Monday, September 09, 2013

More on the Affordable Care Act

... Especially since open enrollment for the pup starts in less than three weeks.

1. Thanks to Obamacare regulations on insurers, the “sticker price” of coverage will go up. Non-group coverage today is usually pretty cheap. One reason is that it frequently has big gaps in coverage — no benefits for maternity or prescription drugs, for example, or deductibles that reach into five figures. Another reason is that insurers charge more, or deny coverage to, people with pre-existing medical conditions.

Obamacare prohibits those practices. Under the law, all plans will include a basic, essential set of benefits—and must be sufficiently generous to cover at least 60 percent of the typical person’s medical bills. (That’s the standard for "bronze" plans. "Silver," "gold," and "platinum" insurance options would cover a greater share of expenses.) Insurers must also sell coverage to anybody who wants it, regardless of medical condition, without raising prices or withholding benefits. These and other requirements make insurance more comprehensive and more widely available, which is what reformers promised to do. But the regulations also make it more expensive.

2. Thanks to Obamacare’s subsidies for poor and middle-class Americans, relatively few people will pay the full sticker price. Under the law, subsidies are generally available to anybody with income that is less than four times the poverty line—which is about $46,000 a year for an individual and $94,000 a year for a family of four. Most Americans make less than that. The amount will vary by income, with poorer people getting more assistance. But among those families receiving assistance, the subsidies will be worth an average of $2,600 per year, according to another recent Kaiser Family Foundation study. That's a lot of money. And remember the subsidies act as discounts: If you are eligible for a subsidy, you don’t have to wait until you file your tax return to get your money back. Instead, the government will calculate your subsidy when you apply for insurance, and then show you coverage prices that reflect that difference. Ideally, that will all happen online, through the new websites state and federal authorities are building, though we'll have to see whether it works that way at the ouset. ...

3. Expect some "premium joy" and some "rate shock." Older and sicker people will tend to pay less money in premiums next year, because the law limits the ability of insurers to charge these people more. People who can barely pay their premiums now may also pay less next year, because they'll be getting those subsidies. These people will experience what Princeton economist Uwe Reinhardt has dubbed "premium joy." People who benefit from today's pricing practices—younger, healthier, and generally male—will tend to pay higher premiums in the new system. And at higher incomes, they won't get big subsidies to offset the price.

4. So far, Obamacare premiums appear lower than experts predicted. This (among other things) is what the Kaiser report showed. And it’s a legitimately big deal, for a few reasons. When the Congressional Budget Office calculated how much the law as a whole would cost, its experts made an assumption about how much insurance would cost—and then used that to figure out how much the federal government would have to spend on subsidies. If the real cost of insurance turns out to be lower than CBO expected, then the federal government won’t have to spend as much on subsidies, and it will end up saving more money. So far, that’s precisely what has happened. ...

For TAG members (and others in the animation biz) who freelance and don't earn enough money or contribution hours to qualify for MPI health coverage, they'll have a number of options for individual health coverage:

1) If you are a single person under thirty, you can purchase catastrophic insurance (the least-expensive coverage available. No subsidies available for catastrophic insurance.)

2) If you're a married person with a spouse and two dependents making less than $94,000 per year, you will be eligible for tax credits/insurance subsidies:

• Tax credits reduce the amount of the premium paid for insurance.
• Tax credits are available to individuals and families who meet certain income requirements.
• Tax credits can be applied to the cost of your health plan when you enroll – you do not need to wait until you file a tax return at the end of the year.
• You must enroll in a health plan through Covered California if you want to use your tax credits.
• Tax credits are paid by Covered California to your health plan to keep your costs low.
• Tax credits may be adjusted if your income is different than you anticipated. This means that you will want to notify Covered California if your income changes.

3) If you are single person with no dependents earning $50,000 per year, your estimated premium would be $3,984 annually – $332 per month – for a Silver plan. (No tax credits/premium subsidies.)

There's a lot of variations to coverage options, so it might be useful to visit the Covered California website play with the premium calculator.

It's not my intention here to get into a spitting match about whether the ACA is the Worst-Thing-Ever or A-Step-In-The-Right-Direction. My purpose is to provide info so you can make some informed choices on your own. Because the one thing I've learned is, the more knowledge and information you have, the more intelligent your choices and the better your outcomes.

Sitting around saying "ACA is horrible! ACA is horrible! ACA is HORRIBLE!! is as useful as whining about your crappy job. It wastes energy and it doesn't get you anywhere.
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Sunday, September 08, 2013

Foreign Box Office

The animation, she seems to be holding up well beyond U.S. shores.

Weekend Foreign Box Office -- (Global Accumulations)

Planes -- $7,000,000 -- ($121,179,000)

Smurfs 2 -- $7,3000,000 -- ($267,400,199)

Despicable Me Deux -- $3,600,000 -- ($832,737,310)

Monsters University -- $4,000,000 -- $724,402,000)

Turbo -- $1,000,000 -- ($156,433,721)
What strikes me is how well DM2 continues to do, and how Turbo has underperformed most other DreamWorks Animation features.

The snail has done slightly more than half the business that Rise of the Guardians (another weak performer) did nine months ago.
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Boutique Talent

As much of the visual effects work on projects owned and distributed by our fine, entertainment conglomerates head for bastions of state socialism -- Vancouver, Albuquerque and the like -- some bits of it have remained in the eastern reaches of the San Fernando Valley.

... Film studios like to save money — who knew? — and have trouble resisting the 30% savings incentives offered seemingly everywhere but here. ... Yet despite this grim outlook, a pair of VFX production houses right here in Burbank happen to be thriving — bucking the trend by doing it leaner, meaner, smarter and, well, better. ...

Shant Jordan formed the effects boutique Synaptic VFX along with brother Shahen Jordan and partner Ken Gust. All three had deep experience in different areas of the business. Shant specialized in 3D art and compositing, Shahen in matte painting and concept art, and Gust in post-production and finishing. ...

Synaptic is about to staff up to about 25 employees and is doing well enough that it's poised to open a second branch in New Orleans, a hub of the celebrated 30% tax discount. But that doesn't mean the company will be abandoning Burbank any time soon, Shant assures.

“Oh, no way,” he says. “It's our home base. It's where the greatest and most talent lives.” ...

That local pool of professionals has been a key in fellow Burbank operation FuseFX's ability to stay competitive since its founding two years ago. Its clients have included FX's “American Horror Story,” CBS's “Criminal Minds” and Fox's “Glee,” and the company just doubled its footprint by purchasing the building next door, adding 3,000 square feet to make for 7,000 total. And it has a staff of about 40. ...

Southern California has a deep pool of artists and technicians that continues to exert a gravitational pull on where projects come to get work done.

I've thought for a long time that the wide array of college training programs and the thousands of computer specialists living in working in the Southland would keep work in town, but there's no question that tax and wage subsidies have made big dents in the amounts of work that flow through local studios.

It's not enough to offer top talent. You need to offer government tax and wage subsidies. Otherwise the only work that stays local is the work boutique facilities like those detailed above, and jobs with steep wage discounts that match subsidies in Canada and other states.
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Saturday, September 07, 2013

Weekend Box Office

Now with Add On!

Rolling into the weekend, animated features' totals were as follows:

#6 -- Planes -- $75,004,184

#16 -- Despicable Me 2 -- $356,098,810

#18 -- Smurfs 2 -- $67,275,199

#22 -- Monsters University -- $264,537,017

#29 -- Turbo -- $80,184,721

Everything but Planes is pretty much done, domestic release-wise. All of the above features remain in release; most are in only a smattering of theaters, pulling in tiny numbers.

Add On: Your weekend Top Ten.

1) Riddick (3,107 theaters) $7.3M Friday $18M weekend.

2) Lee Daniels' The Butler $2.3M Friday and $8.2M weekend $92M cume.

3) We’re The Millers (3,445 theaters) $2.2M Friday $7.7M weekend $123.7M cume.

4) Instructions Not Included (717 theaters) $1.6M Friday (-15%) $6M Weekend $16.7M cume.

5) One Direction: This is Us (Sony) Week 2 $1.1M Friday Weeken $3.4M, Cume 23.4 M

6. Elysium (Sony) Week 5 [Runs 2,241] R Friday $887K, Weekend $2.9M, Cume $84.9M

7. Planes (Disney) Week 5 [Runs 3,033] PG Friday $862K, Weekend $3.9M, Cume $79.0M

8. Blue Jasmine (Sony Classics) Week 7 [Runs 1,069] PG13 Friday $655K, Weekend $2.4M, Cume $25.2M

9. The World’s End (Focus Features) Week 3 [Runs 1,520] R Friday $697K, Weekend $2.2M, Cume $21.7M

10. Getaway(Fox) Week 2 [Runs 2,135] PG Friday $640K (-55%), Weekend $2.1M, Cume $8.6M

Add On: TIME analyzes summer b.o.:

... After a lackluster winter and spring, the summer box office paid off big, but on a bigger investment. The period from the first weekend in May to the last weekend in August brought $4.76 billion in domestic revenue, up 8% from the former record-holder, 2011. Ticket prices were higher, but more tickets were sold — 593 million, the most since 2007.

To make more, Hollywood had to spend more. Three of the four top-grossing pictures (Iron Man Three, Man of Steel and Monsters University) cost at least $200 million to produce, with another $100 million or so for each to market. The only bargains among the top 10 were a frugally made animated sequel (Despicable Me 2), the usual token R-rated comedy, but this time with women (The Heat) and a rare horror movie to make it big in summer (The Conjuring). ...

