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ANTHONY FUSCO SAG-AFTRA , AEA JE Talent, 155 Montgomery St #805, San Francisco, CA 94104 415-395-9475 www.anthonyfusco.actor [email protected] Height: 5’9” Weight:160 Eyes: Blue Hair: Brown THEATRE San Francisco Bay Area, 1999-present American Conservatory Theatre (40+ productions, former Core Company member and Associate Artist) Hamlet Horatio Carey Perloff Love and Information Ensemble Casey Stangle Caucasian Chalk Circle Ensemble John Doyle Ah, Wilderness Nat Miller Casey Stangle The Hard Problem Leo Carey Perloff Clybourne Park Russ/Dan Jon Moscone At Home At The Zoo Peter Rebecca Taichman Race Jack Lawson Irene Lewis Hedda Gabler Tesman Richard E.T. White A Christmas Carol Ebenezer Scrooge Dominique Lozano Berkeley Repertory Company Vanya & Sonia & Masha & Spike Vanya Richard E.T. White The Intelligent Homosexuals’s Guide… Adam Tony Taccone CalShakes (15 productions) Good Person of Szechwan Father, others Eric Ting Pygmalion Henry Higgins Jon Moscone King Lear Fool Lisa Peterson Candida Rev. Morell Jon Moscone The Tempest Prospero Lillian Groag Marin Theatre Company Marjorie Prime Jon Ken Russ Schmoll SF Playhouse Born Yesterday Ed Devery Susi Damilano The Christians Pastor Paul Bill English The Magic Theater Sister Play Malcolm John Kolvenbach NYC, 1983-99, selected productions The Real Thing Billy B’way/Mike Nichols The Real Inspector Hound Simon B’way/Gloria Muzio The Holy Terror Jacob/Rupert/Michael/Graeme Off-B/Simon Gray A Life In The Theater John Off B’/Kevin Dowling Cantorial Warren Off B/Charles Maryan …as well as roles at many other regional theatres; all told, over a hundred productions. FILM AND TELEVISION ‘Twixt (2011) Pastor Floyd Francis Ford Coppola Quiz Show (1994) Law Librarian Robert Redford True Colors (1991) Sam Minot Herbert Ross The Sopranos Featured Law & Order 4 episodes, Featured LA Law Guest Star Training: The Juillard School (1979-83), The Barrow Group School (1998) Teaching: American Conservatory Theatre MFA program adjunct faculty: Acting, Shakespeare.

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The New Hollywood Films
The New Hollywood Films The following is a chronological list of those films that are generally considered to be "New Hollywood" productions. Shadows (1959) d John Cassavetes First independent American Film. Who's Afraid of Virginia Woolf? (1966) d. Mike Nichols Bonnie and Clyde (1967) d. Arthur Penn The Graduate (1967) d. Mike Nichols In Cold Blood (1967) d. Richard Brooks The Dirty Dozen (1967) d. Robert Aldrich Dont Look Back (1967) d. D.A. Pennebaker Point Blank (1967) d. John Boorman Coogan's Bluff (1968) – d. Don Siegel Greetings (1968) d. Brian De Palma 2001: A Space Odyssey (1968) d. Stanley Kubrick Planet of the Apes (1968) d. Franklin J. Schaffner Petulia (1968) d. Richard Lester Rosemary's Baby (1968) – d. Roman Polanski The Producers (1968) d. Mel Brooks Bullitt (1968) d. Peter Yates Night of the Living Dead (1968) – d. George Romero Head (1968) d. Bob Rafelson Alice's Restaurant (1969) d. Arthur Penn Easy Rider (1969) d. Dennis Hopper Medium Cool (1969) d. Haskell Wexler Midnight Cowboy (1969) d. John Schlesinger The Rain People (1969) – d. Francis Ford Coppola Take the Money and Run (1969) d. Woody Allen The Wild Bunch (1969) d. Sam Peckinpah Bob & Carol & Ted & Alice (1969) d. Paul Mazursky Butch Cassidy & the Sundance Kid (1969) d. George Roy Hill They Shoot Horses, Don't They? (1969) – d. Sydney Pollack Alex in Wonderland (1970) d. Paul Mazursky Catch-22 (1970) d. Mike Nichols MASH (1970) d. Robert Altman Love Story (1970) d. Arthur Hiller Airport (1970) d. George Seaton The Strawberry Statement (1970) d.
