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Jackie Davis Film & Television
Jackie Davis AEA ♦ SAG-AFTRA ♦ 401/206-2389 ♦ [email protected] FILM PRINICIPAL Little Women Susan Robbins Columbia Pictures/Greta Gerwig Shuttle Cashier Moody Street Productions/Edward Anderson Ancestry Elder TGTC Productions/Nerissa Williams Hitz & Mrs Angie TGTC Productions/Jerome Tarter High Watch Nurse TGTC Productions/Nerissa Williams Fishers of a Second Chance Mean Woman BirthName Productions/Lanice Lumpkins O’Bryant STAND-IN Body of Evidence (Season 1) Detective Samantha Baker ABC Studios FEATURED BACKGROUND The Company Men Football Player The Company Men Productions/John Wells The Opposite Sex (A Bet’s A Bet) Stenographer Vantage Media/Jennifer Finnegan BACKGROUND The Purge 3 Pedestrian Day After Platinum Dunes/Dunehouse Productions Ted2 Wedding Guest Fuzzy Door Productions/Media Rights Films Stronger Hockey Rink Security Lionsgate My Best Friends’s Girl Background Lionsgate/Howard Deutch Loosies Pedestrian IFC Films TELEVISION National Geographic Katrina Victim (Principal) Viewpoint Productions SMILF Cashier (Season 1) (Featured BG) Showtime SMILF Eliza Auntie (Featured BG) Showtime NOS4A2 Library AMC The Newsroom Reporter - Boston Episode (Featured BG) HBO Comcast: Less Shopping Wife (Principal) Picture Park Productions Vermont State Lottery Woman 1 (Principal) Richard Traecy Productions Oil. Heats Best Scientist (Principal) Catama Productions Jennie’O Turkey Burger: Make the switch Picnic guest (Principal) Krispy Kreme Donuts Customer (Featured BG) Picture Park Productions Dunkin Donuts Customer (Featured BG) Picture -
Greenberg (2011)
Greenberg (2011) “You like me so much more than you think you do.” Major Credits: Director: Noah Baumbach Screenplay: Noah Baumbach, from a story by Baumbach and Jennifer Jason Leigh Cinematography: Harris Savides Music: James Murphy Principal Cast: Ben Stiller (Roger Greenberg), Greta Gerwig (Florence), Rhys Ifans (Ivan), Jennifer Jason Leigh (Beth) Production Background: Baumbach, the son of two prominent New York writers whose divorce he chronicled in his earlier feature The Squid and the Whale (2005), co-wrote the screenplay with his then-wife, Jennifer Jason Leigh, who plays the role of Greenberg’s former girlfriend. His friend and sometime collaborator (they wrote The Life Aquatic with Steve Zissou together), Wes Anderson, co-produced Greenberg with Leigh. Most of Baumbach’s films to date deal with characters who are disappointed in their lives, which do not conform to their ideal conceptions of themselves. At whatever age—a father in his 40s, his pretentious teenage son (The Squid and the Whale), a college graduate in her late twenties (Frances Ha, 2012)—they struggle to act like grownups. The casting of Greta Gerwig developed into an enduring romantic and creative partnership: Gerwig co-wrote and starred in his next two films, Frances Ha and Mistress America (2015). You can read about Baumbach and Gerwig in Ian Parker’s fine article published in New Yorker, April 29, 2013. Cinematic Qualities: 1. Screenplay: Like the work of one of his favorite filmmakers, Woody Allen, Baumbach’s dramedy combines literate observation (“All the men dress up as children and the children dress as superheroes”) and bitter commentary (“Life is wasted on… people”) with poignant confession (“It’s huge to finally embrace the life you never planned on”). -
Post-Postmodern Cinema at the Turn of the Millennium: Paul Thomas Anderson’S Magnolia
Revista de Estudios Norteamericanos, vol. 24, 2020. Seville, Spain, ISSN 1133-309-X, pp. 1-21. DOI: http://dx.doi.org/10.12795/REN.2020.i24.01 POST-POSTMODERN CINEMA AT THE TURN OF THE MILLENNIUM: PAUL THOMAS ANDERSON’S MAGNOLIA JESÚS BOLAÑO QUINTERO Universidad de Cádiz [email protected] Received: 20 May 2020 Accepted: 26 July 2020 KEYWORDS Magnolia; Paul Thomas Anderson; post-postmodern cinema; New Sincerity; French New Wave; Jean-Luc Godard; Vivre sa Vie PALABRAS CLAVE Magnolia; Paul Thomas Anderson; cine post-postmoderno; Nueva Sinceridad; Nouvelle Vague; Jean-Luc Godard; Vivir su vida ABSTRACT Starting with an analysis