Cherylanne Martin Producer/Upm Dga/Pga

Total Page：16

File Type：pdf, Size：1020Kb

CHERYLANNE MARTIN PRODUCER/UPM DGA/PGA THE MORNING SHOW (Season 1) Apple/Media Res Prod: Kerry Ehrin, Mimi Leder, Dir: Various (Producer/UPM) Michael Ellenberg, Jennifer Aniston, *2019 Golden Globe Nominee – Best Television Drama Series Reese Witherspoon WELCOME TO MARWEN Universal Pictures Prod: Steve Starkey, Robert Zemeckis, Dir: Robert Zemeckis (Producer/UPM) Jack Rapke WESTWORLD (Season 1) HBO/Bad Robot/Kilter Films Prod: J.J. Abrams, Jonathan Nolan, Dir: Various (Producer/UPM) Bryan Burk, Lisa Joy *2017 Emmy Nominee – Outstanding Drama Series *2017 Golden Globe Nominee – Best Television Drama Series *2017 Producer’s Guild of America Nominee – Norman Felton Award for Outstanding Producer of Episodic Television, Drama Series THE WALK Columbia/TriStar Prod: Steve Starkey, Robert Zemeckis, Dir: Robert Zemeckis (Executive Producer/UPM) Jack Rapke, Tom Rothman FLIGHT Paramount Pictures Prod: Walter F. Parkes, Laurie MacDonald, Dir: Robert Zemeckis (Executive Producer/UPM) Steve Starkey, Robert Zemeckis, Jack Rapke UNDAUNTED COURAGE (Mini-Series) HBO/Playtone Prod: Tom Hanks, Gary Goetzman, Dir: John Curran (Executive Producer-R&D) Edward Norton, Brad Pitt, Dede Gardner THE PACIFIC (Mini-Series) HBO/Playtone Prod: Tom Hanks, Steven Spielberg, Dir: Various (Producer) Gary Goetzman *2010 Emmy Award Winner – Outstanding Mini Series *2011 Golden Globe Nominee – Best Mini-Series or Motion Picture Made for Television *2011 DGA Nominee – Outstanding Directorial Achievement in Movies for Television/Mini-Series *2011 Producer’s Guild of America Winner – David L. Wolper Award for Outstanding Producer of Long-Form Television GET SMART Warner Bros. Pictures Prod: Andrew Lazar, Alex Gartner, Dir: Peter Segal (UPM- 2nd Unit) Michael Ewing, Charles Roven NANCY DREW Warner Bros. Pictures Prod: Jerry Weintraub Dir: Andrew Fleming (Co-Producer/UPM) CONSTANTINE Warner Bros. Pictures Prod: Lorenzo di Bonaventura, Erwin Stoff, Dir: Francis Lawrence (Co-Producer/UPM) Lauren Shuler Donner TWISTED Paramount Pictures Prod: Arnold Kopelson Dir: Philip Kaufman (Associate Producer/UPM) ROAD TO PERDITION DreamWorks/20th Century Fox Prod: Richard P. Zanuck, Dean Zanuck, Dir: Sam Mendes (Associate Producer/UPM) Walter F. Parkes CAST AWAY DreamWorks/20th Century Fox Prod: Steve Starkey, Tom Hanks, Dir: Robert Zemeckis (Associate Producer/UPM) Robert Zemeckis, Jack Rapke WHAT LIES BENEATH DreamWorks/20th Century Fox Prod: Steve Starkey, Robert Zemeckis, Dir: Robert Zemeckis (Associate Producer/UPM) Jack Rapke DEEP IMPACT Paramount Pictures Prod: Richard Zanuck, Steven Spielberg, Dir: Mimi Leder (UPM- 2nd Unit) David Brown CONTACT Warner Bros. Pictures Prod: Steve Starkey, Robert Zemeckis Dir: Robert Zemeckis (UPM) TERMINAL VELOCITY Buena Vista Pictures Prod: Scott Kroopf Dir: Deran Sarafian (VFX Production Manager) PRODUCTION COMPANY CREDITS WARNER BROS. PICTURES (2019) SVP, Physical Production CEO: Ann Sarnoff JAKS PRODUCTIONS (2013) Production Executive CEO: George Lucas 405 S Beverly Drive, Beverly Hills, California 90212 - T 310.888.4200 - F 310.888.4242 www.apa-agency.com .

Copy Link

Recommended publications

Manufacturing Realisms
Manufacturing Realisms Product Placement in the Hollywood Film by Winnie Won Yin Wong Bachelor of Arts Dartmouth College 2000 Submitted to the Department of Architecture in Partial Fulfillment of the Requirements for the Degree of Master of Science in Architecture Studies at the Massachusetts Institute of Technology June, 2002 MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUN 2 4 2002 Signature of Author 3, 2002 LIBRARIES Winnie Won Yin Wong, Depar nt of Architecture, May ROTCH Certified by Professor David Itriedman, Assobiate Professor of the History of Architecture, Thesis Supervisor Accepted by Professor Julian\8e,jiart, Professorlof1rchitecture, Chair, Committee on Graduate Students Copyright 2002 Winnie Won Yin Wong. All Rights Reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part. 2 Readers Erika Naginski Assistant Professor of the History of Art Arindam Dutta Assistant Professor of the History of Architecture History, Theory and Criticism Department of Architecture 3 4 Manufacturing Realisms Product Placement in the Hollywood Film by Winnie Won Yin Wong Submitted to the Department of Architecture in Partial Fulfillment of the Requirements for the Degree of Master of Science in Architecture Studies Abstract Through an examination of filmic portrayals of the trademarked product as a signifier of real ownerships and meanings of commodities, this paper is concerned with the conjunction of aesthetic and economic issues of the Product Placement industry in the Hollywood film. It analyzes Product Placement as the embedding of an advertising message within a fictional one, as the insertion of a trademarked object into the realisms of filmic space, and as the incorporation of corporate remakings of the world with film fictions.
[Show full text]
Viewing Film from a Communication Perspective
Communication and Theater Association of Minnesota Journal Volume 36 Article 6 January 2009 Viewing Film from a Communication Perspective: Film as Public Relations, Product Placement, and Rhetorical Advocacy in the College Classroom Robin Patric Clair Purdue University, [email protected] Rebekah L. Fox Purdue University Jennifer L. Bezek Purdue University Follow this and additional works at: https://cornerstone.lib.mnsu.edu/ctamj Part of the Curriculum and Social Inquiry Commons, Film and Media Studies Commons, and the Speech and Rhetorical Studies Commons Recommended Citation Clair, R., Fox, R., & Bezek, J. (2009). Viewing Film from a Communication Perspective: Film as Public Relations, Product Placement, and Rhetorical Advocacy in the College Classroom. Communication and Theater Association of Minnesota Journal, 36, 70-87. This Teacher's Workbook is brought to you for free and open access by Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in Communication and Theater Association of Minnesota Journal by an authorized editor of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. Clair et al.: Viewing Film from a Communication Perspective: Film as Public Rel 70 CTAMJ Summer 2009 Viewing Film from a Communication Perspective: Film as Public Relations, Product Placement, and Rhetorical Advocacy in the College Classroom Robin Patric Clair Professor [email protected] Rebekah L. Fox, Ph.D. Jennifer L. Bezek, M.A. Department of Communication Purdue University West Lafayette, IN ABSTRACT Academics approach film from multiple perspectives, including critical, literary, rhetorical, and managerial approaches. Furthermore, and outside of film studies courses, films are frequently used as a pedagogical tool.
[Show full text]
Runaway Production Problem? the Phenomenon of “Runaway” Film and Television Production from the U.S
U.S. RUNAWAY FILM AND TELEVISION PRODUCTION STUDY REPORT TABLE OF CONTENTS I. Executive Summary Page 2 II. The U.S. Runaway Film and Television Production Problem – A. Runaway Activity/Trends Page 6 – B. Total Economic Impact Page 11 – C. U.S. Regional Impact Page 15 – D. Direct Labor Impact Page 16 – E. Future Impact Page 17 III. The Causes – A. Production Location Decision Drivers Page 18 – B. Exchange Rates and Factor Costs Page 19 – C. Foreign Tax Incentives Page 20 – D. Total Cost Differences Page 23 – E. Foreign Infrastructure Page 23 – F. The Integrated Approach and Canada Page 24 IV. Study Methodology and Key Terms Page 27 V. About Monitor Company Page 29 1 I. EXECUTIVE SUMMARY “economic” runaways. Note that the study’s scope included theatrical films, films for television, Background television mini-series, and thirty and sixty minute television series. Other types of productions such as In January 1999, the Directors Guild of America commercials, and news and sports programming (DGA) and Screen Actors Guild (SAG) retained were not included. Monitor Company, a leading management consulting firm, to conduct an investigation into What Is The U.S. Runaway Production Problem? the phenomenon of “runaway” film and television production from the U.S. The Guilds (on an The study results show that economic runaway film anecdotal basis) had been noting an accelerating and television productions are a persistent, growing, runaway phenomenon, and the need to create an and very significant issue for the U.S. In 1998, of objective quantitative analysis led to the study being the 1,075 U.S.-developed film and television commissioned.
[Show full text]
“What About Bob?” an Analysis of Gendered Mental Illness in a Mainstream Film Comedy
“What About Bob?” An Analysis of Gendered Mental Illness in a Mainstream Film Comedy A Thesis Presented in partial fulfillment of the requirements for the degree of Master of Arts in the College of Graduate Studies of Northeast Ohio Medical University. Anna Plummer M.D. Medical Ethics and Humanities 2020 Thesis Committee: Dr. Julie Aultman (Advisor) Dr. Rachel Bracken Brian Harrell Copyright Anna Plummer 2020 ABSTRACT Mental illness has been a subject of fictional film since the early 20th century and continues to be a popular trope in mainstream movies. Portrayals of affected individuals in movies tend to be inaccurate and largely stigmatizing, negatively influencing public perception of mental illness. Recent research suggests that gender stereotypes and mental illness intersect, such that some mental illnesses are perceived as “masculine” and others as “feminine.” This notion may further stigmatize such disorders in individuals, as well as falsely inflate observed gender disparities in certain mental illnesses. Since gendered mental illness is a newly identified concept, little research has been performed exploring the way stereotypical gendered mental illness is depicted in mainstream film. This paper analyzes the movie What About Bob? to show that comedic film perpetuates stigma surrounding feminine mental illness in men and identifies the need for further study of gendered mental illness in movies to ascertain the effect such depictions have on the observed gender disparities in prevalence of certain mental disorders, as well as offers a proposal for coursework for film and medical students. i ACKNOWLEDGMENTS This paper would not have been possible without Dr. Aultman, whose teaching inspired me to pursue further education in Medical Ethics and Humanities, and whose guidance has been invaluable not only for this project, but also for addressing ethical issues in the clinic.
[Show full text]
Becoming Legendary: Slate Financing and Hollywood Studio Partnership in Contemporary Filmmaking
Kimberly Owczarski Becoming Legendary: Slate Financing and Hollywood Studio Partnership in Contemporary Filmmaking In June 2005, Warner Bros. Pictures announced Are Marshall (2006), and Trick ‘r’ Treat (2006)2— a multi-film co-financing and co-production not a single one grossed more than $75 million agreement with Legendary Pictures, a new total worldwide at the box office. In 2007, though, company backed by $500 million in private 300 was a surprise hit at the box office and secured equity funding from corporate investors including Legendary’s footing in Hollywood (see Table 1 divisions of Bank of America and AIG.1 Slate for a breakdown of Legendary’s performance at financing, which involves an investment in a the box office). Since then, Legendary has been a specified number of studio films ranging from a partner on several high-profile Warner Bros. films mere handful to dozens of pictures, was hardly a including The Dark Knight, Inception, Watchmen, new phenomenon in Hollywood as several studios Clash of the Titans, and The Hangoverand its sequel. had these types of deals in place by 2005. But In an interview with the Wall Street Journal, the sheer size of the Legendary deal—twenty five Legendary founder Thomas Tull likened his films—was certainly ambitious for a nascent firm. company’s involvement in film production to The first film released as part of this deal wasBatman an entrepreneurial endeavor, stating: “We treat Begins (2005), a rebooting of Warner Bros.’ film each film like a start-up.”3 Tull’s equation of franchise. Although Batman Begins had a strong filmmaking with Wall Street investment is performance at the box office ($205 million in particularly apt, as each film poses the potential domestic theaters and $167 million in international for a great windfall or loss just as investing in a theaters), it was not until two years later that the new business enterprise does for stockholders.
[Show full text]
A Longitudinal Analysis of Port Systems in Asia Joyce
A LONGITUDINAL ANALYSIS OF PORT SYSTEMS IN ASIA JOYCE LOW MEI WAN @ PHAN MEI LING JOAN NATIONAL UNIVERSITY OF SINGAPORE 2008 A LONGITUDINAL ANALYSIS OF PORT SYSTEMS IN ASIA JOYCE LOW MEI WAN @ PHAN MEI LING JOAN (B.B.A (Hons), M.Sc. (Mgt), NUS) A THESIS SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF INDUSTRIAL AND SYSTEMS ENGINEERING NATIONAL UNIVERSITY OF SINGAPORE 2008 CONTENTS List of Tables v List of Figures vii Acknowledgments viii Summary ix Chapter 1 Introduction 1 1. Background 1.1 Research Scope and Objectives 1.2 Structure of Dissertation Chapter 2 An Empirical Investigation on the Cargo Traffic 11 Performances in East Asian Ports 2. Introduction 2.1 Model of Analysis 2.2 Empirical Analysis at the Aggregate Port Industry Level 2.2.1 Data Description and Sample 2.2.2 The Variables 2.2.3 The Results 2.2.4 Implications of Findings 2.3 Cluster Analysis at the Disaggregate Individual Port Level 2.3.1 Seaport Clusters 2.3.2 Airport Clusters 2.4 Discussions 2.5 Conclusions i Chapter 3 Assessment of Hub Status among Major Asian Ports 68 from A Network Perspective 3. Introduction 3.1 Literature Review 3.2 Model Components 3.2.1 Port Connectivity Index 3.2.2 Port Cooperation Index 3.3 The Case Studies 3.3.1 Alpha Shipping Lines 3.3.2 Gamma Shipping Lines 3.2.2 Beta Shipping Lines 3.4 Discussions 3.4.1 Qualitative Analysis of Empirical Results 3.4.2 Robustness of Analysis 3.4.3 Key Factors Influencing Port Competitiveness 3.4.4 Importance of Inter-Port Relationship to Port Traffic 3.5 Conclusions Chapter 4 The Changing Landscape of the Airport Industry and its 104 Strategic Impact on Air Hub Development in Asia 4.
[Show full text]
Awards and Nominations
BLAKE NEELY AWARDS AND NOMINATIONS EMMY NOMINATION (2012) PAN AM Outstanding Music for Series HOLLYWOOD MUSIC IN MEDIA THE MENTALIST NOMINATION (2011) Best Music for a Television Series EMMY NOMINATION (2010) THE PACIFIC Outstanding Music for a Mini-Series BSO GOLDSPIRIT AWARD (2010) THE PACIFIC Outstanding Main Title Theme BMI AWARDS LIFE AS WE KNOW IT Music for Top Film BMI AWARDS BROTHERS & SISTERS Music for Top Television Series BMI AWARDS THE MENATLIST Music for Top Television Series ASCAP AWARDS BROTHERS & SISTERS Music for Top Television Series ASCAP AWARDS THE MENTALIST Music for Top Television Series EMMY NOMINATION (2003) EVERWOOD Outstanding Main Title MOTION PICTURES ASSASSINS Jessica Hargrave, Ryan White, prods Tripod Media Ryan White, dir. GREYHOUND Tom Hanks, Gary Goetzman, prods. Columbia Pictures Aaron Schneider, dir. ASK DR. RUTH Zoe Morrison, prod. Hulu Ryan White, dir. SERENA Brandon Carroll, Ryan Schiavo, prods. Film 45 Ryan White, dir. The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 1 BLAKE NEELY AN ARTICLE OF HOPE Dan Cohen, prod. Herzog & Company Dan Cohen, dir. HE HAS SEEN WAR Christopher G Cowen, Kirk Saduski, prods. Herzog & Company Mark Herzog, dir. LIFE AS WE KNOW IT Paul Brooks, Barry Josephson, prods. Warner Bros. Greg Berlanti, dir. ELVIS AND ANNABELLE Carolyn Pfeiffer, Nick Quested, prods. Warner Bros. Will Geiger, dir. THE GREAT BUCK HOWARD Gary Goetzman, Tom Hanks, prods. Walden Media / Playtone Sean McGinly, dir. THE WORK TO COME: TRIBUTE TO Ken Burns, dir. EDWARD KENNEDY DNC DAVID MCCULLOUGH: PAINTING Gary Goetzman, Tom Hanks, prods. WITH WORDS Mark Herzog, dir. HBO / Playtone STARTER FOR TEN Gary Goetzman, Tom Hanks, prods.
[Show full text]
Welcome to Marwen: the Remaking of a Life
Welcome to Marwen: The Remaking of a Life Kathy Winings January 21, 2019 In April 2000, just across the Hudson River from UTS’s Barrytown campus, a terrible assault took place outside a bar in Kingston, New York, an historic city that served as New York’s first capital. Mark Hogancamp, an artist and showroom designer, was beaten almost to death by five young men using just their fists and feet. While drinking, Hogancamp had let slip that in the privacy of his own home, he was a cross-dresser. Taking exception to that, the thugs waited outside the bar and attacked him. Suffering extensive brain damage, Hogancamp spent over 40 days in the hospital, including nine in a coma, healing and relearning how to walk, talk, eat, and trying to live a normal life. Fortunately for him, Hogancamp awoke with no memory of the attack — but he also lost memory of his past life. It meant he had to find a way to deal with his constant anger and depression — all of which resulted from his traumatic brain injury. Thus was born the tiny village of Marwencol. Built out of plywood scraps and other materials he found lying around, Kathy Winings Hogancamp created an imaginary Belgian village and populated it with Barbie dolls and World War II action figures. Daily life was built around World War II narratives that he created, featuring the women as a band of heroes led by one American solider — Captain Hogie — going head to head with five Nazi soldiers in these different scenarios. Marwencol became Hogancamp’s therapy on a daily basis.
[Show full text]
89Th Annual Academy Awards® Oscar® Nominations Fact
® 89TH ANNUAL ACADEMY AWARDS ® OSCAR NOMINATIONS FACT SHEET Best Motion Picture of the Year: Arrival (Paramount) - Shawn Levy, Dan Levine, Aaron Ryder and David Linde, producers - This is the first nomination for all four. Fences (Paramount) - Scott Rudin, Denzel Washington and Todd Black, producers - This is the eighth nomination for Scott Rudin, who won for No Country for Old Men (2007). His other Best Picture nominations were for The Hours (2002), The Social Network (2010), True Grit (2010), Extremely Loud & Incredibly Close (2011), Captain Phillips (2013) and The Grand Budapest Hotel (2014). This is the first nomination in this category for both Denzel Washington and Todd Black. Hacksaw Ridge (Summit Entertainment) - Bill Mechanic and David Permut, producers - This is the first nomination for both. Hell or High Water (CBS Films and Lionsgate) - Carla Hacken and Julie Yorn, producers - This is the first nomination for both. Hidden Figures (20th Century Fox) - Donna Gigliotti, Peter Chernin, Jenno Topping, Pharrell Williams and Theodore Melfi, producers - This is the fourth nomination in this category for Donna Gigliotti, who won for Shakespeare in Love (1998). Her other Best Picture nominations were for The Reader (2008) and Silver Linings Playbook (2012). This is the first nomination in this category for Peter Chernin, Jenno Topping, Pharrell Williams and Theodore Melfi. La La Land (Summit Entertainment) - Fred Berger, Jordan Horowitz and Marc Platt, producers - This is the first nomination for both Fred Berger and Jordan Horowitz. This is the second nomination in this category for Marc Platt. He was nominated last year for Bridge of Spies. Lion (The Weinstein Company) - Emile Sherman, Iain Canning and Angie Fielder, producers - This is the second nomination in this category for both Emile Sherman and Iain Canning, who won for The King's Speech (2010).
[Show full text]
Wmc Investigation: 10-Year Analysis of Gender & Oscar
WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S.
[Show full text]
10700990.Pdf
The Dolby era: Sound in Hollywood cinema 1970-1995. SERGI, Gianluca. Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20344/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/20344/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Sheffield Hallam University jj Learning and IT Services j O U x r- U u II I Adsetts Centre City Campus j Sheffield Hallam 1 Sheffield si-iwe Author: ‘3£fsC j> / j Title: ^ D o ltiu £ r a ' o UJTvd 4 c\ ^ £5ori CuCN^YTNCa IQ IO - Degree: p p / D - Year: Q^OO2- Copyright Declaration I recognise that the copyright in this thesis belongs to the author. I undertake not to publish either the whole or any part of it, or make a copy of the whole or any substantial part of it, without the consent of the author. I also undertake not to quote or make use of any information from this thesis without making acknowledgement to the author. Readers consulting this thesis are required to sign their name below to show they recognise the copyright declaration. They are also required to give their permanent address and date.
[Show full text]
Alan Silvestri
ALAN SILVESTRI AWARDS/NOMINATIONS EMMY NOMINATION (2014) COSMOS: A SPACETIME ODYSSEY Outstanding Music Composition for a Series / Original Dramatic Score and Outstanding Original Main Title Music WORLD SOUNDTRACK NOMINATION (2008) “A Hero Comes Home” from BEOWULF Best Original Song Written for Film* INTERNATIONAL FILM MUSIC CRITICS BEOWULF ASSOCIATION NOMINATION (2007) Best Original Score-Animated Feature GRAMMY AWARD (20 05) “Believe” from THE POLAR EXPRESS Best Song Written for a Motion Picture* ACADEMY AWARD NOMINATION (2005) “Believe” from THE POLAR EXPRESS Best Original Song* GOLDEN GLOBE NOMINATION (2005) “Believe” from THE POLAR EXPRESS Best Original Song* BRO ADCAST FILM CRITICS CHOICE “Believe” from THE POLAR EXPRESS NOMINATION (2004) Best Song* GRAMMY AWARD (2001) End Credits from CAST AWAY Best Instrumental Composition ACADEMY AWARD NOMINATION (1994) FORREST GUMP Best Original Score GRAMMY AWARD NOMINA TION (1994) “Feather” from FORREST GUMP Best Instrumental Performance GOLDEN GLOBE NOMINATION (1994) FORREST GUMP Best Original Score CABLE ACE AWARD (1990) TALES FROM THE CRYPT: ALL THROUGH Best Original Score THE HOUSE GRAMMY AWARD NOMINATION (1989) Suite from WHO FRAMED ROGER RABBIT? Best Instrumental Composition GRAMMY AWARD NOMINATION (1988) WHO FRAMED ROGER RABBIT? Best Album of Original Score Written for a Motion Picture GRAMMY AWARD NOMINATION (1985) BA CK TO THE FUTURE Best Instrumental Composition 1 The Gorfaine/Schwartz Agency (818) 260-8500 ALAN SILVESTRI GRAMMY AWARD NOMINATION (1985) BACK TO THE FUTURE Best Album of Original Score Written for a Motion Picture *shared nomination/award MOTION PICTURES RUN ALL NIGHT Roy Lee / Michael Tadross / Brooklyn Weaver, prods. Warner Brothers Jaume Collet-Serra, dir. RED 2 Lorenzo di Bonaventura / Mark Vahradian, prods.
[Show full text]