Attention Cadets!

Everywhere you go, adverts and so-called professionals claim that ‘Avatar’ is THE number one to grossing films of all time… Sorry to shatter your bubble but this is not true. ‘Avatar’ may be a true marvel to cinema but there are other factors that need to be included. Hollywood.com’s Box Office analyst, Paul Degarabedian, took a look at the numbers and adjusted them for things like inflation, re-releases and overall ticket sales. It is an inexact science due to the manner of calculating the totals of the older films but the average estimates are up for viewing. Click here to read the stats… do you believe in the numbers or do you have another opinion? You can read our site’s review on ‘Avatar’ here if you need to recap.

Me? Not Number 1? I'm so confused... I'm too awesome...

Discuss Maggots!

Dismissed!

Recent, site-ul hollywood.com a realizat un top a celor mai interesante filme ninja din toate timpurile si pana astazi.

Ce stiu oamenii in general despre ninja? Sunt luptatori ce nu au slabiciuni si isi imbunatatesc toate calitatile. Mai mult decat atat stie sa pastreze un secret, si e gata sa il duca cu el in mormant.

Probabil ca deja stiti filme precum G.I. Joe, Ninja Assassin, Mortal Kombat, V from Vendetta sau 3 Ninjas.

Iata si celelalte propuneri ale site-ului:

10. Shogun Assassin

9. Shinobi No Mono

8. Revenge Of The Ninja

7. Kill Bill

6. American Ninja

5. IZO

4. Goemon

3. Teenage  Mutant Ninja Turtles

2. Azumi

1. Ninja Scroll

Vampire-werewolf movie breaks record for single-day gross

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Site-ul hollywood.com a realizat un ghid de filme. Realizat armonios, ghidul cuprinde nume mult asteptate.

De asemenea este precizata si data lansarii filmului.

Iata doar cateva titluri:

1. A Christmas Carol (6 noiembrie 2009)

2. 2012 (13 noiembrie 2009)

3. Twilight Saga: New Moon (20 noiembrie 2009)

4. Fantastic Mr. Fox (25 noiembrie 2009)

5. The Lovely Bones (11 decembrie 2009)

6. The Princess and the Frog (11 decembrie 2009)

7. Avatar (18 decembrie 2009)

8. Nine (25 decembrie 2009)

9. Sherlock Holmes (25 decembrie 2009)

10. Alvin and the Chipmunks: The Squeakuel (25 decembrie 2009)

The song is still in my head…
“I’m bringing sexy back…yeah

The other day, I saw a post from one of Alex’s Fan(g)bloggers – that’s a person who loves Alexander Skarsgard and is a member of our AS FanBlog site. Join us on Facebook And I decided to take action! She had posted a link to this article Alexander Skarsgard: What about me? on Hollywood.com wanting all of us to vote for the Sexiest (pretend) vampire.

Get cha sexy on…go heavy, go with it
Get cha sexy on
Get cha sexy on…go heavy, go with it
Get cha sexy ooooonnnn

I’m bringing sexy back
Them other mfs don’t know how to act…yeah…”

Un nou film de actiune care are premiera in Romania pe 28 august se anunta a fi un mare succes. “G.I. Joe: The Rise of Cobra” este deja in America lider de box-office si a avut incasari pana acum de 56,2 milioane de dolari in primul weekend de proectie in cinematografe potrivit hollywood.com.

Regizat de Stephen Sommers, cel care este cunoscut dupa filmele Mumia si Van Helsing, filmul doreste sa prezinte povestea unei unitati de elita care lupta incontinuu impotriva unei organizatii teroriste condusa de un puternic traficant de arme.

We were lucky enough to chat with New Moon director Chris Weitz, screenwriter Melissa Rosenberg and star Ashley Greene during New Moon’s Comic-Con takeover. They had a lot to share about onscreen chemistry, creating the wolves, and Taylor Lautner’s resemblance to a certain Greek god.

Chris, what were the challenges of adapting aTwilight book?
Weitz: In terms of the visuals, just sort of combining a sense of, I mean the last film I did [The Golden Compass] was set in a parallel universe, so we could reinvent the wheel. This one’s not only set in a very specific place, and in some ways a very workaday place, but also a place that had already been established in the previous film. And then to take it to flights of fantasy, the Volturi. Really, to be honest, its hiring someone like David Brisbin who is a genius production designer and Javier Aguirresarobe the D.P. who shot things in such a beautiful way. We were able to take a world that had already been established and put it in a setting that is just incredibly rich, and I think it’s quite beautiful.

