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Mels Resume:Update2020
Melissa Street Makeup Artist Film/Television/Theater/Live Events cell: (858) 344-7201 email: [email protected] FILM: 2020 MAKEUP DEPARTMENT HEAD - GIGI - Director: Drew Sackheim. 2018 MAKEUP ARTIST - TOP GUN MAVERICK - PARAMOUNT - Director: Joseph Kosinski - Starring: Tom Cruise, Jennifer Connelly, Jon Hamm, Val Kilmer, Miles Teller. 2016 MAKEUP DEPARTMENT HEAD - THE RIDE - 100 ACRE FILMS - SHORT FILM - Director: Eric Addison 2014 MAKEUP DEPARTMENT HEAD - WALTER - ZERO GRAVITY Director: Anna Mastro - Starring: Andrew J. West, Virginia Madsen, William H. Macy, Leven Rambin, Peter Facinelli, Neve Campbell, Brian White, Jim Gaffigan, Justin Kirk, Milo Ventimiglia. Personal artist to: Virginia Madsen, William H. Macy, Andrew J. West, Peter Facinelli, Neve Campbell, Brian White. 2013 MAKEUP DEPARTMENT HEAD - SUPER ATHLETE - WHITE NIGHT PRODUC- TIONS Director: John Comrie - Starring: Tony Sirico, Christopher Lloyd, Faran Tahir, Cameron Rodriguez, Larry Van- Buren Jr. Personal artist to: Tony Sirico, Christopher Lloyd, Faran Tahir. 2011 KEY MAKEUP ARTIST - WHEN YOU FIND ME - SHORT FILM - PROJECT IMAG- IN8TION/FREESTYLE Director: Bryce Dallas-Howard - Starring: Marianna Palka, Erin Way, Jacy King, Karley Scott Collins, Devon Woods, Zachary James Rukavina. 2010 MAKEUP DEPARTMENT HEAD - THE HEIRESS LETHAL - SHORT FILM - EYE- FULL STUDIOS Director: Michael Brueggemeyer - Starring: Merrick McCartha, Cristyn Chandler, Ron Christopher Jones, Theresa Layne. 2003 MAKEUP DEPARTMENT HEAD - CARROT TOP ROCKS LAS VEGAS - DELTA EN- TERTAINMENT Director: Steve Hanft - Starring: Scott “Carrot Top” Thompson, Penn Jillette, Teller. 1986 UNCREDITED MAKEUP ASSISTANT - INVADERS FROM MARS - CANNON PIC- TURES Director: Tobe Hooper - Starring: Karen Black, Hunter Carson, Timothy Bottoms, James Karen, Laraine Newman. Makeup Assistant to Stan Winston F/X lab team. -
ASC History Timeline 1919-2019
American Society of Cinematographers Historical Timeline DRAFT 8/31/2018 Compiled by David E. Williams February, 1913 — The Cinema Camera Club of New York and the Static Camera Club of America in Hollywood are organized. Each consists of cinematographers who shared ideas about advancing the art and craft of moviemaking. By 1916, the two organizations exchange membership reciprocity. They both disband in February of 1918, after five years of struggle. January 8, 1919 — The American Society of Cinematographers is chartered by the state of California. Founded by 15 members, it is dedicated to “advancing the art through artistry and technological progress … to help perpetuate what has become the most important medium the world has known.” Members of the ASC subsequently play a seminal role in virtually every technological advance that has affects the art of telling stories with moving images. June 20, 1920 — The first documented appearance of the “ASC” credential for a cinematographer in a theatrical film’s titles is the silent western Sand, produced by and starring William S. Hart and shot by Joe August, ASC. November 1, 1920 — The first issue of American Cinematographer magazine is published. Volume One, #1, consists of four pages and mostly reports news and assignments of ASC members. It is published twice monthly. 1922 — Guided by ASC members, Kodak introduced panchromatic film, which “sees” all of the colors of the rainbow, and recorded images’ subtly nuanced shades of gray, ranging from the darkest black to the purest white. The Headless Horseman is the first motion picture shot with the new negative. The cinematographer is Ned Van Buren, ASC. -
Downloads of Technical Information
