How To Draw Cartoon Pictures Biography
Source(Google.com.pk)
How To Draw Cartoon Pictures studio's official motto, "Ars Gratia Artis", is a Latin phrase meaning "Art for art's sake";[15][16][17] it was chosen by Howard Dietz, the studio's chief publicist.[17][18][19] The studio's logo is a roaring lion surrounded by a ring of film inscribed with the studio's motto. The logo, which features Leo the Lion, was created by Dietz in 1916 for Goldwyn Pictures and updated in 1924 for MGM's use.[17][20][21] Dietz based the logo on his alma mater's mascot—the Columbia University lion.[17][19][22] Originally silent, the sound of Leo the Lion's roar was added to films for the first time in August 1928.[16] In the 1930s and 1940s the studio billed itself as having "more stars than there are in heaven", a reference to the large number of A-list movie stars under contract to the company.[21][23] This second motto was also coined by Deitz,[24] and was probably first used in 1932.[25]MGM was the last studio to convert to sound pictures, but in spite of this fact, from the end of the silent film era through the late 1950s, Metro-Goldwyn-Mayer was the dominant motion picture studio in Hollywood.[26] Always slow to respond to changing legal, economic, and demographic nature of the motion picture industry during the 1950s and 1960s,[27][28][29] and although at times its films did well at the box office the studio lost significant amounts of money throughout the 1960s.[28][29] In 1966, MGM was sold to the Canadian investor Edgar Bronfman, Sr., whose son Edgar, Jr. would later buy Universal Studios. Three years later, an increasingly unprofitable MGM was bought by Kirk Kerkorian, who slashed staff and production costs, forced the studio to produce low-budget fare, and then shut down theatrical distribution in 1973.[29] The studio continued to produce five to six films a year that were released through other studios, mostly United Artists. Kerkorian did, however, commit to increased production and an expanded film library when he bought United Artists in 1981.File:Mayer, Louis B and MGM players.jpgAnnual actor's studio photo, 1943 (Louis B. Mayer front row center)MGM ramped up internal production as well as keeping production going at UA which included the lucrative James Bond film franchise.[30] It also incurred significant amounts of debt in order to increase production.[31] The studio took on additional debt as a series of owners took charge in the 1980s and early 1990s. In 1986, Ted Turner bought MGM, but a few months later, sold the company back to Kerkorian to recoup massive debt, while keeping the library assets for himself. The series of deals left MGM even more heavily in debt.[32] MGM was bought by Pathé Communications (led by Italian publishing magnate Giancarlo Parretti) in 1990, but Parretti lost control of Pathé and defaulted on the loans used to purchase the studio.[29][32] The French banking conglomerate Crédit Lyonnais, the studio's major creditor, then took control of MGM.[29][32][33] Even more deeply in debt, MGM was purchased by a joint venture between Kerkorian, producer Frank Mancuso, and Australia's Seven Network in 1996.[34]purchased Metromedia's film subsidiaries (Orion Pictures, The Samuel Goldwyn Company, and the Motion Picture Corporation of America) for $573 million in 1997,[35] and Kerkorian bought out Seven Network the following year.[36] MGM used debt to acquire PolyGram Filmed Entertainment's 1,300-title library from Seagram in 1999 for $250 million, and obtained the broadcast rights to more than 800 of its films previously licensed to Turner Broadcasting.[37] MGM then purchased 20 percent of Cablevision Systems for $825 million in 2001.[38] MGM attempted to take over Universal Studios in 2003 but failed, and was forced to sell several of its cable channel investments (taking a $75 million loss on the deal).[39]debt load from these business deals negatively affected MGM's ability to survive as an independent motion picture studio. After a three-way bidding war which involved Time Warner (successor to Time, Inc. and current parent of Turner Broadcasting) and General Electric, MGM was acquired on September 23, 2004, by a partnership led by Sony Corporation of America, Comcast, Texas Pacific Group (now TPG Capital, L.P.), Providence Equity Partners, and other investors.