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- 10/25/16--07:52: _'Shark Tank' star B...
- 10/25/16--08:00: _'The Walking Dead' ...
- 10/25/16--08:08: _Prince’s secretive ...
- 10/25/16--08:21: _The 50 best movies ...
- 10/25/16--08:22: _27 books that can c...
- 10/25/16--08:30: _The first official ...
- 10/25/16--09:18: _Roku's $30 'Express...
- 10/25/16--09:22: _Kendrick Lamar's ci...
- 10/25/16--09:46: _Tom Hanks proves he...
- 10/25/16--10:25: _Legendary director ...
- 10/25/16--10:48: _Sheryl Crow petitio...
- 10/25/16--11:00: _AT&T's new streamin...
- 10/25/16--12:30: _Parents want to cha...
- 10/25/16--12:56: _Justin Timberlake b...
- 10/25/16--21:37: _'Don't vote for him...
- 10/26/16--06:16: _Will Ferrell's Geor...
- 10/26/16--07:10: _Nielsen is finally ...
- 10/26/16--07:41: _Stephen Colbert is ...
- 10/26/16--07:58: _A man obliterated D...
- 10/26/16--08:22: _Ron Howard weighs i...
- 10/25/16--08:00: 'The Walking Dead' had a massive audience for its return
- 10/25/16--08:08: Prince’s secretive $10 million estate is about to open as a museum
- 10/25/16--08:21: The 50 best movies of all time, according to critics on Metacritic
- 10/25/16--09:18: Roku's $30 'Express' is no Chromecast killer — here's why
- 10/25/16--09:22: Kendrick Lamar's civil rights anthem 'Alright' almost didn't happen
- The shooting death of an 18-year-old black man named Michael Brown by a 28-year-old white police officer, and the weeks of protest that followed.
- The death of a 43-year-old black man named Eric Garner at the hands of two white New York Police Department officers; Garner was being arrested for selling loose cigarettes at the time of his death.
- The shooting death of a 12-year-old black boy named Tamir Rice by two white Cleveland Police Department officers.
- 10/25/16--09:46: Tom Hanks proves he can still do the rap from 'Big' 28 years later
- 10/25/16--21:37: 'Don't vote for him': Adele riffs on the US election during concert
- 10/26/16--07:10: Nielsen is finally taking its ratings outside the home
- Nielsen will leverage its Portable People Meter (PPM) — a device that uses wireless cellular technology to determine what programming is being consumed — across 75,000 panelists in 44 local markets, which will enable the company to estimate out-of-home TV consumption in over half the US population.
- Shortly after its launch in April, clients will be able to view out-of-home data as far back as September 2016. This should benefit networks that broadcast football games like NBC, CBS, and ESPN, as September is the start of the NFL season.
- Initially, the service will keep out-of-home ratings and in-home ratings separate, but there are plans to merge the two at a later stage.
- Declining football ratings. ESPN, CBS, and NBC all saw double-digit viewership declines through the first four games of the NFL season, at 17%, 15%, and 13%, respectively. While the NFL season will be long over by the time out-of-home ratings are incorporated in April, the service can shine light on whether these declines represent a short-term problem or if viewing outside the home makes a noticeable difference.
- Falling subscriber numbers. While presidential election coverage could be contributing to falling ratings, cord-cutting and cord-shaving are having a greater impact on subscriptions among sports networks, most notably ESPN. In fact, as of August 2016, ESPN had lost 7.39 million households in just over two years. Measuring out-of-home ratings could potentially capture consumers opting to shave their cable bill and watch big games at the local bar.
- Increased competition from digital services like Netflix and Hulu as well as new hardware to access content are shifting consumers' attention away from live TV programming.
- Across the board, the numbers for live TV are bad. US adults are watching traditional TV on average 18 minutes fewer per day versus two years ago, a drop of 6%. In keeping with this, cable subscriptions are down, and TV ad revenue is stagnant.
- People are consuming more media content than ever before, but how they're doing so is changing. Half of US TV households now subscribe to SVOD services, like Netflix, Amazon, and Hulu, and viewing of original digital video content is on the rise.
- Legacy TV companies are recognizing these shifts and beginning to pivot their business models to keep pace with the changes. They are launching branded apps and sites to move their programming beyond the TV glass, distributing on social platforms to reach massive, young audiences, and forming partnerships with digital media brands to create new content.
- The TV ad industry is also taking a cue from digital. Programmatic TV ad buying represented just 4% (or $2.5 billion) of US TV ad budgets in 2015 but is expected to grow to 17% ($10 billion) by 2019. Meanwhile, networks are also developing branded TV content, similar to publishers' push into sponsored content.
- Outlines the shift in consumer viewing habits, specifically the younger generation.
- Explores the rise of subscription streaming services and the importance of original digital video content.
- Breaks down ways in which legacy media companies are shifting their content and advertising strategies.
- And Discusses new technology that will more effectively measure audiences across screens and platforms.
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- 10/26/16--07:58: A man obliterated Donald Trump's star on the Hollywood Walk of Fame
Of all the startup investments Barbara Corcoran has made in her eight seasons on "Shark Tank," about two-thirds of them have flopped.
However, she explained in a recent Facebook Live Q&A at Business Insider's New York office, the remaining third have made her a lot of money.
The common trait of the entrepreneurs who have made Corcoran money? "They're not so smart."
Making deals with unintelligent business founders may sound like a bad approach, but she's referring to the way they carry themselves when things get tough.