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2018 Nuclear Spaces: Simulations of Nuclear Warfare in Film, by the Numbers, and on the Atomic Battlefield Donald J. Kinney Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES NUCLEAR SPACES: SIMULATIONS OF NUCLEAR WARFARE IN FILM, BY THE NUMBERS, AND ON THE ATOMIC BATTLEFIELD By DONALD J KINNEY A Dissertation submitted to the Department of History in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2018 Donald J. Kinney defended this dissertation on October 15, 2018. The members of the supervisory committee were: Ronald E. Doel Professor Directing Dissertation Joseph R. Hellweg University Representative Jonathan A. Grant Committee Member Kristine C. Harper Committee Member Guenter Kurt Piehler Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii For Morgan, Nala, Sebastian, Eliza, John, James, and Annette, who all took their turns on watch as I worked. iii ACKNOWLEDGMENTS I would like to thank the members of my committee, Kris Harper, Jonathan Grant, Kurt Piehler, and Joseph Hellweg. I would especially like to thank Ron Doel, without whom none of this would have been possible. It has been a very long road since that afternoon in Powell's City of Books, but Ron made certain that I did not despair. Thank you. iv TABLE OF CONTENTS Abstract..............................................................................................................................................................vii 1. -
Human' Jaspects of Aaonsí F*Oshv ÍK\ Tke Pilrns Ana /Movéis ÍK\ É^ of the 1980S and 1990S
DOCTORAL Sara MarHn .Alegre -Human than "Human' jAspects of AAonsí F*osHv ÍK\ tke Pilrns ana /Movéis ÍK\ é^ of the 1980s and 1990s Dirigida per: Dr. Departement de Pilologia jA^glesa i de oermanisfica/ T-acwIfat de Uetres/ AUTÓNOMA D^ BARCELONA/ Bellaterra, 1990. - Aldiss, Brian. BilBon Year Spree. London: Corgi, 1973. - Aldridge, Alexandra. 77» Scientific World View in Dystopia. Ann Arbor, Michigan: UMI Research Press, 1978 (1984). - Alexander, Garth. "Hollywood Dream Turns to Nightmare for Sony", in 77» Sunday Times, 20 November 1994, section 2 Business: 7. - Amis, Martin. 77» Moronic Inferno (1986). HarmorKlsworth: Penguin, 1987. - Andrews, Nigel. "Nightmares and Nasties" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney: Ruto Press, 1984:39 - 47. - Ashley, Bob. 77» Study of Popidar Fiction: A Source Book. London: Pinter Publishers, 1989. - Attebery, Brian. Strategies of Fantasy. Bloomington and Indianapolis: Indiana University Press, 1992. - Bahar, Saba. "Monstrosity, Historicity and Frankenstein" in 77» European English Messenger, vol. IV, no. 2, Autumn 1995:12 -15. - Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford Clarendon Press, 1987. - Baring, Anne and Cashford, Jutes. 77» Myth of the Goddess: Evolution of an Image (1991). Harmondsworth: Penguin - Arkana, 1993. - Barker, Martin. 'Introduction" to Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Media. London and Sydney: Ruto Press, 1984(a): 1-6. "Nasties': Problems of Identification" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney. Ruto Press, 1984(b): 104 - 118. »Nasty Politics or Video Nasties?' in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Medß. -
Creature Designers- the Frankenstein Complex Press Release.Indd
31 Southampton Row, London WC1B 5HJ Tel: 0203 585 1396 Web: fetch.fm PRESS RELEASE Creature Designers: The Frankenstein Complex RELEASE INFORMATION Distributor Studiocanal “A wealth of pure ________________________________________________ Certifi cate 12 craftsmanship and magic” ________________________________________________ Release date 3rd October, 2016 Ain’t It Cool ________________________________________________ Extras Soundtrack / Designing On DVD from Monday 3rd Oct. 2016. the Opening Credits / A conversation with John Fast sell: Landis & Joe Dante / A conversation with Steve Like modern Frankensteins, special effects wizards create Johnson & John Vulich / life out of raw material, art and complex machinery, from Stills Gallery / Guillermo slavering werewolves to robots and zombies! Del Toro Masterclass This fascinating documentary, looking at the visionaries KEY TALENT INFORMATION responsible for some of cinema’s most fearsome and thrilling onscreen monsters, from King Kong climbing the Empire Director Gilles Penso / State through to the astonishing trickery of Terminator 2, is a Alexandre Poncet treat for creature feature fans and fi lm afi cionados alike. CONTACT/ORDER MEDIA Key talent: Thomas Hewson - [email protected] Rick Baker (Oscar-winning make up genius, An American Werewolf in London) Joe Dante (Director, Gremlin, The ‘Burbs) Guillermo del Toro (Director, Hellboy, Pacifi c Rim, Pan’s Labyrinth) Greg Nicotero (Special effects master, From Dusk Till Dawn, The Walking Dead, Kill Bill, Evil Dead 2) Steve Johnson (Creature designer, The Abyss) Gilles Penso/Alexandre Poncet (Directors, Ray Harryhausen: Special Effects Titan) Synopsis: From King Kong to Avatar, from Star Wars to Lord of the Rings, movie creatures have never been as popular as they are today! Yet the art of creating monsters for the big screen is as old as cinema itself.. -