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Indexes Films
Indexes Films Act of Seeing with One's Own Eyes, Best Years of Our Lives, The (William The (Stan Brakhage, USA, 1973) Wyler, USA, 1946) 43 154 Bicycle Thieves (Ladri di biciclette) Actor's Revenge, An (Yukinojo henge) (Vittorio de Sica, Italy, 1948) 45 (Ichikawa Kon,Japan, 1963) 134 Big Sleep, The (Howard Hawks, USA, After Lumiere: L 'Arroseur arrose 1946) 44 (Malcolm Le Grice, GB, 1974) 186 Birds, The (Alfred Hitchcock, USA, After Manet, After Giorgione, Le 1963) 97 Dejeuner sur l'herbe, or, Fete Birth of a Nation, The (D. W. Griffith, champetre (Malcolm Le Grice, GB, USA, 1915) 96 1975) 170 Blackbird Descending (Tense Alien (Ridley Scott, GB, 1979) Alignment) (Malcolm Le Grice, 185-6 GB, 1977) 170 All My Life (Bruce Baillie, USA, 1966) 167 Carabiniers, Les 0.-L. Godard, France/ Arrivee d'un train en gare de La Italy, 1963) 4 Ciotat, L' (Louis Lumihe, France, Citizen Kane (Orson Welles, USA, 1895) 12, 26, 38 1941) 43, 125 Arroseur arrose, L' (Louis Lurniere, City Girl (F. W. Murnau, USA, 1929) France, 1895) 4, 186 142 Assassin musicien, L' (Benoit Jacquot, Coma (Michael Crichton, USA, 1977) France, 1975) 109, 151, 162 189-90 Condition of Illusion (Peter Gidal, At the Circus (Edward Buzzell, USA, GB, 1975) 168-74passim 1939) 215 C/0/N/S/T/R/U/C/T (Peter Gidal, Au hasard, Balthazar (Robert Bresson, GB, 1974) 172 France/Sweden, 1966) 91, 100 Couch (Andy Warhol, USA, 1964) Autumn Afternoon, An (Samma no 166 aji) (Ozu Yasujiro,Japan, 1962) 61 Death by Hanging (Koshikei) (Oshima Nagisa, France/Japan, 1976) Back and Forth (f----7) (Michael 65-9,150 Snow, Canada, 1969) 170 Debarquement des congressistes, Le Badlands (Terrence Malick, USA, 1973) (Louis Lurnihe, France, 1895) 55 12,38 248 Index of Films Deux ou trois chases que je sais Killer's Kiss (Stanley Kubrick, USA, d'elle 0.-L.
