Kaiju Codex Godzilla (Design): Elaine Betts and Justin P
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MICHAEL BONVILLAIN, ASC Director of Photography
MICHAEL BONVILLAIN, ASC Director of Photography official website FEATURES (partial list) OUTSIDE THE WIRE Netflix Dir: Mikael Håfström AMERICAN ULTRA Lionsgate Dir: Nima Nourizadeh Trailer MARVEL ONE-SHOT: ALL HAIL THE KING Marvel Entertainment Dir: Drew Pearce ONE NIGHT SURPRISE Cathay Audiovisual Global Dir: Eva Jin HANSEL & GRETEL: WITCH HUNTERS Paramount Pictures Dir: Tommy Wirkola Trailer WANDERLUST Universal Pictures Dir: David Wain ZOMBIELAND Columbia Pictures Dir: Ruben Fleischer Trailer CLOVERFIELD Paramount Pictures Dir: Matt Reeves A TEXAS FUNERAL New City Releasing Dir: W. Blake Herron THE LAST MARSHAL Filmtown Entertainment Dir: Mike Kirton FROM DUSK TILL DAWN 3 Dimension Films Dir: P.J. Pesce AMONGST FRIENDS Fine Line Features Dir: Rob Weiss TELEVISION (partial list) PEACEMAKER (Season 1) HBO Max DIR: James Gunn WAYS & MEANS (Season 1) CBS EP: Mike Murphy, Ed Redlich HAP AND LEONARD (Season 3) Sundance TV, Netflix EP: Jim Mickle, Nick Damici, Jeremy Platt Trailer WESTWORLD (Utah; Season 1, 4 Episodes.) Bad Robot, HBO EP: Lisa Joy, Jonathan Nolan CHANCE (Pilot) Fox 21, Hulu EP: Michael London, Kem Nunn, Brian Grazer Trailer THE SHANNARA CHRONICLES MTV EP: Al Gough, Miles Millar, Jon Favreau (Pilot & Episode 102) FROM DUSK TIL DAWN (Season 1) Entertainment One EP: Juan Carlos Coto, Robert Rodriguez COMPANY TOWN (Pilot) CBS EP: Taylor Hackford, Bill Haber, Sera Gamble DIR: Taylor Hackford REVOLUTION (Pilot) NBC EP: Jon Favreau, Eric Kripke, Bryan Burk, J.J. Abrams DIR: Jon Favreau UNDERCOVERS (Pilot) NBC EP: J.J. Abrams, Bryan Burk, Josh Reims DIR: J.J. Abrams OUTLAW (Pilot) NBC EP: Richard Schwartz, Amanda Green, Lukas Reiter DIR: Terry George *FRINGE (Pilot) Fox Dir: J.J. -
Godzilla Music and Soundtracks
Godzilla music and soundtracks Alternate 1954-1975 01 - Akira Ifukube - Main Title (Godzilla; 1954) 02 - Akira Ifukube - Godzilla Comes Ashore (Godzilla; 1954) 03 - Akira Ifukube - End Title (Godzilla; 1954) 04 - Masaru Sato - Main Title (Godzilla Raids Again; 1955) 05 - Masaru Sato - End Title (Godzilla Raids Again; 1955) 06 - Akira Ifukube - Godzilla Rebirth (King Kong vs Godzilla; 1962) 07 - Akira Ifukube - Fumiko Delivery Plan (King Kong vs Godzilla; 1962) 08 - Akira Ifukube - King Kong Transportation Plan (King Kong vs Godzilla; 1962) 09 - Akira Ifukube - King Kong vs Godzilla (King Kong vs Godzilla; 1962) 10 - Akira Ifukube - Sacred Fountain (Mothra vs Godzilla; 1964) 11 - Akira Ifukube - Godzilla and Nagoya (Mothra vs Godzilla; 1964) 12 - Akira Ifukube - Mothra's Departure (Mothra vs Godzilla; 1964) 13 - Akira Ifukube - Kurobe Valley (Ghidorah, the Three-Headed Monster; 1964) 14 - Akira Ifukube - Birth of King Ghidorah (Ghidorah, the Three-Headed Monster; 1964) 15 - Akira Ifukube - Three Great Monsters Assembled (Ghidorah, the Three-Headed Monster; 1964) 16 - Akira Ifukube - Marsh Washigasawa and Lake Miyojin (Invasion of the Astro-Monsters; 1965) 17 - Akira Ifukube - Godzilla on the Lakebed (Invasion of the Astro-Monsters; 1965) 18 - Akira Ifukube - Saucer Appearance (Invasion of the Astro-Monsters; 1965) 19 - Akira Ifukube - Great Monster War March (Invasion of the Astro-Monsters; 1965) 20 - Masaru Sato - Yacht and Storm with Monster (Ebirah, Horror of the Deep; 1966) 21 - Masaru Sato - Flight (Ebirah, Horror of the Deep; 1966) -
