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fromparamountpictures JANUARY, 19?9 HANDBOOK OF PRODUCTION INFOR.I{ATION ** *t(*** ******r.**t ******* ** * ****** * PARAI"IOT'N'T PICTURES PRESENTS A LAI^IRENCE GORDON PRODUCTION l *i r ry MUSIC BY BARRY DEVORZON EDITOR DAVID HOTDEN DIRECTOR OF PHOTOGRAPHYANDREW LASZLO, A.S.C. E)GCUTIVE PRODUCER FRANK MARSHAIL BASED ON THE NOVEL BY SOL YURICK SCREENPLAY BY DAVID SHASER AND WALTER HILL PRODUCED BY LAWRXNCE GORDON DIRECTED BY WAITER HILL PARAITIOUNTPICTUFES CORPORATION 1 GULF + WESTERNPLAJZA NEw YORKITY 1oo23 ''THE WARRIORS" PRELIMINARY CAST IIST SWAN..... ...,I.,IICHAELBECK AJAX..-... ...,...JAMES REI,IAR FOX...,... ......THOMAS WATTES CLEON..... ,....DORSEY WRIGHT SNOW.... ..BRIAN Tr'iER cocErsE. ,.......DAVID HARRIS COWBOY.... TOM MCKITIERICK REI,IBRANDT. .. j...MARCELINO SANCHEZ VERMIN.. ,......TERRY MICEOS MERCY..,.... .......DEBORAH VAN VAIKENBUREII CJIKU'. .. .ROGER HILL LUTHER......... .......DAVID PATRICKKELLY D.J, ,.,.. .....LyNr.I I,HTCPEN CANDY STORE GIRL..., . , . .GINN! ORTIZ GRAI.,IERCYRIFFS... , . , . .EDWARD SEIJER RON FERRELL FERNANDOCASTILI,O I{I,BERT EDI,{ARDS LARRY SEARS uI(E .tA.t4ES GREGORYCLEGHORNE GEORGE LEE I,IILES STANI,EV TT!{I.IS JOHN MAURICE JAMIE PERRY I,fINsmN YARDE ROGIJES.. ....,...JOEL WErSS HAROLD UILLER DAN BONNELL DAN BATTLES TO!,T JARUS MICHAEL GARIIELD CHRIS HARLEY MARK BAITZAR TURNBI'LLA.C.'s.. .......J.w. sl.{ITH CAI ST. JOHN JOE ZIMMARDI CARROTTE WII,I,fAM IIIILLIAI.IS MARVIN FOSTER JOIIN BARNES KEN THRET MICI{AEL JEFFREY .,...PAt'L GRECO APACIG RAMOS TONY MTCHAEL PANN NEA], GOLD JAMES MARGOLIN CHUCK MASON ANDY ENGEIS IAN COIIEN CIIARLES SERRANO CHARLES DOOIAN -3- BASEBALL FUR]ES . JERRY HEWTTT BOB RYDER JOSEPH BERGUAN RICIARD CIOTTI TONY LATHAM EUGENE BICKNEIi T. J. McNAMARA STEVEN JA}IES IANE RUOFF IiARRY MADSE]\I BILTY ANAGNOS JOHN GIBSON LIZZIES iISA MAURER KA:IE KLUGMAN DEE DEE BENREY JORDAN CAE IIARRELL DONNA RITCHIE DORAN CLARK PATTY BROWN IRIS AIAHANTI VfCTORIA VANDERKLOOT LAURA DE ],ANO SUKI ROTHCHILD HEIDI LYNCH PIJNKS CRAIG BAXLEY A. J. BAKITNAS GARY BA)(LEY KONRAD SHEEHAN EDDIE EARI IIATCI' rOM }IUFF LEON POLTCE DELANEY IRWIN KEVES LARRY SILVESTRI SONNY LANDHA.I,! FRANK FERRARA PAT FLANNERY LEO CTANT CHARLIE MCCARTUY I -4- PRELIMINARY TECHNTCAI CREDITS PRODUCEDBY.. .... .. ....LAWRENCE GORDON EXECUTIVE PRODUCER. ... .FRANK MARSHA],L DIRECTED 8Y...... ., ..WAITER HILL SCREENPLAY8Y.... .. ...DAVID SHASERAND WAI,TERHTtt BASED ON THE NOVCL 8Y...... ....SOL YURICK DIRECTOR OF ?HOTOG&\PHY. .......ANDREI{ I,ASZI,O. A.S.C. EDITOR.. .. -....DAVID HOIDEN MUSIC BY. ......BARRY DE VORZON ART DIRECTORS. .DON SWANAGAN BOB WIGHTMAN COSTUMEDESIGNERS...... ........BOBBTEI{ANNIX MARY EILEN WINSTON ASSOCIATE PRODUCER. ....JOEL SIL\/ER STUNT COORDINATOR.. ........CRAIG BAXLEY MUSTC SUPERVISION BY... ........KENM VANCE UNIT PRODUCTION}4ANAGER. .......JOI]N STARKE ASSISTANT DIRECTOR. ....DAVID O. SOSNA 2ND ASSISTANT DIRECTORS. .. .BOB BARTH PETER GRIES D.G.A. TRA]NEES .. .. .. .BRUCE GREENFIELD BOB SIMO\I ASSISTANT TO MR. IIILL. .NEIL CANTON ASSISIIANT TO MR. GORDON. .......IAURIE D]ETZ ASSISTANT TO MR. MARSHALL ......MARTHA SCHUMACHER PRODUCTION OFFICE COORDINATOR.. .... GAT]. GEIBE], LOCATION COORDINATORS. .A].EX HO DAVID S TREIT PRODUCTION ACCOUNTANT. SAM BERNSTEIN SCRTPT SUPERVISOR.... .. ... ....GIBONEY WHYTE CAMERAOPERATORS..... .. ........PETSR GARBERTNT MIKE STONE STILLS.. .......MIKE GINSBURG SET DECORAI]OR. .FRED !'E TI,ER PROPERTYMASTER.. ......W1ttIAM KANE PRoPs,.. ...