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Home , Alex McDowell, Barry Levy, Brad Grey, Brian Grazer, Bryan Singer, Charles Roven

FALL 2013 IN MOTION

EnterW SCA’sORLD Newest Discipline BUILDING

Comedy @ SCA StudYing Comedy is Serious Business First sca alumnUS to name a division Alumni Profile: Jenova Chen sca game has a big year

UNIVERSITY OF SOUTHERN FALL 2013 DEPARTMENTS STORIES

Message from the Dean 3

Year In Review 4

FACULTY PROFILE: Fink, Lemarchand and Wixon 14 ZERO TO SIXTY 8 COMEDY@SCA 10 REMEMBERING DON THOMPSON 12 ALUMNI PROFILE: jenova Chen 17

Alumni Quicktakes 38

ALUMNI TV AND FILMS IN RELEASE 40 CRITICAL STUDIES ANIMATED FILMS REBRANDED 20 AT FESTIVALS 41 MESSAGE FROM THE DEAN WORLD Everything we do at the School of Cinematic Arts is grounded In the pages that follow you will also find out how the School’s In Memoriam 42 BUILDING in making sure our students are fully prepared as scholars, media divisions are preparing for the future. The newly rebranded Bryan makers and entrepreneurs to be innovators in the entertainment Singer Division of Critical Studies, for example, boasts a curriculum 22 industry. That means we are always questioning ourselves, that is reflective of all the media changes occurring around the particularly about whether we have the faculty, staff and equipment globe. It is the first division to be named for an alum, and we to best support their talent and vision. The right answer, regardless couldn’t be more proud and grateful that Bryan has decided to of what we are doing now, is always that we can do more. As a celebrate his successes by giving back to generations of SCA future-focused institution, our goal is to anticipate the changes that students. Other important contributions to the School this past year are coming and prepare to meet them head-on. include the naming of the Sumner M. Redstone Production Building, which houses two state-of-the-art stages, and the establishment of In June, we officially opened our new Interactive Media Building the Kortschak Family Endowed Division Chair in Film and Television with an event that featured a panel on the future of entertainment Production, which is held by Professor Michael Taylor. The Kortschaks ETC 32 AMERICAN FILM LUNCH WITH LARRY with three giants of the industry, , are the first SCA parents to endow a faculty position at the School. and Don Mattrick. An interesting thread of the discussion was how ON THE COVER: of El SHOWCASE 34 36 Illustrated by Jaime Jones, production important new digital technologies and interactivity have become At the same time we are hoping to grow our Comedy@SCA design Alex McDowell, for Man of in storytelling—in everything from movies and television to mobile initiative, which teaches comedy as an important art form. It is Steel, for Warner Bros. Pictures apps and, of course, video games. the first program of its kind at a research university. The initiative provides professional opportunities to students interested in Interactive user experiences are obviously central to the work being comedy and gives them a head start on finding and growing their Dean Elizabeth M. Daley Board of Councilors Alumni Development Council done in two of our divisions, Interactive Media & Games, which was comedic voice. Senior Associate Dean, (Chair, Board of Councilors) ’94 Neal Moritz ’85 established ten years ago, and Media Arts + Practice, which is in its External Relations Marlene Loadvine Tim Dowling ’96 Osher ’81 first year of existence. However, as you will realize after reading this Of course, we are always interested in interacting with you. Your Frank Biondi, Jr. Bill M. Mechanic ’95 ’94 Associate Dean of Barry Diller Barry Meyer ’86 Jay Roach ’86 edition of In Motion, we are doing all we can to introduce all our support allows us to always stay a step ahead in an industry that is Communications & PR Kristin Borella Lee Gabler Robert Greenblatt ’87 Bruce Rosenblum ’79 John Riccitiello Ramses Ishak ’92 ’81 students to the world of interactive entertainment even if, as the rapidly, constantly changing. Please continue to be in touch online Contributors James Crawford Brian T. Grazer Barney Rosenzweig James Ishii ’76 Josh Schwartz Bill Desowitz Brad Grey Scott Sassa ’93 Peter Segal ’84 cover story on world building documents, it means having to create and visit us on campus whenever you can. Ryan Gilmour Steven Spielberg Polly Cohen Johnsen ’95 Stacey Sher ’85 entirely new genres of storytelling. This is in addition to maintaining Hugh Hart Alan Levine Aaron Kaplan ’90 Jason Shuman ’96 Matthew Lara George Lucas Jim Wiatt Tim Kring ’90 our strong curriculum in all the traditional forms of moving-image arts. Desa Philadelphia Michael Lynton Paul Junger Witt Michael Lehmann ’85 Scott Stone ’79 Happy Holidays! Scott Stephan Don Mattrick Laird Malamed ’94 Justin Wilson Michelle Manning ’81 Toper Taylor ’85 Andrew Marlowe ’92 Elizabeth M. Daley Design Roberto A. Gómez Derek McLay Randy Zisk ’81 Steven J. Ross/Time Warner Andrew Millstein Photographers Carell Augustus Professor and Dean Alan Baker Stephen Blaha Steve Cohn Roberto A. Gómez Valerie Turpin Director ’68, Dean Elizabeth M. Daley, Director Bryan Singer ’89

2 • IN MOTION • USC SCHOOL OF CINEMATIC ARTS cinema.usc.edu • IN MOTION • 3 Endowed Year in Review Chair of the Interactive Media & Games Division Throughout the year, the USC School of Cinematic Arts welcomed alumni, guest Tracy Fullerton ’91 (right) lecturers and friends from the entertainment, technology and video game industries kicks off the 2012 Demo Day with Professor Mike to speak to students and faculty. In addition to these guests, the calendar included Zyda (Viterbi School of the installation of the Kortschak Family Endowed Division Chair, the dedication of Engineering). the Sumner M. Redstone Production Building, the opening of the Interactive Media

Building, the dedication of the Charles S. Swartz Endowed Chair in Entertainment Dean Elizabeth M. Daley attended the Technology and alumnus Bryan Singer naming the Bryan Singer Division of Critical Pat Crowley and MASTER media summit in . husband, producer/alum Andy Recent graduate James Iliff ’12 (center) Studies. Friendly ’73 established the Pat Crowley and Andy Legendary actor / comedian demonstrated Project Holodeck during Friendly Endowed Fund for Student Support. makes a surprise appearance following an the 2012 Demo Day. advance screening of Dean Elizabeth M. Daley, in Norris Cinema Theatre. Steven Spielberg, Frank Price, Nashville executive producer/ George Lucas ’66, C.L. Max director and SCA alum R.J. Cutler at the Nikias and visits Professor Howard Rosenberg’s dedication of the Sumner at the dedication of the Sumner Television Symposium. M. Redstone Production M. Redstone Production Building. Building.

Head of Student Industry Relations Larry Auerbach funded the Carole & Larry Auerbach and Family Endowed Finishing Fund SCA Faculty John Watson, Pen this year. Densham, actor Ed Harris and Alum George Lucas ’66 faculty member Todd Robinson receives the National Medal discuss their film Phantom of Arts and Humanities from following its SCA screening. (Left to right) Dr. Haifa Reda Jamalallail, President of President . Effat University and HRH Princess Lolowah join USC Provost Elizabeth Garrett in signing SCA and Effat University’s agreement to collaborate in the creation of a Media & Digital Production program.

Saudi students learn how to conduct on- camera interviews, as part of the Saudi Aramco’s iSpark Program. Jim Wiatt from CIW Consulting, LLC, CBS President and Chief SCA alum Cinco Paul ’93 (right) Executive Officer Les Moonves with writing partner Ken Dario and at a special pre-screening of their Legendary director James L. Brooks leads Founder at the film Despicable Me 2 at Norris a Comedy@SCA master class on directing dedication of the Sumner M. Cinema Theatre. comedy. Redstone Production Building. GI Joe Panel: Alumni David 3: President of /alum Kevin Ellison, Jon Chu ’03 and Joseph Feige ’95, Dean Elizabeth M. Daley, screenwriter Mazzello ’05 at the screening and Professor Howard Rodman at a of GI Joe 2 in SCA 108. screening of .

Professor Everett Lewis ’85 (right) briefs Actor and actor/ students at the Saudi SCA teacher Aramco’s iSpark Mobile with and Dean program, that provides Elizabeth M. Daley at Maltin’s hands-on science, Theatrical Film Symposium for technology, engineering a discussion following the 3D (From left) Professor Leonard Maltin, writer/director ’11, associate and math experiences screening of Oz the Great and producer Haroula Rose, co-producer ’12, associate producer Gerard to Saudi students. Powerful. McMurray ’11, editor Michael Shawver ’12 and composer Ludwig Göransson at the Norris screening of .

4 • IN MOTION • USC SCHOOL OF CINEMATIC ARTS cinema.usc.edu • IN MOTION • 5 Geena Davis was a keynote speaker at Redefining , the Alum Kevin Bachus ’90, 25th Conference of the Society of faculty member Chanel Animation Studies. Summers and John Riccitiello at the opening of the Interactive Media Building.

CNBC Media and Entertainment reporter/moderator Julia Boorstin, George Lucas ‘66, Don Mattrick and Steven Spielberg discuss the future of entertainment at the opening of the Interactive Media Building. George Lucas ’66, Zynga CEO Don Mattrick, Dean Elizabeth M. Daley and Steven Spielberg at the Martha De Laurentiis (center) with daughter opening of the Interactive Media Building. and graduate Dina De Laurentiis ’12 at the Dean Elizabeth M. Daley, Michael Fink, Michael 2012 SCA Commencement. Renov, Richard Weinberg and artist David Quayola at Redefining Animation. Steven Spielberg and CEO Media Arts + of Zynga, Don Mattrick, Practice Ph.D. examine student work candidate (Top) Academy Award-winning writer Robert at the opening of the Amanda Towne signs a poster of Chinatown after Interactive Media Building. Tasse (left) screening the movie for Professor Ted demonstrates her Braun’s Screenwriters of the 70s course. Miraviz project at (Above) Towne with Braun (left) and Writing the opening of the Division Chair Jack Epps Jr. Interactive Media Building. Alum Jay Roach ’86 (center) poses with members of USC’s Comedy Squad after An Evening with Jay Roach. Professors Perry Hoberman and Andreas Kratky’s Living Building SCA Parent project on display at the opening of the Interactive Media Building. with SCA Board Member, Parent, Celebrating the installation of the alum and adjunct Kortschak Family Endowed Division professor Bob Chair, (from left) Andrew Kortschak, Osher. Steven Spielberg, George Lucas ’66 Marcia Kortschak, Chairholder Commencement honoree and Dean Elizabeth M. Daley play Michael Taylor, Sarah Kortschak Stacey Sher ’85. with Pluff, an interactive stuffed and Walter Kortschak. animal which helps children with autism at the opening of the Interactive Media Building.

Matthew Weiner ’90 accepts the Mary Pickford Alumni Award.

(Above) Dean Elizabeth M. Daley, Richard Weinberg and Stephanie Rothman at the installation of the Charles S. Swartz Endowed Chair. (Below from left) Spencer Stephens, Roberto Schaefer, and Michael Fink discuss The Future of Digital Filmmaking. (Top) and (From left) Filmmakers Gaz Alazraki ’01, director Bryan Singer at Eugenio Derbez, Michel Franco and Michael the dedication of the Bryan Row with VP of Grupo Editorial Expansión, Singer Division of Critical Rossana Fuentes-Berain, and Chairman of the Studies. (Top right) Actor Board of Latinasia Group, Simon Levy-Dabbah, following a panel on the “Renaissance of Interactive Media & Games Division Chair, and Bryan Mexican Film & Soft Power.” Tracy Fullerton, after winning IndieCade’s Singer. (Right) Alma and Trailblazer award. Professor of American Film, Drew Casper, and director (From left) Directors Bryan Singer (The Bryan Singer. Usual Suspects, X-Men), (The Butler) and Randal Kleiser (Grease).

