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Race, Markets, and Hollywood's Perpetual Antitrust Dilemma
Michigan Journal of Race and Law Volume 18 2012 Race, Markets, and Hollywood's Perpetual Antitrust Dilemma Hosea H. Harvey Temple University, James E. Beasley School of Law Follow this and additional works at: https://repository.law.umich.edu/mjrl Part of the Antitrust and Trade Regulation Commons, Civil Rights and Discrimination Commons, Entertainment, Arts, and Sports Law Commons, and the Law and Race Commons Recommended Citation Hosea H. Harvey, Race, Markets, and Hollywood's Perpetual Antitrust Dilemma, 18 MICH. J. RACE & L. 1 (2012). Available at: https://repository.law.umich.edu/mjrl/vol18/iss1/1 This Article is brought to you for free and open access by the Journals at University of Michigan Law School Scholarship Repository. It has been accepted for inclusion in Michigan Journal of Race and Law by an authorized editor of University of Michigan Law School Scholarship Repository. For more information, please contact [email protected]. RACE, MARKETS, AND HOLLYWOOD'S PERPETUAL ANTITRUST DILEMMA Hosea H. Harvey* This Article focuses on the oft-neglected intersection of racially skewed outcomes and anti-competitive markets. Through historical, contextual, and empirical analysis, the Article describes the state of Hollywood motion-picture distributionfrom its anti- competitive beginnings through the industry's role in creating an anti-competitive, racially divided market at the end of the last century. The Article's evidence suggests that race-based inefficiencies have plagued the film distribution process and such inefficiencies might likely be caused by the anti-competitive structure of the market itself, and not merely by overt or intentional racial-discrimination.After explaining why traditional anti-discrimination laws are ineffective remedies for such inefficiencies, the Article asks whether antitrust remedies and market mechanisms mght provide more robust solutions. -
Julianne Moore Liam Neeson Amanda Seyfried
JULIANNE MOORE LIAM NEESON AMANDA SEYFRIED in Directed by Atom Egoyan Screenplay by Erin Cressida Wilson CHLOE is fully financed by France‘s StudioCanal and developed by Montecito Picture Company, co-founded by Ivan Reitman and Tom Pollock. Ivan Reitman, Joe Medjuck and Jeffrey Clifford are producers for Montecito. Co-producers are Simone Urdl and Jennifer Weiss. Executive Producers are Tom Pollock along with Jason Reitman, Daniel Dubiecki, and Ron Halpern. CHLOE will be distributed by StudioCanal in France and in the United Kingdom and Germany through its subsidiaries Optimum Releasing and Kinowelt. It will also handle worldwide sales outside its direct distribution territories. The Cast Catherine Stewart JULIANNE MOORE David Stewart LIAM NEESON Chloe AMANDA SEYFRIED Michael Stewart MAX THIERIOT Frank R.H. THOMSON Anna NINA DOBREV Receptionist MISHU VELLANI Bimsy JULIE KHANER Alicia LAURA DE CARTERET Eliza NATALIE LISINSKA Trina TIFFANY KNIGHT Miranda MEGHAN HEFFERN Party Guest ARLENE DUNCAN Another Girl KATHY MALONEY Maria ROSALBA MARTINNI Waitress TAMSEN McDONOUGH Waitress 2 KATHRYN KRIITMAA Bartender ADAM WAXMAN Young Co-Ed KRYSTA CARTER Nurse SEVERN THOMPSON ‗Orals‘ Student SARAH CASSELMAN Boy DAVID REALE Boy 2 MILTON BARNES Woman Behind Bar KYLA TINGLEY Chloe‘s Client #1 SEAN ORR Chloe‘s Client #2 PAUL ESSIEMBRE Chloe‘s Client #3 ROD WILSON Stunt Hockey Player RILEY JONES • CHLOE 2 The Filmmakers Director ATOM EGOYAN Writer ERIN CRESSIDA WILSON Produced by IVAN REITMAN Producers JOE MEDJUCK JEFFREY CLIFFORD Co-Producers SIMONE URDL JENNIFER WEISS Executive Producers JASON REITMAN DANIEL DUBIECKI THOMAS P. POLLOCK RON HALPERN Associate Producers ALI BELL ERIN CRESSIDA WILSON Production Manager STEPHEN TRAYNOR Director of Photography PAUL SAROSSY Production Designer PHILLIP BARKER Editor SUSAN SHIPTON Music MYCHAEL DANNA Costumes DEBRA HANSON Casting JOANNA COLBERT (US) RICHARD MENTO (US) JOHN BUCHAN (Canada) JASON KNIGHT (Canada) Camera Operator PAUL SAROSSY First Assistant Director DANIEL J. -
