of encouragement, I know not how to express my refusal in such a way as may convince you of its being one.’”
I’m still not sure if “chick flick” is the best way to describe Pride and Prejudice (especially the Firth/Ehle version). But if more chick flicks would follow its lead, I would probably be at the movies more often.
Breaking Into Hollywood - Do You Know Anyone Who's Hiring?
by Donna Michelle Anderson
This is a tough article to publish, but it's just so important! The message of this missive is simple - stop asking people to hire you. STOP IT. It is not only not an effective way to break into the industry, it is a sure way to drive away the very people who are able to help you.
This is a tough article to publish, but it's just so important! The message of this missive is simple: stop asking people to hire you. STOP IT. It is not only not an effective way to break into the industry, it is a sure way to drive away the very people who are able to help you.
Does this sound counterintuitive? Completely against the whole concept of "taking initiative"? Let me explain.
If you have few or no credits (and little or no income), you know the frustration/panic of not knowing how you're ever going to break through the gates of the entertainment industry and get both recognition for your passion AND a paycheck for your bills. That's a given, and that's entirely valid and understandable.
But take a moment before you ask the next person you've just met to hire you to visualize the same scenario OUTSIDE of the entertainment industry. If you'd just met the senior partner of a law firm, and had neither work experience in a legal firm nor a law degree, would you open and/or close the conversation with a request to be hired? I hope not! Because if you did, the head of that firm would not be impressed by your passion for law. They would be baffled by your lack of understanding of how one gets hired to work in a law firm. They also might be a bit miffed by your lack of respect for what they do since you think that someone with no experience merits some of their hard-earned income. And finally, they might really like you and appreciate your enthusiasm for their field, but they already have a long line of entry-level applicants they've already got a relationship with and will offer the next opening to.
Notice the "entry level" qualification in that sentence. That's because if you are approaching the head of a law firm with no experience or degree and asking to be hired as an attorney, well, you are insane and deserve the outraged expression you are about to see on his or her face. But you know that already. In fact, you would never dream of asking a senior partner at a law firm to hire you as a lawyer if you had no background qualifying you to do so!
Now, if you understand that boundary in the legal arena, but you approach employment differently in the entertainment industry, you are setting yourself up to fail. It is imperative that you enter this field recognizing and respecting it as a real business. Your passion for medicine will not earn you a spot in the operating room if you have no degree, and your passion for Hollywood will not earn you a gig in this industry if you have nothing to bring but your passion. And why should it? Why would you demand to be paid top dollar as a surgeon if you have no idea how to perform surgery...and why would you demand to be paid any dollars as a filmmaker if you have no idea how to make films?
Now I know you might be saying: "I know how to make films!" "I know how to write a script!" "I know how to produce a TV show!" "I know how to act!" Can I ask you, for one moment, to consider the possibility that if you have not already done one of these things, professionally, and regularly paid your bills doing so...that there is something, in fact, much...that you do not in fact yet know?
Still with me? Okay, now what if your approach to the industry became "What do I need to learn to succeed here?" rather than "How much can I get out of this as quickly as possible so my dreams can immediately come true?" What if you slowed down a little and decided to learn before you leap?
As soon as your energy becomes "What do I need to learn?" instead of "What do I want to earn?," your experience in this game is going to change. FAST!
Here is my suggestion to you the next time you meet someone you're dying to work for. Don't tip the balance of the exchange by becoming a "supplicant," someone with their hand out for a job. And don't end the possibilities of the meeting by pretending you know or have done more than you have done. Instead, talk to that person with passion about what they do! People in the industry work the most ridiculous hours you can imagine, as will you. And they do it because they are obsessed with what they do. Let them talk. Learn from what they know. Buy them a cup of coffee or a glass of wine. THANK THEM FOR THEIR TIME. And walk away from that exchange without asking for something additional in return.
I do mean something "additional." Information is money in this industry and every other one. Someone's precious time and pearls of wisdom are worth a lot to you if you listen and learn. Don't add to that generous gift by also asking them for money!
If you find a connection between a talented person and yourself, this is a person to follow up with later and ask if you can give THEM something back in RETURN! This is the person you want to VOLUNTEER for. Now that you know what they do, figure out what skills and contacts and assistance you can offer them. And this is key: don't offer to do something for them that will help make your dreams come true; offer to help them achieve one of their own goals. Because once you do that, you've evened the exchange, and the ball is in their court now to want to help you! And if you go in and do an incredible volunteer job, believe me, they will want to help you.
