TIM CHAU Re-Recording Mixer | Supervising Sound Editor | Sound

Total Page:16

File Type:pdf, Size:1020Kb

TIM CHAU Re-Recording Mixer | Supervising Sound Editor | Sound TIM CHAU Re-Recording Mixer | Supervising Sound Editor | Sound Designer SELECT FEATURE FILM CREDITS Film Director Studio THE ADDAMS FAMILY 2 Greg Tiernan, Conrad Vernon MGM / United Artists EUROVISION David Dobkin Netflix THE ADDAMS FAMILY Greg Tiernan, Conrad Vernon MGM / United Artists MISSING LINK Chris Butler Laika EVERY DAY Michael Sucsy Orion Pics THE STAR Timothy Reckart Sony Pictures KUBO AND THE TWO STRINGS Travis Knight Laika UNDER THE GUN Stephanie Soechtig Lionsgate INTO THE BADLANDS (AMC Series) David Dobkin AMC THE SPONGEBOB MOVIE: Paul Tibbit Paramount Pictures SPONGE OUT OF WATER THE JUDGE David Dobkin Warner Bros. HERCULES Brett Ratner Paramount Pictures KATY PERRY: PART OF ME Dan Cutforth, Jane Lipsitz Paramount Pictures THE VOW Michael Sucsy Screen Gems THE CHANGE UP David Dobkin Universal Pictures JUSTIN BIEBER: Jon M.Chu Paramount Pictures NEVER SAY NEVER THE HANGOVER Todd Phillips Warner Bros. COP OUT Kevin Smith Warner Bros. FRED CLAUS David Dobkin Warner Bros. RUSH HOUR 3 Brett Ratner New Line Cinema BALLS OF FURY Ben Garant Focus Features OPEN SEASON Roger Allers, Jill Culton & Anthony Sony Pictures Stacchi SECRET WINDOW David Koepp Columbia Pictures FIRST DAUGHTER Forest Whitaker Twentieth Century Fox SHANGHAI KNIGHTS David Dobkin Buena Vista Pictures CROCODILE DUNDEE IN Simon Wincer Paramount Pictures LOS ANGELES RUSH HOUR 2 Brett Ratner New Line Cinema SHANGHAI NOON Tom Dey Buena Vista Pictures WEDDING CRASHERS David Dobkin New Line Cinema RUSH HOUR Brett Ratner New Line Cinema SCARY MOVIE Keenan Ivory Wayans Dimension Films www.wbppcs.com TIM CHAU Re-Recording Mixer | Supervising Sound Editor | Sound Designer SELECT FEATURE FILM CREDITS Film Director Studio STIR OF ECHOES David Koepp Twentieth Century Fox SPIRIT: STALLION OF THE Kelly Asbury DreamWorks Animation CIMARRON SCREAM 3 Wes Craven Dimension Films TELLING LIES IN AMERICA Guy Ferland Banner Entertainment HOPE FLOATS Forest Whitaker Twentieth Century Fox ROCK STAR Stephen Herek Warner Bros. THE EMPEROR'S NEW GROOVE Mark Dindal Walt Disney Animation Studios CRAZY IN ALABAMA Antonio Banderas Columbia Pictures MONEY TALKS Brett Ratner New Line Cinema GEORGE OF THE JUNGLE Sam Weisman Walt Disney Pictures 101 DALMATIANS Stephen Herek Walt Disney Pictures THE PHANTOM Simon Wincer Paramount Pictures MR. HOLLAND'S OPUS Stephen Herek Buena Vista Pictures WAITING TO EXHALE Forest Whitaker Twentieth Century Fox THE THREE MUSKETEERS Stephen Herek Walt Disney Pictures THE JOY LUCK CLUB Wayne Wang Buena Vista Pictures FREE WILLY Simon Wincer Warner Bros. SLIVER Phillip Noyce Paramount Pictures THE MIGHTY DUCKS Stephen Herek Walt Disney Pictures A FEW GOOD MEN Rob Reiner Columbia Pictures MAD MAX BEYOND George Miller Warner Bros. THUNDERDOME HOOK Steven Spielberg TriStar Pictures THE DOORS Oliver Stone TriStar Pictures QUIGLEY DOWN UNDER Simon Wincer MGM CROCODILE DUNDEE Peter Faiman Paramount Pictures www.wbppcs.com.
