WAR for the PLANET of the APES Written by Mark Bomback & Matt Reeves
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MICHAEL BONVILLAIN, ASC Director of Photography
MICHAEL BONVILLAIN, ASC Director of Photography official website FEATURES (partial list) OUTSIDE THE WIRE Netflix Dir: Mikael Håfström AMERICAN ULTRA Lionsgate Dir: Nima Nourizadeh Trailer MARVEL ONE-SHOT: ALL HAIL THE KING Marvel Entertainment Dir: Drew Pearce ONE NIGHT SURPRISE Cathay Audiovisual Global Dir: Eva Jin HANSEL & GRETEL: WITCH HUNTERS Paramount Pictures Dir: Tommy Wirkola Trailer WANDERLUST Universal Pictures Dir: David Wain ZOMBIELAND Columbia Pictures Dir: Ruben Fleischer Trailer CLOVERFIELD Paramount Pictures Dir: Matt Reeves A TEXAS FUNERAL New City Releasing Dir: W. Blake Herron THE LAST MARSHAL Filmtown Entertainment Dir: Mike Kirton FROM DUSK TILL DAWN 3 Dimension Films Dir: P.J. Pesce AMONGST FRIENDS Fine Line Features Dir: Rob Weiss TELEVISION (partial list) PEACEMAKER (Season 1) HBO Max DIR: James Gunn WAYS & MEANS (Season 1) CBS EP: Mike Murphy, Ed Redlich HAP AND LEONARD (Season 3) Sundance TV, Netflix EP: Jim Mickle, Nick Damici, Jeremy Platt Trailer WESTWORLD (Utah; Season 1, 4 Episodes.) Bad Robot, HBO EP: Lisa Joy, Jonathan Nolan CHANCE (Pilot) Fox 21, Hulu EP: Michael London, Kem Nunn, Brian Grazer Trailer THE SHANNARA CHRONICLES MTV EP: Al Gough, Miles Millar, Jon Favreau (Pilot & Episode 102) FROM DUSK TIL DAWN (Season 1) Entertainment One EP: Juan Carlos Coto, Robert Rodriguez COMPANY TOWN (Pilot) CBS EP: Taylor Hackford, Bill Haber, Sera Gamble DIR: Taylor Hackford REVOLUTION (Pilot) NBC EP: Jon Favreau, Eric Kripke, Bryan Burk, J.J. Abrams DIR: Jon Favreau UNDERCOVERS (Pilot) NBC EP: J.J. Abrams, Bryan Burk, Josh Reims DIR: J.J. Abrams OUTLAW (Pilot) NBC EP: Richard Schwartz, Amanda Green, Lukas Reiter DIR: Terry George *FRINGE (Pilot) Fox Dir: J.J. -
When She Was Bad Script
When She Was Bad July 8, 1997 (Pink) Written by: Joss Whedon Teaser ANGLE: A HEADSTONE It's night. We hold on the stone a moment, then the camera tracks to the side, passing other stones in the EXT. GRAVEYARD/STREET - NIGHT CAMERA comes to a stone wall at the edge of the cemetery, passes over that to see the street. Two figures in the near distance. XANDER and WILLOW are walking home, eating ice cream cones. WILLOW Okay, hold on... XANDER It's your turn. WILLOW Okay, Um... "In the few hours that we had together, we loved a lifetimes worth." XANDER Terminator. WILLOW Good. Right. XANDER Okay. Let's see... (Charlton Heston) 'It's a madhouse! A m-- WILLOW Planet of the Apes. XANDER Can I finish, please? WILLOW Sorry. Go ahead. XANDER 'Madhouse!' She waits a beat to make sure he's done, then WILLOW Planet of the Apes. Good. Me now. Um... Buffy Angel Show XANDER Well? WILLOW I'm thinking. Okay. 'Use the force, Luke.' He looks at her. XANDER Do I really have to dignify that with a guess? WILLOW I didn't think of anything. It's a dumb game anyway. XANDER You got something better to do? We played rock-paper-scissors long enough, okay? My hand cramped up. WILLOW Well, sure, if you're ALWAYS scissors, of course your tendons are gonna stretch -- XANDER (interrupting) You know, I gotta say, this has really been the most boring summer ever. WILLOW Yeah, but on the plus side, no monsters or stuff. She sits on the stone wall. -
44. Jerry Goldsmith Planet of the Apes: the Hunt (Opening) (For Unit 6: Further Musical Understanding)
