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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. -
Television Has Long Upheld an Unspoken Rule: a Female Character May Be Beautiful Or Angry, but Never Both
PRETTY HURTS Television has long upheld an unspoken rule: A female character may be beautiful or angry, but never both. A handful of new shows prove that rules were made to be broken BY JULIA COOKE Shapely limbs swollen and wavering under longer dependent on men to be effective.” Woodley’s Jane runs hard and fast, flashing water, lipstick wiped off a pale mouth with a These days, injustice—often linked to the back to scenes of her rape and packing a gun in yellow sponge, blonde bangs caught in the zip- tangled ramifications of a heroine’s beauty— her purse to meet with a man who might be the per of a body bag: Kristy Guevara-Flanagan’s gives women license to take all sorts of juicy perpetrator. Their anger is nuanced, caused by 2016 short film What Happened to Her collects actions that are far more interesting than a range of situations, and on-screen they strug- images of dead women in a 15-minute montage killing. On Marvel’s Jessica Jones, it’s fury at gle to tame it into something else: self-defense, culled mostly from crime-based television dra- being raped and manipulated by the evil Kil- loyalty, grudges, power, career. mas. Throughout, men stand murmuring over grave that spurs the protagonist to become the The shift in representation aligns with the beautiful young white corpses. “You ever see righteously bitchy superhero she’s meant to increasing number of women behind cameras something like this?” a voice drawls. be. When her husband dumps her for his sec- in Hollywood. -
James Kent Director
James Kent Director Agents Natasha Galloway Associate Agent Talia Tobias [email protected] + 44 (0) 20 3214 0860 Credits Film Production Company Notes THE AFTERMATH Scott Free/Fox Producers: Jack Arbuthnott, Ridley Scott, Malte 2019 Searchlight/BBC Films Grunert Starring: Keira Knightley, Alexander Skarsgard, Jason Clarke TESTAMENT OF Heyday Films Prods: Rosie Alison, David Heyman YOUTH Starring Alicia Vikander, Kit Harington, Taron 2014 Egerton, Emily Watson, Dominic West, Hayley Atwell and Miranda Richardson Documentaries Production Company Notes ONE STRANGE ROCK Nutopia Producer: Darren Aronofsky, Starring: Will Smith 2018 Television Production Company Notes THE CAPTURE II Heyday/BBC/NBC Lead Director. Producers: Rosie Alison, 2021 Kristian Dench, Ben Chanan. Starring: Holliday Grainger, Paapa Essiedu, Ron Perlman. 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 MOTHER FATHER SON BBC Studios Lead director. 2019 Producers: Hilary Salmon, Lisa Osborne, Alan Poul, Sharon Bloom Starring: Richard Gere, Helen McCrory, Sarah Lancashire, Billy Howle SPARK ABC Pilot 2016 Prods: Ian Sander, Kim Moses Starring Lena Olin, Rege-Gene Page, Tracy Ifeachor AMERICAN CRIME II ABC Prods: John Ridley, Michael MacDonald 2015 Starring Felicity Huffman, Timothy Hutton Regina King 11/22/63 Bad Robot / Warner Prods: JJ Abrams, Bridget Carpenter 2015 Bros TV Starring: James Franco, Chris Cooper, Sarah Gadon THE THIRTEENTH TALE Heyday Films Director. 90min film for BBC2. 2013 Written by Christopher Hampton. Starring Vanessa Redgrave and Olivia Colman *Winner, C21 Media awards 'Best Miniseries'. THE WHITE QUEEN BBC/Starz Lead Director. -
The Commuter Production Notes
THE COMMUTER PRODUCTION NOTES RELEASE DATES Australia, New Zealand & Germany (STUDIOCANAL): January 11th 2018 US (Lionsgate): January 12th 2018 UK (STUDIOCANAL): January 19th 2018 France (STUDIOCANAL): January 24th 2018 CONTACTS [email protected] [email protected] [email protected] [email protected] 1 ABOUT THE PRODUCTION Following the worldwide success of Unknown, Non-Stop and Run All Night, star Liam Neeson and director Jaume Collet-Serra reunite for a fourth time with explosive thriller THE COMMUTER about one man‘s frantic quest to prevent disaster on a packed commuter train. The screenplay proved irresistible to both the director and star, not just for the bravura of the action and the thrill of the suspense but for the moral conundrum the protagonist is faced with and the consequences it has on him, the passengers on the train and his family at home. “THE COMMUTER asks the audience, if someone asked you to do something that seems insignifi- cant but you’re not sure of the outcome in exchange for a considerable financial reward, would you do it?” says Jaume Collet-Serra. “That‘s the philosophical choice that our central character - a man of 60 who’s just been fired, has no savings and is mortgaged to the hilt - is faced with. Is he think- ing just about himself or is he going to take into consideration the possible moral consequences of what he’s asked to do? That’s the question we want the audience to ask themselves.” For Neeson, it was also the story’s real-time narrative that gives it a thrilling momentum. -