of the significance of the French New Wave for postmodern cinema, this essay sets out to make a study of Paul Thomas Anderson’s Magnolia (1999) as the film that marks the beginning of what could be considered a paradigm shift in American cinema at the end of the 20th century. Building from the much- debated passing of postmodernism, this study focuses on several key postmodern aspects that take a different slant in this movie. The film points out the value of aspects that had lost their meaning within the fiction typical of postmodernism—such as the absence of causality; sincere honesty as opposed to destructive irony; or the loss of faith in Lyotardian meta-narratives. We shall look at the nature of the paradigm shift to link it to the desire to overcome postmodern values through a recovery of Romantic ideas. RESUMEN Partiendo de un análisis del significado de la Nouvelle Vague para el cine postmoderno, este trabajo presenta un estudio de Magnolia (1999), de Paul Thomas Anderson, como obra sobre la que pivota lo que se podría tratar como un cambio de paradigma en el cine estadounidense de finales del siglo XX. -
Brian Murray
Brian Murray FILM Nightmare on Elm St (2011) The Would-Be-Warrior Dir. Samuel Bayer, Dir. David Twahy, Nickelodeon Platinum Dunes Movies Tim Burton's Alice in Redline Wonderland Dir. Andy Cheng, Chicago Dir. Tim Burton, Walt Disney Releasing Studios Motion Pictures Torque Green Lantern Dir. Joseph, Warner Brothers Dir. Greg Berlanti, Warner Pictures Brothers Below 300 Dir. David Twahy, Miramax Films Dir. Zack Snyder, Warner Brothers What Is Love Pitch Black Dir. Mars Callahan, Big Sky Dir. David Twahy, USA Films Motion Pictures Rollerball Mortal Kombat: Annihilation Dir. John McTiernan, MGM Home Dir. John R. Leonetti, New Line Entertainment Cinema Perfect Getaway Air Force One Dir. David Twahy, Rogue Pictures Dir. Peter Schnall, Warner Home Vide TELEVISION Entourage Producer: Mark Wahlberg, Ugly Betty Home Box Office (HBO) Producer: Salma Hayek, ABC Los Angeles 310.642.2721 New York 212.980.7979 [email protected] Brian Murray CSI Monk Producer: Jerry Bruckheimer Producer: Andy Breckman, ABC Television, CBS Studios CSI: Miami Eli Stone (pilot) Producer: Jerry Bruckheimer Producer: Greg Berlanti, ABC Television, CBS Studios CSI: New York Sliders Producer: Ann Donahue, CBS Producer: Tracy Tormé, Fox Network Grey’s Anatomy Producer: Betsy Beers, ABC Babylon 5 Star Trek: Enterprise Producer: John Copeland, Prime Producer: Rick Berman, UPN Time Entertainment Network THEME PARK Terminator 2: 3D Location: Universal Studios Hollywood MUSIC VIDEO Madonna Madonna “You Must Love Me” “Ray Of Light” Dir. Alan Parker, Culver Dir. Jonas Åkerlund, Raleigh Studios Studios Los Angeles 310.642.2721 New York 212.980.7979 [email protected] . -
Screendollars
Monday, May 24, 2021 | No. 169 When Star Wars opened May 25, 1977 no one but Steven Spielberg thought it would be a hit. George Lucas had been turned down by Universal, United Artists and Disney before pitching 20th Century Fox his sci-fi epic inspired by 1930's serials like Flash Gordon and Buck Rogers, the 1966 TV series Star Trek and Frank Herbert's 1965 novel Dune. Fox creative affairs chief Alan Ladd, Jr. greenlighted SW, but Fox's distribution arm never considered it a likely hit. Fox marketers wanted to change the title because moviegoers might think Star Wars was about the Vietnam War or, perhaps, superstars Elizabeth Taylor and Richard Burton's divorce. When Lucas screened a rough cut for some director pals, they weren't impressed. Brian De Palma reportedly called it the "worst movie" ever made. Spielberg, however, predicted SW would be "the biggest movie of all time." Lucas thought SW was doomed and skipped its premiere to vacation with Spielberg in Hawaii where they heard SW was a boxoffice phenomenon and then came up with a new project to do together -- Raiders of the Lost Ark (1981), the first Indiana Jones blockbuster. Exhibitors were reluctant to book SW, thinking only kids and sci-fi buffs would buy tickets, so it opened at just 32 theatres. Two days later, it was in 43 theatres and a week later in 157. It peaked in mid-August at 1,096, a very wide run then. Produced for $11 million, its original release did $461 million domestically and $196 million abroad – huge numbers at Theatrical Poster for Star Wars, the time. -