I cannot count the number of times I've had this conversation with new people in the industry. I CAN count, however, the number of times they've sent me a thank you note and asked me for a job, despite all I'd just told them. Do you think I hired them? Of course not! They couldn't follow the simple, free advice I'd just given them; I knew they might once again think they knew better than I do when I gave them instructions to do something at work at my company! Why would I take that risk when I already have a long list of people I'm already hoping to help move ahead?
On the other hand, the one...and I do mean ONE...person who followed up with me and offered to work for free for a week (on a massive show) in order to cross out of music videos into TV production....well, we hired her at the end of the first day. She was that good.
This is a tough article to publish, but it's just so important! The message of this missive is simple - stop asking people to hire you. STOP IT. It is not only not an effective way to break into the industry, it is a sure way to drive away the very people who are able to help you.
This is a tough article to publish, but it's just so important! The message of this missive is simple: stop asking people to hire you. STOP IT. It is not only not an effective way to break into the industry, it is a sure way to drive away the very people who are able to help you.
Does this sound counterintuitive? Completely against the whole concept of "taking initiative"? Let me explain.
If you have few or no credits (and little or no income), you know the frustration/panic of not knowing how you're ever going to break through the gates of the entertainment industry and get both recognition for your passion AND a paycheck for your bills. That's a given, and that's entirely valid and understandable.
But take a moment before you ask the next person you've just met to hire you to visualize the same scenario OUTSIDE of the entertainment industry. If you'd just met the senior partner of a law firm, and had neither work experience in a legal firm nor a law degree, would you open and/or close the conversation with a request to be hired? I hope not! Because if you did, the head of that firm would not be impressed by your passion for law. They would be baffled by your lack of understanding of how one gets hired to work in a law firm. They also might be a bit miffed by your lack of respect for what they do since you think that someone with no experience merits some of their hard-earned income. And finally, they might really like you and appreciate your enthusiasm for their field, but they already have a long line of entry-level applicants they've already got a relationship with and will offer the next opening to.
Notice the "entry level" qualification in that sentence. That's because if you are approaching the head of a law firm with no experience or degree and asking to be hired as an attorney, well, you are insane and deserve the outraged expression you are about to see on his or her face. But you know that already. In fact, you would never dream of asking a senior partner at a law firm to hire you as a lawyer if you had no background qualifying you to do so!
Now, if you understand that boundary in the legal arena, but you approach employment differently in the entertainment industry, you are setting yourself up to fail. It is imperative that you enter this field recognizing and respecting it as a real business. Your passion for medicine will not earn you a spot in the operating room if you have no degree, and your passion for Hollywood will not earn you a gig in this industry if you have nothing to bring but your passion. And why should it? Why would you demand to be paid top dollar as a surgeon if you have no idea how to perform surgery...and why would you demand to be paid any dollars as a filmmaker if you have no idea how to make films?
Now I know you might be saying: "I know how to make films!" "I know how to write a script!" "I know how to produce a TV show!" "I know how to act!" Can I ask you, for one moment, to consider the possibility that if you have not already done one of these things, professionally, and regularly paid your bills doing so...that there is something, in fact, much...that you do not in fact yet know?
Still with me? Okay, now what if your approach to the industry became "What do I need to learn to succeed here?" rather than "How much can I get out of this as quickly as possible so my dreams can immediately come true?" What if you slowed down a little and decided to learn before you leap?
As soon as your energy becomes "What do I need to learn?" instead of "What do I want to earn?," your experience in this game is going to change. FAST!
Here is my suggestion to you the next time you meet someone you're dying to work for. Don't tip the balance of the exchange by becoming a "supplicant," someone with their hand out for a job. And don't end the possibilities of the meeting by pretending you know or have done more than you have done. Instead, talk to that person with passion about what they do! People in the industry work the most ridiculous hours you can imagine, as will you. And they do it because they are obsessed with what they do. Let them talk. Learn from what they know. Buy them a cup of coffee or a glass of wine. THANK THEM FOR THEIR TIME. And walk away from that exchange without asking for something additional in return.
I do mean something "additional." Information is money in this industry and every other one. Someone's precious time and pearls of wisdom are worth a lot to you if you listen and learn. Don't add to that generous gift by also asking them for money!
If you find a connection between a talented person and yourself, this is a person to follow up with later and ask if you can give THEM something back in RETURN! This is the person you want to VOLUNTEER for. Now that you know what they do, figure out what skills and contacts and assistance you can offer them. And this is key: don't offer to do something for them that will help make your dreams come true; offer to help them achieve one of their own goals. Because once you do that, you've evened the exchange, and the ball is in their court now to want to help you! And if you go in and do an incredible volunteer job, believe me, they will want to help you.
