Deborah Barylski

Total Page：16

File Type：pdf, Size：1020Kb

DEBORAH BARYLSKI CASTING DIRECTOR (310) 314-9116 (h) SELECTED CREDITS (310) 795-2035 (c) FEATURE FILMS [email protected] PASTIME* Prod: Robin Armstrong, Eric Young Dir: R. Armstrong *Winner, Audience Award, Sundance MOVIES FOR TELEVISION ALLEY CATS STRIKE (Disney Cannel) Execs: Carol Ames, Don Safran, Michael Cieply Dir: Rod Daniel A PLACE TO BE LOVED (CBS) Exec. Producer: Beth Polson Dir: Sandy Smolan A MESSAGE FROM HOLLY (CBS) Exec. Producer: Beth Polson Dir: Rod Holcomb BACK TO THE STREETS OF SF (NBC) Exec. Producer: Diana Kerew, M. Goldsmith Dir: Mel Damski GUESS WHO'S COMING FOR XMAS? Exec. Producer: Beth Polson Dir: Paul Schneider TELEVISION: PILOT & SERIES *Winner, EMMY and Artios Awards for Casting for a Comedy Series, 2004 **Artios Award nomination SAINT GEORGE Execs: M.Williams,D. McFadzean,G.Lopez,M.Rotenberg Lionsgate/FX BACK OF THE CLASS Execs: Hugh Fink, Porter, Dionne, Weiner Nickelodeon DIRTY WORK (Won New Media Emmy) Execs: Zach Schiff-Abrams, Jackie Turnure, A. Shure Fourth Wall Studios THE MIDDLE Execs: Eileen Heisler, DeAnn Heline Warners/ABC UNTITLED DANA GOULD PROJECT Execs: D. Gould, Mike Scully, T. Lassally, D. Becky Warners/ABC THE EMANCIPATION OF ERNESTO Execs: Emily Kapnek, Wilmer Valderama 20th/Fox STARTING UNDER Exec. Bruce Helford/Mohawk Warners/Fox HACKETT Execs: Sonnenfeld, Moss, Timberman, Carlson Sony/FBC NICE GIRLS DON’T GET THE CORNER OFFICE. Execs: Nevins, Sternin, Ventimilia Imagine & 20th/ABC THE WAR AT HOME Exec. Rob Lotterstein, M.Schultheis, M.Hanel 20th/Warners/Fox KITCHEN CONFIDENTIAL Execs: D. Star, D. Hemingson, & New Line Fox/FBC THE ROBINSON BROTHERS Exec. Mark O’Keefe, Adelstein, Moritz,Parouse 20th/ORIGINAL/FBC ARRESTED DEVELOPMENT* Exec. Mitchell Hurwitz & Imagine TV 20th/FBC LIFE WITH BONNIE** Execs: Bonnie Hunt & Don Lake Touchstone/ABC STILL STANDING Execs: Joey Gutierrez Diane Burroughs 20th/CBS THE LOT** Execs: Rick Mitz, Michael Ogiens It’s Mitz Prods/AMC DADDIO Execs: Matt Berry, Rick Swartzlander Touchstone/NBC JUST SHOOT ME** (3 seasons) Exec: Steve Levitan/Dir: Lessac & Various Brillstein/Gray/NBC HOME IMPROVEMENT** Execs: Matt Williams, David McFadzean, Carmen Disney/ABC (8 seasons) Finestra, Elliot Shoenman, Bruce Ferber Dir: Pasquin/Cadiff LITTLE RASCALS Execs: Vanessa Coffey/Jim Ballantine Kingworld/TBA COSTELLO Execs: Williams/McFadzean/Finestra/Holliday Disney/Fox SOUL MAN Execs: Williams/McFadzean/Finestra Disney/ABC THUNDER ALLEY Execs: Williams, McFadzean, Finestra, Wind Dancer/ABC Burris, Ware Dir: Robby Benson HARD HATS Exec. Prod/Dir: Danny Arnold Disney/ABC THE FANELLI BOYS Execs: Kathy Speer, Mort Nathan, Terry Disney/NBC Grossman, Barry Fanaro Dir: James Burrows THE FAMOUS TEDDY Z** Execs: Hugh Wilson, Richard Dubin Columbia/CBS DOCTOR, DOCTOR Execs: Norman Steinberg, David Frankel Reeves/CBS FRANK'S PLACE** Execs: Hugh Wilson Viacom/CBS EASY STREET Execs: Hugh Wilson, Andy Borowitz Viacom/NBC HARDCASTLE & MC CORMICK Execs: Les Sheldon, Lawrence Hertzog Cannell/ABC CASTING ASSOCIATE CREDITS—features & TV MICKEY AND MAUDE Execs: Blake Edwards, Tony Adams Columbia WHITE KNIGHTS Exec. Producer/Dir: Taylor Hackford Columbia ST. ELSEWHERE Exec. Producer/Bruce Paltrow, et al MTM/NBC LOU GRANT Execs: Gene Reynolds, Allan Burns MTM//CBS THEATRE NEW HARMONY THEATRE PROJECT Board Member & West Coast Casting Director for an 1990-2000 MEMBER ATAS, CSA, TEAMSTERS Annual 2-week writer's conference, New Harmony, IND. .

