MPAA Studios Sued
Matrixx Entertainment
Garrison v. Warner, et al.," has been filed against the MPAA
studio/distributors. The suit was filed by the heirs of Jim Garrison, in
connection with the film, JFK. According to the complaint, the film grossed
over $150 million for Warner Bros. yet the studio still has not acknowledge
a "net profit" which the Garrison estate is entitled to participate in. The
complaint explicates, in similar fashion as FATAL SUBTRACTION, the MPAA
studio/distributors "creative" bookkeeping practices.
Here is an excerpt from the actual complaint:
"1. The world of motion pictures is a never-never land of
illusion. In the making of a movie, millions of still pictures are
strung and spliced together to artfully imitate life, but when each
part is disassembled and seen separately each only reflects
static, one dimensional and unreal world. This creating of
illusions has extended throughout all the facets of the motion
picture industry since the days Thomas Alva Edison created and
marketed the shuttered lantern projector nearly 90 years ago. Of
all the illusions practiced daily in the motion picture world,
nothing is more unreal than the promises of "net profits" for
movieland's profit participants, a scam that has endured nearly
half century, enriching the few at the expense of all the
multitudes of talent responsible for actually creating the motion
pictures.
2. "Net profits" as defined in Hollywood contracts is an
esoteric bookkeeping device that could not be practiced in any
other multi-billion dollar industry. The practice, which delays
payment of profit sharing often forever, has earned the derisive
title "Hollywood accounting." It could only be practiced in
company town like Hollywood, where a few major studios control
90 percent of the movie world revenues, and that enormous economic
leverage can be and is used to force the signing and compliance
with contract terms no one would sign in any other business or
under any other circumstances.
3. From its inception, the moviemaking business has been an
uneasy mix of creative talent -- the writers, directors, producers
and actors whose ideas and skills create the magic on the screen --
and the business side -- the financiers, marketers and distributors
who sell the finished movie to the ticket-buying public. There has
never been an equitable accommodation of all creative talents'
rights to the profits.
4. "Hollywood accounting" has resulted in a talent caste
system where the so-called stars with big, well-established
reputations, most often actors or actresses and an occasional
producer and director -- writers almost never -- are given
contracts that provide participation in the gross income of
motion picture. For creative talent that is less well-established,
participation in the "net profits" is used to persuade the creative
talent to accept smaller upfront fees with the promise of more
later, for their creative work. Yet even the most successful
motion pictures seldom, if ever, produce any net profit for
creative talent. This law suit then is about the rights of all the
moviemaking world's creative talent ("Talent") to participate
equitably and in a timely manner in the often huge cash flow that
motion pictures generate.
5. This is a class action on behalf of Talent and is brought
under the laws of the State of California because of the movie
studios' adoption of unconscionable contract terms as part of their
standard form contracts, and their refusal to deal with Talent that
will not submit to these one-sided terms. This is the result of an
illegal conspiracy among the major studios that suppresses
competition, fixes prices, and violates the laws of the State of
California."
To review the full Complaint, go to
http://www.courttv.com/legaldocs/business/garrison.html
For additional information about Film Reform, go to
http://www.homevideo.net/FIRM/bginfo.htm
James Jaeger
BrickRage
>From: "Matrixx Entertainment" con...@mecfilms.com
>Some of you may be aware that a class action law suit, known as "Estate of
>Garrison v. Warner, et al.," has been filed against the MPAA
>studio/distributors. The suit was filed by the heirs of Jim Garrison, in
>connection with the film, JFK.
Uh, did you happen to notice when, on the site you quoted, this class action
suit was filed?
November 17, 1995
Almost 6 years ago.
Do you happen to have any follow-up info? Because, as I seem to recall, the
suit was either thrown out of court, or Garrison lost.
Old news.
Nesci
"Don't get up gentlemen, I'm only passing through." Dylan
The FAQ for this newsgroup is http://www.communicator.com/faqs.html
TonyScribe
be on the lookout for empty promises about a piece of the net or even the
"adjusted" gross. When a producer offers you something like that they are
basically saying screw you. Just like "Trust Me" really means "Fuck You."
Taking "backend" deals just sounds too much like . . . well, you know. That's
the one perk of screenwriting: if everything is above board then we should be
the FIRST to get paid.
Peace,
Tony B.
Matrixx Entertainment
BrickRage <bric...@aol.com> wrote in message
news:20010606165220...@ng-bh1.aol.com...
>
> >From: "Matrixx Entertainment" con...@mecfilms.com
>
> >Some of you may be aware that a class action law suit, known as "Estate
of
> >Garrison v. Warner, et al.," has been filed against the MPAA
> >studio/distributors. The suit was filed by the heirs of Jim Garrison, in
> >connection with the film, JFK.
>
> Uh, did you happen to notice when, on the site you quoted, this class
action
> suit was filed?
>
> November 17, 1995
>
> Almost 6 years ago.
>
> Do you happen to have any follow-up info? Because, as I seem to recall,
the
> suit was either thrown out of court, or Garrison lost.
>
> Old news.
I realize when this was first filed and, before I posted the Complaint, I
did search to see what the latest was but there seems to be no data, at
least on the Net. If you have any definitive information on what's
happening with this case in present time, I would appreciate it if you would
post it.
Whether this case has been resolved or not, it represents an important issue
in connection with film reform and the information expressed at
http://www.homevideo.net/FIRM/bginfo.htm.
James Jaeger
Matrixx Entertainment
TonyScribe <tonys...@cs.com> wrote in message
news:20010606170025...@ng-fx1.news.cs.com...
> Jaeger, nice post my man. And, for once, you're right.
Thanks, but even when I try to bring up issues that don't have anything to
do with "Jews in Hollywood," certain people on this NG, like Brick Rage,
STILL have to attack me. This proves that all such people want to do is
cause antagonism and be hostile. I would like to see some constructive
progress so that more of us are able to more easily get our movies financed
and distributed.
> Every scribe has got to be on the lookout for empty promises about a piece
of the net or even the
> "adjusted" gross. When a producer offers you something like that they are
> basically saying screw you. Just like "Trust Me" really means "Fuck You."
Well it's not REALLY the Producers that are at the source of the problem as
often they are forced to live within the Spartan "contracts of adhesion"
that the MPAA studio/distributors issue to them on a take-it-or-leave-it
basis. Out of what remains, if anything, they must pay the writers and the
investors, etc. Usually, the studios leave them nothing from which they can
pay out. Read the Buchwald case in FATAL SUBTRACTION and you will be amazed
how such flagrant criminality can persist. The studios actually suppressed
certain evidence that in fact movie making is NOT risky, but they like to
give it this public image so that they can continue to get away with their
scam. EVERY WRITER AND FILMMAKER REALLY OWES IT TO ART BUCHWALD TO READ
THIS BOOK.
> Taking "backend" deals just sounds too much like . . . well, you know.
That's
> the one perk of screenwriting: if everything is above board then we should
be
> the FIRST to get paid.
That's EXACTLY right. But in current MPAA-infested Hollywood the VERY people
that initiate and make the project even POSSIBLE (the writers, development
investors and producers) are the VERY last people to get paid. The actual
TRUCK DRIVERS who drive the cans of film to the theaters GET PAID BEFORE THE
WRITERS.
Sheesh! See http://www.mecfilms.com/mid/paradigm.htm
James Jaeger
>
> Peace,
>
> Tony B.
cold hands
message news:thtb0p...@corp.supernews.com...
>
> TonyScribe <tonys...@cs.com> wrote in message
>
news:20010606170025...@ng-fx1.news.cs.com...
>
>
> > Jaeger, nice post my man. And, for once, you're
right.
>
> Thanks, but even when I try to bring up issues that
don't have anything to
> do with "Jews in Hollywood," certain people on this
NG, like Brick Rage,
> STILL have to attack me. This proves that all such
people want to do is
> cause antagonism and be hostile. I would like to see
some constructive
> progress so that more of us are able to more easily
get our movies financed
> and distributed.
>
>
BBOOOOOORRRRRRRRIIIIIIIIIIIIIIIIIIIIIINNNNNNNNNNNNGGGGGG
GGGG stuff>
Ohh, the nasty man is attacking you, boo-hoo. The
thing is, Jimbo, you never talk about stories or
scripts or screenwriting or Armidillos or music or
Whites par-broiled mini-burgers or anything else that
might be welcomed on this group. You just keep sticking
to this mad conspiracy theory about how a group of "
NON-WHITE, EUROPEAN MALES" who control Hollywood and
hence -, in your bizarre and really, rather sad mind,
the whole universe and everyone in it, -are destroying
the world, leading us into an abyss and making the four
horsemen come that wee bit sooner.
Just fuck up! Just piss off! Shut up! I mean it.
You're boring and obssesive and mental. You're the only
person I have ever had on my blocked senders list. Even
that arse, whose name rhymed with B.C. Paris (I'm
trying not to tempt fate here) didn't get canned
because he would pass on the odd bit of relevant
information. Okay, it was in a vain attempt to make
himself look like he knew what he was talking about but
it might have helped somebody new, somewhere. I only
took you off the list because of Andrea replying to your
"Nude Psychologist" thread and my curiosity was
naturally aroused. (Aye caramba!)
You, on the other hand, rattle off the same crap over an
d over again like a useless spammer. "Useless" because
aboslutely nobody ,...-gives,... -a,... -shit. "Spammer"
because you probably eat spam sandwiches and smell of
stale jism.
Even though everbody has told you over and over again
that they don't care, you keep posting your stark,
staring, bonkers political diatribe to a bunch of
writers who just want to shoot the breeze with others
who know where they're coming from and put off doing any
real work.
