STUART BLATT Production Designer Stuartblattdesign.Com

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STUART BLATT Production Designer stuartblattdesign.com PROJECTS Partial List DIRECTORS STUDIOS/PRODUCERS SEAL TEAM Christopher Chulak CBS / PARAMOUNT+ Seasons 1-5 Various Directors Ian Woolf, Ed Redlich, Christopher Chulack SALVATION Juan Carlos SECRET HIDEOUT / CBS Pilot Fresnadillo Rob Ortiz, Aaron Baiers CRIMINAL MINDS: Laura Belsey ABC STUDIOS / CBS BEYOND BORDERS Series Rod Holcomb Ian Woolf, Erica Messer, Mark Gordon QUANTICO David McWhirter ABC Season 1 – Back Order Bob Simon, Josh Safran STALKER Liz Friedlander WARNER BROS. Series Kevin Williamson, Liz Friedlander, Hilton Smith MYSTERIES OF LAURA McG WARNER BROS. Pilot Greg Berlanti, Jeff Rake, Michael Cedar GANG RELATED Alan Hughes 20TH CENTURY FOX / IMAGINE TELEVISION Pilot & Series Nelson McCormick Howard Griffith, Nelson McCormick Francie Calfo DO NO HARM Jeffrey Reiner NBC Series Nan Bernstein, David Schulner, Peter Traugott DAYBREAK Series Jon Cassar RSA FILMS Nominated, Best Production Design – Dylan Massin Art Director’s Guild THE EVENT Jeffrey Reiner NBC Series Norberto Barba Steve Sassen, Steve Stark TRAUMA Jeffrey Reiner FILM 44 / NBC Pilot & Series Steve Sassen, Peter Berg, Sarah Aubrey DOLLHOUSE Joss Whedon FOX Series Kelly Manners, Joss Whedon, Sarah Fain K-VILLE Steven DePaul FOX Series Craig Silverstein, Jonathan Lisco PEPPER DENNIS Robert Berlinger FOX / WB Series Allison Liddi-Brown Kelly Manners, Jason Katims, Shawn Levy David Burns Aaron Harberts, Gretchen Berg POINT PLEASANT Mel Damski FOX Series Marita Grabiak Kelly Manners, Dawn Parouse, Neal Moritz Michael Lange Marti Noxon, Marty Adelstein C.S.I. MIAMI Various Directors CBS Series Jonathan Littman, Don Tardino, Ann Donahue WHAT’S COOKING? Gurinder Chadha BECAUSE ENTERTAINMENT / CINEMAX Feature Film Jeffrey Taylor SUSAN’S PLAN John Landis Leslie Belzberg, Brad Wyman Feature Film THE WONDERFUL Stuart Gordon DISNEY ICE CREAM SUIT Feature Film Laura Medina, Roy Disney DINNER & DRIVING Lawrence Trilling VANGUARD CINEMA Feature Film Cristen Carr-Strubbe, Carl Bressler TALES FROM THE HOOD Rusty Cundieff 40 ACRES & A MULE / HBO Feature Film Darin Scott INNOVATIVE-PRODUCTION.COM | 310.656.5151 .

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CRAIG STEARNS Production Designer Craigstearns.Com
CRAIG STEARNS Production Designer craigstearns.com PROJECTS DIRECTORS PRODUCERS/STUDIOS VERONICA MARS Various Directors Howard Grigsby, Rob Thomas Series Warner Bros. TV / Hulu THE GIFTED Permanent Sets Bryan Singer Neal Ahern, Matt Nix / Fox 24: LEGACY Various Directors Jon Paré, Evan Katz, Kiefer Sutherland Series Jon Cassar / Imagine Television / Fox HALT & CATCH FIRE Season 3 Various Directors Jeff Freilich, Melissa Bernstein / AMC WICKED CITY Various Directors Robert Simon, Steven Baigelman Series Laurie Zaks / ABC DEVIOUS MAIDS Season 2-3 Various Directors Marc Cherry, Eva Longoria / Lifetime JANE THE VIRGIN Series - Permanent Sets Various Directors Lewis Abel / CBS Studios SAVANNAH Feature Film Annette Haywood-Carter Jody Savin, Jay Sedrish CBGB Feature Film Randall Miller Jody Savin, Brad Rosenberger GRIMM 8 episodes Various Directors Steve Oster, Norberto Barba / NBC YOU AGAIN Feature Film Andy Fickman Mario Iscovich, Eric Tannenbaum / Disney NOT FORGOTTEN Dror Soref Donald Zuckerman, Jamie Beardsley Feature Film BOTTLE SHOCK Feature Film Randall Miller Jody Savin, Elaine Dysinger AMUSEMENT John Simpson Udi Nedivi, Neal Edelstein, Mike Macari Feature Film New Line Cinema MUSIC WITHIN Steven Sawalich Brett Donowho, Bruce Wayne Gillies Feature Film MGM NOBEL SON Feature Film Randall Miller Jody Savin, Terry Spazek BIG MOMMA’S HOUSE 2 John Whitesell Jeremiah Samuels, David Friendly th Feature Film 20 Century Fox / New Regency STEPHEN KING’S ROSE RED 6 Hr. Miniseries Craig Baxley Bob Phillips, Mark Carliner / ABC Emmy Award Nomination-Best Art Direction BIG MOMMA'S HOUSE Raja Gosnell David Friendly, Rodney Liber th Feature Film 20 Century Fox STORM OF THE CENTURY Craig Baxley Bob Phillips, Mark Carliner / ABC 6 hr.
