Composers & Lyricists Guild of America, Inc. Connecticut

Total Page:16

File Type:pdf, Size:1020Kb

Composers & Lyricists Guild of America, Inc. Connecticut DIRECTORS America, Inc. Carl Occhipinti KTVS-TV, Sterling; Bob May- Director's Guild of nard, KOA-1'V, Denver; Jerry Fitch, KDGO, (Membership: 2287, Director Members, 767 As- Durango; Merlyn Hedin, KCRT Trinidad; Joe Tennessen, KFKA, Greeley; Hal Davis, KHOW, sistant Directors, 609 Associate Directors -Stage Denver. Managers) 7950 Sunset Blvd., Hollywood, PAST PRESIDENT Calif. 90046; OLdfield 6-1220; New York of- WES BRADLEY, KSSS, Colo. Springs. fice: 110 West 57th St., New York, N. Y. 10019, -o- 581-0370; Chicago office: 162 East Ohio, Su- perior 7-4660. Composers & Lyricists Guild of NATIONAL BOARD OF DIRECTORS 1969-71 America, Inc. PRESIDENT DELBERT MANN 6565 Sunset Blvd., #419, Hollywood, Calif. Tel.: FIRST VICE-PRESIDENT (213) 462-6068. GEORGE SCHAEFER (Organized 1954: Labor Union representing SECOND VICE-PRESIDENT ROBERT WISE composer members employed in Motion Pic- tures & Television). THIRD VICE-PRESIDENT TOM DONOVAN EXECUTIVE DIRECTOR FOURTH VICE-PRESIDENT TED CAIN JOHN RICH EXECUTIVE SECRETARY ANGIE ZAJAC FIFTH VICE-PRESIDENT PRESIDENT HOWARD MAGWOOD DAVID RAKSIN SECRETARY VICE-PRESIDENTS SHELDON LEONARD DAVID TERRY ASSISTANT SECRETARY JEFF ALEXANDER KARL GENUS GEORGE COLE TREASURER SECRETARY -TREASURER LESLEY SELANDER LYN MURRAY ASSISTANT TREASURER ASST. SEC'Y-TREAS. JOHN J. SUGHRUE, JR. TANASSY CORNEL BOARD MEMBERS, WEST: ASSTS. TO PRESIDENT Delmer Daves, Emmett Emerson, Sheldon Leon- ARTHUR HAMILTON ard, Delbert Mann, Jerry Markus, Mickey Mc- RICHARD MARKOWITZ Ardle, John Rich, Jack Shea, George Sidney, PRESIDENT EMERITUS George Stevens, Robert Wise. LEITH STEVENS ALTERNATES WEST: -0- William Beaudine, jr., Richard Brooks Hal Coop- er, Norman Jewison, Lee Rafner, Lesley Sel- Connecticut Broadcasters ander. BOARD MEMBERS EAST: Association, Inc. James Di Gangi, Tom Donovan, Karl Genus, c/o Executive Secretary, 15 Highland Park Rd., Franklin Heller, Howard Magwood, Mike Ni- chols, Enid Roth, George Schaefer, David North Haven, Conn. 06473. Sesgo (midwest). PRESIDENT ALTERNATES, EAST: RAYMOND PETROFSKY, WHNB-TV, New Britain, Stanley Ackerman, Sydney Andrews, Ira Marvin, Conn. H. C. Potter, Jack Sughrue, Jr., Gordon Wei- VICE-PRESIDENT senborn (midwest). HENRY HOVLAND, WGCH, Greenwich, Conn. COUNCIL ELECTIONS -1970 ASST. SECRETARY -TREASURER RALPH KLEIN, WRYM, New Britain, Conn. DIRECTORS, WEST ASST. SECRETARY -TREASURER Robert Aldrich, Earl Bellamy, Richard Brooks, ARDREY, Conn. Frank Capra, Hal Cooper, Delmer Daves, Stan- ROBERT WWCO, Waterbury, ley Kramer, Sheldon Leonard Delbert Mann, EXECUTIVE SECRETARY Sam Peckinpah, John Rich, Lesley Selander, L. ROBERT MEINSON Jack Shea, George Sidney, George Stevens, DIRECTORS Robert Wise, William Wyler. Michael Boudreau, WDRC, Hartford; Raymond DIRECTORS, EAST Colonari, WICC, Bridgeport; Sam P. Mastro, Mel Brooks Fred Coe, Andrew Costikyan, Karl WHNC-TV, New Haven; Richard Reed WICH, Genus, George L. George, Franklin Heller, Norwich; N. Thomas Eaton, WTIC, Hartford; Dwight Hemion George Roy Hill, Sidney Lu- Robert Gregory, WNTY, Southington; Gerald met, Howard Magwood, Lin Ephraim, Michael Morey, WNLC, New London. Glick, Burgess Meredith Robert Montgomery, Mike Nichols, Gordon Darks, H. C. Potter, -o- George Schaefer, David Seago, Jack Sugrue, Gordon Weisenborn. DePatie-Freleng Enterprises, Inc. ASST. DIR. UPM WEST Ave., Suite 306, New York, New Nate Barragar, William Beaudine, Jr., John Behm, 527 Lexington Tom Connors Henry Brill, Emmett Emerson, York; HA 1-3774; 6859 Hayvenhurst Ave., Van Ira Marvin, Elaine May, Ray Gosnell Mickey Nuys, Calif. 91406; Tel.: 873-7451. McCardle, Mike Moder, Wallace Worsley, Frank Capra, Jr., Lyn Guthrie, Howard Koch, PRESIDENT Jr. DAVID H. DEPATIE ASST. DIR. UPM, EAST EXECUTIVE VICE PRESIDENT Stanley Ackerman, Larry Albucher, Alice Bell, FRIZ FRELENG Burton Bluestein Fred Caruso, James Di Gan- VICE PRESIDENT gi, Fred Gallo, David Golden, Michael Hertz- WILLIAM ORCUTT berg, James Inch, Nancy Littlefield, Michael EASTERN SALES REPRESENTATIVE Petrone, Roger Rothstein Jane Schimel, Arthur ERIC POMERANCE Steckler, Richard Wolf, Ted Zachary. 704 .
Recommended publications
  • The Making of Hollywood Production: Televising and Visualizing Global Filmmaking in 1960S Promotional Featurettes
    The Making of Hollywood Production: Televising and Visualizing Global Filmmaking in 1960s Promotional Featurettes by DANIEL STEINHART Abstract: Before making-of documentaries became a regular part of home-video special features, 1960s promotional featurettes brought the public a behind-the-scenes look at Hollywood’s production process. Based on historical evidence, this article explores the changes in Hollywood promotions when studios broadcasted these featurettes on television to market theatrical films and contracted out promotional campaigns to boutique advertising agencies. The making-of form matured in the 1960s as featurettes helped solidify some enduring conventions about the portrayal of filmmaking. Ultimately, featurettes serve as important paratexts for understanding how Hollywood’s global production work was promoted during a time of industry transition. aking-of documentaries have long made Hollywood’s flm production pro- cess visible to the public. Before becoming a staple of DVD and Blu-ray spe- M cial features, early forms of making-ofs gave audiences a view of the inner workings of Hollywood flmmaking and movie companies. Shortly after its formation, 20th Century-Fox produced in 1936 a flmed studio tour that exhibited the company’s diferent departments on the studio lot, a key feature of Hollywood’s detailed division of labor. Even as studio-tour short subjects became less common because of the restructuring of studio operations after the 1948 antitrust Paramount Case, long-form trailers still conveyed behind-the-scenes information. In a trailer for The Ten Commandments (1956), director Cecil B. DeMille speaks from a library set and discusses the importance of foreign location shooting, recounting how he shot the flm in the actual Egyptian locales where Moses once walked (see Figure 1).
