In a significant development, Las Vegas police have arrested Duane "Keffe D" Davis, a key figure connected to the infamous 1996 drive-by shooting of legendary rapper Tupac Shakur. The arrest comes 27 years after the tragic incident that left the music world in shock and fans mourning. The case has seen numerous twists and turns over the decades, with Davis himself admitting to being in the vehicle from which the gunfire erupted, as detailed in his 2019 memoir, 'Compton Street Legend' <a id="user-content-fnref-1%5E" href="https://chat.openai.com/c/3500229d-e97c-43cd-8c65-06c09d20464e#user-content-fn-1%5E" target="_new" data-footnote-ref="true" aria-describedby="footnote-label">1</a>.
<h3>Key Takeaways:</h3>
<ul>
<li>Duane "Keffe D" Davis arrested by Las Vegas police in connection with Tupac Shakur's 1996 murder.</li>
<li>Davis had previously admitted in his memoir and interviews to being in the vehicle during the drive-by shooting.</li>
<li>The arrest followed a raid on Davis' wife's home, where items concerning Shakur's murder were collected.</li>
<li>Retired detective Greg Kading notes that Davis' public admissions provided the leverage for moving the case forward.</li>
<li>Davis is the last living individual among the four people who were in the vehicle from which shots were fired at Shakur.</li>
</ul>
The arrest of Davis early on Friday morning marks a long-awaited break in a case that has frustrated investigators and captivated the public for nearly three decades. According to the Hollywood Reporter, Davis was taken into custody, although the exact charges were not immediately clear<a id="user-content-fnref-1%5E-2" href="https://chat.openai.com/c/3500229d-e97c-43cd-8c65-06c09d20464e#user-content-fn-1%5E" target="_new" data-footnote-ref="true" aria-describedby="footnote-label">1</a>. This arrest is seen as a significant step towards solving one of the most high-profile unsolved murders in the entertainment industry.
Davis has long been on the radar of investigators. In his memoir, 'Compton Street Legend,' and in various interviews, he admitted to being in the Cadillac where the gunfire erupted during the September 1996 drive-by shooting that fatally wounded Shakur<a id="user-content-fnref-1%5E-3" href="https://chat.openai.com/c/3500229d-e97c-43cd-8c65-06c09d20464e#user-content-fn-1%5E" target="_new" data-footnote-ref="true" aria-describedby="footnote-label">1</a>. Shakur, aged 25 at the time, was gunned down near the Las Vegas Strip on the night of September 7, 1996, while in a BMW driven by Death Row Records founder Marion "Suge" Knight.
The arrest comes two months after a raid on Davis' wife's home on July 17, where police were searching for items "concerning the murder of Tupac Shakur." The items collected during the raid included multiple computers, a cellphone and hard drive, a Vibe magazine featuring Shakur, several .40-caliber bullets, and a copy of Davis' memoir<a id="user-content-fnref-1%5E-4" href="https://chat.openai.com/c/3500229d-e97c-43cd-8c65-06c09d20464e#user-content-fn-1%5E" target="_new" data-footnote-ref="true" aria-describedby="footnote-label">1</a>.
In 2018, Davis publicly admitted on a BET show to being inside the Cadillac during the attack and implicated his nephew, Orlando "Baby Lane" Anderson, as one of the shooters. The shooting occurred shortly after a casino brawl earlier in the evening involving Anderson, Shakur, and others. Anderson denied any involvement in the Shakur shooting and died two years later in a shooting in Compton, California<a id="user-content-fnref-1%5E-5" href="https://chat.openai.com/c/3500229d-e97c-43cd-8c65-06c09d20464e#user-content-fn-1%5E" target="_new" data-footnote-ref="true" aria-describedby="footnote-label">1</a>.
Greg Kading, a retired Los Angeles police detective who spent years investigating the Shakur killing, mentioned that Davis' public descriptions of his role in the killing, including his 2019 tell-all memoir, gave Las Vegas the ammunition and leverage to move forward with the case<a id="user-content-fnref-1%5E-6" href="https://chat.openai.com/c/3500229d-e97c-43cd-8c65-06c09d20464e#user-content-fn-1%5E" target="_new" data-footnote-ref="true" aria-describedby="footnote-label">1</a>. Kading noted that Davis is the last living person among the four individuals who were in the vehicle from which shots were fired at Shakur and Knight. The others were Davis' nephew Anderson, Terrence "Bubble Up" Brown, and DeAndre "Freaky" Smith<a id="user-content-fnref-1%5E-7" href="https://chat.openai.com/c/3500229d-e97c-43cd-8c65-06c09d20464e#user-content-fn-1%5E" target="_new" data-footnote-ref="true" aria-describedby="footnote-label">1</a>.
The arrest of Davis rekindles hope for justice in a case that has remained unsolved but never forgotten. Tupac Shakur's legacy continues to live on, with his music still resonating with audiences around the world. As the legal proceedings unfold, the eyes of the world will once again be on the courtroom, seeking closure to a chapter that left an indelible mark on the music industry.
The unfolding developments in this case are a reminder of the long-lasting impact of Tupac Shakur's legacy and the quest for justice in his tragic demise. As the legal machinery moves forward, it's a step towards closure for the countless fans and the music fraternity who have been yearning for answers in this cold case.
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Tupac Shakur Killer: Las Vegas Police Arrest Man Allegedly Linked to Tupac Shakur's Killing

