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Please join Nevada Conservatory Theatre as it proudly debuts CLOWNTOWN: an advantage musical concert. Embed in a world where humankind is forced to handle the existence of natural-born clowns, one clown should return to the city he abandoned to find his lost love and solve a diabolical murder that might destroy his kind permanently. Directed by Allegra Libonati (ART Boston); book, music, and lyrics by Michael Brennan and John Massé; and featuring an all Las Vegas cast of stars, vocalists, artists, and clowns. Step inside the stupendously improbable world of CLOWNTOWN!
7:30 p.m. May 27
2 p.m. May 27 & & 28
$30 all seats. Tickets and extra info are offered online or by calling 702-895-ARTS (2787).
John Locher/ AP
Friday, Aug. 14, 2015|11:15 p.m.
Las Vegas can be lots of things to many individuals, but MGM Resorts International wants leaders and visitors from Japan to know its resorts are more than gambling hubs.
The company, which has long looked for to build a resort-casino in Japan, is hosting a fancy “Kabuki Phenomenon” this weekend (it go underway Friday night) on the Las Vegas Strip. Vocalists and dancers will certainly perform the ancient Japanese storytelling art as the Bellagio fountains work as a massive watery film screen behind them, showing animated scenes.
MGM’s desire to construct a resort-casino in Japan– a market that might measure up to Macau as a financially rewarding Asian gambling destination– has been no secret. However Japanese lawmakers initially would have to legalize gambling establishments, a prospect that appears no closer to taking place after several years of debate.
Supporters argue the Las Vegas-style resorts that provide other home entertainment in addition to gambling would increase tourist in Japan. Opponents in a more socially conservative political party have stated it would cause higher rates of betting dependency and criminal activity.
MGM Resorts isn’t alone in its pursuit. Wynn Resorts Ltd., Las Vegas Sands Corp. and Caesars Home entertainment Corp. at one time have all expressed interest in investing billions in casino-resort tasks there. None have actually been quite as vocal about their Japan prepares as MGM, however, said Fitch Scores analyst Alex Bumazhny.
Building gambling establishments in Japan would be more expensive than somewhere else, with greater costs for labor and building products, Bumazhny stated. But the expected profits could be bigger than other Asian markets, such as Singapore.
“It’s a huge developed economy without any casino betting at this point” and citizens who are inclined to bet, he said. Some currently finish with a game called Pachinko that appears like a slots.
In the prolonged time gambling in Japan has been disputed, MGM executives have actually made regular check outs gaining a gratitude for Japan’s arts and culture.
Alan Feldman, executive vice president of international government and market affairs for MGM Resorts, said discussions the business has in Japan tend to concentrate on the betting and betting that gave rise to the location.
“Every conversation we have about Las Vegas instantly goes to gaming,” he said.
But the business desires Japanese visitors to understand the town is built on more than that, Feldman stated.
For MGM Resorts, gambling made up 38 percent of its earnings at its U.S. hotel-casinos in 2014. Everything else it earned, not counting giveaways given to devoted customers, originated from hotel rooms, dining, entertaining and shopping at its U.S. buildings.
Previously this year, the business highlighted Japanese culture at the Bellagio with its first-ever Japanese-inspired garden scene at its indoor conservatory. It also partnered with artist Masatoshi Izumi on the irreversible setup of 4 huge sculptures representing earth, wind, fire and water.
The Kabuki program, “Fight with a Carp,” was spawned about two years earlier when well-known Kabuki production company Shochiku dropped in Las Vegas on its way back to Japan from a U.S. performance, and MGM Resorts executives took its members to the Cirque du Soleil reveal “KA.” The business considered methods to present Kabuki in a brand-new method.
Technology firm Panasonic and modern innovative company teamLab, both based in Japan, are sponsors and individuals. 5 performances are arranged for Friday, Saturday and Sunday.
Tuesday, July 28, 2015|9:16 p.m.
BEVERLY HILLS, Calif.– Oculus is hedging its bets that a lovable animal named Henry can assist convince customers– and Hollywood– about the practicality of virtual truth as a storytelling medium.
The VR company, which Facebook got for nearly $2 billion in 2014, debuted a 10-minute narrative experience starring the lonely hedgehog Henry during an invite-only occasion Tuesday at a personal mansion in Beverly Hills.
Inside, visitors wore customer versions of the Oculus Rift headset and were provided a 360-degree glance into Henry’s cartoony house as his birthday wish amazingly came to life.
“Henry” is the second film from Oculus Story Studio, an internal production business that Oculus developed in 2013 after Facebook purchased the VR business. “Lost,” the studio’s very first short movie, debuted at the Sundance Film Festival earlier this year.
“The goal with ‘Henry’ and these short movies isn’t to be an introduction to virtual fact,” said Oculus founder Palmer Luckey. “We’re trying to construct things with Oculus Story Studio that other individuals can gain from and build much better material from as a result.”
