Sunday, 11 August 2013
Friday, 9 August 2013
Articolo e intervista alla direttrice Eddy Lovaglio per I-filmsonline.com
E’ prevista la partecipazione di ospiti illustri?
Ci aspettiamo sicuramente la partecipazione di ospiti illustri, ciò dipenderà anche dalle produzioni in concorso e il programma dettagliato uscirà fra qualche mese. Ci sarà sicuramente un ospite “illustre” al quale vorremmo attribuire un premio alla carriera, ci saranno ospiti di grande prestigio in giuria, tra i quali posso anticipare la presenza del dr. Roberto Mancinelli della Sony, e poi una personalità di grande prestigio è il nostro direttore artistico, M° Riccardo J. Moretti, compositore di musica da film e allievo di Nino Rota, nonché docente al Conservatorio “A. Boito” di Parma dove ha istituito proprio una sezione di musica per immagini.
Al Wassia (The will)
(Marocco – lingua: arabo con sottotitoli inglese) Durata 18’
Regia: Allal El Alaoui
Compositore: Brahim Belwafi
Produzione: SNRT, Alami Khalouqui
Sinossi: Uno sceicco moribondo nel Sahara consiglia ai suoi tre figli di prendersi cura della loro madre perché è l’origine della loro esistenza…
Prima mondiale. In concorso.
Thursday, 1 August 2013
The Business of Screenwriting: “Why we hate writers”
August 1st, 2013 by Scott
Today we have a guest post from Hollywood producer Max Millimeter. As usual this is a transcription of a recording Max made up at his Laurel Canyon home:Okay, the God’s honest truth is this: Basically we hate you guys.Now lemme drill down on that.By “you guys,” I mean screenwriters.By “we,” I mean producers and studio execs. Agents and managers don’t count ‘coz they make their livelihoods off you guys although, trust me, there are plenty of times when they think, “Jeezus God, why am I representing this schmuck?”You can be whiny, you can be irritating, you can be stubborn, you can be fucking stupid. But that’s not why we hate you.We hate you ‘coz you can write.See, we can’t. And the fact we can’t and you can… that eats at us.Know why? ‘Coz you can come up with an original idea. You can figure out a story. You can pound out pages and end up with script. And that means you are in control. That story is yours. You own it. There’s nothing to get in the way of you typing FADE IN to you typing FADE OUT.Us?We can not control actors and their moods.We can not control directors and their visions.We can not control studios hiring and firing.We can not control “creative differences.”We can not control a green light turning into a red light.We can not control a tsunami, hurricane or other act of God smashing our sets.We can not control labor strikes.We can not control the starlet suddenly falling madly in love with… how shall I put it… a prodigiously amorous producer sending her swooning over the moon, which pisses off her numbnutz co-star who had the hots for said hottie, plunging him into a funk and the production into hiatus.Okay, that was a bad career choice. But my loins still tingle from that particular belly ride.Where was I? Okay, yeah. The thing is we can’t really control a movie. It’s like a roller coaster on crack without the tracks. But you? You can write any goddammed thing you want. You have that freedom, that creativity, that power to make a story.And we hate that.I tried writing a script once. Some thieves, they’re gonna break into a bank, right. But instead of robbing the joint, they gotta return the cash. Or something like that, I can’t remember. Whatever the hell it was, I thought the idea was hot shit. And I was talking to Eddie’s people, Rodney’s people, Whoopi’s people, everybody pumped. Action comedy ensemble. Pure gold.So I say, “Hey, it’s my idea, why the hell don’t I write it?” I fiddled with it here, futzed with it there, then went away to Palm Springs and locked myself up for a weekend to pound out Act One. I was completely convinced this was a smash.Did a table reading. Invited Eddie’s people, Rodney’s people, Whoopi’s people. You know, give ‘em a taste of this hot throbbing hit. Sure that would lock ‘em into the project and next stop? Box office champ!Not one laugh. Zero. Deadsville.They despised it. I mean actively, big-time repulsed by my ever single word. Rodney’s people? I kid you not, they changed their goddammed phone number on account of that crap draft just so I couldn’t reach ‘em.I was blinded by my own bull shit. The thing is, I can tell you what’s wrong when it’s your story. But when it’s my story, I don’t know squat. One of life’s great mysteries, but there it is.That’s why we sit where we sit, and you sit where you sit. We can’t write. You can. And that pisses us off. ‘Coz the fact is, we need you.So guys, whenever you’re in a meeting with a studio exec or a producer, after the assistants Chad or Ashley have delivered your bottled water, after all the opening chit-chat and schmoozing and blowing smoke and what-not, you gotta realize the people smiling and nodding their heads at you…Secretly we loathe you.‘Coz you can write a story. And we fucking can’t.
