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There were 200 GNPR shares traded short today and 200 GNPR shares traded short on Tuesday.
Source: http://regsho.finra.org/FORFshvol20100608.txt
http://regsho.finra.org/FORFshvol20100610.txt
I don't think that article can conclusively say whether its a direct conflict of interest. More information is needed to make that decision, imo.
My guess is he gave up on the Scratch project. It would be a direct conflict of interest, imo.
why couldnt he do both?
It looks like QD3 has left Genius Products / Scratch development team and is starting on a new video game project.
*********************
Heatwave Interactive Welcomes Hip-Hop Hit Maker Quincy "QD3" Jones III to Board of Advisors
Hip hop producer gets into gaming.
June 8, 2010
AUSTIN, Texas - Heatwave Interactive, a game development studio and online publisher creating innovative cross-media entertainment experiences, announced today the addition of world -renowned producer Quincy "QD3" Jones III to the company's Board of Advisors. Hip-hop music producer, television show and film creator, composer and entrepreneur, QD3 will bring to Heatwave an extensive knowledge of the entertainment industry along with a wealth of innovative ideas.
"Music is an integral part of any entertainment medium - games included," said Quincy "QD3" Jones III. "Heatwave is poised to become a major player in the interactive entertainment space and I couldn't be happier to offer my deep understanding of the current and evolving music and general entertainment climates. The studio's products have maintained the highest level of authenticity, and I will help preserve that sense of integrity as Heatwave brings new entertainment to market."
Since first being introduced to the hip-hop scene at age 13, QD3 has taken the industry by storm. After moving from Sweden to the U.S. to pursue his dream of becoming a producer, QD3 made the decision to attend Berklee College of Music to learn everything about recording studio technology and the art of mixing tapes. He then moved to Los Angeles, spending the past two decades producing multi-platinum albums filled with hit after hit, working with artists such as Tupac, Prince and Dr. Dre. In 1999, QD3 expanded his production efforts to include film and TV production, creating QD3 Entertainment where he served as a producer or executive producer on a variety of projects, including the Beef series of documentaries and Beef: The Series, a TV extension of the documentary project. Beef chronicled the various rivalries and conflicts between MCs and rappers throughout the history of hip-hop community, connecting QD3's roots in the music scene with his latest venture.
"QD3 is a pioneer in the entertainment industry and his knowledge and experience are invaluable assets to our HIP selection process," said Anthony Castoro, CEO and founder, Heatwave Interactive. "QD3 brings a creative balance to the team by tying in the realm of music and television, and his success in both worlds makes him the perfect addition. His unrivaled background in hip-hop and experience working with hit makers from across the globe deliver the kind of mainstream entertainment element that is a priority with all of our projects."
The Heatwave Intellectual Property process, or "HIP" Process, is a defined formula for choosing projects that keeps everyone, whether they are a stakeholder, game designer or investor, aligned with the company's vision and focused on Heatwave Interactive's standards. The Board of Advisors at Heatwave serves as a key component in the overall approval process. QD3 joins the Board Advisors to work alongside other members Charlie Weber, CEO of Weber Communications, formerly CEO of LucasFilm Ltd; Ann E. Kronen, formerly of Atari, Humongous Entertainment, Disney, Phillips, and Broderbund Software; and Jason Bell, CEO of Chrysalis Games, formerly of Turbine, Atari, EA and Kesmai.
For more information, please visit www.heatwave.com
About Heatwave Interactive:
Based in Austin, Texas, and established in 2007, Heatwave Interactive, Inc. is a game development studio and online publisher specializing in cross-media properties for gaming, film, music and television. The credited works of the veteran team include more than 200 commercial video, PC and tabletop games and Academy Award-winning films. Heatwave's current products offerings include iSamJackson for iPhone and iPod touch and the recently re-launched hip hop social gaming experience Platinum Life: Web Editionfor social networks Facebook and MySpace.
Source: http://games.ign.com/articles/109/1095468p1.html
There were 400 GNPR shares traded short today and 200 GNPR shares traded short on Friday.
Source: http://regsho.finra.org/FORFshvol20100604.txt
http://regsho.finra.org/FORFshvol20100607.txt
500 today were not shorted though
GNPR had 200 short trades on 6/01 and 200 short trades on 6/02.
Sources: http://regsho.finra.org/FORFshvol20100601.txt
http://regsho.finra.org/FORFshvol20100602.txt
Another 143 shares of GNPR today were short trades.
Also, Interactive Brokers Lists 15,000 GNPR short shares.
Sources: http://regsho.finra.org/FORFshvol20100528.txt
http://www.interactivebrokers.com/en/trading/ViewShortableStocks.php?key=gnpr&cntry=usa&tag=United+States&ib_entity=llc&ln=
All 200 shares of GNPR traded today were short trades, again...
I am afraid Genius Shareholders do not stand to benefit from Scratch, as it seems Numark has likely taken over the project.
Source: http://regsho.finra.org/FORFshvol20100527.txt
All 298 Shares today, as well as all 200 shares on Tuesday of GNPR were short trades.
Source: http://regsho.finra.org/FORFshvol20100525.txt and http://regsho.finra.org/FORFshvol20100526.txt
Something just does not 'feel' right about the recent developments. Genius Products is not in the loop as they were back in February. I still think Genius sold out to Numark, or ran out of funding, imo.
The way I read it is Genius and Numark own Scratch the Game, LLC. However, Numark is the "managing partner" meaning Genius is more of the silent type partner. How silent? I don't know.
"Numark has developed a new full-function dual-turntable controller that enables players to manipulate both turntables simultaneously, which will be available for use with the game on a variety of platforms."
So I take it the single turntable "Scratch Deck" is no longer in the works. The more I read into this, it seems Numark has taken over the Scratch franchise. Quite possibly, Genius ran out of money and sold the franchise?
Genius Is Nowhere To Be Mentioned
It looks like your iPad is going to get a chance to be used more than just email and reading those Twilight books (shudder). Studio 7 and Numark (overseeing publisher) has just released a press announcement that the DJ Hero competition has arisen out of the ashes of major legal snafus for a project on the iPad – minus a high-end turntable. Back in January, Studio 7 had filed a lawsuit against Genius, the secondary publisher, for issues on “not delivering product on time (controller and music), preperation and development of Wii console version only to drop production midway though, then finally trying to cancel relations to company when it seemed the game was a ‘lost cause’.”