Click here to read entire post

Still Limping Along

The latest (macro) jobs report.

... The Labor Department’s snapshot of the job market in August had several discouraging details underneath a relatively mundane headline number, which showed the economy added an estimated 169,000 jobs. Perhaps the most striking was a plunge in the share of Americans who are either working or looking for work, which fell to its lowest level since 1978. ...

The austerity thingie has really worked out well. It's devastated much of Europe (Spain has 26% unemployment, and 50% unemployment for people in their twenties.) It's also done a thorough-going job of lousing up this country. As a well-known economist notes:

... The failure of policy these past five years has, in fact, been immense.

Some of that immensity can be measured in dollars and cents. Reasonable measures of the “output gap” over the past five years — the difference between the value of goods and services America could and should have produced and what it actually produced — run well over $2 trillion. That’s trillions of dollars of pure waste, which we will never get back.

Behind that financial waste lies an even more tragic waste of human potential. Before the financial crisis, 63 percent of adult Americans were employed; that number quickly plunged to less than 59 percent, and there it remains. ...

The sad part of all this is much of the disaster could have been avoided. Financial stimulus could have been wider and deeper. Infrastructure build-out and maintenance could have been way more robust. But it wasn't, for a variety of reasons, and here we are.

And so the ripples of disaster continue on. And on. People stop eating out, restaurants lay off personnel, stores cut hours and/or go out of business.

I've also watched a change in behavior from our fine, entertainment conglomerates. There is now a steely-eyed determination to cut costs that wasn't there before 2008. Working closer to contractual wage minimums is today the rule rather than the exception. Workers are shown the door the millisecond their project is completed. Schedules get shorter and more demanding.

I think outsourcing is as widespread as it is because of companies' ongoing quest to hammer down costs. Every large conglomerate with which I deal is tighter with a dollar than they were five and six years ago. When the economy stalls, shrinks, then stalls again, corporations react. They search out geographical locations to get work done cheaper. And if a state or foreign government is handing out subsidies, they pursue them. Anything is fair game to reduce costs and goose profits.

As you might have noticed, margins and stock prices have been up over the past three-and-a-half years, and people who rely on stocks and dividends for a living have done well. It's people who make money by working eight or ten-hour days who have suffered.

So yeah, the austerity thingie has failed. For 99% of us.
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Friday, September 06, 2013

Chasing Success

Leave it to our fine, entertainment conglomerates to clamber aboard a hot trend:

With French Animation on Fire in Hollywood, Bizzers Are Scrambling for Their Share

... France has always been considered a toon hotspot, thanks in part to such animation schools as Les Gobelins. The fact that “Despicable Me” and its sequel were entirely made at Paris-based Illumination
Mac Gu with budgets in the $70 million range and grossing $543 million and $720 million (and counting) worldwide, respectively, has only bolstered the reputation of local talent and facilities. ...

There’s more than animation talent behind the success of France’s toon biz. There are also a slew of rules and regulations that, in effect, subsidize it. For one thing, Gallic broadcasters are required to back local film and animation. ...

U.S. studios are also increasingly trusting French animation companies to reboot prized franchises with a modern and international flavor.

DreamWorks Classics chose Gaumont Animation over various European contenders. ...

And so on and so forth ...

Beyond the subsidies, there is also the tendency of large entertainment companies to pursue some pioneer's (In this case, Chris Meledandri's) world-beating strategy. It's really no different than when Jeffrey Katzenberg led Disney Feature Animation into the land of megabucks in the late 1980s and 1990s. It took only a few years for every other heavy hitter in Hollywood to try to replicate the Mouse's animation game-plan.

The resulting corporate face-plants (Warners with Quest for Camelot, Fox with Titan A.E., Turner with Cats Don't Dance) were almost instantaneous. And the enthusiasm for hand-drawn animation quickly died.

American companies sudden love for French animation studios reminds me of the earlier fondness for Disney-style animation ... right up until large sums of money went up in flame and ash.

We'll see if this time history repeats itself, or merely rhymes.

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Thursday, September 05, 2013

Copyright Fight

Ends in a knockout. And the conglomerate won.

... The Walt Disney Company really does own the rights to the Marvel characters created by Stan Lee, at least according to a federal judge today.

U.S. District Judge William J. Martinez Thursday granted with prejudice Disney’s motion to dismiss Stan Lee Media’s multibillion-dollar lawsuit superhero copyright suit. In his 11-page order (read it here) Martinez did little to hide his annoyance with the litigious SLMI. “Plaintiff has tried time and again to claim ownership of those copyrights; the litigation history arising out of the 1998 Agreement stretches over more than a decade and at least six courts,” he wrote of the company’s many legal moves. ...

Mr. Lee can't get his head around the idea that companies own copyrights, not the people who created the copyrighted character.

This has been spelled out in case law for decades. And the courts, particularly the Supreme Court, mostly make sure that companies are the winners in these disputes. "Nothing to see here, young man. Move along."

You want the quaint concept called "moral rights," you should move to Europe.
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Oncoming Affordable Care Act

Three weeks from now, Covered California and every other state health care marketplace goes "live" for purchases under the new Affordable Care Act.

This is important for TAG members who aren't qualified for Motion Picture Industry health coverage and are without a medical plan because there will now be alternatives to high-deductible, low-quality individual insurance.

... There are at least two insurers participating in each of the exchanges. ... Participating insurers generally will offer a number of plans at various tiers of coverage (catastrophic, bronze, silver, gold, or platinum), and they also typically offer more than one plan option within a given coverage tier.

As a result, the number of plans available to consumers will be significantly greater than he number of insurers participating. A variety of plan types (e.g., HMOs or PPOs)are offered in most exchanges. In almost all states coverage is also available to individualsoutside of the exchange, offering additional competition in the market. ...

There's been a lot of fear-mongering about how health insurance rates will explode, but the good news, according to a detailed Kaiser Family report about ACA coverage, is pretty much the opposite:

... While premiums will vary significantly across the country, they are generally lower than expected. For example, we estimate that the latest projections from the Congressional Budget Office imply that the premium for a 40-year-old in the second lowest cost silver plan would average $320 per month nationally.

Fifteen of the eighteen rating areas we examined have premiums below this level, suggesting that the cost of coverage forconsumers and the federal budgetary cost for tax credits will be lower than anticipated. ...

A number of TAG members work steadily for years, then hit a career rough patch where they can't get a studio staff job to save their lives. They are forced to eke out a living doing free-lance, and still pay for kids, keep up the house payments, AND purchase independent health insurance because the MPI insurance has run out.

The Affordable Care Act will change some of that, because getting health coverage and rates that don't bankrupt families and individuals will be way more accessible:

... If you are a 40-year old single mother of three earning $35,000 per year, your costs for health insurance might be as much as $8,784 per year if you were to pay the entire premium. However, if eligible, you will qualify for about $7,416 in tax credits to help pay your health insurance premiums. After applying the tax credit, you would be responsible for $1,368 annually – about $114 each month – for premium payments. ...

Over the next few weeks, TAG will be putting up more information about Covered California, and how members who fall out of Motion Picture Industry Coverage will have viable alternatives to minimalist insurance with fifteen thousand dollars out of pocket expenses.

So watch this space, and also the Animation Guild website.
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Moving Around

Older news, but still noted.

... No sooner was it officially announced that Oscar-winning director Bob Peterson taken was off of Pixar’s summer 2014 joint “The Good Dinosaur,” than came word that John Kahrs, the inventive animator behind last year’s Oscar-winning short film “Paperman,” has left Walt Disney Animation Studios for parts unknown. ...

A little while ago, animation became a "project-by-project" industry, just like live-action. The era of forty-year careers at one studio went the way of the passenger pigeon.

Here in the 21st century, few stay in one place for very long. (There's Ron Clements and John Musker at Disney, there's Burny Mattinson at Disney, and the crew on The Simpsons. And then ...??)

These days you could hold a convention of long-term animation employees in Danny Devito's dining room and have room left over. People move on all the time, for a wide array of reasons: they get a better offer, they need to take a break, they want to go try something else, etc.

Oh yeah. Occasionally somebody gets pushed overboard. There are large, colliding egos in the entertainment industry and sometimes they bang together in hurtful ways. And the ego with less juice exits. When that happens, we get a terse press release like this:

"We are saddened at Bill Brilston's departure from Chicken Peck Pictures. We adored working with him, but he wanted to spend time in a Colorado cabin hand-embroidering doilies, and we respect his decision ..."

In due course, we'll find out more of the circumstances of Mr. Kahr's departure from the House of Mouse. We may or may not discover all the reasons for his leaving, because in tinsel town, keeping things opaque is a well-crafted art.

Add On: Gadzooks. I overlooked the actual press release that Diz Co. issued:

"John is an incredibly talented filmmaker and artist and all of us here at Walt Disney Animation Studios are proud of his vision for the stunning and innovative ‘Paperman,' We wish him the best in his future endeavors."

"... Wish him the best in his future endeavors," says it all. It's one notch up from "We wish him well ..." And never will you hear: "We hope he goes back to Ohio and installs car mufflers, which seems a better use of his talent."
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Mike Cedeno at Gallery 839


Works by MIKE CEDENO will be featured at the next Gallery 839 exhibit, opening Friday, September 6 from 6 pm to 9 pm.

Gallery 839 is located at the Guild's offices, 1105 N. Hollywood Way in Burbank.

