Planet of the Apes Movies in Order New
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Broadcast and Audio Flag Hearing
S. HRG. 109–580 BROADCAST AND AUDIO FLAG HEARING BEFORE THE COMMITTEE ON COMMERCE, SCIENCE, AND TRANSPORTATION UNITED STATES SENATE ONE HUNDRED NINTH CONGRESS SECOND SESSION JANUARY 24, 2006 Printed for the use of the Committee on Commerce, Science, and Transportation ( U.S. GOVERNMENT PRINTING OFFICE 29–917 PDF WASHINGTON : 2006 For sale by the Superintendent of Documents, U.S. Government Printing Office Internet: bookstore.gpo.gov Phone: toll free (866) 512–1800; DC area (202) 512–1800 Fax: (202) 512–2250 Mail: Stop SSOP, Washington, DC 20402–0001 VerDate 0ct 09 2002 15:35 Sep 19, 2006 Jkt 029917 PO 00000 Frm 00001 Fmt 5011 Sfmt 5011 S:\WPSHR\GPO\DOCS\29917.TXT JACKF PsN: JACKF SENATE COMMITTEE ON COMMERCE, SCIENCE, AND TRANSPORTATION ONE HUNDRED NINTH CONGRESS SECOND SESSION TED STEVENS, Alaska, Chairman JOHN MCCAIN, Arizona DANIEL K. INOUYE, Hawaii, Co-Chairman CONRAD BURNS, Montana JOHN D. ROCKEFELLER IV, West Virginia TRENT LOTT, Mississippi JOHN F. KERRY, Massachusetts KAY BAILEY HUTCHISON, Texas BYRON L. DORGAN, North Dakota OLYMPIA J. SNOWE, Maine BARBARA BOXER, California GORDON H. SMITH, Oregon BILL NELSON, Florida JOHN ENSIGN, Nevada MARIA CANTWELL, Washington GEORGE ALLEN, Virginia FRANK R. LAUTENBERG, New Jersey JOHN E. SUNUNU, New Hampshire E. BENJAMIN NELSON, Nebraska JIM DEMINT, South Carolina MARK PRYOR, Arkansas DAVID VITTER, Louisiana LISA J. SUTHERLAND, Republican Staff Director CHRISTINE DRAGER KURTH, Republican Deputy Staff Director KENNETH R. NAHIGIAN, Republican Chief Counsel MARGARET L. CUMMISKY, Democratic Staff Director and Chief Counsel SAMUEL E. WHITEHORN, Democratic Deputy Staff Director and General Counsel LILA HARPER HELMS, Democratic Policy Director (II) VerDate 0ct 09 2002 15:35 Sep 19, 2006 Jkt 029917 PO 00000 Frm 00002 Fmt 5904 Sfmt 5904 S:\WPSHR\GPO\DOCS\29917.TXT JACKF PsN: JACKF C O N T E N T S Page Hearing held on January 24, 2006 ........................................................................ -
WAR for the PLANET of the APES Written by Mark Bomback & Matt Reeves
WAR FOR THE PLANET OF THE APES Written by Mark Bomback & Matt Reeves Based on Characters Created by Rick Jaffa & Amanda Silver TWENTIETH CENTURY FOX FINAL SHOOTING SCRIPT 10201 W. Pico Blvd. NOVEMBER 30, 2015 Los Angeles, CA 90064 ALL RIGHTS RESERVED. COPYRIGHT ©2015 TWENTIETH CENTURY FOX FILM CORPORATION. NO PORTION OF THIS SCRIPT MAY BE PERFORMED, PUBLISHED, REPRODUCED, SOLD OR DISTRIBUTED BY ANY MEANS, OR QUOTED OR PUBLISHED IN ANY MEDIUM, INCLUDING ANY WEB SITE, WITHOUT THE PRIOR WRITTEN CONSENT OF TWENTIETH CENTURY FOX FILM CORPORATION. DISPOSAL OF THIS SCRIPT COPY DOES NOT ALTER ANY OF THE RESTRICTIONS SET FORTH ABOVE. 1. BLACK SCREEN PRIMITIVE WAR DRUMS POUND OMINOUSLY... as a LEGEND BEGINS: Fifteen years ago, a scientific experiment gone wrong gave RISE to a species of intelligent apes… and destroyed most of humanity with a virus that became known as the Simian Flu. The word “RISE” lingers, moving toward us as it FADES... With the DAWN of a new ape civilization led by Caesar, the surviving humans struggled to coexist... but fighting finally broke out when a rebel ape, Koba, led a vengeful attack against the humans. The word “DAWN” lingers, moving toward us as it FADES... The humans sent a distress call to a military base in the North where all that remained of the U.S. Army was gathered. A ruthless Special Forces Colonel and his hardened battalion were dispatched to exterminate the apes. Evading capture for the last two years, Caesar is now rumored to be marshaling the fight from a hidden command base in the woods.. -
