Phd Manuscript 190429 Plain Text

Total Page:16

File Type:pdf, Size:1020Kb

Phd Manuscript 190429 Plain Text The Presence of Performance and the Stakes of Serial Drama: Accrual, Transience, Companionship Elliott Logan MPhil (University of Queensland, 2013) BA, Hons (University of Queensland, 2009) BA (University of Queensland, 2007) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2018 School of Communication and Arts Abstract This thesis shows how performance is a critically neglected but crucial aspect of serial television drama as an art form. One of serial drama’s obvious storytelling attractions is its ability to involve viewers in relationships between characters over long periods of time. Such involvement takes place through a recurring structure of episodes and seasons, whose unfolding reflects the extensive, ongoing history through which interpersonal bonds form and develop, deepen and decay. The characters we watch onscreen are embodied and performed by actors. Television studies, however, has persistently overlooked screen performance, hampering appreciation of serial drama’s affinity with long-term relationships as a resource for aesthetic significance. Redressing such neglect, this thesis directs new critical attention to expressive stylistic relationships between serial form, screen performance, and the subject of companionship in some recent US serial dramas. The focus of that attention is a particular aesthetic quality: the provisional, which emerges through serial drama’s distinctive tension between permanence and transience. In the first chapter, I argue that the provisional is central to an affinity between screen performance, seriality in television drama, and companionship as an aspect of human life. Chapters Two and Three then show how the art of the provisional in particular series has been underappreciated due to television studies’ neglect of performance and expressiveness as dimensions of serial form in television fiction. The final two chapters of the thesis highlight contrasting treatments of provisionality, performance, and the survival of social bonds in two critically celebrated US dramas of the mid- 2000s: Mad Men (AMC, 2007–15) and Homeland (Showtime, 2011–19). In doing so, this thesis illuminates the significance and value to be found in an under-explored dimension of experience made available by performance in particular serial dramas. Its original contribution is to highlight overlooked features of this medium whose potential aesthetic significance should be a priority for the criticism of serial drama in television studies. 1 Declaration by author This thesis is composed of my original work, and contains no material previously published or written by another person except where due reference has been made in the text. I have clearly stated the contribution by others to jointly-authored works that I have included in my thesis. I have clearly stated the contribution of others to my thesis as a whole, including statistical assistance, survey design, data analysis, significant technical procedures, professional editorial advice, financial support and any other original research work used or reported in my thesis. The content of my thesis is the result of work I have carried out since the commencement of my higher degree by research candidature and does not include a substantial part of work that has been submitted to qualify for the award of any other degree or diploma in any university or other tertiary institution. I have clearly stated which parts of my thesis, if any, have been submitted to qualify for another award. I acknowledge that an electronic copy of my thesis must be lodged with the University Library and, subject to the policy and procedures of The University of Queensland, the thesis be made available for research and study in accordance with the Copyright Act 1968 unless a period of embargo has been approved by the Dean of the Graduate School. I acknowledge that copyright of all material contained in my thesis resides with the copyright holder(s) of that material. Where appropriate I have obtained copyright permission from the copyright holder to reproduce material in this thesis and have sought permission from co-authors for any jointly authored works included in the thesis. 2 Publications during candidature Logan, Elliott. 2019. “Faces of Allegiance in Homeland: Performance and the Provisional in Serial Television Drama.” In Television Performance, edited by Lucy Fife Donaldson and James Walters. Basingstoke: Red Globe Press. ———. 2018. “Kristen Stewart in Clouds of Sils Maria.” In Close-Up: Great Cinematic Performances Volume 1: America, edited by Murray Pomerance and Kyle Stevens, 276–85. International Film Stars. Edinburgh: Edinburgh University Press. ———. 2017a. “Depths of Black in The Night of the Hunter.” New Review of Film and Television Studies 15, no. 1: 95–107. ———. 2017b. “Making-Over Mise-en-Scéne.” Rev. of Adrian Martin’s Mise en Scéne and Film Style: From Classical Hollywood to New Media Art, John Gibbs’s The Life of mise-en- scéne: Visual Style and British Film Criticism, 1946–78, and Lucy Fife Donaldson’s Texture in Film. Projections 11, no. 1: 121–32. ———. 