DOCSLIB.ORG

LOGLINE January / February 2020 Volume 13: Number 1 the Screenwriter’S Ezine

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
LOGLINE January / February 2020 Volume 13: Number 1 the Screenwriter’S Ezine LOGLINE January / February 2020 Volume 13: Number 1 The Screenwriter’s eZine Published by: Letter From the Editor The PAGE International Screenwriting Awards It’s a new year and a new day for screenwriters around the 7190 W. Sunset Blvd. #610 Hollywood, CA 90046 world! Here at PAGE HQ we hope you had a wonderful holiday www.pageawards.com season, feel recharged, and are ready to take the next step in your writing career. In this issue: One way to potentially make a major breakthrough: the 2020 LO PAGE Awards contest. Our Early Entry Deadline is now just 1 Latest News From two weeks away – Monday, January 20 – and with our low the PAGE Awards Early Entry Discount rates, now is the very best time to get your script in the running for one of this year’s awards. Many past PAGE Award winners have optioned and sold their scripts, been signed 2 The Writer’s by Hollywood representatives, and built highly successful careers in the industry. Perspective You could be next! Is It Ever “Too Late” to Chase Your Dream? As we begin lucky Volume 13 of the bimonthly LOGLINE eZine, we welcome new Erin Muroski readers to the publication designed to share industry intel and advice with all writers. First, 2019 PAGE Award winner Erin Muroski reflects on her rush to find success, and how she got over it. PAGE Judge Genie Joseph introduces us to three prevailing story 3 The Judge’s P.O.V. styles that inform a film from page to screen. Script consultant Ray Morton strikes a Three Styles of Story: balance between art and commerce and Dr. Format Dave Trottier presents the best GLINEChoose Wisely ways to build a compelling protagonist. Career coach Lee Jessup offers a list of Genie Joseph industry lingo all writers should have in their vocabulary. Finally, InkTip offers three “hot leads” from producers in search of specific projects to develop. Happy reading, 4 Script Notes Should I Write for Art or Commerce? Ray Morton 5 Spec Writing Tips Building and Revealing Latest News From the PAGE Awards Character: Part 2 Dave Trottier ! The new series Lincoln Rhyme: Hunt for the Bone Collector, executive produced and written by 2008 PAGE Gold Prize winner V.J. Boyd, premieres on NBC on 6 Industry Insider January 10. The show is based on the best-selling book series by Jeffrey Deaver, which was previously adapted into the 1999 movie starring Denzel Washington and Angelina Decoding “Industry Jolie. VJ has previously been a writer and producer on the series S.W.A.T. (CBS), Speak” Lee Jessup The Player (NBC), and Justified (FX). He is represented by Grandview and WME. ! Shailene Woodley has signed on to play the title role in the 2015 PAGE Award- winning Historical Film Girl Named Sue, by Lisa Cole and Mark Monroe. The movie 7 Sell Your Script will be directed by Fernando Coimbra and produced by Laura Bickford Productions Hot Leads and Crazyrose Films. From InkTip ! Since winning his 2015 Silver Prize, German screenwriter Markus Staender has been working steadily, writing for several different TV shows in his home country. Most recently he wrote the December 13 episode of the long-running ZDF crime drama 8 Recommended A Case for Two. He has also penned two German TV movies: the rom-com Klara, Resources which aired on SAT1 in 2017, and the 2019 comedy It Stays in the Family, for FFL. ! 2011 PAGE Award winner Joe Webb, who previously worked as a writer and story editor on the Fox TV drama Sleepy Hollow and the ABC series Quantico, has now been hired as co-producer on the CBS series God Friended Me. Joe is represented by Untitled Entertainment and WME. ! 2019 Silver Prize winner Nabil Choudhary and 2014 PAGE finalist Colin Bannon were both recognized on the 2019 Black List, a compilation of the best as-yet-unproduced screenplays voted on by Hollywood readers and execs. Both writers were also featured on the 2019 Hit List, along with 2018 Silver Prize winner Joshua Rollins, 2018 finalist Charles Morris, and 2017 finalist Avra Fox Lerner. Honored on the 2019 Young and Hungry List were Elaine Loh (2019 PAGE Silver Prize), Lucy Luna (2017 Bronze Prize), Steven Canals (2015 Bronze Prize) and Tom Hanada (2014 Silver Prize). 