Al Cinema Dal 12 Marzo
Presenta CHLOE Diretto da ATOM EGOYAN Sceneggiatura di ERIC CRESSIDA WILSON Con JULIANNE MOORE LIAM NEESON AMANDA SEYFRIED I materiali sono scaricabili dall’ area stampa di www.eaglepictures.com Visita anche www.chloeilfilm.it Durata 96’ AL CINEMA DAL 12 MARZO Ufficio Stampa: Marianna Giorgi [email protected] Cast Artistico Catherine Stewart JULIANNE MOORE David Stewart LIAM NEESON Chloe AMANDA SEYFRIED Michael Stewart MAX THIERIOT Frank R.H. THOMSON Anna NINA DOBREV Reception MISHU VELLANI Bimsy JULIE KHANER Alicia LAURA DE CARTERET Eliza NATALIE LISINSKA Trina TIFFANY KNIGHT Miranda MEGHAN HEFFERN Ospite festa ARLENE DUNCAN Altra ragazza KATHY MALONEY Maria ROSALBA MARTINNI Cameriera TAMSEN McDONOUGH Cameriera 2 KATHRYN KRIITMAA Barman ADAM WAXMAN Giovane Co-Ed KRYSTA CARTER Infermiere SEVERN THOMPSON Studente Oral SARAH CASSELMAN Ragazzo DAVID REALE Ragazzo 2 MILTON BARNES Donna barista KYLA TINGLEY Cliente Chloe SEAN ORR Cliente Chloe2 PAUL ESSIEMBRE Cliente Chloe 3 ROD WILSON Stunt Giocatore Hockey RILEY JONES Cast Tecnico Regista ATOM EGOYAN Sceneggiatore ERIN CRESSIDA WILSON Prodotto da IVAN REITMAN Produttori JOE MEDJUCK JEFFREY CLIFFORD Co-produttuori SIMONE URDL JENNIFER WEISS Produttori esecutivi JASON REITMAN DANIEL DUBIECKI THOMAS P. POLLOCK RON HALPERN Produttori associati ALI BELL ERIN CRESSIDA WILSON Direttore di produzione STEPHEN TRAYNOR Direttore della fotografia PAUL SAROSSY Scenografo PHILLIP BARKER Montatore SUSAN SHIPTON Musiche MYCHAEL DANNA Costumi DEBRA HANSON Casting JOANNA COLBERT (US) RICHARD MENTO (US) JOHN BUCHAN (Canada) JASON KNIGHT (Canada) Operatore PAUL SAROSSY Primo aiuto regista DANIEL J. MURPHY Suono BISSA SCEKIC Supervisore sceneggiatura JILL CARTER Attrezzista CRAIG GRANT Elettricista BOB DAVIDSON Macchinista CHRIS FAULKNER Location Manager EARDLEY WILMOT Breve sinossi CHLOE è una storia di amore, di suspense e tradimenti. -
Atom Egoyan Julianne Moore, Liam Neeson, Amanda
TORONTO 2009 Offizielle Selektion CHLOE Ein Film von Atom Egoyan Mit Julianne Moore, Liam Neeson, Amanda Seyfried, Max Thieriot, Meghan Heffern Dauer: 96 min. Kinostart: 13.05.2010 Download Fotos : www.frenetic.ch/presse Pressearbeit VERLEIH Susanne Hefti FRENETIC FILMS prochaine ag Bachstrasse 9 • 8038 Zürich Tel. 044 488 44 25 Tél. 044 488 44 00 • Fax 044 488 44 11 [email protected] [email protected] • www.frenetic.ch SYNOPSIS In die gut funktionierende Ehe der erfolgreichen Ärztin Catherine (Julianne Moore) und des beliebten Musikprofessor David (Liam Neeson) platzt eine verräterische SMS: Hat David eine Affäre? Um seine Treue zu testen, engagiert Catherine das Luxus-Callgirl Chloe (Amanda Seyfried). Die aufregende junge Frau präsentiert ihrer Auftraggeberin schnell erste erotische Ergebnisse. Catherine ist schockiert und möchte das Geschäft beenden, aber sie erliegt der Faszination eines gefährlichen Spieles, bei dem sie mehr und mehr die Kontrolle verliert… Cast Catherine .............................................................................JULIANNE MOORE David ........................................................................................... LIAM NEESON Chloe ................................................................................. AMANDA SEYFRIED Michael ....................................................................................... MAX THIERIOT Frank ......................................................................................R. H. THOMPSON Anna ............................................................................................NINA -