O Marketing E O Monstro: Um Estudo Sobre O Marketing De Cloverfield
PRISMA.COM n.º 43 ISSN: 1646 - 3153 O marketing e o monstro: um estudo sobre o marketing de Cloverfield Marketing and the Monster: A Study on Cloverfield Marketing Luciano Augusto Toledo Universidade Presbiteriana Mackenzie. Brasil [email protected] Henrique Barros Universidade Presbiteriana Mackenzie. Brasil [email protected] Lucas Silva Universidade Presbiteriana Mackenzie. Brasil [email protected] Verônica Santos Universidade Presbiteriana Mackenzie. Brasil [email protected] Wilder Pinto Universidade Presbiteriana Mackenzie. Brasil [email protected] Resumo Abstract Para concorrer com grandes produções, os estúdios de To compete with major productions, low-budget Holly- Hollywood com baixo orçamento buscam investir em es- wood studios seek to invest in different strategies to pro- tratégias diferentes para promover suas produções e mote their productions and engage with their target au- engajar seu público-alvo. Dentro dessa proposta os pro- dience. Within this proposal, Cloverfield franchise pro- dutores da franquia Cloverfield desenvolveram, em ducers developed in 2008 a viral marketing-based strat- 2008, uma estratégia baseada em marketing viral. Com egy. By the Collective Subject Speech, the researchers a análise do Discurso do Sujeito Coletivo, os pesquisa- sought out to understand how this strategy was devel- dores se propuseram a entender como foi desenvolvi- oped, how it was implemented, and whether the film's vda a estratégia de marketing, como foi implementada e success was due to the implemented campaign. The re- sults obtained through qualitative analysis show that the PRISMA.COM (43) 2020, p. 170-192 DOI: https://doi.org/10.21747/16463153/43a9 170 PRISMA.COM n.º 43 ISSN: 1646 - 3153 se o sucesso do filme foi graças à campanha implemen- good results achieved by the film are due to the effi- tada. -
Godzilla: History's Greatest Monster Online
lcGsF [Mobile pdf] Godzilla: History's Greatest Monster Online [lcGsF.ebook] Godzilla: History's Greatest Monster Pdf Free Duane Swierczynski audiobook | *ebooks | Download PDF | ePub | DOC Download Now Free Download Here Download eBook #989776 in Books 2014-04-29 2014-04-29Ingredients: Example IngredientsOriginal language:EnglishPDF # 1 10.20 x .80 x 6.60l, 1.40 #File Name: 1613779488324 pages | File size: 33.Mb Duane Swierczynski : Godzilla: History's Greatest Monster before purchasing it in order to gage whether or not it would be worth my time, and all praised Godzilla: History's Greatest Monster: 5 of 5 people found the following review helpful. Doesn't Fulfull PotentialBy Le Night Dominator"Godzilla: History's Greatest Monster" was originally published as "Godzilla" for 13 issues. This paperback volume contains all of them, and in full color (unlike the Dark Horse and Marvel Godzilla reprints). If you're a fan of the franchise and want to get into the comics, I recommend that you start elsewhere. I'm not a frequent reader of comic books, but I'll try my best to provide an insight on why this particular series didn't exactly hit the mark.First of all, the characters are largely uninteresting. We follow a group of bounty hunters as they attempt to take down Godzilla's massive friends and foes for billions of dollars. Illegally, I might add. This sounds like a fun idea on paper, but let's get down to the actual people themselves: The protagonist is a man named Boxer, who loses two young children to Godzilla and wants revenge and has a ex-wife as part of his team. -
