Media Release Glenn Close to Receive Zurich Film Festival's

Total Page:16

File Type:pdf, Size:1020Kb

Media Release Glenn Close to Receive Zurich Film Festival's Media Release Glenn Close to receive Zurich Film Festival’s Golden Icon Award and present THE WIFE alongside Jonathan Pryce, Annie Starke and director Björn Runge Zurich, August 10, 2017 Glenn Close will receive the Golden Icon Award at this year’s Festival, which takes place from September 28 to October 8, 2017. The Golden Icon Award is the Festival’s most prestigious symbol of recognition, in appreciation of the lifetime achievements of an actor or actress. Glenn Close will be honored with the award on Sunday October 1. Ms Close will also present her latest film, THE WIFE with her co-stars Jonathan Pryce and Annie Starke and director Björn Runge. THE WIFE Behind any great man, there’s always a greater woman … and you’re about to meet her. It is crucial you get to know this woman – many of us already do and don't even realise it. Joan Castleman (Glenn Close): a highly intelligent and still-striking beauty - the perfect alpha wife. Forty years spent sacrificing her own talent, dreams and ambitions to fan the flames of her charismatic husband Joe (Jonathan Pryce) and his skyrocketing literary career. Ignoring his infidelities and excuses because of his "art" with grace and humour. Their fateful pact has built a marriage upon uneven compromises. And Joan’s reached her breaking point. On the eve of Joe’s Nobel Prize for Literature, the crown jewel in a spectacular body of work, Joan's coup de grace is to confront the biggest sacrifice of her life and secret of his career. THE WIFE is a poignant, funny and emotional journey; a celebration of womanhood, self-discovery and liberation. ZFF Co-Directors Nadja Schildknecht and Karl Spoerri state “We’re honored to present Glenn Close with our Golden Icon Award at this year’s Festival. From her commanding portrayal of Patty Hewes in DAMAGES to the glorious Marquise de Merteuil in Stephen Frears’ DANGEROUS LIAISONS via Alex Forrest and Cruella De Vil, Glenn Close has brought her extraordinary presence to countless memorable roles over a truly formidable career. We are delighted to welcome her to Zurich and screen her latest film THE WIFE.” Credit Suisse is the official partner of the Golden Icon Award. ZFF Main Partner About Glenn Close A six-time Academy Award nominee, Ms Close has recently completed filming on Julian Fellow’s adaptation of Agatha Christie’s CROOKED HOUSE alongside an all-star cast that included Max Irons, Christina Hendricks, Gillian Anderson and Terence Stamp. Other recent films include the sci-fi thriller WHAT HAPPENED TO MONDAY, THE GIRL WITH ALL THE GIFTS, WILDE WEDDING and the comedy BASTARDS. Ms Close reprised her Tony Award-winning role in Andrew Lloyd Webber’s musical SUNSET BOULEVARD in a new production at the London Coliseum in 2016 (bringing her a London Evening Standard Award and an Olivier Award nomination). The full production, starring Close, opened on Broadway in February 2017. Ms Close made her feature film debut in George Roy Hill's THE WORLD ACCORDING TO GARP, earning her awards from the Los Angeles Film Critics Association and the National Board of Review as well as her first Academy Award nomination. She was subsequently Oscar-nominated for THE BIG CHILL, THE NATURAL, FATAL ATTRACTION, DANGEROUS LIAISONS (for which she was also a BAFTA Award nominee) and ALBERT NOBBS (which earned her Golden Globe and SAG nominations). For ALBERT NOBBS, Close also wrote the screenplay with John Banville, was a producer on the film and composed the lyrics for the Golden Globe and World Soundtrack-nominated song, “Lay Your Head Down.” Her film credits also include Richard Marquand's JAGGED EDGE, Barbet Schroeder's REVERSAL OF FORTUNE, Franco Zeffirelli's HAMLET, István Szabó's MEETING VENUS, Ron Howard's THE PAPER, Stephen Herek's 101 DALMATIANS, Kevin Lima's 102 DALMATIANS, Wolfgang Petersen's AIR FORCE ONE, Robert Altman's COOKIE'S FORTUNE, Rose Troche's THE SAFETY