Thursday, October 17, 2013

SIA sees launch of Italian mobile payments system in early 2014


MILAN (Reuters) - Italian payments systems technology and services group SIA expects its contactless mobile phone payment system to be launched on its home market in early 2014, its chief executive said on Tuesday, as mobile users look to a future with less cash.


Milan-based SIA, owned by a group of mostly Italian banks which according to recent media reports are looking to sell a controlling stake, operates the bulk of Italy's payment systems network and is present in around 40 countries.


"Mobile payments will be launched in Italy at the beginning of 2014, before the end of March, and we are trying to replicate this in other European countries," Massimo Arrighetti told Reuters on the margins of an industry conference in Milan.


"We take it for granted that 80 percent of smartphones and all shops will be equipped with the necessary technology in one or two years," he said.


In a study commissioned by SIA, research firm ISPO said that 94 percent of Italians liked the idea of contactless mobile payments for their speed and practicality and the fact that no cash or bank cards are needed as virtual cards are instead downloaded onto the phone using a special SIA app.


Arrighetti also said SIA will test a platform for mobile ticketing in three Italian cities next year with Telecom Italia. The platform - like the mobile payments system - is based on NFC (near field communication) technology.


Unlike early mobile payment deals, which involved one-to-one arrangements between single banks and telecom companies, SIA's mobile system has an open architecture and allows users to keep using the service even if they change bank or telecom provider.


"Our solution allows users to change bank without an interruption of service. This is why we think it is a winning card," he said.


SIA, whose technology managed 9.2 billion payments and 23.7 billion trading operations in 2012, saw revenues rising 4.5 percent to 348 million euros last year with core profits up 36 percent to almost 65 million euros.


A similar open-ended system is being planned in Poland, where six banks, including biggest lender PKO BP, have teamed up to create a payment system which could challenge the business model of credit card companies such as MasterCard and Visa.


SIA's mobile phone payment system has already been adopted by four mid-sized Italian lenders and by mobile network operators Vodafone, Vimpelcom's Wind and Hutchison Whampoa's Tre Italia.


Arrighetti said he could not rule out the country's biggest phone group Telecom Italia and its largest lenders Intesa Sanpaolo and Unicredit joining.


"It's a work in progress," he said.


Arrighetti declined to comment on reports about a possible ownership change at SIA.


Italian daily La Repubblica said this earlier month that state-backed fund Fondo Strategico Italiano and infrastructure fund F2i were in advanced talks to buy 65 percent of SIA for around 450 million euros from its four largest investors Intesa, Unicredit, Monte dei Paschi di Siena and BNP Paribas's Italian unit BNL.


(Reporting by Danilo Masoni; Editing by Stephen Jewkes and Greg Mahlich)



Source: http://news.yahoo.com/sia-sees-launch-italian-mobile-payments-system-early-161120187--sector.html
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Staying Put: Why Income Inequality Is Up And Geographic Mobility Is Down


Most migration is driven by economics, but Americans are no longer packing up their bags in search of a better life. Journalist Timothy Noah tells host Michel Martin why income inequality is up and geographic mobility has gone down.



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MICHEL MARTIN, HOST:


I'm Michel Martin and this is TELL ME MORE from NPR News. Coming up, former San Diego mayor Bob Filner pleaded guilty yesterday to charges of false imprisonment and battery. We'll ask the Beauty Shop ladies to weigh in on that story as well as on other news of the week. That's in just a few minutes.


But first, we want to talk about the country's ongoing economic problems. Now recently, we've been very focused on the battle over the shutdown and the debt ceiling. But while that is going on, the country still faces the issue of stagnant wages, too little job creation and growing and pronounced income inequality. In the past, when the numbers didn't add up, many families would pack up. Americans used to be exceptional for how often they moved, writes Timothy Noah in the Washington Monthly. But that time is no more. In a piece titled, "Stay Put, Young Man," he says that the fact that Americans are not moving as often is a problem few people are talking about. And he's with us now to tell us why. Tim Noah, thanks so much for joining us.


TIMOTHY NOAH: Thank you, Michel.


MARTIN: Your recent Washington Monthly article is titled "Stay Put, Young Man." Very different from the old adage of go West, young man, which you explain. What's going on?


