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costs monthly participation rates

Here is a form of cost sharing between partners where each holds a different percentage.

Here are 5 partners where rent and expenses (shaded in yellow) are divided in percentage according to floor area occupied by each partner. One of them participates with 39.35% (LGR), another 19.65% (SER) and the remaining three (MTHR) with 50%.

Other expenses (salaries, charges, electricity, cleaning, library), are divided equally (ie, divide by five.)

The resulting formula for LGR is then:

= SUM ($ B $ 3: $ B $ 4) * 30.35% + SUM ($ B $ 5: $ B $ 9) / 5

That is, the sum of 30, 35 percent of rental expense + plus one fifth of the sum of the remaining costs.

For the socio SER:

= SUM ($ B $ 3: $ B $ 4) * 19.65% + SUM ($ B $ 5: $ B $ 9) / 5

And for the other three partners, who together costs and manage accounts between them is:

= SUM ($ B $ 3: $ B $ 4) * 50% + SUM ($ B $ 5: $ B $ 9) / 5 * 3

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film trilogy neorealist Vittorio De Sica

Vittorio De Sica
facing the viewer into the reality of the poorest in the neo-realist trilogy: Ladri di biciclette (1948), Miracolo a Milano (1951) and Umberto D. (1952). His characters are naïve and innocent; and suffer the injustices of a vile society, marked by hunger, selfishness and war. Ladri

of biciclette (The Bicycle Thief, 1948) is a hard film, in which the director shows unemployment in Italy, and illogical conditions to get a job thanks to the Administration. Thus, the player needs a bicycle to work, that's the only way to qualify for a salary to support his family. But yours is stolen, and walks the streets of Rome with his young son until he found the thief. During this period he has to overcome the frustration, and indifference of others in order to remain an educational model to your child.

Like the other characters in this trilogy, the protagonists empathize with the audience because they are good people, and if they commit any wrong act, it is because society, environment, push them to do so. Vittorio De Sica creates these individuals as being naive, who share their love, whether with family or with your dog, but never dealt with the nerve of society, or if you have done, have tried to understand. It is very clear example of Totò-Miracolo a Milano (Miracle in Milan, 1951) - which comes as a child in an orphanage, and in the following sequence Young leaves become a cheerful greeting to everyone (as stated in the Movie: "For a good days mean, really, good morning "), not to mediate anything else in the film.

But unlike Ladri di Umberto D. and biciclette, Miracolo a Milano is a film that tries to overcome the evils of society. You could say the run of neorealism to record a more positive idea, that through the magic and goodness solve the problems of the poor. It is, therefore, a story much more entertaining, because Vittorio De Sica's license is allowed play with humor, with ghosts, with caricatures of the rich (they are dogs that bark). And it benefits the end, the viewer. Although the other two films are noted for their ability to be a reflection of Italian society for his social work.

- inflows related: Viva Italia!
- Photo 1: Pek ( Flickr )
- Photo 2: Zilda ( Flickr )

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To warm up before the World Cup

Yesterday, at last I was convinced: you can make good movies (in this case, documentary) talking about football. The soul of the Red (rtve.es, the video is available in full) from Santiago Zannou fault. And yet there are not many memorable precedents where to find a base set narrative. For example, Victory of John Huston, was a funny story with a good squad of players: Pele , Bobby Moore, Osvaldo Ardiles -players, "and Stallone, Michael Caine and Max von Sydow . And this success

Zannou Santiago, who met in San Sebastian for his film El truco del manco -starring rapper Langui - is due primarily to the narrative structure used: a chronological summary of the history Spain in the world, with evidence of past glories with the protagonists of the current selection. So it's great to see Ramallets or " Luisito" Suarez talking about Xavi or Iniesta , and reminding his recent predecessors in the English squad as Michel, Hierro or Luis Enrique . Furthermore, the value that prints the time for memories, the football fan reconnects with what really matters: the sport, and broken media paraphernalia that surrounds it. At the end are a group of friends for a few days represent the feelings of a country, and they want to have fun, and viewers enjoy it too.

For this reason, I also give great importance to the story that made in Report Robison (Canal +, 2008) on the Euro that got Spain in Switzerland and Austria. It's called The Dream of the Euro, and is in three parts on YouTube. I leave the first here ( second and third ) is highly recommended:



These videos are perfect for motivating to go to the show this year's World Cup, begins on Friday, . But like so many games and many teams (32), is never wrong to seek a second option to continue, I think this year will go to North Korea, but the Argentines I have struck a chord with this announcement, masterful because in this land know very well how Charmed:



Photo: Heritage public
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Paris, Texas Wim Wenders

The fear of heights

For the Texas desert walks a man dressed, full of dust, with a red cap and a container of water. From the eyes of a bird, the director of Paris, Texas - Wim Wenders - describes the landscape with long shots and deep. Then, the bird perches on a rock and exchanges a look with Travis Henderson, the character played by Harry Dean Stanton : no one else in the desert.

The protagonist wanders, is guided by the need to feel alone. Given the obstacles that are presented, always bounces back and continues, step by step with your shoes chewed, with no intention of seeking anything or find anything. Then comes his brother, Walt, played by Dean Stockwell - and builds the story of Travis: first given name, because until that moment had remained silent protagonist, and past a gap of four years where he does not remember where you were or what he did. And also, the future: is the father of a seven-year-old Hunter has lived with Walt and his wife for space that Travis has been missing. Harry Dean Stanton

embodied in Paris, Texas to a coal man himself, but gradually realizes a goal that he had built, but had forgotten: Paris in the State of Texas, a town nearby Dallas in which the protagonist has a farm. There her parents met, and that site did he build his house, to live with his wife Jane and his son Hunter. Paris, Texas Travis engages the past in the future to try to fill that gap of four years in which the protagonist has walked through the desert.

But lack Jane - Nastassja Kinski, daughter of Klaus Kinsk i (in the blog: " When the madness became art") - and show Hunter that his father can look after him. Still, between the silence of Travis, the screenwriter creates in the child (accident: the actor is in reality the son of writer ) a mature character, despite having eight years, you do not need much explanation and puts voice and action for this silence of doubt of his father. This difference in attitude is not free, and Wim Wenders's argument with a metaphor: Travis is obsessed with keeping his feet on the ground, so he traveled to Texas from Los Angeles by car, you need that contact because they are afraid of height (symbolic , referred to build future realities and idyllic, as does his brother to lift billboards). Instead, Hunter, no. He wants to fly in a spaceship, is passionate about the planet Earth, but seen from space, as when he speaks of the origin of the universe (a child of eight years explaining the theory of the Big Ban): not afraid to take risks and go to a symbolic height.


And still no Jane to close this triangle, with a history still empty. Nastassja Kinski embodies the contradiction of trying to escape from his past, but also send money to his son for his future. In addition, work has also has a symbolic Wim Wenders: sold in a cabin in which he talks with customers, with a glass through which acts as a mirror for her, but allows others to see. A woman who knows and wants to hear, the punishment of others, but do not want to face themselves. And in that space, Travis and Jane, without looking at her face, in a memorable scene have their problems, their past, and are discovered until they can look at the face and not be ashamed of themselves. Wim Wenders

hits so great about this story, because until then the story was built by third parties, with other evidence such as super 8 films recorded by Walt. Travis, in his silence, he has himself Who is it, then share it with Jane. And Hunter also helps with the little they can remember from your childhood: facts and stories that his father has forgotten.

Paris, Texas director Wim Wenders Germany is a masterpiece

Photo 2: Tara Bethune-Leamen ( Flickr )

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The killing fields of Roland Joffé

The Killing Fields (The Killing Fields , 1984) was the first appearance in the film address Roland Joffé, who two years later signed the critically acclaimed The Mission (The mission), with Jeremy Irons Robert De Niro and .

