|
|
Some of the most memorable movie characters and continue to come from the science-fiction genre. The reason is that these characters with extraordinary circumstances and need extra resources to overcome them.
The Below is a list of ten of the best science-fiction characters of all time. The two criteria are the strength of creation (in writing) the character and quality of the action.
On on the list (in no particular order).
1) Jon Anderton: Tom Cruise, Minority Report (2002)
2) Spencer Olham: Gary Sinise, cheaters (2002)
3) Robby Gallagher: Val Kilmer, Red Planet (2001)
4) Dr. Clayton Forester: Gene Barry, War Of The Worlds (1953)
5) Commander John J. Adams: Leslie Neilson, Forbidden Planet (1956)
6) Neo: Keanu Reeves, The Matrix (1999)
7) Riddick: Vin Diesel, Pitch Black (2000)
Klaatu: Michael Rennie, The Day The Earth Stand Still (1951)
9) Snake Plissken: Kurt Russell, Escape From New York (1981)
10) The Terminator: Arnold Schwarzenegger, The Terminator (1984)
Be sure that these films to rent, soon as possible and examine this great science-fiction character for you.
You will not be disappointed. http://regan.sitesfree.com
What is a rave?
An all night event, a rave is where people go to dance, socialise, get high and generally have unhibited fun with other likeminded people. Some say it s about the creation of a community, togetherness and re-connecting with something perceived as lost (anyone remember the glory days of Northern?). Others just say it s about necking loads of pills and getting wasted with your mates in a field.
Where rave?
Normally in an unused warehouse, club, beach, field, aircraft hangar or a sports arena - anywhere which could accommodate a huge sound system and lots of people. In the heydays of the late 80s, the larger Do s attracted tens of thousands of people. The venue would usually remain secret up until hours before the rave was due to begin as means of keeping the police away. Organisers would often have backup sites in mind in case the cops caught wind of them - which they did with increasing frequency.
Etymology?
The word rave first came into use in the UK during the late 50 s, referring to the wild bohemian parties of the time. It was next briefly revived by the mods, but didn t come back into usage until the mid eighties illegal London warehouse party scene. However it seems likely that the term rave came from Jamaican usage rather than a revival of any previous usage in Britain.
Who?
Rave crowds are mostly (but not exclusively) young from all sections of society .
Music?
Rave music is now tagged dance music, or as some government pension-planner put it, music with a distinctive series of repetitive beats . Early ravers made the discovery that the combination of ecstasy and music with fast, repetitive beats was a marriage made in disco heaven. The big Do s have a line-up of top name DJs as well as some live performances by dance music bands.
Why so successful in UK in the 1980s?
Theories are many as to why the UK went wild for raving in the late 80s and beyond. It occurred during a period of major consumerism and individualism. Thatcher was telling everyone to look after number one ( no such thing as society”!). There was bound to be a reaction to this - a bunch of English DJs had just got back from Ibiza where they had tasted rave culture & ecstasy first hand. Within a year rave culture had flourished. Instead of money and power, rave called for empathy, intimacy, spirituality and the joy of losing yourself in the crowd. (Remember Northern, anyone?) Interestingly, check out a 1986 novel The Last Election , by Pete Davies.
The End?
By the early 90s, the police, Tory government, middle England and tabloid press had all had enough of rave culture. Thatcher s government acted, passing the Criminal Justice and Public Order Act (1994).
Addressing the issue of raves, Sections 63, 64 & 65:
A rave is defined as a gathering of 100 plus people, at which amplified music is played which is likely to cause serious distress to the local community, in the open air and at night. These sections give the police the power to order people to leave the land if they re believed to be: http://regan.sitesfree.com
The guitar is one of the most familiar and common instruments the world over. It is descended from other stringed instruments that were common in Greece, in India, in Mexico and in Africa - in fact, throughout the known world. It s descended from such instruments as the sitar, said to be sacred to the Hindo goddess Saraswati, and the lute, which Greek mythology claims was invented by the god Apollo himself.
It s no wonder that the guitar has a history of association with the divine. The range and styles of music that can be played on the classic stringed instrument is incredible.
From the intricate fire and beauty of classical Spanish and flamenco guitar to the down-home country sounds of good finger-pickin , the guitar is a versatile and beautiful instrument.
Modern-day guitars have a hollow or solid body, a neck with frets, and a tuning mechanism that is called the machine head. They may be acoustic, or electric, and are one of the most popular instruments in the world.
Guitar bodies for acoustic guitars are made of wood, often spruce, red cedar or maple. The face of the guitar, or top, is one of the most important factors in its sound quality.
