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A Hero Reborn Alicia Vikander Talks Tomb Raider
MARCH/APRIL 2018 | VOLUME 19 | NUMBER 3 A HERO REBORN ALICIA VIKANDER TALKS TOMB RAIDER Inside JAMES MCAVOY KATE MARA PUBLICATIONS MAIL AGREEMENT NO. 41619533 THE NINE MUST-SEE MOVIES OUT THIS SPRING & SUMMER, PAGE 38 CONTENTS MARCH/APRIL 2018 | VOL 19 | Nº3 COVER STORY 34 GAME ON! Oscar-winning actor Alicia Vikander unleashes her inner action hero to portray Lara Croft in Tomb Raider, the reboot of the videogame- based adventure series. Here the Swedish talent talks about her love of adventure movies and how her training as a ballerina helped prepare her for the physically demanding role BY MARNI WEISZ REGULARS 4 EDITOR’S NOTE 6 SNAPS 8 IN BRIEF 16 ALL DRESSED UP 18 IN THEATRES 44 RETURN ENGAGEMENT 46 CINEPLEX STORE 50 FINALLY… FEATURES BROS. PICTURES FRANK OCKENFELS/WARNER BY PHOTO COVER 14 HORSE POWER 28 COVER UP 32 LOVER & FIGHTER 38 MOVIE PREVIEW! Canadian Ajuawak Kapashesit Kate Mara talks about The star of Submergence, Nine must-see movies explains how The Revenant playing Mary Jo Kopechne, James McAvoy, reveals what hitting screens in May, steered him into acting and his the woman at the centre of it’s like to play a smitten lover June and July, beginning eventual part in this month’s Chappaquiddick’s scandalous, and a torture victim in the with the star-studded Marvel Indian Horse real-life tragedy same film pic Avengers: Infinity War BY INGRID RANDOJA BY BOB STRAUSS BY INGRID RANDOJA BY MARNI WEISZ MARCH/APRIL 2018 | CINEPLEX MAGAZINE | 3 EDITOR’S NOTE PUBLISHER SALAH BACHIR EDITOR MARNI WEISZ DEPUTY EDITOR INGRID RANDOJA CREATIVE DIRECTOR LUCINDA WALLACE GRAPHIC DESIGNER DARRYL MABEY VICE PRESIDENT, PRODUCTION SHEILA GREGORY CONTRIBUTORS BOB STRAUSS ADVERTISING SALES FOR CINEPLEX MAGAZINE AND LE MAGAZINE CINEPLEX IS HANDLED BY CINEPLEX MEDIA. -
First-Run Smoking Presentations in U.S. Movies 1999-2006
First-Run Smoking Presentations in U.S. Movies 1999-2006 Jonathan R. Polansky Stanton Glantz, PhD CENTER FOR TOBAccO CONTROL RESEARCH AND EDUCATION UNIVERSITY OF CALIFORNIA, SAN FRANCISCO SAN FRANCISCO, CA 94143 April 2007 EXECUTIVE SUMMARY Smoking among American adults fell by half between 1950 and 2002, yet smoking on U.S. movie screens reached historic heights in 2002, topping levels observed a half century earlier.1 Tobacco’s comeback in movies has serious public health implications, because smoking on screen stimulates adolescents to start smoking,2,3 accounting for an estimated 52% of adolescent smoking initiation. Equally important, researchers have observed a dose-response relationship between teens’ exposure to on-screen smoking and smoking initiation: the greater teens’ exposure to smoking in movies, the more likely they are to start smoking. Conversely, if their exposure to smoking in movies were reduced, proportionately fewer teens would likely start smoking. To track smoking trends at the movies, previous analyses have studied the U.S. motion picture industry’s top-grossing films with the heaviest advertising support, deepest audience penetration, and highest box office earnings.4,5 This report is unique in examining the U.S. movie industry’s total output, and also in identifying smoking movies, tobacco incidents, and tobacco impressions with the companies that produced and/or distributed the films — and with their parent corporations, which claim responsibility for tobacco content choices. Examining Hollywood’s product line-up, before and after the public voted at the box office, sheds light on individual studios’ content decisions and industry-wide production patterns amenable to policy reform. -
Joshua Logan to Speak at University of Montana Thursday Night
