Wednesday, February 29, 2012

Film School Online | "The Diary of a Female Director"

By: Glenn Dunks
Source: http://stalepopcornau.blogspot.com
Category: Film School Online

You know, a lot of people throw accusations at the Academy for not nominating enough women directors or people of colour or... or... yeah, you get the drill. I've always found it a curious sling to throw at the Oscars since they can only really work with what they're given by Hollywood. Oh sure, it's curious when they don't nominate Barbra Streisand for her own Best Picture nominee (The Prince of Tides if you don't remember, which lead to Billy Crystal singing "did it direct itself?"), but I suspect that was more about not nominating BARBRA STREISAND for a relatively milquetoast domestic drama rather than not nominating a woman director because she lacks a penis. I mean, you don't nominate Lina Wertmüller for Seven Beauties 1976 if you have something against female directors, do you? I don't know, I don't claim to be an expert on the subject, I just know that the lack of a women director presence at the Academy Awards is surely directly correlated to the lack of a woman director presence making films in general. Same goes for charges of racism against the Academy for not nominating enough actors of colour when it's hardly like Hollywood is casting them left, right and centre, you know?

Still, to be a fly on the wall of a female director's career could be interesting. Take Mary Harron for instance. She directed an acclaimed indie flick in the form of I Shot Andy Warhol, turned that into the zeitgeist cult (oxymoron, I know, but think about it) success of American Psycho - my third favourite film of the 2000s, just so you know where I'm coming from - and then... well, it gets complicated. Despite making a film of such undeniable craft and being responsible for thrusting Christian Bale into the world, her film career languished. I would be excited to see her name appear in the credits of TV series Six Feet Under, but it took five years to see another feature from Harron and that was the underwhelming, but still rather good, The Notorious Bettie Page. It's as if all the air was let out from her career for seemingly no apparent reason. The Bettie Page screenplay was co-written with Genevieve Turner, but I really do wonder if nobody in Hollywood gave her scripts to direct. Did she turn them down to make her own works? She proved with American Psycho that she could direct and unlike many films that get released today she knows where to place a camera and how to actually use it and integrate it with all the other parts of the moviemaking machine. So was she just not given the opportunity or did she not want it? I'd really like to know.

All of this brings me to the sad case of The Moth Diaries. Harron's latest film has been hovering about for a while now and I read a read last year that was not kind. With this newly released poster, I can't say I hold out hope for the film that looks like little more than a cheap knockoff for the Twilight set. They even use the Twilight font and the same cold steal blue look of the first film. It reminds me of those cheap ripoffs you see on the shelves at the local video store, like Paranormal Visions or whatever that use the exact same aesthetic and marketing as the films they are copying.

Source: http://stalepopcornau.blogspot.com/2012/02/diary-of-female-director.html

Film School Online | "Apart Together: Asian Film Screening Tonight"

By: Scott Marks
Source: http://www.blogger.com
Category: Film School Online

Tonight ushers in the San Diego Asian Film Festival's first quarterly screening of 2012.

Wang Quan'an's Apart Together, a bittersweet love story about sacrifice and second chances, was the opening night film of the 2010 Berlin International Film Festival, where it took home the Best Screenplay award.

In 1949, veterans of the Nationalist Army fled to Taiwan after losing the mainland to the People’s Republic of China. Thinking his stay in Taiwan would be a short one, like many soldiers, Liu Yansheng (Feng Ling) left behind a pregnant bride.

After spending 50 years in Taiwan, Liu returns to his native Shanghai when Taiwanese soldiers are finally permitted to visit the mainland, Liu has come in search of his wife Yu'e (Lisa Lu), only to discover that she now has a family of her own.

Apart Together screens at 7 p.m. at UltraStar Mission Valley at Hazard Center. Tickets are $10 for general and $7 for members. For more information or to purchase tickets online, visit SDAFF.org.

Source: http://www.sandiegoreader.com/weblogs/big-screen/2012/feb/28/emapart-togetherem-first-sdaff-quarterly-of-2012-s/

Film School Online | "5 reasons to go to Miami International Film Festival"

By: Ben Crandell
Source: http://weblogs.sun-sentinel.com
Category: Film School Online


There are many reasons to pay attention to the creative impulses at work at the 2012 Miami International Film Festival, which runs Friday-March 11 at various locations around the Magic City. But, for now, here are five:

miami-international-film-festival-jeffrey-dean-morgan.jpgmiami-international-film-festival-kelly-lynch.jpg“MAGIC CITY
The hotly anticipated cable TV series -- set in a luxury Miami hotel as Castro takes control of Cuba -- debuts on Starz April 6, but South Florida audiences will get a sneak peek when the premiere episode gets a celebrity-filled screening on March 4 at the Colony Theatre (1040 Lincoln Road, Miami Beach). Among those on the red-carpet will be writer-creator-executive producer Mitch Glazer, the Miami Beach native, along with castmembers Jeffrey Dean Morgan ("Watchmen," “Grey’s Anatomy”; right), Kelly Lynch ("Drugstore Cowboy," "Charlie’s Angels"; right), Elena Satine (“Just Go With It”), Dominick Garcia-Lorida ("City Island," daughter of actor Andy Garcia), Yul Vazquez ("The A-Team," "American Gangster") and Steven Strait (“City Island”). The group will walk the red carpet 30 minutes before the 5 p.m. screening and discuss the film with the audience afterward. Tickets: $12.

LILA DOWNS & “MARIACHI GRINGO”
Downs is the exquisite singer-songwriter and, now, actress, who brings concert-stage cred to “Mariachi Gringo,” the tale of an American who falls under the idiosyncratic spell of mariachi music and travels to Guadalajara to seek its source. “Mariachi Gringo” is MIFF’s opening-night film on Friday (March 2) and Downs will perform at the Patron XO Cafe Noir opening party in the glorious Dupont Building (169 E. Flagler St.). Not that you needed the extra encouragement to attend a party that includes plenty of wine and Patron, plus food from some of the area’s top restaurants, including Norman Van Aken’s Tuyo. “Mariachi Gringo” screens at 7 p.m. at the Gusman Center (174 E. Flagler St., Miami), followed by the party at 9:30 p.m. Tickets: $25 (film only) and $75 (film and party).

miami-international-film-festival-carol-alt.jpg“ABOUT FACE: THE SUPERMODELS THEN AND NOW”
As a celebrated portrait photographer, Timothy Greenfield-Sanders has trained his lens on rockers, artists, politicians and some of fashion’s most famous faces. In the HBO documentary “About Face,” the Miami native talks about beauty and aging with some famous pop culture touchstones of the past five decades, including Beverly Johnson, Isabella Rossellini, Paulina Porizkova, Jerry Hall, Christie Brinkley, Marisa Berenson, Christy Turlington and Carol Alt. “About Face” will be screened at 7 p.m. March 7 at Coral Gables Art Cinema (260 Aragon Ave.) and be followed by MIFF’s inaugural “Miami Mavericks” discussion of the film with Greenfield-Sanders and Alt (right) in attendance. Tickets: $12.

“DARLING COMPANION”
Writer-director Lawrence Kasdan’s bittersweet comedies “The Big Chill” and “Grand Canyon” continue to reverberate over the years for those who first saw them at a certain age and temperament. The Miami native is back with a new work in this vein, written with wife Meg, that is ostensibly about a lost dog, but again is out to touch audiences in unforeseen ways. The cast brims with professionalism: Kevin Kline, Diane Keaton, Dianne Wiest, Sam Sheperd and Richard Jenkins. Lawrence and Meg Kasden are scheduled to be joined by Kline and Jenkins at the 7 p.m. March 6 East Coast premiere at the Gusman Center (174 E. Flagler St., Miami). Tickets: $14.

“JUAN OF THE DEAD
The most passionate chatter and the most clicks on the festival website are aimed at this Havana-set politcal farce populated by, yes, the undead. From Argentine-born Alejandro Brugues, the central conceit finds that five decades after the Castro Revolution, “the citizens of Havana have been turned into shuffling, mindless zombies ... but who can tell the difference?” It screens 7 p.m. March 9 at the Gusman Center (174 E. Flagler St., Miami). Tickets: $14.

Source: http://weblogs.sun-sentinel.com/entertainment/thingstodo/2012/02/5_reasons_to_go_to_miami_inter.html

Film School Online | "Boxing legend Ken Buchanan on film"

By: Billy Briggs
Source: http://www.guardian.co.uk
Category: Film School Online

Ken Buchanan was arguably the greatest pound-for-pound boxer ever to come out of Britain, according to some sporting commentators, and a new film is the subject of his career. The feature-length documentary, titled The Boxer from Somewhere Else, was made by an independent film-maker named Jamie Steedman.

Buchanan is the only living British fighter to be inducted into the International Boxing Hall of Fame and in 1978 he was voted the greatest ever British boxer in a poll organised by Boxing News, the sport's trade newspaper.

He fought 69 professional fights during his career. Of those bouts, 64
took place out with Scotland - an extraordinary feat for a boxer. Today, at 67 years old, Buchanan is a pensioner but the former world lightweight boxing champion still spars and trains three times a week at Lochend Amateur Boxing Club in Edinburgh.

He enjoyed some legendary duels including a fight he famously lost - the 1972 battle with the legendary Roberto Duran in Madison Square Garden in New York.

"I can't believe that was 40 years ago. I'm now friends with Roberto and pals with the likes of Mike Tyson. I still love to box and really looking forward to seeing the film," said Buchanan.

Steedman is a Scot based in London who studied at Stirling University and the New York Film Academy. He said: "Ken was a fantastic guy to work with."