Fast forward to now, Genius is nowhere to be mentioned. While the upcoming version – out for the iPhone, iPad, and PC in the Fall – are seemingly without the control deck, there is some obscure references in the release: “Additionally, Numark has developed a new full-function dual-turntable controller that enables players to manipulate both turntables simultaneously, which will be available for use with the game on a variety of platforms.” Now that’s to say that there could be something for the PC in the way of attachment, as there has yet to be any form of mention over a console version that was promised in the beginning.
Source: http://angrybear.org/2010/05/scratch-the-ultimate-dj-moved-to-ipad/
They could very well have sold however I don't see why they wouldn't have announced that either Numark fully acquired scratch the ultimate dj, llc (genius owned scratch the dj, llc...as far as i know) or Genius announcing they sold it. Keep in mind, they did not use Commotion/Bedlam's name in that either. The picture on MMikes twitter clearly had the CEO of Bedlam/Commotion in it.
Also of note, i quickly googled other PR's and this one came up first. Genius is not on it either yet Genius was definitely in the mix. http://xbox360.ign.com/articles/102/1027479p1.html
No mention of Genius Products In This Article.
Has Genius Products Sold The Rights To Scratch?
**********************************************************
Scratch: The Ultimate DJ videogame coming to iPad, iPhone, and PC in 2010
Highly Anticipated Videogame Announced for Several New Platforms, Bringing DJ Gaming to Players Anywhere and Everywhere
Numark, the world’s leading manufacturer of DJ technology and the managing partner in Scratch DJ Game LLC, announced today that the highly anticipated Scratch: The Ultimate DJ is now in development for iPad, iPhone and PC platforms, and the game is expected to hit store shelves later this year. Scratch combines free-form DJ tricks with great rhythm gameplay and features songs from the biggest names in Hip Hop.
“Much in the same way Numark sets industry trends in DJ’ing and mixing, Apple is changing the way people think about and interact with portable computing,” said Jack O’Donnell, President and CEO of Numark Industries. “We see innovative new platforms like the iPad as a perfect fit for Scratch: The Ultimate DJ, and we look forward to bringing the excitement and creativity of DJ’ing to gamers of all skill levels across a wide variety of platforms.”
Numark and its sister companies Alesis, Akai Professional and ION Audio have a long history of developing successful products that integrate with Apple mobile devices, including DJ products like the Numark iDJ & iDJ2, portable sound systems like the Ion Audio Block Rocker, professional recording systems like the Alesis iMultimix series, and music production tools like the Akai Pro SynthStation25.
Scratch: The Ultimate DJ is the only game that delivers the thrill of interacting with both classic and modern Hip Hop tracks in new and creative ways. The game allows players to effectively remix the song while they’re playing by mixing their own beats and effects into the track using a hardware peripheral called the Scratch Deck, which blends a touch-sensitive turntable and crossfader with a series of beat pads. The turntable is based on Numark’s professional line of DJ turntables, and the beat pads are identical to the pads on the iconic MPC from Akai Professional, which is the foundation of virtually every major Hip Hop track produced in the last 20 years. Additionally, Numark has developed a new full-function dual-turntable controller that enables players to manipulate both turntables simultaneously, which will be available for use with the game on a variety of platforms.
About Numark Industries
Numark Industries is the world’s leading manufacturer of professional DJ equipment, and is recognized for providing progressive breakthrough technology. Since 1971, Numark has designed and delivered innovative products and numerous music industry "firsts." For more information, visit www.numark.com; images are available at http://www.numark.com/media.
About ION
ION Audio is known for cutting edge consumer electronics and gaming products, including the Drum Rocker premium drum set controller for the Rock Band franchise, which won the Game Critics Award for Best New Hardware Product at the E3 Gaming Expo. For more information, visit www.ionaudio.com; images are available at www.ionaudio.com/media.
About Akai Professional
Since 1984, Akai Professional products have been a staple of modern music both in the studio and on stage. With intuitive design and cutting edge features, Akai Professional is one of the world’s most influential manufacturers of musical electronics. For more information, visit www.akaipro.com; images are available at http://www.akaipro.com/media
About Alesis
Alesis manufactures a full line of professional audio and musical instrument products capitalizing on its strengths in digital, analog, semiconductor, and transducer technologies. Alesis delivers revolutionary product solutions to the music and audio production industries. For more information, visit www.alesis.com; images are available at http://www.alesis.com/media.
Photos/Multimedia Gallery Available: http://www.businesswire.com/cgi-bin/mmg.cgi?eid=6305398&lang=en
Contacts
Numark Contact:
Adam Cohen
Director of Marketing & Business Development
401-658-3131
acohen@numark.com
or
Cashmere Agency Contact:
Brianne Pins
Public Relations
323-252-3633
brianne@cashmereagency.com
Permalink: http://www.businesswire.com/news/home/20100525007337/en/Scratch-Ultimate-DJ-videogame-coming-
Source: http://www.businesswire.com/portal/site/home/permalink/?ndmViewId=news_view&newsId=20100525007337&newsLang=en
All 284 shares traded today in GNPR were short trades.
Source: http://regsho.finra.org/FORFshvol20100521.txt
We are not in the loop since the company went dark / non sec reporting since April 2009. For all we know, GNPR is now a shell.
I have to disagree with you right now. Take a look at that picture again that MMike put up. Far left is the CEO of bedlam games, Trevor Fencott.
I agree that the lack of PR's is very upsetting and disturbing. However, I am very confident that the current funds involved are in the loop even though we are not. With that being said, I would foresee a lot more shares changing hands by now if the waters looked a bit murky to them.
No doubt I am biased a bit but that picture is an important piece of the puzzle to me.
The recent activity is just games, imo. Probably reaction to my comment on the Bid-Ask spread last night. GNPI is long gone after the reverse split. Yahoo message boards I noticed sometimes does not show the message boards for GNPR from time to time, nothing new. I am afraid GNPR will collapse with no news on Scratch soon.
2 MM's came out of nowhere to put in bids now. The previous top bid was .11
ETMM put in a bid at 3.30
UBSS put in a bid at 3.10
ETMM had been on the ask at 16.25 for a while now
UBSS is not on the ask at all. Possibly because he doesn't have any shares yet. Always a good sign when another MM wants to acquire shares.
Did you see my message in regards to the message boards on yahoo? Doing some searches, im seeing a possibility that GNPI was starting to get set up on yahoo on May 18th. I can't confirm that yet as its still speculation based on some light research. Nothing on SEC yet obviously. Watch for additional links being put on GNPI and that may be the hint we need.
