-
Redbox Buys NCR Entertainment Division – Blockbuster Express Comes With It[teaser]If the partnership between Redbox and Verizon wasn’t impressive enough for you, Redbox has just made another huge announcement. [/teaser] There was never any real debate over whether Redbox or Blockbuster would be the dominant rental kiosk company, but now there’s no chance of competition. Coinstar, the parent company of Redbox, has just announced that it will be acquiring NCR’s entertainment division, which includes Blockbuster Express. In a letter sent to Blockbuster Express customers, general manager Justin Hotard said that the completion of the deal is expected in the third quarter of this year. “Until the transaction is completed,” he says, “you will continue to enjoy the convenience, choice, and value you're used to from Blockbuster Express.” From the sound of things, currently existing Blockbuster Express kiosks will become Redbox kiosks, further cementing the video renter’s already incredible market penetration. Source: EngadgetPosted Wed Feb 8, 2012 at 09:00 AM PST by: -
Panasonic Launches a New Projector[teaser]Panasonic’s new projector offers 1080p resolution, and it's made specifically for presentations in businesses, classrooms, and anywhere else ambient light might be a problem. [/teaser] The PT-LZ370U offers up 3,000 lumens brightness as well as a 10,000:1 contrast ratio. It boasts the Dynamic Iris Control System, which analyzes the content being shown and automatically adjusts the gamma curve, iris and lamp power to keep the picture nice and even. You’ll also find Daylight View Premium baked right in and adjusting the brightness of the projector based on the ambient light present in the environment. It’s also equipped with Detail Clarity Processor 3 to clean up your picture just a little bit more. The PT-LZ370U is available now at a price of $4,499. Source: eCousticsPosted Wed Feb 8, 2012 at 07:00 AM PST by: -
New Sony President and CEO Kaz Hirai Says Sony Could be in "Serious Trouble"[teaser]He'll be putting plans in place to turn the company around, but he definitely understands what the short-term future will look like. [/teaser] Last week, Sony announced a new president and CEO - Kaz Hirai. Though he says that the company could be in "serious trouble," Hirai has big plans to turn Sony around. For starters, he'll be strengthening the company's core businesses - digital imaging and gaming. Next up comes the challenge of turning around the TV business. He'll be considering collaborations with other companies and pushing Crystal LED and OLED technologies forward. Gamers will certainly be familiar with the former SCEA/SCEI president from, among other things, his E3 reveal of the PlayStation 3 which turned phrases like "five hundred and ninety-nine US dollars," "giant enemy crab," and "Ridge Racer!" into internet sensations. Though the PS3's initial launch was a disaster, Kaz quickly turned things around and made the PlayStation 3 into a relevant console that competes head-to-head with the Xbox for sales. Here's hoping he can do that with the rest of Sony. Source: The VergePosted Tue Feb 7, 2012 at 11:00 AM PST by: -
Axiom Audio Intros the VP160 Center Channel Speaker[teaser]You'll find 6.5" woofers, a 5.25" mid, and a 1" titanium tweeter. [/teaser] The folks at Axiom Audio felt they needed to make a center channel that could match up with their M60 tower speakers and created the VP160 for just that purpose. The VP160 features a pair of 6.5" woofers, a 5.25" mid-woofer and a 1" tweeter - the same lineup as the M60 tower. Since the drivers are the same, there's no disparity between the center channel and floorstanding speakers, giving you a nice even sound. Axiom's center channel is definitely not ready to be hung on a wall, coming in at 43 pounds. It's made to be put on a dedicated shelf or a stand the company sells separately. You can pick up the VP160 now at a price of $570. Source: eCousticsPosted Tue Feb 7, 2012 at 09:00 AM PST by: -
Verizon and Redbox Join up for Netflix-Like Disc and Streaming Service[teaser]Redbox is finally entering the streaming game, but just what the service will offer is a mystery. [/teaser] It's about time we see the formation of a streaming service that can legitimately go head-to-head with Netflix. Verizon and Redbox have joined forces to create their own service that provides both streaming video and physical media. The Netflix model is far from perfect, especially when it comes to the disc-by-mail portion of it. Shipping out individual discs is expensive, but it looks like Redbox will be solving that by letting subscribers pluck DVDs and Blu-rays out of kiosks. The pricing layout is a big question mark at this point as the joint venture promises "subscription services and more" in "an easy-to-use, flexible and affordable service that will allow all consumers across the U.S. to enjoy the new and popular entertainment they want." The launch of this new venture is expected in the latter half of 2012. Expect to see some changes at Netflix in anticipation of the competition. Source: EngadgetPosted Tue Feb 7, 2012 at 07:00 AM PST by: -