-...pAUl, l{ILsoN ROBERT WILSON SPECIAI EFFECTS .,.. .. ..EDTdARDDRoHAN COSTUMETLLUSTRATOR. .......BARBARA BLACK-STERNE WARDROBESUPERVISOR. ...WTLLIAM LOGER SOUND MIXERS. ..JACK JACOBSEN At MIAN GAFFER.. .. .. RUSSEL ENGELS KEY GRIP. ... ..JOHN T. KENNEDy MAKE_UPARTIST. .....MICHAEL MAGGI HAIR STY],IST.. .FRANK BIANCO LII-L]1I UAt(Er;]\.I'ljI( ...... ..qARRY LYNOTT SCENIC ARTIST., . .I^/ILLTAM LUCEK THAMSTERCAPTAIN. .....WILLIAM CURRY CASTING. .......HOWARD FEUER & JEREMY RTTZER EXTRA CASTING. .SYLVIA FAY EDITORS ...,..FREEMAN DAVIES, JR. BTLI,Y WEBER SANDY MORSE ASSISTANT EDITORS. ......GEORGE TRIROGOFF RTC< FIELDS PHYLLIS AI,IENIIAUS-SMTTH LTSA CHURGIN MUSIC EDITOR. ...JOHN CAPER, JR. SUPERVTSTNGSOUND EFFECTS EDITOR.. ......HOWARD BEALS SUPERVISING DIALOGUE EDTTOR.. ..SHAtdN HANLEY RX-RECORDINGMIXERS.. ..rEX RUDIOFF, C.A.S. DOIi MITCHELL, C.A.S. RICHARD KLINE, C.A.S. TITLES.. ........DAN PERRI UN]T PUBLICIST. ....... ..MYRNA POST ASSOCIATES OPTICALS. .....MODEAN FILM EFFECTS PHO'I'OGRAPHTCEQUTPIGNT BY PANAVTSIO\ @ COLOR BY MOVIELAB fHE PERSO].ISAND E\ENTS IN THIS FILM ARE FICTITIOUS. ANY SIMILARITY TO ACTUA]- PERSONS OR EVEN1S IS UNINTENTIONA].. THIS MOTION PICIIURE IS PRO1ECTED UNDER LAWS OF THE UNIIED STATES AND OTHER COUNTRIES. IJNAUTIIORI ZE D DUPLICAIION. DISTRIBUTION OR EXHIBITTON MAY RESULT TN CIVIL LIAEILITY AND CRII4INA], PROSECUTION. PRELIMINARY CAST AND TECHNICA], CREDI1I LTSTS JANUARY. 19 79 -6- iTIIE 'IARRIORS tr TIiE STORY ( r.rot ioi-T6t i-ca tio n ) gangs The place is New York city. A large subculture of ovrns the streets at night. There are gangs of every race' in- come leve1 anal sex, wearinq everything from top hats and tails to leather jackets. one gang, the Gramelcy Riffs, is headed by cyrus, a charis- natic leader who has nolded his men into a tightty-knit crew of karate experts. He has a plan to rmite all of the gangs in the city and make up an a]:my that \tould be 100,000 sLrong and could easity take over the reins of po$/er in the city' He cal1s to- gether a qiant conclave where nine unarme'l envoys from evety giang are sent to hear his P1an. The Coney Islancl Warriors are a bit wary of Lhe idea' but neveretheless, nine men ale chosen to make the long subway trip to the Bronx: cteon. The leaaler. Tough. si/an. The war Chief. Ouiet, laconic by naLure' a natulal military tactician. Renbrandt. The artist. Ouick-vtitted' emotional ' Cochise. A rough and ready fighter' a good soldier' Vermin. lle complains a lotr but he's alv,tays there ' The Fox. snal1. kinetic. He noves silently' can clinb anywhere . Cowboy. Ah,Tays vrears a sLeLson- Litie. quick' amiable ' snowball' Tall and lean, t}Ie face anal body of a Masai lrarr ior. He rarelY speaks. Ajax, His attitude is cantankerous, at best. Rebellious \tith nore than an overtone of cruelty. As they rouod the corner, they are rnet by the sight of a thousand gang nenbers, dresseal in the mult.itude of colors of the hundreds of gangs that t-hey represent. Ranged in a.circle arounal a high platforrn are representatives from the Blackjacks. the E1- ectric Eliminators, the Firetasters, the Moonrunners, the Saracens, the Tulnbull A.C.ts, tlle Zodiacs, anil a hundreal other q:angs. It's an altesome