The Studio System and Conglomerate Hollywood
TCHC01 6/22/07 02:16 PM Page 11 PART I THE STRUCTURE OF THE INDUSTRY TCHC01 6/22/07 02:16 PM Page 12 TCHC01 6/22/07 02:16 PM Page 13 CHAPTER 1 THE STUDIO SYSTEM AND CONGLOMERATE HOLLYWOOD TOM SCHATZ Introduction In August 1995 Neal Gabler, an astute Hollywood observer, wrote an op-ed piece for The New York Times entitled “Revenge of the Studio System” in response to recent events that, in his view, signaled an industry-wide transformation (Gabler 1995). The previous year had seen the Seagram buyout of MCA-Universal, Time Warner’s purchase of the massive Turner Broadcasting System, and the launch of Dream- Works, the first new movie studio since the classical era. Then on August 1 came the bombshell that provoked Gabler’s editorial. Disney announced the acquisition of ABC and its parent conglomerate, Cap Cities, in a $19 billion deal – the second- largest merger in US history, which created the world’s largest media company. Disney CEO Michael Eisner also disclosed a quarter-billion-dollar deal with Mike Ovitz of Hollywood’s top talent agency, Creative Artists, to leave CAA and run the Disney empire. For Gabler, the Disney deals confirmed “a fundamental shift in the balance of power in Hollywood – really the third revolution in the relationship between industry forces.” Revolution I occurred nearly a century before with the formation of the Hollywood studios and the creation of a “system” that enabled them to con- trol the movie industry from the 1920s through the 1940s. Revolution II came with the postwar rise of television and the dismantling of the studio system by the courts, which allowed a new breed of talent brokers, “most notably Lew Wasserman of the Music Corporation of America [MCA],” to usurp control of the film industry. -
A Trend Analysis of Film Ratings, Grosses, and Awards: 1989-1993 Jennifer Paige Willey
Southern Adventist University KnowledgeExchange@Southern Senior Research Projects Southern Scholars 1994 A Trend Analysis of Film Ratings, Grosses, and Awards: 1989-1993 Jennifer Paige Willey Follow this and additional works at: https://knowledge.e.southern.edu/senior_research Part of the Film and Media Studies Commons Recommended Citation Willey, Jennifer Paige, "A Trend Analysis of Film Ratings, Grosses, and Awards: 1989-1993" (1994). Senior Research Projects. 126. https://knowledge.e.southern.edu/senior_research/126 This Article is brought to you for free and open access by the Southern Scholars at KnowledgeExchange@Southern. It has been accepted for inclusion in Senior Research Projects by an authorized administrator of KnowledgeExchange@Southern. For more information, please contact [email protected]. A TREND ANALYSIS OF FILM RATINGS, GROSSES, AND AWARDS: 1989-1993 by Jennifer Paige Willey In Fulfillment of Southern Scholars Curriculum Requirements JOUR495 Directed Study: Film Research Pamela Maize Harris, Professor Southern College of Seventh-day Adventists April27, 1994 TABLE OF CONTENTS INTRODUCTION 1 HISTORICAL BACKGROUND 2 Self-Regulation/ Censorship 2 Rating System 3 Academy Awards 4 RESEARCH QUESTIONS 7 LITERATURE REVIEW 8 Ratings 8 Values 10 Family-Oriented Films 13 Film Content 14 The Messages in and Influence of Movies & TV 16 Impact of Awards 17 Grosses 18 Attendance 19 METHODS OF RESEARCH 20 How data was collected 20 How data was organized 23 Limitations 23 RESULTS 26 CONCLUSIONS/INTERPRETATION OF THE DATA 35 SUGGESTIONS FOR FURTHER RESEARCH 48 WORKS CITED so APPENDIX A 53 APPENDIXB 54 1 INTRODUCTION This study analyzes trends films have followed in the last five years, 1989 through 1993, and seeks to determine specifically if content is changing. -
