Monday, November 23, 2009

MTV Awards-Show Director Tapped for Oscars....British director Hamish Hamilton has long credit list of music shows, videos

MTV Awards-Show Director Tapped for Oscars



British director Hamish Hamilton has long credit list of music shows, videos.

The Oscars want their MTV.

Hamish Hamilton has been named director of the 82nd Annual Academy Awards, a sign that first-time producers Bill Mechanic and Adam Shankman may push the Oscars further into the musical performance-heavy territory that the telecast found critical and ratings traction with last time around.

The 43-year-old Brit has steered the stylish and freewheeling MTV Video Music Awards going back to 2006, and this year helmed “Neil Diamond: Hot August Night/NYC” and “Be the Change Inaugural Ball.”

“Hamish is a first-rate live-show director who will bring enthusiasm, experience and a fresh eye to the table,” said Shankman in a release.
“He’s also a master of working with all of the latest technology in television production, which speaks to the kind of cutting-edge show Bill and I are planning.”

Hamilton also directed “The Victoria’s Secret Fashion Show” five out of the past six years and has several live musical and live awards telecasts to his credit.
He has worked with such diverse artists as U2, Evanescence, Peter Gabriel and Eminem.

Together Shankman, a choreographer and one of the judges on “So You Think You Can Dance?” and director of the film “Hairspray”; and Mechanic, the producer of “Coraline” and former chairman of Fox, chose Alec Baldwin and Steve Martin as co-hosts earlier this month.

Hamilton becomes only the fifth man in the last 38 years to direct the Oscar telecast.
Beginning in 1972, Marty Pasetta handed the job for 17 consecutive shows, largely inventing the modern Oscar show before he was bounced for being a little too imperious.

Margolis took over for eight years, beginning in 1989; Louis J. Horvitz followed with a dozen shows.
Roger Goodman directed the Oscar show earlier this year.

He apparently was chosen out of four finalists who spoke to Mechanic and Shankman. (Margolis was in the running; as were Goodman and veteran TV director Gary Halvorson.)

“Adam and I know that having Hamish at the helm will give us the right style and energy for the show we want to produce,” said Mechanic.
“And his approach definitely won’t feel like ‘business as usual.’”

Thursday, November 19, 2009

'Let's Get Ready to Rumble' Worth $400M.....After Throat Cancer Last Year, Michael Buffer Keeps His Unmistakable Voice

'Let's Get Ready to Rumble' Worth $400M


After Throat Cancer Last Year, Michael Buffer Keeps His Unmistakable Voice


By JOHN BERMAN and MICHAEL MILBERGERNov. 9, 2009





When Hollywood producers cast a ring announcer in a boxing scene, they know there's only one man who can properly play the role: Michael Buffer.




Michael Buffer's "Let's get ready to rumble" can rouse crowds of thousands.


Cast in more than 20 movies and television shows, from "Rocky" to "South Park" to the new movie "2012," Buffer, 65, gives the scene an authenticity viewers demand.


His booming voice, dashing good looks and natural charisma demand attention, while his catchphrase 'Let's Get Ready to Rumble,' makes him unforgettable.


Those five words -- 'Let's Get Ready to Rumble' -- have made Buffer the undisputed king of boxing ring announcers and a hugely successful entrepreneur.


By trademarking his catchphrase, Buffer has generated over $400 million in revenue, selling the rights to music, video games, merchandise and while making personal appearances.

His business venture is so successful, Buffer doesn't even have to say his catchphrase to make money.

He makes more from the trademark than he does announcing in the ring.


His catchphrase has brought Buffer more than just fame and fortune.

It's also brought him family.


Raised by foster parents in Philadelphia, Buffer was re-united with his biological father and half-brothers in 1989 after his father saw him announcing on television.

Buffer's half-brother Bruce is now his business partner and the announcer for the Ultimate Fight Championship (UFC), a mixed martial arts series.

Demi Moore's W Cover: Worst Photoshop??????????????

