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LONDON (Reuters) - Manchester Airports Group (MAG) posted a 12 percent increase in full-year profit on Wednesday, boosted by an increase in passenger numbers and higher commercial revenue.
MAG, which owns four British airports, reported an operating profit of 73.6 million pounds in the year to the end of March on revenue 5.3 percent higher at 393.1 million pounds, excluding the impact of London Stansted airport, which it bought in February.
Commercial income, including retail, car parking and property earnings, rose 5.8 percent to 215.4 million pounds.
Excluding Stansted, MAG said passenger numbers grew 1.9 percent to 24.5 million during the year, helped by the addition of new services, including an easyJet service between Manchester and Moscow.
The company, which also owns England's Manchester, East Midlands and Bournemouth airports, expects passenger numbers to top 42 million in 2013/14, including Stansted.
"Realistically it will be a year of integration for Stansted to position it for growth next year," said MAG's Chief Financial Officer, Neil Thompson. "So while Stansted will be steady, the rest of the group should see growth."
MAG, which is owned by ten boroughs of the city of Manchester in northwest England and Australia's Industry Funds Management, more than doubled dividend pay-outs for the year to 42 million pounds. It also proposed a special dividend worth 30 million pounds following the successful acquisition of Stansted.
Earlier this month, MAG asked the British government to allow Stansted to be expanded into a four-runway hub to help solve London's air capacity crunch. It also urged authorities to make better use of the UK's regional airports.
(Reporting by Rhys Jones; editing by Tom Pfeiffer)
Source: http://news.yahoo.com/profits-rise-airports-owner-mag-230523855.html
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In this photo taken on Friday, July 19, 2013 Silvio Berlusconi attends a voting session at the Senate in Rome. Silvio Berlusconi, the billionaire media baron and former premier, sometimes quipped that he was running out of money after two decade of steadily paying millions of euros (dollars) to a stable of Italy's leading lawyers to defend him in a raft of criminal cases. The legal team earned its keep, either eventually scoring acquittals or devising strategies that helped stretch out the court calendar for so long the cases died when statutes of limitations ran out. But this time, they failed to deliver him from final judgment day for a guilty verdict that arrives Tuesday at Italy's highest court, and Berlusconi's no longer joking. (AP Photo/Gregorio Borgia)
In this photo taken on Friday, July 19, 2013 Silvio Berlusconi attends a voting session at the Senate in Rome. Silvio Berlusconi, the billionaire media baron and former premier, sometimes quipped that he was running out of money after two decade of steadily paying millions of euros (dollars) to a stable of Italy's leading lawyers to defend him in a raft of criminal cases. The legal team earned its keep, either eventually scoring acquittals or devising strategies that helped stretch out the court calendar for so long the cases died when statutes of limitations ran out. But this time, they failed to deliver him from final judgment day for a guilty verdict that arrives Tuesday at Italy's highest court, and Berlusconi's no longer joking. (AP Photo/Gregorio Borgia)
ROME (AP) ? Silvio Berlusconi's political fate is in the hands of Italy's highest court, which is preparing to hear arguments in the former premier's fraud conviction.
Berlusconi has been convicted of tax fraud in a complex TV rights transaction for his Mediaset network, and sentenced to four-years in prison with a five-year ban on public office. This is his final appeal.
The Court of Cassation on Tuesday hears arguments in the case and is expected to issue a decision later in the day or Wednesday.
Berlusconi has no official role in Italy's uneasy coalition government, but remains influential and was key to the center-right's close second-place finish in February elections. He has a seat in Italy's Senate, which he would have to vacate if the lower courts' verdicts are confirmed.
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ALEXANDRIA, Va. (AP) ??A U.S. government employee, who struck and killed a man while driving in Zimbabwe in 2008, is now on trial in Virginia -- but he's not charged with causing the man's death.
The U.S. government opened its case Monday against Andrew Pastirik, on charges of vandalism for causing more than $1,000 in damage to the Toyota Land Cruiser he was driving in the incident. If convicted, Pastirik could face up to 10 years in prison.
Prosecutors said Pastirik was drunk when he struck Alois Pedzisai Matyoramhinga, 34, in Zimbabwe's capital of Harare.?
Pastirik's defense attorney said Pastirik was not intoxicated when he hit the man and that any other driver in the same situation would have had the same collision.
?2013 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
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LONDON (AP) ? A team of archaeologists said Monday it has unearthed an unusual coffin-within-a-coffin in the central England parking lot where it found the skeleton of King Richard III, and that they hope to identify the remains within.
University of Leicester scientists have been digging at the Grey Friars site in Leicester after finding the body of Richard there in September. He died nearby in 1485 at the Battle of Bosworth Field.
The team said it had discovered a fully intact medieval stone coffin during a dig in September but wasn't able to investigate it further at the time. When it was opened this week, the team said, it found a lead coffin within it, one likely to contain a "high status" individual.
Scientists think the lead coffin ? which has a hole through which the deceased's feet can be seen ? could contain one of the friary's founders, a medieval monk, or the remains of a 14th-century medieval knight, Sir William Moton.
The archaeologists say that tests must be carried out to determine how to open the lead coffin without damaging the remains.
The University of Leicester's Matthew Morris said no one on the team had ever seen a lead coffin within a stone coffin before.