NOAH: Well, we used to be a country that would move to opportunity. That was one of the defining parts of the American character. Horace Greeley famously said, go West, young man, and, you know, we learn in high school that he was expressing the ethic of Manifest Destiny. But that's not quite right. What he was expressing was that the economy of New York, where he was, was in horrible shape after the Panic of 1837, which was the worst economic calamity in the United States until the Great Depression. People were literally starving in the streets. So he wasn't saying, gee, the West is something we need to settle. He was saying, get out of New York. There are no jobs here. You have to go somewhere else. And that has been the way that our economy has grown over the centuries, and it's also been the path towards equality. People have gone and found opportunity, and that's not happening anymore.


MARTIN: In the early 1950s, you say in your piece, about 3.5 percent of all American households moved from one state to another in any given year. You said that this held up through the '70s and then started to fall around 1980. You're saying that the latest available data shows that interstate migration is stuck at about 1.7 percent. This is about the lowest level in...


NOAH: Yeah.


MARTIN: ...about, what, three decades?


NOAH: Yeah. Less than half.


MARTIN: Now a lot of people would say that's because of the mortgage crisis. That they can't move because they're underwater in their homes and that they would lose money by moving. And you say that that's not true?


NOAH: Yeah. I mean, it would be a logical explanation if this was a trend that we could date back to, you know, 2008. But this has been happening for decades. It was happening when home prices were going up, and presumably, people were quite free to sell their houses and move somewhere else.


MARTIN: And you also say that some people might argue that it's because the population is aging and that older people are much - you know, it's logical. Once you put down roots, kids are in school - less likely to move than other people. But you say that's not true either.


NOAH: That only accounts for a small portion of it. And it would - it would really only account for trends in the, you know, very recent years. But it doesn't account for anything like the entire trend.


MARTIN: So what does?


NOAH: Well, I think it's two things, and one is the familiar story of income inequality. And the other is - has to do with housing prices. Incomes have been stagnant for, really, going back to the late 1970s. They've been stagnant relative to the income growth that we saw before 1979, and they have been literally stagnant for about a dozen years. Median income is now a little below what it was in the late 1990s. And you combine that with rising housing prices, then it becomes difficult for people to move to jobs because they can't afford to live where the new jobs are. I mean, we had a collapse of the housing market in the United States. But housing prices are still going up much more than income.


MARTIN: It's interesting. We reached out on Facebook, and - 'cause we wanted to hear what kinds of experiences our listeners were having. And we got, you know, hundreds of responses in a short period of time. We asked people if you wanted to move or if you couldn't afford to move. Interestingly enough, many of the people who wrote to us were people who did move. We connected with one of them. This is Daniel Blake. He's a packaging designer from Ohio, and this is what he said.


DANIEL BLAKE: I had been laid off. I was surviving on Ohio unemployment and living at my parents' house at the time. And then, eventually, I had got set up with a talent recruiter here in Chicago. And as we're getting ready for dinner, I get a call saying that I had been placed at a nine-month contract position. I have to be in Chicago the next morning. So I hustled straight to Cleveland airport and had to borrow some money from my family and came to Chicago. And I've been here for the last four years and found my beautiful wife. And everything's been great since.


MARTIN: You know, what's interesting about this is this kind of a traditional pattern of migration. You know, somebody who's in an area where there aren't a lot of jobs, there's not a lot of opportunity. So he moves to major urban area which is considered to be kind of bustling and filled with opportunity - Chicago - and it's great. But we also heard from Jacinta Baca. She lives in Mamaroneck, New York in Westchester County which is one the most expensive areas in the country. Jacinta is a single mother of two who earns $42,000 year. She wrote that she earns too much money to receive aid, but she feels trapped. You know, living paycheck to paycheck doesn't allow her to earn enough money to move. Does that sound right to you?


NOAH: Yes, that sounds to me like a very common experience. And yes, obviously people are moving, you know, but in the aggregate, people are moving a lot less than they used to. And, you know, when you look back through American history, I mean, you sort of think - American history really is the story of a succession of movements. There was the westward movement. There was the movement, in the early part of the 20th century, from farms to the cities. There was the great black migration of the early and middle 20th centuries. There was the move to the Sunbelt in the 1970s. That was really the last time people were, in large numbers, moving to jobs. People are still moving to the Sunbelt today, but now it's not moving to jobs. They're moving there for the warm weather or for the cheaper housing.


