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JEREMY WOODWARD Production Designer As Production Designer: EMERGENCY dir: Carey Williams Amazon Studios MOTHER/ANDROID dir: Mattson Tomlin Miramax ANTEBELLUM dir: Gerard Bush, Christopher Renz Lionsgate SOUND OF METAL dir: Darius Marder Amazon Studios Winner – Independent Spirit Award for Best Feature Toronto International Film Festival, World Premiere Nomination – Academy Award for Best Motion Picture UNTITLED ELI ROTH PROJECT dir: Eli Roth Miramax (prep only, film postponed) DR. BIRD’S ADVICE FOR SAD POETS dir: Yaniv Raz Kreate Films SLENDER MAN dir: Sylvain White Screen Gems THOROUGHBREDS dir: Cory Finley Focus Features Sundance Film Festival, Up Next As Art Director: CITY ON A HILL (Pilot) dir: Michael Cuesta, Gavin O’Connor Showtime Production Designer: Keith Cunningham LIVE BY NIGHT (Boston Unit) dir: Ben Affleck Warner Bros. Production Designer: Jess Gonchor GOLD (Thailand Unit) dir: Stephen Gaghan Black Bear Pictures Production Designer: Maria Djurkovic THE DEVIL YOU KNOW (Pilot) dir: Gus Van Sant HBO Production Designer: Maria Djurkovic BLACK MASS dir: Scott Cooper Warner Bros. Production Designer: Stefania Cella THE WAY WAY BACK dir: Nat Faxon, Jim Rash Fox Searchlight Production Designer: Mark Ricker BROTHERHOOD (Season 3) EP: Blake Masters Showtime Production Designer: Chad Detwiller As Assistant Art Director: OLIVE KITTERIDGE (miniseries) dir: Lisa Cholodenko HBO Production Designer: Julie Berghoff As Set Designer: THE EQUALIZER dir: Antoine Fuqua Columbia Pictures Production Designer: Naomi Shohan AMERICAN HUSTLE dir: David O. Russell Columbia Pictures Production Designer: Judy Becker MOONRISE KINGDOM dir: Wes Anderson Focus Features Production Designer: Adam Stockhausen THE TOWN dir: Ben Affleck Warner Bros. Production Designer: Sharon Seymour THE INVENTION OF LYING dir: Ricky Gervais, Matthew Robinson Warner Bros. Production Designer: Alec Hammond HACHI: A DOG’S TALE dir: Lasse Hallström Sony Pictures Production Designer: Chad Detwiller TELL TALE dIr: Michael Cuesta Quality Films Production Designer: Patti Podesta www.designforstorytelling.com 9465 Wilshire Blvd. 6th Floor 41 Madison Ave. 29th Floor Beverly Hills, CA 90212 New York, NY 10010 Main 310.274.6611 Main 212.997.1818 .

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GLAAD Media Institute Began to Track LGBTQ Characters Who Have a Disability
Studio Responsibility IndexDeadline 2021 STUDIO RESPONSIBILITY INDEX 2021 From the desk of the President & CEO, Sarah Kate Ellis In 2013, GLAAD created the Studio Responsibility Index theatrical release windows and studios are testing different (SRI) to track lesbian, gay, bisexual, transgender, and release models and patterns. queer (LGBTQ) inclusion in major studio films and to drive We know for sure the immense power of the theatrical acceptance and meaningful LGBTQ inclusion. To date, experience. Data proves that audiences crave the return we’ve seen and felt the great impact our TV research has to theaters for that communal experience after more than had and its continued impact, driving creators and industry a year of isolation. Nielsen reports that 63 percent of executives to do more and better. After several years of Americans say they are “very or somewhat” eager to go issuing this study, progress presented itself with the release to a movie theater as soon as possible within three months of outstanding movies like Love, Simon, Blockers, and of COVID restrictions being lifted. May polling from movie Rocketman hitting big screens in recent years, and we remain ticket company Fandango found that 96% of 4,000 users hopeful with the announcements of upcoming queer-inclusive surveyed plan to see “multiple movies” in theaters this movies originally set for theatrical distribution in 2020 and summer with 87% listing “going to the movies” as the top beyond. But no one could have predicted the impact of the slot in their summer plans. And, an April poll from Morning COVID-19 global pandemic, and the ways it would uniquely Consult/The Hollywood Reporter found that over 50 percent disrupt and halt the theatrical distribution business these past of respondents would likely purchase a film ticket within a sixteen months.