Last year, Genius Products was trading under the symbol GNPI and was a "fully reporting" company with the SEC. They had investor conference calls and everything. In April 2009, Genius Products underwent a 500 to 1 reverse split, and the symbol changed to GNPR. Around the same time, Genius Products filed a form 15-12G with the SEC, and became a "non-reporting" company with the SEC. In this case, the move from fully reporting to non reporting is a bad thing for investors, as well as the reverse split and the move from pink to current marketplace. Have you had any luck in contacting anyone?
to add further confusion.
the message boards on GNPR are gone
however, they are up on GNPI
I know for a fact the message board for GNPR were up last week because i checked for any updates
help me out here with my history lesson in GNPR
we are GNPR.PK right now.
i don't recall seeing GNPI.OB on yahoo finance but it is up if you search for it. Yahoo is typically great at deleting old stuff but maybe this is a move from pk to ob?
if so, thats a great move as the ob requires more filings and pinks are not required to do these.
can you help me confirm if this is just an old symbol or if this means we are in the process of possibly moving to ob?
With the A/D line, CMF (21), and MACD all trending strongly north, I am not in panic mode yet. Those are all bullish signs. The only real negative indicator I view that is pertinent to me is that the RSI is nearing overbought territory but that doesnt mean it won't continue to go up with an increase in volume.
The Institutional Investors for GNPR listed in the Ibox (or on other sites for that matter) may not be accurate. For all we know, many of the Institutional Investors have already sold, both pre and post reverse split. With 135k OS shares, I think it is entirely possible...
I tried to contact Bedlam Games too, with no such luck. Interesting avenue you are looking into re: "website updates". Hopefully Genius still has an "Investors Relations" department. If not, maybe you could contact Genius Products directly? Hopefully Genius Products is still in business!
Genius Products
Corporate Office:
Genius Products, Santa Monica
3301 Exposition, Suite 100
Santa Monica, CA 90404
Phone: 310-401-2200
:o/
Yup, I knew who he is. Was just curious if you actually received any useful info. I've called and emailed Bedlam with nothing to show for it.
I just never contacted in regards to the website and thought maybe that is a way to get some type of useful info. If we know an ETA on the website and if it will have any scratch media on it, that could prove to be very beneficial.
One would think we'd be seeing a lot more selling activity if something real negative was happening behind the scenes. Last we saw (february) was the one fund increasing their stake (in the ibox info, i know you know whom i'm referring to even though i don't have the name handy). I am willing to bet they are in the loop and it does not seem they have sold any significant shares to cause concern (based on volume)...and I'd think they would have done so by now if something seriously negative was looming. We are no longer in 1st quarter, we are now in the midst of when the release should take place. With that being said, now would be the time they would be selling if GNPR lost its potential. Is my thought process off?
Do you still talk to the other Michael on here and if he is still invested? I haven't seen him post lately so I'm guessing not.
John Mills is the contact person for Investor Relations of Genius Products.
For all Investor Relations inquiries please contact:
John Mills / Anne Rakunas
Phone: 310-954-1100
Website: icrinc.com
Source: http://www.geniusproducts.com/dyncontent.aspx?pagename=investor%20relations
On the icrinc.com webpage, it lists the following office location:
Los Angeles
12121 Wilshire Boulevard
Suite 300
Los Angeles, CA 90025
Tel: (310) 954-1100
Fax: (310) 954-1101
Source: http://icrinc.com/web/contact.php
While you are at it, could you please call Bedlam Games, and see if they can give you an update on Scratch?
Bedlam Games Inc.
55 Mill Street, The Stone Distillery
Bldg 5, Suite 300
Toronto, Ontario
M5A 3C4
Phone: (416) 214-9888
Fax: (416) 214-2437
Source: http://bedlamgames.com/
Thanks and good luck!
By any chance, have you ever been able to reach the John Mills individual who has his info posted on the GNPR website which is under construction? I have not been able to. I would like to know the ETA on the new site and if it includes scratch media. That would be a helpful hint.
Most (non short) trades recently are low volume, 100 share blocks. Like I said earlier, those (non short per FINRA) 100 share blocks could be forced short covering, or just MM games. Not many buyers are willing to step up to the plate, as evidenced by the disparity in the bid-ask spread over the past few weeks. Did you also notice the 2 extremely low trades on the 14th? It almost reminds me of the 1000 point drop we had on the DOW last week, that preceded the recent declines in the DOW. It could be a MM signal of some sort, meaning GNPR is headed much lower. I hope you are right, but the lack of updates from the company for over 3 MONTHS is alarming to say the least!!!
GLTY
Per Finra....none were shorts today
Per the Finra site, 100 was long, 100 was shorted today.
I would think GNPR would be able to sell the product, if necessary, or negotiate terms to gain more financing by giving up some ownership rights and profits. Also to note is that DJ Hero is already working on their 2nd version. One would think Scratch would want to keep some of their work private until the release is ready to not give DJ Hero the ability to create a similar version for their 2nd version. I don't expect them to be launching in 2nd quarter anymore but I won't go as far as to say they lost all financing to close it up, especially when that picture of MixMaster Mike on his twitter really makes me believe that was the completion of it.
It is worth noting, the event last friday held by the GNPR board member was geared towards having a significant amount of financiers invited, among others. However, it was based around movies, not games.
Forced short covering, maybe? At any rate, with no further updates on Scratch, we may see a rush to the exit, imo.
If nite was shorting it, how does he benifit from moving the ask up? Normally they drop the ask down so they can cover.
Still no news on Scratch. The 100 share blocks are likely shorts, imo.
I have tried on numerous occasions to contact Bedlam Games, the developer of Scratch.
Bedlam Games phone number is (416)214-9888
I suggest contacting them for more details on the release date of Scratch. I have called several times, and I keep getting the run around.
Please post is you hear anything from Bedlam RE: Scratch, TIA!
No shorts yesterday and Nite is at 10 on the ask.
our friend asked me to post this and tell you that "NOW" most of the share have been longs rather than shorts.
http://regsho.finra.org/regsho-Index.html
There has been NO NEWS or ANY UPDATES on Scratch: The Ultimate DJ since February 1st!!!
Scratch was supposed to be released in "Early 2010". You would think if they are releasing the game, they would continue to provide updates / continue to market the game.
Interestingly enough, remember how Scratch was an exhibitor at the 2009 E3 gaming expo? According to the upcoming 2010 E3 Expo (June 15-17 2010) Scratch / Genius Products / Commotion Interactive / Bedlam Games are not going to attend. Check it out:
http://www.e3expo.com/exhibitors/92/exhibitor-list/
Likewise, there have been no updates on the Scratch webpage / forum:
http://community.scratchvideogame.com/forum
Nor have there been any updates on the Scratch Twitter / Myspace / Youtube channels:
http://twitter.com/ScratchDJgame
http://www.myspace.com/scratchvideogame
http://www.youtube.com/user/ScratchDJVideoGame (note: last sign is 3 months ago.)
