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Loss (Lithuanian: Nereikalingi žmonės, literary "Unnecessary people") is a 2008 film directed, co-written and co-produced by Latvian film director Maris Martinsons. In October 2008, it was announced that the film was Lithuania's submission for the Academy Award for Best Foreign Language Film in the 81st Academy Awards, becoming the first Lithuanian feature film ever to be submitted for the Academy Awards.

Awards[link]

International premiere of Loss was held in 2008 Shanghai International Film Festival, where it was awarded with 2 Jin Jue (Golden Goblet) awards: Best Director for Maris Martinsons and Best Music for Andrius Mamontovas. It is the first Lithuanian feature film to be screened in the competition of A class festival and awarded prestigious prizes.

2009 "Loss" was awarded with the Latvian Film Prize for the BEST FILM.

Synopsis[link]

Loss is a story about a Priest (starring Andrius Mamontovas) in Ireland who meets a woman Valda (starring Valda Bičkutė) from his native Lithuania only to find out her mysterious identity is closely connected with a darkest secret of his past.

Desperate for a better life Valda left Lithuania for Ireland, hoping to find a new purpose in life but failed to fulfill a promise to come back she made to her son. Now a boy is adopted by Nora (starring Dalia Michelevičiūtė), a childless ex-wife of the desperate businessman Ben (starring Kostas Smoriginas) whose life is falling from his hands. Caught in a struggle with her husband’s mistress Laima (starring Daiva Tamošiūnaitė-Budrė) she must fight not only for her company but also for the custody of a child who now is her only hope in life.

According to Variety magazine film critic Eddie Cockrell, the satisfying Lithuanian drama was inspired by Six Degrees of Separation and Dostoevsky’s line “the tears of that one tortured child”. Loss delves into the harsh realities of six people’s lives whose destinies are brought together after a tragic accident that happened over two decades ago.

Style[link]

The film is shot entirely on a hand-held camera. The camera's swift movements follow the heroes of the film creating a feeling of closeness to the film’s characters and allowing the audience to permeate into their hearts. To deepen the feelings even more, the director decided to shoot the film on a 16 mm film so that during its transfer onto 35 mm the display became grainy, intentionally contributing a special kind of atmosphere to the film. The haunting music score is reminiscent of Irish folk rhythms.

Production[link]

Loss has been shot in Lithuania and Ireland. The exterior scenes were shot in Wicklow town, Powerscourt Waterfall, etc.

Box office[link]

Total box office of this film from exhibition Lithuania is 594 763 Lt.

External links[link]

• Official website
• Loss review at Variety
• Loss at the Internet Movie Database

Look up loss or lose in Wiktionary, the free dictionary.

Loss may refer to:

• A negative difference between retail price and cost of production
  • Loss leader a deliberate commercial loss made in the expectation of recouping it by profitable sales of other lines
• An event in which the team or individual in question did not win
• Loss (baseball), a pitching statistic in baseball
• Attenuation, a reduction in amplitude and intensity of a signal
• In telecommunications, loss is a decrease in signal in a communications system:
  • Angular misalignment loss, power loss caused by the deviation from optimum angular alignment
  • Bridging loss, the loss that results when an impedance is connected across a transmission line
  • Coupling loss, the loss that occurs when energy is transferred from one circuit, optical device, or medium to another
  • Insertion loss, the decrease in transmitted signal power resulting from the insertion of a device in a transmission line or optical fiber
  • Path loss, the attenuation undergone by an electromagnetic wave in transit from a transmitter to a receiver
    • Free-space path loss, the loss in signal strength that would result if all influences were sufficiently removed having no effect on its propagation
  • Return loss, the ratio of the amplitude of the reflected wave to the amplitude of the incident wave
• Round-trip loss in laser physics refers to energy lost due to scattering or absorption
• Loss function, in statistics, a function representing the cost associated with an event

Arts[link]

• Loss (film), a 2008 film by Maris Martinsons
• Joe Loss (1909–1990), founder of The Joe Loss Orchestra
• Loss (Mull Historical Society album), 2001
• Loss (Bass Communion album), 2006
• Loss (comics), a mutant comic book character
• Lord Loss (character), the Demon Lord from Darren Shan's 10 book series The Demonata
• "The Loss", a 1990 fourth-season episode of Star Trek: The Next Generation
• "LOSE" or "L.O.S.E.", the abbreviation of League of Super Evil

See also[link]

• Stop loss (disambiguation)
• Grief, an emotional response to loss
• Animal loss, grief over the loss of an animal
• The Pirate Bay LOSS Low Orbit Server Stations modern radio transmitters over 100Mbit/s per node up to 50 km away in the sky

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

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This 16 mm spring-wound Bolex "H16" Reflex camera is a popular entry level camera used in film schools.

A film, also called a movie or motion picture, is a series of still or moving images. It is produced by recording photographic images with cameras, or by creating images using animation techniques or visual effects. The process of filmmaking has developed into an art form and industry.

Films are cultural artifacts created by specific cultures, which reflect those cultures, and, in turn, affect them. Film is considered to be an important art form, a source of popular entertainment and a powerful method for educating – or indoctrinating – citizens. The visual elements of cinema give motion pictures a universal power of communication. Some films have become popular worldwide attractions by using dubbing or subtitles that translate the dialogue into the language of the viewer.

Films are made up of a series of individual images called frames. When these images are shown rapidly in succession, a viewer has the illusion that motion is occurring. The viewer cannot see the flickering between frames due to an effect known as persistence of vision, whereby the eye retains a visual image for a fraction of a second after the source has been removed. Viewers perceive motion due to a psychological effect called beta movement.

The origin of the name "film" comes from the fact that photographic film (also called film stock) has historically been the primary medium for recording and displaying motion pictures. Many other terms exist for an individual motion picture, including picture, picture show, moving picture, photo-play and flick. A common name for film in the United States is movie, while in Europe the term film is preferred. Additional terms for the field in general include the big screen, the silver screen, the cinema and the movies.

History[link]

A clip from the Charlie Chaplin silent film The Bond (1918)

Preceding film in origin by thousands of years, early plays and dances had elements common to film: scripts, sets, costumes, production, direction, actors, audiences, storyboards, and scores. Much terminology later used in film theory and criticism apply, such as mise en scene (roughly, the entire visual picture at any one time). Owing to an absence of technology for doing so, moving visual and aural images were not recorded for replaying as in film.

In the 1860s, mechanisms for producing two-dimensional drawings in motion were demonstrated with devices such as the zoetrope, mutoscope and praxinoscope. These machines were outgrowths of simple optical devices (such as magic lanterns) and would display sequences of still pictures at sufficient speed for the images on the pictures to appear to be moving, a phenomenon called persistence of vision. Naturally the images needed to be carefully designed to achieve the desired effect, and the underlying principle became the basis for the development of film animation.

With the development of celluloid film for still photography, it became possible to directly capture objects in motion in real time. An 1878 experiment by English photographer Eadweard Muybridge in the United States using 24 cameras produced a series of stereoscopic images of a galloping horse, is arguably the first "motion picture", though it was not called by this name.^[1] This technology required a person to look into a viewing machine to see the pictures which were separate paper prints attached to a drum turned by a handcrank. The pictures were shown at a variable speed of about 5 to 10 pictures per second, depending on how rapidly the crank was turned. Commercial versions of these machines were coin operated.

A frame from Roundhay Garden Scene, the world's earliest film produced using a motion picture camera, by Louis Le Prince, 1888

By the 1880s the development of the motion picture camera allowed the individual component images to be captured and stored on a single reel, and led quickly to the development of a motion picture projector to shine light through the processed and printed film and magnify these "moving picture shows" onto a screen for an entire audience. These reels, so exhibited, came to be known as "motion pictures". Early motion pictures were static shots that showed an event or action with no editing or other cinematic techniques. The first public exhibition of projected motion pictures in America was shown at Koster and Bial's Music Hall in New York City on the 23rd of April 1896.

Ignoring W. K. L. Dickson's early sound experiments (1894), commercial motion pictures were purely visual art through the late 19th century, but these innovative silent films had gained a hold on the public imagination. Around the turn of the 20th century, films began developing a narrative structure by stringing scenes together to tell a story. The scenes were later broken up into multiple shots of varying sizes and angles. Other techniques such as camera movement were realized as effective ways to portray a story on film. Rather than leave the audience with noise of early cinema projectors, theater owners would hire a pianist or organist or a full orchestra to play music that would cover noises of projector. Eventually, musicians would start to fit the mood of the film at any given moment. By the early 1920s, most films came with a prepared list of sheet music for this purpose, with complete film scores being composed for major productions.