Everyone knows by now that magazines extensively airbrush the stars on their covers, and usually the celebs appreciate a little touchup and wouldn't want it any other way.
But imagine Demi Moore, 47, getting her first look at the latest (December) cover of W and finding that a huge chunk of her hip has been digitally removed


That's what the folks at Boing Boing called attention to yesterday.
The mistake hardly needs to be pointed out.
If you look at Moore's left hip (our right), it seems that what used to be flesh is now a great deal of white space.
But, don't worry, Mrs. Kutcher's thigh still seems normal, though now it appears to bulge out below her sarong.


Magazine covers go through an exhaustive process of approvals, so it's puzzling that this one made it to press with a mistake so obvious it's visible a few yards from the newsstand.




Victor Issa is one of the foremost figurative sculptors in America today, and is heralded for his remarkable ability to make bronze appear alive.
His artistic hallmark "Creating Living Bronze" is the embodiment of his life-focused spirituality, respect for the human figure, love of life, passion for perfection, and undaunted perseverance.


Victor has been sculpting professionally for nearly two decades.
His works have been featured in shows and exhibitions across America since 1985.
Victor's sculptures are displayed in private and public collections worldwide.

Active in the fine arts community, Victor is co-founder and president of the Loveland Sculpture Invitational Show & Sale, the largest sculpture show in the United States.

“Inviting Joy” is meant to depict the joy of living, loving and taking life in its fullest measure; open, welcoming, cherishing and stirring us deeply.

Invite this presence into your life to remind you of the joys of life daily.

Wednesday, November 18, 2009

LBN-INVESTIGATES:

The revenues generated from gambling is more than than those from
movies,
cruise ships,
recorded music,
theme parks and
spectator sports combined


WOMEN DISAPPOINTED BY QADDAFI'S PARTY:

"Seeking 500 attractive girls between 18 and 35 years old, at least 1.70 meters (5 foot, 7 inches) tall, well-dressed but not in mini-skirts or low cut dresses," the ad read.


Gaddafi girls: Women recruited to attend a reception held by the Libyan leader leave with copies of the Koran

There were promises of 60 Euros and Libyan gifts.
200 women in Rome turned up for Libyan Leader Muammar Qaddafis party.
Or so they thought.
Instead, they had to wait in a large hall until Qaddafi arrived.
Then he began lecturing them on the role of women in Islam.

Glamorous: The women were told not to wear mini skirts to the gala - but the dictator insisted 'heels are OK'


At the end, Qaddafi told them to convert to Islam and gave them each a Quran and a book of his wisdom.
"It was anything but the VIP party we were expecting, they didn't even give us a glass of water," one woman said.

Monday November 16, 2009 @ 2:03pm

Sony now claims 2012 "exceeded our estimates" yesterday by over $5 million worldwide.
So Roland Emmerich's disaster pic did $165.2 million overseas and $65.2 million domestically for a new worldwide total of $230.4 million.
That helped Sony Pictures set a new studio record for international box office with $1.634 billion for 2009, and counting, that broke the 2006 previous record.
The studio thinks it's on track for "the best box office year worldwide" in its history and issued a press release to that effect.
That's because of big overseas numbers for 2012, Angels & Demons ($352M), Terminator Salvation ($220.6M), District 9 ($88M), The Ugly Truth ($112M) and Michael Jackson’s This Is It ($155.2M).
Jeff Blake, chairman, Sony Pictures Worldwide Marketing and Distribution said in a statement, “Our performance this year re-emphasizes the importance of the international marketplace and the enormous value of a release slate with global appeal."
Sony Pictures also says it's on track to make 2009 its best year ever worldwide and pass $3.334 billion, the record the studio set in 2006.
In addition, SPRI could potentially pass the $2 billion mark at the international box office, a number that has been reached by any studio only 4 times in history.

Monday November 16, 2009 @ 4:03am

Oscar winner Kim Basinger has left her longtime agency CAA to sign with UTA board member and talent head Tracey Jacobs over the weekend.
Basinger will continue to be managed by Oren Segal at Media Talent Group.

