Movie and Cinema » media http://www.pipesmovie.com The movie and cinema news. It is all about cellebrities, gossip, box office and the actor. Tue, 07 Feb 2012 04:52:36 +0000 en hourly 1 http://wordpress.org/?v=3.2.1 Page One: Inside The New York Times and the Future of Journalism (Participant Media Guide) http://www.pipesmovie.com/movie-this-week/page-one-inside-the-new-york-times-and-the-future-of-journalism-participant-media-guide-2.html/ http://www.pipesmovie.com/movie-this-week/page-one-inside-the-new-york-times-and-the-future-of-journalism-participant-media-guide-2.html/#comments Sat, 18 Jun 2011 19:55:56 +0000 admin http://www.pipesmovie.com/movie-this-week/page-one-inside-the-new-york-times-and-the-future-of-journalism-participant-media-guide-2.html/ Page One: Inside The New York Times and the Future of Journalism (Participant Media Guide)

The news media is in the middle of a revolution. Old certainties have been shoved aside by new entities such as WikiLeaks and Gawker, Politico and the Huffington Post. But where, in all this digital innovation, is the future of great journalism? Is there a difference between an opinion column and a blog, a reporter and a social networker? Who curates the news, or should it be streamed unimpeded by editorial influence?

Expanding on Andrew Rossi’s “riveting” film (Slate), David Folkenflik has convened some of the smartest media savants to talk about the present and the future of news. Behind all the debate is the presence of the New York Times, and the inside story of its attempt to navigate the new world, embracing the immediacy of the web without straying from a commitment to accurate reporting and analysis that provides the paper with its own definition of what it is there to showcase: all the news that’s fit to print.

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]]> http://www.pipesmovie.com/movie-this-week/page-one-inside-the-new-york-times-and-the-future-of-journalism-participant-media-guide-2.html/feed/ 0 Page One: Inside The New York Times and the Future of Journalism (Participant Media Guide) http://www.pipesmovie.com/movie-this-week/page-one-inside-the-new-york-times-and-the-future-of-journalism-participant-media-guide.html/ http://www.pipesmovie.com/movie-this-week/page-one-inside-the-new-york-times-and-the-future-of-journalism-participant-media-guide.html/#comments Fri, 17 Jun 2011 20:39:07 +0000 admin http://www.pipesmovie.com/movie-this-week/page-one-inside-the-new-york-times-and-the-future-of-journalism-participant-media-guide.html/ Page One: Inside The New York Times and the Future of Journalism (Participant Media Guide)

The news media is in the middle of a revolution. Old certainties have been shoved aside by new entities such as WikiLeaks and Gawker, Politico and the Huffington Post. But where, in all this digital innovation, is the future of great journalism? Is there a difference between an opinion column and a blog, a reporter and a social networker? Who curates the news, or should it be streamed unimpeded by editorial influence?

Expanding on Andrew Rossi’s “riveting” film (Slate), David Folkenflik has convened some of the smartest media savants to talk about the present and the future of news. Behind all the debate is the presence of the New York Times, and the inside story of its attempt to navigate the new world, embracing the immediacy of the web without straying from a commitment to accurate reporting and analysis that provides the paper with its own definition of what it is there to showcase: all the news that’s fit to print.

List Price: $ 15.99

Price:

Page One: Inside the New York Times and the Future of Journalism by...
US $11.62
End Date: Tuesday Feb-07-2012 6:43:59 PST
Buy It Now for only: US $11.62
Buy it now | Add to watch list
]]> http://www.pipesmovie.com/movie-this-week/page-one-inside-the-new-york-times-and-the-future-of-journalism-participant-media-guide.html/feed/ 0 Why most Canadian films TANK at the box office… http://www.pipesmovie.com/movie-this-week/why-most-canadian-films-tank-at-the-box-office%e2%80%a6.html/ http://www.pipesmovie.com/movie-this-week/why-most-canadian-films-tank-at-the-box-office%e2%80%a6.html/#comments Sun, 28 Mar 2010 12:06:42 +0000 admin http://www.pipesmovie.com/movie-this-week/why-most-canadian-films-tank-at-the-box-office%e2%80%a6.html/ The first time I ever set foot on a movie set was back in 2001 (working as a boom operator on a Sarah Polley short film). Since that day my passion for making movies has only grown and intensified. But one underlining question that continues to run [...]]]> Why most Canadian films TANK at the box office…