6 • IN MOTION • USC SCHOOL OF CINEMATIC ARTS cinema.usc.edu • IN MOTION • 7 The Project: Fruitvale Station The Project: Red Queen Trilogy The Project: Farah Goes Bang ZERO The true story of Oscar Grant, a 22-year-old Bay Area resident, who crosses In the future, instead of judgments based on class, race or nationality, The story of Farah Mahtab, a woman in her twenties who paths with friends, enemies, family and strangers on the last day of his life. humans are divided by the color of their blood. When a young girl with tries to lose her virginity while on the road campaigning for normal, red blood begins to develop super powers associated with the presidential candidate in 2004. TO elite caste of “silver bloods,” the government works quickly to avoid a The Alum: Ryan Coogler revolution. Production 2011 The Alum: Meera Menon SIXTY The Alum: Victoria Aveyard Production 2012 As an MFA student, writer/director Ryan Coogler worked at the Robert Writing 2012 Zemeckis Center for Digital Arts. Part of his responsibilities included Less than a year after graduation, Production Division greeting and helping VIP guests who came to campus. Less than two years Just last year Victoria Aveyard was a student worker for the alum, Meera Menon, became a pioneer in the world of r u later, Coogler’s film Fruitvale Station screened in Norris Cinema Theatre Writing Division, getting ready for First Pitch (the Division’s pitching DIY filmmaking by taking her first feature Farah Goes o lm where he was welcomed and treated as a VIP guest. festival). She was excited about her future as a screenwriter but Bang from fundraising site Kickstarter to the Tribeca Gi n had also started dabbling in writing novels, beginning but not , where it won the inaugural Rya by Fruitvale Station, Coogler’s film debut, tells the story of Oscar Grant, who completing a book. First Pitch is a “speed dating” style pitch festival Prize. The internet and the availability of technology

was killed by police on a (BART) platform in the where graduating seniors and graduate students meet several has changed the way that films get made but few have early hours of New Year’s Day 2009. Coogler, a native of the Bay Area, representatives from various companies in the entertainment taken advantage of them as successfully or as quickly was home for the holidays when Grant was killed. He interviewed Grant’s industry. The night went incredibly well for Aveyard, who signed with as Menon. Farah Goes Bang is a true microbudget film Less than family and friends as background for his script. literary management company, Benderspink. made with a USC-heavy crew.

After being accepted and workshopped in the Sundance Labs program, Soon after, Aveyard pitched her new manager an idea for the young The process wasn’t without bumps, however. Menon two years Fruitvale Station was pitched to actor/USC alumnus Forrest Whitaker who adult novel she assumed was a throw away. As she describes it, had to learn that the world of DIY filmmaking is a little signed on as an executive producer. The film was shot entirely in the Bay “I told my manager, ‘I know you guys probably won’t go for this, but I harsher than USC. “What I learned through shooting Area, including on the BART platform where Grant his life. really want to write a Young Adult novel.’ I gave them a one-line, basic on a microbudget is that you have to be flexible,” distilling of the story, and they said, ‘That’s what you’re doing. Put all said Menon. “After going through USC you think that out of School, The film won both the Grand Jury Prize and the Audience Award at the screenplay ideas on hold, you’re gonna write a YA novel.’” So she everything is possible because of what the School Sundance this year, and the Un Certain Regard Avenir prize at Cannes, went back home to and devoted herself to finishing gives you. For instance, if something was in the script given to the most promising filmmakers. After Sundance, Fruitvale Station the first book. at USC, you made it happen. In the real world, you was picked up by and Coogler embarked on a these three have to give things up. Sometimes you can’t afford it whirlwind tour that included a screening in Oakland for people affected by Aveyard’s instincts were spot on, and after a series of pitches and you have to work with what’s available.” the shooting. she signed a three-novel deal with HarperTeen, an imprint of HarperCollins. The first book in the trilogy, “The Red Queen,” is SCA alums Fruitvale Station opened in July to rave reviews and is considered an Oscar scheduled for a Winter 2015 release. contender. Menon’s Advice for SCA Students are already Coolger attributed much of his success to his time at USC. “It was the place where I learned how to make films; it’s the place where I met most Aveyard’s Advice for SCA Students The number one thing that I got out of USC was of the crew that worked on this film. Pretty much everything I learned the people. The people that were in the crew that about movies, I learned at SC.” I think something I learned the hard way was not to get pushed made Farah Goes Bang were people that I went making their into doing something you’re not comfortable doing, career-wise. to School with. They continue to be the people that

At the end of my senior year, I knew I wasn’t mentally able to be I turn to. Finding your people and developing a Coogler’s Advice for SCA Students an assistant for five years and still be writing and still keep my community that you can make films with outside mark. dream alive. I said, “I’m going to go home. I’m going to write straight of School is incredibly important. My main advice is to appreciate what you have and use the resources through. I’m gonna see if I can do this book. That’s how I’m gonna available to you. You are coming from a campus that has sent so many break in.” filmmakers out before you. Appreciate that you are a part of something that is greater than yourself.

8 • IN MOTION • USC SCHOOL OF CINEMATIC ARTS cinema.usc.edu • IN MOTION • 9 Comedy@SCA Initiative In February, Comedy@SCA partnered ABC Family. And the initiative is launching A truism in the entertainment industry Giving Comedy Arts the Professional Treatment with Funny Or Die to challenge students Comedy@SCA Live, an SNL-style show is that while drama wins awards, comedy to create shorts for the humor site. that will air on the Trojan Vision network. pays the bills. The irony is that as an by Desa Philadelphia Writer/Director Judd Apatow helped academic program the Comedy@SCA pick the winner, a short called Snapchat Professor Barnet Kellman says the idea initiative needs to be taken seriously Jesus, which was featured on the Funny or is to explore whatever is resonating in enough to attract the kind of funding— Die home page. Another popular event the professional world, especially since perhaps in the form of a substantial this year was a workshop with legendary the response from students has been endowment—that will ensure its longevity. director James L. Brooks and renowned overwhelming. “We threw back the curtain The initiative’s first donor, director Jay Why do comedians get no respect? Roach, spent an evening with students, After all, as SCA Writing Division Chair Jack Epps Jr. likes to point out, breaking down the directing decisions in scenes from successful feature comedies. Shakespeare wrote more comedies than dramas. Two years ago, Epps, along He then set up a scholarship fund for students interested in studying the art with Professors Barnet Kellman and David Isaacs, launched the Comedy@SCA form. initiative to teach comedy as a serious art form, giving students the opportunity Roach sees the initiative as a way to master the fundamentals and finally,finally giving comedy the attention and for working professionals to pass on important knowledge. ”People see respect it deserves. comedies and think it’s easy, but comedy directors, writers and performers work very hard to make it look easy,” says In practice, Comedy@SCA functions as is actually very strong in that area,” he of writers, directors and producers.” Starr Roach. “I’ve personally benefitted from an umbrella that encompasses several says. “But there was a disconnect when it says the club offers the opportunity to be talking with my friends in the comedy initiatives. There are classes of course, but came to production. No one was teaching fearless in trying out new things. world and I see this as a way to spread there is also a student-run Comedy Club, comedy direction anywhere on the “It is a major benefit that it is a student- (Above) Director Jay Roach (), center, with Comedy@SCA Faculty and Students. (Below, that knowledge. There’s a lore that gets extracurricular programs, partnerships planet and likewise, nobody was raising run organization because members have front) Director/Writer Paul Feig and Writer/Producer Gabe Sachs with “the three amigos.” passed around in comedy. A lot of it is with professional outlets like Funny Or the special issues of in more freedom to express their own practical and unless you have access to Die and events like the Comedy@SCA comedy or editing in comedy. I knew comedic vision,” he says. Comedy Club that it’s difficult to pick it up.” Festival, a weekend of panels featuring there was a vacuum in education on the members have created animated work, comedy heavyweights. The idea is to subject of comedy.” podcasts, short films, webisodes, feature- Indeed one of the most important goals (as much as possible) allow students who length scripts and even stand-up routines. of the initiative is to establish a historical The comedy curriculum currently includes are interested in the form to start building archive of comedy at USC that really almost two-dozen classes in the Writing, their comedic muscles and exploring David Isaacs, who along with Kellman and connects comedy through the years. Production and Critical Studies divisions, the kinds of professional jobs they could Epps, advises the group (they’ve come to “It would show how Lenny Bruce begat with several others on the drawing pursue. be known as “the three amigos”), says it Richard Pryor begat all the great young board. The classes are open to all SCA is also important to have a place where edgy comics of today,” says Isaacs. “I think Epps says it’s about providing a safe students and the hope is that eventually failing is okay: “There’s no sort of magic those kinds of connections are universal jumping-off point. “First off we want to there will be comedy classes in every you can do to suddenly make a person and very informative and important.” create an environment where people find division, maybe a class titled something Jerry Seinfeld.” The initiative, he adds, really out if they’re funny,” he says. “Part of it is like “Writing Comedy for Video Games” does give students a head start. “I think Epps is hopeful the initiative can attract to allow students to experiment because that is offered by the Interactive Media & most comic writers, stand-up comedians enough funding that even their smaller and uncovered a tremendous underlying there’s many different types of comedy. Games Division. and directors really learn their craft when acting coach Larry Moss, where they dreams can come true. “We would love to Some people are not funny in person but watched live, student-directed scenes from interest on the part of students,” he have a green room that is our space, much Michael Starr, who is a board member of they work in the business,” says Isaacs. they’re hysterical on the page.” Kellman, , then offered notes on how to says. “We have students who really like the new Interactive Media Building the SCA Comedy Club, says students see “Why not have a place to really work on who first pitched the idea of an academic increase the laughs—all in front of a rapt love comedy. It’s their go-to place, their where they have the think tanks— the initiative as a future pathway to jobs in a professional level in college, and have pathway that was comedy-centered, says audience. Recently, producer/director Tim favorite place. It’s where they spend their a comedy think tank.” he says, adding: the industry. “I would personally like to see those extra years to work on your voice the initiative is trying to be as holistic as Marx allowed students to shadow writers downtime on the internet, it’s almost their “I’d go to that room where all the funny it become a breeding ground for talent, and characters and the art of expressing possible. “I was aware that many places on his show Baby Daddy, which runs on native language—so native that it goes people are.” yourself comically?” teach courses in writing comedy and SCA a place to nurture and grow a new crop almost unexamined.”

10 • IN MOTION • USC SCHOOL OF CINEMATIC ARTS cinema.usc.edu • IN MOTION • 11 Remembering Don Thompson by James Crawford

One day in 2006, Amy Ross (Ph.D. ’86) through creative work, scholarship, and/or films chosen from over 40 applications. gathered a few close friends at her community engagement. Alumna Tina Mabry joined the illustrious home to honor the memory of Don company of previous judges like Star Trojan Icon is Memorialized Thompson, the late head of Reference LA Frontrunners members Sean O’Brien Trek’s George Takei when she returned to with LBGT Film Festival Services at the School of Cinematic Arts and Dan Posten held the first Don campus to adjudicate with four other jury library. Don’s great loves in life were film, Thompson Movie Night in the summer of members. Ms. Mabry was impressed at the It started with Trojan football, and the LA Frontunners, 2007—an evening of movies, margaritas, quality of the films on display. “Everybody a former Scholarship recipient whose The Adventures of a running and walking club for gay men, and a silent auction fundraiser. They keeps stepping up their game,” she said, film, Genderfreak, showed at this year’s lesbians, their friends and supporters. screened Stephan Elliott’s camp cult reflecting on her graduate studies. “I wish I DTFF. “You get the feeling that there are Priscilla, Queen of the “Don had an encyclopedic knowledge of classic, The Adventures of Priscilla Queen had the creative and technical knowledge people out there who are supportive Desert. It continues movies,” recalled Ms. Ross, and counted of the Desert, starring Hugo Weaving, [back then] that they do now—I want to and encouraging of your work.” Alumnae completing the marathon at the 2002 Guy Pierce, and Terrence Stamp as a trio go back and re-do my thesis.” who have benefited from being a part of as a pair of School Sydney Gay Games in sweltering heat as of drag queens travelling by bus across this community include Mitsuyo Miyazaki, one of his proudest achievements. He was the Australian outback. In 2010, Ms. After an evening hosted by stand-up whose short filmTsuyako screened at the of Cinematic Arts also willing to bend SCA’s rules on the Ross teamed with SCA’s queer student comedian Drew Droege, known for his fifth DTFF in 2012. Ms. Miyazaki’s film has institutions: The sly to help out aspiring—if disorganized— organization, Queer Cut, and USC viral online impressions of actress Chloë gone on to win 38 awards, including the student filmmakers, according to alumna Lambda, USC’s LGBT Alumni Association, Sevigny, the jury handed out two awards: Directors Guild of America Award for Don Thompson Tina Mabry (MFA ’05). “We all ran into to grow the event. With the help of Dominic Haxton (’07) was given the Best Female Student Filmmaker. Don at some point in the film research Dean Elizabeth Daley, they brought Don Prize for Artistic Merit for Teens Like Phil, Scholarship and the Through the Festival, SCA has witnessed library,” said Ms. Mabry, “and he was such a Thompson Movie Night into the newly a drama about a pair of closeted teens the evolution of queer storytelling over Don Thompson LGBT sweet guy. He let us film down there with built School of Cinematic Arts Complex at a conservative boarding school; MFA seven years. “It’s changed tremendously no permit. He would say ‘I know you’re and established it as a signature event student Leopold Déwolf won the Prize Film Festival. in quality and perspective,” said Ms. doing a [first-semester] 507 project, and in the USC Lambda calendar. The Don for LGBT Awareness for Niagara, which Mabry. “Every LGBT story is not just you’re just learning. If you want to shoot Thompson LGBT Film Festival was born. follows a man scheming to steal $1 million about coming out. What happens after one scene at a table, real quick, go ahead.’ ” from his lover on a road trip. Conor This daylong celebration of Don’s life we come out? What about the other That kind of quiet mischief endeared Don Fetting-Smith’s documentary Bingo Night serves two important functions: raising things that we struggle with: political to SCA students. was feted with the Audience Choice scholarship funds, and showcasing short Award. “It was very difficult for us to issues that are really pressing in our Don suddenly passed away in 2006, films made by USC’s LGBT and allied choose which one should win,” said community…or just everyday life that due to complications students and graduates. “The films run the Ms. Mabry, “because they were all great.” straight couples go through as well?” following a routine surgery. gamut, from the 210 projects of students All the filmmakers, even those filmmakers With the Don Thompson Film Festival Grieving members of the at the undergraduate level to the thesis who weren’t recognized with prizes, and Scholarship’s continued support, running club sought a lasting work from MFA candidates.” said Grant were given a complimentary six-month SCA filmmakers will continue to find a way to remember a man who Hoover, Associate Director of Alumni subscription to . And after a night place to grow and develop in their craft was prominent both at USC Affinity Programs. Films by graduates who of mingling and movies, participants came and voice for years to come. A fitting and in the LGBT have been working in the industry for a away with something more valuable: now tribute to Don Thompson. community. With some seed few years are also included. By having their “you’ve got an open phone call to another The 7th Annual Don Thompson LGBT Film money donated by Ms. Ross, now films screened alongside more established alum, whether it’s for support or a job,” colleagues—and having them evaluated Festival is slated for Saturday, April 5, 2014 at president-elect of the USC Alumni said Ms. Mabry. the Stark Family Theatre. More information at by visiting judges—current students get Association Board of Governors, LA usclambda.org Frontrunners founded the Don valuable exposure to what it’s like to be Beyond accolades and an opportunity Thompson Scholarship. This on the festival circuit. to network, the DTFF and Scholarship financial award recognizes an perform important functions: creative The Don Thompson LGBT Film Festival and financial support to keep undergraduate or graduate has grown in size and scope every year, student enrolled at SCA telling their stories. The Festival and its sixth edition, held “builds a community of LGBT who demonstrates in the a commitment filmmakers at the School Don Thompson LGBT Family Theatre on Film Festival Planning Committee to advancing of Cinematic Arts,” said Februrary 9, 2013, Rebecca Louisell (MFA ’12), and winners of the 6th Annual DTFF: LGBT issues featured seven Michael Annetta MFA ’12, Dominic Haxton ’07, John Paul Karliak ’03, Leopold Déwolf, Corey Scholibo ’01, Conor Fetting-Smith ’13, 12 • IN MOTION • USC SCHOOL OF CINEMATIC ARTS Josh Dinner cinema.usc.edu’06 and Dave O’Brien MFA • IN ’05 MOTION • 13 Faculty Profile Michael Fink, Richard Lemarchand and Dennis Wixon