UTA has hired Jason Egenberg in the TV Talent department.
He was previously a manager at Rebel Entertainment.

CAA has signed actors:
Juliet Binoche, Academy Award winnerNasim Pedrad, a new SNL cast member.
Sherri Shepherd, Emmy Award winner, co-host of The View,
star of Sherri Rachel Bilson, of the Fox TV hit The O.C. and films The Last Kiss, Jumper, New York, I Love You
Ludacris, Grammy winner (Crash, Hustle & Flow, 2 Fast 2 Furious)
Willie Nelson, recording artist and actor

And the following writers and/or directors:Chris McQuarrie (The Usual Suspects, X-Men, Valkyrie)
Audrey Wells (Under The Tuscan Sun, Shall We Dance, The Truth About Cats & Dogs);
Kevin Walker (Seven, Sleepy Hollow, The Wolfman)
Danny Cannon (Jerry Bruckheimer's Dark Blue, The Forgotten, CSI, CSI Miami, CSI NY
Matt Reeves (Cloverfield, Felicity)Bryan Bertino (The Strangers)Clyde Phillips (Dexter)




Gersh has signed the following actors:
Selma Blair from CAA
Katee Sackhoff from WME
Rachelle Lefevre (The Twilight Saga: New Moon)
Eion Bailey (Almost Famous, Fight Club)
Parminder Nagra from WME (ER, Bend It Like Beckham)

The following feature writers and/or directors:
Donald Petrie from WME (How to Lose a Guy in 10 Days)
Jon Harmon and Scott Elder from Paradigm (Snow White and the Seven Shaolin)
Chuck Russell from Paradigm (The Scorpion King, The Mask)

Comedy/Personal AppearancesNorm MacDonald from CAA (Saturday Night Live, Dirty Work)
Tom Green for PA (The Tom Green Show, Road Trip)
Christopher Titus from UTA (Titus)
Tommy Davidson from WME (Ace Ventura: When Nature Calls, The Proud Family)
Carrie Fisher from APA (Family Guy, Sorority Row)

New Hire Carolyn Sivitz, feature lit agent from WMA

Paradigm signed the following actors:
Nia Vardalos from CAA (My Life In Ruins, My Big Fat Greek Wedding)
Jill Hennessy (Crossing Jordan, Law & Order)
Eugene Levy from WME (American Pie, Bringing Down the House, Cheaper by the Dozen 2)
Robert Patrick (Terminator 2, The X-Files, The Unit)
Thomas Kretschmann (Valkyrie, Wanted)
Natasha McElhone (Surviving Picasso, Laurel Canyon, The Other Boleyn Girl, Californication)
Jessica Jade Andres (The Last Airbender)
Carly Chaikin (The Last Song)
Kristen Johnston (Third Rock From The Sun, Bride Wars)
Damien Dante Wayans (Malibu's Most Wanted)

Feature & TV writers and/or directors:
David McKenna (Blow, American History X)
Christopher Cleveland & Bettina Gilois from WME (Glory Road, The Fountainhead)
Jeremy Leven from WME (Alex And Emma, The Notebook, My Sister's Keeper, Don Juan DeMarco)
Scott Teems (That Evening Sun)
Jay Kogan (The Simpsons, Frazier, The George Lopez Show)
Bruce Vilanch from APA (Oscars, Tonys, Grammys, Emmys telecasts)
Ron Parker from ICM (Broken Trail, Joan Of Arc)
Chris Leitch (Miami Trauma, CSI, The Beast, Samurai Girl)

Thursday, November 12, 2009

Murdoch No. 7 on Forbes world power list....Mogul outranks the pope, Hillary Clinton; Obama is No. 1

ISRAELI MODEL AMIT


Murdoch No. 7 on Forbes world power list

Mogul outranks the pope, Hillary Clinton; Obama is No. 1

By Paul Bond

Nov 11, 2009, 06:00 PM ET


Rupert Murdoch (Getty)
Rupert Murdoch is more powerful than the pope.
In its inaugural list of the world's most powerful people, Forbes has the News Corp. chief at No. 7, ahead of such luminaries as the king of Saudi Arabia (No. 9), Pope Benedict XVI (No. 11) and Secretary of State Hillary Clinton (No. 17).
Topping the list is President Obama, followed by China president Jintao Hu, Russian prime minister Vladimir Putin, Federal Reserve chairman Ben Bernanke and Google founders Sergey Brin and Larry Page.
Bill Gates, the richest man in the world, is No. 10.