1541615087351.Pdf
Introduction The year is 1955, only a year after the devastating attack on Tokyo by the monstrous Godzilla. Japan has all but returned to normal, despite the damage caused by the monster. The country moved forward with Godzilla becoming nothing but a memory. Until pilots Shoichi Tsukioka and Kojikawa Kobayashi discover a new Godzilla on Iwato Island, just off of the coast, near Osaka. This sighting of this new Godzilla would begin a new era for the world at large, as Godzilla was not the only new monster found. Over the course of a twenty year period the world would be rocked by the visitations of numerous advanced alien species, new destructive monsters, and by humanities own rapid advancement. You begin your 10 year stay a scant week before Kojikawa and Shoichi discover the new Godzilla. Location (Roll 1d8) Osaka, Japan(1) Osaka is a major port city within the Kansai region of Japan. The city has a large and bustling dock in which many shipping and fishing companies call home. This is also where the new Godzilla is to make his first attack upon Japan alongside the monstrous Anguirus. Nagoya, Japan(2) Nagoya is Japan’s fourth largest city and one of Japan’s most important ports. Home to countless enterprising businessmen, Nagoya is a major economic center in Japan. If major events aren’t altered, then the city will be the site of a titanic battle between the monsters Mothra and Godzilla in 1964. Mount Fuji, Japan(3) A mountain located in the Chibu region, which is north of Tokyo. -
2017 Pioneer of the Year C H E R Y L B O O N E I S a A
1947 ADOLPH ZUKOR n 1948 GUS EYSSEL n 1949 CECIL B. DEMILLE n 1950 SPYROS P. SKOURAS n 1951 JACK, HARRY & ALBERT WARNER n 1952 NATE BLUMBERG n 1953 BARNEY BALABAN n 1954 SIMON FABIAN n 1955 HERMAN ROBBINS n 1956 ROBERT O’DONNELL n 1957 JOSEPH VOGEL n 1958 ROBERT BENJAMIN & ARTHUR B. KRIM n 1959 STEVE BROIDY n 1960 JOSEPH E. LEVINE n 1961 ABE MONTAGUE n 1962 MILTON RACKMIL n 1963 DARRYL F. ZANUCK n 1964 HAROLD J. MIRISCH n 1965 ROBERT O’BRIEN n 1966 WILLIAM R. FORMAN n 1967 LEONARD GOLDENSON n 1968 LAURENCE A. TISCH n 1969 HARRY BRANDT n 1970 IRVING H. LEVIN n 1971 SAMUEL Z. ARKOFF & JAMES H . NICHOLSON n 1972 LEO JAFFE n 1973 TED ASHLEY n 1974 HENRY MARTIN n 1975 E. CARDON WALKER n 1976 CARL PATRICK n 1977 SHERRILL C. CORWIN n 1978 DR. JULES STEIN n 1979 HENRY PLITT 2017 PIONEER OF THE YEAR CHERYL BOONE ISAACS n 1980 BOB HOPE n 1981 SALAH HASSANEIN n 1982 FRANK PRICE n 1983 BERNARD MYERSON n 1984 SIDNEY SHEINBERG n 1985 JOHN ROWLEY n 1986 MICHAEL FORMAN n 1987 FRANK G. MANCUSO n 1988 JACK VALENTI n 1989 ALLEN PINSKER n 1990 TERRY SEMEL n 1991 SUMNER REDSTONE n 1992 MIKE MEDAVOY n 1993 STANLEY DUR- WOOD n 1994 WALTER DUNN n 1995 ROBERT SHAYE n 1996 SHERRY LANSING n 1997 BRUCE CORWIN n 1998 BUD STONE n 1999 KURT C. HALL n 2000 ROBERT DOWLING n 2001 ROBERT REHME n 2002 JONA- THAN DOLGEN n 2003 MICHAEL EISNER n 2004 ALAN HORN n 2005– 2006 TRAVIS REID n 2007 JEFF BLAKE n 2008 MIKE CAMPBELL n 2009 MARC SHMUGER & DAVID LINDE n 2010 ROB MOORE n 2011 DICK COOK n 2012 JEFFREY KATZENBERG n 2013 KATHLEEN KENNEDY n 2014 TOM SHERAK n 2015 JIM GIANOPULOS n DONNA LANGLEY 2017 PIONEER OF THE YEAR CHERYL BOONE ISAACS 2017 PIONEER OF THE YEAR Welcome On behalf of the Board of Directors of the Will Rogers Motion Picture Pioneers Foundation, thank you for attending the 2017 Pioneer of the Year Dinner. -