I cannot count the number of times I've had this conversation with new people in the industry. I CAN count, however, the number of times they've sent me a thank you note and asked me for a job, despite all I'd just told them. Do you think I hired them? Of course not! They couldn't follow the simple, free advice I'd just given them; I knew they might once again think they knew better than I do when I gave them instructions to do something at work at my company! Why would I take that risk when I already have a long list of people I'm already hoping to help move ahead?
On the other hand, the one...and I do mean ONE...person who followed up with me and offered to work for free for a week (on a massive show) in order to cross out of music videos into TV production....well, we hired her at the end of the first day. She was that good.
Tuesday, May 8, 2007
Will The Virginia Tech Shootings Change The Way Hollywood Makes R-Rated Action Movies?
by Rob Mead
After the Columbine massacre, movie studios were forced to only advertise R-rated movies after 10 pm at night on most TV channels. Will this new massacre prove to be the same catalyst for more censorship?
It was a few weeks ago when a lone nutcase bought a few guns and killed 32 people in one of the worst massacres in U.S. history at Virginia Tech. So far, there have only been a few mumblings here and there that the media is to blame in all of this, most predominately by Dr. Phil. He accuses the videogame industry of being somehow complicit in this one crazed gunman's actions, which is obviously unfounded and ridiculous. But there are always congressmen in office who are otherwise ineffectual in getting anything done to stop guns from getting in the hands of mental patients, who go on tirades against the entertainment community when something like this happens.
Thankfully, most people are waking up and seeing that mental psychosis is responsible for these crazy people's actions, not the latest Rob Zombie horrorfest. The movie studios for the most part capitulated to congress' need for a better system of screening out hard "R" rated movies that are unsuitable to kids under 18 years old. They now force i.d.'s to be shown at all ticket windows to allow teenagers to buy tickets to r-rated movies. Now that another massacre has occurred, they might be encouraged to force even stricter guidelines on r-rated movies.
The Federal Trade Commission regulates video game ratings, and is the watchdog for the movie industry, making sure that r-rated flix are not seen or bought on dvd by kids under 18 years old. The FTC chairman, Deborah Platt Majores states "The latest FTC report shows improvement, but also that the entertainment industry has more work to do." The FTC conducted a research group whereby they sent a variety of children into a retail store to buy r-rated dvds. Eighty-one percent of kids 16 and younger were able to buy R-rated movies in 2003, and that number dropped just 10 percentage points to 71 percent in 2006.
Based on these statistics, and in light of the shootings at Virginia Tech, there is reason to believe that retail video chains like Blockbuster will be in the headlights of watchdog groups like the FTC to make sure movies like "Hostel" and "The Devil's Rejects" do not get into the hands of 12-year-olds.
After the Columbine massacre, movie studios were forced to only advertise R-rated movies after 10 pm at night on most TV channels. Will this new massacre prove to be the same catalyst for more censorship?
It was a few weeks ago when a lone nutcase bought a few guns and killed 32 people in one of the worst massacres in U.S. history at Virginia Tech. So far, there have only been a few mumblings here and there that the media is to blame in all of this, most predominately by Dr. Phil. He accuses the videogame industry of being somehow complicit in this one crazed gunman's actions, which is obviously unfounded and ridiculous. But there are always congressmen in office who are otherwise ineffectual in getting anything done to stop guns from getting in the hands of mental patients, who go on tirades against the entertainment community when something like this happens.
Thankfully, most people are waking up and seeing that mental psychosis is responsible for these crazy people's actions, not the latest Rob Zombie horrorfest. The movie studios for the most part capitulated to congress' need for a better system of screening out hard "R" rated movies that are unsuitable to kids under 18 years old. They now force i.d.'s to be shown at all ticket windows to allow teenagers to buy tickets to r-rated movies. Now that another massacre has occurred, they might be encouraged to force even stricter guidelines on r-rated movies.
The Federal Trade Commission regulates video game ratings, and is the watchdog for the movie industry, making sure that r-rated flix are not seen or bought on dvd by kids under 18 years old. The FTC chairman, Deborah Platt Majores states "The latest FTC report shows improvement, but also that the entertainment industry has more work to do." The FTC conducted a research group whereby they sent a variety of children into a retail store to buy r-rated dvds. Eighty-one percent of kids 16 and younger were able to buy R-rated movies in 2003, and that number dropped just 10 percentage points to 71 percent in 2006.