The story is based on the reconstruction of actual events written by Sydney Schanberg correspondent for The New York Times in Cambodia War - in the article The Death and Life of Dith Pran: A Story of Cambodia (January 20, 1980) . journalist He is responsible for narrating the friendship that creates with his Cambodian translator, her work in extreme conditions, and the disappearance of Dith Pran when delivered to the Khmer Rouge .

From this premise, Roland Joffe talks about working as a journalist in war and criticized the attitude of many who are in conflict an opportunity for adventure and vacation. For example, colleagues working as journalists embedded officers in the U.S. Army units that are not able to view and search the brutality of his government. Thus, the two main characters, Sydney ( Sam Waterston) and Dith (Haing S. Ngor ) - put all the means to expose their own stories of the forgotten, the civilians. In a supporting role, but also meritorious, John Malkovich figure-still had a short-film career as a photographer almost jinxed, because whenever something explodes near him.


In this first part of the film, the director tries to build a friendship between the two main characters, but does not succeed in creating conducive scenes. We can say that Roland Joffé show does not know what is behind two friends, or what makes it. The only progress in the story line that tries to show the union of Sydney and Dith refers to the attitude of the former with the latter: at first, the correspondent of the New York Times is arrogant, and treats the subject as a mere translator; then means that the work that the two are doing is journalism, the two sign chronicles from Phnom Penh (capital of Cambodia ). But the script of this section is a concatenation of events related to war: a hijacking, a terrorist attack. Even at a point in the film, to show that there is a strong friendship between Sydney and Dith, Cambodian recognizes that the American love for her family. Is represented through words and not action, is not credible, therefore. And perhaps due to a cut in the editing, but does not help believing the story.

The second part of the footage depicts the suffering Dith Pran slavery when captured by the Khmer Rouge, is a true story and useful that serves the viewer to see how a state tries to reprogram their disobedient citizens and set the "year zero". In this section, the director has more success at the time of counting, and balances the film to get a whole knew how good fight in the Oscar statuettes for three against the omnipresence of Amadeus (8).

Photo 2: Mary Ellen Mark

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La dolce vita Federico Fellini

is a journalist Marcello Rubini moving evening elite of Rome's La dolce vita Fellini, the lives with his players and then write about it. And who lives chained to the charm of the upper classes in the lower trigger. That means the scene famous Fontana di Trevi , when the lead actor - Marcello Mastroianni - includes the exuberant beauty, untouchable, of Anita Ekberg : unattainable for him. La dolce vita

talks about a humble origins journalist is mesmerized by the intense brightness of the bourgeois parties in Rome, where movie stars and royalty celebrate the joy of having known a world that is completely favorable. In the story, the story of Rubini is suspended in time until you see your father in the city. Until then it's just a bon vivant with a everyday reality that means a burden to him: his wife Fanny - Magali Noel - lost sanity by the jealousy he feels at Maddalena - Anouk Aimée - a beauty of a good family who longs for Marcello Rubini. When you see the father of the journalist in Rome for a business trip, it behaves like a ruffian who captivates the ladies, and the protagonist is recognized in the cruelty that infidelity means for his mother.


This moment represents a link between Marcello Rubini present in the story, and the boy from the provinces from which it comes. Fellini is a slip that allows your character to be reunited with the simplicity and perhaps channel his life away luxury and self-destructive spree of the rich. But there are more opportunities, and the director embodies a humble girl who works in a bar, which appears as the last diversion that can prevent the destruction of Marcello Rubini. Despite the image of purity that emanates from the girl, the journalist leads his reality into a labyrinth, where Fellini was pleased to record great scenes that highlight the superficiality, vanity, stupidity and upper classes tontuna such that feel immortal in their bubbles of reality, in their castles.

is incredible humanity with which Fellini wrote the character played by Marcello Mastroianni, because the viewer can not hate, can not even consider it as a cruel man, despite how he treats his wife. The journalist is a product of its time, the flashes of his friend Paparazzo, who draw a society where the rich look better, immortal. And Rubini want to belong to it, though not appropriate, or even unrealistic, and rendered the viewer falls, as does the protagonist, to the hypnotic personality Maddalena, Anouk Aimée, and the beauty of Anita Ekberg.