2016a. “Breaking Bad” and Dignity: Unity and Fragmentation in the Serial Television Drama. Palgrave Close Readings in Film and Television. Basingstoke: Palgrave Macmillan. ———. 2016b. “‘Quality Television’ as a Critical Obstacle: Explanation and Aesthetics in Television Studies.” Screen 57, no. 2: 144–62. ———. 2015. “How Do We Write About Performance in Serial Television?” Series 1, no. 1: 27– 37. ———. 2014. “The Ending of Mad Men’s Fifth Season: Cinema, Serial Television and Moments of Performance.” Critical Studies in Television 9, no. 3: 44–53. Publications included in this thesis Logan (forthcoming) – incorporated into Chapter Four. Logan (2016b) – partly incorporated into Chapter Two. 3 Contributions by others to the thesis No contributions by others. Statement of parts of the thesis submitted to qualify for the award of another degree None. Research Involving Human or Animal Subjects No animal or human subjects were involved in this research. 4 Acknowledgements This thesis has taken a long time to write, and I have accrued debts to many people along the way. First of all, to my three advisors: Jason Jacobs, Lisa Bode, and Steven Peacock. Each has been unfailingly generous in sharing with me their time and insight, not only into television fiction, screen performance, and criticism, but also the difficulties and pleasures of scholarship and writing. Without their help, I would not have found my way to this project, nor been able to see it through in this form. It has been a great privilege to benefit from years of their teaching and friendship – I look forward to many more. The School of Communication and Arts at the University of Queensland has been my scholarly home for the last eight years. During this time, my thinking about television has been deepened by countless conversations with many people, including Tom O’Regan, Frances Bonner, Ted Nannicelli, and Angela Tuohy (who is a boundless resource on the wonders of Twin Peaks). The work in this thesis has also benefited from the insights I gained while teaching film and television to undergraduates with the guidance of Ted Nannicelli, Lisa Bode, Tom O’Regan, and Jane Stadler. The more difficult aspects of postgraduate study have been leavened by the good company and encouragement of my fellow students, in particular Pratik, Amanda Van Der Drift, Richard Murray, Matthew Cipa, Melanie Piper, Mairead McKinnon, Robyn Emerson, Graham Akhurst, and Pearl. Among the school’s greatest treasures are its administrative staff, who are a seemingly endless source of cheer and unflappable help. Jennifer Yared has had a welcome greeting for me nearly every early morning for almost five years; Stormy Wehi is a model of how to share happiness at work; and Angela Tuohy has been a sage lifesaver for me on many occasions. From November 2015, I was fortunate to spend six months of my candidature working closely with Steven Peacock at the University of Hertfordshire in the UK, where many of the ideas underpinning the thesis started to come together. I have endless thanks to Steven for his encouragement and financial support, and also to his colleagues at Hertfordshire for their warm welcome and enjoyable discussions, especially Sylvie Magerstadt. My time away from home was made less painful by many friends in London and elsewhere. Peter Hubert was, as he always is, a source of hilarious and serious conversation. Hillary Emmett showed wonderful hospitality, not only during our morning teas at the British Library and meals at her home, but in making sure I would have a place to stay. Without her I would not have met Chin Tee, who was a welcoming housemate and became a good 5 friend, as did Tom Wright. Jessi and Tom Drewett, along with Maggie Webster and Ryan Bishop, helped me feel less far away from Australia, as did Tom O’Regan when he met with me to appreciate Dali’s “Christ of Sain John on the Cross” at Kelvingrove, during a trip to Glasgow. Thanks to Tom and Jessi, I was lucky enough to find another circle of friends in Rob, Jen, Phil, Callum, and Al. I was grateful for the company of Dim and Aidan, and the deep conversations about television and meaning modern life with Rico Tice. Visiting the UK allowed me to present a seminar at the University of Bristol, which developed some of the ideas driving the thesis. Thank you to Alex Clayton for inviting me and being a generous host, and to the members of his school for being a thoughtful audience, in particular Sarah Street and Hoi-Lun Law. Other material related to the thesis was presented at the Film-Philosophy conference in Oxford, the Mad Men conference at Middle Tennessee State University, and SCMS in Toronto. My thanks to the audiences for those papers, whose feedback and discussions provided encouragement and new inspiration. While at Oxford, Murray Pomerance introduced me to the late Victor Perkins, whose company and conversation I enjoyed on two afternoons in the sun, discussing actors on television; Victor was kind enough to visit me during one of his trips to London.
