KATHERINE COVELL San Francisco * Los Angeles 415.505.5200 * 323.207.5191 [email protected] IATSE #16

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KATHERINE COVELL San Francisco * Los Angeles 415.505.5200 * 323.207.5191 Setdecovell@Gmail.Com IATSE #16

KATHERINE COVELL San Francisco * Los Angeles 415.505.5200 * 323.207.5191 [email protected] IATSE #16 FEATURE FILM + TELEVISION ‘Twixt Set Decorator Dir. Francis Ford Coppola / American Zoetrope The Darwin Awards Set Decorator Dir. Finn Taylor / 3 Ring Circus Films Mistress of Spices Set Decorator (US) Dir. Paul Mayeda Berges / Balle Pictures Hemingway & Gellhorn Set Decorating Buyer Dir. Philip Kaufman / HBO Milk Set Decorating Buyer Dir. Gus Van Sant / Groundswell Productions Trauma Set Decorating Buyer Dir. John Behring / Universal Media Studios Bedtime Stories Set Decorating Buyer Dir. Adam Shankman / Walt Disney Pictures Bottle Shock Set Decorating Buyer Dir. Randall Miller / Zin Haze Productions The Californians Set Decorating Buyer Dir. Jonathan Parker / Parker Film Company Happily Even After Property Master Dir. Unsu Lee / Hotbed Media The Pursuit of Happyness Property Assistant Dir. Gabriele Muccino / Columbia Pictures The Five Year Engagement Property Assistant Dir. Nick Stoller / Apatow Productions Dead and Breakfast On-Set Dresser Dir. Matthew Leutwyler / Ambush Entertainment Cherish On-Set Dresser Dir. Finn Taylor / 3 Ring Circus Films Bee Season Sculptural Artist Dir. Scott McGehee & David Siegel / 20th Century Fox SHORT FILM + WEB SERIES The Butler’s In Love Production Designer Dir. David Arquette / Bischoff / Hervey Entertainment Decisions, Decisions Production Designer (15 episodes) Dir. Handsome Donkey / Stage 9 Digital Media English Highway Production Designer (20 episodes) Dir. Niall McKay / Media Factory COMMERCIALS + BRANDED CONTENT Orbit: “The Prom Date”, “The Dancer” Art Director Dir. Jason Bateman / Dumb Dumb MSN: “Joel McHale”, “Julie Bowen” Art Director Dir. Sam Reich / CollegeHumor.com Google: “Face Lock”, “Beam” Art Director Dir. Will Moran / Studio G Nat’l Popular Vote Initiative: Art Director Dir. Eric Jaye / Hunt Burdick “Class President”, “Marbles”, “Bingo” Storefront Political Media Oracle: “Java Life” Art Director Dir. Adam Patch / l.inc design Nike: “LeBron James” Art Director Dir. Jordan deBree / Heist Projects Visa: “Never Miss a Superbowl Club” Set Decorator Dir. Rob Bindler / Chelsea Pictures eMusic: “M83: How Music Blows Minds” Set Decorator Dir. Terri Timely / Park Pictures Comcast: “XFINITY” Set Decorator Dir. Matthew Varick / Teak Motion Visuals THEATER + OPERA Red State Prop Designer Michael Sullivan / San Francisco Mime Troupe TNT Youth Theater Project Prop Designer San Francisco Mime Troupe (2005 + 2008) Bethlehem Prop Designer Octavio Solis / Campo Santo Eugene Onegin Production Manager Mark Streshinsky / Berkeley Opera EDUCATION Washington University in St. Louis Bachelor of Arts, Magna Cum Laude Majors: Film & Video Production + English Literature Minor: Fine Arts .

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Télécharger Le Rapport D'activité 2020
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Walter Murch and the Art of Editing Film (2002) and Behind the Seen by Charles Koppelman (2005)
Born in 1943 to Canadian parents in New York City, Murch graduated Phi Beta Kappa from Johns Hopkins University with a B.A. in Liberal Arts; and subsequently the Graduate Program of USC’s School of Cinema-Television. His 50-year career in cinema stretches back to 1969 (Francis Coppola’s The Rain People) and includes work on THX-1138, The Godfather I, II, and III, American Graffiti, The Conversation, Apocalypse Now, The English Patient, The Talented Mr. Ripley, Cold Mountain, and many other films with directors such as George Lucas, Fred Zinnemann, Philip Kaufman, Anthony Minghella, Kathryn Bigelow, Sam Mendes and Brad Bird. Murch's pioneering achievements in sound were acknowledged by Coppola in his 1979 Palme d'Or winner Apocalypse Now, for which Murch was granted, in a film-history first, the screen credit of Sound Designer. Murch has been nominated for nine Academy Awards (six for editing and three for sound) and has won three Oscars: for best sound on Apocalypse Now (for which he and his collaborators devised the now-standard 5.1 sound format), and for Best Film Editing and Best Sound for his work on The English Patient. Although this double win in 1997 was unprecedented in the history of Oscars, Murch had previously won a double BAFTA for best sound and best picture editing for The Conversation in 1974. The English Patient was, co-incidentally, the first digitally-edited film to win an editing Oscar. Murch has also edited documentaries: Particle Fever (2013) on the search for the Higgs Boson (winner of the Grierson Award, and the Steven Hawking Medal for Science Communication) and his most recent work is the recently-completed Coup 53 (2019) an independently-financed feature-length documentary on western interference in the politics of Iran which had its world premiere at the 2019 Telluride Film Festival.
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Denton Record-Chronicle | News for Denton County, Texas | Entertainment: Movies 04/08/2008 08:51 AM
New releases mostly on the gloomy side | Denton Record-Chronicle | News for Denton County, Texas | Entertainment: Movies 04/08/2008 08:51 AM New releases mostly on the gloomy side 11:15 AM CDT on Sunday, April 6, 2008 By Boo Allen/Film Critic Prepare this week for some brooding intensity: Rare appearances by two distinct artists mark There Will Be Blood, the fifth movie from writer/director Paul Thomas Anderson, his first since 2002. And, in an Oscar-winning performance, Daniel Day-Lewis returns to the screen for the first time since 2005. Lewis plays Daniel Plainview, a turn-of-the-20th-century oilman, mean, single-focused, and devoid of any limiting attributes such as honor, truth, or kindness. Anderson delivers an authentic portrait of this era, as shown in the DVD supplement The Story of Petroleum. Anderson dips into Upton Sinclair’s obscure novel Oil! for his source, staying with Plainview and the chronicling of his fortunes. This love of money sounds cautionary warnings, as the film’s various characters fall under the spell promised by the riches of an oil strike. Despite the film’s almost epic sweep, Anderson stays close to Daniel Plainview, knowing that the conflict buried in this intense man signals the greatest drama. The singular subplot has Paul Dano playing a smugly religious type involved in a constant, ill-fated feud with Plainview, a battle that further defines Plainview and his quest for supremacy. Oscar-winning cinematographer Robert Elswit works with Anderson to render his customary long takes, but the focus stays mostly on the era’s drabness.
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DRAFT2 SOLD Press Notes Theatrical Release 2016
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Physicians, Society, and the Science Fiction Genre in the Film Versions of Invasion of the Body Snatchers: Or Doctors with a Serious Pod Complex
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Ruth Prawer Jhabvala's Adapted Screenplays
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Your Concert Guide
silver screen sounds your concert guide EDEN COURT caird hall tramway the queen's hall INVERNESS dundee glasgow edinburgh 10 Sep 14 Sep 15 Sep 16 Sep welcome to silver screen sounds Over the course of the concert, you'll hear music chosen to accompany films and extracts from scores written specifically for the screen. There'll be pauses between some, and others will flow into the next. We recommend following along with your listings insert, and using this guide as extra reading. 1 by Bernard Herrmann Prelude from Psycho psycho (1960) Directed by Alfred Hitchcock "When a director finds a composer who understands them, who can get inside their head, who can second-guess them correctly, they're just going to want to stick with that person. And Psycho... it was just one of these absolute instant connections of perfect union of music and image, and Hitchcock at his best, and Bernard Herrmann at his best." Film composer Danny Elfman Herrmann's now-equally-iconic soundtrack to Hitchcock's iconic film showed generations of filmmakers to come the power that music could have. It's a rare example of a film score composed for strings only, a restriction of tonal colour that was, according to an interview with Herrmann, intended as the musical equivalent of Hitchcock's choice of black and white (Hitchcock had originally requested a jazz score, as well as for the shower scene to be silent; Herrmann clearly decided he knew better). Also known as the 'Psycho theme', this prelude is frenetic and fast-paced, suggesting flight and pursuit.
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Lynne Ramsay
Why Not Productions presents In association with Film4, BFI, Amazon Studios, Sixteen Films, JWFilms YOU WERE NEVER REALLY HERE A film by Lynne Ramsay Starring Joaquin Phoenix, Ekaterina Samsonov 95 min | UK | English | Color | Digital | 2.39 | 24fps | 5.1 International Sales International PR IMR Charles McDonald Vincent Maraval [email protected] Noëmie Devide +44 7785 246 377 [email protected] Kim Fox | Lesly Gross US PR Samantha Deshon Jeff Hill [email protected] [email protected] SYNOPSIS A missing teenage girl. A brutal and tormented enforcer on a rescue mission. Corrupt power and vengeance unleash a storm of violence that may lead to his awakening. LYNNE RAMSAY Director Born in Glasgow, Lynne Ramsay is considered one of the British most original and exciting voices working in Independent cinema today. She has a long running relationship with Cannes winning the Prix de Jury in 1996 for her graduation film, the short Small Deaths and in 1998 for her third short Gasman. Her debut feature film Ratcatcher premiered in Un Certain Regard (2000) winning Special Mention. We need to talk about Kevin was the only British film nominated for the Palme d'Or in official competition in 2011. It received several BAFTA nominations and won 'Best Director' at the British independent Film awards, 'Best film' at the London Film Festival and 'Best Screenplay' from the Writers Guild of Great Britain. Swimmer, commissioned by the Cultural Olympiad of Great Britain (2012), won the BAFTA (2013) for Best short film. JOAQUIN PHOENIX Actor Joaquin Phoenix began his acting career at the age of eight.
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Uk / 2018 / 1.66 / 5.1
HIGH LIFE 110 min / Germany – France – USA – Poland – UK / 2018 / 1.66 / 5.1 EVA DIEDERIX [email protected] SILVIA SIMONUTTI [email protected] FANNY BEAUVILLE [email protected] OLPHA BEN SALAH [email protected] PHOTOS AND PRESS KIT CAN BE DOWNLOADED FROM https://www.wildbunch.biz/movie/high-life/ Deep space. Monte and his daughter Willow live together aboard a spacecraft, in complete isolation. A man whose strict self-discipline is a shield against desire, Monte fathered her against his will. His sperm was used to inseminate the young woman who gave birth to her. They were members of a crew of prisoners – death row inmates. Guinea pigs sent on a mission. Now only Monte and Willow remain. Through his daughter, he experiences the birth of an all-powerful love. Together, father and daughter approach their destination – the black hole in which time and space cease to exist. How did High Life come about? A while back, an English producer asked me if I wanted to participate in a collection of films called Femmes Fatales. At first, I wasn’t that interested, but after thinking it over, I agreed. The project took ages to get off the ground. There was no money. It took 6 or 7 years to hammer out a coproduction: France, Germany, Poland and eventually America. During that time, I went to England and the States to meet with actors. The actor I dreamed of for the lead role of Monte was Philip Seymour Hoffman, because of his age, his weariness – but he died mid- route.
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Film Locations in San Francisco
Film Locations in San Francisco Title Release Year Locations A Jitney Elopement 1915 20th and Folsom Streets A Jitney Elopement 1915 Golden Gate Park Greed 1924 Cliff House (1090 Point Lobos Avenue) Greed 1924 Bush and Sutter Streets Greed 1924 Hayes Street at Laguna The Jazz Singer 1927 Coffee Dan's (O'Farrell Street at Powell) Barbary Coast 1935 After the Thin Man 1936 Coit Tower San Francisco 1936 The Barbary Coast San Francisco 1936 City Hall Page 1 of 588 10/02/2021 Film Locations in San Francisco Fun Facts Production Company The Essanay Film Manufacturing Company During San Francisco's Gold Rush era, the The Essanay Film Manufacturing Company Park was part of an area designated as the "Great Sand Waste". In 1887, the Cliff House was severely Metro-Goldwyn-Mayer (MGM) damaged when the schooner Parallel, abandoned and loaded with dynamite, ran aground on the rocks below. Metro-Goldwyn-Mayer (MGM) Metro-Goldwyn-Mayer (MGM) Warner Bros. Pictures The Samuel Goldwyn Company The Tower was funded by a gift bequeathed Metro-Goldwyn Mayer by Lillie Hitchcock Coit, a socialite who reportedly liked to chase fires. Though the tower resembles a firehose nozzle, it was not designed this way. The Barbary Coast was a red-light district Metro-Goldwyn Mayer that was largely destroyed in the 1906 earthquake. Though some of the establishments were rebuilt after the earthquake, an anti-vice campaign put the establishments out of business. The dome of SF's City Hall is almost a foot Metro-Goldwyn Mayer Page 2 of 588 10/02/2021 Film Locations in San Francisco Distributor Director Writer General Film Company Charles Chaplin Charles Chaplin General Film Company Charles Chaplin Charles Chaplin Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Warner Bros.
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