…and how to turn this situation around.
Canadian+films Why most Canadian films TANK at the box office...< /p>

The first time I ever set foot on a movie set was back in 2001 (working as a boom operator on a Sarah Polley short film). Since that day my passion for making movies has only grown and intensified. But one underlining question that continues to run through my mind is…why do most (95% or more) Canadian films tank at the box office.

Ask any Canadian filmmaker this question and you’re sure to start up a very long and never-ending conversation that might leave you wonder what made you want to open that can of worms. Well, I’m going to open the can of worms…just for this article. I’m so proud to be Canadian and our industry produces world-class movies year after year, however, these films just don’t seem to make any money (profit).

I found a great article by Canadian actor, writer and producer, James O’Regan that explores this matter in further detail:

Over the last year or so, a great teeth-gnashing has broken out within the Canadian Movie industry. Producers and their public sector confreres at Telefilm Canada sat down to wonder why no-one saw Canadian movies in the theatres. And now Telefilm has unveiled new money to throw at the problem.

In case you don’t know, Telefilm Canada is an arms length crown agency that has no public accountability via a “value for money” audit unless its own board of directors thinks it needs one – wow, get me on that gravy train, quick! It has generated, over the last 30 years, an industry wholly ignorant of Canadian theatrical film markets and wholly dependent on cultural welfare in the mistaken belief that you just can’t make any dough here a mare usque… I and every American film distribution company on the planet know different. I know because I’ve made money in the Canadian box office, in fact more money on one film than all Telefilm films on average. My short comedy, Edsville – about an innocent young couple that stumbles upon a town of Ed Sullivan impersonators – has a recoupment rate of 20% while the average recoupment rate published in Telefilm’s annual report, year after year, hovers at 2%-ish. I’ve also observed what our Yankee cousins actually do. All you have to do is ask them and they’ll actually tell you – hey, who knew?

So let’s see what it takes to make money and sell movies in Canadian moviedom. Here’s the top 12 for anyone who wants to make $8M on a movie in three weeks in Canada:

Rule # 1: No one knows what sells

Rule # 2: See Rule # 1, no, seriously, memorize Rule #1. I’m not saying this only to make the list apostolic, really. I could make something else up.

Rule # 3: Anything that helps sell is good

Rule # 4: The public will pay to see things or people they really like

Rule #5: Exploit people or things that the public likes

Rule #6: The Canadian Public doesn’t care who directs, writes or produces movies

Rule #7: The Canadian Public pays to see “people” on the screen. Actors are the Product

Rule # 8: The Canadian Public loves Stars

Rule # 9: Make sure you have a story

Rule #10: Comedy Sells (Canadians are masters of comedy)

Rule #11: Do everything you can to ensure the Canadian Public knows about the movie

Rule #12: To the risk taker goes the reward. All else is bunk.

To manufacture and market a Canadian movie to the Canadian market, you have to invest $3.5M. Making the movie costs CDN $2.5M. Marketing the movie for a 100 screen three week release costs CDN $1M.

Let’s take a look at how much money you can make. A 100-screen release can generate up to $16M in revenue. If you control the marketing with your $1M, you get $8M back from your $3.5M investment. Isn’t math for fun and profit great?