Based on these statistics, and in light of the shootings at Virginia Tech, there is reason to believe that retail video chains like Blockbuster will be in the headlights of watchdog groups like the FTC to make sure movies like "Hostel" and "The Devil's Rejects" do not get into the hands of 12-year-olds.
Why These Classic Horror Movies Should Be Remade Today
by Rob Mead
Have you ever seen a classic horror movie and said "That movie would be so much better if it were directed by Eli Roth?" If you have ever thought that, this article will compel you to think of some other movies that deserve a remake.
About a year and a half ago, director Rob Zombie was finishing up editing "The Devil's Rejects" when he got a call from his agent wondering if Rob would like to do a re-tooling of the once-great franchise "Halloween". The only response he got back from Mr. Zombie was "Sign me up!" A week or two later, the final contracts were drawn up, filming began, and now "Halloween" will be in theaters once again on August 31st, 2007. The reason the project was given a greenlight with Rob Zombie attached so fast was the fact that the "Halloween" series of films have been really bad lately. Steve Miner directed the last atrocity, "Halloween: H20", with absolutely no credibility and no charisma at all.
"Halloween" needed a fresh transfusion of blood for it to continue, and the producers had to find a damn good director to re-imagine the series in a more modern context. Rob Zombie was recommended to the producer's by many people who had seen Zombie's previous two horror flix, the aforementioned "Devil's Reject's", and the under-rated "House of 1000 Corpses".
I believe there are many more classic and semi-classic horror movies that could really use a boost from a talented director out there. "Dr. Jeckyl and Mr. Hyde" springs to mind as a perfect vehicle for the great director David Cronenberg, who started out by directing pure horror films like "Scanners" and "The Brood". He really could attack a good script written by somebody who really gets the horror and nuance of the great book written by Robert Louis Stevenson about a good doctor who turns into a horrible monster after drinking a concoction he mixed up in his lab one night. The makeup transformation alone would be worth the price of admission! I see an actor like Daniel Craig or Heath Ledger in the role of Dr. Jeckyl. Jessica Biel or Scarlet Johannsen would make a really sexy and interesting Mary Reilly, who falls in love with the diabolical doctor.
The last time anybody took a really creative stab at "Dracula', it resulted in the brilliant "Bram Stoker's Dracula", directed by Francis Ford Coppola. Movies that were made afterwards, like the laughable "Dracula's Curse", starring Gerald Butler playing a Euro-trash Dracula, never should have been made in the first place. Butler now has huge success after playing King Leonidas in "The 300", but he really was one of the worst Dracula's in the history of cinema. Brian DePalma would be a perfect candidate for the director's helm, and a real movie actor like Willem Dafoe or Colin Firth would be an excellent choice to bring the pain and gravitas of Bram Stoker's great villain to life. Also, a really great script by David Mamet would help, but I don't know if he wants to make his hands bloody by writing a violent screenplay. Some great writer who needs a change from the seriousness of "Syriana", like Steve Gaghan, would be another ideal candidate.
Finally, "The Last House on the Left" was the movie that was a HUGE influence on today's "torture" movies like the "Saw" franchise and "Hostel 1 and 2". This is a little-seen horror flick that was directed by a young man called Wes Craven. You might know him by his later work directing two huge hits, "A Nightmare on Elm Street" and "Scream". "Lat House..." was a movie made in 1972 that featured some of the most horrific torture scenes ever put on celluloid at that time. It follows the story of 2 women who are abducted by 3 murderers and rapists, and challenges the viewer to stay in their seat as Craven directs the movie in close-up 35mm camera takes that really shows the viewer every violent act committed against these two women by their captors. If Eli Roth, the director of "Hostel", were to direct a remake, I think major box office would follow.
Have you ever seen a classic horror movie and said "That movie would be so much better if it were directed by Eli Roth?" If you have ever thought that, this article will compel you to think of some other movies that deserve a remake.
About a year and a half ago, director Rob Zombie was finishing up editing "The Devil's Rejects" when he got a call from his agent wondering if Rob would like to do a re-tooling of the once-great franchise "Halloween". The only response he got back from Mr. Zombie was "Sign me up!" A week or two later, the final contracts were drawn up, filming began, and now "Halloween" will be in theaters once again on August 31st, 2007. The reason the project was given a greenlight with Rob Zombie attached so fast was the fact that the "Halloween" series of films have been really bad lately. Steve Miner directed the last atrocity, "Halloween: H20", with absolutely no credibility and no charisma at all.
