Can Art Be Separate from the Artist?
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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 -
Tom Cruise Stars in the Critically Acclaimed $789M+ Global Hit MISSION: IMPOSSIBLE—FALLOUT, Debuting on Digital November 20 and 4K Ultra HD, Blu-Ray™ & DVD December 4
Tom Cruise Stars in the Critically Acclaimed $789M+ Global Hit MISSION: IMPOSSIBLE—FALLOUT, Debuting on Digital November 20 and 4K Ultra HD, Blu-ray™ & DVD December 4 October 2, 2018 HOLLYWOOD, Calif.--(BUSINESS WIRE)--Oct. 2, 2018-- “The action is off-the-charts spectacular” ( Peter Travers, Rolling Stone) in the “wildly entertaining” ( Chris Nashawaty, Entertainment Weekly) worldwide blockbuster MISSION: IMPOSSIBLE—FALLOUT, arriving on Digital November 20, 2018 and on 4K Ultra HD, Blu-ray, and DVD December 4 from Paramount Home Media Distribution. The exhilarating, action-packed movie will also be available as part of the MISSION: IMPOSSIBLE 6-movie Blu-ray and 4K Ultra HD + Blu-ray Collection, the perfect gift for the holidays. This press release features multimedia. View the full release here: https://www.businesswire.com/news/home/20181002006109/en/ Produced by Tom Cruise and Bad Robot, Paramount Pictures and Skydance present MISSION: IMPOSSIBLE—FALLOUT, one of the best reviewed movies of the year, thrilling critics and audiences alike and boasting a 97% Fresh rating on Rotten Tomatoes. Now fans can go deeper into the Mission with over an hour of high-octane, behind-the-scenes footage highlighting the incredible stunts, heart-pounding action and exotic locations on Digital*, a 3-disc 4K Ultra HD Combo Pack or a 3-disc Blu-ray Combo Pack. Drop from the sky, race through Paris, and cling to a cliff with Ethan Hunt as the cast and crew reveal the incredible work that went into creating the breathtaking action. Plus, check out deleted scenes, storyboards, multiple commentaries, and much more. -
Sage Intacct Entertainment
Success Story Sage Intacct Entertainment Sage Intacct and RKL Take a Leading Role With Skydance Media Like the saying goes, “there’s no business like show business.” Even when it comes to technology, the entertainment industry’s business Industry management requirements are unique. Nobody knows that better than Entertainment / Media Skydance Media, a Santa Monica, California-based production company Client Name specializing in film (think blockbusters like Mission Impossible or Star Skydance Media Trek: Into Darkness), animation, TV, and video games. Location The diversity of Skydance’s projects and media channels creates Santa Monica, CA accounting challenges unique to the entertainment industry. Faced with a growing workload of time-consuming and manual processes to System Sage Intacct produce an ever-increasing number of essential reports, the company Adaptive Insights realized it was time to replace their legacy accounting software. That’s Nexonia when Skydance looked to the cloud and found Sage Intacct and RKL eSolutions. Challenge Act 1: The Scene is Set Skydance Media’s legacy system “When I first came to Skydance,” says Anne Price, Skydance Media, Senior Vice couldn’t support their multi-entity President and Controller, “we were using an older Sage ERP product that we outgrew growth and reporting needs. long ago.” In the entertainment industry, she explains every movie, TV show, star, game or brand is tracked as an individual entity, with its own profit and loss. Then, Solution they have to generate reports on each of those entities individually as well as combine Sage Intacct provides a flexible, user- them all into a single report to monitor the business as a whole. -
1 Skydance Media and Alibaba Pictures Join Forces To
SKYDANCE MEDIA AND ALIBABA PICTURES JOIN FORCES TO FINANCE AND PRODUCE FLYING TIGERS FEATURE FILM Oscar-Nominated Writer Randall Wallace to Script _____________________________________________________________________________ Santa Monica, CA and Beijing, China – April 6, 2016 – Skydance, a diversified media company that creates elevated, event-level entertainment for global audiences, and Alibaba Pictures, Alibaba Group’s entertainment affiliate, today announced that they will join forces to finance and produce a Flying Tigers feature film for global release. It has been designated by Skydance Media and Alibaba Pictures as a high-priority development project. The screenplay will be written by Oscar-nominated writer Randall Wallace (Braveheart) and the film will be produced by David Ellison and Dana Goldberg of Skydance together with a team from Alibaba Pictures. The Flying Tigers – formally known as the 1st American Volunteer Group of the Chinese Air Force – was a group of volunteer