"It was as exciting as finding Richard III," he said in a statement. "We still don't know who is inside ? so there is still a question mark over it."
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President Barack Obama hosted Hillary Clinton for lunch on Monday, treating his former secretary of state to grilled chicken, pasta jambalaya and salad, amid speculation that her possible 2016 White House run could also be on the menu.
White House spokesman Josh Earnest told reporters that the purpose of the lunch was "chiefly social" and emphasized that the two seasoned political players have a "genuine friendship" and just wanted to "catch up."
"It's largely friendship that's on the agenda today, it's not a working lunch," said the spokesman, who denied that Obama was already looking at possible successors.
Clinton's successor at the State Department, former Massachusetts Sen. John Kerry, was seen entering the White House a little after she did. But "the table is being set for two," Earnest said. Kerry was to meet later with Obama.
Clinton and Obama were expected to discuss the newly relaunched Middle East peace talks, the spokesman said.
Obama?s press office had announced the luncheon meeting, but there was to be no media access.
An embarrassing scandal involving top Clinton aide Huma Abedin may be another reason the former secretary of state wasn't planning to speak to reporters. Abedin is married to Anthony Weiner, who is refusing to quit the New York City mayor's race even after acknowledging he had continued the sexting behavior that forced him out of Congress in 2011.
Even barely past the halfway mark in 2013, ?Hillary 2016? rumors have swirled around Washington ? notably because of the possibility that this could pit her against Vice President Joe Biden.
?I can die a happy man never having been president of the United States of America,? Biden recently told GQ. ?But it doesn?t mean I won?t run.?
The magazine described Biden as being ?a Hillary Clinton away from the White House.? That?s a nod to the loose inside-the-Beltway consensus that he won?t run in 2016 if she does.
Hillary stepped down as America?s top diplomat Feb. 1 after serving out Obama?s entire first term. She has been giving speeches around the country, some of them handsomely paid, others for free.
Rumors that she might be looking to make Bill Clinton the first husband have stoked partisan political passions. There is a ?Ready For Hillary PAC? encouraging her to run and a ?Stop Hillary PAC? that, well, the name is a bit of a clue.
And NBC has decided to produce a four-hour miniseries based on Hillary Clinton's life from 1998 onward, starring Diane Lane in the lead role. That would likely start the story arc with the country in the grips of the scandal over Bill Clinton's affair with former White House intern Monica Lewinsky. It would then carry through her successful Senate race in New York, her defeat at Obama's hands in the fight for the Democratic presidential nomination in 2008, and finally her time as secretary of state.
Source: http://news.yahoo.com/-obama-hosts-hillary-clinton-for-lunch-132105936.html
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AUTHORITIES are testing oil samples from three ships to find the vessel responsible for a spill at the Port of Brisbane.
Crews are still working to clean up the 1.4km slick from Sunday night.
So far five birds have been found covered in oil and wildlife officers are searching for any others.
Maritime Safety Queensland has taken samples of the spilt oil and is comparing them with samples taken from three ships that were in the area at the time.
Investigators are also looking at CCTV footage.
The oil is now being recovered by a skimmer vessel.
"When this is completed the focus will turn to cleaning oil from piles and fenders along the wharf," Transport Minister Scott Emerson said.
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The campaign manager for Anthony Weiner resigned this weekend as calls for the New York mayoral candidate to leave the race mounted. But Weiner might have strong reasons for staying in.
Democratic candidate for New York City mayor Anthony Weiner speaks to members of Brownsville Community Baptist Church in the Brooklyn borough of New York Sunday.
Eduardo Munoz/Reuters
EnlargeWhatever one may think about Anthony Weiner, he has no small amount of pluck.
Skip to next paragraph Mark SappenfieldStaff writer
Mark is deputy national news editor for the Monitor.
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That was true when he was a member of Congress, where he sometimes spoke from the House floor in a verbal conflagration on the order of Sherman blazing through Atlanta. It was true when he entered the race for New York mayor two years after resigning from Congress in disgrace ? the titters of disbelief still audible in the press gallery. And it remains true today, when he has not pointedly not listened to his former leader in the House, Rep. Nancy Pelosi, who captured the feeling of many Americans in telling Mr. Weiner to "get a clue" and drop out of the mayoral race.
At this point, Weiner's refusal to give up his bid to be mayor of New York seems to have more than a whiff of sheer stubbornness. This, after all, is the man who continued the very behavior that forced him to resign from Congress ? trading raunchy and racy online posts with single women ? for more than a year after he left Washington. And that revelation, uncovered Tuesday, is what has brought us all to this moment of midsummer political tragicomedy.
Yet why should Weiner abandon his bid to become the next mayor of New York, really?
From the outside, there is no shortage of reasons. Bringing one of America's great cities into disrepute by association is only the most obvious. Weiner's campaign manager, Danny Kadem, apparently felt enough was enough, resigning his post this weekend.
But his resignation could point to some of the very reasons why Weiner has been so determined to continue his campaign ? and why it's not unthinkable that he could still be in the race when the election is held on Nov. 5.
Surmising why Mr. Kadem might have quit, Fordham University political scientist Joseph Mercurio suggested to Bloomberg news: "I suspect there's been a tremendous pressure on Kedem from labor campaigns and others who oppose Weiner, and I'm sure Kedem's interested in remaining in this business, and he can't take the pressure and he's leaving."