PRICES REALIZED DETAIL - Hollywood 65 Auction 65, Auction Date: 10/17/2014
26662 Agoura Road, Calabasas, CA 91302 Tel: 310.859.7701 Fax: 310.859.3842 PRICES REALIZED DETAIL - Hollywood 65 Auction 65, Auction Date: 10/17/2014 LOT ITEM PRICE PREMIUM 1 AUTO RACING AND CLASSIC AUTOS IN FILM (14) VINTAGE PHOTOGRAPHS. $350 2 SEX IN CINEMA (55) VINTAGE PHOTOGRAPHS. $4,500 3 LILLIAN GISH VINTAGE PORTRAIT PHOTOGRAPH BY HARTSOOK STUDIO. $200 4 COLLECTION OF (19) PORTRAIT PHOTOGRAPHS OF LUCILLE BALL, TALLULAH $325 BANKHEAD, THEDA BARA, JOAN CRAWFORD, AND OTHERS. 5 ANNA MAY WONG SIGNED PORTRAIT PHOTOGRAPH BY CECIL BEATON. $4,000 6 MABEL NORMAND (7) SILENT-ERA VINTAGE PHOTOGRAPHS. $200 7 EARLY CHILD-STARS (11) VINTAGE PHOTOGRAPHS INCLUDING OUR GANG AND $225 JACKIE COOGAN. 9 BARBARA LA MARR (3) VINTAGE PHOTOS INCLUDING ONE ON HER DEATHBED. $325 10 ALLA NAZIMOVA (4) VINTAGE PORTRAIT PHOTOGRAPHS. $300 11 SILENT-FILM LEADING LADIES (13) VINTAGE PHOTOGRAPHS. $200 13 SILENT-FILM LEADING MEN (10) VINTAGE PHOTOGRAPHS. $200 14 PRE-CODE BLONDES (24) VINTAGE PHOTOGRAPHS. $325 15 CHARLIE CHAPLIN AND PAULETTE GODDARD (2) VINTAGE PHOTOGRAPHS. $350 16 COLLECTION OF (12) OVERSIZE PORTRAIT PHOTOGRAPHS OF RENÉE ADORÉE, $400 MARCELINE DAY, AND OTHERS. 17 COLLECTION OF (17) OVERSIZE PORTRAIT PHOTOGRAPHS OF EVELYN BRENT, $1,200 NANCY CARROLL, LILI DAMITA, MARLENE DIETRICH, MIRIAM HOPKINS, MARY PICKFORD, GINGER ROGERS, GLORIA SWANSON, FAY WRAY AND OTHERS. 18 MYRNA LOY (14) VINTAGE PHOTOGRAPHS INCLUDING SEVERAL RARE $375 PRE-CODE IMAGES. Page 1 of 85 26662 Agoura Road, Calabasas, CA 91302 Tel: 310.859.7701 Fax: 310.859.3842 PRICES REALIZED DETAIL - Hollywood 65 Auction 65, Auction Date: 10/17/2014 LOT ITEM PRICE PREMIUM 19 PREMIUM SELECTION OF LEADING MEN (32) VINTAGE PHOTOGRAPHS. -
History of LASD Officer Survival Training Officer Survival – in The
History of LASD Officer Survival Training By Deputy Chris Miller (retired) Lieutenant Mike McAndrews (retired) Los Angeles County Sheriff’s Museum Officer Survival – In the Beginning On September 5, 1967, Mike McAndrews began his career with the Los Angeles County Sheriff’s Department as a cadet in Academy Class 119. He endured months of lectures, training, and tests. From their first day in the Academy, cadets in Class 119 saw posters on the walls with survival quotes such as, “The more you sweat in training, the less you bleed in the streets” and “The radio is your lifeline.” (The only radio available to patrol deputies at the time was in the radio car. Portable radios were not issued to deputies until years later.) To reinforce officer survival lessons throughout their academy training, drill instructors demanded cadets carry nothing in their gun hand so they would be free to draw their weapon at any given moment. During physical training, falling out on a run meant dying in a street fight. The message was clear: There is nothing more important than officer survival. Finally, the day of their first officer survival lecture arrived. Every member of Class 119 was eager to hear what would be said. Their instructor was a staff member from another class. The officer survival lecture was his specialty. His uniform appearance was magnificent and everything was perfect up until the moment he opened his mouth. His first move was to walk to an easel and pull the cover off a poster-size picture of a nude male dead body laid out on a coroner’s examination table. -
Factfile: Gce As Level Moving Image Arts the Influence of Alfred Hitchcock’S Cinematic Style
