That’s how we generally win a business: because of the strong value proposition we provide. Win the business straight: You can bundle the business, you can add value, you can present together — it’s great to have Ticketmaster ticketing your building and have Live Nation as your content partner. When we win a venue in Kansas City or L.A., where we took over a venue from a competitor, of course they’re gonna run to the DOJ. We educate all of our employees: ‘This is how you go to market [with] Ticketmaster versus Live Nation, this and this is what you can’t say. But we’re too smart for that, we’re very clear on what we can and can’t do. “With all the recent press” about the senators’ requests, he continued, “there’s no new litigation, no new claims, no new anything.
“The decree gets a lot of misconception,” he continued. We can’t say to a Ticketmaster venue that says they want to use a different ticketing platform, ‘If you do that, we won’t put shows in your building.’ It also says we can do what’s right for our business, so we have to put the show where we make the most economics, and maybe that venue [that wants to use a different ticketing platform] won’t be the best economic place anymore because we don’t hold the revenue. “I negotiated it and it’s very simple: It says we can’t threaten venues.
 ” />
It’s not like venues don’t have options. “It’s a very competitive market,” he concluded. If you’re a venue you can pick any ticket platform you want, and we have to provide a better product and win that business fair and square.” “AEG has a ticketing platform, Stubhub has grown their marketshare, Vivid has come out of nowhere.
“It’s a bit ironic [for the senators to make the announcement], you’d think they would have called our office. “I’ll do my best not to sound offensive and just try to give you the facts,” he said. We’re very open, we’ll discuss anything with anybody if they have concerns — except maybe a lobby group!
Live Nation/ Ticketmaster operates under a consent decree that bars Live Nation from withholding concerts and tours from venues that opt to use a different ticketing service than Ticketmaster, and from retaliating when venues go with a competitor.
“To an investor in the business,” he concluded, “be reassured that our business model has been continually tested over the years, that we are compliant, we will be compliant, we see no reason not to be compliant, and it’s business as usual.”
The moderator then said, “I think there’s a misunderstanding about how the DOJ oversight works — they have the option of asking for information.”
Back in August, Senators Richard Blumenthal of New Jersey and Amy Klobuchar of Minnesota made the most recent of several requests for an Department of Justice antitrust investigation into competition in the ticketing industry, and it soon became clear that the target of the probe was Live Nation and its 2010 merger with Ticketmaster, which has created an online live-event ticket marketplace that the senators say is not working for consumers.
Asked by the moderator to share his views on “the state of competition in the ticketing market,” Rapino sighed, “Yes, the question we all want.
Rapino replied, “I’m not a lawyer so I’m not going to be perfect on this, but there’s a fine line. ‘Investigating’ makes for a good headline, but when you’re under a decree, that means you are in theory obligated to comply with it, and they can ask for information [any time] — you don’t have to be summoned. If you’re not under a decree, it’s bigger news that the DOJ woke up one day and said, ‘We’re gonna look at this guy.
At Goldman Sachs’ Communacopia conference in New York on Wednesday, Live Nation chief Michael Rapino addressed the issue. Live Nation has steadfastly maintained that the calls for investigation are based on “a fundamental misunderstanding of our consent decree and general ticketing industry dynamics,” as it said in a statement in response to the August request.
“Hey, we want them to be educated, there’s a new staff [at the DOJ] every two months. There’s always some new kid who thinks something’s going on, and our lawyers have to sit down with them and walk them through it, ‘This is how the decree works, we haven’t violated anything, there’s nothing going on in Pittsburgh.’ [The new staffer says], ‘Oh, okay,’ and then another new kid comes in, AEG calls and says, ‘Hey, they threatened somebody in Kansas City!’ I don’t want to belittle them — we’re very aware of it, we’re compliant with it, we don’t need to threaten to win business.
Every now and then one of our competitors runs to the DOJ and says ‘We lost the Kansas City venue, [Ticketmaster] threatened!’ We get an inquiry from the DOJ, ‘Hey, can we get some emails from over the years,’ they’ve done it and we’ve never found anything wrong. We’re very compliant, we understand it clearly — trust me, after eight years and all those emails, if you weren’t compliant, with your competitors playing that game, you’d have been exposed as being in violation long ago. “Now, we’re eight-plus years into the decree, and with 30,000 shows a year and 30,000 employees, you can imagine all the emails flying around.
and Frank Pallone, Jr. Ticketmaster, which works with 80 of the top 100 venues in the country, has been under attack for allegedly monopolistic practices for many years. Blumenthal and Reps. Just yesterday, the DOJ confirmed that it is examining alleged violations of that consent decree by Live Nation. In June, Sen. introduced the BOSS Act in an effort to bring more transparency to the ticketing business; last year Pascrell called on the DOJ to investigate “Ticketmaster corruption” and in April 2018 a New York Times article claimed that DOJ officials were “looking into serious accusations about Live Nation’s behavior in the marketplace.” The article said that AEG Presents, which is Live Nation’s chief competitor, told DOJ officials that venues it manages in several major U.S. markets “were told they would lose valuable shows if Ticketmaster was not used as a vendor, a possible violation of antitrust law.” Bill Pascrell, Jr.

"I'm curious to see if movies last, if movies stick around," Pitt said. Pitt also explained why he thinks an episodic version of Tarantino's fantastical Manson murder story may find more success in today's streaming era. "What I notice about the younger generation is that they're used to receiving a lot of information at a much faster pace, and they're more inclined to watch a short series of episodes where you can stay in it as long as you want or jump out whenever you get bored."
"It's a pretty arousing idea." in Hollywood" that would expand the film into several episodes with more footage. "Yeah he's talked about it," Pitt said. After an intimate profile with Pitt appeared in the New York Times this week — revealing the movie star's thoughts on fame and his struggles with alcoholism –"Times" writer Kyle Buchanan published some unreleased details from the profile, including Pitt's confirmation that Quentin Tarantino discussed a streaming version of "Once Upon a Time…
"Once Upon a Time in…Hollywood" is still in theaters, but star Brad Pitt says a mini-series may be on the horizon.
"I look at series where you can spend much more time on characters and story and explore angles you don't always get to in film," he said. Pitt added that while he loves the "transportive experience" of going to the movie theater, which he guessed was one of the main draws to Tarantino's latest blockbuster, he also thinks episodic series can lend more freedom to character and story development.
https://twitter.com/kylebuchanan/status/1169635712934862849″ />
"You have the cinema experience that exists, but you can actually put more content in a series format." He cited Tarantino's 2015 film "Hateful Eight," which the prolific director re-purposed as a four-part mini-series that debuted on Netflix in April. "It's almost the best of both worlds," Pitt said about the small-screen adaptation.