A shot from Georges Méliès Le Voyage dans la Lune (A Trip to the Moon) (1902), an early narrative film.

The rise of European cinema was interrupted by the outbreak of World War I when the film industry in United States flourished with the rise of Hollywood, typified most prominently by the great innovative work of D. W. Griffith in The Birth of a Nation (1914) and Intolerance (1916). However in the 1920s, European filmmakers such as Sergei Eisenstein, F. W. Murnau, and Fritz Lang, in many ways inspired by the meteoric war-time progress of film through Griffith, along with the contributions of Charles Chaplin, Buster Keaton and others, quickly caught up with American film-making and continued to further advance the medium. In the 1920s, new technology allowed filmmakers to attach to each film a soundtrack of speech, music and sound effects synchronized with the action on the screen. These sound films were initially distinguished by calling them "talking pictures", or talkies.

The next major step in the development of cinema was the introduction of so-called "natural color", which meant color that was photographically recorded from nature rather than being added to black-and-white prints by hand-coloring, stencil-coloring or other arbitrary procedures, although the earliest processes typically yielded colors which were far from "natural" in appearance. While the addition of sound quickly eclipsed silent film and theater musicians, color replaced black-and-white much more gradually. The pivotal innovation was the introduction of the three-strip version of the Technicolor process, which was first used for short subjects and for isolated sequences in a few feature films released in 1934, then for an entire feature film, Becky Sharp, in 1935. The expense of the process was daunting, but continued favorable public response and enhanced box-office receipts increasingly justified the added cost. The number of films made in color slowly increased year after year.

In the early 1950s, as the proliferation of black-and-white television started seriously depressing theater attendance in the US, the use of color was seen as one way of winning back audiences. It soon became the rule rather than the exception. Some important mainstream Hollywood films were still being made in black-and-white as late as the mid-1960s, but they marked the end of an era. Color television receivers had been available in the US since the mid-1950s, but at first they were very expensive and few broadcasts were in color. During the 1960s, prices gradually came down, color broadcasts became common, and the sale of color television sets boomed. The strong preference of the general public for color was obvious. After the final flurry of black-and-white film releases in mid-decade, all major Hollywood studio film production was exclusively in color, with rare exceptions reluctantly made only at the insistence of "star" directors such as Peter Bogdanovich and Martin Scorsese.

Since the decline of the studio system in the 1960s, the succeeding decades saw changes in the production and style of film. Various New Wave movements (including the French New Wave, Indian New Wave, Japanese New Wave and New Hollywood) and the rise of film school educated independent filmmakers were all part of the changes the medium experienced in the latter half of the 20th century. Digital technology has been the driving force in change throughout the 1990s and into the 2000s. 3D technology increased in usage and has become more popular since the early 2010s.

Theory[link]

Film theory seeks to develop concise and systematic concepts that apply to the study of film as art. It was started by Ricciotto Canudo's The Birth of the Sixth Art. Formalist film theory, led by Rudolf Arnheim, Béla Balázs, and Siegfried Kracauer, emphasized how film differed from reality, and thus could be considered a valid fine art. André Bazin reacted against this theory by arguing that film's artistic essence lay in its ability to mechanically reproduce reality not in its differences from reality, and this gave rise to realist theory. More recent analysis spurred by Jacques Lacan's psychoanalysis and Ferdinand de Saussure's semiotics among other things has given rise to psychoanalytical film theory, structuralist film theory, feminist film theory and others. On the other hand, critics from the analytical philosophy tradition, influenced by Wittgenstein, try to clarify misconceptions used in theoretical studies and produce analysis of a film's vocabulary and its link to a form of life.

Language[link]

Film is considered to have its own language. James Monaco wrote a classic text on film theory titled "How to Read a Film". Director Ingmar Bergman famously said, "[Andrei] Tarkovsky for me is the greatest [director], the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream." Examples of the language are a sequence of back and forth images of one actor's left profile speaking, followed by another actor's right profile speaking, then a repetition of this, which is a language understood by the audience to indicate a conversation. Another example is zooming in on the forehead of an actor with an expression of silent reflection, then changing to a scene of a younger actor who vaguely resembles the first actor, indicating the first actor is having a memory of their own past.

Montage[link]

Parallels to musical counterpoint have been developed into a theory of montage, extended from the complex superimposition of images in early silent film^{[citation needed]} to even more complex incorporation of musical counterpoint together with visual counterpoint through mise en scene and editing, as in a ballet or opera; e.g., as illustrated in the gang fight scene of director Francis Ford Coppola’s film, Rumble Fish.

Criticism[link]

Film criticism is the analysis and evaluation of films. In general, these works can be divided into two categories: academic criticism by film scholars and journalistic film criticism that appears regularly in newspapers and other media.

Film critics working for newspapers, magazines, and broadcast media mainly review new releases. Normally they only see any given film once and have only a day or two to formulate opinions. Despite this, critics have an important impact on films, especially those of certain genres. Mass marketed action, horror, and comedy films tend not to be greatly affected by a critic's overall judgment of a film. The plot summary and description of a film that makes up the majority of any film review can still have an important impact on whether people decide to see a film. For prestige films such as most dramas, the influence of reviews is extremely important. Poor reviews will often doom a film to obscurity and financial loss.

The impact of a reviewer on a given film's box office performance is a matter of debate. Some claim that movie marketing is now so intense and well financed that reviewers cannot make an impact against it. However, the cataclysmic failure of some heavily promoted movies which were harshly reviewed, as well as the unexpected success of critically praised independent movies indicates that extreme critical reactions can have considerable influence. Others note that positive film reviews have been shown to spark interest in little-known films. Conversely, there have been several films in which film companies have so little confidence that they refuse to give reviewers an advanced viewing to avoid widespread panning of the film. However, this usually backfires as reviewers are wise to the tactic and warn the public that the film may not be worth seeing and the films often do poorly as a result.

It is argued that journalist film critics should only be known as film reviewers, and true film critics are those who take a more academic approach to films. This line of work is more often known as film theory or film studies. These film critics attempt to come to understand how film and filming techniques work, and what effect they have on people. Rather than having their works published in newspapers or appear on television, their articles are published in scholarly journals, or sometimes in up-market magazines. They also tend to be affiliated with colleges or universities.

Industry[link]

Cate Blanchett at the Berlin International Film Festival. Around 20,000 professionals from over 130 countries attend the event in Berlin.

The making and showing of motion pictures became a source of profit almost as soon as the process was invented. Upon seeing how successful their new invention, and its product, was in their native France, the Lumières quickly set about touring the Continent to exhibit the first films privately to royalty and publicly to the masses. In each country, they would normally add new, local scenes to their catalogue and, quickly enough, found local entrepreneurs in the various countries of Europe to buy their equipment and photograph, export, import and screen additional product commercially. The Oberammergau Passion Play of 1898^{[citation needed]} was the first commercial motion picture ever produced. Other pictures soon followed, and motion pictures became a separate industry that overshadowed the vaudeville world. Dedicated theaters and companies formed specifically to produce and distribute films, while motion picture actors became major celebrities and commanded huge fees for their performances. By 1917 Charlie Chaplin had a contract that called for an annual salary of one million dollars.

From 1931 to 1956, film was also the only image storage and playback system for television programming until the introduction of videotape recorders.

In the United States today, much of the film industry is centered around Hollywood. Other regional centers exist in many parts of the world, such as Mumbai-centered Bollywood, the Indian film industry's Hindi cinema which produces the largest number of films in the world.^[2] Whether the ten thousand-plus feature length films a year produced by the Valley pornographic film industry should qualify for this title is the source of some debate.^{[citation needed]} Though the expense involved in making movies has led cinema production to concentrate under the auspices of movie studios, recent advances in affordable film making equipment have allowed independent film productions to flourish.

Profit is a key force in the industry, due to the costly and risky nature of filmmaking; many films have large cost overruns, a notorious example being Kevin Costner's Waterworld. Yet many filmmakers strive to create works of lasting social significance. The Academy Awards (also known as "the Oscars") are the most prominent film awards in the United States, providing recognition each year to films, ostensibly based on their artistic merits.