Recommended publications
  • Neues Textdokument (2).Txt
    Filmliste Liste de filme DVD Münchhaldenstrasse 10, Postfach 919, 8034 Zürich Tel: 044/ 422 38 33, Fax: 044/ 422 37 93 www.praesens.com, [email protected] Filmnr Original Titel Regie 20001 A TIME TO KILL Joel Schumacher 20002 JUMANJI 20003 LEGENDS OF THE FALL Edward Zwick 20004 MARS ATTACKS! Tim Burton 20005 MAVERICK Richard Donner 20006 OUTBREAK Wolfgang Petersen 20007 BATMAN & ROBIN Joel Schumacher 20008 CONTACT Robert Zemeckis 20009 BODYGUARD Mick Jackson 20010 COP LAND James Mangold 20011 PELICAN BRIEF,THE Alan J.Pakula 20012 KLIENT, DER Joel Schumacher 20013 ADDICTED TO LOVE Griffin Dunne 20014 ARMAGEDDON Michael Bay 20015 SPACE JAM Joe Pytka 20016 CONAIR Simon West 20017 HORSE WHISPERER,THE Robert Redford 20018 LETHAL WEAPON 4 Richard Donner 20019 LION KING 2 20020 ROCKY HORROR PICTURE SHOW Jim Sharman 20021 X‐FILES 20022 GATTACA Andrew Niccol 20023 STARSHIP TROOPERS Paul Verhoeven 20024 YOU'VE GOT MAIL Nora Ephron 20025 NET,THE Irwin Winkler 20026 RED CORNER Jon Avnet 20027 WILD WILD WEST Barry Sonnenfeld 20028 EYES WIDE SHUT Stanley Kubrick 20029 ENEMY OF THE STATE Tony Scott 20030 LIAR,LIAR/Der Dummschwätzer Tom Shadyac 20031 MATRIX Wachowski Brothers 20032 AUF DER FLUCHT Andrew Davis 20033 TRUMAN SHOW, THE Peter Weir 20034 IRON GIANT,THE 20035 OUT OF SIGHT Steven Soderbergh 20036 SOMETHING ABOUT MARY Bobby &Peter Farrelly 20037 TITANIC James Cameron 20038 RUNAWAY BRIDE Garry Marshall 20039 NOTTING HILL Roger Michell 20040 TWISTER Jan DeBont 20041 PATCH ADAMS Tom Shadyac 20042 PLEASANTVILLE Gary Ross 20043 FIGHT CLUB, THE David
    [Show full text]
  • Joker (2019 Film) - Wikipedia
    Joker (2019 film) - Wikipedia https://en.wikipedia.org/wiki/Joker_(2019_film) Joker (2019 film) Joker is a 2019 American psychological thriller film directed by Todd Joker Phillips, who co-wrote the screenplay with Scott Silver. The film, based on DC Comics characters, stars Joaquin Phoenix as the Joker. An origin story set in 1981, the film follows Arthur Fleck, a failed stand-up comedian who turns to a life of crime and chaos in Gotham City. Robert De Niro, Zazie Beetz, Frances Conroy, Brett Cullen, Glenn Fleshler, Bill Camp, Shea Whigham, and Marc Maron appear in supporting roles. Joker was produced by Warner Bros. Pictures, DC Films, and Joint Effort in association with Bron Creative and Village Roadshow Pictures, and distributed by Warner Bros. Phillips conceived Joker in 2016 and wrote the script with Silver throughout 2017. The two were inspired by 1970s character studies and the films of Martin Scorsese, who was initially attached to the project as a producer. The graphic novel Batman: The Killing Joke (1988) was the basis for the premise, but Phillips and Silver otherwise did not look to specific comics for inspiration. Phoenix became attached in February 2018 and was cast that July, while the majority of the cast signed on by August. Theatrical release poster Principal photography took place in New York City, Jersey City, and Newark, from September to December 2018. It is the first live-action Directed by Todd Phillips theatrical Batman film to receive an R-rating from the Motion Picture Produced by Todd Phillips Association of America, due to its violent and disturbing content.
