DOCSLIB.ORG

2011 UCLA Extension Feature Film & Television Writing Competition

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2011 UCLA Extension Feature Film & Television Writing Competition WINTER QUARTER 2012 January 9th – April 1st 130 Writers’ Program Enroll at uclaextension.edu or call (310) 825-9971 Answering Your Muse: A Workshop Writing Your First Novel for Aspiring Creative Writers X 462.74 English 3 units X 485.35 English 3 units Do you have an almost desperate desire to write a novel Do you hear the muse calling, but aren’t sure how to (you know, that painful stirring in your solar plexus) or Writers’ Program answer? Do you feel the urge to put pen to paper (or are you just interested in telling your unique story in the fingers to keyboard), but aren’t sure where to start? In best way possible? No matter how you feel, there is a a safe and relaxing environment, this workshop pro- great sense of satisfaction in jump-starting your book 130 The Writers Studio vides a series of writing exercises to motivate and guide in a stimulating, supportive, and challenging environ- you to get writing, as well as to begin and start develop- ment. In this workshop, you learn about character, arc, 132 Creative Writing General Interest ing a substantial writing project. Whether your aim is to point of view, dialogue, plot, conflict, complications, 133 Creative Writing: Weekend Courses create poetry, complete a short story, begin a memoir, hooks, climax, resolution, language, setting, and the or even start conceptualizing a novel, this course “frees challenges of publishing and marketing your work. We 134 Fiction your pen” with techniques such as stream-of-con- not only get you started on the journey of finishing a 135 Creative Nonfiction sciousness writing, brainstorming, and quick outlining. novel, we also have lots of lively discussions, learn It helps you to work through writer’s block and teaches through lectures and close observation of each other’s 136 Poetry you methods for silencing your “inner critic.” And most work, create new bonds, and find out more about 136 Playwriting importantly, it inspires you to start writing. By the end ourselves and each other. Whether that aching feeling of 4 days, you will leave this workshop with a number is keeping your from writing or you just haven’t gotten 136 Publishing of new tools for your creative tool belt, as well as many around to doing it, you leave this workshop with a rough 136 Writing for the Youth Market pages of writing and a ton of inspiration. Enrollment first chapter and the inspiration and tools you need to limited to 18 students. Logistical information for this finish your book on your own. Prerequisite: At least 1 137 Online Creative Writing course will be provided via email. Please provide your previous creative writing course. Enrollment limited to email address when you register. All refund requests 18 students. Logistical information for this course will 140 Online Screenwriting must be received by Tue, Jan 3; no refunds are given be provided via email. Please provide your email 142 Screenwriting after that deadline date. address when you register. All refund requests must be received by Tue, Jan 3; no refunds are given after that 142 Business of Screenwriting Reg# W8633B Kim Krizan, Academy-Award nominated screenwriter, deadline date. 142 Feature Film Writing film and stage actor; WGA member who co-wrote Reg# W8630B Before Sunrise and Before Sunset with director Richard Francesca Lia Block, author of many bestselling and 144 Television Writing Linklater. Ms. Krizan has acted in several films, includ- award-winning novels, including Dangerous Angels: The 145 Intensive and Weekend Screenwriting Workshops ing Waking Life, Dazed and Confused, and Slacker. Her Weetzie Bat Books, Necklace of Kisses, Quakeland, The first full-length comic book, Zombie Tales: 2061, was Hanged Man, Echo, Pretty Dead, The Frenzy, and Wood recently published by Boom! Studios. Nymph Seeks Centaur: A Mythological Dating Guide. Ms. Block received the Margaret A. Edwards Lifetime NEW COURSE Achievement Award and her latest adult novel has just Writing and Publishing Your Memoir been purchased by St. Martin’s Press. X 441.25 English 3 units Good memoirs don’t just happen—they’re designed. NEW COURSE Successful memoir writers consider their audience, drill Writing Scenes in Fiction down into their idea to see what is unique and arresting X 463.76 English 3 units about it, select the best structure for telling their tale, “I just knew there were stories I wanted to tell,” says set attainable writing goals and then devise impeccable Octavia Butler, and many of us feel exactly the same revision, marketing, and publishing strategies to see way. This workshop helps you deal with the essential their project through. This workshop teaches you the component of our stories: the scenes. Think of success- Studio Workshops 12 essential steps to writing and publishing memoir. It ful