The Participatory Networks of 9/11 Media Culture
The Politics of Ethical Witnessing: The Participatory Networks of 9/11 Media Culture A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Emanuelle Wessels IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Adviser: Ronald Walter Greene September 2010 © Emanuelle Wessels 2010 Acknowledgements First, I would like to thank my advisor, Ronald Walter Greene. Professor Greene consistently went above and beyond to guide me through this project, and his insight, patience, and encouragement throughout the process gave me the motivation and inspiration to see this dissertation to the end. Thank you for everything, Ron. Thank you to Professors Laurie Ouellette, Cesare Casarino, and Gilbert Rodman for conversing with me about the project and providing helpful and thoughtful suggestions for future revisions. I would also like to thank Professor Mary Vavrus for serving on my committee, and for assisting me with crucial practical and administrative matters. Professor Edward Schiappa, whose pragmatic assistance has also been much appreciated, has been invaluably supportive and helpful to me throughout my graduate career. I would also like to acknowledge the many professors who have inspired me throughout the years, including Karlyn Kohrs Campbell, Donald Browne, Thomas Pepper, Elizabeth Kotz, Greta Gaard, and Richa Nagar. Without the kindness and friendship of the many wonderful people I have had the pleasure of meeting in graduate school, none of this would have been possible either. A heartfelt thank you to my friends, including Julie Wilson, Joseph Tompkins, Alyssa Isaacs, Carolina and Eric Branson, Kate Ranachan, Matthew Bost, Kaitlyn Patia, Alice Leppert, Anthony Nadler, Helen and Justin Parmett, Thomas Johnson, and Rebecca Juriz. -
Godzilla Dossier Presse.Pdf
présente un film de Ryuhei Kitamura avec Don Frye Rei Kikukawa Masahiro Matsuoka 124’ - Japon - 2004 - couleur - Cinémascope - Dolby SRD Sortie nationale le 31 août 2005 Distribution Presse PRETTY PICTURES BOSSA NOVA 100, rue de la Folie Méricourt Michel Burstein 75011 Paris 32, bd Saint Germain Tél: 01 43 14 10 00 75005 Paris Fax: 01 43 14 10 01 Tél: 01 43 26 26 26 [email protected] Fax: 01 43 26 26 36 www.prettypictures.fr [email protected] www.bossa-nova.info Les photos du film et le dossier de presse sont téléchargeables sur le site www.prettypictures.fr Suite à une vague incessante de guerres et à la croissance Masahiro MATSUOKA ...... Soldat Shin’ichi Ôzaki démesurée de la pollution, d’énormes monstres font leur apparition. Rei KIKUKAWA ................ Biologiste moléculaire Miyuki Otonashi Heureusement pour l’humanité, l’Armée Mondiale veille et emploie Akira TAKARADA ............. Secrétaire Général Naotarô Daigo des unités mutantes, la Force M, pour combattre la nouvelle menace. Kane KOSUGI ................. Militaire Katsunori Kazama Lorsque les différentes créatures gigantesques se mettent à attaquer Kazuki KITAMURA ........... Officier de la Planète X simultanément les diverses capitales de la planète, l’Armée Mondiale Maki MIZUNO ................. Présentatrice Anna Otonashi se retrouve soudainement impuissante face à l’énorme invasion. Masami NAGASAWA ....... Fées Shobijin Arrive alors un vaisseau spatial qui stoppe net la menace. À son bord, Don FRYE ....................... Douglas Gordon Capitaine du Gotengo les Xiliens, des extraterrestres humanoïdes venus prévenir la terre Kenji SAHARA ................. Paléontologiste Hachirô Jingûji d’une menace imminente : la collision avec un astéroïde gigantesque Kumi MIZUNO ................. Commandant Akiko Namikawa nommé Gorus. -