2020 Early Entry Discount Deadline: January 20 © PAGE International Screenwriting Awards 1 THE WRITER’S PERSPECTIVE Is It Ever “Too Late” to Chase Your Dream? by Erin Muroski Have you ever had one of those dreams where you are internal battles to fight as a newbie writer: “What makes late for something and no matter what you do, you just me qualified to write?” “Will people think my writing is can’t get there? So you rush and stress and try to run terrible or stupid?” “How do I get anyone to read, let but your legs are Jell-O and no matter what you do, alone CARE about my writing?” “When will I start to you’re going to be late? This was how I felt, but not just FEEL like a writer?” The resounding advice I got from in my dreams. In my career. working writers was to keep writing, and to not get precious about my work. It kept me going. Over the “So, why did you wait so long to move to Los Angeles? Don’t you realize everyone else moved here right out years, there were breakthroughs and moments of feeling like I was finally “breaking in,” and there were of school?” the agent asked me. “OF COURSE I KNOW moments of feeling like a complete imposter. THAT NOW! BUT IT’S TOO LATE!” I shouted at him and throttled his neck. (I didn’t do that, but wouldn’t it have At the end of 2018 my husband got a job in New York been fun?) “Everyone your age got here before you, so writing for a Netflix talk show — a huge step forward they have series regular credits by now. How can you in his career. We made long distance work for a few compete against that?” My first meeting with a legit months, flying back and forth, then officially moved to agent in L.A. was going swimmingly. NYC last April. The second week of May, my husband was let go from that writing job that was supposed to So. Why was I so “late”? last another year. We had a tough decision to make. I grew up in Orlando, Florida and went to college there Stay in NYC, where we never really wanted to move as well. I wanted to be a huge musical theatre star. in the first place and where we didn’t have many I’m still known to belt “Let Me Entertain You” from connections or friends, OR pack up all of our belongings Gypsy at the top of my lungs, much to the chagrin of yet again and move back to L.A. We chose the latter. my husband and 12-pound terrier mix, Polly. (They just (Yes. That’s two cross-country moves within one month. don’t recognize talent when they see it.) Yes. It’s as miserable as it sounds.) After college, my plan was to just stay in Orlando for a But if he hadn’t lost the job and we hadn’t said “yes” to year to get some professional experience and then head moving back to L.A., we would never have ended up at to the Big Apple. “One year” turned into five. Then this WGA picnic mixer where we happened to hit it off something clicked in my head one day, and panic set in. with another couple. “I know you said you’ve entered all “How have five years gone by?! I gotta get out of here!” of the fellowships and contests…” the woman said, “but So, I packed up as much as I could in two huge did you enter the Imagine Impact program?” I hadn’t suitcases and moved to New York City. I quickly learned heard of it, but it sounded amazing. that my singing and dancing were not up to par with I got home, looked it up and saw there were three days Broadway performers, so I started performing sketch until the application closed. That application is no joke. comedy and diving into on-camera technique. Casting You have to know your project inside and out. I knew it director after agent after director would tell me, “You’re would take hours to complete. I cleared work for those really funny. You should move to L.A.! There’s way three days and got the application in. A few weeks later more opportunity in comedy!” I got the email saying that I had an interview. Getting I grabbed them by the collar and shouted, “But I just the call telling me I was in the program is up there as started over HERE. And I’m already late. How can I start one of the top five moments of my life! I had hope over again? THE CLOCK IS TICKING, PEOPLE.” (Never again. Hope. I had almost forgotten what it felt like! did that, but a girl can dream.) So, I was scared but... During that time, I also won Gold in PAGE for the script in 2007 I packed up my stuff and moved to L.A. I hit the that got me into Impact, and another spec made it to ground running. People said, “Where have you been the finals at AFF.
