Reaching Their Majority

2017 ◽  
Author(s):  
Alan K. Rode
Keyword(s):  
Financial Management ◽  
Hotel Room ◽  
Private Lives ◽  
Virginia City ◽  
Box Office ◽  
Secondary Role ◽  
Bette Davis ◽  
Sons Of Liberty

Curtiz was assigned to finishBlackwell’s Island.This was followed by his direction of Sons of Liberty, a patriotic short championed by the brothers Warner.The film won an Oscar for Best Short Subject, and Curtiz was given a $3,000 bonus from a grateful Jack Warner. Building on the original success of Four Daughters, he established a successful franchise with Daughters Courageous and Four Wives. Curtiz also beganhis relationship with the renowned cinematographer James Wong Howe, who would shoot four films for him. The Private Lives of Elizabeth and Essexwas a difficult production because of the dueling egos of Errol Flynn and Bette Davis and the dissatisfaction of Olivia de Havilland, whom Jack Warner deliberately cast in a secondary role to punish her.Curtiz made the picture beautifully, but it was a box-office disappointment. Curtiz also had to cope with a family calamity when his daughter Kitty cut her wrists in a Hollywood hotel room. He was also short of cash owing to his and Bess’s careless financial management. Borrowing money from Jack Warner, he got his mother and two of his brothers out of Hungary and resettled in Hollywood. After directing Virginia City, amid the outbreak of war in Europe, Curtiz prepared for an epic swashbuckler.

scholarly journals The ‘Cumberbatch’ Hamlet (1)

2017 ◽  
Vol 93 (1) ◽  
pp. 124-132
Author(s):  
Boika Sokolova ◽  
Nicoleta Cinpoeş
Keyword(s):  
Live Streaming ◽  
Special Effects ◽  
Box Office ◽  
Secondary Role ◽  
The World

This essay reads Lyndsey Turner’s 2015 Hamlet at the Barbican Theatre in London against the production’s priorities, namely, being star, new audience and box office driven. It explores the negotiation of the script, space and politics at the heart of this production. Giving its due when discussing the cinematic employment of cuts, editing, lighting and freeze frames, it acknowledges that some of the special effects were lost to the theatre spectator, per force cast in a secondary role in a production that prioritized live-streaming across the world.

Pre-Code in Synthetic Flesh

2017 ◽  
Author(s):  
Alan K. Rode
Keyword(s):  
Monte Carlo ◽  
Early Years ◽  
Economic Conditions ◽  
Horror Film ◽  
Hollywood Films ◽  
Box Office ◽  
Production Code ◽  
Bette Davis ◽  
Key Driver

Curtiz’s career is summarized during the pre-Code era of Hollywood films. The evolution of the Production Code from the 1922 appointment of Will Hays as the czar of the MPPDA to the lack of enforcement of the Code is contextually chronicled as a key driver of the nature of Warner Bros. pictures during the early years of the Depression. Zanuck pioneered the “ripped from the headlines” gangster dramas that struck a chord with audiences. After he directed The Mad Genius, with John Barrymore, Curtiz’s pay was cut as Warners lost $8 million in 1931.Following The Woman from Monte Carlo and the visually creative Alias the Doctor, Curtiz was assigned the contemporary Strange Love of Molly Louvain, starring Ann Dvorak.He hit box-office gold with Doctor X (1932), a gruesome pre-Code horror film starring Fay Wray, who recounted Curtiz’s cold, sometimes cruel behavior on the set. Curtiz’s production of The Cabin in the Cotton included his racial faux pas and his alienation of Bette Davis during their first film together.His masterly direction of 20,000 Years in Sing Sing concluded a year of worsening economic conditions for the country.

scholarly journals The Peculiarities of Financial Management of Cinema Houses

2012 ◽  
Vol 4 (4) ◽  
pp. 88-102
Author(s):  
Pavel Konstantinovich Ogurchikov ◽  
Eduard Anatoljevich Pichugin
Keyword(s):  
Financial Management ◽  
System Approach ◽  
Final Analysis ◽  
Factors Affecting ◽  
Box Office ◽  
Money Flows ◽  
Distribution Structure ◽  
Timely Work

The proceeds of the cinema-houses depend on various factors, i.a. the distribution structure of box-office takings. The goal of the money flows management thus takes on enormous significance, demanding a system approach and a thorough consideration of the peculiarities of cinema facilities. The article highlights the peculiarities of the finance resources of cinema-houses, the classifications of the factors affecting the amount of money flows. This classification allows to timely work out and exercise the optimization measures of money flows management, which in the final analysis will help to improve the conditions of the cinema-houses.

