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WAYNE WAHRMAN, ACE EDITOR FEATURES PUPPY LOVE Insurgent Media Prod: David Michaels, George Parra Dir: Michael Maxxis LEAGUE OF GODS China Star Entertainment Prod: Charles Heung, Tiffany Chen Dir: Koan Hui STEPHANIE Blumhouse Productions Prod: Jason Blum Dir: Akiva Goldsman MONK COMES DOWN Sony Pictures Prod: Chen Hong Dir: Kaige Chen THE MOUNTAIN WINTER’S TALE Warner Brothers Prod: Akiva Goldsman, Marc Platt Dir: Akiva Goldsman Michael Tadross MARS NEEDS MOMS Walt Disney Pictures Prod: Steven J. Boyd, Jack Rapke, Dir: Simon Wells Steve Starkey, Robert Zemeckis THE DAY THE EARTH STOOD 20th Century Fox Prod: Paul Harris Boardman, Erwin Stoff Dir: Scott Derrickson STILL Gregory Goodman I AM LEGEND Warner Brothers Prod: Akiva Goldsman, David Heyman, Dir: Francis Lawrence James Lassiter, Neal Moritz ALL THE KING’S MEN Columbia Pictures Prod: Ken Lemberger, Steven Zaillian Dir: Steven Zaillian CONSTANTINE Warner Brothers Prod: Lorenzo di Bonaventura, Akiva Goldsman Dir: Francis Lawrence CHARLIE’S ANGELS: Columbia Pictures Prod: Leonard Goldberg, Nancy Juvonen Dir: McG FULL THROTTLE Drew Barrymore TIME MACHINE Dreamworks Prod: Walter F. Parkes, David Valdes Dir: Simon Wells CHARLIE’S ANGELS Columbia Pictures Prod: Leonard Goldberg, Nancy Juvonen Dir: McG U-571 Universal Pictures Prod: Dino De Laurentiis, Martha De Laurentiis Dir: Jonathan Mostow A CIVIL ACTION Walt Disney Pictures Prod: Rachel Pfeffer, Robert Redford, Scott Rudin Dir: Steven Zaillian EDUCATION OF LITTLE TREE Paramount Pictures Prod: Jake Eberts, Louise Gendron Dir: Richard Friedenberg A SMILE LIKE YOURS Paramount Pictures Prod: Tony Amatullo, Robert Harling Dir: Keith Samples 2 DAYS IN THE VALLEY Rysher Entertainment Prod: Herb Nanas, Jeff Wald Dir: John Hertzfeld MIGHTY MORPHIN’ 20th Century Fox Prod: Haim Saban, Suzanne Todd Dir: Bryan Spicer POWER RANGERS: THE MOVIE SEARCHING FOR BOBBY FISHER Paramount Pictures Prod: William Horberg, Scott Rudin Dir: Steve Zaillian LAST OF THE MOHICANS 20th Century Fox Prod: Hunt Lowry, Michael Mann Dir: Michael Mann (Shared Credit) LOOKIN’ TO GET OUT Paramount Pictures Prod: Edward Teets, Robert Schaffel Dir: Hal Ashby (Co-Editor) 405 S Beverly Drive, Beverly Hills, California 90212 - T 310.888.4200 - F 310.888.4242 www.apa-agency.com .

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International Casting Directors Network Index
International Casting Directors Network Index 01 Welcome 02 About the ICDN 04 Index of Profiles 06 Profiles of Casting Directors 76 About European Film Promotion 78 Imprint 79 ICDN Membership Application form Gut instinct and hours of research “A great film can feel a lot like a fantastic dinner party. Actors mingle and clash in the best possible lighting, and conversation is fraught with wit and emotion. The director usually gets the bulk of the credit. But before he or she can play the consummate host, someone must carefully select the right guests, send out the invites, and keep track of the RSVPs”. ‘OSCARS: The Role Of Casting Director’ by Monica Corcoran Harel, The Deadline Team, December 6, 2012 Playing one of the key roles in creating that successful “dinner” is the Casting Director, but someone who is often over-looked in the recognition department. Everyone sees the actor at work, but very few people see the hours of research, the intrinsic skills, the gut instinct that the Casting Director puts into finding just the right person for just the right role. It’s a mix of routine and inspiration which brings the characters we come to love, and sometimes to hate, to the big screen. The Casting Director’s delicate work as liaison between director, actors, their agent/manager and the studio/network figures prominently in decisions which can make or break a project. It’s a job that can't garner an Oscar, but its mighty importance is always felt behind the scenes. In July 2013, the Academy of Motion Pictures of Arts and Sciences (AMPAS) created a new branch for Casting Directors, and we are thrilled that a number of members of the International Casting Directors Network are amongst the first Casting Directors invited into the Academy.