    [Show full text]
  • Documenting the Director: Delbert Mann, His Life, His Work, and His Papers
    http://spider.georgetowncollege.edu/htallant/border/bs10/fr-harw.htm Border States: Journal of the Kentucky-Tennessee American Studies Association, No. 10 (1995) DOCUMENTING THE DIRECTOR: DELBERT MANN, HIS LIFE, HIS WORK, AND HIS PAPERS Sarah Harwell Vanderbilt University Library The Papers of Delbert Mann at the Special Collections Library of Vanderbilt University provide not only a rich chronicle of the award-winning television and motion picture director's life and work, but also document the history of aspects of American popular culture and motion picture art in the latter half of the twentieth century. Delbert Mann was born in Lawrence, Kansas, in 1920. He moved to Nashville, which he considers his home town, as a young boy when his father came to teach at Scarritt College. He graduated from Hume-Fogg High School and Vanderbilt University, where Dinah Shore and Mann's future wife, Ann Caroline Gillespie, were among his classmates. Also in Nashville he developed a lifelong friendship with Fred Coe through their mutual involvement in the Nashville Community Playhouse. Coe would play a very important role in Mann's life. A few months after his graduation from Vanderbilt in 1941, Mann joined the Eighth Air Force, for which he completed thirty-five missions as a pilot of a B-24 bomber. After the end of the Second World War he attended the Yale Drama School, followed by two years as director of the Town Theatre of Columbia, South Carolina. In 1949, Fred Coe, already a producer at NBC television network, invited Delbert Mann to come to New York to direct live television drama on the "Philco Television Playhouse." Then in its infancy, television offered many fine original plays to its relatively small viewing audience.
    [Show full text]
  • Cine Europeo François Ozon
    TITULO GENERO DIRECTOR 007 CONTRA EL DOCTOR NO P-286 ACCIÓN/AVENTURA TERENCE YOUNG 007 EL MUNDO NUNCA ES SUFICIENTE P-473 ACCIÓN/AVENTURA MICHAEL APTED 8 MUJERES P- 52 CINE EUROPEO FRANÇOIS OZON 9 SEMANAS Y MEDIA P-427 DRAMA ADRIAN LYNE 12 HOMBRES SIN PIEDAD P-1122 DRAMA SIDNEY LUMET 15 MINUTOS P-857 THRILLER/SUSPENSE JOHN HERZFELD 21 BLACK JACK P-595 DRAMA ROBERT LUKETIC 21 GRAMOS P-126 THRILLER/SUSPENSE ALEJANDRO GONZALEZ-IÑARRITU 24 HOUR PARTY PEOPLE P-589 MUSICAL MICHAEL WINTERBOTTOM 28 DIAS DESPUES P-762(1) TERROR DANNY BOYLE 28 SEMANAS DESPUES P-762(2) TERROR JUAN CARLOS FESNADILLO 30 DIAS DE OSCURIDAD P-619 THRILLER/SUSPENSE DAVID SLADE 55 DIAS EN PEKIN P-259 DRAMA NICHOLAS RAY 60 SEGUNDOS P-771 ACCIÓN/AVENTURA DOMINIC SENA 88 MINUTOS P-705 THRILLER/SUSPENSE JON AVNET 101 DALMATAS 2 P-910(2) INFANTIL JIM KAMMERUD 300 P-429 ACCIÓN/AVENTURA ZACK SNYDER 1492 - LA CONQUISTA DEL PARAISO P-1057 ACCIÓN/AVENTURA RIDLEY SCOTT 2001: UNA ODISEA DEL ESPACIO P-750 CIENCIA-FICCIÓN STANLEY KUBRICK 2012 P-980 CIENCIA-FICCIÓN ROLAND EMMERICH ,,, Y SI NO, NOS ENFADAMOS P-896 COMEDIA MARCELLO FONDATO ¡MAS FUERTE MUCHACHOS! P-968 COMEDIA GUISEPPE COLIZZI ¡PUÑOS FUERA! P-893 COMEDIA STEFANO STENO VANZINA ¡QUE BELLO ES VIVIR! P-201 DRAMA FRANK CAPRA ¡ROMPE RALPH! P-1146 INFANTIL RICH MOORE ¿QUE HE HECHO YO PARA MERECER ESTO? P- 84 ESPAÑOL PEDRO ALMODOVAR ¿VENCEDORES O VENCIDOS? EL JUICIO DE NUREMBERG P-357 DRAMA STANLEY KRAMER A SANGRE FRIA P-210 DRAMA RICHARD BROOKS A TODO GAS 1 (FAST AND FURIOUS) P-1150(1) ACCIÓN/AVENTURA ROB COHEN A TODO GAS 2 (FAST
    [Show full text]
  • Jane Eyre As a “Mirror of Culture”: Tracing Feminism Through Film
    Jane Eyre as a “Mirror of Culture”: Tracing Feminism through Film Adaptation By Erin Nicole Mayo Honors Thesis Department of English and Comparative Literature University of North Carolina-Chapel Hill 2017 Approved: Table of Contents Introduction……………………………………………………………… 3 Chapter 1: 1943 Jane Eyre………………………………………………..4 Chapter 2: 1970 and 1983, and The Female Characters............................ 