Robby Baumgartner Director of Photography

Total Page：16

File Type：pdf, Size：1020Kb

ROBBY BAUMGARTNER DIRECTOR OF PHOTOGRAPHY www.robbybaumgartner.com FEATURES MOONFALL Lionsgate Prod: Roland Emmerich, Carsten Lorenz, Dir: Roland Emmerich Harald Kloser MIDWAY Summit Entertainment Prod: Roland Emmerich, Mark Gordon Dir: Roland Emmerich Harald Kloser LIBERTE: A CALL TO SPY SMT Pictures Prod: Sarah Megan Thomas Dir: Lydia Dean Pilcher DARKNESS VISIBLE Big Scope Films Prod: Laurie Cook, Jason Newmark, Dir: Neil Biswas Edward Parks, Guneet Monga BLINDSPOTTING Lionsgate Prod: Jessica Calder, Keith Calder, Dir: Carlos Estrada Lopez Daveed Diggs, Rafael Casal ANT-MAN AND THE WASP Marvel Studios Prod: Stephen Broussard, Kevin Feige Dir: Peyton Reed (Additional Photography) BLAIR WITCH Lionsgate Prod: Jessica Calder, Keith Calder, Dir: Adam Wingard Roy Lee, Steven Scheider INDEPENDENCE DAY: Lionsgate Prod: Dean Devlin, Roland Emmerich, Dir: Roland Emmerich RESURGENCE Harald Kloser (Additional Photography) THE GUEST Snoot Entertainment Prod: Jessica Calder, Keith Calder Dir: Adam Wingard THE HUNGER GAMES: Lionsgate Prod: Nina Jacobson, Jon Kilik Dir: Francis Lawrence CATCHING FIRE (2nd Unit/Director of Photography) ARGO Warner Brothers Prod: Grant Heslov, Ben Affleck, Dir: Ben Afflect (2nd Unit/Director of Photography) George Clooney (Camera Operator) THE HUNGER GAMES Lionsgate Prod: Nina Jacobson, Jon Kilik Dir: Gary Ross (2nd Unit/Director of Photography) (Camera Operator) BATTLESHIP Universal Studios Prod: Duncan Henderson, Peter Berg, Dir: Peter Berg (Additional DP) (Camera Operator) Sarah Aubrey, Brian Goldner, Scott Stuber WATER FOR ELEPHANTS Fox 2000 Prod: Gil Netter, Erwin Stoff, Dir: Francis Lawrence (2nd Unit/Director of Photography) Andrew R. Tennenbaum (Camera Operator) FAIR GAME River Road Films Prod: Jez Butterworth, Akiva Goldsman, Dir: Doug Liman (2nd Unit/Director of Photography) Doug Liman, Bill Pohlad (Camera Operator) BABEL (Reshoots) Paramount Pictures Prod: Steve Golin, Alejandro G. Iñárritu, Dir: Alejandro G. Iñárritu (2nd Unit/Director of Photography) Jon Kilik DEAR JOHN (Reshoots) Screen Gems Prod: Marty Bowen, Wyck Godfrey, Dir: Lasse Hallström (A Camera Operator) Ryan Kavanaugh TELEVISION GODLESS Netflix Prod: Jessica Levine, Michael J. Malone Dir: Scott Frank (Mini-series) (Camera Operator) AMERICAN HORROR STORY 20th Century Fox / FX Network Prod: Patrick McKee, Dir: Ryan Murphy (Pilot) (Director of Photography/ Alexis Martin Woodall Second Unit) I JUST WANT MY PANTS BACK Universal Cable / MTV Prod: Jace Alexander, Igor Srubshchik Dir: Doug Liman (Pilot) (DP, Camera Operator) 405 S Beverly Drive, Beverly Hills, California 90212 - T 310.888.4200 - F 310.888.4242 www.apa-agency.com .