[40]MGM Resorts International, a Las Vegas-based hotel and casino company listed on the New York Stock Exchange under the symbol "MGM", is not currently affiliated with Metro-Goldwyn-Mayer.In 1924, movie theater magnate Marcus Loew had a problem. He had bought Metro Pictures Corporation (founded in 1916) and Goldwyn Pictures (founded in 1917) to provide a steady supply of films for his large Loew's Theatres chain. However, these purchases created a need for someone to oversee his new Hollywood operations, since longtime assistant Nicholas Schenck was needed in New York headquarters to oversee the 150 theaters. Loew addressed the situation by buying Louis B. Mayer Pictures on April 17, 1924. Because of his decade-long success as a producer, Mayer was made a vice-president of Loew's and head of studio operations in California, with Harry Rapf and Irving Thalberg as heads of production. For decades MGM was listed on movie title cards as "Controlled by Loew's, Inc."Originally, the new studio's films were presented in the following manner: "Louis B. Mayer presents a Metro-Goldwyn picture", but Mayer soon added his name to the studio with Loew's blessing. Though Loew's Metro was the dominant partner, the new studio inherited Goldwyn's studios in Culver City, California, the former Goldwyn mascot Leo the Lion (which replaced Metro's parrot symbol), and the Goldwyn corporate motto Ars Gratia Artis ("Art for art's sake"). Mayer wanted to replace the Latin motto with "Art is Beholding to the Artist" in English, but was overruled by Schenck.Also inherited from Goldwyn was a runaway production, Ben–Hur (the silent version), which had been filming in Rome for months at great cost. Mayer scrapped most of what had been shot and relocated production to Culver City. Though Ben–Hur was the costliest film made up to its time, it became MGM's first great public-relations triumph, establishing an image for the company that persisted for years. Also in 1925, with successes from both The Big Parade and Ben–Hur, MGM surpassed Universal Studios as the largest studio in Hollywood, a distinction it would maintain for over 30 years.Marcus Loew died in 1927, and control of Loew's passed to Nicholas Schenck. In 1929, William Fox of Fox Film Corporation bought the Loew family's holdings with Schenck's assent. Mayer and Thalberg disagreed with the decision. Mayer used political connections[clarification needed] to persuade the Justice Department to delay final approval of the deal on antitrust grounds. During this time, in the summer of 1929, Fox was badly hurt in an automobile accident. By the time he recovered, the stock market crash in the fall of 1929 had nearly wiped Fox out and ended any chance of the Loew's merger going through. Schenck and Mayer had never gotten along (Mayer reportedly referred to his boss as "Mr. Skunk"),[41] and the abortive Fox merger increased the animosity between the two men. Also, in 1933 Loew's Incorporated was in the process of acquiring bankrupt Paramount Pictures and its 1700 theatres, until profits from Mae West's risque features rescued the failing Paramount.From the outset, MGM tapped into the audience's need for glamour and sophistication. Having inherited few big names from their predecessor companies, Mayer and Thalberg began at once to create and publicize a host of new stars, among them Greta Garbo, John Gilbert, William Haines, Joan Crawford, and Norma Shearer (who followed Thalberg from Universal) . Established names like Lon Chaney, William Powell, Buster Keaton, and Wallace Beery were hired from other studios. They also hired top directors such as King Vidor, Clarence Brown, Erich von Stroheim, Tod Browning, and Victor Seastrom. The arrival of talking pictures in 1928–29 gave opportunities to other new stars, many of whom would carry MGM through the 1930s: Clark Gable, Jean Harlow, Robert Montgomery, Spencer Tracy, Myrna Loy, Jeanette MacDonald, and Nelson Eddy among them.MGM was one of the first studios to experiment with filming in Technicolor. Using the two-color Technicolor process then available, MGM filmed portions of The Uninvited Guest (1923), The Big Parade (1925), and Ben–Hur (1925), among others, in the process. In 1928, MGM released The Viking, the first complete Technicolor feature with sound (including a synchronized score and sound effects but no spoken dialogue). MGM, however, was the very last studio to convert to "talkies" with its first all-color, "all-talking" sound feature with dialogue The Rogue Song, a 1930 musical. In 1934 MGM included a sequence made in Technicolor's superior new three-color process, a musical number in the otherwise black-and-white The Cat and the Fiddle, starring perky Jeanette MacDonald and faded Ramon Novarro. The