DOCSLIB.ORG

EUROPEAN TV DRAMA SERIES LAB Programme Application TESTIMONIALS

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
EUROPEAN TV DRAMA SERIES LAB Programme Application TESTIMONIALS CONTACT www.tv-lab.eu Nadja Radojevic Director Training | CEO (interim) – Erich Pommer Institut [email protected] Testimonials A project by T: +49 (0)331 721 28 85 “The TV Lab’s own writers’ room became this sizzling pot F: +49 (0)331 721 28 81 Erich Pommer Institut (Germany) of focused, directed creativity, where a handful of writers Försterweg 2, 14482 Potsdam, Germany in just three days broke and created an original pilot idea The Erich Pommer Institut is one of Europe’s leading training www.epi-medieninstitut.de with obvious commercial and artistic potential. Most of providers for the media industry and a renowned media research all, I was amazed on how effective it was, and how daring institution. Its unique feature is the strong focus on legal and economic topics combined with a hands-on approach and an you can be if you eliminate the fear of failure, and focus A project by In association with on the thrill of creation.” extensive international expert and industry network. Each year, Trygve Allister Diesen, Writer VARG VEUM, EPI organises and hosts around 40 seminars, workshops and Director KOmmissARIE WINTER, Tenk.tv, Norway conferences for the European, the Canadian and the US-American TV Lab 2012 media industry. www.epi-medieninstitut.de “Attending the TV Lab was one of the most inspiring things I have done in recent years – great people and great lectures, well organised With the support of the Creative Europe - MEDIA Programme In association with of the European Union and executed. I loved it and wish I could do it again!” MediaXchange (UK) Håkan Lindhé, Writer/Director THE STOCKHOLM EUROPEAN Based in London and LA, MediaXchange is a media consultancy SYNDROME, Sweden with a 24 year history assisting entertainment industry professionals TV Lab 2014 TV DRAMA to develop effective knowledge, contacts and business drawn from our unique global perspective. A roster of returning clients and Supported by new participants from around the world encompasses studios and “Brainstorming and writing in a writers room with networks, creative and business executives, writers and developers, truly passionate, world class showrunners was Series LAB financiers and filmmakers, government agencies and industry simply incredible. A highly inspiring experience associations. which I will never forget.” www.mediaxchange.com Koen Tambuyzer, Writer ZONE STAD (ZONE CITY), Media partner Belgium 2015 TV Lab 2013 “The level of expertise of participants and experts alike was exceptional. The result was Thanks to EPI’s associates a working atmosphere that was incredibly intensive and creative. European TV Drama is evolving enormously right now and events like In association with the EPI TV Drama Lab are an important part of shaping that future.” Jacob Groll, Writer SOKO WIEN, JANUS, Austria TV Lab 2013 Photo left © Christine Kisorsy | Other photos © EPI www.tv-lab.eu EUROPEAN TV DRAMA SERIES LAB PROGRAMME APPLICATION TESTIMONIALS A top level training and think tank for leading Programme The TV Lab is designed to include: players in the European television industry Module 1: Framework for successful European TV Drama Series “Working with Criminal Minds’ Simon Mirren was a » Scriptwriters mind-blowing experience. Also, I met a producer at The programme is designed for scriptwriters, producers and • State of the industry and trends in series storytelling Applicants need substantial writing experience in scripted drama the TV Lab who asked me to work on a script. We just broadcasters and explores the essential elements of successful • Legal and financial aspects of European co-productions (writing credits on a minimum of at least one script produced for sold the script to a network. This workshop was worth drama series. Top industry experts from across Europe and the • Best practice lessons from successful European and US series broadcast or web) every minute!” US share their knowledge and provide exclusive insights. • Latest trends in 360° content Richard Kropf, Headwriter DER LETZTE BULLE » Creative and Executive Producers Module 2: The Creative Maze (THE LAST COP), Germany Eligible applicants need a minimum of 5 years producing experience • Writers’ Room Simulation TV Lab 2012 MODULE 1 • Management of Creative Teams (minimum of one feature length TV film or TV series produced for broadcast) “With the great success of Swedish drama series in June 30 – July 5, 2015 in Berlin recent years it becomes even more important to try to » Broadcasters be in the forefront of what is happening globally in our Previous Experts included: Eligible applicants include Head of Development, Head of branch. The TV Lab has