Karyn Alexander

Total Page:16

File Type:pdf, Size:1020Kb

Karyn Alexander KARYN ALEXANDER Hair Dept. Head & Personal IATSE local #798 Karyn Alexander grew up in studio back lots and make-up trailers where her mother, two-time Academy Award nominee Judith Alexander Cory worked. Karyn followed in her footsteps and attended the Vidal Sassoon Academy in Santa Monica, California. After graduating with a comprehensive knowledge of the arts of cutting and coloring, she began her career in films such as Jurassic Park II, The Matrix II & III, American History X and Patch Adams. Now with more than 21 years of industry experience, Karyn has worked with some of Hollywood’s elite directors including Steven Spielberg, Joel and Ethan Coen, Steven Soderbergh, Oliver Stone and Ron Howard. As Personal Hairstylist to Catherine Zeta Jones for eight years, Karyn helped shape her characters in Chicago, The Legend of Zorro, Ocean’s 12 and more. Karyn is Atlanta based. Feature Films (selected credits) as Department Head or Personal: Production Cast Director/ Producer /Production Company HOCUS POCUS 2 Anne Fletcher / Adam Shankman / Disney MOONSHOT (Cole Sprouse, Lana Condor) Christopher Winterbauer / Greg Berlanti / New Line MAP OF TINY PERFECT THINGS (Kathryn Newton) Ian Samuels / Akiva Goldsman / Amazon FREAKY (Vince Vaughn, Kathryn Newton) Christopher Landon / Jason Blum / Universal CHARMING THE HEARTS OF MEN (Kelsey Grammer, Dept Head, period) Susan DeRose / Richard Lewis / Liberty House DUMPLIN (Dept. Head) Anne Fletcher / Michael Costigan / Netflix FIELD OF LOST SHOES (Jason Isaacs - Civil War drama) Sean McNamara /Brookwell-McNamara BONNEVILLE (Jessica Lange, Kathy Bates, Joan Allen) Chris Rowley / Robert May / SenArt Films THE INFORMERS (Billy Bob Thornton & ensemble) Gregor Jordan / Marco Weber / Senator Ent. FINDING AMANDA (Matthew Broderick, Brittany Snow) Peter Tolan / Rich Heller / Capacity Pictures HOUSEBROKEN (Danny DeVito, Brie Larson, Katey Segal) Sam Harper / Rich Heller / Capacity Pictures NO RESERVATIONS (Personal for Catherine Zeta Jones) Scott Hicks / Sergia Aguero / Castle Rock / WB LEGEND OF ZORRO (Personal for Catherine Zeta Jones) Martin Campbell / Walter Parkes / Columbia OCEAN’S TWELVE (Personal for Catherine Zeta Jones) Steven Soderbergh / J. Weintraub /Warner Bros. THE TERMINAL (Personal for Catherine Zeta Jones) Steven Spielberg / Walter Parkes / Dreamworks INTOLERABLE CRUELTY (Personal for Catherine Zeta Jones) Joel & Ethan Coen / Brian Grazer / Universal CHICAGO (Personal for Catherine Zeta Jones) Rob Marshall / Martin Richards /Miramax Films AMERICA’S SWEETHEARTS (Personal for Catherine Zeta Jones) Joe Roth / Susan Arnold / Revolution Studios Television as Department Head or Personal; MS. MARVEL (Dept. Head, Season 1) Various / Kevin Feige / Marvel Studios / Disney+ AMAZING STORIES (Dept. Head, Season 1) Various / Justin Falvey, Darryl Frank / Apple HEART OF LIFE (2019 drama pilot) Anne Fletcher / Jake Kasdan / 20th Fox TV / ABC BROCKMIRE (Dept. Head Seasons 3 & 4, Hank Azaria) Various / Mike Farah, Tim Kirkby / IFC GOOD GIRLS (Dept Head, Season One) Various / Dean Parisot / Universal TV / NBC LORE (Dept. Head,Season One) Various / Gale Anne Hurd / Amazon UNDER THE DOME (Dept Head, 3rd season) Various / Jack Bender / Amblin TV / CBS SOUTH OF HELL (Dept. Head, full series) Various / Eli Roth, Jason Blum / WE TV SALVATION (Personal for Ashley Judd) Jeffrey Reiner / NBC Universal TV / NBC AGENT X (Personal for Sharon Stone) Peter O’Fallon / Beacon Comm. / TNT IRON JAWED ANGELS (Personal for Hilary Swank) Katja Von Garnier/ Paula Weinstein / HBO Films MY SISTER’S KEEPER (Personal for Kathy Bates) Ron Lagomarsino / Hallmark Channel GHOST WHISPERER (Personal for Camryn Manheim, 6 eps) Various / Sander Moses Prods. / CBS ARMY WIVES (Key hair, Season 6) Various / Mark Gordon / Lifetime As Key Hair: WISH YOU WELL (Ellen Burstyn, Josh Lucas) Darnell Martin / David Baldacci / Baldacci Ent. THE MATRIX II & III (U.S. crew) Andy & Larry Wachowski / Warner Bros. W. (Elizabeth Banks, Richard Dreyfus, James Cromwell) Oliver Stone / Bill Block / Lionsgate