O'reilly, Karri

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KARRI O’REILLY PRODUCER karrioco.com SELECT CREDITS HILLYBILLY ELEGY Netflix/Imagine Ent. Prod: Brian Grazer, Erica Huggins, Dir: Ron Howard (UPM – Ohio) Ron Howard, Julie Oh DARK WATERS Focus Features/Killer Films/ Prod: Pamela Koffler, Christine Vachon Dir: Todd Haynes (Production Supervisor) Participant Media Mark Ruffalo, Jeff Skoll, Jonathan King THE BIG UGLY London Calling KY Prod: Vinnie Jones, Tarquin Pack Dir: Scott Wiper (Producer) GIVE ME LIBERTY Flux Capacitor Studios Prod: Val Abel, Alice Austen, Walter S. Hall, Dir: Kirill Mikhanovsky (Line Producer) Michael Manasseri, Sergey Shtern *Official Selection, Cannes Film Festival 2019, [Directors’ Fortnight] *Official Selection, Sundance 2019, [U.S. Dramatic Competition] DONNYBROOK Rumble Films Prod: David Lancaster, Stephanie Wilcox Dir: Tim Sutton (Co-Producer) *Official Selection, Toronto International Film Festival 2018, [Platform] GALVESTON Low Spark Films Prod: Tyler Davidson Dir: Mélanie Laurent (Co-Producer) *Official Selection, SXSW 2018 MY DAYS OF MERCY Killer Films Prod: David Hinojosa, Kate Mara, Dir: Tali Shalom-Ezer (Executive Producer) Ellen Page, Christine Vachon *Official Selections, Toronto International Film Festival 2017, [Gala] GOAT RabbitBandini/ Prod: James Franco, David Hinojosa, Dir: Andrew Neel (Co-Producer) Killer Films Vince Jolivette, Christine Vachon *Official Selection, Sundance 2016, [U.S. Dramatic Competition] CAROL Number 9 Films/ Prod: Elizabeth Karlsen, Christine Vachon, Dir: Todd Haynes (UPM) Killer Films Stephen Woolley *Nominated, Golden Globe 2016, Best Motion Picture - Drama A CHRISTMAS MELODY (MOW) Hallmark Prod: Karri O’Reilly Dir: Mariah Carey (Producer) THE PHILLY KID After Dark Films/ Prod: Stephanie Caleb, Moshe Diamant, Dir: Jason Connery (Producer) Dark Castle Lauren Ito, Karri O’Reilly, Jeffrey Silver, Courtney Solomon FERTILE GROUND After Dark Films Prod: Moshe Diamant Dir: Adam Gierasch (Co-Producer) HUSK After Dark Films Prod: Moshe Diamant, Courtney Solomon Dir: Brett Simmons (Co-Producer) DARK COUNTRY Stage 6 Productions Prod: Patrick Aiello, Ashok Amritraj Dir: Thomas Jane (Co-Producer) LINEWATCH MPCA Prod: Brad Krevoy, Reuben Liber, Dir: Kevin Bray (Producer) Karri O’Reilly PUMPKINHEAD: The Sci-Fi Channel Prod: Brad Krevoy, Donald Kushner, Dir: Mike Hurst BLOOD FEUD (MOW) Pierre Spengler (Executive Producer) PUMPKINHEAD: The Sci-Fi Channel Prod: Brad Krevoy, Donald Kushner, Dir: Jake West ASHES TO ASHES (MOW) Pierre Spengler (Executive Producer) 405 S Beverly Drive, Beverly Hills, California 90212 - T 310.888.4200 - F 310.888.4242 www.apa-agency.com .

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Interdepartmental Program in Film Studies
U N IVE R S I T Y O F MA SSA CHUS E T T S A MHE R S T Interdepartmental Program in Film Studies 26th annual massachusetts multicultural film festival Track wednesday 20 march PATERNAL RITES (2018, Jules Rosskam, USA, 82 min, in English) A highly personal, rst-person essay lm about trauma and memory and the secret underbelly of a contemporary family grappling with the aereects of abuse. Retracing the route of a road trip taken by Rosskam’s parents in 1974, the lm wednesday 20 february wednesday 10 april WITHIN OUR GATES THE MEMORY OF WATER (1920, Oscar Micheaux, USA, 79 min, silent with recorded musical accompaniment by DJ Spooky, (La memoria del agua) intertitles in English) (2015, Matías Bize, Chile, 88 min, in Spanish w/English subtitles) Production began 100 years ago on what is now the oldest known surviving feature lm made by In Santiago, Amanda and Javier nd it impossible an African-American lmmaker. A powerful and to cope with the drowning death of their ambitious account of race in America, told transports its audience into this family history four-year-old son. As time passes, their grief only through the experiences of Sylvia Landry, a young through audio recordings, family photos, Super 8 worsens until Amanda can barely look at her black woman visiting the North, it stands as an footage, and colorful animation to explore queer, husband anymore, and they begin to dri apart. important tribute to the power of appropriating transgender, and Jewish subjectivities and engage is delicately lmed exploration of the wayward (what was then) new media to contest popular the power of lm and lmmaking in the process paths to recovery and survival aer shattering loss culture representations of African American life of healing.