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Wednesday, September 04, 2013

Visual Storytelling

Inside the Temple of the Seven Golden Camels.

... One of the things that makes John Romita's work a cut above most other comic artists is the way he incorporates visual storytelling, using the pictures to help convey the emotion he's trying to impart within the story. I'm constantly surprised how many comic artists, story artists and film makers don't seem to give that much consideration to telling their stories in a visual way. Many people are content to simply show the events of the story as it unfolds, without using the camera and point-of-view of the viewer to heighten and accentuate the emotions that the viewer is supposed to be feeling. ...

The rest of the analysis here. ...

Mark Kennedy is one of the top story minds in the animation biz. When Mr. Kennedy tells you an artist is impressive, he knows what he's talking about. Click here to read entire post

Tighten the Belt

Oh my. Studios seem to think they're spending too much.

Call it the summer of the redwood forest -- too many giants planted closely together. The result? Very little sunlight in between. Now, after a season of major would-be franchises falling short -- including Disney's The Lone Ranger, Universal's R.I.P.D. and Sony's After Earth and White House Down -- several industry players say the studios are debating whether to alter their summer strategies.

A source at Warner Bros., for example, says a topic at the studio's annual review meetings is "a sense of budgets creeping up." And producer Joe Roth says in his dealings with the studios, he is encountering new attempts to tighten coffers. "A year ago it was, 'You can do it for $150 million, right?' Today it's, 'You can do it for $125 million, right?' [Everyone is] trying to get it down about 20 percent," he says. ...

Of course, this $200 million budget thing has always been a wee bit nuts. Ben Hur and Spartacus cost $11-$12 million each back in '59-'60. HUGE money at the time. (And this was for huge sets, big stars, huge casts not computer generated, and all the other trimmings.)

Yet adjusted for inflation, the big budget flicks of 55 years ago would cost $99 million today. (Apparently more is going on than the CPI Calculator indicates, yes?)

So what, exactly, gives? I'd say it's exorbitant studio overhead, exorbitant star and executive salaries, and a general inability to control costs. Spielberg seems able to do it with his pictures, but everybody else seems hopeless.

The same holds true for animation. Lion King, even with all the labor-intensive, unionized work, didn't cost a fraction what animated features cost today. And then the flapdoodle about high-quality cartoons having to cost north of $100 million gets shown up for the nonsense that it is when Chris Meledandri and Illumination Entertainment came out of the ether and created Despicable Me for $69 million and Despicable Me 2 for $74 million. How the hell could that happen?

Of course, there is always the strong possibility that the high budgets hide a plethora of charges from other movies and a wide assortment of kickbacks. Or am I being too cynical?
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Tuesday, September 03, 2013

The Middle Kingdom's Cartoon Flu

Apparently animation isn't quite the draw it needs to be in China.

China's booming box office is a major draw, but there are regulatory issues to contend with and cultural prejudices to be overcome, U.S. animation executives told a panel at Beijing Screenings. ...

Jo Yan, The Walt Disney Co.'s senior vp studio distribution for greater China, ... said that the celebrity effect was missing from animation in China, making it difficult to promote animated films. This, combined with the fact that there can be as few as eight weeks between when importers find out whether their film has been approved and the release date of the film, makes marketing difficult. Plus, ... "[Chinese audiences] think animation is immature and for kids,"

Oriental DreamWorks has four projects in the works right now, two of which are co-productions and one of which is Kung Fu Panda 3, which will be produced in China in 2016 by Oriental DreamWorks Animation and its local partners. ...

No self respecting Hollywood mogul is going to walk away from an audience in the billions.

So our fine, entertainment conglomerates will keep flinging themselves against the Great Wall until they find a way to pull sizable revenue out of the wallets of China's film-going public.
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Monday, September 02, 2013

Awards Contender?

Pete Hammond at Nikkster.com:

Preceding every showing of Gravity [at the Telluride film fest] Disney is giving festgoers a real treat, debuting it’s own dazzling new film Get A Horse!, a 3D CGI hybrid of a 1928 black and white Mickey Mouse cartoon that simply has to be seen to be believed. Disney will be pairing it with their new animated feature Frozen in theaters November 27. If Gravity is a technical marvel sure to score big at the Oscars, so is this 7-minute short that precedes it here. I can’t imagine Get A Horse! not scaring away the competition for Best Animated Short this year. And the many Academy members here who have been seeing it with Gravity are already talking it up. ...

Animator Dale Baer related to me how difficult it was to learn and executve rubber hose animation, particularly since he had never done it.

With so many hand-drawn Disney animators laid off, it would be pretty to think that the movie some of them worked on prior to separation from Diz Co. might win an award.
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Celebrating Labor

... and the wages attached to same.

... Rupert Murdoch's overall compensation declined slightly in fiscal 2013, to $28.9 million.

During the previous year, Murdoch had a $30-million compensation package. That was nearly 10% lower than his fiscal 2011 earnings of $33.3 million.

Despite the dip, Murdoch's annual base salary remains the highest in the industry, at $8.1 million. During the past year, Murdoch's bonus was divvied up into two categories: stock awards, which were valued at $5.1 million, and a performance-based cash bonus of $12.5 million. ...

Chief Operating Officer Chase Carey's overall compensation swelled to $27 million for fiscal 2013, a 9% boost. ... Murdoch's youngest son, James Murdoch, who is the media company's third-ranking officer, collected a package valued at $17 million. ...

Corporate profits are up even as corporate revenues are down, so why not a big pay day? The older print media units have been spun off into a company now known as News Corp., and the good stuff -- cable networks, broadcast network, film studio -- has been filed under "21st [21st] Century Fox."

(Few know or remember that "20th Century Fox" was once "20th Century-Fox" -- a mashup of Darryl Zanuck's very profitable independent film studio 20th Century and William Fox's large and floundering Fox Film Corporation.Even fewer remember that William Fox was poised to take over a large chunk of the American film business before the Wall Street crash of 1929 did in his ambitions plans.

Greedy overreaching is one of the hallmarks of humankind.)
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On Labor Day

Bopping around the internet, I found this piece posted from a fellow IATSE member on one of the many IATSE Facebook pages. As today is 2013's Labor Day, I wanted to share.

Here's what the History Channel says about Labor Day:

Labor Day, an annual celebration of workers and their achievements, originated during one of American labor history’s most dismal chapters. In the late 1800s, at the height of the Industrial Revolution in the United States, the average American worked 12-hour days and seven-day weeks in order to eke out a basic living. Despite restrictions in some states, children as young as 5 or 6 toiled in mills, factories and mines across the country, earning a fraction of their adult counterparts’ wages. People of all ages, particularly the very poor and recent immigrants, often faced extremely unsafe working conditions, with insufficient access to fresh air, sanitary facilities and breaks.

More under the break ..


As manufacturing increasingly supplanted agriculture as the wellspring of American employment, labor unions, which had first appeared in the late 18th century, grew more prominent and vocal. They began organizing strikes and rallies to protest poor conditions and compel employers to renegotiate hours and pay. Many of these events turned violent during this period, including the infamous Haymarket Riot of 1886, in which several Chicago policemen and workers were killed. Others gave rise to longstanding traditions: On September 5, 1882, 10,000 workers took unpaid time off to march from City Hall to Union Square in New York City, holding the first Labor Day parade in U.S. history. The idea of a “workingmen’s holiday,” celebrated on the first Monday in September, caught on in other industrial centers across the country, and many states passed legislation recognizing it.

Congress would not legalize the holiday until 12 years later, when a watershed moment in American labor history brought workers’ rights squarely into the public’s view. On May 11, 1894, employees of the Pullman Palace Car Company in Chicago went on strike to protest wage cuts and the firing of union representatives. On June 26, the American Railroad Union, led by Eugene V. Debs, called for a boycott of all Pullman railway cars, crippling railroad traffic nationwide. To break the strike, the federal government dispatched troops to Chicago, unleashing a wave of riots that resulted in the deaths of more than a dozen workers. In the wake of this massive unrest and in an attempt to repair ties with American workers, Congress passed an act making Labor Day a legal holiday in the District of Columbia and the territories.

More than a century later, the true founder of Labor Day has yet to be identified. Many credit Peter J. McGuire, cofounder of the American Federation of Labor, while others have suggested that Matthew Maguire, a secretary of the Central Labor Union, first proposed the holiday.

Labor Day is still celebrated in cities and towns across the United States with parades, picnics, barbecues, fireworks displays and other public gatherings. For many Americans, particularly children and young adults, it represents the end of the summer and the start of the back-to-school season.

Happy Labor Day to all!

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Sunday, September 01, 2013

The Year in Box Office

... according to the Gray Lady.

Huge Summer ... Few Blockbusters

Ticket revenue in North America for the period between the first weekend in May and Labor Day totaled $4.71 billion, a 10.2 percent increase over the same period last year. Attendance rose 6.6 percent, to about 573 million. ...

Ticket revenue in North America for the period between the first weekend in May and Labor Day totaled $4.71 billion, a 10.2 percent increase over the same period last year. Attendance rose 6.6 percent, to about 573 million. ...

“Turbo” was squished, taking in $80 million at North American theaters — one of the smallest totals in DreamWorks Animation history. ... Disney had the summer’s No. 1 movie in “Iron Man 3,” which took in $408.6 million in North America, for a global total of $1.2 billion. “Monsters University” generated more than $700 million in global ticket sales.

