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Baylen | Chris Hemsworth by Ridhwan Velaryon | Quentin Tarantino and Christoph Waltz On the set of "Django Unchained" | Djimon Hounsou by Herb Ritts | Jessica Chastain by Joey Lawrence | Christopher Walken by Peter Yang | John Malkovich by Mark Seliger | Matt Damon by Mark Abrahams | Philip Seymour Hoffman Tintype by Victoria Will | Nicole Kidman by Steven Meisel | Quentin Tarantino on the set of Death Proof | Anna Kendrick by Marc Hom | Mike Nichols directs Ann Bancroft and Dustin Hoffman in "The Graduate" | Emma Watson by Christian Oita | Jodie Foster by Inez and Vinoodh | Martin Scorsese, Albert Brooks and Cybill Shepherd on-set of Taxi Driver (1976) | Ansel Adams Self Portrait | Charlotte Gainsbourg by Hedi Slimane | Danny Devito on the set of Batman Returns | Vanity Fair 2014 Hollywood Cover by Annie Leibovitz | Keri Russell by Ellen von Unwerth | Ryan Gosling by Mario Testino | Morgan Freeman by Jim Herrington | Gillian Anderson by John Rankin | Laurence Fishburne by Sam Taylor-Wood | Monica Bellucci by Paul Empson | Daniel Craig by Sam Taylor-Wood | Philip Seymour Hoffman by Christopher Wahl | Helena Bonham Carter by Jillian Edelstein | Leonardo DiCaprio by David LaChapelle | Carey Mulligan by Michael Thompson | Kirsten Dunst by Mario Sorrenti | Jennifer Lopez by Mert & Marcus | Madonna by David LaChapelle | John C. 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Photo by Allan Grant | Marilyn Monroe by Ed Clark | Photomatic machine Chicago 1948 by Esther Bubley | Susan Sarandon by Gary Heery | Chloe Sevigny by Glen Luchford | Madonna by Steven Meisel | Sandra Bullock by Andrew Eccles | Monica Bellucci by Signe Vilstrup | Ewan McGreggor by Bruce Weber | Jonah Hill by Bruce Weber | Emma Stone by Mario Testino | Robert De Niro in Cape Fear | Sandra Bullock and Alfonso Cuaròn for Cine Premiere Magazine | Scarlett Johansson by Mary Ellen Matthews | Miles Davis by Michael Ochs | Tim Burton by Marc Hom | Monica Bellucci by Ellen von Unwerth | Emmy Rossum by Tony Kelly | Marilyn Monroe by John Florea | Marlon Brando by Cecil Beaton | Steve Martin by Norman Seeff | Grace Kelly in To Catch a Thief | Penélope Cruz by Mert & Marcus | Jared Leto by Kurt Iswarienko | Fritz Lang & Brigitte Helm behind the scenes from Metropolis | Carey Mulligan by Erik Madigan | Christina Ricci by Patrick Hoelck | Michael Fassbender by Emma Hardy | Dennis Hopper by Richard C. 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Russell by Aldo Rossi | Salma Hayek by Ellen Von Unwerth | Orson Welles by Louise Dahl-Wolfe | David Schwimmer by Andrew Eccles | Marilyn Monroe by Bert Stern | Mads Mikkelsen by Jérome Bonnet | Marion Cotillard by Bruce Weber | Tommy Lee Jones by Nigel Parry | Laetitia Casta by Mario Testino | Dizzy Gillespie in the French Riviera | Gene Wilder and Madeline Kahn in Young Frankenstein (1974) | Maron Cotillard by Ben Hassett | Kristen Stewart by Ben Watts | Tom Waits by Kirk West | Robert De Niro with Martin Scorsese's mom, Catherine | Amy Adams by Lorenzo Agius | Walt Disney by Alfred Eisenstaedt 1938 | Marion Cotillard by Ben Hassett | Angelina Jolie by Mario Testino. | Orson Welles by John Engstead | Kirsten Dunst by James White | John Waters by Roxanne Lowit | Janet Leigh - New Years 1955 | Dianna Agron by Ellen Von Unwerth | Shirley Temple - Happy New Year 1937 | Jayne Mansfield - New Year’s 1950s | Marilyn Monroe performing for troops stationed in Korea - February 1954 | Carey Mulligan by Rankin | Emmy Rossum by Brian Bowen Smith | Scarlett Johansson by Danielle Levitt | Monica Bellucci by Signe Vilstrup | Al Pacino on the set of "The Godfather" | Benedict Cumberbatch by Platon | Audrey Hepburn by Bob Willoughby | Helen Mirren by Robert Taylor | Johnny Depp by Patrick Swirc | Marilyn Monroe by Earl Moran | William Hurt by Herb Ritts | Robert Downey Jr by Michael Muller | Ingrid Bergman, Cary Grant and Alfred Hitchcock on the set of "Notorious" | Clint Eastwood by Neil Wilder | Christina Applegate by Andrew MacPherson | Diane Keaton by Norman Seeff | Javier Bardem by Brigitte Lacombe | Amy Adams by Norman Jean Roy | Steve Martin by Chris Buck | Marion Cotillard by Jean-Baptiste Mondino | Liam Neeson by Nigel Parry | Madonna by Mario Testino | Madonna by Herb Ritts 1989 | Yul Brynner by George Platt,1942 | Sienna Miller by Ryan McGinley | Marisa Tomei by Mark Abrahams | Benecio Del Toro by Jake Chessum | Kerry Washington by Nino Muñoz | Harrison Ford by Sam Jones | Steven Spielberg on the set of Raiders of the Lost Ark | Tommy Lee Jones by Rüdy Waks | Frank Capra on the set of It’s a Wonderful Life (1946) | Alan Arkin by R David Marks | John Malkovich by Vincent Peters | Scarlett Johansson by Sofia Sanchez & Mauro Mongiello | Drew Barrymore by Carter Smith | Danny Trejo by Eric Morales