It is carefully engineered to a precise thickness, and braced by a variety of materials.
The most important piece of the guitar is the face, or top.
Its composition, shape and engineering will determine the final sound of the guitar. The back and sides also make a difference, but not so much, and often, luthiers will choose the wood for the sides and back with an eye to appearance rather than sound quality.
Electric guitars are solid, though they are rarely made of a single solid piece of wood. Instead, most are created of many layers of different kinds of wood laminated together.
This gives the guitar both strength and sound quality that wouldn t be possible in a single piece of wood. Often, the electric guitar is made of a good sounding wood like ash or poplar, with a laminated top of a more attractive wood for appearance.
It s hard to believe that the same instrument is capable of creating such wide and varied styles of music. It s even harder to believe that only a few hundred years ago, the guitar was considered the instrument of peasants, lesser than the noble violin and organ. It was considered so much lesser that across the United States, older generations boycotted Catholic churches that used guitars to celebrate faith in folk Masses.
Nowhere else will you find the variety of guitars that you find in a typical Mexican mariachi band. A typical mariachi band will include at least three kinds of guitar - a classical guitar, a vihuela and a guitarron, a large guitar that is nearly the size of a cello.
Mastering the guitar, however, takes years of practice. The difference between a three-chord strummed song and the intricate finger picking and speed of a flamenco guitarist is unmistakable.
From divine beginnings, though its history as the music of peasants to its elevation again as the king of instruments, the guitar has been a beloved instrument of people the world over. If you choose to learn only one instrument, the guitar is the perfect choice. http://regan.sitesfree.com
Little nine year old Tommie and his family moved to Atlanta, Georgia from the small town of Villa Rica, Georgia in 1908. Tommy was demoted a grade in school and teased by the other children. He felt alienated from his school and also the black Baptist church where his daddy was the pastor and mamma was the pianist.
He spent the afternoons and evenings watching the vaudeville performances where he saw such well known blues artists as Ma Rainey and Bessie Smith. At age eleven he dropped out of school and took a job at the theater selling soda pop.
He was determined to become famous like Ma Rainey so he learned to play the piano and teaching himself to read music.
At age seventeen Tom moved to Chicago and became quite successful as a blues piano player and singer in the backroom bars during the prohibition era. He took the professional name of Georgia Tom.
Tom struggled with his conscience over playing the “world s music.” His mother was always admonishing him that he should devote himself to composing and playing for the Lord. His struggle became so intense that he had a nervous breakdown and had to take two years off and move back to Atlanta to recover.
Sufficiently rested and recovered, Georgia Tom returned to Chicago and began to play for Ma Rainey and her jazz band. However, it was only a matter of time before he once again had a nervous breakdown and had to stop singing in the the bars of Chicago.
He soon determined to devote his music totally to the Lord. He began composing and singing gospel music using the blues style of music.
To his disappointment, many of the main stream churches refused to allow him to return because his music sounded too much like the world s music. So he returned to the Chicago bars to earn enough money to survive.
Tom married and was expecting his first child within a year. He continued to play both in churches and bars. It was while he was in St. Louis preparing for a concert in a church that he received a telegram informing him that his wife had died during childbirth. He returned to Chicago in time to hold his newborn son but the child died within a few hours.
It was at that moment that he took the vow to devote his music totally to the Lord seriously. It was also during his grief that he composed these words:
Precious Lord, take my hand,
Lead me on, help me stand,
I am tired, I am weak, I am worn.
Thru the storm, thru the night,
Lead me on to the light,
Take my hand, precious Lord, Lead me home.
Thomas Dorsey went on to compose nearly 1000 songs, all gospel with a blues style. He died in 1993 at the age of 96. He had earned the title of “The Father of Gospel Blues.”
FOR IMMEDIATE RELEASE: Waco, Texas–Although his musician father introduced him to the guitar years after he had been playing the saxophone and other instruments, Cory Stone realized that it was his instrument of choice. After the eye opening insight into who he really was took place, Cory locked himself in his room and practiced day and night endlessly. After graduating from the University of New Mexico with a degree in music, he joined renowned guitarist/composer Federico Jimenez Villafane to hone his skills on the six-string acoustic. After that apprenticeship, Stone moved on to the Antoinette Cardenas Band where his skills reached new levels of proficiency playing jazz, rock, blues, fusion, reggae, country and Latin.