Films FROST/ NIXON (Rebecca Hall, Oliver Platt) Ron Howard / Tim Bevan / Imagine / Universal AMERICAN HISTORY X (Beverly D’Angelo, Ed Furlong) Tony Kaye / John Morrissey / New Line Cinema EVOLUTION (Sean William Scott, Dan Aykroyd, Ty Burrell) Ivan Reitman / Daniel Goldberg / Columbia THE HAUNTING (Owen Wilson, Catherine Zeta Jones) Jan De Bont / Susan Arnold / Dreamworks SKG THE LAST SHOT (Mathew Broderick, Toni Collette) Jeff Nathanson / David Hoberman / MBST Ent. SMALL SOLDIERS (Kirsten Dunst, Jay Mohr) Joe Dante / Colin Wilson / Universal Pictures Kirk Orlando Orlando Agency [email protected] 818.781.9233 www.orlando-agency.com .
Recommended publications
  • Mia Michaels Concerts/Tours/Events
    Mia Michaels Concerts/Tours/Events: Celine Dion "A New Day" / Choreographer Caesars' Palace / Las Vegas Caesars' Palace Las Vegas / 2002-2007 Celine Dion "Taking Chances" Choreographer World Tour / 2005 Cirque De Soleil "Delirium" Choreographer So You Think You Can Dance Contributing Choreographer Tour Madonna "Drowned" World Contributing Choreographer Tour / 2001 Anna Vissi Greek Superstar Director / Choreographer Live Shows in Athens / 2004- 2008 Prince Promotional Tour / Choreographer 2001 Eurovision Angelica / 2005 Director / Choreographer Mia Michaels Raw New York Founder, Director and City Choreographer Les Ballet Jazz De Montreal / Commissioned Original Work Commissioned Original Work Giordano Jazz Dance Chicago Commissioned Original Work / Commissioned Original Work Oslo Dance International / Commissioned Original Work Commissioned Original Work Joffrey Ballet 2 New York City Guest Choreographer International Dance Festival Guest Choreographer Amsterdam Kirov Academy Washington Guest Choreographer DC Jazz Theater of Amsterdam / Commissioned Original Work Commissioned Original Work Miami Movement Dance Founder, Director, and Company Choreographer Harvard Keynote Speaker Harvard in Arts Reflection Program (HARP) Teaching: Joffrey Ballet School Artistic Director| Jazz & Contemporary Theatre: NY Spectacular / Radio City Choreographer Music Hall starring The Rockettes Finding Neverland Choreographer Lunt-Fontaine Theater / 2015 Hello Dolly! w/ Tovah Choreographer Papermill Playhouse / 2005 Feldshuh West Side Story Choreographer Arkansas
    [Show full text]
  • International Casting Directors Network Index
    International Casting Directors Network Index 01 Welcome 02 About the ICDN 04 Index of Profiles 06 Profiles of Casting Directors 76 About European Film Promotion 78 Imprint 79 ICDN Membership Application form Gut instinct and hours of research “A great film can feel a lot like a fantastic dinner party. Actors mingle and clash in the best possible lighting, and conversation is fraught with wit and emotion. The director usually gets the bulk of the credit. But before he or she can play the consummate host, someone must carefully select the right guests, send out the invites, and keep track of the RSVPs”. ‘OSCARS: The Role Of Casting Director’ by Monica Corcoran Harel, The Deadline Team, December 6, 2012 Playing one of the key roles in creating that successful “dinner” is the Casting Director, but someone who is often over-looked in the recognition department. Everyone sees the actor at work, but very few people see the hours of research, the intrinsic skills, the gut instinct that the Casting Director puts into finding just the right person for just the right role. It’s a mix of routine and inspiration which brings the characters we come to love, and sometimes to hate, to the big screen. The Casting Director’s delicate work as liaison between director, actors, their agent/manager and the studio/network figures prominently in decisions which can make or break a project. It’s a job that can't garner an Oscar, but its mighty importance is always felt behind the scenes. In July 2013, the Academy of Motion Pictures of Arts and Sciences (AMPAS) created a new branch for Casting Directors, and we are thrilled that a number of members of the International Casting Directors Network are amongst the first Casting Directors invited into the Academy.