Please! Stop it!
Go outside. Go for a walk. Leave your computer
disconnected from the net for a week. Do something
crazy like, write a script.
Do it! Do it now! Go on, do it for a laugh.
It'll be worth it.
Trust me.
~
Anyway, ...
Ad.
Mr Helsing
>>Thanks, but even when I try to bring up issues that don't have anything to do
with "Jews in Hollywood," certain people on this NG, like Brick Rage, STILL
have to attack me.
James,
My advice is to not give them any more attention - ever. If they can't be
civil, to Hell with 'em. Sometimes, they feel strongly about a subject. Most
often, they just want to goof on somebody they consider to be an easy target.
Every time you repeat their words, you make make then acceptable. More
importantly, you make their MO acceptable.
**************************************************************
"Cunnilingus and psychiatry brought us to this."
Tony Soprano
Mr Helsing
never talk about stories or scripts or screenwriting or Armidillos or music or
Whites par-broiled mini-burgers or anything else that might be welcomed on this
group. You just keep sticking to this mad conspiracy theory about how a group
of " NON-WHITE, EUROPEAN MALES" who control Hollywood and hence -, in your
bizarre and really, rather sad mind,
the whole universe and everyone in it, -are destroying the world, leading us
into an abyss and making the four horsemen come that wee bit sooner.
James,
I am going to give you more unsolicited advice. Right now, you are probably
going to answer Cold Hands about how your conspiracy isn't a paranoid fantasy.
However, you are going to do it by going bug fuck against his personal attack
on you.
The problem with that is that it frames your facts within the same hysteria. It
makes it seem as if your facts are as bullshit as your name calling. Your
points never get through because, even in this group, a high percentage of
readers can't (or don't want to) separate the argument from the emotional tone.
Call me pretentious for saying this to you, but I know I am right.
Skip Press
mrhe...@aol.com (Mr Helsing) wrote:
>James,
>
>I am going to give you more unsolicited advice. Right now, you are probably
>going to answer Cold Hands about how your conspiracy isn't a paranoid fantasy.
>However, you are going to do it by going bug fuck against his personal attack
>on you.
Let me repeat a few things about Jamesy:
1. Lives in Pennsylvania while ranting about being shut out of Hollywood
by them evil Jews.
2. Is into $cientology, a "religion" with more criminals per square inch
(in my experience) than... well, any other, a religion whose "big
secret" is that we were all put here on Earth as slaves by an evil
galactic emperor named Xenu 76 trillion years ago, kept here because he
used atomic bombs in volcanoes to make spirits stick together, so we
"big thetans" (theta, Greek word for life, Hubbard stuck an "n" on the
end) have the equivalent of spiritual fleas who make us do bad stuff
that isn't our true nature. (Must be a bunch of those in Hollywood, huh
James? Maybe some of 'em ate up Travolta and made him do Battlefield
Earth?")
3. Has probably never written a saleable screenplay in his life, isn't
capable of same, yet continues positing in a screenwriting newsgroup
like a batshit loony.
Does that help?
--
That isn't writing at all, it's typing.
-- Truman Capote
All the best,
Skip Press, the Duke of URL
Hollywood and Somewhat Important News at
http://home.earthlink.net/~skippress/wsnBDFB.html
Mr Helsing
James
True?
Skip Press
mrhe...@aol.com (Mr Helsing) wrote:
>>>2. Is into $cientology,
>
>James
>
>True?
Helsing, you Golden Gate riding doubting ditz, I don't make this stuff
up. I met the guy at the $cientology Celebrity Centre. Also --
http://home.snafu.de/tilman/prolinks/#cos_dudes
Of course, you can demand he prove it.
--
I am a typed director. If I made Cinderella, the audience would
immediately be looking for a body in the coach.
-- Alfred Hitchcock
Mr Helsing
Ditz? That's a first (and I'm assuming you said that with a smile). It doesn't
press me to accept your assertions. I assumed that you're telling the truth,
but I'll give JJ a chance to speak for himself.
Not that I'm fond of Scientology. I knew a guy 30 years ago with severe acne.
Scientologists had convinced him that if he hooked up to their lie detector
long enough that he could get to the psychological source of his crater face.
In fact, that branch of Scientology appeared to be a pyramid scheme, and they
were probably bleeding his wallet.
I've been trying to figure out is if JJ is 25 or 45. After seeing his picture
at the Scientology web site, he could be a German Brown, the Black Irish, or
possibly there is a Hebe in the woodpile. (That joke works if he's a Jew and if
he's not a Jew.)
The truth is that James' rhetoric is tiring. I'm willing to hold him fact by
fact to whatever it is that he's trying to say.
However, after looking at his resume, his posts don't make much sense. A guy
with his background has to have more social skills than he's displaying here,
and why would he give a rat's ass what Necsi thinks?
James, what the fuck are you really doing?
Matrixx Entertainment
cold hands <cold...@NOSPAMPLEASEbeeb.net> wrote in message
news:9fmn6g$421$1...@newsg1.svr.pol.co.uk...
Wait a minute. . . the complaint against all the MPAA studios in Estate of
Garrison v. Warner et al., actually calls them a CONSPIRACY, many times
throughout. Read it here and eat shit:
http://www.courttv.com/legaldocs/business/garrison.html
> about how a group of "
> NON-WHITE, EUROPEAN MALES" who control Hollywood and
> hence -, in your bizarre and really, rather sad mind,
> the whole universe and everyone in it, -are destroying
> the world, leading us into an abyss and making the four
> horsemen come that wee bit sooner.
>
You're just a drunk fool.
> Just fuck up! Just piss off! Shut up! I mean it.
> You're boring and obssesive and mental. You're the only
> person I have ever had on my blocked senders list. Even
> that arse, whose name rhymed with B.C. Paris (I'm
> trying not to tempt fate here) didn't get canned
> because he would pass on the odd bit of relevant
> information. Okay, it was in a vain attempt to make
> himself look like he knew what he was talking about but
> it might have helped somebody new, somewhere. I only
> took you off the list because of Andrea replying to your
> "Nude Psychologist" thread and my curiosity was
> naturally aroused. (Aye caramba!)
Well maybe you need a nude psychologist
> You, on the other hand, rattle off the same crap over an
> d over again like a useless spammer. "Useless" because
> aboslutely nobody ,...-gives,... -a,... -shit. "Spammer"
> because you probably eat spam sandwiches and smell of
> stale jism.
Not true. . . many people are concerned with film reform.
>
> Even though everbody has told you over and over again
> that they don't care, you keep posting your stark,
> staring, bonkers political diatribe to a bunch of
> writers who just want to shoot the breeze with others
> who know where they're coming from and put off doing any
> real work.
>
> Please! Stop it!
Hey my posts amount to a score of threads in hundreds or thousands. Piss
off. You're being unreasonable.
> Go outside. Go for a walk. Leave your computer
> disconnected from the net for a week. Do something
> crazy like, write a script.
I am constantly writing screenplays and optioning them as well.
James Jaeger
Matrixx Entertainment
Mr Helsing <mrhe...@aol.com> wrote in message
news:20010607093931...@ng-ba1.aol.com...
> >>Ohh, the nasty man is attacking you, boo-hoo. The thing is, Jimbo,
you
> never talk about stories or scripts or screenwriting or Armidillos or
music or
> Whites par-broiled mini-burgers or anything else that might be welcomed on
this
> group. You just keep sticking to this mad conspiracy theory about how a
group
> of " NON-WHITE, EUROPEAN MALES" who control Hollywood and hence -, in your
> bizarre and really, rather sad mind,
> the whole universe and everyone in it, -are destroying the world, leading
us
> into an abyss and making the four horsemen come that wee bit sooner.
>
>
> James,
>
> I am going to give you more unsolicited advice. Right now, you are
probably
> going to answer Cold Hands about how your conspiracy isn't a paranoid
fantasy.
> However, you are going to do it by going bug fuck against his personal
attack
> on you.
Wait aminute. . . you're right, I am going to answer Cold Hands about the
conspiracy issue. I have said MANY times here that I DONT BELIEVE IN
CONSPIRACIES but that does not nean the law firms in LA and NYC don't. You
can READ in the very complaint that they call the MPAA studios a CONSPIRACY
at least 10 times. Go to
http://www.courttv.com/legaldocs/business/garrison.html and read it in
black and white for yourself. But because you won't here's a direct quote
from the complaint:
"5. This is a class action on behalf of Talent and is brought
under the laws of the State of California because of the movie
studios' adoption of unconscionable contract terms as part of their
standard form contracts, and their refusal to deal with Talent that
will not submit to these one-sided terms. This is the result of an
illegal conspiracy among the major studios that suppresses
competition, fixes prices, and violates the laws of the State of
California."
NOTE THE WORD CONSPIRACY. They are saying that the MPAA studios are a
CONSPIRACY. The courts ALSO used such a characterization in other cases.
> The problem with that is that it frames your facts within the same
hysteria.
Hysteria, what hysteria. Read the complaint.
> It makes it seem as if your facts are as bullshit as your name calling.
My facts are solid at almost all times. And if and when I err, which is
rarely, I want to be corrected and I will eat shit to correct my facts.
> Your points never get through because, even in this group, a high
percentage of
> readers can't (or don't want to) separate the argument from the emotional
tone.
I don't know what the percentage of people in this NG are mOrons, but I like
to think that most of the people here are smart and thoughtful. But a
friend of mine who recently moved to LA said this about the town after being
there for about a year: "James, I'll tell ya, I can't believe how so many
stupid people can be making so much money."
