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THOM NOBLE Editor RAJMA CHAWAL - Netflix - Leena Yadav, director SOUL OF AN ARTIST - Odyssey One Media - Ted Kotcheff/Yorgo Lorandos, director A FAMILY MAN - Vertical Entertainment - Mark Williams, director ALPHA (additional editor) - Studio 8 - Albert Hughes, director POINT BREAK - Warner Bros. - Ericson Core, director NOW YOU SEE ME (recut) - Lionsgate/Summit - Louis Leterrier, director ALEX CROSS - QED/Summit - Rob Cohen, director RED - Summit Entertainment - Robert Schwentke, director THE TIME TRAVELER’S WIFE - New Line - Robert Schwentke, director PASSENGERS - Columbia/Mandate - Rodrigo Garcia, director FLIGHT PLAN - Walt Disney Pictures - Robert Schwentke, director REIGN OF FIRE - Spyglass - Rob Bowman, director VERTICAL LIMIT - Sony - Martin Campbell, director INSPECTOR GADGET - Disney - David Kellogg, director THE MASK OF ZORRO - TriStar - Martin Campbell, director THE SCARLET LETTER - Buena Vista Pictures/Cinergi - Roland Joffe, director THE HUDSUCKER PROXY - Warner Bros. - Joel & Ethan Coen BODY OF EVIDENCE - MGM/DeLaurentiis - Uli Edel, director FINAL ANALYSIS - Warner Bros. - Phil Joanou, director THELMA & LOUISE - Pathe - Ridley Scott, director Academy Award Nominee - Best Film Editing MOUNTAINS OF THE MOON - TriStar - Bob Rafelson, director WINTER PEOPLE - Columbia - Ted Kotcheff, director THE MOSQUITO COAST - Warner Bros. - Peter Weir, director POLTERGEIST II: THE OTHER SIDE - MGM/UA - Brian Gibson, director WITNESS - Paramount - Peter Weir, director Academy Award - Best Film Editing RED DAWN - MGM/UA - John Milius, director FIRST BLOOD - Orion - Ted Kotcheff, director NORTH DALLAS FORTY - Paramount - Ted Kotcheff, director WHO IS KILLING THE GREAT CHEFS OF EUROPE? - Warner Bros. - Ted Kotcheff, director THE APPRENTICESHIP OF DUDDY KRAVITZ - Paramount - Ted Kotcheff, director FAHRENHEIT 451 - Universal - Francoise Truffaut, director .

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Information Packet for Prospective Students
Information Packet for Prospective Students This packet includes: ! Information about our major ! FAQs ! Press packet with news items on our students, faculty and alumni Be sure to visit our website for more information about our department: http://film.ucsc.edu/ For information about our facilities and to watch student films, visit SlugFilm: http://slugfilm.ucsc.edu/ If you have any questions, you can send an email to [email protected] Scroll Down for packet information More%information%can%be%found%on%the%UCSC%Admissions%website:%% UC Santa Cruz Undergraduate Admissions Film and Digital Media Introduction The Film and Digital Media major at UC Santa Cruz offers an integrated curriculum where students study the cultural impact of movies, television, video, and the Internet and also have the opportunity to pursue creating work in video and interactive digital media, if so desired. Graduates of the UC Santa Cruz Film and Digital Media program have enjoyed considerable success in the professional world and have gained admission to top graduate schools in the field. Degrees Offered ▪ B.A. ▪ M.A. ▪ Minor ▪ Ph.D. Study and Research Opportunities Department-sponsored independent field study opportunities (with faculty and department approval) Information for First-Year Students (Freshmen) High school students who plan to major in Film and Digital Media need no special preparation other than the courses required for UC admission. Freshmen interested in pursuing the major will find pertinent information on the advising web site, which includes a first-year academic plan. advising.ucsc.edu/summaries/summary-docs/FILM_FR.pdf Information for Transfers Transfer students should speak with an academic adviser at the department office prior to enrolling in classes to determine their status and to begin the declaration of major process as soon as possible.
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Premiererne Eastmancolor(?)