scenes as putting strong, lifelike characters in a Writers Studio at is intended for writers who are planning to complete a setting, with a clear motivation and stakes, and this book-length work. You develop a crystal clear descrip- simple formula is the exciting force behind both writing Choose only 1 of the following workshops. UCLA Extension tion of the book you want to write and the audience you and revising our work. In this workshop, you learn how hope to entice; an elevator pitch and a proper query to to construct scenes using the building blocks of narra- Thu-Sun, Feb 9-12 Inside Story: Creating Powerful generate interest in your story; a personalized roadmap tive, a skill which can apply to longer works of fiction Presented by the UCLA Extension Writers’ Program, Narratives for your entire writing process; concrete project goals; or creative nonfiction (such as novels or memoirs) or the Writers Studio at UCLA Extension consists of 10 X 462.75 English 3 units insight into the revision process; an outline of a book shorter stories. Through various exercises designed to intensive writing workshops. Participants choose Be it a novel, short story, or piece of creative nonfiction, proposal tailor-made to showcase your project; a short create new scenes or polish existing ones, and under- one of the 4-day intensive workshops offered in the secret to creating a narrative that leaps off the page list of suitable literary agents to pitch; and, finally, an standing how scenes work in selected readings, you and instantly grabs the reader lies in the story itself. In which they work closely with a professional writer/ understanding of the current state of publishing and hone your prose at this essential level. By the end of this workshop, you explore what a story really is; what, how you fit into it. Appropriate for students at any stage the course, you will have completed several scenes for instructor in classes limited to 18 people. Each as readers, we innately expect when we read one; and workshop is a 3-unit UCLA Extension course; par- of the memoir writing process. Prerequisite: At least 1 either a new or existing work, along with knowledge of how to translate the unique story you’re writing into the how a scene serves the work as a whole. Prerequisite: ticipants have the option of taking it for a grade. previous creative writing course. Enrollment limited to universal language of storytelling. Just as importantly, 18 students. Logistical information for this course will At least 1 previous creative writing course. Enrollment you have a yardstick to gauge whether each twist is on limited to 18 students. Logistical information for this Investment in Your Craft be provided via email. Please provide your email target or is a digression that brings your narrative to a address when you register. All refund requests must be course will be provided via email. Please provide your The fee for the Writers Studio is $705 until January screeching halt. In class you write, workshop, and refine received by Tue, Jan 3; no refunds are given after that email address when you register. All refund requests 9; after January 9, the fee increases to $775, so your concept and your protagonist’s quest, focusing on deadline date. must be received by Tue, Jan 3; no refunds are given enroll early and save! (Fee does not include lodging what your story is about and how to actualize it. You Reg# W8631B after that deadline date. or most meals.) A $30 administrative fee is with- leave the course with a clear roadmap of your story Jennie Nash, author of 3 memoirs, including Altared Reg# W8632B held from all refunds (full refund if workshop is from beginning to end, and a precise draft of those States: Surviving the Engagement and The Victoria’s Michael Buckley, MFA, fiction writer whose new short foundation-setting first several pages. Prerequisite: At canceled or rescheduled). Refund requests must be Secret Catalog Never Stops Coming and Other Lessons story collection is Miniature Men (World Parade Books, least 1 previous creative writing course. Enrollment postmarked or phoned in by Tueday, January 3. No I Learned from Breast Cancer, and the novel The Last 2011). Mr. Buckley’s work has appeared in Alaska limited to 18 students. Logistical information for this refunds are given after that date. Early enrollment Beach Bungalow (Berkley/Penguin, 2008). Ms. Nash’s Quarterly Review, Best American Non-Required Read- course will be provided via email. Please provide your is strongly advised. work has appeared in numerous publications, including ing, Southern California Review, Rip Rap, and Water- email address when you register. All refund requests Real Simple, GQ, and The New York Times. mark, among others. He is a co-founder and editor-in- For More Information must be received by Tue, Jan 3; no refunds are given chief of Transcurrent Literary Journal, and he has been To speak to an advisor and for updates and addi- after that deadline date.