> Call me pretentious for saying this to you, but I know I am right.
I don't call you pretentious. . . you at least are a person I respect
because you are trying to get to the bottom of things.
James Jaeger
Matrixx Entertainment
Skip Press <skip_...@excite.com> wrote in message
news:skip_press-1E6F7...@nnrp02.earthlink.net...
> In article <20010607093931...@ng-ba1.aol.com>,
> mrhe...@aol.com (Mr Helsing) wrote:
>
> >James,
> >
> >I am going to give you more unsolicited advice. Right now, you are
probably
> >going to answer Cold Hands about how your conspiracy isn't a paranoid
fantasy.
> >However, you are going to do it by going bug fuck against his personal
attack
> >on you.
>
> Let me repeat a few things about Jamesy:
>
> 1. Lives in Pennsylvania while ranting about being shut out of Hollywood
> by them evil Jews.
No I live in Bermuda now. I have just hired a screenwriter to answer all my
posts for me.
> 2. Is into $scientology, a "religion" with more criminals per square inch
> (in my experience) than... well, any other, a religion whose "big
> secret" is that we were all put here on Earth as slaves by an evil
> galactic emperor named Xenu 76 trillion years ago, kept here because he
> used atomic bombs in volcanoes to make spirits stick together, so we
> "big thetans" (theta, Greek word for life, Hubbard stuck an "n" on the
> end) have the equivalent of spiritual fleas who make us do bad stuff
> that isn't our true nature. (Must be a bunch of those in Hollywood, huh
> James? Maybe some of 'em ate up Travolta and made him do Battlefield
> Earth?")
But Skipster, haven't you heard the latest: they found all your old PC
confessional folders in the cellar of the Cedars complex and according to
the Senior C/S at Flag it turns out YOU WERE XENU in a past life. Thus I
have been instructed by the powers that be in the COS to escort you back
down to Flag where you will be handled. We already have your plane ticket
and Matrixx Entertainment is picking up the tab for your air fair as well as
your processing. You are to meet a Sea Org member named Peter at LAX this
Sunday at 11:00 AM and we will get you to Florida ASAP and back into
session. John Travolta will be there along with Anson Downes to help handle
you (or hold you down). Please do not throw away this opportunity to redeem
your next trillion years in the MEST universe. Please. You are too
important of a being and too vital to our guidance. We cannot tolerate you
wasting another galaxy, and all the beings in it, like you did last
millennia. Please Skip. . . get handled!
> 3. Has probably never written a saleable screenplay in his life, isn't
> capable of same, yet continues positing in a screenwriting newsgroup
> like a batshit loony.
See. . . batshit loony. That what Xenu always used to say. Now I'm sure it
really is you. Wow!
> Does that help?
Yes. Thanks Xe/nu. . . I mean Skip.
Herr Jamesy
> --
>
> That isn't writing at all, it's typing.
>
> -- Truman Capote
>
> All the best,
>
> Skip Press, the Duke of URASSHOLE
Matrixx Entertainment
> >>2. Is into $cientology,
Was.
I haven't been in the COS since 1986. I have some issues with the way the
Church conducts its business but I feel there is much to be gained by the
techniques of Scientology, among which are confronting ones mental problems.
. . something Skip Press apparently cannot do, and so they threw him out . .
. and rightfully so.
James Jaeger
Matrixx Entertainment
> In article <20010607103121...@ng-bg1.aol.com>,
> mrhe...@aol.com (Mr Helsing) wrote:
>
> >>>2. Is into $cientology,
> >
> >James
> >
> >True?
>
> Helsing, you Golden Gate riding doubting ditz, I don't make this stuff
> up. I met the guy at the $cientology Celebrity Centre. Also --
>
> http://home.snafu.de/tilman/prolinks/#cos_dudes
You know Skip just because they list me there doesn't mean anything. I'm
not going to hide from my past involvement with Scientology. I entered it
as an idealistic person looking to help the world and to improve my self. I
hope this was the reason you also entered it. There's nothing wrong with
this. I had no idea what was going on in the back room of the orgs, you know
all that stuff Michael Flynn says was happening and that Anderson found out,
and had I suspected that any of that was happening or true, I would have
probably left the movement sooner rather than later. The fact still
remains, there are a lot of good people in Scientology and I believe
Scientology's administrative organizations are improving all the time. Time
will tell. I don't believe they are the evil empire you make them out to
be. You have overts and withholds galore . . . and you know it.
James Jaeger
Matrixx Entertainment
I'm a spy for Stalin's daughter's son. He's hired me to get the goods on
you and Skip. And then we're going to recruit you for a super secret
mission that only Heber knows about and that the heirs of Xenu (descendants
of Skip in a past life) have authorized, so that Skip will finally remember
what came down last millennia as we remove the body thetans from his liver
and ear lobes . . . one by one. Ask Skip who Heber is.
James
Matrixx Entertainment
> >>> Jaeger, nice post my man. And, for once, you're right.
>
> >>Thanks, but even when I try to bring up issues that don't have anything
to do
> with "Jews in Hollywood," certain people on this NG, like Brick Rage,
STILL
> have to attack me.
>
> James,
>
> My advice is to not give them any more attention - ever. If they can't be
> civil, to Hell with 'em. Sometimes, they feel strongly about a subject.
Most
> often, they just want to goof on somebody they consider to be an easy
target.
> Every time you repeat their words, you make make then acceptable. More
> importantly, you make their MO acceptable.
Yes you're right. I guess I'm a sucker for basket cases however.
James
Mr Helsing
Church conducts its business but I feel there is much to be gained by the
. something Skip Press apparently cannot do, and so they threw him out . . .
and rightfully so.
Well, Stuart Emory threw me out of EST (Erhard Seminar Training). I didn't
make it past Sunday of the first Saturday-Sunday seminar, so I wouldn't use
being thrown out as a criterion for anything.
A few years earlier, I befriended a guy I met on a bus. That night, we tried to
get ourselves kidnapped by Moonies, but they wouldn't have us. I guess I just
don't do well in groups.
Both you and Skip make it easier and more interesting for me to be here. In
your sniping at each other, your graph on him being Xenu got me laughing. Right
now, he's participating in a discussion of Aristotle/character - which BTW is a
good example of one of the things this NG can be.
I'll call 'em as I see 'em, not as a devotee of any group-think. I hope for the
same.
cold hands
>
>
> Well maybe you need a nude psychologist
>
Everybody needs a nude psychologist.
Mr Helsing
you and Skip. And then we're going to recruit you for a super secret mission
that only Heber knows about and that the heirs of Xenu (descendants of Skip in
a past life) have authorized, so that Skip will finally remember what came down
last millennia as we remove the body thetans from his liver and ear lobes . . .
one by one. Ask Skip who Heber is.
The last time I got recruited, it was way back in the mid-60s by a sex drug
cult. I'm not into drugs any more, but do you know if Stalin's daughter's son
has a sister or maybe a niece?
Mr Helsing
going to hide from my past involvement with Scientology. I entered it as an
idealistic person looking to help the world and to improve my self. I hope
this was the reason you also entered it. There's nothing wrong with this. I
had no idea what was going on in the back room of the orgs, you know all that
stuff Michael Flynn says was happening and that Anderson found out, and had I
suspected that any of that was happening or true, I would have
probably left the movement sooner rather than later. The fact still remains,
there are a lot of good people in Scientology and I believe Scientology's
administrative organizations are improving all the time. Time will tell. I
don't believe they are the evil empire you make them out to be. You have
overts and withholds galore . . . and you know it.
That all sounds true and reasonable to me.
I think one of the great, as yet untold stories of both drugs and cults in
America, is that at the heart of both is spiritual failure. Once I finally get
the time to write the stories that I want, that is the center.
Mr Helsing
hysteria.
>Hysteria, what hysteria. Read the complaint.
I have no problem with the idea that conspiracies exist. My only point was to
not let Cold Hand's hysteria define your answer.
cold hands
> >> The problem with that is that it frames your facts
within the same
> hysteria.
>
> >Hysteria, what hysteria. Read the complaint.
>
> I have no problem with the idea that conspiracies
exist. My only point was to
> not let Cold Hand's hysteria define your answer.
>
>
Here is my answer; Stick a plum up your bum.
Matrixx Entertainment
> >>I'm a spy for Stalin's daughter's son. He's hired me to get the goods
on
> you and Skip. And then we're going to recruit you for a super secret
mission
> that only Heber knows about and that the heirs of Xenu (descendants of
Skip in
> a past life) have authorized, so that Skip will finally remember what came
down
> last millennia as we remove the body thetans from his liver and ear lobes
. . .
> one by one. Ask Skip who Heber is.
>
> The last time I got recruited, it was way back in the mid-60s by a sex
drug
> cult. I'm not into drugs any more, but do you know if Stalin's daughter's
son
> has a sister or maybe a niece?
No. All I know is that Svetlana, Stalin's daughter, is in the states, I
think NYC. The reason I know this is because one of our movie projects is
based upon the true life story of Alexander Contract whose book I optioned
and had a screenplay based upon. Sasha (that's what we call Mr. Contract)
worked directly for Josef Stalin when he was a boy and eventually defected
to the West with the help of Harry Truman. One of Sasha's hats was to guard
Svetlana when she went to the movies. You can see a synopsis of this
project at http://www.mecfilms.com/dna/indev/sbr.htm
BTW, and for the record, my first post above is a joke . . . . but this
post, just above, is not.
