The Vera Mowry Roberts Papers Finding Aid
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Carol Raskin
Carol Raskin Artistic Images Make-Up and Hair Artists, Inc. Miami – Office: (305) 216-4985 Miami - Cell: (305) 216-4985 Los Angeles - Office: (310) 597-1801 FILMS DATE FILM DIRECTOR PRODUCTION ROLE 2019 Fear of Rain Castille Landon Pinstripe Productions Department Head Hair (Kathrine Heigl, Madison Iseman, Israel Broussard, Harry Connick Jr.) 2018 Critical Thinking John Leguizamo Critical Thinking LLC Department Head Hair (John Leguizamo, Michael Williams, Corwin Tuggles, Zora Casebere, Ramses Jimenez, William Hochman) The Last Thing He Wanted Dee Rees Elena McMahon Productions Additional Hair (Miami) (Anne Hathaway, Ben Affleck, Willem Dafoe, Toby Jones, Rosie Perez) Waves Trey Edward Shults Ultralight Beam LLC Key Hair (Sterling K. Brown, Kevin Harrison, Jr., Alexa Demie, Renee Goldsberry) The One and Only Ivan Thea Sharrock Big Time Mall Productions/Headliner Additional Hair (Bryan Cranston, Ariana Greenblatt, Ramon Rodriguez) (U. S. unit) 2017 The Florida Project Sean Baker The Florida Project, Inc. Department Head Hair (Willem Dafoe, Bria Vinaite, Mela Murder, Brooklynn Prince) Untitled Detroit City Yann Demange Detroit City Productions, LLC Additional Hair (Miami) (Richie Merritt Jr., Matthew McConaughey, Taylour Paige, Eddie Marsan, Alan Bomar Jones) 2016 Baywatch Seth Gordon Paramount Worldwide Additional Hair (Florida) (Dwayne Johnson, Zac Efron, Alexandra Daddario, David Hasselhoff) Production, Inc. 2015 The Infiltrator Brad Furman Good Films Production Department Head Hair (Bryan Cranston, John Leguizamo, Benjamin Bratt, Olympia -
31 Days of Oscar® 2010 Schedule
31 DAYS OF OSCAR® 2010 SCHEDULE Monday, February 1 6:00 AM Only When I Laugh (’81) (Kevin Bacon, James Coco) 8:15 AM Man of La Mancha (’72) (James Coco, Harry Andrews) 10:30 AM 55 Days at Peking (’63) (Harry Andrews, Flora Robson) 1:30 PM Saratoga Trunk (’45) (Flora Robson, Jerry Austin) 4:00 PM The Adventures of Don Juan (’48) (Jerry Austin, Viveca Lindfors) 6:00 PM The Way We Were (’73) (Viveca Lindfors, Barbra Streisand) 8:00 PM Funny Girl (’68) (Barbra Streisand, Omar Sharif) 11:00 PM Lawrence of Arabia (’62) (Omar Sharif, Peter O’Toole) 3:00 AM Becket (’64) (Peter O’Toole, Martita Hunt) 5:30 AM Great Expectations (’46) (Martita Hunt, John Mills) Tuesday, February 2 7:30 AM Tunes of Glory (’60) (John Mills, John Fraser) 9:30 AM The Dam Busters (’55) (John Fraser, Laurence Naismith) 11:30 AM Mogambo (’53) (Laurence Naismith, Clark Gable) 1:30 PM Test Pilot (’38) (Clark Gable, Mary Howard) 3:30 PM Billy the Kid (’41) (Mary Howard, Henry O’Neill) 5:15 PM Mr. Dodd Takes the Air (’37) (Henry O’Neill, Frank McHugh) 6:45 PM One Way Passage (’32) (Frank McHugh, William Powell) 8:00 PM The Thin Man (’34) (William Powell, Myrna Loy) 10:00 PM The Best Years of Our Lives (’46) (Myrna Loy, Fredric March) 1:00 AM Inherit the Wind (’60) (Fredric March, Noah Beery, Jr.) 3:15 AM Sergeant York (’41) (Noah Beery, Jr., Walter Brennan) 5:30 AM These Three (’36) (Walter Brennan, Marcia Mae Jones) Wednesday, February 3 7:15 AM The Champ (’31) (Marcia Mae Jones, Walter Beery) 8:45 AM Viva Villa! (’34) (Walter Beery, Donald Cook) 10:45 AM The Pubic Enemy -
An Analysis and Evaluation of the Acting Career Of
AN ANALYSIS AND EVALUATION OF THE ACTING CAREER OF TALLULAH BANKHEAD APPROVED: Major Professor m Minor Professor Directororf? DepartmenDepa t of Speech and Drama Dean of the Graduate School AN ANALYSIS AND EVALUATION OF THE ACTING CAREER OF TALLULAH BANKHEAD THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF SCIENCE By Jan Buttram Denton, Texas January, 1970 TABLE OF CONTENTS Chapter Page I. THE BEGINNING OF SUCCESS 1 II. ACTING, ACTORS AND THE THEATRE 15 III. THE ROLES SHE USUALLY SHOULD NOT HAVE ACCEPTED • 37 IV. SIX WITH MERIT 76 V. IN SUMMARY OF TALLULAH 103 APPENDIX 114 BIBLIOGRAPHY. 