DOCSLIB.ORG

Steve Mcqueen Reqis Dialogue Formatted

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Steve Mcqueen Reqis Dialogue Formatted This transcript was exported on Mar 24, 2020 - view latest version here. Steve McQueen Dialogue with Stuart Comer, 2013 Stuart Comer: We're at the Walker Arts Center for a dialogue with Steve McQueen. Tonight's program is titled Steven McQueen: Art and Cinema. We'll talk about his remarkable career as both an artist and a filmmaker. Steve McQueen began his career as a visual artist. In 1999, he was awarded the prestigious Turner Prize, Britain's highest honor for the visual arts. At that moment, he was part of a new generation of artists who were really forging a new kind of video installation, pushing filmmaking out of the cinema and into the gallery. Many of the projects he did at the time were multiple-screen video installations or projections in which one became very aware of the reflections on the floor or the space around the screen. So, the viewer became much more mobile, not seated in a stationary seat in the cinema as I am now but really mobilized so that they would move from screen to screen and become a much more active participant in the experience of cinema. Stuart Comer: Subsequently, he actually reversed tack and returned to feature filmmaking, beginning with his feature film, Hunger, about Bobby Sands and the IRA prison strikes in the Maze prison during the early 1980s. This won him wide acclaim and also really highlighted his interest in the body, in particular the brutal punishment to which the prisoners at the time were submitted. He continued this interest also working with the actor Michael Fassbender, who also appeared in Hunger, in Shame, a film about a sex addict in 1990s New York City. Stuart Comer: Subsequently, this year, he's now come out with his widely-acclaimed feature film 12 Years a Slave about history of slavery in North America, based on the life story of Samuel Northup and his memoirs. This film is also one that continues to shock people and I think really realizes Steve's ambition to show the unknown, show repressed histories, really reveal things that are invisible within our society in a very direct and physical way. His cinema is one in which the body has a very central role, in which sound and sensation are as important as the visual image so that it becomes a very sensorial and physical experience. Tonight, we'll be discussing many of these ideas in his work and how he's really moved fluidly between the cinema and the gallery. I'm Stuart Comer, Chief Curator for Media and Performance Art at the Museum of Modern Art in New York, and now let's go to our dialogue with Steve McQueen. Stuart Comer: Good evening and thanks very much to Sheryl and Dean and Olga and the staff at the Walker for bringing us here. It's a huge honor for me to be here with Steve in a room which is very rare in museums like this. For most art museums to take cinema seriously is a very rare thing and to have a cinema as exceptional as this one is a very exciting thing and to be in the company of an artist like this who has really demanded that we take both the gallery and the cinema much more seriously and the connection between the two has become much more interesting in the years that he's been producing the incredible work that he has. So, I hope we can really get into some of the ideas that happen onscreen in Steve's work but also talk a bit about the spaces in which those screens are situated and what that means to all of us, both physically, architecturally, politically. It's a very complicated recipe that Steve's presented us with, and it's really great to be here with him to draw this out a bit. Stuart Comer: From his earliest work in the early 1990s, I think two key things have happened to cinema. It's been submitted both to the Internet and it's been submitted to the generation of artists of which Steve is a major leading figure who were pioneering new modes of video installation, often using multiple screens but, most importantly, really taking the viewer much more seriously as an engaged spectator, somebody who is often mobilized who wasn't necessarily stationary, as we are all in this room at the moment, but really moving from screen to screen. But then subsequently, he came full circle and has now returned to the cinema and has been making feature films, not least of which is 12 Years a Slave, which hopefully most of you have now seen in the past few weeks. Steve McQueen Dialogue with Stuart Comer (Completed 3/24/20) Transcript by Rev.com Page 1 of 26 This transcript was exported on Mar 24, 2020 - view latest version here. Stuart Comer: But I wanted to start initially with an image from a video called Illuminer from 2001. If you can bring up the first slide, please. This is a fairly less well-known video, I would say. I hadn't seen it until Steve's retrospective, which opened a year ago at the Art Institute of Chicago and then when to the Schaulager in Basel. It was an exceptional exhibition. But this video really captured my imagination, and I haven't been able to stop thinking about it ever since. I see it as a really threshold, Steve, in your work between your earliest videos, which