James Jaeger
Matrixx Entertainment
Yes cults and drugs are weird things. I am not into either, unless you want
to call Christianity a cult and aspirin a drug. As I have said before, my
intentions for going into Scientology were sincere and I few regrets. I
think people have to fine each religion as they find it and I don't believe
anyone has the right to sit in judgement on another Human for the choices
that Human makes about religious affiliation. If you or someone has the
better religion. . . then SHOW me that it's better by illustrating the kind
of "better" person that you are. Then you might recruit me.
James Jaeger
Matrixx Entertainment
> >>I haven't been in the COS since 1986. I have some issues with the way
the
> Church conducts its business but I feel there is much to be gained by the
> techniques of Scientology, among which are confronting ones mental
problems . .
> . something Skip Press apparently cannot do, and so they threw him out . .
.
> and rightfully so.
>
>
> Well, Stuart Emory threw me out of EST (Erhard Seminar Training).
> I didn't make it past Sunday of the first Saturday-Sunday seminar, so I
wouldn't use
> being thrown out as a criterion for anything.
Well , good point, and I agree. I was sort of making a *joke* more to the
point about Ship confronting HIS mental problems. It's sad that Skip and I
are having this little immature tit-for-tat thing going. I'm willing to end
it if Skip is. . . but Skip has plonked himself so I doubt he will even see
this post.
> A few years earlier, I befriended a guy I met on a bus. That night, we
tried to
> get ourselves kidnapped by Moonies, but they wouldn't have us. I guess I
just
> don't do well in groups.
Some people just don't.
> Both you and Skip make it easier and more interesting for me to be here.
In
> your sniping at each other, your graph on him being Xenu got me laughing.
Right
> now, he's participating in a discussion of Aristotle/character - which BTW
is a
> good example of one of the things this NG can be.
You must remember Skip and I have known each other since the mid or early
seventies so we have A LOT of stuff to chew over (and we don't always agree
on everything). I basically like Skip, even if he is a little asshole at
times.
> I'll call 'em as I see 'em, not as a devotee of any group-think. I hope
for the
> same.
Right.
James Jaeger
P.S. Are you in the UK?
Matrixx Entertainment
> >> The problem with that is that it frames your facts within the same
> hysteria.
>
> >Hysteria, what hysteria. Read the complaint.
>
> I have no problem with the idea that conspiracies exist. My only point was
to
> not let Cold Hand's hysteria define your answer.
Oh, I see.
James
Matrixx Entertainment
cold hands <cold...@NOSPAMPLEASEbeeb.net> wrote in message
And answer I figure you would be capable of.
J
>
>
>
>
>
Matrixx Entertainment
cold hands <cold...@NOSPAMPLEASEbeeb.net> wrote in message
Well we agree here :)
James
Mr Helsing
Should be the quote of the month or year.
Mr Helsing
NYC.
Yeah, I saw stories on her, I believe, in the mid-80s. It was one of the great
ironies that Stalan's daughter fled the workers paradise. The Soviets claimed
she had serious mental problems.
>>BTW, and for the record, my first post above is a joke . . . . but this post,
just above, is not.
Got it both times.
Mr Helsing
Well, I've had a colonoscopy, and I can assure you (no matter what the movies
suggest to you nowadays) that the kill file is more appropriate.
Matrixx Entertainment
> >>All I know is that Svetlana, Stalin's daughter, is in the states, I
think
> NYC.
>
> Yeah, I saw stories on her, I believe, in the mid-80s. It was one of the
great
> ironies that Stalan's daughter fled the workers paradise. The Soviets
claimed
> she had serious mental problems.
Have any idea why Hollywood refuses to green-light our STALIN'S BACK ROOM
project? http://www.mecfilms.com/dna/indev/sbr.htm Could it have anything
to do with the fact that Alexander Contract is Jewish?
>
> >>BTW, and for the record, my first post above is a joke . . . . but this
post,
> just above, is not.
>
> Got it both times.
Oh, okay, good.
James Jaeger
Matrixx Entertainment
> >> Everybody needs a nude psychologist.
>
> Should be the quote of the month or year.
Maybe, we'll put a project into development called THE NUDE PSYCHOLOGIST.
Anyone here want to apply to write it for Matrixx Entertainment. I'll send
over a contract paying at least $300,000 for the screenplay and then we'll
just see if the studios buy and finance it . . . we'll document all the
pitches and progress right here on this NG in public, and then if we get the
movie financed and released, I will split the net profits with every regular
contributor on misc.writing.screenplays in the year 2001 . . . but if we all
get screwed out of our net profits, then we will all agree to join together
in a class action against the studio that screwed us or help out with Estate
of Garrison v. Warner, et.al. somehow.
Any takers? If not, why not? (And don't just say because you don't want to
associate with any Nazis, as that's getting the type of worn out excuse that
only a Skip Presster would use).
James Jaeger
CT
>
> Mr Helsing <mrhe...@aol.com> wrote in message
> news:20010611094742...@ng-mg1.aol.com...
> > >>All I know is that Svetlana, Stalin's daughter, is in the states, I
> think
> > NYC.
> >
> > Yeah, I saw stories on her, I believe, in the mid-80s. It was one of
the
> great
> > ironies that Stalan's daughter fled the workers paradise. The Soviets
> claimed
> > she had serious mental problems.
>
> Have any idea why Hollywood refuses to green-light our STALIN'S BACK ROOM
> project? http://www.mecfilms.com/dna/indev/sbr.htm Could it have anything
> to do with the fact that Alexander Contract is Jewish?
>
Either that or they think your project sucks.
Matrixx Entertainment
CT <chri...@hotmail.com> wrote in message
news:992289214.12021.0...@news.demon.co.uk...
Yeah, it MUST be one or the other, right? Gee I wonder why CAA gave the
screenplay a "possible recommend."
James Jaeger
MC
<chri...@hotmail.com> wrote:
> > Have any idea why Hollywood refuses to green-light our STALIN'S BACK
> > ROOM project? http://www.mecfilms.com/dna/indev/sbr.htm Could it have
> > anything to do with the fact that Alexander Contract is Jewish?
> >
>
> Either that or they think your project sucks.
Plus, I've been to the site and it looks like "Stalin's Back Room"
duplicates too much of Konchalovsky's "The Inner Circle." Synopsis from
imdb:
"The true story of Ivan Sanchin, the KGB officer who was Stalin¹s
private film projectionist from 1939 until the dictator¹s death. Told
from Sanchin¹s view, the sympathetic but tragically flawed hero
maintains unwavering faith in his ³Master² despite the arrest of his
neighbors and his involvement with their daughter, his wife¹s affair
with the chilling State Security chief Lavrentii Beria and her tragic
decline, and the deadly political machinations within the Kremlin he
witnesses firsthand."
And while The Inner Circle is a really good film, I don't think it did
any significant business. How the hell would pitch "Stalin's Back Room"?
'It's "The Inner Circle" meets "The Inner Circle"'?
PS: It's not very cool to list the directors you'd *like* to have on th
eweb site... like attaching a cast list to a spec script, IMO..
Matrixx Entertainment
>
> > > Have any idea why Hollywood refuses to green-light our STALIN'S BACK
> > > ROOM project? http://www.mecfilms.com/dna/indev/sbr.htm Could it have
> > > anything to do with the fact that Alexander Contract is Jewish?
> > >
> >
> > Either that or they think your project sucks.
>
>
> Plus, I've been to the site and it looks like "Stalin's Back Room"
> duplicates too much of Konchalovsky's "The Inner Circle." Synopsis from
> imdb:
Although THE INNER CIRCLE was good, and we were quite aware of that picture
as we developed SBR, we were also careful not to make the picture similar in
any way. I would say that, if you liked INNER CIRCLE, you would like SBR.
We were also aware of (the HBO MOW) STALIN, which came out around 1984. SBR
is nothing like that either. If there is enough interest on this NG, I will
publish some of the studio executives' rejection letters on this project
with their names. I have letters from senior executives at most of the MPAA
studios and some of their subsidiaries, like Miramax and New Line.
> "The true story of Ivan Sanchin, the KGB officer who was Stalin¹s
> private film projectionist from 1939 until the dictator¹s death. Told
> from Sanchin¹s view, the sympathetic but tragically flawed hero
> maintains unwavering faith in his ³Master² despite the arrest of his
> neighbors and his involvement with their daughter, his wife¹s affair
> with the chilling State Security chief Lavrentii Beria and her tragic
> decline, and the deadly political machinations within the Kremlin he
> witnesses firsthand."
Alexander Contract (Sasha) was much more than Stalin's "private film
projectionist" -- he was a collaborator, confidant and even a late-night
drinking buddy. (Sasha SPIED ON Laverentii Beria FOR Stalin, as Stalin did
not trust grownups. And he did NOT trust Laverentii. The MPAA-infested
propaganda machine has only painted history the way they want you to
perceive it.) Sasha even procured college girls for Stalin to have affairs
with. We have all the details in the screenplay. Sasha was also at all of
the "Big Three Conferences" and you can even see a picture of him standing
between Truman and Churchill (in the back) as they shake hands together with
Stalin at http://www.mecfilms.com/dna/indev/sbr.htm. Give me a break, he
was MUCH more than a projectionist, AND he defected (with the help of
Truman) when he realized what a bunch of crumbs Stalin and his boys were.
Hollywood has not financed this BECAUSE ALEXANDER CONTRACT WAS JEWISH AND
THE FACT THAT HE WORKED FOR STALIN MAKES JEWS LOOK BAD. Simple as that.