Copy Link

Recommended publications

UNITED STATES DISTRICT COURT NORTHERN DISTRICT of INDIANA SOUTH BEND DIVISION in Re FEDEX GROUND PACKAGE SYSTEM, INC., EMPLOYMEN
USDC IN/ND case 3:05-md-00527-RLM-MGG document 3279 filed 03/22/19 page 1 of 354 UNITED STATES DISTRICT COURT NORTHERN DISTRICT OF INDIANA SOUTH BEND DIVISION ) Case No. 3:05-MD-527 RLM In re FEDEX GROUND PACKAGE ) (MDL 1700) SYSTEM, INC., EMPLOYMENT ) PRACTICES LITIGATION ) ) ) THIS DOCUMENT RELATES TO: ) ) Carlene Craig, et. al. v. FedEx Case No. 3:05-cv-530 RLM ) Ground Package Systems, Inc., ) ) PROPOSED FINAL APPROVAL ORDER This matter came before the Court for hearing on March 11, 2019, to consider final approval of the proposed ERISA Class Action Settlement reached by and between Plaintiffs Leo Rittenhouse, Jeff Bramlage, Lawrence Liable, Kent Whistler, Mike Moore, Keith Berry, Matthew Cook, Heidi Law, Sylvia O’Brien, Neal Bergkamp, and Dominic Lupo1 (collectively, “the Named Plaintiffs”), on behalf of themselves and the Certified Class, and Defendant FedEx Ground Package System, Inc. (“FXG”) (collectively, “the Parties”), the terms of which Settlement are set forth in the Class Action Settlement Agreement (the “Settlement Agreement”) attached as Exhibit A to the Joint Declaration of Co-Lead Counsel in support of Preliminary Approval of the Kansas Class Action 1 Carlene Craig withdrew as a Named Plaintiff on November 29, 2006. See MDL Doc. No. 409. Named Plaintiffs Ronald Perry and Alan Pacheco are not movants for final approval and filed an objection [MDL Doc. Nos. 3251/3261]. USDC IN/ND case 3:05-md-00527-RLM-MGG document 3279 filed 03/22/19 page 2 of 354 Settlement [MDL Doc. No. 3154-1]. Also before the Court is ERISA Plaintiffs’ Unopposed Motion for Attorney’s Fees and for Payment of Service Awards to the Named Plaintiffs, filed with the Court on October 19, 2018 [MDL Doc.
[Show full text]
Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960S and Early 1970S
TV/Series 12 | 2017 Littérature et séries télévisées/Literature and TV series Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s Dennis Tredy Electronic version URL: http://journals.openedition.org/tvseries/2200 DOI: 10.4000/tvseries.2200 ISSN: 2266-0909 Publisher GRIC - Groupe de recherche Identités et Cultures Electronic reference Dennis Tredy, « Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s », TV/Series [Online], 12 | 2017, Online since 20 September 2017, connection on 01 May 2019. URL : http://journals.openedition.org/tvseries/2200 ; DOI : 10.4000/tvseries.2200 This text was automatically generated on 1 May 2019. TV/Series est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modiﬁcation 4.0 International. Light Shadows: Loose Adaptations of Gothic Literature in American TV Series o... 1 Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s Dennis Tredy 1 In the late 1960’s and early 1970’s, in a somewhat failed attempt to wrestle some high ratings away from the network leader CBS, ABC would produce a spate of supernatural sitcoms, soap operas and investigative dramas, adapting and borrowing heavily from major works of Gothic literature of the nineteenth and early twentieth century. The trend began in 1964, when ABC produced the sitcom The Addams Family (1964-66), based on works of cartoonist Charles Addams, and CBS countered with its own The Munsters (CBS, 1964-66) –both satirical inversions of the American ideal sitcom family in which various monsters and freaks from Gothic literature and classic horror films form a family of misfits that somehow thrive in middle-class, suburban America.