Fox Screening Every 'Simpsons' Episode Available for World Record Attempt[teaser]Entrants will have to beat last year's record of 86 hours, 6 minutes and 41 seconds. [/teaser] It feels like 'The Simpsons' have been on forever. The show is sort of a 'Saturday Night Live' for a new generation. We remember when it was amazing and revolutionary and a lot of us jump on and off the bandwagon depending on whether the show's any good or not. The folks over at Fox are celebrating the 500th episode of the show by hosting a marathon at the Hollywood and Highland complex in Los Angeles. Contestants will sit and watch 'The Simpsons' until they can't take any more, or fall asleep, which seems more likely. The current record of over 86 hours was earned in 2010 at a Fox sponsored '24' marathon. To break that, contestants will have to watch the show until an episode or two into the 11th season. So just to the point where it started to get stale, or should we say Krusty? Nice timing. Source: Home Media MagazinePosted Mon Feb 6, 2012 at 11:00 AM PST by: -
Panasonic Will Restructure in Wake of $9.2 Billion Quarterly Loss[teaser]Part of the loss is fallout from this year's earthquake in Japan, but steep sales decreases caused the rest. [/teaser] Panasonic may make some impressive TVs but there's one thing they're not making - a profit. The company is down $9.2 billion in the last business quarter, though there are some factors that make that number seem bigger than it is. One of those factors is the Great East Japan Earthquake, which affected Panasonic and essentially all other manufacturers located in Japan. On top of that, the flooding in Thailand hurt not only the global economy but Panasonic plants as well. Of course, these tragedies can't account for all of Panasonic's losses this quarter. Sales in all sunk by 14%. The component of Panasonic that takes care of TVs lost 16% in sales due to declines in flat panels and mobile phones. The decrease would have been higher were it not for favorable PC sales. Source: EngadgetPosted Mon Feb 6, 2012 at 09:00 AM PST by: -
Corning Lotus Glass Will be Used on Samsung OLED TVs[teaser]It's also going to be used on handheld and IT devices. [/teaser] Corning made a big impact with Gorilla Glass, boasting the strongest glass around which allows for thinner, lighter devices that still take a beating. Their newest creation is a bit different. It's called Lotus Glass, and it aims to give the best picture possible. Samsung Mobile Display has just announced that it will be teaming up with Corning to put Lotus glass on new mobile products that sport OLED screen. This doesn't translate into immediate use on TVs, but then again, Samsung doesn't have an OLED out at the moment. Samsung says that the partnership with its mobile division will lead to integration with more devices, including large OLED TVs. Source: EngadgetPosted Mon Feb 6, 2012 at 07:00 AM PST by: -
Sundance 2012 Interviews: Paul Dano and Jon Heder of 'For Ellen'by Luke Hickman So Yong Kim's 'For Ellen' stars Paul Dano as a one-hit-wonder rock star whose 15 minutes of fame are just about up. Along with the loss of his dream, he's about to lose his wife and daughter in a nasty divorce. Trying to aid him on this rough road is his inexperienced lawyer played by Jon Heder, who not only does everything he can to help him with the legal matters, but shows his compassion by trying to help him out in his personal life too. [teaser]Paul Dano and Jon Heder teamed up to talk with me about their film right after the second screening of 'For Ellen' at the 2012 Sundance Film Festival last week.[/teaser] HDD – Luke Hickman: Hey, guys. How's it going? Paul Dano: It's been great. We've had a couple of really good screenings and today things are finally getting to slow down a bit. We get to hang out and chat with our friends about the film. HDD: Have you gotten to or will you get to go out and see any films? Paul Dano: I haven't gotten out to see anything, but hope to start seeing some tonight now that my press duties are finishing up. HDD: What about you, Jon? Jon Heder: I'm leaving today – but I saw 'Tim and Eric's Billion Dollar Movie.' It was fun. Interesting to see at Sundance because it's not what you typically see here – but that's what's fun about the festival, you can see all sorts of different stuff. HDD: You haven't