Mr. Know-it-all says

Archived articles about everything from “punch-ki” donuts to The Top 12 things people love or hate about Cable/SAT and Sci-Fi

The things we do for love

It’s been over 50 years since the band Spirit released “Taurus” which is a short orchestrated introductory musical piece.  For over 7 years, the Randy California estate owners have been involved in a law suit that names Led Zeppelin’s Stairway to heaven as music that was derived from the Spirit tune.

I’ve read dozens of comments on Youtube and other sites, and Led Zeppelin lovers seem to get very angry over this.  Spirit lovers don’t say much.  I can understand why they don’t because I love the old Spirit music and I’m lucky to have several of the old LP’s.  Spirit is mellow, it’s moving, most of their music is a sophisticated mixture of Rock N’ Roll and Jazz elements, and all of it is in a sense – Spiritual.

Don’t get me wrong, I like Zeppelin, but I also have read about numerous similar law-suits involving Zeppelin.

Does this mean they stole Spirits work? No, at least not at the moment!

Actually, I really don’t think Zeppelin stole their music.  And if they did anything more than be inspired, well I guess the courts will decide if a writing credit or money will be the fix.  Before I lose your patience…I’ll post the best comparison I could find on Youtube herein in a just Four Chords or so…

But first, I have to say that I think the reason this lawsuit is happening is simply to give Randy California credit.  Credit for being a great writer who is sometimes lost and forgotten in a sea of top forty favorites and classic oldies like Led Zeppelin.

It’s my opinion that sandy-toed Californian’s who were part of Randy California’s laid back lifestyle cherish the memories. And I’m guessing that they want Randy to be respected and loved for his accomplishments.  And so…the reasons for the legal action.

Okay, now for a video/musical clip, this one unfortunately has an opinionated title by the author.  Sorry I can’t control Youtube.  I’ll try to find a better video comparison. (But to tell you the truth, I kinda agree with the Youtuber.

Note – 2020: In 2019 the courts did finally rule in the favor or the Spirit estate. And in the words of the Sensational Alex Harvey, I say “Hail Vibrania.” But seriously, I’m happy for the Spirit camp. – (c) DL as Mr. Know it all, the musical subgenius

“The Twelve things fans might just hate about Star Trek Discovery…”

1. It’s DARK. The show does not embrace the principles of Diversity and Enlightenment that many of us expect from Star Trek.

2. 3D Animaton. The outer space scenes are flat, dark, and the animated ships are not as beautiful as constructed-models. It still can be done, see The Orville.

3. Klingon Boobies. Brief, but aggressive sex scenes may just embarrass your kids and your mom too.

4. Fast subtitles. The Klingon translations run too fast, and the Klingon dialog sounds clunky, it reminds me of when they fed a horse named Mr. Ed peanut butter.

5. 12 actors, or less. Important characters get killed off, and there are very few supporting actors. I expect to see supportive crew that make it plausible to operate an enormous space ship like the Discovery.

6. The F word. Battlestar Galactica was smart enough to say FRAK, but apparently in this future, the Star Fleet crew finds the need to express themselves with foul language and mediocre attitudes. Not in front of my kid, please.

7. Rehashed storylines. After 2 to 3 seasons I expect to see a Parallel Universe or something like a Flashback episode, but not in the first season.

8. No Women. I miss the days when gorgeous women like “Seven of Nine” commanded attention on Star Trek Voyager. I think Discovery could use a little more eye candy.

Discovery’s White-Dressed Klingon chick with the cud-chewing voice made me woof my cookies.

9. Lazy Susans. I hate it when Evil Empress’s use Lazy Susans to spin around in order to impress people. Okay, so this is kind of a spoiler, but only if you take notice of the scene I’m referring to.

10. No Badguys. I have to admit that up until about the 6th episode I couldn’t really tell if StarFleet or the Klingons were the evil-doers.

11. It’s Muddy. Just when I thought Star Fleet was going to administer a little justice, judgement is cast in the opposite way that an old Star Trek episode would have played out.

12. Legacy Killer. After watching the first 12 episodes, I find Star Trek Discovery is not bold or ground breaking – but rather predictable and disappointing. I hope they change this, because I’d hate to see the Star Trek legacy marred. — (c) DL as the less than positive “Mr Know-it-all

Paczki is pronounced PUNCH-KEY

YUMMY…Detroit has some of the most diverse food! The “Paczki” is pronounced PUNCH-KEY.

It all started centuries ago when the Kazak’s were invading Poland.