[Show full text]
Norman Liebmann Papers
http://oac.cdlib.org/findaid/ark:/13030/c8h99bfn No online items Norman Liebmann Papers Finding aid created by Writers Guild Foundation Archive staff using RecordEXPRESS Writers Guild Foundation Archive 7000 West Third Street Los Angeles, California 90048 (323) 782-4680 [email protected] https://www.wgfoundation.org/archive/ 2019 Norman Liebmann Papers WGF-MS-066 1 Descriptive Summary Title: Norman Liebmann Papers Dates: 1958-1996 Collection Number: WGF-MS-066 Creator/Collector: Liebmann, Norman, 1928-2010 Extent: 28.5 linear feet, 21 record boxes and 2 archival boxes Repository: Writers Guild Foundation Archive Los Angeles, California 90048 Abstract: The Norman Liebmann Collection consists of produced and unproduced television scripts, feature films, book manuscripts, short stories, and plays written by Liebmann. The highlight of the collection relates to development materials, drawings, notes, correspondence, contracts, synopses, outlines, scripts and press clippings for the television series The Munsters, which Liebman co-developed. In addition, the collection contains jokes, sketches and scripts for late-night and variety luminaries Dean Martin, Jerry Lewis, Gene Rayburn, Gene Kelly and Johnny Carson and scripts for popular shows like Chico and the Man and Good Times. Additional materials include pitch documents, outlines and scripts for unproduced TV series and films. Additionally, this collection includes unpublished book manuscripts, short stories, and plays. Language of Material: English Access Available by appointment only. Most materials stored offsite. One week advance notice required for retrieval. Publication Rights The responsibility to secure copyright and publication permission rests with the researcher. Preferred Citation Norman Liebmann Papers. Writers Guild Foundation Archive Acquisition Information Donated by wife Shirley Liebmann on January 29, 2016.
[Show full text]
Or Not? Evoluzioni E Rivoluzioni Nella Serialità Post-Netflix
Everything is Awesome – or not? Evoluzioni e rivoluzioni nella serialità post-Netflix Chiara Checcaglini Negli ultimi anni si sono moltiplicate riflessioni che pongono il settore della serialità televisiva al centro di un’ondata di cambiamenti particolarmente energica. Le prospettive di osservazione su queste mutazioni condividono alcune premesse. Sono ritenuti attori determinanti nel cambiamento i nuovi provider di contenuti che hanno fatto il loro ingresso nel mercato accanto alle tradizionali tipologie di reti: nello specifico, l’affermazione delle piattaforme over-the-top (OTT) non sarebbe cruciale solo dal punto di vista degli assetti economici del sistema dell’entertainment televisivo a base U.S.A., ma starebbe conducendo a significative modificazioni anche a livelli meno immediatamente misurabili, come la struttura e la messa in forma dei contenuti stessi delle serie televisive. Il modello di distribuzione e il rapporto tra servizio e consumatore rappresentato da soggetti come Netflix starebbe cioè gradualmente influenzando elementi estetico-stilistici che riguardano la sfera creativa della produzione seriale. La relazione tra contesto economico-produttivo e opzioni creative è in realtà una delle caratteristiche principali di un sistema industriale che si è sempre fondato sulla quantificabilità del feedback, sia esso legato agli spettatori venduti agli inserzionisti, o alle sottoscrizioni vendute agli spettatori. Negli ultimi vent’anni però la centralità delle serie televisive nei discorsi culturali, assieme alla legittimazione a cui è Between, vol. VI, n. 11 (Maggio/ May 2016) Chiara Checcaglini, Everything is Awesome – or not? Evoluzioni e rivoluzioni nella serialità post- Netflix andato incontro il settore1, ha spostato più in primo piano anche la componente immateriale della costruzione seriale: componenti come la qualità tecnica, il prestigio, il livello di sperimentazione e di eccesso dal punto di vista della rappresentazione diventano essi stessi fattori strategici nella costruzione dell’identità dei network e del loro pubblico.
