posted
Sometimes positive news does makes the pps rise--other times it does not. Sometimes (Big Cap) pps go down on "good" news. The "Yeah, but....." scenario.
Come to think of it, that happens here all of the time.
Companies can even post great earnings, but their pps goes down. Why? Their earnings were .01 short of the "analysts' published expectations".
Even though the company never promised that amount (that extra penny), they lose. They disappointed the expert's expectations.
Other companies release no news--their pps goes up--news comes out days later. It happens over and over.
Did QBID go up to .02 on "great news"?
There are many more factors involved in pps than PR's. We don't have to have a whopper PR.
As the network grows, news will travel fast. Viacom delayed Logo's broadcast schedule a full six months--June 30, 2005.
Why?
We all know why, but we still keep hoping for an "instant network". JMO
Plus, Frank is not fond of ******* daytraders or *******mm's--his words, not mine.
posted
Suz Excellent post. You've reminded us that sub-pennies are not the only stocks that move in strange and mysterious ways. Most large cap stocks are just as "unpredictable" . . . and a lot less fun than trading subs, in my opinion.
-------------------- Everything I say is only my opinion ... right or wrong.
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Hi all.......Still hangin' round....Just a whole lotta' stuff goin' on...
Q will have it's time, was not expecting this drop but, it has twice bounced off of the .0026 support...it's strong...If it gets back there we will bounce again..I see it holding steady here though, IMHO but, could use some good news....
Ric...You know you and Rhonda and the little one are in my families prayers....Hang in there man, and give her a big (((HUG))) for me.
-------------------- Lil,
Dont LOSE more than you can afford to invest....LOL
I'm buying low and selling into the run...
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-------------------- Marty When I was born, I was granted a visitors pass to earth. I will enjoy everyday until it has expired. You should too ;)
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quote:Originally posted by suzainiee: Sometimes positive news does makes the pps rise--other times it does not. Sometimes (Big Cap) pps go down on "good" news. The "Yeah, but....." scenario.
Come to think of it, that happens here all of the time.
Companies can even post great earnings, but their pps goes down. Why? Their earnings were .01 short of the "analysts' published expectations".
Even though the company never promised that amount (that extra penny), they lose. They disappointed the expert's expectations.
Other companies release no news--their pps goes up--news comes out days later. It happens over and over.
Did QBID go up to .02 on "great news"?
There are many more factors involved in pps than PR's. We don't have to have a whopper PR.
As the network grows, news will travel fast. Viacom delayed Logo's broadcast schedule a full six months--June 30, 2005.
Why?
We all know why, but we still keep hoping for an "instant network". JMO
Plus, Frank is not fond of ******* daytraders or *******mm's--his words, not mine.
I agree with the others,,,Excellent post Sue!!!
That's the reason I'm long and keep reminding myself,,,,
posted
To my QBID Friends who I Love Posting with. Take a moment today to appreciate where you are and your Loved ones. My Wife's best friend who was also a Nurse and assisted with the birth of our 2 children passed away yesterday. She had a rough live but always remained POSITIVE with each obstacle placed in front of her. Her name was Stephanie and we Loved her and her family dearly. Say a Prayer for her, and God Bless all of you. Ricardo
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quote:Originally posted by Bottomliner: Suz Excellent post. You've reminded us that sub-pennies are not the only stocks that move in strange and mysterious ways. Most large cap stocks are just as "unpredictable" . . . and a lot less fun than trading subs, in my opinion.
Amen...This site helps make it fun too...With my mid-large caps, they are holds...rarely turn those over quickly...I even trade within my IRA...Penny's is a different ball game...This keeps the cobwebs from building up...
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Q Television Network to Executive Produce Award-Winning Writer/Director John Cameron Mitchell's Eagerly-Awaited Film Shortbus; Q Television to Be an Equity Partner in the Film with Exclusive Broadcasting Rights
PALM SPRINGS, Calif., Feb 24, 2005 (BUSINESS WIRE) -- Q Television Network, (Pink Sheets: QBID) announced today that it has signed on as executive producer of John Cameron Mitchell's eagerly-awaited film, with the working title Shortbus. Shortbus is the much discussed sexually frank film from the director of Hedwig and the Angry Inch, John Cameron Mitchell. Soon to be moving into production, Shortbus is projected to be ready to premiere in 2006. The film is an exploration of sexuality, art and music that follows seven characters of various sexualities and genders as they navigate the funny/sad intersections between sex and love in modern-day New York City.