been here in a long time, have you? Jon Heder: It's been eight years. HDD: Paul, you were here - Paul Dano: It's been a couple years, but I've now been here two or three times. HDD: 'For Ellen' – great movie. Paul Dano: Thanks! HDD: What drew you to it? Paul Dano: I knew So [Yong Kim], the director, a little bit and she sent me the script to read more as a friend. She said, "I wrote this character," gave [the script] to me, and I thought, 'Wow. This is an amazing part.' I immediately saw the character and what he looked like – the clothes and everything – I thought, 'I'd really like to do that. It feels like something that I know I can do – I'm not 100 percent sure that I can do – but I think I can.' It just felt like a different role for me, so I talked to her and we decided to do it together. It was such a delicious part. He's got a lot going on, an interesting guy. So it was great, a lot of fun. HDD: What challenged you? You say that you weren't 100 percent sure you could - Paul Dano: I just think that he's a lot different from me. I'm not a guy who wear a red leather jacket and tight pants who curses people out. He's sort of aggressive and agitated. He drinks a lot, smokes a lot, and is really a hard rock kinda guy – not me, but it felt like somebody that I should play. HDD: I truly loved your drunken lonely rock star moment in the bar. That was my favorite sequence in the whole film because it said everything without saying anything. Paul Dano: Yeah yeah yeah. My favorite sequence in the film is when I go to Butler - or Jon's character's house - for dinner and then go to the bar. Our sort of strange dynamic see-saws. There's a bit of levity, then all of a sudden – "Ooh. That was mean." HDD: Jon, what drew you into this dramatic role? Jon Heder: I loved the script, thought it was a chance to play a great role that was certainly a departure for a lot of roles that I've played. It was a chance to work with a director like So. After having read the script and watching some of her past films and knowing that Paul was attached, I thought, 'This would be a great project to work on – great people and the opportunity to return to independent filmmaking.' I'd done other independent films, but nothing of this caliber. I was excited to get to do this sort of project. HDD: Paul, you've worked with younger kids before. Was it any different this time around? The scenes between your character Joby and Ellen are awesome. Paul Dano: Thanks. That's great. You know, it always seems like it's going to be a little bit of a pain or something, but then you realize that they just keep you honest. You are kind of caring for them in the scene. Like if we're walking down the street, you're paying attention to them in a way that is the character, but you're also thinking, 'I gotta make sure this kid doesn't run out into the street.' It helps you lose self-consciousness and you forget that you're acting. You're taking care of a kid at the same time, so I actually really enjoy it. And [Shaylena Mandigo] did a great job. She's a local girl in the city of New York where we filmed. We went to the school where she goes and observed kids in kindergarten, first grade and second grade, talked to some girls and asked Shaylena to do it. We started hanging out in front of the camera just talking – and those are our scenes. HDD: Jon, was there anything that challenged you with the role? Jon Heder: I certainly felt the pressure of trying to create a character that's not trying to make people laugh – which is what I'm used to doing – but at the same time, what I felt was most challenging was learning to trust my instincts. Because of So's filmmaking style, she would just let the camera roll. She wouldn't give you tons of direction, but she'd talk with you a lot about the character. For a scene, it would contain skeleton dialog and she'd say, "Let's just get this together," and it very much required me to jump into character and work my way – we didn't have any marks or anything. We didn't really have any hardcore studio direction, if that makes any sense. That was a challenge, but it was very rewarding and refreshing to do it. HDD: Did this process change the movie at all from script to screen? Paul Dano: The script was great. I don't think So needed to do anything. In fact, when I first saw it, I said, "You can take some of that [improvised] stuff out. Your script is good." The film did change from script to final cut - a little bit – but not a ton. Jon Heder: It was very much how I pictured it. HDD: Is it hard as an actor to trust in your director, that what you read and what you envision is what you're going to see in the end? Paul Dano: That's the most important thing and the hardest thing about being