“Let's Talk About Performance”*

Total Page:16

File Type:pdf, Size:1020Kb

“Let's Talk About Performance”* Lent II— March 16, 2011 Matthew 26: 30-46 “Let’s Talk About Performance”* Rev. John C. Wohlrabe, Jr., Th.D. Worship Report In the name of the Father, and of the Son, and of the Holy Spirit, Amen. Friends of Jesus and Friends of mine: tonight I want to talk frankly about performance. Evaluating performance is something that we all have a tendency to do. We want to get the best deal on a car, bicycle, cell-phone, computer, or washing machine, so we may check Consumer Reports for performance comparisons. Employers want to get the most out of their employees, and so they have performance evaluations. We evaluate people in general whether it’s by standards of dress, speech, knowledge, or congeniality. It’s hard to determine performance though, unless you have some point of comparison. For example, it’s easier to look good when you stand next to the right person. Just consider how certain leading men are often portrayed in movies: Alan Ladd, Sylvester Stallone, Tom Cruise. Often in their film roles they are portrayed as dashing figures, who you imagine to be above average height. Yet, Allan Ladd was 5’6”, Tom Cruise 5’7”, and Sylvester Stallone 5’9.” They are often cast with shorter actors and actresses or shot at angles that give a different impression. It’s only when you see them in public standing next to someone taller that you realize, for example, that Tom Cruise was actually about three inches shorter than his former wife, Nicole Kidman, who is 5’10”. A whole lot in life depends on the one next to whom one is standing, the point of comparison. Another issue with regards to analyzing performance is that standards are constantly changing. Now that’s not necessarily bad, particularly when the standards are going up – take, for example, technological improvements in, let’s say, computers or television sets. Compare the performance of a modern lap-top to the Apple or PC when they first came out in the early 1980s, or a current flat screen high definition T.V. to the old black and white sets that some of us grew up with. However, when we are talking about test scores of our children and performance analysis of public education, we may find declining standards, and a continual reduction in the level of comparison. That is definitely not a good thing! It is especially bad when we are talking about the decline of moral standards in society; something that I believe is ruining our country. People lower the standards, God’s standards, to the point that what was considered immoral and even detestable only a decade ago is now considered normal behavior and regularly portrayed on primetime television programs. Performance evaluation is all about the point of comparison. Tonight we see quite a contrast in the portion of the Passion account from Matthew’s Gospel that was read only a few moments ago – how the disciples perform and how Jesus performs. The text begins as Jesus is wrapping up the Passover Celebration with his disciples in the upper room. He uses this traditional holy commemoration to institute a new testament, what we refer to as the Lord’s Supper. He also uses this opportunity to show that he has come to serve by washing his disciples’ feet. After they have sung a hymn, they go to the Mount of Olives, which is just across the Kidron Valley from Jerusalem, to the part of the Mount of Olives known as the Garden of Gethsemane. When they get to the Mount of Olives, Matthew tells us that Jesus warns his disciples that all of them will fall away because of him. Jesus sets the standard, and declares that not one of them will live up to that standard. All will fall short. He says that this is to fulfill the prophecy from Zechariah (13:8) which predicts that the shepherd will be struck and the sheep will be scattered. Every last one of the disciples claims that they would never fall away. That is their plan for performance; but, they hadn’t really been tested, yet, had they? Then there’s impetuous Peter, who was originally called Simon, but was given the name “Rock,” Peter, by Jesus. About the only thing rock-like about Peter, though, was the way he was on water – he sunk like a rock. Still, Peter thinks that he is above the performance standard of all the other disciples. He tells Jesus that even though all the others might fall away, he would never do such a thing. He would rather die than desert Jesus. That is