If you look at the webpage for Bedlam Games (developer of Scratch: The Ultimate DJ) there has also been NO updates on Scratch since Mid January. Click on "home" at top, then click on "read more" under news on the right.
http://www.bedlamgames.com/
You mentioned how most of the recent trading activity in GNPR has been Short Sales. Maybe the shorts are on to something. DJ Hero, a similar game from Activision last year, did not do so well. If funding has dried up, and key investors "bailed" on the project, the Shorts could very well be right, imo.
GLTA
FILMMAKER BOOTCAMP FRIDAY IN WASHINGTON, DC
The award-winning GI Film Festival is hosting a one-day Filmmaker Bootcamp in Washington, DC this Friday, May 14, 2010. Led by a panel of Hollywood’s top financiers, agents, directors, and producers, the Bootcamp will cover nuts and bolts of film finance, distribution, marketing, and pitching. The Chairman of Genius Products Stephen K. Bannon will host the event, while scheduled panelists include producer Steve McEveety (BRAVEHEART); James “Jay” Rosenstock of the Discovery Network; literary agent Alan Nevins, and many more impressive industry players. Register today to expand your professional network, gain visibility for your latest film, and to meet Hollywood’s top financiers and producers!
Source: http://cifej.org/?p=18
*******************************
Filmmaker Boot Camp
All Day Workshop Hosted by Stephen K. Bannon
Spend 20 years knocking on doors in Hollywood---
Or kick them down in one day with us.
?Get an insider’s perspective on film finance, distribution, marketing and pitching!
?Expand your professional network and get visibility for your projects!
?Meet Hollywood’s top producers and film financiers!
On Friday, May 14th, from 9 am to 4:30 pm, the GI Film Festival will host Stephen K. Bannon’s “Filmmaker Boot Camp” at the Carnegie Institution in Washington, DC. Led by a panel of Hollywood’s top producers and financiers, the GI Film Festival Filmmaker Boot Camp will teach independent filmmakers the “nuts and bolts” of film finance, distribution, marketing, and pitching.
Source: http://www.gifilmfestival.com/ticketing-2010/bootcamp.htm
He asked me to say this in response.... "I did not mean to imply a concern, as I am not concerned at all. I believe it is likely new positions of possibly unaware shorts/mm's trying to short what they think is a high PPS."
The current market cap is only 1.13m!
It is either short covering or new short positions.
Once Scratch is released, the shorts will drive the price up when they are forced to cover, imo.
fredman, per a mutual friend of ours, he said in case you have not noticed, most of the shares lately have been shorted shares.
TELL TALE (hitting DVD and Blu-ray May 25 from Genius Products / Vivendi Entertainment) is a movie that serves as a metaphor for itself on a couple of levels. It’s about a physical heart that’s transplanted from one body to another; the script transplants Edgar Allan Poe’s 19th-century classic story “The Tell-Tale Heart” into a 21st-century chiller; and the direction by Michael Cuesta, in concert with the performances, transplants an unusual amount of figurative heart into what could have played as B-movie material.
After opening with a juicy operation sequence, the movie settles in with Terry Bernard (Josh Lucas), the recipient of the new ticker who has another medical situation occupying his attention: His young daughter Angela (Beatrice Miller) has a genetic disorder that requires frequent visits to the family doctor, Elizabeth Clemson (Lena Headey). Terry and Elizabeth’s professional interactions are starting to develop into a personal relationship, to Angela’s approval, and there’s a warmth and charm to the trio’s early scenes together that quickly gets the audience on their side. The byplay between Terry and Angela is free of the precocious wisecrackery that often passes for father-daughter dialogue, and the burgeoning attraction between him and Elizabeth feels honest and lived-in.
Too bad it’s not just the beautiful doctor who soon has Terry’s heart beating faster. During a visit to the hospital, he starts getting that ominous thump-thump in his head when he crosses paths with a certain worker—one whom he discovers was involved in his transplant. This leads to a confrontation that doesn’t end well, and it soon becomes clear that Dave Callaham’s screenplay is pulling an inversion of the Poe “Tale.” Instead of serving as a signifier of the protagonist’s guilt, the noisy organ signals the guilt of others—compelling its recipient to act on its impulses.
The notion of a transplanted organ grafting the consciousness of its original owner into the new body housing it is a time-honored one in horror fare, and in many ways, TELL TALE follows the expected playbook. Terry struggles with the violent impulses inside him as the heart seems to develop a mind of its own; his interactions with his loved ones become strained; a detective (the welcome Brian Cox) investigates; a conspiracy is uncovered. Throughout, however, Cuesta keeps his focus on the personal drama and treats the material with as straight a face as possible. There are moments when one can feel the tension between the story’s more genre-melodramatic moments and the director’s emphasis on real-world concerns, but he succeeds in making his characters relatable and their situations compelling. Lucas very convincingly inhabits his haunted role, while Headey and Miller offer appealing support and Cox brings sardonic edge to his investigator, who comes to be a bit more approving of Terry’s actions than one might expect.
This is not to say, however, that Cuesta doesn’t deliver the goods for horror audiences. His recent credits include several episodes of DEXTER, after all, and part of the verisimilitude he brings to TELL TALE involves not looking away when the going gets nasty. There are a few grisly highlights here that are all the more startling for being set amidst such a down-to-earth milieu, and Elvis Jones’ anatomically correct makeup FX help create some pretty squirmy moments. All of the craft contributions, in fact, are first-rate, which is no surprise given that Ridley and Tony Scott were behind the project as producers. Particularly noteworthy are the cinematography by WENDIGO’s Terry Stacey, which amps up the atmosphere without overdoing either the gloss or the grit, and Patti Podesta’s production design, which makes the interiors and exteriors of Providence, RI (Poe’s old stamping grounds) variously homey and menacing.
Unlike fellow literary-horror favorite H.P. Lovecraft, Poe has had most of his notable film adaptations done as period pieces, but TELL TALE demonstrates that his themes can successfully be adapted to fit the modern day as well. Even as the film’s particulars are thoroughly contemporary, the author’s descent-into-madness motifs remain present (and a key line from “Tell-Tale Heart” is even spoken verbatim by one of the onscreen characters). While its match between heartfelt drama and blood-pumping terror may occasionally be irregular, TELL TALE pulls it off more often than not, and may get your heart pounding and blood freezing at a number of intervals.
