09/30/2013 14:39 (UTC-08:00) Pacific Time (US & Canada)
A new report released last week in the U.K. further underscores the prevalence of online piracy and offers some suggested prescriptions for addressing it so that content creators can be appropriately compensated for their work.
The report – aptly titled “Supporting the Creative Economy” – was released by the Culture, Media, and Sport Committee of Britain’s House of Commons and argues that government should be a “powerful champion” for the enforcement and protection of intellectual property rights.
It noted that there is “a systemic failure to enforce the existing laws effectively against rife online piracy.” To address this deficiency, the Committee recommends the enforcement of penalties that will help deter intellectual property theft. It also condemned search engines for failing to take action to limit the role of search in facilitating piracy and said tech companies should take proactive steps to tackle the problem.
The report also pointed to the economic impact of piracy, which can be especially detrimental for those in the creative industries trying to make a living off the work they produce. According to the Committee’s conclusions, “millions of pounds are being lost by the creative industries with serious consequences for the wider economy.”
The House of Commons report is further evidence that everyone in the Internet ecosystem must continue to work to develop collaborative voluntary solutions to the piracy problem so that creators and innovators can continue to thrive.
09/30/2013 12:18 (UTC-08:00) Pacific Time (US & Canada)
Last week the MPAA and Exclusive Media co-hosted an advance screening of Parkland with writer/director Peter Landesman. Parkland is the story of ordinary people thrown into extraordinary circumstances surrounding the assassination of President John F. Kennedy. From the cameraman who happened to film the actual attack and whose name is now forever linked to the visuals from that day – to the local Secret Service agent responsible for organizing the President's security – to the young medical staff who found themselves battling to save the life of the nation's leader and then, just a few short days later, his assassin as well.
The screening was followed by a discussion and Q&A with Landesman moderated by Chris Matthews, host of MSNBC’s “Hardball with Chris Matthews.” Matthews is a renowned authority on presidents and politics, and author of six best selling books, the latest being, “Jack Kennedy: Elusive Hero.”
During the Q&A, Landesman shared his vision and process with the audience. He approached this project as an examination of the human stories of everyday Americans who were thrown into American history by way of chance. In his discussion, he reflected, “When Tom Hanks and I first conceived this movie four years ago we decided on two things, two principals. One is there is nothing in the movie that anyone has ever seen before… and two everything in the movie be verified by truth.”
Throughout the Q&A Landesman stressed that this story was about all of us. MPAA Chairman and CEO Senator Chris Dodd wrapped up the evening by reminding the audience “that the 'us" is why film is important.”
Landesman spent more than four years researching and writing the screenplay for Parkland, which is based on Vincent Bugliosi’s 2008 book, Four Days in November: The Assassination of President John F. Kennedy. Landesman made the transition to film from a background as an award-winning novelist and investigative journalist for the New York Times.
Parkland will be released on October 4th to coincide with the 50th anniversary of the American tragedy that took place on November 22, 1963 in Dallas, Texas. The film premiered at the 70th Venice International Film Festival and was also screened at the 2013 Toronto International Film Festival. The cast includes James Badge Dale, Zac Efron, Marcia Gay Harden, Ron Livingston, Billy Bob Thornton, Jacki Weaver, and Paul Giamatti.
09/19/2013 15:21 (UTC-08:00) Pacific Time (US & Canada)
Earlier today, Bret Swanson, President of the strategic research firm Entropy Economics LLC, posted a piece looking at the explosion in online video services that has occurred in recent years, and what it means for both content creators and viewers. Featured prominently in the story is an infographic from a post last month on the MPAA’s blog highlighting the 95 legal online services available in the United States for watching your favorite movies and TV shows.
Swanson points to “the exploding diversity of content and platform choices, and growing access to both.” He goes on to state that this growth in innovative online services “argues for policies that allow for as much technological and business model experimentation as possible.”
Swanson posted his piece on the American Enterprise Institute’s new policy blog TechPolicyDaily.com. The AEI, a well-known and respected think tank in Washington, D.C., has just launched a new Center for Internet, Communications, and Technology Policy “to advance policies that encourage innovation, competition, liberty, and growth, creating a positive agenda centered around human freedom.”
Leading this new center is Jeffrey Eisenach, an economist who previously worked at the Federal Trade Commission, and the Kennedy School of Government; and James Glassman, founding Executive Director of the George W. Bush Institute is joining as a visiting fellow. TechPolicyDaily.com will be key to the new center’s work, and will feature Mr. Eisenach, Mr. Glassman, and various scholars and policy experts.
With articles such as this one, the American Enterprise Institute and the Center for Internet, Communications, and Technology Policy are looking to make their mark on the ongoing discussion of tech policy and are a very welcomed voice.
09/19/2013 06:44 (UTC-08:00) Pacific Time (US & Canada)
I am excited to begin my work as the MPAA’s new Chief Technology Officer. Our six studios produce some of the world’s most captivating and imaginative stories, and have done so for decades. As technology advances, so do the ways these stories are created and viewed by audiences all over the world. Through constant innovation, the creative community is relentlessly working to dazzle moviegoers with new acquisition, production and distribution technologies.
But other companies have a role to play too. From the consumer perspective, there have never been more ways to watch your favorite movie or TV show, over 400 worldwide in fact, many of which are featured on MPAA’s www.wheretowatch.org. In addition to the many online platforms created by our studios, we have partnered with many other distributors, from Youtube to Netflix to Roku to Amazon- to safely deliver great content to screens of every size.
