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Michael Hirst Writer Agents Anthony Jones Associate Agent Danielle Walker [email protected] +44 (0) 20 3214 0858 Credits In Development Production Company Notes THE SIEGE OF LENINGRAD Range Media TV Mini-Series NAPOLEON Charles Finch OPIUM Endemol/Lucy Bedford/Shekhar Kapur LUCY CARRICK Caryn Mandabach Productions THE VOYAGE OF THE CATALPA NBC/World 2000 DOCTOR ZHIVAGO Hartswood Films Television Production Company Notes BILLY THE KID Epix Series 1 8 Episodes Showrunner/Writer VIKINGS VALHALLA MGM Consultant THE VIKINGS MGM/The History Seasons 1-6 (90 Episodes) Channel/Amazon with Travis Fimmer, Katheryn Winnick & Gabriel Byrne * Winner Best Television Series - Drama, Satellite Awards 2018 * Winner Best Drama, Irish Film & Television Awards 2016 * Winner Best International Drama, Canadian Screen Awards 2016 & 2015 United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes THE TUDORS Series Showtime / Reveille 38 Episodes 1 - 4 Director: Charles McDougall, Steve Shill with Jonathan Rhys Meyers, Sam Neill, Henry Cavill, Jeremy Northam, Maria Doyle Kennedy, Natalie Dormer * Nominated for Best Television Series – Drama, Golden Globe Awards 2007 * Nominated for Best Writing in a Dramatic Series, 23rd Annual Gemini Awards 2008 * Nominated for Best Drama Series, Irish Film & Television Awards 2009 HAVE NO FEAR: THE Lorenzo Minoli/ABC/Five Television Film LIFE OF POPE JOHN Mile River Films Ltd Director: Jeff Bleckner PAUL II with Thomas Kretschmann Film Production Company Notes ELIZABETH Working Title/Polygram Original Screenplay Directed by Shekhar Kapur Produced by Alison Owen, Tim Bevan, Eric Fellner with Cate Blanchette, Geoffrey Rush * BAFTA nomination for Best Original Screenplay 1999 UNCOVERED Filmania Productions Adapted from the novel by Arturo Perez-Reverte Directed by Jim McBride Produced by Affonso Beato with Kate Beckinsale, John Wood 1492: CONQUEST OF Paramount Rewrite PARADISE Directed by Ridley Scott MEETING VENUS Enigma/Warners/I Szabo Directed by Istvan Szabo with Glenn Close THE BALLAD OF THE SAD Merchant Ivory From the play by Edward Albee CAFE Directed by Simon Callow Produced by Walter Lassally with Vanessa Redgrave, Rod Steiger FOOLS OF FORTUNE Working Title Adapted from the novel by William Trevor Directed by Pat O’Connor with Iain Glen, Mary Elizabeth Mastrantonio, Julie Christie United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes WHEREVER YOU ARE Joint screenplay with Zanussi Directed by K Zanussi/M Forstater with Julian Sands THE DECEIVERS Merchant Ivory Adapted from the novel by John Masters Directed by Nicholas Meyer Produced by Walter Lassally with Perce Brosnan, Shashi Kapoor United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected].

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Trevor Morris
TREVOR MORRIS COMPOSER Trevor Morris is one of the most prolific and versatile composers in Hollywood. He has scored music for numerous feature films and won two EMMY awards for outstanding composition for his work in Television. Internationally renowned for his music on The Tudors, The Borgias, Vikings and the hit NBC television series Taken, Trevor is a stylistically and musically inventive soundtrack creator. Trevor’s unique musical voice can be heard on his recent film scores which include The Delicacy, Hunter Killer, Asura, Olympus Has Fallen, London Has Fallen, and Immortals. And further Television compositions including Another Life, Condor, Castlevania, The Pillars oF the Earth for Tony and Ridley Scott, Emerald City and Iron Fist for Marvel Television. Trevor has also worked as a co-producer/ conductor/ orchestrator on films including Black Hawk Down, The Last Samurai, The Ring Two, Pirates of the Caribbean, and Batman Begins and collaborated with Tony and Ridley Scott, Neil Jordan, Luc Besson, Jerry Bruckheimer, Antoine Fuqua, Tarsem Singh Dandwar, as well as composers James Newton Howard and Hans Zimmer. Trevor is also a Concert Conductor, conducting his music in live concert performances around the globe, including Film Music Festivals in Cordoba Spain, Tenerife Spain, Los Angeles, and Krakow Poland where he conducted a 100-piece orchestra and choir for over 12,000 fans. Trevor has been nominated 5 times for the prestigious EMMY awards, and won twice. As well as being nominated at the World Soundtrack Awards in Ghent for the ‘Discovery of the Year ‘composer award for the film Immortals. Trevor is a British/Canadian dual citizen, based in Los Angeles.