Luckey added that Oculus isn’t really attempting to produce a studio to rival Hollywood’s existing gamers. Instead, with “Henry” and Oculus’ other work, the business is seeking to show VR’s ability and motivate studios and production companies to develop content beyond advertising efforts connected to other films and entertainment franchises.
“In an ideal word, we’ll have all the significant studios making tons of VR material since they’re making tons of cash off of it,” stated Luckey. “That would be better for us than needing to hold up the entire VR industry with our own content. Nintendo handled to do that with their video games, but it’s really rough. It’ll be much healthier to have a varied ecosystem.”
“Henry” is a totally passive experience that doesn’t need viewers to use a controller, other than tilting their head to see the action inside Henry’s tree-trunk abode. Nevertheless, “Henry” director Ramiro Lopes Dau, a previous animator at Pixar, included the ability for the spikey character to look directly at the user throughout the experience.
“I think there’s space for all difference type of experiences, where they can be more or less interactive,” stated Lopes Dau. “In the case of ‘Henry,’ it’s more about the character. We use those moments when he’s happy or sad to take a look at you no matter where you’re standing.”
The encounter of interactivity in a piece of content described as a brief movie asks the concern: Is “Henry” really a film? Or is it a game? Or something else entirely?
“I do not think anyone actually understands,” stated Lopes Dau. “Personally, I don’t care what it’s called. I just want to make something that offers you a feeling, informs you a story and is magical to you. I do not care if it’s called a game, a film or something else.”
Oculus plans to bundle “Henry” and other movies and video games for complimentary with Oculus Rift. The company has not stated how much the system, which will require a high-end PC to run, will certainly cost when it introduces early next year.
The previous start-up, which sparked the most recent VR fixation three years back, now has numerous rivals likewise diving headfirst into the industry, including Valve and HTC’s Vive headset and Sony’s Project Morpheus, which works in tandem with the PlayStation 4 console.
Oculus through AP
Tuesday, July 28, 2015|9:16 p.m.
BEVERLY HILLSIDES, Calif.– Oculus is hedging its bets that a charming critter named Henry should assist encourage customers– and Hollywood– about the viability of virtual reality as a storytelling medium.
The VR company, which Facebook got for almost $2 billion in 2013, debuted a 10-minute narrative experience starring the lonely hedgehog Henry during an invite-only event Tuesday at a private estate in Beverly Hills.
Inside, visitors put on consumer versions of the Oculus Rift headset and were offered a 360-degree peek into Henry’s cartoony house as his birthday wish amazingly came to life.
“Henry” is the second film from Oculus Story Studio, an internal production company that Oculus established in 2013 after Facebook bought the VR company. “Lost,” the studio’s first short film, debuted at the Sundance Movie Celebration earlier this year.
“The objective with ‘Henry’ and these brief films isn’t to be an intro to virtual reality,” stated Oculus creator Palmer Luckey. “We’re aiming to develop things with Oculus Story Studio that other people can gain from and develop much better content from as an outcome.”
Luckey added that Oculus isn’t really attempting to create a studio to competing Hollywood’s existing gamers. Instead, with “Henry” and Oculus’ other work, the business is seeking to show VR’s ability and influence studios and production business to produce material beyond marketing efforts connected to other films and home entertainment franchises.
“In a best word, we’ll have all the significant studios making lots of VR content since they’re making tons of cash off of it,” stated Luckey. “That would be much better for us than having to hold up the entire VR industry with our own material. Nintendo handled to do that with their games, but it’s actually rough. It’ll be much healthier to have a diverse environment.”
“Henry” is a completely passive experience that does not require viewers to utilize a controller, aside from tilting their visit see the action inside Henry’s tree-trunk home. However, “Henry” director Ramiro Lopes Dau, a former animator at Pixar, included the ability for the spikey character to look straight at the user during the experience.
“I believe there’s room for all distinction sort of experiences, where they can be more or less interactive,” said Lopes Dau. “In the case of ‘Henry,’ it’s more about the character. We utilize those minutes when he’s pleased or sad to look at you no matter where you’re standing.”
The intro of interactivity in a piece of content described as a brief film pleads the question: Is “Henry” really a film? Or is it a video game? Or something else entirely?
“I don’t believe anyone truly knows,” said Lopes Dau. “Personally, I do not care exactly what it’s called. I just wish to make something that gives you an emotion, tells you a story and is wonderful to you. I don’t care if it’s called a video game, a movie or something else.”
Oculus strategies to bundle “Henry” and other movies and games for complimentary with Oculus Rift. The company has not said just how much the system, which will certainly need a high-end PC to run, will certainly cost when it launches early next year.