You Can Find Details of All the Films Currently Selling/Coming to Market in the Screen
1 Introduction We are proud to present the Fís Éireann/Screen Irish screen production activity has more than Ireland-supported 2020 slate of productions. From doubled in the last decade. A great deal has also been comedy to drama to powerful documentaries, we achieved in terms of fostering more diversity within are delighted to support a wide, diverse and highly the industry, but there remains a lot more to do. anticipated slate of stories which we hope will Investment in creative talent remains our priority and captivate audiences in the year ahead. Following focus in everything we do across film, television and an extraordinary period for Irish talent which has animation. We are working closely with government seen Irish stories reach global audiences, gain and other industry partners to further develop our international critical acclaim and awards success, studio infrastructure. We are identifying new partners we will continue to build on these achievements in that will help to build audiences for Irish screen the coming decade. content, in more countries and on more screens. With the broadened remit that Fís Éireann/Screen Through Screen Skills Ireland, our skills development Ireland now represents both on the big and small division, we are playing a strategic leadership role in screen, our slate showcases the breadth and the development of a diverse range of skills for the depth of quality work being brought to life by Irish screen industries in Ireland to meet the anticipated creative talent. From animation, TV drama and demand from the sector. documentaries to short and full-length feature films, there is a wide range of stories to appeal to The power of Irish stories on screen, both at home and all audiences. -
157: 10 Favorite Things I Watched This Year
157: 10 Favorite Things I Watched This Year Hi guys. Before we get started, I wanted to let you know, today is the final day to sign up to receive the Quiet Collection for Christmas. Thousands of you have signed up to receive the brand-new, 10-day audio devotional series I created just for us in 2020. And many of you have come back and purchased the collection as gifts for others. We make that super easy for you to get it for yourself or for a group, large or small. Simply visit emilypfreeman.com/christmas to learn more and sign up today. All right. Now back to your regularly scheduled podcast episode. I’m Emily P. Freeman, and welcome to The Next Right Thing. You’re listening to episode 157. This is a podcast about making decisions, but also about making a life. Every week, I invite anyone who struggles with decision fatigue or chronic hesitation to join me for a few minutes for a thoughtful story, a little prayer, and a simple next right step. This month on the podcast, I’m changing up the format a bit, and I want to invite you into a final mini-series of the year where I’m sharing some of my next right favorite things. Last episode, I shared five books I read this year and in this one, I want to share 10 favorite things I watched, because next month, The Next Right Thing guided journal will hit bookshelves around the country, and one of the reflections in the book is a page that I call A Happy List. -
Is an Immersive and Intense Journey That Digs Deep Into Each of Its Main Characters’ Souls
ADVERTISEMENT IS AN IMMERSIVE AND INTENSE JOURNEY THAT DIGS DEEP INTO EACH OF ITS MAIN CHARACTERS’ SOULS. JANUARY 2, 2020 US $9.99 JAPAN ¥1280 CANADA $11.99 CHINA ¥80 UK £ 8 HONG KONG $95 EUROPE €9 RUSSIA 400 AUSTRALIA $14 INDIA 800 3 GOLDEN GLOBE® NOMINATIONS INCLUDING DRAMA BEST DIRECTOR BEST PICTURE SAM MENDES CRITICS’ CHOICE AWARDS NOMINATIONS INCLUDING 8 BEST DIRECTOR BEST PICTURE SAM MENDES THE BEST OF THE LIKE NO FILM YOU A MASTERWORK OF PICTURE YEAR IS HAVE SEEN. THE FIRST ORDER. YOU COULDN’T LOOK AWAY IF YOU WANTED TO. GOLDEN GLOBES YEARS HER MOMENT FOLLOWING ACCLAIMED ROLES IN ‘BOMBSHELL’ AND ‘ONCE UPON A TIME IN HOLLYWOOD,’ ACTOR-PRODUCER MARGOT ROBBIE STORMS THE NEW YEAR WITH A FLURRY OF CREATIVE ENDEAVORS BY KATE AURTHUR P.5 0 P.50 Hollywood on Her Terms Margot Robbie is charging ahead as both an actor and a producer, carving a path for other women along the way. By KATE AURTHUR P.58 Creative Champion AMC Networks programming chief Sarah Barnett competes with streamers by nurturing creators of new cultural hits. By DANIEL HOLLOWAY P.62 Variety Digital Innovators 2020 Twelve leading minds in tech and entertainment are honored for pushing content boundaries. By TODD SPANGLER and JANKO ROETTGERS HANEL; HAIR: BRYCE SCARLETT/THE WALL GROUP/MOROCCAN OIL; MANICURE: TOM BACHIK; DRESS: CHANEL BACHIK; OIL; MANICURE: TOM GROUP/MOROCCAN WALL SCARLETT/THE HANEL; HAIR: BRYCE VARIETY.COM JANUARY 2, 2020 JANUARY (COVER AND THIS PAGE) PHOTOGRAPHS BY ART STREIBER; WARDROBE: KATE YOUNG/THE WALL GROUP; MAKEUP: PATI DUBROFF/FORWARD ARTISTS/C -