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JOANNA KATARZYNA PUCHALSKA* Vikings Television Series: When
The Polish Journal of the Arts and Culture Nr 15 (3/2015) / ARTICLE JOANNA KATARZYNA PUCHALSKA* (Jagiellonian University) Vikings Television Series: When History and Myth1 Intermingle ABSTRACT This article concentrates on the History Channel’s contemporary television series entitled Vikings. The author raises the issue of the popularity of the historical drama genre and the presence of Viking topics in popular culture. The text explains why it is difficult to accuse the producers of Vikings of incompetence when it comes to the real Vikings and their world. However, it is obvious that the creators of the series did not want to restrict their vision so at the same time the show cannot be perceived as a historical record. To substantiate such a thesis, the author devotes the main part of the article to the presentation of numerous historically doubtful or disputed traits which can be found in the Vikings series such as the problem of dates and personages, dubious geography and locations, anachronistic armour, description of the temple of Uppsala or the bloody-eagle rite. Viking women-warriors and ships are also discussed. The conclusion stresses the real phenomena showed in this tele- vision feature. KEY WORDS Vikings, history, historical fiction, popular culture 1 In this article I would generally like to follow the narrower definition of myth as a narration or story and as the term is popularly understood – i.e. a widely held belief, a fic- tion or an exaggerated or idealized conception – Słownik etnologiczny – terminy ogólne, red. Z. Staszczak, Warszawa–Poznań 1987; Oxford Dictionaries, [online] http://www.ox- forddictionaries.com/definition/english/myth [accessed: 30.05.2015].
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S Hit Drama Series Vikings Marks Its Final Season with a Powerful Two-Hour Premiere on Wednesday, December 4 at 9 P.M
HISTORY®’S HIT DRAMA SERIES VIKINGS MARKS ITS FINAL SEASON WITH A POWERFUL TWO-HOUR PREMIERE ON WEDNESDAY, DECEMBER 4 AT 9 P.M. ET/PT Twenty–Episode Season to Air in Two Parts Special Vikings: Worlds at War – with ET Canada Premieres Sunday, December 1 at 8:30 p.m. ET/PT on HISTORY Watch Season 6 Trailer Here For additional photography and press kit material visit: http://www.corusent.com To share this socially: bit.ly/2AFuFvr For Immediate Release TORONTO, October 7, 2019 – HISTORY’s hit drama series Vikings returns for its sixth and final season with a highly anticipated and powerful two-hour premiere kicking off Wednesday, December 4 at 9 p.m. ET/PT. For the past five seasons the Vikings have explored and conquered the known world, from early raids in England and the fierce battles of the Great Heathen Army to the heart-stopping death of Ragnar (Travis Fimmel), now the epic saga sails to monumental lengths throughout 20 compelling, definitive episodes. The 20-episode sixth season will air in two parts, beginning with a two-hour premiere on Wednesday, December 4 at 9 p.m. ET/PT, followed by eight episodes airing every Wednesday at 10 p.m. ET/PT on HISTORY. The remaining ten episodes of Season 6 are slated to air in 2020. Additionally, series regular Katheryn Winnick is set to helm one episode in Season 6, marking her directorial debut. Accompanying the series return is an all-new special, Vikings: Worlds at War – with ET Canada, premiering Sunday, December 1 at 8:30 p.m.