OF OBJECTS, Merchant Ivory's LE DIVORCE, Chris Terrio's HEIGHTS, Rodrigo García's THINGS YOU CAN TELL JUST BY LOOKING AT HER and NINE LIVES, EVENING, LOW DOWN, 5 TO 7, ANESTHESIA, THE GREAT GILLY HOPKINS and GUARDIANS OF THE GALAXY. For her riveting portrayal of high-stakes litigator Patty Hewes in the critically acclaimed television series DAMAGES, Close won two consecutive Emmys as “Best Actress in a Drama Series” and two subsequent Emmy nominations (bringing her total number of Emmy nominations to twelve) along with a Golden Globe Award and three SAG Award nominations. Close’s twelve Golden Globe nominations include a Best Actress win for Andrei Konchalovsky's adaptation of THE LION IN WINTER (which also earned her a SAG Award). ZFF Main Partner Other television credits include her Emmy award winning role in SERVING IN SILENCE: THE MARGARETHE CAMMERMEYER STORY (for which she also received a Peabody Award as executive producer), SOUTH PACIFIC and SARAH, PLAIN AND TALL, both of which she also executive produced, THE SHIELD, THE ELEPHANT MAN, SOMETHING ABOUT AMELIA, STONES FOR IBARRA, THE BALLAD OF LUCY WHIPPLE and IN THE GLOAMING, for which she won a CableACE Award. Close made her theatre, and Broadway, debut in Harold Prince's revival of LOVE FOR LOVE. Her theater credits include THE CRUCIFER OF BLOOD, THE SINGULAR LIFE OF ALBERT NOBBS (Obie Award), BARNUM (Tony nomination) and Tony Awards for her performances in THE REAL THING and DEATH AND THE MAIDEN, both directed by Mike Nichols. In London, she reteamed with the director of the original SUNSET BOULEVARD stage production, Trevor Nunn, in his Royal National Theatre revival OF A STREETCAR NAMED DESIRE. She returned to Broadway for the 2014 revival production of Edward Albee’s A DELICATE BALANCE. Worldwide sales for THE WIFE are handled by Embankment Films. Brokered by Embankment Films – Silver Reel, Creative Scotland, Film Väst, Chimney, the Swedish Film Institute and Svensk Filmindustri financed THE WIFE. Tempo Productions, Silver Reel, Meta Film, Anonymous Content, Spark Film and Television have produced THE WIFE. For further information contact the Zurich Film Festival Press Office ([email protected]). ZFF Main Partner .
Recommended publications
  • Download A.M. V. French Court of Appeals Decision
    20-1772 A.H. v. French In the United States Court of Appeals For the Second Circuit ________ AUGUST TERM, 2020 ARGUED: OCTOBER 13, 2020 DECIDED: JANUARY 15, 2021 No. 20-1772 A.H., by and through her parents and natural guardians, James Hester and Darlene Hester, other James Hester, other Darlene Hester; JAMES HESTER, individually; DARLENE HESTER, individually; ROMAN CATHOLIC DIOCESE OF BURLINGTON, VERMONT, Plaintiffs-Appellants, E.M., by and through her parents and natural guardians, Christopher Messineo and Jill Messineo, other Christopher Messineo, other Jill Messineo; CHRISTOPHER MESSINEO, individually; JILL MESSINEO, individually; A.M., by and through his parents and natural guardians, Christopher Messineo and Jill Messineo, other Christopher Messineo, other Jill Messineo; A.S., by and through her parents and natural guardians, Russell Senesac and Selena Senesac, other Russell Senesac, other Selena Senesac; RUSSEL SENESAC, individually; SELENA SENESAC, individually, Plaintiffs, v. 2 No. 20-1772 DANIEL M. FRENCH, in his official capacity as Secretary of the Vermont Agency of Education, Defendant-Appellee, GEORGE B. SPAULDING, in his official capacity as Chancellor of the Vermont State Colleges System, AKA Jeb, Defendant.* ________ Appeal from the United States District Court for the District of Vermont. ________ Before: WALKER and MENASHI, Circuit Judges.** ________ Plaintiff-Appellant A.H. is a senior at Rice Memorial High School, a ministry of the Roman Catholic Diocese of Burlington, Vermont. In August 2020, A.H. sought to participate in the Dual Enrollment Program administered by Vermont’s Agency of Education. The program pays tuition for high school juniors and seniors to take up to two courses at approved Vermont colleges.