Senators Richard Blumenthal of New Jersey and Amy Klobuchar of Minnesota are requesting a Department of Justice antitrust investigation into competition in the ticketing industry.
In response, Variety obtained the following statement from Live Nation: “Unfortunately, the Senators’ letter is based on a fundamental misunderstanding of our consent decree and general ticketing industry dynamics.
“It is absolutely against Live Nation and Ticketmaster policy to threaten venues that they won’t get any Live Nation shows if they don’t use Ticketmaster. We also do not re-route content as retaliation for a lost ticketing deal. “The reality is that none of these things are true,” he continues. Live Nation is the most artist-focused company in the world, and misusing our relationship with artists to ‘settle scores’ with venues would be both bad business and counter to our core beliefs.”” />
Blumenthal and Klobuchar ask the DOJ to "investigate the state of competition in the ticketing industry" and potentially extend the consent decree past July 2020.
Live Nation/ Ticketmaster has operated under a consent decree that bars Live Nation from withholding concerts and tours from venues that do not use Ticketmaster and from retaliating when venues go with a competitor.
While the letter from Sens. Blumenthal and Klobuchar of Minnesota asks Makan Delrahim, the assistant attorney general with the DOJ's antitrust division, to look at the overall business, according to Billboard and the New York Times, there is little question that the target of the probe is Live Nation. The request stems from the 2010 Live Nation/ Ticketmaster merger that resulted in an online live-event ticket marketplace that the senators say is not working for consumers.
They insinuate that we “condition” content. That we “retaliate” when Ticketmaster is not selected as a venue’s ticketing partner. In a long response posted on the company’s website, Ticketmaster president Jared Smith said in part: “Ticketmaster continues to maintain its position as the clear industry leader. In short, they say we have stifled competition. That leadership, however, is not the result of any unfair advantages resulting from being a part of Live Nation Entertainment as some are suggesting. … The New York Times article suggests that any benefits of being a vertically integrated company are, in and of themselves, anticompetitive.
There is no cause for further investigations or studies.” “Nevertheless, for years now some competitors have found it useful to confuse the issue with misinformation and baseless allegations of consent decree violations. These complaints have been investigated by the Department of Justice pursuant to its broad powers to monitor compliance with the decree.
"The Department of Justice should act to reinvigorate competition in the ticket market to help consumers,” the letter reads, and asks for the DOJ to "enforce the terms of the Ticketmaster-Live Nation consent decree, including the anti-retaliation merger conditions” and "not hesitate to seek appropriate remedies to ensure compliance with the merger conditions.”
We do not force anyone into ticketing agreements by leveraging content, and we do not retaliate against venues that choose other ticketing providers. “Ticketmaster has been successfully growing its client base over the past decade as a result of continuous innovation and providing the best ticketing solution in the industry. During that period, Live Nation and Ticketmaster have always complied with their obligations under the consent decree.
"The consent decree has been criticized as ineffective, and there have been disturbing reports that Live Nation has flouted its conditions,” the letter reads, leaving "Live Nation’s dominance virtually unchallenged.”
introduced the BOSS Act in an effort to bring more transparency to the ticketing business; last year Pascrell called on the DOJ to investigate "Ticketmaster corruption" and in April 2018 a New York Times article claimed that DOJ officials were “looking into serious accusations about Live Nation’s behavior in the marketplace.” The article said that AEG Presents, which is Live Nation’s chief competitor, told DOJ officials that venues it manages in the Atlanta, Salt Lake City, Oakland, Minneapolis, Louisville and Las Vegas areas “were told they would lose valuable shows if Ticketmaster was not used as a vendor, a possible violation of antitrust law.” Bill Pascrell, Jr. and Frank Pallone, Jr. However, it is unclear how successful such an investigation might be. In June, Sen. Ticketmaster, which works with 80 of the top 100 venues in the country, has been under attack for allegedly monopolistic practices for many years. Blumenthal and Reps.

Watson discovered that YouTube’s algorithms enabled child predators to secretly connect across a series of videos with young girls engaged in everyday activities like gymnastics or stretching. 17 video. The issue — the latest "brand safety" scandal for YouTube — was exposed by vlogger Matt Watson in a Feb. In those videos, members of what Watson called a "soft-core pedophilia ring" made sexualized comments about the girls and in some cases traded child pornography in the comments section, he claimed.
Last month, the telco said it planned to resume buying ads on YouTube. AT&T brand chief Fiona Carter told the New York Times the company felt YouTube had taken adequate measures to ensure the platform was "brand safe" again.” /> AT&T was among the advertisers that pulled its ad spending from YouTube in March 2017, after the revelation that YouTube was serving ads against terrorist video and other hate speech.
In a statement, an AT&T spokesman said, "Until Google can protect our brand from offensive content of any kind, we are removing all advertising from YouTube."
Google and YouTube reps, asked to comment about the advertiser spending freezes, did not address them directly. We took immediate action by deleting accounts and channels, reporting illegal activity to authorities and disabling comments on tens of millions of videos that include minors." A company rep provided the same statement it released previously, which said in part, "Any content — including comments — that endangers minors is abhorrent, and we have clear policies prohibiting this on YouTube.
YouTube said in the 48 hours after Watson's video posted, the service terminated over 400 accounts and channels that violated its policies. YouTube also says it reported illegal activity to National Center for Missing & Exploited Children to work with law-enforcement authorities.
Other marketers that have dropped spending with YouTube over the scandal include Disney, Epic Games, McDonald's and Nestlé.
The telco joins a boycott by marketers alarmed by the discovery that a secret group of child predators has been using YouTube to make sexual comments about kids. AT&T, one month after it thought it was safe to advertise on YouTube again, said it is pulling all advertising spending from the world's biggest video platform.