Corcoran said that every business, whether it succeeds or fails, inevitably runs into a major obstacle — that moment is Corcoran's test of whether she can trust the founder.
The two-thirds of her entrepreneurs who will lose her money react by blaming someone or something and go sulk "for a number of days, or sometimes weeks," she said. "Those are the people, that I now know as an experienced shark, who are never going to make it in business. The minute someone starts feeling sorry for themselves, they are not an entrepreneur, because you don't have that luxury in life."
Here's where that "stupidity" comes in.
"You almost have to be too stupid to lay low when you're smashed," Corcoran said. "If you want to be an entrepreneur, you have to have a low enough IQ so that you bounce back up and say 'Hit me again.'"
Corcoran is partial to non-MBA types because she prefers working with someone who won't overanalyze risk and who will ignore safe choices to plow through the difficulties of building a business.
"They're smarter on their feet; they're smarter at recovering. They're not book smart," she said. "I don't even know if they have a high IQ, but guess what — they're natural-born entrepreneurs."
She gave an example of a moment when she knew that she would have a great partnership with two of her favorite "Shark Tank" entrepreneurs, Cousins Maine Lobster founders Sabin Lomac and Jim Tselikis.
For a Season 7 update on the deal Corcoran struck with Lomac and Tselikis in Season 4, a "Shark Tank" production crew traveled to Maine to report on the company's franchise expansion.
Corcoran explained in the Q&A:
"I'm thinking, 'How do I get their brand in this update? And so I say, 'Quick, you've got two days to do it — get giant chef hats, put them on your 50 employees. Puff them up with garbage bags! ... And I want "Cousins" in bright red letters across the band.'
"They got that done overnight. I don't know how they did it — 50 hats done, delivered on time. The producer walks into the set, looks at all the employees with the giant chef hats, and says, 'This is no good. Get rid of the hats. Too much.' And Sabin turns and says, 'I'm sorry, it's our company policy. We never let our cooks take their hats off.'
"I looked at Sabin, I thought, 'I love you, baby. I love you so much! You're going to make me so much money.' And of course, he makes me so much money.
"That's called smart on your feet."
Watch the full Facebook Live Q&A:
"The Walking Dead" marked another all-time high viewership for the zombie series with Sunday's season-seven premiere.
Deadline reports that 17 million total viewers tuned into the return episode, according to Nielsen. That's 16% more than the season-six premiere's 14.6 million viewers and just 2% lower than the show's record high season-five premiere of 17.3 million viewers.
As for the viewers most important to advertisers, adults under 50 years old, "TWD" nabbed 10.7 million viewers. That's up 13% compared to the season-six debut and just 3% lower than the record-breaking season-five opener.
Despite viewers' annoyance with last season's cliffhanger ending and a lot of agitation over Negan's (Jeffrey Dean Morgan) big kill, AMC is clearly celebrating this week. Not only did it reverse last season's ratings drop and nearly matched its record high, it also beat Sunday Night Football in the advertising demographic.
Paisley Park — Prince's famed and highly secretive studio complex — will officially be turned into a museum for his fans, following a unanimous vote by the Chanhassen City Council on October 24.
Few people had the privilege of visiting the $10 million Minnesota estate while Prince was alive, except for the rare shows or parties he threw there.
Stretching 65,000 square feet, Paisley Park served as the late singer's home, and included studios where he would record music. The decor is an extension of Prince's glam style, and will appear almost identical to the way it looked when he lived there. The complex is also thought to contain unreleased recordings.
After Prince's death in April, there was uncertainty about what kind of access the public might get to Paisley Park. The estate was set to open for a few weeks of tours beginning October 6, but the Chanhassen City Council said they need more time to consider the plan because of concerns about traffic, parking, and public safety. All but three days of the tours were cancelled just a few days before they were set to start.
Following the council's recent decision, Paisley Park will become a place where Prince fans can worship his legacy. Admission will cost either $38.50 or $100, depending if visitors want guided tours. The museum is slated to remain open indefinitely — for now. Prince did not leave a will, so his estate is currently tied up in legal battles over who will split his millions.
Many of the notable lists that rank the greatest movies of all time — like the American Film Institute's "100 Years ... 100 Movies" from 1998 — have enlisted thousands of movie-industry names to come up with a consensus of the best films.
When film critics are the only factor taken into account for such a list, however, it's a given that the results may not reflect what's most popular.
We turned to the review aggregator Metacritic for its list of the all-time greatest movies, which ranks films by their composite critical reception. The list excludes rereleases and films with less than seven total reviews on the site, so numerous classics like "The Godfather" and "Citizen Kane" are absent for lack of data, and the data skews toward contemporary movies. But it's an odd, fascinating assortment all the same.
Check out the 50 best movies of all time, according to the critics on Metacritic:
50. "Star Wars: Episode IV - A New Hope" (1977)
Critic score: 92/100
User score: 8.7/10
Plot summary (from IMDB):Luke Skywalker joins forces with a Jedi Knight, a cocky pilot, a wookiee and two droids to save the galaxy from the Empire's world-destroying battle-station, while also attempting to rescue Princess Leia from the evil Darth Vader.
49. "35 Shots of Rum" (2009)
Critic score: 92/100
User score: 6.1/10
Plot summary: The relationship between a father and daughter is complicated by the arrival of a handsome young man.
48. "Raging Bull" (1980)
Critic score: 92/100
User score: 6.4/10
Plot summary:An emotionally self-destructive boxer's journey through life, as the violence and temper that leads him to the top in the ring destroys his life outside it.