    [Show full text]
  • Cinematic Hamlet Arose from Two Convictions
    INTRODUCTION Cinematic Hamlet arose from two convictions. The first was a belief, confirmed by the responses of hundreds of university students with whom I have studied the films, that theHamlet s of Lau- rence Olivier, Franco Zeffirelli, Kenneth Branagh, and Michael Almereyda are remarkably success- ful films.1 Numerous filmHamlet s have been made using Shakespeare’s language, but only the four included in this book represent for me out- standing successes. One might admire the fine acting of Nicol Williamson in Tony Richard- son’s 1969 production, or the creative use of ex- treme close-ups of Ian McKellen in Peter Wood’s Hallmark Hall of Fame television production of 1 Introduction 1971, but only four English-language films have thoroughly transformed Shakespeare’s theatrical text into truly effective moving pictures. All four succeed as popularizing treatments accessible to what Olivier’s collabora- tor Alan Dent called “un-Shakespeare-minded audiences.”2 They succeed as highly intelligent and original interpretations of the play capable of delight- ing any audience. Most of all, they are innovative and eloquent translations from the Elizabethan dramatic to the modern cinematic medium. It is clear that these directors have approached adapting Hamlet much as actors have long approached playing the title role, as the ultimate challenge that allows, as Almereyda observes, one’s “reflexes as a film-maker” to be “tested, battered and bettered.”3 An essential factor in the success of the films after Olivier’s is the chal- lenge of tradition. The three films that followed the groundbreaking 1948 version are what a scholar of film remakes labels “true remakes”: works that pay respectful tribute to their predecessors while laboring to surpass them.4 As each has acknowledged explicitly and as my analyses demonstrate, the three later filmmakers self-consciously defined their places in a vigorously evolving tradition of Hamlet films.
    [Show full text]
  • 31St ANNUAL WOMEN of ACHIEVEMENT AWARDS GALA to HONOR
    Contact: Vivacity Media Group | 212-812-1483 Leslie Papa, [email protected] Whitney Holden Gore, [email protected] Ailsa Hoke, [email protected] WOMEN’S PROJECT THEATER PRESENTS THE 31st ANNUAL WOMEN OF ACHIEVEMENT AWARDS GALA TO HONOR Emmy Award-winning Stage, Screen, and TV Actress & Founder of A Is For.. MARTHA PLIMPTON Celebrated Film, Television and Theater Producer, President of Segal NYC and Gatherer Entertainment JENNA SEGAL Award-Winning Actress, Film Producer, and Director & Founder of The Rainforest Fund TRUDIE STYLER HOSTED BY Celebrated comedienne, Two-time Grammy Nominee & Comedy Central Roast Star LISA LAMPANELLI WITH SPECIAL PERFORMANCES & APPEARANCES BY Fun Home’s Tony Award Nominee & Tony Award Winner BETH MALONE & JEANINE TESORI Acclaimed Dance Company MONICA BILL BARNES & CO. Emmy Award Nominated creator of “Call The Midwife” HEIDI THOMAS AND MORE SOON TO BE ANNOUNCED MONDAY, JUNE 13, 2016 AT THE EDISON BALLROOM, NYC TICKETS AVAILABLE VIA WPTHEATER.ORG (New York, NY) Women’s Project Theater (WP Theater), under the leadership of Producing Artistic Director Lisa McNulty and Managing Director Maureen Moynihan, is thrilled to announce the 31st ANNUAL WOMEN OF ACHIEVEMENT AWARDS GALA. The gala will honor Emmy Award winning actress Martha Plimpton; celebrated film, television and Broadway producer Jenna Segal; and actress, producer, environmentalist and UNICEF ambassador Trudie Styler. Hosted by Grammy nominated comedienne Lisa Lampanelli, with special performances by Fun Home’s Tony Award Nominee Beth Malone and Tony Award winner Jeanine Tesori; dance company Monica Bill Barnes & Co. and a presentation by Emmy Award nominee Heidi Thomas (creator of “Call the Midwife”), the Gala will take place on Monday, June 13, 2016 at 6:30pm at The Edison Ballroom, 240 W 47th Street.