The Screen Actors Guild‐American Federation of Television and Radio Artists (SAG-AFTRA) and the Alliance of Motion Picture and Television Producers (AMPTP) are set to resume their negotiations on Monday, following a historic strike by the Writers Guild of America (WGA) that recently concluded with a tentative deal. The upcoming discussions between SAG-AFTRA and AMPTP are anticipated to address several critical issues, including the use of Artificial Intelligence (AI) and fair compensation for creatives in the streaming era. This negotiation comes at a crucial time when the entertainment industry is grappling with the rapid evolution of technology and its impact on traditional contracts and compensations.
<h3>Key Takeaways:</h3>
<ul>
<li>SAG-AFTRA and AMPTP to resume negotiations on Monday, following the recent tentative deal between WGA and AMPTP.</li>
<li>Major concerns include the use of AI, especially regarding consent and compensation for the creation and use of digital replicas of performers.</li>
<li>Another significant issue is the creation of a mechanism to benefit creatives from the success of their work on streaming services.</li>
<li>The WGA's deal with AMPTP included a viewership-based streaming "bonus" for writers, which could potentially serve as a model for SAG-AFTRA.</li>
<li>Unique issues to SAG-AFTRA also to be addressed, including meal break penalty increases, changes to health and pension contribution caps, and series regular options.</li>
</ul>
The <a href="https://www.hollywoodreporter.com/business/business-news/writers-guild-deal-sagaftra-negotiations-1235604050/" target="_new">recent article</a> from The Hollywood Reporter sheds light on the overlapping concerns between SAG-AFTRA and WGA, especially regarding the use of AI and fair compensation for streaming successes. Both unions have shown concerns regarding AI, particularly when it comes to consent and compensation for the creation and use of digital replicas of performers. The AMPTP has addressed some of these issues by instituting a requirement for performers&rsquo; consent for the creation and use of digital replicas. However, an agreement on guardrails has not been reached yet.
SAG-AFTRA has not revealed the details of its AI proposal but has criticized the AMPTP for allegedly wanting to use performers' images, likenesses, and performances to train new generative AI systems without consent or compensation. On the other hand, the WGA deal could potentially provide SAG-AFTRA with a template on how to approach future scenarios where companies want to use performances to train AI models. The WGA sought to block companies from training AI on its members' writing, and in its eventual deal, both the WGA and the AMPTP essentially asserted and reserved their rights regarding the technology.
Another major issue for both the WGA and SAG-AFTRA in this negotiation cycle is the creation of a mechanism by which creatives can benefit from the success of their work on streaming services. SAG-AFTRA initially proposed a revenue-sharing plan where casts of streaming projects would get 2 percent of the income their projects bring in, which the AMPTP balked at. The performers union further proposed to use the "content valuation" tool from third-party firm Parrot Analytics to validate revenue generation. Conversely, the WGA sought a new residual formula that would reward popular projects, arguing that companies should be candid and upfront about their program views.
The WGA's eventual solution with the AMPTP was to institute a new viewership-based streaming "bonus" &mdash; an additional residual that offers extra compensation to writers on made-for-streaming projects that are viewed by 20 percent or more of a platform&rsquo;s domestic subscribers in the first 90 days. This could potentially serve as a model for SAG-AFTRA, although it remains to be seen if the union will continue to push for its original plan to use third-party metrics.
Moreover, SAG-AFTRA is also addressing issues like meal break penalty increases, changes to health and pension contribution caps, and series regular options to allow actors to seek other employment during long hiatus periods. These unique issues to SAG-AFTRA highlight the diverse range of concerns within the union's 160,000-plus membership.
The upcoming negotiations between SAG-AFTRA and AMPTP are crucial for setting a precedent in an industry that is rapidly evolving with the advent of new technologies. The outcomes of these discussions will not only impact the working conditions and compensations for the members of SAG-AFTRA but could also set a benchmark for other unions and industry stakeholders in addressing the challenges posed by the digital era.
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New York NY USA-July 14, 2023 Members of SAG-AFTRA and other union supporters picket outside the HBOAmazon offices in the Hudson Yards neighborhood in New York (rblfmr/shutterstock.com) 

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Will the End of the WGA-Strike Help the Actors Strike Deal

<h2>Hollywood Studios Prioritize Key Projects Post WGA Strike: A Glimpse into the Revival</h2>
In the wake of the recently concluded Writers Guild of America (WGA) strike, Hollywood studios are meticulously charting the course forward by prioritizing certain film and TV projects. The strike, which lasted for a significant duration, had put a pause on the entertainment industry's heartbeat, halting numerous projects midway. However, with the strike's resolution and the anticipation of a new deal from SAG-AFTRA, the studios are gearing up to fast-track various projects into production or development.
Key Takeaways:
<ul>
<li>Hollywood studios are fast-tracking major titles like "Star Trek," "Superman: Legacy," "Abbott Elementary," and "Wednesday" into production or development.</li>
<li>Paramount is keen on refining scripts for its planned reboot of "Star Trek" and its adaptation of Tom Clancy&rsquo;s "Rainbow Six."</li>
<li>Warner Bros is focusing on fine-tuning Matt Reeves' planned "The Batman" sequel, showcasing the importance of superhero franchises.</li>
<li>Universal is working on a new draft of "Fast X: Part 2," indicating the continuous allure of high-octane action films.</li>
<li>Several major film projects like the sequel to "Gladiator," "Mission: Impossible &ndash; Dead Reckoning Part Two," and "Deadpool 3" await the end of SAG-AFTRA&rsquo;s work stoppage to resume production.</li>
<li>On the TV front, networks and streamers are prioritizing long-running shows and big-budget freshman series that were in preproduction or already shooting.</li>
<li>Top-priority broadcast shows to start filming post actors' deal endorsement include ABC&rsquo;s "Grey&rsquo;s Anatomy" and "Abbott Elementary," and Dick Wolf&rsquo;s "Law &amp; Order," "Chicago," and "FBI" franchises.</li>
</ul>
The <a href="https://www.kftv.com/news/2023/09/29/studios-priority-film-tv-projects-post-writers-strike?fbclid=IwAR1pGS6yHhjFWeMO0-QMvuKWqGONaDQiwf5oIuFDLqVrfFs6gkh2vjd0uJE" target="_new">recent article</a> from KFTV sheds light on how Hollywood studios are strategizing their top priority projects following the WGA strike resolution. The studios, networks, and streamers have outlined priority film and TV projects they aim to expedite into production or development. Among the major titles being fast-tracked include "Star Trek" and "Superman: Legacy" to "Abbott Elementary" and "Wednesday."
Paramount, for instance, is keen on having writers refine scripts for its planned reboot of "Star Trek" and its adaptation of Tom Clancy&rsquo;s "Rainbow Six." This move underscores the studio's commitment to delivering high-quality content by ensuring that the scripts are polished to perfection before proceeding further.
On the other hand, Warner Bros is channeling its resources towards fine-tuning Matt Reeves' planned "The Batman" sequel. The superhero genre continues to be a lucrative domain, and Warner Bros aims to capitalize on this trend by investing in one of its flagship franchises.
Universal is also in the race with a new draft of "Fast X: Part 2," which is currently expected to zoom into cinemas on April 4, 2025. The "Fast and Furious" franchise has been a cash cow for Universal, and the studio is keen on keeping the momentum going with the latest installment.
The article also mentions other projects like "Minecraft" and James Gunn&rsquo;s "Superman: Legacy," which have completed scripts and are set to begin production in spring of next year, contingent on a deal with actors. This indicates the studios' readiness to hit the ground running as soon as the actors' union issues are resolved.
On the TV front, most networks and streamers are prioritizing long-running shows and big-budget freshman series that were in preproduction or already shooting. This strategy is partly due to time constraints on filling out writers' rooms or casting new roles. Once actors endorse a deal, broadcast shows such as ABC&rsquo;s "Grey&rsquo;s Anatomy" and "Abbott Elementary," Fox&rsquo;s "9-1-1: Lone Star," and Dick Wolf&rsquo;s "Law &amp; Order," "Chicago," and "FBI" franchises are among the top-priority projects to start filming.
The unfolding scenario paints a picture of cautious optimism within the Hollywood fraternity. The studios are meticulously planning their moves to ensure a smooth transition into the post-strike era. The prioritization of these projects is a testament to the studios' commitment to delivering quality entertainment to audiences worldwide.
As the industry gradually steps into the revival phase, the anticipation among audiences is palpable. The coming months are expected to be bustling with activity as studios, networks, and streamers work tirelessly to bring their priority projects to fruition. The entertainment industry's resilience is on full display as it navigates through the post-strike landscape, aiming to recapture the audience's imagination and continue its journey in the storytelling realm.
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Post-WGA Strike: Hollywood's Fast-Track List of TV Shows and Movies