studio then produced a number of three-color short subjects including 1935's musical La Fiesta de Santa Barbara, however MGM waited until 1938 to film a complete feature in the process, Sweethearts with MacDonald and Nelson Eddy, the earlier of the popular singing team's two films in color.Marie Dressler and Wallace Beery in Min and Bill (1930)From then on, MGM regularly produced several films a year in Technicolor, The Wizard of Oz and Northwest Passage being two of the most notable. MGM also released the enormously successful Technicolor film Gone with the Wind, starring Vivien Leigh as Scarlett O'Hara and Clark Gable as Rhett Butler. (Although Gone With the Wind was produced by Selznick International Pictures, it was released by MGM as part of a deal for producer David O. Selznick, L.B. Mayer's son-in-law, to obtain the services of Clark Gable. MGM did eventually acquire all rights to Gone With the Wind).In addition to a large short subjects program of its own, MGM also released the shorts and features produced by Hal Roach Studios, including comedy shorts starring Laurel and Hardy, Our Gang, and Charley Chase. MGM's distribution deal with Roach lasted from 1927 to 1938, and MGM benefited in particular from the success of the popular Laurel and Hardy films. In 1938, MGM purchased the rights to Our Gang and moved the production in-house,[42] continuing production of the successful series of children's comedies until 1944. From 1929 to 1931, MGM produced a series of comedy shorts called All Barkie Dogville Comedies, in which trained dogs were dressed up to parody contemporary films and were voiced by actors. One of the shorts, The Dogway Melody (1930), spoofed MGM's hit 1929 musical The Broadway Melody.[43]produced fifty pictures a year, though it never met its goal of releasing a new motion picture each and every week (It was only able to release one feature film every nine days). Loew's chain of 153 theatres were mostly located in New York, the Northeast, and Deep South; Gone With the Wind had its world premiere at Loew's Grand Theatre in Atlanta, Georgia. A fine reputation was gained for lavish product that were sophisticated and polished to cater to an urban audience. Still, as the Great Depression deepened, MGM began to economize by "recycling" existing sets, costumes, and furnishings from yesteryear projects. This recycling practice never let up once started. Also, money was saved by MGM being the only one of the big five studios that did not own an off site movie ranch. Up until the mid-1950s MGM could make a claim its rivals could not: it never lost money, although it did have an occasional disaster like Parnell (1937), Clark Gable's biggest flop. It was the only Hollywood studio that continued to pay dividends during the 1930s.Spencer Tracy in Fury (1936)MGM stars dominated the box office during the 1930s, and the studio was credited for inventing the Hollywood stable of stars system as well. MGM contracted with The American Musical Academy of Arts Association to handle all of their press and artist development. The AMAAA's main function was to develop the budding stars and to make them appealing to the public. Stars like Norma Shearer, Joan Crawford, Greta Garbo, and Jeanette MacDonald reigned as the top paid figures at the studio.[clarification needed] Another MGM sex symbol actress, Jean Harlow, who had previously appeared in the Howard Hughes film Hell's Angels, now had a big break and became one of MGM's most admired stars as well;.[44] Despite Miss Harlow's gain, Garbo still was a big star for MGM. Shearer was still a money maker despite screen appearances becoming scarce, and Crawford continued her box office power up until 1937. MGM would also receive a boost through the man who would become "King of Hollywood", Clark Gable;[44] Gable's career took off to new heights after he won an Oscar for the 1934 Columbia film It Happened One Night.[45]Mayer and Irving Thalberg's relationship began warmly but eventually the two became estranged; Thalberg preferred literary works to the crowd-pleasers Mayer wanted. Thalberg, always physically frail, was removed as head of production in 1932. Mayer encouraged other staff producers, among them his son-in-law David O. Selznick, but no one seemed to have the sure touch of Thalberg. As Thalberg fell increasingly ill in 1936, Louis Mayer could now serve as his temporary replacement. Rumors flew that Thalberg was leaving to set up his own independent company; his early death in 1936, at age thirty-seven, cost MGM dearly.
