Terrorism Expert Elsa Lee tells Fox
News she's not surprised the attempted terrorist attack
at Metro Airport happened on Christmas Day. Elsa Lee
also says she's not surprised Detroit was chosen as the place
to try and blow up a plane, which was carrying some 300
people. For interviews contact Publicity@mayocommunications.com
She also has a new book on Counterterrorism (more)
An electronic press kit (EPK), the electronic form of traditional press kits used by writers and reporters have become more affordable, but you need to follow protocol and the rules of engagement according to an expert panel at a recent (12-10-09) Entertainment Publicists Professional Society (EPPS) media workshop sponsored by the International Cinematographers (ICG) Union Local 600 in Hollywood.
David Naylor, The DVD Group, Inc.
On-Demand and Online cost sharing has brought the prices down. “The costs really depends upon the distributor and what they’re resources are as they can run from a couple of thousand dollars to 100-Thousand said,” David Naylor, president, The DVD Group, LA. “The notification of movie distribution comes partly from studios, EPK vendor and the publicists themselves. It is more profitable to have everything in one group getting a better bang for your buck,” he said.
“There’s more outlets out there and if you are hiring the right people, where an author and book tour, they are shooting the stuff that people are going want to see and outlets are going to play.” Naylor talks about what goes into an electronic press kit.
An EPK takes the form of a CD or DVD, an e-mail, an e-mail, or a flash-drive In the 80’s and 90’s it was expensive and satellite feeds didn’t work too good. Today instead of putting a postcard with a hard copy of the video many are upload to a server.
Reba Merrill talks about EPKs merits at EPPS
“My first movie ‘Cujo’ (1983 thriller movie that freightened dog owners) one piece Warner Bros costs $25,000,” said Reba Merrill, Reba Merrill Associates, Inc., an Emmy award-inning producer and Cable ACE nominee. Three movies she worked on in in the old days earned her, “$130,000,” a profit of $13,000. “It was mass appeal, I did four pieces and I got $40,000,” she said. Merrill says what has changed is the distribution and formats thanks to the digital age. Snail mail with postage cards and video tapes have been replaced Online marketing and servers.
Rod Dovlin The Cannery
“If I’m working with someone who’s got a literary property and they’re trying to promote the author and the book we’re working in concert with a notification and distribution teams to promote both,” said Rod Dovlin, The Cannery. “You are working with who’s ever hiring you to do the EPK and studio publishing house, and building the budget is really where the ground work comes in.”
Different strokes for different folks “Obviously everyone still loves to see their properties end up on big syndicate TV shows like Extra, Access and Entertainment Tonight (ET),” said Dovlin. “But for certain people I’ve worked, like one of the world’s largest video game manufacturer, and they put out a skateboarding video, they’re not as concerned about getting their skateboarding video on ET as they getting it on ESPN or getting X Games opposite of ESPN.” It’s getting the right EPK length and out to the right people
Mark Herzog (2nd from right) Talks about social media and EPKS at EPPS workshop.
The panelists agree that for the web it should be around 1-3 minutes, otherwise 1-5 minute pieces that highlight the very specific part of the film, whether it’s talking to the director, or about a very big stunt of the day, or certain action in the film. “You know there are social networks that have groups that deal more with various aspects of it,” said Dovlin. “I just did a mixed martial arts film, and most of my marketing and outreach to getting it to these sites people never heard of.”
“I think the more you try to push and deliver goods that really look like you’re trying to really push that movie can be rejected,” said Mark Herzog, president/CEO, Product Entertainment, Inc. “Just get word of mouth spread is what you really want out of social networking.”
Brian Dzyak, author with ICG Union Local 600 Photog Betth Dubber at EPK workshop.
The evolution of TV network broadcasts to cable and Online changes playground –The Digital Age Impacts Distribution
The verdict is still out of format changes behind the scenes, too. “I’m more concerned about getting the best footage I can for an EPK,” said Brian Dzyak, EPK Cameraman and author of “What I Really Want To Do On Set In Hollywood,” a guide to every real job in the film industry. “I’m still using HD cameras and mixing managing media on the set, which isn’t the best method, but the bigger challenge is managing the media afterwards,” said Dzyak.
