Vicki Hiatt Music Supervisor / Editor

Total Page:16

File Type:pdf, Size:1020Kb

Vicki Hiatt Music Supervisor / Editor VICKI HIATT MUSIC SUPERVISOR / EDITOR AWARDS & NOMINATIONS GOLDEN REEL AWARD ALI NOMINATION (2001) Best Sound Editing -Music, Feature Film, Domestic and Foreign GOLDEN REEL AWARD THE ROAD TO EL DORADO NOMINATION (2000) Best Sound Editing-Music, Animation FEATURE FILM POPEYE Ari Arad, Avi Arad, Michelle Murdocca, Scot Sony Pictures Animation Sassa, prods. Music Editor Genndy Tartakovsky, dir. CAPTAIN UNDERPANTS Rob Letterman, dir. DreamWorks Animation Music Editor TROLLS Gina Shay, prod. DreamWorks Animation Mike Mitchell, dir. Music Editor FLAWED DOGS Berkeley Breathed, exec. prod. DreamWorks Animation Noah Baumbauch, dir. Music Picture / Editor WHY WE RIDE Steven Gutheinz, Composer Walking West Entertainment Bryan H. Carroll, James Walker, prods. Music Editor Bryan H. Carroll, dir. EVEREST Jane Hartwell, Christine Belson, prods. DreamWorks Animation Jill Culton, dir. Music Editor CLOUDY 2: REVENGE OF THE Mark Mothersbaugh, Composer LEFTOVERS Kirk Bodyfelt, prod. Columbia Pictures Cody Cameron, Chris Pearn, dirs. Music Editor DESPICABLE ME Heitor Pereira, Pharrell Williams, Composers Universal Animation Janet Healy, John Cohen, prods. Supervising Music Editor Pierre Coffin, Chris Renaud, dirs. The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 1 VICKI HIATT MUSIC SUPERVISOR / EDITOR A TURTLE’S TALE 2: SAMMY’S Ramin Djawadi, Composer ESCAPE FROM PARADISE Gina Gallo, Mimi Maynard, Illuminata Pictures Domonic Paris, Ben Stassen, prods. Music Consultant Ben Stassen, Vincent Kesteloot, dirs. IT’S COMPLICATED Heitor Pereira / Hans Zimmer, Composers Universal Scott Rudin, Nancy Meyers, prods. Music Consultant Nancy Meyers, dir. LEGENDS OF OZ: DOROTHY’S Toby Chu, Composer RETURN Roland Carroll, Ryan Carroll, Bonne Alpine Pictures Radford, prods. Music Supervisor/Music Editor Will Finn, Dan St. Pierre, dirs. THE JONESES Nick Urata, Composer Echo Lake Productions Derrick Borte, Doug Mankoff, Music Editor Andrew Spaulding, Kristi Zea, prods. Derrick Borte, dir. FATHER OF INVENTION Ken Barbet, Dana Brunetti, Kia Jam, Horizon Entertainment Jonathan D. Krane, Jason Sciavicco, Music Editor Kevin Spacey, prods. Trent Cooper, dir. WAITING FOR FOREVER Nick Urata, Composer PCH Films Trevor Albert, James Keach, prods. Music Supervisor James Keach, dir. MONSTERS VS. ALIENS Henry Jackman, Composer DreamWorks Animation Lisa Stewart, prod. Music Editor Rob Letterman, Conrad Vernon, dirs. OPEN SEASON 2 (direct to dvd) Ramin Djawadi, Composer Sony Pictures Animation Matthew O’Callaghan, Todd Wilderman, dirs. Music Editor THE REPO MEN Marco Beltrami, Composer Universal Pictures Mary Parent, Scott Stuber, prods. Music Editor Miguel Sapochnik, dir. DEATH RACE Paul Haslinger, Composer Impact Pictures Paul W.S. Anderson, Jeremy Bolt, Roger Corman, Music Supervisor Tom Cruise, Dennis E. Jones, Paula Wagner, prods. Paul W.S. Anderson, dir. The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 2 VICKI HIATT MUSIC SUPERVISOR / EDITOR MY BEST FRIEND’S GIRL John Debney, Composer Lions Gate Film Production Adam Herz, Barry Katz, Brian Volk-Weiss, Music Editor Doug Johnson, Gregory Lessans, Guymon Casady, Josh Shader, prods. Howard Deutch, dir. REDLINE Klaus Badelt, Andrew Raiher, Ian Honeyman, Composers Chicago Pictures Daniel Sadek, prod. Music Supervisor Andy