Scorsese suggested that society is not only facing a period of great technological evolution but also major change in terms of culture and civilization.
The conversation included screening of an excerpt from his film “The Last Temptation of Christ,” which raised considerable polemic at the time, and which Scorsese revealed he had never seen again since the film’s initial screening.
As Bensaidi mentioned at the start of the conversation, Scorsese has been a direct inspiration for many Moroccan filmmakers, because of the way that his characters and stories resonate with Moroccans.
Scorsese said that films can make things sacred and are intimately linked to aspects such as ritual, protocol and respect.
He suggested that the previous power of film criticism could be a double-edged sword, citing the example of Vincent Canby’s review of Michael Cimino’s “Heaven’s Gate” in the New York Times in 1980. This led to the film being pulled from screens the next day, he said, and forced auteur filmmakers into effective exile from the studio system, which he added only truly ended when Steven Soderbergh’s “Sex, Lies and Videotape” won the Palme d’Or at Cannes in 1989.
That’s enough. We all have to stand there in silence for around two minutes. “The process of making a movie is sacred. It’s a sacred moment.” Everyone is in the room. For example when the sound engineer records what’s called the ‘wild track’ to get the ambient sound. Inevitably they all start meditating.
I began to deal with him as Jake.” He also talked about other actors who have used method acting to metamorphize into their characters, which he said was sometimes a bit intimidating, for example working with Daniel Day Lewis on “Gangs of New York” as “Bill the Butcher” – “We had to be very careful at that time” – or with De Niro on “Raging Bull” – “That was really him.
It upholds the value of cinema as an art form.” Scorsese said that he still watches many films, but now mainly at home, saying that he misses the audience experience. That’s why Marrakech is so important. “The cinema of the past hundred years has gone,” he said. “It’s changed.
“They were given paradise,” he concluded. “But being human, they were kicked out.”” />
During the fest’s 17th edition, he hosted the career tribute to De Niro on Saturday evening and on Sunday participated in a conversation with Moroccan helmers Laila Marrakchi (“Rock the Casbah”) and Faouzi Bensaidi (“Volubilis”). Scorsese is viewed as one of the godfathers of the Marrakech Film Festival, having attended on three previous occasions, including as jury president in 2013.
Scorsese talked about the classic American and Italian films that inspired him to become a filmmaker and dedicated considerable time to talk about the spiritual dimension of cinema.
Matthew Passion,” which is used in the car bomb scene. Finally, the helmer talked about how music is central to the conception of many of his films, citing the example of how he structured “Casino” around Johann Sebastian Bach’s “St.
Netflix took the risk.” He was optimistic about opportunities for independent filmmakers and talked about Netflix. ‘The Irishman’ is a risky film. And of course we’re all getting older. No one else wanted to fund the pic for five to seven years. “People such as Netflix are taking risks.
Scorsese referred to the influence of Elia Kazan’s films “On the Waterfront” and “East of Eden,” and said that he believed method acting was partly influenced by technological advances, with new microphones able to capture whispering dialogue.
Because we now have the power to wipe out mankind. Essentially I keep coming back to these subjects.” It creates a communal bond between people. I may not be a practicing Catholic, but most of my films are about ritual (…) If you’re interested in continuing the human species you have to address core issues such as nurturing love, compassion and understanding other people. “Beliefs have to be refreshed and rethought. That doesn’t mean you reject rituals. Ritual is very important. For example, praying together (…) You’re talking to a regular Catholic who has done a lot of struggling.
The core story in Kazan’s film features two brothers and then there’s a betrayal.” He then quipped: “That’s basically the same movie I’ve been making over the last 45 years.” “I went to see ‘On the Waterfront’ with my brother, and for the first time we saw people on screen that we knew in real life. It didn’t look like acting.
Francis Xavier of the Jesuits – using meditation to re-experience certain moments, such as when Jesus was crucified. Scorsese suggested that Stanislavski’s method acting system was linked to the spiritual exercise advocated by St. He said that when filming “Silence,” lead actor Andrew Garfield succeeded in tapping into this tradition.
“Soderbergh’s film began a resurrection. But the theaters are closing. Young people have to reinvent everything.” These days young independent filmmakers can get their films made.
Nonetheless Scorsese expressed concern about how in the digital universe everything is termed “content.” In particular he lamented the loss of the eco-system associated with cinema, such as the demise of film criticism, which has been reduced to short tweets and the attribution of ratings in the form of stars.
Film Festival Sunday, including the contribution to cinema of streamers like Netflix, the backers of his latest movie, “The Irishman,” starring Robert De Niro and Al Pacino. Martin Scorsese tackled a range of subjects during a discussion on stage at the Marrakech Intl.

