DOCSLIB.ORG

Simon Clark Production Sound Mixer

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Simon Clark Production Sound Mixer Shepperton Studios, Studios Road, Shepperton, Middx, TW17 OQD Tel: +44 (0)1932 571044 Website: www.saraputt.co.uk Simon Clark Production Sound Mixer TV Drama PETER KOSMINSKY PROJECT Playground Entertainment Prod: Beth Willis 10x60' Channel 4 Prod: Robert Jones Dir: Peter Kosminsky THE CROWN Left Bank Pictures Prod: Martin Harrison Series IV Netflix Prod: Andy Stebbing Dailies THE COCKFIELDS Yellow Door Productions Prod: John Rushton Series I UKTV Dir: Steve Bendelack 3x30' THE DEVILS Lux Vide Prod: Daniele Passani Dailies Sky Italia Prod: Luca Bernabei Dir: Nick Hurran KING LEAR Playground Television Prod: Noelette Buckley Single drama Amazon Prime Dir: Richard Eyre MARS Imagine Television Prod: Emelia Brown Series II National Geographic Dir: Stephen Cragg Dailies Dir: Everardo Gout THE CROWN Left Bank Pictures Prod: Michael Casey Season II NETFLIX Dir: Philip Martin Dailies Dir: Benjamin Caron Dir: Philippa Lowthorpe Dir: Stephen Daldry STRIKE - THE SILKWORM BBC Studios Prod: Jackie Larkin Series I Dir: Kieran Hawkes Episode 4 & 5 Dailies THE STATE Archery Pictures Prod: Steve Clark Hall 4x60' National Geographic Dir: Peter Kosminsky MR SELFRIDGE ITV Studios Prod: Dominic Barlow Series IV Dir: Robert Del Maestro 10x45' THE GO BETWEEN BBC Studios Prod: Claire Bennett Single drama Dir: Pete Travis WOLF HALL Company Pictures Prod: Mark Pybus 6x60' BBC Two Dir: Peter Kosminsky EDGE OF HEAVEN Hartswood Films Prod: Elaine Cameron 6x60' ITV Studios Prod: Paul McKenzie Dir: Sandy Johnson Dir: John Henderson Page 1 of 3 SILK BBC Studios Prod: Matt Strevens Series III Dir: Marc Jobst Episode 1 BURTON & TAYLOR BBC Studios Prod: Lachlan MacKinnon Single drama Dir: Richard Laxton AN ADVENTURE IN SPACE AND TIME BBC Studios Prod: Matt Strevens Single drama Dir: Terry McDonagh DEATH IN PARADISE Red Planet Pictures Prod: Tim Key Series II BBC One Dir: Alrick Riley 6x60' SECRET STATE Company Pictures Prod: Johann Knobel 4x60' Channel 4 Dir: Ed Fraiman LINE OF DUTY BBC Studios Prod: Jed Mecurio 5x60' Dir: Douglas Mackinnon Dir: David Caffrey MAD DOGS Left Bank Pictures Prod: Andrew Benson Series II Sky One Dir: James Hawes 4x60' SKINS Company Pictures Prod: Matt Strevens Series V E4 Dir: Philippa Langdale 8x60' Dir: Jack Clough Dir: Dominic Leclerc Dir: Amanda Boyle THE PROMISE Daybreak Pictures Prod: Hal Vogel 4x120' Channel 4 Prod: David Aukin Nominee - BAFTA TV Craft, Sound Fiction Dir: Peter Kosminsky BOUQUET OF BARBED WIRE Mammoth Screen Prod: Kate McKerrell 3x60' ITV Studios Dir: Ashley Pearce IDENTITY ITV Studios Prod: Lachlan Mackinnon 6x60' Dir: Andy Hay Dir: Brendan Mayer HOTEL BABYLON Carnival Film & Television Prod: Polly Williams Series IV ITV Studios Dir: Andy Hay Episode 1 Dir: Jim Loach THE COMMANDER La Plante Productions Prod: Lachlan Mackinnon Series V ITV Studios Dir: Gillies Mackinnon 3x60' WAKING THE DEAD BBC Studios Prod: Colin Wratten Series I - VIII Prod: Richard Burrell Prod: Victoria Fea Prod: Joy Spink Dir: Various SEA OF SOULS Carnival Film & Television Prod: Stephen Garwood Series IV ITV Studios Dir: Andy Hay Episodes 1 & 2 WARRIORS Great Western Films Prod: Eoin Holmes 6x30' RTE Network2 Prod: Niamh Fagan Dir: Emer Reynolds HANNIBAL BBC Studios Prod: Ailsa Orr Single drama Dir: Ed Bazelgette THE GOVERNMENT INSPECTOR Mentorn Barraclough Carey Prod: Jonathan Curling Single drama Channel 4 Dir: Peter Kosminsky Page 2 of 3 LAWLESS