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P. J. DILLON, ISC Director of Photography
(11/21/19) P. J. DILLON, ISC Director of Photography www.pjdillon.com FILM & TELEVISION DIRECTOR COMPANIES PRODUCERS “THE FALCON AND THE Kari Skogland Marvel Studios Kevin Feige WINTER SOLDIER” Disney+ Zoie Nagelhout (Series) Malcolm Spellman “ALTERED CARBON” Various Netflix James Middleton (Season 2) Skydance Rose Lam “THE ROOK” Kari Skogland Lionsgate Stephen Garrett (Season 1, 2 Episodes) Starz Steve Clark-Hall “INTO THE BADLANDS” Various AMC Studios Alfred Gough (Season 3, 4 Episodes) Millar Gough Ink Miles Millar “THE ALIENIST” Jacob Verbruggen TNT Hossein Amini (Season 1, 3 Episodes) Various Paramount TV Cary Fukunaga Nomination: Emmy Award for Best Cinematography Anonymous Content Eric Roth “GAME OF THRONES” Mark Mylod HBO David Benioff (Season 7, 2 Episodes) Bighead Littlehead D.B. Weiss Television 360 Bernadette Caulfield Frank Doelger “VIKINGS” Various Irish Film Board Michael Hirst (Season 4, 6 Episodes) The History Channel Sheila Hockin (Season 5, 2 Episodes) “GAME OF THRONES” Mark Mylod HBO David Benioff (Season 6, 2 Episodes) Bighead Littlehead D.B. Weiss Television 360 Bernadette Caulfield “PENNY DREADFUL” Brian Kirk Showtime Networks Pippa Harris (Season 2, 2 Episodes) Neal Street Productions John Logan Desert Wolf Productions Sam Mendes “STRANGERLAND” Kim Farrant Fastnet Films Macdara Kelleher Worldview Entertainment Naomi Wenck “VIKINGS” Various Irish Film Board Michael Hirst (Seasons 2 & 3) The History Channel Sheila Hockin Nomination: American Society of Cinematographers (ASC) Award Nomination: Irish Film & Television
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Downloaded from Manchesterhive.Com at 09/29/2021 12:23:31AM Via Free Access Basil Glynn
1 4 The Tudors and the post-national, post-historical Henry VIII Basil Glynn The Tudors (2007–10) is a prime example of a relatively new type of post-national and post-historical television series that has become an established global alter- native to BBC costume drama. Drawing on international rather than specif- ically British ideals of nationhood, it often runs counter to received history 1 while the use of computer-generated imagery (CGI) gives it a contemporary rather than historical aesthetic. It also constitutes, as Ramona Wray contends, ‘an extraordinarily detailed take on the reign’ 2 of Henry VIII and is ‘with a total of thirty-eight episodes and a combined running time of almost thirty-fi ve hours’, as Sue Parrill and William B. Robinson observe, ‘by far the longest fi lmic event ever to deal with the Tudor dynasty’. 3 SCREENING HENRY BEFORE THE TUDORS As England’s most famous (or infamous) monarch, Henry VIII has featured prominently throughout the history of British national cinema, and his vari- ous on-screen incarnations could be argued to have revealed much about Britain and its national character. Raymond Durgnat famously suggested that national cinema serves as a window onto the society from which it arises 4 and Deborah Cartmell and I. Q. Hunter, considering British historical drama as such a window, claim that it has long been obsessed with periods associated with national greatness such as the Tudor, Jacobean and Victorian eras. The per- sistent representation of such eras, they argue, refl ects ‘both a British desire
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History®'S #1 Drama Vikings Returns Wednesday
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1 Original Movie Streaming Nov. 27, Only on Disney+ PRODUCTION NOTES from Disney+, “Black Beauty” — the Contemporary Reima
Original Movie Streaming Nov. 27, Only on Disney+ PRODUCTION NOTES From Disney+, “Black Beauty” — the contemporary reimagining of Anna Sewell’s classic novel — follows the life of a wild mustang Born free in the American West. Beauty’s world is turned upside down when she is cruelly rounded up, taken from her home and sent to live in a dusty corral. However, Beauty’s fortune is destined to turn, when a quiet and gentle horse whisperer named John Manly arrives from New York and notices her fiery spirit. Adopting Beauty for his training program at Birtwick StaBles, John is unsure if she can ever be tamed. Beauty is heartBroken and angry over the loss of all she’s ever known and does not trust the presence of humans. John’s world is upended when his niece, 17-year-old Jo Green, shows up on his doorstep. Similar to Beauty, Jo has just lost her parents and her spirit is close to Breaking. It is through their profound connection that Jo and Beauty begin the process of healing. The two forge an unBreakaBle bond that will last a lifetime, even after Beauty is taken away on a series of adventures with different owners. Through the seasons of her life, Beauty learns about joy, loss, heartBreak and the extraordinary power of love. “Black Beauty” stars Academy Award®-winner Kate Winslet (“The Reader”, “Titanic”) as the voice of Black Beauty, Mackenzie Foy (“Interstellar,” “The Nutcracker and the Four Realms”) as Jo Green, Iain Glen (“Game of Thrones,” “Lara Croft: Tomb Raider”) as John Manly, Claire Forlani (“Meet Joe Black,” “In the Name of the King”) as Mrs.