Source: http://www.fangoria.com/index.php?option=com_content&view=article&id=715:tell-tale-film-review
Mix Master Mike hints on completion of Scratch: The Ultimate DJ on his twitter account!
http://twitter.com/M1XMASTERM1KE
Mix Master Mike also uploaded a picture of the Bedlam Games / Commotion Interactive development team of Scratch: The Ultimate DJ.
http://yfrog.com/5sai1j
STRONG BUY!
Probably the quiet before the storm. I am sure there are many things going on behind the scenes. Scratch is set to be released anytime now.
The lawsuit against Activision is also picking up steam.
http://www.lasuperiorcourt.org/civilCaseSummary/index.asp?CaseType=Civil
Case Number: bc411687
Bedlam Games, the developer of Scratch, phone number is (416)214-9888 It might be worth a try contacting them for more details on the release date of Scratch.
Iron Man: Armored Adventures - The Complete Season One Coming to DVD
THE NEW HERO OF THE DIGITAL AGE
IRON MAN: ARMORED ADVENTURES - THE COMPLETE FIRST SEASON
Entire First Season Of Fan-Favorite Series Debuts On DVD May 4
From Marvel Animation, Method Films, Genius Products And Vivendi Entertainment
Arriving Just In Time For The Theatrical Debut Of Iron Man 2
Program Description: Embark on the high-octane adventures of boy-genius Tony Stark and his friends as they combine the latest technology and a little teamwork to save the world from evil when "Iron Man: Armored Adventures" The Complete First Season soars onto DVD May 4 from Marvel Animation, Method Films, Genius Products and Vivendi Entertainment. Based on the hugely popular and successful Iron Man franchise from Marvel Entertainment, the four-disc set features all 26 episodes from the action-packed first season. With pulse-pounding showdowns, secrets and larger-than-life challenges, Iron Man and his ever-evolving, adaptable armor are always ready for high-speed flight and whatever high-tech battles ensue. Possessing "smart writing and stellar CG butt-kickery" (Entertainment Weekly), the 3D CGI animated hit television series launched in 2009 and holds the record for the highest-rated original series premiere on Nicktoons Network. The perfect adrenaline-rush for fans before the theatrical release of Iron Man 2, the "Iron Man: Armored Adventures" The Complete First Season four-disc set will be available for the suggested retail price of $29.93.
Show Synopsis: Tony Stark is not the typical teenager... he's a billionaire, brilliant inventor... and Iron Man! "Iron Man: Armored Adventures" follows Tony Stark, 16-year-old genius and heir to the billion-dollar corporation Stark International, as he battles the enemies of world peace with his revolutionary power armor technology. Growing up, Tony had always lived a life of luxury, but everything went horribly wrong when a tragic plane accident robbed him of his father and nearly cost him his own life. Eager to honor the memory of his dad, Tony now uses his suit of invincible armor and technical know-how to protect those who would also fall prey to tragedy, corruption and conspiracy. With help from his friends Jim Rhodes and Pepper Potts, Tony's activities as Iron Man usually result in high-speed flight, high-tech battles and high-octane quests for justice.
"Iron Man: Armored Adventures" The Complete First Season
Join the adventures of teenage prodigy Tony Stark and his alter ego, Iron Man as he uses his technological inventions to battle villains and save the world! Includes all 26 episodes from Season 1.
Special Features:
Storyboards
Original Sketches of Characters, Vehicles and More!
BASICS
Price: $29.93
Street Date: May 4, 2010
Prebook Date: March 30, 2010
Catalog Number: GN01369
Rating: NR
Run time: 572 minutes
Format: Wide Screen
Language: English
Closed Captioned
Source: http://dvdlegiondotcom.blogspot.com/2010/03/iron-man-armored-adventures-complete.html
Mixmaster Mike on Scratch vs. DJ Hero: "Our Apple Is Going to be Juicier"
Check out more images from the event in Ivan Fernandez's photo gallery.
There are two types of Mixmaster Mike fans. There are those who love him for his work with The Beastie Boys and there are those who love him for his work with Invisibl Skratch Piklz. Both groups came out to Playhouse Hollywood to catch his special two-hour set at the Red Bull Thre3style event. We spoke with the turntable auteur about life in L.A., sampling and his upcoming album and video game.
Ivan Fernandez
?
You're originally from San Francisco where you established your career with Invisibl Skratch Piklz. Why did you decide to head south to Los Angeles?
I've been here for 10 years and I moved because I met this real cool girl and I ended up marrying her. We've been married for the past 12 years and it's a beautiful thing. I also got family out here. The Beat Junkies, J Rocc, Babu, all those cats, they're like my brothers. L.A. has embraced me and I embrace it back.
How are the DJ cultures in each city different?
I'm gonna go out on a limb and say that San Francisco was the Mecca of the scratch DJs. It was me and Q-Bert and our crew. We started out there and then we came over here. It's good being out here from a business aspect. There are so many different things out here. The tree here is full of different branches. In San Francisco, you hone your skills, you chill out but out here you get discovered.
You signed on to help with the development of Scratch: The Ultimate DJ video game. How is that coming along?
The game's gonna be dope. I'm very happy with the direction of it. Bedlam in Toronto is working on it right now. They got their hearts into it. I turned in my original track today. I also have a character in the game. You get to be me when you get to a certain level in the game. It's awesome.
How does it compare to DJ Hero?
DJ Hero is a whole different thing. It's in the whole mash-up area. This one's gonna be more about scratching and be on the MPC (MIDI/Music Production Center) tip. It's different. I'm not taking anything away from the guys on DJ Hero but I think our apple is going to be juicier.
Ivan Fernandez
?
Speaking of electronics, how has technology changed the culture? It's difficult to find someone who isn't using Serato.
It's a gift and a curse because it's on your computer and people think they're DJs automatically and the whole "paying dues" aspect is out the window. You can't fight technology and I'm not fighting it one bit. I'm not carrying a crate of records on my back every night. I carry four records with me now but I treat it as a record crate.
You also appear in the documentary Copyright Criminals. How'd that come about?
These rap cats approached me and said they were doing a film about copyrights and stuff like that. It was dope to raise awareness about the art of sampling where they ask how far is too far because times are changing.
I like to be a ninja about it. Whatever you're using, you just have to smash it up into little bitty pieces and replay it to where they don't know what the fuck's going on. My last record had about 200, 000 samples but it was constructed in a strategic way.
That's up there with Girl Talk.
He's probably at a million. I try not to be so ADD about it. I have a record coming out called Plasma Rifle where I've honed it down to where you're not hitting people over the head all the time. You want people to get up and breathe and then hit them over the head.
The album's coming out with the custom Mixmaster Mike Skullcandy headphones in May. They're going to be packaged together. I wanted to make an all-in-one pair of headphones because they're always one thing that's wrong with every pair I use. I wanted something diverse where you can DJ with them or answer the phone with them.