Muo, Ma San. Udi: Panorama. Prem: 15.3.76 World Cinema. Karatevold. DERSU UZALA Dersu Uzala. USSR/Japan 1975. P-selskab: Sovex- port/Mosfilm. Instr: Akira Kurosawa. Manus: Akira Kurosawa, Yuri Nagibin. Efter: rejseskildring af Vladimir Arsenjev (1872-1930), da. overs. 1946: »Jægeren fra den sibiriske urskov«. Foto: Asakadru Nakat, Yuri Gantman, Fjodor Dobrovravov. Farve: Premiererne Eastmancolor(?). Medv: Maxim Munzuk (Dersu Uzala), Yuri Nagibin (Arsenjev). Længde: 137 min. 3840 m. Censur: Rød. Udi: Posthusteatret. Prem: 1.1.-31.3.76/ved Claus Hesselberg 15.3.76 Alexandra. Tilkendt en Oscar som bedste udenlandske film. Anm. Kos. 130. DET FRÆKKE ER OGSÅ GODT Quirk. USA. Farve: Eastmancolor(?). Længde: 75 min. 2000 m. Censur: Hvid. Fb.u.16. Udi: Dansk- Anvendte forkortelser: Svensk. Prem: 23.2.76 Carlton. Porno. Adapt: = Adaption Komp: = Komponist DIAMANTKUPPET Ark: = Filmarkitekt Kost: = Kostumer Diamonds. USA/lsrael 1975. P-selskab: AmeriEuro Arr: = Musikarrangør Medv: = Medvirkende skuespillere Productions. P: Menahem Golan. Ex-P: Harry N. As-P: = Associate Producer P: Producere Blum. As-P: Yoram Globus. P-leder: Arik Dichner. Instr: Instr-ass: = P-leder: = Produktionsleder Menahem Golan. Zion Chen, Ass: Assistent Shmuel Firstenberg, Roger Richman. Manus: David Dekor: = Scenedekorationer Prem: = Dansk premiere Paulsen, Menahem Golan, Ken Globus. Efter: for Dir: = Dirigent P-selskab: = Produktionsselskab tælling af Menahem Golan. Foto: Adam Greenberg. Dist: = Udlejer i oprindelsesland P-sup: = Produktions-superviser Farve: Eastmancolor. Klip: Dov Hoenig. Ark: Kuli Ex-P: = Executive Producer P-tegn: = Produktionstegner (design) Sander. Dekor: Alfred Gershoni. Sp-E: Hanz Kram Foto: = Cheffotograf Rekvis: = Rekvisitør sky. Musik: Roy Budd. Sang: »Diamonds« af Roy Budd, Jack Fishman. Solister: The Three Degrees.
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The Commuter Production Notes
THE COMMUTER PRODUCTION NOTES RELEASE DATES Australia, New Zealand & Germany (STUDIOCANAL): January 11th 2018 US (Lionsgate): January 12th 2018 UK (STUDIOCANAL): January 19th 2018 France (STUDIOCANAL): January 24th 2018 CONTACTS [email protected] [email protected] [email protected] [email protected] 1 ABOUT THE PRODUCTION Following the worldwide success of Unknown, Non-Stop and Run All Night, star Liam Neeson and director Jaume Collet-Serra reunite for a fourth time with explosive thriller THE COMMUTER about one man‘s frantic quest to prevent disaster on a packed commuter train. The screenplay proved irresistible to both the director and star, not just for the bravura of the action and the thrill of the suspense but for the moral conundrum the protagonist is faced with and the consequences it has on him, the passengers on the train and his family at home. “THE COMMUTER asks the audience, if someone asked you to do something that seems insignifi- cant but you’re not sure of the outcome in exchange for a considerable financial reward, would you do it?” says Jaume Collet-Serra. “That‘s the philosophical choice that our central character - a man of 60 who’s just been fired, has no savings and is mortgaged to the hilt - is faced with. Is he think- ing just about himself or is he going to take into consideration the possible moral consequences of what he’s asked to do? That’s the question we want the audience to ask themselves.” For Neeson, it was also the story’s real-time narrative that gives it a thrilling momentum.