Dzyak says sometimes movie directors will get away with having an assistant shoot some scenes in HD, but you can spot them a mile away. Brian Dzayak is author of new book on Film Industry Jobs
Craig Boyd
“Media management on the set can be a real problem, because sometimes the cameras used are better quality than the movie cameras,” said Producer Craig Byrd, Mobscene Creative + Productions. “The idea for us is to shoot the best possible quality that we can. “If the EPKJ was shot on standard def (definition), because they (the client) wanted to save money, it can come back to bite you if you have to distribute the EPK in high def. That’s why as an agency we try to sit down and look at every possible outlet.” All the panelists prefer email pitches: David Naylor: david [at] thedvdgroup.com Reba Merrill:Reba[at]rebamerrill.com
Rod Dovlin:r.dovlin[at] cannery.com
Mark Herzog: info [at] herzocompany.com
Craig Byrd:Craig [at] cannery.com Brian Dzyak: bjdzyak [at] aol.com
Danielle Isaie is relatively new to our screens, but is quickly becoming a rising star. Both beautiful and talented, in the last couple of years she had graced our television screens many different shows. Including national UK favorites BBC’s ‘Casualty’, ‘Gavin and Stacey’ and a stand out role playing the small time drug dealer ‘Jade Morris’ in ITV’s ‘The Bill’. Recently Danielle filmed ‘Off The Hook’ playing the sexy ‘Maya’, she already has a growing fan base and is sure to set our screens alight in 2010. Danielle Isaie is as beautiful as she is talented.
Her career blossomed at a young age after being spotted by a children's agent at the renowned drama school Anna Schear. Danielle was quickly invited to play Rochelle in the children's programme "The Crust" on BBC1, Candice in "Sugar Rush", a popular show on Channel 4, and Tanya in a BBC2's Drama "IF...Drugs Were Legal". To support her passion and drive for her career Danielle decided to enhance her talents by training at London's The Poor School. Right after graduation, Danielle landed a stand out role in the UK's popular favourite "The Bill" as the small time drug dealer Jade Morris, and Cherice in the award winning BBC 3 comedy, "Gavin and Stacey". Danielle's career quickly flourished with ITV showcasing her first film "Caught in a Trap", playing the feisty Felicia.
UK's Rising Star Danille Isaie
Audiences fell in love with Danielle's performance and her fan base quickly grew. Danielle was snapped up to be a series regular in the popular children's BBC 1 show "The Legend of Dick and Dom". Danielle soon moved into the world of commercials staring in a Burger King advert, and shined in a role for the high rating medical drama on BBC1, "Casualty". Most recently Danielle heated up the screens playing a sexy fashion student in the up-to-date comedy "Off the Hook" for BBC 3.
She has lovely shoes, too, so we will definitely invite her to the Celebrty Shoe Toss in February 2010, stay tuned for this UK Hottie next year!
A White Christmas yes, but have you ever heard of a "Blue" one?
I got this media alert and thought I would check it out. Check back for photos. In the old days if your video camera didn't work you would automatically get a blue everything, even snow. I will check to make sure my camera is working on this one. Stay tuned. Media if you want to go contact the publicist below.
George Blodwell and Model House Eco 'Blue' Holiday Party
WHEN: Saturday 12th December Press check in 1:15pm for 2:00pm red carpet arrivals
WHERE:call number below for address & directions.
BACKGROUND INFO:
The new show Model House is teaming up with Brit stylist George Blodwell and Blue Eco Alliance, for a celebrity 'Blue' Christmas party.
Eco Alliance has determined that Californians use 70% of their water on their lawns and so this waterless lawn truly capitalizes on The Birth of Blue.
George being a Celebrity Wardrobe Stylist intends to make waterless lawns the style of the future.