The Poles, who were a passive, but very ingeniuitve tribe were caught off guard while celebrating Lent. But fortunately, the Poles had prepared for Lent by feasting on their seasonal treat, the Paczki donut.

When the warring Kazak’s approached the Polish border, the Poles quickly grabbed the Paczki’s that had not been consumed prior to Lent, and they loaded the stale donuts into the “KEY” on their only weapon, the Catapult. (The “key” is the part of the Catapult in which medievil folks would put a boulder or flaming bail of hay…)

So, the Poles hurled the rock hard Paczki’s at their enemies, and when impacting the enemy line the impact “PUNCHED” holes in the enemy defenses.

And so we have it. The real reason, yes indeed the true history behind why we pronounce the Polish donut called a Paczki as “Punch-key.” It’s true! Would I lie to you? (Uggh…the pain…ohh the pain…) — (c) DL as the ridiculous and snarky “Mr Know-it-all

Diversity confuses some people

Today I visited Amazon to read a few of the latest comments about my latest publishing venture, a Fire TV channel.

Like many of the big-league channels on Amazon Fire TV, my ratings are 3 stars.  Don’t ask me how or why really.  It could be because I don’t have allot of the Bruce Willis movies or other Hollywood studio films that (some) folks expect to see on TV for free.

Maybe it’s for more abstract reasons:  My Movies Plus channel is free, and people just don’t believe that anything good is free.  Or the fact that Movies Plus doesn’t have any advertising…and people like to have commercial-breaks so that they may get a snack while watching TV.

Okay, so I admit my “abstract” examples are not abstract, they’re just plain dumb.

This brings me to “Diversity.”  Maybe people just don’t get it, or they don’t want to accept it.  When I read a comment today that was simply stated: “Hate it.”  I said to myself…What’s to hate?  There’s over a dozen genres/categories on my channel that offer over two hundred programs to choose from.

For example, there’s Slow TV programming that is designed to help you relax, like the 2 hour fireplace video…My “Slow TV” shows are yours to watch for free, when the same content is offered for $2 or more elsewhere on Fire TV.  And there’s Boxing Matches that are typically a PPV event.  Yes, Boxing would cost you a few bucks to watch on ANY platform, but it’s here free if you choose to watch it.

In addition to the special programming on Movies Plus, there are TV shows and Movies of all Genres, including award winning 3D animation shorts like “Doroga.”  And there are new, Indpependently produced Science Fiction movies, Horror films, Action, Drama, Comedy programs…Plus Classics like “Virus,” and the film-purist’s delight “Phantom Carriage.” (c) DL as “Mr Know-it-all

Filmmakers want to get paid!

I realize that you actually haven’t asked for some of the insight that I offer up. I’m sorry, I guess it’s just the do-gooder in me that wants to support the indie filmmaker.

So, here goes another blurb:
While watching TV; have you ever noticed that a commercial like the Ginsu knives display a dotcom that points to a particular page on their website? For example, instead of saying “visit Ginsu.dotcom,” the advert instead says to visit…Ginsu.dotcom/62.
And as it so happens…you’re watching channel 62.

That’s the kind of thing I propose to Movies Plus filmmakers. Put a dotcom on your video that directs people to a particular page that sells a T-shirt, or features a video with a donation button, etc etc.
This way, you can track your progress on Movies Plus. A filmmaker will look at their CDN stats and see their movie has been downloaded say…5,000 times via MP. Then they look at their hits on the dotcom, and the activity that is generated by the MP visitor. The activity might be anything from sales to donations to clicking on other videos and browsing the site.

So there you have it, the method that I propose to filmmakers on Movies Plus. AND I’d like to suggest this method could be used on one of my ROKU channels or other Apps.

Recently someone asked why they should use Movies Plus…how do they get paid?
A: Because you control the sale of your film and ancillary products directly from your website.

The complete blurb:
If you never signed with a distributor these days, then perhaps you should speak with folks who have. It’s typical for distributors to license movies to subdistributors. Well that might sound like a great idea because you, as a hustling, bustling filmmaker imagine that the more distribution points you have…the more money you will make.

Haa! Imagine a pyramid scheme or perhaps you’ve heard the term “multi-leve marketing.” How many times can a commission be cut? In other words, if a distributor promises you 50% from a sale, and he then licenses your movie to sub-dist who promises the same and then that sub-dist uses a aggregator or company like CinemaNow, or Netflix who promises 50%…what does that leave you?