his performance plan. Now Peter must have stated this in front of the other disciples, because Matthew sure remembered it! It couldn’t have made many friends with the others. It seems, however, that the disciples engaged in a lot of this sort of performance comparison. Remember how James and John sent their mother to ask Jesus if they could sit at his right and left when he came into his kingdom? So, this wasn’t the first time we see one-upmanship among the disciples. But, impetuous Peter seems to top them all. He really thinks he is better than the rest; his performance is a cut above. He would die before he would fall away. I think that there is a bit of Peter in all of us. Garrison Keillor jokes about people from Minnesota, where all the women are strong, all the men are good looking, and all the children are above average. But, compared to whom? Each other? People from Iowa or Wisconsin? Maybe we do the same thing. Maybe we think we wouldn’t sin like some other people might. It all depends with whom you are standing. If Charlie Sheen was standing before us now, I would suppose all of us husbands and fathers would sure look good, don’t you think? Or when someone else commits some gross public sin, maybe we think that would never happen to me! But, who really sets the standards? That’s the real question. And let’s look at what happened. How well do Jesus’ disciples perform? All Jesus asks of them is that they stay awake; that they help him watch and pray. That’s not too much to ask, is it? But, the disciples couldn’t stay awake even an hour. These bold, brave men, who said they would rather die with Jesus than fall away, couldn’t even follow the simplest of tasks. Even before they are challenged by an angry mob carrying swords and clubs, there is nothing but weakness, pathetic weakness. Jesus says specifically to Peter, who had been so bold with his braggadocios bravado, “So, could you not watch with me one hour?” Then our Savior adds, “the spirit indeed is willing, but the flesh is weak.” The Greek word there implies pathetic powerlessness. One moment Peter is claiming he is the only one who would never fall away, the next moment he is sound asleep because his eyes are too heavy. Maybe he and the other disciples ate too much lamb and drank too much wine at the Passover Meal. Or maybe, just maybe, they are really just pathetic sinful weaklings, who like to talk big about themselves as long as they are setting the performance standards, comparing themselves to each other. But, are we really any better? Let’s take a close look at our own lives tonight as we join the disciples on the Mount of Olives. Do we have any of this sinful pride lurking within ourselves? Let’s talk frankly about our performance. Remember the hymn? “Go to dark Gethsemane, All who feel the tempter’s power; Your Redeemer’s conflict see, Watch with Him one bitter hour…” What about our devotion to God’s Word? Is it all it should be? How about our love for our neighbor, particularly for our fellow members of the body of Christ known as Concordia Lutheran Church? Are we alert and zealous in our prayers and in our watching for Christ’s return? Are we zealous in our support of the preaching of the Gospel here and abroad? Are we zealous to stay focused on the purpose of our even being here in this Divine Service? Are we diligent in fighting temptation and turning away from sins of thought, word, and deed? And as we consider these things, reflecting on our own lives, remember – we don’t set the standards. God does! Here we do have someone to which we are compared, but it is not someone of our choosing. At Gethsemane we see the disciples’ utter failure. We see their pitiful weakness. Here we are also brought to see our own utter failures and pitiful weakness. For the standards to which they and we are compared is Jesus. That is God’s standard. So, let’s look frankly at Jesus’ performance. How well does Jesus’ perform? Well, remember the bold bragging by Peter and the other disciples? Yet, they had no clue what lay ahead of them. Meanwhile, Jesus knows full-well what lay ahead. He knows that the disciples would all fall away as a fulfillment of Scripture. More than that, he knows, as a fulfillment of the prophecy in Zechariah, that God would strike him, for he is the Good Shepherd who came to give his life as a ransom for the sheep. Jesus knows that all the divine wrath against all the sins of all people for all time is going to be poured out on him.