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Writing Dialogue & Advice from the Pros
Writing Dialogue & Advice from the Pros Writing great dialogue is considered an art form. Listening to real-life conversations, watching award- winning films, and learning from the masters will help you craft dialogue that shines on the page. The following writing thoughts and advice are excerpts from Karl Iglesias’ book, The 101 Habits of Highly Successful Screenwriters. Enjoy! ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Writing Unrealistic and Boring Dialogue In real life, dialogue is mostly polite conversation. In film, polite conversation is considered bad dialogue, unless it’s witty, sarcastic, or has a unique voice. The reason is that polite chat lacks tension, and tension is the key to dramatic storytelling. As Alfred Hitchcock once said, “Drama is real life with all the boring parts cut out of it.” The key to good dialogue is to understand that it’s not conversation, it’s action. What characters say in a scene should be said to get what they want in the scene. And to determine whether or not your dialogue sounds realistic, read it out loud. Garrison Keillor once advised, “If you read your work out loud, it helps to know what’s bad.” Try it. It works. Dialogue always sounds better in your head. Better to be embarrassed in your room than on the set. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Read Your Dialogue Out Loud Writing authentic, well-crafted dialogue that sparkles, individualizes characters, and entertains the reader is the ultimate challenge for screenwriters, who otherwise may have solid script elements. It’s crucial to attracting talent, which can green-light your script. Writing great dialogue can also sell the writer, for those who excel in this area are highly sought after to the tune of six figures per week for dialogue rewrites.
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Teaching Social Issues with Film
Teaching Social Issues with Film Teaching Social Issues with Film William Benedict Russell III University of Central Florida INFORMATION AGE PUBLISHING, INC. Charlotte, NC • www.infoagepub.com Library of Congress Cataloging-in-Publication Data Russell, William B. Teaching social issues with film / William Benedict Russell. p. cm. Includes bibliographical references and index. ISBN 978-1-60752-116-7 (pbk.) -- ISBN 978-1-60752-117-4 (hardcover) 1. Social sciences--Study and teaching (Secondary)--Audio-visual aids. 2. Social sciences--Study and teaching (Secondary)--Research. 3. Motion pictures in education. I. Title. H62.2.R86 2009 361.0071’2--dc22 2009024393 Copyright © 2009 Information Age Publishing Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the publisher. Printed in the United States of America Contents Preface and Overview .......................................................................xiii Acknowledgments ............................................................................. xvii 1 Teaching with Film ................................................................................ 1 The Russell Model for Using Film ..................................................... 2 2 Legal Issues ............................................................................................ 7 3 Teaching Social Issues with Film
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ALISON ROSA UPM PGA & DGA Member
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Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone.
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Food for Soul
Food for Soul A unique compilation of M ovies and Books to keep you on the edge! Part 1 MOVIES This is a beginner’s list of movies that will stir your imagination. We recommend that you watch these carefully, over the next few months and try to understand the director’s message. These are interesting, but difficult movies. They will force you to question some of your beliefs, and will help your thought patterns take on new dimensions. Happy viewing! 1. THE UNTOUCHABLES “The Power of Character” Kevin Kostner, Sean Connery, Robert de Niro Kevin Costner became a star as the legendary “GMan” Eliot Ness in THE UNTOUCHABLES, a slambang gangster saga with bravura direction by Brian De Palma, a witty David Mamet script and superb acting, including Robert De Niro as Al Capone and Sean Connery’s Oscarwinning turn as a wily veteran cop. It’s a terrifically entertaining and exciting movie. The story is almost totally fictionalized (Ness never killed Frank Nitti and had nothing to do with Capone’s incometax rap), but this becomes completely irrelevant in light of the beautifully crafted film’s accomplishments. De Palma, who has often been accused of emphasizing style over content, here has a strong and substantial script to work with, and his flashy direction meshes perfectly with the film’s flamboyantly operatic design. The script may not be true to history, but it’s true to human emotion and very moving, personalizing the battle between good and evil by concentrating on the impact that violence and corruption has on families.