MARTIN: Well, it's interesting because you would think that because Jacinta lives in the New York area, which you'd think would have a lot of opportunity, she's saying she would prefer to leave. She would prefer to leave this high-cost area and move somewhere else, but she cannot. That's a point that you make in the piece. You say that people are actually moving out of the wealthiest states today. You say that Maryland has the highest median household income at $70,000 year, but 8,000 more people moved out last year than moved in. Now some would argue that that's because it's a high-tax state. It's a state with a liberal-progressive, if you will, political tradition. The Democrats dominate all levels of government, and some would argue it's because it's a high-tax state.


NOAH: Right, well, and that is a conservative argument, that all is being driven by taxes. And they're mostly talking about income taxes. Now, of course, the problem with attributing it to income taxes is the people we are talking about, who are mostly moving less, are people who are not affluent enough to really be pinched very much by income taxes. They are pinched by other kinds of taxes - regressive state taxes, sales taxes and so on - and that may be a factor. But, you know, states that don't have high income taxes tend to depend more rather than less on those regressive taxes. So I think taxes are unlikely to be a significant factor here.


MARTIN: So why are more people moving out of Maryland than moving in, in your opinion?


NOAH: Because it's expensive to live there. It's very expensive to live there and because the opportunities available in Maryland are limited to high incomes. You know, let's look at Maryland. Let's look at Baltimore City - used to be Sparrows Point was a major employer of working-class people. Now it's shrunken down to - I don't how big the workforce is there now. I think it's close to nonexistent. One of the reasons that Maryland is so affluent is because in the Washington suburbs, you have so many professionals - lawyers and others, lobbyists, and others who are making, you know, hundreds of thousand of dollars, occasionally millions of dollars. Not - the Washington area really isn't a place with, you know, many billionaires, but it's got quite a lot of extremely affluent people, enough so that the median income is higher in Maryland than anywhere else.


MARTIN: So you're saying that the cost of living is higher in places with higher incomes. And, well, even though there might be some economic opportunity there, the mismatch is such that people who make less need to move. And even if they're moving to places, you're saying they're moving to places with even lower incomes just to get a lower cost of living.


NOAH: Yes. When an individual state is experiencing economic growth or prosperity, that economic growth and prosperity is not shared as widely as it used to be. Therefore, if I'm a plumber and I want to move to San Jose - yeah, plumbers in San Jose probably make a little more than they do in other places. But they don't make a lot more, and the housing is a lot more expensive. The opportunities in a place like Silicon Valley are for software engineers, not for everybody.


MARTIN: So what's the answer to this? I mean, your argument is that this trend supports the growing income inequality that many people have talked about in his country. Now, obviously, there is a political disagreement about whether this is a real problem or not, or whether this is - is this a problem or just a circumstance?


NOAH: Well, I would start by saying, this is a - this is an illustration of why income inequality is destructive for the country. There might be some people who don't think income inequality is a problem. But I doubt there are very many people who would say that it's okay that people are no longer migrating to where the opportunities are. I mean, that's just bad economics. And so I think that it's a very vivid illustration that income inequality really is very destructive to the economy at large. What to do?


You know, I'm kind of new to this subject. I didn't even know that this trend existed until a couple of months ago. But certainly, you know, I wrote a book about income equality and proposed a lot of solutions to reducing income inequality. And I think those remain relevant. We need to raise taxes on higher incomes. We need to improve our education system. We need to revive the labor movement. Those are just three things. I also think - you know, this is a little more pie-in-the-sky - but I think we need to create a federal jobs program because I don't think the private economy is capable of providing enough jobs for working-class people.


MARTIN: You can read Timothy Noah's article "Stay Put, Young Man" in the Washington Monthly. It's online now. Timothy is also the author of "The Great Divergence: America's Growing Inequality Crisis and What We Can Do About It." And he joined us in our Washington, D.C. studios today. Tim Noah, thanks so much for joining us.


NOAH: Thank you, Michel.


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Source: http://www.npr.org/templates/story/story.php?storyId=235384213&ft=1&f=46
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Wednesday, October 16, 2013

Bonham Carter Takes On Taylor, And She Did Her Homework





Helena Bonham Carter plays Elizabeth Taylor in Burton and Taylor, a BBC America movie that focuses on the famous couple's stint acting together on Broadway in 1983.



Leah Gallo/BBC


Helena Bonham Carter plays Elizabeth Taylor in Burton and Taylor, a BBC America movie that focuses on the famous couple's stint acting together on Broadway in 1983.


