Learn more about the award, its categories, and history. Producers must submit an Official Screen Credits online form before the deadline; in case it is not submitted by the defined deadline, the film will be ineligible for Academy Awards in any year. The Academy Film Archive holds copies of every Academy Awards ceremony since the 1949 Oscars and material on many prior ceremonies, along with ancillary material related to more recent shows. Frances McDormand and Gary … The Academy enforces rules to limit overt campaigning by its members so as to try to eliminate excesses and prevent the process from becoming undignified. Some of the biggest names in Hollywood took home awards at the 92nd Academy Awards Sunday night. ACADEMY INVITES 819 TO MEMBERSHIP. Academy Awards predating this agreement have been sold in public auctions and private deals for six-figure sums.. ", Meet the only two people in the world who already know all the Oscar winners | Market Watch, "Electronic Voting Comes to The Oscars (Finally)", "Rule Eleven: Special Rules for the Documentary Awards", "Rule Nineteen: Special Rules for the Short Film Awards", "The Academy and its Oscar Awards – Reminder List of Eligible Releases", "Oscars: New Rules Bar Multi-Part Documentaries Like 'O.J. Here Are 3 Estimates", "I'd Really Like to Thank My Pal at the Auction House", "Orson Welles' 'Citizen Kane' Oscar for sale", "Orson Welles' 'Citizen Kane' Oscar brings $861,000", "How Many Women Are Actually Voting for the Oscar Winners? The original Oscar mold was cast in 1928 at the C.W. For the first six ceremonies, the eligibility period spanned two calendar years.. ", "The Spielberg vs. Netflix Battle Could Mean Collateral Damage for Indies at the Oscars", "Justice Department Warns Academy Over Potential Oscar Rule Changes Threatening Netflix", "Academy doesn't change streaming eligibility for Oscars", "George C Scott: The man who refused an Oscar", "Warren Beatty recalls 'chaos' of Oscars night", "Disney Slams "False" 'Zootopia' Big $$ Copyright Suit From 'Total Recall' Scribe", "Parasite plagiarism row: Minsara Kanna producer PL Thenappan sends intimation mail", "Oscars' gift bag has $80,000 worth of swag", "What Surprising Freebies Are Inside the 2014 Oscar Nominees' Gift Bags", "Oscar 'Losers' Become Winners with Distinctive Assets Gift Bags", "Inside The $225,000 Oscars 2020 Gift Bag: From An Antarctic Cruise To A Gold Vape Pen To A Smart Bra", "The $225,000 Oscars 2020 gift bag: Here's what's inside", "Adam & Eve Had Secret Room Gifting Suite for Oscars' Celebs", "With No Blockbusters Up For Best Picture, Expect 'Academy Awards' Viewership To Fall; Ratings History + Your Guess For This Year (Poll)", "Kantar Media Reports on the Advertising Vitality of the Academy Awards – Historical Advertising Data Showcases Ad Pricing Trends and Top Marketers; Super Bowl Overlap Increases as Sales Rise", "Sunday Final Ratings: Oscars Adjusted Up", "The Oscars Beat The Super Bowl in Advertising Premium", "Oscars on ABC Draw Largest Audience in 10 Years", "Oscar Ad Prices Hit All-Time High as ABC Sells Out 2014 Telecast (EXCLUSIVE)", "Crystal, social media fuel Oscar ratings", Court: 'Oscar' may be generic term in Italian – Hollywood Reporter, Court: Oscar may be generic term in Italian | Reuters, "Wanna see an Academy Awards invite? Actors constitute the largest voting bloc, numbering 1,311 members (22 percent) of the Academy's composition. From 1930 to 1943, the ceremony alternated between two venues: the Ambassador Hotel on Wilshire Boulevard and the Biltmore Hotel in downtown Los Angeles. To date, the following categories have been proposed: The Special Academy Awards are voted on by special committees, rather than by the Academy membership as a whole. The award was originally sculpted by George Stanley from a design sketch by Cedric Gibbons. Regina King, Mahershala Ali, Rami Malek and Olivia Colman were tops in the acting categories and Spike Lee brought home Oscar for the very first time for Adapted Screenplay as a co-writer of BlacKkKlansman. The main method is a week-long theatrical release in either Los Angeles County or New York City during the eligibility period. The Academy Awards will air live Feb. 9 on ABC. Lee Unkrich. It is the culmination of the film awards season, which usually begins during November or December of the previous year. It is given in honor of an actor who has delivered an outstanding performance in a leading role while working within the film industry.The award is traditionally presented by the previous year's Best Actress winner.. The ceremonies were moved up from late March/early April to late February, since 2004, to help disrupt and shorten the intense lobbying and ad campaigns associated with Oscar season in the film industry. The data is complete through the 2019 (92nd) Academy Awards, presented on February 9, 2020. , The term "Oscar" is a registered trademark of the AMPAS; however, in the Italian language, it is used generically to refer to any award or award ceremony, regardless of which field. Parasite (2019)  In 2010, the Academy contemplated moving the ceremony even further back into January, citing TV viewers' fatigue with the film industry's long awards season. At times, the Best Original Score award has also been split into separate categories (Drama and Comedy/Musical). “The Shape of Water” led the 90th Academy Awards on Sunday, winning best picture and best director (for Guillermo del Toro). A frequently mentioned originator is Margaret Herrick, the Academy executive secretary, who, when she first saw the award in 1931, said the statuette reminded her of "Uncle Oscar", a nickname for her cousin Oscar Pierce. The Academy Awards Database contains the official record of past Academy Award winners and nominees. He won an Academy Award for Best Actor for playing the title character in Cyrano de Bergerac (1950). 2018 Oscars Winners: Full List – Variety Luke Matheny.  The reasons given for the move were that more viewers would tune in on Sundays, that Los Angeles rush-hour traffic jams could be avoided, and an earlier start time would allow viewers on the East Coast to go to bed earlier. ", "ABC's Oscar Contract Renegotiations: Who'll Get Creative Control? Ben-Hur is the first of only three films to win 11 Academy Awards (see also: Titanic and The Lord of the Rings: The Return of the King). This award goes to the producers of the film and is the only category in which every member of the Academy is eligible to submit a nomination and vote on the final ballot. Bemused host David Niven quipped, "Isn't it fascinating to think that probably the only laugh that man will ever get in his life is by stripping off and showing his shortcomings?" 1993. Willem Dafoe in AT ETERNITY'S GATE.  In 2016, the Academy returned to bronze as the core metal of the statuettes, handing manufacturing duties to Walden, New York-based Polich Tallix Fine Art Foundry. See also Best Picture Winners More Awards: Academy Awards (1929-present) Emmy Awards (1949-present) Golden Globes (1944-present) People's Choice Awards (1975-present) Cannes Film Festival (1939-present) Sundance Film Festival (1985-present) In recent years, these gifts have also been extended to award nominees and winners. ACADEMY AWARDS DATABASEA COMPREHENSIVE RECORD OF ACADEMY AWARD WINNERS AND NOMINEESThe Academy Awards Database contains the record of past Academy Award winners and nominees, including Scientific and Technical Award winners. 2020 Student Academy Awards. Display Results by: SEARCH CLEAR. The Academy Award for Best Actor is an award presented annually by the Academy of Motion Picture Arts and Sciences (AMPAS). Academy Awards Winners & History (1990 - 1999) Oscar® and Academy Awards® and Oscar® design mark are the trademarks and service marks and the Oscar© statuette the copyrighted property, of the Academy of Motion Picture Arts and Sciences. 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Refused to accept their Oscars winners Academy Award winners and nominees Carolyn Hennesy, Kate Linder, Mulkey. ( $ 74 in 2020 dollars ) these gift bags can reach into the weekend box office private deals six-figure., there was no host 2006 onwards, results are Live+SD ; all years.
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I just watched the fourth season Batman episode "Never Fear," where the Scarecrow develops a gas that inhibits fear. Bruce Wayne gets hit with it, and while he claims he is able to handle it, he begins taking unnecessary risks and acting reckless.
But that's not the interesting thing. What's interesting is that he starts acting like Frank Miller's Batman. He dangles a criminal out a window and begins cutting the batrope. He tells Batman that the Scarecrow will kill him if he reveals the plan; Batman replies "death is death. Does it matter who administers it?" The line sounds unnatural coming from Kevin Conroy's voice, but it sure sounds like something you might read in a narrative caption in The Dark Knight Returns to me. Anyway, Robin catches the guy when the rope finally snaps, then confronts Batman about his behavior. The hogtied Dark Knight initially tries to trick Tim into releasing him, and when rebuffed, he sputters and shouts at his young protégé: "Untie me, you little--! Untie me!" He's about a hair's breadth from asking Tim if he's "retarded or something."
Naturally, Tim eventually gets Batman the antidote (after Bruce smacks him around a little), just in time to keep Bats from killing the Scarecrow.
So, for a brief moment (outside of the full-on Miller-homage in "Legends of the Dark Knight") the animated Batman assumes all the gruff, cold, manipulative brutality that characterize his portrayal in books like "All-Star Batman and the really long title." What's interesting about this Batman is how many mistakes he makes. When Batman lets loose and takes stupid risks, he ends up almost getting shot, almost killing several people, and almost crashing the Batplane...repeatedly. Without Robin, he'd have been dead several times over, with a string of bodies left behind him. He's not calculating, he's reckless. A Batman as violent and sadistic as Miller's generally is wouldn't be the effective, precise hero we all know and love.
This is, of course, ignoring "Year One," in which Batman acts more or less like Batman.
Okay, so we have the Green Lanterns, whose weakness is fear, right? We also have the Scarecrow, whose schtick is making people afraid. While I realize that the GLs operate on something of a different scale from Prof. Crane's usual turf, the pairing is too obvious, too perfect, to not lead to a great story. The Society provides the rationale and means for the plot, and suddenly Scarecrow (and Phobia, just for good measure) have crippled Earth's three Green Lanterns. To what purpose? Oh, I don't know, but infiltrating Oa and leaving the Corps vulnerable to a Sinestro Corps attack would be a nice start, don'cha think?
Speaking of Scarecrow, I don't think I've ever seen him portrayed better than in his brief appearance in Sandman. I'd read a freakin' series devoted to that Scarecrow. Why doesn't anyone else pick up on that characterization?
Speaking of Batman, something in the latest issue of Morrison's Batman caught me off-guard. Batman got captured. After so many years of the God-Bat, fourteen steps ahead of everyone else (much of which was Morrison's doing), it really took me by surprise to see him tied up and at Talia's mercy. Granted, I don't want to see Batman fall prey to "Oh no, I suddenly got stupid" syndrome, with every thug, goon, and henchman hogtying Bruce, but with Talia it's believable, and it's nice to see that he's fallible again.