Recommended publications
  • Celebrity Divorces Prostitutes Are Cheaper Than Gold Diggers
    CELEBRITY DIVORCES PROSTITUTES ARE CHEAPER THAN GOLD DIGGERS Author: Doug Raynor / Artist: Jason Seiler A full color, fully illustrated, humor book with dozens of photo- graphs and caricatures of celebrities. The book is 8 ½˝ x 11˝ and hardcover. The book’s contents and its page count which will be either 256, 360, or 456 will be determined by the amount of money raised to finance the making of it via crowdfunding in a project on the Kickstarter website. Contact E-mail: [email protected] Website: golddiggersepidemic.com Facebook Page: facebook.com/pages/Gold-Diggers-Epidem- ic/1397423190506953 Twitter Page: twitter.com/golddiggersepidemic YouTube Channel: youtube.com/user/GoldDiggersEpidemic Google+ Page: plus.google.com/u/0/102592606408898586433/posts BOOK DESCRIPTION CELEBRITY DIVORCES: PROSTITUTES ARE CHEAPER THAN GOLD DIGGERS is a humor book poking fun at outrageously expensive celebrity divorces. Its premise is that celebrities who pay enormous divorce settlements to their gold digging ex-spouses would have been better off with the cheaper, CHAPTER DESCRIPTIONS no strings attached alternative of using prostitutes. In addition to the expensive divorces the book will also feature: Chapter 1: What Is A Gold Digger? Definition of the term gold digger and ways to recognize gold diggers. Casting a comical eye on the gold digging that occurs in May-December couples. Chapter 2: Prostitutes Are An Alternative! Commentaries on different aspects of prostitution including: Commentary about Charlie Sheen who enjoys a lifestyle that embraces the fact that prostitutes are cheaper •The Benefits Of Prostitution than gold diggers and is the poster boy for this philoso- •Why Does Marriage Exist? phy.
    [Show full text]
  • Download Chapter (PDF)
    Cultural Studies and the Un/Popular How the Ass-Kicking Work of Steven Seagal May Wrist- Break Our Paradigms of Culture Dietmar Meinel ‘Steven Seagal. Action Film. USA 2008.’ —German TV Guide The first foreigner to run an aikido dojo in Japan, declared the reincarna- tion of a Buddhist lama, blackmailed by the mob, environmental activist, small-town sheriff, owner of a brand of energy drinks, film producer, writer, musician, and lead in his first film (cf. Vern vii), 1980s martial arts action film star Steven Segal is a fascinating but often contradictory figure. Yet, Seagal is strikingly absent from the contemporary revival of seasoned action-film heroes such as Sylvester Stallone, Arnold Schwarzenegger, Bruce Willis, Jean-Claude Van Damme, Dolph Lundgren, and Chuck Norris in The Expendables (2010), The Expendables 2 (2012), and The Expendables 3 (2014). In contrast, ‘starring’ in up to four direct-to-video releases each year over the last decade, Seagal has become a successful entrepreneur of B movies. The (very) low production values of these films, however, highlight rather than conceal his physical demise as incongruent, confusing, and Godard-style editing replaces the fast-paced martial arts action of earlier movies. While his bulky body has become a disheartening memento of his glorious past, his uncompromising commitment to spiritual enlighten- ment and environmental protection arguably elevates him above the mere ridiculousness of his films. In this essay, I will explore Seagal and his oeuvre as he moved from ac- claimed martial arts action star to bizarre media figure in order to devise a framework for un/popular culture.
    [Show full text]
  • Eddie Murphy in the Cut: Race, Class, Culture, and 1980S Film Comedy
    Georgia State University ScholarWorks @ Georgia State University African-American Studies Theses Department of African-American Studies 5-10-2019 Eddie Murphy In The Cut: Race, Class, Culture, And 1980s Film Comedy Gail A. McFarland Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/aas_theses Recommended Citation McFarland, Gail A., "Eddie Murphy In The Cut: Race, Class, Culture, And 1980s Film Comedy." Thesis, Georgia State University, 2019. https://scholarworks.gsu.edu/aas_theses/59 This Thesis is brought to you for free and open access by the Department of African-American Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in African-American Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. EDDIE MURPHY IN THE CUT: RACE, CLASS, CULTURE, AND 1980S FILM COMEDY by GAIL A. MCFARLAND Under the Direction of Lia T. Bascomb, PhD ABSTRACT Race, class, and politics in film comedy have been debated in the field of African American culture and aesthetics, with scholars and filmmakers arguing the merits of narrative space without adequately addressing the issue of subversive agency of aesthetic expression by black film comedians. With special attention to the 1980-1989 work of comedian Eddie Murphy, this study will look at the film and television work found in this moment as an incisive cut in traditional Hollywood industry and narrative practices in order to show black comedic agency through aesthetic and cinematic narrative subversion. Through close examination of the film, Beverly Hills Cop (Brest, 1984), this project works to shed new light on the cinematic and standup trickster influences of comedy, and the little recognized existence of the 1980s as a decade that defines a base period for chronicling and inspecting the black aesthetic narrative subversion of American film comedy.