Cheng, dir. MR. BROOKS Ramin Djawadi, Composer Element Films Kevin Costner, Raynold Gideon, prods. Music Supervisor Bruce A. Evans, dir. MIAMI VICE John Murphy, Klaus Badelt & King Britt, Composers Universal Pictures Michael Mann, Pieter Jan Brugge, prods. Music Supervisor Michael Mann, dir. OPEN SEASON Paul Westerberg, Ramin Djawadi, Composers Sony Pictures Michelle Murdocca, prod. Music Editor (Temp Music & Songs) Jill Culton, Anthony Stacchi, Roger Allers, dirs. CURIOUS GEORGE Heitor Pereira, Jack Johnson, Composers Universal Pictures Ron Howard, David Kirschner, Bonne Radford, Music Editor (Temp Music & Songs) Jon Shapiro, prods. Matt O’Callaghan, dir. HOOLIGANS Christopher Franke, Composer OddLot Entertainment Jason Bently, Music Supervisor Music Editor Deborah Del Prete, Gigi Pritzker, prods. Lexi Alexander, dir. COLLATERAL James Newton Howard, Antonio Pinto, DreamWorks / Universal Tom Rothrock, Composers Music Supervisor Michael Mann, Julie Richardson, prods. Michael Mann, dir. THE CLEARING Craig Armstrong, Composer Fox / Searchlight Pieter Jan Brugge, Jonah Smith, Palmer West, prods. Music Editor (Temp Music Only) Pieter Jan Brugge, dir. BLIND HORIZON Machinehead, Composer Lion’s Gate Randall Emmett, George Furla, Heidi Jo Markel, Music Editor Vincent Newman, Tucker Tooley, prods. Michael Haussman, dir. The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 3 VICKI HIATT MUSIC SUPERVISOR / EDITOR AMERICAN WEDDING Christophe Beck, Composer Universal Pictures John Bissel, Music Supervisor Music Editor (Temp Music Only) Adam Herz, Chris Moore, Craig Perry, Warren Zide, prods. Jesse Dylan, dir. EQUILIBRIUM Klaus Badelt, Composer Miramax Jan de Bont, Lucas Foster, prods. Music Editor Kurt Wimmer, dir. SPIRIT: STALLION OF THE Hans Zimmer, Composer and Bryan Adams, Songs CIMMERON Jeffrey Katzenberg, Mireille Soria, prods. DreamWorks Kelly Asbury & Lorna Cook, dirs. Music Editor (Temp Music Only) ALI Lisa Gerrard & Pieter Bourke, Composer Columbia Pictures Paul Ardaji, A. Kitman Ho, James Lassiter, Music Editor Michael Mann, Jon Peters, prods. Michael Mann, dir. HANNIBAL Hans Zimmer, Composer Universal Pictures Dino De Laurentiis, Ridley Scott, prods. Music Editor Ridley Scott, dir. THE PLEDGE Hans Zimmer, Composer Morgan Creek Michael Fitzgerald, Sean Penn, Elie Samaha, prods. Music Editor Sean Penn, dir. EVERLASTING PIECE Hans Zimmer, Composer Morgan Creek Louis DiGiaimo, Mark Johnson, Barry Levison, Music Editor Jerome O’Connor, Paula Weinstein, prods. Barry Levenson, dir. BIKER BOYZ Camara Kambon, Composer DreamWorks John Houlihan, Music Supervisor Music Editor Stephanie Allain, Gina Prince-Bythewood, Erwin Stoff, prods. Reggie Rock Bythewood, dir. CHICKEN RUN Harry Gregson-Williams & John Powell, Composers DreamWorks / Aardman Peter Lord, Nick Park, David Sproxton, prods. Music Editor Nick Park, Peter Lord, dirs. The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 4 VICKI HIATT MUSIC SUPERVISOR / EDITOR THE ROAD TO EL DORADO Hans Zimmer, Composer DreamWorks Brooke Breton, Bonne Radford, prods. Music Editor Eric “Bibo” Bergeron, Don Paul, dirs. TELEVISION STATE OF AFFAIRS (pilot) Joe Carnahan, Henry Crumpton, Rodney Faraon, Julie Universal TV Franz, Alexi Hawley, Katherine Heigl, exec. prods. Music Editor Joe Carnahan, dir. BLANCO (pilot) Juan Carlos Fresnadillo, dir. TVM Music Editor HOKE (pilot) David Manson, Dan Carey, Daniel Carey, FX Carol