Think about it…because you don’t make your money from that Point of Sale (hulu/CinemaNow, etc.) Oh no…you signed a deal that says you’re splitting the mula with your distributor, who bye the way is merely circulating your one-sheets, and YOUR content to many others just waiting to deliver your content on Connected TV, Set top boxes and numerous online broadcast venues that ARE NOT tracked by Nielson or other analytics you are privy too. Nope, you’re only privy to the stats that your distributor has, and besides very few folks can read metric data and understand them anyway.

Add Movies Plus on Fire TV for free (max $2, sometimes discounted, sometimes free) on the Amazon store or directly from your Fire TV. http://www.amazon.com/Apple-Pie-Films-Movies-Plus/dp/B013MBOC4S
From Fire TV: On the left menu, scroll down to APPS. Then scroll down to Category. Then go to NOVELTY. We’re listed 3rd or 4rth on the list. — (c) DL as Mr. Know it All.

Down River and In the River

Recently I posted two new videos on the Movies Plus Fire TV channel.  Purely by coincidence, the titles are “Down River” a feature film about soldiers behind enemy lines, and “In the River,” a music video that generates support for the American Indians who suffer from the oppression brought on by the scheduled construction of an Oil Pipeline on Indian land threatening their water-table and the Missouri River.

A second part of the coincidence is the fact that the producers of these videos have similar names.  Alex Raye Pimentel is responsible for the Future of Film production “Down River.”

And Raye Zaragoza is the beautiful talent behind “The River” music video.

And guess what?  I think it’s fair to say they also have something in common when it comes to their content.  Because both of them have produced wonderul content  that is relevant to what’s happening to nearly everyone everywhere.

Their production quality is excellent, and the response that they are getting is outstanding.

Raye and Raye are getting great response on their websites and social media.  Meanwhile, on Movies Plus things will only get better…In September of 2016, the first video to load on my Fire TV channel was the “welcome to Movies Plus” introduction.  Check it out – over 52,000 views.

So, as you can see we’re growing.  So, if you know of a filmmaker who would like to have their movie broadcast to our audience of indie-lovers on Amazon Fire TV, then I hope that you tell them about Movies Plus.  It’s free to for a filmmaker to use, and it’s free for anyone to watch. [Note that as of 2020 Subscribers on Movies Plus Amazon Fire are about 400,000 and the Roku channels (TMN, Movies Plus TV, Arthouse Movies, Film Fest Best) are over 600,000.] – (c) DL as Mr. Know it All.

This little piggy stole my bandwidth

I love movies and television, and I enjoy watching when and where I want.  But lately I’ve been thinking: Does this in some way reflect negatively on me?  I mean, I’m not a bad person. But am I greedy or selfish for playing movies and TV shows on my Roku and Laptop PC, rather than on my big screen TV?

Maybe AT&T thinks so.  Because the other day I received a mailer entitled “Updates to Internet Usage Allowances.”  It says that AT&T will be increasing the U-verse Internet data allowances for many customers.  Okay, I’ve expected this because as consumer demands increase, so will the bandwidth delivered.  And we’ve all heard the rumors that companies like Comcast and Verizon are building bigger and better Internet delivery systems in order to meet customer demands.  But then the mailer states “…there’s a $10 charge for each 50GB of data you use over the allowance amount.”

This worries me.  Because I don’t consider myself a data-pig.  I do watch a good deal of video on my PC and my Roku, but I don’t download large movies, and I don’t require full HD when I stream.  And therein lies “the catch.”

When I stream on Hulu or a site like Crackle, I cannot control the exact quality of the content I watch.  In Hulu, I am allowed to select their settings “gear” and choose a low or medium setting – but I have no idea how much bandwidth this uses.  I’d like to

select SD or Widescreen SD because I know this would use much less “Internet Data” than true HD.  And in most cases the resolution is just fine for me.   Why?

Television resolution is Relative.  In most cases you cannot see the difference between 720P or Full-HD or Ultra HD.)

I’d have to line up two TV’s next to each other and broadcast the same video in order to appreciate the difference in the details.  You think you need Full-HD or the 4k Ultra HD.  The TV manufactures have been pushing bigger and bigger TV sets on us, and insisting that the Big Screen TV or “10-foot experience” can only be appreciated with a 1920 x 1080 quality video.  And of course to support your Internet TV, you should expect to use large amounts of Internet bandwidth to get the true HD experience – if you can tell the difference that is.  And that’s going to get expensive.

So who is going to pay to deliver HDTV quality video to me?  Is it AT&T’s responsibility to deliver Internet-bandwidth that will support the demands of my PC and Roku while not charging for these upgraded services?

