LMGA COMPASS | Summer 2014 • 3
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Apichatpong Weerasethakul
UNKNOWN FORCES: APICHATPONG WEERASETHAKUL April 18 – June 17, 2007 hold of and ask what I should do. I am consulting a fortune teller now for what the next film should be. She told me the main character (light skin, wide forehead), the locations (university, sports stadium, empty temple, mountain), and the elements (the moon and the water). RI: The backdrops of much of your work accentuate feelings of aloneness and isolation from others. Films like Tropical Malady (2004) and Worldly Desires (2005) traverse remote recesses of distant, even enchanted jungles. In FAITH (2006), you leave earth entirely in search of greater solitude in outer space. You seem interested in or at least drawn to obscure or enigmatic sites that have been left relatively unexplored, untouched, unimagined… AW: That’s what I got from the movies. When you are in a dark theater, your mind drifts and travels. In my hometown when I was growing up, there was nothing. The movie theater was a sanctuary where I was mostly addicted to spectacular and disaster films. Now, as a filmmaker, I am trying to search for similar feelings of wonder, of dreams. It’s quite a personal and isolated experience. Tropical Malady is more about a journey into one’s mind rather than Apichatpong Weerasethakul a real jungle. Or sometimes it is a feeling of “watching” movies. RI: Can you speak about your use of old tales and mythologies in your work? What significance do they hold for you? AW: It’s in the air. Thailand’s atmosphere is unique. It might be hard to understand for foreigners. -
Evening Filmmaking Workshop
FILMM NG A I K N I E N V G E P R K O O DU BO CTION HAND April 2010 NEW YORK FILM ACADEMY 100 East 17th Street Tel: 212-674-4300 Email: [email protected] New York, NY 10003 Fax: 212-477-1414 www.nyfa.edu CLASSES Direcotr’s Craft Hands-on Camera and Lighting Director’s Craft serves as the spine of the workshop, Beginning on day one, this is a no-nonsense introducing students to the language and practice camera class in which students learn fundamental of filmmaking. Through a combination of hands- skills in the art of cinematography with the 16mm on exercises, screenings, and demonstrations, Arriflex-S, the Lowel VIP Lighting Kit and its students learn the fundamental directing skills accessories. Students shoot and screen tests for needed to create a succinct and moving film. focus, exposure, lens perspective, film latitude, This class prepares students for each of their slow/fast motion, contrast, and lighting during their film projects and is the venue for screening and first week of class. critiquing their work throughout the course. Production Workshop Writing Production Workshop gives students the The writing portion of the filmmaking course opportunity to learn which techniques will help adheres to the philosophy that good directing them express their ideas most effectively. cannot occur without a well-written script. The This class is designed to demystify the craft of course is designed to build a fundamental filmmaking through in-class exercises shot on understanding of dramatic structure, which is film under the supervision of the instructor. -
22 4-110 WORK in EXCESS of 18 HOURS on Any Day Where a Director Works in Excess of Eighteen (18) Hours, the Producer, at Its Ex
4-110 WORK IN EXCESS OF 18 HOURS On any day where a Director works in excess of eighteen (18) hours, the Producer, at its expense, shall offer the Director either: i. first class nearby hotel accommodations, or ii. transportation provided by a reputable third party car service to the Director’s home or hotel if on distant location. Under either (i) or (ii) the Producer shall not be responsible or liable for any loss, damage, casualty or theft in connection with any property of the Director. 