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Barb Nicolosi  and Vicki Peterson

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Bad news from the box-office has become the rule in the last few years. The Hollywood Reporter sent up the most recent distress call in a story on January 7, 2015:

“Domestic movie attendance came in at an estimated 1.26 billion, a two-decade low and down about 6 percent year-over-year. Revenue tumbled 5.2 percent to $10.3 billion. Most troubling, several franchise pictures — including Paramount’s Transformers: Age of Extinction and Sony’s The Amazing Spider-Man 2 — grossed less than their predecessors domestically, pointing to the flight of younger moviegoers.” (“What’s Behind 2014’2 Box-Office Slide,” The Hollywood Reporter, 1/7/2015)

A new book was released January 1, 2015 by Michael Wiese Publishing, written by two entertainment industry veterans, that seeks to fix the modern story problem. Says one of the authors, Barbara R. Nicolosi, “Notes to Screenwriters is a resetting which suggests that in order to move ahead, everyone who makes stories is going to have to look backward to rediscover and embrace the essential elements of story.” Says author, Vicki Peterson, “What we are trying to do is to mediate a crucial conversation between writers, producers and the audience, so that they can each hear from each other what they need.”

Hollywood is broken in both its process of creating visual stories, and its fundamental understanding of what makes a good story. It’s more than just the general lack of rigor that is plaguing all the arts in the last few decades. The 21st Century entertainment industry seems to have forgotten why people need stories, and what will satisfy those needs. Stories should be the collective heartbeat of a society, but for too many people in Hollywood, stories are merely things to sell that sell other things.

The biggest challenge in the book is the suggestion that if a story does not lead to a catharsis, the audience will consider it a waste of time. So what is a story catharsis and how does a story deliver it? According to Nicolosi, “Stories will only matter if there is death on the table. If the audience never internalizes a personal threat, then they spend the movie witnessing a story instead of participating in it. If the movie never becomes their own experience it won’t satisfy them, it wont change them, and they wont run out and want to drag their friends and family to see it again and again.”

Notes to Screenwriters

Nicolosi and Peterson are eager to talk about the contemporary story problem and how to fix it with journalists, bloggers, critics and anybody who is just sick of going to the movies and coming out empty. Email or call (310) 499-6726 to book an interview. Notes to Screenwriters is available on Amazon.

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Joan-Collins-02

Entertainment industry is solitary a profession which more or less all of us yearn to be in. The glamour and glitz has always appealed to us. It’s apparent that at a certain point in time we all wish to be a fraction of it. Hollywood is yet again the more craving part of this entertainment industry. But it’s not that simple of a job to get a break in Hollywood. Millions arrive with the dream to make it big but hardly any make it to the top. You primarily have to go through the auditioning procedure. But the competition is so much that sometimes actors have to do whatever it takes to get the role. On one end it’s the desperateness to make it big and on the other it’s the superfluous of power which has resulted to the ‘casting couch’ mentality in the media industry. The notion behind ‘casting couch’ is swap of sexual favour for film roles between casting director or producer and the aspiring actor. Although Hollywood executives rebuff the subsistence of ‘casting couch’ some celebrities beg to differ.

The conception of casting couch subsisted from the foundation of the entertainment industry. One of earliest episodes of ‘casting couch’ that Joan Collins allege to have happened with her was way back in 1960’s. She was auditioning for the role of Cleopatra and was the front runner for the part. When she was asked to go to the bed with the head of the studio if she wanted the role. Here is what she had to say when asked about the concept of ‘casting couch’:

“Kick him in the balls and run out of the door that’s what I advise, I have done that. That’s why I didn’t get Cleopatra. Well, I didn’t do it literally. I just refused to go to bed with the head of the studio. I had tested for Cleopatra twice and was the frontrunner. He took me into his office and said, ‘You really want this part?’ And I said, ‘Yes. I really do.’ ‘Well,’ he said, ‘then all you have to do is be nice to me.’ It was a wonderful euphemism in the Sixties for you know what. But I couldn’t do that. In fact, I was rather wimpish, burst into tears and rushed out of his office. So I didn’t kick him in the balls but I should have done.”

It’s miserable that you couldn’t kick him in the balls. Joan Collins is not the only one who alleges of such anti-moral things to have happened to them. There are many in the roll like Megan Fox, Corey Feldman, Jenny McCarthy, Susan Sarandon and the list goes on.

How  far are these claims factual and does ‘casting couch’ really continue living?  is a question that  hasn’t received a definite answer as of now. Many articulate it used to exist, but currently there is nothing as ‘casting couch’. It’s pretty inflexible to believe that there is nothing as casting couch because the number of actors allegedly exposing such dealings have been escalating over the decade. I just anticipate the idea of ‘casting couch’ doesn’t go any further in the entertainment fraternity and the talent gets to go ahead.

 

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annabelle-2014-hd-horor-movie

None of us would look at dolls the way we used to ever again after watching Annabelle Starring Ward Horton, Annabelle Wallis and Alfre Woodard. The movie gives its audience what we are in search of, deadly horrifying scene which would make us skip a heart beat thanks to director John Leonetti .Although Annabelle is a prequel to the last years blockbuster movie Conjuring(which sort of stole Annabelle’s limelight by using its horrifying presence in the movie) john has made the plot thrilling enough to make us want more as the movie comes to an end.

The Plot centres on a happily married young couple Mia and John (Annabelle Wallis and Ward Horton) who are expecting a child living in Los Angeles. The movie has been shot portraying the early time of the 1970’s, when people weren’t afraid to lock their doors before leaving. But as well know it already no family has a happy ending in a horror movie. The life of the happy couple breaks down when a pair Satanist form a cult murder their neighbours and almost kills the couple.

After surviving the attack it seems like that wasn’t the end but just the mere beginning of the demons presence as the couple don’t recognise the markings of the murderers in their room. The Room were the dolls are present.

The Horrifying events that take place after are somewhat predictable as it’s the cliché move we expect in a horror movie. “John goes out of town for a day and all hell breaks in the house” but don’t let that put your hopes down. Unlike every horror movie we see the unexpected in Annabelle thanks to James Kniest cinematography. My advice would be to mind the surrounding in the screen (you’ll never know where the demons hiding), lastly when we analysis the plot, it seems to be quite similar compared to insidious (That’s going to be the only spoiler you’re going to have).

Overall the movie won’t go the way we expect it to in many ways thanks to scriptwriter Gary Dauberman and Joseph Bishara for the terrifying death toll soundtracks
FYI: As Scary the doll looks it was much better in the beginning of the movie.   

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