Recommended publications
  • Cultural Anthropology Through the Lens of Wikipedia: Historical Leader Networks, Gender Bias, and News-Based Sentiment
    Cultural Anthropology through the Lens of Wikipedia: Historical Leader Networks, Gender Bias, and News-based Sentiment Peter A. Gloor, Joao Marcos, Patrick M. de Boer, Hauke Fuehres, Wei Lo, Keiichi Nemoto [email protected] MIT Center for Collective Intelligence Abstract In this paper we study the differences in historical World View between Western and Eastern cultures, represented through the English, the Chinese, Japanese, and German Wikipedia. In particular, we analyze the historical networks of the World’s leaders since the beginning of written history, comparing them in the different Wikipedias and assessing cultural chauvinism. We also identify the most influential female leaders of all times in the English, German, Spanish, and Portuguese Wikipedia. As an additional lens into the soul of a culture we compare top terms, sentiment, emotionality, and complexity of the English, Portuguese, Spanish, and German Wikinews. 1 Introduction Over the last ten years the Web has become a mirror of the real world (Gloor et al. 2009). More recently, the Web has also begun to influence the real world: Societal events such as the Arab spring and the Chilean student unrest have drawn a large part of their impetus from the Internet and online social networks. In the meantime, Wikipedia has become one of the top ten Web sites1, occasionally beating daily newspapers in the actuality of most recent news. Be it the resignation of German national soccer team captain Philipp Lahm, or the downing of Malaysian Airlines flight 17 in the Ukraine by a guided missile, the corresponding Wikipedia page is updated as soon as the actual event happened (Becker 2012.
    [Show full text]
  • Oktoberfest’ Comes Across the Pond
    Friday, October 5, 2012 | he Torch [culture] 13 ‘Oktoberfest’ comes across the pond Kaesespaetzle and Brezeln as they Traditional German listened to traditional German celebration attended music. A presentation with a slideshow was also given presenting by international, facts about German history and culture. American students One of the facts mentioned in the presentation was that Germans Thomas Dixon who are learning English read Torch Staff Writer Shakespeare because Shakespearian English is very close to German. On Friday, Sept. 28, Valparaiso Sophomore David Rojas Martinez University students enjoyed expressed incredulity at this an American edition of a famous particular fact, adding that this was German festival when the Valparaiso something he hadn’t known before. International Student Association “I learned new things I didn’t and the German know about Club put on German and Oktoberfest. I thought it was English,” Rojas he event great. Good food, Martinez said. was based on the good people, great “And I enjoyed annual German German culture. the food – the c e l e b r a t i o n food was great.” O k t o b e r f e s t , Other facts Ian Roseen Matthew Libersky / The Torch the largest beer about Germany Students from the VU German Club present a slideshow at Friday’s Oktoberfest celebration in the Gandhi-King Center. festival in the Senior mentioned in world. he largest the presentation event, which takes place in included the existence of the Munich, Germany, coincided with Weisswurstaequator, a line dividing to get into the German culture. We c u ltu re .” to have that mix and actual cultural VU’s own festival and will Germany into separate linguistic try to do things that have to do with Finegan also expressed exchange,” Finegan said.