[Show full text]
25995 Yamaha
How does writing music for television differ from film You use a Yamaha 02R96 mixing console. How does it figure composing? into your workflow? The differences in the music reflect the differences between the two it’s the absolute center. when i got my first 02r, i thought, “Yeah, mediums. Tv is a smaller medium, and Tv shows usually have i’ll play around with this, but it’s not going to replace my big english COOL AND COMPOSED smaller instrumentations. There are exceptions—for example, Star board.” but a month later i realized, “wow, this is the answer to Trek and The Simpsons are done with an orchestra. Time is a big everything!” The scene memories are great, and the boards have a factor, too. for Arrested Development , i’m doing upwards of 12 very neutral sound i can do anything with. And the 02r96 sounds : minutes of finished music every week for a show that’s only 21 min - even better. i recently replaced my four original 02rs with two utes long. Most shows average considerably less music. 02r96s. in fact, one of the great things about the 002r96 is the amount of other gear i’ve been able to get rid of: two digital patch Z What sort of back and forth do you have with the rest of the bays, an analog master section for the original 02rs, reducing my creative team? studio patch bay from seven rack spaces to two. The dynamics and At the spotting session, we go through an episode scene by scene eQ processing on the 02r96 are great, too.
[Show full text]
Ard Parties Are Affected by Ban May Liquidate 2Nd Tract of Nursery
H Complete Local News Of A Population Of THE WEATHER 1 8 ,5 2 4 Increasing cloudiness farmer today i 1»t.r»l . Meeea d m mm rotten J.eau-y/l. im . .t t1i. Foit Ogle, .t num^th, N .„ U rM f, StmcsB H r«r*rr MM -t'Tmr-’ ^ VIIr -N o ,,,,S5 .3 - H.lO. SipE, N. J., TH-URSDA^MARCH-<^»M-1- mtWBfAPKK______ uF Tir* TmvNBiin* op miLSitt k -P-M eE-FlVE-.CENTS- ard Parties Are Eyeglass Lens To Sing In Baptist Church Moves To Help Solves Theft Flood Control May Liquidate 2nd Leads To Arrest O f Kearny Affected By Ban P&scoe Seeks Diversion Man For Taking Police Of Highway Funds For Tract Of Nursery Auto January 31 Project In County mbling Causes Can- pence last InUMAJi jQfilinqiiftnrtos O f feT7 ftOft closed’ an outstanding piece of de Assemblyman Herbert J. Pascoe Mefeean Sponsors idling Two Events tective work by bringing a 25-year- this week moved to. aid in flood con Against Parcel In Best : Pirn K. Owen spoke Tuesday be trol wofk along the Elizabeth River fore the vRo.tary~ Glub.-on how^ the ■oM-youfe-teto-Pmice^0oart^eiHihefli- Daylight Saving Residential Area poiieeatr junuafy 'STr’HtSOTy by^rrtrOducing-a-*biii'''to: • d4'vei-t-$l'Q0^~ ecT r e s u l t o f federal income tax laws work, and 050’ ” State Highway Department mentioned various deductions pos evidence being a single eyeglass lens ]ING AMENDMENT Without any distinguishing mark on funds for this purpose. Pascoe said Congressman Donald H.
[Show full text]
HBO: Brand Management and Subscriber Aggregation: 1972-2007
1 HBO: Brand Management and Subscriber Aggregation: 1972-2007 Submitted by Gareth Andrew James to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English, January 2011. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. ........................................ 2 Abstract The thesis offers a revised institutional history of US cable network Home Box Office that expands on its under-examined identity as a monthly subscriber service from 1972 to 1994. This is used to better explain extensive discussions of HBO‟s rebranding from 1995 to 2007 around high-quality original content and experimentation with new media platforms. The first half of the thesis particularly expands on HBO‟s origins and early identity as part of publisher Time Inc. from 1972 to 1988, before examining how this affected the network‟s programming strategies as part of global conglomerate Time Warner from 1989 to 1994. Within this, evidence of ongoing processes for aggregating subscribers, or packaging multiple entertainment attractions around stable production cycles, are identified as defining HBO‟s promotion of general monthly value over rivals. Arguing that these specific exhibition and production strategies are glossed over in existing HBO scholarship as a result of an over-valuing of post-1995 examples of „quality‟ television, their ongoing importance to the network‟s contemporary management of its brand across media platforms is mapped over distinctions from rivals to 2007.