Fenelon, Scott Frank, exec. prods. Music Supervisor Scott Frank, dir. BLACKLIST (Pilot) Jon Bokenkamp, John Davis, John Stalwart Films LLC Eisendrath, John Fox, exec. prods. Music Editor Joe Carnahan, dir. PHILLY LAWYER (Pilot) Richard LaGravanese, Andrew Sugarman, prods. Stalwart Films LLC Tony Goldwyn, dir. Music Supervisor and Editor SWORN TO SILENCE (MOW) Neve Campbell, Barbara Lieberman, Poppy S.T.S. 1 Production, Ltd. Montgomery, exec. prods. Music Editor Stephen Gyllenhaal, dir. WILD CARD (MOW) Carey Brakow, prod. TVM Scott Winant, dir. Music Supervisor and Editor OUTLAW COUNTRY Art Linson, John Linson, exec. prods. Fox Michael Dinner, dir. Music Consultant and Music Editor MERRY MADAGASCAR (special) Joe M. Aguilar, prod. NBC / DreamWorks Animation David Soren, dir. Music Supervisor MIAMI TRAUMA (pilot) Jerry Bruckheimer, Jeffrey Lieber, CBS / Warner Brothers Television Jonathan Littman, exec. prods. Music Supervisor Kenneth Fink, dir. The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 5 VICKI HIATT MUSIC SUPERVISOR / EDITOR FAMILY PRACTICE (pilot) Jeffrey Lieber, prod. Sony Pictures Television Bart Freundlich, dir. Music Supervisor NEW AMSTERDAM ( pilot and series) Allan Loeb, prod. Fox / Regency Television Lasse Hallstrom, dir. Music Supervisor UNTITLED SHORE BLAKE (pilot) Peter Blake, David Shore, exec. prods. NBC Tony Goldwyn, dir. Music Supervisor THIEF (series) Rick Marvin, Composer Regency Television David Manson, Norman Morril, dirs. Music Supervisor RHD / LA (pilot) Michael Mann, dir. Studios USA Music Editor The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 6 .
Recommended publications
  • Pegboard ANIMATION GUILD and AFFILIATED ELECTRONIC and GRAPHIC ARTS Los Angeles, California, April 2015 Vol
    Pegboard ANIMATION GUILD AND AFFILIATED ELECTRONIC AND GRAPHIC ARTS Los Angeles, California, April 2015 Vol. 44, No. 04 CHANGES TO THE ANIMATION GUILD CONSTITUTION AND BY-LAWS A proposal for changes to The Animation Guild’s Constitution and By-Laws has been submitted to the Executive Board. The changes incorporate a new ascension procedure to the presidency should the sitting President no longer be able to serve, a clarifi cation and explanation of a By-Election process has been added to Article Seven, Section Nine, clarifi cation of the rules pertaining to what Guild materials the Business Representative may take from the offi ce, and some overall housekeeping-type corrections that include fi xing spelling errors, removing gender assignments where applicable and correcting syntax to better clarify specifi c articles. Per Article Fifteen, the Executive Board reviewed the proposed changes and recommended these changes be brought to the membership for review and a vote. A vote to approve the adjustments to the Constitution and By-Laws will be taken at the General Membership Meeting on the evening of May 26. President Thomas will call for a review of the proposals and a discussion on the matter before the vote is taken. All active members in good standing with the local will be called on to vote. Should two-thirds of the active members in good standing present at the meeting vote in favor of the changes, the changes will be approved by the membership and then submitted to IATSE President Loeb for review and approval. Once approved by President Loeb, the new Constitution will be printed and sent to all active members of the Guild.
