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International Casting Directors Network Index
International Casting Directors Network Index 01 Welcome 02 About the ICDN 04 Index of Profiles 06 Profiles of Casting Directors 76 About European Film Promotion 78 Imprint 79 ICDN Membership Application form Gut instinct and hours of research “A great film can feel a lot like a fantastic dinner party. Actors mingle and clash in the best possible lighting, and conversation is fraught with wit and emotion. The director usually gets the bulk of the credit. But before he or she can play the consummate host, someone must carefully select the right guests, send out the invites, and keep track of the RSVPs”. ‘OSCARS: The Role Of Casting Director’ by Monica Corcoran Harel, The Deadline Team, December 6, 2012 Playing one of the key roles in creating that successful “dinner” is the Casting Director, but someone who is often over-looked in the recognition department. Everyone sees the actor at work, but very few people see the hours of research, the intrinsic skills, the gut instinct that the Casting Director puts into finding just the right person for just the right role. It’s a mix of routine and inspiration which brings the characters we come to love, and sometimes to hate, to the big screen. The Casting Director’s delicate work as liaison between director, actors, their agent/manager and the studio/network figures prominently in decisions which can make or break a project. It’s a job that can't garner an Oscar, but its mighty importance is always felt behind the scenes. In July 2013, the Academy of Motion Pictures of Arts and Sciences (AMPAS) created a new branch for Casting Directors, and we are thrilled that a number of members of the International Casting Directors Network are amongst the first Casting Directors invited into the Academy. -
Maquette 2016
Éditos page 4 L’association Cannes Cinéma page 8 Les Rencontres de Cannes page12 Cannes Cinéphiles page 21 Cannes Écrans Juniors page 24 Les événements spéciaux page 27 Trois jours avec... Philippe Le Guay page 28 En avant les premières page 31 Premier Festival du Cinéma italien de Cannes page 31 Les Mercredis de l’Image page 32 Cannes Cinéma et les événements de la ville de Cannes page 33 Les Jeudis de Cannes Cinéma page 35 Le Lundi, c’est blockbuster ou comédie ! page 43 Les ciné-conférences avec Cannes Université page 49 La saison du Cinéma Bel Âge - Voir et revoir sur grand écran page 53 La saison du Film Club de Cannes page 67 Cannes Filmécole page 81 Les lieux de projection de Cannes Cinéma page 85 Calendrier des projections page 88 Remerciements page 94 3 Éclairer l’obscurité Créateur de vies, d’émotions, source d’évasion et de réflexion, témoin de tant de naissances et de révélations… Le cinéma est un art particulier. Un art qu’il faut choyer, respecter et encourager. Un art à partager, autour duquel discuter, et avec qui il est agréable et conseillé de passer du temps, quelques heures par semaines, ou plus si affinités. Septième art, le cinéma arrive toujours premier à Cannes, où il est comme chez lui. Un fait confirmé chaque année grâce au travail et à la programmation de Cannes Cinéma, que je tiens à saluer et à féliciter, tout comme le Film Club, le cinéma Bel Âge et Filmécole. Projections d’avant- premières et d’inédits, invitations à des débats et rencontres, soirées dédiées à de grands distributeurs ou à un genre spécifique… Avec Cannes Cinéma, les activités ne manquent pas. -
Writing Dialogue & Advice from the Pros
Writing Dialogue & Advice from the Pros Writing great dialogue is considered an art form. Listening to real-life conversations, watching award- winning films, and learning from the masters will help you craft dialogue that shines on the page. The following writing thoughts and advice are excerpts from Karl Iglesias’ book, The 101 Habits of Highly Successful Screenwriters. Enjoy! ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Writing Unrealistic and Boring Dialogue In real life, dialogue is mostly polite conversation. In film, polite conversation is considered bad dialogue, unless it’s witty, sarcastic, or has a unique voice. The reason is that polite chat lacks tension, and tension is the key to dramatic storytelling. As Alfred Hitchcock once said, “Drama is real life with all the boring parts cut out of it.” The key to good dialogue is to understand that it’s not conversation, it’s action. What characters say in a scene should be said to get what they want in the scene. And to determine whether or not your dialogue sounds realistic, read it out loud. Garrison Keillor once advised, “If you read your work out loud, it helps to know what’s bad.” Try it. It works. Dialogue always sounds better in your head. Better to be embarrassed in your room than on the set. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Read Your Dialogue Out Loud Writing authentic, well-crafted dialogue that sparkles, individualizes characters, and entertains the reader is the ultimate challenge for screenwriters, who otherwise may have solid script elements. It’s crucial to attracting talent, which can green-light your script. Writing great dialogue can also sell the writer, for those who excel in this area are highly sought after to the tune of six figures per week for dialogue rewrites. -
Teaching Social Issues with Film
Teaching Social Issues with Film Teaching Social Issues with Film William Benedict Russell III University of Central Florida INFORMATION AGE PUBLISHING, INC. Charlotte, NC • www.infoagepub.com Library of Congress Cataloging-in-Publication Data Russell, William B. Teaching social issues with film / William Benedict Russell. p. cm. Includes bibliographical references and index. ISBN 978-1-60752-116-7 (pbk.) -- ISBN 978-1-60752-117-4 (hardcover) 1. Social sciences--Study and teaching (Secondary)--Audio-visual aids. 2. Social sciences--Study and teaching (Secondary)--Research. 3. Motion pictures in education. I. Title. H62.2.R86 2009 361.0071’2--dc22 2009024393 Copyright © 2009 Information Age Publishing Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the publisher. Printed in the United States of America Contents Preface and Overview .......................................................................xiii Acknowledgments ............................................................................. xvii 1 Teaching with Film ................................................................................ 1 The Russell Model for Using Film ..................................................... 2 2 Legal Issues ............................................................................................ 7 3 Teaching Social Issues with Film -
ALISON ROSA UPM PGA & DGA Member
ALISON ROSA UPM PGA & DGA Member FEATURES (UPM Credits) WITHOUT REMORSE Paramount Prod: Josh Applebaum, Andre Nemec, Dir: Stefano Sollima (UPM – DC/Virginia Unit) Michael B. Jordan, Akiva Goldsman Denis Stewart WIDOWS (AUPM/UPM) 20th Century Fox Prod: Ian Canning, Bergen Swanson Dir: Steve McQueen F.E.L.T. (UPM, 1st AD - DC Unit) Mandalay Prod: Marc Butan, Anthony Katagas Dir: Peter Landesman BELIEVE (UPM) Power of 3 Prod: Nelson Diaz, Ben Holmes, Dir: Billy Dickson Jacob Patrick, Kevin Sizemore LEE DANIELS’ THE BUTLER Weinstein Co. Prod: Adam Merins Dir: Lee Daniels (UPM – 1st AD, DC Unit) TELEVISION (UPM Credits) COVERT AFFAIRS (UPM, 1st AD) USA Prod: Stephen Kay Dir: Stephen Kay LIMITLESS (Season 1) (Asst. UPM) CBS Prod: Kati Johnston Dir: Various THE WIRE (AUPM) HBO Prod: Nina Kostroff-Noble Dir: Various FEATURES (AD Credits) DARK WATERS (Key 2nd AD) Focus/Participant Media Prod: Pamela Koffler, Jeff Skoll, Dir: Todd Haynes Christine Vachon GLASS (Key 2nd AD) Universal Prod: Marc Bienstock, Jason Blum, Dir: M. Night Shyamalan Ashwin Rajan, M. Night Shyamalan KILL THE MESSENGER (Key 2nd AD) Focus Prod: Naomi Despres, Jeremy Renner Dir: Michael Cuesta PHILOMENA (Key 2nd AD) Weinstein Co. Prod: Steve Coogan, Jeff Pope Dir: Stephen Frears ARGO (1st AD – 2nd Unit, DC Unit) Warner Bros. Prod: Ben Affleck, Grant Heslov Dir: Ben Affleck WHITE HOUSE DOWN (2nd AD – VFX, DC Unit) Columbia Prod: Roland Emmerich, Dir: Roland Emmerich Bradley J. Fischer, Larry Franco J. EDGAR (2nd AD – DC Unit) Warner Bros. Prod: Clint Eastwood, Brian Grazer, Dir: Clint Eastwood Robert Lorenz UNANSWERED PRAYERS Lifetime Movie Network Prod: James Spies Dir: Steven Schachter (1st AD – 2nd Unit, Key 2nd AD) SYRIANA (Key 2nd AD) Warner Bros. -
As Writers of Film and Television and Members of the Writers Guild Of