The former start-up, which sparked the most recent VR fascination three years ago, now has numerous rivals likewise diving headfirst into the marketplace, consisting of Valve and HTC’s Vive headset and Sony’s Task Morpheus, which works in tandem with the PlayStation 4 console.
Monday, July 20, 2015|2 a.m.
Marvel’s “Ant-Man” punched above its weight at the weekend ticket office, debuting with an estimated $58 million, while Amy Schumer’s “Trainwreck” also opened strongly with $30.2 million.
The outcome for “Ant-Man” didn’t match some of Marvel’s better recognized and brawnier apartments. However “Ant-Man”– a relatively inexpensive superhero motion picture with a $130 million spending plan– still controlled North American multiplexes, edging out the little yellow individuals of Universal’s “Minions,” which took in $50.2 million in its second week.
“Ant-Man,” starring Paul Rudd as a somewhat more irreverent and noticeably smaller superhero, can be found in a little listed below earlier stand-alone Marvel films like “Thor” ($65.7 million in 2011) and “Captain America: The First Avenger” ($65.1 million in 2011).
Dave Hollis, head of distribution at Disney, credited Marvel for successfully broadening its universe both in tone and audience makeup. The motion picture, a more funny break-in film, appealed more to females (42 percent of the audience) and families (28 percent) than many Marvel releases.
“Most encouragingly in this one, the exit ratings we’re seeing from women– their possibility to advise and just how much they delighted in the film– was higher right here than virtually any movie we have actually had,” Hollis stated. “It’s a great indication for exactly what word of mouth need to be for the run, however, 2, what it means for how females think about these motion pictures being for them as much as guys might.”
The next question will be whether the result was strong enough to kick start an “Ant-Man 2.” Though “Ant-Man” had a rocky course to the screen, with director Peyton Reed changing Edgar Wright shortly prior to shooting commenced, its CinemaScore from audiences is an A. It took in $56.4 million abroad.
The opening was closest to 2008’s “The Extraordinary Hulk” ($55 million), the improperly gotten Edward Norton edition that didn’t spawn more installments. Rudd is already to appear as Ant-Man in “Captain America: Civil War.”
“I state this was a success,” stated Paul Dergarabedian, Rentrak’s senior media expert. “This was never moiraied to open with $80 (million) or $100 million. Marvel continues to progress and surprised the audience. This had to do with a perfectly solid result for a brand new commercial property.”
The $30.2 million opening for Schumer’s big-screen debut, “Trainwreck,” which the comedian also composed, made an approximated $30.2 million, making the R-rated Universal release one of the greatest funny successes this summertime. It’s likewise the second best opening for Judd Apatow as a director following “Knocked Up.”
Currently a seriously acclaimed star on Funny Central for her sketch show “Inside Amy Schumer,” Schumer’s transition to films has actually drawn good reviews and opened above expectations, even more showing the power of female moviegoers. The audience was two-thirds ladies, Universal said.
“Amy Schumer is an absolute skill and must have an excellent profession in the motion pictures,” stated Nick Carpou, distribution head for Universal. “The character that she represents very effectively enables modern-day females.”
Opening in simply 5 locations was Woody Allen’s “Irrational Man,” starring Joaquin Phoenix and Emma Stone. The Sony Photo Classic release loaded those theaters for an average of $37,623 per screen.
The Roadside Attractions and Miramax release “Mr. Holmes,” starring Ian McKellen as an aged Sherlock Holmes, debuted with $2.5 million in 363 theaters.
Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Rentrak. Where readily available, the most recent worldwide numbers for Friday through Sunday are also consisted of. Last domestic figures will certainly be released Monday:
1. “Ant-Man,” $58 million ($56.4 million international).
2. “Minions,” $50.2 million ($66.2 million international).
3. “Trainwreck,” $30.2 million.
4. “Inside Out,” $11.7 million ($21. 3 million global).
5. “Jurassic World,” $11.4 million ($12.3 million international).
6. “Terminator Genisys,” $5.4 million ($22.2 million global).
7. “Magic Mike XXL,” $4.5 million ($5.8 million global).
8. “Gallows,” $4 million ($2.1 million global).
9. “Ted 2,” $2.7 million ($7.5 million international).
10. “Mr. Holmes,” $2.5 million.
– – –
Estimated ticket sales for Friday through Sunday at international theaters (excluding the united state and Canada), according to Rentrak:
1. “Beast Hunt,” $72 million.
2. “Minions,” $66.2 million.
3. “Jian Bing Male,” $61 million.
4. “Ant-Man,” $56.4 million.
5. “Monkey King: Hero Is Back,” $22.5 million.
6. “Terminator Genisys,” $22.2 million.
7. “Inside Out,” $21.3 million.
8. “Jurassic World,” $12.3 million.
9. “Ted 2,” $7.5 million.
10. “Magic Mike XXL,” $5.8 million.