Anything goes: now the financial system secrets will be rocked


As we all are seen, transparency is not the only effect that the leaks have had until now. Much the opposite who felt affected by it fought back with every single available weapon. Assange is only still alive because he is savvy enough to have established an insurance policy with much more heavy duty information. For instance the hint (the real threat of revealing Bank of America’s and other financial institutions real state-of-affairs) is not an empty threat but something that will come along… perhaps bit by bit but is in the making.

The truth of the matter is there is not a single government on the face of the planet that is not dirty and smeared with plenty of sh*t under their shoes and sometimes in their faces. Zapatero (Spain Prime Minister) in spite of his “independent and transparent” discourse has offered a gigantic military base for military operations to the U.S.A. to control North Africa from Spain; Lula brave’s anti-imperialist discourse “went to Washington for Bush’s blessing before taking office”; Berlusconi… well, why bother with him?

Governments are dirty by essence and cannot be another way. The oligarchies and the politicians are the real patriots, they love the countries in which they are powerful, above the laws (although not publicly) and hold the economic fictitious system. The middle class is oblivious to the real world we live in. The lower classes have a better sense of the real world given the dispossession of basics make real consciousnesses arise.

Financial System

Nevertheless, it is from the illustrated ranges of the middle class where the leaks and the hackers come from and with the rage which only the youth have they are shouting from the depth of the Internet world: “we are up to you and we are going to get you”. Can the U.S. or anyone as a matter of fact win the battle against an army of well educated, tech-savvy and the majority digital natives? I doubt it. As I have said some days ago, the depression started with smart asses and it is just beginning, not ending. The leaks and the tremendous outrages the government counter-actions have taken are provoking the unthinkable: hackers are up with their tools to bring down the banking system, the credit card companies and Internet fortunes that are willing to obey the central intelligence services (because they already belong to the oligarchy themselves) and try to shut the leaks out of the map. These realities are here to stay: leaks shall leaks, liars shall try to shut down the leaks (present and futures) and hackers (middle class upper echelon, never too much to remark) are going to fight back, from anywhere to everywhere.

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The Tricks of Spanish Film (Part I)


Before we put down the old structures we need to know how they operate. Spain’s film production is based on public money. No discussion about it. The law established an AUTOMATIC subsidy of 33% of the “producer’s investment”. Not bad! No, especially if the concept is so elastic to include the money the television stations are obliged to invest in Spanish/European movies (5% of their total income).

But first, some concepts clear:
a) AUTOMATIC SUBSIDY means that even if the film makes a ridiculous box office, let’s say 100,000 Euros it may receive 1,200,000 Euros in subsidies about 2 years from the commercial release. It’s really automatic!

b) European norms, extremely enforced in Spain, demands that all channels buy Antenna Rights from local producers summing up 5% of their gross income. That is a tonne of money and the producers’ line up for that. The antenna right means they will exhibit free 2 years after commercial release as many times they wish. It can be prime time (rarely) or 2 a.m. (most common).

c) The public televisions (strong everywhere in Europe) pay between 200,000 Euros to 2,000,000 Euros per film. Sometimes, when the product is “hot” the price can go higher than that.

So, the 33% is advanced in the banks because it bears the State of Spain as guarantor and the money of the television, payable only when the film is delivered is also acceptable collateral for the banks. BUDGET COVERED. Nobody ever invest 1 Euro out of their pockets. Got that? Once this is understood, we can move further and look at official results in the page of the Ministry of Culture of Spain at the following address.

Spanish Film Festival

We can see the results in it, the number of spectators in the movie theatres, who distributed it, the public and private TV channels who bought the antenna rights. All this information is public for anyone. The hidden information is the budget of each film. Only available if a judge authorizes! All the producers alliance want to avoid in order to close any web page they dislike.

 

But let’s consider that every one of the films I picked here as examples had an average budget of 1 million Euros. That’s low as you can get and the results a national shame.

Film: A RAS DE SUELO (2005)

* Spectators: 76
Gross Box Office Results in Spain: 392,10 €
* Distributor by: FAUSTO PRODUCCIONES, SL

With the support of: TELEVISIÓ DE CATALUNYA, S.A.
TVV TELEVISIÓ VALENCIANA

Film: MARIPOSA NEGRA

Producer: FAUSTO PRODUCCIONES, SL
Distributor: SHERLOCK FILMS SL
Spectators: 5.062
Gross Box Office Results in Spain: 23.512,95 €

Film: Faltas Leves

• Producers:
DACSA PRODUCCIONS, S.L.
STEINWEG EMOTION PICTURES, S.L.
• Con la participación de: RTVV;CANAL SUR; EITB; TV CANARIA; TELEMADRID
Distributor: COMPAÑIA PREMIUM DE VIDEO Y TV,S.L.