Murdoch is the only pure media mogul to crack the top 10, though Brin and Page certainly dabble in media, as does No. 6 on the list Carlos Slim Helu, the Telmex CEO who recently purchased a 6.4% stake in the New York Times.
Other media bigwigs on the Forbes list of the 67 most powerful people include No. 13 Jeff Immelt, the CEO and chairman of NBC Universal parent GE.
Prime Minister of Italy and media mogul Silvio Berlusconi is No. 12, while New York Mayor Michael Bloomberg, founder of the business news service that bears his name, is No. 20.
Oprah Winfrey is No. 45, New York Times editor William Keller is No. 51, Al Jazeera director-general Khanfar Wadah is No. 54, Apple founder and Disney director Steve Jobs is No. 57 and BBC director-general Mark Thompson is No. 65.
Forbes held its list to 67 "based on the conceit that one can reduce the world's 6.7 billion people to the one in every 100 million that matter.
"Its criteria consisted of:
the number of people one influences;
one's ability to project power beyond one's immediate sphere of influence;
control of or access to significant financial resources;
and how actively one wields power.
The list even includes a few of the more notorious drug traffickers, terrorists and other assorted outlaws.
Osama bin Laden, for example, is No. 37.
The entire list can be found at www.forbes.com/power.


Simon Cowell top male TV earner
'Idol' judge makes $75 mil; Donald Trump ranks No. 2
Reuters
Nov 10, 2009, 05:44 PM ET

Simon Cowell (Getty)
Simon Cowell -- the acerbic "American Idol" judge, creator of "America's Got Talent" and record producer -- is the top-earning man on primetime U.S. television with an estimated haul of $75 million, Forbes.com said Tuesday.
Cowell beat out "The Apprentice" host Donald Trump ($50 million) and "American Idol" presenter Ryan Seacrest ($38 million), based on estimated pre-tax earnings from June 1, 2008-June 1, 2009.
Most of the top earners have several entertainment-related ventures, Forbes said.
Cowell has his own record label, which has signed singers including Leona Lewis and Susan Boyle, in addition to his duties as a judge on "Idol" -- the most watched TV show in the United States for seven years.
Apart from "Apprentice," Trump lends his name to products ranging from neckties to vodka and reaps fees from speeches and books.
Seacrest, 34, has a Los Angeles morning radio show, is a celebrity TV host and developed the TV reality show "Keeping Up With the Kardashians," as well as hosting "Idol."
Rounding up the top five are "Two and a Half Men" star Charlie Sheen ($21 million) and "The Office" actor Steve Carell ($20 million).
The remainder of the top 10:
6. Howie Mandel ($15 million)
7. Kiefer Sutherland ($13 million)
8. Jeff Foxworthy ($11 million)
9. Hugh Laurie ($10 million)
10. David Caruso ($9 million)

Monday, November 2, 2009

CONFUCIUS SAYS..........TIMELESS WISE WORDS.........

LBN-HISTORICAL COMMENTARY BY
CONFUCIUS:


The superior man acts before he speaks, and afterwards speaks according to his actions.
The greater man does not boast of himself, but does what he must do. (479 BCE)

LBN-SEE IT:
....Jeff Dunham and company outside his home in Encino, Calif.

Jeff Dunham has turned his puppet act into a multimillion-dollar empire.