"It is a great privilege to be working with Golden Globe nominee John Cameron Mitchell on his latest film," said Frank Olsen, President and CEO of Q Television Network. "Mitchell is an innovator in queer film and entertainment. Hedwig and the Angry Inch was masterfully done, and we are very pleased to be a part of his latest working creation, Shortbus."
Q Television Network will be the majority equity partner in Shortbus, alongside Fortissimo Film Sales, which is also handling foreign sales. Wouter Barendrecht and Michael J. Werner of Fortissimo are also executive producers of Shortbus. North American rights will remain open, with the exception of the basic cable window, whose rights will be retained by Q Television.
Olsen and Senior Executive Vice President of Q Television, Alexis Fish, will serve as executive producers on the film. "I'm incredibly excited to be working with Q Television," said John Cameron Mitchell. "Their rock 'n' roll enthusiasm for my admittedly controversial project reveals them as a force to be reckoned with!"
Shortbus is being produced by Howard Gertler and Tim Perell of Process. "We're thrilled to be making such a ground breaking project with Q Television" said Gertler. "It's a pleasure to find strong support and enthusiasm from visionaries such as Frank and Alexis."
Named one of People Magazine's "Breakthrough Stars of 2001," Mitchell is the star, director and writer of the award-winning, cult classic film, Hedwig and the Angry Inch, a film he adapted from his hugely successful stage production. When the film version of Hedwig premiered at the 2001 Sundance Festival, the story of Hedwig, the East German victim of a botched sex change operation with an unhappy love life and equally disastrous career, won Mitchell both the festival's Directing Award and the Audience Award. The film also earned Mitchell a Best Actor Golden Globe nomination, Best Directorial Debut from the National Board of Review, and the Grand Prize at Deauville.
"John Cameron Mitchell defines the cutting edge. His success is a tribute to the ability of true talent to break ground. John Cameron Mitchell has remained true to his artistic integrity, and has achieved broad success simultaneously, a rare thing in this media age. His creativity, inimitability, and power are undeniable," said Alexis Fish, Senior Executive Vice President of Q Television Network. "We could not be more excited about supporting and working with talent of this magnitude now and in the future."
The investment made for the production of Shortbus comes from a private investor film group. Q Television will act as the promotional liaison for the investor group, and will share in the profits of the film with the investor film group. "Once again, this shows Q Television working for the gay community by the gay community as well as for helping gay film producers in consideration of future projects with them," said Olsen. "This is a great opportunity for Q Television as we have only everything to gain from working with this film with no risk incurred to the network, thanks to the private investor film group."
About Q Television Network
This television network was organized to create and develop a network devoted to providing television programming for the gay and lesbian community. While the company expects much of its subscriber base to be comprised of members of the gay and lesbian population, management also believes that quality programming about the gay and lesbian experience, designed to entertain, educate and inform, will attract many other segments of the viewing public. The company's programming will be available on a subscription basis to those desiring its programming. The network will broadcast 24 hours per day, 7 days per week. Providing distribution via satellite ensures availability of the network across the United States, including Alaska, Hawaii and Puerto Rico. For further information on programming and subscriptions, please visit www.qtelevision.com.
Safe Harbor Statement
As a cautionary note to investors, certain matters discussed in this press release may be forward-looking statements within the meaning of the Private Securities Litigation Reform Act of 1995. Such matters involve risks and uncertainties that may cause actual results to differ materially, including the following: changes in economic conditions; general competitive factors; the television network's ability to execute its business model and strategic plans; and the risks described from time to time in the company's Securities and Exchange Commission filings.
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John Cameron Mitchell is on his way to the Loft to discuss 'Hedwig,' 'Tarnation' and the politics of fear
By JAMES DIGIOVANNA email this author Feature John Cameron Mitchell Feature Hedwig Feature Writer/director John Cameron Mitchell will be introducing his film, Hedwig and the Angry Inch, Saturday night at the Loft Cinema. We spoke with him about this film and his upcoming work, Short Bus.