The recent 148-day <a title="Writers Guild of America (WGA)" href="https://www.projectcasting.com/blog/tag/writers-guild-of-america/">Writers Guild of America (WGA)</a> strike has left an indelible mark on the Television industry, reshaping the business and marketplace dynamics as it reopens post-strike. The tentative agreement reached between the guild and the studios has been termed as "exceptional," encompassing AI guardrails, viewership-based residuals, writers room minimums, pay raises, and other significant gains. However, as the dust settles, the TV industry is bracing for a phase of accelerated contraction, heightened competition, reeled-in budgets, fewer overall deals, and possibly more cancellations. This article delves into the aftermath of the strike, exploring the challenges and the evolving landscape of the TV business.
Key Takeaways:
<ul>
<li>The 148-day WGA strike culminated in an "exceptional" agreement, addressing several longstanding issues including <a href="https://livy.ai/">AI</a> guardrails and viewership-based residuals.</li>
<li>The TV industry is expected to face a phase of accelerated contraction with more competition, reeled-in budgets, and fewer overall deals.</li>
<li>Unlike the 2007-2008 strike, writers were more invested in picketing, resulting in fewer spec scripts prepared for the market.</li>
<li>The market is expected to be less receptive post-strike, with buyers anticipated to buy and make less.</li>
<li>The 2024 pilot season can still be salvaged with aggressive buying strategies from networks.</li>
<li>Show budgets are expected to shrink, marking the end of the "streaming gold rush" that led to an overall deal boom a couple of years ago.</li>
<li>The industry is in a phase of pullback with fewer staffing jobs available amid show cancellations, fewer script buys, and fewer term deals.</li>
</ul>
The <a href="https://deadline.com/2023/09/tv-business-changes-writers-strike-impact-1235553886/" target="_new">Deadline article</a> highlights the mixed emotions in the industry as it reopens post-strike. The joy of resuming work is tempered by the uncertainty of what the business and marketplace would look like moving forward. The industry is expected to face a phase of accelerated contraction, more competition, reeled-in budgets, fewer overall deals, and possibly more cancellations. This scenario is a stark contrast to the 2007-2008 strike where writers were focused on preparing spec scripts for the market. This time around, the writers were more invested in picketing, showcasing a heightened level of commitment to their cause.
The market's receptivity post-strike is another area of concern. Casey Bloys, Chairman and CEO of HBO and Max Content, termed this phase as an "existential" moment for the industry during his appearance at the Code Conference. The sentiment resonates with the broader industry outlook, where buyers are anticipated to buy and make less. The cautious approach from buyers is a reflection of the uncertain times the industry is navigating through, further exacerbated by the ongoing global pandemic.
The 2024 pilot season, however, presents a glimmer of hope. Despite the current broadcast season being massively impacted by the strike, industry sources expect networks to be aggressive in buying new pitches along with some development rolled over from before the strike. This strategy could potentially salvage the 2024 pilot season, reigniting the spark of creativity and innovation in the industry.
Budget constraints are another reality the industry has to grapple with. The era of generous budgets seems to be waning, with an industry insider estimating that broadcast dramas would cost on average $4.5 million-$5 million per episode, and about half of that for comedy. Even streamers, known for their hefty budgets, are expected to exercise financial prudence moving forward.
The "streaming gold rush" that led to an overall deal boom a couple of years ago appears to be officially over. The strike saw some pacts expire, and they won't be renewed, marking a shift in the industry's approach towards overall deals. Only high-profile talent tied to big shows are expected to get extensions, indicating a tighter overall deal market.
The industry is undoubtedly in a phase of pullback, with fewer staffing jobs available amid show cancellations, fewer script buys, and fewer term deals. The strike-influenced 2023 dip is not seen as an anomaly but a reflection of the evolving landscape of the TV business. The industry is at a crossroads, and the decisions made now will shape the trajectory of the TV business in the years to come.
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Members of WGA walk with pickets on strike outside the Culver Studio, Tuesday May 2, 2023 in Culver City, California. (Ringo Chiu / Shutterstock)

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Show Budgets are Expected to Shrink Post-WGA Strike

The curtain of uncertainty that hung over Hollywood has finally been lifted as the Writers Guild of America (WGA) strike comes to an end. The five-month-long strike had brought many productions to a standstill, leaving fans yearning for the continuation of their favorite shows. However, with the strike now over, major networks are fast-tracking several TV shows to make up for lost time.
Key Takeaways:
<ul>
<li>The Writers Guild of America (WGA) strike concludes after five months, paving the way for the resumption of many Hollywood productions.</li>
<li>TV shows from major networks like <a title="HBO" href="https://www.projectcasting.com/blog/tag/hbo/">HBO</a>, <a title="Netflix" href="https://www.projectcasting.com/blog/tag/netflix/">Netflix</a>, and <a title="ABC" href="https://www.projectcasting.com/blog/tag/abc/">ABC</a> are being fast-tracked to reduce their time off air.</li>
<li>The new three-year contract ratified by the guild promises fairer streaming deals and assurances related to the usage of <a title="AI" href="https://livy.ai/">AI</a>.</li>
</ul>
According to a recent <a href="https://www.independent.co.uk/arts-entertainment/tv/news/tv-shows-stranger-things-last-of-us-wga-strike-b2420125.html" target="_new">news article</a> by The Independent, the WGA announced on September 26 that it had voted to accept the deal with the Alliance of Motion Picture and Television Producers (AMPTP), ending the strike after 148 days on the picket line. This agreement has not only brought relief to the writers but also to the entire Hollywood fraternity, who are now gearing up to resume productions.
Among the networks, HBO, Netflix, and ABC have identified their 'top-priority projects' and are fast-tracking them to reduce their time off air. For HBO, the focus is on "The White Lotus" season three and "The Last of Us" season two. Netflix, on the other hand, is channeling its resources towards the final season of "Stranger Things" and "Wednesday" season two. ABC is also in the race with "Grey&rsquo;s Anatomy" and "Abbott Elementary" being fast-tracked, while Fox is hoping to get its franchise shows, including "Law &amp; Order," "FBI," and "911: Lone Star," back on track.
The end of the WGA strike is a significant milestone as it also marks the ratification of a new three-year contract between the guild and Hollywood studios. This contract, as per the article, provides writers with assurances related to the usage of AI and fairer streaming deals, which were among the core issues that led to the strike in the first place.
The fast-tracking of these TV shows is a testament to the resilience of the entertainment industry, which has time and again bounced back from various challenges. The fans, too, are rejoicing as they can now look forward to the continuation and conclusion of the narrative arcs of their beloved characters.
Moreover, the resolution of the strike and the subsequent fast-tracking of TV shows underscore the symbiotic relationship between the writers, producers, and the audience. It's a win-win situation where the writers get their due, the producers can continue with their projects, and the audience gets to satiate their appetite for compelling storytelling.
The ripple effect of this development is likely to be seen across the entertainment industry, with more networks and studios following suit to fast-track their projects. The end of the WGA strike has indeed ushered in a new dawn for Hollywood, promising a bustling period of creativity and entertainment.
As the wheels of Hollywood start turning again, the anticipation among the audience is palpable. The coming months are sure to be filled with announcements, teasers, and releases that will once again showcase the indomitable spirit of the entertainment industry.
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LOS ANGELES - JAN 09: Pedro Pascal arrives for HBO’s ‘The Last of Us’ premiere on January 09, 2023 in Westwood, CA (DFREE/Shutterstock)