The film is being screened at the Traverse Theatre in Edinburgh on 27 March.

Source: http://www.guardian.co.uk/uk/scotland-blog/2012/feb/28/boxing-legend-ken-buchanan-film

Film School Online | " New Logan Airport exhibit pays homage to Massachusetts’ movie-making legacy"

By: Jon Chesto
Source: http://blogs.wickedlocal.com
Category: Film School Online

The benefits of the state’s generous tax credits for the film industry are now in full view at Logan Airport.

The Massachusetts Port Authority, at the suggestion of the Mass. Film Office, has set up what’s intended to be a permanent exhibit in the walkway that connects Logan’s Terminal C and Terminal B that showcases this state’s movie-making legacy.

Massport spokesman Matthew Brelis says the 30 film posters were originally put up several weeks ago, and plaques were added last week to show the date the corresponding movie was released as well as local filming locations. Brelis says the completion of the “Made in Massachusetts” exhibit was intentionally done to coincide with this year’s Academy Awards ceremony (even though, with the exception of Fenway Park’s appearance in “Moneyball,” there weren’t any Bay State locations represented among this year’s nominees).

The movie posters are hung in chronological order, starting with “Who’s Afraid of Virginia Woolf?,” the 1966 movie that was filmed in Western Massachusetts, and ending with “The Town,” the Ben Affleck-helmed heist flick that was shot in the Boston area in 2009 and released the following year. There’s space on the end, on the Terminal B side of the walkway, for future movie posters. Made in Massachusetts film poster exhibit at Logan Airport

The posters represent a 45-year spectrum, but it’s hard not to notice that 12 of the 30 movies featured were shot here in the six years since the state’s film tax credits were put into effect at the start of 2006. The state’s 25-percent tax credit for local production work was created in part because Martin Scorsese shot much of his Boston-set “The Departed” in Brooklyn to take advantage of New York’s tax credits (although the film’s crews did spend several weeks shooting in and around Boston).

“The Departed” eventually won an Oscar for best picture, among other awards, even though many New York locations had to double for Boston spots. But with $220 million in production work that took place in Massachusetts last year, it’s unlikely that we’ll see another Boston-set movie up for such accolades that isn’t actually filmed here anytime soon.

Source: http://blogs.wickedlocal.com/massmarkets/2012/02/28/new-logan-airport-exhibit-pays-homage-to-massachusetts-movie-making-legacy/#axzz1nr3PSwVC

Film School Online | "GREATEST SCIENCE FICTION MOTORCYCLE SCENES OF ALL"

By: Keep Britain Biking
Source: http://www.keepbritainbiking.com
Category: Film School Online


Keep Britain Biking dusts off those old sci-fi VHS

Why does motorcycling feature so prominently in so many of the great science fiction films? Maybe it’s because there’s always been something not quite of our time about motorcycling – something both rebellious, in an old-fashioned outlaw sense, and futuristic.

Whether it has been re-imagined with retro-outlaw styling, grimy cyber-punk attitude or even hi-tech futuristic spaciness, biking dominates our science fiction screens.

Here’s a few of our favourites:

    Akira is a Japanese anime cult classic, featuring a gang of young bikers who race round the streets of ‘New Tokyo’. After an encounter with a strange, prematurely aged mutant child one of their number develops sinister psychic powers and is spirited away by shadowy government agents. Jam-packed with action, panoramic city-scapes and some kick-ass bikes this is well worth a look.
    No list of motorcycle science fiction films would be complete without a mention of Mad Max. The film tells the story of Australian police-officer Max Rockatansky (Mel Gibson) who pursues a twisted motorcycle gang in search of revenge for the murder of his wife. Mad Max’s success led to the creation of two more films in the series Mad Max 2: The Road Warrior and Mad Max 3: Beyond Thunderdome.
    Who can forget Arnold Schwarzenegger’s turn as psychotic robot-killer in The Terminator 2. Stuffed full of fantastic motorcycle action the film begins with John Connor and the Terminator escaping from the terrifying liquid metal T-1000 on a bike. Check out the theatrical release poster for one of the most iconic biking images of the era!
    Even computers love motorbikes – that is if you’re a fan of Tron (or the recent remake Tron: Legacy). Tron’s lightbikes are virtual, ultra-modern (in an 80s kind of way) and very, very cool.
    Finally, the daddy of all science-fiction films… Star Wars. “What? Star Wars doesn’t have any motorcycles?” we hear you shout. Check out Return of the Jedi; what are the speeders Luke and Leia ride if not futuristic bikes?

So, have we missed out any of your favourites? Do you think the motorcyclists of the future will be anything like the ones we see in these films? Let us know!

Source: http://www.keepbritainbiking.com/blog/greatest-science-fiction-motorcycle-scenes-of-all-time/

Film School Online | "W. Pa. film studio to feature 'Avatar' technology"

By: philly.com
Source: http://www.philly.com
Category: Film School Online

PITTSBURGH - A Pittsburgh film studio has made deals with the creators of the computer animation used in the movie "Avatar" and other groups to open a new motion-capture production facility that is the first of its kind outside of Hollywood.

Chris Breakwell of The 31st Street Studios announced the deal that involves "Avatar" animators Knight Vision, Carnegie Mellon University's Entertainment Technology Center and Paramount On Location, a division of Paramount Studio Group that moves lighting, rigging and other movie-making equipment to remote shooting locations across the country.

Knight Vision creates computer animation by having humans wear costumes fitted with digital markers that computers can use to transfer the person's motion to an animated character. But the company's innovation is that filmmakers can see the digitally-created characters where they will appear in the film frame instead of having to imagine where they will be added using computers after the fact.

"We're going to do things no one else is doing anywhere," said James Knight, the company's founder. He's creating a new company, Knight Vision 31, that will employ technology even more advanced than that used to animate the 2009 Oscar-winning "Avatar" for Breakwell's Pittsburgh studio along the southern shore of the Allegheny River.

Knight said state tax credits and the chance to work with Carnegie Mellon University were keys to the Pittsburgh deal. The state offers up to $60 million in tax credits annually that  can put toward some production expenses, provided at least 60 percent of a film's total budget is spent in the state.

CMU's entertainment technology students will work with Knight Vision technology and hopefully become skilled enough to work for the company or do their own similar work.

"This is the way of the future," said Anthony Daniels, an actor and visiting professor at the Entertainment Technology Center, who is best known for portraying the cyborg C-3PO in the "Star Wars" movies. Daniels quipped that the studio deal is a "great coming together of the forces."

Movie productions have injected about $300 million into the Pittsburgh area in the last three years, including "The Dark Knight Rises," the new Batman sequel starring Christian Bale, and the Tom Cruise thriller "One Shot," both filmed in the city last year.

"Pittsburgh really is becoming the Hollywood of the East," Allegheny County Executive Rich Fitzgerald said at Monday's news conference. But even more exciting than having Bale and Cruise come to town is economic growth, Fitzgerald said.

"What it really means to us is jobs," he said.

Source: http://www.philly.com/philly/news/20120228_ap_wpafilmstudiotofeatureavatartechnology.html

Tuesday, February 28, 2012

Film School Online | "Six Firms in the Running to Design Cornell’s High-Tech School on Roosevelt Island"

By: ROBIN POGREBIN
Source: http://artsbeat.blogs.nytimes.com
Category: Film School Online

Rem Koolhaas’s Office for Metropolitan Architecture and Thom Mayne’s Morphosis Architects are among the six firms that Cornell University is considering to design its high-tech graduate school on Roosevelt Island.

The finalists for the engineering and applied science campus, first reported by The Wall Street Journal, also include Skidmore, Owings & Merrill; Diller Scofidio + Renfro; Steven Holl Architects; and Bohlin Cywinski Jackson. Skidmore, which helped Cornell develop its initial proposal, will continue to work on the master plan.

The university expects to select a winner by April and to begin construction in 2015, with a tentative opening date of 2017.

Source:http://artsbeat.blogs.nytimes.com/2012/02/28/six-firms-in-the-running-to-design-cornells-high-tech-school-on-roosevelt-island/

Film School Online | "Review: Disney's TRON: Legacy is a High Tech Adventure"

By: Tina Case
Source: http://technorati.com
Category: Film School Online


Initially released in 1982 (at the cusp of the IMB PC introduction, and way before wireless technology and the Internet), the original TRON was Walt Disney Studio’s pioneer high-tech movie. Now considered a cult classic, TRON was cutting-edge, taking computer graphics to an entirely new level. The film included virtual sets and live action sequences blended with hand drawn animation –- a major motion-picture studio first.

In TRON, the simple plot centers on the main character, Kevin Flynn, (played by Jeff Bridges) as he creates the internal world of his gaming grid and has to discover and create the rules of the game in real time. Kevin creates Clu, a master program in his likeness, to govern the growth of the digital kingdom. But Clu soon develops a mind of his own and begins to plot against Kevin and make him a prisoner in his own virtual world.

TRON, written and directed by Steven Lisberger, was initially intended to be an animated film. Along the way, Lisberger visualized an entirely bold concept, to include live-action elements with computer animation. A number of studios rejected the prospect of such a film since it had never been tested before. Disney, known for its superb animation, took on the film and helped establish a new high-tech movie industry. It would not be far-fetched to say TRON was instrumental in the way all CG movies are made today.

Fast forward 28 years later to the highly anticipated sequel, TRON: Legacy. Today’s advances in computer technology take this sequel to an entirely new level and have created a feast for the eyes just in time for the holidays.

