Steve Zissis

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Steve Zissis Agents Olivia Homan Associate Agent [email protected] Gabriella Capisani Actors [email protected] Roles Film Production Character Director Company BLISS Bjorn Mike Cahill Amazon Studios BAD HAIR Baxter Tannen Justin Simien Sight Unseen Pictures HAPPY DEATH DAY 2U Dean Roger Bronson Christopher Landon Blumhouse Productions THE FRONT RUNNER Tom Fiedler Jason Reitman Columbia Pictures DON'T WORRY, HE WON'T Elias Gus Van Sant Amazon Studios GET FAR ON FOOT THE HOUSE Carl Shackler Andrew Jay Cohen Gary Sanchez Productions ANOTHER EVIL Dan Papadakis Carson Mell Memory HER New Sweet boyfriend of Spike Jonze Annapurna Pictures Mother Who Dated Pricks BAD MILO Dr. Yip / Milo Jacob Vaughan New Artists Alliance THE DO-DECA- Mark Jay Duplass and Duplass Brothers PENTATHLON Mark Duplass Productions United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Character Director Company JEFF, WHO LIVES AT HOME Steve Jay Duplass and Paramount Vantage Mark Duplass CYRUS Rusty Jay Duplass and 20th Century Fox Mark Duplass THE OVERLOOK BROTHERS George John E. Bryant Sixth Street Films PROTOTYPE Irvin Marquand Michael Reilly Silvatar Media BAGHEAD Chad Jay Duplass and Duplass Brothers Mark Duplass Productions THE PUFFY CHAIR Thanks Jay Duplass Duplass Brothers Productions Television Production Character Director Company THE COMEDY RULE Jim Baker Billy Ray CBS Studios SINGLE PARENTS Mark Rush Various Walt Disney Television I'M SORRY Sandy / Shorts Various A24 Neighbor THE GUEST BOOK Mike Various Amigos de Garcia Productions WHITE FAMOUS Jason Gold Various Lionsgate Television ROADIES Jack Peltz Various Bad Robot TOGETHERNESS Alex Pappas Jay Duplass, Mark HBO Duplass, Nicole Holofcener ANIMAL Husband Various HBO TROPHY WIFE Clerk Various ABC Studios ARRESTED Chuck the Various Fox Network DEVELOPMENT Canadian PRIVATE PRACTICE Todd Reiter Various Shondaland THE BEAUTY INSIDE Alex Drake Doremus B-Reel Films PARKS AND RECREATION Gray / Michael Various NBC THE LEAGUE Craig Jeff Schaffer and Jackie FX Network Marcus Schaffer SUNDAY MORNING (TV The Manager Roger Crandall Sixth Borough Movie) Entertainment THE OFFICE Dwight's Ignored Various NBC Customer United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Short Film Production Character Director Company KLESHNOV Kleshnov Justin Bozonelis and Frog in the Penthouse Steve Zissis Productions LOVEOLUTION Daddy John E. Bryant MOMMA'S BOY George John E. Bryant THE INTERVENTION Steve Jay Duplass Duplass Brothers Productions CLIMBING OUT Bryant Eric T. Finkel United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected].

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Title Director Screening Section Premiere Status
Title Director Screening Section Premiere Status An Evening With Sacred Bones Records Jacqueline Castel Special Events World Premiere Bernie Richard Linklater Special Events Best of Vimeo Shorts: Vimeo Loves Various Special Events Big Star: Nothing Can Hurt Me Drew DeNicola Special Events Casa de mi Padre Matt Piedmont Special Events Coffin Joe's "This Night I Will Possess Jose Mojica Marins Special Events Your Corpse" Girl Walk // All Day Jacob Krupnick Special Events Re: Generation Music Project Amir Bar Lev Special Events Adam Russell, Renga Special Events North American Premiere John Sear SXSW & The Alamo Drafthouse present: Special Events World Premiere Epic Meal Time The Oyster Princess (1919) Ernst Lubitsch Special Events with live score by Bee vs. Moth when you find me presented by Canon Bryce Dallas Howard Special Events U.S. Premiere George Dunning, Yellow Submarine (1968) Newly Restored (UK) Robert Balser, Special Events Jack Stokes Title Director Screening Section Premiere Status Phil Lord, 21 Jump Street Headliners World Premiere Christopher Miller BIG EASY EXPRESS Emmett Malloy Headliners World Premiere Decoding Deepak Gotham Chopra Headliners World Premiere Girls Lena Dunham Headliners World Premiere Killer Joe William Friedkin Headliners U.S. Premiere MARLEY Kevin Macdonald Headliners North American Premiere The Cabin in the Woods Drew Goddard Headliners World Premiere The Hunter Daniel Nettheim Headliners U.S. Premiere Blue Like Jazz Steve Taylor Narrative Spotlight World Premiere Crazy Eyes Adam Sherman Narrative Spotlight World Premiere Fat Kid Rules The World Matthew Lillard Narrative Spotlight World Premiere frankie go boom Jordan Roberts Narrative Spotlight World Premiere Hunky Dory Marc Evans Narrative Spotlight North American Premiere In Our Nature Brian Savelson Narrative Spotlight World Premiere Keyhole Guy Maddin Narrative Spotlight U.S.