There is also a large industry for educational and instructional films made in lieu of or in addition to lectures and texts.

Associated fields[link]

Derivative academic Fields of study may both interact with and develop independently of filmmaking, as in film theory and analysis. Fields of academic study have been created that are derivative or dependent on the existence of film, such as film criticism, film history, divisions of film propaganda in authoritarian governments, or psychological on subliminal effects of a flashing soda can during a screening. These fields may further create derivative fields, such as a movie review section in a newspaper or a television guide. Sub-industries can spin off from film, such as popcorn makers, and toys. Sub- industries of pre-existing industries may deal specifically with film, such as product placement in advertising.

Terminology used[link]

Although the words "film" and "movie" are sometimes used interchangeably, "film" is more often used when considering artistic, theoretical, or technical aspects, as studies in a university class and "movies" more often refers to entertainment or commercial aspects, as where to go for fun on a date. For example, a book titled "How to Read a Film" would be about the aesthetics or theory of film, while "Lets Go to the Movies" would be about the history of entertaining movies. "Motion pictures" or "Moving pictures" are films and movies. A "DVD" is a digital format which may be used to reproduce an analog film, while "videotape" ("video") was for many decades a solely analog medium onto which moving images could be recorded and electronically (rather than optically) reproduced. Strictly speaking, "Film" refers to the media onto which a visual image is shot, and to this end it may seem improper for work in other "moving image" media to be referred to as a "film" and the action of shooting as "filming", though these terms are still in general use. "Silent films" need not be silent, but are films and movies without an audible dialogue, though they may have a musical soundtrack. "Talkies" refers to early movies or films having audible dialogue or analog sound, not just a musical accompaniment. "Cinema" either broadly encompasses both films and movies, or is roughly synonymous with "Film", both capitalized when referring to a category of art. The "silver screen" refers to classic black-and-white films before color, not to contemporary films without color.

The expression "Sight and Sound", as in the film journal of the same name, means "film". The following icons mean film: a "candle and bell", as in the films Tarkovsky, of a segment of film stock, or a two faced Janus image, and an image of a movie camera in profile.

"Widescreen" and "Cinemascope" refers to a larger width to height in the frame, compared to an earlier historic aspect ratios.^[3] A "feature length film", or "feature film", is of a conventional full length, usually 60 minutes or more, and can commercially stand by itself without other films in a ticketed screening.^[4] A "short" is a film that is not as long as a feature length film, usually screened with other shorts, or preceding a feature length film. An "independent" is a film made outside of the conventional film industry.

A "screening" or "projection" is the projection of a film or video on a screen at a public or private theater, usually but not always of a film, but of a video or DVD when of sufficient projection quality. A "double feature" is a screening of two independent, stand-alone, feature films. A "viewing" is a watching of a film. A "showing" is a screening or viewing on an electronic monitor. "Sales" refers to tickets sold at a theater, or more currently, rights sold for individual showings. A "release" is the distribution and often simultaneous screening of a film. A "preview" is a screening in advance of the main release.

"Hollywood" may be used either as a pejorative adjective, shorthand for asserting an overly commercial rather than artistic intent or outcome, as in "too Hollywood", or as a descriptive adjective to refer to a film originating with people who ordinarily work near Los Angeles.

Expressions for Genres of film are sometimes used interchangeably for "film" in a specific context, such as a "porn" for a film with explicit sexual content, or "cheese" for films that are light, entertaining and not highbrow.

Any film may also have a "sequel", which portrays events following those in the film. Bride of Frankenstein is an early example. When there are a number of films with the same characters, we have a "series", such as the James Bond series. A film which portrays events that occur earlier than those in another film, but is released after that film, is sometimes called a "prequel", an example being Butch and Sundance: The Early Days.

Credits is a list of the people involved in making the film. Before the 1970s, credits were usually at the beginning of a film. Since then, the credits roll at the end of most films.

A Post-credits scene is a scene shown after the end of the credits. Ferris Bueller's Day Off has a post-credit scene in which Ferris tells the audience that the movie is over and they should go home.

Preview[link]

A preview performance refers to a showing of a movie to a select audience, usually for the purposes of corporate promotions, before the public film premiere itself. Previews are sometimes used to judge audience reaction, which if unexpectedly negative, may result in recutting or even refilming certain sections (Audience response).

Trailer[link]

Trailers or previews are film advertisements for films that will be exhibited in the future at a cinema, on whose screen they are shown. The term "trailer" comes from their having originally been shown at the end of a film programme. That practice did not last long, because patrons tended to leave the theater after the films ended, but the name has stuck. Trailers are now shown before the film (or the A movie in a double feature program) begins.

Film, or other art form?[link]

Film may be combined with performance art and still be considered or referred to as a "film", for instance, when there is a live musical accompaniment to a silent film. Another example is audience participation films, as at a midnight movies screening of The Rocky Horror Picture Show, where the audience dresses up in costume from the film and loudly does a karaoke-like reenactment along with the film. Performance art where film is incorporated as a component is usually not called film, but a film, which could stand-alone but is accompanied by a performance may still be referred to as a film.

The act of making a film can, in and of itself, be considered a work of art, on a different level from the film itself, as in the films of Werner Herzog.

Similarly, the playing of a film can be considered to fall within the realm of political protest art, as in the subtleties within the films of Tarkovsky. A "road movie" can refer to a film put together from footage from a long road trip or vacation.

Education and propaganda[link]

Film is used for education and propaganda. When the purpose is primarily educational, a film is called an "educational film". Examples are recordings of lectures and experiments, or more marginally, a film based on a classic novel.

Film may be propaganda, in whole or in part, such as the films made by Leni Riefenstahl in Nazi Germany, US war film trailers during World War II, or artistic films made under Stalin by Eisenstein. They may also be works of political protest, as in the films of Wajda, or more subtly, the films of Andrei Tarkovsky.

The same film may be considered educational by some, and propaganda by others, such as some of the films of Michael Moore.

Production[link]

At its core, the means to produce a film depend on the content the filmmaker wishes to show, and the apparatus for displaying it: the zoetrope merely requires a series of images on a strip of paper. Film production can therefore take as little as one person with a camera (or without it, such as Stan Brakhage's 1963 film Mothlight), or thousands of actors, extras and crewmembers for a live-action, feature-length epic.

The necessary steps for almost any film can be boiled down to conception, planning, execution, revision, and distribution. The more involved the production, the more significant each of the steps becomes. In a typical production cycle of a Hollywood-style film, these main stages are defined as:

1. Development
2. Pre-production
3. Production
4. Post-production
5. Distribution

This production cycle usually takes three years. The first year is taken up with development. The second year comprises preproduction and production. The third year, post-production and distribution.

The bigger the production, the more resources it takes, and the more important financing becomes; most feature films are not only artistic works, but for-profit business entities.

Crew[link]

A film crew is a group of people hired by a film company, employed during the "production" or "photography" phase, for the purpose of producing a film or motion picture. Crew are distinguished from cast, the actors who appear in front of the camera or provide voices for characters in the film. The crew interacts with but is also distinct from the production staff, consisting of producers, managers, company representatives, their assistants, and those whose primary responsibility falls in pre-production or post-production phases, such as writers and editors. Communication between production and crew generally passes through the director and his/her staff of assistants. Medium-to-large crews are generally divided into departments with well defined hierarchies and standards for interaction and cooperation between the departments. Other than acting, the crew handles everything in the photography phase: props and costumes, shooting, sound, electrics (i.e., lights), sets, and production special effects. Caterers (known in the film industry as "craft services") are usually not considered part of the crew.

Technology[link]

Film stock consists of transparent celluloid, acetate, or polyester base coated with an emulsion containing light-sensitive chemicals. Cellulose nitrate was the first type of film base used to record motion pictures, but due to its flammability was eventually replaced by safer materials. Stock widths and the film format for images on the reel have had a rich history, though most large commercial films are still shot on (and distributed to theaters) as 35 mm prints.