Film Tourism: What Is It, and How Can You Maximise the Beneits? Introduction
Film Tourism: What is it, and how can you maximise the beneits? Introduction Film and TV production in the UK is on the rise. Production in 2014 was up a massive 35% from the year before to the highest ever recorded level. The vast majority of this growth has been spurred on by inward investment from international productions. Supported by a competitive tax credit regime for ilm and television drama, even more productions are expected to ilm here in the coming years, meaning that audiences around the world will see more of the UK’s rich and varied locations on screen than ever before. This ilm tourism toolkit provides guidance and case studies for potential ilm locations on how to maximise the potential of ilm tourism. New College Cloisters, Oxford where Harry Potter was ilmed © VisitEngland, VisitOxfordshire Alnwick Castle The Tourism Opportunity Film and TV productions can be a powerful way to add proile to a nation’s tourism ofer, both at home and abroad - they can help to showcase a country’s natural and cultural assets; inform, inspire and inluence travel decisions and help to market and grow local visitor economies. Creative England, in association with VisitEngland and Olsberg SPI, recently produced a new report to identify the value of ilm and television tourism to England and explore how local areas can capitalise on this growing phenomenon. Victoria Baths, Manchester © Mark Payne Key Findings • International core screen tourism in England (outside of London) was worth between £100 million-£140 million in 2014. • All eight locations at which surveys were carried were found to be attracting international or domestic visitors who said they would not have travelled there if they had not seen the associated ilm or television drama. -
A IDEOLOGICAL CRITICISM of DOCTOR WHO Noah Zepponi University of the Pacific, [email protected]
University of the Pacific Scholarly Commons University of the Pacific Theses and Dissertations Graduate School 2018 THE DOCTOR OF CHANGE: A IDEOLOGICAL CRITICISM OF DOCTOR WHO Noah Zepponi University of the Pacific, [email protected] Follow this and additional works at: https://scholarlycommons.pacific.edu/uop_etds Part of the Communication Commons Recommended Citation Zepponi, Noah. (2018). THE DOCTOR OF CHANGE: A IDEOLOGICAL CRITICISM OF DOCTOR WHO. University of the Pacific, Thesis. https://scholarlycommons.pacific.edu/uop_etds/2988 This Thesis is brought to you for free and open access by the Graduate School at Scholarly Commons. It has been accepted for inclusion in University of the Pacific Theses and Dissertations by an authorized administrator of Scholarly Commons. For more information, please contact [email protected]. 2 THE DOCTOR OF CHANGE: A IDEOLOGICAL CRITICISM OF DOCTOR WHO by Noah B. Zepponi A Thesis Submitted to the Graduate School In Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS College of the Pacific Communication University of the Pacific Stockton, California 2018 3 THE DOCTOR OF CHANGE: A IDEOLOGICAL CRITICISM OF DOCTOR WHO by Noah B. Zepponi APPROVED BY: Thesis Advisor: Marlin Bates, Ph.D. Committee Member: Teresa Bergman, Ph.D. Committee Member: Paul Turpin, Ph.D. Department Chair: Paul Turpin, Ph.D. Dean of Graduate School: Thomas Naehr, Ph.D. 4 DEDICATION This thesis is dedicated to my father, Michael Zepponi. 5 ACKNOWLEDGEMENTS It is here that I would like to give thanks to the people which helped me along the way to completing my thesis. First and foremost, Dr. -
Brian Tufano BSC Resume
BRIAN TUFANO BSC - Director of Photography FEATURE FILM CREDITS Special Jury Prize for Outstanding Contribution To British Film and Television - British Independent Film Awards 2002 Award for Outstanding Contribution To Film and Television - BAFTA 2001 EVERYWHERE AND NOWHERE Director: Menhaj Huda. Starring Art Malik, Amber Rose Revah, Adam Deacon, Producers: Menhaj Huda, Sam Tromans and Stella Nwimo. Stealth Films. ADULTHOOD Director: Noel Clarke Starring Noel Clarke, Adam Deacon, Red Mandrell, Producers: George Isaac, Damian Jones And Scarlett Johnson Limelight MY ZINC BED Director: Anthony Page Starring Uma Thurman, Jonathan Pryce, and Producer: Tracy Scofield Paddy Considine Rainmark Films/HBO I COULD NEVER BE YOUR WOMAN Director: Amy Heckerling Starring Michelle Pfeiffer and Paul Rudd Producer: Philippa Martinez, Scott