Carlos Rosario

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CARLOS ROSARIO COSTUME DESIGNER (Fluent in French, English, Spanish | EU Passport) http://www.carlosrosario.squarespace.com/ IATSE Local 892 FEATURES JOLT Millennium Films Prod: Tevor Short, Les Weldon Dir: Tanya Wexler THE GIRL IN THE SPIDER’S WEB Sony Prod: Bob Dohrmann, Amy Pascal Dir: Fede Alvarez BEIRUT Good Universe Prod: Monica Levinsson, Steve Saeta Dir: Brad Anderson DON’T BREATHE Good Universe Prod: Sam Raimi, Cristen Carr Strubbe Dir: Fede Alvarez BOULEVARD Camelia Productions Prod: Mark Moran, Todd Williams Dir: Dito Montiel RUNNER, RUNNER (Co-CD) FOX Prod: Erik Holmberg, Leonardo DiCaprio Dir: Brad Furman CAPTAIN AMERICA: Marvel Studios Prod: Kevin Feige, Stan Lee Dir: Anthony Russo, Joe Russo THE WINTER SOLDIER (Asst. CD) GREEN LANTERN (Asst. CD) Warner Bros. Prod: Donald De Line, Greg Berlanti Dir: Martin Campbell TRON: LEGACY (Asst. CD) Walt Disney Pictures Prod: Jeffrey Silver, Sean Bailey Dir: Joseph Kosinski 3:10 TO YUMA(Asst. CD) Lionsgate Prod: Cathy Konrad, Ryan Kavanaugh Dir: James Mangold WALK THE LINE (Asst. CD) 20th Century Fox Prod: Alan C. Blomquist, Cathy Konrad Dir: James Mangold THREE KINGS (Asst. CD) Warner Bros. Prod: Edward McDonnell, Charles Roven Dir: David O. Russell TELEVISION THE BRAVE (Pilot) Universal/NBC Prod: Dean Georgarris, Rachel Kaplan Dir: Brad Anderson A.P.B. (Pilot) 20th Century Fox/FOX Prod: Todd Hoffmann, Dennis Kim Dir: Len Wiseman THE LAST SHIP (Seasons 1 & 2) TNT Prod: Michael Bay Dir: Jack Bender LA FEMME MUSKETEER (Mini-Series) Hallmark Prod: Stephen Bridgewater, Larry Levinson Dir: Steve Boyum COSTUME ILLUSTRATOR A SERIES OF UNFORTUNATE EVENTS Paramount Pictures Prod: Julia Pistor, Scott Rudin Dir: Brad Silberling STARSKY AND HUTCH Dimension Films Prod: Ailbert Adler, Ben Stiller Dir: Todd Phillips X-MEN 2 20th Century Fox Prod: Avi Arad, Stan Lee, Bryan Singer Dir: Bryan Singer CHICAGO Miramax Prod: Jennifer Berman, Sam Crothers Dir: Rob Marshall *Academy Award Winner for Best Picture, 2002 ROCK STAR Warner Bros. Prod: George Clooney, Steven Reuther Dir: Stephen Herek PLANET OF THE APES 20th Century Fox Prod: Ralph Winter, Iain Smith Dir: Tim Burton SLEEPY HOLLOW Paramount Pictures Prod: Scott Rudin, Francis Ford Coppola Dir: Tim Burton 405 S Beverly Drive, Beverly Hills, California 90212 - T 310.888.4200 - F 310.888.4242 www.apa-agency.com .

