Iron Sky Goes Australia – And Gathers 120k € From The Fans : Iron Sky :: Official Movie Site

Iron Sky Goes Australia – And Gathers 120k € From The Fans

May 15, 2010 · Print This Article

CANNES, 15. May 2010 — Iron Sky, the Finnish-German black comedy about Nazis from the Dark Side of the Moon, is now a Finnish-German-Australian co-production. Blind Spot Pictures / Tero Kaukomaa is producing with 27 Films Production / Oliver Damian, and they will be joined by New Holland Pictures / Cathy & Mark Overett from Australia. San Fu Maltha, who produced Black Book by Paul Verhoeven, is also a shareholder in the company and acts as executive producer. The studio shoot of Iron Sky will be done in Australia, from where 20-25% of the film’s 6.5 million euro budget will be covered.

Iron Sky is known for its active co-operation and collaboration with fans, but a week ago this collaboration was taken on a new level by giving the internet community a possibility to invest in to the film: http://www.ironsky.net/invest/ The Iron Sky production offers several equity investment packages, ranging from 1000€ to 20.000€ or more. These investments come with additional perks, such as a chance to have a private screener of the movie or meet members of the cast over a dinner. These investments are on the same standing as the film makers’ investments, so they recoup money at the same rate.

The equity investment packages started attracting a lot of interest immediately after they were announced. In the first week 75 people have expressed their interest in investing on Iron Sky. The total sum of these investments is approximately 120.000 euros, with the largest single investment being 20.000€.

Our fans have already been able to help us by giving us their ideas in Wreckamovie and helping to fund the movie by buying merchandise, so offering a chance to invest in the movie and share its possible profits is a logical continuation to the trend“, said the Iron Sky producer Tero Kaukomaa. “Iron Sky has successfully acquired 90% of its funding and we are looking forward to using crowd investments to close at least part of the gap. We could apply for this money via traditional means, but we want to engage our audience and give them a very concrete chance to take a part in the movie production – and the possibility to actually make money out of it.

The fans can also take part in designing Iron Sky merchandise, which EMI will distribute globally. Iron Sky and EMI will arrange design competitions for the fans and the best designs will be added to the official line-up of movie merchandise. The winners will be rewarded with money prizes, movie tickets, fan materials etc.

The new teaser that was released in the movie website on May 13th (www.ironsky.net) reached over 100.000 viewers in the first day and a half and attracted a lot of attention both online and in the traditional media. Iron Sky reaches over 60.000 fans per week and this amount is growing daily. This audience is not just a passive target for advertising, but an integral part of the movie project itself. Using the collaborative movie creation platform Wreckamovie the film makers can give out certain tasks for the fans and enthusiasts to complete.

Internet is a vast repository of talent and skill, a repository which has been severely under utilized by the movie industry“, said the director of Iron Sky Timo Vuorensola. “I think Internet is the next big, relevant change in the film industry’s future, just like sound, color, TV and CGI have been. The modern audience is not just a target for advertising and a bunch of people who has to be lured into the movie theater once the film is done. The net is full of talented and enthusiastic people, who are more than happy to support a movie project while it’s underway – be it giving the project publicity, doing actual work on the project, or funding it either by buying merchandise or actually investing in the project. This is something we have been doing for a decade or more, but which the large studios are only now starting to explore.

IRON SKY PRESS MATERIALS

For press materials, such as photos and video, head over to http://www.ironsky.net/press/

CONTACT INFORMATION

Tero Kaukomaa (producer) +41-792 537 638, tero@blindspot.fi
Janos Honkonen (publicist) +358-40 7475 967, janos@ironsky.net

IRON SKY IN SOCIAL MEDIA

Web: http://www.ironsky.net/
Blog: http://blog.ironsky.net/
Twitter: http://twitter.com/energia, http://twitter.com/ironskyfilm
Facebook: http://www.facebook.com/ironsky
Flickr: http://www.flickr.com/ironskyfilm
YouTube: http://www.youtube.com/energiaproductions
Wreckamovie: http://www.wreckamovie.com/iron-sky/
Store: http://store.ironsky.net/