Hollywood's control group
(http://www.homevideo.net/FIRM/control.htm#execlist) is politically
motivated and only green-lights movies that have a certain bias. (See
http://www.homevideo.net/FIRM/whats.htm)
> And while The Inner Circle is a really good film, I don't think it did
> any significant business. How the hell would pitch "Stalin's Back Room"?
Because SBR is a breathtaking view into the Stalin-world of the time.
Hollywood is a bunch bigoted of mOrons.
> 'It's "The Inner Circle" meets "The Inner Circle"'?
This movie probably reminds the "Inner Circle of Hollywood" too much of
themselves.
> PS: It's not very cool to list the directors you'd *like* to have on th
> eweb site... like attaching a cast list to a spec script, IMO..
I'm not trying to be "cool."
James Jaeger
P.S. Interesting how Hollywood would green-light and make a hero out of man
who was with Stalin "until the dictator's death" but has passed on a movie
about a man that defected as soon as he saw the light.
CT
> >
> > Either that or they think your project sucks.
>
> Yeah, it MUST be one or the other, right? Gee I wonder why CAA gave the
> screenplay a "possible recommend."
>
Maybe they thought it was the most effective strategy to get you out of
their office?
Matrixx Entertainment
Maybe?! Of course, wasn't that the day you were there with me?
James
WRabkin
>
>Yeah, it MUST be one or the other, right? Gee I wonder why CAA gave the
>screenplay a "possible recommend."
>
Actually, many could think your project brilliant. Unless they think it will
make money, they won't greenlight it.
And by the way, a possible recommend from an agency reader doesn't mean a whole
lot, just that you've made it through the first of many, many doors. Kind of
like the NCAA playoffs -- just because a team makes it into round does doesn't
guarantee it a place in the final four.
BrickRage
>From: "Matrixx Entertainment" con...@mecfilms.com
>> Have any idea why Hollywood refuses to green-light our STALIN'S BACK
>ROOM
>> > project?
>Could it have
>anything
>> > to do with the fact that Alexander Contract is Jewish?
>> Either that or they think your project sucks.
> Gee I wonder why CAA gave the
>screenplay a "possible recommend."
Because they're lying Jew Bastards that's why.
C'mon JJ, finish the CAA reaction -- "Is it 'possible' to 'recommend' that this
story be confined to the ninth circle of hell before he sends us another 5,000
word treatment?"
Nesci
"Don't get up gentlemen, I'm only passing through." Dylan
The FAQ for this newsgroup is http://www.communicator.com/faqs.html
Matrixx Entertainment
WRabkin <wra...@aol.com> wrote in message
news:20010611191335...@ng-cu1.aol.com...
> >> Either that or they think your project sucks.
> >
> >Yeah, it MUST be one or the other, right? Gee I wonder why CAA gave the
> >screenplay a "possible recommend."
> >
>
> Actually, many could think your project brilliant. Unless they think it
will
> make money, they won't greenlight it.
Oh, you're one of the people that thinks Hollywood just reacts to MONEY.
Obviously you haven't WHAT'S REALLY GOING ON IN HOLLYWOOD! at
http://www.homevideo.net/FIRM/whats.htm
> And by the way, a possible recommend from an agency reader doesn't mean a
whole
> lot, just that you've made it through the first of many, many doors. Kind
of
> like the NCAA playoffs -- just because a team makes it into round does
doesn't
> guarantee it a place in the final four.
Well I never said that it DID mean any more than that. You just said the
script probably sucked and I tried to inform you that I was not the only one
who thought it didn't.
James Jaeger
BrickRage
>From: "Matrixx Entertainment" con...@mecfilms.com
>WRabkin <wra...@aol.com> wrote in message
>news:20010611191335...@ng-cu1.aol.com...
>> >> Either that or they think your project sucks.
>> >
>> >Yeah, it MUST be one or the other, right? Gee I wonder why CAA gave the
>> >screenplay a "possible recommend."
>> >
>>
>> Actually, many could think your project brilliant. Unless they think it
>will
>> make money, they won't greenlight it.
>
>Obviously you haven't WHAT'S REALLY GOING ON IN HOLLYWOOD!
>You just said the
>script probably sucked and I tried to inform you that I was not the only one
>who thought it didn't.
Yo, doofus! Get your attributions right. Bill Rabkin did *Not* say the script
probably sucks --- that was CT that posted that.
Rabkin correctly pointed out that:
> a possible recommend from an agency reader doesn't mean a
>whole
>> lot, just that you've made it through the first of many, many doors.
Keep track of who's flaming you, okay?
CT
If it's such a hot property why don't you spend your energy trying to get
funding outside of the studio system, instead of wasting your time ranting
your pseudo-anti-semitic crap to people who wouldn't give a fuck even if
they could be bothered to read more than the first few lines?
derek
> Well, I've had a colonoscopy, and I can assure you (no matter what the movies
> suggest to you nowadays) that the kill file is more appropriate.
Recall a consultant surgeon lecturer once, before the days of fibre-optic
endoscopy, who held up two sigmoidoscopes, one modest in size, one on the
huge side. Pointing to the smaller instrument, he said: "This is what is
referred to as a 'social' sigmoidoscope, and this (indicating the large
length of pipe) is what we call the agricultural model."
I hope they didn't take you down to the farm Mr. Helsing!
Mr Helsing
misc.writing.screenplays in the year 2001 . . . but if we all get screwed out
of our net profits, then we will all agree to join together in a class action
against the studio that screwed us or help out with Estate of Garrison v.
Warner, et.al. somehow.
>>Any takers? If not, why not?
Ok, what you want is to put together class action suits against the creative
bookkeeping. I like the idea. Everybody wants to see the thieves get nailed.
>>Any takers? If not, why not?
I'm simply too busy. I have to work a regular job to pay the rent and am just
starting a part-time, second job (bookkeeping). And, right now, I'm working on
a writing project that I think will net me income, maybe before the year is
out.
Is there any way to locate those who have been cheated in that last 5 years?
I intend to read the Cones web site regarding financing as soon as I can.
Mr Helsing
FACT THAT HE WORKED FOR STALIN MAKES JEWS LOOK BAD
That may be true. Jews have power in Hollywood out of proportion to their
numbers in the rest of society. That's the way the JDL guy I knew for a few
weeks said it.
You then have two choices. You have to find some Hollywood Jews who disagree
with those who refused you, or you have to find money that has nothing to do
with Jews.
I'm going to rag on you one more time about you arguing with these posters
(especially about being anti-Semitic), and this is close to my last post on the
subject. Your acrimony (forget that you didn't provoke it) makes it seem that
you might be as irrational as your enemies suggest. I realize that posters
reading you might have sloppy habits (myself included), but - given that -
your acrimony tends to emotionally weaken your genuine arguments.
I haven't had a chance to read the Stalin site yet, but I, for one, have been
wanting the truth of Stalin to be showed to our teenagers and other potential
communist sympathizers for over 25 years. Right now, such a film (if it were
well made) could break box-office records in Russia.
Skip Press
mrhe...@aol.com (Mr Helsing) wrote:
>>>Hollywood has not financed this BECAUSE ALEXANDER CONTRACT WAS JEWISH AND THE
>>>FACT THAT HE WORKED FOR STALIN MAKES JEWS LOOK BAD
>
>That may be true. Jews have power in Hollywood out of proportion to their
>numbers in the rest of society. That's the way the JDL guy I knew for a few
>aweeks said it.
Oh please. Since you're AOL-disabled in replies, I'm just guessing that
you're responding to a Japes Jaegermeister post blaming all his lack of
moviemaking on "Jews in Hollywood."
Look, I've seen the list of so-called projects he had in mind. It's been
a couple of years, but they were crap. No one wanted to make them
because they were crap. Alexander Contract, behind the scenes with
Stalin, whoopee. HBO made "Stalin" with Robert Duvall in the lead role,
and nobody really cared. Maybe that has something to do with it? Then
there's also the case that Der Jaegermeister wouldn't know a good script
if it grew arms and legs, stood up, and slapped him even sillier than he
already is.
--
Do not meddle in the affairs of cats, for they are
subtle and will piss on your computer.
-- Bruce Graham
All the best,
Skip Press, the Duke of URL
Hollywood and Somewhat Important News at
http://home.earthlink.net/~skippress/wsnBDFB.html
MC
Skip Press <skip_...@excite.com> wrote:
> Alexander Contract, behind the scenes with
> Stalin, whoopee. HBO made "Stalin" with Robert Duvall in the lead role,
> and nobody really cared. Maybe that has something to do with it?
Add 'The Inner Circle' to the list. Good film, about Stalin's
projectionist, starring Tom Hulce. Not even a blip on the box office
radar..
Mr Helsing
THE FACT THAT HE WORKED FOR STALIN MAKES JEWS LOOK BAD
>>That may be true. Jews have power in Hollywood out of proportion to their
numbers in the rest of society. That's the way the JDL guy I knew for a few
aweeks said it.
>Oh please. Since you're AOL-disabled in replies,
AOL disabled? I don't know what that means.
>I'm just guessing that you're responding to a Japes Jaegermeister post blaming
all his lack of moviemaking on "Jews in Hollywood."
Yeah.
>Look, I've seen the list of so-called projects he had in mind. It's been a
couple of years, but they were crap. No one wanted to make them because they
were crap. Alexander Contract, behind the scenes with Stalin, whoopee. HBO made
"Stalin" with Robert Duvall in the lead role, and nobody really cared. Maybe
that has something to do with it? Then there's also the case that Der
Jaegermeister wouldn't know a good script if it grew arms and legs, stood up,
and slapped him even sillier than he already is.