    [Show full text]
  • Captive Orcas
    Captive Orcas ‘Dying to Entertain You’ The Full Story A report for Whale and Dolphin Conservation Society (WDCS) Chippenham, UK Produced by Vanessa Williams Contents Introduction Section 1 The showbiz orca Section 2 Life in the wild FINgerprinting techniques. Community living. Social behaviour. Intelligence. Communication. Orca studies in other parts of the world. Fact file. Latest news on northern/southern residents. Section 3 The world orca trade Capture sites and methods. Legislation. Holding areas [USA/Canada /Iceland/Japan]. Effects of capture upon remaining animals. Potential future capture sites. Transport from the wild. Transport from tank to tank. “Orca laundering”. Breeding loan. Special deals. Section 4 Life in the tank Standards and regulations for captive display [USA/Canada/UK/Japan]. Conditions in captivity: Pool size. Pool design and water quality. Feeding. Acoustics and ambient noise. Social composition and companionship. Solitary confinement. Health of captive orcas: Survival rates and longevity. Causes of death. Stress. Aggressive behaviour towards other orcas. Aggression towards trainers. Section 5 Marine park myths Education. Conservation. Captive breeding. Research. Section 6 The display industry makes a killing Marketing the image. Lobbying. Dubious bedfellows. Drive fisheries. Over-capturing. Section 7 The times they are a-changing The future of marine parks. Changing climate of public opinion. Ethics. Alternatives to display. Whale watching. Cetacean-free facilities. Future of current captives. Release programmes. Section 8 Conclusions and recommendations Appendix: Location of current captives, and details of wild-caught orcas References The information contained in this report is believed to be correct at the time of last publication: 30th April 2001. Some information is inevitably date-sensitive: please notify the author with any comments or updated information.
    [Show full text]
  • Digital Surrealism: Visualizing Walt Disney Animation Studios
    City University of New York (CUNY) CUNY Academic Works Publications and Research Queens College 2017 Digital Surrealism: Visualizing Walt Disney Animation Studios Kevin L. Ferguson CUNY Queens College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/qc_pubs/205 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] 1 Digital Surrealism: Visualizing Walt Disney Animation Studios Abstract There are a number of fruitful digital humanities approaches to cinema and media studies, but most of them only pursue traditional forms of scholarship by extracting a single variable from the audiovisual text that is already legible to scholars. Instead, cinema and media studies should pursue a mostly-ignored “digital-surrealism” that uses computer-based methods to transform film texts in radical ways not previously possible. This article describes one such method using the z-projection function of the scientific image analysis software ImageJ to sum film frames in order to create new composite images. Working with the fifty-four feature-length films from Walt Disney Animation Studios, I describe how this method allows for a unique understanding of a film corpus not otherwise available to cinema and media studies scholars. “Technique is the very being of all creation” — Roland Barthes “We dig up diamonds by the score, a thousand rubies, sometimes more, but we don't know what we dig them for” — The Seven Dwarfs There are quite a number of fruitful digital humanities approaches to cinema and media studies, which vary widely from aesthetic techniques of visualizing color and form in shots to data-driven metrics approaches analyzing editing patterns.
    [Show full text]
  • The Earthing Movie Bringing It Home Poisoning Paradise Free Willy
    SANTA MONICA COLLEGE FALL 2019 GREEN SCREEN SERIES Hosted by Sheila Laffey, Ph.D., Adjunct Professor 09.23.19 11.04.19 The Earthing Poisoning Movie Paradise Documentary Film Screening and Talk Film Screening with Filmmakers Josh and Rebecca Mon, November 4 | 4 p.m. Tickell and Oscar-nominated Actor Mariel Hemingway 11.18.19 Mon, September 23 | 4 p.m. Free Willy 10.07.19 Film Screening and Talk with Producers Lauren Shuler Donner Bringing It Home and Jennie Lew Tugend Film Screening Mon, November 18 | 3 p.m. and Talk with Sheila Laffey Mon, October 7 | 4 p.m. All events will be held at the Center for Media and Design, Auditorium. Free admission. THE EARTHING MOVIE Film Screening and Talk with Filmmakers Josh and Rebecca Tickell and Oscar-nominated Actor Mariel Hemingway The Earthing Movie (2019, 75 minutes) explores the effects on human physiology and health of connecting our skin to the ground for extended periods of time, which can significantly reduce inflammation, leading to often dramatic health benefits. A talk with the documentary’s award- winning filmmakers Josh and Rebecca Tickell and actor Mariel Hemingway follows the screening. Mon, September 23 | 4 p.m. | Free | Center for Media and Design, Auditorium 180 BRINGING IT HOME Film Screening and Talk with Sheila Laffey Hemp — it’s not just for hippies anymore. Today, it’s found in everything from salad dressings to construction materials. Industrial hemp is a nonpsychoactive plant grown in 31 other countries, but prohibited until very recently in the United States. Directed by Linda Booker, Bringing It Home (2006, 60 minutes) uses animation, archival images, and interviews with hemp business leaders and growers, to explore a crop with so many widespread benefits.