really were meant for the gallery and which were very much about you and your own body, and then the shift to these feature films in which you no longer appear, except behind the camera. Stuart Comer: But there's something about the way that your body disappears. Correct me if I'm wrong, but basically the video was shot in a Paris hotel room just before an opening of your exhibition at Marian Goodman. You were watching the television late at night, and there was footage from a documentary about military action in Afghanistan. So, the light that lights Steve's body is the light of violence. It's the light of atrocity and warfare in the Middle East. But the camera that you used to capture this was just a small tripod camera on top of the monitor. So, you also begin to think about webcams and the era of Internet pornography and a lot of other things that I think play into your work, in particular, Shame, a few years later. Could you talk a little bit maybe about this shift in your work from your early use of your own body and to becoming a director and really directing action from actors, not just bodies in a more abstract sense? Steve McQueen: Well, first of all, I was cheap and I was reliable. I would always be there. No. It was just a case of urgency. It was a case of wanting to be as direct as possible and being present. In a way, you could think of it as some kind of performance in a way that one wanted to not just paint on the canvas but be in the canvas as well. It was just one of those things where, just as a figure within a landscape, I just wanted to sort of experiment with that performing element, as such. With this piece, Illuminer, it was very strange. It was one of those situations where I was running out of time. It's very classical, in a way, the nude figure on the bed. It's just one of those things where you think of Cézanne, these things like that. Steve McQueen: I mean, what was interesting for me was obviously... if you hadn't realized, I'm Black. Hello. Good evening. Welcome. On these white sheets, and it's just this whole contrast. Of course, what's making me visible is those images of violence reflected on the television. I was interested in the classical. I was interested in, of course, what you do in a hotel room on your own. I was interested in the political aspect of our presence, as such, because as much as we're here through love, we're here through violence. I mean, it's just a fact. Our presence here through war, through warfare, through immigration, through whatever has led us through where we are sitting today, as well as love, of course. So, those things I was sort of questioning and looking at. Stuart Comer: I think there's this notion of 24 hour news and webcams and a camera whose eye never closes. It's constantly looking at us. But what's really interesting to me in this video is, unlike the later work where the visual register in which you're operating is so crystal clear and sharp, this is a low-grade image. This is what Hito Steyerl, who's an artist in the exhibition 9 Artists upstairs, calls the poor image. It's an image where the digital image is degrading and dissolving and the body is being dissolved by this digital light. Steve McQueen: Yes. Well, the camera's fighting to sort of make sense of the image, because, again, it goes black, it goes white, and there's sort of a polarization, there's a sort of flash. Flashes, explosions, gunfire, and what happens in warfare, of course, is reflected on my body through light, and the camera's struggling to keep up.
Load more

Recommended publications
  • 'Racing Is Life. Anything Before Or After Is Just Waiting.'
    Steve McQueen’s 1963 Ferrari 250 GT Berlinetta Lusso recently went under the hammer at Christie’s in Monterey, offering another reminder of a man whose motoring exploits mirrored some of his most famous onscreen performances. Christopher Kanal pays tribute to a legendary car driven by a screen icon. Thegetaway n 16 August 2007, Steve McQueen’s 1963 Ferrari 250 GT Berlinetta McQueen was also an avid racing enthusiast, performing many of his Lusso went under the hammer at Christies. This remarkable car was own stunts, and at one time considered becoming a professional racing Obought by an anonymous owner, who placed his bid by phone, for driver. Two weeks after breaking an ankle in one bike race, he and co-driver a cool $2.31 million – nearly twice the estimated pre-sale price. The auction Peter Revson raced a Porsche 908/02 in the 12 Hours of Sebring, winning drew 800 people to the Monterey Jet Center in California and attracted their engine class and finishing second to Mario Andretti’s Ferrari by a spirited bidding according to Christie’s Rik Pike. margin of just 23 seconds. So begins another chapter in the life of one of McQueen’s favourite cars, which he drove for nearly a decade. McQueen’s Lusso inspires an almost fetish- like fascination, created from a potent blend of McQueen mythology and an ‘racing IS LIFE. insatiable desire for limited-edition 12-cylinder Ferraris. McQueen is dead 27 years but his iconic status has never been more assured. The Lusso is widely ANYTHING BEFORE acknowledged as Ferrari’s greatest aesthetic and engineering achievement.
