MFA Screenwriting Directory 2020
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International Casting Directors Network Index
International Casting Directors Network Index 01 Welcome 02 About the ICDN 04 Index of Profiles 06 Profiles of Casting Directors 76 About European Film Promotion 78 Imprint 79 ICDN Membership Application form Gut instinct and hours of research “A great film can feel a lot like a fantastic dinner party. Actors mingle and clash in the best possible lighting, and conversation is fraught with wit and emotion. The director usually gets the bulk of the credit. But before he or she can play the consummate host, someone must carefully select the right guests, send out the invites, and keep track of the RSVPs”. ‘OSCARS: The Role Of Casting Director’ by Monica Corcoran Harel, The Deadline Team, December 6, 2012 Playing one of the key roles in creating that successful “dinner” is the Casting Director, but someone who is often over-looked in the recognition department. Everyone sees the actor at work, but very few people see the hours of research, the intrinsic skills, the gut instinct that the Casting Director puts into finding just the right person for just the right role. It’s a mix of routine and inspiration which brings the characters we come to love, and sometimes to hate, to the big screen. The Casting Director’s delicate work as liaison between director, actors, their agent/manager and the studio/network figures prominently in decisions which can make or break a project. It’s a job that can't garner an Oscar, but its mighty importance is always felt behind the scenes. In July 2013, the Academy of Motion Pictures of Arts and Sciences (AMPAS) created a new branch for Casting Directors, and we are thrilled that a number of members of the International Casting Directors Network are amongst the first Casting Directors invited into the Academy. -
7.Castrillo-Echart
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Dadun, University of Navarra Pablo Castrillo Towards a narrative definition of [email protected] PhD Candidate and Lecturer. the American political thriller film University of Navarra. Spain. Pablo Echart Abstract [email protected] Senior Lecturer in The Hollywood political thriller is a film genre of unique Screenwriting. University of relevance in the United States, often acting as a reflection of the Navarra. Spain. fears and anxieties of its historical times. At the same time, however, the definition of its identity and boundaries still leaves Submitted room for further specification, perhaps due to the frequent June 4, 2015 consideration of the political thriller as part of the broader Approved September 30, 2015 categories of either thriller narratives or political films. By revising the available literature and filmography and analyzing the narrative features of the classical political thriller, this © 2015 Communication & Society article proposes a deeper definition of the genre that takes into ISSN 0214-0039 account the nature of the broader ‘thriller’ category of films E ISSN 2386-7876 springing from a specific mode of crime fiction that focuses on a doi: 10.15581/003.28.4. 109-123 www.communication-society.com victim or threatened individual as its protagonist, depicts and conveys intense emotional states, portrays an unbalanced and highly existentialist worldview, and travels into the 2015 – Vol. 28(4), pp. 109-123 extraordinary while at the same time holding on to very concrete expectations of verisimilitude. The political thriller How to cite this article: specifies this broader form of narration and links it to dramatic Castrillo, P. -
The Films of Raoul Walsh, Part 1
Contents Screen Valentines: Great Movie Romances Screen Valentines: Great Movie Romances .......... 2 February 7–March 20 Vivien Leigh 100th ......................................... 4 30th Anniversary! 60th Anniversary! Burt Lancaster, Part 1 ...................................... 5 In time for Valentine's Day, and continuing into March, 70mm Print! JOURNEY TO ITALY [Viaggio In Italia] Play Ball! Hollywood and the AFI Silver offers a selection of great movie romances from STARMAN Fri, Feb 21, 7:15; Sat, Feb 22, 1:00; Wed, Feb 26, 9:15 across the decades, from 1930s screwball comedy to Fri, Mar 7, 9:45; Wed, Mar 12, 9:15 British couple Ingrid Bergman and George Sanders see their American Pastime ........................................... 8 the quirky rom-coms of today. This year’s lineup is bigger Jeff Bridges earned a Best Actor Oscar nomination for his portrayal of an Courtesy of RKO Pictures strained marriage come undone on a trip to Naples to dispose Action! The Films of Raoul Walsh, Part 1 .......... 10 than ever, including a trio of screwball comedies from alien from outer space who adopts the human form of Karen Allen’s recently of Sanders’ deceased uncle’s estate. But after threatening each Courtesy of Hollywood Pictures the magical movie year of 1939, celebrating their 75th Raoul Peck Retrospective ............................... 12 deceased husband in this beguiling, romantic sci-fi from genre innovator John other with divorce and separating for most of the trip, the two anniversaries this year. Carpenter. His starship shot down by U.S. air defenses over Wisconsin, are surprised to find their union rekindled and their spirits moved Festival of New Spanish Cinema .................... -