Load more

Recommended publications
  • Four Days in July That Rocked Indiana Pence’S Pursuit of Veep Nod, Holcomb’S Win at GOP Central Committee Were Bold Moves Toward November History by BRIAN A
    V22, N15 Thursday, Nov. 17, 2016 Four days in July that rocked Indiana Pence’s pursuit of veep nod, Holcomb’s win at GOP Central Committee were bold moves toward November history By BRIAN A. HOWEY INDIANAPOLIS – When filing back through time to make sense of the Gov. Mike Pence and Lt. Gov. Eric Holcomb sensational Nov. 8 election that catapulted celebrate their Election Day victories that Gov. Mike Pence were forged by four momentus days in into global power July, including Trump’s visit to Indianapolis and capped Eric and Westfield. Holcomb’s unprec- edented rise in Indi- Republican presidential ticket with ana, it comes down Donald Trump. Except it was not fait to four days in July accompli. That wouldn’t happen until when the historic Friday, July 15. and fateful dramas unfolded. And on Monday July 25, after 22 Indiana Republi- On July 14, we witnessed cable breaking news can Central Committee members migrated back to Indiana reports of Gov. and Mrs. Pence disembarking on a charter from the Republican National Convention in Cleveland, the flight from Indianapolis to Teterboro, N.J., in what most thought was an obvious sign he was about to join the Continued on page 3 2016 winners and losers By MARK SOUDER FORT WAYNE – Every election results in individual and categorical winners and losers that impact the longer- term future of politics. Here are a few of my selections. Indiana winner: The Pence/Coats establishment. “The very worst choice you can It directed the quasi-slating of the victorious state ticket: Todd make is to opt out as a citizen, to Young for Senate, in part by give in to the cynicsm, the moving Eric Holcomb out and into position to become gover- despair and the anger.
    [Show full text]
  • Act One Fade In: Int. Studio Backstage
    30 ROCK 113: "The Head and The Hair" 1. Shooting Draft Third Revised (Yellow) 12/13/06 ACT ONE FADE IN: 1 INT. STUDIO BACKSTAGE - NIGHT 1 The show is in full swing. We hear a laugh from inside the studio, then applause and the band kicking in. The double doors burst open and JENNA, dressed as a fat old lady, LIZ, and a QUICK-CHANGE DRESSER enter the backstage chaos from the studio. In the background we see the STAGE MANAGER. STAGE MANAGER We’re back in two minutes! The dresser starts going to work on Jenna; tearing off a wig, casting aside props and jewelry. PETE is there. JENNA (to Liz) So are you gonna ask out the Head? Liz rolls her eyes. PETE The “Head”? LIZ There are these two MSNBC guys we keep seeing around. They just moved offices from New Jersey. We don’t know their names so we call them the Head and the Hair. PETE How come? FLASH BACK TO: 2 INT. ELEVATOR/ELEVATOR BANK - EARLIER THAT DAY 2 Liz and Jenna are on the elevator coming in to work. Two guys get on. One guy is super handsome and has great hair. This is THE HAIR, GRAY. The other guy is cranial and nerdy looking. This is THE HEAD. Liz smiles politely. Jenna gives the Hair a huge grin. GRAY Hey! You guys again. Jenna laughs too hard at this non-joke. 30 ROCK 113: "The Head and The Hair" 2. Shooting Draft Third Revised (Yellow) 12/13/06 JENNA How are things going? Are you settling in okay? GRAY We’re finding our way around.
    [Show full text]
  • Canadian Canada $7 Spring 2020 Vol.22, No.2 Screenwriter Film | Television | Radio | Digital Media
    CANADIAN CANADA $7 SPRING 2020 VOL.22, NO.2 SCREENWRITER FILM | TELEVISION | RADIO | DIGITAL MEDIA The Law & Order Issue The Detectives: True Crime Canadian-Style Peter Mitchell on Murdoch’s 200th ep Floyd Kane Delves into class, race & gender in legal PM40011669 drama Diggstown Help Producers Find and Hire You Update your Member Directory profile. It’s easy. Login at www.wgc.ca to get started. Questions? Contact Terry Mark ([email protected]) Member Directory Ad.indd 1 3/6/19 11:25 AM CANADIAN SCREENWRITER The journal of the Writers Guild of Canada Vol. 22 No. 2 Spring 2020 Contents ISSN 1481-6253 Publication Mail Agreement Number 400-11669 Cover Publisher Maureen Parker Diggstown Raises Kane To New Heights 6 Editor Tom Villemaire [email protected] Creator and showrunner Floyd Kane tackles the intersection of class, race, gender and the Canadian legal system as the Director of Communications groundbreaking CBC drama heads into its second season Lana Castleman By Li Robbins Editorial Advisory Board Michael Amo Michael MacLennan Features Susin Nielsen The Detectives: True Crime Canadian-Style 12 Simon Racioppa Rachel Langer With a solid background investigating and writing about true President Dennis Heaton (Pacific) crime, showrunner Petro Duszara and his team tell us why this Councillors series is resonating with viewers and lawmakers alike. Michael Amo (Atlantic) By Matthew Hays Marsha Greene (Central) Alex Levine (Central) Anne-Marie Perrotta (Quebec) Murdoch Mysteries’ Major Milestone 16 Lienne Sawatsky (Central) Andrew Wreggitt (Western) Showrunner Peter Mitchell reflects on the successful marriage Design Studio Ours of writing and crew that has made Murdoch Mysteries an international hit, fuelling 200+ eps.