    [Show full text]
  • The Rebirth of Slick: Clinton, Travolta, and Recuperations of Hard-Body Nationhood in the 1990S
    THE REBIRTH OF SLICK: CLINTON, TRAVOLTA, AND RECUPERATIONS OF HARD-BODY NATIONHOOD IN THE 1990S Nathan Titman A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2006 Committee: Dr. Simon Morgan-Russell, Advisor Dr. Philip Terrie ii ABSTRACT Simon Morgan-Russell, Advisor This thesis analyzes the characters and performances of John Travolta throughout the 1990s and examines how the actor's celebrity persona comments on the shifting meanings of masculinity that emerged in a post-Reagan cultural landscape. A critical analysis of President Clinton's multiple identities⎯in terms of gender, class, and race⎯demonstrates that his popularity in the 1990s resulted from his ability to continue Reagan's "hard-body" masculine national identity while seemingly responding to its more radical aspects. The paper examines how Travolta's own complex identity contributes to the emergent "sensitive patriarch" model for American masculinity that allows contradictory attitudes and identities to coexist. Starting with his iconic turn in 1977's Saturday Night Fever, a diachronic analysis of Travolta's film career shows that his ability to convey femininity, blackness, and working-class experience alongside more normative signifiers of white middle-class masculinity explains why he failed to satisfy the "hard-body" aesthetic of the 1980s, yet reemerged as a valued Hollywood commodity after neoconservative social concerns began emphasizing family values and white male responsibility in the 1990s. A study of the roles that Travolta played in the 1990s demonstrates that he, like Clinton, represented the white male body's potential to act as the benevolent patriarchal figure in a culture increasingly cognizant of its diversity, while justifying the continued cultural dominance of white middle-class males.
    [Show full text]
  • Hollywood Heavyweight Sylvester Stallone Stars in This Riveting Crime Thriller!
    Hollywood heavyweight Sylvester Stallone stars in this riveting crime thriller! Defiant Screen Entertainment is proud to present BACKTRACE, starring action legend and three-time Academy Award nominee Sylvester Stallone alongside Matthew Modine (Full Metal Jacket, TVs Stranger Things) and Ryan Guzman (TVs Pretty Little Liars, TVs 9-1-1, Notorious). The film tells the story of a small-town heist that goes horribly wrong leaving only one survivor, MacDonald. But his injuries have left him with amnesia, and he can’t remember the crime or where he stashed the money. When a mysterious trio break him out of hospital, they inject him with an experimental serum to try to solve the million-dollar mystery…but a determined local Detective and a long-forgotten enemy are on their trail and MacDonald’s fractured mind may not survive the drug’s dangerous side effects. Describing his excitement on receiving the script, Director Brian A. Miller says, “The second I got the script, I was immediately attracted to it – the story has a huge action hook. For me it’s extremely exciting because it’s a whodunit, and as you pull that string, it takes you into different places where the audience has no idea where you’re going. But the big finale will blow them away!” When asked about the strength of the cast he put together Miller said, “I’m a huge Stallone fan. When I was a kid I was there for the Rocky films, the Rambo movies, Cobra, anything he did, I was always there catching it. And my dad was a huge Rocky fan.