1541563748229.Pdf
Introduction The year is 1955, only a year after the devastating attack on Tokyo by the monstrous Godzilla. Japan has all but returned to normal despite the damage caused by the monster. The country moved forward with Godzilla becoming nothing but a memory. Until pilots Shoichi Tsukioka and Kojikawa Kobayashi discover a new Godzilla on Iwato Island, just off of the coast near Osaka. This sighting of this new Godzilla would begin a new era for the world at large, as Godzilla was not the only new monster found. Over the course of a twenty year period the world would be rocked by the visitations of numerous advanced alien species, new destructive monsters, and by humanities own rapid advancement. You begin your 10 year stay a scant week before Kojikawa and Shoichi discover the new Godzilla. Location (Roll 1d8) Osaka, Japan(1) Osaka is a major port city within the Kansai region of Japan. The city has a large and bustling dock in which many shipping and fishing companies call home. This is also where the new Godzilla is to make his first attack upon Japan alongside the monstrous Anguirus. Nagoya, Japan(2) Nagoya is Japan’s fourth largest city and one of Japan’s most important ports. Home to countless enterprising businessmen, Nagoya is a major economic center in Japan. If major events aren’t altered, then the city will be the site of a titanic battle between the monsters Mothra and Godzilla in 1964. Mount Fuji, Japan(3) A mountain located in the Chibu region, which is north of Tokyo. -
What Are the Main Factors Affecting Movie Profitability?
DEGREE PROJECT IN TECHNOLOGY, FIRST CYCLE, 15 CREDITS STOCKHOLM, SWEDEN 2018 What are the main factors affecting movie profitability? KARL WALLSTRÖM MARKUS WAHLGREN KTH ROYAL INSTITUTE OF TECHNOLOGY SCHOOL OF ENGINEERING SCIENCES What are the main factors affecting movie profitability? KARL WALLSTRÖM MARKUS WAHLGREN Degree Projects in Applied Mathematics and Industrial Economics Degree Programme in Industrial Engineering and Management KTH Royal Institute of Technology year 2018 Supervisors at KTH: Daniel Berglund, Julia Liljegren Examiner at KTH: Henrik Hult TRITA-SCI-GRU 2018:188 MAT-K 2018:07 Royal Institute of Technology School of Engineering Sciences KTH SCI SE-100 44 Stockholm, Sweden URL: www.kth.se/sci Abstract This thesis consists of two parts which both focus on the profitability of movies with a the- atrical release. The first part has examined if it is possible to create a model for predicting and understanding the profitability of movies. Factors that influence the profitability have also been identified. This has been achieved through a regression analysis with data on movies from 2015-2017. A final multiple regression model has been created which explains 41% of the variability in the data. Significant influencing factors with at least a level of 5% significance have been identified such as the genres Horror and Musical, the MPAA-ratings PG and PG-13, the creative types Historical Fiction and Dramatization, Rotten Tomatoes Score and Sequel. The second part is an analysis on movie theaters as a distribution channel with respect to prof- itability for distribution companies using Porter's five forces. The five forces analysis suggests that movie theaters are a good distribution channel for studios which can provide mainstream movies while studios should consider releasing their low profile movies directly to streaming services since it might be more profitable. -