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HILBERT HAKIM Second Assistant Director DGA
HILBERT HAKIM Second Assistant Director DGA FILM THE FATE OF THE FURIOUS (AKA The Key Second Assistant Director Fast and the Furious 8) Director: F. Gary Gray Producers: Neal Moritz, Vin Diesel, Michael Fottrell UPM: Carla Raij First Assistant Director: Cliff Lanning FRESH OFF THE BOAT Key Second Assistant Director 20th Century Fox Television/ABC Director: Various Producer: Jake Kasdan First Assistant Director: Carey Dietrich, Sean Kavanagh Unit Production Manager: Barbara Black TAMMY Key Second Assistant Director (Re-Shoots) New Line Cinema Director: Ben Falcone Producers: Will Farrel, Rob Cowan, Melissa McCarthy First Assistant Director: Michael Amundson Unit Production Manager: Brian Frankish INTO THE SKY Key Second Assistant Director (Re-Shoots) New Line Cinema Director: Steve Quale Producers: Rob Cowan First Assistant Director: Michael Amundson Unit Production Manager: Brian Frankish GULLIVER’S TRAVELS Key Second Assistant Director 20th Century Fox Director: Rob Letterman Producers: John Davis, Gregory Goodman First Assistant Director: Cliff Lanning Unit Production Manager: Janine Modder THE REAPING Second Assistant Director Warner Brothers Director: Stephen Hopkins Producers: Joel Silver, Robert Zemeckis First Assistant Director: Cliff Lanning Line Producer/Unit Production Manager: Herb Gains BATMAN BEGINS Key Second Assistant Director (Chicago) Warner Brothers Director: Christopher Nolan Producers: Emma Thomas, Larry Franco, Chuck Roven First Assistant Director: Clifford Lanning Unit Production Manger: Mike Malone THE MILTON AGENCY
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'See It Big!' Series Celebrates Movie Musicals
FOR IMMEDIATE RELEASE ‘SEE IT BIG!’ SERIES CELEBRATES MOVIE MUSICALS Fourteen spectacular singing/dancing extravaganzas including All That Jazz, The Sound of Music, Pennies from Heaven, The Wiz, and more January 24–February 28, 2014 Astoria, New York, January 2, 2014—The Museum of the Moving Image’s popular series See It Big! will turn its focus to the movie musical with a fourteen-film celebration of the genre, from January 24 through February 28, 2014. Musicals are, by their very nature, filled with spectacle. They are heightened forms of storytelling, in which the narrative is amplified by song and dance, where characters express their innermost feelings in the most extravagant ways imaginable. It is a genre that celebrates excess and stylization, and the best examples of the form can only be truly enjoyed… big! Among the titles are two of the first films produced at the rejuvenated Astoria studio— across the street from the Museum—in the 1970s: Series opener All That Jazz (1979) is choreographer and director Bob Fosse’s largely autobiographical tour de force featuring a lithe and passionate Roy Scheider as Fosse’s alter ego (January 24); The Wiz (1978), directed by Sidney Lumet, reimagines The Wizard of Oz in a gritty urban fantasy land and stars Diana Ross, Michael Jackson, and Nipsey Russell (February 7). Production materials from The Wiz are currently on view at the Museum in Lights, Camera, Astoria!, an exhibition exploring the history of the Astoria studio (on view through February 9), and also in the core exhibition Behind the Screen. Two other 1970s musicals also feature in the series.
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14. Broken Time, Continued Evolution
AB Pamphlet 14 April 2017 Literary Lab Broken Time, Continued Evolution: Anachronies in Contemporary Films Maria Kanatova Alexandra Milyakina Tatyana Pilipovec Artjom Shelya Oleg Sobchuk Peeter Tinits Pamphlets of the Stanford Literary Lab ISSN 2164-1757 (online version) Maria Kanatova Alexandra Milyakina Tatyana Pilipovec Artjom Shelya Oleg Sobchuk Peeter Tinits Broken Time, Continued Evolution: Anachronies in Contemporary Films1 In 1983, Brian Henderson published an article that examined various types of narrative structure in film, including flashbacks and flashforwards. After analyzing a whole spectrum of techniques capable of effecting a transition between past and present – blurs, fades, dis- solves, and so on – he concluded: “Our discussions indicate that cinema has not (yet) devel- oped the complexity of tense structures found in literary works”.2 His “yet” (in parentheses) was an instance of laudable caution, as very soon – in some ten–fifteen years – the situation would change drastically, and temporal twists would become a trademark of a new genre that has not (yet) acquired a standardized name: “modular narratives”, “puzzle films”, and “complex films” are among the labels used.3 Here is an example: Christopher Nolan’s Me- mento (2000) contains 85 anachronies (i.e. flashbacks or flashforwards) – something that would have been hard to imagine in 1983.4 Memento is probably an extreme case – the most puzzlingly complex of all complex films – but the tendency towards using more anachronies has become widespread, although in less extreme forms. From romantic comedies (500 1 This research was started in Tartu (Estonia) by a small group of graduate students interested in digital humanities and cultural evolution.