LBN-MUSIC INSIDER:


***Carly Simon claims she was disadvantaged as an up-and-coming singer in her fight to conquer stage fright.
"Everyone in the '70s was stoned in order to get onstage, but I was afraid of drugs . . .
Now I've grown to love them," she told the crowd at the Bruno Walter Auditorium during the first New York edition of a series hosted by LA's Grammy Museum.

LBN-A DIFFERENT VIEW



Wednesday, October 28, 2009

Amy's New Wine HOUSE...............

LBN-HISTORICAL COMMENTARY By


VINCENT VAN GOGH:


People are often unable to do anything, imprisoned as they are in I dont know what kind of terrible, terrible, oh such terrible cage.
Do you know what makes the prison disappear?
Every deep, genuine affection.
(1880)


LBN LYRICS OF LIFE By
MARVIN GAYE:


We' re all sensitive people with so much to give
Understand me sugar
Since we got to be, lets live,
I love you
Theres nothin wrong with me lovin, you, baby no no
And givin yourself to me can never be wrong
If the love is true, oh baby ooh.

AMY WINEHOUSE'S BOOB JOB:

Singer Debuts Her New Breasts:


Amy Winehouse is back in London after months in St. Lucia, a drug addiction and a divorce from husband Blake, and she's showing off her new breasts.
Earlier this month Winehouse's dad Mitch complimented the work and said that Amy is, "Fantastic, fantastic.
Her boobs are great as well."
He then smiled and said, "I shouldn't have said that should I?
She looks absolutely fantastic."
Sunday night Winehouse attended the 2009 Q Awards in a low-cut red dress.


LBN-HOLLYWOOD INSIDER:


***Liev Schreiber and Scarlett Johansson will topline a Broadway revival of Arthur Miller's drama "A View From the Bridge," bowing at the Cort Theater later this season.
Johansson, who recently wrapped production on the film "Iron Man 2," makes her Rialto debut in the role.

***Jim Wiatt,


departed from the William Morris chairmanship and banished to that dark place where former Hollywood power brokers go, has joined the board of AOL.


***It's not a pretty picture out there for women looking to break into filmmaking, a new study from the Center for the Study of Women in Television and Film contends.
While prospects for women in the independent film world are rosier than for studio films, the number of females employed in key behind-the-scenes roles in both low- and high-budget movies remains piddling.


***Hollywood is puzzling, The New York Times says, over just what the next film from "Paranormal Activity" director Oren Peli is really worth.
CAA and IM Global are said to be scrambling to sell US rights to Peli's next movie, "Area 51," before the week is out.
At least six companies, including several major studios, have expressed interest.

LBN-MUSIC INSIDER:


***New author Robert Hilburn got a pretty nice shout-out for "Corn Flakes with John Lennon And Other Tales from a Rock 'n' Roll Life" at last night's U2 show at the Rose Bowl.


Bono announced that Hilburn was in the house, congratulated him on turning 70, and heaped good words on the book.


***Bruce Springsteen canceled a concert in Kansas City tonight after his cousin, Lenny Sullivan, was found dead in his hotel room -- a source close to the band.


Springsteen announced the death on his official website, saying it was a "death in the family."


***Eric Clapton has bowed out of this week's Rock and Roll Hall of Fame 25th birthday festivities for health reasons.


The guitar great's official Web site says Clapton will undergo a minor medical procedure for gall stones and won't be able to perform as scheduled at one of the two Rock Hall anniversary concerts in New York.

Thursday, October 22, 2009

Malaysia BOND Girl Michelle Yeoh.................


LBN-HISTORICAL COMMENTARY By VIRGINIA WOOLF:


Life for both sexes and I looked at them, shouldering their way along the pavement is arduous, difficult, a perpetual struggle.
It calls for gigantic courage and strength.
More than anything, perhaps, creatures of illusion as we are, it calls for confidence in oneself.
Without self-confidence we are as babes in the cradle. (1929)


LBN-A DIFFERENT VIEW:.....Adam Lambert Goes Hetero.....


DID YOU KNOW:
*** There have been seven American Bond Girls, four English , three French, two Swedish and one each from Japan,



Malaysia, Switzerland , Italy, and Poland.
***Roger Moore was the oldest Bond actor at 58.