    [Show full text]
  • Profile Season 19-20 Media Release
    2019-20: GENERATIONS Brenden Jacobs-Jenkins/ Lynn Nottage/ Paula Vogel FOR IMMEDIATE MEDIA RELEASE: Profile Theatre Press Contact: Jen Mitas, Marketing Consultant [email protected] 503-804-2402 Profile Theatre’s 2019-20 Season Celebrates the Voices and Visions of Three Playwrights Across Generations Lynn Nottage, Paula Vogel and Brenden Jacobs-Jenkins PORTLAND, OREGON. May 20, 2019- PROFILE THEATRE’S next season will fea- ture three of America’s most widely celebrated contemporary playwrights: Branden Jacobs-Jenkins (b. 1984), Lynn Nottage (b. 1964), and Paula Vogel (b. 1951). Profile Theatre is one of only three theaters in the country to dedicate their season to an in-depth exploration of a playwright’s vision, using that unique vision as a lens to broaden perspectives on our shared world. Now, in an innovation that deploys Pro- file’s mission to unique effect, we present Generations: two seasons of plays from three of America’s most beloved playwrights whose plays dramatize life, labor and death in the United States and beyond from three different generational vantage points. These visionaries are all connected through the prizes and programs that have shaped them. A gifted playwright, Vogel mentored a generation of playwrights, including Lynn Nottage, who studied with Vogel at Brown. Jacobs-Jenkins was the Paula Vogel Playwright-in-Residence at the Vineyard Theatre, and was on the Su- san Smith Blackburn committee that awarded the prize to Nottage for Sweat. All Pulitzer Prize nominated (or winning), all heralded for the beauty of their writing, their innovative theatricality and deep humanity, Vogel, Nottage and Jacobs-Jenkins’ work stands as a testament to the brilliance of American theatre.
    [Show full text]
  • Why Expectation Damages for Breach of Contract Must Be the Norm: a Refutation of the Fuller and Perdue "Three Interests&Quo
    Nebraska Law Review Volume 81 | Issue 3 Article 2 2003 Why Expectation Damages for Breach of Contract Must Be the Norm: A Refutation of the Fuller and Perdue "Three Interests" Thesis W. David Slawson University of Southern California Gould School of Law, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/nlr Recommended Citation W. David Slawson, Why Expectation Damages for Breach of Contract Must Be the Norm: A Refutation of the Fuller and Perdue "Three Interests" Thesis, 81 Neb. L. Rev. (2002) Available at: https://digitalcommons.unl.edu/nlr/vol81/iss3/2 This Article is brought to you for free and open access by the Law, College of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Nebraska Law Review by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. W. David Slawson* Why Expectation Damages for Breach of Contract Must Be the Norm: A Refutation of the Fuller and Perdue "Three Interests" Thesis TABLE OF CONTENTS 840 I. Introduction .......................................... Principal Institutions in a Modern Market II. The 843 Economy in Which Contracts Are Used ................ A. The Institution of the Economic Market: Contracts 843 as Bargains ....................................... Institution of Credit and Finance: Contracts as B. The 845 Property .......................................... 846 the Institutions' Needs ....................... III. Meeting 846 A. Providing a Remedy for Every Breach ............. Contracts Enforceable as Soon as They Are B. Making 847 M ade ............................................. Has Compensating the Injured Party for What He C. 848 ost ............................................... L 848 Damages Under the Expectation Measure ...... 1. 849 2. Damages Under the Reliance Measure ......... 849 a.