Load more

Recommended publications
  • Nomination Press Release
    Brian Boyle, Supervising Producer Outstanding Voice-Over Nahnatchka Khan, Supervising Producer Performance Kara Vallow, Producer American Masters • Jerome Robbins: Diana Ritchey, Animation Producer Something To Dance About • PBS • Caleb Meurer, Director Thirteen/WNET American Masters Ron Hughart, Supervising Director Ron Rifkin as Narrator Anthony Lioi, Supervising Director Family Guy • I Dream of Jesus • FOX • Fox Mike Mayfield, Assistant Director/Timer Television Animation Seth MacFarlane as Peter Griffin Robot Chicken • Robot Chicken: Star Wars Episode II • Cartoon Network • Robot Chicken • Robot Chicken: Star Wars ShadowMachine Episode II • Cartoon Network • Seth Green, Executive Producer/Written ShadowMachine by/Directed by Seth Green as Robot Chicken Nerd, Bob Matthew Senreich, Executive Producer/Written by Goldstein, Ponda Baba, Anakin Skywalker, Keith Crofford, Executive Producer Imperial Officer Mike Lazzo, Executive Producer The Simpsons • Eeny Teeny Maya, Moe • Alex Bulkley, Producer FOX • Gracie Films in Association with 20th Corey Campodonico, Producer Century Fox Television Hank Azaria as Moe Syzlak Ollie Green, Producer Douglas Goldstein, Head Writer The Simpsons • The Burns And The Bees • Tom Root, Head Writer FOX • Gracie Films in Association with 20th Hugh Davidson, Written by Century Fox Television Harry Shearer as Mr. Burns, Smithers, Kent Mike Fasolo, Written by Brockman, Lenny Breckin Meyer, Written by Dan Milano, Written by The Simpsons • Father Knows Worst • FOX • Gracie Films in Association with 20th Kevin Shinick,
    [Show full text]
  • Joni Goes Postal
    JONI GOES POSTAL JOANNE WANNAN A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF OF MASTER OF FINE ARTS GRADUATE PROGRAM IN FILM YORK UNIVERSITY TORONTO, ONTARIO September 2016 © Joanne Wannan, 2016 ii ABSTRACT Joni Goes Postal is a feature film comedic screenplay. The story tracks the emotional journey of Joni, a 34- year-old postal worker who discovers that her long-term boyfriend cheated on her. Stuck in a dead-end job, confronted with overwhelming feelings of anger, betrayal and loss, Joni is jolted out of complacency and forced to confront her own fears and insecurities as she struggles to find new meaning and purpose in her life. The story examines a break-up, and explores concepts of love, loss, grief, and obsession. iii ACKNOWLEDGEMENTS I would like to thank Colleen Wagner for her insight, guidance, encouragement, and endless notes. Colleen believed in this project from the start, and cheered me on when I wanted to throw in the towel. She taught me to trust my instincts and believe in myself as an artist. I am grateful to have had her as my thesis advisor. Many thanks to John Greyson for his patience and unwavering support, both during my time as a graduate student at York, and on this project. John helped me navigate the minefields of completing this thesis, with a keen sense of humour and a grounded perspective. Thanks to Kuowei Lee, to all my professors at York, and to my fellow screenwriters. I’d especially like to thank the other writers in my class - Mary, Meghan, and Samantha.
    [Show full text]
  • Trabajo Fin De Grado
    Trabajo Fin de Grado Las series de animación dirigidas a la infancia y las representaciones del sexo y el género. Una aproximación desde el Trabajo Social. The animation shows aimed to the childhood and the sex and gender representations. An approach from Social Work. Autor/es Andrea Cebollada Latorre Director/es Antonio Eito Mateo FACULTAD DE CIENCIAS SOCIALES Y DEL TRABAJO 2017 Repositorio de la Universidad de Zaragoza – Zaguan http://zaguan.unizar.es Infinitas gracias al incesante apoyo de mi tutor Antonio Eito, mis compañeros del grado y mi familia durante este recorrido. ÍNDICE RESUMEN .......................................................................................................................... 1 1. INTRODUCCIÓN ......................................................................................................... 2 2. OBJETIVOS ................................................................................................................. 4 3. METODOLOGÍA .......................................................................................................... 5 3.1 UNA INVESTIGACIÓN CUALITATIVA DE MATERIALES VISUALES ............................ 5 3.2 TÉCNICAS E INSTRUMENTOS PARA LA OBTENCIÓN DE INFORMACIÓN ................ 6 3.3 TÉCNICAS DE ANÁLISIS DE DATOS .......................................................................... 7 4. DOCUMENTACIÓN BIBLIOGRÁFICA........................................................................... 8 4.1 INTRODUCCIÓN .....................................................................................................
    [Show full text]
  • Simone Koff Barbosa Simulacro Como Sedução
    SIMONE KOFF BARBOSA SIMULACRO COMO SEDUÇÃO NO CINEMA: Análise Fílmica em Antes do Amanhecer e Antes do Pôr-do-Sol Tese apresentada como requisito para obtenção do grau de Doutora, pelo Programa de Pós-graduação da Faculdade de Comunicação Social, Pontifícia Universidade Católica do Rio Grande do Sul. Orientadora: Prof. Dra. Cristiane Freitas Gutfreind Porto Alegre 2008 SIMONE KOFF BARBOSA SIMULACRO COMO SEDUÇÃO NO CINEMA: Análise Fílmica em Antes do Amanhecer e Antes do Pôr-do-Sol Tese apresentada como requisito para obtenção do grau de Doutora, pelo Programa de Pós-graduação da Faculdade de Comunicação Social, Pontifícia Universidade Católica do Rio Grande do Sul. Aprovada em 21 de outubro de 2008. BANCA EXAMINADORA ____________________________________________ Orientadora: Profa. Dra. Cristiane Freitas Gutfriend ____________________________________________ Prof. Dr. Juremir Machado da Silva – PUCRS ____________________________________________ Prof. Dr. Francisco Menezes Martins – FEEVALE ____________________________________________ Profa. Dra. Ana Claudia Grunzinsky – UFRGS ____________________________________________ Prof. Dr. João Luís de Araújo Maia – UERJ Porto Alegre 2008 3 Para meus pais Elisabeth e Sergio, Por serem pessoas extraordinárias, Por terem tentado me entender na minha incompreensão, Por terem me mostrado que o amor pode ser construído apesar das incongruências, dos medos e do paradoxo da vida. Agradecimentos À minha irmã Silvia pelo apoio e amizade de uma vida; Ao meu querido avô Willy, pela sabedoria e carinho, pessoa que deixou enorme saudade. Para minha familia que me apoiou em todos os momentos e na qual serei eternamente grata . À Prof. Dra. Cristiane Freitas, pela excelente orientação no período do Doutorado. À Prof. Genevieve Williams, da School of Visual Arts (SVA) que influenciou em toda a minha trajetória acadêmica, pela sensibilidade e criatividade na área do design gráfico.
    [Show full text]
  • Cassette Books, CMLS,P.O
    DOCUMENT RESUME ED 319 210 EC 230 900 TITLE Cassette ,looks. INSTITUTION Library of Congress, Washington, D.C. National Library Service for the Blind and Physically Handicapped. PUB DATE 8E) NOTE 422p. AVAILABLE FROMCassette Books, CMLS,P.O. Box 9150, M(tabourne, FL 32902-9150. PUB TYPE Reference Materials Directories/Catalogs (132) --- Reference Materials Bibliographies (131) EDRS PRICE MF01/PC17 Plus Postage. DESCRIPTORS Adults; *Audiotape Recordings; *Blindness; Books; *Physical Disabilities; Secondary Education; *Talking Books ABSTRACT This catalog lists cassette books produced by the National Library Service for the Blind and Physically Handicapped during 1989. Books are listed alphabetically within subject categories ander nonfiction and fiction headings. Nonfiction categories include: animals and wildlife, the arts, bestsellers, biography, blindness and physical handicaps, business andeconomics, career and job training, communication arts, consumerism, cooking and food, crime, diet and nutrition, education, government and politics, hobbies, humor, journalism and the media, literature, marriage and family, medicine and health, music, occult, philosophy, poetry, psychology, religion and inspiration, science and technology, social science, space, sports and recreation, stage and screen, traveland adventure, United States history, war, the West, women, and world history. Fiction categories includer adventure, bestsellers, classics, contemporary fiction, detective and mystery, espionage, family, fantasy, gothic, historical fiction,
    [Show full text]
  • Insects in the World of Fiction
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Dissertations and Student Research in Entomology Entomology, Department of 6-2013 Insectography: Insects in the World of Fiction Erin Bauer University of Nebraska-Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/entomologydiss Bauer, Erin, "Insectography: Insects in the World of Fiction" (2013). Dissertations and Student Research in Entomology. 24. https://digitalcommons.unl.edu/entomologydiss/24 This Article is brought to you for free and open access by the Entomology, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Dissertations and Student Research in Entomology by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Master’s Project Proposal Insectography: Insects in the World of Fiction By Erin Bauer My proposed Master’s Project is to develop a comprehensive list of fictional works (films/TV episodes, video games, children’s books, and novels) originally published or produced in the United States between 1950 and 2012 about or including insects, spiders, related arthropods (many times anthropomorphized or mutated) and/or entomologists as main characters and playing a major role in the plot. Although the list will encompass both entertaining and educational works, it will not include textbooks or other non-fictional works. It will also not include “fictionalized” accounts of real processes. For example, a book such as Hope for the Flowers, where the story is told from the perspective of the main character, a caterpillar discovering its true nature through metamorphosis, or a book where an insect character learns the importance of friendship, would be included in this list.
    [Show full text]
  • Writing & Journalism
    130 Writing & Journalism Enroll at uclaextension.edu or call (800) 825-9971 WRITING & New Creative Writing JOURNALISM Courses for Summer Creative Writer’s Bootcamp First Aid Clinic for Novel Drafts m Instructor: Instructor: Lesley Hyatt Lynn Hightower Page 131. Page 135. Translating Literature for Story Structure for Absolute Beginners Narrative Nonfiction Instructor: Instructor: Elisa Wouk Almino Seth Fischer Page 132. Page 137. Advanced Picture Book Writing and Illustration WRITER’S PROGRAM 138 POETRY Instructors: April Wayland and Vincent Kirsch CREATIVE WRITING 139 EDITING AND PUBLISHING Page 138. 130 Basics of Writing SCREENWRITING 131 Special Topics for All Writers 140 Special Topics for Film FICTION & Television Writers 132 Beginning Fiction Writing “ Read literature from around the FEATURE FILM world—it will enrich your perspective 134 Intermediate Fiction Writing 141 Beginning Feature and writing. If you have knowledge 135 Advanced Fiction Writing Film Writing of another language, translating is 142 Intermediate Feature also an excellent way to improve and CREATIVE NONFICTION expand your own writing skills (so Film Writing 135 Beginning Creative many authors have done this, from Nonfiction Writing 142 Advanced Feature Jorge Luis Borges to Lydia Davis).” Film Writing — Elisa Wouk Almino 137 Intermediate Creative Nonfiction Writing TELEVISION 137 Advanced Creative 142 Beginning Television Writing Nonfication Writing 144 Intermediate Television For advisement on courses or to learn about our certificates call (310) 825-9415 or WRITING FOR YOUNG READERS Writing email [email protected]. 145 138 Writing for Kids and Middle Advanced Television Writing The regular discipline of writing can feel elusive and Grade Readers Writers’ Program at times unattainable, but it can be done! In this course, students learn the fundamentals of creating a 138 Writing Picture Books lasting writing practice as well as concrete tools to Creative Writing employ as defenses against procrastination and writ- er’s block.
    [Show full text]
  • 23 Novembre 2005 1,25$ + T.P.S
    Une affaire de coeur avec nos lecteurs depuis 1976 ! À L’INTÉRIEUR Jean-Serge Bordeleau....HA2 Sur la scène poli- cière..............HA11 Champagne avec Gatineau.....HA23 Vol. 30 No 36 Hearst On ~ Le mercredi 23 novembre 2005 1,25$ + T.P.S. PenséePensée Pensée Tout amuse quand on y metP dee lan persévérance:sée l'homme qui apprendrait par coeur un dictionnairePens finiraitée par Py trouveren dus éplaisir.e PeFlaubertnsée Juste pour rire! Un fermier trouve deux policiers enterrés dans son Pompiers, policiers et ambu- champ. - Mais qu’est-ce lanciers ont été dépêchés à l’École secondaire catholique de Hearst que vous faites là? - Nous jeudi dernier à l’occasion d’une étions en train de pour- simulation d’une catastrophe. L’exercice a pour but de vérifier suivre un le fonctionnement des services voleur, mais il d’urgence de la communauté. L’explosion de la salle de classe de nous a semés ! soudure a fait trois victimes et Tiré du livre Nouvelle plusieurs blessés, rôles joués par Histoire drôles, publié aux les membres du cours de théâtre. Édition Héritage jeunesse. Photo Le Nord/CP Le Conseil des services sociaux revient sur sa décision MÉTÉO On retire les avis de mises à pied pour MERCREDI les ambulanciers Faible neige HEARST(AB) – Le personnel durée. les mises à pied ont été retirées, 30 à 19 h 30 le samedi et le Min -17; Max -5 PdP 80% ambulancier de l’Hôpital Notre- Toutefois, lundi matin, on promet toutefois de continuer dimanche. De 19 h 30 à 7 h 30, JEUDI Dame de Hearst s’est vu accordé l’Hôpital Notre-Dame retirait les à lutter dans ce dossier puisque les deux ambulanciers travaille- une forme de sursis la semaine avis de mises à pied prévues pour selon la nouvelle entente propo- ront sur appel.
    [Show full text]
  • Columbia Pictures: Portrait of a Studio
    University of Kentucky UKnowledge Film and Media Studies Arts and Humanities 1992 Columbia Pictures: Portrait of a Studio Bernard F. Dick Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Dick, Bernard F., "Columbia Pictures: Portrait of a Studio" (1992). Film and Media Studies. 8. https://uknowledge.uky.edu/upk_film_and_media_studies/8 COLUMBIA PICTURES This page intentionally left blank COLUMBIA PICTURES Portrait of a Studio BERNARD F. DICK Editor THE UNIVERSITY PRESS OF KENTUCKY Copyright © 1992 by The University Press of Kentucky Paperback edition 2010 Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com Cataloging-in-Publication Data for the hardcover edition is available from the Library of Congress ISBN 978-0-8131-3019-4 (pbk: alk. paper) This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials.
    [Show full text]
  • Before Midnight
    BEFORE MIDNIGHT EEN FILM VAN RICHARD LINKLATER WILD BUNCH WILLEMSSTRAAT 24 B - 1015 JD – AMSTERDAM WWW.WILDBUNCH.NL [email protected] WILDBUNCHblx BEFORE MIDNIGHT – RICHARD LINKLATER PROJECT SUMMARY EEN PRODUCTIE VAN DETOUR FILMPRODUCTION IN SAMENWERKING MET FALIRO HOUSE PRODUCTIONS, VENTURE FORTH, CASTLE ROCK ENTERTAINMENT TAAL ENGELS LENGTE 108 MINUTEN GENRE DRAMA LAND VAN HERKOMST USA FILMMAKER RICHARD LINKLATER HOOFDROLLEN ETHAN HAWKE, JULIE DELPY DVD RELEASEDATUM 3 DECEMBER 2013 FESTIVALS SUNDANCE FILMFESTIVAL – OFFICIËLE SELECTIE BERLIN FILMFESTIVAL – OUT OF COMPETITION TRIBECA FILMFESTIVAL - – OFFICIËLE SELECTIE KIJKWIJZER SYNOPSIS Negen jaar na de laatste rendez-vous en bijna twee decennia sinds hun eerste ontmoeting, treffen we Celine en Jesse dit keer in Griekenland. Inmiddels getrouwd en ouders van twee dochters. De zonovergoten vakantie zit er bijna op en beiden staan niet te popelen om terug te keren naar het werkende leven en de dagelijkse beslommeringen in Parijs. Tijdens de laatste nacht op het eiland komen Celine en Jesse’s angsten en frustraties boven tafel en staan ze voor de keuze: bij elkaar blijven of een punt achter de relatie zetten. BEFORE MIDNIGHT van regisseur Richard Linklater is het vervolg op de indiehits BEFORE SUNRISE (1995) en BEFORE SUNSET (2004), wederom met hoofdrollen voor Ethan Hawke en Julie Delpy. CAST JESSE ETHAN HAWKE CELINE JULIE DELPY HANK SEAMUS DAVEY-FITZPATRICK ELLA JENNIFER PRIOR NINA CHARLOTTE PRIOR NATALIA XENIA KALOGEROPOULOU PATRICK WALTER LASSALLY ANNA ARIANE LABED ACHILLEAS YANNIS
    [Show full text]
  • Women of SCA 20
    FALL 2011 IN MOTION AlumnaeWom Speak on Careers,En of SCA the Industry and the SCA Experience A Day in the Life of Dr. Casper EntEr thE World of SCA’S IConIC ProfESSor The Hollywood Reporter Archive thE SCholArS of SCA BrIng thE PASt to lIfE WIth thE hElP of thr Anatomy of a Game SCA’S groundBrEAkIng trAnSmEdIA ExPErImEnt goES lIvE UNIVERSITY OF SOUTHERN CALIFORNIA FALL 2011 dEPArtmEntS StorIES MESSAGE FROM THE DEAN 3 WomEn of SCA 20 YEAR IN REVIEW 4 BUILDING THE FUTURE PHASE III 16 WHY I GIVE 18 ALUMNI AND FACULTY QUICKTAKES 26 TV AND FILM IN RELEASE 28 IN MEMORIAM 30 THE HOLLYWOOD AnAtomy of A A dAy In thE lIfE rEPortEr gAmE 10 OF DR. DREW PhotogrAPhy CASPEr 13 ArChIvE 8 Dean Elizabeth M. Daley BOARD OF COUNCILORS ALUMNI DEVELOPMENT COUNCIL Senior Associate Dean, Frank Price (Chair, Board of Councilors) John August ’94 Neal Moritz ’85 External Relations Marlene Loadvine Susan Downey ’95 Robert Osher ’81 Frank Biondi, Jr. Barry Meyer Bob Ducsay ’86 Santiago Pozo ’86 Associate Dean of Barry Diller Sidney Poitier Robert Greenblatt ’87 Shonda Rhimes ’94 Communications & PR Kristin Borella Lee Gabler John Riccitiello Tom Hoberman Jay Roach ’86 David Geffen Barney Rosenzweig Ramses Ishak ’92 Bruce Rosenblum ’79 Contributors Mel Cowan Brian T. Grazer Scott Sassa James Ishii ’76 Gary Rydstrom ’81 Ryan Gilmour Brad Grey Steven Spielberg Leslie Iwerks ’93 Josh Schwartz Cristy Lytal Jeffrey Katzenberg John Wells Polly Cohen Johnsen ’95 Peter Segal ’84 Hugh Hart Alan Levine Jim Wiatt Aaron Kaplan ’90 Stacey Sher ’85 Justin Wilson George Lucas Paul Junger Witt Michael Lehmann ’85 Jason Shuman ’96 Don Mattrick David L.
    [Show full text]
  • The Invisible Journalist: Understanding the Role of the Documentary Filmmaker As Portrayed in the Office
    The Invisible Journalist: Understanding the Role of the Documentary Filmmaker as Portrayed in The Office Massiel Bobadilla JOUR575 –Joe Saltzman Image of the Journalist in Popular Culture May 5, 2011 Bobadilla 2 ABSTRACT: This study aims to shed light on the enigmatic ‘mockumentary’ filmmaker of The Office by using specific examples from the show’s first six seasons to understand how the filmmaker is impacted by and impacts concepts of journalism and the invasion of privacy. Similarly, the filmmaker in the American version of The Office will not only be compared and contrasted to the role of the filmmaker in the British version, but also will be compared to the anthropologic ethnographer an “outsider” attempting to capture life as faithfully as possible in a community to which he/she does not belong. The American interpretation of The Office branched out of Ricky Gervais’s British original of the same name with the pilot episode hitting the airwaves on NBC on March 24, 2005,1 to largely mixed reviews from critics, but a strong showing among viewers.2 The show’s basic premise is that of a faux documentary providing an inside look at the day-to-day life of the employees of a mid-level paper company. The primary focus centers on the socially inept branch manager, his even more inept right-hand-man, and the budding romance of the young and earnest paper salesman and the mild-mannered receptionist who happens to be inconveniently engaged to one of the branch’s warehouse workers. What was the Slough branch of Wernham Hogg in the U.K.
    [Show full text]