    [Show full text]
  • “You're the Worst Gay Husband Ever!” Progress and Concession in Gay
    Title P “You’re the Worst Gay Husband ever!” Progress and Concession in Gay Sitcom Representation A thesis presented by Alex Assaf To The Department of Communications Studies at the University of Michigan in partial fulfillment of the requirements for the degree of Bachelor of Arts (Honors) April 2012 Advisors: Prof. Shazia Iftkhar Prof. Nicholas Valentino ii Copyright ©Alex Assaf 2012 All Rights Reserved iii Dedication This thesis is dedicated to my Nana who has always motivated me to pursue my interests, and has served as one of the most inspirational figures in my life both personally and academically. iv Acknowledgments First of all, I would like to thank my incredible advisors Professor Shazia Iftkhar and Professor Nicholas Valentino for reading numerous drafts and keeping me on track (or better yet avoiding a nervous breakdown) over the past eight months. Additionally, I’d like to thank my parents and my friends for putting up with my incessant mentioning of how much work I always had to do when writing this thesis. Their patience and understanding was tremendous and helped motivate me to continue on at times when I felt uninspired. And lastly, I’d like to thank my brother for always calling me back whenever I needed help eloquently naming all the concepts and patterns that I could only describe in my head. Having a trusted ally to bounce ideas off and to help better express my observations was invaluable. Thanks, bro! v Abstract This research analyzes the implicit and explicit messages viewers receive about the LGBT community in primetime sitcoms.
    [Show full text]
  • The World of Arrested Development
    The World of A Fan’s Guide to the Bluth Family By Rachel Montpelier Disclaimer All of my images have been borrowed from various Arrested Development websites and news sources. My document has no commercial value, is not meant for a commer- cial audience, and is the result of an academic assignment. My goal was to strengthen my writing and creative software skills. I have no intention of publishing this guide and I only want to use these images to incorporate multi-media into my guide and to refine my technical writing skills. 2 The World of Arrested Development A Fan’s Guide to the Bluth Family Rachel Montpelier Antonia Messineo Technical Writing December 3, 2013 3 Acknowledgments “Now the story of a wealthy family who lost everything, and the one son who had no choice but to keep them all together. It’s Arrested Development” (“Pilot”). I want to thank Antonia Messineo, my co-lab partners, and the entire Technical Writing class. Your combined help and suggestions made this process so much easier than I had expected. In particular, I want to thank Ali Sewalt, my roomie and classmate. You were always there for me when I needed feedback, input, or help. Also, I want to thank Mitchell Hurwitz and the entire cast of Arrested Development. You all have provided me with so much laughter and entertainment. I love your show. Thanks for ten years of weird, lovely hilarity. Finally, I want to thank my cousin and friend, Jennifer Williams. If you had not introduced me to the Bluths, I would have missed out on a wonderful show.
    [Show full text]
  • The Complexities of Latina Sexuality on Ugly Betty Tanya González
    IS UGLY THE NEW SEXY? The Complexities of Latina Sexuality on Ugly Betty Tanya González ABC’s Emmy and Golden Globe winning television show Ugly Betty stars America Ferrera as Betty Suarez, an intelligent Mexican American executive assistant who lives in Queens, New York, but works at Mode in Manhattan. An adaptation from the Colombian telenovela,Yo soy, Betty la fea, this television show works on a fairy tale premise: the ugly protagonist with a heart of gold will eventually obtain happiness by virtue of her goodness. However, Ugly Betty offers a protagonist with multiple love interests, constantly involving her in a variety of love triangles, begging the question, “Is ugly the new sexy?” The following analysis of Betty as a sexual subject demonstrates that Ugly Betty, within the limits of Hollywood representation, offers complex subjects instead of one-dimensional types. The show’s use of a Latino camp aesthetic continually introduces elements, like Betty’s sexuality, that push the limits of how we perceive Latinas/os on television and in everyday life. As a result, Ugly Betty surprisingly illustrates Chicana/o and Latina/o feminist theories about identity construction. ABC’s Emmy and Golden Globe winning television show Ugly Betty is a global iteration of the Colombian telenovela1 phenomenon Yo soy, Betty la fea (1999-2001). Ugly Betty, which premiered Fall 2006 and will end Spring 2010, stars America Ferrera as Betty Suarez, an intelligent, sweet, perky young Latina2 who lives in Queens, but works at Mode, a fictional representation of Vogue magazine. As the title suggests, people perceive Betty as ugly because she is not model-skinny; wears glasses, braces, and bangs; and has poor fashion sense.