4-111 PRODUCTION CENTERS Notwithstanding anything to the contrary in this Agreement, the following shall apply to Directors for the purposes of establishing where Directors may be employed as a “local hire.” The Director shall designate the Production Center in which he/she wishes to be employed as a “local hire” in accordance with the rules and procedures currently followed by the Guild. ARTICLE 5 STAFFING, MINIMUM SALARIES AND WORKING CONDITIONS OF UNIT PRODUCTION MANAGERS, FIRST AND SECOND ASSISTANT DIRECTORS 5-100 STAFFING 5-101 UPM STAFFING A UPM shall be employed when the duties of a UPM, as commonly understood in the motion picture industry, are to be performed. A UPM may not perform the functions of a 1st AD unless such UPM is a 1st AD. A 1st AD may perform, with the consent of the Guild, the functions of a UPM interchangeably or in conjunction with the performance of his/her 1st AD duties. An AD is the only person who may assist the UPM in the performance of his/her duties. -
Protocol for Filming During the Covid-19 Health Crisis Spanish Association of Advertising Producers (APCP)
APCP Protocol for filming during the Covid-19 Health Crisis Spanish Association of Advertising Producers (APCP) FECHA PROTOCOLO APCP: #20 ABRIL 2020# Protocolo APCP_200420_V01 PROTOCOL FOR FILMING DURING THE COVID-19 HEALTH CRISIS SPANISH ASSOCIATION OF ADVERTISING PRODUCERS (APCP) The aim of this Protocol is to foster the economic recovery of the advertising film industry, whilst protecting the workers and supporting public health in order to contribute and adapt to the current situation. This action plan abides to all regulations included in the editions of the Spanish Official Gazette published since the 14th March 2020 to date and the guidelines issued by the Competent Authority and the delegated Competent Authorities. Due to the special nature and characteristics of the current situation created by the Covid-19 pandemic, which is having an impact on all aspects of life and society both in Spain and abroad, information is constantly changing. Therefore, the APCP Protocol will be updated and adapted to any new regulation that comes into force. Any commercial shoot carried out by the APCP producers from now on and whilst the special measures issued by the government are in force, must abide to the framework of actions and recommendations included in this APCP Protocol, thus guaranteeing that all workers operate under a responsible action plan. Therefore, the budget of the projects carried out by APCP producers will be calculated according to the provisions in the version of the Protocol in force on the same date, in order to guarantee that all actions and timelines are duly updated and applicable. This protocol complements, but does not replace, the ORP guidelines and the coronavirus prevention regulations that each producer may apply in its own company, workplace and with its own staff. -
Bfi-Teaching-Film-Language-Sound
Starter “How and why different spectators interpret the same use of sound differently” (educas) • What is the mood/atmosphere created by the sound? • Is it largely diegetic or non-diegetic? • Are there any characters present? Who are they? • How would the narrative develop from this point? A Duchy Parade Films Production made with the support of the UK Film Councils new cinema fund.© (2010) All rights reserved Film Language: Sound The Orchestra A Duchy Parade Films Production made with the support of the UK Film Councils new cinema fund.© (2010) All rights reserved Film Language: Sound Film Language: Sound ‘A whistle stop tour of sound in film through theory and practical production’ Welcome Film Language: Sound Who are Into Film and what do we do? 11,423 Film Clubs* 17,432 teachers trained* 195,556 teaching resources Into film Awards (March) downloaded* & Festival (November) *2016-2017 Aims of the session • To develop the ability to use and understand film language associated with sound. • To demonstrate a variety of activities to help students gain deeper understanding of key sound terminology. • To review and critique a range of film titles to illustrate how and why sound techniques are used. • To facilitate understanding of theoretical concepts through practical filmmaking activities. Film Language: Sound Learning outcomes • To explore the historical context of sound. • To identify and apply key sound terminology in film. • To practically apply theoretical understanding of sound techniques. Film Language: Sound Film Language prompt cards • Key terms used in this session are featured in the Sound section of the prompt card pack. -