Copy Link

Recommended publications

Executive Producer)
PRODUCTION BIOGRAPHIES STEVEN SODERBERGH (Executive Producer) Steven Soderbergh has produced or executive-produced a wide range of projects, most recently Gregory Jacobs' Magic Mike XXL, as well as his own series "The Knick" on Cinemax, and the current Amazon Studios series "Red Oaks." Previously, he produced or executive-produced Jacobs' films Wind Chill and Criminal; Laura Poitras' Citizenfour; Marina Zenovich's Roman Polanski: Odd Man Out, Roman Polanski: Wanted and Desired, and Who Is Bernard Tapie?; Lynne Ramsay's We Need to Talk About Kevin; the HBO documentary His Way, directed by Douglas McGrath; Lodge Kerrigan's Rebecca H. (Return to the Dogs) and Keane; Brian Koppelman and David Levien's Solitary Man; Todd Haynes' I'm Not There and Far From Heaven; Tony Gilroy's Michael Clayton; George Clooney's Good Night and Good Luck and Confessions of a Dangerous Mind; Scott Z. Burns' Pu-239; Richard Linklater's A Scanner Darkly; Rob Reiner's Rumor Has It...; Stephen Gaghan'sSyriana; John Maybury's The Jacket; Christopher Nolan's Insomnia; Godfrey Reggio's Naqoyqatsi; Anthony and Joseph Russo's Welcome to Collinwood; Gary Ross' Pleasantville; and Greg Mottola's The Daytrippers. LODGE KERRIGAN (Co-Creator, Executive Producer, Writer, Director) Co-Creators and Executive Producers Lodge Kerrigan and Amy Seimetz wrote and directed all 13 episodes of “The Girlfriend Experience.” Prior to “The Girlfriend Experience,” Kerrigan wrote and directed the features Rebecca H. (Return to the Dogs), Keane, Claire Dolan and Clean, Shaven. His directorial credits also include episodes of “The Killing” (AMC / Netflix), “The Americans” (FX), “Bates Motel” (A&E) and “Homeland” (Showtime).
[Show full text]
EDITORIAL Screenwriters James Schamus, Michael France and John Turman CA 90049 (310) 447-2080 Were Thinking Is Unclear
screenwritersmonthly.com | Screenwriter’s Monthly Give ‘em some credit! Johnny Depp's performance as Captain Jack Sparrow in Pirates of the Caribbean: The Curse of the Black Pearl is amazing. As film critic after film critic stumbled over Screenwriter’s Monthly can be found themselves to call his performance everything from "original" to at the following fine locations: "eccentric," they forgot one thing: the screenwriters, Ted Elliott and Terry Rossio, who did one heck of a job creating Sparrow on paper first. Sure, some critics mentioned the writers when they declared the film "cliché" and attacked it. Since the previous Walt Disney Los Angeles film based on one of its theme park attractions was the unbear- able The Country Bears, Pirates of the Caribbean is surprisingly Above The Fold 370 N. Fairfax Ave. Los Angeles, CA 90036 entertaining. But let’s face it. This wasn't intended to be serious (323) 935-8525 filmmaking. Not much is anymore in Hollywood. Recently the USA Today ran an article asking, basically, “What’s wrong with Hollywood?” Blockbusters are failing because Above The Fold 1257 3rd St. Promenade Santa Monica, CA attendance is down 3.3% from last year. It’s anyone’s guess why 90401 (310) 393-2690 this is happening, and frankly, it doesn’t matter, because next year the industry will be back in full force with the same schlep of Above The Fold 226 N. Larchmont Blvd. Los Angeles, CA 90004 sequels, comic book heroes and mindless action-adventure (323) 464-NEWS extravaganzas. But maybe if we turn our backs to Hollywood’s fast food service, they will serve us something different.
[Show full text]
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.
[Show full text]
Participants Bios
AMY LEMISCH Executive Director California Film Commission As Executive Director of the California Film Commission, Amy Lemisch oversees all of the state's efforts to facilitate motion picture, television and commercial production. She was appointed by Governor Arnold Schwarzenegger in May 2004, and continues to serve for Governor Edmund G. Brown Jr. Under her leadership, the Commission coordinates with all levels of state and local government to promote California as a production locale. Such efforts in-turn create jobs, increase production spending and generate tax revenues. In addition to overseeing the Commission's wide range of support services, Ms. Lemisch also serves as the state's leading advocate for educating legislators, production industry decision makers and the public at large about the value of filming in California. Among her many accomplishments, Ms. Lemisch was instrumental in the creation, passage and implementation of the California Film & Television Tax Credit Program, which was enacted in 2009 to help curb runaway production. The Commission is charged with administering the $500 million program that targets the types of productions most likely to leave California due to incentives offered in other states and countries. Prior to her appointment at the Commission, Ms. Lemisch served for more than 15 years as a producer for Penny Marshall’s company - Parkway Productions. While based at Universal Studios and Sony Pictures, she was responsible for overseeing physical production on all Parkway projects, as well as selecting new projects for the company to produce. Her credits include: producer on the independent feature film WITH FRIENDS LIKE THESE; co-producer on RIDING IN CARS WITH BOYS (starring Drew Barrymore), THE PREACHER’S WIFE (starring Denzel Washington and Whitney Houston) and RENAISSANCE MAN (starring Danny DeVito); associate producer on AWAKENINGS, A LEAGUE OF THEIR OWN, and CALENDAR GIRL.