helped me with just that: see Programming, Head of TV Drama. Applications from other MODULE 2 Rola Bauer, Producer CROSSING LINES, PILLARS OF THE EARTH, best practices, exchange ideas with very experienced experienced representatives from these departments must be November 9 – 15, 2015 in Berlin President, Tandem Communications, Germany colleagues, and discuss problems and opportunities.” agreed in advance. Piv Bernth, Producer THE KILLING, THE BRIDGE, Head of Drama, Kristian Hoberstorfer, Producer REAL HUMANS DR, Denmark Please note that applicants with projects attached will be given (season 2), Swedish Television Drama, SVT, Sweden Benefits priority status. TV Lab 2013 Jimmy Desmarais, Producer LES REVENANTS / THE RETURNED • Develop specific skills to enhance and deliver sustainable (Canal+), Haut et Court TV, France “The TV Lab was really inspiring and excellent for net- Application deadline: April 24, 2015 and returning international TV series working! Great to have both creative and business Jean Philip de Tender, Director Television, VRT, Belgium Please find the application form and guidelines at www.tv-lab.eu • Access to top industry players from across Europe and perspectives as well as the European and the US TV the United States Carol Flint, Executive Producer ER, Co-Executive Producer ROYAL markets reflected. I am truly happy that I had prior- • Access up-to-date information on trends in the TV drama PAINS, Supervising Producer THE WEST WING, USA Fee itized my time to be a part it.” series sector globally Marie Guillaumond Tenet, Artistic Director, TF1, France Charlotte Pedersen, Co-Producer THE HUNT, Zentropa • Understand the elements behind the success of American € 4.500 (includes the registration for Module 1 and 2; accommodation and meals in Berlin) Productions, Denmark drama series James Manos Jr., Creator, Executive Producer DEXTER, Co-producer For writers, a limited number of partial scholarships are available. TV Lab 2014 • Apply this knowledge to local projects at home and Writer THE SOPRANOS – season 1, USA Please also check with your local funding bodies for support. • Learn best practice lessons from cutting-edge European Glen Mazzara, Executive Producer THE WALKING DEAD, HAW- www.tv-lab.eu case studies THORNE, THE SHIELD, USA • Participate in excellent networking opportunities, building Simon Mirren, Writer / Producer CRIMINAL MINDS, WITHOUT A TRACE, a strong network SPOOKS (MI5), WAKING THE DEAD, USA Target Group John Romano, Writer / Producer HILLSTREET BLUES, LA LAW, MONK, HAWTHORN, BANSHEE, USA Experienced senior professionals in the European TV drama industry: Scriptwriters | Creative and Executive Producers | Broadcasters Antony Root, Executive Vice President, HBO Central Europe, UK 2015 speakers will be announced closer to the event..
Load more

Recommended publications
  • EUROPEAN TV DRAMA SERIES LAB Programme Application TESTIMONIALS
    CONTACT www.tv-lab.eu Nadja Radojevic Head of International Training – Erich Pommer Institut [email protected] Testimonials A project by T: +49 (0)331 721 28 85 “The TV Lab’s own writers’ room became this sizzling pot F: +49 (0)331 721 28 81 Erich Pommer Institut (Germany) of focused, directed creativity, where a handful of writers Försterweg 2, 14482 Potsdam, Germany in just three days broke and created an original pilot idea The Erich Pommer Institut is one of Europe’s leading centers for www.epi-medieninstitut.de with obvious commercial and artistic potential. Most of media law, media management and media research. As a non-profit all, I was amazed on how effective it was, and how daring independent institute, our studies follow the process of media convergence through research, consultation and advanced training. you can be if you eliminate the fear of failure, and focus A project by In association with on the thrill of creation.” Each year, EPI organises and hosts around 40 seminars, workshops, Trygve Allister Diesen, Writer VARG VEUM, conferences and panels – for the European, the Canadian as well as Director KOmmissARIE WINTER, Tenk.tv, Norway the US-American media industry. TV Lab Alumni 2012 www.epi-medieninstitut.de “This kind of training is essential for Europe’s television future. It’s given me the information In association with and process I need for a wider perspective on With the support of the MEDIA 2007 Programme of the European Union what I am doing. I made crucial gains from this MediaXchange (UK) training: networking – new points of view and Based in London and LA, MediaXchange is a media consultancy helpful comparisons to my work processes.” EUROPEAN with a 20 year history assisting entertainment industry professionals Michaela Strnad, Writer PERFECT WORLD, to develop effective knowledge, contacts and business drawn from Film & Roll, Czech Republic our unique global perspective.