In TRON: Legacy, gone are the warehouse sets and handmade props and in their place is an actual virtual computer world which uses 3D very effectively. I know this because I have a sensitive stomach and felt close to tossing my popcorn as the stunning visuals take you across a spectacular cityscape where you fly like Harry Potter across the landscape. The sound effects are ever so subtle, heightening the viewer’s experience as you hear the wind rushing by your side as you glide over the cityscape.

At the heart of the movie is a Disney fairy tale meshed with an updated Wizard of Oz plot. Like last summer’s Avatar (another visually stunning and ground-breaking movie) both have simple, moral themes about good versus evil, about the frailty of human relationships, the genocide of a race if good does not prevail, and finding one’s way back home.

Source: http://technorati.com/entertainment/film/article/review-disneys-tron-legacy-is-a/

Film School Online | "Careers Profile - Television/Film Camera Operator"

By: Andrea
Source: http://longroadmediahecourses.blogspot.com
Category: Film School Online


The Work
As a camera operator, it would be your job to record moving images for film, television, commercials, music videos or corporate productions. You would operate film, videotape or digital video cameras, usually under instructions from the Director or Director of Photography.

Your work could involve:

setting up and positioning camera equipment
planning and rehearsing shots
following a camera script and taking cues from the director or floor manager (in TV studio recording)
choosing the most suitable lenses and camera angles
solving practical or technical problems such as lighting
working closely with other technical departments such as lighting and sound.
You may be the only camera operator and use a portable single camera, or you could be part of a TV studio camera team. On feature films and TV drama productions you may be part of a large crew with a specific role, such as:

second assistant camera (clapper loader) – loading and unloading film, counting the takes and helping the camera crew
first assistant camera (focus puller) – judging and adjusting the focus on each shot
grip – building and operating any cranes and pulleys needed to move a camera during shooting.
You would usually specialise in either film or television work, as the equipment and techniques can differ, however with the advent of digital cameras and HD technology, camera professionals are finding it easier to work across all sectors ensuring more stable employment.

Hours
Your hours could often be long and irregular, and may include shift work and nights depending on the production. You may also need to be flexible and work at short notice, particularly for news programmes.

You could work anywhere from studios to outside locations in all weather conditions. You may have to work at heights on cranes or scaffolding.

Location work could be anywhere in the UK or overseas. News camera jobs may involve working under difficult or dangerous conditions such as riots or war zones.

Income
Freelance camera operators are usually paid a fee for each contract.

Rates can vary widely. You could negotiate fees based on the type of production and your own track record. Contact BECTU for current pay guidelines.

Entry Requirements
Employers will be more interested in your technical skills and practical experience than your formal qualifications. In practice, many camera operators take a college or university course to develop the necessary skills before looking for work. Relevant courses include:

City & Guilds Diploma (7501) in Media Techniques (Level 1, 2 and 3 Award, Certificate and Diploma in Media Techniques (7601) from September 2010)
BTEC National Certificate or Diploma in Media Production
BTEC HNC/HND in Media (Moving Image)
degrees in media production, media technology or photography
trainee courses run by the GBCT (camera guild).
The most useful courses offer practical experience and may include work placements. Please check with colleges or universities for exact entry requirements.

As well as gaining technical skills, you should also build practical experience and make contacts in the industry. Courses can help you with this, but you can also get useful experience from:

getting involved in community film projects
working for a camera equipment hire company
finding work experience as a runner or camera assistant with a production company.
You may also find it useful to have skills in stills photography and basic electronics.

You should also make a 'showreel' DVD of productions that you have worked on, to demonstrate your skills to employers when you are looking for work.

Training and Development
You will usually start as a camera trainee or assistant and learn on the job from experienced camera operators.

At the start of your career you may be able to get some training as part of an apprenticeship-style new entrant scheme, such as programmes occasionally run by broadcasters, regional screen agencies and media training organisations. Contact the Skillset Craft and Technical Skills Academy for information on publicly funded schemes.

As a grip or crane technician, you could take one of the following work-based qualifications:

NVQ Level 2 Crane Technician for Film and Television
NVQ levels 2 and 3 Grip for the Audiovisual Industries.
See Skillset’s website for details.

You should keep up to date with new equipment and technology throughout your career. Employers may organise some training, but as a freelance worker you are usually responsible for your own development. Visit Skillset's website to search for relevant industry approved courses, and for advice about how to fund your training as a freelance.

The Guild of British Camera Technicians and BKSTS – The Moving Image Society both offer a range of short courses and seminars to their members. See websites for details.

Skills and Knowledge


good practical skills and knowledge of camera equipment
an interest in photography, film and video
good communication and 'people skills'
the ability to carry out instructions accurately and with attention to detail
good colour vision
calmness under pressure
the ability to work as part of a team
patience and concentration
good levels of stamina, for holding and moving camera equipment and working long hours.
Opportunities
You would usually work on freelance contracts, although larger TV broadcasters employ some permanent staff.

About two thirds of UK film and TV production is based in London and the south of England. You will increase your chances of a successful career if you are prepared to go anywhere in the UK or overseas to work.

Some jobs are advertised in the national press, trade press and industry websites. However, it is more common to get work by networking, contacting companies yourself, and using a crew directory or diary service to market yourself. Competition for work is strong.

You may find the following useful for job vacancies and contacts (links open in new window):

Mandy.com
Broadcast Freelancer
BBC Recruitment
ITV Jobs
Grapevine Jobs
Production and Casting Report
The Knowledge (contacts directory)
Kays Production Guide (contacts directory)

In film, you could progress from camera assistant to clapper loader, then focus puller and camera operator (and eventually director of photography, with extensive experience). In TV, you could progress from camera assistant to camera operator and camera supervisor.

Source : http://longroadmediahecourses.blogspot.com/2012/02/careers-profile-televisionfilm-camera.html

Film School Online | "Discover Screenwriting at VFS Over Two Weekends!"

By: Vancouver Film Schol
Source: http://blog.vfs.com/
Category: Film School Online


VFS first offered the Writing for Film & Television Two-Weekend Intensive last fall, offering aspiring writers with busy weekday schedules an opportunity to experience the VFS approach to screenwriting. We’re happy to announce it’s coming back!

This spring, you’ll have a chance to meet a diverse group of writers and take on a barrage of screenwriting tools, techniques, and exercises that closely represent what students learn in the one-year Writing for Film & Television program.

The first weekend (March 23-25) focuses on the elements of great storytelling and the business of screenwriting, and the second weekend (March 30-April 1) is all about workshopping and discovering how the words on the page affect the production process.

Here’s what participants said after finishing the Writing for Film & Television Two-Weekend Intensive last fall:

“It was exactly what I wanted, and exceeded every possible expectation.”

“The instructors were knowledgeable, personable and it was a great learning environment, impressive amount of feedback and insight.”

“I learned a lot in making interesting dialogue, about pitching as well as about the film business from the instructors.”

Find out more and register here. Don’t miss this opportunity to get a taste of the program that helped launch the careers of screenwriters like Terri Tachell (District 9) and Seth Lochhead (Hanna).

Source : http://blog.vfs.com/

Film School Online | "Rgrain: a Low-cost Solution for Adding Realistic Film Grain to Your Videos"

By: Joe Marine
Source: http://nofilmschool.com
Category: Film School Online


Yes, you’re probably thinking, why is yet another company making film grain plates? Especially when there are already others doing it well, including CineGrain, which we’ve covered here before. Well, Rgrain is a little different, as their process does not involve scanning real film frames, but instead is a very close approximation of the real thing. This also gives Rgrain a huge advantage compared to the other guys: cost. Let’s take a look at some samples:
At only $60, Rgrain is relatively inexpensive if you are looking to give some character to that clean digital footage. With less and less films being shot on actual film, I expect this technique to be used for years to come, as some projects or scenes require a bit of texture that digital images do not have.
I personally think that there is a time and a place to use filters like this. For example, I could see the 16mm or 8mm filters being used to dirty-up a fashion video, or one of the cleaner 35mm patterns for a period film that was shot on a DSLR. Digital cinema has caught up and is now surpassing film in terms of overall image quality, but when it comes to motion characteristics and texture, film still has a specific advantage, and there are times when too clean can be a bad thing.

Is Rgrain better than CineGrain, or any of the other film grain companies out there? It’s tough to say, but from looking at the Vimeo examples, Rgrain is doing a fantastic job emulating real film grain, and when the footage is online, I don’t see too much of a difference. One of the benefits to Rgrain is that their pattern is “clean,” meaning that the textures that aren’t supposed to have film damage will not. This may or may not make much of a difference to you, but if you want just the grain pattern without any film damage, Rgrain should be a tiny bit cleaner.

I don’t think we are too far off from film disappearing altogether, but if you’re a purist, or you want to add a bit of texture, Rgrain is a good solution. At some point if I can get samples, I’ll do an in-depth review of Rgrain, CineGrain, and GorillaGrain together.

Rgrain is also planning on adding 2K and 4K sometime in the future. Their introductory price may not last long, but if you order by March 15th, they will throw in an additional filter called Instant Vintage.

Source: http://www.blogger.com/blogger.g?blogID=1275518325381725299#editor/target=post;postID=8744389088648941015

Fillm School Online | "A Festival Circuit for Film School: Toronto Student Film Festival, etc."

By: Percey Evans
Source: http://articles.schools-training.com
Category: Film School Online

Students at film schools in Canada, take heart! The student film festival circuit is alive and well at home and abroad. If you keep working hard in your film courses. Montreal, Toronto and the world may one day line up for the privilege to see the fruits of your labour. Here are some of the film festivals for you to consider submitting to while still in film school. Toronto International Film Festival, they may not be. But you have to start somewhere.