44. Jerry Goldsmith Planet of the Apes: The Hunt (opening) (for Unit 6: Further Musical Understanding) Background information and performance circumstances Biography • Jerry Goldsmith was born in 1929. • Goldsmith was a prolific American composer of scores for films and television series. • Three of his most successful collaborations were with the director Franklin J. Schaffner with whom he worked on Planet of the Apes (1968). • Goldsmith was particularly noted for his experiments with instrumental sound. In his score for Alien he used a shofar (a ram’s horn used in Jewish services), as well as a steel drum and serpent (a large curved type of bass Cornett). • He also enthusiastically embraced the use of new electronic instruments, though he liked to use a full symphony orchestra where possible, often in conjunction with ethnic and electronic instruments. This can be seen in his score for Planet of the Apes though… • …electronics in music were not yet at a very advanced stage. • Goldsmith died in 2004. Goldsmith’s use of devices In the hunt scene of the film, armed apes on horseback are chasing a group of stranded humans. Goldsmith uses a variety of devices to emphasise a sense of terror, including: • Unconventional instruments and techniques; prominent use of percussion instruments (see performing instruments). • Dissonance (see harmony notes). • Avoidance of traditional tonality; suggestions of serialist chromatic music (see tonality) • Harsh driving, often syncopated rhythms (see rhythm and metre). All these features are frequently found in 20th Century music as a whole. Performing Instruments and their handling • Large symphony orchestra with a number of additions. -
Reagan's Victory
Reagan’s ictory How HeV Built His Winning Coalition By Robert G. Morrison Foreword by William J. Bennett Reagan’s Victory: How He Built His Winning Coalition By Robert G. Morrison 1 FOREWORD By William J. Bennett Ronald Reagan always called me on my birthday. Even after he had left the White House, he continued to call me on my birthday. He called all his Cabinet members and close asso- ciates on their birthdays. I’ve never known another man in public life who did that. I could tell that Alzheimer’s had laid its firm grip on his mind when those calls stopped coming. The President would have agreed with the sign borne by hundreds of pro-life marchers each January 22nd: “Doesn’t Everyone Deserve a Birth Day?” Reagan’s pro-life convic- tions were an integral part of who he was. All of us who served him knew that. Many of my colleagues in the Reagan administration were pro-choice. Reagan never treat- ed any of his team with less than full respect and full loyalty for that. But as for the Reagan administration, it was a pro-life administration. I was the second choice of Reagan’s to head the National Endowment for the Humanities (NEH). It was my first appointment in a Republican administration. I was a Democrat. Reagan had chosen me after a well-known Southern historian and literary critic hurt his candidacy by criticizing Abraham Lincoln. My appointment became controversial within the Reagan ranks because the Gipper was highly popular in the South, where residual animosities toward Lincoln could still be found. -
Informação À Imprensa – XX De Abril De 2008
Títulos disponíveis em Star no Disney+, em Portugal, no dia 23 de fevereiro Séries de televisão 9/11 FIREHOUSE ACCORDING TO JIM (YR 1 2001/02 EPS 1-22) ACCORDING TO JIM (YR 2 2002/03 EPS 23-50) ACCORDING TO JIM (YR 3 2003/04 EPS 51-79) ACCORDING TO JIM (YR 4 2004/05 EPS 80-106) ACCORDING TO JIM (YR 5 2005/06 EPS 107-128) ACCORDING TO JIM (YR 6 2006/07 EPS 129-146) ACCORDING TO JIM (YR 7 2007/08 EPS 147-164) ACCORDING TO JIM (YR 8 2008/09 EPS 165-182) ALIAS (YR 1 2001/02 EPS 1-22) ALIAS (YR 2 2002/03 EPS 23-44) ALIAS (YR 3 2003/04 EPS 45-66) ALIAS (YR 4 2004/05 EPS 67-88) ALIAS (YR 5 2005/06 EPS 89-105) BIG SKY (YR 1 2020/21 EPS 1-18) BLACKISH (YR 1 2014/15 EPS 1-24) BLACKISH (YR 2 2015/16 EPS 25-48) BLACKISH (YR 3 2016/17 EPS 49-72) BLACKISH (YR 4 2017/18 EPS 73-95) BLACKISH (YR 5 2018/19 EPS 96-118) BROTHERS & SISTERS (YR 1 2006/07 EPS 1-23) BROTHERS & SISTERS (YR 2 2007/08 EPS 24-39) BROTHERS & SISTERS (YR 3 2008/09 EPS 40-63) BROTHERS & SISTERS (YR 4 2009/10 EPS 64-87) BROTHERS & SISTERS (YR 5 2010/11 EPS 88-109) BUFFY THE VAMPIRE SLAYER (YR 1 1996/97 EPS 1-12) BUFFY THE VAMPIRE SLAYER (YR 2 1997/98 EPS 13-34) BUFFY THE VAMPIRE SLAYER (YR 3 1998/99 EPS 35-55) BUFFY THE VAMPIRE SLAYER (YR 4 1999/00 EPS 56-78) BUFFY THE VAMPIRE SLAYER (YR 5 2000/01 EPS 79-100) BUFFY THE VAMPIRE SLAYER (YR 6 2001/02 EPS 101-122) BUFFY THE VAMPIRE SLAYER (YR 7 2002/03 EPS 123-144) CASTLE (YR 1 2008/09 EPS 1-10) CASTLE (YR 2 2009/10 EPS 11-34) CASTLE (YR 3 2010/11 EPS 35-58) CASTLE (YR 4 2011/12 EPS 59-81) CASTLE (YR 5 2012/13 EPS 82-105) 1 CASTLE (YR 6 -