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Hollywood Springs Back to Action: TV Shows Fast-Tracked Post WGA Strike

The much-anticipated Season 5 of the popular <a title="Netflix" href="https://www.projectcasting.com/blog/tag/netflix/">Netflix</a> series, <a title="Stranger Things" href="https://www.projectcasting.com/blog/tag/stranger-things/">Stranger Things</a>, is back on track as the production resumes following the resolution of the Hollywood writers' strike. The Writers Guild of America (WGA) and various Hollywood studios and streaming services reached an agreement, marking the end of the strike on September 27. This development has reignited the excitement among the fans who are eagerly waiting to delve back into the mysteries of Hawkins, Indiana.
The confirmation of the resumption came from the Stranger Things writers themselves, who took to Twitter to share an image with the words "we're back." This simple yet powerful message has sent waves of excitement across the fan base, signaling that the journey to the Upside Down is set to continue.
One of the intriguing aspects of the upcoming season is the promised time jump. The narrative is set to shift its focus back to Will, a character who hasn't been at the center since the inaugural season. This shift in focus is likely to bring new dimensions to the storyline, enriching the narrative arc as it approaches its conclusion.
Adding to the anticipation is the tie-in with the Stranger Things stage play, which delves into the origin stories of key characters - Joyce, Bob, and Hopper. Although the play hasn't yet debuted on London's West End, it's expected to provide a narrative lead into Season 5, offering fans a deeper understanding of the characters they've grown to love.
David Harbour, who plays Chief Hopper in the series, shared his enthusiasm about returning to the set during a recent podcast appearance. He expressed his excitement to wrap up the series in a "bold, amazing way" and promised significant payoffs for the original characters. His words have added fuel to the already high anticipation surrounding the final season of this beloved series.
Key Takeaways:
<ul>
<li>Production for Stranger Things Season 5 has resumed following the end of the Hollywood writers' strike on September 27.</li>
<li>The confirmation of production resumption was shared by the Stranger Things writers on Twitter with a post stating "we're back."</li>
<li>Season 5 is set to feature a time jump, with a renewed focus on the character Will.</li>
<li>The upcoming season will tie into the Stranger Things stage play, exploring the origin stories of Joyce, Bob, and Hopper.</li>
<li>Actor David Harbour expressed his excitement to return and wrap up the series in a "bold, amazing way," promising significant payoffs for the original characters.</li>
<li>Fans are eagerly awaiting more information on the fifth and final installment of Stranger Things, currently streaming on Netflix.</li>
</ul>
The unfolding developments surrounding Stranger Things Season 5 are a testament to the show's strong narrative and the unwavering support of its fan base. As the production gears up, the excitement is palpable, and the mysteries of the Upside Down are once again ready to captivate audiences worldwide.
The resolution of the WGA strike has not only paved the way for Stranger Things but also for many other productions that were halted. It's a positive turn of events for the entertainment industry, promising a slew of engaging content in the near future.
As we await more updates on Stranger Things Season 5, the resumption of production is a significant step forward, promising a satisfying conclusion to a series that has become a cultural phenomenon over the years.
More Project Casting Entertainment News: <a href="https://www.projectcasting.com/blog/news/sag-aftra-amptp-to-meet-on-monday/">SAG-AFTRA and AMPTP Set to Resume Talks on Monday</a>
In a recent development, the Screen Actors Guild‐American Federation of Television and Radio Artists (SAG-AFTRA) and the Alliance of Motion Picture and Televisi...
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In an industry where opportunities abound, the legitimacy of casting platforms is a paramount concern for both aspiring and seasoned talents. Project Casting ha...
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The Peach State is making waves in the entertainment sector as it steadily climbs the ladder to become a film production powerhouse. The Georgia Department of E...

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Netflix 'Stranger Things' Season 5 Resumes Production

In a bid to rejuvenate the local film, TV, and digital production sector post-strike, the <a href="https://deadline.com/2023/09/los-angeles-strike-film-tv-tax-incentives-fee-waivers-funding-1235557994/">Los Angeles County Board of Supervisors</a> is actively exploring a range of financial incentives. Supervisors Katheryn Barger and Lindsey Horvath have spearheaded a motion, unanimously passed with a 5-0 vote, to identify strategies that could incentivize ongoing and new productions in the county.
The motion directs the County Department of Economic Opportunity, in consultation with FilmLA, to engage an economic development firm for studying various strategies. The proposed mechanisms under consideration are extensive and aimed at making the region more attractive for filming, especially on County property.
Key Takeaways:
<ul>
<li>The motion proposes a variety of financial incentives including:
<ul>
<li>Incentive packages to attract foreign investment in film production.</li>
<li>Payroll and sales tax reductions for productions in unincorporated areas.</li>
<li>Tax reductions or deferments for production facility capital development projects.</li>
<li>A "creative economy evergreen capital development fund" for emerging entertainment technologies like virtual reality and artificial intelligence.</li>
<li>Reductions in regulatory and zoning barriers for building production facilities.</li>
<li>A fee waiver program for lower impact and/or student productions in unincorporated areas.</li>
<li>A plan to leverage vacant underutilized County properties for shared production space.</li>
</ul>
</li>
<li>The motion emphasizes the importance of the entertainment industry to the Los Angeles County economy and aims to ensure the region remains attractive for filming.</li>
<li>County agencies are directed to advocate for enhancing the California Film Tax Credit program, remove fee and permit requirements for production scout visits to County property, and engage with studios and unions to encourage young and diverse populations to learn more about and land jobs in the industry.</li>
<li>The 2023 Otis Report on the Creative Economy highlighted the local entertainment sector's significant contribution, with approximately one million jobs, $114 billion in labor income, and $38 billion in tax revenue.</li>
<li>Revenue lost due to the strikes, estimated between $3 to $4 billion if the strike lasts 100 days, is cited as a motivating factor for the motion.</li>
<li>California Gov. Gavin Newsom last week estimated the economic impact of the strikes at more than $5 billion.</li>
</ul>
The motion comes at a critical time when the entertainment industry is grappling with the repercussions of prolonged strikes. The L.A. Economic Development Corporation report highlighted the significant revenue loss due to the strikes, which has propelled the supervisors to act swiftly.
Supervisor Barger stressed the need to support the entertainment industry as the strikes reach their resolutions. The motion is also aimed at ensuring that L.A. County continues to be a desirable destination for filming and discourages film and television shoots from moving out of the county due to cost or bureaucratic hurdles.
Supervisor Horvath echoed Barger's sentiments, emphasizing the need for competitive local incentives and continued investment to keep film, TV, and commercial productions thriving in L.A. County. The supervisors' proposal underscores the critical role the entertainment industry plays in the local economy and the urgent need to restore it to its former glory post-strike.
More Project Casting Entertainment News: <a href="https://www.projectcasting.com/blog/news/sag-aftra-amptp-to-meet-on-monday/">SAG-AFTRA and AMPTP Set to Resume Talks on Monday</a>
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Actor Simu Liu joins other striking writers and actors walking with pickets outside Culver Studios in Culver City, Calif. on Wednesday, Aug. 2, 2023. (Ringo Chiu/Shutterstock)