MICHAEL BONVILLAIN, ASC Director of Photography
MICHAEL BONVILLAIN, ASC Director of Photography official website FEATURES (partial list) OUTSIDE THE WIRE Netflix Dir: Mikael Håfström AMERICAN ULTRA Lionsgate Dir: Nima Nourizadeh Trailer MARVEL ONE-SHOT: ALL HAIL THE KING Marvel Entertainment Dir: Drew Pearce ONE NIGHT SURPRISE Cathay Audiovisual Global Dir: Eva Jin HANSEL & GRETEL: WITCH HUNTERS Paramount Pictures Dir: Tommy Wirkola Trailer WANDERLUST Universal Pictures Dir: David Wain ZOMBIELAND Columbia Pictures Dir: Ruben Fleischer Trailer CLOVERFIELD Paramount Pictures Dir: Matt Reeves A TEXAS FUNERAL New City Releasing Dir: W. Blake Herron THE LAST MARSHAL Filmtown Entertainment Dir: Mike Kirton FROM DUSK TILL DAWN 3 Dimension Films Dir: P.J. Pesce AMONGST FRIENDS Fine Line Features Dir: Rob Weiss TELEVISION (partial list) PEACEMAKER (Season 1) HBO Max DIR: James Gunn WAYS & MEANS (Season 1) CBS EP: Mike Murphy, Ed Redlich HAP AND LEONARD (Season 3) Sundance TV, Netflix EP: Jim Mickle, Nick Damici, Jeremy Platt Trailer WESTWORLD (Utah; Season 1, 4 Episodes.) Bad Robot, HBO EP: Lisa Joy, Jonathan Nolan CHANCE (Pilot) Fox 21, Hulu EP: Michael London, Kem Nunn, Brian Grazer Trailer THE SHANNARA CHRONICLES MTV EP: Al Gough, Miles Millar, Jon Favreau (Pilot & Episode 102) FROM DUSK TIL DAWN (Season 1) Entertainment One EP: Juan Carlos Coto, Robert Rodriguez COMPANY TOWN (Pilot) CBS EP: Taylor Hackford, Bill Haber, Sera Gamble DIR: Taylor Hackford REVOLUTION (Pilot) NBC EP: Jon Favreau, Eric Kripke, Bryan Burk, J.J. Abrams DIR: Jon Favreau UNDERCOVERS (Pilot) NBC EP: J.J. Abrams, Bryan Burk, Josh Reims DIR: J.J. Abrams OUTLAW (Pilot) NBC EP: Richard Schwartz, Amanda Green, Lukas Reiter DIR: Terry George *FRINGE (Pilot) Fox Dir: J.J. -
G:\Chambers\MPT\OPINIONS\18-62 VAC-MPT Twitter Motion to Stay.Wpd
IN THE UNITED STATES DISTRICT COURT FOR THE DISTRICT OF DELAWARE ) In re TWITTER, INC. SHAREHOLDER ) DERIVATIVE LITIGATION ) ) ) ) C.A. No. 18-62-VAC-MPT This Document Relates To: ) ) ALL ACTIONS. ) ) REPORT AND RECOMMENDATION I. INTRODUCTION This matter arises from plaintiffs Jim Porter, Ernesto Espinoza, and Francis Flemings’ (collectively, “Plaintiffs”) Verified Consolidated Shareholder Derivative Complaint1 against nominal defendant Twitter, Inc.. (“Twitter”) and defendants Richard Costolo, Anthony Noto, Jack Dorsey, Peter Fenton, David Rosenblatt, Marjorie Scardino, Evan Williams, Peter Chernin, and Peter Currie (collectively, “Defendants”), filed on April 19, 2017. The initial complaint was filed on October 24, 2016, followed by two other actions, with the three matters eventually consolidated and present operative complaint filed in the Northern District of California.2 The case was transferred to the 1 D.I. 33. 2 See D.I. 1, 21 and 33. In the interim between the filing of the initial complaint and the present operative amended complaint, the court entered an amended order which consolidated the three actions filed in the Northern District of California, appointed the lead plaintiff and lead counsel, and established a schedule to file a consolidated complaint. D.I. 11. As a result, 16-6136 (filed October 24, 2016), 16-6457 (filed November 4, 2016) and 16-6492 (filed November 8, 2016) were consolidated into 16-6136 (the “Derivative Action”). District of Delaware on January 8, 2018.3 The complaint alleges the issuance of false and misleading proxy statements in violation of Section 14(a) of the Securities Exchange Act of 1934 (the “Exchange Act”), breaches of fiduciary duties, unjust enrichment, corporate waste, and insider selling.4 On March 14, 2018, Defendants filed a motion to stay the Verified Consolidated Shareholder Derivative Complaint pending resolution of a related securities action in the Northern District of California.5 Presently before the court is Defendants’ motion to stay. -
