Salon.com: Why does everybody love "Raymond"? "The best advice I ever got from an old show-runner was, do the show you want to do, because in the end they're gonna cancel you anyway." Just do it.

NYTimes: Ready for a Reality Movie? "Even so, of the 16 people chosen to make the trip, only 11 have their stories told in the film; the others can be seen in the background in some scenes, their week in Canc? not having resulted in a story line sufficient to make the final cut." Go-for-broke realisitic, yet fictional, drama piece, if you ask me. Where's the reality, the drama, and the truth in that?

Cinescape: Stowe told no to CAPTIVES role. "What happens when you're a Hollywood actress and you can't find the parts you want to play? Madeleine Stowe thought she had found the solution: write a screenplay that the studios want to make and agree to sell it to them if they cast you somewhere in the movie... Under a pseudonym, Stowe and her husband wrote a period western called THE UNBOUND CAPTIVES which attracted the attention of 20th Century Fox. Fox wanted to put it into production immediately, hiring Ridley Scott to director and Russell Crowe to star in the picture...but not Madeleine Stowe." Wow. Here is this talented and beautiful actress with a great property, yet she can't get the role she wanted. And you thought Hollywood changed. Or does her bankability still liable?

This could be James Camerons next movie. "What I like about it is that when we first meet Alita she's very young, she's sort of almost pre-pubescent in a way, and she actually matures throughout the story. I like that, that the development of her mind actually affects her physicality. There's a lot of really great things about it, and there's a lot of things ? whether the artist really intended them or not ? that I read into it, and so I think it'll be a good fusion of what Kashiro created and how I would do things." Darn! He beat me to it!

IFP.org: Building your Career from your Short Film. "If you want to get the film seen, submitting to film festivals should be the centerpiece of that effort. If it is to gather resources for another film, maybe finding an agent may prove more helpful. How will having your film mentioned in a magazine or newspaper get you closer to your goal? And is that of more value than a few additional days of shooting? (That's where I would put that money...) Go make a great film. If you succeed, the word of mouth will publicize the film for you. If you don't succeed, try to respect the experience for the lessons it's taught you."

25th Annual IFP Market. Offers script & feature financing show cases and more. Perfect place to start your film career.

BENJAMIN There are two kinds of people - those who don't do what they want to do so they write down in a diary about what they haven't done and those who are too busy to write about it 'cause they're out doing it!

From The More the Merrier (1943)

Hopefully that explains the lack of blogging. I'm learning alot on my two internships and weekend production gig but I don't have time to organize what I have learned into writing. I need to do that in one way or another.

AdAge: TIVO REPORTS OSCARS VIEWING BEHAVIOR. TiVo tracks viewers behavior more closely than Nielson possiblely can. New tracking system to come?

Apple updates video production tools. Final Cut Pro 4, DVD Studio Pro 2, Shake, Logic... They are on a roll, and they make it impossible to ignore Mac platform for budding filmmakers.

I, Cringely: Life With TiVo. "Cut away all the technical trappings of television and you are left with only three basic components -- the shows, the business (which usually means the commercials), and the schedule... The goal of every broadcaster is to command his or her time slot, offering a show that is so compelling that everyone within range will stop whatever they are doing to watch that show.

DVRs take away the power of programmers and allow us to watch what we want to watch when we want to watch it.

The second thing broadcasters can do is make cheaper shows that reflect the lower revenue potential of programming in the TiVo era. That’s where all the reality shows came from because they not only draw good audiences, they are also cheap to produce.

The third thing networks can do to find revenue when viewers refuse to watch commercials is to change the definition of what is a commercial." Wither the content? Grow, the personalized content!