plus 3, Movie Gallery files bankruptcy, to shut 805 stores - Deepika Global |
- Movie Gallery files bankruptcy, to shut 805 stores - Deepika Global
- Movie Studios Lose Landmark Case Against Aussie ISP - TorrentFreak
- Manning is the NFL's 'Siskel & Ebert - ESPN.com
- Remembrances - DAVID BROWN (1916-2010): Movie Producer Made Up Half of ... - DVDTOWN.com
| Movie Gallery files bankruptcy, to shut 805 stores - Deepika Global Posted: 03 Feb 2010 04:21 PM PST Message from fivefilters.org: If you can, please donate to the full-text RSS service so we can continue developing it.
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| Movie Studios Lose Landmark Case Against Aussie ISP - TorrentFreak Posted: 03 Feb 2010 05:40 PM PST Message from fivefilters.org: If you can, please donate to the full-text RSS service so we can continue developing it. Australian Internet service provider iiNet has won its court battle against several Hollywood studios. Justice Dennis Cowdroy today announced that iiNet was not responsible for the infringements of its subscribers when they shared copyright material using BitTorrent. The Australian Pirate Party has welcomed the decision.
Last year several studios including Village Roadshow, Universal Pictures, Warner Bros Entertainment, Paramount Pictures, Sony Pictures Entertainment, Twentieth Century Fox Film Corporation, Disney Enterprises, Inc. and the Seven Network took legal action against iiNet, claiming that the ISP did nothing to stop its customers from sharing copyright media via BitTorrent. The ISP refuted the claim with a multi-layered defense, which was heard then adjourned in November 2009. Passing his verdict today, Justice Cowdroy ruled that while the studio's copyrights had indeed been infringed upon, iiNet did not authorize the copyright infringing activities of its subscribers and therefore the ISP could not be held responsible. Notably, Justice Cowdroy said that iiNet had no control over BitTorrent networks and the ISP was covered under so-called "safe harbor" provisions. "It is impossible to conclude that iiNet has authorised copyright infringement … [iiNet] did not have relevant power to prevent infringements occurring," Justice Cowdroy said in his judgment. AFACT had insisited during the original court case that iiNet should forward copyright infringement warnings to its customers on behalf of AFACT members, but the judge ruled that this was not the way copyright infringements should be handled. Electronic Frontiers Australia said the outcome of the case was the "application of common sense" and Pirate Party Australia also welcomed the decision. "This is a good decision by Justice Cowdroy, and reflects that there is no legal basis or obligation for any ISP to act in the interest of copyright holders, or to expect that they should disconnect any entity upon allegation of infringement without judicial oversight and due process," said Rodney Serkowski, Party Secretary. "Essentially an ISP should be considered similar to the postal service – they simply carry data in the form of packets, and that communication should be considered private," he added. In a statement, iiNet said it had "never supported or encouraged breaches of the law, including infringement of the Copyright Act of the Telecommunications Act," adding that the company had always been a "good corporate citizen and an even better copyright citizen." After the huge distraction of this prolonged legal battle, iiNet said it would now like to get on with business, adding that it looks forward to working with the entertainment industry to make content available legally to reduce illicit file-sharing. AFACT executive director, Neil Gane, said his group was extremely disappointed with the Court's ruling. "Today's decision is a set back for the 50,000 Australians employed in the film industry," he said in a statement. "But we believe this decision was based on a technical finding centered on the Court's interpretation of the how infringements occur and the ISPs' ability to control them. We are confident that the Government does not intend a policy outcome where rampant copyright infringement is allowed to continue unaddressed and unabated via the iiNet network," he added. AFACT will have to pay all of iiNet's substantial legal costs. Thus far, the group has declined to confirm whether it will appeal the Court's decision. Previously: uTorrent Reaches Milestone With 2.0 Release Five Filters featured article: Chilcot Inquiry. Available tools: PDF Newspaper, Full Text RSS, Term Extraction. This posting includes an audio/video/photo media file: Download Now | |||||