    [Show full text]
  • 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.
    [Show full text]
  • 07-12-2021 WIF and the Sundance Institute Financing
    July 12, 2021 Media Contacts: Spencer Alcorn [email protected] Women’s Financing Intensive, from WIF (Women In Film, Los Angeles) & Sundance Institute, Elevates Twelve Feature Projects with Tailored Support Intensive equips filmmakers with financing strategies and introduces them to leading financiers. LOS ANGELES - The Sundance Institute and WIF (Women In Film, Los Angeles) today announce the projects and creators selected for the annual WIF and Sundance Institute Financing Intensive. The Intensive is designed to help women producers—fiction and documentary—build the skills and relationships necessary to advance a feature-length project to the next stage of financing success. On July 14–15, producers and their attached directors participate in small group workshops focused on both pitching and financing strategy, and professional skills development. The Intensive continues the week of July 19 with one-on-one meetings with potential financiers and partners including The Harnisch Foundation, IDA, Impact Partners, Participant, Freeform, Hulu, Gamechanger, Chicken & Egg Pictures, K Period. The Intensive will first kick off with a free public session on July 13 at 2pm – 3:15pm ET, Protecting Producers, that will explore fresh ideas in producer career sustainability. The conversation will take place on Sundance Co//ab and include: Carrie Lozano (Director, Sundance Documentary Film Program and Artist Programs), Yael Melamede (Documentary Producers Alliance), producer Summer Shelton, and Avril Speaks (Producers Union). The Institute and WIF have been working together to address the most challenging obstacles facing women filmmakers at both structural and project-based levels. Accessing capital remains elusive even for seasoned creators, and research by both institutions has shown that women continue to deal with particular gendered biases that make it harder to secure financing.
    [Show full text]
  • 30 Rock and Philosophy: We Want to Go to There (The Blackwell
    ftoc.indd viii 6/5/10 10:15:56 AM 30 ROCK AND PHILOSOPHY ffirs.indd i 6/5/10 10:15:35 AM The Blackwell Philosophy and Pop Culture Series Series Editor: William Irwin South Park and Philosophy X-Men and Philosophy Edited by Robert Arp Edited by Rebecca Housel and J. Jeremy Wisnewski Metallica and Philosophy Edited by William Irwin Terminator and Philosophy Edited by Richard Brown and Family Guy and Philosophy Kevin Decker Edited by J. Jeremy Wisnewski Heroes and Philosophy The Daily Show and Philosophy Edited by David Kyle Johnson Edited by Jason Holt Twilight and Philosophy Lost and Philosophy Edited by Rebecca Housel and Edited by Sharon Kaye J. Jeremy Wisnewski 24 and Philosophy Final Fantasy and Philosophy Edited by Richard Davis, Jennifer Edited by Jason P. Blahuta and Hart Weed, and Ronald Weed Michel S. Beaulieu Battlestar Galactica and Iron Man and Philosophy Philosophy Edited by Mark D. White Edited by Jason T. Eberl Alice in Wonderland and The Offi ce and Philosophy Philosophy Edited by J. Jeremy Wisnewski Edited by Richard Brian Davis Batman and Philosophy True Blood and Philosophy Edited by Mark D. White and Edited by George Dunn and Robert Arp Rebecca Housel House and Philosophy Mad Men and Philosophy Edited by Henry Jacoby Edited by Rod Carveth and Watchman and Philosophy James South Edited by Mark D. White ffirs.indd ii 6/5/10 10:15:36 AM 30 ROCK AND PHILOSOPHY WE WANT TO GO TO THERE Edited by J. Jeremy Wisnewski John Wiley & Sons, Inc. ffirs.indd iii 6/5/10 10:15:36 AM To pages everywhere .
