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cases decided by judges, not juries. This is because of widespread public belief that eve- ryone from Hollywood lies, cheats, and steals to achieve their goals and then tells whatever lies are necessary to cover up their crimes. The fact that the case, despite the filmmakers’ lawyer’s best efforts, was tried in Missouri and before a jury, real- ized the lawyer’s worst fears. It received front-page cover- age during a long trial—undoubtedly because the famous writer Michael Crichton was one of the writers and pro- ducers and Steven Spielberg was executive producer

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ways too numerous to reckon. If this were a film, they would all get executive producer credits. As it is, all I can offer here is my deepest gratitude and affection. I’d also like to add a special word of thanks to Ms. Akua Mansah, who has spent the better part of eight years as our children’s caregiver during the days (and sometimes nights), while my wife and I pursued our respective careers. Rais- ing three small children while trying to write, teach, and manage all the other obligations of an academic in today’s university is a challenge even with help, but

hijackers had actu- ally been on the planes. And, fi nally, there was $167,000,000,000 in gold in vaults below the World Trade Center, only a fraction of which had been recovered—presumably offering a motive.11 Two years after the fi rst version, when Loose Change Final Cut appeared, there were signifi cant additions to the credits. Alex Jones, perhaps the country’s premier purveyor of conspiracy theories, was now listed as executive producer, and David Ray Griffi n as script con- sultant. Motifs of government cover-up and the implication that the government was

-based games have been designed and produced by the largest publisher of video games in the world, Electronic Arts. The first two, “The Lord of the Rings: The Two Towers” and “The Lord of the Rings: The Return of the King,” hit store shelves about a month before the respective parts of the film appeared in theaters. (The games’ names appear in quota- tion marks to diªerentiate them from the italicized film titles.) According to Mark Skaggs, the executive producer of the later game “The Battle for Middle-earth,” “We’ll continue to make games as long as people want to buy them

Cinema, ed. Ying Zhu and Stanley Rosen (Hong Kong: Hong Kong University Press, 2010). 7. Ibid.; Marc Gareton (executive vice president, Warner Bros. Entertain- ment), interview with Aynne Kokas, March 1, 2012, Los Angeles, CA. 8. Sophie Hardach and Ian Ransom, “Shanghai to Be Shot in Thailand after China Ban,” Reuters, March 19, 2008, www.reuters.com/article/2008/03/19 /us-china-hollywood-idUST27055320080319. 9. Janet Yang (executive producer of Disney High School Musical: China), interview with Aynne Kokas, October 21, 2011, Los Angeles, CA. 10. Michael Keane

Bischoff would be allowed to make suggestions, not movies. Unfortunately, Bischoff didn’t understand the assignment. Bischoff sported the credentials to be a functioning executive producer. During some twenty-five years in Hollywood, he had worked for several studios in different capacities and produced more than one hundred pic- tures, including The Charge of the Light Brigade, Kid Galahad, The Roaring Twenties, You’ll Never Get Rich, and A Night to Remember. Initial instruc- tions from C. J. Tevlin ordered him to oversee the physical production of Jet Pilot and

., 148. “My pitch to”: Munk, Vanity Fair. 422 • No t e s t o c h a p t e r e l e v e n 2. “access was more”: Mead, New Yorker (Oct. 22, 2007): 144. Volpe is said to have cast a jaundiced eye on Gelb’s work at the Met from the start. In 1992, he replaced Gelb’s executive producer position with a radio network producer and a television producer: “I didn’t need an executive producer. Guess why? I was the executive producer.” In 2006, Gelb created the position of director of media and presentations, to which he appointed Mia Bongiovanni. “occasionally directed

shooting, with nine weeks in Los Angeles for interiors and another week of second- unit work in New York. John Landis and George Folsey, Jr. were slated as executive producers and Michael and Kathy Fitzgerald, assisted by Prince Alessandro Tasca di Cuto, were announced as “line” producers. Ted Pedas’s Circle Theaters—an eight-screen movie theater chain in the Washington, D.C. area—were cited as the source of financing, and Mc- Carthy added that English actor Rupert Everett was cast in the part of the young Welles. According to Tasca, the initial budget was $6 million

), Golden Girls (7), and Miami Vice (9). 5. Both shows were produced by the Fred Silverman Company, with Silverman ( per- haps proving himself after all) serving in the capacity of executive producer. 6. I include the Emmys because they are perhaps the best-known television award, but their status as an award that industry workers give themselves makes them questionable in their partiality. Both the Peabody awards and those given by the Television Critics Associa- tion have historically honored television shows that exemplify creative excellence and are free from industry

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, we all agree on the importance of the site. “we’re all part of the same heritage” Janet Davies is the host and executive producer of 190 North, an enter- tainment and lifestyle program on ABC TV Chicago. It is a top- rated 178 | Chapter 11 program in its time slot, and Davies has been nominated for forty- nine regional Emmys and has won a Silver Dome Award from the Illinois Broadcasters Association. Davies visited us at the Illinois State Museum as we were pro cessing artifacts at the end of the second field season. The crew recorded several hours of interviews