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Film Collector Gerald Herman Funds Indiecollect's Queer Cinema Index
FOR RELEASE OCTOBER 16, 2017 Sandra Schulberg, President, IndieCollect, [email protected], 917 667 6077 Robert Hawk, Queer Cinema Index Project Director, [email protected], 646 234 5633 Film Collector Gerald Herman Funds IndieCollect’s Queer Cinema Index Robert Hawk to Serve as ProJect Director October 16, 2017 – New York City. IndieCollect, the non-Profit organization whose mission is to collect, document, restore, and make accessible American indePendent films, announces its Queer Cinema Index -- the first attemPt to create a comPrehensive online compendium of LGBTQ films, television series and webisodes made in the U.S. and around the world. It is being launched with $40,000 in funding from film collector and curator Gerald Herman and other Private donors. The database has been designed by IndieCollect’s chief technology officer Israel Ehrisman, who also designed the IndieCollect Index. Famed film curator and Producer Robert Hawk – Profiled in the documentary Film Hawk -- is to serve as Project director. IndieWire founder Eugene Hernandez calls Mr. Hawk “a walking index of Queer Cinema.” Mr. Hawk and Mr. Herman are two of the producers of Vincent Gagliostro’s After Louie, starring Alan Cumming, which will have its New York City Premiere at NewFest on October 22. The QCI team aims to index the first 8,000 motion Pictures and TV ePisodes in six months, by apProximately mid-March 2018. Caroline Oliveira and Adam Andre – from NYU’s Moving Image & Archive Preservation Program (MIAP) – have already vetted more than 1,000 titles and readied them for inclusion. Mr. Hawk is concentrating on the films that are more obscure and difficult to find.
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Speed Kills / Hannibal Production in Association with Saban Films, the Pimienta Film Company and Blue Rider Pictures
HANNIBAL CLASSICS PRESENTS A SPEED KILLS / HANNIBAL PRODUCTION IN ASSOCIATION WITH SABAN FILMS, THE PIMIENTA FILM COMPANY AND BLUE RIDER PICTURES JOHN TRAVOLTA SPEED KILLS KATHERYN WINNICK JENNIFER ESPOSITO MICHAEL WESTON JORDI MOLLA AMAURY NOLASCO MATTHEW MODINE With James Remar And Kellan Lutz Directed by Jodi Scurfield Story by Paul Castro and David Aaron Cohen & John Luessenhop Screenplay by David Aaron Cohen & John Luessenhop Based upon the book “Speed Kills” by Arthur J. Harris Produced by RICHARD RIONDA DEL CASTRO, pga LUILLO RUIZ OSCAR GENERALE Executive Producers PATRICIA EBERLE RENE BESSON CAM CANNON MOSHE DIAMANT LUIS A. REIFKOHL WALTER JOSTEN ALASTAIR BURLINGHAM CHARLIE DOMBECK WAYNE MARC GODFREY ROBERT JONES ANSON DOWNES LINDA FAVILA LINDSEY ROTH FAROUK HADEF JOE LEMMON MARTIN J. BARAB WILLIAM V. BROMILEY JR NESS SABAN SHANAN BECKER JAMAL SANNAN VLADIMIRE FERNANDES CLAITON FERNANDES EUZEBIO MUNHOZ JR. BALAN MELARKODE RANDALL EMMETT GEORGE FURLA GRACE COLLINS GUY GRIFFITHE ROBERT A. FERRETTI SILVIO SARDI “SPEED KILLS” SYNOPSIS When he is forced to suddenly retire from the construction business in the early 1960s, Ben Aronoff immediately leaves the harsh winters of New Jersey behind and settles his family in sunny Miami Beach, Florida. Once there, he falls in love with the intense sport of off-shore powerboat racing. He not only races boats and wins multiple championship, he builds the boats and sells them to high-powered clientele. But his long-established mob ties catch up with him when Meyer Lansky forces him to build boats for his drug-running operations. Ben lives a double life, rubbing shoulders with kings and politicians while at the same time laundering money for the mob through his legitimate business.
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STILL ALICE Directed by Richard Glatzer and Wash Westmoreland
STILL ALICE Directed by Richard Glatzer and Wash Westmoreland USA – 2014 – 99 minutes Distribution Press Métropole Films Distribution Bonnie Smith 5360 St-Laurent Boulevard Star PR Montreal, QC H2T 1S1 t: 416.488.4436 t : 514.223.5511 f: 416.488.8438 f : 514.223.6111 e: [email protected] e : [email protected] SYNOPSIS Alice Howland, happily married with three grown children, is a renowned linguistics professor who starts to forget words. When she receives a diagnosis of Early-Onset Alzheimer's Disease, Alice and her family find their bonds thoroughly tested. Her struggle to stay connected to who she once was is frightening, heartbreaking, and inspiring. 2 CREDITS CAST Alice JULIANNE MOORE Lydia KRISTEN STEWART Anna KATE BOSWORTH John ALEC BALDWIN Tom HUNTER PARRISH FILMMAKERS Directed by Richard Glatzer and Wash Westmoreland Screenplay by Richard Glatzer and Wash Westmoreland Based on the book Still Alice by Lisa Genova Executive Producers Marie Savare, Christine Vachon, Maria Shriver, Emilie Georges, Nicholas Shumaker, Celine Rattray, Trudie Styler Producers Lex Lutzus, James Brown, Pamela Koffler Cinematographer Denis Lenoir Editor Nicolas Chaudeurge Production Designer Tommaso Ortino Music Ilan Eshkeri 3 Director’s Statement Richard and I received a phone call in December 2011 from the Brit-Australian producing duo, Lex Lutzus and James Brown, asking us to take a look at a novel for adaptation. It was one of those out-of-the-blue opportunities that filmmakers live for, but when we heard the subject of the book, it gave us pause. The outline they pitched -- a brilliant woman in the prime of life receives a diagnosis of early onset Alzheimer’s Disease -- suggested a film about illness and sadness and loss.
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Newsletter 08/07 DIGITAL EDITION Nr
ISSN 1610-2606 ISSN 1610-2606 newsletter 08/07 DIGITAL EDITION Nr. 205 - April 2007 Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 3 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 08/07 (Nr. 205) April 2007 editorial Gefühlvoll, aber nie kitschig: Susanne Biers Hallo Laserdisc- und DVD-Fans, da wieder ganz schön viel zusammen- Familiendrama über Lügen und Geheimnisse, liebe Filmfreunde! gekommen. An Nachschub für Ihr schmerzhafte Enthüllungen und tiefgreifenden Kaum ist Ostern vorbei, überraschen Entscheidungen ist ein Meisterwerk an Heimkino fehlt es also ganz bestimmt Inszenierung und Darstellung. wir Sie mit einer weiteren Ausgabe nicht. Unsere ganz persönlichen Favo- unseres Newsletters. Eigentlich woll- riten bei den deutschen Veröffentli- Schon lange hat sich der dänische Film von ten wir unseren Bradford-Bericht in chungen: THEM (offensichtlich jetzt Übervater Lars von Trier und „Dogma“ genau dieser Ausgabe präsentieren, emanzipiert, seine Nachfolger probieren andere doch im korrekten 1:2.35-Bildformat) Wege, ohne das Gelernte über Bord zu werfen. doch das Bilderbuchwetter zu Ostern und BUBBA HO-TEP. Zwei Titel, die Geblieben ist vor allem die Stärke des hat uns einen Strich durch die Rech- in keiner Sammlung fehlen sollten und Geschichtenerzählens, der Blick hinter die nung gemacht. Und wir haben es ge- bestimmt ein interessantes Double- Fassade, die Lust an der Brüchigkeit von nossen! Gerne haben wir die Tastatur Beziehungen. Denn nichts scheint den Dänen Feature für Ihren nächsten Heimkino- verdächtiger als Harmonie und Glück oder eine gegen Rucksack und Wanderschuhe abend abgeben würden.
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This Is a Great Time to Be a Producer!
IF YOU’RE ADAPTABLE, FLEXIBLE, AND ABLE TO WITHSTAND ANYTHING – THIS IS A GREAT TIME TO BE A PRODUCER! Variety Cinema Militans Lecture – Christine Vachon 25th September 2010 by Binger Reporter Matthew Curlewis Christine Vachon, flown in by Binger to spend twenty-four hours in Amsterdam with the Dutch Producers of Company!, had an additional commitment – the annual Variety lecture at the Holland Film Meeting in Utrecht. With upwards of 60 films to her credit made during the past 16 years within her company Killer Films, Vachon has a few hard-earned lessons to share with anyone interested in film industry success over the long haul. “I think you always have to maintain optimism to be a producer,” she tells Variety interviewer Leo Barraclough during the lecture. “Every time you think you’ve finally learned how the financing and distribution system works, it gets taken away. Adaptability is key, and you have to be willing to see that as a positive.” Additionally, television has improved in leaps and bounds. “Kids now grow up watching shows using the language of cinema; stories with challenging structures, or anti-heroes in lead roles, or a story where the hero dies in the end. I grew up watching The Brady Bunch!” Vachon believes that no matter the medium, there will always be a market for storytellers with authentic, singular visions. “Boardwalk Empire, Martin Scorsese’s tv series just premiered on HBO. And with director Todd Haynes we’re making Mildred Pierce – a 5.5 hour HBO movie that will show in one hour segments.
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2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS
2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS BEST FIRST SCREENPLAY 2012 NOMINEES (Winners in bold) *Will Reiser 50/50 BEST FEATURE (Award given to the producer(s)) Mike Cahill & Brit Marling Another Earth *The Artist Thomas Langmann J.C. Chandor Margin Call 50/50 Evan Goldberg, Ben Karlin, Seth Rogen Patrick DeWitt Terri Beginners Miranda de Pencier, Lars Knudsen, Phil Johnston Cedar Rapids Leslie Urdang, Dean Vanech, Jay Van Hoy Drive Michel Litvak, John Palermo, BEST FEMALE LEAD Marc Platt, Gigi Pritzker, Adam Siegel *Michelle Williams My Week with Marilyn Take Shelter Tyler Davidson, Sophia Lin Lauren Ambrose Think of Me The Descendants Jim Burke, Alexander Payne, Jim Taylor Rachael Harris Natural Selection Adepero Oduye Pariah BEST FIRST FEATURE (Award given to the director and producer) Elizabeth Olsen Martha Marcy May Marlene *Margin Call Director: J.C. Chandor Producers: Robert Ogden Barnum, BEST MALE LEAD Michael Benaroya, Neal Dodson, Joe Jenckes, Corey Moosa, Zachary Quinto *Jean Dujardin The Artist Another Earth Director: Mike Cahill Demián Bichir A Better Life Producers: Mike Cahill, Hunter Gray, Brit Marling, Ryan Gosling Drive Nicholas Shumaker Woody Harrelson Rampart In The Family Director: Patrick Wang Michael Shannon Take Shelter Producers: Robert Tonino, Andrew van den Houten, Patrick Wang BEST SUPPORTING FEMALE Martha Marcy May Marlene Director: Sean Durkin Producers: Antonio Campos, Patrick Cunningham, *Shailene Woodley The Descendants Chris Maybach, Josh Mond Jessica Chastain Take Shelter
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Oppdatert Liste Samarbeidspartnere 2015
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Oppdatert Liste Samarbeidspartnere
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WILLIAM YEH Editor
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YARON LEVY Director of Photography Dpyaronlevy.Com
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1 "The Hardest, the Most Difficult Film:" Todd Haynes' Safe As Feminist
"The Hardest, The Most Difficult Film:" Todd Haynes’ Safe as Feminist Film Praxis Or: “What the fuck is this?” By Theresa L. Geller, Grinnell College While Todd Haynes has been celebrated as the poster child for New Queer Cinema for at least two decades now, he has in fact established himself as a director of a wide range of genres, including the biopic and the women’s film. Indeed, Haynes’ engagement with and commitment to films about women is constant—even his works nominally about men, such as his faux biopics like Velvet Goldmine and even Dottie Gets Spanked find women at their core, as Julia and Noah have shown so well today. With the success of his most recent work, notably a miniseries for HBO, we are positioned now to reconsider Haynes’ oeuvre in light of his most salient and persistent themes and concerns. This move from the art house cinema circuit to cable television, for example, invites one to consider the gendered implications of shifting exhibition venues from the movie theater to television, a form situated in the domesticated space of the home, and historically tied to women’s daily lives, as Lynn Spigel’s and others work on television has argued. We might also think of Andreas Huyssen’s now canonical work on the historical and critical perception of mass culture as feminine. I invoke these foundational works in the field because their impact on the study of gender and mass culture has less to do with the content of specific texts than the significance of placing such texts in social and cultural histories of exhibition and reception.
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