| Manning is the NFL's 'Siskel & Ebert - ESPN.com Posted: 03 Feb 2010 12:15 AM PST Message from fivefilters.org: If you can, please donate to the full-text RSS service so we can continue developing it. MIAMI -- Director James Cameron has nothing on Peyton Manning. Nobody in the movie business does. The Colts quarterback has watched more film than anybody since Siskel & Ebert. "I have limited athletic ability," Manning said, "so I have to use the cerebral stuff." And the eyes. Always the eyes. Stories about Manning's film study sessions are legendary. Three days most weeks at the Colts training complex, early in the morning, he scoops up backups Curtis Painter and Jim Sorgi, quarterbacks coach Frank Reich and assistant head coach Clyde Christensen and deposits them in the row in front of his. There is no popcorn or Twizzlers, just a few breaks for the bathroom, lunch and walkthroughs. Often they go until 7:30 p.m. "In the middle of the season, we were in an offensive meeting watching something and I started nodding off," Sorgi recalled. "It was pretty much the only time in all these years I've almost fallen asleep. But Peyton saw it, so apparently he whispered to Painter and 'Whap!' "Painter hit me in the back of the head," Sorgi continued, feigning anger. "I haven't closed my eyes since." That's just short of miraculous, since three years ago, while preparing for the Super Bowl against the Bears, Manning roped Sorgi into watching every regular-season game Chicago played, then stood up and instructed Sorgi to watch all of their preseason contests. "I got a little heavier load this time around," Sorgi said, brightening. "I think he trusts me a little bit more three years later." Think Sorgi ever goes to the movies on his own? "Only after dinner with my wife," he replied, rolling his eyes. But at least Sorgi shares in the benefits of all those hours in the dark. In the AFC championship against the Jets, coach Rex Ryan's innovative defensive schemes produced sacks of Manning on the first two Colts possessions. They never laid a hand on him after that. That's because the confusing blitz packages Ryan threw at the Colts came into sharper focus the more Manning saw them. No surprise there, either. Besides watching film of the Jets' regular-season games, Manning went back to look at how Ryan attacked the Colts in a 2006 game when he was defensive coordinator with the Baltimore Ravens. That wasn't all, either. "I was told he went back to the locker room and watched film of the first half," Shaun Ellis, the Jets' Pro Bowl defensive end and a teammate of Manning's at Tennessee said earlier this week. Asked whether Manning did that in college, Ellis nodded his head. Yes. "Same player, same guy," he said. "He was always a film guy." Former Saints quarterback Archie Manning said his middle son didn't become a film geek until college. But he made up for lost time. At Tennessee, Peyton was battling Colorado Rockies baseball star Todd Helton for the Vols starting job and both tried their best to impress quarterbacks coach David Cutcliffe. Though Helton was clearly the superior athlete, it was rarely a fair fight. "He used to get annoyed with me because Cutcliffe would ask him a question and I used to answer it, you know, like that annoying kid in class?" Manning said. "Todd used to let me hear about it." Plenty others would like to do the same, and more. Saints defensive coordinator Gregg Williams said during a radio interview last week that a few of his guys planned to deliver "remember me" shots on Manning, much the same way they pounded Vikings QB Brett Favre in the NFC championship. Yet Manning has developed something akin to a sixth sense when he's under pressure. He doesn't scramble, though, he just falls down. "A lot of people would say that's not tough. I don't perceive it that way," Williams said. "He understands he's the lifeblood of that team and without him being on the field, their chances of winning go down. "It shows how smart he is," Williams added a moment later. "I wish he was a little dumber. And I wish he would stand in there and take some of those hits." Good luck with that. Even as Williams was scheming how to get his rushers and crushers into the Colts backfield, Manning was following his tracks. Williams worked as a head coach in Buffalo, and as an assistant or coordinator for the Titans, Redskins and Jaguars before joining New Orleans this season. "There's a lot of film out there," Manning said. "But this is an unfamiliar opponent, this is a first-year defensive coordinator, so previous games against the Saints don't apply. So I do think you need to get yourself familiar. "Is there a certain amount, a number of games? I don't really have a set number, but the looks they give you are multiple, so it will take some time. And as you're watching them," Manning said, "they might do none of this. They may come out and play something totally different." Williams promised to try. "I tried to talk to every single coach that's coached against him in the division, outside the division, we talked and shared some ideas. Our scheme, kind of the way we do things is to keep things on the move, anyway, and make him do as much as we can after the snap, not before it. "If he can figure what you're going to do before the snap," Williams said ruefully, "he's even more deadly." Count on it. "I am still studying," Manning said. "I am still learning." --- Jim Litke is a national sports columnist for The Associated Press. Write to him at jlitke(at)ap.org
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| Remembrances - DAVID BROWN (1916-2010): Movie Producer Made Up Half of ... - DVDTOWN.com Posted: 03 Feb 2010 10:05 PM PST Message from fivefilters.org: If you can, please donate to the full-text RSS service so we can continue developing it. Connect to Facebook/Twitter, recommend via email and much more. DAVID BROWN (1916-2010) Editor's Note: David Brown is featured throughout the two-hour documentary about the making of "JAWS" (on DVD and LaserDisc). Working from his office in Manhattan, David Brown (IMDb.com profile) produced dozens of Hollywood's splashiest films, including "Jaws," "Cocoon" and "The Sting," which won an Academy Award for Best Picture in 1973. But Mr. Brown's most successful production may have been his marriage to Helen Gurley Brown, a working partnership that helped recreate Cosmopolitan magazine and sustained each high-powered partner. Mr. Brown, who died Monday at age 93, was originally a writer and editor of magazines, including Cosmopolitan from 1949 to 1952, years when it was a general interest magazine with an emphasis on fiction. Under Mr. Brown's editing, Cosmopolitan was "so brilliant that it dipped to the lowest circulation in its history," Mr. Brown wrote in a 2001 memoir. He went on to become the chief story editor at the 20th Century Fox studio, which in his decade of work there released "The Robe" and "How To Marry a Millionaire," but also "Cleopatra," starring Elizabeth Taylor and Richard Burton, whose cost overruns led to Mr. Brown's being fired in 1963. Reinstated a year later — he used the time off to craft the initial proposal for a revamped women's Cosmopolitan edited by his wife, Helen Gurley Brown — Mr. Brown settled into an even more successful string of films including "Patton," "Butch Cassidy and the Sundance Kid" and "M*A*S*H." "We brought the company from nothing to a cash flow that has never been equaled," Mr. Brown told the Los Angeles Times in 1973. According to one calculation, the films Mr. Brown worked on at 20th Century Fox garnered 159 Oscar nominations. In 1973, Mr. Brown and his former boss at 20th Century Fox, Richard Zanuck, set up an independent production company, Zanuck/Brown Co., and almost immediately scored a hit with "The Sting." After "Jaws " was a big hit in 1975, the partners helped usher in the era of sequels with "Jaws 2," but declined to make a "Jaws 3." "We had the wonderful idea of working with the National Lampoon on a sequel to be titled "Jaws 3, People Nothing," he told Newsday in 1988. Mr. Brown continued for three more decades to produce successful films — in later years with his own production company, the Manhattan Project. "While the name is associated with the greatest bomb in the world, I think we'll be foxy enough to overcome that connotation, he told The Wall Street Journal in 1988. His last films included "Chocolat" and "Angela's Ashes." Mr. Brown's 1959 marriage to the former Helen Gurley may have kept him in the public eye as much as his films did. "For both of them, it was tied in with work and professional life," says Jennifer Scanlon, Ms. Brown's biographer. "It