Rubini wrote to Fellini as his alter ego, because the director was also a provincial man dazzled by the women of Roman high society. And in the film, the director plays with that reality to unmask.

Photo 1 Photo 2

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The Elephant Man by David Lynch (III)

third installment of the essay on David Lynch , and this time we will talk about The Elephant Man (The Elephant Man, 1980). Before we wrote on Blue Velvet (Blue Velvet, 1986) and the composition of the music of Twin Peaks (Love Theme ).


The Elephant Man can be labeled as a commercial work, conservative with respect to the narrative. It is an experimental film about the break-able to blend with surrealistic dreams realistic story, which David Lynch was shown, for example, Eraserhead (Cabeza Eraserhead, 1976) four years earlier. Of course, the manager protects, in some sequences, his taste for visual metaphors. So with the start of the film, when a furious elephant is superimposed on the screen to the cries of fear of a woman. This idea also serves as the pitchman, who serves as owner of John Merrick (the Elephant Man played by John Hurt ) - to explain the origin of the "monster" your mother was trampled by an elephant while she was pregnant.

The film presents a different human being, marked by an enormous and deformed head, which prevents John Merrick can speak it fluently and can lie down to sleep like a normal person, so it makes sense. In addition, his back has skin tumors that make your skin resembles that of an elephant. The story is based on a real case , documented, and had much impact on English society of late nineteenth century.


David Lynch directs a hard story, which steals the show in detail morbid deformities of the protagonist. Thus, the elephant man shows his face in the first 30 minutes of film. But that the director prefers to always point to the reaction that causes John Merrick in the audience who see it. It's a triple vision, as argued by critic Serge Daney : "Burlesque, modern and classical. More still, the fair, the hospital, the theater. "

With this idea, we can analyze what the director wants to convey with the film: John Merrick wants to be a normal man, not unlike the others, and this approach kills him, because the elephant man is different and should want to be different. For example, David Lynch includes images of workers working in factories who have experienced industrial revolution, there are machines that help but alienate and make all workers equal beings, without creativity. That prospect appears in other industrial projects of David Lynch, as the sawmill Twin Peaks. And that vision, in The Elephant Man, it's burlesque, it's fair showcasing John Merrick, it is very cruel.

The doctor, Frederick Treves (Anthony Hopkins ), cry the first time you've seen the Elephant Man. What makes scientific interest, for the challenge that presents itself in his career as a surgeon. So also falls into exhibitionism. Instead, the look of the theater is the only fair to John Merrick, which I applaud you for what it is: different. Because the curtain hiding the ordinary and shows the strange. And because the public wants to see. So, the actress Kendal (Anne Bancroft ) shows his admiration and interest, and accepts the Elephant Man without any doubt or look morbid.

Bibliography:-Serge Daney: "Le monstre a peur." Cahiers du cinema, No. 322, 1981
- "The Book of David Lynch." Great Directors Collection. Thierry Jousse.

- Photo 2: Thiago Piccoli ( Flickr )

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The Mavi Marmara and Ron Ben-Yishai

Film Blogging does not mean isolation from social reality, suffering palpable. And in recent days I have not stopped reading, frustrated and angry, the consequences of other actions of state terrorism by Israel. In international waters, under the banner of an ally (Turkey), the Israeli army attacked, without provocation, attacks or any other logical reason- May 31 Mavi Marmara, the ship that was part of a fleet humanitarian aid to Gaza . In the middle

Human Journalism , Alberto Arce narrated the story in the early hours, where there was only confusion, lack of information and misinformation. Alberto Arce is the first link I find in this blog to denounce the unjust Palestinian reality, but through a movie screen, which is what we speak in Cinemascope35. Because he is an authoritative voice, who knows what that boat trip to Gaza, and what it means to bypass an Israeli blockade in order to inform the public of barbarism, it did in 2008, when he made the documentary To shoot an elephant ( award winning AI ) on the killing of innocent Israel's operation was called Cast Lead .