Crowdfunding & Taxes: Kickstarter’s Hidden Bite (& How to Stop the Bleeding)

Ben Henretig raised $112,000 for a documentary – but how much of that money winds up with the IRS in terms of tax dollars? He explains his approach to the tax question when it comes to crowdfunding:

Kickstarter_tax_1

Kickstarter has emerged as an incredibly powerful platform for creatives to crowd-fund their creative work. In October of 2012, I ran a Kickstarter campaign to fund my feature documentary The Happiest Place, which explores what we in the West might be able to learn about living happier, more meaningful lives from the small Himalayan Kingdom of Bhutan — the only country in the world to use Gross National Happiness as the yardstick for progress. The campaign exceeded our wildest expectations — in two days we met our goal of $45,000 and finished the campaign at nearly 250% our goal — $112,000.

We were ecstatic. After months of hustle and personal investment, I finally had the money to bring this film to life. Yet, in the months since closing the campaign, I’ve come face-to-face with the hidden costs of running a Kicktarter campaign. After Kickstarter and Amazon take their share (collectively about 8%), you pay for fulfillment of the prizes you’ve offered (say, 10% to 15%) and income tax on the total (up to 44% depending on the total funds raised and your tax bracket!) you as a creator retain more like 38% – 82% of the total you’ve raised. Not exactly free money.

The single most impactful factor for determining how much of your hard-earned Kickstarter money ends up in your pocket is the degree to which you are able to reduce your tax exposure.

I am by no means an accountant and am not qualified to give proper tax advice, but my hope is that by outlining a few (avoidable) mistakes, I can help save you some money and heartache.

No Film School | Read the Full Article

An Interview With Zack Snyder, Director Of ‘Batman Vs. Superman’

Mark Hughes interviews the controversial filmmaker on his career and the influences that will lead to “Batman Vs. Superman”

Zack Snyder

MH: When did you become a fan of Batman, and of comics in general? Was it in the mid-1980s with the arrival of The Dark Knight Returns and Watchmen, two comics you often discuss with such adoration?
ZS: Frank [Miller]‘s book really made me see that comic books, and Batman specifically, could really reflect political and social concepts that I felt like maybe before I hadn’t imagined were possible. Watchmen, of course, I sort of see in the same light — that being, this comic that’s able to shed light on what I would say is our reality, but do it through the sort of metaphor and mythology of comic books, right?

For me, that’s really what The Dark Knight Returns did as well. When I read it, I felt like — of course I knew who Batman was and I was familiar with him as a comic book hero — but it was that book that made me say, “Gosh, you know this could be an amazing film.” At the time, I was just starting my college career, but I thought, “Wow this would be a cool movie!” I wasn’t sure exactly how that would manifest itself, but you know you dream when you’re a kid and you’re in college, “God, if one day I could make a Batman movie, that would be awesome!”

The reality of course is another thing, but it’s kind of amazing that it’s worked out as it has. You know, that’s the thing that you’ve just gotta be super-grateful for, and at the same time you’ve gotta take these opportunities. I think, in my mind — I don’t want to say make the most of it, but in a way you really have to accept these challenges and really try and realize those [opportunities]… Because, the things you thought when you first read them, you try to recapture those feelings. I always say that about Watchmen, when I first read it I had an emotional response to it, and that’s what I always tried to get at when I made the movie. It was a certain way of feeling, and I feel like that was what I really pursued — those ideas.