Guide to Filming in Your Community S E P T E M B E R 2 0 1 0 Guide to Filming in Your Community
Guide to Filming in Your Community s e p t e m b e r 2 0 1 0 Guide to Filming in Your Community Table of Contents Introduction .................................................................................. page 3 A brief background ........................................................................ page 3 The Michigan Film Incentives ....................................................... page 3 Michigan Film Office .................................................................... page 3 Role of the municipality ................................................................ page 3 Streamlining the process—your primary film contact .................... page 4 Role of the PFC ............................................................................ page 4 First contact .................................................................................. page 4 Supplementary opportunities ........................................................ page 4 Locations ....................................................................................... page 5 Location scouting .......................................................................... page 5 Location fees ................................................................................. page 5 Location photography ................................................................... page 5 Street closures ................................................................................ page 6 Permitting .................................................................................... -
Transformers Franchise, and Redefines What It Means to Be a Hero
Paramount Pictures Presents In Association with Hasbro A Don Murphy/Tom DeSanto / di Bonaventura Pictures / Ian Bryce Production A Michael Bay Film Executive Produced by Steven Spielberg Michael Bay Brian Goldner Mark Vahradian Produced by Lorenzo di Bonaventura, p.g.a. Tom DeSanto Don Murphy Ian Bryce, p.g.a. Story by Akiva Goldsman and Art Marcum & Matt Holloway & Ken Nolan Screenplay by Art Marcum & Matt Holloway & Ken Nolan Directed by Michael Bay Cast: Mark Wahlberg, Josh Duhamel, Anthony Hopkins, Laura Haddock, Jerrod Carmichael, Isabela Moner, Santiago Cabrera Synopsis: The Last Knight shatters the core myths of the Transformers franchise, and redefines what it means to be a hero. Humans and Transformers are at war, Optimus Prime is gone. The key to saving our future lies buried in the secrets of the past, in the hidden history of Transformers on Earth. Saving our world falls upon the shoulders of an unlikely alliance: Cade Yeager (Mark Wahlberg); Bumblebee; an English Lord (Anthony Hopkins); and an Oxford Professor (Laura Haddock). There comes a moment in everyone’s life when we are called upon to make a difference. In Transformers: The Last Knight, the hunted will become heroes. Heroes will become villains. Only one world will survive: theirs, or ours. TRANSFORMERS: THE LAST KNIGHT is in theatres [local date], 2017 TRANSFORMERS: THE LAST KNIGHT has been rated [local rating]. ABOUT THE CAST MARK WAHLBERG (“Cade Yeager”) earned both Academy Award® and Golden Globe® nominations for his standout work in the family boxing film The Fighter and Martin Scorsese’s acclaimed drama The Departed. -
Journal & Proceedings of the Royal Society of New South Wales, Vol