WHO: Morgan Fairchild (Chuck, Friends), Liz Vassey (CSI), Navi Rawat (Numbers/Flash Forward), Stephanie Pratt (The Hills), Sharon Lawrence (Curb Your Enthusiasm), Bloom Vail (The Young & The Restless), Raphael Sbarge (The Young & The Restless), Ed Begley jr,Treva Etienne (24/Terminator Salvation), Alice Amter (The Big Bang Theory), Hakeem Kae-Kazim (The Fourth Kind),Christine Peters (Producer of How to Loose a Guy in 10 Days), George Blodwell,
Model House Hosts: Amanda G Alys, Anna Singleton, Mariel Knox & Lauren English. Astronaut Buzz Aldrin.
For more information or credentials please contact:
Catherine Lyn Scott,Publicist 323 988 5667 OR Cell:323 388 8315
Ripple Effect of Lost Revenues in Southern California Could Cost More Than 9,280 Jobs and $1.5 Billion in Economic Output, Along With Reduced Contributions to Guild and Union Pension Plans
Los Angeles – The Los Angeles County Economic Development Corporation (LAEDC) today unveiled a new economic study entitled “The Economic Implications of Low Cost DVD Rentals” which illustrates the negative impact that low cost, new-release DVD rentals could have on the Entertainment industry and the Southern California economy.
The LAEDC study, which utilizes the Redbox model of $1 DVD rentals available at the street date, shows the ripple effect of $1 billion in lost revenues to the domestic home video industry in the Southern California region – the entertainment capital of the world – would lead to an additional $500 million in reduced economic activity. The loss of motion picture production in and around Los Angeles would result in the loss of more than 9,280 jobs with annual earnings of almost $395 million, according to the LAEDC’s study.
“The economics of the motion picture industry are based on exclusive release windows which allow price differentiation - that is - some earlier transactions take place at higher price points," said Gregory Freeman, vice president of Consulting and Economic Policy for the LAEDC. "Redbox, or any other distributor that weakens the release window model, could reduce overall industry revenues. Lower revenues will likely lead to lower production activity, hurting the Southern California economy.”
Of the 9,280 jobs, more than half of the losses will occur in the Information Sector, the LAEDC found. In addition to motion picture and sound recording industries, this sector includes publishing industries, radio and television broadcasting, telecommunications industries and Internet service providers. Other industries impacted will be retail trade, accommodation and food services, health care and social assistance, professional, scientific and technical services, and manufacturing, among others.
Twitter, Facebook and social networks have become mainstream for entertainment writers and editors Entertainment Publicists Professional Society (EPPS) members learned recently(11-19-09) at a media workshop sponsored by the International Cinematographers (ICG) Local 600 in Hollywood.
West Coast Editor Michael Fleeman, People.com said, “Whether we like it or not, reporters are being dragged into new media, some kicking and screaming about it. You have to know how to do it, and you have to file under deadline.”
“We have a designated Twitter person, and when you see
our newly redesigned website in January, you’re going to
see something interesting with Twitter,” said West Coast
Editor Michael Fleeman, People.com.
Fleeman has been with People.com for three years,
which is one of the leading entertainment sites Online.
Before that he was with AP for 13 years.
Staff Editor Natalie Abrams, TVGuide.com
said they don’t have full time twitter people,
but each individual use new media to drive
more traffic to TVGuide.com’s websites.
Abrams also said deadlines are important.
“The East Coast picks up all morning and
we (LA bureau) come in at night, so deadlines
for TV shows, interviews with actors and
producers that air on Thursday should be
up on the home page Wednesday night, so
everything is fresh the next morning,”
she said.
New York Times Reporter Edward Wyatt, Los Angeles said reporters are being asked to post their stories Online and twitter about it. “Sometimes I record audio interviews or TV interviews and post them on the site,” he said. Wyatt cautions PR Pros to not miss the forest for the trees. “If you have a webisode that is attracting 50,000 eyes, and you want to tell me about it great, but it the television show associated with it attracts 16 million people a week, that’s the meat of the story.”