The Business of Screenwriting is a weekly series of GITS posts about living life as a screenwriter in Hollywood. Max Millimeter is a veteran filmmaker and known around town as “Hollywood Movie Producer Extraordinaire.” Today’s Max Fact: Favorite actress? Hedy Lamarr. “Are you kidding me? I’m watching ‘Ziegfield Girl’ and I’m losing my mind over this gal. To this day, every movie I see, I’m hoping and praying to see the next Hedy Lamarr.”[Originally posted August 2, 2012]
Today we have a guest post from Hollywood producer Max Millimeter. As usual this is a transcription of a recording Max made up at his Laurel Canyon home:
Okay, the God’s honest truth is this: Basically we hate you guys.Now lemme drill down on that.By “you guys,” I mean screenwriters.By “we,” I mean producers and studio execs. Agents and managers don’t count ‘coz they make their livelihoods off you guys although, trust me, there are plenty of times when they think, “Jeezus God, why am I representing this schmuck?”You can be whiny, you can be irritating, you can be stubborn, you can be fucking stupid. But that’s not why we hate you.We hate you ‘coz you can write.See, we can’t. And the fact we can’t and you can… that eats at us.Know why? ‘Coz you can come up with an original idea. You can figure out a story. You can pound out pages and end up with script. And that means you are in control. That story is yours. You own it. There’s nothing to get in the way of you typing FADE IN to you typing FADE OUT.Us?We can not control actors and their moods.We can not control directors and their visions.We can not control studios hiring and firing.We can not control “creative differences.”We can not control a green light turning into a red light.We can not control a tsunami, hurricane or other act of God smashing our sets.We can not control labor strikes.We can not control the starlet suddenly falling madly in love with… how shall I put it… a prodigiously amorous producer sending her swooning over the moon, which pisses off her numbnutz co-star who had the hots for said hottie, plunging him into a funk and the production into hiatus.Okay, that was a bad career choice. But my loins still tingle from that particular belly ride.Where was I? Okay, yeah. The thing is we can’t really control a movie. It’s like a roller coaster on crack without the tracks. But you? You can write any goddammed thing you want. You have that freedom, that creativity, that power to make a story.And we hate that.I tried writing a script once. Some thieves, they’re gonna break into a bank, right. But instead of robbing the joint, they gotta return the cash. Or something like that, I can’t remember. Whatever the hell it was, I thought the idea was hot shit. And I was talking to Eddie’s people, Rodney’s people, Whoopi’s people, everybody pumped. Action comedy ensemble. Pure gold.So I say, “Hey, it’s my idea, why the hell don’t I write it?” I fiddled with it here, futzed with it there, then went away to Palm Springs and locked myself up for a weekend to pound out Act One. I was completely convinced this was a smash.Did a table reading. Invited Eddie’s people, Rodney’s people, Whoopi’s people. You know, give ‘em a taste of this hot throbbing hit. Sure that would lock ‘em into the project and next stop? Box office champ!Not one laugh. Zero. Deadsville.They despised it. I mean actively, big-time repulsed by my ever single word. Rodney’s people? I kid you not, they changed their goddammed phone number on account of that crap draft just so I couldn’t reach ‘em.I was blinded by my own bull shit. The thing is, I can tell you what’s wrong when it’s your story. But when it’s my story, I don’t know squat. One of life’s great mysteries, but there it is.That’s why we sit where we sit, and you sit where you sit. We can’t write. You can. And that pisses us off. ‘Coz the fact is, we need you.So guys, whenever you’re in a meeting with a studio exec or a producer, after the assistants Chad or Ashley have delivered your bottled water, after all the opening chit-chat and schmoozing and blowing smoke and what-not, you gotta realize the people smiling and nodding their heads at you…Secretly we loathe you.‘Coz you can write a story. And we fucking can’t.
