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REYNOLDS, Brian
BRIAN J. REYNOLDS DIRECTOR OF PHOTOGRAPHY https://vimeopro.com/user5249916/brian-j-reynolds-director-of-photography TELEVISION DOLLY PARTON’S HEARTSTRINGS: Netflix Prod: Patrick Sean Smith, Sam Haskell, Dir: Joe Lazarov THESE OLD BONES (Anthology Feature) Dolly Parton, Hudson Hickman DO UNTO OTHERS (MOW) Lifetime Prod: Julie Jarrett-Insogna, Stefanie Ziev Dir: Seth Jarret DOLLY PARTON’S (MOW) NBC/Warner Bros. Prod: Sam Haskell, Hudson Hickman Dir: Stephen Herek CIRCLE OF LOVE COAT OF MANY COLORS (MOW) NBC/Warner Bros. Prod: Sam Haskell, Hudson Hickman Dir: Stephen Herek MANHATTAN LOVE STORY (Season 1) ABC Prod: Jeff Lowell, Peter Traugott, Robin Schwartz Dir: Michael Fresco 90210 (Seasons 4 & 5) CBS/The CW Prod: Michael Pendell, Patricia Carr, Lara Olsen Dir: Various UNITED STATES OF TARA (Eps. 305-308) DreamWorks/Showtime Prod: Darryl Frank, Dan Kaplow Dir: Various THE GOOD GUYS (Pilot & Series) Fox TV Studios/FOX Prod: Matt Nix Dir: Tim Matheson BETTER OFF TED (Season 2) 20th Century Fox/ABC Prod: Marc Solakian, Michael Shipley Dir: Michael Fresco LIMELIGHT (Pilot) Warner Bros./ABC Prod: K.J. Steinberg, McG Dir: David Semel THE CLOSER (Seasons 1-4) Warner Bros./TNT Prod: Michael Robin, Greer Shephard Dir: Michael Robin CLEANER (Pilot) CBS Paramount/A&E Prod: Jonathan Prince, Robert Paul Munic Dir: David Semel TRUST ME (Pilot) Warner Horizon/TNT Prod: Hunt Baldwin, John Coveny Dir: Michael Robin THE VIRGIN OF AKRON OHIO (Pilot) Fox TV Studios/Lifetime Prod: Cary Brokaw, Jordan Budde Dir: Randall Zisk IMPERFECT UNION (Pilot) TNT Prod: -
Examining Television Narrative Structure
Butler University Digital Commons @ Butler University Scholarship and Professional Work - Communication College of Communication 2002 Re(de)fining Narrative Events: Examining Television Narrative Structure M. J. Porter D. L. Larson Allison Harthcock Butler University, [email protected] K. B. Nellis Follow this and additional works at: https://digitalcommons.butler.edu/ccom_papers Part of the Communication Commons Recommended Citation Porter, M.J., Larson, D.L., Harthcock, A., & Nellis, K.B. (2002). Re(de)fining narrative events: Examining television narrative structure, Journal of Popular Film and Television, 30, 23-30. Available from: digitalcommons.butler.edu/ccom_papers/9/ This Article is brought to you for free and open access by the College of Communication at Digital Commons @ Butler University. It has been accepted for inclusion in Scholarship and Professional Work - Communication by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. Re(de)fining Narrative Events: Examining Television Narrative Structure. This is an electronic version of an article published in Porter, M.J., Larson, D.L., Harthcock, A., & Nellis, K.B. (2002). Re(de)fining narrative events: Examining television narrative structure, Journal of Popular Film and Television, 30, 23-30. The print edition of Journal of Popular Film and Television is available online at: http://www.tandf.co.uk/journals/VJPF Television's narratives serve as our society's major storyteller, reflecting our values and defining our assumptions about the nature of reality (Fiske and Hartley 85). On a daily basis, television viewers are presented with stories of heroes and villains caught in the recurring turmoil of interrelationships or in the extraordinary circumstances of epic situations. -
Directors Tell the Story Master the Craft of Television and Film Directing Directors Tell the Story Master the Craft of Television and Film Directing