    [Show full text]
  • Motion Picture
    Moving Images Prepared by Bobby Bothmann RDA Moving Images by Robert L. Bothmann is licensed under a Creative Commons Attribution- NonCommercial-ShareAlike 3.0 Unported License. Created 2 February 2013 Modified 11 November 2014 https://link.mnsu.edu/rda-video Scope Step-through view of the movie Hairspray from 2007 Generally in RDA rule order Uses MARC 21 examples Describing Manifestations & Items Follows RDA Chapters 2, 3, 4 Describing Works and Expressions Follows RDA Chapters 6, 7 Recording Attributes of Person & Corporate Body Uses RDA Chapters 9, 11, 18 Covers relator terms only Recording Relationships Follows RDA Chapters 24, 25, 26 2 Resources Olson, Nancy B., Robert L. Bothmann, and Jessica J. Schomberg. Cataloging of Audiovisual Materials and Other Special Materials: A Manual Based on AACR2 and MARC 21. Westport, Conn: Libraries Unlimited, 2008. [Short citation: CAVM] Online Audiovisual Catalogers, Inc. Cataloging Policy Committee. Streaming Media Best Practices Task Force. Best Practices for Cataloging Streaming Media. No place : OLAC CAPC, 2009. http://olacinc.org/drupal/capc_files/streamingmedia.pdf Online Audiovisual Catalogers, Inc. Cataloging Policy Committee. DVD Cataloging Guide Update Task Force. Guide to Cataloging DVD and Blu-ray Discs Using AACR2r and MARC 21. 2008 Update. No place: OLAC CAPC, 2008. http://olacinc.org/drupal/capc_files/DVD_guide_final.pdf Pan-Canadian Working Group on Cataloguing with RDA. “Workflow: Video recording (DVD) RDA.” In RDA Toolkit | Tools| Workflows |Global Workflows. 3 Preferred Source 4 5 Title Proper 2.3.2.1 RDA CORE the chief name of a resource (i.e., the title normally used when citing the resource). 245 10 $a Hairspray Capitalization is institutional and cataloger’s choice Describing Manifestations 6 Note on the Title Proper 2.17.2.3 RDA Make a note on the source from which the title proper is taken if it is a source other than: a) the title page, ..
    [Show full text]
  • Writing Dialogue & Advice from the Pros
    Writing Dialogue & Advice from the Pros Writing great dialogue is considered an art form. Listening to real-life conversations, watching award- winning films, and learning from the masters will help you craft dialogue that shines on the page. The following writing thoughts and advice are excerpts from Karl Iglesias’ book, The 101 Habits of Highly Successful Screenwriters. Enjoy! ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Writing Unrealistic and Boring Dialogue In real life, dialogue is mostly polite conversation. In film, polite conversation is considered bad dialogue, unless it’s witty, sarcastic, or has a unique voice. The reason is that polite chat lacks tension, and tension is the key to dramatic storytelling. As Alfred Hitchcock once said, “Drama is real life with all the boring parts cut out of it.” The key to good dialogue is to understand that it’s not conversation, it’s action. What characters say in a scene should be said to get what they want in the scene. And to determine whether or not your dialogue sounds realistic, read it out loud. Garrison Keillor once advised, “If you read your work out loud, it helps to know what’s bad.” Try it. It works. Dialogue always sounds better in your head. Better to be embarrassed in your room than on the set. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Read Your Dialogue Out Loud Writing authentic, well-crafted dialogue that sparkles, individualizes characters, and entertains the reader is the ultimate challenge for screenwriters, who otherwise may have solid script elements. It’s crucial to attracting talent, which can green-light your script. Writing great dialogue can also sell the writer, for those who excel in this area are highly sought after to the tune of six figures per week for dialogue rewrites.