Feature Film
RAMIN DJAWADI AWARDS & NOMINATIONS HOLLYWOOD MUSIC IN MEDIA TOM CLANCY’S JACK RYAN AWARD NOMINATION (2019) Main Title Theme – TV Show/Limited Series EMMY AWARD (2019) GAME OF THRONES Outstanding Music Composition for a “The Long Night” Series (Original Dramatic Score) EMMY AWARD (2018) GAME OF THRONES Outstanding Music Composition for a Series (Original Dramatic Score) EMMY NOMINATION (2018) WESTWORLD Outstanding Music Composition for a Series (Original Dramatic Score) GRAMMY NOMINATION (2017) GAME OF THRONES Best Score Soundtrack for Visual Media WORLD SOUNDTRACK AWARD WESTWORLD, PRISON BREAK: NOMINATION (2017) RESURRECTION, THE STRAIN Best TV Composer of the Year EMMY NOMINATION (2017) WESTWORLD Best Original Main Title Theme Music EMMY NOMINATION (2014) GAME OF THRONES Outstanding Music Composition for a Series GAME AUDIO NETWORK GUILD MEDAL OF HONOR NOMINATION (2011) Best Cinematic / Cut-Scene Audio EMMY NOMINATION (2010) FLASH FORWARD Outstanding Music Composition for a Series GRAMMY NOMINATION (2006) IRON MAN Best Score Soundtrack Album iTUNES AWARD (2008) IRON MAN Best Score The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 1 RAMIN DJAWADI WORLD SOUNDTRACK AWARD MR. BROOKS NOMINATION Discovery Of The Year (2007) EMMY NOMINATION (2006) PRISON BREAK Outstanding Main Title Theme Music FEATURE FILM ELEPHANT EDEN Alastair Fothergill, prod. DisneyNature Mark Linfield, dir. THE QUEEN’S CORGI Ben Stasson, prod. Lionsgate Ben Stasson, dir. SLENDER MAN Robyn Meisinger, Sarah Snow, Bradley Fischer, James Screen Gems Productions Vanderbilt, William Sherak, prods. *With Brandon Campbell Sylvain White, dir. A WRINKLE IN TIME Jim Whitaker, Catherine Hand, Adam Borba, prods. Walt Disney Studios Ava DuVernay, dir. THE MOUNTAIN BETWEEN US Peter Chernin, Jenno Topping, prods. -
1 CHAPTER I INTRODUCTION A. Background of the Study Brutal Is
CHAPTER I INTRODUCTION A. Background of the Study Brutal is an extremely ruthless or cruel. Brutality is the quality of being brutal, cruelty, and savagery. Brutality is one of the factors that are used to increase the terror; the other terror factors are violence, sadism, and graphic blood. Brutality is the part of cruelty. Cruelty is one of the danger signals of personality sickness. A “sick” personality is one in which there is a breakdown in the personality structure which results in poor personal and social adjustment, just as in physical illness, the person does not behave as he normally does (Hurlock, 1979: 389-403). Brutality in A Nightmare on Elm Street Movie is reflected by the main characters, namely Krueger. He kills many teenagers through their dreams, it is called “A Nightmare” and this phenomenon happens on Elm Street. So, it is the reason why this film is entitled “A Nightmare on Elm Street”. A Nightmare on Elm Street is a 2010 American slasher film directed by Samuel Bayer, and written by Wesley Strick and Eric Heisserer, based on a story by Mr. Strick and characters created by Wes Craven; director of photography, Jeff Cutter; edited by Glen Scantlebury; music by Steve Jablonsky; production designer, Patrick Lumb; costumes by Mari-An Ceo; produced by Michael Bay, Andrew Form and Brad Fuller; released by New Line Cinema, Warner Brothers Pictures and Platinum Dunes. Running time: 1 1 2 hour 42 minutes. The film stars Jackie Earle Haley, Kyle Gallner, Rooney Mara, Katie Cassidy, Thomas Dekker and Kellan Lutz. It is a remake of Wes Craven's 1984 film of the same name and the ninth Nightmare film in total, it is designed to reboot the Nightmare on Elm Street franchise. -
United States Court of Appeals for the Ninth Circuit