Company Pictures Prod: Tom Grieve Single drama ITV Studios Dir: Roger Gartland AMNESIA Ecosse Films Prod: Jeremy Gwilt 2x90' ITV Studios Dir: Nick Laughland IMPACT Company Pictures Prod: Chrissy Skinns 2x60' ITV Studios Dir: John Strickland SWALLOW Box TV Prod: Lyn Horsford 4x60' Channel 4 Dir: Adrian Shergold HOPE AND GLORY BBC Studios Prod: Chrissy Skinns Series I, II & III Prod: Nicolas Brown Dir: Justin Hardy Dir: Kim Flitcroft Dir: Jonas Grima Dir: Juliet May Dir: Peter Lydon Dir: Kenny Glennan Dir: Justin Hardy BURIED TREASURE Channel 4 Prod: Joshua St Johnston Single drama Dir: Adrian Shergold HERO OF THE HOUR ITV Studios Prod: Joshua St Johnston Single drama Dir: David Richards BLIND DATE ITV Studios Prod: Alison Davis 2x90' Dir: Nigel Douglas TOUCH AND GO Arrowhead Productions Prod: Alan Wright Single drama BBC Two Dir: Tim Fywell LONDON BRIDGE ITV Studios Prod: Nick Brown 4x30' Prod: Jonathon Curling BIG WOMEN Channel 4 Prod: Tariq Ali 4x60' Dir: Renny Rye PERFECT BLUE BBC Studios Prod: Eleanor Day Single drama Dir: Kieran Walsh TURNING WORLDS Channel 4 Prod: David Shanks 3x60' Dir: David Blair Film THE LIGHTHOUSE Tungsten Pictures Prod: Tim Denison Prod: Mark Leach Dir: Simon Hunter SHOOTING FISH Gruber Brothers Prod: Richard Holmes Prod: Glynnis Murray Dir: Stefan Schwatz A FEAST AT MIDNIGHT Kwai River Productions Prod: Jonathon Hercock Dir: Justin Hardy IN BED WITH MADONNA Propaganda Prod: Dino de Laurentis Dir: Alex Kesheshin DOUBLE X String of Pearls Prod: Noel Cronin Dir: Shani Gruhal Page 3 of 3.
Load more

Recommended publications
  • Stage by Stage South Bank: 1988 – 1996
    Stage by Stage South Bank: 1988 – 1996 Stage by Stage The Development of the National Theatre from 1848 Designed by Michael Mayhew Compiled by Lyn Haill & Stephen Wood With thanks to Richard Mangan and The Mander & Mitchenson Theatre Collection, Monica Sollash and The Theatre Museum The majority of the photographs in the exhibition were commissioned by the National Theatre and are part of its archive The exhibition was funded by The Royal National Theatre Foundation Richard Eyre. Photograph by John Haynes. 1988 To mark the company’s 25th birthday in Peter Hall’s last year as Director of the National October, The Queen approves the title ‘Royal’ Theatre. He stages three late Shakespeare for the National Theatre, and attends an plays (The Tempest, The Winter’s Tale, and anniversary gala in the Olivier. Cymbeline) in the Cottesloe then in the Olivier, and leaves to start his own company in the The funds raised are to set up a National West End. Theatre Endowment Fund. Lord Rayne retires as Chairman of the Board and is succeeded ‘This building in solid concrete will be here by the Lady Soames, daughter of Winston for ever and ever, whatever successive Churchill. governments can do to muck it up. The place exists as a necessary part of the cultural scene Prince Charles, in a TV documentary on of this country.’ Peter Hall architecture, describes the National as ‘a way of building a nuclear power station in the September: Richard Eyre takes over as Director middle of London without anyone objecting’. of the National. 1989 Alan Bennett’s Single Spies, consisting of two A series of co-productions with regional short plays, contains the first representation on companies begins with Tony Harrison’s version the British stage of a living monarch, in a scene of Molière’s The Misanthrope, presented with in which Sir Anthony Blunt has a discussion Bristol Old Vic and directed by its artistic with ‘HMQ’.