When She Was Bad Script
When She Was Bad July 8, 1997 (Pink) Written by: Joss Whedon Teaser ANGLE: A HEADSTONE It's night. We hold on the stone a moment, then the camera tracks to the side, passing other stones in the EXT. GRAVEYARD/STREET - NIGHT CAMERA comes to a stone wall at the edge of the cemetery, passes over that to see the street. Two figures in the near distance. XANDER and WILLOW are walking home, eating ice cream cones. WILLOW Okay, hold on... XANDER It's your turn. WILLOW Okay, Um... "In the few hours that we had together, we loved a lifetimes worth." XANDER Terminator. WILLOW Good. Right. XANDER Okay. Let's see... (Charlton Heston) 'It's a madhouse! A m-- WILLOW Planet of the Apes. XANDER Can I finish, please? WILLOW Sorry. Go ahead. XANDER 'Madhouse!' She waits a beat to make sure he's done, then WILLOW Planet of the Apes. Good. Me now. Um... Buffy Angel Show XANDER Well? WILLOW I'm thinking. Okay. 'Use the force, Luke.' He looks at her. XANDER Do I really have to dignify that with a guess? WILLOW I didn't think of anything. It's a dumb game anyway. XANDER You got something better to do? We played rock-paper-scissors long enough, okay? My hand cramped up. WILLOW Well, sure, if you're ALWAYS scissors, of course your tendons are gonna stretch -- XANDER (interrupting) You know, I gotta say, this has really been the most boring summer ever. WILLOW Yeah, but on the plus side, no monsters or stuff. She sits on the stone wall. -
44. Jerry Goldsmith Planet of the Apes: the Hunt (Opening) (For Unit 6: Further Musical Understanding)
44. Jerry Goldsmith Planet of the Apes: The Hunt (opening) (for Unit 6: Further Musical Understanding) Background information and performance circumstances Biography • Jerry Goldsmith was born in 1929. • Goldsmith was a prolific American composer of scores for films and television series. • Three of his most successful collaborations were with the director Franklin J. Schaffner with whom he worked on Planet of the Apes (1968). • Goldsmith was particularly noted for his experiments with instrumental sound. In his score for Alien he used a shofar (a ram’s horn used in Jewish services), as well as a steel drum and serpent (a large curved type of bass Cornett). • He also enthusiastically embraced the use of new electronic instruments, though he liked to use a full symphony orchestra where possible, often in conjunction with ethnic and electronic instruments. This can be seen in his score for Planet of the Apes though… • …electronics in music were not yet at a very advanced stage. • Goldsmith died in 2004. Goldsmith’s use of devices In the hunt scene of the film, armed apes on horseback are chasing a group of stranded humans. Goldsmith uses a variety of devices to emphasise a sense of terror, including: • Unconventional instruments and techniques; prominent use of percussion instruments (see performing instruments). • Dissonance (see harmony notes). • Avoidance of traditional tonality; suggestions of serialist chromatic music (see tonality) • Harsh driving, often syncopated rhythms (see rhythm and metre). All these features are frequently found in 20th Century music as a whole. Performing Instruments and their handling • Large symphony orchestra with a number of additions. -
Be a Disruptor Than to Defend Myself from Disruption.”