In other words: I’ve been talking with Netflix, Roku and other Connected TV uses for months now about a conflict of interest which is:

How and why would Comcast, AT&T and others want to make TV and Movie programming available to you over the Internet when they already deliver it to you via their Cable/Fiber-Optic/SAT to your TV?

Somethings gotta give, and I’m afraid the folks out there who thought that they could enjoy Full-HD via their Internet connection on a PC and especially on TV’s like the Roku 4K Ultra HDTV or Samsung Smart TV are in for a price hike.

Roku 4 supposdedly requires a 15mbps connection, but they don’t talk about how much data you will use to enjoy Full-HD on your TV.  And like I say, if you watch a television program on your PC via Hulu or another service you might be able to select a low or medium resolution, but you won’t know how much data you are using.  For the AT&T customer, 50GB’s goes very fast and I don’t want to spend 10 bucks just to watch Sharknado.

What can we do?  I for one try to encourage people to set their connected TV (Apple TV, Roku, Fire TV) to the SD setting.  Not all Set Top Boxes have this feature, so I bought the low end Roku 1.  It has component (RCA) plugs.  I use these plugs instead of the HD port , and I setup my television in the Standard Definition (4×3) mode.  I also went into my Roku’s display setting and selected SD (4×3.)  For programs like Star Trek, I get a 4×3 display.  And somehow, my set up still delivers a widescreen picture when a film is formatted to support it.  It requires much less data for SD than HD.

If you must have HD, then Roku’s most expensive model 4 is $129 and it promises to up-rez 720HD videos to a full HD 1920×1080 experience.  But I cannot recommend this as a way to save Internet data use, because for one, the unit requires a very strong Internet connection of 15mbps, and that tells me it’s

demanding a large amount of bandwidth (data.)

Have I been able to insure that my Roku settings are really saving me money?  Not yet, AT&T won’t allow me to monitor my data usage until May 23rd!  Haa!  There’s always a catch. [Note – see Cordcutting 101 on our MAIN BLOG for a way to do your own Antenna and also how to save money on your Cable/Sat bill.] – (c) DL as Mr Know it All.

Copyright is free speech

05-02-16 From CreativeFuture.org

By Robin Sax – Note that this article originally appeared on Psychology Today.

“I am a lawyer and I love movies.  You may be thinking, “Of course. That makes sense – what else does an attorney do to unwind?” While I do love zoning out watching other people’s lives unfold via movies, these two parts of my life have become connected in a manner I never would have imagined just a few years ago.

Complex conversations about the value of movies (and other creative works) in the digital age are rendered even more complicated when arguments arise over copyright and free speech.

Wait…

Did I just put those two words in the same sentence? I hesitate to write “copyright” and “free speech” too close together for fear that I might unwittingly contribute to the work of those who attempt to confuse the two.

First, let’s get this out of the way: Piracy is not free speech. I repeat PIRACY is not free speech. As a matter of fact, piracy, plainly speaking, is illegal. It is a crime. Therefore, attempts to eliminate the for-profit digital theft of creative works is not an attack on free speech; it is prudent crime prevention.

When I first heard about CreativeFuture, I was inspired by the organization’s efforts to fend off the widespread theft of creative work via the internet. But I was equally compelled by their mission to combat the notion that this effort was in some way anti-technology, or even more far-fetched, anti-free speech.

These issues – and others – convinced me to become a member of CreativeFuture’s Leadership Committee. Part of my own mission is to help clear up some of the misinformation that, ironically, tends to proliferate best on the internet, where speech is so free that fact and fantasy commingle with an elegance that can render reality indistinguishable from opinion.

This brings me to another blunt fact: Those who want you to believe that the fight against piracy impinges on the right to free speech are doing so on purpose.

Some organizations, such as the Google-supported Electronic Frontier Foundation, take every opportunity to defend piracy at all costs and call any attempts to protect copyright a threat to free speech – even when those attempts include voluntary agreements between trusted stakeholders.

It is no secret that Google treats copyright as a nuisance. Time and again, the tech monolith lobbies Washington and foreign governments to water down existing law or to block any new initiatives designed to help curb rampant digital theft of copyrighted works.

They also criticize (directly and through organizations they underwrite) the various voluntary industry initiatives that can help take the profit out of piracy.

Article I, Section 8, Clause 8 of the U.S. Constitution was drafted with the intention to “…promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries.” This applies as much to an app as it does to a song. If this sounds like an assault on free speech, you need to get your head out of your (patented) virtual reality helmet.