But Disney also had the summer’s No. 1 box office bomb: “The Lone Ranger,” which cost at least $375 million to make and market, and has taken in about $232 million worldwide. After theater owners take their cut, Disney is looking at a write-down of $160 million to $190 million. ...

Higher-priced 3-D tickets took another tumble, at least in the United States and Canada. ... Family films fared the worst, with “Turbo” setting a new industry low for the format. ...

Movie companies continued to make most of their profits with sequels; eight of this summer’s top 12 films came from continuing franchises. ...

The media's theme of this box office summer is that the field was too crowded, also that the many animated features in release trampled each other, suppressing revenues.

I could maybe buy that theory except that two animated features (sequels, naturally) made big profits. The two that didn't, a tale about a snail and a low-budget Cars spin-off, had their own reasons for under-nourished box office: the key demographic (18-42) saw no compelling reason to rush to the AMC on opening weekend to watch a speed-crazy mollusk or anthropomorphic flying machines.

Hard to believe, but there it is.





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International Box Office

The cartoons continue to play well to far-flung parts of the globe.

Weekend Foreign Box Office -- (Total World Accumulation)

Planes -- $7,900,000 -- ($102,043,000)

Monsters University -- $11,000,000 -- ($714,328,000)

Despicable Me 2 -- $6,100,000 -- ($822,135,190)

Smurfs 2 -- $8,500,000 -- ($254,704,236)

Turbo -- $ ____ -- ($153,697,000)

Slightly less than half of Turbo's worldwide gross comes from overseas. Domestically, the picture will stall out south of $100 million. (It's at $80 million now, treading water in 19th place, still playing in 438 theaters.)

My guesstimate is the feature will make roughly double abroad what it takes in domestically. (Turbo still has a lot of foreign markets waiting for a release.)

Rise of the Guardians, after all the tickets were counted, had a worldwide accumulation of $300 million. Turbo will be doing well if it hits that number.
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Hanging It Up

A fine trade paper tells us:

“Miyazaki has decided that “Kaze Tachinu” (The Wind Rises) will be his last film, and he will now retire,” Hoshino, who heads Studio Ghibli with Miyazaki, said.

Hoshino did not give any further details, saying only that Miyazaki will be holding a briefing in Tokyo next week. ...

How about, he's been at it a long time, he's had a string of hit films (many iconic) and he's 72 years old.

You get worn out after a while. And it gets to be time to do other things, because most of your years are now in the rearview mirror and you have to use the ones left to you wisely and well.
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Saturday, August 31, 2013

Epic at #1

Not in movie palaces here or around the world, but in purchases of little silver disks.

Blu-ray Sales, August 19-25: Epic Overtakes Olympus for Number One

For the week that ended on August 25th, Twentieth Century Fox's Epic topped both the Blu-ray-only and overall package media charts. ... Epic managed a surprisingly robust theatrical run despite mediocre critical notices (the film's Metacritic total is 52%); the CGI adventure grossed over $253 million worldwide on top of a projected $100 million budget. Factoring into its sales was a Blu-ray market share of 40%. ...

A quarter billion in movie ticket sales would be considered robust by many standards, but not for animated theatrical features. News Corp. has been operating its own mint wit the Ice Age franchise, earning $700 million and 800 million a pop. Not so for Rio (although the movie did relatively well) or the latest epic based on a William Joyce property.

It would be worth knowing if, on a subliminal level, there is audience resistance to snails and garden slugs as characters in animated features. That theory might explain the tepid box office for both Turbo and Epic.

The sad part: Movie creators can never know with certainty why their movies didn't do boffo business at the turnstiles. That's why I offer up the theory of why this feature did less than stellar business: audiences didn't want to see mollusks on the big-screen. And especially not in 3-D.
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Labor Day Box Office

Now with Nikkster Add On.

The big animated money-makers of summer have more or less shot their bolts. But here's how total domestic accumulations for cartoon features in release shake out:

Total Domestic Box Office

Planes (#4) -- $64,798,000

Despicable Me 2 (#14) -- $352,530,000

The Smurfs 2 (#17) -- $64,554,000

Turbo -- (#19) -- $79,047,483

Two animated features, Monsters University and Despicable Me 2, did gangbuster business. Everything else (to use a polite term) underperformed general expectations. Nevertheless ...

... [T]he all-important summer box office season is wrapping up more than 10 percent higher than last year, on track to beat the summer of 2011's record $4.4 billion in revenue.

This was largely thanks to a calendar packed with big-budget tentpoles. "We've had 15 films that have done over $100 million this summer, compared with about 13 films last year, so it was a deeper slate than last year," said Eric Handler, an analyst at MKM Partners. ...

The studio at the bottom of the pile this summer: Sony. Both its "After Earth," and "White House Down" bombed. Not a single one of its films broke into the summer's Top 10. ...

We might add that The Smurfs 2 also wasn't a barn-burner (at least domestically), so it's kind of important that Cloudy With a Chance of Meatballs 2 gets some traction.

Add On: The weekend box office per Ms. Finke:

Weekend Box Office

1. One Direction: This Is Us (TriStar/Sony) NEW [Runs 2,735] PG Friday $8.8M, Saturday $4.0M, 3-Day Weekend $16.9M, 4-Day Holiday $20.0M

2. Lee Daniels’ The Butler (Weinstein) Week 3 [Runs 3,330] PG13 Friday $3.6M, Saturday $5.5M, 3-Day Weekend $14.8M, 4-Day Holiday $20.0M, Cume $79.2M

3. We’re The Millers (New Line/Warner Bros) Week 4 [Runs 3,445] R Friday $3.1M, Saturday $4.5M, 3-Day Weekend $12.7M, 4-Day Holiday $16.0M, Cume $112.9M

4. Planes (Disney) Week 4 [Runs 3,259] PG Friday $1.7M, Saturday $2.9M, 3-Day Weekend $7.7M, 4-Day Holiday $10.7M, Cume $73.8M

5. Instructions Not Included (Lionsgate) NEW [Runs 347] PG13 Friday $1.9M, Saturday $2.7M, 3-Day Weekend $7.5M, 4-Day Holiday $9.3M

6. Elysium (Sony) Week 4 [Runs 2,539] R Friday $1.5M, Saturday $2.3M, 3-Day Weekend $6.3M, 4-Day Holiday $8.1M, Cume $80.2M

7. The Mortal Instruments (Screen Gems/Sony) Week 2 [Runs 3,118]PG13 Friday $1.4M, Saturday $2.0M, 3-Day Weekend $5.6M, 4-Day Holiday $7.2M, Cume $24.6M

8. The World’s End (Focus Features) Week 2 [Runs 1,553] Friday $1.4M, Saturday $1.8M, 3-Day Weekend $5.1M, 4-Day Holiday $6.7M, Cume $16.5M

9. Getaway (Warner Bros) NEW [Runs 2,130] PG13 Friday $1.4M, Saturday $1.5M, 3-Day Weekend $4.5M, 4-Day Holiday $5.5M

10. Percy Jackson: Sea Of Monsters (Fox) Week 4 [Runs 2,393] PG Friday $980K, Saturday $1.7M, 3-Day Weekend $4.4M, 4-Day Holiday $6.0M, Cume $56.5M

Planes continues to cling to the fourth rung of the list, making steady money. One of the first times a feature from the sub-continent has gained a bit of traction. (Turbo collected $770,000 domestically this weekend, good for 19th place. It's only in 438 theaters at this point, but had a 20% bounce, this weekend to last. And the 3D showings of the snail accounted for just 25 percent of its total box office, the most underwhelming performance for the format yet. Moving View Master might be doing gangbusters overseas, but it isn't happening in a major way stateside.)
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Friday, August 30, 2013

Four Pillars

There are many investment charlatans out in the wider world. Dr. William Bernstein, a financial wizard (and neurosurgeon now retired) is anything but. I've read several of his books, and here is a summary/condensation of one of his best, The Four Pillars of Investing:

PILLAR ONE--Investment Theory:

"Anyone promising high returns with low risk is guilty of fraud."

"The long-term return of high-grade bonds is essentially the same as the dividend yield."

"The market is brutally efficient and can be thought of as being smarter than even its wisest individual participants."

"Stock picking and market timing are expensive, risky, and ultimately futile excercises."

"A prudent course is to make the broad market and a lesser amount of small U.S. and large foreign stocks your core stock holdings."

"Financial history provides us with invaluable wisdom about the nature of the capital markets and of returns on securities."

"No one--not the pundits from the big brokerage firms, not the newsletter writers, not the mutual fund managers, and certainly not your broker--can predict where the market will go tomorrow or next year."

"From the market peak in September 1929 to the bottom in July 1932, the market lost an astonishing 83%."

"The message to the average investor is brutally clear: expect at least one, and perhaps two, very severe bear markets during your investment career."

"Most investors are simply not capable of withstanding the vicissitudes of an all-stock invesment strategy."

"A young person saving for retirement should get down on his knees and pray for a market crash, so that he can purchase his nest egg at fire sale prices."

"For the 50 years from 1932 to 1981, Treasury bonds returned just 2.95% per year."

"The fundamental investment choice faced by any individual is the overall stock/bond mix."

"Alfred Cowles was directly responsible for the collection and analysis of most of the nation's stock and bond data from 1871 to 1930. Without Cowles, we would still be financial cave dwellers.

PILLAR TWO--Investment History

"Be aware that the markets make regular trips to the loony bin in both directions."