We know the characters are close to people’s hearts, but Kristen and Robert have become true superstars, what do you think is the secret of their appeal?
Rosenberg: Personally for me, it’s how genuine they both are. They’re both very authentic people; that comes across on the screen.

Greene: They have great chemistry.

Rosenberg: They’re chemistry is incredible together, I mean visually as well. I think that sets them apart.

Ashley,  you can Kellan, in this film you play siblings, but then you move on to the next film you’re doing together [Warrior]. Is it strange with the two different relationships you have to have with the same person?
Greene: No. Kellan and I know each other so well, it’s kind of a no brainer and again, we’ve already got this kind of chemistry. So no it wasn’t weird at all. I was kind of wondering about that in the beginning because he’s one of my very close friends and we definitely have a platonic relationship. Going and playing romantic, I was wondering if it was going to be harder or easier, but because we’re already so comfortable with each other it was actually less awkward than kissing someone I didn’t know.

How many versions of the wolf did you have, and cg wise, how long did that take to come up with?
Weitz: Well, we knew very quickly that we wanted it to look like a wolf, just a very, very big one. Once you’ve made that crucial decision you don’t have to spend much time on look with R&D [Research and Development] and the concept and the renderings you usually have to do with monsters and those type of things. Getting very tedious details stuff like fur, the muscles, the fat over the muscles, the way the light is with the fur, that stuff takes months. We have a huge advantage in that it’s Phil Tippet’s studios. Phil Tippett is one of the greatest visual effects artists in the world…They’ve turned out much more quickly than we thought they were going to be.

How important was Taylor’s transformation to make this character work in this film?
Weitz: Well, probably less important to me than it was to fans, because I felt that he had the feeling of the character anyway. It’s a bonus that he happens to look like Adonis. He really looks like a cartoon character when he takes his shirt off, in a good way. I don’t think any steroids have been employed, he’s just incredibly fit. That’s great, and that’s lovely for the girls, but to me, he was the character.

What do you think that you’re bringing to New Moon that’s different?
Weitz: I think I”m very old fashioned in terms of my films references and what appeals to me. In the way that shots are composed and the way the camera moves. The color I like to bring out of things, and so that influenced the people that I hired on the crew. I’m always more influenced by somebody like David Greene, not that I would put myself in the same breath as him, Kurosawa or somebody like that, than anything that feels at all contemporary. Because that’s already there. The characters are contemporary. The music is contemporary. The feelings are perennial.

Ashley, how are you preparing for Eclipse, and what scenes are you looking forward to shooting?
Greene: I just got the script probably three days ago, so I haven’t gotten the time too much to dig into it. But I will and I work with my coach and kind of bounce ideas off of her, but it’s kind of nice because we’re playin ghte same characters and we’re building on to them and digging deeper into their layers and so I feel like the hard part of it is over, and now we’re just having fun with it. I’m excited about filming it Eclipse. I don’t want to give anything away, but I’m excited about the things that are going to happen.

How much of a cool toy box do you inherit with a sequel to aTwilight movie, with the previous film or from the source material?
Weitz: I inherited a wonderful cast. It was really the main appeal to me, because when I was offered the film I hadn’t read the book yet. And I read the book I realized there were these kind of deeper undercurrents, and longing and romance to it. I inherit a huge fanbase, which is incredible for a director, because you know people are going to go see your movie. That’s the whole thing you worry about when you’re making a film in the first place. It’s so expensive to make a film. You work so hard; you make other people work so hard. Knowing that people are going to go see it is tremendously refreshing.

Ashley, has the phenomenon of Twilight bonded you with the other actors in a way that’s different from the way other actors bond on other projects?
Greene: Yeah, I obviously can’t speak on anyone else’s bond because I don’t know, but I think we’re all kind of looking at each other going ‘What is going on? What do you do? Have you experienced this?’ It’s very nice to have someone right there going through the same thing as you and being able to relate to it. It’s had a tremendous effect on how close we are now.

Have you made any changes to the vampire makeup you saw in the first movie?
Weitz: There’s more consistency between shots, if I were to be just coldblooded about it.The Volturi have a slightly different look, because they’re a different breed of vampire altogether. The diamond skin we’re remaking. It’s gonna be groovy.

SOURCE

Hollywood.com on korraldanud internetihääletuse, milles palub vastata küsimusele “Kelle (kohta) kuulmisest meedias oled tüdinud?”. Valikuvõimalused on: Angelina Jolie, LeAnn Rimes, Jon & Kate Gosselin, Octomom, Katie Holmes ja Robert Pattinson. Seega..

Kas olete Robert Pattinsoni teemaliste uudiste kuulmisest tüdinenud?