I'm chatting with JJ, and haven't known him for 25 year as you have. Your
input's appreciated. When I get the time, I'd like to read the Stalin script.
When he isn't in a shouting contest with another poster, his posts are mostly
reasonable. I may find out otherwise or his idea may hold water. I don't intend
to devote the next 3 years to his projects, but to understand what he's about
ASAP.
One of the reasons this post caught my attention is that back in the early 80s
when I used to read the National Review from cover to cover every month, I came
across an article that detailed Stalin's atrocities. The article openly accused
Liberal Hollywood for not exposing his shit to the world. A hard-bitten
biography has been high on my interest list since then. The Duval project
didn't really nail it.
In the years since I read the NR article, I came up with another theory of why
Hollywood didn't take on Stalin and was setting up that answer, which I didn't
have the time for before work this morning
If I agree that a Jewish Control group nixed the project, they may have had
another, valid reason. The reason the Stalin story hasn't been told may have
nothing to do with Jews making themselves look bad. It's the mid-80s Imagine
that you are a 4th generation American Jew. Your great, great grandparents fled
a czar's pogrom and made it to the USA. Your grandfather pushed a cart, selling
something in the streets of Manhattan, and your father opened a store.
Then you got educated, and are now a high-powered Hollywood movie mogul. A
great script comes across your desk, detailing Stalin's murder of 30,000,000.
Do you make the movie, or do you fear retaliation against the Jews who the
Soviet Union refuses to let leave? Should you fear the KGB clamping down even
harder on exit visas for Jews (possibly some of your relatives) and shipping
who knows how many more to Siberia or mental institutions?
As for your script today, I'd make these observations about its content. I've
spoken with Russian Jews who tell me that often the mind-set over there isn't
that you can work hard and get rich. A vast majority of the populace believes
that if you succeed that you have to have committed criminal acts.
I'd want to position a film about Stalin that wouldn't contribute to that
flawed cynical world-view. Possibly one of the slants of such a story could be
that his victims are the Russians who show personal initiative in the face of
his criminality.
WRabkin
greenlit. It's not a particularly commercial project in these days, and there
was a very similar project coming from much more respectable quarters that
failed spectacularly only a few years back. I don't believe it has anything to
do with any of the characters being Jewish, however -- the fact is, a political
biopic is a tough sell, period.
WRabkin
>Obviously you haven't WHAT'S REALLY GOING ON IN HOLLYWOOD! at
I'm assuming the verb you're missing is "read," and no, I haven't read what's
really going in Hollywood, because I know what's really going on in Hollywood,
because I work in Hollywood.
> You just said the
>script probably sucked and I tried to inform you that I was not the only one
>who thought it didn't.
Not me. That was someone else. I'd never say a script sucked just because it
didn't get made -- I've got one or two of those myself...
Adam Fulford
"Mr Helsing" wrote...
> snip
>
> I'd want to position a film about Stalin that wouldn't contribute to that
> flawed cynical world-view. Possibly one of the slants of such a story
could be
> that his victims are the Russians who show personal initiative in the face
of
> his criminality.
I, too, would be interested in an honest portrayal of murderous sociopath
Stalin, and perspectives on those who enabled him to have such power. (but,
James Jaeger --a muddled-thinking obsessive\compulsive hate-monger
conspiracy theory paranoiac -- is not qualified to do it)
The way to format such a film could be something along the lines of the
Godfather, that shows the workings of power games in dramatically engaging
ways, but of infinitely greater scale and violence.
Skip Press
mrhe...@aol.com (Mr Helsing) wrote:
>>Oh please. Since you're AOL-disabled in replies,
>
>AOL disabled? I don't know what that means.
That means that you can't automatically quote the person as I can above
with my newsreader program.
>
[schnyp - Russian spelling]
>
>One of the reasons this post caught my attention is that back in the early 80s
>when I used to read the National Review from cover to cover every month, I came
>across an article that detailed Stalin's atrocities. The article openly accused
>Liberal Hollywood for not exposing his shit to the world. A hard-bitten
>biography has been high on my interest list since then. The Duval project
>didn't really nail it.
Hollywood's main function is entertainment, despite what some think.
[snip - American spelling for balance]
>
>If I agree that a Jewish Control group nixed the project, they may have had
>another, valid reason. The reason the Stalin story hasn't been told may have
>nothing to do with Jews making themselves look bad. It's the mid-80s Imagine
>that you are a 4th generation American Jew. Your great, great grandparents fled
>a czar's pogrom and made it to the USA. Your grandfather pushed a cart, selling
>something in the streets of Manhattan, and your father opened a store.
>Then you got educated, and are now a high-powered Hollywood movie mogul. A
>great script comes across your desk, detailing Stalin's murder of 30,000,000.
>Do you make the movie, or do you fear retaliation against the Jews who the
>Soviet Union refuses to let leave? Should you fear the KGB clamping down even
>harder on exit visas for Jews (possibly some of your relatives) and shipping
>who knows how many more to Siberia or mental institutions?
You should fear the Russian mafia here in the U.S., particularly in
southern California.
>As for your script today, I'd make these observations about its content. I've
>spoken with Russian Jews who tell me that often the mind-set over there isn't
>that you can work hard and get rich. A vast majority of the populace believes
>that if you succeed that you have to have committed criminal acts.
The vast majority are vastly right with that view.
>
>I'd want to position a film about Stalin that wouldn't contribute to that
>flawed cynical world-view. Possibly one of the slants of such a story could be
>that his victims are the Russians who show personal initiative in the face of
>his criminality.
Ha. He was enabled by a lot of people who weren't even Russian.
--
Success enables us to understand much that the workings of
human intelligence alone would not be able to discover.
-- Carl von Clausewitz
Gary Pollard
> do with any of the characters being Jewish, however -- the fact is, a
political
> biopic is a tough sell, period.
There was even a Stalin's projectionist movie that got made with Tom Hulce.
It didn't have them queuing around the block either.
Gary
--
"There is indeed, an innate equality belonging to every man which consists
in his right to be independent of being bound by others to anything more
than that to which he may also reciprocally bind them.'' -- Immanuel Kant
in "The Philosophy of Law"
Mr Helsing
>That means that you can't automatically quote the person as I can above with
my newsreader program.
The AOL newsreader sucks big time. That's only one of its problems.
>Hollywood's main function is ntertainment, despite what some think.
I know, if I have a message .... But we also all know that the a film can't be
made without an ideological perspective.
>You should fear the Russian mafia here in the U.S., particularly in southern
California.
Yeah, those bastards made their bones under a real police state. They are known
for how tough they are. In general, they aren't as stupid as most of the other
gangs that have hit our shores. But they are still just extortionists.
>>A vast majority of the populace believes that if you succeed that you have to
have committed criminal acts.
>The vast majority are vastly right with that view.
That fact is more scary than the Russian Mafia in America.
>Ha. He was enabled by a lot of people who weren't even Russian.
I doubt that you're talking about the Red Diaper families over here who thought
of his as, "Papa Stalin."
Matrixx Entertainment
>
> "Matrixx Entertainment" <con...@mecfilms.com> wrote in message
> news:tiahnoh...@corp.supernews.com...
> >
> > CT <chri...@hotmail.com> wrote in message
> > news:992296336.16916.0...@news.demon.co.uk...
> > > "Matrixx Entertainment" <con...@mecfilms.com> wrote in message
> > > news:tia9v28...@corp.supernews.com...
> > >
> > > > >
> > > > > Either that or they think your project sucks.
> > > >
> > > > Yeah, it MUST be one or the other, right? Gee I wonder why CAA gave
> the
> > > > screenplay a "possible recommend."
> > > >
> > >
> > > Maybe they thought it was the most effective strategy to get you out
of
> > > their office?
> >
> > Maybe?! Of course, wasn't that the day you were there with me?
> >
>
> If it's such a hot property why don't you spend your energy trying to get
> funding outside of the studio system,
I have talked to many private investors on both coasts and they basically
hate movie deals because the studios have muddied up the waters (at least in
their minds). Don't you get it? . . . the studios don't care. It keeps
the competition down.
> instead of wasting your time ranting your pseudo-anti-semitic crap to
people who wouldn't give a fuck even if
> they could be bothered to read more than the first few lines?
Maybe that applies to you, but there are others out there that value the
time they will put into their careers and don't mind getting opinions and
information about the movie industry from all points of view.
James Jaeger
>
>
>
>
Matrixx Entertainment
BrickRage <bric...@aol.com> wrote in message
news:20010611211913...@ng-fa1.aol.com...
>
> >From: "Matrixx Entertainment" con...@mecfilms.com
>
> >WRabkin <wra...@aol.com> wrote in message
> >news:20010611191335...@ng-cu1.aol.com...
> >> >> Either that or they think your project sucks.
> >> >
> >> >Yeah, it MUST be one or the other, right? Gee I wonder why CAA gave
the
> >> >screenplay a "possible recommend."
> >> >
> >>
> >> Actually, many could think your project brilliant. Unless they think it
> >will
> >> make money, they won't greenlight it.
> >
>
> >Obviously you haven't WHAT'S REALLY GOING ON IN HOLLYWOOD!
>
> >You just said the
> >script probably sucked and I tried to inform you that I was not the only
one
> >who thought it didn't.
>
> Yo, doofus! Get your attributions right. Bill Rabkin did *Not* say the
script
> probably sucks --- that was CT that posted that.
>
> Rabkin correctly pointed out that:
>
> > a possible recommend from an agency reader doesn't mean a
> >whole
> >> lot, just that you've made it through the first of many, many doors.
>
> Keep track of who's flaming you, okay?