Journal and Proceedings of the Royal Society of New South Wales 2020 Volume 153 Part 2 Numbers 479 & 480 “... for the encouragement of studies and investigations in Science Art Literature and Philosophy ...” THE ROYAL SOCIETY OF NEW SOUTH WALES OFFICE BEARERS FOR 2020 Patron Her Excellency The Honourable Margaret Beazley AO QC Governor of New South Wales President Em. Professor Ian Sloan AO FRSN PhD (UCL) FAA Vice-Presidents Em. Professor D Brynn Hibbert AM FRSN PhD (Lond) CCheM FRSC FRACI Dr Susan Pond AM FRSN DSc (UQ) FRACP FTSE FAHMS FAICD Ms Judith Wheeldon AM FRSN BS (Wis) MEd (Syd) FACE Hon. Secretary (Ed.) Em. Professor Robert Marks FRSN MEngSci PhD (Stan) FRSA Hon. Secretary(Gen) Mr Bruce RaMage MRSN Hon. Treasurer Mr Richard WilMott MRSN Hon. Librarian Mr John Hardie FRSN FHEA FGS MACE Hon. WebMaster Em. Professor Lindsay Botten FRSN PhD (Tas) FOSA FAIP FAusMS Councillors Mr Ian Bryce MRSN Em. Professor Robert Clancy AM FRSN PhD (Mon) FRACP FRCPSC The Honorable Virginia Judge FRSN Mr Stuart Midgley MRSN Em. Professor Bruce Milthorpe FRSN BA PhD (ANU) Grad Dip Ed Ms Nyrie PalMer MRSN Em Professor Christina Slade FRSN BA PhD (ANU) Grad Dip Ed Adjunct Professor Robert Whittaker AM FRSN FAIB Hunter Branch Secretary Em. Professor Eugenie Lumbers AM DistFRSN MBBS MD DSci Southern Highlands Branch Rep. Ms Anne Wood FRSN Executive Office The Association Specialists EDITORIAL BOARD Em. Prof. Robert Marks FRSN FRSA MEngSci ResCert MS PhD (Stan) – Hon. Editor Prof. Richard Banati FRSN MD PhD Prof. Michael Burton FRSN MA MMaths (Cantab) PhD (Edinb) FASA FAIP Dr. -
Feature Films: a Profile of Production
Feature Films A Profile of Production PHOTO: Jaimie Trueblood © 2018 Paramount Pictures / Bumblebee 6255 W. Sunset Blvd. CREDITS: 12th Floor Contributors: Hollywood, CA 90028 Anne Wurts Philip Sokoloski Graphic Design: FilmLA.com Shane Hirschman @FilmLA Photography: FilmLA Shutterstock Paramount Pictures FilmLAinc Disney Cover Photo: A Star is Born / ©Warner Bros. TABLE OF CONTENTS INTRODUCTION 2 2018 FILMING LOCATION ESTIMATES 3 CHARACTERISTICS OF MAJOR FILMING CENTERS 9 CALIFORNIA 10 NEW YORK 13 THE U.K. 14 GEORGIA 15 CANADA 16 CONCLUSION 17 SOURCES 18 APPENDIX A: FILMS SHOT ENTIRELY IN CALIFORNIA 19 APPENDIX B: FILMS SHOT IN CALIFORNIA AND OTHER LOCATIONS 20 APPENDIX C: PRIMARY LOCATIONS FOR TOP-GROSSING FEATURES 21 APPENDIX D: VISUAL MAP OF TOP-GROSSING FILMS OF 2018 22 APPENDIX E: CALIFORNIA FILM & TV TAX CREDIT RECIPIENTS 23 1 INTRODUCTION Feature films are the first form of industrialized mass entertainment, dating back to the beginning of the last century. With an early lead in feature film production, California has historically been home to the greatest concentration of film industry talent in the U.S., as well as an extensive web of ancillary products, infrastructure and services. But these days, California has competition. Production centers across the globe offer U.S. production companies an enticing combination of film incentives, a skilled workforce and available infrastructure. As a result, U.S. feature films are made all over the world. Among the unique advantages that the film industry provides to local economies are: 1. It is a high-wage industry. A recent report commissioned by the County of Los Angeles revealed that the average wage in the Film and Digital Media Industry in Los Angeles County is $117,000, which is 95 percent higher compared to the county-wide average of $59,900.1 2. -
3D Gascan ® Honors New Film
Editorial contact: Dara Reiter Public Relations, Oakley Inc. (949) 900-7298 [email protected] OAKLEY TO RELEASE SPECIAL EDITION “TRANSFORMERS: DARK OF THE MOON” 3D GLASSES Limited Edition Oakley 3D Gascan ® Honors New Film FOOTHILL RANCH, Calif., June 17, 2011 – Oakley, Inc. today announced the upcoming release of limited edition 3D glasses with custom graphics that commemorate the debut of “Transformers: Dark of the Moon,” a much anticipated 3D feature film. Available today, the Oakley 3D Gascan® Transformers Limited Edition offers unparalleled performance to provide the ultimate 3D entertainment experience. “We are honored to team up with Paramount Pictures and Hasbro to offer this unique limited edition 3D eyewear,” said Oakley CEO Colin Baden. “This film will push the envelope of 3D entertainment. With all the technology and talent that went into its