School of Cinematic Arts Trio Point Students Toward Future (Left) Professor Michael Fink (The China Syndrome, By Hugh Hart Tree of Life) with students on the SCA’s green screen production stage. (Right) Associate professor Richard Lemarchand (Uncharted, Jak 3)

hey converged on USC from England, Seattle and the armed collectively with eight T decades of practical experience. After participating firsthand in seismic shakeups of the entertainment technology landscape, new School of Cinematic Arts faculty members Michael Fink, Richard Lemarchand and Dennis Wixon are now importing their hard-won lessons into SCA classrooms with an eye toward fostering a future generation of game-changers.

or the evolution of technology, the whole emphasis is on telling a story.” In between such projects as The Tree of different ways we could make our way that captures the imagination of the FINK Life and Life of Pi, Fink began teaching “The computers sit up and beg.” player. The work I’ve done on games over As a kid growing up in Sherman Oaks, Lemarchand An early champion of computer- World of ” class at SCA one Around the time Fink started work the years set me up to convey the right California, visual effects wizard Professor, After college, Lemarchand moved to generated characters—he directed Coca afternoon a week. His course load soon information at the right time in order to Michael Fink, remembers unspooling on his first movie, 1979’s The China Cola’s iconic Polar Bear commercial expanded. “I went to a faculty meeting in 1995 to design a roll of celluloid film as far as his arms Syndrome, Associate Professor, Richard get a concept across in the classroom.” that aired in 1993 a few months before and Everett Lewis, head of the directing games for Crystal Dynamics. Nine years could stretch so he could capture the Lemarchand, was soaking up punk Jurassic Park came out—Fink encourages track, said he hoped to do a directing for later, he relocated to Los Angeles and Lemarchand, who teaches “Virtual entire breadth of his neighborhood in a rock, watching and doing students to exercise restraint in the face green-screen class. And I said, “We have to became lead game designer for Santa Experience and World Design” as single image. Fink’s childhood fascination algebra “for fun” in his native England. of unprecedented technical advancements. do that class.” Monica-based Naughty Dog, now a well as “Intermediate Game Design & with the big picture continues to inform He also spent a lot of time playing video “So much of visual effects over the last ten division of . While guiding the Development” (with Assistant Professor the Oscar winner’s mastery of new Fink got the gig. He and Sollett (Raising games. He recalls, “I was one of those years has been about the power to create creation of three games Peter Brinson), encourages his students to technologies and his story-comes-first Victor Vargas, Nick and Norah’s Infinite kids in school who loved science and characters and build incredible worlds,” in Naughty Dog’s Uncharted action/ experiment with alternative approaches approach. While he lives to innovate, he Playlist) team-teach “Directing in a Virtual mathematics, but I was also drawn to he says. “People forget there’s a difference adventure series, Lemarchand began to the cinematic aesthetic increasingly stresses that the technology has to be in World” and a they added this year, history and geography, and was always between what you can do and what you mentoring MFA students at USC. featured in big budget video game service to narrative. “Advanced Directing in a Virtual World.” getting up on a stage to sing in a choir or should do.” productions. “It’s been hugely enriching for me,” says Last year, Fink co-created a course titled act in the school play. For someone like Citing SCA Interactive Media & Games Fink. “We spend a lot of time dealing with “Directing for the Virtual World” with Fink pushed the limits of visual effects’ me, who loves the intersection between Division Chair Tracy Fullerton’s book He says, “Many game developers chase the technical aspects of what it takes Associate Professor Peter Sollett. The storytelling capabilities with his work on art, entertainment and technology, video Game Design Workshop as a seminal the dream of photorealism, but something to create a virtual world, but it’s really course, which allows students to hone The Golden Compass (2007), for which he games were exactly the right place to be.” influence, Lemarchand says, “My life as a that really excites me about this next about what you say to an actor when green-screen techniques, acknowledges won an Academy Award. Besides building game designer prepared me very well generation of games is that I think we’ll there’s nothing but green (screen) and Lemarchand studied physics and the central role visual effects now has in a photorealistic North Pole environment for life as a university professor. Video start to see more developers using all this they’re supposed to be talking to another philosophy at Oxford University while filmmaking. “The great transition that’s inside the computer, Fink digitally game spend a lot of their time computer processing power in the service character represented by a tennis ball steeping himself in the UK’s burgeoning happening now with movies like Life of Pi constructed entire sequences from teaching the player how to play the game, of non-realistic kinds of rendering. We on the end of a stick. It’s about getting computer gaming culture. “Britain in is that effects have become so integrated scratch during a frenetic, five-week post- and they have to be clever about it. They could imagine a video game that looks students to understand that no matter the eighties had a really healthy scene into the story that people in the audience production period. “I was hanging on by can’t seem too didactic, they have to like an impressionist painting or perhaps how good the effects are, if you don’t of bedroom programmers,” he says. are not even thinking about them,” says my fingernails on that movie,” Fink recalls. present concepts clearly, in a way that a 3-D video game where the geometry draw a believable performance out of “Teenagers prodded away at the personal Fink. “When I’m teaching, no matter what “What I really focused on was making it can be understood immediately, and is constantly collapsing into some kind of your actors, you don’t have a movie, or a computer hardware that was beginning we’re talking about in terms of specifics look beautiful.” they have to present those concepts in a Cubist rendering. I’m interested in game game, or anything.” to become affordable and discovered

14 • IN MOTION • USC SCHOOL OF CINEMATIC ARTS cinema.usc.edu • IN MOTION • 15 Faculty Profile Alumni Profile

Wixon speaking to focus of my teaching. I’m exposing people students at the intallation to different research technologies and the of the Endowed Professor on June 6th. assumptions behind those technologies.” enova At Microsoft, Wixon used both quantitative data and “qualitative” real- time video capture to document hiccups ‘06 in pre-release beta versions of Halo for J Microsoft’s Xbox console. Game designers at Bungie, the company that developed Chen Halo, used the research to improve player experience, which contributed to the game’s rise as one of Xbox’s biggest hits. CThe New Face of Innovative Game Design At SCA, Wixon teaches students to J By Ryan Dee Gilmour apply similarly rigorous research tools for projects ranging from physical therapy applications for Microsoft to the Jenova Chen (M.F.A. Interactive Media & Games) and his work perfectly illustrate the use of humor in game design. approaches to studying video games that are valued at the School of Cinematic Arts “My students come forward with a (SCA) and why the Interactive Media & Games Division (IMGD) has been promoting design where we set out to bend or break computer human interaction before the diversity of questions that I wouldn’t have innovation and entrepreneurship for the past ten years. some of the rules of game design and see PC, before the mouse, when computers been to in the industry,” he says. what happens when we try new things.” were big mainframe units and people Chen is the Creative Director of , whose most recent release, Wixon says, “All products begin with an wondered why anyone would want a Journey, is the most celebrated game of 2013. It has enjoyed critical and commercial So far, Lemarchand has been pleased with intention to communicate something computer in their home,” Wixon says. classroom response. “Students have made to an audience. The contribution of success, scoring a 92 on and winning D.I.C.E (Design.Innovate.Communicate. “It’s to be in an industry where you get such wonderful, richly expressive work research is to see if that intention was to see multiple revolutions. Doing graphical Entertain), Game Developers Conference (GDC), and BAFTA Awards. that I’ve been blown away by the size of communicated. Did it come across user interface at DEC, then going to their imaginations.” or is there something in the design of Microsoft to work on games and gestural the system that gets in the way of the interface, I’ve seen two revolutions.” Being Forced to go to Computer Camp “I wasn’t a video game person as a child,” says Chen, experience, where people got hung up An entire profile could be written on how who grew up in . “I can actually remember Wixon began giving guest lectures six on some aspect of the interactivity and thatgamecompany and Chen challenge the stereotypes finding video games for the first time. I was forced Wixon years ago for a class called “Usability they’re not getting the message? That of the video game industry. Without exception, Chen’s by my parents to go to computer school and I can Like Fink and Lemarchand, Microsoft Testing for Games” which was created by really is where research comes together games and philosophy push the boundaries of what’s remember going early and seeing the kids playing Endowed Professor, Dennis Wixon, lecturer Heather Desurvire, owner and with design. It’s been fascinating to expose expected and what’s possible from successful video games. I them interacting with the screens and marvels at the opportunities to merge principal of the game research company students to some of these capabilities.” games. The adjectives used to describe his games thought, ‘What the hell is this?’ From then on, I loved practical and conceptual interests in Behavioristics Inc. Wixon began teaching include poetic, jarring and, to quote the IGN review computer school. Mainly because we got to play games courses that include “The Art of Statistical full time at SCA last year when he For Fink, Lemarchand and Wixon, the SCA of Journey, “Simply the most beautiful game I’ve ever before the session started. It wasn’t a calling for me, but in the beginning, something I just enjoyed. When I Analysis for Game Design: Storytelling became the first holder of the Microsoft classroom experience fosters imagination, played.” and marries it to craft and critical thinking. was growing up, I always felt that playing games wasn’t with Numbers.” Schooled in behavioral Endowed Professorship. “When you work One might assume that Chen’s commitment to Lemarchand says, “Like so many of my serious.” psychology, Wixon developed graphical in a corporate environment, your job is redefining the boundaries of video game design comes colleagues, I’m interested in bringing user interfaces in 1983 at Digital to be very focused on making products from an ingrained sense in his DNA of what a game Chen wanted to study art but his need for a practical Entertainment Corporation (DEC). He better. It’s not at all oriented toward ‘Let’s industry experience back to the academy experience can and should be. However, like many job as well as parental pressure led him to computer then joined Microsoft to lead research explain and provide some background on to see if we can lay the groundwork so things about his career, Chen’s love of video games science. “The problem was that there wasn’t much of an teams in the development of Xbox and the research techniques we use and why students can take part in some artistic didn’t begin like that of many IMGD students— art scene in China at the time. When I was out of my Kinect technologies. “I started working in we use them.’ But at SCA, that’s the major revolutions of their own.” as infants with Game Boys in their strollers. In fact, parents’ control and on my own, I started to study art it began relatively late in life. and animation on the side. What I found was, because

16 • IN MOTION • USC SCHOOL OF CINEMATIC ARTS cinema.usc.edu • IN MOTION • 17 of my computer background, it was easier for me to adapt to The Wisdom of Jenova Chen the new digital tools than people with only an art background What advice would Chen give today’s students who and I was ready when the digital art revolution happened.” are interested in game design?