Spectators: 2.785
Gross Box Office Results in Spain: 9.907,40 €

Film: Mucha Sangre

# Producer: MASSA D’OR PRODUCCIONS, S.L. (www.massador.com)
# Con la participación de: TVE, S.A. and VÍA DIGITAL

Spectators: 6.595
Gross Box Office Results in Spain: 27.238,75 €

Film: De niños
Producer:
MASSA D’OR PRODUCCIONS, S.L. (www.massador.com)

# With the support of: TV3 TELEVISIÓ DE CATALUNYA
LA SEPT ARTE (Francia) and TELEVISIÓN ESPAÑOLA (TVE)

Distributor: ALTA FILMS S.A.
Spectators: 17.885
Gross Box Office Results in Spain: 66.490,20 €

But aren’t there minimums to achieve in order to get the subsidies? Yes, on paper there are many rules. The last producing company here above listed has never, ever made its goals but always got it all it needed. To complete, the head of the company, a radical Catalonian separatist is preparing a film which roughly can be translated to” Catalonia against Spain = Spain against Catalonia”. Famous for her hatred and xenophobic discourse we can wait for a “wonderful” piece of inflammatory and disgraceful “patriotic” film. Paid with public money. For who is not acquainted with Spanish history, Catalonia is an autonomous region of Spain but part of Spain. There is a small minority of racists who preach intolerance and separation of the rest of the country. This person, strangely enough, was in the grace of the right-wing Government in Madrid from 1996 to 2003, and then she moved her political ideals elsewhere.
By the rules, these and the absolute majority of film companies would be shut down by now but depending of the governments and sympathies they always re-float. All with public money. And observing their madness over the new medias (read here INTERNET) the issue for them is not to be “pirated”, nobody wants their movies anyway. The issue is that facts as related here come to light.
Sorry guys from the legacy times! I didn’t die and I this will still go on. ( to be continued)

Civil Rights X Copyright: Non Negotiable!


Traitor, ungrateful, miserable, bastard, etc. Those were a few names I was called since I decided to make public my positions regarding the on going “battle” between copyright warriors and digital libertarians. I guess many people got it very wrong from the start. The “libertarians” have written a Manifest and I support it without reserves.

What is being played here is something much deeper than a “cat chasing the mouse” fight in a small country like Spain that I guess more than half of humanity ignores where it is and a much larger percentage the history it carries back for more than 2,000 years. Yeah, two millenniums but cutting to the chase: back in 1936 a coup d’etat started a civil war in the country and Europe and the rest of the world turned their backs. It was Spain and it was not their problems. Thirty nine years of bloody dictatorship followed those events. Currently, Spain can and probably will be played as a “game-scenario” for the worst case scenario again. In 1936, Germany and Italy supported the fascists and bombarded the civil population in such bloodshed until then unknown by humankind. When in 1939, Hitler spread the fire through Europe and the world, the main powers already knew what to expect.

Guernica

Guernica by Pablo Picasso

After working many years in the entertainment industry, in many different positions, and also selling my blood for small (independent) companies in an idealistic stupid way, I gathered enough knowledge of all the tricks that can be played by every single player of the game in film and music productions: from the writer to the distributor, passing thru the producer and directors reaching down the secretary of production. I never saw a positive liquidation (final accounts where the remaining “profits” should hypothetically be paid to the producer), never at all! Even if there were cents left, the producing company would still “owe” the distributors. If there were profits, they would fall into expenses accounts and future developments. No profit, no income taxes to be paid. Reset to zero and everybody continued to be friends as always. That’s how the game is played. Producers feed writers and directors with bread crumbs, paying their mortgages, buying groceries and so they are on the leash and “grateful”. Buyers of TV stations are invited by producers to banquets, vacations in the Riviera and receive generous incentives such as loads of champagne boxes as Christmas gifts (totally legal) to allocate their resources to those friendly producers in their circle. The so acclaimed high level employment that the entertainment industry, specially film bring to the economy in general averages 4 to 5 employees (sometimes including the owner of the joint) earning 1,200 Euros per month without legal hours respected (40 hours/week in Spain) They should be “happy” because they are in their way to the glory. That’s their due to be paid to the industry before gaining the right to “really do something”. All the rest, when the subsidies fall in place, and when the TV purchases also combine, out they go hiring. There is literally an army of desperate people out there to get two months salaries (average production time). And they all fly in as mosquitoes in the jungle. It is marvellous to see and sad to realize that they also live out of dreams. That is to be respected, to live by a dream and side line with starvation the remaining half of the year.