***10% of all the fish caught in the world are sold in Japan. ***Jellyfish as a species are actually older than dinosaurs and sharks.

***Michael Jordan makes more money from Nike annually than all of the Nike factory workers in Malaysia make combined.


LBN-HISTORY:
On Oct. 21, 1879, Thomas Edison invented a workable electric light at his laboratory in Menlo Park, N.J.


Wednesday, October 7, 2009

Google CEO Schmidt: We paid $1 billion premium for YouTube........

October 6, 2009 4:00 AM PDT

Schmidt: We paid $1 billion premium for YouTube

by Greg Sandoval


Since 2006, many observers have scratched their head over what prompted Google to


pay $1.65 billion for the video site YouTube.


We're now a little closer to the answer.


Google CEO Eric Schmidt said in May, "I believe YouTube was worth somewhere around $600 million to $700 million."

The blockbuster acquisition for the 18-month-old start-up played a large role in sending valuations in the tech sector skyrocketing.

Although YouTube made little revenue, the all-stock transaction gave Google control of a company many believed would change the face of mass entertainment.

It also led to criticism from skeptics who thought that Google would never get its money back.


Google has revealed little about how it decided to pay $1.65 billion but CEO Eric Schmidt said under oath last spring that he was willing to pay a premium--a big one--for YouTube.

Leading up to the acquisition, Schmidt told Google's board of directors that his estimate of YouTube's worth was somewhere between $600 million and $700 million, according to court records reviewed by CNET.


A Google representative declined to comment about Schmidt's valuation.


Schmidt had his reasons for asking his board to OK an offer of $1 billion more than what he thought the site was worth.

The CEO made the comments during a deposition he gave in May as part of the copyright lawsuit Viacom filed against Google and YouTube in 2007.

In short, he believed that Google had to offer that much, or competitors, presumably Microsoft or Yahoo, would walk away with the increasingly popular video site.


"This is a company with very little revenue," Schmidt said while being questioned by Stuart Jay Baskin, a Viacom attorney.

"(YouTube was) growing quickly with user adoption, growing much faster than Google Video, which was the product that Google had.

And they had indicated to us that they would be sold, and we believed that there would be a competing offer--because of who Google was--paying much more than they were worth...

We ultimately concluded that $1.65 billion included a premium for moving quickly and making sure that we could participate in the user success in YouTube."


"In the deal dynamics, the price, remember, is not set by my judgment or by financial model or discounted cash flow.

It's set by what people are willing to pay."


--Eric Schmidt


Three years later, that user success continues:

YouTube has grown from 12 million unique users (in May 2006) to more than 100 million users just in the United States.

Every minute, more than 10 hours of video is uploaded to the site.

But Google is also fighting a $1 billion copyright lawsuit with entertainment giant Viacom, which claims that YouTube encouraged users to violate its copyright.

On top of that, the company is still trying to figure out how to turn its prize acquisition into a profitable business.


YouTube managers have toiled to find the right way to generate revenue, experimenting with a wide range of advertising methods and models--everything from prerolls to overlays.

Perhaps most importantly, managers changed their approach to copyright owners.


Whereas Hollywood executives once called YouTube a "rogue company," the video site can now boast numerous partnerships with top entertainment companies, including as Walt Disney, CBS (publisher of CNET News), Sony Pictures, and Metro Goldwyn-Mayer.

YouTube also has deals with all four major music labels.

And YouTube's finances may finally be turning the corner:

company representatives have hinted in the past several months that it's on the road to becoming the kind of revenue generator that Google always envisioned.


Whether Google paid too much for YouTube then is a sort of barroom debate among media analysts, not unlike arguing whether the New York Yankees overpaid on free-agent ballplayers in the off-season.

James McQuivey, a digital-media analyst at Forrester Research, said that if he were in Schmidt's shoes, he would have made the same deal.