TW: I guess what you're best known for is the role of Kenny in The Stepford Children ...
JCM: Surely you don't remember that ...
TW: Of course I do. ... The Stepford Children is the best TV movie sequel to a theatrical film ever. Did you anticipate that Hedwig would become a midnight movie/cult film?
JCM: I didn't plan on it, but it makes sense in retrospect. It had an eclectic audience of freaks of all kinds. But they tended to be the friendly freaks, not the kind that would roll you for your lunch money.
TW: Not the freaks who are lining up to eliminate gay rights. ... It's taken the place of Rocky Horror Picture Show in a number of areas, with people dressing up and acting it out. Have you ever seen that done?
JCM: Not really. I've only been to one group that does that. It was in L.A., and I realized it wasn't really an acting-out thing as much. They made it more of a performance thing. And I'd encourage people to do their own stuff. They'd do pre-show bands and performances and contests. Certainly the songs, they can act out, but it's hard to act out the scenes, because unlike Rocky Horror, it's not so campy. People are finding their own way with it. And that's good. I don't think it's necessarily replacing Rocky Horror, but it's concurrent with it, same cities.
TW: Similar vibe.
JCM: Yeah, glammo.
TW: You've mentioned another film ... a grandmother who spoke through music?
JCM: That's changed into something else. ... It's the same characters but a different story. It's a children's story called Nigh, which is the name of a little boy who's never been told a bed-time story. ... It's kind of philosophical in its way. It's mostly animated, so it's very expensive, and it'll take a while to get to the screen. The things that are children's things that are made now are successful books or video games, or they have something easy to grasp onto, like a talking mouse or something. Ours really isn't like that.
TW: You could claim that it's about a Japanese anime character and get a little funding ...
JCM: Yeah. ... I know. But they might ... they're not dumb.
TW: I think they might be dumb!
JCM: Well, they can be dumb, but they're shrewd.
TW: What if someone did give you $100 million to make a movie?
JCM: I'd make that (Nigh), and I'd make Short Bus. We've been working with the actors for a year-and-a-half, and that's ready to go. There's another thing we've been working on, which is someone else's script, which I rewrote and I'm going to direct, which is sort of a Pee Wee Herman thing, but full of emotion and philosophy. That's another thing that could get made, because it's a lot cheaper and could actually have stars in it, which is what they want.
TW: What's that one called?
JCM: It's called Oskur Fishman.
TW: If you made Short Bus and the animated film, you'd have money left over from the $100 million.
JCM: Depends on how you animate. You could use it all! Pixar tends to do that. I think we'd probably do 2-D. And I'd probably buy a place to live. I've been living in my rent-stabilized apartment for 11 years. And then I'd help other people out. That's why Tarnation (Jonathan Caouette's documentary on growing up with his schizophrenic mother; Mitchell was an executive producer) has been so rewarding; it's just completely unique. And the more you help other people out, the more they'll help others out.
TW: I hope that's true. Do you think the current political climate will have an effect on filmmaking, for you or other filmmakers?
JCM: I think people of substance are going to look at what they're doing, and think, "Is this in some way contributing to the kind of fear and ignorance that drove the election?" I think people are going to think, "What can I do to be useful in this time?" This is a period of depression. For some people, it was a fad, for others, it's very energizing to have something to fight against that's so clearly dangerous.
TW: What would you want to bring forward now, politically?
JCM: The reason people ignored their instincts about the failed presidency of George W. Bush was fear, fear and ignorance. Twenty percent of gay people voted for Bush, which is unbelievable, after the most viciously homophobic campaign ever. You've got to be pathetic and scared and somewhat self-hating to do that. People want a daddy. They want to believe someone. And if they've chosen to do that with Bush, then it's hard to change their mind. There's that strange map that's going on, where all the states that voted for Bush were the states that permitted slavery.
TW: Except for Ohio, which was a free state ...
JCM: I think that mindset, "must have someone tell me what to do," which comes from fear, is the problem. And I think anything that can be done artistically, politically, socially, to dispel fear and get the truth out, and remind people that they have a voice and are not powerless, is going to be useful. And in some small way, sexually, I think Short Bus will be attacking fear about sex. Certainly in Ohio, where I was working for the election, I saw first-hand people's homophobia, and they say that turned the state. They called it values; they labeled what really is bigotry as "values."