FACTFILE: GCE AS LEVEL MOVING IMAGE ARTS THE INFLUENCE OF ALFRED HITCHCOCK’S CINEMATIC STYLE The influence of Alfred Hitchcock’s Cinematic Style Learning outcomes Students should be able to: • explain the influence of Hitchcock’s cinematic style on the work of contemporary filmmakers; and • analyse the cinematic style of filmmakers who have been influenced by Hitchcock. Course Content Alfred Hitchcock’s innovative approach to visual In the 1970’s, as his career was coming to an storytelling and the central themes of his work have end, Hitchcock was a seminal influence on the had a profound influence on world cinema, shaping young directors of the New Hollywood, including film genres such as crime and horror and inspiring Steven Spielberg, Francis Ford Coppola, Martin generations of young directors to experiment with Scorsese and Brian De Palma. Over the past four film language. decades, this influence has expanded greatly with Hitchcock’s body of work functioning as a virtual In Paris in the 1960’s, French New Wave directors, film school for learning the rules of the Classical Francois Truffaut and Claude Chabrol embraced Hollywood Style, as well as how to break them. The Hitchcock’s dark vision of criminality, while in director’s influence is so far-reaching, that the term London, young Polish director Roman Polanski ‘Hitchcockian’ is now universally applied in the created a terrifying Hitchcockian nightmare in his analysis of contemporary cinema. The directors of debut film, Repulsion (1965). the New Hollywood drew inspiration from a wide range of Hitchcock’s techniques. 1 FACTFILE: GCE AS LEVEL MOVING IMAGE ARTS / THE INFLUENCE OF ALFRED HITCHCOCK’S CINEMATIC STYLE Martin Scorsese through an automated car factory in which the film’s hero is encased in a newly-built vehicle. -
Starlog Magazine Issue
'ne Interview Mel 1 THE SCIENCE FICTION UNIVERSE Brooks UGUST INNERSPACE #121 Joe Dante's fantastic voyage with Steven Spielberg 08 John Lithgow Peter Weller '71896H9112 1 ALIENS -v> The Motion Picture GROUP, ! CANNON INC.*sra ,GOLAN-GLOBUS..K?mEDWARO R. PRESSMAN FILM CORPORATION .GARY G0D0ARO™ DOLPH LUNOGREN • PRANK fANGELLA MASTERS OF THE UNIVERSE the MOTION ORE ™»COURTENEY COX • JAMES TOIKAN • CHRISTINA PICKLES,* MEG FOSTERS V "SBILL CONTIgS JULIE WEISS Z ANNE V. COATES, ACE. SK RICHARD EDLUND7K WILLIAM STOUT SMNIA BAER B EDWARD R PRESSMAN»™,„ ELLIOT SCHICK -S DAVID ODEll^MENAHEM GOUNJfOMM GLOBUS^TGARY GOODARD *B«xw*H<*-*mm i;-* poiBYsriniol CANNON HJ I COMING TO EARTH THIS AUGUST AUGUST 1987 NUMBER 121 THE SCIENCE FICTION UNIVERSE Christopher Reeve—Page 37 beJohn Uthgow—Page 16 Galaxy Rangers—Page 65 MEL BROOKS SPACEBALLS: THE DIRECTOR The master of genre spoofs cant even give the "Star wars" saga an even break Karen Allen—Page 23 Peter weller—Page 45 14 DAVID CERROLD'S GENERATIONS A view from the bridge at those 37 CHRISTOPHER REEVE who serve behind "Star Trek: The THE MAN INSIDE Next Generation" "SUPERMAN IV" 16 ACTING! GENIUS! in this fourth film flight, the Man JOHN LITHGOW! of Steel regains his humanity Planet 10's favorite loony is 45 PETER WELLER just wild about "Harry & the CODENAME: ROBOCOP Hendersons" The "Buckaroo Banzai" star strikes 20 OF SHARKS & "STAR TREK" back as a cyborg centurion in search of heart "Corbomite Maneuver" & a "Colossus" director Joseph 50 TRIBUTE Sargent puts the bite on Remembering Ray Bolger, "Jaws: -
Not Your Usual 'Dracula'
October 23, 2009 | Volume VII, Issue 19 | LGBT Life in Maryland EQMD Appoints Morgan Sheets as New Executive Director BY STEVE CHARING Equality Maryland, the state’s largest lgbt civil rights advocacy organization, announced on October 13 the appoint- ment of Morgan Sheets as its new Executive Director. Ms. Sheets was chosen by the Board of Directors fol- lowing an extensive national search. A resident of Ellicott City, she comes to Equality Maryland after serving as the Director of Government Relations & Public Policy of the Amputee Coali- tion of America. “We are thrilled to have found someone of Morgan’s experience, caliber and knowledge,” said Equality Maryland Board President Scott Dav- enport in a statement. “Morgan brings commitment, determination, commu- nity awareness, communication and fundraising know-how, along with po- litical savvy to her life’s work as a non- Photo: Andriy Portyanko profit advocacy leader. “Her many years of executive ex- high school. I was doing theater and musicals perience