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Post Strike: Los Angeles Film Tax Credits Could Be On The Way

In a recent candid interview with GQ, legendary filmmaker Martin Scorsese unveiled that Warner Bros. had approached him with a request to alter the ending of his critically acclaimed film "The Departed." The studio's intent was clear: they envisioned a sequel, a potential franchise born out of this gritty crime drama. This revelation sheds light on the ever-growing franchise frenzy in Hollywood, where storytelling often bows to commercial aspirations.
Scorsese's "The Departed," a riveting tale of deceit and identity, won him his first Best Director trophy. The 2006 film stars Matt Damon as a mole for the Irish mob and Leonardo DiCaprio as an undercover officer, both entangled in a deadly game of cat and mouse. However, the studio's vision seemed to diverge from Scorsese's narrative arc. Warner Bros. allegedly wanted one of the two leads to remain alive at the end, paving the way for a sequel.
&ldquo;What they wanted was a franchise,&rdquo; Scorsese said during the interview. This statement encapsulates the studio's desire to capitalize on the film's success by spawning a series of sequels. However, Scorsese's narrative had a different trajectory, one that resonated with audiences at the test screenings. The original ending, which saw the demise of both lead characters, was well-received, but left the studio &ldquo;very sad, because they just didn&rsquo;t want that movie. They wanted the franchise. Which means, I can&rsquo;t work here any more,&rdquo; as Scorsese remarked.
The acclaimed director didn't mince words when he expressed his concerns about the franchise obsession in Hollywood. He stated, &ldquo;The danger there is what it&rsquo;s doing to our culture, because there are going to be generations now that think movies are only those &mdash; that&rsquo;s what movies are.&rdquo; This sentiment reflects a growing concern among filmmakers and cinephiles about the commercialization of storytelling, where box office numbers often overshadow artistic expression.
Scorsese's critique extends beyond just this instance. He urged fellow artists to &ldquo;go reinvent. Don&rsquo;t complain about it. But it&rsquo;s true, because we&rsquo;ve got to save cinema.&rdquo; His words echo a larger narrative within the industry, urging creators to challenge the status quo and strive for originality in storytelling.
He further added, &ldquo;I do think that the manufactured content isn&rsquo;t really cinema,&rdquo; highlighting the distinction between mass-produced franchise films and original cinematic storytelling. This isn't the first time Scorsese has voiced his concerns about the state of cinema amidst the franchise frenzy. His call to action for fellow filmmakers is to reinvent and save the essence of cinema from being overshadowed by commercial ambitions.
The full interview can be read on <a href="https://deadline.com/2023/09/martin-scorsese-claims-warner-bros-asked-for-new-ending-to-the-departed-1235558222/" target="_new">Deadline</a>, where Scorsese delves deeper into his experiences and shares his insights on the evolving landscape of filmmaking.
This revelation from Scorsese opens up a dialogue about the balance between artistic integrity and commercial success. It also brings to light the pressures filmmakers face from studios keen on capitalizing on successful narratives by extending them into franchises.
As the industry continues to grapple with the balance between artistic expression and commercial viability, Scorsese's revelation serves as a stark reminder of the challenges filmmakers face in preserving the essence of storytelling amidst the clamor for franchises.
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Martin Scorsese Reveals 'The Departed' Alternate Ending

In a bold move that could potentially reshape the media landscape, media mogul Byron Allen has expressed his interest in acquiring ABC and other linear TV assets from the entertainment giant <a title="Disney" href="https://www.projectcasting.com/blog/tag/disney/">Disney</a>. The CEO of Allen Media Group has put forth a whopping $10 billion bid, which he confirms is fully financed, marking a significant milestone in the ongoing saga of media acquisitions.
Allen's interest in these assets is not new; it dates back nearly a decade. His keen eye on Disney's local stations became apparent in 2014 when Disney showed no interest in making an offer for WJLA-TV in Washington, D.C., which was eventually acquired by Sinclair. This passivity from Disney signaled to Allen a diminishing enthusiasm for local TV, which spurred his interest even further.
The media entrepreneur's bold bid comes at a time when the industry is witnessing a paradigm shift from traditional linear TV to digital platforms. However, Allen's staunch belief in the value of linear TV sets him apart from the crowd. His statement that there's plenty of capital available for such acquisitions underscores the financial backing and the confidence investors have in his vision.
The road to this acquisition is not without hurdles. The primary obstacle lies within Disney's internal deliberations. Despite Bob Iger, Disney's CEO, previously hinting that linear TV may not be core to the company's future, there seems to be a hesitation to enter a formal sale process. This internal tug-of-war within Disney is what's keeping the formal sale process from kicking off.
Allen's discussion at the Code Conference shed light on the broader picture. He emphasized that the "certainty of close" is the real commodity sellers are after in the current regulatory and industry landscape. This statement reflects the complex nature of media acquisitions and the regulatory scrutiny they are subjected to.
Moreover, the article mentions that local TV giant Nexstar Media Group had also held talks with Disney about ABC and the company's eight owned local stations. This indicates that the interest in Disney's linear TV assets is not isolated to Allen Media Group alone, but there's a broader interest in the industry.
Allen Media Group's portfolio is diverse, with holdings including The Weather Channel, local stations, and a film and TV production operation. The acquisition of FX and National Geographic Channel is also on Allen's radar, which further emphasizes his ambitious plans to expand his media empire.
The media landscape is at a crossroads with the advent of digital platforms. Legacy companies like Disney are in a tough spot, trying to navigate the transition while maintaining their foothold in the traditional media space. Allen's analogy of building a new airplane mid-air while flying the old one encapsulates the challenges faced by these legacy companies.
Allen's relationship with Bob Iger, dating back to his early days as a stand-up comedian, adds a personal touch to this professional endeavor. He believes that his offer would be given full consideration, given the rapport he shares with Iger.
The potential acquisition of ABC and other linear TV assets by Byron Allen could be a game-changer in the media industry. It not only reflects the shifting dynamics but also the opportunities that lie ahead for traditional media channels amidst the digital revolution.
As the industry keenly watches the developments unfold, the ball is now in Disney's court to respond to this bold offer. The decision could set a precedent for other legacy media companies grappling with the digital transition, making this a pivotal moment in the media industry's evolution.
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Byron Allen Offers $10 BIllion for Disney's TV Assets