See the rest of the story at Business Insider
Books can be incredibly powerful. They have the ability to suck us in, take us on adventures, and influence the way we think.
They can teach us, move us, give us new perspectives, and help shape us. And the most powerful ones change our lives forever.
I asked my Business Insider colleagues to share the one book that has significantly influenced them.
If you're looking for life-changing books to read this fall, you may want to check these out:
'The Road' by Cormac McCarthy
"This book gave me a real sense of my own mortality. I'm usually grateful for this, but not always! It also made me appreciate fatherhood more."
Amazon synopsis: A father and his son walk alone through burned America. Nothing moves in the ravaged landscape save the ash on the wind. It is cold enough to crack stones, and when the snow falls it is gray. The sky is dark. Their destination is the coast, although they don't know what, if anything, awaits them there. They have nothing; just a pistol to defend themselves against the lawless bands that stalk the road, the clothes they are wearing, a cart of scavenged food — and each other.
"'The Road' is the profoundly moving story of a journey. It boldly imagines a future in which no hope remains, but in which the father and his son, "each the other's world entire," are sustained by love. Awesome in the totality of its vision, it is an unflinching meditation on the worst and the best that we are capable of: ultimate destructiveness, desperate tenacity, and the tenderness that keeps two people alive in the face of total devastation."
'The Tao of Pooh' by Benjamin Hoff
"This book introduced me to the idea that simplicity isn't the enemy of satisfaction; it's the essence of it. The inclusion of such familiar and beloved characters also helped the ideas stick in my mind."
—Christina Sterbenz, weekend and features editor
Amazon synopsis: The how of Pooh? The Tao of who? The Tao of Pooh!?! In which it is revealed that one of the world's great Taoist masters isn't Chinese — or a venerable philosopher — but is in fact none other than that effortlessly calm, still, reflective bear. A. A. Milne's Winnie-the-Pooh! While Eeyore frets, and Piglet hesitates, and Rabbit calculates, and Owl pontificates, Pooh just is.
"And that's a clue to the secret wisdom of the Taoists."
'Anna Karenina' by Leo Tolstoy
"It was the rare work of fiction that actually changed how I saw the world. It made me want to be a more moral and better person."
—Paul Schrodt, entertainment editor
Amazon synopsis: "Considered by some to be the greatest novel ever written, 'Anna Karenina' is Tolstoy's classic tale of love and adultery set against the backdrop of high society in Moscow and Saint Petersburg.
"A rich and complex masterpiece, the novel charts the disastrous course of a love affair between Anna, a beautiful married woman, and Count Vronsky, a wealthy army officer. Tolstoy seamlessly weaves together the lives of dozens of characters, and in doing so captures a breathtaking tapestry of late-nineteenth-century Russian society. As Matthew Arnold wrote in his celebrated essay on Tolstoy, 'We are not to take 'Anna Karenina' as a work of art; we are to take it as a piece of life.'"
See the rest of the story at Business Insider
Get excited, "Gilmore Girls" fans — Netflix has dropped the first official trailer for the four part series, "A Year in the Life."
And it looks amazing.
Stars Hallow still looks as charming as ever.
Luke is back to criticizing Rory and Lorelai’s eating habits.
Emily Gilmore installed a huge portrait of the dearly departed patriarch Richard Gilmore that takes up the whole wall.
Kirk is at Friday night dinner!
Lorelei seems confused if she’s still happy with Luke. Looks like there could be trouble in paradise.
Meanwhile, Rory is trying to find herself and decide what she wants to do.
Emily is kondo-ing her home and getting rid of everything that doesn’t bring her joy.
And though the series seems to be focusing on the three generations of Gilmore women — Emily, Lorelai, and Rory — we also have glimpses of some of our favorite characters including Jess, Suki, Dean, Paris, Lane, and more.
"Gilmore Girls: A Year in the Life" will premiere on Netflix on November 25.
Every year we get a new crop of media streamers, and every year the upgrades are incremental.
They get a little bit faster. Sometimes they get a little bit thinner. Every now and then you get some expected perks like 4K and HDR support, or maybe some digital assistant magic, but for most TV owners there’s no pressing need to upgrade.
So, if you’re one of the companies hawking these little app-playing boxes, how do you keep the business growing?
Well, if you’re Roku, you apparently attack the lowest common denominator, and make the most inexpensive streamer possible. This, despite the fact Roku already sells an inexpensive streamer that’s also very good.
And so we have the Roku Express, which is a $30 Roku. That sounds appealing! Roku has made great, easy-to-use streamers for many years now. Getting one for that low of a price would be steal. Unfortunately, while the Express has the same perks as Roku boxes on the surface, its hardware is just too compromised for comfort. Here's what I mean.
But first, the good. The Express has the exact same interface as any other Roku, which means it’s dead simple to navigate.
All of your apps are laid out in tidy rows, and you can adjust the order of them as you see fit. There’s no intermediary budding in with “shows you might like,” and no having to use your phone to put things on your TV, a la Google’s Chromecast. There’s just the services you use, with nothing between them.
Support for those services is still as strong as it gets, too. The only big names missing are iTunes, Google Play Music, and Kodi. Two of those belong to direct competitors (though Google Play Movies & TV is onboard), and the third isn’t a huge loss unless you download media more than you stream it. Otherwise, all the essentials and near-essentials are here, with more niche alternatives to explore than you could want.