pilots from the U.S. Air Force, Navy and Marine Corps. Led by Captain Claire Lee Chennault, the group fought alongside the Chinese during World War II. The Flying Tigers project will tell the story of the unique brotherhood formed by these intrepid soldiers. “This production partnership with Alibaba Pictures on Flying Tigers marks an important next step in our strategy to expand the reach of the Skydance brand on a global basis,” said David Ellison, Chief Executive Officer of Skydance Media. “We could not be more excited to work with the incomparable Randall Wallace to bring to life the extraordinary, untold story of the great commitment and sacrifices made by this courageous group of pilots.” “Flying Tigers carries with it a rich legacy and a movie about this subject matter has been highly anticipated for a very long time,” added Zhang Wei, President of Alibaba Pictures. -
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. -
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. -
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. -
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. -
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 -
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. -
JOHN DYKSTRA Visual Effects Supervisor
JOHN DYKSTRA Visual Effects Supervisor Visual Effects Supervisor in Feature Films: DOLITTLE - Universal - Stephen Gaghan, director ONCE UPON A TIME IN HOLLYWOOD - Columbia - Quentin Tarantino, director GHOST IN THE SHELL - Paramount - Rupert Sanders, director KONG: SKULL ISLAND - Warner Bros. - Jordan Vogt-Roberts, director X-MEN: APOCALYPSE - 20th Century Fox - Bryan Singer, director FANTASTIC FOUR (Visual Effects Consultant) - 20th Century Fox - Josh Trank, director THE HATEFUL EIGHT - The Weinstein Co. - Quentin Tarantino, director GODZILLA - Warner Bros./Legendary - Gareth Edwards, director THE SEVENTH SON - Warner Bros. - Sergey Bodrov, director DJANGO UNCHAINED - Columbia - Quentin Tarantino, director X-MEN: FIRST CLASS - 20th Century Fox - Matthew Vaughn, director INGLORIOUS BASTERDS - Weinstein Company/Universal - Quentin Tarantino, director HANCOCK - Columbia - Peter Berg, director SPIDERMAN 2 - Columbia - Sam Raimi, director Academy Award, Best Achievement in Visual Effects SPIDERMAN - Columbia - Sam Raimi, director STUART LITTLE - Columbia/ABC - Rob Minkoff, director Academy Award Nominee, Best Visual Effects BATMAN & ROBIN - Warner Bros. - Joel Schumacher, director BATMAN FOREVER - Warner Bros. - Joel Schumacher, director DUNE - De Laurentiis/Universal - David Lynch, director GHOST DAD - Universal - Sidney Poitier, director RADIO FLYER - Columbia - Richard Donner, director COMING TO AMERICA - Paramount - John Landis, director SPACE BALLS - MGM - Mel Brooks, director GHOST BUSTERS II - Columbia - Ivan Reitman, director DIE -
MADE in HOLLYWOOD, CENSORED by BEIJING the U.S
MADE IN HOLLYWOOD, CENSORED BY BEIJING The U.S. Film Industry and Chinese Government Influence Made in Hollywood, Censored by Beijing: The U.S. Film Industry and Chinese Government Influence 1 MADE IN HOLLYWOOD, CENSORED BY BEIJING The U.S. Film Industry and Chinese Government Influence TABLE OF CONTENTS EXECUTIVE SUMMARY I. INTRODUCTION 1 REPORT METHODOLOGY 5 PART I: HOW (AND WHY) BEIJING IS 6 ABLE TO INFLUENCE HOLLYWOOD PART II: THE WAY THIS INFLUENCE PLAYS OUT 20 PART III: ENTERING THE CHINESE MARKET 33 PART IV: LOOKING TOWARD SOLUTIONS 43 RECOMMENDATIONS 47 ACKNOWLEDGEMENTS 53 ENDNOTES 54 Made in Hollywood, Censored by Beijing: The U.S. Film Industry and Chinese Government Influence MADE IN HOLLYWOOD, CENSORED BY BEIJING EXECUTIVE SUMMARY ade in Hollywood, Censored by Beijing system is inconsistent with international norms of Mdescribes the ways in which the Chinese artistic freedom. government and its ruling Chinese Communist There are countless stories to be told about China, Party successfully influence Hollywood films, and those that are non-controversial from Beijing’s warns how this type of influence has increasingly perspective are no less valid. But there are also become normalized in Hollywood, and explains stories to be told about the ongoing crimes against the implications of this influence on freedom of humanity in Xinjiang, the ongoing struggle of Tibetans expression and on the types of stories that global to maintain their language and culture in the face of audiences are exposed to on the big screen. both societal changes and government policy, the Hollywood is one of the world’s most significant prodemocracy movement in Hong Kong, and honest, storytelling centers, a cinematic powerhouse whose everyday stories about how government policies movies are watched by millions across the globe.