PROGRAM LINE-UP ADDENDUM OPENING NIGHT: • Iʼm So Excited
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Best Sellers Press Notes
Presents BEST SELLERS A film by Lina Roessler 100 mins, Canada/USA, 2021 Language: English Distribution Publicity Mongrel Media Inc Bonne Smith 217 – 136 Geary Ave Star PR Toronto, Ontario, Canada, M6H 4H1 Tel: 416-488-4436 Tel: 416-516-9775 Fax: 416-516-0651 Twitter: @starpr2 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com 2 Chapters I. Synopsis II. Director’s Statement III. Bios IV. Credits 3 Synopsis Lucy Stanbridge has inherited her father’s boutique publishing house, and the ambitious would-be editor has nearly sunk it with failing YA titles and bad reviews. When she discovers the company is owed a book by Harris Shaw, a reclusive, cantankerous, booze-addled author who originally put the company on the map, she looks to him for one last stab at salvation, both commercial and critical. Her timing couldn’t be more perfect. Harris owes money and he happens to have a new book - which he hates. Lucy’s ecstatic until she finds out Harris’s old contract stipulates that no one edit his work. However, in exchange, he must tour the book. And so is born the book tour from hell - where fame doesn’t equal fortune, twitter followers don’t add up to shit, and the legacy you’re trying to uphold might be born out of lies the past can’t contain. 4 A Q&A with Director Lina Roessler Tell us about the movie. How would you describe the film in just a couple of sentences? Best Sellers is an odd couple road movie. -
CASSIAN ELWES to LAUNCH CROWDFUNDED PRODUCTION COMPANY MOVIE COLLECTIVE Submitted By: Orchid PR Thursday, 12 April 2018
CASSIAN ELWES TO LAUNCH CROWDFUNDED PRODUCTION COMPANY MOVIE COLLECTIVE Submitted by: Orchid PR Thursday, 12 April 2018 One of Hollywood’s most prolific independent producers seeks to democratise Hollywood Leading independent film producer Cassian Elwes has announced a brand new crowdfunding film venture, Movie Collective, inviting fans to invest in a slate of upcoming film projects and help democratise Hollywood. Until now, the studios and powers have shied away from opening up finance opportunities to the masses, instead focusing on traditional avenues of banks, pre-sales and large private equity investors. Having been involved with over 450 films, Cassian Elwes is arguably the most experienced producer in the independent film industry, and is now looking to challenge the status quo by calling on members of the public, from film buffs to high net worth investors to the first-time backers, to join his team and help bring more independent films to the big screen. Movie Collective, a joint venture with self-distribution expert and independent filmmaker Marcus Markou, is unlike conventional crowdfunding campaigns offered by the film industry and aims to disrupt the norm. The principle is simple; finance raised during the forthcoming Crowdcube campaign will be used to produce Movie Collective’s slate of films, with shareholders investing from as little as £10. It is the intention of the company to pay prospective profits as a dividend to equity stakeholders, with remaining profits used to help finance other projects on the slate. The first Movie Collective project, feature film Utopia Road, has been greenlit and is expected to shoot this summer. -
LUBIAK, Damien
DAMIEN LUBIAK PRODUCER / UPM FEATURES: DEN OF THIEVES STX Entertainment Prod: JC Spink, Chris Bender, Mark Canton, Dir: Christian Gudegast (UPM) Tucker Tooley BILLIONAIRE BOYS CLUB Holly Wiersma Prod Prod: Holly Wiersma, Cassian Elwes Dir: James Cox (Co-Producer) MASTERMINDS Relativity Media Prod: John Goldwyn, Lorne Michaels, Andrew Panay Dir: Jared Hess (UPM) 10 YEARS Anchor Bay Films Prod: Marty Bowen, Wyck Godfrey, Channing Tatum Dir: Jamie Linden (UPM) CASA DE MI PADRE NALA Films Prod: Jessica Elbaum, Will Ferrell, Emilio Dies Barroso Dir: Matt Piedmont (Production Supervisor) THE DOUBLE Hyde Park Ent. Prod: Patrick Aiello, Ashok Amritraj, Derek Haas Dir: Michael Brandt (UPM) EVERYTHING MUST GO Temple Hill Ent. Prod: Marty Bowen, Wyck Godfrey Dir: Dan Rush (Production Supervisor) ALL’S FAIRE IN LOVE Patriot Pictures Prod: Scott Reed, Ron Singer Dir: Scott Marshall (Production Supervisor) CONVICTION Omega Ent. Prod: Andrew S. Karsch, Andrew Sugerman Dir: Tony Goldwyn (Production Supervisor) THE SIX WIVES OF Brillstein Ent. Partners Prod: Marina Martins, David Mcllvain, Holly Wiersma Dir: Howard Michael Gould HENRY LEFAY (UPM) THE YEAR OF GETTING Grand Army Ent. Prod: Holly Wiersma Dir: Patrick Sisam TO KNOW US (UPM) FAN BOYS The Weinstein Co. Prod: Evan Astrowsky, Dana Brunetti, Kevin Spacey Dir: Kyle Newman (UPM) TELEVISION: CHICAGO PD (Season 1) Wolf Films/NBC Prod: Dick Wolf, Matt Olmstead, Derek Haas Dir: Various (UPM) Michael Brandt MAGIC CITY (Series) Media Talent Group/Starz Prod: Mitch Glazer Dir: Various (UPM) 405 S Beverly Drive, Beverly Hills, California 90212 - T 310.888.4200 - F 310.888.4242 www.apa-agency.com . -
Konstrukce Postav Ztvárněných Jennifer Lawrence Ve Filmech Davida O
Univerzita Palackého v Olomouci Filozofická fakulta Bakalářská práce Konstrukce postav ztvárněných Jennifer Lawrence ve filmech Davida O. Russella Dominik Vontor Katedra divadelních a filmových studií Vedoucí práce: Mgr. Milan Hain, Ph.D. Studijní program: Teorie a dějiny dramatických umění Olomouc 2017 Prohlašuji, že jsem bakalářskou práci na téma Konstrukce postav ztvárněných Jennifer Lawrence ve filmech Davida O. Russella vypracoval samostatně za použití v práci uvedených pramenů a literatury. V Olomouci 19. dubna 2017 ..................................................... podpis Mé poděkování patří Mgr. Milanovi Hainovi, Ph.D. za odborné vedení, cenné rady, trpělivost a ochotu, kterou mi v průběhu zpracování bakalářské práce věnoval. Obsah ÚVOD ........................................................................................................................ 5 TEORETICKO-METODOLOGICKÁ ČÁST ...................................................... 8 1. VYHODNOCENÍ LITERATURY A PRAMENŮ ......................................... 8 1.1. Literatura .......................................................................................................... 8 1.2. Prameny .......................................................................................................... 11 2. METODOLOGIE ........................................................................................... 13 2.1. Filmová postava ............................................................................................. 13 2.2. Znaky postav ................................................................................................. -
2020 Sundance Film Festival: 118 Feature Films Announced
FOR IMMEDIATE RELEASE Media Contact: December 4, 2019 Spencer Alcorn 310.360.1981 [email protected] 2020 SUNDANCE FILM FESTIVAL: 118 FEATURE FILMS ANNOUNCED Drawn From a Record High of 15,100 Submissions Across The Program, Including 3,853 Features, Selected Films Represent 27 Countries Once Upon A Time in Venezuela, photo by John Marquez; The Mountains Are a Dream That Call to Me, photo by Jake Magee; Bloody Nose, Empty Pockets, courtesy of Sundance Institute; Beast Beast, photo by Kristian Zuniga; I Carry You With Me, photo by Alejandro López; Ema, courtesy of Sundance Institute. Park City, UT — The nonprofit Sundance Institute announced today the showcase of new independent feature films selected across all categories for the 2020 Sundance Film Festival. The Festival hosts screenings in Park City, Salt Lake City and at Sundance Mountain Resort, from January 23–February 2, 2020. The Sundance Film Festival is Sundance Institute’s flagship public program, widely regarded as the largest American independent film festival and attended by more than 120,000 people and 1,300 accredited press, and powered by more than 2,000 volunteers last year. Sundance Institute also presents public programs throughout the year and around the world, including Festivals in Hong Kong and London, an international short film tour, an indigenous shorts program, a free summer screening series in Utah, and more. Alongside these public programs, the majority of the nonprofit Institute's resources support independent artists around the world as they make and develop new work, via Labs, direct grants, fellowships, residencies and other strategic and tactical interventions. -
Expand the Story. Change the World. Reframe: Advancing Gender Parity in Hollywood
™ Expand the story. Change the world. ReFrame: Advancing Gender Parity in Hollywood We believe inclusive representation in media can transform the world by allowing us to better understand and connect with one another. Our mission is to catalyze a culture shift, with a peer-to-peer approach, engaging decision makers from the top to ensure lasting gender parity at every level in Hollywood. REFRAME EXECUTIVE SUMMARY 1 Who We Are ReFrame™ is an influential and dedicated group of active entertainment industry leaders —more than 50 male and female Ambassadors—that includes studio heads, agency partners, senior network executives, directors, writers, actors, and guild leaders committed to increasing the number of women of all backgrounds working in film, TV, and media. Together, we have developed a research-based action plan to further gender parity in the media industry. Our unique, industry-wide collaboration invites company leadership peers to adopt measurable actions to shift a complex system in which women have been consistently underrepresented. ReFrame™ Partners—film, TV, and media companies—will commit to participating in programs that will result in more diverse storytelling for expanded audiences around the globe. Founded and led by Women In Film and Sundance Institute, ReFrame™ is a non-profit organization intended to be additive to other diversity initiatives and allies making change. Foundational to the program is the core belief that gender parity is intersectional with equity for all underrepresented groups, and ReFrame™ welcomes -
THE REST of US a Babe Nation Film Directed by Aisling Chin-Yee
THE REST OF US A Babe Nation film Directed by Aisling Chin-Yee The Rest of Us Starring Heather Graham (Boogie Nights), Sophie Nélisse (Mean Dreams), Jodi Balfour (The Crown) and Abigail Pniowsky (Arrival) A Babe Nation film | Directed by Aisling Chin-Yee | Written by Alanna Francis Produced by Katie Bird Nolan, Lindsay Tapscott, Emma Fleury and Will Woods Executive Produced by Patrice Theroux and Damon D’Oliveira World Premiere Toronto International Film Festival 2019 (In competition) Running Time 80 min. The Rest of Us is the feature directorial debut of the award-winning writer, producer and director Aisling Chin-Yee. Produced by Babe Nation Films, a boutique production company that champions female voices and stories, The Rest of Us follows Cami (Graham), a poised, divorced woman who threatens her already tenuous relationship with her headstrong teenage daughter, Aster (Nélisse), when she invites her ex-husband’s second wife, Rachel (Balfour), and young daughter, Talulah (Pniowsky), to move in with them following his unexpected death. In an unusually full home overlooking their town, the four women must confront their own grief, truths, flaws and secrets while ultimately deciding if the past will dictate their future. The Rest of Us is a dramatic comedy about authentic, complex women and the messy conflicts between them. The script, written by first-time screenwriter Alanna Francis was a 2016 Academy Fellowship quarterfinalist. Logline Two mother-daughter duos must contend with their grief and complicated relationships with each other when the man who ties them together dies. Short Synopsis Cami Bowden really has her life together. -
MEATS Press Notes.Final Clean
MEATS Written & Directed by: Ashley Williams Starring: Ashley Williams Giancarlo Sbarbaro Produced by: Neal Dodson Ashley Williams Film Contact: Neal Dodson, producer 818.481.5473 [email protected] Press Contact: Prodigy Public Relations Erik Bright 310.857.2020 [email protected] For HIGHER-RES still photos & more information please visit: www.ashleywilliams.work MEATS SYNOPSIS Director-writer Ashley Williams also stars in MEATS -- a short film about a pregnant vegan who wrestles with her newfound craving for meat. The film is produced by Williams and her husband, Independent Spirit Award winner and Sundance alum Neal Dodson (Margin Call). MEATS is an exploration of the ethics of meat-eating and the fears inherent with becoming a parent. In the short film, Williams plays Lane, who has hired a whole-animal butcher named Chris (played by real-life master butcher Giancarlo Sbarbaro), to educate her on how to responsibly break down a lamb and use every part. Upon arrival, Lane is simultaneously disgusted and mesmerized by the carcass in front of her. As Lane liberates the meat from the bone, she also frees a whole new side of herself, revealing humor, pain, connection, and a newfound mother-to-be. CounterNarrative Films presents MEATS. The cinematographer is Roman Vasyanov (Triple Frontier, Fury, Sundance alum with The East and Charlie Countryman). The editor is Cecilia Delgado. Color is by Roman Hankewycz (Sundance alum with Sound of Silence and Equity, among others) from Harbor Picture Company. Sound design is by three- time Academy-Award nominee Steve Boeddeker (All Is Lost, Black Panther, Sundance alum with I Origins, among others) at Skywalker Sound. -
GSC Films: S-Z
GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything. -
CATÁLOGO CATALOGUE Coordenação Editorial Publishing Coordination
13 MOSTRA MUNDIAL WORLD CINEMA 41 MÚSICA DO UNDERGROUND UNDERGROUND MUSIC 57 RETROSPECTIVA BÉLA TARR RETROSPECTIVE BÉLA TARR 79 RETROSPECTIVA CLAIRE DENIS RETROSPECTIVE CLAIRE DENIS CINESESC | CINE OLIDO INDIE 11 | POR UM CINEMA INQUIETO INDIE 11 | FOR A RESTLESS CINEMA Se considerarmos que o cinema é um exercício de criação por meio do mento é limitado, não os recur- If we consider the cinema an exercise of creation which enables us to construct such cinema tends to make aesthetic qual construímos realidades próximas às vividas ou imaginadas, nos sos. Com liberdade sutil, esse realities similar to the ones lived or imagined, by presenting ourselves with the choices that show us what is invis- colocando numa tarefa lúdica de desvendar suas camadas, é fatal per- cinema tende a fazer escolhas playful task of unraveling its layers, it is inevitable to realize how this is such a ible or imperceptible in our realities, ceber o quanto essa arte é complexa e dispendiosa. estéticas que mostram aquilo complex and expensive art. which, in turn, are always too hectic to que é invisível ou imperceptível let us see what they are made of. A nós espectadores, é posta a escolha de uma narrativa, decorrem inte- em nossas realidades atribula- To us, viewers, is given the choice of a narrative from which interactions between rações entre a linguagem visual e sonora; de repente, surgem tempos, das demais para que perceba- the audible and visual language take place; suddenly, there comes times, places In this edition, all these character- lugares e as pessoas em suas escolhas. -
Newsletter 13/11 DIGITAL EDITION Nr
ISSN 1610-2606 ISSN 1610-2606 newsletter 13/11 DIGITAL EDITION Nr. 296 - August 2011 „Einer der beeindruckendsten Filme der letzten Jahre! Unbedingt anschauen!“ www.wolframhannemann.de Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 11 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 13/11 (Nr. 296) August 2011 editorial Hallo Laserdisc- und DVD-Fans, liebe Filmfreunde! Herzlich willkommen zu Ausgabe 296 unseres Newsletters, die eigentlich schon vor einer Woche hätte realisiert werden sollen. Doch wie so oft waren es wieder einmal viele wichtige Termi- ne, die wahrgenommen werden mussten, bevor wir uns dem neuen Newsletter zuwenden konnten. Durch die Verspätung bedingt ist der Umfang der vorliegenden Ausgabe dafür auf ganze 72 Seiten angewachsen. Und das obwohl wir aus Platzgründen bereits weitestgehend auf Bilder verzichtet haben! Somit dürfte es also genügend Lesestoff geben, auch wenn wir in die- ser Ausgabe auf Annas Gespräch mit Hollywood verzichten müssen. Die Ärmste wird augenblicklich von Ihrer Diplomarbeit voll in Anspruch genom- men, für die wir Ihr natürlich gutes Ge- lingen wünschen. Geblieben ist in die- sem Newsletter aber immerhin noch “Wolfram Hannemanns Film-Blog”, in dem Sie alles Wichtige zu aktuellen Kinofilmen erfahren können. Damit ist auf alle Fälle genügend Lesestoff vor- handen, um die Zeit bis zum nächsten Newsletter bequem zu überbrücken. Wir wünschen viel Spaß dabei. Ihr Laser Hotline Team LASER HOTLINE Seite 2 Newsletter 13/11 (Nr. 296) August 2011 Wolfram Hannemanns Film-Blog Montag, 11. -
THE FIGHTER Program Note
THE FILMS OF DAVID O. RUSSELL January 9–February 6, 2011 THE FIGHTER Screening followed by a Pinewood Dialogue with David O. Russell moderated by Spike Jonze Wednesday, January 19, 7:00 p.m. 2010, 115 mins. Digital Cinema Projection courtesy Paramount Pictures. Directed by David O. Russell. Produced by David Hoberman, Todd Lieberman, Ryan Kavanaugh, Mark Wahlberg, Dorothy Aufiero, Paul Tamasy. Written by Scott Silver, Paul Tamasy, Eric Johnson. Photographed by Hoyte Van Hoytema. Edited by Pamela Martin. Production design by Judy Becker. Costume design by Mark Bridges. Music by Michael Brook. Principal cast: Mark Wahlberg (Micky Ward), Christian Bale (Dickie Eklund), Amy Adams (Charlene Fleming), Melissa Leo (Alice Ward), and Jack McGee (George Ward). Review by Joe Morgenstern, The Wall Street fundamentally different styles.) It's the familiar Journal, December 10, 2010: image of a boxer working with his trainer, yet the two men are locked in another kind of combat as Fans of boxing movies follow the rankings just as well. Dicky, the trainer, was once a promising closely as boxing fans do. Whenever a new one fighter who went the distance with Sugar Ray comes along, they want to know where it ranks, if Leonard. (In a film based on a true story, it remains at all, in the pantheon that includes such classics a matter of dispute whether he knocked Sugar Ray as Raging Bull, Rocky and The Champ. In the case down, or whether his opponent simply slipped.) of The Fighter, a perfectly remarkable movie Now he's a wild-eyed, crack-addicted caricature of directed by David O.