July 20, 2021 As writers of film and television and members of the Writers Guild of America, East and Writers Guild of America West, we understand the critical importance of a union contract. We are proud to stand in support of the editorial staff at MSNBC who have chosen to organize with the Writers Guild of America, East. We welcome you to the Guild and the labor movement. We encourage everyone to vote YES in the upcoming election so you can get to the bargaining table to have a say in your future. We work in scripted television and film, including many projects produced by NBC Universal. Through our union membership we have been able to negotiate fair compensation, excellent benefits, and basic fairness at work—all of which are enshrined in our union contract. We are ready to support you in your effort to do the same. We’re all in this together. Vote Union YES! In solidarity and support, Megan Abbott (THE DEUCE) John Aboud (HOME ECONOMICS) Daniel Abraham (THE EXPANSE) David Abramowitz (CAGNEY AND LACEY; HIGHLANDER; DAUGHTER OF THE STREETS) Jay Abramowitz (FULL HOUSE; MR. BELVEDERE; THE PARKERS) Gayle Abrams (FASIER; GILMORE GIRLS; 8 SIMPLE RULES) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEEPER) Peter Ackerman (THINGS YOU SHOULDN'T SAY PAST MIDNIGHT; ICE AGE; THE AMERICANS) Joan Ackermann (ARLISS) 1 Ilunga Adell (SANFORD & SON; WATCH YOUR MOUTH; MY BROTHER & ME) Dayo Adesokan (SUPERSTORE; YOUNG & HUNGRY; DOWNWARD DOG) Jonathan Adler (THE TONIGHT SHOW STARRING JIMMY FALLON) Erik Agard (THE CHASE) Zaike Airey (SWEET TOOTH) Rory Albanese (THE DAILY SHOW WITH JON STEWART; THE NIGHTLY SHOW WITH LARRY WILMORE) Chris Albers (LATE NIGHT WITH CONAN O'BRIEN; BORGIA) Lisa Albert (MAD MEN; HALT AND CATCH FIRE; UNREAL) Jerome Albrecht (THE LOVE BOAT) Georgianna Aldaco (MIRACLE WORKERS) Robert Alden (STREETWALKIN') Richard Alfieri (SIX DANCE LESSONS IN SIX WEEKS) Stephanie Allain (DEAR WHITE PEOPLE) A.C. -
Wmc Investigation: 10-Year Analysis of Gender & Oscar
WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S. -
The Last Days of Night
FEATURE CLE: THE LAST DAYS OF NIGHT CLE Credit: 1.0 Thursday, June 14, 2018 1:25 p.m. - 2:25 p.m. Heritage East and Center Lexington Convention Center Lexington, Kentucky A NOTE CONCERNING THE PROGRAM MATERIALS The materials included in this Kentucky Bar Association Continuing Legal Education handbook are intended to provide current and accurate information about the subject matter covered. No representation or warranty is made concerning the application of the legal or other principles discussed by the instructors to any specific fact situation, nor is any prediction made concerning how any particular judge or jury will interpret or apply such principles. The proper interpretation or application of the principles discussed is a matter for the considered judgment of the individual legal practitioner. The faculty and staff of this Kentucky Bar Association CLE program disclaim liability therefore. Attorneys using these materials, or information otherwise conveyed during the program, in dealing with a specific legal matter have a duty to research original and current sources of authority. Printed by: Evolution Creative Solutions 7107 Shona Drive Cincinnati, Ohio 45237 Kentucky Bar Association TABLE OF CONTENTS The Presenter .................................................................................................................. i The War of the Currents: Examining the History Behind The Last Days of Night .................................................................................................... 1 AC/DC: The Two Currents -
Press Release Announcing the Scripter 2013
From: The USC Libraries Doheny Memorial Library University of Southern California Los Angeles, CA 90089 Contact: Hugh McHarg Associate Dean for Planning and Communications USC Libraries [email protected] Office: (213) 740-1405 December 19, 2012 Larry McMurtry and Diana Ossana Win USC Libraries Literary Achievement Award The Friends of the USC Libraries have selected the Brokeback Mountain screenwriting partners as the award’s 2013 honorees The Friends of the USC Libraries have selected Academy Award-winning screenwriting partners Larry McMurtry and Diana Ossana as the 2013 Scripter Literary Achievement Award co-honorees. The 2013 award marks the first time a screenwriting team has earned the honor. The USC Libraries will present the award to McMurtry and Ossana at the 25th-anniversary Scripter Award ceremony on Saturday, February 9, 2013. The Literary Achievement Award is an additional honor—distinct from the annual Scripter Award—that recognizes writers who have made significant, sustained contributions to the art of