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Shirley Maclaine at BFI Southbank in June 2012
PRESS RELEASE May 2012 12/24 Shirley MacLaine at BFI Southbank in June 2012 Throughout June 2012, BFI Southbank dedicates a season to Shirley MacLaine, the award-winning actress, author and sister of Warren Beatty (who also enjoys a companion season of his film work throughout the month). The season is set to encompass a career that has spanned over 60 years and which, with a highly anticipated role in the upcoming series of Downton Abbey (ITV) around the corner, shows little sign of slowing down. Highlights are set to include screenings of Minnelli’s Some Came Running (1958) which gave her first Oscar nomination as well as a recurring relationship with the Bratpack, Sweet Charity (1969) that features MacLaine’s signature song ‘If My Friends Could See Me Now’, Terms of Endearment (1983) that produced her first Oscar win and an extended run of the evergreen satire The Apartment (1960). Having danced from the age of three, MacLaine started out on Broadway as a chorus girl and stand-in. Plucked from the stage by a talent-spotting producer and promptly signed to Paramount, she embarked upon her film career. As a Hollywood ingénue, her first film role came with Alfred Hitchcock, in The Trouble With Harry (1955) earning her the first of many Golden Globe Awards before working with equally prestigious filmmakers like Billy Wilder and William Wyler. Learning the tricks of the trade from her fellow actors, she credited Marlene Dietrich for teaching her lighting and beauty tips for the screen during the filming of Around the World in Eighty Days (1956).
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Martin Scorsese and Film Culture
Martin Scorsese and Film Culture: Radically Contextualizing the Contemporary Auteur by Marc Raymond, B.A., M.A. A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy Institute of Comparative Studies in Literature, Art and Culture: Cultural Mediations Carleton University Ottawa, Canada January, 2009 > 2009, Marc Raymond Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-47489-1 Our file Notre reference ISBN: 978-0-494-47489-1 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation.
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The '70S Movies a Real Cinephile Should
Smithsonian Associates The ’70s Movies a Real Cinephile Should See Compiled by Noah Gittell Listed by director ALAN J. PAKULA MARTIN SCORSESE Klute Who’s That Knocking at My Door? The Parallax View Mean Streets All the President’s Men Taxi Driver Harold and Maude The Last Waltz Being There FRANCIS FORD COPPOLA Coming Home The Landlord New York, New York The Last Detail The Conversation SIDNEY LUMET The Godfather, Part II Apocalypse Now The Anderson Tapes STEVEN SPIELBERG Dog Day Afternoon Network Jaws ROBERT ALTMAN Close Encounters of the Third Kind GEORGE LUCAS M*A*S*H Nashville Star Wars The Long Goodbye BARBARA LODEN McCabe and Mrs. Miller Wanda WILLIAM FRIEDKIN ELAINE MAY The Exorcist A New Leaf JIM SHARMAN Mikey and Nicky PETER BOGDANOVICH The Rocky Horror Picture Show SYDNEY POLLACK The Last Picture Show MICHAEL RITCHIE Jeremiah Johnson The Candidate GORDON PARKS MILOS FORMAN Shaft One Flew Over the Cuckoo’s Nest MELVIN VAN PEEBLES BOB RAFELSON Sweetback’s Sweet Badass Song Five Easy Pieces JACK HILL MICHAEL CIMINO Foxy Brown The Deer Hunter SERGIO LEONE LUIS BUNUEL The Good, the Bad, and the Ugly The Discreet Charm of the Bourgeoisie INGMAR BERGMAN PAUL SCHRADER Cries and Whispers Blue Collar Autumn Sonata BOB FOSSE RAINER WERNER FASSBINDER Cabaret The Bitter Tears of Petra von Kant All That Jazz Ali: Fear Eats the Soul MEL BROOKS DAVID LYNCH Young Frankenstein The Elephant Man Blazing Saddles Eraserhead HERBERT ROSS WILLIAM FRIEDKIN The Goodbye Girl The French Connection TERRY JONES AND TERRY GILLIAM ALBERT AND DAVID MAYSLES Monty Python and the Holy Grail Grey Gardens TERRY JONES BARBARA KOPPLE Monty Python and the Life of Brian Harlan County, U.S.A.