at the helm of state-wide and Not Your Usual ‘Dracula’ and stuff. I took a dance class at some point, national progressive organizations and it just sort of snowballed pretty quickly. and issue campaigns, ability to build Choreographer Scott Rink returns to Three years later I was at Julliard, and was quick rapport with the community, and offered a job straight away with Eliot Feld knowledge of the political and social Baltimore with a new spooky production. and his company. I haven’t stopped dancing landscapes in Maryland makes her an since. I just went from one company to the ideal leader for the lgbt and straight BY JOSH ATEROVIS the Baltimore area. -
Creating Images for Hollywood Classics Vicki James Yiannias
Creating Images for Hollywood Classics Vicki James Yiannias From the time of silent films, the images of American cinema have reflected the environment of their time. The sounds, sites, costumes, makeup, and movements on the screen reinforce the norms of the era, but also give a taste of social changes in their early phases. Most popular attention has been focused on actors, who when influential are labeled stars, even if their talent is limited. More recently some directors also have become “bankable” as stars of their own kind. Still under-appreciated by most filmgoers are the critical behind-the scenes roles by others in the filmmaking team. Greeks who have carved some legendary spaces in their respective specialties are not widely celebrated, even by the Greek American public. Six such individuals are Jack Pierce, make-up and special effects artist; Hermes Pan, choreographer; Dean Tavoularis, production designer; and Theoni Aldredge, Patricia Field, and Mary Zophres, three extraordinary costumer designers. From Frankenstein to Mister Ed Special effects and makeup genius Jack Pierce (1889-1968) is one of the great innovators in Hollywood history. His masterly conceived monsters and creatures created for Hollywood horror classics such as Frankenstein (1931), Dracula 1931), The Mummy (1932), and Wolf Man (1941) are still terrifying, and their influence on popular culture, continues on a grand scale. Yiannis Peter Piccoulas (1889-1968) was born in Porto Cheli, Ermionida, in the Peloponnese. His father was a shepherd (likely to have been originally from the village of Valtestsi).1 In 1902, when he was just thirteen, Piccoulas left his family to come to America in search of a better life. -
Artifice Specifications As Expressive Means of the Modern Cinematography
DOI https://doi.org/10.36059/978-966-397-157-5/86-100 ARTIFICE SPECIFICATIONS AS EXPRESSIVE MEANS OF THE MODERN CINEMATOGRAPHY Zhukovin O. V. INTRODUCTION Digital technologies are becoming elements of a new artistic reality, which has a significant impact on the psychology of aesthetic perception. A considerable amount of factual material has been accumulated in various countries where new technologies are being actively developed, requiring scientific reflection in the context of culture, including in the interests of improving artistic practice. “Cinema is undergoing major changes at all levels. Examples of non-film movies, videotapes, prints, movie projectors, and collective screening appear in the darkened auditorium. Directors and screenwriters come up with plots, shoot, and edit movies using computer-based image manipulation from the desktop. It is not just about the invasion of computer graphics into the film process, but about the profound changes of the concept itself. For the viewer, the presence of digital cinema is reflected in a large number of special effects produced on or using the computer”1 [1]. The same can be said about theatrical acts. With computer graphics and laser installations indoors or outdoors, you can see a large action image in the air. One of the latest advances in computer technology is the virtual promoter (online promoter). It is a construction of transparent acrylic with a thickness of not more than one centimeter, with the application of unique material on it. An image of a person is projected onto the structure. Thanks to the special projection back-film, under intense artificial lighting, the projected image remains very bright.