All those apps are complemented by a nifty search function.
Roku has always had the advantage of not having a dog in the content fight — unlike Amazon, Apple, and Google, it has no platform for selling video. That means it has no incentive to push one service ahead of the others in search results.
Though its competitors (namely Amazon) have gotten better about this in recent months, Roku still takes the widest range of apps into account, is still agnostic about displaying them, and still lists your most affordable options first, which is helpful. It’s far from bulletproof — searching for “The Simpsons” somehow failed to bring up an FXNow link, even though that’s home to literally every episode — but generally speaking it’s a plus.
Roku’s companion app is useful as well.
Roku's companion app more or less recreates the entire Roku OS on your phone, then adds a virtual WiFi remote, and a voice search function. The latter works, though it’s clearly clunkier than talking to an assistant like Siri or Alexa. Still, I’d rather have it than not.
The app also supports a “private listening” mode, which lets you hook up a pair of headphones and funnel the volume through there. Again, this isn’t perfect — there’s a flaw that cuts off the audio if you connect your headphones after a stream has started, and using Bluetooth headphones consistently causes audio and video to desync. With a wired pair, though, it’s easy to appreciate.
See the rest of the story at Business Insider
Kendrick Lamar's 2015 album "To Pimp a Butterfly" is a multiple Grammy award-winning masterpiece.
Its eclectic mix of hip-hop, jazz, soul, funk, and myriad of other styles is a testament to the incredible range of the Compton-born rapper. The album won Lamar four Grammy awards in 2016, bringing his total to seven.
More than just a great album, it features several singles that've gone on to become anthems of the modern social justice movement. Most notably, the 2016 single, "Alright" has become the anthem of a generation:
Beyond being an incredible song, its chorus became a rallying cry of protesters in the United States — "a kind of comfort that people of color and other oppressed communities desperately need all too often: the hope — the feeling— that despite tensions in this country growing worse and worse, in the long run, we’re all gon’ be all right," as Slate culture writer Aisha Harris put it.
In Chicago, when people gathered to protest a rally for Republican presidential candidate Donald Trump, "We gon' be alright!" was sung in celebration of the rally's cancellation:
And in 2015, a Black Lives Matter assembly in Cleveland chanted the song's chorus, reportedly in response to police arresting a 14-year-old protester:
Countless other examples exist. More than just a great song, "Alright" is the anthem of the modern civil rights movement.
It's joined socially-conscious hits like Nina Simone's "Mississippi Goddam" and Billie Holiday's "Strange Fruit" as bigger than music. "Alright" is an incredible achievement for a man who's already achieved so much. And it's one that almost didn't happen.
The Creation of "Alright"
Kendrick Lamar recorded "To Pimp a Butterfly" in studios across the US with a variety of different producers.
Legendary producer — and acclaimed musician in his own right — Pharrell Williams was one of those producers. After having collaborated on Lamar's 2012 breakthrough album "Good Kid, M.A.A.D City," Williams and Lamar collaborated once again on "Alright."
Williams can be heard on the chorus, chanting "We gon' be alright!"
More than singing it, though, Pharrell Williams is actually responsible for both the song's addictive beat and its anthemic chorus.
"[Pharrell] had the hook. P had the 'Alright.' That's him on the hook," Lamar told famed music producer Rick Rubin in a recent interview for a GQ cover story. Williams created the beat behind "Alright" as well, co-producing it with Mark "Sounwave" Spears. In fact, the beat was complete a full six months before the song itself was.
And then Lamar left it alone for half a year.
"I was sitting on that record for about six months," Lamar tells Rubin in the interview. "The beat, Pharrell...between my guy Sam Taylor [a music publisher and friend] and Pharrell: 'Did you do it? When you gonna do it?' They was on me." But Lamar couldn't find the right lyrics, so he sat on it. And sat on it. And sat on it.
"I knew it was a great record, I was just trying to find the space and to approach it," Lamar said. "What's the approach? The beat sounds fun, but it's something else inside of them chords that Pharrell put down. It feels like it could be more of a statement than a certain tune."
It was Williams that ultimately pushed the song toward the what it is today; he came up with the hook, and Lamar ran with it. "Just saying that, the 'alright' phrase. What does 'alright' represent? What does 'we gonna be alright' represent?," Lamar says.
After that, the words apparently came flowing out.
"That was one record that executed exactly how my approach was the moment I put the pen to the paper," he says. In "Alright," Lamar channels the struggles of the modern black experience in America while also recognizing hundreds of years of struggle that led to this point.
It's an anthem of positivity written amidst a backdrop of civil unrest.
For some context, these all took place in the last six months of 2014 (during the recording of "To Pimp a Butterfly"):
As Lamar puts it, "There was a lot going on — still to this day there's a lot going on. I wanted to approach ['Alright'] as more uplifting, but aggressive. Not playing the victim, but still having that 'Yeah, we strong.'"
The anthemic nature of the song, the symbolic importance of its chorus, and its deep references to African American history ("40 acres and a mule") are all surgical and deliberate. And it's clear that it took much more than the beat and hook coming together for "Alright" to become "the protest song of our generation" (as Rick Rubin puts it).
"That song could've went a thousand other ways," Lamar says with a grin. "A thousand other ways."
The full, nearly hour-long interview is excellent — watch it here:
Tom Hanks is always up for turning back the clock to reminisce on his classic movies before he became "America's Dad."