    [Show full text]
  • Adam Sandler: Mentor Of
    ADAM SANDLER: MENTOR OF MIDDLE-CLASS MASCULINITY AND MANHOOD A Thesis Presented to the Faculty of California State University, Stanislaus In Partial Fulfillment of the Requirements for the Degree of Master of Arts in History By Kathleen Boone Chapman April 2014 CERTIFICATION OF APPROVAL ADAM SANDLER: MENTOR OF MASCULINITY AND FATHERHOOD by Kathleen Boone Chapman Signed Certification of Approval Page is on file with the University Library Dr. Bret E. Carroll Date Professor of History Dr. Samuel Regalado Date Professor of History Dr. Marcy Rose Chvasta Date Professor of Communications © 2014 Kathleen Boone Chapman ALL RIGHTS RESERVED DEDICATION I am dedicating this work to my three dear friends: Ronda James, Candace Paulson, and Michele Sniegoski. Ronda’s encouragement and obedience to the Lord gave me what I needed to go back to school with significant health issues and so late in life. Candace, who graduated from Stanford “back in the olden days,” to quote our kids, inspired me to follow my dream and become all God wants me to be. Michele’s long struggle with terminal kidney disease motivated me to keep living in spite of my own health issues. We have laughed and cried together over many years, but all of you have given me strength to carry on. Sorry two of you made it to heaven before I could get this finished. I also want to give credit to my husband of forty years who has been a faithful breadwinner, proof-reader, and a paragon of patience. What more could any woman ask for? He has also put up with me yelling at my computer and cursing Bill Gates – A LOT.
    [Show full text]
  • Teaching Social Issues with Film
    Teaching Social Issues with Film Teaching Social Issues with Film William Benedict Russell III University of Central Florida INFORMATION AGE PUBLISHING, INC. Charlotte, NC • www.infoagepub.com Library of Congress Cataloging-in-Publication Data Russell, William B. Teaching social issues with film / William Benedict Russell. p. cm. Includes bibliographical references and index. ISBN 978-1-60752-116-7 (pbk.) -- ISBN 978-1-60752-117-4 (hardcover) 1. Social sciences--Study and teaching (Secondary)--Audio-visual aids. 2. Social sciences--Study and teaching (Secondary)--Research. 3. Motion pictures in education. I. Title. H62.2.R86 2009 361.0071’2--dc22 2009024393 Copyright © 2009 Information Age Publishing Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the publisher. Printed in the United States of America Contents Preface and Overview .......................................................................xiii Acknowledgments ............................................................................. xvii 1 Teaching with Film ................................................................................ 1 The Russell Model for Using Film ..................................................... 2 2 Legal Issues ............................................................................................ 7 3 Teaching Social Issues with Film
    [Show full text]
  • ALISON ROSA UPM PGA & DGA Member
    ALISON ROSA UPM PGA & DGA Member FEATURES (UPM Credits) WITHOUT REMORSE Paramount Prod: Josh Applebaum, Andre Nemec, Dir: Stefano Sollima (UPM – DC/Virginia Unit) Michael B. Jordan, Akiva Goldsman Denis Stewart WIDOWS (AUPM/UPM) 20th Century Fox Prod: Ian Canning, Bergen Swanson Dir: Steve McQueen F.E.L.T. (UPM, 1st AD - DC Unit) Mandalay Prod: Marc Butan, Anthony Katagas Dir: Peter Landesman BELIEVE (UPM) Power of 3 Prod: Nelson Diaz, Ben Holmes, Dir: Billy Dickson Jacob Patrick, Kevin Sizemore LEE DANIELS’ THE BUTLER Weinstein Co. Prod: Adam Merins Dir: Lee Daniels (UPM – 1st AD, DC Unit) TELEVISION (UPM Credits) COVERT AFFAIRS (UPM, 1st AD) USA Prod: Stephen Kay Dir: Stephen Kay LIMITLESS (Season 1) (Asst. UPM) CBS Prod: Kati Johnston Dir: Various THE WIRE (AUPM) HBO Prod: Nina Kostroff-Noble Dir: Various FEATURES (AD Credits) DARK WATERS (Key 2nd AD) Focus/Participant Media Prod: Pamela Koffler, Jeff Skoll, Dir: Todd Haynes Christine Vachon GLASS (Key 2nd AD) Universal Prod: Marc Bienstock, Jason Blum, Dir: M. Night Shyamalan Ashwin Rajan, M. Night Shyamalan KILL THE MESSENGER (Key 2nd AD) Focus Prod: Naomi Despres, Jeremy Renner Dir: Michael Cuesta PHILOMENA (Key 2nd AD) Weinstein Co. Prod: Steve Coogan, Jeff Pope Dir: Stephen Frears ARGO (1st AD – 2nd Unit, DC Unit) Warner Bros. Prod: Ben Affleck, Grant Heslov Dir: Ben Affleck WHITE HOUSE DOWN (2nd AD – VFX, DC Unit) Columbia Prod: Roland Emmerich, Dir: Roland Emmerich Bradley J. Fischer, Larry Franco J. EDGAR (2nd AD – DC Unit) Warner Bros. Prod: Clint Eastwood, Brian Grazer, Dir: Clint Eastwood Robert Lorenz UNANSWERED PRAYERS Lifetime Movie Network Prod: James Spies Dir: Steven Schachter (1st AD – 2nd Unit, Key 2nd AD) SYRIANA (Key 2nd AD) Warner Bros.