[Show full text]
William B. Kaplan CAS
Career Achievement Award Recipient William B. Kaplan CAS CAS Filmmaker Award Recipient George SPRING Clooney 2021 Overcoming Atmos Anxiety • Playing Well with Other Departments • RF in the 21st Century Remote Mixing in the Time of COVID • Return to the Golden Age of Booming Sound Ergonomics for a Long Career • The Evolution of Noise Reduction FOR YOUR CONSIDERATION CINEMA AUDIO SOCIETY AWARDS NOMINEE MOTION PICTURE LIVE ACTION PRODUCTION MIXER DREW KUNIN RERECORDING MIXERS REN KLYCE, DAVID PARKER, NATHAN NANCE SCORING MIXER ALAN MEYERSON, CAS ADR MIXER CHARLEEN RICHARDSSTEEVES FOLEY MIXER SCOTT CURTIS “★★★★★. THE FILM LOOKS AND SOUNDS GORGEOUS.” THE GUARDIAN “A WORK OF DAZZLING CRAFTSMANSHIP.” THE HOLLYWOOD REPORTER “A stunning and technically marvelous portrait of Golden Era Hollywood that boasts MASTERFUL SOUND DESIGN.” MIRROR CAS QUARTERLY, COVER 2 REVISION 1 NETFLIX: MANK PUB DATE: 03/15/21 BLEED: 8.625” X 11.125” TRIM: 8.375” X 10.875” INSIDE THIS ISSUE SPRING 2021 CAREER ACHIEVEMENT AWARD RECIPIENT WILLIAM B. KAPLAN CAS | 20 DEPARTMENTS The President’s Letter | 4 From the Editor | 6 Collaborators | 8 Learn about the authors of your stories 26 34 Announcements | 10 In Remembrance | 58 Been There Done That |59 CAS members check in The Lighter Side | 61 See what your colleagues are up to 38 52 FEATURES A Brief History of Noise Reduction | 15 Remote Mixing in the Time of COVID: User Experiences | 38 RF in the Twenty-First Century |18 When mix teams and clients are apart Filmmaker Award: George Clooney | 26 Overcoming Atmos Anxiety | 42 Insight to get you on your way The 57th Annual CAS Awards Nominees for Outstanding Achievement Playing Well with Other Production in Sound Mixing for 2020 | 28 Departments | 48 The collaborative art of entertainment Outstanding Product Award Nominees| 32 Sound Ergonomics for a Long Career| 52 Return to the Golden Age Staying physically sound on the job Cover: Career Achievement Award of Booming | 34 recipient William B.
[Show full text]
ALTON WALPOLE Line Producer/UPM
ALTON WALPOLE Line Producer/UPM GODLESS (limited series) – Production Manager; Netflix; Prods: Scott Frank, Casey Silver, Steven Soderberg; Dir: Scott Frank; w/Jeff Daniels, Michelle Dockery, Jack O’Connell, Merritt Weaver, Sam Waterson THE BRAVE (series) – Production Manager; NBC/Universal; prods: Matt Corman, Chris Ord, Peter Traugott, Rachel Kaplan, Bill Johnson, John Terlesky; Dirs: Tessa Blake, Breck Eisner, Jeffrey Nachmanoff, John Scott, Yves Simoneau, David Straiton, Marisol Adler, Mikael Salomen; w/ Mike Vogel, Anne Heche MIDNIGHT, TEXAS (pilot) – Production Manager (New Mexico); NBC/Universal; Prods: Monica Owusu- Breen, David Janollari, Bill Johnson; Dir: Neils Arden Oplev; w/Arielle Kebbel, Francois Arnaud, Dylan Bruce THE MAGNIFICENT SEVEN – Production Manager (New Mexico); Metro-Goldwyn-Mayer; Prods: Roger Birnbaum, Todd Black; Dir: Antoine Fuqua; w/Denzel Washington, Chris Pratt, Haley Bennett, Ethan Hawke, Vincent D’Onofrio, Wagner Moura, Byung-hun Lee; Matt Bomer; Peter Sarsgaard, Griff Furst WAR ON EVERYONE – Line Producer/ Production Manager; Head Gear Films; Prods: Stephen Kelliher, Chris Clark, Flora Fernando-Marengo, Phil Hunt, Compton Ross; Dir: John Michael McDonagh; w/ Alexander Skarsgard, Michael Pena, Theo James DIG (series) -- Production Manager; USA / Universal Cable; Prods: Tim Kring, Gideon Raff; Dir: Gideon Raff, Millicent Shelton, Allan Arkush; w/ Anne Heche, Jason Isaacs, Alison Sudol, Lauren Ambrose THE REACH -- Lionsgate, Roadshow; Line Producer/Production Manager Prods: Michael Douglas, Robert Mitas;