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Newnan, Ga. is transformed into a battlezone for the upcoming movie "Zombieland" on Sunday, March 29, 2009. The town has just been through a battle between the zombies and the non-zombies. The horror/comedy film is set for release this October. The film stars Woody Harrelson, Jesse Eisenberg, Abigail Breslin and Emma Stone..All fees must be agreed prior to publication..Byline and/or website usage link must read.MAVRIXPHOTO.COM Failure to byline correctly will incur double the agreed fee.
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I’m trying to become more cultured and one way is to support the arts and attend a play so a friend suggested we go watch Stegosaurus – a play about eating disorders, the relationship with food and body image.
A great one woman show – and I’m not even talking about my (lack of) love life this time.
I’m not the most qualified to write reviews of plays because I’m new on to the scene but I enjoyed the acting, the writing and even the use of lighting. Elpida Stathatou projects a deeply troubled character (that I related to occasionally so I should check that out). The storyline was touching and made you think about those suffering from an eating disorder on a deeper level than what you may make assumptions about.
I’ve never been to a play with only one actor before so I didn’t know what to expect. Sitcoms always rip into them. I was preparing myself for some ‘Vagina Monologues’ type thing which I also would have enjoyed.
In terms of venue, this was the first time I had been to both the Oxford Arms and the Etcetera Theatre located within it. It’s a fairly small theatre but I liked that it was in an intimate setting. Though, I did wish there was better sound proofing.
After the show is over, you can always pop downstairs for a drink and continue the fun.


Tonight I’m listening to the soundtrack to Brokeback Mountain. The instrumental pieces by Gustavo Santaolalla are so beautiful, but listening to it makes me think a lot about the tragic gay story and how Hollywood tells queer stories to a straight audience. I appreciate the impact Brokeback Mountain has had on mainstream culture, but I think it’s time for straight audiences to support a different gay narrative, one that allows for the possibility of happiness and fulfillment.
I remember first viewing Brokeback Mountain. I was sixteen at the time, and I had already spent several years seeking out gay media–always in secret, as I was not out at the time. Of course, I cried. Some years later I found the short story on my sister’s bookshelf and furtively read it. I loved the short story as much as I loved the movie, and I now have my own copy on my bookshelf.
What I find most interesting about Brokeback Mountain is it’s the only major film about a gay romance that I can recall becoming popular in the mainstream. Sure, we’ve had films such as Milk and Monster (another one that made me cry), but I can’t think of another mainstream film where gay romance was the focus. For that reason, I think Brokeback Mountain holds a unique spot in LGBT film history.
And for another reason as well. I’ve seen a lot of LGBT movies since I was sixteen, from Saving Face to Patrik, Age 1.5 (one of my personal favorites). Hell, I’ve been known to rent movies just because I knew they had a gay scene in them (Kiss Kiss, Bang Bang, anyone?). Most of these films have not become popular outside the LGBT audience, and I think that’s because they were made with an LGBT audience in mind.
I looked up Brokeback Moutain on IMDb to check the year when it was made, and then I referred to the user made movie lists to remind myself of some other queer films I had seen. I was surprised to see that the first eight lists were not LGBT specific. I can’t say for sure, but I have to wonder: was Brokeback Mountain made for straight people?
I know a statement like that would ruffle more than a few feathers. I’m not saying it’s a bad thing, just that it’s interesting. Whether or not the film was made for a straight audience, it remains true that Brokeback Mountain was quite successful with a straight audience. It’s a film that I think remains a cultural touchstone, and so it’s important to keep in mind the kind of message it sent.
Brokeback Mountain is a tragedy. The two main characters can never pursue their romance openly; they both marry women to keep up appearances. At the end, Jack becomes the victim of a hate crime. It’s not the most progressive story told about two gay men. I won’t deny it’s a beautiful film, but I don’t find it particularly promising that the one popular gay romance story is one that ends in homophobic violence.
During the summer, I wrote content for a queer women of color website. One thing the founder asked of me and my fellow interns was that we not reinforce a narrative of victimhood. She wanted to focus on queer women of color taking power and fighting oppression, rather than on those women falling victim to hatred and bigotry.
Brokeback Moutain is a story of victimhood, and I think it was popular in part because of that. Though Jack speaks often of wanting to have a real relationship with Ennis, neither character is threatening to a straight audience. They don’t flaunt their homosexual desires. They’re both masculine. They’re not looking to get married. They’re just two men trying to navigate their same sex desires. And they are unsuccessful.
Yes, there are many tragic queer stories. LGBT people are brutalized and murdered all the time. Brokeback Mountain does not tell an unrealistic story. But I think it’s critical that we stop and examine why the only popular gay romance story in film is one that ends in death.
Earlier today, I read a post by a young woman who talked about holding hands with her girlfriend in public. I expected the story to end with someone calling them dykes or trying to hurt them. Instead, the post talked about a woman smiling at the pair. It’s a simple gesture that meant a lot to this young woman. I want to hear more stories like this. I want to see a new film rise up–not to displace Brokeback Mountain, but to show that it’s possible to be queer and be happy.
It is possible to be queer and be happy. Even with the Ugandan kill the gays bill, even with awful people like Rick Warren spouting homophobic hatred. We’ve got a long way to go, but we’ve made a lot of progress. I think it’s time for a new story to be told to a straight audience–one that reminds society that LGBT people are not just victims.


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In her defense
Following in the blockbuster tradition of Scott Turow and Richard North Patterson comes Stephen Horn and In Her Defense, and intense, riveting debut thriller with a twist.
Frank O'Connell's need to live on the edge cost him his family, his home, and a partnership in his father-in-law's prestigious Washington firm. Now he combs the cell blocks for clients and wonders if he's sunk too low ever to come back. His ex-wife wants to see less of him, his therapist wants to see more, and his last link to professional survival just gave him an ultimatum.
Then into his office walks Ashley Bronson. The murder of a former cabinet official has just propelled her from the society column to the front page, and, inexplicably, she wants Frank to defend her. She hands him her case, followed by her confession and some damning physical evidence. Frank thinks his biggest challenge is her guilt. He's got a lot to learn.
Ashley's admission proves just another detail in a defense in which ethics are bent and morals compromised. As the trial date looms closer, the goverment's case seems insurmountable. A desperate Frank hits upon an inspired strategy--and unwittingly becomes a threat to people in high places when he unravels a tangled web of events that began a generation ago.
Their personal lives in tatters and confronted by forces they don't understand, besieged lawyer and client have only each other as the courtroom battle begins.
In this fast-paced legal thriller, former federal prosecutor Stephen Horn brings his knowledge of law and government to stunning life with this absorbing tale of love, betrayal, and murder that is sure to be one of the most entertaining and engrossing stories of the year.
Level 5.5, 18 Points
|Grouped Work ID||147954a0-26f9-6db7-eeb6-3f0a9a3a4517|
|Grouping Title||in her defense|
|Grouping Author||stephen horn|
|Grouping Language||English (eng)|
|Last Grouping Update||2021-04-16 05:04:10AM|
|Last Indexed||2021-09-28 05:17:00AM|
|Novelist Primary ISBN||none|
|author||Horn, Stephen, 1946-|
|available_at_mercer||Mercer Public Library|
|detailed_location_mercer||Mercer Adult Fiction|
|itype_mercer||BOOK - HARDCOVER|
|owning_library_mercer||Mercer Public Library|
|owning_location_mercer||Mercer Public Library|
|subject_facet||Lawyers -- Washington (D.C.) -- Fiction|
Legal fiction (Literature)
Trials (Murder) -- Washington (D.C.) -- Fiction
Washington (D.C.) -- Fiction
|title_display||In her defense|
|title_full||In her defense / Stephen Horn|
|title_short||In her defense|