In a swift response to the conclusion of the Writers Guild of America's (WGA) strike, major studios are reinstating the suspended overall deals with writers and producers, marking a significant step towards resuming normalcy in the entertainment industry. The move comes as a sigh of relief for many in the industry who were affected by the suspension of deals during the five-month-long strike.
Warner Bros. Television has taken the lead by lifting suspensions for top showrunners including Greg Berlanti, J.J. Abrams, and others, effective from Thursday. This move is seen as a strong signal towards rebuilding the strained relations between studios and writers, and getting the wheels of creativity spinning once again.
Other studios are not far behind, with sources indicating that they have already initiated the process of lifting suspensions. The process is expected to continue through early next week, gradually bringing back the suspended talents to the studios.
One of the key concerns amidst this reinstatement is whether the deals are being extended to compensate for the suspension period. It's a mixed bag, as some top producers have clauses in their contracts that automatically extend their deals to cover the suspension period. However, others may not have such clauses, leaving them in a precarious position. If a deal expired during the summer, for instance, studios could opt not to extend the deal to cover the months missed during the strike, thereby considering the pact expired.
The <a href="https://www.hollywoodreporter.com/tv/tv-news/suspended-overall-deals-writers-producers-strike-1235602965/">article</a> highlights that not a single overall or first-look deal was outright canceled during the 148-day-long WGA strike under the force majeure clauses. This shows a level of restraint and perhaps an understanding of the larger issues at play during the strike.
The first wave of deal suspensions came in the spring, shortly after the strike commenced in May. This wave included a majority of pure writer deals and most major overalls, affecting notable names like Mike Schur and Sam Esmail at NBCUniversal, and Chuck Lorre and John Wells at Warners. On September 6, Warners suspended the remainder of its stable, including Greg Berlanti, Bill Lawrence, and Mindy Kaling, except for three who had shows in post-production.
The suspensions were a strategic move by the studios and streamers to cut costs during the work stoppage. However, with the WGA strike now concluded, the rush begins to reinstate deals and get scripted series and movies back into production, especially as the performers union, SAG-AFTRA, remains on strike.
The reinstatement of suspended overall deals is seen as a positive step towards mending the rift between studios and writers. It's a move towards getting the entertainment industry back on its feet after a prolonged period of uncertainty and inactivity.
The industry is keenly watching how studios handle the reinstatement process, especially regarding the extension of deals to cover the suspension period. It's a complex scenario with no one-size-fits-all solution, given the diverse contracts and agreements in place.
As the studios spring back into action, the focus now shifts to how quickly they can ramp up production to make up for lost time. The entertainment industry is a significant contributor to the economy, and getting it back on track is crucial for many stakeholders involved.
The road ahead is filled with challenges as the industry navigates the post-strike landscape. However, the reinstatement of suspended overall deals is a step in the right direction, bringing hope and optimism for a fresh start.
More Project Casting Entertainment News: <a href="https://www.projectcasting.com/blog/news/sag-aftra-amptp-to-meet-on-monday/">SAG-AFTRA and AMPTP Set to Resume Talks on Monday</a>
In a recent development, the Screen Actors Guild‐American Federation of Television and Radio Artists (SAG-AFTRA) and the Alliance of Motion Picture and Televisi...
<a href="https://www.projectcasting.com/blog/news/project-casting-legit/">How Legit is Project Casting?</a>
In an industry where opportunities abound, the legitimacy of casting platforms is a paramount concern for both aspiring and seasoned talents. Project Casting ha...
<a href="https://www.projectcasting.com/blog/news/georgia-film-industry-surpass-california-2027/">Georgia's Film Industry Skyrockets, Set Up to Surpass California by 2027</a>
The Peach State is making waves in the entertainment sector as it steadily climbs the ladder to become a film production powerhouse. The Georgia Department of E...

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Studios Spring Back into Action: Suspended Overall Deals Reinstated After Writers' Strike

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What's Featured:

I am Interested But waiting on more Parts!

Alisa Sapegina is interested. She is an actress and lives in Russia,has Visa. You already have her Resume and pictures on file. I'm her friend,i live in USA. On her request i'm contacting you.

Hello I'm Fred Capitano Actor, Model, I would like to be part of this great movie please review imdb.com pro Fred Capitano Also explore talent resume ,retired demolition construction.,ex Military.Acting is a different style you can change out for different rolls.Thank you for my consideration.

Hello, I am a very trim and fit 30's-40's look. I am an avid surfer, snow skiier and horseman. I have a deep background in public speaking and am currently working on HOMELAND and 2 independent films. Please see my website.  Thank you!

Hi! My name is Baby Norman and I am an actress,singer,dancer,model signed with J. Pervis Talent Agency and Click Models in Atlanta, Georgia. I am Hungarian,Welsh and American Indian. I am 5'5", 119lbs. I have had years of experience with film, and t.v. I hope to be considered for your project!! 

Thank you!!
http://www.youtube.com/watch?v=Nxhivb7otT8

Hi,My Name is Esther.I have worked over 25 Movies&amp; series as background and some featured.I have also been part of Cast.I am Female/Caucasian/greek. I speak English only.5'41/2" 130 lbs. Drk.Brn/Blk  hair blue eyes. age 50's.Total available at this time.Thank you,Esther

I am beyond excited to work as apart of the crew for such a strong story.  Resume sent. Thanks

Hello! I'm very interested in a role in this project. I'm a local Atlanta actor with experience on professional sets. 5'6 Caucasian 130 lbs with a 16-23 year age range. I submitted an email with my resume and photos. Here is a link to my demo reel as well. Looking forward to hearing from you! 

http://www.youtube.com/watch?v=34ArZmWMFXM&amp;feature=youtu.be

Hello! My name is Alanna and I have submitted my information for both acting as well as working as part of the crew. My love for acting is extensive, even if it means working behind the scenes. Please let me know if you can use me as I am an Art major and noticed you need some Artistic help!

Have a great day!

Alanna

Any part, no matter how small, would be wonderful.  I am 39, solid auburn hair, green eyes, and light complexion, long hair that is beautiful curled and put up.  I am built old fashioned as well, curvy with a small waist.  Believe I could look the part pretty well.  Am available close to Atlanta and very familiar with the area.

Hi my name is Kai Lewis. I'm energetic positive and ready to work. I'm 6'1 170lbs and I'm good physical condition. What I think separates me is my district look, I'm. A African American who has Albinism so if new and fresh is what your seeking that's what I'm bring to the table.
Thank and let's work.