A video is currently making the rounds of Hanks diving back into "Big." The movie star teamed with the hit YouTube channel Wong Fu Productions on an impromptu rendition of the "Shimmy Shimmy Cocoa Pop" rap from the classic comedy.
In the middle of an interview with Hanks and director Ron Howard for the release of their new movie "Inferno" (in theaters Friday), Philip Wang asks Hanks if they can do the rap together, and though it's been 28 years since the movie came out, Hanks did it without hesitation.
"I actually stole that from my kid’s summer camp," Hanks said after the rap. "We needed a thing in the movie and I said, 'How about we do this?'"
Watch Hanks do the "Big" rap below:
Paul Schrader has spent his career delving into the dark side of the human condition.
Starting out as a screenwriter, he instantly became a star by writing Martin Scorsese's 1976 classic "Taxi Driver." That started a long collaboration with Scorsese, continuing with "Raging Bull," "The Last Temptation of Christ," and "Bringing Out the Dead."
Schrader has tested audiences even more as a director, making haunting dramas like "American Gigolo"; the 1980s "Cat People" remake; "Affliction"; and "The Canyons," which is known more for the antics of its star, Lindsay Lohan, than what's on screen. (Schrader said he isn't mad — the movie sold for more than it cost to make.)
For his latest movie, "Dog Eat Dog," which opens in theaters November 4 and is on video on demand on November 11, Schrader teamed with Nicolas Cage and Willem Dafoe to create a bizarre, ultraviolent dark comedy — extremely dark and extremely violent — that is perhaps the boldest work Schrader has ever done.
Business Insider had a candid conversation with Schrader about the current movie business, how Cage surprised him when the actor suddenly read his lines imitating Humphrey Bogart, and why he'll never watch a work-in-progress cut of a Scorsese movie.
Jason Guerrasio: You've said while doing press for this movie that you had final cut on it. At this point in your career, can you make a movie any other way?
Paul Schrader: I never had final cut earlier on in my career, and I never needed it because you were always making movies with people who like movies and who understood movies. And yes, you had disagreements, and yes, you went back and forth, but at the end of the day you would come to an agreement.
Now in the last 10 years or so, we have started to see this influx of money into the entertainment business from people who don't necessarily like movies, watch movies, or know movies. You can find yourself in a room with people who are financing the film who don't watch movies themselves. Once you start to realize that you could be dealing with folks like that, then you start to think how can I protect myself? These people have a formula in their heads that is based on another time and place, and it's not the time and place in which you're making your movie.
Guerrasio: So you take a read on the people involved and decide if you say you want final cut?
Schrader: You try to. Every artist will tell you this: Every time you get f---ed you say, "I'm never going to get f---ed that way again." And you don't. But they come up with a new way to f--- you.
Guerrasio: One of the things that is embedded in my brain about your movie is Nicolas Cage impersonating Humphrey Bogart by the end of the movie. Was that written in the script?
Schrader: That was not in the book. (The movie is loosely based on a book of the same title by Edward Bunker.) That was not in the script. The book and the script were not comic either.
But Nic had this idea for his character who thought himself somewhat foolishly as Humphrey Bogart, so he was doing Bogart things, which I wasn't that crazy about, but I wasn't going to pick a fight over it. I could always cut it out.
But there was this whole nagging issue of the last scene. We had talked about it in rehearsals, but he wasn't really satisfied. He came back to me again while we were shooting and he said, "I don't get this last scene. I don't understand why he's still alive. I don't understand what he's doing with this black couple." And I said, "Well, maybe he's not still alive. Maybe it's the afterlife." And that's when he started to come up with the Bogart idea.
He said, "Well, I've been fooling around with Bogart. If he is actually dead, then he can become Bogart and he can save the black couple." He doesn't exactly pull that off, but that's how that evolved.
And he kind of stunned this on me on the day we were shooting that. We went through it and all of a sudden he's doing it as Bogie and I was like, "Whoa, you sure you want to do that?" And he said, "Look, you've been telling me for five weeks that we have to be bold. This is the only way you can do this genre today." He said, "I think this is a bold choice." I said, "Yeah, I think it is, too. Let's do it."
Guerrasio: For a movie that I think was intended to shock, it's not the violence that stays with me — it's the ending.
Schrader: Yeah, we jump into a meta movie. But my feeling is how you deal with a crime film in 2016 is a jazz riff. You try to stay ahead of the viewer. You don't quite know where you're going, and so one of the things that's unique about "Dog Eat Dog" is that it's a genre beyond predictability. The three ex-cons doing their last job, etc. There's a lot of genre tropes in there. On the other hand, it's an unpredictable take on a predictable genre.
Guerrasio: Is Cage still a bankable star so that when he's attached you have a "go" picture?
Schrader: Nic gets your movie financed. That's the good news. The bad news is that he eats up most of your budget in the process of getting it financed because you end up basically paying him the budget. But he still commands those big numbers.
I mean, the distributor of this film told me that all of the work we have done — the film festivals, all the press, the public appearances, the theatrical release — it all has one goal, which is to be No. 1 VOD on the first VOD weekend, because there is so much product out there on demand that if you're not in the top five it doesn't matter anymore because people can't get through it all. So you got to try to be No. 1 on VOD release.
Guerrasio: But do you ever see what those engagement numbers really are? Will the film's distributor, RLJ Entertainment, disclose them to you and be transparent?