an actor. You step away from the film and it goes on and has this other life in the editing room. Sometimes you see it and you're really proud of who you worked with, other times you see it and you're like, "Oh, that different than I thought it would be." But that's what you try and work with people whose films you like. I liked [So's film] 'Treeless Mountain' a lot. I thought it was an interesting film with a very good script, so you trust that and choose to go for it. You can't worry about that on-set. Jon Heder: It's true. I just trust them and put it in their hands. I do my part and trust in whatever happens – especially with this project because it is so different from projects I've done in the past. With some, it's a little easier to predict what it's going to be like. So, she doesn't do a lot of cut-aways. She lets the camera keep rolling. It's interesting to see the film and see what she used – hearing my voice but not seeing myself. She made some really cool and interesting choices. You've really just got to trust. For me, I shot it and didn't see any of them for a long time. I was really excited to see the film. HDD: What's up next for you guys? Paul Dano: I have a film coming out in March called 'Being Flynn.' It's me and De Niro, based off a memoir called "Another Bullshit Night in Suck City" – another fantastic work. The film is really good. Focus Features is releasing it in March. Hopefully they'll get it out there a little bit and people will see it. For De Niro, it's his best work in a while. He's great in it. HDD: I've really liked Focus' film slate recently. Look forward to seeing it. What about you, Jon? Jon Heder: I'm still in the middle of promoting the 'Napoleon Dynamite' animated series for Fox, which has been great. HDD: How has it been revisiting your iconic character? Jon Heder: It's been really fun. It was nice to have a seven year break, then revisit it. It's like a reunion being back together again with the other cast members and the writer and director. It's really fun because it's a totally different process to do an animated show. So there's that and another independent film that I'll be shooting this summer called 'Alive and Well.' HDD: Can you talk about 'Alive and Well?' Jon Heder: I can't because we're still trying to secure the rest of the cast. Rob Rugan, first-time director and commercial director, is great. I've met with him several times and I'm excited to work with him and really look forward to it. HDD: Are you shooting to bring it here next year? Jon Heder: I don't know what his plans are with it, but it would be great. It would be awesome. It's really fun to come here with a film.Posted Fri Feb 3, 2012 at 11:30 AM PST by: -
Sundance 2012 Interviews: 'For Ellen' Director So Yong Kimby Luke Hickman Sundance veteran So Yong Kim has returned for the 2012 Sundance Film Festival after a several-year break with her latest film, 'For Ellen.' 'For Ellen' stars Paul Dano as an aspiring rock star named Joby whose had a taste of success, but his fifteen minutes of fame are almost up. Pouring salt on the wound is his soon-to-be ex-wife. While losing his dream career, Joby is about to lose his wife and daughter, Ellen, also. 'For Ellen' takes you through a few heartbreaking days of Joby's life as he says goodbye to his career and his family. [teaser]So Yong Kim took a few minutes out of her hectic Sundance schedule to tell me about her film, her inspirations, and how she landed Paul Dano for the key role.[/teaser] HDD – Luke Hickman: How has the festival been for you so far? So Yong Kim: Good. HDD: This isn't your first time here, right? So Yong Kim: It's my second time. I believe I was here in 2006. HDD: What were you doing in the interim? So Yong Kim: Let's see. I made my second film, produced my husband's film, and had two babies. HDD: That will surely strip you of some time. So Yong Kim: (laughs) Oh, yeah. HDD: I really enjoyed 'For Ellen' and I'm curious to find out how much of it came from your own life. Or did you simply just write it all fictitiously? So Yong Kim: No. I'm not like that. (laughs) I find writing so difficult. I started with this memory I have of meeting my father for the first time. Because my parents divorced when I was very young, like a baby or something. I don't know what made me do it because I don't ever think about him, but at the specific time in my life [when I wrote it], I was going through a little crisis about being a parent. We'd had our first daughter and I kept feeling like I wasn't a good enough parent. Then I started feeling insecure about being a filmmaker. I used that memory as a starting point and put a lot of my own insecurities and anxieties and bad habits into the character. It's a very personal