DOCSLIB.ORG

LAURA KATZ Music Supervisor – Selected Credits

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
LAURA KATZ Music Supervisor – Selected Credits LAURA KATZ Music Supervisor – Selected Credits Film Stowaway The Burnt Orange Heresy (Venice Film Festival, TIFF) Directed by Joe Penna Directed by Giuseppe Capotondi XYZ Films, RainMaker Films Indiana Production Company, MJZ, Rumble Films Sony Pictures Worldwide Acquisitions Best Film, GEM Entertainment The Marksman Midway (Music Consultant) Directed by Robert Lorenz Directed by Roland Emmerich Sculptor Media, Voltage Pictures, Zero Gravity AGC Studios, Centropolis Entertainment, The Mark Management Gordon Company Open Road Films Lionsgate SAS Red Notice The Kill Team (Tribeca Film Festival) Directed by Magnus Martens Directed by Dan Krauss Ingenious Media, Parabolic Pictures Inc. Temple Hill Entertainment, Nostromo Pictures Sky Cinema, Lionsgate UK A24 Silk Road Angel of Mine (Melbourne International Film Festival) Directed by Tiller Russell Directed by Kim Farrant High Frequency Entertainment, Mutressa Movies, Perfect Magna Entertainment, Garlin Pictures, and R7 Season Productions Entertainment Lionsgate Giving Voice (Sundance Film Festival) Directed by James D. Stern & Fernando Villena Swallow (additional music supervision) Endeavor Content, Endgame Entertainment, Get Lifted Directed by Carlo Mirabella-Davis Film Company, Impact Partners, JuVee Productions, Charades, Logical Pictures, Stand Alone Productions, and Pilgrim Media Group Syncopated Films Netflix IFC Films Greenland Big Time Adolescence (Sundance Film Festival) Directed by Ric Roman Waugh Directed by Jason Orley G-BASE, Anton, STX Films, Thunder Road Pictures, American High Riverstone Pictures Hulu Home Box Office (HBO) After the Wedding (Sundance Film Festival) The Doorman Directed by Bart Freundlich Directed by Ryûhei Kitamura Ingenious Media Double Dutch International, Immediate Media Partners, Sony Pictures Classics Project Z Entertainment, Smash media, CR8IV DNA, Gora Films, Anamorphic Media Hotel Mumbai (TIFF) Lionsgate Home Entertainment Directed by Anthony Maras Thunder Road Pictures, Screen Australia Endless Bleecker Street Media, ShivHans Pictures, Film & TV Directed by Scott Speer House Thunder Road Pictures, Summerstorm Entertainment, Film House Germany, Ingenious Media, Minds Eye A Private War (TIFF) Entertainment Directed by Matthew Heineman Quiver Distribution Thunder Road Pictures, Acacia Filmed Entertainment, Denver and Delilah Productions, Kamala Films [email protected] 1 Aviron Pictures Their Finest (TIFF, Sundance Film Festival) Directed by Lone Scherfig Where Hands Touch (TIFF) BBC Films, Number 9 Films, Wildgaze Films Directed by Amma Asante Lionsgate British Film Company, Pinewood Pictures Vertical Entertainment The Limehouse Golem (TIFF) Directed by Juan Carlos Medina The Old Man & the Gun (Telluride Film Festival, TIFF) Number 9 Films Directed by David Lowery RLJ Entertainment Conde Nast Publications, Endgame Entertainment Fox Searchlight Pictures Message from the King (TIFF) Directed by Fabrice Du Welz American Chaos Entertainment One Features, The Ink Factory, Rumble Directed by James D. Stern Films, Silver Nitrate Endgame Entertainment Netflix Sony Pictures Classics The Outcasts Chappaquiddick (TIFF) Directed by Peter Hutchings Directed by John Curran BCDF Pictures Apex Entertainment Vision Films Entertainment Studios Motion Pictures Army of One Candy Jar Directed by Larry Charles Directed by Ben Shelton Conde Nast Entertainment, Endgame Entertainment Netflix TWC-Dimension Gemini (SXSW) Morris from America (Sundance Film Festival, SXSW) Directed by Aaron Katz Directed by Chad Hartigan Film Science, Rough House Pictures, Syncopated Films Beachside Films, Lichtblick Media Neon A24 The Yellow Birds (Sundance Film Festival) Tallulah (Sundance Film Festival) Directed by Alexandre Moors Directed by Sian Heder Cinelou Films, Story Mining & Supply Co., Echo Films Maiden Voyage, Ocean Blue Entertainment, Route One Saban Films Films Netflix Spinning Man Directed by Simon Kaijser Pride and Prejudice and Zombies Film Bridge International Directed by Burr Steers Lionsgate Premiere Screen Gems, Lionsgate, Cross Creek Pictures Screen Gems Just Getting Started Directed by Ron Shelton Misconduct Broad Green Pictures, Endurance Media, Entertainment Directed by Shintaro Shimosawa One, Gerber Pictures Mike and Marty Productions Broad Green Pictures, Entertainment One, Sony Pictures Grindstone Entertainment Group, Lionsgate Worldwide Acquisitions A Faster Horse (Tribeca Film Festival) 24 Hours to Live Directed by David Gelb Directed by Brian Smrz White Horse Pictures Thunder Road Pictures, Fundamental Films, Film Afrika Vimeo Worldwide Saban Films Z for Zachariah (Sundance Film Festival) Directed by Craig Zobel November Criminals Lucky Hat Entertainment, Material Pictures, Palomar Directed by Sacha Gervasi Pictures Black Bicycle Entertainment, Indian Paintbrush, Lotus Grindstone Entertainment Group, Lionsgate, Roadside Entertainment Attractions Sony Pictures Worldwide Acquisitions Life of Crime (TIFF) [email protected] 2 Directed by Daniel Schechter Serendipity Point Films Gotham Group & StarStream Entertainment Magnolia Pictures Lionsgate / Roadside Attractions Devil’s Knot (TIFF) That Awkward Moment Directed by Atom Egoyan Directed by Tom Gormican Worldview Entertainment Treehouse Pictures & Aversano Films Image Entertainment Focus Features Magic Magic (Sundance Film Festival, Cannes Film Chef (Music Clearance & Licensing) (SXSW, Tribeca Film Festival) Festival) Directed by Sebastian Silva Directed by Jon Favreau Braven Films, Killer Films & Rip Cord Productions Aldamisa Entertainment Sony Pictures Home Entertainment Open Road Films Stuck in Love. (TIFF) Revenge of the Green Dragons Directed by Josh Boone Directed by Andrew Lau & Andrew Loo Informant Media IM Global Octane Millennium Entertainment A24 Snitch Dark Places Directed by Ric Roman Waugh Directed by Gilles Paquet-Brenner Exclusive Media Group, Imagenation Abu Dhabi FZ, Exclusive Media Group, Mandalay Vision, Denver and Participant Media & Spitfire Pictures Delilah Productions Summit Entertainment A24 Side Effects (Music Services) (Berlin International Film Maggie (Tribeca Film Festival) Festival) Directed by Henry Hobson Directed by Steven Soderbergh Lotus Entertainment, Gold Star Films, Inferno Endgame Entertainment Entertainment, Silver Reel Open Road Films Lionsgate / Roadside Attractions The Face of Love (TIFF) Tracers Directed by Arie Posin Directed by Daniel Benmayor Mockingbird Pictures Temple Hill Entertainment IFC Films Saban Films May in the Summer (Sundance Film Festival, Venice 5 to 7 (Tribeca Film Festival) Film Festival) Directed by Victor Levin Directed by Cherien Dabis Mockingbird Pictures & Demarest Films Anonymous Content & Durga Entertainment IFC Films Cohen Media Group Young Ones (Sundance Fim Festival) Erased Directed by Jake Paltrow Directed by Philipp Stolzl Subotica Entertainment Produced by Joel Silver and Andrew Rona Screen Media Films Informant Films Europe, Informant Media & Expatriate Films The Loft The Weinstein Company / Radius-TWC Directed by Erik Van Looy Anonymous Content & Woestijnvis End of Watch (Music Clearance & Licensing) (TIFF) Universal Pictures Directed by David Ayer Exclusive Media Group, Emmett / Furla Films & Envision Don Jon (Music Coordinator) (Sundance Film Festival, Entertainment Corporation SXSW) Open Road Films Directed by Joseph Gordon–Levitt Voltage Pictures & Ram Bergman Productions The Words (Sundance Film Festival) Relativity Media Directed by Brian Klugman & Lee Sternthal Also Known As Pictures, Benaroya Pictures, The Right Kind of Wrong (TIFF) Animus Films, Serena Films & Waterfall Media Directed by Jeremiah Chechik CBS Films [email protected] 3 Silent Night The Grey Directed by Steven C. Miller Directed by Joe Carnahan The Genre Co., Buffalo Gal Pictures & Ember Productions Liddell Entertainment & Scott Free Productions Anchor Bay Films Open Road Films Television Cake Seasons 2-3 (Music Supervisor), Season 1 (Music Supervisor – selected episodes) SLAQR FXX The Librarians Season 4 (Music Supervisor – selected episodes) Electric Entertainment TNT True Justice Seasons 1 & 2 (Music Supervisor – 21 Episodes; Music Coordinator – 2 Episodes) True Justice 1 Productions & Voltage Pictures REELZ Video Game Sunset Overdrive Insomniac Games Xbox One LOCATION: Los Angeles GUILDS: Guild of Music Supervisors; National Academy of Recording Arts & Sciences, voting member CONFERENCES: M for Montreal: Delegate (2012); SXSW: Panelist (2014, 2017), Mentor (2015-2016); Canadian Song Conference, Prince Edward Island: Panelist (2015); Music & Media International Summit, Finland: Panelist (2015); A2IM New York Indie Week (2015); Canadian Music Café, Toronto (2016); CityFolk, Ottawa: Panelist (2016); Pop Montreal: Delegate (2016); BreakOut West, Edmonton: Panelist (2017). AWARDS: Guild of Music Supervisors Awards 2014 Nominee - Best Music Supervision in Games; Women in Sync Awards 2016 Nominee - Best Licensed Music in a Film [email protected] 4 .
Load more

Recommended publications
  • Pr-Dvd-Holdings-As-Of-September-18
    CALL # LOCATION TITLE AUTHOR BINGE BOX COMEDIES prmnd Comedies binge box (includes Airplane! --Ferris Bueller's Day Off --The First Wives Club --Happy Gilmore)[videorecording] / Princeton Public Library. BINGE BOX CONCERTS AND MUSICIANSprmnd Concerts and musicians binge box (Includes Brad Paisley: Life Amplified Live Tour, Live from WV --Close to You: Remembering the Carpenters --John Sebastian Presents Folk Rewind: My Music --Roy Orbison and Friends: Black and White Night)[videorecording] / Princeton Public Library. BINGE BOX MUSICALS prmnd Musicals binge box (includes Mamma Mia! --Moulin Rouge --Rodgers and Hammerstein's Cinderella [DVD] --West Side Story) [videorecording] / Princeton Public Library. BINGE BOX ROMANTIC COMEDIESprmnd Romantic comedies binge box (includes Hitch --P.S. I Love You --The Wedding Date --While You Were Sleeping)[videorecording] / Princeton Public Library. DVD 001.942 ALI DISC 1-3 prmdv Aliens, abductions & extraordinary sightings [videorecording]. DVD 001.942 BES prmdv Best of ancient aliens [videorecording] / A&E Television Networks History executive producer, Kevin Burns. DVD 004.09 CRE prmdv The creation of the computer [videorecording] / executive producer, Bob Jaffe written and produced by Donald Sellers created by Bruce Nash History channel executive producers, Charlie Maday, Gerald W. Abrams Jaffe Productions Hearst Entertainment Television in association with the History Channel. DVD 133.3 UNE DISC 1-2 prmdv The unexplained [videorecording] / produced by Towers Productions, Inc. for A&E Network executive producer, Michael Cascio. DVD 158.2 WEL prmdv We'll meet again [videorecording] / producers, Simon Harries [and three others] director, Ashok Prasad [and five others]. DVD 158.2 WEL prmdv We'll meet again. Season 2 [videorecording] / director, Luc Tremoulet producer, Page Shepherd.
    [Show full text]
  • Screendollars About Films, the Film Industry No
    For Exhibitors October 26, 2020 Screendollars About Films, the Film Industry No. 140 Newsletter and Cinema Advertising In 1926, Warner Bros. Pictures, then a small, struggling studio, began a partnership with the Vitaphone Corporation to use its sound-on-disc technology to produce films with synchronized playback of sound with visual images. WB made a series of one-reel sound short films to demonstrate (Click to Play) the technology, playing them before other features. Audiences responded so enthusiastically that Warner Bros. was convinced to bet big on talking motion pictures as the next big thing in movies. Their first feature-length film to use the Vitaphone system was The Jazz Singer, which premiered at Warners’ Theatre in New York on October 6, 1928. It starred Al Jolson, a famous singer and Broadway star of the day. The film included two short scenes in which Jolson’s spoken word was synchronized to the picture, delivering life-like dialog in real-time that thrilled movie goers, comparable to the most immersive, multi-sensory special effects in today’s cinema. By 1929, only TWO “Wait a minute, wait a YEARS after The Jazz Singer, Hollywood studios produced 335 all-dialogue features, as silent films receded minute. You ain’t into the history of the rapidly changing industry. heard nothin’ yet.” (Click to Play) Weekend Box Office Results (10/23-25) With Comments by Paul Dergarabedian, Comscore Per Theatre Rank Title Week Theatres Wknd $ Total $ Average $ 1 Honest Thief (Open Road) 3 2,502 2,350,000 939 7,476,274 2 The War with Grandpa (101 Studios) 3 2,345 1,882,672 803 9,719,719 3 Tenet (Warner Bros.) 8 1,801 1,300,000 722 52,500,000 4 The Empty Man (20th Century) 1 2,027 1,265,000 624 1,265,000 5 The Nightmare Before Christmas (Disney) 2 1,614 577,000 357 1,900,000 6 Hocus Pocus (Disney) 4 1,277 530,000 415 4,372,000 7 Monsters, Inc.
    [Show full text]
  • Becoming Legendary: Slate Financing and Hollywood Studio Partnership in Contemporary Filmmaking
    Kimberly Owczarski Becoming Legendary: Slate Financing and Hollywood Studio Partnership in Contemporary Filmmaking In June 2005, Warner Bros. Pictures announced Are Marshall (2006), and Trick ‘r’ Treat (2006)2— a multi-film co-financing and co-production not a single one grossed more than $75 million agreement with Legendary Pictures, a new total worldwide at the box office. In 2007, though, company backed by $500 million in private 300 was a surprise hit at the box office and secured equity funding from corporate investors including Legendary’s footing in Hollywood (see Table 1 divisions of Bank of America and AIG.1 Slate for a breakdown of Legendary’s performance at financing, which involves an investment in a the box office). Since then, Legendary has been a specified number of studio films ranging from a partner on several high-profile Warner Bros. films mere handful to dozens of pictures, was hardly a including The Dark Knight, Inception, Watchmen, new phenomenon in Hollywood as several studios Clash of the Titans, and The Hangoverand its sequel. had these types of deals in place by 2005. But In an interview with the Wall Street Journal, the sheer size of the Legendary deal—twenty five Legendary founder Thomas Tull likened his films—was certainly ambitious for a nascent firm. company’s involvement in film production to The first film released as part of this deal wasBatman an entrepreneurial endeavor, stating: “We treat Begins (2005), a rebooting of Warner Bros.’ film each film like a start-up.”3 Tull’s equation of franchise. Although Batman Begins had a strong filmmaking with Wall Street investment is performance at the box office ($205 million in particularly apt, as each film poses the potential domestic theaters and $167 million in international for a great windfall or loss just as investing in a theaters), it was not until two years later that the new business enterprise does for stockholders.
    [Show full text]
  • Hollywood Foreign Press Association 2019 Golden Globe Awards for the Year Ended December 31, 2018 Press Release
    HOLLYWOOD FOREIGN PRESS ASSOCIATION 2019 GOLDEN GLOBE AWARDS FOR THE YEAR ENDED DECEMBER 31, 2018 PRESS RELEASE 1. BEST MOTION PICTURE – DRAMA a. BLACK PANTHER Marvel Studios; Walt Disney Studios Motion Pictures b. BLACKKKLANSMAN QC Entertainment / Blumhouse / Monkeypaw / 40 Acres and a Mule; Focus Features c. BOHEMIAN RHAPSODY Twentieth Century Fox and Regency Enterprises; Twentieth Century Fox d. IF BEALE STREET COULD TALK Annapurna Pictures / Plan B Entertainment / We Pastel; Annapurna Pictures e. A STAR IS BORN Warner Bros. Pictures / Live Nation Productions / Metro Goldwyn Mayer Pictures / Jon Peters Production / Bill Gerber Production / Joint Effort Production; Warner Bros. Pictures 2. BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – DRAMA a. GLENN CLOSE THE WIFE b. LADY GAGA A STAR IS BORN c. NICOLE KIDMAN DESTROYER d. MELISSA MCCARTHY CAN YOU EVER FORGIVE ME? e. ROSAMUND PIKE A PRIVATE WAR This document is being provided to the media pertaining to the nominations announcements for the 76th Annual Golden Globe Awards. The official press release is presented in PDF format and contains the official results. As a courtesy to the media, this version of the press release in Microsoft Word format is provided for ease of use. Ernst & Young LLP takes no responsibility for errors or changes made by the users of the Word file or the resulting impacts on their reporting. The official press release in PDF format represents the only official results. HOLLYWOOD FOREIGN PRESS ASSOCIATION 2019 GOLDEN GLOBE AWARDS FOR THE YEAR ENDED DECEMBER 31, 2018 PRESS RELEASE 3. BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – DRAMA a.
    [Show full text]
  • Wealth-X Laura Jeanne Reese WITHERSPOON Dossier
    Laura Jeanne Reese WITHERSPOON Dossier 29 Dec 2020 The materials herein are solely for member's internal business purposes to assist in the acquisition and retention of member's clients (i.e. permitted purpose). Except as required by the law, member will not reveal these materials to any person or entity whose data is contained herein or to persons acting on their behalf. To the maximum extent permitted by law, Wealth-X excludes and disclaims all conditions, terms, representations and warranties relating to the subject matter hereof, whether express or implied, including the implied warranties of satisfactory quality and fitness for a particular purpose. While every attempt is taken to ensure that these materials are kept up to date, Wealth-X cannot guarantee that information contained in them in relation to any person or entity will not have changed or be correct. Laura Jeanne Reese WITHERSPOON Primary Position Producer Source Self-Made Primary Company Pacific Standard Age 44 Estimated Net Worth At least $280 million Birthday 22 Mar 1976 Estimated Liquid Assets At least $220 million Marital Status Married Estimated Household Wealth - Religion Christian (Episcopalian) Estimated Household Liquid Alternate Names Reese Witherspoon Assets Estimated Family's Net Worth Estimated Family's Liquid Assets Wealth Trend Fortune fluctuates with the value of Pacific Standard and with the broad equity and bond markets. Residences Pacific Palisades, California, United States Nashville, Tennessee, United States Malibu, California, United States Hometown New Orleans, Louisiana, United States Biography Witherspoon began modeling at age seven, shooting a television commercial for a florist. After several local commercials, at age 11 she won the Ten-State Talent Fair.
    [Show full text]
  • Motion Picture License List of MPL Participating Theatrical Distributors & Producers
    Motion Picture License List of MPL Participating Theatrical Distributors & Producers MAJOR HOLLYWOOD STUDIOS & AFFILIATED LABELS 20th Century Studios Paramount Pictures (f/k/a Twentieth Century Fox Film Corp.) Paramount Vantage Buena Vista Pictures Picturehouse Cannon Pictures Pixar Animation Studios Columbia Pictures Polygram Filmed Entertainment Dreamworks Animation SKG Republic Pictures Dreamworks Pictures RKO Pictures (Releases 2011 to present) Screen Gems PLEASE CHOOSE Dreamworks Pictures CATEGORY: (Releases prior to 2011) Searchlight Pictures (f/ka/a Fox Searchlight Pictures) Fine Line Features Sony Pictures Entertainment Focus Features Major Hollywood Studios STX Entertainment & Affiliated Labels Fox - Walden Touchstone Pictures Fox 2000 Films TV Tristar Pictures Fox Look Triumph Films Independent Hanna-Barbera United Artists Pictures Hollywood Pictures Faith-Based Universal Pictures Lionsgate Entertainment USA Films Lorimar Telepictures Children’s Walt Disney Pictures Metro-Goldwyn-Mayer (MGM) Studios Warner Bros. Pictures Spanish Language New Line Cinema Warner Bros. Television Nickelodeon Movies Foreign & International Warner Horizon Television Orion Pictures Warner Independent Pictures Paramount Classics TV 41 Entertaiment LLC Ditial Lifestyle Studios A&E Networks Productions DIY Netowrk Productions Abso Lutely Productions East West Documentaries Ltd Agatha Christie Productions Elle Driver Al Dakheel Inc Emporium Productions Alcon Television Endor Productions All-In-Production Gmbh Fabrik Entertainment Ambi Exclusive Acquisitions
    [Show full text]
  • Ouvrir La Voix (Speak Up/Make Your Way): a Conversation with Amandine Gay
    Journal of Feminist Scholarship Volume 16 Issue 16 Spring/Fall 2019 Article 2 Fall 2019 Ouvrir La Voix (Speak Up/Make Your Way): A Conversation with Amandine Gay Anupama Arora University of Massachusetts, Dartmouth, [email protected] Sandrine Sanos Texas A&M University- Corpus Christi, [email protected] Follow this and additional works at: https://digitalcommons.uri.edu/jfs Part of the Africana Studies Commons, Feminist, Gender, and Sexuality Studies Commons, and the Film and Media Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Arora, Anupama, and Sandrine Sanos. 2020. "Ouvrir La Voix (Speak Up/Make Your Way): A Conversation with Amandine Gay." Journal of Feminist Scholarship 16 (Fall): 17-38. 10.23860/jfs.2019.16.02. This Article is brought to you for free and open access by DigitalCommons@URI. It has been accepted for inclusion in Journal of Feminist Scholarship by an authorized editor of DigitalCommons@URI. For more information, please contact [email protected]. Arora and Sanos: Ouvrir La Voix (Speak Up/Make Your Way): A Conversation with Aman Ouvrir La Voix (Speak Up/Make Your Way): A Conversation with Amandine Gay Anupama Arora, University of Massachusetts Dartmouth Sandrine Sanos, Texas A&M University-Corpus Christi Copyright by Anupama Arora and Sandrine Sanos Amandine Gay Photo by Christin Bela of CFL Group Photography Introduction and Commentary “I’m French and I’m staying here … My kids will stay here too, and we’ll be here a while … I’m not going anywhere.” Afro-feminist French filmmaker Amandine Gay’s 2017 documentary film Ouvrir La Voix (Speak Up/Make you Way) ends with this unequivocal assertion, this claiming of French-ness and France as home, by one of the Black-French interviewees in the film.
    [Show full text]
  • Animation Library
    2019 INTRODUCTION SC LIVE ACTION SC Films specialises in international film sales, SC Films has a catalogue of over 50 live features for home entertainment and television. distribution, finance and film production. SC Films is based in Soho, London and was founded by See scfilmsinternational.com for more details. Simon Crowe and tech entrepreneur, Matthew Joynes in 2008. SC Films focus on 4–5 theatrical films per year, working closely with producers and financiers to secure finance and maximise revenues worldwide. 2018 was a very busy year for SC Films. The year started with the world premiere of the highly acclaimed animation feature WHITE FANG at Sundance FF and then its subsequent worldwide release from March 2018 – France 500,000+ admissions. GNOME ALONE and CHARMING were also theatrically released throughout the summer. PACHAMAMA had its world premiere at Animation Is Film in LA & London FF over a very busy weekend in October for the director, who flew to both events. Netflix licensed ROW. SC Films also launched a new television division headed by Stephan Manpearl in LA. We are currently developing two major TV shows for primetime television KING OF LATE NIGHT and SLOWFOOD. SC Films International Ltd 56 Brewer Street Soho London +44 (0)20 7287 1900 scfilmsinternational.com COCKNEYS VS ZOMBIES | RETREAT | GREEN STREET: HOOLIGANS UNDERGROUND More information: scfilmsinternational.com Credits Not Contractual SC ANIMATION SC TELEVISION SC Films represents the very best of independent animated This is a new division for SC Films headed by Stephan Manpearl. features from all over the World. We are looking for high quality television productions for co-production, funding and distribution.
    [Show full text]
  • Seattle Location Management and Scouting
    Mark A. Freid – Seattle Location Management and Scouting. Field Producing. (310) 770-3930 [email protected] www.northernlocs.com QUALIFICATIONS Teamster Local 399 Location Manager. CSATF Safety Passport. LOCATION SCOUTING AND MANAGEMENT 2001-2017 FEATURE FILM/TELEVISION: War for Planet of the Apes. 20th Century Fox. VFX Plate Unit Location Manager Ryan Stafford, VFX Producer. 50 Shades Freed, 50 Shades Darker. Focus Features. 2nd Unit Location Manager Scott Ateah, 2nd Unit Dir. Barbra Kelly UPM. Marcus Viscidi Producer. Grey’s Anatomy. ABC/Disney. Location Scout Thomas Barg, Production Supervisor. Vacation. Warner Brothers/New Line. 2nd Unit Location Manager Peter Novak, 2nd Unit Production Supervisor. The Librarians . Electric Entertainment. Location Scout Bobby Warberg, Location Manager. David Drummond, Location Scout. 50 Shades of Grey. Focus Features. 2nd Unit Location Manager David Wasco Production Designer, Barbra Kelly, UPM, Marcus Viscidi Producer. Transformers 4. Paramount Pictures. Location Manager JJ Hook, Location Manager. Daren Hicks, Production Supervisor. They Die By Dawn. Location Manager Jaymes Seymor, Director. Peter Novak, Producer. America’s Most Wanted. STF Productions. Location Manager Miles Perman, Producer. Paranormal Activity The Marked One. Paramount Pictures Location Scout Christopher Landon, Director. Stephenson Crossley, Location Manager. Hayden Lake. Location Manager Ryan Page, Christopher Pomerenke Directors. Linette Shorr, Production Designer. Lacey Leavitt, Producer. Rampart. Lightstream Pictures. Location Manager Oren Moverman, Director. David Wasco Production Designer. Karen Getchell, Production Supervisor. Ben Foster, Lawrence Inglee, Clark Peterson, Ken Kao, Producers. Michael DiFranco and Lila Yacoub Executive Producers. Late Autumn. Location Manager Kim Tae-Yong, Director. Dave Drummond, Co-Location Manager Mischa Jakupcak, Producer. The Details. Key Assistant Location Manager Doug duMas, Location Manager.
    [Show full text]
  • De Wajdi Mouawad SIMONETTA VALENTI (Università Di Parma) 209-233
    Rivista semestrale online / Biannual online journal http://www.parolerubate.unipr.it Fascicolo n. 16 / Issue no. 16 Dicembre 2017 / December 2017 Direttore / Editor Rinaldo Rinaldi (Università di Parma) Comitato scientifico / Research Committee Mariolina Bongiovanni Bertini (Università di Parma) Dominique Budor (Université de la Sorbonne Nouvelle – Paris III) Roberto Greci (Università di Parma) Heinz Hofmann (Universität Tübingen) Bert W. Meijer (Nederlands Kunsthistorisch Instituut Firenze / Rijksuniversiteit Utrecht) María de las Nieves Muñiz Muñiz (Universitat de Barcelona) Diego Saglia (Università di Parma) Francesco Spera (Università Statale di Milano) Segreteria di redazione / Editorial Staff Maria Elena Capitani (Università di Parma) Nicola Catelli (Università di Parma) Chiara Rolli (Università di Parma) Esperti esterni (fascicolo n. 16) / External referees (issue no. 16) Gioia Angeletti (Università di Parma) Franca Dellarosa (Università di Bari Aldo Moro) Gillian Dow (University of Southampton) Michael C. Gamer (University of Pennsylvania) Michele Guerra (Università di Parma) Francesco Marroni (Università “G. d’Annunzio” Chieti – Pescara) Liana Nissim (Università Statale di Milano) Francesca Saggini (Università della Tuscia – Viterbo) Anna Enrichetta Soccio (Università “G. d’Annunzio” Chieti – Pescara) Enrica Villari (Università Ca’ Foscari, Venezia) Angela Wright (University of Sheffield) Progetto grafico / Graphic design Jelena Radojev (Università di Parma) † Direttore responsabile: Rinaldo Rinaldi Autorizzazione Tribunale di
    [Show full text]
  • Conspiracy Theory? the Ethical Paradox of “Big Is Bad”
    757 CONSPIRACY THEORY? THE ETHICAL PARADOX OF “BIG IS BAD” ARNOLD J. JOHNSON† I. INTRODUCTION The late 1950s and early 1960s elicit fond memories amongst to- day’s baby boomers, who annoy successor generations with their em- bellished reflections on the “good ol’ days.” A dawning of America they would say, as the store fronts of a plethora of thriving middle class towns struck a seemingly perfect balance between small business and retail juggernauts the likes of F.W. Woolworth Company, J.C. Penny, Sears, Roebuck & Company, and Montgomery Ward. The local banker was the pillar of the community, the family doctor kept everyone well, and the town dentist filled teeth–quite a few of them it would seem. More importantly, there was simply no problem, legal or personal, too big for that iconic lawyer in the small Main Street office. It was a time of optimism and a “can do” attitude, as the Ameri- can business machine that would eventually be disparaged as “big” was creating jobs and building chrome-laden cars and trucks, washers and dryers, televisions and radios, and countless other contraptions that would bring convenience to everyday life. Ethics and profession- alism were a given, as reputations mattered in these communities where everyone knew everyone else. For the first and last time in this article it might be said that big was good, or at least not presumed bad. What happened? Could it simply be that business itself changed, becoming more detached from the public as it grew larger and more complex? Perhaps the world evolved, with big business falling out of favor with inevitable shifts in pop culture and politics.
    [Show full text]
  • FS345 REPRESENTATIONS of IDENTITY, NATION and VALUES in BRITISH CINEMA IES Abroad London
    FS345 REPRESENTATIONS OF IDENTITY, NATION AND VALUES IN BRITISH CINEMA IES Abroad London DESCRIPTION: This course examines the role of British cinema in providing a window into the changing nature of British identity and society since World War Two. Through the study of key films across the past sixty years it charts the progress of political, social, and cultural change in Britain as represented in British film. Students examine the changing economic fortunes of British cinema and its effect on the development of British film style during each period. A strong emphasis is placed on studying the contexts in which the films were originally circulated and read. The course provides opportunities to engage with film events in London, e.g., London Film Festival in the Fall Semester, and the BAFTA Film Awards in the Spring. Additionally, the course provides opportunities to know of the work of the British Film Institute archive and the course provides opportunities to utilize the resources of the British Film Institute archive and library, as well as steering students towards researching the locations, the stars, and directors of the London- based film. CREDITS: 3 credits CONTACT HOURS: 45 hours LANGUAGE OF INSTRUCTION: English PREREQUISITES: None ADDITIONAL COSTS: None METHOD OF PRESENTATION: • Lectures • Presentations of readings • Selected excerpts of film clips REQUIRED WORK AND FORM OF ASSESSMENT: • Participation in course discussion and presentation on a single film - 20% • Mid-term essay paper (approximately 1,500 words) - 30% • Group research project - 15% • End of semester essay paper (approximately 2,000 words) - 35% LEARNING OUTCOMES: By the end of the course students will be able to: • Analyze film in detail using a formal method • Understand the material, historical, ideological and economic elements of British life interface with the way that British film represents British identity • Learn about the influence of Hollywood on production, distribution and reception of feature film in the UK ATTENDANCE POLICY: Regular class attendance is mandatory.
    [Show full text]