    [Show full text]
  • Sunday Morning Grid 3/18/18 Latimes.Com/Tv Times
    SUNDAY MORNING GRID 3/18/18 LATIMES.COM/TV TIMES 7 am 7:30 8 am 8:30 9 am 9:30 10 am 10:30 11 am 11:30 12 pm 12:30 2 CBS CBS News Sunday Face the Nation (N) 2018 NCAA Basketball Tournament Second Round: Teams TBA. 2018 NCAA Basketball Tournament 4 NBC Today in L.A. Weekend Meet the Press (N) (TVG) NBC4 News Paid Journey Journey Golf Arnold Palmer Invitational, Final Round. (N) 5 CW Los Angeles Marathon Runners compete in Los Angeles Marathon. (N) Å Marathon Post Show In Touch Paid Program 7 ABC News This Week News News News Paid Way of Life Paid 9 KCAL KCAL 9 News Sunday (N) Joel Osteen Schuller Mike Webb Paid Program REAL-Diego Paid 11 FOX In Touch Paid Fox News Sunday News Paid Program NASCAR NASCAR 13 MyNet Paid Matter Fred Jordan Paid Program Lake City (2008) (R) 18 KSCI Paid Program Paid Program 22 KWHY Paid Program Paid Program 24 KVCR Memory Rescue With Daniel Amen, MD (TVG) Å Retire Safe & Secure With Ed Slott (TVG) Å Rick Steves Special: European Easter Orman 28 KCET 1001 Nights 1001 Nights Mixed Nutz Edisons Biz Kid$ Biz Kid$ Memory Rescue With Daniel Amen, MD (TVG) Å Retire Safe & Secure 30 ION Jeremiah Youseff In Touch NCIS: Los Angeles Å NCIS: Los Angeles Å NCIS: Los Angeles Å NCIS: Los Angeles Å 34 KMEX Conexión Paid Program Planeta U Calimero (TVG) Mickey Manny República Deportiva 40 KTBN James Win Walk Prince Carpenter Jesse In Touch PowerPoint It Is Written Jeffress K.
    [Show full text]
  • Ruth Prawer Jhabvala's Adapted Screenplays
    Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone.
    [Show full text]
  • The Lack of Recognition for the Film Choreographer in Hollywood
    Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College 6-2020 The Lack of Recognition for the Film Choreographer in Hollywood Claire Ross Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Dance Commons, and the Film and Media Studies Commons The Lack of Recognition for the Film Choreographer in Hollywood Claire Ross Commercial Dance Major Art & Entertainment Management Minor Virginia Cox, MS Dyson College of Arts and Sciences Presentation Date: June 2020 Graduation Date: May 2020 1 Abstract The following research directly addresses why the film choreographer has lacked adequate recognition within the Academy Awards, popularly known as the Oscars, presented by the Academy of Motion Picture Arts and Sciences. Additionally, this study aims to fill the research gap in relation to the minimal documentation that exists regarding the role and contributions of the film choreographer within the film industry. In order to move forward in assessing how the film choreographer can be recognized within the Oscars, one must address why they have not been sufficiently recognized within the history of the Academy Awards. By assessing the film choreographer’s value within the film industry through semi-structured interviews and data analysis methodologies, it was concluded their lack of recognition within the Oscars is due to the lack of dance’s presence in film, the undefined role of a film choreographer, and the general lack of awareness revolving around their contributions to film. All of which directly contribute to the film choreographer’s disproportionately perceived value within the film industry. Overall, this research intends to increase the dialogue revolving around the film choreographer as well as validate their value within the film industry.