Schrader: I talked to RLJ about this. We'll see how transparent they are. They promise to be transparent. I made "The Canyons" a while back and we self-financed that for a half-million dollars and then we sold it to IFC for $1 million, so we all made money and it was all fun and dandy. But of course, at the end, that film could go on and make money for the next 20 years [through streaming] and we'll never see a statement.
Guerrasio: And — one way to stretch a dollar for this movie — you yourself played one of the characters. Which was something done at the last second, right?
Schrader: Yeah, Marty [Scorsese] was going to do it, and then the date we wanted him fell on his birthday, and he didn't want to come. I remember saying to the producer, "Even if Marty had come, we don't even have enough for his airfare anymore." Because this was at the end of the shooting schedule. So then there was the option of hiring a local, and I didn't want to do that, and Cage was pressuring me to do the role myself. And I thought, I may be bad, but I won't be boring.
Guerrasio: But you also asked Quentin Tarantino, Abel Ferrara, and Christopher Walken, right?
Schrader: Yeah. I even asked Rupert Everett to do it as a transgender Cleveland gangster, and he was willing to do it, but then his Oscar Wilde project ["The Happy Prince"] intervened.
Guerrasio: I've heard you say in the past that your films "exercise" your demons, not "exorcise" them.
Schrader: Not every one. But that's one of the things they can do, yes.
Guerrasio: Is that still the case today?
Schrader: You need to have a film like that maybe every four or five years. I don't think every film can be like that.
Guerrasio: So when was the last one like that for you?
Schrader: Well, that's this. I had written a film called "Dying of the Light," which I also directed and it started Nic Cage. And when I handed in the director's cut, they took it away.
Guerrasio: So getting screwed over again.
Schrader: Yeah, there was a point I wanted to make with this movie — I wanted to make a point that I can make a film with Nic Cage that people want to see.
Guerrasio: You mentioned "The Canyons," a movie that is known more for Lindsay Lohan's off-screen antics while making the movie. Was that a rebound moment for you, making that movie?
Schrader: It wasn't much of a rebound; it was an experiment. It was exhausting, and there's a lot of sanctimonious finger-wagging at poor Lindsay from the media. "Bad girl, bad girl." It's like all these people wagging their finger at Donald Trump while selling publications.
Guerrasio: So the media played up incidents in the making of the movie that didn't define how that movie was made?
Schrader: No. The New York Times was there on the set every day, so all that stuff, though not very flattering, it was true. Maybe some of it a little exaggerated, but most of it true. But every film is a drama for a different reason.
Guerrasio: Have you seen Scorsese's long-awaited "Silence" yet?
Schrader: No. He's really hit the mattresses because they'll be mixing all next month and it opens in December and it's three and a half hours long. I see Marty a lot, but I would never want to be in that position to be an early viewer of any of his films.
Guerrasio: So even in the past, he doesn't call on you?
Schrader: No. I would be uncomfortable.
SEE ALSO: 27 movies you need to see this fall
Sheryl Crow knew that the darkness of the 2016 presidential election had reached a new level when she started seeing what she thought were physical effects on her family members.
In an interview with Business Insider on Monday, the singer speculated that the "urgency and sense of vitriol" in the election may have taken a physical toll on her mother's health.
"I was actually in the hospital with my mom, and they would come in every couple hours to take her vitals," Crow said. "And she's a true news junkie, very well informed. And her vitals were off the charts. She's usually 90/60, and she was 169/60. I could see what this is doing to all of us."
The election's sense of "nastiness," as Crow dubs it, is part of the reason the Grammy Award-winning singer-songwriter launched a Change.org petition earlier this month to lobby the Democratic and Republican national committees to shorten the election cycle.
The petition, which on Tuesday had garnered over 33,000 signatures, says it has been over 600 days since Sen. Ted Cruz announced his presidential campaign in 2015 to kick off the presidential election, and urges the DNC and RNC to spare the country another "lengthy slugfest."
"Countries across the globe have limited campaign seasons to as short as 6 weeks," the petition reads. "The American people have been extremely disrespected in this campaign season with the ugliness that pits us against each other and with nonsense and fear-mongering. It is time this comes to an end and that we demand better for ourselves."
In Monday's interview, Crow lamented that she has gone from a "news junkie" to finding herself "hurtling furniture to get the remote" before her kids to keep them away from cable news.
"There was a time in my life and in my career where I was very outspoken. I was on the campaign trail for candidates. I was always blogging," Crow said. "A few years back, I just felt like the noise was becoming deafening. People and opinions were becoming more vitriolic, and I wanted to sit back and be quiet, really on behalf of my kids, and not be drawn into arguing."
Crow is somewhat light on specifics about how she would like to see the election shortened, though she said she is open to different ideas, and cited Canada's 11-week parliamentary election cycle as a potential model.
The singer-songwriter said she's talked to campaign experts about the best way to cut down the campaign cycle without limiting the information that voters need to head to the ballot box.
"We have to evaluate it," Crow said. "We have to figure out a way to make the process better, whether it means setting up rules as to when money can be raised or setting up rules over when TV ads could run. Or maybe investigating the primaries."
She added: "I think that asking for six or eight months isn't out of the question."
Still, she acknowledged that longer primaries allow grassroots campaigns like those of Sen. Bernie Sanders and then Sen. Barack Obama to gain steam. For Crow, Sanders' candidacy demonstrated the importance of a longer primary campaign.
"I'm very optimistic when I saw someone like Bernie Sanders being able to galvanize a whole population of people and talk about some real issues that plague our nation no matter what side you're on," Crow said.