BEHIND THE IRON SKY

Iron Sky is a scifi movie that takes place in the year 2018, when the Nazis, who fled the Earth to the dark side of the Moon in 1945, return to claim the Earth. The film is a Finnish-German co-production, filmed mainly in English, with a budget of 6.5 million euros. It’s directed by Timo Vuorensola and produced by Tero Kaukomaa (Blind Spot Pictures), Samuli Torssonen (Energia Productions), Oliver Damian (27 Films Production), Cathy & Mark Overett (New Holland Pictures) and San Fu Maltha (New Holland Pictures), with a screenplay is written by the acclaimed sci-fi writer Johanna Sinisalo (Nebula Award nominee 2009, Finlandia 2000) and Michael Kalesniko (Private Parts). The cast includes Julia Dietze (1½ Ritter), Götz Otto (Schindler’s List, The Downfall), Tilo Prückner (The Neverending Story, Die Fälscher) and Udo Kier (Dogville, Dancer in the Dark). The film will be released in 2011.

Information, photos and videos: http://www.ironsky.net/, http://www.ironsky.net/press

Vuorensola and Torssonen’s first film was Star Wreck: In the Pirkinning – a fan-made sci-fi parody, which was published both as a free download and a commercial DVD. The film has reached over eight million viewers all around the world and gathered a strong international fan base.

Information and photos: http://www.starwreck.com/

The Star Wreck project gave birth to a collaborative filmmaking platform called Wreck a Movie, which offers film creators a direct connection with their audience, and offers the fans a never-before-seen chance to interact with movie projects.

Information: http://www.wreckamovie.com/

by janos  

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Super cool!

Ten rules for writing fiction | Books | guardian.co.uk

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Unbelievably good and the authors go on and on...

My two favourite rules may be PD James'

1 Increase your word power. Words are the raw material of our craft. The greater your vocabulary the more effective your writing. We who write in English are fortunate to have the richest and most versatile language in the world. Respect it.

2 Read widely and with discrimination. Bad writing is contagious.

Comic-book film adaptations | Film | The Guardian

Scott Pilgrim Vs The World

Scott Pilgrim Vs The World.

With the release of Iron Man 2, Marvel Comics' plot to enslave moviegoers moved another step forward. But for those turned off by the looming onslaught of comic-book movies – Thor, Green Lantern, Captain America, etc, all building up to an Avengers team-up in 2012 – resistance is at hand. As Kick-Ass recently showed, comic-book movies no longer necessitate special powers, product placement or family values. And there are more where that came from.

Admittedly, the next graphically derived offering, The Losers represents the more explosion-friendly, A-Team-wannabe end of the spectrum, but closer to Kick-Ass is Edgar Wright's Scott Pilgrim Vs The World, based on Brian Lee O'Malley's six-volume series (Oni Press), and led by the decidedly un-superheroic Michael Cera. Higher in brow but right up Guardian street is Tamara Drewe, adapted from Posy Simmonds's update of Far From The Madding Crowd. Directed by Stephen Frears and starring it-girl Gemma Arterton, it's premiering at Cannes this week.

Beyond that, the most enticing US imports ditch the Spandex in favour of wild west thrills. Josh Brolin looks promising as DC Comics' scar-faced gunslinger Jonah Hex, while Iron Man director Jon Favreau's next job is genre mash-up Cowboys & Aliens.

France's comic-book movies are also going retro, with Luc Besson's Mummy-style romp, The Extraordinary Adventures Of Adèle Blanc Sec (Fantagraphics), but one to look out for is Gainsbourg (Vie Héroïque), Joann Sfar's adaptation of his own graphic novel on the French pop maverick. Further down the line, enticing prospects include David Fincher's rendition of Charles Burns's Black Hole (Pantheon), a Bruce Willis-led version of Warren Ellis's hitman thriller Red (Wildstorm), and, of course, Spielberg and Jackson's Tintin. If they all join forces, the Marvel monster might meet its match.