    [Show full text]
  • THOTKG Production Notes Final REVISED FINAL
    SCREEN AUSTRALIA, LA CINEFACTURE and FILM4 Present In association with FILM VICTORIA ASIA FILM INVESTMENT GROUP and MEMENTO FILMS INTERNATIONAL A PORCHLIGHT FILMS and DAYBREAK PICTURES production true history of the Kelly Gang. GEORGE MACKAY ESSIE DAVIS NICHOLAS HOULT ORLANDO SCHWERDT THOMASIN MCKENZIE SEAN KEENAN EARL CAVE MARLON WILLIAMS LOUIS HEWISON with CHARLIE HUNNAM and RUSSELL CROWE Directed by JUSTIN KURZEL Produced by HAL VOGEL, LIZ WATTS JUSTN KURZEL, PAUL RANFORD Screenplay by SHAUN GRANT Based on the Novel by PETER CAREY Executive Producers DAVID AUKIN, VINCENT SHEEHAN, PETER CAREY, DANIEL BATTSEK, SUE BRUCE-SMITH, SAMLAVENDER, EMILIE GEORGES, NAIMA ABED, RAPHAËL PERCHET, BRAD FEINSTEIN, DAVID GROSS, SHAUN GRANT Director of Photography ARI WEGNER ACS Editor NICK FENTON Production Designer KAREN MURPHY Composer JED KURZEL Costume Designer ALICE BABIDGE Sound Designer FRANK LIPSON M.P.S.E. Hair and Make-up Designer KIRSTEN VEYSEY Casting Director NIKKI BARRETT CSA, CGA SHORT SYNOPSIS Inspired by Peter Carey’s Man Booker prize winning novel, Justin Kurzel’s TRUE HISTORY OF THE KELLY GANG shatters the mythology of the notorious icon to reveal the essence behind the Life of Ned KeLLy and force a country to stare back into the ashes of its brutal past. Spanning the younger years of Ned’s Life to the time Leading up to his death, the fiLm expLores the bLurred boundaries between what is bad and what is good, and the motivations for the demise of its hero. Youth and tragedy colLide in the KeLLy Gang, and at the beating heart of this tale is the fractured and powerful Love story between a mother and a son.
    [Show full text]
  • Channel 4 and British Film: an Assessment Of
    Channel 4 and British Film: An Assessment of Industrial and Cultural Impact, 1982-1998 Laura Mayne This thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth. September 2014 i Abstract This thesis is an historical investigation of Channel 4’s influence on the British film industry and on British film culture between 1982 and 1998. Combining archival research with interview testimony and secondary literature, this thesis presents the history of a broadcaster’s involvement in British film production, while also examining the cultural and industrial impact of this involvement over time. This study of the interdependence of film and television will aim to bring together aspects of what have hitherto been separate disciplinary fields, and as such will make an important contribution to film and television studies. In order to better understand this interdependence, this thesis will offer some original ideas about the relationship between film and television, examining the ways in which Channel 4’s funding methods led to new production practices. Aside from the important part the Channel played in funding (predominantly low-budget) films during periods when the industry was in decline and film finance was scarce, this partnership had profound effects on British cinema in the 1980s and 1990s. In exploring these effects, this thesis will look at the ways in which the film funding practices of the Channel changed the landscape of the film industry, offered opportunities to emerging new talent, altered perceptions of British film culture at home and abroad, fostered innovative aesthetic practices and brought new images of Britain to cinema and television screens.