was a no-nonsense relationship, and they liked that in each other." It was Mr. Brown who persuaded his new wife to write "Sex and the Single Girl," a 1962 best-seller partly based on her footloose single years. Although Ms. Brown was a formidable personality and could write, it was Mr. Brown who knew magazines and who masterminded the transformation of Cosmopolitan. He stayed involved, too, writing a monthly column and all of the cover blurbs—including classics like "Why I Wear My False Eyelashes to Bed," and "Who, Me? VD?" Courtly, tall and sporting a distinctive white wraparound moustache, Mr. Brown was a well-known presence at Manhattan's fanciest restaurants. He delighted to show up with the fashionable Ms. Brown on his arm. "If there was a conflict between the two of them, it would be Helen's frugality and David's propensity for the $100 bill," says Gilbert Maurer, a director of Hearst Corp. and former president of its magazine division. "He was welcomed all over town. She averted her eyes when he took out the wad." By Stephen Miller David Brown: I saw a 60 Minutes piece on Dustin Hoffman the other day and he said something that echoes my own philosophy: 'I like to make good movies regardless of finance'. That's what I respect in other producers. David Geffen made a speech here in New York where he said: 'Live action films are hardly worth making anymore because the costs are phenomenal'. When we made JAWS (1975) and the budget went from four-and-a-half million to nine million, it was considered absolutely outrageous by Hollywood standards of 1975. Today economics are such where there's very little incentive to make a daring movie...except a very daringly expensive movie! David Brown, Oscar-nominated producer, dies in NY NEW YORK — David Brown, a film and theater producer who helped bring to the screen two of the 1970s' biggest hits, Jaws and The Sting, has died. He was 93. Brown, who was the husband of longtime Cosmopolitan editor Helen Gurley Brown, died Monday at his Manhattan home following a long illness, according to the Hearst Corporation, which owns Cosmopolitan magazine. Brown came to Hollywood in 1953, in the waning years of the studio system, and remained active into the 21st century. As a producer, he was nominated for the best picture Oscar four times, for Jaws, 1975; The Verdict, 1982; A Few Good Men, 1992; and Chocolat, 2000. "Yes, I've survived," he told The New York Times in 1999, when he was 83. "At a certain age you become cool, not cold. I kind of represent the new and old Hollywood." In 1991, he and his former partner, Richard D. Zanuck, won the Irving G. Thalberg award, given at the Academy Awards for a producing career of consistent high quality. "It's a tough business. It has a lot of heartbreak in it," Brown said at the time. He also earned a spot in popular culture history for encouraging his wife to write her groundbreaking 1962 book, Sex and the Single Girl, that led to her fabled career at Cosmopolitan magazine, which Brown himself had worked at years earlier. "David Brown was a force in the entertainment, literary and journalism worlds," Frank A. Bennack, Jr., vice chairman and chief executive officer of Hearst Corporation, said in a statement Tuesday. "We are very lucky at Hearst to have worked with him and his legendary wife, Helen, for many years. His expansive body of work will be enjoyed by people around the world for many centuries to come. He will be greatly missed." David Brown was credited with writing some of the formerly staid magazine's sizzling cover lines during his wife's 32 years at the helm: "The startling truth about sex addicts." "How to be very good in bed." "The terrible danger of a perfect sex partner." "The extraordinary thing about Helen is that she's so unpredictable," he told The New York Times in 1995. "I've never had a boring moment with her." For her part, she once told the newspaper that "I look after him like a geisha girl." Brown began his Hollywood career as a story editor at 20th Century Fox after years as a journalist, magazine editor and short story writer. He brought Elvis Presley to the big screen for the first time in Love Me Tender, and was credited with talking George C. Scott into playing Patton, according to Hearst. He became a close ally of Zanuck, the son of Darryl F. Zanuck, the mogul who reigned over Fox from the 1930s until age and changing audience tastes brought him down in the