• December 30, 2011 /  hey there

    FILE – In this April 27, 2005 file photo, Michael Jackson arrives at the Santa Barbara County courthouse in Santa Maria, Calif. A judge on Monday, Dec. 19, 2011, approved a request by the two men running the late pop star?s estate to receive additional compensation for their professional services. (AP Photo/Michael Mariant, File)

    FILE – In this April 27, 2005 file photo, Michael Jackson arrives at the Santa Barbara County courthouse in Santa Maria, Calif. A judge on Monday, Dec. 19, 2011, approved a request by the two men running the late pop star?s estate to receive additional compensation for their professional services. (AP Photo/Michael Mariant, File)

    (AP) ? The executors of Michael Jackson’s estate will no longer have to pay some legal expenses and other costs out of their own pockets after a judge approved changes Monday to the estate that has earned hundreds of millions of dollars since the pop star’s death.

    The changes approved by Superior Court Judge Mitchell Beckloff mean attorney John Branca and music executive John McClain will no longer pay the costs from their share of the estate.

    The men had been paying fees for entertainment legal counsel provided by members of Branca’s firm, and McClain had been incurring expenses for the use of a recording studio founded by Marvin Gaye.

    Those expenses significantly diminished their 10 percent share of Jackson’s post-death earnings.

    Branca and McClain have been collecting closer to 7 percent of the estate earnings since it became a “massive entertainment business enterprise,” court filings state.

    Estate attorneys sought the change, saying the executors spend more time than they anticipated on Jackson’s affairs. The men have overseen numerous Jackson-themed projects, including the licensing of music, video games and a touring Cirque du Soleil show that will eventually become a Las Vegas fixture.

    The men agreed in February 2010 to accept 10 percent of the gross entertainment-related earnings of the estate, minus money generated by Jackson’s 50 percent interest in the Sony-ATV music catalog and earnings from “This Is It,” a film compiled from the singer’s final rehearsals.

    The exclusions are huge revenue generators for the estate ? the Sony-ATV catalog includes publishing rights to music by The Beatles, Elvis Presley, Bob Dylan and other stars. The executors also have been excluded an interest in Jackson’s music, which has sold briskly since his death on June 25, 2009, at age 50.

    Since then, the estate has earned more than $310 million.

    The percentage covers Branca’s work on the estate and McClain’s producing services.

    Under the deal approved Monday, Branca’s firm Ziffren Brittenham LLP will now receive 3 percent of entertainment-related income generated by Jackson’s estate in 2011 and future years.

    Estate attorney Howard Weitzman said the firm was performing work that would cost more than $2 million a year if it was being handled by another firm, and court filings state that a traditional entertainment estate would include additional managers and attorneys who would receive up to 30 percent of the estate’s overall revenue.

    There was no estimate for how much McClain’s billings might be. He bought and restored Gaye’s former Los Angeles studio in 1997, christening it Marvin’s Room, and Jackson and other top singers have recorded music there.

    The estate benefits Jackson’s mother, Katherine, and the singer’s three children, Prince, Paris and Blanket, who received an initial $30 million payment earlier this year.

    Attorneys for Katherine Jackson and the children had no objection to the changes approved by Beckloff. Meg Lodise, who represents the children’s interest, said, “It is quite clear that what they’re proposing is going to be fair to the estate.”

    Weitzman told Beckloff that the estate has recently resolved creditors’ claims worth at least $11 million and is working to resolve any other valid outstanding debts. Jackson died with an estimated $400 million in debts, but renewed interest in his music and career have fattened the estate’s accounts, which listed $90 million in cash on hand according to a September court filing.

    ___

    Follow Anthony McCartney at http://twitter.com/mccartneyAP

    Associated Press

    Source: http://hosted2.ap.org/APDEFAULT/3d281c11a96b4ad082fe88aa0db04305/Article_2011-12-19-US-Michael-Jackson-Estate/id-1ddde9f9879445ebae61fce9f06244ca

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  • December 22, 2011 /  hey there

    LOS ANGELES ? Trent Reznor and Atticus Ross started writing music for the American adaptation of “The Girl With the Dragon Tattoo” months before they’d even seen the script.

    “We tried some new approaches in terms of handing over lots and lots of music that was composed really from an impressionist point of view, before anything was even shot, so that (director) David (Fincher) and the filmmakers could really weave it into the fabric of the story,” Reznor said. “Just see how that works: A new experiment.”

    It seems to have worked just fine: The composers earned a Golden Globe nomination last week for their original score ? their second consecutive nomination in that category. The pair won the Golden Globe and the Academy Award for their score for 2010′s “The Social Network.”

    Reznor, 46, said working with Fincher on “The Social Network” prepared the composers to take a novel approach to the music for “Dragon Tattoo.”

    “As I learned how the process works on `Social Network,’ it struck me that the director could really use access to music while the scenes are being edited together,” he said. “Often what they do is reach into a bucket of temp music to kind of get the vibe of what they think it might sound like. I thought, well, if you had a lot of music to start with, that would certainly be a helpful tool while they’re putting the broad strokes of the film together.”

    Reznor and Ross dedicated a year to the project, and much of the music they wrote before shooting began made it into the final film, which opens Wednesday. The film follows a journalist (played by Daniel Craig) who enlists the help of a young computer hacker (Rooney Mara) to investigate a series of decades-old killings. The original Swedish version of the film, based on Stig Larsson’s novel, was released in 2009.

    Fincher’s film is “a fairly unpleasant and uncomfortable viewing experience,” Reznor said. “We really wanted to get under the skin of the viewer and contribute to a sense of uneasiness when that was appropriate, and also try to breathe life into the landscape where this takes place, a very frigid Sweden, and act like set dressing really. It’s not an obvious score.”

    He said the composers aimed to create music that “fits right in with the lighting or the set design or the costumes.”

    “There’s nothing I think you’re going to leave the theater humming in your head necessarily in terms of score, and that’s intentional,” Reznor said.

    It’s a completely new way to think about music for the Nine Inch Nails front man.

    “When I’m writing music for myself or for my own projects, I’m hoping that it eats up close to 100 percent of your attention, what’s coming into your ears. And working in film and particularly with David, it really is contributing to the overall experience,” Reznor said. “It’s forcing me to rethink how I compose and what role sound plays and how to contribute and manipulate emotionally what you’re experiencing but not in the same way I’m used to doing it, and that makes it exciting for me.”

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    AP Entertainment Writer Sandy Cohen can be reached at www.twitter.com/APSandy.

    ___

    Online:

    www.nin.com

    www.goldenglobes.org

    www.dragontattoo.com

    Source: http://us.rd.yahoo.com/dailynews/rss/music/*http%3A//news.yahoo.com/s/ap/20111220/ap_en_mu/us_people_trent_reznor

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