[Show full text]
The Cinema of Oliver Stone
Conclusion Although we are clearly overreaching, it’s too easy to talk about the USA losing its grip because we happen to be rooting for another approach. It’s not going to go away that easily. This empire is Star Wars in the ‘evil empire’ sense of the words … We are virtually becoming a tyranny against the rest of the world. It’s not evident to people at home, because they don’t see the consensus in the media and they don’t see the harm the USA does abroad. We are not in decline. We are decayed and corrupt and immoral, but not in decline. The USA exerts its will in Europe, Asia, much of the Middle East, and still much of Latin America. The recent revela- tions that the NSA’s and the UK’s surveillance programmes are linked is big news.1 Oliver Stone has been a fixture in the Hollywood landscape since his Oscar- winning script for Midnight Express (Alan Parker, 1978). That high-profile foothold gave him the opportunity to build slowly towards his ambition of capturing on film what he had lived through in Vietnam during 1967 and 1968. The young Yale man who had entered the army was a cerebral romantic in search of adventure; but his experience, not just of combat but also of his return to a country that was already openly divided about the war, altered his perspective and the direction of his life. Enrolment at film school under the GI Bill seemed to offer a way of expressing his anger and disillusionment, and the same determination that had kept him alive in South-East Asia now drove him on to try and tell something of that experience on film.
[Show full text]
New Nespresso “Experience a Cup Above” U.S
New Nespresso “Experience a cup above” U.S. Brand Campaign Fast Facts Location of Shoot Los Angeles, California Duration of Shoot 3 days Main Actors George Clooney, Danny DeVito Supporting Actors Ethan Cohn (Court Jester) Helena Mattsson (Chipmunk) Bill Parks (Moose) Kelly Beckett (Hipster) Banks Boutte (Hipster) Zach Chilson (Hipster) Braeden Marcott (Pinnacle) Toshi Toda (Sushi Chef) Gemma Marin (Tango dancer) Anna Bilic (Art gallery woman) Campaign Strategy Davide Moro, Vice President of Marketing, Nespresso USA Production Untitled Director Grant Heslov Agencies McCann for advertising, Weber Shandwick for PR, Deep Focus for digital & social, MetaVision Media for media Photographer Print Campaign Sam Jones Backstage Photography Rainer Hosch Formats Main TVC 30-second and 60-second Air timings November 2nd 60-second ad premiering on Monday Night Football (ESPN); airing on late night programs (Colbert (CBS), Kimmel (ABC), Fallon (NBC)) Microsite www.acupabove.com Number of Nespresso TV commercials with brand ambassador George Clooney This is the 1st U.S. TV commercial for George and the 10th TV commercial internationally. Co-stars Featured In Campaigns To Date This is the 1st U.S. commercial for George and the 10th TV commercial internationally. During this time the saga has featured a number of co-stars, these have included: Danny DeVito (2015) – U.S. Jack Black (2015) - international Jean Dujardin (2014) – international Matt Damon (2013) – international John Malkovich (2009 & 2010) – international Commercials 2006 – The Boutique 2007 – George Who? 2008 – The last capsule 2009 – The Piano w/ John Malkovich 2010 – Taxi w/ John Malkovich 2011 – The swap 2012 – Like a star 2013 – In the name of pleasure w/ Matt Damon 2014 – How Far? w/ Jean Dujardin 2015 – Epiphany w/ Jack Black 2015 – Experience a cup above w/ Danny DeVito (U.S.) .