TW: There is a climate now that's interesting. ... It's strongly tolerant of homosexuality in certain parts of the country, and extremely homophobic in other parts. The film you're making will include graphic sex scenes ...
JCM: Of all sexualities.
TW: Exactly. How do you think that will be received?
JCM: A lot of people are going to be scared off by the sex, and a lot of people are going to be scared off by the gay sex, but for those who aren't, I really want to address the erotophobia in our culture. I really believe sex is something to be scared of and to be celebrated, but it's not something that can be ignored, which is really what most of the country tries to do. I couch it in a comic world where absurdity is seen in the sex as much as it is in any other part of their life. Sex is terribly funny! And in America, it's very rare to explore sex in a non-pornographic way that allows sex to be a metaphor for something else. For example, you can't have sex in a film, so you have metaphors for sex. If you can show the sex without shying away from it, the sex itself can be a metaphor for other things in life. If you watch two people having sex, it's like a microcosm of their lives. You can tell things about them without even hearing them speak. Why ignore that as a language in film when it's so rich? It's like music: Music is as much a part of life as sex is. So theoretically, aesthetically, why ignore it? Can we use sex in a way that isn't pornographic and isn't French?
TW: What do you mean by "not French"?
JCM: Not just focusing on the grim. All these recent French films that have sex in them, they all end in dismemberment. They're all ennui. ... It's kind of becoming a joke.
TW: Like Baise-Moi or Romance?
JCM: The only one I liked, which also ended very grimly, but it's just an excellent film, is Fat Girl. But most of these European films are dullsville. I even include Brown Bunny and Ken Park, the American ones that have come out recently. I thought they were just dumb. I admire that they pushed it, but they just felt like, again, "sex is dirty." They connected only to the negative.
TW: I liked Brown Bunny until it got to the sex part. ... Traditionally, in American films, if someone was sexual, she was going to die.
JCM: Sex equals death.
TW: Eighties slasher films, any homosexual in a film, any girl who has sex in a film in the '50s or '60s ...
JCM: She's a goner. Whereas with Short Bus ... for example, there's a sex therapist who's never had an orgasm. She's been faking with her husband, and she desperately wants to get one to save her relationship. It sounds farcical, but the woman doing it is very heart-wrenching. The metaphor of the orgasm means a lot more ... someone who can't have an orgasm has a lot more going on. What is the orgasm for different people? Is it a place where you feel alone, and you love it? Or is it a place where you don't feel alone and you love it? Or a place where you feel god, or self-loathing, or obfuscation, or domination? ...What is the orgasm, and why not explore it as a metaphor, explicitly?
TW: How long until we see Short Bus?
JCM: I don't know. We have to get our money still, and it's been difficult getting the money for it, with no stars, and it's not conventionally marketable.
TW: What else will you be talking about at The Loft?
JCM: I'll be taking about Tarnation and whatever anyone else wants to talk about. I've never been to Tucson. Where is Tucson?
TW: In the south of Arizona, about an hour north of Mexico. ...
JCM: Below or above Phoenix?
TW: Below ... Phoenix is a couple hours north. ...
JCM: I thought it was above Phoenix.
TW: Nope.
-------------------- don't sweat the small stuff.
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Q Television – we have many projects in the pipeline, and plan to discuss relationships that were established at Sundance regarding both television and film offers,” stated Frank Olsen, President and CEO of Q Television Network. “As always, our goal is to further the growth of the network.”
Now where are those who said we had no business at Sundance.
It would appear that we made plenty of deals at Sundance and the "Q" will rock.
GO QBID!!!!!! Bring On The Green
-------------------- Be Careful Of The Toes We Step On Today, They Could Be Attached To The Butt We Have To Kiss Tomorrow
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TO ALL I hope people don't get banned from this board just for being negative about a stock. There usually are two (or more) sides to everything.
Personally I get tired of reading "unsubstantiated" ramblings from the same people, but I have to respect their right to do so. This goes for positive posts as well as negative posts.