All This, Jack Warner, and Bette Davis, Too

2018 ◽  
Author(s):  
Allan R. Ellenberger
Keyword(s):  
Tennessee Williams ◽  
Michael Curtiz ◽  
Virginia City ◽  
Red Hair ◽  
Bette Davis ◽  
Anatole Litvak ◽  
Political Differences

Jack Warner cancels All This, and Heaven Too, a decision that Hopkins doesn’t take well. They agree that when the film is produced, Hopkins will do it. When her divorce is granted, she returns to Hollywood and is blackmailed by Jack Warner. At an impasse, Hopkins relinquishes All This, and Heaven Too and accepts a role opposite Errol Flynn. On Virginia City, Hopkins battles with Flynn and director Michael Curtiz. Zuckmayer returns to Vermont; Hopkins is devastated. Warner Bros. produces All This, and Heaven Too with Bette Davis. Hopkins is almost broke. She appears in The Guardsman for Bela Blau, but her political differences with Fascist costar Tullio Carminati postpones production and Blau sues Hopkins. Once resolved, Hopkins agrees to do a play by a new writer, Tennessee Williams, but not until she makes her next film, Lady with Red Hair. Hopkins’s battles continue at the studio. She reunites with ex-husband Anatole Litvak, until a scandal ends their relationship.

West Hollywood to Burbank

2018 ◽  
Author(s):  
Allan R. Ellenberger
Keyword(s):  
Academy Awards ◽  
Box Office ◽  
West Hollywood ◽  
Bette Davis ◽  
Anatole Litvak ◽  
The Right ◽  
Old Maid

Samuel Goldwyn loans Hopkins to Warner Bros. for a four-picture deal. Hopkins is slipping at the box office, so Anatole Litvak suggests that they cast her in their new property Dark Victory. But Bette Davis is assigned to the role and Hopkins hires a new agent, Charles Feldman, and battles with Warner Bros. over her parts, even offering to reduce her salary to be given better roles. Hopkins newfound liberal beliefs, a result of her marriage to Litvak, attract the FBI’s attentions. Litvak has a weekend affair with Bette Davis, Hopkins finds out, and threatens to divorce him and name Davis as correspondent. Jack Warner talks her out of it and searches for the right role for her, going back and forth on several projects, until finally they agree on The Old Maid, costarring . . . Bette Davis. Tests on the film continue until Academy Awards night, when Bette Davis receives the Best Actress Oscar for Jezebel; Hopkins reacts by trashing her own home.

Reimbursement and Telepractice

2013 ◽  
Vol 3 (2) ◽  
pp. 35-40
Author(s):  
Carol Dudding
Keyword(s):  
Service Delivery ◽  
Healthcare Services ◽  
Speech Language Pathology ◽  
Delivery Method ◽  
Quality Healthcare ◽  
Service Delivery Models ◽  
Private Lives ◽  
Language Pathology ◽  
Delivery Models

Whether in our professional or private lives, we are all aware of the system wide efforts to provide quality healthcare services while containing the costs. Telemedicine as a method of service delivery has expanded as a result of changes in reimbursement and service delivery models. The growth and sustainability of telehealth within speech-language pathology and audiology, like any other service, depends on the ability to be reimbursed for services provided. Currently, reimbursement for services delivered via telehealth is variable and depends on numerous factors. An understanding of these factors and a willingness to advocate for increased reimbursement can bolster the success of practitioners interested in the telehealth as a service delivery method.

Financial Management

2010 ◽  
Vol 44 (8) ◽  
pp. 55
Author(s):  
LEE SAVIO BEERS
Keyword(s):  
Financial Management

Forecasting US movies box office performances in Turkey using machine learning algorithms

2020 ◽  
Vol 39 (5) ◽  
pp. 6579-6590
Author(s):  
Sandy Çağlıyor ◽  
Başar Öztayşi ◽  
Selime Sezgin
Keyword(s):  
Machine Learning ◽  
Global Economy ◽  
Learning Algorithms ◽  
Forecast Model ◽  
Machine Learning Algorithms ◽  
Gradient Boosting ◽  
High Stakes ◽  
Box Office ◽  
Industry Forecast ◽  
The Impact

The motion picture industry is one of the largest industries worldwide and has significant importance in the global economy. Considering the high stakes and high risks in the industry, forecast models and decision support systems are gaining importance. Several attempts have been made to estimate the theatrical performance of a movie before or at the early stages of its release. Nevertheless, these models are mostly used for predicting domestic performances and the industry still struggles to predict box office performances in overseas markets. In this study, the aim is to design a forecast model using different machine learning algorithms to estimate the theatrical success of US movies in Turkey. From various sources, a dataset of 1559 movies is constructed. Firstly, independent variables are grouped as pre-release, distributor type, and international distribution based on their characteristic. The number of attendances is discretized into three classes. Four popular machine learning algorithms, artificial neural networks, decision tree regression and gradient boosting tree and random forest are employed, and the impact of each group is observed by compared by the performance models. Then the number of target classes is increased into five and eight and results are compared with the previously developed models in the literature.

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