MARYANN BRANDON, ACE Editor

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MARYANN BRANDON, ACE Editor PROJECTS Partial List DIRECTORS STUDIOS/PRODUCERS VENOM: LET THERE BE CARNAGE Andy Serkis MARVEL / SONY Amy Pascal, Avi Arad STAR WARS IX J.J. Abrams LUCASFILM / DISNEY STUDIOS Callum Greene, Kathleen Kennedy VENOM Ruben Fleischer MARVEL / SONY Amy Pascal, Avi Arad THE DARKEST MINDS Jennifer Yuh Nelson 20TH CENTURY FOX Dan Cohen, Dan Levine PASSENGERS Morten Tyldum ORIGINAL FILM / SONY Neal Moritz STAR WARS VII: THE FORCE AWAKENS J.J. Abrams LUCASFILM / DISNEY STUDIOS Nominated, Best Editing – Academy Awards 2016 Kathleen Kennedy, Bryan Burk Nominated, Best Edited Feature Film – ACE Awards TEENAGE MUTANT NINJA TURTLES Jonathan Liebesman PARAMOUNT Add’l Editing Ian Bryce, Michael Bay ENDLESS LOVE Shana Feste UNIVERSAL PICTURES Miles Dale, Scott Stuber, Pam Abdy STAR TREK INTO DARKNESS J.J. Abrams PARAMOUNT PICTURES Bryan Burk, Damon Lindelof Ben Rosenblatt, Alex Kurtzman Roberto Orci SUPER 8 J.J. Abrams PARAMOUNT PICTURES Nominated, Best Editing – Saturn Awards Bryan Burk, Steven Spielberg Nominated, Best Editing – Phoenix Film Critics Guy Reidel KUNG FU PANDA 2 Jennifer Yuh Nelson DREAMWORKS / PARAMOUNT Melissa Cobb, Guillermo Del Toro Bill Damaschke HOW TO TRAIN YOUR DRAGON Dean DeBlois DREAMWORKS / PARAMOUNT Nominated, Best Edited Animated Feature – ACE Bonnie Arnold, Doug Davison, Roy Lee, Kristine Belson, Tim Johnson STAR TREK J.J. Abrams PARAMOUNT / Bryan Burk Nominated, Best Edited Dramatic Feature – ACE Damon Lindelof, Roberto Orci Alex Kurtzman, Jeffrey Chernov THE JANE AUSTEN BOOK CLUB Robin Swicord SONY / Julie Lynn, Kelly Thomas John Calley, Diana Napper MISSION: IMPOSSIBLE III J.J. Abrams PARAMOUNT Paula Wagner, Tom Cruise Stratton Leopold, Bill Borden GRUMPIER OLD MEN Howard Deutch WARNER BROS. John Davis, John J. Smith ALIAS J.J. Abrams TOUCHSTONE / ABC TV Series Ken Olin J.J. Abrams, Sarah Caplan, Nominated, Best Editing – Emmy Awards Various Directors Jeff Pinker, Jesse Alexander GRAPEVINE David Frankel PARAMOUNT / CBS TV Pilot Barry Jossen, Gena Desclos INNOVATIVE-PRODUCTION.COM | 310.656.5151 .

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Accepted Manuscript Version
Research Archive Citation for published version: Tony Shaw, and Tricia Jenkins, ‘An Act of War? The Interview Affair, the Sony Hack, and the Hollywood– Washington Power Nexus Today’, Journal of American Studies, April 2017. DOI: https://doi.org/10.1017/S0021875817000512 Document Version: This is the Accepted Manuscript version. The version in the University of Hertfordshire Research Archive may differ from the final published version. Copyright and Reuse: © 2017 Cambridge University Press and British Association for American Studies. This version is free to view and download for private research and study only. Not for re-distribution, re-sale or use in derivative works. Enquiries If you believe this document infringes copyright, please contact the Research & Scholarly Communications Team at [email protected] An Act of War? The Interview Affair, the Sony Hack, and the Hollywood/Washington Power Nexus Today An early quasi-police procedural showing J. Edgar Hoover’s Federal Bureau of Investigation “smashing” a communist sleeper cell in Boston, Alfred L. Werker’s 1952 docudrama Walk East on Beacon looks at first much like any other Red-baiting Hollywood production of the McCarthy era. On closer inspection, the movie offers us a keen insight into the Hollywood/Washington power nexus during the Cold War. Recently declassified documents reveal that the FBI’s top brass not only helped to inspire Walk East on Beacon but also to cast and market the film. More intriguingly, America’s most powerful military Cold War think tank, the RAND Corporation, was at the heart of the movie’s screenplay. Hollywood scriptwriter Leo Rosten worked as a part-time adviser on social sciences for RAND and based key elements of his plot for Walk East on Beacon on top-secret RAND projects, principally the military uses of satellites and computers.
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Transatlantica, 1 | 2018 Le Regard Impossible 2
Transatlantica Revue d’études américaines. American Studies Journal 1 | 2018 Slavery on Screen / American Women Writers Abroad: 1849-1976 Le regard impossible Réflexions sur les présupposés et les mécanismes idéologiques des images de synthèse photoréalistes dans le blockbuster hollywoodien contemporain Mathias Kusnierz Édition électronique URL : http://journals.openedition.org/transatlantica/11812 DOI : 10.4000/transatlantica.11812 ISSN : 1765-2766 Éditeur AFEA Référence électronique Mathias Kusnierz, « Le regard impossible », Transatlantica [En ligne], 1 | 2018, mis en ligne le 01 septembre 2019, consulté le 29 avril 2021. URL : http://journals.openedition.org/transatlantica/11812 ; DOI : https://doi.org/10.4000/transatlantica.11812 Ce document a été généré automatiquement le 29 avril 2021. Transatlantica – Revue d'études américaines est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modiﬁcation 4.0 International. Le regard impossible 1 Le regard impossible Réflexions sur les présupposés et les mécanismes idéologiques des images de synthèse photoréalistes dans le blockbuster hollywoodien contemporain Mathias Kusnierz 1 Dans son livre de 1966 intitulé Special Effects in Motion Pictures, Frank P. Clark expose, à destination des techniciens d’Hollywood, les différentes manières d’élaborer les effets spéciaux d’un film. Son inventaire s’étend du trucage le plus simple – un écran de fumée, par exemple (40-43) – aux effets spéciaux les plus élaborés, comme l’animation image par image (108-109) ou la construction de maquettes animées complexes (89, 146, 152). Le livre de Clark se veut un exposé technique, sans parti pris, et appuyé sur une solide connaissance pratique du métier de concepteur d’effets spéciaux.
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Fighting for Women Existence in Popular Espionage Movies Salt (2010) and Zero Dark Thirty (2012)
Benita Amalina — Fighting For Women Existence in Popular Espionage Movies Salt (2010) and Zero Dark Thirty (2012) FIGHTING FOR WOMEN EXISTENCE IN POPULAR ESPIONAGE MOVIES SALT (2010) AND ZERO DARK THIRTY (2012) Benita Amalina [email protected] Abstract American spy movies have been considered one of the most profitable genre in Hollywood. These spy movies frequently create an assumption that this genre is exclusively masculine, as women have been made oblivious and restricted to either supporting roles or non-spy roles. In 2010 and 2012, portrayal of women in spy movies was finally changed after the release of Salt and Zero Dark Thirty, in which women became the leading spy protagonists. Through the post-nationalist American Studies perspective, this study discusses the importance of both movies in reinventing women’s identity representation in a masculine genre in response to the evolving American society. Keywords: American women, hegemony, representation, Hollywood, movies, popular culture Introduction The financial success and continuous power of this industry implies that there has been The American movie industry, often called good relations between the producers and and widely known as Hollywood, is one of the main target audience. The producers the most powerful cinematic industries in have been able to feed the audience with the world. In the more recent data, from all products that are suitable to their taste. Seen the movies released in 2012 Hollywood from the movies’ financial revenues as achieved $ 10 billion revenue in North previously mentioned, action movies are America alone, while grossing more than $ proven to yield more revenue thus become 34,7 billion worldwide (Kay, 2013).
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Reframe and Imdbpro Announce New Collaboration to Recognize Standout Gender-Balanced Film and TV Projects
FOR IMMEDIATE RELEASE Media Contacts: June 7, 2018 For Sundance Institute: Jenelle Scott 310.360.1972 [email protected] For Women In Film: Catherine Olim 310.967.7242 [email protected] For IMDbPro: Casey De La Rosa 310.573.0632 [email protected] ReFrame and IMDbPro Announce New Collaboration to Recognize Standout Gender-balanced Film and TV Projects The ReFrame Stamp is being Awarded to 12 Films from 2017 including Everything, Everything; Girls Trip; Lady Bird; The Post; and Wonder Woman Los Angeles, CA — ReFrame™, a coalition of industry professionals and partner companies founded by Women In Film and Sundance Institute whose mission is to increase the number of women of all backgrounds working in film, TV and media, and IMDbPro (http://www.imdbpro.com/), the leading information resource for the entertainment industry, today announced a new collaboration that leverages the authoritative data and professional resources of IMDbPro to recognize standout, gender- balanced film and TV projects. ReFrame is using IMDbPro data to determine recipients of a new ReFrame Stamp, and IMDbPro is providing digital promotion of ReFrame activities (imdb.com/reframe). Also announced today was the first class of ReFrame Stamp feature film recipients based on an extensive analysis of IMDbPro data on the top 100 domestic-grossing films of 2017. The recipients include Warner Bros.’ Everything, Everything, Universal’s Girls Trip, A24’s Lady Bird, Twentieth Century Fox’s The Post and Warner Bros.’ Wonder Woman. The ReFrame Stamp serves as a mark of distinction for projects that have demonstrated success in gender-balanced film and TV productions based on criteria developed by ReFrame in consultation with ReFrame Ambassadors (complete list below), producers and other industry experts.
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MICHAEL BONVILLAIN, ASC Director of Photography
MICHAEL BONVILLAIN, ASC Director of Photography official website FEATURES (partial list) OUTSIDE THE WIRE Netflix Dir: Mikael Håfström AMERICAN ULTRA Lionsgate Dir: Nima Nourizadeh Trailer MARVEL ONE-SHOT: ALL HAIL THE KING Marvel Entertainment Dir: Drew Pearce ONE NIGHT SURPRISE Cathay Audiovisual Global Dir: Eva Jin HANSEL & GRETEL: WITCH HUNTERS Paramount Pictures Dir: Tommy Wirkola Trailer WANDERLUST Universal Pictures Dir: David Wain ZOMBIELAND Columbia Pictures Dir: Ruben Fleischer Trailer CLOVERFIELD Paramount Pictures Dir: Matt Reeves A TEXAS FUNERAL New City Releasing Dir: W. Blake Herron THE LAST MARSHAL Filmtown Entertainment Dir: Mike Kirton FROM DUSK TILL DAWN 3 Dimension Films Dir: P.J. Pesce AMONGST FRIENDS Fine Line Features Dir: Rob Weiss TELEVISION (partial list) PEACEMAKER (Season 1) HBO Max DIR: James Gunn WAYS & MEANS (Season 1) CBS EP: Mike Murphy, Ed Redlich HAP AND LEONARD (Season 3) Sundance TV, Netflix EP: Jim Mickle, Nick Damici, Jeremy Platt Trailer WESTWORLD (Utah; Season 1, 4 Episodes.) Bad Robot, HBO EP: Lisa Joy, Jonathan Nolan CHANCE (Pilot) Fox 21, Hulu EP: Michael London, Kem Nunn, Brian Grazer Trailer THE SHANNARA CHRONICLES MTV EP: Al Gough, Miles Millar, Jon Favreau (Pilot & Episode 102) FROM DUSK TIL DAWN (Season 1) Entertainment One EP: Juan Carlos Coto, Robert Rodriguez COMPANY TOWN (Pilot) CBS EP: Taylor Hackford, Bill Haber, Sera Gamble DIR: Taylor Hackford REVOLUTION (Pilot) NBC EP: Jon Favreau, Eric Kripke, Bryan Burk, J.J. Abrams DIR: Jon Favreau UNDERCOVERS (Pilot) NBC EP: J.J. Abrams, Bryan Burk, Josh Reims DIR: J.J. Abrams OUTLAW (Pilot) NBC EP: Richard Schwartz, Amanda Green, Lukas Reiter DIR: Terry George *FRINGE (Pilot) Fox Dir: J.J.
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Introduction: Fairy Tale Films, Old Tales with a New Spin
Notes Introduction: Fairy Tale Films, Old Tales with a New Spin 1. In terms of terminology, ‘folk tales’ are the orally distributed narratives disseminated in ‘premodern’ times, and ‘fairy tales’ their literary equiva- lent, which often utilise related themes, albeit frequently altered. The term ‘ wonder tale’ was favoured by Vladimir Propp and used to encompass both forms. The general absence of any fairies has created something of a mis- nomer yet ‘fairy tale’ is so commonly used it is unlikely to be replaced. An element of magic is often involved, although not guaranteed, particularly in many cinematic treatments, as we shall see. 2. Each show explores fairy tale features from a contemporary perspective. In Grimm a modern-day detective attempts to solve crimes based on tales from the brothers Grimm (initially) while additionally exploring his mythical ancestry. Once Upon a Time follows another detective (a female bounty hunter in this case) who takes up residence in Storybrooke, a town populated with fairy tale characters and ruled by an evil Queen called Regina. The heroine seeks to reclaim her son from Regina and break the curse that prevents resi- dents realising who they truly are. Sleepy Hollow pushes the detective prem- ise to an absurd limit in resurrecting Ichabod Crane and having him work alongside a modern-day detective investigating cult activity in the area. (Its creators, Roberto Orci and Alex Kurtzman, made a name for themselves with Hercules – which treats mythical figures with similar irreverence – and also worked on Lost, which the series references). Beauty and the Beast is based on another cult series (Ron Koslow’s 1980s CBS series of the same name) in which a male/female duo work together to solve crimes, combining procedural fea- tures with mythical elements.
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[N 1] Adrian Toomes and His Salvage Company Are Contracted
SECRETARIA MUNICIPAL DE EDUCAÇÃO LÍNGUA INGLESA Name: 6º ANO: LEIA O TEXTO ABAIXO E RESPONDA AS QUESTÕES NO CADERNO. SPIDERMAN: HOMECOMING Plot Following the Battle of New York,[N 1] Adrian Toomes and his salvage company are contracted to clean up the city, but their operation is taken over by the Department of Damage Control (D.O.D.C.), a partnership between Tony Stark and the U.S. government. Enraged at being driven out of business, Toomes persuades his employees to keep the Chitauri technology they have already scavenged and use it to create and sell advanced weapons. Eight years later, Peter Parker is drafted into the Avengers by Stark to help with an internal dispute in Berlin,[N 2] but resumes his studies at the Midtown School of Science and Technology when Stark tells him he is not yet ready to become a full Avenger. Parker quits his school's academic decathlon team to spend more time focusing on his crime-fighting activities as Spider-Man. One night, after preventing criminals from robbing an ATM with their advanced weapons Toomes sold them, Parker returns to his Queens apartment, where his best friend Ned discovers his secret identity. On another night, Parker comes across Toomes' associates Jackson Brice / Shocker and Herman Schultz selling weapons to local criminal Aaron Davis. Parker saves Davis before being caught by Toomes and dropped in a lake, nearly drowning after becoming tangled in a parachute built into his suit. He is rescued by Stark, who is monitoring the Spider-Man suit he gave Parker and warns him against further involvement with the criminals.
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PAUL HIRSCH, ACE Editor
PAUL HIRSCH, ACE Editor PROJECTS Partial List DIRECTORS STUDIOS/PRODUCERS NUTCRACKER AND THE FOUR REALMS Lasse Hallstrom DISNEY / Mark Gordon Add’l Editor THE MUMMY 4 Alex Kurtzman UNIVERSAL / Sarah Bradshaw Alex Kurtzman Roberto Orci WARCRAFT Duncan Jones LEGENDARY / UNIVERSAL PICTURES Stuart Fenegan, Chuck Roven, Jon Jashni THE GREAT GATSBY Add’l Editor Baz Luhrmann RED WAGON / WARNER BROS. Marc Solomon LIFE OF PI Add’l Editor Ang Lee 20TH CENTURY FOX / Ted Gagliano MISSION: IMPOSSIBLE – GHOST Brad Bird BAD ROBOT / PARAMOUNT PROTOCOL J.J. Abrams, Jeffrey Chernov Winner, Best Editing – Saturn Awards SOURCE CODE Duncan Jones SUMMIT ENTERTAINMENT Hawk Koch, Mark Gordon DEAD OF NIGHT Kevin Munroe Gil Adler, Ashok Amritraj LOVE RANCH Taylor Hackford DIBELLA ENTERTAINMENT Marty Katz RIGHTEOUS KILL Jon Avnet EMMETT/FURLA FILMS OVERTURE FILMS / Rob Cowan RAY Taylor Hackford UNIVERSAL PICTURES Nomination, Best Editing - Academy Awards Barbara Hall, Howard Baldwin Winner, Best Editing – A.C.E. Eddie Awards MISSION TO MARS Brian De Palma DISNEY / Sam Mercer, Tom Jacobson MIGHTY JOE YOUNG Ron Underwood RKO PICTURES / Michael Fottrell Ralph Winter, Tom Jacobson MISSION: IMPOSSIBLE Brian De Palma PARAMOUNT PICTURES Paula Wagner FALLING DOWN Joel WARNER BROS. Schumacher Bill Beasley, Dan Kolsrud STEEL MAGNOLIAS Herbert Ross TRISTAR / Ray Stark, Victoria White PLANES, TRAINS & AUTOMOBILES John Hughes PARAMOUNT / John Hughes Michael Chinich, Neil Machlis FERRIS BUELLER’S DAY OFF John Hughes PARAMOUNT / Tom Jacobson FOOTLOOSE Herbert Ross PARAMOUNT / Daniel Melnick Lewis Rachmil, Craig Zadan BLOW OUT Brian De Palma CINEMA 77 / Fred Caruso, George Litto STAR WARS V: Irvin Kershner 20TH CENTURY FOX THE EMPIRE STRIKES BACK Gary Kurtz, George Lucas THE FURY Brian De Palma 20TH CENTURY FOX Ron Preissman, Frank Yablans STAR WARS IV: A NEW HOPE George Lucas 20TH CENTURY FOX Winner, Best Editing - Academy Awards Gary Kurtz Nomination, Best Editing – BAFTA Awards Nomination, Best Editing – A.C.E.
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DAVID KLOTZ Music Editor TELEVISION CREDITS
DAVID KLOTZ Music Editor David Klotz has devoted his career to the music side of the film and tv industry, primarily as a music editor, but also as a composer, songwriter and music supervisor. He has won six Emmy awards for his work on Stranger Things, Game of Thrones, and American Horror Story. He got his start music supervising Christopher Nolan’s critically acclaimed film, Memento. Soon after, he moved into music editing, working on the shows Buffy The Vampire Slayer, Angel, Firefly, and Blade, the TV Series, to name a few. In 2005, he formed Galaxy Beat Media, his music editorial and production company, working on TV shows including Entourage, Prison Break, Glee, and the Marvel feature film, Iron Man. David co-wrote and performed the theme song to the 2001 Robert Rodriguez blockbuster, Spy Kids. He most recently produced and arranged a cover of the 1984 classic “Never Ending Story” for Stranger Things Season 3, available on the show’s soundtrack album. David’s band Dream System 8 has created music for dozens of TV shows including 9-1-1, American Horror Story, Scream Queens, and Pose. TELEVISION CREDITS Perry Mason (TV Series) I Am Not Okay with This (TV Series) Executive Producers: Robert Downey Jr., Susan Downey, Executive Producers: Josh S. Barry, Dan Cohen, Jonathan Ron Fitzgerald, Rolin Jones, Timothy Van Patten, Entwistle, Christy Hall, Dan Levine & Shawn Levy Matthew Rhys, Amanda Burrell & Joseph Horacek 21 Laps Entertainment/Netflix HBO American Horror Story (TV Series – Seasons 1- Ratched (TV Series) 10) Executive Producers:
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Spider-Man: Homecoming’
Audi MediaInfo Culture & Trends Communications Christian Günthner Phone: +49 841 89-48356 E-mail: [email protected] www.audi -mediacenter.com/en Audi A8 in disguise as surprise guest at the world premiere of ‘Spider-Man: Homecoming’ Audi figurehead car in Spider-Man camouflage on the red carpet in Los Angeles Leading actor Tom Holland as a VIP passenger Official presentation of the Audi A8 on July 11 at Audi Summit in Barcelona Los Angeles/Ingolstadt, June 29, 2017 – Wednesday night the new Audi A8* could be seen in Los Angeles alongside many Hollywood stars at the world premiere of ‘Spider-Man: Homecoming.’ Tom Holland, who stars as Peter Parker / Spider-Man, was chauffeured down the red carpet at the TCL Chinese Theatre. Meanwhile, Robert Downey Jr. and Jon Favreau arrived together in a black Audi R8 Spyder*. Normally, Audi’s Technical Development team conceals their secret prototypes with a special adhesive foil with a camouflaged pattern of black and white swirls. However, this time Audi Design developed a new camouflage foil with a Spider-Man design specifically for the appearance on the red carpet at the world premiere of ‘Spider-Man: Homecoming’. The traditional swirl design has been modified to incorporate spider webs on the vehicle doors and within the signature rings. Even before its official world premiere, the first glimpses of the Audi A8’s can be seen on the big screen in ‘Spider-Man: Homecoming’ – viewers can see parts of the front and side designs in the film. In addition, moviegoers also get to see Audi AI Traffic Jam Pilot in action when Happy Hogan drives Peter Parker and momentarily removing his hands from the wheel.
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Nominations1
Section of the WSFS Constitution says The complete numerical vote totals including all preliminary tallies for rst second places shall b e made public by the Worldcon Committee within ninety days after the Worldcon During the same p erio d the nomination voting totals shall also b e published including in each category the vote counts for at least the fteen highest votegetters and any other candidate receiving a numb er of votes equal to at least ve p ercent of the nomination ballots cast in that category The Hugo Administrator reports There were valid nominating ballots and invalid nominating ballots There were nal ballots received of which were valid Most of the invalid nal ballots were electronic ballots with errors in voting which were corrected by later resubmission by the memb ers only the last received ballot for each memb er was counted Best Novel 382 nominating ballots cast 65 Brasyl by Ian McDonald 58 The Yiddish Policemens Union by Michael Chab on 58 Rol lback by Rob ert J Sawyer 41 The Last Colony by John Scalzi 40 Halting State by Charles Stross 30 Harry Potter and the Deathly Hal lows by J K Rowling 29 Making Money by Terry Pratchett 29 Axis by Rob ert Charles Wilson 26 Queen of Candesce Book Two of Virga by Karl Schro eder 25 Accidental Time Machine by Jo e Haldeman 25 Mainspring by Jay Lake 25 Hapenny by Jo Walton 21 Ragamun by Tobias Buckell 20 The Prefect by Alastair Reynolds 19 The Name of the Wind by Patrick Rothfuss Best Novella 220 nominating ballots cast 52 Memorare by Gene Wolfe 50 Recovering Ap ollo
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Sara Isaacson
sara isaacson casting director [email protected] 323-363-6179 CONNECTING Universal Television / NBC / ½ Hour Pilot and Series Executive Producers: Martin Gero, Brendan Gall Directors: Martin Gero, Linda Mendoza DARK WOODS Wolf Entertainment / Endeavor Audible / Wave Runner / Scripted Podcast Executive Producers: Dick Wolf, Elliot Wolf Director: Takashi Doscher ECHO Universal Television / Davis Entertainment / NBC / 1 Hour Pilot Executive Producers: John Davis, John Fox, JJ Bailey, David Frankel, Moira Kirkland Director: David Frankel THE BAKER AND THE BEAUTY Universal Television / Keshet Studios / ABC / 1 Hour Pilot Executive Producers: Dean Georgaris, Rachel Kaplan, Peter Tragott, David Frankel, Becky Hartman-Edwards Director: David Frankel MANIFEST Warner Brothers / ImageMovers / NBC / 1 Hour Pilot Executive Producers: Robert Zemeckis, Jeff Rake, Jack Rapke, Jackie Levine, David Frankel Director: David Frankel HUNTED Wolf Entertainment / Endeavor Audible / Neon Hum / Scripted Podcast Executive Producers: Dick Wolf, Elliot Wolf, Dave Easton, Jonathan Hirsch Director: Shawn Christensen EVELYN X EVELYN Reckless Tortuga Productions / Short Film Executive Producers: Eric Pumphrey, Tommy Savas Director: Eric Pumphry Oscar Award Qualifier, 2020 – Artios Award Nominations, 2020 1 MIDNIGHT, TEXAS Universal Television / NBC / 1 Hour Pilot and Series, Season 1 and 2 Executive Producers: David Janollari, Monica Breen, Nicole Snyder, Eric Charmelo, Director: Niels Arden Oplev THE ORDER Netflix / Nomadic Pictures / 1 Hour Pilot – Search
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