"There is nothing new--only the history you haven't read (Larry Swedroe quote)"

"In no field is a grasp of the past as fundamental to success as in finance."

"Bubbles occur whenever investors begin buying stocks simply because they have been going up."

"At times of great optimism, future returns are lowest; when things look bleakest, future returns are highest."

PILLAR THREE--The Psychology of Investing:

"The biggest obsticle to your investment success is staring out at you from your mirror."

"Overconfidence is probably the most important of financial behavioral errors."

"The next major error that investors make is the assumption that the immediate past is predictive of the long-term future."

"Human beings are not very good at taking losses or admitting failure."

"My experience is that the wealthier the client, the more likely he is to be badly abused (by his broker)."

"The most liberating aspect of an indexed approach is recognizing that by obtaining the market return, you can beat the overwhelming majority of investment professionals who are trying to exceed it."

"A superior portfolio strategy should be intrinsically boring."

"If you cannot hold onto the asset class mutts in your portfolio, you will fail. Your overall portfolio return is all that matters."

PILLAR FOUR--The Business of Investing

"Make no mistake about it, you are engaged in a brutal zero-sum contest with the financial industry.--every penny of commissions, fees, and transactional cost they extract is irretrievably lost to you."

"99% of what you read in and hear from the financial media is, in fact, advertising cloaked as journalism."

"It is a sad fact that you can pass the Series 7 exam and begin to manage other people's accumulated life savings faster than you can get a manicurist's license in most states."

"Stay clear of mutual funds and variable annuities with sales loads and fees."

"Vanguard became the first, and only, truly 'mutual' fund company owned by its shareholders. There was, therefore, no incentive to milk the investors, as generally happened in the rest of the investment industry."

"At the present time, I'd still give the nod to the more traditional open-ended index funds (over ETFs)."

"When you buy the market, you are hiring the aggregate judgment of the most brilliant and well-informed minds in finance."

"The stockbroker services his clients in the same way that Bonnie and Clyde serviced banks."

"The essential characteristics of the successful investor are the discipline and stamina to, in the words of John Bogle, 'stay the course'."

"With relatively little effort, you can design and assemble an investment portfolio that, because of its wide diversification and minimal expense, will prove superior to most professionally managed accounts."

It took me twenty-plus years to figure out the truths William Bernstein imparts above. Unfortunately, I'm a slow learner.

TAG 401(k) Plan Enrollment Meetings

Bento Box
Wed. Sept. 18th, 2 pm,
5161 Lankershim - Table Read Rm.

Disney Feature
Wed. Sept. 4th, 3 pm,
Rm. 1300

DisneyToon
Tue. Sept. 3rd, 10 am,
Conf. Rm. 101

Cartoon Network
Tue. Sept. 17th, 2 pm,
Main Conf. Rm.

Marvel Animation
Wed. Sept. 4th, 10 am,
Marvel Anim. Conf. Rm.

Nickelodeon
Wed. Sept. 11th, 10 am,
"T.U.F.F. Puppy" Rm. A26.

Robin Red Breast
Wed. Sept. 11th, 3 pm,
Lrg. Conf. Rm.- Santa Monica Bldg.

Starz/Film Roman
Thur. Sept. 5th, 2 pm,
“Glass” Conf. Rm.

Sony Pictures Animation
Thur. Sept. 19th, 2 pm,
North - Rm 2050

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Your Labor Day Cartoon Clip

Cloudy With a Chance of Meatballs Deux will soon be upon us.



Sadly, Sony Pictures Imageworks has sent animation work on this feature to Vancouver, where the corporate socialism is more generous than the paltry package California offers. (Like, nothing or close to.)

Happily, a chunk of the work has remained in Culver City. (It seems that Vancouver can't handle as much production as Sony hoped, so back to Culver City some of the cartoon goes.)

The picture comes out in September, and if it dodges what the media has called "the summer animation glut" is known to the animated feature gods but not to us. A lot depends, we think, on whether the picture is any good or not.

Funny how that works.
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Replacement Time

It seems there is a changing of one of the Diz Co. creators.

Pixar Animation yanks director Bob Peterson off 'The Good Dinosaur' ...

Pixar Animation has removed the director of its 2014 film, "The Good Dinosaur," and not named a replacement, marking the fourth time in eight movies that the Emeryville studio has made a director change midstream.

With the film's release date fast approaching and various creative choices unmade, Pixar executives decided to replace director Bob Peterson this summer, according to the studio's president, Ed Catmull.

"All directors get really deep in their films," Catmull said this week. "Sometimes you just need a different perspective to get the idea out. Sometimes directors ... are so deeply embedded in their ideas it actually takes someone else to finish it up. I would go so far as to argue that a lot of live-action films would be better off with that same process." ...

Ed Catmull has also made this argument:

... Creative power in a film resides with the film's creative leadership. As obvious as this might seem, it's not true of many companies in the movie industry and, I suspect, a lot of others. We believe the creative vision propelling each movie comes from one or two people and not from either corporate executives or a development department. ...

Except when it doesn't.

To be fair, top studio execs have long had final say over the features under their purview. In recent times, some live-action directors tended to be untouchable, but even that has changed a bit, as fewer have "final cut" and other creative perks they often came to expect.

In the olden days, however, the front office wasn't shy about sharing its own creative vision with directors:

To: Curtiz

From: Wallis

Subject: Captain Blood

I have talked to you about four thousand times, until I am blue in the face, about the wardrobe in this picture. I also sat up here with you one night, and with everybody else connected with the company, and we discussed each costume in detail, and also discussed the fact that when the men get to be pirates that we would not have "Blood" dressed up.

Yet tonight, in the dailies, in the division of the spoils sequence, here is Captain Blood with a nice velvet coat, with lace cuffs out of the bottom, with a nice lace stock collar, and just dressed exactly opposite to what I asked you to do.

I distinctly remember telling you, I don't know how many times, that I did not want you to use lace collars or cuffs on Errol Flynn. What in the hell is the matter with you, and why do you insist on crossing me on everything that I asked you not to do? What do I have to do to get you to do things my way? I want the man to look like a pirate, not a molly-coddle. You have him standing up here dealing with a lot of hard-boiled characters, and you've got him dressed up like a God damned faggot...

I suppose that when he goes into the battle with the pirates (the French) at the finish, you'll probably be having him wear a high silk hat and spats.

When the man divided the spoils you should have had him in a shirt with the collar open at the throat, and no coat on at all. Let him look a little swashbuckling, for Christ sakes! Don't always have him dressed up like a pansy! I don't know how many times we've talked this over...

I hope that by the time we get into the last week of shooting the picture, that everybody will be organized and get things right. It certainly is about time.

Some things change, others things stay the same, but everything comes 'round again eventually.

My take on all this is: when an employee has a creative difference with The Boss, The Boss prevails. It's never been much different, learned articles to the contrary.





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Thursday, August 29, 2013

7/10 of a Billion

Pixar still has a perfect record.

... “Monsters University” today crossed $700 million at the worldwide box office, making it the fourth-highest grossing toon for Pixar ... behind “Toy Story 3,” (with $1.06 billion), “Finding Nemo” ($922 million) and “Up” ($731 million) — also is expected to become the studio’s highest-grossing animated film in China, with roughly $19.1 million locally. In total, “Monsters, Inc.” made $563 million globally. ...

How many studios can say every feature has made big bucks? Only one.

Whether or not your think every Emeryville film is an artistic winner, it's still impressive.
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Tink

This is smart thinking.

"Jake and the Never Land Pirates: Never Land Rescue" will premiere Sept. 29 on Disney Channel and Disney Junior, marking the first appearance of Tinker Bell in Disney Junior's "Jake and the Never Land Pirates" series. ...

When you're a big conglomerate looking for cross-pollination, looking for SYNERGY!, you take James M. Barrie's characters and use them as you will.

Tink doesn't talk? She now talks. Tink is CG, then hand-drawn. If she doesn't look exactly like other Tinks, so what? She's got the wings, the blonde hair, the little green outfit.

So she's good.

The idea, boys and girls, is to get the pre-Ks to know and love Tink, then get the tweeners to hone in on the CG direct-to-video product, then (if the tweeners turn into film geeks) get them to look at the 1953 movie.

It's all good, it's all seamless, it's all in the pursuit of God, Country and higher profit margins.

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Wednesday, August 28, 2013

One More Animated Feature

... in the crowded pool.

Newly-formed production company Gnosis Moving Pictures announced Tuesday that it will produce the animated feature The Quest in partnership with Will Vinton’s Vinton Entertainment.

Vinton, an Oscar winner for the 1974 animated short Closed Mondays, will direct a script he wrote with Andrew Weise and Peter Crabbe.

Mr. Vinton lost control of his Portland studio eleven years ago when investors pushed him out. (This business phenomena is sometimes known as the "Phil Roman effect:"

You found the studio. You expand the studio. You get more prosperous and you take the shares of your enterprise public. Then the stockholders get ticked off that you aren't making them more money (or any money at all) and throw your backside out the door.

But those are the breaks in Cartoonland. I'm just happy to see that Will Vinton is back in the game, creating again.
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DWA Walk Throughs

I was surprised today on DreamWorks Animation's Glendale campus. A group of employees was on hand for the 401(K) enrollment meeting, ready to sign up for the Plan. Last time around, in the midst of the big layoffs, there was practically nobody, so today I was thinking: Hey now. Artists with some confidence in their longer term prospects with DreamWorks. All riight.

