Celebrity Guest Biographies
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Joker (2019 Film) - Wikipedia
Joker (2019 film) - Wikipedia https://en.wikipedia.org/wiki/Joker_(2019_film) Joker (2019 film) Joker is a 2019 American psychological thriller film directed by Todd Joker Phillips, who co-wrote the screenplay with Scott Silver. The film, based on DC Comics characters, stars Joaquin Phoenix as the Joker. An origin story set in 1981, the film follows Arthur Fleck, a failed stand-up comedian who turns to a life of crime and chaos in Gotham City. Robert De Niro, Zazie Beetz, Frances Conroy, Brett Cullen, Glenn Fleshler, Bill Camp, Shea Whigham, and Marc Maron appear in supporting roles. Joker was produced by Warner Bros. Pictures, DC Films, and Joint Effort in association with Bron Creative and Village Roadshow Pictures, and distributed by Warner Bros. Phillips conceived Joker in 2016 and wrote the script with Silver throughout 2017. The two were inspired by 1970s character studies and the films of Martin Scorsese, who was initially attached to the project as a producer. The graphic novel Batman: The Killing Joke (1988) was the basis for the premise, but Phillips and Silver otherwise did not look to specific comics for inspiration. Phoenix became attached in February 2018 and was cast that July, while the majority of the cast signed on by August. Theatrical release poster Principal photography took place in New York City, Jersey City, and Newark, from September to December 2018. It is the first live-action Directed by Todd Phillips theatrical Batman film to receive an R-rating from the Motion Picture Produced by Todd Phillips Association of America, due to its violent and disturbing content. -
Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY -
17 December 2003
Screen Talent Agency 818 206 0144 JUDY GELLMAN Costume Designer judithgellman.wordpress.com Costume Designers Guild, locals 892 & 873 Judy Gellman is a rarity among designers. With a Midwest background and training at the University of Wisconsin and The Fashion Institute of Technology (NYC) Judy began her career designing for the Fashion Industry before joining the Entertainment business. She’s a hands-on Designer, totally knowledgeable in pattern making, construction, color theory, as well as history and drawing. Her career has taken her from Chicago to Toronto, London, Vancouver and Los Angeles designing period, contemporary and futuristic styles for Men, Women, and even Dogs! Gellman works in collaboration with directors to instill a sense of trust between her and the actors as they create the characters together. This is just one of the many reasons they turn to Judy repeatedly. Based in Los Angeles, with USA and Canadian passports she is available to work worldwide. selected credits as costume designer production cast director/producer/company/network television AMERICAN WOMAN Alicia Silverstone, Mena Suvari (pilot, season 1) various / John Riggi, John Wells, Jinny Howe / Paramount TV PROBLEM CHILD Matthew Lillard, Erinn Hayes (pilot) Andrew Fleming / Rachel Kaplan, Liz Newman / NBC BAD JUDGE Kate Walsh, Ryan Hansen (season 1) various / Will Farrell, Adam McKay, Joanne Toll / NBC SUPER FUN NIGHT Rebel Wilson (season 1) various / Conan O’Brien, John Riggi, Steve Burgess / ABC SONS OF TUCSON Tyler Labine (pilot & series) Todd Holland, -
Widescreen Weekend 2007 Brochure
The Widescreen Weekend welcomes all those fans of large format and widescreen films – CinemaScope, VistaVision, 70mm, Cinerama and Imax – and presents an array of past classics from the vaults of the National Media Museum. A weekend to wallow in the best of cinema. HOW THE WEST WAS WON NEW TODD-AO PRINT MAYERLING (70mm) BLACK TIGHTS (70mm) Saturday 17 March THOSE MAGNIFICENT MEN IN THEIR Monday 19 March Sunday 18 March Pictureville Cinema Pictureville Cinema FLYING MACHINES Pictureville Cinema Dir. Terence Young France 1960 130 mins (PG) Dirs. Henry Hathaway, John Ford, George Marshall USA 1962 Dir. Terence Young France/GB 1968 140 mins (PG) Zizi Jeanmaire, Cyd Charisse, Roland Petit, Moira Shearer, 162 mins (U) or How I Flew from London to Paris in 25 hours 11 minutes Omar Sharif, Catherine Deneuve, James Mason, Ava Gardner, Maurice Chevalier Debbie Reynolds, Henry Fonda, James Stewart, Gregory Peck, (70mm) James Robertson Justice, Geneviève Page Carroll Baker, John Wayne, Richard Widmark, George Peppard Sunday 18 March A very rare screening of this 70mm title from 1960. Before Pictureville Cinema It is the last days of the Austro-Hungarian Empire. The world is going on to direct Bond films (see our UK premiere of the There are westerns and then there are WESTERNS. How the Dir. Ken Annakin GB 1965 133 mins (U) changing, and Archduke Rudolph (Sharif), the young son of new digital print of From Russia with Love), Terence Young West was Won is something very special on the deep curved Stuart Whitman, Sarah Miles, James Fox, Alberto Sordi, Robert Emperor Franz-Josef (Mason) finds himself desperately looking delivered this French ballet film. -