    [Show full text]
  • Full Members of the British Academy of Film and Television Arts (Updated 22 March 2011)
    Full Members of the British Academy of Film and Television Arts (updated 22 March 2011) Roberta Aarons Yavar Abbas Allison Abbate Jeff Abberley Peter Abbey Paul Abbott Steve Abbott Bassem Abdallah Brian Abel David Abraham Eric Abraham Georgina Abrahams Bruce Abrahams Joe Abrams Jenny Abramsky Farah Abushwesha Huda Abuzeid Juliet Ace Roy Ackerman Steve Ackhurst Joss Ackland Barry Ackroyd Ken Adam Richard Adams Ross Adams Mark Adams Gordon Adams Benetta Adamson Madeline Addy Henry Adeane David Adler Melanie Adorian Tony Ageh Phil Agland Joss Agnew Steen Agro Jenny Agutter Sanjiv Ahuja Pippa Ailion Lucy Ainsworth-Taylor Christopher Aird Dawn Airey Tony Aitken Eleanor Aitken Mike Aiton Abby Ajayi Jovan Ajder Niyi Akeju Zara Akester Colin Akester Nassreen Akhtar Odunayo Akinwolere John Akomfrah Basi Akpabio Timothy Alban Francesco Alberico Philip Alberstat Simon Albury Julian Alcantara Jane Aldous Nuala Alen-Buckley Tom Alexander John Alexander Eva Alexander Darrell Alexander Jon Alexander Arnna Alexander Adam Alexander Rob Alexander Michael Algar Rosie Alison Luke Alkin Foz Allan Shane Allen Joe Allen Ged Allen Tony Allen Kenton Allen James Allen Katherine Allen James Allen Belinda Allen Angela Allen Peter Allen Richard Allen-Turner Lynn Alleway Rebecca Alleway Anthony Alleyne Waheed Alli Christopher Allies Ron Allison Daisy Allsop Christine Allsopp Pedro Almodovar Agustin Almodovar David Alpin Tess Alps Caroline Alterskye-Knight John Altman Richard Alwyn Vanessa Amberleigh Chris Ambler David Ambrose Arash Amel Paul Amer Asitha Ameresekere
    [Show full text]
  • Social Art Cinema of the 1990S
    Social Art Cinema of the 1990s: Commodifying the Concept of British National Cinema By Jeongmee Kim Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy. September 2003. To my parents Contents Abstract Acknowledgements Introduction Part I. Social Art Cinema as National Cinema Chapter 1. Ideas of National Cinema 18 Chapter 2. The Emergence of Social Art Cinema: Channel 4 and 41 British Cinema in the 1980s Part II. The Elements of the 90s British Film Industry Chapter 3. Funding and Distribution Structure: The Localisation and 62 Commercialisation of British Cinema towards a Global Audience Chapter 4. Selling Popular British Cinema as an Identifiable Entity 90 Chapter 5. National Cinema in the Multi-media Age 119 Part III. Case Studies Chapter 6. Lock, Stock and Two Smoking Barrels: The Critical Reception 141 of Its Popularisation and Stylisation Chapter 7. Towards a Global Audience: Trainspotting, Localised Subject 162 Matter and Globalised Image Chapter 8."Billy Earns Its Stripes": Selling Billy Elliot in the UK and USA 185 Chapter 9. Elizabeth: DVD and the Authenticity of the Heritage Film 207 Conclusion 233 Appendix Bibliography 239 Abstract This study explores the ways in which "social art cinema" has been constructed as a form of national cinema in the context of the 1990s. It discusses how particular institutional issues of the period affected signification revolving around the genre and, consequently, how that affected the concept of national cinema. This research draws upon a range of agendas relating to financial and distribution structures, promotional activities and multi-media consumption that were involved in encouraging the proliferation of social art cinema.