adaptation throughout their careers. USC Libraries Dean Catherine Quinlan and the Friends of the USC Libraries established the Scripter Literary Achievement Award in 2008. “We feel honored to receive the prestigious USC Libraries Scripter Literary Achievement Award, while well aware that we do so owing a debt to the many novelists and writers whose works we have adapted,” said Ossana and McMurtry of their selection. In addition to their 2006 Academy Award win for Best Adapted Screenplay for Brokeback Mountain, the pair has written two novels, nearly twenty original feature film scripts, and four award-winning miniseries. They began their writing partnership in the early 1990s with MORE 2: McMurtry and Ossana Win 2013 USC Libraries Literary Achievement Award the novel Pretty Boy Floyd, about the notorious American bank robber. -
Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone. -
LE PAROLE DELLO SCHERMO 2006 Cineteca Del Comune Di Bologna Comune Di Bologna – Settore Cultura E Università
Festival Internazionale di Letteratura e Cinema LE PAROLE DELLO SCHERMO 2006 Cineteca del Comune di Bologna Comune di Bologna – Settore Cultura e Università II Edizione Bologna, martedì 27 giugno – venerdì 30 giugno 2006 LE PAROLE DELLO SCHERMO - FESTIVAL INTERNAZIONA- Manzoni 5), Oratorio di Santa Maria della Vita (via Clavature LE DI LETTERATURA E CINEMA 7), Cortile di Palazzo d’Accursio (Piazza Maggiore 6) SECONDA EDIZIONE • Spettacoli teatrali: Ritratto del Novecento (Teatro DMS, Via Bologna, 27 GIUGNO-30 GIUGNO 2006 Azzo Gardino 65), Mosca e Petuski 125 Km (partenza da Cortile Manifattura delle Arti, Via Azzo Gardino 65) Promosso da: • Mostra fotografica di Angelo Novi: Sala d’Ercole di Palazzo Comune di Bologna - Settore Cultura e Rapporti con l’Università d’Accursio (Piazza Maggiore 6) inaugurazione il 30 giugno Cineteca del Comune di Bologna alle ore 12:30 – dall’1 al 23 luglio ore 10-19. Ingresso libero Con il contributo di: Fondazione Carisbo Per informazioni Granarolo • Segreteria del Festival Montblanc via Riva di Reno 72 - Bologna - Tel 051 219 48 24 - Fax 051 219 Groupama Assicurazioni 48 21 Librerie.COOP e-mail: [email protected] ASCOM Sito web: www.cinetecadibologna.it/paroledelloschermo.htm Bologna Art Hotels dal 27 al 30 giugno infopoint all’esedra di Sala Borsa dalle 10 alle 20 • Cinema Lumière - Via Azzo Gardino 65 - Bologna - Tel. Con la collaborazione di: 051 219 53 11 150° anniversario rapporti italo-turchi Cinema Arlecchino – Via Lame 57 – Bologna – Tel. 051 Ambasciata italo-turca 522175 Amici di Babette ASL (Accendi molti fuochi) Modalità di accesso Banca di Bologna Ingresso singolo intero cinema Lumière e Arlecchino: Euro 4,00 Biblioteca comunale dell’Archiginnasio Ingresso singolo ridotto cinema Lumière e Arlecchino: Euro 2,00 Bologna Fiere Spa per i soci CRAL HERA Bologna, Coop Adriatica, dipendenti comunali. -
Food for Soul
Food for Soul A unique compilation of M ovies and Books to keep you on the edge! Part 1 MOVIES This is a beginner’s list of movies that will stir your imagination. We recommend that you watch these carefully, over the next few months and try to understand the director’s message. These are interesting, but difficult movies. They will force you to question some of your beliefs, and will help your thought patterns take on new dimensions. Happy viewing! 1. THE UNTOUCHABLES “The Power of Character” Kevin Kostner, Sean Connery, Robert de Niro Kevin Costner became a star as the legendary “GMan” Eliot Ness in THE UNTOUCHABLES, a slambang gangster saga with bravura direction by Brian De Palma, a witty David Mamet script and superb acting, including Robert De Niro as Al Capone and Sean Connery’s Oscarwinning turn as a wily veteran cop. It’s a terrifically entertaining and exciting movie. The story is almost totally fictionalized (Ness never killed Frank Nitti and had nothing to do with Capone’s incometax rap), but this becomes completely irrelevant in light of the beautifully crafted film’s accomplishments. De Palma, who has often been accused of emphasizing style over content, here has a strong and substantial script to work with, and his flashy direction meshes perfectly with the film’s flamboyantly operatic design. The script may not be true to history, but it’s true to human emotion and very moving, personalizing the battle between good and evil by concentrating on the impact that violence and corruption has on families.