However, I also believe that every statement made here should be based on "confirmable" fact or should be clearly labeled as opinion.
I believe in QBID and therefore usually see positives in most QBID news. This may be a bit naive, but my beliefs are based on a lot of time spent digesting every tidbit of information I can find about QBID and Frank.
None of us can know for sure if any stock (sub-penny or blue chip) is going to make money for us. So we have to rely on our own analyses of the company, as well as our own gut-feel. My analyses of QBID tells me there is a future for the company, assuming their business plan is executed correctly and no unforeseen negatives get in the way. My gut-feel says the payoff is worth the risk.
DISCLAIMER: I have been known to go ALL-IN with nothing but a flush draw. Sometimes I won, sometimes I lost.
-------------------- Everything I say is only my opinion ... right or wrong.
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A friend just emailed me this article that was on MSN today... I thought it was interesting because it was not a pr sent from qbid.
Q Television Network to Executive Produce Award-Winning Writer/Director John Cameron Mitchell's Eagerly-Awaited Film Shortbus; Q Television to Be an Equity Partner in the Film with Exclusive Broadcast February 24, 2005 09:45:00 AM ET Q Television Network, (Pink Sheets: QBID) announced today that it has signed on as executive producer of John Cameron Mitchell's eagerly-awaited film, with the working title Shortbus. Shortbus is the much discussed sexually frank film from the director of Hedwig and the Angry Inch, John Cameron Mitchell. Soon to be moving into production, Shortbus is projected to be ready to premiere in 2006. The film is an exploration of sexuality, art and music that follows seven characters of various sexualities and genders as they navigate the funny/sad intersections between sex and love in modern-day New York City. "It is a great privilege to be working with Golden Globe nominee John Cameron Mitchell on his latest film," said Frank Olsen, President and CEO of Q Television Network. "Mitchell is an innovator in queer film and entertainment. Hedwig and the Angry Inch was masterfully done, and we are very pleased to be a part of his latest working creation, Shortbus." Q Television Network will be the majority equity partner in Shortbus, alongside Fortissimo Film Sales, which is also handling foreign sales. Wouter Barendrecht and Michael J. Werner of Fortissimo are also executive producers of Shortbus. North American rights will remain open, with the exception of the basic cable window, whose rights will be retained by Q Television. Olsen and Senior Executive Vice President of Q Television, Alexis Fish, will serve as executive producers on the film. "I'm incredibly excited to be working with Q Television," said John Cameron Mitchell. "Their rock 'n' roll enthusiasm for my admittedly controversial project reveals them as a force to be reckoned with!" Shortbus is being produced by Howard Gertler and Tim Perell of Process. "We're thrilled to be making such a ground breaking project with Q Television" said Gertler. "It's a pleasure to find strong support and enthusiasm from visionaries such as Frank and Alexis." Named one of People Magazine's "Breakthrough Stars of 2001," Mitchell is the star, director and writer of the award-winning, cult classic film, Hedwig and the Angry Inch, a film he adapted from his hugely successful stage production. When the film version of Hedwig premiered at the 2001 Sundance Festival, the story of Hedwig, the East German victim of a botched sex change operation with an unhappy love life and equally disastrous career, won Mitchell both the festival's Directing Award and the Audience Award. The film also earned Mitchell a Best Actor Golden Globe nomination, Best Directorial Debut from the National Board of Review, and the Grand Prize at Deauville. "John Cameron Mitchell defines the cutting edge. His success is a tribute to the ability of true talent to break ground. John Cameron Mitchell has remained true to his artistic integrity, and has achieved broad success simultaneously, a rare thing in this media age. His creativity, inimitability, and power are undeniable," said Alexis Fish, Senior Executive Vice President of Q Television Network. "We could not be more excited about supporting and working with talent of this magnitude now and in the future." The investment made for the production of Shortbus comes from a private investor film group. Q Television will act as the promotional liaison for the investor group, and will share in the profits of the film with the investor film group. "Once again, this shows Q Television working for the gay community by the gay community as well as for helping gay film producers in consideration of future projects with them," said Olsen. "This is a great opportunity for Q Television as we have only everything to gain from working with this film with no risk incurred to the network, thanks to the private investor film group."
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