DOCSLIB.ORG

JANICE HAMPTON, A.C.E. Editor AMPAS, IATSE Local 700

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
JANICE HAMPTON, A.C.E. Editor AMPAS, IATSE Local 700 Screen Talent Agency 818 206 0144 JANICE HAMPTON, A.C.E. Editor AMPAS, IATSE local 700 Janice Hampton, after starting out at a post-production house, has enjoyed a long career working with off beat directors. A close collaboration with cult filmmaker John Waters (Hairspray, Crybaby, Serial Mom, Pecker) has been a highlight. Always about work, never ego, Hampton is razor focused on the storytelling and relationships. With extensive experience in all genres including drama, comedy, action, musicals, horror and documentaries Janice’s goal is to clearly bring the director’s vision to the screen. She is dedicated to reaching the highest expectations for those involved while delivering a finished property for which everyone can be proud. Based in Los Angeles, Janice is available for work worldwide. selected credits: production director / company feature films FIDDLIN’ (documentary) Julie Simone / Utopia Distribution FOR THE LOVE OF SPOCK (documentary) Adam Nimoy / 455 Films #HORROR Tara Manning, Chloé Sevigny, Timothy Hutton Tara Subkoff / Lowland / IFC NO PAY, NUDITY Frances Conroy, Gabriel Byrne, Nathan Lane Lee Wilkof / Paradigm 41 (documentary) Jeffrey Roth / HBO THE JONES David Duchovny, Demi Moore, Amber Heard Derrick Borte / Echo Lake Entertainment CABIN FEVER 2: Spring Fever Ti West / Lionsgate INSANITARIUM Peter Stormare, Kiele Sanchez Jeff Buhler / Sony Pictures HOW TO EAT FRIED WORMS Bob Dolman / New Line Cinema ICE PRINCESS Michelle Trachtenberg, Hayden Panettiere Tim Fywell / Walt Disney Pictures HOW TO DEAL Mandy Moore, Allison Janney Clare Kilner / Focus Features DROP DEAD GORGEOUS Kirsten Dunst, Ellen Barkin, Amy Adams Michael Patrick Jann / New Line Cinema SERIAL MOM Kathleen Turner, Sam Waterston John Waters / Savoy Pictures THE GUN IN BETTY LOU’S HANDBAG Julianne Moore Allan Moyle / Mill Creek Ent. FREDDY'S DEAD: THE FINAL NIGHTMARE Rachel Talalay / New Line Cinema PUMP UP THE VOLUME Christian Slater, Mimi Kennedy Allan Moyle / New Line Cinema CRY-BABY Johnny Depp, Willem Dafoe John Waters / Universal Pictures HAIRSPRAY Sonny Bono, Deborah Harry, Ricki Lake John Waters / New Line Cinema ROCKY II Sylvester Stallone, Talia Shire Sylvester Stallone / United Artists television THINGS YOU SHOULDN’T SAY PAST MIDNIGHT (multiple episodes) Jeremiah Chechik, Nick Hamm / Momentum TV LAW AND ORDER (multiple episodes) various / Dick Wolf / NBC JUMP IN! Andrew Carnegie Medal Winner Paul Hoen / Kevin Lafferty / Disney Channel assistant editor ROCKY (Scott Conrad, Editor) John G. Avildsen / United Artists BLUE COLLAR (Tom Rolf, Editor) Paul Schrader / Universal Pictures METEOR (Carl Kress, Editor) Ronald Neame / American International Pictures RAID ON ENTEBBE (telefilm) Irvin Kershner / NBC Thibault Nicholl The Screen Talent Agency 2920 W Olive Ave #201, Burbank, CA 91505 tel 818 206 0144 email [email protected] web www.screen-talent.com .
Load more

Recommended publications
  • Blockbusters: Films and the Books About Them Display Maggie Mason Smith Clemson University, [email protected]
    Clemson University TigerPrints Presentations University Libraries 5-2017 Blockbusters: Films and the Books About Them Display Maggie Mason Smith Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/lib_pres Part of the Library and Information Science Commons Recommended Citation Mason Smith, Maggie, "Blockbusters: Films and the Books About Them Display" (2017). Presentations. 105. https://tigerprints.clemson.edu/lib_pres/105 This Display is brought to you for free and open access by the University Libraries at TigerPrints. It has been accepted for inclusion in Presentations by an authorized administrator of TigerPrints. For more information, please contact [email protected]. Blockbusters: Films and the Books About Them Display May 2017 Blockbusters: Films and the Books About Them Display Photograph taken by Micki Reid, Cooper Library Public Information Coordinator Display Description The Summer Blockbuster Season has started! Along with some great films, our new display features books about the making of blockbusters and their cultural impact as well as books on famous blockbuster directors Spielberg, Lucas, and Cameron. Come by Cooper throughout the month of May to check out the Star Wars series and Star Wars Propaganda; Jaws and Just When you thought it was Safe: A Jaws Companion; The Dark Knight trilogy and Hunting the Dark Knight; plus much more! *Blockbusters on display were chosen based on AMC’s list of Top 100 Blockbusters and Box Office Mojo’s list of All Time Domestic Grosses. - Posted on Clemson University Libraries’ Blog, May 2nd 2017 Films on Display • The Amazing Spider-Man. Dir. Marc Webb. Perf. Andrew Garfield, Emma Stone, Rhys Ifans.
    [Show full text]
  • Fais-Moi Mal, Johnyy, Johnny, Johnny / Serial Mom De John Waters]
    Document généré le 25 sept. 2021 03:29 24 images Fais-moi mal, Johnyy, Johnny, Johnny Serial Mom de John Waters Marcel Jean Numéro 73-74, septembre–octobre 1994 URI : https://id.erudit.org/iderudit/23262ac Aller au sommaire du numéro Éditeur(s) 24/30 I/S ISSN 0707-9389 (imprimé) 1923-5097 (numérique) Découvrir la revue Citer ce compte rendu Jean, M. (1994). Compte rendu de [Fais-moi mal, Johnyy, Johnny, Johnny / Serial Mom de John Waters]. 24 images, (73-74), 98–98. Tous droits réservés © 24 images inc., 1994 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ SERIAL MOM DE JOHN WATERS FAIS-MOI MAL, JOHNNY, JOHNNY, JOHNNY par Marcel Jean n peut désormais affirmer O qu'il y a deux périodes dans la carrière de John Waters. D'abord la période underground, dominée par des films comme Female Trouble et Pink Flamingoes, puis la période industrielle, qui compte maintenant trois films: Hairspray, Cry-Baby et le récent Serial Mom. Entre ces deux pôles, Polyester, curieux film en Odorama, vient tracer une frontière mal gardée qui permet aux dernières réalisations du cinéaste de jouir de l'énergie délinquante de ses premiers films.
    [Show full text]
  • The New Hollywood Films
    The New Hollywood Films The following is a chronological list of those films that are generally considered to be "New Hollywood" productions. Shadows (1959) d John Cassavetes First independent American Film. Who's Afraid of Virginia Woolf? (1966) d. Mike Nichols Bonnie and Clyde (1967) d. Arthur Penn The Graduate (1967) d. Mike Nichols In Cold Blood (1967) d. Richard Brooks The Dirty Dozen (1967) d. Robert Aldrich Dont Look Back (1967) d. D.A. Pennebaker Point Blank (1967) d. John Boorman Coogan's Bluff (1968) – d. Don Siegel Greetings (1968) d. Brian De Palma 2001: A Space Odyssey (1968) d. Stanley Kubrick Planet of the Apes (1968) d. Franklin J. Schaffner Petulia (1968) d. Richard Lester Rosemary's Baby (1968) – d. Roman Polanski The Producers (1968) d. Mel Brooks Bullitt (1968) d. Peter Yates Night of the Living Dead (1968) – d. George Romero Head (1968) d. Bob Rafelson Alice's Restaurant (1969) d. Arthur Penn Easy Rider (1969) d. Dennis Hopper Medium Cool (1969) d. Haskell Wexler Midnight Cowboy (1969) d. John Schlesinger The Rain People (1969) – d. Francis Ford Coppola Take the Money and Run (1969) d. Woody Allen The Wild Bunch (1969) d. Sam Peckinpah Bob & Carol & Ted & Alice (1969) d. Paul Mazursky Butch Cassidy & the Sundance Kid (1969) d. George Roy Hill They Shoot Horses, Don't They? (1969) – d. Sydney Pollack Alex in Wonderland (1970) d. Paul Mazursky Catch-22 (1970) d. Mike Nichols MASH (1970) d. Robert Altman Love Story (1970) d. Arthur Hiller Airport (1970) d. George Seaton The Strawberry Statement (1970) d.
    [Show full text]
  • Any Gods out There? Perceptions of Religion from Star Wars and Star Trek
    Journal of Religion & Film Volume 7 Issue 2 October 2003 Article 3 October 2003 Any Gods Out There? Perceptions of Religion from Star Wars and Star Trek John S. Schultes Vanderbilt University, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Schultes, John S. (2003) "Any Gods Out There? Perceptions of Religion from Star Wars and Star Trek," Journal of Religion & Film: Vol. 7 : Iss. 2 , Article 3. Available at: https://digitalcommons.unomaha.edu/jrf/vol7/iss2/3 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]. Any Gods Out There? Perceptions of Religion from Star Wars and Star Trek Abstract Hollywood films and eligionr have an ongoing rocky relationship, especially in the realm of science fiction. A brief comparison study of the two giants of mainstream sci-fi, Star Wars and Star Trek reveals the differing attitudes toward religion expressed in the genre. Star Trek presents an evolving perspective, from critical secular humanism to begrudging personalized faith, while Star Wars presents an ambiguous mythological foundation for mystical experience that is in more ways universal. This article is available in Journal of Religion & Film: https://digitalcommons.unomaha.edu/jrf/vol7/iss2/3 Schultes: Any Gods Out There? Science Fiction has come of age in the 21st century. From its humble beginnings, "Sci- Fi" has been used to express the desires and dreams of those generations who looked up at the stars and imagined life on other planets and space travel, those who actually saw the beginning of the space age, and those who still dare to imagine a universe with wonders beyond what we have today.
    [Show full text]
  • UNIVERSITY of Southern CALIFORNIA 11 Jan
    UNIVERSAL CITY STUDIOS. INC. AN MCA INC. COMPANY r November 15, 1971 Dr. Bernard _R. Kantor, Chairman Division of Cinema University <;:>f S.outhern California University Park Los Angeles, Calif. 90007 Dear Dr. Kantor: Forgive my delay in answering your nice letter and I want to assure you I am very thrilled about being so honored by the Delta Kappa Al ha, and I most certainly will be present at the . anquet on February 6th. Cordia ~ l I ' Edi ~'h EH:mp 100 UNIVERSAL CITY PLAZA • UNIVERSAL CITY, CALIFORNIA 91608 • 985-4321 CONSOLIDATED FILM I DU TRIES 959 North Seward Street • Hollywood, California 90038 I (213) 462 3161 telu 06 74257 1 ubte eddr n CONSOLFILM SIDNEY P SOLOW February 15, 1972 President 1r. David Fertik President, DKA Uni ersity of Southern California Cinema Department Los Angels, California 90007 Dear Dave: This is to let you know how grateful I am to K for electing me to honorary membership. This is an honor, I must confess, that I ha e for many years dar d to hope that I would someday receive. So ;ou have made a dre m c me true. 'I he award and he widespread publici : th· t it achieved brought me many letters and phone calls of congra ulations . I have enjoyel teaching thee last twent, -four years in the Cinema Department. It is a boost to one's self-rep ct to be accepted b: youn , intelligent people --e peciall, those who are intere.ted in film-m·king . Please e t nJ my thanks to all t e ho ~ere responsible for selec ing me for honor ry~ m er_hip.
    [Show full text]
  • Field+Perspectives+2017.Pdf
    Field Perspectives is an arts writing project organized by Common Field in collaboration with nine arts publishing organizations around the US. Field Perspectives publishes writing that considers the state of the artist organization field and the key ideas explored in the Common Field 2017 Los Angeles Convening. The nine 2017 Field Perspectives partners are Los Angeles publications Contemporary Art Review Los Angeles (CARLA), contemptorary, X-TRA; and national publications ARTS. BLACK (Detroit/New York), Art Practical (Bay Area), The Chart (Portland, ME), DIRT (DC, Maryland, Virginia (DMV) Area), Pelican Bomb (New Orleans), and Temporary Art Review (St. Loius). Commissioned writers include Chloë Bass, Dan Bustillo, Travis Diehl, Lucy Lopez, Lindsay Preston Zappas, Ellen Tani, Anuradha Vikram; Andrea Andersson, Imani Jacqueline Brown, L. Kasimu Harris, and Charlie Tatum; and a collaborative essay by Ani Bradberry, Martina Dodd, Andy Johnson, Jordan Martin & Ikram Lakhdhar, Georgie Payne, and Valerie Wiseman. Thanks to the organizing and editing efforts of the people behind our nine partner organizations — Taylor Renee Aldridge, Anahita Bradberry, Michele Carlson, Poppy Coles, Jenna Crowder, Martina Dodd, Andy Johnson, Gelare Khoshgozaran, Eunsong Kim, Ikram Lakhdhar, Jessica Lynne, Shana Lutker, Jordan Martin, James McAnally, Georgie Payne, Lindsay Preston Zappas, Cameron Shaw, Vivian Sming, Charlie Tatum, and Valerie Wiseman. Each publication commissioned writing published weekly throughout October 2017, with goals of catalyzing discussion, dialog, and debate before, during and after the Los Angeles Convening. To see the 2016 Field Perspectives project, you can download a PDF of the essays from Common Field or read on websites of 2016 partners Miami Rail and Temporary Art Review.
    [Show full text]
  • Aurora Models, Garage Kits and the Object Practices of Horror
    Materializing Monsters: Aurora Models, Garage Kits, and the Object Practices of Horror Media Bob Rehak Figure 1 The July 1962 issue of Famous Monsters of Filmland carried an advertisement for a new product from Aurora Plastics Company: a scale model of Frankenstein’s Monster (Figure 1). Announcing the first in what would become a long-running and profitable line of Aurora kits based on classic horror-movie creatures, the ad copy, running beside an exploded view of the model’s individual parts alongside a finished and painted version, emphasized rather than elided the steps required to make it whole: YOU ASKED FOR IT — AND HERE IT IS: A COMPLETE KIT of molded styrene plastic to assemble the world’s most FAMOUS MONSTER — 2 Frankenstein! A total of 25 separate pieces go into the making of this exciting, perfectly-scaled model kit by Aurora, quality manufacturer of scale model hobby sets. The FRANKENSTEIN MONSTER stands over 12-inches when assembled. You paint it yourself with quick-dry enamel, and when finished the menacing figure of the great monster appears to walk right off the GRAVESTONE base that is part of this kit. Taken with its insistent second-person you, the text’s avowal of “kit-ness” suggests that the appeal of monster models stemmed not just from their iconic content, but the way they promised to transform readers into modelers in a mutually reinforcing relationship of agency, much as the otherwise static and nonarticulated plastic monster would appear to “walk right off” its base. (Even the choice of subject held a felicitous
    [Show full text]
  • The Clone Wars : Official Episode Guide Pdf, Epub, Ebook
    STAR WARS: THE CLONE WARS : OFFICIAL EPISODE GUIDE PDF, EPUB, EBOOK none | 192 pages | 30 Sep 2010 | Penguin Random House Childrens UK | 9781409390336 | English | United Kingdom Star Wars: The Clone Wars : Official Episode Guide PDF Book In fact, they even make changes after the movie wraps in post-production using computers and voiceover dialogue. In Mark Hamill's words, one of the biggest discrepancies from the early script to the final product is the title itself. This simple truth even got in the way of his relationship with Lucas back on the set of Episode VI. The original plan for the sequel trilogy was for Luke to find her. Emerald Fennell's debut feature is so razor sharp you'll have to check yourself for wounds. What is an octane rating? While his lines were changed to beeps and boops and "weeeee! John Williams is Returning There was a time when this was somewhat in doubt, but luckily it was announced on July 27 that the legendary composer John Williams would return to the Star Wars series. February 17, at pm. The only semi-major contradiction I can think of is the scar on Anakin, the timing of when he gets it is off between the two. MegaSean45 says:. Kyler says:. Agreed Carlos. Squiggy says:. While it was long-rumored that he played the role, voice actor Jason Wingreen who originally auditioned for Yoda revealed he was behind the character two decades later. Taken prisoner by the Pykes, Ahsoka and the Martez sisters attempt to escape. You can also see the start of the list explained on the sw.
    [Show full text]
  • Acotaciones Y Sus Variaciones En Titulares De Prensa Económica Inglesa: Un Análisis Cognitivo
    UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE FILOLOGÍA DEPARTAMENTO DE FILOLOGÍA INGLESA I TESIS DOCTORAL Acotaciones y sus variaciones en titulares de prensa económica inglesa: un análisis cognitivo MEMORIA PARA OPTAR AL GRADO DE DOCTORA PRESENTADA POR María Piedad Fernández Arias DIRECTOR Michael C. White Hayes Madrid, 2016 © María Piedad Fernández Arias, 2015 UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE FILOLOGÍA Departamento de Filología Inglesa I ACOTACIONES Y SUS VARIACIONES EN TITULARES DE PRENSA ECONÓMICA INGLESA: UN ANÁLISIS COGNITIVO Tesis doctoral M. Piedad Fernández Arias Director: Dr. Michael C. White Hayes Madrid, 2015 Acotaciones y sus variaciones en titulares de prensa económica inglesa: un análisis cognitivo Quotations and their variation patterns in business and politics English press headlines: A cognitive analysis Doctoral thesis M. Piedad Fernández Arias ([email protected]) Instructor: Dr. Michael C. White Hayes Madrid, 2015 2 Contents page List of Figures and Tables ........................................................................ 6 Acknowledgements ..................................................................................... 7 I) Abstract ……………………..………………..............…...…….. 8 Resumen ....................................................................................... 13 II) Introduction .................. ................................................................ 19 1. Scope of the study ..................................................... .............. 20 2. The concept of ‘intertextuality’
    [Show full text]
  • ANTIUTOPIAS Literatura, Cinema E Crítica Social 1895-1990
    1 ANTIUTOPIAS literatura, cinema e crítica social 1895-1990 Vittorio Pastelli Palavras-chaves: antiutopia, distopia, sociologia da ciência, cinema, George Orwell, H. G. Wells, Kurt Vonnegut, Yevgeny Zamyatin, Jonathan Swift, Aldous Huxley, James Gunn, Daniel Drode, Ray Bradbury, ficção científica. ÍNDICE INTRODUÇÃO 1. O HORIZONTE a. o futuro sombrio b. caracterizando o objeto de estudo c. delimitações 2. HISTÓRIA DO FUTURO a. descontinuidade não-radical b. descontinuidade radical 1: o holocausto c. descontinuidade radical 2: a antiutopia d. mais uma perspectiva 3. AS ANTIUTOPIAS a. requisitos formais do gênero b. condições históricas quando de seu surgimento 4. ANTIUTOPIAS REPRESENTATIVAS 2 a. a construção da antiutopia: “Revolução no futuro” b. as antiutopias com classes b1. “Uma história dos tempos futuros” b2. “Admirável mundo novo” b3. “1984” c. as antiutopias sem classes c1. “Nós” c2. “Fahrenheit 451” d. as antiutopias não-sociais d1. “Os vendedores da felicidade” d2. “A superfície do planeta” 5. A IMAGEM DO FUTURO a. o papel social da ciência e da tecnologia b. a sociedade e o indivíduo 6. BIBLIOGRAFIA a. obras de referência consultadas b. obras literárias citadas 7. APÊNDICE (o futuro no cinema- 85 filmes) INTRODUÇÃO O assunto de que trata este livro é bastante conhecido: literatura futurística. Seu principal objetivo é mostrar que essa literatura pode ser vista como “sociologia em forma de ficção”. Alguns de seus textos mais bem articulados nada ficam a dever, em termos de capacidade de antecipação, rigor e perspicácia quanto ao desenvolvimento provável de 3 tendências atuantes no mundo, a obras que estamos acostumados a filiar à (boa) sociologia da ciência.
    [Show full text]
  • John Waters (Writer/Director)
    John Waters (Writer/Director) Born in Baltimore, MD in 1946, John Waters was drawn to movies at an early age, particularly exploitation movies with lurid ad campaigns. He subscribed to Variety at the age of twelve, absorbing the magazine's factual information and its lexicon of insider lingo. This early education would prove useful as the future director began his career giving puppet shows for children's birthday parties. As a teen-ager, Waters began making 8-mm underground movies influenced by the likes of Jean-Luc Godard, Walt Disney, Andy Warhol, Russ Meyer, Ingmar Bergman, and Herschell Gordon Lewis. Using Baltimore, which he fondly dubbed the "Hairdo Capitol of the World," as the setting for all his films, Waters assembled a cast of ensemble players, mostly native Baltimoreans and friends of long standing: Divine, David Lochary, Mary Vivian Pearce, Mink Stole and Edith Massey. Waters also established lasting relationships with key production people, such as production designer Vincent Peranio, costume designer Van Smith, and casting director Pat Moran, helping to give his films that trademark Waters "look." Waters made his first film, an 8-mm short, Hag in a Black Leather Jacket in 1964, starring Mary Vivian Pearce. Waters followed with Roman Candles in 1966, the first of his films to star Divine and Mink Stole. In 1967, he made his first 16-mm film with Eat Your Makeup, the story of a deranged governess and her lover who kidnap fashion models and force them to model themselves to death. Mondo Trasho, Waters' first feature length film, was completed in 1969 despite the fact that the production ground to a halt when the director and two actors were arrested for "participating in a misdemeanor, to wit: indecent exposure." In 1970, Waters completed what he described as his first "celluloid atrocity," Multiple Maniacs.
    [Show full text]
  • NEWS ALERT: BFI Celebrate Star Wars Day – Saturday 13 December
    NEWS ALERT: BFI celebrate Star Wars Day – Saturday 13 December Tuesday 28 October 2014, London As part of the BFI’s three-month blockbuster season, Sci-Fi: Days of Fear and Wonder presented together with O2, the BFI will be celebrating STAR WARS DAY on Saturday 13 December 2014, with special guests to be announced in due course. As the UK continues to play a major role in the production of JJ Abrams’ forthcoming STAR WARS film, the BFI are taking audiences back to the very beginning with a very special day dedicated to the mother of all Space Operas. STAR WARS DAY on Saturday 13 December 2014 will comprise of screenings of the special editions of STAR WARS EPISODE IV: A NEW HOPE (1977), STAR WARS EPISODE V: THE EMPIRE STRIKES BACK (1980) and STAR WARS EPISODE VI: RETURN OF THE JEDI (1983), plus special guests (TBA). Prizes will be given to audience members who dress to impress, and at the end of the night there will be a themed DJ set and space inspired cocktails in benugo, which will be transformed into the BFI’s own Mos Eisley Cantina. Throughout the Sci-Fi season fans will also be able to take a look behind the scenes with a unique exhibition. ON-SET: STAR WARS EPISODE IV: A NEW HOPE (Until 4 Jan, BFI Southbank Atrium) will provide a rare opportunity to see one of the treasures of the BFI National Archive: an original shooting script for EPISODE IV: A NEW HOPE. The script was donated to the BFI by the film’s continuity supervisor Ann Skinner, and as such includes extensive shooting notes, deleted scenes and unique Polaroid photographs which give a fascinating insight into the making of the film.
    [Show full text]