"Halloween" needed a fresh transfusion of blood for it to continue, and the producers had to find a damn good director to re-imagine the series in a more modern context. Rob Zombie was recommended to the producer's by many people who had seen Zombie's previous two horror flix, the aforementioned "Devil's Reject's", and the under-rated "House of 1000 Corpses".
I believe there are many more classic and semi-classic horror movies that could really use a boost from a talented director out there. "Dr. Jeckyl and Mr. Hyde" springs to mind as a perfect vehicle for the great director David Cronenberg, who started out by directing pure horror films like "Scanners" and "The Brood". He really could attack a good script written by somebody who really gets the horror and nuance of the great book written by Robert Louis Stevenson about a good doctor who turns into a horrible monster after drinking a concoction he mixed up in his lab one night. The makeup transformation alone would be worth the price of admission! I see an actor like Daniel Craig or Heath Ledger in the role of Dr. Jeckyl. Jessica Biel or Scarlet Johannsen would make a really sexy and interesting Mary Reilly, who falls in love with the diabolical doctor.
The last time anybody took a really creative stab at "Dracula', it resulted in the brilliant "Bram Stoker's Dracula", directed by Francis Ford Coppola. Movies that were made afterwards, like the laughable "Dracula's Curse", starring Gerald Butler playing a Euro-trash Dracula, never should have been made in the first place. Butler now has huge success after playing King Leonidas in "The 300", but he really was one of the worst Dracula's in the history of cinema. Brian DePalma would be a perfect candidate for the director's helm, and a real movie actor like Willem Dafoe or Colin Firth would be an excellent choice to bring the pain and gravitas of Bram Stoker's great villain to life. Also, a really great script by David Mamet would help, but I don't know if he wants to make his hands bloody by writing a violent screenplay. Some great writer who needs a change from the seriousness of "Syriana", like Steve Gaghan, would be another ideal candidate.
Finally, "The Last House on the Left" was the movie that was a HUGE influence on today's "torture" movies like the "Saw" franchise and "Hostel 1 and 2". This is a little-seen horror flick that was directed by a young man called Wes Craven. You might know him by his later work directing two huge hits, "A Nightmare on Elm Street" and "Scream". "Lat House..." was a movie made in 1972 that featured some of the most horrific torture scenes ever put on celluloid at that time. It follows the story of 2 women who are abducted by 3 murderers and rapists, and challenges the viewer to stay in their seat as Craven directs the movie in close-up 35mm camera takes that really shows the viewer every violent act committed against these two women by their captors. If Eli Roth, the director of "Hostel", were to direct a remake, I think major box office would follow.
Will The TV Sitcom Ever Come Back?
by Rob Me
Back in the 1990's, comedy was king on television. "Seinfeld", "Friends" and "Will and Grace" soared to the ratings top tier every week. What Happened since?
It's hard to believe now, but in the late eighties, early nineties, comedy was king on all the major networks, and the sitcom ruled them all. Sitcoms such as "Seinfeld", "Friends", "Cheers", "Golden Girls" and many more brought in millions of dollars in ad revenues for ABC, CBS and NBC. What happened to the viewing public wanting to laugh? There are a few answers that you will find kind of shocking, but if you think about it, it does make sense.
The surprising aspect of the waning days of the sitcom, is the fact that 9-11 did not make everybody turn away from shows like "The Sopranos", or "24", which was just getting started. The only sitcom that benefited from a viewer upswing after 911 was "Friends". They had a 20% increase in overall viewership two Thursdays later following that horrible Tuesday morning. After 9-11, reality shows were still huge and going stronger until the inevitable burnout of the genre resulted in lower ratings for hits like "Survivor" and "Fear Factor". The tv sitcom started to suffer from lazy writers who took the easy way out, writing ever more dull plots about boring relationship troubles that we've all seen time and time again. Larry David, the best writer on television, left the "Seinfeld" show in 1999, and that was the death knell for the golden age of the sitcom.
However, things are brightening up quite a bit with the arrival of stellar comedy hits like "The Office", "My Name is Earl", and the vastly improving "30 Rock". HBO has gotten into the comedy game too, with "Curb Your Enthusiasm", the return of Larry David as sitcom star this time, and the brilliant and un-PC star Sacha Baron Coen's show, "The Ali G Show."
Back in the 1990's, comedy was king on television. "Seinfeld", "Friends" and "Will and Grace" soared to the ratings top tier every week. What Happened since?
