Mark Duncan Stunt Biography & CV
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The Actor Behind the Camera
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2016 The Actor Behind the Camera Zechariah H. Pierce Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Acting Commons, and the Performance Studies Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/4113 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. THE ACTOR BEHIND THE CAMERA A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University by ZECHARIAH HENRY PIERCE Bachelor of Arts, Theatre, 2009 Director: DR. AARON ANDERSON Associate Chair of the Department of Theatre Virginia Commonwealth University Richmond, Virginia May 2016 !ii Acknowledgement I am incredibly grateful to my family, to whom without their undying support, graduate school would not be possible. Thanks to my in-laws for your gracious hospitality and loving care, my wife for your strength in defending the homestead, and my children for your endless supply of love and entertainment. You are the reason I am where I am. To Dr. Aaron Anderson, for your encouragement and inspiration in exploring the unknown and crossing into uncharted territory. I hope to find as much success in bringing theatrical arts to all walks of life, and still have time to be a rockstar dad. To my students, actors, and producers: thank you for your patience, your trust, and your willingness to let me experiment with my identity in new roles. -
History Folio #1, Section 1: 1958
The Anchor•re Dally Newt J• n· Thursday, l=ell. 22, 1962 o ·Ie Icebreaker-Cargo Ship To Plow Area Waters Testifies The Port of Anchorage com· Other items handled at the An· 1( pleted * first year of operation chorage port were airplane parts with a net operating profit of apphanc,es, baggage, beer, boats: On Shipping $47,608, according to the p~rt's bulldmg materials, .export tanks, annual report. canned fish, msulatmg materials, SEATTLE liP) - The Port . lumber, · oil exploration equip- of Anchorage, Alaska had sat THE REPORT STATES that the ment, petroleum bunkers, plumbj isfactory service from North gros> income for the nine month ers goods, gun powder, vans, con· · -land Freight Lines and· t h e ·period from May, the time the tamers, velucle parts. ' Wagner Tugboat Co. last year port opened, through December / A, total ~~ 198 vesse ls used the and i~ "entitled to have-it con was $189,998. ports facilities. They included tinued this summer," Henry ·:During th r t 1191 Amencan ships and baraes Roloff, Ancliorage port· direc h'indled 38 ~59Ir~o:.ear 'r t~e port and one ship each from Canada, 0 tor, told a Federal Maritime andc.Jomestic carao ~F · oreJgu Denmark, Japan, Liberia~lld Nor· ' o . ~ . oreign car· way. T Commission examiner today. ,o brought. mto the report in· Roloff was on the stand six elude~. fr~Ight, fertilizer, fish, · THE $8 MILLION port's esti· hours yesterday and today. He Igroce11es, Iron and steel articles, mated revenue for 1962 is $248. appeared at the hearing start news,pnnt a!ld wallboard. -
WALLY CROWDER 2ND UNIT DIRECTOR/STUNT COODINATOR [email protected]
WALLY CROWDER 2ND UNIT DIRECTOR/STUNT COODINATOR [email protected] MOTION PICTURES 2015 Monster Trucks (Stunt Performer) 2015 Kidnap (Assistant Stunt Coordinator) 2015 Self/less (Stunt Driver) 2015 Furious Seven (Stunt Driver) 2014 Alexander and the Terrible, Horrible, No Good, Very Bad Day (Utility Stunts) 2014 The Barber (Stunt Driver) 2014 Let’s Be Cops (Stunt Driver/Stunts) 2012 This is 40 (Stunt Driver) 2011 Jeff, Who Lives at Home (Stunts/Actor-Fisherman) 2011 Larry Crowne (Stunts) 2010 Uncle Nigel (Stunt Coordinator) 2009 A Christmas Carol (Stunts) 2009 Angels & Demons (Stunt Performer) 2009 12 Rounds (Stunt Performer/Actor-Streetcar Conductor) 2009 The Smell of Success (Stunts) 2006 The Last Time (Stunt Coordinator) 2005 Red Eye (Utility Stunts) 2005 The Dark (Stunt Coordinator) 2003 Basic (Stunts) 2003 House of 1000 Corpses (Stunt Performer) 2003 Old School (Stunts) 2003 War Stories (Stunt Coordinator) 2003 The Street Lawyer (Stunt Coordinator) 2002 Women vs. Men (Stunt Coordinator) 2002 Outta Time (Stunts) 2001 Rock Star (Stunts) 2001 Training Day (Stunts) 2001 Lying in Wait (Stunt Performer) 2001 Double Take (Stunts) 2000 The Adventures of Rocky & Bullwinkle (Stunts) 2000 Hot Boyz (Stunts) 1999 Avalon: Beyond the Abyss (Stunt Coordinator) 1999 House on Haunted Hill (Stunts) 1999 One Last Score (If…Dog…Rabbit) (Stunts) 1999 NetForce (Stunt Coordinator) 1998 The Siege (Stunt Performer) 1998 With Friends Like These… (Stunt Coordinator) 1998 Point Blank (Stunts) 1997 Acts of Betrayal (Stunts) 1997 Gone Fishin’ (Stunts) 1997 -
Safety Responsibilities Stunt Coordinator
Safety Responsibilities Stunt Coordinator Safety Program Information for Stunt Coordinator The following information is for your specific position and is provided to help you understand your extremely important part in your Production’s Injury & Illness Prevention Program (IIPP)/Safety Program. Responsibilities of the Stunt Coordinator The Stunt Coordinator is responsible for the safe performance of stunts and supervision of all persons involved, and is responsible to effectively coordinate with the Special Effects Coordinator and, at Pre- Stunt/FX meeting, to communicate stunt action to ensure understanding and safety of all involved crew. This meeting should be documented in the daily Production Report. Production Start-Up 1. Visit safetyontheset.com to familiarize yourself with the safety information available, (AMPTP Safety Bulletins, Tool Box Talks, etc.) and to read the Production Safety Manual. 2. Hire only Stunt Coordinators knowledgeable in the action they will be supervising. Hire stunt players who have the proper training and who understand or have previously demonstrated the similar work they will be asked to do. Stunt Coordinators performing their own stunts need a second stunt person to act as Stunt Coordinator during the sequence. 3. Hire only employees who have the proper safety training for, and who understand how to safely perform, any task they are asked to do. On Production Implement the IIPP: 1. Discuss all potential safety concerns with the Location Manager, Line Producer, Special Effects, Stunt, Transportation and Construction Coordinators, and key department heads during the script read through. 2. Conduct or arrange safety training for all Stunt employees and appropriate cast and crew members: a. -
Lana Williams
LANA WILLIAMS Mobile: 0411 229 127 Email: [email protected] PERSONAL DETAILS: Height 5ft 10ins Head: 22ins/56cm Bust/Chest: 45ins / 114cm across back: 16 ½ / 42cm Waist: 37ins / 94cm across front: 15ins / 38cm Hips: 43ins / 108cm Shoe 11 / 43 Neck: 14 ½ins / 37cm Weight: 83k CB to waist: 17 ¼ / 44cm High waist to floor: 46ins/117cm Wrist: 6 ¾ / 17cm LICENCES: Commercial Diver I Senior First Aid (CPR) Advanced open water ( PADI) Car License Search and Rescue ( PADI) Speedboat License Dive Master (PADI) Film Gun License Dan Oxygen Provider Safety Supervisor/Report writer/Consultant Work Place Health and safety officer [QLD] Cert 4 OHS EDUCATION AND SKILLS: Stunt training since 1982: Chris Anderson, Glenn Ruehland, Mitch Deans, DarkoTuskan Fight Training N.IM.A Armory confidence training for film and television Scuba Dive Training John Suhr / Descend Diving John Gauci, Acting Television workshop Kathy Mueller Acting workshops Kingsway Princeton Drama College ( London ) Basic conversational French Language Working with Animals Scuba Diving (Dive Master) Commercial Diver LANA WILLIAMS SAFETY ADVISOR / CONSULTANT / COMMERCIAL DIVER FEATURE FILMS A JOURNEY THROUGH TIME WITH ANTHONY: Main Unit (china only) SINGULARITY; Pre Production, Safety Report TRIANGLE: Main Unit. Hod THE RUINS: Additional days NIMS ISLAND: Main and second unit GHOST RIDER: Action unit THE MARINE: Action Unit HOUSE OF WAX: Second unit PETER PAN: Main Unit. Hod GEORGE OF THE JUNGLE: Main Unit. Hod DANNY DECKCHAIR: Second unit GHOST SHIP: Second unit INSPECTOR GADGET: Main unit. Hod BLURRED: Main unit CUBBY HOUSE: Main unit CROCODILE DUNDEE 3: Main Unit Additional WALK THE TALK: Main unit.Hod HE DIED WITH A FALAFEL IN HIS HAND: Main unit 20.000 LEAGUES UNDER THE SEA. -
Resume Ryan Tarran
Ryan Tarran Stunt Actor [email protected] +614 10 697 926 Stunt Double for: Chris Hemsworth Jason Momoa Dolph Lundgren Nikolaj Coster-Waldau Alexander England TITLE YEAR ROLE Feature Films Occupation: Rainfall 2018 Stunt Performer Aquaman 2018 Stunt Double: Jason Momoa / Aquaman Stunt Double: Dolph Lundgren / King Nereus Mortal Engines 2018 Stunt Performer Thor: Ragnarok 2017 Stunt Double: Chris Hemsworth / Thor Stunt Double: The Hulk Gladiator #2 - “Roscoe” Alien: Covenant 2017 Stunt Double: Alexander England / Ankor Pirates of the Caribbean: 2017 Stunt Performer Dead Men Tell No Tales Hacksaw Ridge 2016 Stunt Performer The Osiris Child 2016 Stunt Double: Ian Roberts Gods of Egypt 2016 Stunt Double: Alexander England / Mnevis Stunt Double: Nikolaj Coster- Waldau / Horus Truth 2015 Stunt Performer Mad Max: Fury Road 2015 Stunt Performer Infinite 2015 Stunt Double: Luke Ford The Hobbit: 2014 Stunt Performer / “Orc” The Battle of the Five Armies Wyrmwood: Road to the Dead 2014 Stunt Performer The Wolverine 2013 Utility Stunts Around the Block 2012 Stunt Performer From Sydney with Love 2011 Stunt Perfomer Short Films Busted 2015 “Kick Boxer” Sick 2013 Stunt Performer The Gift 2013 “The Beast” Zombie Beaters 2013 Stunt Performer TV Series Frontier - Season 3 2018 “Wadlow” Core Stunt Performer A Place to Call Home 2016 Fight Trainer The Code 2016 Stunt Performer Old School 2014 “The Cobra” Behind Mansion Walls 2013 “Peter Dabish” Love Child 2013 Stunt Performer Power Games 2013 Stunt Performer Underbelly: Razor 2012 Stunt Performer Home and Away 2012 -2015 Stunt Performer Underbelly: Badness 2011 “Huge Wharfie” Wild Boys 2011 Stunt Performer Bikie Wars: Brothers in Arms 2011 Stunt Performer Houso’s 2010 Stunt Performer TV Commercials Sensis 2015 Stunt Performer NRL 2013 NRL Footballer double Sporting Bet 2012 NFL Player Stunt Performer Lexus 2012 Stunt Performer Nestle Kit Kat 2011 Stunt Jet Skier Live Shows Spiderman: Live Dubai 2011 “Electro” Spiderman: Live India 2010 “Electro” . -
Laurent Plancel
Laurent Plancel Gender: Male Height: 6 ft. 0 in. Weight: 195 pounds Eyes: Brown Hair Length: Short Waist: 34 Inseam: 32 Shoe Size: 10 Physique: Average / Athletic Coat/Dress Size: 42R Ethnicity: African American / Black, Caribbean Photos Film Credits 300 : Rise of an Empire Stunt Performer Warner Bros Captain Phillips Stunt Performer Scott Rudin Productions In the Heart of the Sea Stunt Performer/Stunt Double Village Roadshow Pictures Ben Hur Stunt Performer Paramount Pictures Knights of the Roundtable: King Stunt Performer Warner Bros Arthur Rogue One: A Star Wars Story Stunt Performer Lucasfilm Doctor Strange Stunt Performer Marvel Studio The Mummy Stunt Performer/Stunt Double Universal Pictures Television Commercial Generated on 10/05/2021 01:56:56 am Page 1 of 2 Stage Music Videos Motion Capture Guild Affiliations British Stunt Register Stunt Teams Stunt Skills Stunt Skills: Ratchets, High Fall, Air Rams, Martial Artist, Wire Work, Car Hits, Motion Capture, Martial Arts: Kung Fu, Martial Arts: Tae Kwon Do, Martial Arts: Wushu, Weapons: Guns, Weapons: Knife, Weapons: Staff, Weapons: Nunchaku, Weapons: Katana, Chinese Swords: Dao, Chinese Swords: Dadao, Chinese Swords: Niuweidao, Tumbling ~ Basic, Martial Arts: Black Belt, Descender, Weapons: Broadsword, Weapons: Smallsword, Bridge Jumping, Stage Fighting, Martial Arts: Kick Boxing, Weapons: Pistol, Martial Arts: Taekwondo Athletic Skills: Boxing , Cycling, Gymnastics, Martial Arts, Soccer, Acrobat, Gymnastics: Fast-Track /Track Accents: British, French, Jamaican, African Spoken Languages: -
List of Non-Exhaustive Crew Titles That Will Be Considered for Funding
List of non-exhaustive crew titles that will be considered for funding: Director Best boy (lighting) Key make-up artist Producer Lighting technician / Electrics Special make-up effects Artist Line producer Grips (SFX makeup) Production assistant Key grip Make-up supervisor Production managements Best boy/Best Babe (grip) Make-up artist Production manager Dolly grip Key hair Assistant production Production sound Hair stylist manager Production sound mixer Special effects Unit manager Boom operator Special effects supervisor Production coordinator Second assistant sound Stunts First assistant director Art department Stunt coordinator Second assistant director Production designer Film editor Accounting Art director Editorial[edit] Production accountant Line Standby art director Negative cutter Producer Assistant art director Colorist Location manager Set designer Telecine colorist Assistant location manager Illustrator Visual effects[edit] Location scout Graphic artist Visual effects Unit publicist Set decorator Visual effects producer System administrator Buyer Visual effects creative Continuity Leadman director Script supervisor Set dresser Visual effects supervisor Script Writers Greensman Visual effects editor Casting Construction Compositor Casting director Construction coordinator Matte painter Cast PA Head carpenter Sound and music Drivers Carpenters Sound designer Camera and lighting Studio hands Dialogue editor Director of photography Propmaker Sound editor Camera Scenic Re-recording mixer Camera operator Key scenic Music supervisor First assistant camera Property Foley artist Second assistant camera Propmaster Conductor/ orchestrator Film loader Weapons master Score recorder/ mixer Digital imaging technician Costume department Music preparation Steadicam operator Costume supervisor Music editor Motion control Key costumer Previs technician/Operator Breakdown artist Animation Lighting Costume buyer Gaffer Cutter . -
The 2007 Naval History Symposium
Welcome to the 2007 Naval History Symposium UNITED STATES NAVAL ACADEMY HISTORY DEPARTMENT ANNAPOLIS, MARYLAND September 20-22, 2007 1 Conference Overview Thursday, 20 September 0900 Plenary Session 1000 The Pacific War and After: The United States Navy and Marine Corps in the Pacific and East Asia in The 1940s Naval Blockade during World War I Latin American Navies in the 19th Century European Navies during World War II Song and Story: The US Navy and Literature 1330 Practitioners of Maritime Operations Confront Diverse Missions: Three Case-Studies from the 18th, 19th, and 20th Centuries Cold War Navies Integrating Women into the US Navy Ancient Navies 1530 Teaching Old Frogs New Tricks: Lessons Learned In Amphibious Warfare across Continents and Cultures Influencing Events Ashore: Joint Maritime Operations in the Littoral Maritime and Naval History in Modern China Naval Technology in the Pre-WWII Period Navies in the Age of Sail 2 Conference Overview Friday, 21 September 0830 Naval Campaigns of the American Revolution Navies of the Late 19th Century Naval Warfare in the Atlantic during WWII ’Twixt Sea & Shore: Tactical Ambiguities, Strategic Misconceptions, and Political Issues of Coastal Assault, Defense, and Bombardment during the ‘Pax Britannica’ 1030 Naval Affairs in the Western Hemisphere, 1830-1860 Naval Technologies in the 20th Century 20th Century European Navies Navies in the Early 20th Century Navies in the Middle Ages 1330 Naval Operations during the American Civil War The Interwar Navies Intervention in the Caribbean, 1898-1983 South Asia and the Indian Ocean in the Early Modern Period Naval Personnel in the 18th Century 1530 Maritime Powers in the 20th Century Intelligence, Information, and Perceptions as Tools of Naval Policy French Revolutionary War’s Naval Impact on Latin America, 1793-1815 H.L. -
Semaphore Sea Power Centre - Australia Issue 8, 2017 the Royal Australian Navy on the Silver Screen
SEMAPHORE SEA POWER CENTRE - AUSTRALIA ISSUE 8, 2017 THE ROYAL AUSTRALIAN NAVY ON THE SILVER SCREEN In this day and age, technologies such as smart phones and tablets allow users to film and view video streams on almost any topic imaginable at the convenience of their fingertips. Indeed, most institutions, including the Royal Australian Navy (RAN), promote video streaming as part of carefully coordinated public relations, recruiting and social media programs. In yesteryear, however, this was not a simple process and the creation and screening of news reels, motion pictures and training films was a costly and time consuming endeavor for all concerned. Notwithstanding that, the RAN has enjoyed an ongoing presence on the silver screen, television and more recently the internet on its voyage from silent pictures to the technologically advanced, digital 21st century. The RAN’s earliest appearances in motion pictures occurred during World War 1. The first of these films was Sea Dogs of Australia, a silent picture about an Australian naval officer blackmailed into helping a foreign spy. The film’s public release in August 1914 coincided with the outbreak of war and it was consequently withdrawn after the Minister for Defence expressed security concerns over film footage taken on board the battlecruiser HMAS Australia (I). There was, however, an apparent change of heart following the victory of HMAS Sydney (I) over the German cruiser SMS Emden in November 1914. Australia’s first naval victory at sea proved big news around the globe The Art Brand Productions - The Raider Emden. and it did not take long before several short, silent propaganda films were produced depicting the action. -
Twelve African American Members of the Society for Classical Studies: the First Five Decades (1875-1925)
Twelve African American Members of the Society for Classical Studies: The First Five Decades (1875-1925) by Michele Valerie Ronnick Copyright © 2018 by the Society for Classical Studies All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publisher. Published October 2018 For Ward W. Briggs, Jr., Henry Louis Gates, Jr., Meyer Reinhold and Cornel West, my friends and teachers. Introduction Many of us remain unaware that among the members of the American Philological Association (Society for Classical Studies since 2014) during the latter half of the nine- teenth century were people of African and African American descent, for little or noth- ing had been written about them before the American Philological Association published my pamphlet, The First Three African American Members of the American Philological Association in 2001. We have, however, understood for some time that Americans from the late eighteenth century through the nineteenth century were engaged in heated argu- ments about the appropriate type of education needed by Americans in general, and particularly over the needs of the newly-freed slaves after the Civil War. What we had not yet realized was that these were also concerns among members of the black diasporic community itself, which understood that the study of ancient Greek and Latin had long been the intellectual standard -
HNLMS Panter 10
HNLMS Panter HNLMS Jaguar leaving New Orleans for work-up in spring 1954. Detail of Wolf, note -20 mm just outside the wheelhouse. - two Carley floats. Three of the six ships went instantly into reserve / preservation. Jaguar (1609), Fret (1604) and presumably Panter berthed alongside reserve fleet quay. 10 Warship 11 The name: PanTer In the Dutch language the Leopard packed and without central spots. Both (Panthera pardus) is often called ‘Panter’. leopards and jaguars that are melanistic It’s a common name, derived from are known as black panthers. The leopard Latin:and ancient Greek. is distinguished by its well-camouflaged It occurs in a wide range in sub-Saharan fur, opportunistic hunting behavior, broad Africa, in small parts of Western and diet, strength, and its ability to adapt to a Central Asia, on the Indian subcontinent variety of habitats ranging from rainfor- to Southeast and East Asia. Compared to est to steppe, including arid and montane other wild cats, the leopard has relatively areas. It can run at speeds of up to 58 short legs and a long body with a large kilometers per hour (36 mph). The earliest skull. Its fur is marked with rosettes. It is known leopard fossils excavated in Europe similar in appearance to the jaguar, but has are estimated 600,000 years old, dating to a smaller, lighter physique, and its rosettes the late Early Pleistocene. Leopard fossils are generally smaller, more densely were also found in Japan. The PCE in Royal Netherlands Navy Economical employment for an ever smaller defence budget. The Wolf-class would execute many tasks for a modest price! Diesel oil fuel, long range, small crew (about 80) compared with a destroyer or frigate.