Jeremy E. Johnson
Atlanta, GA
6'2" 
190 lbs.
862-600-5560
Facebook.com/jeremyejohnson
twitter.com/ @jeremyejohnson

Hello Fred Capitano ,just checking on this movie I,m sure it over by now but just wondering when the trailer is coming out also keep me in mind for any other shoots thank you Fred Capitano

Casting directors are now casting actors to play various roles for the upcoming feature film, "Last of Robin Hood". This is a great opportunity, if you are in the surrounding Atlanta area, and if you are interested in taking your acting career to the next level.

"The Last of Robin Hood" is a biopic that will follow the final days of the Hollywood legend Errol Flynn. Errol Flynn lived a complicated life, which leading him to a fatal heart attack at the young age of 50.

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Errol Flynn will be played by the Academy Award winner Kevin Kline. According to <a href="http://www.variety.com/article/VR1118060563" target="_blank">Variety,</a> "Kline recently starred in Robert Redford's period pic "The Conspirator" and Lawrence Kasdan's drama "Darling Companion." Thesp is attached to play multiple roles in Charlie Kaufman's long-gestating Hollywood satire "Frank or Francis," and he'll soon begin shooting CBS Films' comedy "Last Vegas" with Robert De Niro, Michael Douglas and Morgan Freeman."

On the Hollywood silver screen Flynn was as charming as you can imagine, playing upright heroes like the 1938 classic&nbsp;The Adventures of Robin Hood.&nbsp;However, behind the screens his life was much more controversial. He filled his personal life with boozing, drug abuse, womanizing of gargantuan proportions and an array of scandals culminating in being charged with statutory rape.

The expected release date for this upcoming motion picture is 2013. But, filming should begin in the next few weeks. So, casting directors are looking for you. We will keep you updated on anymore casting opportunities so stay tuned!
<h5>Crew Positions Hiring</h5>
"The Last of Robin Hood", a tier 1 independent feature film (IATSE national contract), is now accepting crew resumes for the following positions. Please submit resumes to <a title="" href="mailto:lorhresumes@gmail.com" target="_blank">lorhresumes@gmail.com</a>.

Principal photography is scheduled to begin Feb. 4, 2013 for approximately 5 weeks all in metro Atlanta.

POC
Office PAs
Art PAs
Art Director
Craft Services
Script Supervisor
Set Costumers
Props
Lead man
Sound mixer
Key grip
<h6>Casting Call and Audition Information</h6>
December 18, 2012

For the feature film "Last of Robin Hood" (starts Feb. 4th and is the story of the last 2 years of Errol Flynn's life from 1957-59):&nbsp;Looking for guys and gals, ages 18-25, especially who look younger (that can pass for 16 &amp; 17), CAUCASIAN &nbsp;***People with Tattoos on your lower arms/hands and neck or face area are NOT allowed. IF you have any Tattoos, you MUST list where they are in your submission and a brief description (size, etc...)&nbsp;Please submit to tammysmithcasting@gmail.com and put "BEVERLY FRIEND" in the subject.

CURRENT PHOTOS !!!!!!!!!!!!
(one of from shoulders up and one from the knees up)
NAME
PHONE NUMBER (s)
Email address
CITY and STATE where you live
AGE
Height
Weight
SIZES:
Women- Bust/Bra, waist, hips, shoe and dress size
Men- Jacket, neck, sleeve, waist, inseam, shoe

AGAIN: *** IF you have any Tattoos, you MUST list where they are in your submission and a brief description (size, etc...)

NOTE: YOU MUST BE LOCAL TO ATLANTA or able to work locally in Atlanta (no farther than 4 or 5 hours away by car, max!)
<h6>January 13, 2013</h6>
This is a PERIOD FILM that takes place in 1958-1959 during the last 2 years of Errol Flynn's life.&nbsp;Looking for CAUCASIAN Men and Women, ages 30-65.&nbsp;MEN must have short hair around the ears and neck,&nbsp;and NO BEARDS (mustaches are ok, but must be willing to have it shaped to the period).&nbsp;Hair that is slightly longer on top is ok, but all men must be ok with a haircut as needed.&nbsp;AND Men can NOT be bigger than a size 46 coat.&nbsp;

WOMEN must have hair that is one color (no highlights or multi tones, etc..) AND women canNOT be bigger than a size 14 dress.

NOTE: IF YOU HAVE ACTING EXPERIENCE, PLEASE INCLUDE A RESUME or a description of your experience
IN YOUR SUBMISSION&nbsp;(this is NOT for speaking parts, but several of the scenes are small and require some good RE-actors to the action and it will important to include some good actors as those extras).&nbsp;Filming starts Feb 4th in and around central Atlanta and it is a Mon-Fri work week.&nbsp;Work dates will be determined as we get closer and depending on what scene you are selected for if chosen.&nbsp;There are not huge numbers of extras on this one, but there are several great scenes where the extras are a mix of attractive and interesting character faces, but all from the LATE 1950's period (ie, hair length and the criteria listed above).&nbsp;Men AND Women- YOUR PHOTO MUST SHOW YOUR CURRENT HAIR LENGTH (include a current photo PLEASE- better to take a moment to really submit for this one properly) ALSO, IF you have any vintage clothes or accessories (i.e. eye glasses), please either include a photo or describe what you have in the submission. There will be a fitting involved for most extras, but it will be great to use some of your own stuff!&nbsp;Please submit to:&nbsp;tammysmithcasting@gmail.com&nbsp;and put "ROBIN HOOD" in the subject.
<h5 style="text-align: left;">January 18, 2013</h5>
Looking for amputees for the feature film "The Last of Robin Hood" (stars Kevin Kline, Susan Sarandon &amp; Dakota Fanning)
Please submit to tammysmithcasting@gmail.com and put "AMPUTEE" in the subject. A CURRENT PHOTOS !!!!!!!!!!!! (a simple photo of you from the waist or shoulders up- a photo of your amputated limb is not necessary but welcome) NAME PHONE NUMBER (s) Email address CITY and STATE where you live (must be local to Atlanta) AGE Height Weight SIZES:

 *****YOU MUST BE LOCAL TO ATLANTA or able to work locally in Atlanta***************************************<h5>February 4, 2013</h5>
Looking for a clean cut, CAUCASIAN, MALE ages 18-25
for "THE LAST OF ROBIN HOOD" , Height 5'9 to 6'0 range
to play the boyfriend of a young male character (no contact or display of affection- but this young man will be featured in the scene as this male character's love interest at a small birthday party scene).

Must be avail this coming week on Thurs or Fri, for a fitting and then the work date is next Mon, Feb 11th.
Fitting is in the Midtown area and the work date is in downtown Atlanta

Director will select this person. Please submit soon.

THERE WILL BE A 1958 HAIRCUT at the fitting and you must be clean shaven.

Please submit to
tammysmithcasting@gmail.com
and put "Boyfriend" in the subject.
<h5>February 5, 2013</h5>
Looking for CAUCASIAN MEN, ages 30-60,
to work on "THE LAST OF ROBIN HOOD"
***Please read ALL carefully before submitting!! ***

You must be avail next Wed, 2/13, for a fitting and then the work date is Tues, Feb 19th for an active reporter scene in 1958
The fitting is in the Midtown area and the work date is at the Fulton County Airport.