It's hard to believe now, but in the late eighties, early nineties, comedy was king on all the major networks, and the sitcom ruled them all. Sitcoms such as "Seinfeld", "Friends", "Cheers", "Golden Girls" and many more brought in millions of dollars in ad revenues for ABC, CBS and NBC. What happened to the viewing public wanting to laugh? There are a few answers that you will find kind of shocking, but if you think about it, it does make sense.
The surprising aspect of the waning days of the sitcom, is the fact that 9-11 did not make everybody turn away from shows like "The Sopranos", or "24", which was just getting started. The only sitcom that benefited from a viewer upswing after 911 was "Friends". They had a 20% increase in overall viewership two Thursdays later following that horrible Tuesday morning. After 9-11, reality shows were still huge and going stronger until the inevitable burnout of the genre resulted in lower ratings for hits like "Survivor" and "Fear Factor". The tv sitcom started to suffer from lazy writers who took the easy way out, writing ever more dull plots about boring relationship troubles that we've all seen time and time again. Larry David, the best writer on television, left the "Seinfeld" show in 1999, and that was the death knell for the golden age of the sitcom.
However, things are brightening up quite a bit with the arrival of stellar comedy hits like "The Office", "My Name is Earl", and the vastly improving "30 Rock". HBO has gotten into the comedy game too, with "Curb Your Enthusiasm", the return of Larry David as sitcom star this time, and the brilliant and un-PC star Sacha Baron Coen's show, "The Ali G Show."
Wednesday, May 2, 2007
The Political Side Of BABEL
by Clara Freeman
What is it about Brad Pitt that causes one to want to believe in the message of his character? I've followed his professional and personal career with an odd sense of attachment, yet, I, like countless other females, can't seem to shake his penetrating allure, long after the movie quit playing; so it was with Babel.
I suppose I would have taken the political message of the movie, Babel to heart, if the events had not been played out through the eyes of one Brad Pitt. I mean, even an objective female might find herself at odds with the subtleness of the depiction of the movie's look at where preconceived notions often leads in the real world, if faced with having to feast upon the personage of Mr. Pitt.
Brad Pitt and Kate Blanchett are two celebrities of clout who managed to bring to the viewers what other political and religious films have in the past in hopes of perhaps enlightening the general public: The Da Vinci Code, caused speculation and rumblings of disbelief, bordering upon blasphemy from people around the world, as it depicted Tom Hanks attempts to interpret the meaning of old documents as they were written before the birth of Jesus as it explored good versus evil. Mel Gibsons' disturbing, yet, realistic biblical events leading up to the crucifixion of Jesus Christ, in The Passion Of The Christ, was labeled 'anti-semetic' and offensive to the Jewish people
Fahrenheit 9/11, The Documentary by Michael Moore caused an uproar in the White House, amongst the Right/Left, Democrat/Republican/Moderate and Liberals. Yet, the message remains in the minds of America. There are political rumblings in Babel. The stories touches upon promiscuity, sexual exploration, terrorism, deportation and fear. It also shows us what happens because of a rush to judgement. I suppose, in its subtle way, Babel 's impact on the minds and into the hearts of a worlds people will resonate somewhere within the quiet places in their souls; at least for those of us who still believe in our church and country, after viewing perspectives from different makers of film.
I feasted my female eyes upon the Adonis like figure of Brad Pitt, but, it was with an objective writer eye that propelled me to offer my take on the movie, Babel. I found it less forthcoming with the blood and gore details of life, but, none the less, believable for offering all of us blessed with 'intellect' to consider and comprehend the consequence of our actions...
What is it about Brad Pitt that causes one to want to believe in the message of his character? I've followed his professional and personal career with an odd sense of attachment, yet, I, like countless other females, can't seem to shake his penetrating allure, long after the movie quit playing; so it was with Babel.
I suppose I would have taken the political message of the movie, Babel to heart, if the events had not been played out through the eyes of one Brad Pitt. I mean, even an objective female might find herself at odds with the subtleness of the depiction of the movie's look at where preconceived notions often leads in the real world, if faced with having to feast upon the personage of Mr. Pitt.