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Berkshire Hathaway's Warren Buffett dips bonbons with Victoria Melena May 4, 2013 during a visit to the See's Candies display at the 2013 Berkshire Hathaway Shareholders meeting in Omaha. Buffett is auctioning a personal tour of the See's factory
Billionaire investors don't often get to play Willy Wonka, but that's what Warren Buffett is going to do.
He is auctioning off an all-you-can-eat tour of the See's Candies factory in Los Angeles to benefit an educational charity he supports.
Bidding had already reached $30,000 by Monday, but it remains to be seen whether the final price of this auction will rival the annual auction of lunch with Buffett which routinely tops $1 million.
The online auction that runs through Aug. 13 will benefit Communities In Schools of Los Angeles. It is being offered on the charitybuzz.com website.
According to the site, Buffett will teach the auction winner the proper way to eat a bonbon during the half-day tour. Buffett's Berkshire Hathaway conglomerate has owned See's Candies since 1972, and he spends hours munching on See's treats while answering questions at Berkshire's annual meetings.
Buffett, known as the "Oracle of Omaha" for his investment acumen, is a philanthropist and the world's third richest man according to Forbes magazine. He did not immediately respond to questions about this new auction on Monday.
For more than a decade, the only time Buffett auctioned off a chance to meet with him was the lunch auction that helps fund the Glide Foundation's efforts to help the poor and homeless in San Francisco.
The winner of this year's lunch auction paid $1,000,100. That's a bargain compared to the previous five years when the winning bids all topped $2 million, including the record 2012 bid of $3,456,789.
The lunch auction winners get to spend several hours asking Buffett questions about business, philanthropy and life.
The fine print on the candy auction site promises only a meeting with Buffett (aka Willy Wonka) where the winner can take a picture with the renowned investor and get an item autographed, so the candy tour may not offer nearly as much opportunity to learn from Buffett.
Investors all over the world watch what Buffett does and try to copy his moves because of his remarkable track record of success. Through the end of 2012, Buffett's Berkshire Hathaway has delivered a compounded annual gain of 19.7 percent to investors ? more than double the S&P 500's growth rate.
And Buffett, 82, has been gradually giving away his fortune since 2006. He plans to eventually divide most of his shares of Berkshire Hathaway stock between five charitable foundations, with the largest block going to the Bill & Melinda Gates Foundation.
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It?s a treat to find an underground filmmaker dedicated to genre and tradition for what they are. Not to trash hard-core revisionists, who keep things interesting, especially when a style goes stale; they work in spite of those who resist ?typecasting,? which is, obviously, part of the game. And yet genres have remained strong through minor adjustment, to bolster revisionism that is cheered so much. (How often does a critic discuss how a film ?transcends? genre?)
An expressionist tribute, Jim Towns? 2009 Prometheus Triumphant is fine-tuned to depict its creator?s sensibility. His honest, natural approach removes the cold, academic feel common to such projects, while avoiding the temptation for parody. His latest film, House of Bad, fuses the heist film with supernatural horror (in spite of an unfortunately Tyler Perry-esqe title) with no taint of recent cross-promotion exploitation, too common in popular music.
I caught up with Towns over email to discuss his choice for a hybrid film, his love of film history, and his work in light of the current cinema.
Can you discuss how you came across the idea to fuse the crime genre with horror in House of Bad?
In 2009 my first film Prometheus had just been picked up, and I was working up some ideas for next projects. One of them was this idea about three sisters ? one of them a junkie ? on the run with a suitcase full of stolen drugs, who had to hide out in a motel room for weeks ? it was set in a motel then. I wrote about thirty pages and realized that unless it went somewhere the audience didn?t expect, it was going to get boring very quickly. The girls can only take so many showers, after all. So I let it sit for a while and wrote a few other screenplays. When I revisited it in 2011, it was the most natural jump for me to go ?what if this place they?re hiding in is haunted? What if something horrible happened there?? And then it was on. I like idea of straddling the horror/heist genres, to keep the viewer not knowing where the danger was coming from next- outside the house, or inside it. Nowhere is safe. I figured that would keep people watching.
I know you have a taste for film history, based on your earlier film, Prometheus Triumphant. Would you discuss how earlier styles influenced this film, if at all?
Coming out of fine art, as well as what I guess you?d call ?arthouse? filmmaking, the main thing I took away was the idea of NOT making the medium invisible. I enjoy films that have an almost-tactile texture to them- watching Prometheus; you can tell I obviously appreciate the patina of dust and scratches many early films have acquired over almost a century. Some more recent films have really captured this idea of the screen as a filter more than a window-Inarritu?s 21 Grams and Tony Scott?s Man on Fire are great examples. I think that the actual appearance of the image can in some ways be sympathetic to what?s happening on screen at the moment, so I like to sometimes push the actual film/video elements to capture that emotion as well. Sometimes it?s nice to be able to see the brushstrokes. It?s hard to explain in words ? the best example is, I saw a 70mm print of The Road Warrior a few years back that was totally effed up ? light damaged, dirty, scratched. It looked like the physical film itself had gone through the apocalypse along with the characters and cars you were watching. It was awesome.
I?d like to hear you discuss current horror trends, what inspires you, if any, and perhaps, what you deliberately avoided.