What do you think is the next step for DJ culture in LA?
Well, next for me is to DJ on the MIR space station. Look for Mixmaster Mike live by satellite on the MIR space station.
Source: http://blogs.laweekly.com/westcoastsound/interviews/mixmaster-mike-scratch-video-g/
Genius Products homepage has been updated!!!
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Our un-paralleled relationships with all national retailers coupled with our strong sales and marketing background enables us to explore unique programs and business models that open doors and opportunities our partners never knew existed.
We also have a unique ability to leverage our retail relationships to mitigate the risk of content development and investment strategies.
The company is lead by a seasoned, committed management team with significant experience in brand building, retail execution and sales force management with companies including: Nestle, Frito-Lay, Warner Bros., Take 2 Interactive and Blockbuster.
We provide services such as brand consulting, marketing and retail strategy development, sales and financial planning, and have the ability to manage all aspects of the physical distribution process to retail across many different entertainment categories."
Source: http://www.geniusproducts.com/
GAME v. CALIFORNIA 7 STUDIOS, INC.
SCRATCH DJ GAME, Plaintiff and Respondent,
v.
CALIFORNIA 7 STUDIOS, INC. Defendant and Appellant.
B216183.
Court of Appeals of California, Second Appellate District, Division Five.
February 18, 2010.
Liner Grode Stein Yankelevitz Sunshine Regenstreif & Taylor, Stanton L. Stein, Miles J. Feldman, Robert M. Shore, Daniel A. Fiore and Maribeth Annaguey for Defendant and Appellant.
Duffy & Sweeney, Stacey P. Nakasian, Byron L. McMasters; Fenwick & West, Rodger R. Cole and Ilana S. Rubel for Plaintiff and Respondent.
Not to be Published in the Official Reports
TURNER, P. J.
I. INTRODUCTION
This case arises out of a failed video game development arrangement pursuant to which defendant, California 7 Studios, Inc., was developing a game for plaintiff, Scratch DJ Game. Defendant appeals from a May 12, 2009 preliminary injunction. The trial court ordered defendant to turn over to plaintiff all of its work product including source code. The work product contained defendant's pre-existing tools and technology. We affirm.
II. BACKGROUND
Plaintiff's predecessor in interest, Genius Products LLC, hired defendant to develop a disc jockey video game for the PlayStation 3 and Xbox 360 game consoles. The parties entered into a February 26, 2008 Developer Agreement. But on April 3, 2009, Genius Products, LLC, plaintiff's predecessor, terminated the parties' contract. Genius Products LLC and Numark Industries, which had designed certain features of the game, entered into a joint venture—Scratch DJ—to complete development of the game. On April 14, 2009, plaintiff filed this action alleging contract and implied covenant breach. On plaintiff's application, the trial court issued a temporary restraining order followed by a preliminary injunction. Defendant appeals from the preliminary injunction.
III. DISCUSSION
A. Standard of Review
Our Supreme Court set forth the standard of review on appeal from an order granting a preliminary injunction in Hunt v. Superior Court (1999) 21 Cal.4th 984, 999, as follows: "The appellate standard for reviewing preliminary injunctions is well established. In deciding whether to issue a preliminary injunction, a trial court weighs two interrelated factors: the likelihood the moving party ultimately will prevail on the merits, and the relative interim harm to the parties from the issuance or nonissuance of the injunction. (Butt v. State of California [(1992)] 4 Cal.4th [668,] 677-678.) `Generally, the ruling on an application for a preliminary injunction rests in the sound discretion of the trial court. The exercise of that discretion will not be disturbed on appeal absent a showing that it has been abused. [Citations.]' (Cohen v. Board of Supervisors [(1985)] 40 Cal.3d at [277,] 286.) `A trial court may not grant a preliminary injunction, regardless of the balance of interim harm, unless there is some possibility that the plaintiff would ultimately prevail on the merits of the claim. [Citation.]' (Butt v. State of California, supra, 4 Cal.4th at p. 678.)" The Supreme Court has further held, "Discretion is abused in the legal sense `whenever it may be fairly said that in its exercise the court in a given case exceeded the bounds of reason or contravened the uncontradicted evidence.' [Citations.]" (Continental Baking Co. v. Katz (1968) 68 Cal.2d 512, 527; accord, IT Corp. v. County of Imperial (1983) 35 Cal.3d 63, 69; City of Los Altos v. Barnes (1992) 3 Cal.App.4th 1193, 1199.) The burden is on the party challenging the injunction to establish the trial court clearly abused its discretion. (IT Corp. v. County of Imperial, supra, 35 Cal.3d at p. 69; TSMC North America v. Semiconductor Mfg. Intern. Corp. (2008) 161 Cal.App.4th 581, 588; Shoemaker v. County of Los Angeles (1995) 37 Cal.App.4th 618, 624; City of Los Altos v. Barnes, supra, 3 Cal.App.4th at p. 1199.)
With respect to underlying questions of law or fact, however, our Supreme Court has held: "Of course, questions underlying the preliminary injunction are reviewed under the appropriate standard of review. Thus, for example, issues of fact are subject to review under the substantial evidence standard . . . . [Citation.]" (People ex rel. Gallo v. Acuna (1997) 14 Cal.4th 1090, 1136-1137.) As explained in San Diego Gas & Elec. Co. v. San Diego Congress of Racial Equality (1966) 241 Cal.App.2d 405, 407: "The classic rule that if any substantial evidence supports the finding of the trial court as to an issue of fact a reviewing court may not substitute its own evaluation of the evidence, applies to an appeal from a preliminary injunction. A reviewing court may reverse only if an abuse of discretion is shown; and it follows that if substantial evidence supports the order there is no abuse of discretion. (Union Interchange, Inc. v. Savage [(1959)] 52 Cal.2d 601, 606.)" (Accord, Huong Que, Inc. v. Luu (2007) 150 Cal.App.4th 400, 409; Shoemaker v. County of Los Angeles, supra, 37 Cal.App.4th at p. 625.) The Court of Appeal has explained: "Where the evidence before the trial court was in conflict, we do not reweigh it or determine the credibility of witnesses on appeal. `[T]he trial court is the judge of the credibility of the affidavits filed in support of the application for preliminary injunction and it is that court's province to resolve conflicts.' [Citation.] Our task is to ensure that the trial court's factual determinations, whether express or implied, are supported by substantial evidence. [Citation.]" (Shoemaker v. County of Los Angeles, supra, 37 Cal.App.4th at p. 625.) It is well settled that on appeal from an order granting a preliminary injunction on conflicting evidence, we view the facts in the light most favorable to the plaintiff. (People v. iMERGENT, Inc. (2009) 170 Cal.App.4th 333, 341-342; Shoemaker v. County of Los Angeles, supra, 37 Cal.App.4th at p. 625; Hilb, Rogal & Hamilton Ins. Services v. Robb (1995) 33 Cal.App.4th 1812, 1820; Volpicelli v. Jared Sydney Torrance Memorial Hosp. (1980) 109 Cal.App.3d 242, 247; American Academy of Pediatrics v. Van de Kamp (1989) 214 Cal.App.3d 831, 838; People v. Mobile Magic Sales, Inc. (1979) 96 Cal.App.3d 1, 5, fn. 1; San Diego Gas & Elec. Co. v. San Diego Congress of Racial Equality, supra, 241 Cal.App.2d at p. 407; Metro-Goldwyn-Mayer, Inc. v. Lee (1963) 212 Cal.App.2d 23, 27-28.)
