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Horton Foote
38th Season • 373rd Production MAINSTAGE / MARCH 29 THROUGH MAY 5, 2002 David Emmes Martin Benson Producing Artistic Director Artistic Director presents the World Premiere of by HORTON FOOTE Scenic Design Costume Design Lighting Design Composer MICHAEL DEVINE MAGGIE MORGAN TOM RUZIKA DENNIS MCCARTHY Dramaturgs Production Manager Stage Manager JENNIFER KIGER/LINDA S. BAITY TOM ABERGER *RANDALL K. LUM Directed by MARTIN BENSON Honorary Producers JEAN AND TIM WEISS, AT&T: ONSTAGE ADMINISTERED BY THEATRE COMMUNICATIONS GROUP PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 1 CAST OF CHARACTERS (In order of appearance) Constance ................................................................................................... *Annie LaRussa Laverne .................................................................................................... *Jennifer Parsons Mae ............................................................................................................ *Barbara Roberts Frankie ...................................................................................................... *Juliana Donald Fred ............................................................................................................... *Joel Anderson Georgia Dale ............................................................................................ *Linda Gehringer S.P. ............................................................................................................... *Hal Landon Jr. Mrs. Willis ....................................................................................................... -
Transcript Sidney Lumet
TRANSCRIPT A PINEWOOD DIALOGUE WITH SIDNEY LUMET Sidney Lumet’s critically acclaimed 2007 film Before the Devil Knows You’re Dead, a dark family comedy and crime drama, was the latest triumph in a remarkable career as a film director that began 50 years earlier with 12 Angry Men and includes such classics as Serpico, Dog Day Afternoon, and Network. This tribute evening included remarks by the three stars of Before the Devil Knows Your Dead, Ethan Hawke, Marissa Tomei, and Philip Seymour Hoffman, and a lively conversation with Lumet about his many collaborations with great actors and his approach to filmmaking. A Pinewood Dialogue with Sidney Lumet shooting, “I feel that there’s another film crew on moderated by Chief Curator David Schwartz the other side of town with the same script and a (October 25, 2007): different cast, and we’re trying to beat them.” (Laughter) “You know, trying to wrap the movie DAVID SCHWARTZ: (Applause) Thank you, and ahead of them. It’s like a race.” I remember welcome, everybody. Sidney Lumet, as I think all saying that “you know if this movie works, then of you know, has received a number of salutes I’m going to have to rethink my whole idea of and awards over the years that could be process, because I can not imagine that this will considered lifetime achievement awards—which work!” (Laughter) I’ve never seen such a might sometimes imply that they’re at the end of deliberate—I’m going to steal your words, Phil, their career. But that’s certainly far from the case, but—a focus of energy, and use of energy. -
T Wentieth Centur Y North Amer Ican Drama
TWENTIETH CENTURY NORTH AMERICAN DRAMA, SECOND EDITION learn more at at learn more alexanderstreet.com Twentieth Century North American Drama, Second Edition Twentieth Century North American Drama, Second Edition contains 1,900 plays from the United States and Canada. In addition to providing a comprehensive full-text resource for students in the performing arts, the collection offers a unique window into the econom- ic, historical, social, and political psyche of two countries. Scholars and students who use the database will have a new way to study the signal events of the twentieth century – including the Depression, the role of women, the Cold War, and more – through the plays and performances of writers who lived through these decades. More than 1,250 of the works are in copyright and licensed Jules Feiffer, Neil LaBute, Moisés Kaufman, Lee Breuer, Richard from the authors or their estates, and 1,700 plays appear in Foreman, Stephen Adly Guirgis, Horton Foote, Romulus Linney, no other Alexander Street collection. At least 550 of the works David Mamet, Craig Wright, Kenneth Lonergan, David Ives, Tina have never been published before, in any format, and are Howe, Lanford Wilson, Spalding Gray, Anna Deavere Smith, Don available only in Twentieth Century North American Drama, DeLillo, David Rabe, Theresa Rebeck, David Henry Hwang, and Second Edition – including unpublished plays by major writers Maria Irene Fornes. and Pulitzer Prize winners. Besides the mainstream works, users will find a number of plays Important works prior to 1920 are included, with the concentration of particular social significance, such as the “people’s theatre” of works beginning with playwrights such as Eugene O’Neill, exemplified in performances by The Living Theatre and The Open Elmer Rice, Sophie Treadwell, and Susan Glaspell in the 1920s Theatre. -
David Mamet in Conversation
David Mamet in Conversation David Mamet in Conversation Leslie Kane, Editor Ann Arbor Copyright © by the University of Michigan 2001 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America ∞ Printed on acid-free paper 2004 2003 2002 2001 4 3 2 1 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data David Mamet in conversation / Leslie Kane, editor. p. cm. — (Theater—theory/text/performance) Includes bibliographical references and index. ISBN 0-472-09764-4 (cloth : alk. paper) — ISBN 0-472-06764-8 (pbk. : alk. paper) 1. Mamet, David—Interviews. 2. Dramatists, American—20th century—Interviews. 3. Playwriting. I. Kane, Leslie, 1945– II. Series. PS3563.A4345 Z657 2001 812'.54—dc21 [B] 2001027531 Contents Chronology ix Introduction 1 David Mamet: Remember That Name 9 Ross Wetzsteon Solace of a Playwright’s Ideals 16 Mark Zweigler Buffalo on Broadway 22 Henry Hewes, David Mamet, John Simon, and Joe Beruh A Man of Few Words Moves On to Sentences 27 Ernest Leogrande I Just Kept Writing 31 Steven Dzielak The Postman’s Words 39 Dan Yakir Something Out of Nothing 46 Matthew C. Roudané A Matter of Perception 54 Hank Nuwer Celebrating the Capacity for Self-Knowledge 60 Henry I. Schvey Comics -
The Playwright As Filmmaker: History, Theory and Practice, Summary of a Completed Thesis by Portfolio OTHNIEL SMITH, University of Glamorgan
Networking Knowledge: Journal of the MeCCSA Postgraduate Network, Vol 1, No 2 (2007) ARTICLE The Playwright as Filmmaker: History, Theory and Practice, Summary of a completed thesis by portfolio OTHNIEL SMITH, University of Glamorgan ABSTRACT This paper summarises my doctoral research into the work of dramatists who became filmmakers – specifically Preston Sturges, Rainer Werner Fassbinder, David Mamet, and Neil Labute. I began with the hypothesis that there is something distinctive about the work of filmmakers who have a background in writing for text-based theatre, an arena where the authorship is, on the whole, not a vexatious issue, as is the case in commercial cinema. Through case studies involving textual and contextual analyses of their films, I found common threads linking their work, in respect both of their working methods and their approach to text and performance. From this, I evolved a theoretical position involving the development of a tentative ‘dogme’ designed to smooth the path between writing plays and making films, and produced short no- budget videos illustrating it. KEYWORDS Theatre/film, Dogme, theoretical practice, Mamet, Fassbinder. Introduction The aim of this project – a thesis by portfolio, completed at the now-defunct Film Academy at the University of Glamorgan – was to contribute to that area within film theory where creativity is taken seriously as a field of study; an attempt to reconcile theory with artistry, without attempting to theorise artistry. The ‘theatrical’ is often characterised as the ‘other’ of the cinematic, within both popular and scholarly discourse. My intention was to examines the interface between the two forms, and isolate those aspects of the theatrical aesthetic which can be profitably employed within cinema, looking at the issue from the perspective of the working dramatist – my background being as a writer for theatre, radio and television. -
Film Soleil 28/9/05 3:35 Pm Page 2 Film Soleil 28/9/05 3:35 Pm Page 3
Film Soleil 28/9/05 3:35 pm Page 2 Film Soleil 28/9/05 3:35 pm Page 3 Film Soleil D.K. Holm www.pocketessentials.com This edition published in Great Britain 2005 by Pocket Essentials P.O.Box 394, Harpenden, Herts, AL5 1XJ, UK Distributed in the USA by Trafalgar Square Publishing P.O.Box 257, Howe Hill Road, North Pomfret, Vermont 05053 © D.K.Holm 2005 The right of D.K.Holm to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of the publisher. Any person who does any unauthorised act in relation to this publication may beliable to criminal prosecution and civil claims for damages. The book is sold subject tothe condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated, without the publisher’s prior consent, in anyform, binding or cover other than in which it is published, and without similar condi-tions, including this condition being imposed on the subsequent publication. A CIP catalogue record for this book is available from the British Library. ISBN 1–904048–50–1 2 4 6 8 10 9 7 5 3 1 Book typeset by Avocet Typeset, Chilton, Aylesbury, Bucks Printed and bound by Cox & Wyman, Reading, Berkshire Film Soleil 28/9/05 3:35 pm Page 5 Acknowledgements There is nothing -
Night and Day Free Ebook
FREENIGHT AND DAY EBOOK Iris Johansen | 400 pages | 21 Feb 2017 | St. Martin's Press | 9781250075901 | English | United States North Carolina Dentists | Night & Day Dental | Extended Hours Each of our nine offices in CaryCharlotteClaytonConcordCorneliusDurhamHolly SpringsRaleighand Steele Creekfollow Night and Day simple formula of top-notch dentistry delivered how you want it, when you want it. Our late opening hours, comfortable care, and easy scheduling options contribute to our refreshing approach to dental care. Leave your fears at the door while you enjoy top-notch care at one of our convenient locations. Yes, you can now visit the dental office before work, after work, in Night and Day evenings, and even on the weekends. Millions of Americans suffer from dental anxiety due to Night and Day stereotypes about the Night and Day. However, these are now in the past. Our caring teams offer Night and Day, customized, and modern services at our six office locations. It is now! Thanks to our array of financing options and insurance solutions, you can achieve your dream smile without the added financial burden. Not only do we Night and Day convenient opening times but we also house a Night and Day of well-trained dentists who offer first-class care. Across our nine locations, we make your visit simple through easy booking, financial options, emergency dental servicesa bilingual team, and so much more. Our entire team is excited to serve your smile! In addition to this, we have carefully constructed teams that allow us to provide a host of services under one roof. From emergency care to dental implant placement, we have everything you need for a healthier, more attractive smile. -
"Tail of the Dog": Finding "Elements" of Crimes in the Wake of Mcmillan V
ARTICLES Searching for the "Tail of the Dog": Finding "Elements" of Crimes in the Wake of McMillan v. Pennsylvania Mark D. Knoll* Richard G. Singer" I. INTRODUCTION An axiom of Anglo-American jurisprudence held that whenever the statutorily permissible punishment varied according to the presence or absence of an identifiable fact (or "element") found within a statute, that fact was required to be plead in the indictment and proved by the required standard of proof, which was usually beyond a reasonable doubt.1 This long-held notion, given constitutional protection by the United States Supreme Court in In re Winship,2 was dealt what now appears to have been a near-fatal blow in the watershed case of McMillan v. Pennsylvania.3 In McMil!an,4 the United States Supreme * J.D., Rutgers University School of Law, Camden, 1999. ** Distinguished Professor of Law, Rutgers University School of Law, Camden. 1. See infra Section II. 2. 397 U.S. 358 (1970). 3. 477 U.S. 79 (1986). 4. Dynel McMillan, Lorna Peterson, James J. Dennison, and Harold L. Smalls had their appeals consolidated for the McMillan decision. In each case, the defendants were convicted of "visibly possess[ing]" a weapon during the commission of their various crimes. Id. at 82-83. The defendants in McMillan challenged the mandatory minimum sentences imposed under the Pennsylvania statute, claiming that Winship prevented the state from imposing any sentence unless "every fact necessary to constitute the crime" had been proved beyond a reasonable doubt. Id. at 84 (quoting Winship, 397 U.S. at 364). The Court rejected this challenge and instead relied on Patterson v. -
1-Abdul Haseeb Ansari
Journal of Criminal Justice and Law Review : Vol. 1 • No. 1 • June 2009 IDENTIFYING LARGE REPLICABLE FILM POPULATIONS IN SOCIAL SCIENCE FILM RESEARCH: A UNIFIED FILM POPULATION IDENTIFICATION METHODOLOGY FRANKLIN T. WILSON Indiana State University ABSTRACT: Historically, a dominant proportion of academic studies of social science issues in theatrically released films have focused on issues surrounding crime and the criminal justice system. Additionally, a dominant proportion has utilized non-probability sampling methods in identifying the films to be analyzed. Arguably one of the primary reasons film studies of social science issues have used non-probability samples may be that no one has established definitive operational definitions of populations of films, let alone develop datasets from which researchers can draw. In this article a new methodology for establishing film populations for both qualitative and quantitative research–the Unified Film Population Identification Methodology–is both described and demonstrated. This methodology was created and is presented here in hopes of expand the types of film studies utilized in the examination of social science issues to those communication theories that require the examination of large blocks of media. Further, it is anticipated that this methodology will help unify film studies of social science issues in the future and, as a result, increase the reliability, validity, and replicability of the said studies. Keywords: UFPIM, Film, Core Cop, Methodology, probability. Mass media research conducted in the academic realm has generally been theoretical in nature, utilizing public data, with research agendas emanating from the academic researchers themselves. Academic studies cover a gambit of areas including, but not limited to, antisocial and prosocial effects of specific media content, uses and gratifications, agenda setting by the media, and the cultivation of perceptions of social reality (Wimmer & Dominick, 2003). -
The Life and Times of Jimmy Hoffa
Class, Race and Corporate Power Volume 7 Issue 2 Article 5 2019 The Life and Times of Jimmy Hoffa Chris Wright Hunter College, [email protected] Follow this and additional works at: https://digitalcommons.fiu.edu/classracecorporatepower Part of the Labor History Commons, and the United States History Commons Recommended Citation Wright, Chris (2019) "The Life and Times of Jimmy Hoffa," Class, Race and Corporate Power: Vol. 7 : Iss. 2 , Article 5. DOI: 10.25148/CRCP.7.2.008324 Available at: https://digitalcommons.fiu.edu/classracecorporatepower/vol7/iss2/5 This work is brought to you for free and open access by the College of Arts, Sciences & Education at FIU Digital Commons. It has been accepted for inclusion in Class, Race and Corporate Power by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. The Life and Times of Jimmy Hoffa Abstract In light of Martin Scorsese's popular movie "The Irishman," it is a good time to reassess Jimmy Hoffa. He's probably the most famous union leader in American history, but the only thing most people know of him is that he ran the Teamsters and was closely connected to the Mafia. He is often seen as nothing but a corrupt, evil, greedy sellout. The reality is a little different. In this article I discuss his record as a labor leader, the attacks on him by the McClellan Committee and Bobby Kennedy, and his ties to organized crime. I try to contextualize the Teamsters union of Hoffa's era, while at the same time providing a corrective to the public's overwhelmingly negative views of him. -
Appendix Plays Discussed in This Book
Appendix Plays Discussed in This Book Abe Lincoln in Illinois, Robert Sherwood. 1938 Broadway run: 472 performances. 1993 Lincoln Center revival: 27 previews, 40 performances. Abraham Lincoln, John Drinkwater. 1919 Broadway run: 193 per- formances. 1929 Broadway revival: 8 performances. Abraham Lincoln’s Big Gay Dance Party, Aaron Loeb. 2008 San Francisco. 2010 off-Broadway run. American Iliad, Donald Freed. 2001 Burbank, California. As the Girls Go, William Roos (book), Jimmy McHugh (music), Harold Adamson (lyrics). 1948 Broadway run: 414 performances. Assassins, John Weidman (book), Stephen Sondheim (music and lyrics). 1990 off-Broadway run: 73 performances. 1992 London revival. 2004 Broadway revival: 26 previews, 101 performances. The Best Man, Gore Vidal. 1960 Broadway run: 520 performances. 2000 Broadway revival: 15 previews, 121 performances. Bloody, Bloody Andrew Jackson, Alex Timbers (book), Michael Friedman (music and ly73rics). 2008 Los Angeles. 2009 and 2010 off-Broadway runs. Buchanan Dying, John Updike. 1976 Franklin and Marshall College. Bully! Jerome Alden. 1977 Broadway run: 8 previews, 8 performances. 2006 off Broadway revival. The Bully Pulpit, Michael O. Smith. 2008 off-Broadway. Camping with Henry and Tom, Mark St. Germain. 1995 off- Broadway run: 105 performances. Numerous regional theater revivals since then. An Evening with Richard Nixon, Gore Vidal. Broadway run: 14 previews, 16 performances. First Lady, Katherine Dayton and George S. Kaufman. 1935 Broadway run: 246 performances. 1952 off-Broadway revival. 1980 Berkshire Theater Festival revival. 1996 Yale Repertory Theatre revival. First Lady Suite, Michael John LaChiusa. 1993 off-Broadway run: 32 performances. Revivals include Los Angeles 2002, off Broadway 2004, and London 2009. 160 Appendix Frost/Nixon, Peter Morgan. -
Cataloging and Managing Film and Video Collections a Guide to Using RDA and MARC 21
CATALOGING AND MANAGING FILM AND VIDEO COLLECTIONS A GUIDE TO USING RDA AND MARC 21 COLIN HIGGINS An imprint of the American Library Association CHICAGO 2015 www.alastore.ala.org COLIN HIGGINS is Librarian of St Catharine’s College, University of Cambridge. He holds a BA in Philosophy from Trinity College Dublin, an MSc in Library Science from the University of Wales, and an MPhil in Philosophy from King’s College London, where he is currently completing a PhD. He writes and reviews on libraries for a wide variety of publications. His main research interests are in cataloging and classification, particularly their historical and philosophical aspects. Colin serves on a number of professional committees, and has been chair of the Cambridge College Libraries Forum. He maintains two blogs—Libraries at the Movies explores the representation of libraries in film, and Cutter’s Last Stand addresses contemporary issues in cataloging and classification. © 2015 by the American Library Association. Extensive effort has gone into ensuring the reliability of the information in this book; however, the publisher makes no warranty, express or implied, with respect to the material contained herein. ISBN: 978-0-8389-1299-7 (paper) Library of Congress Cataloging-in-Publication Data Higgins, Colin, 1979- Cataloging and managing film and video collections : a guide to using RDA and MARC21 / Colin Higgins. pages cm Includes bibliographical references and index. ISBN 978-0-8389-1299-7 1. Cataloging of motion pictures. 2. Cataloging of video recordings. 3. Libraries —Special collections—Motion pictures. 4. Libraries—Special collections—Video recordings. I. Title. Z695.64.H54 2015 025.3'473—dc23 2014040988 Cover design by Kirstin Krutsch.