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The Dysphoric Style in Contemporary American Independent Cinema David C
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 The Dysphoric Style in Contemporary American Independent Cinema David C. Simmons Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES THE DYSPHORIC STYLE IN CONTEMPORARY AMERICAN INDEPENDENT CINEMA By DAVID C. SIMMONS A Dissertation submitted to the Program in the Humanities in partial fulfillment of the requirements for the degree of Doctorate of Philosophy Degree Awarded: Spring Semester, 2005 Copyright (c) 2005 David C. Simmons All Rights Reserved The members of the Committee approve the dissertation of David C. Simmons defended on April 11, 2005. ____________________________________ Karen L. Laughlin Professor Co-Directing Dissertation ____________________________________ Mark Garrett Cooper Professor Co-Directing Dissertation ____________________________________ Valliere Richard Auzenne Outside Committee Member ____________________________________ William J. Cloonan Committee Member Approved: ___________________________________ David F. Johnson Director, Program in the Humanities The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGMENTS This dissertation would not have been possible without the assistance of Sandefur Schmidt and my mother, Rita Simmons. I gratefully acknowledge both of them for the immense kindness and help they’ve provided me. iii TABLE OF CONTENTS Abstract ................................................................... v INTRODUCTION: THE DYSPHORIC STYLE IN CONTEMPORARY AMERICAN INDEPENDENT CINEMA ................. 1 1. TRYING TO HOLD ONTO A PIECE OF PI: THE DYSPHORIC STYLE’S STRUCTURING OF CAUSAL RELATIONS ......... 7 2. FACT OR PULP FICTION: THE DYSPHORIC STYLE AND TEMPORAL RELATIONS .................... 26 3. “THE COOKIE STAND IS NOT PART OF THE FOOD COURT”: THE DYSPHORIC STYLE AND SPATIAL RELATIONS ......................
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Karyn Alexander
KARYN ALEXANDER Hair Dept. Head & Personal IATSE local #798 Karyn Alexander grew up in studio back lots and make-up trailers where her mother, two-time Academy Award nominee Judith Alexander Cory worked. Karyn followed in her footsteps and attended the Vidal Sassoon Academy in Santa Monica, California. After graduating with a comprehensive knowledge of the arts of cutting and coloring, she began her career in films such as Jurassic Park II, The Matrix II & III, American History X and Patch Adams. Now with more than 21 years of industry experience, Karyn has worked with some of Hollywood’s elite directors including Steven Spielberg, Joel and Ethan Coen, Steven Soderbergh, Oliver Stone and Ron Howard. As Personal Hairstylist to Catherine Zeta Jones for eight years, Karyn helped shape her characters in Chicago, The Legend of Zorro, Ocean’s 12 and more. Karyn is Atlanta based. Feature Films (selected credits) as Department Head or Personal: Production Cast Director/ Producer /Production Company HOCUS POCUS 2 Anne Fletcher / Adam Shankman / Disney MOONSHOT (Cole Sprouse, Lana Condor) Christopher Winterbauer / Greg Berlanti / New Line MAP OF TINY PERFECT THINGS (Kathryn Newton) Ian Samuels / Akiva Goldsman / Amazon FREAKY (Vince Vaughn, Kathryn Newton) Christopher Landon / Jason Blum / Universal CHARMING THE HEARTS OF MEN (Kelsey Grammer, Dept Head, period) Susan DeRose / Richard Lewis / Liberty House DUMPLIN (Dept. Head) Anne Fletcher / Michael Costigan / Netflix FIELD OF LOST SHOES (Jason Isaacs - Civil War drama) Sean McNamara /Brookwell-McNamara BONNEVILLE (Jessica Lange, Kathy Bates, Joan Allen) Chris Rowley / Robert May / SenArt Films THE INFORMERS (Billy Bob Thornton & ensemble) Gregor Jordan / Marco Weber / Senator Ent.