    [Show full text]
  • Master Thesis
    1 Master Thesis THE VALUE OF METACRITIC AND ITS RELATIONSHIP WITH VIDEO GAME SALES FLAVIO TONA SHNEIDER MIKE-E January, 2020 2 3 Contents 1 INTRODUCTION ................................................................................................................................ 5 2 LITERATURE REVIEW ..................................................................................................................... 8 3 MARKET ANALYSIS ....................................................................................................................... 13 3.1 METASCORE ............................................................................................................................ 14 3.1.1 GRADE CONVERSION .................................................................................................... 17 3.2 HARDWARE MARKET ............................................................................................................ 19 3.3 SOFTWARE MARKET ............................................................................................................. 20 4 - VALUE ..................................................................................................................................................... 21 4.1 CONSUMER ....................................................................................................................................... 21 4.2 - VALUE FOR THE INDUSTRY AND USAGE ......................................................................................... 22 4 METHODOLOGY
    [Show full text]
  • Gossip, Exclusion, Competition, and Spite: a Look Below the Glass Ceiling at Female-To-Female Communication Habits in the Workplace
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2013 Gossip, Exclusion, Competition, and Spite: A Look Below the Glass Ceiling at Female-to-Female Communication Habits in the Workplace Katelyn Elizabeth Brownlee [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Organizational Communication Commons Recommended Citation Brownlee, Katelyn Elizabeth, "Gossip, Exclusion, Competition, and Spite: A Look Below the Glass Ceiling at Female-to-Female Communication Habits in the Workplace. " Master's Thesis, University of Tennessee, 2013. https://trace.tennessee.edu/utk_gradthes/1597 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Katelyn Elizabeth Brownlee entitled "Gossip, Exclusion, Competition, and Spite: A Look Below the Glass Ceiling at Female-to-Female Communication Habits in the Workplace." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Science, with a major in Communication and Information. Michelle Violanti, Major Professor We have read this thesis
    [Show full text]
  • Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar
    Journal of Religion & Film Volume 3 Issue 2 October 1999 Article 2 October 1999 Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar Mark Goodacre University of Birmingham, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Goodacre, Mark (1999) "Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar," Journal of Religion & Film: Vol. 3 : Iss. 2 , Article 2. Available at: https://digitalcommons.unomaha.edu/jrf/vol3/iss2/2 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar Abstract Jesus Christ Superstar (dir. Norman Jewison, 1973) is a hybrid which, though influenced yb Jesus films, also transcends them. Its rock opera format and its focus on Holy Week make it congenial to the adaptation of the Gospels and its characterization of a plausible, non-stereotypical Jesus capable of change sets it apart from the traditional films and aligns it with The Last Temptation of Christ and Jesus of Montreal. It uses its depiction of Jesus as a means not of reverence but of interrogation, asking him questions by placing him in a context full of overtones of the culture of the early 1970s, English-speaking West, attempting to understand him by converting him into a pop-idol, with adoring groupies among whom Jesus struggles, out of context, in an alien culture that ultimately crushes him, crucifies him and leaves him behind.
    [Show full text]
  • Introduction to Monetary Damages
    CHAPTER 1 Introduction to Monetary Damages Chapter Contents § 1.01 Introduction § 1.02 Historical Background to Monetary Damages § 1.03 General Principles of Monetary Damages [1] Determining Whether Injuries May Be Compensated by Damages [a] Proximate Cause [b] The Standard of Certainty [2] Calculating the Damages Award [a] Compensatory Damages [i] Market Value Measure [ii] Lost Opportunity Measure [b] Unjust Enrichment [c] Augmented Damages [i] Punitive Damages [ii] Statutory Enhanced Damages [d] Interest [e] Attorneys’ Fees and Costs § 1.01 Introduction Monetary damages are a form of judicial remedy that can be awarded to a claimant in compensation for an injury or loss wrong- fully inflicted.1 This form of remedy is most commonly referred to simply as “damages.” The essence of damages is the payment of money as a release from civil liability. 1 See 1 Dobbs Law of Remedies, 3 (2d ed. 1993). 1-1 (Rel. 24) § 1.01 INTELLECTUAL PROPERTY DAMAGES 1-2 Because damages in Anglo-American jurisprudence are awarded by a jury of lay persons under the supervision of a judge, it is neces- sary to have certain guiding principles by which the judge can direct the jury. The rules that were developed by the judiciary to guide juries in their damages deliberations are essentially the law of damages. As one commentator has said: “The law of damages consists of the rules, standards, and methods used by the courts for measuring in money the compensation given for losses and injuries.”2 The law of intellectual property damages did not develop in a vac- uum; it is very much a product of this general law of damages.