17 Chapter 3: 2011 and Austenmania……………………………………….33 Conclusion………………………………………………………………..44 2 Introduction Alan Dundes is well-known for his description of folklore as a “mirror of culture,” by which he means that the stories a society tells itself often reflect its collective fears, desires, and anxieties. Jane Eyre adaptations function in the same way by taking Brontë’s original story and adapting it to the current cultural climate, and, with so many interpretations over decades, we can extrapolate information about the producers and consumers from each new version. To this end, the films can be placed on a historical timeline, creating a narrative which illuminates the cultures or time periods in which each film was produced. I primarily trace the evolution of character interpretation—with some attention to cinematography—by categorizing the films into three loose categories, beginning with Stevenson’s 1943 version and culminating with Fukanaga’s adaptation released in 2011. The cinematography timeline moves from the aesthetic coldness of Gothic/film noir to the lush landscapes and warm colors invoked with the surge of period pieces in late twentieth century. With regard to character, I explore how features such as casting, personality, and character development contribute to the overall focus of the films. These two elements point to my primary argument: that the development of feminism has influenced the film interpretations of Jane Eyre, taking the narrative from a plot-based romance towards a character-driven tale of Jane’s personal growth.
    [Show full text]
  • A Guild Is Born Dorothy Arzner
    80-YEAR ANNIVERSARY The Screen KING VIDOR 1938 >“Women’s dramatic sense is “Directors Guild DOROTHY invaluable to the motion picture was organized industry,” said Dorothy Arzner, solely by ARZNER whose contributions include and for the First Female 80 YEARS STRONG motion picture being the first female member Member 1933 >The formation of the Directors director…. We of the Directors Guild. In early A GUILD Guild had been percolating for a are not anti- Hollywood, Arzner was a typist, number of years. Amid nationwide anything: the screenwriter, editor, and ultimately, director. IS BORN labor unrest in the country, the Guild being She is believed to have developed the boom mic, studios had been squeezing directors formed for the enabling actors to move and speak more easily purpose of both financially and creatively. The first step toward in early talkies. At one time under contract to assisting and Paramount, Arzner is organizing a guild occurred in 1933 outside the Hol- improving the lywood Roosevelt Hotel, after a meeting in which best known for directing director’s work such strong personalities the studios announced a 50 percent across-the-board in the form of pay cut. After the meeting, King Vidor and a handful a collective as Clara Bow, Claudette of directors congregated on the sidewalk and knew body, rather Colbert, Katharine something had to be done. They understood, as Vidor than as an Hepburn, and Joan put it, “We must have a guild to speak [for us], and individual. Crawford in films such not the individual, who can be hurt by standing up as Honor Among Lovers “I worked on my for his rights.” That guild was born in late 1935 and ” (1931) and Christopher first project under Strong (1933).
    [Show full text]
  • Adaptable Terence Rattigan: Separate Tables, Separate Entities? Dominic Shellard
    Adaptable Terence Rattigan: Separate Tables, separate entities? dominic shellard T R’ has essentially been that of a theatre writer, and a conservative one, who is supposed to have avoided the darker themes that invaded the British stage after (roughly) the arrival of Look Back in Anger in 1956. This view of Rattigan is by now surely on its way out. His relation to the theatre and the so-called New Wave is undoubtedly more complex. However, his track record as a screenwriter, sometimes but not always adapting his own plays, should not be forgotten. In 1939 we have French Without Tears, then Quiet Wedding (1940), The Day Will Dawn (1942), Uncensored (1942), English Without Tears (1944), Journey Together (1945), The Way to the Stars (1945), While the Sun Shines (1947), Brighton Rock (1947, from Greene’s novel), Bond Street (1948), and then a wonderful version of his own play The Winslow Boy (1948). In the 1950s he wrote The Browning Version (1951), The Sound Barrier (1952), The Final Test (1953), then disappointingly The Man Who Loved Redheads (1954), but trium- phantly another adaptation of his own play The Deep Blue Sea (1955). The Prince and the Showgirl (1957), starring Marilyn Monroe and Laurence Olivier, who also directed, is often seen as the end of his film career. (It was an unsatisfactory, though intermittently charming, tardy revival of his Festival of Britain stage play that celebrated nation and the Oliviers – Vivien Leigh had the Monroe role – called The Sleeping Prince.) But actually his last film was much more distinguished: Separate Tables (1959), an American adaptation by Rattigan himself – but see below – of his own play (or rather two one- acters) of the same name.