Brad Pitt and Kate Blanchett are two celebrities of clout who managed to bring to the viewers what other political and religious films have in the past in hopes of perhaps enlightening the general public: The Da Vinci Code, caused speculation and rumblings of disbelief, bordering upon blasphemy from people around the world, as it depicted Tom Hanks attempts to interpret the meaning of old documents as they were written before the birth of Jesus as it explored good versus evil. Mel Gibsons' disturbing, yet, realistic biblical events leading up to the crucifixion of Jesus Christ, in The Passion Of The Christ, was labeled 'anti-semetic' and offensive to the Jewish people
Fahrenheit 9/11, The Documentary by Michael Moore caused an uproar in the White House, amongst the Right/Left, Democrat/Republican/Moderate and Liberals. Yet, the message remains in the minds of America. There are political rumblings in Babel. The stories touches upon promiscuity, sexual exploration, terrorism, deportation and fear. It also shows us what happens because of a rush to judgement. I suppose, in its subtle way, Babel 's impact on the minds and into the hearts of a worlds people will resonate somewhere within the quiet places in their souls; at least for those of us who still believe in our church and country, after viewing perspectives from different makers of film.
I feasted my female eyes upon the Adonis like figure of Brad Pitt, but, it was with an objective writer eye that propelled me to offer my take on the movie, Babel. I found it less forthcoming with the blood and gore details of life, but, none the less, believable for offering all of us blessed with 'intellect' to consider and comprehend the consequence of our actions...
American Idol - Sanjaya Conspiracy?
by Tim Chirillo
Sanjaya Malakar was recently voted off American Idol. Was it truly the fan's votes or did the producers decide to they had enough?
Ok, there is no doubt Sanjaya Malakar was not the most talented idol contestant, but I really do believe, he was one of the most entertaining. I personally would tune in just to see what his hairstyle would be the current week, and hoping his performances would get better. Millions of viewers will concur with me on his entertainment value, as he survived all the way to the top 7. My question is, could he have gone farther? Did American Idol boot him before his time?
After the top 12 results show , Sanjaya was gaining momentum each and every week. He was not even in the bottom three until he was voted off. Contestants such as Chris Richardson and Phil Stacy were consistently in the bottom three. However, when Sanjaya was voted off, these two were in the top bracket!
Sanjaya had the support of Howard Stern, and his millions of fans. Sure, Stern does not have the audience he used to when he was on terrestrial radio, but he does have approximately five to six million. He urged his fans to vote early and often for the San-Man, and many did. They used any method available to register as many votes as possible for the lovable underdog. This is what may have lead to Sanjaya's demise.
At the end of each American Idol broadcast, read the fine print. It says something to the affect that the producers have the final decision and the rights to disqualify any votes that appear to have been automated or unfair to give one contestant an advantage. Now, some Stern fans have admitted they used fiendish software to cast hundreds if not thousands of votes in one shot for Sanjaya. Were thousands of votes eliminated or disqualified?
Look, sure American Idol lets us, the viewers, vote for the next superstar. However, do you really think they would let the least talented become the next idol? Sanjaya had fans, but he was not the best singer, not by a longshot. In the end, American Idol will do what's best for American Idol.
Farewell Sanjaya. You will not be forgotten for at least another week or so, when your done with the talk show circuit.
Sanjaya Malakar was recently voted off American Idol. Was it truly the fan's votes or did the producers decide to they had enough?
Ok, there is no doubt Sanjaya Malakar was not the most talented idol contestant, but I really do believe, he was one of the most entertaining. I personally would tune in just to see what his hairstyle would be the current week, and hoping his performances would get better. Millions of viewers will concur with me on his entertainment value, as he survived all the way to the top 7. My question is, could he have gone farther? Did American Idol boot him before his time?
After the top 12 results show , Sanjaya was gaining momentum each and every week. He was not even in the bottom three until he was voted off. Contestants such as Chris Richardson and Phil Stacy were consistently in the bottom three. However, when Sanjaya was voted off, these two were in the top bracket!
Sanjaya had the support of Howard Stern, and his millions of fans. Sure, Stern does not have the audience he used to when he was on terrestrial radio, but he does have approximately five to six million. He urged his fans to vote early and often for the San-Man, and many did. They used any method available to register as many votes as possible for the lovable underdog. This is what may have lead to Sanjaya's demise.
At the end of each American Idol broadcast, read the fine print. It says something to the affect that the producers have the final decision and the rights to disqualify any votes that appear to have been automated or unfair to give one contestant an advantage. Now, some Stern fans have admitted they used fiendish software to cast hundreds if not thousands of votes in one shot for Sanjaya. Were thousands of votes eliminated or disqualified?
Look, sure American Idol lets us, the viewers, vote for the next superstar. However, do you really think they would let the least talented become the next idol? Sanjaya had fans, but he was not the best singer, not by a longshot. In the end, American Idol will do what's best for American Idol.
Farewell Sanjaya. You will not be forgotten for at least another week or so, when your done with the talk show circuit.