Roadmap 2050 by Rem Koolhaas's OMA | Europe's green redesign as Eneropa

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Fascinating

Excerpt: 'Called Roadmap 2050, it is a plan calculated to make the Ukip-ians of this world bubble and froth with rage, as it combines the belief that drastic intervention is required to mitigate climate change, with a desire to give meaning and power to the European Union. It has been commissioned by the European Climate Foundation, a philanthropic body dedicated to promoting policies that reduce greenhouse gas emissions, and it aims to show how the EU can achieve an incredible-seeming target of an 80% reduction in carbon emissions by 2050. The proposal is being considered by the EU Council of Ministers, for their possible endorsement.

The proposal's starting point is the fact that renewable energy sources such as wind and sunshine are erratic and unreliable, which means they have to be supported by other forms of power. But they are also available in different quantities in different places – wind is abundant in Britain, sun in Spain – and in different seasons. The big idea is to create a power network across the continent linking all these sources, which could then compensate for each other. If it was windless in Britain but sunny in Spain, power could travel from them to us, and vice versa.

This is a political, as well as a technical proposal. "You can use this project to create integration. It creates a very pragmatic reason to integrate," says De Graaf. It coincides with work the OMA has been doing for several years on the ways that the European Union represents itself, through their design and research subsidiary AMO, which "operates in areas beyond the traditional boundaries of architecture". Koolhaas is a member of the EU's Reflection Group, whose job is to think about what might happen a decade or two hence.

With a cheeky, provocative tone typical of OMA, they even show a map of Europe redrawn as "Eneropa", with regions defined by their energy source. Ireland and the western half of Britain become the "tidal states", while the eastern half forms part of the "isles of wind". Former Yugoslavia is miraculously reunited as "Biomassburg". Most of Portugal, Spain, Italy and Greece become "Solaria". OMA shows images of these places, like postcards from the future, with batteries of turbines, or plumes of geothermal steam.'

Toshiba Develops 21-inch Mobile Display Shows 3D images without glasses

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I like this section of the press release:

Toshiba Group, a corporate citizen of planet Earth, is committed to realizing a better environment. Guided by "Toshiba Group Environmental Vision 2050" the Group is implementing measures to boost environmental efficiency by 10 times in FY2050, against the benchmark of FY2000. The core target is to reduce projected CO2 emissions by a total equivalent to 117.7 million tons a year by FY2025, through the development and sales of highly efficient power supply equipment and systems, and the manufacture of environmentally conscious home appliances and office equipment. By working to mitigate global warming, make efficient use of resources and control management of chemicals, Toshiba Group creates value for people and promotes lifestyles in harmony with the Earth.

Please see the following website: URL:

http://www.toshiba.co.jp/env/en/management/index.htm

Alex McDowell interview: Fahrenheit 451, Upside Down and designing for 3D - Den of Geek

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Fascinating interview with production designer & 5D Conference co-founder, Alex McDowell with intriguing details on a new film, Upside Down, currently in production in Canada:

"It's a really interesting project. It's a French/Canadian co-production, not a big budget, by any means, a very ambitious film.

It's imagining a sort of magical realism fairy tale of a love affair between a boy from one planet and a girl from another. And the two planets are adjacent so that you can literally climb from one to the other, so they retain their own gravity. All of the objects from one world remain in the gravity of that world.

So it's a metaphor for the complications of love, and then it's got a whole other politic layer of apartheid with the two worlds. One is kind of Third World, and the other is exploitive-based upscale world."

And on his "... non-linear, immersive design process. I've been pitched here since Minority Report, really, because it's so much closer to how our minds think, it's so much closer to creative collaboration because you have this additive workspace that starts off digital but is always giving you back real data.

In the case of Upside Down, you come out of a building in one world, and you look up and the sky is full of the planet of the other. In the most mundane environments, Montreal industrial sites where I'm standing now, you're always in this kind-of-fantastical, hybrid animated extension of CGI and reality space. And you have to conceive of that world globally and think of the entire world at all times and not necessarily be making the decision of what falls into the camera and what falls into post."

It's not really a design decision, that's a production and a practical decision. But you need to conceive of these worlds holistically, and the digital design space allows you to do that in a real way. You're really building the film space from the beginning.

And I would have loved to see McDowell's envisioning of the world in Michael Chabon's Kavalier & Clay, one of my favourite novels of all time, but sadly the production was pulled at the last minute.