A mandatory injunction, as here, is only granted in an extreme case. (Hagen v. Beth (1897) 118 Cal. 330, 331; Slatkin v. White (2002) 102 Cal.App.4th 963, 972; Shoemaker v. County of Los Angeles, supra, 37 Cal.App.4th at p. 625.) The Supreme Court has held, "[T]he granting of a mandatory injunction [as here] pending the trial, and before the rights of the parties in the subject matter which the injunction is designed to affect have been definitively ascertained by the [trial court], is not permitted except in an extreme case where the right thereto is clearly established and it appears that irreparable injury will flow from its refusal. [Citations.]" (Hagen v. Beth, supra, 118 Cal. at p. 331; accord, Davenport v. Blue Cross of California (1997) 52 Cal.App.4th 435, 446.)
It bears emphasis that a ruling on a preliminary injunction request is not a final determination of the controversy and neither the trial nor the appellate court undertakes a final adjudication of the lawsuit. (Hunt v. Superior Court, supra, 21 Cal.4th at p. 999; People ex rel. Gallo v. Acuna, supra, 14 Cal.4th at p. 1109; Butt v. State of California, supra, 4 Cal.4th at p. 678, fn. 8; Cohen v. Board of Supervisors, supra, 40 Cal.3d at p. 286; Continental Baking Co. v. Katz, supra, 68 Cal.2d at p. 528.) Our Supreme Court has emphasized: "[A]lthough we will not ordinarily disturb the trial court's ruling absent a showing of abuse, an order granting or denying interlocutory relief reflects nothing more than the superior court's evaluation of the controversy on the record before it at the time of its ruling; it is not an adjudication of the ultimate merits of the dispute. [Citations.]" (People ex rel. Gallo v. Acuna, supra, 14 Cal.4th at p. 1109.)
B. Application To The Present Case
1. Likelihood Of Prevailing On The Merits
Defendant conceded in the trial court that if it was in material breach of the parties' contract, it would be required to turn over its work product including source code. The trial court found it was likely plaintiff ultimately would prevail on the claim defendant was in material breach of the agreement for failure to meet contractual development milestones. Substantial evidence supported that conclusion.
On or about February 26, 2008, the parties entered into a Developer Agreement. The Developer Agreement set forth a series of 17 milestones—dates by which certain work product was to be delivered to Genius Products LLC—and associated payments to defendant. The milestones commenced on February 1, 2008, and ended with final asset delivery due May 1, 2009. According to Michael Rubinelli, a Genius Products LLC vice president, the game was expected to be the first disc jockey based video game on the market, ahead of its competitors. To that end, in paragraph 2.3 of the Developer Agreement, defendant expressly acknowledged, "[T]he successful completion of each Milestone in accordance with the Milestone schedule . . . is critical to the commercial viability of the Game." Moreover, under paragraph 11.2 of the Developer Agreement, defendant's failure to meet the milestone schedule was a material breach of the agreement, "A material breach may include, but is not limited to, Developer's failure to finish and deliver any milestone in accordance with the Milestone schedule . . . ." And a material breach of the agreement gave rise to certain rights in Genius Products LLC, now plaintiff. Pursuant to paragraph 11.4 of the Developer Agreement: "In addition to Publisher's other rights and remedies, in the event Publisher terminates the Agreement as a result of a material breach of this Agreement by Developer, Publisher may elect[,] in its sole discretion, to (i) retain all rights licensed and/or granted to it hereunder in connection with Developer's Tools and Technology and (ii) take over the development of the Game. Publisher shall provide Developer with written notice of Publisher's election to take over development of the Game and within five (5) days of receipt of such notice, Developer shall deliver to Publisher all source materials, including source code, for the Game and provide Publisher with reasonable assistance in completing development of the Game. Publisher may provide Developer's Tools and Technology to a third party developer for completion of the Game pursuant to Publisher's direction, control, and approval and reasonable and appropriate written confidentiality restrictions." On April 10, 2009, plaintiff's lawyers notified defendant's counsel in writing a material breach had occurred. Plaintiff's lawyers asserted defendant had breached the agreement by failing to meet the milestone schedule. Plaintiff's lawyers also notified defendant that Genius Products LLC elected to take over development of the game. Plaintiff demanded that defendant turn over its entire work product.
Defendant complied in part but refused to turn over, among other things, the game engine source code it claimed was part of its pre-existing tools and technology. Defendant provided the game engine in object code rather than source code. In the trial court, defendant's technical director, Paul Haban, explained: "Source code is simply a human-readable language for giving instructions to a computer. In other words, all software written by human beings is born as source code. Because computers can process only binary language (0s and 1s) rather than human-readable languages, source code cannot be used by a computer until and unless it has been `compiled' into binary `object code.' [¶] [] Since object code cannot be read by human beings, proprietary software typically is distributed to users in that form in order to protect trade secrets embodied in the software." There was evidence defendant had fallen behind the development schedule by September 2008, six months after the parties entered into the Developer Agreement. There was also evidence defendant did not meet any milestones after December 1, 2008. There was no evidence the milestone due dates were ever amended in writing as required under paragraph 15.4 of the Developer Agreement, "Except as otherwise provided in this Agreement, Exhibits, and/or the Appendices, this Agreement . . . can be modified, amended, or any provision waived only by a written instrument signed by an authorized officer of Publisher and by an authorized representative of Developer." This was substantial evidence supporting the trial court's conclusion it was likely plaintiff would ultimately prevail on its material breach claim. Moreover, the trial court did not abuse its discretion in impliedly finding this was an extreme case where the right to the injunction was clearly established and irreparable harm would result from its refusal.