Source(Google.com.pk)
How To Draw Cartoon Pictures studio's official motto, "Ars Gratia Artis", is a Latin phrase meaning "Art for art's sake";[15][16][17] it was chosen by Howard Dietz, the studio's chief publicist.[17][18][19] The studio's logo is a roaring lion surrounded by a ring of film inscribed with the studio's motto. The logo, which features Leo the Lion, was created by Dietz in 1916 for Goldwyn Pictures and updated in 1924 for MGM's use.[17][20][21] Dietz based the logo on his alma mater's mascot—the Columbia University lion.[17][19][22] Originally silent, the sound of Leo the Lion's roar was added to films for the first time in August 1928.[16] In the 1930s and 1940s the studio billed itself as having "more stars than there are in heaven", a reference to the large number of A-list movie stars under contract to the company.[21][23] This second motto was also coined by Deitz,[24] and was probably first used in 1932.[25]MGM was the last studio to convert to sound pictures, but in spite of this fact, from the end of the silent film era through the late 1950s, Metro-Goldwyn-Mayer was the dominant motion picture studio in Hollywood.[26] Always slow to respond to changing legal, economic, and demographic nature of the motion picture industry during the 1950s and 1960s,[27][28][29] and although at times its films did well at the box office the studio lost significant amounts of money throughout the 1960s.[28][29] In 1966, MGM was sold to the Canadian investor Edgar Bronfman, Sr., whose son Edgar, Jr. would later buy Universal Studios. Three years later, an increasingly unprofitable MGM was bought by Kirk Kerkorian, who slashed staff and production costs, forced the studio to produce low-budget fare, and then shut down theatrical distribution in 1973.[29] The studio continued to produce five to six films a year that were released through other studios, mostly United Artists. Kerkorian did, however, commit to increased production and an expanded film library when he bought United Artists in 1981.File:Mayer, Louis B and MGM players.jpgAnnual actor's studio photo, 1943 (Louis B. Mayer front row center)MGM ramped up internal production as well as keeping production going at UA which included the lucrative James Bond film franchise.[30] It also incurred significant amounts of debt in order to increase production.[31] The studio took on additional debt as a series of owners took charge in the 1980s and early 1990s. In 1986, Ted Turner bought MGM, but a few months later, sold the company back to Kerkorian to recoup massive debt, while keeping the library assets for himself. The series of deals left MGM even more heavily in debt.[32] MGM was bought by Pathé Communications (led by Italian publishing magnate Giancarlo Parretti) in 1990, but Parretti lost control of Pathé and defaulted on the loans used to purchase the studio.[29][32] The French banking conglomerate Crédit Lyonnais, the studio's major creditor, then took control of MGM.[29][32][33] Even more deeply in debt, MGM was purchased by a joint venture between Kerkorian, producer Frank Mancuso, and Australia's Seven Network in 1996.[34]purchased Metromedia's film subsidiaries (Orion Pictures, The Samuel Goldwyn Company, and the Motion Picture Corporation of America) for $573 million in 1997,[35] and Kerkorian bought out Seven Network the following year.[36] MGM used debt to acquire PolyGram Filmed Entertainment's 1,300-title library from Seagram in 1999 for $250 million, and obtained the broadcast rights to more than 800 of its films previously licensed to Turner Broadcasting.[37] MGM then purchased 20 percent of Cablevision Systems for $825 million in 2001.[38] MGM attempted to take over Universal Studios in 2003 but failed, and was forced to sell several of its cable channel investments (taking a $75 million loss on the deal).[39]debt load from these business deals negatively affected MGM's ability to survive as an independent motion picture studio. After a three-way bidding war which involved Time Warner (successor to Time, Inc. and current parent of Turner Broadcasting) and General Electric, MGM was acquired on September 23, 2004, by a partnership led by Sony Corporation of America, Comcast, Texas Pacific Group (now TPG Capital, L.P.), Providence Equity Partners, and other investors.