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Criminal Minds: Haunted
“Haunted” Written by Erica Messer Directed by Jon Cassar © 2009 ABC Studios. All rights reserved. This material is the exclusive property of ABC Studios and is intended solely for the use of its personnel. Distribution to unauthorized persons or reproduction, in whole or in part, without the written consent of ABC Studios is strictly prohibited. PRODUCTION #502 Episode Ninety-Three Final Draft(PINK) July 29, 2009 Copyright © 2009 ABC Studios All Rights Reserved CRIMINAL MINDS “Haunted” Script Revision History DATE COLOR PAGES 7/25/2009 BLUE CAST, SET, 1-63 7/29/2009 PINK CAST, SET, 1-64 CRIMINAL MINDS “Haunted” CAST LIST ROSSI HOTCH PRENTISS MORGAN REID JENNIFER GARCIA DARRIN CALL YOUNG CALL PHARMACIST STOCK BOY * LOCAL REPORTER LIEUTENANT KEVIN MITCHELL DR. CHARLES CIPOLLA PATIENT YOUNG TOMMY WOMAN THOMAS (TOMMY) ANDERSON BILL JARVIS YOUNG BILL JARVIS FEATURED EXTRAS BANK GUARD CRIMINAL MINDS “Haunted” SET LIST INTERIORS EXTERIORS BAU JET BAU JET – DAY (STOCK) * BAU Runway High Tech Room Rossi’s Office COUNTRY ROAD - DAY PHARMACY LOUISVILLE STREET – DAY Counter Alley Aisles JARVIS HOUSE - DAY HOTCH’S APARTMENT KENTUCKY – DAY (STOCK) LOUISVILLE METRO P.D. MACHINE SHOP – DAY * CIPOLLA’S OFFICE LOUISVILLE METRO P.D. – DAY CIPOLLA’S OFFICE – DAY STREET – DAY DARRIN CALL’S APARTMENT CURBSIDE – DAY TOMMY ANDERSON’S HOUSE STERNER ORPHANAGE – DAY JARVIS HOUSE HITCHENS AVENUE - DAY MOVING SHOTS BAU SUV – Hotch & Morgan MINIVAN – Call & Ryan CRIMINAL MINDS “Haunted” TIME SPAN This episode takes place over 1 day. Teaser: Day 1 Act One: Day 1 Act Two: Day 1 Act Three: Day 1 Act Four: Day 1, Night 1 CRIMINAL MINDS "Haunted" PINK 7/29/09 1.
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Productions in Ontario 2006
2006 PRODUCTION IN ONTARIO with assistance from Ontario Media Development Corporation www.omdc.on.ca You belong here FEATURE FILMS – THEATRICAL ANIMAL 2 AWAY FROM HER Company: DGP Animal Productions Inc. Company: Pulling Focus Pictures ALL HAT Producers: Lewin Webb, Kate Harrison, Producer: Danny Iron, Simone Urdl, Company: No Cattle Productions Inc./ Wayne Thompson, Jennifer Weiss New Real Films David Mitchell, Erin Berry Director: Sarah Polley Producer: Jennifer Jonas Director: Ryan Combs Writers: Sarah Polley, Alice Munro Director: Leonard Farlinger Writer: Jacob Adams Production Manager: Ted Miller Writer: Brad Smith Production Manager: Dallas Dyer Production Designer: Kathleen Climie Line Producer/Production Manager: Production Designer: Andrew Berry Director of Photography: Luc Montpellier Avi Federgreen Director of Photography: Brendan Steacy Key Cast: Gordon Pinsent, Julie Christie, Production Designer: Matthew Davies Key Cast: Ving Rhames, K.C. Collins Olympia Dukakis Director of Photography: Paul Sarossy Shooting Dates: November – December 2006 Shooting Dates: February – April 2006 Key Cast: Luke Kirby, Rachael Leigh Cook, Lisa Ray A RAISIN IN THE SUN BLAZE Shooting Dates: October – November 2006 Company: ABC Television/Cliffwood Company: Barefoot Films GMBH Productions Producers: Til Schweiger, Shannon Mildon AMERICAN PIE PRESENTS: Producer: John Eckert Executive Producer: Tom Zickler THE NAKED MILE Executive Producers: Craig Zadan, Neil Meron Director: Reto Salimbeni Company: Universal Pictures Director: Kenny Leon Writer: Reto Salimbeni Producer: W.K. Border Writers: Lorraine Hansberry, Paris Qualles Line Producer/Production Manager: Director: Joe Nussbaum Production Manager: John Eckert Lena Cordina Writers: Adam Herz, Erik Lindsay Production Designer: Karen Bromley Production Designer: Matthew Davies Line Producer/Production Manager: Director of Photography: Ivan Strasburg Director of Photography: Paul Sarossy Byron Martin Key Cast: Sean Patrick Thomas, Key Cast: Til Schweiger Production Designer: Gordon Barnes Sean ‘P.
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REFERENCE GUIDE THIS LIST IS FOR YOUR REFERENCE ONLY. WE CANNOT PROVIDE DVDs OF THESE FILMS, AS THEY ARE NOT PART OF OUR OFFICIAL PROGRAMME. HOWEVER, WE HOPE YOU’LL EXPLORE THESE PAGES AND CHECK THEM OUT ON YOUR OWN. DRAMA 1:54 AVOIR 16 ANS / TO BE SIXTEEN 2016 / Director-Writer: Yan England / 106 min / 1979 / Director: Jean Pierre Lefebvre / Writers: Claude French / 14A Paquette, Jean Pierre Lefebvre / 125 min / French / NR Tim (Antoine Olivier Pilon) is a smart and athletic 16-year- An austere and moving study of youthful dissent and old dealing with personal tragedy and a school bully in this institutional repression told from the point of view of a honest coming-of-age sports movie from actor-turned- rebellious 16-year-old (Yves Benoît). filmmaker England. Also starring Sophie Nélisse. BACKROADS (BEARWALKER) 1:54 ACROSS THE LINE 2000 / Director-Writer: Shirley Cheechoo / 83 min / 2016 / Director: Director X / Writer: Floyd Kane / 87 min / English / NR English / 14A On a fictional Canadian reserve, a mysterious evil known as A hockey player in Atlantic Canada considers going pro, but “the Bearwalker” begins stalking the community. Meanwhile, the colour of his skin and the racial strife in his community police prejudice and racial injustice strike fear in the hearts become a sticking point for his hopes and dreams. Starring of four sisters. Stephan James, Sarah Jeffery and Shamier Anderson. BEEBA BOYS ACT OF THE HEART 2015 / Director-Writer: Deepa Mehta / 103 min / 1970 / Director-Writer: Paul Almond / 103 min / English / 14A English / PG Gang violence and a maelstrom of crime rock Vancouver ADORATION A deeply religious woman’s piety is tested when a in this flashy, dangerous thriller about the Indo-Canadian charismatic Augustinian monk becomes the guest underworld.
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'All You Can Eat
‘All You Can Eat TV’ An exploration of how long form, serial storytelling for television has evolved alongside recent developments in digital television distribution platforms. This thesis also examines how these new technologies have changed the ‘rules’ of narrative, television screenwriting. Masters of Fine Arts by Elise McCredie (DipDA, BA.) Principle Supervisor: Dr Annabelle Murphy Melbourne University Faculty of Fine Arts and Music School of Film and Television April 2018 2 CONTENTS Introduction 3 Chapter 1 5 Chapter 2 13 Chapter 3 19 Conclusion 27 Bibliography/Filmography 30 3 INTRODUCTION “I hate television. I hate it just as much as peanuts but I just can’t stop eating peanuts.” Orson Welles1 I am sitting iPad in front of me, my finger poised over the PAUSE icon. Should I watch another episode or should I go to bed? If I don’t watch another episode will my dreams be full of all the possible outcomes for Don Draper, Walter White or Sarah Lund? Will my imagination soar with possibilities or should I give into the gnawing, addictive urge to watch just one more episode? Will I enjoy it? Or will I, in a foggy state of addictive exhaustion, only take in half of the complicated plot points? If this is the modern conundrum for today’s viewers, then what does it mean for today’s screenwriters? How does this glut of instantly available serial content affect the way we write serial drama? In the last twenty years, there has been a revolution in viewing practices. Broadcast executives have been slowly de-throned as digital advances make viewing serial television a democratic, individualised, multi-platform and frequently illegal practice.
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Criminal Minds, A TV Show Review A TV show that I will be reviewing would be Criminal Minds. The show Criminal Minds was originally made in 2005 with about 15 seasons. Criminal Minds is about an elite FBI team that strategizes against criminals and tries to interpret their next move. Each member of the team uses each of their skills in order to investigate the criminals motivations along with stopping them. Some characters include Spencer Reid, Derek Morgan, Jason Gideon etc. Personally, the show Criminal Minds is very entertaining to me since the stories are always interesting along with the characters and their backgrounds. Each and every episode is different and provides an interesting story. However, season one was quite slow and it soon got interesting as the show progressed. An episode that I personally found the most interesting would be episode 12 of season 2. A character named Dr. Spencer Reid was kidnapped and tortured and he fortunately solved his way out and escaped. My favorite character would be Matthew Grey Gubler since he is very intelligent and knows how to solve his way through crimes. This shows the impact on society would be that it teaches you life skills in multiple ways. Some ways include how to analyze others behaviors by observing their body movements, body character, what they’re wearing, etc. Criminal Minds also teaches society how to escape a dangerous situation. You are able to pick up a few things from what is going on in the show and use them in real life situations. I believe that people should watch Criminal Minds due to personal benefits along with entertainment.
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Creative Rights Handbook Is to Help Raise TABLE of CONTENTS Awareness of Your Rights, Which Span All Phases of Production
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Click Here to Download The
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SFU Thesis Template Files
“To Fight the Battles We Never Could”: The Militarization of Marvel’s Cinematic Superheroes by Brett Pardy B.A., The University of the Fraser Valley, 2013 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the School of Communication Faculty of Communication, Art, and Technology Brett Pardy 2016 SIMON FRASER UNIVERSITY Summer 2016 Approval Name: Brett Pardy Degree: Master of Arts Title: “To Fight the Battles We Never Could”: The Militarization of Marvel’s Cinematic Superheroes Examining Committee: Chair: Frederik Lesage Assistant Professor Zoë Druick Senior Supervisor Associate Professor Adel Iskander Supervisor Assistant Professor Michael Ma External Examiner Faculty Member Department of Criminology Kwantlen Polytechnic University Date Defended/Approved: June 16, 2016 ii Abstract The Marvel comics film adaptations have been some of the most successful Hollywood products of the post 9/11 period, bringing formerly obscure cultural texts into the mainstream. Through an analysis of the adaptation process of Marvel Entertainment’s superhero franchise from comics to film, I argue that a hegemonic American model of militarization has been used by Hollywood as a discursive formation with which to transform niche properties into mass market products. I consider the locations of narrative ambiguities in two key comics texts, The Ultimates (2002-2007) and The New Avengers (2005-2012), as well as in the film The Avengers (2012), and demonstrate the significant reorientation of the film franchise towards the American military’s “War on Terror”. While Marvel had attempted to produce film adaptations for decades, only under the new “militainment” discursive formation was it finally successful.
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Criminal Minds
February 2020 #82 __________________________________________________________________________________________ _____ Broadcast Has Some Great TV Series Too By Steve Sternberg In December, I released my analysis of the 27 best TV series of 2019. In alphabetical order – Barry, Big Little Lies, Bosch, The Boys, Dead to Me, Fleabag, GLOW, Goliath, The Good Fight, The Good Place, Harlots, Jessica Jones, Killing Eve, The Kominsky Method, Mindhunter, The Morning Show, Mr Inbetween, Pose, Queen of the South, Rick & Morty, Russian Doll, Sneaky Pete, Star Trek: Discovery, Succession, This is Us, Vida, and Watchmen. As was the case with the Emmys, The Golden Globes, and virtually every TV critic, I demonstrated a clear bias against broadcast network series. Of my 27 best TV series, 15 are on streaming services, 5 are on premium cable, 5 are on ad-supported cable, and only 2 were on broadcast TV. There are, of course, some logical reasons for this. • Broadcast series have to answer to advertisers (and the FCC), so have limitations regarding language and sexual content that do not hinder cable or streaming services. A Sternberg Report Sponsored Message Reach thousands of highly engaged media and advertising decision makers. Contact [email protected] for details about advertising here. The Sternberg Report ©2020 __________________________________________________________________________________________ _____ • While cable and streaming series generally have between 6 and 13 episodes per season, broadcast series typically have between 17 and 24 episodes (although a few this season have 13). It’s difficult to write that many good episodes in a season, so it requires a lot more “filler.” • More broadcast dramas have self-contained episodes, as opposed to season-long story arcs, which are more prevalent on cable and streaming series.
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