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John Collins Production Designer
John Collins Production Designer Credits include: BRASSIC Director: Rob Quinn, George Kane Comedy Drama Series Producer: Mags Conway Featuring: Joseph Gilgun, Michelle Keegan, Damien Molony Production Co: Calamity Films / Sky1 FEEL GOOD Director: Ally Pankiw Drama Series Producer: Kelly McGolpin Featuring: Mae Martin, Charlotte Richie, Sophie Thompson Production Co: Objective Fiction / Netflix THE BAY Directors: Robert Quinn, Lee Haven-Jones Crime Thriller Series Producers: Phil Leach, Margaret Conway, Alex Lamb Featuring: Morven Christie, Matthew McNulty, Louis Greatrex Production Co: Tall Story Pictures / ITV GIRLFRIENDS Directors: Kay Mellor, Dominic Leclerc Drama Series Producer: Josh Dynevor Featuring: Miranda Richardson, Phyllis Logan, Zoe Wanamaker Production Co: Rollem Productions / ITV LOVE, LIES AND RECORDS Directors: Dominic Leclerc, Cilla Ware Drama Producer: Yvonne Francas Featuring: Ashley Jensen, Katarina Cas, Kenny Doughty Production Co: Rollem Productions / BBC One LAST TANGO IN HALIFAX Director: Juliet May Drama Series Producer: Karen Lewis Featuring: Sarah Lancashire, Nicola Walker, Derek Jacobi Production Co: Red Production Company / Sky Living PARANOID Directors: Kenny Glenaan, John Duffy Detective Drama Series Producer: Tom Sherry Featuring: Indira Varma, Robert Glennister, Dino Fetscher Production Co: Red Production Company / ITV SILENT WITNESS Directors: Stuart Svassand Mystery Crime Drama Series Producer: Ceri Meryrick Featuring: Emilia Fox, Richard Lintern, David Caves Production Co: BBC One Creative Media Management -
Catrin Meredydd Production Designer
Catrin Meredydd Production Designer Winner of BAFTA Cymru award for Best Production Design 2017 for Damilola, Our Loved Boy. Winner of BAFTA Cymru award for Best Production Design 2019 for Black Mirror: Bandersnatch. Agents Madeleine Pudney Assistant 020 3214 0999 Eliza McWilliams [email protected] 020 3214 0999 Daniela Manunza Assistant [email protected] Lizzie Quinn [email protected] + 44 (0) 203 214 0911 Credits In Development Production Company Notes CHASING AGENT Great Point Media / Rabbit Track Dirs: Declan Lawn & Adam FREEGARD Pictures / The Development Partnership Patterson 2021 Prods: Michael Bronner, Kitty Kaletsky & Robert Taylor SOULMATES 2 AMC / Amazon Postponed 2020 Film Production Company Notes United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] MRS LOWRY AND SON Genesius Pictures Dir: Adrian Noble Prod: Debbie Gray Period Drama 1930's Starring Vanessa Redgrave & Timothy 2019 Spall IBOY Wigwam Films/ Pretty Dir: Adam Randall Pictures Prods: Lucan Toh, Oliver Roskill, Emily Leo, Contemporary Gail Mutrux 2016 With Bill Milner, Rory Kinnear, Miranda Richardson, Maisie Williams BELIEVE Bill and Ben Productions Dir: David Scheinmann Prods: Manuela Noble, Ben Timlett 1950's/1980's With Brian Cox, Toby Stephens, Natascha 2013 McElhone Television Production Company Notes CURSED Netflix Dirs: Jon East, Zetna Fuentes, Daniel Nettheim and Sarah O'Gorman 10 x 60 Medieval Drama Showrunners: Tom Wheeler and Frank Miller 2019 -
JOHN RODDA – Sound Mixer CORMORAN STRIKE (Series 2) Director: Susan Tully
McKinney Macartney Management Ltd JOHN RODDA – Sound Mixer CORMORAN STRIKE (Series 2) Director: Susan Tully. Producer: Jackie Larkin. Starring: Tom Burke and Holliday Grainger. BBC. COME AWAY Director: Brenda Chapman. Producers: Angelia Jolie, Leesa Khan, Andrea Keir, David Oyelowo and James Spring. Starring: Angelia Jolie, Michael Caine and Gugu Mbatha-Raw. GEM Entertainment. THE SPLIT (Series 2) Director: Paula van der Oest. Producer: Natasha Romaniuk. Starring: Nicola Walker. Sister Pictures/AMC. WILD BILL Director: Annie Griffin. Producer: Chris Thompson. Starring: Rob Lowe. 42 / Anonymous Content / Shiver / ITV. FISHERMAN’S FRIENDS Director: Chris Foggin. Producers: Meg Leonard, Nick Moorcroft and James Spring. Starring: Tuppence Middleton, James Purefoy and Daniel Mays. Fred Films. THE ABC MURDERS Director: Alex Gabassi. Producer: Farah Abushwesha. Starring: John Malkovich, Eamon Farren and Michael Shaeffer. Mammoth Screen/Amazon Prime Video. 2019 Association of Motion Picture Sound (AMPS) nomination – Excellence in Sound Gable House, 18 – 24 Turnham Green Terrace, London W4 1QP Tel: 020 8995 4747 E-mail: [email protected] www.mckinneymacartney.com VAT Reg. No: 685 1851 06 JOHN RODDA Contd … 2 BLACK MIRROR: USS CALLISTER Director: Toby Haynes. Producer: Louise Sutton. Starring: Jesse Plemons, Cristin Milioti and Jimmi Simpson. Netflix. 2018 Cinema Audio Society (CAS) – Outstanding Achievement in Sound Mixing 2018 Association of Motion Picture Sound (AMPS) – Excellence in Sound BAFTA Nomination – Best Sound THAT GOOD NIGHT Director: Eric Styles. Producers: Alan Latham and Charles Savage. Starring: John Hurt, Sofia Helin and Max Brown. Goldfinch Studios/Eagle Films. HANK ZIPZER’S CHRISTMAS CATASROPHE Director: Matt Bloom. Producer: Matthew Mulot. Starring: Nick James, Neil Fitzmaurice and Juliet Cowan. -
Blade Runner Ebook, Epub
BLADE RUNNER PDF, EPUB, EBOOK Scott Bukatman | 112 pages | 04 Sep 2012 | British Film Institute | 9781844575220 | English | London, United Kingdom Blade Runner PDF Book All its moments have already been lost in my memory, while the original Blade Runner remains vivid in my mind, as if I only saw it yesterday. Archived from the original on October 13, Library of Congress Information Bulletin. October 12, Retrieved July 25, Watch the video. Pistorius' trial for murder began on 3 March , in the Pretoria High Court. February 15, From the s, licensing disputes over Philip K. Archived from the original on January 3, The Voight-Kampff is a polygraph -like machine used by blade runners to determine whether or not an individual is a replicant. See also: List of Blade Runner characters. Retrieved June 20, Best Science Fiction Film. In some printings, several pages of the comic were published out of order. Archived from the original on November 13, Pistorius was briefly released from prison for four hours on 14 October through a compassionate leave license to attend the funeral service of his grandmother, who died on 8 October The two reinforce each other so that someone who started with the novel would enjoy the movie and someone who started with the movie would enjoy the novel. British Board of Film Classification. Archived from the original on September 8, September 14, They return to Deckard's apartment and, during a discussion, he promises not to track her down. Archived from the original on October 2, On 8 December , it was announced Pistorius would continue to remain free on bail but under house arrest [] pending his appeal to the Constitutional Court. -
Loki Production Brief
PRODUCTION BRIEF “I am Loki, and I am burdened with glorious purpose.” —Loki arvel Studios’ “Loki,” an original live-action series created exclusively for Disney+, features the mercurial God of Mischief as he steps out of his brother’s shadow. The series, described as a crime-thriller meets epic-adventure, takes place after the events Mof “Avengers: Endgame.” “‘Loki’ is intriguingly different with a bold creative swing,” says Kevin Feige, President, Marvel Studios and Chief Creative Officer, Marvel. “This series breaks new ground for the Marvel Cinematic Universe before it, and lays the groundwork for things to come.” The starting point of the series is the moment in “Avengers: Endgame” when the 2012 Loki takes the Tesseract—from there Loki lands in the hands of the Time Variance Authority (TVA), which is outside of the timeline, concurrent to the current day Marvel Cinematic Universe. In his cross-timeline journey, Loki finds himself a fish out of water as he tries to navigate—and manipulate—his way through the bureaucratic nightmare that is the Time Variance Authority and its by-the-numbers mentality. This is Loki as you have never seen him. Stripped of his self- proclaimed majesty but with his ego still intact, Loki faces consequences he never thought could happen to such a supreme being as himself. In that, there is a lot of humor as he is taken down a few pegs and struggles to find his footing in the unforgiving bureaucracy of the Time Variance Authority. As the series progresses, we see different sides of Loki as he is drawn into helping to solve a serious crime with an agent 1 of the TVA, Mobius, who needs his “unique Loki perspective” to locate the culprits and mend the timeline. -
Representations of British Chinese Identities and British Television Drama: Mapping the Field
Representations of British Chinese identities and British television drama: mapping the field Article Accepted Version Knox, S. (2019) Representations of British Chinese identities and British television drama: mapping the field. Journal of British Cinema and Television, 16 (2). pp. 125-145. ISSN 1755-1714 doi: https://doi.org/10.3366/jbctv.2019.0465 Available at http://centaur.reading.ac.uk/78894/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . To link to this article DOI: http://dx.doi.org/10.3366/jbctv.2019.0465 Publisher: Edinburgh University Press All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Representations of British Chinese Identities and British Television Drama: Mapping the Field Abstract: While important scholarship exists on the television representations of Asian American identities, research in the UK has been focused on African Caribbean and South Asian identities. Very little scholarly attention has been paid to televisual representations of British Chinese identities, despite the British Chinese constituting one of the larger and fastest growing ethnic minority groups within contemporary Britain. Informed by an understanding of the complexity of the term ‘British Chinese’, this article explores the representation of British Chinese identities in British television drama. Despite the long-standing absence and invisibility of such identities in British television, as perceived within the popular imagination in Britain and British Chinese discourses, the article finds that a larger number of British Chinese actors have found notable employment in British television than is commonly acknowledged or remembered within the popular imagination. -
A Sony Pictures Classics Release
MOON A Sony Pictures Classics Release Directed By Duncan Jones Produced by Stuart Fenegan, Trudie Styler Written By Nathan Parker Starring Sam Rockwell Also Featuring Kevin Spacey as the voice of “Gerty” East Coast Publicity West Coast Publicity Distributor Donna Daniels PR. Block Korenbrot Sony Pictures Classics Donna Daniels Ziggy Kozlowski Carmelo Pirrone 20 West 22nd St., #1410 Judy Chang Leila Guenancia New York, NY 10010 110 S. Fairfax Ave, #310 550 Madison Ave 347-254-7054, ext 101 Los Angeles, CA 90036 New York, NY 10022 323-634-7001 tel 212-833-8833 tel 323-634-7030 fax 212-833-8844 fax DIRECTOR’S STATEMENT I have always been a fan of science fiction films. In my mind, the golden age of SF cinema was the ‘70s, early ‘80s, when films like Silent Running, Alien, Blade Runner and Outland told human stories in future environments. I’ve always wanted to make a film that felt like it could fit into that canon. There are unquestionably less of those kind of sci-fi films these days. I don’t know why. I have a theory though: I think over the last couple of decades filmmakers have allowed themselves to become a bit embarrassed by SF’s philosophical side. It’s OK to “geek out” at the cool effects and “oooh” and “ahh” at amazing vistas, but we’re never supposed to take it too seriously. We’ve allowed ourselves to be convinced that SF should be frivolous, for teenage boys. We’re told that the old films, the Outlands and Silent Runnings, were too plaintive, too whiney. -
Academy Invites 928 to Membership
MEDIA CONTACT [email protected] June 25, 2018 FOR IMMEDIATE RELEASE ACADEMY INVITES 928 TO MEMBERSHIP LOS ANGELES, CA – The Academy of Motion Picture Arts and Sciences is extending invitations to join the organization to 928 artists and executives who have distinguished themselves by their contributions to theatrical motion pictures. Those who accept the invitations will be the only additions to the Academy’s membership in 2018. Ten individuals (noted by an asterisk) have been invited to join the Academy by multiple branches. These individuals must select one branch upon accepting membership. New members will be welcomed into the Academy at invitation-only receptions in the fall. The 2018 invitees are: Actors Hiam Abbass – “Blade Runner 2049,” “The Visitor” Damián Alcázar – “The Chronicles of Narnia: Prince Caspian,” “El Crimen del Padre Amaro” Naveen Andrews – “Mighty Joe Young,” “The English Patient” Gemma Arterton – “Their Finest,” “Quantum of Solace” Zawe Ashton – “Nocturnal Animals,” “Blitz” Eileen Atkins – “Gosford Park,” “Cold Mountain” Hank Azaria – “Anastasia,” “The Birdcage” Doona Bae – “Cloud Atlas,” “The Host” Christine Baranski – “Miss Sloane,” “Mamma Mia!” Carlos Bardem – “Assassin’s Creed,” “Che” Irene Bedard – “Smoke Signals,” “Pocahontas” Bill Bellamy – “Any Given Sunday,” “love jones” Haley Bennett – “Thank You for Your Service,” “The Girl on the Train” Tammy Blanchard – “Into the Woods,” “Moneyball” Sofia Boutella – “The Mummy,” “Atomic Blonde” Diana Bracho – “A Ti Te Queria Encontrar,” “Y Tu Mamá También” Alice -
Towards British-Chinese Futures: a Social Geography of Second Generation Young Chinese People in London
Towards British-Chinese futures: a social geography of second generation young Chinese people in London. Pang, Kim Kiang The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author For additional information about this publication click this link. http://qmro.qmul.ac.uk/jspui/handle/123456789/1614 Information about this research object was correct at the time of download; we occasionally make corrections to records, please therefore check the published record when citing. For more information contact [email protected] Towards British-Chinese futures: a social geography of second generation young Chinese people in London Kim Kiang Pang Thesis submitted for degree of Ph.D Department of Geography Queen Mary and Westfield College University of London 1999 ABSTRACT This thesis is primarily concerned with the cultural identities of second generation British-Chinese people located within the urban context of London. There are two chief reasons why London is the setting of the study. One, it has the largest Chinese population of any city in Britain, accounting for over a third of the British total. Second, its Chinatown acts as an economic hub for Chinese social and cultural activity for the South East region. It is argued that the conditions of Chinese settlement in London allow for the formation of Chinese collectivities and identities characterised by a high level of heterogeneity. One of the principal aims of the research is to demonstrate how pre- existing writing on 'new ethnicities' in Britain may be applicable to Chinese youth. -
Chris Benstead
Chris Benstead COMPOSER Chris Benstead is a British film composer, arranger and Academy-Award winning re-recording mixer. He has worked on several projects with director Guy Ritchie including composing the score for The Gentlemen, starring Matthew McConaughey and Michelle Dockery and the upcoming action thriller Wrath of Man. He also arranged and composed additional music for Guy Ritchie’s Aladdin alongside legendary songwriter and composer Alan Menken and produced and arranged the songs in the film, working with Will Smith to create re-imagined versions of the classic Disney songs. Chris composed additional music for Beauty and The Beast working closely with Alan Menken and director Bill Condon. His arrangements helped contribute to the film’s massive success - becoming the biggest grossing musical of all time. Chris received OSCAR and BAFTA awards for his work as re-recording mixer on Alfonso Cuaron’s masterpiece Gravity, starring Sandra Bullock and George Clooney. Chris’ unique skillset allowed him to mix and sculpt the music in an extremely immersive way, pushing the limits of surround sound and exploiting the new ‘Dolby Atmos’ standard. As an in-demand music editor Chris has worked on over 40 films including the latest James Bond film No Time to Die, Wonder Woman, Black Swan, Brave, Thor and Cinderella and has worked with some of the most high-profile directors in the industry including Paul Greengrass and Sir Kenneth Branagh. Chris is a versatile multi-instrumentalist and achieved a First-Class honours in music and sound recording from the University of Surrey. He was also named as Alumni of the year for his ground-breaking achievement in music mixing on ‘Gravity’. -
©2019 Disney Enterprises, Inc. All Rights Reserved. DISNEY Tony
©2019 Disney Enterprises, Inc. All Rights Reserved. DISNEY Tony . F. MURRAY ABRAHAM presents Joe . .ARTURO CASTRO Doctor . KEN JEONG Foreman . .CURTIS LYONS Jock’s Owner . KATE KNEELAND Trusty’s Owner . DARRYL HANDY Lady . ROSE Tramp . MONTE Train Worker . ROBERT WALKER-BRANCHAUD A Dock Worker . ROGER PAYANO TAYLOR MADE Park Bench Lady . DENITRA ISLER Production Park Bench Gentleman . .CHARLES ORR Shopkeeper . .ALLEN EARLS Directed by . CHARLIE BEAN Poodle Owner . .KELLEY BROOKS Screenplay by . .ANDREW BUJALSKI Truck Driver . CAL JOHNSON and KARI GRANLUND Riverboat Jazz Musicians . TEDDY ADAMS Produced by . BRIGHAM TAYLOR, p.g.a. MELVIN JONES Executive Producer . .DIANE L. SABATINI CORDELL HALL Director of Photography . ENRIQUE CHEDIAK, ASC DAVID HAYES Production Designer . JOHN MYHRE STEFAN KLEIN Film Editor . MELISSA BRETHERTON TANNER HAMILTON Costume Designers . .COLLEEN ATWOOD BILLY HOFFMAN TIMOTHY A. WONZIK Jim’s Buddy #1 . .JASON BURKEY Visual Eff ects Supervisor . ROBERT WEAVER Jim’s Buddy #2 . .SWIFT RICE Visual Eff ects Producer . CHRISTOPHER RAIMO Shower Guest . .MICHAELA CRONAN Original Score Composed by . JOSEPH TRAPANESE Pet Shop Owner . .PARVESH CHEENA Casting by . .RICHARD HICKS Pet Shop Customer . INGA EISS Peg & Bull’s Owner . .MATT MERCURIO Unit Production Manager . DIANE L. SABATINI Ticket Attendant . MICHAEL TOUREK First Assistant Director . JODY SPILKOMAN Tony’s Patron . JENNIFER CHRISTA PALMER First Assistant Director . .ALEX GAYNER Tramp’s Owner #1 . MICHAEL SHENEFELT Second Assistant Director . .STEPHANIE TULL Tramp’s Owner #2 . .ALEXA STAUDT Riverboat Lady . .VIRGINIA KIRBY Drummer Boy . BRAELYN RANKINS Nighttime Train Worker #1 . ALAN BOELL Nighttime Train Worker #2 . DAVID JACKSON Harmonica Man . .PATRICK “LIPS” WILLIAMS Gentleman On Street . .KALVIN KOSKELA Brakeman . TERRY KOLLER VOICE CAST Riverboat Captain . -
1 Casting Matters
1 Casting Matters: Colour Trouble in the RSC’s The Orphan of Zhao Ashley Thorpe Casting is bound up in the dynamic relations that constitute the very production of theatre, including directorial interpretation/vision, style/genre, socio-political, economic and historical context of production, the conventions through which an audience objectifies a body, and the relationships between character and actor. The 2012-13 production of The Orphan of Zhao offers an invitation to recognise and reassess the significance and impact of casting processes. A play produced by the Royal Shakespeare Company (RSC) that is not a Shakespeare play, in fact, not even a Western source text but a Chinese one, raises all kinds of issues concerning representation, cultural imperialism, interculturalism and Otherness. In this article, I seek to argue for the importance of the analysis of casting, to explore why contemporary casting has the capacity to maintain or challenge social, ethnic and racial constructs, to ignite celebration or protest. In the first section, I explore the relationship between the actor’s material body, notions of ‘self’ on stage, and the construction of role. Drawing upon the work of Judith Butler, I suggest that casting produces the materiality of the actor, and, further, that casting functions as a discursive performative speech-act that connects theatre with performance in the everyday. I argue that this is why casting can be so controversial. I apply this framework to Ben Kingsley’s portrayal of The Mandarin in the 2013 film Iron Man 3, suggesting that the casting of Kingsley is relevant to the construction of textual meaning, facilitating a productively reflexive relationship between actor and role(s).1 Finally, I explore the RSC’s production of The Orphan of Zhao, questioning the 1 Iron Man 3 (2013), dir.