Ghostbusters – Pressbook Italiano
Ghostbusters – pressbook italiano ! !1 Ghostbusters – pressbook italiano COLUMBIA PICTURES Presenta In Associazione con VILLAGE ROADSHOW PICTURES Una Produzione di IVAN REITMAN Un film di PAUL FEIG ! MELISSA MCCARTHY KRISTEN WIIG KATE MCKINNON LESLIE JONES CHARLES DANCE MICHAEL KENNETH WILLIAMS e CHRIS HEMSWORTH SCENEGGIATURA DI KATIE DIPPOLD e PAUL FEIG !2 Ghostbusters – pressbook italiano PRODOTTO DA IVAN REITMAN e AMY PASCAL Basato sul film del 1984 “Ghostbusters - Acchiappafantasmi” di IVAN REITMAN Scritto da DAN AYKROYD e HAROLD RAMIS PRODUTTORI ESECUTIVI PAUL FEIG, JESSIE HENDERSON, DAN AYKROYD, TOM POLLOCK, JOE MEDJUCK, ALI BELL, MICHELE IMPERATO STABILE DIRETTORE DELLA FOTOGRAFIA ROBERT YEOMAN, ASC SCENOGRAFIE JEFFERSON SAG MONTAGGIO BRENT WHITE, ACE, MELISSA BRETHERTON SUPERVISORE AGLI EFFETTI SPECIALI PETER G. TRAVERS EFFETTI SPECIALI SONY PICTURES IMAGEWORKS COSTUMI JEFFREY KURLAND MUSICHE THEODORE SHAPIRO SUPERVISIONE MUSICALE ERICA WEIS !3 Ghostbusters – pressbook italiano Uscita italiana: 28 luglio 2016 Durata del film: 108 minuti Distribuzione WARNER BROS. PICTURES Materiali stampa: www.cristianacaimmi.com/Ghostbusters.zip Trailer: www.cristianacaimmi.com/Ghostbusters_TrlHD.zip !4 Ghostbusters – pressbook italiano GHOSTBUSTERS Note di Produzione Torna l’attesissimo reboot di Ghostbusters con un cast ricco di personaggi esilaranti. Trent’anni dopo che il franchise originale ha raccolto un successo strepitoso in tutto il mondo, il regista Paul Feig presenta un nuovo episodio della commedia sovrannaturale, che coinvolge alcuni degli artisti più divertenti di oggi: Melissa McCarthy, Kristen Wiig, Kate McKinnon, Leslie Jones, e Chris Hemsworth. Quest’estate tornano per salvare il mondo! Columbia Pictures presenta, in associazione con Village Roadshow Pictures, una produzione di Ivan Reitman, Ghostbusters. Interpretato da Melissa McCarthy, Kristen Wiig, Kate McKinnon, Leslie Jones, Charles Dance, Michael Kenneth Williams, e Chris Hemsworth. -
Carsey-Wolf Center at UC Santa Barbara
www-old.carseywolf.ucsb.edu Carsey-Wolf Center at UC Santa Barbara 15-18 minutes In October 2010, Tom Pollock, Founder of the Montecito Picture Company, sat down with MIP for an interview. In the excerpts below, Pollock describes his entry into the entertainment industry, the impact of the contract he negotiated for George Lucas' Star Wars, and his talent-driven strategy for managing Universal Pictures. Tom Pollock was the head of Universal/MCA from 1986 to 1995. He founded Montecito Picture Company with filmmaker Ivan Reitman in 1998 and continues to run the company today. Pollock has worked in the entertainment industry since the 1970s beginning as an entertainment lawyer for such talent as George Lucas. He used his relationships with talented filmmakers including Steven Spielberg and Martin Scorsese to revitalize Universal and make it the most acclaimed studio of the early 1990s. Negotiating Pre-Sale Financing and the Star Wars Contract Tuesday, August 9, 2011 MIP: How did you become involved with Tolo TV? TOM FRESTON: In 2005, when I was still with Viacom, an American Iranian woman named Sarah Takesh, who had been in Afghanistan, tracked me down in New York. She asked me out to brunch. She started a clothing business in Afghanistan and somehow found out I had done something similar in the ’70s. I agreed to meet her. I had been following things in Afghanistan ever since leaving but had never returned for a visit. I was enthralled with all the stories she told me of what it was like in Afghanistan now. There was a sense of optimism about the future. -