Cue the Music: Music in Movies Kelsey M
Cedarville University DigitalCommons@Cedarville The Research and Scholarship Symposium The 2017 yS mposium Apr 12th, 3:00 PM - 3:30 PM Cue the Music: Music in Movies Kelsey M. DePree Cedarville University, [email protected] Follow this and additional works at: http://digitalcommons.cedarville.edu/ research_scholarship_symposium Part of the Composition Commons, Film and Media Studies Commons, and the Other Music Commons DePree, Kelsey M., "Cue the Music: Music in Movies" (2017). The Research and Scholarship Symposium. 5. http://digitalcommons.cedarville.edu/research_scholarship_symposium/2017/podium_presentations/5 This Podium Presentation is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in The Research and Scholarship Symposium by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. The Music We Watch Kelsey De Pree Music History II April 5, 2017 Music is universal. It is present from the beginning of history appearing in all cultures, nations, economic classes, and styles. Music in America is heard on radios, in cars, on phones, and in stores. Television commercials feature jingles so viewers can remember the products; radio ads sing phone numbers so that listeners can recall them. In schools, students sing songs to learn subjects like math, history, and English, and also to learn about general knowledge like the days of the week, months of the year, and presidents of the United States. With the amount of music that is available, it is not surprising that music has also made its way into movie theatres and has become one of the primary agents for conveying emotion and plot during a cinematic production. -
The Soundtrack: Putting Music in Its Place
The Soundtrack: Putting Music in its Place. Professor Stephen Deutsch The Soundtrack Vol 1, No 1, 2008 tbc Intellect Press http://www.intellectbooks.co.uk/journals.php?issn=17514193 Abstract There are currently many books and journals on film music in print, most of which describe music as a separate activity from film, applied to images most often at the very end of the production process by composers normally resident outside the filmic world. This article endeavours to modify this practice by placing music within the larger notion of “the soundtrack”. This new model assumes that irrespective of industrial determinants, the soundtrack is perceived by an audience as such a unity; that music, dialogue, effects and atmospheres are heard as interdependent layers in the sonification of the film. We often can identify the individual sonic elements when they appear, but we are more aware of the blending they produce when sounding together, much as we are when we hear an orchestra. To begin, one can posit a definition of the word ‘soundtrack’. For the purposes of this discussion, a soundtrack is intentional sound which accompanies moving images in narrative film1. This intentionality does not exclude sounds which are captured accidentally (such as the ambient noise most often associated with documentary footage); rather it suggests that any such sounds, however recorded, are deliberately presented with images by film-makers.2 All elements of the soundtrack operate on the viewer in complex ways, both emotionally and cognitively. Recognition of this potential to alter a viewer’s reading of a film might encourage directors to become more mindful of a soundtrack’s content, especially of its musical elements, which, as we shall see below, are likely to affect the emotional environment through which the viewer experiences film. -
Från: Ron Platzer Skickat: Den 13 December 2005 00:45 Till: Ron Platzer Ämne: BEST of 2005 Final Draft OK Folks, Here It Is
Från: Ron Platzer Skickat: den 13 december 2005 00:45 Till: Ron Platzer Ämne: BEST OF 2005 final draft OK folks, here it is - the Ron Platzer "Best Of 2005" list. So many great records this year, it was difficult to put this list together. And not only new releases, but also so many great reissues, and gigs. Be sure to take a close look at the "Watch 'Em In 2006" list for my picks for best hopefuls for the new year. Should be a good one. With that, thank you to every single label, manager, artist, and agent whose artist is represented here, for keeping music exciting and keeping my passion for it alive. All the best to you, for the upcoming holidays, and a safe and successful 2006 to you all. - Ron RON PLATZER'S FAVORITE RELEASES OF 2005 01. THE BLACK HALOS "Alive Without Control" (Liquor & Poker/Century Media) 02. HIM "Dark Light" (Sire/WBR) 03. AVENGED SEVENFOLD "City Of Evil" (WBR) 04. BACKYARD BABIES "Live Live In Paris" (RCA) 05. HELLACOPTERS "Rock & Roll Is Dead" (Universal Sweden) 06. DEPECHE MODE "Playing The Angel" (Reprise) 07. RICKY WARWICK "Love Many, Trust Few" (Sanctuary) 08. DANKO JONES "We Sweat Blood" (Razor & Tie) 09. THE DARKNESS "One Way Ticket To Hell...And Back" (Lava) 10. BULLET FOR MY VALENTINE "The Poison" (Trustkill/Jive) AMONG 2005's BEST 01. VAIN "On The Line" (Perris) 02. TURBONEGRO "Party Animals" (Abacus) 03. THE GLITTERATI "s/t" (Atlantic) 04. MY MORNING JACKET "Z" (RCA) 05. AEROSMITH "Rockin' The Joint" (Columbia) 06. AMERICAN MINOR "s/t" (Jive) 07. -