“I ultimately made the decision “The world that it would be more fun to wants us be a disruptor than to tell them that to defend myself the sky is falling. from disruption.” IT’s NOT.” – Le s L i e Mo o n v e s –Pe t e r Ch e r n i n aac e e s i ” – L “ . BEYO TECH NOL WELCOME NDDI OGY SRUP is the best ally democracy can have.” disruption and UNCERTAINTY good way to do it: embrace “There’s only one TION –Ad r i A n A Ci s n e r o s A Report on the AND PLEASE JOIN US INTERNATIONAL for the next International COUNCIL SUMMIT Council Summit September 14, 15, 16, 2011 April 26, 2012 Los Angeles Madrid, Spain CONTENTS A STEP BEYOND DISRUPTION 3 | A STEP BEYOND DISRUPTION he 2011 gathering of The Paley Center for Me- Tumblr feeds, and other helpful info. In addi- dia’s International Council marked the first time tion, we livestreamed the event on our Web site, 4 | A FORMULA FOR SUCCESS: EMBRacE DISRUPTION in its sixteen-year history that we convened in reaching viewers in over 140 countries. Los Angeles, at our beautiful home in Beverly To view archived streams of the sessions, visit 8 | SNAPSHOTS FROM THE COCKTAIL PaRTY AT THE PaLEY CENTER Hills. There, we assembled a group of the most the IC 2011 video gallery on our Web site at http:// influential thinkers in the global media and en- www.paleycenter.org/ic-2011-la-livestream. -
War for the Planet of the Apes (2017)
WAR FOR THE PLANET OF THE APES (2017) ● Released by July 14th, 2017 ● 2 hours 20 minutes ● $150,000,000 (estimated) budget ● Matt Reeves directed ● Chernin Entertainment, TSG Entertainment ● Rated PG-13 for sequences of sci-fi violence and action, thematic elements, and some disturbing images QUICK THOUGHTS: ● Demetri Panos: ● OPINION: WITH MATT REEVES FLOURISHED STORYTELLLING, QUALITY PERFORMANCES, GRAND SCALE NARRATIVE; WAR FOR THE PLANET OF THE APES CAPS OFF A RARE TRILOGY FEAT WHERE THE MOVIES JUST GOT BETTER AS THEY WENT ALONG. REEVES NOT ONLY ABLE TO DIRECT BIG SCALE ACTION, HE COMPOSES SHOTS THAT NOT ONLY CAPTURE INTIMATE EXPRESSION BUT GRAND SCALE LANDSCAPE. SPEAKING OF EXPRESSION; MOTION CAPTURE TECHNOLOGY IS REACHING IF NOT AT ITS PEAK! I ARGUE THAT IT IS SO GOOD, IT SHOULD BE CONSIDERED A PROSTHETIC. TO TAKE THAT ONE STEP FURTHER, THE ACADEMY SHOULD NOW TAKE NOTE AND NOT BE HINDERED TO NOTICE PERFORMANCES UNDER MOTION CAPTURE. IT IS NOT UNLIKE NOMINATING JOHN HURT FROM ELEPHANT MAN OR ERIC STOLTZ FROM MASK. ANDY SERKIS PERFORMANCE HERE TRANSCENDS THE MASK. HE PLAYS CEASAR AS A LEADER WHO NOT ONLY GRAPPLES WITH THE RESPONSIBILITY OF HIS RACE BUT WITH RAMIFICATIONS OF HIS DECISIONS. HIS IS A GRIPPING PERFORMANCE, ONE OF THE BEST OF THE SUMMER. WOODY HARRELSON’S, THE COLONEL, PERFORMANCE TEETERS FROM GOING OVER THE TOP BUT HIS CHARACTER MIRRORS REAL IFE PERSONAS, WHILE ONE CAN UNDERSTAND THE COLONEL’S MOTIVIATION, HIS ACTIONS ARE NOT THOSE BOUND BY RATIONALITY AND THEREFORE SCARY. ALSO, PROPS TO AMIAH MILLER WHOSE RE-IMAGINED NOVA IS ENDEARING AND STRONG. -
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. -
2014 Proxy Statement
TWITTER, INC. 1355 MARKET STREET, SUITE 900 SAN FRANCISCO, CALIFORNIA 94103 NOTICE OF ANNUAL MEETING OF STOCKHOLDERS To Be Held at 2:00 p.m. Pacific Time on Wednesday, May 21, 2014 Dear Stockholders of Twitter, Inc.: The 2014 annual meeting of stockholders (the “Annual Meeting”) of Twitter, Inc., a Delaware corporation, will be held on Wednesday, May 21, 2014 at 2:00 p.m. Pacific Time, at The Hilton San Francisco located at 333 O’Farrell Street, San Francisco, California, 94102, for the following purposes, as more fully described in the accompanying proxy statement: 1. To elect three Class I directors to serve until the 2017 annual meeting of stockholders and until their successors are duly elected and qualified; 2. To ratify the appointment of PricewaterhouseCoopers LLP as our independent registered public accounting firm for our fiscal year ending December 31, 2014; and 3. To transact such other business as may properly come before the Annual Meeting or any adjournments or postponements thereof. Our board of directors has fixed the close of business on March 28, 2014 as the record date for the Annual Meeting. Only stockholders of record on March 28, 2014 are entitled to notice of and to vote at the Annual Meeting. Further information regarding voting rights and the matters to be voted upon is presented in the accompanying proxy statement. If you plan on attending this year’s annual meeting as a stockholder, you must bring an admission ticket, as explained on page 3 of the proxy statement. This proxy statement and our annual report can be accessed directly at the following Internet address: http://materials.proxyvote.com/90184L. -