Today Cory Stone is an accomplished guitarist with a new album that displays his diverse talents. Maybe is a focused and wide-ranging recording of instrumental compositions. Stone uses the finger picking method with his acoustic guitar honoring masters such as Doc Watson. His music is difficult to place in any one genre as he travels all over the musical map, covering jazz, blues, rock, country and more in the 10 tracks Maybe offers the perceptive listener. Cory Stone is playing at the Waco River Jam Festival on September 25, 2004 (time TBA) and will appear at a guitar clinic in Houston, Texas and the King Biscuit Blues Festival in Helena, Arkansas (dates and times TBA). Sound samples are available at his website http://www.corystoneguitarist.com along with links to Amazon and CD Baby to purchase the CD. Contact: Cory Stone P.O. Box 5807 Waco, TX 76708 Tel: 505-270-4495 E-Mail: coryd24@hotmail.com Website: http://www.corystoneguitarist.com
The imperative studio-monitoring interface for the contemporary digital studio! The Presonus Central Station is the ultimate studio-monitoring interface for the modern digital studio. The Presonus Central Station features three sets of stereo analog inputs to toggle between input sources like: DAW, mixer, CD/DAT/Tape player, or Keyboards/samplers. Two stereo analog inputs feature TRS balanced and the 3rd stereo input features RCA inputs with trim control for level matching of input signals. Additionally, the Central Station will contain 2 digital inputs via S/PDIF or TOSLINK providing D/A conversion up to 24Bit /192kHz.
This permits you to observe DAW and CD/DAT outputs through the same professional quality converter for the most accurate A/B relationship and maximum quality-monitoring atmosphere. The digital to analog converter suggest the utmost probable audio excellence with over 117dB dynamic range and ultra high quality analog circuitry. The Presonus Central Station features 3 sets of monitor outputs, each with their own set of passive trim controls. The monitoring section also provides Mute, Dim and Mono switches. Also the Presonus Central Station includes a set of CUE outputs that can feed headphone amplifiers and a separate stereo Main line level output.
The Presonus Central Station has an onboard Talkback microphone, which is routed through the Cue outputs for communication between artist and engineer. The Presonus Central Station also includes a Microphone XLR input on the rear panel for use with an external microphone. When Talkback is used the Cue mix is automatically “dimmed” for added ease of communication.The Presonus Central Station features a purely passive signal path for ultimate sonic performance. The main audio path of the Presonus Central Station uses no amplifier stages including op amps or active IC s that includes noise, color, distortion, and produce that “pinched” sound. Distortion created by op amps and IC s also gives extra ear weariness.
The Presonus Central Station Remote Control (CSR-1) can be connected to the rear of the Presonus Central Station via DB9 connector to control Volume, Talkback, and Mute, input source switching and speaker output switching functions. Keep the Presonus Central Station in your rack with your gear and use the CSR-1 for ultimate control and flexibility.Signal routing in the Presonus Central Station is accomplished by utilizing 34 sealed mechanical relays (instead of active IC s) maintaining a minimal signal path design wherein extraneous electronics are hard-wire bypassed. Using relays is to make sure the most transparent signal path increases dynamic range, frequency range, and headroom, while decreasing noise and coloration. The Presonus Central Station uses the highest quality passive components including military grade 1% tolerance metal film resistors, multi-element potentiometers and ultra-durable connectors to deliver the highest sonic performance.
Features
Presonus Central Station includes the features like Passive Audio Path - no op amps or IC s in main audio path, 5 stereo inputs with 2 digital and 3 analog, 24-Bit/192kHz DAC (>117dB dynamic range) via SPDIF and TOSLINK , 3 sets of monitor outputs each with passive volume control and Talkback microphone with volume to feed headphone and cue output . Addition to that it includes some other features such as Accurate dual 30-segment LED for metering, 2 front panel headphone jacks with separate volume control MAIN and CUE stereo output have independent input source, Optional console remote control with input, output, talkback, and volume.