Gotham Knights
University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 11-1-2013 House of Cards Matthew R. Lieber University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the Screenwriting Commons Recommended Citation Lieber, Matthew R., "House of Cards" (2013). Electronic Theses and Dissertations. 367. https://digitalcommons.du.edu/etd/367 This Thesis is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. House of Cards ____________________________ A Thesis Presented to the Faculty of Social Sciences University of Denver ____________________________ In Partial Requirement of the Requirements for the Degree Master of Arts ____________________________ By Matthew R. Lieber November 2013 Advisor: Sheila Schroeder ©Copyright by Matthew R. Lieber 2013 All Rights Reserved Author: Matthew R. Lieber Title: House of Cards Advisor: Sheila Schroeder Degree Date: November 2013 Abstract The purpose of this thesis is to approach adapting a comic book into a film in a unique way. With so many comic-to-film adaptations following the trends of action movies, my goal was to adapt the popular comic book, Batman, into a screenplay that is not an action film. The screenplay, House of Cards, follows the original character of Miranda Greene as she attempts to understand insanity in Gotham’s most famous criminal, the Joker. The research for this project includes a detailed look at the comic book’s publication history, as well as previous film adaptations of Batman, and Batman in other relevant media. -
Fame Attack : the Inflation of Celebrity and Its Consequences
Rojek, Chris. "The Icarus Complex." Fame Attack: The Inflation of Celebrity and Its Consequences. London: Bloomsbury Academic, 2012. 142–160. Bloomsbury Collections. Web. 1 Oct. 2021. <http://dx.doi.org/10.5040/9781849661386.ch-009>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 1 October 2021, 16:03 UTC. Copyright © Chris Rojek 2012. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 9 The Icarus Complex he myth of Icarus is the most powerful Ancient Greek parable of hubris. In a bid to escape exile in Crete, Icarus uses wings made from wax and feathers made by his father, the Athenian master craftsman Daedalus. But the sin of hubris causes him to pay no heed to his father’s warnings. He fl ies too close to the sun, so burning his wings, and falls into the Tsea and drowns. The parable is often used to highlight the perils of pride and the reckless, impulsive behaviour that it fosters. The frontier nature of celebrity culture perpetuates and enlarges narcissistic characteristics in stars and stargazers. Impulsive behaviour and recklessness are commonplace. They fi gure prominently in the entertainment pages and gossip columns of newspapers and magazines, prompting commentators to conjecture about the contagious effects of celebrity culture upon personal health and the social fabric. Do celebrities sometimes get too big for their boots and get involved in social and political issues that are beyond their competence? Can one posit an Icarus complex in some types of celebrity behaviour? This chapter addresses these questions by examining celanthropy and its discontents (notably Madonna’s controversial adoption of two Malawi children); celebrity health advice (Tom Cruise and Scientology); and celebrity pranks (the Sachsgate phone calls involving Russell Brand and Jonathan Ross). -
Requiem for a Dream”
An Analysis of the Film “Requiem for a Dream” by Angela de Sousa (06th May 2014_Film Theory) Page 1 of 10 Film Analysis of “Requiem for a Dream” Director: Darren Aronofsky Writer: Hubert Selby Jr (based on his book / Screenplay) Darren Aronofsky (Screenplay) Release Date: October 2000 Genre: Drama Starring: Ellen Burnstyn.........................................................................Sara Goldfarb Jared Leto..............................................................................Harry Goldfarb Jennifer Connelly......................................................................Marion Silver Marlon Wayans.....................................................................Tyrone C. Love Christopher