The Business of Screenwriting is a weekly series of GITS posts about living life as a screenwriter in Hollywood. Max Millimeter is a veteran filmmaker and known around town as “Hollywood Movie Producer Extraordinaire.” Today’s Max Fact: Favorite actress? Hedy Lamarr. “Are you kidding me? I’m watching ‘Ziegfield Girl’ and I’m losing my mind over this gal. To this day, every movie I see, I’m hoping and praying to see the next Hedy Lamarr.”
[Originally posted August 2, 2012]
The Iranian film industry is not very active until 1945, and the majority of the films are foreign films. In 1941, about 250 movies screened in Iran, 60% of American films, 20% of German films, 5% of French films and films from 5% to URSS37. In 1950, the figures show strong growth in the film industry. There are 80 rooms in Iran, including 20 in the open. The total annual hearing is about 9 million people, with a population of nearly 17 million habitants38. In the same year 1950, 450 films are screened, 85% originating from the United States, with the remainder divided between Britain, Egypt, France, Italy, India, the USSR and Iran. Between 1950 and 1955 fifty-eight films are produced in Iran. In 1958, there are twenty-two companies producing films for average budget of five million rials per film.
The number of feature films produced annually in Iran goes twenty-five in 1959 to fifty-five in 1966 and four to twenty in 1971 and down to sixty-one in 1976. The number of producers triple between 1950 and 1970, from twenty-two to sixty-seven. The cost of film production increases during the period 1966-1976, while the Iranian economy is inflationary. The number of theaters in the country has also increased significantly after World War II: from 142 in 1959 to 453 in 1975 (including more than a hundred in Tehran). In 1974, 473 films are screened in Iran, 30% of American origin, 13% from Iran, 12% of Hong Kong, with the remainder spread less than 10% market share each from France, India, Britain, Japan, Turkey and URSS9.
Monday, 29 July 2013
| Type de média | Disque optique à haute densité |
|---|---|
| Codage | MPEG-2, H.264 et VC-1 |
| Capacité | 25 Go (simple couche) 50 Go (double couche) 100 Go (quad. couche ou disque Blu-ray 3D) 7,5 Go 7,0 Gio (8 cm simple couche) |
| Mécanisme de lecture | 1× à 36 Mbit/s 2× à 72 Mbit/s |
| Développé par | Sony Corporation Europe |
| Dimensions physiques | 8 cm ou 12 cm de diamètre |
| Poids | 17 à 20 g |
Blu-ray Disc (BD) is an optical disc storage medium designed to supersede the DVD format. The plastic disc is 120 mm in diameter and 1.2 mm thick, the same size as DVDs and CDs. Conventional (pre-BD-XL) Blu-ray Discs contain 25 GB per layer, with dual layer discs (50 GB) being the industry standard for feature-length video discs. Triple layer discs (100 GB) and quadruple layers (128 GB) are available for BD-XL re-writer drives.[3] The name Blu-ray Disc refers to the blue laser used to read the disc, which allows information to be stored at a greater density than is possible with the longer-wavelength red laser used for DVDs. The major application of Blu-ray Discs is as a medium for video material such as feature films. Besides the hardware specifications, Blu-ray Disc is associated with a set of multimedia formats. Generally, these formats allow for the video and audio to be stored with greater definition than on DVD.
The format was developed by the Blu-ray Disc Association, a group representing makers of consumer electronics, computer hardware, and motion pictures. The first Blu-ray Disc prototypes were unveiled in October 2000, and the first prototype player was released in April 2003 in Japan. Afterwards, it continued to be developed until its official release in June 2006. As of June 2008, more than 2,500 Blu-ray Disc titles were available in Australia and the United Kingdom, with 3,500 in the United States and Canada.[4] In Japan, as of July 2010, more than 3,300 titles have been released.
During the high definition optical disormat war, Blu-ray Disc competed with the HD DVD format. Toshiba, the main company that supported HD DVD, conceded in February 2008,[6] releasing its own Blu-ray Disc player in late 2009.
Saturday, 27 July 2013
The will,shortfilm written and directed by Allal El Alaoui, has been chosen by Parma international music film festival that will open its gate the 23th to 29th2013 .This festival chooses films because of its artistic values and provides the possibility for composers to have their proper recognition. Often the films that have more carry in our hearts as a prerequisite to have a good soundtrack that becomes the leitmotif of our lives or our dreams. The aim is also to start a festival that will grow over the years by becoming one of the poles Parma important for the national cinema and internationally.
Thursday, 25 July 2013
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