Rudin Paramount Pictures KIDULTHOOD Director: Menhaj Huda Starring Aml Ameen, Adam Deacon Producer: Tim Cole Red Mandrell and Jamie Winstone Stealth Films/Cipher Films ONCE UPON A TIME IN Director: Shane Meadows THE MIDLANDS Producer: Andrea Calderwood Starring Robert Carlyle, Rhys Ifans, Kathy Burke. Ricky Tomlinson and Shirley Henderson Slate Films / Film Four LAST ORDERS Director: Fred Schepisi Starring: Michael Caine, Bob Hoskins, Producers: Rachel Wood, Elizabeth Robinson Tom Courtenay, Helen Mirren, Ray Winstone Scala Productions LATE NIGHT SHOPPING Director: Saul Metzstein Luke De Woolfson, James Lance, Kate Ashfield, Producer: Angus Lamont. Enzo Cilenti andShauna MacDonald Film Four Intl / Ideal World Films BILLY ELLIOT Director: Steven Daldry Julie Walters, Gary Lewis, Jamie Draven and Jamie Bell Producers: Jon Finn and Gregg Brenman. Working Title Films/Tiger Aspect Pictures BBC/Arts Council Film. 4929 Wilshire Blvd., Ste. 259 Los Angeles, CA 90010 ph 323.782.1854 fx 323.345.5690 [email protected] BRIAN TUFANO BSC - Director of Photography WOMEN TALKING DIRTY Director: Coky Giedroyc Helena Bonham-Carter, Gina McKee Producers: David Furnish and Polly Steele James Purefoy, Jimmy Nesbitt, Richard Wilson Petunia Productions. -
God's Own Country Is Francis’ First Feature Film Project
GOD’S OWN COUNTRY A film by Francis Lee UK • 104 min. • 2017 OFFICIAL SELECTION: Sundance Film Festival 2017 Berlin International Film Festival 2017 San Francisco International Film Festival 2017 Provincetown International Film Festival 2017 Outfest Los Angeles 2017 (Opening Night) Distribution Contacts: Samuel Goldwyn Films Ryan Boring, [email protected] New York Publicity Contacts: Cinetic Marketing Ryan Werner, [email protected] Courtney Ott, [email protected] Bingham Bryant, [email protected] God’s Own Country Production Notes Logline Francis Lee’s feature film debut is a contemporary tale of self-discovery and emotional-awakening set on the sheep farming hills of rural England. Synopsis Johnny Saxby works long hours in brutal isolation on his family’s remote farm in the north of England. He numbs the daily frustration of his lonely existence with nightly binge-drinking at the local pub and casual sex. When a handsome Romanian migrant worker arrives to take up temporary work on the family farm, Johnny suddenly finds himself having to deal with emotions he has never felt before. An intense relationship forms between the two which could change Johnny’s life forever. Long Synopsis Spring. Yorkshire. Johnny Saxby (24) carries the weight of his family’s dilapidating sheep farm alone. His formidable grandmother Deirdre (70) is now too old to work the land, whilst his father Martin (50), once a capable farmer, struggles in the aftermath of a stroke. Socially and geographically isolated and overwhelmed by the responsibility, yet too proud to accept any help, Johnny numbs his frustration with drink, dope and casual sex. -
Creative England's Filming Partnership Toolkit
Creative England’s Filming Partnership Toolkit Flamborough, East Yorkshire © VisitEngland, Iain Lewis Why is Filming Important? In 2014, film production was worth £1.47 billion to UK GDP and created thousands of full-time equivalent jobs. Creative England’s involvement includes bringing together England-wide world-class locations, studios, facilities and crew to support this thriving industry. Our work ensures production companies can deliver Creative England is able to calculate the average amount Contents a successful shoot in the English regions. We deliver production spends when filming on location. With a professional on-the-ground support and a film friendly television production’s estimated spend of £17,000 - welcome to attract high profile production to England. £19,000 per day on local employment and services, and a 2 About Creative England & our Filming Partners These interventions also deliver long term benefits from major feature film around £32,000, the benefit to the local 3 Why is Filming Important? profiling England around the globe as a premier visitor economy is clear. destination. 3 Why do we gather statistics from Filming Partners? 4 A Case Study – ITV’s Broadchurch 5 Promoting Locations “In 2014, film production was worth 6 Facilitating Filming About our Filming 6 Consent vs Permits £1.47bn to UK GDP and created 6 Road Closures, Temporary Traffic Regulations Orders Partners and Parking Bay Suspensions. thousands of full-time equivalent jobs.” 6 Costs vs Fees Creative England’s Filming Partners are made up of Local Authority and other public sector organisations 7 Ways to Maximise Returns from Productions committed to supporting the facilitation of filming in the Why do we gather statistics from Filming Partners? 7 Contracts regions.