Originally moving picture film was shot and projected at various speeds using hand-cranked cameras and projectors; though 1000 frames per minute (16⅔ frame/s) is generally cited as a standard silent speed, research indicates most films were shot between 16 frame/s and 23 frame/s and projected from 18 frame/s on up (often reels included instructions on how fast each scene should be shown).^[5] When sound film was introduced in the late 1920s, a constant speed was required for the sound head. 24 frames per second was chosen because it was the slowest (and thus cheapest) speed which allowed for sufficient sound quality. Improvements since the late 19th century include the mechanization of cameras – allowing them to record at a consistent speed, quiet camera design – allowing sound recorded on-set to be usable without requiring large "blimps" to encase the camera, the invention of more sophisticated filmstocks and lenses, allowing directors to film in increasingly dim conditions, and the development of synchronized sound, allowing sound to be recorded at exactly the same speed as its corresponding action. The soundtrack can be recorded separately from shooting the film, but for live-action pictures many parts of the soundtrack are usually recorded simultaneously.

As a medium, film is not limited to motion pictures, since the technology developed as the basis for photography. It can be used to present a progressive sequence of still images in the form of a slideshow. Film has also been incorporated into multimedia presentations, and often has importance as primary historical documentation. However, historic films have problems in terms of preservation and storage, and the motion picture industry is exploring many alternatives. Most movies on cellulose nitrate base have been copied onto modern safety films. Some studios save color films through the use of separation masters: three B&W negatives each exposed through red, green, or blue filters (essentially a reverse of the Technicolor process). Digital methods have also been used to restore films, although their continued obsolescence cycle makes them (as of 2006) a poor choice for long-term preservation. Film preservation of decaying film stock is a matter of concern to both film historians and archivists, and to companies interested in preserving their existing products in order to make them available to future generations (and thereby increase revenue). Preservation is generally a higher concern for nitrate and single-strip color films, due to their high decay rates; black-and-white films on safety bases and color films preserved on Technicolor imbibition prints tend to keep up much better, assuming proper handling and storage.

Some films in recent decades have been recorded using analog video technology similar to that used in television production. Modern digital video cameras and digital projectors are gaining ground as well. These approaches are preferred by some moviemakers, especially because footage shot with digital cinema can be evaluated and edited with non-linear editing systems (NLE) without waiting for the film stock to be processed. Yet the migration is gradual, and as of 2005 most major motion pictures are still shot on film.

Independent[link]

Independent filmmaking often takes place outside of Hollywood, or other major studio systems. An independent film (or indie film) is a film initially produced without financing or distribution from a major movie studio. Creative, business, and technological reasons have all contributed to the growth of the indie film scene in the late 20th and early 21st century.

The Lumière Brothers

On the business side, the costs of big-budget studio films also leads to conservative choices in cast and crew. There is a trend in Hollywood towards co-financing (over two-thirds of the films put out by Warner Bros. in 2000 were joint ventures, up from 10% in 1987).^[6] A hopeful director is almost never given the opportunity to get a job on a big-budget studio film unless he or she has significant industry experience in film or television. Also, the studios rarely produce films with unknown actors, particularly in lead roles.

Before the advent of digital alternatives, the cost of professional film equipment and stock was also a hurdle to being able to produce, direct, or star in a traditional studio film.

But the advent of consumer camcorders in 1985, and more importantly, the arrival of high-resolution digital video in the early 1990s, have lowered the technology barrier to movie production significantly. Both production and post-production costs have been significantly lowered; today, the hardware and software for post-production can be installed in a commodity-based personal computer. Technologies such as DVDs, FireWire connections and non-linear editing system pro-level software like Adobe Premiere Pro, Sony Vegas and Apple's Final Cut Pro, and consumer level software such as Apple's Final Cut Express and iMovie, and Microsoft's Windows Movie Maker make movie-making relatively inexpensive.

Since the introduction of DV technology, the means of production have become more democratized. Filmmakers can conceivably shoot and edit a movie, create and edit the sound and music, and mix the final cut on a home computer. However, while the means of production may be democratized, financing, distribution, and marketing remain difficult to accomplish outside the traditional system. Most independent filmmakers rely on film festivals to get their films noticed and sold for distribution. The arrival of internet-based video outlets such as YouTube and Veoh has further changed the film making landscape in ways that are still to be determined.

Open content film[link]

An open content film is much like an independent film, but it is produced through open collaborations; its source material is available under a license which is permissive enough to allow other parties to create fan fiction or derivative works, than a traditional copyright. Like independent filmmaking, open source filmmaking takes place outside of Hollywood, or other major studio systems.

Fan film[link]

A fan film is a film or video inspired by a film, television program, comic book or a similar source, created by fans rather than by the source's copyright holders or creators. Fan filmmakers have traditionally been amateurs, but some of the more notable films have actually been produced by professional filmmakers as film school class projects or as demonstration reels. Fan films vary tremendously in length, from short faux-teaser trailers for non-existent motion pictures to rarer full-length motion pictures.

Distribution[link]

When it is initially produced, a feature film is often shown to audiences in a movie theater or cinema. The identity of the first theater designed specifically for cinema is a matter of debate; candidates include Tally's Electric Theatre, established 1902 in Los Angeles,^[7] and Pittsburgh's Nickelodeon, established 1905.^[8] Thousands of such theaters were built or converted from existing facilities within a few years.^[9] In the United States, these theaters came to be known as nickelodeons, because admission typically cost a nickel (five cents).

Typically, one film is the featured presentation (or feature film). Before the 1970s, there were "double features"; typically, a high quality "A picture" rented by an independent theater for a lump sum, and a "B picture" of lower quality rented for a percentage of the gross receipts. Today, the bulk of the material shown before the feature film consists of previews for upcoming movies and paid advertisements (also known as trailers or "The Twenty").

Historically, all mass marketed feature films were made to be shown in movie theaters. The development of television has allowed films to be broadcast to larger audiences, usually after the film is no longer being shown in theaters.^{[citation needed]} In 1967, videocassettes of movies became available to consumers to watch in their own homes.^[10] Recording technology has since enabled consumers to rent or buy copies of films on VHS or DVD (and the older formats of laserdisc, VCD and SelectaVision – see also videodisc), and Internet downloads may be available and have started to become revenue sources for the film companies. Some films are now made specifically for these other venues, being released as a television movie or direct-to-video movies. The production values on these films are often considered to be of inferior quality compared to theatrical releases in similar genres, and indeed, some films that are rejected by their own movie studios upon completion are distributed through these markets.

The movie theater pays an average of about 50-55% of its ticket sales to the movie studio, as film rental fees.^[11] The actual percentage starts with a number higher than that, and decreases as the duration of a film's showing continues, as an incentive to theaters to keep movies in the theater longer. However, today's barrage of highly marketed movies ensures that most movies are shown in first-run theaters for less than 8 weeks. There are a few movies every year that defy this rule, often limited-release movies that start in only a few theaters and actually grow their theater count through good word-of-mouth and reviews. According to a 2000 study by ABN AMRO, about 26% of Hollywood movie studios' worldwide income came from box office ticket sales; 46% came from VHS and DVD sales to consumers; and 28% came from television (broadcast, cable, and pay-per-view).^[11]

This section requires expansion with: optical disc distribution.

Animation[link]

Animation is the technique in which each frame of a film is produced individually, whether generated as a computer graphic, or by photographing a drawn image, or by repeatedly making small changes to a model unit (see claymation and stop motion), and then photographing the result with a special animation camera. When the frames are strung together and the resulting film is viewed at a speed of 16 or more frames per second, there is an illusion of continuous movement (due to the persistence of vision). Generating such a film is very labor intensive and tedious, though the development of computer animation has greatly sped up the process.

Because animation is very time-consuming and often very expensive to produce, the majority of animation for TV and movies comes from professional animation studios. However, the field of independent animation has existed at least since the 1950s, with animation being produced by independent studios (and sometimes by a single person). Several independent animation producers have gone on to enter the professional animation industry.

Limited animation is a way of increasing production and decreasing costs of animation by using "short cuts" in the animation process. This method was pioneered by UPA and popularized by Hanna-Barbera, and adapted by other studios as cartoons moved from movie theaters to television.^[12]

Although most animation studios are now using digital technologies in their productions, there is a specific style of animation that depends on film. Cameraless animation, made famous by moviemakers like Norman McLaren, Len Lye and Stan Brakhage, is painted and drawn directly onto pieces of film, and then run through a projector.

Future state[link]

This unreferenced section requires citations to ensure verifiability.