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Fairy Tale Films
Utah State University DigitalCommons@USU All USU Press Publications USU Press 2010 Fairy Tale Films Pauline Greenhill Sidney Eve Matrix Follow this and additional works at: https://digitalcommons.usu.edu/usupress_pubs Part of the Folklore Commons Recommended Citation Greenhill, P., & Matrix, S. E. (2010). Fairy tale films: Visions of ambiguity. Logan, Utah: Utah State University Press. This Book is brought to you for free and open access by the USU Press at DigitalCommons@USU. It has been accepted for inclusion in All USU Press Publications by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. Fairy Tale Films Visions of Ambiguity Fairy Tale Films Visions of Ambiguity Pauline Greenhill and Sidney Eve Matrix Editors Utah State University Press Logan, Utah 2010 Copyright © 2010 Utah State University Press All rights reserved Utah State University Press Logan, Utah 84322-7800 Cover photo adapted from The Juniper Tree, courtesy of the Wisconsin Center for Film and Theater Research, Nietzchka Keene papers, 1979-2003, M2005-051. Courtesy of Patrick Moyroud and Versatile Media. ISBN: 978-0-87421-781-0 (paper) ISBN: 978-0-87421-782-7 (e-book) Manufactured in the United States of America Printed on acid-free, recycled paper Library of Congress Cataloging-in-Publication Data Fairy tale ﬁlms : visions of ambiguity / Pauline Greenhill and Sidney Eve Matrix, editors. p. cm. Includes bibliographical references and index. ISBN 978-0-87421-781-0 (pbk. : alk. paper) -- ISBN 978-0-87421-782-7 (e-book) 1. Fairy tales in motion pictures. 2. Fairy tales--Film adaptations. I. Greenhill, Pauline.
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Subterranean Film Lists
THE SUBTERRANEAN BOOK OF FILM LISTS by DON ALEX http://letterboxd.com/donalex/lists/by/name/ https://mubi.com/users/223328/lists MY 50 FAVORITE FILMS OF ALL TIME A CLOCKWORK ORANGE (1971) Stanley Kubrick APOCALYPSE NOW (1979) Francis Coppola MULHOLLAND DRIVE (2001) David Lynch SCARFACE (1983) Brian DePalma BOOGIE NIGHTS (1997) Paul Thomas Anderson PULP FICTION (1994) Quentin Tarantino TAXI DRIVER (1976) Martin Scorsese 2001: A SPACE ODYSSEY (1968) Stanley Kubrick BLADE RUNNER (1982) Ridley Scott EL TOPO (1970) Alejandro Jodorowsky SORCERER (1977) William Friedkin TALK RADIO (1988) Oliver Stone THE SHINING (1980) Stanley Kubrick THERE WILL BE BLOOD (2006) Paul Thomas Anderson FULL METAL JACKET (1987) Stanley Kubrick THE GODFATHER (1971) Francis Coppola HEAT (1994) Michael Mann DAYS OF HEAVEN (1978) Terrence Malick EXCALIBUR (1981) John Boorman THE GRADUATE (1967) Mike Nichols ANNIE HALL (1977) Woody Allen GOODFELLAS (1990) Martin Scorsese THE BIRDS (1963) Alfred Hitchcock WHO'S AFRAID OF VIRGINIA WOOLF (1966) Mike Nichols NATIONAL LAMPOON'S ANIMAL HOUSE (1978) John Landis INVASION OF THE BODY SNATCHERS (1978) Philip Kaufman ROSEMARY'S BABY (1968) Roman Polanski MORE (1969) Barbet Schroeder THE WICKER MAN (1973) Robin Hardy THE BOUNTY (1984) Roger Donaldson HUSBANDS (1970) John Cassavetes ALTERED STATES (1980) Ken Russell CLOSE ENCOUNTERS OF THE THIRD KIND (1977) Steven Spielberg BEYOND THE VALLEY OF THE DOLLS (1970) Russ Meyer DELIVERANCE (1972) John Boorman BONNIE & CLYDE (1967) Arthur Penn BLUE VELVET (1986) David Lynch THE EXORCIST
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Stephen Sondheim and His Filmic Influences