Nominated for 20 Emmys and 6 Golden Globes, including Best TV Series - Drama, CSI (Crime Scene Investigation) quickly rose to become the number one show on television following its Fall 2000 premiere. The brainchild of creator Anthony Zuiker, the show follows the investigations not of traditional TV detectives working the streets, but forensic scientists who unravel complicated crime mysteries in their ultra-modern laboratory. Either the 1 or the 2 Nielsen rated show since the start of its second season, CSI has helped CBS to reemerge as the 1 network television station, spawning (similar to predecessor Law & Order) two series spin-offs CSI: Miami and CSI: New York. Each exciting hour-long episode begins with the theme song “Who Are You” by The Who, a song more than befitting of a show where criminals are aggressively tracked down, sometimes years after committing their crimes
CSI focuses on the Las Vegas Police Department s Crime Scene Investigation nightshift unit headed by Gil Grissom (William Petersen), a quirky outsider whose obsessive quest for the facts and dedication to his work dominates his life. The CSI team is composed of a number of individuals with differing backgrounds and personalities - single mother Catherine Willows (Marg Helgenberger) specializes in blood-splatter analysis, the highly competitive Nick Stokes (George Eads) specializes in hair and fiber analysis, recovering gambling addict Warrick Brown (Gary Dourdan) specializes in audio/visual analysis, and the rambunctious Sara Sidle (Jorja Fox) specializes in materials and element analysis. Throw in hard-nosed homicide captain Jim Brass (Paul Guifoyle), CSI understudy Greg Sanders (Eric Szmanda), and lab coroner Al Robbins (Robert David Hall) and all the ingredients are present for a show wrought with suspense, drama, and tension. As transients from all walks of life travel to Las Vegas to enjoy the wonders of its adult playground, increased levels of crime accompany them, and the team at CSI is determined to stay a step ahead of the criminal element
The CSI (Season 2) DVD features a number of dramatic episodes including the season premiere “Burked” in which Grissom and company are called in to investigate the death of a high roller and known drug addict found dead in his own home. With drug paraphernalia on the premises, detectives initially suspect an overdose, but further probing leads them to believe the man was restrained by duct tape and forced to ingest lethal amounts of drugs Other notable episodes from Season 2 include “And Then There Were None” in which Grissom investigates a casino heist that left several innocent bystanders shot while Catherine and Sara investigate a murder in the rural desert region, and “Stalker” in which a stalker somehow infiltrates a heavily secured home and murders his victim, prompting the CSI to take over the investigation
Below is a list of episodes included on the CSI (Season 2) DVD:
Episode 24 (Burked) Air Date: 09-27-2001
Episode 25 (Chaos Theory) Air Date: 10-04-2001
Episode 26 (Overload) Air Date: 10-11-2001
Episode 27 (Bully for You) Air Date: 10-18-2001
Episode 28 (Scuba Doobie-Doo) Air Date: 10-25-2001
Episode 29 (Alter Boys) Air Date: 11-01-2001
Episode 30 (Caged) Air Date: 11-08-2001
Episode 31 (Slaves of Las Vegas) Air Date: 11-15-2001
Episode 32 (And Then There Were None) Air Date: 11-22-2001
Episode 33 (Ellie) Air Date: 12-06-2001
Episode 34 (Organ Grinder) Air Date: 12-13-2001
Episode 35 (You ve Got Male) Air Date: 12-20-2001
Episode 36 (Identity Crisis) Air Date: 01-17-2002
Episode 37 (The Finger) Air Date: 01-31-2002
Episode 38 (Burden of Proof) Air Date: 02-07-2002
Episode 39 (Primum Non Nocere) Air Date: 02-28-2002
Episode 40 (Felonius Monk) Air Date: 03-07-2002
Episode 41 (Chasing the Bus) Air Date: 03-28-2002
Episode 42 (Stalker) Air Date: 04-04-2002
Episode 43 (Cats in the Cradle) Air Date: 04-25-2002
Episode 44 (Anatomy of a Lye) Air Date: 05-02-2002
Episode 45 (Cross-Jurisdictions) Air Date: 05-09-2002
Episode 46 (The Hunger Artist) Air Date: 05-16-2002
The movie studios as a whole continually complain that they are losing revenues to the pirate. They constantly say that it s the street level movie seller that literally cuts into thousands of dollars in potential profits. They also claim that sophisticated pirate rings throughout the world are cutting into production studio profits by the millions.
This is a flat out lie, a fabrication by the movie studios. Sure they lose some profits but the problem of pirating is not as problematic as they claim. First off, pirated movies are not the big business it claims to be. Yes, many are profiting from this new form of digital theft but the reality is; the biggest pirating is done in impoverished countries where most of those buying the bootlegged copies of movies would not be able to afford the price of a legitimate movie ticket anyways.
The fact is the movie studios are too stupid to realize that they can profit from movie pirating and in the process create a new revenue stream to fund more of their productions.
The studios in their infinite greed and stupidity have not truly analyzed the problem of pirating and the selling of bootleg copies of films. If they did they would find that the problem is not necessarily per se the pirate, it s the buyer.
Without the buyer or client there would be no potential business for the pirates to profit from. In a word, to stem or slow the tide of pirating the production studios need to simply realize the average bootlegger would not be in business if there was not someone interested in buying, and in identifying the potential type of clients that bootleggers sell to, the production studios can thereby create a niche market that will afford them even more profits for their films.
There are three types of buyers in the world of pirated films and we will analyze and look at all three. Understanding their motives for purchasing bootleg films will go a long way to curb the tide of pirating.