But some remained cautiously optimistic that in a leaner Fox, Hicks will be able to operate effectively within a narrow purview. Company insiders who spoke with Variety expressed concern that Hicks — who once, according to the New York Times, admitted to House of Representatives investigators that she sometimes told so-called white lies on behalf of President Donald Trump — could prove a divisive presence in the company. But the biggest Fox remodeling move yet remains Monday's appointment of former Trump White House aide Hope Hicks as exec VP and chief communications officer. The Hicks hire sent shockwaves through the Fox offices, surprising many.
On Tuesday, Fox announced the appointment of three veteran execs to leadership roles in the company that will be left standing after the Walt Disney Co.'s acquisition of its film and television-studio operations closes. Rita Tuzon was named exec VP and corporate general counsel; Jill Ratner was named exec VP and chief litigation counsel; and Kevin Lord, exec VP of human resources for Fox News, will take over HR for the entire company. New Fox is beginning to take shape.
It was paired with announcement that Julie Henderson, a 12-year veteran of the company, would step down as head of corporate communications when the Disney deal closes, along with top lieutenant Nathaniel Brown. The Hicks news in many ways overshadowed a long-anticipated announcement, also made Monday, about Peter Rice, Dana Walden, and multiple Fox television executives moving to Disney. (While Rice and Walden's new roles had already been thoroughly reported on in the entertainment trade press for months, the Hicks hire was dropped without any advance warning — the surprise combining with her significant public profile for maximum impact). Henderson enjoys a strong relationship with Fox founder Rupert Murdoch and chairman and CEO Lachlan Murdoch, and informed them of her decision after the Disney deal was announced.
That smaller scope means that Hicks will not be stepping into a role with responsibilities as broad as that which Henderson now occupies. At age 29, Hicks has limited media-business experience, and has never run corporate communications for a publicly traded company before. Key executives had not expected Henderson to continue with New Fox, whose assets will be roughly a third of the size of the current company's.
Reporting to Fox legal chief and policy adviser Viet Dinh, Hicks will join Fox in January and be based in Los Angeles. There she will join Lachlan Murdoch as the company shifts its corporate seat of power away from New York.” />

 
"It was an honor to contribute" to someone of Simon's stature, said Evans, who calls himself "a supporting actor" in Simon's life.
Simon was notoriously reluctant to ask favors, he wrote in his memoir "Rewrites." If Evans had not made the lifesaving offer, the New York Times story asked, would he have asked for a kidney donation? "No," he said.
Doctors said a transplant could possibly end up giving him 10 more years of life, and Simon lived for 14 more years. But Evans wasn't just Simon's friend and publicist — in 2004, he donated a kidney to Simon, who was very ill with kidney failure.
 
"It caught the zeitgeist, it's so relatable. He recalled when Simon "exploded onto the scene" with Mike Nichols when "Barefoot in the Park" premiered on Broadway. "He made an imprint on the culture," Evans said. It just touches the right nerve."
 ” />
Simon took a chance on hiring Evans as he was getting his start in the business in 1976, working on "California Suite," and they continued working together up until 2006, on some 20 plays.
Evans will write in a note a few weeks after the surgery, but it's really looking forward to Bel Air in a couple of months." The New York Times wrote about the pair's close association at the time: "His kidney loves living on Park Avenue, Mr.
Simon went on to dig deeper and deeper into his experiences growing up in a difficult family situation in New York. It's a slice of Americana, it's us, it's universal." Matthew was brilliant, he got into deeper things. "Matthew Broderick was basically playing him in 'Brighton Beach Memoirs' and Broderick burst into stardom after that. "He kept digging," Evans recalled.
Bill Evans served as publicist for Neil Simon, who died Sunday at 91, for three decades. Simon's longtime friend and associate, who is director of media relations for the Shubert Organization, told Variety he is "very emotional right now, but very grateful to be part of his life."
Evans said "Lost in Yonkers" was another impactful work that probed more serious area's of Simon's upbringing and resulted in a Pulitzer and a Tony.

Location: Eisenhower House Lawn
Location: St. George's School Lawn
This life-affirming documentary encourages us to cherish loved ones for all they are, not who they might have been. Based on Andrew Solomon’s award-winning, critically acclaimed, New York Times bestselling non-fiction book “Far From the Tree: Parents, Children and the Search for Identity "Far From The Tree" follows families meeting extraordinary challenges through love, empathy, and understanding.
Thursday, July 12
SCIENCE FAIR
Location: 2nd Beach Parking Lot
Peace, Love and Music themed picnic contest sponsored by Madewell
STUDIO 54

Exploring some of the most remote and spectacular places on Earth, five pioneering scientists make surprising discoveries that flip our understanding of nature on its head and offer new hope for restoring our world.
THE PRICE OF EVERYTHING
THREE IDENTICAL STRANGERS
FAR FROM THE TREE
Thursday, August 2
Thursday, July 26