1 Tom Pollock, Montecito Picture Company October 22, 2010
Tom Pollock, Montecito Picture Company October 22, 2010 MIP: We would like to start by having you describe your career. In a nutshell can you describe its trajectory? What are the highlights? Tom Pollock: I’ve had three different careers, none of which were really planned, they all just sort of happened. There wasn’t any grand scheme when I was in college. Back then I really didn’t know what it was I wanted to do. I went to law school in large part because of the draft and the Vietnam War. I didn’t want to go to war, and if you were in school you were deferred. That included graduate school. I didn’t have any great desire to be a lawyer but it seemed like a better alternative than getting a Ph.D. It was in law school that I got really fascinated with the movies. I went to law school in New York at Columbia and then I came out to Los Angeles and got a job at a large firm that did entertainment work. I thought I would use my legal skills to get into the entertainment business. “Use what you got,” I figured, and what I had was a law degree. I worked for a firm called Mitchell Silberberg & Knupp, though I quit after six months because it wasn’t a terribly rewarding experience. I thought that was just my experience, but what I didn’t know then was that law firm partners are notorious for treating their associates with disdain. After that, I didn’t do anything much for a while. -
Production in Ontario
2009 PRODUCTION IN ONTARIO With assistance from Ontario Media Development Corporation www.omdc.on.ca FEATURE FILMS - THEATRICAL A BEGINNER’S GUIDE TO ENDINGS Company: Darius Films Producer: Nicholas Tabarrok Executive Producer: Tim Merkel Director: Jonathan Sobol Production Manager: Daniel Bekerman D.O.P.: Sammy Inayeh Key Cast: Tricia Helfer, Harvey Keitel, J.K. Simmons, Scott Caan, Paulo Costanzo Shooting Dates: 10/26/2009 – 11/20/2009 A DATE WITH FEAR Company: Sekhon Film Inc., Dashing Entertainment Producer: Sukhwinder Sekhon, Executive Producer: Sital Panesar, H. Sekhon Director: Asit Kaul Production Manager: Nihat Varol D.O.P.: John Lesavage Key Cast: Amar Agha, Ashley Kranz, Robert Nolan, Paul Nicholls Shooting Dates: 2/26/2009 – 4/15/2009 AN INSIGNIFICANT HARVEY (aka THE INSIGNIFICANCE OF HARVEY) Company: Asher Films, Vitality Media Productions Producer: Jeff Kopas, Daniel Zuccala Executive Producer: Don Carmody Director: Jeff Kopas D.O.P.: Cabot McNealy Key Cast: Jordan Prentice, Kristin Adams, Steve McCarthy Shooting Dates: 3/28/2009 – 4/10/2009 3/15/2013 1 BEAT THE WORLD Company: Inner City Films Producer: Amos Adetuyi, Robert Adetuyi Executive Producer: Benedict Carver Co-producer: Tom Adetuyi Director: Robert Adetuyi Production Manager: Hartley Gorenstein D.O.P.: Hubert Taczanowski Key Cast: Chase Armitage, Matthew G. Taylor Shooting Dates: 9/28/2009 – 11/2/2009 CASINO JACK & THE UNITED STATES OF MONEY Company: Rollercoaster Entertainment, Metropolitan (MTA), Producer: Bill Marks, Alex Gibney, Alison Ellwood, Zena Barakat Executive Producer: Jeff Skoll, Diane Weyermann, Benjamin Goldhirsh, Mark Cuban, Todd Wagner, Bill Banowsky Director: Alex Gibney Production Manager: D.J. Carson D.O.P.: Maryse Alberti Key Cast: Kevin Spacey, Kelly Preston, Rachel Lefevre Shooting Dates: 5/23/2009 – 6/28/2009 CHLOE Company: Sony Pictures Classics, Studio Canal, The Montecito Picture Co. -