The second link in this article today with the cinema was in the Mavi Marmara: Ron Ben-Yishai, an Israeli journalist, famous for being a war correspondent always exposed to bullets, and always elusive. Ari Folman depicts him in his masterpiece Waltz With Bashir ( Cinemascope35 review) as a man who avoids the bullets like Superman, who walks upright while your camera crawling terror. Is a character in the movie, being interviewed by the director to tell his version of what happened in Lebanon .

In the attack on the flotilla, Ron Ben-Yishai is also one more in the Mavi Marmara, which gives his version of events , which accounts for his newspaper which lived there. And also dodging the bullets of the soldiers in his own state. His history differs from that of other journalists, but it is worth valuing, but then there's the official version of the Israeli army, so stupid and wild as that of their American allies in Afghanistan or Iraq.

In the future, Alberto Arce and Ron Ben-Yishai should make a documentary about a forgotten group of people, as did Ari Folman to this work of art called Waltz with Bashir. In an idyllic future would be written no stories like Folman, or the Mavi Marmara. Stock

Olmo Calvo Rodríguez ( Flickr )

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Entrepreneurship Conferences

Program Business Administration from the Universidad Simón Bolívar held a series of conferences on Entrepreneurship, which were attended by distinguished business people who shared their experiences with youth.

Professor Carlos Acosta, coordinator of human resource departments of business administration program at the Universidad Simón Bolívar, performed every six months an important task, which is to provide students holding conferences on entrepreneurship.
I had the honor of being invited on two occasions, why which I am happy and honored, having regard to the high academic standards that manages the group of Professor Acosta.

Image

first visit
On both occasions, students and I talked about my early business life and the challenges and difficulties that goes through and of course, are overcome, since the objective conference is for students to pick up guests' experiences and thus build future business and

image of the second visit to the event

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Did you know ...? The first steps of Christian Bale, Welsh


frikazos

Being the first film role in Christian Bale was at the tender age of thirteen, in the Steven Spielberg film "Empire of Sol, where he was chosen for the title role in 4000 applicants. But fifteen years we see you in a small role in the magnanimous work of Kenneth Branagh , Henry V , based on William Shakespeare dramade .

lad Bale

With Boy generic name in the credits , Bale's role was that of page getter of the three soldiers who accompanied the king on his travels youth and whose performance in the conquest of France is somewhat deplorable. The grace of all this is that Henry V, both in fiction and in reality, was Welsh, like Christian Bale , so presumably particular emotion would make this work. There is also a significant reference in the Welsh work and its importance in the Battle of Agincourt .

In the first second, first, Christian Bale in his role as a page, say a little dead.

and 2.53 from the scene "For I am a Welsh" with that conversation between those two tough Welsh accent and arcane in which recalls how the Welsh wore leeks in their touched by the day of Saint David in payment for their services in war (the leek is a national emblem Welsh, and we must point out that the Welsh took only 200 years under British rule when it came the Battle of Agincourt, and have always been viewed with suspicion and contempt for his compatriots) is without doubt one of the best scenes of the film.

photos Wikipedia Commons

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Did you know ...? Some early curious, Pilar López de Ayala

Actress Pilar Lopez de Ayala , consecrated as big performance for roles like Obaba or In the City of Sylvia but was released with an appearance on television in the series After school, and in this blog aupamos the podium of myth erotic began his career with a film that few remember .

Those who live by the end of the Roaring 80's and the start of the horrible 90's our snacks and car journeys were enlivened by a quintet of youthful music chilling reminder: Bom Bom Chip , group I acknowledge the ex-fan to the disturbing (I was 6, is justifiable). At the peak of his popularity even filmed a movie , The invisible child (1995), based an original idea Manolo Matji (writer The Holy Innocents). "Guess who came in that movie? Yes , Pilar López de Ayala, with a fresh 17. And I say that is a film that few remember because similar snafu can not occupy space in our collective memory .

(The film in question, a delight) and the above

Bom Bom Chip and his most memorable theme



Photo Wikipedia .