[Show full text]
Our Inaugural Season Presenting
Our Inaugural Season presenting Americana Roots Broadway Celebrity Concerts Chamber Arts Dance Family Global Stage subscriber edition Jazz Vocal Songbook 2019-20 elcome to the 2019–20 season at the Jay and Susie Gogue Performing Arts Center at Auburn W University. In this inaugural season and beyond, it is our charge to elevate and transform the creative landscape of the university, the region and beyond with thoughtfully curated experiences that inspire, engage and enlighten audiences while fostering innovative research and scholarship in the arts. Throughout the year, the Gogue Center will offer world-renowned artists that will be presenting select performances on our stage. In this inaugural season, many will be making their only stop in Alabama exclusively at the Gogue Center. The Jazz at Lincoln Center Orchestra with Wynton Marsalis, the most celebrated singer of our time Renée Fleming, fan favorite DIAVOLO, and award- winning choreographer Camille A. Brown and Dancers are just a handful of performers presenting unique artistic and educational experiences in our state. Likewise, we are delighted to also introduce new artists to Welcome our campus and community, including mandolin phenom Sierra Hull; Tony Award-winning actress, singer and dancer Sutton Foster; YouTube sensation Scott Bradlee’s Postmodern Jukebox; America’s Got Talent 2012 semi- to Our finalist Lightwire Theater; and many more. These artists are just a few of the new faces, sounds and experiences you as audience members will share during this inaugural Inaugural season at the Gogue Center. In addition to the outstanding performances, education and community engagement are vital to our mission as Season arts presenters at Auburn University and in Alabama.
[Show full text]
Schedule 2020
JANUARY 2020 DGA MONTHLY PRINT JANUARY 2020 FEBRUARY 2020 The OfficialMARCH 2020 News & Events Magazine of the Directors Guild of America JANUARY 2020 FEBRUARY 2020 MARCH 2020 FEBRUARY 2020 JANUARY 2020 DGA and AMPTP Agree to Begin Contract Negotiations MARCH 2020 SCHEDULE FEBRUARY 2020 JANUARY 2020 nd MARCH 2020 72 2019 Nominees for Outstanding DGA Announces Awards for Directorial Achievement in Service and Achievement: FEBRUARY 2020 Theatrical Feature Film Duncan S. Henderson Frank Capra Achievement Award MARCH 2020 JOHAN RENCK NICOLE BILL HADER SPIKE JONZE Movies For Television KASSELL Comedy Series Commercials and Limited Series Dramatic Series Arthur E. Lewis FEBRUARY 2020 Franklin J. Schaffner Achievement Award 72nd BONG SAM MARTIN MARCH 2020 JOON HO MENDES SCORSESE Parasite 1917 The Irishman JAMES BURROWS DON ROY KING & ANDY FISHER Variety/Talk/News/ WINNERS Variety/Talk/News/ Sports – Series Sports – Specials FEBRUARY 2020 MARCH 2020 SAM MENDES JASON COHEN AMY SCHATZ ALMA HAR’EL STEVEN BOGNAR and Reality Programs Children’s First-Time Feature JULIA REICHERT Outstanding Directorial Achievement Programs Film Director Documentary QUENTIN TAIKA in Theatrical Feature Film TARANTINO WAITITI Once Upon a Time... Jojo Rabbit in Hollywood In Memoriam Former DGA President Also in this Issue: Gene Reynolds BA/FLTTA 2020 Negotiations Update • 72nd DGA Awards Voting Information 1923-2020 • DGA Membership Meeting in Chicago • The Craft of the Director: Lesli Linka Glatter • EDSC, WSC & Latino Committees Host Events • January Screenings, Meetings
[Show full text]
LGBTQ Episodic Television Study Guide
Archive Study Guide: LESBIAN, GAY, BISEXUAL AND TRANSGENDER TELEVISION: SITCOMS AND EPISODIC DRAMAS ARCHIVE STUDY GUIDE The representation of Lesbian, Gay, Bisexual and Transgender (LGBT) communities on television is marked by a history of stereotypes and inexplicable invisibility. By the 1970s, gay media-watch groups communicated their concerns to the television industry and a sense of cooperation began to emerge between the LG BT community and broadcasters. During the 1980s, the AIDS crisis and resulting prejudices ushered in a new era of problematic and offensive portrayals. In the late 1990s, Ellen Degeneres' landmark coming out, (both in real- life, and through the character she portrayed in her sitcom), generated much controversy and discussion, ultimately paving the way for well -developed gay characters in prominent primetime TV roles. Despite such advances, stereotypes continue to resurface and perpetuate, and the full diversity of the LGBT community is more often than not underrepresented in the mass media. This is only a partial list – consult the Archive Research and Study Center for additional titles, including relevant materials held in the Outfest Legacy Collection. HEARST NEWSREEL Hearst Newsreel Footage. Movie Stars Join Circus for Charity! Los Angeles, California (1948-09-04). Wrestling telecasts of the late 1940s and early 1950s often featured flamboyant characters with (implied) gay personas. Features Bob Hope acting as manager of outlandish TV wrestler Gorgeous George, who faces actor Burt Lancaster in a match. Study Copy: VA6581 M Hearst Newsreel Footage. Wrestling from Montreal, Quebec, Canada (1948-10-22). Gorgeous George vs. Pete Petersen. Study Copy: VA8312 M TELEVISION (Please note some titles may require additional lead-time to make available for viewing) 1950s Western Main Event Wrestling.