Bear Mccreary
BEAR MCCREARY COMPOSER AWARDS INTERNATIONAL FILM MUSIC CRITICS ASSOCIATON AWARD 2019 Film Composer of the Year ASCAP COMPOSER’S CHOICE AWARD 2016 TV Composer of the Year PRIMETIME EMMY AWARD NOMINATION OUTLANDER (2015) Outstanding Music Composition for a Series ASCAP COMPOSER’S CHOICE AWARD 2014 TV Composer of the Year PRIMETIME EMMY AWARD NOMINATION BLACK SAILS (2014) Outstanding Original Main Title Theme Music PRIMETIME EMMY AWARD WINNER DA VINCI’S DEMONS (2013) Outstanding Original Main Title Theme Music PRIMETIME EMMY AWARD NOMINATION HUMAN TARGET (2010) Outstanding Original Main Title Theme Music MOTION PICTURES FREAKY Christopher Landon, dir. Blumhouse Productions AVA Tate Taylor, dir. Vertical Entertainment THE BABYSITTER: KILLER QUEEN McG, dir. Netflix FANTASY ISLAND Jeff Wadlow, dir. Sony 3349 Cahuenga Boulevard West, Los Angeles, California 90068 Tel. 818-380-1918 Fax 818-380-2609 McCreary Page 1 of 5 BEAR MCCREARY COMPOSER MOTION PICTURES (cont’d) CRIP CAMP James Lebrecht, Nicole Newnham, dirs. Higher Ground Productions THE SHED (score produced by) Frank Sabatella, dir. A Bigger Boat ELI Ciaran Foy, dir. Netflix CHILD’S PLAY Lars Klevberg, dir. United Artists GODZILLA: KING OF THE MONSTERS Michael Dougherty, dir. Warner Bros. RIM OF THE WORLD McG, dir. Netflix THE PROFESSOR AND THE MADMAN Farhad Safinia, dir. Icon Entertainment International HAPPY DEATH DAY 2U Christopher Landon, dir. Universal Pictures WELCOME HOME George Ratliff, dir. AMBI Group I STILL SEE YOU Scott Speer, dir. Golden Circle Films HELL FEST Gregory Plotkin, dir. CBS Films TAU Federico D’Alessandro, dir. Bloom THE CLOVERFIELD PARADOX Julius Onah, dir. Netflix ANIMAL CRACKERS Tony Bancroft, Scott Christian Sava, dir. -
By Goji-Anon
By Goji-anon The year is 1999, the turn of the mellennia. One year ago a monster believed to be Godzilla attacked New York City, although Japanese analysts have doubts. These doubts are justified, as the true Godzilla is soon to begin his rampage once again. This Godzilla is not a hero there to save humanity, but, a constant villain and a threat to all that lives on Earth. That is not to say his only opponents are humans, quite the contrary, the Earth is a lightning rod for strange phenomena. Aliens that can absorb information, genetic or otherwise; prehistoric insects that feed off of energy and grow in power from it, a monster made from the amalgam souls of those who died in the bombings of Hiroshima and Nagasaki. Humanity is under siege from all sides and by forces of unimaginable power. However, humanity is not helpless in this fight. Their advances in science have given them a fighting chance against those who would destroy them. This is the world you enter Jumper. You could be the savior of humanity or their doom. To aid in your efforts Jumper you have been given: +1000 CP. The continuity of this era of Godzilla is convoluted with most of the films being direct sequels to the first film. Due to this you may choose whichever continuity-in the Millennium series- that you please. You will always start a week before the events of the film you’ve chosen. Locations Tokyo, Japan You begin where everything started. The epicenter of most of the goings on when in relation to Kaiju.