[Show full text]
Download Download
New forms of masculinity in Miscellaneous Western films: The end of the David Blanco-Herrero Marlboro Man? https://orcid.org/0000-0002-7414-2998 [email protected] Universidad de Salamanca Abstract Westerns are one of the most masculine and stereotypical of film Laura Rodríguez-Contreras genres. In a social and film context where gender equality is https://orcid.org/0000-0002-3080-9420 increasingly important, it is worth looking at the evolution of the [email protected] genre in recent years. Especially because, as André Bazin said, the Universidad de Salamanca Western is “cinema par excellence” (1966) and its analysis allows a reflection on cinema itself. Taking the figure of the Marlboro Man Begoña Gutiérrez-San-Miguel as a prototype, this study carries out an analysis of three selected https://orcid.org/0000-0003-1254-258X case studies: Brokeback Mountain , Jane Got a Gun and Godless , [email protected] Universidad de Salamanca two films and a miniseries with main characters that do not follow heteronormative masculinity. Ang Lee’s work broke new ground not only in Westerns but also in industrial cinema by making Submitted August 14th, 2019 homosexuality visible, while Gavin O’Connor’s showed the Approved possibility of a woman playing the leading role in a classic September 2nd, 2020 Western. The miniseries produced by Netflix combines both by giving leading roles to female characters, some of them gay, while © 2021 reflecting on homosexuality. It was noted that the portrayal of Communication & Society masculinity in Western films remains valid in all three cases, but it ISSN 0214-0039 E ISSN 2386-7876 allows women and homosexuals to access leading roles, often by doi: 10.15581/003.34.2.1-14 acquiring typically masculine attributes.
[Show full text]
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.
[Show full text]
2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS
2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS BEST FIRST SCREENPLAY 2012 NOMINEES (Winners in bold) *Will Reiser 50/50 BEST FEATURE (Award given to the producer(s)) Mike Cahill & Brit Marling Another Earth *The Artist Thomas Langmann J.C. Chandor Margin Call 50/50 Evan Goldberg, Ben Karlin, Seth Rogen Patrick DeWitt Terri Beginners Miranda de Pencier, Lars Knudsen, Phil Johnston Cedar Rapids Leslie Urdang, Dean Vanech, Jay Van Hoy Drive Michel Litvak, John Palermo, BEST FEMALE LEAD Marc Platt, Gigi Pritzker, Adam Siegel *Michelle Williams My Week with Marilyn Take Shelter Tyler Davidson, Sophia Lin Lauren Ambrose Think of Me The Descendants Jim Burke, Alexander Payne, Jim Taylor Rachael Harris Natural Selection Adepero Oduye Pariah BEST FIRST FEATURE (Award given to the director and producer) Elizabeth Olsen Martha Marcy May Marlene *Margin Call Director: J.C. Chandor Producers: Robert Ogden Barnum, BEST MALE LEAD Michael Benaroya, Neal Dodson, Joe Jenckes, Corey Moosa, Zachary Quinto *Jean Dujardin The Artist Another Earth Director: Mike Cahill Demián Bichir A Better Life Producers: Mike Cahill, Hunter Gray, Brit Marling, Ryan Gosling Drive Nicholas Shumaker Woody Harrelson Rampart In The Family Director: Patrick Wang Michael Shannon Take Shelter Producers: Robert Tonino, Andrew van den Houten, Patrick Wang BEST SUPPORTING FEMALE Martha Marcy May Marlene Director: Sean Durkin Producers: Antonio Campos, Patrick Cunningham, *Shailene Woodley The Descendants Chris Maybach, Josh Mond Jessica Chastain Take Shelter
[Show full text]
BAFTA and BFI Screenwriters' Lecture: Emma Thompson 20 September
BAFTA and BFI Screenwriters’ Lecture: Emma Thompson 20 September 2014 at BFI Southbank [As the audience take their seats Emma where your relationship with words Thompson is already on stage, barefoot comes from. And I think mine comes, yes and dressed down in dungarees and a from reading of course, but from my hooded sweatshirt. The stage is set out father who wrote The Magic like a room, with a chair, writing desk, Roundabout and was an actor who was yoga mat and a box of draft scripts. said, that the BBC gave him these little Emma Thompson silently wanders French films and said, “Would you write around the room, sometimes writing at the scripts for them because we can’t the desk, sometimes practicing yoga put them on in French.” And my father positions, sometimes lounging in the who hated the French openly, was very chair. As the audience settles, she cleans rude in fact to Serge Danot who created the desk and vacuums the floor, before those puppets, there was never much walking off-stage to applause] warmth between them, and he would sit at this funny little machine which he [Clip from The Magic Roundabout] would work with his foot, it was a reel to reel, and he would sit writing these [Applause] scripts. And they were completely, they were nothing to do with the French, the French was very, it was a bit twee you [Emma Thompson returns to the stage in know [does French impression], and also a change of clothes, with Jeremy Brock] they had different names.
[Show full text]