    [Show full text]
  • New Labour and the End of British Social Realism
    Has the Fire Burned Out? New Labour and The End of British Social Realism A thesis submitted for the degree of Doctor of Philosophy January 2014 School of Arts, Brunel University Clive James Nwonka Contents Acknowlegements 5 Introduction 7 Chapter One: Beyond The Screen; New Labour, The UK Film Council and the Emergence of BBC Films and FilmFour 13 British Film under the Conservatives The Re-Emergence of Ken Loach 15 The Origins of New Labour and the Third Way 22 The Politics of Culture: New Labour and the Creation of the UK Film Council 31 Culture vs. Commercialism: BBC Films and FilmFour 37 The New Labour Ideology Within British Cinema 47 Changes in Ken Loach’s approach to Social Realism 52 New Interpretations of Social Realism 56 Case Study: This Is England 58 Case Study: Fish Tank 60 Class Representation in British Cinema 64 Summary 68 Chapter Two: Not in the Frame: The Emergence of Black British Political Filmmaking and its Broken Relationship with Social Realism 81 Post War Immigration into the United Kingdom The Beginning of Race Representation in British Cinema 82 Case Study: Pressure 86 Thatcherism and Political Responses to Racial Tension in Britain 1970 - 87 The Greater London Council and the Emergence of Channel Four 92 New Labour and the Language of Diversity 101 The UK Film Council and Diversity Within British Film 106 Case Study: Bullet Boy 110 The Class/Race Nexus in British Film 115 Problematic Approaches to Diversity 119 Summary 126 Conclusion 135 References 143 Filmography 150 Abbreviations/Acronyms 154 Acknowledgements When attempting to arrange interviews, it was my intention to approach the most well-respected and informed individuals that I could find within the British Film industry.
    [Show full text]
  • From Cannes to Berlin: Examining the Importance of Film Festivals in Promoting Channel 4 Films in Europe
    This is a repository copy of From Cannes to Berlin: Examining the importance of film festivals in promoting Channel 4 films in Europe. White Rose Research Online URL for this paper: https://eprints.whiterose.ac.uk/91888/ Version: Submitted Version Conference or Workshop Item: Mayne, Laura (2012) From Cannes to Berlin: Examining the importance of film festivals in promoting Channel 4 films in Europe. In: European Network for Cinema and Media Studies (Necs), 18 Jun 2012. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ From Cannes to Berlin: Examining the importance of film festivals in promoting Channel 4 films in Europe. Channel 4 has long had a productive relationship with Europe through its film sponsorship practices. In creating the Film on Four strand, the channel’s Chief Executive Jeremy Isaacs was very much influenced by European examples of broadcasters funding films for television and theatrical release, while the channel also entered into many co-productions involving European producers and broadcasters throughout the 1980s and 1990s.