    [Show full text]
  • Films in the AMC A
    Films in the AMC "O" (Tim Blake Nelson, 2001, USA, 90 min) “O” (Othello) (2001,J.Hartnett/J. Stiles/M. Phifer; 90 min.) 11'09"01 - September 11 (Ken Loach et al., USA, 2002, 123 min.) 12 Angry Men (Sidney Lumet, 1957, USA, 92 min.) 12 Years a Slave (Steve McQueen, 2013, USA, UK, 134 min.) 2001: A Space Oddisey (Stanley Kubrick, 1968, USA, 141min.) 2012 (Roland Emmerich, 2009, USA, 158 min) 21 Grams (Alejandro González Iñárritu, 2003, USA, 120 min.) 25th hour (Spike Lee, 2002, USA, 129 min. - German Title: 25 Stunden) 32A (Marian Quinn, 2007, IRL, 89 min.) 500 years later (Owen Alik Shahadah, 2005, UK/USA, 106min.) 7 Zwerge Part 1 + 2 (Sven Unterwaldt) 8 Mile (Curtis Hanson, 2002, USA, 106 min.) A brief history of time (Errol Morris, 1991, UK/Japan; USA, 80min.) German Title: Eine A kurze Geschichte der Zeit. Based on the book by Stephen Hawking A Cat in Paris (Felicioli; Gagnol, 62 min.) A Collection of 2005 Academy Award Nominated Short Films (5 Live Action Short Films and 3 Animated Short Films) A Day Without A Mexican (Sergio Arau, 2004, USA, 100min.) A Midsummernight's Dream (Michael Hoffman, 1999, Italy/UK/USA, 115 min.) A Street Cat Named Bob (Spottiswoode, 2016, 99 min.) A Streetcar Named Desire (Elia Kazan, 1951, USA, 120 min.) A Thousand Acres (Jocelyn Moonhouse, 1997, USA, 101min.) (Loosely based on King Lear) A United Kingdom (Asante, 106 min.) A Way of Life (Amma Asante, 2004, UK, 87 min.) About a Boy (Chris Weitz, 2002, GB, 97 min.) About Schmidt (Alexander Payne, 2002, USA, 120 min.) Acadie Liberté (Tim Radford, 1993, Canada/USA,
    [Show full text]
  • Objectivity Lies: the Rhetoric of Anthropology,” in the Rhetoric of the Human Sciences: Language and Argument in Scholarship and Public Affairs, Eds
    ABSTRACT HUMANITIES JONAS-FOWLER, JOYCELYN J. B.A. CLARK ATLANTA UNIVERSITY, 1996 M.P.A. TROY STATE UNIVERSITY, 2005 IS THIS BLACK ENOUGH FOR YOU? A COMPARATIVE ANALYSIS OF AFRICAN-AMERICAN FAMILIES PORTRAYED IN BLACK FAMILY TELEVISION COMEDIES BETWEEN 1980 AND 2000 Committee Chair: Charmayne Patterson, Ph.D. Dissertation dated May 2018 Research shows that black people watch more television than any other race of people, and, given that television is the most influential media tool, the content of what may affect an audience’s behavior and beliefs deserves analysis. This study examines the black family, alleged pathology, strengths that are specifically associated with them, its portrayal on television, and how television is used as a tool for socialization and influence. A content analysis of the top thirty black family shows that appeared on major network television between 1980 and 2000 was conducted to determine if the family framed was portrayed realistically. Each show analyzed was found to portray some characteristic of strong black families, attributes some media and social critics had not previously recognized or acknowledged. This study suggests that further research is warranted from black family, cultural, and media scholars, as well as social policy and i program makers, and on how television influences entire cultures to shift socially and economically. ii IS THIS BLACK ENOUGH FOR YOU? A COMPARATIVE ANALYSIS OF AFRICAN-AMERICAN FAMILIES PORTRAYED IN BLACK FAMILY TELEVISION COMEDIES BETWEEN 1980 AND 2000 A DISSERTATION SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY BY JOYCELYN JONAS-FOWLER DEPARTMENT OF HUMANITIES ATLANTA, GEORGIA MAY 2018 © 2018 JOYCELYN JONAS-FOWLER All Rights Reserved ACKNOWLEDGMENTS I thank God for his favor and blessings and for being a God of thousands of chances.
