Charles J.D. Schlissel Producer Features

Total Page：16

File Type：pdf, Size：1020Kb

CHARLES J.D. SCHLISSEL PRODUCER FEATURES MUTE Netflix Prod: Stuart Fenegan, Ted Sarandos Dir: Duncan Jones (Executive Producer) FIRST THEY KILLED Netflix Prod: Sara Bowen, Pauline Fischer Dir: Angelina Jolie MY FATHER Ted Sarandos (Executive Producer) ROBIN HOOD Universal Pictures Prod: Ridley Scott, Brian Grazer, Dir: Ridley Scott (Executive Producer) Jim Whitaker, Michael Costigan BODY OF LIES Warner Brothers Prod: Ridley Scott, Donald De Line, Dir: Ridley Scott (Executive Producer/UPM) Michael Costigan THE PRESTIGE Touchstone Pictures Prod: Emma Thomas, Aaron Ryder Dir: Christopher Nolan (Executive Producer) FLIGHTPLAN Touchstone Pictures Prod: Brian Grazer, Jim Whitaker Dir: Robert Schwentke (Executive Producer) MATCHSTICK MEN Warner Brothers Prod: Ridley Scott, Sean Bailey, Ted Griffin, Dir: Ridley Scott (Co-Producer) Steve Starkey INSOMNIA Alcon Entertainment Prod: Emma Thomas, Broderick Johnson, Dir: Christopher Nolan (Executive Producer) Andrew A. Kosove, Steven Soderbergh RED PLANET Warner Brothers Prod: Bruce Berman. Mark Canton, Dir: Antony Hoffman (Executive Producer) Jorge Saralegui CELTIC PRIDE Caravan Pictures Prod: Joe Roth, Roger Birnbaum, Dir: Tom DeCerchio (Executive Producer) Jonathan Glickman WHILE YOU WERE Caravan Pictures Prod: Jonathan Glickman, Roger Birnbaum, Dir: Joe Turteltaub SLEEPING Joe Roth (Co-Producer/UPM) HEAVY WEIGHTS Caravan Pictures Prod: Joe Roth, Roger Birnbaum, Dir: Steven Brill (Co-Producer) Johnathan Glickman A LOW DOWN Caravan Pictures Prod: Joe Roth, Roger Birnbaum, Dir: Kennen Ivory Wayans DIRTY SHAME Johnathan Glickman (UPM) SNIPER Baltimore Pictures Prod: Mark Johnson, Robert L. Rosen Dir: Luis Llosa (Co-Producer) TELEVISION L.A. CONFIDENTIAL Lionsgate/CBS Prod: Arnon Milchan, Jordan Harper Dir: Michael Dinner (TV Movie) (Producer) SENSE8 (Season1) Anarchos Productions/Netflix Prod: Grant Hill, Dean Jones Dir: Various (Executive Producer/Production Consultant) 405 S Beverly Drive, Beverly Hills, California 90212 - T 310.888.4200 - F 310.888.4242 www.apa-agency.com .

Copy Link

Recommended publications

DAN LEIGH Production Designer
(3/31/17) DAN LEIGH Production Designer FILM & TELEVISION DIRECTOR COMPANIES PRODUCERS “GYPSY” Sam Taylor-Johnson Netflix Rudd Simmons (TV Series) Scott Winant Universal Television Tim Bevan “THE FAMILY” Paul McGuigan ABC David Hoberman (Pilot / Series) Mandeville Todd Lieberman “FALLING WATER” Juan Carlos Fresnadillo USA Gale Anne Hurd (Pilot) Valhalla Entertainment Blake Masters “THE SLAP” Lisa Cholodenko NBC Rudd Simmons (TV Series) Michael Morris Universal Television Ken Olin “THE OUTCASTS” Peter Hutchings BCDF Pictures Brice Dal Farra Claude Dal Farra “JOHN WICK” David Leitch Thunder Road Pictures Basil Iwanyk Chad Stahelski “TRACERS” Daniel Benmayor Temple Hill Entertainment Wyck Godfrey FilmNation Entertainment D. Scott Lumpkin “THE AMERICANS” Gavin O'Connor DreamWorks Television Graham Yost (Pilot) Darryl Frank “VAMPS” Amy Heckerling Red Hour Adam Brightman Lucky Monkey Stuart Cornfeld Molly Hassell Lauren Versel “PERSON OF INTEREST” Various Bad Robot J.J. Abrams (TV Series) CBS Johanthan Nolan Bryan Burk Margot Lulick “WARRIOR” Gavin O’Connor Lionsgate Greg O’Connor Solaris “MARGARET” Kenneth Lonergan Mirage Enterprises Gary Gilbert Fox Searchlight Sydney Pollack Scott Rudin “BRIDE WARS” Gary Winick Firm Films Alan Riche New Regency Pictures Peter Riche Julie Yorn “THE BURNING PLAIN” Guillermo Arriaga 2929 Entertainment Laurie MacDonald Walter F. Parkes SANDRA MARSH & ASSOCIATES Tel: (310) 285-0303 Fax: (310) 285-0218 e-mail: [email protected] (3/31/17) DAN LEIGH Production Designer ---2-222---- FILM & TELEVISION COMPANIES
[Show full text]
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]
Q2 2020 Letter to Shareholders
July 16, 2020 Fellow shareholders, We live in uncertain times with restrictions on what we can do socially and many people are turning to entertainment for relaxation, connection, comfort and stimulation. In Q1 and Q2, we saw significant pull-forward of our underlying adoption leading to huge growth in the first half of this year (26 million paid net adds vs. prior year of 12 million). As a result, we expect less growth for the second half of 2020 compared to the prior year. As we navigate these turbulent circumstances, we’re focused on our members by continuing to improve the quality of our service and bringing new films and shows to people's screens. Our Q2 summary results and forecast for Q3 are in the table below. Ted Sarandos appointed co-CEO and elected to Board of Directors Ted joined Netflix over 20 years ago, and we are thrilled to appoint him to be co-CEO with Reed. “Ted has been my partner for decades. This change makes formal what was already informal -- that Ted and I share the leadership of Netflix,” says Hastings. Lead Independent director Jay Hoag says “Having watched Reed and Ted work together for so long, the board and I are confident this is the right step to evolve Netflix’s management structure so that we can continue to best serve our members and shareholders for years to come.” 1 Ted will also continue to serve as Chief Content Officer. In addition, Greg Peters has been appointed COO adding to his Chief Product Officer role.
[Show full text]
2021 Q1 NFLX Earnings
BLUE ROOM TM Newsletter Number XXVI April 24, 2021 F2021 Q1 Earnings: April 20, 2021 By Nick Peart Netflix, Inc. 100 Winchester Circle Los Gatos, California 95032 Ticker: NFLX Market Capitalization: $224 Billion Shares Outstanding: 445,641,000 Share Price History April 12, 2021 $552.78 April 13, 2021 $553.73 April 14, 2021 $540.02 April 15, 2021 $549.22 April 16, 2021 $546.22 April 19, 2021 $554.44 April 20, 2021 $549.57 April 21, 2021 $508.90 ← -7.4% day after Q1 ‘21 Financial Results released April 22, 2021 $508.78 April 23, 2021 $505.55 Corporate Profile: Netflix, Inc. provides entertainment services. It offers TV series, documentaries, and feature films across various genres and languages. The company provides members the ability to receive streaming content through a host of internet-connected devices, including TVS, digital video players, television set-top boxes, and mobile devices. It also provides DVDs-by-mail membership services. The company has approximately 207 million paid members in 190 countries. Netflix, Inc. was founded in 1997 and is headquartered in Los Gatos California. BLUE ROOM TM Newsletter Number XXVI April 24, 2021 F2021 Q1 Earnings: April 20, 2021 Q1 2020 Earnings: Revenue: $5.768 B Net Income: $709 M Diluted EPS: $1.57 per share Global Streaming Paid Memberships: 182.86 M Q1 2021 Earnings Estimate via Zacks: Revenue Estimate: $7.14 B Diluted EPS Estimate: $2.98 per share Global Streaming Paid Memberships Estimate: 210.0 M Webcast Earnings Press Release Actual Q1 2021 Earnings: Revenue: $7.163 B (24% YoY increase compared to Q1 2020) Net Income: $1.707 B (141% YoY increase compared to Q1 2020) Diluted EPS: $3.75 per share Global Streaming Paid Memberships: 207.64 M (14% increase YoY, missed expectations) Q2 2021 Financial Forecast: Revenue: $7.302 B Net Income: $1.441 B Diluted EPS: $3.16 per share Global Streaming Paid Memberships: 208.64 M “Revenue grew 24% year over year and was in line with our beginning of quarter forecast, while operating profit and margin reached all-time highs.
[Show full text]
Audience Affect, Interactivity, and Genre in the Age of Streaming TV
. Volume 16, Issue 2 November 2019 Navigating the Nebula: Audience affect, interactivity, and genre in the age of streaming TV James M. Elrod, University of Michigan, USA Abstract: Streaming technologies continue to shift audience viewing practices. However, aside from addressing how these developments allow for more complex serialized streaming television, not much work has approached concerns of specific genres that fall under the field of digital streaming. How do emergent and encouraged modes of viewing across various SVOD platforms re-shape how audiences affectively experience and interact with genre and generic texts? What happens to collective audience discourses as the majority of viewers’ situated consumption of new serial content becomes increasingly accelerated, adaptable, and individualized? Given the range and diversity of genres and fandoms, which often intersect and overlap despite their current fragmentation across geographies, platforms, and lines of access, why might it be pertinent to reconfigure genre itself as a site or node of affective experience and interactive, collective production? Finally, as studies of streaming television advance within the industry and academia, how might we ponder on a genre-by- genre basis, fandoms’ potential need for time and space to collectively process and interact affectively with generic serial texts – in other words, to consider genres and generic texts themselves as key mediative sites between the contexts of production and those of fans’ interactivity and communal, affective pleasure? This article draws together threads of commentary from the industry, scholars, and culture writers about SVOD platforms, emergent viewing practices, speculative genres, and fandoms to argue for the centrality of genre in interventions into audience studies.
[Show full text]
Film & Television Marketing and Management
MGMT 180: Film & Television Marketing and Management Course Syllabus Class Time: Tuesday/Thursday 1 pm – 4pm June 20 ‐ July 29, 2016 Room C303, UCLA Anderson Course Instructor: Karen Glass Anderson School of Management, UCLA The Center for MEMES 100 Westwood Plaza, Room B‐120 Los Angeles, California 90095 Email: [email protected] Telephone: 818.312.0875 (cell) Office and Office Hours: By Appointment Course Objectives • To understand the key revenue and financial drivers of the movie and television businesses. • To examine the relationship between audiences and movies/television. • To expand knowledge of film/television marketing. • To explore how technological changes are impacting these businesses and the ways in which they must adapt. • To identify companies and careers that students may want to pursue. Assignments and Evaluation There are three major projects for this class. Each project is designed to build your critical thinking about the business of movies and television. Grading Breakdown: A. Class Participation/Attendance 25% B. Group Case Write‐Up 25% C. Film Marketing Project 20% D. Internship Field Project 25% E. Box Office Contests 5% Required Materials: A course reader will be provided to you at the beginning of the term with all reading included. Film Marketing Project (Individual) You will select one upcoming film of your choice. You will be asked to put together a marketing plan for the ways in which this movie can be marketed. This will include identifying the audience, planning a creative strategy, developing a digital strategy and several other key aspects of marketing an individual movie. More details and requirements will be provided.
[Show full text]
Be a Disruptor Than to Defend Myself from Disruption.”
“I ultimately made the decision “The world that it would be more fun to wants us be a disruptor than to tell them that to defend myself the sky is falling. from disruption.” IT’s NOT.” – Le s L i e Mo o n v e s –Pe t e r Ch e r n i n aac e e s i ” – L “ . BEYO TECH NOL WELCOME NDDI OGY SRUP is the best ally democracy can have.” disruption and UNCERTAINTY good way to do it: embrace “There’s only one TION –Ad r i A n A Ci s n e r o s A Report on the AND PLEASE JOIN US INTERNATIONAL for the next International COUNCIL SUMMIT Council Summit September 14, 15, 16, 2011 April 26, 2012 Los Angeles Madrid, Spain CONTENTS A STEP BEYOND DISRUPTION 3 | A STEP BEYOND DISRUPTION he 2011 gathering of The Paley Center for Me- Tumblr feeds, and other helpful info. In addi- dia’s International Council marked the first time tion, we livestreamed the event on our Web site, 4 | A FORMULA FOR SUCCESS: EMBRacE DISRUPTION in its sixteen-year history that we convened in reaching viewers in over 140 countries. Los Angeles, at our beautiful home in Beverly To view archived streams of the sessions, visit 8 | SNAPSHOTS FROM THE COCKTAIL PaRTY AT THE PaLEY CENTER Hills. There, we assembled a group of the most the IC 2011 video gallery on our Web site at http:// influential thinkers in the global media and en- www.paleycenter.org/ic-2011-la-livestream.
[Show full text]
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation.
[Show full text]
Ted Sarandos Chief Content Officer Netflix One of Time Magazine's 100
Ted Sarandos Chief Content Officer Netflix One of Time Magazine's 100 Most influential People of 2013, Ted Sarandos has led content acquisition for Netflix since 2000. With more than 20 years’ experience in the home entertainment business, Ted is recognized as a key innovator in the acquisition and distribution of films and television programs. From its roots as a U.S. DVD subscription rental company, Netflix is now the world’s leading Internet television network with more than 50 million members in nearly 50 countries. With the 2013 releases of "House of Cards," "Hemlock Grove," "Arrested Development," "Orange is the New Black," “Turbo F.A.S.T.,” “Derek,” and “Lilyhammer,” Ted has led the transformation of Netflix into an original content powerhouse that is changing the rules of how serialized television is produced, released and distributed globally. In its first two years of releasing original series, documentary films and comedy specials, Netflix has been recognized by the film and TV industries with 45 Emmy nominations and 10 Emmy wins; an Oscar nomination; 6 Golden Globe nominations and a win; 2 Peabody Awards; 2 AFI Awards and recognition from all of the major guilds. Ted has also been producer or executive producer of several award winning and critically acclaimed documentaries and independent films, including the Emmy nominated "Outrage," and "Tony Bennett: The Music Never Ends." He is a Henry Crown Fellow at the Aspen Institute and serves on the board of Exploring The Arts, a nonprofit focused on arts in schools. He also serves on the Film Advisory Board for Tribeca and Los Angeles Film Festival, is an American Cinematheque board member and is an Executive Committee Member of the Academy of Television Arts & Sciences.
[Show full text]
The Walt Disney Company and Pixar Inc.: to Acquire Or Not to Acquire?
9-709-462 REV: JANUARY 15, 201 0 J U A N A L C Á CER DAVID COLLIS M A R Y F U R E Y The Walt Disney Company and Pixar Inc.: To Acquire or Not to Acquire? In November 2005, Robert Iger, the newly appointed CEO of the Walt Disney Company, eagerly awaited the box office results of Chicken Little, the company’s second computer-generated (CG) feature film. He knew that, for Disney as a whole to be successful, he had to get the animation business right, particularly the new CG technology that was rapidly supplanting hand-drawn animation.1 Yet the company had been reliant on a contract with animation studio Pixar, which had produced hits such as Toy Story and Finding Nemo, for most of its recent animated film revenue. And the co-production agreement, brokered during the tenure of his predecessor, Michael Eisner, was set to expire in 2006 after the release of Cars, the fifth movie in the five-picture deal. Unfortunately, contract renewal negotiations between Steve Jobs, CEO of Pixar, and Eisner had broken down in 2004 amid reports of personal conflict. When he assumed his new role, Iger reopened the lines of communication between the companies. In fact, he had just struck a deal with Jobs to sell Disney- owned, ABC-produced television shows—such as “Desperate Housewives”—through Apple’s iTunes Music Store.2 Iger knew that a deal with Pixar was possible; it was just a question of what that deal would look like. Did it make the most sense for Disney to simply buy Pixar? Walt Disney Feature Animation Walt Disney Feature Animation began with the production of Snow White and the Seven Dwarfs in 1934.
[Show full text]
Netflix Ecosystem Phone: (408) 540-3700
Netflix 100 Winchester Circle Los Gatos, CA 95032 Netflix Ecosystem Phone: (408) 540-3700 www.netflix.com Outside Relationships (a California Corporation) Outside Relationships Netflix Securities Regulation Regulators Capital Suppliers Customers and Stock Exchange Customers Suppliers Capital Regulators Debt Structure Equity Structure Listing Rules Public Debt Bond Financing Holders Debt ( $16.31 Billion as of December 31, 2020) | Credit Ratings: S&P (BB+), Moody’s (Ba3) Equity Securities Common Stock Regulators $750 Million Revolving Credit Facility (Matures 2024) 2021 Senior Notes ($500 Million) 2025 Senior Notes ($800 Million) 2027 Senior Notes ($1.588 Billion) Common Stock Repurchase Plan Preferred Stock Common Stock Repurchases Significant Authorized: $5 Billion Authorized: 10,000,000 Authorized: 4,990,000,000 Shareholders Deposit Accounts with Black-Owned Financial Institutions 2022 Senior Notes ($700 Million) 2025 Senior Notes ($500 Million) 2028 Senior Notes ($1.600 Billion) US Securities Balance Available: $5 Billion Issued: None Issued: 442,895,261 Revolving Credit Financing Equity Capital and Exchange Commercial Black Economic Development Initiative Hope Credit Union 2024 Senior Notes ($400 Million) 2026 Senior Notes ($1.00 Billion) 2028 Senior Notes ($1.900 Billion) Expiration: None Record Holders: None Record Holders: 1,977 The Vanguard Commission Banks (Lead Group, Inc. Subjects of Bank: Goldman Communication (7.06%) General Sachs, JPMorgan Equipment and Corporate Functions Product Content Professional The NASDAQ Business
[Show full text]
Mccusker, Michael
MICHAEL MCCUSKER, ACE EDITOR FEATURES: FORD VS. FERRARI 20th Century Fox Prod: Peter Chernin, Lucas Foster, Dir: James Mangold *Win, Academy Awards 2020, Best Film Editing Jenno Topping, Alex Young *Nomination, Academy Awards 2020, Best Picture *Nomination, ACE Awards 2020, Best Edited Feature Film (Drama) *Win, BAFTA Awards 2020, Best Film Editing DEADPOOL 2 (Additional Editor) 20th Century Fox Prod: Kevin Feige, Stan Lee Dir: David Leitch *Nomination, ACE Awards 2019, Best Edited Feature Film (Comedy) THE GREATEST 20th Century Fox Prod: Peter Chernin, Larry Mark Dir: Michael Gracey SHOWMAN *Nomination, Golden Globes 2018, Best Motion Picture – Musical or Comedy THE DARK TOWER Sony Pictures Ent. Prod: Ron Howard, Brian Grazer Dir: Nikolaj Arcel LOGAN 20th Century Fox Prod: Simon Kinberg, Lauren Shuler Donner Dir: James Mangold THE GIRL ON THE TRAIN Amblin/Universal Prod: Marc Platt Dir: Tate Taylor 13 HOURS Paramount Pictures Prod: Michael Bay, Erwin Stoff Dir: Michael Bay THE FINEST HOURS (Additional Editor) Walt Disney Pictures Prod: James Whitaker, Douglas Merrifield Dir: Craig Gillespie GET ON UP Universal Pictures Prod: Peter Afterman, Brian Grazer Dir: Tate Taylor THE WOLVERINE 20th Century Fox Prod: Joseph Caracciolo Jr., Hutch Parker Dir: James Mangold THE AMAZING SPIDER MAN Columbia Pictures Prod: Avi Arad, Michael Grillo Dir: Marc Webb CAPTAIN AMERICA: THE FIRST AVENGER Marvel Studios Prod: Victoria Alonso, Kevin Feige Dir: Joe Johnston (Additional Editor) KNIGHT AND DAY 20th Century Fox Prod: Steve Pink, Joe Roth Dir: James
[Show full text]