    [Show full text]
  • Aardman in Archive Exploring Digital Archival Research Through a History of Aardman Animations
    Aardman in Archive Exploring Digital Archival Research through a History of Aardman Animations Rebecca Adrian Aardman in Archive | Exploring Digital Archival Research through a History of Aardman Animations Rebecca Adrian Aardman in Archive: Exploring Digital Archival Research through a History of Aardman Animations Copyright © 2018 by Rebecca Adrian All rights reserved. Cover image: BTS19_rgb - TM &2005 DreamWorks Animation SKG and TM Aardman Animations Ltd. A thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in Media and Performance Studies at Utrecht University. Author Rebecca A. E. E. Adrian Student number 4117379 Thesis supervisor Judith Keilbach Second reader Frank Kessler Date 17 August 2018 Contents Acknowledgements vi Abstract vii Introduction 1 1 // Stop-Motion Animation and Aardman 4 1.1 | Lack of Histories of Stop-Motion Animation and Aardman 4 1.2 | Marketing, Glocalisation and the Success of Aardman 7 1.3 | The Influence of the British Television Landscape 10 2 // Digital Archival Research 12 2.1 | Digital Surrogates in Archival Research 12 2.2 | Authenticity versus Accessibility 13 2.3 | Expanded Excavation and Search Limitations 14 2.4 | Prestige of Substance or Form 14 2.5 | Critical Engagement 15 3 // A History of Aardman in the British Television Landscape 18 3.1 | Aardman’s Origins and Children’s TV in the 1970s 18 3.1.1 | A Changing Attitude towards Television 19 3.2 | Animated Shorts and Channel 4 in the 1980s 20 3.2.1 | Broadcasting Act 1980 20 3.2.2 | Aardman and Channel
    [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]
  • 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.
    [Show full text]
  • Spatial Design Principles in Digital Animation
    Copyright by Laura Beth Albright 2009 ABSTRACT The visual design phase in computer-animated film production includes all decisions that affect the visual look and emotional tone of the film. Within this domain is a set of choices that must be made by the designer which influence the viewer's perception of the film’s space, defined in this paper as “spatial design.” The concept of spatial design is particularly relevant in digital animation (also known as 3D or CG animation), as its production process relies on a virtual 3D environment during the generative phase but renders 2D images as a final product. Reference for spatial design decisions is found in principles of various visual arts disciplines, and this thesis seeks to organize and apply these principles specifically to digital animation production. This paper establishes a context for this study by first analyzing several short animated films that draw attention to spatial design principles by presenting the film space non-traditionally. A literature search of graphic design and cinematography principles yields a proposed toolbox of spatial design principles. Two short animated films are produced in which the story and style objectives of each film are examined, and a custom subset of tools is selected and applied based on those objectives. Finally, the use of these principles is evaluated within the context of the films produced. The two films produced have opposite stylistic objectives, and thus show two different viewpoints of applying the toolbox. Taken ii together, the two films demonstrate application and analysis of the toolbox principles, approached from opposing sides of the same system.
    [Show full text]
  • A Totally Awesome Study of Animated Disney Films and the Development of American Values
    California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses 2012 Almost there : a totally awesome study of animated Disney films and the development of American values Allyson Scott California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes Recommended Citation Scott, Allyson, "Almost there : a totally awesome study of animated Disney films and the development of American values" (2012). Capstone Projects and Master's Theses. 391. https://digitalcommons.csumb.edu/caps_thes/391 This Capstone Project is brought to you for free and open access by Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. Unless otherwise indicated, this project was conducted as practicum not subject to IRB review but conducted in keeping with applicable regulatory guidance for training purposes. For more information, please contact [email protected]. Social and Behavioral Sciences Department Senior Capstone California State University, Monterey Bay Almost There: A Totally Awesome Study of Animated Disney Films and the Development of American Values Dr. Rebecca Bales, Capstone Advisor Dr. Gerald Shenk, Capstone Instructor Allyson Scott Spring 2012 Acknowledgments This senior capstone has been a year of research, writing, and rewriting. I would first like to thank Dr. Gerald Shenk for agreeing that my topic could be more than an excuse to watch movies for homework. Dr. Rebecca Bales has been a source of guidance and reassurance since I declared myself an SBS major. Both have been instrumental to the completion of this project, and I truly appreciate their humor, support, and advice.
    [Show full text]
  • 1 Expressive Utterance on Trolls Movie Skripsi
    EXPRESSIVE UTTERANCE ON TROLLS MOVIE SKRIPSI Submitted in Partial Fulfillment of the Requirements For the Degree of Sarjana Pendidikan (S.Pd) Study Program of English Department By ROSA YUWANDA NPM. 1402050104 FACULTY OF TEACHERS TRAINING AND EDUCATION UNIVERSITY OF MUHAMMADIYAH SUMATERA UTARA MEDAN 2018 1 ABSTRACT Yuwanda, Rosa. 1402050104. Expressive Utterance on Trolls Movie. Skripsi. English Education Program of Faculty of Teacher Training and Education, University of Muhammadi yah Sumatera Utara. Medan. 2018. This study deals with the study of Expressive Utterance on Trolls Movie. The objestives of this study were to find out types expressive utterances used in Trolls movie. To reveal the use of expressive utterance in Trolls movie. To figure out the reason of the use type of expressive utterance dominantly in Trolls movie. Descriptive qualitative method was used in this study. Source of data was obtained from the script of Trolls movie. In collecting the data, the researcher Downloading the script of Trolls movie from internet, Watching Trolls movie, Reading and observing the dialogue from the script of Trolls movie, Identifying the sentences to find out types expressive utterances used in Trolls movie. The data were analyzed in some steps, Classifying the sentences of expressive utterances into its types, Finding out the use of expressive utterances that used by the characters of Trolls movie, Finding out the reason type of expressive utterance which dominantly used in Trolls movie. The finding showed the occurrences seven from nine types of expressive utterances on Trolls movie, they were 5 utterances of apologizing or 8.63%, 6 utterances of thanking or 10.34%, 26 utterances of deploring/censoring or 44.83%, 7 utterances of lamenting or 12.07%, 3 utterances of welcoming or 5.17%, 2 utterances of forgiving or 3.45%,9 utterances of boasting or 15.51%.
    [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]
  • MARCHÉ DU FILM 2011 FOCUS World Film Market Trends Tendances Du Marché Mondial Du fi Lm
    MARCHÉ DU FILM 2011 FOCUS World Film Market Trends Tendances du marché mondial du fi lm FOCUS-COVER-FINAL.indd 1 13/04/11 19:30 focus 2011 World Film Market Trends Tendances du marché mondial du film focus_2011.indd 1 26/04/11 19:11 Pages Pub int Focus 2010:Pub Focus 29/04/10 10:54 Page 1 Lay-out: Acom*Europe | © 2011, Marché du Film | Printed: Global Rouge, Les Deux-Ponts Imprimé sur papier labélisé issu de forêts gérées durablement. Printed on paper from sustainably managed forests. focus_2011.indd 2 26/04/11 19:11 Editorial We now find ourselves in an era where all chan- À l’heure où toute la filière cinématographique nels of cinematography are undergoing a transfor- poursuit sa mutation, où la VoD se positionne mation: VoD has become a realistic medium, the comme un écran crédible, où le passage au tout switch to all-digital is simply a matter of time and numérique n’est plus qu’une question de calen- 3D is becoming more and more ubiquitous. As drier, où la 3D commence à se banaliser, il est such, it is more crucial than ever for us, as profes- plus que jamais nécessaire, pour les profession- sionals, to identify major industry tendencies. nels que nous sommes, d’appréhender les grands I hope that Focus, now in its 14th year, will indicateurs du secteur. serve as an indispensable tool for you in analyzing Je souhaite que Focus, qui fête son 14e anni- and anticipating the challenges of tomorrow. versaire, vous apporte les clefs indispensables pour analyser et anticiper les enjeux de demain.
    [Show full text]
  • Animated Stereotypes –
    Animated Stereotypes – An Analysis of Disney’s Contemporary Portrayals of Race and Ethnicity Alexander Lindgren, 36761 Pro gradu-avhandling i engelska språket och litteraturen Handledare: Jason Finch Fakulteten för humaniora, psykologi och teologi Åbo Akademi 2020 ÅBO AKADEMI – FACULTY OF ARTS, PSYCHOLOGY AND THEOLOGY Abstract for Master’s Thesis Subject: English Language and Literature Author: Alexander Lindgren Title: Animated Stereotypes – An Analysis of Disney’s Contemporary Portrayals of Race and Ethnicity Supervisor: Jason Finch Abstract: Walt Disney Animation Studios is currently one of the world’s largest producers of animated content aimed at children. However, while Disney often has been associated with themes such as childhood, magic, and innocence, many of the company’s animated films have simultaneously been criticized for their offensive and quite problematic take on race and ethnicity, as well their heavy reliance on cultural stereotypes. This study aims to evaluate Disney’s portrayals of racial and ethnic minorities, as well as determine whether or not the nature of the company’s portrayals have become more culturally sensitive with time. To accomplish this, seven animated feature films produced by Disney were analyzed. These analyses are of a qualitative nature, with a focus on imagology and postcolonial literary theory, and the results have simultaneously been compared to corresponding criticism and analyses by other authors and scholars. Based on the overall results of the analyses, it does seem as if Disney is becoming more progressive and culturally sensitive with time. However, while most of the recent films are free from the clearly racist elements found in the company’s earlier productions, it is quite evident that Disney still tends to rely heavily on certain cultural stereotypes.
    [Show full text]
  • In March, 2002 the Dreamworks
    TM The animated feature and the making of by Kate McCallum n March, 2002 the DreamWorks ani- freed from the stress of New York life. mated films as Space Jam and Cool World. mated feature Shrek broke ground by When those plotting penguins sabotage His television work includes directing on I receiving the first official Oscar® for the ship, Alex, Marty, Melman and Gloria The Ren & Stimpy Show, as well as other the newly created Best Animated Feature find themselves washed ashore on the exotic projects for Nickelodeon. Adding their tal- Film category. Now, from DreamWorks island of Madagascar. Now these native New ents to the film were writers Mark Burton Animation SKG comes the new, com- Yorkers have to figure out how to survive in and Billy Frolick. Burton is a U.K.-based puter-animated comedy Madagascar. the wild and discover the true meaning of comedy writer with a varied TV and film Alex the Lion (voiced by Ben Stiller) is the phrase “It’s a jungle out there.” career on both sides of the Atlantic. He has the king of the urban jungle as the main Madagascar was directed by Eric Darnell written extensively for many British comedy attraction at New York’s Central Park Zoo. and Tom McGrath, who are also two of shows, including Clive Anderson Talks Back, He and his best friends Marty the Zebra the writers on this film. Darnell joined Jack Dee’s Happy Hour, Never Mind The (Chris Rock), Melman the Giraffe (David PDI’s (now PDI/DreamWorks Animation) Buzzcocks, 2DTV, Have I Got News For You Schwimmer) and Gloria the Hippo (Jada Character Animation Group in 1991 and and Spitting Image.
    [Show full text]
  • Door to Door to Web Tu Hear Charlie Fink Tell It
    Door to door to Web Tu hear Charlie Fink tell it. his formu- areas of production. The talent was gath- la for success hasn't been much dif- ered and the transformation took place. ferent from those of the animation During his tenure there. Disney Pictures heroes he helped to create during his days turned out a string of animation hits, includ- at Disney Pictures: put yourself in harm's ing "Roger Rabbit.' "The Little Mermaid." way and count on sheer dumb luck. "Beauty and the Beast." "Aladdin" and "The That's the way America Online's Lion King " -a story line he suggested. Greenhouse Networks senior VP /chief cre- With Schneider and Roy Disney as his ative officer sees a career that seemed to mentors, Fink was named director of pro- get its kick -start when Fink graduated from duction in 1988 and vice president of pro- the Art Institute of Chicago with a master's duction in 1989. He was particularly in film in 1983. He produced "Door to pleased with his position on the animation Door," a "fictional documentary" about side. "I was the only one doing the anima- door -to -door salesmen, for $7,500. took it tion stuff. These poor guys in live action around to film festivals and concurrently were beating each other up to get ahead. made a reputation as a promising filmmak- But I got to he sort of a specialist," he says. er. "I've been very lucky and very oppor- He got offers from other major studios. tunistic." says Fink.
    [Show full text]