    [Show full text]
  • Alexander Janko
    ! ! OPENING NYC SEPT. 8 written, directed & composed by ALEXANDER JANKO based upon the New York Times bestseller by JOAN ANDERSON Film length: 1h54m (114m) Credit offsets: 1h49m (109m) Trailer length: 2m11s (002m) 2k / 24 fps / 1.85:1 Filmed on Cape Cod, MA EPIC-M RED DRAGON unrated ! PRESS CONTACTS Sasha Berman (NY & LA) Shotwell Media [email protected]! Laura Goodenow (Regional) Real Women Make Waves (317) 250-7771 [email protected] Year By The Sea LLC Copyright © 2017 8/1/17 - p!2 THE STORY ! TAGLINE It’s never too late to reclaim your life… LOGLINE An empty nester retreats to Cape Cod where she embarks upon a quest to set herself free. ! SYNOPSIS After 30 years as a wife and mother, an empty nester retreats to Cape Cod rather than follow her relocated husband to Kansas. Intent to rediscover herself but plagued with guilt, she questions her decision until stumbling upon a spirited mentor. Supported by her literary agent and a host of locals, including a sexy fisherman, our heroine learns to embrace the ebb and flow of life—ultimately discovering the balance between self and sacrifice, obligation and desire. THEMES RELATIONSHIP: Cultivating positive relationships with self, friends, partners, nature MENTORSHIP: Sharing wisdom and knowledge through community and caring JOY: Embracing solitude, seeking fun, recognizing beauty, celebrating life Year By The Sea LLC Copyright © 2017 8/1/17 - p!3 ! THE INSPIRATION ! ALEXANDER JANKO - WRITER/DIRECTOR/COMPOSER ! THE BOOK FOUND ME When Joan’s book appeared on my kitchen counter, I was at a crossroads. Disenchanted with my studio film composing career, I’d pulled the Hollywood rip cord.
    [Show full text]
  • Stations WNYE (FM) and WNYE-TV Are Equal Opportunity Employers
    EEO PUBLIC FILE REPORT This Report covers full-time vacancy recruitment data for the period: January 23, 2018 – January 22, 2019. 1) Employment Unit: New York City Department of Information Technology and Telecommunications (“DoITT”)/Mayor’s Office of Media and Entertainment (“MOME”)/NYC Media 2) Unit Members (Stations and Communities of License): WNYE(FM), WNYE-TV 3) EEO Contact Information for Employment Unit: Chisom Ananaba Mailing Address: Telephone Number: (212) 974-4019 NYC Media Contact Person/Title: Chisom Ananaba, Assistant 1 Centre Street, 26th Floor General Counsel New York, NY 10007 E-mail Address: [email protected] 4) Full-Time Job Vacancies Filled by Each Station in the Employment Unit: Job Title Recruitment Source Referring Hiree (a) Graphic Designer Citywide distribution through www.nyc.gov (b) Master Control Operator Citywide distribution through www.nyc.gov (c) Broadcast and IT Support Engineer Citywide distribution through www.nyc.gov (d) Press Secretary/Director of Digital Media Citywide distribution through www.nyc.gov (e) Executive Assistant to Commissioner Citywide distribution through www.nyc.gov (f) Director of Gov’t and Legislative Affairs Citywide distribution through www.nyc.gov Consistent with City of New York policy, notice of each full-time vacancy was posted on www.nyc.gov. 5) Total # of Interviewees Referred: For the period from January 23, 2018 through January 22, 2019 this Employment Unit interviewed 44 interviewees for full-time job vacancies. 6) Recruitment Initiatives. List and briefly describe the Supplemental Recruitment Initiatives undertaken during the period covered by this Report. (a) Participation in Job Fairs DoITT hiring representatives attended 1 job fair in 2018--Tech Job Tour (LGBTQ Community) June 19, 2018.