While motion picture films have been around for more than a century, film is still a relative newcomer in the pantheon^{[clarification needed]} of fine arts. In the 1950s, when television became widely available, industry analysts^[who?] predicted the demise of local movie theaters.^{[citation needed]} Despite competition from television's increasing technological sophistication over the 1960s and 1970s^{[citation needed]} such as the development of color television and large screens, motion picture cinemas continued. In fact with the rise of television's predominance, film began to become more respected as an artistic medium by contrast due the low general opinion of the quality of average television content.^{[citation needed]} In the 1980s, when the widespread availability of inexpensive videocassette recorders enabled people to select films for home viewing, industry analysts again wrongly predicted the death of the local cinemas.^{[citation needed]}

In the 1990s and 2000s, the development of DVD players, home theater amplification systems with surround sound and subwoofers, and large LCD or plasma screens enabled people to select and view films at home with greatly improved audio and visual reproduction.^{[citation needed]} These new technologies provided audio and visual that in the past only local cinemas had been able to provide: a large, clear widescreen presentation of a film with a full-range, high-quality multi-speaker sound system. Once again industry analysts predicted the demise of the local cinema. Local cinemas will be changing in the 21st century and moving towards digital screens, a new approach which will allow for easier and quicker distribution of films (via satellite or hard disks), a development which may give local theaters a reprieve from their predicted demise.^{[citation needed]} The cinema now faces a new challenge from home video by the likes of a new high definition (HD) format, Blu-ray, which can provide full HD 1080p video playback at near cinema quality.^{[citation needed]} Video formats are gradually catching up with the resolutions and quality that film offers; 1080p in Blu-ray offers a pixel resolution of 1920×1080, a leap from the DVD offering of 720×480 and the 330×480 offered by the first home video standard, VHS.^{[citation needed]} Ultra HD, a future digital video format, will offer a resolution of 7680×4320. However, the nature and structure of film prevents an apples-to-apples comparison with regard to resolution.^[13] The resolving power of film, and its ability to capture an image which can later be scanned to a digital format, will ensure that film remains a viable medium for some time to come.^{[citation needed]} Currently the super-16 format is seeing use as a capture medium, with digital scanning and post-production providing good results.^[14][15] Despite advances in digital capture, film still offers unsurpassed ability to capture fine detail beyond what is possible with digital image sensors. A 35 mm film frame, with proper exposure and processing, still offers an equivalent resolution in the range of 500 mega pixels.^[13]

Despite the rise of all-new technologies, the development of the home video market and a surge of online copyright infringement, 2007 was a record year in film that showed the highest ever box-office grosses. Many^[who?] expected film to suffer as a result of the effects listed above but it has flourished, strengthening film studio expectations for the future.^{[citation needed]}

See also[link]

• Genre
• Fiction film basic genre
• Documentary basic genre
• Docufiction hybrid genre

• Lists

Film portal

• List of film awards
• List of film festivals
• List of film journals and magazines
• List of film topics
• List of video-related topics
• List of years in film
• Lists of films

Related topics

• Cinematic techniques
• Digital cinema
• Lost film
• Web film

Notes[link]

References[link]

External links[link]

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	Learning resources from Wikiversity
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	Source texts from Wikisource
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Jared Leto
Leto at the 66th Venice International Film Festival in 2009.
Born	(1971-12-26) December 26, 1971 (age 40) Bossier City, Louisiana, U.S.
Other names	Bartholomew Cubbins, Angakok Panipaq
Occupation	Musician, composer, singer, songwriter, producer, actor, director, photographer
Years active	1992–present
Relatives	Shannon Leto (brother)
Website
jaredleto.com

Jared Joseph Leto (born December 26, 1971) is an American actor, director, producer, musician, and occasional model. Leto has appeared in both big budget Hollywood films and smaller projects from independent producers and art houses. He rose to prominence for playing Jordan Catalano in the teenage drama My So-Called Life (1994). He later made his film debut in How to Make an American Quilt (1995) and received first notable critical praise for his performance in Prefontaine (1997). Leto played supporting roles in The Thin Red Line (1998) and Girl, Interrupted (1999), as well as the lead role in the horror film Urban Legend (1998), and earned critical acclaim after portraying heroin addict Harry Goldfarb in Darren Aronofsky's Requiem for a Dream (2000). He has worked with director David Fincher in Fight Club (1999) and Panic Room (2002). Since the 2000s, Leto has been nominated for awards for his work in such films as American Psycho (2000), Highway (2002), Lord of War (2005), Lonely Hearts (2006), Chapter 27 (2007), and Mr. Nobody (2009).

Leto is the lead vocalist, multi-instrumentalist and main songwriter for 30 Seconds to Mars. He formed the rock band in 1998 in Los Angeles, California, along with his older brother Shannon Leto. Signed with Immortal and Virgin, 30 Seconds to Mars released their self-titled debut album in 2002 to positive reviews. The band's follow-up album, A Beautiful Lie (2005), went platinum in several countries. This Is War, the band's third album, arrived in December 2009. Leto has also directed music videos, including the MTV Video Music Award nominated "The Kill" (2006), "Kings and Queens" (2009), and "Hurricane" (2010).

Early life and education[link]

Jared Joseph Leto was born December 26, 1971, in Bossier City, Louisiana. His parents divorced when he was a child, leaving him in the care of his mother, Constance.^[1] This separation led to a traveling life with young Jared moving with his family – mother Constance Leto, older brother Shannon Leto and grandfather – from his native Louisiana to different cities in Colorado, Virginia, Wyoming, and Haiti.^[2] "My mom's father was in the Air Force," Leto explained, "so moving around a lot was a normal way of life."^[3] His father remarried and died soon after.^[1] Leto has two younger half-brothers from his father's second marriage. Leto wanted to help his family and became a dishwasher at small snack-bar at 12, and he was a doorman at 16.^[4] Constance Leto always encouraged children’s craving for art.^[3] "I grew up in environment of actors, musicians, photographers, artists and different theatrical persons," he stated in an interview with Kerrang!; "Through this atmosphere there were no any clear boundaries and straight lines. We were proclaiming a freedom of creation and self-expression."^[5] His first musical instrument was a broken-down piano and he grew up singing classic rock, from Pink Floyd to Led Zeppelin.^[6]

After dropping out briefly in the 10th grade, Leto decided to return and focus on his education at the private Flint Hill School in Oakton, Virginia, but graduated from Emerson Preparatory School in Washington, D.C., in 1989.^[1] When he finished school, Leto enrolled at Philadelphia's University of the Arts and majored in painting.^[1] However, after developing an interest in acting, he transferred to New York City's School of Visual Arts, where he majored in filmmaking.^[1] While he was a student there, he wrote and starred in his own short film, Crying Joy.^[2]

Acting career[link]

1992–97: Early work[link]

In 1992, Leto moved to Los Angeles to pursue a career in acting.^[2] Leto got his first roles in TV shows like Camp Wilder (1992) and Almost Home (1993) before he becoming a regular in the 1994 series My So-Called Life^[7] as the object of Claire Danes' affection, Jordan Catalano.^[8] In 1994, Leto also made his television film debut in Cool and the Crazy.^[9] Gaining a reputation as a teen idol, Leto landed his first film role in the 1995 drama How to Make an American Quilt.^[10] Leto later co-starred with Christina Ricci in The Last of the High Kings and appeared in Switchback.

1997–99: Early critical success[link]

Leto was named one of People magazine's "50 Most Beautiful People" in 1996 and 1997.

