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A Producer's Handbook
DEVELOPMENT AND OTHER CHALLENGES A PRODUCER’S HANDBOOK by Kathy Avrich-Johnson Edited by Daphne Park Rehdner Summer 2002 Introduction and Disclaimer This handbook addresses business issues and considerations related to certain aspects of the production process, namely development and the acquisition of rights, producer relationships and low budget production. There is no neat title that encompasses these topics but what ties them together is that they are all areas that present particular challenges to emerging producers. In the course of researching this book, the issues that came up repeatedly are those that arise at the earlier stages of the production process or at the earlier stages of the producer’s career. If not properly addressed these will be certain to bite you in the end. There is more discussion of various considerations than in Canadian Production Finance: A Producer’s Handbook due to the nature of the topics. I have sought not to replicate any of the material covered in that book. What I have sought to provide is practical guidance through some tricky territory. There are often as many different agreements and approaches to many of the topics discussed as there are producers and no two productions are the same. The content of this handbook is designed for informational purposes only. It is by no means a comprehensive statement of available options, information, resources or alternatives related to Canadian development and production. The content does not purport to provide legal or accounting advice and must not be construed as doing so. The information contained in this handbook is not intended to substitute for informed, specific professional advice. -
Bob Sarles Resume
Bob Sarles [email protected] (415) 305-5757 Documentary I Got A Monster Editor. True crime feature documentary. Directed by Kevin Abrams. Alpine Labs. The Nine Lives of Ozzy Osbourne Producer, editor. An A&E documentary special. Osbourne Media. Born In Chicago Co-director, Editor. Feature documentary. Shout! Factory/Out The Box Records. Mata Hari The Naked Spy Editor. Post Production Producer. Feature documentary. Red Spoke Films. BANG! The Bert Berns Story Co-director (with Brett Berns), editor. Theatrically released feature documentary. Sweet Blues: A Film About Mike Bloomfield Director, Editor. Produced by Ravin’ Films for Sony Legacy. Moon Shot Editor. Documentary series produced for Turner Original Productions and aired on TBS. Peabody Award recipient. Two Primetime Emmy nominations: editing and outstanding documentary. The Story of Fathers & Sons Editor. ABC documentary produced by Luna Productions. Unsung Editor. Documentary television series produced by A.Smith & Company for TV One. Behind The Music Producer and Editor. Documentary television series produced by VH1. Digital Divide Series Editor. PBS documentary series produced by Studio Miramar. The True Adventures of The Real Beverly Hillbillies Editor. Feature documentary. Ruckus Films. Wrestling With Satan Co-Producer, editor. Feature documentary. Wandering Eye Productions. Feed Your Head Director, editor. Documentary film produced for the Rock and Roll Hall of Fame, Cleveland. Yo Cip! Director, Editor. Documentary short. A Ravin’ Film for Cipricious Productions. Produced by Joel Peskin. Coldplay Live! At The Fillmore Director, editor. Television series episode produced by BGP/SFX. Take Joy! The Magical World of Tasha Tudor Editor. Documentary. Aired on PBS. Spellbound Prods. Teen People Presents 21 Stars Under 21 Editor. -
Batman, Screen Adaptation and Chaos - What the Archive Tells Us
This is a repository copy of Batman, screen adaptation and chaos - what the archive tells us. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/94705/ Version: Accepted Version Article: Lyons, GF (2016) Batman, screen adaptation and chaos - what the archive tells us. Journal of Screenwriting, 7 (1). pp. 45-63. ISSN 1759-7137 https://doi.org/10.1386/josc.7.1.45_1 Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Batman: screen adaptation and chaos - what the archive tells us KEYWORDS Batman screen adaptation script development Warren Skaaren Sam Hamm Tim Burton ABSTRACT W B launch the Caped Crusader into his own blockbuster movie franchise were infamously fraught and turbulent. It took more than ten years of screenplay development, involving numerous writers, producers and executives, before Batman (1989) T B E tinued to rage over the material, and redrafting carried on throughout the shoot. -
1/1 A.X.L. FAMILY ADVENTURE $8 MILL 1287 SCREENS PG 98 MINUTES DVD/COMBO DIGITAL COPY with the COMBO Thomas Jane
1/1 A.X.L. FAMILY ADVENTURE $8 MILL 1287 SCREENS PG 98 MINUTES DVD/COMBO DIGITAL COPY WITH THE COMBO Thomas Jane (HBO SERIES-HUNG--- FILM---STANDOFF, BEFORE I WAKE, HOT SUMMER NIGHTS, DRIVE HARD) A teenage Motocross racer finds an escaped robot dog that he bonds with and wants to keep from its owners, who are developing it to be an ultimate military killing machine. A-X-L" is what you get if Number 5 from "Short Circuit" had been designed to look like a dog. This film is written and directed by Oliver Daly and serves as his feature film writing and directorial debut. The story revolves around a young Motocross racer named Miles (Alex Neustaedter), who is an excellent racer despite that his team, which consists of him and his dad Chuck (Thomas Jane), have no money for parts or a better bike. Another racer named Sam (Alex MacNicoll), whose team has tons of money and opportunities, invites Miles to join them on an outing to the desert one day. Miles, Sam and his crew drive out to the middle of nowhere and sabotage Mile's bike, stranding him and forcing him to make it home on his own. In a nearby scrapyard, Miles finds a giant robotic dog called A-X-L. A-X-L has recently escaped from CRAINE Industries, who are developing what they hope will be the ultimate battle-ready war dog for the military. Miles sees that A-X-L is riddled with bullet holes and other damage, so he decides that its owners don't deserve their property back. -
Application of Computer 3D Technology in the Modern Film and Television Post-Production
[Type text] ISSN : [Type0974 -text] 7435 Volume 10[Type Issue text] 15 2014 BioTechnology An Indian Journal FULL PAPER BTAIJ, 10(15), 2014 [8672-8677] Application of computer 3d technology in the modern film and television post-production Gang Su, Xuefei Hong Huaian College of Information Technology, Jiangsu Huaian 223003, (CHINA) ABSTRACT In recent years, the film and television industry develops in our country, and the film and television has become the essential part in people's life. Development steps have been quicker, making people's life more colourful. Along with the computer 3D technology application in aspects of film and television special effects and animation, computer 3D technology for the influence of film and television works is becoming more and more big. Computer 3D technology began to appear in the film and television, which plays a prominent role in animation and video effects. A lot of film and television works began to join computer 3D technology, which increased the quantity of film and television works and had big influence in the film and television industry. The technology can make the camera movement that traditional methods can not get, some amazing visual effects of character animation or fantasy scenes, the movement of virtual camera for short periods, the fantasy scenes, character animation and some amazing visual effects, making science and technology perfect union. It opened up a new heaven and earth for creative play. How to effectively use computer 3D graphics technology into film and television works has become one of the most attention topic today. KEYWORDS Computer 3 d technology; The film and television post-production; Application; Design. -
Annual Report
ANNUAL REPORT 2013 Archive Name ATAS14_Corp_140003273 MECH SIZE 100% PRINT SIZE Description ATAS Annual Report 2014 Bleed: 8.625” x 11.1875” Bleed: 8.625” x 11.1875” Posting Date May 2014 Trim: 8.375” x 10.875” Trim: 8.375” x 10.875” Unit # Live: 7.5” x 10” LIve: 7.5” x 10” message from THE CHAIRMAN AND CHIEF EXECUTIVE OFFICER At the end of 2013, as I reflected on my first term as Television Academy chairman and prepared to begin my second, it was hard to believe that two years had passed. It seemed more like two months. At times, even two weeks. Why? Because even though I have worked in TV for more than three decades, I have never seen our industry undergo such extraordinary — and extraordinarily exciting — changes as it has in recent years. Everywhere you turn, the vanguard is disrupting the old guard with an astonishing new technology, an amazing new show, an inspired new way to structure a business deal. This is not to imply that the more established segments of our industry have been pushed aside. On the contrary, the broadcast and cable networks continue to produce terrific work that is heralded by critics and rewarded each year at the Emmys. And broadcast networks still command the largest viewing audience across all of their platforms. With our medium thriving as never before, this is a great time to work in television, and a great time to be part of the Television Academy. Consider the 65th Emmy Awards. The CBS telecast, hosted by the always-entertaining Neil Patrick Harris, drew our largest audience since 2005. -
See Page 19 for Details!!
RRegionegion 1177 SSummit/Marineummit/Marine MMusteruster MMayay 220-220-22 128 DDenver,enver, CColoradoolorado APR 2005/ MAY 2005 SSeeee ppageage 1199 fforor ddetails!!etails!! USS Ark Angel’s CoC and Marines’ Fall Muster ’04 see pages 19 & 20 for full story! “Save Star Trek” Rally see page 28 for more great pics! Angeles member Jon Lane with the “Enterprise” writing staff. From left to right: Jon Lane, “Enterprise” writers Judith and Garfi eld Reese-Stevens, and producer Mike Sussman. Many of the the show’s production staff wandered out to see the protest and greet the fans. USPS 017-671 112828 112828 STARFLEET Communiqué Contents Volume I, No. 128 Published by: FROM THE EDITOR 2 STARFLEET, The International FRONT AND CENTER 3 Star Trek Fan Association, Inc. EC/AB SUMMARY 3 102 Washington Drive VICARIOUS CHOC. SALUTATIONS 4 Ladson, SC 29456 COMM STATIC 4 Kneeling: J.R. Fisher THE TOWAWAY ZONE 5 (left to right) 1st Row: Steve Williams, Allison Silsbee, Lauren Williams, Alastair Browne, The SHUTTLEBAY 6 Amy Dejongh, Spring Brooks, Margaret Hale. 2nd Row: John (boyfriend of Allison), Katy Publisher: Bob Fillmore COMPOPS 6 McDonald, Nathan Wood, Larry Pischke, Elaine Pischke, Brad McDonald, Dawn Silsbee. Editor in Chief: Wendy Fillmore STARFLEET Flag Promotions 7 Layout Editor: Wendy Fillmore Fellowship...or Else! 7 3rd Row: Colleen Williams, Jonathan Williams. Graphics Editor: Johnathan Simmons COMMANDANTS CORNER 8 Submissions Coordinator: Wendy Fillmore SFI Academy Graduates 8 Copy Editors: Gene Adams, Gabriel Beecham, New Chairman Sought for ASDB! 9 Kimberly Donohoe, Michael Klufas, Tracy Lilly, Star Trek Encyclopedia Project 9 STARFLEET Finances 10 Bruce Sherrick EDITORIALS 11 Why I Stopped Watching.. -
Johnny English Is a British Secret Agent Working for MI7
SCHOLASTIC READERS A FREE RESOURCE FOR TEACHERS! – EXTRA Level 2 This level is suitable for students who have been learning English for at least two years and up to three years. It corresponds with the Common European Framework level A2. Suitable for users of CROWN/TEAM magazines. SYNOPSIS THE BACK STORY Johnny English is a British secret agent working for MI7. He has Johnny English Reborn is the sequel to Johnny English, a film been training in Tibet since he failed his last mission and let a directed by Oliver Parker that came out in 2003. Like the first film, president, who was in his care, die. But Johnny is recalled to Johnny English Reborn is a story about a fictional secret agent in London by MI7 on an important mission: to uncover a plot to MI7 and stars the famous comedy actor, Rowan Atkinson who is kill the Chinese Premier. famous for his comic character, Mr Bean. Johnny and new agent Tucker learn about the people behind Johnny English Reborn is a spoof spy film and a lot of the a secret organisation called Vortex. Two members of Vortex comedy comes from similarities with famous spy films such as are killed: an ex-CIA agent and a Russian agent, but before the James Bond series: Johnny English’s boss is a woman – they die they tell Johnny that the third member of Vortex is a James Bond’s is a woman too. Like James Bond, Johnny English member of MI7. has many gadgets, such as an umbrella that is really a gun. -
MONSTERS INC 3D Press Kit
©2012 Disney/Pixar. All Rights Reserved. CAST Sullivan . JOHN GOODMAN Mike . BILLY CRYSTAL Boo . MARY GIBBS Randall . STEVE BUSCEMI DISNEY Waternoose . JAMES COBURN Presents Celia . JENNIFER TILLY Roz . BOB PETERSON A Yeti . JOHN RATZENBERGER PIXAR ANIMATION STUDIOS Fungus . FRANK OZ Film Needleman & Smitty . DANIEL GERSON Floor Manager . STEVE SUSSKIND Flint . BONNIE HUNT Bile . JEFF PIDGEON George . SAM BLACK Additional Story Material by . .. BOB PETERSON DAVID SILVERMAN JOE RANFT STORY Story Manager . MARCIA GWENDOLYN JONES Directed by . PETE DOCTER Development Story Supervisor . JILL CULTON Co-Directed by . LEE UNKRICH Story Artists DAVID SILVERMAN MAX BRACE JIM CAPOBIANCO Produced by . DARLA K . ANDERSON DAVID FULP ROB GIBBS Executive Producers . JOHN LASSETER JASON KATZ BUD LUCKEY ANDREW STANTON MATTHEW LUHN TED MATHOT Associate Producer . .. KORI RAE KEN MITCHRONEY SANJAY PATEL Original Story by . PETE DOCTER JEFF PIDGEON JOE RANFT JILL CULTON BOB SCOTT DAVID SKELLY JEFF PIDGEON NATHAN STANTON RALPH EGGLESTON Additional Storyboarding Screenplay by . ANDREW STANTON GEEFWEE BOEDOE JOSEPH “ROCKET” EKERS DANIEL GERSON JORGEN KLUBIEN ANGUS MACLANE Music by . RANDY NEWMAN RICKY VEGA NIERVA FLOYD NORMAN Story Supervisor . BOB PETERSON JAN PINKAVA Film Editor . JIM STEWART Additional Screenplay Material by . ROBERT BAIRD Supervising Technical Director . THOMAS PORTER RHETT REESE Production Designers . HARLEY JESSUP JONATHAN ROBERTS BOB PAULEY Story Consultant . WILL CSAKLOS Art Directors . TIA W . KRATTER Script Coordinators . ESTHER PEARL DOMINIQUE LOUIS SHANNON WOOD Supervising Animators . GLENN MCQUEEN Story Coordinator . ESTHER PEARL RICH QUADE Story Production Assistants . ADRIAN OCHOA Lighting Supervisor . JEAN-CLAUDE J . KALACHE SABINE MAGDELENA KOCH Layout Supervisor . EWAN JOHNSON TOMOKO FERGUSON Shading Supervisor . RICK SAYRE Modeling Supervisor . EBEN OSTBY ART Set Dressing Supervisor . -