[Show full text]
PATTY YORK Make-Up Artist IATSE 706 Journeyman Member of the Academy of Motion Picture Arts and Sciences
PATTY YORK Make-Up Artist IATSE 706 Journeyman Member of the Academy of Motion Picture Arts and Sciences FILM MASTERMINDS Personal Make-Up Artist to Owen Wilson Relativity Media Director: Jared Hess POCKET LISTING Peronal Make-Up Artist to Rob Lowe Helios Productions Director: Conor Allyn THE BENEFACTOR Personal Make-Up Artist to Richard Gere Audax Films Director: Andrew Renzi THE INTERNSHIP Personal Make-Up Artist to Owen Wilson Twentieth Century Fox Director: Shawn Levy THE BIG YEAR Personal Make-Up Artist to Owen Wilson DreamWorks SKG Director: David Frankel HALL PASS Personal Make-Up Artist to Owen Wilson New Line Cinema Directors: The Farrelly Brothers LITTLE FOCKERS Personal Make-Up Artist to Owen Wilson DreamWorks SKG Director: Paul Weitz HOW DO YOU KNOW? Personal Make-Up Artist to Owen Wilson Columbia Pictures Director: James L. Brooks ALICE IN WONDERLAND Personal Make-Up Artist to Johnny Depp Disney Director: Tim Burton Winner: Critics’ Choice Award for Best Make-Up PUBLIC ENEMIES Personal Make-Up Artist to Johnny Depp Universal Pictures Director: Michael Mann THE IMAGINARIUM OF Personal Make-Up Artist to Johnny Depp DOCTOR PARNASSUS Director: Terry Gilliam Davis-Films and Infinity Features IMAGINE THAT Personal Make-Up Artist to Thomas Haden Church Paramount Pictures Director: Karey Kirkpatrick THE HOUSE BUNNY Department Head Columbia Pictures Make-Up Artist to Anna Faris Director: Fred Wolf Cast: Emma Stone, Kat Dennings, Katharine McPhee, Rumer Willis, Colin Hanks, Beverly D’Angelo THE MILTON AGENCY Patty York 6715 Hollywood Blvd #206, Los Angeles, CA 90028 Make-Up Telephone: 323.466.4441 Facsimile: 323.460.4442 IATSE 706 [email protected] www.miltonagency.com Page 1 of 5 NEXT Department Head Revolution Studios Director: Lee Tamahori Cast: Jessica Biel, Thomas Kretschmann, Peter Falk LUCKY YOU Department Head Warner Bros.
[Show full text]
Downloaded More Than 212,000 Times Since the Ipad's April 3Rd Launch,” the Futon Critic, 14 Apr
Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature _____________________________ ______________ Nicholas Bestor Date TV to Talk About: The CW and Post-Network Television By Nicholas Bestor Master of Arts Film Studies Michele Schreiber, Ph.D. Advisor Eddy Von Mueller, Ph.D. Committee Member Karla Oeler, Ph.D. Committee Member Accepted: Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ___________________ Date TV to Talk About: The CW and Post-Network Television By Nicholas Bestor B.A., Middlebury College, 2005 Advisor: Michele Schreiber, Ph.D. An abstract of A thesis submitted to the Faculty of the James T. Laney School of Graduate Studies of Emory University in partial fulfillment of the requirements for the degree of Master of Arts in Film Studies 2012 Abstract TV to Talk About: The CW and Post-Network Television By Nicholas Bestor The CW is the smallest of the American broadcast networks, but it has made the most of its marginal position by committing itself wholly to servicing a niche demographic.
[Show full text]