Academy Invites 842 to Membership
MEDIA CONTACT [email protected] July 1, 2019 FOR IMMEDIATE RELEASE ACADEMY INVITES 842 TO MEMBERSHIP LOS ANGELES, CA – The Academy of Motion Picture Arts and Sciences is extending invitations to join the organization to 842 artists and executives who have distinguished themselves by their contributions to theatrical motion pictures. The 2019 class is 50% women, 29% people of color, and represents 59 countries. Those who accept the invitations will be the only additions to the Academy’s membership in 2019. Six individuals (noted by an asterisk) have been invited to join the Academy by multiple branches. These individuals must select one branch upon accepting membership. New members will be welcomed into the Academy at invitation-only receptions in the fall. The 2019 invitees are: Actors Adewale Akinnuoye-Agbaje – “Suicide Squad,” “Trumbo” Yareli Arizmendi – “A Day without a Mexican,” “Like Water for Chocolate” Claes Bang – “The Girl in the Spider’s Web,” “The Square” Jamie Bell – “Rocketman,” “Billy Elliot” Bob Bergen – “The Secret Life of Pets,” “WALL-E” Bruno Bichir – “Crónica de un Desayuno,” “Principio y Fin” Claire Bloom – “The King’s Speech,” “Limelight” Héctor Bonilla – “7:19 La Hora del Temblor,” “Rojo Amanecer” Juan Diego Botto – “Ismael,” “Vete de Mí” Sterling K. Brown – “Black Panther,” “Marshall” Gemma Chan – “Crazy Rich Asians,” “Mary Queen of Scots” Rosalind Chao – “I Am Sam,” “The Joy Luck Club” Camille Cottin – “Larguées,” “Allied” Kenneth Cranham – “Maleficent,” “Layer Cake” Marina de Tavira – “Roma,” “La Zona (The -
ACADEMY MUSEUM of MOTION PICTURES Collection Highlights
ACADEMY MUSEUM OF MOTION PICTURES Collection Highlights OVERVIEW The Academy Museum will draw from the unparalleled collection of the Academy of Motion Picture Arts & Sciences, which contains a vast range of motion picture production and history-related objects and technology, works on paper, still and moving images covering the history of motion picture in the United States and throughout the world. The collections include more than 12 million photographs, 190,000 film and video assets, 80,000 screenplays, 61,000 posters, and 104,000 pieces of production art. The collection also includes more than 1,600 special collections of film legends such as Cary Grant, Katharine Hepburn, Alfred Hitchcock, and John Huston. These special collections contain production files, personal correspondence, clippings, contracts, manuscripts, scrapbooks, storyboards, and more. The Academy’s collecting divisions work collaboratively to acquire, preserve, digitize, and exhibit the broad range of materials entrusted to their care by generations of filmmakers and collectors. The Academy Museum has actively been acquiring three-dimensional motion picture objects since 2008. Its holdings now number approximately 2,500 items representing motion picture technology, costume design, production design, makeup and hairstyling, promotional materials and memorabilia, and awards. MOTION PICTURE TECHNOLOGY The collection includes examples of pre-cinema devices, early and modern motion picture cameras and projectors, sound, editing and lighting equipment, and other landmark -
Programming Ideas