The movie studios need to first and foremost understand one simple fact; no matter what new technology they implement they cannot and will not stop pirating in all of its forms. The sooner the studios realize that there are acceptable losses that have to be allowed, the better they can manage the potential new market this could create for them as a whole.
To look at the breakdown of it all; there is only one type of pirate and that is a person driven by the idea of making money selling items that they acquired in an illegal fashion. The items they acquire, in this case films, are generally obtained free of charge, making their profit margin 100%, an ideal business indeed.
But we need to look more closely at the buyer, for the pirate would not have business if there was not a ready supply of people waiting to buy from them. That being said, there are three types of buyers of pirated films.
1. Those that live in other countries or regions that are several months behind the U.S. release dates. For example, if a film is released in the states in July, it will not be released in say, South America for several months after the fact. This has a tendency of alienating this group of people making them feel as if they were less than viable than those in the premium markets of the U.S. and Europe as a whole. Those that live in regions where they see the film months after its U.S. release want to feel as mainstream as the rest of the world, and most buy pirated films from the street because they just do not feel they should have to wait to see it.
Many feel out of place when speaking to colleagues or relatives who live in other regions when asked in casual conversation if they have seen a latest film that s out in one part of the world and not in theirs. This creates a subconscious resentment toward the movie studios as a whole and why many do not even bother to go to the movie theatres to see a first run film. Now while it is evident the movie studios as a whole do not care of the alienation of one group to another, this again has to be stressed that by implementing new measures the studios can easily generate a positive cash flow from a new market.
2. Those that don t relish the movie theatre experience. There are many in the world who find going to a movie theatre quite unpleasant and this was my main reason and motivation for purchasing pirated films from the streets. Personally, I did not like being in a crowded movie theatre with people constantly talking through the film, or the ever persistent person sitting behind me who kicked my chair constantly throughout the entire film, not to mention the sordid conditions of the movie theatre itself; i.e. sticky carpeting, gum in the chairs and general uncleanliness.
The main advantage to buying pirated films from the street is you can watch in the comfort of your own home. You can watch it as much as you like, and if there is a scene you wish to see again you only need to rewind to a specific scene again. This is most of the appeal of having the ability to watch a film from home. Many need the movie theatre experience to feel they have really seen a film but most, if given the chance would prefer to watch a new film at home. With the advent of plasma tv s, bigscreens and high definition surround sound systems, it is now possible to get the same experience as in the movie theatre in the comfort of ones home. You can take off your shoes without the fear of getting something on your feet. You can also pause the film if you need to go to the bathroom, thereby not missing anything, getting the full value of the film. You can repeat scenes to enjoy again and again, whereby in the movie theatre it is definitely a one shot deal type of situation when it comes to viewing.
3. The third type of pirate client is someone who simply put, could not afford the price of a ticket anyway. The rising cost of movie tickets can be very discouraging to those on a fixed budget or income. In many countries families are very large and not the typical 2.4 kids expected by the average American family. So many would not be able to afford to take their whole family out for a movie night. Pirates, albeit illegal in nature, exists because they can see the needs of the potential client and fill it. If the movie studios themselves took the time to look at the potential moviegoers and not the demographics they would know this and be better equipped to meeting the needs of all thereby making more of a profit on films.
Again, the problem with pirating is not the pirates themselves but those that buy from them, remember, there clearly would not be a market for bootleggers if there were no buyers willing to buy. It s the buyers that drive the market and not the pirates themselves.
In the past the movie studios have thought of clever ideas in their efforts to prevent pirating and all of their bright ideas have met with failure, embarrassing failure. For example, when the film Matrix Revolutions was released, it had a world wide release. Meaning the film was released simultaneously all over the world. This was done to supposedly prevent pirating, and it had disastrous results. The movie was still pirated all over and in many cases copies were sold just a few hours after its initial release in the theatres. Why did this happen? Because the studios were too ignorant to realize the different types of buyers that exist for pirated films.
Even though this movie was released worldwide at the same time, it was still pirated for reasons number 2 and 3. Although the Matrix films were big box office draws, many did not want to sit in a crowded movie theatre around devoted Matrix true believer type of fans, not to mention the overall unpleasant conditions that exist in just about every theatre for a big box office draw.
So the brilliant idea of a world wide release did nothing to stem the tide of pirating. This is again because the studios have taken the time to profile what types of piraters are out there selling but they have never taken the time to profile the types of buyers of bootlegged films. Once you understand why people are willing to buy films from the street, even knowing that many will be low in quality, you can then figure out how to put the bootlegger out of business or profit from him.