The screenings kicked off Thursday with Neville’s "Won’t You Be My Neighbor?," a look at the enduring legacy of Fred Rogers, and runs through September 6th. Past films that have played at newportFILM include Brett Morgan’s "Jane, Betsy West and Julie Cohen’s "RBG," and Jeff Orlwoski’s "Chasing Coral."
Location: Salve Regina University’s O’Hare Academic Center Lawn
Thursday, September 6 the film is to be announced.” />
CHEF FLYNN
partner: Newport Folk Festival
Q&A with Director Matt Tyrnauer moderated by Richard Lawson (Vanity Fair)
Part of the attraction is that the sunset screenings are hosted in several different historic venues, including Rosecliff, a mansion featured in the 1974 version of "The Great Gatsby" with Robert Redford and Mia Farrow, the Eisenhower House, which was the “Summer White House” for President Dwight D. Eisenhower or his Mar a Lago, and the Newport International Polo Grounds. The festival has become something of an institution in the posh seaside community — Newport, Rhode Island is an old world resort, with Gilded Age mansions that are straight out of an Edith Wharton novel (in fact, "The Age of Innocence" is partly set there).
Q&A with The New York Times Best Selling Author Andrew Solomon moderated by Tanya Rivero Warren
Michael’s Country Day School Lawn Location: St.
With sudden fame, Flynn outgrows his bedroom kitchen and mother's camera, and sets out to challenge the hierarchy of the culinary world. Ten-year-old Flynn transforms his living room into a supper club, using his classmates as line cooks and serving a tasting menu foraged from his neighbors’ backyards.
Featuring collectors, dealers, auctioneers and a rich range of artists, from current market darlings Jeff Koons, Gerhard Richter and Njideka Akunyili Crosby, to one-time art star Larry Poons, the film exposes deep contradictions as it holds a mirror up to contemporary values and times, coaxing out the dynamics at play in pricing the priceless. Exploring the labyrinth of the contemporary art world, "The Price of Everything" examines the role of art and artistic passion in today’s money-driven, consumer-based society.
partner: Potter League for Animals
Thursday, July 5
SERENGETI RULES
Q&A with Director Aaron Lieber moderated by Tatiana Siegel / The Hollywood Reporter
Here's the full list of films, venues, and talent:
NewportFILM will screen documentaries by Morgan Neville, Matt Tyrnauer, Nathanel Kahn, and Andrew Solomon as part of its annual summer series.
As 1,700 of the smartest, quirkiest teens from 78 different countries face off, only one will be named Best in Fair. The film, from Fusion and Muck Media and directed by the DuPont Award-winning and Emmy-nominated documentary filmmaking team Cristina Costantini and Darren Foster, offers a front seat to the victories, defeats and motivations of an incredible group of young men and women who are on a path to change their lives, and the world, through science. Hailed by critics as “immensely likeable,” “brilliant and quirky” and an “ode to the teenage science geeks on who our future depends,” and winner of the audience award at Sundance and SXSW, National Geographic Documentary Films’ "Science Fair" follows nine high school students from around the globe as they navigate rivalries, setbacks and, of course, hormones, on their journey to compete at The International Science and Engineering Fair.
Thursday, August 23
Location: The Elms
Ten years and 10,000 dogs later, their unique approach to life and dog rescue will capture hearts and inspire millions to make the right choices when it comes to man's best friend. "Life in the Dog House" tells the inspiring life stories of Danny Robertshaw and Ron Danta and the remarkable work they do at Danny & Ron’s Rescue.
Conversation with Director Ron Davis and Danny Robertshaw and Ron Danta from “Danny and Ron’s Rescue”
Thursday, July 19
The trio’s joyous reunion in 1980 catapults them to fame but it also sets in motion a chain of events that unearths an extraordinary and disturbing secret that goes far beyond their own lives – a secret that goes to the very heart of all human behavior. "Three Identical Strangers" tells the astonishing true story of three men who make the chance discovery, at the age of 19, that they are identical triplets, separated at birth and adopted to different parents.
"Two Train’s Runnin’" is about the search for two forgotten blues singers, set in Mississippi during the height of the civil rights movement. That same month, two groups of young men—made up of musicians, college students and record collectors—also traveled to Mississippi. Thirty years before, Son House and Skip James had recorded some of the most memorable music of their era, but now they seemed lost to time. Though neither group was aware of the other, each had come on the same errand: to find an old blues singer and coax him out of retirement. In June of 1964 hundreds of college students, eager to join the civil rights movement, traveled to Mississippi, starting what would be known as Freedom Summer.
Thursday, August 9
UNSTOPPABLE: BETHANY HAMILTON
Location: Rosecliff Lawn
Thursday, August 16
Q&A with Cristina Costantini and Darren Foster moderated by Brent Lang (Variety)
Location: Newport Art Museum Lawn
"Bethany Hamilton: Unstoppable" is Bethany Hamilton’s complete and untold story that follows her journey from childhood into motherhood – the ups, downs and her powerful resilience against all odds to become one of the leading professional surfers of all time. From chasing her toddler, to chasing the biggest waves, Bethany is continually rewriting the rules on being a fearless athlete and brings new meaning to the phrase “Surfs Like a Girl.”
TWO TRAINS RUNNIN’
Location: Newport International Polo Grounds
"Studio 54" was the epicenter of 70s hedonism–a place that not only redefined the nightclub, but also came to symbolize an entire era. Its co-owners, Ian Schrager and Steve Rubell, two friends from Brooklyn, seemed to come out of nowhere to suddenly preside over a new kind of New York society. Now, 39 years after the velvet rope was first slung across the club’s hallowed threshold, a feature documentary tells the real story behind the greatest club of all time.
Q&A with Director Benjamin Hedin
Thursday, June 28
Thursday, August 30
Location: On the Beach at Newport Beach House: A Longwood Venue
Q&A with filmmaker Nathaniel Kahn moderated by Dodie Kazanijian
LIFE IN THE DOGHOUSE

Hov has been a staunched critic of the justice system since the MMG rapper was sentenced to 2-4 years in prison for probation violation. “That sh*t [Kaepernick’s protest] is not about inanimate objects,” Hov said. The due wore T-Shirts that says “STAND WITH MEEK MILL.” The fans on Meek’s home turf poured in their numbers to fill up the arena for a sold-out crowd. She is the same judge who handed down the unjust sentencing after she claimed that the rapper broke his probation by getting arrested earlier this year for breaking up a fight and popping wheelies in the streets of New York. Everybody should be fighting that.”
RELATED: Meek Mill & JAY-Z’s Roc Nation Sued By Family Of Slain Concertgoer
Meek Mill, real name Robert Williams, is currently awaiting the outcome of his emergency bail application. It’s about young people leaving their house and never coming back home. R&B singer Trey Songz and rapper Yo Gotti were also showed up to show his support and was also spotted at the after party. The Pennsylvania Superior Court handed down a ruling last month directing Judge Genece Brinkley to make a ruling on the rapper’s bail. JAY-Z also showed his support to Colin Kaepernick by wearing his jersey at the sold-out show. The Roc Nation boss supported the #FreeMeekMill movement during the Philly leg of his “4:44 Tour” by playing the rapper’s hit single “Dreams & Nightmares” during his set. JAY-Z showed Meek Mill some support at his “4:44” concert in Philadelphia on Friday night. The rap legend also penned an op-ed in the New York Times last month throwing his support behind Meek, while calling out the justice system for its mass incarceration of young black men. He leads the crowd on a “Free Meek Mill” chant. Stand with Meek Mill. Some Philadelphia 76ers players including Joel Embiid and Ben Simmons were at the concert showing their support for Meek Mill. #FREEMEEKMILL #444TOURbr pic.twitter.com/G7qyWutG3d
— Team JAY-Z BR (@99jayzbr) December 2, 2017 And it’s not a black and white issue. It’s a human issue. “It’s about people dying.