Up in the Lakeside building, there are more empty cubicles but still work on Mr. Peabody and Sherman, How to Train Your Dragon 2 and others. Layoffs, however, still go on.

Meanwhile, the newer TV animation division is ramping up and enjoying some success ...

The first season of DreamWorks Dragons: Riders of Berk, premiered on Cartoon Network last September and quickly became a ratings success. On average, season one's premieres ranked #1 in their timeslot among key boys 2-14 versus all other TV networks, according to Nielsen Media Research. ...

Over at DWA TV's Ventura Boulevard studio, most of the work on Season 2 Dragons has wrapped, but a staffer said they're hopeful of getting a third season order. I asked if the unit was going to remain on Ventura Boulevard in mid-Valley, or if they were going to take the moveable feast to Glendale. The staffer wasn't sure. "Won't happen before the start of next year, wherever we are."

I asked if anybody knew where the new television facility was going to be, and was told it was in a high rise on Brand Boulevard south of the 134 freeway. That narrows it down only a little, since there are a lot of high rises south of the 134 on Brand Boulevard.

I was also told that nobody has moved over there yet, but I ran into a producer/director from another t.v. animation studio who's joining DWA t.v. (He was at the Ventura studio for a production meeting. Since he's fairly high profile, I was surprised he was leaving his long-time gig. But I guess DWA is going after established, higher end talent.)

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Tuesday, August 27, 2013

Macro Wages, Micro Wages

People complain to me on a regular basis that they're working for the same money or less than they were five ... ten ... fifteen years ago. Turns out there is a lot of that going around (who would have guessed?):

You're going to have to be patient. Very patient.

The wage "stagnation" workers are experiencing even as the economy and job numbers continue to improve is going to last considerably longer than expected, according to economists at the Federal Reserve Bank of San Francisco.

That wage increases come to a complete halt during recessions and don't recover immediately after is not unusual. But this time, the freeze and the decline in the real value of wages is "more pronounced than the pattern observed in past recessions. The economy has been recovering for four years and unemployment has declined considerably, but wage growth has continued to slow.

"The trend will probably continue ... long after the unemployment rate has returned to more normal levels," the economists write in a July paper.

The economists, basing their findings on Bureau of Labor Statistics data, said they do expect wage growth to "accelerate" sometime in the future, but don't say when. Right now, "the spike in workers who are experiencing no wage changes has reached record levels." ...

The Los Angeles animation industry has been sort of an outlier in the roller-coaster pattern of weekly salaries.

In the 1980s, artists got pretty close to minimum scale at lots of animation houses. Disney Feature paid veterans a bit more than newbies, but wages were anything but extravagant.

In the 1990s, salaries took off as both television and theatrical animation expanded at the same time and demand way outstripped supply. By the early 21st century the boom and feeding frenzy were over (particulalry for traditional artists) and the big bucks were being made by CG artists with production backgrounds. (Adam Smith lives!)

But now it's the second decade of the new millenium, and even CG tech directors and animators are getting hit in the pocketbook. Pay is (once more) bumping against minimums, and nobody is gloating about big money. The days of making twice the Animation Guild's minimum rates are long over. And our cousins, brothers and sisters in the VFX arena?

... Visual effects is the one key piece of filmed-entertainment production that operates under the Randian free-for-all that those economic sages prescribe for America’s greater prosperity. Until around 10 years ago, vfx artists and their skills were relatively scarce, so their jobs tended to be permanent and lucrative.

When IATSE tried to organize Sony Imageworks in the boom years, almost none of the company’s employees voted to unionize. That mindset held across the industry — and proved short-sighted. The major studios never had to become guild signatories for visual effects artists as they are for actors, directors and other specialties. They remained free to use f/x made anywhere, under any working conditions. And so they do.

As a result, downwardly mobile SoCal vfx artists — the canary in the coal mine for the rest of L.A.’s production pros — are learning to their terror just how much they have in common with laid-off machinists in Milwaukee. ...

We noticed this "lower pay" trend in cartoonland start in the late 1990s, but it's gone on to 2013. Animation is lucky compared to live-action and visual effects in Los Angeles. We've seen erosion of paychecks, but there is still a sizable workforce and lots of t.v. and theatrical work.

For grips, electricians, camera operators and everyone else on the live-action side, the high-end television shows and big-budget threatrical motion pictures are being made far away from L.A. County. The work that's remained has been (relatively) low paying.

Not good, but the way it is.
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The Doo

First the big dog is animated (hand-drawn). Then he's CGI with live-action thrown in. And now?

[Warner Bros.) is developing an animated Scooby-Doo feature film, returning to the franchise that produced a pair of live-action/animated hybrid films a decade ago. The project has been set up with Atlas Entertainment with Charles Roven and Richard Suckle producing.

Roven and Suckle also produced 2002′s “Scooby-Doo” for Warner Bros., mixing live action actors with the titular Great Dane, which was computer-generated, along with “Scooby-Doo: Monsters Unleashed” two years later. The first film generated $275 million worldwide, and the second followed with $180 million.
...


The obvious question: This will be all CGI, right? It isn't going to be done in the "classic style," right?

And then the next question: Will pre-production be done in L.A.? And will production be done in town or will it be outsourced? (Many companies are chasing socialistic hand-outs in the form of tax rebates and wage subsidies, after all. U.S.A.! U.S.A.!)

It's great that Warner Bros. is again jumping into theatrical animated features. But I want to know where all the work for the features takes place.
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Monday, August 26, 2013

Merchandise!

Two things to keep in mind about animated tv shows and features: They make a lot of money unto themselves. (Think Snow White's re-releases and video-casettes, silver disks, over seventy-odd years. Consider The Simpsons syndication packages.)

And then there's the gajillions in merchadise:

... "Despicable Me was an absolute blowout," says Jim Silver, editor-in-chief of TimetoPlayMag.com, a website that reviews toys. "The retailers underbought it in a big way, and they are playing catch-up. Literally everything sold out. It was severely underestimated."

In 2013, U.S. toy sales will hit about $22 billion, according to data from the NPD Group, with a quarter coming from toys based on licenses from movies and TV shows ­-- the category that in recent years has grown most quickly. ...

Along with DM2, the top toys of the summer at Toys R Us, she says, were products from Disney's TV series Sofia the First and Teenage Mutant Ninja Turtles, which was reincarnated last fall by Viacom's Nickelodeon, spinning off boy-oriented merchandise that has been popular with kids, teens and adult collectors.

But it's not just the big hits. Sometimes the under-performers get traction.

... DreamWorks Animation had success with Turbo because of the popularity of car toys with boys. “Even if a classic movie property does not perform well at the box office,” says Toys R Us’s Harnisch, “we often find that the combination of classic play patterns, like cars and trucks, as well as lovable characters translate well at retail.”

“It was tough this summer and [Turbo] was also a new [line of products],” says DreamWorks Animation's head of global consumer products Michael Connolly. “It’s always hard to get in front of people, but Turbo has done a lot better than the box office indicates because it’s such a fantastic play pattern.” ...

DreamWorkers have told me that the company expected Turbo toys to be big, along the lines of Pixar's Cars, and one of the reasons the TV show was put into work before the movie was released. I've no idea if DWA came close to its aspirations in the ancillary product department, but here's hoping.

Of course the larger point here: toys, licensing, and games are major reasons animation is today such a huge part of the entertainment marketplace. The shows and movies are often ever-green, spewing out cash-flow for decades. And the merchandise that gets generated in their wake also becomes hugely profitable. Most live-action franchises (Star Wars excepted) don't come close to the performance levels of their animated cousins.
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Just another cog in the machine


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Calling for Entries

Those cartoon awards are rolling around again? Already? (Okay, so it's the call for entries that's looming up.)

The International Animated Film Society, ASIFA-Hollywood, announced its ‘Call for Entries’ for the 41st Annual Annie Awards to begin Tuesday, September 3.

Step-by-step instructions are located at submissions.annieawards.org and are entirely on-line again this year. A complete list of Rules and Categories can be found on the Annie Awards website – www.annieawards.org -- along with up-to-the-minute updates and information about the ceremony. Deadline to submit entries and materials is midnight Monday, November 4. The 41st Annual Annie Awards ceremony is set for Saturday, February 1, 2014 at UCLA’s Royce Hall in Los Angeles. ...

“In an effort to simplify the entry process, we’ve combined a few things that are due on November 4,” said ASIFA-Hollywood President, Frank Gladstone. “Along with entries and materials, you’ll need to be a current member, renew your membership or join ASIFA-Hollywood by this date to participate in the Annie Award voting.” There are also new guidelines for sponsors, Gladstone explained. “Studio sponsorship contracts will also have to be in by the November 4th deadline and sponsors will not be able to take advantage of their entry benefits until their sponsor contract has been recorded. While you still need to be a professional member of ASIFA-Hollywood to submit, each sponsoring studio will also be asked to provide us with a list of designated submitters from their studio group. Finally, there will be no 'retroactive discounts' for entries that a non-sponsor has initially paid for, who then becomes a sponsor after the fact,” said Gladstone.

“Of course,” added Gladstone, “we continue to welcome independent entries and look forward to even more individual submissions this year.”

Entries submitted for consideration will be from productions that were released in the United States between January 1, 2013 and December 31, 2013. The deadline to join ASIFA-Hollywood or to renew membership, to become a Sponsor, and to submit entries and materials is midnight Monday, November 4, 2013.