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DAN LEIGH Production Designer
(3/31/17) DAN LEIGH Production Designer FILM & TELEVISION DIRECTOR COMPANIES PRODUCERS “GYPSY” Sam Taylor-Johnson Netflix Rudd Simmons (TV Series) Scott Winant Universal Television Tim Bevan “THE FAMILY” Paul McGuigan ABC David Hoberman (Pilot / Series) Mandeville Todd Lieberman “FALLING WATER” Juan Carlos Fresnadillo USA Gale Anne Hurd (Pilot) Valhalla Entertainment Blake Masters “THE SLAP” Lisa Cholodenko NBC Rudd Simmons (TV Series) Michael Morris Universal Television Ken Olin “THE OUTCASTS” Peter Hutchings BCDF Pictures Brice Dal Farra Claude Dal Farra “JOHN WICK” David Leitch Thunder Road Pictures Basil Iwanyk Chad Stahelski “TRACERS” Daniel Benmayor Temple Hill Entertainment Wyck Godfrey FilmNation Entertainment D. Scott Lumpkin “THE AMERICANS” Gavin O'Connor DreamWorks Television Graham Yost (Pilot) Darryl Frank “VAMPS” Amy Heckerling Red Hour Adam Brightman Lucky Monkey Stuart Cornfeld Molly Hassell Lauren Versel “PERSON OF INTEREST” Various Bad Robot J.J. Abrams (TV Series) CBS Johanthan Nolan Bryan Burk Margot Lulick “WARRIOR” Gavin O’Connor Lionsgate Greg O’Connor Solaris “MARGARET” Kenneth Lonergan Mirage Enterprises Gary Gilbert Fox Searchlight Sydney Pollack Scott Rudin “BRIDE WARS” Gary Winick Firm Films Alan Riche New Regency Pictures Peter Riche Julie Yorn “THE BURNING PLAIN” Guillermo Arriaga 2929 Entertainment Laurie MacDonald Walter F. Parkes SANDRA MARSH & ASSOCIATES Tel: (310) 285-0303 Fax: (310) 285-0218 e-mail: [email protected] (3/31/17) DAN LEIGH Production Designer ---2-222---- FILM & TELEVISION COMPANIES
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Valkyrie Talent
Valkyrie Talent: Tom Cruise, Bill Nighy, Terence Stamp, Tom Wilkinson, Clarice van Houten, Kenneth Branagh, David Bamber, Thomas Kretschmann, Eddie Izzard. Date of review: Thursday 22nd January, 2009 Director: Bryan Singer Duration: 122 minutes Classification: M We rate it: 2 and a half stars. Valkyrie has been widely billed as the first of Tom Cruise’s steps back into the A-list stratosphere. After all the couch-jumping, manager-firing, studio-hopping, Scientology-spouting weirdness, Tom has apparently decided to get his career back on track (despite the fact that it is arguably in quite good shape, with the star sporting a recent Golden Globe nomination for his quite hilarious turn in Ben Stiller’s Tropic Thunder). Valkyrie is indeed a very serious and sombre film, and despite the fact that it’s backed by a healthy budget, it is a film that is all about performances, so with all of that in mind, it does seem like a decent choice for an actor bent on returning to centre stage. Valkyrie is one of many recent films that tells a story about World War II as a good old espionage thriller, replete with the odd reflection upon some of our contemporary world’s conflicts. The film’s plot revolves around one of the numerous attempts that Germans army officers made to assassinate Adolf Hitler. Anyone who knows his or her history knows that there were quite a few attempts to kill the Nazi leader, but it’s of course also a widely known fact that Hitler survived all of those attempts, and the he suicided when the Allied victory became apparent.
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Noir Guilt Complex
Hugvísindasvið Noir Guilt Complex The Death of Women as a Catalyst for Character Development and Plot in the Films of Christopher Nolan Ritgerð til BA-prófs í kvikmyndafræði Sverrir Sigfússon Janúar 2015 Háskóli Íslands Hugvísindasvið Kvikmyndafræði Noir Guilt Complex The Death of Women as a Catalyst for Character Development and Plot in the Films of Christopher Nolan Ritgerð til BA-prófs í kvikmyndafræði Sverrir Sigfússon Kt.: 240890-2409 Leiðbeinandi: Lára Marteinsdóttir Janúar 2015 Extract This essay provides a feminist analysis of Christopher Nolan’s films; examining the complicate role of women in relation to the guilt-ridden protagonists, with their deaths serving as a foundation for the narrative trajectory of the male characters, and how this conveys messages to the audience that propagate the prevailing patriarchal worldview. Nolan actively blends disparate genres, infusing them with film noir influences that predicate his use of this recurrent theme. Arguments will be supported by source material from E. Ann Kaplan, Janey Place, Christine Gledhill, Edward Dimendberg, Richard Armstrong, and Sylvia Harvey, as well as a varied assortment of articles, interviews, and profiles written about Christopher Nolan and his films, along with further material relating to film noir. The essay is split into five segments; an introduction, two theoretical chapters, an analytical chapter split into four sub-chapters, and final words. The first theoretical chapter establishes the traits of film noir and the roles of women in noir films. The second theoretical chapter provides a short biography of Christopher Nolan and then connects his films to the previously established film noir, as well as detailing its revival as neo-noir.
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Singer, Bryan (B
Singer, Bryan (b. 1965) by Richard G. Mann Bryan Singer in 2006. Photograph created by Encyclopedia Copyright © 2015, glbtq, Inc. Flickr member [177]. Entry Copyright © 2008 glbtq, Inc. Image appears under the Reprinted from http://www.glbtq.com Creative Commons Attribution 2.0 license. Bryan Singer is a leading contemporary American director and producer of motion pictures and television programs. Working within such popular genres as film noir and science fiction, he challenges viewer expectations by overturning standard narrative formulae and by developing exceptionally complex characters. In his films, he consistently emphasizes the fluidity and ambiguity of all identity categories, including those pertaining to gender and sexuality. A gay Jewish man, he is acutely aware of the difficulties encountered by minorities. Therefore, many of his projects have been concerned with individuals and groups who have been stigmatized because of perceived differences from those who assume the authority to define what is normal. His X-Men (2000) and X-2 (2003) have achieved mainstream commercial success while simultaneously enjoying cult status among queer audiences. Origins: Childhood and Adolescence Bryan Singer was born on September 17, 1965 in New York City. At the age of two months, he was adopted by Norbert Singer, a corporate credit manager for Maidenform Company (a manufacturer of women's apparel), and Gloria Sinden, later a prominent environmental activist. He grew up in suburban New Jersey, primarily in the affluent communities of Princeton Junction and Lawrenceville. Although troubled by the divorce of his parents when he was twelve years old, he remained close to both of them.
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Mutant Power As Symbol of American Ideal in Realizing Their Dream Reflected in X-Men I by Bryan Singer
MUTANT POWER AS SYMBOL OF AMERICAN IDEAL IN REALIZING THEIR DREAM REFLECTED IN X-MEN I BY BRYAN SINGER a Final Project Submitted in Partial Fulfillment of the Requirement for the Sarjana Sastra in English by Kukuh Tri Nugroho 2250404555 ENGLISH DEPARTMENT FACULTY OF LANGUAGES AND ARTS SEMARANG STATE UNIVERSITY 2009 ABSTRACT Nugroho Tri, Kukuh. 2009. Mutant Power as Symbol of American Ideal in Realizing Their Dream Revealed in X-Men I by Bryan Singer. Final Project. Semarang: Faculty of Languages and Arts. Semarang State University. 1st Advisor: Drs. Amir Sisbiyanto, M.Hum. 2nd Advisor: Intan Permata Hapsari, S.Pd, M.Pd Keywords: Mutant Power, American Dream, symbolism Mutation is the beginning of evolution. People who evolve have god-liked powers which are far beyond of ordinary human. There are two types of power; those are physical mutant power and physics mutant power. These mutation effect the society which holds the American Dream as a belief. For many reason mutants does not believe the American Dream and they are going to berserk as they believe that they are more superior than the ordinary humans. On the other hand, because of the differences of power, human feel that mutants are dangerous and need to be separated from the society. But there are mutants who believe that mutants and humans can live co-exist in one society. The problems of this study are: what American Dream is revealed in the film X-Men; what characters of mutant power are revealed in the film X-Men; and how mutant power symbolizes the failure of American Dream in the film X-Men.
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80S 90S Hand-Out
FILM 160 NOIR’S LEGACY 70s REVIVAL Hickey and Boggs (Robert Culp, 1972) The Long Goodbye (Robert Altman, 1973) Chinatown (Roman Polanski, 1974) Night Moves (Arthur Penn, 1975) Farewell My Lovely (Dick Richards, 1975) The Drowning Pool (Stuart Rosenberg, 1975) The Big Sleep (Michael Winner, 1978) RE- MAKES Remake Original Body Heat (Lawrence Kasdan, 1981) Double Indemnity (Billy Wilder, 1944) Postman Always Rings Twice (Bob Rafelson, 1981) Postman Always Rings Twice (Garnett, 1946) Breathless (Jim McBride, 1983) Breathless (Jean-Luc Godard, 1959) Against All Odds (Taylor Hackford, 1984) Out of the Past (Jacques Tourneur, 1947) The Morning After (Sidney Lumet, 1986) The Blue Gardenia (Fritz Lang, 1953) No Way Out (Roger Donaldson, 1987) The Big Clock (John Farrow, 1948) DOA (Morton & Jankel, 1988) DOA (Rudolf Maté, 1949) Narrow Margin (Peter Hyams, 1988) Narrow Margin (Richard Fleischer, 1951) Cape Fear (Martin Scorsese, 1991) Cape Fear (J. Lee Thompson, 1962) Night and the City (Irwin Winkler, 1992) Night and the City (Jules Dassin, 1950) Kiss of Death (Barbet Schroeder 1995) Kiss of Death (Henry Hathaway, 1947) The Underneath (Steven Soderbergh, 1995) Criss Cross (Robert Siodmak, 1949) The Limey (Steven Soderbergh, 1999) Point Blank (John Boorman, 1967) The Deep End (McGehee & Siegel, 2001) Reckless Moment (Max Ophuls, 1946) The Good Thief (Neil Jordan, 2001) Bob le flambeur (Jean-Pierre Melville, 1955) NEO - NOIRS Blood Simple (Coen Brothers, 1984) LA Confidential (Curtis Hanson, 1997) Blue Velvet (David Lynch, 1986) Lost Highway (David
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PAJ77/No.03 Chin-C
AIN’T NO SUNSHINE The Cinema in 2003 Larry Qualls and Daryl Chin s 2003 came to a close, the usual plethora of critics’ awards found themselves usurped by the decision of the Motion Picture Producers Association of A America to disallow the distribution of screeners to its members, and to any organization which adheres to MPAA guidelines (which includes the Motion Picture Academy of Arts and Sciences). This became the rallying cry of the Independent Feature Project, as those producers who had created some of the most notable “independent” films of the year tried to find a way to guarantee visibility during award season. This issue soon swamped all discussions of year-end appraisals, as everyone, from critics to filmmakers to studio executives, seemed to weigh in with an opinion on the matter of screeners. Yet, despite this media tempest, the actual situation of film continues to be precarious. As an example, in the summer of 2003 the distribution of films proved even more restrictive, as theatres throughout the United States were block-booked with the endless cycle of sequels that came from the studios (Legally Blonde 2, Charlie’s Angels: Full Throttle, Terminator 3, The Matrix Revolutions, X-2: X-Men United, etc.). A number of smaller films, such as the nature documentary Winged Migration and the New Zealand coming-of-age saga Whale Rider, managed to infiltrate the summer doldrums, but the continued conglomeration of distribution and exhibition has brought the motion picture industry to a stultifying crisis. And the issue of the screeners was the rallying cry for those working on the fringes of the industry, the “independent” producers and directors and small distributors.
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JOHN DYKSTRA Visual Effects Supervisor
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Final Version
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by SHAREOK repository UNIVERSITY OF CENTRAL OKLAHOMA Edmond, Oklahoma Jackson College of Graduate Studies Spandex Cinema: Three Approaches to Comic Book Film Adaptation A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of MASTER OF ARTS IN ENGLISH By Benjamin Smith Edmond, Oklahoma 2009 ABSTRACT OF THESIS University of Central Oklahoma Edmond, Oklahoma NAME: Benjamin Smith TITLE OF THESIS: Spandex Cinema: Three Approaches to Comic Book Film Adaptation DIRECTOR OF THESIS: Dr. John P. Springer PAGES: 66 Adapting graphic novels requires new approaches in the theoretical models currently available to film theorists. Comic book films must be dissected beyond references to character, setting, plot, or story; analysis must consider the choice of plot and story within or outside a preexisting canon, the exclusion or inclusion of thematic elements, and the fidelity of visual narrative. The intertextual variability intensifies when considering comic book films and new methodologies are required for a proper examination of this genre. Using the works of comics scholars (McCloud, Eisner, and Ewert, et al), the studies of film theorists (Andrew, Wager, Ryan, Bordwell, et al) and graphic novels from highly regarded authors and artists (Miller, Moore, et al) new modes of adaptation emerge as specifically designed both for the comic book film and a greater understanding of visual narrative. iii Acknowledgements In the winter of my sophomore year of college I was told by a friend to read Watchmen and The Dark Knight Returns.
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Scott Essman – 2010 Resume
Scott Essman – 2010 Resume Electronic Press Kit Producer, Writer and Publicist UNIVERSAL STUDIOS HOME ENTERTAINMENT 2002 - present (writer and publicist) Wrote all magazine articles, press releases, publicity materials, announcements, interviews, web pages and videotape content for select titles of Universal Studios new DVD releases in the science fiction, fantasy, and horror genre; served as key niche publicist for said titles; covered press junkets, special effects demonstrations, and interview sessions as lead journalist and publicist; titles included Jaws, Van Helsing, The Animated Mummy, Land of the Dead, Shaun of the Dead, Dawn of the Dead, White Noise, Seed of Chucky, Chronicles of Riddick, Van Helsing: London Assignment, Pitch Black, Slither, Dracula, Frankenstein, and seven of the “Classic Monster” re-releases, plus two different releases of Peter Jackson’s King Kong; in 2007, handled The Sci-Fi Boys’ Saturn Award campaign, plus Serenity, Flash Gordon; in 2008, handled The Mummy, Scorpion King 2, The Incredible Hulk and The Mummy: Tomb of the Dragon Emperor. Video Producer ACTUAL REALITY 2006/2007 (creator/producer) Co-created and co-produced genre reality TV show, MY SCIENCE FICTION PROJECT, currently being set up through RJ Cutler’s Actual Reality Entertainment as of Winter 2008-2009. UNIVERSAL STUDIOS HOME ENTERTAINMENT 2004 - present (producer) Created and produced promotional documentary-style videos for DVD publicity purposes for the following titles: Van Helsing, Land of the Dead, Dawn of the Dead, Seed of Chucky, and Chronicles of Riddick, Hulk. VISIONARY CINEMA/WARNER BROS. 1996 - present (writer-director-producer) Created and produced the behind-the-scenes entertainment-based documentary videos/DVDs for the following titles: Making Wolvy (1996), A Tribute to Dick Smith (1996).
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The Last Heist Revisited: Reimagining Hollywood Genre in Contemporary
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THE #METOO MOVEMENT and BLACK FEMINISM How the Mainstream White Feminist Movement Failed Black Women and Where We Go from Here
THE #METOO MOVEMENT AND BLACK FEMINISM How the Mainstream White Feminist Movement Failed Black Women and Where We Go From Here JULIA STEGGERDA-COREY, J.D. VICTORIA MILLET, J.D. THE EARLY START • 2006: Burke used phrase “MeToo” on MySpace • Purpose: focused on helping women and girls of color who had survived sexual violence • Spread a message for survivors: You’re heard, you’re understood THE #METOO MOVEMENT: WHEN WHITE FEMINISM TOOK OVER THE BEGINNING OF THE MAINSTREAM MOVEMENT Oct. Oct. 5, 15, Alyssa Milano 2017 Ashley Judd tweet spurs an accuses Harvey 2017 explosion of the Weinstein of #MeToo sexual violence movement THE MOVEMENT EXPLODES • #MeToo was used over 14 million times in the first year • Hashtag trended in 85 countries • ~425 prominent public figures were accused of sexual violence • Dec. 2017: TIME names ‘Silence Breakers” as 2017 person of the year Larry Nassar Woody Allen Mario Batali James Franco Kevin Spacey * Gary Goddard* Jeffrey Epstein Joe Biden Roy Moore Jeremy Piven Harvey Weinstein Cuba Gooding Jr. Louis C.K. Quentin Tarantino Travis Kalanick Dr. Luke Matt Lauer James Levine Michael Ferro Placido Domingo Garrison Keilor Bill Cosby Stan Lee Dustin Hoffman Russell Simmons Tom Brokaw R. Kelly Ryan Arnold Al Franken Morgan Freeman Adam Seger James Toback Leslie Moonves Brett Kavanaugh Neil deGrasse Tyson Chris D’Elia Ryan Adams Murray Miller Bryan Singer* Ethan Kath Aziz Ansari Jason Mitchell Katie Hill* Asia Argento* SHORTCOMINGS Where The Movement Failed BIPOC Fact: The Mainstream #MeToo Movement Overlooked the
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