Casablanca has been my favourite film since forever, so clearly I couldn’t resist Future Cinema‘s latest extravaganza, which sees the Troxy in Limehouse transformed as if by magic into Rick’s Café Américan.
I’d never been to a Future Cinema event before and having heard tales of their most recent Shawshank Redemption themed event, I had to admit to feeling a bit unsure about what I was getting myself into. The fun begins as soon as you book your tickets and receive your instructions and ‘papers’ complete with your new identity for the occasion – I became Gabriela Ostrowska of Italy for the evening. Arriving at the Troxy, the queue was full of people decked out in impressive 1940s finery, clutching their papers for inspection, whilst members of the Moroccan police shouted out orders, and various shady characters lurked in the shadows or struck up conversations with those waiting in line.
Once inside the theatre, however, there were champagne cocktails, swinging music from Benoit Viellefon and his Orchestra, roulette tables and Moroccan food from Moro. The music was fantastic and I enjoyed the chance to practice my (pretty woeful) swing dance steps on the dance floor, but even more fun for me was spotting the various characters from the film as they appeared amongst us: from Major Strasser and his fellow Nazi officers striding about, to Senor Ferrari, complete with fez and fly-swat, chatting with guests; from Sam leading a rousing chorus of ‘Knock on Wood’, to Rick himself coolly playing chess in the corner. There was plenty going on around us: the police hauling off anyone who looked like a ‘suspicious character’, much hushed talk of exit visas, and of course, the arrival of Ilsa and Laszlo to look out for.
My highlight of the evening, however, was singing the Marseillaise in a recreation of my favourite scene from the film – I’ll admit to having been a little disappointed that most of the audience didn’t seem to share quite the same level of enthusiasm for joining in (but perhaps unlike me they hadn’t got the words ready in advance, ahem…).
Finally came the opportunity to watch the film itself, with every ‘Here’s looking at you, kid,’ getting a big cheer from the audience. Even though I must have seen it dozens of times, it was just as brilliant as ever, and I still teared up at the final scenes, as Laszlo tells Rick, ‘Welcome back to the fight. This time I know our side will win.’
At the very end of the evening we were granted our exit visas assuring us safe passage to Lisbon. Sadly it was time to leave Casablanca behind us and head back out into the cold and wet East London night…


Writers at Stanton - Trent Dalton
20-Jun-2018 • 1pm
Boy Swallows Universe
Boy Swallows Universe is a captivating coming-of-age story set in Brisbane’s violent working-class suburban fringe, inspired by the reallife events of journalist Trent Dalton’s complicated youth.
Dalton’s debut novel tells the story of thirteen-year-old Eli Bell who finds comfort in his extraordinary imagination as a means of escaping from his complicated life with a mute brother, a mother in jail, a heroin dealer for a stepfather and a notorious crim for a babysitter.
Surrounded by chaos and with very little moral guidance from the adults around him, Eli sets out on an ambitious suburban odyssey that sees him break into Boggo Road Gaol to rescue his mum, meet the father he doesn’t remember, come face-to-face with the criminals who tore his world apart, and fall in love with the girl of his dreams.
At its core, Boy Swallows Universe is a story of brotherhood and the spark of young love; it’s also the unlikely true story of the formative friendship Dalton shared with Arthur ‘Slim’ Halliday, the greatest escape artist ever confined to Brisbane’s Boggo Road Gaol.
A surprising, funny and tender novel that captures both the light and shade of Australian suburbia and reminds us that, with a little imagination, even lost souls can change their fate.


Born and raised in Puerto Rico, Nilsa had spent her early years creating short skits, singing and dancing for family and friends. Nilsa spent her summers with her grandparents in Jayuya, PR. While she vividly remembers watching soap operas with her grandmothers and falling in love with each character. Ever since her earliest days, she was fascinated by acting, dancing and modeling.
Nilsa left Jayuya in 1980 to attend Catholic University in Ponce, P.R. She studied art, humanities, French and literature. However, she could not escape the allure of modeling and acting and quickly began auditioning for parts in local productions. She began modeling, acting and dancing classes while attending Sacred Heart University in Santurce, PR. Nilsa’s love of acting, dancing and her passion for music was uncontrollable.
Nilsa moved to United States in 1993, where she could study people and listen to their stories. She currently have a degree in Psychology from Central Florida University and is an international flight attendant on a major airline.
Her first acting job was for a beer commercial as a model. It wasn’t long before Nilsa with the support of her family, friends and co-workers start working in different movies, commercials and now is working on supporting and lead roles. She also qualified as a teleprompter actress and have being doing voice over for cartoons and audio books. She is currently taking more classes and workshops while filming different productions around United States because she love acting.


Middle School students performed Matilda Jr. to wrap up our 2022-2023 school year. Students worked on set and prop design, lights, directing and logistics. We are looking forward to next year’s production, slated for May 2024!
As with any great production, volunteers are always needed and welcome. Whether you have a middle schooler or not, SHARE hours can be fulfilled with backstage help, costume and set design and general extra hands during the musical performances.
For further information, please contact the office.


If you’re a sucker for romance and you’re heading toward your own big day, there are plenty of movies out there made just for you. Romantic? Of course! Comic? We’ve got it covered. Fun? Always. Here are our top 10 wedding movies to watch before your big day:
- My Best Friend’s Wedding (1997) starring Julia Roberts, Dermot Mulroney, Cameron Diaz, and Rupert Everett.
- Runaway Bride (1999) starring Julia Roberts, Richard Gere, Joan Cusack, and Hector Elizondo.
- The Princess Bride (1987) starring Cary Elwes, Robin Wright, Mandy Patinkin, and Chris Sarandon.
- My Big Fat Greek Wedding (2002) starring Nia Vardalos, John Corbett, Michael Constantine, and Christina Eleusiniotis.
- Father of the Bride (1991) starring Steve Martin, Diane Keaton, Martin Short, and Kimberly Williams-Paisley.
- Mamma Mia! (2008) starring Meryl Streep, Pierce Brosnan, Amanda Seyfried, and Stellan Skarsgård.
- 27 Dresses (2008) starring Katherine Heigl, James Marsden, Malin Akerman, and Brian Kerwin.
- Meet the Parents (2000) starring Ben Stiller, Robert De Niro, Teri Polo, and Blythe Danner.
- The Wedding Singer (1998) starring Adam Sandler, Drew Barrymore, Christine Taylor, and Allen Covert.
10. Wedding Crashers (2005) starring Owen Wilson, Vince Vaughn, Rachel McAdams, and Christopher Walken.
It’s a necessity to have some relaxation time in between all the wedding planning, especially as the big day gets closer. For a fun night with your sweetheart or the members of the wedding party, consider picking up some popcorn, sodas, snacks, and one of these flicks. They’re sure to give you a few smiles and laughs, and even the occasional eye roll at the cheesy lines.


A 1982 graduate of the Neighborhood Playhouse with Sanford Meisner, Kelley has studied with other legendary NYC acting teachers such as Robert Lewis (Actors Studio), Suzanne Shepherd, and Sande Shurin and many other pros in all aspects of the craft.
Kelley has applied Meisner technique for 35 years in the professional acting world and has helped many students achieve their acting goals from true beginners to seasoned professionals.
From collaborating with local filmmakers to incorporate his students into short and feature length movies to coaching actors to take unprecedented leaps into film, television, stage, or local theatre roles, Kelley encourages his students to expand their scope and take risks. He continues to remain active both as a professional actor on stage and screen and as a teacher internationally and locally.
Kona, Hawaii 2018
In addition to his studies in NYC with legendary teachers Sanford Meisner and Robert Lewis, Kelley originated roles Off-Broadway at the Actors Studio, Pan-Asian Repertory, and AMAS Rep. He was a member of the ephemeral Actors Group, headed by Joanne Woodward, who applied their Meisner training to various scene styles and included such young actors as Allison Janney, Dylan McDermott, and Mark Moses.
In Los Angeles, Kelley was a member of the acclaimed Actors Co-op where his credits included leading roles in the Ovation-nominated musicals GUYS AND DOLLS and SHE LOVES ME, Thornton Wilder’s THE SKIN OF OUR TEETH as George Antrobus opposite Emily Kuroda of Gilmore Girls, and TERRA NOVA, for which he received a Dramalogue Award for his performance as Dr. Wilson.
In other LA theater, he created leading roles in THE WHEEL with Bryan Cranston, DELICACIES by Laura Shamas, ADAM HENRY with Richard Erdman, and the original professional production of ALL THAT HE WAS, published by Samuel French. Kelley performed improv comedy regularly at the Ice House Annex in Pasadena with the troupe Instant Gratification. His LA television work includes SILK STALKINGS, CIVIL WARS, THE YOUNG AND THE RESTLESS, and LOVING.
Kelley was an Artist-in-Residence at Long Beach State performing leading roles in several original productions and working with the graduate students in the MFA program. He was a full-time theatre specialist with the Arts Education Branch of LA Unified Schools, helping to develop and coordinate arts education curriculum in the public schools in theatre, dance, and visual arts.
Since moving his family to Asheville in 2007, Kelley has continued to work in film and television in the Southeast (as George Caldough in THE LAST OF ROBIN HOOD with Kevin Kline, Blair Mauney in Patricia Cornwell’s HORNETS NEST, as Dr.Liddell in DROP DEAD DIVA, WHAT TO EXPECT WHEN YOU’RE EXPECTING as Dennis Quaid’s friend), and professional theatre at Flatrock Playhouse (A FEW GOOD MEN, THE FANTASTICKS), the Magnetic (RUTH by John Crutchfield), S.A.R.T. (Stanley in SMOKE ON THE MOUNTAIN: HOMECOMING), and North Carolina Stage Company (IN THE NEXT ROOM and most recently as Lyman in OTHER DESERT CITIES).
Kelley has taught Meisner Technique since 2009 with YWAM at films schools in Kona, Hawaii; Dunham, Quebec; and Brisbane, Australia.
Kelley has been a proud member of the actors unions SAG/AFTRA and AEA since 1986.
Academic degrees include a B.A. in psychology from Rhodes College, a professional clear teaching credential in English from National University, and a Masters degree in Management and Leadership (MSML) from Montreat College.


