Rebecca Pidgeon

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Rebecca Pidgeon Theatre Title Role Director Producer Sex With Strangers Olivia Kimberly Senior The Geffen Playhouse The Anarchist Anne Marja Lewis Ryan Theatre Asylum Boston Marriage Clare David Mamet The Geffen Playhouse The Old Neighbourhood Deeny Scott Zigler Broadway Dangerous Corner Olwen David Mamet Atlantic Theatre Company NY Oleanna Carol David Mamet Off Broadway SPEED THE PLOW Karen Gregory Mosher Royal National Theatre The Changeling Isabella Richard Eyre Royal National Theatre When We Were Married John Burgess Royal National Theatre Film Title Role Director Producer Allegiant Sarah Robert Shwentke Summit Entertainment Phil Spector Dr. Fallon David Mamet HBO Films Two-Bit Waltz Anita Clara Mamet EBF Productions Red Cynthia Wilkes Robert Schwentke Di Bonaventura Pictures How To Be Mother Oliver Irving Independent Redbelt Zena Frank David Mamet Sony Classics The Artists Partnership 21-22 Warwick Street, Soho, London W1B 5NE (020) 7439 1456 The Lodger Jessica Westmin David Ondaatj Independent Edmond Wife Stewart Gordon Independent Jesse Stone: Sea Change Leeann Lewis Robert Harmon CBS Television Provoked: A True Story Miriam Jag Mundhra Independent Shopgirl Christie Richards Anand Tucker Touchstone Pictures Heist Fran Moore David Mamet Warner Brothers State and Maine Ann David Mamet Fine Line Features The Winslow Boy Catherine Winslow David Mamet Sony Pictures Classics The Spanish Prisoner Susan Ricci David Mamet Sony Pictures Classics Homicide Miss Klein David Mamet Cinehaus The Dawning Nancy Gulliver Robert Knights Lawson Productions She's Been Away Young Lillian Peter Hall BBC Advice and Dissent Ellen Goldman Leib Cohen Film Shack Catastrophe The Director's Assistant David Mamet Independent Television Title Role Director Producer The Unit Charlotte Ryan Various CBS In Justice Charlotte Conti Various ABC The Shield Joanna Faulks Various FX The Water Engine Connie Steven Schacter Amblin Uncle Vanya Sonya Gregory Mosher BBC Campaign Sally Byfleet Brian Farnham BBC The Artists Partnership 21-22 Warwick Street, Soho, London W1B 5NE (020) 7439 1456.

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Edmond Press
International Press International Sales Venice: wild bunch The PR Contact Ltd. Venice Phil Symes - Mobile: 347 643 1171 Vincent Maraval Ronaldo Mourao - Mobile: 347 643 0966 Tel: +336 11 91 23 93 Email: [email protected] Email: [email protected] Fax: 041 5265277 Carole Baraton 62nd Mostra Venice Film Festival: Tel: +336 20 36 77 72 Hotel Villa Pannonia Email: [email protected] Via Doge D. Michiel 48 Gaël Nouaile 30126 Venezia Lido Tel: +336 21 23 04 72 Tel: 041 5260162 Email: [email protected] Fax: 041 5265277 Silva Simonutti London: Tel: +33 6 82 13 18 84 The PR Contact Ltd. Email: [email protected] 32 Newman Street London, W1T 1PU Paris: Tel: + 44 (0) 207 323 1200 Wild Bunch Fax: + 44 (0) 207 323 1070 99, rue de la Verrerie - 75004 Paris Email: [email protected] tel: + 33 1 53 01 50 20 fax: +33 1 53 01 50 49 www.wildbunch.biz French Press: French Distribution : Pan Européenne / Wild Bunch Michel Burstein / Bossa Nova Tel: +33 1 43 26 26 26 Fax: +33 1 43 26 26 36 High resolution images are available to download from 32 bd st germain - 75005 Paris the press section at www.wildbunch.biz [email protected] www.bossa-nova.info Synopsis Cast and Crew “You are not where you belong.” Edmond: William H. Macy Thus begins a brutal descent into a contemporary urban hell Glenna: Julia Stiles in David Mamet's savage black comedy, when his encounter B-Girl: Denise Richards with a fortune-teller leads businessman Edmond (William H.