Directors Tell the Story Master the Craft of Television and Film Directing Directors Tell the Story Master the Craft of Television and Film Directing Bethany Rooney and Mary Lou Belli AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier 225 Wyman Street, Waltham, MA 02451, USA The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB, UK © 2011 Bethany Rooney and Mary Lou Belli. Published by Elsevier Inc. All rights reserved No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher’s permissions policies and our arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions. This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein). Notices Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. -
68Th EMMY® AWARDS NOMINATIONS for Programs Airing June 1, 2015 – May 31, 2016
EMBARGOED UNTIL 8:40AM PT ON JULY 14, 2016 68th EMMY® AWARDS NOMINATIONS For Programs Airing June 1, 2015 – May 31, 2016 Los Angeles, CA, July 14, 2016– Nominations for the 68th Emmy® Awards were announced today by the Television Academy in a ceremony hosted by Television Academy Chairman and CEO Bruce Rosenblum along with Anthony Anderson from the ABC series black-ish and Lauren Graham from Parenthood and the upcoming Netflix revival, Gilmore Girls. "Television dominates the entertainment conversation and is enjoying the most spectacular run in its history with breakthrough creativity, emerging platforms and dynamic new opportunities for our industry's storytellers," said Rosenblum. “From favorites like Game of Thrones, Veep, and House of Cards to nominations newcomers like black-ish, Master of None, The Americans and Mr. Robot, television has never been more impactful in its storytelling, sheer breadth of series and quality of performances by an incredibly diverse array of talented performers. “The Television Academy is thrilled to once again honor the very best that television has to offer.” This year’s Drama and Comedy Series nominees include first-timers as well as returning programs to the Emmy competition: black-ish and Master of None are new in the Outstanding Comedy Series category, and Mr. Robot and The Americans in the Outstanding Drama Series competition. Additionally, both Veep and Game of Thrones return to vie for their second Emmy in Outstanding Comedy Series and Outstanding Drama Series respectively. While Game of Thrones again tallied the most nominations (23), limited series The People v. O.J. Simpson: American Crime Story and Fargo received 22 nominations and 18 nominations respectively. -
The Narrative Functions of Television Dreams by Cynthia A. Burkhead A
Dancing Dwarfs and Talking Fish: The Narrative Functions of Television Dreams By Cynthia A. Burkhead A Dissertation Submitted in Partial Fulfillment of the Requirements for the Ph.D. Department of English Middle Tennessee State University December, 2010 UMI Number: 3459290 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT Dissertation Publishing UMI 3459290 Copyright 2011 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 DANCING DWARFS AND TALKING FISH: THE NARRATIVE FUNCTIONS OF TELEVISION DREAMS CYNTHIA BURKHEAD Approved: jr^QL^^lAo Qjrg/XA ^ Dr. David Lavery, Committee Chair c^&^^Ce~y Dr. Linda Badley, Reader A>& l-Lr 7i Dr./ Jill Hague, Rea J <7VM Dr. Tom Strawman, Chair, English Department Dr. Michael D. Allen, Dean, College of Graduate Studies DEDICATION First and foremost, I dedicate this work to my husband, John Burkhead, who lovingly carved for me the space and time that made this dissertation possible and then protected that space and time as fiercely as if it were his own. I dedicate this project also to my children, Joshua Scanlan, Daniel Scanlan, Stephen Burkhead, and Juliette Van Hoff, my son-in-law and daughter-in-law, and my grandchildren, Johnathan Burkhead and Olivia Van Hoff, who have all been so impressively patient during this process. -
Directors Guild of America Creative Rights Handbook 2011 - 2014
DIRECTORS GUILD OF AMERICA CREATIVE RIGHTS HANDBOOK 2011 - 2014 Los Angeles, CA (310) 289-2000 New York, NY (212) 581-0370 Chicago, IL (312) 644-5050 www.dga.org Taylor Hackford, President • Jay D. Roth, National Executive Director Dear Colleague, As Co-Chairs of the DGA Creative Rights Committee, we spend a lot of time talking to Directors about their Theatrical Creative Rights work problems. Often we nd that trouble begins with Committee TABLE OF CONTENTS those who are unclear about or unaware of creative Jonathan Mostow Steven Soderbergh rights protections they already have as members of the Co-Chair Co-Chair Directors Guild of America. David Ayer Taylor Hackford Donald Petrie CREATIVE RIGHTS CHECKLISTS Some DGA Directors have voiced frustration over Michael Bay John Lee Hancock Sam Raimi Checklists of DGA Directors’ creative rights, practices in the editing room; they did not know John Carpenter Curtis Hanson Brett Ratner codied in this handbook that the DGA Basic Agreement protects them from .…..................….…….…….…….…….….3 interference when they are preparing their cut. Some omas Carter Mary Lambert Jay Roach television Directors have expressed concern about being Martha Coolidge Jonathan Lynn Tom Shadyac excluded from the looping and dubbing process; they Wes Craven Michael Mann Brad Silberling were unaware that they, like feature Directors, have SUMMARY OF CREATIVE RIGHTS Andy Davis Frank Marshall Penelope Spheeris the right to participate in both. And many Directors A summary of a Director’s creative rights did not realize that, because they are Guild members, Roger Donaldson McG Betty omas under the Directors Guild of America Basic they have a right to additional cutting time if necessary David Fincher E. -
Andy Gowan Music Supervisor
ANDY GOWAN MUSIC SUPERVISOR *Music Supervision: FEATURE FILM AMERICAN FIGHTER Christine Moore, Ali Afshar, Forrest Lucas, prods. ESX Entertainment Sean Paul Piccinino, dir. *with Ben Sokoler LADY DRIVER Christine Moore, Ali Afshar, Forrest Lucas, prods. ESX Entertainment Sean Paul Piccinino, dir. *with Ben Sokoler ROPED Christine Moore, Ali Afshar, Forrest Lucas, prods. ESX Entertainment Sean Paul Piccinino, dir. *with Ben Sokoler RUNNING WILD Christine Moore, Ali Afshar prods. ESX Entertainment Alex Ranarivelo, dir. DIRT Christine Moore, Ali Afshar prods. ESX Entertainment Alex Ranarivelo, dir. HELLO MY NAME IS DORIS Daniel Crown, Kevin Mann, Riva Marker, Jordana Haven Entertainment Mollick, Daniela Taplin Lundberg, prods. Michael Showalter, dir. LIBERAL ARTS Brica Dal Farra, Claude Dal Farra, Jesse BCDF Pictures / IFC Films Hara, Lauren Munsch, Josh Radnor, prods. Josh Radnor, dir. THE RUNNER Bingo Gubelmann, Erika Hampson, Benji Paper Street Films Kohn, Chris Papavasiliou, prods. Austin Stark, dir. DETACHMENT Bingo Gubelmann, Benji Kohn, Carl Lund, Chris Paper Street Films / Tribeca Film Papavasiliou, Greg Shapiro, Austin Stark, prods. Tony Kaye, dir. HAPPYTHANKYOUMOREPLEASE Jesse Hara, Benji Kohn, Chris Paper Street Films / Anchor Bay Papavasiliou, Austin Stark, prods. Josh Radnor, dir. The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 1 ANDY GOWAN MUSIC SUPERVISOR LARRY GAYE: RENEGADE MALE Ted Kroeber, Michael Roiff, prods. FLIGHT ATTENDANT Sam Friedlander, dir. Night and Day Pictures THE PRETTY ONE Steven J. Berger, Robin Schorr, prods. Provenance Pictures / RCR Pictures Jenee LaMarque, dir. ALL SUMMERS END Kevin Mann, Steve Olivera, Michael Haven Entertainment Sherman, prods. Kyle Wilamowski, dir. SMITTEN! Barry Morrow, David Nichols, Julia Rask, prods. Barry Morrow, dir. NOBODY WALKS IN L.A. -
JOE GALLAGHER Director of Photography ! REELS/WEBSITE
! JOE GALLAGHER Director of Photography ! REELS/WEBSITE Television & Film ! PROJECT DIRECTOR STUDIO / PRODUCTION CO. BILLIONS (season 4, 1 ep. + season 6) Matthew McLoota Showtime EP: Brian Koppelman, David Levien, Andrew Ross Sorkin CHARMED (seasons 2-3) Various CW / CBS Television Studios EP: Craig Shapiro, Elizabeth Kruger PROVEN INNOCENT (season 1) Various Fox EP: David Elliot, Stacy Greenberg, Danny Strong CHAMBERS (season1, 1 ep.) Tony Goldwyn Netflix EP: Leah Rachel, Akela Cooper, Stephen Gaghan GET SHORTY (season 2) Various Epix / MGM Television EP: Davey Holmes, Adam Arkin, Dan Nowak REVERIE (season 1) Various NBC / Amblin Television EP: Mickey Fisher, Justin Falvey, Darryl Frank SALVATION (pilot) Various CBS / Secret Hideout EP: Alex Kurtzman, Heather Kadin, Peter Lenkov HAP AND LEONARD (season 2) Various Sundance / Nightshade EP: Jim Mickle, Nick Damici, Nick Shumaker MASTERS OF SEX (season 4) Various Showtime / Timberman/Beverly Productions EP: Michelle Ashford, Sarah Timberman, Colin Bucksey BLUNT TALK (pilot + series) Various Starz / Media Rights Capitol Prod: Jonathan Ames, Seth MacFarlane BOSCH (season 2) Various Amazon Studios / Fabrik Entertainment EP: Michael Connelly, Eric Overmyer, Pieter Jan Brugge MATADOR (pilot + series) Robert Rodriguez El Rey Network / Georgeville TV Prod: Alex Kurtzman, Roberto Orci THE GOLDBERGS (seasons 1-2) Various Happy Madison / Sony Pictures Television Prod: Seth Gordon, Adam Goldberg VEGAS (series) Various CBS Prod: James Mangold, Cathy Konrad RING OF FIRE (tv movie) Allison Anders Lifetime -
Frons Launches Soap Sensation
et al.: SU Variety II SPECIAL 'GOIN' HOLLYWOOD' EDITION II NEWSPAPER Second Class P.O. Entry Supplement to Syracuse University Magazine CURTIS: IN MINIS Role Credits! "War" Series Is All-Time Screen Dream Syracuse- We couldn't pos sibly get 'em all, but in these 8 By RENEE LEVY series "Winds of War," based on to air in late spring and the entire pages find another 40-plus SU Hollywood- The longest. The Herman Wouk 's epic World War II package will air in Europe next year. alumni getting billboards on most demanding. The hardest. The novels, "War and Remembrance" Curtis, exec producer, director the boulevard. In our research, most expensive. That's the story was shot in 757 locations in 10 and co-scribe of the teleplay, spent we discovered a staggering net behind Dan Curtis 'SO's block countries, using more than 44,000 two years filming and a year and a work of Syracusans in the busi buster miniseries " War and Re actors and extras and nearly 800 half editing "War and Remem ness-producers, directors, membrance," which aired the first sets. The production- the longest brance," a project he originally actors, editors, and more! We 18 of its 30 hours in November on in television history--cost an es considered undoable-particular soon realized that all of them ABC-TV. timated $ 105 million to make. The ly because of the naval battles and would not fit, and to those left A sequel to Curtis's 1983 maxi- concluding 12 hours are expected the depiction of the Holocaust. -
Sagawkit Acceptancespeechtran
Screen Actors Guild Awards Acceptance Speech Transcripts TABLE OF CONTENTS INAUGURAL SCREEN ACTORS GUILD AWARDS ...........................................................................................2 2ND ANNUAL SCREEN ACTORS GUILD AWARDS .........................................................................................6 3RD ANNUAL SCREEN ACTORS GUILD AWARDS ...................................................................................... 11 4TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 15 5TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 20 6TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 24 7TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 28 8TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 32 9TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 36 10TH ANNUAL SCREEN ACTORS GUILD AWARDS ..................................................................................... 42 11TH ANNUAL SCREEN ACTORS GUILD AWARDS ..................................................................................... 48 12TH ANNUAL SCREEN ACTORS GUILD AWARDS .................................................................................... -
Television Academy
Television Academy 2014 Primetime Emmy Awards Ballot Outstanding Directing For A Comedy Series For a single episode of a comedy series. Emmy(s) to director(s). VOTE FOR NO MORE THAN FIVE achievements in this category that you have seen and feel are worthy of nomination. (More than five votes in this category will void all votes in this category.) 001 About A Boy Pilot February 22, 2014 Will Freeman is single, unemployed and loving it. But when Fiona, a needy, single mom and her oddly charming 11-year-old son, Marcus, move in next door, his perfect life is about to hit a major snag. Jon Favreau, Director 002 About A Boy About A Rib Chute May 20, 2014 Will is completely heartbroken when Sam receives a job opportunity she can’t refuse in New York, prompting Fiona and Marcus to try their best to comfort him. With her absence weighing on his mind, Will turns to Andy for his sage advice in figuring out how to best move forward. Lawrence Trilling, Directed by 003 About A Boy About A Slopmaster April 15, 2014 Will throws an afternoon margarita party; Fiona runs a school project for Marcus' class; Marcus learns a hard lesson about the value of money. Jeffrey L. Melman, Directed by 004 Alpha House In The Saddle January 10, 2014 When another senator dies unexpectedly, Gil John is asked to organize the funeral arrangements. Louis wins the Nevada primary but Robert has to face off in a Pennsylvania debate to cool the competition. Clark Johnson, Directed by 1 Television Academy 2014 Primetime Emmy Awards Ballot Outstanding Directing For A Comedy Series For a single episode of a comedy series. -
'All You Can Eat
‘All You Can Eat TV’ An exploration of how long form, serial storytelling for television has evolved alongside recent developments in digital television distribution platforms. This thesis also examines how these new technologies have changed the ‘rules’ of narrative, television screenwriting. Masters of Fine Arts by Elise McCredie (DipDA, BA.) Principle Supervisor: Dr Annabelle Murphy Melbourne University Faculty of Fine Arts and Music School of Film and Television April 2018 2 CONTENTS Introduction 3 Chapter 1 5 Chapter 2 13 Chapter 3 19 Conclusion 27 Bibliography/Filmography 30 3 INTRODUCTION “I hate television. I hate it just as much as peanuts but I just can’t stop eating peanuts.” Orson Welles1 I am sitting iPad in front of me, my finger poised over the PAUSE icon. Should I watch another episode or should I go to bed? If I don’t watch another episode will my dreams be full of all the possible outcomes for Don Draper, Walter White or Sarah Lund? Will my imagination soar with possibilities or should I give into the gnawing, addictive urge to watch just one more episode? Will I enjoy it? Or will I, in a foggy state of addictive exhaustion, only take in half of the complicated plot points? If this is the modern conundrum for today’s viewers, then what does it mean for today’s screenwriters? How does this glut of instantly available serial content affect the way we write serial drama? In the last twenty years, there has been a revolution in viewing practices. Broadcast executives have been slowly de-throned as digital advances make viewing serial television a democratic, individualised, multi-platform and frequently illegal practice.