I don?t watch horror movies that start with a group of kids heading up to a remote family cabin to party. Because come on, really? There?s a LOT of crap out there right now? like oceans of it in the small-budget world, and it?s hard to sift through to find the gems, but they are there.
I try to watch a healthy range of what?s coming out in horror, from large to no-budget, to stay current with what?s succeeding and what?s not ? financially and artistically. Right now you?ve got most studios churning out a ton of supernatural stuff, because it?s cheap and you can be scary, but still have a PG-13 rating to get teens in the theater- as opposed to a slasher remake like Last House on the Left (which I didn?t hate). It?s the same as that whole Asian-inspired thing that happened a few years back where they remade every Japanese horror film from the last ten years, all the way down to that flick with Jennifer Connelly, Dark Water. ?Look out! The water is evil!?? This trend will go for a while, then die down. Then the next no-budget film like Paranormal Activity will come out and make a splash, and they?ll do their inflated takes on it. It?s like the horror movie Circle of Life.
I do enjoy some of the studio entries ? the production value is always gorgeous, after all, and they get a high degree of acting talent. But I think what really scares people is the unpredictability (sometimes downright irresponsibility) of films not made under the aegis of studio supervision, test audience input, marketing metrics, what have you. The new generation of Texas Chainsaw movies are good films. Well-conceived, beautifully shot, great performances? but they?re not that scary. Except for R. Lee Ermey? that performance is totally horrifying, haha.
My point is, all that money and resources can actually work against you and soften the raw visceral impact that horror films depend upon, and that?s something I?m careful about when making my own stuff. The original Hooper Chainsaw looks like a friggin? snuff film- it makes you think you?re watching the scariest documentary ever made, haha. There?s this subconscious feeling that maybe you can?t actually trust the people that made the movie you?re watching- like riding a rickety roller coaster, and that?s truly scary because you can?t depend upon the movie to end in one of the four-or-five predictable tropes. So I?m always into films that exist in this outland area of filmmaking, but are really well made, films like Let the Right One In, Rare Exports and Stakeland.
Your use of one principal location is clever in both the budgetary and narrative sense. How important was the theme of claustrophobia to you?
Very. The single location for House of Bad was obviously a budgetary choice to start with, but it?s absolutely at the crux of the story. I?m not going to say the house was one of the characters, because everyone says stuff like that and it?s pretty boring by now. But it was all a very conscious effort between me, my DP Chad Courtney, and my art director Nikki Nemzer to create the same feeling in the viewer as the girl characters are going through ? covering all the window with newspapers to block out the view outside, keeping the lighting dimmed both day and night, just these filtered shafts from outside, and every once in a while cutting to an exterior shot to show where the girls couldn?t go. Every trick we could manage to make your whole being just scream to be let out of that house.
I think horror only really works when it taps into our deep-seeded phobias. The two biggies, probably our most primal ones ? claustrophobia and agoraphobia ? come from when our ancestors lived in caves and were hunted by wolves. They?re universal. They come up in everything from Poe?s stories to I Spit on your Grave ? this fear of either being trapped, or of being exposed and vulnerable in the open ? they?re like twin pillars of terror for a modern society that, if you think about it, has no reasonable need to fear open or enclosed spaces anymore, and yet we do- that?s how ingrained they are in our ape brain.
Fun fact: I actually stayed at the location the entire time we were shooting there, sleeping there at night after we?d wrap. It was a house in Pasadena that belonged to a friend of my wife and I. She went out of town while we took her place over, so I stayed to keep an eye on things while we filmed. I was obviously very busy and focused on the job, and then one day I realized I hadn?t been off the premises in at least four days. I was probably going a little stir crazy. But I think that helped me, going through the same cabin fever the characters were struggling with.
As a low budget production, I?m curious about how this one went as compared to others.
I?ve had some tough shoots in the past. I?ve had films fall apart the weekend before filming, I?ve had to walk away from projects I l was really excited about doing, and I?ve written for others and been astounded at how dysfunctional a set can be- and it always ends up showing on screen. But Filming House of Bad was one of the best experiences of my life. Like, up there with my honeymoon. Okay, not quite. But it was a great time. We collected a fantastic and super-talented little crew, where everyone could do one-and-a-half jobs, so we needed less people. And they all were a blast to be around for those long hours. That?s another thing people always say, but usually they?re lying and I?m not. On any film it always seems you have at least one dickhead in the mix- it?s like the law of averages. But we managed not to. The shoot was hard, of course. We saved money by shooting on a very compressed schedule, but of course that meant regularly doing 10-12 page days, which is unheard of in ?legitimate? filmmaking. But it?s achievable, and not really that hard. The secret, along with hiring the right people, is just knowing exactly what you need to shoot going in- being prepared, being over-prepared- with storyboards, breakdowns, uber-detailed shot lists, whatever you need so that almost everything you?re shooting is worth the time, and you?re not wasting valuable minutes trying to ?find it?. A filmmaker who walks on set without an absolutely clear idea of what he or she wants, to me, is frankly being grossly irresponsible with the trust they?ve been given.
Our post-production, on the other hand, was pretty challenging. It took a long time- over a year, because we were pulling in favors from people who work in the studio world, on films like Public Enemies, etc. So we had to work around a lot of schedules to get our edit, sound, score, color and VFX done. But it was worth the wait, since we got studio-caliber talent to give the film that same high-quality for the modest budget we had.
