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Miller, USA. ? Project Involve Screening I Am Big Bird: The Caroll Spinney Story, Dir. Buster Keaton, USA. ? Grand Performances Screening The Beyond (3): The Beyond offers films that dare to be different. Adam Rifkin, USA. US Premiere. Jossy? , Dir. Yuichi Fukuda, Japan. The Well, Dir. Tom Hammock, USA. World Premiere. Retro (2): Friday (1995), Dir. F. Gary Gray, USA. ? Ice Cube in Conversation Repo Man (1984), Dir. Koji Wakamatsu, Japan Short Films (40): Shorts are shown before features and as part of four short film programs.

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No wonder they kept going back to the well time and time and time and time and time and time and time again. . It was made in 1984, once you adjust for inflation this must be one of the highest grossing bumbling comedies ever! . It actually just fell below the threshold after they added the Roger Ebert review in April. Given it was a pure 0-star Thumbs Down I suppose it is appropriate it finally gets its due. Reviewer Highlight: Now comes without any doubt the absolute pits of this genre, the least funny movie that could possibly have been inspired by Airplane. Not because I don’t like the animated stylings or anything (see my assessment of the sequel’s poster) but because I don’t like the white border, none of the police officers are really even doing anything interesting, and the amount of text is not good. Can’t do it. But I like the repeat of “call” and it ends on a clever note. The second isn’t the most clever, but it is short and sweet with a slight double entendre. At some point they’ll add some extra review to move it down again. I actually assume that in about 3 years the BMeTric for Police Academy 3 will plummet, given that is what is happening to all the other Police Academy films. . A group of police cadets arrived to help with crowd control for the filming of a street scene. When the cadets piled out of the buses to take their posts, they were diverse; men, women, tall, short, black, Asian. What if some guy or girl wants to stay in? That night, Paul wrote a two-page treatment and gave it to executive producer Alan Ladd Jr. who loved the idea and agreed to develop the movie. (That is pretty awesome.

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We believe significant attention is being paid to the learning curve by the major studios, especially as revenue generation becomes a more visible part of the goal of the major entertainment players. Keeping distribution deals short, picking different providers for licensing deals to keep the playing field full, and experimenting moderately-toaggressively with new devices and delivery systems are all tactics being employed. Content creation is a capital-intensive proposition, and the studios are unlikely to be squeezed out of the value chain. Certainly the newbies in the distribution world, such as Netflix and Hulu, have determined that creating original, and hopefully compelling, content with episodic television offerings (House of Cards, Lilyhammer, Arrested Development for Netflix, Battleground for Hulu) can add to consumer perceptions and the value proposition, bringing a A member of BMO Financial Group 100 April 2012 Perspectives on the Filmed Entertainment Industry 2012 BMO Capital Markets stickiness to subscription services. Web television, such as YouTube Channels, is experimental and may indeed be able to create a small handful of series that garner a loyal following. User generated content (UGC), at an earlier date thought by some to be a substitute for studio created content, usually lacks the creative resources or production expertise to appeal to the mass market or build a large enough or loyal fan base that can be monetized either by advertisers or subscribers at profitable levels. This is an enormous barrier to entry that would rarely, if ever, have a financial impact on the larger or even large or small independent film producers. While the suggestion is ever present that YouTube, Facebook, and many others are formidable forces today and in the future, their core business model relates to the narrow band of social media, which is highly unlikely to become an alternative to established distribution portals. If anything, they will become inexpensive promotional platforms for many studios to exploit. Our view: thanks for the platform, all you social networks. The filmed entertainment content providers, primarily the studios, will take first place in the content and delivery conundrum, in our opinion. As the entertainment pie gets bigger, the adoption of new delivery methods grows, and filmed entertainment libraries become monetized once again, the content providers will see their profits grow collectively as we view the majority of new distribution portals as complements, not substitutes. That is not to say, however, that some platforms will not be retired in the delivery shift and some may see further declines in revenues. As a whole, we view the revenue generating opportunities for film in the digital world growing over the long term, especially in the international marketplace over the next five years. As owners of the content, the studios have the ability to protect and control their filmed entertainment, and without a large scale new entrant coming into the content producing world, the studios will remain the primary source of content. In addition, studios retain the control to design revenues and splits for their content to their best advantage; without the studios’ filmed entertainment libraries or production and development of new entertainment content, there is little left for consumers to enjoy. The brick and mortar rentailers will continue to disappear as new delivery portals and kiosks with pricing at 25%-50% of traditional rentailers' proliferate. Blockbuster has closed, or is closing, more than 60% of its stores. Other chains, such as Movie Gallery and local rentailers, are experiencing the same woeful financial difficulties. The packaged media middleman will also continue to suffer.

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