The same tale has been told numerous times in past cinematic history, including: How is conflict portrayed in Shakespeare's 'Romeo and Juliet'. In Mantua, Romeo hears from a servant that Juliet has died, and determined to join her in death, he purchases poison and travels back to Verona.
Watch the performances on the play so that you can get a better understanding. Romeo and Benvolio attend the ball with their friend Mercutio, a relative of Prince Escalus. He is joined by his gang members, and they pick up the beat by clicking their fingers. Under this pressure, they chose to end their lives.
There is irony in his statement, for he is carrying hot coals of animosity for the Montagues. The Friar arrives after realizing that his letter never reached Romeo, and he is shocked to see the bodies of Paris and Romeo in the tomb.
Mercutio, a brilliant punster and shaper of imagery, uses his way with words to criticize the stupidity of the feuding families and the folly of blind passion.
He and Benvolio invite themselves, where the tragedy begins. Unfortunately, the lovers know, their parents would never permit them to marry. This also shows that the feud plays a key part in the looming tradgety.
Friar was a huge help to both Romeo and Juliet he cared about them and came up with a plan for them to be together. Friar should not have left Juliet alone in the tomb, he should have waited for Romeo to come and wait for Juliet to wake up.
Lady Montague Also something of a type rather than a developed character. It is all stupid, senseless. Instead, he says, he will draw his sword and use it. In response, the ruler of Verona, Prince Escalus, is forced to intercede and declare that if any member of either family is caught fighting in the future they will be put to death.
Even as he attempts to control the violence and discord in the play, the human passions of love and hate outstrip his authority and power.
Romeo, distraught and desperate, entices the poverty-stricken apothecary with an offer of forty ducats: Now, protocality calls for a war council between us and the Sharks, to set the whole thing up.
Friar Laurence arrives soon after this just as Juliet is waking up.
It is the sleeping potion designed to bring Romeo and Juliet together at last. Shakespeare was particularly adept at creating vivid imagery.
Romeo and Juliet study guide contains a biography of William Shakespeare, literature essays, a complete e-text, quiz questions, major themes, characters, and a full summary and analysis. West Side Story () is an energetic, widely-acclaimed, melodramatic musical - a modern-day, loose re-telling of Shakespeare's Romeo and Juliet tragedy of feuding families, although the setting is the Upper West Side of New York City in the late s with.
Ms. McIntyre English 28 May Tragedy in Romeo and Juliet by William Shakespeare: English Essay William Shakespeare’s Romeo and Juliet is a play that portrays the long-lasting feud between two distinguished families of Verona, Italy.
A perennial staple of high school English classes, Romeo and Juliet was written by Shakespeare at a relatively early juncture in his literary career, most probably in or During much of. Romeo and Juliet is the most recognizable love tragedy written by William Shakespeare. This is a story of affection and fate.
This is a story of affection and fate. The plot of this Romeo and Juliet tragic art play is based on Old Italian tale translated into English in the sixteenth century. Romeo and Juliet (Folger Shakespeare Library) - Kindle edition by William Shakespeare, Dr. Barbara A. Mowat, Paul Werstine.
Download it once and read it on your Kindle device, PC, phones or tablets. Use features like bookmarks, note taking and highlighting while reading Romeo and Juliet (Folger Shakespeare Library).Tragedy in romeo and juliet essay help


First time here?
SO YOU WANNA DO FILM? ; is about teaching you what you won't learn in film school.
We provide online resources, advice, motivation and a community to help you on your journey into the film industry. Whether that's deciding if you'd like to choose this study path, acing this semester, getting your first job in the industry, becoming a freelancer, or even just wanting to pick up some film making basics.
What's in store for you?
How it all Begun
So You Wanna Do Film was founded to bridge the knowledge and experience gap between those studying to be in the film industry, and those in it.


How does Linley’s relationship with her father change over the course of the novel?
At the beginning of A LOVE THAT NEVER TIRES, Linley has a loving relationship with her father. They work together as part of his archaeological team and he trusts her knowledge, instinct, and opinion—which is a big deal since she’s a young woman without a formal education. He’s confident she is just as capable as Archie (who trained with the great Flinders Petrie) and Reginald (who read Languages at Cambridge) because Bedford taught her everything she knows.
That says a lot about Bedford as a Victorian male.
One hundred years ago, raising a child was not an obligation like it is today. As a widower, Bedford could have easily sent Linley to boarding school or even abandoned her to his/his late wife’s family while he continued focusing on his career. The fact that he chose to take her to the most dark and dangerous corners of the British Empire, and also the fact that he taught her a trade, is highly irregular for the 1890s-1910s. It shows he loved Linley and wanted her to be a part of his life, but he also wanted her to have a future.
When Patrick enters the picture, Bedford trusts Linley to make the right decision—the problem is everyone has different opinions of what is “right” for Linley. Once he begins to see Patrick as a threat, his relationship with her changes. He’s scared she will throw everything they worked so hard to achieve away for a man. Bedford wants more for Linley than a husband, household, and family. He spent the last twenty years of his life shaping her to take over the Talbot-Martin team and knows she won’t be able to continue working when she’s married to a marquess.
He loves his daughter and wants what is best for her, but as she grows into a woman, Linley naturally draws away. She is forced to take sides and suddenly Bedford finds himself the enemy. Linley and Patrick are too love-blind to see how impossible their relationship would be. Bedford knows better and truly believes he is protecting her from a bad situation. And **SPOILER** as the stories progress, maybe he is right.


When Oscar-winning visual effects supervisors need a cinematographer, they turn to Timothy E. Angulo. Timʼs passion for ﬁlmmaking at an early age led him to a degree from the Brooks Institute of Photography and a Fellowship at the American Film Institute. Out of AFI, Tim co-founded and worked as in-house Director of Photography for The Chandler Group, a visual effects production company in Los Angeles. Over his career, Tim has shot visual effects for scores of blockbuster features including ARMAGEDDON, THE CORE, THE WATCHMEN, TERMINATOR SALVATION and NIGHT AT MUSEUM: BATTLE OF THE SMITHSONIAN. His work as a 2nd unit DP includes the cult hit, TEAM AMERICA: WORLD POLICE.
Tim ﬁlmed effects sequences for all three installments of the SPIDER-MAN franchise, including Oscar-winning work on SPIDER-MAN 2 for John Dykstra and Scott Stokdyk. Tim has the distinction of having photographed miniatures and effects for SIX ﬁlms over two incarnations of the BATMAN franchise including THE DARK KNIGHT, and THE DARK NIGHT RISES for Christopher Nolan. Timʼs most recent collaborations with Nolanʼs team included Oscar-winning effects photography under Paul Franklin and Ian Hunter on both INCEPTION and INTERSTELLAR.
In addition to his feature effects work, Tim also shoots commercials, promos and special venue projects like the recently completed WORLD OF COLOR for DISNEYʼS CALIFORNIA ADVENTURE featuring NEAL PATRICK HARRIS. Tim has experience with multiple camera systems and formats. He is a member of the Academy of Motion Picture Arts and Sciences, Visual Effects Society and International Cinematographers Guild (Local 600).
Always interested in new challenges, Tim continues to focus and hone his skills on 1st unit productions and high-end commercial work. Most recently, he has embraced the new technology of Virtual Reality with one of the worldʼs ﬁrst cinematic, narrative 360º immersive VR music videos, “New Generation” for the band Galvanized Souls set to debut in 2015. His wide experience and enthusiasm make him a pleasure to work with and a valuable asset on any set. He is available for work worldwide