Leto took his first leading role in 1997's Prefontaine, a biography of 1970's Olympic hopeful Steve Prefontaine.^[11] For the role, Leto immersed himself in the runner's life, meeting with members of the family and Prefontaine's friends. He bore a striking resemblance to the real Prefontaine, also adopting athlete's voice and upright running style.^[12] The transformation was so complete, that when the runner's sister, Linda, first saw him in character, she broke down and cried.^[13] Critical response praised Leto's acting; Peter Stack of the San Francisco Chronicle wrote, "With hypnotic blue eyes and dirty blond hair, Leto captures the rock-star style Prefontaine affected, and he looks natural in fiery performances on the track, as well as off, where Pre affected a brash, confrontational style," while Lisa Alspector of the Chicago Reader felt that "As the driven competitor who learns to make hubris work for him, Jared Leto gives a complex performance that suggests a deep, intriguing interior to the character even as he maintains a convincing one-dimensional facade."^[14][15]

After landing the lead role of a British aristocrat in the 1998 drama Basil, Leto starred in the teen horror film Urban Legend.^[16] He plays a school journalist and love interest of Alicia Witt’s character. Together, they go up against a crazed killer that is recreating urban legend massacres. The film was a massive success commercially, though critics mostly disliked the film.^[17] Leto was then pleased to get a role in the World War II film The Thin Red Line, as part of a cast including Sean Penn, Nick Nolte and Adrien Brody. The film was nominated for seven Academy Awards and was a moderate success at the box office.^[18] In 1999, he appeared as a gay high school teacher who attracts the attentions of Robert Downey, Jr. in James Toback's Black and White. The same year, he co-starred with Winona Ryder and Angelina Jolie in James Mangold's Girl, Interrupted, a film that tells the story of mental patient Susanna Kaysen, and which was adapted from Kaysen's memoir of the same name. Leto was nominated for a Broadcast Film Critics Association Award in the category of Best Supporting Actor for his performance, but lost to Michael Clarke Duncan for The Green Mile. He was also seen in David Fincher's cult classic Fight Club, a film adaptation of Chuck Palahniuk's novel of the same name. While Edward Norton and Brad Pitt were the lead roles, Leto took the supporting role of a bleached blond Angel Face that was beaten almost beyond recognition.

2000–06: Worldwide recognition[link]

Leto played the supporting role of Paul Allen in Mary Harron's American Psycho, a film based on Bret Easton Ellis's novel of the same name. He then starred as heroin addict Harry Goldfarb in Darren Aronofsky's Requiem for a Dream.^[19] To prepare for his role in the film, Leto decided to live on the streets of New York City and refrain from having sex with his then fiancé, Cameron Diaz, for two months prior to shooting.^[20] He lost 28 pounds to realistically play his heroin addicted character.^[21] After the shooting of the film, Leto moved to Portugal, shaved his head and lived in a monastery for several months to gain weight.^[22][23] He admits that playing the part of Harry Goldfarb was "sadomasochistic... the hardest thing I've done".^[20] The same year, Leto played Glen Walker, an up-and-coming country rocker, in Adam Collis' directorial debut Sunset Strip.^[24] In 2001, he co-produced and had uncredited parts in Sol Goode.^[25]

After the critical success of Requiem for a Dream, Leto's next role was as the lead character in 2002's Highway. Set in 1994, Leto is caught with a gangster's wife and flee to Seattle with his best friend Jake Gyllenhaal in the week preceding Kurt Cobain's suicide. He was nominated for a Video Premiere Award for his performance. In 2002, Leto worked again with director David Fincher in Panic Room, playing a villain who terrorizes Jodie Foster.^[26] The film grossed over $30 million in its opening weekend in the United States, the best performance of a film Leto has appeared in to date.^[27] He was also in Phone Booth, playing an actor in a theater production of Drockula. He and Colin Farrell's character have a quick scene in an alley. The scene was deleted from the film, but restored when the film was aired on television.^[28]

After spending two years pursuing a career in music, Leto returned to film work in 2004 in the supporting role of Hephaestion in Oliver Stone's Alexander.^[29] The film failed domestically, with Stone attributing its poor reception to disapproval of the depiction of Alexander's bisexuality, but it succeeded internationally, with revenue of $139 million outside the United States.^[30][31] The following year Leto portrayed Nicolas Cage’s younger brother Vitaly Orlov in the action-drama Lord of War. The film was well-received by most critics and received a special mention for excellence in film making from the National Board of Review.^[32][33] In 2005, he was also in Hubert Selby Jr: It/ll Be Better Tomorrow, a documentary on the life and work of writer Hubert Selby, Jr.^[34] Leto later starred in 2006's Lonely Hearts.^[35] Playing Fernandez, he co-starred with Salma Hayek who played the role Martha. The film received mixed responses but Leto's performance was praised by many critics who wrote "it's worth seeing for Leto's performance alone."^[36]

2007–present: Recent roles and the future[link]

Leto at the premiere of Mr. Nobody at the 2009 Venice Film Festival

Following Lonely Hearts, Leto starred in Jarrett Schaefer's directorial debut Chapter 27, which premiered at the 2007 Sundance Film Festival.^[37] In the film, he plays Mark David Chapman, the murderer of John Lennon. Leto gained 67 pounds for the role.^[38] Gaining the weight, he said, was tougher than dieting himself into skeletal shape for his role as drug addict Harry Goldfarb in Requiem for a Dream.^[39] The abruptness of Leto's weight gain gave him gout.^[40] He had to use a wheelchair due to the stress of the sudden increase in weight put on his body.^[41] After the shooting of the film, Leto quickly went on a liquid diet. He explained, "I've been fasting ever since. I've been doing this very strange, like, lemon and cayenne pepper and water fast. I didn't eat any food for 10 days straight; I think I lost 20 pounds that first 10 days."^[42][43] Losing the excess weight after Chapter 27 proved a challenge. "It took about a year to get back to a place that felt semi-normal," he said; "I don't know if I'll ever be back to the place I was physically. I'd never do it again; it definitely gave me some problems."^[44] The film received mixed to negative reviews, and was generally considered a disappointment.^[45] Leto's performance, however, was well-received by critics; Joe Neumaier of the New York Daily News wrote "Jared Leto gives such a gripping portrayal it's equally hard to look away" and continued "Leto's drawling, blotchy, creepy performance sets it apart," while Rex Reed praised Leto saying "a galvanizing performance by an unrecognizable Jared Leto that can truly be called unforgettable."^[46][47]

During this period Leto focused increasingly on his band, turning down such films as Clint Eastwood's World War II film Flags of Our Fathers.^[48] On having to say no to Eastwood, Leto explained: "That's a dream come true when Clint Eastwood asks you to be in his film. I was devastated that I couldn't be a part of the film. But I had commitments, a record I had worked on for a couple of years was coming out. It was a very, very important time. It was a make or break time. It was one of those decisions that you make where you can see two paths and I think I made the right decision for myself. I'd love to work with Clint Eastwood in the future, he's one of my heroes."^[49] He was also chosen by Joby Harold to play Clayton Beresford in 2007's Awake.^[50] He later turned down the role due to scheduling conflicts with his band and was replaced by Hayden Christensen.^[51]

In 2009, Leto returned to acting with Mr. Nobody. Leto's role as Nemo Nobody required him to play the character as far aged as 118.^[52] The film was mostly funded through European financiers, and was given limited release.^[53] Variety's Boyd Van Hoeij praised Leto, saying "The closest the film comes to having a gravitational center are in the scenes set in 2092. What makes them soar is not the imaginative staging of the future, but Leto's performance."^[54] Bruce Kirkland of Jam! described Leto's acting as "marvelously full-blooded, brain-spinning, tour-de-force performance."^[55] Leto was nominated for the Volpi Cup for Best Actor at the 66th Venice International Film Festival for his performance.

In 2011, Leto narrated TT3D: Closer to the Edge, a documentary film about the TT, the world-famous annual motorcycle race that takes place on the Isle of Man.^[56] The film was well-received both critically and commercially.^[57] Grossing £1.14 million, it is the seventh biggest documentary hit of all time in the United Kingdom.^[58]

Music career[link]

1998–2002: Early years[link]

30 Seconds to Mars (left to right): Jared Leto, Shannon Leto and Tomo Miličević

Leto told Lime magazine, "I’ve been creating music since when I was a child. It's an inseparable part of my life. There have always been lots of people around me who love music, even in my childhood. My brother began to play drums when he was only 5 years old."^[59] In 1998, Leto founded 30 Seconds to Mars along with his older brother Shannon Leto. The band's name, said Leto, "has little to do with space, the universe or anything like that. It is a name that works on several different levels. Most importantly, it is a good representation of our sound. It's a phrase that is lyrical, suggestive, cinematic, and filled with immediacy. It has some sense of otherness to it."^[60] In 1998, 30 Seconds to Mars signed a contract with Immortal and Virgin.^[61] In 2001, guitarists Kevin Drake and Solon Bixler and bassist Matt Wachter joined the band. When 30 Seconds to Mars first started, Jared refused to let his name be used to promote the band.^[62] He wrote the majority of their songs.^[63] Before the album was released, Puddle of Mudd invited 30 Seconds to Mars to open a six-week tour for them in the spring of 2002.^[64] The band later embarked on a North American tour to support Incubus.^[65]

