Apparently these people think they know better than geologists and seismologists. Many people I know have already stopped going to Hollywood because of the overdevelopment and hideous electronic billboards. The current proposal would make Hollywood more like Broadway in New York, and that’s not a good thing. Also
As Slate put it Thursday, the campaign itself is sorely lacking in the storytelling department. There is no mention of Lee’s early days struggling to bring Malcolm X to the screen, nor is there any indication of what the movie will be about, besides an assurance that it will feature plenty butt-naked black people and not be like Blacula. As of publication on July 29, Lees Kickstarter campaign had received $356,333 in pledges from 1,847 backers–far from its $1,250,000 goal. Though Kickstarter is proving to be a valuable tool for Hollywood, you have to know how to use it. As Lee’s campaign may demonstrate, it takes more than a big name to sell a picture.
Some, like 20th Century Fox, have refused a lower payment for fear of setting a precedent. The dispute has escalated up to the United States Trade Representative, according to an official at the agency who said that the USTR is working closely with the MPAA and counterparts within the Chinese government to resolve the issue. Until both sides reach an agreement, many in Hollywood will remain unpaid. All six major studios, the MPAA and the USTR declined to comment. Its unclear which films have been affected by the proposed tax, which China began rolling out at the beginning of the year. In April, the Wall Street Journal reported that Fox had refused payment for Life of Pi because the value-added tax would have taken away $2 million, or 2% of the gross, from Foxs profits. The studio has also not seen its share from A Good Day to Die Hard, which opened March 14, according to those people.
The four monitors penetrated the natural setting with a noxious glow. All showed the same images, cutting back and forth between long shots of the shell, medium shots of groups of players and pimple-close magnification of individual faces. Bad as that is, the screens are too far away to observe any meaningful detail, and the result is a bombardment of useless visual information. FULL COVERAGE: 2013 Spring arts preview I moved down a couple of sections for Liszt’s “Totentanz,” which featured Thibaudet. The speakers here sounded really good. The electronic balances may have put the pianist slightly too much front and center, but Liszt’s virtuosic demands are flabbergasting, and Thibaudet played like the glitteringly precise whiz that he is.