early 1970s. Brown worked with the younger Zanuck when he followed in his father's footsteps as the studio's production chief. Under pressure from the board of directors, Darryl Zanuck fired his son in 1970 in an effort to save his own job, but the maneuver failed and he soon followed him out the door. Brown lost his job along with Richard Zanuck and recalled it as the lowest point of his career. "We were fired from Fox and had to dictate from the back of our cars because they wouldn't let us in our offices," Brown said in a 2006 Associated Press interview. But they weren't down for long. The pair formed Zanuck-Brown Productions, which helped produce The Sting in 1973; Steven Spielberg's first big-screen feature, The Sugarland Express, in 1974; and the Spielberg blockbuster Jaws in 1975. "Steven was awesome," Brown recalled. "Instead of first shooting a few inserts as directors frequently do in the first couple of days, he had difficult shots. There was nothing, nothing too difficult for him." Other Zanuck and Brown films included MacArthur, The Verdict and Cocoon. In addition, Brown was executive producer on the 1989 film Driving Miss Daisy, produced by Zanuck and his wife, Lili Fini Zanuck. (As executive producer, Brown did not take home a best picture Oscar, as the Zanucks did, just as the Zanuck-Brown team did not share in the best picture award for The Sting.) In 1976, Zanuck and Brown announced a much-publicized deal with the estate of novelist Margaret Mitchell to produce a sequel to "Gone with the Wind". A novel and script were written continuing the story, but the project never materialized on film. "The story covered eight years after the (original) film," Brown told The Washington Post in 1986. "We got them (Scarlett O'Hara and Rhett Butler) together again — and apart." Zanuck and Brown split amicably in 1988. "We still talk on the phone every day," Brown said in 2006. Among the films Brown produced without Zanuck: The Player, The Saint, Angela's Ashes, Chocolat and three films with Morgan Freeman: Deep Impact, Kiss the Girls, and Along Came a Spider. His Broadway production credits include two musicals based on movies, the 2002 "The Sweet Smell of Success" and the 2005 "Dirty Rotten Scoundrels". Both were nominated for Tony awards in the best musical category. He also produced the 1989 one-man show "Tru", the 1989 drama "A Few Good Men", later made into a film, and a 1990 comedy, "The Cemetery Club". At 90, David Brown put out a book called Brown's Guide to the Good Life Without Tears, Fears or Boredom. In it, he stressed the importance of good manners ("Always acknowledge a gift. ...Treat everyone equally") and included a chapter called "The Care and Feeding of a Famous Wife". That, of course, was Gurley Brown. They married in 1959, when he was 43 and twice divorced and she was 37 and a top advertising copywriter in Los Angeles. He encouraged her to write a book, which she wrote on weekends, and suggested the title, Sex and the Single Girl. They moved to New York after the book became one of the top sellers of 1962. Moviemakers bought it for a then-very-hefty $200,000, not for the nonexistent plot, but for its provocative title. The resulting film starred Natalie Wood as Gurley Brown. In 1965, the Browns pitched a women's magazine idea to Hearst, which turned it down, but hired Gurley Brown to run Cosmopolitan instead. She made it the best-selling women's magazine in the world, with circulation peaking at 3 million. She stepped aside as editor in 1997 but remained involved with Hearst Corp., overseeing the magazine's foreign editions. A native New Yorker, Brown started his career as a reporter after graduating from Stanford University and the Columbia University School of Journalism. In addition to his journalism work, Brown wrote scores of short stories and rose to managing editor of Cosmopolitan before conquering Hollywood. A public funeral was scheduled for Thursday at the Frank E. Campbell Funeral Chapel in Manhattan. By Polly Anderson, Associated Press Connect to Facebook/Twitter, recommend via email and much more. Five Filters featured article: Chilcot Inquiry. Available tools: PDF Newspaper, Full Text RSS, Term Extraction. |
The Federal Court has today ruled in favor of Aussie ISP iiNet following a copyright infringement case instigated by AFACT, the Australian Federation Against Copyright Theft.
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