I don't really look at the names of who I'm posting to.
James Jaeger
Matrixx Entertainment
> >Oh, you're one of the people that thinks Hollywood just reacts to MONEY.
> >Obviously you haven't WHAT'S REALLY GOING ON IN HOLLYWOOD! at
>
> I'm assuming the verb you're missing is "read," and no, I haven't read
what's
> really going in Hollywood, because I know what's really going on in
Hollywood,
> because I work in Hollywood.
So you can see the forest for the trees? Well great! But if you ever
decide you'd like an additional exterior POV, read WHAT'S REALLY GOING ON IN
HOLLYWOOD!, a free copy of the entire text at
http://www.homevideo.net/FIRM/whats.htm
> > You just said the
> >script probably sucked and I tried to inform you that I was not the only
one
> >who thought it didn't.
>
> Not me. That was someone else. I'd never say a script sucked just because
it
> didn't get made -- I've got one or two of those myself...
Okay.
James Jaeger
Matrixx Entertainment
>
> >From: "Matrixx Entertainment" con...@mecfilms.com
>
> >> Have any idea why Hollywood refuses to green-light our STALIN'S BACK
> >ROOM
> >> > project?
>
> >Could it have
> >anything
> >> > to do with the fact that Alexander Contract is Jewish?
>
> >> Either that or they think your project sucks.
>
> > Gee I wonder why CAA gave the
> >screenplay a "possible recommend."
>
> Because they're lying Jew Bastards that's why.
>
> C'mon JJ, finish the CAA reaction -- "Is it 'possible' to 'recommend' that
this
> story be confined to the ninth circle of hell before he sends us another
5,000
> word treatment?"
No.
James Jaeger
Matrixx Entertainment
> Even giving JJ's project the benefit of the doubt, it's hard to see it
getting
> greenlit. It's not a particularly commercial project in these days,
Neither are musicals. And westerns weren't very popular just before
UNFORGIVEN.
> and there was a very similar project coming from much more respectable
quarters that
> failed spectacularly only a few years back.
What, and who is more respectable than Mr. Contract? The HBO MOW, STALIN,
only pretended to be the voice/story of Svetlana, Stalin's daughter, and
wasn't based on eye-witness material at all. Our project is.
> I don't believe it has anything to
> do with any of the characters being Jewish, however
I would like to think that.
> -- the fact is, a political biopic is a tough sell, period.
Okay. Well, we'll see.
James Jaeger
MC
<con...@mecfilms.com> wrote:
> What, and who is more respectable than Mr. Contract? The HBO MOW, STALIN,
> only pretended to be the voice/story of Svetlana, Stalin's daughter, and
> wasn't based on eye-witness material at all. Our project is.
What about Konchalovsky's The Inner Circle? I'd be interested in your
take on that..
CT
>
>
> I have talked to many private investors on both coasts and they basically
> hate movie deals because the studios have muddied up the waters (at least
in
> their minds). Don't you get it? . . . the studios don't care. It keeps
> the competition down.
>
Sounds like capitalism to me. You think any other industry is different?
You're losing because you're trying to play 'their' game, failing and then
moaning about it. Move on.
> > instead of wasting your time ranting your pseudo-anti-semitic crap to
> people who wouldn't give a fuck even if
> > they could be bothered to read more than the first few lines?
>
> Maybe that applies to you, but there are others out there that value the
> time they will put into their careers and don't mind getting opinions and
> information about the movie industry from all points of view.
>
Well let's have a vote; all those who support the bowel motion...
Matrixx Entertainment
MC <copeS...@total.net> wrote in message
news:copeSPAMZAP-548B...@news.total.net...
That was a great film. It really gave the sense of how scary Stalin was.
And, one day when I was having lunch with Sasha, he told me what it was like
to be in Stalin's office when he (Stalin) got really pissed at Khrushchev
and started yelling and literally kicking him while he was on the floor. It
was hair-raising. On the other hand Stalin could be very "fatherly" and
gentle to the boys, especially when they we're lining up dates for him and
watching cowboy movies, you know the ones that the projectionist, in THE
INNER CIRCLE, was showing for them.
James Jaeger
Matrixx Entertainment
news:20010612100901...@ng-fx1.aol.com...
> >>Hollywood has not financed this BECAUSE ALEXANDER CONTRACT WAS JEWISH
AND THE
> FACT THAT HE WORKED FOR STALIN MAKES JEWS LOOK BAD
>
> That may be true. Jews have power in Hollywood out of proportion to their
> numbers in the rest of society. That's the way the JDL guy I knew for a
few
> weeks said it.
>
> You then have two choices. You have to find some Hollywood Jews who
disagree
> with those who refused you, or you have to find money that has nothing to
do
> with Jews.
Maybe. I don't know. Inner circle Hollywood discriminates against Jews as
readily as it does against WASPS because the best deals often go to old
associates, family members or potential sexual contacts.
> I'm going to rag on you one more time about you arguing with these posters
> (especially about being anti-Semitic), and this is close to my last post
on the
> subject. Your acrimony (forget that you didn't provoke it) makes it seem
that
> you might be as irrational as your enemies suggest. I realize that posters
> reading you might have sloppy habits (myself included), but - given that -
> your acrimony tends to emotionally weaken your genuine arguments.
Okay, well taken. And I admit I do get a little hostile at times, but I have
had a reasonable amount of attacks. I am basically taking many of John
Cones' bullets because he's totally fed up and won't spend any more time
arguing, as I have been doing, unless it's a specific post directed to him
over at the FIRM discussion forum. http://venus.beseen.com/boardroom/q/16757
As I have said a number of times, I often don't pay any attention to the
names on who I am replying to, so I have no personal acrimony towards
anyone. In fact, I really admire screenwriters and filmmakers. I haven't
written that many screenplays, but it's not until you actually sit down and
write one that you realize how difficult it is and how intelligent most of
the writers are that actually get these products out. I also feel the same
about production managers.
> I haven't had a chance to read the Stalin site yet, but I, for one, have
been
> wanting the truth of Stalin to be showed to our teenagers and other
potential
> communist sympathizers for over 25 years. Right now, such a film (if it
were
> well made) could break box-office records in Russia.
Yes, exactly, but one of our lawyer/stockholders says that Hollywood is
pro-Russia (socialist) and they don't want anything negative shown. They
would much rather focus on Hitler's atrocities than Stalin's as the founders
of Communism were Jewish. True or false?
What I really need for SBR, other than a production deal (which would be the
ideal), is a development deal, so our company can justify putting more time
or money into this, as Matrixx Entertainment has put a significant amount of
money into the project over the years and now it's Hollywood's turn to chip
in. Unfortunately, private investors won't finance this as it costs too much
for them ($19,669,190) and they need at least a negative pickup deal and a
completion bond, which you can't get unless you have a studio behind you or
an L/C from a bankable institution. We could of course spend much more on
SBR, but we wanted to try and keep it in the mid range and emphasize it as a
personal story rather than a huge SAVING PRIVATE RYAN. I took this project
to DreamWorks several years back as we have a good relationship with them
(and, as you know, they are not in the MPAA) and Glenn Williamson, says in
one of the letters: "Dear James. . .This is a pertinent story rooted in
dense and vital issues. While this subject matter itself is rich in drama
and history, the writing fails to provide an insightful look the emotional
and moralistic of Sasha's journey." So I have Ken re-write the story to
handle the comment and send it back to them and then Andy Raymer, says:
"Thank you for your submission of STALIN'S BACK ROOM. . . Despite the very
personal nature of this story, the backdrop and setting closely resembles
the recent Steven Spielberg films SHINDLER'S LIST and SAVING PRIVATE RYAN.
We feel that we have already covered this era, therefore this project is
something DreamWorks cannot pursue at this time."
So the thing was re-written again, this time with suggestions from CAA
(where I'm trying to get it packaged with several of their clients top on my
list being Peter Weir because of the way he handled the boys in DEAD POET'S
SOCIETY) and after they read it they send me 5 pages of the coverage and so
I have the screenplay rewrite started (hoping that they will give me Peter
Weir if we change the screenplay to their exact specifications) and in the
meantime I decide to continue seeking additional financing and producer
partners so I ask Merv Griffin (who's an old friend of my parents and
because he's getting more into feature production) if he'd like to buy a
piece of the project or join in the producer unit and he expresses interest
so I arrange a meeting between him so he can meet Sasha and we send him out
to Ronald Reagan's birthday party in Century City (which Merv's happens to
be hosting at his hotel) and he meets Sasha and treats him to a limo and
nice accommodations and he takes the screenplay and package and gives it to
his new production team (Mark Sennett, Jeff Weiss, Jen Yin, Steve, Davis,
Bob Cosberg, etc.) to make the final decisions. But after he has all his
production people look at the book and screenplay and proposed package,
Charlie Mercer (a real nice guy), Merv's personal assistant, tells me that
Merv says that CAA is not going to end up being able to get Peter Weir to
direct SBR (given they like the re-write) because Peter's a friend of Merv's
and he knows that Peter is not even interested in WW2 pictures (although
Peter's agent, John Ptak implys that he is just not interested "at this
time" and John's assistant, Kevin, confirms that "Peter Weir IS technically
available for the project if we get this set up at a studio." And so with
this catch-22 all laid out on the table, I ask Merv if he could help break
it and he sends me a letter saying "While I think the project has great
p[potential, I cannot. . . speak to a studio executive . . .because it has
to be done through an agent. P.S. love to all the family." Give me a break!
