By MCN Editor editor@moviecitynews.com

STATEMENT BY MPAA CHAIRMAN AND CEO SENATOR CHRIS DODD ON STEVE JOBS’ PASSING

FOR IMMEDIATE RELEASE
October 5, 2011
WASHINGTON, DC – Senator Chris Dodd, CEO and Chairman of the Motion Picture
Association of America, Inc. (MPAA) joined the millions worldwide who are mourning the loss of Steve Jobs, co-founder and former CEO of Apple. The following is a statement by Senator Dodd:
“The genius of Steve Jobs, a man I’ve known for 40 years, not only brought to life the visual magic and brilliant storytelling of Pixar, but brought the world one of the most innovative and successful platforms to make movies and TV available online at the click of a mouse. He was a pioneer, and helped all of us better understand how technologists and creators can work together to enrich and enliven our shared world. If anyone ever wonders whether one person can make a difference, the answer is Steve Jobs.  He will be deeply, deeply missed.”
About the MPAA
The Motion Picture Association of America, Inc. (MPAA) serves as the voice and advocate of the American motion picture, home video and television industries from its offices in Los Angeles and Washington, D.C. Its members include: Walt Disney Studios Motion Pictures; Paramount Pictures Corporation; Sony Pictures Entertainment Inc.; Twentieth Century Fox Film Corporation; Universal City Studios LLC; and Warner Bros. Entertainment Inc.
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4 Responses to “STATEMENT BY MPAA CHAIRMAN AND CEO SENATOR CHRIS DODD ON STEVE JOBS’ PASSING”

  1. Leo Keil says:

    I find it hard to believe that former senator Dodd knew Steve Jobs for 40 years. 40 years ago, Jobs was a high school student in California, who was still years away from starting Apple Computer.

  2. Ray Pride says:

    Wow. Someone should’ve fact-checked that bromide.

  3. Matt S says:

    That number came from the same team of MPAA analysts who determine how much money their industry loses to piracy each year.

  4. JER MYNOR says:

    ANYONE WHO BELIEVES ANY WORD FROM THE MOUTH OF CHRIS DODD IS A TOTAL MORON….!!!

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch