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A Producer's Handbook
DEVELOPMENT AND OTHER CHALLENGES A PRODUCER’S HANDBOOK by Kathy Avrich-Johnson Edited by Daphne Park Rehdner Summer 2002 Introduction and Disclaimer This handbook addresses business issues and considerations related to certain aspects of the production process, namely development and the acquisition of rights, producer relationships and low budget production. There is no neat title that encompasses these topics but what ties them together is that they are all areas that present particular challenges to emerging producers. In the course of researching this book, the issues that came up repeatedly are those that arise at the earlier stages of the production process or at the earlier stages of the producer’s career. If not properly addressed these will be certain to bite you in the end. There is more discussion of various considerations than in Canadian Production Finance: A Producer’s Handbook due to the nature of the topics. I have sought not to replicate any of the material covered in that book. What I have sought to provide is practical guidance through some tricky territory. There are often as many different agreements and approaches to many of the topics discussed as there are producers and no two productions are the same. The content of this handbook is designed for informational purposes only. It is by no means a comprehensive statement of available options, information, resources or alternatives related to Canadian development and production. The content does not purport to provide legal or accounting advice and must not be construed as doing so. The information contained in this handbook is not intended to substitute for informed, specific professional advice. -
Freeze Frame by Lydia Rypcinski 8 Victoria Tahmizian Bowling and Other [email protected] Fun at 45 Below Zero
THE WORLD'S ONLY MAGAZINE DEVOTED EXCLUSIVELY TO THE BUSINESS OF BOWLING CONTENTS VOL 18.1 PUBLISHER & EDITOR Scott Frager [email protected] Skype: scottfrager 6 20 MANAGING EDITOR THE ISSUE AT HAND COVER STORY Fred Groh More than business Positively negative [email protected] Take a close look. You want out-of-the-box OFFICE MANAGER This is a brand new IBI. marketing? You want Tom Patty Heath By Scott Frager Clark. How his tactics at [email protected] PBA are changing the CONTRIBUTORS way the media, the public 8 Gregory Keer and the players look Lydia Rypcinski COMPASS POINTS at bowling. ADMINISTRATIVE ASSISTANT Freeze frame By Lydia Rypcinski 8 Victoria Tahmizian Bowling and other [email protected] fun at 45 below zero. By Gregory Keer 28 ART DIRECTION & PRODUCTION THE LIGHTER SIDE Designworks www.dzynwrx.com A feather in your 13 (818) 735-9424 cap–er, lane PORTFOLIO Feather bowling’s the FOUNDER Allen Crown (1933-2002) What was your first game where the balls job, Cathy DeSocio? aren’t really balls, there are no bowling shoes, 13245 Riverside Dr., Suite 501 Sherman Oaks, CA 91423 and the lanes aren’t even 13 (818) 789-2695(BOWL) flat. But people come What was your first Fax (818) 789-2812 from miles around, pay $40 job, John LaSpina? [email protected] an hour, and book weeks in advance. www.BowlingIndustry.com 14 HOTLINE: 888-424-2695 What Bowling 32 Means to Me THE GRAPEVINE SUBSCRIPTION RATES: One copy of Two bowling International Bowling Industry is sent free to A tattoo league? every bowling center, independently owned buddies who built a lane 20 Go ahead and laugh but pro shop and collegiate bowling center in of their own when their the U.S., and every military bowling center it’s a nice chunk of and pro shop worldwide. -
MARGARET KAMINSKI 2354 Ewing Street, Los Angeles, CA 90039 646.207.8652 • [email protected]
MARGARET KAMINSKI 2354 Ewing Street, Los Angeles, CA 90039 646.207.8652 • [email protected] EXPERIENCE Nickelodeon, Los Angeles, CA 2016 – Present Writer, NiCkelodeon Kids’ ChoiCe Awards (2019) Writer, NiCkelodeon Kids’ ChoiCe Sports Awards (2018) Writer, NiCkelodeon Kids’ ChoiCe Awards (2018) Writers’ Assistant, Nickelodeon Kids’ Choice Awards (2017) Writers’ Assistant, NiCkelodeon Kids’ ChoiCe SPorts Awards (2017) Writers’ Assistant, NiCkelodeon Kids’ ChoiCe SPorts Awards (2016) Above Average Productions, Los Angeles, CA January 2018 – Present Freelance Writer Live From WZRD, Warner Media/VRV, Los Angeles, CA November 2018 – MarCh 2019 Staff Writer Scholastic’s Choices Magazine, New York, New York Video Producer, Story Editor MarCh 2018 – Present Freelance Writer February 2015 – Present Assistant Editor, Managing Editor of Teaching Resources May 2012 – February 2015 SKOOGLE Pilot (All That Reboot), PoCket.WatCh, Los Angeles, CA April 2018 – August 2018 Contributing Writer (punch-up) E! Live from the Red Carpet, Los Angeles, CA August 2017 – November 2018 August 2017 – Present Writer The 2018 PeoPle’s ChoiCe Awards The 2018 Primetime Emmy Awards The 2017 Primetime Emmy Awards The 2017 AmeriCan MusiC Awards The 2018 Golden Globes The 2018 SCreen ACtors Guild Awards The 2018 Grammy Awards MTV Movie + TV Awards Pre-Show, Los Angeles, CA May 2018 – June 2018 Writer PotterCon/Wizard U., National/Touring July 2012 – January 2018 Executive Producer Fallen For You: Pilot, Los Angeles, CA DeCember 2016 Writers’ Assistant Collier.Simon, Los Angeles, CA February 2016 – Present Freelance Writer Masthead Media, New York, NY SePtember 2015 – February 2016 Freelance Writer PMK•BNC (Vowel), New York, NY MarCh 2015 – SePtember 2015 Freelance Writer EDUCATION Barnard College, Columbia University, B.A. -
Rec Center Gets a Makeover Dordt Instructor Challenges Steve King for Congress Concert Choir Tour: Ain't No Sickness Can Hold
Dordt NISO Dordt Changes media concert theatre to DCC truck Piano in ACTF Dreamer page 3 page 3 page 4 page 8 January 31, 2019 Issue 1 Follow us online Concert Choir tour: ain’t no sickness can hold them down Haemi Kim -- Staff Writer could incorporate this beautiful language into our piece. I loved the excitement on people’s During winter break, Dordt College Concert faces in the audience—or fear among the high Choir and its conductor Ryan Smit went on a schoolers—when we did this song and I had tour, sharing their talents to many different people at almost every stop come up to me audiences. It was a week-long tour going afterwards and thank me for it.” around Iowa, Wisconsin, Illinois, and Indiana. Even though the choir tour was a blast to Many of the choir students enjoyed being on many of the choir members, this year, the tour because it was an opportunity to meet other stomach flu spread within the choir, affecting choir members and build relationships with around 14 students, and even the conductor other choir members. during their last concert before coming back. “It’s a unique opportunity to get to know the Because of this, TeBrake and Seaman stepped other choir members outside of the choir room,” up to conduct the last concert, each taking half said senior soprano Kourtney TeBrake. of the performance. “Before tour, you recognize people in the As music education majors, it wasn’t their first choir, maybe know their names, but when you time conducting for a choir. -
THE WRITE CHOICE by Spencer Rupert a Thesis Presented to The
THE WRITE CHOICE By Spencer Rupert A thesis presented to the Independent Studies Program of the University of Waterloo in fulfilment of the thesis requirements for the degree Bachelor of Independent Studies (BIS) Waterloo, Canada 2009 1 Table of Contents 1 Abstract...................................................................................................................................................7 2 Summary.................................................................................................................................................8 3 Introduction.............................................................................................................................................9 4 Writing the Story...................................................................................................................................11 4.1 Movies...........................................................................................................................................11 4.1.1 Writing...................................................................................................................................11 4.1.1.1 In the Beginning.............................................................................................................11 4.1.1.2 Structuring the Story......................................................................................................12 4.1.1.3 The Board.......................................................................................................................15 -
Canadian Canada $7 Spring 2020 Vol.22, No.2 Screenwriter Film | Television | Radio | Digital Media
CANADIAN CANADA $7 SPRING 2020 VOL.22, NO.2 SCREENWRITER FILM | TELEVISION | RADIO | DIGITAL MEDIA The Law & Order Issue The Detectives: True Crime Canadian-Style Peter Mitchell on Murdoch’s 200th ep Floyd Kane Delves into class, race & gender in legal PM40011669 drama Diggstown Help Producers Find and Hire You Update your Member Directory profile. It’s easy. Login at www.wgc.ca to get started. Questions? Contact Terry Mark ([email protected]) Member Directory Ad.indd 1 3/6/19 11:25 AM CANADIAN SCREENWRITER The journal of the Writers Guild of Canada Vol. 22 No. 2 Spring 2020 Contents ISSN 1481-6253 Publication Mail Agreement Number 400-11669 Cover Publisher Maureen Parker Diggstown Raises Kane To New Heights 6 Editor Tom Villemaire [email protected] Creator and showrunner Floyd Kane tackles the intersection of class, race, gender and the Canadian legal system as the Director of Communications groundbreaking CBC drama heads into its second season Lana Castleman By Li Robbins Editorial Advisory Board Michael Amo Michael MacLennan Features Susin Nielsen The Detectives: True Crime Canadian-Style 12 Simon Racioppa Rachel Langer With a solid background investigating and writing about true President Dennis Heaton (Pacific) crime, showrunner Petro Duszara and his team tell us why this Councillors series is resonating with viewers and lawmakers alike. Michael Amo (Atlantic) By Matthew Hays Marsha Greene (Central) Alex Levine (Central) Anne-Marie Perrotta (Quebec) Murdoch Mysteries’ Major Milestone 16 Lienne Sawatsky (Central) Andrew Wreggitt (Western) Showrunner Peter Mitchell reflects on the successful marriage Design Studio Ours of writing and crew that has made Murdoch Mysteries an international hit, fuelling 200+ eps. -
Female Authorship in the Slumber Party Massacre Trilogy
FEMALE AUTHORSHIP IN THE SLUMBER PARTY MASSACRE TRILOGY By LYNDSEY BROYLES Bachelor of Arts in English University of New Mexico Albuquerque, NM 2016 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF ARTS May, 2019 FEMALE AUTHORSHIP IN THE SLUMBER PARTY MASSACRE TRILOGY Thesis Approved: Jeff Menne Thesis Adviser Graig Uhlin Lynn Lewis ii Name: LYNDSEY BROYLES Date of Degree: MAY, 2019 Title of Study: FEMALE AUTHORSHIP IN THE SLUMBER PARTY MASSACRE TRILOGY Major Field: ENGLISH Abstract: The Slumber Party Massacre series is the only horror franchise exclusively written and directed by women. In a genre so closely associated with gender representation, especially misogynistic sexual violence against women, this franchise serves as a case study in an alternative female gaze applied to a notoriously problematic form of media. The series arose as a satire of the genre from an explicitly feminist lesbian source only to be mediated through the exploitation horror production model, which emphasized female nudity and violence. The resulting films both implicitly and explicitly address feminist themes such as lesbianism, trauma, sexuality, and abuse while adhering to misogynistic genre requirements. Each film offers a unique perspective on horror from a distinctly female viewpoint, alternately upholding and subverting the complex gender politics of women in horror films. iii TABLE OF CONTENTS Chapter Page I. INTRODUCTION ......................................................................................................1 -
AGREEMENT (“Agreement”)
INDEPENDENT PRODUCTION AGREEMENT (“Agreement”) covering FREELANCE WRITERS of THEATRICAL FILMS TELEVISION PROGRAMS and OTHER PRODUCTION between The WRITERS GUILD OF CANADA (the “Guild” or the “WGC”) and The CANADIAN MEDIA PRODUCTION ASSOCIATION (the “Association” or the “CMPA”) July 1, 2019 to June 30, 2022 © 2019 WRITERS GUILD OF CANADA and CANADIAN MEDIA PRODUCERS ASSOCIATION. TABLE OF CONTENTS Section A: General – All Productions p. 1 Article A1 Recognition, Application and Term p. 1 Article A2 Definitions p. 4 Article A3 General Provisions p. 14 Article A4 No Strike and Unfair Declaration p. 15 Article A5 Grievance Procedures and Resolution p. 16 Article A6 Speculative Writing, Sample Pages and Unsolicited Scripts p. 21 Article A7 Copyright and Contracts; Warranties, Indemnities and Rights p. 23 Article A8 Story Editors and Story Consultants p. 28 Article A9 Credits p. 29 Article A10 Security for Payment p. 41 Article A11 Payments p. 43 Article A12 Administration Fee p. 50 Article A13 Insurance and Retirement Plan, Deductions from Writer’s Fees p. 51 Article A14 Contributions and Deductions from Writer’s Fees in the case of Waivers p. 52 Section B: Conditions Governing Engagement p. 54 Article B1 Conditions Governing Engagement for all Program Types p. 54 Article B2 Optional Bibles, Script/Program Development p. 60 Article B3 Options p. 61 Section C: Additional Conditions and Minimum Compensation by Program Type p. 63 Article C1 Feature Film p. 63 Article C2 Optional Incentive Plan for Feature Films p. 66 Article C3 Television Production (Television Movies) p. 71 Article C4 Television Production (Other than Television Movies) p. -
ANN Macnaughton
WIFVV INTERVIEW WIFVVANN INTERVIEW MacNAUGHTON WIFVV INTERVIEW WIFVV Ann MacNaughton shared her extensive experience as a MD: In all of that are actors’ schedules, up to speed with the characters and what beats writer and story editor with a Vancouver audience at the contractual obligations…. have to be hit to build the rest of the season. If you recent Trade Forum. Her credits include story editor on AM: Absolutely. The stars always get the A plots; have to bring in writers, you try to select episodes E.N.G., My Life as a Dog, and Danger Bay; writer on but who gets more A plots, or do you balance them that don’t have many series arcs in them, or you episodic TV including Riverdale, Street Legal, and all equally? There is a rhythm to the season just as simply ask for well-crafted stories set in the series Road to Avonlea; and co-producer on Traders. Writer much as to an episode. And you may have fifteen arena and add the arcs yourself. Michelle Demers hooked up with Ann after the Forum 7-day shoots, but have to build in seven 6-day Other series, like Wind at My Back, where the for an informative look into the world of story shoots; you may have one actor guaranteed four stories are more stand-alone—a set of characters are departments. days per episode, another only two days. You may defined but it’s not about their progress through be allowed no more than fifty extras per episode, the season, and the world is distinctive but not Michelle Demers: Tell us about the road here. -
Technical/Design?