"It actually becomes worth the additional value because Google can tie all of its advertising expertise and search traffic into YouTube," McQuivey said.

"It's not like it's going to pay back that $1.6 billion any time soon, but what it does is, it ensures that these millions and millions of viewers are coming to a Google-owned site rather than someone's else's site...

As a loss leader goes, if it never makes its money back, its still going to be worth it."


McQuivey acknowledged that those focusing only on hard business numbers are probably not going to agree with him.

Count Josh Martin among them.

Martin, a research analyst, was an early skeptic of YouTube's profit potential, arguing on behalf of Yankee Group Research that Google overpaid.


"I don't think Schmidt is wrong in assuming that someone would have overpaid for YouTube.

If Google was willing to overpay for it, then someone else would have too.

But it was a bad business decision for Google."


--Josh Martin, research analyst and early YouTube critic


"I don't think Schmidt is wrong in assuming that someone would have overpaid for YouTube," Martin said.

"If Google was willing to overpay for it, then someone else would have too.

But it was a bad business decision for Google.

We said it at the time, and three years later, we have been proven right."


Martin said that when Google priced YouTube, it should have deducted heavily for the legal liabilities, as well as for the company's ability to draw an audience, if it couldn't offer pirated content.


"You go back to the reason why YouTube was popular, and it was because of (the 'Saturday Night Live' skit) Lazy Sunday," Martin said.

"That is what put YouTube on the map.

So it was popular because it had access to content that it shouldn't have had and that you couldn't get elsewhere because no one else was willing to put it up illegally...

Clearly, (Google's leaders) needed to understand what was driving momentum behind YouTube."


The following is an edited excerpt of Schmidt's deposition:


Stuart Jay Baskin, a Viacom attorney: And what was management's valuation?


Schmidt: Much lower than we paid for it.


Baskin: And how was that communicated to the board?


Schmidt: I told them.


Baskin: So why don't you tell us what you remember telling the board in connection with the valuation?


Schmidt: I believe YouTube was worth somewhere around $600 million to $700 million.


Baskin: And you communicated that to the board?


Schmidt: I did.


Baskin: Of Google?


Schmidt: I did.


Baskin: What methodology did you use to come up with that number?


John P. Mancini, an attorney working for Google, objects.


Schmidt: My judgment.


Baskin: Was it based on cash flow analysis? Comparable companies? What were you using as the basis for your judgment?


Mancini objects.


Schmidt: It's just my judgment. I've been doing this a long time.


Baskin: So you orally communicated to your board during the course of the board meeting that you thought a more correct valuation for YouTube was $600 million to $700 million; is that what you said, sir?


Mancini objects to characterization of the testimony.


Schmidt: Again, to help you along, I believe that they were worth $600 million to $700 million.


Baskin: And am I correct that you were asking your board to approve an acquisition price of $1.65 billion; correct?


Schmidt: I did.


Mancini objects.


Baskin: I'm not very good at math, but I think that would be $1 billion or so more than you thought the company was, in fact, worth.


Mancini objects.


Schmidt: That is correct.


Later...


Baskin: Can you tell us what reasoning you explained?


Schmidt: Sure, this is a company with very little revenue, growing quickly with user adoption, growing much faster than Google Video, which was the product that Google had.

And they had indicated to us that they would be sold, and we believed that there would be a competing offer--because of who Google was--paying much more than they were worth.

In the deal dynamics, the price, remember, is not set by my judgment or by financial model or discounted cash flow.

It's set by what people are willing to pay.

And we ultimately concluded that $1.65 billion included a premium for moving quickly and making sure that we could participate in the user success in YouTube

Diana Dodi and Child......Gordon Sting Sumner and FRAGILE......


LBN-A DIFFERENT VIEW:

DIANA, DODI AND CHILD ?


LBN-LYRICS
OF LIFE


By STING:



If blood will flow when flesh and steel are one
Drying in the colour of the evening sun
Tomorrow's rain will wash the stains away
But something in our minds will always stay
Perhaps this final act was meant
To clinch a lifetime's argument
That nothing comes from violence and nothing ever could
For all those born beneath an angry star
Lest we forget how fragile we are.