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Sunday, August 25, 2013

Losing a Close One


Last Friday there was a vote-count for a National Labor Relations Board election at a small animation studio. It didn't involve a lot of artists, but the campaign was fairly long. with flyers ... and meetings ... and finally battling information sheets: Local 839 is misinforming you about this." ... "The company is not truthful when they say ..."

Because mail-in ballots were involved, the counting took place at the NLRB's Region 31 headquarters ...

So on Friday afternoon the cardboard ballot box was opened, and the vote tally came down to

Grand Exalted Productions -- 8 votes

The Animation Guild -- 6 votes

In other words, 6 "yes" votes to be repped by the Animation Guild, and 8 "no" votes to not be represented.

We knew it was going to be close, one way or the other. We knew the artists were worrying about the viability of the show on which they worked. In the end the comfort of "status quo" prevailed over the uncertainty of voting for change.

But enough. Unions win campaigns, and lose campaigns. TAG has had its share of wins, but we've certainly taken losses. (Read about one here ... and also, if you have time, the comments.)

The Animation Guild will be continuing various organizing drives now in progress, some of which will end it contracts, others which will end up as dust in the wind. But anyone who doesn't feel there is a need for better wages, working conditions and benefits for people who work for a living is probably living somewhere besides the U.S. of A.

We intend to keep pushing for better.
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Your Worldwide Box Office

Animation continues to joggle right along at the foreign turnstiles.

... “Despicable Me 2,” took in nearly $11 million from 51 markets this weekend. That pushed it past the $800 million mark (It’s at $805 million) and established it as the highest-grossing animated film of the year and seventh-highest ever.

It’s Universal’s most profitable film in the studio’s 101 year history and the studio’s second highest grossing film worldwide ever, behind “Jurassic Park.” ...

“Monsters University” was [at #3] with $19.6 million from 55 territories and has now taken in nearly $425 million overseas. The global total for the Pixar family film is $686 million. ...

Turbo is still collecting box office dollars, but doesn't look to be a chart buster.

Weekend's Foreign Box Office -- (Total World Cume)

Jurassic Park -- $30,000,000 -- ($89,885,935)

Monsters University -- $19,600,000 -- ($686,596,000)

Planes -- $5,900,000 -- ($77,391,000)

Despicable Me 2 -- $10,900,000 -- ($805,759,070)

Smurfs 2 -- $11,900,000 -- ($234,916,118)

Turbo -- $4,800,000 -- ($150,274,003)
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Happy Birthday, Mr. Kelly

Now with Add On!

One hundred years ago today, Walter C. Kelly was born. You probably know him from this:



Kelly was also a Disney animator and storyboard artist, working at the studio from 1936 to 1941. Kelly departed the studio around the time of the strike, went to work for Dell Comics, and found his way to immortality via a cartoon possum and a lively and literate mind. (The fact that W.C.K. drew real well didn't hurt either.)

Mr. Kelly died at the age of sixty, way before he should have gone, but he was never a man who enjoyed robust health. Still, we're grateful for the years that he shared his talent, and Pogo.

TAG President Emeritus Tom Sito's observations about Mr. Kelly and the '41 strike:

Scanning the articles about the 100th Birthday of Walt Kelly, I notice some of the old revisionism still in play about his whereabouts during the Great Disney Strike of 1941. That he was "ambivalent about the Strike" and so he coincidentally left the studio for a "family leave".

Before Roy Disney ended it in 1991, this mythology was spread to give the idea that 1-That nothing was bad enough at the Disney Studio to necessitate the artists being so ungrateful to Walt as to strike, and 2- No one of any importance left because of it, which Walt put out as a press statement at the time.

I talked to the strike leaders like Littlejohn, Hilberman, Hurtz and Selby Kelly, who told me Walt Kelly indeed was pro-union and was involved. You can read about it in my book Drawing the Line. From today's vantage point, it's easy to dismiss the notion that Kelly might care about the conditions of his fellow artists. It's much easier to ascribe his actions to pure self-interest. But that was not the spirit of the age, nor the spirit of the strikers. Passions among the artists were building and anger rising for months before the summer of 1941, The debate occupied a lot of Ward Kimball's thinking then, and he was Kelly's close friend. It is absurd to believe Walt Kelly paid no attention of any of it, and that a man of his principles should pick the climax of this argument to suddenly cut and run "for family reasons".

If as some say, Kelly expressed misgivings about the strike years later, well so did Bill Tytla. A lot of people in middle age come to feel embarrassed about the passions of their youth. One thing that is undeniable is that Walt Kelly was a man of conviction, and not afraid to stick his neck out for what he believed.

So I say Happy 100th Birthday not just to Walt Kelly the great cartoonist, but to Walt Kelly the believer in the rights of artists!
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Saturday, August 24, 2013

Your Late August Box Office

The Nikkster lays it all out.

1. Lee Daniels’ The Butler (Weinstein) Week 2 [Runs 3,110] PG13 Friday $4.7M (-43% from a week ago), Weekend $15.6M, Cume $50.9M

2. We’re The Millers (New Line/Warner Bros) Week 3 [Runs 3,445] R Friday $4.0M, Weekend $13.1M, Cume $91.4M

3. The World’s End (Focus Features) NEW [Runs 1,549] R Friday $3.4M, Weekend $9.6M

4. The Mortal Instruments (Screen Gems/Sony) Week 1 [Runs 3,118] PG13 Friday $3.1M, Weekend $8.9M, Five-Day Cume $13.7M

5. You’re Next (Lionsgate) NEW [Runs 2,437] R Friday $2.9M, Weekend $8.0M

6. Planes 3D (Disney) Week 3 [Runs 3,378] PG Friday $2.2M, Weekend $8.2M, Cume $59.3M

7. Elysium (Sony) Week 3 [Runs 2,913] R Friday $2.0M, Weekend $7.1M, Cume $69.1

8. Percy Jackson: Sea Of Monsters 3D (Fox) Week 3 [Runs 2,730]PG Friday $1.4M, Weekend $4.9M, Cume $48.1M

9. Kick-Ass 2 (Universal) Week 2 [Runs 2,945] R Friday $1.3M (-78%), Weekend $3.9M, Cume $22.1M

10. Blue Jasmine (Sony Classics) Week 5 [Runs 1,283] PG13 Friday $1.1M, Weekend $4.1M, Cume $14.7M ...

Despciable Me 2 is just out of the Top Ten, with a domestic total of $348,100,420 as of Thursday. (Turbo is at $78,142,003 and will have to work to crack $100 million. Which doesn't seem likely.) Click here to read entire post

Building Retirement

Next week I start a new round of 401(k) meetings, so it's time to focus on where you're going economically, and why it could be a smart idea to think (again) about tucking money away.

... According to the National Institute on Retirement Security, the median retirement savings balance for all working-age households is merely $3,000. Sure, that includes young people who haven’t saved much, but the near-retirement households aren’t doing much better. The median retirement saving balance for households ages 55-64 is just $12,000. A lot of families are going to have a rude awakening when they finally retire and realize they have to downgrade their lifestyle significantly.

Households with retirement accounts such as the 401(k) and the Roth IRA have a significantly higher income and wealth. Those households (55-64) have a bigger retirement savings median at $100,000. That’s better, but even that figure is quite low. If you find yourself near retirement without a lot in retirement savings, you will need to work hard now to salvage your retirement.

Run the numbers now. The first step is to keep track of your expenses and see where all the money goes. Then you need to estimate your retirement income. Check your Social Security statement to see how much help you would get from Uncle Sam. Don’t get your hopes up, though, because the average Social Security benefit for a retired worker is only about $1,200 per month. If you have a pension, you can add it to your retirement income here as well. Once you have done this, you can see if there is a big gap between your current expense and estimated income, and you can start figuring out how to reduce the shortfall. ...

The average accumulation in the Guild's 401(k) Plan is now $79,000. Not awful, but not great either. Even though many TAG members are en route to an okay but far from fabulous pension, they need to put away more retirement cash, and the 401(k) plan offers a relatively pain free way to accumulate money. (There is no match, but the tax advantages are considerable. You pay no state or federal taxes on the wages you put into 401(k) accounts, and earnings grow tax-deferred.)

Today I talked to a long-time Guild member who is just now at a studio back east. He tells me that he talks to a lot of twenty-somethings about saving for retirement in low-cost investment accounts. He says that many are clueless about the impact of pricey, actively-managed funds on long-term investments, but he's doing his best to educate them. (Costs of, say, 2% don't seem like a lot over three or four years, but over three decades they add up to 60% of the total nut. Yeowch.)

Diversified, low-cost investing is simple if you allow it to be. What is sometimes hard is sticking with the program and starting the program in the first place. However, we'll do our best to make the first step of the journey as easy and accessible as we can. Find below out upcoming 401k Enrollment meetings, listed in alphabetical order:

Bento Box
Wed. Sept. 18th, 2 pm,
5161 Lankershim - Table Read Rm.

Disney Feature
Wed. Sept. 4th, 3 pm,
Rm. 1300

DisneyToon
Tue. Sept. 3rd, 10 am,
Conf. Rm. 101

Disney TVA - Empire Cntr..
Tue. Aug. 27th, 10 am, Rm. 5223

Disney TVA - Sonora Bldg.
Tue. Aug. 27th, 3 pm, Rm. 1172

Cartoon Network
Tue. Sept. 17th, 2 pm,
Main Conf. Rm.