creation, it deserves nothing less than the world’s best 3D glasses, and the innovations of Oakley 3D Gascan represent the state of the art. Our goal was to set the standard for optical performance in 3D, and we achieved it. Customers lucky enough to get their hands on this limited edition will have a rare collectible to commemorate a mind-blowing cinematic experience,” Baden concluded. “We are thrilled to have Oakley develop this product collaboration with Hasbro to bring even more excitement to audiences anticipating seeing this incredible first-ever Transformers film in 3D. The glasses are amazing!” said LeeAnne Stables, Paramount Pictures’ EVP, Worldwide Marketing Partnerships. This special edition of Oakley 3D glasses carries graphics inspired by the movie, which will debut in the U.S. -
John Williams
JOHN WILLIAMS AWARDS/NOMINATIONS GRAMMY AWARD (201 4) THE BOOK THIEF Best Instrumental Composition ACADEMY AWARD NOMINATION (2013) THE BOOK THIEF Best Original Score BAFTA AWARD NOMINATION (2013) THE BOOK THIEF Best Original Music GOLDEN GLOBE AWARD NOMINATION THE BOOK THIEF (2013) Best Original Score ACADEMY AWARD NOMINATI ON (2012 ) LINCOLN Best Original Score GOLDEN GLOBE AWARD NOMINATION LINCOLN (2012) Best Original Score GRAMMY AWARD NOMINATION (2012) THE ADVENTURES OF TINTIN – THE SECRET Best Score Soundtrack for Visual Media OF THE UNICORN BAFTA AWARD NOMINATIO N (2012 ) LINCOLN Best Original Music CRITIC’S CHOICE AWARD (2012) LINCOLN Best Score ACADEMY AWARD NOMINATION (2011) TINTIN Best Original Score ACADEMY AWARD NOMINATION (2011) TINTIN Best Original Score ACADEMY AWARD NOMINATION (2011) WAR HORSE Best Ori ginal Score BAFTA AWARD NOMINATION (2011) WAR HORSE Best Original Music GOLDEN GLOBE AWARD NOMINATION (2011) WAR HORSE Best Original Score CRITICS CHOICE AWARD NOMINATION WAR HORSE (2011) Best Score 1 The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 JOHN WILLIAMS ANNIE AWARD NOMINATION (2011) TINTIN Best Music in a Feature Production EMMY AWARD (2009) GREAT PERFORMANCES Outstanding Original Main Title Theme Music GRAMMY AWARD (2008) “The Adventures of Mutt” Best Instrumental Composition from INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL GRAMMY AWARD (2006) “A Prayer for Peace” Best Instrumental Composition from MUNICH GRAMMY AWARD (2006) MEMOIRS OF A GEISHA Best Score Soundtrack Album GRAMMY AWARD NOMINATION (2006) -
DVD Profiler
101 Dalmatians II: Patch's London Adventure Animation Family Comedy2003 74 minG Coll.# 1 C Barry Bostwick, Jason Alexander, The endearing tale of Disney's animated classic '101 Dalmatians' continues in the delightful, all-new movie, '101 Dalmatians II: Patch's London A Martin Short, Bobby Lockwood, Adventure'. It's a fun-filled adventure fresh with irresistible original music and loveable new characters, voiced by Jason Alexander, Martin Short and S Susan Blakeslee, Samuel West, Barry Bostwick. Maurice LaMarche, Jeff Bennett, T D.Jim Kammerud P. Carolyn Bates C. W. Garrett K. SchiffM. Geoff Foster 102 Dalmatians Family 2000 100 min G Coll.# 2 C Eric Idle, Glenn Close, Gerard Get ready for outrageous fun in Disney's '102 Dalmatians'. It's a brand-new, hilarious adventure, starring the audacious Oddball, the spotless A Depardieu, Ioan Gruffudd, Alice Dalmatian puppy on a search for her rightful spots, and Waddlesworth, the wisecracking, delusional macaw who thinks he's a Rottweiler. Barking S Evans, Tim McInnerny, Ben mad, this unlikely duo leads a posse of puppies on a mission to outfox the wildly wicked, ever-scheming Cruella De Vil. Filled with chases, close Crompton, Carol MacReady, Ian calls, hilarious antics and thrilling escapes all the way from London through the streets of Paris - and a Parisian bakery - this adventure-packed tale T D.Kevin Lima P. Edward S. Feldman C. Adrian BiddleW. Dodie SmithM. David Newman 16 Blocks: Widescreen Edition Action Suspense/Thriller Drama 2005 102 min PG-13 Coll.# 390 C Bruce Willis, Mos Def, David From 'Lethal Weapon' director Richard Donner comes "a hard-to-beat thriller" (Gene Shalit, 'Today'/NBC-TV).