    [Show full text]
  • GCE AS / a LEVEL the ABSENCE of WAR by DAVID HARE
    GCE AS / A LEVEL THE ABSENCE OF WAR By DAVID HARE THE ABSENCE OF WAR DAVID HARE GCE AS \ A LEVEL \\ © WJEC CBAC Ltd 2016 THE ABSENCE OF WAR By DAVID HARE THE ABSENCE OF WAR – DAVID HARE ‘Britain’s leading contemporary playwright’ - The Times ‘The Absence of War’ is the final play in a trilogy looking at the state of Britain in the early 1990s. The three plays examine institutions within Britain and the effects of a Conservative Government on these institutions. The first play ‘Racing Demon’ (1990) examined the Church of England The second play ‘Murmuring Judge’ (1991) examined the judicial system. The third play ‘The Absence of War’ (1993) examined the world of politics. DAVID HARE Hare has been a prolific playwright since the 1960s. He was born in 1947 and grew up in the fervent atmosphere of the 1960s. He has a great interest in films and this has influenced his writing technique. He co-founded Portable Theatre Company, acting, directing and writing plays. Slag was first produced in London in 1970 at the Hampstead Theatre Club. He was Resident Dramatist at the Royal Court Theatre in London in 1970-1 and Resident Dramatist at the Nottingham Playhouse in 1973. He co-founded Joint Stock Theatre Group with David Aukin and Max Stafford-Clark in 1975, and held a US/UK Bicentennial Fellowship in 1977. GCE AS \ A LEVEL \\ © WJEC CBAC Ltd 2016 THE ABSENCE OF WAR By DAVID HARE His plays include: Knuckle (1974), winner of the Mail on Sunday John Llewellyn Rhys Prize Fanshen (1975), based on the book by William Hinton Plenty (1978), a portrait of
    [Show full text]
  • Broadcasters Support Filmmakers
    Channel 4: Broadcasters Support Filmmakers By Gerald Pratley Fall 1996 Issue of KINEMA A DISCUSSION at the Vancouver Film Festival 1995 Among the many discussions taking place during the Trade Forum at Vancouver’s International Film Festival was a rapt and lively presentation of how Broadcasters Support Filmmakers. The principal speaker was David Aukin of Channel Four who was introduced by Wayne Skeene, President of Skeene Communications in Vancouver. WS: David Aukin is a Commissioning Editor and Head of Drama for Channel 4, that ”idiosyncratic little company” as Variety puts it, ”that defies all the rules of Hollywood.” The New York Times calls David ”arguably the most influential figure in the British film industry.” The Daily Telegraph calls him ”The Sun King of the Silver Screen” and there’s more: ”The mastermind behind the largest filmmaking budget in Britain.” David studied law at Oxford, worked for a period as a solicitor, made a career change to theatre in 1970 when he became literary adviser to the Traverse Theatre Club in Edinburgh, and before he joined Channel 4 in October 1990, David had been the Executive Director of the National Theatre for four years. As Commissioning Editor for Channel 4’s Film on Four he has been responsible for more than 50 feature films, some partly, others fully financed by Channel 4. In May [1995] his budget was increased fromœ12 million to œ16 million, enabling him to produce 18 movies a year. To those of you who have been living in dark caves these past thirteen years, Channel 4 has not only transformed the British industry, but many feel that it has now set the world model for independent film production in the 21st century.
    [Show full text]
  • 10153752.Pdf
    Hacettepe University Graduate School of Social Sciences Department of English Language and Literature English Language and Literature THE EVOLUTION OF DAVID HARE’S POLITICAL DRAMA AS OBSERVED IN FANSHEN, THE SECRET RAPTURE AND THE ABSENCE OF WAR Tuba Ağkaş Özcan Ph.D. Dissertation Ankara, 2017 THE EVOLUTION OF DAVID HARE’S POLITICAL DRAMA AS OBSERVED IN FANSHEN, THE SECRET RAPTURE AND THE ABSENCE OF WAR Tuba Ağkaş Özcan Hacettepe University School of Social Sciences Department of English Language and Literature English Language and Literature Ph.D. Dissertation Ankara, 2017 KABUL VE ONAY Tuba Agka§ Ozcan tarafindan hazirlanan "The Evolution of David Hare's Political Drama as Observed in Fanshen, The Secret Rapture and The Absence of War" ba§hkli bu ?ali§ma, 05.06.2017 tarihinde yapilan savunma sinavi sonucunda ba§arili bulunarak jiirimiz tarafindan Doktora Tezi olarak kabul edilmi§tir. Prof. Dr.A. Deni Prof. Dr. Huriye Reis (Balkan) Do?. Dr. Sila §enlen Giiven? Qvuuucluifio Yrd. Do?. Dr. Evrim Dogan Adanur Yrd. Do?. Dr. §ebnem Kaya Yukaridaki imzalann adi ge?en ogretim iiyelerine ait oldugunu onaylarim. Prof. Dr. Sibel Bozbeyoglu Enstitu Miiduril BILDiRIM Hazirladigim tezin/raporun tamamen kendi 5ah§mam oldugunu ve her alintiya kaynak gosterdigimi taahhiit eder, tezimin/raporumun kagit ve elektronik kopyalarinin Hacettepe Universitesi Sosyal Bilimler Enstitiisii ar§ivlerinde a§agida belirttigim ko§ullarda saklanmasma izin verdigimi onaylarim: 0 Tezimin/Raporumun tamami her yerden eri§ime aÿilabilir. ÿ Tezim/Raporum sadece Hacettepe Universitesi yerle§kelerinden eri§ime aÿilabilir. ÿ Tezimin/Raporumun yil siireyle eri§ime afilmasmi istemiyorum. Bu siirenin sonunda uzatma iqdn......ba§vuruda bulunmadigim takdirde, tezimin/raporumun tamami her yerden eri§ime a9ilabilir.
