Collin Grant

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Collin Grant Film Film Director Production Company Goosebumps (Storyboard Artist) Rob Letterman Columbia Pictures Jurrasic World (Storyboard Artist) Colin Trevorrow Amblin Entertainment Robocalypse (Concept Artist) Amblin Entertainment Call of Duty Undead (Concept/Storyboard) Aleksandar Ivicic Hot Iron Production Ender's Game Gavin Hood Summit Entertainment The Wolverine (Concept/Storyboard Artist) James Mangold Twentieth Century Fox Robosapien: Rebooted (Storyboard Artist) Sean McNamara Arad Productions Green Lantern (Storyboard Artist) Martin Campbell Warner Bros. Gulliver's Travels (Storyboard Artist) Rob Letterman Twentieth Century Fox The Final Destination (Storyboard Artist) David R. Ellis New Line Cinema Dragonball: Evolution (Storyboard Artist) James Wong 20th Century Fox Hellboy II: The Golden Army (Storyboards) Guillermo del toro Universal Pictures Indian Jones: Crystal Skull (Illustrator) Steven Spielberg Paramount Pictures I Am Legend (Storyboard Artist) Francis Lawrence Warner Bros. Fred Claus (Storyboard Artist) David Dobkin Warner Bros. Idlewild (Storyboard Artist) Bryan Barber Universal Pictures Superman Returns (Storyboard Artist) Bryan Singer Warner Bros. X-Men: The Last Stand (Storyboard Artist) Brett Ratner Twentieth Century Fox The Legend of Zorro (Storyboard Artist) Martin Campbell Columbia Pictures National Treasure (Illustrator) Jon Turteltaub Walt Disney Pictures The Chronicles of Riddick (Storyboards) David Twohy Universal Pictures Beyond Borders (Storyboards) Martin Campbell Paramount Pictures Los Angeles 310.624.2721 New York 212.980.7979 [email protected] Collin Grant Underworld (Storyboard Artist) Len Wiseman Screen Gems X2 (Storyboard Artist) Bryan Singer Twentieth Century Fox Daredevil (Storyboard Artist) Mark Steven Johnson 20th Century Fox Kangaroo Jack (Storyboad Artist) David McNally Warner Bros. Red Dragon (Storoyboard Artist) Brett Ratner Universal Pictures The One (Storyboard Artist) James Wong Columbia Pictures Just Visiting (Storyboard Artist) Jean-Marie Poire Gaumont Mission to Mars (Illustrator) Brian De Palma Touchstone Pictures Galaxy Quest (Storyboard Artist) Dean Parisot DreamWorks Bicentennial Man (Storyboard Artist) Chris Columbus 1492 Pictures Fight Club (Storyboard Artist) David Fincher Fox 2000 Pictures Stigmata (Storyboard Artist) Rupert Wainwright MGM Inspector Gadget (Storyboard Artist) David Kellogg Walt Disney Pictures The Matrix (Storyboard Artist) Andy and Lana Wachowski Warner Bros. Armageddon (Storyboard Artist) Michael Bay Touchstone Pictures The Edge (Storyboard Artist) Lee Tamahori Art Linson Productions Batman and Robin (Illustrator) Joel Schumacher Warner Bros. The Fifth Element (Storyboard Artist) Luc Benson Gaumont Video Games Twisted Metal: Black (Storyboard Artist) Incog Inc. Entertainment Vigilante 8: Second Offense (Storyboards) Luxoflux Los Angeles 310.624.2721 New York 212.980.7979 [email protected].