Many gangster films thrived on various locations, with all the grandeur the scope suggests, except for invasion flicks like The Petrified Forest and Key Largo. I?m curious if this tradition inspires you at all, while recent home invasions, like Funny Games, veer towards extremism.
Key Largo?s one of my all-time favorite films. I once spent the better part of a year- I think it was 1998- watching only films that were made before 1950. I spent a month alone watching only Bogart films like Key Largo, High Sierra and To Have and Have Not. I still read more early-20th century pulp than I do anything else- Raymond Chandler, Sax Rohmer, Lovecraft, Clark Ashton Smith. I often listen to The Shadow or Inner Sanctum radio shows at night before bed to relax my brain. While I enjoy the hell out of a lot of modern films, I think my tastes have always run towards an older style of drama. Smarter instead of just clever, character-based rather than dependent upon random plot twists, purposely leaving room in the narrative for the viewer to fill in the gaps, rather than pandering to them by explaining every single element and event. Just a classier way of storytelling. I think you can do that, and still be compelling to an audience in the 21st century. Everyone doesn?t have to understand everything about the film the first time they watch it. If they like it, they?ll watch it again and get more and more each time.
You used Funny Games as an example. I thought it was good (both the European & American versions), but it was like torture to watch. Which is the point, of course, I realize. But I mention it because that?s something else I?m a firm believer in- the idea that films have to be at least in some small way enjoyable to watch. That seems like an idiotic statement, right? Of course they have to. But if you think for a second about serious movies, super-serious films like Schindler?s List. It?s a film about heroism in the face of atrocity. It shows awful things happening to innocent people. At the same time, it still manages to be an enjoyable viewing experience. Sad, but incredibly compelling. There are little moments of brevity. It?s not a mordant three-hour trek through human misery. If it were, the thing would be unwatchable. So in some small way, even if the film you?re making is about horrendous stuff? ESPECIALLY if it is, as a filmmaker I think you have to find a way to make it fun for people to watch. Otherwise I think you?re kinda just punishing your viewers, or worse, giving them a kind-of cathartic release in watching people be tortured and/or killed. And making money off that, which is kind of gross to me as well. It?s not about the content; it?s about the way you choose to deliver the content. We hear about that kind of inhumane shit every day, this senseless hurt and violence, I don?t really see the point in just regurgitating it on screen, unless there?s a larger point to be made? I just think as filmmakers we can be more inventive with our storytelling. I?m not down on violence or gore or anything in films, I love all that stuff. Seriously. Just make it worth 90 minutes of my life. Don?t make me sorry I didn?t just re-watch Dog Soldiers for the thirtieth time.
With a cast of mostly women, can you discuss what you looked for in your performers? Is there a certain role on which you think this film relies?
I think Sadie Katz?s character Sirah is the key. She?s the audience?s heart, that middle child who just wants everything to be okay. Sirah doesn?t start out as a hero in any way. Really, she?s the most timid of all three. But when circumstances force her into action she does it, and reveals a depth and strength she (and the viewers) didn?t think she had, and we naturally root for her.
When it came to casting, I was after different qualities for the three different roles in the film. The contrast between the three was the critical element. All three characters had to be very clearly demarcated so there was no room for confusion as to motivations, etc. when things started getting crazy in the film. Sadie had originally auditioned for the Teig character, and she brought this edgy, almost out-of-control rage to it that was amazing to see, but would have been hard to sustain for 90 minutes. Heather Tyler came to me through my producers, who had seen her in a one-woman play. She was probably the most different from the character she played. Cheryl Sands is one of those effortless actors who you say action and she just does it, and is great. It?s like some kind of alchemy.
Do you ever consider the place for women in traditional slasher films, the sexual victims and the virginal ?final girls,? when making your films?
Seriously, no, I don?t think I think about it consciously? I think that whole sexual Darwinism survival clich? grew out of the fact that the main actresses in slasher films were more established and wouldn?t do nudity. So the sex scenes were left to the more minor actresses, who naturally die earlier on than the main girl. That?s why I made all the actresses in House of Bad get naked, so there?s no predicting who will survive.
Slasher films are all about cheating death. If you can just run fast enough, think quick enough, duck at the right moment, you can survive. In real life people get cancer, innocent bystanders get shot, kids get killed by drunk drivers. It?s a thousand times more horrifying than some dude running around with a machete, if you think about it. The sheer randomness- there?s no reason to death at all. It often comes out of nowhere, and we?re powerless to stop it in the end. Slasher films let us pretend that we have a say in our own fate, they give us the vicarious feeling that we have some power over death. It?s like therapy, except you usually don?t spill Diet Coke in your lap during therapy.
You upcoming feature, 13 Girls, also obviously relies on women. It seems as if you have a more sympathetic stance toward then gender, than the objectifying female presence in Prometheus. Can you discuss why the change since then?
That?s an interesting comparison. Prometheus? story was really built around a variety of themes and motifs appropriated from films we were emulating style-wise as well ? Nosferatu, Caligari, Phantom of the Opera ? and others. So that?s why you have the Esmeralda character treated as both a piece of flesh, and also this paragon of womanhood. Thinking back, that was maybe a carry-over from our source material, rather than a conscious decision.