University of Montana ScholarWorks at University of Montana University of Montana News Releases, 1928, 1956-present University Relations 9-24-1967 Joshua Logan to speak at University of Montana Thursday night University of Montana--Missoula. Office of University Relations Follow this and additional works at: https://scholarworks.umt.edu/newsreleases Let us know how access to this document benefits ou.y Recommended Citation University of Montana--Missoula. Office of University Relations, "Joshua Logan to speak at University of Montana Thursday night" (1967). University of Montana News Releases, 1928, 1956-present. 2901. https://scholarworks.umt.edu/newsreleases/2901 This News Article is brought to you for free and open access by the University Relations at ScholarWorks at University of Montana. It has been accepted for inclusion in University of Montana News Releases, 1928, 1956-present by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. INFORMATION SERVICES UNIVERSITY OF MONTANA IS) WWW& MISSOULA, MONTANA 59801 Phone (406) 243-2522 FOR RELEASE: SUNDAY, SEPTEMBER 24, 1967 hober/js 9 -2 1 -6 7 local JOSHUA LOGAN TO SPEAK AT UM THURSDAY NIGHT MISSOULA-- Joshua Logan, Pulitzer Prize winning director, producer and playwright, will speak in the University of Montana Theater at 8 p.m. Thursday. (Sept. 28). Mr. Logan's speech, "Ther Performing Arts" is sponsored by the Program Council of the Associated Students of UM. He recently finished his latest screen venture, "Camelot" which kept him from appearing at the University last spring. Mr. Logan also has directed the movie versions of "South Pacific" and "Fanny," two of the Broadway musicals for which he is famous. -
Writing Dialogue & Advice from the Pros
Writing Dialogue & Advice from the Pros Writing great dialogue is considered an art form. Listening to real-life conversations, watching award- winning films, and learning from the masters will help you craft dialogue that shines on the page. The following writing thoughts and advice are excerpts from Karl Iglesias’ book, The 101 Habits of Highly Successful Screenwriters. Enjoy! ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Writing Unrealistic and Boring Dialogue In real life, dialogue is mostly polite conversation. In film, polite conversation is considered bad dialogue, unless it’s witty, sarcastic, or has a unique voice. The reason is that polite chat lacks tension, and tension is the key to dramatic storytelling. As Alfred Hitchcock once said, “Drama is real life with all the boring parts cut out of it.” The key to good dialogue is to understand that it’s not conversation, it’s action. What characters say in a scene should be said to get what they want in the scene. And to determine whether or not your dialogue sounds realistic, read it out loud. Garrison Keillor once advised, “If you read your work out loud, it helps to know what’s bad.” Try it. It works. Dialogue always sounds better in your head. Better to be embarrassed in your room than on the set. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Read Your Dialogue Out Loud Writing authentic, well-crafted dialogue that sparkles, individualizes characters, and entertains the reader is the ultimate challenge for screenwriters, who otherwise may have solid script elements. It’s crucial to attracting talent, which can green-light your script. Writing great dialogue can also sell the writer, for those who excel in this area are highly sought after to the tune of six figures per week for dialogue rewrites. -
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. -
GIORGIO MORODER Album Announcement Press Release April