2002–04: Debut album and early success[link]

30 Seconds to Mars released the self-titled debut album in 2002, produced by Bob Ezrin, Brian Virtue and the band itself. It received generally positive reviews, and was compared to Pink Floyd, Tool, and Brian Eno.^[66] The album debuted and peaked at number 107 on the Billboard 200 and number one on the Top Heatseekers.^[67] It produced two singles, "Capricorn (A Brand New Name)" and "Edge of the Earth", which reached the top ten on the UK Rock Chart.^[68] The former also became a Mainstream Rock top 40 hit and reached number one on the Heatseekers Songs.^[69] Over the years, the album has sold more than two million copies worldwide.^[70] In 2003, Solon Bixler left the band due to issues primarily related to touring and was replaced by Tomo Miličević.^[71] 30 Seconds to Mars toured extensively opening concerts for bands such as Our Lady Peace, Sevendust, and Chevelle, and took a slot on the 2003 Lollapalooza tour.^[72]

[edit] 2005–08: A Beautiful Lie and mainstream success

Leto performing in Charlotte, North Carolina in 2006

It took three years to record A Beautiful Lie, with the bandmates traveling to four different continents to work with Leto on his film sets. A Beautiful Lie differs notably from the band's self-titled debut album, both musically and lyrically. Whereas the eponymous concept album's lyrics focus on human struggle and astronomical themes, A Beautiful Lie's lyrics are more personal and the music introduces intense screaming vocals and synth effects.^[73] "On the first record I created a world, then hid behind it," Leto said. "With A Beautiful Lie, it was time to take a more personal and less cerebral approach. Although this record is still full of conceptual elements and thematic ideas it is ultimately much more wrapped around the heart than the head. It's about brutal honesty, growth, change. It's an incredibly intimate look into a life that is in the crossroads. A raw emotional journey. A story of life, love, death, pain, joy, and passion. Of what it is to be human."^[74]

Released in 2005, A Beautiful Lie was the band's mainstream breakthrough. It has since been certified platinum by the Recording Industry Association of America (RIAA), and has reached platinum and gold status in several countries, with a sales total of over 3.5 million.^[75] It was led by "Attack" which was the most added track on alternative radio in its first week, becoming a Modern Rock top 30 hit.^[76] 30 Seconds to Mars began their first headlining tour, Forever Night Never Day, in March 2006.^[77] At the same time, the band released the album's second single, "The Kill", which enjoyed mainstream success; it set a record for the longest-running hit in the history of the Hot Modern Rock Tracks when it remained on the national airplay chart for more than 50 weeks, following its number three peak in 2006.^[78] Leto directed the music video for the single under the pseudonym of Bartholomew Cubbins, a recurring character in the Dr. Seuss universe. Inspired by Stanley Kubrick's The Shining, Leto said, "The idea of isolation, identity, and self discovery were all elements present in the song. I thought this light homage was a good starting point and it soon grew to include many more elements outside of Kubrick's original piece."^[79] Nominated for two MTV Video Music Awards, the band won the MTV2 Award. The music video garnered a lot of recognition, including two MTV Australia Awards and a Chainsaw Award. In October 2006, the band began their Welcome to the Universe Tour, sponsored by MTV2 and were supported by Head Automatica, The Receiving End of Sirens, Cobra Starship, Rock Kills Kid, and several other bands including Street Drum Corps.^[80]

Leto performing in Norwich in 2008

In 2006, Leto created the cover art for The 97X Green Room: Volume 2, a compilation of live music in which appears 30 Seconds to Mars song "Was It a Dream?".^[81] Proceeds from the album's sales benefited The Nature Conservancy.^[81] "From Yesterday", the third single from A Beautiful Lie, had major success, reaching number one on the Hot Modern Rock Tracks and becoming 30 Seconds to Mars second top 10 hit.^[82] The short film for the single, directed by Leto, is the first ever American music video shot in the People's Republic of China in its entirety.^[83] Leto said that the video was inspired by Bernardo Bertolucci's The Last Emperor as well as the work of the Japanese director Akira Kurosawa. He explained, "That and the passion and the history of the Chinese culture. I thought it would be the perfect setting to tell the story of 'From Yesterday,' and it ended up one of those really unique things that the song and the visual images kind of collided and made something completely new."^[84] In March 2007, Matt Wachter left the group to spend more time with his family and was replaced by Tim Kelleher, performing live only.^[85]

"A Beautiful Lie" was released as the album's fourth single in some territories, including Portugal, where it reached number eight on the chart.^[86] The music video for the song, directed by Leto under the pseudonym of Angakok Panipaq, was the first one ever to be shot 200 miles north of the Arctic Circle in Greenland.^[87] Proceeds from the video's sales benefited the Natural Resources Defense Council.^[88] "Shooting in Greenland was a dream come true and one of the most exciting adventures we've ever had as a band," Leto said. "Although incredibly challenging and at times it seemed just out of our reach, once we finally arrived the beauty and magnificence of the terrain, the wonderful culture of the people, and the amazing journey itself were all inspiring beyond belief. Almost everyone has heard of global warming by now but for the people of Greenland it is a real and tangible problem of today, not an issue of tomorrow. This journey changed our lives."^[87] The music video received a largely positive response, winning the MTV Europe Music Award for Best Video and the MTV Asia Award for Favorite Video. In 2008, Leto also remixed "The Only One" for The Cure's extended play Hypnagogic States.^[89]

2008–09: Virgin Records lawsuit[link]

Despite their growing momentum, 30 Seconds to Mars soon found themselves at war with their label, Virgin Records. The band had attempted to sign with a new label after the A Beautiful Lie Tour, prompting Virgin to file a lawsuit for $30 million, claiming that the band had failed to produce three of the five records they were obligated to deliver under their 1999 contract with the now-defunct Immortal Records.^[90] Leto responded to some of the claims in the suit stating, "under California law, where we live and signed our deal, one cannot be bound to a contract for more than seven years." 30 Seconds to Mars had been contracted for nine years, so the band decided to exercise their "legal right to terminate our old, out-of-date contract, which, according to the law is null and void."^[91]

After nearly a year of the lawsuit battle, the band announced on April 28, 2009, that the case had been settled.^[92] The suit was resolved following a defence based on a contract case involving actress Olivia de Havilland decades before. Leto explained, "The California Appeals Court ruled that no service contract in California is valid after seven years, and it became known as the De Havilland Law after she used it to get out of her contract with Warner Bros."^[93] 30 Seconds to Mars then decided to re-sign with EMI (the parent label of Virgin).^[94] Leto said the band had "resolved our differences with EMI" and the decision had been made because of "the willingness and enthusiasm by EMI to address our major concerns and issues, (and) the opportunity to return to work with a team so committed and passionate about 30 Seconds to Mars".^[95]

[edit] 2009–present: This Is War and critical acclaim

Leto performing in Enschede during the 2010 TMF Music Awards

Leto described the band's third album, This Is War, as a concept album, saying it was created in an "intense two-year period, where it felt like the whole world was falling apart and massive changes were going on."^[96][97] In a bid to involve their fans for This Is War, 30 Seconds to Mars held The Summit where they invited fans to provide backing vocals and percussion. At the first, in Los Angeles, people showed up from all over the world, so they repeated The Summit in eight countries and extended the event digitally.^[98] The band also invited fans to submit close-up shots of their faces in order to make 2,000 different individual covers for the album.^[99]

This Is War was released in December 2009, produced by Flood, Steve Lillywhite and 30 Seconds to Mars. The album peaked at number one on the Tastemaker Albums, number two on the Alternative Albums and Digital Albums, number four on the Rock Albums, and number 18 on the Billboard 200.^[100] Its first two singles, "Kings and Queens" and "This Is War", peaked at number one on the Alternative Songs and reached number four on the Rock Songs.^[101] The short film for "Kings and Queens", called "The Ride," was directed by Leto and premiered at The Montalban Theater in Los Angeles on November 9, 2009. ^[102] The music video features a Critical Mass Crank Mob movement.^[103] "It's a lyrical and slightly metaphorical surreal journey through the city of Angels, from downtown Los Angeles to Santa Monica Pier," Leto said.^[104] The video received four nominations at the 2010 MTV Video Music Awards in the categories of Best Art Direction, Best Direction, Best Rock Video, and Video of the Year, winning the Best Rock Video Award.^[105] The band shot the music video for "This Is War" with director Edouard Salier in 2010, but was released a year later, in April 2011. Leto told MTV News, "'This Is War' is the first video that I let someone else direct, and let's just say we won't be doing that again anytime soon."^[106]

Leto performing in Nottingham during the 2010 leg of the Into The Wild Tour

The third single, "Closer to the Edge", reached number seven on the Alternative Songs, becoming the band's fifth Modern Rock top 10 hit. It holds the record for most weeks spent at the number one during 2010 on the UK Rock Chart when it remained at the top for eight consecutive weeks.^[107] The song's music video was directed by Leto and premiered on June 7, 2010, in New Zealand.^[108] The short film is a collage of tour footage, fan commentary and pictures of the band from their youth. It was shot in 89 cities in 27 different countries during the band's Into the Wild Tour.^[109] The music video was received with highly positive reviews by critics and garnered awards and nominations from Rock Sound, Fuse, and MTV.