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Mark Duplass Ð¤Ð¸Ð»Ð¼ ÑÐ ¿Ð¸ÑÑ ŠÐº (Ð¤Ð¸Ð»Ð¼Ð¾Ð³Ñ€Ð°Ñ„Ð¸Ñ)
Mark Duplass Ð¤Ð¸Ð»Ð¼ ÑÐ ¿Ð¸ÑÑ ŠÐº (Ð¤Ð¸Ð»Ð¼Ð¾Ð³Ñ€Ð°Ñ„Ð¸Ñ) Your Sister's Sister https://bg.listvote.com/lists/film/movies/your-sister%27s-sister-2009666/actors Blue Jay https://bg.listvote.com/lists/film/movies/blue-jay-27958185/actors Goliath https://bg.listvote.com/lists/film/movies/goliath-25205882/actors People Like Us https://bg.listvote.com/lists/film/movies/people-like-us-33191/actors True Adolescents https://bg.listvote.com/lists/film/movies/true-adolescents-7847344/actors Paddleton https://bg.listvote.com/lists/film/movies/paddleton-50649727/actors Parkland https://bg.listvote.com/lists/film/movies/parkland-3365474/actors The Puffy Chair https://bg.listvote.com/lists/film/movies/the-puffy-chair-7758712/actors The Lazarus Effect https://bg.listvote.com/lists/film/movies/the-lazarus-effect-18669765/actors Room 104 https://bg.listvote.com/lists/film/movies/room-104-28324881/actors The Morning Show https://bg.listvote.com/lists/film/movies/the-morning-show-54958411/actors Togetherness https://bg.listvote.com/lists/film/movies/togetherness-7813148/actors Tammy https://bg.listvote.com/lists/film/movies/tammy-15901539/actors Hannah Takes the https://bg.listvote.com/lists/film/movies/hannah-takes-the-stairs-5648966/actors Stairs When the Streetlights https://bg.listvote.com/lists/film/movies/when-the-streetlights-go-on-96414696/actors Go On Bombshell https://bg.listvote.com/lists/film/movies/bombshell-58814589/actors The One I Love https://bg.listvote.com/lists/film/movies/the-one-i-love-17112726/actors Mercy https://bg.listvote.com/lists/film/movies/mercy-16664100/actors
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Bill's Guide to Week Two of the 47Th Annual Chicago International Film
Bill’s Guide to Week Two of the 47th Annual Chicago International Film Festival By Bill Stamets Special for Films for Two® My recommended films in Week Two (in “must see” order): 1.) Pina: German director Wim Wenders previously profiled Japanese film director Yasujiro Ozu, Japanese fashion designer Yohji Yamamoto and Cuban musicians. His latest documentary introduces cinefiles to the choreography of German avant-gardist Pina Bausch. In his first use of 3-D cinematography, Wenders evokes the volume of the stage, even for performances staged in non-theatrical settings, including a tramway and an escalator. Four different works are presented. Some are revisited via archival 2-D footage. Seeing various versions adds more figurative depth to our appreciation of Bausch's work than the 3-D adds literal depth to our onscreen perception. Bausch's death during the making of the film may have lent an elegiac note to the laudatory interviews with members of her international company Tanztheater Wuppertal. They do not speak on camera during looking-into-the lens portrait sessions. The soundtrack excerpts their comments, apparently recorded off- camera, to underscore their role as voiceless dancers. Wenders channels Bausch's tactile and theoretical grasp of the body as metaphysical material for art. 2.) The Descendants: Alexander Payne (Sideways, About Schmidt, Election, Citizen Ruth) directs George Clooney as Matt King, an Hawaiian lawyer dealing with his wife hospitalized in a coma and their 10-year-old and 17- year-old daughters. Payne and his co-writers start from Kaui Hart Hemmings' 2008 novel for a truly touching male melodrama, as Clooney's character reconciles his mixed emotions about his wife.
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Trabalho Apresentado No GP Cinema, XV Encontro Dos Grupos De Pesquisas Em Comunicação, Evento Componente Do XXXVIII Congresso Brasileiro De Ciências Da Comunicação
Intercom – Sociedade Brasileira de Estudos Interdisciplinares da Comunicação XXXVIII Congresso Brasileiro de Ciências da Comunicação – Rio de Janeiro, RJ – 4 a 7/9/2015 The Puffy Chair Experiências em mosaico na geração selfie1 Luiz Otávio Vieira PEREIRA2 Carlos Pernisa JÚNIOR3 Universidade Federal de Juiz de Fora, Juiz de fora, MG Resumo O objetivo do artigo é o de realizar uma análise do filme The Puffy Chair (2005), dirigido pelos irmãos Jay e Mark Duplass. O longa-metragem foi um dos precursores do movimento mumblecore, corrente do cinema independente norte-americano que se apropria do suporte digital para mobilizar a democratização do fazer cinematográfico. Utilizando o conceito de memória de Beatriz Sarlo, e o estudo sobre o vídeo digital, de Ivana Bentes, a ideia é promover o diálogo entre a experiência de vida dos diretores e a transposição desses elementos para a narrativa cinematográfica, além de discutir o hibridismo entre cinema e mídia digital. Outro aspecto central do estudo será o de aproximar o movimento mumblecore, conhecido pelo slogan do it yourself, do comportamento self-portrait e do caráter individualista das narrativas contemporâneas. Palavras-chave: Cinema amador; mídias digitais; mumblecore; narração da experiência Introdução O modo como a tecnologia interfere no sistema de produção de cultura é caracterizado pela aceleração do tráfego de informação e pela diluição dos papeis simbólicos desempenhados pelos agentes do processo de comunicação. Nesse contexto, promover um recorte acerca da democratização do cenário cinematográfico representa um esforço em desvendar, por meio de um fragmento, os mecanismos pelos quais se engendra a produção de sentido na era da revolução digital.
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Volume 38, Number 2 The Magazine of Jesuit High School of New Orleans • Spring/Summer 2012 Volume 38, Number 2 SPRING/SUMMER 2012 Jaynotes, the magazine for and about alumni, parents, and students of Jesuit High School of New Orleans, is published by the Office of Institutional Advancement. Opinions expressed No Headline... No Story... No Announcement in Jaynotes are those of the individual authors. President It was simply a vastly understated phrase in overall experience like attending Jesuit? What Raymond Fitzgerald, S.J. ’76 the school’s diary, an innocuous hand-written was the best and what was the worst? Were you [email protected] notation devoid of drama, expression, much less treated differently by your classmates or teachers? Director of Institutional Advancement excitement. Describe the seminal moment as an African- Thomas V. Bagwill II [email protected] American Blue Jay among the majority of white In fact, one could easily skim over the Director of Communications September 4, 1962 entry that documented the students. How were you treated by your African- Pierre DeGruy ’69 American friends who attended predominantly Jaynotes Editor moment when African-Americans integrated [email protected] black high schools? How did a Jesuit education Jesuit High School. The entry was made by Director of Alumni Affairs Jesuit’s longtime registrar, Mr. John C. Paquette benefit you in college, your career or the work Mat Grau ’68 ’27, who at the time had been working in that force, in marriage, and in parenthood? [email protected] Director of Special Projects capacity for 35 years. If you have an interesting story about Jesuit Br.
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Theorising ‘bad’ sound: what puts the ‘mumble’ into mumblecore? This is a pre-copyedited version of an article accepted for publication in The Velvet Light Trap following peer review. The definitive publisher-authenticated version is available through the University of Texas Press. Few film genres, styles or movements are named with respect to their sound quality; ‘mumblecore’ – a cycle of independent, very low-budget American movies that emerged in the middle of the last decade – is a rare exception. The label is somewhat pejorative – the ‘origin myth’ is that it was jokingly coined by a sound mixer, but has since stuck.1 Aymar Jean Christian observes that mumblecore directors are uncomfortable with the term and tend not to self-identify as mumblecore, making the term analogous to the subcultural term ‘hipster.’2 However, despite being named with reference to its sound, there has been little analysis of its soundtracks, either academically or in the popular press, beyond dismissing the sound as ‘bad,’ with no further comment. This particular notion of ‘bad’ sound bears closer examination; however, close attention to mumblecore’s audiovisual style needs to be contextualised within the broader category of American independent cinema, of which it is a part. Hence, the label is attached to more than just a style – as has been widely argued, American independent or ‘indie’ cinema is partly an economic category, partly a style and partly a discourse.3 As an economic category, given their very low budgets and self-financed status, mumblecore films can be categorised as ‘house indie,’ as delineated by a critic cited by Michael Z.
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JONI GOES POSTAL JOANNE WANNAN A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF OF MASTER OF FINE ARTS GRADUATE PROGRAM IN FILM YORK UNIVERSITY TORONTO, ONTARIO September 2016 © Joanne Wannan, 2016 ii ABSTRACT Joni Goes Postal is a feature film comedic screenplay. The story tracks the emotional journey of Joni, a 34- year-old postal worker who discovers that her long-term boyfriend cheated on her. Stuck in a dead-end job, confronted with overwhelming feelings of anger, betrayal and loss, Joni is jolted out of complacency and forced to confront her own fears and insecurities as she struggles to find new meaning and purpose in her life. The story examines a break-up, and explores concepts of love, loss, grief, and obsession. iii ACKNOWLEDGEMENTS I would like to thank Colleen Wagner for her insight, guidance, encouragement, and endless notes. Colleen believed in this project from the start, and cheered me on when I wanted to throw in the towel. She taught me to trust my instincts and believe in myself as an artist. I am grateful to have had her as my thesis advisor. Many thanks to John Greyson for his patience and unwavering support, both during my time as a graduate student at York, and on this project. John helped me navigate the minefields of completing this thesis, with a keen sense of humour and a grounded perspective. Thanks to Kuowei Lee, to all my professors at York, and to my fellow screenwriters. I’d especially like to thank the other writers in my class - Mary, Meghan, and Samantha.
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