GIORGIO MORODER TO RELEASE BRAND NEW STUDIO ALBUM DÉJÀ VU JUNE 16TH ON RCA RECORDS ! TITLE TRACK “DÉJÀ VU FEAT. SIA” AVAILABLE TODAY, APRIL 17 CLICK HERE TO LISTEN TO “DÉJÀ VU FEATURING SIA” DÉJÀ VU ALBUM PRE-ORDER NOW LIVE (New York- April 17, 2015) Giorgio Moroder, the founder of disco and electronic music trailblazer, will be releasing his first solo album in over 30 years entitled DÉJÀ VU on June 16th on RCA Records. The title track “Déjà vu featuring Sia” is available everywhere today. Click here to listen now! Fans who pre-order the album will receive “Déjà vu feat. Sia” instantly, as well as previously released singles “74 is the New 24” and “Right Here, Right Now featuring Kylie Minogue” instantly. (Click hyperlinks to listen/ watch videos). Album preorder available now at iTunes and Amazon. Giorgio’s long-awaited album DÉJÀ VU features a superstar line up of collaborators including Britney Spears, Sia, Charli XCX, Kylie Minogue, Mikky Ekko, Foxes, Kelis, Marlene, and Matthew Koma. Find below a complete album track listing. Comments Giorgio Moroder: "So excited to release my first album in 30 years; it took quite some time. Who would have known adding the ‘click’ to the 24 track would spawn a musical revolution and inspire generations. As I sit back readily approaching my 75th birthday, I wouldn’t change it for the world. I'm incredibly happy that I got to work with so many great and talented artists on this new record. This is dance music, it’s disco, it’s electronic, it’s here for you. -
How the Motion Picture Industry Miscalculates Box Office Receipts
How the motion picture industry miscalculates box office receipts S. Eric Anderson, Loma Linda University Stewart Albertson, Loma Linda University David Shavlik, Loma Linda University INTRODUCTION when movie grosses are adjusted for inflation, the Sound of Music was a more popular movie Box office grosses, once of interest only to than Titanic even though the box office gross movie industry executives, are now widely was over $400 million less. So why is it then publicized and immediately reported by movie that box office grosses are often the only industry tracking companies. The numbers reported, when the numbers have instantaneous tracking and reporting hurts little meaning? The motion picture industry, movies with weak openings, but helps movies aware that inflation helps movies grow bigger, with big openings become even bigger as has little interest in reporting highest grossing people flock to see what all the fuss is about. box office numbers with inflation-adjusted Due to inflation, the highest grossing movies dollars that will show the motion picture tend to be the more recent releases, which the industry is stagnant at best. They are able to motion picture industry is taking full get away with it since most don’t know how advantage of when promoting new movies. to handle those inflation-adjusting As a result, the motion picture industry has calculations. developed “highest grossing “ movie lists from almost every angle imaginable - opening Inflation-adjusted gross calculations are day, opening weekend, opening day non- inaccurate weekend, opening day during the fall, winter and spring, opening day Memorial weekend, Some tracking companies have begun second weekend of release, fewest screens, reporting box office grosses with the less etc. -
The Green Sheet and Opposition to American Motion Picture Classification in the 1960S
The Green Sheet and Opposition to American Motion Picture Classification in the 1960s By Zachary Saltz University of Kansas, Copyright 2011 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ________________________________ Chairperson Dr. John Tibbetts ________________________________ Dr. Michael Baskett ________________________________ Dr. Chuck Berg Date Defended: 19 April 2011 ii The Thesis Committee for Zachary Saltz certifies that this is the approved version of the following thesis: The Green Sheet and Opposition to American Motion Picture Classification in the 1960s ________________________________ Chairperson Dr. John Tibbetts Date approved: 19 April 2011 iii ABSTRACT The Green Sheet was a bulletin created by the Film Estimate Board of National Organizations, and featured the composite movie