    [Show full text]
  • Photograph by Candace Dicarlo
    60 MAY | JUNE 2013 THE PENNSYLVANIA GAZETTE PHOTOGRAPH BY CANDACE DICARLO Showtime CEO Matt Blank has used boundary-pushing programming, cutting-edge marketing, and smart management to build his cable network into a national powerhouse. By Susan Karlin SUBVERSIVE PRACTICALLY PRACTICALLY THE PENNSYLVANIA GAZETTE MAY | JUNE 2013 61 seems too … normal. “Matt runs the company in a very col- Showtime, Blank is involved with numer- This slim, understated, affa- legial way—he sets a tone among top man- ous media and non-profit organizations, Heble man speaking in tight, agers of cooperation, congeniality, and serving on the directing boards of the corporate phrases—monetizing the brand, loose boundaries that really works in a National Cable Television Association high-impact environments—this can’t be creative business,” says David Nevins, and The Cable Center, an industry edu- the guy whose whimsical vision has Showtime’s president of entertainment. cational arm. Then there are the frequent turned Weeds’ pot-dealing suburban “It helps create a sense of, ‘That’s a club trips to Los Angeles. mom, Dexter’s vigilante serial killer, and that I want to belong to.’ He stays focused “I’m an active person,” he adds. “I like Homeland’s bipolar CIA agent into TV on the big picture, maintaining the integ- a long day with a lot of different things heroes. Can it? rity of the brand and growing its exposure. going on. I think if I sat in a room and did Yet Matt Blank W’72, the CEO of Showtime, Matt is very savvy at this combination of one thing all day, I’d get frustrated.” has more in common with his network than programming and marketing that keeps his conventional appearance suggests.
    [Show full text]
  • The West Wing Weekly Episode 1:05: “The Crackpots and These Women
    The West Wing Weekly Episode 1:05: “The Crackpots and These Women” Guest: Eli Attie [West Wing Episode 1.05 excerpt] TOBY: It’s “throw open our office doors to people who want to discuss things that we could care less about” day. [end excerpt] [Intro Music] JOSH: Hi, you’re listening to The West Wing Weekly. My name is Joshua Malina. HRISHI: And I’m Hrishikesh Hirway. JOSH: We are here to discuss season one, episode five, “The Crackpots and These Women”. It originally aired on October 20th, 1999. This episode was written by Aaron Sorkin; it was directed by Anthony Drazan, who among other things directed the 1998 film version of David Rabe’s Hurlyburly, the play on which it was based having been mentioned in episode one of our podcast. We’re coming full circle. HRISHI: Our guest today is writer and producer Eli Attie. Eli joined the staff of The West Wing in its third season, but before his gig in fictional D.C. he worked as a political operative in the real White House, serving as a special assistant to President Bill Clinton, and then as Vice President Al Gore’s chief speechwriter. He’s also written for Studio 60 on the Sunset Strip, House, and Rosewood. Eli, welcome to The West Wing Weekly. ELI: It’s a great pleasure to be here. JOSH: I’m a little bit under the weather, but Lady Podcast is a cruel mistress, and she waits for no man’s cold, so if I sound congested, it’s because I’m congested.