If you don’t spend that $1M, you are guaranteed to make nothing at the Canadian box office. Telefilm Canada and its producers don’t spend the money and the results are predictable. Movies funded by Telefilm Canada don’t earn a profit from Canadian box office; they don’t even recoup. Telefilm Canada data shows that Canadian distributors have an average marketing budget per Canadian film of $30,000 – about $970K short of what they need; that this average results from a blend of a majority of films released with an actual budget of less than $10,000. Hoo boy, why aren’t these films making the big bucks, eh?

Let’s say it again for the benefit of Telefilm and its Canadian producers, you must spend $1M regardless of a movie’s budget to have a chance at success.

Had the recent Egoyan opus, The Sweet Hereafter, received $1M in Canadian marketing highlighting the divine Sarah Polley, it might have made some bucks. After all, Polley has a following in Canada – more of a following than Egoyan. Yet it was Egoyan that the producers tried to market, not Polley. The little money that was spent was spent foolishly – see rule #6.

Even a American B movie like Nurse Betty gets the full $1M marketing treatment. Learn the lesson from American distributors who know better; who do spend $1M for each film they release in Canada.

Here’s the best part about making sacks of cash in Canada. Manufacturing, distribution and marketing infrastructure are all 100% in place. All you have to do is come up with a movie to market and some cash to market it with. Hey, pinch me!

Why isn’t it working now? Why is Telefilm’s record so dismal? Public policy has intervened in the movie business only at the level of manufacturing – dolling out wallops of cash to make movies. The new funds maintain that approach. This is simply bad policy and we have bank vaults full of unseen films to prove it.

The only successful public policy intervention on the books are Canadian Content (CanCon) rules for the Canadian music industry. There, public policy told the radio stations (the exhibitors) that they had to play a percentage of Canadian music or else they would be shut down. Today, we have a thriving music industry with big Canadian stars.

Before CanCon in the music industry, Canadian Radio stations played about 3% of Canadian content. After CanCon, it became 30%. Can-con drove the business of the Canadian music industry. It supported the early market-driven development of Canadian music stars. It allowed financial and artistic success in the small Canadian market. Remember there was no success before Can-con rules for the music industry. That Canadian-based market success worked as a springboard to world success for many Canadian performers. It took a while to work but work it did.

Marketing is simple. It just costs money. With its new infusion of funds, it appears that Telefilm will try to mystify the process per usual, read the entrails and divvy up the dough without recognizing rule # 1 – no one knows what sells. That is the mystery and joy of movie selling – ya just don’t know and no-one can give you the magic bullet, i.e. previous box office records, e.g. think how many major studios have hit rock bottom with a series of losers only to bounce back “unexpectedly.”

If public policy is going to intervene, it should get out of movie production and into the marketplace with CanCon for Canadian cinemas. Set a quota, step out of the way and voilà: in five years, we will have a thriving movie business with big Canadian stars. Movie producers are much better at making movies than cultural bureaucrats. I know, call me crazy, but it’s true.

CanCon rules for the Canadian movie business are one means of helping create movies and movie stars without spending a lot of tax dollars. That’s all they do. Canadian movies don’t need it to succeed but if government is to intervene to help reward risk, then that’s the best way and means of intervention, and cheaper too.

For public policy, how bad could it be to issue an “initiative” to exhibitors across the country, insisting that 10%, 20%, 30%, 40% of product viewed in Canadian cinemas must be indigenous Canadian product over a period of years. Then stand aside and let the industry do what it does best: sell movies.

Hey, it ain’t that hard. After all, no one, not even Hollywood, knows what sells. Remember rule #1?

How to turn this situation around?

Now, it’s time for me to add in my two cents worth. We (the Canadian film industry) need more film studios here in Canada. I’m not talking about some glorified soundstage like Filmport but a full-fledged independent movie studio that has 100% control of the financing, development, production and worldwide distribution of their movies. These Canadian movie studios should have only two objectives:

1)     To make movies that will entertain millions of people around the world. Focus on giving moviegoers what they want and according to the current all-time North American box office stats…people want to see movies with Action, Animation and Special effects. Success leaves clues.