pa4orama that gives the Warriors a spine-tingling pride that they are part of all this. Cyrus appears anal the murmuting quickly ends as his hypnot- izing voice rlngs out. His call to unite anal conquer the forces that have kept. hin oppressed is met with wild cheers. Bul: before he can finish, a shot rings out anil Cyrus crashes off the platforn. He has been killed. The Fox has seen the killer, Luther of the Rogues, but Luther has spotteal the Fox as rvell. In Lhe panic set oFf by the murcler anal the arrival of a sLrong contingent of police, the Fox slips away into the crowal. Lutler, acting quickly to protect himself from aletecLion, begins to shout that it 1,ras the !{arriors who killed Cyrus. Almost inmediately, rne bers of the Riffs fall upon Cleon and bludqeon hirn to death. The irord is given out to all the gangs of the city that the Warriors must pay for their crime. Unaware of the danqret surroundinq them, the eight Warriors plunge into the night anal soon find themselves faced with battling the police, rival qangs anal the venomous Luther on the perilous journey home . -B- I'TIIE }IARRIORSII PRODTTCTION NOTES In preparing hig novel "The warriors," on which the screen- play by David Shaber and walter Hill is based, Sol yurick studied gang life from an historical point of view and found that gangs have existed through all of recoraled history in every country unaler every type of regime. I La!/rence Gorilon s production of "Ihe Warriors,', presenteal by Paramount Pictures, is not an attempt to depict any real- life gang or actual incident. The aim of the film is to caprure t}'e flavor of i,/hat it has always meant to be a nenber of a gang--the tribal feeling of going into battle together. of 1oy_ aLty, of support and shared goals. Producet Goralon anal director Eill set out to create a gang which woulil have the audiences' s]4npathy as they fight off all the other gangs in the city, They cast newcomers in the filn in order to maintain the look and feel of real people caught in dangerous situations. The chemistry among the Warriors was perfect and they quickly began to develop into a gang during rehearsal. By the time filni4g beqan, all felt like partners in an adventure together. Most of "The Warriors', \aras shot outdoots at night. And. to make the sequences as realistic as possible, all of the filring r4ras flone in Ne\^' York City. Beginning. with the boardwalks at Coney Island, "fhe Warriors" covers a myriad of streets/ parks and subway stations from Manhattan to Brooktyn anal Oueens. Ihere were many proble:ns shooting on location--crowals, ratn, noise from passing trains and airplanes--but there is no way to duplicate the excitenent of the streets on a movie set. Hill was -9 - anxious to capture tie tension of the qang neighborhoods at niqht, and reality often intruded upon the scene. one shot be- tvreen the watliors anal a gang ca1led the orphans was interrupted by a real siren-screaming chase as the trtolice closeal in on a robbery car. Ttlere were also nervous nroments whenever any of the ganqs in tie city decided to visit the movie site. Though there vrere always armeal guarals nearby, the Production crevr began to get a nturf." feeling of alanger !,/henever they crossed into a new But, for most. the touqhest part of the filming was the demandingr schedule--60 straiqht days of night shooting.