    [Show full text]
  • Suggestions for Top 100 Family Films
    SUGGESTIONS FOR TOP 100 FAMILY FILMS Title Cert Released Director 101 Dalmatians U 1961 Wolfgang Reitherman; Hamilton Luske; Clyde Geronimi Bee Movie U 2008 Steve Hickner, Simon J. Smith A Bug’s Life U 1998 John Lasseter A Christmas Carol PG 2009 Robert Zemeckis Aladdin U 1993 Ron Clements, John Musker Alice in Wonderland PG 2010 Tim Burton Annie U 1981 John Huston The Aristocats U 1970 Wolfgang Reitherman Babe U 1995 Chris Noonan Baby’s Day Out PG 1994 Patrick Read Johnson Back to the Future PG 1985 Robert Zemeckis Bambi U 1942 James Algar, Samuel Armstrong Beauty and the Beast U 1991 Gary Trousdale, Kirk Wise Bedknobs and Broomsticks U 1971 Robert Stevenson Beethoven U 1992 Brian Levant Black Beauty U 1994 Caroline Thompson Bolt PG 2008 Byron Howard, Chris Williams The Borrowers U 1997 Peter Hewitt Cars PG 2006 John Lasseter, Joe Ranft Charlie and The Chocolate Factory PG 2005 Tim Burton Charlotte’s Web U 2006 Gary Winick Chicken Little U 2005 Mark Dindal Chicken Run U 2000 Peter Lord, Nick Park Chitty Chitty Bang Bang U 1968 Ken Hughes Chronicles of Narnia: The Lion, PG 2005 Adam Adamson the Witch and the Wardrobe Cinderella U 1950 Clyde Geronimi, Wilfred Jackson Despicable Me U 2010 Pierre Coffin, Chris Renaud Doctor Dolittle PG 1998 Betty Thomas Dumbo U 1941 Wilfred Jackson, Ben Sharpsteen, Norman Ferguson Edward Scissorhands PG 1990 Tim Burton Escape to Witch Mountain U 1974 John Hough ET: The Extra-Terrestrial U 1982 Steven Spielberg Activity Link: Handling Data/Collecting Data 1 ©2011 Film Education SUGGESTIONS FOR TOP 100 FAMILY FILMS CONT..
    [Show full text]
  • The Rules of #Metoo
    University of Chicago Legal Forum Volume 2019 Article 3 2019 The Rules of #MeToo Jessica A. Clarke Follow this and additional works at: https://chicagounbound.uchicago.edu/uclf Part of the Law Commons Recommended Citation Clarke, Jessica A. (2019) "The Rules of #MeToo," University of Chicago Legal Forum: Vol. 2019 , Article 3. Available at: https://chicagounbound.uchicago.edu/uclf/vol2019/iss1/3 This Article is brought to you for free and open access by Chicago Unbound. It has been accepted for inclusion in University of Chicago Legal Forum by an authorized editor of Chicago Unbound. For more information, please contact [email protected]. The Rules of #MeToo Jessica A. Clarke† ABSTRACT Two revelations are central to the meaning of the #MeToo movement. First, sexual harassment and assault are ubiquitous. And second, traditional legal procedures have failed to redress these problems. In the absence of effective formal legal pro- cedures, a set of ad hoc processes have emerged for managing claims of sexual har- assment and assault against persons in high-level positions in business, media, and government. This Article sketches out the features of this informal process, in which journalists expose misconduct and employers, voters, audiences, consumers, or professional organizations are called upon to remove the accused from a position of power. Although this process exists largely in the shadow of the law, it has at- tracted criticisms in a legal register. President Trump tapped into a vein of popular backlash against the #MeToo movement in arguing that it is “a very scary time for young men in America” because “somebody could accuse you of something and you’re automatically guilty.” Yet this is not an apt characterization of #MeToo’s paradigm cases.
    [Show full text]
  • UPLINK Co. / DISTRIBUTION TITLES Year Title Country Director 〇 〇 〇
    UPLINK Co. / DISTRIBUTION TITLES Year Title Country Director Theatrical Release DVD Release BLIND MASSAGE CHINA FRANCE Lou Ye 〇 〇 SACROMONTE: los sabios de la tribu SPAIN Chus Gutiérrez 〇 〇 ALL GOVERNMENTS LIE USA Fred Peabody 〇 AUTHOR: The JT LeRoy Story USA Jeff Feuerzeig 〇 〇 2017 DANCER UK / USA Steven Cantor 〇 〇 DEGRADE PALESTINE / FRANCE Arab Nasser & Tarzan Nasser 〇 〇 ENDLESS POETRY CHILE / FRANCE / JAPAN Alejandro Jodorowsky 〇 〇 SAMI BLOOD SWEDEN / NORWAY / SAPMI Amanda Kernell 〇 〇 MAPPLETHORPE: Look at the pictures USA / GERMANY Fenton Bailey, Randy Barbato ÉVOLUTION FRANCE / BELGIUM / SPAIN Lucile Hadzihalilovic 〇 〇 SEYMOUR: AN INTRODUCTION USA Ethan Hawke 〇 〇 BREATH OF THE GODS GERMANY / INDIA Jan Schmidt-Garre 〇 〇 MR. DYNAMITE: THE RISE OF JAMES BROWN USA Alex Gibney 〇 〇 OMAR PALESTINE Hany Abu-Assad 〇 〇 2016 LISTEN JAPAN MAKIHARA Eri / DAKEI 〇 BANKSY DOES NEW YORK USA Chris Moukarbel 〇 〇 GERMANY / DENMARK / Karim Aïnouz / Michael Glawogger / Michael CATHEDRALS OF CULTURE NORWAY / AUSTRIA / FRANCE / Madsen / Margreth Olin / Robert Redford / 〇 USA / JAPAN Wim Wenders THE ARK IN THE MIRAGE JAPAN CHIKUMA Yasutomo 〇 SAGRADA, THE MYSTERY OF CREATION SWITZERLAND Stefan Haupt 〇 〇 KORENGAL USA/ITALY/AFGHANISTAN Sebastian Junger 〇 〇 RESTREPO USA Tim Hetherington, Sebastian Junger 〇 JE M'APPELLE HMMM… FRANCE Agnès B. 〇 EL BOTON DE NACAR FRANCE/SPAIN/CHILE/SWITZER Patricio Guzmán 〇 〇 NOSTALGIA DE LA LUZ CHILE/SPAIN/FRANCE/GERMANYPatricio Guzmán 〇 〇 TELL THE PRIME MINISTER JAPAN OGUMA Eiji 〇 BALLET BOYS NORWAY Kenneth Elvebakk 〇 〇 2015
    [Show full text]
  • THE LOST WORLD: JURASSIC PARK Screenplay by David Koepp Based on the Novel "The Lost World" by Michael Crichton
    THE LOST WORLD: JURASSIC PARK Screenplay by David Koepp Based on The Novel "The Lost World" by Michael Crichton PRODUCTION DRAFT August 22, 1996 1 EXT TROPICAL LAGOON DAY A 135 foot luxury yacht is anchored just offshore in a tropical lagoon. The beach is a stunning crescent of sand at the jungle fringe, utterly deserted. ISLA SORNA 87 miles southwest of Nublar Two SHIP HANDS, dressed in white uniforms, have set up a picnic table with three chairs on the sand and are carefully laying out luncheon service - - fine china, silver, crystal descanters with red and white wine. PAUL BOWMAN, fortyish, sits in a chair off to the side, reading. MRS. BOWMAN, painfully thin, with the perpetually surprised look of a woman who’s had her eyes done more than once, supervises the setting of the table. She looks up and sees a little girl, CATHY, seven or eight years old, wandering off down the beach. MRS. BOWMAN Cathy! Don’t wander off! Cathy keeps wandering. MRS. BOWMAN (CONT’D) Come back! You can look for shells right here! Cathy gestures, pretending she can’t hear. BOWMAN (eyes still in his book) Leave her alone. MRS. BOWMAN What about snakes? BOWMAN There’s no snakes on the beach. Let her have fun, for once. 2 FURTHER DOWN THE BEACH, Cathy keeps wandering away, MUTTERING to herself as her parents’ quarreling voices fade in the distance. (CONTINUED) CONTINUED: (2) 2. CATHY Please be quiet, please be quiet, please be quiet . Rounding a curve in the beach, her parents disappear from view behind her.
    [Show full text]
  • Directors Guild of America Creative Rights Handbook 2011 - 2014
    DIRECTORS GUILD OF AMERICA CREATIVE RIGHTS HANDBOOK 2011 - 2014 Los Angeles, CA (310) 289-2000 New York, NY (212) 581-0370 Chicago, IL (312) 644-5050 www.dga.org Taylor Hackford, President • Jay D. Roth, National Executive Director Dear Colleague, As Co-Chairs of the DGA Creative Rights Committee, we spend a lot of time talking to Directors about their Theatrical Creative Rights work problems. Often we nd that trouble begins with Committee TABLE OF CONTENTS those who are unclear about or unaware of creative Jonathan Mostow Steven Soderbergh rights protections they already have as members of the Co-Chair Co-Chair Directors Guild of America. David Ayer Taylor Hackford Donald Petrie CREATIVE RIGHTS CHECKLISTS Some DGA Directors have voiced frustration over Michael Bay John Lee Hancock Sam Raimi Checklists of DGA Directors’ creative rights, practices in the editing room; they did not know John Carpenter Curtis Hanson Brett Ratner codied in this handbook that the DGA Basic Agreement protects them from .…..................….…….…….…….…….….3 interference when they are preparing their cut. Some omas Carter Mary Lambert Jay Roach television Directors have expressed concern about being Martha Coolidge Jonathan Lynn Tom Shadyac excluded from the looping and dubbing process; they Wes Craven Michael Mann Brad Silberling were unaware that they, like feature Directors, have SUMMARY OF CREATIVE RIGHTS Andy Davis Frank Marshall Penelope Spheeris the right to participate in both. And many Directors A summary of a Director’s creative rights did not realize that, because they are Guild members, Roger Donaldson McG Betty omas under the Directors Guild of America Basic they have a right to additional cutting time if necessary David Fincher E.
    [Show full text]
  • A Vegan Critique of Sausage Party Matthew Cole and Kate
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Nottingham Trent Institutional Repository (IRep) This is a pre-publication author draft. The paper will appear in the fall 2017 issue of ISLE: Interdisciplinary Studies in Literature and Environment Speciesism Party: a vegan critique of Sausage Party Matthew Cole and Kate Stewart Scholarly Article—vegan studies cluster 1 This is a pre-publication author draft. The paper will appear in the fall 2017 issue of ISLE: Interdisciplinary Studies in Literature and Environment Speciesism Party: a vegan critique of Sausage Party This paper provides a critical vegan reading of the comedy animation film Sausage Party (2016), directed by Conrad Vernon and Greg Tiernan and starring Seth Rogen and Kristen Wiig. Such a reading is situated within an emerging vegan studies framework (Wright 2015) that is sensitive to the reproduction of unequal power relations between humans and other species, but also how those power inequalities intersect with intra-human power relations along the lines of gender, sexuality, “race,” age, class, different experiences of embodiment and so on. Sociologist Erika Cudworth argues that “[w]e need as full an analysis of social intersectionality as we are capable of,” so that the critical focus remains on “relational systems of power” (Cudworth 2015, 101). Cudworth (2011) also introduced the concept of anthroparchy, to signify the human domination of nature, with “nature” including but not limited to other animals. In that context, Sausage Party perpetuates anthroparchy, in so far as it normalizes the consumption of “animal products” for the audience.
    [Show full text]
  • Brett Ratner
    SLATE Brett Ratner Brett Ratner is one of Hollywood’s most successful filmmakers. His diverse films resonate with audiences worldwide and, as director, his films have grossed over $2 billion at the global box office. Brett began his career directing music videos before making his feature directorial debut at 26 years old with the action comedy hit Money Talks. He followed with the blockbuster Rush Hour and its successful sequels. Brett also directed The Family Man, Red Dragon, After the Sunset, X- Men: The Last Stand, Tower Heist and Hercules. Ratner has also enjoyed critical acclaim and box office success as a producer. He has served as an executive producer on the Golden Globe and Oscar winning The Revenant, starring Leonardo DiCaprio, Black Mass, starring Johnny Depp, and War Dogs, starring Jonah Hills ; and as a producer on Truth, starring Robert Redford and Cate Blanchett; I Saw the Light, starring Tom Hiddleston and Elizabeth Olsen; and Rules Don’t Apply, written, directed and produced by Warren Beatty. His other produced films include the smash hit comedy Horrible Bosses and its sequel, and the re-imagined Snow White tale Mirror Mirror. His additional producing credits include the documentaries Author: The JT LeRoy Story, Catfish, the Emmy-nominated Woody Allen - A Documentary, Helmut by June, I Knew It Was You: Rediscovering John Cazale, Chuck Norn's vs. Communism, the 5-time Emmy nominated and Peabody Award winning Night Will Fall, HBO’s Bright Lights, and National Geographic’s Before the Flood, with Fisher Stevens and Leonardo DiCaprio. He also executive produced and directed the Golden Globe-nominated FOX series Prison Break, and executive produced the television series Rush Hour, based on his hit films.
    [Show full text]