STEPHEN SONDHEIM AND HIS FILMIC INFLUENCES John T. O'Connor A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2010 Committee: Cynthia Baron, Advisor Lesa Lockford Ronald E. Shields ii ABSTRACT Cynthia Baron, Advisor While the work of Stephen Sondheim has been studied by scholars, frequently with examinations of his musical and dramatic influences, his filmic influences have remained relatively overlooked. I want to consider the many ways in which Sondheim’s work in musical theatre and in film has been influenced by his admiration for and interest in cinema. First, I want to look at the work Sondheim did in film, from script writing to composing songs for film scores, helped expand his knowledge and appreciation of film. Second, I want to examine how the work of Sondheim and his collaborators furthered the larger aesthetic movement in which filmic techniques became implemented in the structure, staging, and choreography of American musical theatre. Next, I want to consider how Sondheim’s interest in certain types of films and industry figures aligns with his collaborations on musicals. Finally, I then analyze the influence film composers such as Bernard Herrmann had on Sondheim’s scores. After studying Sondheim’s film experiences, links between staging practices in Hollywood and on Broadway, shared aesthetic choices in certain film and musical theatre narratives, and connections between aesthetic practices in Sondheim’s compositions and those of significant Hollywood film composers, I determined that there are a wide range of connections between mainstream film and Sondheim’s work in musical theatre.
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By Todd Berliner • the KING of MARVIN
NINE EXHILARATING SEVENTIES MOVIES THAT YOU LIKELY HAVE NOT SEEN By Todd Berliner • THE KING OF MARVIN GARDENS (1972, BOB RAFELSON) A strange, surprising movie that seems, at first, miscast, until the characters played by Jack Nicholson and Bruce Dern deepen and unfold. It starts out heady and becomes increasingly emotional. The movie is audacious, unpredictable. • THE LAST OF SHEILA (1973, HERBERT ROSS) A wonderful whodunit and the best of the seventies “genre breakers” (self-conscious genre films that comment on genre convention). The film is about a game and it works like a game. A witty script; Stephen Sondheim and Anthony Perkins wrote it; go figure. • MIKEY AND NICKY (1976, ELAINE MAY) Elaine May wrote and directed this small flop that portrays some of the most interesting and insightful interactions among male friends I have seen in cinema. The movie opens up and grows increasingly interesting as it progresses. • THE MISSOURI BREAKS (1976, ARTHUR PENN) This notorious flop—weighed down by the egos and salaries of its stars, Marlon Brando and Jack Nicholson—suffers from an undeserved bad reputation. Brando’s performance alone is worth the ticket (Notice how the actor changes his persona and accent every time his character meets a new person). • NORTH DALLAS FORTY (1979, TED KOTCHEFF) Director Ted Kotcheff has made a batch of movies that turn out better than their premises (Joshua Then and Now [1985] is another to look out for). This comedy about professional football players is unexpectedly rich and intriguing. • OPENING NIGHT (1977, JOHN CASSAVETES) Almost no one saw this John Cassavetes film until after his death in 1989.
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