You?re always looking for things that you do better than your competitors in filmmaking. One of those things for me, as I?ve grown as a writer over the last ten years, is this ability to write rounded, believable female characters. Maybe its because I was raised by a single mother, maybe it?s a past-life thing, who knows ? but it?s been a gift in that I was able to attract very talented actresses like Sadie, Heather & Cheryl to HoB. Sadie is the lead in 13 Girls, which will feature other great actresses like Jamie Bernadette, Stef Dawson, and hopefully some legendary female horror icons like PJ Soles, because they like the way I write women. I?m a firm believer that to be really pulled into a film, you have to care about the characters, and for you to care about the characters they have to feel real, like someone you know. It?s all about the verisimilitude.
How do you feel about remake-crazy studio films, especially horror? If you had the chance to remake one classic horror film ? assuming you?d be delighted to take on a legacy ? which would it be and why?
Studios remake things, because then whatever they?re making is already a proven property- it?s been market-tested. That?s why they reboot hits like Total Recall, and don?t remake The Golden Child. They?ve been doing this ever since the 30?s when they remade all the silents into talkies. They remade Ben Hur and Robin Hood in the 30?s and they remade Mystery of the Wax Museum in the 50?s and The Thing in the 80?s and Friday the 13th and Nightmare on Elm Street in the last few years, and they?ll keep doing it. Some of those remakes blow, some are great. Carpenter?s TheThing is fantastic. I think the Steven Sommers Mummy films are fun, and I really like Zach Snyder?s Dawn of the Dead remake. Doesn?t mean I don?t like the original versions, too.
Film is a bizarre art form. It has this communal thing, where viewers feel like they have a certain ownership in your work. That?s what?s great about the medium, but it comes with its share of grief, too. I got full-on laughed at during my first short film screening in 2003. Like out loud. If you?re going to sustain a career making movies, you very quickly resign yourself to the fact that some people are going to love whatever you do, some are going to hate it. Some are going to decide they hate it before they?ve even seen it, and they?re not budging. You can?t please everyone. The trick is to just make a rocking movie, I guess, something that you would love to go see if someone else had made it.
I?d love to do a steampunk-inspired version of Robert Louis Stevenson?s The Strange Case of Dr. Jekyll and Mr. Hyde. Of all the classic horror icons, that?s the one that, if we?re honest, has NEVER really been done exceptionally well. The book itself is a brilliant concept but falls way short on drama, and films have more-or-less followed its lead. Jekyll?s ?evil? alter ego is far-too often just, well, kinda rude, rather than actually evil. A few films have touched on the pool of savagery that could be exploited, but I think there?s still an unrealized opportunity there to infuse the Victorian vibe of the story with some real kinetic elements, not dissimilar to Guy Ritchie?s Holmes films- maybe a little less cheeky, though. Okay, maybe a lot less.
There?s a few bizarre little films I think deserve a new incarnation, like Tod Browning?s West of Zanzibar, which stars Lon Chaney Sr., about a crippled stage magician who goes to Africa and becomes a witch doctor. Browning?s biographer and all-around classic horror guru David J. Skal called Zanzibar the most ?Emotionally corrosive? film of Browning?s career. That?d be worth a shot, right?
Ever see the Shaw Brothers? Legend of the 7 Golden Vampires? That totally needs a fresh take. Come on, it?s got Van Helsing?s daughter fighting samurai vampires. It?d be awesome. Someday, maybe.
Posted on July 29, 2013 in Interviews by Matthew Sorrento
Source: http://www.filmthreat.com/interviews/69639/
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JERUSALEM ? Responding to a close Israeli Cabinet vote to release 104 Palestinian prisoners, U.S. Secretary of State John F. Kerry announced Sunday that both sides would meet in Washington to relaunch long-stalled direct peace talks.
Israeli Justice Minister Tzipi Livni was expected to begin preliminary discussions with chief Palestinian negotiator Saeb Erekat as early as Monday evening, U.S. and Israeli officials said.
A spokesman for Palestinian Authority President Mahmoud Abbas confirmed that he had accepted Kerry's invitation to send Erekat to participate in what the State Department described as a preliminary meeting to establish a "procedural work plan" for negotiations in coming months.
Palestinian officials cautioned that some outstanding issues must be clarified before full-fledged negotiations can resume.
Underscoring the fragility of the environment, a dispute emerged Sunday over the identities of those prisoners slated for release. Israelis insisted that the list will not include any Arab Israeli prisoners, while Palestinians were demanding that about a dozen Arab Israelis be among the 104.
Nevertheless, Palestinians said Israel's concession would clear the way for them to join the U.S.-led process.
"I welcome the Israel government's decision," said Erekat. "Now we should focus on the opportunity the United States is providing for us and make sure we make every possible effort to reach our goals of creating two states."
Kerry, who had made the resumption of direct Israeli-Palestinian talks one of his top priorities, thanked Israeli Prime Minister Benjamin Netanyahu and Abbas for their cooperation.
"Both leaders have demonstrated a willingness to make difficult decisions that have been instrumental in getting to this point," Kerry said, according to a statement issued by his office. "We are grateful for their leadership."
Netanyahu had to work much harder than he anticipated to lobby his right-wing coalition partners to approve the prisoner release, which Palestinians demanded in exchange for returning to the negotiating table.