Näitleja on ka Hollywoodi Top 10 Celebrities listis viiendal kohal, tema ees neljandal aga Kristen Stewart.

On the Net:

LOS ANGELES – The animated action comedy “Up” took flight with a $68.2 million opening weekend, maintaining a perfect box-office track record for Pixar Animation, whose 10 films all have been commercial and critical hits.

“Up” had the third-best opening for a film from Disney-owned Pixar, just behind the $70 million debuts for “Finding Nemo” and “The Incredibles.” Last summer’s Disney-Pixar release, “WALL-E,” debuted with $63.1 million.

Like its Pixar predecessors, which include the “Toy Story” movies,” “Finding Nemo” and “Ratatouille,” “Up” earned glowing reviews from critics.

“Usually things that are very popular with audiences don’t necessarily go over that well with critics. These things do both, and pretty much consistently every time,” said Hollywood.com box-office analyst Paul Dergarabedian. “The Disney-Pixar collaboration is probably the closet thing to box-office perfection out there.”

“Up” took over the No. 1 spot from 20th Century Fox’s “Night at the Museum: Battle of the Smithsonian,” which slipped to second-place with $25.5 million. The “Museum” sequel raised its 10-day total to $105.3 million.

The weekend’s other new wide release, Universal Pictures’ horror tale “Drag Me to Hell,” opened at No. 3 with $16.6 million. It was a relatively modest return for director Sam Raimi, whose three “Spider-Man” movies had blockbuster opening weekends.

Paramount Pictures’ “Star Trek” steered a strong course, coming in at No. 5 with $12.8 million and passing the computer-animated “Monsters vs. Aliens” as the year’s top-grossing movie so far.

“Star Trek” raised its domestic total to $209.5 million, becoming the first 2009 release to cross the $200 million mark.

“Up” features the voice of Ed Asner in the adventures of a lonely widower who ties helium balloons to his house and flies to a South American adventure with a 9-year-old stowaway.

“An elderly gentleman and a young boy traveling off to South America; it’s not your typical animated story and not necessarily the easiest story to convey,” said Mark Zoradi, president of Disney’s motion-picture group. “That’s why I give a lot of credit to the marketing team for taking a movie that wasn’t easy to convey to the public and opening it to the highest levels of animation that we’ve ever done for an original story.”

Factoring in higher admission prices, earlier Pixar movies such as “Toy Story 2″ and “Monsters, Inc.” sold more tickets than “Up” over their first weekends.

“Up” drew both family crowds and adults without children, and the film’s 3-D release accounted for 51 percent of the total gross, according to Disney.

Hollywood finished the month with record revenues of $1.02 billion, coming in slightly ahead of the previous high in May 2007, according to Hollywood.com.

Momentum for the year continued to slow from the record pace set in the first four months of 2009. While May revenues came in 4.7 percent above those of May 2008, Hollywood has not yet had a sky-high opening on the order of last year’s action hits “Iron Man” and “Indiana Jones and the Kingdom of the Crystal Skull,” which both topped $300 million domestically.

Overall weekend revenues were at $167 million, virtually even with the same period last year.

Total revenues for 2009 rose to $4.1 billion, up 13.7 percent. Movie attendance was about 11 percent ahead of last year’s.

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Hollywood.com. Final figures will be released Monday.

1. “Up,” $68.2 million.

2. “Night at the Museum: Battle of the Smithsonian,” $25.5 million.

3. “Drag Me to Hell,” $16.6 million.

4. “Terminator Salvation,” $16.1 million.

5. “Star Trek,” $12.8 million.

6. “Angels & Demons,” $11.2 million.

7. “Dance Flick,” $4.9 million.

8. “X-Men Origins: Wolverine,” $3.9 million.

9. “Ghosts of Girlfriends Past,” $1.9 million.

10. “Obsessed,” $665,000.

brought to you by hitogram media

Memorial Day traditionally marks the beginning of Hollywood’s summer movie season.

Hollywood.com provides, what it calls it’s “Ultimate Summer Movie Guide” on its website, featuring interviews, release schedules and other features. It can be found at http://www.hollywood.com/summermovies

Pagamento de atores é um dos maiores obstáculos nas negociações de contrato com grandes estúdios

LOS ANGELES - Obter pagamento para os atores de Hollywood por alguns de seus menores papéis -os videoclipes de filmes que são exibidos na Internet- está se provando um dos maiores obstáculos nas negociações de contrato com os grandes estúdios, que chegaram a um impasse.

Determinar se os atores precisam aprovar a execução online, na forma de videoclipes, de trechos de filmes e programas de TV em que eles trabalhem, e que pagamento eles deveriam receber por isso, foi a principal questão para a suspensão das negociações, na terça-feira passada, de acordo com o Screen Actors Guild, o sindicato dos atores.