Is it possible for the movie studios to profit from pirating? In a word ..yes and very easily. They can not only profit from pirating but create a new revenue stream in the process.
The easiest way to profit from the dilemma is to give potential consumers a choice. Free choice is the key to creating a revenue stream outside of the mainstream movie industry. How? Since just about every film that is released in theatres will eventually wind up on DVD, the best way to cut out the bootlegger is for the studios to bootleg their own movies.
If the movie studios made released DVD s at the same time as the theatre release and gave people a choice to buy them for a slightly elevated price, the profits would be astronomical. For example, if a new movie is released at the theatre one could go to the movie theatre in his designated area and instead of buying just a ticket they could also purchase a copy of the film to take home and watch, the theatres would generate double the profits. There would be the general ticket sales for moviegoers and then the sales from those who purchased the DVD s at the theatre. If the movie studios also made a limited number of available DVD s for sale at the theatres, it would be an incentive to make potential buyers/collectors move faster to ensure obtaining a copy. The discs could also be encoded so that the movie studios would know which theatres got which copies thus keeping track of potential pirating. Also as an advent the studios could stipulate that to buy a DVD release version of the film one had to show a driver s license, it would greatly reduce the possibilities of pirating.
The thing that makes pirating work is its anonymity. One can easily walk up to any seller on the street and buy anonymously but when its necessary to show some type of identification to buy a copy it thereby makes the buyer responsible for his or her own copy, and since most are afraid of the possible repercussions of pirating, most would end up protecting their copies for fear of reprisals from the movie studios on a whole.
If the price for a single movie ticket is around $12 dollars per person, the studios can fairly charge approximately $30 dollars for the Theatrical Release DVD or TRD and would generate a new stream of profit from these sales. These special DVD s will include the movie, a menu and some deleted scenes along with the film trailer as well as other trailers of upcoming productions by the movie studio releasing the film.
This is a great way to advertise for new and upcoming films by the production studios as well as distributing the DVD and drastically cutting down pirate sales. The movie studios should not feel in any way that releasing a TRD disc will take away from sales of the regular retail release of the DVD after the movie has made its theatrical run.
The reason for this is that the TRD will not have all the features and extras that will be found on the retail version. What this means is if one were to purchase the TRD disc from a local movie theatre, the version they obtain will differ entirely from the version sold at retail once the DVD is officially released. True DVD collectors will purchase the Special Edition DVD release just for the sake of curiosity to see how it may differ from the DVD released at the theatres.
It should be noted that most DVD s that are released for retail all seem to have the words Special Edition listed on the DVD. The disappointment to the consumer is that when you purchase these DVD s there is very little about it that distinguishes it as truly being a special edition. In fact most of these so-called Special Edition DVD s have just the standard features that most consumers have come to expect from any DVD purchased. But if the studios release a TRD that is limited to only a few deleted scenes, trailers and the movie itself, then when the regular retail DVD is released months later, collectors will be curious what other features are listed on the disc, so the curiosity factor alone will generate more sales also this making the retail release truly a Special Edition .
By making the TRD as competitively priced as the retail version, the price will not seem out of reach to the average consumer who is used to paying $24.95 for a standard DVD anyways.
What separates the TRD from the retail version is the features. The TRD DVD will have the film, a menu, and possibly a few deleted scenes. Whereas on the retail version there will be the commentary consumers are accustomed to getting on their DVD s as well as a host of other features.
The main features can then be placed on the retail version of the DVD such as the behind the scenes documentaries, the commentary, some deleted scenes as well as trailers and possibly an alternate ending. The alternate ending is also a tool used to insure that there will be just as many buyers for the retail version of the DVD then for the TRD.
Now while this may represent an added cost to the studios, in reality the benefit of added sales and a new revenue stream far outweigh the costs of the production of this limited edition TRD. This would be a successful method in deterring pirating and creating a new source of ticket sales for movies.
Proof that this in fact works is that the studios themselves have experimented with this technique on a small scale and lower level and met with great success. The film, The Sisterhood of The Traveling Pants, was released to moderate ticket sales and success in the U.S. but in some parts of the world the studios chose to experiment with this film by releasing it on DVD at the same time it was released in the theatres.
The feeling at the time was that this particular film would not generate a big blockbuster response and the studios, being interested in recouping as much of the invested capital in the film as possible decided to gamble on this film by releasing it on DVD at the same time as the theatres. The result was overwhelmingly positive. This particular film was pirated far less then normal and many got to purchase the DVD from authorized outlets and watch it at home which then turned a film that had no projected large ticket sales into a cult classic in some venues abroad.