And I think those same opportunities exist for Batman and Superman, in the sense that they teach us about ourselves. I think Batman — now after Chris [Nolan]‘s movies and the way we track Batman through his cinematic history — he does have this license to enter our world and be a real character and not a complete cartoon, and he’s able to tell us about the way we live and our society. He moves with us, his morality — I think Superman probably less so, but I think Batman definitely sort of reflects us in a more personal way.

Forbes | Read the Full Article

Top 5 Reasons Why ‘The Customer Is Always Right’ Is Wrong

The phrase has been the backbone to countless television sitcoms, but there’s actually nothing good about companies that bend to every customer whim.

Customer Service

The phrase “The customer is always right” was originally coined in 1909 by Harry Gordon Selfridge, the founder of Selfridge’s department store in London, and is typically used by businesses to convince customers that they will get good service at this company and convince employees to give customers good service.

However, I think businesses should abandon this phrase once and for all — ironically, because it leads to worse customer service.

Here are the top five reasons why “The Customer Is Always Right” is wrong.

1: It Makes Employees Unhappy

Gordon Bethune is a brash Texan (as is Herb Kelleher, coincidentally) who is best known for turning Continental Airlines around “From Worst to First,” a story told in his book of the same title from 1998. He wanted to make sure that both customers and employees liked the way Continental treated them, so he made it very clear that the maxim “the customer is always right” didn’t hold sway at Continental

In conflicts between employees and unruly customers he would consistently side with his people. Here’s how he put it:

When we run into customers that we can’t reel back in, our loyalty is with our employees. They have to put up with this stuff every day. Just because you buy a ticket does not give you the right to abuse our employees …

We run more than 3 million people through our books every month. One or two of those people are going to be unreasonable, demanding jerks. When it’s a choice between supporting your employees, who work with you every day and make your product what it is, or some irate jerk who demands a free ticket to Paris because you ran out of peanuts, whose side are you going to be on?

You can’t treat your employees like serfs. You have to value them … If they think that you won’t support them when a customer is out of line, even the smallest problem can cause resentment.

Huffington Post | Read the Full Article

Did HIMYM Earn Its Ending? | PBS Idea Channel

I Met Your Mother is a popular sitcom that has been running 9 years, teasing its audience the whole long way with the riddle of the identity of THE MOTHER. But with its recent finale and the mystery resolved, the reaction was mixed. Did Ted end up with who he was meant to all along? Or did the creators pull a fast one, and produce an ending that was unearned? With TV audiences notoriously fickle, TV producers must consider a responsibility to the fans, and balance that with making the show they want. So was the ending of HIMYM a success or failure?

OBVIOUSLY a Spoiler Warning…

HIMYM

Cinefix’s 12 Best Long Takes

Cinefix picks their top 12 Best Long Takes in the history of film.

Long Take

The Protector – Restaurant Fight Scene
Director: Prachya Pinkaew
Synopsis: A young fighter named Kham must go to Australia to retrieve his stolen elephant. With the help of a Thai-born Australian detective, Kham must take on all comers, including a gang led by an evil woman and her two deadly bodyguards.
Running time: 4 minutes

The Mirror – Burning Barn Scene
Director: Andrei Tarkovsky
Synopsis: A dying man in his forties remembers his past. His childhood, his mother, the war, personal moments and things that tell of the recent history of all the Russian nation.
Running time: Roughly 1 minute

Atonement – The Beach Sequence
Director: Joe Wright
Synopsis: Fledgling writer Briony Tallis, as a 13-year-old, irrevocably changes the course of several lives when she accuses her older sister’s lover of a crime he did not commit. Based on the British romance novel by Ian McEwan.
Running Time: 5 1/2 minutes

Weekend – Traffic Jam Scene
Director: Jean-Luc Godard
Synopsis:A supposedly idyllic weekend trip to the countryside turns into a never-ending nightmare of traffic jams, revolution, cannibalism and murder as French bourgeois society starts to collapse under the weight of its own consumer preoccupations
Running time: 7 Minutes

Hard Boiled – Hospital Shootout
John Woo
Synopsis: A tough-as-nails cop teams up with an undercover agent to shut down a sinister mobster and his crew.
Running Time: 2 minutes, 40 seconds

The Player – Opening Shot
Director: Robert Altman
Synopsis: A Hollywood studio executive is being sent death threats by a writer whose script he rejected – but which one?
Running Time: 7 minutes, 47 seconds