2)   To maximize profits.

That’s it. When that day happens, then we’ll definitely see a lot more Canadian films reaching the #1 spot at the box office. Both domestically and overseas.

Ian Agard
Filmmaker & Author of “Stop Waiting and Make Your Movie” 
http://www.ianagard.com 

P.S. Get info about my new ebook at:

http://www.ianagard.com/how-to-finance-your-movie


About Author

Ian Agard is film producer,screenwriter and director living in Toronto. Go to http://www.ianagard.com where Ian reveals more useful tips to boost your filmmaking career.

]]> http://www.pipesmovie.com/movie-this-week/why-most-canadian-films-tank-at-the-box-office%e2%80%a6.html/feed/ 0 Collecting A Vast DVD Library Of Top Box Office Movies http://www.pipesmovie.com/movie-this-week/collecting-a-vast-dvd-library-of-top-box-office-movies.html/ http://www.pipesmovie.com/movie-this-week/collecting-a-vast-dvd-library-of-top-box-office-movies.html/#comments Tue, 09 Mar 2010 12:06:28 +0000 admin http://www.pipesmovie.com/movie-this-week/collecting-a-vast-dvd-library-of-top-box-office-movies.html/ Collecting A Vast DVD Library Of Top Box Office Movies

Every single weekend, the top box office movies are ranked in terms of the millions and millions of dollars of generated weekend box office sales. Producers of movies can quickly and easily get a feel for how successful their movie will be overall based on the box office receipts for the opening weekend. In many cases, they can also predict how many DVDs of the movie they will eventually sell based on the opening weekend ticket sales.
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There is no doubt that Americans do love their movies and many people make their decisions about what they will be doing for their entertainment over the weekend based on the lists of the top movies for the week. And, even with the high cost of ticket prices for the movie theaters these days, millions of people spend the money so that they can see the top box office movies on the big screen.

As popular as movie theaters continue to be, more and more people are enjoying having their favorite movies on DVDs so that they have a library of movie titles that they can choose from. This allows people to pop a DVD into their DVD player at any time and sit back with their feet up to watch the movies that they enjoy the most.

An increasing number of homes these days are now built with extensive home theater systems that allow people to avoid having to schedule their lives around the movie showtimes at the theater. Instead of buying movie theater tickets, they just buy DVDs of the movies they have grown to love and that they would like to watch over and over again or to share with friends and family members.

These home theaters provide people with convenience and privacy so that they can enjoy their movies without leaving their abodes. Many of the high end home theaters include very large screens that rival the screens in the movie theaters and they also have incredibly good sound systems as well that really make the most of the digital quality of the picture and sound.

Not only are the more current top movies on DVD, but there are many older, classic movies being re-released these days on DVDs so that people can enjoy having all of the benefits of this digital technology in their homes. In many cases, movies on DVD even include many extra features, such as alternate languages, interviews with the director and the actors, and even deleted scenes that never made it to the version that was shown in the movie theaters.

Creating a substantial DVD library is a terrific way to have a sense that there is always something on hand for entertainment, regardless of what else is going on in the movie industry. With a wide array of DVDs in your library, you can choose your favorite romantic movie to share with a loved one on a cold and stormy night, unwind from a day filled with stress by kicking back and watching a favorite comedy show, or view whatever other type of movie that will improve your mood and make your day.

About Author

Visit Mike Selvon portal to learn more about dvds. Your feedback is much appreciated at our asap tickets/a> blog where a free gift awaits you.