McDonald...........................................................Tappy Tibbons Keith David........................................................................................Big Tim Sean Gullette.....................................................................Arnold the Shrink An ancient Chinese proverb states that “one picture is worth ten thousand words” and in the film ‘Requiem for a Dream’ it is very true. The basic plot of the film is about addiction and the harsh reality of outcomes that it has upon its victims. The film focuses specifically on the lives of Sara and Harry Goldfarb (mother and son), Marion Silver (Harry’s girlfriend) and Tyrone C. Love (Harry’s best friend). The film takes place in Coney Island (Brooklyn, New York City, North America) and spans over a few months, from summer to winter in their lives -
HARD FACTS and SOFT SPECULATION Thierry De Duve
THE STORY OF FOUNTAIN: HARD FACTS AND SOFT SPECULATION Thierry de Duve ABSTRACT Thierry de Duve’s essay is anchored to the one and perhaps only hard fact that we possess regarding the story of Fountain: its photo in The Blind Man No. 2, triply captioned “Fountain by R. Mutt,” “Photograph by Alfred Stieglitz,” and “THE EXHIBIT REFUSED BY THE INDEPENDENTS,” and the editorial on the facing page, titled “The Richard Mutt Case.” He examines what kind of agency is involved in that triple “by,” and revisits Duchamp’s intentions and motivations when he created the fictitious R. Mutt, manipulated Stieglitz, and set a trap to the Independents. De Duve concludes with an invitation to art historians to abandon the “by” questions (attribution, etc.) and to focus on the “from” questions that arise when Fountain is not seen as a work of art so much as the bearer of the news that the art world has radically changed. KEYWORDS, Readymade, Fountain, Independents, Stieglitz, Sanitary pottery Then the smell of wet glue! Mentally I was not spelling art with a capital A. — Beatrice Wood1 No doubt, Marcel Duchamp’s best known and most controversial readymade is a men’s urinal tipped on its side, signed R. Mutt, dated 1917, and titled Fountain. The 2017 centennial of Fountain brought us a harvest of new books and articles on the famous or infamous urinal. I read most of them in the hope of gleaning enough newly verified facts to curtail my natural tendency to speculate. But newly verified facts are few and far between. -
Representations of Education in HBO's the Wire, Season 4
Teacher EducationJames Quarterly, Trier Spring 2010 Representations of Education in HBO’s The Wire, Season 4 By James Trier The Wire is a crime drama that aired for five seasons on the Home Box Of- fice (HBO) cable channel from 2002-2008. The entire series is set in Baltimore, Maryland, and as Kinder (2008) points out, “Each season The Wire shifts focus to a different segment of society: the drug wars, the docks, city politics, education, and the media” (p. 52). The series explores, in Lanahan’s (2008) words, an increasingly brutal and coarse society through the prism of Baltimore, whose postindustrial capitalism has decimated the working-class wage and sharply divided the haves and have-nots. The city’s bloated bureaucracies sustain the inequality. The absence of a decent public-school education or meaningful political reform leaves an unskilled underclass trapped between a rampant illegal drug economy and a vicious “war on drugs.” (p. 24) My main purpose in this article is to introduce season four of The Wire—the “education” season—to readers who have either never seen any of the series, or who have seen some of it but James Trier is an not season four. Specifically, I will attempt to show associate professor in the that season four holds great pedagogical potential for School of Education at academics in education.1 First, though, I will present the University of North examples of the critical acclaim that The Wire received Carolina at Chapel throughout its run, and I will introduce the backgrounds Hill, Chapel Hill, North of the creators and main writers of the series, David Carolina. -
Following Is a List of All 2019 Festival Jurors and Their Respective Categories