The vote was delayed by several hours Sunday as the prime minister pressured reluctant Cabinet members to support the measure, which will set free dozens of Palestinians convicted by Israel in the 1980s and 1990s of terrorist attacks against Israelis. Thirteen of Netanyahu's 22 Cabinet members voted in favor with seven opposed and two abstentions.
Outside the prime minister's office, more than 200 protesters, including family members of terrorist-attack victims, carried pictures of loved ones as they denounced Netanyahu for succumbing to pressure from Palestinians and the United States. Some held up hands covered in fake blood.
"This moment is not easy for me," Netanyahu said after the vote. "It is not easy for the ministers. It is not easy especially for the families, the bereaved families, whose heart I understand. But there are moments in which tough decisions must be made for the good of the country and this is one of those moments."
He said the regional unrest caused by the "Arab Spring" was pushing Israel to settle its differences with Palestinians.
"I believe that resuming the diplomatic process at this time is important for the state of Israel both in order to try to bring about an end to the conflict and, given the complex reality in our region, especially the security challenges from Syria and Iran," Netanyahu said.
Conservative lawmakers scolded Netanyahu for agreeing to make concessions solely to bring Palestinians back to talks. Netanyahu had previously said he would not accept Palestinian preconditions.
Agriculture Minister Yair Shamir said after the vote that it marked the first time Israel had agreed to release prisoners convicted of terrorism as a gesture to restart talks rather than as an exchange for an Israeli captive or body. "This decision sets a dangerous precedent," he said.
Many were particularly opposed to the release of Arab Israeli prisoners who were convicted in Israeli courts of killing Jewish Israelis, saying Palestinians had no authority to represent Arab Israelis.
The names of the 104 prisoners have apparently not been determined. Netanyahu formed a committee of Cabinet members, which he will lead, to identify the prisoners to be released and set the timetable. Israeli Science Minister Yaakov Peri told the Israeli news site Ynet that no Arab Israelis would be included without further Cabinet approval.
Prisoners are expected to be set free in four stages over the next nine months, but releases will be contingent upon progress made at the negotiating table, Netanyahu said.
Earlier Sunday, Netanyahu won Cabinet approval for a draft bill that would require ? if passed by the Knesset, Israel's parliament ? that any final peace deal be approved by voters in a referendum. The measure was seen as an effort to make right-wing lawmakers more receptive to the prisoner release.
The referendum bill ? which was pushed by Jewish Home party leader Naftali Bennett ? will be introduced as a so-called Basic Law, which is roughly comparable in Israel to a constitutional law in the United States. Israel has no constitution, but Basic Laws are intended to secure basic rights and trump other laws.
A similar referendum law was passed in 2010, but it was not a Basic Law and is currently being challenged in court.
Passage of a referendum could face difficulties in the Knesset. Some lawmakers fear that requiring a referendum puts another obstacle in the way of reaching a deal with Palestinians.
Others say using the referendum process sets a bad precedent for Israel's democracy, warning it will open the door for using referendums on other controversial issues, such as going to war, reducing the budget or expanding settlements. They insist such matters are better left to the elected representatives.
"Only a few months ago, the people elected its representatives to the Knesset and government to run the country on its behalf and make important decisions," said Zehava Galon, head of the liberal Meretz party, on her Facebook page. "Now, at the time of truth, these elected representatives are running away from their responsibility."
edmund.sanders@latimes.com
Special correspondent Maher Abukhater in Ramallah, West Bank, contributed to this report.
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By?Lhoussine Qasserras
Morocco World News
Kenitra, Morocco, July 28, 2013
It is evident that print media is a considerably powerful force in framing our conceptions and understanding of the self, the other, as well as the universe for the sake of influencing the political process. Print media forms the real public space through which people become fully aware of what is going on across the world. The print media uses a variety of strategies that can both manipulate and alter people?s opinions and perceptions. In this sense, the majority of citizens believe that journalists are somehow biased when covering women in general and female politicians in particular.
We notice that press all over the world devotes little time and space to talk and write about women?s contributions in presidential elections, communal councils, or national parliaments, compared to the opposite sex. They stress their description and portrayal on the roles that should be played either by men or women separately. Women are thought to belong to the family and home life, while men are seen as political agents. Media mainly focus on women?s life-style, interests, domestic life and so on and so forth. They create obstacles for women?s participation in all domains, particularly in politics by concentrating on their domestic aspects of life. For example, in the previous American presidential elections (2008), a Facebook group titled a page, ?Hillary Clinton: Stop running for president and make me a sandwich?. This indicates that women are always looked as ?MOM?, and are expected to stay at home and cook for their kids and husbands.
The media develops in-depth stories and powerful messages that suggest that a woman?s main place and role is related to her home. She should be a house-wife, mother, and look after her husband. To print media, women are more suitable for ?soft? issues such as domestic-life, health and education, while men for ?tough? issues such as foreign affairs, politics and industry. Thus, men politicians do not receive as many prejudices as women do.? Men, entering the political sphere, find no difficulties because print media is more interested in their actions, whereas women have to double their efforts since they are evaluated, judged and looked at through the lens of sexist, gendered stereotyping attitudes. Indeed, media has the power to convince and change people?s point of view towards women politicians. They truly hinder female active participation in the political life by using dominant gender frame as a unit to analyze and assess their skills and competencies.