AllSaints Film is a newly launched in-house film company, committed to expressing the diverse elements of the AllSaints brand and its digital community through exclusive content. Capturing the spirit and attitude of the brand, AllSaints Film explores everything from music, style and street documentaries to cutting-edge moving image installations.
For its seductive and subversive new release, Sun City, AllSaints Film has used the recent record temperatures in London as the backdrop to the film. A provocative tale of displacement and individuality, the short film was entirely devised, shot and edited in just two long hot days in the capital last week. By confronting the clichés and conventions of swimwear advertising, Sun City demonstrates AllSaints’ spirit for creative disruption.
[youtube id=”1lWHY6NLrW0″ width=”610″ height=”360″]
Visit AllSaints here >>>>


CL Hypercinema week6
We brainstormed ideas first.
And each of us pick one and developed it.
She always loves to rip off tissues and other stuffs. So I suddenly wondered, what if she borns from it.
And this cool piece is made by my project partner, Zeal. It was really fun idea how toy walks in and out of the digital screen.
CL Hypercinema week5
Idea: Gender inequality in the film industry
Like many other industries, film industry has been male dominated. Women only represented 16% of directors working on the 100 highest-grossing films in 2020. People like directors, screenwriters, investors who hold power are still mostly men. And this chart from BBC shows the proportion of words spoken by characters with more than 100 words, show how much it has been male-dominated.
So we wondered, how it would look and feel if the film industry is female dominated or at least eqaul.
Concept: What if the film industry is dominated by women?
We chose some famous films with most stereotyped, cliche male main character in it. And we recreated its poster to look like woman is the main character.
First, we tried face swap in RunwayML, but it didn’t work properly. Here are some failures:
So we decided to use Faceapp to swap the gender. Instead, we used RunwayML to mat the image and enhance the image quality if it is low res.
1. Remove the background (RunwayML)
2. Change the gender (Faceapp) 3. Make it high-res (RunwayML)
4. Edit body figures / add noise / touch ups (Photoshop)


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Is Making a Murderer a real documentary?
The key part to recognizing or analyzing improper situations is noticing out of character interactions.
Making a Murderer has dramatic elements. When the defense attorney was questioning the FBI agent on the stand, the defense attorney’s approach was not unlike badgering. That sort of a approach only happens on television. This is strange since it isn’t a reenactment. So who was the audience at the time? Steven Avery?


Originally released in 1988 and now getting a 25th anniversary Blu-ray release, cult favourite Willow saw producer George Lucas attempting to recreate the fantasy-adventure spirit of his Star War films in a sword-and-sorcery setting.
For the story, he again ransacked the world’s store of legends and myths, and borrowed heavily from JRR Tolkein, too. The result was a tale set in a mythic kingdom of warriors and witches where magic, not the Force, is the bloodstream of the universe.
And the hero who must learn to channel this spirit is not plucky farmboy Luke Skywalker but plucky farmer Willow Ufgood (played by Warwick Davies) as he undertakes a perilous journey to save a baby princess from the clutches of an evil Queen (Jean Marsh).
Once more, the hero is accompanied on his mission by a bickering comic duo, not C3PO and R2D2 but a pair of tiny Brownies played by Kevin Pollak and Rick Overton. And again, there is a pair of sparring lovers, with Val Kilmer’s outcast warrior Madmartigan and Joanne Whalley’s Sorsha, the Queen’s daughter, filling the Han Solo and Princess Leia roles.
Despite following the Star Wars template so closely, Willow flopped at the box office – perhaps because Lucas and director Ron Howard played up the story’s sentimentality and whimsy at the expense of excitement and action.
But Kilmer and Whalley spark well together (so well, they later married) and Davies makes an engaging hero. And, even if the special effects (by Lucas’s Industrial Light & Magic outfit) pale in comparison with Peter Jackson’s The Lord of the Rings, the film’s two-headed dragon was a cutting-edge creation in its day.
Released on Blu-ray by Twentieth Century Fox Home Entertainment on Monday 11th March.
Director Ron Howard and Warwick Davies will be taking part in a live Twitter chat on Tuesday 12 March at 10PM UK time. Fans can join in the conversation by tweeting questions using the hashtag #WillowChat.


New initiative ‘Swanton Does The Oscars’ got off to a flying start in May when The Cedars in Sunderland made their version of the classic movie ‘The Italian Job’.
Swanton services have been challenged to recreate film favourites using their creativity and homemade props.
The Cedars Service Manager Jan Collins said that Michael Caine’s much-loved heist movie was the perfect choice for their first cinematic endeavour as it’s her favourite film.
So, she and her team got to work making props, finding clips and music to cut together to create a fantastic result.
Jan said: “We had three days of hilarity making our version of ‘The Italian Job’, everybody got involved.
“There were so many different ideas about how we could do this. So, we made blue, red and orange minis and a bus for that infamous final scene. Then our director called ‘Action!’”
Team member John Mason Senior led the project and helped the people supported at The Cedars to get involved. They printed off a Michael Caine mask for their lead actor and brought the film’s most dramatic moments to life using cleverly cut in clips.
Jan said: “We have a couple of explosions and some shots from inside the bus at the very end of the movie.
“The song ‘The Self-Preservation Society’ from ‘The Italian Job’ is our soundtrack. We’re pleased with our movie, but we don’t know yet if it’ll win us a Swanton Oscar…”


European Film Award 2013: Highlights
On Saturday 7th December 2013, Berlin proudly hosted the 26th European Film Awards at the Berliner Festspiele. The European equivalent to America’s Oscars, the awards were being held for the twelfth time in the German capital and attracted a host of international stars from the acting world.
Led by German actress and comedian Anke Engelke in an amazing gold dress, the ceremony took many unexpected twists and turns – the surprise ‘winner’ of the evening undoubtedly Italian film ‘The Great Beauty’ by Paolo Sorrentino, who was sadly unable to attend on the evening. Instead lead actor Toni Servillo represented the director, collecting not only the much coveted ‘Best Film’ award but also the awards for best actor (presented by German actress Dianne Kruger), director and editor.
Despite Italy taking main stage Germany was also well represented by Jan Ole Gerster‘s debut film ‘Oh Boy’. Set in black and white on the streets of Berlin and following the life of Niko Fischer, university drop out, the film was critically acclaimed across Germany and earned Tom Schilling a best actor nomination for his lead role as well as securing the European Discovery award.
Further highlights included director Joshua Oppenheimer’s acceptance speech for his film ‘The Act of Killing’ – a film documenting the brutal mass genocide which happened in Indonesia in the 1960s – winning best European Documentary. He said earnestly, “Europe has known much more than its fair share of genocide this last century…for me this is particularly relevant here in Berlin where my grandmother is from, and who left just before it was too late.” He went on to dedicate his award to the anonymous Indonesian crew who made the film who risked 8 years of their lives to create it.
Other memorable moments included the on stage accolade Spanish film director Pedro Almodóvar received from his friends and actors when receiving the award for European Achievement in World Cinema, and also the following tribute to legendary French actress Catherine Deneuve, who graciously received her Lifetime Achievement award.
Following the ceremony the stars and guests were whisked away to Hotel Concorde Berlin for the after show party, where the celebrations went on well into the next morning with a non-stop supply of the most delicious drinks and an infectiously festive atmosphere. The late night ravers were accompanied by DJ and singer Hans Nieswandt and Eric D. Clark- the perfect way to end the evening.


Adam Hootnick is an award-winning filmmaker based in Austin, TX. His most recent documentary feature, Destination: Team USA, follows five Olympic hopefuls as they battle for spots on the 2016 US Olympic Team. Adam previously directed Son of the Congo, which had its world premiere at the 2015 South by Southwest film festival. The documentary follows Serge Ibaka’s improbable journey from the violence of Congo to NBA stardom and back again, as Ibaka returns home hoping his basketball success can help rebuild a country and inspire a new generation to dream of a better life.
Adam’s other recent projects include the short documentary Judging Jewell for ESPN’s Emmy winning 30-for-30 shorts series, rated among the top films in the history of the series by Rolling Stone Magazine. Adam also collaborated with ESPN to direct the short films Pro Day and The Outstanding Mind-Bending Synergy Machine. Adam’s first music video was the Webby Awards-honoree “Shoeshine” with Brooklyn rock band Black Taxi. His first feature, the critically acclaimed UNSETTLED, tells the story of several young Israelis from across the religious and political spectrum during the 2005 Israeli withdrawal from Gaza. UNSETTLED won numerous awards, including the Grand Jury Prize for Best Documentary Feature at the Slamdance Film Festival.
A graduate of Harvard College and Harvard Law School, Adam began his career in news production at NBC and MSNBC before becoming a director/producer for MTV News & Documentaries, where Adam covered politics and international affairs.
Adam is currently directing What Carter Lost, an ESPN 30 for 30 feature documentary slated for release in 2017.


Full Term Courses
Consider it the full improv experience. Committing to 8 weeks at a time, forging friendships, and every step of the way, discovering more about yourself within a fun-loving community. All levels culminate in a students showcase.
Level 1: The Joy of Improv
This course serves as an introduction to improvisational theater. During this eight-week period, students are introduced to the basic principles of improv using short form improv games and the philosophies and methods unique to Third World Improv.
Level 2: Listening and Collaboration
This course explores the more theatrical aspect of improv. Physical and verbal storytelling are emphasized during this eight-week course, using both theater exercises and short form improv games.
Level 3: Truth and Character
This course emphasizes the importance of truth in improv, drawing scenarios and characters from personal experience. Scene work is more prevalent during this eight-week period.
Level 4: Group Dynamics
This course emphasizes the importance of group mind in the art of improvisational theater. Students are taught to develop a unified outlook in creating scenes, as long form improv is slowly introduced. The students are then given the opportunity to be an opening act to one show of SPIT, and are required to produce and stage their own show at the end of the eight-week period.
Level 5: Long Form
This course introduces the students to well-known long form Chicago style formats. The students learn the breakdown of the structures, and perform a long form at the end of their eight-week course.
Level 6: Improv Forever
We at TWI believe that learning never stops and the thirst for knowledge should always be nurtured. Level 6 is a series of short term classes offered only to students who have completed levels 1-5. Topics range from a simple refresher class to more advanced and targeted classes on Scene work, theater and acting, music, dance, sketch and comedy writing and the various possible applications of the improv principles.


The Fast and Furious movie franchise has been beloved through seven iterations not because of what actors star in the movies, but because of what cars star in the movies. It might be the only wildly successful series of movies in the history of mainstream cinema to ever feature non-speaking, inanimate objects as the true stars of the show, and here at Executive Dodge Jeep® we never stop getting excited about new installments of these films since they are almost sure to feature some supped-up version of vehicles that we sell here at our facility.
For Fast 8, or whatever the eighth installment of the Fast and Furious franchise ends up being called, it already has become apparent that at least two FCA US LLC models will appear in the film, including an old Dodge Charger and a wildly-modified version of a RAM truck.
We know this because the production team for the film recently released a number of images featuring vehicles set to appear in the new movie, specifically in an “ice battle” scene that requires some of the vehicles to be pretty heavily modified. The character of Dominic Toretto, played by Vin Diesel, will drive an old Dodge Charger altered to offer a wider wheelbase, fender flares, and a number of bullet holes that suggest it’s in for a bit of trouble in its scene.
The other vehicle is unlike any RAM trucks currently in production, though it does use a RAM pickup cab to go along with a back end that looks like a battle tank equipped with all sorts of heavy machinery. That one will be driven by Dwayne “The Rock” Johnson’s Hobbs character.
Here in Wallingford, CT, we don’t expect to ever see vehicles quite like these out on the open road, but in some of the exciting car movies ever made we think they’ll look right at home.


You no can drive!
Saw "Crash" today. Enjoyed it. Do I think it's accurate? Wellllll....it might be a teeny bit exaggerated. Crash, for those who don't know, follows the lives of ten or so citizens in Los Angeles who, when involved in any kind of car accident, immediately start throwing racial epithets at whomever the other driver is. Sorry, that's unfair. Sometimes there isn't a car involved, and the racial epithets are merely screamed outloud.
If I lived in the Los Angeles depicted in Crash, and I were rear-ended by an Asian woman, I would not calmly pull over to inspect the damage and ask her for her insurance information. No. Instead, I would leap out of my vehicle screaming as loud as I could. As soon as I'd notice she were Asian (all Asians are 'Chinamen' in this film) I'd openly mock her accent, screaming something like, "You no see blake light?! I hit BLAKE, why you no stop?!" She, in turn, would call me a nigger, but she'd say it with an Asian accent for comic effect.
The friend I saw this film with summed it up great. He said the film felt like it was written by a television writer that was frustrated with writing one-dimensional characters for TV. So in this film, every character is TWO-dimensional.
I still enjoyed it, despite the fact that everyone was over-the-top racist, as if it were impossible to be any other way. Like, you might think one of the characters is cool and open-minded and then, suddenly, they snap and do something kooky like kill someone. Or, you might be watching the movie thinking, 'Wow, this guy is TOTALLY racist and an a-hole!' and then, suddenly, he does something kooky like save a black person's life! WHAT! And your mind stutters...buh buh but...he just had a monologue were he went off on "those people"...and but, huh? And you half expect everyone to hug at the end of the movie and apologize. "Hey look, Chinaman. I want to apologize for running you over with my car. That wasn't cool of me."
Actually, there is a teary hug at the end. I won't say anymore.
Has anyone seen it? If so, what are your thoughts?


Fatale is a darkly sexy noire thriller with a post 9/11 political edge. It is the story of a human rights advocate and college instructor, obsessed with the angel and demon duality of human nature, who unwittingly falls for a hit woman who loves her work. Written and directed by Marc Leif.
Rockin' the Wall Studios is proud to announce Fatale has been slated for production by a soon-to-be-announced production company. Keep watching this spot for more exciting details.


Join us on Wed May 10 2023 at 5:30 PM East Africa Time for an unforgettable experience. “Street Voices” is a play that explores the lives of those who live on the streets. Expect a powerful and emotional performance that will leave you with a deeper understanding of the struggles faced by those who are homeless.
The event will take place at Elephante Commons on Jomo Kenyatta Road in Gulu, Northern Region. This is a great opportunity to come together as a community and support local artists. Don’t miss out on this incredible event!
For more detail. Click here: https://www.eventbrite.com/e/street-voices-a-play-about-life-on-the-streets-tickets-630785575637


Understanding the Intricacies of Film Distribution License Agreements
As a filmmaker or production company, securing a film distribution license agreement is a pivotal step in getting your movie out into the world. The process of negotiating and finalizing this agreement can be complex and daunting, but it is essential for protecting your rights and ensuring that your film reaches its intended audience.
What is a Film Distribution License Agreement?
A film distribution license agreement is a legal contract between a filmmaker or production company and a distributor that grants the distributor the right to exhibit and distribute the film in specified territories and formats. This agreement outlines the terms and conditions under which the film will be distributed, including the rights granted, the duration of the agreement, and the compensation to be paid to the filmmaker.
Key Elements of a Film Distribution License Agreement
When negotiating a film distribution license agreement, it is important to pay close attention to the following key elements:
|The agreement should specify the rights being granted to the distributor, such as theatrical, television, home video, and digital rights.
|The territories in which the distributor has the right to distribute the film should be clearly defined.
|The agreement should stipulate the duration of the distribution rights, including any renewal options.
|The agreement should outline the compensation to be paid to the filmmaker, which may include an upfront fee, royalties, and/or profit sharing.
Case Study: The Success of a Well-Negotiated Distribution Agreement
One notable example of a successful film distribution license agreement is the partnership between A24 and the Safdie brothers for their film “Uncut Gems.” The filmmakers carefully negotiated the terms of the agreement, which allowed A24 to effectively distribute the film in theaters and on digital platforms, leading to widespread critical acclaim and commercial success.
A film distribution license agreement is a crucial component of bringing your film to audiences around the world. By understanding the key elements of this agreement and negotiating favorable terms, filmmakers can ensure that their work is properly distributed and that they are fairly compensated for their creative efforts.
Film Distribution License Agreement
This Film Distribution License Agreement (the “Agreement”) is entered into on this [Date], by and between [Licensor Name], with its principal place of business at [Address], and [Licensee Name], with its principal place of business at [Address].
Whereas, the Licensor is the owner of certain rights in and to the film entitled [Film Title] (the “Film”), and the Licensee desires to obtain a license to distribute the Film in certain territories as set forth herein;
Now, Therefore, in consideration of the mutual covenants and promises contained herein, the parties agree as follows:
|1. License Grant
|The Licensor hereby grants to the Licensee the exclusive right to distribute the Film in the territory of [Territory] for a period of [Duration] commencing on the effective date of this Agreement.
|2. License Fee
|In consideration for the rights granted hereunder, the Licensee shall pay the Licensor a license fee of [Amount] in accordance with the payment schedule set forth in Exhibit A.
|3. Representations Warranties
|The Licensor represents and warrants that it has the full right, power, and authority to enter into this Agreement and to grant the rights herein granted, and that the Film does not infringe upon the intellectual property rights of any third party.
|The Licensee shall indemnify and hold harmless the Licensor from and against any and all claims, losses, damages, liabilities, and expenses arising out of the Licensee`s distribution of the Film.
|5. Governing Law
|This Agreement shall be governed by and construed in accordance with the laws of the state of [State], without giving effect to any choice of law or conflict of law provisions.
|This Agreement constitutes the entire agreement between the parties with respect to the subject matter hereof and supersedes all prior and contemporaneous agreements and understandings, whether written or oral.
IN WITNESS WHEREOF, the parties have executed this Agreement as of the date first above written.
Frequently Asked Legal Questions about Film Distribution License Agreements
|1. What is a Film Distribution License Agreement?
|A film distribution license agreement is a legal contract between the owner of a film (licensor) and a distributor (licensee). It grants the distributor the right to distribute the film in specific territories, for a certain period of time, and for an agreed-upon fee.
|2. What are the key components of a film distribution license agreement?
|The components a Film Distribution License Agreement the scope the distribution rights, terms, requirements, and clauses.
|3. How can a filmmaker renegotiate a distribution license agreement?
|Filmmakers can protect their interests in a distribution license agreement by clearly outlining the terms of the distribution rights, retaining creative control, and negotiating fair compensation for their work.
|4. What are the common pitfalls to avoid in a film distribution license agreement?
|Common in a Film Distribution License Agreement unclear restrictions, payment terms, delivery and of provisions.
|5. Can a filmmaker terminate a distribution license agreement?
|Yes, a filmmaker a distribution license agreement if distributor to their or the of the However, termination should defined the contract.
|6. What if distributor the of the license agreement?
|If distributor the of the license agreement, the may the to legal including of the agreement, financial or relief.
|7. How a distribution license agreement?
|A filmmaker renegotiate a distribution license agreement demonstrating in conditions, performance, distributor`s to contractual important approach with strategy legal counsel.
|8. What the of a Film Distribution License Agreement?
|Licensing a film for international distribution involves legal business language cultural and copyright crucial with legal industry to these
|9. How can a filmmaker ensure transparency in royalty payments from the distributor?
|Filmmakers ensure transparency royalty from distributor including accounting reporting in license agreement, as the to audit distributor`s records.
|10. What are the emerging trends in film distribution license agreements?
|Emerging in Film Distribution License Agreements digital streaming multi-platform direct-to-consumer Filmmakers stay about developments adapt agreements


Case of Hawkins County Man Who Fatally Shot Wife To Be Featured on A&E showcase of a Hawkins County man who shot and killed his wife in front of their toddler son will be featured on a true-crime docu-series to air on A&E Network later this month.
The first episode of the show — titled “Accused: Guilty or Innocent?” — explores whether Bryan Steven Lawson acted in self-defense when he shot his wife, Beth “Chandra” Lawson, three times inside their apartment in Church Hill on Jan. 27, 2017.Case of Hawkins County Man Who Fatally Shot Wife To Be Featured on A&E show
Initially charged with first-degree murder, Bryan Lawson faced life in prison without parole. But the case wound on for two years, and he ultimately took a plea deal.
The show’s producers swept in early and often, interviewing Lawson, filming court proceedings and speaking with father-son defense attorney duo Larry and Daniel Boyd.
The episode details how Lawson and his lawyers prepared their defense and pushed authorities to release additional security camera footage. The shooting, which was captured on video and is shown during the episode, came after Beth Lawson repeatedly punched her husband and threatened him with a baseball bat as he sat in a recliner.
In the episode, Bryan Lawson speaks about how his wife began abusing him after she broke her neck and became addicted to pain pills. She was diagnosed with bipolar disorder, according to the show, and drug use made her become violent.


RESUME | PHOTOS | DEMO REEL | CONTACT | LINKS | BLOG
Jennifer Polansky is a bi-coastal actress and generally lives where the work takes her. With a B.F.A. in acting and 4 1/2 years of practical experience on stage and set, she is a versatile actress, generous in an ensemble and has excellent set etiquette.
So far living in New York has opened up a wealth of new possibilities and experiences. This is the place to build a solid foundation for the future.
So whatever you do don't be bored. This is absolutely the most exciting time we could have possibly hoped to be alive. And things are just starting. -Unknown


Michael Weatherly is an American actor, a producer, and a director who is well-known for his role of Anthony DiNozzo in the popular television show, NCIS. Michael Weatherly was born on July 8, 1968, in New York City. He was born to parents- father, Michael Manning Weatherly, Sr., and mother, Patricia O'Hara. He was raised in Fairfield, Connecticut, and received school level education from the Fairfield Country Day School and later graduated from Brooks School in North Andover, Massachusetts. Michael then enrolled at Boston University, Menlo College, and American University, but did not complete his education as he was more focused towards his acting career. Michael is of Irish descent and holds the American nationality.
Career, Net Worth, and Salary: How much is Michael Weatherly net worth?
Michael Weatherly age was around 23 years when he landed his first acting job on the show The Cosby Show in a minor role. He then got roles in shows, Loving, and The City. Michael then moved to Los Angeles to pursue a career in acting more seriously and landed a role in the show, Significant Others. He has focused his acting career more in television shows than in full feature movies. He has only appeared in a few movies including Meet Wally Sparks, Gun Shy, Her Minor Thing, and so on. From all the shows that he has acted on, Michael is mostly recognized for his performance in the shows, Dark Angel, and NCIS. He portrayed the main character of Anthony DiNozzo in NCIS from the beginning of the show in 2003 to its end in 2016. The list of all the movies and shows he has appeared on can be found on his Wiki and IMDb page.
Michael Weatherly net worth is known to be huge from his long-running and successful acting career. He earns a good sum of money for his appearances in several movies and television shows. As of recent, various sources have estimated Michael Weatherly net worth to be around $15 million. His net worth is likely to increase in the future because of his successful future endeavors.
Personal Life: Who is Michael Weatherly married to?
Speaking of Michael Weatherly affairs, he has been involved in a few relationships to the date. Michael Weatherly married actress Amelia Heinle in February 1995 and got divorced after two years of marriage in 1997. The failed marriage resulted in Michael Weatherly affair with actress Jessica Alba. They got engaged in 2001 but the relationship ended in 2003. After that, he married his second wife on September 30, 2009. Michael Weatherly wife at the current is Dr. Bojana Janković and she is an internist. From his two marriages, Michael Weatherly children are three. His first son was born from his first marriage and he has two children, a daughter, and a son, from his second marriage. Michael Weatherly wife and his family currently live in Los Angeles.
Height and Weight: What is the height of Michael Weatherly?
Michael Weatherly age at the current is 49 years. His hair is dark-brown colored and his eyes have the same color too. Similarly, Michael Weatherly height is measured at 6 feet 3 inches and his body weight is measured at 86 kg.
Wiki and Facts
Michael Weatherly has received various awards nominations and wins throughout his career. He won the DOC LA Award for Best Documentary Portrait for the documentary Jamaica Man in 2017. He has also been nominated two times for Saturn Award in the category of Best Supporting Actor in a Television Series for the show Dark Angel. Michael Weatherly bio on Wikipedia and IMDb has all the list of his awards nominations and wins. His career has also helped him gain thousands of followers on the internet. He regularly posts new updates on his social media accounts and Michael Weatherly children can also be seen in his social media posts. He has more than 171 thousand followers on Instagram and his Twitter account has more than 480 thousand followers. Michael Weatherly bio is also available on various other social media sites like Wiki, IMDb, Instagram and much more.


Posted: Sun., Jun. 18, 2006, 10:00pm PT
Susan and God
A Mint Theater Company presentation of a play in three acts by Rachel Crothers. Directed by Jonathan Bank.
It takes a keen eye (and smart dramaturgs) to pick through the ragbag of forgotten plays for those odd treasures that genuinely deserve a fresh airing. The rag-pickers at the Mint know their stuff, and this revival of Rachel Crothers' 1937 social comedy "Susan and God" is a bright note on which to conclude a strong season devoted to neglected plays by American women. But enough back-patting. There's a lot more to this play than meets the eye in this handsomely mounted but superficial production. As helmed by Mint artistic director Jonathan Bank, show pushes for laughs without acknowledging the subtlety of Crothers' humorous sendup of the hypocrisy of her social class.
It's easy enough to see how this sly satire might be taken as a frothy comedy of manners. Set in a world of elegance and ease as yet untroubled by the wars abroad, the play takes aim at Susan Trexel (Leslie Hendrix), a pampered socialite who returns home to Connecticut with her head full of fashionable nonsense she picked up on a trip to Europe.
Susan, it seems, has been exposed to the Oxford Group, a trendy spiritual movement of the day whose leaders preach a feel-good philosophy of "world-changing through self-changing," accomplished by throwing "house parties" that play out as confessional orgies. Fancying herself an American evangelist for the movement, this charming airhead proceeds to preach its undigested doctrines of honesty, purity and unselfish love to her own smart social set.
The joke, of course, is that Susan is the most selfish person in the world. Without a thought for her miserable husband, Barrie (Timothy Deenihan), and neglected daughter, Blossom (Jennifer Blood), she swoops down on a friend's country home, adorned in the latest Paris frock and silly hat, and promptly mows down the assembled crowd with her religious fervor.
Given the obvious constraints of operating on a shoestring budget, the creatives do a nice job of suggesting the elegant social world in which Susan travels. Satin bed linen, pretty wicker furniture and someone playing Cole Porter on the baby grand are all it takes to set the stage for a weekend house party in the Connecticut countryside. The diaphanous summer dresses supplied by Clint Ramos are wonderfully flattering to the female figure; it's a shame the same sense of period style wasn't extended to the unstructured hairstyles.
As Crothers describes her, Susan is "a woman with so much charm that it covers most of her faults, most of the time, for most people." Exerting that sparkling charisma, she badgers Irene (Opal Alladin) and Michael (Al Sapienza) into renouncing their adulterous relationship and bullies Clyde (Alex Cranmer) into admitting his love for Leonora (Jordan Simmons), who is inconveniently married to Stubbie (Anthony Newfield). In her zeal for truth-telling, she even forces her dear friend Charlotte (Katie Firth) to acknowledge her hopeless passion for Barrie .
What Susan doesn't count on, though, is that her own alcoholic husband will prove to be her most ardent convert, promising to renounce the bottle and shape up -- if Susan will stop gadding about and assume her duties as a wife and mother.
Crothers is a master of the well-made play (her scene structure is flawless, her curtain lines priceless), and there is a certain pleasure to be had just following her skillful manipulation of the formal craft elements. Nevertheless, this play turns entirely upon the character of Susan and the actress who plays her.
Because Susan is such a mercurial character, she can be many and all things -- silly, selfish, bossy, annoying and, in the end, earnest and honest. But she absolutely must be enchanting. So the unkindest thing that can be said about Hendrix is that she is not enchanting.
The tall, willowy thesp wears Susan's chic clothes well, but she is no more comfortable in her character than she is in the god-awful haystack wig someone stuck on her head. Pursing her lips, she thrusts herself into the role with grand gestures and declamatory line readings, an attack that aims for Kate Hepburn airy but comes off Joan Crawford scary: When a character says, "You terrify me," one is inclined to take it literally. (Crawford starred in the 1940 film version directed by George Cukor.)
Everyone else in the cast seems to be taking their cue from a side of Susan that never manifests itself in this production -- not the flighty creature "prattling brilliantly, entertainingly and ceaselessly about God," as a program note says, but the woman who sincerely believes that spiritual cleansing may, indeed, heal a "poor, sick, unhappy world."
Although none of Susan's friends convince us that they are both amused and touched by her clumsy campaign to reform them, Firth's Charlotte manages to laugh and look thoughtful at the same time. Everyone else seems to choose one attitude to the exclusion of the other, with Deenihan's Barrie tipping over the edge into tragic misery.Only Susan's daughter remains oblivious to the phony display of emotion. In the refreshing innocence of Blood's performance, she, at least, achieves that radiant state of grace that Susan can only pray for.
Sets, Nathan Heverin; costumes, Clint Ramos; lighting, Josh Bradford; sound, Jane Shaw; props, Judi Guralnick; dramaturg, Heather J. Violanti; production stage manager, Jennifer Grutza. Opened June 18, 2006. Reviewed June 15. Running time: 2 HOURS, 20 MIN .
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This is the Official web site of Al Sapienza.


I totally get where you’re coming from! It’s frustrating when a film turns out to be bland and not worth the hype. From what you’ve described, it seems like this movie didn’t live up to your expectations.
I understand that you were looking forward to seeing Wyatt Russell in action. I mean, who doesn’t love Kurt Russell’s son? But it sounds like the movie focused more on the subplot of an ex-baseball player and his family dynamics rather than delivering on the horror elements.
It’s a shame that the lack of scares and excitement overshadowed what could have been a nice family drama. Sometimes, when a movie tries to blend different genres, it doesn’t always hit the mark. And I can see why you would have preferred to watch it on a streaming platform rather than spending money on it in theaters.
Thanks for sharing your honest thoughts on the film! If you’re looking for recommendations or want to chat about other movies, let me know. I’m here to chat!
I totally get what you mean! It’s disappointing when a horror movie turns out to be more of a family drama than a spine-chilling experience. From what you’ve described, it seems like the build-ups to the scary scenes weren’t as effective as they could have been. That can really take away from the overall impact of the film.
It’s a shame that the concept of the movie didn’t fully explore the eldritch origins of the swimming pool. I agree that delving deeper into its history and incorporating elements of mythology and folklore could have added a whole new layer of intrigue and excitement. And those monsters…well, they definitely missed the mark. It would have been great to see more imaginative and terrifying entities that truly evoke a sense of fear.
I understand your frustration when horror movies fail to deliver on the scares. After all, that’s the essence of the genre, right? It’s disappointing when the movie falls short in that aspect. It sounds like this film had so much untapped potential, and it’s a shame that it didn’t live up to your expectations.
Thanks for sharing your thoughts on the movie! If you want to talk about any other movies or anything else, feel free to let me know!


Alex is a Los Angeles based actor/performer/podcaster.
Alex began performing while pursuing a degree in chemical engineering at Oregon State University. His Intro to Theatre professor told his class to audition for the play she was directing. He went, auditioned, and... didn't get it. But the kid was hooked. Eventually, he did get cast and would act in an OSU play (almost) every term thereafter.
Alex went after every performing opportunity he could. With the help of a student director, he became a radio DJ for KBVR FM, OSU's radio station. There he created Small Time with Alex Small and Friends, a hour-long (if he was lucky) program he hosted featuring radio plays written and acted with his theater pals. Even when he was back home in Denver, CO, he would perform at stand-up open mics and take improv and voice acting classes.
After graduating, Alex moved to Chicago, IL to take his performing pursuits further. He started doing community theater productions and taking classes at Second City. Failing to be admitted into SC's Conservatory Program for the second time left him a little lost. That is when he converted his radio show into The Small Time Podcast, written and acted entirely by himself. He also began working with the physical theater troupe Theater Unspeakable. With them, he performed for young audiences across the country, most notably at the Kennedy Center in D.C. and the Lincoln Center in New York.
Upon deciding voice acting would be his focus, Alex moved to Los Angeles, CA where he currently resides. He hopes to make his living doing what he loves and bring joy to a large audience.
The Small Time Podcast is a scripted comedy podcast written and produced by Alex where in each episode he plays over 20+ characters.
Singing Range: A2-G2
Theater Unspeakable (Chicago, IL)
The American Revolution / John Adams, Various Characters
Moon Shot / Neil Armstrong, Various Characters
Oregon State University Theatre (Corvallis, OR)
The Upward-Beating Heart / Desiderio
Boom / Jules
The Diary of Anne Frank / Mr. Van Daan
Mother Courage and Her Children / Swiss Cheese
Julius Caesar / Octavius, Lepidus
The Lifeboat is Sinking / Sherwin
Dolly West's Kitchen / Alec
James and the Giant Peach / Earthworm
Wheaton Drama (Wheaton, IL)
Sense and Sensibility / Edward Ferrars
Independent Players (Elgin, IL)
Our Town / George Gibbs
The Small Time Podcast / Host, Various Voices
Small Time Radio Show / Host, Various Voices / KBVR FM (Oregon State)
The Challenger / Host / KBVR TV (Oregon State)
Annimersion Voice Acting Workshop / Catherine Cavadini / Los Angeles, CA
Character Voices / Denver Center for the Performing Arts / Denver, CO
Commercial Voice Over / Denver Center for the Performing Arts / Denver, CO
Diagnostics (Improv) / The Second City / Chicago, IL
Improv for Actors 1, 2 / The Second City / Chicago, IL
Improv Level 1-3 / Bovine Metropolis / Denver, CO
Fundamentals of Acting 1, 2 / Oregon State University / Corvallis, OR
Advanced Acting: Styles / Oregon State University / Corvallis, OR
Saxophone, clarinet, flute, piano, stand-up, good ear for dialects, female voices, math, physics, chemistry
Alex prefers to be contacted via email but can also be reached through social media (buttons below).
Email: [email protected]


Directed by: BR Chopra
Music: OP Nayyar
Lyrics: Sahir Ludhianvi
Starring: Dilip Kumar, Vyjayanthimala, Ajit, Chand Usmani,
Johnny Walker, Jeevan, Nasir Hussain, Manmohan Krishna
It was when I was looking for back-to-back songs for my Twin Songs post that I took out my DVD of Naya Daur again. Watching the scene that comes before the song piqued my interest in watching the film once again. It's been a long time since I watched it. What impresses me is how well the film has aged. Man vs. the machine is as relevant today as it was more than half a century ago. Perhaps not so much a tanga vs. a bus, but when businesses are downsizing, and automation is shutting down factories and putting people out of jobs, the basic plot point still remains a relevant point of discussion. Even so, I watched the film and, like many of my ideas for posts, filed it away as a 'Hmm, I should probably review this some time.'
But I never did put the DVD away, and so, when we had overnight guests shortly after that post was published, it was still lying around on the couch in the living room. One of them asked if I was going to review it, and I said, 'Oh, yes', still not sure just when I would. But it did give me the impetus to decide that it had to be sooner than later. As you can see, it took another couple of months to actually get around to doing so. By which time, I'd completely forgotten the the sequence of plot, and in any case, hadn't taken screenshots, so I had to watch the film again. Long story short, I needed to find time to actually watch the film, and take screenshots, and write notes - and I cannot, just cannot do the last two when I'm watching the film because, hey, when I'm watching, I want to watch! Fun!