    [Show full text]
  • Intersectionality in Jane Eyre and Its Adaptations Laurel Loh University of Arkansas, Fayetteville
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ScholarWorks@UARK University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 5-2015 Intersectionality in Jane Eyre and its Adaptations Laurel Loh University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the American Film Studies Commons, Literature in English, British Isles Commons, Other Film and Media Studies Commons, and the Women's Studies Commons Recommended Citation Loh, Laurel, "Intersectionality in Jane Eyre and its Adaptations" (2015). Theses and Dissertations. 1105. http://scholarworks.uark.edu/etd/1105 This Thesis is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. Intersectionality in Jane Eyre and Its Adaptations Intersectionality in Jane Eyre and Its Adaptations A thesis submitted in partial fulfillment of the requirement for the degree of Master of Arts in English by Laurel Loh University of Arkansas Bachelor of Science in International Business, 2002 May 2015 University of Arkansas This thesis is approved for recommendation to the Graduate Council. __________________________ Dr. Lissette Lopez Szwydky Thesis Director __________________________ __________________________ Dr. Vivian Davis Dr. Sean Dempsey Committee Member Committee Member Abstract During the almost 170 years since Jane Eyre was published, there have been numerous adaptations in many different mediums and genres, such as plays, films, musicals, graphic novels, spin-off novels, and parodies. The novel has been read in many different critical traditions: liberal humanist, historicist, feminist, and postcolonial approaches dealing with topics such as the problem of female authorship and consciousness.
    [Show full text]
  • Relación De Las Películas Que Componen La Videoteca
    Alejandro Amenábar, director 40-Patrimonio Nacional [1981] 15- Tesis [1996] 41-Nacional-III [1982] 16- Abre los ojos [1997] 42-La vaquilla [1985] 17- Los otros [2001] 18- Mar adentro [2004] Carlos Saura, director 43-La caza [1965] Pedro Almodóvar, director 44-Cría cuervos... [1976] 19-Pepi, Luci, Bom y otras chicas del montón 45-Deprisa, deprisa [1981] [1980] 46-El 7º día [2004] 20 -¡Qué he hecho yo para merecer esto! [1984] 21-Mujeres al borde de un ataque de nervios Actors : Javier Bardem VIDEOTECA ANTONIO ISASI. 1988] 47-Antes que anochezca [Julian Schnabel, dir. 2000] BIBLIOTECA PÚBLICA VICENT SERRA ORVAY. 22-La flor de mi secreto [1995] Carne trémula [Pedro Almodóvar, dir. 1997] SANT JORDI. 23-Carne trémula [1997] 48-El detective y la muerte [Gonzalo Suárez, dir. 1997] 24-Todo sobre mi madre [1999] 49-Días contados [Imanol Uribe, dir. 1994] 25-Hable con ella [2002] 50-Las edades de Lulú [Bigas Luna, dir. 1990] CINEMA ESPANYOL 26-La mala educación [2004] 51-Entre las piernas [Manuel Gómez Pereira, dir. 1999] 27-Volver [2006] 52-Éxtasis [Mariano Barroso, dir. 1996] Cinema d’autor 53-Los fantasmas de Goya [Milos Forman, dir. 2006] Antonio Isasi-Isasmendi (dir.) Icíar Bollaín, directora 54-Huevos de oro [Bigas Luna, dir. 1993] 1-La mentira tiene cabellos rojos (1960) 28-Hola, ¿estás sola? [1995] 55-Huidos [Félix Sancho Gracia, dir. 1992] 2-Tierra de todos (1961) 29-Te doy mis ojos [2003] 56-Jamón Jamón [Bigas Luna, dir. 1992] 3-Vamos a contar mentiras (1961) 57-Los lobos de Washington [Mariano Barroso, 4-La máscara de Scaramouche (1963) Luis Buñuel, director dir.1999] 5-Estambul (1965) 30-Los olvidados [1950] 58-Los lunes al sol [Fernando León de Aranoa, dir.