— revolves around a man who becomes concerned when his teenage daughter begins to develop a relationship with a much older filmmaker who has been in the center of multiple sex scandals. The timing of the Times' expose is sure to compromise the prospects for his latest indie feature, "I Love You, Daddy," distributed by the Orchard. The film — starring, written and directed by C.K. 17 but already Thursday's scheduled premiere in New York was tabled in anticipation of the publication of the Times' story. The pic is scheduled to open Nov.
He has never done that to me. I never said he did, I never implied that he did. In an interview with the Village Voice in September, Kirkman said: “There are rumors out there that Louis takes his dick out at women. So you go, ‘Should I leave the house with an umbrella, or not?’" What I said was, when you hear rumors about someone, and they ask you to go on the road with them, this is what being a woman in comedy is like — imagine if there’s always a chance of rain over your head but [with] men, there isn’t.
ejaculated. Comedy Arts Festival in Aspen, Colo., in 2002 and allegedly stripped naked and began to masturbate. Goodman and Wolov said they were shocked when he invited them to his hotel room during the U.S. The women described themselves as being "paralyzed" during the incident and running out of the hotel room after C.K. Comedians Dana Min Goodman and Julia Wolov are among the women who detail what they describe as a disturbing encounters with C.K.
was not named explicitly in the piece, but it claimed that "our nation's most hilarious stand-up comic and critically cherished sitcom auteur" invited two female comedians to his hotel room and proceeded to block the door with his body while he forced them to watch him masturbate. C.K. In March 2012, Gawker published a blind item that detailed an alleged incident at the Aspen Comedy Festival a few years prior. have been swirling for some time. Allegations of misconduct against C.K. Comedian Doug Stanhope, a friend of C.K.'s, later claimed the story was about him. Speculation surfaced on Reddit and social media that the item referred to C.K.
as the man in question. "And this guy didn’t rape me, but he made a certain difficult decision to go on tour with him really hard," she continued. "Because I knew if I did, I’d be getting more of the same weird treatment I’d been getting from him." In a subsequent interview with The Daily Beast, Kirkman refused to speak further about the incident or identify C.K.
C.K.'s industry clout has grown significantly in the intervening years through his successful FX series "Louie," his standup comedy tours and his innovative approach to financing and distributing his own standup specials and TV series "Horace & Pete" through his LouisCK.net website.
The story also scrutinizes the behavior of C.K.'s longtime manager, Dave Becky, of 3 Arts Entertainment, suggesting that Becky used his clout in the comedy world to pressure women to not discuss their encounters with C.K.
In one scene from Notaro's show, a female character is forced to watch as a male workplace superior masturbates.
Comedian Louis C.K. has been accused of sexual misconduct in a New York Times expose detailing allegations that he repeatedly asked women he encountered in work-related environments to watch him masturbate.
C.K. There’s one more thing I want to say about this, and it’s important: If you need your public profile to be all positive, you’re sick in the head. I do the work I do, and what happens next I can’t look after. So my thing is that I try to speak to the work whenever I can. That’s not real…[You] can’t touch stuff like that. In a 2016 interview with Vulture he said of the allegations, "I don’t care about that. Just to the work and not to my life." has previously declined to address the allegations in detail. That’s nothing to me.
is not involved with the series, despite the executive producer credit — and said that C.K. Notaro told The Daily Beast that C.K. In August, comedian Tig Notaro was asked about the allegations against C.K., who is an executive producer on her Amazon series "One Mississippi," which also hails from FX Productions and Pig Newton. needed to address the allegations.
Becky told the Times he did not recall a specific conversation with the two but asserted: "I never threatened anyone." Goodman and Wolov said they have steered clear of trying to work on projects associated with Becky. Goodman and Wolov told the Times they felt pressure from manager Becky to stop discussing their incident with C.K.
In an interview with the New York Times this September, C.K. again addressed the allegations, saying, "I’m not going to answer to that stuff, because they’re rumors. If you actually participate in a rumor, you make it bigger and you make it real."” />
“I think it’s important to take care of that, to handle that, because it’s serious to be assaulted,” she said. "It’s serious to be harassed. And, you know, I walk around doing shows at comedy clubs and you just hear from people left and right of what some big-shot comedian or person has done. It’s serious, it’s serious, it’s serious. We of course want to create comedy, but we also really, really feel like we have the opportunity to do something with 'One Mississippi,' because it does not stop. People just excuse it.” And that’s what we want to do with ['One Mississippi].
Courteney Cox, who was an exec producer on the pilot, told the Times she considered shutting down production but Corry opted to continue. Cox said she felt "outrage and shock" after learning of C.K. She told the Times she has long been haunted by the encounter. Comedian Rebecca Corry told the Times she was working with C.K. on a TV pilot in 2005 when he allegedly asked her point blank if he could go to her dressing room in order for her to watch him masturbate — an offer she refused. alleged offer.
Also in 2015, comedian Jen Kirkman described a male comic that many believed to be C.K. during an episode of her podcast. He is basically a French filmmaker at this point. He’s a known perv. You know, new material every year. And I’ve been told by people 'Well then say it then. Say it if it’s true.' If I say it, my career is over. My manager and my agent have told me that." And there’s a lockdown on talking about him. In the podcast, which was deleted shortly after it was posted, Kirkman spoke of "another guy who is a very famous comic. His guy friends are standing by him, and you cannot say a bad thing about him. He is lauded as a genius. He is probably at Cosby level at this point.
has said he needed a break from the highly autobiographical series but didn't rule out revisiting the show in the future. Pig Newton is a producer of FX's much-acclaimed comedy "Better Things," starring Pamela Adlon, and other development projects. C.K. The fate of "Louie" has been uncertain for some time. New episodes of the show have not aired since the conclusion of its fifth season in 2015. The tarnish to C.K.'s reputation as a standard-bearer for comedians may also lead to fallout for FX, which has a production pact with C.K.'s Pig Newton banner.
C.K. A rep for the comedian did not immediately respond to a request for comment, nor did Becky. declined to comment for the Times' story.
Goodman and Wolov told the Times they spoke out about the incident within the tight-knit world of standup comedians but felt the pressure to avoid shaming a powerful figure in comedy. “We could already feel the backlash" barely a day after the incident, Wolov said.