    [Show full text]
  • The Grizzlies
    Presents THE GRIZZLIES A film by Miranda de Pencier 104 mins, Canada, 2018 Language: English, Inuktitut Official Selection: 2018 Toronto International Film Festival – World Premiere Distribution Publicity Mongrel Media Inc Bonne Smith 1352 Dundas St. West Star PR Toronto, Ontario, Canada, M6J 1Y2 Tel: 416-488-4436 Tel: 416-516-9775 Fax: 416-516-0651 Twitter: @starpr2 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com THE GRIZZLIES – PRESS KIT Contents: 1. LOGLINE 4 2. SYNOPSIS 4 3. PRODUCTION NOTES – The Making of THE GRIZZLIES 4 a. Overview b. Development History of The Grizzlies c. Miranda de Pencier on Her Origins with THE GRIZZLIES d. Casting e. Collaboration Between North & South f. How The Grizzlies Changed a Town g. Director’s Statement h. About the Town of Kugluktuk i. Music j. Opening Title Sequence 4. CHARACTER BIOS (in order of appearance) 14 a. RUSS (Ben Schnetzer) b. MIKE (Will Sasso) c. ZACH (Paul Nutarariaq) d. ADAM (Ricky Marty-Pahtaykan) e. ROGER (Fred Bailey) f. SPRING (Anna Lambe) g. JANACE (Tantoo Cardinal) h. MIRANDA (Emerald MacDonald) i. KYLE (Booboo Stewart) j. HARRY (Eric Schweig) k. TANNER (Brad Fraser) l. VINNY (Jamie Takkiruq) m. JOHNNY (Seth Burke) n. SAM & LENA (Simon Nattaq & Madeline Ivalu) 5. FILMMAKER BIOS 15 a. MIRANDA DE PENCIER (Director/Producer) b. GRAHAM YOST (Writer) c. MOIRA WALLEY-BECKETT (Writer) d. ALETHEA ARNAQUQ-BARIL (Producer) e. STACEY AGLOK (Producer) 2 f. ZANNE DEVINE (Producer) g. DAMON D’OLIVEIRA (Producer) h. JAKE STEINFELD (Executive Producer) i. FRANK MARSHALL (Executive Producer) 6. ACTOR BIOS 23 a. EMERALD MACDONALD b.
    [Show full text]
  • The Television Project: Some of My Best Friends
    The Television Project: Some of My Best Friends Highlights from the National Jewish Archive of Broadcasting Examine Anti-Semitism Through Classic TV Beginning March 18, 2016 New York, NY – With the second installment of its new, ongoing exhibition series, the Jewish Museum will continue introducing visitors to a dynamic part of its collection: the National Jewish Archive of Broadcasting (NJAB). The Television Project: Some of My Best Friends will be on view from March 18 through August 14, 2016 exploring the full range of the medium’s approach to anti-Semitism, from the satire and humor of the situation comedy to serious dramas that dissect the origins, motivations, and consequences of prejudice. Clips from such programs as All in the Family, Downton Abbey, Mad Men, Gunsmoke, and The Mary Tyler Moore Show will be featured. Some of My Best Friends features Mary Richards standing up to an anti- Semitic friend in The Mary Tyler Moore Show, “Some of My Best Friends Are Rhoda;” Jews fighting to prevent neo-Nazis from holding a rally in a predominantly Jewish town in Skokie; and Jewish emigrants confronting hatred in the Old West in the Gunsmoke episode, “This Golden Land” (featuring a young Richard Dreyfuss) and Little House on the Prairie, “The Craftsman.” Also included are clips from the first episode of the acclaimed Mad Men, where Roger Sterling suggests to Don Draper that their ad agency hire a Jew prior to meeting with a new Jewish-owned client; an LA Law segment, “Rohner vs. Gradinger,” depicting a confrontation between a Jewish lawyer and his Jew-hating WASP mother-in-law and her close friend; the bigoted Archie Bunker looking for a “Jew lawyer” because Jews are “smarter and shrewder” in Norman Lear’s groundbreaking All in the Family, “Oh, My Aching Back;” and a scene from Downton Abbey showing the family matriarch (Maggie Smith) expressing displeasure at news of a cousin romantically involved with a Jew.