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DAN LEIGH Production Designer
(3/31/17) DAN LEIGH Production Designer FILM & TELEVISION DIRECTOR COMPANIES PRODUCERS “GYPSY” Sam Taylor-Johnson Netflix Rudd Simmons (TV Series) Scott Winant Universal Television Tim Bevan “THE FAMILY” Paul McGuigan ABC David Hoberman (Pilot / Series) Mandeville Todd Lieberman “FALLING WATER” Juan Carlos Fresnadillo USA Gale Anne Hurd (Pilot) Valhalla Entertainment Blake Masters “THE SLAP” Lisa Cholodenko NBC Rudd Simmons (TV Series) Michael Morris Universal Television Ken Olin “THE OUTCASTS” Peter Hutchings BCDF Pictures Brice Dal Farra Claude Dal Farra “JOHN WICK” David Leitch Thunder Road Pictures Basil Iwanyk Chad Stahelski “TRACERS” Daniel Benmayor Temple Hill Entertainment Wyck Godfrey FilmNation Entertainment D. Scott Lumpkin “THE AMERICANS” Gavin O'Connor DreamWorks Television Graham Yost (Pilot) Darryl Frank “VAMPS” Amy Heckerling Red Hour Adam Brightman Lucky Monkey Stuart Cornfeld Molly Hassell Lauren Versel “PERSON OF INTEREST” Various Bad Robot J.J. Abrams (TV Series) CBS Johanthan Nolan Bryan Burk Margot Lulick “WARRIOR” Gavin O’Connor Lionsgate Greg O’Connor Solaris “MARGARET” Kenneth Lonergan Mirage Enterprises Gary Gilbert Fox Searchlight Sydney Pollack Scott Rudin “BRIDE WARS” Gary Winick Firm Films Alan Riche New Regency Pictures Peter Riche Julie Yorn “THE BURNING PLAIN” Guillermo Arriaga 2929 Entertainment Laurie MacDonald Walter F. Parkes SANDRA MARSH & ASSOCIATES Tel: (310) 285-0303 Fax: (310) 285-0218 e-mail: [email protected] (3/31/17) DAN LEIGH Production Designer ---2-222---- FILM & TELEVISION COMPANIES
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Pr-Dvd-Holdings-As-Of-September-18
CALL # LOCATION TITLE AUTHOR BINGE BOX COMEDIES prmnd Comedies binge box (includes Airplane! --Ferris Bueller's Day Off --The First Wives Club --Happy Gilmore)[videorecording] / Princeton Public Library. BINGE BOX CONCERTS AND MUSICIANSprmnd Concerts and musicians binge box (Includes Brad Paisley: Life Amplified Live Tour, Live from WV --Close to You: Remembering the Carpenters --John Sebastian Presents Folk Rewind: My Music --Roy Orbison and Friends: Black and White Night)[videorecording] / Princeton Public Library. BINGE BOX MUSICALS prmnd Musicals binge box (includes Mamma Mia! --Moulin Rouge --Rodgers and Hammerstein's Cinderella [DVD] --West Side Story) [videorecording] / Princeton Public Library. BINGE BOX ROMANTIC COMEDIESprmnd Romantic comedies binge box (includes Hitch --P.S. I Love You --The Wedding Date --While You Were Sleeping)[videorecording] / Princeton Public Library. DVD 001.942 ALI DISC 1-3 prmdv Aliens, abductions & extraordinary sightings [videorecording]. DVD 001.942 BES prmdv Best of ancient aliens [videorecording] / A&E Television Networks History executive producer, Kevin Burns. DVD 004.09 CRE prmdv The creation of the computer [videorecording] / executive producer, Bob Jaffe written and produced by Donald Sellers created by Bruce Nash History channel executive producers, Charlie Maday, Gerald W. Abrams Jaffe Productions Hearst Entertainment Television in association with the History Channel. DVD 133.3 UNE DISC 1-2 prmdv The unexplained [videorecording] / produced by Towers Productions, Inc. for A&E Network executive producer, Michael Cascio. DVD 158.2 WEL prmdv We'll meet again [videorecording] / producers, Simon Harries [and three others] director, Ashok Prasad [and five others]. DVD 158.2 WEL prmdv We'll meet again. Season 2 [videorecording] / director, Luc Tremoulet producer, Page Shepherd.
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The Rise of Controversial Content in Film
The Climb of Controversial Film Content by Ashley Haygood Submitted to the Department of Communication Studies in partial fulfillment of the requirements for the degree of Masters of Arts in Communication at Liberty University May 2007 Film Content ii Abstract This study looks at the change in controversial content in films during the 20th century. Original films made prior to 1968 and their remakes produced after were compared in the content areas of profanity, nudity, sexual content, alcohol and drug use, and violence. The advent of television, post-war effects and a proposed “Hollywood elite” are discussed as possible causes for the increase in controversial content. Commentary from industry professionals on the change in content is presented, along with an overview of American culture and the history of the film industry. Key words: film content, controversial content, film history, Hollywood, film industry, film remakes i. Film Content iii Acknowledgements I would like to thank my family for their unwavering support during the last three years. Without their help and encouragement, I would not have made it through this program. I would also like to thank the professors of the Communications Department from whom I have learned skills and information that I will take with me into a life-long career in communications. Lastly, I would like to thank my wonderful Thesis committee, especially Dr. Kelly who has shown me great patience during this process. I have only grown as a scholar from this experience. ii. Film Content iv Table of Contents ii. Abstract iii. Acknowledgements I. Introduction ……………………………………………………………………1 II. Review of the Literature……………………………………………………….8 a.
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MARCUS ALEXANDER Stereographer/Stereo Producer/Stereo Supervisor
MARCUS ALEXANDER Stereographer/Stereo Producer/Stereo Supervisor PROJECTS DIRECTOR STUDIO & PRODUCERS “WARCRAFT” DUNCAN JONES ATLAS ENTERTAINMENT Stereo Consultant LEGENDARY PICTURES Alex Gartner, Jon Jashni, Charles Roven, Thomas Tull “GODZILLA” GARETH EDWARDS WARNER BROS. PICTURES Stereo Consultant LEGENDARY PICTURES Jon Jashni, Mary Parent, Brian Rogers, Thomas Tull LEGENDARY PICTURES LOGO EMILY CASTEL LEGENDARY PICTURES Stereo Consultant TRAILER PARK Jake Rice “THE SEVENTH SON” SERGEI BODROV LEGENDARY PICTURES Stereographic Supervisor Basil Iwanyk, Thomas Tull, Lionel Wigram “WRATH OF THE TITANS” JONATHAN LIEBESMAN WARNER BROS. PICTURES Post Stereographer/Stereo Producer Basil Iwanyk, Polly Johnsen Film nominated for I3DS Callum McDougall (Best Post Supervision 2D to 3D) “STAR WARS: EPISODE I – GEORGE LUCAS TWENTIETH CENTURY FOX THE PHANTOM MENACE 3D” LUCASFILM Stereo Producer (Prime Focus) Rick McCallum + Stereography Support - UC “THE CHRONICLES OF NARNIA:THE MICHAEL APTED TWENTIETH CENTURY FOX VOYAGE OF THE DAWN TREADER” WALDEN MEDIA Stereoscopic Support Andrew Adamson, Mark Johnson, (Prime Focus) Philip Steuer “DEAD CRAZY” FRANK SCANTORI THE FILM THEATRE COMPANY Cinematographer “YELLING TO THE SKY” VICTORIA MAHONEY ELEPHANT EYE FILMS Digital Intermediate Producer (Deluxe NYC) “LAST NIGHT” MASSY TADJEDIN GAUMONT/NICK WECHSLER PRODS. D. I. Manager (Deluxe New York) "SHANGHAI" MIKAEL HAFSTROM PHOENIX PICTURES Digital Intermediate Manager (Deluxe NYC) “LETTERS TO JULIETTE” GARY WINICK SUMMIT ENTERTAINMENT Digital Intermediate Manager (Deluxe NYC) "THE BOUNTY HUNTER" ANDY TENNANT COLUMBIA PICTURES D. I. Manager (UC) (Deluxe New York) Marcus Alexander -Continued- "REMEMBER ME" ALLEN COULTER SUMMIT ENTERTAINMENT D. I. Manager (Deluxe New York) "GREENBERG" NOAH BAUMBACH FOCUS FEATURES Digital Intermediate Producer (EFILM) "THE LAST SURVIVOR" (Documentary) MICHAEL KLEIMAN RIGHTEOUS PICTURES D.I.
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Ciné Récré Des Films Pour Les Enfants Dans Les Cinémas De Nice
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Valkyrie Talent
Valkyrie Talent: Tom Cruise, Bill Nighy, Terence Stamp, Tom Wilkinson, Clarice van Houten, Kenneth Branagh, David Bamber, Thomas Kretschmann, Eddie Izzard. Date of review: Thursday 22nd January, 2009 Director: Bryan Singer Duration: 122 minutes Classification: M We rate it: 2 and a half stars. Valkyrie has been widely billed as the first of Tom Cruise’s steps back into the A-list stratosphere. After all the couch-jumping, manager-firing, studio-hopping, Scientology-spouting weirdness, Tom has apparently decided to get his career back on track (despite the fact that it is arguably in quite good shape, with the star sporting a recent Golden Globe nomination for his quite hilarious turn in Ben Stiller’s Tropic Thunder). Valkyrie is indeed a very serious and sombre film, and despite the fact that it’s backed by a healthy budget, it is a film that is all about performances, so with all of that in mind, it does seem like a decent choice for an actor bent on returning to centre stage. Valkyrie is one of many recent films that tells a story about World War II as a good old espionage thriller, replete with the odd reflection upon some of our contemporary world’s conflicts. The film’s plot revolves around one of the numerous attempts that Germans army officers made to assassinate Adolf Hitler. Anyone who knows his or her history knows that there were quite a few attempts to kill the Nazi leader, but it’s of course also a widely known fact that Hitler survived all of those attempts, and the he suicided when the Allied victory became apparent.
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Noir Guilt Complex
Hugvísindasvið Noir Guilt Complex The Death of Women as a Catalyst for Character Development and Plot in the Films of Christopher Nolan Ritgerð til BA-prófs í kvikmyndafræði Sverrir Sigfússon Janúar 2015 Háskóli Íslands Hugvísindasvið Kvikmyndafræði Noir Guilt Complex The Death of Women as a Catalyst for Character Development and Plot in the Films of Christopher Nolan Ritgerð til BA-prófs í kvikmyndafræði Sverrir Sigfússon Kt.: 240890-2409 Leiðbeinandi: Lára Marteinsdóttir Janúar 2015 Extract This essay provides a feminist analysis of Christopher Nolan’s films; examining the complicate role of women in relation to the guilt-ridden protagonists, with their deaths serving as a foundation for the narrative trajectory of the male characters, and how this conveys messages to the audience that propagate the prevailing patriarchal worldview. Nolan actively blends disparate genres, infusing them with film noir influences that predicate his use of this recurrent theme. Arguments will be supported by source material from E. Ann Kaplan, Janey Place, Christine Gledhill, Edward Dimendberg, Richard Armstrong, and Sylvia Harvey, as well as a varied assortment of articles, interviews, and profiles written about Christopher Nolan and his films, along with further material relating to film noir. The essay is split into five segments; an introduction, two theoretical chapters, an analytical chapter split into four sub-chapters, and final words. The first theoretical chapter establishes the traits of film noir and the roles of women in noir films. The second theoretical chapter provides a short biography of Christopher Nolan and then connects his films to the previously established film noir, as well as detailing its revival as neo-noir.
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Singer, Bryan (B
Singer, Bryan (b. 1965) by Richard G. Mann Bryan Singer in 2006. Photograph created by Encyclopedia Copyright © 2015, glbtq, Inc. Flickr member [177]. Entry Copyright © 2008 glbtq, Inc. Image appears under the Reprinted from http://www.glbtq.com Creative Commons Attribution 2.0 license. Bryan Singer is a leading contemporary American director and producer of motion pictures and television programs. Working within such popular genres as film noir and science fiction, he challenges viewer expectations by overturning standard narrative formulae and by developing exceptionally complex characters. In his films, he consistently emphasizes the fluidity and ambiguity of all identity categories, including those pertaining to gender and sexuality. A gay Jewish man, he is acutely aware of the difficulties encountered by minorities. Therefore, many of his projects have been concerned with individuals and groups who have been stigmatized because of perceived differences from those who assume the authority to define what is normal. His X-Men (2000) and X-2 (2003) have achieved mainstream commercial success while simultaneously enjoying cult status among queer audiences. Origins: Childhood and Adolescence Bryan Singer was born on September 17, 1965 in New York City. At the age of two months, he was adopted by Norbert Singer, a corporate credit manager for Maidenform Company (a manufacturer of women's apparel), and Gloria Sinden, later a prominent environmental activist. He grew up in suburban New Jersey, primarily in the affluent communities of Princeton Junction and Lawrenceville. Although troubled by the divorce of his parents when he was twelve years old, he remained close to both of them.
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Mutant Power As Symbol of American Ideal in Realizing Their Dream Reflected in X-Men I by Bryan Singer
MUTANT POWER AS SYMBOL OF AMERICAN IDEAL IN REALIZING THEIR DREAM REFLECTED IN X-MEN I BY BRYAN SINGER a Final Project Submitted in Partial Fulfillment of the Requirement for the Sarjana Sastra in English by Kukuh Tri Nugroho 2250404555 ENGLISH DEPARTMENT FACULTY OF LANGUAGES AND ARTS SEMARANG STATE UNIVERSITY 2009 ABSTRACT Nugroho Tri, Kukuh. 2009. Mutant Power as Symbol of American Ideal in Realizing Their Dream Revealed in X-Men I by Bryan Singer. Final Project. Semarang: Faculty of Languages and Arts. Semarang State University. 1st Advisor: Drs. Amir Sisbiyanto, M.Hum. 2nd Advisor: Intan Permata Hapsari, S.Pd, M.Pd Keywords: Mutant Power, American Dream, symbolism Mutation is the beginning of evolution. People who evolve have god-liked powers which are far beyond of ordinary human. There are two types of power; those are physical mutant power and physics mutant power. These mutation effect the society which holds the American Dream as a belief. For many reason mutants does not believe the American Dream and they are going to berserk as they believe that they are more superior than the ordinary humans. On the other hand, because of the differences of power, human feel that mutants are dangerous and need to be separated from the society. But there are mutants who believe that mutants and humans can live co-exist in one society. The problems of this study are: what American Dream is revealed in the film X-Men; what characters of mutant power are revealed in the film X-Men; and how mutant power symbolizes the failure of American Dream in the film X-Men.
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80S 90S Hand-Out
FILM 160 NOIR’S LEGACY 70s REVIVAL Hickey and Boggs (Robert Culp, 1972) The Long Goodbye (Robert Altman, 1973) Chinatown (Roman Polanski, 1974) Night Moves (Arthur Penn, 1975) Farewell My Lovely (Dick Richards, 1975) The Drowning Pool (Stuart Rosenberg, 1975) The Big Sleep (Michael Winner, 1978) RE- MAKES Remake Original Body Heat (Lawrence Kasdan, 1981) Double Indemnity (Billy Wilder, 1944) Postman Always Rings Twice (Bob Rafelson, 1981) Postman Always Rings Twice (Garnett, 1946) Breathless (Jim McBride, 1983) Breathless (Jean-Luc Godard, 1959) Against All Odds (Taylor Hackford, 1984) Out of the Past (Jacques Tourneur, 1947) The Morning After (Sidney Lumet, 1986) The Blue Gardenia (Fritz Lang, 1953) No Way Out (Roger Donaldson, 1987) The Big Clock (John Farrow, 1948) DOA (Morton & Jankel, 1988) DOA (Rudolf Maté, 1949) Narrow Margin (Peter Hyams, 1988) Narrow Margin (Richard Fleischer, 1951) Cape Fear (Martin Scorsese, 1991) Cape Fear (J. Lee Thompson, 1962) Night and the City (Irwin Winkler, 1992) Night and the City (Jules Dassin, 1950) Kiss of Death (Barbet Schroeder 1995) Kiss of Death (Henry Hathaway, 1947) The Underneath (Steven Soderbergh, 1995) Criss Cross (Robert Siodmak, 1949) The Limey (Steven Soderbergh, 1999) Point Blank (John Boorman, 1967) The Deep End (McGehee & Siegel, 2001) Reckless Moment (Max Ophuls, 1946) The Good Thief (Neil Jordan, 2001) Bob le flambeur (Jean-Pierre Melville, 1955) NEO - NOIRS Blood Simple (Coen Brothers, 1984) LA Confidential (Curtis Hanson, 1997) Blue Velvet (David Lynch, 1986) Lost Highway (David
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PAJ77/No.03 Chin-C
AIN’T NO SUNSHINE The Cinema in 2003 Larry Qualls and Daryl Chin s 2003 came to a close, the usual plethora of critics’ awards found themselves usurped by the decision of the Motion Picture Producers Association of A America to disallow the distribution of screeners to its members, and to any organization which adheres to MPAA guidelines (which includes the Motion Picture Academy of Arts and Sciences). This became the rallying cry of the Independent Feature Project, as those producers who had created some of the most notable “independent” films of the year tried to find a way to guarantee visibility during award season. This issue soon swamped all discussions of year-end appraisals, as everyone, from critics to filmmakers to studio executives, seemed to weigh in with an opinion on the matter of screeners. Yet, despite this media tempest, the actual situation of film continues to be precarious. As an example, in the summer of 2003 the distribution of films proved even more restrictive, as theatres throughout the United States were block-booked with the endless cycle of sequels that came from the studios (Legally Blonde 2, Charlie’s Angels: Full Throttle, Terminator 3, The Matrix Revolutions, X-2: X-Men United, etc.). A number of smaller films, such as the nature documentary Winged Migration and the New Zealand coming-of-age saga Whale Rider, managed to infiltrate the summer doldrums, but the continued conglomeration of distribution and exhibition has brought the motion picture industry to a stultifying crisis. And the issue of the screeners was the rallying cry for those working on the fringes of the industry, the “independent” producers and directors and small distributors.
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JOHN DYKSTRA Visual Effects Supervisor
JOHN DYKSTRA Visual Effects Supervisor Visual Effects Supervisor in Feature Films: DOLITTLE - Universal - Stephen Gaghan, director ONCE UPON A TIME IN HOLLYWOOD - Columbia - Quentin Tarantino, director GHOST IN THE SHELL - Paramount - Rupert Sanders, director KONG: SKULL ISLAND - Warner Bros. - Jordan Vogt-Roberts, director X-MEN: APOCALYPSE - 20th Century Fox - Bryan Singer, director FANTASTIC FOUR (Visual Effects Consultant) - 20th Century Fox - Josh Trank, director THE HATEFUL EIGHT - The Weinstein Co. - Quentin Tarantino, director GODZILLA - Warner Bros./Legendary - Gareth Edwards, director THE SEVENTH SON - Warner Bros. - Sergey Bodrov, director DJANGO UNCHAINED - Columbia - Quentin Tarantino, director X-MEN: FIRST CLASS - 20th Century Fox - Matthew Vaughn, director INGLORIOUS BASTERDS - Weinstein Company/Universal - Quentin Tarantino, director HANCOCK - Columbia - Peter Berg, director SPIDERMAN 2 - Columbia - Sam Raimi, director Academy Award, Best Achievement in Visual Effects SPIDERMAN - Columbia - Sam Raimi, director STUART LITTLE - Columbia/ABC - Rob Minkoff, director Academy Award Nominee, Best Visual Effects BATMAN & ROBIN - Warner Bros. - Joel Schumacher, director BATMAN FOREVER - Warner Bros. - Joel Schumacher, director DUNE - De Laurentiis/Universal - David Lynch, director GHOST DAD - Universal - Sidney Poitier, director RADIO FLYER - Columbia - Richard Donner, director COMING TO AMERICA - Paramount - John Landis, director SPACE BALLS - MGM - Mel Brooks, director GHOST BUSTERS II - Columbia - Ivan Reitman, director DIE
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