    [Show full text]
  • THE INVISIBLE THEATRE John Amos
    PRESS RELEASE Contact: Cathy Johnson or Susan Claassen 1400 N. First Ave, Tucson, AZ. 85719 Administration – (520) 884-0672 Box Office – (520) 882-9721 [email protected] www.invisibletheatre.com FOR RELEASE ON OR AFTER DECEMBER 26, 2011 THE INVISIBLE THEATRE Presents Written by and Starring John Amos Directed and Designed by John Harris, Jr. Made possible in part through the generous support of Dr. Vivian Cox, David Hendricks and Dee-Dee Samet WHERE: The Berger Performing Arts Center 1200 W. Speedway Blvd. Tucson, AZ 85745 WHEN: January 14, 2012 at 8:00 pm and January 15, 2012 at 3:00 pm TICKETS: Ticket Price: $42 To charge tickets by phone, call (520) 882-9721 To purchase tickets on-line, go to www.invisibletheatre.com and click on the OvationTix logo Discounts available for groups of ten or more RUNNING TIME : 2 hours with an intermission Tucson, Arizona (December 26, 2011); You know him from his Emmy Award nominated performance as the heroic adult Kunta Kinte in the ground breaking mini-series Roots , or as James Evans, the indestructible father from the hit television sitcom Good Times . You were delighted by his hilarious performance opposite Eddie Murphy in the box office blockbuster Coming to America . You have enjoyed him on the Emmy Award-winning drama The West Wing , the CBS series The District, Fresh Prince of Bel-Air and House . Whether he was performing with Sylvester Stallone in Lock Up or co-starring with Bruce Willis in Die Hard II , John Amos has always delivered outstanding performances. He now presents yet another astonishing character portrayal in his own extraordinary creation, John Amos’ HALLEY’S COMET where he takes the audience on a whirlwind adventure back in time, beginning at the turn of the century when the world was full of dreams and promises of wonderful things to come.
    [Show full text]
  • Spring COLLEGES & UNIVERSITIES RELEASES
    2020 NEW Spring COLLEGES & UNIVERSITIES RELEASES © 2019 CTMG, Inc. All Rights Reserved. © Focus Features LLC. © 2019 Disney Enterprises Inc. © Lions Gate Entertainment, Inc. © 2019 Paramount Pictures © 2019 WBEI TM & © DC Comics COLLEGES & Spring2020 UNIVERSITIES Create an Movie ExperienceExceptional Access the latest planning and promotional resources for your event at swank.com. • Customer Tips for Generate Movie Event Success BUZZ Suggested Effectively getting the word out is key to your program’s success. Students Resources: are routinely bombarded with advertisements and event opportunities, so it’s important to think outside the box with your promotions. Movies • that deploy unconventional methods of promotion are not only the most Customizable Schedules SWANK ACCOUNT popular, but also the most memorable. EXECUTIVE Free Promo Toolkit: • Social Media Tips EVENT AND To make things easier, we put PROMO GUIDE together a free, customizable promotional toolkit you can STICKERS download on our website under • Pre-Show Slides INSPIRE the “Promotions Resources” tab. SCHEDULES U It features: Whether you have a 4, 6, 8, 12 or 16 FALL 2019 Movies title schedule, just click on the one you LOCATION & SCREENING DETAILS Movie Name Movie Name Time Time need and start filling it out! Date Date d. e v r e s e r s . t c h n g i I r , l t n Al . t n nme E i . a t os r er t B n r E e n e r t a a G W Remember to download each template, s 9 n 1 o 0 i 2 L © save as, and open in Adobe Acrobat! © Movie Name Movie Name STICKERS Time Time Date Date d.
    [Show full text]
  • Questionnaire an Actor: Eddie Murphy
    Questionnaire An actor: Eddie Murphy The film actor Eddie Murphy was born on April 3 rd 1961 in Brooklyn, New York City. His father Charles was a policeman in the NYC public transport system and his mother Lilian was a telephone operator. When Eddie was 3, his parents divorced and, 6 years later, Lillan married a factory worker called Vernon Lynch. The family moved to Roosevelt, Long Island, a predominantly black suburb 20 miles from New York. Even as a small child Eddie was an excellent mimic. "My mother says I never talked in my own voice - always cartoon characters." Because of his natural ability to amuse people he soon became the most popular kid at Roosevelt High School. When he was only 15 he worked as a disc jockey at a local youth club and discovered that audiences loved his style of humour too. Just a few months after leaving school, in 1979, he found a regular job as a comedian in a New York night club called "The Comic Strip". His reputation grew and he was invited to appear on the popular television comedy show "Saturday Night Live", which is shown across the whole country. However it was his first film, a thriller with Nick Nolte called "48 Hours" in 1982, which really made him famous. "Beverly Hills Cop", his most successful comedy films, was made 2 years later. Everybody thinks that the role of Axel Foley in this film was created for Eddie Murphy but, in fact, he was not the first choice. Mickey Rourke, Sylvester Stallone and even Jack Nicholson were considered for the part before him.