In 2009, Kanye West announced that he and Leto recorded a song named "Hurricane" together.^[111] However, West's vocal contribution to the song was ultimately removed because of legal issues surrounding the rights of each record company.^[112] The collaboration was later released on the deluxe edition of This Is War and became the album's fourth single in some territories.^[113] The music video for the single was directed by Leto and premiered on MTV on November 29, 2010.^[114] Leto described the song as "a meditation on the violence of sex, and the sex of violence."^[115] He described the concept saying, "It's a surrealistic nightmare dream-fantasy through the desolate empty streets of New York City at night. There's no people, there's no cars and you see the band as we encounter some fears and some fetishes, a series of challenges. It's a really ambitious, really cinematic short film."^[116] "Hurricane" was controversially received and was censored because of its elements of violence, nudity and sex.^[117] The short film was later released with a clean version that can air on television.^[118] Despite its censorship, "Hurricane" was praised by critics and was nominated for several awards, including the MTV Video Music Award for Best Direction.^[119] It was named the Most Epically Unforgettable Video of 2010 by MTV and won the O Music Award for Best NSFW Music Video.

Other projects[link]

Television work[link]

In 1998, Leto appeared and provided additional photography for "Alaska's Bush Pilots," an hour long episode of Wild Life Adventures.^[120] He also guest hosted "Posehn, Papa and Mars", an episode from the second series of Player$. Leto is also featured in Hollywood High, a documentary television film about the depiction of drug addiction in film.^[121] In 2006, he narrated the Andrew Goldberg's documentary The Armenian Genocide.^[122] Leto hosted the 2008 MTV Asia Awards on August 2, 2008, at the Arena of Stars in Genting, Malaysia.^[123]

Leto has appeared in several television commercials: one for the U.S. market, a Levi's Jeans commercial that aired in 1993.^[124] Other commercial appearances came in television spots for Hugo Boss in 2011. Leto, who is the face of the campaign for the HUGO Just Different fragrance, was directed by Jonas Åkerlund.^[125]

Philanthropy[link]

Leto attended the Amnesty International campaign to support human rights, marking the 60th anniversary of the United Nation's Universal Declaration of Human Rights.^[126] As part of the campaign, he also made a short film. He supports the The Art of Elysium, which encourages working actors, artists and musicians to voluntarily dedicate their time and talent to children who are battling serious medical conditions.^[127] He donated an item to watchmaker Nixon to be made into a watch, the sale of which benefitted the MusiCares MAP Fund—a pool of resources set aside to address addiction and recovery needs of members of the music community.^[128]

In June 2008, Leto and his bandmates joined Habitat for Humanity to work on a home being repaired and renovated through the Habitat for Humanity of Greater Los Angeles Area's "A Brush With Kindness" programme.^[129] In advance of the build, the band organized an auction of "build slots" to give fans the opportunity to volunteer alongside them and their family and friends.^[129] In less than a week, six extra workers were enlisted and over $10,000 was raised to fund additional Habitat for Humanity projects.^[129] Leto also supported Habitat for Humanity Malaysia in Sentul in August 2008.^[130]

In April 2009, he attended An Evening of Women, an event that raises funds for the Los Angeles Gay and Lesbian Center.^[131] In October 2009, Leto raised money to the campaign against California Proposition 8, an initiative to overturn the state Supreme Court decision that had legalized same-sex marriage.^[132] Leto spoke out in support of LGBT rights group Freedom Action Inclusion Rights (FAIR).^[133] He took part in an online auction of celebrity-signed prints of Shepard Fairey's "Defend Equality Love Unites," a poster in support of gay marriage.^[133] Leto decided to make his poster different than the rest, by writing the words of the Proposition 8 ballot on it and then setting it on fire. He then placed the ashes in a jar, writing on it: "Here lies within, the remains of Proposition 8, may it rest in peace."^[132]

After the 2010 Haiti earthquake, Leto and his bandmates raised $100,100 for Haitian relief.^[134] The charity auction included concert tickets, an exclusive backstage meet and greet, and dinner with the band.^[135] 30 Seconds to Mars has also supported the people of Haiti through the Echelon Project "House for Haiti" and the Hope for Haiti Now: A Global Benefit for Earthquake Relief.^[136] Leto released a book of photographs taken during his trip to Haiti in 2011, in a bid to raise funds for the earthquake-ravaged country.^[137] He has connected with and helped various organizations since arriving in Haiti, including Sean Penn's J/P Haitian Relief Organization.^[138] Leto spent a year in the Caribbean country during his childhood, and he returned there in January 2011 to "reconnect" with his former home following the devastating tremor of January 2010.^[137]

30 Seconds to Mars donated items to a Red Cross auction to assist people affected by the 2011 Japanese earthquake and tsunami.^[139]

Instruments[link]

• black custom McSwain guitar 25-1/2” scale (named Artemis)

• white custom McSwain guitar (named Pythagoras)

• Gibson SG Special in black

• Gibson SG 1961 Reissue in white

Note: Both McSwain guitars have a gryphon drawn by Leto built into the body.

In the media[link]

Leto was twice named one of People magazine's "50 Most Beautiful People" in 1996 and 1997, and was listed among the "Teen Idols of the '90s".^[140] He appeared on People's "Hottest Bachelors" in 2006 and 2007, and "Best Chests" in 2009.^[141][142] Leto was nominated several times as one of the "Sexiest Vegetarians" by PETA.^[143] He won a Chainsaw Award for Prince of Darkness in 2006.^[144] In 2011, he was nominated the NME Award for Hottest Man and TRL Award for Best Look.^[145][146]

Personal life[link]

Relationships[link]

Leto began dating Cameron Diaz in 1999 and the couple became engaged in 2000.^[147] In 2003, they ended their four-year relationship.^[148]

Political convictions[link]

Leto is vegan and a strict vegetarian.^[149][150] In 2008, he supported the Proposition 2 and attended the Yes! On Prop 2 benefit gala to stop animal cruelty held in Los Angeles, California.^[151] In July 2010, he supported WWF's Text For Tigers charity campaign to aid in saving wild tigers from extinction.^[152]

In October 2006, Leto and his bandmates began their Welcome to the Universe Tour, which was "environmentally sound" according to an interview with then-bassist Matt Wachter. "Jared and Shannon put together this thing called Environmentour which is illustrating ways—alternatives—to kind of clean up some of the mess we leave behind. We fueled the bus with vegetable oil," he explained.^[153]

The Leto-directed music video of "A Beautiful Lie" was the first one ever to be shot 200 miles north of the Arctic Circle in Greenland.^[154] Determined to offset the impact that filming would have on the environment, Leto and the band worked with the Natural Resources Defense Council to develop strategies that would minimize fuel consumption on the shoot and purchased North American Blend Green Tags (a renewable energy certificate product) from the Bonneville Environmental Foundation.^[154] 30 Seconds to Mars also launched abeautifullie.org, which includes information about current environmental issues, ways to participate in environmental activities and more. In addition, people can make donations through the site to support the Natural Resources Defense Council.^[154]

In the 2008 presidential election, Leto supported Senator Barack Obama of Illinois.^[155] At the 2008 MTV Europe Music Awards, Leto and his bandmates wore Obama T-shirts.^[155]

Filmography[link]

Discography[link]

30 Seconds to Mars studio albums

• 30 Seconds to Mars (2002)
• A Beautiful Lie (2005)
• This Is War (2009)

References[link]