The Montreal Student Film & Video festival is for students of film schools in Canada. The goal is to discover new talent currently enrolled in film courses. Montreal also offers another student film festival, the Young Cuts Film Festival. Unlike the Montreal Student Film & Video Festival, which is only open to people at film schools in Canada, the Young Cuts Film Festival is open to students from around the world.

For Toronto students enrolled in film school, Toronto Youth Shorts Film Festival is a volunteer-run nonprofit that gives a chance for Toronto’s emerging filmmakers to showcase their work.

One film school, Toronto’s Deparment of Film in York University’s Faculty of Fine Arts, has a yearly juried showcase called CineSeige that is only open to the students in its own program.

Queen’s University offers a yearly video-making contest for its own students, asking them to create a short on the theme of online summer school courses.

Another film school, Toronto’s cinema studies program at the University of Toronto – or, more specifically, Hart House, U of T’s “living laboratory of arts, culture and recreation” – organizes a student showcase that is open to students from film schools in Canada, but where priority is given to submissions form the Hart House and U of T community.

Other film schools in Canada offer student festivals that are open to students from all over. The University of Regina’s media production and studies department organizes a festival called Living Skies that is open to students from around the world, not just from film schools in Canada.

Similarly, students from around the world, not just from film schools in Canada, are invited to submit to the Toronto Student Film Festival, which is billed as a showcase for underground cinema.

Students of film schools in Canada can also submit to such international film festivals as the Beijing International Student Short Film and Video Festival or the Angelus Student Festival.

The world’s largest film festival, which is held at Brown University in Rhode Island, is also open to students at film schools in Canada.

So what are you waiting for? Get out on the festival circuit today! Submit your best work now.

Contact the Trebas Institute for more information on their film production programs.

Source: http://articles.schools-training.com/arts-entertainment/festival-circuit-film-school-toronto-student-film-festival-etc

Monday, February 27, 2012

Film School Online | "Bradford International Film Festival – Filmmakers’ Weekend April 28 – 29"

By:Mike McKenny
Source:http://theculturevulture.co.uk
Category:Film School Online


Calling all filmmakers! The Bradford International Film Festival (BIFF) is coming soon (running from 19th – 29th April), bringing with it an array of filmic help. On the 28th-29th of April comes a Filmmakers’ weekend, aimed specifically at helping us achieve huge success in the world of independent filmmaking.

Throughout my time studying Photography and Video at De Montfort University of Leicester, I’ve come to realize you can only learn so much through reading books and trawling the internet for tutorials and such. Meeting people, discussing ideas and concepts for future projects, watching new and challenging films and shorts is invaluable; this is my newly established ethos to independent filmmaking.

The weekend breakdown consists of a number of useful panels, workshops and master-classes. Kicking off the event is the Director of Bradford City of Film, David Wilson, who’ll be discussing opportunities for independent filmmakers to shoot their films in Bradford.

Some of the scheduled events jumped out to me more than others, the kind of key aspects any aspiring Director/filmmaker will be thinking when they’re fresh out of University. For instance,  talks like ‘Looking Ahead – What is the Future of Film’ and ‘Movie Money… And How to Get It’, helping everyone to know the right place in which to sell their soul (figuratively, I’m sure) in order to make their films a reality.

A master-class in ‘Breaking Through – Forging a Successful Career in Directing’ stood out the most, with special guest Ingrid Veninger at the helm to discuss her career in film and TV. With Veninger having her third feature film (as director) screened at BIFF this year, it’s going to be an honor to learn all she’s willing to part with. Surely a must see for any aspiring Director I’m sure.

Another programmed event that caught my eye is ‘Shooting Digital – The Latest Formats Uncovered’. Talking all things wonderfully technical, this session will discuss different options open to low budget filmmakers. Perfect for someone who utilizes DLSR systems like myself, it will be comforting to know there’s systems out there for almost every budget.
And of course, one of the best opportunities of all, a chance to drink, nibble and chat to all filmmakers alike. We’re Your Independent Film Network (WYIFN) will be hosting a networking session, telling us a bit about themselves and what they do, and a perfect chance to meet and greet. I’ve been to a WYIFN meeting before and all I can say is that it’s the perfect environment to talk FILM. One of the key points that has been drilled into me over the past 2 years is Networking and I cannot think of a better place to do it!

Last but not least, there is even a session ran by the sponsors of the weekend, the Northern Film School of Leeds Metropolitan University, entitled ‘Pitch it – Sell Your Film Idea to the Professionals’,  giving you all the advice you’ll need to pitch your next masterpiece to any film industry panel. They’re even giving you the chance to sell yourself there and then.

And with that last piece of information, I’ll now be buckling down and searching for the next masterpiece I can deem worthy to pitch.

For more information on the Filmmakers’ Weekend, or on any more BIFF-happenings, check out their website or follow them on Twitter: @BradFilmFest

Josh is a Bradford based artist/filmmaker, who is in his final year at De Montfort University of Leicester studying photography and video. He has made a number of short films, one of which has played at Leeds based community film society Minicine. You can follow him on Twitter @MomentaryLaps or check out his website.

Mike McKenny is The Culture Vulture’s film editor. If you have any film related stories, articles, reviews with a twist, etc, contact him on mike.mckenny1983@gmail.com or find him on Twitter @DestroyApathy

Source : http://theculturevulture.co.uk/blog/festivals/bradford-international-film-festival-filmmakers-weekend-april-28-29/

Film School Online | "Reward Yourself with a Special Gift"

By: Tom Marcoux
Source: http://beheardandbetrusted.com
Category: Film School Online

Imagine rewarding yourself with a special gift. Sounds fun, right? Did you think of some item to give yourself? Or perhaps, an experience you long for? We’ll use the C.A.N. process:

C – cast yourself
A – announce your intention (carefully)
N – nurture your path

1. Cast yourself

Put yourself into some form of role that you really want. Now, that is a real gift to yourself! For example, some years ago, I wanted to direct a particular feature film. When a particular actor was unavailable, my co-producer asked, “Tom, why don’t you play that role?” There were many reasons to say “No.” But I cast myself anyway. And yes, the pressure of acting and directing was intense, but the adventure was worth it. Do not wait for people to say yes to you. Find some way to do what you want on a small scale. That’s what I mean by cast yourself.

Do you want to act? Find a way to act. I’m delighted with how so many people go into action and make short films for YouTube.com. Let’s face it. You need to show the world what you can do. And, that’s how Justin Bieber began: He posted videos of his doing cover versions of Usher’s songs. Then Usher saw the videos and became the producer of songs sung by Justin! Cast yourself.

2. Announce your intention (carefully)

To make big things happen, you need to carefully announce your intention to someone who will truly support your efforts. Some friends and family members just do not believe in possibilities and in you making a big leap forward. So don’t talk to them about your plans and dreams. Those particular individuals are “energy-drainers” and do not let them near your dreams.

However, other individuals could support you and help you make dreams come true. For example, when I coach graduate students in how to express an “elevator speech” (brief words about who you are), I invite them to say something like:

“Hi, I’m Susan Ironhart. I’m currently completing a degree in animation at [school name]. I’m looking for an animator position at Pixar or Weta Digital. Ultimately, I want to direct an animated feature

. I best known for putting in small touches that really bring the character alive. What’s one of your favorite animated films?”

The idea is to share with someone, perhaps a top person in your industry, what your ultimate goal is. Many top professionals see themselves in ambitious young people just starting out. And they “pay it forward” by serving in some way like a mentor for someone who knows what she wants and is taking steps forward.

3. Nurture your path

If you nurture a garden, you make sure to get rid of weeds, and you provide nutrients for the soil. We can apply this metaphor to your lifepath of making dreams come true. I began this article with the phrase: Reward Yourself with a Special Gift. A great gift for yourself is a life of adventure and taking appropriate risks. Steve Alten sold his used car and hired a great editor to work on his manuscript for his novel Meg. That’s what I call nurturing your path. He nurtured his work and gained coaching to become a better writer. By the way, Meg became the first in a series of four (so far) bestselling books.

I invite you to nurture your path.

Cast yourself.

And consider a special gift for yourself as not just something material.

What you want is to feel good. Be sure to set up valuable experiences for yourself.

I recall an author talking about how he and his wife may not have had lots of cash to give things to their children. Instead, they made sure to provide a lot of uplifting experiences.

Give yourself the special gift of taking some steps forward on your unique, positive and hopeful path to making your dreams come true.

Warmly,

Tom

Author of 11 books (with free chapters on Amazon.com )

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Source: http://beheardandbetrusted.com/2012/02/27/reward-yourself-with-a-special-gift/

Film School Online | "Britain enters a golden era of the short film"

By:Sarah Morrison
Source:http://filmdirectingtips.com
Category:Film School Online

Charlie Chaplin built a career on them, and brands are now using them to sell their latest products. The short film, once a slightly marginal staple of art houses and film buffs, is experiencing a golden era in Britain and is reportedly reaching wider audiences than ever before.

Advances in film-making technology and the growth of the internet are behind the rise, experts say, but their popularity is down to more than digital progress. The short film, with its capacity to convey ideas concisely, is capturing the mood of an increasingly time-pressed, information-hungry generation.

Briony Hanson, director of film at the British Council, said we are at a “watershed moment” when it comes to the proliferation of “perfect little vessels that tell a story in their own right”. “We are looking at a golden era in Britain,” she said. “Just over 20 per cent of shorts in the total Sundance [Film Festival] selection were UK-made in 2012, while last year, the figure was 6 per cent.”