]]> http://www.pipesmovie.com/movie-this-week/collecting-a-vast-dvd-library-of-top-box-office-movies.html/feed/ 0 Friday The 13Th Movie Review http://www.pipesmovie.com/movie-this-week/friday-the-13th-movie-review.html/ http://www.pipesmovie.com/movie-this-week/friday-the-13th-movie-review.html/#comments Mon, 01 Feb 2010 12:06:34 +0000 admin http://www.pipesmovie.com/movie-this-week/friday-the-13th-movie-review.html/ Friday The 13Th Movie Review

Friday the 13th Movie Review -Plot

On Friday, June 13, 1980, a young Jason Voorhees (Caleb Guss) witnesses his mother (Nana Visitor) get beheaded by a camp counselor (Stephanie Rhodes) who was trying to escape Mrs. Voorhees’s murderous rampage around Camp Crystal Lake. Approximately thirty-years later, a group of vacationing friends—Wade (Jonathan Sadowski), Richie (Ben Feldman), Mike (Nick Mennell), Whitney (Amanda Righetti), and Amanda (America Olivo)—arrive at Crystal Lake on a camping trip, and to find some weed that was planted in the woods. As Mike and Whitney explore the woods, Jason (Derek Mears) begins to kill the rest of the group one-by-one. Jason also kills Mike, but instead of doing the same to Whitney he decides to kidnap her because she resembles his mother at a young age.
Six weeks later, Trent (Travis Van Winkle), along with his girlfriend Jenna (Danielle Panabaker), and their friends Chewie (Aaron Yoo), Chelsea (Willa Ford), Nolan (Ryan Hansen), Bree (Julianna Guill), and Lawrence (Arlen Escarpeta) arrive at Trent’s summer cabin, which sits on Crystal Lake, unaware of the events that occurred a few weeks prior. Also in town is Clay (Jared Padalecki), who has come to Crystal Lake searching for his sister Whitney. Clay eventually makes his way to Trent’s cabin, where Jenna agrees to help him look for his sister on the other side of the lake. As Clay and Jenna search for clues to Whitney’s disappearance, Jason kills Nolan and Chelsea out on the lake. Clay and Jenna reach the old Crystal Lake campgrounds, where they witness Jason hauling a dead body into one of the abandoned camp houses.
Clay and Jenna run back to warn the others about Jason, who arrives shortly after them and cuts the power to the cabin. After killing Chewie and Lawrence, who ventured outside the house, Jason sneaks inside the cabin and kills Bree. Trent, Clay and Jenna escape the house, but Trent is killed shortly after when he reaches the main road. Jason then chases Clay and Jenna back to the campgrounds, where Clay discovers Jason’s lair and finds his sister chained to the wall. Clay frees Whitney, and all three attempt to escape as Jason arrives. The trio find an exit, but Jenna is killed before she can get out. Jason comes after Clay and Whitney, who use Jason’s love and memory of his mother to distract him long enough to stab him in the chest with his own machete. Afterward, Clay dumps Jason’s lifeless body into the lake, but before he and Whitney can leave Jason bursts through the lake dock and grabs Whitney.

Friday the 13th Movie Review - Casting
Stuntman Derek Mears was hired to portray Jason Voorhees at the recommendation of makeup special effects supervisor Scott Stoddard. Mears’s pleasant demeanor had the studio worried about his ability to portray such a menacing character on screen, but Mears assured them that he was up to the role. Jared Padalecki signed on as the lead male who investigates what happened at Crystal Lake, with Amanda Righetti taking the female lead. Amanda Righetti had not read the script when she was initially offered the role. Wanting to be a part of the Friday the 13th franchise from the start, Righetti admitted that she was sold on the idea of acting in the film after she did read the script. Danielle Panabaker, Jonathan Sadowski, Travis Van Winkle, Aaron Yoo, Julianna Guill round out the rest of the cast. Nana Visitor was cast as Pamela Voorhees, with Caleb Guss hired for the role of a young Jason.
The casting process was difficult for producers Brad Fuller and Andrew Form on this film, more so than it was on The Texas Chainsaw Massacre, as Friday the 13th had more young actors to contend with and consistent casting/recasting all the way until filming began. Fuller and Form’s first challenge was the size of their cast. Fuller and Form had thirteen young actors in Friday the 13th, whereas in The Texas Chainsaw Massacre they only had five. The pair had to continually recast parts to find the group that worked best together. This recasting process extended all the way to the start of film. Richard Burgi, who was cast as the sheriff, did not sign on until twelve hours before he had to start filming his scenes.