Europe

This is Spanish, French, Italian and almost all Europe’s reality, let alone the US where I have friends earning the same since 1991, yes, correct, 18 years ago and the same weekly pay. This is only possible in Europe because there are special “social cushions” where the mass, the people who really make the film, can fall back in the work insurances and not turn into homelessness. This is the truth and I dare anyone to proof me the opposite hiring an independent research firm without conflicting interests in these industries.

So you should be guessing why am I “betraying” my people. What is my interest in that? My answer is: I want to see different people, new talent, new ideas springing and new ways of doing business. The mediocrity is produced by a system which was profitable until the means of reproduction were scarce. I loved to see what Arin Crumley did with “Four Eyed Monster” and hated when 10 days before principal photography my film had to be cancelled because one co-producer decided she was making me a favour co-signing the deal (allowing with that to advance the subsidies) and ordered me to relinquish all my rights to her. It was a brutal, it was stealing and it was a rape but I was strong enough to resist it and send her to hell. My film was not done but I look forward to the future and she looks to the gifts she must to give the local TV station managers these Holidays. I guess I’m better of than she is. Ever and forever! I play for the future and the rest struggle to retain petty privileges.

I guess talent is to be nurtured, embraced, and cared for. Italy had one of the most vibrant filmmaking scenes of the entire world and is reduced to rubble. One Italian actor told me once: “The old ones, as brilliant as they were, didn’t allow space for a new generation and now we have mediocrity or rare exceptions”. That is not the future I want for Spain, for Europe and as a matter of fact for nowhere.

Digital have changed the scenario forever and there is no coming back. They, “artists” have the social cushion where to fall (and some have multimillions in banks and property); let them lay in peace there. It’s not acceptable to even discuss neither negotiate civil rights giving in to the defence of copyright. Let alone when the copyrighted material was paid with public money. The architect charges the project of a bridge, he is paid by the government or whoever, but he doesn’t retain the right to charge everybody who crosses that bridge. Point Period. It’s also a given that nobody can copy the project, construct the same bridge design elsewhere and say it is their own creation. The right to have your credits in the making of a film, music or theatre play are not in discussion. Your merit was to create them and you were paid for it. You screenwriters and directors: how many of you begged producers to give you a chance? How many of you waived salaries? Give me a break! If anyone copy the authorship of my writing and publish it without even naming me, I will sue in the courts of law. If my name is mentioned, please go ahead! You are welcome to reproduce anywhere! Creative Commons, some rights reserved, namely authorship is reserved. Reproduction? Do it yourself with some clicks!

What about music then? Music Companies paid dearly radio stations, TV programmers, etc. to play your music in order to have your music reaching the public. That was also the reality. Just a few years ago. So, let’s drop the masks! Kids would win a luxury car; the multinational would make tonnes of money.

And in the most physical side of the matter: it is not possible to control what you are doing thru your broadband. Simply as that! The USA has developed and distributed sophisticated software which scrambles outgoing and incoming IP address to give away to Iranian people surpass the censorship of the Ayatollah’s. The only way around, and even so, it would be hard as hell, would be a Chinese cyber patrol model.

Civil Rights Movement

NON NEGOTIABLE CIVIL RIGHTS

So, my friends, Sarkozy did whatever he pleased (except place the “Prince” in the EPAD) and people talked but didn’t care too much about the Hadopi. Anyway there is a way around. Good and dearly respected French friends of mine have written that response to me these last days and made me reflect why the Spaniards are so different: because the mere idea of the government censoring our acts is beyond any acceptance. The memoir of the dictatorship is in the DNA perhaps and we cannot trade the civil rights for an obsolete copyright law, flawed from the beginning to the end. Again, Spain is a laboratory of freedom in Europe. Hopefully this time, people will join us and take this task as if it was the defeat of the National Socialism 70 years ago and not turn their backs in indifference. What happens here, if successful, will spread. At least in Europe and Latin America; such a proposal in the USA, well… that is for another book.

Spanish Minister for (in) Culture, Mozart and Copyright


It’s really amazing to see the quantity of stupidity, arrogance inherent to power can produce in the world. Well, considering that we are all with a fresh memory from the Bush’s era, nothing is absurd anymore and even “leftists” brag their wisdom to the world as if we were all followers, ignorant followers of the leadership.

Last week, the Minister of (in) Culture of Spain, responsible to guard, protect and improve more than 1,000 years of human kind culture stored in the country (to say the least) has declared publicly to the RTVE (State Radio and Broadcasting Corporation) according to the report of the prominent newspaper EL PAIS that Mozart “has lived in financial misery because he didn’t receive copyright’s royalties” and if he had had them, he and his family would have had a better life”. Ms. González-Sinde’s (in) culture is notorious in Spain and wherever she has stepped in to spread her wisdom”. Nevertheless, she has at her disposal advisers to avoid her gaffes.