The U.S. Supreme Court has written: “It should not be forgotten that the Framers intended copyright itself to be an engine of free expression.” (Harper & Row Publishers, Inc. v. Nation Enterprises, 471 U.S. 539, 1985.) In the same decision, the Court stated: “…copyright supplies the economic incentive to create and disseminate ideas.”

Somehow, groups like the EFF always ignore the essential idea/expression distinction inherent in copyright law. The whole purpose of the First Amendment is to protect the ability to convey ideas no matter how objectionable those ideas may be to government or society. The First Amendment isn’t about trying to guarantee people’s ability to copy the particular fixed, creative expression of others. What free speech interests are protected or maintained by the wholesale infringement of full copyrighted works (e.g., piracy)?

We live in exciting times. The digital age has promised us a virtual utopia where information is freely available to all. Yes, there are bad actors that stifle free speech online and governments that censor the internet to eliminate thought or action that undermines regimes. Activism is noble and needed, especially in times of great change, to act as a check against overreach and injustice. But activists become victims if they are armed with misinformation. And make no mistake about it – calling the protection of copyrighted works a threat to free speech is misinformation.

If you agree with me and appreciate this argument, feel free to steal it. Share it on your preferred social media channels and spread the word. As its author, I grant you permission. See? That wasn’t so difficult, now was it?”

The FB commentary followed:

Liza Moon may i quote you on that? and if so. as owner of an often pirated property ( google the word “daredoll”, – we are the fully clothed options – the current pirate on spankbang sells our work for higher prices than we do?Like · Reply · 2 · May 2 at 8:49pm

Dean Lach Folks who don’t want to pay for things will rationalize piracy by any number of rational, if it’s not this “free speech” angle, then it’s the “Oh well, Hollywood is a rich monopoly…” My question to you Robin Sax and CreativeFuture, is why does Robin state at the article to “feel free to steal it” when the proper way to give permission is to…use the word “permission and/or License” not “steal” — and then maybe apply a Creative Commons license (similar to GNU/GPL in other mediums.)

Ted Folke When Hollywood and the music industry have been robbing artists for decades, this strikes me as a bit disingenous. American copyright laws are out of date – please see Lawrence Lessig for more!:)Like · Reply · 1 · 22 hrs

Jonathan Boose Lessig is a tool of Big Tech, which has been doing more to rob artists than Hollywood or the Music Industry ever did.Like · Reply · 1 · 19 hrs

John Kawakami Copyright is increasingly obsolete because the technology of speech has changed. With computers, you make perfect digital copies. (It’s harder to make them imperfect!) With the internet, you have the ability to track all downloads, of a work, and with decryption or digital rights management, the ability track all uses of a work.

On the one side, you have a space where intellectual property can’t really exist – it’s a property that quickly becomes a public good, part of a commons.

On the other side, you have a space where intellectual property has more “private-property-like” qualities than it ever did when it was published as books or analog recordings. It’s actually invading your privacy; it’s property that can probe into your private life more than the government can (unless they get permission from the courts). Intellectual property becomes a kind of wedge that can drive privacy-invading contracts into your life.

There are different ways around this polarization. CC is one way – it preserves copyright by adapting it to the new reality of perfect digital copies and the internet. (And, Lessig is not a tool – he’s a moderate liberal reformer.) DRM with extensive “sharing” features is another way, because it incorporates “internet-like” features into the privatized surveillance system. This is in the tradition of neoliberal privatization of public space, analogous to things like shopping malls

Mark Grady John, are you kidding me? Why shouldn’t someone who spends weeks or years working on a book or film have rights associated with that work? This “public good” argument is a silly one. It reminds me of the people who want to legalize pot, so they can use it. There is only one reason people are fighting intellectual property laws – because they want something for nothing.Like · Reply · 1 · 17 hrs · Edited

John Kawakami I’m not advocating for piracy. I’m just saying the world has changed fundamentally and we need to work with it. My general feeling is that the privatized spaces need some regulations to protect privacy because drm is totally invasive. I think they ine…See MoreLike · Reply · 12 hrs · Edited

Dean Lach Uggh, regarding hollywood robbing artists, etc etc, this is the kind of rational that we’re talking about. Really, if we all take the law in our own hands, and use subjecture to justify theft, then were will we be? I mean, I love the idea of a Star Trek dystopian future wherein we don’t apply ownership to stuff…but it’s not time yet — our Universe isn’t ready.=Dean with the “permission of CreativeFuture.org

Should I let the web take my film 4 a ride?