Source: http://filmdirectingtips.com/archives/7198

Film School Online | "How Shrink Wrap And Shrink Film Have Changed Business For The Better"

By : Ann J. Infante
Source: http://technology.myblogzone.info/
Catagory: Film School Online


Versions of shrink wrap and shrink film have been rocks of the packaging industry for generations. Technology has been able to make many industries’ day-to-day details easier, and the packaging industry is no different. The shrink wrap machine can make massive amounts of orders so much simpler to send around the world. Now those huge pallets of product that have to be sent out today can be sent out to their destinations efficiently and on time.

Shrink wrap and/or shrink film is a crucial part of any sort of packaging. It also helps to have a functioning shrink wrap machine, as the ability to move shipments all over is increased with more packing capability. The machine can handle all sorts of material, from soft and pliable stuffs to harder-edged types that are almost plastic. The dexterity that the machine provides can expand a company’s reach beyond America’s boundaries.

When grappling with shrink wrap and shrink film, there are other advantages than the speed of delivery. The days of guesstimating are long gone, as a good shrink wrap machine will be able to determine how much cover is actually needed. It’s just one of the many options offered by a quality machine. There are even machines that proclaim to even out and center the products due to be wrapped. With modern technology in the hold of the packing company, things at the central plant will be simpler and better.

Dirt will no longer be a fright of any packing company, so long as they find a happy setting of shrink wrap and shrink film. Air can be removed from the package area, making sure the product is in tip-top shape when a customer gets it. Because, after all, nobody really cares how the package is delivered, so long as it’s in one chunk and completely intact. The exact shrink wrap machine can make everyone’s existence easier in that regard.

Having shrink wrap and shrink film in the cadre of the packing company ensures their ability to send packages anywhere in the country. The ability for those materials to pack in those delicate items is an essential part of any business or shipping company. With the assistance of the right shrink wrap machine, large pallets are now available to be shipped together. That will make the life of the floor boss easier.

Learn some easy process and time saving when it comes to packaging method only at Shrink Wrapping and don’t forget also to visit PVC Film.

Source: http://technology.myblogzone.info/

Film School Online | "Jewelery Designers Attempt Movie Stardom"

By :Adrian Jones
Source:http://get-rid-of-debt.net
Catagory:Film School Online

Jewellery designers are commonly asked to send in pieces of costume jewellery they’ve manufactured for the film industry. Amazing necklaces, bracelets and tiaras that have had their own starring role and adorned famed film stars are going to be sought. Obviously the sparkling collection of glitter and bling for the films are paste instead of diamonds, but they make a good display.

Pieces by jewellery designers for films are going to be displayed at the Jewellery on Screen exhibition at Somerset House on The Strand in London next June as a part of London Jewellery Week. The show has got Orkney jewellery designers contemplating how some of our more traditional collections ranging from mens Celtic rings to modern day style charms could be just just the thing for the film industry.

The Tudor range, by way of example, influenced by the gemstones and spectacular decoration of the period, is a traditional style for films about Elizabeth I featuring Cate Blanchet or Helen Mirren. And our Louise ring could well decorate the finger of her namesake in Thelma and Louise, played by Susan Sarandon.

Jewellery Designers in the Movies

One Orkney collection features Birdland necklaces, earrings, brooches and charms showing birds in flight across a northern sky. Daphne du Maurier’s novel, The Birds, however produced a more terrifying view of these things – not helped by a Hitchcock horror movie featuring Tippi Hedren and Rod Taylor! The Heart collection links with plenty of famous films for example the recent Crazy Heart with Jeff Bridges. But aside from the romantic Heart there is also Braveheart, who could gladly wear many of the mens Celtic rings or our Sword kiltpin style.

Source: http://get-rid-of-debt.net/money/investments/jewelery-designers-attempt-movie-stardom/

Sunday, February 26, 2012

Film School Online | "John Carter Musings: What, exactly, is Disney’s marketing strategy?"

By : Dotar Soja
Source:http://thejohncarterfiles.com
Catagory:Film School Online

Disney-bashing over the marketing of John Carter has become fashionable over the last few weeks as the tracking figures for John Carter have come in and it is apparent that the core promotional campaign has failed to ignite the kind of interest that Disney clearly had hoped for when they invested $250m in the production of this film.  What, one wonders, is the actual strategy behind the campaign as we have seen it thus far?  What was Disney thinking at the outset?  What are they thinking now?

Here is my best attempt to “reverse engineer” the thought process and strategy that is driving what we have seen.  This is not based on any inside information — just on analysis and logical review of what we have seen to date.

We Have Dazzling Spectacle That Will “Shock and Awe”
It seems that at the core of Disney’s approach is a decision that the film contains dazzling CGI-driven production value that –especially in IMAX and 3D–will inspire such “shock and awe” that if we lead with that, success will follow.  This would seem to be the decision that led to the decision that, in the main trailer for the movie, it begins with the white ape/coliseum sequence, and why virtually every TV spot either opens or closes with that sequence.  Taylor Kitsch in his behind the scenes interview says “the white ape sequence along is worth the price of admission”, and it seems likely that this is a talking point from Disney marketing.

Our Core Market is ‘Tween” Boys and Let’s Pitch to Them
There has been a relentless focus on action/adventure/creatures and it seems that Disney marketing is most sure-footed on  kiddie oriented Disney Channel and Disney Go spots and featurettes.  Disney may feel that it’s ability to attract “Disney families through the Disney Channel, its various lists and membership groups, is the cornerstone of the marketing a program and attracting adults and other demographics is a secondary consideration.

Andrew Stanton is a great Director but he’s not a brand and not a marketing asset
Stanton is trusted by the production people at Disney and he is clearly a serious force as a film-maker, but is he a marketing asset?  Not, in Disney marketing’s view, for this type of film.  There seems to be a decision that promoting the
 as an Andrew Stanton film, or “from the director of Wall-E and Finding Nemo”, somehow creates “cognitive dissonance”.  Thus, it’s better to let Andrew make a good movie, but don’t deploy him as a marketing asset because he isn’t one.

Edgar Rice Burroughs, God Bless the old Geezer, is not a marketing asset
Burroughs has his followers among the Baby Boomer generation and certain geeks, but his work is a century old and he is not an asset in the way that authors of currently “hot” novels (Hunger Games, Twilight, and Harry Potter come to mind) and there is a danger that if you reference him too much, it will make the film seem musty, old, creaky.  Better to be respectful of him, mention him in all the formal recitations of the source material and major credits, but don’t make a big deal about him because to do so could backfire.

Now….when I started writing this I thought I might be able to come up with more marketing points than that, but as I write — that seems to be about it.  Four main points: 1) Shock and awe, 2) Tween Boys, c) Don’t make a big deal of Stanton, and d) Burroughs is liability.  To that I will add one further tenet of the campaign which would seem to be — “Don’t pay too much attention to online chatter as that is just a vocal minority and does not give a true indication of the broad public response.

Assuming that this was the mindset going in, one then wonders — what has been learned over the course of the promotion and what course corrections have been evident?

This is the part that is truly baffling.  The indications that the initial approach was foundering were evident  pretty early on.  The main trailer was released on December 1 and 30 second spots started appearing on December 15th.  It’s easy to imagine that not a lot of critical review was happening during the holidays, but certainly by early January when everyone was back to work there was a body of evidence available to Disney that the initial thrust was meeting with lackluster response.

In early January, for example, by all social media tracking measures (and we track them here so this is based on actual recorded observations), John Carter was lagging light years behind Hunger Games and barely holding even with other March releases like Mirror Mirror (who subsequently moved their release date) and 21 Jump Street.  At that point, 9 weeks from release date, it was too early to have the old school studio tracking polls but not too soon to realize that the promotional brew was not right.

Did anything change?

I remember thinking during that period in December and early January that — okay, Disney’s strategy is to secure the hardcore sci-fi/geek audience first, that’s why they’re promoting it this way early on, but it will change as the release date approaches and we will see a more nuanced campaign that reaches out to key demographics that the initial campaign was not reaching.   What key demographics?

    Fans of Avatar, particularly those who are not generally sci-fi fans but who got caught up in the Avatar excitement and have gone two years without anything like Avatar to watch.  Turn the “it seems a lot like Avatar” reaction into a plus.  The easiest way to do this would be to strongly make the point that the source material for JC is what inspired Cameron (he’s said that John Carter was his inspiration in no less than 5 interviews).
    Fans of Wall-e, Nemo, Pixar, and Stanton:  Even though Stanton is not a brand in the way that Cameron is, there is a very substantial audience who would convert from aware to definitely interested upon learning that JC is directed by Andrew Stanton.  Make sure this information is driven home.
    Women.  The John Carter books were called “interplanetary romance” for a reason.  Dejah Thoris is a strong character.  Play up both the strength of Dejah Thoris and the relationship angle in order to draw women – get it classified as a date movie, not just a guys’ movie.

But as the promotion moved forward, there didn’t seem to be any movement and in fact it seemed rather static and one-note.  The same image of John Carter in the desert screaming and jumping over the charging Warhoons was played over and over again (could it be that they thought it was NFL playoff time and this looks like a football kickoff?)  The alternate to the Warhoon/desert spot was the “He Arrives” spot which had a good teaser feel to it and seemed like a reasonable approach in the early days of the campaign — but with it’s lack of information and lack of any emotional content it gradually seemed less and less appropriate and, indeed, in recent weeks we haen’t seen too much of it but we continue to see the Warhoon charge and the great white ape in almost all the spots.

Strangely, something missing almost entirely from the promotion is any sense of “emotion” in any of the clips.  The music seems to have consciously been chosen to de-emphasize any emotion; the John Carter – Dejah Thoris romance has hardly been touched upon.  What is striking about this is the fact that both Burroughs and Stanton — the two creators that are the underpinnings of this

–both know how to evoke an emotional response in readers/viewers and indeed many if not most of the early reviews use the word “emotional” in describing the


.  If this is a genuine asset of the film – -why ignore it in the promotion?