126 Rebellion Against Racism and Discrimination in The
REBELLION AGAINST RACISM AND DISCRIMINATION IN THE MOVIES RISE OF THE PLANET OF THE APES AND DAWN OF THE PLANET OF THE APES James Madula, Singgih Daru Kuncara, Chris Asanti English Department, Faculty of Cultural Studies Mulawarman University email: [email protected] ABSTRACT Racism, discrimination and rebellion are three issues which still exist in the world we live these days. Racism is a belief that some groups are superior while some other groups are inferior. Discrimination is the unequal or unfair and violence actions toward others, basically based on their race, skin color and belief. Rebellion is an action or a movement against the pressures which comes from the outside. Those three issues can be found in the movies Rise of the Planet of the Apes and Dawn of the Planet of the Apes. The purposes of this study are to identify and analyze the kinds of racism action from Humans which then emerged the resistance or rebellion from the Apes, and how do the Apes rebel to the Humans. The primary data of this study were collected from 0at Reeves‘s Rise of the Planet of the Apes (2011) and Dawn of the Planet of the Apes (2014) movies. The theory of racism by Henry and Tator, discrimination theories by Theodorson and Theodorson and Larry Willmore and theory of rebellion by Karl Marx and D. E. H. Russel were used as the theoretical framework to find out and analyzed the kinds of racism that the Humans had done to the Apes and the way the Apes do the rebellion action in the movies Rise of the Planet of the Apes and Dawn of the Planet of the Apes movies. -
Narratives of Contamination and Mutation in Literatures of the Anthropocene Dissertation Presented in Partial
Radiant Beings: Narratives of Contamination and Mutation in Literatures of the Anthropocene Dissertation Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Kristin Michelle Ferebee Graduate Program in English The Ohio State University 2019 Dissertation Committee Dr. Thomas S. Davis, Advisor Dr. Jared Gardner Dr. Brian McHale Dr. Rebekah Sheldon 1 Copyrighted by Kristin Michelle Ferebee 2019 2 Abstract The Anthropocene era— a term put forward to differentiate the timespan in which human activity has left a geological mark on the Earth, and which is most often now applied to what J.R. McNeill labels the post-1945 “Great Acceleration”— has seen a proliferation of narratives that center around questions of radioactive, toxic, and other bodily contamination and this contamination’s potential effects. Across literature, memoir, comics, television, and film, these narratives play out the cultural anxieties of a world that is itself increasingly figured as contaminated. In this dissertation, I read examples of these narratives as suggesting that behind these anxieties lies a more central anxiety concerning the sustainability of Western liberal humanism and its foundational human figure. Without celebrating contamination, I argue that the very concept of what it means to be “contaminated” must be rethought, as representations of the contaminated body shape and shaped by a nervous policing of what counts as “human.” To this end, I offer a strategy of posthuman/ist reading that draws on new materialist approaches from the Environmental Humanities, and mobilize this strategy to highlight the ways in which narratives of contamination from Marvel Comics to memoir are already rejecting the problematic ideology of the human and envisioning what might come next.