    [Show full text]
  • BEDTIME STORIES Bobbi
    THIS MATERIAL IS ALSO AVAILABLE ONLINE AT http://www.wdsfilmpr.com © Disney Enterprises, Inc. All Rights Reserved. disney.com/BedtimeStories WALT DISNEY PICTURES Unit Production Manager . GARRETT GRANT Presents First Assistant CREDITS Director . DANIEL SILVERBERG A Second Assistant Director . CONTE MATAL HAPPY MADISON Creatures Designed by. CRASH MCCREERY Production Production Supervisor . ROBERT WEST A CAST CONMAN & IZZY Skeeter Bronson. ADAM SANDLER Production Jill . KERI RUSSELL Kendall . GUY PEARCE An Mickey. RUSSELL BRAND OFFSPRING Barry Nottingham . RICHARD GRIFFITHS Production Violet Nottingham. TERESA PALMER Aspen. LUCY LAWLESS Wendy . COURTENEY COX Patrick . JONATHAN MORGAN HEIT BEDTIME STORIES Bobbi . LAURA ANN KESLING Marty Bronson . JONATHAN PRYCE Engineer . NICK SWARDSON A Film by Mrs. Dixon . KATHRYN JOOSTEN ADAM SHANKMAN Ferrari Guy. ALLEN COVERT Hot Girl . CARMEN ELECTRA Young Barry Nottingham . TIM HERLIHY Directed by . ADAM SHANKMAN Young Skeeter . THOMAS HOFFMAN Screenplay by . MATT LOPEZ Young Wendy . ABIGAIL LEONE DROEGER and TIM HERLIHY Young Mrs. Dixon. MELANY MITCHELL Story by. MATT LOPEZ Young Mr. Dixon . ANDREW COLLINS Produced by. ANDREW GUNN Donna Hynde. AISHA TYLER Produced by . ADAM SANDLER Hokey Pokey Women. JULIA LEA WOLOV JACK GIARRAPUTO DANA MIN GOODMAN Executive Producers . ADAM SHANKMAN SARAH G. BUXTON JENNIFER GIBGOT CATHERINE KWONG ANN MARIE SANDERLIN LINDSEY ALLEY GARRETT GRANT Bikers. BLAKE CLARK Director of BILL ROMANOWSKI Photography . MICHAEL BARRETT Hot Dog Vendor . PAUL DOOLEY Production Designer . LINDA DESCENNA Birthday Party Kids . JOHNTAE LIPSCOMB Edited by. TOM COSTAIN JAMES BURDETTE COWELL MICHAEL TRONICK, A.C.E. Angry Dwarf . MIKEY POST Costume Designer . RITA RYACK Gremlin Driver . SEBASTIAN SARACENO Visual Effects Cubby the Supervisor. JOHN ANDREW BERTON, JR. Home Depot Guy .
    [Show full text]
  • Food for Soul
    Food for Soul A unique compilation of M ovies and Books to keep you on the edge! Part 1­ MOVIES This is a beginner’s list of movies that will stir your imagination. We recommend that you watch these carefully, over the next few months and try to understand the director’s message. These are interesting, but difficult movies. They will force you to question some of your beliefs, and will help your thought patterns take on new dimensions. Happy viewing! 1. THE UNTOUCHABLES “The Power of Character” Kevin Kostner, Sean Connery, Robert de Niro Kevin Costner became a star as the legendary “G­Man” Eliot Ness in THE UNTOUCHABLES, a slam­bang gangster saga with bravura direction by Brian De Palma, a witty David Mamet script and superb acting, including Robert De Niro as Al Capone and Sean Connery’s Oscar­winning turn as a wily veteran cop. It’s a terrifically entertaining and exciting movie. The story is almost totally fictionalized (Ness never killed Frank Nitti and had nothing to do with Capone’s income­tax rap), but this becomes completely irrelevant in light of the beautifully crafted film’s accomplishments. De Palma, who has often been accused of emphasizing style over content, here has a strong and substantial script to work with, and his flashy direction meshes perfectly with the film’s flamboyantly operatic design. The script may not be true to history, but it’s true to human emotion and very moving, personalizing the battle between good and evil by concentrating on the impact that violence and corruption has on families.
    [Show full text]