If the studios as a whole took this approach with more of their so-called blockbuster films they would find that overall receipts for the TRD and ticket sales would increase profitability of the films by a possible 70%. This would be added revenue that the studios would collect directly, thus cutting out the pirate or at the very least minimizing his client base drastically and also satisfying all types of potential bootleg buyers.
A poll was taken in the San Francisco area by this writer. What I was trying to determine is, if given the chance, would people prefer to buy a high quality DVD of a new release or would they rather watch the film in the theatre. Seven out of ten people asked said they would buy the TRD release of a movie if doing so would not get them into any trouble with regard to it being a pirated copy. Most said they would gladly pay up to $30 dollars for a DVD that they could obtain at their local movie theatre. They liked the convenience of it all and most said it was the thrill of having an authorized copy of the film that they could watch at home over and over again that would drive them to buy a TRD.
When asked if they had any problems with showing an identification to obtain a copy of an authorized studio DVD, almost all said they did not find it intrusive in any way and would have no problems in doing this.
Many expressed a safety factor that had not been considered at that time. Most felt that going to a late evening movie or a movie on opening night was something they would not consider due to the fact of potential danger of car accidents when going home, or possible dangers from the area, as many said some movie theatres are in or near high crime areas.
Many had told of past movie going experiences that turned to violent altercations due to the subject matter of films being shown. It should be noted that when the movie Boyz in the Hood was released a few years ago, there were several reported cases of gang violence when patrons were leaving the theatres.
Even when the classic film The Warriors was released, the studio execs were worried of potential violence stemming from the subject matter of the film. Because of these past situations there is a whole category of people who no longer go to films at night and due to their work schedules find it very difficult to see films during the day and these people are the ones who usually tell co-workers and friends, I ll just wait till it comes out on DVD to see it when asked if they have seen a new release that may happen to be out at the time. With this new method of distributing films the studios can cash in on the category of consumer that would like to see a new release but that does not feel comfortable with the theatre experience anymore.
When one thinks of the thousands of dollars that are put into trying to catch and charge film pirates this then seems like a more cost effective alternative. Studios should not waste resources in trying to apprehend and shut down the pirates, it s impossible, there will always be a measure or pirating, but if the studios offset the pirating by putting out their own high quality product, they can greatly reduce the number of buyers of bootlegged films.
If people are given the choice of buying a low quality copy of a film that may or may not play in their home players versus a studio authorized high quality copy that may cost a bit more but legal and problem free, the studios would be surprised to know that most would happily purchase the authorized studio DVD.
The studios would then be seen as pioneers, in that they are creating and catering to a whole new genre of film watcher ..the home viewer.
The selling of the TRD version of the movie would in no way cut into the rental sales either from Blockbuster and Hollywood video. Why not? Due to the fact that there are always going to be people who just choose to view the films and not own them and for this reason there will always be a good steady rental base, besides that the TRD versions that one could obtain from the local movie theatre would be limited editions of say only a few thousand or even a few hundred per movie theatre. Once they re gone they re gone. This type of supply and demand will really increase sales if potential consumers know that TRD DVD s will only be available for the first 72 hours of the films major release or however long the studios specify.
Not to mention the people who will go the local movie theatre and be satisfied with just paying $12 dollars for a movie ticket and then later after they have seen the film they loved it so much that they choose to also spend an additional $30 dollars to buy the film as they walk out of the theatre.
So many times I personally have walked out of a theatre from seeing a film and thought to myself, oh yeah I m going to buy this movie the day it comes out on DVD. Sadly due to the fact that the studios make you wait months before the film is released on DVD, many lose their enthusiasm for purchasing it. Having TRD s available for sale as one walks out of the theatre, would cater to the impulsive buyer who is interested in instant gratification and getting their copy now versus waiting for the official DVD release months later.
The music industry employs this same technique in principle with the release of CD singles for upcoming albums. Usually, it s the single for the forthcoming album and possibly an acoustic version along with a remixed version as well as the music video on one CD. The prices for this CD range, sometimes they sell for $1.99 and up to $9.99 and it s basically just one song. This creates even more of an interest and demand so that by the time the full album is released there are plenty of consumers just waiting to spend their money on the album. If the movie industry did this as well with their films, they would definitely see a marked increase in ticket sales and overall receipts.
All the way around it s a profit environment that the studios cannot and should not ignore, if they truly wish to reduce pirating and gain more profits, not to mention create a whole new category of movie watcher, this is by far one of the best viable options for them.
Unfortunately Hollywood studios are all driven by greed and many cannot see the moon for the stars, but some of the farsighted execs in those steel towers in Hollywood should definitely want to consider this as an option to generating more capital from a new release and combating piracy.
