DOCSLIB.ORG

Stunt Resume

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Stunt Resume David Jacox Stunt Coordinator/ Stunt Performer Office: 604-299-7050 Cel: 604-220-8310 Website: www.stuntscanada.com Email: [email protected] Height: 6’0 Weight: 240 Hair: Brown/Grey Eyes: Blue Waist: 40 Inseam: 33 Neck: 17 ½ Jacket: 46R Shoe: 10 Hat: 7 3/8 TAURUS WORLD STUNT AWARDS NOMINEE: Best Work with a Vehicle, “Reindeer Games” - 2000 STUNT COORDINATING - FEATURES SHOW POSITION PRODUCER/PM/DIRECTOR Get Carter Canadian Stunt Coordinator – (US Mark Canton, Neil Canton/Joyce Kozy- Coordinator, Mark De Alessandro King/Steven Kay Chain of Fools Stunt Coordinator Tony Lord, Matthew Weaver/Wendy Williams/Traktor Bordello of Blood Stunt Coordinator Gil Adler, Alexander Collett/Colleen Nystedt/Gil Adler STUNT COORDINATING – TELEVISION SHOW POSITION PRODUCER/PM/DIRECTOR Rogue – Season 1 Stunt Coordinator Robert Petrovicz/Brad Jubenvill/Various Eureka – Seasons 1, 2, 3, 4, 5 Stunt Coordinator Robert Petrovicz/Brad Jubenvill/Various No Heroics – Pilot Stunt Coordinator JP Finn/Brian Dick/Andrew Fleming Facing Kate – Pilot Stunt Coordinator Chris Sacani/Matthew Chipera/Bronwen Hughes To Love & Die in LA – Pilot Stunt Coordinator Robert Petrovicz/Michael Young/Mark Piznarski The Dead Zone – Seasons 2 & 3 Stunt Coordinator Various/Matthew Chipera/Various The Net – 22 episodes Stunt Coordinator Boris Malden/George Grieve/Various Jitters Stunt Coordinator Michael Manheim/Barbara Kelly/Bob Saget Two – 6 episodes Stunt Coordinator David Levinson/Kandis Armstrong/Various Have You Seen My Son? Stunt Coordinator Lisa Hartman, Bob Finkel/Charles Lyall/Paul Schneider Beyond Obsession Stunt Coordinator Bonnie Raskin/Andrew McLean/David Green Cobra Stunt Coordinator Various/Charles Lyall/Various Northwood – 1 episode Stunt Coordinator Nick Orchard/Randy Cheveldave/Neill Fearnley SHOW POSITION PRODUCER/PM/DIRECTOR Killer APP – Pilot Stunt Coordinator JP Finn/Robert Altman Almost Gone - Pilot Stunt Coordinator Kandis Armstrong/Steve Robman Underground- Pilot Stunt Coordinator Robert Petrovicz/Steve Surjik Wirehead – Interactive Video Game Stunt Coordinator Geoff Martin/Jim Riley STUNT PERFORMING – FEATURES CABIN IN THE WOODS FINAL DESTINATION 2 SCARLET LETTER HUNT TO KILL X-MEN JUMANJI UNDERWORLD 4 1 SPY HIDEAWAY BIG TIME MOVIE K-19 POWER OF ATTORNEY END OF THE WORLD BALLISTICS: ECKS VS SEVER GUNFIGHTER’S MOON THIS MEANS WAR D-TOX TIMECOP TWILIGHT TRAPPED INTERSECTION PERCY JACKSON & THE LIGHTNING THIEF KEVIN OF THE NORTH ALIVE MORDECAI THE 6TH DAY THIS BOY’S LIFE RAMPAGE MISSION TO MARS ARCTIC BLUE 2012 DUETS K-2 SLAPSHOT ROMEO MUST DIE PURE LUCK THE IMAGINARIUM OF DR PARASSUS THE GUILTY MYSTERY DATE I LOVE YOU BETH COOPER DOUBLE JEOPARDY RUN WATCHMEN 13TH WARRIOR BINGO THE HULK DUDLEY DO RIGHT BIRD ON A WIRE SHOOTER I;LL BE HOME FOR CHRISTMAS LOOK WHO’S TALKING TOO HOT ROD WRONGFULLY ACCUSED SHORT TIME BLACK CHRISTMAS DISTURBING BEHAVIOUR FRIDAY THE 13TH PART VIII BUTTERFLY EFFECT 2 MASTERMINDS WE’RE NO ANGELS SCARY MOVIE EXCESS BAGGAGE IMMEDIATE FAMILY LITTLE MAN THE SIXTH MAN DEAD BANG X-MEN 2 CARPOOL WATCHERS FANTASTIC 4 BOUNTY HUNTER SHOOT TO KILL CHAOS FEAR DISTANT THUNDER CATWOMAN HAPPY GILMORE STAKEOUT ARE WE THERE YET ROMEO & JULIET HYPER SAPIEN THE CHRONICLES OF RIDDICK BIG BULLY PAYCHECK DREAMCATCHER STUNT PERFORMING – TELEVISION ARROW KINGDOM HAWKEYE ONCE UPON A TIME DEADZONE ROBIN’S HOODS HELL ON WHEELS JAKE 2.0 BORN TO RUN TRUE JUSTICE UNDER CLASSMEN DAYBREAK ENDGAME ADVENTURE INC WOMAN ON THE LEDGE SHATTERED RUNAWAY STRANGER IN THE MIRROR ALCATRAZ HEAVEN’T FIRE MARKED FOR MURDER HUMAN TARGET FUTURESPORT X-FILES FRINGE FIRST WAVE COBRA SANCTUARY THE NET SHAME V ALL THE WINTERS DIRTY WORK PSYCH POLICE ACADEMY THE HAT SQUAD INSEPARABLE JITTERS THE ROUND TABLE FIREBALL INTENSITY HIGHLANDER IMPACT FIRE ON THE MOUNTAIN NIGHTMARE CAFE REVOLUTION DEAD MAN’S GUN SILENT MOVIE THE DAY THE EARTH STOOD STILL DAUGHTERS GIRLD FROM MARS UNDER NIGHTMAN THE COMMISH REAPER COLD FEET FLY BY NIGHT INTELLIGENCE ONCE A THIEF STREET JUSTICE SEARCH & RESCUE TO BRAVE ALASKA P[ALACE GUARD BIONIC WOMAN THE SENTINEL ANYTHING TO SURVIVE CONSPIRACY SPREE PASSING THROUGH VEILS CASE 39 VIPER DEATH OF THE INCREDIBLE HULK MARRIAGE TITANIC BLACK STALLION STARGATE TWO NEON RIDER EUREKA POLTERGEIST BROKEN BADGES KILLER INSTINCT CAPTAIN ZOOM BOOKER SUPER NATURAL SLIDERS TOP OF THE HILL BLADE SLAM DUNK ERNEST BORDERTOWN PACIFIC AIR THE MARSHALL DAVY CROCKETT ANDROMEDA STRANGE LUCK DEADLY DECEPTION 5 DAYS TILL MIDNIGHT MORTAL SINS SEASON OF FEAR SMALLVILLE EDDIE KEATING STORY MURPHY’S LAW AVALANCHE DEAD LOCK DON’T TALK TO STRANGERS PENNSYLVANIA AVE M.A.N.T.I.S JACKS TRAPS TRAVELER 21 JUMP STREET DOG HERMIT STREET JUSTICE AIRWOLF 2 WISEGUY MACGYVER DANGER BAY BEACHCOMBERS INTERNATIONAL COORDINATORS WORKED WITH: BOB BROWN JOHN STONEHAM JR GREG SMRZ GLEN RANDALL MIC RODGERS VIC ARMSTRONG CONRAD PALMISANO CHUCK WATERS JEFF HABBERSTADT FRED WAUGH GUY NORRIS GARY BAXLEY GARY COMBS FREDDIE HICE JOEL KRAMER VINCE DEADRICK JR JOE DUNN BRAD MARTIN .
Load more

Recommended publications
  • The Dominant Eye: Dominant for Parvo- but Not for Magno-Biased Stimuli?
    vision Article The Dominant Eye: Dominant for Parvo- But Not for Magno-Biased Stimuli? Brian K. Foutch 1,* and Carl J. Bassi 2 1 Rosenberg School of Optometry, University of the Incarnate Word, San Antonio, TX 78209, USA 2 College of Optometry, University of Missouri-St Louis, St. Louis, MO 63121, USA; [email protected] * Correspondence: [email protected]; Tel.: +1-210-930-8162 Received: 4 September 2019; Accepted: 8 March 2020; Published: 12 March 2020 Abstract: Eye dominance is often defined as a preference for the visual input of one eye to the other. Implicit in this definition is the dominant eye has better visual function. Several studies have investigated the effect of visual direction or defocus on ocular dominance, but there is less evidence connecting ocular dominance and monocular visual thresholds. We used the classic “hole in card” method to determine the dominant eye for 28 adult observers (11 males and 17 females). We then compared contrast thresholds between the dominant and non-dominant eyes using grating stimuli biased to be processed more strongly either by the magnocellular (MC) or parvocellular (PC) pathway. Using non-parametric mean rank tests, the dominant eye was more sensitive overall than the non-dominant eye to both stimuli (z = 2.54, p = 0.01). The dominant eye was also more sensitive − to the PC-biased stimulus (z = 2.22, p = 0.03) but not the MC-biased stimulus (z = 1.16, p = 0.25). We − − discuss the clinical relevance of these results as well as the implications for parallel visual pathways. Keywords: dominant eye; contrast; parvocellular; magnocellular 1.
    [Show full text]
  • Models of Time Travel
    MODELS OF TIME TRAVEL A COMPARATIVE STUDY USING FILMS Guy Roland Micklethwait A thesis submitted for the degree of Doctor of Philosophy of The Australian National University July 2012 National Centre for the Public Awareness of Science ANU College of Physical and Mathematical Sciences APPENDIX I: FILMS REVIEWED Each of the following film reviews has been reduced to two pages. The first page of each of each review is objective; it includes factual information about the film and a synopsis not of the plot, but of how temporal phenomena were treated in the plot. The second page of the review is subjective; it includes the genre where I placed the film, my general comments and then a brief discussion about which model of time I felt was being used and why. It finishes with a diagrammatic representation of the timeline used in the film. Note that if a film has only one diagram, it is because the different journeys are using the same model of time in the same way. Sometimes several journeys are made. The present moment on any timeline is always taken at the start point of the first time travel journey, which is placed at the origin of the graph. The blue lines with arrows show where the time traveller’s trip began and ended. They can also be used to show how information is transmitted from one point on the timeline to another. When choosing a model of time for a particular film, I am not looking at what happened in the plot, but rather the type of timeline used in the film to describe the possible outcomes, as opposed to what happened.
    [Show full text]
  • Complete Directory
    Complete Directory Name Primary Appointment Tel: (212) 938- xxxx Academic Programs Academic Affairs 5658 Fax Dean's Office Academic Affairs 5714 Pak, Jean Academic Affairs 4313 Vice President/Dean for Academic Academic Affairs 5515 Paulino, Yodania Accounts Payable 5669 Orehek, Frank Administration 5582 Vice President Administration and Administration and Finance 5666 Alumni Association Alumni Affairs 5603 Wall Phone 18th floor Alumni Alumni Commons Caf 5588 Lomparte, Francisco Alumni Relations 5604 Assoc Dean Graduate Program Associate Dean 5540 Alonso, Jose-Manuel Biological and Vision Sciences 5573 Aquilante, Kathy Biological and Vision Sciences 5775 Backus, Benjamin Biological and Vision Sciences 1541 Beaton, Ann Biological and Vision Sciences 5799 Bloomfield, Stewart Biological and Vision Sciences 5532 Ciuffreda, Kenneth Biological and Vision Sciences 5765 Duckman, Robert Biological and Vision Sciences 5857 Dul, Mitchell Biological and Vision Sciences 4164 Gundel, Ralph Biological and Vision Sciences 5868 Kruger, Philip Biological and Vision Sciences 5759 Llerena-Law, Christina Biological and Vision Sciences 4169 McPeek, Robert Biological and Vision Sciences 5762 Picarelli, John Biological and Vision Sciences 5784 Pola, Jordan Biological and Vision Sciences 5758 Rapp, Jerry Biological and Vision Sciences 5786 Reinach, Peter Biological and Vision Sciences 5938 Richdale, Kathryn Biological and Vision Sciences 4165 Rubinson, Kalman Biological and Vision Sciences N/A Sack LAB, Robert Biological and Vision Sciences 5793 Sack, Robert Biological
    [Show full text]
  • Cinema 4 Journal of Philosophy and the Moving Image Revista De Filosofia E Da Imagem Em Movimento
    CINEMA 4 JOURNAL OF PHILOSOPHY AND THE MOVING IMAGE REVISTA DE FILOSOFIA E DA IMAGEM EM MOVIMENTO PHILOSOPHY OF RELIGION edited by Sérgio Dias Branco FILOSOFIA DA RELIGIÃO editado por Sérgio Dias Branco EDITORS Patrícia Silveirinha Castello Branco (University of Beira Interior/IFILNOVA) Sérgio Dias Branco (University of Coimbra/IFILNOVA) Susana Viegas (IFILNOVA) EDITORIAL ADVISORY BOARD D. N. Rodowick (University of Chicago) Francesco Casetti (Università Cattolica del Sacro Cuore/Yale University) Georges Didi-Huberman (École des hautes études en sciences sociales) Ismail Norberto Xavier (University of São Paulo) João Mário Grilo (New University of Lisbon) Laura U. Marks (Simon Fraser University) Murray Smith (University of Kent) Noël Carroll (City University of New York) Patricia MacCormack (Anglia Ruskin University) Raymond Bellour (Centre national de la recherche scientifique/Université Sorbonne Nouvelle - Paris 3) Stephen Mulhall (University of Oxford) Thomas E. Wartenberg (Mount Holyoke College) INTERVIEWS EDITOR Susana Nascimento Duarte (IFILNOVA) BOOK REVIEWS EDITOR Maria Irene Aparício (IFILNOVA) CONFERENCE REPORTS EDITOR William Brown (University of Roehampton) ISSN 1647-8991 CATALOGS Directory of Open Access Journals The Philosopher’s Index PUBLICATION IFILNOVA - Nova Philosophy Institute Faculty of Social and Human Sciences New University of Lisbon Edifício I&D, 4.º Piso Av. de Berna 26 1069-061 Lisboa Portugal www.ifl.pt WEBSITE www.cjpmi.ifl.pt CINEMA: JOURNAL OF PHILOSOPHY AND THE MOVING IMAGE 4, “PHILOSOPHY OF RELIGION” Editor: Sérgio Dias Branco Peer reviewers: Ashish Avikuntak, Christine A. James, Inês Gil, João Constâncio, John Caruana, M. Gail Hamner, Mark Hanshaw, Melissa Conroy, Sérgio Dias Branco, Susana Nascimento Duarte, Susana Viegas, William Blizek Cover: The Silence (Tystnaden, 1963), dir.
    [Show full text]
  • AGE Qualitative Summary
    AGE Qualitative Summary Age Gender Race 16 Male White (not Hispanic) 16 Male Black or African American (not Hispanic) 17 Male Black or African American (not Hispanic) 18 Female Black or African American (not Hispanic) 18 Male White (not Hispanic) 18 Malel Blacklk or Africanf American (not Hispanic) 18 Female Black or African American (not Hispanic) 18 Female White (not Hispanic) 18 Female Asian, Asian Indian, or Pacific Islander 18 Male Asian, Asian Indian, or Pacific Islander 18 Female White (not Hispanic) 18 Female White (not Hispanic) 18 Female Black or African American (not Hispanic) 18 Male White (not Hispanic) 19 Male Hispanic (unspecified) 19 Female White (not Hispanic) 19 Female Asian, Asian Indian, or Pacific Islander 19 Male Asian, Asian Indian, or Pacific Islander 19 Male Asian, Asian Indian, or Pacific Islander 19 Female Native American or Alaskan Native 19 Female White (p(not Hispanic)) 19 Male Hispanic (unspecified) 19 Female Hispanic (unspecified) 19 Female White (not Hispanic) 19 Female White (not Hispanic) 19 Male Hispanic/Latino – White 19 Male Hispanic/Latino – White 19 Male Native American or Alaskan Native 19 Female Other 19 Male Hispanic/Latino – White 19 Male Asian, Asian Indian, or Pacific Islander 20 Female White (not Hispanic) 20 Female Other 20 Female Black or African American (not Hispanic) 20 Male Other 20 Male Native American or Alaskan Native 21 Female Don’t want to respond 21 Female White (not Hispanic) 21 Female White (not Hispanic) 21 Male Asian, Asian Indian, or Pacific Islander 21 Female White (not
    [Show full text]
  • Table of Contents
    Table of Contents PART I. Introduction 5 A. Overview 5 B. Historical Background 6 PART II. The Study 16 A. Background 16 B. Independence 18 C. The Scope of the Monitoring 19 D. Methodology 23 1. Rationale and Definitions of Violence 23 2. The Monitoring Process 25 3. The Weekly Meetings 26 4. Criteria 27 E. Operating Premises and Stipulations 32 PART III. Findings in Broadcast Network Television 39 A. Prime Time Series 40 1. Programs with Frequent Issues 41 2. Programs with Occasional Issues 49 3. Interesting Violence Issues in Prime Time Series 54 4. Programs that Deal with Violence Well 58 B. Made for Television Movies and Mini-Series 61 1. Leading Examples of MOWs and Mini-Series that Raised Concerns 62 2. Other Titles Raising Concerns about Violence 67 3. Issues Raised by Made-for-Television Movies and Mini-Series 68 C. Theatrical Motion Pictures on Broadcast Network Television 71 1. Theatrical Films that Raise Concerns 74 2. Additional Theatrical Films that Raise Concerns 80 3. Issues Arising out of Theatrical Films on Television 81 D. On-Air Promotions, Previews, Recaps, Teasers and Advertisements 84 E. Children’s Television on the Broadcast Networks 94 PART IV. Findings in Other Television Media 102 A. Local Independent Television Programming and Syndication 104 B. Public Television 111 C. Cable Television 114 1. Home Box Office (HBO) 116 2. Showtime 119 3. The Disney Channel 123 4. Nickelodeon 124 5. Music Television (MTV) 125 6. TBS (The Atlanta Superstation) 126 7. The USA Network 129 8. Turner Network Television (TNT) 130 D.
    [Show full text]
  • Romeo & Juliet
    ROMEO & JULIET Student’s Book A play and film study guide Educasia Education in Context Before You Start… 1. You are about to read and watch the story of Romeo and Juliet. Look at the two pictures below, and try to answer the following questions: Who are Romeo and Juliet? What is their relationship? How will their relationship change throughout the story? How will the film and play be different? 2. Read the following introduction to the play, and answer the questions. This is the most famous of all Shakespeare’s plays, first printed in 1597. Romeo and Juliet meet, fall in love, and promise to be faithful to each other forever. Love is strong, but not as strong as family tradition, or hate, or revenge. Like young people all over the world, Romeo and Juliet want the right to decide their future for themselves, but in the end, their families are too powerful for them. Romeo and Juliet cannot live without each other, and if they are not allowed to marry and live together, there is only one way out. According to the introduction, are the following sentences true (T), false (F) or doesn’t it say (DS)? a. Romeo and Juliet have been lovers since they were children. b. Romeo and Juliet’s families are enemies. c. Romeo and Juliet are married. d. Their families eventually allow them to be together. 1 Characters in the Play The Montague family Lord Montague Lady Montague Romeo, the Montagues’ son Nurse, from Benvolio, Romeo’s cousin the 1968 film The Capulet family Lord Capulet Lady Capulet Juliet, the Capulets’ daughter Romeo and Juliet, Tybalt, Juliet’s cousin from the 1916 film.
    [Show full text]
  • TIMECOP-AE Toward Innovative Methods for Combustion Prediction
    PROJECT TIMECOP-AE Toward Innovative Methods for Combustion Prediction in Aero-Engines Funding: European (6th RTD Framework Programme) Duration: Jun 2006 - Nov 2010 Status: Complete with results Total project cost: €7,110,272 EU contribution: €4,800,000 Call for proposal: FP6-2005-AERO-1 CORDIS RCN : 79955 Background & policy context: Predictive tools are required to be able to reduce NOx emissions, to decrease the development time and costs of new combustion systems and to improve the operability of lean-burn combustion systems. Most promising approaches to satisfy future emission levels regulations are based on lean combustion technology. However, lean combustion compromises combustor operability, including ignition, altitude re-light, pull-away, weak extinction performance and thermo-acoustic instability behaviour. Therefore it is of prime importance to evaluate the behaviour of the flame during these transient phases in the design stage and modelling tools are required. Without these tools the development of advanced combustion systems relies on many costly and time consuming rig tests. The high-fidelity simulations proposed in TIMECOP-AE are therefore a way to increase competitiveness. Objectives: The aim of the FP6 TIMECOP-AE project was to improve the necessary combustion prediction methods that enable the development of practical advanced combustion systems for future engines, with reduced emission levels and fuel consumption. The main objective of the project was to enable European industry to design and develop innovative, optimised, low emissions combustion systems within reduced time and cost scales. This would be made possible by the development of state-of-the-art methods in the field of combustion modelling.
    [Show full text]
  • Coming of Age on Stage
    UNIT 5 Coming of Age on Stage Visual Prompt: The balcony scene is one of the most famous in The Tragedy of Romeo and Juliet. How do you visualize this scene? Unit Overview The Tragedy of Romeo and Juliet, a coming- of-age drama about two young star-crossed lovers, was one of William Shakespeare’s most popular plays in his lifetime. To this day, it is one of his most widely performed plays, and it has inspired countless artists, musicians, and filmmakers to bring to life their own visions of this timeless tragedy. In this unit, you will join their ranks by planning and performing your © 2014 College Board. All rights reserved. own collaborative interpretation of a scene. After reflecting on this experience, you will conduct research to support an argument about the relevance of Shakespeare in today’s world. Unit 5 • Coming of Age on Stage 317 UNIT Coming of Age on Stage 5 GOALS: Contents • To cite textual evidence Activities to support analysis of a dramatic text 5.1 Previewing the Unit ................................................................. 320 • To analyze the representation of key scenes in text, film, 5.2 Shakespeare’s Age ...................................................................321 and other mediums Monologue: Excerpt from As You Like It, by William Shakespeare • To collaborate with peers on 5.3 A Sonnet Sets the Stage .......................................................... 324 an interpretive performance Drama: Prologue from The Tragedy of Romeo and Juliet, • To conduct research to answer questions and by William Shakespeare gather evidence 5.4 Conflict Up Close (Act I) ........................................................... 327 • To analyze how an author : , uses rhetoric to advance *Drama The Tragedy of Romeo and Juliet a purpose by William Shakespeare • To write an argument to 5.5 Talking by Myself (Act I) .........................................................
    [Show full text]
  • It's Katniss Vs. Comedians As the Hunger Games and Bridesmaids Dominate Nominations for the "2012 MTV Movie Awards"
    The Battle For The Golden Popcorn Begins! It's Katniss vs. Comedians As The Hunger Games And Bridesmaids Dominate Nominations For The "2012 MTV Movie Awards" Winner Voting For 12 Returning and All-New Categories Opens Today, May 1 at 8AM ET/5AM PT at MovieAwards.MTV.com 21st Annual "MTV Movie Awards" Will Air Live Sunday, June 3rd at 9 PM ET/PT on MTV from the Gibson Amphitheatre in Universal City, CA NEW YORK, May 1, 2012 /PRNewswire/ -- The nominees are in for the "2012 MTV Movie Awards," with The Hunger Games and Bridesmaids neck-in-neck with eight nominations each, including the categories "MOVIE OF THE YEAR," "BEST CAST" and "BREAKTHROUGH PERFORMANCE." Fans will have the "Power of the Popcorn" in their hands as winner voting opens today, May 1 at 8AM ET/5AM PT, at MovieAwards.MTV.com and will stay open through Saturday, June 2nd. As in previous years, the category of "MOVIE OF THE YEAR" will remain an ongoing battle throughout the live show when the 21st annual "2012 MTV Movie Awards" airs live on Sunday, June 3rd at 9pm ET/PT on MTV from the Gibson Amphitheatre in Universal City, California. The "2012 MTV Movie Awards" will put the spotlight on one of the most diverse roster of nominated films in years for the show. Featuring a broad array of movies that resonated with our audience this year, the nominations include both blockbusters and critically acclaimed films such as "Drive," "Like Crazy," "The Descendants," "The Girl with the Dragon Tattoo," and "My Week with Marilyn." This year's telecast will also be a theatrical throwdown between two funny ladies and an action star as Kristen Wiig, Melissa McCarthy and Jennifer Lawrence all received four nominations each, the most for all female actors nominated.
    [Show full text]
  • 10 Pre-Game Mistakes
    10 “Deadly” Mistakes Hockey Players Make – Page 1 Peak Performance Sports Special Report The 10 “Deadly” Mistakes Hockey Players Make With Their Pregame Attitude What every player and sports parent needs to learn to improve athletes’ mental game Patrick J. Cohn, Ph.D. Mental Game Coach Peak Performance Sports, LLC http://www.peaksports.com/mental _________________________________________________________________ Copyright © 2008 by Peak Performance Sports, LLC. 10 “Deadly” Mistakes Hockey Players Make – Page 2 TERMS OF USE You may freely distribute this Peak Performance E‐booklet to teammates, friends, and coaches, as long as the entire E‐booklet remains intact, as is (without any modification) including logo, contact data, terms of use and copyright information. The information contained in this document represents the current view of Peak Performance Sports, LLC on the issues discussed as of the date of publication. Peaksports cannot guarantee the accuracy of any information presented after the date of publication. This Peak Performance E‐booklet is for informational purposes only. Peaksports MAKES NO WARRANTIES, EXPRESS, IMPLIED OR STATUTORY, AS TO THE INFORMATION IN THIS DOCUMENT. Complying with all applicable copyright laws is the responsibility of the user. Without limiting the rights under copyright, no part of this document may be reproduced, modified or distributed for profit in any form or by any means (electronic, mechanical, photocopying, recording, or otherwise) without the express written permission of Peaksports and Dr. Patrick Cohn. BY PROCEEDING WITH THIS PEAK PERFORMANCE E‐BOOKLET, YOU AGREE TO ABIDE BY THE ABOVE TERMS AND CONDITIONS WITHOUT LIMITATION. Copyright © 2008 by Peak Performance Sports, LLC. & Patrick J.
    [Show full text]
  • JJ Makaro 2Nd Unit Director / Stunt Coordinator / Stunt Performer
    JJ Makaro 2nd Unit Director / Stunt Coordinator / Stunt Performer Office: 604-299-7050 Cel: 604-880-4478 Website: www.stuntscanada.com DGC/UBCP/ACTRA Member Height: 5’10 Weight: 175 Hair: Silver Eyes: Blue Waist: 32 Inseam: 32 Sleeve: 33 Shoe: 9 ½ Hat: 7 1/8 Neck: 16 Jacket: 40 MED LEO AWARDS NOMINEE – BEST STUNT COORDINATION IN A FEATURE FILM – “NIGHT AT THE MUSEUM: BATTLE OF THE SMITHSONIAN - 2009 TAURUS WORLD STUNT AWARD NOMINEE – BEST STUNT COORDINATOR/2ND UNIT DIRECTOR – “3000 MILES TO GRACELAND” – 2001 2ND UNIT DIRECTING SHOW PRODUCER/PM DIRECTOR The Guest (Miramax) Paddy Cullen/Fran Rosati David Zucker Out Cold (Spyglass) Lee R. Mayes/Fran Rosati Brendan & Emmett Malloy Freedom (Silver Pictures/WB TV) Simon Abbott Various Saving Silverman (Columbia/Tristar) Neil Moritz/Warren Carr Dennis Dugan A Winter’s Tale (Mandeville) Preston Fisher/Gran Rosati Michael Switzer Scary Movie (Miramax) Lee R. Mayes/Fran Rosati Keenan Ivory Wayans Max Q (Disney/Bruckheimer) David Roessel/Andrew Maclean Michael Shapiro Nightman (Crescent Entertainment) Allen Eastman, Ted Bauman/Bob Simmonds Various Suspect Behavior (Disney) Salli Newman/Rose Lam Rusty Cundieff Three (Warner Brothers TV) Brooke Kennedy, Charles S. Carrol/Ted Various Bauman, Fran Rosati Police Academy – The Series (Warner Brothers TV Paul Maslansky/James Margellos Various Sleepwalkers (Columbia/Tristar) David Nutter, Tim Iacofano/Wendy Williams Various Intensity (Mandalay Productions) Preston Fisher/Wendy Williams Yves Simoneau Bounty Hunters II (Cine-Vu) Jeff Barmash, George Erschbamer/John
    [Show full text]