The Secret History of Star Wars
The Secret History of Star Wars The Art of Storytelling and the Making of a Modern Epic Free Online Sample Michael Kaminski Legacy Books Press Published by Legacy Books Press RPO Princess, Box 21031 445 Princess Street Kingston, Ontario, K7L 5P5 Canada www.legacybookspress.com © 2008 Michael Kaminski. All rights reserved. The moral rights of the author under the Berne Convention have been asserted. The scanning, uploading, and/or distribution of this free sample via the Internet or any other means is permitted and encouraged so long as the file is left unaltered and no monies are charged for its distribution. First published in 2008 by Legacy Books Press 1 Kaminski, Michael The Secret History of Star Wars: The Art of Storytelling and the Making of a Modern Epic Includes bibliographical references and index ISBN-13: 978-0-9784652-3-0 1. Performing Arts : Film & Video - Reference 2. Performing Arts : Film & Video - Screenwriting 3. Culture : Star Wars 4. Star Wars All citations and quotations are used under fair dealings and fair use. If you are a copyright holder of one of the works cited and feel your copyright has been infringed, please contact Legacy Books Press. This book has not been endorsed or authorized by Lucasfilm or its associates, nor has it been endorsed by NASA. This book is typeset in a Times New Roman 11-point font. No Imperial Stormtroopers, Sith, Ewoks, or Jedi were harmed in the writing of this book. i Table of Contents Acknowledgments.......................................... v Foreword................................................ vii Introduction............................................... 1 Chapter I: The Beginning..................................... 8 Flights of Fancy Modesto Part II Adventures in Filmmaking Second Chance Chapter II: The Star Wars.................................. -
Canadian Cinema in the Era of Globalization Cine Canadiense En La Era De La Globalización
RTÍCULO Revista Arbitrada de la Facultad Experimental de Arte de la Universidad del Zulia. Maracaibo, Venezuela AÑO 5 N° 8. ENERO - JUNIO 2010 ~ pp. 66 - 72 Canadian Cinema in the Era of Globalization Cine canadiense en la Era de la Globalización Kay Armatage University of Toronto, Canada Recibido: 20-02-10 E-mail: [email protected] Aceptado: 30-03-10 Abstract Resumen In this article I will approach many of the currently domi- En este artículo abordo los tópicos más actuales en relación nant topics in relation to Canadian cinema: the impact on con el cine canadiense: el impacto en los cines nacionales y national cinemas and auteurism of international film festi- el cine de autor en Festivales de Cine Internacionales, hora- vals, shifts in distribution patterns, labour issues, produc- rios de trabajo, asuntos laborales, resultados de producción, tion output, and globalised aesthetics, as well as other re- y estética globalizada, así como otros temas relacionados, lated issues, such as slippages in notions of populism and como el deslizamiento de las nociones de populismo y po- popularity. Also, I analyze the marks of globalization that pularidad. Asimismo, analizo las huellas de la globalización are present in the Canadian film industry in the co- presentes sea en la industria cinematográfica canadiense, production treaties and financing exigencies, as well as en los tratados y exigencias financieras de las coproduccio- they are in other countries. I base my research in the postu- nes, sea en las producciones de otros países. Baso mi investi- lates of Hjort (2010), Iordanova (2010), Chow (1995) and gación en los postulados de Hjort (2010), Iordanova (2010), Hansen (2010) among others.