129 CHAPTER I THE BEGINNING OF SUCCESS Tallulah Bankhead's family tree was filled with ancestors who had served their country; but none, with the exception of Tallulah, had served in the theatre. Both her grandfather and her mother's grandfather were wealthy Alabamians. The common belief was that Tallulah received much of her acting talent from her father, but accounts of her mother1s younger days show proof that both of her parents were vivacious and talented. A stranger once told Tallulah, "Your mother was the most beautiful thing that ever lived. Many people have said you get your acting talent from your father, but I disagree. I was at school with Ada Eugenia and I knew Will well. Did you know that she could faint on 1 cue?11 Tallulahfs mother possessed grace and beauty and was quite flamboyant. She loved beautiful clothes and enjoyed creating a ruckus in her own Southern world.* Indeed, Tallulah inherited her mother's joy in turning social taboos upside down. -
The Relevance of Tennessee Williams for the 21St- Century Actress
Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 2009 Then & Now: The Relevance of Tennessee Williams for the 21st- Century Actress Marcie Danae Bealer Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the American Film Studies Commons, and the Theatre and Performance Studies Commons Recommended Citation Bealer, Marcie Danae, "Then & Now: The Relevance of Tennessee Williams for the 21st- Century Actress" (2009). Honors Theses. 24. https://scholarlycommons.obu.edu/honors_theses/24 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. Then & Now: The Relevance of Tennessee Williams for the 21st- Century Actress Marcie Danae Bealer Honors Thesis Ouachita Baptist University Spring 2009 Bealer 2 Finding a place to begin, discussing the role Tennessee Williams has played in the American Theatre is a daunting task. As a playwright Williams has "sustained dramatic power," which allow him to continue to be a large part of American Theatre, from small theatre groups to actor's workshops across the country. Williams holds a central location in the history of American Theatre (Roudane 1). Williams's impact is evidenced in that "there is no actress on earth who will not testify that Williams created the best women characters in the modem theatre" (Benedict, par 1). According to Gore Vidal, "it is widely believed that since Tennessee Williams liked to have sex with men (true), he hated women (untrue); as a result his women characters are thought to be malicious creatures, designed to subvert and destroy godly straightness" (Benedict, par. -
Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960S and Early 1970S
TV/Series 12 | 2017 Littérature et séries télévisées/Literature and TV series Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s Dennis Tredy Electronic version URL: http://journals.openedition.org/tvseries/2200 DOI: 10.4000/tvseries.2200 ISSN: 2266-0909 Publisher GRIC - Groupe de recherche Identités et Cultures Electronic reference Dennis Tredy, « Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s », TV/Series [Online], 12 | 2017, Online since 20 September 2017, connection on 01 May 2019. URL : http://journals.openedition.org/tvseries/2200 ; DOI : 10.4000/tvseries.2200 This text was automatically generated on 1 May 2019. TV/Series est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Light Shadows: Loose Adaptations of Gothic Literature in American TV Series o... 1 Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s Dennis Tredy 1 In the late 1960’s and early 1970’s, in a somewhat failed attempt to wrestle some high ratings away from the network leader CBS, ABC would produce a spate of supernatural sitcoms, soap operas and investigative dramas, adapting and borrowing heavily from major works of Gothic literature of the nineteenth and early twentieth century. The trend began in 1964, when ABC produced the sitcom The Addams Family (1964-66), based on works of cartoonist Charles Addams, and CBS countered with its own The Munsters (CBS, 1964-66) –both satirical inversions of the American ideal sitcom family in which various monsters and freaks from Gothic literature and classic horror films form a family of misfits that somehow thrive in middle-class, suburban America. -
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George Grizzard: a Conversation with Abe J
Wright State University CORE Scholar Theatre, Dance, and Motion Pictures Faculty Publications Theatre, Dance, and Motion Pictures 2-5-1984 George Grizzard: A Conversation with Abe J. Bassett Abe J. Bassett Wright State University - Main Campus, [email protected] Follow this and additional works at: https://corescholar.libraries.wright.edu/theater Part of the Acting Commons, Dance Commons, Performance Studies Commons, and the Theatre History Commons Repository Citation Bassett, A. J. (1984). George Grizzard: A Conversation with Abe J. Bassett. https://corescholar.libraries.wright.edu/theater/8 This Interview is brought to you for free and open access by the Theatre, Dance, and Motion Pictures at CORE Scholar. It has been accepted for inclusion in Theatre, Dance, and Motion Pictures Faculty Publications by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. GEORGE GRIZZARD A Conversation With Abe J Bassett at Wright State University February 5, 1984 Introduction merican actor George Gizzard’s first connection with Wright State was in October, 1974 A when he directed William Saroyan’s The Time of Your Life, the dedicatory production of the Creative Arts Center’s Festival Playhouse. In January 1984, he returned to Wright State to create the role of Dr. Martin Dysart in the very successful Department of Theatre Arts production of Equus. The following summary of his film and theatre career is from Wikipedia: Grizzard memorably appeared as an unscrupulous United States senator in the film Advise and Consent in 1962. His other theatrical films included the drama From the Terrace with Paul Newman (1960), the Western story Comes a Horseman with Jane Fonda (1978) and a Neil Simon comedy, Seems Like Old Times (1980). -
Qurrat Ann Kadwani: Still Calling Her Q!
1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St. -
Alvin Ailey American Dance Theater
DANCE ALVIN AILEY AMERICAN DANCE THEATER Gaillard Municipal Auditorium May 25 at 7:00pm; May 26 at 8:00pm; May 27 at 2:00pm Founder Alvin Ailey Artistic Director Emerita Judith Jamison Artistic Director Robert Battle Associate Artistic Director Masazumi Chaya Company Members Guillermo Asca Yannick Lebrun Kirven James Boyd Alicia Graf Mack Hope Boykin Michael Francis McBride Sean A. Carmon Rachael McLaren Sarah Daley Aisha Mitchell Ghrai DeVore Akua Noni Parker Antonio Douthit Briana Reed Belen Estrada Samuel Lee Roberts Renaldo Gardner Renee Robinson Vernard J. Gilmore Kelly Robotham Jacqueline Green Kanji Segawa Daniel Harder Glenn Allen Sims Demetia Hopkins Linda Celeste Sims Michael Jackson, Jr. Jermaine Terry Megan Jakel Marcus Jarrell Willis Guest Artist Matthew Rushing Executive Director Sharon Gersten Luckman The 2012 Dance Series is presented by BlueCross BlueShield of South Carolina. Additional support for the 2012 Dance Series is provided by The Harkness Foundation for Dance. Major funding for Alvin Ailey American Dance Theater is provided by the New York State Council on the Arts, the New York City Department of Cultural Affairs, American Express, Bank of America, Bristol-Myers Squibb, Diageo, FedEx Corporation, Ford Foundation, The Hearst Foundations, J.P. Morgan, Prudential Financial, Inc., The Shubert Foundation, The Starr Foundation, Target, and Wells Fargo. Toyota Motor Sales U.S.A., Inc. is the Official Vehicle Partner of Alvin Ailey American Dance Theater. 36 DANCE ALVIN AILEY AMERICAN DANCE THEATER PROGRAM A May 25 at 7:00pm ARDEN COURT (1981) Choreography by Paul Taylor Music by William Boyce Restaged by Cathy McCann Buck Set and costumes by Gene Moore Lighting by Jennifer Tipton First performed by the Paul Taylor Dance Company in 1981 Dancers Linda Celeste Sims, Glenn Allen Sims, Antonio Douthit, Kirven James Boyd, Rachael McLaren, Alicia Graf Mack, Michael Francis McBride, Samuel Lee Roberts, Jermaine Terry Generous support for this Company premiere was provided by Harlan B. -
Exploring Films About Ethical Leadership: Can Lessons Be Learned?
EXPLORING FILMS ABOUT ETHICAL LEADERSHIP: CAN LESSONS BE LEARNED? By Richard J. Stillman II University of Colorado at Denver and Health Sciences Center Public Administration and Management Volume Eleven, Number 3, pp. 103-305 2006 104 DEDICATED TO THOSE ETHICAL LEADERS WHO LOST THEIR LIVES IN THE 9/11 TERROIST ATTACKS — MAY THEIR HEORISM BE REMEMBERED 105 TABLE OF CONTENTS Preface 106 Advancing Our Understanding of Ethical Leadership through Films 108 Notes on Selecting Films about Ethical Leadership 142 Index by Subject 301 106 PREFACE In his preface to James M cG regor B urns‘ Pulitzer–prizewinning book, Leadership (1978), the author w rote that ―… an im m ense reservoir of data and analysis and theories have developed,‖ but ―w e have no school of leadership.‖ R ather, ―… scholars have worked in separate disciplines and sub-disciplines in pursuit of different and often related questions and problem s.‖ (p.3) B urns argued that the tim e w as ripe to draw together this vast accumulation of research and analysis from humanities and social sciences in order to arrive at a conceptual synthesis, even an intellectual breakthrough for understanding of this critically important subject. Of course, that was the aim of his magisterial scholarly work, and while unquestionably impressive, his tome turned out to be by no means the last word on the topic. Indeed over the intervening quarter century, quite to the contrary, we witnessed a continuously increasing outpouring of specialized political science, historical, philosophical, psychological, and other disciplinary studies with clearly ―no school of leadership‖with a single unifying theory emerging. -
Mid-August Lunch
Nashville Director: Robert Altman Country: USA Date: 1975 A review by Roger Ebert: Taking down Pauline Kael's 1976 collection Reeling to re-read her famous review of "Nashville," I find a yellow legal sheet marking the page: my notes for a class I taught on the film. "What is this story about?" I wrote. The film may be great because you can't really answer that question. It is a musical; Robert Altman observes in his commentary on the new DVD re-release that it contains more than an hour of music. It is a docudrama about the Nashville scene. It is a political parable, written and directed in the immediate aftermath of Watergate (the scenes in the Grand Ole Opry were shot on the day Richard M. Nixon resigned). It tells interlocking stories of love and sex, of hearts broken and mended. And it is a wicked satire of American smarminess ("Welcome to Nashville and to my lovely home," a country star gushes to Elliott Gould). But more than anything else, it is a tender poem to the wounded and the sad. The most unforgettable characters in the movie are the best ones: Lily Tomlin's housewife, who loves her deaf sons. The lonely soldier who stands guard over the country singer his mother saved from a fire. The old man grieving for his wife, who has just died. Barbara Harris' runaway wife, who rises to the occasion when she is handed the microphone after a shooting. And even that smarmy country singer (Henry Gibson), who when the chips are down acts in the right way.