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Adaptive Collaboration, Collaborative Adaptation: Filming the Mamet Canon
Adaptation Vol. 3, No. 2, pp. 82–98 doi: 10.1093/adaptation/apq004 Advance Access publication 8 April 2010 Adaptive Collaboration, Collaborative Adaptation: Filming the Mamet Canon CHRISTOPHE COLLARD* Downloaded from Abstract Every migration across referential and expressive frameworks entails formal, struc- tural, and cognitive consequences too complex for a ‘traditionalist’ comparative posture. More- over, the intertextuality and intermediality of the ‘transmedial screenplay’ make it incompatible with ‘static’ concepts such as ‘fidelity’ and ‘originality’ precisely on behalf of the film medium’s adaptation.oxfordjournals.org poly-systemic nature. Bringing together the analogous concerns of collaborative creation, adap- tation, and authorship, this essay therefore discusses David Mamet’s screen adaptations of per- sonal and other work from a process-based perspective as a means of attaining a more constructive understanding of so-called ‘interaesthetic passages’. Keywords David Mamet, collaborative creation, adaptation, authorship, semiology. at Funda??o Coordena??o de Aperfei?oamento Pessoal N?vel Superior on June 3, 2011 All train compartments smell vaguely of shit. It gets so you don’t mind it. That’s the worst thing that I can confess. (Mamet, Glengarry Glen Ross) INTRODUCTION Every single film producer, Hollywood veteran Art Linson has claimed, knows that at the inception of the movie-making process stands ‘an idea’ derived from ‘A book. A play. A song. A news event. A magazine article. A historic event or character. A personal experience.
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Cambridge Marriage: Mamet at the A.R.T
far left: William H. Macy and David Mamet in rehearsal for Mamet’s Oleanna, photo: Brigitte Cambridge Marriage: Lacombe; bottom left: Felicity Huffman and Shelton Dane in the A.R.T.’s production of The Crytogram, photo: Henry Horenstein; left: Felicity Huffman and Rebecca Pidgeon in the Mamet at the A.R.T. A.R.T.’s production of Boston Marriage, photo: Richard Feldman; below: Brooke Adams and Tony Shalhoub in the A.R.T.’s production of The By Sean Bartley Old Neighborhood, photo: Richard Feldman Times and engaged academics in heated of the most fascinating women on the debate. No other Mamet play has inspired contemporary American stage. As Felicity critics to spill so much ink. Huffman, who played the mother, told the After a performance, a female student Boston Herald: asked the playwright whose side he was on, the strutting macho professor’s or “He writes difficult, challenging roles the guerilla feminist’s. “I’m an artist,” for women, but he also writes difficult, Mamet replied. “I write plays, not political challenging roles for men. No one’s the propaganda. If you want easy solutions, hero. There wasn’t a hero in The Cryp- turn on the boob tube. Social and political togram, but it has a brilliant part for a issues on TV are cartoons; the good guy woman. No one’s the hero in Speed-the- wears a white hat, the bad guy a black hat. Plow. He gives his women, along with Cartoons don’t interest me.” the men, really difficult jobs to do, and DAVID MAMET’S MARRIAGE with the “I write plays, not political propaganda.
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Liener Temerlin Zooms Off on a Segway | Dallas Morning News | News For…Llas, Texas | Lifestyles Columnist Alan Peppard | Dallas Morning News 3/17/08 6:21 AM
Liener Temerlin zooms off on a Segway | Dallas Morning News | News for…llas, Texas | Lifestyles Columnist Alan Peppard | Dallas Morning News 3/17/08 6:21 AM Liener Temerlin zooms off on a Segway 12:00 AM CDT on Monday, March 17, 2008 By ALAN PEPPARD / The Dallas Morning News [email protected] Segway inventor Dean Kamen needs to send a fleet of his gyroscopically stabilized transporters to Dallas advertising executive Liener Temerlin and make him the company's new spokesman. Liener is the founder of the AFI Dallas International Film Festival. Last week, AFI Dallas had a party at the Current Energy store on Knox Street. In 10 days, Liener will be 80 years old. But after a short lesson from Current Energy co-founder Joseph Harberg, Liener was up and riding one of the store's Segways and proclaiming that he wanted to buy a couple. Among those on hand for the gathering were Dallas Film Commission director Janis Burklund; director Russ Pond, who will show his film Fissure at AFI Dallas; AFI Dallas board members Stephanie and Hunter Hunt; and literary agent David Hale Smith. Preparing for Mamet When playwright and filmmaker David Mamet gives the keynote address at the Dallas Institute's Hiett Prize dinner on April 8, he will face a uniquely prepared audience. As a prelude to the event, the Dallas Institute of Humanities and Culture is presenting a two- session series, "Dark and Light: The Genius of David Mamet" on March 18 and April 1. University of Dallas drama chairman Patrick Kelly and book and stage critic Jerome Weeks will lead the discussions.
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Taylor-Frames-Cons-Double-Crosses.Pdf
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