Os estúdios desejam distribuir gratuitamente videoclipes de filmes e programas de TV antigos, em formato adaptado ao YouTube, sem obter autorização prévia dos atores e pagando a eles uma taxa fixa, em lugar de negociar preços com os atores em base de caso a caso. O sindicato dos atores se opõe firmemente a isso.

“O que eles pedem é que abandonemos 50 anos de nossos costumes e práticas”, disse Alan Rosenberg, o presidente do sindicato, em entrevista recente.

O debate vem sendo o mais recente exemplo de como a ordem econômica da mídia tradicional vem sendo perturbada pela crescente popularidade de sites de distribuição de vídeo como o YouTube, e a que ponto os hábitos e o gosto da audiência estão sendo modificados como parte do processo.

De acordo com o grupo de pesquisa de Internet comScore, 134 milhões de norte-americanos assistem a vídeos na Web a cada mês, e o YouTube atrai 80 milhões de unique visitors mensais.

A maior parte do material que eles assistem são vídeos produzidos por outros usuários e clipes não autorizados de filmes e programas de TV, alguns deles combinados na forma de “mash-ups”, como o popular “Brokeback of the Future”, um trailer paródico que satiriza os filmes “De Volta para o Futuro” e “Brokeback Mountain”, uma história de amor entre caubóis gays.

Os estúdios e as redes de TV aberta há muito têm o direito de usar vídeos para fins promocionais -como nos trailers de cinema e nos comerciais de promoção de TV- sem pagar cachês adicionais aos atores que apareçam neles.

Mas quando empregam esses vídeos para entretenimento -por exemplo, ao exibir trechos de um programa de TV como parte de outro-, os produtores precisam obter o consentimento de todos os atores envolvidos, e negociar a remuneração deles.

Posts anteriores:

Massa assume vice-liderança pela 1ª vez em seis anos na F-1

Jornal afirma que há laços profundos entre Venezuela e Farc

Mais de 22 mil mortos com Ciclone

Inquérito do caso Isabella pede prisão preventiva de casal; Promotoria analisa relatório

Gilberto Kassab e Serra comemoram resultado da quarta edição da Virada Cultural

Pagamento de atores é um dos maiores obstáculos nas negociações de contrato com grandes estúdios

Determinar se os atores precisam aprovar a execução online, na forma de videoclipes, de trechos de filmes e programas de TV em que eles trabalhem, e que pagamento eles deveriam receber por isso, foi a principal questão para a suspensão das negociações, na terça-feira passada, de acordo com o Screen Actors Guild, o sindicato dos atores.

Os estúdios desejam distribuir gratuitamente videoclipes de filmes e programas de TV antigos, em formato adaptado ao YouTube, sem obter autorização prévia dos atores e pagando a eles uma taxa fixa, em lugar de negociar preços com os atores em base de caso a caso. O sindicato dos atores se opõe firmemente a isso.

“O que eles pedem é que abandonemos 50 anos de nossos costumes e práticas”, disse Alan Rosenberg, o presidente do sindicato, em entrevista recente.

O debate vem sendo o mais recente exemplo de como a ordem econômica da mídia tradicional vem sendo perturbada pela crescente popularidade de sites de distribuição de vídeo como o YouTube, e a que ponto os hábitos e o gosto da audiência estão sendo modificados como parte do processo.

De acordo com o grupo de pesquisa de Internet comScore, 134 milhões de norte-americanos assistem a vídeos na Web a cada mês, e o YouTube atrai 80 milhões de unique visitors mensais.

A maior parte do material que eles assistem são vídeos produzidos por outros usuários e clipes não autorizados de filmes e programas de TV, alguns deles combinados na forma de “mash-ups”, como o popular “Brokeback of the Future”, um trailer paródico que satiriza os filmes “De Volta para o Futuro” e “Brokeback Mountain”, uma história de amor entre caubóis gays.

Os estúdios e as redes de TV aberta há muito têm o direito de usar vídeos para fins promocionais -como nos trailers de cinema e nos comerciais de promoção de TV- sem pagar cachês adicionais aos atores que apareçam neles.

Mas quando empregam esses vídeos para entretenimento -por exemplo, ao exibir trechos de um programa de TV como parte de outro-, os produtores precisam obter o consentimento de todos os atores envolvidos, e negociar a remuneração deles.

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Posts anteriores:

Ex-VJ cria sua própria MTV na web

Speed Racer – Versão “carne e osso”

Silent Disco, as cápsulas dançantes

Pai e madrasta serão indiciados no caso Isabella

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