There may be a silver lining to the election cycle for Crow personally. The singer-songwriter hinted that the election played a supporting role in shaping the content of her next two records.
"I have two new records that I just completed, and the one that we just finished a month ago is largely about what's happening in this country, as well as what's happening in the world and what's happening with humanity," Crow said.
When asked if any songs were directly influenced by the election, she said: "There are definitely a couple of songs, one of which we are looking to release in the next couple of weeks that is collaborative, and I can't really talk about who is on it yet. We are in the process of mixing it."
And her reservations about the campaign won't keep Crow from going to the ballot box.
Though she would not disclose which candidate she is supporting, the previously self-professed Democrat said she is "definitely voting."
AT&T just dropped a bombshell by announcing that its streaming TV streaming package, DirecTV Now, will include more than 100 channels for only $35 a month.
That $35 includes unlimited mobile data for your TV viewing, AT&T CEO Randall Stephenson said Tuesday at The Wall Street Journal's digital conference.
The service will debut in November.
DirecTV Now will be a package of live TV delivered over the internet wherever you are — no cable box or satellite dish necessary.
It will target the 20 million people in the US who don't have pay TV, but the company plans for it to be the primary TV platform by 2020, according to Bloomberg.
DirecTV Now's $35 price point undercuts the early industry norms for live-streaming TV. The market leader Sling TV charges $20 for "25+" channels, and its highest package has about 50 channels for $40. Sony's PlayStation Vue charges $54.99 for about 100 channels, and its lowest package gives you "60+" channels for $39.99 a month. Other competitors including Hulu and YouTube are reportedly readying their own packages for streaming live TV but have yet to name a price.
DirecTV Now seems to be blowing them all out of the water on price, though the full catalog of channels has yet to be announced. It will have channels from Time Warner, NBCUniversal, Fox, Disney, and others. AT&T can afford the low price point because it didn't have to create and service legacy equipment like satellite dishes, Stephenson said.
As is the norm for "over-the-top" services like Netflix or Sling TV, DirecTV Now also won't lock you into an annual contract.
Pay TV as an app
DirecTV Now won't break the mold of pay TV; it will simply make the delivery more fluid and improve on price.
"It's pay TV as an app," AT&T's senior vice president of strategy and business development, Tony Goncalves, told Business Insider in a recent interview.
AT&T sees itself as an "aggregator of aggregators," and its strength will be in the breadth of content it provides (more than 100 channels), as well as in a pain-free technical experience. As a user of Sling TV, I have had many tech issues, and that element should be factored in prominently.
Stephenson also said DirecTV Now would eventually be bolstered by AT&T's 5G network. He presented 5G as an alternative to broadband moving forward.
This announcement comes on the heels of AT&T's proposed $85 billion purchase of Time Warner. The deal, if it goes through, would link AT&T's "pipes" — wireless, broadband, and satellite — to Time Warner's media properties, which include HBO, CNN, and Warner Brothers.
Stephenson said Time Warner channels would be available on DirecTV Now.
A parents' group known as the Parents Television Council has come out strongly against the violent season-seven premiere episode of "The Walking Dead."
The conservative watchdog group slammed the "brutally explicit" episode, which saw the deaths of series-regular characters and shocked fans.
"Last night’s season premiere of 'The Walking Dead' was one of the most graphically violent shows we've ever seen on television, comparable to the most violent of programs found on premium cable networks," PTC president Tim Winter told The Hollywood Reporter on Monday.
Winter argued that it's "not enough to 'change the channel' ... because cable subscribers — regardless of whether they want AMC or watch its programming — are still forced to subsidize violent content."
He went on to argue that the episode demonstrates "why families should have greater control over the TV networks they purchase from their cable and satellite providers."
The episode was rated TV-MA, meaning for mature audiences, but Winter wonders if there should be a "more severe rating than TV-MA."
Some parents may not be please about gruesome violence appearing on their cable channels, but AMC is surely celebrating the milestone episode, as it had one of the largest audiences for the zombie show ever.
Prosecutors in Tennessee are reportedly taking seriously Justin Timberlake's Instagram selfie of the star voting early in a polling booth, which breaks local law.
On Monday, Timberlake posted the photo on Instagram showing him voting in his home state, captioning it in part,"I just flew from LA to Memphis to#rockthevote !!! No excuses, my good people! There could be early voting in your town too. If not, November 8th!"
But Tennessee law explicitly prohibits voters from recording photos or videos in polling places. ABC News has gathered a list of where ballot selfies are prohibited or allowed.
The local prosecutors told Entertainment Weekly that they're looking into Timberlake's incident.
"The Shelby County DA’s office was made aware of a possible violation of state election law,” the Shelby County DA’s office told EW in a statement. “The matter is under review of the DA’s office. The law itself TCA2-7-142(B). The offense is a state class C misdemeanor. Any person convicted of this violation could be sentenced up to 30 days or fined no more than $50 or both.”
A publicist for Justin Timberlake did not immediately respond to Business Insider's request for comment.
British singer Adele bashed Republican presidential candidate Donald Trump at a Miami concert Tuesday night, while giving a nod to Hillary Clinton.
Adele can be heard on video telling the crowd "Don't vote for him — that's what I'm saying." Cheers and applause erupted in the venue.
ABC News reporter Liz Kreutz says a press pool traveling with the Clinton campaign was not allowed inside the venue, but Kreutz tweeted that a campaign aide sent along this note:
"Adele referenced the election between songs. She asked everyone if they were excited about the election. She said, 'I am English, but what happens in America affects me too.' And then she said 'Don't vote for him.' And then she said 'I can't vote, but I am 100 percent for Hillary Clinton, I love her, she's amazing.'"