film for me because whenever I see the film, there all these habits and narcissism that Joby has that I must have too. It kinda triggers something within myself. HDD: And I think that's what makes it so good. It's natural and real. One of my favorite scenes is Joby's drunken jukebox rock star moment. From me to you, thanks for keeping the uncut moment in there. It's powerful. So Yong Kim: Thanks! He's up there by himself, it's sad, he's in a small town. HDD: It's an unforgettable scene – and Paul Dano pulls it off. How and why did you cast him? So Yong Kim: I was really lucky and fortunate that we have some personal friend connections. I worked with his girlfriend Zoe [Kazan] on his second film and I felt comfortable enough. It was really nerve-wracking to ask him, "Hey, would you read this?" He really responded to the script and we started talking about the character. It seems like, upon reflection, it was organic. HDD: This is the second film I've seen in two days where a child actor gives an amazing performance. So Yong Kim: Great! Was the other one 'Beasts of the Southern Wild?' HDD: No, but I hear the same thing about that one. The other one was 'The End of Love' by Mark Webber. So Yong Kim: I hear that it's amazing. HDD: The footage between him and his son is brilliant. And I have to say the same about the material with Joby and Ellen in 'For Ellen.' Was it hard to get a great performance out of Shaylena Mandigo? So Yong Kim: My second feature was working with two young ladies. They were four and seven when I was working with them. I found that working with children is just such an enlightening experience. Luckily, I had that experience before working on this film. We knew that we were going to shoot a lot of footage because there was a kid on set, so basically we tried to roll camera as much as we could on-set and set up situations where she felt very comfortable, where she could feel like herself. HDD: Is it difficult shooting with children? So Yong Kim: No. Actually, no. There are challenges, but they're different challenges compared to working with [adults]. I wouldn't call it difficult. You have to be more playful and be on your toes a lot. If it's not working, then you have to switch to some other tactic - but I think that's also the same for adult actors. HDD: How quickly did you shoot the film? So Yong Kim: It was 18 days. HDD: Wow! So Yong Kim: Yeah, we had to shoot a lot each day. HDD: Where did you shoot? Because it looks blistering cold. So Yong Kim: New York. It was a lot colder than [Park City, Utah]. I was nervous about screening it here because the audiences are coming in from the freezing cold and seeing this frozen landscape that makes then feel colder than they did outside. I don't know if it's working for the film or against it. HDD: If you were trying give it a frigid mood, then I think you served your purpose. You nailed it! So Yong Kim: (laughs) Great! HDD: So what's up next for you? So Yong Kim: I'm working on another film about family, but it's more of an ensemble of characters. It's about this mother and her relationship with her two sons and daughter. It's about her and her connections with them. HDD: I'm noticing a reoccurring theme involving family. Has parenthood changed you? So Yong Kim: Yeah – but you know what it does? Parenthood makes me more focused on what I really want to do and what kind of stories I want to tell. I'm really thankful because I feel like I'm learning so much from them and I hope it comes through in my films. HDD: Where are you at in the process with your next film? Are you working hard on it? Or will it be a while before we get to see it? So Yong Kim: Probably not. For me, the script tells me, "Ok. I'm ready." So, it's kinda getting close to that, but not quite yet. HDD: The reception of 'For Ellen' seems to be going strong right now. The fact that your Q&A before our meeting today went long is a testament of that. So Yong Kim: (laughs) Yeah. The theater staff literally had to push us out. (laughs) So far, both screenings have been fun. The questions have been fantastic, insightful and thoughtful – not the generic usual. It's been quite good. HDD: I'm embarrassed for the filmmakers when riffraff audience members ask silly questions. So Yong Kim: Yeah, but it's a good starting point. I'm terrible at asking questions. When I'm on the other side, I get so nervous. "Excuse me. So, uh, how did you work with the actors?" (laughs) HDD: I'm the same way. I don't ask questions in public Q&As. I save them for the settings like this – conversation. I could chat with filmmakers like you all day long. So Yong Kim: Me too. I prefer this to a lot of people with their eyes on you.Posted Fri Feb 3, 2012 at 11:00 AM PST by:
