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EQ Magazine } Winter 2014
2 EQUITY QUARTERLY 0 1 DUES REFERENDUM 4 EQ Child’s Play Please detach this special supplement from your copy of EQ for easier reading. Please detach this special supplement for easier reading. DUES 2 0 1 REFERENDUM 4 Why the “torn” cover? After 14 years without an increase in dues, current rates are no longer sufficient to cover everything you want us to do for you. In order to respond to this financial shortfall, Council will be conducting a member referendum on an increase in both working and basic dues this coming February. Some history on Equity’s dues Dues were last adjusted in 1999, when basic $170 dues went from $50 per year to $135 per Basic Dues Compared with Costs Over Time year. Equity has successfully operated on a 160 breakeven basis since then. Until recently, that is. Nothing catastrophic Costs 150 occurred; it’s just that inflation eventually Dues caught up with us. Paying for 2013 expenses with a 1999 dues rate is no longer possible, 140 and we have experienced growing deficits for the past two years. 130 The dues proposal Council proposes to increase basic dues to 120 $180, coupled with an increase in working 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 dues to 2.25%. These rates will then hold steady for at least six years. Where does the money go? We went with a combined basic and working dues format based on All the operational costs of Equity are paid for by its members. Dues member feedback, which suggested that a modest increase to basic cover several rounds of negotiation and ratification each year, review dues, coupled with a small increase to working dues, would be an and data entry of all engagement contracts, advocacy, administration appropriately balanced approach. -
The NAC. Wherever You Are. Contents
National Arts Centre Annual Report 2010–2011 The NAC. Wherever you are. Contents 14 Message from Julia E. Foster, Board Chair 37 Artistic and creative leadership 16 Message from Peter A. Herrndorf, President and CEO 37 Senior management 18 Report on strategic goals 38 Management Discussion and Analysis 24 Official languages at the NAC 43 Financial statements 25 Year in review 49 Notes to the financial statements 35 The Prairie Scene 63 National Arts Centre Foundation 36 Board of Trustees 70 Donor contributions 2010–2011 photopicturegarden/Taxi/Getty Images Role The National Arts Centre (NAC) raised its curtains for the first time in 1969. Created by the Parliament of Canada as a Centennial project during the 1960s, the NAC has become Canada’s foremost showcase for the performing arts. Today the NAC works with thousands of artists from across Canada and around the world and collaborates with dozens of arts organizations across the country. The NAC is strongly committed to being a leader and innovator in each of the performing arts fields in which it works: classical music, English theatre, French theatre, dance, and variety and community programming. It is also at the forefront of youth and education activities, supporting programs for young and emerging artists, presenting programs for young audiences and producing resources and study materials for teachers and students. The NAC is the only multidisciplinary, bilingual performing arts centre in North America and one of the largest in the world. Accountability and Funding The NAC reports to Parliament through the Minister of Canadian Heritage and Official Languages. Of the NAC’s total revenue, approximately half is derived from an annual parliamentary appropriation, while the other half comes from earned revenue— box office sales, the NAC Foundation, NAC catering, le café (restaurant), commercial parking and facility rentals. -
Christopher Plummer
Christopher Plummer "An actor should be a mystery," Christopher Plummer Introduction ........................................................................................ 3 Biography ................................................................................................................................. 4 Christopher Plummer and Elaine Taylor ............................................................................. 18 Christopher Plummer quotes ............................................................................................... 20 Filmography ........................................................................................................................... 32 Theatre .................................................................................................................................... 72 Christopher Plummer playing Shakespeare ....................................................................... 84 Awards and Honors ............................................................................................................... 95 Christopher Plummer Introduction Christopher Plummer, CC (born December 13, 1929) is a Canadian theatre, film and television actor and writer of his memoir In "Spite of Myself" (2008) In a career that spans over five decades and includes substantial roles in film, television, and theatre, Plummer is perhaps best known for the role of Captain Georg von Trapp in The Sound of Music. His most recent film roles include the Disney–Pixar 2009 film Up as Charles Muntz, -
Manifest Destiny
AL5298Po 5/29/07 2:04 PM Page 1 AN HBO FILMS MOVIE EVENT AIDAN ADAM AUGUST ANNA QUINN BEACH SCHELLENBERG PAQUIN WE WILL BE KNOWN FOREVER BY THE TRACKS WE LEAVE BEHIND. BASED ON THE ACCLAIMED BESTSELLER ® PRESENTS A WOLF FILMS/TRAVELER’S REST FILMS PRODUCTION ‘‘BURY MY HEART AT WOUNDED KNEE’’ AIDAN QUINN ADAM BEACH AUGUST SCHELLENBERG ERIC SCHWEIG J.K. SIMMONS WES STUDI COLM FEORE GORDON TOOTOOSIS AND ANNA PAQUIN CASTING BY RENE HAYNES,CSA MUSIC SUPERVISOR EVYEN J KLEAN MUSIC BY GEORGE S. CLINTON PRODUCTION DESIGNER IAN THOMAS EDITORS MICHAEL ORNSTEIN, A.C.E., MICHAEL BROWN, A.C.E. DIRECTOR OF PHOTOGRAPHY DAVID FRANCO PRODUCED BY CLARA GEORGE EXECUTIVE PRODUCERS TOM THAYER DICK WOLF BASED ON THE BOOK BY DEE ALEXANDER BROWN SCREENPLAY BY DANIEL GIAT DIRECTED BY YVES SIMONEAU ©2007 Home Box Office, Inc. All rights reserved. HBO® is a service mark of Home Box Office, Inc. AL5692tx:AL5692tx 8/24/07 3:21 PM Page 1 T EACHER’ S G UIDE ANOTHER FREE EDUCATIONAL PROGRAM FROM YOUNG MINDS INSPIRED Bury My Heart at Wounded Knee / HBO WHO SHOULD ACTIVITY 1 ESOURCES USE THIS PROGRAM MANIFEST DESTINY – THEN & NOW R This program has been designed Photocopy this list of resources to help students CURRICULUM CONNECTION: This activity examines the role of manifest destiny in for high school and college U.S. with their research. History classes. Please share it the 19th-century displacement of American Indians and in subsequent U.S. domestic and Dear Educator: with other teachers as foreign policy. BOOKS appropriate. Review the material on the activity sheet detailing the role of manifest destiny – the ✜ Bury My Heart at Wounded Knee: An Indian History of The heartrending story of the U.S. -
Native Showcase 2004 Program
Native Cinema Showcase August 18 - 24, 2004 1050 Old Pecos Trail • Santa Fe, New Mexico • 505 982 1338 ON THE CORNER (2003, 90 min.) Canada. Director: Nathaniel Geary. Actors: THE NATIVE CINEMA SHOWCASE Alex Rice (Mohawk) and Simon Baker (Cree). is an international film and video festival held during Indian Named the best Canadian film by the critics at the 2003 Toronto Market to celebrate the creativity of Native cinema today. International Film Festival, On the Corner is a raw, true-to-life This yearʼs showcase features Native stories and peoples from view of Native people living on the mean streets of Vancouverʼs Australia, Brazil, Canada, Mexico, New Zealand, the Siberian Downtown Eastside. Angel, supporting her heroin addiction by Arctic, and the United States. Produced by the Smithsonian working as a prostitute, tries to turn her life around when she sees National Museum of the American Indian and the Center for Black Cloud her teenage brother sinking into the same black hole thatʼs consum- Contemporary Arts of Santa Fe, the showcase exhibits preemi- ing her. Compelling performances bring to life the ravages of this nent contemporary Native cinema to the northern New Mexico unforgiving world, as well as the humanity and courage of those community and national and international visitors who come to who are caught in it. Santa Fe for Indian Market. A THIEF OF TIME (2003, 94 min.) U.S. Director: Chris Eyre (Cheyenne/Arapaho). THE COMPLETE PROGRAM Executive Producers: Robert Redford and Rebecca Eaton. Producer: Craig McNeil BLACK CLOUD (2004, 97 min.,) U.S. Director and writer: Rick Schroder. -
Paperny Films Fonds
Paperny Films fonds Compiled by Melanie Hardbattle and Christopher Hives (2007) Revised by Emma Wendel (2009) Last revised May 2011 University of British Columbia Archives Table of Contents Fonds Description o Title / Dates of Creation / Physical Description o Administrative History o Scope and Content o Notes Series Descriptions o Paperny Film Inc. series o David Paperny series o A Canadian in Korea: A Memoir series o A Flag for Canada series o B.C. Times series o Call Me Average series o Celluloid Dreams series o Chasing the Cure series o Crash Test Mommy (Season I) series o Every Body series o Fallen Hero: The Tommy Prince Story series o Forced March to Freedom series o Indie Truth series o Mordecai: The Life and Times of Mordecai Richler series o Murder in Normandy series o On the Edge: The Life and Times of Nancy Greene series o On Wings and Dreams series o Prairie Fire: The Winnipeg General Strike of 1919 series o Singles series o Spring series o Star Spangled Canadians series o The Boys of Buchenwald series o The Dealmaker: The Life and Times of Jimmy Pattison series o The Life and Times of Henry Morgentaler series o Titans series o To Love, Honour and Obey series o To Russia with Fries series o Transplant Tourism series o Victory 1945 series o Brewery Creek series o Burn Baby Burn series o Crash Test Mommy, Season II-III series o Glutton for Punishment, Season I series o Kink, Season I-V series o Life and Times: The Making of Ivan Reitman series o My Fabulous Gay Wedding (First Comes Love), Season I series o New Classics, Season II-V series o Prisoner 88 series o Road Hockey Rumble, Season I series o The Blonde Mystique series o The Broadcast Tapes of Dr. -
National Theatre School of Canada Notes to Financial Statements July 31, 2017
2016 2017 58 th Annual Report theatretraining.ca 2 Annual Report 2016-2017 Coordination: Stéphanie Brody — Translation: Analogos — Copy Editing: Heather Macdougall — Photos: Maxime Côté (exception Christine Bourgier, p. 6) — Graphic Integration: Norman Terrault TABLE OF CONTENTS 3 12 Mission and Vision Statements A National School with a Global Reach 4 14 Board of Directors and Governors Update from the Development and Alumni Office 6 Message from the Chair 15 List of Donors, Sponsors, Public Partners 8 and Special Funds Message from the CEO 25 10 Messages from Ministries NTS in Numbers 28 11 Financial Statements History National Theatre School of Canada 5030 Saint-Denis Street, Montréal, Quebec, H2J 2L8 514 842-7954 or 1 866 547-7328 (Canada & USA) [email protected] — theatretraining.ca Theatre brings people together and allows them to imagine, think, and feel collectively. / Theatre is an act of community building, a catalyst for empathy, creativity, debate, and well-being that allows us to better engage with the complexities of our times. The Mission of The National Theatre School of Canada / The National Theatre School of Canada (NTS) offers incomparable training to theatre artists of all kinds to create work that matters. A National School with Global Reach / The National Theatre School of Canada is a school for the arts. It is the premier professional theatre training institution in the country. The School offers training in all theatre arts: Production Design & Technical Arts, Set and Costume Design, Acting, Playwriting and Directing. The School is one of the cornerstones of the performing arts sector and has graduated some 2000 artists who have made incalculable contributions to our collective identity. -
PRODUCTION GUIDE by Del Mehes and Michael Dorland
LINE Mfl"g PRODUCTION GUIDE by Del Mehes and Michael Dorland Bonnie Sherr Klein/Trene Lilienheim Eagle sec Jennifer Scott p. assf s. Ethan INTERNATIONAL CINEMA Angelico/Abbey Neidik dist NFB re Rill, Bill Bannerman, David Maltese, he following Is a list of films in production (actually before lease date Summer 1984. Gabe Fallus accountant Norma Rose the cameras) and in negotiation in Canada. Needless to say, CORPORATION d.o.p. Barry Bergthorson focus puller; T MARIO Edie Craddock tech. p. John Grimsditch the films which are still in the project stage are subject to (514) 284-9354 video tape operator Norbert Von Der- changes. A third category, In Pre-production, will be used to SEN VA-T-EN GUERRE LE CRIME heidt loc. sd. mix. Thomas Hidderley indicate films which are in active pre-production, having set a From the novel "La sablifere" by Claude boom Michael O'Connor art d. Carol D'OVIDE PLOUFFE Jasmin, this feature film about a boy's date tor the beginning of principal photography and being Spier asst art d. Dan Davis const Feature film and television mini-series imaginary world began shooting July 18 man. Bill Harman art dept trainee engaged in casting and crewing). Films are listed by the name of based on the novel by Roger Lemelin in the Ues-de-la-Madeleine, until end- Louise Doyle set dec. Elinor Rose Gal- the company which initiated the project, or with which the shooting mid-July to mid-October August, and in Montreal until mid- braith asst set dec Christine MacLean project is popularly associated. -
Michael Greyeyes Forum
Forum Michael Greyeyes He Who Dreams: Reflections on an Indigenous Life in Film1 This performative text was delivered by Michael Greyeyes as a keynote address at “Indigenous Film and Media in an International Context,” a conference hosted by Wilfred Laurier University in association with York University in May 2007. The text examines a life in cinema through a post-colonial lens. Michael Greyeyes, an established screen actor and educator, explores the means by which native culture is constructed through media images and how indigenous performers resist, subvert and re-write these constructions as part of their collective mandate to reclaim their own images and portrayals on screen. Ce texte performatif a été livré par le conférencier Michael Greyeyes à Waterloo en mai 2007 lors d’un colloque sur le cinéma et les médias indigènes dans un contexte international organisé conjointement par l’Université Wilfrid Laurier et l’Université York. Greyeyes présente une vie au cinéma telle que vue à travers une lentille postcoloniale. Comédien de cinéma accompli et pédagogue, l’auteur explore les moyens par lesquels la culture autochtone est construite dans les images média et ceux par lesquels un performer indigène peut résis- ter à cette construction, la subvertir et la réécrire. Tel serait en partie son mandat collectif: réclamer les images et les représentations de l'Autochtone au grand écran. he performer stood in front of a blank white screen upon Twhich projections appeared. Throughout the address, the performer read aloud from several scripts, which included dialogue, stage directions, shot descriptions, etc. Stage directions for the keynote performance itself, which were not read aloud and which indicate the style of presentation, are here (italicized and placed in parentheses). -
Government Issue What Will Prime Minister Stephen Harper’S Arts and Culture Legacy Be?
EQUITY QUARTERLY FALL 2009 TIME FOR A CULTURAL POLICY REVIEW ADRIENNE CLARKSON ON THE ARTS EQ CAN A UNION CHANGE A COUNTRY? The Government Issue What will Prime Minister Stephen Harper’s arts and culture legacy be? 1932 – Prime Minister R.B. Bennett initiates the creation of the CBC 1951 – Louis St. Laurent asks Vincent Massey to chair the Royal Commission on culture, which recommends the creation of the Canada Council for the Arts, established in 1957 1983 – The Federal Cultural Policy Review Committee, appointed by the Trudeau government, issues the Applebaum-Hébert Report on cultural policy 2000 – The government of Jean Chrétien creates the Tomorrow Starts Today arts funding initiative 2008 – Harper government cuts the Trade Routes and PromArt touring programs President’s message After writing the end-of-term summary for the last EQ, and then the full online report, I’m not certain what I have left to say. People who know me well will want to mark this occasion down in their diary or note it in their blog. Perhaps some kind of celebration is in order.... We are fast approaching the end of the Council term, and by the time you read this we will be in the middle of elections for the next. It has been an honour serving both Council and the membership as President for the past three years. It was a lot of work, but enormously fulfilling. That said, I need to remind everyone that the President is not at the top of the governance structure; that position belongs to Council itself. -
The Sitting Bull
University of Texas at El Paso DigitalCommons@UTEP Open Access Theses & Dissertations 2018-01-01 The ittS ing Bull Joseph Crisafulli University of Texas at El Paso, [email protected] Follow this and additional works at: https://digitalcommons.utep.edu/open_etd Part of the Creative Writing Commons Recommended Citation Crisafulli, Joseph, "The ittS ing Bull" (2018). Open Access Theses & Dissertations. 1416. https://digitalcommons.utep.edu/open_etd/1416 This is brought to you for free and open access by DigitalCommons@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of DigitalCommons@UTEP. For more information, please contact [email protected]. THE SITTING BULL JOSEPH ANTHONY CRISAFULLI, IV Master’s Program in Creative Writing APPROVED: Lex Williford, MFA, Chair Tim Z. Hernández, MFA Jeffrey Shepherd, Ph.D. Charles Ambler, Ph.D. Dean of the Graduate School Copyright © by Joseph Anthony Crisafulli, IV 2018 Dedication This project is dedicated to our Native American brothers and sisters. We have not forgotten your stories. THE SITTING BULL by JOSEPH ANTHONY CRISAFULLI, IV, M.A. THESIS Presented to the Faculty of the Graduate School of The University of Texas at El Paso in Partial Fulfillment of the Requirements for the Degree of MASTER OF FINE ARTS Department of Creative Writing THE UNIVERSITY OF TEXAS AT EL PASO May 2018 Acknowledgements “The path of the One is made by the many.” So it goes as much in life as it does in writing. This project has been in some form of development for nearly a decade; during that time, it passed through many hands and passed before many eyes, so forgive me for dropping a quote from The Matrix, but there’s nothing more apt for this story. -
The Ecstasy of Rita Joe Study Guide – Page 1
The Ecstasy of Rita Joe by George Ryga a Western Canada Theatre Company (Kamloops) / NAC English Theatre Company coproduction Study Guide THE NATIONAL ARTS CENTRE ENGLISH THEATRE PROGRAMMES FOR STUDENT AUDIENCES 2008-2009 SEASON Peter Hinton Artistic Director, English Theatre Theatre5 Media Partner Production Partner Touring Partners This Study Guide was written and researched by Deborah James for the National Arts Centre, English Theatre, February 2009. It may solely be used for educational purposes. The National Arts Centre English Theatre values the feedback of teachers on the content and format of its Study Guides. We would appreciate your comments on past Study Guides, on this current one, or suggestions on ways to improve future Study Guides. Comments may be directed to Martina Kuska, either by email at [email protected] or fax at (613) 943 1401. About This Study Guide This Study Guide is formatted in easy-to-copy single pages, which may be used separately or in any combination that works for your classes. The photo and drawings provided on pages 18- 0 are intended for classroom display but may also be photocopied for distribution to students. Table of Contents page(s) Preface............................................................................................................................. 1 Production Credits.............................................................................................................. 2 Overview of The Ecstasy of Rita Joe ...............................................................................3