Seeking to expand his love of art and his technical skills, Chen “With flOw, the real breakthrough [in game design] applied to the Master of Fine Arts in the John C. Hench was figuring out a way to make all gamers enjoy the thatgamecompany’s games Division of Animation and Digital Arts but was told that, with game in their own way.” his extensive background in computers, he would be perfect Cloud While technically a USC student for a division that was then in its first year—Interactive Media. “Keep your games small in scope until you have the game and not a thatgamecompany game, (In 2013, it was renamed the Interactive Media & Games resources to make a bigger game. It’s about the quality Cloud was Chen’s first breakout success Division.) of the game, not the size.” and set the tone for his later work. Cloud “At the time, [the division] was doing mostly interactive media “I learned about business the hard way. It’s easy to be was also an early collaboration between with no games direction. Other students were doing mobile a game designer, but to own a company you have to Chen and thatgamecompany co-founder apps, internet apps, virtual reality but no one was working learn how to deal with money and people. That’s a ‘06. The game centers on on games,” says Chen. The spark that convinced Chen that whole different challenge.” a boy who dreams of flying while in a the video game industry was his calling was a USC trip to hospital bed. the Game Developers Conference in 2004. “When I went flOw started out as a student game to GDC and saw 20,000 people who were so excited about flOw the industry, I thought ‘Woah, these people are the real thing. and was later released (after extensive These people are proud of their work and that work is tweaking and expanding) as the first of making games.’ It changed things for me.” On the Future of the Game Industry three thatgamecompany games released Of all of the disciplines taught at SCA, video game design by Sony. In flOw, the player guides a small, Crashing the Servers has changed the most in the shortest amount of time. While multi-segmented worm-like creature Upon returning to USC, Chen and a team of students volatility can be a challenge for recent graduates, it also through an aquatic environment. Chen’s including thatgamecompany co-founder, Kellee Santiago presents incredible opportunity for individuals and teams who primary goal with flOw was to create (IMGD ‘06), began working on a game. Chen shared a are paying attention and anticipating the shifts. a game that both hardcore and casual childhood experience with the group. Hospitalized after an gamers would enjoy. Chen believes demographic shifts caused by technological asthma attack, he had spent the time daydreaming about the advances are going to change everything. While the industry’s world outside. Inspired, the team made Cloud, a game where Flower The second game from backbone has always been blockbuster, “Triple A” games, Chen the player assumes the role of a child in a hospital bed who thatgamecompany’s Sony deal, Flower believes the low level of entry for what were traditionally flies outside in their imagination. continued the lyrical tradition of flOw termed “casual” games is going to make hard core console but added a stronger narrative in the Cloud was an instant sensation, with so many downloads that gaming a niche market. game play. Each level is represented by it crashed the USC server. This incredible success caused a flower in a pot on a city apartment “The biggest changes aren’t going to come from console Sony to take note and, after graduation, Chen was offered a windowsill from which the player is taken gamers,” says Chen. “The mobile industry is changing three-game deal. The deal allowed Chen and Santiago to begin to the “dream” of that flower. The player everything and the biggest revenue games on iOS right now setting up thatgamecompany. But despite his entrepreneurial attempts to rejuvenate the plant life in don’t even monetize or reach gamers in a traditional way. spirit Chen had one more roadblock. As an international a given world. Flower was Chen’s first Ten years ago, you would have to know how to find a game, attempt to bring the three-act structure of student, he had to get a job that would allow him to stay in how to download the game and pay over the internet. Now, to a game format. the country. playing a game has no entry barrier. It’s essentially a viral The third game in “I didn’t know if thatgamecompany would be funded,” says concept when it comes to game marketing and distribution. Journey thatgamecompany’s deal with Sony, Chen. “I went to work for Electronic Arts which was a hard Game designers can’t ignore this.” Journey won eight D.I.C.E awards, including decision but, without their sponsorship, I would have had to With technology tearing barriers down, the definition of Game of the Year, in 2013 and has return to my homeland. Kellee was the one who was actually who plays games is going to shift, redefining the business developed a rabid fanbase, cementing setting the company up while I was in the Bay Area. It was a side of video games, he adds. “There is going to be incredible thatgamecompany as one of the most challenging time.” opportunity for designers and business people to create innovative forces in the entire video game After just nine months, the deal with Sony solidified, Chen left games that speak to women or families or to people who industry. The player takes the role of a EA to return to thatgamecompany. The Sony deal produced don’t consider themselves gamers in the traditional mold,” says robed figure in a desert that must travel three critically acclaimed games—flOw, Flower and Journey, Chen. “This is the greatest time in the world to create games to a beacon on the top of a mountain. culminating with the latter sweeping the D.I.C.E awards in for those people or games that speak to themes that are 2013. more emotionally relevant.”

18 • IN MOTION • USC SCHOOL OF CINEMATIC ARTS cinema.usc.edu • IN MOTION • 19 CRITICAL STUDIES In October, the Bryan Singer Division Lippit: Why did you study Critical Studies? Singer: It’d be and of Critical Studies was dedicated with And why make this gesture for Critical Valkyrie. They’re both heist-related, they a reception, a Q&A with Singer and a Studies? have a pacing. One made years ago and rebranded screening of The Usual Suspects, the Singer: Just the term critical studies the other has in it. They’re breakout 1995 that Singer confuses the parents who think it’s a road both ensemble pictures. I’m seeing in the directed. Akira Lippit, Chair of the to philosophy or academia, which is great. intercutting and the parallel editing that Division, led the Q&A and also But at the same time there is something it’d be a nice pair. The Bryan Singer Division of Critical Studies allowed members of the audience to about the major—you’ll notice that every Lippit: We’d love to hear more about your Continues to Remake Itself ask Singer questions. Among other other (SCA) major has courses in Critical stories, Singer told the audience Studies. So, to do anything, whether SCA experiences. Singer: I would use the computer lab and by Desa Philadelphia that he knew The Usual Suspects you’re going to be an agent or a producer was a hit when he came out or a game designer, to have a working write until five the morning, which would of the bathroom during an knowledge of the way the moving image make International Cinema at 9 a.m. very “We’re incredibly proud of Bryan Singer. We’re That is early screening to witness a functions on the audience benefits all difficult. I would lay on the floor of Norris As one of the very grateful for the gift he gave us. But even why the young man trying to scare his those vocations. So, to name the school while (my friends) took notes for me and School of Cinematic Arts’ two before he did that he’s been such an eloquent Bryan girlfriend by yelling “Keyser after a director benefits the perception of use a book bag as a pillow. I felt very guilty original divisions (along with Film advocate for Critical Studies. He has come on Singer Söze!” He also talked the division, in a way. It’s a broader major about that! numerous occasions to speak to our students Division & Television Production), Critical about staying up late and than it sounds like. If I hadn’t seen the and speaks elsewhere, publicly, about the value of Critical Lippit: What was the most important Studies has a long history. In sleeping through his amount of films I experienced as a critical of the education he received here.” Studies will aspect of transitioning from student to the early days it was seen as the early morning class, on studies student, without the discussions I continue to director? the floor of the Norris had in these classes, the films I’ve made, academic side of a , with Lippit says that Singer’s career, which welcome every Singer: It’s the crash course aspect Theatre. there would be some depth that was classes that were focused on film moved from dramatic films to special perspective. “If of filmmaking. You have to muster up effects-dependent blockbusters, shows that lacking or maybe they wouldn’t have theory and history. But as SCA you look at our Here are a few confidence and act like you know what approaches to creating and consuming media come off. grew and evolved, so did Critical faculty and what highlights of the you’re doing. That’s the biggest exercise, can change drastically. It’s why the Critical plowing ahead with “I know what I’m Studies. In fact, the Division has we do, we have discussion: Lippit: If you were teaching in Critical Studies faculty is constantly re-examining people that work on Studies, what would you teach? doing” even if you have moments of embraced change by adding classes their role in preparing students for the future avant-garde, people Singer: As a director, I’d teach a course doubt. You have to deliver you. That’s the on new, emerging media like web iterations of the media. “We’re eager to think who work on Korean the way I suggest films. I would pick two biggest jump in the early days of a career. series and video games, and global through the landscape and what it means from cinema, people who very different films by a single director— Lippit: What would you tell current movements. every possible angle,” he says. “I’m struck all work on post-nationalist a double feature class. I’d show Taxi Critical Studies students? the time when I think of the experiences my Indian cinema, people who Today, Critical Studies is the division that Driver and King of Comedy, very different Singer: There are a lot of circuitous students have today. This sense that you can work in entertainment unites all of SCA, educating students from tonally, but almost the same story. I’d pick routes to where you end up. The reason see films on demand. That you expect to be cultures,” says Lippit. “We every major, and boldly going wherever something accessible and exciting that’s most bands fail is because they break up, able to hear about something and then have it.” haven’t made a decision to the next media trends take it. Its outlook is going to get an audience into that director. not because they suck. If you have vision have a single identity. What reflected in its new name, the Bryan Singer The Division also takes into consideration and taste, and if you have perseverance, we’ve tried to do is to really Audience Member: What’s the Bryan Division of Critical Studies. In February 2013, that definitions of media literacy are also something will open up. give students a very broad range Singer double feature? Singer, the director/producer/writer known evolving, but that the need to think critically of things to think about.” for films like The Usual Suspects, about those changes is constant. In fact, Lippit Returns and the X-Men franchise blockbusters argues that the proliferation of media and This approach, he says, is why donated $5 million to the School to name people’s access to it makes media literacy and Critical Studies could produce a the division from which he graduated in 1989, analysis even more important. “The fact that filmmaker like Bryan Singer, whose becoming the first alum to do so. What makes people are comfortable with new technology, projects have grossed more than it a perfect match is that Singer and Critical that children can interface with touch screens $2 billion worldwide, as well as Studies have similar reputations, cerebral and in ways that are intuitive, is part of the big professionals in other fields. “We have laid-back in the way they operate, but showing change,” says Lippit. “To understand how lawyers, scholars, journalists, people audacity through the work they create. Singer’s media works is something that will affect who go on to become agents or work in gift was dedicated at an event in October (see every aspect of one’s life, whether one is in many other aspects of the , accompanying story). business, pursuing the creative arts or doing so we like to think that Critical Studies other activities. To be able to put it in critical will not foreclose any of your options,” says Akira Lippit, who chairs Critical Studies, says terms, to be able to relate it to one’s own life Lippit, adding, “I don’t think we’ve produced the division is thrilled that its biggest gift to experiences and expectations, that is becoming any astronauts; but virtually everything else.” date came from one of its most famous alumni. less and less a marginal or selective activity.”

20 • IN MOTION • USC SCHOOL OF CINEMATIC ARTS cinema.usc.edu • IN MOTION • 21 The Future is Now forWORLD BUILDING by BILL Desowitz Yet another paradigm shift is afoot in the entertainment industry. Technology is enabling the biggest, most imaginative entertainment experiences in history and is causing a rethinking and redefinition of the industry’s creative processes. Those technological advancements, and the storytelling they enable, are inspiring new educational approaches at the School of Cinematic Arts. So the timing couldn’t have been better this summer when George Lucas and Steven Spielberg suggested, in no uncertain terms, that big interactive and immersive experiences are where the entertainment business is headed.

22 • IN MOTION • USC SCHOOL OF CINEMATIC ARTS cinema.usc.edu • IN MOTION • 23 Spielberg and Lucas were participating in a discussion on gestural interface that computer engineer John Underkoffler a landscape where art and science, design and engineering The Future of Interactive Entertainment to mark the created for the film is now being used in the real world. are inseparable,” explains McDowell. “At their intersection lies world building. In a practical sense, it’s a different way of dedication of the School’s new Interactive Media These days, McDowell routinely embraces a nonlinear thinking about the future of narrative space that we’re all Building. In front of a rapt audience they offered workflow where the director and the production designer moving into. A lot of the confusion and the problems we’ve are continuously communicating and perhaps making changes support to the idea that, from movies to games to been dealing with in the last few years has been a disconnect throughout the production. In the case of the gritty Superman television, entertainment needed to become more between the potential story spaces and our traditional ways reboot, Man of Steel, the design of Krypton grew out of the of iterating and producing for stories that are not making the interactive and more immersive. “I believe we need idea that its people could modify the world on a molecular best possible use of the tools at our disposal.” to get rid of the proscenium,” Spielberg said. “We’ve level. Krypton’s design was therefore extremely important got to put the player inside the experience, where to the goals of the script and influenced the way strands of McDowell divides the process of world building into no matter where you look you’re surrounded by a narrative evolved as there needed to be a seemingly organic (in which the world is developed), Prototyping (in which it is symbiosis between structures and people. and visualized), Manufacturing (in which it is produced three-dimensional experience. That’s the future.”

You could call that sort of thinking the gospel of Alex McDowell. As one of the industry’s most imaginative production designers, McDowell, who joined the School last year, is one of the world’s leading ambassadors for the importance of world building in the creative process. McDowell calls world building a creative process that involves not only conceptualizing an imagined physical setting, but also that setting’s politics, culture and technology. The thinking is, if you create a “container” for a narrative with all of these factors built in, then you open up new creative possibilities for a writer, director, game designer, , production designer and producer. With advancements in digital technology, particularly with respect to creating visual effects, world building is becoming particularly central in storytelling because it is now possible to create whatever you can dream up.

In movies like Minority Report, Man of Steel and While McDowell’s work model was initially based on and captured) and Finishing (in which it is completed in post McDowell worked to make the worlds the characters inhabit rethinking the film process, it is applicable to all narrative and experienced by its audience). “We need to move into an integral part of who they are and how they live. media. He has now brought the world building discipline to a space where these silos are not constraining our ability to By creating worlds that were as affecting as the story being the USC School of Cinematic Arts. As a full-time Associate think about new stories and new story space,” he insists. told, McDowell was able to give the audience a more Professor, he has developed a cross-divisional graduate world “It’s about finding the spaces in between and then finding immersive experience, even in 2-D. And when the world is building course centered in the new Media Arts + Practice ways to establish a deep cross-divisional collaboration. Last so integral to the storytelling, he realized, the old analogue Division and has set up a practice-based research lab called semester, we thought a lot about development, the idea that model of preproduction, production and postproduction is the World Building Media Lab. He has also established the world building precedes script. We formed small collaborative no longer viable. On the Spielberg-directed Minority Report, 5D Institute, an organized research unit within the School groups for the whole semester that were tasked with McDowell started work on the same day as the scriptwriter that serves as a premiere discussion space for new ways of developing worlds which then evolved into stories that in turn and his ideas about how people lived, commuted and the thinking about design in narrative media. “We are moving into ‘chose’ their medium.” products they used all influenced the script. The g-speak

24 • IN MOTION • USC SCHOOL OF CINEMATIC ARTS cinema.usc.edu • IN MOTION • 25 The result was that students from Production, as many as twenty new worlds, each with a unique and intersect in different ways, and form different component been taught for five decades. As Dean of Research, I’m Critical Studies, Interactive Media & Games, and the outcome of the new world building process, and parts of the storytelling process. It forces one to have to looking at new kinds of initiatives for the School, new areas School’s other divisions had to think outside the box each challenging the notion of traditional process and start thinking about story differently; and when you bring in we should be exploring. One of the biggest initiatives fueled and work collaboratively to build virtual worlds that media outcome. Interactive Media & Games, collide it with Production or even by hiring Alex is to build a new component in the School accommodated multiple story lines. “And out of that Architecture or Animation, the way that stories evolve really focused on world building and virtual production.” “It’s the discovery of a new, non-linear mind-set,” says collaboration, which is really unique in the cinema changes.” McDowell. “Even if the director is powerful or there’s McDowell believes Fisher is viscerally engaged in pushing school at that level, ownership changes, intellectual a strong script at the center, the best directors are McDowell was recruited by Dean of Research, Scott Fisher tech and storytelling forward. “We’re of one and the same property changes, and the whole development the ones that remain open to all the influences (see sidebar), who was inspired by the way McDowell mind with Dean Elizabeth Daley, who is leading the charge changes. And also the media platform potentially around them and form an alliance with their core connected world building with storytelling in Minority Report. to break down the silos,” he says. “This progressive approach changes,” McDowell says. “There were a lot of creative team. My background comes from this linear, In addition to installing world building as part of the new has the possibility of putting the School ahead of the Interactive Media & Games students interested in script-based narrative space. But if you try to apply Media Arts + Practice Division, Fisher empowered McDowell narrative industries.” Indeed, McDowell is creating a proof of weaving traditional cinematic storytelling with the that to a trans-media space and multiple platforms, to create a test bed for trying out new technology. To that concept for the future of the inception process. “How do we game space. And there were Production students it just doesn’t work. The whole point is that the end, a new home to the World Building Media Lab is currently evolve stories, how do we organically allow this non-linear, interested as much in Interactive as they are in Film.” world provokes many strands of narrative that evolve under construction in the School’s Robert Zemeckis Center collaborative process to evolve?” he muses. “How do we In the past year, McDowell’s students have created for Digital Arts, as a research and practice space for all students. put the tools to the service of good storytelling, combining an interactive war room with modeling tools, painting tools, “I think this is a huge deal for the School of Cinematic Arts rapid-prototyping and a fully immersive performance space in the sense that production has been very successful and where you can put your models in a virtual environment— Hollywood is populated by many of our alums,” where you can experience it with a head mount display, with Fisher explains. “But typically they come out tablets, with a virtual camera. You can do location scouting, of here learning the same process, performance and put immersive sound right in there from the same workflow, the the beginning.” same approach that’s McDowell says the lab can be a democratic space. “And the great thing about the university lab setting is that it’s an agnostic space where you can talk to studios and corporate partners and faculty from other departments and bring them

(Clockwise from top left) Recording artist Will.i.am in McDowell’s World Building media Lab. McDowell checking the flight of the Leviathan. Members of the World Building Media Lab discuss Leviathan. Will.i.am discussing Leviathan with McDowell.

26 • IN MOTION • USC SCHOOL OF CINEMATIC ARTS cinema.usc.edu • IN MOTION • 27 all together. I hope that people will set aside ownership, For McDowell, adjusting to academia has been an Like George Lucas and Steven Spielberg, “We’re constructing the World Building For Fisher, the big question of the last PROFILE to an extent to collaborate on the future of education eye-opening experience. In the past year he has been USC School of Cinematic Arts Dean of Media Lab to go along with the Visual Effects decade has been how to figure out how to and the future of work.” exposed to more technology than in the last decade of Research, Scott Fisher, sees a new world Lab, and the Volume,” create different kinds of story experiences for virtual production and the growth of moviemaking. For one thing, working on improving fully Fisher continues. “We’re also constructing for many burgeoning platforms. “And as a In the last decade, Virtual Production has helped improve interactive and immersive storytelling a new IMAX theater with retractable seats School, we see students wanting to do this. immersed virtual design, alongside deeply experienced experiences. Fisher is creating initiatives effects-filled storytelling. The process allows filmmakers to that will be a venue for new experiences. It They’re immersed in this stuff and we need faculty like Scott Fisher and Mark Bolas of USC’s Institute designed to inspire a new production shoot in real-time against virtual worlds that are already will be a showcase for entertainment and to tweak our curriculum and our research for Creative Technologies, is stimulating his instincts as a paradigm. This includes the work being consumer electronics partners to screen efforts to think about how we approach realized, replacing green-screen techniques. At SCA, they designer, and leading him to rethink his creative process: done in Alex McDowell’s world building the projects that Alex and his team are this.” This kind of interdisciplinary approach are beta-testing an interactive virtual camera system “How do I think differently about what narrative means, laboratory. building.” is a big focus of the new Media Arts + and using real-time technology developed for use in the what editorial means, what a camera is—all of those “It’s ultimately about the new platforms for Practice Division, he says. “We want to open Additionally, there will be more industry interactive space. fundamental questions.” the entertainment experience,” says Fisher, it up and think about these multi-threads outreach from the Entertainment who launched the School’s Interactive to that story world. And the world building However, McDowell and his team see larger opportunities He welcomes the constant questioning and requestioning, Technology Center, the School’s think tank Scott Fisher Media Division in 2002 (it was renamed approach enables that in unique ways.” that brings together industry executives to with corporations outside of entertainment as a vital and the challenges they present. He works to encourage the Interactive Media & Games Division in discuss common issues—which has now Fisher communicates how this might all source of funding and to solve similar workflow problems. his students’ excitement about innovating a new paradigm. 2013). “We think that virtual production relocated from an off-campus space to come together by conjuring and describing With Boeing, they are investigating how to translate “I think we’re all aware of the change in the air and it’s a is a broader area than entertainment. offices on the Zemeckis Center’s second a fascinating Holodeck experience: “Using We’re seeing exciting new developments engineering language into scenarios for world building huge responsibility of the students to say, ‘Do not conform floor. This will give industry representatives head-mount display, these virtual spaces in our research programs that are now and narrative. Thanks to a grant from the Hay Foundation, to traditional methods at this point because it’s not going expanding to include Boeing, Intel and greater proximity to the School’s research, have multiple characters going about to serve you well.’ ” USC is collaborating with the Salk Institute and UCLA to other consumer electronics companies which will hopefully lead to better their business in this story world and investigate the future of Neuroscience and Architecture. understanding of its potential impact on they’re having conversations and you, as Still, for McDowell and everyone else at SCA, the point that are starting to see world building in a And with Intel they are developing platforms for using broader context. They are having problems the future of the industry. a , can go check in on these is still how best to tell emotionally compelling stories. with workflow and are seeing possibilities different story threads,” he explains. “There computing and microchip technology in storytelling; and What’s also exciting, says Fisher, is to see The goal is simple, even if the technology is inspiring in what digital technology can enable in are a lot of interesting research questions: learning how to combine multiple platforms like cinema, how previously distinct platforms are audacity in the approaches. “Storytelling remains pure,” terms of collaboration over distances and Whether you have no agency, whether animation, theater and interactive media and games into influencing new work paradigms. “There’s says McDowell. “The students are energized and expect the makeup of the team that builds the you’re just listening, whether you can start a really interesting sweet space between one wholly new experience. The Intel project is based on the full mash-up of media to be at their disposal and it’s technology.” participating in . That’s interactive game experiences and the more a young adult novel by Scott Westerfeld titled Leviathan, our responsibility to create a structure that allows them what we’re trying to figure out: How does Until recently, the Robert Zemeckis Center traditional linear experiences,” he says. which imagines an 1895 steampunk world where military narrative survive all of this and how do we to negotiate that.” for Digital Arts was comprised mostly of “Previs, dvis, pitchvis, postvis are allowing officers and scientists work alongside fabricant creatures, still make this compelling along with all the classrooms. But as those relocate into this constant iteration around the 3D Bill Desowitz is the owner of Immersed in Movies site (billdesowitz. visceral stuff?” one of which is a giant whale that can fly. “And we’re com), a regular contributor to Thompson on Hollywood/Indiewire the new Interactive Media Building, which model. Getting the writer and the director (http://blogs.indiewire.com thompsononhollywood), and author of opened this summer, Fisher and colleagues immersed and creating in a completely immersive world,” Unmasked (Spies). and the design teams all in the same room At SCA, Fisher has the enviable job of asking says McDowell. are rethinking and refitting the Zemeckis looking at the same previs or even the the questions, then setting up processes Center to be more of a virtual production whole feature enables so many interesting that will lead to answers. research facility that will be a test bed for new developments.” faculty and students to try new technology.

28 • IN MOTION • USC SCHOOL OF CINEMATIC ARTS cinema.usc.edu • IN MOTION • 29 Game Innovation Lab SCA is known for encouraging experimental video games and the work in this lab focuses on bringing game design to a broader audience. There are useful applications for The Mobile and Environmental Media Research Lab game design in the arts, education, science, politics and This lab investigates location-specific storytelling, exploring Interactive Media Building other fields. how environments can act as narrative entities. Its projects (IMB) is home to some of demonstrate that buildings, , city streets, and even everyday objects like benches and podiums, can all deliver the most “cool stuff” the stories—showing that everyone (and everything) can have School has to offer. From an engaging tale. cutting edge interactive labs Creative Media and Behavioral Health Center Fabrication Lab The projects developed at the Center apply the principles to touch screens to places Interactive projects aren’t just about and processes used in creating entertainment to software; physical prototypes are a frequent LEVEL 3 to watch others play your behavioral science, medicine and public health. requirement. This lab contains 3-D printers, games, the IMB has it all. arduino electronics kits, and other tools students need to bring their projects to life. Student Collaboration Areas Think Tank As is the case with other buildings in the Cinematic Arts The cinematic arts are all about Complex, collaboration spaces were central to the design of collaboration but interactive media, the Interactive Media Building. From small benches to large in particular, requires multiple group patios, there are many places for students to meet, work and projects on a large scale. The Think Tank share ideas. is designed in the mode of Silicon Valley group-centric workspaces to facilitate Screening Room meetings and collaborative work. The screening room is equipped with 4K projection, which will enable screenings in LEVEL 2 high resolution 4K—approximately four times the resolution of standard HD. Jury Classroom Lobby Gallery This conference-style room can facilitate Designed to feature large installations of state-of- large seminars and allows students to each the-art touch screens, the gallery will showcase have a customizable workspace. It contains faculty and student projects. It is the main conduit to the latest equipment for multimedia the entire building so its exhibitions will serve as an presentations, including live streaming of introduction to cutting edge interactive media with a remote events. high “wow” factor.

Render Farm LEVEL 1 This state-of-the-art server room has dozens of racks Multimedia Labs for the most advanced technology. The Interactive Media Advanced Game Development Lab These customizable spaces allow students Building is home to the School’s “Render Farm” which Advanced Games is the flagship course of USC to create work groups around multiple features 130 servers for rendering. Games—a partnership between SCA and the screens. They were designed to facilitate Viterbi School of Engineering. Students taking the unique teaching paradigm of the Media this class now have a dedicated workspace. Arts + Practice Division, which encourages students to continuously showcase and workshop the projects they are developing.

Collaboration Lab This lab allows students to set up workstations LOWER LEVEL for advanced projects and offers enough space to test kinetic, space-intensive projects like gestural games utilizing Microsoft Kinect.

30 • IN MOTION • USC SCHOOL OF CINEMATIC ARTS cinema.usc.edu • IN MOTION • 31 the Moves Closer to Home by Scott Stephan ETC Executive Director Ken Williams (left) presents Dages, who oversaw emerging technologies at Warner Bros., with the Bob Lambert SCA’s technology think tank settles into Technology Leadership Award etcnew spaces, and a more public role For years, the Entertainment and Technology Center (ETC) at USC operated in a number of off-campus buildings, example, ETC’s Production in the Among the major media companies to old hat, but frequently we were dealing giving it an under the radar feel that belies its extraordinary importance Cloud project brings together a core utilize ETC are Disney, with brand new ideas and technologies group of key media and cloud-resource Entertainment, Twentyfirst Century for the very first time,” says Williams. not only to the university, but to the cinema industry as a whole. leaders to develop guidelines and Fox, Paramount, , ETC has also begun a number of Founded in 1993 with support from George Lucas, ETC acts as a kind of entertainment accelerate innovation and adoption of Warner Bros. Entertainment, DTS and next-gen, cloud-based content creation, Ltd. “We’ve become a place public-facing forums, leveraging its technology United Nations, a neutral ground for technology and media companies to meet production, and distribution tools and where content and technology players long-standing industry connections to processes. The project is looking at can really sit down and convene give students and faculty a glimpse of and discuss issues surrounding the technical side of the industry. Recently, the organization the entire life cycle of film and media around issues that have traditionally where entertainment technology is heading. They recently wrapped up a moved into the Robert Zemeckis Center for Digital Arts. With this new, prominent campus production, from pre-production involved the facilitation of high level collaboration and production, all the architecture,” Williams explains. two-day event dubbed “Silicon Beach@ way through archiving. USC,” a joint conference developed location, ETC’s groundbreaking work will be a lot more visible, especially to SCA students. While the mission of ETC was with the Marshall and Viterbi Schools, for a long time strictly technical, where more than seventy USC student In the early 2000s, Charles Swartz, the noted technologist it has recently begun to broaden and alumni teams pitched business who was then ETC’s Executive Director, worked to position its focus on the intersection concepts, and some five hundred the Center as a leader in establishing digital cinema standards. of issues that affect both the students and industry professionals Swartz, who died in 2007 and was commemorated this year business and the consumer showed up for keynotes and panels on with an Endowed Chair in Entertainment Technology, wisely side of the industry. Williams the intersection of digital technology saw the need for a neutral facilitator in the process. During this described research the Center and Hollywood. In October, they held time, ETC provided a safe, collegial space for media competitors is doing around 4K and Beyond their quarterly Digital Town Square, to meet and discuss the technical issues around converting viewing, explaining that some of a new series initiated this year which to digital, and also helped coordinate testing of the new the questions being discussed Williams explains as “eighty or ninety technologies at the Hollywood Pacific Theatre (originally the include whether the industry content experts who convene around Warner Bros. Theatre) in Los Angeles. “People had ninety years should “be moving towards a specific topic.” The latest town square of successful experience with 35mm and no one wanted to give spending more money on more focused on the use of metadata in it up unless the digital solution was well conceived as a global pixels or better pixels” and archiving materials. standard,” says Ken Williams, the Center’s current Executive “would higher contrast 2K have Director. “The idea of digital cinema coming up as a series of more impact than 4K.” This kind In short, for an organization that has vendor solutions on an uncoordinated basis—just imagine the of consumer-facing research is only recently found a permanent chaos that would have replaced the stable, 35mm environment if a new direction for the Center, home on campus, the Entertainment somebody hadn’t stepped in.” which in the 90s focused more and Technology Center has had a on secure networking protocols, long and influential history here at Williams says the organization specializes in situations where digital file formats and a bevy of USC. From their new home, they are “the benefits and needs for interoperable, scalable solutions technical standards now in wide- looking forward to another 20 years of outweigh the benefits for some kind of secret sauce.” For use. “All these things now seem innovation.

32 • IN MOTION • USC SCHOOL OF CINEMATIC ARTS cinema.usc.edu • IN MOTION • 33 Among the selections for the 2013 film showcase, the AFS runs a two day showcase are 45365, a slice-of-life to dispel fears of censorship documentary about the small town of or interference, noting that “You’re Sidney, Ohio (the title is the town’s zip not representing the code), and Brooklyn Castle, about a chess government, but rather yourself as an team in a poor Brooklyn neighborhood. American.” by Scott Stephan The showcase also includes several animated shorts and a small number of The American Film Showcase represents independent narrative films. some of what makes SCA such a unique and extraordinary institution—that­ it is Showing Our True Selves Although it keeps a low profile, the not just a program devoted to supplying The American Film Showcase brings the American experience to audiences around the world American Film Showcase, has been a high quality talent to Hollywood, but sleeper hit, already having been fully to exploring the power of film in all of funded for the 2012-2013 year and its forms. The mission of the AFS is to Gandlin is optimistic that they’ll be “bring award-winning contemporary By the end of 2013, the Started in 2011 with a grant from the their problems are universal and not back for 2014. When the program first American documentaries to audiences State Department, the American Film unique to . started, she says,” we had to explain it around the world, offering a view of American Film Showcase Showcase (AFS) exists to bring a unique to filmmakers and ask them to be part American society and culture as seen by This kind of cultural exchange via film will have visited 47 offering of American documentaries of it. But now we’re getting a lot of independent documentary filmmakers.” is at the very heart of the American and independent films to countries filmmakers coming to us saying ‘How do Judging from their progress, they’re well countries on 51 separate Film Showcase’s vision. Often called around the world. They begin with a I get involved? How do I do this?’” And on their way to being yet another unique “soft diplomacy”, it seeks to encourage trips. They will have list of recommendations provided by while many filmmakers areinitially wary SCA success story. person-to-person contact, to reduce the film experts, industry leaders and other of working for a government-funded traveled to places as small media organizations. From there, the kinds of misunderstandings that cloud as rural Malawian villages American Film Showcase and the State cross-cultural communication. Rachel Gandlin, the Project Administrator of the and as large as the great, Department work to select the films they think are the most interesting. AFS, says that films are often selected for sprawling of their “more nuanced view of American What’s unique about the AFS is Seoul, South Korea. And life”, adding that “we have films that take what happens next. Instead of simply place in rural, poverty stricken parts of yet, within the SCA, they touring the films around the world, America. Lots of normal, average people. individual embassies choose a selection keep a low profile. No Iron Man, no Superman, just this sort of films and work with the AFS to of regular life that people have no idea create an event. The AFS then sends about.” films, filmmakers and content experts to participate in presentations and Gandlin goes on to note that part of workshops. For example, in 2012, Mexico the mission of the AFS “is the idea that hosted a showing of Steve James’ The film can serve as a tool of social change. Interrupters—a film about violence and Documentaries in particular have this poverty in inner-city —with element of having some kind of impact.” former gang members. in attendance. The While many film festivals and showcases discussion following the film revealed are intended as promotional vehicles or that many of the viewers were surprised red carpet prestige events, the American to learn that such levels of violence can Film Showcase looks to show the exist in the United States and, to some world more than just the blockbuster, extent, took comfort in knowing that Hollywood vision of American culture.

34 • IN MOTION • USC SCHOOL OF CINEMATIC ARTS cinema.usc.edu • IN MOTION • 35 courses that focused on the creative also increasingly become multi-genre prepare other than his or her life. What I challenges of making movies. “The main practitioners, like writer John August ’94 look for is entrepreneurial spirit, someone difference from my tenure has been who wrote both the film and broadway who is smart. Some people have one or Lunch With Larry musical scripts of Big Fish, and was the other. I have turned down straight philosophical,” said Turman. “My primary Catching up with the Chair of the Peter Stark Producing Program philosophy is to train creative and nominated for a Grammy for writing the A students from Harvard and taken a B entrepreneurial producers.” lyrics of “Wonka’s Welcome Song” from student from Southwest Texas State who, Charlie and the Chocolate Factory—one of on his application said in his junior year he Essentially, Turman believes that today’s started a car wash business on fraternity by Ryan Gilmour several of director ’s films that producers have to be knowledgeable he has scripted. row and had five kids working for him.” The Peter Stark Producing Program has many about the whole process, because they reputations. To some, it’s the “business” are frequently the people who are moving everyone forward. “Producing, I believe is program at the School of Cinematic Arts (SCA). a profession,” he stressed. “Most of To others, it’s the source of an incredible the movies that get made only get made because a producer kept pushing and percentage of Hollywood’s interns. to pushing and pushing and never gave up. K thirty years worth of alumni, it’s home. Stark business courses are very focused on how the theories are actually being Tucked away on Our conversation ranged from the employed in the business, and are taught the third floor philosophy and practices of the by people who are currently working on of the George Stark program, to the future of the those deals. Turman explained it this way: Lucas Building, a entertainment industry and the success of “I preach art but I teach commerce. There small, four-office the musical The Book of Mormon (which are hundreds of film schools in America. suite has been he loves), with Turman articulating his All of them will teach you how to make a launching the views with his characteristic intensity and movie. I teach how to get a movie made.” careers of some charm. It was easy to see why he is such a legendary producer. Turman’s philosophy is in line with the of SCA’s most evolution in the industry as increasingly successful and Right away, Turman wanted to make it producers are seen both as the creative well-known clear that the Stark program is not an forces behind projects, as well as among graduates. entertainment industry MBA. He said the main benefactors of their success, From Robert the program got a reputation for being so they have input both creatively and Greenblatt business-focused because of its founder commercially. Ironically, many of Art ’87, President Art Murphy, who was a mathematician Murphy’s former students helped re-shape of NBC, to Twilight writer by training and, as the lead film critic the industry in this new mold. Consider Melissa Rosenberg ’90, to Producer Ed for Variety, pioneered the practice of that people like John Wells ’82 (ER, Saxon ’84, who won an Oscar for Silence reporting on grosses. Murphy recruited ), Stacey Sher ’85 (Erin Brokovich, of the Lambs to Paul Gerard ’99, Creative producer Ray Stark, who endowed The Peter Stark Producing Program is a As lunch wound down, I asked Larry ), Ed Saxon ’84 (The Director of —Stark the division in honor of his son Peter. two-year graduate program that admits for some parting wisdom for the next Silence of the Lambs) and Neal Moritz ’85 success stories are as diverse as the Turman said Murphy approached the twenty-five students a year. Students take generation of entertainment industry Stark curriculum as training for the (Fast and Furious franchise), are all seen as courses in writing, marketing, budgeting luminaries, “I’ve learned how much I don’t entertainment industry itself. entertainment business. “He was one of creative collaborators. and all other aspects of the entertainment know,” was his reply. “I’m still looking for those visionaries who brought a brand industry. In the second year, all Stark wisdom myself. Wise decisions come from To understand how the Stark Program Turman also included television, and new perspective to the business,” he classes are in the evening so that students making several poor decisions.” But then is evolving, In Motion sat down with eventually interactive media to a said. “He was one of the first people to can either work jobs in the industry or, he offered this: “Here’s my wisdom: Follow Larry Turman, Chair of the Peter Stark curriculum that was previously all about articulate the business with statistics— if they are more interested in independent your bliss. As they’ve said for years in the Producing Program, whose fifty-year film. He said television offered “more job a great business mind.” producing, can focus on their creative entertainment business, if someone can career includes films such asThe Graduate, opportunities and more opportunity to work. talk you out of it, you don’t belong in it.” American History X and Short Circuit. When Turman joined Stark in 1991, do serious content.” And the program’s Turman also wrote one of the benchmark he changed the program to approach students are increasingly as likely to be And what does Larry look for in a Stark Food for thought. books on the art of creative producing producing as a creative position, working on web animation projects student? “It’s ineffable. You know when you “So You Want to be a Producer.” broadening its spectrum to include or a multi-player video game. They see it. There’s no way that someone can K K 36 • IN MOTION • USC SCHOOL OF CINEMATIC ARTS cinema.usc.edu • IN MOTION • 37 2013 ALUMNI QUICKTAKES Doug Liman is executive producing the drama Michael R. Perry ’94 wrote The Voices, a Ian Shorr ’08 wrote Capsule. The spec was Time To Time for NBC. psychological thriller starring . acquired by Fox. Matt Arnold ’02 has written and sold Emerald Susan Downey ’95 will produce Pinocchio for Aaron Kaplan ’90 produced for City to NBC. Warner Bros. . He’s executive producing the Teresa Lo ’09 wrote Ben Queen ’96 wrote Unthinkable for FOX. He Amanda Silver ’89 will write Jurassic Park IV for Strange Calls for ABC and the comedy pilot Last Hell’s Game, one of the also wrote the pilot A To Z, that landed at NBC. Universal Pictures. John August ’94 wrote the book for the Daniel Dubiecki will produce the indie drama Night for FOX. Also executive producing an untitled Top 20 bestselling young Broadway musical adaptation of Big Fish. Money Monster. comedy pilot written by Liz Vassey; The Mysteries adult horror novels on Erin Reynolds ’12, Brian Singer ’89 and Jason Taylor ’00 Of Laura, written by Jeff Rake; an untitled workplace .com. was a finalist at the ACM will executive produce Creative At Bay. Iram Bilal ’07 Her project, Forbidden Steps David Ellison is executive producing comedy pilot penned by Justin Spitzer; an untitled SIGGRAPH Student was selected for Film Independent’s 14th annual for WGN America. family comedy from Aseem Batra; a half-hour comedy Katie Lovejoy ’09 Research Competition for Srdjan Stakic ’12 executive produced Screenwriting Lab. written by Neil LaBute; and Harmony House, all has written the pilot her thesis Nevermind. It was Yellow Face, an adaptation of the play of will produce Sausage Party, an for NBC. Kaplan’s closed a for Trust, based on the also a finalist for the Most the same name. The film was especially Paul Boardman ’93 and Scott Derrickson animated film written by Seth Rogen. two-year deal with Venezuelan cable network Radio telenovela Pura Sangre. Innovative Award at the constructed to play on small-format/mobile ’95 wrote Devil’s Knot, slated for a 2014 release by Caracas Television. Kaplan is partnering with Warner Games for Change Festival. Paul Feig ’84 will direct the half-hour comedy devices. Image Entertainment. Bros. to develop and executive produce Dead Steven Maeda ’92 will serve as showrunner of pilot People In New Jersey for HBO. Boss, for FOX; and with Michael Alaimo to develop ’s upcoming thriller Helix. Kevin Reynolds ’81 will direct Jose Bojorquez ’02 Barbara Stepansky ’02 has been selected as Alaimo’s drama pilot Spec for NBC. Kaplan developed Patrick Aiello’s Resurrection for LD Entertainment. a 2013 Nicholl Fellowship winner for her screenplay was nominated for Best Debra Neil Fisher ’80 will direct Jason Mathias ’13 won the People’s Choice Calling for Millennium Films. an idea for an untitled comedy pilot written by Josh Sugar In My Veins. Screenplay and Best Siegal and Dylan Morgan that sold to CBS. Award at the Educational Game Arcade of GLS 9.0 Shonda Rhimes ’94 will executive produce Director, as part of 8 for Covalence: An Organic Chemistry Puzzle Game. three projects: Just Rewards, How To Get Away With total nominations for ’93 is directing Homefront, based Kirk Sullivan ’06 directed The Dead Men, on the Chuck Logan novel of the same name, ’86 will executive Murder and Show & Tell, for ABC. She was also his film Hidden Moon, Joseph Mazzello ’05 will direct and executive produced by Christopher Boyd ’06. penned the script adaptation. produce 24: Live Another Die. appointed to the Kennedy Center for the Perform at Mexico’s prestigious produce Undrafted. Also signed a new two-year Arts’ Board of Trustees by President Obama for her ’02 wrote The Foreigner for Paramount. Silver Goddess Awards. David Freedman ’10 started the online movie deal with 20th Century Fox accomplishments in television. Kevin McCollum ’89 will oversee day-to-day and TV review series Just Seen It, which has been and will write and executive Suzanne Todd and Jennifer Christopher Boyd ’06 won operations of a joint venture with 20th Century picked up by NETA for national distribution to 370 produce the pilot Trial of the Ransom Riggs ’06 wrote the best-selling Todd will produce the sequel an Emmy Award for Best Sports Documentary for Fox to turn its films into stage musicals and plays. children’s book, Miss Peregrine’s Home For Peculiar PBS affiliates. Century for Fox. to Tim Burton’s Alice in The First Padres. Kevin will also produce the musical Motown. Children. Wonderland. Jay Gammill ’07 directed Free Samples. The Zack Keller ’07 created Bryan Burk ’91 will executive produce the Meera Menon ’11 directed Farah Goes Bang, Jay Roach ’86 directed the comedy pilot The film’s cast includes Jesse Eisenberg and Tippi Hedren and wrote Dick Figures, the David E. Tolchinsky ’88 Marc Silverstein ’96 and Abby Kohn ’96 which won the Nora Ephron Prize at the Tribeca Brink for HBO. highest viewed animated web series was included on New City comedy pilot Main Street for ABC, Athena Paul Gerard ’99 on YouTube. Dick Figures: The Movie was released in Film Festival. , Director of Creative Affairs at Film’s Film 50: Chicago’s Screen Wickham ’02 will co-produce. Burk will be DisneyToon Studios, developed Planes. September 2013. Billy Rosenberg ’00 has been promoted to executive producing Westworld for HBO. Steve Michaels ’93 will executive produce the Senior Vice President of 21 Laps. Gems 2013 list for his work in Josh Goldsmith ’95 and Cathy Yuspa ’95’s Abby Kohn ’96 and Marc Silverstein ’96 REELZ reality show Beverly Hills Pawn; FOX crime the industry. He is currently Chair of Sheldon Candis ’02 and Justin Wilson ’98 pilot, More Time With Family, landed at CBS with have written and will executive produce the ABC drama Whitey Bulger; and the ESPN documentary, Melissa Rosenberg ’90 will produce the Radio/TV/Film Department at Northwestern will write and co-executive produce the 12-hour executive producers and . comedy pilot, Main Street. —Tonya & Nancy. Clandestine for ABC. University. limited series A Slave in the White House for ABC. Candis also directed the short filmCrooked Smile David S. Goyer ’88 teamed up with Daniel Lee Toland Krieger will direct the MTV pilot Thomas Miller ’94 is producing, directing and Chip Rosenbloom ’87 will produce an as-yet- James Vanderbilt ’99 wrote the action by Grammy nominated artist, J. Cole, and directing Cerone to write and executive produce the feature Happyland. co-editing the documentary, Limited Partnership. untitled documentary about the murder trial and comedy Murder Mystery. the YouTube web series DANCE SHOWDOWN— adaptation of Constantine. conviction of college student Ryan Ferguson. SEASON 3. Melissa Lee ’07 produced Bends, which Matthew Miller ’95 will write the pilot Forever Pam Veasey will executive produce the NBC Brian Grazer is executive producing My Ex premiered at the 2013 Cannes Film Festival in the for ABC. will produce the spec script comedy pilot The Bass Player, His Neighbors, Their Christopher Cantwell ’04 sold an original Life and an untitled family drama set in the world Un Certain Regard category. The Bermuda Triangle. Landlord & Their Lovers and an untitled FOX cop television series, Halt & Catch Fire, to AMC. of a hip hop empire for FOX, written by Danny Alexander Mirecki ’09 directed All Together drama based the Alex Delaware series of books. Strong ’96 and Lee Daniels; and No Way Back Michelle Lee ’05 will executive produce the Now, which premiered at the 2013 Los Angeles Film Ira Rubenstein ’92 was named to the board, Stephen Chbosky ’92 will direct While We’re Young. for ABC, a drama pilot based on Andrew Gross’s comedy pilot Former Fat Girl for NBC. Festival. and appointed CEO of MeeMee Media. Matt Venne ’00 wrote an untitled family drama bestselling novel of the same name. He is also for NBC based on the novel Never Look Away. Neal Moritz ’85 signed with CBS Television Ian Sander sold two dramas, The End and The Helen Childress ’91 will executive producing the filmGet On Up, with ’95 and ’95 Studios to develop and executive produce half-hour Edge, to FOX and NBC respectively. write the comedy pilot Reality Mick Jagger, and will executive produce the film are executive producing How To Lead A Life Of Crime Sam Wasson ’06 wrote the best-seller Fifth and one-hour television series. Bites for NBC. She’ll be for FOX. Avenue, 5 AM: Audrey Hepburn, Breakfast at Tiffany’s, adaptation of John Steinbeck’s East of Eden for Eric Schrier ’98 was named President of producing with , Imagine Entertainment. and The Dawn of the Modern Woman. Sam’s next Barry Levy ’96 will write the film adaptation for Jeni Mulein ’05 has been hired as Vice President Original Programming for FX Networks and FX Stacey Sher ’85 and book Fosse, a portrait of the eponymous dancer . John H. Scully’s novel Preemptive Strike for Mandalay of Event series at FOX. Prods. Robert Greenblatt ’87, Chairman of NBC and director, will be published in November 2013. Entertainment, has signed a contract extension to Vision. He also co-wrote Paranoia. Jarrett Conaway ’09 and ’88 will produce the filmBlood Josh Schwartz ’98 keep him at NBC through 2017. Andy Weil ’06 is Vice President of Comedy Tim Kring will produce Exp Joseph Levy won the Sisters, based on the book series, “Vampire Academy.” will produce the drama Development at . for The CW. Kevin Greutert ’88 directed the gothic thriller Audience Choice award Laurel Canyon, written Hank Nelken ’95 is writing Sister Whipped for Jessabelle; is currently in production on Saw VII in 3D. at the 28th Santa by Karen Croner CBS, a comedy pilot following a young man raised John Wells ’82 will executive produce Bright Karen Croner ’87 will adapt the Korean and in preproduction on the supernatural thriller Barbara Film Festival ’87, for E!. Schwartz by his sisters. Young Things for ABC. comedy Hello Ghost for star and Visions, all for . for the culinary-themed sold the crime drama director Chris Columbus. documentary Spinning pilot, , to CBS; Joe Neurauter ’09 and Felipe Marino ’04 Max Winkler ’06 has teamed with Jake Johnson Jacob Hatley ’06 has directed the documentary Plates. Prodigy, a teen drama will produce the music drama Always on My Mind. to form The Walcott Company at 20th Century Fox TV. Ian Dallas and Max Geiger ’08 created The Ain’t In It For My Health: A Film About Levon Helm. written by , Unfinished Swan, which won two BAFTA awards in Shawn Levy ’94 to Fox; as well as the thriller Social Circle; the pilot, Mary Posatko ’07 and Ken Segna ’07, William Olsson ’06 won the Jury Grand Prix, Davey Wreden ’11 created the game The 2013 for Game Innovation and for Debut Game. closed a three-year overall First Timers; the limited drama series The Astronaut producers; Emily Topper, cinematographer and Best Screenplay, and Best Cinematography at the Stanley Parable, which became the #1 game on Steam first-look deal with 20th Century Fox where he’ll Wives Club; the drama Sisterland; and an Ali Adler- Phil Davis ’07, sound mixer. Golden Goblet Awards for his feature Reliance. Michael Davis ’04 is writing an action/comedy produce the comedy True Freshman and the drama penned untitled project, all to ABC. script for IFC based on the graphic novel Trigger Domain. Levy will also executive produce an untitled Jared Yeager ’02 will executive produce the Stewart Hendler ’01 will direct Max Steel for Jack Orman ’93 and John Wells ’82 wrote Men. comedy feature project for Fox Searchlight with Inon Shampanier ’07 wrote and will direct the video game for iPhone and iPad. Dolphin Entertainment and Open Road. the pilot Outbreak, based on the feature of the Billy Rosenberg ’00. He will also executive thriller The Strategist, acquired by Millennium Films. same name, for NBC. They will executive produce. Robert Zemeckis ’73 will executive produce will direct the Elvis Presley will be inducted into this year’s TV produce the comedy pilot Paroled for FOX. biopic Growing Up Graceland. Stacey Sher ’85 will produce, and John Wells the one-hour series version of . Academy Hall of Fame. Nick Osborne ’97 wrote the drama pilot, Xuan Li ’13 His MFA thesis project Blowing Blues ’82 will direct Chef with . Sher will He will also produce the film adaptation ofThe Damascus. America Ferrera will both star and Ross Dinerstein ’05 is producing The Pact 2, Leslie Iwerks ’93, is working on a documentary was exhibited at the Games for Health conference also executive produce the adaptation of the John Execution of Noa P. Singleton: A Novel and is set to executive produce with Teri Weinberg for CBS. 213.740.2804 or Wilson at Justin Please contact missed anyone. we if apologize We [email protected] or updates. information more for sequel to 2012’s The Pact. about Disney’s Imagineering division. in in June 2013. Grisham best-selling novel, The Racketeer. direct the drama series for FOX.

38 • IN MOTION • USC SCHOOL OF CINEMATIC ARTS cinema.usc.edu • IN MOTION • 39 ALUMNI TV AND FILM RELEASES Animated Films at Festivals

Banshee — Greg Yaitanes, Executive Producer/ Melissa and Joey — John Ziffren ’78, Executive Wendell & Vinnie — Aaron Kaplan ’90, Editor; Ori Marmur ’93, Producer; Neal Moritz ’85, A Tale Ladies Knight Director Producer Executive Producer Producer; John Ottman ’88, Editor/Music/Associate Cut Out Fest 2013 (Mexico) 22nd Annual Berkeley, Video and Film Festival Producer; Bryan Singer ’89, Producer/Director; KLIK! Amsterdam Animation Festival Joe Rothenberg ’12 Bates Motel — Mark Wolper ’83, Executive Mistresses — Jenna Richman ’09, Writer; Chad — Matt Kunitz ’90, Executive Producer Jonathan Stein ’07, Associate Producer; Jason Taylor Woodstock Film Festival Producer Gomez Creasey ’03 and Dara Resnick Creasey ’03, ’00, Co-Producer Mei Corrie Francis Parks ’06 Writers/Co-Producers La Femme Film Festival Beauty and the Beast — Gary Fleder ’93, Insidious, Chapter 2 — Joe Dzuban ’04, Margaret To ’13 Executive Producer/Director; Brian Peterson ’97, Mighty Med — Jim Bernstein ’91, Executive 2 Guns — Paula Patton, Actor Supervising Sound Editor Bob Hope Executive Producer; Kelly Souders ’97, Executive Producer 2nd Annual Berkeley, Video and Film Festival Passer Passer August: Osage County — John Wells ’82, Producer Kick Ass 2 — Jeff Wadlow, Writer/Director Ruby Moutain Film Festival KLIK! Amsterdam Animation Festival Director; Grant Heslov ’86, Producer Mind Games — Kyle Killen ’97, Writer/Executive Careen Ingle ’12 (Contemporary Cartoon Modern program) The Blacklist — Jon Bokenkamp ’95, Executive Producer Last Vegas — Jon Turteltaub, Director Black Nativity — , Actor; Louis Morton ’13 Producer The Collector’s Gift Nashville — RJ Cutler, Executive Producer/ Terilyn Shropshire ’85, Editor Man of Steel — David Goyer ’88, Writer; Chicago International Children’s Film Festival Register Rap! Bones — Carla Kettner ’83, Writer/Co-Executive Director; Dana Greenblatt ’02, Writer Charles Roven, Producer 22nd Annual Berkeley, Video and Film Festival Producer Blackfish —Gabriela Cowperthwaite, Writer/ LA Shorts Festival New Girl — Brett Baer ’88, Executive Producer; Director; Jonathan Ingalls, Director of Photography RIPD — Ori Marmur ’93, Executive Producer; Napa Valley Film Festival Joshua Weisbrod The Carrie Diaries — Josh Schwartz, Executive Erin O’Malley ’96, Producer Neal Moritz ‘85, Producer Savannah Film Festival Baggage Claim — Paula Patton, Actor Semáforo Producer Ryan Kravetz ’12 Person of Interest — Bryan Burk ’91, Executive Runner Runner — Stacey Sher ’85, Producer Adobe Achievement Awards Despicable Me 2 — Cinco Paul ’93, Writer Cut Out Fest 2013 (Mexico) Castle — Andrew W. Marlowe ’92, Writer/ Producer Danger Island Executive Producer Rush — Ron Howard, Producer-Director; Simón Wilches Castro Cut Out Fest 2013 (Mexico) Revolution — Bryan Burke ’91, Co-Executive Ender’s Game — Lynn Hendee ’81, Producer; Brian Grazer ’74, Producer Catfish —Marc Smerling, Executive Producer Producer; Eric Kripke ’96, Writer/Co-Executive Josh Comen ’95, VFX Producer; Tim Carras ’03, VFX Andrew Malek Sumo Roll Producer Supervisor Smurfs 2 — Karey Kirkpatrick ’87, Writer; Ryan Gillis Chicago International Children’s Film Festival Dallas — Aaron Allen ’09, Story Editor David Weiss ’87, Writer Jay Kim ’12 Rizzoli & Isles — Darin Goldberg ’91, Writer/ The English Teacher — Dan Chariton ’97, Dance For Your Life, Puny Human Defiance —Norman Morrill ’77, Co-Executive Consulting Producer; Shelley Meals ’91, Writer/ Writer; Stacey Chariton, Writer; Craig Zisk, The Spectacular Now — Shawn Levy ’94, Producer Cut Out Fest 2013 (Mexico) Tailypo Director Producer Consulting Producer; Sasha Alexander ’97, Actor Justin Connolly ’12 Cincinnati Film Festival : Into Darkness — Bryan Burk ’91, LaMar Ford Jr. Elementary — Nelson Cragg ’03, Cinematographer Epic — Lori Forte, Producer Producer; David Ellison, Executive Producer Scandal — Shonda Rhimes ’94, Executive The High Five Apprentice Producer/Writer Tin Fast & Furious 6 — Neal Moritz ’85, Producer This Is The End — Jason Stone ’08, Executive 22nd Annual Berkeley, Video and Film Festival Falling Skies — Heather Regnier ’08, Writer Philadelphia Film Festival Producer/Story Thomas Kanter Shameless — John Wells ’82, Executive Producer/ Fruitvale Station — Claudia Castello, Editor; Brandon Lake ’13 Franklin & Bash — Jason Ensler ’97, Executive Writer Producer/Director Ryan Coogler ’11, Writer/Director; Gerard : The Dark World — ’95, McMurray ’11, Associate Producer; Sev Ohanian, Siberia — Michael Arnold ’02, Writer; Dorian Producer; Robert Rodat ’83, Story Co-Producer; Haroula Rose, Associate Producer; Grey’s Anatomy — Shonda Rhimes ’94, Writer/ Hess ’10, Writer; David Paster ’11, Writer Executive Producer Michael Shawver ’12, Editor The To Do List — Jennifer Todd, Producer Sons of Anarchy — Paul Maibaum ’75, Director The Hangover Part 3 — Debra Neil-Fisher ’80, The Way, Way Back — John Bailey, — Jason Ensler ’97, Director/ of Photography Executive Producer; Josh Schwartz, Executive Editor Cinematographer Producer Spartacus: War of the Damned — Joshua The Heat — Paul Feig ’84, Director; Bob Yeoman We Are the Nobles (Nosotros Los Nobles) — Donen ’79, Executive Producer Hostages — Jeffrey Nachmanoff ’94, Writer/ ’79, Director of Photography Gaz Alazraki ’01, Writer/Director/Producer Director/Executive Producer Switched at Birth — John Ziffren ’78, Executive Hidden Moon — Jose Pepe Bojorquez ’02, We’re The Millers — Rawson Marshall Thurber Producer House of Cards — Joshua Donen ’79 Executive Writer/Director/Producer ’99, Director Producer The Tomorrow People — Pam Veasey, The Internship — Shawn Levy ’94, Director White House Down — James Vanderbilt ’99, Consulting Producer — Matthew Weiner ’90, Executive Writer/Producer Producer; Marcy Patterson ’02, Co-Producer; Erin Iron Man 3 — Kevin Feige ’95, Producer; The Vampire Diaries — Charlie Charbonneau World War Z — , Music; Matthew Levy ’05, Writer/ Producer; Jonathan Igla ’05, Writer Jeff Ford ’91, Editor ’07, Writer Carnahan, Writer; David Ellison, Executive Producer — Bob Ducsay ’86,

40 • IN MOTION • USC SCHOOL OF CINEMATIC ARTS cinema.usc.edu • IN MOTION • 41 IN MEMORIAM Les Blank Mona Kantor Irene Sics Lee Thompson Young (1935—2013) (1928—2013) (1968—2013) (1984—2013) Documentary Filmmaker Educator and SCA Advocate Entrepreneur & Alumnus Actor, Writer & Director

Born in Tampa, Florida, Wife of former Cinema Sics was born in Young was born in Blank attended Tulane Department Chair, Lincolnwood, Columbia, South (1920—2013) University in New Bernie Kantor. and graduated from Carolina and graduated USC Alumnus, SCA Lecturer and Visual Effects Pioneer Orleans, Louisiana, Mona Kantor was the widow the USC School of from the USC School of earning a B.A. in of Bernie Kantor, the long- Cinematic Arts in Cinematic Arts Magna English Literature and time Department Chair when 1989. She was noted Cum Laude in 2005. Born and raised in Los Angeles, California, an M.F.A in Theatre. Cinema was still part of the for her calm, cheerful Harryhausen’s groundbreaking work in visual School of Performing Arts. She While primarily remembered He then studied film at the School will be remembered as a true demeanor, no matter as an actor, Young was noted effects would influence filmmakers like of Cinematic Arts and in recent partner to her husband, helping the task. for his interest in all aspects of Steven Spielberg and George Lucas. years had been a frequent visitor him in mentoring students cinema production. His acting to the School’s documentary She was a lifelong fan Harryhausen was greatly influenced by King Kong (1933), and strengthening ties to the career began at age 10 when classes, talking to students and Hollywood establishment. With of Disney and after her a film that both fascinated him and sparked he portrayed Martin Luther encouraging their work. the DKA honorary cinema graduation from USC, found his love for the cinematic arts. Harryhausen King in the play A Night of fraternity, she hosted glittering a job at the studio working conducted his own experiments, which A renowned independent Stars and Dream. Soon after, tribute events to icons like on movie previews. Even included borrowing a 16mm camera to film his filmmaker whose work has he moved to City Mary Pickford, Harold Lloyd with her dream job in hand, handmade marionettes as they “came to life,” spanned more than five and landed the lead role in the decades, Blank’s documentary and that drew big she found that she missed even before he studied filmmaking at USC. ’s The Famous films focused primarily on names—Hitchcock, Welles, Hope, the midwest and returned Sinatra— to campus, and helped Jett Jackson. He would go on Harryhausen began taking night classes while the lives, culture and music to Evanston, Illinois in 1992. raise Cinema’s profile. to have guest roles in shows of those on the margins of There, she opened a coffee still a high school student. While his primary as diverse as , The American society. Born in Los Angeles, Kantor shop modeled on the ones passion was in visual effects, he took classes Guardian and Scrubs. His film earned a Master’s degree from she’d loved in California. Kafein in art direction, photography and editing under the Blank’s Burden of Dreams (1982) work included roles in Akeelah the Rossier School of Education became an Evanston landmark, newly formed Department of Cinematography. In 1942, chronicled the moviemaking and the Bee and Friday Night in 1959 and was employed by noted as much for its eclectic Harryhausen worked with USC staff member Richard L. process of Werner Herzog’s Lights. At the time of his death the Los Angeles Unified School menu and acerbic wit as its Bare on the short film, So You Want to Give Up Smoking. Fitzcarraldo (1982), shot in the he had a recurring role on South American jungles. The District for more than forty years. clientele. In 1949, Harryhausen took home the Academy Award for Rizzoli & Isles. documentary was honored Mona Kantor met her husband Visual Effects for his innovative work on Mighty Joe Young. She is survived by her husband with a British Academy Award at USC. They established the He is survived by his parents His breakthrough effects featured in the filmThe Beast from of 15 years, John Sics. and was acclaimed by Roger Bernard Kantor Scholarship in Velma Love and Tommy Scott 20,000 Fathoms (1953) inspired the monster movie genre. Ebert as “one of the most 1975. She named the School of Young, and his sister, Tamu remarkable documentaries ever Other memorable works include The 7th Voyage of Sinbad Cinematic Arts the beneficiary Lewis. made about the making of a of her estate, to endow the (1958), Jason and the Argonauts (1963) and the original movie.” Mona and Bernard Kantor Chair Clash of the Titans (1981), his final film before retirement. Blank is survived by his sons, in Production, which will be Numerous modern-day films have paid homage to Harrod and Beau, and his established in 2014. Harryhausen’s work, including Mars Attacks! (1996), daughter Ferris Robinson. Monsters, Inc. (2001), Scooby-Doo 2: Monsters Unleashed (2004) and Corpse Bride (2005). In 2005, Harryhausen was inducted into the Hall of Fame. The 2013 film Pacific Rim was dedicated to Harryhausen and fellow filmmaker Ishiro Honda.

Harryhausen is survived by his wife, Diana Livingston Bruce, and their daughter, Vanessa. Photo by Harrod Blank Harrod Photo by Getty Images

42 • IN MOTION • USC SCHOOL OF CINEMATIC ARTS cinema.usc.edu • IN MOTION • 43 University of Southern California Non-Profit Org School of Cinematic Arts, SCA 370 U.S. Postage Los Angeles, California 90089-2211 PAID University of Southern California RETURN SERVICE REQUESTED

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