    [Show full text]
  • A Comparative Analysis of How Transitional Justice Methods Address Enforced Disappearances in Spain & Argentina
    The Forum April 2020 Without a Trace: A Comparative Analysis of How Transitional Justice Methods Address Enforced Disappearances in Spain & Argentina Paige Calabrese J.D. Candidate, SMU Dedman School of Law, 2021; Staff Editor for the International Law Review Association Find this and additional student articles at: https://smulawjournals.org/ilra/forum/ Recommended Citation Paige Calabrese, Without a Trace: A Comparative Analysis of How Transitional Justice Methods Address Enforced Disappearances in Spain & Argentina, ________________ (2020) https://smulawjournals.org/ilra/forum/. This article is brought to you for free and open access by The Forum which is published by student editors on The International Law Review Association in conjunction with the SMU Dedman School of Law. For more information, please visit: https://smulawjournals.org/ilra/. Without a Trace: A Comparative Analysis of How Transitional Justice Methods Address Enforced Disappearances in Spain & Argentina By: Paige Calabrese Fall 2019 When a country is plagued with civil war, dictatorship, or extreme internal unrest, governments can become pressured to take aggressive measures to maintain order and establish power, including abducting citizens believed to be threats to their power. This phenomenon of government-orchestrated civilian abductions is known as “enforced disappearance,” and it leaves damage that endures long after the conflict or dictatorship has come to an end. While many countries have histories checkered with this practice, two countries stand out because of the remedial provisions they have enacted in their transitions to democracy: Spain and Argentina. Spain is often criticized for not taking effective remedial action, but Argentina is frequently praised for its aggressive prosecution of former government officials involved in perpetrating civilian abductions.
    [Show full text]
  • UNITED STATES SECURITIES and EXCHANGE COMMISSION Washington, D.C
    UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 10-K ☒ ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended December 31, 2009 OR o TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from to Commission File Number 001-09553 CBS CORPORATION (Exact name of registrant as specified in its charter) DELAWARE 04-2949533 (State or other jurisdiction of (I.R.S. Employer incorporation or organization) Identification Number) 51 W. 52nd Street New York, NY 10019 (212) 975-4321 (Address, including zip code, and telephone number, including area code, of registrant's principal executive offices) Securities Registered Pursuant to Section 12(b) of the Act: Name of Each Exchange on Title of Each Class Which Registered Class A Common Stock, $0.001 par value New York Stock Exchange Class B Common Stock, $0.001 par value New York Stock Exchange 7.625% Senior Debentures due 2016 American Stock Exchange 7.25% Senior Notes due 2051 New York Stock Exchange 6.75% Senior Notes due 2056 New York Stock Exchange Securities Registered Pursuant to Section 12(g) of the Act: None (Title of Class) Indicate by check mark if the registrant is a well-known seasoned issuer (as defined in Rule 405 of the Securities Act of 1933). Yes ☒ No o Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Securities Exchange Act of 1934.
    [Show full text]
  • Impact of Grey Seals in the Herring Gillnet Fishery Along the Swedish
    ICES CM 2005/X:12 Working paper may not be cited without prior reference to the authors Impact of grey seals in the herring gillnet fishery along the Swedish Baltic coast Sara Königson, Arne Fjälling and Sven-Gunnar Lunneryd Institute of Coastal Research, Swedish Board of Fisheries, Contact author: Sara Königson, Institute of Coastal Research, Swedish Board of Fisheries, Box 423, 401 26 Göteborg, Sweden tel: +46 31 7430422 email: [email protected] The gillnet fishery for herring Clupea harengus in the Baltic Sea is subjected to intense damages by grey seals, Halichoerus grypus. Fishing takes place mainly during spring and autumn. Damage caused by seal peak in late autumn and for which reason fishery during this part of the year has more or less disappeared. In this study we investigated the hidden damage, i.e. the amount of fish completely removed from nets without a trace as well as the catch losses due to the presence of seals. Observers joined a commercial fisherman on his regular fishing trips. Catch and damaged fish were noted and systematic observations for seals were carried out during every fishing occasion. On some fishing trips herring was caught in a 30 meter long net of commercial type. All fish was then marked, without being removed from the net. The net was thereafter reset and linked to the local fisherman’s gear. The percentage of marked fish that was damaged or missing the next day, was used as an indication that seals had visited the nets. If a large part of the marked fish were missing it was concluded that seals had visited the nets.
    [Show full text]
  • Cole-Dioso-Villa.Pdf
    Volume 61, Issue 6 Page 1335 Stanford Law Review INVESTIGATING THE ‘CSI EFFECT’ EFFECT: MEDIA AND LITIGATION CRISIS IN CRIMINAL LAW Simon A. Cole & Rachel Dioso-Villa © 2009 by the Board of Trustees of the Leland Stanford Junior University, from the Stanford Law Review at 61 STAN. L. REV. 1335 (2009). For information visit http://lawreview.stanford.edu. COLE & DIOSO-VILLA 61 STAN. L. REV. 1335 4/25/2009 4:16 PM ARTICLES INVESTIGATING THE ‘CSI EFFECT’ EFFECT: MEDIA AND LITIGATION CRISIS IN CRIMINAL LAW Simon A. Cole* & Rachel Dioso-Villa** INTRODUCTION.....................................................................................................1336 I. TYPOLOGY OF CSI EFFECTS ..............................................................................1343 II. EVIDENCE OF THE CSI EFFECT.........................................................................1349 A. Anecdotes ..................................................................................................1341 B. Surveys of Legal Actors.............................................................................1351 C. Juror Surveys ............................................................................................1353 D. Psychological Experiments.......................................................................1355 E. Acquittal Rate Data...................................................................................1356 III. MEDIA COVERAGE OF THE CSI EFFECT ..........................................................1364 IV. A SELF-FULFILLING OR SELF-DENYING
    [Show full text]
  • 11 Laws of Showrunning
    THE ELEVEN LAWS OF SHOWRUNNING Javier Grillo-Marxuach 1.06.2016 Upon finding this essay, any number of showrunners with whom I have worked in the past will assume it is a calculated personal attack: a retroactive shiv to the kidneys delivered in the language of a management lesson. No matter that what follows is a distillation of some twenty years of experience - ten spent exclusively in upper tier positions in television series - I wholly expect to read this by the light of bridges set on fire by any number of former bosses who will no doubt believe I am writing this out of envy, or to avenge some perceived slight, or was just too chickenshit to say it to their faces. Also, there's nothing in the following 86,000 words about Lost. If I have worked for you in the past and - after reading all these disclaimers - you still think that something in the following text is a singular attack on you, there's a song from the 1970s I'd like to play for you. Call me. I know you have my number. Carly Simon's lyrical stylings aside, it often takes that level of it's-all-about-me ego to be a television writer/producer: the conviction that what you have to say matters so much that it is worth not only mastering the tropes of an entire medium, but also the risk that all the intermediaries required to turn your interpretation of those tropes into the finished product (the actors, directors, producers, the person who embroiders the series logo on the back of the chairs) will ruin it all with some fatal blend of incompetence and incomprehension, or out of a calculating Salierian malice born from resentment of your undeniable genius.
    [Show full text]
  • STAR ALEX KINGSTON COMING to MOTOR CITY COMIC CON Special Appearance Friday, May 15Th Through Sunday, May 17Th, 2020
    FOR IMMEDIATE RELEASE “ER” AND “DOCTOR WHO” STAR ALEX KINGSTON COMING TO MOTOR CITY COMIC CON Special appearance Friday, May 15th through Sunday, May 17th, 2020 NOVI, MI. (January 21, 2020) – Motor City Comic Con, Michigan’s largest and longest running comic book and pop culture convention since 1989 is thrilled to announce Alex Kingston will be attending this year’s con. Kingston will attend on May 15th, 16th and 17th, and will host a panel Q&A, be available for autographs ($50.00) and photo ops ($60.00). To purchase tickets and for more information about autographs and photo ops, please go to – https://www.motorcitycomiccon.com/tickets/ Known for roles in some of the most popular television series in both the US and the UK, Alex Kingston began her career with a recurring role on the BBC teen drama Grange Hill. After appearing in such films as The Cook, the Thief, His Wife & Her Lover and A Pin for the Butterfly, Kingston began appearing on the long-running medical drama ER in September of 1997. She first appeared in the premiere episode of the fourth season, the award-winning live episode "Ambush" where she portrayed British surgeon, Elizabeth Corday. Her character proved to be incredibly popular, appearing on the series for just over seven seasons until leaving in October 2004. Kingston did return to the role in spring 2009 during ER’s 15th and final season for two episodes. Kingston continued to entertain US audiences in November 2005, when she guest-starred in the long-running mystery drama Without a Trace.
    [Show full text]
  • Ren Hanami SAG-AFTRA
    Ren Hanami SAG-AFTRA TELEVISION (Partial List) Star Trek: Picard S2 Recurring Guest Star CBS/ Jonathan Frakes ANIMAL KINGDOM Co-Star TNT/Mark Strand THIS IS US Co-Star NBC CHERISH THE DAY Co-Star OWN/Tanya Hamilton 13 REASONS WHY Co-Star Netflix/Jessica Yu SANTA CLARITA DIET Co-Star Netflix/Ken Kwapis SHAMELESS Co-Star Showtime/William H. Macy MAN WITH A PLAN Co-Star CBS/Victor Gonzales GLOW Co-Star Netflix/Meera Menon WISDOM OF THE CROWD Co-Star CBS/Stephen Kay S.W.A.T. Co-Star CBS/Billy Gierhart HERE and NOW Co-Star HBO/Uta Briesewitz MAJOR CRIMES Co-Star TNT/Michael Robin CRIMINAL MINDS Co-Star CBS/Rob Bailey THE THUNDERMANS Co-Star Nickelodeon/Jonathan Judge ANGIE TRIBECA Recurring TBS/Payman Benz SILICON VALLEY Recurring HBO/Mike Judge, Charlie McDowell PRETTY LITTLE LIARS Co-Star Freeform/Ron Lagomarsino PARENTHOOD Co-Star NBC/Ken Whittingham SEQUESTERED Co-Star Crackle TV/Shawn Ku PRIVATE PRACTICE Co-Star ABC/Mark Tinker SOUTHLAND Co-Star TNT/Chris Chulack THE STORM Supporting NBC/Bradford May WITHOUT A TRACE Co-Star CBS/Jonathan Kaplan GREY’S ANATOMY Co-Star ABC/Randy Zisk ER Recurring NBC/Joanna Kerns, Stephen Cragg CAGNEY & LACEY RETURN (mow) Supporting CBS/James Frawley KNOTS LANDING Guest Star CBS/Lawrence Kasha ONE WOMAN’S COURAGE (mow) Supporting NBC/Charlie Carner FILM (Partial List) GOD'S NOT DEAD 3 Supporting Jon Gunn/Pure Flix Entertainment LIKE LAST NIGHT* Supporting Ren Hanámi/Ninja Mom Entertainment BITCH** Supporting Marianna Palka/SpectreVision AIRFORCE ONE Supporting Wolfgang Petersen/Columbia HUNT FOR THE LABYRINTH
    [Show full text]
  • Here Comes Television!
    In a television studio. Left: Directing a scene on a "live" stage. Two cameras are used to introduce variety in the angles of view. Right: Another stage setting showing, in the foreground, the latest type of lighting equipment med in television studio work HERE COMES TELEVISION! Will Serve Entertainment Needs • • • Technical and without a trace of flicker. The trans­ mission apparatus, although almost in· Equipment Has Limitations Standards Laid finitely complex in design, is entirely re­ liable. In a recent demonstration at Down to Prevent Obsolescence of Receivers Washington, D. c., in which the NBC mobile television units were the trans­ By o. B. HAN SON mitting station, not one minute was lost Vice President and Chief Engineer in more than 30 hours on the air through National Broadcasting Company equipment failure. I assume that the com­ mercial- receivers soon to be marketed OR years people who knew of my will also be reliable and simple in Fconnection with television have been operation. UST prior to the arrival of asking: "When do we get it?" When· J scheduled television programs y description of television's appa­ ever the temptation to predict grew on the American scene, we pre· M strong within me, I would mentally turn sent the accompanying artide to ratus will naturally veer toward the the pages of old magazines-"Television give a comprehensive view of the technical. And since I am most familiar Comes to the Home" (1928), "Television situation as it stands today. Writ­ with the NBC equipmeu"t, I shall use it Gets Ready for Business" (1930), and so ten by Mr.
    [Show full text]
  • VANISHED WITHOUT a TRACE the Enforced Disappearance of Opposition and Dissent in Bangladesh
    VANISHED WITHOUT A TRACE The enforced disappearance of opposition and dissent in Bangladesh April 2019 / N° 735a Cover Photo : Relatives of victims made a human chain in front of the press club in Dhaka demanding an end to enforced disappearance, killing and abduction on International Human Rights Day, December 2014. (Photo by Zakir Hossain Chowdhury/NurPhoto) TABLE OF CONTENTS List of acronyms 6 Executive summary 7 Introduction 8 1. Context 10 1.1 – A conflictual political history 10 1.2 – The 2014 election 11 1.3 – Human rights in Bangladesh today 12 1.4 – Legal framework 15 1.4.1 The Constitution 15 1.4.2 The Penal Code 16 1.4.3 Other domestic laws 17 1.4.4 International legal obligations 17 1.5 – Actors 18 1.5.1 Bangladesh police 19 1.5.2 Intelligence agencies 21 2. Crime of enforced disappearance: Analysis of trends and patterns 22 2.1 – Introduction: periods and trends 22 2.2 – Modus operandi 24 2.2.1 Previous threats, surveillance, and judicial harassment 24 2.2.2 Arbitrary arrest and abduction by agents of the State 28 2.2.3 Disappeared without a trace 29 2.2.4 Conditions of arbitrary detention 30 2.2.5 Fate of the victims of enforced disappearance 32 2.3 – Categories of victims 34 2.3.1 Gender perspective 34 2.3.2 Political opposition activists 35 2.3.3 Critical and dissident voices 37 2.3.4 Persons targeted in the framework of the anti-terrorism policy 38 2.3.5 Other individuals targeted as a result of the culture of impunity 39 2.3.6 Persecution and threats against those who speak out 39 2.4 – Alleged perpetrators 40 2.4.1 Law enforcement agents and intelligence officers 40 2.4.2 Responsibility of the executive branch 42 3.
    [Show full text]
  • Without a Trace Enforced Disappearances in Syria
    1. ........................................................................................................................... 2. 19 December 2013 English and Arabic only Without a trace: enforced disappearances in Syria 1 I. Introduction 1. Women, standing outside detention centres and holding photographs of their disappeared male relatives, have become an enduring image of suffering in Syria. It is an image which speaks to the essence of the violation of enforced disappearance: the taking of a loved one, the desperate search for information through official and unofficial channels, and the torment of those left behind. Those who wait are often the only visible trace of the violation. 2. An enforced disappearance is an arrest, detention or abduction, followed by a refusal to acknowledge the deprivation of liberty or by the concealment of the fate or whereabouts of the disappeared. Cases of enforced disappearances were first documented by the Commission of Inquiry on the Syrian Arab Republic during the pro-democracy protests in March 2011. As the unrest devolved into an armed conflict, the investigation covered practices related to enforced disappearances perpetrated by all parties to the conflict. Investigations uncovered a consistent country-wide pattern in which people – mainly adult males – have been seized by the Syrian security and armed forces, as well as by pro-Government militias, during mass arrests, house searches, at checkpoints and in hospitals. In some instances, the disappearances appeared to have a punitive element, targeting family members of defectors, activists, fighters as well as those believed to be providing medical care to the opposition. 3. Over the last year, specific anti-Government armed groups have begun to abduct certain categories of civilians and hold them hostage.
    [Show full text]
  • 'LOVE on ICE' Cast Bios JULIE BERMAN (Emily James)
    ‘LOVE ON ICE’ Cast Bios JULIE BERMAN (Emily James) – Julie Berman started acting at the age of six. Early in her career, Berman appeared in over 100 different commercials. She made her television debut with the recurring role in the WB family drama series, “7th Heaven.” She continued that role, while simultaneously adding a recurring role in the ABC drama “Once and Again.” She also guest starred on “ER” and “Boston Public,” and starred alongside Shelley Long in the 1999 television movie “Vanished Without a Trace.” In 2005, while in college at USC, Berman booked the role of Lulu Spencer, the stubborn, troubled daughter of Luke & Laura, in the ABC daytime soap opera General Hospital. The casting immediately garnered much attention due to Berman’s strong resemblance to Genie Francis who played Laura. Berman’s portrayal of Lulu quickly became a fan favorite. Berman earned her first Daytime Emmy® nomination in 2007, and won her first Daytime Emmy® for Outstanding Younger Actress in 2009. She won her second consecutive Emmy® in 2010 in the same category. In 2013, Berman won her third Emmy®, but in the Daytime Emmy® Award for Outstanding Supporting Actress category and then decided to depart the show. After leaving daytime, Berman guest starred on many primetime series including “Two and a Half Men,” “Satisfaction” and “Jane the Virgin.” In 2015, she booked the recurring role of Leia opposite Michaela Watkins in the Hulu comedy series “Casual,” produced by Jason Reitman. Later that year, Berman joined the cast of the NBC medical drama “Chicago Med,” playing the recurring role of Dr.
    [Show full text]