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KATHRINE GORDON Hair Stylist IATSE 798 and 706
KATHRINE GORDON Hair Stylist IATSE 798 and 706 FILM DOLLFACE Department Head Hair/ Hulu Personal Hair Stylist To Kat Dennings THE HUSTLE Personal Hair Stylist and Hair Designer To Anne Hathaway Camp Sugar Director: Chris Addison SERENITY Personal Hair Stylist and Hair Designer To Anne Hathaway Global Road Entertainment Director: Steven Knight ALPHA Department Head Studio 8 Director: Albert Hughes Cast: Kodi Smit-McPhee, Jóhannes Haukur Jóhannesson, Jens Hultén THE CIRCLE Department Head 1978 Films Director: James Ponsoldt Cast: Emma Watson, Tom Hanks LOVE THE COOPERS Hair Designer To Marisa Tomei CBS Films Director: Jessie Nelson CONCUSSION Department Head LStar Capital Director: Peter Landesman Cast: Gugu Mbatha-Raw, David Morse, Alec Baldwin, Luke Wilson, Paul Reiser, Arliss Howard BLACKHAT Department Head Forward Pass Director: Michael Mann Cast: Viola Davis, Wei Tang, Leehom Wang, John Ortiz, Ritchie Coster FOXCATCHER Department Head Annapurna Pictures Director: Bennett Miller Cast: Steve Carell, Channing Tatum, Mark Ruffalo, Siena Miller, Vanessa Redgrave Winner: Variety Artisan Award for Outstanding Work in Hair and Make-Up THE MILTON AGENCY Kathrine Gordon 6715 Hollywood Blvd #206, Los Angeles, CA 90028 Hair Stylist Telephone: 323.466.4441 Facsimile: 323.460.4442 IATSE 706 and 798 [email protected] www.miltonagency.com Page 1 of 6 AMERICAN HUSTLE Personal Hair Stylist to Christian Bale, Amy Adams/ Columbia Pictures Corporation Hair/Wig Designer for Jennifer Lawrence/ Hair Designer for Jeremy Renner Director: David O. Russell
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Business Consultation of Select Best Practices to an Animated Film Studio
University of South Carolina Scholar Commons Senior Theses Honors College Spring 5-5-2016 Business Consultation of Select Best Practices to an Animated Film Studio: How to Produce the Most Successful Film You Can Joshua Christian Blackwood University of South Carolina - Columbia Follow this and additional works at: https://scholarcommons.sc.edu/senior_theses Part of the Management Sciences and Quantitative Methods Commons Recommended Citation Blackwood, Joshua Christian, "Business Consultation of Select Best Practices to an Animated Film Studio: How to Produce the Most Successful Film You Can" (2016). Senior Theses. 110. https://scholarcommons.sc.edu/senior_theses/110 This Thesis is brought to you by the Honors College at Scholar Commons. It has been accepted for inclusion in Senior Theses by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Business Consultation of Select Best Practices to an Animated Film Studio How to Produce the Most Successful Film You Can Senior Thesis Spring 2016 Student Josh Blackwood Director Dr. Lauren Steimer Second Reader Dr. Jack Jensen Table of Contents Introduction………………………………………………………………………………………..1 Establishing Scope………………………………………………………………………………...4 Methodology………………………………………………………………………………………5 Operational Planning Data Animation Studio………………………………………………………………………….8 Release Date…………………………………………………………………………….…9 Runtime…………………………………………………………………………………..11 Pre-sold Property………………………………………………………………………...12 Negative Cost…………………………………………………………………………….13
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Politics of Sly Neo-Conservative Ideology in the Cinematic Rambo Trilogy: 1982-1988
Politics of Sly Neo-conservative ideology in the cinematic Rambo trilogy: 1982-1988 Guido Buys 3464474 MA Thesis, American Studies Program, Utrecht University 20-06-2014 Table of Contents Introduction ........................................................................................................................ 3 Chapter 1: Theoretical Framework ........................................................................... 12 Popular Culture ............................................................................................................................................ 13 Political Culture ........................................................................................................................................... 16 The Origins Of Neo-Conservatism ....................................................................................................... 17 Does Neo-Conservatism Have A Nucleus? ....................................................................................... 20 The Neo-Conservative Ideology ........................................................................................................... 22 Chapter 2: First Blood .................................................................................................... 25 The Liberal Hero ......................................................................................................................................... 26 The Conservative Hero ............................................................................................................................
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Dossier De Presse
La Rabbia en association avec Le Pacte Présente « Ce film m’a laissé sans voix » - Martin Scorsese « Le film le plus terrifiant jamais réalisé sur l’Australie » - Nick Cave WAKE IN FRIGHT (Réveil dans la terreur) Un film de Ted KOTCHEFF (1971) Compétition festival de Cannes (logo) 1971 Logo festival Lumière 2014 Avec Donald Pleasence, Gary Bond, Chips Rafferty SORTIE NATIONALE LE 12 NOVEMBRE 2014 Australie – DCP – Couleur- 1.85- Mono-Durée : 1 h 48 www.wakeinfright-lefilm.com DISTRIBUTION LA RABBIA 19 rue de liège 75009 Paris www.larabbia.com En association avec LE PACTE RELATIONS PRESSE 5, rue Darcet Matilde Incerti 75017 Paris Assistée de Jérémie Charrier Tel : 0144695959 16 rue saint sabin 75011 Paris Fax : 0149695941 Tel : 01 48 05 20 80 www.le-pacte.com [email protected] L’enseignant savait que la frontière d’Etat, balisée par une clôture détruite, se trouvait non loin de là, quelque part dans cette lueur floue. Au-delà, en s’enfonçant dans la chaleur : le centre silencieux de l’Australie, le Cœur mort. » Kenneth Cook- Extrait de « 5 Matins de trop » L’Histoire : John Grant, un jeune instituteur, arrive dans la petite ville minière de Bundanyabba, au fin fond de l’Outback, dans laquelle il doit passer la nuit avant de s’envoler pour Sidney. Mais de bière en bière, de pub en pub, sa nuit va se prolonger jusqu’à l’entraîner dans un terrible voyage à travers une Australie sauvage et primitive… Wake in fright en quelques dates: Le roman de Kenneth Cook est publié en 1961.
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STUNT CONTACT BREAKDOWN SERVICE 1-11-2017 8581 SANTA MONICA BLVD #143, WEST HOLLYWOOD, CA 90069 - TEL: 323-951-1500 Page 1 of 48
STUNT CONTACT BREAKDOWN SERVICE 1-11-2017 8581 SANTA MONICA BLVD #143, WEST HOLLYWOOD, CA 90069 - TEL: 323-951-1500 Page 1 of 48 STUNT CONTACT ACTION BREAKDOWN SERVICE FOR STUNT PROFESSIONALS 1-11-2017 (323) 951-1500 WWW.STUNTCONTACT.COM 2017. Stunt Contact is provided under a single license and is for personal use only. Any sharing or commercial redistribution of information contained herein is strictly prohibited without the express written permission of the Editor and will be prosecuted to the full extent of the law. SHOW TITLE: UNDERWATER FEATURE** PRODUCTION COMPANY: CHERNIN ENTERTAINMENT / TWENTIETH CENTURY FOX FILM CORP ADDRESS: UNDERWATER - PROD OFFICE FOX LOUSIANA PRODUCTIONS LLC 8301 W JUDGE PEREZ DR SUITE 302 CHALMETTE, LA 70043 ATTN: MARK RAYNER, STUNT COORDINATOR [email protected] TEL: 504-595-1710 PRODUCER: PETER CHERNIN, TONIA DAVIS, JENNO TOPPING WRITER: BRIAN DUFFIELD DIRECTOR: WILLIAM EUBANK LOCATION: NEW ORLEANS SHOOTS: 3/6/2017 SPECIAL INSTRUCTIONS: AQUATIC THRILLER WILL BE HELMED BY “THE SIGNAL” DIRECTOR, WILLIAM EUBANK. AFTER AN EARTHQUAKE DESTROYS THEIR UNDERWATER STATION, A CREW OF SIX MUST NAVIGATE TWO MILES IN THE DANGEROUS UNKNOWN DEPTHS OF THE OCEAN FLOOR TO MAKE IT TO SAFETY. SCRIPT WAS ON THE 2015 HIT LIST. VERY EARLY. PROJ IS STILL IN CASTING - NOT CERTAIN OF DOUBLE REQUIREMENTS. LOCAL HIRES MAY SUBMIT NOW BY EMAIL ONLY. SHOOTS THRU MID-MAY. SHOW TITLE: KNUCKLEBALL FEATURE** PRODUCTION COMPANY: THE UMBRELLA COLLECTIVE / 775 MEDIA ADDRESS: KUCKLEBALL - PROD OFFICE 2003090 ALBERTA LTD 1 To subscribe go to: www.stuntcontact.com STUNT CONTACT BREAKDOWN SERVICE 1-11-2017 8581 SANTA MONICA BLVD #143, WEST HOLLYWOOD, CA 90069 - TEL: 323-951-1500 Page 2 of 48 123 CREE ROAD SHERWOOD PARK, AB T8A 3X9 ATTN: RON WEBBER, STUNT COORDINATOR [email protected] 587-328-0288 PRODUCER: KURTIS DAVID HARDER, LARS LEHMAN, JULIAN BLACK ANTELOPE WRITER: KEVIN COCKLE, MICHAEL PETERSON DIRECTOR: MICHAEL PETERSON LOCATION: EDMONTON, AB CAST: MICHAEL IRONSIDE SHOOTS: 1/16/2017 - TENT SPECIAL INSTRUCTIONS: HORROR THRILLER.
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Movers & Shakers Email Alert
Movers & Shakers Email Alert 1 Visit Variety Business Intelligence at NATPE in Miami January 16-18 or Realscreen East in Washington D.C. January 28-31. Click here to set a meeting! We’re proud to congratulate the following movers & shakers: Corporate: Fukiko Ogisu Now: Executive Vice President and Chief People Officer, Viacom (New York) Was: Senior Vice President, HR Business Operations & Information Solutions, Viacom (New York) Digital: Julie DeTraglia Now: Vice President and Head, Research, Hulu (New York) Was: Head, Ad Sales Research, Hulu (New York) Jenny Wall Now: Chief Marketing Officer, Gimlet Media (Brooklyn) Was: Senior Vice President and Head, Marketing, Hulu Film: Toby Emmerich Now: Chairman, Warner Bros. Pictures Group Was: President and Chief Content Officer, Warner Bros. Pictures Group Stacy Glassgold Now: Vice President, International Sales, XYZ Films Was: Vice President, Sales & Distribution, Myriad Pictures Walter Hamada Now: President, DC-Based Film Production, Warner Bros. Pictures Was: Executive Vice President, Production, New Line Cinema Sue Kroll Now: Transitioning to producing role (as of April 1st, 2018) Was: President, Worldwide Marketing & Distribution, Warner Bros. Pictures Group Michelle Krumm Now: Head, Australian Operations & Worldwide Acquisitions, Arclight Films (Sydney) Was: Head, Production, Development & Studios, South Australian Film Corp (Glenside) Alana Mayo Now: Head, Production & Development, Outlier Society Productions Was: Vice President and Head, Originals, Vimeo Ashley Momtaheni Now: Vice President, Communications, Annapurna Pictures Was: Director, Marketing & Publicity, Annapurna Pictures 2 Pip Ngo Now: Director, Acquisitions & Sales, XYZ Films Was: Senior Manager, Content Acquisition & Business Development, Vimeo Michael Pavlic Now: President, Creative Advertising, Annapurna Pictures Was: President, Worldwide Creative Advertising, Sony Pictures Entertainment Blair Rich Now: President, Worldwide Marketing, Warner Bros.
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The Instrument Ofchoice
The instrument of choice. As an editor at the keys, you need a system that helps make every session a fine performance: The Grass ValleyGroup Editing System. Designed to take the best from your production system to the screen. Built to grow as you grow. So if you demand an instrument with capabilities equal to your own, there's only one choice: The Grass Valley Group Editing System. Grass Valley Grou-@ ~'r'V""t'\lAt)"'l..IV \,IIJIIiI From the Editor used to be common agreement that twO things were certain for everyone _ death and taxes. Now you can't be certain IChange.of WHICHMy dictionarytaxes. rambles for approximately 700 words explaining what you can do with that single word, "change." you can run dailies late at night with a director, or habits can change, and the director can take a video cassette home for relaxed viewing after a 12 hour day. For easier viewing some editors are changing from the use of an 8 plate Kem to the use of tWO4 plate models interlocked together. A f¡\m editor works in a cutting room, but when the editing on the sarne show is changed to video tape, he or she is then working in an editing bay. Change is obvious in some (hings, such as more dialogue TV series going to video tape editing. Some change is not so obvious, such s as the faster delivery of difficult film optical because computer camera controls can prograrn so many things with the sarne pass throughIf RiptheVanopticalWinklecamera.had been an editor before his "big sleep," one drowsy glance at a 1986cutting schedulewould snap him awake.
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The Hollywood Cinema Industry's Coming of Digital Age: The
The Hollywood Cinema Industry’s Coming of Digital Age: the Digitisation of Visual Effects, 1977-1999 Volume I Rama Venkatasawmy BA (Hons) Murdoch This thesis is presented for the degree of Doctor of Philosophy of Murdoch University 2010 I declare that this thesis is my own account of my research and contains as its main content work which has not previously been submitted for a degree at any tertiary education institution. -------------------------------- Rama Venkatasawmy Abstract By 1902, Georges Méliès’s Le Voyage Dans La Lune had already articulated a pivotal function for visual effects or VFX in the cinema. It enabled the visual realisation of concepts and ideas that would otherwise have been, in practical and logistical terms, too risky, expensive or plain impossible to capture, re-present and reproduce on film according to so-called “conventional” motion-picture recording techniques and devices. Since then, VFX – in conjunction with their respective techno-visual means of re-production – have gradually become utterly indispensable to the array of practices, techniques and tools commonly used in filmmaking as such. For the Hollywood cinema industry, comprehensive VFX applications have not only motivated the expansion of commercial filmmaking praxis. They have also influenced the evolution of viewing pleasures and spectatorship experiences. Following the digitisation of their associated technologies, VFX have been responsible for multiplying the strategies of re-presentation and story-telling as well as extending the range of stories that can potentially be told on screen. By the same token, the visual standards of the Hollywood film’s production and exhibition have been growing in sophistication.
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Premiererne Overton Jr., Bill Mccaughey, Mike Kohut, Lyle J
son. P-tegn: Albert Brenner. Dekor: Marvin March. P-ill: Leon Harris. Kost: Patricia Norris, Ann Roth. Makeup: Charles Schram. Sp-E : Robert Dawson, Augie Lohman. Musik: Claude Bolling. Musikere: Hubert Laws, Bud Shank, Tommy Tedesco, Ralph Grierson, Chuck Domanico, Shelly Manne. Tone: Al Premiererne Overton Jr., Bill McCaughey, Mike Kohut, Lyle J. Burbridge, Sam Shaw. Medv: Alan Alda (Bill War 1.4.-30.6.79 / ved Claus Hesselberg ren), Michael Caine (Sidney Cochran), Bill Cosby (Dr. Willia Panama), Jane Fonda (Hannah Warren), Walter Matthau (Marvin Michaels), Elaine May (Mil- Anvendte forkortelser: lie Michaels), Richard Pryor (Dr. Chauncey Gump), Maggie Smith (Diana Barrie), Gloria Gifford (Lola Adapt: = Adaption Komp: = Komponist Gump), Sheila Frazier (Bettina Panama), Herbert Ark: = Filmarkitekt Kost: = Kostumer Edelman (Harry Michaels). På hotellet: Denise Ga- Arr: = Musikarrangør Medv: = Medvirkende skuespillere lik (Bunny), David Sheehan (Sig selv), Michael Boyle (Receptionist), Len Lawson (Frank), Dino Ar- As-P: = Associate Producer P: = Producere dito (Blikkenslager), Jerry Ziman (Mand ved telefon), Ass: = Assistent P-leder: = Produktionsleder Clint Young (Dørvogter), David Matthau (Piccolo). Dekor- = Scenedekorationer Prem: = Dansk premiere Ved Oscar-festen: Army Archerd (Sig selv), Paolo Dir: = Dirigent P-selskab: = Produktionsselskab Frediani (Smuk skuespiller), Judith Hannah Brown Dist: = Udlejer i oprindelsesland P-sup: = Produktions-superviser (Oscar-vinder), Gary Hendrix (Vinderens ledsager), Ex-P: = Executive Producer P-tegn: = Produktionstegner (design) Christopher Pennock (Politimand). Længde: 103 Foto: = Cheffotograf Rekvis: = Rekvisitør min., 2820 m. Censur: Rød. Udi: Columbia-Fox Prem: 27.4.1979 ABCinema, Cinema 1-5. Indspil Instr: = Instruktør Sp-E: = Specielle effekter ningen startet 20.3.78. Anm. Kos. 142. Kamera: =Kameraoperatør Udi: = Dansk udlejning CHEFENS LIDERLIGE LYSTER Couples complices.
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