Case: 15-56045, 06/20/2017, ID: 10480232, DktEntry: 58-1, Page 1 of 17 FOR PUBLICATION UNITED STATES COURT OF APPEALS FOR THE NINTH CIRCUIT DOUGLAS JORDAN-BENEL, an No. 15-56045 individual, Plaintiff-Appellee, D.C. No. 2:14-cv-05577- v. MWF-MRW UNIVERSAL CITY STUDIOS, INC., a Delaware corporation; BLUMHOUSE OPINION PRODUCTIONS, LLC, a Delaware Limited Liability Company; OVERLORD PRODUCTIONS, LLC, a California Limited Liability Company; PLATINUM DUNES PRODUCTIONS, a California Corporation; WHY NOT PRODUCTIONS, INC., DBA Why Not Films, a Nevada Corporation; JAMES DEMONACO, an individual, Defendants-Appellants, and UNITED TALENT AGENCY, INC., a California corporation, Defendant. Appeal from the United States District Court for the Central District of California Michael W. Fitzgerald, District Judge, Presiding Case: 15-56045, 06/20/2017, ID: 10480232, DktEntry: 58-1, Page 2 of 17 2 JORDAN-BENEL V. UNIVERSAL CITY STUDIOS Argued and Submitted December 5, 2016 Pasadena, California Filed June 20, 2017 Before: Harry Pregerson, Dorothy W. Nelson, and John B. Owens, Circuit Judges. Opinion by Judge Pregerson SUMMARY* Anti-SLAPP Motion The panel affirmed the district court’s order denying defendants’ anti-SLAPP motion to strike a state law claim for breach of implied-in-fact contract in a copyright case. The plaintiff alleged that the defendants infringed his copyright in a screenplay and used his screenplay idea to create films without providing him compensation as a writer. The panel held that the breach of contract claim did not arise from an act in furtherance of the right of free speech because the claim was based on defendants’ failure to pay for the use of plaintiff’s idea, not the creation, production, distribution, or content of the films. -
Sunday Morning Grid 7/31/16 Latimes.Com/Tv Times
SUNDAY MORNING GRID 7/31/16 LATIMES.COM/TV TIMES 7 am 7:30 8 am 8:30 9 am 9:30 10 am 10:30 11 am 11:30 12 pm 12:30 2 CBS CBS News Sunday Face the Nation (N) Paid Program 2016 PGA Championship Final Round. (N) Å 4 NBC News (N) Å 2016 Ricoh Women’s British Open Championship Final Round. (N) Å Action Sports From Long Beach, Calif. (N) Å 5 CW News (N) Å News (N) Å In Touch Paid Program 7 ABC News (N) Å This Week News (N) News (N) News Å Paid Eye on L.A. Paid 9 KCAL News (N) Joel Osteen Schuller Pastor Mike Woodlands Amazing Paid Program 11 FOX In Touch Paid Fox News Sunday Midday Paid Program Pregame MLS Soccer: Timbers at Sporting 13 MyNet Paid Program Paid Program 18 KSCI Man Land Mom Mkver Church Faith Paid Program 22 KWHY Local Local Local Local Local Local Local Local Local Local Local Local 24 KVCR Painting Painting Joy of Paint Wyland’s Paint This Painting Kitchen Mexico Martha Ellie’s Real Baking Project 28 KCET Wunderkind 1001 Nights Bug Bites Bug Bites Edisons Biz Kid$ Ed Slott’s Retirement Road Map... From Forever Eat Dirt-Axe 30 ION Jeremiah Youssef In Touch Leverage Å Leverage Å Leverage Å Leverage Å 34 KMEX Conexión Paid Program El Chavo (N) (TVG) Al Punto (N) (TVG) Netas Divinas (N) (TV14) Como Dice el Dicho (N) 40 KTBN Walk in the Win Walk Prince Carpenter Jesse In Touch PowerPoint It Is Written Pathway Super Kelinda John Hagee 46 KFTR Paid Choques El Príncipe (TV14) Fútbol Central Fútbol Choques El Príncipe (TV14) Fórmula 1 Fórmula 1 50 KOCE Odd Squad Odd Squad Martha Cyberchase Clifford-Dog WordGirl On the Psychiatrist’s Couch With Daniel Amen, MD San Diego: Above 52 KVEA Paid Program Enfoque Haywire (R) 56 KDOC Perry Stone In Search Lift Up J. -
Campti Museum Calls for Community Support In
HHERALDING OOVER A CCENTURY OF NNEWS CCOVERAGE •• 1903-20141903-2014 LIFESTYLES SPORTS JEEPSTERS TIGERS DEFEAT DRIVE RED DEVILS CROSS-COUNTRY See Page 1B See Page 6A The Natchitoches Times And ye shall know the truth, and the truth shall make you free, John 8:32. Weekend Edition, April 5-6, 2014 Natchitoches, Louisiana • Since 1714 Seventy-Five Cents the Copy INSERTS INSIDE Jammin’ at Jazz Fest Campti Museum calls Best Buy Dick’s for community support Rite Aid Walgreen’s in covering expenses Walmart Without access to utilities, telephone and Internet, the Tricentennial Campti Historic Museum Magazine needs community support for continued operations. The building is owned by the Letters to the Editor Natchitoches Parish Let us know what you think, Government and has served write a letter to the editor. as a museum under Campti See Page 4A for