    [Show full text]
  • 'Geri-Action' Film
    Narratives of cultural and professional redundancy: Ageing action stardom and the ‘geri-action’ film Glen Donnar (RMIT University) Abstract Focusing on The Expendables films, I identify the importance of discourses of professional and cultural redundancy in ‘geri-action’, an emergent subgenre of Hollywood action film that has revitalised the careers of ageing action stars such as Sylvester Stallone and Arnold Schwarzenegger. These redundancies, which hold long-standing significance in 1980s action film, are compounded in geri- action by advanced age and diminished physical capacity. In geri-action, the spectacle of once idealised, muscled bodies is concealed and displaced onto oversized guns, fetishised vehicles and younger action bodies. However much geri-action resists 1980s action stars’ use-by dates, it ultimately admits physical and generic exhaustion. Keywords: geri-action, Hollywood action films, ageing stars, Expendables The Rise of ‘Geri-action’ The release of a third Expendables film in 2014 extended the twilight of ageing 1980s action idols in the so-called ‘geri-action’ subgenre, that is, action films predominantly showcasing male stars ranging in age from their mid-50s into their 70s. The Expendables series (Stallone 2010; West 2012; Hughes 2014) features a motley team of elite mercenaries, led by Barney Ross (Stallone), recurrently motivated to take revenge on the all-star action villain after a local woman or beloved colleague is killed, injured or captured. The third film in the series adds such ageing action film luminaries as Mel Gibson, Wesley Snipes and Harrison Ford (replacing Bruce Willis, who left the series after a conflict with Stallone) to the already extensive aged cast led by Sylvester Stallone, Arnold Schwarzenegger and Chuck Norris.
    [Show full text]
  • A Case Study – Film Marketing and 'Judge Dredd'
    TEACHERS’ NOTES This guide has been written for use at GCSE, A Level and GNVQ for Media and Communication Studies, Design and Technology and Business Studies. This guide is written in two parts: Part one, A Case Study – Film Marketing and ‘Judge Dredd’, encouraged the students to look at film marketing with specific reference to ‘Judge Dredd’. The information and tasks within this section aim to provide an insight into the planning and preparation of a film marketing campaign. Part two, Background to the Film ‘Judge Dredd’, provides the teacher and students with an insight into the origins of and themes dealt with in the character Judge Dredd. THE FILM Based on the lead character of the popular science-fiction comic ‘2000 AD’, the film ‘Judge Dredd’ is directed by Danny Cannon and stars Sylvester Stallone in the title role. The film will be released in the UK on 21 July 1995. SYNOPSIS In the Third Milennium the face of the earth had been virtually destroyed by uncontrollable disasters – earthquakes, fires and floods. Only a few cities remain, humanity itself turned as violent as the planet. Civilisation threatened to collapse. And then… a solution was found. The crumbling legal system was merged with the overburdened police, creating a powerful and efficient hybrid. These new guardians of society had the power to dispense both justice and punishment. They were judge, jury and executioner… and Dredd (Sylvester Stallone) is the most awesome of them all. PART ONE: A CASE STUDY – FILM MARKETING AND ‘JUDGE DREDD’ ‘Judge Dredd’, starring Sylvester Stallone is released in Britain on 21st July 1995.