Then came what amounted to a watershed moment — the Super Bowl ad. Now let’s ponder that one for a moment.  What was Disney thinking?  Apparently, the thought process went something like this:  Let’s do a sweepstakes that football fans will get excited about– a “journey to the Super Bowl” one where the winners get tickets to next year’s Super Bowl.  To make sure people watch the Super Bowl ad, let’s put a coded something in the ad — that way they have to watch and extract the code in order to qualify for the sweepstakes.

I can imagine senior marketing execs buying into this on a broad concept level and don’t have a huge quarrel with it.  Okay — I get it, sort of.

But then came the ad itself.  Rule one of Super Bowl advertising is that even if you sign up for a 60 second spot, there are circumstances where you might get cut to 30 seconds (injury timeouts being one of them) and so you have to make sure you have a 30 second version.  But Disney’s ad, because of the “clue” (or not, I’m not 100% sure) involved an 18 second slow pull out on the title treatment which meant that in the 30 second version…..well, at $120,000 per second, let’s just say that there is some money being wasted if you get stripped down to a 30 second version. And that’s precisely what happened ….. in arguably the most important moment of the campaign, the ad that Disney put up created such a “meh” reaction that it ranked lowest of all movie spots in the Super Bowl and 49th of 54 overall in terms of audience ratings.

Now, surely — one would think — at that point, which was still 5 plus weeks out, there would be a reassessment of the campaign and new directions.  There were some signs that this was the case. The 60 second spot on the premiere of “The River” was better received and seemed like it might have been cut by a different team, or under different marching orders — although the difference was not so great as to change much.  The ads still emphasized action and spectacle and lacked emotional connection with the audience.

So let’s get back to the original premise, which clearly had to be under reconsideration:

Shock and Awe isn’t working
It had to be clear that hammering away on the CGI Spectacle of it all just wasn’t working.  People were turning up their noses and going “meh”, so what?   People were saying in essence: we’ve seen that before and it’s just not going to be enough to draw us in.

Now, since Shock and Awe was the cornerstone of the campaign – the next thought is, what other assets can be emphasized or brought into play?

Maybe We Should Play up the Wall-E, Nemo Connection?

While it’s easy to imagine decisions being made last fall to not deploy Stanton’s track record as a marketing hook, it’s harder to understand holding on to that idea in the fact of indifference to your core campaign theme and mounting evidence that the campaign is just not working as well as it should.  But there has been no evidence that there is any intention to bring “from the director of Wall-e and Finding Nemo into the campaign.  Surely the concern about cognitive dissonance was understandable, sort of, when the promotion stretched ahead and Disney thought that by following their original plan they would be tracking toward a $65m opening — but now?  Does it make sense to leave this on the shelf?  Evidently Disney thinks so.

Maybe we should dust off old ERB and use him to give the film a pedigree?

Like the decision with Stanton, the decision to not trumpet Edgar Rice Burroughs as an asset was one which could be defended when the campaign was stretching ahead with great potential.  But it’s harder to see why ERB doesn’t get deployed now that the campaign is coming to the home stretch and it just hasn’t caught fire.  But there seems to be no movement in this direction.

Final Thoughts

And so,  two weeks later, here we are.  Has much changed?  The white ape still seems to be given as much prominence as if this were King Kong or something, when in fact the white ape/coliseum scene is a relatively minor beat in the overall story.

Is John Carter sailing over a cliff, or into an iceberg? I’m hoping the answer is no, fearing the answer is yes.

Here’s the best case:

As soft as the tracking has been, most analysts have it in the $25-30m range which is disastrous if the

’s opening weekend ends up being a typical 35% of the domestic total — that would leave it under $100m domestic gross and it would be a certified failure.  However early reviews are virtually all positive and Stanton’s other
s have done an average of 24% of their total on opening weekend, with his personal best being 20% (lower % meaning better “legs”).   So … 30m opening at 20% of the total gives you $150m.  And if foreign could go to to 250m, that would yield $400m worldwide.  Because of the budget being as high as it is, this would cause it to be regarded as a failure but it is beginning to get the film into respectable territory.

Then there are the “x factors” which could be causing the tracking to be underestimating where JC really is: 1) Disney moms who may not be showing up on tracking but who are a force that causes Disney to often exceed tracking estimates, 2) Overall market strength with US Box Office running well ahead of last year – meaning more pie to be shared, 3) Lack of competition – JC has its opening weekend all to itself and two weeks before Hunger Games starts sucking the air out of the universe, and 4) Boomer Burroughs fans who grew up reading the Ace and Ballantine paperbacks in the sixties and who probably aren’t adequately captured on tracking, 5) A highly motivated core grassroots fan base is emerging and generating a bit of a ‘counter buzz’ via things like the recent “Fan Trailer” and through organized and systematic retweeting of positive reviews a they come out, all of which is creating a “John Carter is better than you think” undercurrent that is not part of the official campaign but may help the outcome.

In truth — it seems like Disney’s main strategy at this point is to keep pounding away with the same advertising to at least create awareness, and then use advance screenings to mobilize positive word of mouth and hope that changes the dynamic by opening day.  I do think that the advance screenings are the right thing to be doing, given that the film itself seems to be good.  It’s just too bad that the official marketing materials continue to be as tone deaf as they were at the beginning.

Like the execs at Disney who are responsible for the film —  I’m praying to the Gods of box office that all those x factors are working in the film’s  favor because if they do, the $25-30m advance estimate ends up being an actual opening weekend of $45-50m and if it opens that high, and has the kind of legs that Stanton’s other
s have had, then Disney marketing will have extricated from as tough a spot as John Carter himself ever found himself in.

And finally, in closing this longwinded piece — I offer up my mantra which is this: In spite of questions about the marketing — thank you, Disney, for taking the risk with this film.  You are the only ones to get it done, and by all accounts it’s a fine film. Comments about the marketing need to proceed from an acknowledgment that you stepped up and took the risk, and as fans we appreciate that.

Source : http://thejohncarterfiles.com/blog/2012/02/26/john-carter-musings-what-exactly-is-disneys-marketing-strategy/

Film School Online | "‘Act of Valor’ Is Top Weekend Film With $24.7 Million in Sales"

By :Anthony Palazzo and Matt Townsend
Source:http://www.businessweek.com
Catagory:Film School Online


The academy will help students learn all the skills they need to work in the film industry

Feb. 27 (Bloomberg) -- “Act of Valor,” from Relativity Media, led the box office in its debut weekend, collecting $24.7 million in ticket sales at U.S. and Canadian theaters.
“Tyler Perry’s Good Deeds” opened in second place with $16 million for Lions Gate Entertainment Corp., researcher Hollywood.com Box-Office said yesterday in an e-mailed statement.

Act of Valor,” filmed with active U.S. Navy SEAL forces, broke through in a crowded Oscar weekend that saw four new movies open. Weinstein Co.’s “The Artist,” winner last night of five Academy Awards, including best picture, generated $3 million in sales this past weekend after expanding to 966 theaters from 808.

“Most of the films that are nominated get a little bit of a bump once they are nominated, and then, of course, films that win an Academy Award get some pretty substantial bumps following,” said Paul Sweeney, an analyst for Bloomberg Industries, in a telephone interview.

“The King’s Speech” received a boost in ticket sales last year after taking the top prize, and ended up grossing more than $400 million in global box office, he said.

“The Artist” has grossed $31.9 million in domestic theaters since its release on Nov. 25.

“We’ve had a tremendous track record with ‘The Artist’ and should we garner awards, it could have a positive effect on the box office,” Erik Lomis, Weinstein Co.’s president of theatrical distribution and home entertainment, said in an interview last week.

The Most Elite

For “Act of Valor,” directors Scott Waugh and Mike McCoy hired active-duty SEALs to create realistic action scenes such as a raid on a drug compound. They are out to rescue a missing CIA agent played by Roselyn Sanchez.

SEAL teams, among the most elite of U.S. troops, gained worldwide attention for the May 2011 raid on a safe house in Pakistan that killed al-Qaeda leader Osama bin Laden. The film cost $12 million to make, according to Hollywood.com.

“Hollywood profitability is a difficult thing to achieve,” Sweeney said. “It’s hard for lower-budget films to break through, and when they do it tends to be very profitable.”

‘Good Deeds’

Perry, known for the “Madea” comedies aimed at African- American audiences, stars in “Good Deeds” as a businessman whose scripted life takes an unexpected turn after he does a favor for a single mother, played by Thandie Newton, who works on the cleaning crew in his building.

Perry’s four “Madea” movies have taken in $455 million worldwide for Lions Gate, including $288 million in the domestic market.

Returning movies “Journey 2: The Mysterious Islands,” “Safe House,” and “The Vow” rounded out the top five.

“Journey 2: The Mysterious Island,” from Time Warner Inc.’s Warner Bros., generated $13.5 million, good for $76.7 million in its third weekend. The picture features Dwayne Johnson in a 3-D sequel to the 2009 hit “Journey to the Center of the Earth.”

“Safe House,” from Comcast Corp.’s Universal Pictures, took in $11.4 million, falling to fourth from first. The film, starring Denzel Washington as a rogue CIA agent, has generated $98.1 million in three weeks.

The romantic drama “The Vow” dropped to fifth from second with $10 million in receipts for Sony Corp.’s Screen Gems unit. The film, starring Channing Tatum as a man whose wife awakens from a coma with no memory of their marriage, has drawn $103 million in U.S. ticket sales.