NOTE 1: You cannot already be booked for any other scenes on this movie.

NOTE 2: YOU MUST HAVE EXPERIENCE as either A REPORTER, PUBLIC SPEAKING or ACTING.
INCLUDE EXPERIENCE IN YOUR SUBMISSION!! This is an energetic group of reporters surrounding an actor getting off a plane on a tarmac, in 1958 and bombarding her with questions. There are no speaking parts, but the chosen group must be good at this.

NOTE 3: THERE WILL BE A 1958 HAIRCUT at the fitting and you must be clean shaven (a mustache is acceptable but will be trimmed to look period appropriate)
Men cannot be bigger than a size 46 coat

Please submit to
tammysmithcasting@gmail.com
and put "REPORTER" in the subject.

CURRENT PHOTOS !!!!!!!!!!!! (hair color must be clear)
(one of from shoulders up and one from the waist up)
NAME
PHONE NUMBER (s)
Email address
CITY and STATE where you live (must be local to Atlanta)
AGE
Height
Weight
SIZES: Jacket, collar, sleeve, waist, inseam, shoe

PLEASE DESCRIBE YOUR EXPERIENCE AS REQUESTED ABOVE IN THE BODY OF YOUR EMAIL.

*****YOU MUST BE LOCAL TO ATLANTA or able to work locally in Atlanta***************************************

The rate on this movie is $64 for 8 hrs with O.T. after that.
<h5>&nbsp;February 12, 2013</h5>
Looking for CAUCASIAN MEN, ages 30-60,
to work on "THE LAST OF ROBIN HOOD"

***Please read ALL carefully before submitting!! ***

You must be avail tomorrow, Wed. (2/13), for a fitting and then the work date is next Wed, Feb 20th to be in a few scenes (one is a small theater scene and one is a cocktail lounge)

The fitting is in the Midtown area and the work date is also Midtown. The fittings are during the daytime.

NOTE 1: You cannot already be booked for any other scenes on this movie or have worked already on this.

NOTE 2 : Men- THERE WILL BE A 1958 HAIRCUT at the fitting and you must be clean shaven (a mustache is acceptable but will be trimmed to look period appropriate)
Men cannot be bigger than a size 48 coat

NOTE 3: Women can have short hair to shoulder length and you cannot have funky colors or modern styling (ie, cut short like a man around the ears and neck, or shaved, etc..). Layered hair is ok!
Women must be between a size 2 to 10.

Please submit to
tammysmithcasting@gmail.com
and put "WED" in the subject.

&nbsp;
<h5>February 17, 2013</h5>
For "The Last of Robin Hood" THIS WEEK:

***Please read ALL carefully before submitting!! ***
If you submitted before and haven't been booked yet, please don't hesitate to submit again.

You must be avail this TUES for a FITTING and there are two work dates available
Submit for either- you will be booked for ONE only.

First scene: (Wed 2/20) MEN, ages 30-60 to work as a reporter in 1958 (must not have any health issues that would impede you moving fast across a tarmac - shoots at Fulton County airport)

Second scene: (Thurs 2/21) MEN &amp; WOMEN, ages 22-60
to play patrons in a small movie theater and then a play auditorium - NOT huge calls, FYI.

Submit for one or the other or BOTH (men)

NOTE 1 : Men- THERE WILL BE A 1958 HAIRCUT at the fitting and you must be clean shaven (a mustache is acceptable but will be trimmed to look period appropriate)
Men cannot be bigger than a size 48 coat

NOTE 2: Women can have short hair to shoulder length and you cannot have funky colors or modern styling (ie, cut short like a man around the ears and neck, or shaved, etc..). Layered hair is ok!
Women must be between a size 2 to 10.

Please submit to
tammysmithcasting@gmail.com
and put "1958" in the subject.

Put your availability in the body of your email, please.
Regardless of the work dates, you MUST be available for the fitting on Tues. The fittings run from 9:30am until about 5pm.

CURRENT PHOTOS !!!!!!!!!!!! (hair color must be clear)
(one of from shoulders up and one from the waist up)
NAME
PHONE NUMBER (s)
Email address
CITY and STATE where you live (must be local to Atlanta)
AGE
Height
Weight
SIZES:
Women- Bust/Bra, waist, hips, shoe and dress size
Men- Jacket, Collar, Sleeve, Waist, Inseam, shoe

*****YOU MUST BE LOCAL TO ATLANTA or able to work locally in Atlanta***************************************

The rate on this movie is $64 for 8 hrs with O.T. after that.
Fittings are 1/4 check of the base.
<h5>February 21, 2013</h5>
For "The Last of Robin Hood" :

***Please read ALL carefully before submitting!! ***
If you submitted before and haven't been booked yet, please don't hesitate to submit again.

You must be avail this coming
MON (2/25) or TUES (2/26) for a FITTING
and then to WORK on the following:

First scene: (Wed 2/27)
CAUCASIAN MEN, ages 30-60
and CAUCASIAN WOMEN ages 22- 40)
for a cocktail party scene in a NY Hotel in 1958

Second scene: (Fri 3/1) CAUCASIAN MEN, ages 30-60
to play a few Studio Execs in 1958

Submit for one or the other or BOTH (men)

NOTE 1 : Men- THERE WILL BE A 1958 HAIRCUT at the fitting and you must be clean shaven (a mustache is acceptable but will be trimmed to look period appropriate)
Men cannot be bigger than a size 48 coat

NOTE 2: Women can have short hair to shoulder length and you cannot have funky colors or modern styling (ie, cut short like a man around the ears and neck, or shaved, etc..). Layered hair is ok!
Women must be between a size 2 to 10.

Please submit to
tammysmithcasting@gmail.com
and put "1958" in the subject.

Put your availability in the body of your email, please.
Regardless of the work dates, you MUST be available for the fitting on Mon or Tues. The fittings run from 9:30am until about 5pm

CURRENT PHOTOS !!!!!!!!!!!! (hair color must be clear)
(one of from shoulders up and one from the waist up)
NAME
PHONE NUMBER (s)
Email address
CITY and STATE where you live (must be local to Atlanta)
AGE
Height
Weight
SIZES:
Women- Bust/Bra, waist, hips, shoe and dress size
Men- Jacket, Collar, Sleeve, Waist, Inseam, shoe

*****YOU MUST BE LOCAL TO ATLANTA or able to work locally in Atlanta***************************************

The rate on this movie is $64 for 8 hrs with O.T. after that.
Fittings are 1/4 check of the base.<h6>Image:&nbsp;<a title="Attribution License" href="http://creativecommons.org/licenses/by/2.0/">Some rights reserved</a>&nbsp;by&nbsp;<a href="http://www.flickr.com/photos/iberialineasaereas/">Iberia Airlines</a></h6>
<h4 style="text-align: center;">Interested? Leave Us a Comment Below!</h4>

errol flynn

"The Last of Robin Hood" Bio-Pic of Errol Flynn Casting Information