Wyatt covers the television business in LA. He joined the Times in New York in 1995 as a finance and investing reports and has covered education, the redesign of the WorldTradeCenter site, the 2004 Democratic primaries, publishing business, as well as professional cycling and the Tour de France. He moved to LA in 2006 to cover Television. Wyatt also said he’s looking for national stories, because the Times just doesn’t report on Manhattan stories. “When I came to LA I found we had not done a story on Two-and-a-Half Men, which is the biggest comedy on television and watched all over the country,” he said. “A lot of people in Manhattan don’t watch it, but people in Iowa, Kansas and elsewhere do. So if you bring stories with a national pace, we’re interested.”
Wyatt said his two pet peeves from entertainment publicist who pitch him include: “getting asked ‘who have you been talking to, which is none of your business when I am trying to just do a story” and when publicist lies to their client, “because what will happen is one day I’ll meet your client at a cocktail party and they will say ‘why didn’t you talk to us to promote this new show of mine?’ This actually happened. I said, “Because I asked your publicist, and he said, “you couldn’t talk for X and Y reasons, and I was there on the set, and you walk right past me three or four times. Just don’t do that (lie).”
(pictured) Andrew Hampp,Ad Age Mag Michael Fleeman, People.com)
Los Angeles Reporter Andrew Hampp for Advertising Age echoed other complaints of panelists on publicists’ followup calls on a pitch. “Please don’t pitch me after you received a big NO from another editor above me,” he said. “We are still a work in progress, and started our website three years ago. We have separate website and magazine editors and then we share editing staff. It’s about 99 percent original content on the website. There’s not much overlap between the magazine and website. The site is shorter, faster and more newsie, breazier and a younger user,” he said. Hampp said the print version deadline for Ad Age magazine is Thursday or early Friday, and the AdAge.com has a daily and weekly newsletter so there is much to choose from through the week. He says deadlines are many at AdAge.com
Hampp’s pet peeves of PR Pros is
that second followup phone call he
receives after the press release has
been received.
“I think my biggest pet peeve is just the coordination on events,” said TVGuide.com’s Natalie Abrams. “ I’ll get three separate emails a network publicist, a studio publicist, a show publicist or a personal publicist for the actor, and it is all on the same thing, making it hard to decide who to respond to, so coordination on that end would be good,” she said. Abrams also agreed with Wyatt about lying, “if you don’t want it out there that your client is going to be killed off of a show, or that your show has been cancelled, we can embargoed it, just be honest with us.”
Natalie Abrams, staff editor, TV Guide.com is the west coast Staff editor at TVGuide.com, a one-stop entertainment and video content destination serving more than 20 million unique users per month. From television spoilers to insider scoops, Abrams breaks the latest in entertainment news. Since joining in September, 2009, she landed exclusive interviews with some of the hottest celebs including the cast of Glee, Lost, Grey's Anatomy, 24 and 90210 among others.
“The economics of the motion picture industry are based on exclusive release windows which allow price differentiation - that is - some earlier transactions take place at higher price points," said Gregory Freeman, vice president of Consulting and Economic Policy for the LAEDC. "Redbox, or any other distributor that weakens the release window model, could reduce overall industry revenues. Lower revenues will likely lead to lower production activity, hurting the 
Wyatt covers the television business in LA. He joined the Times in 
(pictured) Andrew Hampp,Ad Age Mag Michael Fleeman, People.com)
Los Angeles Reporter Andrew Hampp for Advertising Age echoed other complaints of panelists on publicists’ followup calls on a pitch. “Please don’t pitch me after you received a big NO from another editor above me,” he said. “We are still a work in progress, and started our website three years ago. We have separate website and magazine editors and then we share editing staff. It’s about 99 percent original content on the website. There’s not much overlap between the magazine and website. The site is shorter, faster and more newsie, breazier and a younger user,” he said. Hampp said the print version deadline for Ad Age magazine is Thursday or early Friday, and the AdAge.com has a daily and weekly newsletter so there is much to choose from through the week. He says deadlines are many at AdAge.com