As MPAA CTO, I look forward to further building our relationships with all of the companies and organizations in the media and entertainment ecosystem to advance our shared interests. As Senator Dodd said last year to our Silicon Valley colleagues, “We call them audiences, you call them users…but in the end we all report to the same people.” Working together, I am confident that we can bring our content to consumers everywhere while protecting the hard work of our industry’s creators and makers, and fostering an Internet that works for everyone.
09/18/2013 12:19 (UTC-08:00) Pacific Time (US & Canada)
Last week, the MPAA and Sony Pictures Classics co-hosted a screening of Wadjda, the first full-length feature to be filmed entirely inside the Kingdom of Saudi Arabia. The screening was followed by a discussion with the writer and director, Haifaa Al Mansour, Saudi Arabia’s first female filmmaker and moderated by Elise Labott, foreign affairs correspondent for CNN. Al Mansour is an award-winning director whose voice is an inspiration within a challenging culture for women. The film is a close-up view of the daily struggles Saudi women face in a society designed to keep them silent.
Wadjda is a young school girl full of irrepressible spirit who strains against traditional rules by hatching various schemes to raise money to buy a bicycle. Even after repeated reprimands and threats of punishment from teachers and family, she continues her quest. “I have a niece, she is very bright and always wanted to do things, but her family is traditional and as she grew older wanted her to stay at home like everyone else,” said Al Mansour. “I based the story around her.”
Wadjda has won numerous awards at film festivals around the world, including the Toronto, Venice, Tribeca, Dubai and Los Angeles Film Festivals. The discussion following the screening focused on the intense isolation that Saudi women face and the small and growing ways with which they push back against their constraints. Al Mansour described some of those efforts since her upbringing in a small village, “Change is happening on a small level and that change is spiraling outward to society.”
Although Al Mansour grew up in a more liberal family, her world was confined to a small village until her father introduced her to the medium of film. Al Mansour watched many movies with her family as a child and discovered a world that she could have never dreamt of. “I fell in love with the medium and eventually learned to use it as my voice and my way to vent.” After the screening, Labott reflected that Al Mansour had “laid out the story with heart and soul and humanity.”
From Left to Right: Elise Labott and Haifaa Al Mansour
Haifaa Al Mansour
Photo Credit: Joy Asico
09/16/2013 12:47 (UTC-08:00) Pacific Time (US & Canada)
This morning, the Phoenix Center for Advanced Legal & Economic Public Policy Studies released a paper debunking the results of a recent study conducted by the University of Munich and the Copenhagen Business School which claimed that the box office revenues of mid-size films are helped by online piracy. Dr. George Ford, author of the Phoenix Center's paper, argues that the improbable result of this study is “an artifact of a poorly-designed statistical model" and the researchers’ misunderstanding of the economics of the film industry.
As the paper points out, one problematic component of the Munich and Cophenhagen model is that “according to the analysis in the University of Munich Study, what the authors define to be a ‘blockbuster’ movie makes only one-fourth (1/4) of the revenues of mid-sized movies. Obviously, the math just doesn’t add up."
In order to conduct their study, the researchers in Munich chose to compare the opening weekend box office revenue for various "sized" films in approximately 55 countries both before and after the last summer's shutdown of online piracy giant Megaupload.com.
But this method failed to take into account that although some films only open in a handful of theaters during opening weekend, over the course of their time in theaters they will be shown on thousands of screens and make huge profits. According to this study, these would be considered small or mid-sized films – regardless of their final total box office.
Individuals who watch pirated films online do not discriminate based on a film’s size, and a review of the academic evidence available finds that in fact online piracy does hurt sales. As Dr. Ford concludes in the Phoenix Center's paper, once you begin to dig into the methods and details that produced this questionable result, the Munich study "adds nothing constructive to the debate—save a little excitement.”
09/09/2013 12:49 (UTC-08:00) Pacific Time (US & Canada)
As the 39th Deauville American Film Festival came to a close on Saturday, September 7th, more than 1,500 festival attendees gathered for the closing ceremony, in Deauville France, eager to not only celebrate this year’s winning films, but to recognize the winner of the annual Prix Michel d’Ornano award.
Named in honor of the former Mayor of Deauville and co-founder of the festival, Michel d’Ornano, the prize has been awarded every year beginning in 1991 to a debut French film to recognize a new French scriptwriter/director-writer and help promote their work. Created by former Chairman and CEO of the Motion Picture Association Jack Valenti in 1991, and supported financially since 2009 by the Franco-American Cultural Fund (FACF), the Prix Michel d’Ornano carries with it a cash prize of 3,000 euros for the awarded director-writer; 3,000 euros for the film’s producer; and 10,000 euros for the French distributor to help them promote the film.
Jury Members have chosen Guillaume Gallienne’s Les Garçons et Guillaume, à Table! (Me, Myself and Mum) for the 2013 Prix d’Ornano’s winner. Starring Diane Krüger and Françoise Fabian, Les Garçons adapts Gallienne’s one-man autobiographical stage show about a sexually confused young man and his domineering mother. Described by The Hollywood Reporter’s Stephen Dalton as a “flamboyant farce” that is “full of strong comic set-pieces” and “a warm-hearted crowd-pleaser”, Les Garçons premiered to positive reviews earlier this year during the Directors’ Fortnight section of the 2013 Cannes Film Festival.
The Franco-American Cultural Fund (FACF) was founded by the SACEM (Société des auteurs, compositeurs et éditeurs de musique), The Directors Guild of America (DGA), and the Writers Guild of America (WGA) and later joined by the Motion Picture Association. The FACF is designed to promote original cinematography on both sides of the Atlantic, to encourage up-and-coming young talents and foster dialogue between industry professionals in both the United States and France.