details. Field of Dreams, Inc. since Natchitoches Times e-mail 2001. President and curator of [email protected] the museum Clara Silvie and other volunteers have con- Visit our website at: www.natchitochestimes.com Festival goers will have three stages of music to choose from at today’s Jazz and R&B ducted tours of the exhibits Fest. Performances start around 11:40 a.m. and continue to 11 p.m. Gate ticket prices are depicting everyday life in $10 for adults, $6 for students and free for people under 12. Campti for over a decade. Clara Silvie, president and WEATHER Members of family reunions, curator, stands in front of the school groups and visitors HIGH LOW Campti Historic Museum. -
{PDF} Sea Life Hand Embroidery Patterns
SEA LIFE HAND EMBROIDERY PATTERNS Author: Stitchx Embroidery Number of Pages: 26 pages Published Date: 09 Apr 2016 Publisher: Createspace Independent Publishing Platform Publication Country: none Language: English ISBN: 9781530961740 DOWNLOAD: SEA LIFE HAND EMBROIDERY PATTERNS Sea Life Hand Embroidery Patterns PDF Book Includes illustrations teaching how individual concepts are applied. By encouraging readers to think laterally about their transferable skills, the authors outline 60 career profiles that are directly and indirectly related to the discipline of psychology. Do you have to win (so as not to lose). Whether you're thinking about how to stay fit during college, how to start eating healthy, or what beauty products are right for you, Lauryn's got the secrets to looking great with perfect exercise, eating right and honing your style. Greeks in PhoenixOklahoma City has a fascinating history. As the competition boils down to the penultimate hole on the final day, Bobby must hold his nerve to pull off a miracle recovery shot that will fire his reputation - and that of the golf course - around the world. These studies are unusual in that they combine an enthusiasm for detailed syntactic and semantic data and a serious concern for formal rigor. Throughout this evocative and detailed study he reveals - by exploring behaviour, anthropology and genetics - the essential bonds of trust, loyalty and service that mark humankind's most valuable and long-lived of animal friendships. Video Game Policy: Production, Distribution, and Consumption- -
Cinematic Representations of the City
UC Center French Language and Culture Program Courses – Summer 2014 PCC 105. Paris Scenes: Cinematic Representations of the City Prof. Carole Viers-Andronico Lecture contact: [email protected] Wednesday 15h00-17h00 Visits (or Lecture) Office Hours Thursday 15h00-17h00 By appointment COURSE DESCRIPTION The city of Paris has long served as muse to foreign and domestic filmmakers. Cinematic representations have framed and reframed not only how we see and understand many of the ville lumière’s most famous monuments and districts but also how we comprehend aspects of French history and culture. This course, therefore, will take an interdisciplinary approach to cinematic representation by relying on methodologies from comparative literature, philosophies of aesthetics, film studies, history, and urban studies. Throughout the course, students will study the ways in which cinematic representations attribute meaning to monuments and districts. They will analyze how these representations constitute scenes of re-presentation; that is, how they provide interpretations of cultural, historical, and socio-political events. Through a combination of viewings, related readings, and site visits to scene locations, students will engage in discussions about how the meanings of such sites become manifold depending on how they are framed and thus seen/scened. The course will be organized around case studies of both well-known and lesser-known sites, such as the Eiffel Tower, the Montmartre district, and the Latin Quarter district. 4.0 UC quarter units. Suggested subject areas for this course: Film / Comparative Literature / Urban Studies Goals The overriding goal of this course is to provide students with the tools to reflect critically on cinematic representations of Paris as a city in history.