Touch of Evil – Bomb Sequence
Director: Orson Welles
Synopsis: A stark, perverse story of murder, kidnapping, and police corruption in a Mexican border town.
Running Time: 3 1/2 minutes

Boogie Nights – Little Bill Sequence
Director: Paul Thomas Anderson
Synopsis: The story of a young man’s adventures in the Californian pornography industry of the late 1970s and early 1980s.
Running Time: 3 minutes

Gravity – Opening Shot
Director: Alfonso Cuarón
Synopsis: A medical engineer and an astronaut work together to survive after a catastrophe destroys their shuttle and leaves them adrift in orbit.
Running Time: 12 1/2 minutes

Goodfellas – Copacabana Lounge
Director: Martin Scorsese
Synopsis: Henry Hill and his friends work their way up through the mob hierarchy.
Running Time: 3 minutes, 13 seconds

Snake Eyes – Boxing Match
Director: Brian De Palma
Synopsis: A shady police detective finds himself in the middle of a murder conspiracy at an important boxing match in an Atlantic City casino.
Running Time: 12 minutes

Children of Men – Car Scene
Director: Alfonso Cuarón
Synopsis: In 2027, in a chaotic world in which women have become somehow infertile, a former activist agrees to help transport a miraculously pregnant woman to a sanctuary at sea.
Running Time: 4 minutes

The Story of the Original Predator costume

Makeup FX legend Steve Johnson (GHOSTBUSTERS, SPECIES, BLADE 2) sits down with Matt Winston of the Stan Winston School of Character Arts to discuss his nightmare stint as Boss Films’ Creature FX supervisor on the first ill-fated PREDATOR suit, worn by Belgian martial artist and aspiring action star, Jean-Claude Van Damme.

Red Predator

So Jean-Claude comes in for his fittings. Remember the cloaking device? Beautiful effect in its day… we made a red version [of the suit] because red is the opposite of green on the color wheel. It had been shot against green in the jungle.

Jean-Claude comes in and we’re fitting him in this red suit and just assuming, like the slaves that we are, that the higher ups have told him exactly what’s going on. But he thought this was actually the real look of the monster in the movie and he was, “I hate this. I hate this. I hate it. I look like a superhero.” He was so angry.

I’m like, “Jean-Claude, did no one tell you? It’s a cloaking device. You’re invisible for half of the picture. This is not you.” Which made him even angrier because he thought he could do his martial arts, he could fight Arnold Schwarzenegger. Impossible. Absolutely Impossible.

Stan Winston School of Character Arts | Read the Full Article

The full interview:

5 Things You Need to Know About Filming Permits

Elliot from Reel Deel Film School explains what you need to film abroad. When filming in another country, it’s incredibly important to make sure you have the correct paperwork before you record anything…

A full write up:

Permits

The very first lesson I was taught on Day 1 as a Camera Assistant was to never assume anything! EVER! And when it comes to Filming Permits the same rule applies.

As Brits we say “It’s better to be safe than sorry” (with a cynically patronising smile) – You American’s have a more coloUrful and memorable approach with “COVER YOUR ASS!”… but the sentiment is the same.

Filming Permits not only protect onscreen talent/contributors and property owners but the Film Production as well, and without the correct Release Forms a project will not secure distribution.

Verbal contracts are NOT enough. You need it in black and white on the page in an irrevocable Release Form, signed and dated by the individual releasing their image or granting the right to film on their property.

Reel Deal Film School | Read the Full Article

 

Legally Speaking, It Depends – Who Owns Script Notes?

You get notes on your script – perhaps it makes it better – but who owns the copyright on those notes? Entertainment Lawyer Christopher Schiller tries to figure it out.

Script Notes

As you’ve likely learned fscript notesrom reading my previous articles, starting to fathom out who “owns” the notes themselves should be straight forward. The note giver, if working within the defined scope of their job as an employee who is paid to give script notes as part of their duties, creates works that are owned by their employer. This class of works would cover situations where the note giver, say a paid reader working for a producer, writes up coverage (a different kind of coverage than was the subject of my previous column) that contains notes on how to change the story to make it better. The employer would own those notes through a work-made-for-hire doctrine to do with what they will.

If, on the other hand, the notes come from someone who is either an independent contractor, say a director, or someone whose job doesn’t include giving notes, say the actor, then the gray areas start to appear. If there is no expressly written contract with sufficient language establishing a legitimate work-made-for-hire exception, it is likely that the notes are owned by the note giver.

Why would it matter? Everyone together now… IT DEPENDS.

Script Mag | Read the Full Article

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