Dreamworks Animation
Wed. Aug. 28th, 10 am,
Dining Rm. B&C

Dreamworks - Dragons
Wed. Aug. 28th, 2 pm,
Main Conf. Rm.

Fox TV Animation
Thur. Aug. 29th, 2 pm,
Main Conf. Rm.

Marvel Animation
Wed. Sept. 4th, 10 am,
Marvel Anim. Conf. Rm.

Nickelodeon
Wed. Sept. 11th, 10 am,
"T.U.F.F. Puppy" Rm. A26.

Robin Red Breast
Wed. Sept. 11th, 3 pm,
Lrg. Conf. Rm.- Santa Monica Bldg.

Starz/Film Roman
Thur. Sept. 5th, 2 pm,
“Glass” Conf. Rm.

Sony Pictures Animation
Thur. Sept. 19th, 2 pm,
North - Rm 2050

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Friday, August 23, 2013

At Fox Animation

I spent a stretch of my morning at Fox Animation on Wilshire, where the American Dad and Family Guy crews are pleased that both shows have new seasons stretching out ahead of them. (As you probably know, American Dad, despite solid ratings, exits Fox and moves to TBS for its next season.)

The new round of AD episodes will number fifteen, not the usual 22. Crew members are a tad, downhearted about the lower number, but happy that a new season is happening. And of course there's the question of how Seth MacFarlane will be able to give his complete attention to everything, because ...

... Mr. MacFarlane is stretched thinner than ever.

Fox has declined an Asian-American group's request to reshoot the pilot for the upcoming Seth MacFarlane fall comedy, "Dads," despite brewing backlash over what many critics have called insensitive and even racist jokes.

The Media Action Network for Asian Americans (MANAA) had asked the network to alter scenes featuring Brenda Song's character dressing up in a sexy schoolgirl costume to please Chinese businessmen during a meeting with her bosses (Giovanni Ribisi and Seth Green). They objected to the "racial and sexual stereotypes."



Judging from the promo, the jokes are on-par with Seth's cartoon series, but maybe Dads seems a little more "out there" because the jokes come from live-action actors' mouths.

But if we're talking live-action, there's also the upcoming big-screen presentation, A Million Ways to Die in the West:

... "Everybody's laughing all the time," [Amanda Seyfried] said. "It's like nobody cares about the fact that they've been shooting a 14-hour day. Every line is hilarious."

Seyfried, who plays Albert's ex-girlfriend, praised MacFarlane's ability to handle his duties as both director and lead actor. "It's amazing, he looks like a movie star," she said. "He's very focused on what he needs to do and he watches the takes, but then all of a sudden he's next to you in the scene, and you're like, uh, are you watching what I'm doing, or...? And then he yells cut when he's in the scene." ...

So how are all the different hats Seth juggles (wears?) in the growing empire going to spin out? No idea. But the folks working in the animated division of MacFarlane, Inc. are pleased to have jobs for the next year.
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Batman Ben

This doesn't have much to do with the cartoon version, but so what? It's funny.

"Come Back Val Kilmer, All Is Forgiven ..."

The internet citizenry reacts to Mr. Affleck as the Caped Crussader. (Happily, I'm at an age where I don't give much of a sh*t. Ben Affleck, George Clooney, Michael Keaton, Warner Bros. will figure it out. Maybe.) Click here to read entire post

Thursday, August 22, 2013

Wonder



...Woman. ...

Andy Khouri of Comics Alliance explains:

What artist Robert Valley did with his four-minute Wonder Woman short for Warner Bros. Animation’s DC Nation campaign was much more than simply express the powerful essence of the iconic superheroine. In just a few precious seconds, Valley defies every expectation absolutely anyone would have about what Wonder Woman could be ...

The piece above isn't four minutes. To get the full dose of WW, click on the link above.
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It Couldst Be Giants

Uannounced, but out there.

... Giants ... will be to Jack and the Beanstalk as Tangled was to Rapunzel and Frozen is to The Snow Queen.

The film hasn’t been officially announced, and it could disappear from the schedule even after it is. But for now, work on the film continues, and I understand that director Nathan Greno has had a couple of table reads and is getting the basic shape of the film into good order. ...

So you know, I really try to keep my mouth shut about upcoming projects that aren't out on the internets. There's a reason for this: I'm a labor rep, and I get tired of being yelled at by this or that studio person because I've ruined some flack's official roll-out announcement.

I sincerely, earnestly try to avoid "breaking" anything because I walk around in all these studios and see stuff. I'm not an operator or a fan site and I really don't care what's in the development hopper one way or the other, since pictures fall in and out of work all the time. (Rapunzel/Tangled morphed into different movies for multiple years.)

I've heard this and that about Jack and the Beanstalk. I'm glad to know it's on a faster track now.
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Wednesday, August 21, 2013

Still More TV Animation

Another half-hour on a fine, cable network.

FX has given a pilot greenlight to Bigfoot, an animated comedy series based on Graham Roumieu’s faux Bigfoot autobiography graphic novels In Me Own Words, Me Write Book, And I Not Dead. Written by Matt McKenna (American Dad) and executive produced by Seth Rogen, the FX Prods-produced project revolves around Bigfoot, everyone’s favorite crypto-zoological hominid, as a modern-day everyman. ...

The conglomerates have stumbled onto the fact that

A) Lots of people watch cartoons on the TV.

B) Cartoons travel well (mostly).

C) Cartoons are relatively inexpensive to produce.

I think all these things enter into the equation of making or not making new animated product. And animation has a looong shelf life. What 1961 prime time sitcoms -- besides The Dick Van Dyke Show and The Flintstones -- are still in circulation half a century later? Not many.

And there's a lot more toy store merchandise sold with Fred, Barney and Wilma than Rob and Laura Petrie, trust me.
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Lean and Mean

One of our fine trade magazines tells us:

Walt Disney will lay off about 175 people at its ABC television unit beginning Wednesday, the result of an internal review discovering that many positions were unnecessary because of new technologies and redundancies as a result of acquisitions, insiders told The Hollywood Reporter.

The layoffs amount to about 2 percent of the unit, which employs 7,600. Insiders say the layoffs will largely hit the eight owned and operated TV stations housed in Disney's ABC Television Group. The company has eight owned stations in New York, Los Angeles, Chicago, Philadelphia, San Francisco, Houston, Raleigh Durham and Fresno. ...

Here in the 21st century, you can never slip enough people the axe ...

On a related note, a Disney animation staffer last week told me how she came back from family leave and got notice of termination, and I ran into a Frozen animator at the grocery store who had animated his last scene on the picture two days before. He related:

I knew the job was temporary when I started. Disney is paying me through the beginning of September, so I'm happy about that. ...

It always good to have something to be happy about, even if it's two or three weeks extra pay as you wade into the unemployment line.
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At Starz-Film Roman

My morning was spent at Starz-Film Roman along Hollywood Way, where a Simpsons director told me:

Nobody has told us, but I think that Fox is going to pick up The Simpsons for the 26th season. And then I think, if they get the voice actors on board, they will go all the way out to 30 seasons and end the program.

And then they'll make two Simpsons features. ...

From his mouth to the viewing public's eyeballs. ...

But one way or the other, Starz-Film Roman has to be mulling over what they're going to be doing after the Yellow Family completes their final half-hours. And by golly, it turns out they are:

Starz's animation house Film Roman is making a push into developing its own original animated programming.

The Burbank-based company, best known for its work-for-hire animation on The Simpsons, Beavis & Butt-Head and King of the Hill, has optioned several original ideas that it is developing.

Led by general manager and head of production Dana Booton, the unit of Starz has made a substantial, but undisclosed investment into an effort to produce and distribute original programming.

The initiative comes at a time when Starz, which John Malone's Liberty Media spun off as a separately traded company in January, has also focused on developing more original programming for its premium TV service. ...

The marketplace is a lot tougher now than when H-B developed shows and licensed them to the networks, because the networks couldn't own programs outright. In today's corporatist state, monopoly is a pleasing rather than a dirty word, and vertical integration, with one of our fine, entertainment conglomerates owning programming and distribution top to bottom, is all the rage.

But maybe there's still a place for the smaller players to develop good work and get it on the air. We certainly hope so.
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Tuesday, August 20, 2013

Closings

At the Mouse, I was once again in the hat building, and a second-floor staffer related:

The lighters and finalers are doing seven-day weeks now, getting Frozen finished. The rest of us are on regular schedules, since production on the picture is over for us [last of Frozen's animators have pretty well wrapped]. The newer shows are just ramping up. ...

Other feature players tell me that "production is going to be stretched out on the next couple of features. The production time on Wreck-It Ralph and Frozen was pretty compressed."

Elsewhere in the Kingdom, the curtain (axe blade?) came down on an old perennial ...

Walt Disney Co. (DIS) will close its Toontown Online video game for kids after 10 years, as the company’s interactive unit shifts resources toward the larger Club Penguin and to mobile games.
Toontown, in which monthly members form teams to fight evil robots, will stop operating on Sept. 19. ... The game made its debut in June 2003 and Disney has said it was the first massively multiplayer online game designed for kids and families. ...

The change leaves Club Penguin as the only so-called virtual world operated by Disney. The site, acquired in 2007, is the largest of its kind, according to Disney. The company has been adding more themed content tied to characters from Star Wars and Pixar films like “Monsters University.” On the Toontown site, Disney suggests players move to Club Penguin. The site had more than 200 million penguin characters created, according to a July report by Variety. ...

So production on the new feature closes a few weeks before Toontown goes dark.
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