With the slump in box office business, the studios really have nothing to lose. Now is the time to get creative, to take chances and take the movie industry in a whole new direction. It could be this simple idea that could jump start and revive the film industry in Hollywood.
Hollywood needs to realize there s a new type of moviegoer and that there are many who like films but no longer like the theatre experience or can t afford the skyrocketing price of tickets and by catering to these consumers they cut out the pirate or at the very least they use a pirate like approach to gain the revenue that would otherwise go to the street seller.
It s definitely something to think about.
Netflix is the best place to get all of the hottest new releases all year round. Who doesn t love snuggling up on the couch with a bowl of buttery popcorn and a great movie? I know I do and with a Netflix membership I can do that any day of the week. Right now there are all kinds of hot new releases coming to this great online movie store.
Just Like Heaven is one of the hottest releases of the month starring Reese Witherspoon and Mark Ruffalo. Even if she can t pick a new dress for the Golden Globes she sure can act! This is a wonderful show about a woman, well about her spirit actually and the new guy living in her old apartment. Her lost spirit needs a little help and that is where Mark Ruffalo comes in, he saves the day and with a little help from the guy from Napoleon Dynamite.
Elizabethtown is another romantic film that has knocked the socks off of some of the top movie critics. You have Orlando Bloom and Kirsten Dunst coming together in unlikely circumstances. This too is a great movie that you can get today at Netflix.
If you just want to laugh then why not rent the Wedding Crashers with Vince Vaughn and Owen Wilson? This is a hilarious movie that will have you practically peeing your pants it is so funny. Or what about a movie for the whole family like the Corpse Bride? This is a chilly animated flick that everyone can enjoy and you can get it at Netflix.
If these types of movies are not your thing then you can check out some of the other great movies at Netflix. Such as Evil Dead. This is a classic horror movie that is a must see by anyone who enjoys this genre. Bruce Campbell is one of a kind and he will make you laugh like you have never laughed before. Horror by another name is simply not real horror, and there are a few in this series so check them all out for cheap at Netflix.
Then there is my favorite The Transporter 2. When it comes to rollicking action adventure there is no one that can pull it off quite like Jason Statham. He is hot and sexy and big and manly and well, I could go on and on but you just need to rent the movie and see for yourself.
No matter what kind of movies you enjoy the most you can find them all at Netflix. They have everything from sci fi to foreign to kids cartoons. No other video store can offer so many great movies for such a low monthly price. Did you know that art Netflix you can rent as many movies as you want? And there are no late fees whatsoever, ever? It is true! That is why more and more people are choosing Netflix all of the time. Every day hundreds and thousands more people sign up for this fantastic service.
It does not matter if you are interested in getting the hottest new releases or the old classics, you will find them all at Netflix today.
FOR IMMEDIATE RELEASE: 8/03/2004
Put-in-Bay, Ohio - Land of the Cover Band - Live Vol. I is Paul Rader s Classic Rock tribute unplugged. The 14 tracks will joggle the cobwebs from your brain, bring back memories, and make you smile. This is not your typical cover or tribute CD; it rocks with enthusiasm and true grit, taking its place alongside its originators as memorable and timeless. Rader, who performs with his voice and guitar alone, puts you into a musical time machine that you will not want to leave.
The fourteen-year veteran of the East-Coast solo acoustic music scene maintains a 175+ show schedule each year. He splits his time between Put-in-Bay, Ohio on South Bass Island in Lake Erie during the summer season and Key West, Florida during the fall and winter. Rader has the ability to tuck an audience in his back pocket after the first number of his show. Paul never disappoints when he performs classics such as Southern Cross and Hotel California. With a 200+ title classic rock menu that is hard to beat, he is bound to find success anywhere he takes his show.
Land of the Cover Band Live - Vol. I is being distributed by CD Baby or you can visit the official website for the CD at http://www.LOCB.com to read behind the scenes information about the project, fan and critic reviews, Rader s biography, and can get show dates on a calendar page that is updated daily. In addition to that, you can visit his artist page http://www.PaulRader.com.
“Many of them are better than the originals!”- Frank Moore owner of Internet Radio Station http://www.eroplay.com
“The dude can play and sing up a storm, he does all of these classic tunes justice, giving them their due by playing his a** off and singing as if it was the last gig he would ever do.”-Keith “MuzikMan” Hannaleck owner http://www.muzikreviews.com
“A great entertainer with an incredibly versatile voice.”- J-Sin, owner of http://www.Smother.net
Contact: Paul Rader paul@paulrader.com 330-503-0811 http://www.PaulRader.com http://www.LOCB.com