Paramount Picks Up Comic Book Movie 'Harbinger' From Sony (Exclusive) | Hollywood Reporter - 0 views
Dan Buckley Named President of Marvel Entertainment (Exclusive) | Hollywood Reporter - 0 views
Superheroes and superfans: A conversation with Marvel Entertainment and Berlanti Produc... - 0 views
The Marvel Creative Committee Is Over | Birth.Movies.Death. - 0 views
ICv2: ICv2 Interview: DC Publishers Dan Didio and Jim Lee at SDCC 2019, Part 2 - 0 views
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Tsujihara was considered a real champion of DC, a real supporter of the brand
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Ann Sarnoff also has connections to DC. Her father-in-law was the person that purchased DC and brought it into the Warner Publishing Group back in the day. So there was that connection. An internal video greeting was sent out, and she specifically called that out. But she hasn't started yet.
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Anything that has a show or anything that's going on in the media right now, we're trying to build those types of books.
IDW - 0 views
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For example, in preparation for Wynonna Earp’s debut on SyFy, IDW Entertainment promoted the series by placing ads in most of the 90 titles published each month by IDW Publishing. The result brought a staggering 42% increase in new viewers to Syfy for the series debut, and catapulted the show into double-digit growth for the time period
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utilize IDW Publishing’s vast catalog
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Maintaining a major ownership position in the properties it develops
CW President Eyes Another 'Arrow' Spinoff | Hollywood Reporter - 0 views
'Star Trek: Picard' to Get Prequel Novel and Comic Series | Hollywood Reporter - 0 views
Where Does DC Comics Fit In AT&T's Vision For WarnerMedia? - 0 views
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To the extent that DC matters at all in the company’s future, it’s as a source of owned IP for other media channels and as a lifestyle brand to serve as an ambassador to geek culture.
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One place that AT&T does not seem to see any value is in sub-brands
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In place of a robust and differentiated publishing enterprise, AT&T appears more interested in boosting DC as a consumer lifestyle brand.
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LEVITZ's Milestones as DC COMICS' President, Publisher, Writer - 0 views
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The changes in how comics were perceived, how comic book people were able to work in the movie industry while they were still comic book people became a wonderful shift in that period. There were people in television too. Suddenly, a comic book credit was a good thing to have on your resume, as opposed to a lead weight, for a creative person.
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And they came back with, really, a very different approach to how to make it work - a team writing approach from Dan's experience in television, which was not at all a way that comics were being produced in those years, and a set of creative ideas on how they would execute. All of that was theirs.
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The things that I would put on my corporate tombstone, if you will, would be devising the credit and business terms we used for the direct market, which significantly invested in the growth of the comic shops and the direct distribution system; my role in helping devise the first standard royalty plan for the business; my role in developing the graphic novel format in this country - those are some of the things that are more singly mine.
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Deep Inside The Comics Business Of 1980s & 1990s With PAUL LEVITZ - 0 views
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When Jenette Kahn came in as DC's Publisher in 1976, remember the company was very small. There were probably only 30 of us when she got there. I ended up being one of the core group of people with her and Joe Orlando who were trying to figure out how to move the company forward.
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So I got to be the primary draftsman on the first standard written contract that DC ever used for freelancers when the copyright laws changed in the mid-'70s.
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One of the more important things that I did, around the tail end of 1980 to the beginning of 1981, I moved from the editorial department, as Jenette becomes the president of the company and I moved to being what in modern terms you would define as a chief operating officer of the company, the head business guy.
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