Defendant argues it was unable to meet its contractual obligations because the staff of Genius Products LLC failed to timely deliver hardware, tools and music and to obtain approval from the manufacturers of the game platforms. The evidence before the trial court was conflicting. Defendant's chief executive officer, Lewis Peterson, said that in September 2008 the parties began discussing a revised milestone schedule. According to Mr. Peterson the revisions were necessitated because of the failure to "deliver key development hardware and other materials critical to the [g]ame's development in a timely fashion" to his company. Defendant's vice president of production, Michael Fletcher, similarly declared his company was entitled to receive game platform development and test kits from Genius Products LLC in April and July 2008. But, Mr. Fletcher declared, the hardware was not obtained until August 1, 2008, which caused "substantial delay" in the development process. Mr. Fletcher further averred plaintiff's predecessor, Genius Products LLC, delivered only half the promised music for the game. By contrast, Genius Products LLC's senior vice president for game development, Mr. Rubinelli, agreed that some delay had been encountered in obtaining the hardware. But Mr. Rubinelli denied the delay affected the game's development: "At no time in the course of the discussions . . . did [defendant] ask for more time or indicate that any extension of the development schedule was required. In fact, at that point [defendant] was on track with the development schedule . . . ." Mr. Rubinelli also stated: "For the most part [defendant] had a steady stream of music around which it could implement . . . . [Defendant] never mentioned to me that the completion date was being held up by its not having additional music to work with."
The trial court was not required to credit defendant's evidence. The trial court noted, for example, "The statement in the Declaration of Michael Fletcher . . . that he `learned' that the failure to obtain platform approval meant that [plaintiff] could not purchase the necessary hardware and deliver it to [defendant] is not evidence." Further, with respect to the approvals by the game platform manufacturers, the trial court found there was no evidence establishing the lack of approval had anything to do with defendant's obligation to develop the game: "If there was no approval for the platform, the Game would never be sold, would never be played, and [plaintiff] would lose its investment. But it has nothing to do with [defendant's] obligation to create the Game as a work for hire." (Fn. omitted.) We cannot reweigh the evidence. (Union Interchange, Inc. v. Savage, supra, 52 Cal.2d at p. 606; Huong Que, Inc. v. Luu, supra, 150 Cal.App.4th at p. 409; Shoemaker v. County of Los Angeles, supra, 37 Cal.App.4th at p. 625.)
2. Relative Interim Harm
Defendant contends the trial court abused its discretion in resolving the relative interim harm issue. The trial court found: the hardship to plaintiff absent an injunction would outweigh any harm to defendant; and permitting another developer access to defendant's trade secret source code would not cause defendant irreversible damage. We find substantial evidence supported the trial court's conclusions; hence, there was no abuse of discretion. Genius Products LLC had paid defendant more than $6 million to develop the game, which was more than the total development fee specified in the Developer Agreement. It was undisputed that without the engine source code, plaintiff could not compile a working version of the game and further develop it; rather it would take plaintiff "additional years" to complete the project. In the meantime, potential competitors of plaintiff would be marketing their own disc jockey based games. Moreover, defendant had by contract granted Genius Products LLC, now plaintiff, a license for its pre-existing tools and technology. And defendant had agreed that in the event it materially breached the Developer Agreement it would turn over its source code and assist plaintiff to complete development of the game. And the parties agreed that plaintiff could provide defendant's tools and technology to another developer for game completion subject to "reasonable and appropriate written confidentiality restrictions." Under these circumstances, the trial court could reasonably conclude the relative interim harm experienced by plaintiff warranted issuance of the preliminary injunction.
3. The Undertaking
Defendant contends it was foreclosed from using the procedures for seeking an increase in the bond amount (Code Civ. Proc., § 995.910 et seq.) because the trial court "prejudged" the matter. This contention is without merit. Article 9 of the Code of Civil Procedure governs objections to bonds. (Code Civ. Proc., § 995.910.) A party can object to a bond by noticed motion. (Code Civ. Proc. § 995.930.) Defendant does not contend it filed or attempted to file such a motion. At the hearing in the trial court, the following transpired: "The Court: . . . [¶] I'm going to arbitrarily pick a bond amount. It may go down; it may never go up. [¶] Two million dollars . . . . [¶] [Plaintiff's counsel, Stacy Nakasian]: Yes, Your Honor. [¶] The Court: Post it by Tuesday . . . [¶] You may still provide me with evidence . . . as to why it should be less. But it won't go up. Two million dollars. If you don't give me evidence it will remain two million. [¶] [Defendant's counsel, Stanton L. Stein]: If I give you evidence that it ought to be substantially more, Your Honor, you are not going to consider it? [¶] The Court: No. Look, bond amounts are somewhat arbitrary, I concede that. But I just don't see—the license couldn't possible cost a million dollars." While the trial court's comments suggest it was not disposed to increase the bond, those statements did not prevent defendant from filing a statutory motion. Had the trial court denied a motion to increase the bond amount, defendant would be in a position to object. Instead, defendant has forfeited the issue by failing to file a timely motion under Code of Civil Procedure sections 995.910 et seq. (Code Civ. Proc., § 995.930, subd. (c).)
IV. DISPOSITION
The May 12, 2009 preliminary injunction order is affirmed. Plaintiff, Scratch DJ Game, is to recover its costs on appeal from defendant, California 7 Studios, Inc.
I concur:
ARMSTRONG, J.
Source: http://www.leagle.com/unsecure/page.htm?shortname=incaco20100218039
The official specs and art for Marcus Dunstan's The Collector have finally come to light, and the movie will be hitting retailers on April 6th from Genius Products and Vivendi Entertainment.
An underground edge-of-your-seat spine-chiller, garnering a $7.7 million box office, The Collector follows the story of Arkin, a handyman and ex-con who aims to repay his debt to his ex-wife by robbing his new employer’s country home. Little does he know, a far worse enemy has already laid claim to the property – and Arkin finds himself a reluctant hero trapped by a masked “Collector” in a maze of lethal invention. Featuring gripping performances from Josh Stewart (Law Abiding Citizen), Madeline Zima (“Californication”) and Andrea Roth (“Rescue Me”), The Collector is the directorial debut of screenwriter Marcus Dunstan (Saw IV- VI, Feast I- III).
With special features including an alternate ending, deleted scenes, commentary and more, The Collector will be available on Blu-ray Disc and DVD for the suggested retail price of $24.99 and $24.95 respectively.
Special Features:
Alternate Ending
Deleted Scenes
Soundtrack Song Preview
Commentary
Music Video
Source: http://www.dreadcentral.com/news/36013/full-specs-and-art-dvd-and-blu-ray-the-collector
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