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DAN LEIGH Production Designer
(3/31/17) DAN LEIGH Production Designer FILM & TELEVISION DIRECTOR COMPANIES PRODUCERS “GYPSY” Sam Taylor-Johnson Netflix Rudd Simmons (TV Series) Scott Winant Universal Television Tim Bevan “THE FAMILY” Paul McGuigan ABC David Hoberman (Pilot / Series) Mandeville Todd Lieberman “FALLING WATER” Juan Carlos Fresnadillo USA Gale Anne Hurd (Pilot) Valhalla Entertainment Blake Masters “THE SLAP” Lisa Cholodenko NBC Rudd Simmons (TV Series) Michael Morris Universal Television Ken Olin “THE OUTCASTS” Peter Hutchings BCDF Pictures Brice Dal Farra Claude Dal Farra “JOHN WICK” David Leitch Thunder Road Pictures Basil Iwanyk Chad Stahelski “TRACERS” Daniel Benmayor Temple Hill Entertainment Wyck Godfrey FilmNation Entertainment D. Scott Lumpkin “THE AMERICANS” Gavin O'Connor DreamWorks Television Graham Yost (Pilot) Darryl Frank “VAMPS” Amy Heckerling Red Hour Adam Brightman Lucky Monkey Stuart Cornfeld Molly Hassell Lauren Versel “PERSON OF INTEREST” Various Bad Robot J.J. Abrams (TV Series) CBS Johanthan Nolan Bryan Burk Margot Lulick “WARRIOR” Gavin O’Connor Lionsgate Greg O’Connor Solaris “MARGARET” Kenneth Lonergan Mirage Enterprises Gary Gilbert Fox Searchlight Sydney Pollack Scott Rudin “BRIDE WARS” Gary Winick Firm Films Alan Riche New Regency Pictures Peter Riche Julie Yorn “THE BURNING PLAIN” Guillermo Arriaga 2929 Entertainment Laurie MacDonald Walter F. Parkes SANDRA MARSH & ASSOCIATES Tel: (310) 285-0303 Fax: (310) 285-0218 e-mail: [email protected] (3/31/17) DAN LEIGH Production Designer ---2-222---- FILM & TELEVISION COMPANIES
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Laurel Canyon Pressbook Revised
FRANCES McDORMAND CHRISTIAN BALE KATE BECKINSALE NATASCHA McELHONE and ALESSANDRO NIVOLA in “LAUREL CANYON” a film by Lisa Cholodenko 103 Minutes. Rated R by the MPAA. A Sony Pictures Classics Release. EAST COAST: WEST COAST: EXHIBITOR CONTACTS: MAGIC LANTERN, INC. BLOCK -KORENBROT SONY PICTURES CLASSICS JESSICA UZZAN MELODY KORENBROT CARMELO PIRRONE AMY GORDON ZIGGY KOZLOWSKI MARISSA MANNE 250 WEST 57TH STREET 8271 MELROSE AVENUE, 550 MADISON AVENUE, SUITE 1718 SUITE 200 8TH FLOOR NEW YORK, NY 10107 LOS ANGELES, CA 90046 NEW YORK, NY 10022 PHONE: (212) 586-7233 PHONE: (323) 655-0593 PHONE: (212) 833-8833 FAX: (212) 586-7282 FAX: (323) 655-7302 FAX: (212) 833-8844 www.magiclanternpr.com Visit the Sony Pictures Classics internet site at: http:/www.sonyclassics.com 1 LAUREL CANYON Cast Jane FRANCES McDORMAND Sam CHRISTIAN BALE Alex KATE BECKINSALE Sara NATASCHA McELHONE Ian ALESSANDRO NIVOLA Fripp LOUIS KNOX BARLOW Rowan RUSSELL POLLARD Dean IMAAD WASIF Mickey MICKEY PETRALIA Claudia MELISSA DE SOUSA Darla ALEXANDRA CARTER China MICHELLE DEMIRJIAN Wyatt RICK GONZALEZ Mr. Elliot DENNIS HOWARD Mrs. Elliot CATHERINE McGOOHAN Woman 1 JUDITH MONTGOMERY Woman 2 PATRICIA PLACE Cambridge party guest #1 WILLO HAUSMAN Cambridge party guest #2 GREG WOLFSON Cambridge party guest #3 BRANDY NIGHTINGALE stewardess CATHARINE SCOTT Tom MARCUS ASHLEY Hospital patient #1 LYLE KANOUSE Hospital patient #2 MARCIA CHOLODENKO Gloria GINA DOCTOR Landlord LAURI JOHNSON Manager TOM GRIFFITHS ER doctor REEF KARIM Elderly man LOU CUTELL Elderly man’s dog ZEUS Justin NICK KIRIAZIS Laura HEIDI SULZMAN Mark ARIEL FELIX Debby MARIE BLANCO Room service guy TED KOLAND Concierge PHILIP PAVEL Doctor MARK ROGERSON Soft rocker JUSTIN MELDAL-JOHNSEN Mark Linkous HIMSELF Daniel Lanois HIMSELF 2 LAUREL CANYON Filmmakers Written and Directed By LISA CHOLODENKO Producers SUSAN A.