    [Show full text]
  • Oldest/Youngest Directing Nominees/Winners
    OLDEST/YOUNGEST DIRECTING NOMINEES/WINNERS The following statistics are based on the most reliable birthdate information available to us at the time of publishing. We welcome any information from primary sources that might indicate a different birthdate for an individual. Such sources might be birth or death certificates or databases based on such records, published interviews with the individual or published documents that cite their sources. This would NOT include the Internet Movie Database or other web sites that do not cite primary sources for their information. [Updated thru 88th Awards (2/16)] © Academy of Motion Picture Arts and Sciences. Document may not be republished without permission. 8.5 - 1 8.5 - 2 Oldest/Youngest Directors * Denotes winner Oldest Nominees [from date of birth to date of nominations announcement] 79 years, 184 days. John Huston, Prizzi's Honor (1985) [August 5, 1906 - February 5, 1986] 78 years, 193 days. Charles Crichton, A Fish Called Wanda (1988) [August 6, 1910 - February 15, 1989] 76 years, 357 days. Robert Altman, Gosford Park (2001) [February 20, 1925 - February 12, 2002] 76 years, 318 days. David Lean, A Passage to India (1984) [March 25, 1908 - February 6, 1985] 76 years, 237 days. Clint Eastwood, Letters from Iwo Jima (2006) [May 31, 1930 - January 23, 2007] 76 years, 54 days. Woody Allen, Midnight in Paris (2011) [December 1, 1935 - January 24, 2012] 75 years, 319 days. Akira Kurosawa, Ran (1985) [March 23, 1910 - February 5, 1986] 74 years, 239 days. *Clint Eastwood, Million Dollar Baby (2004) [May 31, 1930 - January 25, 2005] 73 years, 241 days.
    [Show full text]
  • The Inventory of the Don Siegel Collection #454
    The Inventory of the Don Siegel Collection #454 Howard Gotlieb Archival Research Center SIEGEL, DON 1970 Box 1 1) "Two Mules for Sister Sara". Movie produced by Universal Studios, directed by DS. Final shooting script by Albert Maltz; original story by Budd Boetticher. a) Loop script, Shirley MacLaine's copy, July 2, 1969. Xerox typescript (with carbon typescript, 1 p.), Ca. 125 pp. (// 1). b) Loop script, DS's copy, July 2, 1969. Xerox typescript, Ca. 250 pp. (#lA). c) Revised first draft screenplay, March 20, 1968. Signed mimeograph typescript with holograph notations, Ca. 125 pp. (t/2). d) Continuity Breakdown, October 22, 1968. Xerox of holograph, Ca. 75 pp. (#3). e) Script dated November 27, 1968. Signed mimeograph typescript, Ca. 125 pp. (//4). Box 2 f) Final shooting script. Continuity script (with loop notes, signed carbon typescript with holograph notations, 6 pp.) Xerox typescript with holograph notations, Ca. 300 pp. (#5). g) Music notes, August 6, 1969. Xerox typescript, 8 pp. (#6). h) Shooting schedule, January 10, 1969. Typescript, Ca. 30 pp. (#6). i) Continuity breakdown. Xerox of holograph, Ca. 40 pp. (#6). j) Photographs of set and cast, including Shirley MacLaine and Clint Eastwood. ~ 39 7½"X9" Glossies. (116). k) Set List. Himeograph typescript with profuse holograph notations, 5 pp. (#6). page 2 SIEGEL, DON 1970 2) "Madigan". Movie produced by Universal Studios. Final screenplay by Abraham Polansky and Harry Kleiner. Based on the novel THE COMMISSIONER by Richard Dougherty. Directed by Don Siegel. a) Third draft screenplay titled "The Commissioner", December 21, 1966. Mimeograph typescript, 137 pp.
    [Show full text]