DviX Movie Download - Alternative to Lugging DVD Movies Back to the Store
by Mark Yarbrough
Downloading movies online. What you need in the way of computer hardware and internet connectivity to be able to join this craze.
There are currently a lot of options out there for movie buffs to fulfill their need for a good flick. Movie fans can go to the theater, buy or rent a DVD, try one of the new mail-order systems like Netflix, or download a movie and watch it on a computer. DivX is a popular form of video file compression, most movies downloaded today are in the DivX file format. The DVD industry is currently losing some revenue because so many people are now downloading movies online. This is being offset to some extent by new high definition DVD technologies like Blu-ray. High definition movies are not currently being downloaded because the file size of these movies makes it unfeasible to download movies even over a DSL or high-speed cable connection.
Downloading movies is a great option for a lot of people, so let's take some of the mystery out of downloading movies and discuss what people need if they want to take advantage of this time and money-saving movie viewing method. One thing you need is a fairly new computer with a fast clock speed - around 1.5 giga-hertz and up. You will also need plenty of hard drive space if you want to save the movies on your computer. Most movie file sizes are in the 600 to 800 mega-byte range. You should be able to store more than 85 two-hour movies on an empty 80 giga-byte hard drive. You will also need a fast internet connection, dial-up definitely won't do. A good DSL or high speed cable service is required. The download speed of your internet service provider should be around 1mbps, (1mbps = one million bits per second). With a download speed of 1Mbps, you can download an average movie in about an hour and a half. Cut the download speed in half, and it takes twice as long, or about three hours to download a movie. If you double the download speed to 2Mpbs, you can download a movie in about 45 minutes. If your high-speed internet connection is a bit on the slow side, you can set-up a download or two before going to bed and have the finished movie(s) in the morning.
One of the great things about downloading movies is the ability to store and play them on any of the new personal media players now on the market. Some personal media player have video screens and plenty of storage space, (30 giga-bytes or more). To do this you may need video file converter software that converts the DivX video format to whatever format is used on your device. You can download a converter program for your device for free or at least for cheap. Otherwise, some sites, geared to their respective video player brand, offer downloadable media already formatted for their particular device.
If you're tired of lugging DVDs back to the video store, and downloading movies appeals to you, give it a try. If you have a fast computer and internet connection and plenty of hard drive space, you can have quite a collection of downloaded movies in no time.
Downloading movies online. What you need in the way of computer hardware and internet connectivity to be able to join this craze.
There are currently a lot of options out there for movie buffs to fulfill their need for a good flick. Movie fans can go to the theater, buy or rent a DVD, try one of the new mail-order systems like Netflix, or download a movie and watch it on a computer. DivX is a popular form of video file compression, most movies downloaded today are in the DivX file format. The DVD industry is currently losing some revenue because so many people are now downloading movies online. This is being offset to some extent by new high definition DVD technologies like Blu-ray. High definition movies are not currently being downloaded because the file size of these movies makes it unfeasible to download movies even over a DSL or high-speed cable connection.
Downloading movies is a great option for a lot of people, so let's take some of the mystery out of downloading movies and discuss what people need if they want to take advantage of this time and money-saving movie viewing method. One thing you need is a fairly new computer with a fast clock speed - around 1.5 giga-hertz and up. You will also need plenty of hard drive space if you want to save the movies on your computer. Most movie file sizes are in the 600 to 800 mega-byte range. You should be able to store more than 85 two-hour movies on an empty 80 giga-byte hard drive. You will also need a fast internet connection, dial-up definitely won't do. A good DSL or high speed cable service is required. The download speed of your internet service provider should be around 1mbps, (1mbps = one million bits per second). With a download speed of 1Mbps, you can download an average movie in about an hour and a half. Cut the download speed in half, and it takes twice as long, or about three hours to download a movie. If you double the download speed to 2Mpbs, you can download a movie in about 45 minutes. If your high-speed internet connection is a bit on the slow side, you can set-up a download or two before going to bed and have the finished movie(s) in the morning.
One of the great things about downloading movies is the ability to store and play them on any of the new personal media players now on the market. Some personal media player have video screens and plenty of storage space, (30 giga-bytes or more). To do this you may need video file converter software that converts the DivX video format to whatever format is used on your device. You can download a converter program for your device for free or at least for cheap. Otherwise, some sites, geared to their respective video player brand, offer downloadable media already formatted for their particular device.
If you're tired of lugging DVDs back to the video store, and downloading movies appeals to you, give it a try. If you have a fast computer and internet connection and plenty of hard drive space, you can have quite a collection of downloaded movies in no time.
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