Umbrella License® Programming Guide We have compiled a programming guide that will allow you to take full advantage of the wide variety of motion pictures and audiovisual works available for screening under your facility’s MPLC Umbrella License. Please be sure to review titles and MPAA rating information prior to your screening to ensure that the subject matter is appropriate for your audience. Twentieth Century Fox From the highest-grossing motion picture of all time to Hollywood classics, the Twentieth Century Fox catalogue spans decades and includes many contemporary favorites. Affiliated labels include Fox 2000 Films, Fox-Walden, Fox Look, and Fox Searchlight. • Maze Runner: The Scorch Trials (2015) (PG-13) • The Maze Runner (2014) (PG-13) • Fantastic Four (2015) (PG-13) • Fantastic 4: Rise of the Silver Surfer (2007) (PG) • Fantastic Four (2005) (PG-13) • The Book of Life (2014) (PG) • Rio 2 (2014) (G) • Rio (2011) (G) • Night at the Museum: Secret of the Tomb (2014) (PG) • Night at the Museum: Battle of the Smithsonian (2009) (PG) • Night at the Museum (2006) (PG) • Dawn of the Planet of the Apes (2014) (PG-13) • Rise of the Planet of the Apes (2011) (PG-13) • Planet of the Apes (1968) (G) • Gone Girl (2014) (R) • The Fault in Our Stars (2014) (PG-13) • Son of God (2014) (PG-13) • X-Men Days of Future Past (2014) (PG-13) • The Wolverine (2013) (PG-13) • X-Men: First Class (2011) (PG-13) • X-Men: The Last Stand (2006) (PG-13) • X2 (2003) (PG-13) • X-Men (2000) (PG-13) • 12 Years a Slave (2013) (R) • A Good Day to Die Hard (2013) -
The Macaque Connection
Sindhu Radhakrishna · Michael A. Huffman Anindya Sinha Editors The Macaque Connection Cooperation and Conflict between Humans and Macaques ~Springer Chapter 5 Macaques and Biomedicine: Notes on Decolonization, Polio, and Changing Representations of Indian Rhesus in the United States, 1930-1960 NeelAhuja 5.1 Introduction The current institutional framework for state-sponsored biomedical primate research in the United States was launched in 1960 with the opening of the Oregon Regional Primate Research Center. The Oregon center was the first of eight primate research centers funded by the National Institutes of Health (NIH), which in the second half of the twentieth century would make the breeding, confinement, and standardization of rhesus macaques its primary means for supplying US biomedical researchers with experimental animal models for human disease. The eight primate centers supply rhesus macaques with the specific pathogen-free (SPF) designation as well as small numbers of chimpanzees and vervets for applied research. These institutions have played important roles in a number of biomedical watersheds, including the isolation of HIV, the extraction of stem cells, and the first successful attempt at primate cloning. In the reshuffling of Centers for Disease Control (CDC) and NIH departments that occurred following the September 11, 2001 attacks, the eight primate centers were renamed National Primate Research Centers, emphasizing the central role that nonhuman primate bodies have played in the state-corporate-university com plex's engineering of US American immunity. In its current incarnation, the US biosecurity apparatus imagines the rhesus macaque as an integral species for the securitization of the nation and is often posed as a defense against a future of unknowable transnational diseases and health risks for which an ongoing N. -
Film Locations in San Francisco
Film Locations in San Francisco Title Release Year Locations A Jitney Elopement 1915 20th and Folsom Streets A Jitney Elopement 1915 Golden Gate Park Greed 1924 Cliff House (1090 Point Lobos Avenue) Greed 1924 Bush and Sutter Streets Greed 1924 Hayes Street at Laguna The Jazz Singer 1927 Coffee Dan's (O'Farrell Street at Powell) Barbary Coast 1935 After the Thin Man 1936 Coit Tower San Francisco 1936 The Barbary Coast San Francisco 1936 City Hall Page 1 of 588 10/02/2021 Film Locations in San Francisco Fun Facts Production Company The Essanay Film Manufacturing Company During San Francisco's Gold Rush era, the The Essanay Film Manufacturing Company Park was part of an area designated as the "Great Sand Waste". In 1887, the Cliff House was severely Metro-Goldwyn-Mayer (MGM) damaged when the schooner Parallel, abandoned and loaded with dynamite, ran aground on the rocks below. Metro-Goldwyn-Mayer (MGM) Metro-Goldwyn-Mayer (MGM) Warner Bros. Pictures The Samuel Goldwyn Company The Tower was funded by a gift bequeathed Metro-Goldwyn Mayer by Lillie