DID YOU KNOW:
***The can opener was invented 50 years after the invention of the can.
*** 50 gigabytes of information can hold up to 3 piles of single spaced typed pages that is taller than the Eiffel tower.
***Leonardo Da Vinci could also draw with one hand and write with the other simultaneously.
***The Dalai Lama enjoys collecting and repairing watches.
***The Dead Sea is 365 m below sea level.

LBN-QUOTE:
They say an old man is twice a child.Hamlet, II.II.385.



LBN-HISTORY:
On Oct. 6, 1981, Egyptian President Anwar Sadat was shot to death by Islamic militants while reviewing a military parade.

Regime Change in Hollyw'd: Unh-Uh ... It's About the Basics
Analysis: The new group of movie executives will need to embrace more than Twitter.

Published: October 05, 2009




In a single day, two major studios ushered in regime change.
The message: A different day has arrived.

By replacing a respected, long-standing veteran in Dick Cook at Disney, and by dismissing two sharp, younger executives at Universal -- Marc Shmuger and David Linde -- the takeaway was the same.
New people are needed at the helm to forge the path toward a new Hollywood. (Read TheWrap's full coverage of the executive shuffles.)

In the case of Universal, it was by promoting two internal candidates, marketing chief Adam Fogelson and production head Donna Langley (which readers of Waxword would already have known since last week).

And in the case of Disney, it was by bringing in a talented executive from the Disney Channels, Rich Ross, who has built a reputation for understanding international markets and grasping the family-friendly brand.

But is change what will really happen?

Everyone talks about the transformative moment in which the entertainment industry finds itself.
Many throw the word "Twitter" into every conversation, as if invoking this phenomenon will in itself stop the deadly slide of DVD sales.

But as the industry faces the fundamental challenges of a contracting economy, the infidelity of audiences, the shortening of attention spans and elusive revenue streams of the Internet -- the mandate for change is far from clear.

Interviewed by TheWrap on Monday, Fogelson was asked about his vision for change.
“In terms of my vision, it’s our vision,” he responded vaguely.
“Donna and Rick (Finkelstein) and I have spent a lot of time over the past few days making sure we all felt good about something we could accomplish together. “

He added: “One of the goals is to redouble our efforts to make sure every time we greenlight a movie we are taking a responsible risk.”

In other words, focus on the bottom line.
Well, that’s not new.

Langley told TheWrap that they were excited about bringing marketing ideas into the pre-greenlight process.
That’s not new, either.

At Disney, Rich Ross was not giving interviews.
He was still -- an executive explained -- getting up to speed.
He met with his new staff on Monday afternoon.

What will it take to guide the studios through the shoals of the current maelstrom, other than just squeezing the price of marketing, cutting producer deals and making A-list actors take their money on the back end?

If the movie industry is headed toward crisis, it is not at all clear that the new group of executives have some secret insights about how to forge Hollywood’s future.

Indeed, the fundamental skills of a movie mogul may not be about understanding Twitter at all.

It may instead be about re-embracing the fundamental skills that go into making and selling entertaining movies.

For the talent agencies, that means an emphasis on cultivating relationships with the talent.
That was clearly missing in the Universal equation.

And independent producers, who are struggling as never before, will tell you that it’s about teasing out the right stories, and making them for the right price.

Anyone with common sense will tell you that many movies have gotten too expensive, and that audiences are less easily fooled today by schlock.

Clearly, tapping the global nature of Hollywood’s brand -- the one true area of growth in the moviemaking industry -- is going to be critical.

That’s not actually new, either.

It’s those fundamental skills that will make the difference for these major studios as they face the next period of change.

“Everything is being revamped and changed, but what is really changed?” asked one leading talent agent, who declined to be identified.

“This notion of ‘change’ is just for change’s sake,” he said.
“It’s not really changing anything.
It goes back to --
if you put talented people in who appreciate artists,
you’ll do well.”