PROJECT LEE DAI SOH Print Gallery, 17 Jan – 3 Feb \ Box Office Foyer, 17 Jan – 13 Mar 10Am – 10Pm \ Free Admission
CONTENTS 01 DIRECTOR’S MESSAGE 02 FEATURED LITERARY ARTS - 06 TALKS 02 12 WORKSHOPS THE ARTS HOUSE TURNS 10 15 MUSIC 19 FILM 09 25 FESTIVAL WORLD Lit 27 VISUAL ARTS FEATURING FANG SU-CHEN 29 OTHER EVENTS 32 EVENT LISTINGS 34 SHOP & DINE 11 AT THE ARTS HOUSE AMANDA ANNANDA AND 36 SUPPORT THE LibRARY BOOK BOX THE ARTS HOUSE! 37 ABOUT THE ARTS HOUSE 26 19 WORLD STORYTELLING DAY BUT IS THE BOOK BEttER?: 2014 OSCAR BUZZ Information is accurate at the time of print and changes could have been made since. For updates, please visit our website at www.theartshouse.com.sg DIRECTOR’S MESSAGE The Arts House turns 10 this March! On March 26, 2004, the late war heroine Mrs Elizabeth Choy declared The Arts House open as the guest-of-honour. Her benediction gave us the boost of confidence – the skies did clear up after raining non-stop – and we have been on a mission ever since to fulfil our mandate as “the Singapore Arts House”. Thousands of performances, readings, exhibitions and film screenings later, and after supporting hundreds of Singapore artists (showcasing them abroad as well: Hong Kong, Tokyo, Moscow, Cape Town), we have finally reached this milestone. Through many ups and downs and various changes – physically, programmatically, and even financially – we have always stayed true to our vision of being an arts centre that is “all-encompassing and that is always relevant to the needs of the communities of Singapore”. We wanted to mark our 10th anniversary by celebrating our achievements but at the same time, we are also very eager to look forward to the future – to the next decade as a centre for writing, writers and ideas. -
To Film Sound Maps: the Evolution of Live Tone’S Creative Alliance with Bong Joon-Ho
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repository@Nottingham From ‘Screenwriting for Sound’ to Film Sound Maps: The Evolution of Live Tone’s Creative Alliance with Bong Joon-ho Nikki J. Y. Lee and Julian Stringer Abstract: In his article ‘Screenwriting for Sound’, Randy Thom makes a persuasive case that sound designers should be involved in film production ‘as early as the screenplay…early participation of sound can make a big difference’. Drawing on a critically neglected yet internationally significant example of a creative alliance between a director and post- production team, this article demonstrates that early participation happens in innovative ways in today’s globally competitive South Korean film industry. This key argument is presented through close analysis of the ongoing collaboration between Live Tone - the leading audio postproduction studio in South Korea – and internationally acclaimed director Bong Joon-ho, who has worked with the company on all six of his feature films to date. Their creative alliance has recently ventured into new and ambitious territory as audio studio and director have risen to the challenge of designing the sound for the two biggest films in Korean movie history, Snowpiercer and Okja. Both of these large-scale multi-language movies were planned at the screenplay stage via coordinated use of Live Tone’s singular development of ‘film sound maps’. It is this close and efficient interaction between audio company and client that has helped Bong and Live Tone bring to maturity their plans for the two films’ highly challenging soundscapes. -
Four Days in July That Rocked Indiana Pence’S Pursuit of Veep Nod, Holcomb’S Win at GOP Central Committee Were Bold Moves Toward November History by BRIAN A
V22, N15 Thursday, Nov. 17, 2016 Four days in July that rocked Indiana Pence’s pursuit of veep nod, Holcomb’s win at GOP Central Committee were bold moves toward November history By BRIAN A. HOWEY INDIANAPOLIS – When filing back through time to make sense of the Gov. Mike Pence and Lt. Gov. Eric Holcomb sensational Nov. 8 election that catapulted celebrate their Election Day victories that Gov. Mike Pence were forged by four momentus days in into global power July, including Trump’s visit to Indianapolis and capped Eric and Westfield. Holcomb’s unprec- edented rise in Indi- Republican presidential ticket with ana, it comes down Donald Trump. Except it was not fait to four days in July accompli. That wouldn’t happen until when the historic Friday, July 15. and fateful dramas unfolded. And on Monday July 25, after 22 Indiana Republi- On July 14, we witnessed cable breaking news can Central Committee members migrated back to Indiana reports of Gov. and Mrs. Pence disembarking on a charter from the Republican National Convention in Cleveland, the flight from Indianapolis to Teterboro, N.J., in what most thought was an obvious sign he was about to join the Continued on page 3 2016 winners and losers By MARK SOUDER FORT WAYNE – Every election results in individual and categorical winners and losers that impact the longer- term future of politics. Here are a few of my selections. Indiana winner: The Pence/Coats establishment. “The very worst choice you can It directed the quasi-slating of the victorious state ticket: Todd make is to opt out as a citizen, to Young for Senate, in part by give in to the cynicsm, the moving Eric Holcomb out and into position to become gover- despair and the anger. -