Hitchcock Coit, a socialite who reportedly liked to chase fires. Though the tower resembles a firehose nozzle, it was not designed this way. The Barbary Coast was a red-light district Metro-Goldwyn Mayer that was largely destroyed in the 1906 earthquake. Though some of the establishments were rebuilt after the earthquake, an anti-vice campaign put the establishments out of business. The dome of SF's City Hall is almost a foot Metro-Goldwyn Mayer Page 2 of 588 10/02/2021 Film Locations in San Francisco Distributor Director Writer General Film Company Charles Chaplin Charles Chaplin General Film Company Charles Chaplin Charles Chaplin Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Warner Bros. -
Michael Giacchino
MICHAEL GIACCHINO AWARDS & NOMINATIONS FILM: ASCAP COMPOSERS CHOICE JOJO RABBIT AWARDS NOMINATION (2020) ASCAP Film Score of the Year 73RD BRITISH ACADEMY FILM JOJO RABBIT AWARDS NOMINATION (2020) Best Original Score THE SOCIETY OF COMPOSERS AND JOJO RABBIT LYRICISTS NOMINATION (2019) Outstanding Original Score for a Studio Film HOLLYWOOD MUSIC IN MEDIA SPIDER-MAN: FAR FROM HOME AWARD (2019) Original Score – Sci-Fi Fantasy HOLLYWOOD MUSIC IN MEDIA JOJO RABBIT AWARD NOMINATION (2019) Original Score – Feature Film ANNIE AWARD (2019) THE INCREDIBLES 2 Outstanding Achievement in Music INTERNATIONAL FILM MUSIC THE INCREDIBLES 2 CRITICS AWARD NOMINATION (2019) Best Original Score for an Animated Film INTERNATIONAL FILM MUSIC JURASSIC WORLD: FALLEN CRITICS AWARD NOMINATION KINGDOM (2019) Best Original Score for a Fantasy/Science Fiction/Horror Film HOLLYWOOD MUSIC IN MEDIA THE INCREDIBLES 2 NOMINATION (2018) Best Original Score - Animated Film ASCAP FILM AND TELEVISION ZOOTOPIA AWARD (2017) Film Score of the Year ASCAP Composers’ Choice Award The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 1 MICHAEL GIACCHINO HOLLYWOOD MUSIC IN MEDIA COCO NOMINATION (2017) Original Score - Animated Film INTERNATIONAL FILM MUSIC CRITICS ASSOCIATION NOMINATION (2017) Composer of the Year INTERNATIONAL FILM MUSIC DOCTOR STRANGE CRITICS ASSOCIATION NOMINATION (2017) Best Original Score for a Fantasy/Science Fiction/Horror Film INTERNATIONAL FILM MUSIC ZOOTOPIA CRITICS ASSOCIATION NOMINATION (2017) Best Original Score for an Animated Film INTERNATIONAL FILM MUSIC -
Morning in America Mark Couturier
Grand Valley State University ScholarWorks@GVSU Features Hauenstein Center for Presidential Studies 10-23-2006 Morning in America Mark Couturier Follow this and additional works at: http://scholarworks.gvsu.edu/features Recommended Citation Couturier, Mark, "Morning in America" (2006). Features. Paper 37. http://scholarworks.gvsu.edu/features/37 This Article is brought to you for free and open access by the Hauenstein Center for Presidential Studies at ScholarWorks@GVSU. It has been accepted for inclusion in Features by an authorized administrator of ScholarWorks@GVSU. For more information, please contact [email protected]. Morning In America - The Hauenstein Center for Presidential Studies - Grand Valley Stat... Page 1 of 4 Morning In America The Leadership of Ronald Reagan By Mark Couturier When Ronald Wilson Reagan ascended the steps of the Capitol to take the oath of office as president of the United States, few realized how this routine but special event would unleash a tidal wave that would roll across history's shores, forever altering the fortunes of the nation and the world. For the commander-in-chief, his first inauguration represented the culmination of a life and career dedicated to the pursuit of a better future for himself, his country, and, ultimately, the entire globe. Born on February 6, 1911, in an obscure flat in Tampico, Illinois, Reagan learned from an early age that the world held no guarantees, and in order to survive and triumph, he would have to rely on his unbridled optimism, perseverance, and a little bit of luck. His father, Jack Reagan, was an Irish-American Catholic who spent most of his life as a store clerk and failed businessman.