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The Future Is Female
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Susan O'connor Cave
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René Erwich “Someday Our Gods Will Be Friends” The VIKINGS Series as Embodiment of Religion and Liquefaction of Meaning Abstract This article reflects on the recent television series Vikings (CA/IE, 2013–) from a practi- cal-theological standpoint. It addresses the series as a serious expression of the relationship between film and religion. Narrative, reception, style and context are used deliberately to present themes related to the clash of pagan religion and Christianity. The article contends that the development and construction of Vikings can be viewed in light of a liquefaction of religion. Keywords Film and Theology, Practical Theology, Film as Embodiment of Religion, Liquefaction of Religion, Vikings Biography René Erwich is Principal of Whitley College, Melbourne, Australia, and full Professor of Prac- tical Theology at the University of Divinity, Melbourne. Before taking up his current position, Erwich was Research Professor in Theology at Ede Christian University, in the Netherlands. His interests are in the area of lived religion: media and religion, pastoral theology, narrative and ecclesiology. He is currently working on a book project on gender and theology. Introduction A quick scan of the Internet and other media reveals a variety of depictions and presentations of Vikings. In both the past and the present, “Viking” and “the Viking Age” have been used to conjure up a “warlike Viking tickling our imagination with horror and delight” or a fantasy figure and “male chauvinist symbol”. Both terms are present, Gunnar Andersson writes, in “authentic academic history and simulta- neously collective myth in the minds of millions, with social, economic, and political www.jrfm.eu 2020, 6/1, 103–126 “Someday Our Gods Will be Friends” | 103 DOI: 10.25364/05.06:2020.1.6 implications”.1 A constant interplay exists between research, knowledge and pres- ent use in the ways the ideas of the “Viking” and “the Viking Age” are addressed.
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Vikings, the Tudors, the Borgias, C’Est Statut Culturel Des Séries a Changé
26 FLASH-BACK QUAND L’HISTOIRE CRÈVE LE PETIT ÉCRAN LES SÉRIES TÉLÉVISÉES HISTORIQUES CONNAISSENT UN SUCCÈS POPULAIRE CONSIDÉRABLE. DES CHERCHEURS DE L’UNIVERSITÉ SE PENCHENT SUR LE PHÉNOMÈNE DR CAMPUS N°127 DOSSIER SÉRIES 27 QUAND L’HISTOIRE CRÈVE LE PETIT ÉCRAN SCÈNE TIRÉE DE « GAME OF THRONES ». INSPIRÉE DES ROMANS ÉCRITS PAR GEORGE R. R. MARTIN, CETTE SÉRIE SE DÉROULE DANS UN MOYEN-ÂGE IMAGINAIRE. 28 CAMPUS N°127 DOSSIER SÉRIES PHOTO DE FAMILLE AUTOUR DU PAPE RODRIGO BORGIA (1431-1503), JOUÉ PAR JEREMY IRONS DANS LA SÉRIE « THE BORGIAS ». es séries télévisées comme Game of Thrones, Band Sébastien Farré : C’est vrai mais, depuis les années 2000, le of Brothers, Vikings, The Tudors, The Borgias, c’est statut culturel des séries a changé. Les scénarios se basent avant tout du grand spectacle. Mais c’est aussi de désormais sur des expertises beaucoup plus rigoureuses. Ils L l’histoire. Ou, du moins, un traitement de l’histoire deviennent plus complexes et prennent plus d’épaisseur, ce qui, vu le succès planétaire de la plupart de ces productions qui est une des raisons de leur succès. En tant qu’historiens, et la fascination qu’elles provoquent auprès du public, est nous aurions eu plus de peine à mettre sur pied un tel cycle susceptible d’influencer notre regard sur le passé. Les cher- de conférences il y a 30 ans, lorsque les séries dominantes cheurs de la Maison de l’histoire l’ont bien compris et se sont étaient Madame est servie, Dallas, Santa Barbara ou encore lancés dans une entreprise audacieuse consistant à organiser Shérif fais-moi peur.
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THE VIKINGS, EPISODE 1.Fdr Script
THE VIKINGS Episode 1 Written by Michael Hirst December 7, 2011 © 2011 TM Productions Limited. All Rights Reserved. TM Productions Ltd. Ardmore Studios Bray, Co Wicklow THE VIKINGS. EPISODE 1: RITES OF PASSAGE TEASER A young Viking, RAGNAR LOTHBROK is engaged in a fight to the death with two LATVIAN WARRIORS, distinguishable by their eastern-looking clothing. Ragnar has been fighting a long time. His torso is smeared with blood, like his sword, and the bodies of the dead lie scattered around. The Latvians are bigger and heavier but we quickly appreciate Ragnar’s weapon skills and speed of thought, blocking the blows of the axes with sword and shield and weaving out of range. We also see that one of the Latvian’s is already badly wounded, with blood streaming from a wound in his head. Ragnar concentrates on him for a moment, thrusting, turning him, twisting away so the warrior wastes his diminishing energy slicing thin air with his axe and bellowing angrily. Finally he stumbles and Ragnar drives his sword into his chest. But at the same moment the second Latvian attacks from behind, swinging down his axe for a mighty blow. Ragnar pivots round, his shield taking the full force of the blow, leaving the axe-head embedded in the wood. Aghast, unable to free his weapon, the Latvian abandons it and starts to run. Very calmly, Ragnar pulls a spear out of the body of one of the dead and hurls it after the running man. Speared clean through the back the warrior falls. Ragnar, suddenly as weary as death, trudges a few yards up the slope and surveys the rest of the battle field.
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