Out of Top Five

A pair of major new releases failed to crack the top five. Universal’s R-rated comedy “Wanderlust” made its debut in eighth place with $6.3 million. The movie stars Jennifer Aniston and Paul Rudd as a New York couple that stumbles on a hippie commune.

“Gone,” from Summit Entertainment, starring Amanda Seyfried as a woman searching for a sister who has been abducted, was ninth with $5 million.

“That’s a disappointment for both of them,” Sweeney said. “They weren’t well reviewed, and there was different types of box office behavior given the Academy Awards and people going to see the nominated films.”

Weekend revenue for the top 12 films rose 21 percent to $115.8 million from a year earlier, Hollywood.com said. Attendance is up 20 percent year to date, while revenue is up 18 percent. The amounts below are based on actual tickets sales for Feb. 24 and Feb. 25 and estimates for yesterday.

Source : http://www.businessweek.com/news/2012-02-27/-act-of-valor-is-top-weekend-film-with-24-7-million-in-sales.html

Film School Online |"Plans announced for film academy"

By :BBC News - Education & Family
Source:http://www.educationinunitedstates.com
Catagory:Film School Online


The academy will help students learn all the skills they need to work in the  industry.

A new film academy which will help train the next generation of British movie-makers is to be launched.

The scheme will be led by the British Film Institute (BFI) and will cater for some 5,000 students aged between 16-19.

It will operate at weekends and evenings at centres around the country, and will get £3m from the Department for Education over three years .

Education Secretary Michael Gove said the academy would help ensure the industry remained competitive.

The minister said he was especially keen for "those who don't have certain advantages" to get the opportunity to participate.

"This project should provide opportunities to young people who might otherwise miss out," he said.

Cut in spending

Schools and colleges will help to identify any young students, who are deemed to have "exceptional levels of creative talent, technical skills, commitment and tenacity", organisers said.

The courses will teach technical, business and marketing skills. which are necessary to launch a career in the film industry.

Up to 200 young people will then be selected for a residential film-making course.

The announcement comes at a time when government funding for the arts is being cut.

In 2010 it was announced that the UK Film Council was being axed as part of a cost-cutting drive by the Department for Culture, Media and Sport (DCMS). The BFI took over the council's funding role.

Source: http://www.educationinunitedstates.com/2012/02/plans-announced-for-film-academy/

Film School Online | "Bachelor of Arts (BA): "Film and Video Production Degree Overview"

By : Education-Portal.com
Source : http://education-portal.com
Category : Film School Online


The  Bachelor of Artsdegree program in film and video production is designed for individuals seeking to apply the principles of cinematography, video editing and directing to careers in media production. Students may incorporate many different disciplines into their film and video studies.
 Bachelor of Arts in Film and Video Production

Students receive a solid foundation in production basics, such as classical narrative structure, multi-camera filming and digital editing. In addition to technical training, they explore film and television theory, media history, communications and social science. Throughout the program, students learn to examine artistic media and cultural expression, understand the film industry and make films.

This degree program prepares students to carry out a range of professional duties, such as mounting cameras, editing raw camera footage, coordinating the tasks of crewmembers and dispensing technical direction to onscreen talent. Some non-technical skills that students learn include the ability to conduct independent research, write scripts and read critically. Concentrations may be available in cinema studies, documentary production, animation or sound design.

Applicants to this program are required to have at least a high school diploma or its equivalent. Some schools may require students to take a certain number of courses before acceptance into the film and video production major. These courses may cover areas such as visual and audio media principles, animation and pop cultural studies.
Course Topics

The film and video production curriculum is comprised of traditional classroom instruction, workshops, seminars and professional training through special projects. In some programs, students gain professional experience in the field through the completion of a capstone project and/or thesis. Students receive a mixture of theoretical and technical training in subjects such as:

    Audio production
    Scriptwriting
    Film editing
    TV interpretation
    Motion picture production


Popular Career Options

Graduates may find themselves working in an extremely diverse range of environments, such as movie sets, television news studios, ad agencies, production studios and editing rooms. Occupations may include:

    Key grip
    Producer
    Director
    Cinematographer
    Boom operator


Continuing Education Information

While bachelor's holders may be prepared to gain entry-level positions in the field, they may also choose to further their education through the completion of a master's degree program. Graduate programs in film production are intensive 2-year programs that educate students in filmmaking, directing, editing, cinematography, sound design and digital editing. Specific programs students can complete include a Master of Fine Arts in Film and Video Production.

Source : http://education-portal.com/articles/Bachelor_of_Arts_BA_Film_and_Video_Production_Degree_Overview.html

Saturday, February 25, 2012

Film School Online | "Vertu Hosts Pre-Oscars® Dinner With Wolfgang And Gelila Assefa Puck; Honors For Dream For Future Africa Foundation"

By : Wolfgang Puck 
Source : http://www.timesunion.com
Category : Film School Online 

Vertu, the market leader in luxury mobile phones, joined Gelila and Wolfgang Puck last night to host an exclusive pre-Oscar dinner in support of Dream for Future Africa Foundation. The opulent affair brought together stars and executives from the film, art, sports and music industries at the renowned restaurant CUT by Wolfgang Puck at the Beverly Wilshire Hotel.

Many personal friends of the Pucks attended including: hip-hop producer Pharrell Williams; fashion designers Vera Wang and Monique Lhuillier; record and film producer Quincy Jones; actresses Holly Robinson Peete, Shiva Rose and Azie Tesfai; actor Ken Davitian; singer Macy Gray; Motown record label founder, Berry Gordy; TV personality J. Alexander; acclaimed photographer Bruce Weber; crystal heiress Nadja Swarovski; The Bold and The Beautiful executive producer Brad Bell and wife, Colleen Bell; Italian Tenor Vittorio Grigolo; and actor Florian Henckel von Donnersmarck. Other notable guests included Essence’s Editor-at-Large Mikki Taylor; producer Lawrence Bender; handbag designer Kendall Conrad; Target executive Greg Cunningham; author Julia Moore; The Daily’s Richard Johnson and wife Sessa von Richthofen; and executive and fashion enthusiast Angelique Soave, among many others.

Guests attending the soiree had the exclusive opportunity to experience the Vertu lounge, which featured the company’s new touchscreen phone, Constellation — a luxurious handset that strikes the perfect balance between modern technology, design and unique lifestyle services.

While celebrating the upcoming Oscars, the dinner also honored Dream for Future Africa Foundation, founded and run by Gelila Assefa Puck, which is dedicated to providing education and feeding programs for orphans that have lost their parents to the AIDS virus. For more than a decade, Gelila Assefa Puck has been active in supporting women’s global health initiatives and the advancement of orphaned children in Africa.

“I have long been impressed at the commitment made early on by the brand leaders at Vertu to raise awareness and to financially support important charities that make a real and measurable difference in the world,” said Gelila Assefa Puck. “We are delighted to again partner with Vertu at this event in support of Dream for Future Africa Foundation and the children of Ethiopia.”

Kevin Lee of LA Premier, created the luxurious ambience for the night, with a design that complemented Vertu’s sleek luxury handsets.

As the official chef of the Oscars Governor’s Ball, Wolfgang prepared a lavish, three-course meal that included Maryland Blue Crab, Louisiana Shrimp Louis Cocktail and American Wagyu / Angus “Kobe Style” New York Sirloin.

Vertu offers an unrivalled range of exclusive services with Constellation including complimentary 24-hour concierge service, designed to ensure a Vertu owner’s life is beautifully arranged. Additionally, Vertu owners have access to private member clubs worldwide, unique on-device content and applications including location aware city briefs, personal security and risk management services, and exclusive opportunities that are tailored to a Vertu owner’s passion points.

Source : http://www.timesunion.com/business/press-releases/article/Vertu-Hosts-Pre-Oscars-Dinner-With-Wolfgang-And-3359994.php

Film School Online | "Scrimping and saving for a piece of the American dream"


By : Tyrone Beason 
Source : http://seattletimes.nwsource.com
Category : Film School Online

THE TWO-BEDROOM apartment Lance Miller shares with his wife, Jen, and their 4-year-old son, North, looks out over the loading docks of Fred Meyer in Seattle's Greenwood neighborhood.

It's not a pretty view. You wouldn't invite friends over to admire the industrial scenery.

In the living room, you won't find a big-screen TV or expensive sofas or a cabinet full of fine dinnerware. But you will perhaps stumble over North's Matchbox cars, because the cramped space also serves as his playroom, as well as Lance's office, which comprises a computer resting on a file cabinet, and what passes for a dining room — a small table with chairs.

But it's home. And it's the family's launchpad for something bigger and better — a middle-class life in the city they love.

Lance takes his son to school each day by bicycle. Jen, who uses her maiden name Lincoln, takes the bus to work. After holding off on buying a car, the couple recently purchased a used one for road trips and urgent appointments.

It sounds like a fine, eco-friendly urban existence, and Lance is the first to acknowledge his family isn't suffering.

But there's a huge chasm between doing all right and living the American dream.

The life they lead is actually the result of multiple trade-offs and calculations.

The fact is that as renters, the family has had to inch farther and farther away from downtown to find affordable housing and services they can walk to. The apartment Lance and Jen used to rent in Fremont was just a 20-minute walk to the video-streaming company where they both work. Now they live farther from the office but only a short walk to their son's school. By not owning a car, they were able to put more money toward savings for their first home.

Jen and Lance have considered buying a condominium in the suburbs, rather than in Seattle, but doing so might necessitate having two cars, depending on bus service, badly cutting into the household budget.