So now this is another dead end and we're back to another studio and then
another and all this type of stuff keeps going on for 5 years and then we
decide to NOT keep all eggs in one basket (even though our production
counsel advises sticking with one project at a time) -- and so we start
promoting four or five new projects (ranging from light comedy to serious
sci-fi), some packaged and some not packaged, but all flexible as to the
budgets and packages. And I revisit some of the actors I took SBR to, like
Harvey Keitel and Jody Foster, because, even though they passed on the SBR
project, they could see enough professionalism and quality to give us the
okay to "keep them in mind" for future projects. And we do. One day, out
of the blue, Mickey Rooney calls my office and says he has an idea for a
movie called the NITWITS, so I hire a writer and get a screenplay developed
and call Mickey back and send him the script and he says he loves it and
will play one of the leads and he gives me his agent in NYC, stan, and I
call him and he helps me package the project with anyone I want and so we
get it all packaged with a nice little mixed group of older actors with
newer ones (Jeffrey Jones from FERRIS BUELLER'S DAY OFF, Twink Kaplan from
LOOK WHO'S TALKING and CLUELESS, Jerry Lewis and Shelly Winters) at a very
reasonable price and I take it to all the appropriate studios and they all
pass on THAT one too. . . even though Mickey goes on to do a bunch of
pictures two years later. And again, remember all this development and
packaging is at our expense, and we have a number of projects out -- all
different (flexible, packaged or not, out-right sale or co-production or
negative pickup) -- so the expense is quadrupled or more.
So then I ask Courtenay Valenti (Sr VP Production at Warner) if I can send
her the SBR screenplay again and she's kind enough to say yes and says: "We
would be happy to reconsider your Stalin project. Please sent it to my
attention at the above address. We will read it immediately." I send her one
of the re-writes in 1996 and another in 1998 and she says: "While the
screenplay, like the book, The Back Room, tells an intriguing story, it is
not something Warner Bros. is interesting in pursuing." Meanwhile, our first
writer on the SBR project, Sally Seltzer, was working at the legal
department of Paramount while our attorney was negotiating the writer deal,
and she's innocently faxing us her contracts back and forth from Paramount's
fax machine and then suddenly one day I get a registered letter from
Paramount's legal department starting out "Your letter to Jonathan Dolgen
regarding your project "STALIN'S BACK ROOM" has been referred to me for
reply. . . your material has not been read by Jonathan Dolgen or anyone else
at Paramount Pictures. . . we must ask you to refrain from sending any more
material to Paramount Pictures" And Sally is off the project in a
millisecond with no explanations whatsoever, and later it dawns on me that
Paramount's CEO, when I wrote him a letter to ask specific permission to
submit the project to his development department (I get permission and never
send anything unsolicited anywhere) probably realized that our writer was
moonlighting on our project and by sending her contracts back and forth from
Paramount's legal department it might have implied Paramount's involvement
or that we might try to claim that they WERE involved. But bear in mind that
long before Sally or Jonathan, I had asked Paramount's permission to make
submissions (through Lindsay Doran) back in 1986 and she was kind enough to
grant such and I spoke to her a number of times and she was always really on
the ball and gave me good guidelines and so I have sent them quite a number
of projects over the years - and never would I consider them 'implicated'
just because a writer was innocently sending personal contracts back and
forth from their legal department - I don't do business that way. So I am a
little bit insulted when this situation involving Sally Seltzer, Sheridan
MacMillan-Thayer and Jonathan Dolgen happened with little or no explanations
or understanding of my already established relationships, even if scant,
over the years. All I did was try to give a writer a job on a project and
make a project with historical merit available to the studio, again all at
my company's endless expense.
I could write a book on my experiences with Hollywood. How the major
studios have used and treated me and how they treat other people, how they
waste endless talents and professional people, imply things and then renege
on them, play catch-22 games, get things bungled up, give in to unnecessary
paranoia and outright screw writers and net profit participant. It almost
never ends, but no one makes a movie that quite explicates all the insanity.
And several of my friends have some REAL horror stories, stories I can't
even begin to go into here or use any names because, unlike the above
examples, this stuff is happening in present time rather than years back.
For instance an Academy Award winning friend of mine, a writer-producer,
said that he totally got screwed by studio on a writing deal, but I still
deal with the studio because I like them and I was willing to believe that
maybe they did nothing wrong but my friend was just being a hot-head or
something. I'm currently working on a very expensive project that has had
SO many horror stories you wouldn't BELIEVE it (and so far over $1 million
has been pissed down the drain on development expenses since 1983). But
even though it looks like this one HAS finally been green-lighted, when so
many unnecessary and insane things like the above keep going on (and have
been since at least 1979 starting with several other projects I don't really
want to talk about either) and with such a range of different people,
production companies and screenplays, (projects where I have been both a
principal and a minion), I have to consider, at some point, that Hollywood
is more hassle to deal with than it's really worth. I am always willing to
"turn the other cheek" and I appreciate the many studio executives who HAVE
been willing to look at our projects (and Merv and his people) and who still
are (and I am willing to do business with non-apologists), but many of them
in this system need to get their act together (as I have made a sincere
attempt to do myself over the years).
Many of the executives I have dealt with like Lindsay and Bridget Johnson
(who was with Tri-Star under Jeff Sagansky) have become producers because
maybe they finally felt that it is almost easier to deal with the system
from without rather on the staff of a huge and often uncaring machine. I
would like to be able to present our other projects to the studios (of which
we currently have about 75) . . . but quite frankly, when Hollywood fails to
see merit in too many good projects, like SBR and some of the others, I have
to admit that I have only so much time, money and life to waste on them and
so I regrettably look towards reform and/or the Internet as alternatives.
James Jaeger
Matrixx Entertainment
You may really be hitting on something significant here.
> As for your script today, I'd make these observations about its content.
I've
> spoken with Russian Jews who tell me that often the mind-set over there
isn't
> that you can work hard and get rich. A vast majority of the populace
believes
> that if you succeed that you have to have committed criminal acts.
>
> I'd want to position a film about Stalin that wouldn't contribute to that
> flawed cynical world-view. Possibly one of the slants of such a story
could be
> that his victims are the Russians who show personal initiative in the face
of
> his criminality.
This Stalin stuff is more than it looks. . . but you seem to be perceiving
some, or a lot, of it, Mr. Helsing (unlike a few apologists on this NG).
And this is why I spent quite some time, in my last post, trying to give you
specific background on my experiences in connection with the SBR project
(http://www.mecfilms.com/dna/indev/sbr.htm). I am in hopes that you may see
evidence that I'm not just complaining about Hollywood for superficial
reasons and that John Cones' observations
(http://www.homevideo.net/FIRM/bginfo.htm) explain much of what I, and many
others, have experienced in Hollywood. I might also add that this SBR
project was brought to me by a friend and his attorney, both of whom were on
hiatus from the CIA at the time (but who have enlisted for another 5 year
contract at this time). So I knew that Mr. Contract's story was probably
valid and important from the very beginning of my involvement. I'm just
shocked at how Hollywood treats important subjects, subjects that should be
made known to more people, rather than just tucked away because they somehow
don't align with a narrowly defined group's political agenda or slant on
life. Sasha (Mr. Contract) and I spoke to a high school of about 500 kids
one afternoon and they were so fascinated with what Sasha had to say, many
of them became late for their classes when the bell rang. I thought
Hollywood was interested in making movies that their core audience was
interested in buying tickets for . . . but again, apparently not, at least
when such movies don't serve their political agenda.
James Jaeger
Matrixx Entertainment
> The AOL newsreader sucks big time. That's only one of its problems.
True. The other problem with the AOL newsreader is the rest of the AOL
sucks too.
James Jaeger
Matrixx Entertainment
Adam Fulford <aful...@STOPSPAMsprint.ca> wrote in message
news:gYyV6.4226$F42....@newscontent-01.sprint.ca...
>
> "Mr Helsing" wrote...
> > snip
> >
> > I'd want to position a film about Stalin that wouldn't contribute to
that
> > flawed cynical world-view. Possibly one of the slants of such a story
> could be
> > that his victims are the Russians who show personal initiative in the
face
> of
> > his criminality.
> > snip
>
> I, too, would be interested in an honest portrayal of murderous sociopath
> Stalin, and perspectives on those who enabled him to have such power.
(but,
> James Jaeger --a muddled-thinking obsessive\compulsive hate-monger
> conspiracy theory paranoiac -- is not qualified to do it)
LOL, you're entitled to your opinion . . . but then again, I also might be
the PERFECT person for such a project, because, according to you, I think
and act JUST LIKE STALIN.
> The way to format such a film could be something along the lines of the
> Godfather, that shows the workings of power games in dramatically engaging
> ways, but of infinitely greater scale and violence.
Ha!
James Jaeger
Matrixx Entertainment
> >>I will split the net profits with every regular contributor on
> misc.writing.screenplays in the year 2001 . . . but if we all get screwed
out
> of our net profits, then we will all agree to join together in a class
action
> against the studio that screwed us or help out with Estate of Garrison v.
> Warner, et.al. somehow.
>
> >>Any takers? If not, why not?
>
> Ok, what you want is to put together class action suits against the
creative
> bookkeeping. I like the idea. Everybody wants to see the thieves get
nailed.
>
> >>Any takers? If not, why not?
>
> I'm simply too busy. I have to work a regular job to pay the rent and am
just
> starting a part-time, second job (bookkeeping). And, right now, I'm
working on
> a writing project that I think will net me income, maybe before the year
is
> out.
>
> Is there any way to locate those who have been cheated in that last 5
years?
If you look at the Garrison v Warner complaint they talk about the method
they will apply to do just that.
James