Recently someone asked me if Youtube’s TOS would protect their videos from being ripped. Here’s the answer, excerpted from a Facebook conversation:

It’s sad but Youtube won’t give you any license that protects you like a copyright registration or a WGA registered script.

I suppose, if you upload your work and use the advance settings to establish date, then (maybe, just maybe) you could claim proof of authorship (if) you ended up in court or filed a piracy claim using the Youtube Content ID system.

[Bill M] is correct about the need to “register” your copyright. I think it’s 35 bucks for the PA form, and the last time I did it, they allowed me to upload a digital copy of my movie – therefore saving shipping costs, and completing the process quicker than snail mail.

Regarding [Alex, who uses a youtube-download software to save videos to his PC.]   He’s right, there’s plenty of programs that will grab video from streaming sites like Youtube. 

But heck,  if you’re looking for saturation, then you might not care because posting your videos online gets your stuff out there. If you want to stop folks from stealing, then you could place your movies on my Roku and Fire TV channels, and at least this makes it harder to “leach” the content digitally — but of course that won’t stop a Cam’d version.

Another Facebook commenter mentioned that people make a living grabbing video and then re-posting it as their own on Youtube.  This absolutely happens, and it’s a dang shame that we (sometimes) can’t trust Youtube with out content.  Unless that is, we swing a large bat like the Hollywood Studios who choose to stream their content via Youtube’s Partner program.

Here’s an example.  A film buddy of mine used a small section of Night of the Living Dead in a promotional video.  But Youtube flagged it for copyright infringement.  What…How, he asked me? 

As it turns out, Youtube gave a company the right to file a Content ID claim for Night of the Living Dead.  When this happens, it allows that company to grab all the ad-revenue that is associated with EVERY post on Youtube that contains some NOTLD content. That’s allot of videos – thousands in fact.  Check it if you like.  And in case you didn’t know…NOTLD has been Public Domain for over 40 years. (I think it was The Orchard that is the one that is monetizing Notld and other orphan films.)

Thanks for reading, I hope this Facebook conversation – gone Blog is something that is coherent enough for you to make use of.

The Cure for common cold is related to baldness

Today – NewswiredResearchers have found a cure for the common cold, and it’s related to baldness in Men and Women.

Persis-Khambatta


It seems the cure has been related to the symptom called “scalpscratchyness.”  This is the nervous response of scratching one’s scalp in which many people experience when trying to find something interesting to watch on television.
The cure it seems, is in the hands of Indie Filmmakers who screen their films on a new channel sponsored by the Metro Film Festival.  The channel, called Movies Plus, is currently available for free on Amazon Fire TV devices, and coming soon to Roku.


“It’s truly a miracle” says Movies Plus founder Dean Lachiusa. “I collaborated with reknowned specialist Alfred E. Neuman of the agency Snap, Crackle and Pop…And they’ve come up with the statistics that prove that watching Movies Plus truly can cure the symptoms related to the common cold and baldness. It worked for me. And curiously enough, I lost 10 LBs of Prenatal weight too…”

Fact: It’s in the skin
Filmmakers have to have skin in the game in order to see results…A film/TV producer may screen their movie, TV, or webisode for free on the Movies Plus channel…the results are miraculous!”
Dean further says to “PM him on Facebook or email him at metrofilmfestival.com for more information; or read the rest of this blurb:

Movies Plus is the place for Indie shows, and now is the time to take control of your project…don’t lose your film/show to a digital distributor who will never pay you!” (Did you know that most distributors commonly act as middle men, licensing your film to other sub-distributors who you do not have an agreement with. And these subdistributors might promise to split the ad-revenues with the distributor you originally sign with, but think about it…How many royalty splits can you have before you get nothing?

Let’s do the math: 50% of zero is zero, carry the zero, times nothing, equals nothing!
Movies Plus is the only Broadcaster that allows you to control the amount of exposure for your movie or television program, and there’s no binding contract. We’ll stream your complete film, screener, pilot, or webisode.

This in turn drives the audience to your website or point-of-sale. Typically a filmmakers website will feature several easy, do-it-yourself methods of monetization. Some filmmakers feature a PayPal Donation button, some offer a special DVD and they sell ancillary products like T-shirts.

It’s the perfect way to create publicity and leverage ones work without being tied to a distributor…Try us for a month or so, you can always move to a traditional distributor when/if you get the right offer. (c) DL as a silly snarky Mr Know it all.

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