Like many families struggling to maintain a middle-class lifestyle during the most prolonged economic crisis since the Great Depression, they don't have that luxury. They have to pick and choose which aspects of that dream they can afford. The white board on their kitchen wall lays it out plainly, their itemized monthly budget scribbled in marker, right down to the penny.

"We've done these strategic little things that make it work," Miller says, "all the little tricks that you have to do in the city. If you're above a certain monetary line, you don't have to master those things."

But if the American dream is about aspiration, about wanting to do better than your parents and wanting your children to do better than you, then the family appears to be on the right path. Lance, for instance, grew up poor in the suburbs of Little Rock, Ark., but his son enjoys better circumstances.

The bigger issue for his family, and the rest of us, is whether the American dream, that gauzy notion of middle-class comfort and financial security, can stand up to the realities of a transformed economy.

WHILE Jen and Lance dream of moving on up, extended joblessness, decreased property values, debt and the rising cost of living have pushed many families in the opposite direction.

More than 40 percent of Americans qualify as low-income or are just getting by (a finding based on household incomes below $45,000 for a family of four), according to one recent study.

Lance Miller, 50, says his household's income is well over $50,000 a year and that on paper, at least, his family already fits snugly into the middle-income bracket.

What does it mean, though, to fit into a once-comfortable income bracket that may no longer support your goals?

The couple's solution is strict financial discipline and delayed gratification.

Their older-model TV cost $50 on Craigslist. Both Lance and Jen give themselves $50 a month in allowance, or "fun money."

Jen and Lance have significant savings in the bank, which will go toward the first home. They're prepared for that big leap, but they are in no rush.

These baby steps represent a conscious decision, which is entirely appropriate considering the halting state of the economic recovery.

During Jen's pregnancy in 2007, they both went through a "paranoia phase," worrying about what would happen if one or both of them got laid off. That's when they started saving in earnest, and that flush savings account today provides peace of mind.

"We want to be able to live for two years on our savings," Lance says. "If the economy super-tanked (again), we wanna be able to survive."

Their solution is not rocket science. They've simply borrowed well-tested principles, used by millions to survive and rebuild after the Great Depression, and applied them in an era when financial risk-taking and living beyond your means have been the norm.

The example of Jen and Lance offers a rough sketch of what the future might look like, a possible template for a new American dream.

Maybe from the ashes of the Great Recession, a new architecture for the middle class can rise for all of us, one that is slimmed down, for sure, but also more sustainable — and built to last.

SARAH AND Jack Walters, and their 4-year-old son Jack III, offer another variation on the American dream story.

In May they moved into their first home, in Kent, on a quiet street that is the picture of suburban living.

Emily Howell, their representative at Zip Realty, summed up their vision of the American dream this way: "They desired their own safe space to call home, a nice yard for their little boy and a neighborhood for him to grow up with friends/schoolmates."

There is nothing grandiose about the Walters' vision for their family, nothing that feels even daunting. The couple, both of whom work in the technology industry, took out a Federal Housing Administration loan with a 3.5 percent down payment, and by the end of May they were moving into a two-level house with a backyard and plenty of room for Jack-Jack, as they call him, to run around.

But there's a catch. As Sarah, a 35-year-old who works from home, gives a tour of the upstairs not long after moving in, she sheepishly explains the glaring lack of furniture in the living room, where there's a dining table and hardly anything else. They spend most of their time in the furnished family room downstairs.

"We're building slowly but surely," she says. The couch, chairs and lamps will come eventually. The main thing is they have the house.

Like Jen and Lance, the Walters family strategized before making the big purchase: They would buy a house with a mortgage manageable with just one income, should either Sarah or Jack lose a job. This was an especially crucial factor because the couple racked up a combined $120,000 worth of college debt while studying for their technology degrees, which also needs to be paid off.

Plus, they already know the terror of layoffs. Between 2006 and 2008, the year their son was born, Jack lost jobs several times because of downsizing, and the couple bumped along near relatives in Kansas City and in the Seattle area.

"We were sitting there having to pick and choose which bills to pay," Sarah says of that time. "It was a shock — having to ask my parents for support after we graduated, and we're almost 30 years old. It was really humiliating and degrading. Our credit was going down, and down and down."

In late 2008, after moving back to the Seattle area from Kansas City, the family moved in with Jack's sister, who had just purchased a home and needed help paying the mortgage. The plan was to rent space there for two years, all the while paying down bills that were in collections and working toward their dream of owning a home.

"For two years, all we did was pay our bills and pay off our collection accounts as we could," Sarah says. "It was really difficult to save and, in fact, we didn't. Everything went to bills and collection payments."

After realizing they made too much money to qualify for a first-time homebuyer loan with low upfront costs, the couple resolved to bear down even harder and save for a different kind of loan through the FHA.

Sarah took a $4,500 early withdrawal from her IRA account to get things started, and the couple saved another $3,000 in two months.

The loan application and homebuying processes were grueling, and incredibly time-consuming. Didn't matter.

"We wanted this house so bad," Sarah says while chatting at the dining table in her otherwise barren living room. "I didn't care what I had to go through."

"It's just nice to know that we have our own little piece of the pie," she says, noting that her father bought his first home when he was 21, much earlier than she.

But the delay and tribulations have taught the Walterses valuable lessons about finance and what's important in life.

"I really didn't feel like an adult until we bought this house," Sarah says. "We plan on being here for 10 years, 15 years . . . This is a long-term thing."

HOW MANY times can you see flashes of happy families in big houses behind white picket fences in the movies, or more recently, paycheck-to-paycheck families in half-million-dollar homes they somehow got loans for and hope to flip for a profit, before starting to believe that that is exactly how life should be? The American dream is so cheerily unrealistic, a film-studio back-lot illusion, one that we dutifully play into and invest years of earnings to make real. Thinking big is at the core of who we are in America.

But when misfortune strikes, that illusion can vanish in an instant.

Karol Kinney has seen the American dream come and go and come again. She teaches — history, yearbook and special education — at Seattle's Cleveland High School, having earned her master's degree in education in her late 40s. She's 56 now.

Before that, she lived "a good middle-class life . . . nice home, nice friends," with a successful husband and four kids in the Everett area. But in the fall of 2001, her marriage fell apart, and Kinney found herself needing to make it on her own as a single mom. She couldn't find a full-time job, even with her college degree in graphic design.

"I think at one time I was working five part-time jobs — you name it, I did it," she says.

"I did everything right; then it all blew up," she says of her previous life. "So you start over, you reinvent yourself."

Her solution was to go back to school and study to become a teacher, a field she always had an affinity for.

The prospect of going back to college made her "scared to death," a feeling that was not assuaged at all by the $40,000 in college debt she eventually accumulated.

But five years ago, she went ahead and purchased a town house in West Seattle. By the fall of 2010, though, her expenses proved overwhelming, her bank refused to refinance and the place went into foreclosure.

This was not how second-acts are supposed to turn out.

"I picture myself traveling the world," Kinney says of this stage of her life, but adds, "I don't see that happening in the near future."

Here's what Kinney and visitors to her West Seattle home can see: A picture-perfect panorama of Puget Sound from the small beach-side apartment that sits among expensive houses with million-dollar views like hers.

A stack of travel books rests on a shelf in the living room, reminding her of a wanderlust that may be sated one day, if she's lucky. Kinney seems content with life and insists she won't try buying a house again.

She has managed to make a soft landing after her personal financial crisis, and in this economy, that's no small achievement.

"I told my mom that this is the first place I've been truly happy," Kinney says of the place she rents.

"The 'dream' changes," she says. "My dream right now is a job I love, good health and my home."

ON THE OTHER side of fear is hope. On the other side of failure is redemption. And on the other side of the recession are examples like Tonya Walters of Tacoma, a 23-year-old who had been saving up to buy her own home since she was a teen.

She was so enterprising as a child that her family nicknamed her "Tonya Warbucks," and her odd early financial discipline has reaped dividends.

While most of her peers were switching college majors and fretting about the future, she was looking at real-estate options, with enough money already saved for a down payment. She moved into her $149,000 town house, on a cul-de-sac near Tacoma Mall, in May.

In September she married her fiancé, Tylor Walters, a 20-year-old Army infantryman stationed at Joint Base Lewis-McChord, and is in the process of adopting his son, Tylor II, who's 2.

Both husband and wife are meticulous about money. Tylor says he doesn't use credit cards and opens his wallet to prove it. "I'm old-fashioned that way," he jokes.

The whole idea of buying things on credit when you can save and buy them in cash bothers him.

"We have friends who are maxed out on credit cards," Tylor says. "It's not that they don't have money; it's that they don't know how to spend it."

They're a perfect couple in that way: "I didn't have to teach him how to save money and spend money, and he didn't have to worry about me going out and racking up lots of debt," says Tonya, who's building an Internet services company and an interior-design business from home while pregnant.

When the couple goes out on a date, it might be something as cheap as a $5 buy-in at a bingo game at the Muckleshoot Casino.

For his part, Tylor says all he's wanted in life is "a nice house, a car and a balanced family — one boy, one girl."

He's about to get his third wish. Tonya was expected to deliver a girl in late February. And like the planners they are, they named her Tessa Marie Lillianna Walters months ago.

There's a handwritten sign with a phone number to call on the road leading to their neighborhood that captures the times: "Facing foreclosure? Upside down on mortgage?" it asks.

The Walterses can drive by that sign and know they're not among those struggling in such circumstances. But it's not because they are immune to economic forces or smarter than everybody else.

It's because they've chosen to live within their means, saving the gambling for date-night bingo.

Source : http://www.blogger.com/blogger.g?blogID=1275518325381725299#editor/target=post;postID=8949387910590371261