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How Are the Major Streaming Services Reshaping the Film Industry
How Are the Major Streaming Services Reshaping the Film Industry Master Thesis MSc Strategy, Organization and Leadership Submission: May 9th, 2018 Normal pages: 106 (237.228 characters incl. spaces) Supervisor: Mehran Moghaddas (DVIP, INT) Students: Viktoria Vas & Gerda Binkyte Copenhagen Business School 2018 Abstract The paper examines the effects major streaming services, such as Netflix, Amazon, HBO have on the Danish film industry, and seeks to identify how individual producers and independent production companies in the country can exploit the rising opportunities. The research used a mix of deductive and inductive reasoning in the analysis, for which twelve semi-structured in-depth interviews were conducted with industry professionals from Denmark over the course of five weeks. This led to insightful findings that can be used for further researches for both academics and professionals. The analysis built on theories discussed in the literature review; Porter’s five forces (Porter, 1979), supply chain, emerging strategy (Mintzberg, 1987), marketing mix, four trajectories of change (McGahan, 2004). The findings include changes in certain links in the supply chain of film production, such as; affects on producers and film financing, changes in sales and distribution. While for producers SVOD services mainly bring additional financing opportunities, decreasing the power of DFI and the national broadcasters, sales agents and distribution is highly affected. Sales agents will need to adapt to the changing conditions, and transform themselves from traditional sales agents to agents who offer extra services for their clients. Distribution is affected in a way that its release windows system is disrupted and shortening some of these windows might not be avoided in the future.
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Larry D. Horricks Society of Motion Picture Stills Photographers
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Gabriel Mann Composer & Songwriter
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DISNEYLAND Grand Opening on 7/17/1955 the Happiest Place on Earth Wasn't Anything of the Sort for 13 Months of Pandemic Closure
Monday, July 19, 2021 | No. 177 Film Flashback…DISNEYLAND Grand Opening on 7/17/1955 The Happiest Place on Earth wasn't anything of the sort for 13 months of pandemic closure. But, happily, Disneyland began coming back to life in late April and by June 15 wasn't facing any capacity restrictions. Now it's celebrating the 66th anniversary of its Grand Opening July 17, 1955. To help finance Disneyland's construction in Anaheim, Calif., which began July 16, 1954, Walt Disney struck a deal with the then fledgling ABC-TV Network to produce the legendary DISNEYLAND series. For helping Walt raise the $17M he needed -- about $135M today -- ABC also got the right to broadcast the opening day events. Originally, July 17 was just an International Press Preview and July 18 was to be the official launch. But July 17's been remembered over the years as the Big Day thanks to ABC's live coverage -- despite things not having gone well with the show hosted by Walt's Hollywood pals Art Linkletter, Bob Cummings & Ronald Reagan. Live TV was in its infancy then and the miles of camera cables it used had people tripping all over the park. In Frontierland, a camera caught Cummings kissing a dancer. Walt was reading a plaque in Tomorrowland on camera when a technician started talking to him, causing Walt to stop and start again from the beginning. Over in Fantasyland, Linkletter sent the coverage back to Cummings on a pirate ship, but Bob wasn't ready, so he sent it right back to Art, who no longer had his microphone.
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BEST PICTURE Director Actor in a Leading Role ACTRESS in A
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Freeandfreak Ysince
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Television Academy Awards
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FERGUSON, Scott
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Race in Hollywood: Quantifying the Effect of Race on Movie Performance
Race in Hollywood: Quantifying the Effect of Race on Movie Performance Kaden Lee Brown University 20 December 2014 Abstract I. Introduction This study investigates the effect of a movie’s racial The underrepresentation of minorities in Hollywood composition on three aspects of its performance: ticket films has long been an issue of social discussion and sales, critical reception, and audience satisfaction. Movies discontent. According to the Census Bureau, minorities featuring minority actors are classified as either composed 37.4% of the U.S. population in 2013, up ‘nonwhite films’ or ‘black films,’ with black films defined from 32.6% in 2004.3 Despite this, a study from USC’s as movies featuring predominantly black actors with Media, Diversity, & Social Change Initiative found that white actors playing peripheral roles. After controlling among 600 popular films, only 25.9% of speaking for various production, distribution, and industry factors, characters were from minority groups (Smith, Choueiti the study finds no statistically significant differences & Pieper 2013). Minorities are even more between films starring white and nonwhite leading actors underrepresented in top roles. Only 15.5% of 1,070 in all three aspects of movie performance. In contrast, movies released from 2004-2013 featured a minority black films outperform in estimated ticket sales by actor in the leading role. almost 40% and earn 5-6 more points on Metacritic’s Directors and production studios have often been 100-point Metascore, a composite score of various movie criticized for ‘whitewashing’ major films. In December critics’ reviews. 1 However, the black film factor reduces 2014, director Ridley Scott faced scrutiny for his movie the film’s Internet Movie Database (IMDb) user rating 2 by 0.6 points out of a scale of 10.
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