Following is a list of all 2019 Festival jurors and their respective categories: Feature Film Competition Categories The jurors for the 2019 U.S. Narrative Feature Competition section are: Jonathan Ames – Jonathan Ames is the author of nine books and the creator of two television shows, Bored to Death and Blunt Talk His novella, You Were Never Really Here, was recently adapted as a film, directed by Lynne Ramsay and starring Joaquin Phoenix. Cory Hardrict– Cory Hardrict has an impressive film career spanning over 10 years. He currently stars on the series The Oath for Crackle and will next be seen in the film The Outpostwith Scott Eastwood. He will star and produce the film. Dana Harris – Dana Harris is the editor-in-chief of IndieWire. Jenny Lumet – Jenny Lumet is the author of Rachel Getting Married for which she received the 2008 New York Film Critics Circle Award, 2008 Toronto Film Critics Association Award, and 2008 Washington D.C. Film Critics Association Award and NAACP Image Award. The jurors for the 2019 International Narrative Feature Competition section are: Angela Bassett – Actress (What’s Love Got to Do With It, Black Panther), director (Whitney,American Horror Story), executive producer (9-1-1 and Otherhood). Famke Janssen – Famke Janssen is an award-winning Dutch actress, director, screenwriter, and former fashion model, internationally known for her successful career in both feature films and on television. Baltasar Kormákur – Baltasar Kormákur is an Icelandic director and producer. His 2012 filmThe Deep was selected as the Icelandic entry for the Best Foreign Language Oscar at the 85th Academy Awards. -
Pieces of a Woman
PIECES OF A WOMAN Directed by Kornél Mundruczó Starring Vanessa Kirby, Shia LaBeouf, Molly Parker, Sarah Snook, Iliza Shlesinger, Benny Safdie, Jimmie Falls, Ellen Burstyn **WORLD PREMIERE – In Competition – Venice Film Festival 2020** **OFFICIAL SELECTION – Gala Presentations – Toronto International Film Festival 2020** Press Contacts: US: Julie Chappell | [email protected] International: Claudia Tomassini | [email protected] Sales Contact: Linda Jin | [email protected] 1 SHORT SYNOPSIS When an unfathomable tragedy befalls a young mother (Vanessa Kirby), she begins a year-long odyssey of mourning that touches her husband (Shia LaBeouf), her mother (Ellen Burstyn), and her midwife (Molly Parker). Director Kornél Mundruczó (White God, winner of the Prix Un Certain Regard Award, 2014) and partner/screenwriter Kata Wéber craft a deeply personal meditation and ultimately transcendent story of a woman learning to live alongside her loss. SYNOPSIS Martha and Sean Carson (Vanessa Kirby, Shia LaBeouf) are a Boston couple on the verge of parenthood whose lives change irrevocably during a home birth at the hands of a flustered midwife (Molly Parker), who faces charges of criminal negligence. Thus begins a year-long odyssey for Martha, who must navigate her grief while working through fractious relationships with her husband and her domineering mother (Ellen Burstyn), along with the publicly vilified midwife whom she must face in court. From director Kornél Mundruczó (White God, winner of the Prix Un Certain Regard Award, 2014), with artistic support from executive producer Martin Scorsese, and written by Kata Wéber, Mundruczó’s partner, comes a deeply personal, searing domestic aria in exquisite shades of grey and an ultimately transcendent story of a woman learning to live alongside her loss. -
Why Every Show Needs to Be More Like the Wire (“Not Just the Facts, Ma’Am”)
DIALOGUE WHY EVERY SHOW NEEDS TO BE MORE LIKE THE WIRE (“NOT JUST THE FACTS, MA’AM”) NEIL LANDAU University of California, Los Angeles (UCLA) The Wire (HBO, 2002-2008) upends the traditional po- ed the cop-drama universe. It was a pioneering season-long lice procedural by moving past basic plot points and “twists” procedural. Here are my top 10 reasons why Every Show in the case, diving deep into the lives of both the cops and Needs to Be More Like The Wire. the criminals they pursue. It comments on today’s America, employing characters who defy stereotype. In the words of — creator David Simon: 1. “THIS AMERICA, MAN” The grand theme here is nothing less than a nation- al existentialism: It is a police story set amid the As David Simon explains: dysfunction and indifference of an urban depart- ment—one that has failed to come to terms with In the first story arc, the episodes begin what the permanent nature of urban drug culture, one would seem to be the straightforward, albeit pro- in which thinking cops, and thinking street players, tracted, pursuit of a violent drug crew that controls must make their way independent of simple expla- a high-rise housing project. But within a brief span nations (Simon 2000: 2). of time, the officers who undertake the pursuit are forced to acknowledge truths about their de- Given the current political climate in the US and interna- partment, their role, the drug war and the city as tionally, it is timely to revisit the The Wire and how it expand- a whole.