 

 


About Author

Box Office Results
by www.MOVIE-BOXOFFICE.COM

]]> http://www.pipesmovie.com/movie-this-week/friday-the-13th-movie-review.html/feed/ 0 Box Office Flops – More Than Meets the Eye? http://www.pipesmovie.com/movie-this-week/box-office-flops-more-than-meets-the-eye.html/ http://www.pipesmovie.com/movie-this-week/box-office-flops-more-than-meets-the-eye.html/#comments Fri, 01 Jan 2010 12:06:35 +0000 admin http://www.pipesmovie.com/movie-this-week/box-office-flops-more-than-meets-the-eye.html/ Box Office Flops - More Than Meets the Eye?

There’s something oddly satisfying about seeing a big-budget movie flop. Whenever we hear about these ambitious, special effects-laden extravaganzas going down in flames we get an odd feeling of schadenfreude.

But why is this? Does it stem from the fact that we feel manipulated, almost exploited, by the movie industry? Perhaps. After all, movie studios make a lot of coin from tweaking our emotions, be it through adrenaline-filled action films or mawkishly tear-jerking weepies.

Perhaps the best reason for our guilty pleasure at seeing a big-budget movie flop is the fact that we feel like we won a battle. We caught Hollywood trying to pull a fast one by releasing a bad movie and trying to hype it anyway—and we weren’t fooled. Gotcha. Better luck next time.

That’s all well and good, but there have been many excellent movies throughout the years that, for whatever reason, failed to make it big at the box office. Hey, just because a movie didn’t make a lot of money on its release doesn’t make it bad—after all, Citizen Kane barely made enough to cover the cost of a wooden sled on its original release. It wasn’t until its re-release and television syndication that it became perhaps the most critically acclaimed movie of all time.

So, here’s a look at two movies that didn’t live up to expectations on their release, but later went on to disprove the critics:

Fight Club

Despite eventually becoming an enormous cult hit, Fight Club performed poorly on its release. With a budget of $63 million it took just $37 million at the US box office. On its release the movie drew mixed critical reactions, partly due to its violent nature. One high profile critic described it as “a film without a single redeeming quality, which may have to find its audience in Hell”, and the flop cost the Entertainment Chief of 20th Century Fox his job.

Despite a tepid reception, Fight Club went on to turn a small profit at the global box office before exploding in popularity in the DVD market, becoming one of the best-loved films of the 90s. Today you’d be hard pressed to find a young man’s DVD collection that didn’t boast a Fight Club DVD.

Shawshank Redemption

One of the most well known box office flops of recent years, The Shawshank Redemption, based on a Steven King novella, came up against the might of Forrest Gump at the box office. Audiences preferred Hanks’ feel good vehicle over this depressing prison drama and, although Shawshank garnered 7 Oscar nominations, the box office take was pathetic.

This all changed once the movie was released on video. Bolstered by the Oscar endorsements Shawshank became the most rented video of 1995, going on to become our 2nd favorite movie of all time according to an Internet Movie Database poll.

The moral of the story, it seems, is that you should probably think twice before dismissing a movie based on its box office success. Movies are always at their most enjoyable when seen on the big screen, so you shouldn’t miss out on the chance to see them as they were meant to be seen simply because the audiences can’t tell a Hollywood gem from fools gold. After all, these are the same people who made Ernest Goes to Jail the number one movie in its opening week. Would you trust them?


About Author

From box office flops to blockbuster films, James Shenton is a movie expert and industry analyst from New York, specializing in picking the hits from the misses.

For more movie articles, and to learn how to download movie blockbusters, please make a trip to www.EliteMovieDownloads.com.

Keyword: recent movie flops

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