Act One Fade In: Int. Studio Backstage
30 ROCK 113: "The Head and The Hair" 1. Shooting Draft Third Revised (Yellow) 12/13/06 ACT ONE FADE IN: 1 INT. STUDIO BACKSTAGE - NIGHT 1 The show is in full swing. We hear a laugh from inside the studio, then applause and the band kicking in. The double doors burst open and JENNA, dressed as a fat old lady, LIZ, and a QUICK-CHANGE DRESSER enter the backstage chaos from the studio. In the background we see the STAGE MANAGER. STAGE MANAGER We’re back in two minutes! The dresser starts going to work on Jenna; tearing off a wig, casting aside props and jewelry. PETE is there. JENNA (to Liz) So are you gonna ask out the Head? Liz rolls her eyes. PETE The “Head”? LIZ There are these two MSNBC guys we keep seeing around. They just moved offices from New Jersey. We don’t know their names so we call them the Head and the Hair. PETE How come? FLASH BACK TO: 2 INT. ELEVATOR/ELEVATOR BANK - EARLIER THAT DAY 2 Liz and Jenna are on the elevator coming in to work. Two guys get on. One guy is super handsome and has great hair. This is THE HAIR, GRAY. The other guy is cranial and nerdy looking. This is THE HEAD. Liz smiles politely. Jenna gives the Hair a huge grin. GRAY Hey! You guys again. Jenna laughs too hard at this non-joke. 30 ROCK 113: "The Head and The Hair" 2. Shooting Draft Third Revised (Yellow) 12/13/06 JENNA How are things going? Are you settling in okay? GRAY We’re finding our way around. -
Telling Stories with Soundtracks: an Empirical Analysis of Music in Film
Telling Stories with Soundtracks: An Empirical Analysis of Music in Film Jon Gillick David Bamman School of Information School of Information University of California, Berkeley University of California, Berkeley [email protected] [email protected] Abstract (Guha et al., 2015; Kociskˇ y` et al., 2017), natural language understanding (Frermann et al., 2017), Soundtracks play an important role in carry- ing the story of a film. In this work, we col- summarization (Gorinski and Lapata, 2015) and lect a corpus of movies and television shows image captioning (Zhu et al., 2015; Rohrbach matched with subtitles and soundtracks and et al., 2015, 2017; Tapaswi et al., 2015), the analyze the relationship between story, song, modalities examined are almost exclusively lim- and audience reception. We look at the con- ited to text and image. In this work, we present tent of a film through the lens of its latent top- a new perspective on multimodal storytelling by ics and at the content of a song through de- focusing on a so-far neglected aspect of narrative: scriptors of its musical attributes. In two ex- the role of music. periments, we find first that individual topics are strongly associated with musical attributes, We focus specifically on the ways in which 1 and second, that musical attributes of sound- soundtracks contribute to films, presenting a first tracks are predictive of film ratings, even after look from a computational modeling perspective controlling for topic and genre. into soundtracks as storytelling devices. By devel- oping models that connect films with musical pa- 1 Introduction rameters of soundtracks, we can gain insight into The medium of film is often taken to be a canon- musical choices both past and future. -
LOGLINE January / February 2020 Volume 13: Number 1 the Screenwriter’S Ezine
LOGLINE January / February 2020 Volume 13: Number 1 The Screenwriter’s eZine Published by: Letter From the Editor The PAGE International Screenwriting Awards It’s a new year and a new day for screenwriters around the 7190 W. Sunset Blvd. #610 Hollywood, CA 90046 world! Here at PAGE HQ we hope you had a wonderful holiday www.pageawards.com season, feel recharged, and are ready to take the next step in your writing career. In this issue: One way to potentially make a major breakthrough: the 2020 LO PAGE Awards contest. Our Early Entry Deadline is now just 1 Latest News From two weeks away – Monday, January 20 – and with our low the PAGE Awards Early Entry Discount rates, now is the very best time to get your script in the running for one of this year’s awards. Many past PAGE Award winners have optioned and sold their scripts, been signed 2 The Writer’s by Hollywood representatives, and built highly successful careers in the industry. Perspective You could be next! Is It Ever “Too Late” to Chase Your Dream? As we begin lucky Volume 13 of the bimonthly LOGLINE eZine, we welcome new Erin Muroski readers to the publication designed to share industry intel and advice with all writers. First, 2019 PAGE Award winner Erin Muroski reflects on her rush to find success, and how she got over it. PAGE Judge Genie Joseph introduces us to three prevailing story 3 The Judge’s P.O.V. styles that inform a film from page to screen. Script consultant Ray Morton strikes a Three Styles of Story: balance between art and commerce and Dr.