    [Show full text]
  • Kevin Beggs Biography
    Kevin Beggs Biography Kevin Beggs is Chairman of the Lionsgate Television Group, overseeing development and production of all scripted and non-scripted programming for broadcast, cable, and digital platforms worldwide. He has spearheaded the strategic expansion of the company’s television production activities, and with Lionsgate’s acquisition of TV Guide Network and its partnership in the premium entertainment channel EPIX, he has become one of the key executives managing Lionsgate’s creative interests in both ventures. Under Beggs’ leadership, the television division has become a leading supplier of programming, with an impressive slate that includes the critically-acclaimed series NASHVILLE, which was recently renewed for a third season and has already generated two hit soundtracks; the multiple Emmy and Golden Globe-winning series MAD MEN, now in its seventh season on AMC; the Charlie Sheen comedy ANGER MANAGEMENT, which earned an unprecedented 90-episode order from FX after its initial 10-episode run; the acclaimed Showtime comedy NURSE JACKIE, which was recently renewed for a seventh season; and WEEDS creator Jenji Kohan’s breakout series ORANGE IS THE NEW BLACK, which Netflix recently picked up for a third season ahead of its second season premiere. Lionsgate’s TV roster also includes the recent NBC miniseries ROSEMARY’S BABY; the History miniseries HOUDINI starring Oscar winner Adrien Brody; the ABC Family series CHASING LIFE, which launches in June; the 10+90 sitcom PARTNERS starring Kelsey Grammer and Martin Lawrence, which premieres on FX in August; the drama series MANHATTAN, which debuts in July on WGN America; the comedy series DEADBEAT, which recently launched on Hulu and has been renewed for a second season; E!’s first original scripted series THE ROYALS; and the Syfy limited series ASCENSION.
    [Show full text]
  • Nick Davis Film Discussion Group December 2015
    Nick Davis Film Discussion Group December 2015 Spotlight (dir. Thomas McCarthy, 2015) On Camera Spotlight Team Robby Robinson Michael Keaton: Mr. Mom (83), Beetlejuice (88), Birdman (14) Mike Rezendes Mark Ruffalo: You Can Count on Me (00), The Kids Are All Right (10) Sacha Pfeiffer Rachel McAdams: Mean Girls (04), The Notebook (04), Southpaw (15) Matt Carroll Brian d’Arcy James: mostly Broadway: Shrek (08), Something Rotten (15) At the Globe Marty Baron Liev Schreiber: A Walk on the Moon (99), The Manchurian Candidate (04) Ben Bradlee, Jr. John Slattery: The Station Agent (03), Bluebird (13), TV’s Mad Men (07-15) The Lawyers Mitchell Garabedian Stanley Tucci: Big Night (96), The Devil Wears Prada (06), Julie & Julia (09) Eric Macleish Billy Crudup: Jesus’ Son (99), Almost Famous (00), Waking the Dead (00) Jim Sullivan Jamey Sheridan: The Ice Storm (97), Syriana (05), TV’s Homeland (11-12) The Victims Phil Saviano (SNAP) Neal Huff: The Wedding Banquet (93), TV’s Show Me a Hero (15) Joe Crowley Michael Cyril Creighton: Star and writer of web series Jack in a Box (09-12) Patrick McSorley Jimmy LeBlanc: Gone Baby Gone (07), and that’s his only other credit! Off Camera Director-Writer Tom McCarthy: See below; co-wrote Pixar’s Up (09), frequently acts Co-Screenwriter Josh Singer: writer, West Wing (05-06), producer, Law & Order: SVU (07-08) Cinematography Masanobu Takayanagi: Silver Linings Playbook (12), Black Mass (15) Original Score Howard Shore: The Lord of the Rings Trilogy (01-03), nearly 100 credits Previous features from writer-director
    [Show full text]
  • PDF of Credits