With all these points and questions in mind, it is more apparent that female politicians are under-represented by print media in developed and developing countries, but with different degrees. Consequently, intentionally or without intention, the media puts men at the core of the political activities and decision-making policies while marginalizing women?s agendas and perspectives.
Edited by Allison Kreamer
The views expressed in this article are the author?s own and do not necessarily reflect Morocco World News? editorial policy
?Morocco World News. All Rights Reserved. This material may not be published, rewritten or redistributed
Source: http://www.moroccoworldnews.com/2013/07/99167/print-media-and-women-politicians/
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It is true that commercial investment tends to be more profitable than residential property investment. Finding good opportunities isn?t easy. Read these tips to learn how you can maximize your chances of finding the best deals and concluding a good transaction.
Before you consider leasing or renting, look into whether or not pest control is covered in the lease. This is especially true when renting in an area that has a lot of bugs or rodents, so be sure to talk to the rental agent about some pest control policies.
TIP! There are many websites available that offer information to investors; therefore, learn all you can before searching for commercial property. Learning is an ongoing process, and you can never know enough.
Search online for websites that provide information about real estate investments. These general interest websites can provide you with useful information whether you?re new to the world of real estate investment or have made a career out of investing. Excessive knowledge isn?t a problem you have to worry about, so it always proves smart to learn all you can.
As with other property purchases, pay attention to the three Ls: location, location, and location. You will want to consider many things, including the neighborhood that the property is located in. Look at the growth in similar areas. The ideal location is situated in an area that can sustain economic growth for many years to come.
If you are trying to choose between two good commercial properties, think big. If you will be financing the purchase, you should take into account that doing so will require just as much time and effort for a small lot as it will for a larger lot. This works in the same way as buying bulk items from Costco. You buy large numbers of items to pay less per item.
TIP! Pay attention to the location of a property. For example, consider the surrounding area and local neighborhoods.
When starting out in commercial real estate, it is important you understand the measurement labeled Net Operating Income, or NOI for short. Having positive numbers is the only way to ensure success.
Ensure that the amount of money you want for your commercial property makes sense, given local market conditions. Different variables can have an impact of the value of a lot.
Try to keep your properties occupied. If no one is paying you rent, you?ll be the one footing the bills. If you have more than one empty property, think about why that may be, and consider what you may be doing to drive tenants away.
TIP! It is always best to be aware of how your asking price is in relation to the market price. There are a lot of factors that determine the value of the lot.
In writing letters of intent, focus on major issues to begin with. Many smaller issues will fall in line on their own with this approach. If not, you can work them out later. This will make negotiations less tense and make gaining agreement on the smaller issues easier to complete.
Before you begin searching the market for a new property, outline what you need. Make a list of the property features most important for you, such as square footage, number of offices, conference rooms, and restrooms.
TIP! If inspections are part of the deal on your real estate, be sure to check all the credentials of the hired inspectors. You need to be especially diligent when it comes to hiring a pest control service, as many people who work in this field aren?t accredited.
Always go through the disclosures of an agent before hiring him or her. Determine if there is a possibility that he will be working as a dual agent. In a dual agency the Realtor represents both parties of the transaction. In other words, the agent is representing both you and your landlord in the same transaction. An agent should always disclose dual agency, and it must be acceptable to both parties.
If you are novice investor, you should start off with just one single type of investment. Select the type of property upon which you wish to focus, and pay close attention to your dealings. It?s better to be very good at one particular type of real estate than to be okay at a lot of different types.
TIP! Try to keep your commercial property rentals at full occupancy. If you have any empty property, then you are responsible for its upkeep and maintenance.
Interview your prospective real estate broker to determine what they view as failures and successes, to see if their standards match yours. Ask them how their results are measured. Gain a clear understanding of their preferred strategies and methods. Don?t use a broker who has wildly different values than you. You should feel comfortable with their strategies, and with any beliefs they have regarding real estate, especially their beliefs about what will promote success.
You should do this to ensure that the terms are the same as the pro forma and the rent roll. If you fail to closely examine these terms, you may not notice that there are terms that were not thought about with regards to the rent roll, altering the pro forma.
Keep your focus on just one investment type at a time. Keep your focus on one certain type of property, whether it?s land, retail, apartments or offices. It is best to be able give each investment your undivided attention to ensure the best possible results. You are better served by mastering one investment than floundering with many.
TIP! With the commercial property, you need to make sure there is easy access to the utilities. Your particular business might need additional services, such as cable, but at the minimum there should probably be sewer, water, phone, electric and gas.
You should be aware of any environmental concerns. Hazardous waste on the property is a large area of concern. It?s up to you to be aware of the issues, fix them, and have them inspected once complete.
Create a newsletter or update social networks with information on real estate. After you have finished a deal, don?t vanish from sight online.
After reading the article above, you should know the basics of making a good investment. Exercise flexibility and quick thinking while you use the market. This will help you find the good opportunities, and make the most out of your time, efforts and investments.
TIP! Look at the surrounding neighborhood before you decide on purchasing a specific commercial property. Affluent neighborhoods tend to have residents with larger budgets, making a commercial real estate property in such an area is a great choice.
Source: http://www.maynaseric.com/get-into-commercial-real-estate-with-this-advice-4
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