    [Show full text]
  • OSLO Casting Announcement
    MICHAEL ARONOV, ADAM DANNHEISSER, JENNIFER EHLE, DANIEL JENKINS, DARIUSH KASHANI, JEFFERSON MAYS, DANIEL ORESKES, HENNY RUSSELL, JOSEPH SIRAVO, T. RYDER SMITH TO BE FEATURED IN THE LINCOLN CENTER THEATER PRODUCTION OF “OSLO” a new play by J.T. ROGERS directed by BARTLETT SHER PREVIEWS BEGIN THURSDAY, JUNE 16 OPENING NIGHT IS MONDAY, JULY 11 AT THE MITZI E. NEWHOUSE THEATER Lincoln Center Theater (under the direction of André Bishop) has announced that Michael Aronov, Adam Dannheisser, Jennifer Ehle, Daniel Jenkins, Dariush Kashani, Jefferson Mays, Daniel Oreskes, Henny Russell, Joseph Siravo, and T. Ryder Smith will be featured in the cast of its upcoming production of OSLO, a new play by J.T. Rogers, directed by Bartlett Sher. Commissioned by Lincoln Center Theater, OSLO begins performances Thursday, June 16 and will open Monday, July 11 at the Mitzi E. Newhouse Theater (150 West 65 Street). Additional casting will be announced at a later date. It’s 1993. The world watches the impossible: Israeli Prime Minister Yitzhak Rabin and Palestinian Liberation Organization Chairman Yasser Arafat, standing together in the White House Rose Garden, signing the first ever peace agreement between Israel and the PLO. How were the negotiations kept secret? Why were they held in a castle in the middle of Norway? And who are these mysterious negotiators? A darkly comic epic, OSLO tells the true, but until now, untold story of how one young couple, Norwegian diplomat Mona Juul (to be played by Jennifer Ehle) and her husband social scientist Terje Rød-Larsen (to be played by Jefferson Mays), planned and orchestrated top-secret, high-level meetings between the State of Israel and the Palestine Liberation Organization, which culminated in the signing of the historic 1993 Oslo Accords.
    [Show full text]
  • Netflix Adds to Original Shows with Sony Deal 15 October 2013
    Netflix adds to original shows with Sony deal 15 October 2013 programming to make itself a preferred location for on-demand streaming. "We were spellbound after hearing Todd, Glenn and Daniel's pitch, and knew Netflix was the perfect home for this suspenseful family drama that is going to have viewers on the edge of their seats," said Netflix vice president of original content Cindy Holland. Netflix scored a recent hit with its political drama "House of Cards," tossing conventional TV wisdom out the window when it released a full season in one fell swoop early this year. The Netflix company logo is seen at Netflix headquarters The series, which was nominated for a 2013 Emmy in Los Gatos, CA on Wednesday, April 13, 2011 for best drama, joins a recent spate of original Netflix programming that includes new episodes of "Arrested Development," plus the series "Orange is the New Black" and "Hemlock Grove." Netflix on Monday announced a deal with Sony to create a psychological thriller series for the online Netflix sees original programming as part of a streaming and DVD service, ramping up original formula to gain and hold subscribers at its $7.99-a- programming to win subscribers. month fee that covers a vast catalog of pre- released TV shows and movies. "Damages" creators Todd Kessler, Daniel Zelman, and Glenn Kessler will begin production of a © 2013 AFP 13-episode first season of the show from Sony Pictures Television early next year. The yet-unnamed series will broadcast exclusively on Netflix, according to the California-based Internet company.
    [Show full text]
  • Amazon and IMDB Sued for Not Respecting Elders | Page 1
    Amazon And IMDB Sued FOr Not Respecting Elders | Page 1 Amazon And IMDB Sued FOr Not Respecting Elders By: Jack Greiner on October 19, 2011 on graydon.law Well, sort of. An actress who identifies herself as Jane Doe has sued the Internet Movie Database Web site, and its parent company, Amazon, for revealing her actual age. I’m not making that up. Here’s the actual complaint, which was filed in a federal court in Seattle. In case you haven’t used it, IMDB is a Web site that has detailed information on any movie ever made. I personally love it. I can’t tell you the number of times I’ve watched a movie on TV and wondered who the actor was in some small role, and where I’d seen him before. IMDB has all that information. But I digress. According to the complaint, Jane Doe is of Asian descent, and her given name is difficult for Americans to spell and pronounce. She has for that reason used a stage name throughout her career. She is also very careful not to provide personal information, including her true age. According to the complaint, “[i]n the entertainment industry, youth is king. If one is perceived to be “over-the-hill” i.e., approaching 40, it is nearly impossible for an up-and-coming actress, such as plaintiff, to get work.” IMDB also offers a service called IMDbPro, which offers “industry insider” information to paying customers. Ms. Doe signed up for the service and in so doing, provided her name, birth date and other personal information.
    [Show full text]