Mozart wasn’t ever poor. That we all (except her, maybe) know. But yet, he was the precursor of copyright infringement. The article of the respectful and cultivated journalist and commentator Enric González helps us to bring the real facts to light.

Mozart poor home

Mozart's poor birth home

The obsession to defend copyright and repression at any rate the (in) culture Minister has made her oversee the fact that Mozart “pirated” Miserere Dei, Deus from Gregorio Allegri.

In short, the situation was that music piece was only interpreted inside the Vatican and the music’s scores remained property of the Pope and with only two copies more: one in the hands of the King of Portugal and the other with a Franciscan Priest (musician). Sadly enough, a nasty, non-law-abiding 14 year old kid named Wolfgang Amadeus Mozart visited the Vatican in 1770 and listened to the oeuvre d’art. His brains functioned with 64 bits processing capacity and back home, he wrote the music scores. A few days later, he returned to the Vatican, listened once again and made the necessary corrections.

Mozart Illegal Downloader

Mozart Nasty Kid

That was copyright infringement Ms. Minister of (in) Culture of Spain. What would you do with that nasty kid if you had the power to do anything at all? Jail him? Order lobotomy? What a great benefit to humanity you would have caused preserving the right, the divine right to preserve that work only for Your Holiness’s ears!!!! Shame on you! Jail the Spanish kids, censor, and cut the country back to the times of dial-up connections as you also already defended. You are the culture; you are the progress of sciences and knowledge for humanity.

“Do what I say but do not do what I do”. That seems to be the conclusion to end up with once we learn that she, her assistants or whoever in the Ministry has copied almost word by word her own biography from from Wikipedia without mentioning it (neither the authors of the wiki). Again: shame on you! And again, do the country a favour: step down!

Certainly there are brilliant kids out there who you call criminals and many of them will make and be part of history, while you will remain a mediocre screenwriter and if lucky something like Antonio Salieri (the envious bloodsucker from “Amadeus”, the film, not reality, pay attention to that once more!!!): but yet portrayed as a vicious, poisonous person defending the industry not the artists.

Online Content Production: the law of silence


While pushing forward the endeavour of gathering information from all sources to follow the series of articles relating to State provided subsidies, I have tumbled against a wall made out of tough steel and concrete: silence. If was my purpose to question policy makers, directors of audiovisual institutions, institutes of cinematography as well as filmmakers, directors, producers, distributors, actors, etc .etc.

The task would not be easy to start; I suspected that already, but with rare exceptions I was rebuffed as if I were a thief or at least a poisonous threat to the status quo of their jobs and life earnings. Without going further naming names, Cultural Authorities of different European States and Latin American countries, after reading (or not) this small blog, simply denied flatly to give any sort of interview by email, phone or whatever means offered. The position is that the law is the law and questioning these laws is unlawful. Waving the flag of the law as if those had no relation whatsoever to the reality and fairness to the people. I have to remind these ladies and gentlemen that once upon a time, slavery was also lawful and it was unlawful to question it. Would anyone dare to do it now?

Few producers came forward (some of them bravely offering to make their names and positions public) but yet, the absolutely majority simply would not discuss the issues of digital distribution, subsidies for online production and the new reality of content production for the Internet (broadband) era. No interest for pretty obvious reasons.

But why all the fear and self imposed law of silence? What evil can be brought upon humanity to talk about what is already reality, a given fact?

In order to clarify the situation, to open a call for all the interested parts to answer questions the society itself is posing and the public authorities and the others refusing to answer, I’ve decided to make public the questions I sent to them. Four simple questions that remain without answers:

1) Considering that the numbers of online viewers of audiovisual contents multiply, at least, ten times the number of movie theatres audiences in each and every country, is it fair to have the State (which should represent the interests of the people) subsidise film productions with a non-negotiable condition that the films shall be presented and released in movie theatres?

2) Why do you insist to impose criteria that are not up-to-date with the public’s interests ignoring their own culture consumption habits?

3) While audiovisual works available for free to all users are ignored by the public authorities and denied subsidies while audiovisual works intended for theatre or TV releases which constitute under all lights the construction of private propriety (copyright and commercial exploitation) with public funds- continues to be hailed by the state cultural authorities as the only valid option. Don’t you plan to revaluate this unfair situation and leverage to the real world situation of the cultural consumers of your respective countries introducing a fair system of public subsidies?

4) The public has the right to decide when, how and which cultural product wish to use. And in fact, they have done it already. Don’t you consider that the public funds spent in cultural production must reflect the public demand? And given that situation, leverage the social players in fairness, namely the creators/authors/producers of online content?

It is absolutely comprehensible that people will ignore reality as far as they see it possible in order to keep their own status and privileges. My question is: until when will possible to remain in denial?