ratings of its ten member organizations, largely Protestant and represented by women. Between 1933 and 1969, the Green Sheet was offered as a service to civic, educational, and religious centers informing patrons which motion pictures contained potentially offensive and prurient content for younger viewers and families. When the Motion Picture Association of America began underwriting its costs of publication, the Green Sheet was used as a bartering device by the film industry to root out municipal censorship boards and legislative bills mandating state classification measures. The Green Sheet underscored tensions between film industry executives such as Eric Johnston and Jack Valenti, movie theater owners, politicians, and patrons demanding more integrity in monitoring changing film content in the rapidly progressive era of the 1960s. Using a system of symbolic advisory ratings, the Green Sheet set an early precedent for the age-based types of ratings the motion picture industry would adopt in its own rating system of 1968. -
Available Titles
Legendary Sports Group Sports & Entertainment Wall Art To contact us call: 18x24 Classic Movie Line 484.231.8733 Two photos featuring great moments from the Big Screen, double matted with a laser engraved nameplate. Movie Framed Art Available Titles CMLAN001 Apocalypse Now CMLAFGM001 A Few Good Men CMLAT001 Analyze This CMLAC001 Abbott & Costello CMLBHC001 Beverly Hills Cop CMLBAT001 Breakfast at Tiffany’s CMLB001 Bullitt CMLBH001 Brave Heart CMLCS001 Caddy Shack CMLCW001 Castatway CMLC002 Casablanca CMLCCF001 Charlie Choc Factory Depp CMLCCF002 Charlie Choc Fact Orig CMLCK001 Cincinnati Kid CMLCK002 Citizen Kane CMLCHL001 Cool Hand Luke CMLCT001 Crimson Tide Washington CMLCT002 Crimson Tide Hackman CMLCOM001 Color of Money CMLTD001 The Departed CMLDH001 Die Hard CMLDD001 Dirty Dozen CMLDH001 Dirty Harry CMLET001 E T CML48001 48 Hours CMLFC001 French Connection CMLFG001 Forrest Gump CMLTF001 The Fugitive CMLTG001 The Graduate CMLGHD001 Ground Hogs Day CMLGWT001 Gone with the Wind CMLGS001 Grease MLGF001 Godfather Brando Only CMLGF001 Godfather Pacino Only CMLGF003 Godfather Family CMLGF004 Godfather II Pacino CMLGF005 Godfather II DeNiro CMLGF006 Goodfellas All CMLGF007 Goodfellas Liotta/Bracco CMLHP001 Harry Potter CMLH001 Heat CMLH002 The Hustler Gleason CMLH003 The Hustler Newman CMLH004 The Hustler Newman Gleas CMLH005 Hooisers CMLIJ001 Indiana Jones CMLINV001 Invincible CMLJW001 John Wayne War CMLJW002 John Wayne Western CMLJM001 Jerry McGuire CMLJP001 Jurassic Park CMLMTP001 Meet The Parents CMLN001 The Natural CMLOAT001 Once Upon -
Grizzly Si Plifies Complex Obstacles Gets More Time to Gather Facts
_ II~ range: TA 250 instructors help them- Volume 9 Number 10 Published in the interest of the personnel at Fort Leonard Wood, Missouri Thursday, March 7, 1996 Home on the - ------------------ selves to a new shelter. See page 3A ----------------- -- BRAC on track Luncheon features Ann Crossley Q Maneuver Support struction facilities, NCO academy The Officers and Civilians Center transformation accommodations, range modifica- Women's Club luncheon fea- tions and housing conversions. turing Ann Crossley, author of proceeding smoothly "We're adequately funded for the 'Army Wives Handbook," the design of all projects and have is on March 21, 11:30 a.m., By Jacqueline Guthrie been approved for construction," not March 12 as previously pub- ESSAYONS Staff he added. Contractors will start lished. See complete story on breaking ground early next year. page lB. Fort Leonard Wood is well on "We also have a very solid start- its way to becoming the Maneuver up on the environmental impact Joint Endeavor troops Support Center as the Base Re- statement," Johnson said. This get tax extension alignment and Closure statement is part of the legal re- The Internal Revenue Ser- Commission transition office here quirements of the National vice has granted an automatic celebrate its one-year anniversary. Environmental Policy Act of 1969 extension to Dec. 15 to file The BRAC team has the job of that requires all federal agencies 1995 Federal Income Tax Re- moving of the Military Police and to complete one for activities that turns to soldiers serving in Chemical Schools from Fort could affect the environment. Operation Joint Endeavor on McClellan, Ala., to Fort Leonard Officials began preparing the in- or after March 15. -
A Case Study of Foreign Film-Title Translation in Hong Kong and Taiwan
Lingnan University Digital Commons @ Lingnan University Theses & Dissertations Department of Translation 3-2005 Domesticating translation can make a difference : a case study of foreign film-title translation in Hong Kong and Taiwan Ka Ian, Justina CHEANG Follow this and additional works at: https://commons.ln.edu.hk/tran_etd Part of the Applied Linguistics Commons, and the Translation Studies Commons Recommended Citation Cheang, K. I. J. (2005). Domesticating translation can make a difference: A case study of foreign film-title translation in Hong Kong and Taiwan (Master's thesis, Lingnan University, Hong Kong). Retrieved from http://dx.doi.org/10.14793/tran_etd.12 This Thesis is brought to you for free and open access by the Department of Translation at Digital Commons @ Lingnan University. It has been accepted for inclusion in Theses & Dissertations by an authorized administrator of Digital Commons @ Lingnan University. DOMESTICATING TRANSLATION CAN MAKE A DIFFERENCE: A CASE STUDY OF FOREIGN FILM-TITLE TRANSLATION IN HONG KONG AND TAIWAN CHEANG KA IAN JUSTINA MPHIL LINGNAN UNIVERSITY 2005 DOMESTICATING TRANSLATION CAN MAKE A DIFFERENCE: A CASE STUDY OF FOREIGN FILM-TITLE TRANSLATION IN HONG KONG AND TAIWAN by CHEANG Ka Ian Justina A thesis submitted in partial fulfillment of the requirements for the Degree of Master of Philosophy Lingnan University 2005 ABSTRACT Domesticating Translation Can Make a Difference: A Case Study of Foreign Film-Title Translation in Hong Kong and Taiwan by CHEANG Ka Ian Justina Master of Philosophy This thesis seeks to examine the translation of selected foreign film-titles in Hong Kong and Taiwan from 1990 to 2002. -
NEIL KREPELA ASC Visual Effects Supervisor
NEIL KREPELA ASC Visual Effects Supervisor www.neilkrepela.net FILM DIRECTOR STUDIO & PRODUCERS “THE FIRST COUPLE ” NEIL KREPELA Berliner Film Companie (Development – Animated Feature) Mike Fraser, Rainer Soehnlein “CITY OF EMBER ” GIL KENAN FOX -WALDEN Visual Effects Consultant Gary Goetzman, Tom Hanks, Steven Shareshian “TORTOI SE AND THE HIPPO” JOHN DYKSTRA WALDEN MEDIA Visual Effects Consultant “MEET THE ROBINSONS” STEPHEN ANDERSON WALT DISNEY ANIMATION Lighting & Composition Dorothy McKim, Bill Borden “TERMINATOR 3: RISE OF THE JONATHAN MOSTOW WARNER BROTHERS MACHINES” VFX Aerial Unit Director Mario F. Kassar, Hal Lieberman, & Cameraman Joel B. Michaels, Andrew G. Vajna, Colin Wilson “SCOOBY DOO ” RAJA GOSNELL WA RNER BROTHERS Additional Visual Effects Supervision Charles Roven, Richard Suckle “DINOSAUR ” ERIC LEIGHTON WALT DISNEY PICTURES Pam Marsden “MULTIPLICITY” (Boss Film Studio) HAROLD RAMIS COLUMBIA PICTURES Visual Effects Consult - Pre-production Trevor Albert “HEAT ” MICHAEL MANN WARNER BROTHERS /FORWARD PASS Michael Mann, Art Linson “OUTBREAK” – (Boss Film Studio ) WOLFGANG PETERSEN WARNER BROTHERS Wolfgang Petersen, Gail Katz, Arnold Kopelson “THE FANTASTICKS ” MICHAEL RITCHIE UNITED ARTISTS Linne Radmin, Michael Ritchie “THE SPECIALIST ” LUIS LLOSA WARNER BROTHERS Jerry Weintraub “THE SCOUT” - (Boss Film Studio) MICHAEL RITCHIE TWENTIETH CENTURY FOX Andre E. Morgan, Albert S. Ruddy Neil Krepela -Continued- “TRUE LIES ” JAMES CAMERON TWENTIETH CENTURY FOX (Boss Film Studio) James Cameron, Stephanie Austin “LAST ACTION