    [Show full text]
  • Peter Ansorge, 7/06/11 Peter Ansorge Was a Commissioning Editor (Fiction) and Head of Drama (Serials and Series) at Channel 4, 1982-1997
    Peter Ansorge, 7/06/11 Peter Ansorge was a commissioning editor (Fiction) and Head of Drama (Serials and Series) at Channel 4, 1982-1997. Interviewers: Sally Shaw, Justin Smith, Laura Mayne & Ieuan Franklin [Rachael Keene also present]. SS: OK, hello, I was going to ask you about Black Xmas and Empire Road because that’s my specific…research…so the first thing I’d like to ask you is how you met Michael Abbensetts. PA: Well uh I uh before I went to Pebble Mill as a script editor, I was an editor of a theatre magazine called Plays and Players , and we published a new play every month. And one of the plays that we had published just before I left was a play by Michael, called Sweet Talk , which was done at the Theatre Upstairs [at the Royal Court Theatre], with Stephen Frears directing. And after about a year at Pebble Mill I bumped into Michael on Oxford Street, we had a little chat and um I told him about what I was doing. And he said well can I send you an idea? I said yes, as long as it’s contemporary and it’s set outside London, because that’s our brief. And he phoned me up I think probably the next day and said I want to write about a black family in Birmingham at Xmas. And that was the origins of the idea. I was a script editor then and I went to Tara Prem, who was a producer there [at Pebble Mill] on the Second City Firsts strand, of original new writing.
    [Show full text]
  • The Vertical Hour by David Hare
    Sydney Theatre Company and Ebsworth & Ebsworth present The Vertical Hour by David Hare Teacher's Resource Kit written and compiled by Jeffrey Dawson Acknowledgements I would like to thank the following for their invaluable material for these Teachers' Notes: Laura Scrivano, Publications Editor, STC; Judith Seeff, Archivist STC Copyright Copyright protects this Teacher’s Resource Kit. Except for purposes permitted by the Copyright Act, reproduction by whatever means is prohibited. However, limited photocopying for classroom use only is permitted by educational institutions. Sydney Theatre Company The Vertical Hour Teacher’s Notes 2008 1 The Vertical Hour Important Information Schools Day Performance Suitability Years 10-12 Date Wednesday 5 March 2008 Venue Drama Theatre, Sydney Opera House Pre-performance forum 10.30am Lunch Break 11.15am Performance commences 12.15pm Performance concludes 2.45 pm Post performance Q+A concludes 3.00pm There will be one interval of 20 minutes We respectfully ask that you discuss theatre etiquette with your students prior to coming to the performance. Booking Queries Please contact Barbara Vickery on 02 9250 1778 or [email protected] General Education Queries Please contact Helen Hristofski, Education Manager, on 02 9250 1726 or [email protected] Sydney Theatre Company The Vertical Hour Teacher’s Notes 2008 2 Sydney Theatre Company Artistic Directors Cate Blanchett & Andrew Upton Patron Giorgio Armani Sydney Theatre Company (STC) produces theatre of the highest standard that consistently illuminates, entertains and challenges. It is committed to the engagement between the imagination of its artists and its audiences, to the development of the artform of theatre and to excellence in all its endeavours.
    [Show full text]