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    BROOKLYN COLLEGE MAGAZINE | SPRING 2013 1 B Brooklyn College Magazine Volume 2 | Number 2 | Spring 2013 Brooklyn College Editor-in-Chief Art Director Advisory Committee 2900 Bedford Avenue Keisha-Gaye Anderson Lisa Panazzolo Nicole Hosten-Haas, Chief of Staff to the President Brooklyn, NY 11210-2889 Steven Schechter, Managing Editor Production Assistant Executive Director of Government and External Affairs [email protected] Audrey Peterson Mammen P. Thomas Ron Schweiger ’70, President of the Brooklyn College Alumni Association © 2013 Brooklyn College Andrew Sillen ’74, Vice President for Institutional Advancement Staff Writers Staff Photographers Jeremy A. Thompson, Executive Director of Marketing, Communications, Ernesto Mora David Rozenblyum President and Public Relations Richard Sheridan Craig Stokle Karen L. Gould Colette Wagner, Assistant Provost for Planning and Special Projects Jamilah Simmons Editorial Assistants Provost Contributing Writers Dominique Carson ‘12 William A. Tramontano James Anderson Mark Zhuravsky ‘10 Matt Fleischer-Black Joe Fodor Katti Gray Alex Lang Anthony Ramos Julie Revelant Ron Schweiger ’70 On the Scene Award-winning alumni and a new graduate school of cinema in the works make Brooklyn College a 9 prime destination for the next generation of entertainment industry game changers. Forward Momentum Leading-edge scientific research at Brooklyn College continues to 14 attract national attention, as well as prestigious awards. The Brooklyn Connection Alumni mentors with top-flight careers and talented business students form 20 professional and personal bonds that endure well past graduation. 2 From the President’s Desk 3 Snapshots 5 Notables 7 Features He’s not an 23 College News alumnus, so why is Kevin 27 Career Corner Bacon in our 28 Athletics magazine? 30 Alumni Profile Turn to page 31 Class Notes ten to find out.
  • Alien Encounters and the Alien/Human Dichotomy in Stanley Kubrick's &lt;Em&gt;2001: a Space Odyssey&lt;/Em&gt; and Andrei Tark

    Alien Encounters and the Alien/Human Dichotomy in Stanley Kubrick's <Em>2001: a Space Odyssey</Em> and Andrei Tark

    University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 4-1-2010 Alien Encounters and the Alien/Human Dichotomy in Stanley Kubrick‘s 2001: A Space Odyssey and Andrei Tarkovsky‘s Solaris Keith Cavedo University of South Florida Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the American Studies Commons Scholar Commons Citation Cavedo, Keith, "Alien Encounters and the Alien/Human Dichotomy in Stanley Kubrick‘s 2001: A Space Odyssey and Andrei Tarkovsky‘s Solaris" (2010). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/1593 This Dissertation is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Alien Encounters and the Alien/Human Dichotomy in Stanley Kubrick‘s 2001: A Space Odyssey and Andrei Tarkovsky‘s Solaris by Keith Cavedo A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of English College of Arts and Sciences University of South Florida Major Professor: Phillip Sipiora, Ph.D. Lawrence Broer, Ph.D. Victor Peppard, Ph.D. Silvio Gaggi, Ph.D. Date of Approval: April 1, 2010 Keywords: Film Studies, Science Fiction Studies, Alien Identity, Human Identity © Copyright 2010, Keith Cavedo Dedication I dedicate this scholarly enterprise with all my heart to my parents, Vicki McCook Cavedo and Raymond Bernard Cavedo, Jr. for their unwavering love, support, and kindness through many difficult years. Each in their own way a lodestar, my parents have guided me to my particular destination.