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TONY ADLER 1St ASSISTANT DIRECTOR DGA
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Between the Panels
Between the Panels How the interactions between commerce and art shape superhero comic book film adaptations (2000-13) Tim Stafford Between The Panels: How the interactions between commerce and art shape superhero comic book film adaptations (2000-13) Tim Stafford Submitted to the University of Hertfordshire in partial fulfilment of the requirements of the degree of PhD January 2018 Acknowledgments I would like to thank my Principal Supervisor, Professor Keith Randle and my Second Supervisors, Visiting Professor Richard Miller and Dr Mariana Dodourova for their support and guidance during this project. I would also like to thank Greg Pan at Marvel for granting permission to reproduce the three selected comic book panels and Roni Lubliner at Universal for granting permission to use the still from Hulk. This thesis is dedicated in its entirety to my parents, Terry and Sheila Stafford, to Derek Watson, my best friend and guide in the world of comic books and to Hugh Jackman, who started the whole thing off. Between the Panels Contents List of figures 1 Abstract 3 Introduction 5 Research questions 8 Introduction to the conceptual framework and methodology 9 Thesis structure 12 Chapter One: Up, up and away: superheroes and their adaptations 14 Origin story: A brief history of superhero adaptations 14 The superhero film renaissance: 2000 to the present 20 Why are superhero films so popular? 26 i) The studio perspective 26 ii) The audience perspective 29 iii) The role of comic book readers 31 The theory of adaptation 34 The role of the director
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From Pitch to Production in Hollywood
Dying of Encouragement: From Pitch to Production in Hollywood The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Russell, Rupert Henry. 2013. Dying of Encouragement: From Pitch to Production in Hollywood. Doctoral dissertation, Harvard University. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:11158240 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA © - Rupert Russell All rights reserved. Dissertation Advisor: Professor Orlando Patterson Author: Rupert Russell Dying of Encouragement: From Pitch to Production in Hollywood Abstract Social scientists have long held that the media has a profound effect on modern societies. However, the cultural production of motion pictures and television shows has largely been neglected as a topic of inquiry. The following dissertation seeks to fill this lacuna in the current research by offering a systematic, comprehensive, and comparative analysis of the industry known colloquially as “Hollywood.” Specifically, this dissertation seeks to uncover the matrix of causal processes that filter the infinite array of potential television shows and motion pictures to the chosen few that are selected for production. This process is known as “development and green lighting.” Drawing from 110 interviews with writers, directors, producers, agents, managers, studio executives, network executives, financiers, and assistants who had been involved in the development and green lighting process, I explore not just decision making but the social milieu within which those decisions were made.
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2007-2008 DVD VHS ACQUISITIONS RECORD # CALL # LOC TITLE IMPRINT ODATE RDATE UNE PO# Invoice Date Invoice No. Amount Paid PN 1997 C58985 A Civil action [videorecording] / Touchstone Pictures and Paramount Burbank, CA. : Touchtone pictures, o1207064 1999 dvd Pictures present a Wildwood Enterprises/Scott Rudin production. Touchtone Home Video, 1999. 01/24/08 02/01/08 LIB-74020 01/22/08 AMAZON-3222658 $12.49 A Life among whales [videorecording] / written, produced and directed by QL 737.C4 L5443 Bill Haney co-produced by Eric Grunebaum Uncommon Productions, o1217513 2005 dvd LLC. Oley, PA : Bullfrog Films, [2005] 04/30/08 05/16/08 LIB-74020 05/05/08 BULLFROG-49121 $232.00 A nos amours [videorecording]= to our loves / Les films du Livradois - PN 1997 A21667 Gaumont - FR3 prÃ©sentent scÃ©nario, dialogue, Arlette Langmann, [Irvington, N.Y.] : Criterion o1215759 2006 dvd Maurice Pialat un film de Maurice Pialat. Collection, c2006. 04/23/08 05/21/08 LIB-2054 04/28/08 B&T-S25309850 $28.96 F 912.T85 A4375 [Fort Collins, CO] : Bob Swerer o1217379 2004 dvd Alaska, silence & solitude [videorecording]. Productions, c2004. 04/30/08 05/01/08 LIB-74020 04/30/08 NHF-003269 $25.92 Alexander revisited [videorecording] : the final cut / Warner Bros. Pictures and Intermedia Films present a Moritz Borman production in association with IMF, an Oliver Stone film produced by Thomas SchÃ¼hly ... [et al.] PN 1997 A44936 written by Oliver Stone and Christopher Kyle and Laeta Kalogridis Burbank, CA : Warner Home Video, o1216673 2007 dvd directed by Oliver Stone. 2007. 04/25/08 05/01/08 LIB-2054 04/28/08 B&T-S25309850 $23.19 Alive day memories [videorecording] : home from Iraq / Attaboy Films HBO Documentary Films produced by Ellen Goosenburg Kent directed DS 79.76 A4584 by Jon Alpert, Ellen Goosenburg Kent produced and photographed by o1200355 2007 dvd Jon Alpert, Matthew O'Neill.
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