    [Show full text]
  • Wigglin' and Wrigglin' at the Love Shack Sylvester Stallone's Butt And
    Music ÇA Film 7A Wigglin’ Sylvester and Wrigglin' Stallone's at the Love Butt and Shack The Arts and Entertainment Section of the Daily Nexus/For the Week of January 11-18,1990 Of Note This Week: Top 5 This Week at Morninglory Music 1. Hie Ministry, “A Mind Is A Terrible Thing To Taste” 2. Lenny Kravitz, “Let Love Rule” 3. Indigo Girls, “Strange Fire” 4. Bob Marley, “Legend” 5. Jesus and Mary Chain, “Automatic” at Sam Goody Records 1. Milli Vanilli, “Girl You Know It’s True” 2. The B-52’s, “Cosmic Thing” 3. Janet Jackson, “Rhythm Nation” 4. Soul II Soul, “Keep On Movin’” 5. Phil Collins, “But Seriously” Tonight: “Wings of Desire,” at Campbell Hall, 8 p.m.; $3/students, $4/non-students. Friday: “Up In Smoke,” at Campbell Hall, 7,9,11 p.m.; $3. Sunday: “Heavy Petting,” at Campbell Hall, 8 p.m.; $3/students, $4/non-students. ' V T hat were the top five records of the year? □ 1 fk / We’re sure the question has been around as long as music it- Tonight: u y self, and it has given people something to talk about at boring Dance — Repertory-West Dance Com­ pany, at the Main Theater, 8 p.m.; i ■ social functions from a long way back. through Saturday, $8. “No way, man. Moliere’s stuff beats the %$*&! out of Mo­ zart.... Elvis who? I liked the Pat Boonerecord a lotmore.... Yeah, Paula Abdul dances pretty good, but Milli Vanilli has great hair. ” ARTSWEEK asked this question of lots of people in the name of truth, justice and Milli Vanilli’s hair, and got a whole lot of different answers.
    [Show full text]
  • Download Résumé
    Evan Schiff Editor evanschiff.com Agent: Mike Rubi, UTA Editor John Wick: Chapter 3 - Parabellum 2019 Feature Films Dir. Chad Stahelski Prod. Basil Iwanyk / Lionsgate Proud Mary 2018 Dir. Babak Najafi Prod. Paul Schiff / Screen Gems John Wick: Chapter 2 2017 Dir. Chad Stahelski Prod. Basil Iwanyk / Lionsgate Southside With You 2015 Dir. Richard Tanne Sundance Film Festival 2016 – In Competition Prod. Bob Teitel Revolt 2014 Dir. Joe Miale Prod. Voltage Pictures Everly 2014 Dir. Joe Lynch Prod. Adam Ripp The Time Being 2012 Official Selection: TIFF 2012 Dir. Nenad Cicin-Sain Prod. Richard Gladstein Mission: Impossible – Ghost Protocol 2011 Associate Editor Dir. Brad Bird Prod. Bad Robot Editor. Paul Hirsch Broken Kingdom 2011 Dir. Daniel Gillies Prod. John Murphy Peep World 2010 Official Selection: TIFF 2010 Dir: Barry Blaustein Prod. Occupant Films Towards Darkness 2007 Official Selection: Tribeca 2007 Dir: Antonio Negret Prod. Luiza Ricupero Assistant Editor Star Trek Into Darkness Dir. J.J. Abrams 2013 Prod. Bad Robot Battle: Los Angeles Dir. Jonathan Liebesman Prod. Jeffrey Chernov Warrior Dir. Gavin O’Connor Prod. Lionsgate Hellboy 2: The Golden Army Dir. Guillermo del Toro Prod. Lloyd Levin Rambo Dir. Sylvester Stallone Prod. Kevin King Rocky Balboa Dir. Sylvester Stallone Prod. Kevin King Pan’s Labyrinth Dir. Guillermo del Toro Prod. Belén Atienza 2001 Maniacs Dir. Tim Sullivan Prod. Jonathan Bross 2004 VFX Editor Eight Below Fantastic Four Because of Winn-Dixie 2005 Stan Winston Studio Sky Captain & the World of Tomorrow Garfield Cat in the Hat 2000 Education B.A., Cinema-Television Production (2004), University of Southern California Affiliations Local 700 - Motion Picture Editors Guild Languages English, Spanish Passports USA & EU (Germany) .
    [Show full text]