Leah Gallo/BBC


Elizabeth Taylor and Richard Burton were the real life star-crossed lovers of the 1960s and '70s. No relationship better merited the adjective "tempestuous," and of none was that word more often uttered.


BBC America offers a dramatized glimpse of the relationship in its movie Burton and Taylor. The film focuses not on the couple's scandalous beginnings when they met filming the 1963 movie Cleopatra, but rather on their public curtain call as a couple, the 1983 Broadway revival of Noel Coward's play Private Lives.


Taylor and Burton were already twice-married (to each other), and twice divorced; both of them, moreover, were battling or succumbing to their addictions.


Helena Bonham Carter, who plays Elizabeth Taylor opposite Dominic West as Richard Burton, spoke with NPR's Robert Siegel about the iconic actress — and the movie, which premieres tonight.



Interview Highlights


On the production of Private Lives that the movie is about


To be honest I think it wasn't [as the character says] "creative." But I think she wanted to see him again. But it made commercial sense. She was a canny producer, and it was her production company. It is an absolutely perfect piece of theater for them to have done. And they enjoyed working together.


On Elizabeth Taylor as an actress


I think she did have some great performances. It's very difficult. I think so much of the time her looks upstaged her. I think she was great as Martha [in Who's Afraid of Virginia Woolf?]. The thing is, though, when you look so great, people don't allow you any other talent.


On deciding to play the role and studying for it


It was very stupid, frankly. I first thought, "This a really stupid idea." Because she's a screen icon and everyone knows her. It's a bit like playing the Queen Mother, too, except the Queen Mother in The King's Speech was significantly younger from the one that everyone tends to remember.


I read all the biographies. Obviously I watched a lot of [Taylor's movies]. But all I could think of was creating a sort of impression or trying to capture some essence. It was like a collage. She has this beauty spot, but I deliberately put it on the other side of my face, because I wouldn't have the presumption of being able to become her or to be her.





Burton (Dominic West) and Taylor were already twice married and twice divorced, by the time they starred in Private Lives. They were both also dealing with addictions.



Leah Gallo/BBC


Burton (Dominic West) and Taylor were already twice married and twice divorced, by the time they starred in Private Lives. They were both also dealing with addictions.


Leah Gallo/BBC


I met a few of her best friends, who were amazingly trusting. And then I had an astrologer friend of mine, which might sound completely bonkers. And then I had my aunt who's a graphologist, you know, she analyzed [Taylor's] handwriting. So I attacked it from all different sides. I couldn't get enough.


I love the research; that's the best bit. ... And [Tim Burton, her boyfriend] always [said], "Oh Jesus, you look like a flipping — you're writing a biography!" But that's my way. I just, I like the research bit. One of the byproducts of this job is that you get to learn about, in such depth, about something you would never before.


On shooting Burton and Taylor


[The shoot was] not that long ago, like three months ago. Whole thing was so fast. It was done in 18 days, on a very low budget. It was kind of ironic since we were playing the wealthiest couple in, you know, in the world. And we didn't have enough money to have the dogs for more than half a day. ... She had a lot of dogs. ... There's one shot when she comes down the corridor, and then throughout you'll hear lots of woofing, but that's completely added on.


It was wonderful. But it was completely, "OK, this is make believe." And the only thing that told us it's New York was this one Yellow Cab they could afford. So that would go through a shot. So sometimes we'd be inside and go, "We need the Yellow Cab, just to tell us we're in New York."


On one of her first films, 1985's A Room With a View, with Daniel Day-Lewis


We both sound like chipmunks! Our voices have dropped, centuries and octaves. Both of us. We're like squee, we're on helium. [In a high voice] "Hello Cecil." ... It would be good if we did a — we should a sequel now. Wouldn't it be good? Room With a View 2. [In a low voice] Both of us are talking down here. "Hello Cecil."


On what she's learned since then


Quite a lot. Where do I start? I really didn't know what I was doing then. I mean, at least now I know I don't really know what I'm doing. But it's okay not to know. I'm definitely better. The sad thing about acting and actresses and on film, is that just as we're getting interesting, and just when we are beginning to know what the hell we're doing, then we're usually put out to pasture, you know, like cows. And I think Elizabeth, to be honest, I think she probably went on stage because she felt, you know, she wasn't getting the movies.


On whether she worries that she'll be "put out to pasture"


Of course. Every actress does. Every actor does. As soon as you've finished the job —even though you're exhausted and you don't really want, you know, you just want some time off — you immediately go, "I'm never going to work again!" So what have I learned? Lots and lots of things. Ask me a question.