[40]MGM Resorts International, a Las Vegas-based hotel and casino company listed on the New York Stock Exchange under the symbol "MGM", is not currently affiliated with Metro-Goldwyn-Mayer.In 1924, movie theater magnate Marcus Loew had a problem. He had bought Metro Pictures Corporation (founded in 1916) and Goldwyn Pictures (founded in 1917) to provide a steady supply of films for his large Loew's Theatres chain. However, these purchases created a need for someone to oversee his new Hollywood operations, since longtime assistant Nicholas Schenck was needed in New York headquarters to oversee the 150 theaters. Loew addressed the situation by buying Louis B. Mayer Pictures on April 17, 1924. Because of his decade-long success as a producer, Mayer was made a vice-president of Loew's and head of studio operations in California, with Harry Rapf and Irving Thalberg as heads of production. For decades MGM was listed on movie title cards as "Controlled by Loew's, Inc."Originally, the new studio's films were presented in the following manner: "Louis B. Mayer presents a Metro-Goldwyn picture", but Mayer soon added his name to the studio with Loew's blessing. Though Loew's Metro was the dominant partner, the new studio inherited Goldwyn's studios in Culver City, California, the former Goldwyn mascot Leo the Lion (which replaced Metro's parrot symbol), and the Goldwyn corporate motto Ars Gratia Artis ("Art for art's sake"). Mayer wanted to replace the Latin motto with "Art is Beholding to the Artist" in English, but was overruled by Schenck.Also inherited from Goldwyn was a runaway production, Ben–Hur (the silent version), which had been filming in Rome for months at great cost. Mayer scrapped most of what had been shot and relocated production to Culver City. Though Ben–Hur was the costliest film made up to its time, it became MGM's first great public-relations triumph, establishing an image for the company that persisted for years. Also in 1925, with successes from both The Big Parade and Ben–Hur, MGM surpassed Universal Studios as the largest studio in Hollywood, a distinction it would maintain for over 30 years.Marcus Loew died in 1927, and control of Loew's passed to Nicholas Schenck. In 1929, William Fox of Fox Film Corporation bought the Loew family's holdings with Schenck's assent. Mayer and Thalberg disagreed with the decision. Mayer used political connections[clarification needed] to persuade the Justice Department to delay final approval of the deal on antitrust grounds. During this time, in the summer of 1929, Fox was badly hurt in an automobile accident. By the time he recovered, the stock market crash in the fall of 1929 had nearly wiped Fox out and ended any chance of the Loew's merger going through. Schenck and Mayer had never gotten along (Mayer reportedly referred to his boss as "Mr. Skunk"),[41] and the abortive Fox merger increased the animosity between the two men. Also, in 1933 Loew's Incorporated was in the process of acquiring bankrupt Paramount Pictures and its 1700 theatres, until profits from Mae West's risque features rescued the failing Paramount.From the outset, MGM tapped into the audience's need for glamour and sophistication. Having inherited few big names from their predecessor companies, Mayer and Thalberg began at once to create and publicize a host of new stars, among them Greta Garbo, John Gilbert, William Haines, Joan Crawford, and Norma Shearer (who followed Thalberg from Universal) . Established names like Lon Chaney, William Powell, Buster Keaton, and Wallace Beery were hired from other studios. They also hired top directors such as King Vidor, Clarence Brown, Erich von Stroheim, Tod Browning, and Victor Seastrom. The arrival of talking pictures in 1928–29 gave opportunities to other new stars, many of whom would carry MGM through the 1930s: Clark Gable, Jean Harlow, Robert Montgomery, Spencer Tracy, Myrna Loy, Jeanette MacDonald, and Nelson Eddy among them.MGM was one of the first studios to experiment with filming in Technicolor. Using the two-color Technicolor process then available, MGM filmed portions of The Uninvited Guest (1923), The Big Parade (1925), and Ben–Hur (1925), among others, in the process. In 1928, MGM released The Viking, the first complete Technicolor feature with sound (including a synchronized score and sound effects but no spoken dialogue). MGM, however, was the very last studio to convert to "talkies" with its first all-color, "all-talking" sound feature with dialogue The Rogue Song, a 1930 musical. In 1934 MGM included a sequence made in Technicolor's superior new three-color process, a musical number in the otherwise black-and-white The Cat and the Fiddle, starring perky Jeanette MacDonald and faded Ramon Novarro. The studio then produced a number of three-color short subjects including 1935's musical La Fiesta de Santa Barbara, however MGM waited until 1938 to film a complete feature in the process, Sweethearts with MacDonald and Nelson Eddy, the earlier of the popular singing team's two films in color.Marie Dressler and