According to the statement, it was not clear whether Adele knew Clinton happened to be attending the show.
Watch a clip from the show below:
Will Ferrell has been popping up on the late-night circuit lately, and on Comedy Central's "@midnight" on Tuesday night the comedian unleashed his George W. Bush impression to lay down the law for Donald Trump.
The brilliant faux Bush from Ferrell's "Saturday Night Live" days (which emphasizes the voice and that Texas charm) appeared on the show, which is hosted by Chris Hardwick, and immediately started talking about recent news surrounding the Republican presidential nominee and Bush's cousin Billy.
Ferrell immediately insulted Trump, calling him a "disgraced pumpkin," a "bozo," and telling America, "Don't let that rotten sack of sweet potatoes anywhere near the White House."
Of Billy Bush's behavior in the leaked 2005 "Access Hollywood" tape in which Trump was heard bragging about groping women, Ferrell's Bush said he and his family members "don't act like that."
"We would never under any circumstances ride a bus," Ferrell said, before adding that Trump wouldn't get away with his act in Texas.
Ferrell's Bush did find one silver lining in the rise of Trump.
"This dunderhead is making me look great," he said, before acknowledging that he thought people had forgotten some of the more unfortunate parts of his presidential legacy.
Watch the whole video below:
Nielsen announced that it will begin to measure out-of-home TV consumption, in an effort to give its national television clients a more holistic understanding of their content distribution.
The service will provide both program and commercial TV ratings for up to seven days of time-shifted viewing in out-of-home locations such as bars, airports, restaurants, and waiting areas. The company expects to launch its out-of-home service in April 2017, with data from January 2017 on.
Here is a breakdown of what Nielsen’s National TV Out-of-Home Measurement Service will cover and how it will work:
Sports networks, in particular, have complained about the need for more efficient TV measurement, as a good chunk of this consumption happens in bars and restaurants. The announcement comes at a welcome time for these networks, such as ESPN, that are struggling with declining ratings and diminishing subscriber counts.
Over the last few years, there’s been much talk about the “death of TV.” However, television is not dying so much as it's evolving: extending beyond the traditional television screen and broadening to include programming from new sources accessed in new ways.
It's strikingly evident that more consumers are shifting their media time away from live TV, while opting for services that allow them to watch what they want, when they want. Indeed, we are seeing a migration toward original digital video such as YouTube Originals, SVOD services such as Netflix, and live streaming on social platforms.
However, not all is lost for legacy media companies. Amid this rapidly shifting TV landscape, traditional media companies are making moves across a number of different fronts — trying out new distribution channels, creating new types of programming aimed at a mobile-first audience, and partnering with innovate digital media companies. In addition, cable providers have begun offering alternatives for consumers who may no longer be willing to pay for a full TV package.
Dylan Mortensen, senior research analyst for BI Intelligence, Business Insider's premium research service, has compiled a detailed report on the future of TV that looks at how TV viewer, subscriber, and advertising trends are shifting, and where and what audiences are watching as they turn away from traditional TV.
Here are some key points from the report:
In full, the report:
Interested in getting the full report? Here are two ways to access it:
Donald Trump found a new way to show his love for the United States, and it has Stephen Colbert worried.
Colbert played a clip from a campaign rally in Tampa, Florida, in which the Republican presidential candidate hugged a flag.
"That's right, Donald Trump just groped the American flag," Colbert said, clearly making a nod to the leaked "Access Hollywood" tape that plagues Trump's campaign. "You know, they let you do that when you're a star."
The late-night host said that he actually saw that moment live on TV and watched it three times in disbelief.
"That's insane," Colbert said. "He knows we salute the flag, right? We don't dry-hump it... This may be the the only time in history where the flag burns itself."
Watch Trump's unique show of patriotism below (at 3:10 in):
A man using a sledgehammer and a pickax destroyed Donald Trump's star on Hollywood's Walk of Fame early Wednesday morning.
Deadline reports that the man, who said his name is Jamie Otis, told the outlet that he was "trying to extract the star to auction it off and raise funds" for women who have accused Trump of sexual assault.
The star was dedicated to Trump, now the Republican presidential nominee, in 2007 in honor of his NBC hit show, "The Apprentice."
The man's work with the sledgehammer and pickax left the star obliterated.
The Los Angeles Police Department arrived on the scene but the man had already left, according to Deadline.
Here's the full video from Deadline and screenshots of the action:
See the rest of the story at Business Insider
Ron Howard may have proven that Tom Hanks' talents extend to impressions — specifically of the famed director.
Last weekend on NBC's "Saturday Night Live," Hanks impersonated Howard in a sketch titled "America's Funniest Pets," in which the director was the host.
During Howard's appearance on TBS' "Conan," host Conan O'Brien asked Howard how he felt about Hanks' impersonation. It turned out that it's something he's well acquainted with.
"He warned me and this is an impression he occasionally does," said Howard, who has directed Hanks in five films, including his latest, "Inferno."
"But you know, he's a great guy, very talented," Howard continued. "But would you say he's an impressionist? I mean, do you think that's any kind of real impression?"
Despite Howard's expressed doubt of the quality of Hanks' impression of him, it's clear that Hanks got a lot right.
Watch Ron Howard's interview on "Conan" below: