James Newport P R O D U C T I O N D E S I G N E R

Total Page：16

File Type：pdf, Size：1020Kb

JAMES NEWPORT P R O D U C T I O N D E S I G N E R FEATURE FILMS BANGKOK DANGEROUS LIONSGATE PANG BROS. BANGKOK ON THE ROOF (P.D. & Assoc. Prod.) OX FILMS SHERWOD HU LOS ANGELES BROKEDOWN PALACE 20TH CENTURY FOX JONATHAN KAPLAN MANILA & BKK LANI-LOA (P.D & Costume) CHROME DRAGON SHERWOOD HU CHINA & HAWAII LAST DAYS OF FRANKIE THE FLY PHOENICIAN FILMS PETER MARKLE LOS ANGELES MEN OF WAR SIGNATURE FILMS PERRY LANG THAILAND BILL&TED’S BOGUSJOURNEY (part) ORION PETER HEWETT LOS ANGELES MR. BASEBALL (preliminary) UNIVERSAL PETER MARKLE JAPAN/NYC FATAL BEAUTY MGM TOM HOLLAND LOS ANGELES MADE IN USA HEMDALE KEN FRIEDMAN PA./N.M./CA. THE STEPFATHER ITC JOE RUBEN VANCOUVER SYLVESTER COLUMBIA TIM HUNTER TEXAS/KY HEART LIKE A WHEEL 2OTH CENTURY FOX JONATHAN KAPLAN WASH/SO.CAL CHEECH&CHONG'S NICE DREAMS COLUMBIA TOMMY CHONG LOS ANGELES OVER THE EDGE ORION JONATHAN KAPLAN COLORADO STRAIGHT TIME (Visual Consultant) WARNER BROS. ULU GROSBARD SO. CALIF. MR. BILLION (Visual Consultant) 20TH CENTURY FOX JONATHAN KAPLAN SAN FRANCISCO WHITE LINE FEVER (Visual Consultant)COLUMBIA JONATHAN KAPLAN COLORADO TV MOVIES CODE BREAKERS ESPN ROD HOLCOMB TORONTO THE CHRISTMAS TREE CBS/DISNEY SALLY FIELD PITTSBURGH DEAD BY SUNSET NBC/TRI STAR KAREN ARTHUR PORTLAND *THE PIANO LESSON (Emmy nom.) CBS/HALLMARK LLOYD RICHARDS PITTSBURGH THE INNOCENT NBC/WARNER BROS. MIMI LEDER LOS ANGELES MEN DON'T TELL CBS/LORIMAR HARRYWINER LOS ANGELES I LOVE YOU PERFECT ABC/CANELL HARRY WINER VANCOUVER NIGHTBREAKER TNT/SYMPHONY PIX PETER MARKLE NEVADA/L.A. 11TH VICTIM CBS/PARAMOUNT JONATHAN KAPLAN LOS ANGELES ELVIS ABC/DICK CLARK JOHN CARPENTER LOS ANGELES PILOTS THE WAY SONY/CBS ROD HOLCOMB TORONTO/BOSTON THE BOUNTY HUNTERS SPELLING/CBS ROD HOLCOMB LOS ANGELES THE LYON’S DEN FOX/NBC ROD HOLCOMB LOS ANGELES *THE SHIELD (ADG nom.) FX CLARK JOHNSON LOS ANGELES EDUCATION OF MAX BICKFORD FOX/CBS ROD HOLCOMB LOS ANGELES MALIBU BRANCH (THE COLONY) ABC TIM HUNTER LOS ANGELES WHITE DWARF FOX/ZOETROPE PETER MARKLE LOS ANGELES MYSTERY DANCE NBC/WARNER BROS. ROB THOMPSON PORTLAND ANGEL STREET (POLISH HILL) CBS/WARNER BROS ROD HOLCOMB CHICAGO UNDER COVER (THE COMPANY) ABC/WARNER BROS. HARRY WINER YUGOSLAVIA/L.A. CHINA BEACH ABC/WARNER BROS. ROD HOLCOMB L.A./HAWAII SERIES LOST season 4 (7 episodes) ABC/TOUCHSTONE VARIOUS DIRECTORS HAWAII FANTASY ISLAND 1998-99 (12) ABC/SONY TV VARIOUS DIRECTORS HAWAII ANGEL STREET (6 episodes) CBS/WARNER BROS VARIOUS DIRECTORS CHICAGO CHINA BEACH (6 episodes) ABC/WARNER BROS. VARIOUS DIRECTORS LOS ANGELES .

Copy Link

Recommended publications

Race on the Road: from the Periphery to the Centre in Jonathan Kaplan's Love Field
RACE ON THE ROAD: FROM THE PERIPHERY TO THE CENTRE IN JONATHAN KAPLAN’S LOVE FIELD Carmen Indurain Eraso Universidad Pública de Navarra Following a general cinematic trend, the road movie genre in its beginnings relegated the representation of non-whites to the periphery. After analysing the general state of affairs of racial representation in the genre, we witness in the 1990s a timid but remarkable trend to produce “racial” road movies which vindicate the rights of central representation of racial minorities. This paper analyses a representative racial road film, Jonathan Kaplan’s Love Field (1992), in an attempt to show that the road movie’s generic conventions and traditional liberal pedigree may provide a context where the depiction of racial minorities and race relations may finally reach a central status. In the road movie we have an ideogram of human desire and the last ditch search for self, and who is more plagued for hunger and lostness than the socially disenfranchised? (Atkinson 1994:14). 1. RACE ON THE ROAD: A PERIPHERAL PRESENCE While it reminds us of the inner search, a basic trait of the road movie genre, this quotation by Michael Atkinson also makes the significant point that the socially marginalised are liable to experience an even greater need for this personal quest. As members of this underprivileged group together with women, non-whites can feel more intensely the “call to adventure”, to flee from an emotionally retarded society which has failed to integrate them satisfactorily. Thus, given their unfavourable condition in society which has traditionally allotted them a peripheral position as mere accessories to the white male, African Americans, Hispanics or Native ES 27 (2006-7): 75-94 76 CARMEN INDURAIN ERASO American Indians have started to find a central space of cinematic representation in the road genre.
[Show full text]
American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE
[Show full text]
Harry Northup Papers
http://oac.cdlib.org/findaid/ark:/13030/kt0f59q1gm No online items Harry Northup Papers Mandeville Special Collections Library Mandeville Special Collections Library The UCSD Libraries 9500 Gilman Drive University of California, San Diego La Jolla, California 92093-0175 Phone: (858) 534-2533 Fax: (858) 534-5950 URL: http://orpheus.ucsd.edu/speccoll/ Copyright 2005 The Regents of the University of California. All rights reserved. Harry Northup Papers MSS 0598 1 Descriptive Summary Creator: Northup, Harry E. Title: Harry Northup Papers, Date (inclusive): 1940-2002 Extent: 15.00 linear feet(36 archives boxes, 2 cardfile boxes, and 1 oversize folder) Abstract: Papers of Harry Northup, Los Angeles poet, screen actor, and editor and founding member of Cahuenga Press. The papers largely comprise Northup's literary correspondence; his writings, including notebooks and journals, working papers, poem drafts, and manuscripts for collected published works, such as materials for THE RAGGED VERTICAL and REUNIONS; and materials related to his acting career. Of particular significance are Northup's notebooks which often chronicle and reflect his experiences as a screen actor. The collection documents Northup's talks and poetry readings with audiocassette and videocassette recordings and documents his work as an editor and founding member of the Cahuenga Press. Also included are photographs, newspaper clippings from his early stage acting career, and theater memorabilia. The papers are arranged in twelve series: 1) ORIGINAL FINDING AID, 2) BIOGRAPHICAL MATERIALS, 3) CORRESPONDENCE, 4) WRITINGS, 5) TALKS AND READINGS, 6) TEACHING MATERIALS, 7) NOTEBOOKS, 8) CAHUENGA PRESS, 9) FILM AND TELEVISION SCRIPTS, 10) AUDIO CASSETTE RECORDINGS, 11) VIDEO RECORDINGS, and 12) ORIGINALS OF PRESERVATION PHOTOCOPIES.
[Show full text]
TFH Catalog 2017 03062017.Pdf
TFH # Trailer Guru Runtime Genre Release Year TFH-0001 The T.A.M.I. Show John Landis 4:05 Musical 1964 TFH-0002 House on Haunted Hill Mick Garris 2:53 Horror 1959 TFH-0003 The Terror Joe Dante 2:56 Drama 1959 TFH-0004 The Unearthly Joe Dante 2:36 Horror 1957 TFH-0005 The Incredible Petrified World Joe Dante 2:02 Science Fiction 1957 TFH-0006 Danger Diabolik Edgar Wright 2:39 Action 1968 TFH-0007 The Fiendish Ghouls Joe Dante 2:55 Horror 1965 TFH-0008 X - The Man with the X-Ray Eyes Mick Garris 2:34 Science Fiction 1963 TFH-0009 The Fall of the Roman Empire John Landis 4:34 Drama 1964 TFH-0010 The Vampire Lovers Mick Garris 2:33 Horror 1970 TFH-0011 Journey to the Lost City Sam Hamm 2:15 Western 1954 TFH-0012 Colossus: The Forbin Project John Landis 3:27 Science Fiction 1970 TFH-0013 Monster From Mars A.K.A. Robot Monster Joe Dante 2:00 Science Fiction 1953 TFH-0014 House of Usher Mary Lambert 2:49 Horror 1960 TFH-0015 Spartacus Larry Cohen 3:04 Adventure 1960 TFH-0016 These Are The Damned Joe Dante 4:14 Science Fiction 1962 TFH-0017 Attack of the 50 Foot Woman Joe Dante 2:33 Science Fiction 1958 TFH-0018 God Told Me To A.K.A. Demon Mick Garris 1:30 Horror 1976 TFH-0019 Kronos Sam Hamm 2:25 Science Fiction 1957 TFH-0020 Village of the Damned Mary Lambert 2:23 Science Fiction 1960 TFH-0021 Invaders From Mars Larry Cohen 2:40 Science Fiction 1953 TFH-0022 The Pit and the Pendulum Mary Lambert 2:43 Horror 1961 TFH-0023 The Cyclops Joe Dante 2:23 Science Fiction 1957 TFH-0024 She Demons Joe Dante 2:07 Horror 1958 TFH-0025 13 Ghosts Sam Hamm 2:49 Fantasy 1960 TFH-0026 Black Sunday AKA-Mask of the Demon Larry Cohen 2:15 Horror 1961 TFH-0027 Dr.
[Show full text]
TIMELINE of INDEPENDENT CINEMA and the AMERICAN NEW WAVE
TIMELINE OF INDEPENDENT CINEMA and the AMERICAN NEW WAVE PRECURSORS TO AMERICAN NEW WAVE 1954 Roger Coran directs The Monster From the Ocean Floor for independent producers James Nicholson and Samuel Arkoff, for $10,000. Starts a production relationship of low budget, quickly made films and independent distribution that continues until 1970 1956 American International Pictures formed in 1956 from American Releasing Corporation by James H. Nicholson and Samuel Z. Arkoff, dedicated to releasing independently produced, low-budget films, primarily of interest to the teenagers of the 1950s. Nicholson and Arkoff served as executive producers while Roger Corman and Alex Gordon were the principal film producers and, sometimes, directors. 1957 John Cassavetes shoots Shadows. 1957 Louis B. Mayer, legendary head of MGM and founder of Studio Star system dies. Marking in part the end of the old Hollywood moguls 1961 Method actor and maverick auteur film-maker John Cassavetes' low-budget, black and white, non-Hollywood studio film Shadows, was his first directorial effort - deliberately created as a contrast to Hollywood's studio system. The self-financed, self-distributed cinema verite film (initially shot in 1957) with a jazzy score was a story about an inter-racial couple. It was first publically screened in 1958, but then withdrawn and reshots in 1959, and then re- released - first to European audiences and then to US audiences in 1961. Shot on 16-mm film and using a non-professional cast and crew, the improvisational film symbolized the emergence of the New American Cinema movement, and inspired the growth of underground films and other independent ("indie") and personal works.
[Show full text]
Transatlantica, 2 | 2015 Exploiting Exploitation Cinema: an Introduction 2
Transatlantica Revue d’études américaines. American Studies Journal 2 | 2015 The Poetics and Politics of Antiquity in the Long Nineteenth-Century / Exploiting Exploitation Cinema Exploiting Exploitation Cinema: an Introduction David Roche Electronic version URL: http://journals.openedition.org/transatlantica/7846 DOI: 10.4000/transatlantica.7846 ISSN: 1765-2766 Publisher AFEA Electronic reference David Roche, “Exploiting Exploitation Cinema: an Introduction”, Transatlantica [Online], 2 | 2015, Online since 14 July 2016, connection on 29 April 2021. URL: http://journals.openedition.org/transatlantica/ 7846 ; DOI: https://doi.org/10.4000/transatlantica.7846 This text was automatically generated on 29 April 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. Exploiting Exploitation Cinema: an Introduction 1 Exploiting Exploitation Cinema: an Introduction David Roche 1 What is exploitation cinema? Exploitation cinema is not a genre; it is an industry with a specific mode of production. Exploitation films are made cheap for easy profit. “Easy” because they are almost always genre films relying on time-tried formulas (horror, thillers, biker movies, surfer movies, women-in-prison films, martial arts, subgenres like gore, rape-revenge, slashers, nazisploitation, etc.). “Easy” because they offer audiences what they can’t get elsewhere: sex, violence and taboo topics. “Easy” because they have long targetted what has since become the largest demographic group of moviegoers: the 15-25 age group (Thompson and Bordwell, 310, 666). The exploitation film is not a genre, and yet it is often described as such.1 This is, no doubt, because these movies do, as a group, share common semantic, syntactic and pragmatic elements that, for Rick Altman, make up the “complex situation” that is a film genre (Altman, 84).
[Show full text]
Crime Films Thomas Leitch Index More Information
Cambridge University Press 0521641063 - Crime Films Thomas Leitch Index More information Index Note: All titles not otherwise marked refer to films, which are followed by their release date and director. When books, radio and television programs, films, and remakes bear the same title, they are listed as separate chronological entries. Fictional characters are indexed only when their life extends beyond one book or film. The titles of books and essays are indexed only when they are mentioned in the text, and names in the endnotes are indexed only when there is no direct reference to the corresponding passage in the text. Boldface numbers re- fer to illustrations. A-1 Detective Agency, 28 Affleck, Casey, 301 Abbott and Costello Meet Frankenstein Affliction (1998, Paul Schrader), 62 (1948, Charles Barton), 9 African Queen, The (1951, John Huston), 30 Abel, Walter, 100 After the Thin Man (1936, W. S. Van Dyke), Absolute Power (1997, Clint Eastwood), 80 28 absolutism, moral, 15 Agee, James, 58 Academy Awards, 43, 46, 47–8, 54, 95, 115, AIDS, 147 124, 154, 155, 157, 177, 178, 201, 279 Aiello, Danny, 50 Accused, The (aka Strange Deception) (1948, Airplane! (aka Flying High) (1980, Jim William Dieterle), 70, 80 Abrahams and David Zucker), 10 Accused, The (1988, Jonathan Kaplan), 88, Airport (1970, George Seaton), 10 248 Aitken, Maria, 271 Across 110th Street (1972, Barry Shear), 42 Aladdin (1992, Ron Clements and John action genre, 10, 297, 302, 304 Musher), 2 Adam 12 (TV program), 38 Albertson, Frank, 96 Adam’s Rib (1949, George Cukor), 244,
[Show full text]
Casting and Caste-Ing: Reconciling Artistic Freedom and Antidiscrimination Norms
Casting and Caste-ing: Reconciling Artistic Freedom and Antidiscrimination Norms Russell K. Robinsont INTRODUCTION Imagine the prototypical young starving artist working on a novel that he hopes will flower into his masterpiece. Scraping by with a mundane day job, he uses his evenings and every spare moment plotting the storyline, crafting the language and sculpting his characters with great care and deliberation. Suppose he sets the story in a Civil War battlefield, a contemporary corporate boardroom or a police force, and all of the primary characters are white males. If the government attempted to apply an antidiscrimination law to force the artist to include female characters and people of color, it would strike most people as bizarre. The state's interest in infusing an abstract and personal piece of fiction with more diverse representations appears rather weak, if not wholly antithetical to the First Amendment,' and the intrusion on artistic integrity appears extreme. But now imagine that the writer turns the story into a script and, through an agent, sells it to movie studio Twentieth Century Fox. Bullish on the writer's script, Fox sets the budget at $100 million, casts the film with white male actors, as specified in the script, and pays the star (say, Tom Hanks) $25 million. Now envision that writers replicate this same Copyright © 2007 California Law Review, Inc. California Law Review, Inc. (CLR) is a California nonprofit corporation. CLR and the authors are solely responsible for the content of their publications. t Acting Professor, UCLA School of Law. For helpful comments, I thank Rick Banks, Devon Carbado, Mary Anne Case, Kimberl6 Crenshaw, Joel Handler, Cheryl Harris, Gillian Lester, Jerry Kang, Chon Noriega, Bill Rubenstein, Seana Shiffrin, Rebecca Tushnet, Eugene Volokh, Leti Volpp, Adam B.
[Show full text]
Criterion Pictures USA Inc
Criterion Pictures USA Inc. - CPLUSA_Titles Page 1 01-Oct-21 Select: !\fstatus\=1 and NOT ONEOF(\FDCODE\,"28,29,30,31,32,33,34")!! : : CPLUSA_TITLES CODE Title Name RunMinYear Subject Rating F00385 One Hundred Rifles 110 1969 Restricted TAR068 12:08 Bucharest 89 2006 Not Rated F102711 12 Rounds 107 2009 PG-13 F132043 12 Rounds 2: Reloaded 94 2013 Restricted F131472 12 Years a Slave 133 2013 Restricted UBK412 12 Years a Slave 24 2015 F031298 127 Hours 93 2010 Restricted F02210 Thirteen Rue Madeleine 95 1946 General F02209 Thirteenth Letter 85 1951 Not Rated A71094 14 Days in Paradise 87 2007 UBX208 14 Tanks and a Shipwreck 47 2013 TAR008 16 Years of Alcohol 102 2003 Restricted 201571 1917: Revolution in Russia 28 1988 General 1BRE01 1929-1941: The Great Depression 25 1990 1BRE02 1945-1989: The Cold War 25 1991 YWU809 2.0: Point of No Return 44 2016 UHV106 2,000 - Foot Tower 48 2008 196569 20 Animals That Will Kill You 0 2013 F07174 20 Dates 88 1999 Restricted S0002366 The 2000s: A New Reality 176 2015 General S0002404 20th Century History, Season 1 50 1990 196735 21st Century Sex Slaves 0 2012 YXQ507 24-Hour Watch 45 2013 YWU511 24 Hours After Asteroid Impact 0 0 General YWU612 24 Hours After Hiroshima 0 2010 General F030875 27 Dresses 110 2008 PG-13 F30275 28 Days Later 112 2003 Restricted F030643 28 Weeks Later 100 2007 Restricted F06597 Twenty Ninth Street 101 1991 Restricted YXQ210 3,000-Pound Coke Bust 45 2010 TRO621 30 Girls and 30 Days 80 2013 TRO525 30 Minutes Or Less 5 2001 F099109 365 Nights in Hollywood 77 1935 YWU716 The
[Show full text]
By Connie Tadros "Columbia Pictures and International Ci- Nemedia Center, Ltd
by Connie Tadros "Columbia Pictures and International Ci- nemedia Center, Ltd. have entered into an exclusive multiple-picture agreement... Un der his new agreement with Columbia, John Kemeny will develop and produce an open- end slate of diversified projects, to be film ed in both the U.S. and Canada, with em phasis on a number of properties utilizing Canadian story themes and locales." It it true that to be important in Canada one must make it in the States? Or is this the start of a new brain drain? Kemeny, riding high,on the success of his American film White Line Fever, thinks for the mo ment that the grass is greener... Variety says, in varieteeze! "Good actioner about They sent three scripts and I chose this one (White a trucker fighting corruption. Exploitable in general Line Fever). They turned over the projet to me and situations." That's good, coming from Variety. An ad I became the producer, responsable for the project. in a later issue states that White Line Fever has The experience was extremely good; there was no already grossed $1,027,342 in its first 12 days in San interference at all. I had complete, absolute freedom. Francisco and first 10 days in Dallas. On the first of The people at Columbia honored the position of the August, the film opened in 39 theatres in Ontario, and producer. " grossed $300,000 in its first week. Kemeny had already produced educational films Kemeny spoke about his new film White Line Fever for Learning Corporation of America, a large educa- just a few weeks before it was scheduled to open in tional distribution company owned by Columbia.
[Show full text]
Julie Alter • Biography
Julie Alter • Biography As a casting director for over 20 years, she has worked with Martin Scorsese ("The Last Temptation of Christ”), Arthur Penn, Abel Ferrar, Robert Rodriguez, William Friedkin, Allan Arkush, John Milius, Joe Dante, John Landis, Ed Zwick, Scott Wynant, Peter Horton, Gary Sinise, among many others. TV casting includes "thirtysomething" (4 Seasons); HBO's "Dream On" (3 Seasons); Two series for Norman Lear; TNT's "Rough Riders" and Showtime’s "Rebel Highway" Series, A Ten Film Homage to Roger Corman. Julie's eye for young talent has helped launch the careers of Rene Zellweger, John Hawkes, Julie Bowen, Adrien Brody, Giovanni Ribisi, Anne Heche, Selma Hayek, David Arquette, Patricia Arquette, Brad Pitt, Alicia Silverstone, Jake Busey, Paul Rudd, Marisa Tomei, Adrien Brody, and more. Recent projects include the charming short "The Case of the Missing Garden Gnome" (2012 “Funny or Die” Short Film Festival), “A Star Is Scorned”, “Face2Face”, “No Fun At All", Producer, Patrick Cunningham ("Martha, Marcy, May, Marlene"), "The Rock Apprentice", an Australian coming-of-age teen/rock musical, and "NATE & AL", a poignant caper about an anguished, feisty Jewish Holocaust Survivor turned Nazi-hunting vigilante, Director, Ralph Ziman ("The Zookeeper", "Hearts & Minds", "Gangster's Paradise”) At the start of her career In NY, she assisted Lynn Kressel (Law & Order), and worked on dozens of B'way shows with the venerable B'way casting directors Geoff Johnson & Vinnie Liff (Les Mis, Cats, Dreamgirls, Phantom of the Opera, Les Liaisons Dangereuses, Guys & Dolls, The Producers, Amadeus, Chess, The Elephant Man). As Casting Director for Manhattan Theatre Club she cast plays for Arthur Penn, Lynne Meadow, John Patrick Shanley, Beth Henley, and Howard Brenton.
[Show full text]
Midnight in Paris
Sony Pictures Classics Presents A Mediapro, Versátil Cinema & Gravier Production A Pontchartrain Production Midnight in Paris Written and Directed by Woody Allen Opening Night, 2011 Cannes Film Festival Critics’ Choice Movie Award Winner | Best Original Screenplay 4 Golden Globe Award Nominations Best Picture (Comedy) | Best Actor in a Musical/Comedy, Owen Wilson Best Director | Best Screenplay 2 Film Independent Spirit Award Nominations Best Supporting Male, Corey Stoll | Best Cinematography, Darius Khondji Screen Actors Guild Award Nominee Outstanding Performance by a Cast in a Motion Picture WGA Award Nominee DGA Award Nominee Best Original Screenplay Outstanding Directorial Achievement in Feature Film www.midnightinparisfilm.com 94 min | Rated PG-13 | Release Date (NY/LA): 5/20/2011 East Coast Publicity West Coast Publicity Distributor Donna Daniels PR Block Korenbrot Sony Pictures Classics Donna Daniels Max Buschman Carmelo Pirrone 77 Park Ave, #12A Melody Korenbrot Lindsay Macik New York, NY 10016 110 S. Fairfax Ave, #310 550 Madison Ave 347-254-7054 x 101 tel Los Angeles, CA 90036 New York, NY 10022 323-634-7001 tel 212-833-8833 tel 323-634-7030 fax 212-833-8844 fax MIDNIGHT IN PARIS Starring (in alphabetical order) Gertrude Stein KATHY BATES Salvador Dalí ADRIEN BRODY Museum Guide CARLA BRUNI Adriana MARION COTILLARD Inez RACHEL McADAMS Paul MICHAEL SHEEN Gil OWEN WILSON Co-starring (in alphabetical order) Carol NINA ARIANDA John KURT FULLER F. Scott Fitzgerald TOM HIDDLESTON Helen MIMI KENNEDY Zelda Fitzgerald ALISON PILL Gabrielle
[Show full text]