How to Resolve Dating Conflicts

When you go on a date, it is important to be able to resolve any conflicts that may occur. Two of the most common conflicts that occur on dates deal with race and religion. If you are dating a person that follows a different faith than you, it is important to realize that they will have a belief system that may dramatically differ from your own. Both you and the person you're dating must have an open mind. If you do not, this will cause problems that can not only make the date unpleasant, but it can also stop the relationship from progressing.

The same conflicts can occur among partners who come from different racial or cultural backgrounds. To resolve any conflict that you may encounter on a date, it is first important to have an open mind. Pushing your belief system on another person is an immature form of behavior, and it is something you will want to avoid at all costs. As you date someone, they may make a comment or a statement that you don't agree with. How you respond to it is very important. If you are too harsh or blunt, you may hurt the feelings of the other person. If your date states that they feel a certain way about an issue, ask them why they feel this way.

Asking them this is much more mature than saying "I don't agree with you," or "that doesn't make any sense." More often than not, an individual will elaborate on an opinion they have. You can tell them that you understand why they would feel that way, but you're not sure you agree. You can then elaborate on the previous sentence to explain why. The best way to avoid conflicts on dates is to be open with the person you are dating. Don't be so set in your way of life that you are unwilling to look at things from the perspective of another person. When you behave in this way, you will limit yourself, and you may lose out on an opportunity to build a strong relationship.

No matter what the differences are between you and your date, you should look past these differences and focus on what the two of you have in common. This can allow you to build a strong relationship.

Ron Zvagelsky has a degree in Business Administration from the University of Southern California. He graduated Magna Cum Laude in May 2006. He is currently the Chief Executive Officer of http://www.planjam.com an new interactive planing website.Free Public Access To Criminal Record
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Tom Cruise, Paramount And Hollywood Powers Shift, And Now Hedge Funds

Until the 1950s, Hollywood was controlled by seven major motion picture studios. More importantly it was controlled by moguls, all of whom were men they of eastern European descent, who ruled the studio in the same way that the kings of their previous countries ruled the peasants. Creative control belonged to the mogul, while the money was always controlled by the New York bankers, the so-called Suits.

This power alignment began with the beginning of Hollywood prior to 1920, and continued for 40 plus years. What held it intact was the caste system, whereby the stars were controlled by individual studios. They were paid on a yearly basis, and had no say whatsoever in the movies they would appear in. In essence they were slaves to the system, not very different from how baseball players were handled until the Supreme Court outlawed career-long captive players.

The Hollywood caste system began to crack in the 1950s, when Kirk Douglas, the father of Michael Douglas went independent, and formed one of the first independent film companies called Bryna, for his mother. They produced the Vikings, Spartacus, and Seven Days in May. The so called Studio system was now dead. Power shifted to the individual actors, who became BRAND NAMES in their own right.

Two developments began in the 1960s. The Hollywood studios would be taken over by corporations, and then reacquired by giant multinational corporations seeking world-wide influence. The second development was that the stars began to exercise their power. Giant multinationals like Sony, Newscorp, and Viacom hated the fact that stars had so much power. In the last ten years, A-List actors like Tom Cruise, Johnny Depp, and Robert Redford started to receive profit participations, which the studios only gave begrudgingly.

At first it didnt matter because Hollywood accounting is such that somehow the studios could always show a loss on the movie. The stars got wise to that very quickly, and started taking front end participations, a percentage of the ticket when movie goers bought their tickets. In my 35 years on Wall Street, I participated in financing many movies, and I have to tell you that nobody ever made money on the backend. No matter how big the movie, somehow the movie always lost money when it came to the backend participations.

We have now reached a point where the giant multinationals that control media on a world wide basis are fed up with what they are putting up with on behalf of brand name stars. Mel Gibson as you know has run into trouble on the West Coast with his drinking, and purported anti-Semitic remarks resulting in Disney canceling a Holocaust series with Gibsons production company.

Now Tom Cruise has had a falling out with Sumner Redstone, and Viacom. Publicly Redstone has stated he doesnt like some of Cruises actions in the last year. This doesnt make sense. Normally when a studio breaks with a star, there is no public statement. None is required to be given, and they just part ways. This is more personal.

It is rumored that Viacom had offered Cruise a $2 million production deal, down from $4 million in the previous deal, plus a $6 million fund for the development of movie projects. Heres the real deal. Tom Cruise did Mission Impossible III for Viacom, the movie grosses near $400 million world-wide. Cruise had negotiated as a fee, 25% of Viacoms gross revenue on the movie.

This is the way it works. The movie does $400 million. The theaters get half, and Viacom gets half, thats $200 million apiece. Cruise gets 25% of Viacoms half, thats $50 million. In the end Viacom gets $150 million, and Cruise gets $50 million. Sounds great for Viacom doesnt it. Not really, Viacom must pay for the movie which had to be $150 million plus advertising. Viacom gets zero, and Cruise still gets $50 million. This is why Sumner Redstone of Viacom is annoyed, and Cruise is sitting on top of the world.

In the end Redstone will last laugh, why you ask? Theres still Hollywood accounting to deal with. Remember that all the original Hollywood studios were sold off into the hands of multinational corporations (MNCs). Do you really think the MNCs bought the studios for the theater gross? Absolutely not. In reality movie ticket sales represent a third of a movies earnings power. Viacom can lose money on a picture, and still make a fortune on DVD sales (a third), and future television and cable rights (a third).

The MNCs have never shared profits on these other two-thirds of the revenue, and they never will. They refuse to even discuss it, and the numbers are buried deep in the corporations financial statements. They are never broken out, and they are kept secret. Viacom has made, and will make hundreds of millions of dollars on Mission Impossible III.

Redstone got fed up and threw Cruise off the lot. There are now statements being made by Cruises production partner Paula Wagner. She says that Cruise is raising $200 million from hedge funds to fund Cruises future projects. Wait until these Wall Street hedge fund types learn about Hollywood accounting. They are going to lose their shirts funding movies. This is not an industry that Wall Street should want to get involved with. Losing your shirt is one thing, but not even knowing that you have lost it until you are standing naked in the street is quite another.

Richard Stoyecks background includes being a limited partner at Bear Stearns, Senior VP at Lehman Brothers, Kuhn Loeb, Arthur Andersen, and KPMG. Educated at Pace University, NYU, and Harvard University, today he runs Rockefeller Capital Partners and http://StocksAtBottom.comBackground Check Inculdes
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