Wallace Beery in Min and Bill (1930)From then on, MGM regularly produced several films a year in Technicolor, The Wizard of Oz and Northwest Passage being two of the most notable. MGM also released the enormously successful Technicolor film Gone with the Wind, starring Vivien Leigh as Scarlett O'Hara and Clark Gable as Rhett Butler. (Although Gone With the Wind was produced by Selznick International Pictures, it was released by MGM as part of a deal for producer David O. Selznick, L.B. Mayer's son-in-law, to obtain the services of Clark Gable. MGM did eventually acquire all rights to Gone With the Wind).In addition to a large short subjects program of its own, MGM also released the shorts and features produced by Hal Roach Studios, including comedy shorts starring Laurel and Hardy, Our Gang, and Charley Chase. MGM's distribution deal with Roach lasted from 1927 to 1938, and MGM benefited in particular from the success of the popular Laurel and Hardy films. In 1938, MGM purchased the rights to Our Gang and moved the production in-house,[42] continuing production of the successful series of children's comedies until 1944. From 1929 to 1931, MGM produced a series of comedy shorts called All Barkie Dogville Comedies, in which trained dogs were dressed up to parody contemporary films and were voiced by actors. One of the shorts, The Dogway Melody (1930), spoofed MGM's hit 1929 musical The Broadway Melody.[43]produced fifty pictures a year, though it never met its goal of releasing a new motion picture each and every week (It was only able to release one feature film every nine days). Loew's chain of 153 theatres were mostly located in New York, the Northeast, and Deep South; Gone With the Wind had its world premiere at Loew's Grand Theatre in Atlanta, Georgia. A fine reputation was gained for lavish product that were sophisticated and polished to cater to an urban audience. Still, as the Great Depression deepened, MGM began to economize by "recycling" existing sets, costumes, and furnishings from yesteryear projects. This recycling practice never let up once started. Also, money was saved by MGM being the only one of the big five studios that did not own an off site movie ranch. Up until the mid-1950s MGM could make a claim its rivals could not: it never lost money, although it did have an occasional disaster like Parnell (1937), Clark Gable's biggest flop. It was the only Hollywood studio that continued to pay dividends during the 1930s.Spencer Tracy in Fury (1936)MGM stars dominated the box office during the 1930s, and the studio was credited for inventing the Hollywood stable of stars system as well. MGM contracted with The American Musical Academy of Arts Association to handle all of their press and artist development. The AMAAA's main function was to develop the budding stars and to make them appealing to the public. Stars like Norma Shearer, Joan Crawford, Greta Garbo, and Jeanette MacDonald reigned as the top paid figures at the studio.[clarification needed] Another MGM sex symbol actress, Jean Harlow, who had previously appeared in the Howard Hughes film Hell's Angels, now had a big break and became one of MGM's most admired stars as well;.[44] Despite Miss Harlow's gain, Garbo still was a big star for MGM. Shearer was still a money maker despite screen appearances becoming scarce, and Crawford continued her box office power up until 1937. MGM would also receive a boost through the man who would become "King of Hollywood", Clark Gable;[44] Gable's career took off to new heights after he won an Oscar for the 1934 Columbia film It Happened One Night.[45]Mayer and Irving Thalberg's relationship began warmly but eventually the two became estranged; Thalberg preferred literary works to the crowd-pleasers Mayer wanted. Thalberg, always physically frail, was removed as head of production in 1932. Mayer encouraged other staff producers, among them his son-in-law David O. Selznick, but no one seemed to have the sure touch of Thalberg. As Thalberg fell increasingly ill in 1936, Louis Mayer could now serve as his temporary replacement. Rumors flew that Thalberg was leaving to set up his own independent company; his early death in 1936, at age thirty-seven, cost MGM dearly.
Images Pics Photos Wallpapers Pictures
Images Pics Photos Wallpapers Pictures
Images Pics Photos Wallpapers Pictures
Images Pics Photos Wallpapers Pictures
Images Pics Photos Wallpapers Pictures
Images Pics Photos Wallpapers Pictures
Images Pics Photos Wallpapers Pictures
Images Pics Photos Wallpapers Pictures
Images Pics Photos Wallpapers Pictures
Images Pics Photos Wallpapers Pictures
Images Pics Photos Wallpapers Pictures
No comments:
Post a Comment