Rights to the black-and-white film were picked up out of the Toronto International Film Festival for $5 million. The film has generated controversy since it first screened for critics because its plot revolves around an inter-generational romance. It centers on a lascivious director (John Malkovich) who falls for the teenage daughter (Chloe Grace Moretz) of a television producer (C.K.). "I Love You, Daddy" was shot secretly over the summer.
C.K. had been set to appear on tonight's edition of CBS' "The Late Show with Stephen Colbert," but that was tabled late Wednesday once it became widely known that the Times story would be published on Thursday. The film's premiere in New York City, scheduled to take place on Thursday night, was also scrapped.
As a result, we are giving careful consideration to the timing and release of the film and continuing to review the situation.” referenced in today’s New York Times, we are cancelling tonight’s premiere of 'I Love You, Daddy.' There is never a place for the behavior detailed in these allegations. In a statement, the indie film company said, “In light of the allegations concerning Louis C.K.
The dark comedy had been set to open in limited release on Nov. The distributor of Louis C.K.'s latest movie is reconsidering the release plan for "I Love You, Daddy" in the wake of a New York Times report that five women have accused the comedian of sexual misconduct. 17, with distribution handled by the Orchard.
Through a publicist, C.K. repeatedly asked women he encountered in work-related environments to watch him masturbate. According to the Times report C.K. declined to answer any questions.” />


This comes after the Times dismissed Waxman's claims that the paper spiked her story because of pressure from Weinstein. "Why, if she had the goods on Weinstein in 2004, has she been unable or unwilling to publish something in the Wrap, where she was in charge? "Sharon has now had more than a decade to pursue this story unencumbered by me or any New York Times editor," Jonathan Landman, a former Times editor, told Politico. Could it be because she didn’t actually have the goods then, now or in between?"
"He called me briefly, wasn't informed — nor [should] he have been — [about] investigative aspect of piece," she wrote on Twitter. Waxman has since endorsed Damon's statement.
The actor has worked with Weinstein on a number of movies, and said not everyone was aware of Weinstein's actions, including himself.
I feel horrible for these women and it's wonderful they have this incredible courage and are standing up now."” /> "If there was ever an event that I was at and Harvey was doing this kind of thing and I didn't see it, then I am so deeply sorry, because I would have stopped it. Because we know that it happens. And I will peel my eyes back now, farther than I ever have, to look for this type of behavior. "This type of predation happens behind closed doors, and out of public view," Damon said.
"Russell worked over there too and must have known Fabrizio in a professional capacity because he was running Miramax Italy. It was just a mention of our names." Damon said he assumed Crowe was involved in the same scope. Because nothing he said made it into that article, either. He must have done a movie for Harvey around that time and must have a similar kind of conversation with her.
It's not something I would do, for anybody." "I just wouldn't do that. "For the record, I would never, ever, ever try to kill a story like that," Damon told Deadline. In an interview with Deadline on Tuesday, Damon said he was unaware of what Waxman's story was about when he called.
Whether it didn’t jibe with her storyline…it was an incomplete rendering of someone that I was giving but I had perfectly professional experiences with Fabrizio and I didn't mind telling her that." We vouch for each other, all the time, and it didn't even make her article. In the interview with Deadline, Damon addressed his interactions with Waxman. "That was the extent of it, and so I was very surprised to see it come back. I was never conscripted to do anything. "As I recall, her piece just said that Russell [Crowe] and I had called and relayed our experience with Fabrizio," he said.
The Wrap founder Sharon Waxman alleged while she was reporting for the New York Times in 2004, Weinstein requested Damon call her to speak positively about producer Fabrizio Lombardo, who was thought to be involved in setting Weinstein up with women.
Matt Damon responded on Tuesday to claims that Harvey Weinstein asked him to help kill a New York Times story about Weinstein's history of sexual harassment that was allegedly in the works more than a decade before the bombshell reports published over the past few days.

"He is very Trumpian in that regard." "What I learned about Harvey in the two years of proximity with him at Talk was that nothing about his outward persona, the beguiling Falstaffian charmer who persuaded — or bamboozled — me into leaving The New Yorker and joining him, was the truth," she wrote.
Brown said that Weinstein comes off as a big, blustery, rough diamond kind of a guy, the kind of old-time studio chief who lives large, writes big checks and exudes bonhomie.
Talk folded in 2002. Brown worked with Weinstein from 1998 to 2002 on Talk magazine, a joint venture of Miramax's Talk Media and Hearst Magazines.
Tina Brown has weighed in on the explosive Harvey Weinstein scandal, asserting that he shares the trait of being a serial harasser with President Donald Trump.
"It was startling — and professionally mortifying — to discover how many hacks writing gossip columns or entertainment coverage were on the Miramax payroll with a 'consultancy' or  a 'development deal' (one even at The New York Times)." "Strange contracts pre-dating us would suddenly surface, book deals with no deadline attached authored by attractive or nearly famous women, one I recall was by the stewardess on a private plane," she said.
"Kudos to Ashley Judd and Rose McGowan, and now all the many new voices captured by Ronan Farrow in The New Yorker. Ailes. O‘Reilly, Weinstein. Crossing him, even now, is scary. But it’s a different era now. "It takes one brave whistleblower and then two to get the ball rolling and give the shattered sharers of the same story permission to speak out to The New York Times," she said. It’s over, except for one — the serial sexual harasser in the White House."” /> Cosby. Harvey is an intimidating and ferocious man.
Brown credited actresses Ashley Judd and Rose McGowan for going public with their allegations in the first New York Times story on Oct. 5.
Brown noted that she became aware of Weinstein's business practices during her Talk tenure as part of running Miramax's fledgling book company as part of her Talk deal.
"The real Harvey is fearful, paranoid, and hates being touched (at any rate, when fully dressed)." "Wrong," she wrote.
Brown made the comparison Tuesday in a New York Times column with the headline "What Harvey and Trump have in common." The piece was published on the same day that the Times and the New Yorker both released detailed stories of Weinstein's alleged sexual abuses of multiple women — two days after Weinstein was forced out of his own company.