    [Show full text]
  • Kam Williams, “The “12 Years a Slave” Interview: Steve Mcqueen”, the New Journal and Guide, February 03, 2014
    Kam Williams, “The “12 Years a Slave” Interview: Steve McQueen”, The new journal and guide, February 03, 2014 Artist and filmmaker Steven Rodney McQueen was born in London on October 9, 1969. His critically-acclaimed directorial debut, Hunger, won the Camera d’Or at the 2008 Cannes Film Festival. He followed that up with the incendiary offering Shame, a well- received, thought-provoking drama about addiction and secrecy in the modern world. In 1996, McQueen was the recipient of an ICA Futures Award. A couple of years later, he won a DAAD artist’s scholarship to Berlin. Besides exhibiting at the ICA and at the Kunsthalle in Zürich, he also won the coveted Turner Prize. He has exhibited at the Art Institute of Chicago, the Musee d’Art Moderne de la Ville de Paris, Documenta, and at the 53rd Venice Biennale as a representative of Great Britain. His artwork can be found in museum collections around the world like the Tate, the Museum of Modern Art, and the Centre Pompidou. In 2003, he was appointed Official War Artist for the Iraq War by the Imperial War Museum and he subsequently produced the poignant and controversial project Queen and Country commemorating the deaths of British soldiers who perished in the conflict by presenting their portraits as a sheet of stamps. Steve and his wife, cultural critic Bianca Stigter, live and work in Amsterdam which is where they are raising their son, Dexter, and daughter, Alex. Here, he talks about his latest film, 12 Years a Slave, which has been nominated for 9 Academy Awards, including Best Picture and Best Director.
    [Show full text]
  • Melodrama, Sickness, and Paranoia: Todd Haynes and the Womanâ•Žs
    University of Texas Rio Grande Valley ScholarWorks @ UTRGV Literatures and Cultural Studies Faculty Publications and Presentations College of Liberal Arts Winter 2016 Melodrama, Sickness, and Paranoia: Todd Haynes and the Woman’s Film Linda Belau The University of Texas Rio Grande Valley Ed Cameron The University of Texas Rio Grande Valley Follow this and additional works at: https://scholarworks.utrgv.edu/lcs_fac Part of the Film and Media Studies Commons, and the Modern Literature Commons Recommended Citation Belau, L., & Cameron, E. (2016). Melodrama, Sickness, and Paranoia: Todd Haynes and the Woman’s Film. Film & History: An Interdisciplinary Journal 46(2), 35-45. https://www.muse.jhu.edu/article/643290. This Article is brought to you for free and open access by the College of Liberal Arts at ScholarWorks @ UTRGV. It has been accepted for inclusion in Literatures and Cultural Studies Faculty Publications and Presentations by an authorized administrator of ScholarWorks @ UTRGV. For more information, please contact [email protected], [email protected]. Film & History 46.2 (Winter 2016) MELODRAMA, SICKNESS, AND PARANOIA: has so much appeal precisely for its liberation from yesterday’s film culture? TODD HAYNES AND THE WOMAN’S FILM According to Mary Ann Doane, the classical woman’s film is beset culturally by Linda Belau the problem of a woman’s desire (a subject University of Texas – Pan American famously explored by writers like Simone de Beauvoir, Julia Kristeva, Helene Cixous, and Ed Cameron Laura Mulvey). What can a woman want? University of Texas – Pan American Doane explains that filmic conventions of the period, not least the Hays Code restrictions, prevented “such an exploration,” leaving repressed material to ilmmaker Todd Haynes has claimed emerge only indirectly, in “stress points” that his films do not create cultural and “perturbations” within the film’s mise artifacts so much as appropriate and F en scène (Doane 1987, 13).
    [Show full text]
  • Artist of the Day 2016 F: +44 (0)20 7439 7733
    PRESS RELEASE T: +44 (0)20 7439 7766 ARTIST OF THE DAY 2016 F: +44 (0)20 7439 7733 21 Cork Street 20 June - 2 July 2016 London W1S 3LZ Monday - Friday 11am - 7pm [email protected] Saturday - 11am - 6pm www.flowersgallery.com Flowers Gallery is pleased to announce the 23rd edition of Artist of the Day, a valuable platform for emerging artists since 1983. The two-week exhibition showcases the work of ten artists, nominated by prominent figures in contemporary art. The criteria for selection is talent, originality, promise and the ability to benefit from a one-day solo exhibition of their work at Flowers Gallery, Cork Street. “Every year we look forward to encountering the unknown and unpredictable. The constraint of time to install and promote an exhibition for one day only ensures there is a tangible energy in the gallery, with each day’s show incomparable to the other days. Artist of the Day has given a platform and context to artists who may not have exhibited much before, accompanied by the support and dedication of their selectors. The relationship between the selector and the artist adds an intimate power to the installations, and as a gallery we have gone on to work with many of the selected artists long term.” – Matthew Flowers Past selectors have included Patrick Caulfield, Helen Chadwick, Jake & Dinos Chapman, Tracey Emin, Gilbert & George, Maggi Hambling, Albert Irvin, Cornelia Parker, Bridget Riley and Gavin Turk; while Billy Childish, Adam Dant, Dexter Dalwood, Nicola Hicks, Claerwen James and Seba Kurtis, Untitled, 2015, Lambda C-Type print Lynette Yiadom-Boakye have featured as chosen artists.
    [Show full text]
  • Two Years Ago, Found Was Steve Mcqueen's Iconic 1968 Ford Mustang GT
    Two years ago, found was Steve McQueen's iconic 1968 Ford Mustang GT. Only traces of its original highland green paint job remained as it had sat unnoticed in a backyard in Mexico for years. Collectors had been searching for it for decades. Of course, this is not just any old '68 Stang. This was one of the original cars used in the classic Steve McQueen film "Bullitt," a film that defined "cool" for a generation of Americans. McQueen was Hollywood's "King of Cool" for a reason. In his role as the detective Frank Bullitt, he literally flies his car through the streets of San Francisco in what is regarded by many as the greatest car chase scene in cinematic history. Steve McQueen was not cool because he drove the Bullitt car. The Bullitt car was cool because Steve McQueen drove it. At the time, Steve McQueen was the number-one movie star in the world, and he is still used as a point of reference for masculinity and "coolness" to this day. He was (and is) the definition of an American icon. Yet, until late in his life he struggled to find meaning in life, and he suffered because of it. It might have been because he was born into a home of an alcoholic mother and a father that left him early in life, but eventually he found himself on the wrong side of the law more than once. He was arrested several times as a teen and sent to truancy homes for rebellious kids. He served in the Marine Corps, where he demonstrated both valor and rebellion.
    [Show full text]
  • Bloomberg New Contemporaries 2013
    Bloomberg New Contemporaries 2013 Bloomberg New Contemporaries 2013 www.ica.org.uk/learning Bloomberg New Contemporaries 2013 www.ica.org.uk/learning 27 November 2013 - 26 January 2014 27 November 2013 - 26 January 2014 CONTENTS Introduction to the Exhibition and Aims of the Pack 4 - 5 About the ICA 6 History of New Contemporaries 7 - 8 Lower Gallery 9 Upper Gallery 10 Bloomberg New Contemporaries 2013 Discussion & Activities 11 - 12 27 Nov - 26 Jan 2014 TEACHERS PACK Art Rules 13 About ICA Learning and BNC Selectors 14 Forthcoming Events 15 2 3 Bloomberg New Contemporaries 2013 www.ica.org.uk/learning Bloomberg New Contemporaries 2013 www.ica.org.uk/learning 27 November 2013 - 26 January 2014 27 November 2013 - 26 January 2014 INTRODUCTION TO THE EXHIBTION AND AIMS OF THE PACK The pre-visit activities have been designed to ensure that students gain a deep understanding of Bloomberg New Contemporaries 2013 from their visit. Suggested pre-visit activities allow students to engage more fully with the works on display and encourage a stronger understanding of the themes of the exhibition. Bloomberg New Contemporaries 2013 2013 Artists Upper & Lower Galleries Aisha Abid Hussain, Rebecca Ackroyd, Thomas Aitchison, Lewis Betts, Jason Brown, Fatma Bucak, Agnes Calf, Lauren Cohen, Patrick Cole, Menna Cominetti, Calum Crawford, Mark Essen, Adham Fara- For the fourth year running we welcome Bloomberg New Contemporaries with 46 participants to the mawy, Ophelia Finke, Grant Foster, Archie Franks, Joe Frazer, Kate Hawkins, Adam Hogarth, Catherine ICA. This year’s selectors Ryan Gander, Chantal Joffe and Nathaniel Mellors have chosen outstanding Hughes, Antoine L’Heureux, Roman Liška, Lana Locke, Alex McNamee, Steven Morgana, Laura O’Neill, works by the most promising artists coming out of UK art schools from a range of over 1,500 Hardeep Pandhal, Julia Parkinson, Joanna Piotrowska, Hannah Regel, Dante Rendle Traynor, Daniela submissions.
    [Show full text]
  • Sight & Sound Films of 2007
    Sight & Sound Films of 2007 Each year we ask a selection of our contributors - reviewers and critics from around the world - for their five films of the year. It's a very loosely policed subjective selection, based on films the writer has seen and enjoyed that year, and we don't deny them the choice of films that haven't yet reached the UK. And we don't give them much time to ponder, either - just about a week. So below you'll find the familiar and the obscure, the new and the old. From this we put together the top ten you see here. What distinguishes this particular list is that it's been drawn up from one of the best years for all-round quality I can remember. 2007 has seen some extraordinary films. So all of the films in the ten are must-sees and so are many more. Enjoy. - Nick James, Editor. 1 4 Months, 3 Weeks and 2 Days (Cristian Mungiu) 2 Inland Empire (David Lynch) 3 Zodiac (David Fincher) = 4 I’m Not There (Todd Haynes) The Lives of Others (Florian Henckel von Donnersmarck) 6 Silent Light (Carlos Reygadas) = 7 The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik) Syndromes and a Century (Apichatpong Weerasethakul) No Country for Old Men (Ethan and Joel Coen) Eastern Promises (David Cronenberg) 1 Table of Contents – alphabetical by critic Gilbert Adair (Critic and author, UK)............................................................................................4 Kaleem Aftab (Critic, The Independent, UK)...............................................................................4 Geoff Andrew (Critic
    [Show full text]
  • 12 Years a Slave Un Anglais À Hollywood Esclave Pendant Douze Ans, États-Unis / Royaume-Uni, 2013, 2 H 14 Jean-Philippe Desrochers
    Document generated on 09/27/2021 11:52 p.m. Séquences La revue de cinéma --> See the erratum for this article 12 Years a Slave Un Anglais à Hollywood Esclave pendant douze ans, États-Unis / Royaume-Uni, 2013, 2 h 14 Jean-Philippe Desrochers Federico Fellini : le poète, le rêveur et le magicien Number 288, January–February 2014 URI: https://id.erudit.org/iderudit/71041ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this review Desrochers, J.-P. (2014). Review of [12 Years a Slave : un Anglais à Hollywood / Esclave pendant douze ans, États-Unis / Royaume-Uni, 2013, 2 h 14]. Séquences, (288), 38–39. Tous droits réservés © La revue Séquences Inc., 2014 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ 38 LES FILMS | GROS PLAN 12 Years a Slave Adaptation du récit autobiographique de Solomon Northup, 12 Years a Slave UN ANGLAIS À est le troisième long métrage de Steve McQueen. Aux côtés de collaborateurs habituels, dont Sean Bobbitt à la direction photo et Joe Walker au montage, le cinéaste anglais signe aussi son premier film véritablement hollywoodien, HOLLYWOOD entouré de rumeurs d’Oscars.
    [Show full text]
  • Post-Postmodern Cinema at the Turn of the Millennium: Paul Thomas Anderson’S Magnolia
    Revista de Estudios Norteamericanos, vol. 24, 2020. Seville, Spain, ISSN 1133-309-X, pp. 1-21. DOI: http://dx.doi.org/10.12795/REN.2020.i24.01 POST-POSTMODERN CINEMA AT THE TURN OF THE MILLENNIUM: PAUL THOMAS ANDERSON’S MAGNOLIA JESÚS BOLAÑO QUINTERO Universidad de Cádiz [email protected] Received: 20 May 2020 Accepted: 26 July 2020 KEYWORDS Magnolia; Paul Thomas Anderson; post-postmodern cinema; New Sincerity; French New Wave; Jean-Luc Godard; Vivre sa Vie PALABRAS CLAVE Magnolia; Paul Thomas Anderson; cine post-postmoderno; Nueva Sinceridad; Nouvelle Vague; Jean-Luc Godard; Vivir su vida ABSTRACT Starting with an analysis of the significance of the French New Wave for postmodern cinema, this essay sets out to make a study of Paul Thomas Anderson’s Magnolia (1999) as the film that marks the beginning of what could be considered a paradigm shift in American cinema at the end of the 20th century. Building from the much- debated passing of postmodernism, this study focuses on several key postmodern aspects that take a different slant in this movie. The film points out the value of aspects that had lost their meaning within the fiction typical of postmodernism—such as the absence of causality; sincere honesty as opposed to destructive irony; or the loss of faith in Lyotardian meta-narratives. We shall look at the nature of the paradigm shift to link it to the desire to overcome postmodern values through a recovery of Romantic ideas. RESUMEN Partiendo de un análisis del significado de la Nouvelle Vague para el cine postmoderno, este trabajo presenta un estudio de Magnolia (1999), de Paul Thomas Anderson, como obra sobre la que pivota lo que se podría tratar como un cambio de paradigma en el cine estadounidense de finales del siglo XX.
    [Show full text]
  • Hanks, Spielberg Tops in U.S. Army Europe Hollywood Poll
    Hanks, Spielberg tops in U.S. Army Europe Hollywood poll June 8, 2011 By U.S. Army Europe Public Affairs HEIDELBERG, Germany -- “Band of Brothers” narrowly edged “Saving Private Ryan” in a two-week U.S. Army Europe Web poll asking the public to select their five favorite Related Links films portraying U.S. Soldiers in Europe. Poll Results The final tally for the top spot was 128 votes to 126, revealing the powerful appeal Tom U.S. Army Europe Facebook Hanks and Steven Spielberg hold among poll participants in detailing the experiences of U.S. Army Europe Twitter WWII veterans. U.S. Army Europe YouTube The two movies were both the result of collaborations by the Hollywood A-listers. U.S. Army Europe Flickr Rounding out the top five was “The Longest Day,” a 1962 drama starring John Wayne about the events of D-Day; “Patton,” directed by Francis Ford Coppola in 1970 and starring George C. Scott as the famed American general; and “A Bridge Too Far,” a 1977 film starring Sean Connery about the failed Operation Market- Garden. The poll received a total of 814 votes and was based on the realism, entertainment value and overall quality of 20 movies featuring the U.S. Army in Europe. Some of Hollywood's biggest stars throughout history - Elvis, Clint Eastwood, Gary Cooper, Bill Murray, Gene Hackman – have all taken turns on the big screen portraying U.S. Soldiers in Europe. But to participants of the U.S. Army Europe poll, it was the lesser-known “Band of Brothers” in Easy Company who were most endearing.
    [Show full text]
  • ALISON ROSA UPM PGA & DGA Member
    ALISON ROSA UPM PGA & DGA Member FEATURES (UPM Credits) WITHOUT REMORSE Paramount Prod: Josh Applebaum, Andre Nemec, Dir: Stefano Sollima (UPM – DC/Virginia Unit) Michael B. Jordan, Akiva Goldsman Denis Stewart WIDOWS (AUPM/UPM) 20th Century Fox Prod: Ian Canning, Bergen Swanson Dir: Steve McQueen F.E.L.T. (UPM, 1st AD - DC Unit) Mandalay Prod: Marc Butan, Anthony Katagas Dir: Peter Landesman BELIEVE (UPM) Power of 3 Prod: Nelson Diaz, Ben Holmes, Dir: Billy Dickson Jacob Patrick, Kevin Sizemore LEE DANIELS’ THE BUTLER Weinstein Co. Prod: Adam Merins Dir: Lee Daniels (UPM – 1st AD, DC Unit) TELEVISION (UPM Credits) COVERT AFFAIRS (UPM, 1st AD) USA Prod: Stephen Kay Dir: Stephen Kay LIMITLESS (Season 1) (Asst. UPM) CBS Prod: Kati Johnston Dir: Various THE WIRE (AUPM) HBO Prod: Nina Kostroff-Noble Dir: Various FEATURES (AD Credits) DARK WATERS (Key 2nd AD) Focus/Participant Media Prod: Pamela Koffler, Jeff Skoll, Dir: Todd Haynes Christine Vachon GLASS (Key 2nd AD) Universal Prod: Marc Bienstock, Jason Blum, Dir: M. Night Shyamalan Ashwin Rajan, M. Night Shyamalan KILL THE MESSENGER (Key 2nd AD) Focus Prod: Naomi Despres, Jeremy Renner Dir: Michael Cuesta PHILOMENA (Key 2nd AD) Weinstein Co. Prod: Steve Coogan, Jeff Pope Dir: Stephen Frears ARGO (1st AD – 2nd Unit, DC Unit) Warner Bros. Prod: Ben Affleck, Grant Heslov Dir: Ben Affleck WHITE HOUSE DOWN (2nd AD – VFX, DC Unit) Columbia Prod: Roland Emmerich, Dir: Roland Emmerich Bradley J. Fischer, Larry Franco J. EDGAR (2nd AD – DC Unit) Warner Bros. Prod: Clint Eastwood, Brian Grazer, Dir: Clint Eastwood Robert Lorenz UNANSWERED PRAYERS Lifetime Movie Network Prod: James Spies Dir: Steven Schachter (1st AD – 2nd Unit, Key 2nd AD) SYRIANA (Key 2nd AD) Warner Bros.
    [Show full text]
  • Solomon Northup and 12 Years a Slave
    Solomon Northup and 12 Years a Slave How to analyze slave narratives. Who Was Solomon Northup? 1808: Born in Minerva, NewYork Son of former slave, Mintus Northup; Northup's mother is unknown. 1829: Married Anne Hampton, a free black woman. They had three children. Solomon was a farmer, a rafter on the Lake Champlain Canal, and a popular local fiddler. What Happened to Solomon Northup? Met two circus performers who said they needed a fiddler for engagements inWashington, D.C. Traveled south with the two men. Didn't tell his wife where he was going (she was out of town); he expected to be back by the time his family returned. Poisoned by the two men during an evening of social drinking inWashington, D.C. Became ill; he was taken to his room where the two men robbed him and took his free papers; he vaguely remembered the transfer from the hotel but passed out. What Happened…? • Awoke in chains in a "slave pen" in Washington, D.C., owned by infamous slave dealer, James Birch. (Note: A slave pen were where (Note:a slave pen was where slaves were warehoused before being transported to market) • Transported by sea with other slaves to the New Orleans slave market. • Sold first toWilliam Prince Ford, a cotton plantation owner. • Ford treated Northup with respect due to Northup's many skills, business acumen and initiative. • After six months Ford, needing money, sold Northup to Edwin Epps. Life on the Plantation Edwin Epps was Northup’s master for eight of his 12 years a slave.
    [Show full text]