    ALANA DA FONSECA EXECUTIVE MUSIC PRODUCER – SONGWRITER MOTION PICTURES EUROVISION (Music Producer, Vocal Arranger) David Dobkin, dir. Netflix THE ADDAMS FAMILY (Music Producer) Greg Tiernan, Conrad Vernon, dirs. MGM GOOD BOYS (Executive Music Producer) Gene Stupnitsky, dir. Universal Pictures PITCH PERFECT 3 (Executive Music Producer) Trish Sie, dir. Universal Pictures POMS (Executive Music Producer) Zara Hayes, dir. STX ISN’T IT ROMANTIC (Music Producer) Todd Strauss-Schulson, dir. Warner Bros. THE SECRET LIFE OF PETS (Producer “We Go Together”) Chris Renaud, dir. Universal Pictures PITCH PERFECT 2 (Arranger/Vocal Arranger) Elizabeth Banks, dir. Universal Pictures ALVIN AND THE CHIPMUNKS: THE ROAD CHIP (Executive Music Producer) Walt Becker, dir. Fox 2000 PITCH PERFECT (Additional Vocal Arranger) Jason Moore, dir. Universal Pictures HANNAH MONTANA: THE MOVIE (Producer “Let’s Do This”) Peter Chelsom dir. Walt Disney Studios 3349 Cahuenga Blvd. West Los Angeles, California 90068 Tel. 818-380-1918 Fax 818-380-2609 ALANA DA FONSECA EXECUTIVE MUSIC PRODUCER – SONGWRITER TELEVISION JULIE AND THE PHANTOMS (Vocal Arranger/Vocal Producer, Songwriter) Kenny Ortega, dir. Netflix TROLLS: THE BEAT GOES ON (Executive Music Producer, Songwriter) Hannah Friedman, creator Netflix DWA UNNANOUNCED SHOW (Executive Music Producer, Songwriter) DreamWorks Animation ALVINNN!!! AND THE CHIPMUNKS (Executive Music Producer, Songwriter) Janice Karman, creator Nickelodeon LIVE SHOW TROLLS LIVE TOURING SHOW (Music Producer) SONGWRITER NAKED (Writer “Nobody But You”) Michael Tiddes, dir. Netflix STAR (TV) (Writer “Honeysuckle”) Lee Daniels, Tom Donaghy, creators Fox ALVIN AND THE CHIPMUNKS: THE ROAD CHIP (Writer “Home”) Walt Becker, dir. Fox 2000 POWER (TV) (Writer “Old Flame”) Courtney A. Kemp, creator Starz FIFTY SHADES OF GREY (Writer “Awakening”) Sam Taylor-Johnson, dir.
    [Show full text]
  • To Download The
    FREE EXAM Complete Physical Exam Included New Clients Only Must present coupon. Offers cannot be combined Wellness Plans Extended Hours Multiple Locations www.forevervets.com4 x 2” ad Your Community Voice for 50 Years Your Community Voice for 50 Years RRecorecorPONTE VEDVEDRARA dderer entertainmentEEXTRATRA! ! Featuringentertainment TV listings, streaming information, sports schedules,X puzzles and more! September 24 - 30, 2020 INSIDE: has a new home at The latest House & Home THE LINKS! Listings Chris Rock gets 1361 S. 13th Ave., Ste. 140 Page 21 Jacksonville Beach dramatic as Offering: · Hydrafacials ‘Fargo’ returns · RF Microneedling · Body Contouring Chris Rock stars in the Season 4 premiere · B12 Complex / of “Fargo” Sunday on FX. Lipolean Injections Get Skinny with it! (904) 999-0977 www.SkinnyJax.com1 x 5” ad Now is a great time to It will provide your home: List Your Home for Sale • Complimentary coverage while the home is listed • An edge in the local market Kathleen Floryan LIST IT because buyers prefer to purchase a Broker Associate home that a seller stands behind • Reduced post-sale liability with [email protected] ListSecure® 904-687-5146 WITH ME! https://www.kathleenfloryan.exprealty.com BK3167010 I will provide you a FREE https://expressoffers.com/exp/kathleen-floryan America’s Preferred Ask me how to get cash offers on your home! Home Warranty for your home when we put it on the market. 4 x 3” ad BY JAY BOBBIN FX brings Chris Rock to ‘Fargo’ for series’ fourth season What’s Available NOW Though the last visit to “Fargo” was a and pitched him what I wanted to do, and while ago, it’s still on the television map.
    [Show full text]