"I could hear him moving around and suddenly the sound of bath taps running. I could hear the thump of shoes being taken off and felt shocked that the meeting had turned sleazy." 'What do you say we both jump in the bath?' he hollered.
When she explained the situation, he said, "You better come to my hotel and we’ll sort this out.” A few months later, she received another call from Weinstein asking how work was going.
After they spoke for a few minutes, Campbell, who is the daughter of the late 6th Earl of Cawdor, writes that he left the room — she assumed he was going to use the restroom.
Weinstein's reps have not responded to Variety's request for comment.” />
"It sounded like a godsend. I rang the Miramax offices, but nothing happened." Soon I was sent the script of 'Shakespeare in Love' to summarise (sic) and critique, followed by 'The Usual Suspects.' And then the scripts stopped coming. "He offered me freelance script-reading for Miramax, his company," she wrote.
The two met by chance in the 1980s after sharing a cab in London and crossed paths a few more times in the intervening years. Her account, published in The Sunday Times, states that she started working with the Weinstein Company in 1995 as a freelance script writer after receiving a call out of the blue from Weinstein.
Liza Campbell, a British artist and writer, has spoken out about her experience with Harvey Weinstein, stating he asked her to take a bath with him in his hotel room after she met him there to discuss her career.
Campbell writes that she said loudly, "If you come back into this room with no clothes on I’m going to f—— lose my temper.”
She met him in his three-room suite at the Savoy and although there were several assistants present when she entered the suite, "suddenly all the assistants vanished."
She wrote that it took her "days to calm down from the anger [she] felt and the crushing realisation (sic) that there never was a job; only a hidden hook." Campbell tried to exit the room twice but found locked doors, with the third door she tried yielding.
Weinstein has become increasingly embattled since an explosive New York Times report detailed accusations of sexual harassment from multiple women stemming back decades. The producer has since taken an “indefinite” leave of absence from the Weinstein Company and issued a bizarre statement apologizing for his actions while simultaneously preparing to sue the Times for their report. He also lost two members of his legal team on Saturday.
We can drink champagne. You can soap me — whaddaya say?" As she tried to think of how to respond, he continued, "Come on, it’ll be fun.

In a bizarre statement addressing the New York Times' exposé on sexual harassment allegations against him, Harvey Weinstein ostensibly quoted Jay-Z's track "4:44" off his latest album of the same name in an apparent expression of contrition.
While Weinstein disputes some of the specific allegations, he is working with therapists to address his behavior, per his statement. Many of the incidents took place in hotels such as the Peninsula in Los Angeles or Savoy in London, according to the report.
The story also quotes actress Ashley Judd, who spoke to Variety in 2015 about being sexually harassed by an unnamed mogul. Weinstein has retained a team of lawyers including Lisa Bloom — typically known for working with victims of sexual misconduct, and whose book Weinstein's company is adapting to television — to defend him, and is preparing to sue the Times over the report.” />
The closest approximation are the following lyrics from the song "4:44:" "And if my children knew / I don’t even know what I would do. If they ain’t look at me the same / I would prob’ly die with all the shame." The statement reads, "Jay Z wrote in 4:44 'I’m not the man I thought I was, and I better be that man for my children.' The same is true for me." However, the quote in question does not appear anywhere throughout the "4:44" album.
The Times also reported that Weinstein reached confidential settlements with at least eight women, including McGowan. Celebrities including Lena Dunham, Amber Tamblyn, and Rose McGowan have spoken out following the report, which details allegations from "dozens" of women dating back decades. Weinstein, who has five children, announced that he would be taking a leave of absence amid the growing scandal.

[Verse 1]
Green grass, help the cows graze, hedgefund 401
Keg and milk and honey in the land of the free
New York Times, Farmer’s Almanac
Too busy to call our mamas
Back porch ain’t what it used to be
We don’t know what we want
But we want it and we want it all right now

[Chorus]
We’re too young until we’re too old
We’re all lost on the yellow brick road
We climb the ladder but the ladder just grows
We’re born, we work, we die, it’s spiritual
Enough is never enough
American dream never wakes up
Too much is never too much
We won’t be happy ’til we’re rich and miserable
Oh-oh-oh-oh-oh-oh-oh
We won’t be happy ’til we’re rich and miserable

[Verse 2]
Go to school to get a job
Don’t make enough to pay it off
And on and on it goes
Right wing blue jean, gotta get the new thing
Whatever it takes to make the world look at you, think…

[Chorus]
We’re too young until we’re too old
We’re all lost on the yellow brick road
We climb the ladder but the ladder just grows
We’re born, we work, we die, it’s spiritual
Enough is never enough
American dream never wakes up
Too much is never too much
We won’t be happy ’til we’re rich and miserable
Oh-oh-oh-oh-oh-oh-oh
We won’t be happy ’til we’re rich and miserable

[Bridge]
And maybe we’ll get it
(And maybe we’ll get it)
Maybe we won’t
(Maybe we won’t)
But even when we get it
(But even when we get it)
Really we don’t

[Chorus]
We’re too young until we’re too old
We’re all lost on the yellow brick road
We climb the ladder but the ladder just grows
We’re born, we work, we die, it’s spiritual
Enough is never enough
American dream never wakes up
Too much is never too much
We won’t be happy ’til we’re rich and miserable
Oh-oh-oh-oh-oh-oh-oh

[Outro]
Come on, get rich and miserable
Oh-oh-oh-oh-oh-oh-oh
Come on, get rich and miserable