On seeing herself in old movies she's done


It's usually horrifying. But it's less horrifying to see yourself 20 years ago than, you know, recently. ... Watching Burton and Taylor is excruciating. Oh God, I can't bear it. ... Can you bear hearing yourself, Robert?


But now every so often I've walked through — Tim keeps all the televisions on all the time, which is a slight contention in our relationship — and A Room With a View was on, not that he was watching it. But I suddenly saw my son on television — that's a thing. I don't see me. It's "Oh my God, that's Billy," who's 10 by the way. And obviously it wasn't him on television, it's just that he looks like me.


And I sort of then had a bit more affection for myself. I thought, "Oh my gosh. You were so young, and vulnerable."


Source: http://www.npr.org/2013/10/16/235366510/bonham-carter-takes-on-taylor-and-she-did-her-homework?ft=1&f=1008
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House, Senate Vote Tonight on Fiscal Compromise (ABC News)

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Cruz won't delay vote on bipartisan budget deal

(AP) — Republican Sen. Ted Cruz says he won't delay a vote on a bipartisan budget deal that will reopen the government and avoid a financial default.

Cruz had forced the shutdown by demanding that President Barack Obama gut his health care law in exchange for a bill to keep the government running.

He told reporters Wednesday that he would vote against the bipartisan bill but wouldn't use Senate delaying tactics to stall the legislation.

The Texas senator has won praise from the tea party and other conservatives for his actions.

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Why College Freshman May Feel Like Imposters On Campus

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Source: http://www.npr.org/2013/10/16/235188760/why-college-freshman-may-feel-like-imposters-on-campus?ft=1&f=1007
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Legend 3D Seeks to Establish China Unit


Hollywood-based visual FX company Legend 3D is hoping to establish an operation in China converting 2D projects to 3D, building on the success of the format in the world's second biggest film market.



"We are keen to establish an operation in China and the main purpose of this trip is to find a strategic partner," Ian Jessel, president of Legend 3D, told The Hollywood Reporter during a visit to Beijing. His Asian trip will also take in South Korea and Japan.


PHOTOS: Inside Hollywood's Surprise Trip to 'China's Oscars'


China's box office boom has been driven by 3D and enhanced formats -- of the 13,118 screens in China at the end of last year, 72 percent are 3D screens.


"We are very eager to expand our operations into Asia, especially China, and we would be thrilled to establish relationships with Chinese producers and distributors, and in that case we would be carrying out a lot of the conversion work in China," said Jessel.


Legend 3D was involved in some of the most successful 3D conversions of the summer in China, including Man of Steel and Smurfs 2. The group has also just completed the 3D conversion of The Walt Disney Company's The Little Mermaid.


"We are very conscious of expanding internationally. The market for 3D is on an upward curve in Asia, which shows no sign of abating.


"China is becoming more internationally minded and we want to be part of the number-two market in the world. Ideally, this will happen within the next 12 months," said Jessel.


STORY: RealD, UME Sign Deal for 50 More 3D Screens in China


Legend 3D has had its most successful year so far in 2013, already shaping up to outstrip last year's record performance when the group did around one conversion a month.


The second biggest movie in China last year was James Cameron's 3D version of Titanic, which took $156.5 million in box office. His 3D epic Avatar still holds the record, with the $220 million it took in 2010 -- at a time when the country's 3D infrastructure wasn't nearly as developed as it is now.


One of the two Chinese films to make the top 10 box office last year was the 3D Painted Skin: The Resurrection."


Other big hits in China that Legend has worked on include Transformers: Dark of the Moon, which took in a muscular $170 million to make it China's biggest-earning movie in 2011.


Hollywood movies were given a major boost in China after the quota of foreign films in Chinese theaters was increased in February from around 20 to 34, including 3D and Imax movies.


PHOTOS: 3D Movie Rereleases: The Hits and Misses


Before joining Legend 3D, Jessel was a founding president of Miramax International, president and CEO of Nelson Entertainment International; vice president of CBS Films; and managing director of ITC Entertainment. Among the movies he has worked on are Pulp Fiction and Bullets Over Broadway.


Jessel took over as president last year from Legend founder Barry Sandrew, who is the firm's chief creative officer and chief technology officer.


Source: http://feedproxy.google.com/~r/thr/international/~3/TomJrj_-51E/story01.htm
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