    [Show full text]
  • Modern Family Season 1X01 Page.1 - You Saw That, Right? Everybody Fawning Over Lily, and Then You - His Name Is Dylan
    Modern family - We're very different. Jay's from the city. He has a big business. I come from a small village, very poor but very, very beautiful. It's the 1X01 Pilot number-one village in all Colombia for all the... What's the word? - Murders. - Kids! Breakfast! Kids? Phil, would you get them? - Yes, the murders. - Yeah. Just a sec. - Manny, stop him! You can do it! - Kids! - Damn it, Manny! - That is so... - Come on, coach! You got to take that kid out! - Okay. - You want to take him out? How about I take you out? - Kids?! Get down here! - Honey, honey. - Why are you guys yelling at us when we're way upstairs? Just text - Why don't you worry about your son? He spend the first half with me. his hand in his pants! - That's not gonna happen. And you're not wearing that outfit. - I've wanted to tell her off for the last six weeks. I'm Josh. Ryan's dad. - What's wrong with it? - Hi. I'm Gloria Pritchett, Manny's mother. - Honey, do you have anything to say to your daughter about her - And this must be your dad. skirt? - Her dad? That's funny. Actually, no, I'm her husband. Don't be - Sorry. That looks really cute, sweetheart. fooled by the... Give me a second here. - It's way too short. People know you're a girl. You don't need to - Who's a good girl? Who's that? Who's that? prove it. - She's adorable! Hi, precious.
    [Show full text]
  • HBO Leads 60Th Primetime Emmys 30 Rock, Mad Men Take Top Series September 21, 2008
    HBO Leads 60th Primetime Emmys 30 Rock, Mad Men Take Top Series September 21, 2008 A 1960s advertising agency, a fictional sketch-comedy show and the second president of the United States were among the big winners at the 60th Primetime Emmy Awards. Among the twenty-eight awards handed out over the course of the Television Academy’s diamond anniversary event, which was telecast live on ABC, HBO topped the night with 10 winged statuettes. NBC followed with four. Combined with its awards at last Saturday’s Creative Arts Emmys, HBO led for the year as well, with 26 in all. Leading the recipients of multiple awards between the two awards ceremonies was HBO’s seven-part historical miniseries John Adams, with 13 Emmys, surpassing a miniseries record set by another HBO production, Angels in America, which won 11 in 2004, and ABC’s Eleanor and Franklin, which won 11 in 1976. It was an evening of milestones and memories. Among the September 21 ceremony’s firsts: the Primetime Emmys’ debut in their new venue, NOKIA Theatre L.A. LIVE, in downtown Los Angeles. In another landmark, 2008 was the first time an Emmy was awarded for outstanding host for a reality or reality-competition program. The five nominees, Tom Bergeron (Dancing with the Stars), Heidi Klum (Project Runway), Howie Mandel (Deal or No Deal), Jeff Probst (Survivor) and Ryan Seacrest (American Idol) — commemorated the new category by hosting the festivities. In addition, a new record was set for consecutive wins in a single category when Comedy Central’s The Daily Show with Jon Stewart prevailed as outstanding variety, music or comedy series and CBS’s The Amazing Race was named outstanding reality-competition program.
    [Show full text]
  • Season 2016-2017
    27 Season 2016-2017 Friday, October 14, at 7:00 Saturday, October 15, The Philadelphia Orchestra at 7:00 Sunday, October 16, at 2:00 Stéphane Denève Conductor A Steven Spielberg Film Dee Wallace Peter Coyote Henry Thomas as Elliott Music by John Williams Written by Melissa Mathison Produced by Steven Spielberg & Kathleen Kennedy Directed by Steven Spielberg A Universal Picture E.T. The Extra-Terrestrial is a trademark and copyright of Universal Studios. Licensed by Universal Studios Licensing LLC. All Rights Reserved. E.T.—Available on Blu-ray and DVD from Universal Pictures Home Entertainment. This program runs approximately 2 hours, 30 minutes. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit WRTI.org to listen live or for more details. PRODUCTION CREDITS E.T. The Extra-Terrestrial—Film with Orchestra produced by Film Concerts Live!, a joint venture of IMG Artists, LLC, and the Gorfaine/Schwartz Agency, Inc. Producers: Steven A. Linder and Jamie Richardson Production Manager: Rob Stogsdill Production Coordinator: Rebekah Wood Worldwide Representation: IMG Artists, LLC Technical Director: Mike Runice Music composed by John Williams Music Preparation: Jo Ann Kane Music Service Film Preparation for Concert Performance: Ramiro Belgardt Technical Consultant: Laura Gibson Sound Remixing for Concert Performance: Chace Audio by Deluxe The score for E.T. The Extra-Terrestrial has been adapted for live concert performance. With special thanks to Universal Studios, Steven Spielberg, Kathleen Kennedy, John Williams, David Newman, Chris Herzberger, Tamara Woolfork, Adrienne Crew, Darice Murphy, and Mark Graham. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the credits.
    [Show full text]