Career & Employment Services (CES) www.uleth.ca/ross/ces What can I do with a Major in Technical/Design? The Technical/Design Program at the University of Lethbridge The Bachelor of Fine Arts (Dramatic Arts) is a four- year degree that provides vibrant and varied practical opportunities for students to immerse themselves in the world of theatre and drama. Students complete a core program of courses in theatre theory and history, performance, and technical theatre/design. Technical Design students are introduced to all areas For more information on the of production and design including scenery, Technical/Design Major at the U of L: properties, costumes, makeup, lighting, sound and http://www.uleth.ca/finearts/drama stage management through a combination of academic and production assignments. Students develop practical hands-on skills in a minimum of Faculty of Fine Arts two technical areas through production assignments. W660 University Centre for the Arts Qualifying senior-level students may have the Phone: 403-380-1864 opportunity for major technical or design Email: See Contact Website assignments on the Department Mainstage Academic Advising: productions. http://www.uleth.ca/finearts/departments/dram a/student-advising Students may also consider pursuing a combined Bachelor of Fine Arts (Dramatic Arts)/Bachelor of Education (Drama Education). Skills Developed • Active Listening & • Critical & Creative • Presentation Questioning Thinking • Problem-Solving • Adaptability • Demonstrate Creativity & • Reporting & Editing • Appreciation -
James Newton Howard
JAMES NEWTON HOWARD AWARDS/NOMINATIONS SATURN AWARD (2009) DARK KNIGHT Best Music * ACADEMY AWARD NOMINATION (2009) DEFIANCE Best Original Score BAFTA AWARD NOMINATION (2008) THE DARK KNIGHT Music * BROADCAST FILM CRITICS ASSOCIATION THE DARK KNIGHT NOMINATION (2008) Best Composer * GOLDEN GLOBE AWARD NOMINATION (2008) DEFIANCE Best Original Score GRAMMY AWARD AWARD (2008) DARK KNIGHT Best Score Soundtrack Album* iTUNES AWARD (2008) DARK KNIGHT Best Score* WORLD SOUNDTRACK AWARD (2008) CHARLIE WILSON’S WAR Film Composer of the Year MICHAEL CLAYTON I AM LEGEND ACADEMY AWARD NOMINATION (2008) MICHAEL CLAYTON Best Original Score INTERNATIONAL FILM MUSIC CRITICS ASSOCIATION NOMINATION (2007) Film Composer of the Year GRAMMY AWARD NOMINATION (2007) BLOOD DIAMOND Be st Score Soundtrack Album GOLDEN GLOBE AWARD NOMINATION (2005) KING KONG Best Original Score ACADEMY AWARD NOMINATION (2005) THE VILLAGE Best Original Score GRAMMY AWARD NOMINATION (2002) “Main Titles” from SIGNS Best Instrumental Composition EMMY AWARD (2001) GIDEON’S CROSSING Outstanding Main Title Theme Music The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 1 JAMES NEWTON HOWARD GRAMMY AWARD NOMINATION (2000) “The Egg Travels” from DINOSAUR Best Instrumental Composition ACADEMY AWARD NOMINATION (1997) MY BEST FRIEND’S WEDDING Best Original Musical or Comedy Score GRAMMY AWARD NOMINATION (1997) "For The First Time" Best Song Written for a Motion Picture or Television* from ONE FINE DAY ACADEMY AWARD NOMINATION (1996) "For The First Time" GOLDEN GLOBE AWARD NOMINATION from ONE FINE DAY (1996) Best Original Song* ACADEMY AWARD NOMINATION (1994) "Look What Love Has Done" GOLDEN GLOBE NOMINATION (1994) from JUNIOR Best Original Song* ACADEMY AWARD NOMINATION (1993) THE FUGITIVE Best Original Score ACADEMY AWARD NOM INATION (1991) THE PRINCE OF TIDES Best Original Score EMMY AWARD NOMINATION (1995) E.R. -
American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE